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A GILT-SPLASHED 'ETERNAL TREASURES' BRONZE CENSER, 17TH CENTURYChina. The heavily-cast censer, Yajinglu, is raised on three tapering feet and has two loop handles on the sides, and the exterior is splashed with numerous small gold-foil flakes. The base is with a recessed cartouche enclosing a four-character seal mark.Inscriptions: Seal mark to base, 'zhenshe yongbao' (eternal treasures).Provenance: Clyde Kwok, Montreal, Canada. Karl Alexander Plath (1939-2020), Montreal, acquired from the above and thence by descent in the same family. Plath was born in Germany and moved to Canada at the age of 21, where he established two businesses producing parts for telecommunications and aircraft engines. In 1964, Plath became friends with Clyde Kwok, a professor at Concordia University who later founded Wingho Auto, which designs sports cars to this day. In 2005, Plath acquired Kwok's collection of Chinese bronzes. According to the Plath family, the present lot was previously part of an old Shanghai family collection. Condition: Good condition with old wear, some casting irregularities, minor nicks, occasional light scratches, the interior with extensive traces of use. Fine, naturally grown patina.Weight: 2,190 gDimensions: Width 21 cmLiterature comparison: For another gilt-splashed censer with a zhenshe yongbao mark, see Sotheby's London, 3 November 2021, lot 165.Auction result comparison: Compare a closely related gilt-splashed bronze tripod censer, 23.4 cm wide, also dated to the 17th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 17 March 2017, lot 1046, sold for USD 112,500. 十七世紀灑金壓經爐中國。平口，短頸，腹圓潤，腹上飾板耳，底承三乳丁足。全器造型規整，銅質精純，通體以灑金為飾，疏密分佈，錯落有致，盡顯內斂沉靜之韻。款識: 珍舍永寳 來源：加拿大蒙特利爾Clyde Kwok收藏；蒙特利爾Karl Alexander Plath (1939-2020) ，購於上述收藏，保存在同一家族至今。Plath出生於德國，21 歲時移居加拿大，在那裡建立了兩家生產電信和飛機發動機零件的公司。1964 年，Plath與Concordia大學Clyde Kwok教授成為朋友，Clyde Kwok後來創立了永和汽車，至今仍設計跑車。 2005 年，Plath收購了Clyde Kwok的中國青銅器收藏。 根據Plath家族的說法，這件拍品以前是來自舊上海一個家族收藏。品相：狀況良好，舊時磨損，鑄件瑕疵，輕微刻痕和劃痕，內部有大量使用痕跡。自然生長的細膩包漿。重量：2,190 克 尺寸：寬 21 厘米 文獻比較: 另一件“珍舍永寳“款灑金爐，見倫敦蘇富比2021年11月3日 lot 165。拍賣結果比較: 比較一件相近的灑金三足爐，款23.4厘米，十七世紀，見紐約佳士得Fine Chinese Ceramics and Works of Art 2017年3月17日 lot 1046, 售價USD 112,500。

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

A BRONZE STORAGE VESSEL, FANGHU, HAN DYNASTYChina, 206 BC to 220 AD. The tall, square vessel raised on a spreading foot, with plain curved sides narrowing to the neck set off by a lozenge-shaped mouth, a distinct characteristic of vessels from the Han dynasty. Two alternate sides are crisply cast with taotie mask handles suspending thick rings.Provenance: From an old German private collection, assembled in Japan during the 1950s and 1960s, thence by descent in the same family.Condition: Excellent condition, commensurate with age. Extensive wear, minor casting flaws, few minuscule cracks, minuscule nicks to edges, signs of corrosion. Superb, naturally grown patina with scattered malachite encrustation.Weight: 3,699 g Dimensions: Height 36 cmLiterature comparison: Compare a similar bronze fanghu excavated at Shuihudi, Yunmeng, Hubei province, now in the Yunmeng County Museum, published in Zhongguo qingtongqi quanji ('Complete collection of Chinese archaic bronzes'), vol. 12, Beijing, 1998, pl. 9; and another in the collection of the Fujii Yurinkan, Kyoto, illustrated in Sueji Umehara, Nihon shucho Shina kodo seikwa ('Select Relics of Ancient Chinese Bronzes from Collections in Japan'), vol. 6, Osaka, 1964, pl. 471.Auction result comparison: Compare a closely related bronze fanghu, also dated to the Han dynasty, at Bonhams San Francisco in Fine Chinese Works of Art on 16 December 2014, lot 8008, sold for USD 8,750. 漢代青銅輔首啣環方壺中國，公元前206 至公元220 年。器方口微侈，方唇，長頸，饕餮紋鋪首銜環耳，鼓腹、下部緩收，平底，方圈足。來源：德國私人老收藏，上世紀五十至六十年代購於日本，在同一家族保存至今。 品相：狀況極佳，與年齡相稱。 廣泛磨損、輕微鑄造瑕疵、少量微小裂紋、邊緣的微小刻痕，有腐蝕跡象，極好的自然生長的包漿，帶有散落的孔雀石綠色結殼。 重量：3,699 克 尺寸：高36 厘米 拍賣結果比較: 比較一件相近的漢代銅方壺，見舊金山邦翰思Fine Chinese Works of Art 2014年12月16日 lot 8008, 售價USD 8,750。

A LARGE BRONZE FIGURE OF GUANYIN, LATE MING DYNASTYChina, 16th-17th century. Heavily cast seated in dhyanasana, the right hand raised in karana mudra and the lowered left hand holding an amrita cup. Dressed in finely cast, loose-fitting, elegantly flowing robes opening at the chest revealing beaded and floral jewelry, the cuffs and hems of the robes incised with floral bands against a ring-punched ground.Published: Galerie Zacke, Vienna, Skulpturen des Buddhismus und Hinduismus, 1985 (described as mid-Ming dynasty).Provenance: A private collector in Vienna, acquired from Galerie Zacke, Vienna, Austria, in 1985. The reverse with an old label from Galerie Zacke, 'Foto 285/12'. Thence by descent in the same family.Condition: In very good condition, commensurate with age, with old wear, casting flaws, signs of weathering, remnants of pigment, small nicks, losses, cracks and minor dents, occasional light scratches. A small section of the tiara has been reattached. The interior with extensive cuprite encrustation, and some to the exterior as well. Fine, naturally grown, dark patina.Weight: 4,826 gDimensions: Height 34 cmThe serene face with heavy-lidded eyes below gently arched eyebrows and full lips forming a benevolent smile, flanked by long earlobes with floral earrings. The finely incised hair elegantly falling over her shoulders and arranged in a high chignon behind the tiara centered by a small figure of Buddha Amitabha.Auction result comparison: Compare a closely related bronze figure of Guanyin, also dated to the late Ming dynasty (41.6 cm high), at Sotheby's London in Chinese Art on 12 May 2021, lot 74, sold for GBP 23,940. 明末大型觀音銅像中國，十六至十七世紀。觀音呈坐姿，頂嚴梳髻，上承寶珠，辮髮橫垂兩肩。頭戴花冠，花冠正面中央安化佛。高額寬廣，雙目下視，雙唇輕抿，嘴角微揚，面容莊嚴慈悲。上半身披通肩天衣，頸胸垂掛瓔珞，衣褶流暢自然，褶襬鐫刻纏枝花卉紋，並飾連珠紋。觀音左臂內屈，懸空置於腰臍，掌心向上，手托淨瓶。右臂高舉當胸，拇指與中指並撚持楊枝。下半身內著高腰長裙，裙緣垂地，結跏趺坐，具有超凡脫俗與高雅聖潔的崇高豐姿。出版：維也納Zacke藝廊 《佛教及印度教造像》，1985年 (描述爲明代中期)。來源：維也納私人收藏，1985年購於Zacke藝廊。底部可見藝廊標籤“Foto 285/12”，自此保存在同一家族至今。品相：狀況極好，與年齡相稱，有舊磨損、鑄造瑕疵、風化跡象、顏料殘留、小劃痕、缺損、裂縫和輕微凹痕。 頭飾的一小部分已重新連接。 內外都有大量的結殼。包漿細膩。重量：4,826 克尺寸：高 34 釐米拍賣結果比較：比較一件相近的明末觀音銅像 (高41.6 釐米), 見倫敦蘇富比Chinese Art 2021年5月12 日lot 74, 售價GBP 23,940。

A WESTERN ASIATIC BRONZE 'GOAT' OPENWORK FINIALCirca 5th century B.C. - 5th century A.D. Finely cast in the form of a mountain goat with long, ribbed, and powerfully curved horns, pricked funnel-shaped ears, and a short tail, atop a pierced rectangular base.Provenance: Collection of Oliver Reginald Hoare (1945-2018). Inventory label to interior of base, '1461 C'. A prominent English art figure, described as arguably the most influential dealer in the Islamic world, Hoare joined Christie's London in 1967 where he was initially overseeing Russian art. After spotting some carpets left lying in a corridor and recognizing them as Persian, Hoare used them as the basis of a successful auction, which led to the launch of the Islamic Art Department, the first of its kind in a major auction house. He left Christie's in 1975 and opened Ahuan, a gallery in Pimlico, in partnership with David Sulzberger. In 1994, he negotiated the return of a Persian 16th-century manuscript to Iran, the Houghton Shahnameh (the most important illustrated manuscript ever created in Persia), in exchange for Willem de Kooning's Woman III which had been in Iran since the Islamic revolution. In the 1990s, he famously liaised with Diana, Princess of Wales.Condition: Good condition, overall as expected and fully commensurate with age. Old wear, losses, small dents, minor nicks, extensive signs of weathering and erosion, soil encrustations. Weight: 751.7 g Dimensions: Height 20.5 cmExpert's note: It is interesting to note that wild goats and other bovids appear in artifacts from a wide range of sites within Western Asia over a long period of time spanning thousands of years. Goats are among the earliest animals domesticated by humans. The most recent genetic analysis confirms the archaeological evidence that the wild bezoar ibex of the Zagros Mountains is the likely original ancestor of probably all domestic goats today. Neolithic farmers began to herd wild goats primarily for easy access to milk and meat, as well as to their dung, which was used as fuel, and their bones, hair, and sinew which were used for clothing, building, and tools. The earliest remnants of domesticated goats dating 10,000 years before the present are found in Ganj Dareh in Iran. Goat remains have been found at archaeological sites in Jericho, Choga Mami, Djeitun, and Cayonu, dating the domestication of goats in Western Asia at between 8,000 and 9,000 years ago.Literature comparison: Compare a harness ring depicting a goat, dated ca. 8th-7th century BC and attributed to Iran, probably Luristan, in the Metropolitan Museum of Art, accession number 32.161.30. Compare a bronze finial surmounted by a gazelle, dated 5th-4th century BC and attributed to Northwest China and southwestern Inner Mongolia, in the Metropolitan Museum of Art, accession number 2002.201.49. Compare a bronze rhyton with a centaur holding a goat, from Gilgit (Pakistan) and dated late 1st millennium BC, in the Ashmolean Museum Oxford, accession number EA1963.28.Auction result comparison: Compare a Transcaucasian bronze wild goat rattle standard, dated circa 13th-12th century BC, at Christie's New York in Antiquities on 13 October 2020, lot 5, sold for USD 87,500.

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

A RARE BRONZE 'ROARING BULL' POURING VESSEL, YI, SPRING AND AUTUMN PERIODChina, 770 to 476 BC. The deep rounded body supported on three legs, the front legs naturalistically rendered with paws and the hind leg slightly shorter and of cabriole form. Well cast with a wide spout formed from the open mouth of a roaring bull with large, bulging eyes, a broad snout, and curved ears, its tail in the shape of a dragon forming the loop handle. The animal's face is further decorated with archaic scroll and pierced in the center, the front legs with similar scroll decorations, and the hind leg issuing from a beast mask. Provenance: J. Y. Nathan, Paris, France, 2006. Collection particuliere française, acquired from the above.Expert Authentication: A copy of a 'Certificat D'Expertise' by J. Y. Nathan, Paris, France, dated 8 February 2006, dating the piece to the Warring States period, accompanies this lot.Condition: Excellent condition, commensurate with age. One small crack (ca. 2 cm long) to the edge of the body. Minuscule losses, nicks to edges and small dents. Few minor areas of erosion. Soil encrustations. Fine, naturally grown patina with extensive malachite encrustation.Weight: 902.4 gDimensions: Length 33 cmLiterature comparison: Compare a closely related bronze yi, also with a spout in the form of a bull's head, unearthed in Cailou village by the Xinzheng Municipal Cultural Relics Management Bureau in 2005, and another closely related bronze yi of similar form found in tomb M6 in Zhenghan Road, Xinzheng City, by the Xinzheng Work Station of the Henan Provincial Cultural Relics and Archaeology Institute. The tombs in Xinzheng were dated to the Spring and Autumn period because of the typological features of the bronze vessels, but the vessels are not described specifically as ritual vessels. See New Bronze Discoveries, China Heritage Newsletter, no. 3, September 2005, The Australian National University, fig. 2 and fig. 5.Auction result comparison: Compare a related bronze yi with a spout in the form of a dragon's head, 15.8 cm high, also dated to the Spring and Autumn period, at Sotheby's New York in Informing The Eye Of The Collector: Chinese Ceramics And Works Of Art From J.T. Tai & Co. on 22 March 2011, lot 188, sold for USD 40,000.春秋時期罕見青銅牛彜中國，公元前770 至 476年。深圓腹，三足，前腿自然前伸，可見蹄子，後腿略短。 鑄工精良，如咆哮的公牛，張開的嘴形成寬口，大而凸出的眼睛，寬闊的鼻子和彎曲的耳朵，尾巴呈環柄。 獸面飾雷紋地並在中央穿孔，前腿有類似的紋飾，後腿可見獸面紋。 來源：法國巴黎J. Y. Nathan收藏，2006年；法國particuliere française收藏，購於上述收藏 專家鑒定：隨附一份2006年2月8日法國巴黎J. Y. Nathan出具的 “Certificat D'Expertise”（《鑒定證書》），認爲此器來自戰國時代。 品相：狀況極佳，與年齡相稱。身體邊緣有一條小裂縫（長約2厘米）。微小的損失，邊緣的刻痕和小凹痕。很少有輕微的侵蝕區域。整體感覺不錯，油潤。土壤結痂。 精細、自然生長的銅綠，帶有廣泛的孔雀石結殼。 重量：902.4 克 尺寸：長33 厘米 拍賣結果比較：比較一件相近龍頭形青銅彜帶勺，高15.8 厘米，春秋時期，見紐約蘇富比Informing The Eye Of The Collector: Chinese Ceramics And Works Of Art From J.T. Tai & Co. 2011年3月22日 lot 188, 售價USD 40,000。

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

AN IMPORTANT AND RARE BRONZE RITUAL TRIPOD WINE VESSEL, JUE, SHANG DYNASTYChina, 13th century BC. The vessel is raised on tall, graceful, blade-shaped legs with sharp edges and cast with a band of taotie masks with raised bosses and indented flanges, one mask centered by a flange, the other by the handle and a two-character clan mark, cast on the body beneath. Above is a band of neatly incised short blades and two longer blades, one on the underside of the spout and one on the flared collar. A pair of capped posts with engraved scroll rises from the rim.Inscriptions: Two-character clan markProvenance: Bluett & Sons, London, circa 1960 or earlier. A private collector in London, acquired from the above and thence by descent. The present lot is listed in an inventory dated March 1977 which was compiled for insurance purposes. Copies of two pages from this inventory, each listing the jue vessel as a “Chueh”, one showing a value of GBP 2,500 (approx. GBP 40,000-60,000 today after inflation), the highest price for any item on either page, accompany this lot. A copy of a signed letter from Brian Morgan of Bluett & Sons, dated 22nd March 1977, accompanies this lot. Morgan replies to the owner of the Jue who requests “an up-to-date valuation for insurance purposes” from Bluett, stating that he “cannot remember [the present lot] well enough after the lapse of years” and asks for it to be brought in again. This indicates that the purchase must have taken place at least 10-15 years before 1977, pointing to an acquisition date of c. 1960.Bluett & Sons was an important dealer of Chinese works of art, founded by brothers Leonard and Edgar Bluett and later continued by Leonard's son Roger Bluett, who was president of the British Antique Dealers' Association, of which his father and uncle were founding members in 1919. Brian Morgan joined Bluett & Sons in 1954, where he became a director of the company.Condition: Excellent condition, commensurate with age. Minuscule nicks to edges and small dents. Few minor signs of erosion. Soil encrustations. Superb, naturally grown patina with various tones of malachite 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: 722.3 gDimensions: Height 19.2 cmThe present jue's shape is particularly elegant. The tall, slightly curved, blade-shaped legs are longer in proportion to the body than usual, thereby creating a sense of lightness. The vessel itself is also rather unusual, with a shallow, rounded lower body below the taotie band with pronounced upper and lower edges, which combined with the flanges create a distinct, slightly angular profile.Jue appear to have been essential to Shang dynasty rituals, as they are one of the most numerous vessels found in Shang tombs. Their shape implies that they were used for the heating and pouring of ritual wines, and possibly for drinking the wine.Expert's note: The present lot belongs to a distinct group of jue which is one of the earliest and largest types. It differs from later groups in that there is a clan mark, the decorations are particularly crisp, the undersides of the spout and collar are decorated with palm blades, the capped posts are incised, and the blade-shaped legs are taller and sharper. In general, later types are usually smaller and significantly less elaborate than the present lot. The discovery of comparable vessels in Fu Hao's tomb argues for a date at the end of the first century of the Anyang period (1300-1050 BC). See Robert W. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, vol. 1, The Arthur M. Sackler Foundation, Washington, D.C., 1987, page 182, figure 12.1, and pager 185, number 13. This type of jue appears to be extremely rare compared to later types, with not a single example as well-preserved sold at auction by Christie's or Sotheby's after 2000.Literature comparison: A near-identical jue is illustrated by Robert W. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, vol. 1, The Arthur M. Sackler Foundation, Washington, D.C., 1987, p. 184-185, no. 13, which is dated 13th century BC.Auction result comparison: Compare a pair of closely related jue, 19.8 cm high, dated 13th-12th century BC, at Christie's New York in Important Chinese Ceramics and Works of Art on 25 September 2020, lot 1503, sold for USD 118,750. Note that the Christie's pair of jue are less well-preserved than the present lot, and thus this auction result does not adequately reflect the value of the present lot. Compare a related jue, 22.8 cm high, dated 13th-12th century BC, of slightly different form with a bovine mask above the handle and elongated capped posts, at Christie's New York in Fine Chinese Ceramics and Works of Art on 21 March 2014, lot 2017, sold for USD 112,500.商代重要青銅三足酒器爵中國，公元前十三世紀。圓腹，一側的口部前端有流——倒酒的流槽，後部尖狀尾，流與口之間有立柱，腹部一旁有把手，杯腹一側有鋬，呈獸頭銜環狀，下有三個錐狀長足。三足高大細長外撇，刀狀。頸部蕉葉紋，流下雷紋地蕉葉紋，腹部饕餮紋，把手一側的腹部有兩個字符，可能為家族標記，整體器形線條流暢。 款識: X己 來源：倫敦Bluett & Sons藝廊，約 1960 年或更早。倫敦私人收藏，購於上述藝廊，保存至今。此拍品可在1977年3月的一份保險文件找到。隨附一份兩頁的清單副本，當時寫著 “Chueh”, 價格為 GBP 2,500 (相當於現在的 GBP 40,000-60,000 ), 單子上都寫著藏品的最高價格。隨附一份Bluett & Sons 藝廊的Brian Morgan寫的信，時間爲1977年3月22日。Morgan 回復爵的持有人關於保險最新估價，“cannot remember [the present lot] well enough after the lapse of years”（多年後記不清）並問是否可以買回來。這表明購買應該是在 1977 年之前至少 10-15 年前進行的，表明購買日期為 1960年前後。 Bluett & Sons是中國藝術品的重要經銷商，藝廊由Leonard 與Edgar Bluett兄弟共同創立，後來由Leonard的兒子Roger Bluett繼承，他是英國古董商協會的主席，他的父親和叔叔是該協會1919 年的創始成員。Brian Morgan 於 1954 年加入 Bluett & Sons，並擔任公司董事。 品相：狀況極佳，與年齡相符。邊緣有微小的刻痕和凹痕。 少量有輕微的侵蝕跡象。佈滿了青綠色的銅鏽，紋飾保存得非常好，十分珍貴。 重量：722.3 克 尺寸：高19.2 厘米 整體器形線條流暢，高而略彎曲的刀狀腿比通常的更長，張弛有度，下腹淺且圓，素面無紋，上下邊緣明顯。爵在商朝儀式中至關重要，它們是商墓中發現的數量最多的器皿之一，用於加熱和倒酒，也可能用於飲用酒。 專家注釋：本拍品是一件很獨特的爵。與後世的不同之處在於有氏族印記，紋飾清晰，流和頸部下飾有蕉葉紋，刀形腿更高更鋒利。一般來說，後來的類型通常比此拍品更小，而且精緻得多。在婦好墓中發現了類似的器皿，表明其時間為安陽時代（公元前 1300-1050 年）末。見Robert W. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, 第1冊, The Arthur M. Sackler Foundation, Washington, D.C., 1987, 第182頁，圖12.1, 以及第185頁, 圖13. 此類爵相比于後來的如佳士得或蘇富比2000年之後的拍品，保存完好，十分珍貴。 文獻比較：一件幾乎一模一樣的爵，見Robert W. Bagley, Shang Ritual Bronzes，Arthur M. Sackler 收藏，第 1冊, 華盛頓The Arthur M. Sackler Foundation基金會，1987年, 第184-185頁, 圖13, 公元前十三世紀。 拍賣結果比較：比較一對相似的爵，高19.8 厘米，公元前十三至十二世紀 ，見紐約佳士得Important Chinese Ceramics and Works of Art 2020年9月25日 lot 1503, 售價USD 118,750。注意佳士得的一對爵保存得沒有這麽好，因此，該拍賣結果並不能充分反映當前拍品的價值。比較一件相近的爵，高 22.8 厘米，公元前十三至十二世紀，形狀略有不同，手柄上方有一個牛面紋和加長的柱, 見紐約佳士得Fine Chinese Ceramics and Works of Art 2014年3月21日 lot 2017, 售價USD 112,500。

AN IMPORTANT AND RARE BAMBOO FIGURE OF A CITIPATI, 17TH-18TH CENTURYTibet or Himalayas. Finely carved standing in samabhanga atop a small skull, lacking feet or arms, the spine neatly detailed, the ribs well-executed in openwork, the two large eye sockets vacant, with fierce grimace and teeth bared. Wearing a crown in the form of a vajra rising from lotus-lappets behind three smaller skulls.Provenance: Marc Assayag, Montreal. Indian Heritage, Paris, acquired from the above. Collection d'un Grand Amateur, France, acquired from the above. Marc Assayag is an art dealer, photographer, researcher, and writer. As one of the pioneers of presenting Tribal Art, Marc has been engaged as guest curator in New York, invited to travel with the Cousteau Foundation and served as photographer for many noted publications. As an international Art dealer, Marc participates in major art fairs around the world both as lecturer and dealer. Specializing in Melanesian art, Marc is also, since 2015, owner of the world class Jolika Collection of New Guinea art, and its reputed library. Established in 2006 by Frederic Rond, Indian Heritage is a gallery specializing in Indian and Himalayan art. Located in St Germain des Pres, Paris, it offers a large selection of primitive and classical pieces with a focus on Himalayan masks.Condition: Very good condition with minor old wear, few minuscule nicks, and occasional light scratches. Fine natural patina, commensurate with age, and an unctuous feel overall.Weight: 107.2 g (excl. stand)Dimensions: Height 30.7 cm (incl. stand) and 29.6 cm (excl. stand)With an associated metal stand. (2)Auction result comparison: Compare a related but larger gilt-bronze figure, described as a Chitipati or Kinkara from Tibet or the Himalayas and also dated 17th-18th century, at Sotheby's Hong Kong in The Heart of Tantra – Buddhist Art Including Property from the Nyingjei Lam Collection on 2 October 2017, lot 3144, sold for HKD 9,100,000. 十七至十八世紀罕見竹雕屍陀林像 西藏或喜馬拉雅。竹雕屍陀林立像，無足無臂，脊椎細密，肋骨鏤空，兩個大眼窩，猙獰地露出牙齒。頭上有三個骷髏，其後有一個金剛冠。 來源：蒙特利爾Marc Assayag。巴黎的Indian Heritage，購於上述收藏。法國 一個業餘愛好者收藏，購自上述收藏。 Marc Assayag 是一位藝術品經銷商、攝影師、研究員和作家。 作為展示部落藝術的先驅之一，Marc曾在紐約擔任客座策展人，受邀與Cousteau基金會一起旅行，並擔任許多著名出版物的攝影師。 作為國際藝術品經銷商，Marc 以講師和經銷商的身份參加世界各地的主要藝術博覽會。 Marc 專注於美拉尼西亞藝術，自 2015 年以來，他還是世界一流的新幾內亞 Jolika 藝術收藏館及其著名圖書館的所有者。 Indian Heritage 由 Frederic Rond 於 2006 年創立，是一家專門從事印度和喜馬拉雅藝術的藝廊。 它位於巴黎的聖日耳曼德佩區，有大量原始和古典作品，重點是喜馬拉雅面具。品相：狀況極其好，有輕微的磨損，微小的劃痕，局部有輕微劃痕。 細膩的自然光澤，與年齡相稱，整體感覺潤滑。 重量：不含底座107.2 克 尺寸：總高 30.7 厘米，不含29.6 厘米 配金屬支架 (2) 拍賣結果比較：比較一件稍大的十七至十八世紀西藏銅鎏金屍陀林或吉迦夜像見香港蘇富比The Heart of Tantra – Buddhist Art Including Property from the Nyingjei Lam Collection 2017年10月 2日 lot 3144, 售價HKD 9,100,000。

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

A TIBETAN-CHINESE GILT COPPER-ALLOY ARM OF A BODHISATTVA, LATE MING TO EARLIER QING17th-18th century. The hand held in karana mudra, the lower arm and wrist applied with an elaborate bracelet decorated with vajras and strings of beads. The interior with a wood core.Provenance: Collection of Richard Nathanson. Richard Nathanson (d. 2018) began his career as a porter at Sotheby's in 1966 and subsequently joined the Impressionist department. He left in 1970 to set up as an independent art advisor and had a particular involvement with Sisley, Modigliani, Rouault, Renoir, and Bonnard. He produced BBC documentaries and publications on several of these artists.Condition: The fragment in good condition, commensurate with age. Small nicks and dents, light scratches, minor losses, few structural cracks.This gesture, also known as tarjani mudra, expels demons, and removes obstacles such as sickness or negative thoughts. It is performed by raising thumb, index and little finger, thereby folding the remaining fingers.Weight: 2,574 g (incl. stand)Dimensions: Length 36.5 cmMounted to an associated metal stand. (2)Auction result comparison: Compare a related but larger (56.5 x 52.5 cm) gilt-bronze arm of Buddha, dated to the Ming dynasty, at Sotheby's Hong Kong in EYE/EAST on 21 May 2020, lot 5001, sold for HKD 275,000. 明末清初漢藏鎏金銅佛手殘件 十七至十八世紀。手施説法印，下臂和手腕上飾有精緻的飾品，上有金剛杵和串珠。佛手內部為木芯。 來源：Richard Nathanson收藏。Richard Nathanson (2018年去世) 於1966 年在蘇富比開始了他的職業生涯，隨後加入了印象派部門。 他於 1970 年離開，成為一名獨立的藝術顧問，並特別參與了 Sisley、Modigliani、Rouault、Renoir 和 Bonnard的項目。 他為其中幾位藝術家製作了 BBC 紀錄片和出版物。品相：殘件品相良好，與年齡相稱。 小劃痕和凹痕，輕微的劃痕和缺損，少量結構裂縫。 重量：2,574 克 (含底座) 尺寸：長 36.5 厘米 金屬底座 (2) 拍賣結果比較：比較一件相近但更大 (56.5 x 52.5 厘米) 的明代銅鎏金佛手臂，見香港蘇富比EYE/EAST 2020年5月21日lot 5001, 售價HKD 275,000。

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

A RARE BRONZE RITUAL WINE VESSEL, GU, SHANG DYNASTYChina, 14th-13th century BC. The vessel has a plain trumpet-shaped neck and spreading foot, and the bulbous mid-section is cast with two taotie masks with boss-like eyes divided and separated by slender notched flanges and set between raised bow-string borders, the lower of which is interrupted by a cruciform aperture.Provenance: Roger Keverne, London, 16 October 2009. A British private collection, acquired from the above and thence by descent. Note that Roger Keverne's pricelist for this exhibition states a purchase price of GBP 18,000 (approx. GBP 26,350 today after inflation) for the present lot.Published: Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics Winter Exhibition, London, 2009, no. 1. Condition: Excellent condition, commensurate with age. Minuscule nicks to edges and small dents. Few minor signs of erosion. Old wear. Superb, naturally grown patina with various tones of malachite as well as some cuprite and azurite encrustation.Weight: 516.2 gDimensions: Height 19 cmExpert's note: The present vessel belongs to the latter stage of the Erligang phase. Robert W. Bagley in Shang Ritual Bronzes in the Arthur M. Sackler Collections, volume 1, The Arthur M. Sackler Foundation, Washington, D.C., 1987, illustrates a series of bronze gu that span this transitional period, pages 218-219, figures 25.1-6. In these illustrations one can see the gradual change in the shape from the broader silhouette of the earlier examples, figures 25.1 and 25.2, to the taller and more slender silhouette of the later examples, figures 25.5 and 25.6, and notes that the thickened waist is seen only occasionally during this period. Furthermore, all of these vessels, along with the present vessel, share similar cruciform apertures left by the casting process.Literature comparison: For related examples, see Jan Fontein and Tang Wu, Unearthing China's Past, no. 7, p. 37-38, and note particularly fig. 5, excavated at Minggonglu, Zhengzhou, Henan Province, which has a very similar decorative band and a cruciform aperture, and see Hubei Provincial Institute of Cultural Relics and Archaeology, The Panlongcheng Site Report of Archaeological Excavation from 1963-1994, vol. 2, color pl. 30, fig. 1 (PYWM 4:6), pl. 36, fig. 1 (PWZM 1:4), and pl. 87, Fig. 2 (PYWM 11:5). 商代青銅觚中國，公元前十四至十三世紀。此器敞口呈喇叭形，長頸，腰腹收窄，斜坡狀圈足；器身紋飾分為三段，口部到頸部素面無紋，至中部兩道凸弦紋，中部饕餮紋，兩條扉棱對稱分佈，腹部與圈足之間飾兩道凸弦紋，底足部素面。整器線條優美流暢，銅質富光澤，金屬厚重。來源：倫敦Roger Keverne 2009年10月16日；英國私人收藏，購於上述藝廊並保存至今。請注意Roger Keverne當時的展覽價格單上價格為GBP 18,000 (相當於現在的 GBP 26,350)。 出版: Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics Winter Exhibition, 倫敦2009年, 圖 1. 品相：狀況極佳，與年齡相稱。 邊緣有微小的刻痕和小凹痕。少量輕微的侵蝕跡象，以及舊時磨損。 自然生長的包漿，帶有各種色調的美麗鏽斑。重量：516.2克 尺寸：高19 厘米 專家注釋: 此拍品來自於二里崗後期。見Robert W. Bagley 在 Arthur M. Sackler 收藏中的青銅禮器，第 1 卷，Arthur M. Sackler 基金會，華盛頓特區，1987 年，展示了跨越這一過渡時期的一系列青銅器，第 218-219 頁，圖 25.1-6。在這些插圖中，我們可以看到從早期例子（圖 25.1 和 25.2）的較寬輪廓到後面的例子（圖 25.5 和 25.6）的更高和更細長的輪廓的形狀在逐漸變化，腰部加粗，也可以在此期間偶爾看到。此外，所有這些青銅器，連同本器，在鑄造過程都留下的類似的十字形孔。 文獻比較: 一件相近青銅器，見Jan Fontein and Tang Wu, Unearthing China's Past, no. 7, p. 37-38, 請注意特別是圖 5、出土於河南鄭州明公路，裝飾帶與十字形孔極為相似；另見 湖北省文物考古研究所The Panlongcheng Site Report of Archaeological Excavation from 1963-1994, 第 2冊，彩圖 30, 圖 1 (PYWM 4:6), 圖 36, 圖1 (PWZM 1:4), 以及圖 87, 圖2 (PYWM 11:5)。

AN IMPORTANT THANGKA DEPICTING ZANABAZAR, 19TH CENTURYMongolia. Distemper and gold on cloth. Seated on a low cushion, backed by a bolster and a halo, dressed in heavy robes, holding a vajra in his raised right hand and a ghanta in his lowered left. An offering of peaches stands before him and a group of small vessels on a low table to his right. The background with green hills under a blue sky behind the elaborate curtain painted with floral scroll. Five-character inscription to backside. Provenance: From a Hungarian private collection.Condition: Good condition with only minor wear, little soiling and creasing, and small losses here and there. Possibly minuscule touch-ups.Dimensions: Image size 32 x 21.5 cm, Size incl. frame 44.9 x 34.6 cmMatted and framed behind glass.Jetsun Lobzong Tenpai Gyaltsen (1635-1723), commonly known as Zanabazar, was an important Mongolian religious figure and personal guru to the Kangxi Emperor (1654-1722). The son of Khalkha Tushyetue Khan, leader of the Khalkha Mongols, Zanabazar was at an early age recognized by both the Panchen Lama and Dalai Lama as the reincarnation of the Tibetan lama, Taranatha (1575-1634), and proclaimed the First Jetsundamba, an honorific title. He traveled to Tibet to continue his religious instruction under the powerful Gelugpa lamas before returning to Mongolia in 1651, bringing fifty sculptors and painters with him in an attempt to establish the Gelug order amongst the Mongols. Rather than settle at one established monastery, his portable temples traveled from one oergoeoe (traveling place) to another, in what became known as Da Khuree (Great Circle).During his time as religious leader of the Khalkha Mongols, Zanabazar oversaw a proliferation of Buddhist art in the region. He is especially known for his visualization and design of gilt bronze sculpture, subsequently carried out by master Nepalese bronze casters, which are widely recognized as some of the finest Buddhist bronze sculpture created.In 1691, faced with the threat of the rival Dzungar Mongols, Zanabazar agreed to integrate the Khalkha into the Qing Empire, at a ceremony before the Kangxi Emperor at Dolonnor Monastery. While Zanabazar had previously sent tribute and religious gifts to Kangxi, the formal ceremony solidified the relationship between the two men. In later life, Zanabazar acted as the personal religious teacher to Kangxi in Beijing. With the help of his guru, the Emperor took an increasing interest in Buddhism and established a tradition of Imperial propagation of Buddhist art that continued into the reigns of his son and grandson, the Yongzheng and Qianlong Emperors.Today, Zanabazar is viewed as one of Mongolia's most important historical figures, celebrated for propagating Tibetan Buddhism throughout Mongolia while reshaping it to fit Mongolian sensibilities, thereby establishing for the Mongols a unique cultural identity. His artistic works are generally regarded as the apogee of Mongolian aesthetic development and spawned a cultural renaissance among Mongols in the late 17th century. Even during the country's socialist era (1921-1991) he was acknowledged to be a prominent scholar (his religious roles quietly discarded) and recognized for his artistic and cultural achievements. As a political personality, however, socialist authorities portrayed Zanabazar as a traitor and deceiver of the masses, responsible for the loss of Mongolian sovereignty to the Manchu. In the post socialist era, however, there has been a reevaluation of his image to where his actions in negotiating the Khalkha's submission to the Qing are considered to have been in the long term interests of Mongolia, and he is generally exonerated for his role in 1691.Literature comparison: Compare a related Mongolian thangka of Zanabazar, also dated to the 19th century, in the collection of the Rubin Museum of Art, object number C2006.66.587. 十九世紀哲布尊丹巴呼圖克圖唐卡蒙古。布面描金膠彩。活佛坐在一個矮墊子上，背靠一個靠枕，身後有光背。身著厚重的長袍，舉起的右手拿著金剛杵，低垂的左手拿著金剛杵。 一個桃子供奉在他面前，右邊的一張矮桌上置放著一組小器皿。背景是藍天下的青山，花卉紋窗簾。來源：匈牙利私人收藏。 品相：狀況良好，只有輕微磨損、少量汙漬和起皺，而且到處都有小缺損。輕微修補。 尺寸：畫面32 x 21.5 厘米，總44.9 x 34.6 厘米 玻璃裝框。

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

In cedar wood, with ebony and stained bone inlays, measurements: 13 x 27.5 x 15 cm. Provenance: private collection, Paris, Export permit attached. The piece that we present stands out for it's quality and the use of inlay marquetry, an Andalusian technique characteristic of the Spanish Late Middle Ages as an ornamental procedure for furniture and household items. The term inlay, whose origin is found in the Arabic word tarsi (inlay), traditionally applied to the ornamentation of pieces of furniture with fine fragments of different colors and textures, as well as with other materials such as bone and ivory. We find the origin of this industry in Córdoba, during the Omeya al-Andalus, it will not be until the time of the Nasrid sultanate, when its use becomes popular in noble and courtly environments as a procedure to ennoble objects of the wealthiest classes. After the capture of Granada, even before the conquest, we find pieces produced with the same Moorish influence. As a synonym, the Spanish word “marquetry” is usually used. Already in the Caliphate period, an excellent cabinet-making workshop located in the Umayyad Córdoba was active in al-Andalus. A technique that consists of gluing small prismatic portions (triangular and/or trapezoidal) of ivory or bone – in natural color or dyed, together with small polygonal pieces of selected woods, often of exotic origin (aloe, ebony, sandalwood, boxwood). , lemon Tree…), to which fragments of tortoiseshell or mother-of-pearl and even small metallic silver or bronze points were added. To achieve the green color of the inlays, the most used technique was to obtain it based on copper compounds impregnated in the bone. Even after the capture of Granada, Moorish artisans ran inlay workshops located in places like Seville, Aragon or Catalonia. These converted masters would be in charge of keeping this production alive throughout the Modern Age, even exporting it to the New Continent. Also noteworthy is the use of inlay since the 14th century in workshops in northern Italy, applied to pieces of ivory or bone. Far from disappearing, in the 18th and 19th centuries the marquetry of the Moorish tradition acquired a great diffusion in the Peninsula, deeply rooted in the artisan practice of southern Spain, in such a way that even today it is possible to acquire in Granada both modern souvenirs executed in this technique and interpretations and reproductions of furniture in marquetry emulating the mastery of Mudejar artisans. Works in comparison: Nazarí casket in marquetry, Instituto Valencia de Don Juan, Madrid, inv. nº 4862 Reference bibliography: “GALÁN, Medieval Ivories of Islam, p. 483” ; “Yes. CALVO CAPILLA, “Two inlaid chests”, in IG BANGO TORVISO (coord.), Wonders of medieval Spain. Sacred treasure and monarchy, Valladolid, 2001, vol. I, p. 120, no. 36; Art and cultures of al-Andalus, cat. No. 156”. in such a way that even today it is possible to acquire in Granada both modern souvenirs executed in this technique and interpretations and reproductions of furniture in marquetry emulating the mastery of Mudejar craftsmen. Works in comparison: Nazarí casket in marquetry, Instituto Valencia de Don Juan, Madrid, inv. nº 4862 Reference bibliography: “GALÁN, Medieval Ivories of Islam, p. 483” ; “Yes. CALVO CAPILLA, “Two inlaid chests”, in IG BANGO TORVISO (coord.), Wonders of medieval Spain. Sacred treasure and monarchy, Valladolid, 2001, vol. I, p. 120, no. 36; Art and cultures of al-Andalus, cat. No. 156”. in such a way that even today it is possible to acquire in Granada both modern souvenirs executed in this technique and interpretations and reproductions of furniture in marquetry emulating the mastery of Mudejar craftsmen. Works in comparison: Nazarí casket in marquetry, Instituto Valencia de Don Juan, Madrid, inv. nº 4862 Reference bibliography: “GALÁN, Medieval Ivories of Islam, p. 483” ; “Yes. CALVO CAPILLA, “Two inlaid chests”, in IG BANGO TORVISO (coord.), Wonders of medieval Spain. Sacred treasure and monarchy, Valladolid, 2001, vol. I, p. 120, no. 36; Art and cultures of al-Andalus, cat. No. 156”. nº 4862 Reference bibliography: “GALÁN, Medieval Ivories of Islam, p. 483” ; “Yes. CALVO CAPILLA, “Two inlaid chests”, in IG BANGO TORVISO (coord.), Wonders of medieval Spain. Sacred treasure and monarchy, Valladolid, 2001, vol. I, p. 120, no. 36; Art and cultures of al-Andalus, cat. No. 156”. nº 4862 Reference bibliography: “GALÁN, Medieval Ivories of Islam, p. 483” ; “Yes. CALVO CAPILLA, “Two inlaid chests”, in IG BANGO TORVISO (coord.), Wonders of medieval Spain. Sacred treasure and monarchy, Valladolid, 2001, vol. I, p. 120, no. 36; Art and cultures of al-Andalus, cat. No. 156”.

Art Nouveau miniature bronze of a lady, in flowing dress, stamped 'Bermann' (Fritz Bermann), 8.5cm high, plus an Art Nouveau paper knife with female bust portrait, marked 'Riedl', 24cm long (2)Condition report: 1st item in VGC - rubbing to 2nd item commensurate with age and use.

Austrian cold painted bronze bear, modelled in standing pose holding a cub, 6cm highCondition report: Typical paint losses to tips of ears, noses and feet commensurate with age and handling.

A bronze model of a tiger on a stone base, second quarter 20th century, inscribed 'KRACOWSKI', 32cm high, 48cm in length overall Provenance: From the collection of the late Selwyn Demmy   Condition Report: Overall there are scratches, scuffs and abrasions consistent with age. The tiger a variable golden bronze and darker brown patination with some shine. The stone base of matt slightly granulated finish and has discoloured with touch, dirt and dust. Condition Report Disclaimer

A Regency rosewood, inlaid and chevron banded casket, the bronze handle as clasped hands, the lid with internal mirror, on cast paw feet, width 22cm.Provenance:Alan Bennett (1930-2021) was an enormously respected, Cornwall-based antiques dealer.Alan Bennett started working in the antiques trade in the early 1950s for Parker’s of Blackheath before joining Harrod's Antiques Department. He moved to Cornwall in 1954 and opened his own shop, gradually expanding and offering one of the largest selections of antiques in Cornwall. He was assisted in the business by his wife Winifred, son Justin, and a team of restorers. He retired in April 2007.He was a man of refined manners, always impeccably dressed and he bought pretty, elegant things across the board, Dresden china and pierced silver Bon-Bon baskets but also brightly coloured Staffordshire figures, although it was the furniture that really fed his passion and he specialised in good quality Georgian and later furniture.David Lay reminiscences: "He would sit in the front row bidding with awesome discretion. Nothing as vulgar as a nod or wink. His demeanour told me he was bidding but of course, I knew his taste. I knew when he “should” be bidding. Often Winifred would view with Alan, the perfect couple.Happy memories of a different age. "Through his 50 years in the trade, he amassed an eclectic collection of very good quality art and antiques, many of which we are delighted to be offering here at Lays Auctions across various sales.

After Rousseau, a bronze group of three cherubs, early 20th century, emblematic of art, music and science, on a marble socle, height 41cm.Provenance:Alan Bennett (1930-2021) was an enormously respected, Cornwall-based antiques dealer.Alan Bennett started working in the antiques trade in the early 1950s for Parker’s of Blackheath before joining Harrod's Antiques Department. He moved to Cornwall in 1954 and opened his own shop, gradually expanding and offering one of the largest selections of antiques in Cornwall. He was assisted in the business by his wife Winifred, son Justin, and a team of restorers. He retired in April 2007.He was a man of refined manners, always impeccably dressed and he bought pretty, elegant things across the board, Dresden china and pierced silver Bon-Bon baskets but also brightly coloured Staffordshire figures, although it was the furniture that really fed his passion and he specialised in good quality Georgian and later furniture.David Lay reminiscences: "He would sit in the front row bidding with awesome discretion. Nothing as vulgar as a nod or wink. His demeanour told me he was bidding but of course, I knew his taste. I knew when he “should” be bidding. Often Winifred would view with Alan, the perfect couple.Happy memories of a different age. "Through his 50 years in the trade, he amassed an eclectic collection of very good quality art and antiques, many of which we are delighted to be offering here at Lays Auctions across various sales.Condition report: There are some small 1cm long chips to the marble base, which can only be seen if one is intently looking. To the rear of the statue, there is some slight discolouration to the gilt, located on the plinth. The bronze is black in colour.

A French bronze and ormolu candlestick, late 19th century, modelled as a winged griffin, on a stepped rectangular base, height 28cm.Provenance:Alan Bennett (1930-2021) was an enormously respected, Cornwall-based antiques dealer.Alan Bennett started working in the antiques trade in the early 1950s for Parker’s of Blackheath before joining Harrod's Antiques Department. He moved to Cornwall in 1954 and opened his own shop, gradually expanding and offering one of the largest selections of antiques in Cornwall. He was assisted in the business by his wife Winifred, son Justin, and a team of restorers. He retired in April 2007.He was a man of refined manners, always impeccably dressed and he bought pretty, elegant things across the board, Dresden china and pierced silver Bon-Bon baskets but also brightly coloured Staffordshire figures, although it was the furniture that really fed his passion and he specialised in good quality Georgian and later furniture.David Lay reminiscences: "He would sit in the front row bidding with awesome discretion. Nothing as vulgar as a nod or wink. His demeanour told me he was bidding but of course, I knew his taste. I knew when he “should” be bidding. Often Winifred would view with Alan, the perfect couple.Happy memories of a different age. "Through his 50 years in the trade, he amassed an eclectic collection of very good quality art and antiques, many of which we are delighted to be offering here at Lays Auctions across various sales.Condition report: The candlestick is leans slightly back but this is witnin the manufacture. The sconce is slightly bent. The griffin's tail is loose and moves easily. The gilt on the bronze is scratched and tarnished in all areas. The base collar is loose and needs attaching. Chips to all the marble corners and edges on the base.

A pair of bronze cricketing bookends by Elaine JamesCondition report: Good condition, wear commensurate with age and use. Dimensions for the bowler are 25 x 23.5 x 10.5cm, for the wicket keeper the dimensions are 18 x 23.5 x 10.5cm. Unfortunately we have been unable to find any information about the artist.

Chinese Dagger. A Chinese bronze dagger from the Henan probably Mid to Late Second B.C., cast bronze with 33cm tapered blade and integral handle with two rings and flat circular pommel, verdigris throughout and signs of age and use, overall length 41.5cm long, presented in a modern Chinese box Qty: (1)Footnote: Provenance: Private collection, Kent.

A BRONZE FIGURE OF BUDDHA MARAVIJAYA, LAOS, 16TH-17TH CENTURYSeated in maravijaya pose with elegantly contoured hands, his face with a serene expression and downcast eyes, all below arched brows connected by his nose-bridge, the face flanked by elongated earlobes, his hair tightly curled below a ketumala rising from his ushnisha.Provenance: From the collection of Godfried Wauters, who has been active in the Belgian trade for over 40 years. He has built a substantial art collection including Chinese and Buddhist sculptures, significantly expanding on the collection already built by his late father Gustaaf Wauters (1905-1992). Condition: Good condition with general wear, remnants of lacquer and gilt, minor losses, traces of use, some corrosion and other signs of age.Dimensions: Height 59 cm

A LARGE GILT-BRONZE FIGURE OF PADMASAMBHAVA, LATE QING TO REPUBLICTibet, ca. 1850-1950. Heavily cast, seated in dhyanasana atop a double lotus base with beaded upper edge, holding in his right hand a vajra and in his left a skullcup. He is wearing voluminous robes finely incised with cloud designs, the hems with foliate scroll and floral diaper, and richly adorned with jewelry, inlaid with coral and turquoises. The hair in fine strands falling elegantly over the shoulders, surmounted by a peaked Tantric cap with upturned sides topped with a feather and centered by a crescent moon surmounted by a sun.Provenance: UK trade.Condition: Overall in good condition commensurate with age. Few minor nicks, dents, losses, light scratches, and wear to gilt. Some casting irregularities, signs of corrosion, dark spots, remnants of old varnish and pigment, some inlays are lost while others might be later replacements, the trident (which was attached using the tang below his proper left shoulder) is lost. The base retains its original sealplate and, considering the heavy weight of the statue, it can be assumed that the contents of the statue are still present.Weight: 4,944 gDimensions: Height 33.8 cmHis expressive face is marked by remarkably intense eyes, furrowed brows, a fine mustache, and full lips, flanked by long pendulous earlobes. The base sealed and incised with a double vajra.Padmasambhava (literally 'lotus-born' in Sanskrit), also known as Guru Rinpoche among Tibetans, is believed to be one of the principal masters to bring Buddhism to Tibet and to teach the tantras in the 8th century. He is depicted in numerous forms with different names representing outer, inner and secret aspects of his spiritual being, with the change of names following the chronology of his life story. In the 5th century BC, Buddha Shakyamuni arrived as the founder of Buddhism. His teachings were subsumed by the Sutrayana and the Tantryana. In the 8th century, Padmasambhava personified the guru principle, the ritualistic path of Buddhism and the heart of Vajrayana Buddhism. They are exemplified in its flourishing after it was introduced into Tibet and the Himalayas between the 7th and 11th centuries. Because of Padmasambhava's teachings and contribution, he is known as the 'Second Buddha'.Literature comparison: Compare a closely related gilt bronze figure of Padmasambhava, dated to the 17th century, in the collection of the Museum Rietberg in Zurich, inventory number BA 120. Compare a related gilt bronze figure of Padmasambhava, dated 16th-17th century, in the collection of the British Museum, museum number 1992,1214.49.Auction result comparison: Compare a related gilt bronze figure of Padmasambhava, 25.5 cm high, dated 16th-17th century, at Christie's Paris in Art d'Asie on 8 June 2010, lot 355, sold for EUR 46,600. Compare a related gilt bronze figure of Padmasambhava, 26 cm high, dated circa 15th century, at Bonhams London in Fine Chinese Art on 12 November 2015, lot 74, sold for GBP 50,000. 清末至民初大型銅鎏金蓮花生像西藏，約1850-1950年。蓮花生大士結禪定座坐於雙層蓮座上，右手執金剛杵，左手執頭骨杯。他身著交領式僧衣，層層套迭，衣紋自然流暢，繁複華美，帽簷以日月為中心，耳環上鑲嵌綠松石。來源：英國古玩市場。品相：總體狀況良好，與年齡相稱。少量輕微的劃痕、凹痕、缺損和鎏金磨損。一些鑄件不規則，有腐蝕跡象、黑點、舊清漆和顏料的殘留物，一些鑲嵌物丟失，一些可能是後來更換的，三叉戟（左肩下方的柄腳連接）丟失了。底座保留了原來的封印板。考慮到雕像的重量，雕像內部的內容可能仍然存在。重量：4,944 克尺寸：高 33.8 厘米拍賣結果比較：比較一件銅鎏金蓮花生大士像，高25.5釐米，為十六至十七世紀，見巴黎佳士得Art d'Asie 2010年6月8日 lot 355, 售價EUR 46,600。比較一件相似的銅鎏金蓮花生大士像，高26釐米，約十五世紀，見倫敦邦翰思Fine Chinese Art 2015年11月12日 lot 74, 售價GBP 50,000。

AN ORDOS 'WOLF HEAD' BRONZE PLAQUE, WARRING STATES PERIODChina, Inner Mongolia, 5th-3rd century BC. Finely cast as a wolf's head, with pierced eyes and ears, the reverse set with a loop for attachment. Provenance: Grays Antique Center, London, 1999. Dr. Koos de Jong, acquired from the above (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in "Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond". Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Good, original condition, remarkable considering its age. With some wear, minuscule nicks, and scratches. Minor encrustations to the reverse.Weight: 3.6 g Dimensions: Height 2.7 cmLiterature comparison: For a related plaque, see E.C. Bunker, Ancient Bronzes of the Eastern Eurasian Steppes from the Arthur M. Sackler Collections, New York 1997, p. 247, no. 205. 戰國鄂爾多斯狼頭銅件中國，内蒙古，公元前五至三世紀。鑄造成狼頭狀，眼睛和耳朵為圈狀，背後有一個環。 來源：倫敦Grays Antique Center藝廊，1999年。Dr. Koos de Jong收藏，2004年購於紐約亞洲藝術博覽會（發票已遺失）。Drs. de Jong是一位荷蘭藝術史學家，幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。品相：良好的原始狀態。有一些磨損、微小的劃痕，背面有輕微的結殼。 重量: 3.6 克 尺寸：高 2.7 厘米

A GILT-BRONZE FIGURE OF A LADY, MING DYNASTYChina, 1368 to 1644. Cast in the form of a standing court lady, holding a gui tablet, wearing a long flowing robe neatly incised with floral decor along the hems, tied up by a sash with geometric designs. The face with a serene expression and full lips. The hair arranged in a high chignon behind the tiara.Provenance: From a private collection, Northern California, USA.Condition: Good condition, commensurate with age. Old wear and minor casting flaws. Minuscule nicks, losses, dents, light scratches, and wear to the gilt. The gui tablet may be a later addition. Remnants of ancient pigment.Weight: 350 gDimensions: Height 13.3 cmAuction result comparison: Compare a related gilt bronze figure of a lady, dated to Song to Ming dynasty, of slightly smaller size (12.8 cm) at Sotheby's Hong Kong in Later Chinese Bronzes from the Collection of Ullrich Hausmann on 7 October 2014, lot 3353, sold for HKD 43,750. 明代銅鎏金仕女立像中國，1368 至1644年。仕女立像，手持掛牌，身著飄逸長袍，衣擺上飾花卉紋，繫著幾何圖案的綬帶。 臉上表情平靜，嘴唇豐滿，頭髮成高髻。 來源：美國北加利福尼亞私人收藏。品相：狀況良好，與年齡相稱，磨損和輕微鑄造瑕疵，微小的刻痕、損失、凹痕、輕微劃痕和鎏金磨損。掛板可能是後來添加的。 古代顏料殘餘。 重量：350 克 尺寸：高13.3 厘米 拍賣結果比較: 比較一件相近的宋明時期銅鎏金仕女像，12.8厘米，見香港蘇富比Later Chinese Bronzes from the Collection of Ullrich Hausmann 2014年10月7日 lot 3353, 售價HKD 43,750。

A BRONZE FIGURE OF BUDDHA SHAKYAMUNI, 16TH-17TH CENTURYLaos. Seated in virasana atop a shaped tiered base with incised lotus petals, his right hand in bhumisparshamudra, the left resting on his lap, wearing samghati, his face with downcast expression, incised eyes, aquiline nose, smiling lips, elongated earlobes, curled hair dress and usnisha, the latter surmounted by a jewel.Provenance: French trade.Condition: Good condition, commensurate with age. Areas of minor heat damage. The jewel surmounting the ushnisha is a later replacement. Old lacquer coating and remnants of gilt. Minor wear and casting flaws, small dents, some losses, minuscule nicks, and light scratches. The base with a small old repair (ca. 6 x 6 cm), well-visible from the inside. The interior with malachite-green encrustation.Weight: 5,202 gDimensions: Height 41.5 cmAuction result comparison: Compare a closely related bronze of Buddha Shakyamuni, 34 cm high, dated to the late 16th century, at Christie's Amsterdam in Indian, Himalayan and Southeast Asian Art on 31 October 2000, lot 112, sold for NLG 19,893 (approx. EUR 9,027).

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

A LARGE BRONZE STATUE OF BUDDHA SHAKYAMUNI, 16TH-17TH CENTURYThailand, Ayutthaya. Seated in sattvasana with his right hand in bhumisparshamudra, the left hand resting on his lap holding a small container, wearing a samghati and uttarasangha, his face with a serene expression and downcast eyes, all below gently arched eyebrows connected by his nose-bridge, the face flanked by elongated earlobes and gilt- and black-lacquered curled hair.Provenance: From a German private collection, acquired around 1990 in Thailand. Condition: Fine condition with old wear, minor losses, some due to erosion with associated old fills. Small nicks and dents, shallow surface scratches, casting irregularities, remnants of lacquer and gilt, and a fine naturally grown patina overall. Overall commensurate with age and as expected from an authentic bronze of this size and age. Dimensions: Height 69 cmAuction result comparison: Compare a related bronze statue of Buddha Shakyamuni, also 16th-17th century, Ayutthaya, 88 cm height, at Christie's Paris in Art d'Asie on 12 June 2012, sold for EUR 46,600.

A FIGURAL BRONZE SCROLL WEIGHT, MING DYNASTYChina, 16th - 17th century. Cast in the form of a smiling boy dressed in loose robe and trousers, the head shaved except for a single double topknot, seated with his right arm resting on a goose.Provenance: Old Austrian private collection. By repute acquired from Galerie Asboth, Vienna, Austria, ca. 1985-1995.Condition: Good condition with minor nicks, dents, minuscule losses, a fine natural patina, extensive old wear mostly to the base, commensurate with age.Weight: 176.9 g Dimensions: Length 7 cmAuction result comparison: Compare a closely related bronze at Sotheby's New York on 21 March 2015, lot 775, sold for USD 3,000.明代人物銅鎮紙中國， 十六至十七世紀。一個微笑的男孩，著寬鬆的長袍和褲子，頭上扎單髻。右臂抱著一隻鵝。 來源：奧地利私人老收藏，據説購於奧地利Asboth藝廊，約在1985-1995年之間。 品相：狀況良好，有輕微的劃痕、凹痕、微小的缺損，良好的天然包漿，主要在底部的磨損，與年齡相稱。 重量: 176.9 克 尺寸：長 7 厘米 拍賣結果比較：比較一件相似的銅鎮紙見紐約蘇富比2015年3月 21日 lot 775, 售價USD 3,000。

A COPPER ALLOY FIGURE OF VISHNU, PALA PERIODNortheastern India, 10th-11th century. Standing in samabhanga on a circular lotus base over a waisted plinth, his secondary hands holding the chakra and conch, clad in a close-fitting dhoti. The hair arranged in a tall chignon and backed by a shirashchakra.Provenance: Collection L. Solomon. An important French private collection, acquired from the above.Condition: Good condition, commensurate with age. Extensive wear due to constant handling of the piece over many centuries. Casting flaws. Few small losses, minuscule nicks, and minor dents.Weight: 115.6 gDimensions: Height 11.3 cmAuction result comparison: Compare a related Chola bronze figure of a seated Vishnu, dated 10th-11th century, with wear similar to the present lot, of only slightly larger size (14.5 cm high), at Christie's New York, in Indian and Southeast Asian Art on 20 September 2006, lot 68, sold for USD 5,760. Compare a related Pala period copper alloy figure of Vishnu, dated 11th century, at Bonhams New York, 19 March 2018, lot 3073, sold for USD 16,250.

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

A KHMER BRONZE FOOTED BOWL AND COVER, ANGKOR PERIODCambodia, 12th-13th century. The bowl supported on a stepped spreading foot and surmounted by a domed cover with an elegant bud finial. The foot, bowl, and cover are all decorated with diapered and raised circumferential bands.Provenance: From the collection of a late diplomat, acquired in the 1960s, thence by descent.Condition: Excellent condition, commensurate with age. Extensive wear, minor losses, small tears, minor dents, minuscule nicks, light scratches. Fine, naturally grown patina with extensive malachite and cuprite encrustation, the interior of the cover with azurite encrustation as well.Weight: 1,442 gDimensions: Height 21 cm (the bowl and cover), Diameter 20.5 cm (the cover)

A RARE BRONZE FISH AND MYTHICAL BEAST, DONG SON CULTUREVietnam, 500 BC - 300 AD. The fish with mouth agape and large bulging eyes, the tail fin with characteristic spiral decoration, a small lizard-like beast clambering on its back with similar decoration, five bells hanging from the fish's belly.Provenance: An important Italian private collection.Condition: Some repair and touchups as generally expected from ancient Dong Son excavations. Losses, fissures, erosion, and corrosion. Minor casting flaws. Overall, still good condition, especially for such a rare piece. Fine malachite-green patina with brown encrustations overall.Weight: 481.5 gDimensions: Length 17 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.Auction result comparison: Compare a group of four related Dong Son buffalo bells at Christie's London in Peter Petrou: Tales of the Unexpected on 30 January 2019, lot 149, sold for GBP 5,250, and a group of six Dong Son bell necklaces in the same auction, lot 150, sold for GBP 5,625. Compare another figural bronze from the Dong Son culture, sold in these rooms in Fine Chinese Art, Buddhism & Hinduism on 16 October 2021, lot 579, sold for EUR 15,168.

A HEAVY BRONZE 'LION' WEIGHT, MING DYNASTYChina, 16th to 17th century. Massively cast in the form of a recumbent beast with legs tucked neatly under its robust body which is decorated with swirling scrolls, its backbone and ribs well defined, the mane neatly incised. Provenance: Galerie Zacke, Vienna, 1988. An old Austrian private collection, acquired from the above.Published: Galerie Zacke, Feines altes Kunsthandwerk aus China und Japan, October 1988, p. 22-23, no. 43.Condition: Good condition with minor nicks, dents, a fine natural patina, extensive old wear mostly to base, commensurate with age. The backside with an old fill.Weight: 341.5 gDimensions: Length 6 cmAuction result comparison: Compare a related bronze lion-form paperweight, dated to the 17th century, at Sotheby's Hong Kong on 27 May 2014, lot 688, bought-in at an estimate of HKD 80,000-120,000. 明代銅獅鎮紙中國， 十六至十七世紀。瑞獸俯臥，頭似乎搭在一個球上，身體矯健，脊椎和肋骨輪廓分明，鬃毛整齊地，張牙咧嘴，異常可愛。來源：奧地利維也納Zacke藝廊，1988年。奧地利老收藏購於上述收藏。 出版：Zacke藝廊圖錄, Feines altes Kunsthandwerk aus China und Japan,1988年10月, 第22至23頁, 編號43。 品相：狀況良好，有輕微的劃痕、凹痕、良好的天然包漿，底座上有大量的磨損，與年齡相稱。 背面有舊時填充物。 重量: 341.5 克 尺寸：長 6 厘米 拍賣結果比較：比較一件相近的銅獅鎮紙，十七世紀，見香港蘇富比2014年5月27日 lot 688, 估價HKD 80,000-120,000。

A CARVED WOOD FIGURE OF A MONGOOSETibet, 17th-18th century. Boldly carved in a dynamic posture with the limbs stretched out, the mouth wide open showing teeth, with large bulging eyes.Provenance: From the collection of Helen Cunningham and Ted Newbold. Ted Newbold (1930-2018) was a broker and civic leader in Philadelphia, with a lifelong passion for art. In 1984, he married Helen Cunningham, who shared his love for the arts and collecting. Works of art donated by Helen Cunningham and Ted Newbold are in the collections of the Philadelphia Museum of Art, the Woodmere Art Museum, and the Fleischer Art Memorial, among others.Condition: Condition commensurate with age and as expected, overall with old wear, age cracks, chips, minor losses, remnants of ancient pigment, nicks and scratches, two segments of the tail reattached. Fine, naturally grown patina. Presenting remarkably well.Weight: 592.5 g (excl. stand)Dimensions: Height 25 cm (excl. stand) and 26.5 cm (incl. stand)With a modern metal stand. (2)Expert's note: The present figure of a mongoose was most likely once part of a larger sculpture depicting Kubera or Jambhala, two deities associated with wealth in Hinduism and Buddhism, respectively. Often, these mongooses are held in the deity's hand and spew jewels.Literature comparison: Compare a related gilt-bronze figure of a mongoose, 11 cm long, dated circa 16th century, at Christie's Paris, 13 June 2013, lot 76.木雕貓鼬西藏，十七至十八世紀。木雕貓鼬（吐寳鼠），四肢伸展，大嘴張開，露出尖利的牙齒，大眼凸出。 來源：Helen Cunningham 與 Ted Newbold收藏。Ted Newbold (1930-2018) 曾是費城的經紀人和公民領袖，對藝術充滿熱情。1984 年，他與和他一樣熱愛藝術和收藏的Helen Cunningham結婚。Helen Cunningham 和 Ted Newbold 捐贈的藝術品被費城藝術博物館、Woodmere Art博物館和Fleischer Art Memorial藝術紀念館等收藏。 品相：狀況與年齡相稱，總體上有磨損、老化裂縫、碎屑、輕微缺損、古代色素殘留和劃痕，尾巴的兩段重新連接。包漿精細自然。 重量：592.5 克 (不含底座) 尺寸： 高25 厘米 (不含底座) 與 26.5 厘米 (含底座) 現代金屬底座 (2)

A SILVERED BRONZE 'MYTHICAL BEASTS' MIRROR, TANG DYNASTYChina, 618-907. Of circular form, cast with four leonine beasts racing around the central pierced knop, encircled by a raised border surrounded by a recessed outer band with alternating birds and floral sprays below a band of spaced floral scrolls to the stepped rim.Provenance: From an English private collection. Condition: Very good condition, commensurate with age. Old wear and casting irregularities, signs of weathering and erosion, few small nicks and light scratches. Fine, naturally grown patina with areas of malachite and azurite encrustation, particularly to the front of the mirror.Weight: 643.2 gDimensions: Diameter 12.3 cmLiterature comparison: Compare a related bronze mirror, also dated to the Tang dynasty and illustrated by Ju-hsi Chou, Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors, The Cleveland Museum of Art, 2000, p. 62, no. 50.Auction result comparison: Compare a related bronze mirror with similar creatures at Christie's New York in Fine Chinese Art from the Arthur M. Sackler Collections on 18 March 2009, lot 238, sold for USD 13,750 (part lot, together with another bronze mirror).唐代鎏銀瑞獸銅鏡中國，618-907年。鏡呈圓形，半球鈕，上飾斜立二重齒紋圈，分為內外二區。內區飾四瑞獸為主題，圍繞著中央鏡鈕。外區飾花草鳥紋。 來源：英國私人收藏。 品相：狀況極好，與年齡相稱。 磨損和鑄件瑕疵，風化和侵蝕的跡象，輕微小刻痕和劃痕。包漿自然細膩，在鏡子前面帶有藍綠色鏽斑。 重量：643.2 克 尺寸：直徑12.3 厘米 拍賣結果比較：比較一件相近的瑞獸銅鏡，見紐約佳士得Fine Chinese Art from the Arthur M. Sackler Collections 2009年3月18日 lot 238, 售價USD 13,750 (其中一件，與另一件銅鏡)。

A LARGE BRONZE OF BUDDHA, SHAN STATEBurma, 18th - 19th century. The Buddha seated in vajrasana with his right hand lowered in bhumisparsa mudra and his left held palm-upward in dhyana mudra as he sits in meditation on a triangular sectioned plinth, wearing a monastic robe, with crisply cast facial features, the eyes inlaid in glass, the hair worked in tight curls surmounted by the ushnisha.Provenance: Old German private collection.Condition: Condition commensurate with age. Old wear, some casting flaws, nicks and dents, few small losses. The left hand is an old replacement and removable. The interior with extensive cuprite encrustation. Displays remarkably well overall.Weight: 10 kg Dimensions: Height 43 cmAuction result comparison: Compare a related Shan style bronze dated to the 17th century at Christie's Amsterdam in Indian Himalayan and Southeast Asian Art on 18 October 2005, lot 118, sold for EUR 11,950.

A SMALL ORDOS BRONZE PLAQUE, 7TH-6TH CENTURY BCChina, Inner Mongolia. Of circular form, cast in openwork with a coiled beast, the animal's front and hind quarters with short bent legs tucked underneath the curled body, the head defined by two large eyes, all within a beaded border.Provenance: Michel Pasiello, Venice, 2001. Dr. Koos de Jong, acquired from the above (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in "Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond". Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Good, original condition, remarkable considering its age. With extensive wear, small nicks and scratches. Areas of malachite and soil encrustations to the reverse.Weight: 14.8 g Dimensions: Diameter 3.3 cmAuction result comparison: Compare a related gold plaque at Sotheby´s London, Masterpieces of Chinese Precious Metalwork, Early Gold And Silver; Early Chinese White, Green And Black Wares on 14 May 2008, lot 3, sold for GBP 14,900 (part lot, together with a small Ordos gold fitting). 公元前七至六世紀鄂爾多斯小銅牌中國，内蒙古。圓牌，鏤空鑄盤繞的野獸，彎曲的短腿藏在捲曲的身體下方，兩隻大眼睛，邊框珠紋。來源：倫敦Grays Antique Center藝廊，1999年。Dr. Koos de Jong收藏，2004年購於紐約亞洲藝術博覽會（發票已遺失）。Drs. de Jong是一位荷蘭藝術史學家，幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。 品相：良好的原始狀態。 有一些磨損、微小的劃痕，背面有輕微的結殼。 重量: 14.8 克 尺寸：直徑3.3 厘米 拍賣結果比較：比較一件相近的金牌，見倫敦蘇富比Masterpieces of Chinese Precious Metalwork, Early Gold And Silver; Early Chinese White, Green And Black Wares 2008年5月14日 lot 3, 售價GBP 14,900 (2件鄂爾多斯拍品中的一件)。

A BRONZE GROUP OF SHIVA AND PARVATI, PALA PERIODNortheastern India, 11th-12th century. The divine couple seated in lalitasana on a double lotus pedestal, Shiva's primary right hand reaching towards his consort's chin, his primary left around her back and cupping her breast, both backed by a flaming halo.Provenance: From a French private collection. Condition: Good condition, commensurate with age, with traces of age and wear, a few losses, some casting flaws, nicks, dents, and with a fine natural patina overall.Weight: 437 g Dimensions: Height 12.9 cm Auction result comparison: Compare a related bronze group of Shiva and Parvati, dated 11th-12th century, at Christie's New York in Indian, Himalayan & Southeast Asian Works of Art on 20 March 2019, lot 650, sold for USD 15,000.

A RARE LACQUER-GILT BRONZE FIGURE OF AN ARHAT, AYUTTHAYA PERIODThailand, 16th-17th century. Heavily cast seated in dhyanasana with his right hand lowered in bhumisparsa mudra and the left resting on his lap and holding a small vessel, wearing a monastic robe draped over the left shoulder, the serene face with heavy-lidded eyes below elegantly arched brows, flanked by long pendulous earlobes, the hair arranged in tight curls.Provenance: Collection of Peter Salomon. Peter Salomon (1942-2020) was a Danish designer who developed a passion for Asian art at a young age. He purchased his first Buddhist figure at the age of 12 with his own pocket money. Planning to sell antiques for a living, he traveled to London when he was 19 and purchased many objects around Portobello Road, which he found very hard to part with, however. In the end, Salomon pursued a different career path which was nonetheless inspired by his early passion, and began to design decorative objects himself, while his love for Asian and Buddhist art lasted his entire life.Condition: Good condition, as expected and commensurate with age, with wear and casting flaws, minor losses, small nicks, warping, dents, few structural cracks, extensive wear and flaking to lacquer gilding. Fine, naturally grown patina with a good, unctuous feel overall.Weight: 52.9 kg Dimensions: Height 67 cmThis rare bronze sculpture of an arhat depicts the monk seated in meditation with his right hand extending towards the ground to call on the Earth to bear witness to his enlightenment. An arhat in Theravada Buddhism, which predominates throughout Southeast Asia, represents the spiritual paradigm for ordinary beings to emulate. The highest spiritual goal for followers of Theravada Buddhism is to perfect Shakyamuni's teachings over many lifetimes, which results in becoming an arhat: an enlightened being freed from the cycle of rebirth (parinirvana).Paintings and sculptures of arhats frequent Thai temples. Their depiction largely imitates Buddha images, though without possessing certain key physical characteristics (lakshana) that distinguish Buddha as a supernatural being. As represented in this sculpture, these are the absence of an ushnisha and the orientation of the arhat's left hand. Rather than the back of the hand resting in his lap, it is turned frontally toward the viewer.Auction result comparison: Compare a related copper alloy figure of an arhat, 83 cm high, also dated 16th-17th century, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 23 September 2020, lot 638, sold for USD 47,575.

A Superb Royal Sussex Regiment Battle of the Somme Military Cross Medal Group of Four Awarded for the Regiment’s Attack on Ovillers on the 7th July 1916, Military Cross GVR, unnamed in its case of issue in the purple outer box (damaged), ribbon has bronze clasp ‘Great War 1914-18’ stuck to it (from Special Constabulary Long Service medal), 1914 star with clasp “8630 SJT J. JOY 2/R SUSSEX R.”, British War medal and Victory medal with mention in despatches oakleaf on the ribbon, both medals named “L8630 W.O.1 J. JOY R. SUSS. R”. Medals remain in good condition. Military Cross – London Gazette 21st December 1916 with citation “For conspicuous gallantry in action. He showed great coolness under shell and machine gun fire and organised the defences of his portion of the captured trench with great energy and skill”. M.I.D. not confirmed. 1914 clasp issued 25/10/1920. Joseph Joy, originally from Ore near Hastings in Sussex enlisted into the Sussex Regiment in December 1906 at the age of 20. During his service he qualified as a marksman and gymnastics instructor and in 1912 he was base in the regimental depot in Chichester and was a member of their league (West Sussex Junior League) winning football team (named team photo appears in the Regimental magazine in July 1912). Discharged in August 1912 he then then became a Police Officer in Eastbourne until he re-joined the Regiment in 1914. Serving in France from 12th August 1914 he received a gun shot wound to the head on 8th November 1914 which resulted in his return to UK to convalesce. Returning to his unit in August 1915 he was promoted to Colour Sergeant in January 1916. 7th July 1916 – 36th Brigade launched their attack on Ovillers with the 7thSussex forming the centre of the attack with the 9th Royal Fusiliers on the left and the 8th Royal Fusiliers on the right. The attack started at 8.28am following a bombardment of the German trenches (and a 10-15minute counter bombardment of the British trenches), under heavy shelling and enfilading machine gun fire the Sussex Regt took the first German trench line. A small number of men (21) reached the 3rd Objective with 4 officers and 50 men taking the 2nd Objective (German Support trench). By 12 noon the only option was to abandon the 3rd Objective and consolidate the 1st and 2nd Objectives. CSM Joy is mentioned in the war diary as part of the garrison party on the 1st Objective with the C.O. and 120 men of the 7th Sussex and 40 men of the 9th Fusiliers. Further consolidation of the positions continued with the holding troops comprising 4 companies 9th Essex, 200 men of 7th Sussex, 60 men of 9th Fusiliers, 25 men of 8th Fusiliers and 80 men from the 11th Middlesex. The Battalion was relieved by 2nd Manchesters at 7.30pm on 8th July with casualties of 20 Officers and 508 Other Ranks over the 2 days. CSM Joy appears to have been quite a character and has several mentions in Owen Rutter’s History of the 7th(Service) Battalion, the Royal Sussex Regiment, including a mention in the account of the attack at Pozieres on 3rd August when he appeared smoking a large German cigar, with 3 prisoners whom he had captured by brandishing an empty Very flare pistol. Discharged on 24/1/1920 as medically unfit for further service due to Diabetes Militis (sic). In 1939 he is shown as a retired Regular Army Soldier living in Hastings and is recorded as having died on 13th April 1962

MIYAO EISUKE OF YOKOHAMA (Meiji Period) “Statuette of a barefooted Samurai warrior holding a drawn sword”, bronze and gilt bronze, signed, 53 cm high CONDITION REPORTS Height including wood stand 55cmSword blade is a replacement, some areas missing to the back of the coat and there are a couple of holes to one side as if there was something there previously. There appears to have been repairs to both feet and ankles. There are areas of verdigris, patination and rubbing through out. A small "patch" to the bottom of trouser on the left hand side possibly done during manufacture. General wear and tear condusive to age and use. See images for more details.

A pair of Chinese bronze incense burnersCondition:- General wear through age and use, 2 dents in one burner, no sign of any damage or repair

A Finnish bronze Iron Age pendant necklace, impressed Made in Finland to the reverse

A Third Reich period War Service Cross 1st class with swords: cased, a War Service Cross without swords, cased and a NSDAP bronze Long Service Cross, cased.* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

Four Third Reich period style badges: includes Infantry Assault Badge bronze award stamped W.H, Infantry Assault Badge, silver award, and two Infantry General Assault badges, unmarked (4).* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

Four S.A. Style sports awards: Gold Award 2nd Type, Bronze Award 2nd Type, and two Bronze Awards 3rd Types (4).* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

Three S.A. Style sports awards: Bronze Award 2nd Type, Silver Award 3rd Type and Bronze Award 1st Type, (3).* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

A collection of German Third Reich style DRA and DRL Sports Medals: including bronze, silver and gold awards and Horseman's Sports Badge (6).* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

A collection of German Third Reich style DRA and DRL Sports Medals: including bronze, silver and gold awards and Horseman's Sports Badge (5).* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

A Third Reich period SA Sports Award, Bronze: together with certificate of authenticity.* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

A German bronze desk paperweight: in the form of an eagle over a swastika and an oak leaf wreath on a rectangular plinth base with SS emblem, 15 1/2cm high, together with a German aluminium flag pole finial on later wooden plinth, 23 1/2cm high.* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

A WWII Air Ministry issue bronze scramble bell, dated 1943:, stamped with date, crown and 'AM' cipher to top of bell and also stamped 'G&J' and 'ATW' with broad arrow mark, steel and bronze clanger, height 23cm , diameter 26cm.* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

A German bronze SA Sports badge by Fechler, Bernsbach: together with a DRL Sports badge by Fritz Kohm and a DRL Sports cloth badge (3)* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

A Second World War German 1941 Kreis Victor's Badge in National Trade Competition: laurel wreath mounted with cream enamel, bronze eagle on cogwheel with red and white Hitler Youth diamond, makers mark to reverse 'A G Tham, Gablonz'.* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".

A 15 1/2 inch bronze signal anon barrel: the four stage barrel with plain trunions and acorn cascabel, 46cm long.* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".