AN IMPORTANT SILVER-INLAID GOLD REPOUSSE BOWL DEPICTING GARUDA, VIETNAM, FORMER KINGDOMS OF CHAMPA, CIRCA 10TH CENTURYSuperbly worked, the deep rounded sides supported on a tall faceted foot and flaring to a beaded rim, finely decorated to the exterior with overlapping trefoil-arched panels enclosing rosettes and scrolling foliage, below interlocking scrolling vines. The foot with square panels and indented corners enclosing rosettes, all against ring-punched grounds. The interior with a circular silver-inlaid base depicting a winged Garuda with human face, wearing a richly incised dhoti, foliate crown, and fine jewelry, his arms raised as if about to take flight, surrounded by leafy lotus blossoms, enclosed by a beaded border. Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Good condition, commensurate with age, with old wear and casting flaws, small losses, some tarnishing, and dents, all exactly as expected of a gold object more than a thousand years old.Weight: 243.9 g Dimensions: Diameter 18.8 cm Garuda is a half-bird, half-human creature that appears in both Hinduism and Buddhism. The mythological account of Garuda's birth in the Mahabharata identifies him as the younger brother of Aruna, the charioteer of the sun god, Surya. Garuda's mother, Vinata, mother of the birds, was tricked into becoming the slave of her sister and co-wife, Kadru, mother of the nagas (serpents). The lasting enmity between the birds, particularly Garuda, and the serpents is attributed to this. The nagas agreed to release Vinata if Garuda could obtain for them a drink of the elixir of immortality, the amrita or soma. Garuda performed the feat, thus giving the snakes the ability to slough off their old skins, and on his return Garuda met Vishnu, agreeing to serve him as his vehicle. Garuda is described in one text as emerald in color, with the beak of a hawk, roundish eyes, golden wings, and four arms and with a breast, knees, and legs like those of a hawk. He is also depicted anthropomorphically, with wings and hawk-like features. Sometimes images of Garuda are used by devotees of Vishnu to designate their affiliations; such images appear on coins throughout various periods and on jewelry and ritual vessels, like this lot. Garuda, also known as Garula, are golden-winged birds in Buddhist religious texts. Under the Buddhist concept of samsara, they are one of the Aṣṭagatyaḥ, the eight classes of inhuman beings.Expert's note: Depictions of Garuda with a human face like on the present lot are considerably rarer than their bird-faced counterparts, but are found across different cultures and materials. Compare an ivory relief depicting Garuda from Nepal, 10 cm high, dated to the 14th century, in the Victoria & Albert Museum, accession number IS.124-1999. Compare a bronze plaque depicting Garuda from East Java, 12.7 cm high, dated c. 1300, in the Norton Simon Museum, accession number P.2003.01.10. Compare a terracotta sculpture of Garuda from Western Thailand, 48 cm high, dated to the first half of the 7th century, excavated from site 40, Khu Bua, Ratchaburi Province, by the Fine Arts Department, Thailand, in 1962, and now in the National Museum, Bangkok, exhibited by the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, 14 April-27 July 2014. Compare a granite figure of Garuda from India, Tamil Nadu, 137.8 cm high, dated second half of the 8th to early 9th century, in the Metropolitan Museum of Art, accession number 1983.518. Compare a gray schist turban ornament with Garuda from Gandhara, 11.4 cm high, dated 2nd-3rd century, at Christie's New York, 18 March 2015, lot 4009.
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AN IMPORTANT BRONZE STATUE OF BUDDHA WITHIN A FLAMING AUREOLE, INDONESIA, CENTRAL JAVA, 8TH-9TH CENTURYGracefully cast, the standing Buddha holds both hands out in chin mudra, the gesture of consciousness, evoking peace and concentration. He is clad in a long diaphanous sanghati, his face with sinuously lidded downcast eyes and full lips, the hair arranged in snail-shell curls around the ushnisha. The head is backed by a circular aureole, from which twelve lambent flames emerge, the twelfth flame hidden behind Buddha's back.Provenance: Collection of Paul J. Jewell, acquired 1984 in Singapore. A copy of a provenance statement written and signed by Paul J. Jewell, dated 15 April 2023, confirming the provenance stated above, accompanies this lot. Paul J. Jewell lived and worked in South East Asia for over 20 years, serving as the executive director of the European Chamber of Commerce in Vietnam. To this day, he continues to collect Asian art and antiquities. Condition: Excellent condition, commensurate with age, with ancient wear, minor signs of weathering and erosion, expected casting irregularities, small losses and nicks. The bronze encrusted with a rich, naturally grown patina of vibrant malachite-green color overall. Displaying exceptionally well.Weight: 3,050 g (incl. stand) Dimensions: Height 33.1 cm (incl. stand), 28.2 cm, (excl. stand) Mounted to a wood and metal stand. (2)Expert's note: Buddhist art produced in Indonesia during the 8th and 9th centuries under the patronage of the Shailendra dynasty displays a unique amalgam of regional artistic styles borrowed from the Indian subcontinent. The flowing contours of the body subtly delineated beneath the diaphanous garment are reminiscent of the Gupta style of northern India while the sloping shoulders and oval face with full cheeks recall the Sri Lankan Buddha images produced in Anuradhapura during the 7th and 8th centuries.In Buddhist art, the nimbus is often imagined as consisting not just of light, but also of real flames. While this type seems to first appear in Chinese bronzes of which the earliest surviving examples date from before 450, it became something of a hallmark for the most important Chola bronzes, such as Shiva Nataraja, an image which emerged around 800 AD in Southern India, at the height of the Chola Empire. In the present statue, the depiction of the twelve flames is rather formal, as they are neatly arranged in identical intervals around a ring aureole, almost like on an ancient sundial.Literature comparison:Compare a related Javanese bronze standing figure of Buddha, 19 cm high, dated 9th-10th century, in the British Museum, registration number 1859,1228.98. Compare a related Javanese bronze figure of a seated Buddha Vairocana, 19.4 cm high, dated late 9th century, in the Metropolitan Museum of Art, accession number 1987.142.23. Compare a related Indonesian bronze figure of Buddha, 26.7 cm high, dated 7th-8th century, in the Metropolitan Museum of Art, accession number 1993.64.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2012, lot 148 Price: USD 22,500 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of Buddha, Indonesia, Srivijaya, Palambang, 8th century Expert remark: Compare the closely related facial features and pose. Note the similar size (34.3 cm) and patina. Also note the extensive weathering, losses, and other condition issues.
A MONUMENTAL BRONZE HEAD OF BUDDHA, LAN NA, NORTHERN THAILAND, 14TH-15th CENTURYExpert's note: Thai bronzes of this size and preservation are exceptionally rare, particularly those that are over 500 years old. It's challenging to imagine the immense scale of the complete sculpture to which this head belonged, standing at well over 2 meters tall. Only a few works of similar magnitude have endured the test of time, and this magnificent head is among the largest privately owned examples. Despite centuries passing, it has retained all its spirit, a near-magical presence, a sense of tranquility, and, above all, its ability to inspire.Buddha's slightly elongated oval face with outlined smiling lips, aquiline nose, neatly incised heavy-lid downcast eyes below finely arched eyebrows in relief, his ears with extended pierced earlobes, the hair arranged in rows of snail shell curls, surmounted by an ushnisha.The bronze heavily cast and with a rich naturally grown patina, showing distinct malachite encrustations. The surface with natural wear overall, resulting from centuries of worshipping.Provenance: From an old private collection in Palm Beach, Florida, USA. Sotheby's New York, 23 March 1995, lot 101. A private collection in New Jersey, USA, acquired from the above, and thence by descent within the family.Condition: Superb condition, commensurate with age, showing extensive wear, weathering, and expected casting flaws. Some losses, nicks, and scratches. The interior of the head with a filling used to mount the head to the stand. The wood base with age cracks and flaking to lacquer.Weight: 24.7 kg (excl. stand)Dimensions: Height 40.5 cm (the head) and 60 cm (incl. stand) Mounted on a wood base, dating from the 20th century. (2)The present bronze bears distinctive features of the Sukhothai style, evident in its oval shape, hairline, and aquiline nose. A closely related example from the Sukhothai tradition is a bronze head now housed in the Sawanvoranayok National Museum (see literature comparison). However, there are slight variations in the facial treatment, such as less upswept eyes and fuller lips. The face also shows arched eyebrows, an upward turn at the sides of the mouth, and an oval marking on the chin. The flowing curves of these features come together harmoniously, making this sculpture an excellent representation of the neighboring Lan Na Kingdom's artistic style. Lan Na was a powerful state in Northern Thailand and actively promoted Buddhism, shaping their Buddhist sculptures with influences from the Sukhothai kingdom.During the late 13th century, Sukhothai reached its peak under King Ram Khamhaeng's reign. However, after his death, the kingdom declined, and various tributary states began to break away rapidly. Lan Na annexed Tak, an ancient town in Sukhothai, and other regions to the north and west asserted their independence. By the 14th century, Sukhothai had diminished to a local power and eventually became a tributary state of the Ayutthaya Kingdom, a neighboring Thai polity. In 1438, after the death of Borommapan, Ayutthaya annexed Sukhothai, bringing an end to its independent existence.Literature comparison:Compare a closely related Buddha bronze head, dated to the 14th-15th century, from Wat Mai, Sukhothai, now in the Sawanvoranayok National Museum, illustrated in Ancient Sukhothai: Thailand's Cultural Heritage, Dawn F. Rooney, 2008, pp. 198-99. Compare closely related Buddhas, held in Thai temples, illustrated in Stratton, Buddhist Sculpture of Northern Thailand, Chiang Mai, 2004, pp. 163-179, & figs. 7.50-7.58. Compare the fragmentary example held in the National Museum, Lamphun, published in Bowie (ed.), The Sculpture of Thailand, New York, 1972, p. 94-5, no. 55. Compare a closely related Buddha head at the National Museum of Bangkok and published in J. Boisselier, La sculpture en Thailande, Fribourg, 1987, pl. 111.Auction result comparison: Type: Closely relatedAuction: Bonhams, Paris, 25-26 October 2022, lot 83Price: EUR 176,775 or approx. EUR 182,000 adjusted for inflation at the time of writing Description: A copper alloy head of Buddha, Thailand, Sukhothai School, Kampheng Phet, 14th centuryExpert remark: Compare the closely related manner of casting and modeling with similar features. Note the similar size (43 cm).Auction result comparison: Type: Closely relatedAuction: Christie's, London, 11 May 2016, lot 82Price: GBP 60,000 or approx. EUR 101,000 adjusted for inflation at the time of writing Description: A monumental bronze head of Buddha, Thailand, Lan Na period, 15th centuryExpert remark: Compare the closely related manner of casting and modeling with similar features. Note the slightly larger size (45 cm).
A LIFESIZE BRONZE HAND OF BUDDHA, AYUTTHAYA KINGDOMThailand, 14th-15th century. Cast with thin and elongated fingers neatly detailed with nails and creases, finely modeled in the vitarka mudra, the gesture of discussion, the palm with two naturalistic creases that extend to the base of the wrist which is covered by the lightly draped sleeve. The bronze with a rich, naturally grown, smooth patina with malachite and cuprite encrustations.Provenance: Collection de M. L., Paris, France. Condition: The fragment in good condition, commensurate with age, with wear and casting irregularities, soil encrustation, wear and weathering, losses. Presenting spectacularly well.Weight: 1,399 g Dimensions: Height 29.4 cm Mounted on an associated metal stand. (2)Literature comparison:Compare two related Thai bronze hands, dated to the 14th century, in the collection of the Philadelphia Museum of Art, accession numbers 1994-148-770 and 1994-148-771.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 April 2013, lot 52 Price: USD 5,250 or approx. EUR 6,300 converted and adjusted for inflation at the time of writing Description: A Thai bronze hand Expert remark: Compare the closely related modeling with similar creases articulated in the palm and similarly elongated fingers. Note the slightly smaller size (22.4 cm).
A LARGE AND IMPORTANT BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEKhmer Empire, 12th-13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity clad in a short sampot with fishtail pleat and jeweled sash, incised finely with foliate decorations. His hands depicted holding his attributes. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, aquiline nose, an urna, full lips and ears with pendulous earrings.Provenance: Old Spanish private collection, acquired in the 1960s. Old French private collection, acquired from the above in 1998. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 30 September 2005, confirming the dating and provenance above, accompanies this lot. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Good condition commensurate with age. As expected, there is extensive wear, some casting flaws, losses, signs of weathering and erosion, few nicks and shallow surface scratches, fatigue cracks with associate losses and old fills, all as expected from a Khmer bronze of nearly 1,000 years of age. Superb, naturally grown, rich patina with extensive malachite encrustation and faint hues of cuprite.Weight: 3,077 g cm (excl. stand), 3,372 g (including base)Dimensions: Height 40.6 cm (excl. stand), 46 cm (including base) With a modern wood base. (2)Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms, varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. And also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 September 2000, lot 157Price: USD 138,000 or approx. EUR 225,000 converted and adjusted for inflation at the time of writingDescription: An Important Bronze Figure of Avalokiteshvara, Khmer, Koh Ker Style, 10th CenturyExpert remark: Note the similar size (44 cm). Bronze figures from the Khmer empire with a size exceeding 40 cm are extremely rare, which is why this comparison was chosen, although this statue is from Koh Ker and dates to the 10th century.
A LARGE BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEExhibited: Los Angeles County Museum of Art, USA, according to the expertise from Jacques Barrere Art D'Extrême Orient, dated 9 July 2001.Khmer Empire, late 12th to early 13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity is clad in a short sampot with fishtail pleat and jeweled sash, to the back a flared tang. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, an aquiline nose, an urna, and full lips.Provenance: Former Pan Asian Collection. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 9 July 2001, confirming the dating and provenance above, accompanies this lot. The expertise also states a 'replacement value' of 170,000 FF or EUR 37,500, converted and adjusted for inflation. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Excellent condition, commensurate with age. There is extensive wear, some casting flaws, minor losses, signs of weathering and erosion, small nicks and shallow surface scratches, all as expected from a Khmer bronze of nearly 1,000 years of age. Faint remnants of gilt.Weight: 3,557 gDimensions: Height 38.8 cm Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. Also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 8 June 2004, lot 437Estimate: GBP 18,000 or approx. EUR 42,500 adjusted for inflation at the time of writingDescription: A large and important bronze figure of a five headed ten-armed deity, probably Sadasiva, Khmer, Angkor Period, Angkor Wat style, 12th CenturyExpert remark: Note the smaller size (32 cm).Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 10 December 2002, lot 114Price: EUR 33,460 or approx. EUR 52,500 adjusted for inflation at the time of writingDescription: A Khmer, Angkor Vat style, bronze figure of PrajnaparamitaExpert remark: Note the larger size (46 cm).
A BRONZE FIGURE OF VISHNU STANDING ON GARUDA, ANGKOR PERIODKhmer Empire, 11th-12th century. The four-armed deity standing on Garuda's shoulders and holding a disk and conch in his uppermost hands, and a club and seed in his lower hands, wearing a sampot and richly adorned in jewelry. The mythical bird standing on a square base with arms and wings outstretched as if flying through the air. Both with benign expressions.Provenance: From the private collection of Darwin Freeman, collected between the 1968-1971, and thence by descent within the same family. Born 1946 in Idaho, USA, Darwin Freeman was a member of the armed forces and later became an avid collector. He met his wife in the mid-1960s, and the pair later relocated to her hometown of Innsbruck, Austria. In 1967, Freeman was drafted into the U.S. Army and served in Germany and Thailand. While he was stationed at the Embassy in Bangkok, between 1969 and 1971, he actively began engaging in the exploration and collection of ancient bronzes and other works of art. Upon completing his duty, Freeman arranged for his collection to be shipped to Austria, where it remained in storage until this day.Condition: Very good condition commensurate with age, showing old wear, weathering and corrosion, minuscule nicks here and there, minor losses, and a fine natural patina with malachite-green encrustations.Weight: 896.2 gDimensions: Height 25.5 cm This bronze may have served as an official insignia when the cult of Vishnu was raised to higher prominence under Suryavarman II, upon ascending to the throne in 1113.In Hinduism, Vishnu is the preserver and maintainer of the established order. Whereas Shiva is Lord of the Beginning and of the End, Vishnu is the deity who oversees the middle ground, avoids extremes, and maintains orthodoxy. The standard depiction of Vishnu is four-armed, standing upright and wearing a crown. He carries a conch shell, a lotus, a club, and a discus. His vehicle is the bird Garuda depicted here in the usual form as part human, part bird.Literature comparison: Compare a Khmer bronze figure of Vishnu standing on Garuda, dated to the Khmer period, late 11-early 12th century, in the Brooklyn Museum, accession number 85.220.4. Also compare a Khmer bronze figure of Vishnu standing on Garuda, dated to 12-13th century, in the Minneapolis Institute of Art, accession number 99.216.7.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 March 1999, lot 225Price: USD 6,900 or approx. EUR 11,500 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Vishnu on his vehicle Garuda, Khmer, Baphuon style, 11th centuryExpert remark: Note the much smaller size (16.2 cm).
A LARGE GRAY SCHIST FIGURE OF MAITREYA, KUSHAN PERIOD, ANCIENT REGION OF GANDHARA, CIRCA 3RD CENTURYSuperbly carved, seated in dhyanasana with his hands held in dharmachakra mudra, dressed in a voluminous sanghati with exquisitely carved folds, elegantly pooling in concentric rings at his ankles and spilling over the edge of the base, bedecked with various necklaces including a large choker with inset design and talismanic armlets. His serene face with heavy-lidded almond-shaped eyes below gently arched brows centered by a raised urna, secured by an elaborate headdress comprising a network of beads interlinked between horizontal bands that rest above the forehead and wrap around the ushnisha.Provenance: From an old Belgian private collection. Acquired before 1970 and thence by descent in the family. Condition: Good condition, commensurate with age. Extensive wear, obvious losses, nicks, scratches, signs of weathering and erosion. A few structural cracks with associated losses, some of which show old restoration.Weight: 148 kg Dimensions: Height 109.5 cm (incl. stand) and 105.5 cm (excl. stand) Maitreya is backed by a halo and his throne is carved with a frieze depicting two devotees on either side of a fire altar flanked by zoomorphic columns.With consummate skill, the sculptor has achieved a majestic enthroned Maitreya. The marvelous naturalism conveyed throughout the torso and robe, as the latter slackens and contorts around the powerful figure, is a testament to the virtuoso who carved it. With a broad muscular torso, strong hands, and ornate stylized folds, this large sculpture exhibits the power and authority of Maitreya, believed to reside in Tushita heaven until the time comes when Shakyamuni is no longer remembered and the future Buddha will need to be reborn.As Mahayana Buddhism spread from Gandhara to China, images of Maitreya became the focal point of a widespread cult, the idea of a messianic savior appealing to many living under the chaotic political climate and civil unrest of the Six Dynasties period that followed the collapse of the Western Han Dynasty in the beginning of the 3rd century - the time around which this sculpture was made. The link between the art of Gandhara and early Buddha images in China is demonstrated through a direct comparison of the facial features and robes between the present lot and a gilt bronze Buddha held in the Harvard Art Museums, object number 1943.53.80.A, which is among the earliest devotional Buddhist images made in China.Literature comparison:Compare a related gray schist figure of Maitreya, dated to the 2nd century, in the Victoria & Albert Museum, accession number IM.303-1920. Compare a related schist figure of Maitreya, 32 cm high, dated 2nd-4th century, in the Victoria & Albert Museum, accession number IM.4-1911. Compare two sculptures of youthful bodhisattvas also displaying the teaching mudra, see I. Kurita, Gandharan Art, vol. II, Tokyo & New York, Tokyo, 2003, pp. 53 & 57, nos. 128 and 141.Auction result comparison: Type: Related Auction: Christie's New York, 21 March 2012, lot 724 Price: USD 146,500 or approx. EUR 177,000 converted and adjusted for inflation at the time of writing Description: A gray schist figure of Maitreya, Gandhara, 2nd/3rd century Expert remark: Compare the closely related subject, manner of carving, and modeling with similar pose and hand gesture, robes and jewelry, expression and hairstyle, nimbus, and throne with a similarly carved frieze also depicting devotees around a fire altar. Note the size (74.3 cm).Auction result comparison: Type: Related Auction: Bonhams New York, 18 September 2013, lot 60 Price: USD 80,500 or approx. EUR 96,000 converted and adjusted for inflation at the time of writing Description: A schist figure of Maitreya, ancient region of Gandhara, circa 3rd century Expert remark: Compare the closely related subject, manner of carving, and modeling with similar pose, hairstyle, robes, jewelry, and nimbus. Note the different hand gesture and the mustache, as well as the related size (106.6 cm). 約西元三世紀犍陀羅貴霜帝國大型灰色片岩彌勒佛像 由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A SILVER-INLAID BRONZE FIGURE OF BUDDHA VAIROCANA, SWAT-VALLEY, 7TH-8TH CENTURYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 1 September 2020, based on sample number N120d91, confirms the object is “consistent with the suggested period of manufacture." A copy of the report, issued by Oxford Authentication, accompanies this lot.Depicted in the sambhogakaya form, Vairocana holds his hands in the bodhyagrimudra while sitting atop a pedestal supported by two anthropomorphic Buddhist lions. The lions have humanized faces, silver-inlaid eyes, snail-curled hair, and are standing atop a lotus base. The Vairocana wears an ornate crown, tied on both sides with ribbons which drape down around his arms and hang from the pedestal. His face is serene, set with almond-shaped eyes with silver inlays to the pupils and central urna. The back with a tang for attachment to a temple structure.Provenance: From the private collection of Michael Phillips. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine art, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Very good condition, commensurate with age. Expected signs of wear, corrosion and weathering with only small remnants of gilt remaining. The naturally grown patina has distinct malachite and cuprite encrustations and was at some point coated with a layer of varnish or wax for conservation purposes. Some losses, dents and scattered nicks.Weight: 3,090 g Dimensions: Height 26.3 cm The Swat Valley is located along the upper stream of the Indus in the heartland of the Gandhara region. It was a melting pot of various people and arts and served as a link between India and Central Asia and further eastwards for a constant flow of Buddhist pilgrims. The earlier Gandhara style is still echoed in the art of many icons of the Swat Valley, as visible in the present example. The Buddha's parallel folds as well as the protuberance on top of his head can be traced back to Gandhara Buddha figures. However, the V-shaped pleats around his neck are associated with Kashmiri prototypes, as is the use of silver inlay. His face reflects a Gupta idiom, with its small mouth and incised eyebrows. The lotus base on which he sits is typical for Swat Valley images. Thus, this fine bronze Buddha figure perfectly embodies the aforementioned melting pot of various styles.The iconography of the crowned Buddha Vairocana has been a subject of dispute amongst scholars due to the lack of clear lines of interpretation within the imagery. Many conclude the crown is intended to denote Sakyamuni as a cakravartin or universal Buddha while some suggest it represents a sambhogakaya Buddha in Mahayana Buddhism. In her 2018 article Images of the Crowned Buddha along the Silk Road, Rebecca Twist examines the iconography of Silk Road crowned Buddhas and concludes the recurring evidence points to the crowned Buddha as sambhogakaya as an early esoteric meditational construct. Many of the Buddha Vairocana that Twist examines are closely related to the present lot. According to Twist, these similar figures which appear from various locations along the Silk Road “demonstrate a systematic form of transmission and religious syncretism in both iconography and ideology." The present lot is a part of the clear pattern of deliberate core iconographic elements which recur in crowned Buddha Vairocana figures along the Silk Road. These elements included the sambhogakaya form, the embodiment of dharmakaya, the bodhyagrimudra, and the similarly styled crown.Auction result comparison: Type: Related Auction: Bonhams New York, 16 March 2021, lot 306 Price: USD 50,312 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of a Bodhisattva, Swat Valley, circa 8th century Expert remark: Note the similar patina, the roves with a single narrow sash across the chest, the silver inlaid eyes and urna, and the closely related crown. Note the much smaller size (13 cm).Auction result comparison: Type: Closely related Auction: Bonhams New York, 19 March 2018, lot 3009 Estimate: USD 450,000 or approx. EUR 495,000 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of Vairocana, Swat Valley, 8th/9th century Expert remark: Note the closely related pose, the similar crown and garments, the Buddhist lions which support the Vairocana atop the lotus pedestal, and the single ring molded to the back of the figure for mounting. Note the size (17.8 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 七至八世紀斯瓦特谷銅錯銀毘盧遮那佛毘盧佛施智拳印，全跏趺坐。半圓形台座正面有毘盧佛的坐騎--兩頭獅子（立姿）。毘盧佛頭戴華麗王冠，兩側飾有絲帶，從他的手臂上垂下，並懸掛在底座上。面容安詳，瞳孔鑲銀，雙眉之間有白毫。背面有支腳，用於固定到寺廟結構上。 科學檢測報告：牛津認證公司於 2020 年 9 月 1 日出具了一份基於樣品編號 N120d91 的熱釋光分析報告確認該造像“與建議的製作日期一致"。該拍品隨附一份報告副本。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A CLOISONNE ENAMEL 'TAOTIE' VASE, FANGHU, LATE MING DYNASTYChina, 16th-17th century. The gilt-bronze vessel of square section, the pear-shaped body supported on a spreading foot and rising to a waisted neck. The rounded shoulder set with a pair of cloisonne taotie ring-handles. Brightly and lavishly enameled around the exterior with wide turquoise-ground bands enclosing taotie masks, mythical birds, plantain leaves, as well as flowerheads and clouds, all divided by blue-ground floral bands, the foot similarly decorated with lotus blossoms borne on leafy scrolling vines.Provenance: From a Swedish private collection.Condition: Fine condition, commensurate with age, with expected old wear and manufacturing flaws, such as pitting and crackling to enamels. Small dents and losses with associated old fills, minor nicks, light scratches. Slightly leaning. Displaying remarkably well.Weight: 1,964 g Dimensions: Height 29.2 cm Auction result comparison: Type: Closely related Auction: Bonhams London, 7 June 2021, lot 595 Price: GBP 31,500 or approx. EUR 47,000 converted and adjusted for inflation at the time of writing Description: A rare cloisonne enamel and gilt-bronze vase, fanghu, 17th century Expert remark: Compare the closely related form and taotie mask motif. Note the larger size (39 cm). 明末掐絲琺瑯饕餮紋方壺中國，十六至十七世紀。方瓶侈口束頸，鼓腹高足，瓶身四面施天藍色琺瑯釉，頸部芭蕉葉紋，神鳥紋，中間為掐絲饕餮紋樣，其下卷葉紋，大氣非凡。銅舖首銜環耳，鑄工精細。其下高足外撇，纏枝蓮紋。本器造型端莊，色澤純厚，五彩斑斕。 來源：瑞典私人收藏。 品相：狀況良好，有磨損和製造缺陷，例如琺瑯的點蝕和裂紋，小凹痕、缺損和相應的舊修補、小刻痕、輕微劃痕，微微傾斜。 重量：1,964 克 尺寸：高29.2 厘米拍賣結果比較： 形制：非常相近 拍賣：倫敦邦翰斯，2021年6月7日，lot 595 價格：GBP 31,500（相當於今日EUR 47,000） 描述：十七世紀銅胎掐絲琺瑯饕餮紋鋪首耳方壺 專家評論：比較非常相近的外形和饕餮主題。請注意尺寸較大 (39 厘米)。
A CLOISONNE ENAMEL 'FLORAL' DISH, CHINA, 17TH-18th CENTURY OR EALRIERRemarkably heavy cast in copper alloy, the shallow sides supported on a short straight foot rim with a thick and solid gilt-bronze rim and foot. Finely decorated in colorful enamels, the interior with a central flower head against a wan-diapered white ground with purple hues, encircled by evenly spaced stylized floral sprays against a bright turquoise ground repeated on the exterior.Provenance: From a French private collection.Condition: Very good condition with some old wear and expected manufacturing irregularities throughout, including minimal pitting, as well as few losses to enamel. Some occasional tiny nicks to the edges. All consistent with age and the usage of the piece.Weight: 128.8 gDimensions: Diameter 9 cm Auction result comparison: Type: Related Auction: Sotheby's Paris, 9 December 2021, lot 134 Price: EUR 1,260 or approx. EUR 1,500 adjusted for inflation at the time of writing Description: A small cloisonne floral dish, late Ming dynasty, 17th century Expert remark: Compare the related form and floral decoration. Note the absence of wan diaper as found on the present lot. Note the slightly larger size (12 cm). 十七至十八世紀掐絲琺瑯花紋小碟銅胎胎體重，淺圈足。盤內琺瑯色彩精美，盤中開光白色地，T字形紋，中央一朵花，內壁外壁分別飾卷葉花紋。 來源：法國私人收藏。品相：狀況極好，有一些磨損和製造缺陷，如小點蝕，輕微琺瑯缺失，邊緣局部有一些小刻痕。重量：128.8 克 尺寸：直徑9 釐米 拍賣結果比較： 形制：相近 拍賣：巴黎蘇富比，2021年12月9日，lot 134 價格：EUR 1,260（相當於今日EUR 1,500） 描述：明十七世紀掐絲琺瑯花卉紋小盤 專家評論：比較相近的外形和花紋裝飾。請注意此碟沒有T字形紋，尺寸較大 (12 釐米)。
A BLACK POTTERY AMPHORA WITH APPLIED COPPER BOSSES, LIFAN, HAN DYNASTYChina, 206 BC-220 AD. Elegantly potted, the lozenge-form mouth rim tapering to form two wide strap handles above the neck with a finely incised band running parallel. The ovoid body with spiral designs. Applied overall with conical copper bosses with beaded decoration.Provenance: French trade.Condition: Good condition with old wear and casting flaws, small nicks here and there, the bosses with malachite-green encrustations, some losses and scratches, all exactly as expected from an authentic piece with this age. Weight: 1,144 g Dimensions: Height 18.2 cm This type of black earthenware amphora was produced from the Warring States period and throughout the Han dynasty. The surface of the vessel has been shaped with tools and then burnished. This process of manufacture gives the jar its attractively rugged, yet carefully detailed and distinctive characteristics. The surface of the body is an amalgamation of complex curves with various convex and concave shapes. As noted by Regina Krahl in Yuegutang, A Collection of Chinese Ceramics in Berlin, 2000, page 55, amphorae of this distinct type are characteristic products of the Western Sichuan province where they were made by non-Chinese peoples. Hence, this type of vessel is known as Lifan, named after the area of Sichuan province in the far west of China, in which such jars have been found.There are obvious stylistic similarities between these Lifan vessels and objects from much earlier periods such as the Neolithic cultures of Machang (c. 3000-2000 BC) and Xindian (c. 1500-1000 BC). Similar black ware food containers with two handles have also been unearthed in Dena County, Yunan, an area that was the home of the southwestern Yi tribe during the Spring and Autumn period.Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 5 March 2021, lot 138 Price: EUR 56,880 or approx. EUR 67,000 adjusted for inflation at the time of writing Description: A black pottery amphora with applied bronze bosses, Han dynasty Expert remark: Compare the closely related form and decoration. Note the larger size (33 cm). 漢代黑陶嵌銅泡釘雙耳壺中國，西元前206 至西元220年。縮頸，壺口外撇，鼓腹，寬大的雙耳從壺口延伸到腹部。壺上鑲嵌泡釘。 來源：法國古玩交易。 品相：狀況良好，有磨損和鑄造缺陷，大面積小刻痕，泡釘上有藍綠色結殼，還有一些缺損和劃痕。 重量：1,144 克 尺寸：高 18.2 釐米 這種黑陶雙耳壺從戰國到整個漢代都有生產。據推測，這些器皿上的泡釘，是在這個時代的巔峰時期製造的，例如漢朝上半葉。 正如 Regina Krahl 在《悅古堂-柏林中國陶瓷收藏》，2000 年，第 55 頁所指出的，這種獨特類型的雙耳瓶是四川西部省份的特有創作，以中國最西部的四川省地區命名。 這些器皿與更早時期的器物在風格上有明顯的相似之處，例如馬廠（約西元前 3000-2000 年）和新店（約西元前 1500-1000 年）的新石器時代文化，春秋時期西南彝族聚居地雲南德納縣也曾出土過類似的雙柄黑瓷食器。 拍賣結果比較： 形制：非常相近 拍賣：Galerie Zacke，維也納，2021年3月5日，lot 138 價格：EUR 56,880（相當於今日EUR 67,000） 描述：漢代黑陶嵌銅泡釘雙耳壺 專家評論：比較非常相近的外形和裝飾。請注意尺寸較大 (33 厘米)。
AN EXCEEDINGLY RARE IMPERIAL ENAMELED COPPER HANDWARMER, QIANLONG MARK AND PERIODChina, (1736-1795). Each side of the vessel is painted intricately with long tailed birds and butterflies in ornate gardens with rockwork, shrubs and flowers, within pink kuilong-bordered panels surrounded by peony, prunus, and lotus blossoms, all reserved on a pale lilac ground, the neck with a key-fret band.The pierced copper-repousse lid is finely enameled and gilt with a central shou character in openwork among colorful clouds, the sides with shaped panels enclosing floral splays reserved against a brocade diapered ground. To the short sides, movable and hinged gilt-bronze overhanging handles.The interior with rich turquoise enamel. The recessed base with a six-character seal mark in blue enamel da Qing Qianlong nianzhi and of the period.Provenance: From a private estate in Belgium, formerly in the collection of Paul Doumer. The base inscribed with an old collector's number '196.' Joseph Athanase Doumer (1857-1932), commonly known as Paul Doumer, was the President of France from 13 June 1931 until his assassination on 7 May 1932. He was Governor-General of French Indochina from 1897 to 1902, and successfully lobbied the French government to approve construction of the Indochina-Yunnan railway in 1898. He served as Minister of Finance of France three times and as President of the French Senate from 1927 until the 1931 presidential election, which he won.Condition: Absolutely original and unrestored condition. Only minor old wear and expected manufacturing irregularities. Minor losses to enamels, mostly on the cover. Slight warping, light scratches, and a few fine and hardly visible hairlines. The condition is very well visible on the images, with no hidden damages whatsoever. The bronze fittings with a good natural patina. Overall exceptionally well preserved, especially given its age, fragility and rarity.Weight: 526 gDimensions: Length 14 cm Expert's note: Without question a masterpiece of Chinese 18th century enameling, this handwarmer exemplifies the softness and elegance achieved on the finest of enameled copper wares produced at the Palace workshops during the first half of the Qianlong reign. The delicacy in the use of the enamels is a key feature of the Palace workshops, allowing for considerable subtlety of expression. The brilliant, more opaque enamels used for the decorative borders in contrast to the softer main subject, demonstrate the range of possibilities available to Court artists. Of the two main Palace painted enamel arts (on glass and on copper), those on copper are more frequent. During the Qianlong reign enameled copper wares, including snuff bottles, ran into the thousands, whereas enameled glass wares were produced only in the low hundreds. Handwarmers, however, were never produced in glass, and therefore must be considered as exceedingly rare, although made from copper.A rough estimate of the total number of enameled copper handwarmers produced during the Qianlong reign comes to less than one hundred, of which only few remain in private hands to this day. This is mainly due to the greater difficulty of producing them successfully, the need for multiple firings to correctly mature different colors and layers of enamel, and the much higher failure rate during production, due to the complex firing and re-firing process necessary to create the enameled openwork copper-repousse cover. It was probably for this reason that the Imperial records also show that the Emperor only rarely distributed enameled openwork copper wares as gifts, preferring to keep most of them for Imperial use, while gifts of standard enameled metal wares were apparently quite frequent.Literature comparison: Compare a closely related enamel handwarmer, also with a Qianlong mark and of the period, 14 cm long, in the Metropolitan Museum of Art, accession number 24.80.473a, b. Compare a related painted enamel handwarmer, dated to the Qianlong period, in the Palace Museum, Beijing, accession number Gu 00116721. Compare a related painted enamel handwarmer, dated to the mid-Qing dynasty, in the Palace Museum, Beijing, accession number Gu 00116718. Compare a related painted enamel handwarmer, dated to the Qianlong period, in the Palace Museum, Taipei, image number K1E000234N000000000PAB.Auction result comparison: Type: Related Auction: Christie's, New York, 30 March 2005, lot 158 Price: USD 36,000 or approx. EUR 51,500 adjusted for inflation at the time of writing Description: A rare painted enamel quadrilobed handwarmer, Qianlong six-character seal mark in ruby-red enamel within a square and of the period (1736-1795)Expert remark: Compare the related enameled decoration, form, and Qianlong reign mark. Note the size (16.2 cm)Auction result comparison: Type: Related Auction: Bonhams New York, 20 November 2006, lot 6241 Price: USD 35,850 or approx. EUR 49,000 converted and adjusted for inflation at the time of writing Description: A fine canton enamel bronze hand warmer, Qianlong mark and period Expert remark: Compare the related enameled decoration, form, and Qianlong reign mark. Note the size (16.5 cm) 乾隆款及年代銅胎琺瑯開光花卉手爐中國，1736-1795年。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
AN IMPERIAL CINNABAR LACQUER 'ZHANG SHENG'S DREAM' SNUFF BOTTLE, CHINA, 1730-1830Attributed to the Palace Workshops, Beijing. Of flattened ovoid form, deeply carved through the layers of cinnabar lacquer with a continuous landscape scene divided by rockwork and trees, one side with Zhang Sheng sleeping at his desk on a covered porch, as he sleeps a wispy line representing the dreams of the young scholar swirls above his head, flowing and spreading into the other side of the bottle showing him in a passionate embrace with his forbidden love, Cui Yingying, all on a variety of diaper grounds.Provenance: Galerie Max in Brussels, Belgium, 19 February 1966 (according to an ancient family ledger inspected by Cabinet Portier, Paris, France, during their appraisal of the complete de Strycker estate; this ledger remains in the possession of the de Strycker family and may not be copied). Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent in the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Condition: Good condition with minor wear and expected manufacturing irregularities, small natural age cracks, minuscule nicks, and a few tiny losses and old fills.Stopper: Matching chrysanthemum-form cinnabar lacquer stopper with a gilt bronze knop and platelet, metal spoonWeight: 64.6 gDimensions: Height including stopper 7.2 cm. Diameter neck 1.9 cm and mouth 0.5 cm This is a classic imperial lacquer snuff bottle on bronze. The group of bottles represents masterly carving in lacquer that is splendidly sculptural and covers a range of delightful subject matter, usually drawn from popular dramas, operas or novels, or myths and legends. We can be sure that the group as a whole was imperial, even if we cannot be sure that every last example was made for the court. If they were for example made in Suzhou, the same workshops might have made a few pieces for private sale as well.The snuff bottle depicts a famous scene from the Romance of the Western Chamber, written by Wang Shifu (1250-1300), a story immensely popular with all levels of society. Woodblock illustrations in the many editions helped conventionalize images that were instantly recognizable to the public, thus creating a corpus of motifs that was widely used by jade carvers, painters, silk embroiderers, lacquer workers, and other craftsmen.Professor Herbert Giles, whose History of Chinese Literature was published in 1924, refers to The Xixiang Ji as the play “which will best repay reading". It is the typical story where a handsome student and a beautiful girl attempt to cross the social divide, aided and incited by the girl's maid. The dialogue is punctuated with images of wind, snow, moonlight, and flowers, emphasizing both the passion and the romance felt by the struggling couple.Literature comparison:Four cinnabar lacquer bottles from this group carved with figural scenes are in the Qing Court Collection in the Palace Museum, Beijing, and are illustrated in Masterpieces of Snuff Bottles in the Palace Museum, Beijing, 1995, pp. 187-90, nos. 192-95. Another is illustrated in Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles, The Mary and George Bloch Collection, Vol. 7, Part 1, Hong Kong, 2009, pp. 175-82, no. 1538.Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 20 March 2012, lot 66Price: USD 25,000 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A carved cinnabar lacquer snuff bottle, probably Imperial, possibly Palace workshops, 1730-1820Expert remark: Note the size (5.7 cm)Auction result comparison:Type: Closely relatedAuction: Christie's New York, 22 March 2007, lot 7Price: USD 20,400 or approx. EUR 28,000 converted and adjusted for inflation at the time of writingDescription: A fine carved lacquer snuff bottle, probably Imperial, attributed to the Palace workshops, Beijing, 1730-1820Expert remark: Note the size (6.35 cm) 1730-1830年御製剔犀《西廂記》場景鼻煙壺疑爲內務府造辦處所製。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A 'DOUBLE CICADA' BRONZE ORNAMENT, LATE SHANG DYNASTY, ANYANG PHASEExpert's note: The style of the two cicadae on this bronze belt buckle dates it firmly within the Anyang phase of the Shang dynasty. Later, these insects were depicted more naturalistically, as becomes clear for example when looking at the Cicada 'noses' depicted on a fangzun bronze dating to the Western Zhou dynasty, see literature comparison below.China, c. 1200 - 1046 BC. Of rectangular form, the finely cast sturdy plaque depicting two cicadae set in a row and surrounded by swirling C-scrolls, all in high relief and neatly incised. The two stylized insects have spade-shaped heads with naturalistic eyes set on top of a tapering body with wings extending along the side. The back has two loops for attachment.Provenance: P.C. Lu Works of Art Ltd, Hong Kong. From a private collection in the northeastern United States, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum.Condition: Very good condition, commensurate with age. Wear, signs of weathering and erosion, small losses, and traces of soil likely from a prolonged period of burial. The bronze has a remarkable, naturally grown olive green and beige patina with distinct malachite encrustations.One tiny hairline to the lip.Weight: 100.6 g Dimensions: Length 10 cm Literature comparison:Compare a similarly styled bronze cicada ornament, 3.8 cm long, dated to the Shang dynasty, in the British Museum, registration number 1933,0413.8. Compare the cicada motif along the neck of a bronze gu, 31 cm high, dated to the Shang dynasty, at Bonhams New York, 19 March 2018, lot 8030. Compare a related cicada 'nose' decoration on the front of a fangzun, dated to the Western Zhou dynasty, at Sotheby's New York, 18 March 2008, lot 71. 商代安陽時期青銅蟬紋飾物中國，西元前約1200 - 1046 年。精美鑄造長方形飾物，兩隻首尾相連的蟬紋，兩隻大目，頭部和體軀分別作長三角形，腹部有條紋；周圍環繞浮雕雷紋。背面有兩個用於固定的環。專家注釋：此件青銅帶扣上的兩隻蟬的造型，無疑屬於商代安陽時期。 之後這些昆蟲的描繪更加自然，例如西周方尊青銅器上的蟬，參見下面的文獻比較。 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。 如今，他的許多精美收藏品都收藏在大英博物館中。 品相：狀況良好，有磨損、風化和侵蝕跡象、小缺損，以及可能來自長期埋藏的土壤痕跡。表面有自然包漿和銅鏽，並帶有獨特的藍綠色和米色結殼。 重量：100.6 克 尺寸：長 10 釐米 文獻比較： 比較一件相似的商代蟬紋飾物，長3.8 釐米，收藏於大英博物館，館藏編號1933,0413.8。比較商代安陽時期青銅觚，高31 釐米，見紐約邦瀚斯，2018年3月19日，lot 8030。比較一件相近的西周蟬紋方尊，見紐約蘇富比，2008年3月18日，lot 71。
A FINELY INCISED BRONZE 'BIRD' FERRULE, EASTERN ZHOU DYNASTYChina, 770-221 BC. Well cast in the form of a bird with well detailed features such as round eyes, a curved beak, and scrolling wings, with neatly incised plumage and claws. The bronze finial has two apertures for mounting near the open shaft, the tip of the fitting is carved with scroll designs and links to the tail of the bird, which grips in its claws a raised band of scroll encircling the shaft. The bronze with a rich, naturally grown patina with malachite and cuprite encrustations.Provenance: A private collection in Taipei, acquired in Japan during the 1980s. The MQ Collection, acquired from the above in 1987. The storage box with a label inscribed in Japanese, 'Shunju, Ho-gata ishizuki' ('Spring and Autumn Period, Zun in the shape of a Ho-o bird'). In this case, the term 'zun' (pronounced 'ichizuki' in Japanese) refers to a ferrule fitted at the end of ge halberds and dagger-axes.Condition: Good condition, commensurate with age. Extensive wear, casting flaws, encrustations, signs of weathering and erosion, nicks, scratches, dents, losses.Weight: 72 g Dimensions: Length 8.2 cm With a Japanese silk storage box. (2)The present piece, similar to other ferrules of the period, was made to cap the foot of ceremonial poles or weapons, such as spears; it not only protects the shaft but also highlights the superiority of its owner. These ferrules appear to have been conceived individually, showcasing the borderless creativity of the Zhou dynasty artisans.Birds were a common decorative motif in the Western Zhou period, when a profusion of highly abstracted animal forms emerged in the decorative arts, most notably in the ornament of ritual bronze vessels. Avian motifs took on greater realism in the Eastern Zhou and the present lot is a good example of this aesthetic evolution. While quite stylized, the incision work attractively suggests the animal's feather patterns and the contours of its musculature.Literature comparison: Compare a closely related bronze bird-form ferrule, 10.9 cm long, dated to the Eastern Zhou dynasty, 4th century, included in the exhibition Ancient Chinese and Ordos Bronzes, Hong Kong Museum of Art, 1990, cat. no. 86. 東周青銅鳥形鐏中國，公元前770-221 年。鳥形鐏，圓眼、彎喙、羽毛、小爪等細節生動。青銅尖頂有兩個孔，用於安裝在開口附近，配件的尖端刻有渦卷圖案，並連接到鳥的尾巴。青銅包漿細膩，有紅綠銅結殼。 來源：台北私人收藏，20世紀80年代購於日本；MQ收藏，1987年從上述收藏購得。儲物盒上刻有日文標籤“春秋 鳳形鐏"。這裏的“鐏" 是指安裝在戟和匕首末端的套圈。 品相：品相良好，大面積磨損、鑄造缺陷、結殼、風化和侵蝕跡象、刻痕、劃痕、凹痕、缺損。 重量：72 克 尺寸：長8.2 厘米 配有日本絲綢收納盒。(2)文獻比較： 比較一件非常相近的東周鳥形鐏，長10.9 厘米，展覽於《Ancient Chinese and Ordos Bronzes》，香港藝術博物館，1990年，圖錄編號86。
A GOLD-, SILVER- AND TURQUOISE-INLAID BRONZE 'DRAGON' GARMENT HOOK, WARRING STATES PERIODChina, 475-221 BC. Superbly cast with a dragon-head hook with neatly inlaid turquoise eyes and crest, finely decorated with a central floral design composed of a turquoise-inlaid circle surrounded by a gold-inlaid band and four ruyi petals, further decorated with turquoise-inlaid angular scroll, terminating in a second dragon head with laidback ears and long snout, the underside with a circular button.Provenance: Collection of Miklos Grunberg, and thence by decent in the same family. Mossgreen Auctions, Melbourne, Australia, 2 June 2008, lot 127. A private collection in Melbourne, Australia, acquired from the above. Miklos Grunberg (1918-1988) was born in Budapest, Hungary, and immigrated to Australia in the 1940s. In the early 1950s, he founded a mining consulting firm in Sydney, where he worked for various mining projects including the Uranium mine in Silver Valley. He was an avid collector of Chinese artifacts and works of art, and he donated several pieces to the National Library of Australia.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, casting flaws, minor losses, tiny nicks, light scratches, small dents, encrustations. The finely polished silver and bronze surface with a rich, naturally grown patina with malachite and cuprite encrustations.Weight: 121.8 gDimensions: Length 20.4 cm Literature comparison:Compare a related turquoise inlaid belt hook of thin elongated shape, dated to the Warring States period, published in Julia White et al., Adornment for the Body and Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection, Hong Kong 1999, p. 109. Compare a related garment hook with geometric decorations, 21 cm long, dated 5th-4th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1948.27. Compare a closely related belt hook with a similar four-petal design in the center, albeit inlaid in turquoise, illustrated in Chinese Art from the Collection of H.M. King Gustaf VI Adolf of Sweden, Tokyo and Osaka, 1971, no. 32. Compare a related turquoise-inlaid gilt-bronze belt hook, dated to the 4th century BC, in the Museum of East Asian Art, Bath, record number BATEA : 238.Auction result comparison: Type: RelatedAuction: Bonhams New York, 21 September 2020, lot 308Estimate: USD 20,000 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: A fine and rare inlaid bronze garment hook, Warring States/Western Han dynastyExpert remark: Note the size (21.3 cm). 戰國錯金銀嵌綠松石龍頭鈎中國，西元前475-221 年。鑄工精良，龍頭鉤，一頭眼部和頭部鑲綠松石，鑲嵌工整，龍身錯金銀，飾綠松石，形如龍爪；第二個龍頭可見耳朵和長鼻子。身下有一個圓形鈕。來源：Miklos Grunberg收藏，自此在同一家族保存；澳洲墨爾本Mossgreen 拍賣行，2008年6月2日，lot 127；墨爾本私人收藏購於上述拍賣。Miklos Grunberg (1918-1988) 出生於匈牙利布達佩斯，二十世紀四十年代移居澳洲。二十世紀五十年代初，他在雪梨創立了一家採礦諮詢公司，負責多個採礦項目，包括銀穀的鈾礦。他收藏中國文物和藝術品，並向澳洲國家圖書館捐贈了多件作品。 品相：狀態良好，與年齡相稱。廣泛磨損、風化和侵蝕跡象、鑄造缺陷、輕微損失、微小刻痕、輕微劃痕、小凹痕、結殼。精細拋光的銀和青銅表面具有豐富的自然生長的銅綠，帶有孔雀石和赤銅礦結殼。 重量：121.8 克 尺寸：長 20.4 厘米 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2020年9月21日，lot 308 估價：USD 20,000（相當於今日EUR 22,000） 描述：戰國/西漢局部鎏金銅錯銀嵌松石雙獸首帶鈎一件 專家評論：請注意尺寸(21.3 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A SILVER-INLAID BRONZE CROSSBOW FITTING, WARRING STATES PERIODChina, 475-221 BC. Of rounded rectangular form, the hollow fitting has a square base and an aperture at the back for mounting it to the weapon. It is decorated overall with a geometric design of lozenge silver inlays with C-scrolls and stylized leafy scrolls. The top has a raised oval that extends down the side and is covered in the same design.Provenance: P.C. Lu Works of Art Ltd, Hong Kong. From a private collection in the northeastern United States, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum.Condition: Good condition, commensurate with age. Signs of wear and weathering, dents, scratches, extensive rubbing to one side, soil encrustations, losses, corrosion. The inside seems to bear small remnants of fabric. Naturally grown patina with solid malachite encrustations overall.Weight: 201.4 g Dimensions: Width 5.5 cm Literature comparison:Compare a related corner fitting, 5.8 cm long, dated 4th-3rd century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.1605. Compare a related finial with gold and silver inlays, 6.3 cm long, dated 5th-3rd century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.2236. Compare a pair of bronze finials with silver inlays decorated with a similar geometric design, 6 cm long, dated 5th-4th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.1677.1-2.Auction result comparison: Type: Related Auction: Christies New York, 16 March 2017, lot 865 Price: USD 9,375 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: A Silver-Inlaid Bronze Circular Ornament, Warring States Period (475-221 Bc) Expert remark: Note the similar inlay work and size (6 cm). 戰國錯銀銅十字弓配件中國，公元前475-221年。中空配件呈圓角矩形，有一個方形底座，背面有一個孔，用於將其安裝到武器上。 整體裝飾採用菱形銀色鑲嵌幾何設計，帶有卷葉紋。頂部有一個凸起的橢圓形，向下延伸到側面，並覆蓋有相同的紋飾。 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。 如今，他的許多精美收藏品都收藏在大英博物館中。 品相：品相良好，有磨損和風化跡象、凹痕、劃痕、一側有大面積磨損、土壤結殼、損失、腐蝕。內部似乎有少量織物殘留。自然包漿，整體帶有堅固的結殼。 重量：201.4 克 尺寸：寬 5.5 厘米 文獻比較： 比較一件相近的西元前四至三世紀十字弓配件，5.8 厘米長，收藏於史密森國立亞洲藝術博物館，館藏編號S2012.9.1605。比較一件相近的西元前五至三世紀錯金銀鑲嵌矛，6.3 厘米長，收藏於史密森國立亞洲藝術博物館，館藏編號S2012.9.2236。比較一對西元前五至四世紀錯銀鑲嵌相似的幾何設計頂端，6 厘米長，收藏於史密森國立亞洲藝術博物館，館藏編號S2012.9.1677.1-2。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2017年3月16日，lot 865 價格：USD 9,375（相當於今日EUR 10,500） 描述：戰國銅錯銀圓飾 專家評論：請注意相似的鑲嵌和尺寸(6 厘米)。
A PAIR OF GILT-BRONZE TAOTIE MASKS WITH RING HANDLES, WARRING STATES TO HAN DYNASTYChina, 5th century BC to 2nd century AD. Each well cast and finely detailed with bulging eyes below thick brows and ruyi horns, all above a pair of arms, each suspending a loose ring from the down-turned nose, which continues into a rectangular tab on the back below another tab pierced for attachment. (4)Provenance: P.C. Lu Works of Art Ltd, Hong Kong. The private collection of an American north-east collector, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum.Condition: Very good condition, commensurate with age. Extensive wear, light scratches, minor dents and losses, signs of weathering and erosion, expected casting flaws. Fine, solid patina with malachite encrustations.Dimensions: Height 7.1 cm (each) Expert's note: Taotie masks handles which retain their forelegs remain truest to their Shang and Zhou bronze precursors and should be dated to the early Western Han Dynasty. The inclusion of human-like arms in this design is rather unusual, and related to a small number of bronze ring handles with human-form decoration, including one excavated in 1968 at Mancheng, Hebei, from the tomb of Liu Sheng (d.113 BC) in the Hebei Provincial Museum which was illustrated in the Metropolitan Museum of Art exhibition catalog Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.-A.D. 220), New York, 2017, pages 184-185, no. 103.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 24-25 March 2022, lot 294Estimate: USD 3,000 or approx. EUR 2,900 converted and adjusted for inflation at the time of writingDescription: A pair of small gilt-bronze taotie mask fittings, Han-Northern Wei dynasty (206 BC-534 AD)Expert remark: Compare the related decoration. Note the similar size (7 cm) and that the lot also comprises a pair.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 9 May 2016, lot 727Estimate: USD 3,000 or approx. EUR 3,300 converted and adjusted for inflation at the time of writingDescription: A pair of small gilt-bronze taotie mask and loose ring handles, Han dynastyExpert remark: Compare the related decoration. Note the similar size (6.5 cm) and that the lot also comprises a pair. 戰國至漢代一對鎏金銅獸面活環輔首中國，公元前五世紀至公元二世紀。鑄造精良，細節精緻，獸面濃密的眉毛，彎曲的角，大眼圓睜，嘴部有一雙手，鼻子下懸掛一個可以活動的環。細膩堅固的包漿，帶有紅綠色銅鏽結殼。(4) 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。 如今，他的許多精美收藏品都收藏在大英博物館中。 品相：狀況非常好，大面積磨損、輕微的劃痕、凹痕和缺損、風化和侵蝕的跡象。細膩堅實的包漿，帶有綠色結殼。 尺寸：各高7.1 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2022年3月24-25日，lot 294 估價：USD 3,000（相當於今日EUR 2,900） 描述：漢/北魏銅鎏金鋪首啣環飾一對 專家評論：比較相近的裝飾。請注意相似的尺寸(7 厘米) ，以及此為一對。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦翰斯，2016年5月9日，lot 727 估價：USD 3,000（相當於今日EUR 3,300） 描述：漢代一對鎏金銅鋪首啣環飾 專家評論：比較相近的裝飾。請注意相似的尺寸(6.5 厘米) ，以及此為一對。
A LARGE CINNABAR LACQUER 'PHOENIX' FLOWERPOT, MING DYNASTYChina, 15th to early 16th century. With a heavily cast bronze body, finely modeled with deep rounded sides supported on a short foot and rising to an everted rim. Superbly carved through the layers of lustrous deep crimson lacquer to the ochre ground with a pair of phoenixes flying with outstretched wings amid large peony blossoms borne on leafy stems, with neatly incised details such as the feathers, blossoms, and leaves. Provenance: From an old private collection in Cotswold, United Kingdom. Acquired in the 1920s or earlier, and kept in the same family ever since, according to the last owner.Condition: Remarkably well preserved, commensurate with age. Old wear, expected age cracks and splits, small losses, tiny nicks here and there, light scratches. Some sections of the lacquer are slightly loosened.Weight: 4,675 g Dimensions: Diameter 34 cm, Height 27.4 cm The 'two birds' design featuring a pair of birds among flowers was a popular motif in Chinese carved lacquer, particularly from the thirteenth to early fifteenth century. In this example, two phoenixes fly amid lush, blossoming peonies. Such decoration also became standard in other media, such as textiles and ceramics, produced by the Imperial workshops of the Ming dynasty.Literature comparison: Compare a related cinnabar lacquer box and cover, similarly carved on an ochre ground with long-tailed birds and prunus blossoms, 24.2 cm in diameter, dated 1550-1650, in the Victoria & Albert Museum, accession number FE.50-1974.Auction result comparison: Type: Related Auction: Christie's Paris, 12 December 2019, lot 62 Price: EUR 150,000 or approx. EUR 170,000 adjusted for inflation at the time of writing Description: A rare and finely carved red cinnabar lacquer 'peony' box and cover, Xuande six-character mark and of the period (1426-1435) Expert remark: Compare the closely related manner of carving through layers of cinnabar lacquer to an ochre ground, as well as the related peony motif, albeit without phoenixes. Note the reign mark, different form, and the much smaller size (22 cm). 明代大型剔犀鳳鳥紋花盆中國，十五至十六世紀初。銅胎剔犀，弦紋口，深弧形腹。精美剔犀，雕琢一對展翅飛翔的鳳凰，卷葉牡丹，羽毛、花朵、葉子等細節都雕刻得十分細緻。全器漆色鮮紅，色彩純正，布局層次分明，雕刻有力，刀法渾厚婉轉，藏鋒不露，磨工精細圓潤。 來源：來自英國科茨沃爾德的私人舊藏；根據最後一位主人的說法，這件拍品是在 1920 年代或更早時期購入，自那以後一直由同一個家族保管。 品相：保存完好，磨損、年代裂縫和裂口、小缺損、局部微小的刻痕和劃痕。部分漆面有輕微鬆動。 重量：4,675 克 尺寸：直徑 34 厘米，高 27.4 厘米 文獻比較: 比較一件相近的1550-1650年剔犀蓋盒 ，相似的赭石地上雕刻著長尾鳥和李花，直徑24.2 厘米，收藏於Victoria & Albert Museum，館藏編號 FE.50-1974。 拍賣比較： 形制：相近 拍賣：巴黎佳士得，2019年12月12日，lot 62 價錢：EUR 150,000（相當今日EUR 170,000） 描述：明宣德剔紅纏枝牡丹四季花卉紋蓋盒 專家註釋：比較非常相近的雕刻風格，透過層層硃砂漆，到赭色底色，以及相近的牡丹圖案，儘管沒有鳳凰。請注意 年代款、不同的外形，以及尺寸較小 (22 厘米)
A GILT-BRONZE 'FIGHTING DRAGONS' SWORD FITTING, WARRING STATES PERIOD TO HAN DYNASTYChina, 5th century BC to 2nd century AD. Finely cast, the round pommel is decorated with two dragons gripping each other with their claws and biting the other's tail. The smooth bronze is covered overall in gilding and terminating with a hollow square extension for attachment to the sword hilt.Provenance: P.C. Lu Works of Art Ltd, Hong Kong. From a private collection in the northeastern United States, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum. Condition: Good condition, commensurate with age. Signs of wear and some weathering, dents, the gilding is worn around the edges exposing the chocolate-brown patina to the bronze. Some nicks to the square fitting.Weight: 101.9 g Dimensions: Diameter 4.7 cm Literature comparison:Compare a closely related hilt fitting, 4.6 cm in diameter, dated to the Han dynasty, in the British Museum, registration number 1932,0316.18. Compare a related bronze fitting dating to the Western Han Dynasty depicting a leopard, illustrated by J. Rawson and E. Bunker in Ancient Chinese and Ordos Bronzes, Hong Kon, 1990, cat. no. 113. Compare a related bronze fitting with three coiled dragons, formerly in the Dr. Carl Kempe Collection, illustrated in Chinese Gold and Silver, Ulricehamn, 1999, cat. no. 11. Compare also a near-identical example in Ancient Chinese and Ordos Bronzes, Jessa Rawson and Emma Bunker, number 113, described there as the depcition of a 'leopard in relief'.Auction result comparison: Type: Related Auction: Bonham's London, 11 May 2021, lot 41 Price: GBP 3,187 or approx. EUR 4,700 converted and adjusted for inflation at the time of writing Description: A rare gold-sheet-mounted bronze embossed 'dragon' fitting, Warring States Period or Han dynasty Expert remark: Compare the similar shape and dragon motif. Note the size (4.5 cm). 戰國至漢代銅鎏金龍紋劍配件中國，西元前五世紀至西元二世紀。圓形鞍頭上飾有兩條雙龍圖案，鑄工精細。整體鎏金光滑，末端有一個空心方形延伸部分，用於連接劍柄。 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。 如今，他的許多精美收藏品都收藏在大英博物館中。 品相：狀況良好，有磨損和一些風化、凹痕，邊緣處有鎏金磨損，可見褐色的銅鏽暴露在青銅色下。 方形配件上有一些刻痕。 重量：101.9 克 尺寸：直徑 4.7 釐米 文獻比較： 比較一件非常相近的漢代劍配件，直徑4.6 釐米，收藏於大英博物館，館藏編號1932,0316.18。比較一件相近的西漢青銅豹紋劍配件，見J. Rawson和E. Bunker，《Ancient Chinese and Ordos Bronzes》，香港，1990年，圖錄編號113。比較一件相近的三條盤龍紋劍配件，曾藏於Dr. Carl Kempe Collection，見《Chinese Gold and Silver，Ulricehamn》，1999年，圖錄編號11。比較一件幾乎相同的例子，Jessa Rawson 和 Emma Bunker，見《Ancient Chinese and Ordos Bronzes》，編號 113，在書中描述為“浮雕豹"。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2021年5月11日，lot 41 價格：GBP 3,187（相當於今日EUR 4,700） 描述：戰國/漢貼金銅蟠龍紋飾 專家評論：比較相似的外型和龍主題。請注意尺寸 (4.5 釐米)
A SET OF BRONZE SWORDS, EASTERN ZHOU TO EARLY HAN DYNASTYChina, 3rd-2nd century BC. Each with a scalloped cross-section and edge, the swords are slightly waisted to the point with a pronounced median ridge. The handles have two rings on the grip and are without pommels. One sword shows a vibrant malachite green patina, while the other is of a rather dark green color overall.Provenance: From the personal collection of Michael B. Weisbrod, New York. The fitted box has an old auction label, '19 MAR 97. Sale 8602. Lot 179.' Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong. Condition: Good condition, commensurate with age. Expected signs of weathering and erosion corresponding to an extended period of burial. Losses, chips, metal flaking due to fatigue, soil encrustations, and remnants of ancient pigment.Weight: 473.9 g and 496.9 g Dimensions: Length 48 cm and 51.8 cm With a fitted wood box, neatly padded with silk. (3)Literature comparison: Compare a related bronze sword, 41 cm long, dated 5th-3rd century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1979.2. Compare a related bronze sword, 43 cm long, dated 4th-3rd century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1979.4.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 6 October 2022 Price: HKD 201,600 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A bronze sword, Eastern Zhou-Han dynasty, 3rd-2nd century BC Expert remark: Note the similar double rings on the handle. Note the size (65.2 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 東周至漢初一組銅劍中國，公元前三至二世紀。劍柄扁圓分格，劍身有道稜於中間突起，通身積厚綠銅鏽。來源：紐約 Michael B. Weisbrod 的私人收藏。盒子上有一個舊拍賣標籤：“97 年3 月19 日。拍賣編號8602。拍品179。" Michael B. Weisbrod 是一位著名的中國藝術學者，他在50 多年的時間裡發表了大量有關中國藝術的文章。1972年，Michael加入了他父親Gerald Weisbrod博士在加拿大多倫多的亞洲藝廊。 這對父子團隊於1977 年在麥迪遜大道開設了他們的紐約分店，在接下來的45 年裡，藝廊舉辦了大量展覽，向全球各地的博物館和私人收藏家出售作品，最終在上海和香港開設了更多分店。 品相：品相良好，有風化和侵蝕跡象。有缺損、磕損、金屬剝落、土壤結殼，以及顏料殘留。 重量：分別爲473.9克與496.9克 尺寸：分別長48 厘米與51.8 厘米 配木盒，内襯絲綢。(3) 文獻比較： 比較一件相近的西元前五至三世紀銅劍，長41 厘米，收藏於史密森國立亞洲藝術博物館，館藏編號F1979.2。比較一件相近的西元前五至三世紀銅劍，長43 厘米，收藏於史密森國立亞洲藝術博物館，館藏編號F1979.4。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2022年10月6日 價格：HKD 201,600（相當於今日EUR 24,000） 描述：東周至漢公元前三至二世紀青銅劍 專家評論：請注意相似的劍柄扁圓分格。請注意尺寸(65.2 厘米)。
A BRONZE BOWL, LATE EASTERN ZHOU TO HAN DYNASTYChina, 4th century BC to 3rd century AD. Thinly cast with deep rounded sides supported on a short foot and rising to an everted rim, the sides encircled by a raised band with a bowstring interrupted by a distinct pair of taotie mask handles suspending loose rings.Provenance: A noted collection in Paris, France. Tajan, Paris, 10 June 2014, lot 142 (dated to the Han dynasty). Ancienne Collection Particuliere de M. M., Paris, France, acquired from the above. Condition: Good condition, commensurate with age. Wear, signs of weathering and erosion, corrosion, small dents, minor nicks, light scratches, all as expected for a bronze vessel nearly two thousand years old. The bronze is covered in a rich, naturally grown patina with cuprite and malachite encrustations.Weight: 1,806 g Dimensions: Diameter 27.5 cm, Height 11.8 cm Literature comparison:Compare a closely related bronze vessel, 22.2 cm diameter, dated to the late Eastern Zhou dynasty, in the Metropolitan Museum of Art, accession number 12.37.147.Auction result comparison: Type: Related Auction: Christie's New York, 16 October 2001, lot 169 Price: USD 4,113 or approx. EUR 6,500 converted and adjusted for inflation at the time of writing Description: A bronze high-footed bowl, late Eastern Han dynasty, 3rd century AD Expert remark: Compare the related raised band cast to the exterior with a central bowstring terminating into taotie mask handles which have lost their rings. Note the different foot which is raised. Note the size (25 cm in diameter). 東周末至漢代輔首活環銅洗中國，公元前4世紀至公元3世紀。束口，外壁有弦紋，深弧腹，圈足，兩側各有一個獸面輔首活環。 來源：法國巴黎的著名收藏；巴黎Tajan，2014年 年 6 月 10 日，拍品 142（可追溯到漢朝）；法國巴黎Ancienne Collection Particuliere de M. M.特別收藏，購自上述機構。品相：狀況良好，磨損、風化和侵蝕，有腐蝕、小凹痕、小刻痕、輕微劃痕。青銅表面有一層自然包漿以及紅綠結殼。 重量：1,806 克 尺寸：直徑 27.5 厘米，高 11.8 厘米 文獻比較： 比較一件非常相近的東周末期銅洗，直徑22.2 厘米，收藏於大都會藝術博物館，館藏編號12.37.147。 拍賣結果比較: 形制：相近 拍賣：紐約佳士得，2001年10月16日，lot 169 價格：USD 4,113（相當於今日EUR 6,500） 描繪：三世紀東漢末期高足碗 專家評論：比較相近的外部弦紋，弦紋止於饕餮輔面手柄，但活環已丟失。請注意不同的高足和尺寸(直徑25 厘米)。
A BRONZE OIL LAMP, HAN DYNASTY, EX MICHAEL GOEDHUISChina, 202 BC-220 AD. Finely cast with a circular drip pan with a straight rim and flattened curved handle, supported on a long shaped stem rising from a circular dish with everted rim.Provenance: Michael Goedhuis, London, United Kingdom, 1998. A private collection in France, acquired from the above. A copy of the original invoice, dated 27 September 1998, confirming the dating above and stating a 'special price' for the present lot of FRF 20,000 or approx. EUR 4,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. Michael Goedhuis trained as an economist, graduating with an MBA from the Courtauld Institute in Art History. He started a successful career in investment banking in New York and London, only to leave it in 1975 to pursue his passion for art. He joined Jacob Rothschild's Colnaghi Oriental Gallery specializing in Persian, Mughal, and Islamic art. It was here that he published a catalog focused entirely on the subject of post-archaic East Asian bronzes, a first in the field, authored by Ulrich Hausmann in 1989. Major collections were curated and sold by Mr. Goedhuis to numerous institutions including The Rothschild Collection to the Shahbanu of Iran, and the Vever Collection to the Smithsonian Institution. He subsequently expanded his activities to India, Japan, and China, concentrating on important antiquities. Today, Mr. Goedhuis continues to exhibit around the world, including in New York and Maastricht.Condition: Excellent condition, commensurate with age. Old wear, losses, nicks, scratches, encrustations, signs of weathering and erosion. The bronze with a rich, naturally grown, solid patina with malachite and azurite encrustations.Weight: 768.9 g Dimensions: Height 11.4 cm, Diameter 15.5 cm Literature comparison:A related bronze lamp was excavated from a Western Han dynasty tomb at Bicun, Hunyuan county, Shanxi province, illustrated in Wenwu, Beijing, 1980, no. 6, pl. 5, fig. 1. Auction result comparison: Type: Closely relatedAuction: Christie's New York, 19 March 2021, lot 808Estimate: USD 6,875 or approx. EUR 7,200 converted and adjusted for inflation at the time of writingDescription: A bronze oil lamp, Han dynastyExpert remark: Compare the related form and manner of casting. Note the phoenix and tortoise as well as the height (15.2 cm).Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 28 July 2022, lot 3026Estimate: HKD 81,900 or approx. EUR 9,900 converted and adjusted for inflation at the time of writingDescription: A bronze 'dragons' oil lamp, Han dynastyExpert remark: Compare the related form and manner of casting. Note the dragon decoration and the height (15.6 cm). 漢代銅油燈中國，公元前 202 年至公元 220 年。小盤内有一尖頂，一側有扁平弧形手柄。底盤大，支柱有弦紋。來源：英國倫敦Michael Goedhuis，1998 年；法國私人收藏，購自上述機構。隨附原始發票副本，日期為 1998 年 9 月 27 日，確認上述日期，並註明當前拍品的“特別價格"為 20.000 法郎或約 4,500 歐元（根據撰寫本文時的通貨膨脹情況進行換算和調整）。 品相：品相極佳，有磨損、刻痕、劃痕、結殼、風化和侵蝕跡象。油燈有豐富的、自然包漿，有孔雀石和藍銅礦結殼。 重量：768.9 克 尺寸：高 11.4 厘米, 直徑15.5 厘米文獻比較： 一件相近的西漢油燈，出土於山西省渾源縣畢村墓地，見《文物》，北京，1980年，編號6，圖5，圖1。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2021年3月19日，lot 808 估價：USD 6,875（相當於今日EUR 7,200） 描述：漢銅朱雀玄武燈 專家評論：比較相近的外形和鑄造風格。請注意朱雀玄武，以及高(15.2厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2022年7月28日，lot 3026 估價：HKD 81,900（相當於今日EUR 9,900） 描述：漢青銅龍紋油燈 專家評論：比較相近的外形和鑄造風格。請注意龍紋裝飾和高 (15.6厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A BRONZE GARLIC-HEAD BOTTLE, SUANTOUHU, HAN DYNASTYChina, 206 BC-220 AD. Finely cast, the compressed globular body raised on a short spreading foot and surmounted by a long waisted neck with a bulbous mouth and tall rim. The recessed base with a raised cross-hatched design. The dark bronze with a rich, naturally grown patina with azurite, malachite, and cuprite encrustations.Provenance: Collection of Anthony Powell, by repute acquired at Christie's London circa 1999. Nicholas Pitcher, London, acquired from the above. Anthony Powell (1935-2021) was a British costume designer who brought deep research to his work in both theater and film. His costume designs for John Gielgud's production of The School for Scandal (1963) earned him a Tony Award. Powell collaborated on movies with Steven Spielberg and Roman Polanski and won three Academy Awards for Best Costume Design, including 1978's Death on the Nile. He was an avid collector of fabrics and trimmings as well as Chinese, Indian, and Southeast Asian works of art.Condition: Good condition, commensurate with age, and as expected with wear, encrustation, minor casting flaws and dents, and a fine naturally grown patina overall.Weight: 1,688 g Dimensions: Height 24.8 cm Auction result comparison: Type: Closely related Auction: Christie's London, 15 May 2018, lot 41 Price: GBP 5,000 or approx. EUR 7,500 converted and adjusted for inflation at the time of writing Description: A Bronze Garlic-Head Bottle, Hu, Han Dynasty (3rd Century BC - 2nd Century AD) Expert remark: Compare the closely related form and metal alloy, resulting in a quite similar patina. Note the size (35.6 cm). 漢代銅蒜頭壺中國，西元前 206 年-西元220年。長頸，削肩，圓腹，圈足，瓶口似蒜頭。深青銅色，有包漿並紅藍色結殼。 來源：英國倫敦Anthony Powell收藏，據説購於倫敦佳士得，約1999年；倫敦Nicholas Pitcher購於上述收藏。Anthony Powell (1935-2021年年) 是一位英國服裝設計師，他對戲劇和電影作品進行了深入研究。他為 John Gielgud 製作的The School for Scandal(醜聞學校 ,1963) 設計的服裝為他贏得了托尼獎。Powell與史蒂文斯皮爾伯格和羅曼波蘭斯基合作拍攝電影，並獲得三項奧斯卡最佳服裝設計獎，包括 1978 年的《尼羅河之死》。他熱衷於收藏織物和飾物以及中國、印度和東南亞的藝術品。 品相：狀況良好，有磨損、結殼、輕微鑄造缺陷和凹痕，通體有精美的自然包漿。 重量：1,688 克 尺寸：高 24.8 釐米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2018年5月15日，lot 41 價格：GBP 5,000（相當於今日EUR 7,500） 描述：漢青銅蒜頭壺 專家評論：比較非常相近的外形、金屬合金，相似包漿。請注意尺寸 (35.6 釐米)。
A BRONZE 'HILL' CENSER AND COVER, BOSHANLU, HAN DYNASTYChina, 206 BC-220 AD. Raised on a stem foot with an openwork foliate motif against a cross-hatched ground. The conical cover is cast in openwork as a mountain range. The bronze covered overall with a rich and naturally grown patina with malachite and cuprite encrustations.Provenance: From a private collection in Raleigh, North Carolina, USA.Condition: Good condition, commensurate with age. Extensive wear, traces of use to the interior, signs of weathering and erosion with associated few losses, encrustations, minor nicks, light scratches.Weight: 128.1 gDimensions: Height 10.4 cm The cover of this hill censer depicts the mystical overlapping peaks of Mount Peng, regarded in Han dynasty Daoist tradition as a paradise realm for the spirits of immortals.Literature comparison:Compare a closely related bronze boshanlu, 11 cm high, dated to the Han dynasty, in the British Museum, registration number 1936,1118.52. Compare a related bronze boshanlu, 18.4 cm high, dated to the Western Han dynasty, in the Cleveland Museum of Art, accession number 1986.46.Auction result comparison:Type: RelatedAuction: Christie's London, 10 November 2015, lot 3Price: GBP 30,000 or approx. EUR 50,000 converted and adjusted for inflation at the time of writingDescription: A bronze 'hill' censer and cover, boshanlu, Han dynastyExpert remark: Note the size (23.8 cm).Auction result comparison: Type: RelatedAuction: Christie's New York, 17 March 2016, lot 1157Price: USD 47,500 or approx. EUR 56,500 converted and adjusted for inflation at the time of writingDescription: A bronze 'hill' censer and cover, boshanlu, Han dynastyExpert remark: Note the size (18.1 cm). 漢代銅博山爐中國，西元前206年至西元220年。器呈豆形，蓋是鏤空的起伏山巒，有雲氣紋填充於山巒之間。銅爐整體覆蓋著自然包漿，上面有著綠色和紅色結殼。 來源：美國北卡羅萊納州蘿利市私人收藏。 品相：狀態良好，嚴重磨損，內部有使用痕跡、風化和侵蝕跡像，以及小缺損、結殼、輕微刻痕和劃痕。 重量：128.1 克 尺寸：高 10.4 釐米 “博山爐"一名是根據秦漢時的傳說："東方海上有蓬萊、方丈、瀛洲三座仙山"，這三座仙山即為「博山」之意。 文獻比較： 比較一件非常相近的漢代博山爐，高11 厘米，收藏於大英博物館，館藏編號1936,1118.52。比較一件相近的西漢博山爐，高18.4 厘米，收藏於克利夫蘭藝術博物館，館藏編號1986.46。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2015年11月10日，lot 3 價格：GBP 30,000（相當於今日EUR 50,000） 描述：漢代博山青銅爐蓋 專家評論：請注意尺寸(23.8 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2016年3月17日，lot 1157 價格：USD 47,500（相當於今日EUR 56,500） 描述：漢銅博山爐 專家評論：請注意尺寸(18.1 厘米)。
A GILT-BRONZE 'TORTOISE' WEIGHT, HAN DYNASTYChina, 202 BC-220 AD. Boldly cast, the tortoise raises its head, looking up, and curls its tail to one side. The carapace is cast with three notable ridges and the feet with four toes, giving the tortoise a naturalistic form.Provenance: P.C. Lu Works of Art Ltd, Hong Kong. From a private collection in the northeastern United States, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum. Condition: Good condition, commensurate with age, with wear, dents, losses, signs of weathering and erosion, the gilt mostly worn away, encrustations, and rubbing. The bronze has a fine, naturally grown patina with malachite and cuprite encrustations.Weight: 110.9 g Dimensions: Length 5.7 cm The tortoise is one of the Four Fabulous Animals, the most prominent beasts of China. They govern the four points of the compass, with the Black Tortoise as the ruler of the north, symbolizing endurance, strength, and longevity. The tortoise and the tiger are the only animals of the four who are not purely mythical. The tortoise is sometimes depicted with supernatural features such as dragon ears, flaming tentacles, and a long hairy tail. The Chinese Imperial Army carried flags with images of dragons and tortoises as symbols of power.Literature comparison: Compare a related bronze figure of a tortoise, dated to the Han dynasty, in the British Museum, registration number 1947,0712.387. Compare a related bronze turtle-shaped weight, 10.1 cm long, dated to the Han dynasty, in the British Museum, registration number 1938,0524.577.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 19 January 2023, lot 3044Price: HKD 504,000 or approx. EUR 59,000 converted at the time of writingDescription: A set of four bronze 'tortoise' weights, Han dynastyExpert remark: Note this lot is comprised of four tortoise weights. Note the similar wear and style of incised feet. Note the size (6 cm). 漢代鎏金銅烏龜鎮紙中國，西元前202年-西元220年。烏龜抬起頭，向上看去，尾巴向一側捲曲，腳上有四個腳趾，十分形象生動。 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。 如今，他的許多精美收藏品都收藏在大英博物館中。 品相：狀況良好，有磨損、凹痕、缺損、風化和侵蝕的跡象，鎏金大面積磨損、結殼和摩擦。有自然包漿和紅綠色結殼。 重量：110.9 克 尺寸：長 5.7 釐米 龜，即玄武，是中國四大神獸之一，統治北方，象徵著毅力、力量和長壽。 烏龜和老虎是這四種動物中唯一不是神話動物。龜有時被描繪成具有超自然特徵，如龍耳、火焰爪和長毛尾巴。文獻比較： 比較一件相近的漢代青銅烏龜鎮紙，收藏於大英博物館，館藏編號1947,0712.387。比較一件相近的漢代青銅烏龜鎮紙，長10.1 釐米，收藏於大英博物館，館藏編號1938,0524.577。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2023年1月19日，lot 3044 價格：HKD 504,000（相當於今日EUR 59,000） 描述：漢青銅龜形鎮紙一組四件 專家評論：請注意此為四件烏龜鎮紙。請注意相近的磨損和足部雕刻、尺寸 (6 釐米)。
A GILT-BRONZE VOTIVE PLAQUE DEPICTING THE MAITREYA, JIN DYNASTY, CHINA, 5TH CENTURYScientific Analysis Reports: 1.A technical examination was conducted by Podany Conservation Services, USA. The examination report concludes: “The characteristics observed by visual examination only of the corrosion patina and the encrustation, as well as the relationship between them and the base metal, as well as the remains of gilding and pigment suggest that the object is ancient." A copy of the signed examination report, dated 15 May 2021, accompanies this lot. 2.A scientific and technical examination was conducted by John Twilley, art conservation scientist. The report concludes that “The results of these tests show that the disk retains its as-cast microstructure and consists of a simple leaded tin bronze…Considering two likely origins, Korea or China, Buddhist sculptures from Korea have been noted to often be cast from unalloyed copper or leaded copper with minimal tin content, making a Korean origin somewhat less likely for the disk." A copy of the examination report, dated 29 December 2021, accompanies this lot. 3.An expert report was conducted by Antiques Analytics at the Institute for Scientific Authenticity Testing, Professor Robert Neunteufel. The examination concluded, “The results of the metal analysis are not in contradiction to a manufacture within the 5th" A signed copy of the report, dated 19 May 2023, accompanies this lot.The circular plaque is molded with a central Buddha Maitreya, seated on a lotus in dhyanasana with his hands raised in the abhayamudra and flanked by a flaming mandorla. The robed buddha is surrounded by a pair of acolytes at his feet, bodhisattva to his left and right, and two apsara flying above him. The surrounding figures are accompanied by two small rosettes and scrolling clouds. The remnants of three iron nail heads remain along the rim of the plaque.Provenance: From the private collection of Michael Phillips. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Very good condition, commensurate with age. Expected signs of weathering and erosion, soiling, flaking, dents, losses from corrosion, casting irregularities, remnants of red pigment, and loss to the gilding. The naturally grown patina has vibrant malachite and cuprite encrustations.Weight: 5,030 gDimension: Diameter 41.3 cmMaitreya, also known as the Buddha of the Future, may be considered as a Bodhisattva according to the sutras, or a Buddha according to the tantras. In Tibet, when represented as a Bodhisattva, he may be depicted standing or seated in European style with the feet resting on a small lotus throne, as in the present lot. The princely seated appearance of the figure, as in the present lot, is one of the most popular manifestations of Maitreya.Merchants trading in Silk Road goods, South and Central Asian Buddhist proselytizers, and pilgrims who had traveled to India to study Buddhism at its source brought countless paintings, scriptures, and small bronze sculptures and plaques to China and Tibet. These later served as the inspirations for works commissioned by local patrons. Few early Chinese and Tibetan bronze plaques survive, as later generations melted them down to make coins, weapons, or new icons.Literature comparison:Compare a closely related plaque depicting Maitreya surrounded by acolytes, bodhisattva, and apsaras, 17.2 cm high, dated to 460 AD through an inscription left by the devotee Faliang, in the Asian Art Museum of San Francisco, accession number B60B643. Compare a later related plaque depicting Maitreya similarly surrounded by acolytes, bodhisattva, and apsaras, 15.2 cm high, dated to the Sui dynasty (518-618), in the Harvard Art Museums, accession number 1943.53.74.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 晉代銅鎏金彌勒佛鎏金銅許願牌由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A PARCEL-GILT AND SILVERED COPPER-ALLOY REPOUSSE COMB TOP, TANG DYNASTYChina, 618-907. The gilt upper section of the comb is decorated in repousse with stylized birds of paradise flying amidst blossoms reserved in a ring-punched ground with floral medallions. The copper-alloy has a fine, naturally grown patina with malachite, cuprite, and azurite encrustations.Provenance P.C. Lu Works of Art Ltd, Hong Kong. From a private collection in the northeastern United States, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum.Condition: Good condition, commensurate with age, with wear, expected signs of oxidization, minor corrosion, rubbing to the gilt, and a few small losses and dents.Weight: 20.6 g Dimensions: Length 12.7 cm Literature comparison:Three related combs in the Idemitsu Museum of Arts, Tokyo, are illustrated in Ancient Chinese Arts in The Idemitsu Collection, Tokyo, 1989, pl. 337. Compare a related bronze comb with a similar bird motif, dated to the Tang dynasty, in the British Museum, registration number 1938,0524.284.Auction result comparison: Type: Related Auction: Christie's 12 September 2019, lot 564 Price: USD 20,000 or approx. EUR 22,000 converted and adjusted for inflation at the time of writing Description: A parcel-gilt silver comb, Tang dynasty Expert remark: Note the related motif, displaying two birds flying amid floral branches. Note the size (9.3 cm). 唐代鎏金銀錘鍱銅梳柄中國，618-907年。採用錘鍱工藝，串珠紋、鳳穿牡丹等圖案，局部鎏金銀，自然包漿，已出現藍紅色結殼。 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。 如今，他的許多精美收藏品都收藏在大英博物館中。 品相：狀況良好，有磨損、氧化跡象、輕微腐蝕、鎏金摩擦，以及一些小缺損失和凹痕。 重量：20.6 克 尺寸：長 12.7 釐米 文獻比較： 三件相近的梳子，收藏於出光美術館，見《Ancient Chinese Arts in The Idemitsu Collection》，東京，1989年，圖337。比較一件相近的唐代鳥紋青銅梳，收藏於大英博物館，館藏編號1938,0524.284。 拍賣結果比較： 形制：相近 拍賣：佳士得，2019年9月12日，lot 564 價格：USD 20,000（相當於今日EUR 22,000） 描述：唐銀局部鎏金錘鍱花鳥紋篦 專家評論：請注意相近的主題，雕刻有兩隻鳥兒在花枝間飛翔。請注意尺寸 (9.3 釐米)。
A SILVERY BRONZE SQUARE 'LION AND GRAPEVINE' MIRROR, TANG DYNASTYChina. 618-907. The central lion-shaped knob surrounded by lions with raised heads frolicking amidst grapevine, within a raised circular border and an outer field where birds are shown amidst further grapevine in each corner. The outer border with a raised rim and slightly flared sides which are decorated with scrolling designs.Provenance: From a private collection in West Yorkshire, United Kingdom, formed in the 1970s and 1980s. Condition: Excellent condition, commensurate with age. Wear, signs of weathering and erosion, corrosion, tiny nicks and losses. The silvery bronze with a solid, naturally grown patina showing distinct malachite and soil encrustations as well scattered dark specks and faint hues of cuprite.Weight: 779.9 g (excl. stand) and 1,360 g (incl. stand) Dimensions: Length 14.4 cm With a fitted metal stand. (2)Literature comparison:Compare a related silvered bronze mirror, 9 x 9 cm, dated to the Tang dynasty, exhibited in Ancient Chinese and Ordos Bronzes, Oriental Ceramic Society of Hong Kong, Hong Kong Museum of Art, Hong Kong, 1990, cat. no. 180.Auction result comparison: Type: Closely related Auction: Christie's New York, 18 March 2009, lot 241 Price: USD 17,500 or approx. EUR 23,000 converted and adjusted for inflation at the time of writing Description: A silvery bronze square lion and grapevine mirror, Tang dynasty Expert remark: Compare the closely related form, manner of casting, and motif. Note the square border encircling the central motif and the smaller size (11.6 cm).Auction result comparison: Type: Related Auction: Christie's New York, 22 March 2012, lot 1443 Price: USD 47,500 or approx. EUR 58,500 converted and adjusted for inflation at the time of writing Description: A small bronze square 'lion and grapevine' mirror, Tang dynasty Expert remark: Compare the closely related form, manner of casting, and motif. Note the square border encircling the central motif and the much smaller size (9.2 cm). 唐代海獸葡萄紋鎏銀銅鏡中國，618-907年。方鏡，背面中央高浮雕，臥獅鈕，四周環繞著海獸和葡萄藤，外場有神鳥與葡萄藤和葡萄串，卷葉紋。 來源：英國西約克郡的私人收藏，形成於 二十世紀七十年代和八十年代。品相：狀態極佳，有磨損、風化和侵蝕和微小刻痕、缺損，青銅具有堅固的自然包漿，有土壤結殼，以及分散的黑色斑點和淡淡的赤銅礦色調。 重量：779.9 克 (不含底座) ，1,360 克 (含底座) 尺寸：長 14.4 厘米 金屬支架 (2) 文獻比較： 比較一件相近的唐代八世紀狻猊葡萄方鏡，9 x 9厘米，展覽於《Ancient Chinese and Ordos Bronzes，Oriental Ceramic Society of Hong Kong》，香港藝術博物館，香港，1990年，圖錄編號180。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2009年3月18日，lot 241 價格：USD 17,500（相當於今日EUR 23,000） 描述：唐代鎏銀獅和葡萄銅方鏡 專家評論：比較非常相近的外形、鑄造風格和主題。請注意方形邊框環繞中央，以及尺寸較小(11.6厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2012年3月22日，lot 1443 價格：USD 47,500（相當於今日EUR 58,500） 描述：唐海獸葡萄紋方銅鏡 專家評論：比較非常相近的外形、鑄造風格和主題。請注意方形邊框環繞中央，以及尺寸較小(9.2厘米)。
A PAIR OF HEAVY BRONZE FIGURES OF QILIN, MING DYNASTYChina, 1368-1644. Boldly cast with animated proportions, the heads of the qilins glance over their shoulders towards their upswept tails while striding forward. The beasts with neatly incised scales, spiky manes and brows, and wavy hair as well as crenulated spines.Provenance: Austrian trade, by repute from an old Viennese private estate.Condition: Good condition with minor wear and casting flaws. Signs of weathering, encrustations, small nicks and losses, light scratches, one tail with traces of soldering. Rich, dark, naturally grown patina with scattered malachite encrustations. The wood stands with old wear, age cracks and minor losses.Weight: 3.8 kg and 3.5 kgDimensions: Length 27 cm and 30.5 cm Each figure with an associated fitted wood stand. (4)Auction result comparison:Type: RelatedAuction: Christie's New York, 17 September 2010, lot 1025Price: USD 13,750 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: An archaistic bronze figure of a qilin, Ming Dynasty, 1368-1644Expert remark: Note the length (18.4 cm).Auction result comparison:Type: RelatedAuction: Christie's Paris, 22 June 2016, lot 348Price: EUR 5,000 or approx. EUR 5,900 adjusted for inflation at the time of writingDescription: A pair of bronze figures of qilin, Ming dynasty, 1368-1644Expert remark: Note the size (21 cm). 明代一對麒麟銅像中國，1368-1644年。麒麟頭部向身體側面扭轉，四足挺立；頭頂生獨角，張嘴露齒，身形矯健，背脊、脅下筋骨畢現，頸部、四肢毛髮披散，長尾搭於身後。鑄造工藝精細，麒麟毛髮、項圈施刀鏨刻細節，通身瑩潤光亮。來源：奧地利古玩交易，據説購於維亞納一個私人舊藏。 品相：狀況良好，有輕微磨損和鑄造缺陷，有風化跡象、結殼、小缺口和輕微劃痕，一根尾部有焊接痕跡。豐富的深色包漿，散佈著綠色結殼。木底座有磨損、老化裂紋和輕微損失。重量：分別爲3.8 公斤與3.5 公斤 尺寸：分別長27 釐米與30.5 釐米 分別有配套的木底座 (4) 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2010年9月17日，lot 1025 價格：USD 13,750（相當於今日EUR 18,000） 描述：1368-1644年明代仿古麒麟銅像 專家評論：請注意長(18.4 釐米)。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2016年6月22日，lot 348 價格：EUR 5,000（相當於今日EUR 5,900） 描述：1368-1644年明代一對麒麟銅像 專家評論：請注意尺寸(21 釐米)。
A SMALL BRONZE CENSER WITH A ZITAN COVER, QING DYNASTYChina, 1644-1912. The compressed body supported on a short spreading foot and rising to an everted rim, the sides cast with two well detailed lion-mask handles. The domed zitan cover is finely carved and pierced with ruyi designs, surmounted by a small jade finial modeled as a kneeling figure, both dating from the same period.Provenance: English trade.Condition: Very good condition with some old wear and casting irregularities, small nicks, light scratches. The bronze with a rich copper-brown patina. The wooden cover with minuscule natural age cracks.Weight: 945 gDimensions: Diameter 10.6 cm, Height 15 cm (total) The recessed base with an apocryphal six-character reign mark da Ming Xuande nianzhi.Literature comparison:Compare a related bronze censer in the National Museum of History, Taipei, included in the exhibition Guan cang ya diao ji Ming Qing tong lu te zhan: Rekishi Hakubutsukan korekushon zōge chōkoku oyobi Min Shin dōro shōrai tokuten, Kumamote City Museum, Kumamote, 1997, cat. no. 245.Auction result comparison: Type: Closely relatedAuction: Christie's London, 9 November 2011, lot 663Price: GBP 5,000 or approx. EUR 9,300 converted and adjusted for inflation at the time of writingDescription: A Chinese bronze censer, 17th/18th centuryExpert remark: Compare the closely related lion mask handles. Note the larger size (28.5 cm).Auction result comparison: Type: RelatedAuction: Christie's Amsterdam, 13 December 2012, lot 539Price: EUR 9,375 or approx. EUR 12,500 adjusted for inflation at the time of writingDescription: A Chinese bronze censer, 19th century, with Zhengde six-character mark to the baseExpert remark: Compare the closely related lion mask handles. Note the larger size (22.7 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 清代紫檀蓋銅香爐中國，1644-1912年。鑄造精美，口外撇，束頸，鼓腹下垂，高圈足。頸部一對獅面輔首。圓頂紫檀蓋雕工精細，鏤空如意紋，玉人蓋鈕。兩者都是同一時期的。 來源：英國古玩交易。 品相：狀況非常好，有一些磨損和鑄造不規則、小刻痕、輕微劃痕，濃郁的銅棕色光澤。木蓋上有微小的自然老化裂紋。 重量：945 克 尺寸：直徑10.6 厘米，總高15 厘米。 底座内六字寄托款“大明宣德年製"。文獻比較： 比較一件相近的銅爐，收藏於臺北歷史博物館，展覽於《館藏牙雕暨明清銅爐特展圖錄》，熊本市博物館，熊本市，1997年，圖錄編號245。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2011年11月9日， lot 663 價格：GBP 5,000（相當於今日EUR 9,300） 描述：十七至十八世紀銅爐 專家評論：比較非常相近的獅輔面耳。請注意尺寸較大 (28.5厘米)。 拍賣結果比較： 形制：相近 拍賣：阿姆斯特丹佳士得，2012年12月13日，lot 539 價格：EUR 9,375（相當於今日EUR 12,500） 描述：正德款十九世紀銅爐 專家評論：比較非常相近的獅輔面耳。請注意尺寸較大 (22.7厘米)。
A COPPER-ALLOY FIGURE OF MANJUSHRI, WESTERN TIBET, 11TH-12TH CENTURYStanding on a circular pedestal in a slight tribhanga and brandishing the wisdom sword with his raised hand, the other resting on his waist, the bodhisattva wearing a short dhoti tied with a sash to the waist. His serene face with heavy-lidded eyes below gently arched brows, flanked by elongated earlobes with spiral earrings, further framed by his hair cascading elegantly in curled strands over the shoulders and piled up into a topknot. To the back, two tangs, one at the base and the other raised in the center.Provenance: From a noted private collection in Southern Germany.Condition: Good condition, commensurate with age, displaying remarkably well. Extensive wear, some weathering, and expected casting irregularities. Small nicks, dents and losses, light surface scratches and minor bending.Weight: 312 gDimensions: Height 14.7 cm Manjushri is understood as the personification of awakened knowledge. He displays the palm-leaf manuscript (pustaka), in his left hand here, which is his principal identifier. In his right hand, he wields a sword, symbolizing the cutting away of all impediments to enlightenment.This expressive bronze would likely have formed the centerpiece of a triad in which Vajrapani and Avalokiteshvara flank Manjushri, representing the 'Three Lords' derived from the Kriya Tantra.Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 19 March 2019, lot 892Price: USD 31,325 or approx. EUR 34,000 converted and adjusted for inflation at the time of writingDescription: A copper alloy figure of Manjushri, Western Tibet, Kashmir style, 11th/12th centuryExpert remark: Note the similar size (15.2 cm).Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 2 October 2018, lot 171Price: HKD 81,250 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: A brass alloy figure of Manjushri, Western Tibet, 11th/12th centuryExpert remark: Note the slightly larger size (17 cm). 西藏十一至十二世紀銅合金文殊立像菩薩身著半肩式袈裟，三屈式站在圓形基座上，一手舉起智慧劍，另一手放在腰上。 他面容平靜，雙眼微閉，兩側是細長的耳垂，耳垂上戴著螺旋耳環，頭髮捲曲盤成頂髻。背面有兩個支腳，一個位於底部，另一個位於背後。 來源：南德知名私人收藏。 品相：品相良好，大面積磨損、一些風化以及小缺口、凹痕和缺損、輕微表面劃痕和輕微彎曲。 重量：312 克 尺寸：高14.7 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2019年3月19日，lot 892 價格：USD 31,325（相當於今日EUR 34,000） 描述：藏西克什米爾風格十一/十二世紀文殊菩薩銅像 專家評論：請注意相似的尺寸(15.2 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港邦翰斯，2018年10月2日，lot 171 價格：HKD 81,250（相當於今日EUR 10,500） 描述：藏西十一/十二世紀文殊菩薩銅像 專家評論：請注意尺寸較大 (17 厘米)。
A GILT-BRONZE AND TURQUOISE-INLAID FIGURE OF VAJRASATTVA, KASHMIR STYLE, WEST TIBET, 12TH CENTURYFinely cast seated in dhyanasana on a lotus base with the left hand holding a ghanta, the right raised holding an upright vajra. The deity richly adorned in beaded jewelry, and dressed in dhoti incised with foliate decorations at the hem. The serene face with heavy-lidded downcast eyes, flanked by elongated earlobes pendent with large earrings on either side. The hair arranged in a tall chignon behind a two-tiered, pointed crown. The base with two rectangular apertures to the back. Two tiers of heavenly bands, one on each side, characteristic for region and period.Provenance: Belgian trade.Condition: Good condition, commensurate with age. Extensive natural wear, expected casting flaws, minor nicks, light scratches, few small cracks and deflections. Remnants of ancient pigments. The gilt on the face well-preserved, stopping before the necklace. One turquoise inlay to one earring lost, of the second only a fragment remains.Weight: 270.8 gDimensions: Height 14.2 cm This handsome figure of Vajrasattva is an example of early Western Tibetan sculpture borrowing the artistic style of Kashmir. As noted by Pal, it is known that Kashmiri artists were physically present in Western Tibetan monasteries during the 11th and 12th centuries (see Pal, Bronzes of Kashmir, New York, 1975, p.241). Given its geographical proximity, the art of northwestern India had a more immediate influence on the evolution of early Western Tibetan style than Pala art. In particular, the three-leaf crown, the treatment of his pectoral muscles, and facial chubbiness are all reminiscent of Kashmiri bronzes.Literature review:Compare a closely related gilt-bronze figure from a private collection, illustrated on Himalayan Art Resources, item number 61596.Auction result comparison: Type: Closely relatedAuction: Bonhams Paris, 11-19 December 2022, lot 806Price: EUR 19,125 or approx. EUR 20,000 adjusted for inflation at the time of writingDescription: Brass Vajrasattva statuette, Western Himalayas, circa 11th centuryExpert remark: Note the near-identical size (14 cm). 西藏十二世紀銅鎏金嵌綠松石金剛薩陲，克什米爾風格金剛薩陲全跏趺坐，雙手分別持金剛鈴和金剛杵。雙眉高挑，眼睛豆莢狀，自然舒展，鼻樑挺直，嘴角微微上揚。面部圓潤飽滿，額頭寬平，髮髻高聳。耳環造型複雜。上身袒裸，下身著裙，腰間系腰帶，嵌綠松石，項鍊、臂釧、手鐲、足釧俱足。裙裝鏨刻刻有立體花紋。身形纖細修長，頭微微左傾，面容沉定。金色明亮。細節處更見別緻，裝飾細帶，在手肘處打有一結，凸顯別緻。來源：比利時古玩交易。 品相：品相良好，自然磨損、輕微的刻痕、劃痕、少量的小裂紋、顏料殘餘。臉上的鎏金保存完好，停在項鍊之上。 一隻耳環上的一顆綠松石鑲嵌物丟失了，第二隻耳環只剩下一塊碎片。 重量：270.8 克 尺寸：高14.2 厘米 文獻比較： 比較一件非常相近的私人收藏鎏金銅像，見Himalayan Art Resources，館藏編號61596。 拍賣結果比較： 形制：非常相近 拍賣：巴黎邦翰斯，2022年12月11-19日，lot 806 價格：EUR 19,125（相當於今日EUR 20,000） 描述：藏西 約十一世紀金剛薩埵銅像 專家評論：請注意幾乎相同尺寸(14 厘米)。
A COMPLETE SET OF ANTHROPOMORPHIC ZODIAC FIGURES, PAINTED POTTERY, TANG DYNASTYExpert's note: It is rare to find a complete set of twelve zodiac animals. The present set is also unusual for the crispness of its modeling, especially the inspired sculpturing of the heads, with each face showing a unique expression and character. Special care was given to the ox, tiger, and monkey sculptures who are the only figures robed in red, black, and yellow, possibly suggesting a personal connection between the original owners and these years.China, 618-907. Each modeled as a human figure standing ramrod straight with hands clasped beneath the long sleeves of court robes belted below the waist, falling in crisp folds and fanning out in a circle over the tips of their shoes. The robes in shades of red, yellow, cream, and brown. The heads finely modeled comprising the complete group of twelve animals of the Zodiac: the rat, ox, tiger, rabbit, dragon, snake, horse, ram, monkey, rooster, dog, and pig. (12)Provenance: From a private collection in Sussex, United Kingdom, assembled during the 1990s, and thence by descent.Condition: Excellent condition overall, commensurate with age. Wear, weathering and erosion, the original pigments partially faded. Minor chips, cracks, and losses. Soil encrustations. Possibly with small old repairs here and there, as expected from ancient potteries aged more than a millennia.Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 19 April 2021, based on sample number C121c56, sets the firing date of two samples taken between 900 and 1500 years ago. A copy of the report, signed by Doreen Stoneham for Oxford Authentication, accompanies this lot.Weight: 14.9 kg Dimensions: Height 31 cm (the tallest) Zodiac figures first appeared during the Han dynasty as artisans began casting representations of the animals in bronze as offerings. Form the Northern Wei dynasty (386-534 AD) onwards, the zodiacal animals began to be anthropomorphized, such as in the present lot, and often functioned as grave goods. The heads of each of these figures were molded separately from the bodies and were attached before firing. The hollow interior can be seen from the base, which was necessary to access when attaching the heads to the bodies. Remnants of the sculptors fingerprints are preserved in the interior of many of these figures.Literature comparison:Compare a closely related complete set of twelve zodiac animals, each 30.5 cm high, dated to the 8th century, in the Metropolitan Museum of Art, accession number 2000.662.7a-l. A related complete set of twelve pottery Zodiac figures, Tang dynasty, unearthed in the suburbs of Xi'an, Shaanxi Province in 1955 and currently in the Museum of Chinese History, Beijing, was included in the exhibition China. 5000 Years: Innovation and Transformation in the Arts, The Guggenheim Museum, New York, 1998, cat. no. 108. A related complete set of twelve zodiac animals, excavated in 1950 at Ba Qiao, Shaanxi Province, and currently in the Shaanxi Beiling Museum, was included in the exhibition Gilded Dragons, The British Museum, London, 1999, no. 63. Compare a related set of five zodiac animals, 25.4 cm high, dated to the Tang dynasty, in the Minneapolis Institute of Art, accession numbers 50.46.197-50.46.201.Auction result comparison: Type: Closely related Auction: Christie's New York, 16 January 2019, lot 69 Price: USD 35,000 or approx. EUR 38,000 converted and adjusted for inflation at the time of writing Description: A set of six Chinese large painted red pottery zodiac figures, Tang dynasty Expert remark: Compare the closely related modeling and manner of painting. Note the size (54.2 cm) and that this lot is an incomplete set of only six figures, as opposed to the present lot which is a complete set of twelve. 唐代彩繪十二生肖陶俑中國, 618-907年。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A LARGE BRONZE HEAD OF BUDDHA, YUAN - EARLY MING DYNASTY, CHINA, 14TH-15TH CENTURYExpert's note: The head of the Buddha reflects profound contemplation. It was undoubtedly a component of a larger statue, approximately 70-80 cm in height, and probably salvaged after the remaining parts of the statue were destroyed in a fire. There are slight indications of fire damage on the right side of the deity's face, serving as a testament to this incident. The partially closed eyes capture the essence of Buddha's meditation, while the intricately carved facial features highlight his vibrant serenity and inner tranquility.The massively cast head is flanked by elongated earlobes, surmounted by an ushnisha and covered with a multitude of snail shell curls in high relief. The face shows prominent brows, heavy-lidded eyes, and a sharp nose above the bow-shaped lips outlining a indulgent smile.Provenance: Jacques Barrere, Paris, France. A copy of the signed expertise from Jacques Barrere Art D'Extrême Orient, dated 10 November 1999, confirming the dating above, accompanies this lot. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Good condition commensurate with age and size, showing significant old wear and weathering, minimal corrosion, and expected casting flaws. Some dents, losses, and minor fire damage. Magnificent naturally grown patina overall.Weight: 11.4 kgHeight: Height 18 cm (excl. base) and 32 cm (incl. base) Mounted on an associated base. (2)Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 20 March 2019, lot 680Price: USD 137,500 or approx. EUR 150,000 converted and adjusted for inflation at the time of writingDescription: A large bronze figure of Shakyamuni Ming Dynasty, 16th-17th centuryExpert remark: Note the size of the complete figure here is 54.6 cm, resulting in a size of 14.5 cm for the head itself, which is smaller than the present lot with a height of 18 cm. 十四至十五世紀元至明初大型銅佛陀頭像圓臉，表情寧靜，半閉的柳葉形眼睛，狹窄的鼻樑，柳葉形眉。笑容慈祥，側面長耳垂，螺髻。 來源：法國巴黎Jacques Barrere; 此拍品附有Jacques Barrere Art D'Extrême Orient 藝廊於 1999 年 11 月 10 日簽署的專業意見的副本，確認了上述日期。Jacques Barrere藝廊位於巴黎市中心的聖日耳曼德佩區。自1969年以來，它一直舉辦展覽以推廣和保護遠東藝術。該藝廊專注於中國雕塑、考古、陶瓷和裝飾藝術，以及日本藝術品和瓷器，也定期展出來自犍陀羅、印度或東南亞的雕像藝術。Jacques Barrere曾經擁有的藏品現在分佈在世界各地的重要博物館中，包括吉美博物館、賽努奇博物館和上海博物館。Barrere 藝廊經常參加馬斯特里赫特 TEFAF 博覽會。 品相：狀況良好，顯示出明顯的磨損和風化、輕微腐蝕和鑄造缺陷，一些凹痕、缺損和輕微的火災損壞。自然包漿。 重量：11.4 公斤 尺寸：高18 厘米 (不含底座)，32 厘米 (含底座) 配置底座（2）拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年3月20日，lot 680 價格：USD 137,500（相當於今日EUR 150,000） 描述：明十六 / 十七世紀銅釋迦牟尼佛坐像 專家評論：此像的完整尺寸為 54.6 厘米，頭部尺寸為 14.5 厘米，比本拍品的高度 18 厘米要小。
A GILT COPPER-ALLOY FIGURE OF KUNZANG AKOR, BON TRADITION, TIBET, 14TH-15TH CENTURYKunzang Akor is seated in padmasana, hands held in dhyanamudra on his lap, wearing elaborate jeweled necklaces. His serene face with heavy-lidded eyes below gently arched brows centered by an urna, framed by his hair falling elegantly in curled strands over the shoulders and piled up into a topknot behind the elaborate foliate crown. The mantra 'AH' is cast on his chest. The sealed base is incised with a double-lined wan symbol.Provenance: From an old Austrian collection. The base with a collector's label, '515. 24T.' Condition: Fine condition, commensurate with age. Some wear, mostly to gilt, and expected casting irregularities. Small nicks, dents and losses, minor warping, and light surface scratches. The base is sealed. Fine, naturally grown patina with some cuprite and malachite encrustations.Weight: 826.6 g Dimensions: Height 17.3 cm The deity Kunzang Akor is the meditational form of Shenlha Okar. As in the present example, he is generally recognized by the Tibetan letter 'AH' placed on the chest at the level of the heart. The two hands are placed in the lap and hold the stems of two flower blossoms supporting a stylized yungdrung symbol on the right and a vase on the left. There are numerous traditions of ritual cycles and meditation practices for Kunzang Akor. It is also common to have a sculpture of Kunzang Akor created as a death memorial. While in Tibetan Buddhism it is more common to have a painting created in memoriam, a sculpture is more common in the Bon Religion. The Tibetan lettering on the chest, not found on Buddhist sculpture, confirms that this deity is from the Bon tradition. For a closely related example, see S. Karmay and J. Watt, Bon: The Magic Word, 2007, page 50, fig. 38. Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 12 December 2013, lot 240Price: EUR 18,750 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: Statuette Bun de Kunzang Akor en bronze dore Tibet, XVE siecleAuction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2009, lot 1356Price: USD 13,750 or approx. EUR 18,000 adjusted for inflation at the time of writingDescription: A Gilt Bronze Figure of Kunzang Akor, Tibet, 14th/15th Century 西藏十四至十五世紀合金銅貢桑阿闊像，苯教傳統貢桑阿闊成蓮花坐姿，手結禪定印，佩戴精緻的寶石項鍊。他面容平靜，雙眼微閉，眉毛微彎，雙眉之間有白毫，頭髮捲曲，垂在肩上，部分在精緻的葉冠后成一個高髻。他的胸口鑄有三字明咒中的“啊"。密封的底座上刻有萬字符。 來源：奧地利私人舊藏，底座收藏標籤 '515. 24T.' 品相：品相完好，有些磨損，主要是鎏金部分，小缺口、凹痕和缺損、輕微翹曲和輕微表面劃痕。底座密封。精美的天然包漿，帶有一些紅綠色結殼。 重量：826.6 克 尺寸：高17.3 厘米 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2013年12月12日，lot 240 價格：EUR 18,750（相當於今日EUR 24,000） 描述：西藏十五世紀鍍金銅貢桑阿闊像 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得， 2009年3月20日，lot 1356 價格：USD 13,750（相當於今日EUR 18,000） 描述：十四至十五世紀鎏金銅貢桑阿闊像
A MONUMENTAL GILT-LACQUERED PAUWLOWNIA WOOD TEMPLE STATUE OF A LUOHAN, QING DYNASTY OR EARLIERChina, 1644-1912 or earlier. Astutely constructed of several wood sections, and masterfully carved seated in dhyanasana with his hands resting in dhyana mudra, wearing loosely draped robes with deeply carved folds falling over both shoulders and arms, tied below the bare chest. The belt and undergarment each with a neatly carved scroll design. His serene face with heavy-lidded downcast eyes below arched brows, his bow-shaped lips forming a subtle smile, flanked by long pendulous lobes. The statue is carved from a light soft wood, most likely Paulownia.Scientific Analysis Report: The result of a radiocarbon dating test (C14) conducted by Re. S. Artes, no. R 245170A, 6 October 2023, based on one sample taken from the base of the figure, is consistent with the dating of this lot. The report states two intervals of dates between 1692 and 1918: [1692-1727] AD (probability of 25,7%) and [1810-1918] AD (probability of 69,7%). A copy of the detailed scientific report accompanies this lot.Provenance: Collection particuliere française. Condition: Overall excellent condition, especially when considering both the monumental size and the age of this statue. Old wear, expected age cracks and splits, signs of weathering. Extensive rubbing and flaking to gilt, partially exposing the dark green primer below, which itself has partially worn off and developed a natural patination. Losses, chips, and scratches. The wood has a rich, naturally grown patina overall, and the statue displays exceptionally well.Weight: 122 kg Dimensions: Height 131 cm Expert's note: The imposing size of the present lot indicates it was once worshipped in a temple, shrine, or palace. The technique of coating carved wood figures with gilt-lacquer emerged during the Yuan dynasty, continuing through the Ming dynasty on to the Qing dynasty, echoing Buddhist bronze figures in form and decoration.Auction result comparison: Type: Related Auction: Christie's New York, 18 September 2003, lot 175 Price: USD 20,315 or approx. EUR 31,500 converted and adjusted for inflation at the time of writing Description: A gilt-lacquered wood figure of a Luohan, Damo, 17th/18th century Expert remark: Compare the related subject, manner of carving, and modeling with similar pose. Note the much smaller size (89 cm).Auction result comparison: Type: Related Auction: Christie's London, 15 June 1999, lot 32 Price: GBP 100,500 or approx. EUR 271,000 converted and adjusted for inflation at the time of writing Description: A large gilt-lacquered wood figure of Vairocana, Yuan dynasty Expert remark: Compare the related manner of carving and modeling with similar robes and face. Note the earlier dating and the larger size (150 cm). 清代或更早鎏金漆泡桐木雕羅漢坐像中國，1644 -1912 年或更早。由數塊木料精心雕刻而成，羅漢結跏趺坐，雙手結禪定印，穿著寬鬆的僧袍，胸前敞開，袈裟飄逸，衣紋線條流暢。面容平靜，雙目低垂，嘴唇豐滿露出溫和的微笑。該雕像由輕質軟木雕刻而成，很可能是泡桐。 來源：法國特別收藏。 品相：總體狀況良好，磨損、年代裂縫和裂口、風化跡象，大面積鎏金剝落，部分露出下面的深綠色底漆，底漆本身已部分磨損並形成自然的包漿。缺損、刻痕和劃痕。木材整體上具有豐富的自然包漿。 重量：122 公斤 尺寸：高 131 厘米 拍賣結果比較: 形制：相近 拍賣：紐約佳士得，2003年9月18日，lot 175 價格：USD 20,315（相當於今日EUR 31,500） 描繪：十七至十八世紀鎏金漆羅漢木像 專家評論：比較相近的主題，雕刻風格、模型、相似的姿勢。請注意尺寸較小(89 厘米)。 拍賣結果比較: 形制：相近 拍賣：倫敦佳士得，1999年6月15日，lot 32 價格：GBP 100,500（相當於今日EUR 271,000） 描繪：元代鎏金漆毗盧遮那佛木像 專家評論：比較相近的雕刻風格、模型、相似的長袍和面部。請注意年代較早和尺寸較大 (150 厘米)。
A GILT BRONZE FIGURE OF THE RATNASAMBHAVA BUDDHA, TIBET, 17TH-18TH CENTURYHeavily cast, seated in dhyanasana atop a double lotus throne with beaded edges, his right hand lowered in varada mudra and his left held above the lap in dhyana mudra. He is wearing a diaphanous sanghati draped over the left shoulder with neatly incised floral hems, gathering at the shoulder and at the top of the base before a vajra. His serene face with sinuously lidded downcast eyes below arched brows, his full bow-shaped lips forming a calm smile, flanked by pierced elongated earlobes. The hair arranged in tight curls over the ushinsha topped by a jewel. The base sealed, the copper seal plate finely incised with a double vajra.Provenance: Dutch trade.Condition: Good original condition, commensurate with age, showing significant wear and expected casting irregularities. Scratches, nicks, dents, and rubbing to gilt. Minor corrosion. Remnants of ancient pigment.Weight: 2,868 gDimensions: Height 24.8 cm Ratnasambhava, the 'jewel born', is one of the Five Symbolic Tantric Buddhas described in the ancient anuttarayoga literature. The Buddha is identified by the open palm of his right hand facing outward in the gesture of charity (varada mudra). Ratnasambhava is the Tathagata of the South and the father of the Jewel family of Vajrayana Buddhist deities, associated with the element of earth and the enlightened activity of equanimity. He is sometimes pictured together with the other four Tathagata Buddhas: Akshobya of the East, Amitabha of the West, Amoghasiddhi of the North, and Vairocana of the Central direction. These primordial Buddhas all bear an appearance like that of the historical Buddha Shakyamuni, unadorned, in the garb of an ordained monk.Auction result comparison: Type: RelatedAuction: Christie's New York, 23 March 1999, lot 161Price: USD 7,475 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: A gilt bronze figure of a medicine Buddha, Tibet, 17th/18th centuryExpert remark: Compare the related modeling, manner of casting, gilding, and size (26.5 cm). 西藏十七至十八世紀銅鎏金寶生佛坐蓮像寶生佛像身著菩薩裝，髮髻雕刻精細成螺髻，面相豐滿，雙目細瞇，雙眼之間有白毫，長耳垂，嘴角含笑。袒上身，肩披帛帶，下裙褶紋起伏，流暢自如。右手結與願印，左手結禪定印，全跏趺坐。仰覆蓮座蓮瓣尖端上卷，上下邊緣飾聯珠紋。 來源：丹麥古玩交易。 品相：狀況良好，有磨損和鑄造不規則，劃痕、刻痕、凹痕和鎏金摩擦，輕微腐蝕，顏料殘留。 重量：2,868 克 尺寸：高 24.8 厘米拍賣結果比較： 形制：相近 拍賣：紐約佳士得，1999年3月23日，lot 161 價格：USD 7,475（相當於今日EUR 13,000） 描述：十七至十八世紀西藏鎏金銅藥師佛 專家評論：比較相近的模型、鑄造風格、鎏金和尺寸(26.5厘米)。
A LARGE AND HEAVY BRONZE RAIN DRUM, DONG SON CULTUREVietnam, ca. 500 BC to 300 AD. Finely cast, the drumhead is decorated with a central solar medallion encircled by concentric geometric bands. The sides are set with two pairs of loop handles. The bronze is covered overall in a fine, naturally grown patina with cuprite and malachite encrustations. The drum produces a good sound when struck.Provenance: From the private estate of Roland de la Moussaye, Paris, France. An old label to the base. Roland de la Moussaye (1932-2022) was a French scholar with broad interests and vast expertise. He studied ornithology and lepidopterology, writing several books on the subjects, and worked as a professor of French literature in Japan. He also studied Chinese, Indonesian, and Malay, receiving a degree in Chinese from the Ecole des langues orientales, and was an avid collector of Chinese art.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, losses and possibly minor old fills, dents, cracks, scratches.Weight: 14.6 kg Dimensions: Diameter 48 cm Dong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Văn Lang and Âu Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day. Bronze rain drums were invented by the Dong Son culture and produced from about 600 BC or earlier until the third century AD. Ranging in height from a few inches to over six feet, up to four feet in diameter, and often of considerable weight, the drums are one of the culture's most astounding examples of metalworking. Examples produced in Vietnam, in addition to works made locally, have been found in south China and throughout mainland and island Southeast Asia. The discovery of Dong Son drums in New Guinea is seen as proof of trade connections - spanning at least a thousand years - between this region and the technologically advanced societies of Java and China.Bronze drums are still being used ceremoniously in Southeast Asia by the Yi people, Zhuang people, Miao people and Qabiao people in northern Vietnam and southern China. They are generally struck in the center with a soft mallet and on the side with a wood or bamboo stick. Among the ethnic Vietnamese, they are still used in some rituals, such as those of the Hung kings, but are rarely used as a musical instrument anymore. In Thailand, the Dong Son drum is also used in some ceremonies, where it is called the Mahorathuek.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 29 March 2018, lot 36 Estimate: HKD 400,000 or approx. EUR 51,500 converted and adjusted for inflation at the time of writing Description: A copper alloy ritual drum, Dong Son culture, Vietnam, ca. 3/2nd century BC Expert remark: Compare the closely related central solar medallion. Note the size (42 cm).Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 29 September 2022, lot 266 Price: EUR 10,400 or approx. EUR 11,000 adjusted for inflation at the time of writing Description: A massive bronze rain drum, Dong Son culture, first millennium BC Expert remark: Compare the closely related central solar medallion Note the size (66 cm).
A BRONZE DEATH MASK, GOA MADE, EAST JAVA, INDONESIA, 1ST MILLENNIUM BC - 1ST MILLENNIUM ADPublished: Claudio Giardino, Massimo Vidale, and Gian Luca Bonora (editors), Goa Made - An Archeological Discovery, Rome, 2012, page 220, no. 112.Indonesia. Finely cast from thin bronze, the mask is realistically styled with thin arched brows above heavy-lidded pierced eyes, a broad nose, and full butterfly lips curling into a calm smile. The face has finely aged, covered overall in a solid layer of malachite green encrustation.Provenance: A private collector in London, United Kingdom, and thence by descent to his daughter Amanda Torri. Alex Torri, Bologna, Italy, inherited from the above. Paolo Bertuzzi, acquired from the above in 2002. A copy of the original invoice from Alex Torri, dated 7 October 2002, showing an image of the present lot, and stating a purchase price of ITL 8,000,000 or approx. EUR 6,300 (converted and adjusted for inflation at the time of writing), accompanies this lot. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy, and the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Excellent condition commensurate with age. The shape has remained in its original form. As expected, the bronze has corroded overall and there are a soil encrustations. Minor losses and old wear.Weight: 191.1 g Dimensions: Height 18.5 cm Goa (or Gua) Made (Made Cave) is a site north of the Brantas River in East Java. Its importance was first discovered by Anacleto Spazzapan, an Italian archeologist, designer, and collector of ethnographic and folk art who frequently traveled to Indonesia. He was first introduced to the site in 1999. He brought back several sample fragments of fired clay, which he sent to Arcadia labs in Milan for thermoluminescence testing. The first official excavations were subsequently conducted in an underground temple by the Bureau for the Archaeological Conservation of East Java (BACEJ) in 2001 and 2006, the latter funded by Paolo Bertuzzi (the last owner of the present lot), who had developed a profound interest in the site. Finds included imported glazed pottery, Chinese copper or bronze coins, and highly distinct bronze heads such as the present lot. Thermoluminescence analysis of terracotta bricks found in the excavations indicated a date in the early 1st millennium BC. This would not only suggest the discovery of a lost civilization but also challenge widely held notions of Southeast Asian history. The earliest uncontested architectural remains in East Java are two temples dating from the 8th - 9th century AD.In 2007, larger-scale excavations were carried out by a team of Italian and Indonesian archeologists, which revealed a previously overlooked shaft, a complex subterranean structure displaying a sophisticated integrated design that would have required mass community involvement in both its construction and usage. In the following years, disagreements between archeologists involved in the Goa Made project began to emerge. A 2010 article by Andreas M. Steiner and Massimo Vidale in the renowned Italian magazine Archeo supported the dating of to the early 1st millennium BC. In the same year, however, Fiorella Rispoli wrote an article for World Archeology Magazine wherein she questions the accuracy of the thermoluminescence analysis and instead proposed a post-10th century AD dating for the bronze heads. Rispoli suggested that the underground temple was most likely a water control system but offers no explanation as to why or how the heads, a clear part of East Java religious practices, came to be placed there. Most scholars disagree with Rispoli's arguments, especially given that it is primarily based off a single faulty thermoluminescence test she discovered.Cultural acculturation, the mixture of elements from various cultures over various ages implemented in religious contexts is a well-known practice in Indonesia. Settlers of the Indonesian archipelago had consistent contact with Indian traders which led to the adoption of many foreign religious practices. Unsurprisingly, this had a direct effect on the cultural material of Indonesia. Dong Son, the earliest bronze culture in Southeast Asia, was likely introduced to Indonesia by traders during the 1st millennium BC. More than 100 objects from Goa Made are bronze objects, and the majority of these are bronze masks. Many of the masks have characteristics elements which reflect the style of face common to the Majapahit period (13th-16th century). However, the masks which do not illustrate Indonesian facial styles, like the Malayan-Mongoloid face of this lot, are similar to nekara bronzes. This suggests a far earlier dating for these masks. Given the origin of bronze working in Indonesia came from the Don Son culture, these masks can be dated as far back as 2000 BC. However, archeologists are still not unified on this dating. In his 2016 book Hitawasana, Studies on Indonesian Archeology (where the present lot is illustrated, page 55), Prof. Dr. Agus Aris Munandar from the University of Indonesia wrote that further scientific studies remain necessary, and that additional research is expected to step-by-step resolve the questions regarding this important archeological site.
A GOLD REPOUSSE OIL LAMP, KAMANDALU, JAVA, INDONESIA, 13TH-14TH CENTURYThe baluster body raised on a circular base with ribbed stem, the mouth surmounted by a tall segmented hollow finial decorated with foliate designs and topped by an open bud. The spout modeled as a sinuous dragon with large open mouth showing teeth and fangs, the head adorned with a ruby and the base with glass and garnet beads. The base, shoulder and mouth are decorated with lappet petals beneath beadwork.Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Condition commensurate with age and material, showing ancient wear, expected manufacturing flaws, scratches, small losses, creases and dents.Weight: 250.5 g Dimensions: Height 35.1 cm Literature comparison:Compare a related bronze Javanese oil lamp, 27.3 cm high, dated to the 13th century, in the British Museum, registration number 1976,0406.1.
A KHMER BRONZE BUST OF LOKESHVARA, BAYON STYLE, ANGKOR PERIODKhmer Empire, 12th century. The four-armed figure is finely cast with intricate locks that extend down the back of his neck and is surmounted by a high, arched headdress, wearing a crown with a central medallion and a prominent necklace. The deity holds four different attributes, one in each hand.Provenance: From the collection of Rene Ronveaux (d. 1991), Belgium, acquired in the 1960s and thence by descent in the same family. A copy of a provenance statement, written and signed by the previous owner, dated 8 December 2022, confirming the provenance stated above, accompanies this lot. Condition: Good condition, commensurate with age. Signs of wear and weathering, corrosion, soil remnants, cracks, dents and losses. The bronze is covered overall in a fine, naturally grown patina with malachite encrustations.Weight: 1,698 g Dimensions: Height 27 cm Mounted on a metal stand. (2)Literature comparison:Compare a related bronze figure of Lokesvara, 27 cm high, dated to the Angkor period, in the National Palace Museum, accession number CAM 3251, published in Brice Vencent's article Nouvelle etude du Lokeśvara Khmer du Musee national de Colombo, Arts Asiatiques 68, 2013, pp. 33.Auction result comparison: Type: Related Auction: Christie's New York, 21 September 2007, lot 366 Price: USD 21,250 or approx. EUR 29,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of Lokeshvara, 13th century Expert remark: Note the similar position of the arms and various implements he holds. Note the size (26.3 cm) and the fact that while this is an entire figure, the present lot - if the entire figure had been preserved - would have roughly double the size of this comparison.Update 25.9.2023: A noted expert and colleague has informed us that there is a possibility that the present lot is pre-angkorian and should be dated accordingly e.g. 8th-9th century. Specifically the hair locks show some iconographical simliarity to certain sandstone figures from phnom da.
A BRONZE FIGURE OF A DANCING HEVAJRA, BAYON STYLE, ANGKOR PERIODKhmer Empire, late 12th to early 13th century. The eight-headed deity well cast dancing atop a prostrate figure with one leg raised and arms radiating around him holding diminutive figures of deities and animals, wearing a short sampot secured with a pendent fishtail sash, the details intricately rendered. The bronze with a superb, rich, naturally grown patina with extensive malachite encrustation.Provenance: From the collection of Rene Ronveaux (d. 1991), Belgium, acquired circa in the 1970s and thence by descent to Robert Ronveaux (b. 1955). A copy of a provenance statement, written and signed by Robert Ronveaux, dated 8 December 2022, confirming the provenance stated above, accompanies this lot.Condition: Good condition, commensurate with age. Extensive wear, small cracks, losses and dents, some possibly with minor old fills, signs of weathering and erosion, soil deposits, encrustations, all as expected from a Khmer bronze of nearly 1,000 years of age.Weight: 2,700 gDimensions: Height 36.4 cm (incl. base) and 33 cm (excl. base) Mounted on a wood stand. (2)Hevajra is the personification of enlightenment, the dance pose symbolizing the process of enlightenment as liberation from worldly constraints.Literature comparison: Compare a closely related Khmer bronze of Hevajra, 22.7 cm high, in the National Museum in Phnom Penh, inventory number Ga.4170. Another closely related example was exhibited in the Ethnological Museum, Berlin. Compare a closely related Khmer bronze of Hevajra, 41 cm high, dated c. 1180-1230, illustrated in Wolfgang Felten and Martin Lerner, Thai Sculpture from the 6th to the 14th centuries, Stuttgart, 1988, p. 235, no. 37.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 September 2004, lot 57 Price: USD 31,070 or approx. EUR 45,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of a dancing Hevajra, Khmer, Angkor period, Bayon style, late 12th/early 13th century Expert remark: Compare the closely related modeling with similar pose and the same number of heads and arms, and malachite patina. Note the smaller size (24 cm).Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 9 March 2023, lot 220 Price: EUR 33,800Description: A bronze figure of a dancing Hevajra, Angkor Period, Bayon styleExpert remark: Compare the closely related modeling with similar pose and the same number of heads and arms, and malachite patina. Note the size (37.5 cm).
A LARGE BRONZE FIGURE OF THE STANDING BUDDHA, AYUTTHAYA KINGDOM (1351-1767)Thailand, 17th to early 18th century. Standing upright with the right arm slightly raised and the left lowered, wearing a long flaring sanghati secured at the waist with a belt. The face showing a serene expression with downcast eyes below elegantly arched brows, flanked by elongated earlobes, the hair in pointed curls over the ushnisha.Provenance: Sotheby's, New York, 25-26 September 1986, lot 342. Collection of Richard B. Desmond, Folly Cove, Massachusetts, acquired from the above and thence by descent in the family. Note that in 1986 Sotheby's has cataloged this lot as “circa 1800".Condition: Good condition, commensurate with age, showing expected wear, weathering and casting flaws, as well as small dents and cracks, light scratches, and obvious losses. The bronze entirely covered by a fine, naturally grown patina with malachite encrustations overall.Weight: 8,136 gDimensions: Height 63.5 (incl. base), 58.5 cm (excl. base) Mounted on a hardwood stand which dates from the mid-20th century. (2)The Ayutthaya Kingdom considered the Buddha as a symbol of enlightenment and wisdom, and was known for its patronage of Buddhism, and many temples built during the period. These temples housed images of the Buddha and other Buddhist deities and were regarded as sacred places where people could practice their faith. The Ayutthaya Kingdom's rulers also used Buddhism as a means of legitimizing their power, considering themselves as "Buddha's representatives on earth," and their patronage of Buddhism was seen as a sign of their moral authority and righteousness.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 17 December 2021, lot 3067 Price: HKD 52,920 or approx. EUR 6,500 converted and adjusted for inflation at the time of writing Description: A bronze standing figure of Buddha, 17th-18th century Expert remark: Compare the closely related modeling with similar pose, face, and robe, and manner of casting. Note the smaller size (52 cm), which is considerable since it includes the base.Auction result comparison: Type: Closely related Auction: Christie's Paris, 6 July 2022, lot 233 Price: EUR 22,680 or approx. EUR 23,500 adjusted for inflation at the time of writing Description: A bronze figure of Buddha Shakyamuni, Thailand, Ayutthaya period, 17th century Expert remark: Compare the closely related modeling with similar pose, face, and robe, and manner of casting. Note the larger size (106 cm).
A BRONZE HEAD OF BUDDHA, LAOS, 16th-17th CENTURYFinely cast, his serene face with heavy-lidded downcast eyes below elegantly arched brows, his full lips forming a gentle smile, flanked by long pendulous earlobes. The hair arranged in tight curls surmounted by a domed ushnisha and flame. The bronze with a superb, naturally grown patina of a deep copper-red tone with cuprite encrustations.Provenance: German trade.Condition: Very good condition, commensurate with age. Wear and casting flaws. Few minuscule losses. Minor signs of weathering and erosion.Weight: 2,287 g (incl. stand)Dimensions: Height 23 cm (excl. stand) and 31 cm (incl. stand) Mounted on an associated metal base. (2)Literature comparison:Compare a related statue of Buddha, dated 18th century, in the collection of the British Museum, registration number 2003,0806.1. Compare a related head and torso of a standing Buddha, dated 17th-18th century, in the collection of the Walters Art Museum, accession number 54.2759.
A LURISTAN BRONZE AXE-HEAD, LAST QUARTER OF 2ND TO EARLY 1ST MILLENNIUM BCIran, c. 1200-700 BC. Well cast, the axe-head with a rimmed, fan-shaped blade. The cylindrical socket extends into five molds terminating in spikes. The bronze with a rich, naturally grown, solid patina with distinct areas of encrustations.Provenance: From a Royal Collection.Condition: Very good condition, commensurate with age. Extensive wear, minor casting flaws, few nicks, light scratches, minor losses, signs of weathering and corrosion, and encrustations.Weight: 407.7 g Dimensions: Length 21.9 cm Luristan bronzes are small cast and decorated objects from the early Iron Age which have been found in large numbers in Lorestan province and Kermanshah in western Iran. They include a great number of ornaments, tools, weapons, horse fittings, and a smaller number of vessels including situlae and are characterized by a wide range of idiosyncratic forms and a highly stylized conception of human and animal representation. Those from recorded excavations were generally found in burials. The ethnicity of the people who created them remains unclear, though they may well have been Iranian, possibly related to the modern Lur people who have given their name to the area. Luristan bronze objects came to the notice of the world art market from the late 1920s onwards. They were excavated in considerable quantities by local people and are found today in many of the world's most important museums.Literature comparison:Compare a closely related bronze axe-head, 21 cm long, dated ca. 750 BC, in the Los Angeles County Museum of Art, accession number M.91.364.34. Compare a closely related Luristan axe-head, 21 cm long, dated 1st millennium BC, in the Louvre Museum, registration number AO 18667.Compare a related Luristan axe-head dated 1000-500 BC, in the British Museum, registration number 1945,1015.3.Auction result comparison:Type: RelatedAuction: Christie's New York, 12 April 2022, lot 53Price: USD 21,420 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: A Luristan bronze axe head surmounted by an ibex, circa 1200-900 BCExpert remark: Compare the related form and manner of casting. Note the size (25.4 cm) and the ibex surmounting the axe head.
A LARGE LURISTAN BRONZE SWORD, LATE 2ND TO EARLY 1ST MILLENNIUM BCIran, c. 11th-8th century BC. Well cast, the rounded tapered blade with a broad concentric ridge, the flanged hilt with a globular finial. The bronze with a rich, naturally grown patina with distinct areas of malachite encrustation.Provenance: From a Royal Collection in France. With an old inventory label, '185'.Condition: Very good condition, commensurate with age. Extensive wear, minor casting flaws, few nicks, light scratches, minor losses, signs of weathering and corrosion, and encrustations. Displaying remarkably well.Weight: 776 g Dimensions: Length 53.5 cm Literature comparison:Compare a closely related Luristan bronze sword, 40.3 cm long, dated to the 2nd millennium BC, in the British Museum, registration number 1936,0613.192. Compare a related Luristan bronze sword, 48.9 cm long, dated 1000 BC-100 AD, in the Los Angeles County Museum of Art, accession number M.81.255.4. Compare a related Luristan bronze sword, 46 cm long, dated to the 1st millennium BC, in the Louvre Museum, registration number AO 20876. Compare a related Luristan bronze sword published by K.R. Maxwell-Hyslop and H.W.M. Hodges in Three Iron Swords from Luristan, British School of Archeology in Iraq XXVIII, p. 171, London, 1966.Auction result comparison: Type: Related Auction: Bonhams London, 7 July 2022, lot 76 Price: GBP 10,200 or approx. EUR 13,000 converted and adjusted for inflation at the time of writing Description: A Luristan bronze dagger, 11th-9th century BC Expert remark: Compare the related form with similar broad concentric ridge. Note the smaller size (44 cm).Auction result comparison: Type: Related Auction: Christie's New York, 12 October 2021, lot 99 Price: USD 27,500 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A Luristan bronze sword, 9th-8th century BC Expert remark: Note the larger size (82 cm).
A LURISTAN 'MASTER OF ANIMALS' BRONZE STANDARD FINIAL, IRAN, CIRCA 1000-650 BCThe tubular base surmounted by a stylized Janus-headed figure flanked on both sides by mythical beasts whose paws are placed together on the central figure's chest. The figure is boldly cast with detail work along the waist and legs. The face has a broad nose, large eyes, and prominent ears. The bronze has a naturally grown patina with malachite and cuprite encrustations.Provenance: Galerie Persepolis, Brussels, exhibited from 28 October to 13 November 1971. Collection of Monsieur H., Brussels, Belgium, acquired from the above. Collection Madame D.T., acquired from the above. Condition: Good condition, commensurate with age. Extensive wear, few nicks, light scratches, minor losses, signs of weathering and corrosion, and encrustations.Weight: 263.2 g Dimensions: Height 14.7 cm (incl. stand), 12.2 cm (excl. stand) Luristan bronzes are small cast and decorated objects from the Early Iron Age (first millennium BC) which have been found in large numbers in Lorestan province and Kermanshah in western Iran. They include a great number of ornaments, tools, weapons, horse fittings, and a smaller number of vessels including situlae and are characterized by a wide range of idiosyncratic forms and a highly stylized conception of human and animal representation. Those from recorded excavations were generally found in burials. The ethnicity of the people who created them remains unclear, though they may well have been Indo-European, possibly related to the modern Lur people who have given their name to the area. Luristan bronze objects came to the notice of the world art market from the late 1920s onwards. They were excavated in considerable quantities by local people and are found today in many of the world's most important museums.The Master of Animals is a motif in ancient art showing a human between and grasping two confronted animals. The subject is widespread in the art of the Ancient Near East and Egypt. Although such figures are not all deities, the term may be a generic name for several deities from a variety of cultures with close relationships to the animal kingdom or in part animal form (in cultures where that is not the norm). These figures control animals and are responsible for their continued reproduction and availability for hunters. The Greek god shown as 'Master of Animals' is usually Apollo, one of the gods of the hunt. Shiva has the epithet Pasupathi meaning the 'Lord of animals', and these figures may derive from an archetype. Chapter 39 of the Book of Job has been interpreted as an assertion of the deity of the Hebrew Bible as Master of Animals.Literature comparison: Compare a closely related Luristan bronze standard finial, 19.2 cm high, also dated circa 1000-650 BC, in the Los Angeles County Museum of Art, accession number M.76.97.91. Compare a closely related Luristan bronze standard finial, 20.5 cm high, also dated circa 1000-650 BC, in the Los Angeles County Museum of Art, accession number M.76.97.94.Auction result comparison: Type: Closely related Auction: Christie's New York, 9 June 2022, lot 24 Price: USD 31,500 or approx. EUR 29,000 converted for inflation at the time of writing Description: A Luristan bronze goddess, circa 9th-7th century BC Expert remark: Note the size (13.7 cm)Auction result comparison: Type: Related Auction: Christie's New York, 4 June 2015, lot 154 Price: USD 23,750 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A Luristan bronze goddess finial, circa 9th-7th century BC Expert remark: Note the slightly larger size (18.4 cm)
A SILVER-INLAID AND INSCRIBED BRONZE SHRINE, JAIN, WESTERN INDIA, CIRCA 10TH - 11TH CENTURYElegantly cast in openwork with a central tirthankara seated in dhyanasana on a throne raised on a rectangular pedestal supported on spreading feet, his hands lowered in dhyana mudra, the srivatsa on his chest and his eyes neatly inlaid with silver. The principal deity surrounded by two apsaras, two chauri bearers, and seated attendants, backed by a beaded arch topped by tiered conical finials. The bronze with a rich, naturally grown patina with malachite and cuprite encrustations. The back incised with a extensive inscription.Provenance: Collection Particuliere Française. Acquired 1921 in India and thence by descent within the same family, according to the previous owner.Condition: Very good condition, commensurate with age. Extensive wear, predominantly from centuries of worship within the culture. Minor casting flaws, small nicks, losses, signs of weathering and erosion, encrustations.Weight: 517.1 g Dimensions: Height 15 cm Literature comparison:Compare a related bronze Jain shrine, 18.3 cm high, dated ca. 1236 AD, in the British Museum, registration number 1996,1002.2 (fig.1). Compare a related bronze Jain triad with Parsvanatha, 21.3 cm high, dated 1004 AD, in the Norton Simon Museum, accession number F.1975.06.S. Compare a related bronze Jain triad with Neminatha and retinue, 29.2 cm high, dated ca. 1000 AD, in the Norton Simon Museum, accession number F.1975.17.23.S.Auction result comparison: Type: Related Auction: Bonhams New York, 19 March 2018, lot 3071 Price: USD 30,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: A copper alloy Jain shrine, central India, 10th century Expert remark: Note the size (15.7 cm).Auction result comparison: Type: Related Auction: Bonhams New York, 19 March 2018, lot 3072 Price: USD 12,500 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A copper alloy shrine to Mahavira, Western India, dated 1074 AD Expert remark: Note the size (11.6 cm).
AN ELABORATE KERALA BRONZE FIGURE OF A FEMALE DEITY, POSSIBLY KALISouth India, 16th-17th century or earlier. Finely cast standing on a tiered square base within a beaded arch, richly adorned with beaded and floral jewelry and festooned with belts and garlands. Her hair is neatly incised and pulled up into a high chignon, falling elegantly in strands over her shoulder. Her serene face with almond-shaped eyes and full lips. The back of her head with a floral strut. The bronze with a rich, naturally grown patina with malachite and cuprite encrustations.Provenance: From an old French family collection. An ancient collector's label on the base and a collectors incision on the top of the base.Condition: Condition commensurate with age and displaying very well, with some wear and minor casting flaws, signs of weathering and erosion, encrustation, scratches, nicks, dents and obvious losses.Weight: 538.1 gDimensions: Height 14.6 cm According to Pratapaditya Pal, Kerala bronzes are among the most underappreciated and least studied schools of Indian art, and he emphasizes in his book The Elegant Image that “[n]owhere else on the subcontinent have the sculptors lavished so much energy and attention to ornamental elements of a bronze ensemble as have the unknown artists of Kerala" (2011, p. 119). He intuits that bronze and stone sculpture, as opposed to wood, must have begun in Kerala under the political hegemony of the Pallava dynasty, which ended in the 9th century. In addition to this, the lavish and flamboyant ornamentation on the present lot indicates an artistic borrowing from the Hoysala style of the 12th - 14th centuries.Literature comparison:Compare a related bronze statue of Shiva, 30.3 cm tall, dated to the 14th-15th century, in the Walters Art Museum, accession number 54.2648. Compare a related bronze statue of Kali, 22.5 cm tall, dated to the 17th century, in the Brooklyn Museum, accession number 87.185.Auction result comparison: Type: Related Auction: Christie's New York, 30 March 2006, lot 67 Price: USD 13,200 or approx. EUR 18,500 converted and adjusted for inflation at the time of writingDescription: A bronze figure of a female deity, India, Kerala, 16th centuryExpert remark: Note the size (35.4 cm). Auction result comparison: Type: Related Auction: Christie's New York, 21 March 2008, lot 762Price: USD 8,125 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A rare bronze figure of Vishnu, India, Kerala, 17th centuryExpert remark: Note the size (29.2 cm).
AN EARLY FAHUA-GLAZED 'LOTUS' JAR, GUAN, WITH FOUR LION-MASK HANDLES, MING DYNASTYExpert's note: The lion mask-handles in such high relief are extremely rare in fahua-glazed Guan jars of this type. While they did exist with other styles of fahua vessels, like the stools at Sotheby's referenced in the literature comparison below, no other jars of this type are recorded in public or private collections. China, late 15th to early 16th century. Heavily potted with a baluster body supported on a short tapered foot and rising to a short waisted neck with a galleried rim. The exterior is slip decorated and brightly glazed in blue, turquoise, aubergine, yellow, and cream with two egrets, one standing and the other flying, in a lotus pond with blossoms, buds, and leaves, in the back with a small butterfly, all above crashing waves. The shoulder encircled by a band of lotus scroll and applied with four pierced lion-mask handles that once suspended loose bronze rings, below a band of foliate scroll to the neck.Provenance: From the Langlois Collection. Jean-Marie-Charles Langlois (1896-1949) arrived in Vietnam in 1920, where he served as the principal engineer for the Indochinese railways until 1949. As a sinophile who spoke fluent Mandarin, he built an important collection of Asian works of art. In 1949, he was imprisoned by the Viet Minh during a train attack and executed on the same day. His wife and two sons came back to Burgundy near Dijon, France, bringing Jean Langlois' collection with them. Once in France, his family continued to buy Asian works of art on the French art market, thus paying tribute to Jean Langlois's memory.Condition: The raised slip is remarkably well preserved. The jar remains in its absolutely original condition with no restorations of any kind. Obvious glaze losses as seen on images, some of them smoothened. Old wear, expected firing flaws, shallow surface scratches and tiny nicks. Displaying exceptionally well, despite its age of roughly half a millennia.Weight: 4,451 g Dimensions: Height 28.8 cm The term 'fahua' may derive from the Chinese term 'fenhua', meaning 'powdered decoration' and refers to a group of medium-fired glazes developed in the late 15th century on the basis of the Yuan Dynasty liu li glazes (see Q. Wang, A Dictionary of Chinese Ceramics, Shanghai, 1989, p. 220). Due to the very liquid nature of the glazes, the variously colored areas are isolated from one another by clay walls which tend to vary in thickness.Variations in the vivacity of the colors applied, as well as different shapes and subjects of decoration, may be attributed to different eras of production (see D. Lion-Goldschmidt, Ming Porcelain, London, 1978, p. 127). On this matter, Lion-Goldschmidt also notes that the early fahua wares tend to feature motifs of lotus rising from water, as well as cranes, birds, and figures. The author further points out that complimentary decoration on fahua, i.e. that found on necks, rims, and feet, also relates to the designs, found on late 15th century blue and white wares. Egrets or cranes provide a homonym for 'lu' ('a path'), alluding to attainment. When this imagery is combined with flowering lotus (lian) it forms the rebus, 'Yilu lianke' ('May you pass your exams one after another'). Literature comparison:Compare a related pair of fahua-glazed stools also decorated with egrets in a lotus pond and applied with similar lion-mask handles suspending gilt-bronze rings, 44 cm high, dated to the Ming dynasty, at Sotheby's Paris, 11 April 2018, lot 305.Auction result comparison: Type: Closely related Auction: Sotheby's London, 13 May 2015, lot 289 Price: GBP 18,750 or approx. EUR 32,000 converted and adjusted for inflation at the time of writing Description: A large fahua 'lotus' jar, Guan, Ming dynasty Expert remark: Compare the related guan form, lotus pond decoration, and fahua glaze. Note the associated wood cover and that the jar is restored to the neck unlike the present lot which is in absolutely original condition. 明代琺華釉蓮花罐中國，十五世紀末至十六世紀初。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
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