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A SMALL QUATREFOIL 'ELEPHANT' BRONZE INCENSE BURNER, EARLY QING DYNASTY 清初海棠口式象耳爐China, 17th - 18th century. Elegant yet heavily cast with four bulbous lobes standing on four pedestal feet, the incense burner has two elephant-head handles on both of its elongated sides. The bronze is covered overall in a fine, naturally grown patina with malachite encrustations mostly to the inside.Provenance: German trade. Condition: Good condition with some wear, signs of weathering, encrustations, dents, scratches, and minor casting flaws. Calcification to the interior from usage as a water vessel over a longer period of time.Weight: 311.8 g Dimensions: Width 6.5 cm Literature comparison:Compare a related bronze lobed vase with elephant-head handles, dated to the 17th century, at Sotheby's New York, 21 March 2015, lot 764. Compare a related quatrefoil bronze vessel with lion-mask handles, dated to the Ming dynasty, at Sotheby's Hong Kong, 7 October 2014, Lot 3338.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 2 December 2015, lot 89 Price: HKD 75,000 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: A bronze incense burner, Late Ming/Early Qing dynasty Expert remark: Note the similar elephant-head handles on this incense burner. 清初海棠口式象耳爐中國，十七至十八世紀。海棠口香爐優雅而厚重，四乳足，兩個象頭耳。青銅器整體覆蓋著一層精美的自然包漿，內部大面積有藍綠色結殼。 來源：德國古玩交易 品相：狀況良好，有一些磨損、風化跡象、結殼、凹痕、劃痕和輕微鑄造缺陷，因爲長期用作水容器而導致內部有鈣質。 重量：311.8 克 尺寸：寬6.5 釐米 文獻比較： 比較一件相近的十七世紀銅如意紋象首耳海棠形瓶，見紐約蘇富比，2015年3月21日，lot 764。比較一件相近的明銅海棠式獅耳小尊，見香港蘇富比，2014年10月7日，Lot 3338。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2015年12月2日，lot 89 價格：HKD 75,000（相當於今日EUR 10,500） 描述：明末 / 清初銅象耳壓經爐 專家評論：請注意的相似象耳。

A BRONZE 'DEER' WATERDROPPER, LATE MING TO EARLY QING DYNASTY 明末清初鹿形硯滴 China, 17th to 18th century. Naturalistically modeled as a deer seated on its haunches, detailed with branched antlers growing horizontally and forking into each other, the face with large wide eyes and alert funnel-shaped ears, the head raised and turned to one side with an opening through the mouth and pierced behind the neck with a circular aperture.Provenance: The present lot was part of an important collection of archaic Chinese bronzes, built by three generations of the Chasseloupe-Laubat family in France. Prosper de Chasseloup-Laubat (1805-1873), was a prominent aristocrat, politician, and art collector who became Minister of the French Navy and the Colonies under Napoleon III, traveling extensively though all of Asia. His son Louis (1863-1954), an engineer in ship design, significantly expanded the family collection, also during his frequent travels throughout Asia. François (1904-1968), Prosper's grandson, eventually inherited the family passion and became a renowned explorer and participant in the Hoggar Expedition. He was the first French explorer to reach English Malaysia, bringing back previously unpublished documents on the isolated Sakai tribes. As a collector, François Chasseloupe-Laubat was advised by Jean Claude Moreau-Gobard, an important French collector and dealer specializing in Asian art.Condition: Good condition with minor wear and casting irregularities, some nicks. One foot with a minor old repair and associated soldering marks. The bronze with a smooth patina of dark chestnut color overall.Weight: 258.7 gDimensions: Height 12.7 cm, Length 10.5 cm Deer antlers are classified as 'typical' or 'nontypical'. In general, the tines of typical antlers grow vertically as individual points, whereas the tines of nontypical antlers grow down horizontally and sometimes fork. Although most bucks grow typical racks, abnormalities that produce nontypical antlers similar to those seen on the present lot are relatively common.Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 14 September 2015, lot 8082Price: USD 3,125 or approx. EUR 3,700 converted and adjusted for inflation at the time of writingDescription: A bronze deer-form water dropper, 17th centuryExpert remark: Compare the related form and similar pose. Note the similar size (9.2 cm). 明末清初鹿形硯滴中國，十七至十八世紀。 造型自然，鹿成坐姿，鹿角分叉上揚，大眼，漏斗狀耳朵竪起，頭部抬起並轉向一側。鹿口有一個開口，頸部後面穿有一個圓形孔。 來源：法國Chasseloup-Laubat家族的三代人共同努力建立的中國古代青銅器重要收藏的一部分。Prosper de Chasseloup-Laubat（1805-1873 年）是一位著名的貴族、政治家和藝術收藏家，後來成為拿破崙三世領導下的法國海軍和殖民地部長，足跡遍及整個亞洲。他的兒子Louis（1863-1954 年）是一名船舶設計工程師。在他頻繁遊歷亞洲期間，他的家族收藏顯著擴大。 Prosper的孫子François（1904-1968）最終也成為著名的探險家和霍格探險隊的參與者。他是第一位到達英屬馬來西亞的法國探險家，帶回了之前未發表的關於與世隔絕的酒井部落的文獻。 作為一名收藏家，François Chasseloupe-Laubat 得到了Jean Claude Moreau-Gobard 的指導，後者是法國一位重要的亞洲藝術收藏家和經銷商。 品相：狀況良好，有輕微磨損和鑄造不規則，有一些刻痕。一隻腳有小修和焊接痕跡。整體呈深栗色。 重量：258.7 克 尺寸：高 12.7 厘米，長 10.5 厘米拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2015年9月14日，lot 8082 價格：USD 3,125（相當於今日EUR 3,700） 描述：十七世紀銅鹿形水滴 專家評論：比較相近的外形和相似的姿勢。請注意相似的尺寸(9.2厘米)。

A SILVERED AND GILT BRONZE 'SHOULAO AND DEER' INCENSE BURNER, QING DYNASTY 清代鎏金鎏銀壽老仙鹿香爐China, 17th-18th century. Well modeled, with the god of longevity shown holding a scroll while seated atop a separately cast recumbent stag with removable gilt antlers. Shoulao's wide sleeve is pierced to let out the smoke rising from within the deer's hollowed back. The interior of the figure is set with a short peg to fit into a pierced aperture on the deer.Provenance: From a private collection on 700 Park Avenue, Manhattan, New York, USA. Condition: Good condition with some old wear and expected casting irregularities, tarnishing to silver, light scratches, tiny nicks, small dents, minute touchups to the gilding of the antlers.Weight: 3,269 gDimensions: Height 25 cm, Length 27 cm During the Qing Dynasty in China, incense burners served not only functional purposes but were also commissioned as decorative objects with deep symbolic significance. These burners often took the form of auspicious animals or figures, reflecting the cultural beliefs and aspirations of the time.Shoulao held great importance in Chinese culture as he represented the desire for longevity and good health. His portrayal with a large head symbolized wisdom, while his long beard signified old age. It was believed that by venerating Shoulao and leading a virtuous and balanced life, individuals could attain longevity and even immortality.Deer are associated with the Daoist concept of immortality due to their believed exceptional lifespan. This led to deer becoming symbolic representations of the wish for a long and prosperous life. In Chinese mythology, they were often depicted as messengers of immortals, possessing magical abilities.Together, Shoulao and the deer exemplify the aspirations for longevity and good fortune.Literature comparison:See the collection of the Victoria & Albert Museum for a closely related group of figural censers that show immortals astride various creatures, particularly accession nos. M.264BODY-1929, M.265-1929, and M.2-1922.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2001, lot 64Price: USD 10,575 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A bronze incense burner and cover formed as Shoulao riding a deer, 17th/18th centuryExpert remark: Compare the related subject, modeling, and manner of casting. Note the size (41.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2008, lot 334 Price: USD 23,750 or approx. EUR 31,500 converted and adjusted for inflation at the time of writing Description: An unusual small lacquered bronze 'Shoulao and deer' incense burner, 17th/18th century Expert remark: Compare the related subject, modeling, manner of casting, and size (24.7 cm). Note the lacquer. 清代鎏金鎏銀壽老仙鹿香爐中國，十七至十八世紀。造型精良，長壽鎏銀，一手握捲軸，一手扶著鹿，笑容可親。鹿成臥姿，鹿角鎏金，可拆卸。 壽老的寬袖被刺穿，香可從鹿凹陷的背部散發。壽老內部裝有一個短釘，可插入鹿身上的穿孔中。 來源：美國紐約曼哈頓公園大道 700 號私人收藏。 品相：狀況良好，有一些磨損和鑄造不規則，銀色失去光澤、輕微劃痕、微小刻痕、小凹痕、鹿角鍍金的微小修飾。 重量：3,269 克 尺寸：高 25 厘米, 長 27 厘米文獻比較： 一件非常相近的壽老神獸香爐，收藏於維多利亞和亞伯特博物館，館藏編號M.264BODY-1929，M.265-1929和M.2-1922。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2001年3月20日，lot 64 價格：USD 10,575（相當於今日EUR 17,000） 描述：十七至十八世紀壽老仙鹿香爐 專家評論：比較相近的主題，模型和鑄造風格。請注意尺寸(41.2厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2008年3月19日，lot 334 價格：USD 23,750（相當於今日EUR 31,500） 描述：十七至十八世紀壽老仙鹿香爐 專家評論：比較相近的主題，模型，鑄造風格和尺寸(24.7厘米)。請注意漆。

AN IMPORTANT AND RARE BAMBOO FIGURE OF A CITIPATI, 17TH-18TH CENTURYTibet or Himalayas. Finely carved standing in samabhanga atop a small skull, lacking feet or arms, the spine neatly detailed, the ribs well-executed in openwork, the two large eye sockets vacant, with fierce grimace and teeth bared. Wearing a crown in the form of a vajra rising from lotus-lappets behind three smaller skulls.Provenance: Marc Assayag, Montreal. Indian Heritage, Paris, acquired from the above. Collection d'un Grand Amateur, France, acquired from the above. Marc Assayag is an art dealer, photographer, researcher, and writer. As one of the pioneers of presenting Tribal Art, Marc has been engaged as guest curator in New York, invited to travel with the Cousteau Foundation and served as photographer for many noted publications. As an international Art dealer, Marc participates in major art fairs around the world both as lecturer and dealer. Specializing in Melanesian art, Marc is also, since 2015, owner of the world class Jolika Collection of New Guinea art, and its reputed library. Established in 2006 by Frederic Rond, Indian Heritage is a gallery specializing in Indian and Himalayan art. Located in St Germain des Pres, Paris, it offers a large selection of primitive and classical pieces with a focus on Himalayan masks.Condition: Very good condition with minor old wear, few minuscule nicks, and occasional light scratches. Fine natural patina, commensurate with age, and an unctuous feel overall. Cornette de Saint Cyr, Paris, 12 June 2021, lot 124, sold for EUR 10.000. A copy of the original invoice accompanies this lot.Weight: 107.2 g (excl. stand)Dimensions: Height 30.7 cm (incl. stand) and 29.6 cm (excl. stand)With an associated metal stand. (2)Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 2 October 2017, lot 3144Price: HKD 9,100,000 or approx. EUR 1,263,500 converted and adjusted for inflation at the time of writingDescription: An extremely rare large gilt-bronze figure depicting a chitipati or kinkara tibet or himalayas, 17th - 18th centuryExpert remark: Compare the related motif, note the material. 十七至十八世紀罕見竹雕屍陀林像 西藏或喜馬拉雅。竹雕屍陀林立像，無足無臂，脊椎細密，肋骨鏤空，兩個大眼窩，猙獰地露出牙齒。頭上有三個骷髏，其後有一個金剛冠。 來源：蒙特利爾Marc Assayag。巴黎的Indian Heritage，購於上述收藏。法國 一個業餘愛好者收藏，購自上述收藏。 Marc Assayag 是一位藝術品經銷商、攝影師、研究員和作家。 作為展示部落藝術的先驅之一，Marc曾在紐約擔任客座策展人，受邀與Cousteau基金會一起旅行，並擔任許多著名出版物的攝影師。 作為國際藝術品經銷商，Marc 以講師和經銷商的身份參加世界各地的主要藝術博覽會。 Marc 專注於美拉尼西亞藝術，自 2015 年以來，他還是世界一流的新幾內亞 Jolika 藝術收藏館及其著名圖書館的所有者。 Indian Heritage 由 Frederic Rond 於 2006 年創立，是一家專門從事印度和喜馬拉雅藝術的藝廊。 它位於巴黎的聖日耳曼德佩區，有大量原始和古典作品，重點是喜馬拉雅面具。品相：狀況極其好，有輕微的磨損，微小的劃痕，局部有輕微劃痕。 細膩的自然光澤，與年齡相稱，整體感覺潤滑。 重量：不含底座107.2 克 尺寸：總高 30.7 厘米，不含29.6 厘米 配金屬支架 (2) 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2017年10月2日，lot 3144 價格：HKD 9,100,000（相當於今日EUR 1,263,500） 描述：十七至十八世紀西藏或喜瑪拉雅屍陀林像 專家評論：比較相近的形制。請注意材質。

A RARE WHITE MARBLE CARVING OF A PHALLUS, WESTERN HAN DYNASTY 西漢漢白玉玉勢China, 206 BC-8 AD. The realistically carved elongated phallus is decorated with rings along the shaft and with a cross-hatched decorative band at the base. The base has a domed recess inside that is pierced horizontally for suspension. This recess has a second aperture that extends to the tip of the phallus.Provenance: Bonhams, Hong Kong, December 16th, 2022, lot 351. Note that Bonham's experts originally dated this lot to the Tang dynasty.Condition: Good condition commensurate with age. Signs of wear, weathering, and erosion. Minor nicks and losses. Soil encrustations overall, issuing from an extended period of burial. These encrustations cannot be easily removed, and they have left distinct marks to the mineral. The stone with natural inclusions and fissures, some of which have developed into hairline cracks. Fine, naturally grown golden-brown patina overall.Weight: 431.7 g Dimensions: Length 18.9 cm Expert's note: Similar to the few known phallus sculptures from ancient China, the heavy encrustation from extensive burial is evidence of its (eventual) use as a grave good. The elaborate carving with great attention to detail and the two apertures, one for suspension and one for added realism, suggest the elite status of the person with which this was buried. Phallic objects carved from stone, or cast from metal or terracotta, are common subjects of any major ancient culture. Throughout time, the phallus was seen as an emblem of life and procreation. Not only did it have the power to induce fertility, but it also had an equally important role as an auspicious emblem which would ward off diseases. The practice of castration and the employment of court eunuchs, likely established in China during the Sui dynasty, added a secondary role of model phalli: the restoration of manhood after death (court eunuchs would be buried with their detached genitalia). However, this multifaceted subject remains somewhat of a taboo, which has contributed to relatively scarce publications about ancient Chinese erotic sculpture.Phalluses of various materials, believed to be associated with fertility rites, have been made in various prehistoric cultures in the Yellow River basin. Later in the Shang dynasty, when pictographic language emerged, the character zu (ancestor) closely resembled the male sexual organ, indicating the significance of the male role in ancient Chinese ancestry.Literature comparison: Compare two similar bronze phallus excavated from a tomb in the Dayun Mountain, Xuyi, Jiangsu, dated to the Western Han dynasty, in the Nanjin Museum, included in the exhibition Tomb Treasures: New Discoveries from China's Han Dynasty, Asian Art Museum, San Francisco, 17 February-28 May 2017. Compare two bronze V-shaped double-phalli, excavated in the tomb of Prince Zhongshan (Liu Sheng), dated to the Han dynasty, published in Mancheng Han mu Fajue Baogao (Excavation Report of the Han Dynasty tomb at Mancheng), Beijing, 1980, vol. 1, pp. 100. The former was unearthed together with a pair of matching stone pebbles, illustrated ibid., vol. 2, pl. LXI, fig. 2.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 29 April 2022, lot 3670 Estimate: HKD 140,000 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: A bronze phallus, Han dynasty Expert remark: Note the similar wrinkle-like rings at the top of the shaft. Note the size (17.2 cm). 西漢漢白玉玉勢中國，公元前206年至公元八年。雕刻逼真的細長陽具，底部飾有交叉紋飾帶。底座內部有一個圓頂凹槽，水平穿孔用於懸掛。凹出有延伸至陰莖尖端的第二個孔。 來源：香港邦翰思，2022年12月16日。請注意邦翰思專家認爲這件拍品來自唐代。 品相：狀況良好，有磨損、風化和侵蝕的跡象，輕微劃痕和缺損。總體而言，土壤結殼是由於長期在地下而產生的。這些結殼不容易去除，並且在大理石上留下了明顯的痕跡。石料具有天然内沁和裂隙，有的已發展成裂紋。整體呈精美的金棕色包漿。 重量：431.7 克 尺寸：長18.9 厘米 文獻比較： 比較兩件戰國時期青銅勢，出土於江蘇大雲山江都王陵，收藏於南京博物館，展覽於《Tomb Treasures: New Discoveries from China's Han Dynasty，Asian Art Museum》，舊金山，2017年2月17日 -5月28。比較兩件漢代V形雙陽具，出土於中山王墓，出土於《滿城漢墓發掘報告》，北京，1980年，卷1，頁100。其中一件與一對相配的鵝卵石一起出土，見上書，卷2，圖LXI，圖2。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2022年4月29日，lot 3670 估價：HKD 140,000（相當於今日EUR 16,500） 描述：漢青銅祖 專家評論：請注意相似的環。請注意尺寸(17.2 厘米)。

AN AGATE BOWL, SONG DYNASTY, CHINA, 960-1279 宋代瑪瑙碗Finely carved, the shallow rounded sides raised on a thick foot and rising to an everted rim, the luminous translucent stone is superbly polished and shows natural swirls and ripples of pale grey to deep honey tones with scattered dark inclusions. With a magnificent surface polish, rendering an unctuous feel to the surface overall.Provenance: From the personal collection of J. J. Lally, New York, USA. With two labels from J. J. Lally, each inscribed with the number '4154'. James J. Lally is a renowned antique dealer and expert, recognized as one of the greatest scholar-dealers of Chinese art, who has been a leader in the field for more than 40 years. After graduating from Harvard College and Columbia University, Lally joined Sotheby's where he held many positions within the Chinese art department. In 1970 he served as the director of Chinese works of art at Sotheby's in New York and Hong Kong, and by 1983 was named president of Sotheby's in North America. In 1986 he founded his namesake gallery, J. J. Lally & Co., at 41 East 57th Street in New York - just a few blocks away from the MoMA, to provide advisory services for keen collectors. Lally fondly recalls the moment, not long after he opened his gallery, when a young man walked through the door with a Shang Dynasty gong—a bronze vessel shaped like a gravy boat—decorated with a dragon and tiger and in beautiful condition. It was, Lally described, “one of the most important objects I ever had in my hands.” The young man said he had inherited it from his father and was not really interested in Chinese art himself. He wanted to buy a sailboat and wondered if the gong was valuable enough to pay for that. “I was very happy to tell him that it was valuable enough to buy two sailboats,” Lally noted. The gallery helped to establish New York as a major center of commerce for Chinese art and allowed Lally to concentrate on his own specific interests, particularly early ceramics, ritual bronze vessels, archaic jade carvings and sculpture. Lally brought a learned approach to his work, publishing detailed, scholarly catalogs that have remained important reference guides within the field. This meticulous approach continued when he produced his own exhibitions and catalogs. Giuseppe Eskenazi, dubbed the “Godfather of Chinese Antiques,” and one of the world's most esteemed Chinese art dealers, also spoke highly of Lally for his achievements in the industry, alongside William Chak from Hong Kong, and the Marchant family from London. In the spring of 2023, Christie's and Bonhams conducted single owner sales of Lally's collection which broke several auction records.Condition: Superb condition with expected old wear, few small areas with inclusions along the foot and rim which have been slightly smoothened.Weight: 127.3 gDimensions: Diameter 9.8 cm With a padded silk box and cover. (2)Literature comparison:Compare a closely related bowl of similar color, dated to the Southern Song period, 9.5 cm diameter, in the collection of the Asian Art Museum of San Francisco, object number B60J6. Compare a related bowl of similar form, dated to the Song dynasty (960-1279), 17.8 cm diameter, in the collection of the Asian Art Museum of San Francisco, object number B60J159.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 19 March 2015, lot 597Price: GBP 13,750 or approx. EUR 15,500 adjusted for inflation at the time of writing Description: A Pale Grey Agate Flower-Form Bowl, China, Possibly Southern Song DynastyExpert remark: Note the size (12 cm diameter).Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 31 May 2017, lot 3141Price: HKD 150,000 or approx. EUR 21,000 adjusted for inflation at the time of writing Description: An Agate Oval Stem Dish, Song Dynasty (960-1279) Expert remark: Note the size (15.7 cm). 宋代瑪瑙碗天然瑪瑙製成，盞身光素，敞口 ，直圈足，乳白色的底色。半透明瑪瑙經過拋光精良，呈現出淺灰色至深蜜色調的自然漩渦和波紋，深色內沁，表面光滑瑩潤。 來源：紐約 J. J. Lally私人收藏，J. J. Lally留下兩個標籤，上面都寫著 '4154'。James J. Lally是一位著名的古董商和專家，被公認為中國藝術最偉大的儒商之一。四十多年來，他一直是該領域的領導者。從哈佛大學和哥倫比亞大學畢業後，Lally加入蘇富比中國藝術部門並擔任多個職位。1970年，他擔任紐約和香港蘇富比中國藝術品總監，並於1983年被任命為蘇富比北美區總裁。1986 年，他在紐約東 57 街 41 號（距現代藝術博物館僅幾個街區）創立了同名畫廊 J. J. Lally & Co.，為收藏家提供諮詢服務。Lally深情地回憶起藝廊開張不久，一位年輕人拿著商代銅器（刻有龍虎圖案的青銅器皿，狀態良好）走進門的那一刻。“這是我手中最重要的物品之一。” 這位年輕人說，他是從父親那裡繼承的，他自己對中國藝術並不真正感興趣。 他想買一艘帆船，不知道這銅器是否值錢。”我很高興告訴他，它的價值足以購買兩艘帆船，” Lally告訴他。該藝廊幫助紐約成為中國藝術的主要商業中心，並使Lally能夠專注於自己的興趣，特別是早期陶瓷、青銅禮器、古代玉雕和造像。Lally為出版了詳細的學術目錄，這些目錄至今仍然是該領域的重要參考，他被譽為“中國古董教父”。全球最受尊敬的中國藝術品經銷商之一的Giuseppe Eskenazi 與香港的 William Chak 和倫敦的 3月ant 家族一樣，也高度評價了 Lally的成就。2023年春季，佳士得和邦瀚斯對拉利的藏品進行了拍賣，打破了多項拍賣記錄。品相：狀況極好，有磨損，足部和邊緣有一些小區域有內沁，已稍微平滑。 重量：127.3 克 尺寸：直徑 9.8 釐米 內襯絲綢蓋盒 (2) 文獻比較： 比較一件非常相近的南宋瑪瑙碗，直徑9.5 釐米，收藏於舊金山亞洲藝術博物館，館藏編號B60J6。比較一件相近的宋代瑪瑙碗有相似的外形，直徑17.8 釐米，收藏於舊金山亞洲藝術博物館，館藏編號B60J159。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年3月19日，lot 597 價格：GBP 13,750（相當於今日EUR 15,500） 描述：可能為南宋瑪瑙花口盌 專家評論：請注意尺寸 (12 釐米 直徑)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年5月31日，lot 3141 價格：HKD 150,000（相當於今日EUR 21,000） 描述：宋瑪瑙橢圓形高足盤 專家評論：請注意尺寸 (15.7 釐米)。

AN AGATE CUP AND MATCHING CUP STAND, YONGZHENG PERIOD 雍正瑪瑙杯及杯碟China, 1723-1735. The tall cup with deep rounded sides rising from a recessed base to a lipped rim, neatly mounted in finely gilt-bronze. The stand matching the cup perfectly, with an accurately carved circular recess to the top center, designed for the cup to fit in. Both carved from the same translucent pale gray stone showing characteristic jagged striations of cream, black, and honey tones, all quite typical for this specific material, which was much coveted at the Yongzheng court.Provenance: From the personal collection of J. J. Lally, New York, USA. With two labels from J. J. Lally, each inscribed with the number '4359'. James J. Lally is a renowned antique dealer and expert, recognized as one of the greatest scholar-dealers of Chinese art, who has been a leader in the field for more than 40 years. After graduating from Harvard College and Columbia University, Lally joined Sotheby's where he held many positions within the Chinese art department. In 1970 he served as the director of Chinese works of art at Sotheby's in New York and Hong Kong, and by 1983 was named president of Sotheby's in North America. In 1986 he founded his namesake gallery, J. J. Lally & Co., at 41 East 57th Street in New York - just a few blocks away from the MoMA, to provide advisory services for keen collectors. Lally fondly recalls the moment, not long after he opened his gallery, when a young man walked through the door with a Shang Dynasty gong—a bronze vessel shaped like a gravy boat—decorated with a dragon and tiger and in beautiful condition. It was, Lally described, “one of the most important objects I ever had in my hands.” The young man said he had inherited it from his father and was not really interested in Chinese art himself. He wanted to buy a sailboat and wondered if the gong was valuable enough to pay for that. “I was very happy to tell him that it was valuable enough to buy two sailboats,” Lally noted. The gallery helped to establish New York as a major center of commerce for Chinese art and allowed Lally to concentrate on his own specific interests, particularly early ceramics, ritual bronze vessels, archaic jade carvings and sculpture. Lally brought a learned approach to his work, publishing detailed, scholarly catalogs that have remained important reference guides within the field. This meticulous approach continued when he produced his own exhibitions and catalogs. Giuseppe Eskenazi, dubbed the “Godfather of Chinese Antiques,” and one of the world's most esteemed Chinese art dealers, also spoke highly of Lally for his achievements in the industry, alongside William Chak from Hong Kong, and the Marchant family from London. In the spring of 2023, Christie's and Bonhams conducted single owner sales of Lally's collection which broke several auction records.Condition: The cup in fair condition, commensurate with age, showing expected minor wear, the stone with natural fissures, some of which have developed into minor hairlines and a star crack below the rim. The matching saucer is in absolutely perfect condition.Weight: 39.1 g Dimensions: Height 4.6 cm With a padded silk box and cover. (3)The appreciation of the agate stone saw a revival during the Yongzheng reign. Records in the archives of the Imperial Jade Workshops, yuzuo, dated 1724-1729, noted that the Yongzheng emperor ordered for agate brush washers and bowls to be kept undecorated in order to show the original pattern of the agate stone. Pieces with 'intricate' designs or of unsatisfactory quality were rejected and sent back to the Imperial Palace Workshops.Literature comparison:The Imperial collections in Taipei and Beijing hold a number of extant agate vessels, bearing the Yongzheng mark and of the period; see Feng Mingzhu, Harmony and Integrity: The Yongzheng Emperor and His Times, Taipei, 2009, pp. 235-245. Compare an agate cup and dish in the Palace Museum, Beijing, illustrated by Yang Boda, Zhongguo Yuqi Quanji, Hebei, 2005, pp. 553 and 550, nos. 10 and 62. Also compare an agate bowl from the Yongzheng period in the National Palace Museum in Taipei, image number K1D000405N000000000PAB.Auction result comparison:Type: Closely related Auction: Sotheby's Hong Kong, 8 October 2014, lot 3774 Price: HKD 1,060,000 or approx. EUR 154,000 converted and adjusted for inflation at the time of writing Description: A rare agate cup incised seal mark and period of YongzhengExpert remark: Compare the related form and size. Note the present Yongzheng reign mark and the missing cup-stand. 雍正瑪瑙杯及杯碟中國，1723-1735年。高杯，杯口鎏金，圈足。杯墊與杯子完美匹配。半透明淺灰色瑪瑙，呈現出典型的奶油色、黑色和蜜色的鋸齒狀條紋，非常漂亮。此類特殊石料，在雍正朝宮廷中備受青睞。 來源：紐約 J. J. Lally私人收藏，J. J. Lally留下兩個標籤，上面都寫著 '4359'。James J. Lally是一位著名的古董商和專家，被公認為中國藝術最偉大的儒商之一。四十多年來，他一直是該領域的領導者。從哈佛大學和哥倫比亞大學畢業後，Lally加入蘇富比中國藝術部門並擔任多個職位。1970年，他擔任紐約和香港蘇富比中國藝術品總監，並於1983年被任命為蘇富比北美區總裁。1986 年，他在紐約東 57 街 41 號（距現代藝術博物館僅幾個街區）創立了同名畫廊 J. J. Lally & Co.，為收藏家提供諮詢服務。Lally深情地回憶起藝廊開張不久，一位年輕人拿著商代銅器（刻有龍虎圖案的青銅器皿，狀態良好）走進門的那一刻。 “這是我手中最重要的物品之一。” 這位年輕人說，他是從父親那裡繼承的，他自己對中國藝術並不真正感興趣。他想買一艘帆船，不知道這銅器是否值錢。”我很高興告訴他，它的價值足以購買兩艘帆船，” Lally告訴他。該藝廊幫助紐約成為中國藝術的主要商業中心，並使Lally能夠專注於自己的興趣，特別是早期陶瓷、青銅禮器、古代玉雕和造像。Lally為出版了詳細的學術目錄，這些目錄至今仍然是該領域的重要參考，他被譽為“中國古董教父”。全球最受尊敬的中國藝術品經銷商之一的Giuseppe Eskenazi 與香港的 William Chak 和倫敦的 3月ant 家族一樣，也高度評價了 Lally的成就。2023年春季，佳士得和邦瀚斯對拉利的藏品進行了拍賣，打破了多項拍賣記錄。 品相：狀況良好，輕微磨損，瑪瑙有天然裂縫，邊緣下方有星形裂縫。配套的碟子狀況極好。 重量：39.1 克 尺寸：高4.6 釐米 內襯絲綢蓋盒(3) 雍正年間，瑪瑙重新得到使用，根據清宮造辦處檔案記載，1724年至1729年，雍正皇帝下令瑪瑙筆洗和碗不加任何裝飾，以顯示瑪瑙的原始圖案。 設計“複雜”或質量不合格的作品被拒絕並送回造辦處。 文獻比較： 台北和北京的故宮收藏有許多現存的雍正款及年代瑪瑙器皿，參見馮明珠，《Harmony and Integrity: The Yongzheng Emperor and His Times》，台北，2009年，頁235-245。 比較一件瑪瑙杯盤，北京故宮博物院藏，見楊伯達著，《中國玉器全集》，河北，2005年，頁553和550，編號10 與 62。比較另一件雍正時期瑪瑙碗，藏於台北故宮博物院，圖號K1D000405N000000000PAB。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2014年10月8日，lot 3774 價格：HKD 1,060,000（相當於今日EUR 154,000） 描述：清雍正瑪瑙素盌 《雍正年製》款 專家評論：比較相近的外形和尺寸。請注意有雍正款，但沒有杯盤。

A GILT BRONZE FIGURE OF PALDEN LHAMO, 17TH-18TH CENTURYTibet. Finely cast, the four-armed deity holding a kila, kartrika, lasso, and drum. Her fierce face with full red lips, baring her teeth, full brows and a large urna, her flaming hair secured by a skull tiara. She wears elaborate jewelry with a garland of heads slung around her waist. Provenance: From a private collection in the Czech Republic.Condition: Good condition with minor wear, casting flaws, small cracks, small nicks, light scratches, rubbing, and minor losses.Weight: 1,080 g Dimensions: Height 16 cm Auction result comparison: Type: Related Auction: Christie's New York, 15 September 2015, lot 23 Price: USD 27,500 or approx. EUR 34,000 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of Palden Lhamo, Tibet, 17th century Expert remark: Compare the closely related modeling and manner of casting with similar pose, wrathful expression, and flaming hair. Note the size (16.5 cm).Auction result comparison: Type: Related Auction: Christie's New York, 17 October 2001, lot 102 Price: USD 7,050 or approx. EUR 11,500 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of Palden Lhamo, Tibet, 17th century Expert remark: Compare the closely related modeling and manner of casting, the figure similarly with four arms and seated in the same pose. Note the smaller size (9.5 cm).

A COPPER-INLAID BRONZE FIGURE OF CINTANAMI MAHAKALA, 17TH-18TH CENTURY 十七至十八世紀六臂大黑天銅像Tibetan-Chinese. Heavily cast, standing atop a separate lotus base with beaded rim, the primary hands before the chest, with four hands in apan mudra, dressed in a dhoti tied at the waist and neatly incised, adorned with beaded jewelry and dharma wheel at the belly, the back with a blossom jewel, a streaming ribbon draped over the shoulders, the face with a wrathful expression, open mouth revealing sharp fangs, curling beard, bulging eyes, the flaming hair behind a skull tiara. The teeth, two toes, and earrings with very fine copper inlays. Provenance: From a German private collection, acquired before 2007. Condition: Extensive wear, few losses, small nicks, light scratches, old metal fills, and some casting irregularities. The base cast separately.Weight: 1,017 g Dimensions: Height 17.2 cmMahakala belongs to the class of dharmapalas or protectors of the Buddhist Faith. According to Tibetan tradition, the dharmapalas are pre-Buddhist local deities. They were subdued by the great master Padmasambhava and included in the pantheon as fierce defenders of Tibetan Buddhism. Tibetan iconographic texts describe seven various forms of Mahakala. This six-armed form is known as Cintamani Mahakala or the 'Mahakala with the Wish Bestowing Gem'.Auction result comparison:Type: RelatedAuction: Christie's Paris, 8 June 2010, lot 321Price: EUR 39,400 or approx. EUR 51,000 converted and adjusted for inflation at the time of writingDescription: A partially gilded bronze statue of Cintamanimahakala, Tibet, 18th centuryExpert remark: Compare the related subject, pose, and style of the dhoti. Note the intact gilding and much larger size (27.5 cm).十七至十八世紀六臂大黑天銅像漢藏。本尊造像直立，一面六臂，頭戴骷髏冠，頂豎忿怒髪，雙目圓睜，粗眉上揚，張嘴露齒，耳戴銅耳飾，面相兇忿。胸前飾瓔珞，手臂掛有臂釧，六臂分施不同手印，肢體粗壯有力。整體處理的細緻到位，通體鎏金，水亮厚實，面部生動攝人。牙齒、兩隻腳趾和耳環都鑲有非常精細的銅。 來源：德國私人收藏，購於2007年前。 品相：磨損嚴重，些微缺損、有小磕損、輕微劃痕、舊金屬填充物和一些鑄造不規則現象。底座分開製作。 重量：1,017 克 尺寸：高17.2 厘米 大黑天梵語名瑪哈嘎拉，藏語稱為貢普，原來是古代印度的戰神，進入佛教後，很受密教的崇奉，是觀音菩薩化現的大護法，在護法中地位很高，同時也是密宗修法所依止的重要本尊。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2010年6月8日，lot 321 價格：EUR 39,400（相當於今日EUR 51,000） 描述：十八世紀西藏部分鎏金大黑天銅像 專家評論：比較相近的主題、姿勢和腰部風格。請注意只有部分鎏金和尺寸較大(27.5 厘米)。

A GILT BRONZE FIGURE OF MANJUSHRI, 18TH CENTURY 十八世紀銅鎏金文殊菩薩Tibetan-Chinese. Finely cast seated in dhyanasana atop a double lotus base with beaded edges, holding aloft the hilt of his sword in his raised right hand, the left hand held in vitarka mudra. The bodhisattva clad in a voluminous dhoti with neatly incised foliate hems and richly adorned with billowing sashes and beaded jewelry. His serene face with sinuously lidded eyes below arched brows centered by a raised circular urna, his bow-shaped lips forming a subtle smile, flanked by elongated ears with chakra earrings, the hair arranged in a high chignon topped by a lotus finial behind the foliate tiara in front of a high chignon topped by a lotus finial. The base sealed, the seal plate incised with a double vajra.Provenance: A private collection in Hungary. Galerie Zacke, Vienna, 8 December 2018, lot 66, sold for EUR 5,100 or approx. EUR 6,400 (adjusted for inflation at the time of writing). A private collection in Portugal, acquired from the above.Condition: Very good condition with minor wear and casting irregularities. Small nicks, some scratches, minor rubbing to gilt. The sword blade lost.Weight: 1,067.2 gDimensions: Height 15.5 cm Auction result comparison: Type: Closely related Auction: Christie's New York, 11 September 2019, lot 379 Price: USD 6,250 or approx. EUR 6,800 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Manjushri, Tibeto-Chinese, 18th century Expert remark: Compare the closely related modeling with similar pose, expression, base, and jewelry. Note the more extensive wear to the gilding, the sword, and the related size (17.2 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 20 September 2021, lot 349 Price: USD 7,560 or approx. EUR 7,700 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Manjushri, Tibeto-Chinese, 18th century Expert remark: Compare the related modeling with similar pose, expression, and base, as well as the loss to the sword. Note the stone inlays, lotus blossom supporting the book, and much smaller size (11.1 cm). 十八世紀銅鎏金文殊菩薩漢藏。文殊菩薩全跏趺坐於蓮座之上，面部豐滿，下頜微尖，雙目微闔，面容肅穆；頭戴五葉寶冠，耳後繒帶上卷，圓形耳璫作寶相花形；雙肩披天衣，兩側尾端對稱搭於蓮座之上，線條流暢自然，斜掛聖帶，於胸前打結，胸前點綴各類釧環、瓔珞；右手上舉結斯克印，持智慧劍劍柄，左手於胸前結說法印；下身著長裙，褶皺自然寫實，裙擺一匝花紋裝飾。來源：匈牙利私人收藏。Galerie Zacke，維也納，2018 年 12 月 8 日，拍品 66，售價 5,100 歐元或約 6,400 歐元（根據撰寫本文時的通貨膨脹情況進行調整）；葡萄牙私人收藏，購自上述拍賣。 品相：狀況非常好，有輕微磨損和鑄造不規則。小刻痕，一些劃痕，瑬金輕微摩擦。劍刃丟失。 重量：1,067.2 克 尺寸：高 15.5 厘米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2019年9月11日，lot 379 價格：USD 6,250（相當於今日EUR 6,800） 描述：十八世紀漢藏文殊菩薩鎏金銅像 專家評論：比較非常相近的模型、姿勢、表情、底座和珠寶。請注意此像鎏金磨損較明顯，以及相近的尺寸(17.2厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2021年9月20日，lot 349 價格：USD 7,560（相當於今日EUR 7,700） 描述：十八世紀漢藏文殊菩薩鎏金合金像 專家評論：比較相近的模型、姿勢、表情、底座，以及劍缺失。請注意內嵌石、蓮花支撐著書本，以及尺寸較小(11.1厘米)。

A LARGE EMBROIDERED SILK PANEL WITH THREE RAKANS Japan, 19th centuryThe large panel is finely embroidered in various shades of red, brown, black, gold, bronze and blue, depicting three rakans under a vine, with one holding a miniature pagoda, another a book, and the last one being Handaka Sonja holding his bowl of alms from which the dragon in front of him emerged. The central embroidery is framed by a silk brocade border and mounted to a wooden stretcher frame. SIZE 156 x 89 cmCondition: Overall still good condition with intricate detail with soiling, loose threads, small tears, and material loss to the silk brocade borders. Provenance: The Langlois Collection. Jean-Marie-Charles Langlois, a Senior Railway Engineer in Indochina from 1920 to 1949, was passionate about Asian art and managed to build a collection that was later repatriated to France by his wife and children after his death. He tragically lost his life in 1949 during a Viet-Minh train attack. His son, Jean Marie Langlois, inherited the collection and continued to expand it with the support of his wife, aiming for coherence and quality in tribute to his father. The collection, which spans over a hundred years of collecting, was recently rediscovered in the family home.

A FINE BRONZE FIGURE OF BENTEN WITH DRAGON, MEIJIJapan, Meiji period (1868-1912) Finely cast as a sinuously coiled dragon clambering up a rock, depicted with finely incised scales, ridged spine, long horns, and spiked mane. The rock surmounted by a bejeweled Benten, seated, and holding a Tama (magical pearl) in her hand, luring the dragon towards her, wearing a long flowing robe opening at the chest, the neatly cast hair arranged in an elaborate coiffure. Condition: Very good condition with minor wear and casting flaws, few minuscule nicks, occasional light scratches. One side of the dragon slightly loose. Provenance: Austrian private collection. Weight: 3,667 g Dimensions: Height 27 cm

NAEMURA MUNEYOSHI: A LARGE BRONZE KORO AND COVER WITH A GEISHA, MEIJIBy Naemura Muneyoshi, signed Naemura Muneyoshi Japan, Meiji period (1868-1912) Consisting of four parts. The bronze incense burner standing with four curved feet issuing from dragon heads, on a circular base worked in high relief with leafy scroll. The body is finely worked with a pattern of arcs, as well as mythological creatures within scrolling cloud reserves. The two curved handles are formed as mythical beast heads. The cover with a finial in the shape of a geisha seated on a rock, dressed in a decorated flowing robe, and playing the Koto. The interior of the body with the signature NAEMURA MUNEYOSHI. Fine brown patination. Condition: Good condition with some wear, small nicks here and there and firing flaws. The geisha with losses to two fingers. Provenance: Danish private collection, acquired at Bruun Rasmussen on 30 June 2011, lot 1126. Weight: 10 kg Dimensions: Height 60 cm

MORIMITSU: A LARGE BRONZE OKIMONO OF A ROARING TIGER, MEIJIBy Morimitsu, signed Morimitsu Japan, Meiji period (1868-1912)Naturalistically modelled, striding forwards and snarling, the eyes inlaid in glass. The bronze cast with fine detail, the stripes rendered realistically. Signed to the underside MORIMITSU. On an original, naturalistically carved wooden base.Condition: Very good condition with minor wear. The separately cast tail slightly loose and with a small loss. Provenance: Austrian private collection. Weight: 11 kg (incl. the base) Dimensions: Length 63 cm, height 38 cmAuction result comparison: For a related bronze okimono of a tiger, just slightly larger in size, see Christie´s London, in Japanese Art & Design Including Arts of The Samurai on 9 November 2011, lot 250, sold for GBP 5,625.

A LARGE AND IMPRESSIVE MIXED METAL DISH DEPICTING WASOBEI AND MOUNT FUJI Japan, Meiji period (1868-1912)The large bronze dish with raised rim neatly engraved with a cloud design, the front worked in iro-e takazogan of suaka, silver, shakudo, and gold depicting the giant Wasobei leaning against Mount Fuji with a somewhat disinterested attitude and glaring at two cranes which are flying past. The details are superbly rendered.DIAMETER 45 cmWEIGHT 7 kgCondition: Very good condition with minor typical wear including some tiny nicks and light surface scratches.Provenance: From a private collection in Chicago, USA.The subject has also been previously identified as Daidarabotchi, a gigantic yokai in Japanese mythology, sometimes said to pose as a mountain range when sleeping.Auction comparison:Compare a closely related dish by Kazutoshi at Zacke, Fine Japanese Art, 2 December 2022, Vienna, lot 79 (sold for 13,000 EUR).

A BRONZE FIGURE OF MOHINI, PALA PERIODBangladesh, 9th-10th century. Standing in samabhanga on a flat lotus base raised on a plinth from which issues a bovine head, her primary hands holding a pot containing Amirdham and a conch, the secondary arms of the enchantress resting on a chakra (wheel) and a gada (mace), her body richly adorned with beaded jewelry, her serene face with almond-shaped eyes and full lips, the hair tied in a tall chignon and the head surmounted by a crown, all framed by a throneback with foliate terminals and a richly carved mandorla topped by a kalasha. The front of the base incised with an illegible inscription.Provenance: Guenther Heil Collection (1938-2014), Berlin, Germany, and thence by descent. Lempertz, Cologne, 9 December 2016, lot 547 (sold for EUR 5,208 or approx. EUR 6,500 adjusted for inflation at the time of writing). A private collection in Monaco, acquired from the above.Condition: Good condition with wear and casting flaws, minor losses, rubbing, small nicks and dents, minor warping. The bronze with a rich, naturally grown patina with malachite encrustations.Weight: 243.3 gDimensions: Height 12.6 cmLiterature comparison: Compare a closely related copper alloy figure of Vishnu, also dated to the 9th century, in the British Museum, museum number 2014,3025.1. Compare a closely related bronze figure of Vishnu, dated to the 8th-9th century, in the Art Institute Chicago, reference number 1985.1109.

A LARGE AND IMPORTANT BRONZE OF SHIVA NATARAJA AND PARVATI, CHOLA PERIODSouth India, 9th-13th century. Superbly cast as a dancing Shiva and Parvati, each atop a double lotus base supported on a rectangular plinth with circular and rectangular apertures. The Lord of Dance performing Ananda Tandava, balancing atop of a dwarflike figure, his consort, Parvati, performing Lasya, joyously dancing and balancing on one leg with one arm outstretched.Provenance: SS Raghavachari, Vepay (Vepery), Madras, India, 29 March 1954. Mary Mark Merrill, acquired from the above (purchased for USD 2,000 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing). Taj (nee Merrill) Gilligan, acquired from the above in the early 1980s. The present lot is accompanies by a copy of the original agreement of sale between SS Raghavachari, resident of Sambanda Vilas, Vepay Madras, South India, and Mary Mark Merrill, Washington, United Kingdom, dated 29 March 1954, with a photograph of the present lot; a copy of the correspondence between Leslie Olmstead Merrill and his mother, dated 12 April 1954, detailing his travels in South India with his wife Mary and their purchase of the present lot; a copy of an appraisal from Wallace Thompson, noted patron of the Asian Art Museum, San Francisco, dated 20 October 1974, stating the value of the present lot as USD 20,000 or approx. EUR 113,000 (converted and adjusted for inflation at the time of writing); and a copy of a provenance statement written and signed by Taj Gilligan, dated 15 July 2023. Mary Mark Merrill was the daughter of real estate and broadcasting tycoon LeRoy Mark, who established the American Broadcasting Corporation (ABC). She married Leslie Olmstead Merrill, professor of Fine Arts at the University of Colorado, in March of 1953. The pair decided to travel the world in 1954, starting in Japan and eventually finding their way to India. Patrons of Asian arts, their love of India never waned, to the extent that they named their daughter Taj. Condition: Good condition with extensive natural wear, both from weathering and centuries of worship. Expected casting irregularities. Losses, cracks, nicks, scratches, all commensurate with age. The base somewhat warped in areas. Obvious heat damage, probably from a temple fire that happened long time ago. Overall displaying exceptionally well.Weight: 135.5 kgDimensions: Height 114 cm, Width 91 cmAnanda Tandava (masculine) dance to express happiness and joy is performed by Lord Shiva, while goddess Parvati is performing Lasya (soft/ feminine) offering a balance of cosmic energies — the male and the female. Together they symbolize the harmonious union of energies without which the universe would be in a state of flux.As a symbol, Shiva Nataraja is a brilliant invention. It combines in a single image Shiva's role as creator, preserver, and destroyer of the universe and conveys the Indian conception of the never-ending cycle of time. Although it appeared in sculpture as early as the fifth century, its present, world-famous form evolved under the rule of the Cholas. Shiva holds in his upper right hand the damaru (hand drum that made the first sounds of creation). His upper left hand holds agni (the fire that will destroy the universe). With his lower right hand, he makes abhayamudra (the gesture that allays fear). The dwarflike figure being trampled by his right foot represents apasmara purusha (illusion, which leads mankind astray). Shiva's front left hand, pointing to his raised left foot, signifies refuge for the troubled soul. These symbols imply that, through belief in Shiva, his devotees can achieve salvation.Literature comparison:Compare a related bronze group of Shiva and Parvati, dated c. 950-960, in the Cleveland Museum of Art, accession number 1961.94. Compare a related bronze group of Shiva, Uma, and Skanda (Somaskandamurti), 53 cm high, dated to the early 11th century, in the Metropolitan Museum of Art, accession number 1982.220.10.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A RARE BRONZE FIGURE OF PARVATI, CHOLA PERIOD, SOUTH INDIA, 13TH-14TH CENTURYThe goddess seated in lalitasana on an oval waisted lotus dais raised on a stepped rectangular base neatly incised with geometric and petal decorations, her left foot resting on a lotus bloom rising from the lower base. The face with large heavy-lidded eyes below arched brows, the hair piled up into a high topknot, the ears adorned with ornaments extending down to her shoulders. The body with fine jewelry, the upavita passing between her breasts and falling to an elaborate broad belt around her waist.Provenance: Collection Particuliere Française, and thence by descent within the family. According to family repute the piece was acquired 1981 in Pondicherry, India (known today as Puducherry).Condition: Good condition, commensurate with age, showing old wear and expected casting flaws, small dents, minuscule nicks, light scratches, minor losses, encrustations. The bronze with a rich, smooth patina due to extensive worship within the culture, particular to the face and breasts.Weight: 130 gDimensions: Height 7.6 cm Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2009, lot 1292 Price: USD 13,750 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: Two small bronze figures of Shiva Nataraja and Parvati Expert remark: Compare the related bronze figure of a standing Parvati, with similar base, features, and wear. Note the slightly larger size (11.7 cm) and that the lot comprises a second bronze.

A GILT AND TURQUOISE-INLAID COPPER ALLOY FIGURE OF GREEN TARA, DENSATIL STYLE, TIBET, 14TH CENTURY 十四世紀西藏銅鎏金嵌綠松石綠度母，丹薩替風格Elegantly cast, seated in lalitasana on a double-lotus base with beaded edges, her pendent right leg supported by a separate lotus blossom stemming from the base. Her right hand held in in varadamudra extending down her leg and her raised left holding a lotus stem which curls around her hand and arm coming to full bloom at the shoulder. Provenance: From an old German private collection.Condition: Remarkably well-preserved condition. Old wear, predominantly from centuries of worship within the culture, with some rubbing and minor losses to gilt. Minimal casting flaws, nicks and dents, occasional light scratches. Losses and possible replacements to inlays. Warping and dents to seal plate. The bronze with a fine, naturally grown, smooth patina overall.Weight: 908.1 g Dimensions: Height 16.2 cm She is clad in a dhoti neatly incised with rows of floral designs and a finely beaded hem, and richly adorned with a foliate crown, beaded necklace, belt, armlets and bracelets, and pendent earrings, all with fine turquoise inlays. Her serene face with sinuously-lidded downcast eyes below elegantly arched brows, her full lips forming a calm smile, her hair pulled up into a high chignon and falling elegantly in a twisted strand over her right shoulder and back. Heavily cast gilt copper alloy figures of this type are characteristic of the Densatil style, a Kagyu monastic complex in central Tibet, southeast of Lhasa, which has long been considered one of the great treasures of Tibet. Founded in the late 12th century, it enjoyed generous patronage and was lavishly decorated during a period of expansion from circa 1360 until the early 16th century. The monastery was known for eight extraordinary memorial stupas symbolizing Buddha's first teaching in Benares. These stupas were called tashi gomang, meaning 'many doors of auspiciousness,' and were multi-tiered copper-alloy structures filled with deities such as the present example, standing more than ten feet tall and resplendent with inlays of semiprecious stones. Prior to the destruction of Densatil during China's Cultural Revolution (1966-1978), eight of them dating between 1208 and 1432 stood in the monastery's main hall.Expert's note: Close stylistic parallels can be drawn between the present work and a number of gilt bronze sculptures produced by Newari craftsmen for the Densatil Monastery. Chief among the diagnostic traits that can identify a work from Densatil are the convexly stepped eyebrows and the precisely incised double-lined eyelids and lips. For example, compare a gilt bronze Padmapani figure, Densatil, 14th century, at Bonhams Paris, 14 June 2022, lot 44, from the Claude de Marteau collection.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 21 April 2021, lot 12 Price: HKD 4,002,500 or approx. EUR 483,000 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Tara, Tibet, Densatil style, circa 14th century Expert remark: Compare the related style, subject, manner of casting, and modeling with similar pose and hand gestures, and adornments with similar turquoise inlays and fine beading. Note the similar size (17 cm). 十四世紀西藏銅鎏金嵌綠松石綠度母，丹薩替風格綠度母頭戴花冠，面相方圓，慈眉善目，神態沉靜。耳垂花璫，胸戴瓔珞，袒露上身，下著錦褲，雙肩豎出蓮花法器，單腿伸出自然坐於單層覆蓮座上。底座密封雙金剛杵印。 來源：德國私人收藏。 品相：保存狀況極好，經過數世紀的膜拜，有磨損、鎏金缺損。鑄造缺陷、刻痕和凹痕、輕微劃痕、鑲嵌物損失和更換，密封板翹曲和凹痕，自然細膩的包漿。 重量：908.1 克 尺寸：高 16.2 厘米 此類型的重鑄鎏金銅合金造像是丹薩蒂爾風格的特徵，它是位於中國西藏自治區山南地區桑日縣的一座藏傳佛教帕竹噶舉派寺院，是帕竹噶舉派的第一座寺院。丹薩蒂爾寺的各類佛教造像數量很多，十分珍貴。它始建於十二世紀末，獲得了慷慨的讚助，並在大約1360年至十六世紀初的擴建。該寺院以八座非凡的佛塔而聞名，這些佛塔象徵著佛陀在貝拿勒斯的第一次教導。這些佛塔被稱為扎西五芒，意思是“許多吉祥之門”，是多層銅合金結構，裡面裝滿了如此拍品一般的造像，高十多英尺，鑲嵌著寶石，金碧輝煌。在中國文化大革命（1966-1978年）期間，丹薩蒂爾寺被毀之前，有8座1208年至1432年的作品矗立在寺院的大殿裡。 專家注釋：這件拍品與尼瓦里匠人為丹薩提爾寺製作的衆多銅鎏金造像在風格上有相似之處。 能夠識別丹薩蒂爾寺造像的主要特徵是凸出的眉毛以及雙眼瞼和嘴唇。 例如，比較一下 Claude de Marteau 收藏的十四世紀的丹薩提爾銅鎏金蓮花手菩薩造像，巴黎邦瀚斯拍賣行，2022 年 6 月 14 日，拍品 44。拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2021年4月21日，lot 12 價格：HKD 4,002,500（相當於今日EUR 483,000） 描述：西藏丹薩替風格約十四世紀銅鎏金度母像  專家評論：比較相近的主題 、鑄造風格、相近的姿勢、手勢，以及類似綠松石鑲嵌和精美串珠的裝飾品。請注意相似的尺寸 (17 釐米)

A BRONZE FIGURE OF DURGA SLAYING THE BUFFALO-DEMON MAHISHA, ORISSA, EASTERN INDIA, 13TH-14TH CENTURYFinely cast with the four-armed goddess slaying the demon just as the he emerges from the decapitated body of the buffalo. The goddess's right foot rests on the back of her lion vehicle, who roars in victory as Durga delivers the death blow with her trident, the decapitated buffalo head lying at the lower end of the pedestal. Resplendent with her arms fanning out and holding her attributes: trident, chakra, and conch. The face dominated by bulging eyes, the deity adorned with jewelry, all raised on a beaded lotus pedestal.Provenance: From a noted Hungarian private collection.Condition: Very good condition with old wear and some minor casting flaws, small nicks, and tiny scratches.Weight: 304.9 gDimensions: Height 10.6 cm The warrior manifestation of Adi Parashakti/ Mahadevi (the Supreme Being in Shaktism) is represented in her most popular form as Mahishasuramardini (Slayer of the Buffalo Demon). Whilst representations of Durga can have between two and twenty arms, in medieval Indian art she is most often shown with eight or ten arms. However, the few extant Orissan metal Durga images in fully developed indigenous style (i.e., sculptures created after ca. 1200) almost invariably show her with only four arms. The four-armed form is most closely associated with Puri.The weapons that Durga holds were bestowed upon her by male Hindu deities. Here, she holds Vishnu's conch (shankha) and disk-like weapon (Sudarshana Chakra) in her upper pair of hands, whereas her two principal, lower hands push Shiva's massive trident into Mahishasura's chest. The artist brilliantly captures the ultimate culmination of this fierce battle, when the powerful demon humbly realizes Durga's blatant superiority in the very moment of his death. The demon in human form emerges from the neck of his buffalo guise. The buffalo's body supports the foot of Durga's bent right leg, whilst the foot of her outstretched left leg rests on the back of her mount (vahana), a lion.Goddess Durga fought Mahishasura for ten whole days. The shape-shifting demon was no match for the radiant and strong goddess. On the tenth day, she slayed him. The nine days of battle became what is celebrated today as the Hindu festival of Navaratri, and the tenth day—the day of victory—is Vijaya Dashami.Durga's serene, calm and graceful face starkly contrasts with the lion's unleashed force and the demon's last rearing up. The crescent moon in her crown, almost entirely worn off, alludes to her association with Shiva, whose Shakti (female creative energy) is known in various manifestations, such as Sati, Parvati, Durga or Kall.According to the Devi Bhagavata Purana, Mahishasura's enormous powers were the result of a boon granted by Brahma. After Mahishasura had performed penance and worshipped the gods for 10,000 years, Brahma granted him one wish. Mahishasura demanded immortality, which Brahma denied. As a compromise, Mahishasura wished that he could only be killed by a woman, and Brahma granted him that favor. As Mahishasura thought that no woman would ever be powerful enough to kill him, he deemed himself immortal, and his vanity and tyranny henceforth knew no bounds. Soon, he had taken control of the Earth. In order to conquer the heavenly world of Svargaloka (Indraloka), Mahishasura and his demon army had to defeat the army of the Devas, which was headed by Indra. The gods and demons fought an intense battle for 100 years. The gods were ultimately defeated, and Mahishasura became the Lord of Heaven as well. After expelling some of the gods from heaven, and making others his servants, he assumed jurisdiction over the gods and began to enjoy his new status as lord of the Triloka (Three Worlds) in a hedonistic way.The Devi Mahatmya (Glory of the Goddess), which forms part of the Markandeya Purana and is one of the most important texts of Shaktism, narrates that the defeated gods were outraged by the suffering to which they had been subjected, and henceforth implored Vishnu and Shiva for help. Vishnu and Shiva knew that they had to utilize the loophole of the boon and that a goddess had to be found who was powerful enough to defeat Mahishasura. Thereupon, a number of gods, including Brahma, Shiva and Vishnu, emitted cruel energies from their bodies, and the flames of anger that rose from the assembled gods merged into a mountain of effulgence, which eventually solidified to form the radiant goddess Durga.Literature comparison:Compare to a closely related iconography of Durga previously in the collection of the late Wolfgang Messmer, Konstanz, Germany, illustrated in Rossi and Rossi, A Selection of Rare Orissan Bronzes, TEFAF 2023, catalog no. 5, page 18-21.

AN EARLY INDIAN BRONZE FIGURE OF GANESHAIndia, c. 16th century. The four-armed deity seated in lalitasana on a lotus base, one hand on his knee and holding a bowl of sweets, the other hand in vitarka mudra, and the two back hands holding a mala and an axe, his face with a long trunk, flanked by large ears, and surmounted by a headdress and conical crown. Condition: Good condition with minor surface wear, minuscule nicks, light scratches, manufacturing flaws, the base with dents, and areas of malachite encrustations. Provenance: Estate of an Austrian collector, the collection was assembled in the 1980s - 1990s through purchases at Galerie Zacke and other specialized galleries in Vienna. Weight: 140 g Dimensions: Height 5.3 cm

A SMALL BRONZE FIGURE OF DURGA SLAYING THE BUFFALO-DEMON MAHISHA, INDIA, 16TH-17TH CENTURYFinely cast with the ten-armed goddess slaying the demon just as the he emerges from the decapitated body of the buffalo. The goddess delivers the death blow with her trident while grasping the demon's head, his decapitated buffalo head and body to her left foot. Her arms fanning out holding various attributes. The face dominated by wide bulging eyes, the deity heavily adorned with jewelry, all raised on a beaded and stepped plinth.Provenance: From the private collection of Naval Captain Schuez, Germany, acquired in the early 20th century, and thence by descent within the same family.Condition: Good condition with expected old wear, mostly from worshipping within the culture, and some minor casting flaws, small nicks, and tiny scratches. Small loss to the pedestal.Weight: 115.7 gHeight: 9.2 cm Literature review:Compare a related eight-armed Durga Mahishasuramardini slaying the demon buffalo, in the British Museum, museum number 1940,0716.40. Also compare a closely related Durga Killing the Buffalo Demon, 9.8 cm tall, in the Philadelphia Museum of Art, accession number 1994-148-180.

A SMALL BRONZE FIGURE OF VISHNUSouth India, 16th-17th century. Standing in samabhanga on a circular lotus base raised on a stepped plinth, his main hands held in mudras and the secondary hands holding a chakra (war discus) and shankha (conch battle trumpet). He is wearing a neatly incised dhoti and richly adorned with jewelry, his head crowned with a kiritamakuta and backed by a shirashchakra.Provenance: Galerie Artheme (Roger Anger), 2 July 1979. Collection Particuliere Française, acquired from the above.Condition: Good condition with casting flaws and extensive wear, predominantly from centuries of worship. Tiny nicks, minor dents, light scratches, encrustations. The bronze with a fine, smooth patina.Weight: 68.4 gDimensions: Height 7.3 cmAuction result comparison: Type: RelatedAuction: Christie's New York, 29 September 2020, lot 41Price: USD 2,125 or approx. EUR 2,400 converted and adjusted for inflation at the time of writingDescription: A small bronze figure of Hayagriva, South India, Tamil Nadu, Vijaynagara period, 15th-16th centuryExpert remark: Compare the related modeling and manner of casting as well as the similar wear, patina, and encrustations. Note the size (9.2 cm).

A BRONZE FIGURE OF PARVATI, LATE VIJAYANAGAR TO NAYAK PERIODSouth India, 16th-17th century. Standing in tribhanga on a double lotus base, the graceful figure of the goddess is pinched at the waist and adorned with elaborate beaded jewelry. Her left arm lingers in lola hasta mudra while the right is raised in kataka mudra. The serene face with deeply incised eyes, brows, and a beguiling smile, the head crowned by a karanda mukata, of piled rings diminishing in size and culminating in a lotus bud, all backed by a large foliate shirashchakra.Provenance: From the private collection of Naval Captain Schuez, Germany, acquired in the early 20th century, and thence by descent within the same family.Condition: Very good condition with minor wear and casting irregularities, minor nicks and small dents mostly to base, occasional light scratches. Weight: 951.8 gDimensions: Height 22 cmLiterature comparison: Compare a related bronze figure of Parvati, also dated to the 16th-17th century, in the British Museum, museum number 1968,0520.1. Compare a related bronze figure of Parvati, also dated to the 14th-15th century, in the British Museum, museum number 1966,0419.1.

A BRONZE FIGURE OF THE JAIN HERO BAHUBALIIndia or Nepal, 18th - 19th century. Standing in kayotsarga atop a circular base with leafy vines wrapped around his arms and legs. The serene face with heavy-lidded almond-shaped eyes below curved brows as well as an aquiline nose and full lips forming a subtle smile, flanked by long pendulous earlobes, the hair arranged in tight curls.Provenance: Collection of Gerard Wahl-Boyer and thence by descent within the same family. French private collection, acquired from the above. Gerard Wahl-Boyer (d. 2014), better known to most as 'Bebe Rose', was an insatiable collector whose interests spanned a wide range of religious and tribal art from South and East Asia as well as Africa. He was a fixture in Parisian auction rooms, known as a great picker.Condition: Very good condition with old wear and minor casting flaws, few losses, dents, nicks, and scratches as well as signs of weathering and erosion. Remnants of pigment. Fine, naturally grown, dark patina with small areas of malachite encrustation.Weight: 2,440 gDimensions: Height 39 cmThe torso and lower body are cast separately, though not detachable, suggesting the possibility of relics contained within, indicated also by the circular aperture to the back of the head.Bahubali was the son of Rishabhanatha (the first tirthankara of Jainism) and the brother of Bharata Chakravartin. He is said to have meditated motionless for a year in a standing posture (kayotsarga) and that during this time, climbing plants grew around his legs. After his a year of meditation, Bahubali is said to have attained omniscience (Kevala Gyana).In 948 AD the Ganga general Chavundaraya commissioned a monumental sculpture of Bahubali at Shravanbelagola, Karnataka. The Gommateshwara statue is the tallest monolithic statue in the world today and was carved out of a single block of granite. It is 17 meters and can be seen from 30 kilometers away. This image inspired the production of smaller devotional images of Bahubali that became popular in southern India. Such images were for household use and were often bought back by pilgrims from one of the Jain tirthas (pilgrimage sites) or centers of Jainism.Literature comparison: Compare a closely related but smaller bronze figure of Bahubali, also dated 1500-1700, in the Victoria and Albert Museum, accession number IM.14-1922. Compare also a larger and older carved chlorite figure, dated to the 14th century, in the British Museum, museum number 1880.241, and a much earlier and smaller bronze figure, dated late 6th to 7th century, in the Metropolitan Museum of Art, accession number 1987.142.339.Auction result comparison: Compare a related but earlier figure of a Jina, dated 10th-11th century, at Christie's New York in Indian and Southeast Asian Art on 23 March 2010, lot 166, sold for USD 62,500.

A BRONZE FIGURE OF GANESHA, SOUTH INDIA, 17TH-18TH CENTURYHeavily cast, seated on a round pedestal encircled by lotus petals, flanked by his vehicle the rat holding a ladoo ball and a cobra rising over sweets, his four hands holding an axe, prayer beads, a goad, and a ladoo ball which he samples from with his trunk. The body adorned with a beaded necklace and a short dhoti around his waist. The face with large almond-shaped eyes and neatly incised brows, the hair secured by a tall crown. Provenance: From an old private collection on the East Coast, USA. The base with a label 'B43'.Condition: Good condition with small casting flaws, few light scratches, minor nicks and losses, extensive old wear from centuries of worship.Weight: 3.9 kgDimensions: Height 20 cm

A SMALL BRONZE FIGURE OF PARVATISouth India, 17th-18th century. Standing in tribhanga on a double lotus base, the graceful figure with a pinched waist and richly adorned with jewelry. Her left arm lingers in lola hasta mudra while the right is raised in katakamukha mudra, the head surmounted by a conical crown, backed by a shirashchakra.Provenance: Galerie Artheme (Roger Anger), 2 July 1979. Collection Particuliere Française, acquired from the above.Condition: Good condition with casting flaws and extensive wear, predominantly from centuries of worship, minor losses, the bronze with a fine, smooth patina with areas of verdigris.Weight: 59.7 gDimensions: Height 7.9 cmAuction result comparison: Type: RelatedAuction: Christie's New York, 12 September 2018, lot 340Price: USD 2,000 or approx. EUR 2,300 converted and adjusted for inflation at the time of writingDescription: A rare miniature bronze figure of Rama, South India, 17th-18th centuryExpert remark: Compare the related casting and similar pose and size (8.6 cm).

A COPPER ALLOY FIGURE OF GANESHA, SOUTH INDIA, 18TH CENTURYThe potbellied deity seated in lalitasana on a petal-form pedestal atop a square base, clad in a finely incised dhoti and adorned with upavita (sacred thread), his face with lozenge-shaped eyes below neatly incised arched brows, his long trunk coiled, the head surmounted by a tiered crown topped by a bud finial.Provenance: From the private collection of Naval Captain Schuez, Germany, acquired in the early 20th century, and thence by descent within the same family.Condition: Very good condition with expected old wear and casting irregularities, tiny nicks, and light scratches, possibly once with attributes now lost. Remnants of ancient pigment. The bronze with a rich, naturally grown, smooth patina.Weight: 198.1 gDimensions: Height 7 cm Literature comparisons:Compare a related copper alloy figure of Ganesha, 12 cm tall, dated 1775-1820, in the Victoria and Albert Museum, accession number 907(IS). Compare a related brass figure of Ganesha, 14 cm tall, dated 19th century, in the Victoria and Albert Museum, accession number IM.77A-1930.Auction result comparison: Type: RelatedAuction: Christie's New York, 20 March 2019, lot 635Price: USD 6,875 or approx. EUR 7,500 converted and adjusted for inflation at the time of writingDescription: A small bronze figure of Ganesha, South India, 17th-18th centuryExpert remark: Note the size (9.2 cm).

A LARGE BRONZE FIGURE OF MAITREYA, PALA REVIVALTibet, late 19th to first half of 20th century. Heavily cast, standing in samabhanga on a double lotus pedestal with a beaded rim, incised with scrolling designs along the base. He is holding in a lotus stem in his right hand which curls up his arm opening to a large blossom supporting a kundika at his shoulder. Wearing a short dhoti tied at the waist by a sash with beaded jewelry and a central floret clasp, his bare arms and chest are adorned with finely beaded jewelry with tassels and floret medallions.Provenance: From a private collection in Germany.Condition: Good condition with minor wear, casting flaws, small nicks, and minor dents.Weight: 5,910 g Dimensions: Height 56.2 cmHis serene face set with almond-shaped eyes and full lips. Finely incised, his curled secured by a foliat tiara and gathered in a tall, multi-tiered chignon surmounted by a lotus blossom.The presence of the kundika vase crowning the resplendent lotus flower by his left shoulder identifies this idealized young prince as the future Buddha Maitreya. Although equally vital to popular Buddhist practice, standing Maitreya images are relatively rare by comparison to more common bronzes of Avalokiteshvara Padmapani.Maitreya, also known as the Buddha of the Future, may be considered a Bodhisattva according to the sutras, or a Buddha according to the tantras. In Tibet, when represented as a Bodhisattva, he may be depicted standing or seated in European style with the feet resting on a small lotus throne. The princely appearance of this figure is one of the most popular manifestations of Maitreya.

A SMALL BRONZE FIGURE OF PARVATISouth India, 18th-19th century. Seated with a pendant leg in lalitasana on a beaded lotus base raised on a stepped plinth, the goddess holding a lotus bud in one hand while the other rests on a protruding platform, her body adorned with ornate jewelry and the head surmounted with a conical crown, backed by a shirashchakra.Provenance: Galerie Artheme (Roger Anger), 2 July 1979. Collection Particuliere Française, acquired from the above.Condition: Good condition with casting flaws and extensive wear, predominantly from centuries of worship. Tiny nicks, small dents, light scratches, minor losses. The bronze with a rich, naturally grown patina with encrustations and small areas of verdigris.Weight: 53.7 gDimensions: Height 5.2 cm

A BRONZE NAGA HEADHUNTER'S TROPHY HEAD NECKLACENagaland, Konyak, 19th century. The necklace strung in jute with beads of varying shapes in green, yellow, red, beige, orange, and black, around a trophy head pendant cast as a face with hollowed eyes and punctured holes for the brows, nose, and mouth, all flanked by pierced ears issuing dangling triangle earrings.Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings.Condition: Good condition with wear and some chips to the beads. The bronze with a fine, naturally grown patina.Weight: 219.6 gDimensions: Length 45 cmThe Konyak tribe from Nagaland is known to represent the headhunting era; the practice of headhunting in the olden days was a strong part of their warrior tradition. The 'Trophy Head' necklace as it is popularly known as is worn by Konyak Warriors as a sign to show how many 'heads' a warrior has taken during the raid of villages. It is called 'Yanshang' in Hongphoi area. In Konyak dialect 'Yanshang' means 'enemies head'. It is represented as a symbol of bravery for the warriors. They also represented manhood and were believed to pass down the warrior with wealth and fortune of the vanquished soul.The Naga comprise a series of related tribal groups concentrated in the border areas of north-eastern India and eastern Burma. They were attracted to rare goods that could be bartered from outside their region. Beaded necklaces were very popular as a show of finery but also as a portable means of displaying and carrying wealth. The components that went into making necklaces were regarded as currency items themselves. Beads and necklaces were accumulated as heirlooms and were passed as dowries and down through generations.Literature comparison:Compare a related Naga necklace, dated to the late 19th-early 20th century, in the Metropolitan Museum of Art, accession number 1988.143.173.

A BACTRIAN LIMESTONE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central Asia, page 49, fig. 45.Oxus Civilization. The column of waisted form flaring towards the ends, the top and base with a crescent-shaped central groove. The stone of light brown hue with deep red veins.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2004. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 30 June 2004, and stating a purchase price of EUR 4,800 or approx. EUR 7,500 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, chips, and natural fissures.Weight: 9,304 gDimensions: Height 29 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 187Price: EUR 8,963 or approx. EUR 14,000 adjusted for inflation at the time of writingDescription: A Bactrian marble column idol, 2nd millennium BCExpert remark: Compare the related form and color of the stone. Note the size (29.5 cm).Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 186Price: EUR 6,573 or approx. EUR 10,500 adjusted for inflation at the time of writingDescription: A Bactrian alabaster column idol, 2nd millennium BCExpert remark: Compare the related form and color of the stone. Note the size (36 cm).

A BACTRIAN STONE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central Asia, page 48, fig. 44.Oxus Civilization. The column of cylindrical form flaring to the foot, the top and base with a deep central groove which runs down the sides of the body. The stone of a red and orange hue with yellow and reddish-yellow bands.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2005. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 28 February 2005, and stating a purchase price of EUR 5,200 or approx. EUR 7,900 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, chips, and natural fissures.Weight: 14.4 kgDimensions: Height 28.2 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 183Price: EUR 7,170 or approx. EUR 11,200 adjusted for inflation at the time of writingDescription: A Bactrian marble column idol, 2nd millennium BCExpert remark: Compare the related form and color of the stone. Note groves to the side and the size (29.5 cm).

A BACTRIAN MARBLE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central Asia, page 50, fig. 46.Oxus Civilization. The column of waisted form flaring towards the ends, the top and base with a crescent-shaped central groove. The stone of dark brown marble with white veins, and stress lines filled with calcite.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2003. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 28 February 2003, and stating a purchase price of EUR 4,100 or approx. EUR 6,500 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Very good condition commensurate with age showing expected old wear and traces of use, some obvious losses, chips, and natural fissures.Weight: 5,320 gDimensions: Height 25.5 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 22 October 2003, lot 464Price: USD 6,600 or approx. EUR 9,900 converted and adjusted for inflation at the time of writingDescription: A Bactrian marble ritual object, 3rd millennium BCExpert remark: Compare the closely related form and color of the stone. Note the larger size (38.1 cm).

A BACTRIAN STONE RITUAL OBJECT, LATE 3rd TO EARLY 2nd MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central, page 75, fig. 61.Oxus Civilization. The staff of cylindrical form, bulging at the center and tapering to the ends. The dark heavy stone with orange-russet inclusions on one side.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2003. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 30 July 2003, and stating a purchase price of EUR 7,500 or approx. EUR 12,000 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, some chips, and natural fissures.Weight: 9.1 kgDimensions: Height 80 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison:Type: RelatedAuction: Christie's London, 15 April 2015, lot 62Price: GBP 23,750 or approx. EUR 40,000 adjusted for inflation at the time of writingDescription: A Bactrian green stone ritual object, c. 2300-1700 B.C.Expert remark: Compare the related form and color of the stone. Note the size (83 cm).Auction result comparison:Type: RelatedAuction: Christie's London, 25 October 2007, lot 104Price: GBP 8,125 or approx. EUR 17,000 adjusted for inflation at the time of writingDescription: A Bactrian gray stone 'idol', late 3rd-2nd millennium B.C.Expert remark: Compare the related form and color of the stone. Note the size (94 cm).

A BACTRIAN DARK GREY STONE OXSCHIST RITUAL OBJECT, LATE 3rd TO EARLY 2nd MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central, page 75, fig. 61.Oxus Civilization. The stone of a greenish-black color, the staff of long cylindrical form tapering on one side.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2003. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 30 July 2003, and stating a purchase price of EUR 6,800 or approx. EUR 11,500 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, some chips, few encrustations, and natural fissures.Dimensions: Height 110 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.The precise use of these objects found in graves at Gonur in Margiana, in the cenotaphs of Sibri near Mehrgarh (Pakistan) and at Tepe Hissar and Shahdad in eastern Iran, is still unknown: they must have been used for some specific task, because their functional end, as a rule is worn, and finally deposed in the graves after the funeral.Literature comparison:Compare a related ritual object with cylindrical shaft tapering then flaring towards the flat ends illustrated in M.-H. Pottier, Materiel Funeraire de la Bactriane Meridionale de l'Age du Bronze, Paris, 1984, pp. 16, pl. V, fig. 7, no. 31.Auction result comparison: Type: RelatedAuction: Christie's London, 2 July 2018, lot 40Price: GBP 15,000 or approx. EUR 23,000 converted and adjusted for inflation at the time of writingDescription: A Bactrian stone idol, circa 3rd-2nd millennium B.C.Expert remark: Compare the related form and note the larger size (138 cm).

A LURISTAN BRONZE 'RAM' WHETSTONE FINIAL, CIRCA 1000-650 BCFinely cast in the form of a recumbent ram, the tubular base is hollowed with two apertures on either side for mounting. The ram naturalistically rendered with a long neck and two large horns which curl around its protruding ears.Provenance: Galerie Persepolis, Brussels, exhibited from 28 October to 13 November 1971. Collection Monsieur H., Brussels, acquired from the above. Collection Madame D.T., acquired from the above.Condition: Good condition, commensurate with age, with wear, signs of weathering and erosion, encrustations, and nicks. The sharpening stone lost.Weight: 93 g (excl. stand) and 164.2 g (incl. stand) Dimensions: Height 7.4 cm (excl. stand) and 12.2 cm (incl. stand)With a modern metal stand. (2)Luristan bronzes are small cast and decorated objects from the Early Iron Age (first millennium BC) which have been found in large numbers in Lorestan province and Kermanshah in western Iran. They include a great number of ornaments, tools, weapons, horse fittings, and a smaller number of vessels including situlae and are characterized by a wide range of idiosyncratic forms and a highly stylized conception of human and animal representation. Those from recorded excavations were generally found in burials. The ethnicity of the people who created them remains unclear, though they may well have been Iranian, possibly related to the modern Lur people who have given their name to the area. Luristan bronze objects came to the notice of the world art market from the late 1920s onwards. They were excavated in considerable quantities by local people and are found today in many of the world's most important museums.Museum comparison:Compare a closely related Luristan wet stone with a bronze ram finial, dated 1000-800 BC, in the Louvre Museum, accession number AO 20866. Compare a related Luristan wet stone with a bronze ibex finial, dated 1000-800 BC, in the Louvre Museum, accession number AO 20864.

A PARCEL-GILT SILVER REPOUSSE RITUAL EWERTibet, 19th century. Finely chased and incised, the round body supported on a petal-lobed spreading foot, a spout emerging from the mouth of a makara with a dragon headed tip and the handle shaped in the form of a dragon. The body with two gilt foliate-shaped panels decorated in relief with Jambhala holding a mongoose in one hand and a jewel in the other, the ground neatly incised with leafy peony. The shoulder with smaller gilt panels, each with one of the eight Buddhist symbols. The neck is incised with band of foliate lappets. The similarly decorated cover with a gilt bronze bud finial rising from lotus petals.Provenance: From a private estate in Dublin, Ireland. The base incised with a collector's number, '63.' Condition: Very good condition with minor wear, minor casting irregularities, light tarnishing, minor dents, and light scratches.Weight: 818 g Dimensions: Height 20.1 cmAuction result comparison: Type: Related Auction: Christie's Amsterdam, 23 March 2011, lot 159 Price: EUR 6,000 or approx. EUR 8,100 adjusted for inflation at the time of writing Description: A Tibetan silver and gilt copper tea vessel, 19th century Expert remark: Compare the related form and spout. Note the larger size (36.5 cm).Auction result comparison: Type: Related Auction: Bonhams Paris, 10 June 2021, lot 73 Price: EUR 3,825 or approx. EUR 4,300 adjusted for inflation at the time of writing Description: A parcel-gilt silver repousse ritual ewer, Tibet, 19th century Expert remark: Compare the related style with panels on either side of the main body and a mahakala handle and spout. Note the size (25 cm).

A PAIR OF BRONZE FIGURES OF SARIPUTRA AND MAUDGALYAYANA, SHAN STATE Burma, 18th-19th century. Each disciple kneeling on a lotus bloom rising from an elegantly curved stem, the hands clasped together in anjali mudra, the serene face with almond-shaped downcast eyes below gently arched brows, flanked by elongated earlobes.Provenance: French trade.Condition: Very good condition with minor wear and casting flaws, signs of weathering and erosion, encrustations, minuscule nicks, light scratches. The fine, naturally grown patina with malachite and cuprite encrustations.Weight: 1,349 g (excl. stand) and 1,268 g (excl. stand)Dimensions: Height 33.3 cm (excl. stand) and 33.8 cm (excl. stand) Each figure with an associated metal stand. (4)In Burma, two disciples traditionally flank important representations of the Buddha. Their presence is historically inaccurate, considering all the Buddha's friends deserted him at the time of his enlightenment. However, it reflects a traditional Burmese Buddhist belief that the faith was introduced into Burma by two of his disciples during the Buddha's lifetime. These two disciples begin to appear as early as the 11th century A.D. and can be identified as two of the chief disciples, Maudgalyayana and Sariputra. Here, the two are depicted in their traditional representation: seated in poses of quiet contemplation. They wear simple robes consistent with the monastic order. They are always depicted slightly smaller than the Buddha in order to reveal their status as disciples. Together, they represent an aspect of Buddhist art unique to Burma.Sariputra and Maudgalyayana were the Buddha's chief male disciples. Traditional accounts say they became spiritual wanderers in their youth. After having searched for spiritual truth for a while, they heard the Buddhist teaching through verses that had become widely known in the Buddhist world. Eventually they met the Buddha himself and were ordained as monks under him. Sariputra was considered the wisest of all Buddha's disciples. Both disciples became teachers, and Maudgalyayana became known for his psychic powers which he taught to his pupils.Literature comparison:Compare a related bronze triad of the buddha with Sariputra and Maudgalyayana, 36 cm high, dated to the 19th century, in the British Museum, registration number 1939,0120.1

A BRONZE STATUE OF BUDDHA SHAKYAMUNI, MANDALAY PERIODBurma, 19th century. Heavily cast, seated in dhyanasana atop a tiered base with the right hand lowered in bhumisparsha mudra and the left above his lap, wearing long flowing robes cascading in voluminous folds. His serene face with agate-inlaid downcast eyes and full lips forming a calm smile, flanked by long pendulous earlobes, the hair in tight curls secured by a band above his forehead.Provenance: Formerly in an old Austrian private estate. Austrian trade, acquired from the above. The base with two manually inscribed merchant labels, numbered '5299/0', and '65112/0', both most likely from Galerie Zacke, c. 1980-1990. Condition: Very good condition with expected old wear and casting irregularities, minor dents, few small losses. The bronze with a rich, naturally grown patina with malachite encrustations.Weight: 10.5 kg Dimensions: Height 42.5 cm Literature comparison: Compare related examples in the Guimet Museum, Paris, accession number MA6210, and in the Asian Civilisations Museum, Singapore, accession number 2014-00461.Auction result comparison: Type: Closely related Auction: Christie's London, 20 September 2011, lot 66 Price: GBP 3,000 or approx. EUR 5,400 adjusted for inflation at the time of writing Description: A Burmese bronze model of a BuddhaExpert remark: Compare the closely related form and size (48.9 cm).Auction result comparison: Type: Closely related Auction: Christie's London, 12 May 2016, lot 205 Price: GBP 3,000 or approx. EUR 5,000 adjusted for inflation at the time of writing Description: A bronze figure of Buddha, Burma, Mandalay period, 19th centuryExpert remark: Compare the closely related form. Note the much smaller size (36.5 cm).

A MONUMENTAL LACQUER-GILT BRONZE STATUE OF BUDDHA SHAKYAMUNI, MANDALAY PERIODBurma, 1853-1948. Massively cast, seated in dhyanasana atop a tiered base centered by a shaped panel, his left hand resting on his lap and his right lowered in bhumisparsha mudra. Wearing long flowing robes cascading in voluminous folds, his serene face with agate-inlaid eyes. The full lips forming a calm smile, flanked by long pendulous earlobes, the hair in tight curls surmounted by an ushnisha and secured by a band of glass inlays.Provenance: From an Austrian private estate. Condition: Very good condition with expected wear and weathering, mostly to lacquer gilding, minor losses, some dents and nicks, light scratches, casting flaws.Dimensions: Height 104.5 cmLiterature comparison: Compare closely related examples in the Guimet Museum, Paris, accession number MA6210, and in the Asian Civilisations Museum, Singapore, accession number 2014-00461.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 29 March 2019, lot 41 Price: HKD 250,625 or approx. EUR 35,200 converted and adjusted for inflation at the time of writing Description: A copper alloy and lacquer seated Buddha in Maravijaya, Myanmar, Mandalay periodExpert remark: Compare the closely related pose, casting, and slightly smaller size (100 cm).

A LARGE AND HEAVY BRONZE TEMPLE BELL, BURMA, 19TH CENTURYHeavily cast with multiple raised horizontal bands encircling the body, a flared mouth, and a lotus petal band on the shoulder painted red below a band of yellow, blue, and orange. The top surmounted by a suspension loop formed by twin chinthe (lions) painted white and yellow, their mouths open in a fierce snarl, and topped by a round jewel with leafy vines on either side. Incised to one side with two lines of inscription.Provenance: From a private Danish collection.Condition: Good condition with wear, signs of weathering and erosion, casting flaws, minor losses to pigments, small nicks, minuscule scratches, and minor chips.Weight: 13.9 kg Dimensions: Height 43.5 cmMuseum comparison:Compare a related bronze monastery bell with a gilded lotus band, 68.6 cm high, dated 1879, in the Metropolitan Museum of Art, accession number 89.4.1466. Compare a related bronze bell cast with twin chinthe, 20.8 cm high, dated to the 19th century, in the Victoria & Albert Museum, accession number IS.33-1980. Compare a related Burmese bronze bell similarly cast with three lines of inscription, 25.5 cm high, dated to the 19th century, in the Victoria & Albert Museum, accession number 9291(IS).

A RARE BRONZE FIGURE OF MAITREYA, PRE-KHMER PERIODThailand or Western Cambodia, 7th-9th century. The Future Buddha standing on a flat base in a slight tribhanga. The slender body clothed only in a short sarong tied simply with a cord, his serene face with almond-shaped eyes and full lips flanked by elongated earlobes, the hair arranged in a jatamukuta with finely incised, towering locks centered by a small stupa.Provenance: From the private collection of Darwin Freeman, collected between the 1968-1971, and thence by descent within the same family. Born 1946 in Idaho, USA, Darwin Freeman was a member of the armed forces and later became an avid collector. He met his wife in the mid-1960s, and the pair later relocated to her hometown of Innsbruck, Austria. In 1967, Freeman was drafted into the U.S. Army and served in Germany and Thailand. While he was stationed at the Embassy in Bangkok, between 1969 and 1971, he actively began engaging in the exploration and collection of ancient bronzes and other works of art. Upon completing his duty, Freeman arranged for his collection to be shipped to Austria, where it remained in storage until this day.Condition: Good condition with some wear and casting flaws, minor losses, one arm with two small fatigue cracks, the attributes held in his hands lost. The bronze with a rich, mottled, naturally grown patina with vibrant malachite encrustations.Weight: 1295.8 g (excl. stand) and 2839.7 g (incl. stand)Dimensions: Height 36 cm (excl. stand) and 43.2 cm (incl. stand)With a modern stand. (2)Literature comparison: Compare a closely related bronze figure of Avalokiteshvara, dated to the 8th-9th century, 38.1 cm tall, in the Walters Art Museum, Baltimore, accession number 54.2963. Compare a closely related bronze figure of Avaolkiteshvara, dated to the second half of the 7th-8th century, 34.9 cm tall, in the Metropolitan Museum of Art, accession number 1987.145. Compare a related four armed Maitreya, much larger in size (122.5 cm), dated to the late 8th century, in the Kimbell Art Museum, accession number AP 1965.01.Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 19 September 2008, lot 291Price: USD 92,500 or approx. EUR 123,000 converted and adjusted for inflation at the time of writingDescription: Maitreya, Eastern Thailand, Buriram Province, Prakhon ChaiExpert remark: Compare the closely related casting and the similar arrangement of hair, short saronh, and pendulous earlobes. Note the size (32.4 cm). Note that this lot is now in the collection of the National Museum of Asian Art, Smithsonian Institution, accession number S2015.24.Auction result comparison: Type: Closely relatedAuction: Lempertz Cologne, 9 December 2016, lot 633Price: EUR 74,400 or approx. EUR 92,500 adjusted for inflation at the time of writingDescription: A fine and rare Buriram bronze figure of Avalokiteshvara. Thailand, Khorat plateau. Early 8th centuryExpert remark: Compare the closely related casting and the similar arrangement of hair, short saronh, and pendulous earlobes. Note the size (53.5 cm).

A BRONZE FIGURE OF BUDDHA, MON DVARAVATI PERIODThailand, 8th-9th century. Finely cast standing with his left hand raised in abhaya mudra and his right lowered in varada mudra, draped in a loose-fitting dhoti and sanghati. His serene face with heavy-lidded eyes, elegantly arched joined brows, full lips, and a broad nose, flanked by pendulous earlobes, his hair in tight curls over a high ushnisha.Provenance: From a noted private collector in Paris, France. Condition: Good condition, commensurate with age. Expected wear, casting flaws, some losses, signs of weathering and erosion, minor nicks and scratches. Weight: 2,025.3 g (excl. stand), 2,467 gDimensions: Height 31.5 cm (excl. stand), 32 cm (incl. stand)With a modern stand. (2)The Mon polity of Dvaravati was one of the earliest and most important societies in mainland Southeast Asia. Based around the Chao Phraya and Mae Klang river basins of central Thailand, Dvaravati was known from early Chinese textual sources, as well as being mentioned in a single local inscription that dates to roughly 550-650 AD. Due to the large numbers of Buddhist sculptures associated with the culture, it is most likely that the rulers were patrons of the Buddhist faith. The images of Buddha were influenced by contemporary Indian sculptural works, including the Gupta style based around the site of Sarnath. The facial features of the Mon Dvaravati Buddhist images, however, display arched, joined eyebrows which are unlike those found in India, and are therefore characteristic of Mon Dvaravati. Compared to earlier and later Thai kingdoms, Dvaravati was geographically and economically isolated, which contributed to the distinct qualities of its sculpture. Their style was bold, self-assured, recognizable, and highly influential on subsequent Thai sculpture and artistic production throughout Southeast Asia.Within the context of the dominant Theravada school of Buddhism, which emphasized the singularity of the Buddha Shakyamuni, bronze sculptures from this area also demonstrate a remarkably cohesive design. As unifying features, the Buddha is clad in the humble dress of a religious renunciant, with the thin garment clinging closely to the body to reveal his delicate proportions and graceful contours that lie beneath. His face is characterized by high cheekbones, full lips, prominent eyes, and - as stated - the curved brows that form the characteristic V-shape at the bridge of the nose.As expressed by Jean Boisselier, "The school of Dvaravati may stand alongside the great Buddhist artistic traditions of India, so enduring were its innovations and so persuasive its influence on most of the art of Southeast Asia" (J. Boisselier, The Heritage of Thai Sculpture, 1975, page 73). Bronze sculptures of this type and large size are exceedingly rare.Further emphasizing the presence of Buddha in the world of the devotee, the figure is depicted as if in motion, with the hems of the robe gently swaying to the sides. This stance, which also draws upon the classic tribhanga posture of Indian sculpture, presages the famous “Walking Buddhas” of Thailand that would grow prominent many centuries later. The bronze caster has masterfully captured the youthful appearance of Buddha that gives the spiritual themes imported from India their highly unique and refined local expressivity.Auction result comparison:Type: RelatedAuction: Christie's New York, 17 March 2015, lot 29Price: USD 269,000 or approx. EUR 318,000 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha, Thailand, 8th centuryExpert remark: Compare the closely related modeling and manner of casting with similar pose, facial features, expression, and robe. Note the size (36.1 cm).

A BRONZE FIGURE OF AVALOKITESHVARA, SOUTH THAILAND, 8TH-9TH CENTURYStanding in samabhanga on a double lotus base with his hands radiating around him, the primary hands holding a kendi and lotus stem and the secondary hands raised near the shoulder. Dressed in a diaphanous dhoti secured around the waist with a sash knotted to one side and falling in pleats, the slender figure adorned with ornate jewelry. The serene face with heavy-lidded eyes below arched brows centered by a small urna, the full lips forming a subtle smile. The hair in wavy locks pulled into a high chignon centered by a diminutive Amitabha Buddha.Provenance: From the private collection of Darwin Freeman, collected between the 1968-1971, and thence by descent within the same family. Born 1946 in Idaho, USA, Darwin Freeman was a member of the armed forces and later became an avid collector. He met his wife in the mid-1960s, and the pair later relocated to her hometown of Innsbruck, Austria. In 1967, Freeman was drafted into the U.S. Army and served in Germany and Thailand. While he was stationed at the Embassy in Bangkok, between 1969 and 1971, he actively began engaging in the exploration and collection of ancient bronzes and other works of art. Upon completing his duty, Freeman arranged for his collection to be shipped to Austria, where it remained in storage until this day.Condition: Very good condition, commensurate with age. Extensive old wear, small losses, casting flaws, signs of weathering and erosion, small nicks, light scratches. Fine, naturally grown patina with extensive malachite encrustation.Weight: 329 gDimensions: Height 16.5 cmExpert's note: The bodhisattva's slightly flexed pose and delicately modeled torso contrast more common hieratic poses found in the Srivijaya period. The long stem of the lotus that trails down the right side to his ankle is balanced by a thick knot and pleated end falling from his left hip.Literature comparison:For another Avalokiteshvara see Diskul, The Art of Shrivijaya, 1980, pl. 25. Also see Van Beek, The Arts of Thailand, 1985, ill. p. 24. Compare with an earlier two-armed Maitreya in Chutiwongs & Leidy, Buddha of the Future, Singapore, 1994, no. 47, p. 81. Also compare with a mid 10th-century Lokanatha and Siva Mahadeva dated in the Songkhla National Museum published in Krairiksh, The Roots of Thai Art, Bangkok, 2012, pp. 177 & 248.Auction result comparison: Type: Near identicalAuction: Bonhams New York, 17 September 2014, lot 172Price: USD 10,000 or approx. EUR 12,000 converted and adjusted for inflation at the time of writingDescription: A copper alloy figure of Avalokiteshvara or Maitreya, South Thailand, 8th/9th centuryExpert remark: Compare the closely related modeling with similar pose, dangling lotus stem, and knotted sash. The figure is the same size (16.5 cm) as the present lot and also shows a similar patina.

A BRONZE FIGURE OF SADASHIVA, KOH KER STYLE, KHMER EMPIRE, LATE 10TH - 11TH CENTURYStanding on a square plinth in sampada with his arms radiating around him, clutching his ten attributes. The five-headed deity clad in a short sampot with fishtail pleat and jeweled sash, incised finely in foliate decorations. The body ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, aquiline nose, an urna, full lips and ears with pendulous earrings.Provenance: From the private collection of Darwin Freeman, collected between the 1968-1971, and thence by descent within the same family. Born 1946 in Idaho, USA, Darwin Freeman was a member of the armed forces and later became an avid collector. He met his wife in the mid-1960s, and the pair later relocated to her hometown of Innsbruck, Austria. In 1967, Freeman was drafted into the U.S. Army and served in Germany and Thailand. While he was stationed at the Embassy in Bangkok, between 1969 and 1971, he actively began engaging in the exploration and collection of ancient bronzes and other works of art. Upon completing his duty, Freeman arranged for his collection to be shipped to Austria, where it remained in storage until this day.Condition: Very good condition commensurate with age, old wear, weathering and corrosion, minuscule nicks here and there, minor losses, fine natural patina with malachite-green encrustations.Weight: 814.7 gDimensions: Height 26.3 cm

A KHMER BRONZE FITTING WITH A FIGURE OF A FEMALE DEITY, ANGKOR PERIODKhmer Empire, 11th-13th century. The fitting of tubular form decorated with ribs and terminating in a finial depicting a female deity standing in samabhanga on a conical platform, her hands in anjali mudra at the chest, dressed in a sampot secured with a belt, adorned with beaded jewelry. Her face with almond-shaped eyes, broad nose, pouting lips, elongated earlobes with pendulous earrings, and a tiara in front of a conical-shaped headdress. Fine, naturally grown, solid patina with malachite and azurite encrustation.Provenance: A private collection in Paris, France. LP Collection, Paris, France, acquired from the above. Condition: Good condition overall, commensurate with age and as expected for a bronze from this period. Extensive wear, signs of weathering and erosion, small losses, nicks, scratches, and encrustations.Weight: 780 g (incl. stand) Dimensions: Height 44.7 cm (incl. stand) and 34 cm (excl. stand)With a fitted modern stand. (2)Literature comparison:Compare a related figure of a female deity, 13.5 cm high, dated to the 11th century, in the CB National Museum, inventory number NMC.409.

A KHMER BRONZE BUST OF LOKESHVARA, BAYON STYLE, ANGKOR PERIODKhmer Empire, 12th century. The four-armed figure is finely cast with intricate locks that extend down the back of his neck and is surmounted by a high, arched headdress, wearing a crown with a central medallion and a prominent necklace. The deity holds four different attributes, one in each hand.Provenance: From the collection of Rene Ronveaux (d. 1991), Belgium, acquired in the 1960s and thence by descent in the same family. A copy of a provenance statement, written and signed by the previous owner, dated 8 December 2022, confirming the provenance stated above, accompanies this lot. Condition: Good condition, commensurate with age. Signs of wear and weathering, corrosion, soil remnants, cracks, dents and losses. The bronze is covered overall in a fine, naturally grown patina with malachite encrustations.Weight: 1,698 g Dimensions: Height 27 cm Mounted on a metal stand. (2)Literature comparison:Compare a related bronze figure of Lokesvara, 27 cm high, dated to the Angkor period, in the National Palace Museum, accession number CAM 3251, published in Brice Vencent's article Nouvelle etude du Lokeśvara Khmer du Musee national de Colombo, Arts Asiatiques 68, 2013, pp. 33.Auction result comparison: Type: Related Auction: Christie's New York, 21 September 2007, lot 366 Price: USD 21,250 or approx. EUR 29,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of Lokeshvara, 13th century Expert remark: Note the similar position of the arms and various implements he holds. Note the size (26.3 cm) and the fact that while this is an entire figure, the present lot - if the entire figure had been preserved - would have roughly double the size of this comparison.Update 25.9.2023: A noted expert and colleague has informed us that there is a possibility that the present lot is pre-angkorian and should be dated accordingly e.g. 8th-9th century. Specifically the hair locks show some iconographical simliarity to certain sandstone figures from phnom da.

A RARE BRONZE FIGURE OF UMA, ANGKOR WAT STYLE, KHMER EMPIRE, 12TH CENTURYExpert's note: The finely cast details of the face, clothing and jewelry are all indicative of the Angkor period. Uma was a favored goddess in Khmer Angkor, and while sandstone representations of the goddess abound, bronze devotional figures of Uma are considerably rarer.Well cast standing upon a simple square plinth with her hands extended. Her pleated sampot is suspended from a charm-embellished belt and a central sash that tapers off in a distinct fishtail shape. She is ornamented in fine jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem.Provenance: The personal collection of Robert Rousset, acquired in the 1950s-1970s. Thence by descent to Jean-Pierre Rousset (1936-2021). The underside with an old label, 'C. 1085'. Robert Rousset (1901-1982) was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. A French "certificat d'exportation d'un bien culturel" (export license), issued 12/12/2022, number 237595, is accompanying this lot. Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks, scratches, dents, a crack to the lower sampot, signs of weathering and erosion, and encrustations. No hidden damages. Magnificent malachite green patina, naturally grown overall.Weight: 547 g (incl. base) Dimensions: Height 17.8 cm (excl. base) and 20.5 cm (incl. base)Mounted on an associated modern base. (2) Auction result comparison: Type: Closely related Auction: Christie's New York, 23 July 2020, lot 36 Price: USD 8,125 or approx. EUR 8,500 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Uma, Khmer, Angkor period, Angkor Way [sic] style, 12th century Expert remark: Note the near-identical size (18.5 cm)

A BRONZE FIGURE OF BUDDHA, ANGKOR PERIOD, KHMER EMPIRE, 12TH CENTURYFinely cast seated in dhyanasana, his hands held in dhyana mudra, wearing a sampot and adorned with armlets and a necklace. The face with a serene expression marked by almond-shaped eyes and full lips forming a subtle smile, flanked by pendeloque earrings, his hair arranged in tight curls over the conical ushnisha and behind a striated tiara.Provenance: French private collection and thence by descent. According to the family, the present lot was acquired at Christie's in 1989.Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, nicks, scratches, encrustations. The bronze with a rich, naturally grown, dark patina showing distinct malachite encrustations.Weight: 121.5 gDimensions: Height 8.9 cm Literature comparison:Compare a Khmer bronze of a seated Buddha, 8.3 cm tall, dated 13th-17th century, in the British Museum, museum number 1954,0715.17.Auction result comparison: Type: Closely relatedAuction: Sotheby's Melbourne, 1 May 2007, lot 81Estimate: AUD 5,000 or approx. EUR 4,600 converted and adjusted for inflation at the time of writingDescription: A bronze kneeling figure of a Vishvarkaman, the celestial architect, Khmer, 12th centuryExpert remark: Compare the related manner of casting, modeling, and patina. Note different subject and the size (16.5 cm).

A KHMER BRONZE FIGURE OF AVALOKITESHVARA, ANGKOR PERIODKhmer Empire, 12th century. The bodhisattva standing in samapada on a square base, holding in his four hands a lotus bud, water vessel, scroll, and rosary, wearing a short pleated sampot with a striated belt decorated with pendent tassels. Richly adorned with jewelry, the hair arranged in a high topknot with a small Buddha Amitabha behind the circular diadem. The face finely detailed with full lips, ridged brows, and almond-shaped eyes.Provenance: Art of the Past, New York, 3 December 2002. Collection of Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above. A copy of the original invoice, dating the piece to the 12th century, accompanies this lot. Condition: Excellent condition commensurate with age. Old wear, minuscule nicks here and there. Fine and naturally grown malachite-green patina overall.Weight: 297.8 g Dimensions: Height 14.5 cmAvalokiteshvara is the personification of compassion, and the figure has a lively facial expression with alert eyes and a pleasant smile, bestowing benevolence on the devotee.The rigid frontal pose is characteristic of the Angkor Wat period and, in contrast to the preceding Baphuon style with its delicate curves, sculptures display an authoritarian nature not seen since the Bakheng period, possibly reflecting political developments at the time. The eyes are prominently outlined, the corners extending towards the temples, a feature found extensively in both stone and bronze sculpture of this period.Literature comparison:Compare a related bronze figure of Avalokithesvara, Angkor period, in the collection of the Metropolitan Museum of Art, accession number 1999.262.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 19 March 2008, lot 243Price: USD 73,000 or approx. EUR 97,000 converted and adjusted for inflation at the time of writingDescription: Avalokiteshvara, copper alloy, Khmer, Angkor PeriodExpert remark: Compare the closely related pose and facial features. Note the significantly larger size (34 cm).

A ROCK CRYSTAL LINGA AND BRONZE YONI, ANGKOR PERIODKhmer empire, 12th-13th century. The linga is supported by the square stepped yoni terminating in a tapered spout and covered entirely in a rich, naturally grown patina with distinct malachite encrustation. The finely cut linga is completely transparent with a flat base and a rounded top, the stone of good clarity with few minute natural inclusions. (2)Provenance: French trade.Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations overall, small losses, casting flaws, minor dents. It cannot be said with certainty that the Linga is original to the Yoni, but the crystal is ancient and fits perfectly well, and so it has a good chance to be.Weight: 1.001.2 Dimensions: Length 14.6 cm The lingam and yoni (or snanadroni) are aniconic representations of Shiva and Uma. They are symbolic of the female and male reproductive organs, which within Hinduism bring a balance to the cosmos when joined together. Within Hindu countries, adoration of the lingam was understood to be worship of the great generative principle of the universe, conceptualized as an aspect of Shiva. Some of the Khmer kings identified themselves with Shiva, placing a lingam at the summit of their most important temples as part of their royal paraphernalia.Literature comparison:Compare a closely related quartz linga and bronze-silver alloy snanadroni, dated to the Angkor period, in the National Museum in Phnom Penh, accession number Ga.3557. Compare a related Khmer stone linga with architectural base, 37.5 cm high, dated to the Angkor period, ca. 975, in the Metropolitan Museum of Art, accession number 1988.393.Auction result comparison: Type: Related Auction: Christie's New York, 23 March 1999, lot 222 Price: USD 9,200 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A quartz linga and gilt bronze yoni, Thailand, 15th century or earlier Expert remark: Compare the closely related form. Note the gilding, separate cylindrical cover, and size (19.8 cm). Note the Thai attribution.

A BRONZE FIGURE OF UMA, LOPBURI STYLE, ANGKOR PERIODThailand, 13th century. Cast standing in samabangha on a square base holding a lotus bud, wearing a long pleated fishtail hem sampot folded over at the waist and secured by a belt decorated by a small flower head to the back. The female deity adorned with jewelry, her face with ridged eyebrows, a broad nose, pouting lips, elongated earlobes with pendeloque bud-shaped earrings, her hair gathered to the top surmounted by a conical headdress.Provenance: From an old French family collection.Condition: Very good condition with old wear and some minor casting flaws, small nicks and losses, and minor pitting. Spectacular, naturally grown patina overall with several layers of malachite encrustations.Weight: 531.2 g (excl. stand) and 744.1 g (incl. stand) Dimensions: Height 19.5 cm (excl. stand) and 20.4 cm (incl. stand) Mounted on an associated metal base. (2)Bronze devotional figures of Uma are rare, unlike the abundant sandstone representations of the goddess. The finely cast details of the face, clothing, and jewelry are all indicative of the Angkor period. Uma was a favored goddess in Khmer Angkor.The ancient city of Lopburi has a history dating back to the Dvaravati period more than 1000 years ago. According to the Northern Chronicles, the Lavo Kingdom was founded by Phraya Kalavarnadishraj, who came from Takkasila in 648 AD. The city was incorporated into the administration structure of the Khmer Empire during the reign of Suryavarman I (1006-1050). According to a legend in the Northern Chronicles, in 903, a king of Tambralinga invaded and took Lavo and installed a Malay prince to the Lavo throne. The Malay prince was married to a Khmer princess who had fled an Angkorian dynastic bloodbath. The son of the couple contested for the Khmer throne and became Suryavarman I, thus bringing Lavo under Khmer domination through personal union. Suryavarman I also expanded into Isan, constructing many temples.Expert's note: The present figure is of an amalgamated style that emerged around Lopburi when it was occupied by the Khmer empire in the twelfth century. The pronounced physique in the present figure displays the influences of Khmer imagery of the Angkor period, while the earlier local Dvaravati influence can be seen in the wide face and conical chignon.Literature comparison:Compare a related Khmer bronze figure of Uma, dated 11th-12th century, in the collection of the Victoria & Albert Museum, museum number IS.62-1993.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 March 2014, lot 367Price: USD 10,000 or approx. EUR 12,000 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Uma, Thailand, Lopburi style, 13th centuryExpert remark: Note the size (24 cm).

A LARGE BRONZE HEAD OF BUDDHA, SUKHOTHAI KINGDOM, THAILAND, 15TH CENTURYCast with a serene expression, incised heavy-lid downcast eyes below arched eyebrows, a sharp nose, full lips forming a calm smile, flanked by pendulous earlobes with tips turned outward, the hair arranged in tight curls over the ushnisha.Provenance: From an old German private estate.Condition: Good condition, commensurate with age. Wear, losses, casting flaws, cracks, dents, nicks, and scratches. The bronze with a rich, smooth, naturally grown patina with malachite encrustations.Weight: 10.7 kg (excl. stand) Dimensions: Height 33.5 cm (the head) and 36.5 cm (incl. stand) With an associated wood stand. (2)Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 17 September 2014, lot 176Price: USD 27,500 or approx. EUR 33,000 adjusted for inflation at the time of writingDescription: A copper alloy head of Buddha, Thailand, Late Sukhothai period, Kamphaeng Phet style, 15th centuryExpert remark: Note the size (38.1 cm).Auction result comparison: Type: Closely relatedAuction: Christie's London, 11 May 2016, lot 94Price: GBP 20,000 or approx. EUR 33,000 adjusted for inflation at the time of writing Description: A fine bronze head of Buddha, Thailand, Sukhothai period, 15th centuryExpert remark: Note the size (33 cm).Auction result comparison: Type: Closely relatedAuction: Christie's London, 11 May 2016, lot 81Price: GBP 35,000 or approx. EUR 58,000 adjusted for inflation at the time of writing Description: A monumental bronze head of Buddha, Thailand, Sukhothai period, 14th centuryExpert remark: Note the size (36 cm).

A LARGE BRONZE HEAD OF BUDDHA, LAN NA KINGDOM, CHIENG SEN STYLENorthern Thailand, 15th century. Heavily cast, the serene face with downcast eyes, heavy eyelids under arched eyebrows, the hair finely worked in rows of curls, pulled together at top towards the ushnisha.Provenance: Christie's Amsterdam, 13 April 1999. A German private collection, acquired from the above. A private collection in Monaco, acquired from the above via an intermediary.Condition: Good condition, commensurate with age. Signs of weathering and erosion, remnants of gilt, extensive wear. Obvious losses, fissures, minor nicks and scratches. Remnants of gilt. The bronze with a rich, naturally grown patina with areas of verdigris.Weight: 23.4 kg (incl. stand)Dimensions: Height 38 cm (excl. stand), 44 cm (incl. stand)Mounted to a stone stand. (2)The larger than life-size and superbly cast head of the historical Buddha shows him with a sublime inner calm resulting from his deep spiritual compassion. This is enhanced by the rich patina of the bronze. The voluminous face, with its snail-shaped curls, is a fine testimony of the casting workshops of the city of Chieng Sen in the Lan Na kingdom in North Thailand.Auction result comparison: Type: Closely relatedAuction: Christie's London, 11 May 2016, lot 102Price: GBP 40,000 or approx. EUR 65,000 adjusted for inflation at the time of writingDescription: A monumental bronze head of buddha, Thailand, Chieng Sen period, 15th centuryExpert remark: Compare the closely related modeling, with similar facial expression, and wear, with a similar patina. Note the related size (41 cm).

A BRONZE FIGURE OF BUDDHA SHAKYAMUNI, NORTHERN THAILAND, 17TH CENTURYSeated in ardha padmasana on a raised pedestal, the right hand lowered in bhumisparsha mudra, the left held in dhyana mudra above his lap, dressed in tight-fitting monastic robes draped over his left shoulder. The serene face heavy-lidded eyes, arched brows, and full lips forming a benevolent smile, flanked by elongated earlobes, the hair arranged in tight spikes over the ushnisha surmounted by a flame ketumala. Provenance: From the collection of Godfried Wauters, who has been active in the Belgian trade for over 40 years. He has built a substantial art collection including Chinese and Buddhist sculptures, significantly expanding on the collection already built by his late father Gustaaf Wauters (1905-1992).Condition: Good condition with minor wear and casting flaws. Some losses, remnants of gilt, and signs of weathering and erosion. The bronze with a smooth dark patina. Weight: 11.19 kgDimensions: Height 43 cmThe present bronze exhibits typical iconographic and stylistic features of sculpture produced under the Ayutthaya period, however its distinctive facial features - comprised of a pointed jaw, wide lips, upswept eyes, high-arched brows, and broad forehead - are qualities which are diagnostic of the artistic traditions of Chiang Mai, Chiang Rai, and regions near the Thai-Lao border.Literature comparison: Compare a related bronze figure of Buddha Shakyamuni with similar facial features, 55 cm high, dated by inscription to 1540 or 1541, in the British Museum, registration number FBInd.5.a, illustrated by Zwalf (ed.), Buddhism: Art and Faith, New York, 1985, p. 181, no. 253.

AN U-THONG STYLE LACQUER GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNIThailand, 17th century or earlier. Standing in samabhanga, the right hand in abhaya mudra, wearing a samghati, his face with ridged eyebrows, round lips, elongated earlobes, curled hair and the usnisha surmounted by a flame, covered with remnants of gilt.Condition: Good condition, minor wear, few fine cracks, some repairs. Provenance: German private collection.Weight: 4,932 gDimensions: Height 61.8 (incl. base) Mounted to a modern wood base. (1)

A BRONZE FIGURE OF BUDDHA SHAKYAMUNI, THAILAND, 17TH-18TH CENTURYSeated in dhyanasana on a double lotus base with beaded upper edge raised on a faceted plinth, the right hand lowered in bhumisparsha mudra, the left held in dhyanasana above his lap. He is wearing tight-fitting monastic robes draped over his left shoulder. The serene face with a benevolent smile, flanked by long earlobes, the hair in tight curls surmounted by an ushnisha. The front of the plinth incised with an inscription. Inscriptions: Inscribed to the base.Provenance: From a private collection in Finland.Condition: Some wear, casting flaws, scratches, minor losses, small dents, light nicks, minute cracks. The bronze covered in a rich, dark, naturally grown patina with malachite encrustation. Minor areas of corrosion.Weight: 2,208 gDimensions: Height 24 cmAuction result comparison: Type: Closely relatedAuction: Sotheby's Paris, 11 December 2020, lot 99Price: EUR 3,780 or approx. EUR 4,500 adjusted for inflation at the time of writingDescription: A bronze figure of Buddha, Thailand, 17th-18th centuryExpert remark: Compare the closely related modeling and manner of casting with similar face, hairstyle, seating pose, and base. Note the different hand pose and larger size (34.7 cm).

A GILT LACQUERED BRONZE FIGURE OF BUDDHA SHAKYAMUNI, RATTANAKOSIN PERIODThailand, late 18th to 19th century. Seated in dhyanasana on a beaded double lotus pedestal raised on a faceted base with an inscription in front, his hands lowered in dhyanamudra, wearing tight-fitting robes and a sash draped over his left shoulder. The serene face with a benevolent smile, flanked by elongated earlobes, the hair in tight snail shell curls over the ushnishha. Provenance: From a Danish private collection, acquired in the early 1980s. Condition: Good condition with wear and casting flaws. Minor losses, rubbing to gilt, flaking to lacquer, minor nicks, light scratches. The ushnisha lost. Weight: 37.9 kgDimensions: Height 65.5 cm Literature comparison:Compare a related gilt bronze figure of Buddha, 42.5 cm tall, dated to the 16th-17th century, in the Victoria and Albert Museum, London, accession number IS.90-1958.

A BRONZE STANDING FIGURE OF BUDDHA, RATTANAKOSIN PERIODThailand, 19th -early 20th century. Finely cast, standing in samabhanga on a circular lotus pedestal supported on an elaborate, multi-tiered octagonal base finely decorated with beaded and floral designs. His arms lowered and crossed in front, wearing a long flared robe draped over his left shoulder, tied at the waist and densely decorated with floral diaper.Provenance: From an old Belgian private collection. Acquired before 1970 and thence by descent in the family. A certificate of expertise from Royal Art, confirming the dating above, accompanies this lot. Condition: Very good condition with minor wear and casting flaws, and small nicks. The bronze covered in a fine, dark patina.Weight: 1,720 g Dimensions: Height 41 cmBearing a serene expression, his face with downcast eyes, elegantly arched brows, and full lips. The lobes of his ears are elongated, and his hair rendered in dense curls around a domed ushnisha surmounted by a ketumala. The back is cast with a tang.