AN ARCHAIC BRONZE RITUAL WINE VESSEL, ZHI, LATE SHANG TO EARLY WESTERN ZHOU DYNASTYChina, ca. 1050 BC. Of elongated pear shape with a waisted neck and flared rim, cast below the neck with a single border of leiwen in deep relief, the splayed hollow foot encircled by two bow-string bands. The bronze skin with a magnificent, naturally grown patina showing a multitude of deep-green malachite and cuprite encrustations. Provenance: Christie's South Kensington, London, 28 July 1994. Catherine Farrell, London, acquired from the above. A copy of the provenance statement, written and signed by Catherine Farrell, dated 8 July 2022, attesting to her purchase of the present lot at Christie's South Kensington on 28 July 1994 as well as it being authenticated by Dr. Jessica Rawson in 1990, whose appraisal mentioned in the letter confirms the dating above, accompanies this lot. Dame Jessica Mary Rawson (b. 1943) is an English art historian, curator, and sinologist. She is also an academic administrator, specializing in Chinese art. Between 1976 and 1994, she served as Deputy Keeper and then Keeper of the Department of Oriental Antiquities at the British Museum in London and from 2006 to 2011 as pro-vice-chancellor of Oxford University. She has been involved in a number of high-profile exhibitions such as the Mysteries of Ancient China.Condition: Superb condition, commensurate with age, and absolutely original with no repairs or touchups whatsoever. Old wear, signs of weathering and erosion, minor nicks here and there. Solid, naturally grown patina with extensive malachite and cuprite encrustation.X-Ray: Images 18-22 confirm the excellent original condition of this lot.Weight: 317.8 g Dimensions: Height 13.4 cmZhi goblets such as the present example served as drinking vessels. They were employed in important ritual performances aimed at paying homage to the ancestors. According to Chinese beliefs, the ancestors were deemed active participants in the life of their offspring, which they could positively influence if provided with the correct necessities for their own afterlife, see Jessica Rawson, 'The Power of Images: The Model Universe of the First Emperor and its Legacy', in Historical Research, no.75, 2002, pp. 123-154.Expert's note: The Qianlong emperor's great love of jade combined with his passion for antiques resulted in his commissioning significant numbers of archaistic jade items for his court. The form of the present zhi vessel has served as the inspiration for a number of jade zhi now in private and public collections, including no. 40 in this catalog (please see the lot entry for further examples). This clearly shows that bronze zhi such as the present lot were already highly valued 300 years ago.Literature comparison: Compare a closely related zhi, of similar form and also with a leiwen band below the neck and two bow-string bands around the foot, dated to the early Western Zhou period, mid-11th to early 10th century BC, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1981.106. Compare a related zhi, also decorated with leiwen and bow-string bands, dated Shang dynasty to Western Zhou period, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1956.87.Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2014, lot 10 Price: USD 30,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: The Fu Xin Zhi, a bronze ritual wine vessel, late Shang dynasty, 13th-11th century BC Expert remark: Compare the related form and manner of casting with similar leiwen and bow-string bands, additionally with taotie mask and flanges. Note the larger size (15.2 cm) and that the zhi has a three-character inscription.Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2018, lot 1103 Price: USD 37,500 or approx. EUR 40,000 converted and adjusted for inflation at the time of writing Description: A rare small bronze ritual wine vessel, zhi, late Shang-early Western Zhou dynasty, 11th century BC Expert remark: Compare the similar form and manner of casting with leiwen and bow-string bands, additionally with taotie mask and flanges. Note the smaller size (11.4 cm) and that the zhi has a two-character inscription.商末至西周青銅觶中國，約公元前1050 年。器身細高，敞口，直唇，體呈橢圓形，下腹外鼓，喇叭形高圈足，頸部雷紋帶，圈足上兩道弦紋。該器壁勻薄，造型挺拔優美。青銅表皮自然生長的包漿，呈現出大面積深綠色的銅鏽。 來源：1994年7月28日倫敦南肯辛頓佳士得；倫敦Catherine Farrell購於佳士得。隨附一份Catherine Farrell寫的關於來源説明的複本，日期爲2022年7月8日由於字數限制，完整中文敘述請至www.zacke.at查看。
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A LARGE FRAGMENTARY BUST OF A FEMALE DEITY, GILT COPPER-ALLOY, PROBABLY DENSATIL, TIBET, 14TH-15TH CENTURYOpinion: The particularly well-proportioned female image, possibly Prjanaparamita, with its simple yet sensuous appearance is - at first glance - evocative of high Newari craftsmanship, popularly commissioned by wealthy Tibetan monastic patrons during the 14th and 15th centuries. However, after looking at some of the characteristics more closely, several distinct features make an attribution to the Densatil monastery seem more appropriate. Chief among the diagnostic traits that can identify a work from the Densatil are the convexly stepped eyebrows and the precisely incised double-lined eyelids and lips. The oval pinna, remotely signifying a lotus-petal, from which the lavish hairbands issue seamlessly, is another unequivocal feature, as are the extra-thick and heavy casting overall and the leaning head, which indicates that the present lot may once have been part of a larger supporting structure. For example compare a gilt bronze support, Densatil, 15th century, at Christie's New York, 27 March 2003, lot 105.Finally, the harrowing brutality to which this image was evidently exposed is a silent monument to the destruction of Densatil during China's Cultural Revolution (1966-1978), where one of the most inspiring cultural heritages of mankind became victim to an unconscionable mob.Superbly cast, richly adorned with a beaded and a floral necklace above her voluptuous breasts as well as lotiform armlets, the face with a serene expression, the eyes with distinct sinuous lids and raised brows, both heightened with subtle incision work, as well as full lips forming a calm smile, the neatly incised hair parted in the middle and secured by a tiara.Provenance: From a private collection in Paris, France.Condition: Condition overall as expected and commensurate with age. Extensive wear and losses. Dents, nicks, scratches and battering. Wear to gilt. All semi-precious stone inlays are now lost. Several distinct ritual patches.Weight: 3,472 g Dimensions: Height 33 cmHeavily cast gilt copper-alloy figures of this type are characteristic of the Densatil style, a Kagyu monastic complex in central Tibet, southeast of Lhasa, that has long been considered one of the great treasures of Tibet. Founded in the late 12th century, it enjoyed generous patronage and was lavishly decorated during a period of expansion from circa 1360 until the early 16th century. The monastery was known for eight extraordinary memorial stupas symbolizing Buddha's first teaching in Benares. These stupas were called tashi gomang, meaning "many doors of auspiciousness," and were multi-tiered copper-alloy structures filled with deities such as the present example, standing more than ten feet tall and resplendent with inlays of semiprecious stones. Prior to the destruction of Densatil during China's Cultural Revolution (1966-1978), eight of them dating between 1208 and 1432 stood in the Monastery's main hall.Followers of the charismatic Phagmo Drupa Dorje Gyalpo (1110-1170) constructed the Densatil Monastery. His school, which came to be known as Phagmo Drupa Kagyu, was one of the four primary schools of the Kagyu lineage of Tibetan Buddhism. Its noble house became so powerful that their dynasty ruled from the mid-fourteenth to the mid-fifteenth century. Eventually it had died out by the end of the seventeenth century, but the Densatil Monastery survived intact under the control of other Tibetan Buddhist schools until it was eventually destroyed. Today the monastery is undergoing reconstruction thanks to the efforts of the Tibetan Autonomous Region Ministry of Culture and the Drigung (Drikung) Kagyu school.Literature comparison: Compare with a statue of Prajnaparamita from tier 3 of the tashi gomang stupas, dating to 1370, in About the 18 stupas and other treasures once at the Densatil monastery, by Jean-Luc Estournel, September 2020.Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2014, lot 1016 Price: USD 617,000 or approx. EUR 731,000 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of a Nagaraja, Densatil Style, 15th century Expert remark: Compare the heavy and massive casting as well as the similar treatment of the eyes, lids, brows, breasts and pinna.十四至十五世紀西藏大型銅鎏金女神半身像專家注釋：特別勻稱的女性形象，可能是般若菩薩，其簡單而感性的外觀 - 乍一看 - 令人回想起十四世紀和十五世紀西藏寺院富有的贊助人經常委託的紐瓦里工藝。然而，在更仔細地研究了一些特徵之後，幾個不同的地方，讓人更能確定，這座半身像可能來自丹薩替寺，比如她凸出的階梯式眉毛和清晰的雙眼皮和嘴唇。橢圓形耳廓，蓮花髮帶，是另一個明確的特徵。整體厚重，包括傾斜的頭部，這表明本拍品可能有更大的支撐結構。例如，比較一個鎏金青銅支架。丹薩蒂爾寺，15世紀，紐約佳士得，2003年3月27日，編號105。 丹薩替寺在中國文化大革命（1966-1978）期間被毀，實在令人痛心。 來源：法國巴黎私人收藏。 品相：整體狀況符合預期，大面積磨損和缺損。凹痕、刻痕、劃痕，鎏金磨損。很多寶石遺失，幾個修補。幾個儀式留下來的明顯斑塊。 重量：3,472克 尺寸：高33厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。
A CHAMPLEVE AND ENAMEL WALL VASE, GUANGDONG TRIBUTE TO THE IMPERIAL COURT, QIANLONGChina, 1736-1795. Of flattened form, the gilt bronze baluster body supported on a short spreading foot and rising to a flared neck, the mouth and foot rims are three-lobed. Inlaid at the center with a haitang-shaped and finely enameled plaque neatly painted with two court ladies seated in a lush garden with willows, rockwork, and flowers, one playing the flute. The plaque is encircled by raised kuilong executed in champleve enamel, the foot and base of the neck with similar kuilong and with an enameled taotie mask below the mouth.Provenance: From a North German private collection, assembled before 2007.Condition: The canton enamel plaque with small repairs to lost enamels, the vase further with some dents and nicks, light surface scratches, manufacturing flaws such as expected pitting, minor old wear to gilt. Overall presenting remarkably well, the condition consistent with age.Weight: 579.2 gDimensions: Height 21 cmThe back with a circular aperture within a rectangular recess for wall suspension.Palace archival records confirm that significant quantities of enamel and champleve wares were produced in the Guangdong province with a wide range of designs that included luxurious and eye-catching pieces such as the present wall vase. Yang Boda notes the high quality of champleve wares made in Guangzhou, the capital of the province, adding that they were 'second to none during the whole Qing dynasty' (see Tributes from Guangdong to the Qing Court, Chinese University of Hong Kong, 1987, page 54). During the 18th century, Guangzhou had become an important artistic center as craftsmen active there were in very close contact with European missionaries and traders bringing to China new and innovative techniques. Wares made in these foreign techniques were highly coveted by the Imperial household, especially during the Qianlong era, hence a number of such champleve wares were sent as tribute gifts from Guangdong to the Imperial court in Beijing. During the reign of the Qianlong Emperor, the manufacture of champleve, cloisonne and painted enamel products flourished to achieve its most sophisticated level in both range and quality.Expert's note: Champleve wall vases only seldomly appear on the market. The present lot - with its unique addition of a finely enameled plaque - seems to have no comparable examples found in private or public collections and hence must be considered exceedingly rare.Auction result comparison:Type: RelatedAuction: Bonhams London, 13 May 2010, lot 401Estimate: GBP 15,000 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A fine champleve enamel and gilt-bronze baluster wall vase, late QianlongExpert remark: Compare the related champleve enameling and similar kui dragons. Note that this vase is of almost the same size (18.3 cm) but lacks the canton enamel plaque.Auction result comparison:Type: Remotely relatedAuction: Christie's Hong Kong, 29 May 2013, lot 2068Price: HKD 3,150,000 or approx. EUR 475,500 converted and adjusted for inflation at the time of writingDescription: A very rare Imperial champleve and gilt-bronze archaistic vase, hu, QianlongExpert remark: Note that this is not a wall vase and of significantly larger size (39.3 cm) than the present lot乾隆内填琺瑯壁瓶，廣東進貢中國，1736-1795年。扁瓶形，撇口，束頸，豐肩，下收腹，底足外撇。頸部中央一道弦紋。瓶身開光鑲嵌精美琺瑯瓷牌，兩位仕女坐在園中柳樹下，四周鮮花環繞，假山亭子。開光周圍是用内填琺瑯描繪夔龍紋和饕餮紋。 來源：德國北部私人收藏，購於2007年之前。 品相：琺瑯面有小修復，花瓶有一些凹痕和刻痕，表面有輕微劃痕，製作瑕疵，例如麻點、鎏金的輕微磨損。整體狀況良好，與年齡相吻合。 重量：579.2 克 尺寸：高21 厘米 背面帶有矩形凹槽，圓形孔，用於牆壁懸掛。由於字數限制，完整中文敘述請至www.zacke.at查看。
AN IMPORTANT AND RARE UDAYANA-STYLE FIGURE OF MAITREYA, LATE YUAN DYNASTY - HONGWU PERIODOpinion: The present statue is stylistically very similar to an important gilt-bronze figure of Maitreya, which can be pinpointed by radiocarbon dating of organic material in its core to a quite narrow timeframe from the late Yuan dynasty to the Hongwu period. The distinct U-shaped folds, elongated undulating sleeves, and flared hems, as well as the characteristic hairstyle, all indicate that the two figures were made at more or less exactly the same time, around the years 1350-1380. The image is superbly carved standing with his right hand raised in abhaya mudra, the deity portrayed with a serene and meditative countenance below an urna, framed by a pair of long pendulous earlobes and hair neatly swept over the ushnisha, clad in a long robe with elongated sleeve openings and accentuated overall with pronounced folds and undulations, the garment loosely clinging to the gently rounded outlines of his stomach and legs and ending in a flaring hem above the bare feet. Provenance: A Belgian private collection. Condition: Good condition, commensurate with age and presenting remarkably well, especially when considering the high age of this statue. Extensive wear and expected natural age cracks. Minor flaking and crackling to lacquer. Light surface scratches, minuscule nicks, some losses. Possibly few minor old touchups here and there.Weight: 787.9 g Dimensions: Height 31.2 cmMaitreya, Buddha of the Future Age, governs two perfected worlds: Tusita Heaven, which he currently inhabits, and Ketumati, an ideal realm conducive to the pursuit of enlightenment where he will serve as the teaching Buddha. The Maitreya's hands are held in abhaya and varada mudras, embodying a message of the coming salvation of all sentient beings.As the Yuan dynasty crumbled amidst famine, floods and general unrest, the anti-Mongol slogan of Han Shantong, Grand Patriarch of the White Lotus sect, was a call to arms and rebellion. Central to Han's belief structure was the idea that Buddha Maitreya had finally manifested in the world as the successor to Buddha Shakyamuni. Shortly after Han's demise in 1351, Zhu Yuanzhang, also a member of the White Lotus sect, emerged as the leader of the ethnic Han Chinese rebelling against the Mongol-led Yuan dynasty. In 1368, he eventually proclaimed himself as the Hongwu Emperor of the newly established Ming dynasty. It was during this period that images of Buddha Maitreya, such as the present lot, were depicted almost exclusively in the distinct Udayana style which gained increased popularity.The formulaic rendering of the U-shaped folds of the robe is one of the most interesting iconographic features of the present figure. This is known as Udayana, an ancient name for the early Gandharan region now in the present-day Swat Valley, Pakistan, from which similarly robed images of Maitreya first originated. This distinctive style of dress had transmitted along the Silk Road all the way to China and appeared there as early as the fourth century, as exemplified by the gilt-bronze seated Buddha Shakyamuni illustrated by H. Munsterberg, in Chinese Buddhist Bronzes, New York, 1988, page 37, fig. 1, which bears an inscription dated to 338 AD.Literature comparison:Compare a closely related wood figure, dated to the Ming dynasty, in the collection of the Metropolitan Museum of Art, accession number 41.115.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 2 October 2017, lot 3135 Price: HKD 24,100,000 or approx. EUR 3,263,000 converted and adjusted for inflation at the time of writing Description: A magnificent and monumental gilt-bronze standing figure of Maitreya, Yuan dynasty - Hongwu periodExpert remark: Compare the closely related U-shaped folds, elongated undulating sleeves, and flared hems as well as the distinct hairstyle. Note that this lot came with a Carbon-14 test of the core which was consistent with the dating above. Note the much larger size (116.8 cm) and the fact that this statue is made from bronze, not wood.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2010, lot 1959 Price: HKD 3,020,000 or approx. EUR 526,500 converted and adjusted for inflation at the time of writing Description: A very rare early Ming gilt-bronze standing figure of Maitreya, Yongle incised six-character mark and of the period Expert remark: Compare the closely related U-shaped folds and elongated undulating sleeves. Note that this lot is made from gilt-bronze, not wood, and that it bears a Yongle mark and dates from the period. Also note the smaller size (16.5 cm). Eventually note that the image lacks the distinct Udayana hairstyle, probably because it was made a few decades later than the present lot.元末至洪武朝重要烏仗那式彌勒佛木雕像 造像身軀豐滿，姿態高貴，右手施無畏印，佛面微笑頭髮整齊地披在烏尼沙上，佛像通肩式之外袍，自肩膀垂直而下，佛像身形高挑，裙褶疊曲有序，氣韻生動，神彩宛如書法揮毫。由於字數限制，完整中文敘述請至www.zacke.at查看。
'A SPRING OFFERING WITH AN ANCIENT GUI AND A STONE RUBBING OF A MYTHICAL BEAST', BY WU CHANGSHUO (1844-1927) AND ZHU CHENG (1826-1900)China. Ink and watercolors on paper, mounted as a hanging scroll. Superbly painted with a vibrantly colored flower growing from a leafy stem inside an ancient gui bronze vessel above a stone rubbing depicting a legendary bovine animal surrounded by astrological symbols, below a lengthy inscription.Inscriptions: Center right, 'Qingshan Qiaosu Cheng', and one seal, 'Zhu Cheng Zhi Yin'. Upper left, a text about the rubbing and the legendary animal it depicts, signed 'Changshuo Wu Junqin', and two seals, 'Wu Jun Zhi Yin' and 'Cang Shi'.Provenance: From a noted private collector. Condition: Excellent condition with only minor wear and minimal soiling to mounting.Dimensions: Image size 99.7 x 32.5 cm, Size incl. mounting 181 x 47 cm Wu Changshuo (1844-1927) was a prominent Chinese painter, calligrapher, and seal artist of the late Qing Period. Initially, he devoted himself to poetry and calligraphy with a strong interest in early scripts. He also led the Xiling Seal Art Society, an academic organization for Hangzhou-based seal artists. Only later did he consider himself a painter associated with the 'Shanghai School'. As a painter, he was noted for helping to rejuvenate the art of painting flowers and birds.Expert's note: The calligraphy, the gui and the stone rubbing are by Wu Changshuo, whereas the flower is by Zhu Cheng. Artprice, the world-leading art database, has recorded a total of eight other noted artists from the period with whom Zhu Cheng (aka Zhu Menglu) had similar collaborations during his accomplished career. Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 27 November 2012, lot 1259Price: HKD 500,000 or approx. EUR 79,000 converted and adjusted for inflation at the time of writingDescription: Wu Changshuo (1844-1927), Bamboo and BronzeExpert remark: Compare the closely related motif. Note the smaller size (68.5 x 33.8 cm)吳昌碩與朱偁款《土缶富貴花圖》中國，紙本設色，掛軸。牡丹綻放盛開，花朵艷麗，在枝壯葉茂的映襯下顯得風姿綽約。牡丹栽种在一土缶里，下方为缶之拓片。 款識：左上：土缶雖無字，是漢是晉莫能必，然出土與黃龍磚同穴，其古可知。先師藐公嘗顔予齋曰缶廬。予亦珍若璆琳，不肯輕示人，而富貴人皆不以缶為室寳。翔兄命工拓出，補以富貴花，深恐遽有豪攫者，茲特其先兆耳。昌碩吳俊卿。鈴印：吳俊之印；蒼石右上：青山樵叟偁；鈴印：朱偁之印 來源：知名私人收藏。 品相：品相良好，只有輕微的磨損和裝幀處小污漬。 尺寸：畫面99.7 x 32.5 厘米, 總181 x 47 厘米 專家注釋：書法、缶、拓片以及牡丹花為朱偁合作完成，兩位同爲晚清海派花鳥畫大師。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2012年11月27日，lot 1259 價格：HKD 500,000（相當於今日EUR 79,000） 描述：吳昌碩 (1844-1927)《竹與青銅器》 專家評論：比較非常相近的主題。請注意尺寸較小 (68.5 x 33.8 厘米)。
A LARGE GILT BRONZE 'WILLOW LEAF' GUANYIN, BHAISAJYARAJA AVALOKITESHVARA, MING DYNASTYChina, 16th century. Finely cast seated in dhyanasana, the hands held in karana mudra, her left holding a bowl of elixir. She is wearing long flowing robes with well carved folds and neatly incised floral hems, and is richly adorned with fine jewelry. Her serene face with heavy-lidded downcast eyes and full lips forming a subtle smile, flanked by long pendulous earlobes suspending elaborate earrings.Provenance: From an old private collection in Paris, France, and thence by descent. French trade, acquired from the above. Condition: Superb condition. Some old wear, minor casting flaws, few minuscule nicks and light scratches. The gilt is well-preserved overall. The separately cast willow twig in her right is lost. Note that all exposed areas, and particularly the delicate crown, show no losses or signs of repair whatsoever. Fine, naturally grown patina. A 16th-century gilt-bronze figure in such magnificent condition is extremely rare.Weight: 6,729 g (excl. stand)Dimensions: Height 36 cm (excl. stand) and 41 cm (incl. base)The neatly incised hair falling elegantly in strands over the shoulders and tied up into a high chignon behind the open worked foliate crown centered by a small image of the Buddha Amitabha.With an old fitted wood base dating from the Qing dynasty. (2)According to the Lotus Sutra, Avalokiteshvara can take any form necessary to save sentient beings. Thirty-three manifestations of Avalokiteshvara are mentioned and are known to have been very popular in Chinese Buddhism as early as the Sui and Tang Dynasties. The present lot depicts the bodhisattva in a manifestation known as Bhaisajyaraja Avalokiteshvara, or the 'Willow Leaf' Guanyin in Chinese. In this form, the bodhisattva holds a vial or bowl of elixir in the left and a stalk of willow leaves in the right, which was cast separately for the present statue and is now lost. The willow has evil dispelling properties and is used to sprinkle the elixir over devotees, which is believed to cure all physical and spiritual illnesses. This iconographic form was popular among devotees wishing for good health.Buddhist gilt-bronze figures were produced almost from the beginning when Buddhism was embraced by various courts of China's division after the Han dynasty. Until the Tang dynasty, however, they remained very small. One of the earliest developments away from small votive images took place in the Khitan Liao dynasty, when statues not only became bigger but also developed stylistically towards a more sculptural aesthetic. During the early Ming period the court took complete control of their production, and a distinct classic style was devised that would determine the design of all future Buddhist gilt-bronze images, including the present lot.Auction result comparison:Type: Closely related Auction: Sotheby's Paris, 11 December 2018, lot 81 Price: EUR 50,000 or approx. EUR 57,000 adjusted for inflation at the time of writing Description: Statuette de Guanyin en bronze dore, dynastie Ming Expert remark: Compare the closely related pose, expression, robes, jewelry, hair, and crown. Note the smaller size (32 cm).Auction result comparison: Type: Related Auction: Sotheby's London, 7 November 2018, lot 66 Price: GBP 100,000 or approx. EUR 135,500 converted and adjusted for inflation at the time of writing Description: A lacquered parcel-gilt bronze figure of Guanyin, Ming dynasty, 16th century Expert remark: Compare the related pose, expression, robes, jewelry, hair, and crown. Note the larger size (47 cm) and that the statue has only partial gilding. 明代大型楊柳觀音鎏金銅像中國，十六世紀。觀音結跏趺坐，左手托淨瓶，右手當胸持楊柳枝作拋灑甘露的手勢。面相豐頤，曲眉似彎月與鼻樑相連，眼瞼較寬，神態慈和寧靜；雙眼微合，俯視前方；頭戴花冠，冠葉雕刻精細，冠正面有化佛阿彌陀佛。身軀雄健，體態優美，整體莊嚴神聖而又慈祥親切。胸前飾瓔珞，下身著高束腰及胸長裙，衣紋厚重，自然流暢，衣緣鏨刻大朵花紋飾樣，雕刻精細，紋飾清晰，鮮明的漢地造像裝飾風格。整體形態端莊。 來源：法國私人舊藏；法國古玩交易，購於上述收藏。品相：狀況極好，一些磨損，輕微的鑄造缺陷，一些微小的刻痕和輕微的劃痕，鎏金整體保存極好，右手中原先拿的柳枝遺失。請注意，造像沒有任何修復跡象。細膩自然的包漿。如此精美的明末鎏金造像極為罕見。由於字數限制，完整中文敘述請至www.zacke.at查看。
A LARGE AND MASSIVE BRONZE 'CHILONG' ARROW VASE, TOUHU, YUAN TO EARLY MING DYNASTYChina, 13th-15th century. Heavily cast, the compressed globular body rising from a splayed foot and surmounted by a tall cylindrical neck. The body decorated in relief with archaistic motifs on a key-fret diapered ground at the foot and the four tubular 'target' lugs, further molded with four beast-mask handles suspending loose rings, and four chilong sinuously wrapping around the shoulder and elongated neck.Provenance: From the collection of Dr. Walter Rieder (1890-1986), and thence by descent in the same family. Dr. Walter Rieder served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialized in educational, literary, and philanthropic work and Dr. Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics, and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr. Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr. Rieder forged with local artists, some of whom he knew from his teaching activities. Dr. Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr. Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.Condition: Very good condition with extensive old wear, few casting irregularities, small losses, nicks and dents, a small hole to the shoulder, possibly inherent to the manufacture. The base plate shows some soldering, but is original to the vase. Dark, naturally grown patina, exactly as expected from this type of bronze.Weight: 6,448 g Dimensions: Height 47.8 cmThe form of this vase is inspired by archaic bronze vessels used for touhu (lit. 'pitch-pot'), a traditional East Asian game that requires players to throw arrows or sticks from a set distance into a large, sometimes ornate, vessel. The game had originated by the Warring States period, probably invented by archers or soldiers as a pastime during idle periods. It began as a game of skill or a drinking game at parties, but by the time it was described in a chapter of the Chinese Classic Book of Rites, it had acquired Confucian moral overtones. Initially popular among elites, it spread to other classes and remained popular in China until the end of the Qing Dynasty. Touhu was usually a contest between players, who had to throw arrows into the mouth or tubular lugs located at the top of the vase, which was placed at an equal distance between two mats on which the players knelt. Touhu vases continued to be produced in the Song dynasty and later, made in various materials including bronze, cloisonne, and ceramic.Literature comparison: See a related bronze arrow vase, dated as first half 17th century, illustrated in The Chinese Scholar's Studio: Artistic Life in the Late Ming Period, New York, 1987, no. 63. Auction result comparison:Type: Closely relatedAuction: Christie's London, 11 Nov 2011, lot 1411Price: GBP 11,250 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A large bronze 'eight immortals' arrow vase, Ming dynasty (1368-1644)Expert remark: Compare the closely related form, the four beast-mask handles at the body, and the archaistic design to the foot and upper neck. Note the size (57 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 7 October 2014, lot 3331Price: HKD 175,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A large bronze arrow-handled vase, Ming dynasty, 16th centuryExpert remark: Compare the closely related design with dragons at the neck and archaistic design to foot and neck.Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 29 May 2022, lot 23Price: HKD 242,250 or approx. EUR 30,500 converted at the time of writingDescription: A Very Rare Bronze Arrow Vase, Touhu, Yuan DynastyExpert remark: Compare the closely related form, the sinuous chilong, and the archaistic design overall. Note the size (35.5 cm).元至明初大型螭龍紋輔首啣環投壺中國，十三至十五世紀。該件瓶為銅質。唇口，口沿兩側附雙貫耳，形成三個並列的口部，貫耳下端亦為唇口，雷紋地龍紋。細長頸，圓雕兩螭龍攀附。平肩，肩部攀附一對螭龍。鼓腹，四輔首啣環。高圈足。壺整器規矩，錯落有致。 來源：Dr. Walter Rieder (1890-1986)舊藏，在同一家族保存至今。 品相：品相極好，大面積磨損，輕微鑄造瑕疵，小缺損、小刻痕和凹痕，肩部有一個小孔，可能是製造時出現的。底板看上去有過焊接。深色的包漿，與這種青銅器皿的預期完全一樣。 重量：6,448 克 尺寸：高47.8 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。
A BRONZE DEATH MASK OF NAPOLEON FROM THE DR ANTOMMARCHI CAST with foundry signature on the lower right 'FONDU PAR L RICHARD ET QUESNEL A PARIS' with central pastille mark cast with Napoleon's profile and 'NAPOLEON EMP ET ROI * SOUSCRIPTION DR ANTOMMARCHI 1833'; on the lower left side 'DR F ANTOMMARCHI'; 34 cm. long overall.Richard & Quesnel's first production comprised just twenty bronze death masks of Napoleon, distributed among the former Imperial family and close companions of the late Emperor.
A REGENCY MAHOGANY SOFA TABLE Early 19th century, in the manner of John McLean, the rounded rectangular twin-flap top with a central slide enclosing a removable leather-lined games-tray with a backgammon board on one side and a chess board on the other, with four mahogany-lined drawers below, on reeded x-frame end-supports with inward facing bronze paw feet, repairs to feet; 73 cm high; 136.5 cm wide, open; 64.5 cm deep.A games table of c.1800 with removable slide and reeded x-frame legs, by John McLean (fl. 1770-1814) at Saltram, Devon (NT 071334) and a writing table at Berrington Hall, Herefordshire (NT 617708).Provenance: Purchased from Duke's Spring Fine Art sale on the 28th of April 2022, Lot 134, for £2,400.
W & T Avery Ltd, Birmingham pair of early C20th cast iron kitchen scales with brass pans and four weights, cast bronze dish with foundry mark to base, impressed number, D16cm, C20th copper and brass kettle with strap work riveted handle lid having acorn finial, early C20th copper and brass bugle, other metal decorative items
A Chinese cast brass figure of standing Buddha, late Qing, the bearded figure with tight curls and an urna to the forehead, standing in long loose robes, on a turned wood base, 29cm overall; a cat metal figure of Lao Tzu upon a water buffalo, 17.5cm; a Chinese cast brass figure of Lui hai, standing on a three legged toad beneath a string of cash, 21cm; a cast bronze censor with phoenix head spout, the triform body with archaic and meander decoration, upon three legs, 11cm, a Chinese cast bronze vase with archaic band decoration on a meander ground, 22.5cm, and a sheet copper ewer with applied decoration of wanzi, spider chrysanthemums and other flowers and medallion, of inverted tapering form with brass bindings, 32.5cm
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