A LARGE ‘KUI XING’ BRONZE CENSER AND COVER, 17TH-18TH CENTURYChina. The god of examinations standing in a dynamic pose with one foot atop a fierce giant dragon carp, holding a writing brush and a box with folded papers falling out. His face with a lively expression, wearing a dhoti and a scarf billowing across each arm, all supported on the stepped rectangular censer cover decorated with key frets, scrolling clouds and ruyi head patterns.Provenance: French private collection. Condition: Fine condition with some smaller losses, scattered nicks and dents, old soldering repairs to exposed areas. A foot of the god missing. Naturally grown patina of deep-bronze, almost black color.Weight: 11.9 kg (the cover) and 27.4 kg (the censer) Dimensions: Size 72 x 42 x 32 cmThe massive and very heavy censer is of rectangular form, supported on four monumental legs issuing from Buddhist lions’ mouths. The sides are cast in high relief with a scholar and a pupil under a pine tree with craggy rockwork, a sage riding a giant carp on crashing waves, and cranes in flight amid scrolling clouds, the rim decorated with a key-fret band above further scrolling clouds in relief.Literature comparison: Compare with a Japanese variation of the present bronze censer, also depicting Kui Xing, but signed by Oshima Joun (1858-1940), at Bonhams New York in Fine Japanese Art on 22 July 2020, lot 1095. Compare also with two gilt bronze figures of Kui Xing dated to the 17th century, one at Christie’s London in Fine Chinese Ceramics And Works of Art on 9 May 2017, and the other attributed to the Ming dynasty at Sotheby’s London in Important Chinese Art on 11 November 2015, lot 206.十七至十八世紀魁星香爐 中國。主宰文章興衰之神一腳踩在一條兇猛的巨鯉上，手握一支毛筆和一個裝著文章的盒子。面部表情活潑生動，手臂上搭著飄帶，支撐在階梯式矩形香爐蓋上，蓋上飾有雷紋、祥雲和如意圖案。 來源：法國私人收藏 品相：狀況良好，缺損較小，散落的刻痕和凹痕，裸露區域的舊焊接修復，缺少了一支神的脚。自然生長的深青銅色幾乎為黑色包漿。 重量：蓋11.9 公斤；爐27.4 kg 尺寸：72 x 42 x 32 厘米
We found 350105 price guide item(s) matching your search
There are 350105 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
350105 item(s)/page
A PAIR OF MASSIVE ‘BUDDHIST LION’ BRONZE CENSERS, 17TH CENTURYChina, 17th century. Each cast seated with a large bushy tail and the right paw raised and resting on a ribbon-tied brocade ball, the heads with large bulbous eyes and widely opened mouths showing sharp fangs, the cover in the form of a section of the beast’s curly mane. (2)Provenance: French private collection.Condition: Good condition with old wear, some minor casting flaws, scattered small nicks, occasional light scratches, all consistent with age. The lid of one is lost.Weight: 9.4 kg (total)Dimensions: Height 24 cm, Length 32 cm (each)Auction result comparison: A related pair was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 11 May 2019, lot 239, for EUR 5,056. Another related pair of Buddhist lion censers was sold by Sotheby’s New York in Important Chinese Art on 13 September 2017, lot 172, for USD 10,625.十七世紀一對佛獅銅爐 中國，十七世紀。佛獅濃密的尾巴，右爪抬起，踩在錦緞球上，眼睛圓鼓，張開的嘴巴裏露出鋒利的尖牙。爐蓋是捲曲的鬃毛形。 來源：法國私人收藏 品相：狀況良好，舊磨損，一些輕微的鑄造缺陷，局部小刻痕，偶有的輕微划痕，均與年代一致。 一個蓋子丟失了。 重量：縂9.4公斤 尺寸：高24厘米，分別長32厘米 拍賣結果比較：一對相似佛獅香爐售于紐約蘇富比 Important Chinese Art 拍場，2017年9月13日，lot 172，售價USD 10,625。
A BRONZE LUDUAN-FORM CENSER AND COVER, 17TH CENTURYChina, 17th century. The beast standing foursquare with open jaws baring sharp fangs and teeth, the head forming a hinged cover to allow access to the interior, detailed with finely incised mane and tail above a stout body with stylized markings.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Fair condition with old wear, traces of use, some losses and cracks, minor iron-red and malachite-green encrustations to the feet.Weight: 984.8 gDimensions: Height 15.2 cmAuction result comparison: A related bronze luduan censer of considerably smaller size, bearing an Xuande mark, was sold by Sotheby’s London in Menagerie: An English Private Collection of Chinese Animal Carvings on 10 May 2017, lot 29, for GBP 13,125.十七世紀青銅甪端香爐 中國，十七世紀。神獸張嘴露出鋒利的獠牙，頭部作爲蓋子，刻畫入微地表現鬃毛和尾巴。 來源：Karl Zeilinger (1944-2014), 德國紐倫堡亞洲藝術及古典武器收藏家，在同一家族保存至今。 品相：狀況良好，有舊磨損，使用痕跡，一些磕損和裂縫，輕微的鐵紅色和綠色結殼。 重量：984.8 克 尺寸：高 15.2 厘米拍賣結果比較：一個相近但較小的宣德款甪端青銅香爐，於2017年5月10日倫敦蘇富比Menagerie: An English Private Collection of Chinese Animal Carvings拍場，拍號29，售價GBP 13,125。
A PARCEL-GILT AND SILVER-INLAID ‘CARDINAL POINTS’ VASE, HU, MING DYNASTYChina, 1368-1644. The pear-shaped bronze body is divided into four equal sections, indicating the four cardinal points, all distinctively highlighted with fine gold and silver inlays. Rising from a splayed foot to a waisted neck and flared rim, flanked by a pair of loop handles shaped as birds of prey.Provenance: British private collection.Condition: Excellent condition with minor casting flaws, some wear to gilt and silver inlays, minuscule nicks and occasional light scratches, malachite-green encrustations to the interior. Old central piercing to base for mounting as a lamp.Weight: 3,383 gDimensions: Height 32.2 cmThe neck with a band of stiff leaves below a band of archaistic bird motifs on a leiwen ground, the shoulder with a band of taotie masks on a leiwen ground. Four-character inscription to base.Literature comparison: A larger vase in the Musee Cernuschi is illustrated in Michel Maucuer, Bronzes de la Chine imperiale des Song aux Qing, Paris, 2013, pl. 53, together with one decorated with a related motif, pl. 55.Auction result comparison: Compare with a related silver-inlaid and gilt-embellished hu of 75 cm from the 17th or 19th century at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 15 May 2015, lot 720, sold for GBP 10,000.明代錯金銀雙耳壺 中國，1368-1644年。梨形銅器主體分為四個相等的部分，表示四個基本點，所有這些點均以精美的金和銀鑲嵌物突出顯示。一對鳥形耳。 來源： 英國私人收藏 品相：狀況極佳，鑄造缺陷較小，錯金銀鑲嵌物有些磨損，刻痕極少，偶爾有輕微划痕，內部綠色結殼。 底座中央舊時穿孔作為燈使用。 重量： 3,383 克 尺寸： 高 32.2 厘米拍賣結果比較：比較一件17世紀或19世紀相似的75厘米鍍金銀壺， 於2015年5月15 日在倫敦佳士得舉行的Chinese Ceramics, Works of Art and Textiles拍場，拍號 720，成交價GBP 10,000。
A ‘YUTANG QINGWAN’ GOLD-SPLASHED BRONZE BOMBE CENSER, 17TH CENTURYChina. The gold-splashed decoration on this censer is especially rich, suggesting that it was made with no cost spared and for the table of a high-ranking official or an important scholar-literati. The base with a four-character yutang qingwan seal mark (Pure pleasure of the Jade Hall).Provenance: British private collection. Condition: Excellent condition with only minor wear and surface scratches, some casting irregularities, few small nicks and dents to edges, the inside with expected residues. The exterior naturally patinated to variegated tones of golden brown.Weight: 1,274 g Dimensions: Height 7 cm, Width 18.7 cm (handle to handle)The compressed globular body rising from a splayed foot, flanked by two loop handles.Literature comparison: The mark, yutang qingwan, is found on three censers illustrated in Jin Yu Qing Yan: Yang Ping Zhen Xian Sheng Zhen Cang Ming Qing Tong Lu (Golden Jade and Green Smoke: Mr. Yang Ping Zhen's Collection of Ming and Qing Bronze Censers), National Museum of History, 1996, pp. 222-23, nos. 151 and 152, and p. 278, no. 234. Compare also with a small globular censer with gold-splashed decoration sold at Christie's London, 19th December 1980, lot 165.Auction result comparison: Compare a related tripod censer, with the same mark, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 17 March 2017, lot 1040, sold for USD 30,000, and another of li ding form with a similarly rich gold-splash decoration, but with an apocryphal Xuande mark, at Sotheby’s Hong Kong in Water, Pine and Stone Retreat Collection, Scholarly Art II on 4 April 2012, lot 188, sold for HKD 740,000.十七世紀“玉堂清玩”款灑金雙耳銅香爐 中國。香爐上的灑金特別豐富，富貴而莊重，適合高級官員或文人使用。底足有“玉堂清玩”印。 來源：英國私人收藏 品相：狀況極佳，僅有少量磨損和表面划痕，有一些鑄造不規則現象，少量小缺口和邊緣凹痕，內部帶有預期的殘留物。 外觀自然地呈現出金黃色的包漿。 重量: 1,274 克 尺寸：高7 厘米, 寬18.7 厘米 (耳至耳) 爐身線條流暢柔美，雙耳出頸曲折下收於腹部，渾厚有力。 拍賣結果比較：一件相似同落款香爐，售于紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2017年3月17 日，lot 1040, 售價USD 30,000；一件相近灑金宣德款香爐，售于香港蘇富比Water, Pine and Stone Retreat Collection, Scholarly Art II 拍場2012年4月4 日，lot 188, 售價HKD 740,000.
A GILT BRONZE ‘PEACH AND BAT’ WASHER, QIANLONGChina, 1736-1795. Cast in the form of a peach growing from a gnarled branch, a bat with wings spread out above the rim, a ribbon with two small coins above. The exterior of the washer is finely incised with a Shou character to the base and further characters to the side, the bottom section of the peach neatly stippled.Provenance: French private collection. Condition: Very good condition with minor wear, a small dent to the underside, minuscule nibbling to the edges.Weight: 53.2 gDimensions: Width 8 cmThe splendor of the Qianlong court is captured in this ingeniously crafted washer in the form of an auspicious peach, the fruit of immortality in Daoism. While the handle is subtly cast as a gnarled branch, the base shows a shou medallion which - using the rather complex repousse technique - also appears on the inside. Together with the bat the rebus ‘May you have both blessings and longevity’ (fushou shuangquan) is formed. This auspicious motif, combined with the high level of craftsmanship, suggests this washer may have been created for a high ranked official or even a member of the imperial family, possibly on the occasion of a birthday.The peach was one of the Qing Emperor's favorite motifs and it was thus used as a form for washers and boxes made of various materials. Boxes also adorned with a shou character and bats include a coral example, attributed to the Yongzheng period, in the Qing court collection and still in Beijing, included in the exhibition ‘China, The Three Emperors, Royal Academy of Arts, London, 2005, cat. no. 294. An ivory version sold at Sotheby’s on 7th November 2007, lot 207. A silver filigree box in the Palace Museum, Beijing, is published in Zhongguo jinyin boli falangqi quanji [The complete collection of Chinese gold, silver, glass and enameled wares], vol. 3, Jinyin qi [Gold and silver wares], Shijiazhuang, 2004, pl. 308.Auction result comparison: Compare with a closely related ‘peach and bat’ box and cover, made of gold, at Sotheby’s Hong Kong in Gems of Chinese Art – The Speelman Collection II, 3 October 2018, lot 3430, sold for HKD 1,500,000.乾隆福壽桃形筆洗 中國，1736-1795年。鑄成桃子狀，從一個桃枝上長出，一對蝙蝠的翅膀在邊緣上方展開，一條絲帶挂著兩個小銅幣。 筆洗外壁裝飾壽字紋字樣，桃子的底部整齊。 來源：法國私人收藏. 品相：狀況極佳，有輕微磨損，下側有小凹痕，邊緣微微磕損。 重量：53.2 克 尺寸：寬 8 厘米 拍賣結果比較：一件相近的黃金福壽蓋盒售于香港蘇富比 Gems of Chinese Art – The Speelman Collection II拍場, 2018年10月3日，lot 3430, 售價HKD 1,500,000。
A TIBETAN-CHINESE PARCEL-GILT BRONZE ‘MONK’S CAP’ EWER, SENGMAOHUChina, early Ming Dynasty, 15th century, probably Yongle (1403-1424) or Xuande (1426-1435) period. Of tapering form surmounted by a short neck and a galleried ‘monk’s cap’ rim, applied with two strap handles, each terminating in large, imposing ruyi-heads, supported on a tall spreading foot with lipped rim.Provenance: A French estate. An Austrian collector, acquired from the above. Condition: Very good condition with some wear, minor dents and nicks, occasional light scratches, wear to gilt, traces of red pigment. Over half a millennium, the bronze has naturally grown into an even, olive-green patina with a lustrous shine and an unctuous overall feel.Weight: 4,710 gDimensions: Height 62.5 cm‘Monk's cap’ ewers owe their origin to the close relations between Tibet, Mongolia and China during the Song period. It is believed that the earliest ewers in this distinctive shape were made of bronze or wood, and porcelain examples are found in Yuan and early Ming contexts. The form of a monk’s cap that may have provided the model for these ewers is uncertain, but Tibetan priests such as Deshin Shekpa, or Shakya Yeshe (1354-1435), the representative of Tsongkhapa, who was sent on his behalf to the Yongle court, are usually depicted wearing a stiff black headdress with a staggered outline, which could be compared to the rims of these ewers. The Yongle Emperor ordered significant quantities of porcelain sacrificial vessels of this shape to be made at the imperial kilns for the ceremonies conducted by the Tibetan hierarchs, particularly those undertaken in honor of the emperor's deceased parents in 1407.Monk’s cap ewer production continued into the Xuande period in new colors, motifs, and decoration. One of the most notable innovations of the ‘monk’s cap’ ewer in the Xuande period is the blue and white ewer. After the Xuande period, production of the ‘monk’s cap’ ewer came to a halt for over two-hundred years, only to reappear in the early Qing dynasty, when they were revered by emperors for their unusual shape and superb quality.Expert’s note: The strict, almost exaggerated form of the present ewer mirrors its model, the headdress of Shakya Yeshe (1354-1435), who served at the Yongle court, with its characteristic, staggered outline and oversized fender above the handle being the most prominent representatives of this innovative, highly distinct design. Likewise, tribute was paid to the early Ming emperors by applying similarly imposing, oversized Ruyi emblems at both ends of the handles. Overall, this vessel is a fastidious testimonial to the close relations between Tibet and China during the Yongle and Xuande reigns, its massive shape emphasizing the stability and peace gained from harmonizing these two cultures, so different in nature. Having lost their significance, these features were quickly eliminated on revival pieces from later periods, their replacements being commercially more successful decorations, such as dragons, floral borders, and the like.Literature comparison: For the early 15th-century prototype, compare the red-glazed covered ewer in the Palace Museum, Beijing, illustrated in the revised Sekai Toji Zenshu, vol. 14, Japan, 1976, pl. 32. For a related example in parcel-gilt silver from the Potala Palace Collection, see Treasures from Snow Mountains - Gems of Tibetan Cultural Relics, Shanghai Museum, 2001, p.180, no.91. Compare with a tianbai-glazed monk’s cap ewer from the Yongle period, at Christie’s Hong Kong, in Imperial Collection of Chinese Ceramics from a Private Collector, on 27 November 2019, lot 2921, sold for HKD 1,875,000. Compare also with a cloisonne and gilt-bronze monk’s cap ewer dated to the early Ming dynasty, at Sotheby’s Hong Kong in Important Chinese Art on 11 July 2020, lot 3626, bought-in at an estimate of HKD 20,000,000-30,000-000. Compare also with a revival monk’s cap ewer from the 19th century, at Christies New York on 15 March 2016, lot 283, sold for USD 18,750.漢藏包金僧帽壺中國，明初，十五世紀，可能爲永樂 (1403-1424)或宣德 (1426-1435)年間。壺口呈錐形，短頸，圓滑的“僧帽”邊緣，雙耳由如意紋飾固定於壺上，高圈足。 來源：法國私人遺產。奧地利收藏，購於上述收藏。 品相：狀況極佳，有一定的磨損，輕微的凹痕和缺口，偶有的輕微划痕，鍍金磨損，紅色顏料的餘留。500多年的歷史讓這個壺增添了勻的橄欖綠色包漿，簡潔而柔和的光澤。 重量：4,710 克 尺寸：高62.5 厘米
A MASSIVE AND FIERCE BRONZE MASK OF BHAIRAVA, 18TH CENTURY OR EARLIERNepal. The fierce manifestation of Shiva heavily cast with large bulging eyes beneath furled brows centered by the third eye visible on the forehead, the flaming hair with lotus decorations, wearing a necklace and earrings in the form of snakes.Provenance: British private collection. Condition: The bridge to the back of the mask with old repairs, the inlays are lost, otherwise in good condition with some wear, casting irregularities, and few minuscule nicks here and there. The patina has naturally grown into a deep brown, almost black color.Weight: 6.1 kg Dimensions: Height 34.5 cmNewari masks such as the present lot were also constructed in wood and terracotta. They were never actually worn but used during a special annual festival dedicated to Indra, the Indra Jatra. A pot of beer or spirits was placed behind each mask and the liquid then poured through the deity's open mouth. The consecrated beverage would then be consumed by participants of the festival with great enthusiasm. The custom of drinking as part of the Indra festival is peculiar to Nepal, and these large mask-like sculptures are unique to the country.Literature comparison: For further discussion on these masks, see Allsop, 1986, pp. 14-27. Also see Pal, 1991, no. 22 and Pal, 1997, no. 25.Auction result comparison: Compare with an earlier Bhairava mask of 89.5 cm at Sotheby’s New York, in Indian & Southeast Asian Art, 1 April 2005, lot 69, sold for USD 30,000.十八世紀或更早陪臚銅面具 尼泊爾，憤怒的濕婆眉毛下方鼓起的大眼睛，頭頂上的第三隻眼睛在中央，燃燒的頭髮裝飾這蓮花。陪臚戴著項鍊和蛇形耳環。 來源：英國私人收藏. 品相：面具背面的連接進行過舊的修補，鑲嵌物丟失了。狀況良好，有一些磨損，鑄造不規則現象，到處都是很少的微小刻痕。 銅綠自然地變成了深棕色黑色。 重量：6.1 公斤 尺寸：高34.5厘米 拍賣結果比較：於2005年4月1日在紐約蘇富比Indian & Southeast Asian Art 拍場，與一具89.5厘米的陪臚銅面具比較，lot 69， 成交價USD 30,000。
A ROCK CRYSTAL CONCH SHELL, 17TH-18TH CENTURYTibetan-Chinese. The stone of a good quality with natural inclusions, carved as a conch with a distinct four-tiered spire and a massive shell. The conch is considered sacred in Buddhism and is one of the eight auspicious symbols.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István 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: Excellent condition with minor wear, few light scratches and minuscule nicks, the stone with natural fissures, some of which may have developed into small natural cracks over time.Weight: 1,063 gDimensions: Length 16.5 cmExpert’s note: The many inclusions and fissures to the stone, as well as the absence of any decoration whatsoever, clearly indicate a dating to the 17th / 18th century.Auction result comparison: Compare with a related but larger and later rock crystal conch, decorated with gilt bronze, at Christie’s London in Fine Chinese Ceramics and Works of Art on 15 May 2012, lot 288, sold for GBP 25,000.十七至十八世紀水晶海螺 漢藏。具有天然内含物的優質石材，雕刻成獨特的海螺。 海螺在佛教中被認為是神聖的，是佛教八寶之一。 來源：原 Zelnik István Southeast Asian Gold Museum收藏。比利時Institutional art collection 購於上述美術館。István Zelnik博士是匈牙利South and Southeast Asian Research Institute（東南亞）研究所主席主席，曾是匈牙利高級外交官，他在東南亞工作了幾十年，建立了歐洲最大的亞洲藝術品私人收藏。 圖片：István Zelnik 博士 品相：狀況極佳，磨損小，輕微划痕，石材具有自然裂縫，隨著時間的流逝，其中一些可能會演變成小的自然裂縫。 重量： 1,063 克 尺寸：長16.5 厘米 專家注釋：石頭内有許多內含物和裂縫以及沒有任何裝飾，清楚地表明可以追溯到17世紀十八世紀。 拍賣結果比較：一件相近但更大更晚期的水晶海螺可見倫敦佳士得 Fine Chinese Ceramics and Works of Art 拍場2012年5月15 日 lot 288, 售價GBP 25,000。
A PARCEL-GILT SILVER REPOUSSE STEM-BOWL AND COVER, QINGTibetan-Chinese, 18th-19th century. The lobed floral tray and tiered circular cover each applied with auspicious symbols, flowers, and scrolling vines in gilt-bronze on a repousse ground of scrolling vines, the cover with a coral finial.Provenance: Henry Harrison Getty (1838-1919), by repute. Courtenay Morgan, the Viscount Tredegar (1867-1934), by repute. Mark Dineley (1901-1975). Peter Dineley (1938-2018), inherited from the above, and thence by descent in the same family. Father and son Dineley were British arms designers and art connoisseurs, who built a substantial collection of Buddhist art over many decades. Their firm was the largest theatrical armory in the world, supplying to legendary films such as Star Wars or Indiana Jones.Condition: Excellent condition with minor wear, few small dents, minuscule nicks here and there.Weight: 210.2 gDimensions: Height 11.5 cm清代葵瓣式鎏金捶揲銀蓋盞 漢藏，十八至十九世紀。葉狀花托和分層圓蓋，纏枝紋地，開光中有不同吉祥圖案，局部鎏金，蓋子上有珊瑚鈕。 來源：知名的Henry Harrison Getty（1838-1919）收藏。著名的Courtenay Morgan子爵（1867-1934）。 Mark Dineley（1901-1975）。Peter Dineley，1938-2018年。從上述繼承而來，並因此在同一個家族中世系傳承。Dineley父子是英國武器設計師和藝術鑑賞家，他們數十年來積累了大量佛教藝術收藏。 他們的公司是世界上最大的戲劇軍械庫，供應《星球大戰》或《印第安納·瓊斯》等傳奇電影。 品相：狀況極佳，少量磨損，少量凹痕，到處都有微小的刻痕。 重量：210.2 克 尺寸：高 11.5 厘米
A COPPER EWER AND COVER, QING DYNASTYTibetan-Chinese, 18th-19th century. The copper body embellished with a gilt bronze handle in the form of a makara, the elegantly curved spout with an inlaid turquoise on the silver end and issuing from a repousse lotus scroll application, the shoulder and neck with silver applications showing the bajixiang and phoenixes surrounded by scrolling vines.Provenance: English private collection. Condition: Excellent condition with minor wear and casting irregularities, occasional light scratches, and few minuscule nicks.Weight: 2,628 gDimensions: Height 29.6 cmThe stepped circular cover with a lotus bud finial above scrolling vines and a band of shiva lingams, all executed in the finest silver repousse.Auction result comparison: Compare with a related ewer and cover of slightly different form at Bonhams London in Fine Chinese Art on 10 November 2011, lot 528, bought-in at an estimate of GBP 3,000-5,000. Compare also with a related, but smaller ewer and cover at Koller Auctions in Zurich, Switzerland, in Asian Art: Himalaya, China (A195as), lot 238, sold for CHF 8,125.清代鑲銀銅蓋壺 漢藏，十八至十九世紀。銅壺，執柄鎏金成神獸摩迦儸形。優雅的弧形壺嘴，銀質嘴鑲嵌綠松石色，蓮葉紋。肩部和頸部鑲銀，八吉祥紋與鳳凰穿花紋。 來源：英國私人收藏 品相：狀況極佳，有輕微磨損和鑄件不規則現象，局部有輕微刮擦，機輕微划痕。 重量：2,628 克 尺寸：高29.6 厘米 拍賣結果比較：一件相近但形狀不同的蓋壺見倫敦邦翰斯Fine Chinese Art 拍場，2011年11月10日 lot 528, 估價GBP 3,000-5,000。比較另一件相近但是較小的蓋壺，售於瑞士蘇黎世Koller拍賣行Asian Art: Himalaya, China (A195as)拍場，lot 238，售價CHF 8,125。
A GILT COPPER FRIEZE OF APSARAS, 16TH-17TH CENTURYTibet. Of rectangular form, the four celestial spirits standing on a lotus pedestal in dynamic postures, each with four arms, holding a drum as well as other attributes, richly adorned in beaded jewelry and fine garments, and wearing an elaborate headdress.Provenance: Galerie Slim Bouchoucha & Jean Lostalem, Paris. Olivier Comes, by repute acquired from the above during the 2000s. LP Collection Paris, acquired from the above.Condition: Overall good condition with old wear, tears, losses, dents, warping, wear to gilt.Weight: 2,326 g (total)Dimensions: Size 29.5 x 41.5 cm (excl. base)Mounted on an associated wood base. (2)Auction result comparison: Compare with a Tibetan gilt bronze panel with Apsaras, dated to the 16th century, at Christie’s New York in The Sporer Collection of Himalayan Sculpture on 15 September 2015, lot 42, sold for USD 35,000.十六至十七世紀銅鎏金飛天女神銅屏西藏。長方形。四個天神以動感的姿勢站立在蓮花座上，每一個都有四個手臂，握著鼓以及其他寶器，飾有華麗珠寶和精美服裝，並戴著精美的頭飾。 來源：巴黎Galerie Slim Bouchoucha & Jean Lostalem。Olivier Comes, 據説2000年前後 從上述藝廊購得。LP Collection Paris, 從上述收藏購得。 品相：總體狀況良好，有舊磨損、撕裂、脫落、凹痕、翹曲和鎏金磨損。 重量：縂2,326 克 尺寸：不含底座29.5 x 41.5 厘米 裝置在木底座上。 拍賣結果比較：一件十六世紀西藏銅鎏金飛天女神銅屏，見紐約佳士得The Sporer Collection of Himalayan Sculpture拍場，2015年9月15日 lot 42, 售價USD 35,000.
A BRONZE AND IRON PHURBA, 17TH CENTURY OR EARLIERTibet. The pommel with three heads of wrathful protectors with fierce expressions, open mouths baring sharp teeth and tongue, a third eye, and wearing five-leaf crowns, with the outer leaves shared between adjacent heads, surmounted by a vajra. The stylized openwork handle with vajras and a makara base secured to the iron blade.Provenance: Swiss private collection. Condition: Good condition with old wear, minor nicks here and there, occasional light scratches, the blade with traces of gilt. Fine dark patina.Weight: 273.1 gDimensions: Length 27 cmAuction result comparison: Compare with a related but slightly longer and later phurba , dated to the 18th century, at Sotheby’s New York in Asian Art on 24 March 2018, lot 1634, sold for USD 7,500. Compare also with an earlier and slightly longer phurba, dated to the 14th-15th century, at Christie’s Paris in Art d’Asie on 15 December 2010, lot 331, sold for EUR 11,250.十七世紀或更早浦爾巴鉄銅合金金剛鐝西藏。金剛鐝頂端為三面像首神明，張嘴露牙，三隻眼，頭戴五葉冠。柄部中段由上下兩個鏤空鈕結夾合一個九股式金剛杵構成。有鐵作三棱式刃部。 來源：瑞士私人收藏. 品相：狀況良好，有舊磨損，到處有小刻痕，偶爾有輕微划痕，刀片有鎏金痕跡。 深色銅綠。 重量：273.1 克 尺寸：長27 厘米 拍賣結果比較：一件十八世紀的金剛鐝，更長些，見紐約蘇富比Asian Art 拍場，2018年3月 24日，lot 1634, 售價USD 7,500；一件更早期且更長的金剛鐝，十四至十五世紀，見巴黎佳士得 Art d’Asie 拍場，2010年12月15日，lot 331, 售價EUR 11,250.
A LARGE AND MASSIVE BRONZE TRIAD OF AVALOKITESHVARA AND TWO ACOLYTES, MING TO EARLY QINGChina, 16th-18th century. Cast seated in dhyanasana on a double lotus base, dressed in loose, flowing robes and elaborate beaded jewelry, the hands held in vitarka mudra, each holding a leafy stem rising to the shoulders and surmounted by a bird on one side and a vase on the other.Provenance: French private collection.Condition: Good condition with some expected surface wear and a few scattered minor dents or occasional light scratches, all consistent with age. There seems to be an old repair in the cast on the main figure's left billowing ribbon. The base is unsealed.Weight: 5.8 kgDimensions: Height 39.3 cmThe face shows a serene expression with downcast eyes, an urna above gently arched eyebrows, and slender lips forming a benevolent smile, flanked by long ear lobes with circular earrings. The hair is fashioned into a high chignon behind an elaborate five-pointed crown centered by a figure of Buddha Amitabha.The bodhisattva is flanked by two worshippers standing on lotus bases issuing from the base, the girl on the left holding a lotus bud and the boy on the right clasping his hands together in prayer, both with calm, smiling expressions.Auction result comparison: A related bronze, though slightly larger and without acolytes, was sold by Christie’s Paris in Art d’Asie on 10 June 2009, lot 223, for EUR 229,000. Another related bronze, without the acolytes and considerably smaller, was sold by Tajan in Asian Art on 21 July 2020, lot 76, for EUR 54,600.明末清初大型觀音菩薩坐像 中國，十六至十八世紀。觀音菩薩盤腿坐於雙層蓮花座上，穿著寬鬆，長袍飄逸，精美的串珠珠寶，一手持净瓶。 來源：法國私人收藏 品相：品相良好，表面有磨損和一些局部少量小凹痕和輕微划痕，均與年代相符。 左側飄帶上的鑄件似乎有舊修。 底座未密封。 重量：5.8 公斤 尺寸：高39.3 厘米 拍賣結果比較：一座相近觀音銅像，無左右尊者，曾售于巴黎佳士得《亞洲藝術》拍 場，2009年6月10日，lot 223，售價EUR 229,000。另一座相近銅像，無左右尊者， 稍小，曾售于Tajan《亞洲藝術》拍場，2020年7月21日，lot 76，售價EUR 54,600.
A GILT BRONZE FIGURE OF AMITAYUS, KANGXIChina, 1661-1722. Cast seated in dhyanasana on a double lotus base, a billowing shawl falling neatly over the base, the hands lowered in dhyanamudra, richly adorned in beaded jewelry with turquoise and coral inlays, wearing a long flowing robe, the hems finely incised with scrolling vines.Provenance: Art of the Past, New York, 8 November 1998. Collection Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above. A copy of the original invoice, stating the land of origin as ‘Sino-Tibet’ and erroneously dating the piece to the 19th century, accompanies this lot.Condition: Good condition with minor wear and casting irregularities, occasional light scratches, minuscule nicks here and there, few losses, wear to gilt. The base has been resealed at some point after casting.Weight: 658.4 gDimensions: Height 19.2 cmThe deity is skillfully portrayed with a serene expression below an urna and framed by an elaborate headdress and a pair of pendulous earlobes adorned with ornamental earrings. The hair is arranged in an elaborately knotted chignon surmounted by a lotus bud finial, several locks of hair gently falling over the shoulders.This finely cast figure of Amitayus belongs to a small group of sculptures produced during the reign of the Kangxi Emperor who was a devout follower of Tibetan Buddhism. Figures in this group are of varying sizes and depict Amitayus seated on a double-lotus petal pedestal with a serene facial expression and draped in jewelry embellished with colorful semi-precious stones. Such portrayals are characteristic of imagery used by Tibetans.Amitayus, the Buddha of Infinite Life, is the deity associated with the rites that ensure long life. He is especially worshipped by Tibetans, who believe that life can be extended through long lineages, faith, and compassion. It is also believed that one can achieve self-enlightenment and cater to the welfare of others with the help of Amitayus.Literature comparison: Compare with a Kangxi figure of Amitayus from the Qing court collection, preserved in the Palace Museum, Beijing, illustrated in Buddhist Statues of Tibet: The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2003, p. 238, cat. no. 227. Compare also with a figure of Avalokiteshvara from the Yuan dynasty, which served as the model for the present type of Kangxi figure, at Bonhams Hong Kong in Images of Devotion on 5 October 2020, lot 117.Auction result comparison: Compare with a related figure at Sotheby’s Hong Kong in Gems of Chinese Art – The Speelman Collection II on 3 October 2018, lot 3415, bought-in at an estimate of HKD 500,000-800,000.康熙銅鎏金嵌寳無量壽佛坐像 中國，1661-1722年。無量壽佛手結禪定印平行曡放在雙膝上，趺坐於雙層蓮座上，頭戴寶冠，髮髻高聳，項戴纓絡項鍊，鑲嵌綠松石與珊瑚，飄帶陰刻團花，裝飾華麗 。雙層蓮花座，大蓮瓣。其銅質緻密，鎏金厚重。來源：紐約Art of the Past, 1998年11月8日。 法國斯特拉斯堡J. L. Sharpe夫婦收藏, 購於上述出處。隨附原始發票複印件，顯示“漢藏”來源並注明十九世紀。品相：狀況良好，磨損小，鑄件不規則，偶爾有輕微的划痕，到處都有微小的刻痕，幾乎沒有損失，鎏金磨損。 鑄造後底座被重新密封。重量：658.4 克 尺寸：高19.2 厘米 無量佛表情寧靜安詳，頭戴枝葉繁密的寶冠。髮髻上方作頂嚴，耳垂圓璫，繒帶於耳後揚起，精緻的頭飾，兩束頭髮垂于兩肩。 這座精美的阿彌陀佛雕像，屬於康熙皇帝（他是虔誠的藏傳佛教徒）在位期間所製的一系列造像之一。這一組中的造像大小各異，塑造的是蓮座上的無量壽佛，表情寧靜，身披華麗珠寶。這種刻畫是藏族使用的圖像的特徵。無量壽佛是藏傳佛教信仰中極為重要的神明，他能滿足現世人間眾生對於福壽綿長的追求，特別受到藏人的崇拜，因爲他們相信生命可以通過血統、信仰和惻隱之心而延長。人們還相信，在無量佛的幫助下，在死後超脫輪迴之苦，前往美好的西方極樂世界。 文獻比較：一件康熙無量壽佛造像可見於北京故宮博物院，Buddhist Statues of Tibet: The Complete Collection of Treasures of the Palace Museum, 香港, 2003, p. 238, cat. no. 227. 一件元代觀音造像可見於香港邦翰思 Images of Devotion，2020年10月5日，lot 117。 拍賣結果比較：一件相近造像見於香港蘇富比Gems of Chinese Art – The Speelman Collection II 拍場，2018年10月 3日，lot 3415, 估價HKD 500,000-800,000。
A GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, EARLY QINGChina, 18th century. Cast seated in dhyanasana on a sealed double-lotus base, the hands in bhumisparsa mudra, wearing a kasaya robe with dense floral scrollwork marking each patchwork border and hem, the face with a serene expression below the urna with downcast eyes and slender lips forming a subtle smile, flanked by long earlobes, the hair in curls surmounted by an ushnisha.Provenance: From the collection of Alexander Popov in Novi Sad, Kingdom of Serbia, acquired between 1900-1920.Condition: Good condition with minor wear and casting irregularities, minuscule nicks here and there, light scratches, small losses.Weight: 671.6 gDimensions: Height 15.3 cmLiterature comparison: A related bronze figure, with the hands in dhyanamudra, from the Munsterberg collection, is illustrated in Hugo Munsterberg, Chinese Buddhist Bronzes, Japan, 1967, pls 18a-b.Auction result comparison: Compare with a related, though slightly older figure at Sotheby’s New York in Bodies of Infinite Light Featuring an Important Collection of Buddhist Figures Formerly in the Collection of the Chang Foundation on 10 September 2019, lot 301, sold for USD 25,000.清代早期銅鎏金釋迦牟尼中國，十八世紀。釋迦牟尼結迦趺坐于雙層蓮座上，手結觸地印，身披袈裟，袈裟上有濃密的花卉圖案，面部表情寧靜，低垂的眼睛和纖細的嘴唇形成微妙的笑容，兩側是長長的耳垂，肉髻。來源：塞爾比亞諾維薩德Alexander Popov 收藏，購於1900-1920年間。 圖片：Alexander Popov 品相：狀況良好，磨損小，鑄件不規則，到處有小刻痕，輕微划痕，小缺損。重量：671.6 克 尺寸：高15.3 厘米 拍賣結果比較：一件相近但更老一些的造像售于紐約蘇富比Bodies of Infinite Light Featuring an Important Collection of Buddhist Figures Formerly in the Collection of the Chang Foundation拍場，2019年9月10日，lot 301, 售價USD 25,000。
A GILT BRONZE FIGURE OF PADMAPANI, 17TH-18TH CENTURYTibetan-Chinese. Cast standing on a rectangular lotus base, richly adorned in jewelry and wearing a pleated dhoti, flanked by lotus flowers, the face showing a serene expression with downcast eyes and full lips forming a subtle smile, the hair surmounted by a lotus bud finial behind the five-leaf crown.Provenance: Austrian private collection.Condition: Excellent condition with minor wear and casting flaws, few small nicks, occasional light scratches.Weight: 86.3 gDimensions: Height 9 cmThis figure probably was once part of a triad, together with Manjushri and Vajrapani, the earliest bodhisattvas of the Buddhist pantheon, referred to as the Three Lords. Manjushri stands center with his standard book and sword, Vajrapani flanking his right and Padmapani his left. The triad became a standard in the nascent years of Mahayana Buddhism and integrated into the expanded Vajrayana Buddhist pantheon.十七至十八世紀銅鎏金蓮花手菩薩像 漢藏。造像站在方形蓮花座上，珠寶華麗豐富，穿著百褶褲，身側有蓮花，表情寧靜，低垂的眼睛和豐滿的嘴唇形成微妙的笑容，頭髮被五葉冠固定。來源：奧地利私人收藏 品相：狀況極佳，有輕微磨損和鑄件瑕疵，有小刻痕，偶有輕微划痕。 重量：86.3 克 尺寸：高9 厘米
A GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, QING DYNASTYChina, 18th century. Cast seated in dhyanasana on an unsealed double-lotus base, the right hand lowered in bhumisparsamudra and the left in dhyanamudra, wearing a close-fitting sanghati neatly incised with a foliate-patterned hem draping in elegant folds over the left shoulder and fans at the ankles.Provenance: From the collection of an artist and university professor in Vienna.Condition: Very good condition with old wear, light scratches, few dents and nicks, some wear to gilt, the offering bowl once held in Buddha’s hand is lost.Weight: 1,888 gDimensions: Height 21 cmThe serene face with gently arched eyebrows and downcast eyes, flanked by incised ears with elongated and elegantly curved lobes, the hair arranged in tight curls surmounted by an ushnisha.Auction result comparison: Compare with a related bronze, dated to the 18th century, at Christie’s New York in Fine Chinese Ceramics & Works of Art on 22 March 2019, lot 1777, sold for USD 56,250.清代銅鎏金釋迦牟尼像 中國，十八世紀。釋迦牟尼結跏趺坐在未密封雙層蓮花寳座上，右手施觸地印，左手施禪定印，穿著緊身的袈裟，下擺流暢，左肩飾有優雅的衣紋。 來源：一個維也納的藝術家兼大學教授私人收藏。 品相：狀況良好，有舊磨損，輕微划痕，有很少凹痕和刻痕，有些鎏金磨損，放在佛陀手中的供奉碗丟失了。 重量：1,888 克 尺寸：高21 厘米 拍賣結果比較：一件十八世紀造像見紐約佳士得Fine Chinese Ceramics & Works of Art 拍場，2019年3月22日， lot 1777, 售價USD 56,250.
A GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, 15TH CENTURYTibet. Cast seated in dhyanasana with the hands lowered in dhyanamudra holding an alms bowl, wearing a pleated robe with finely incised scroll borders draped over the left shoulder. The serene face with an urna, downcast almond-shaped eyes beneath gently arched eyebrows, and slender lips forming a subtle smile, flanked by a pair of long pendulous ears.Provenance: Swiss private collection.Condition: Excellent condition commensurate with age, with minor wear, light surface scratches, expected wear to gilt, minuscule nicks and dents here and there, the original seal plate with two larger dents, some casting flaws.Weight: 1,607 gDimensions: Height 18.5 cmThe head and domed ushnisha covered with tight curls and surmounted by a bud-shaped jewel, all supported on a double lotus pedestal with beaded edges, the base sealed with a vishvavajra.Auction result comparison: Compare with two closely related but considerably smaller bronzes, one at Sotheby’s London in Important Chinese Art on 11 May 2016, lot 64, sold for GBP 18,125, and the other at Christie’s in Indian & Southeast Asian Art on 12 September 2012, lot 548, sold for USD 22,500. Compare also with a closely related but significantly larger bronze at Sotheby’s London in Important Chinese Art on 4 November 2020, lot 150, sold for GBP 69,300.十五世紀銅鎏金釋迦牟尼像 西藏。造像結跏趺坐，手結禪定印並持抱著一個施捨碗，穿著百褶長袍。 平靜的臉龐上有天眼，眉毛下杏仁狀的眼睛低垂，細長的嘴唇形成了微妙的笑容，兩側是一對長長的耳朵。 來源：瑞士私人收藏. 品相：狀況與年齡相稱，小磨損，表面輕微划痕，預期的鎏金磨損，到處都有微小的刻痕和凹痕，原始的密封板有兩個較大的凹痕，一些鑄造缺陷。 重量：1,607 克 尺寸：高18.5 厘米 拍賣結果比較：兩個相近但尺寸稍小的造像，一個可見倫敦蘇富比Important Chinese Art 拍場，2016年5月11日，lot 64, 售價GBP 18,125；另一件見佳士得Indian & Southeast Asian Art拍場，2012年9月12日lot 548, 售價USD 22,500. 一件相近但更大的造像見 倫敦蘇富比Important Chinese Art 拍場，2020年11月 4日 lot 150, 售價GBP 69,300.
A BRONZE PORTRAIT FIGURE OF A LAMA, 17TH-18TH CENTURYTibet. Seated in dhyanasana on an unsealed double-lotus base, the hands held in dharmachakramudra, wearing long flowing monastic robes with floral borders at the hems and collar, the benign face with heavy-lidded eyes and full, pursed lips forming a subtle smile, flanked by long pendulous earlobes, the plain hair with a distinct receding hairline.Provenance: Austrian private collection.Condition: Excellent condition with minor wear and firing flaws, light scratches, few minuscule nicks, dents, warping, remnants of old lacquer gilt and fine old polychrome pigment.Weight: 2,580 gDimensions: Height 20 cmAuction result comparison: Compare with a related but earlier bronze, dated to the 16th century, at Christie’s New York in Indian & Southeast Asian Art on 21 March 2008, lot 655, sold for USD 16,250. Compare also with a closely related gilt bronze figure of a lama, Qianlong mark and period, at Sotheby’s New York, September 11, 2019, lot 797, bought in at an estimate of USD $15.000-20.000.十七至十八世紀喇嘛銅像 西藏。喇嘛結跏趺坐在未密封雙層蓮座上，雙手施説法印，著袈裟，臉容祥和，雙眼微垂和豐滿的雙唇形成微妙的笑容，兩側是長長的耳垂。 來源：奧地利私人收藏. 品相：狀況極佳，有輕微的磨損和燒制缺陷，輕微的划痕，極少的凹痕，翹曲，舊漆金和舊彩色顏料殘留。 重量：2,580 克 尺寸：高20 厘米 拍賣結果比較：一件相近但十六世紀的銅像見紐約佳士得 Indian & Southeast Asian Art 拍場，2008年3月21日 lot 655, 售價USD 16,250.
A PORTRAIT BRONZE OF A MONK, COPPER- AND SILVER-INLAID, 16TH-18TH CENTURYTibet. Cast seated in dhyanasana on a sealed double-lotus base, his right hand resting on his knee and his left lowered in front, wearing a monk’s patchwork robe with copper-inlaid hems finely incised with floral bands, the benign face with silver-inlaid eyes and a distinctive hairline.Inscriptions: The frontal top of the base with a neatly incised donor’s dedication to a guru.Provenance: Australian private collection. Acquired by the collector’s father in the 1990s from a British gentleman who relocated to Western Australia in the 1960s.Condition: Two fingers on the right hand possibly reattached, an attribute possibly held in the other hand is lost, otherwise in good condition with minor wear, light scratches, and few minuscule nicks.Weight: 968.3 gDimensions: Height 17.8 cmAuction result comparison: Compare with a Tibetan-Chinese bronze of a monk holding a book, dated to the 18th century, at Christie’s New York in Indian And Southeast Asian Art on 21 September 2007, lot 195, sold for USD 9,375. Compare also with a Tibetan silver-inlaid brass alloy portrait figure of Zangpo Gyeltsen, dated to the 15th-16th century, at Bonhams Hong Kong in Images of Devotion on 5 October 2020, lot 32, sold for HKD 500,625.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.十六至十八世紀鑲銀銅和尚銅像 西藏。大師結跏趺坐在密封的雙曾蓮花座上，右手放在膝蓋上，左手放低，身穿袈裟，銅質下擺精緻地刻有花卉飾帶，祥和的臉龐鑲有銀眼睛和獨特的髮際線。 款識：底座的正面前方刻字體現上師的奉獻精神。 來源：澳大利亞私人收藏。藏家的父親1990年代在一位1960年代定居澳大利亞西部的英國紳士購得。 品相：右手的兩個手指可能重新連接過，另一隻手可能失去一個寶器，除此之外狀況良好，輕微磨損，輕微划痕和很少的划痕。 重量：968.3 克 尺寸：高17.8 厘米 拍賣結果比較：十八世紀漢藏大師持經銅像見紐約佳士得Indian And Southeast Asian Art拍場，2007年9月21日 lot 195, 售價USD 9,375. 十五至十六世紀西藏鑲銀Zangpo Gyeltsen 大師銅像，見香港邦翰思 Images of Devotion 拍場，2020年10月5日 lot 32, 售價HKD 500,625.
AN ORIGINALLY SEALED GILT COPPER ALLOY FIGURE OF AVALOKITESHVARA SHADAKSHARI, 15TH-16TH CENTURYTibet. Cast seated in dhyanasana on a sealed double lotus base, the principal hands in anjalimudra in front of the chest, the other right hand in vitarkamudra and the other left hand holding a lotus blossom, wearing a luxurious dhoti neatly incised with floral patterns, and richly adorned in beaded jewelry inlaid with turquoises.Provenance: Galerie Peter Hardt, Radevormwald, Germany, 1 December 1994. A Hungarian private collection, acquired from the above. A copy of the original certificate for this piece from Galerie Peter Haardt, stating the origin as Tibet, but erroneously dating the piece to the 17th century, accompanies this lot.Condition: Very good condition with minor wear and casting irregularities, minuscule nicks here and there, occasional light scratches, traces of pigment, minor wear to gilt, some losses to inlays. Original sealing!Weight: 553.7 gDimensions: Height 16.1 cmThe face shows a serene expression below the urna with heavy-lidded eyes under gently arched eyebrows, and slender lips forming a subtle smile, flanked by long earlobes with lotus-form earrings. The hair is surmounted by an ushnisha with a finial in the form of the head of Buddha Amithaba, all behind an elaborate crown.Shadakshari Lokeshvara is the embodiment of the mystic Buddhist mantra, Ohm Mani Padme Hum. The six syllables are the seeds of the six realms in the great cosmic wheel. Om stands for the god realm, Ma for the demigod or asura realm, Ni for the human realm, Pad for the animal realms, Me for the hungry ghost realm, and Hum stands for the hell realm. Shadakshari Lokeshvara helps to bring all beings from the six realms into enlightenment. The present bronze therefore is a cheerful reminder of the spiritual quest for nirvana.The statue has extensively been screened with x-ray, revealing various contents, at least one being a consecrated miniature statue, probably made of gold. Several videos shot during the x-ray screening will be handed over to the winning bidder.Literature comparison: For an interesting article about Tibetan-Chinese gilt sculptures of the early Ming dynasty in the Museum Rietberg, particularly about CT (X-ray Computed Tomography) scans of the interior of such sculptures and their contents, see Christian Boehm, Arts of Asia, September-October 2019, pages 84-97 (CT scans on page 91).Auction result comparison: Compare with a related copper alloy figure, but without any contents, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 14 March 2016, lot 44, sold for USD 27,500.十五至十六世紀銅鎏金四臂觀音坐蓮像 西藏。觀音金剛坐姿坐於雙層蓮座上，前兩臂合掌當胸並持如意寶珠，後兩臂高舉至肩，左手持一白蓮。身著綢緞及纓絡，鑲嵌綠松石。 來源：德國Radevormwald 的Peter Hardt 藝廊。一個匈牙利私人收藏家于1994年12月1 日購買。一份藝廊出具的原始證書注明此造像來自西藏，但是證書上把時間錯誤寫成十七世紀。隨附證書原件。 品相：狀況極佳，有輕微磨損和鑄件不規則現象，到處都有微小的刻痕，偶爾有輕微的划痕，輕微的鎏金磨損，鑲嵌物有所損失。 原始密封！重量：553.7 克 尺寸：高 16.1 厘米 觀音低目慈視莊嚴，嘴角微露笑容，頭戴五葉寶冠，頭頂束高髮髻，餘發垂肩，頭頂上的五方佛冠代表五方的智慧。觀自在菩薩六字大明王陀羅尼，知名佛教普傳密咒漢語中又被寫作嗡，嘛，呢，唄，咩，吽，是觀世音菩薩的微妙本心，也被認為是四臂白觀音的心咒。六個音節是宇宙飛輪中六個領域的種子。 嗡代表天道，嘛代表阿修羅道，呢代表人間道，唄代表旁生道，咩代表餓鬼道，吽代表地獄道。 四臂觀音幫助將六個領域的眾生得到圓滿功德。觀音的慈悲與智慧能化現為不同形象，其中四臂觀音是常見且具代表性的種類之一，其心咒可助眾生脫離六道輪回的痛苦，培養幸福安樂。對該造像進行了X射線檢查，發現了造像内部還有其他內容，其中一個是奉獻的微型造像，可能是金制的。X射線檢查過程中拍攝的幾段視頻將在拍賣后交給中標人。文獻比較：一篇很有意思的關於一件Museum Rietberg裏明初漢藏銅鎏金造像通過X光照射檢查内部的文章可參考Christian Boehm, Arts of Asia, September-October 2019, pages 84-97 (CT scans on page 91). 拍賣結果比較：一個相似銅鎏金但沒有任何填充物的雕像，售于紐約邦瀚斯Indian, Himalayan & Southeast Asian Art 拍場，2016年3月14日，lot 44, 售價USD 27,500.
A TIBETAN GILT BRONZE FIGURE OF MANJUSHRITibet, 17th-18th century. Seated in dhyanasana on a sealed circular double-lotus base (rare), flanked by two lotus flowers, one surmounted by a sword and the other by a book, richly adorned in jewelry, wearing a long flowing robe.Provenance: Hungarian private collection.Condition: Very good condition with minor wear and casting irregularities, occasional light scratches, minuscule nicks here and there, wear to gilt.Weight: 313.3 gDimensions: Height 9.5 cmThe left hand raised in vitarkamudra and the right lowered in varadamudra. The hair arranged in a high chignon behind a lotus-bud diadem.西藏铜鎏金文殊菩萨坐莲像 西藏，十七至十八世紀。文殊结迦趺座坐于双层莲座上， 双肩两侧各有一朵莲花，一朵托着宝剑，另一朵托着书。全身璎珞装饰，长袍飘扬。 來源：匈牙利私人收藏 品相：狀況極佳，有輕微磨損和鑄造不規則現象，偶有輕度刮擦，各處有小刻痕，鎏金磨损。 重量：313.3 克 尺寸：高 9.5 厘米
A SINO-TIBETAN GILT BRONZE FIGURE OF AMITAYUS, QINGSino-Tibetan, 18th century. Cast seated in dhyanasana on a sealed double lotus base with the hands lowered in dhyanamudra, richly adorned in beaded jewelry with turquoise inlays, wearing a long flowing robe, the hems finely incised with scrolling leafy vines.Provenance: English private collection. Condition: Good condition with minor wear and casting irregularities, occasional light scratches, small nicks and dents, some losses, wear to gilt.Weight: 625.7 gDimensions: Height 17.9 cmThe face showing a benign expression with downcast eyes under arched eyebrows, a broad nose, and full lips forming a benevolent smile, flanked by long earlobes with large earrings, the hair surmounted by a double ushnisha with a lotus bud finial, several locks of hair gently falling over the shoulders.Auction result comparison: Compare with a related figure at Sotheby’s Hong Kong, although with extensive damage to gilding, in Chinese Art on 29-30 November 2018, lot 556, bought-in at an estimate of HKD 100,000-120,000.清代漢藏銅鎏金觀音像 漢藏，十八世紀。觀音結迦趺座坐於密封的雙層蓮座上，手施禪定印，上半身披通肩天衣，頸胸垂掛瓔珞，鑲嵌綠松石，衣褶流暢自然，褶襬鐫刻纏枝花卉紋，並飾連珠紋。 來源：英國私人收藏 品相：狀況良好，有輕微磨損和鑄造不規則現象，局部有輕微划痕，小刻痕和凹痕，有些缺損，鎏金磨損。 重量：625.7 克 尺寸：高 17.9 厘米拍賣結果比較：一件相似的銅像，但銅鎏金磨損嚴重，售于香港蘇富比Chinese Art 拍場2018年11月29-30日，lot 556, 估價 HKD 100,000-120,000。
A SILVER-INLAID BRONZE FIGURE OF HERUKA AND CONSORT, QINGTibetan-Chinese, 18th century. Cast standing in a strident pose, trampling on reclining deities on a lotus base, both wearing elaborate crowns. The heruka with flaming hair, spread wings and a wrathful expression, the face executed with much detail for the relatively small size. With silver inlays to the two main eyes and the urna, the ears with large circular earrings.Provenance: From a Dutch private collection.Condition: Good condition with minor wear and casting flaws, small nicks and scratches, some natural malachite-green encrustations to the wings and base. Unsealed.Weight: 337.4 gDimensions: Height 10.8 cmThe wrathful male blood-drinker holds a Kartika (crescent flaying knife) and skull cup (Kapala) around the body of his female consort, who is holding a crescent knife in her left hand as well. Together, they are meditational deities of the highest yoga tantra. The avian imagery common to Heruka figures of the Nyingma tradition has roots in Bon, the indigenous religion of Tibet.清代錯銀黑魯嘎與其明妃銅像 漢藏，十八世紀。黑魯嘎突出姿勢站立，形成強勁的動勢，脚踏妖魔，兩個人都戴著精美的皇冠。 黑魯嘎火紅的頭髮，張開的翅膀，面部表情憤怒。相對較小的尺寸來說，他的面部表情非常細緻。 兩隻主眼和天眼上都鑲銀，耳朵戴著大圓耳環。來源：荷蘭私人收藏 品相：狀況良好，有輕微的磨損和鑄造缺陷，小划痕和刻痕，翅膀和底座上有一些天然的銅綠結殼。 未密封。重量：337.4 克 尺寸：高 10.8 厘米
A GILT BRONZE FIGURE OF VAJRADHARA AND CONSORT, EARLY QINGTibetan-Chinese, 17th-18th century. Cast seated in dhyanasana on an unsealed double-lotus base, a billowing shawl falling neatly over the base, embracing his consort while holding a vajra in either hand, a long garland around his arms and torso, the consort seated on his lap.Provenance: Austrian private collection.Condition: Fair condition with losses to the male deity’s crown and to the back, extensive dents and nicks, scratches, wear and casting irregularities.Weight: 1,530 gDimensions: Height 15.5 cmBoth richly adorned in beaded jewelry, their hair arranged in high chignons behind elaborate crowns and their faces with skillfully executed and expressive features. Note the massive casting and the substantial weight of this statue.Auction result comparison: Compare with a related figure of larger size, with a Qianlong seven-character jing zao mark and of the period, at Christie’s New York in Important Chinese Ceramics and Works of Art on 25 September 2020, lot 1536, sold for USD 60,000. A Sitasamvara bronze of smaller size was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 11 May 2019, lot 250, for EUR 9,480. Compare also with a related larger figure of Sitasamvara and consort at Sotheby’s London in Fine Chinese Ceramics & Works of Art on 16 May 2007, lot 96, sold for GBP 26,400.清初銅鎏金多杰羌佛與其佛母 漢藏，十七至十八世紀。多杰羌佛結迦趺座，雙層蓮花底座未密封，一條飄揚的披肩整齊地落在基座上，一隻手擁抱著佛母，另一隻手握著金剛杵，周圍圍著一個花環。 來源：奥地利私人收藏 品相：狀況良好，雄獅的頭冠和後背受到損失，大範圍的凹痕和缺口，划痕，磨損和鑄造不規則。 重量：1,530 克 尺寸：高 15.5 厘米 拍賣結果比較：一件相似但尺寸較大銅鎏金乾隆七字款及年代像，售于紐約佳士得Important Chinese Ceramics and Works of Art拍場2020年9月25日，lot 1536, 售價USD 60,000。一件相似尺寸較小的樂勝金剛像，售于本拍賣行Fine Chinese Art, Buddhism and Hinduism拍場2019年5月11日, lot 250, 售價EUR 9,480。一件相似尺寸較大的樂勝金剛像售于倫敦蘇富比 Fine Chinese Ceramics & Works of Art 拍場2007年5月16日，lot 96, 售價GBP 26,400。
A LARGE GILT-BRONZE FIGURE OF A LAMA, 16TH-17TH CENTURYTibet. Massively cast seated in dhyanasana on a sealed double-lotus base with beaded rims, the hands in bhumisparsa mudra. The face shows a meditative expression with heavy-lidded eyes under thick, gently arched eyebrows, full lips forming a subtle smile, and a distinctive beard, flanked by large ears with sharp elongated lobes.Provenance: Collection of Cheng Huan, a well-known barrister and writer in Hong Kong. While studying at Cambridge University he became close friends with Tenzing Namgyal, the then Crown Prince of Sikkim. Two visits to that remote mountain kingdom inspired him with a passion for Tibetan Buddhism. His collection was acquired over decades wherever he was traveling but mostly from the London dealership Spink & Son and from his good friend Susan Chen in Hong Kong.Condition: Very good condition with minor wear and casting irregularities, occasional light scratches, minuscule nicks here and there, little wear to gilt.Weight: 3,494 gDimensions: Height 25 cmThis beautiful portrait of a Tibetan teacher represents the centuries-old tradition of producing Buddhist effigies of important and beloved historical figures. A superb example of bronze work from the sixteenth/seventeenth century, special attention has been paid to the figure's intricately incised robes, which convey an ornately patterned textile.Auction result comparison: Compare with a related figure of smaller size at Christie’s New York, in Indian, Himalayan and Southeast Asian Works of Art, 18 March 2015, lot 4019, sold for USD 37,500, and another at Christie’s New York, in Indian and Southeast Asian Art, 13 September 2011, lot 363, sold for USD 98,500.十六至十七世紀銅鎏金喇嘛像 西藏。喇嘛手結觸地印，結迦趺坐坐在密封的雙層蓮座上，邊緣飾有串珠。 面部表情沉思，濃密且拱形的眉毛下沉重的雙眼，豐滿的嘴唇形成淡淡的微笑，耳朵大，耳垂長。來源：清洪收藏。香港著名律師及專欄作家。他在劍橋讀書時，與錫金（1975年併入印度）時任儲君丹增南嘉結為好友，對藏傳佛教興趣更是濃厚，時常往西藏及錫金朝聖。他的收藏品不少來自他的旅行，但不少都購自倫敦名古董商Spink & Son和他的香港好友Susan Chen処. 圖片：清洪 品相：狀況極佳，有輕微磨損和鑄件不規則現象，偶有輕度刮擦，局部有很小的刻痕，鎏金幾乎沒有磨損。 重量：3,494 克 尺寸：高25 厘米 拍賣結果比較：一件相近但尺寸小些的造像售于紐約佳士得 Indian, Himalayan and Southeast Asian Works of Art拍場，2015年3月 18日，lot 4019, 售價USD 37,500, 另一件紐約佳士得Indian and Southeast Asian Art拍場 2011年9月13日，lot 363, 售價USD 98,500。
A BRONZE FIGURE OF PALDEN LHAMO, QING DYNASTYTibetan-Chinese, 18th-19th century. The Dharmapala riding a donkey, dressed in full armor and wearing a helmet, the left hand lowered and the right hand raised, the face with a fierce expression with bulging eyes, furrowed brows, a third eye, and the open mouth revealing sharp fang-like teeth.Provenance: Bruun Rasmussen, auction BR 718 on 10th March 2003, lot 1343. Witold M. Bogdanowicz, acquired from the above.Condition: Very good condition with minor wear and casting flaws, some small dents and nicks here and there.With an associated metal stand. (2)Weight: 608.3 g (the figure)Dimensions: Height 20 cm (incl. stand) and 19.3 cm (excl. stand)清代青銅吉祥天母像漢藏，十八至十九世紀。護法神騎在騾子上，身穿正裝，頭戴頭盔，左手放低，右手抬起，面部表情兇猛，眼睛圓睜，眉毛緊繃，有第三隻眼睛，張開的嘴露出銳利的獠牙。 來源： Bruun Rasmussen, 2003年3月10日BR 718拍賣，lot 1343。Witold M. Bogdanowicz，購於上述拍賣。 圖片：Witold M. Bogdanowicz 品相：狀況極好，輕微磨損和鑄造缺陷，一些小凹痕，局部有磕損。 一個匹配的金屬底座 重量：像608.3 克 尺寸：縂高20厘米；像高19,3厘米
A BRONZE FRAGMENT OF RATNASAMBHAVA, 14th CENTURYWestern Tibet. Richly adorned in jewelry, the face showing a serene expression with full lips forming a subtle smile, a straight nose, and heavy-lidded almond-shaped eyes centered by a raised urna. Flanked by large hoop earrings, the wavy locks of hair pulled into a high chignon and secured with a tall tiara, several plaid locks elegantly falling over the shoulders.Provenance: French private collection.Condition: Good condition commensurate with age, extensive wear and losses, some minor scratching and small nicks here and there.Weight: 513.1 g (excl. stand)Dimensions: Height 17.5 cm (excl. stand)Ratnasambhava, literally the Jewel-Born, is one of the Five Dhyani Buddhas, also known as the Buddhas of the Five Directions. Ratnasambhava's mandalas and mantras focus on developing equanimity and equality. In Vajrayana Buddhist thought, he is associated with the attempt to destroy greed and pride. His consort is Mamaki and his mount is a horse or a pair of lions.With a modern stand. (2)Auction result comparison: Compare with a related but complete bronze figure of Ratnasambhava, sold by Christie’s New York in Indian and Southeast Asian Art on 23 March 2010, lot 222, for USD 56,250.十四世紀寶生佛銅像碎片 西藏。飾有華麗珠寶，面部表情寧靜，豐滿的嘴唇形成微妙的笑容，筆直的鼻子，濃密的杏仁狀眼睛，高挺的鼻子居中。大圈形耳環，波浪形的捲髮，用高高的頭飾固定，優雅地落在肩上。 來源：法國私人收藏. 品相：狀況良好，大面積磨損和缺損，一些輕微的刮擦和局部小缺口相稱。 重量：不含底座513.1 克 尺寸：不含底座高 17.5 厘米 現代底座。 拍賣結果比較：比較一件相近但完整的寶生佛銅像，於紐約佳士得2010年3月23日Indian and Southeast Asian Art拍場，拍號222, 售價 USD 56,250。
A TIBETAN GILT-BRONZE FIGURE OF A LAMA, 13TH-14TH CENTURYTibet. Gautama Buddha’s historic moment of enlightenment, when the earth shook beneath his fingertips in recognition of his achievement, is evoked by this rare figure of a lama. Seated upon a double-lotus base with a vajra placed just in front of his meditative posture, the figure portrayed is evidently a highly esteemed lama of an early period.Provenance: From a Hungarian private collection.Condition: Very good condition with minor wear and casting irregularities, occasional light scratches, minuscule nicks here and there, some wear to gilt.Weight: 783.7 gDimensions: Height 12.8 cmThe curved edges of the shirt worn by the lama beneath his robe are telling of the period of origin, as square-edged shirts become the standard from the 14th century on. The quality of this casting is especially evident in the beaded and incised hems of his patchwork robe and shirt along with the floral meditation cape and the rope that falls at its center.Auction result comparison: Compare with a closely related figure at Christie’s New York in Indian, Himalayan and Southeast Asian Works of Art on 12 September 2018, lot 359, sold for USD 15,000.十三至十四世紀西藏銅鎏金喇嘛像 西藏。釋迦修成佛道之前，以右手指觸地，令大地為證，於是地神出來證明，終於使魔王懼伏。喇嘛結觸地印，以冥想姿勢坐在雙層蓮花座上，顯然是早期受尊敬的喇嘛。 來源：匈牙利私人收藏 品相：狀況極佳，有輕微磨損和鑄件不規則現象，局部有輕度刮擦，局部有微小的刻痕，鎏金磨損。 重量：783.7 克 尺寸：高12.8 厘米 拍賣結果比較：一件相似的造像售于紐約佳士得 Indian, Himalayan and Southeast Asian Works of Art 拍場，2018年9月12日，lot 359, 售價USD 15,000。
A GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, 14TH-15TH CENTURYNepal. The small vajra placed before Shakyamuni's ankles on top of the lotus base makes a mnemonic reference to the enshrined ‘vajra seat’ (vajrasana) at Bodh Gaya in Northeastern Indian, upon which Buddha achieved enlightenment.Provenance: French private collection.Condition: Good condition with old wear, light scratches, minuscule nicks, small dents, wear to gilt.Weight: 1,415 gDimensions: Height 17.5 cmBuddha's robust and rounded form here follows the classic Newari aesthetic of the Kathmandu Valley in the 13th/14th century, which was also adopted by the neighboring Khasa Malla kingdom ruling the Karnali Basin of western Nepal and western Tibet.Seated in vajrasana on a separately cast and unsealed gilt copper lotus base with a vajra placed before him, holding an alms bowl in one hand and lowering the other in bhumisparsamudra, the sanghati falling in folds over the left shoulder, the serene face with heavy-lidded eyes and urna flanked by elongated earlobes, the hair arranged in tight curls surmounted by an ushnisha.Auction result comparison: Compare with a related miniature shrine, with a closely related Buddha figure of considerably smaller size, retaining its shrine, at Bonhams Hong Kong, in Images of Devotion on 2 December 2020, lot 1011, sold for HKD 2,002,500.十四至十五世紀銅鎏金釋迦牟尼像 尼泊爾。蓮座上釋迦牟尼腳踝前有一個金剛杵，意指印度東北印度菩提迦耶金剛寶座塔，佛陀在此得道成佛。 來源：法國私人收藏. 品相：狀況良好，有舊磨損，輕微划痕，微小刻痕，小凹痕，鎏金磨損。 重量：1,415 克 尺寸：高17.5 厘米 拍賣結果比較：一件微型佛龕裏有一件相似佛陀像，尺寸略小，見香港邦翰斯Images of Devotion 拍場，2020年12月 2日lot 1011, 售價HKD 2,002,500.
A GILT-BRONZE FIGURE OF GREEN TARA, MID-QINGSino-Tibetan, 18th century. Cast seated in lalitasana on a sealed double lotus base, the hands in ravimudra, wearing a long flowing robe finely incised with foliate designs, richly adorned in beaded jewelry with turquoise inlays.Provenance: Collection of Gyula Andrásfi (1908-1981), Hungarian ambassador to Mongolia from 1961 to 1968. Thence by descent within the same family to the present owner.Condition: Excellent condition with minor wear, occasional light scratches, small losses, minuscule nicks here and there, some wear to gilt, remnants of pigment.Weight: 825.7 gDimensions: Height 22.2 cmThe face showing a serene expression with downcast eyes, flanked by long ears with lotus-form earrings, the hair arranged in a high chignon behind the elaborate five-leaf crown.Auction result comparison: Compare with a closely related but smaller figure, sold by Christie’s London in Chinese Ceramics, Works of Art and Textiles on 8 November 2013, lot 1430, for GBP 9,375.清代中期銅鎏金綠度母坐蓮像 漢藏，十八世紀。綠度母結右舒遊戲姿坐於橢圓形蓮台之上，左手當胸結三寶印，右手撫膝持蓮花莖。其面容慈悲安詳，神情恬淡怡然。緊貼肢體的天衣帛帶，鑲嵌綠松石。 來源：Gyula Andrásfi (1908-1981)收藏，1961 – 1968年間匈牙利駐蒙古大使。自此保存在同一家族直至現今藏家。圖片： Gyula Andrásfi 1980年在布達佩斯 品相：狀況極佳，有輕微磨損，偶有輕微划痕，小缺損，局部有微小的刻痕，鎏金磨損，繪彩殘餘。 重量：825.7 克 尺寸：高22.2厘米 拍賣結果比較：一個相似但較小的雕像，於2013年11月8日在倫敦佳士得Chinese Ceramics, Works of Art and Textiles 拍場， lot 1430，售價GBP 9,375。
A NEPALESE COPPER FIGURE OF INDRANepal, 15th-17th century. Cast seated in elegant maharajalilasana, the right hand resting on the raised knee, the other holding a lotus stem surmounted by a vajra, richly adorned in jewelry with inlays of ruby and turquoise glass paste.Provenance: French private collection.Condition: Good condition with minor wear and casting flaws, losses, small nicks here and there, light scratches.Weight: 1,255 g (incl. base)Dimensions: Height 17.5 cm (incl. base)The face showing a serene expression with heavy-lidded eyes and slender lips, flanked by lotus-form earrings, the hair surmounted by an ushnisha behind the large and distinctive crown. With a temple tang at the back and mounted on an associated Chinese zitan wood lotus base from the Qing dynasty. (2)The combination of the maharajalila asana and the mitre-like tall crown are iconic elements seen only in Nepalese depictions of the god Indra. The figure is cast in copper and adorned with the distinctive combination of ruby and turquoise colored settings typical of Kathmandu Valley metal sculpture. Indra’s characteristic seated position, asana, evoking luxurious royal ease, embodies the sensuous quality of Nepalese sculpture in one of the most elegant iconographic postures in all Himalayan art.Indra is worshiped in Nepal by Hindus and Buddhists alike. In the Hindu tradition the god is often referred to by his epithet Sahasraksha, meaning ‘The One with a Thousand Eyes’. In Buddhist mythology Indra is regarded as devaraja, the king of the gods. Indra Jatra, a pageant in honor of the god, takes place in Kathmandu each year in one of the most important religious festivals of the Newar community.Literature comparison: Compare to another bronze of Indra from the Nasli and Alice Heeramaneck Collection, in P. Pal, Art of Nepal, 1985, p.119, cat. no. S42. Compare the asana and crown style of a fifteenth century gilt copper Nepalese Indra from the Duke of Northumberland’s collection, Sotheby’s New York, 17 September, 2014, lot 442, and a thirteenth century example in the Norton Simon Museum, Pratapaditya Pal, Art of the Himalayas and China, New Haven and London, 2003, p. 85, cat. 52.Auction result comparison: Compare with a closely related but larger and slightly older copper figure of Indra at Christie’s New York in Indian and Southeast Asian Art on 14 September 2010, lot 75, sold for USD 122,500.尼泊爾帝釋天銅像 尼泊爾，十五至十七世紀。帝釋天優雅地坐於蓮座上，右手放在抬高的膝蓋上，左手握著一個由金剛杵頂著的蓮花莖，上面飾有紅寶石和綠松石玻璃鑲嵌的珠寶。 來源：法國私人收藏 品相：狀況良好，有輕微磨損和鑄造缺陷，缺損失，局部有小刻痕，輕微划痕。 重量：含底座1,255 克 尺寸：縂高17.5 厘米 拍賣結果比較：一件十分相近但更早的帝釋天銅像售于紐約佳士得Indian and Southeast Asian Art 拍場，2010年9月14日, lot 75, 售價USD 122,500
A GILT COPPER-ALLOY FIGURE OF A CROWNED BUDDHA, MALLA, 14TH - 15TH CENTURYNepal, early Malla period, c. 1380-1480. Shakyamuni is cast seated in dhyanasana on a sealed double-lotus base, a vajra before him. The hands in bhumisparsa mudra, wearing a diaphanous robe with a pearled hemline and an elaborate coral-inlaid crown. The serene face with heavy-lidded almond-shaped eyes, a pearl-inlaid urna, gently arched eyebrows, a hooked nose, and bow-shaped lips forming a subtle smile.Provenance: A Swiss private collection. Koller, Zurich, 8th-9th May 2012, lot 112. A private collection in New York, USA, acquired from the above.Published: Himalayan Art Resources, item no. 8035.Condition: Excellent condition with traces of use, casting flaws, occasional light scratches, few nicks and losses, minuscule cracks, some wear to gilt. Original sealing. Superb natural patina.Weight: 3,792 gDimensions: Height 27.5 cmThis magnificent sculpture elegantly depicts the moment in which Buddha Shakyamuni achieves enlightenment. Seated in meditation under the Bodhi tree, Buddha maintains his deep introspective state despite Mara’s attempts to frighten and distract him. Having overcome all of Mara’s threats, Buddha presses a single finger to the Earth to witness his enlightenment.The Nepalese artists of the early Malla period were revered for creating sculpture with “a subtle balance between ornamentation and form.” The present work embodies the “finesse in the handling of detail with remarkable mastery of sculptural form demonstrating the extraordinary virtuosity of Nepalese artists” (J. Casey, Divine Presence: Art of the Himalayas, Barcelona, 2003, p.44).The square face is reminiscent of Pala period prototypes, whereas the finely detailed crown and delicately beaded hem of the robe are hallmarks of the Malla period. The thick, lustrous gilding reveals areas of the rich copper surface beneath, a characteristic revered by connoisseurs of Nepalese bronze sculpture.Malla was the ruling dynasty of the Kathmandu Valley in Nepal from 1201 to 1779. The term "malla" means "wrestler" in Sanskrit. The first of the Malla kings came to power in 1200. The period was a golden one that stretched over almost 600 years, though it was peppered with fighting over the valuable trade routes to Tibet.Auction result comparison: Compare with a closely related figure at Christie’s New York in Indian, Himalayan and Southeast Asian Works of Art on 13 September 2016, lot 217, sold for USD 161,000, and another, dated to the 14th century, at Christie’s New York in Indian and Southeast Asian Art on 19 March 2014, lot 1010, sold for USD 509,000.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.十四至十五世紀馬拉王朝鎏金銅釋迦牟尼坐蓮像 尼泊爾，馬拉王朝早期，約1380-1480年。釋迦牟尼結跏趺坐坐於雙層蓮座上，身前放著金剛杵，手施觸地印，穿著透明的長袍，施有連珠紋，五葉冠鑲嵌著精美的珊瑚。 寧靜的臉龐，白毫鑲嵌珍珠，雙眉弧線輕挑，雙目低垂，處在禪定狀態中，鼻樑修直，雙唇微抿含笑。 來源：瑞士私人收藏 。蘇黎世Koller拍賣行，2012年5月8-9日，lot 112. 紐約私人收藏購於上述拍賣。 出版：Himalayan Art Resources, item no. 8035. 品相：狀況極佳，有使用痕跡，鑄件瑕疵，局部輕微划痕，很少的划痕和缺失，微小的裂紋，有些磨損。 原始密封。天然包漿。 重量： 3,792 克 尺寸：高27.5 厘米 這座宏偉的雕塑細膩地描繪了釋迦牟尼佛證悟的那一刻。佛陀坐在菩提樹下沉思，天魔曾經企圖阻止釋迦牟尼佛修行證悟，但佛陀仍然保持著內省的狀態，以右手觸地並說：“大地可以為我作證！”，證明他已經成就佛道，魔王才退去。馬拉王朝早期的尼泊爾藝術家因創作雕塑“在裝飾和形式之間達到微妙的平衡”而備受推崇。本作品體現了“在處理細節方面的精湛技藝，精湛的造像形式表現出尼泊爾藝術家非凡的技藝”（J. Casey，《神聖的存在：喜馬拉雅山的藝術》，巴塞羅那，2003年，第44頁）。方形臉使人聯想到帕拉時代的原型，而精美的五葉冠和精緻的連珠紋則是馬拉時代的標誌。厚而光澤的鍍金層露出下方豐富的銅表面區域，鑑賞家尤其推崇尼泊爾的青銅造像這一特徵。馬拉是1201年至1779年尼泊爾加德滿都谷地的統治王朝。“馬拉”一詞在梵語中的意思是“摔跤手”。首位馬拉國王於1200年上台執政。這段長達600年的時期是馬拉王朝的黃金時期，儘管它與通往西藏的寶貴貿易路線作鬥爭。拍賣結果比較：一件相似雕像，售于紐約佳士得 Indian, Himalayan and Southeast Asian Works of Art拍場2016年9月13日 lot 217, 售價USD 161,000；另一件十四世紀的雕像，售于紐約佳士得 Indian and Southeast Asian Art 拍場2014年3月19日 lot 1010, 售價USD 509,000.
A MONUMENTAL GILT BRONZE SHRINE DEPICTING SAMANTABHADRA AND CONSORT, 17TH – 18TH CENTURYTibet. Heavily cast seated in vajraparyankasana on a double lotus base with a beaded upper edge, the lower part of the unsealed base cast separately, the hands lowered in dhyanasana holding the consort Samantabhadri in miniature form, both naked, his serene face with heavy-lidded almond-shaped eyes centered by an urna and flanked by long earlobes, each with an oval piercing.Provenance: The private collection of Paul R. Wedendal (1924-2010), Djursholm, Sweden. Bukowskis, Stockholm, Sweden, Dec 6, 2017, lot 474 (erroneously described as Nepalese Buddha and erroneously dated 18th – 19th century). An important Dutch collection, acquired from the above. Paul Wedendal was a Swedish dentist in Djursholm and a notable collector of Asian art.Condition: Good original condition with traces of use, occasional light scratches, some dents and nicks, minor warping, few losses, remnants of old pigment, wear to gilt overall. The shrine most likely was once a Shakyamuni triad with two smaller figures of Buddha and Manjusri missing.Weight: 7.0 kg (the figure and base), 19.3 kg (the throne)Dimensions: Height 65 cm (incl. throne) and 33 cm (the figure and base only)The base supported on a large and elaborate stepped throne cast in openwork, with Buddhist lions, a carved image of Ganesha, lotus lappets, and ruyi heads, surmounted by a mandorla of leafy peach branches with many buds towering above the figure.In the Tibetan Buddhist tradition, the Samantabhadra Buddha arises from the early Nyingma Tantric literature of the Guhyagarbha Tantra. He is typically depicted naked, with a Buddha appearance, hands in meditation gesture, legs in vajra posture, embracing the consort Samantabhadri, their union representing the blissful essence of the Truth Body of all Buddhas.Together with Gautama Buddha and the bodhisattva Manjusri, Samantabhadra forms the Shakyamuni Triad in Buddhism. He is the patron of the Lotus Sutra and, according to the Avatamsaka Sutra, made the ten great vows which are the basis of a bodhisattva.In Chinese Buddhism, Samantabhadra is known as Puxian and is associated with action, whereas Manjusri is associated with prajna (transcendent wisdom). In Japan, this bodhisattva is known as Fugen, and is often venerated in Tendai and Shingon Buddhism, and as the protector of the Lotus Sutra by Nichiren Buddhism. In the Nyingma school of Tibetan Buddhism, Samantabhadra is also the name of the Adi-Buddha, often portrayed in indivisible union (yab-yum) with his consort, Samantabhadri.Expert’s note: Unlike his more popular counterpart Manjusri, Samantabhadra is almost never depicted alone and usually found in a trinity. In the present shrine the two missing figures are Buddha and Manjusri, which are both quite common and therefore - with some patience – can be found and put back in place again.Literature comparison: For a thangka depicting Samantabhadra and Samantabhadri, see Marylin M. Rhie and Robert A. F. Thurman, The Sacred Art of Tibet, London, 1991, pl. 430, no. 51A. For two related figures, see Arts of Asia, Treasures of Himalayan Art, Zhiguan Museum of Fine Art, November - December 2020, p.49, no. 24 and 25.Auction result comparison: Compare with a related gilt bronze depicting Samantabhadra in union with his consort, dated to the 18th-19th century, at Sotheby’s Hong Kong in Chinese Art on 30 November to 1 December 2017, lot 451, the figure alone sold for HKD 187,500.十七至十八世紀銅鎏金普賢如來像西藏。普賢結金剛座坐于雙層蓮座上，蓮座上邊緣飾有珠紋，第二層蓮座和第一層并不為一體，底部未密封。普賢雙手施禪定印擱在足部，握住微型小佛母，兩人都赤裸著身體。他沉著的臉與沈低垂的雙眼，雙眼之間有天眼，兩側長耳垂，每個耳垂都有橢圓形的耳洞。 來源：瑞典Djursholm Paul R. Wedendal (1924-2010)私人收藏。 瑞典斯德哥爾摩Bukowskis，2017年12月6日lot 474 (錯誤地描述爲尼泊爾佛像以及錯誤地斷代為18至19世紀)。一個重要荷蘭收藏，購於上述拍賣。Paul Wedendal 曾是Djursholm 的一位牙醫，他是知名的亞洲藝術收藏家。 圖片：Paul R. Wedendal (1924-2010) 品相：良好的原始狀態，使用痕跡，局部輕度划痕，一些凹痕和缺口，輕微的翹曲，輕微缺損，舊顏料殘留，整體鎏金磨損。神龕上極有可能曾經是釋迦牟尼與佛陀以及文殊菩薩三聖。 重量：7.0 公斤 (佛像與蓮座), 19.3 公斤 (底座) 尺寸：縂高65 厘米 ，33 厘米 (佛像與蓮座) 底座鏤空鑄造，可見佛獅、大象神、蓮花瓣紋和如意紋，有很多花朵的卷葉曼陀羅。 在藏傳佛教傳統中，普賢菩薩源於早期的寧伽密宗文獻。 他通常赤裸，雙手禪定印，雙腿以金剛姿勢，擁抱佛母，他們的結合代表了所有佛陀真身幸福本質。 喬達摩佛和菩薩文殊以及普賢一起構成了佛教的華嚴三聖。 喬達摩佛弘揚《妙法蓮華經》，《華嚴經》中有十地菩薩贊釋迦牟尼佛偈。 在中國佛教中，普賢菩薩即普賢，是象徵理德、行德的菩薩，與文殊菩薩的智德、正德相對應。在日本，這位菩薩被稱為附言，通常在天台宗和真言宗佛教中受到崇敬，並且被日蓮佛教徒作為《妙法蓮華經》的保護者。 在藏傳佛教寧瑪派中，普賢菩薩也是普賢王如來的名字，通常與他的佛母象徵智慧與慈悲的結合。 專家注釋：不像文殊菩薩，普賢菩薩幾乎從來沒有被單獨描繪過，通常出現在三聖中。 在目前的蓮座上，失踪的兩個人物是佛陀和文殊菩薩，它們都很常見，因此可以耐心地找到並重新放置。 文獻比較: 唐卡普賢王及其佛母可見Marylin M. Rhie and Robert A. F. Thurman, The Sacred Art of Tibet, London, 1991, pl. 430, no. 51A. 拍賣結果比較：一件十八至十九世紀的銅鎏金普賢王與其佛母見香港蘇富比Chinese Art拍場2017年11月 30日至12月1日lot 451售價HKD 187,500.
A GILT BRONZE TRIAD OF A FEMALE DEITY AND HER ACOLYTESNepal, 17th-18th century. Seated in royal ease on a tiered rectangular base with lotus lappets, a small tortoise below her right leg, her principal right hand lowered in varadamudra and the left raised in abhayamudra, the other hands holding attributes, including a stupa, richly adorned in beaded jewelry.Provenance: Southern Alleghenies Museum of Art. Swiss private collection, acquired from the above. The Southern Alleghenies Museum of Art is an art museum with five locations in southwestern Pennsylvania, USA. It is headquartered at Saint Francis University in Loretto, where it was founded in 1976. The museum is a repository for several distinctive special collections such as the Charles M. Schwab Collection of Presentation Silver and Other Memorabilia, the Colleen Browning Collection, and the Rezk Collection of Tibetan and Nepalese art.Published: Himalayan Art Resources, item no. 90575.Condition: Good condition with old wear, the thumb of the right principal hand is lost, minor nicks and dents, some losses, areas of minor abrasion and corrosion, extensive wear to gilt.Weight: 2,006 gDimensions: Height 20 cmThe figure is backed and flanked by separately cast and removable mandorla and acolytes, the latter standing on circular lotus pedestals and holding large vessels, the mandorla with a temple tang. The serene face with urna, heavy-lidded eyes, and full lips forming a smile, wearing a five-leaf crown with the locked hair piled up into a stupa-like coiffure.銅鎏金女神及其侍者 尼泊爾，十七至十八世紀。女神休閑自在坐在蓮花座上，右腿下方有一隻小烏龜，右手施與愿印，左手施無畏印，其他幾隻手持寶器，比如佛塔，飾以串珠首飾 。 來源：The Southern Alleghenies Museum of Art；瑞士私人收藏，購於上述美術館。The Southern Alleghenies Museum of Art是在美國西南賓夕法尼亞州擁有五個分館的美術館。 它的總部位於Loretto成立於1976年的聖弗朗西斯大學。該美術館收藏了幾個特殊藏品，例如Charles M. Schwab收藏銀器和其他紀念品收藏，Colleen Browning Collection收藏和Rezk的尼泊爾藝術品收藏。 圖片：Southern Alleghenies Museum of Art 內部 出版：Himalayan Art Resources, 物品編號 90575. 品相：狀況良好，有舊磨損，右主手的拇指丟失，輕微的划痕和凹痕，有些損失，輕微的磨損和腐蝕區域，鎏金的磨損很大。 重量：2,006 克 尺寸：高20 厘米
A GILT-BRONZE AND CLOISONNE ENAMEL STUPA, QIANLONGChina, 1736-1795. The domed cloisonne section bears a miniature door surrounded by flames and a stepped finial surmounted by sun and moon symbols. All supported by a waisted pedestal with a band of Buddhist lion masks in relief and a votive plaque with a neatly incised depiction of Buddha.Provenance: The James and Marilynn Alsdorf Collection, Chicago, USA. Over four decades, the renowned couple assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miró and Jean Dubuffet, as well as a significant number of highly important Chinese works of art. Married in 1952, James and Marilynn built a life centered on art, philanthropy and family. ‘My grandparents were the picture of elegance, and they had impeccable taste, but to their family they were known for their warmth, wit, and humor,’ recalls Bridget Alsdorf, the couple’s granddaughter. Condition: Excellent condition. The base plate is original with minimal remnants of old glue visible at the edges. Minuscule chip to the enamel near the mandorla and some firing flaws. The gilding on plinth and base is extensively worn. Expected minor dents and nicks.Weight: 409 g Dimensions: Height 13.5 cmThe stupa is raised on two stepped square bases with incised lappet bands and cloud scrolls, separated by a group of rectangular reliefs with gilt Buddhist lions.A stupa is a hemispherical structure containing relics such as sarira, the remains of Buddhist monks or nuns, that is used as a place of meditation. Note that when shaken, a sound from loose objects hidden inside the present stupa is clearly audible. A related architectural term is a chaitya, which is a prayer hall or temple containing a stupa. In Buddhism, circumambulation or pradakhshina has been an important ritual and devotional practice since the earliest times, and stupas always have a pradakhshina path around them. Auction result comparison: Compare with a closely related cloisonne stupa from the same period at Sotheby's Paris in Arts d'Asie, 18 December 2012, lot 45, sold for EUR 15,000.乾隆鎏金銅掐絲琺琅佛塔 中國，1736-1795。塔身施藍色琺琅釉地，一側有火焰包圍的歡門，十三相輪有太陽和月亮符號。塔座呈四方形，上有浮雕佛獅和帶有雕刻精美的佛像刻畫的奉獻牌匾。 來源：美國芝加哥James and Marilynn Alsdorf 收藏。在過去的40年中，這對著名的夫婦收集了一系列非凡的藏品，其中包括一些現代藝術名人的作品，如Rene Magritte，Frida Kahlo，Joan Miró 和Jean Dubuffet，以及大量非常重要的中國藝術品。 詹姆斯和瑪麗琳於1952年結婚，創造了以藝術、慈善事業和家庭為中心的生活。 他們的孫女布里奇特·阿爾斯多夫（Bridget Alsdorf）回憶說：“我的祖父母是優雅的體現，他們的品位無可挑剔，但對他們的家人而言，他們以熱情、機智和幽默而著稱。”圖片：James and Marilynn Alsdorf, 1950年在邁阿密 品相：良好狀況，底板是原始的，在邊緣可見少量舊膠。 曼陀羅附近的釉面有微細磕損。底座上的鎏金已廣泛磨損。小凹痕和刻痕。 重量：409克 尺寸：高13.5 厘米 此塔屬供養塔，一般置於佛前供案上，以示觀想。該塔製作為分段燒製，後粘合而成。 拍賣結果比較：一件來自同一時期的相似景泰藍佛塔售于巴黎佳士得Arts d'Asie，2012年12月18日，lot 45，售價EUR 15,000.
A GILT COPPER ALLOY FIGURE OF AVALOKITESHVARA PADMAPANI, 17TH CENTURYNepal. Standing atop a lotus base, his right hand in varadamudra and the left holding the stem of a full lotus blossoming at his shoulder, the body finely modeled and clad in a closely fitting dhoti with neatly incised floral design and pendant sash, an upavita encircling the torso, richly adorned in beaded jewelry.Provenance: Swiss private collection.Condition: Good condition with old wear and casting flaws, dents, small nicks and losses, the right thumb with an old repair.Weight: 813.2 gDimensions: Height 21.8 cmThe hair piled in a looped chignon crowned with a broad tiara centered by a small and finely cast Buddha Amitabha, an aureole behind the head, the face with finely delineated features in a gentle expression, the base sealed with a vishvavajra.Auction result comparison: Compare with a closely related gilt bronze figure at Christie’s New York in Indian and Southeast Asian Art on 22 March 2011, lot 285, sold for USD 22,500.十七世紀銅鎏金蓮華手觀音立像 尼泊爾。觀音站在蓮花座上，右手施與愿印，左肩上一朵盛開的蓮花，身體造型精美，穿著緊密配合的多提，刻有精美的花卉圖案和吊墜，飄帶環繞著身體，飾有瓔珞珠寶。 來源：瑞士私人收藏. 品相：狀況良好，有舊磨損和鑄件缺陷，凹痕，小缺口和缺損失，右手拇指舊時修復。 重量：813.2 克 尺寸：高21.8 厘米 拍賣結果比較：一件相近的造像見紐約佳士得Indian and Southeast Asian Art拍場，2011年3月22日，lot 285, 售價USD 22,500.
A GILT BRONZE FIGURE OF A CROWNED BUDDHA, DATED 1709Tibet. Seated in dhyanasana on a separately crafted unsealed copper repousse lotus base with a Tibetan inscription above the foot. The hands in dharmachakramudra, wearing a long flowing robe draped over the left shoulder, floral earrings and necklace, and a five-leaf crown, the serene face with urna and heavy lidded eyes, the hair arranged in tight curls surmounted by an ushnisha.Inscription: In the year 829 Samvat (corresponding to 1709 AD), first Bright Half of Magha month, Vajracharya Gunjayana donated this image of Shakyamuni.Provenance: From the collection of an artist and university professor in Vienna.Condition: The base is strongly warped, remnants of a temple tang to the back of the head, wear to gilt, small dents, light scratches, minuscule nicks, some losses, overall fair condition with old wear.Weight: 1,113 gDimensions: Height 17 cmExpert’s note: While the Tibetan inscription to the separately crafted base dates the present piece to the year 1709 AD, it is our belief that the figure itself was actually cast in Nepal, in the Newari style, during the late 14th to mid-16th century, as clearly indicated by the superb gilding and gently arched back of the figure.銅鎏金坐佛像，1709年 西藏。佛陀結跏趺坐在分開製作的未密封的蓮花座上，腳上刻有藏文。 雙手結説法印，著長袍披在左肩上，佩戴華貴的耳環和項鍊，頭頂螺髻與五葉冠，寧靜的臉上天眼，雙眼低垂。 款: 維克拉姆歷第829年 (及公元1709 年), 上半月, Vajracharya Gunjayana 捐贈了這座釋迦牟尼造像 來源：一個維也納的藝術家兼大學教授私人收藏。 品相：底座嚴重翹曲，頭部後面可見原光背的殘餘，鎏金磨損小凹痕，輕微划痕，細微的刻痕，有些缺損耗，總體狀況良好。 重量：1,113 克 尺寸：高17 厘米 專家注釋：雖然在分開製作的底座上的藏文銘文可追溯到公元1709年，但我們相信，這個造像本身是尼泊爾人以紐瓦里（Newari）風格鑄造的，在14世紀中葉至16世紀中葉，造像背面精湛的鎏金很清楚的展現了這個風格。
A GILT COPPER FIGURE OF AVALOKITESHVARA PADMAPANI, MALLA PERIODNepal, 14th-15th century. Cast seated in royal ease, holding lotus stems in his hands, coming to full blossom at the shoulders, richly adorned in beaded jewelry, the hair piled in a looped chignon crowned with a broad tiara centered by a rosette, the serene face with heavy-lidded downcast eyes and full lips, flanked by long pendulous earlobes with floral earrings, a mandorla behind his head.Provenance: Collection of a member of the Swedish diplomatic corps, stationed in Asia during the 1960s, and thence by descent within the same family to the present owner.Condition: Good original condition with extensive wear, minor nicks, dents, losses and scratches here and there, malachite-green encrustations.Weight: 464.7 gDimensions: Height 11.3 cmAuction result comparison: Compare with a related standing figure of Maitreya, but of much larger size, at Bonhams New York in The Maitri Collection of Indian, Himalayan & Southeast Asian Art on 20 March 2018, lot 3205, sold for USD 468,500, and a related standing gilt bronze figure of Avalokiteshvara Padmapani of larger size, dated to the 17th century, at Christie’s New York in Indian and Southeast Asian Art on 22 March 2011, lot 285, sold for USD 22,500.馬拉朝銅鎏金蓮花手觀音像尼泊爾, 十四至十五世紀，御坐姿，手握蓮花莖，花朵在肩膀上盛放。觀音身上以瓔珞串珠點綴，頭戴寳冠，冠上飾有華貴頭飾，寧靜的臉龐，雙目低垂，嘴唇豐滿，面部兩側是長耳垂，佩戴耳環。背後光背。 來源：私人收藏，曾是1960年代在亞洲駐紮的瑞典外交使團的一名成員，自此保存于同一家族至今。 品相：原始狀態良好，有大量磨損，少量缺口，凹痕，局部有缺損和划痕，孔雀石綠色結殼。 重量：464.7 克 尺寸：高11.3 厘米 拍賣結果比較：一件彌勒佛立像，尺寸更大，見紐約邦瀚斯The Maitri Collection of Indian, Himalayan & Southeast Asian Art2018年3月20日 lot 3205, 售價USD 468,500, ；一件尺寸更大的十七世紀銅鎏金蓮華手觀音見紐約佳士得 Indian and Southeast Asian Art 拍場2011年3月22日 lot 285, 售價USD 22,500.
A GILT-BRONZE FIGURE OF GUHYASAMAJA IN A GILT-BRONZE SHRINETibet, 16th-17th century. Guhyasamaja is seated in vajrasana, on a separately cast Buddhist lion standing foursquare on a lotus base, embracing his separately cast consort Sparshavajra seated on his lap. Both hold the same attributes, the crescent knife and skull cup, underlining the concept of symmetry on which the tantric student is supposed to meditate.Provenance: From an old and noted French private collection in Paris.Condition: Very good condition with old wear, minor nicks and scratches, traces of pigment, wear to gilt, small dents and losses here and there.Weight: 1,398 g (the figure) and 2,035 g (the shrine) Dimensions: Height 15 cm (the figure only) and 27 cm (the shrine)Guhyasamaja also holds an arrow, a snake, as well as two vajras in his principal hands embracing his consort, a flaming mandorla with a ring of skulls and another of vajras behind them.With a modern black glass base. (2)Auction result comparison: Compare the figure in the present lot with a related gilt bronze of Guhyasamaja in union with his consort, dated to the 15th century, at Christie’s Paris in Art d’Asie on 12 December 2018, lot 27, sold for EUR 27,500.銅鎏金密集金剛西藏，十六至十七世紀。密集金剛結金剛坐坐在蓮座上的獅子上，金剛與獅子兩者不是一體鑄造。金剛擁抱著他的佛母。他們手上拿著相同的法器即月牙刀和頭骨杯，顯示了密宗冥想的對稱性概念。 來源：巴黎一個知名私人收藏 品相：狀況良好，有舊磨損，少量划痕和缺口，色素餘留，鎏金磨損，小凹痕以及在局部缺損。 重量：像1,398 克；神座 2,035 克 尺寸：像高15 厘米；神座27 厘米 拍賣結果比較：一座十五世紀銅鎏金密集金剛與佛母見巴黎佳士得Art d’Asie 拍場2018年12月12日 lot 27, 售價EUR 27,500.
A PARCEL-GILT BRONZE FIGURE OF SHOULAO, 17TH CENTURYChina. The bearded God of Longevity is cast standing with his long flowing robe open at the chest, wearing a joyous expression. The parcel gilding has been cleverly used to highlight several areas of the depiction, such as the tripartite beard or the two plaits. Provenance: From a private collection in Philadelphia, USA. By repute within the same family since c. 1920. Condition: Excellent condition with old wear, microscopic nicks here and there as expected on a bronze of this age, one small hole to backside (probably original), few casting flaws, one small loss.Weight: 195 g Dimensions: Height 13.7 cm Shoulao is one of the three most popular deities in Chinese folklore. Note the fine incision work to the eyelids and other facial features. Auction result comparison: Compare with a closely related Shoulao bronze, probably from the same workshop, at Christies London in Chinese Ceramics, Works of Art and Textiles, 8 November 2013, lot 1431, sold for GBP 13,750.十七世紀局部鎏金銅壽老像 中國。壽老高額長鬚，表情愉悅。局部鎏金処巧妙地突出銅像，三重鬍鬚或兩個辮子。 來源：美國費城私人收藏，據説自1920年起保存於同一家族。 品相：品相極好，舊時磨損，局部輕微磕損，于同一時期銅像狀況相符，背面有一個小洞（可能是原始銅像上就存在），少量鑄造缺陷，一個小損失。 重量：195 克 尺寸：高13.7 厘米拍賣結果比較：一件相近壽老銅像，可能來自同一個鑄坊，售于倫敦佳士得Chinese Ceramics, Works of Art and Textiles拍場，2013年11月8日，lot 1431，售價GBP 13,750。
A 'TWIN BOYS' BRONZE SCROLL WEIGHT, MING DYNASTYChina, 1368-1644. The bronze heavily cast in the form of two reclining boys arranged head to toe, each with legs in a near-crossed position, both heads supported by one arm, one boy holding a Ruyi scepter. Provenance: From an English private estate. Condition: Good condition with minor nicks, dents, minuscule losses, a fine natural patina, extensive old wear mostly to base, all commensurate with the age of this bronze.Weight: 225 g Dimensions: Length 7.3 cm Note the single central hole for suspension. Auction result comparison: Compare with a closely related bronze at Sotheby’s Hong Kong, in China 5000 Years, June 5th 2020, lot 449, sold for HKD 52,500.明代雙童鎮紙 中國，1368-1644。二童頭膝相碰，以臂撐頭，一童手持如意。 來源：英國私人遺產 品相：品相良好，輕微刻痕、凹痕，小缺損，天然細膩包漿，底部嚴重舊時磨損，與其時代相符。重量：225 克 尺寸：長 7.3 厘米 有用於懸挂的小孔。 拍賣結果比較：一件相近銅像售于香港蘇富比，拍場China 5000 Years，2020年6月5日，lot 449，售價HKD 52,500。
A PARCEL-GILT BRONZE OF HAN ZHONGLI, MINGChina, 1368-1644. The immortal’s face is flanked by long ears and shows a charming, amused expression with his eyes nearly closed and the lips forming a subtle smile. The hair is arranged in two side-knots. The base is incised with a four-character Qianlong mark to the reverse, added at some point during the Qianlong reign.Provenance: French private collection.Condition: Very good condition with old wear, some minor casting flaws, scattered small nicks, occasional light scratches, all consistent with age.Weight: 994.0 gDimensions: Height 15.7 cmThe immortal wears a long flowing robe opening at his chest, finely incised with cloud designs and further decorated with gilt scrolling vine borders. He holds a large fan in one hand, his characteristic attribute, the other hand points with one finger toward the fan. The base is incised with scrolling vines and leaves.Literature comparison: Compare with a boxwood figure of Han Zhongli, offered by Sotheby’s in Important Chinese Art on 15 May 2019, lot 64, as well as a painting of Han Zhongli sold by Christie’s Hong Kong in Fine Chinese Classical Paintings and Calligraphy on 27 November 2018, lot 976.明代局部鎏金銅漢鍾離像 中國，1368-1644。仙人面部兩側是長長的耳朵，表情豐富有趣，雙眼微開，笑容微妙，雙髻。底座的刻有乾隆四字章，可能是在乾隆時期某時增加了此印。 來源：法國私人收藏 品相：品相極好，舊磨損，一些輕微鑄造缺陷，些微磕損與劃痕，與年代相符。 重量：994.0 克 尺寸：高15.7 厘米 文獻比較: 蘇富比《重要中國藝術》，2019年5月15日，lot 64；以及一副漢鍾離畫像，售于香港佳士得《Fine Chinese Classical Paintings and Calligraphy》，2018年11月27日，lot 976。
A BRONZE FIGURE OF BUDDHA, MING DYNASTYChina, 1368-1644. Cast seated in dhyanasana on a lotus throne rising from an unsealed ovoid base, the hands lowered in dhyanamudra, wearing a long flowing monastic robe draped over the left shoulder as well as a cloth over both shoulders.Provenance: Hungarian collection, acquired between 1970 and 1980 and thence by descent within the same family. Old collector’s number to interior of base.Condition: Very good condition with old wear, some minor casting flaws, scattered small nicks, traces of gilt, all consistent with age. The base is unsealed.Weight: 918.2 gDimensions: Height 17 cmThe face shows a serene expression with downcast eyes, gently arched eyebrows, and slender lips forming a subtle smile, flanked by long ears, the hair arranged in tight curls surmounted by an ushnisha.明代坐佛像 中國，1368-1644。佛陀盤腿坐於蓮座上，底部未密封，手施禪定印，身著飄揚長袍。 來源：匈牙利私人收藏，收藏于1970-1980年間，同一家族中保存至今。底座内裏可見藏家舊編號。 品相：品相極好，舊時磨損，一些鑄造缺陷，局部小刻痕，鍍金痕跡，都與年齡一致。 底座未密封。 重量：918.2 克 尺寸：高17 厘米
A BRONZE FIGURE OF AVALOKITESHVARA, MINGChina, 1368-1644. Cast seated in dhyanasana with the right hand lowered in varadamudra and the left held in abhayamudra, each holding a leafy stem rising to the shoulders and surmounted by a bird on one side and a vase on the other, dressed in loose robes elaborately decorated with floral borders, further embellished with beaded jewelry around the chest.Provenance: From a French private collection.Condition: Good condition with minor wear, small losses, some dents, nicks and scratches, all consistent with age. Remnants of old polychromies and lacquer gilding.Weight: 1,009 gDimensions: Height 17.6 cmThe face with a serene expression and downcast eyes, the hair gathered into a high chignon save for two long plaits falling off the shoulders, framed by an elaborate headdress in openwork centered by the Amitabha Buddha.Auction result comparison: A related but considerably larger bronze was sold by Christie’s New York in Fine Chinese Ceramics and Works of Art on 20-21 March 2014, lot 2052, for USD 37,500.明代觀音銅像 中國，1368-1644。左手和右手分別施無畏印和與愿印，肩部枝葉纏繞，一邊停著一隻鳥，另一邊是一個瓶子，袈裟寬鬆，衣著華麗，胸前裝飾寶珠。 來源：法國私人收藏 品相：狀況良好，小磨損，些微損耗，有凹痕、划痕和刻痕，均與年代一致。 殘留的多色舊時染料和鍍金漆。 重量：1,009 克 尺寸：高17.6 厘米拍賣結果比較：一件相近但大些的銅像售于紐約佳士得Fine Chinese Ceramics and Works of Art拍場，2014年3月 20-21日，lot 2052, 售價USD 37,500.
A BRONZE FIGURE OF A FOREIGNER, MING DYNASTYChina, 1368-1644. The bearded Asiatic foreigner cast kneeling on a stepped square double-lotus base with his left arm raised and right hand resting on his hip, dressed with ornate jewelry and a sash tied across the rotund belly above a tunic with long flowing ribbons, the face with bulging eyes, bushy eyebrows, flaring nose, and a cheerful smile.Provenance: Old private collection in Southern France.Condition: There is a dent to the belly, otherwise in good condition with old wear, some minor casting flaws, scattered small nicks. The base is unsealed.Weight: 987.0 gDimensions: Height 19.5 cmAuction result comparison: A similar figure from the Kangxi era was sold by Bonhams London in Fine Chinese Art on 9 November 2017, lot 227, for GBP 17,500.明代青銅外族人鑄像 中國，1368-1644。 著鬍鬚的外族人跪在台階狀雙蓮花座上，左臂抬起，右手放在臀部上，華麗的珠寶服飾，腰帶綁在外套上，臉部眼睛鼓脹，眉毛濃密，鼻子張開，笑容燦爛。 來源：法國南部私人老收藏 品相：狀況良好，腹部有凹痕，舊磨損，一些輕微的鑄造缺陷，局部有小刻痕。 底座未密封。 重量：987.0 克 尺寸：高19.5 厘米 拍賣結果比較：一個來自康熙時期的相似的鑄像曾於2017年11月9日于倫敦邦翰思《中國藝術》拍場，lot 227，售價 GBP 17,500。
A PARCEL-GILT BRONZE FIGURE OF VAISRAVANA, MING DYNASTYChina, 1368-1644. The chief of the Four Guardian Kings and protector of the north standing on a ruyi-shaped base. Holding a stupa in his raised left hand, wearing elaborate armor with a tiger design and a celestial scarf billowing above his shoulder and trailing down his sides. The gilt face with a wrathful expression below the openwork crown and double topknot.Provenance: German private estate.Condition: Good condition with old wear and minor casting flaws, some losses (including the parasol in his right hand), remnants of old pigment. Fine natural patina overall.Weight: 2,556 gDimensions: Height 33 cmThe stupa represents the body of the Buddha, both his spiritual body and his person, as well as his Law.Auction result comparison: Compare with a closely related, but larger and gilt-lacquered bronze at Christie’s London, in Chinese Ceramics, Works of Art and Textiles, on 11 May 2016, lot 178, sold for GBP 13,750明代銅鎏金多聞天王中國，1368-1644年。四位天王之首並負責守護北俱盧洲的保護者站在如意形的底座上。 他舉起的左手持佛塔，身穿虎紋盔甲，一條綬帶在他的肩膀上方滾滾而下。王冠鏤空，鎏金面部帶有憤怒的表情。來源：德國私人遺產品相：狀況良好，有舊磨損和輕微的鑄造缺陷，有些缺損（包括右手的陽傘），還有舊顏料殘留。整體天然包漿。重量： 2,556 克 尺寸：高33 厘米 拍賣結果比較：一件相似但更大的鎏金漆銅像見倫敦佳士得 Chinese Ceramics, Works of Art and Textiles拍場2016年5月11日 lot 178, 售價GBP 13,750
A GILT-BRONZE FIGURE OF EKADASHAMUKHA AVALOKITESHVARA, 18TH CENTURYTibetan-Chinese. The eleven-headed and eight-armed bodhisattva of compassion standing in samapada on a separately cast oval lotus base with the principal hands in anjali mudra and the other hands radiating and forming various mudras, wearing long flowing robes and five-leaf crowns, richly adorned in beaded jewelry with turquoise inlays.Provenance: From a private estate in the USA. A Belgian collector, acquired from the above. Condition: Very good condition with minor wear and casting flaws, light scratches, minuscule nicks, some wear to gilt, traces of pigment. The base and the statue are separately cast.Weight: 164.0 gDimensions: Height 10.3 cmAuction result comparison: Compare with a related figure at Christie’s New York in Himalayan, Indian and Southeast Asian Art on 15 March 2017, lot 201, sold for USD 8,750.十八世紀銅鎏金十一面觀音漢藏。十一面八臂菩薩立於分開鑄造的蓮座上，中央的雙手合十，其他的手臂分別施不同手印。觀音身著長袍，頭戴五葉冠，佩戴鑲嵌綠松石的瓔珞。來源：美國私人遺產；比利時收藏家購於上述收藏。 品相：狀況極佳，有輕微的磨損和鑄件缺陷，輕微的划痕，微小的刻痕，有些燙金、顏料痕跡。 底座和雕像分開鑄造。重量：164.0 克 尺寸：高10.3 厘米拍賣結果比較：一件相近觀音像見紐約佳士得Himalayan, Indian and Southeast Asian Art 拍場2017年3月15日, lot 201, 售價USD 8,750.
AN EXCEPTIONALLY RARE ‘DIAMOND REALM’ BUDDHA VAIROCANA BRONZE, MING DYNASTYChina, 15th century. Cast seated in dhyanasana on an unsealed double-lotus base with the hands in dharmachakra mudra holding a Diamond Realm Mandala, a symbol for the metaphysical space inhabited by the Five Tathagatas. The Diamond Realm Mandala is based on an esoteric Buddhist sutra called the Vajrasekhara Sutra.Provenance: Hungarian private collection.Condition: Very good condition with minor wear and casting flaws, occasional light scratches, few minuscule nicks.Weight: 2,363 gDimensions: Height 25.6 cmThe hair in tight, pointed knots around an ushnisha and framing the face in a broad, bowed outline, the pendulous earlobes pierced through, the brows arching down to meet the bridge of the nose between downcast, half-closed eyes and above small, full lips. The robes draped in cascading folds over the body, terminating in neat pleats about the legs, the hems neatly incised with floral scrolls. The figure entirely covered in a dark, near-black patina and with traces of gilding remaining.The statue is inscribed to the back, ‘Da Xia Biao’.Apart from being the tutelary deity of the Diamond Realm (Vajradhatu) in Tantric Buddhism, Vairocana is also the Lord of the Avatamsaka World and an important deity of both exoteric and esoteric Buddhism, noted for his richly varied forms and different gestures.Auction result comparison: Compare with a very similar but larger dry lacquer figure of Vairocana at Sotheby’s New York in Important Chinese Art on 21 March 2018, lot 571, sold for USD 110,000.明代罕見金剛界大日如來銅像 中國，十五世紀。大日如來結金剛坐，雙層蓮座未密封，雙手結説法印握金剛界曼陀羅，是形而上空間的五方佛的象徵。 來源：匈牙利私人收藏 品相：狀況極佳，有輕微磨損和鑄造瑕疵，偶有輕微划痕。重量：2,363 克 尺寸：高25.6 厘米銅像背面刻有 ‘大夏彪’字樣。拍賣結果比較：一件非常相似但尺寸較大的如來銅像，售于紐約蘇富比Important Chinese Art 拍場2018年3月21日，lot 571, 售價USD 110,000。
A MASSIVE SILVER-INLAID SHISOU BRONZE FIGURE OF GUANYIN, QING DYNASTYChina, 1644-1912. Neatly inlaid in silver to the back with the four-character signature Yutang Shisou. Cast standing and wearing long robes decorated with scrolling foliage and ruyi clouds, opening at the chest to reveal a silver-inlaid necklace with a gankyil (“wheel of fortune”) symbol, a rare variation of the subject.Provenance: Leslie Gifford Kilborn, USA, and thence by descent in the same family. Leslie Gifford Kilborn (1895-1972), son of Retta and Omar Kilborn, was born in Sichuan, China. He greatly advanced missionary work in Western China, was the author of multiple texts and served as dean of the College of Medicine of the West China Union University. In 1952, he left China and became a professor of physiology at the University of Hong Kong.Condition: Excellent condition with old wear, small nicks and casting flaws.Weight: 7.9 kgDimensions: Length 48.5 cmThe face with a serene expression, downcast eyes, slender lips forming a benevolent smile, and a silver-inlaid urna, framed by elaborately coiffed hair beneath the cowl.Auction result comparison: A closely related bronze was sold by Christie’s Paris in Art d’Asie on 12 June 2019, lot 173, for EUR 50,000.清代石叟銅錯銀觀音立像 中國，1644-1912年。像身背面嵌銀署款“玉堂石叟”。觀音身著垂領衲衣，衣紋自然起伏，衣袍邊緣鑲嵌銀絲緾枝及卷雲紋。胸口配飾銀珠項鏈，這是該主題的一種罕見變化。 來源：美國Leslie Gifford Kilborn，自此保存在同一家族. Leslie Gifford Kilborn (1895-1972), Retta 和 Omar Kilborn的兒子，出生於中國四川。他極大地促進了中國西部的傳教工作，是多篇著作的作者，還曾擔任過華西聯合大學醫學院的院長。 1952年，他離開中國，成為香港大學生理學教授。 圖片：Leslie Gifford Kilborn (1895-1972, 左起第三位) 品相：狀況良好，有舊磨損，小缺口和鑄造缺陷。 重量：7.9 公斤 尺寸：高 48.5 厘米 目光慈祥，莊重嫻雅，鑲銀天眼，披觀音巾。拍賣結果比較：一件相近銅造像見巴黎佳士得Art d’Asie 拍場，2019年6月12日lot 173, 售價 EUR 50,000.
AN EXCEPTIONALLY LARGE AND MASSIVE CAST-BRONZE AND COPPER-REPOUSSE STATUE OF BUDAI, QING DYNASTYChina, 1644-1912. The gilt-lacquered laughing Buddha is seated in rajalalitasana on his sack, which is hidden under his long flowing robe, atop a double lotus base, his left hand resting on his knee with the palm facing upwards, his right resting on the other knee, wearing a loose-fitting monastic robe hanging off the shoulders and opening at the chest.Provenance: Italian private estate. Austrian private collector, acquired from the above.Condition: Extensive wear, some losses, dents, nicks, and casting flaws. The statue has suffered significant structural damage, mostly to the copper-repousse base, which has literally been torn to pieces, resulting in modern repair work to most of the joints, only visible from the inside. Because of these repairs, the lacquer coating has also suffered in areas, but also due to extensive weathering, leading to the application of several layers of lacquer and gilt over the decades and possibly even centuries. A public temple statue such as the present lot, and particularly one depicting the extremely popular Budai, will inevitably be exposed to extensive touching. As a result, the lacquer gilding of an authentic piece will have been renewed many, many times. The present statue was at least once removed by force from its original location, causing the present structural damages, and soldered back together much later, when it entered the trade some time ago.Weight: ca. 31 kgDimensions: Height 79.5 cmThe cheerful face with gently arched eyebrows above heavy-lidded eyes with incised pupils, centered by an urna, a broad nose, and a wide-open mouth as the Happy Buddha lets out a joyous laugh, flanked by elongated pendulous earlobes.Budai is a popular figure in Qing art, representative of contentment and abundance. He is usually portrayed as laughing, hence the title ‘Laughing Buddha’. The current figure of Budai is an exceptionally large example and must therefore be considered extremely rare.The base and parts of the body are made from solid copper-alloy and worked in fine repousse, while the upper sections are made from cast bronze.Auction result comparison: A related but smaller gilt bronze Budai dated to the Ming dynasty was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 27 September 2019, lot 50, sold for EUR 74,820.清代布袋和尚銅像中國，1644-1912年。鎏金漆銅笑佛呈休閑坐坐在麻袋上，而麻袋則藏在長袍下，雙層蓮花座。左手放在膝蓋上，手掌朝上，右手放在另一邊的膝蓋上，穿著一件寬鬆的袈裟，披在肩膀上，敞胸露腹。來源：意大利私人遺產。奧地利私人收藏，購於上述遺產。 品相：大量磨損，一些損失，凹痕，缺口和鑄造缺陷。該雕像曾受過重大的結構性損壞，主要是銅錘揲的底座，實際上已成碎片，因此有大量的現代維修，這些部分只能從內部看到，也因此漆層在某些地區受到破壞。因爲廣汎的風化，所以過去的幾十年甚至幾百年進行過多次上漆和鎏金。像現在這樣的公共寺廟雕像，尤其是深受歡迎的布袋和尚，就不可避免地會受到觸摸。原始漆層和鎏金被更新很多次。這座雕像至少一次被用力從其原始位置移開，造成了目前的結構性損壞，並在不久前因爲銷售又被重新焊接在一起。 重量：約31 公斤 尺寸：高79.5 厘米 底座和像身部份由銅合金製成，並使用精美錘揲工藝，而上部則是銅鑄而成。 拍賣結果比較：一件相近但更小的明代鎏金銅布袋曾在本拍賣行Fine Chinese Art, Buddhism and Hinduism拍場2019年9月27日 lot 50, 售價EUR 74,820.
A SUPERB ARCHAISTIC DING CENSER BY KANO TESSAI, DATED 1914Japan, Nara, possibly made by the order of a Chinese patron. Masterfully carved from a single section of bamboo and finely polished to highlight the natural beauty of the material. The censer is set on three sturdy cylindrical feet and the artist’s signature is ingeniously incised in seal form where an inscription would be found on the original censer.Inscriptions: To base, signed ‘Tessai sei’.Provenance: Collection of Drs. Edmund and Julie Lewis. Known for their keen scholarship and high aesthetic standards, for the past three decades the couple has focused on collecting lacquer art, painting, and Buddhist sculpture from Japan. Both physicians and internationally recognized as renowned experts in nephrology, they hold positions as tenured professors at Rush Medical College in Chicago and Vanderbilt University in Nashville, Tennessee, respectively. They met professionally and later married in 1997, and have since continued to collect Japanese art together, actively seeking the best they could find from the finest dealers in the field. As they travelled widely, their desire to collect Buddhist art grew, and they have expanded their collection to include important Pan-religious sculpture from Greater Asia.Condition: Excellent condition with minor wear and traces of use. Good, naturally grown patina.Weight: 1,229 gDimensions: Height 13 cm, Diameter 13 cmThe design of the present incense burner is copied faithfully from Chinese Shang and Zhou-dynasty ding censers, which were admired by many scholars of the period. Masterfully carved with two looped handles atop a flat rim and above a finely incised circumferential seal script (tensho) around the body. The natural form of the bamboo clearly emulates the warping of the bronze on the original censer.Kano Tessai (1845–1925) came from a Gifu family and started his life as a Buddhist priest, though his father instructed him in the art of carving. He studied Chinese literature and drawing and was a professor at Tokyo art school in 1872. He was also on the examining committee for investigating the ancient art of Japan and subsequently went to Nara where he engaged in the reproductions of old objects of art, such as the present example.With a wood tomobako storage box labeled Chikutei (Bamboo ding) and inscribed on the interior with a kaisho transcription of the tensho inscription on the bamboo censer, including a date of Taisho sannen (1914), signature, red seal and the artist’s kakihan. (2)
TWO BUDDHIST EMBLEMS, CLOISONNE ENAMEL AND GILT-BRONZE, QIANLONG PERIODChina, 1736-1795. One is the double-fish and the other is the wheel of law, Dharma. Each being one of the Eight Buddhist Emblems, Bajixiang, they represent conjugal happiness and the Buddha's teaching respectively. Both show fine incision and chase work, surmounted by a minuscule sacred Vajra sign. (2)Provenance: From a French private estate. Condition: Superb condition with only minor firing flaws and pitting to enamels, old wear and some minuscule dents to the bronze. Each emblem is cast in six separate parts, all secured by old bolts and screws. The bases are slightly warped. Fine naturally grown patina.Weight: 973 g Dimensions: Height 24 cm eachThe finely cast, incised and gilt emblems are supported by a tiered base enameled with crashing waves above two rows of distinct lappet borders. The stand rises from a small Buddhist shrine vase, Dagaba, with finely enameled lotus decor on an Imperial turquoise-blue ground, flanked by a pair of gilt-bronze ribbons, below four stylized dragon scroll handles, all ending in a detailed and gilt lotus pod resting on a circular band of overlapping leaves.It is rare to find even just two of the Eight Buddhist Emblems made of cloisonne enamel and gilt-bronze, which would be set in a row on a Buddhist altar, and only one other group of two appears to have been offered for sale at auction in the recent past. They are a flamboyant testimony to the strength of Tibetan Buddhism in Imperial China. The labor and material lavished on such Buddhist objects demonstrate the continued importance of Buddhist worship during the Qing Dynasty.Literature comparison: Compare with a group of seven cloisonne enamel, gilt-bronze and white jade emblems, which included four Buddhist emblems, formerly in the Sir John Buchanan-Jardine, T.B. Kitson and Vint collections, sold at Sotheby's London, 21 February 1961, lot 266 and again at Christie's Hong Kong, 3 December 2008, lot 262. For a closely related set from the Qing court collection, preserved in the Palace Museum, Beijing, see a set of smaller emblems rendered in gilt-bronze and champleve enamels, illustrated in Metal-bodied Enamel Ware, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2001, pl.139. See also a champleve enamel set of the Eight Buddhist Emblems preserved in the Mountain Resort Museum, Chengde, illustrated in the National Palace Museum Exhibition, Tibet: Treasures from the Roof of the World, Taipei, 2010, pl.110. Also compare with a single emblem at the Brooklyn Museum, New York, USA, accession number 09.662.Auction result comparison: Compare with a complete set of all eight emblems at Bonhams Hong Kong, 24 November 2010, lot 250, sold for HKD 6.816.000 (€ 752.000). Also compare with a closely related set of two Buddhis emblems at Christies London in Fine Chinese Ceramics and Works of Art, 6 November 2012, lot 42, sold for GBP 97,250.乾隆掐絲琺琅鎏金八寶供器二件 中國, 1736-1795。一件供器上可見雙魚，另一件為法輪。八寶，又稱八吉祥，是藏傳佛教中八種表示吉慶祥瑞之物。這兩件供器均顯示了精細的工藝。 來源： 法國私人遺產 品相：狀況極佳，只有輕微的燒制瑕疵和琺琅蝕痕，舊時磨損以及青銅部位微小凹痕。每件供器均由六個單獨的部分鑄造而成，所有部分均由螺栓和螺釘固定。 底座略有扭曲。 天然包漿。重量：973 克 尺寸：分別高24 厘米 精美鑄造、切割和鎏金的供器，鎏金富麗堂皇，中部仰覆蓮台托升八寶，盡顯佛法神聖高潔。下部法輪出戟十字杵，立於覆蓮托座之上，莊重典雅。底座分層，皇家藍綠色的琺琅地上裝飾纏枝蓮花紋，兩側是一對鎏金銅緞帶。這是兩件稀有的佛教八寶供器，掐絲琺瑯和鎏金銅製成，目前似乎只有另外兩個一組被拍賣出售。 他們是中國藏傳佛教力量的光彩奪目的見證。 這些佛教用品上的製作和材料證明了清代佛教崇拜的持續重要性。文獻比較：一組七件掐絲琺琅鎏金銅白玉供器，其中包括四件佛教供器曾見於Sir John Buchanan-Jardine, T.B. Kitson and Vint collections, 售于倫敦蘇富比1961年2月21 日，lot 266；香港佳士得2008年12月3 日，lot 262；一組來自清廷收藏的相似供器可見於北京故宮博物院；一組稍小的銅鎏金琺琅供器可見於Metal-bodied Enamel Ware, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2001, pl.139；琺琅佛教八寶可見於承德山莊博物館，可見於臺北故宮博物院展覽，Tibet: Treasures from the Roof of the World, Taipei, 2010, pl.110；以及Brooklyn Museum, New York, USA, accession number 09.662. 拍賣結果比較：一組完整的八寶供器售于香港邦翰思2010年11月24日，售價HK$ 6.816.000 (€ 752.000)。另一組兩件八寶供器售于 倫敦佳士得Fine Chinese Ceramics and Works of Art拍場, 2012年11月6日, lot 42, 售價GBP 97,250。
AN EXCEPTIONALLY LARGE PALE GREEN AND RUSSET JADE BI DISC, EARLY BRONZE AGEChina, c. 2200-1900 BC. Of somewhat irregular thickness and still retaining the cutting marks on the walls of the central hole drilled from both sides, the mostly translucent stone of variegated shades of green ranging from pale olive to sea-green with some russet-brown veining and shadings as well as cloudy white inclusions.Provenance: The Collection of Irene and Wolfgang Zacke. The couple have been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades.Published: 4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 96, no. 109.Condition: Excellent condition with old wear, signs of weathering, nibbling and some losses to edges, the stone with natural fissures, some of which have developed into larger hairline cracks over time. Some traces of use and shallow surface scratches.Weight: 3,814 gDimensions: Diameter 43.5 cmBi discs are a type of jade which continued to be crafted in numbers by cultures located in central and northwest China during the transitional period between the Neolithic and Bronze Age. The majority of these discs range in size between ten and twenty centimeters: large ones, such as the present lot, are rare. Their size and weight, requiring both hands to hold them, suggest that these imposing discs were displayed and used in a ritual context. The hole is usually drilled from one side only: on larger discs, it is smoothed down and the traces of the tool marks are almost invisible.The whitened areas are mostly limited to the edges. This alteration, which is often seen on excavated jades, was probably created by the action of alkaline body fluids on the nephrite.Literature comparison: A related green jade bi of smaller size (22 cm diameter) is illustrated by J. Rawson, Chinese Jade from the Neolithic to the Qing, British Museum, 1995, p. 155, no. 7:6, where the author ascribes it to northwest China, c. 2000-1000 BC. One large disc which measures 32.5 cm in diameter is in the Victoria & Albert Museum, London, accession number A.42-1936.Auction result comparison: Compare with a related dark green jade bi, dated to circa 2000-1500 BC, of much smaller size (21.3 cm diameter), at Christie’s New York in Fine Chinese Ceramics and Works of Art on 20 September 2013, lot 1449, sold for USD 40,000. Compare also with a related jade from the same period, but still of considerably smaller size (34.1 cm diameter), from the A.W. Bahr Collection, at Christie’s New York in Fine Chinese Art from the Arthur M. Sackler Collections on 18 March 2009, lot 277, sold for USD 194,500.青銅時代大型青玉璧中國，公元前2200-1900 年。厚度不規則，保留著切割痕跡，主體半透明，夾雜著不同深淺的綠色，從淺橄欖色到海綠色，帶有紅褐色的紋理，以及絮狀物。來源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授出版：4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 96, no. 109.品相：狀況良好，有舊磨損，風化，一些邊緣磨損，輕微使用痕跡和表面淺痕，帶有天然裂紋的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。重量：3,814 克尺寸：直徑43.5 厘米拍賣結果比較：一件相近墨綠玉璧，公元前 2000-1500年, 尺寸更小 (直徑21.3 厘米), 見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2013年9月20 日 lot 1449, 售價USD 40,000. 一件來自同一時期但尺寸更小（直徑34.1 厘米）的玉璧，來自A.W. Bahr 收藏, 見紐約佳士得Fine Chinese Art from the Arthur M. Sackler Collections 拍場2009年3月18日 lot 277, 售價USD 194,500.
AN IMPERIAL WHITE JADE ‘HAITANG’ BRUSHWASHER, WITH A POEM BY CHEN YUYI, YONGZHENG MARK AND PERIODChina, 1723-1735. Carved to one side in shallow relief with leafy crabapple (haitang) branches, blossoms and small fruit, as well as craggy rockwork, the reverse superbly incised with a poem. The translucent stone of a spectacularly pure white tone with a single russet and cloudy white vein, masterfully incorporated into the depiction. The base neatly incised with a four-character seal mark Yongzheng nianzhi and of the period.Inscriptions: Two lines from a poem composed by the famous Song Dynasty poet Chen Yuyi (1090-1138), which may be translated as 'the crab apple flower displays its pink blossoms, standing alone in the rain'.Provenance: A private Danish collection, acquired in Asia prior to 1922, thence by descent within the family. A private collection in Europe, acquired in Sweden prior to 2000. Old illegible collector’s label to base. Old inventory number ’90.635.42.3’ to interior, indicating a prior museum deaccession. Condition: Excellent condition with minor old wear. Natural flaws to stone.Weight: 119.5 gDimensions: Height 3.4 cm, Length 9.3 cmA handscroll in the Victoria & Albert Museum, titled Guwan tu (Pictures of Ancient Playthings), made for the Yongzheng emperor as a pictorial inventory of his palace collections, includes a guan-type brush washer of Haitang-form. It is possible that the present jade washer was commissioned by the emperor and made by the palace workshops using the guan washer as a prototype, because of its distinct crabapple form.The form of this elongated four-lobed washer supported by a broad foot rim directly references the crabapple (haitang), which is also the subject of both the poem incised to one side as well as the relief carving to the other. The crabapple could be combined with other emblems to create auspicious rebuses. Its second character, ‘tang’, is homophonous with the character for ‘hall’ and, by extension, ‘the family home’. For examples of Imperial objects of the Qing court of related haitang shape, see a bamboo tray at Bonhams Hong Kong, 24 November 2012, lot 323 (see fig. 1), and a pair of gilt bronze and cloisonne jardinieres at Bonhams London, 8 November 2012, lot 250 (see fig. 2).One of the most striking things about the present washer is that the mark on the base is incised with a series of apparently wheel-cut lines to build up the thickness of the strokes in a style very similar to that found on glass objects from the Beijing Palace workshops during the early to mid-Qing dynasty. With this as a clue to provenance, the very slight flaws in the material also indicate a Palace workshops origin, since this is a prominent feature found in a group of jade objects attributable to the court.The stone shows minuscule inclusions, which is almost hallmark of early Imperial jades, during a time where lapidaries worked by Imperial command striving to create small items of the purest white jade, which began in the Yongzheng period, marking the transition from the mottled pebbles of the Ming dynasty to the flawless white vessels of the Qianlong reign. Hence the most superb jades of the Yongzheng period, such as the present lot, have minuscule flaws which are masterfully integrated into the design and show the absolute highest level of manual polishing of all time, creating a smooth, somewhat ‘oily’ surface with an unctuous feel and lustrous appearance, the latter especially when sunrays shine through the material.Chen Yuyi (1090-1138) was a poet and politician of the Song dynasty. His biography was included in the History of Song. He composed some of the best shi poetry of the Song era and was a native of Loyang, coming from an official family. He obtained his degree in 1113 and held a number of minor posts before moving to the capital. When North China was invaded by the Jin, he had to flee for his life and his poetry became much more intense and emotionally charged. He returned to official service in the exiled Song court in Hangzhou in 1131.Jade vessels inscribed with Yongzheng reign marks and of the period are extremely rare. The only published examples from museum collections appear to be a small number preserved in the holdings of the Palace Museum, Beijing. No other Yongzheng reign-marked white jade vessel has been sold ever at a major auction house outside of China.The Palace Museum, Beijing has published five jade vessels inscribed with Yongzheng reign-marks: a green jade handled cup, a green jade flared bowl, a pale green jade cup, a black and white jade bowl, and a pale green jade brush washer, illustrated in Compendium of Collections in the Palace Museum, Jade. Qing Dynasty, vol. 10, Beijing, 2011, pls 146, 153, 154, 187, and a set of black jade rings, illustrated in Compendium of Collections in the Palace Museum. Jade. Qing Dynasty, vol. 9, Beijing, 2011, pl. 224. The marks are intricately articulated in the same archaic-style seal script in two columns, undoubtedly in the same production process.Literature comparison: Compare with a related white jade washer, of oval form and carved with a chilong, in the Palace Museum, Taipei (collection number K1C003785N000000000PAB). Compare also with a related pale green jade brush washer, Yongzheng four-character mark and of the period, from the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum. Jade 10. Qing Dynasty, Beijing, 2011, p.237, no.187. Compare also with two jade bowls in the Palace Museum, Beijing, with Yongzheng reign marks, Cultural Relic nos. 00103853 and 00102973.清雍正款白玉題詩海棠式洗中國, 1723-1735年。海棠式洗呈四瓣海棠之形，曲壁，線條流暢圓潤，圈足隨形。一面淺浮雕多葉的海棠樹，上面可見海棠花與小花骨朵。旁邊假山岩石。背面刻有一首詩。白玉光瑩溫潤，些微赤褐色脈紋，巧妙融入整體。整器造型端莊，雕刻嫻熟。底足可有四字款“雍正年制”。款識：宋代詩人陳與義(1090-1138)：海棠不惜胭脂色/獨立濛濛細雨中來源：丹麥私人收藏，1922年前購於亞洲，自此保存在同一家族。歐洲私人收藏，2000年前購於瑞典。底部可見老收藏標簽。筆洗内有舊收藏編號“90.635.42.3”，可能是之前博物館收藏所留。 圖片：收藏編號“90.635.42.3”，可能是之前博物館收藏所留。 品相：狀況極佳，輕微使用磨損。玉石自然缺陷。 重量： 119.5 克 尺寸：高3.4 厘米, 9.3 厘米 這件細長的四瓣花口形洗由海棠四出花瓣演變而來，同時也對應了所刻的詩句以及另一面的浮雕花卉。海棠花的"棠"字與"堂"同音，與其他花卉可以組成“玉堂富貴”的意思。清宮也有很多利用海棠進行創作的例子，請參見香港邦瀚斯的御製竹根雕海棠式洗（2012年11月24日，Lot 323）（圖1），以及倫敦邦瀚斯的掐絲琺瑯開光纏枝蓮紋海棠式花盆一對，2012年11月8日，Lot 250（圖2）。 圖片：御製竹根雕海棠式洗, 清初, 香港邦瀚斯, 2012年11月24日, lot 323, 售價HKD 150,000. 圖片：掐絲琺瑯開光纏枝蓮紋海棠式花盆一對, 倫敦邦瀚斯, 2012年11月8日, lot 250, 售價GBP 37,250. 本海棠式洗最引人注目的一件事是，在其底座上的有兩道切割線，以强調玉洗雕工的細緻感，其樣式與北京料器製品相似。這可以作爲出處的一個線索，材料上的細微瑕疵也表明了此洗來自御用工坊的，因為這是根據現有研究發現的宮廷玉器中突出特徵。玉石上略帶皮色，這可以説是早期清代宮廷玉器的特徵。清初，御用工坊努力創造出最純净的白玉小器物。雍正時期是明朝使用的籽料至乾隆年間無瑕的白色器皿的過渡期。 因此，雍正時期最精湛的玉器（如這件白玉洗）具有微小的瑕疵，這些瑕疵被巧妙地運用到設計中，顯示出有史以來最清湛拋光工藝，玉器表面緻密細膩，瑩潤凝脂，尤其是當陽光透過玉料時。陳與義 (1090-1138) 宋代詩人及政治人物，在宋史中可找到其生平。他是宋代傑出的詩人，洛陽人，出生於士族。1113年中進士，之後擔任不同職位，直至進入首都。北宋敗於金人時，他不得不南遷避難，詩歌變得更加憂國憂民。 1131年，他回到南宋杭州的宮廷繼續任職。Victoria & Albert Museum有一幅《古物圖》, 描繪了雍正帝的宮廷收藏，包括一件海棠式官窯筆洗，很可能是此次拍品的原型，而這件拍品也很可能也曾存在於雍正帝收藏中。雍正款的玉器留世極少。博物館藏品中唯一公開發表的例子似乎是保存在北京故宮博物院藏品。在中國以外的大型拍賣行中，沒有其他雍正款白玉器被出售。北京故宮博物院曾在《故宮博物院藏品大系：玉器編10》中介紹了五件雍正款玉器：青玉雙耳杯，青玉撇口碗，淺青玉杯，黑白玉碗及淺青玉洗(見《故宮博物院藏品大系：玉器編10》，北京2011年，圖146, 153, 154, 187)以及一組墨玉板指，見《故宮博物院藏品大系：玉器編9》，北京，2011年，圖版224。兩玉碗之刻款與現器之銘款均為篆書，形神一致，應出於同一人之手無疑。文獻比較：一件相近螭龍玉洗，橢圓形，見臺北故宮博物院 (藏品編號K1C003785N000000000PAB)；另一件雍正四字款綠玉筆洗見《故宮博物院藏品大系：玉器編10 》，北京2011年，237頁, no 187；北京故宮中還有兩件雍正款素面玉碗（編號 00103853 與 00102973）。
A WHITE JADE ARCHAISTIC PHOENIX-FORM INCENSE HOLDER, QIANLONGChina, 1735-1796. Deftly carved, the archaistic bird with a leafy vine in its beak and a pomegranate below, its head elegantly curved in an S-shape, the wings finely incised with plumage, surmounted by a flattened fanggu vase decorated with taotie masks and stiff leaves in relief. The stone of an even white to pale celadon tone with dark speckles and lighter inclusions.Provenance: Belgian private collection. Condition: Excellent condition with minor wear and few minuscule nicks.Weight: 282.1 g (the jade) and 203.3 g (the base)Dimensions: Height 10.3 cm (incl. base) and 8.1 cm (excl. base), Length 12 cm (the jade) and 12.5 cm (the base)With a matching but later gilt bronze base with ruyi-head feet and decorated with the Three Friends of Winter: pine, bamboo, and plum. (2)Literature comparison: For a closely related gilt bronze stand, together with a smaller white jade incense holder carved as two boys holding a vase, see Sotheby’s Hong Kong in China, 5000 Years, on 5 June 2020, lot 416.Auction result comparison: Compare with a related white jade archaistic phoenix-form pouring vessel of slightly larger size at Christie’s New York in Fine Chinese Ceramics & Works of Art on 22 March 2007, lot 97, sold for USD 84,000.乾隆白玉鳳形香插 中國，1735-1796年。精心雕琢的鳳凰，喙上叼著纏枝藤蔓，其中可見一個石榴。鳳凰頭部優雅彎曲，翅膀細緻地雕刻成羽毛，背上立著扁平的方觚瓶，瓶壁雕刻著饕餮紋與纏枝紋 。玉石為白色至淺青瓷色調，内含深色斑點和較淺的絮狀物。 來源：比利時私人收藏 品相：狀況極佳，磨損很小，細微划痕。重量：玉282.1 克，底座203.3 克 尺寸：縂高10.3 厘米，不含底座 8.1 厘米, 玉長12 厘米，底座12.5 厘米 拍賣結果比較：一件相似白玉鳳形壺售于紐約佳士得Fine Chinese Ceramics & Works of Art 拍場2007年3月 22日，lot 97, 售價USD 84,000.
A PALE CELADON JADE ‘PHOENIX’ EWER, GONG, QING DYNASTYChina, 18th century. Crisply carved in shallow relief on both sides of the flattened body with the wings of an archaistic phoenix, its head carved in high relief below the spout suspending a loose ring, a sinuously coiled chilong with furcated tail clambering through the scroll-shaped handle, the mouth and foot rim with key-fret bands and the foot with a geometric pattern. Provenance: European private collection.Condition: A minimal loss to the base, otherwise in very good condition with minor wear, the stone with natural fissures, some of which may have developed into small hairline cracks over time. Weight: 367.7 gDimensions: Height 12.4 cm The translucent stone of a pale celadon tone with milky white and russet inclusions as well as few dark speckles. 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 vessel from which the present lot takes inspiration is the archaic bronze gong. Archaic bronze examples would normally have been accompanied by a cover in zoomorphic form, such as an example illustrated in the woodblock printed catalog Xiqing Gujian, ‘Inspection of Antiques’ (fig. 1). However, this exquisite white jade version was evidently produced without a cover. It is the ultimate testament of a consummate master craftsman to have been able to conceive and combine elegant form with confident subtly defined motifs, working the pure white raw material to its best and fullest advantage. Only few other examples of this rare form and outstanding quality are known, most of which are preserved in the Qing court collection. A white jade gong of wider proportion (16,6 cm high, 18 cm wide) is in the Palace Museum, Beijing, illustrated in Zhongguo yuqi quanjj – 6 – Qing, Shijiazhuang, 1991, no. 37, which is also made without a cover. For a white jade gong with cover, compare to two examples in the National Palace Museum, Taipei, one of which is closely modeled after the bronze original in form and decoration (14,4 cm high, 16.6 cm wide), the other similar in style to the present ewer but of a more flattened form, see The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch’ing Court, Taipei, 1997, nos. 13 and 20, respectively. Auction result comparison: Compare with a related but smaller ewer, with a cover, at Sotheby’s London in Important Chinese Art on 8 November 2017, lot 33, sold for GBP 18,750. Also compare with a much larger version of the present ewer, in white jade, at Christies Hong Kong, in Leisurely Delights, 29 May 2019, lot 3027, sold for HKD 7,325,000.清代青白玉鳳飾龍抱觥中國，十八世紀。仿古彝器，以青銅器觥為其造型基礎，扁筒式，口稍敞，橢圓形足，方折拐子形鋬，一螭龍自其中鑽過，其首倚於鋬上，造型無比生動。流口下雕一鳳首，套一活環。身腹兩側淺浮雕夔鳳紋，下為蟬紋。來源：歐洲私人收藏 品相：底座稍有損失，除此之外狀態很好，且磨損很小，石料内天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：367.7 克尺寸：高12.4 厘米 淡淡的青色半透明石頭，帶有乳白色和赤褐色的內含物，幾乎沒有深色斑點。拍賣結果比較：一件稍小的玉蓋壺見倫敦蘇富比Important Chinese Art 拍場，2017年11月8日 lot 33, 售價GBP 18,750.
A LARGE WESTERN ASIATIC CHLORITE BOWL, 3RD MILLENNIUM BCThe deep rounded sides rising from the flat base to the slightly incurved rim, the interior finely carved in relief with three registers, the upper and lower depicting confronting horses with a tall, flame-like flower in between, the central register with several hounds attacking an antelope.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Quatre pots anciens en pierre sculptee avec decor d’incrustations ivoire ou os? Haut: 21 cm à 30, Etiquettes: Massoudi ou Iran Nord?” (Four old carved stone jars with inlays of ivory or bone? Height: 21 cm to 30, labels: Massoudi or Northern Iran?). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the dating of this piece. Scratches, nicks, losses, cracks, erosion, encrustations. Remnants of old varnish.French Export License: Certificat d’exportation pour un bien culturel Nr. 184685 dated 9 June 2017 has been granted and is accompanying this lot.Weight: 2,509 g Dimensions: Diameter 29.5 cmAuction result comparison: Compare with a related but earlier Western Asiatic bronze bowl, dated c. 8th-6th century BC, at Christie’s London in Antiquities on 30 April 2008, lot 24, sold for GBP 11,250.公元前三千年大型西亞綠泥石碗深圓的側面，平底，邊緣略微彎曲，碗內精細浮雕圍獵場景，馬群、獵犬和羚羊，以及一朵大蓮花。 來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。在目錄清單裏這麽描述本拍品：一組4件鑲嵌著象牙或骨質的罐，高21-30厘米，Massoudi 或北伊朗。隨附目錄清單副本及其封面。 圖片：Arthur Huc (1854-1932) 品相：狀況良好，尤其是在考慮到它的年代時。 划痕、缺口、缺損、裂縫、腐蝕和結殼。舊時清漆殘留。 法國出口證書：隨附2017年6月9日出具的Certificat d’exportation pour un bien culturel 證書，編號 184685 。 重量：2,509 克 尺寸：直徑 29.5 厘米 拍賣結果比較：一件相近但公元前八至六世紀西亞銅碗見倫敦佳士得Antiquities 拍場2008年4月 30日 lot 24, 售價GBP 11,250.
A POLYCHROME ENAMELED BRONZE FIGURE OF KANNON BOSATSU, LATE EDO PERIODJapan, 18th to early 19th century. Cast standing on a separate circular double-lotus base supported on a hexagonal tiered plinth, the right hand in kichijo-in, the left in an-i-seppo-in, wearing a long flowing robe opening at the chest, a garland around the arms, and a crown, the serene face with a rock crystal urna and downcast eyes, the hair pulled up in a high top knot, a separately cast mandorla with scrolling clouds towering behind.Provenance: Hungarian private collection. Condition: Good condition with extensive wear to enamels, minor nicks here and there, casting flaws, light scratches, some losses to extremities.Weight: 3,444 gDimensions: Height 39.8 cm
Loading...-
350105 item(s)/page