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A SMALL KHMER BRONZE FIGURE OF AN APSARA, BAYON PERIODPublished: Stephen Little, Images of Buddha from the Michael Phillips Collection, Arts of Asia, January-February 2013, page 100, no. 18.Cambodia, Khmer, 12th - early 13th century. Neatly cast in dancing posture, with the right leg raised, the left hand holding an implement, dressed in a finely decorated sampot, adorned with jewelry, the face with a serene expression, flanked by two elongated earlobes, surmounted by a tiara in front of a conical-shaped headdress.Provenance: Collection of 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. Some old wear, minor losses, few nicks, cracks and shallow surface scratches, and minuscule encrustations. With an attractive malachite patina.Weight: 184.5 g (incl. base) Dimensions: Height 12 cm (incl. base) Mounted to a modern acrylic base. (2) Apsaras carved in bas-relief are frequently encountered on the walls of Khmer stone temples or Khmer bronzes. This particular apsara can be dated to the Khmer King Jayavarman VII (reign 1181-1200), who was a devoted patron of Buddhism and Buddhist art. The figure was cast in bronze over an iron armature, part of which can be seen within the broken right arm. It is likely that this figure belonged to a larger Buddhist shrine, such as that of Hevajra, in which case she would be classified as yogini.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 September 2004, lot 61Price: USD 9,560 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A Bronze Figure of a Dancing Apsara, Khmer, Bayon style, late 12th/Early 13th centuryExpert remark: Compare the closely related pose, headdress, and patina. Note the size (28.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

A 'MYTHICAL BEASTS' BRONZE MIRROR, HAN DYNASTYChina, 206 BC to 220 AD. The central pierced knob set within concentric circles enclosing a band of small bosses, surrounded by various mythical beasts and six larger bosses, encircled by a narrow inscribed band, all within concentric zigzag and wave bands.Provenance: Collection of Dr. Walter Rieder (1890-1986), thence by descent. Old inventory labels to the mirror and wood repository. 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: Superb condition, unusually well preserved given its high age. Some wear, minor corrosion, small nicks, light scratches. One small dent to the rim with associated minor touchup. Naturally grown patina overall.Weight: 879.5 g Dimensions: Diameter 17.1 cmWith a fitted wood repository. (2) Auction result comparison:Type: Closely relatedAuction: Christie's New York, 14 September 2012, lot 1248Price: USD 18,750 or approx. EUR 22,500 converted and adjusted for inflation at the time of writingDescription: A bronze mirror, Eastern Han dynastyExpert remark: Compare the related figural depictions in the central band. Note the size (21.3 cm).漢代瑞獸銅鏡中國，公元前206年至公元 220年。中央圓鈕，圍繞著六隻瑞獸，由六圓珠分隔。外圈不同紋飾帶。 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：狀況極佳，一些磨損、輕微腐蝕區域、小劃痕。邊緣有一個小凹痕，並有相應的輕微修飾。有包漿。 重量：879.5 克 尺寸：直徑17.1 厘米 相配木盒。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年9月14日，lot 1248 價格：USD 18,750（相當於今日EUR 22,500） 描述：東漢銅鏡 專家評論：比較相近中心環帶裝飾。請注意尺寸 (21.3 厘米)。

A LARGE BRONZE FIGURE OF A YOUTHFUL DAOIST DEITY, MINGChina, 1368-1644. Seated on a chair with an aperture at the lower front and two more at the back, we see a Daoist deity with youthful facial features. He is dressed in a long robe and wears ornate shoes. His hair is artfully done up in a chignon and the fat earlobes, heavy-lidded downcast eyes, as well as the well-meaning smile, all add further to the overall spiritual appearance of the Ming bronze.Provenance: American private collection.Condition: Good condition with old wear and evident patina, traces of use as expected on a bronze of this age. The attribute missing.Weight: c. 4,300 gDimensions: Height 38.5 cmAuction result comparison:Type: RelatedAuction: Christie's London, 14 May 2010, lot 710Price: GBP 13,750 or approx. EUR 20,327 converted and adjusted for inflation at the time of writingDescription: A large bronze model of zhenwu, Ming dynasty明代大型道人銅像中國，1368-1644年。道人端坐在椅子上，著道袍，梳道髻，眼睛微垂，微露笑容，雙手相連藏於衣袖中。 來源：美國私人收藏。 品相：狀況良好，磨損和明顯綠色銅鏽。法器缺失。 重量：約4,300 克 尺寸：高38.5 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2010年5月14日，lot 710 價格：GBP 13,750（相當於今日EUR 20,327） 描述：明代真武大帝銅像

AN INSCRIBED BRONZE 'TLV' MIRROR, HAN DYNASTYChina, 206 BC to 220 AD. Of circular form, the back cast in high relief with a central pierced hemispherical knop set within a circle with nine small bosses enclosed by a square, with eight further nipples in the outer field arranged within the T, L, and V motifs and various animals and birds in thread relief, all within a narrow inscribed band, the raised rim with concentric zigzag and dog-tooth borders. Inscribed with a band of characters referring to the twelve animals of the zodiac.Provenance: Collection of Dr. Walter Rieder (1890-1986), thence by descent. Old inventory labels to the mirror and wood repository. 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 and as expected for an authentic bronze with an age of ca. 2,000 years. Extensive weathering, wear, corrosion, dents and losses, all visible on the images of this lot. Two of the characters have been highlighted in red lacquer. Fine, naturally grown patina with beautiful malachite encrustation.Weight: 644.0 g Dimensions: Diameter 18.9 cmWith an old fitted wood repository. (2)Auction result comparison: Type: Closely related Auction: Christie's New York, 15 September 2011, lot 1130 Price: USD 21,250 or approx. EUR 26,000 converted and adjusted for inflation at the time of writingDescription: A silvery bronze mirror, Eastern Han dynasty Expert remark: Note the closely related size (18.7 cm) and designAuction result comparison: Type: Closely related Auction: Christie's New York, 20 March 2015, lot 710Price: USD 11,875 or approx. EUR 12,900 converted and adjusted for inflation at the time of writing Description: A Large Bronze 'Tlv' Circular Mirror, China, Western Han-Xin Dynasty, 1st Century AD Expert remark: Note the closely related design and patina as well as the slightly larger size (22.5 cm) 漢代規矩鏡中國，公元前206年至公元 220年。圓鏡，因鏡紋有規則的TLV形裝飾格式而得名TLV銅鏡。四神獸紋，鏡緣上有多層鋸齒紋和表示十二生肖的文字。方座紐，八乳丁。由於方與圓的對比，形成了一個優美的圖案結構。 來源： Dr. Walter Rieder (1890-1986)舊藏，在同一家族保存至今。鏡子上有收藏標籤。品相：品相良好，與年代相符，正如預期的那樣，其年齡大約為2000 年。大面積風化、磨損、腐蝕、凹痕和缺損。 其中兩個字用紅漆突出。包漿細膩，帶有美麗的綠色銅鏽。 重量：644.0 克 尺寸：直徑18.9 厘米 由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。

A PAINTED POTTERY STEM CUP, BAN CHIANG, 1ST MILLENNIUM BCThe deep rounded sides supported on a tall spreading foot and rising to an everted rim, decorated with even red lines forming geometric designs on the creamy-white ware.Provenance: Dutch trade. Condition: Good condition, commensurate with age. Wear, signs of weathering and erosion, few chips, minor losses to the paint, no fills or restorations. A Ban Chiang piece in such well-preserved condition is considered to be rare.Weight: 1,450 g Dimensions: Height 18.9 cm Ban Chiang, denotes an archeological site located in Nong Han district, Udon Thani Province, Thailand. Discovered in 1957, the site attracted enormous publicity due to its distinctive red painted pottery. During the first formal scientific excavation in 1967, archaeologists unearthed several skeletons, together with bronze grave gifts and unglazed earthenware pots which had been low-fired and painted red with unique, highly expressive and characteristic designs.A subsequent excavation at Ban Chiang in 1974-1975 was followed by an article by Chester Gorman and Pisit Charoenwongsa, claiming evidence for the earliest dates in the world for bronze casting and iron working. Subsequent excavations, including that at Ban Non Wat, have now shown that the proposed early dates for Ban Chiang are unlikely. The first datings of the artifacts used the thermoluminescence technique, resulting in a range from 4420-3400 BC, which would have made the site the earliest Bronze Age culture in the world. These dates stirred worldwide interest. Thermoluminescence dating of pottery was at the time an experimental technique and had been applied to Ban Chiang sherds of uncertain provenance. However, with the 1974-1975 excavation, sufficient material became available for radiocarbon dating. Re-analysis by radiocarbon dating suggested that a more likely date for the earliest metallurgy at Ban Chiang was c. 2000-1700 BCE. A date of 2100 BCE was obtained from rice phytoliths taken from inside a vessel taken from the lowest grave, which had no metal remains. The youngest grave was about 200 CE. Bronze making began circa 2000 BCE, as evidenced by crucibles and other fragments. A contrasting analysis was conducted by Charles Higham of the University of Otago using the bones of the people who lived at Ban Chiang and the bones of animals interred with them. The resulting determinations were analyzed using Bayesian statistics and the results suggested that the initial settlement of Ban Chiang took place about 1500 BCE, with the transition to the Bronze Age about 1000 BCE. The chronology of Ban Chiang metallurgy is still in considerable dispute.Literature comparison: Compare a closely related jar, dated 3rd century BC to 3rd century AD, in the collection of the British Museum, museum number 1972,0919.1.

Bowl from the Bactrian culture, 3rd-2nd millennia BC.Alabaster.In good condition.Provenance: Private collection, London, acquired in the 1990s. Previously acquired from a London gallery.Weight: 5.8 kg.Measurements: 24 cm (length).An alabaster bowl with no decoration other than its elegant lines and neat profiles. Bactriana, also called Bactria, is the ancient Greek name for the area of Central Asia located between the Hindu Kush (to the south) and the Amu Darya River (to the north). Today this territory corresponds to northern Afghanistan, southern Uzbekistan and Tajikistan. A fertile region of oases and mountains, since ancient times Bactria has been an important and almost obligatory stop for trade routes and communication between the Far East, the Indian subcontinent and the Mediterranean basin. Of particular importance in this region is the Bactria-Margiana archaeological complex, the modern archaeological designation of the Bronze Age in Central Asian culture, dating from around 2200-1700.

AN ARCHAIC BRONZE RITUAL FOOD VESSEL, DING, EARLY WESTERN ZHOU DYNASTYChina, 11th-10th century BC. The deep, rounded body is massively cast and raised on three columnar supports, the exterior with a flat-cast band of three taotie masks in relief below the rim from which two sturdy U-shaped loop handles rise. The interior with a crisp two character pictogram in oracle bone script below the rim.Inscriptions: To interior below the rim, 'hao' (good).Provenance: Nellie Clay Foster, acquired in China during the 1930s, and thence by descent in the family. Nellie 'Nelchen' K. A. Foster (nee Armstrong, d. 1950) was a socialite and amateur poet in Louisville, Kentucky, USA. She married the noted naturalist and yachtsman Henry Clay Foster (d. 1950). Nellie and Henry both traveled across Asia in the 1930s. According to information provided by the family, they got acquainted with a curator or consultant of the Metropolitan Museum in New York during one of their journeys through China. On one occasion this curator - possibly Gijs Bosch-Reitz (1860-1938) - had discovered five ancient bronzes for sale, of which he could only afford the purchase of three. As the story goes, the owner insisted on selling all five bronzes at once, and so Nellie was invited to pick two pieces. Her first choice was the present ding vessel, which she kept in her New Jersey home until her death.Condition: Excellent condition, commensurate with age. Extensive wear, signs of weathering and erosion, minor losses, nicks and cracks, all pretty much as expected from ancient bronzes. Beautiful, naturally grown patina with extensive malachite encrustation. X-Ray and CT: The images clearly document the outstanding overall condition of this lot. The crisply cast relief is remarkably well-preserved (see x-ray image 4). Note the three distinct areas of minor erosion at the inside bottom of the vessel (CT image 25). Further note the characteristic remnants of soil inside the legs (CT images 21 and 22).Weight: 3,022 gDimensions: Diameter 20 cm, height 23.6 cmLiterature comparison: Compare a closely related bronze ding decorated with a similar taotie band, dated to the Western Zhou dynasty, 11th century BC, 23.1 cm wide, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.328. Compare a closely related bronze ding decorated with a similar taotie band, dated to the Western Zhou dynasty, 11th-10th century BC, 17.5 cm wide, in the collection of the Freer Gallery of Art in the National Museum of Asian Art, Smithsonian Institution, accession number FSC-B-603.Auction result comparison: Type: Closely related Auction: Christie's, 15 December 2010, lot 273 Price: EUR 46,600 or approx. EUR 59,000 converted and adjusted for inflation at the time of writing Description: A bronze tripod food vessel, ding, China, Western Zhou dynasty Expert remark: Compare the closely related form and taotie band. Note the smaller height (19.5 cm).Auction result comparison: Type: Closely related Auction: Christie's, 19 September 2014, lot 986 Price: USD 87,500 or approx. EUR 106,000 converted and adjusted for inflation at the time of writing Description: A large bronze ritual tripod food vessel, ding, late Shang-Western Zhou dynasty, 11th century BC Expert remark: Compare the closely related form, taotie band, and inscription to interior below the rim. Note the larger height (30.2 cm).西周初期饕餮紋青銅鼎中國，公元前十一至十一世紀。鼎體渾圓且深，向上收口，兩側對稱設耳，鼎體上部有扁平浮雕饕餮紋。 款識：鼎内邊緣下可見“好” 來源：上世紀三十年代Nellie Clay Foster購於中國，保存在同一家族。Nellie 'Nelchen' K. A. Foster (nee Armstrong， 1950年逝世) 是美國肯塔基州路易斯維爾的社交名流和詩人。她嫁給了著名的博物學家和帆船運動員Henry Clay Foster (1950 年逝世）。 Nellie 和 Henry 都在 1930 年代遊歷了亞洲。據家人提供的信息，他們在一次中國之旅中結識了紐約大都會博物館的一位策展人或顧問。 品相：狀況極佳，大面積磨損、風化和侵蝕的跡象、輕微的缺損、刻痕和裂縫。美麗、自然生長的皮殼，帶有大量綠色鏽斑。清晰的浮雕保存得非常好，可在 X 射線圖像（可根據要求提供）上也見到，清楚地記錄了該拍品出色的整體狀況。 重量：3,022 克 尺寸：直徑 20厘米，高23.6 厘米 文獻比較： 比較一件非常相近的公元前十一世紀西周饕餮紋青銅鼎(寬23.1 厘米)，收藏於亞瑟·M·賽克勒美術館，史密森尼學會，編號S1987.328。比較一件非常相近的公元前十至十一世紀西周饕餮紋青銅鼎(17.5 厘米寬)，收藏於亞瑟·M·賽克勒美術館Freer Gallery of Art，史密森尼學會，編號FSC-B-603。由於字數限制，完整中文敘述請至www.zacke.at查看。

A RHINOCEROS HORN ARCHAISTIC LIBATION CUP, JUE, EARLY QING DYNASTYChina, 17th to early 18th century. Finely carved, one side of the vessel with a flattened spout, the other slightly raised and tapering into a wide curve. The lip surrounded by a wave border incised in shallow relief. The body carved with two sinuous chilong holding branches of lingzhi in their mouths. The rhinoceros horn of a deep honey color, darkening towards the legs, and with a silky, naturally grown patina.Provenance: From the collection of Malcolm Moncrieff Stuart, OBE, CIE, and thence by descent. Stuart was a State Magistrate in the Civil Service in India from 1928 and 1949. After retiring he returned to Edinburgh, Scotland. Condition: Some losses to lip and body, minor age cracks. Absolutely untouched original condition.Weight: 133.5 gDimensions: Height 12.3 cmThe present libation cup, superbly carved in the form of the well-known bronze ritual vessel jue, exhibits an exceptional level of skill exercised by the carver, who used the highly complex technique of bending different sections of the split horn outwards to form the three splayed blade legs.Literature comparison: See T. Fok, Connoisseurship of Rhinoceros Horn Carving in China, page 93, lot 46, for a similar libation cup from the collection of Chun-hung Li. Compare a rhinoceros horn jue decorated with a taotie design illustrated in The Complete Collection of Treasures of the Palace Museum, Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Shanghai, 2001, pl. 205, together with a four-legged ding form cup, pl. 206, and a tripod ding vessel, pl. 207.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 April 2011, lot 2710 Price: HKD 2,420,000 or approx. EUR 413,500 converted and adjusted for inflation at the time of writing Description: A rhinoceros horn 'jue' libation cup, 17th centuryExpert remark: Compare the related color of the horn, splayed legs, and chilong decoration. Note the size (11 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 197Price: USD 182,500 or approx. EUR 230,500 converted and adjusted for inflation at the time of writingDescription: A rare rhinoceros horn archaistic libation cup (jue), Qing dynasty, 17th century Expert remark: Compare the related color of the horn and splayed legs. Note the size (10.2 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.清初螭龍紋犀角杯中國，十七至十八世紀初。爵形杯，雕刻精美，杯子一側的杯流扁平，另一側略微凸起並逐漸變細。杯口外壁淺浮雕波浪紋，外壁浮雕兩條螭龍，嘴裡叼著靈芝。犀角杯呈深蜜色，向腿部往下逐漸變深，並帶有絲般的光澤。 來源：Malcolm Moncrieff Stuart 收藏，OBE，CIE，保存至今。Stuart曾從 1928 年到 1949 年，擔任印度州治安法官。退休後，他回到了蘇格蘭的愛丁堡。 品相：杯口和杯體有局部磕損，輕微的年代裂縫。原始狀況。 重量：133.5 克 尺寸：高 12.3 厘米 文獻比較： 一件相似的犀角杯，Chun-hung Li收藏，見 T. Fok，《Connoisseurship of Rhinoceros Horn Carving in China》，頁93，lot 46。比較一件饕餮紋犀角爵，見《故宮博物院藏珍品全集‧竹木牙角雕刻》，上海，2001年，編號205，與一件四足鼎杯，編號206，和三足鼎，編號207。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2011年4月7日，lot 2710 價格：HKD 2,420,000（相當於今日EUR 413,500） 描述：十七世紀爵形犀角杯 專家評論：比較相近的犀角顏色、杯腳外撇和螭龍裝飾。請注意尺寸(11厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2012年3月20日，lot 197 價格：USD 182,500（相當於今日EUR 230,500） 描述：十七世紀爵形犀角杯 專家評論：比較相近的犀角顏色和杯腳外撇。請注意尺寸(10.2厘米)。

A GOLD AND SILVER-INLAID 'FIGHTING BEARS' BRONZE MAT WEIGHT, WARRING STATES TO HAN DYNASTYOpinion: While bronze mat weights from the Warring States Period or the Han dynasty are rarer and rarer to come across on the market, it has nowadays become almost impossible to find one with such well preserved and detailed inlay work. The drama of the depiction has been copied over and over during later periods, and for all kinds of purposes, but it has never been achieved again to the extent found in the present lot.China, 5th century BC to 2nd century AD. Boldly cast as two ferocious bears locked in combat, one biting into his opponent's back as this one roars in anguish with his tongue outstretched. Finely inlaid in gold and silver, the two animals with scroll and geometric decoration as well as subtle detailing to their bodies, the sides of the circular base with a scroll band between line borders.Provenance: From a noted private collector in the Pacific Northwest, USA.Condition: Superb condition, commensurate with age. Wear, signs of weathering and erosion, corrosion, malachite and cuprite encrustation, nicks, scratches, losses and cracks. The gold and silver inlays exceptionally well-preserved. A bronze weight of around 2,000 years of age or more in such well-preserved condition must be considered exceedingly rare.Weight: 590.0 gDimensions: Diameter 6.7 cm, Height 5 cmWith a velvet-padded silk storage box. (2)Mat weights crafted from precious materials such as bronze and jade, often gilded or inlaid with gold, silver or gemstones, were produced in sets of four and served a practical function of anchoring down woven mats for seating. Mats and corner-weights were believed to have been used at banquets, even those laid out in tombs. Inlaid animal-form weights were discovered in the tomb of Dou Wan, consort of Liu Sheng, Prince Jing of Zhongshan (d. 113 BC), alongside food and wine vessels.The sculptural depiction of animals in combat was introduced to China from the nomadic and semi-nomadic cultures of Central Asia, the Eurasian steppes, and the Ordos region, and was an innovation particular to the Warring States and Han dynasty periods. During the early Western Han dynasty, the imperial Shanglin zoological park and hunting reserve adjacent to the walled city grew in size and importance. Conceived as a microcosm of the empire, it allowed the emperor and his courtiers to observe and study the various species of plants and animals known at the time. The site also served as a venue for orchestrated animal combat for the entertainment of the court.Literature comparison: Compare a closely related silver and gold-inlaid bronze mat weight from the Han dynasty depicting a ram and tiger, illustrated by Jenkins, Mysterious Sprits, Strange Beasts, Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection, Portland, 2005, page 60, and now in the collection of the Portland Art Museum. Compare a pair of related bronze figures of tigers, with similar gold and silver inlay, but of larger size (29 cm), dated to the Warring States period, illustrated by Christian Deydier, Oriental Bronzes, XXIIIe Biennale des Antiquaires, Paris, September 2006, pages 10-21.Auction result comparison:Type: Related Auction: Christie's New York, 16 September 2010, lot 886 Price: USD 182,500 or approx. EUR 240,000 converted and adjusted for inflation at the time of writingDescription: A Rare Gold and Silver-Inlaid Bronze Tiger-Form Weight, Eastern Han Dynasty (25-220 AD) Expert remark: Compare the similar size (6.7 cm) and purpose, and the inlay in gold and silver.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 13 October 2021, lot 3674 Price: HKD 441,000 or approx. EUR 57,500 converted and adjusted for inflation at the time of writingDescription: An inscribed gold and silver-inlaid bronze weight, Han dynastyExpert remark: Compare the closely related subject matter, dynamic posture, and size (6.8 cm). Note the different decoration, albeit still employing gold and silver inlay.Auction result comparison: Type: Related Auction: Sotheby's New York, 22 March 2022, lot 7 Price: USD 88,200 or approx. EUR 86,500 converted at the time of writingDescription: A gold, turquoise and malachite-inlaid bronze weight, Early Western Han dynastyExpert remark: Compare the closely related subject matter, gold inlay, and size (6.9 cm). Note the use of turquoise and malachite inlays.戰國至漢代錯金銀“斗熊”銅席鎮中國，公元前五世紀至公元二世紀。銅鎮作兩隻正在打架的熊造型，一隻熊正雙目圓睜，雙耳後抿，寬鼻闊嘴，回首咆哮；另一隻咬住對手的後背。細部刻畫入微。通體採用錯金銀工藝。形小而氣勢雄渾，造型生動自然，十分精緻。由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE AND IMPORTANT BRONZE RITUAL AXE-HEAD, YUE, EARLY SHANG DYNASTY, CIRCA 1500-1400 BCOpinion: Except for the different size, the present lot has remarkable similarities with a yue that bears a near-identical relief decoration surrounding the central hole, but lacks the taotie at the haft. This yue was excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and is now in the Hubei Provincial Museum. Discovered in 1954, Panlongcheng is a city-site that dates from the early Shang Dynasty. Located on the bank of Panlong Lake in Huangpi District, it covers an area of roughly 15 acres. The city conforms to the top-layer culture (circa 1500 BC) of the Shang site of Erligang in terms of bronze-making techniques, burial customs, styles of jade-wares, and features of pottery. It might have been a state built by Shang people in the middle reaches of the Yangtze to exploit resources in the south. Its discovery confirmed for the first time that the Shang culture of the Central Plains had reached the valley of the Yangtze River already during the early Shang Dynasty. The discovery of the yue in tomb 2 also confirms the function of the city as a military stronghold. Given the many features and striking resemblances that the present lot shares with the larger yue from Panlongcheng, and the provenance history described below, it seems possible, if not likely, that our yue was once found at the same site.China, ca. 1500-1400 BC. The wide flattened blade with a beveled edge, crisply cast in deep relief with Kui dragons with raised eyes flanking a large central aperture below two small rectangular holes, the haft similarly cast with taotie masks.Provenance: Mandala Fine Arts, Hong Kong, 1989. Acher Eskenasy, Paris, acquired from the above (invoice lost). Martin Doustar, Brussels, acquired from the above in 2011. An American gentleman, acquired from the above. A copy of a handwritten letter, signed by Acher Eskenasy, confirming his purchase of the present lot from Mandala Fine Arts, Hong Kong, in 1989 and its sale to Martin Doustar in 2011, accompanies this lot. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris.Condition: Superb condition, commensurate with age. Extensive wear, signs of weathering and erosion, corrosion, minor nicks, cracks and scratches. Fine, naturally grown patina with malachite encrustation overall.Weight: 838.8 g (excl. stand)Dimensions: Length 24.9 cm (excl. stand)With an associated metal stand. (2)The yue was an ancient long-handled weapon and instrument of execution, symbolic of noble authority. Evidence suggests that these axes played a part in ritual beheadings in addition to being symbols of power. Almost central holes also dominate several other early bronze axes, including two from Panlongcheng in Hubei province.Literature comparison: Compare a closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (41.4 cm) and lacking the taotie at the haft, excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and now in the Hubei Provincial Museum, illustrated by Wen Fong, The Great Bronze Age of China: An Exhibition from The People's Republic of China, The Metropolitan Museum of Art, New York, 2013, page 104, no. 7. Another closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (35.2 cm) and lacking the taotie at the haft, is in the Jiangxi Provincial Museum. Compare a closely related bronze yue, also with a large central hole, excavated in 1995 from Guojiazhuang Southeast, Tomb M26, and now in the Yin Ruins Museum. Compare a related bronze ceremonial axe, dated to the Eastern Zhou dynasty, 11th century BC, illustrated by Christian Deydier Oriental Bronzes Ltd., Le Banquet des Dieux, Bronzes Rituels de la Chine Ancienne, Paris, January 1996, page 37, no. 12. Compare a related yue axe, also decorated with taotie masks, dated to the Shang dynasty, 13th-11th century BC, from the collection of the King of Sweden, illustrated by Christian Deydier, Chinese Bronzes, Fribourg, 1980, page 86, no. 59. Compare a related qi axe with a human mask on the blade, in the collection of the Museum für Ostasiatische Kunst, Berlin, dated to the Shang dynasty, 13th-11th century BC, illustrated ibidem, page 88, no. 63.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 3 Price: USD 80,500 or approx. EUR 100,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual axe-head (yue), Shang dynasty, 12th/11th century BC Expert remark: Compare the related form, though slightly flared, similar relief decoration, and the taotie masks to the haft. Compare also the closely related rectangular holes. Note the smaller size (16.4 cm).公元前1500-1400年商代早期銅鉞中國，公元前約1500-1400年。器體呈梯形，長方形內直，肩部平直，兩側有對稱的長方形孔，弧刃，兩側略外張，器身中部有較大的圓孔，肩下及兩側各飾夔紋，柄上有饕餮紋。由於字數限制，完整中文敘述請至www.zacke.at查看。

A COPPER-INLAID BRASS FIGURE OF BUDDHA VAJRASANA, 12TH-13TH CENTURYTibet, circa 1100-1250. Superbly cast, seated in vajraparyankasana on a double lotus throne with remarkably thick-beaded rims, the right hand extended in bhumisparsha mudra and the left in dhyana mudra, the fingernails conspicuously inlaid with copper, his left palm and right sole incised with a floral design. Wearing a sanghati gathered on one shoulder, with distinct wavelike folds hidden in the gap between the body and the left arm, the robe gathering in elegant pleats just below his feet and above a vajra finely incised to the base.Provenance: Old Austrian private collection.Condition: Superb condition, commensurate with age. Some wear, casting irregularities, minor dents, few tiny losses, minuscule nicks, light scratches, remnants of ancient pigment and gilding to face, the eyebrows and other areas possibly inlaid with silver wire, which has over the centuries turned completely black and cannot be clearly identified. The base unsealed. Rich, naturally grown patina with an unctuous feel overall, showing signs of extensive worship and caress across the centuries.Weight: 1,249 gDimensions: Height 26 cmThe gilt face is sensitively modeled with a serene expression, the downcast eyes and arched brows seem to be inlaid with metal (possibly silver), the lips with faint remnants of copper inlay, flanked by long pierced pendulous earlobes, the blue hair arranged in tight curls surmounted by a tall ushnisha topped by a bud-shaped jewel.The bronze depicts Shakyamuni Buddha at the very moment of Enlightenment at Bodh Gaya. Touching the goddess, Earth, with his right hand, he called her to witness his imperturbability in front of the assault of the demon Mara. It is with reference to this condition of serene beatitude that Shakyamuni's epiphany was called Akshobhya, meaning 'Imperturbable'. The episode took place at the Vajrasana seat at Bodh Gaya, which by tradition was specially empowered to expedite his enlightenment. Later, the followers of Buddhist esoteric schools represented the epiphany with their most important emblem, the vajra, which they interpreted as a symbol of the adamantine purity, indestructibility, and perfection of the Buddhist doctrine. In the present bronze, the vajra is incised into the upper surface of the lotus base.This sculpture represents the early phase of Tibetan Buddhist art during the Chidar, the Later Diffusion of Faith, that took inspiration from eleventh and twelfth-century Pala-period sculptural traditions of eastern India. Various elements reflect Indian prototypes, including the tall ushnisha and particularly the base's lower rim, distinctively decorated with a single row of large beads. Meanwhile, the base's high-relief lotus petals with their characteristically incised design are an early Tibetan feature. This combination of stylistic elements exemplifies Tibetan artists' close apprenticeship of Pala art during and shortly after the Chidar.Literature comparison: Compare a closely related brass figure of Buddha Shakyamuni, dated 13th-14th century, supported on an altar of probably a later date, the base similarly cast with Pala-influenced beaded rims and Tibetan flattened lotus petals, illustrated in the Complete Collection of the Treasures of the Palace Museum, 60 Buddhist Statues of Tibet, Hong Kong, 1998, pages 160-161, no. 153. This type of base is also seen in three closely related brass figures dated circa 13th century, illustrated by von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, Volume II, pp. 1173, pls. 313C-E. For the Pala prototype depicting Buddha Vajrasana, dated 11th-12th century, see von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, Volume I, pp. 269, pl. 86C. Note also the elongated figure, narrow waist and tubular limbs, the distinctive double-tipped petal motif of each bulbous petal on the lotus throne, and the curled double-edges of the sanghati thrown over the proper left shoulder in the figure of Shakyamuni (313D), as well as the gently sloping hairline, ovoid facial shape, raised urna, and the upward-curving eyes inlaid with silver on the figure of Vajrasattva (313C).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 2 October 2017, lot 3131Estimate: HKD 1,500,000 or approx. EUR 203,000 converted and adjusted for inflation at the time of writing Description: An inscribed early copper-inlaid bronze figure of Shakyamuni Buddha, Tibet, 12th-13th centuryExpert remark: Compare the alloy and patina, the pose, robe and hems, the face, and the tall ushnisha with the similarly bud-shaped jewel on top. Note the slightly larger size (29.8 cm).Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 2 December 2020, lot 1009Price: HKD 752,500 or approx. EUR 95,500 converted and adjusted for inflation at the time of writing Description: A silver and copper inlaid copper alloy figure of Buddha Shakyamuni, Tibet, 13th centuryExpert remark: Compare the alloy and patina, the pose, robe and hems, the face, and the tall ushnisha with the similarly bud-shaped jewel on top. Note the larger size (31.8 cm).十二至十三世紀錯紅銅金剛座佛陀銅像西藏，約 1100-1250年。由於字數限制，完整中文敘述請至www.zacke.at查看。

A CAST AND REPOUSSE GILT COPPER ALLOY FIGURE OF GREEN TARA, QIANLONG PERIODTibetan-Chinese, 1736-1795. Seated in lalitasana atop a double-lotus base with beaded edges, her raised left hand held in vitarka mudra and holding a lotus stem, her left lowered in prithvi mudra. Wearing a fine dhoti cascading in voluminous folds and neatly incised with foliate and diapered designs at the hems. Richly adorned with beaded, floral, and inlaid jewelry. The finely incised hair pulled up into a tall double-topknot falling elegantly in long segments down the sides of the shoulders and surmounted by a jewel.Provenance: From the collection of Gustave Fayet (1865-1925), thence by descent in the family. Gustave Fayet was a French painter and art collector, who owned works by Degas, Manet, Pissarro and above all Paul Gauguin. Fayet was a man with a universal curiosity, an eminent patron of the arts, and a discerning collector in all fields.Condition: Overall fine condition commensurate with age and presenting remarkably well and attractive. With old wear, traces of use and some minor casting flaws, occasional light scratches, tiny nicks, few small dents. Losses to inlays, some of the remaining inlays may be later replacements. Well-preserved ancient pigments. The separately cast lotus flowers at the shoulders are missing. The lacquer gilt sections with scattered stains. The fire gilt sections with minor areas of malachite encrustation. The base lid is bent and indented.Weight: 3,166 gDimensions: Height 37.7 cmThe serene face with heavy-lidded eyes, gently arched brows centered by an urna, and full lips forming a benevolent smile, flanked by long pendulous earlobes.The impressive statue is made from a solid cast of copper alloy, as clearly evidenced by the lack of any dings or bent areas to body and base. Only the earrings, scarf, strands of hair, and the lotus foot support are executed in copper repousse. The statue is gilt overall, partially in lacquer and partially with a superb fire-gilt, exactly as expected from a statue of the Qianlong period.The present work exhibits many characteristics common to the Buddhist workshops of the Qianlong period, such as the combination of cast and repousse parts, the languid and feminine treatment of the face and body, and the tightly waisted double-lotus base with broad petals. The Qing court patronage of Buddhism that began under the Kangxi Emperor reached epic proportions under his grandson, the Qianlong Emperor. The Buddhist centers of Beijing, Rehol, and Dolonnor produced thousands upon thousands of images to keep up with the demand of the numerous temples in and outside the capital.Auction result comparison: Type: Closely related Auction: Christie's New York, 16 September 2016, lot 1231 Price: USD 35,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writingDescription: A cast and repousse gilt-bronze figure of a bodhisattva, Qianlong period Expert remark: The bronze belongs to the same group as the present lot, combining repousse elements with a cast figure. The bronze is of near-identical size (37.1 cm) and also dated to the Qianlong period.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2019, lot 674 Price: USD 112,500 or approx. EUR 122,500 converted and adjusted for inflation at the time of writingDescription: A large cast and repousse gilt-bronze figure of Green Tara, Inner Mongolia, Dolonnor style, late 18th century Expert remark: The bronze also depicts Green Tara and belongs to the same group as the present lot, combining repousse elements with a cast figure. The bronze is of considerably larger size (58.1 cm high) and dated to the late 18th century.乾隆銅鎏金錘鍱綠度母漢藏, 1736-1795年。本尊綠度母坐像，通身以錘鍱工藝製作，半跏趺舒坐於蓮花寶座上，為典型的三折姿勢。葫蘆形髮髻高聳，雙耳垂肩，耳懸花鐺，披肩長辮優美。面容飽滿，嘴角上揚微笑，雙眉之間有白毫，端莊靜穆，給人以悲憫之感。上軀袒露，佩掛項圈及連珠長鏈，手、臂、踝均飾有釧環。左腿橫盤，右腳下應踏小蓮台，左手於胸前施三寶印，右手置膝前作予願印。其下蓮座為雙層束腰仰覆式，台座規矩，蓮瓣舒展精細。 來源：Gustave Fayet (1865-1925) 收藏，保存在同一家族至今。Gustave Fayet 曾是一位法國畫家和藝術收藏家。他的收藏中可見德加、莫奈、畢加索和高更。Fayet是一個特別有好奇心的傑出的藝術贊助人，也是一個在各個領域都獨具慧眼的收藏家。 品相：整體狀況良好，與年齡相稱。有磨損，使用痕跡和一些輕微的鑄造缺陷，局部輕微的劃痕和刻痕，少量小凹痕。鑲嵌物的遺失，一些剩餘的鑲嵌物可能在後期更換過。顏料保存完好。肩部分鑄的蓮花遺失。漆面鎏金部分有散落的污漬，少量綠色結殼。底蓋彎曲。由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE GOLD-SPLASHED BRONZE 'ELEPHANT' TRIPOD CENSER AND COVER, QING DYNASTYChina, 18th-19th century. Supported on three elaborately cast elephant-head feet and with a pair of similar elephant-head handles, the rounded sides rising to an everted rim. The domed cover with pierced cartouches showing confronting dragons below a caparisoned elephant supporting a finial on its back.Provenance: From a private collection in Atlanta, Georgia, USA, mostly acquired in New York, Europe, and Hong Kong between the 1940s and 1970s. Thence by descent to the last owner. Old inventory label to inside of cover. A copy of the anonymized provenance statement signed by the previous owner accompanies this lot.Condition: Very good condition with minor old wear and some casting flaws, few small nicks, occasional light scratches, a faint impression from an old label to the base. The finial slightly leaning. The wood base with traces of use and age. All three pieces with a fine, naturally grown patina overall.Weight: 5,211 g (excl. base) and 6,281 g (incl. base)Dimensions: Height 42.6 cm (overall) and 35 cm (excl. base)With a finely carved matching wood petal-lobed tripod base, carved with a central lotus design, dating to the Qing dynasty. (2)Literature comparison: Compare a related bronze censer, also with elephant feet, handles, and cover but lacking the gold splash, in the collection of the Palace Museum, Beijing, accession number 00095770.Auction result comparison: Type: Closely related Auction: Christie's New York, 17 September 2010, lot 1022 Price: USD 74,500 or approx. EUR 94,000 converted and adjusted for inflation at the time of writing Description: A large and finely cast gold-splashed bronze tripod censer and cover, 18th/19th century Expert remark: Compare the similar elephant handles and feet, the pierced cover surmounted by an elephant, and the gold splash. Note the larger size (57.8 cm).清代大型灑金象耳三足熏爐中國，十八至十九世紀。整器工藝繁複，直口，與器蓋子母口相合。爐蓋上有大象背托寶瓶，腹部灑金，兩側出天象耳，卷鼻上揚，肌肉感、皮膚褶皺，表現淋漓。底承三象首形足，葉形象耳後揚，眉眼細長，鋒牙斜出，卷鼻著地，頭頂漩渦圖案。 來源：美國亞特蘭大私人收藏，其藏品多在上世紀四十至七十年代購於紐約、歐洲以及香港，保存至今。爐蓋内有舊標籤。隨附一份由前任所有者簽署的匿名出處聲明的複本。 品相：品相非常好，有輕微磨損和一些鑄造缺陷，少量小刻痕，輕微的劃痕，舊標籤在底座上有微弱印跡。寶瓶微微傾斜。木質底座有使用痕跡和年代感。整體都帶有自然包漿。 重量：5,211 克 (不含底座) 和 6,281 克 (含底座) 尺寸：高42.6 厘米 (總) and 35 厘米 (不含底座) 清代蓮花圖案木質底足。文獻比較： 比較一件相近的宣德款銅纏枝花卉紋象耳足蓋爐，同樣的形制，但無灑金，見北京故宮博物院館藏，編號00095770。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得, 2010年9月17日, lot 1022 價格：USD 74,500（相當於今日EUR 94,000） 描述：十八或十九世紀大型灑金三足銅蓋爐 專家評論：比較相似的象耳把手和足，鏤空的爐蓋以大象為飾，灑金分布在均勻整爐。請注意尺寸較大 (57.8 厘米)。

A CLOISONNE ENAMEL AND GILT BRONZE 'LOTUS' CENSER, JINGTAI MARK, MING DYNASTYChina, 15th-16th century. The deep rounded sides supported on three gilt-bronze feet in the form of elephant heads and flanked by similarly cast Buddhist lion handles, the rims and interior gilt, the exterior finely decorated in bright enamels with stylized lotus blossoms amid foliate scroll and auspicious symbols. The base cast with a four-character mark Jingtai nianzhi within a square reserve.Provenance: Swiss trade.Condition: Very good condition, commensurate with half a millennium of age. Some old wear and expected manufacturing flaws, such as pitting, few minor nicks and associated small loss to enamels, few tiny fills.Weight: 324.3 gDimensions: Width 10.5 cmLiterature comparison: The decoration and the elephant mounts are a direct continuation from the preceding Yuan dynasty, see an incense burner with elephant trunk handles, Yuan dynasty, in the Palace Museum, Beijing, illustrated in Compendium of Collections in the Palace Museum, Enamels 1, Cloisonne in the Yuan and Ming Dynasties, Beijing, 2011, page 60, pl. 7.Auction result comparison: Type: Related Auction: Bonhams London, 8 November 2012, lot 232 Price: GBP 49,250 or approx. EUR 76,500 converted and adjusted for inflation at the time of writing Description: A very rare cloisonne enamel two-handled bowl, cast Jingtai mark, the cloisonne enamel early to mid-15th centuryExpert remark: Compare the similar Jingtai mark, lotus decoration, and bronze mounts, though with dragon handles (instead of lion handles and elephant feet as on the present lot). Note the size (13.7 cm).Auction result comparison: Type: Related Auction: Sotheby's Paris, 16 December 2010, lot 54 Price: EUR 30,750 or approx. EUR 39,000 adjusted for inflation at the time of writingDescription: Brûle-parfum en bronze et emaux cloisonnes, Chine, dynastie Ming, XVIE siècleExpert remark: Compare the related lotus decoration and bronze mounts, though with elephant handles (instead of lion handles and elephant feet as on the present lot). Note the size (18 cm).Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 27 November 2018, lot 61Price: HKD 187,500 or approx. EUR 25,500 converted and adjusted for inflation at the time of writing Description: A gilt-bronze and cloisonne enamel tripod incense burner, Jingtai four-character mark, mid-Ming dynasty Expert remark: Compare the related Jingtai mark, lotus decoration, and bronze mounts, though with elephant handles (instead of lion handles as on the present lot). Note the size (22.2 cm).明代景泰款掐絲琺瑯纏枝蓮花鎏金三足爐中國，十五至十六世紀。掐絲琺瑯纏枝蓮花紋，鎏金獅形耳與象頭三足。底座内“景泰年製”四字款。 來源：瑞士古玩市場。 品相：品相極好。一些磨損和製造缺陷，麻點、輕微刻痕以及琺瑯磨損，與搪瓷相關的少量損失、很少的微小填充。 重量：324.3 克 尺寸：寬 10.5 厘米 文獻比較： 此裝飾和象頭足延續了元代的特色。一件元代象頭把手的香爐，收藏於北京故宮博物院，見《故宮博物院藏品大系‧琺瑯器編‧元明掐絲琺瑯》，北京，2011年，頁60，編號7。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2012年11月8日，lot 232 價格：GBP 49,250（相當於今日EUR 76,500） 描述：十五世紀早期到中期掐絲琺瑯纏枝蓮紋雙龍耳爐 陽文「景泰年製」楷書款 專家評論：比較相近的「景泰」款識、纏枝蓮紋，但把手為龍形。請注意尺寸(13.7 厘米)。 拍賣結果比較： 形制：相近 拍賣：巴黎蘇富比，2010年12月16日，lot 54 價格：EUR 30,750（相當於今日EUR 39,000） 描述：十五世纪明代掐絲琺瑯纏枝蓮紋雙象耳爐 專家評論：比較相近的纏枝蓮紋，但把手為象形。請注意尺寸(18 厘米)。 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2018年11月27日，lot 61 價格：HKD 187,500（相當於今日EUR 25,500） 描述：明中期銅胎掐絲琺瑯纏枝蓮紋三足爐「景泰年製」楷書款 專家評論：比較相近的「景泰」款識、纏枝蓮紋，但把手為象形。請注意尺寸(22.2 厘米)。

A LIFE-SIZED TERRACOTTA HEAD OF VAJRAPANI IN THE FORM OF HERACLESAncient region of Gandhara, 4th-5th century. Powerfully modeled, the face framed by dense facial hair arranged into long voluminous curls, wavy hair, a billowing mustache below a straight nose, and a full beard set around full lips, the eyebrows and pupils with cold paint.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”. Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot. Condition: Very good condition, fully consistent with the age of the sculpture. Some firing flaws, dents and losses to exposed areas, the nose tip with a small old repair. Remnants of a varnish coating which was applied a long time ago. Some ancient pigment is well preserved, especially to the eyebrowsFrench Export License: Certificat d'exportation pour un bien culturel Nr. 185423 dated 3 July 2017 has been granted and a copy is accompanying this lot.Weight: 10.2 kg Dimensions: Height 48.5 cm (incl. stand), 32.5 cm (excl. stand)This large terracotta head is an extremely rare legacy of the ancient kingdom of Gandhara, encapsulating the rich cultural interplay and hybrid art styles derived from Hellenistic and Indian influences. It depicts the bodhisattva Vajrapani, the protector of Buddhism, represented with the iconography of the Greek god Hercules, who was widely venerated as a hero and savior in western Asia during the early centuries of the present era. As a great champion, yet one who nevertheless understood the human condition, Hercules was easily assimilated into Mahayana Buddhism. Like other Gandharan bodhisattvas, he is depicted as an earthly prince with his aristocratic bearing and posture, but the naturalistic face is reminiscent of Greco-Roman sculpture. The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic iinfluences. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired ceramic instead of stone such as schist was popular during the later Gandharan period from the 4th to the 6th centuries. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering. Only very few terracotta statues from this period and of this size have ever been recorded.Literature comparison: Compare a related terracotta head of Dionysos, dated to the 4th-5th century Gandharan, in the collection of the Metropolitan Museum of Art, accession number 1979.507.2. Sculptures with similarly substantial beards are also common to Gandharan Atlantes, see Zwalf, Gandharan Sculpture, London, 1990, pp. 208-10 and 216, nos. 362-64, 366, and 377.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 2 April 2019, lot 3105Estimate: HKD 1,500,000 or approx. EUR 199,500 converted and adjusted for inflation at the time of writingDescription: A monumental terracotta statue of Vajrapani in the form of Hercules, Gandhara, 4th-5th centuryExpert remark: Compare the similar facial features and the wavy beard and hair. Note that the provenance of this statue is identical to the present lot and stated as “Collection of Arthur Huc (1854-1932), France, by repute.”Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 2 October 2018, lot 4Price: HKD 625,000 or approx. EUR 85,000 converted and adjusted for inflation at the time of writingDescription: A bronze inlaid marble head of a bearded man, ancient region of Gandhara, circa 3rd centuryExpert remark: Compare the closely related wavy beard and hair as well as the similar size (31 cm). Note that the head is carved from marble with bronze-inlaid eyes, and is dated slightly earlier.陶土金剛手菩薩神頭像呈赫拉克勒斯形象犍陀羅, 四至五世紀。由於字數限制，完整中文敘述請至www.zacke.at查看。

A GILT COPPER-ALLOY FIGURE OF VAJRADHARA, 15th-16TH CENTURY OR EARLIERTibet. The primordial Buddha seated in dhyanasana on a double lotus base, his arms crossed in front, holding a vajra in his right hand and a ghanta in his left, wearing a tight-fitting robe and richly adorned with beaded and floral jewelry. His serene face with heavy-lidded eyes below gently arched brows centered by an urna, framed by his hair falling elegantly in curled strands over the shoulders and piled up into a topknot surmounted by a vajra behind the elaborate foliate crown.Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family.Condition: Excellent condition, commensurate with age. Some wear and casting irregularities. Small nicks, minor dents and losses, and light surface scratches. The base unsealed. Fine, naturally grown patina overall.Weight: 750.1 gDimensions: Height 18 cmLiterature comparison: Compare a related bronze of Vajradhara, dated 15th-16th century, in the collection of the British Museum, museum number 1979,0514.1.Auction result comparison: Type: Related Auction: Sotheby's New York, 21 September 2007, lot 40Price: USD 40,000 or approx. EUR 56,000 converted and adjusted for inflation at the time of writingDescription: A silver and copper inlaid bronze figure of Vajradhara, Western Tibet, 15th centuryAuction result comparison: Type: Related Auction: Christie's Paris, 12 June 2012, lot 415Price: EUR 20,000 or approx. EUR 24,000 adjusted for inflation at the time of writingDescription: A copper and silver inlaid bronze figure of Vajradhara, Tibet, 15th century十五至十六世紀或更早銅鎏金金剛總持西藏。金剛總持結跏趺坐在雙層蓮座上。上身挺直，左右手臂戴釧，雙手當胸交叉，左手在內持鈴，右手在外持金剛杵，胸前的鈴與杵代表智慧與善巧的結合。造像頭戴五葉寶冠，眼眉細長，雙眉之間有白毫。耳垂戴圓鐺，頸戴瓔珞。 來源：維也納私人舊藏，整個收藏構建與1910-1975年間，歷經幾代人，保存在同一家族至今。 品相：品相極佳，與年代相符，一些磨損和鑄造不規則。小刻痕、輕微的凹痕和缺損，表面有輕微的劃痕。底座開封。 整體包漿細膩。 重量：750.1 克 尺寸：高18 厘米 文獻比較： 比較一件相近的十五至十六世紀青銅金剛總持 ，收藏於大英博物館，編號1979,0514.1。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2007年9月21日，lot 40 價格：USD 40,000（相當於今日EUR 56,000） 描述：十五世紀西藏西部銅銀鑲嵌青銅金剛總持 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2012年6月12日，lot 415 價格：EUR 20,000（相當於今日EUR 24,000） 描述：十五世紀西藏銅銀鑲嵌青銅金剛總持

A GILT COPPER REPOUSSE FIGURE OF GREEN TARA, 17TH-18TH CENTURYTibetan-Chinese. Well modeled seated in lalitasana, the right hand in varada mudra and the left in vitarka mudra, holding a lotus stem coming to full bloom at the shoulder, wearing elaborate jewelry and an incised robe falling in drapes, the face with a benevolent expression flanked by pendulous earlobes, crowned with a five-leaf tiara enclosing the hair coiled into an elaborate chignon. The seal plate with a punched double vajra.Provenance: From an old British private collection, acquired in the 1970s. A Belgian private collection, acquired from the above. Old label to base with manual inscription: “Nepal Tibet - Bronze dore - Acquis dans les annees 1970 Coll. A + JP de (…) Mc DONALD GB” (Nepal Tibet, gilt bronze, acquired in the 1970ies, collection of A + JP Mc Donald, UK) Condition: Good condition commensurate with age and still presenting remarkably well. Some wear and manufacturing flaws, minor dings and dents, small tears and losses, light scratches, minuscule old repairs. The base sealed and possibly still filled with sacred contents. Good, naturally grown patina overall.Weight: 1,055 gDimensions: Height 27 cmThis elegant seated figure of Tara exhibits many characteristics common to Buddhist imagery from the Qianlong period (1736-1795), made in the lamaist workshops in and around Beijing. In the latter half of Qianlong's reign, when the construction of Buddhist temples and the associated Buddhist images reached its apogee, the use of repousse, where thin metals are beaten rather than cast, became more prevalent in an effort to save materials and time. The artisans of the period quickly mastered the process, and details such as the ornately worked crown and flowers at the shoulders in the present figure demonstrate the mastery of the technique.Green Tara, also known as Shyamatara, is venerated as a savior and liberator from samsara, the earthly realm of birth and rebirth. According to Buddhist mythology, Green Tara emerged from a lotus bud rising from a lake of the tears of Avalokiteshvara, shed for the suffering of all sentient beings. She embodies compassion in a dynamic form, hence the usual depiction of the goddess with right leg outstretched, ready to leap out to ease suffering. Her right hand is always held out in varada mudra, a gesture of compassion and charity, and the left hand in vitarka mudra, a gesture of teaching.Auction result comparison: Type: Closely related Auction: Galerie Zacke, 27 September 2019, lot 68 Price: EUR 10,744 or approx. EUR 12,000 adjusted for inflation at the time of writing Description: A gilt copper statue of Manjusri, Tibetan-Chinese, 17th-18th century Expert remark: Compare the closely related repousse work, gilding, incision work, inlays, and double lotus base with similar petals and beaded edge. Note the related size (29.8 cm)Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2019, lot 673 Price: USD 21,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A repousse gilt-bronze figure of Tara, Inner Mongolia or China, late 18th century Expert remark: Compare the closely related repousse work and lotus base with similar petals and beaded edge. Note the size (39.4 cm).Auction result comparison: Type: Related Auction: Bonhams London, 16 May 2019, lot 171Price: GBP 15,062 or approx. EUR 19,500 converted and adjusted for inflation at the time of writing Description: A large gilt-copper repousse figure of Green Tara, Tibet, 16th centuryExpert remark: Compare the closely related expression, pose, and jewelry. Note the size (40.4 cm) and that this statue is of an earlier date. 十七至十八世紀銅鎏金錘鍱綠度母坐蓮像漢藏。綠度母頭戴花冠，面相方圓，慈眉善目，神態沉靜。耳垂花璫，胸戴瓔珞，袒露上身，下著錦褲，雙肩豎出蓮花法器，單腿伸出自然坐於單層覆蓮座上。底座密封雙金剛杵印。 來源：英國私人舊藏，購於上世紀七十年代；一個比利時私人收藏，購於上述收藏。底部有舊標籤 “Nepal Tibet - Bronze dore - Acquis dans les annees 1970 Coll. A + JP de (…) Mc DONALD GB” (尼泊爾或西藏，銅鎏金，購於1970年代，英國 A + JP Mc Donald收藏) 品相：品相良好，與年齡相稱。一些磨損和製造缺陷、輕微的凹痕、小撕裂和缺損、輕微的劃痕與維修。底座密封，造像内可能還裝了聖物。 整體良好，自然包漿。 重量：1,055 克 尺寸：高 27 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。

A CARVED CELADON-GLAZED 'LOTUS' VASE, QIANLONG MARK AND PERIODChina, 1736-1795. Finely carved in high relief around the body with stylized lotus flowerheads borne on scrolling leafy vines, overall incised with minute details, above a lappet border and below a band of ruyi heads. The shoulder similarly decorated with foliate scroll below a distinct leiwen border, the neck with overlapping palm blades above pendent trefoils, with further ruyi bands at the foot and below the rim. The base incised with a six-character seal mark da Qing Qianlong nianzhi in intaglio within a slightly recessed square and of the period.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Excellent condition with minor old wear and firing flaws, tiny surface scratches. Weight: 3,097 g Dimensions: Height 38.3 cmThe rounded sides supported on a spreading foot and sweeping up to an angular shoulder and waisted neck. Covered overall in a lustrous sea-green glaze pooling to a rich and deep celadon tone within the carved recesses. The base and inside glazed as well, leaving only the foot rim unglazed, revealing the white biscuit.From its fine potting, translucent pale green celadon glaze, crisp lotus scroll and supporting designs, this vase reveals the technical and artistic virtuosity of craftsmen active at the Imperial kilns in Jingdezhen during the 18th century. The form evokes a sense of effortless elegance, despite its design being meticulously executed and conceived in advance. The decoration and glaze both draw from the celebrated ceramic tradition of Longquan in Zhejiang province and reinterpret it to suit the eclectic taste of the 18th century and growing interest in timeless elegance, literally overarching millennia. Celadon-glazed wares are perhaps the type of ceramics most intimately associated with China. Their origins can be traced back to the Bronze Age, and since then they continued to be popular throughout the Chinese empire. The brilliant bluish-celadon glazes created at the Longquan kilns had provided much inspiration to the potters of the Jingdezhen imperial kilns since the early Ming dynasty. By lessening the amount of iron in the glaze, the potters were able to create a cool and delicate celadon glaze that, when applied on a white porcelain body, resembled the translucency and texture of pale celadon jade. A wide range of exquisite celadon tones was created in the early Qing dynasty, as a result of the Yongzheng and Qianlong Emperors' appreciation of Song dynasty porcelain. Much admired by contemporary connoisseurs was the douqing (bean-green), a bright sea-green color, and the present fenqing (soft green), a pale celadon-green glaze. When applied to finely carved pieces as on the present vase, the thinning and pooling of the glaze on the raised lines and the recesses create a delicate shaded effect, thus accentuating the crispness of the design. The present vase belongs to a group of monochrome wares where, by using a multi-level carving technique, the craftsmen have created a contrast in the color tone, as if two shades of the same color were used. The motif is elaborate and complex, displaying a level of porcelain carving and incision quality only achieved in the Imperial kilns of the 18th century, yet without any cluttering or overload whatsoever. The elegant silhouette of this vase, its restrained decoration, subtle glaze, and intaglio mark suggest that it was made in the early to middle years of the Qianlong reign, some time before designs slowly started to become overtly elaborate. Expert's note: The luxuriant lotus scroll on the present vase, which is particularly crisp in its rendering, was adapted from the somewhat rough and rustic designs on Longquan celadons of the Yuan and Ming dynasties. By adding tall palm blades to the neck, precise ruyi borders to the edges, multi-layer lappets to the lower body, and a hyper-accurate leiwen band to the shoulder, the artist has sensibly transitioned original Longquan designs into the highly formal decor language of the Imperial court. Later copies of these designs always lack such sophisticated semantics, for they not only demand complete submission to simplicity, but also scrupulously precise execution. Literature comparison: Compare a related Imperial celadon-glazed globular jar, also with a six-character incised seal mark of Qianlong in intaglio within a slightly recessed square and of the period, illustrated by Marchant, Recent Acquisitions 2012, Important Chinese Porcelain from Private Collections, London, page 94, no. 41. Compare a related celadon-glazed vase in the Qing Court collection, also with a Qianlong mark and of the period, with similarly carved ruyi heads, illustrated in Monochrome Porcelain: The Complete Collection of the Treasures of the Palace Museum, 1999, pages 152-153, no. 138. Compare a related celadon-glazed vase with carved lotus scrolls, with a similar incised Qianlong seal mark and of the period, illustrated in Shanghai Museum, Beijing Museum, Art Museum, The Chinese University of Hong Kong, Qing Imperial Monochromes. The Zande Lou Collection, Shanghai, Beijing, Hong Kong, 2005, p. 120, no. 43. Compare a closely related celadon-glazed bottle vase, 37.5 cm high, also with a Qianlong mark and of the period, with similarly carved palm blades, at Sotheby's Hong Kong, 8 April 2011, lot 3018. Compare a related celadon-glazed fanghu, 34.9 cm high, also with a Qianlong mark and of the period, with similarly carved lotus scroll, at Sotheby's New York, 16 September 2014, lot 158. Finally, compare also a closely related pear-shaped vase, Jiaqing mark and period, at Christie's Hong Kong, 29 and 30 April 2001, lot 554. Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3018Price: HKD 20,000.000 or approx. EUR 2,935.000 converted and adjusted for inflation at the time of writingDescription: A Fine and Extremely Rare Carved Celadon-Glazed Bottle Vase, Seal Mark and Period of QianlongExpert remark: Compare the closely related celadon glaze, form, and characteristic carving techniques including high reliefs and remarkably fine incision work with corresponding glaze poolings.Auction result comparison: Type: Related Auction: Sotheby's London, 6 November 2019, lot 17 Price: GBP 375,000 or approx. EUR 492,500 converted and adjusted for inflation at the time of writingDescription: A superb and rare carved celadon-glazed 'peony' vase, Qianlong incised seal mark and periodExpert remark: Compare the related celadon glaze, carved decoration, and incised seal mark, and particularly the near-identical lappet border above the foot, perfectly encapsulating the skill required to make this vase. Note the slightly smaller size (32.4 cm).

A COPPER INLAID BRONZE RITUAL WINE VESSEL, HU, WESTERN HAN DYNASTYChina, 206 BC to 8 AD. Heavily cast, the globular body supported on a spreading foot and rising to a flared galleried mouth, encircled by three raised bands below a copper-inlaid sawtooth band on the waisted neck. The shoulder is flanked by a pair of crisply cast and finely incised taotie masks suspending loose rings.Provenance: From a noted private estate in Paris, France. Condition: Excellent and absolutely original condition, fully commensurate with age and significantly better than normally expected from a Han dynasty bronze. Minor old wear, few small nicks, dents and losses, some encrustations as well as signs of weathering and corrosion, light scratches. The bronze with a sublime, naturally grown patina overall, showing vivid patches of malachite and cuprite.Weight: 3,936 g Dimensions: Height 31.2 cm Expert's note: The remarkably well detailed and finely incised mask handles to each side are exceedingly rare to find on this type of bronze, as is the copper-inlaid sawtooth band on the waisted neck. Literature comparison:A similar copper-inlaid bronze hu in the Sen'oku Hakkokan, dated to the 4th century BC, is illustrated by J. So in Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Arthur M. Sackler Foundation, 1995, p. 281, fig. 50.1, where the author notes that the copper inlay was applied to the clay molds before the bronze was poured. Compare a related hu, excavated in 1968 from the tomb of Prince Liu Sheng who was the king of Zhongshan from 154 BC and died in 113 BC in Mancheng, Hebei province, illustrated in Zhongguo Wenwu Jinghua Daguan, Qingtongjuan, Hong Kong, 1994, no. 1100, p. 306.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 September 2013, lot 1115Price: USD 15,000 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A copper-inlaid bronze ritual wine vessel, hu, Western Han dynasty (206 BC-AD 8)Expert remark: Compare the similar form and decorations, as well as the near-identical size (30.5 cm) and the copper-inlaid sawtooth band on the waisted neck.西漢蕉葉弦紋壺中國，公元前206年至公元 8年。壺口外撇，頸微束，下方鏨刻變體蕉葉紋，溜肩，肩部兩側分鑄一對獸面紋銜環舖首，腹部下收，肩腹飾三匝凹弦紋，圈足高企而外撇，嵌紅銅，皮色暗沉古穆。 來源：法國巴黎私人收藏。 品相：完美且絕對原始的狀態，與年齡完全相稱。輕微的磨損，少量小刻痕、凹痕和缺損，一些結殼以及風化和腐蝕的跡象，輕微的劃痕。青銅整體古銅色包漿，綠色和紅銅色斑塊。 重量：3,936 克 尺寸：高31.2 厘米 專家注釋：青銅壺上，每一側都有非常細緻的獸面紋銜環極為罕見，束頸上的銅鑲弦紋也是如此。 文獻比較： 一件相似的公元前四世紀的鑲嵌銅青銅壺，收藏於泉屋博古館，見J. So，《Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collection》，Arthur M. Sackler基金會，1995年，頁281，圖50.1。書中指出，銅的鑲嵌是在澆築青銅器之前塗在黏土模具上。比較一件於 1968年在河北滿城縣中山王劉勝墓中出土的壺，見《中國文物精華大全—青銅器卷》，香港，1994年，編號1100，頁306。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年9月19日，lot 1115 價格：USD 15,000（相當於今日EUR 18,000） 描述：西漢蕉葉弦紋壺 專家評論：比較一下相似的形式和裝飾，以及近乎相同的尺寸（30.5厘米）和腰頸上的銅嵌變體蕉葉紋。

A MASSIVE BRONZE RAIN DRUM, DONG SON CULTUREVietnam, first millennium BC. The heavy, round drum with a waisted base, the top and side finely cast in relief with concentric bands of decoration, the top with a star symbol in the center and groups of stylized frogs applied at the rim, the sides with pairs of small loop handles.Provenance: Leonardo Vigorelli, Bergamo, Italy, acquired ca. 1995 in Brussels, Belgium. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Excellent condition, commensurate with age. Extensive old wear, some casting flaws, small nicks and dents, few cracks, minor losses, signs of weathering and erosion overall. Fine, naturally grown patina with malachite and cuprite encrustations. Dimensions: Height 42.3 cm, Diameter 66 cmDong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Văn Lang and Âu Lạc. Its influence spread to other parts of Southeast Asia, including Maritime 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 bronze 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.Bronze rain drums were invented by the Dong Son people and produced from about 600 BC or earlier until the third century AD. They are one of the culture's most astounding examples of metalworking. The discovery of Dong Son drums in New Guinea is seen as proof of trade connections - spanning at least a thousand years - between this region and the technologically advanced societies of Java and China.Bronze drums are still being used ceremoniously in Southeast Asia by the Yi people, Zhuang people, Miao people and Qabiao people in northern Vietnam and southern China. They are generally struck in the center with a soft mallet, and on the side with a wood or bamboo stick. Among the ethnic Vietnamese, they are still used in some rituals, such as those to the Hung kings, but are rarely used as a musical instrument anymore. In Thailand, the Dong Son drum is also used in some ceremonies, where it is called the Mahorathuek.Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 29 March 2018, lot 36Estimate: 400,000 or approx. EUR 54,500 converted and adjusted for inflation at the time of writingDescription: A copper alloy ritual drum, Dong Son culture, Vietnam, circa 3rd/2nd century B.C.Expert remark: Compare the form and star decoration at the center. Note the smaller size (35.2 cm).

A BRONZE FIGURE OF BUDDHA, PRE-ANGKOR PERIODStyle of Angkor Borei, Ta Keo region of the Mekong Delta, 7th century. Seated in dhyanasana on a rectangular plinth, the hands in dhyanamudra, the face with downcast eyes below gently arched eyebrows, flanked by two elongated ears, the hair in tight curls, surmounted by an ushnisha.Provenance: From the collection of an American gentleman. Galerie Zacke, 11 May 2019, lot 311, sold for EUR 8,216 or EUR 8,700 adjusted for inflation at the time of writing. Michael Phillips, acquired from the above. 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: Extensive wear, some losses and cracks, traces of erosion, minor nicks. Very good condition considering the high age of this statue. Fine naturally grown patina.Weight: 521.9 g Dimensions: Height 17.4 cm (excl. base), 18.5 cm (incl. base)With a fitted modern wood base. (2)Angkor Borei was an important early center of Buddhism and Buddhist temple construction before the establishment of the Khmer Empire. The present figure is characteristic of Angkor Borei sculpture, as seen in the subtle protuberance of the ushnisha and the large snail-shell curls. Sculpture from this early period exhibits the naturalism and grace that echoes the treatment of the body in Gupta-period India, where ornamentation is minimized to emphasize the smooth volume of the form.Expert's note: The raw material of this sculpture is copper ore with iron oxide veins, which has developed an extensive malachite and azurite patina over the past 1400 years. A closely related piece from the same group was tested at the Ciram Laboratory in France in 2018 to confirm the material. According to the previous owner, the piece was originally found in the Ta Keo region of the Mekong Delta.Literature comparison:Compare a related bronze figure of Buddha, dated 7th-8th century, in the collection of the Metropolitan Museum of Art, accession number 1981.462.2.Auction result comparison:Type: Remotely relatedAuction: Christie's New York, 13 September 2016, lot 265Price: USD 37,500 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: A Sandstone Figure of a Seated Buddha, Pre-Angkor period, Angkor Borei style, 7th centuryExpert remark: Compare the closely related pose and facial features. Note the different material and significantly larger size (48.2 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

AN ARCHAIC BRONZE RITUAL FOOD VESSEL, GUI, WESTERN ZHOU DYNASTYChina, 11th-10th century BC. Well cast with the compressed body resting on a tall splayed foot, decorated below the gently everted rim with a band of stylized mythical birds, the two pairs on the main sides centered by an animal mask cast in high relief, the other two centered on the horned animal heads that surmount the handles, all above a bowstring band, the foot with a geometric band. The beast handles are neatly incised and set with pendent tabs.Provenance: The MacLean Collection of Asian Art Museum, acquired 1996 in Hong Kong and deaccessioned in 2022. The MacLean Collection has been formed over the last fifty years by Barry MacLean, a businessman from Chicago, who began to collect in the early 1970s. Over time, he made many trips to Asia for business, and began to narrow his focus to ancient bronzes from China and their archaistic counterparts from later dynasties. The MacLean Collection of Asian Art is housed in a museum which was designed by Larry Booth and completed in 2003. Since 2004, the museum has published seven books, held thirteen exhibitions, lent objects to many other museums, and awarded a dozen fellowships to train future specialists and enthusiasts.Published: Richard A. Pegg and Zhang Lidong, The MacLean Collection: Chinese Ritual Bronzes, Chicago, 2010, pl. 19.Condition: Very good condition, commensurate with age. The vessel is slightly leaning and has some old wear as well as minor casting flaws, minuscule nicks, and small dents. The lower body has two small fills, invisible to the naked eye, but precisely detected on the five X-ray images provided (available in the online catalog at www.zacke.at or via e-mail upon request). Spectacular, naturally grown patina overall with several layers of malachite encrustation and small areas of azurite and cuprite. The crisply cast decorations are extremely well-preserved, which makes this one of the most attractive examples of its kind. In such pristine condition, it must be considered exceedingly rare.Weight: 2,878 gDimensions: Width 28 cm (across handles)Gui were used during ritual ceremonies for storing cooked rice or millet. While this vessel shape first appeared in the Erligang phase, they were not widely produced and examples from this period are rare. The form increased in popularity from the early Western Zhou dynasty onwards, and numerous variations of the original shape also began to appear. The present vessel, with its rounded body, everted rim and animal-head handles represents the most popular form.Literature comparison: A related gui unearthed from Xi'an, Shaanxi province, now in the National Museum of China, Beijing, is illustrated in Zhongguo qingtongqi quanji [Complete collection of Chinese archaic bronzes], vol. 5, Beijing, 1996, pl. 61. Another from the collection of T. Yamamoto is published in Sueji Umehara, Nihon Schūcho Shina kodō Seikwa/ Selected Relics of Ancient Chinese Bronzes from Collections in Japan, vol. 2, Osaka, 1960, pl. 107. Jessica Rawson notes in Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington D.C., 1990, p. 415, that these types of gui vessels are more common in early Western Zhou, and lists five other examples, including one from Liaoning Kezuo Shanwanzi illustrated in Wenwu, 1977.12, p. 23-33, fig. 55. Compare also a related bronze gui, dated to the Western Zhou dynasty, in the collection of the British Museum, museum number 1955,0519.2. Finally compare a related bronze gui, dated to the Western Zhou dynasty, late 11th to early 10th century, in the collection of the Freer Gallery of Art at the National Museum of Asian Art, Smithsonian Institution, accession number F1924.14a-b.Auction result comparison: Type: RelatedAuction: Sotheby's New York, 23 September 2020, lot 570Price: USD 478,800 or approx. EUR 540,500 converted and adjusted for inflation at the time of writingDescription: An important archaic bronze ritual food vessel (gui), Western Zhou dynasty Expert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized birds. Note the similar size (29.5 cm) and that this gui has a six-character inscription.Auction result comparison: Type: Related Auction: Sotheby's New York, 17 September 2013, lot 15Price: USD 125,000 or approx. EUR 157,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel (gui), early Western Zhou dynasty, 11th-10th century BCExpert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized kui dragons. Note the similar size (29.5 cm) and that the gui has a three-character inscription.Auction result comparison: Type: Related Auction: Christie's New York, 16 March 2015, lot 3181 Price: USD 149,000 or approx. EUR 184,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel, gui, the gui early Western Zhou dynasty, 11th century BC, the inscription laterExpert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized taotie designs. Note the similar size (29.2 cm) and that this gui has a later-added inscription.西周青銅夔紋簋中國，公元前十一至十世紀。圓簋，折沿，雙耳，圓腹，圈足，耳做獸首形，下有附珥，圈足外有外凸的圈足座。口沿下有一圈有夔紋與獸面紋飾帶，器腹素面，足部飾橫條紋。由於字數限制，完整中文敘述請至www.zacke.at查看。

A SANDSTONE GUARDIAN FIGURE DEPICTING HANUMAN, KOH KER STYLEKhmer Empire, 10th century. Finely carved seated on a rectangular base with one knee raised, his right hand holding a vajra and his left resting on his thigh, wearing a short pleated sampot with fine incision work. The face well detailed, the large bulging eyes with neatly incised pupils, the mouth agape revealing sharp teeth and a wrathful expression, flanked by elongated lobes with large earrings, the head surmounted by an elaborate foliate crown. Provenance: From a distinguished Italian private collection, acquired between the late 1960s and early 1970s. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Excellent condition, commensurate with age. Extensive wear, small losses, minor nicks and surface scratches, signs of weathering and erosion, structural cracks, encrustations. Fine, natural patina overall.Dimensions: Height 62.8 cmGuardian figures such as the present lot were placed aside of gateways, steps, and entrances of sacred areas like temples.Koh Ker, which lies 50 miles (80 km) northeast of Angkor, was the capital of the Khmer Empire from 928-944. Koh Ker's sculptural style is thus distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form. The Koh Ker rulers adhered to the Hindu religion, especially the Shaiva sect.Hanuman is most prominently featured in the Indian epic Ramayana, which had gained popularity in Cambodia by the 600s. As a divine being, Hanuman has the power to augment or diminish his size at will, and so he grows to such a stature that he can span the ocean with a single stride.Literature comparison: Compare a closely related Koh Ker sandstone figure of Hanuman, 177.8 cm high, in the collection of the National Museum of Cambodia, inventory number NMC.259. Compare a related Koh Ker bronze figure of Hanuman, 15.2 cm high, in the collection of the Cleveland Museum of Art, accession number 1987.43.Auction result comparison: Type: Related Auction: Christie's Paris, 7 June 2011, lot 381 Price: EUR 97,000 or approx. EUR 119,000 adjusted for inflation at the time of writing Description: An important sandstone figure of a lion-headed guardian, Cambodia, Khmer, Koh Ker Style, mid-10th century Expert remark: Compare the closely related pose and manner of carving, the guardian also holding a vajra in his hand. Note the size (84 cm).

A MASSIVE BRONZE 'DRAGON' FOUNTAIN, RATTANAKOSIN KINGDOMOpinion: This imposing dragon fountain, nearly two meters high, boasts an impressive quality of casting and naturally grown, solid patina, two clear indicators of age, and is extremely rare to find - especially in Europe, where the previous owner, a noted London dealer with an eye for unusual and impressive objects, acquired it at a French auction.Thailand, 1782-1932. Boldly cast as a fierce dragon with sinuous body emerging from a base of crashing waves, the scales crisply cast, the beast's face detailed with a tall flaming crest, large bulging eyes, sharp teeth, and protruding tongue.Provenance: From the collection of a noted London dealer of antique interiors, by repute acquired at auction in France.Condition: Very good condition with minor wear and casting flaws. Some nicks, small dents and losses, and light scratches. Naturally grown patina overall with distinct malachite encrustation. Dimensions: Height 195 cm

A CARVED CINNABAR LACQUER ZHADOU AND COVER, 18TH CENTURYChina. The zhadou has a wide everted rim carved on top with lotus flowers within a ruyi-head border and incised on the underside with leafy lotus sprays below ruyi heads, all above the slightly rounded sides carved with hexagonal floral diaper. The domed cover is carved en suite around a circle of petal lappets at the base of the semispherical imitation-amber glass finial. The interior and base are entirely covered in black lacquer. Provenance: From a noted French private collection. Condition: Good condition with old wear, expected age cracks, few losses, some nicks here and there. Fine, naturally grown patina overall.Weight: 174.0 gDimensions: Diameter 14.6 cmExpert's note: The Sanxitang (Three Treasures Hall) was a private study of the Qianlong Emperor. It was so named because it was used to house his favorite three pieces of calligraphy, “Timely Clearing after Snowfall” by Wang Xizhi, “Mid-Autumn” by Wang Xianzhi, and “A Letter to Boyuan” by Wang Xun. The hall also houses a closely related zhadou along with a number of other important scholar's objects made during the period.Literature comparison:Lacquer zhadou with covers of this type appear to have been carved with various decorations, and have rims of various shapes. One carved with the sanduo and dated to the Qianlong period is illustrated by S. Kwan in Chinese Lacquer, Hong Kong, 2010, pp. 290-91, no. 103. Also illustrated, page 290, is a photograph from the Sanxitang in which a similar zhadou and cover are shown. Another related example carved with flower scroll, dated 18th century, in the Shenyang Palace Museum, is illustrated by R. L. Thorpe in Son of Heaven: Imperial Arts of China, Seattle, 1988, page 96, no. 28.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2012, lot 1710 Price: USD 10,000 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: A carved red lacquer zhadou and cover, 18th century Expert remark: Compare the closely related form and manner of carving with similar lotus blossoms, petal lappets, and hexagonal floral diaper. Note the similar size (15.3 cm) and lack of a finial.Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 16 October 2021, lot 454 Price: EUR 12,008 or approx. EUR 13,000 adjusted for inflation at the time of writingDescription: A carved cinnabar lacquer zhadou and cover, mid-Qing Expert remark: Compare the closely related form and manner of carving with similar ruyi-head rim, lotus blossoms, petal lappets, and hexagonal floral diaper. Note the similar size (15 cm) and gilt bronze finial.十八世紀剔紅纏枝蓮紋渣斗中國。渣斗寬邊折沿如意紋，蓋上剔紅纏枝蓮紋，渣斗外壁錦地紋。蓋上仿琥珀琉璃鈕。渣斗內黑漆。 來源：法國知名私人收藏。 品相：狀況良好，有磨損和年齡裂縫，邊緣有缺損，大面積刻痕，整體包漿細膩。 重量：174.0 克 尺寸：直徑 14.6 厘米 專家注釋：三希堂，古時是清高宗弘曆即乾隆帝的書房。 “三希”即“士希賢，賢希聖，聖希天”，士人希望成為賢人，賢人希望成為聖人，聖人希望成為知天之人，也就是鼓勵自己不懈追求，勤奮自勉。書房名為“三希堂”，乾隆十一年（公元1746年）間在此收藏了晉朝大書法家王羲之的《快雪時晴帖》、王獻之的《中秋帖》和王珣的《伯遠帖》。在乾隆帝的三希堂裏曾存放了一件相似的渣斗和其他文房用品。 文獻比較： 這種類型的帶蓋渣斗，有各種雕刻和裝飾，並有各種形狀的邊框。一件乾隆時期三多渣斗，見S. Kwan，《Chinese Lacquer》，香港，2010年，頁290-91，編號103；也見頁290，一張三希堂的照片裡有相似的渣斗。 另一件相近的十八世紀花纏枝渣斗，收藏於瀋陽博物館，見R. L. Thorpe，《Son of Heaven: Imperial Arts of China》，西雅圖，1988年，頁96，編號28。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 1710 價格：USD 10,000（相當於今日EUR 12,500） 描述：清十八世紀剔紅花卉紋渣斗 專家評論：比較非常相近的外型和花卉雕刻、寬邊折沿如意紋、六邊形花紋。請注意相似的尺寸(15.3厘米) ，但蓋上沒有鈕。由於字數限制，完整中文敘述請至www.zacke.at查看。

A BRONZE FIGURE OF BUDDHA, MON-DVARAVATI PERIODOpinion: Most Buddha bronzes from the Mon-Dvaravati period that have survived are standing images and of considerably smaller size, as is for example the case with the rare seated figure in the Victoria and Albert Museum, see literature comparison. The present large bronze figure of a seated Buddha must therefore be considered as exceedingly rare.Thailand, 8th-9th century. Seated in dhyanasana, with both hands lowered in gyan mudra, wearing a samghati draped over his left shoulder. His serene face with heavy-lidded eyes below thick ridged eyebrows, a broad nose, and full lips, flanked by long pendulous earlobes. The hair arranged in tight curls surmounted by a tall ushnisha.Provenance: From a distinguished private collection in Milan, Italy. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Superb condition commensurate with age. As expected there is extensive wear, some casting flaws, signs of weathering and erosion, few nicks and shallow surface scratches, a crack along the backside. Fine natural patina overall, with distinct areas of cuprite and malachite encrustations.Weight: 4,728 g Dimensions: Height 26.7 cmLiterature Comparison: Compare a related Dvaravati bronze figure of Buddha, dated ca. 700, 10 cm high, in the collection of the Victoria and Albert Museum, accession number IS.136-1999.Auction result comparison: Type: Related Auction: Christie's New York, 16 September 2008, lot 572 Price: USD 32,500 or approx. EUR 44,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Buddha, Thailand, Mon-Dvaravati, 8th/9th century Expert remark: Compare the closely related mudra, facial features, expression, tight curls, and ushnisha. Note that the figure is standing and of slightly smaller size (21.6 cm).

A BRONZE DRUM, HAN DYNASTYChina, 202 BC - 220 AD. The round drum supported on a waisted base, the top and sides finely cast in relief with multiple concentric geometric designs including key-fret, triangles, and beads centered by a star design, with pairs of loop handles to either side. The drum produces a clear and distinct sound.Provenance: From the collection of Tony Bingham, United Kingdom. Tony Bingham is a retired dealer of antique musical instruments. He and his wife Irene opened several stores in London beginning in the 1960s, where they were selling antique instruments to museums, private collectors, and musicians, for more than 40 years. He also published several books on the history of musical instruments, including The New Langwill Index, a Dictionary of Musical Wind-Instrument Makers and Inventors. Condition: Good condition commensurate with age showing extensive wear and weathering, some casting flaws, possibly minor old repairs, small losses, nicks, dents, and scratches. Fine, naturally grown patina with Malachite encrustations. All as expected from a bronze drum with an age of roughly two millennia.Weight: 16.4 kg Dimensions: Height 29.4 cm, Diameter 51.5 cm Expert's note: Bronze drums such as the present lot are a percussion instrument used by various ethnic groups from the southwest of China. They were popular in Yunnan, Guizhou, Sichuan and Hunan Provinces, among which Yunnan and Guangxi have the largest numbers recorded. Both provinces share a border with Vietnam, home to the Dong Son culture, which in turn is well-known for its own drums. Applied to sacrifice rituals, the drums were usually used to play music or accompany dance rites. The Yunnan Provincial Museum in Kunming houses an important collection of early bronze drums (Warring States through Western Han period) that were excavated from royal burials at Shizhai Shan and other locations in the vicinity of Lake Dian. This part of Yunnan, whose people and language were not originally Han Chinese, had been ruled by the independent Dian kingdom from about 500 BC. Bronzes from this period through the middle Western Han Dynasty (about 100 BC) are unique to the region, and share many characteristics with bronze artifacts of Southeast Asia. Their decoration was also influenced by artistic styles of the Eurasian steppe. After surrendering to Han Wudi in 109 BC, the Dian kingdom was administered as a frontier commandery of the Han empire. Dian kings were retained as local rulers. From then on, the distinctive Dian regional bronzes became gradually replaced by Han-style bronzes, in the type of cultural assimilation that is called "Sinification" (literally, "becoming Chinese") by Chinese historians.Literature comparison:Compare a closely related but smaller drum in The Complete Collection of Treasures of the Palace Museum, Bronze Articles for Daily Use, Beijing 2007, number 78.漢代青銅鼓 中國，公元前202年至公元220年。圓鼓，由鼓面向下收後，足部外撇，腰部有明顯凸起的弦紋。鼓面有雙圈十二角星紋，外壁飾有雷紋、三角紋、凸起鉚釘等幾何紋飾。兩側各有一對環形把手。該鼓發出的聲音清晰響亮。 來源：英國Tony Bingham收藏。Tony Bingham是一位退休的古董樂器經銷商。他和其妻子Irene於1960年代初期，在倫敦開設了多間古董樂器行，並出售給博物館、私人收藏家和音樂家，營業40餘年。他也出版了多本關於樂器史的書籍，其中包括《The New Langwill Index, a Dictionary of Musical Wind-Instrument Makers and Inventors》。 品相：品相良好，與年代相稱的大面積磨損、風化，有些鑄造瑕疵和可能的舊修補，小缺損、刻痕、凹痕和劃痕。良好和自然生長的包漿，帶有孔雀綠色結殼。這些狀況都是在一件兩千年前的青銅鼓上可預期的。 重量：16.4公斤 尺寸：高29.4厘米，直徑51.5厘米 專家注釋：此類型的青銅鼓是中國西南地區各民族使用的一種打擊樂器。它們流行於雲南、貴州、四川和湖南等省，其中雲南和廣西所記錄數量最多。這兩個省都與越南接壤，越南是東山文化的發源地，而東山文化又以鼓而聞名。鼓通常被用於祭祀儀式，演奏音樂或伴舞。由於字數限制，完整中文敘述請至www.zacke.at查看。

A COPPER ALLOY FIGURE OF PADMAPANI, LICCHAVI PERIOD OR SLIGHTLY LATERNepal, 9th-11th century. Standing in tribhanga on a circular lotus base, his right hand lowered in varada mudra and the left holding a lotus stem coming to full bloom at the shoulder, wearing a long flowing dhoti secured with a billowing sash, sacred thread, and foliate tiara centered by a small image of the Amitabha Buddha, his serene face with almond-shaped eyes and full lips, with a smooth deep brown patina overall and traces of gilding.Provenance: From a Swiss private collection, acquired in Nepal from a Tibetan family. Condition: Very good condition, commensurate with age. Extensive wear, minor casting flaws, small losses, minuscule nicks, light scratches, dents. Fine, naturally grown patina.Weight: 452.1 gDimensions: Height 17.4 cmThe present lot is stylistically related to the copper alloy and bronze figures of the Licchavi period dating from the 9th century. Well cast, the figure displays the elegance of post-Gupta sculpture, the dhoti finely incised with textile patterns of the period. The rounded facial features still show a close relationship to the Sarnath style. The flaming halo is most effectively executed and the foliate crown displays a remarkable feature as it bears an image of a standing Amitabha, the spiritual father of Avalokiteshvara. As is typical for the period, the original fire gilding is relatively thin and now mostly worn off, yet the fluidity of form and the warm copper tone are thus even more enhanced.Literature comparison: This bronze favorably compares with the famous eighth-century figure of Vajrapani from the Nasli and Alice Heeramaneck Collection. The dhoti is similarly secured with a diagonally bound billowing sash and finely incised with linear bands, see P. Pal, Art of Nepal, 1985, fig. S6, p. 90. Compare also with a figure of Avalokiteshvara with a similarly integrated flaming halo, in P. Pal, The Arts of Nepal, 1974, fig. 190, and a further figure bearing a seated figure in the crown, fig. 295.Auction result comparison: Type: Related Auction: Christie's New York, 21 March 2008, lot 503 Price: USD 313,000 or approx. EUR 425,000 converted and adjusted for inflation at the time of writing Description: An important gilt copper figure of Avalokiteshvara, Nepal, Licchavi period, 8th/9th centuryExpert remark: Compare the closely related pose and dress, the related mandorla and copper patina with traces of gilding. Note that the figure is considerably larger (29.2 cm) and likely earlier than the present lot.Auction result comparison: Type: Related Auction: Christie's New York, 21 March 2008, lot 600 Price: USD 241,000 or approx. EUR 327,500 converted and adjusted for inflation at the time of writing Description: A rare gilt copper figure of Padmapani, Nepal, 10th century Expert remark: Compare the closely related pose, dress, lotus base, and copper patina with traces of gilding. Note that the figure is considerably larger (34.8 cm) and possibly earlier than the present lot 利察維王朝或之後罕見銅鎏金蓮華手菩薩尼泊爾，九至十一世紀。蓮華手菩薩呈三曲式站在蓮花座上，右手下垂，左手持蓮花莖，蓮花靠在肩上，身著百褶褲，佩戴五葉冠，中坐阿彌陀佛小像。面容平靜，杏仁狀的眼睛，豐滿的嘴唇。整體有光滑的深棕色包漿和鎏金痕跡。 來源：瑞士私人收藏，從尼泊爾一個藏人處購得。 品相：品相極好，大面積磨損、輕微的鑄造缺陷、小缺損、微小的刻痕、輕微的劃痕、凹痕。包漿細膩自然。 重量：452.1 克 尺寸：高 17.4 厘米 本拍品在風格上與九世紀的利察維時期的銅合金造像相似。鑄工精美，人物展示了後笈多雕塑的優雅，多褶褲上可見當時的紡織圖案。圓潤的五官與鹿野苑風格相似。五葉冠上特徵明顯，可見阿彌陀佛立像。與這一時期的典型情況一樣，原來的鎏金相對較薄，現在大部分已經磨損，更增强了其溫暖的銅色。 文獻比較：此金蓮華手菩薩像與一件收藏於Nasli and Alice Heeramaneck Collection的知名的八世紀金剛手菩薩像相比，更有優勢。斗篷也是用對角線捆綁的波浪形腰帶固定，並有精細的線狀刻痕，見P. Pal，《Art of Nepal》，1985年，圖S6，頁90。比較一件觀世音菩薩像，有相似的火焰光背，見P. Pal，《Art of Nepal》，1974年，圖190；另一件有王冠的觀音菩薩坐像，圖295。由於字數限制，完整中文敘述請至www.zacke.at查看。

AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH - MID-13TH CENTURYExpert's note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th - mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance. 大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE AND IMPORTANT BUDDHIST VOTIVE PLAQUE, GILT COPPER REPOUSSE, EARLY TANG DYNASTYExpert's note: This seems to be by far the largest and most detailed of all early Tang dynasty gilt repousse votive plaques that have been on the market in a long time. The extent to which this magnificent work of art was cherished by Hisazo Nagatani becomes best perceptible when one looks at the Japanese storage box in which this jewel was kept, with its outer casing, neatly inscribed and made from light wood and elegant red lacquer, the inner storage box with its abundant padding, tightly fitted to the exact dimensions of the plaque itself.China, 618-907, circa 7th century. The thin plaque finely decorated with the central figure of Buddha seated in dhyanasana atop an elaborate lotus throne growing from neatly incised waves flanked by two lions, his right hand raised in abhaya mudra and his left lowered in varada mudra, wearing loose-fitting robes cascading in voluminous folds, a flaming halo behind him and the bodhi tree towering above, flanked by two acolytes and surrounded by groups of worshipping monks and attendant bodhisattvas, all below swirling clouds and two flying apsaras.Provenance: From the collection of Hisazo Nagatani, and thence by descent within the family. The lacquered and padded wood box with an old label, 'Gilt Bronze Slab'. Hisazo Nagatani (1905-1994) was a Japanese-American collector, scholar, and noted dealer of Asian art. Growing up near his birthplace Osaka, he developed a passion for Asian art early on and joined Yamanaka & Co. in 1922, at the age of only 17. He soon moved to Beijing, traveling throughout China, and handling bronzes, porcelains, jades, and other works of art, before relocating to the United States. He eventually became the manager of the Yamanaka gallery on the Magnificent Mile in Chicago until the firm had to cease operations in the United States. In 1944, he opened his own gallery, Nagatani & Co., which flourished for many decades, selling to such important collectors as Robert Mayer, Stephen Junkunc, Avery Brundage, and the Alsdorfs. Nagatani later donated many of his works of art and his important library to museums.Condition: Good and original condition, commensurate with age, displaying simply spectacularly. Extensive wear, tears and losses, minor dents, small nicks, light scratches. Fine, naturally grown patina with malachite encrustations to the front, the back with extensive malachite, cuprite, and azurite encrustations. The gilt remarkably well preserved overall.Weight: 303.2 gDimensions: Height 24.4 cm (the plaque), Size 7 x 38.4 x 29.2 cm (the padded storage box) and 11 x 40.6 x 31.3 cm (the lacquered box)With a Japanese wood storage box, the inner silk padding fitted specifically for the present plaque, and an old Japanese lacquered wood box. (3)Literature comparison: Similar images of the Buddha seated under a roofed structure flanked by numerous bodhisattvas can be found in paintings from the Dunhuang caves, dated to the early 8th century, as evidenced by the fragment in the British Museum, illustrated by A. Farrer and R. Whitfield, Caves of the Thousand Buddhas: Chinese Art from the Silk Route, New York, 1990, page 24, no. 1 and cover. Compare, also, the gilt-bronze plaque in the Hakutsuru Fine Art Museum, Kobe, dated to the Sui dynasty of significantly smaller size (15.4 cm. high) with similar imagery, but lacking the Bodhi tree, illustrated by S. Mizuno, Bronze and Stone Sculpture of China from the Yin to the T'ang Dynasty, Tokyo, 1960, fig. 123.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2004, lot 74 Price: USD 17,925 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A small gilt-metal Buddhist plaque, Tang dynasty Expert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers, as well as the similar tear line at the top. Note the much smaller size (9.2 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 October 2001, lot 507 Price: HKD 1,035,000 or approx. EUR 183,000 converted and adjusted for inflation at the time of writing Description: A very rare repousse gilt-copper Buddhist votive plaque, early Tang dynasty, 7th centuryExpert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers. Note the smaller size (19.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 30 March 2005, lot 237 Price: USD 102,000 or approx. EUR 150,000 converted and adjusted for inflation at the time of writing Description: A rare gilt-copper Buddhist plaque, early Tang dynasty, 7th century Expert remark: Note the significantly smaller size (11.4 cm).唐初大型重要許願錘鍱鎏金銅牌中國，618-907年，約七世紀。薄薄的銅牌上精美錘鍱佛陀坐禪坐於蓮座上，蓮座從波浪中升起，兩側是兩隻獅子，右手上舉施無畏印，左手下垂施與願印，身著長袍，衣褶條紋流暢，身後有光背。菩提樹高高聳立，兩側有僧眾、侍從菩薩，兩飛天。由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE AND IMPORTANT LACQUER-GILT WOOD FIGURE OF BUDDHA, 17TH-18TH CENTURYExpert's note: The present lot boasts a superbly preserved lacquer coating that is more than 250 years old, and hence shows a beautiful, naturally-grown patina. Furthermore, it is of relatively large size and overall in very good condition, making it an extremely rare example of Buddhist gilt-lacquer sculpture from the 17th to 18th century.China. Well carved, the standing Buddha with elongated earlobes and a benevolent face beneath a prominent ushnisha formed with coiled curls reserved with an urna, wearing a thick overlapping draped robe opening to the bare chest and falling to the feet with folds distinctively detailed with coils and scrolls, all covered in a rich lacquer gilt. The back with an oval aperture.Provenance: English trade. Condition: Very good condition with old wear, expected minor age cracks, losses and nicks, minor old repair to fingers of proper left hand. Remnants of pigment. Fine, dark patina. A large wood figure of such high age and well-preserved condition, particularly to the lacquer gilding, must be considered extremely rare. Weight: 2,310 gDimensions: Height 43.8 cmCoating carved wood figures with gilt-lacquer is a technique that appears to have emerged during the early part of the Ming dynasty, continuing on to the Qing dynasty and echoing Buddhist bronze figures in form and decoration.Literature comparison: Compare a related larger gilt-lacquered wood figure of Buddha, also dated 17th-18th century, 76.8 cm high, exhibiting the same kind of gilt found on the present lot, at Christie's New York, 23 March 2018, lot 1041. Note that the size of the Buddha statue without the throne is similar to the present lot.Auction result comparison: Type: Related Auction: Bonhams London, 16 May 2019, lot 169Price: GBP 312,562 or approx. EUR 377,500 converted and adjusted for inflation at the time of writing Description: A Rare Set of Three Gilt-Lacquered Wood Figures of the Buddha, 17th-18th CenturyExpert remark: Compare the lacquer gilding, the patina, the carving technique and style, as well as the related size (55 cm). Note that the lot comprises 3 statues.十七至十八世紀大型重要木雕漆金佛陀立像中國。佛陀立像雕刻精美，螺髮刻畫清晰，且前額飾髻珠，面容圓潤飽滿，神態沉靜而優雅。敞胸披袈裟。左手於胸前結禪定印，右手自然下垂結與願印，儀態端莊肅穆。此造像工藝考究，袈裟衣褶的處理尤為精彩，如行雲流水一般。 專家注釋：本拍品金漆保存完好，已有 250 多年的歷史，包漿美麗自然。此外，漆金飽滿，品相一流，加之體量碩大，極爲難得的木雕造像精品。 來源：英國古玩交易市場。 品相：品相極好，有磨損，輕微的年齡裂縫，缺損和劃痕，右手手指的有輕微修復。色彩殘留。深色包漿。如此年代久遠且保存完好的大型木質造像，尤其是鎏金，極為罕見。 重量：2,310 克 尺寸：高 43.8 厘米 漆金木雕造像是明初出現的一種工藝，一直延續到清代，在造型和裝飾上與佛教青銅造像相呼應。 文獻比較： 比較一件相近的十七至十八世紀木雕漆金佛陀像，高76.8 厘米，展示了與本拍品上相同的鎏金，見紐約佳士得，2018年3月23日，lot 1041。請注意此佛像去除底座後尺寸與本拍品相似。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2019年5月16日，lot 169 價格：GBP 312,562（相當於今日EUR 377,500） 描述：十七至十八世紀木漆金佛像一組三件 專家評論：比較金漆、包漿、雕刻技術，以及相近的尺寸 (55 厘米)。請注意此佛像為三件一組。

A VERY LARGE AND EXTREMELY RARE CIZHOU PAINTED ARROW VASE, TOUHU, MING DYNASTYPublished: Michael B. Weisbrod, Inc., From Kilns of Kings and Commoners, 1990, New York, page 68, catalog number 27.Opinion: Except for a similar yet smaller example in the British Museum, the present lot seems to be the only surviving example of a group of Cizhou Touhu vases, probably made for Imperial use during the mid-15th to mid-16th century. The curator of the British Museum, Rebecca Harrison-Hall, comments on the rare vessel as follows: “Two earlier arrow vases of this shape, made of bronze, were excavated from a tomb (M.13) in Pinghu county, Sichuan province. Archaeologists believe that the tomb belonged to the father of the scholar Wang Xi (1405-52) or to one of Wang Xi's father's wives. A number of bronze and iron arrow vases have been collected by Professor Jessica Rawson for the British Museum for future publication. The style of figure painting relates closely to that of blue-and-white wares of the Jiajing period, which were made at Jingdezhen.”China, 15th-16th century. The compressed globular body supported on a low, thick foot and rising to a tall, slightly waisted neck, flanked at the top by two tubular arrow holes, the mouth and each of the arrow holes with thick lipped rims. The exterior densely decorated in brown and black painting above a cream-colored slip.Provenance: Warren E. Cox (1895-1977), New York, USA. A private collection in New York, USA, acquired from the above after 1977. A private collector in Toronto, Canada, acquired from the above. Michael B. Weisbrod, Inc., New York, acquired from the above in 1990. An important North American collection, acquired from the above. Warren Earle Cox (1895-1977) was an important New York antiques dealer and an authority on porcelain and pottery from around the world. His two-volume work “The Book of Pottery and Porcelain” became a standard reference in the field.Condition: Superb condition commensurate with size and age. Some old wear and firing flaws, including open bubbles, firing cracks, pitting, and dark spots, all as expected for Ming dynasty Cizhou wares. Minor glaze flaking along the rims and base with associated small touchups. Minuscule losses, nicks and shallow surface scratches.Weight: 6,386 gDimensions: Height 43.6 cmThe neck masterfully painted with shaped reserves enclosing sages dressed in loose-fitting robes seated amid trees, clouds, and lotus, all below scholar's rocks and plantain leaves as well as a band of ruyi-heads and above bands of key-fret and scroll. The body with a band of lotus petals at the shoulder, above a band of peony blossoms and scrolling vines, and a band of Buddhist lions striking different poses and divided by their ribboned brocade balls, with a scroll band above the foot. The arrow holes with floral diaper.Arrow vases were made for a drinking game called 'touhu', which had been popular among elite men and women from the Spring and Autumn period (770-476 BC). Players threw arrows into bronze or ceramic vases with narrow tubular necks at prescribed intervals, each player equidistant from the vase. The winner successfully projected all his arrows into the vase and the loser was forced to drink at each miss. Elaborate rituals and intricate rules, recorded in the Li Ji (Book of Rites), added further complexity to the game. Puzzling pitching techniques were described in the Touhu Yijie (Ceremonial Usages and Rules of Touhu), an illustrated manual written by Wang Ti (1490-1530), and these shots were given fancy names, like 'A Pair of Dragons Enters the Sea' when two arrows were thrown from a great height at once into the vase. The touhu game was used to practice archery, one of the essential accomplishments of a gentleman. Later in the Ming era, the game became more widespread and was played by rich merchants as well as the aristocracy and scholarly elite. A scene in the famous late Ming novel Jin Ping Mei (Plum Blossom in the Golden Vase), written in 1619, describes the wealthy merchant Ximen Qing's seduction of his concubine Panjinlian. She becomes inebriated while playing touhu on a picnic and the game leads to an amorous encounter. For a further discussion of the game see Isabelle Lee, 'Touhu: Three Millennia of the Chinese Arrow Vase and the Game of Pitch-pot', Transactions of the Oriental Ceramic Society, vol. 56, 1991-2, pp. 13-7.Literature comparison: Compare a closely related Cizhou painted touhu, 40 cm high, dated to the Ming dynasty, circa 1522-1566, in the collection of the British Museum, museum number 1937,0716.74.Auction result comparison: Type: Related Auction: Christie's New York, 17 March 2017, lot 1174 Price: USD 68,750 or approx. EUR 77,500 converted and adjusted for inflation at the time of writingDescription: A painted Cizhou jar, Yuan dynasty Expert remark: Compare the related manner of painting showing similar figures within shaped reserves. Note, however, that the present arrow vase is much rarer, of more elaborate form and decoration, and slightly larger than this jar (35 cm). 明代罕見磁州窯彩繪投壺中國，十五至十六世紀。長直頸、兩側貫耳，圓鼓腹，足底露胎，刮痕粗顯，胎質堅硬，色呈淺灰。唇口、内壁和外壁罩白釉，色澤乳白微黃。外壁彩繪人物、神獸以及纏枝花卉等紋樣。 出版：Michael B. Weisbrod，Inc.，From Kilns of Kings and Commoners，1990年，紐約，頁68，畫冊第27號。 由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE AND COMPLETE SET OF FOUR JADE OPENWORK SWORD FITTINGS, WESTERN HAN DYNASTYChina, 206 BC to 8 AD.Comprising:1) A pommel (shou) of circular form, the domed center carved as a dragon, encircled by alternating taotie masks and archaic scroll,2) A sword guard (ge) carved with central taotie masks to each side, the nose extending to the pointed lower end, flanked by phoenixes and archaic scroll,3) A scabbard chape (bi) of trapezoidal form carved with sinuously coiled dragons,4) A scabbard slide (zhi) carved with a central bi disc flanked by two confronting dragons with tails terminating in phoenix heads.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades.Condition: Excellent condition, commensurate with age. Expected wear, alterations and weathering, minuscule nibbling and losses, soil and iron rust encrustations. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time. Weight: 113.6 g (total) Dimensions: Length 14 cm (the scabbard slide), 7 cm (the scabbard chape), and 6.8 cm (the sword guard), Diameter 6.7 cm (the pommel)The translucent jades are of a fine, greenish-yellow tone with cloudy inclusions, and scattered black speckles. The distinct iron rust encrustation indicates that the jades were buried with a source of iron, doubtlessly the decomposed blade.Expert's note: Xi'an City was the capital of China during the Western Han (202 BC-8 AD) period. According to metallographic studies of iron swords excavated in this region, all known examples were found in a severely decomposed condition. Consequently, they presented a wide range of damage such as fractures, incompleteness, and thick layers of corrosion. Such corrosion leaves notable decaying marks on their corresponding jade fittings, which take centuries to develop into the russet 'spiderweb' crackle found on the present lot. These alteration marks are inimitable, not only because they leave behind irreversible scars on the jade itself, but also because their metallurgic composition is quite unique.In ancient China, there were two pathways known for soft iron making: One was the so-called “direct process” in which bloomery iron, with a low-carbon content, was smelted in a furnace and then directly used for smithing larger numbers of lower quality blades. The second, so-called “indirect process” was more complex: After smelting from a blast furnace, cast iron was decarburized through a liquid-state procedure called Chaogang. This produced still-malleable iron with a significantly higher carbon content of up to 1%, or - in other words - steel of the best possible quality for the manufacture of high-end blades. Needless to say, jade was used primarily for fittings of blades from this group, a sign of almost exuberant luxury, marking its owner as a person of nobility. Similar fittings were also found on bronze swords, but only the ones discovered near the remnants of iron blades are encrusted with distinct rust patterns such as the present lot.This exceptional set of sword fittings exemplifies the best jade carving of the early Western Han period. Note the extreme thinness of the jades in several areas, with some parts of the guard and the chape measuring an incredible 1 mm in thickness.Literature comparison: Compare a closely related set of sword fittings once belonging to the King of Nanyue, illustrated in Zhongguo Yuqi Quanji 4 - Qin, Han, Nanbeichao, Hebei, 1993, pp. 60-61, nos. 79-82. Compare four sword fittings from the Myers collection, dated to the Western Han period, published in Fillippo Salviati, Radiant Stones: Archaic Chinese Jades, 2004, Hong Kong, nos. 130-133.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2017, lot 2711 Price: HKD 8,460,000 or approx. EUR 1,148,000 converted and adjusted for inflation at the time of writing Description: An important set of three jade 'chilong' sword fittings and a jade sword guard, Western Han dynasty Expert remark: Note the smaller size (the largest 8.8 cm)西漢罕見一套四件玉劍飾中國，公元前206年至公元8 年。一套四件 來源：Irene與 Wolfgang Zacke (1942-2022)。自1968 年起，這對夫婦活躍在藝術貿易界，並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980 年代後期，他們一直在收集中國古代玉器，幾十年來建立了極富多樣性的收藏。 品相：狀況極佳，有磨損、風化、磕損、缺損、土壤結殼與鏽斑。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：總113.6克 尺寸：劍璏長 14 厘米，劍珌7 厘米，劍格6.8 厘米，劍首直徑 6.7 厘米 玉質細膩，有綠色、赭色斑，瑩潤有澤。玉石上明顯的鐵鏽斑。由於字數限制，完整中文敘述請至www.zacke.at查看。

AN IMPERIAL SCROLL-SHAPED ZITAN BOX AND COVER, QIANLONGChina, 1736-1795. Naturalistically carved as three stacked scrolls, the upper scroll with a neatly incised lozenge diaper pattern in deep relief, the lower two with similarly executed floral and wan-symbol patterns, respectively. Each of the three with a bone-inlaid plaque imitating a label, meticulously engraved with gilt inscriptions identifying the paintings once contained in the box, all framed by a remarkably fine silver-inlaid T-scroll border, and cleverly decorated with further inlays to imitate the clasps and scroll handles. The sides again meticulously carved and painted to imitate the scroll ends. The interiors delicately padded with lozenge-diapered Imperial yellow silk.Inscriptions: The upper scroll box, 'Poetic Ideas from the Imperial Jiguang Temple, painted by Qian Weicheng, calligraphy by Liang Shizheng'. The lower left scroll, 'Poetic Ideas of the Imperial Jade Belt Bridge, painted by Xu Yang, calligraphy by Wang Yudun'. The lower right scroll, 'Poetic Ideas on the Boat Journey to Spring, painted by Dong Bangda, calligraphy by Liang Shizheng'.Provenance: British trade. Condition: Very good condition with some old wear and traces of usage, also to the interior, light surface scratches, minuscule age cracks, nicks and losses. The gilt to the incised inscriptions slightly worn off. The textiles to the inside slightly faded, with loose thread and minor creases.Weight: 1,194 g Dimensions: Length 27.8 cm This exquisitely conceived box is remarkable for the combination of zitan wood, gilt bone inlays, and silk textiles which all have been carefully assembled resulting in a harmonious design overall. Skillfully modeled to simulate three scrolls, such elaborate curiosity pieces are rare and would have enjoyed a place of prestige in an elegant scholar's studio or even an Imperial palace.The Qianlong Emperor's love of painting and calligraphy fueled the development of boxes for such treasured items. The characteristics of these containers included the use of choice materials, the preferences being zitan, carved lacquer, cloisonne, and bamboo, due to their durability and fine quality which would complement the painting and calligraphy. The shape and decoration of these containers were also carefully considered to reflect both their contents and the imperial authority. Scroll boxes in the form of either three or five stacked scrolls were made in a variety of materials and demonstrate the importance given to packaging during the Qianlong reign.The paintings contained in such scroll boxes were usually made by well-known court painters and the boxes usually depict the title on the cover. The present box is decorated with three meticulously carved inlaid plaques imitating labels, each inscribed with the title of a famous painting, all three by court painters known to be active during the reign of Qianlong. One is a landscape depicting the Yudai bridge by Xu Yang, another a landscape painting of the Jiguang temple by Qian Weicheng, the last a painting of a boat by Dong Bangda.Literature comparison:Boxes made to imitate scrolls were popular in the Qianlong period and were made in various materials and designs. Compare the near-identical scroll-form box made of zitan and inlaid ivory, and the one in carved red lacquer, both in the Palace Museum, Beijing, and illustrated in The Sumptuous Art of Imperial Packaging, Macau, 2000, pp. 30-31, nos. 2 and 3.Compare an imperial carved cinnabar lacquer scroll box and cover, dated to the Qianlong period (1736-1795), at Christie's New York, 19 March 2009, lot 589. Compare a gilt-bronze and cloisonne enamel covered box, dated to the Qianlong period, at Sotheby's Paris, 16 June 2022, lot 141. Compare a hardwood scroll shaped box and cover, dated to the Qing dynasty, at Sotheby's London, 6 November 2013, lot 73.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 2 April 2018, lot 3413 Estimate: HKD 500,000 or approx. EUR 68,500 converted and adjusted for inflation at the time of writingDescription: A pair of ivory-inlaid zitan scroll-shaped boxes and covers, Qing dynasty, 18th centuryExpert remark: Compare the closely related form, inlays, and decorations. Note that this lot comprises two boxes.乾隆御製紫檀卷軸蓋盒中國，1736-1795年。紫檀卷軸刻雷紋、團花紋與萬字紋，嵌象牙，象牙上刻所裝書畫名稱等畫名。可開啓。此包裝的造型采用卷軸冊頁式，製作精美。盒内襯雷紋黃地絲綿。 款識：御制玉帶橋詩意，徐揚畫，汪由敦書；御制積廣詩意，錢維城畫，梁詩正書；御制舟行春興詩意，梁詩正書，董邦達畫。 來源：英國古玩交易。 品相：狀況極好，有一些磨損和使用痕跡，內部也有輕微的劃痕，微小的老化裂縫、刻痕和缺損。鎏金略有磨損，内襯略微褪色，線鬆散，有輕微摺痕。 重量：1,194 克 尺寸：長 27.8 厘米 紫檀木、鎏金象牙以及絲綢紡織品的組合使盒子顯得尤爲珍貴，整體設計和諧，深受文人雅士甚至皇宮之中所推崇。由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE ARCHAIC BRONZE RITUAL WINE VESSEL, HU, MIDDLE WESTERN ZHOU DYNASTYExpert's note: This vessel comes in a 100% untreated, original, as-excavated condition unlike most of the large Shang and Zhou Dynasty bronzes in circulation, which typically have undergone substantial restoration and patina treatment/enhancement. The X-Ray (images 3 and 4) reveals that the meticulously incised design is in a magnificent state of preservation just below the patina. The X-Ray (images 20, 21, 22 and 23) further reveals that there is no repair work whatsoever, and that deep surface corrosion is minimal. Overall, it must be said that such a large vessel, which such fine designs, and in such a good condition must be regarded as very rare. (more x-ray images available upon request)China, 10th-9th century BC. The sides flat-cast with four rows of large fish scale patterns with combed borders, below two pairs of long-tailed birds confronted on a leiwen band between a pair of lug handles flanking the base of the neck, the whole raised on a spreading pedestal foot pierced on two sides with a circular aperture. The bronze is covered overall in a magnificent, naturally grown patina with extensive malachite, cuprite, and azurite encrustation.Provenance: A Far Eastern collector in Queens, New York, USA. Originally, one of a pair. The other sold from his collection at Christie's New York, 26 March 2003, lot 155, and is now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Michael B. Weisbrod, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Excellent condition, commensurate with age. Extensive wear, minor losses and small nicks, light scratches, encrustations. Natural patina overall with extensive malachite, cuprite, and azurite encrustations. The patina further with scattered cloth imprints from ancient linen into which the vessel was shrouded before being buried, now long gone. X-ray images proving the excellent condition are available upon request.Weight: 5,480 gDimensions: Height 40.5 cmLiterature comparison: Compare the counterpart to this jar, once in the same collection as the present lot, at Christie's New York, 26 March 2003, lot 155, and now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Compare also a similar bronze hu, with cover, found in Baijia, Fufeng, Shaanxi province, 1975, and now in the Fufeng County Museum, illustrated in Zhonguo meishu quanji, gongyi meishu, bian 4, qingtongqi (1), (The Great Treasury of Chinese Fine Arts, Arts and Crafts, volume 4, Bronzes (1)), Beijing, 1987, page 192, no. 213, where the pattern on the body is described as fish scales. It is possible, however, that this may be feathers, which would relate to the birds on the neck. Either way, the patterns on the present vessel and the published example are identical. Compare also a related hu, of more slender form with a band of confronted birds on the neck between the lug handles, and rows of overlapping feathers or fish scale patterns of smaller size covering the body, in the collection of the Shanghai Museum, included in the exhibition, Ancient Chinese Bronzes, Hong Kong Museum of Art, 1 February-3 April 1983, no. 28. Like the present hu, this example is dated to the middle Western Zhou period.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.西周中期罕見青銅壺中國，公元前十至九世紀。兩側平鑄，浮雕四排魚紋，下面兩對長尾鳥紋，雷紋帶，頸部兩側分別有一貫耳。圈足外撇，有一個孔。青銅壺整體美麗的綠色皮殼，并有綠色、藍紅色鏽斑。 來源：紐約皇后區遠東收藏家，原本是一對。另一個於2003年3月26日紐約佳士得售出，Lot 155，目前在英國沃克郡 Compton Verney 美術館，編號CVCSC 0303.A；Michael B. Weisbrod購於上述藏家處。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。品相：狀況極佳，與年齡相稱。大面積磨損、輕微損失和小劃痕、結殼。整體天然皮殼，帶有大量綠色、紅色以及藍色鏽斑。可根據要求提供證明狀況良好的 X 射線圖像。 重量：5,480 克 尺寸：高40.5 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A BRONZE FIGURE OF VAJRASATTVA, BAYON STYLE, ANGKOR PERIODKhmer Empire, 12th century. Finely cast seated holding the vajra and ghanta, wearing a sampot and floret armlets and necklace, his face with a serene expression surmounted by a conical headdress. Provenance: A distinguished private collection in Milan, Italy. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Excellent condition commensurate with age. Expected casting flaws, signs of weathering and erosion, few nicks, shallow surface scratches, minor losses and cracks, ancient wear. Fine, naturally grown patina with areas of cuprite and malachite encrustations.Weight: 1,000 g (excl. base) and 1,910 g (incl. base) Dimensions: Height 18.3 cm (excl. base) and 23 cm (incl. base) With a modern metal base. (2)Literature comparison: Compare a related Khmer bronze figure of a crowned Buddha, attributed to Lopburi and dated 12th-13th century, in the collection of the Metropolitan Museum of Art, accession number 2019.451.Auction result comparison:Type: RelatedAuction: Christie's New York, 19 September 2002, lot 194Price: USD 15,535 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Vajrasattva, Khmer, Baphuon style, 11th centuryExpert remark: Compare the closely related subject and pose. Note that the figure is slightly earlier, cast in the Baphuon style, and of slightly smaller size (15.2 cm).

AN ARCHAIC BRONZE RITUAL WINE VESSEL, ZHI, LATE SHANG TO EARLY WESTERN ZHOU DYNASTYChina, ca. 1050 BC. Of elongated pear shape with a waisted neck and flared rim, cast below the neck with a single border of leiwen in deep relief, the splayed hollow foot encircled by two bow-string bands. The bronze skin with a magnificent, naturally grown patina showing a multitude of deep-green malachite and cuprite encrustations. Provenance: Christie's South Kensington, London, 28 July 1994. Catherine Farrell, London, acquired from the above. A copy of the provenance statement, written and signed by Catherine Farrell, dated 8 July 2022, attesting to her purchase of the present lot at Christie's South Kensington on 28 July 1994 as well as it being authenticated by Dr. Jessica Rawson in 1990, whose appraisal mentioned in the letter confirms the dating above, accompanies this lot. Dame Jessica Mary Rawson (b. 1943) is an English art historian, curator, and sinologist. She is also an academic administrator, specializing in Chinese art. Between 1976 and 1994, she served as Deputy Keeper and then Keeper of the Department of Oriental Antiquities at the British Museum in London and from 2006 to 2011 as pro-vice-chancellor of Oxford University. She has been involved in a number of high-profile exhibitions such as the Mysteries of Ancient China.Condition: Superb condition, commensurate with age, and absolutely original with no repairs or touchups whatsoever. Old wear, signs of weathering and erosion, minor nicks here and there. Solid, naturally grown patina with extensive malachite and cuprite encrustation.X-Ray: Images 18-22 confirm the excellent original condition of this lot.Weight: 317.8 g Dimensions: Height 13.4 cmZhi goblets such as the present example served as drinking vessels. They were employed in important ritual performances aimed at paying homage to the ancestors. According to Chinese beliefs, the ancestors were deemed active participants in the life of their offspring, which they could positively influence if provided with the correct necessities for their own afterlife, see Jessica Rawson, 'The Power of Images: The Model Universe of the First Emperor and its Legacy', in Historical Research, no.75, 2002, pp. 123-154.Expert's note: The Qianlong emperor's great love of jade combined with his passion for antiques resulted in his commissioning significant numbers of archaistic jade items for his court. The form of the present zhi vessel has served as the inspiration for a number of jade zhi now in private and public collections, including no. 40 in this catalog (please see the lot entry for further examples). This clearly shows that bronze zhi such as the present lot were already highly valued 300 years ago.Literature comparison: Compare a closely related zhi, of similar form and also with a leiwen band below the neck and two bow-string bands around the foot, dated to the early Western Zhou period, mid-11th to early 10th century BC, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1981.106. Compare a related zhi, also decorated with leiwen and bow-string bands, dated Shang dynasty to Western Zhou period, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1956.87.Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2014, lot 10 Price: USD 30,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: The Fu Xin Zhi, a bronze ritual wine vessel, late Shang dynasty, 13th-11th century BC Expert remark: Compare the related form and manner of casting with similar leiwen and bow-string bands, additionally with taotie mask and flanges. Note the larger size (15.2 cm) and that the zhi has a three-character inscription.Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2018, lot 1103 Price: USD 37,500 or approx. EUR 40,000 converted and adjusted for inflation at the time of writing Description: A rare small bronze ritual wine vessel, zhi, late Shang-early Western Zhou dynasty, 11th century BC Expert remark: Compare the similar form and manner of casting with leiwen and bow-string bands, additionally with taotie mask and flanges. Note the smaller size (11.4 cm) and that the zhi has a two-character inscription.商末至西周青銅觶中國，約公元前1050 年。器身細高，敞口，直唇，體呈橢圓形，下腹外鼓，喇叭形高圈足，頸部雷紋帶，圈足上兩道弦紋。該器壁勻薄，造型挺拔優美。青銅表皮自然生長的包漿，呈現出大面積深綠色的銅鏽。 來源：1994年7月28日倫敦南肯辛頓佳士得；倫敦Catherine Farrell購於佳士得。隨附一份Catherine Farrell寫的關於來源説明的複本，日期爲2022年7月8日由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE FRAGMENTARY BUST OF A FEMALE DEITY, GILT COPPER-ALLOY, PROBABLY DENSATIL, TIBET, 14TH-15TH CENTURYOpinion: The particularly well-proportioned female image, possibly Prjanaparamita, with its simple yet sensuous appearance is - at first glance - evocative of high Newari craftsmanship, popularly commissioned by wealthy Tibetan monastic patrons during the 14th and 15th centuries. However, after looking at some of the characteristics more closely, several distinct features make an attribution to the Densatil monastery seem more appropriate. Chief among the diagnostic traits that can identify a work from the Densatil are the convexly stepped eyebrows and the precisely incised double-lined eyelids and lips. The oval pinna, remotely signifying a lotus-petal, from which the lavish hairbands issue seamlessly, is another unequivocal feature, as are the extra-thick and heavy casting overall and the leaning head, which indicates that the present lot may once have been part of a larger supporting structure. For example compare a gilt bronze support, Densatil, 15th century, at Christie's New York, 27 March 2003, lot 105.Finally, the harrowing brutality to which this image was evidently exposed is a silent monument to the destruction of Densatil during China's Cultural Revolution (1966-1978), where one of the most inspiring cultural heritages of mankind became victim to an unconscionable mob.Superbly cast, richly adorned with a beaded and a floral necklace above her voluptuous breasts as well as lotiform armlets, the face with a serene expression, the eyes with distinct sinuous lids and raised brows, both heightened with subtle incision work, as well as full lips forming a calm smile, the neatly incised hair parted in the middle and secured by a tiara.Provenance: From a private collection in Paris, France.Condition: Condition overall as expected and commensurate with age. Extensive wear and losses. Dents, nicks, scratches and battering. Wear to gilt. All semi-precious stone inlays are now lost. Several distinct ritual patches.Weight: 3,472 g Dimensions: Height 33 cmHeavily cast gilt copper-alloy figures of this type are characteristic of the Densatil style, a Kagyu monastic complex in central Tibet, southeast of Lhasa, that has long been considered one of the great treasures of Tibet. Founded in the late 12th century, it enjoyed generous patronage and was lavishly decorated during a period of expansion from circa 1360 until the early 16th century. The monastery was known for eight extraordinary memorial stupas symbolizing Buddha's first teaching in Benares. These stupas were called tashi gomang, meaning "many doors of auspiciousness," and were multi-tiered copper-alloy structures filled with deities such as the present example, standing more than ten feet tall and resplendent with inlays of semiprecious stones. Prior to the destruction of Densatil during China's Cultural Revolution (1966-1978), eight of them dating between 1208 and 1432 stood in the Monastery's main hall.Followers of the charismatic Phagmo Drupa Dorje Gyalpo (1110-1170) constructed the Densatil Monastery. His school, which came to be known as Phagmo Drupa Kagyu, was one of the four primary schools of the Kagyu lineage of Tibetan Buddhism. Its noble house became so powerful that their dynasty ruled from the mid-fourteenth to the mid-fifteenth century. Eventually it had died out by the end of the seventeenth century, but the Densatil Monastery survived intact under the control of other Tibetan Buddhist schools until it was eventually destroyed. Today the monastery is undergoing reconstruction thanks to the efforts of the Tibetan Autonomous Region Ministry of Culture and the Drigung (Drikung) Kagyu school.Literature comparison: Compare with a statue of Prajnaparamita from tier 3 of the tashi gomang stupas, dating to 1370, in About the 18 stupas and other treasures once at the Densatil monastery, by Jean-Luc Estournel, September 2020.Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2014, lot 1016 Price: USD 617,000 or approx. EUR 731,000 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of a Nagaraja, Densatil Style, 15th century Expert remark: Compare the heavy and massive casting as well as the similar treatment of the eyes, lids, brows, breasts and pinna.十四至十五世紀西藏大型銅鎏金女神半身像專家注釋：特別勻稱的女性形象，可能是般若菩薩，其簡單而感性的外觀 - 乍一看 - 令人回想起十四世紀和十五世紀西藏寺院富有的贊助人經常委託的紐瓦里工藝。然而，在更仔細地研究了一些特徵之後，幾個不同的地方，讓人更能確定，這座半身像可能來自丹薩替寺，比如她凸出的階梯式眉毛和清晰的雙眼皮和嘴唇。橢圓形耳廓，蓮花髮帶，是另一個明確的特徵。整體厚重，包括傾斜的頭部，這表明本拍品可能有更大的支撐結構。例如，比較一個鎏金青銅支架。丹薩蒂爾寺，15世紀，紐約佳士得，2003年3月27日，編號105。 丹薩替寺在中國文化大革命（1966-1978）期間被毀，實在令人痛心。 來源：法國巴黎私人收藏。 品相：整體狀況符合預期，大面積磨損和缺損。凹痕、刻痕、劃痕，鎏金磨損。很多寶石遺失，幾個修補。幾個儀式留下來的明顯斑塊。 重量：3,472克 尺寸：高33厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。

A CHAMPLEVE AND ENAMEL WALL VASE, GUANGDONG TRIBUTE TO THE IMPERIAL COURT, QIANLONGChina, 1736-1795. Of flattened form, the gilt bronze baluster body supported on a short spreading foot and rising to a flared neck, the mouth and foot rims are three-lobed. Inlaid at the center with a haitang-shaped and finely enameled plaque neatly painted with two court ladies seated in a lush garden with willows, rockwork, and flowers, one playing the flute. The plaque is encircled by raised kuilong executed in champleve enamel, the foot and base of the neck with similar kuilong and with an enameled taotie mask below the mouth.Provenance: From a North German private collection, assembled before 2007.Condition: The canton enamel plaque with small repairs to lost enamels, the vase further with some dents and nicks, light surface scratches, manufacturing flaws such as expected pitting, minor old wear to gilt. Overall presenting remarkably well, the condition consistent with age.Weight: 579.2 gDimensions: Height 21 cmThe back with a circular aperture within a rectangular recess for wall suspension.Palace archival records confirm that significant quantities of enamel and champleve wares were produced in the Guangdong province with a wide range of designs that included luxurious and eye-catching pieces such as the present wall vase. Yang Boda notes the high quality of champleve wares made in Guangzhou, the capital of the province, adding that they were 'second to none during the whole Qing dynasty' (see Tributes from Guangdong to the Qing Court, Chinese University of Hong Kong, 1987, page 54). During the 18th century, Guangzhou had become an important artistic center as craftsmen active there were in very close contact with European missionaries and traders bringing to China new and innovative techniques. Wares made in these foreign techniques were highly coveted by the Imperial household, especially during the Qianlong era, hence a number of such champleve wares were sent as tribute gifts from Guangdong to the Imperial court in Beijing. During the reign of the Qianlong Emperor, the manufacture of champleve, cloisonne and painted enamel products flourished to achieve its most sophisticated level in both range and quality.Expert's note: Champleve wall vases only seldomly appear on the market. The present lot - with its unique addition of a finely enameled plaque - seems to have no comparable examples found in private or public collections and hence must be considered exceedingly rare.Auction result comparison:Type: RelatedAuction: Bonhams London, 13 May 2010, lot 401Estimate: GBP 15,000 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A fine champleve enamel and gilt-bronze baluster wall vase, late QianlongExpert remark: Compare the related champleve enameling and similar kui dragons. Note that this vase is of almost the same size (18.3 cm) but lacks the canton enamel plaque.Auction result comparison:Type: Remotely relatedAuction: Christie's Hong Kong, 29 May 2013, lot 2068Price: HKD 3,150,000 or approx. EUR 475,500 converted and adjusted for inflation at the time of writingDescription: A very rare Imperial champleve and gilt-bronze archaistic vase, hu, QianlongExpert remark: Note that this is not a wall vase and of significantly larger size (39.3 cm) than the present lot乾隆内填琺瑯壁瓶，廣東進貢中國，1736-1795年。扁瓶形，撇口，束頸，豐肩，下收腹，底足外撇。頸部中央一道弦紋。瓶身開光鑲嵌精美琺瑯瓷牌，兩位仕女坐在園中柳樹下，四周鮮花環繞，假山亭子。開光周圍是用内填琺瑯描繪夔龍紋和饕餮紋。 來源：德國北部私人收藏，購於2007年之前。 品相：琺瑯面有小修復，花瓶有一些凹痕和刻痕，表面有輕微劃痕，製作瑕疵，例如麻點、鎏金的輕微磨損。整體狀況良好，與年齡相吻合。 重量：579.2 克 尺寸：高21 厘米 背面帶有矩形凹槽，圓形孔，用於牆壁懸掛。由於字數限制，完整中文敘述請至www.zacke.at查看。

AN IMPORTANT AND RARE UDAYANA-STYLE FIGURE OF MAITREYA, LATE YUAN DYNASTY - HONGWU PERIODOpinion: The present statue is stylistically very similar to an important gilt-bronze figure of Maitreya, which can be pinpointed by radiocarbon dating of organic material in its core to a quite narrow timeframe from the late Yuan dynasty to the Hongwu period. The distinct U-shaped folds, elongated undulating sleeves, and flared hems, as well as the characteristic hairstyle, all indicate that the two figures were made at more or less exactly the same time, around the years 1350-1380. The image is superbly carved standing with his right hand raised in abhaya mudra, the deity portrayed with a serene and meditative countenance below an urna, framed by a pair of long pendulous earlobes and hair neatly swept over the ushnisha, clad in a long robe with elongated sleeve openings and accentuated overall with pronounced folds and undulations, the garment loosely clinging to the gently rounded outlines of his stomach and legs and ending in a flaring hem above the bare feet. Provenance: A Belgian private collection. Condition: Good condition, commensurate with age and presenting remarkably well, especially when considering the high age of this statue. Extensive wear and expected natural age cracks. Minor flaking and crackling to lacquer. Light surface scratches, minuscule nicks, some losses. Possibly few minor old touchups here and there.Weight: 787.9 g Dimensions: Height 31.2 cmMaitreya, Buddha of the Future Age, governs two perfected worlds: Tusita Heaven, which he currently inhabits, and Ketumati, an ideal realm conducive to the pursuit of enlightenment where he will serve as the teaching Buddha. The Maitreya's hands are held in abhaya and varada mudras, embodying a message of the coming salvation of all sentient beings.As the Yuan dynasty crumbled amidst famine, floods and general unrest, the anti-Mongol slogan of Han Shantong, Grand Patriarch of the White Lotus sect, was a call to arms and rebellion. Central to Han's belief structure was the idea that Buddha Maitreya had finally manifested in the world as the successor to Buddha Shakyamuni. Shortly after Han's demise in 1351, Zhu Yuanzhang, also a member of the White Lotus sect, emerged as the leader of the ethnic Han Chinese rebelling against the Mongol-led Yuan dynasty. In 1368, he eventually proclaimed himself as the Hongwu Emperor of the newly established Ming dynasty. It was during this period that images of Buddha Maitreya, such as the present lot, were depicted almost exclusively in the distinct Udayana style which gained increased popularity.The formulaic rendering of the U-shaped folds of the robe is one of the most interesting iconographic features of the present figure. This is known as Udayana, an ancient name for the early Gandharan region now in the present-day Swat Valley, Pakistan, from which similarly robed images of Maitreya first originated. This distinctive style of dress had transmitted along the Silk Road all the way to China and appeared there as early as the fourth century, as exemplified by the gilt-bronze seated Buddha Shakyamuni illustrated by H. Munsterberg, in Chinese Buddhist Bronzes, New York, 1988, page 37, fig. 1, which bears an inscription dated to 338 AD.Literature comparison:Compare a closely related wood figure, dated to the Ming dynasty, in the collection of the Metropolitan Museum of Art, accession number 41.115.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 2 October 2017, lot 3135 Price: HKD 24,100,000 or approx. EUR 3,263,000 converted and adjusted for inflation at the time of writing Description: A magnificent and monumental gilt-bronze standing figure of Maitreya, Yuan dynasty - Hongwu periodExpert remark: Compare the closely related U-shaped folds, elongated undulating sleeves, and flared hems as well as the distinct hairstyle. Note that this lot came with a Carbon-14 test of the core which was consistent with the dating above. Note the much larger size (116.8 cm) and the fact that this statue is made from bronze, not wood.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2010, lot 1959 Price: HKD 3,020,000 or approx. EUR 526,500 converted and adjusted for inflation at the time of writing Description: A very rare early Ming gilt-bronze standing figure of Maitreya, Yongle incised six-character mark and of the period Expert remark: Compare the closely related U-shaped folds and elongated undulating sleeves. Note that this lot is made from gilt-bronze, not wood, and that it bears a Yongle mark and dates from the period. Also note the smaller size (16.5 cm). Eventually note that the image lacks the distinct Udayana hairstyle, probably because it was made a few decades later than the present lot.元末至洪武朝重要烏仗那式彌勒佛木雕像 造像身軀豐滿，姿態高貴，右手施無畏印，佛面微笑頭髮整齊地披在烏尼沙上，佛像通肩式之外袍，自肩膀垂直而下，佛像身形高挑，裙褶疊曲有序，氣韻生動，神彩宛如書法揮毫。由於字數限制，完整中文敘述請至www.zacke.at查看。

Dame Elisabeth Frink R.A. (British, 1930-1993)Head signed and numbered 'Frink 4/6' (at the base of the neck)bronze with a brown patina and polished goggles50.8 cm. (20 in.) highConceived in 1967Footnotes:ProvenanceWith Waddington Galleries, London, where acquired byPrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, Elisabeth Frink: Recent Sculpture, 1967 (another cast)London, Waddington Galleries, I, II, III, Elisabeth Frink: Sculpture, 11 October-4 November 1972 (another cast)London, Royal Academy, Elisabeth Frink: Sculpture and Drawings 1952-1984, 8 February-24 March 1985 (another cast)Salisbury Cathedral and Close, Salisbury Library and Galleries, Elisabeth Frink: A Certain Unexpectedness, May-June 1997 (another cast)LiteratureBruce Laughton, 'Elisabeth Frink', Arts Review, 9 December 1967Jill Willder (ed.), Elisabeth Frink: Catalogue Raisonné, Harpvale Press, Salisbury, 1984, p.172, cat.no.166 (ill.b&w, another cast)Sarah Kent, Elisabeth Frink: Sculpture and Drawings 1952-84, Royal Academy, London, 1985Annette Downing, Elisabeth Frink: Sculptures, Graphic Works, Textiles, Salisbury Festival and Wiltshire County Council Publication, 1997Annette Ratuszniak (ed.), Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Farnham, 2013, p.110, cat.no.FCR192 (ill.b&w, another cast)One of the most effective themes throughout Frink's sculpture is her examination of the dichotomies inherent to humankind. Especially our predisposition to at once be tender and vulnerable, yet also our ability to be violent and merciless. In the age of post-war unease in which Frink came to prominence many sculptors of her generation shared such concerns. This loose group were branded together by Herbert Read under the term of 'Geometry of Fear'. Often their works manifested not in human forms, the iconography of the figure was too academic to display the desired brutishness or despair, but rather in animal forms. Lynn Chadwick looked to winged insects, Bernard Meadows to scuttling crabs, and Frink to stalking birds. Her anthropomorphic avian forms of the early 1950s either threatened their jutting beaks, or cowered under raised wing, and on occasion both simultaneously.As the decade wore on and into the '60s, Frink's birds developed into birdmen or winged figures as she increasingly explored the ability of the (always male) human body to effectively describe the human experience. These works are undoubtedly figural. However, Frink sculpts the body to a surface which is wrought with scarred texture, and she distorts proportions of trunks and limbs. Her ambition is not to render the human physiology, but again to display the opposing forces within human nature. There are two major works of the period in which Frink achieved this to high acclaim. Firstly, Blind Beggar and his Dog of 1958 in which a spindly man is heavily dependent on his canine aid yet strides confidently forward due to his trust, and secondly Judas of 1963, in which a powerful man stands resolutely upright, yet raises his arms in a protective manner as he has been blinded by his own treachery.For Frink, the apex of her explorations of man's contradictions dawns in 1967 with the arrival of her acclaimed Goggle Head series, to which the present work belongs. This series draws on several origins; the head gear of fighter pilots, the authoritative motorcyclists of the French police as well as the militant General Oufkir, frequently depicted in the press at the time wearing reflective sunglasses. Combined, these figures represent instances of man's danger, power, and menace. Yet Frink awards these figures of reprehension with a stylised treatment, elevating their presence. She adjusts her application and working of plaster, refining the surface dramatically so that the bronze is smooth, and she polishes their eyewear so we cannot scrutinise their gaze, only our own in the reflection.In so doing she iconises the brutality of our species, in a manner not unlike Francis Bacon's painting of the period. Frink knew and admired Bacon, and he in turn enjoyed Frink's brilliant wit. Like Bacon's battered and bruised portraits, Frinks' Goggle Heads are, as has been recently noted, 'grotesque and bizarrely kitsch manifestations, an archetypal man oozing glamour, sex, death and nihilism. They are transgressions, and one is unsure whether to be appalled or turned on by them!' (Calvin Winner, exh.cat. Elisabeth Frink Humans and Other Animals, Sainsbury Centre for the Visual Arts, 2018, p.36)Frink's Goggle Heads confirmed her resolve to pursue figuration and are considered 'her most original and significant creations' (ibid., p.35). They would be followed by the similarly styled but introspective Tribute Heads, which act as their counterparts, and naturalistic figuration would remain her chosen mode throughout the rest of her career. It should be noted that this decision, in a period through which abstraction in both sculpture and painting was highly celebrated, further aligns Frink with the great figurative painters of post-war Britain.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

British Iron Age, POTIN, Unit, Thurrock type, head left, rev. bull butting left (S 62); together with other silver and bronze units (8) [9]. First fine, others fair £40-£60

Bronze ram's head handle18th Century, Indo-Persianwith engraved decoration, 10cm longWith wear and marks commensurate with age.

A mixed lot of Bronze Age Comics - various titles by Marvel, DC, and Fleetway Quality Publications. (60)

A mixed lot of Bronze Age Comics - various titles by Marvel, DC, and Fleetway Quality Publications. (60)

A mixed lot of Bronze Age Comics - various titles by Marvel, DC, and Fleetway Quality Publications. (60)

A mixed lot of Bronze Age Comics - various titles by Marvel, DC, and Fleetway Quality Publications. (60)

A mixed lot of Bronze Age Comics - various titles by Marvel, DC, and Fleetway Quality Publications. (60)

First Millennium BC, A plain gold band, late Bronze Age or Iron Age, flat and rectangular in section with angle-pointed shaped ends, 8.28g, 12 x 4 x 1mm. A few scuffs and scrapes, otherwise very fine, original colour £400-£500 --- The band has been twisted and folded out of shape so it is uncertain whether it was originally a bangle, a bracelet, or a coiled finger ring

Antique Chinese bronze figure of a horse and rider, character marks below the seated figure, total height 34cmAppears in good order with general surface wear commensurate with age. Some remains of paintwork visible. Total height 34cm. Height of horse 26cm. Height of rider 23cm. Total weight just under 6kg.

A large Chinese bronze ding censer, the wood cover with pale celadon jade finial, the censer cast in high relief with bats and a pair of lion-mask handles, the wood cover pierced and carved with bats amid clouds, the jade finial with egrets amid Lotus, 22cm across**CONDITION REPORT**PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A large Chinese bronze censer, ding, 18th century, with sixteen character Xuande mark, applied with a pair of looped handles, 29cm wide**CONDITION REPORT**PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Vietnamese silver inlaid bronze tripod censer and cover, 19th century, inlaid in silver and copper with ‘Shou’, prunus blossom and lotus sprigs, applied with a pair of mythical beast head handles, on three mythical beast headed scroll legs, 24cm high, 24cm wide**CONDITION REPORT**PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Chinese bronze censer made for the Islamic market, ding, Xuande mark but 18th/19th century, with a pair of high looped handles above a frieze cast with kufic script, on three tapering feet, cast six character mark, 14.5cm wide**CONDITION REPORT**PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A large Chinese bronze group of Xi Wangmu and a child, late Ming dynasty, three column inscription to the reverse of the group, 31.5cm high excluding later wood stand**CONDITION REPORT**PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Chinese quatrefoil shaped bronze censer, 17th/18th century, Qinxhu two character seal mark, on four curved feet, 11.3cm wide**CONDITION REPORT**PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Chinese bronze ‘boy riding a water buffalo’ censer, 17th/18th century, the figure of a boy playing a flute forming the hinged integral hinged cover, the buffalo looking to the left, 22.5cm long, one horn detached but present**CONDITION REPORT**PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Chinese bronze figure of a recumbent qilin, late Ming dynasty, Campbell collection label to base, 36cm long, old repairs and later base panel, wood stand**CONDITION REPORT**PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

An Edwardian cut glass chandelier, with swagged top and lozenge shaped drops sweeping down to the main bag section with convex sunburst cut domed border, six branches with ribbed spear shaped drops and inverted icicle finials over an elaborately cut glass bowl and ball finial, hung throughout with an arrangement of assorted drops and wired for electricity, drop 140cm diameter 70cm**CONDITION REPORT**Overall in honest condition but will need some attention and restoration, two of the arms holding the swags at the top are out of shape or damaged most of the swagging looks present, the main bronze frame was perhaps once gilded and various states of oxidisation show throughout. For light bulb sockets are mounted on the stem for further sockets are mounted above the top of the base bowl and each of the branches has a further lightbulb socket. Most of the drops look to be present and fitted although there are a number of additional loose drops to hand. Six original ormolu wax pans have been retained. Two of the original wax pans mounted above the icicle reverse finials are missing. One of the reverse finials has cut ripped decoration the others are plain.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A small Roman bronze figure of Hercules, 1st century AD, The figure lacking his right arm.Provenance- purchased from Christie's in 2005. 14.5cm high including later plinth**CONDITION REPORT**PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.