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A Chinese bronze censer with mask handles and carved wood lotus leaf lid, six-character mark to base, 5 1/4" diaCondition:No visible major issues, some marks on the underside of one foot. 

A cloisonne enamel censer and cover, 8" high, a bronze two-handle bowl with six-character mark to base, 3" high, and a bronze vase with engraved decoration, 7" highCondition:Brass vase is dented and has various surface scratches.Cloisonne censor has various losses, masks and finial are loose, one ring on mask is bent, dent to the side of main body, losses to underside and lid.Smallest censor has no visible damages. 

A canteen of cutlery - Viners, The Bronze Collection - Balmoral consisting six fruit knives, six salad forks, six dinner knives and forks, two serving spoons, six desert spoons and six teaspoons in a wooden caseLocation:

After Jules Moizniez - a pair of late 20th century patinated bronze models of stags on marble plinths, 73cm highLocation:G

An African bronze elongated figure of a man with a club in his handLocation:

Collectables to include ceramics, glassware, a christening robe, a bedspread and a bronze canteen of cutlery in wooden caseLocation:

Grouping of Royal Flying Corps Badges, consisting of bronze OSD cap badge with blade fittings to the reverse. J R Gaunt makers mark to the reverse; brass other ranks RFC cap badge with lug fittings, pair of RFC brass collar badges and a grouping of RFC tunic buttons. (11 items)

Victorian Volunteer Long Service Medal with a Number of Competition Medallions 2nd Volunteer Battalion Hampshire Regiment, Volunteer Long Service medal, VR, engraved naming, “20 SERGT T. TERREY 2ND V.B. HANTS REGT 1895” Also present in this lot are the following, Pair of collar badges, Enamel and white metal competition medal, reverse engraved in 6 lines, ”ST GEORGES/WIMBLEDON 1884/ WON BY/ T. TERREY/ 2ND V.B. HANTS/ 34 POINTS”, Bronze Shooting medal, reverse engraved in 6 lines,”2ND V.B.H.R./ LONG RANGE CLUB/1890/ WON BY/ SERGT TERRY/ 76 POINTS” note spelling of name. Hallmarked silver shooting medal, engraved, “2ND V.B.H.R./LONG RANGE CLUB/1891/ WON BY/ SERGT TERREY/ 66 POINTS”. White metal medallion for the 1st Hants RVC, reverse engraved “CHALLENGE VASE WON BY L CORPL T L H LLOYD 1876”. Late Rod Flood collection

Third Reich Hitler Youth 1938 Kreissieger Badge, fine bronze and enamel breast award badge with central eagle and HJ diamond in cogwheel. White enamel backing with ‘KREISSIEGER 1938’. Reverse with pin and catch fixing. Maker marked ‘A. G. THAM GABLONZ. A. N’. Generally good condition. No enamel damage.

Third Reich Hitler Youth Proficiency Badge in Bronze, fine example with pin and catch fixing to the reverse. Stamped with number ‘94780’ and RZM M1/101. Good condition.

WW2 German Armed Forces 4 Year Long Service Medal, good example complete with its ribbon; 1st October medal complete with the original ribbon; SA Sports badge in bronze complete with its pin and catch fixing to the reverse and a silver Deutsches Turnfest Stuttgart 1933 badge with pin back fixing. (4 items)

Grouping of Badges and Insignia of Hampshire Regiment / Channel Islands Interest, including a bronze OSD Jersey Milita collar badge with two lug fittings to the reverse, brass Elizabeth College OTC shoulder title, Guernsey Militia silver plated officers collar badge, Guernsey School badge and three embroidered JERSEY cloth shoulder titles. (7 items) Late Rod Flood collection

WW2 British Uniform, Headdress and Document Grouping of Captain Dawson Royal Engineers, Beach Groups with D-Day Invasion Maps, superb and comprehensive grouping belonging to Captain Dawson, a veteran of WW1 and serving as part of Beach Groups in the Royal Engineers, landing on D-Day on 6th June 1944. The grouping consists of his original four pocket officers service dress tunic, battle dress blouse with regimental shoulder titles and British army in France formation signs, KD four pocket tunic (no insignia or buttons), officers service dress peaked cap with bronze OSD cap badge, 2x field service caps, various items of equipment and a large archive of documents covering his service in both WW1 and WW2. Amongst the paperwork archive is his original ‘TOP SECRET’ invasion maps of the Normandy beaches with the beaches and areas having the names changed for counter intelligence purposes. Other items include maps of the Normandy area, formation sign for the RE beach groups, etc. A truly superb complete grouping which has come from direct family descent. Grouping in need of personal viewing due to the size of the archive.

1st Pattern WW2 German Army / Waffen-SS Close Combat Clasp in Bronze by Josef Felix & Söhne (J.F.S), superb example of a bronze grade close combat clasp by the maker JFS, award retains nearly all of its dark bronzed finish to the award. Original backing plate and correct horizontal pin and catch fixing. Reverse of the award marked ‘JFS’ and ‘FEC. W. E. PEEKHAUS BERLIN’. Very good example.

Grouping of WW2 German Medals and Awards, consisting of Mothers Cross medal in bronze with full length ribbon, 1st October Entry into Czechoslovakia medal with ribbon, 2x War Service Cross 2nd class with swords (one with loose piece of ribbon), West Wall medal with ribbon and housed in the original paper packet of issue and a SA sports badge in bronze with pin and catch fixing to the reverse. Generally all in good condition. (6 items)

WW2 German Army / Waffen-SS Infantry Assault Badge in Bronze by Alois Rettenmaier, fine example of a bronze grade infantry assault badge which retains much of the original bronze wash finish to the obverse and reverse of the award. Complete with its original pin and catch fixings which are placed on plates and soldered directly to the badge. Very fine example.

German Pre-Third Reich DRA (Deutscher Reichs-Ausschuss) Sports Badges, being a bronze grade example and 2x silver grade examples. All with pin and catch fixings to the reverses. (3 items) Late Colin Kluth collection

A Nice Collection of Prize Medals to the Hampshire Regiment, Hallmarked silver medallion, reverse engraved “BAYONET FIGHTING 1913 CQM SGT GOSLING”. Bronze pin back badge, “CHINA CUP TEAM HANTS 1889”. Hallmarked silver shooting medal, obverse engraved “4TH BN HAMPSHIRE REGT”. Bronze pin back medallion, reverse engraved in 6 lines “2ND VB HANTS/ REGT/ LONG RANGE CLUB/1893/ WON BY/ BANDS DAVIS. Late Rod Flood collection

Third Reich DRL Sports Badge in Bronze, good example retaining much of the original bronze finish, complete with the pin and catch fixing to the reverse; Hitler Youth cloth tunic arm badge with press stud fittings to the reverse; NSRL bevo cloth eagle which is un-issued; pair of rally / day badges for SA Gruppe Niedersachsen and Gau Bayr Ostmark. (5 items)

Third Reich SA (Sturmabteilung) Sports Badge in Bronze, good example complete with the original pin and catch fixing to the reverse. Badge is stamped with issue number ‘247116’. Accompanied by another example which has the original pin fitting but it has become detached. Badge with issue number ‘30281’. (2 items) Late Colin Kluth collection

WW2 German Medals, consisting of a court mounted pair with 1914 Iron Cross 2nd class and 25 year NSDAP Faithful Service decoration, 1st October campaign medal and bronze grade Mothers Cross with shortened ribbon.

Mixed Collection of British Military Cap Badges, Collar Badges, Trade Badges etc, including bronze Royal Engineers officers with blade fittings, Royal Gloucester Hussars other ranks cap badge, bi-metal Manchester regiment cap badge, HLI cap badge, Durham Light Infantry white metal collar badges, etc. Various conditions and periods. (50 items)

French Siege of Paris 1870-71 Commemorative Medallion, bronze medallion with engraved name to the reverse ‘BLANCHE DES ESSARTS’. Generally good condition. The medallion was given to residents of Paris who endured the siege during the Franco-Prussian war.

Campaign Medal Group of 8 to the Hampshire Regiment for the Second World War and Inter War Period, India General Service medal, GV, with clasp North West Frontier 1935, “5496115 PTE. A.E. SWAIN HAMPS R”, General Service medal 1918-62, GVI, “5496115 PTE. A.E. SWAIN HAMPS R.”, 1939-45 Star, Africa Star with 8th Army clasp, Italy Star with star device on ribbon, France & Germany Star, Defence medal and War medal 1939-45. Second World War medals unnamed as issued. Accompanied by bronze and enamel copy of the Africa Star with an integral ‘8’ device. Private Swain is present on the roll of the 1st Battalion Hampshire Regiment for the North West Frontier 1935 and on the 2nd Battalion roll for the Palestine clasp. He is also on the roll for the later India General Service medal with clasp North West Frontier 1936-37. Late Rod Flood collection

Great War 2nd Class Royal Red Cross Medal Attributed to a VAD Nurse Serving in Knebworth Hospital, Royal Red Cross medal, GV, in titled case of issue contained within the original titled brown envelope. Also inside the envelope is the War Office enclosure letter dated 26th August 1921 for the Royal Red Cross 2nd Class medal to Miss Maggie Muirhead. Also included with the lot is a ‘Strand School Kings College’ bronze medallion in fits fitted case of issue and 2 pin back British Red Cross medallions for the County of Hertford.Royal Red Cross 2nd Class – London Gazette 4th April 1919:His Majesty the KING has been graciously pleased to award the Royal Red Cross to the undermentioned Ladies in recognition of valuable nursing services under " The British Red Cross Society" or "Order of St. John of Jerusalem in England," rendered in connection with the War: — Awarded the Royal Red Cross, 2nd Class, Miss Maggie Smith Muirhead, V.A.D. Nurse, Knebworth Aux. Hospl., Knebworth, HertsOriginally from Stirlingshire, Maggie Smith Muirhead was living on the family farm in Knebworth, Hertfordshire on the out break of war. She commenced her engagement as a Nurse on 12th March 1917 working at Knebworth VAD Hospital. She is recorded as having served for 6,952 hours and was also awarded Queen Alexandria’s Certificate. Maggie Muirhead died on 11th August 1936.

WW2 German Army / Waffen-SS Panzer Assault Badge in Bronze Daisy Variant Type B, fine example of a bronze grade semi hollow backed Panzer assault badge being the un-maker marked ‘Daisy’ variant type B without the flaw in the tank tracks. The award retains much of the original bronze finish to the award and is complete with the original pin and catch fixing to the reverse. Very fine example.

Third Reich Mothers Cross Awards, being a bronze, silver and gold grade examples. All complete with a section of original ribbon. (3 items) Late Colin Kluth collection

Third Reich War Service Cross 2nd Class with Swords and Award Citation, being a good example retaining much of the bronze wash finish to the award. Complete with its ribbon. Accompanied by the original award citation issuing the medal on 30th January 1943 to Hilfsweichenwärter Lambert Jansen. The citation has a pre-printed signature of Field Marschall Wilhelm Keitel. Citation with fold lines but otherwise generally a good condition set.

Third Reich Mothers Cross in Bronze with Paper Packet of Issue, good example with enamel obverse, standard reverse with signature of Adolf Hitler and date. Complete with a piece of original neck ribbon. Housed in the original paper packet of issue with makers stamp on the reverse for Oswald Posselt, Gablonz. Accompanied by a miniature bronze grade mothers cross and a full size silver grade mothers cross with piece of neck ribbon. Generally all good condition.

Victorian 24th Middlesex Rifle Volunteers Glengarry Badge, die-stamped other ranks brass glengarry badge (originally blackened) with two lug fittings to the reverse; bronze 10th Battalion Middlesex Regiment officers cap badge with blade fittings to the reverse; 9th battalion other ranks bi-metal cap badge with brooch pin fitting to the reverse; Victorian Middlesex Rifles field service cap badge with brooch pin fitting and a brass MIDDLESEX shoulder title. (5 items)

Third Reich War Service Cross 2nd Class with Swords by Moritz Hauch A.G. Pforzheim, good example retaining much of the original bronze finish. Award ring is stamped with ‘127’ for the maker Moritz Hauch A.G. Pforzheim. Complete with ribbon and original paper packet of issue with makers details printed to the reverse. Two printed stamps have been stuck to the reverse of the packet.

A CLOISONNE ENAMEL 'DA JI' WALL VASE, CHINA, 18th CENTURYOf double gourd shape, the upper and lower bulbs centered by characters reading 'da' and 'ji' ('great fortune') respectively. Tied at the waist with a gilt-bronze flowing ribbon issuing loops and rolling ends along the sides. Finely decorated in bright enamels against a turquoise ground with colorful double-gourds borne on scrolling leafy vines, a bat diligently overlooking with its wings wrapped around the rim. The gilt-bronze back finely chased and incised with intertwining lotus scroll against a ring-punched ground with an aperture for mounting.Provenance: From the private collection of Sara Fredericks, probably acquired in New York during the 1960s, and thence by descent. The back with an old label, '40', and inscribed with a collector's number, '40'. Sara Fredericks (1903-1986) was a designer and retailer who specialized in women's luxury fashion for more than 50 years. After her marriage to Frederick Cohen, who was in the shoe business, she began selling dresses out of her home to women who admired her clothes. ''She lived the life her customers lived,'' said Pauline Trigere, who was among the designers who considered Miss Fredericks a friend as well as a client. Others in that category were Geoffrey Beene, James Galanos, Bill Blass, Oscar de la Renta, Bob Mackie, and Hubert de Givenchy. ''She had impeccable taste,'' Miss Trigere said, “her customers trusted her."Condition: Good condition with minor wear and manufacturing irregularities, including expected pitting. Minor flaking and small losses to enamels, tiny nicks here and there, two small dents with old fills.Weight: 800 gDimensions: Height 23.5 cm Wall vases were particularly popular during the reign of Qianlong and are known to have adorned the walls of the Sanxitang (The Hall of Three Rarities), a tiny studio next to the Imperial bedchamber in the Yangxindian. They were produced in a variety of materials, including porcelain, cloisonne enamel and lacquer, and occasionally inscribed with poems by the Emperor himself, such as the present lot. Compare several porcelain wall vases in the collection of the Palace Museum Beijing, illustrated in The Life of Emperor Qianlong, The Macau Museum of Art, Macau, 2002, cat. nos. 63-2 to 63-9. The present wall vase displays the ornate aesthetic and technical mastery that characterizes cloisonne wares of the High Qing period. The double-gourd vase is particularly fine in the vibrant tones achieved in its enamel and the elegant execution of the linework of the cloisons.Literature comparison: Compare a Yangcai sgraffiato 'bats and clouds' double-gourd form wall vase, with a Qianlong gilt six-character mark in horizontal line and of the period, at Christie's Hong Kong, 30 May 2018, lot 3036. Compare a pair of embellished gilt-repousse copper wall vases, dated to the Qianlong period, at Christie's New York, 13-14 September 2012, lot 1299. Compare a pair of cinnabar lacquer 'daji' double-gourd wall appliques, dated to the Qianlong period, at Sotheby's London, 04 November 2009, lot 122.Auction result comparison: Type: Closely relatedAuction: Christie's London, 12 November 2010, lot 1427Price: GBP 30,000 or approx. EUR 57,500 adjusted for inflation at the time of writingDescription: A cloisonne enamel double gourd wall vase, Qianlong period (1736-1795)Expert remark: Compare the closely related technique, form, and 'da ji' characters. Note the smaller size (17.5 cm). 十八世紀掐絲琺瑯《大吉》葫蘆壁瓶瓶身呈雙葫蘆狀，主體瓶身呈凸面平背的葫蘆形，胸腹之表分別“大"、“吉"楷書二字，綠松石綠地，精美的明亮琺瑯，綠葉藤蔓上掛著多色小葫蘆，葫蘆口鎏金倒蝙蝠。葫蘆瓶腰部鎏金束錦飛揚。葫蘆平背面以銅為材鏨富麗纏枝蓮紋，有一個安裝孔。造型雍容，加工工藝精製。 來源：Sara Fredericks私人收藏，可能於上世紀六十年代購於紐約，保存至今。Sara Fredericks (1903-1986) 曾是一位設計師兼零售商，專注於女性奢華時裝已有五十多年的歷史。與從事鞋業生意的Frederick Cohen結婚後，她開始在家裡向欣賞她的衣服的女士出售衣服。“她過著顧客的生活，" Pauline Trigere說道，她是把 Fredericks 小姐視為朋友和客戶的設計師之一。此外還有Geoffrey Beene，James Galanos，Bill Blass，Oscar de la Renta，Bob Mackie與Hubert de Givenchy。“她的品味無可挑剔，" Trigere小姐說，“她的顧客信任她。" 品相：狀況良好，有輕微磨損和製造缺陷，包括點蝕。 琺瑯有輕微剝落和小缺損，局部有小刻痕，小凹痕和相應的修補。 重量：800 克 尺寸：高 23.5 釐米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2010年11月12日，lot 1427 價格：GBP 30,000（相當於今日EUR 57,500） 描述：乾隆銅胎掐絲琺瑯雙葫蘆壁瓶 專家評論：比較非常相近的技巧、外形和「大吉」款識。請注意尺寸較小(17.5 釐米)。

A BLUE AND WHITE MING-STYLE FLOWER-HOLDER, QIANLONG MARK AND PERIODExpert's note: In an article discussing an exhibition by S. Marchant & Son by D. S. Freedman, "Qing Mark and Period Monochrome and Two-coloured Wares", Arts of Asia, May-June 1992, p. 147, related examples of similar form are referred to as “lotus pod bulb pots," an understandable but quite unique description. The author further explains that blue and white designs may fall under the category of monochromes as they feature a one-color design on a white ground. These differing taxonomies from the 1992 article to today are quite notable, leaving ample room for undiscovered pieces that may still be hidden in private and public collections.China, 1736-1795. Superbly potted, the compressed pear-shaped body supported on a short foot and rising to a waisted neck surmounted by a slightly domed top in the form of a lotus pod pierced with three circular apertures. The exterior is exquisitely decorated in shades of cobalt blue with lotus blossoms and auspicious blooms borne on leafy scrolling vines, above a lappet band encircling the foot and below a band of floral sprays below the top, which is similarly decorated with lotus scroll, all framed by neatly applied double-line borders.The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period. Provenance: From a private family collection in Cheltenham, United Kingdom. Condition: Superb condition with only minor wear and minimal firing irregularities, the interior with some traces of use.Weight: 252.9 g Dimensions: Diameter 8.4 cm, Height 6.5 cm Vessels of this form, variously described as 'flower holders' or 'incense holders', have been recorded from both the Yongzheng and Qianlong periods. The shape was likely inspired by a type of jarlet, made in bronze and pottery, which was popular during the Tang dynasty (see a sancai-glazed pottery jar from the Erwin Harris collection at Christie's New York, 16 March 2017, lot 877). The Qing potters took this design to new heights with variations in glazes from simple, crackled monochromes to brilliant turquoise examples with slip-molded decoration. While the size of the Qing form tended to remain small, usually under 9 cm, this should not allow them to be overshadowed by larger porcelain works of the period. The compact size would have allowed for easier handling and transport, making them suitable for personal devotion, private altars, and carrying during travel, creating a sense of intimacy and personal connection when using incense to cultivate a relationship with the divine realm. There are few other porcelain works that one could take on a pilgrimage so easily.Literature comparison:For two related examples of similar form, see Robert Jacobsen, Ye Peilan, and Julian Thompson, Imperial Perfection: The Palace Porcelain of Three Chinese Emperors, Kangxi - Yongzheng - Qianlong, Hong Kong, 2004, pp. 240, nos. 74 & 95. Celadon-glazed examples of similar form are illustrated in Monochrome Porcelain, The Complete Collection of Treasures of the Palace Museum, vol. 37, Hong Kong, 1999, no. 187, and Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994, vol. 2, no. 869.Auction result comparison: Type: Near identical Auction: Sotheby's Paris, 16 June 2022, lot 204 Price: EUR 30,240 or approx. EUR 31,500 adjusted for inflation at the time of writing Description: A small blue and white 'floral' vase, Seal mark and period of Qianlong Expert remark: Compare the near identical form, decoration, and size (8.3 cm). Note that the present lot boasts an even more accomplished decoration as well as a stronger mark. Also note that this lot has a faint 1.5 cm hairline in the glaze between two of the holes on top of the vase, whereas the present lot is in perfect condition.Auction result comparison:Type: Closely relatedAuction: Christie's, Hong Kong, 30 May 2022, lot 2715Price: HKD 2,016,000 or approx. EUR 239,000 converted and adjusted for inflation at the time of writingDescription: A carved celadon-glazed flower-holder, Qianlong six-character seal mark and of the periodExpert remark: Both this example and the current lot have an extremely compressed form, and while the overall decoration is noticeably different, the molded decoration of the celadon example closely follows the underglaze blue decoration of the current lot. Note the size (7.8 cm). 乾隆款及年代仿明代風格青花花插中國, 1736-1795年。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A ROBIN'S-EGG-GLAZED AND GILT PORCELAIN FIGURE OF A BODHISATTVA, QIANLONG TO JIAQING PERIODChina, 1736-1820. The bodhisattva kneeling on a lotus throne with hands held in veneration as a worshiper in a temple, having an elaborate dhoti with strands of tasseled and beaded jewelry, and wearing a five-pointed crown. The neatly modeled, carved, incised and gilt porcelain finely decorated with blue, turquoise, and chestnut-colored glazes.Provenance: The Estate of Allen Abramson, Farmington Hills, Michigan, USA. A notable private collector in Chicago, USA, acquired from the above. Allen Harold Abramson (1929-2016) was an American art and antiques dealer, collector, and author. He opened his first art gallery in 1964 and kept the company of celebrities such as Marlene Dietrich and Josephine Baker, throwing lavish parties at his famous apartment on Detroit's Six Mile Road. He was also an important patron of the controversial Detroit artist William Girard. In his later years, he wrote and published a memoir titled Allen Abramson: The Odyssey (or the Idiocy). Condition: Good condition with old wear and expected firing irregularities. Minute flaking to enamels. The tip of the tiara and chignon as well as both hands show small repairs.The interior with three circular apertures and small firing cracks, all inherent to manufacture. Presenting exceptionally well. Weight: 1,356 g Dimensions: Height 28.8 cm With an old silk storage box. (2)Expert's note: The present lot belongs a series of figures based on original prototypes in bronze, which were produced by Imperial command during the Yongle and Xuande periods and given as diplomatic gifts to Tibetan leaders. For an example of a prototype for the present lot, see a Xuande mark and period gilt-bronze bodhisattva in the Rietberg Museum, illustrated by Helmut Uhlig in On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art at the Museum of Rietberg Zurich, Zurich, 1995, pl. 72, page 123 (fig.1), where the author suggests that the figure may represent a member of the Chinese imperial family. An unmarked example, dated to the Xuande period, is in the V&A collection, no. 275&A-1898. This piece shows that the robin's egg glaze on the present lot is an ingenious imitation of the colorful cloisonne work on the original prototypes.Literature comparison: For a related porcelain example from the Malcolm MacDonald collection, no. DUROM.1969.358, and now in the Oriental Museum, University of Durham, United Kingdom, see Ireneus Legeza, A Descriptive and Illustrated Catalogue of the Malcolm MacDonald Collection of Chinese Ceramics, London, 1972, p. 122, no. 72. Another enameled porcelain figure of a bodhisattva is illustrated by Lou Pin-heng, Precious Treasures of My Humble House, Taipei, 1988, page 54, no. 12.Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 29 May 2008, lot 578Price: HKD 960,000 or approx. EUR 168,000 converted and adjusted for inflation at the time of writingDescription: A rare enameled figure of a kneeling bodhisattva, QianlongExpert remark: Compare the closely related modeling, with similar pose, face, and base, robin's egg enamels, and gilt decoration. Note the closely related size (29 cm).Auction result comparison: Type: Closely related Auction: Sotheby's, New York, 17 March 2015, lot 362 Price: USD 37,500 or approx. EUR 45,000 converted and adjusted for inflation at the time of writing Description: A robin's egg glazed and gilded porcelain figure of a bodhisattva, Qing dynasty, 18th / 19th century Expert remark: Compare the closely related modeling, with similar pose, face, and base, robin's egg enamels, and gilt decoration. Note the similar condition issues: “The central peak of the tiara has a restored section to the tip, and two fingers on the figure's left hand, and the thumb on the right have been restored." 乾隆至嘉慶時期鎏金陶瓷菩薩像，局部爐鈞釉中國, 1736-1820年。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

AN IMPERIAL GILT-DECORATED 'TROMPE-L'OEIL' PORCELAIN VAJRA, CHINA, 18TH CENTURYThe four-pronged porcelain vajra is masterfully glazed in imitation of worn gilt-bronze and splashes of green to simulate malachite encrustations. The prongs extend out of dragon mouths and are flanked by lotus petals. The central band shows a robin's egg glaze with perfect porcelain copies of lapis lazuli and coral cabochon inlays. Provenance: From a Swedish private collection. Condition: Expected old wear, three prongs with small old repairs, some firing irregularities and minor glaze flakes, tiny nicks and losses.Weight: 130.5 g Dimensions: Length 16.4 cm The vajra, a symbol of indestructibility and power, is one of the primary ritual symbols in Tibetan Buddhism. Derived from Sanskrit and translating to both thunderbolt and diamond, the vajra consists of two sets of prongs from which lotus petals emanate, flanking a central sphere. Often used in combination with a bell, which represents feminine wisdom, the vajra symbolizes the masculine attribute of skillful means or compassion.Vajras are considered to be imbued with magic. The famous Manhattan-based Chinese art dealer Robert H. Ellsworth once owned a related bronze vajra and shared an interesting story: It was given to Mr. Ellsworth by a dear friend who, having learned that Mr. Ellsworth was ill, sent the vajra from his personal shrine to Mr. Ellsworth with instructions to sleep with it under his pillow. Two weeks later, Mr. Ellsworth called his friend to report he had made a full recovery. From that point on, the vajra remained on Mr. Ellsworth's bedroom headboard, resting at the feet of a seated yogi.Trompe l'oeil porcelain is a highly unique genre of Imperial porcelain objects made during the Qing dynasty. It refers to porcelain made in decorated imitation of other objects. These objects varied from archer's rings to imitation wood basins, from lacquer boxes to auspicious symbols like this imitation-bronze vajra. During a rare private viewing of Qing trompe l'oeil porcelain at the National Palace Museum, Chih-En Chen delved into the museum archeology behind ten pieces-these include the comparisons given here and more-with the hopes of finding where these objects were found in situ and whether this was inside or outside the Forbidden City. He discovered that many of the pieces were in fact in the Forbidden city and that they were assembled in only five places: the Jingrengong, the Yangxindian, the Yongshougong, the Shouangong, and the Ningshougong. Chen managed to discover a link between all these locations, namely that they were all associated with buildings intended for the women of the court living at the Forbidden City. The only exception to this is Nigshougong, the Qianlong emperor's retirement palace. Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 October 2013, lot 3031 Price: HKD 9,640,000 or approx. EUR 1,420,000 converted and adjusted for inflation at the time of writing Description: A rare trompe-l'oeil celadon reticulated vase, seal mark and period of Qianlong Expert remark: This trompe-l'oeil porcelain is made in imitation of nuts and dried fruits on a plate with a porcelain vase. Note the similar expert craftsmanship of the imitation nuts and fruits which are masterfully glazed.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 April 2007, lot 516 Price: HKD 5,360,000 or approx. EUR 950,000 converted and adjusted for inflation at the time of writing Description: An unusual pair of 'famille-rose' trompe-l'oeil wall vases, marks and period of Qianlong Expert remark: These two vases are made in the imitation brocade fabric and wood in form of a pipa instrument tucked inside a brocade bag tied at the neck. Note the similar glazing to imitation wood along the pipa's neck. 十八世紀御製仿真描金陶瓷金剛杵四股陶瓷金剛杵，巧妙模仿鎏金銅表面和綠松石鑲嵌物。四股從龍口伸出，兩側鑲有蓮瓣。中央飾帶上飾有爐鈞釉釉，並配有仿青金石和珊瑚的鑲嵌物。 來源：瑞典私人收藏 品相：磨損，小修，一些燒製不規則和輕微刻痕和缺損。 重量：130.5 克 尺寸：長16.4 厘米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，8 4月 2007年，lot 516 價格：HKD 5,360,000 EUR 950,000 （相當於今日） 描述：乾隆款及年代一對罕見粉彩仿真瓷壁瓶 專家評論：這兩個花瓶是仿錦織物和木材材質，形狀像琵琶，放在錦袋裡。請注意琵琶琴頸上與仿木材質。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A CELADON-GLAZED 'BAMBOO' DOUBLE VASE, THE GILT-BRONZE MOUNTS BY L'ESCALIER DE CRISTALThe ceramics from China, 18th century, the mounts from France, 19th century.Naturalistically modeled in the form of two adjacent bamboo stalks, each with small sprigs of leaves rising from the base and side, a small bird with neatly incised plumage perched on the smaller bamboo vase, looking down on the intricate rockwork minutely detailed with a porous structure. The base fitted with a gilt-bronze mount decorated with bands of grasses and petals.Inscriptions: To the base of the ormolu mount, engraved in cursive script 'Escalier de Cristal Paris'.Provenance: From a private collection in London, United Kingdom. Condition: Very good condition with old wear and expected manufacturing irregularities, including some minute flaking to the ware around the top rim of the larger vase, and light scratches and wear to the base.Weight: 372 g Dimensions: Height 12.9 cm Established in 1802 by Madame Marie Desarnaud (1775-1842), the luxury store of the Maison A L'Escalier de Cristal supplied clocks, lamps, and other art objects to ruling families in Europe. The firm exhibited to great acclaim at the 1819 Exposition des produits de l'industrie and was appointed fournisseur brevete du Roi that same year. The business was located in the Palais Royal, a center of excellence for the high-quality jewelers, silversmiths and manufacturers of Objets de Vertu, for which Paris was renowned. Works from L'Escalier de Cristal were commissioned by French aristocrats, finding their way to many royal family collections including the collection of Tsarina Alexander, wife of Nicolas II, who visited Paris in 1896. The company commissioned manufacturers to supply individual components which were then assembled to the firm's own designs, much in the tradition of the 18th century marchands-merciers from whom they inherited their specialist profession. Famous among the pieces produced by L'Escalier de Cristal is the table de toilette, commissioned by the Duchess of Berry, which is housed in the Louvre Museum today. The atelier continued its success throughout the 19th and early 20th century by collaborating with designers and makers such as Galle and Christofle, until it dissolved in 1923. Today, objects from L'Escalier de Cristal are housed in important public and private collections around the world.Auction result comparison: Type: Closely related Auction: Christie's New York, 28 September 2021, lot 17 Price: USD 22,500 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A celadon-glazed bamboo-form vase, 18th century Expert remark: Compare the closely related form and subject. Note the size (15.2 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 10 September 2019, lot 45 Price: USD 16,250 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: An aubergine-glazed 'bamboo' double vase, Qing dynasty, 18th century Expert remark: Compare the closely related form and subject. Note the different glaze and the size (14 cm).Auction result comparison: Type: Related Auction: Sotheby's Paris, 13 October 2022, lot 722Price: EUR 20,790 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing Description: A gilt-bronze mounted Chinese turquoise porcelain pot-pourri, the porcelain Kangxi period (1662-1722), the mounts, attributed to L'Escalier de Cristal, Paris, second half 19th century Expert remark: Compare the gilt-bronze mounts by L'Escalier de Cristal on a turquoise-glazed pot-pourri depicting Liu Hai on a toad. Note the size (25 cm). 十八世紀青釉雙竹瓶，L'ESCALIER DE CRISTAL鎏金銅鑲嵌十八世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

AN EXCEPTIONALLY LARGE AND MASSIVE BRONZE RITUAL TRIPOD WINE VESSEL, JIA, WITH A CLAN MARK, SHANG DYNASTYChina, 13th century BC. Raised on three blade-form supports, the sides flat-cast with two bands of taotie masks, each composed of three masks positioned between the supports and with rounded eyes and slender dividing flange, with a simple strap handle and a pair of rectangular posts with large conical caps cast with comma motifs. The interior with a clan sign in the form of a single pictogram.Provenance: A private collection in Kansai, Japan, acquired before 1960. A Japanese private collection, acquired 2005. Christie's New York, 19 March 2008, lot 487, sold for USD 97,000 or approx. EUR 127,000 (converted and adjusted for inflation at the time of writing). A prominent North American private collection, acquired from the above. Condition: Superb condition, commensurate with age. Old wear, signs of weathering and erosion, encrustations, few small nicks to edges. A clean, natural fatigue crack below one post, as shown in the X-ray images, with three small staples. No losses whatsoever. A rich, emerald-green patina, with distinct patches of azurite, malachite and pale sea-green. Displaying exceptionally well, and exceedingly rare in this magnificent size and condition.X-Ray Images: Available online at www.zacke.at.Weight: 5.9 kg Dimensions: Height 37 cm With an old Japanese wood storage box. (2)Expert's note: Jia of this type, with the decoration arranged in two registers, appeared shortly before the Anyang period (c. 1300-1030 BC). The main decoration was usually that of taotie masks, either cast in relief or flat cast as on the present jia, and on the very similar jia of slightly smaller size (35.2 cm), illustrated in Shang Ritual Bronzes in the National Palace Museum Collection, Taipei, 1998, pp. 152-7, no. 9, also illustrated on the National Palace Museum's website, image number C1A000405N000000000PAD.Literature comparison:Compare a related bronze jia, 45 cm high, dated 13th-12th century BC, illustrated by R.W. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Cambridge, Massachusetts, 1987, pp. 164-5, no. 7. Compare two related jia vessels illustrated in Shang Ritual Bronzes in the National Palace Museum Collection Taipei, 1998, p. 156, excavated in 1968 at Xiao chuan, Anyang prefecture, Henan province, the first from Tomb M388 and the second from Tomb 331. Compare a related jia vessel illustrated by Bernhard Karlgren, Some Characteristics of the Yin Art, in the Roehss Museum, no. 34, 1962, pl. 31a. Also compare an example in the Lippens collection of ancient Chinese bronzes, published by Christian Deydier, Paris, France, lot 12.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 11 September 2012, lot 97 Price: USD 170,500 or approx. EUR 204,000 converted and adjusted for inflation at the time of writing Description: A rare archaic bronze ritual tripod vessel, jia, late Shang dynasty, 13th-11th century BC Expert remark: Compare the closely related form, two-register taotie decoration, and patina. Note the inscription 'Shang' on this jia. Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2014, lot 2034 Price: USD 149,000 or approx. EUR 175,000 converted and adjusted for inflation at the time of writing Description: A rare large bronze ritual tripod wine vessel, jia, late Shang dynasty, 13th-12th century BC Expert remark: Compare the closely related form, two-register taotie decoration, and patina. Note the much smaller size (29.8 cm) and absence of a clan mark.Auction result comparison: Type: Closely related Auction: Christie's New York, 25 September 2020, lot 1502 Price: USD 137,500 or approx. EUR 146,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual tripod wine vessel, jia, mid-Shang dynasty, 13th century BC Expert remark: Compare the closely related form, two-register taotie decoration, and patina. Note the much smaller size (30.5 cm) and absence of a clan mark. 商代青銅斝中國，公元前十三世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LARGE INSCRIBED BRONZE RITUAL FOOD VESSEL AND COVER, DING, SPRING AND AUTUMN PERIODInscriptions: A twelve-character inscription in Jinwen is neatly incised into a circumferential band on the cover, divided in three groups of four characters each, separated by one of the three recumbent mythical beasts sitting on top of the cover. The second character is “ding", which means “to sacrifice". It was originally developed from oracle bones and normally depicts a bowl shaped vessel on legs with two upright handles. On the present lot, there is a sacrifice depicted inside the ding. For reference, see Childs-Johnson, Elizabeth, Big Ding and China Power: Divine Authority and Legitimacy, Asian Perspectives, vol. 51, no. 2, 2012, pages 164-220. The third and eleventh characters both contain the symbol for tree or wood. When combined with other symbols, such as in this case, they can have different meanings like “season" or “food". Wood can even be seen as “roots", as in ancestral heritage. The first character is referring to a village area, most likely the original location of this vessel.Scientific Analysis Report: A thermoluminescence analysis report issued by Artemis Testing Lab on 23 February 2018, based on sample number 131703, sets the firing date of two samples taken at about 3500 years ago. A copy of the report accompanies this lot.China, 6th century BC. Superbly cast, the tripod body supported on three tall cabriole legs, flanked by angular U-shaped, upright handles, below the domed cover surmounted by three horned mythical beasts. The sides of the deep vessel flat-cast with two wide bands of tightly interlaced dragons, repeated on the handles and on the cover, which is further decorated with zoomorphic bands and a central medallion enclosing a feline creature with a sinuous scaly body.Provenance: From an old private collection in Los Angeles, California, USA, and thence by descent within the same family. Condition: Remarkably well preserved, commensurate with age. Old wear, expected casting flaws, dents and nicks, signs of weathering and erosion, soil encrustations. Minor fatigue cracks and losses. The bronze with a spectacular, rich, and naturally grown patina with distinct malachite, cuprite, and azurite encrustations.Weight: 4,728 g Dimensions: Width 34.3 cm (across handles) Expert's note: Ding vessels were first cast by the Shang and were undoubtedly an important Chinese bronze vessel. Used originally as cauldrons to cook food, the tripod vessel could easily be set above an open fire. The earliest examples of Ding were found in Zhengzhou and date from the end of the 15th century BC. During the Spring and Autumn period, ding started being cast with a cover, often equipped with a set of rings for easier removal. The recumbent mythical beasts on the cover of the present lot have the same function, but are much rarer and hence also serve as evidence of the high status of the original owner of this particular ding.Literature comparison: Compare a related bronze ding and cover, also with a circular inscription and with similar animal-form finials on the cover, dated to the early Warring States period, 5th century BC, formerly in the collection of Robert Hatfield Ellsworth, no. B1300, sold by Sotheby's New York, 19 March 2002, lot 32. Compare a related bronze ding, with similar bands of flat-cast decoration and with a similar feline with granulated body occupying the central medallion on the cover, 24.3 cm high, dated to the mid-Spring and Autumn period, illustrated by Jenny So in Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, 1995, pp. 127, no. 12, where the author also illustrates a 6th century BC ding and cover from Shanxi Houma Shanguacun M13, p. 129, Fig. 12.1, which shares a similar shape, legs and decorative bands. Compare a related bronze ding, 17.8 cm high, dated to Eastern Zhou dynasty, 5th-4th century BC, in the Metropolitan Museum of Art, accession number 49.135.1a.b. Compare a related bronze ding, 38.5 cm high, dated ca. late 6th to early 5th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1947.20a-b. Compare two related bronze ding vessels dated to the Spring and Autumn period in the Palace Museum, Beijing, accession numbers Xin00086998 and Xin00074731.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 24 Novermber 2013, lot 468 Price: HKD 812,500 or approx. EUR 120,000 converted and adjusted for inflation at the time of writing Description: An inscribed archaic bronze tripod incense burner and cover, ding, Eastern Zhou dynasty Expert remark: Compare the related ding form and flat-cast decoration with similar interlaced dragons. Note mythical beasts and the slightly smaller size (height 26.7 cm).Auction result comparison: Type: Related Auction: Christie's New York, 22 March 2013, lot 1232 Price: USD 109,350 or approx. EUR 128,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual tripod food vessel and cover, ding, Spring and Autumn period, 6th century BC Expert remark: Compare the related form, flat-cast decoration, and animal-form handles on the cover. Note the much smaller size (18 cm).Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2012, lot 1243 Price: USD 86,500 or approx. EUR 102,000 converted and adjusted for inflation at the time of writing Description: A large bronze ritual tripod food vessel and cover, ding, Spring and Autumn period, early to mid-6th century BC Expert remark: Compare the related ding form and flat-cast decoration. Note the slightly larger width (40.3 cm) and the lack of mythical beasts. 春秋時期大型青銅蓋鼎中國，西元前六世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A PAIR OF SILVER- AND GOLD-INLAID BRONZE 'TIGER' WEIGHTS, HAN DYNASTYChina, 206 BC-220 AD. Each finely cast and modeled in a recumbent pose with the head raised in a menacing attitude marked by an open mouth showing sharp teeth. The feline's faces detailed with a broad snout below wide eyes and short ears, their facial features and stripes finely gilt and inlaid with silver. The smoothly finished bronze with a rich, naturally grown patina with malachite and cuprite encrustations. (2)Provenance: From the collection of Joseph Rondina, New York, United States, acquired before 2000. Joseph Rondina (1927-2022) was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Very good condition, commensurate with age. Wear, casting flaws, signs of weathering and erosion, corrosion, encrustations, nicks, scratches, losses. The ancient bitumen filling normally found inside such weights is lost.Weight: 161 g and 140 gDimensions: Length 5.8 cm (each) Weights of this type were used to hold down the corners of woven mats used for seating or for the board game liubo. Inlaid animal-form weights were also discovered in the tomb of Dou Wan, consort of Liu Sheng, Prince Jing of Zhongshan (d. 113 BC), alongside food and wine vessels. They were usually made in the shape of animals, often coiled to form a circle, or in the shape of human figures, and even mountains. Usually made of bronze, and often sumptuously decorated in gilding, or inlaid with gold, silver and gemstones, these weights conveyed the high social status of its owner.The tiger is one of the oldest and most revered animals in Chinese history. According to Han mythology, the tiger symbolized the Western cardinal point, and in conjunction with the Green Dragon of the West, Vermilion Bird of the South and Black Tortoise of the North, positioned the burial within the spatial-temporal features of the universe. It is possible that tigers were deemed to protect the tomb occupant against the malign influences they may encounter in their afterlife.Literature comparison:A related coiled feline shape can be seen in a pair of gilt-bronze weights, and in a set of four agate weights, all dated Western Han dynasty, illustrated by M. Wang et al., in the exhibition catalog, A Bronze Menagerie: Mat Weights of Early China, Isabella Stewart Gardner Museum, Boston, 2006, pp. 76-7, nos. 1 and 2. See related excavated examples of bronze recumbent tiger paperweights, in the Shenmu County Museum, illustrated in Bronzes from Northern Shaanxi, Vol. V, Chengdu, 2009, p. 964-966. Two tiger-shaped weights were also exhibited in the Biennale Des Antiquaries, illustrated by C. Deydier, Ancient Chinese Bronzes, Paris, 2014, p. 49.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 9 October 2022, lot 145 Price: HKD 176,400 or approx. EUR 21,000 converted and adjusted for inflation at the time of writing Description: A silver-inlaid bronze 'tiger' weight, Han dynasty Expert remark: Compare the related pose, manner of casting, and inlaid decoration. Note the size (7 cm) and that this result is for a single weight only. 漢代一對錯金銀伏虎銅鎮中國, 公元前206至公元220年。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A BRONZE DRUM, HAN DYNASTYChina, 202 BC-220 AD. The round instrument supported on a waisted base, the top and sides finely cast in relief with multiple concentric geometric designs including key-fret, triangles, and beads centered by a star design, with pairs of loop handles to either side. The drum produces a clear and distinct sound.Provenance: From a private collection in Berlin, Germany. The interior of the drum has an old collector's number written in faint phosphorescent paint, '60.'Condition: Good condition commensurate with age showing extensive wear and weathering, some casting flaws, old repairs, small losses, nicks, dents, and scratches. Fine, naturally grown patina with malachite encrustations. All as expected from a bronze drum with an age of roughly two millennia.Weight: 15.1 kg Dimensions: Height 29.5 cm, Diameter 53.3 cm Expert's note: Bronze drums such as the present lot are a percussion instrument used by various ethnic groups from the southwest of China. They were popular in Yunnan, Guizhou, Sichuan and Hunan Provinces, among which Yunnan and Guangxi have the largest numbers recorded. Both provinces share a border with Vietnam, home to the Dong Son culture, which in turn is well known for its own drums. Applied to sacrifice rituals, the drums were usually used to play music or accompany dance rites.The Yunnan Provincial Museum in Kunming houses an important collection of early bronze drums (Warring States through Western Han period) that were excavated from royal burials at Shizhai Shan and other locations in the vicinity of Lake Dian. This part of Yunnan, whose people and language were not originally Han Chinese, had been ruled by the independent Dian kingdom from about 500 BC. Bronzes from this period through the middle Western Han Dynasty (about 100 BC) are unique to the region and share many characteristics with bronze artifacts of Southeast Asia. Their decoration was also influenced by artistic styles of the Eurasian steppe.After surrendering to Han Wudi in 109 BC, the Dian kingdom was administered as a frontier commandery of the Han empire. Dian kings were retained as local rulers. From then on, the distinctive Dian regional bronzes were gradually replaced by Han-style bronzes, by the type of cultural assimilation that is called "Sinification" (literally, "becoming Chinese") by Chinese historians.Literature comparison:Compare a closely related but smaller drum in The Complete Collection of Treasures of the Palace Museum, Bronze Articles for Daily Use, Beijing 2007, number 78.Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 29 September 2022, lot 265 Price: EUR 7,800 or approx. EUR 8,500 adjusted for inflation at the time of writing Description: A bronze drum, Han dynasty Expert remark: Note the similar central star medallion and the related forms of decoration. Note the size (51.5 cm). 漢代銅鼓中國，公元前 202 年至公元 220 年。圓形樂器，頂部和側面精雕細琢，採用多種同心圓幾何設計，包括串珠和三角形，以星形設計為中心，兩側都有成對的環形手柄。銅鈸可以發出清晰而獨特的聲音。 來源：來自德國柏林的私人收藏。鼓的內部有一個用磷光塗料寫的收藏編號：“60"。 品相：狀況良好，大面積磨損和風化、一些鑄造缺陷、小修、小損失、刻痕、凹痕和劃痕。精美、自然的包漿，帶有綠色結殼。 重量：15.1 公斤 尺寸：高 29.5 厘米，直徑 53.3 厘米 文獻比較: 比較一件非常相近但較小的鼓 ，《故宮博物院藏文物珍品全集・日常青銅用品》，北京，2007年，編號78。 拍賣比較： 形制：非常相近 拍賣：Galerie Zacke，維也納，2022年9月29日，lot 265 價錢：EUR 7,800（相當今日EUR 8,500） 描述：漢代青銅鼓 專家註釋：請注意相似的星形標誌在中央，以及相近的裝飾外形。請注意的尺寸 (51.5 厘米)。

A BRONZE FIGURE OF A BUDDHA, CHINA, FIVE DYNASTIES - NORTHERN SONG DYNASTY (907-1126)Expert's note: The closely related buddha, listed below in the auction result comparison and published in Saburo Matsubara's book Chogoku Bukkyo Chokokushi Kenkyu (History Chinese Buddhist Sculpture), Tokyo, 1961, holds unique similarities to the present figure. For one, the hair of both Buddha curl in an identical manner around the central ushnisha, which is slightly recessed. The robes also are configured similarly, tied at the waist in a similar pattern and folding below the feet in a near identical fashion. This comparison places the present figure firmly within the 10th century.Finely cast seated in dhyanasana, his left hand raised in a rare mudra with the ring finger bent and the others extended, his right hand resting on his knee. He is wearing loose-fitting robes opening at the chest. His serene face with heavy-lidded eyes below arched brows as well as full lips flanked by long pendulous earlobes. His hair arranged in deeply incised wavy locks over the high ushnisha.Provenance: From the private collection of Michael Phillips, acquired through the Japanese trade. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine art, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Very good condition, commensurate with age, showing expected old wear overall. Signs of weathering and erosion, remnants of gilding, small nicks here and there. The naturally grown dark patina with cuprite and malachite encrustations. Aureole and lotus base (see auction result comparison below) are lost.Weight: 185 g Dimensions: 8.2 cm This figure may belong to a group of Buddhist votive figures produced in Zhejiang during the Wuyue kingdom (AD 907-978), four of which are illustrated in Comprehensive Illustrated Catalogue of Chinese Buddhist Statues in Overseas Collections, vol. 6, Beijing, 2005, pls. 1234-37: one in the Seikado Bunko Art Museum, Japan (pl. 1234); two in the Harvard University Art Museum, Arthur M. Sackler Museum, Cambridge, (pls. 1235 and 1236); and one in The Metropolitan Museum of Art, New York, pl. 1237; all dated to the 10th century. Of these four, only the figure in the Seikado Bunko Art Museum represents Buddha, while the other three represent bodhisattvas. All of these figures, including the present lot, have similar, distinctive facial features.The bodhisattva in The Metropolitan Museum of Art is also illustrated by D. Leidy and D. Strahan in Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in the Metropolitan Museum of Art, New York, 2010, p. 110-12, no. 22, where the authors ascribe the figure to Zhejiang province, which during the 10th century was the center of the Wuyue kingdom (AD 907-978). They note that the "kingdom was ruled by members of the Qian family, noted for their devotion to Buddhism and their patronage of the arts".Auction result comparison: Type: Closely related Auction: Christie's New York, 14 September 2017, lot 838 Price: USD 468,500 or approx. EUR 534,000 converted and adjusted for inflation at the time of writing Description: A rare bronze seated figure of Buddha, Five Dynasties-Northern Song dynasty (AD 907-1126), 10th century Expert remark: Note the closely related buddha figure, retaining its original aureole and lotus pedestal, which are both missing on the present lot. Note the total size (16.8 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 五代至北宋佛陀銅像由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

AN ARCHAISTIC MINATURE GOLD AND SILVER-INLAID BRONZE VESSEL, POU, SONG TO MING DYNASTYChina, 960-1644. Of flattened ovoid shape, short waisted neck with a flat rim and a flat base decorated overall in gold and silver inlays in a geometric design with pendent leaves which enclose scroll designs within silver wire enclosures. The double handles inlaid with a gold design.Provenance: Galerie Zacke, Vienna, c. 1990. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. An old exhibition label from Galerie Zacke, dating the present lot to the 13th-14th century, stating a purchase price of ATS 10,000 (or approx. EUR 1,300 converted and adjusted for inflation at the time of writing), accompanies this lot. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna's tight-knit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel ('Roll of Honor') of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Good condition with ancient wear and a solid, natural patina with scattered malachite encrustations. Minor signs of weathering, encrustations, small nicks and chips, light scratches.Weight: 70 gDimensions: Height 4 cm Literature comparison:Compare a related small archaistic gold and silver-inlaid bronze handled vessel, dated to the Song dynasty, 8.7 cm wide, at Sotheby's London, 3 November 2021, lot 159. Compare a related miniature gold and silver-inlaid bronze gu, 5.6 cm tall, dated Song to Ming dynasty, at Sotheby's Hong Kong, 22 April 2021, lot 3667. Compare two related miniature inlaid bronze archaistic censers, dated to the 18th century, at Christie's New York, 19 March 2008, lot 326. Compare a related miniature inlaid bronze covered ding, dated to the Ming dynasty, at Sotheby's Hong Kong, 3 April 2012, lot 173.Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 1 April 2019, lot 3123Price: HKD 137,500 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: A Gold and Silver-Inlaid Bronze Miniature Wine Vessel, Zun, Ming DynastyExpert remark: Compare the closely related decor and inlay work. Note the miniature size of 8 cm. 宋至明錯金銀小銅郶中國，960-1644年。敞口外翻，束頸，豐肩，肩部有雙系環錯金，斂足，圈足。器身地飾鳥紋與繩紋帶。器身錯金銀對稱蕉葉紋。雙手柄有鑲金。造型美觀。 來源：維也納 Zacke藝廊，約1990年；Maria 與Johannes Nickl收藏，在同一家族保存至今。隨附一個維也納 Zacke藝廊展廊老標籤，上顯示此拍品為十三至十四世紀，售價 ATS 10,000 (根據通貨膨脹率相當於 EUR 1,300) 。Maria (1926-2022) 與 Johannes Nickl (d. 2020年) 住在奧地利維也納，是亞洲、佛教和埃及藝術品的熱心收藏家。他們在維也納的亞洲藝術貿易中非常活躍，並在 1980 年代和 90 年代收集了大部分藏品，經常從 Zacke 藝廊和後來的 Asboth藝廊購買。 這對夫婦也是著名的博物館贊助人，他們的名字至今仍出現在維也納藝術史博物館（維也納美術博物館）埃及和近東藏品的榮譽榜上。 品相：品相完好，古色古香，包漿緊緻，天然藍綠色結殼。輕微風化跡象、結殼、小劃痕和缺口、輕微劃痕。 重量：70 克 尺寸：高4 釐米 文獻比較： 比較一件相近宋銅錯金銀仿古水盂，寬8.7 釐米，見倫敦蘇富比，2021年11月3日，lot 159。比較一件相近的宋至明 銅錯金銀蕉葉卷草紋出戟袖珍型觚，高5.6 厘米，見香港蘇富比，2021年4月22日，lot 3667。比較兩件相近的十八世紀仿古內嵌青銅器，見紐約佳士得，2008年3月19日，lot 326。比較一件相近明十六至十七世紀銅貼金銀仿古雙耳三足小蓋鼎，見香港蘇富比，2012年4月3日，lot 173。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2019年4月1日，lot 3123 價格：HKD 137,500（相當於今日EUR 17,500） 描述：明銅錯金銀獸面紋出戟小花觚 專家評論：比較相近的裝飾和內嵌設計。請注意尺寸僅有 8 厘米。

A GOLD-SPLASHED BRONZE BOMBE CENSER, YUTANG QINGWAN MARK, CHINA, 17TH-18TH CENTURYExpert's note: The gold-splashed decoration on this censer is especially rich, suggesting that it was made with no cost spared and for the table of a high-ranking official or an important scholar-literati.The compressed tripod vessel is raised on three tapering feet, the everted rim with two upright loop handles, richly decorated to the exterior with cloud-like gilt splashes. The base is neatly cast with the four-character hall mark in deep relief.Inscriptions: To the base, 'Yutang qingwan' (pure please of the Jade Hall).Provenance: English trade. Condition: Good condition with old wear, expected traces of use, and minor casting flaws, slight rubbing to the gilt, and occasional minute nicks and light scratches. The interior with several pronounced fatigue cracks, signs of extensive usage over a prolonged period of time.Weight: 1,221 g Dimensions: Width 14.7 cm Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 6 March 2021, lot 442 Price: EUR 20,224 or approx. EUR 24,000 adjusted for inflation at the time of writing Description: A 'Yutang qingwan' gold-splashed bronze bombe censer, 17th century Expert remark: Compare the similar gold splashes and identical hall mark. Note the different position of the loop handles and the larger size (18.7 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 17 March 2017, lot 1040 Price: USD 30,000 or approx. EUR 34,500 converted and adjusted for inflation at the time of writing Description: A gilt-splashed bronze tripod censer, 17th-18th century Expert remark: Compare the closely related gilt splashes and tripod form, albeit with different loop handles, and the identical hall mark. Note the slightly larger size (17.5 cm). 十七至十八世紀灑金橋耳三足銅爐，玉堂清玩款三足爐胎體厚重，底出三乳足，橋形耳，外壁有雲狀灑金，爐底工整深浮雕四字款。 款識：玉堂清玩 來源：英國古玩交易。 品相：狀況良好，有磨損、使用痕跡、輕微的鑄造缺陷，鎏金有輕微摩擦、局部有微小刻痕和劃痕。內部有幾處明顯的裂紋。 重量：1,221 克 尺寸：寬 14.7 厘米 拍賣比較： 形制：非常相近 拍賣：Galerie Zacke，維也納，2021年3月6日，lot 442 價格：EUR 20,224（相當今日EUR 24,000） 描述：十七世紀“玉堂清玩"款灑金雙耳銅香爐 專家註釋：比較相似的灑金和同款。請注意雙耳在不同的位置和尺寸較大 (18.7 厘米)。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2017年3月17日，lot 1040 價格：USD 30,000（相當今日EUR 34,500） 描述：明末/清十八世紀銅灑金押經爐 「玉堂清玩」款 專家註釋：比較非常相近的灑金和三足的外形，但不同的雙耳及同款。請注意尺寸較大 (17.5 厘米)

A GILT BRONZE LION-FORM WEIGHT, LATE MING DYNASTYChina, 16th-17th century. Heavily cast, seated in a recumbent pose, slightly raising its head and facing forward, its muscular body decorated with scroll designs around the leg joints, the mane with similar designs as well as ruyi elements, the spine finely detailed with petal-like curls terminating in a furcated tail. The rounded eyes below long sweeping brows reaching to the back of its head, above neatly incised strands of hair.Provenance: Collection of Captain Andre Le Gac, acquired in China in the 1920s, during which time he was the captain of a Yangtze River gunboat, and thence by descent in the same family. Andre Jules Gabriel Le Gac (1895-1960) was born in Brest, France. He joined the French Navy in 1914 and was awarded the Chevalier de la Legion d' Honneur (Knight of the Legion of Honor). He was present for the German surrender at Saint-Nazaire in 1945. Throughout his travels with the navy, which also included a station in Hong Kong, Le Gac assembled a large collection of fine Chinese art which he brought home to France, thence remaining in the family for almost 100 years.Condition: Good condition with expected old wear and casting irregularities, light scratches, small nicks, minor dents, rubbing and minor losses to gilt. The wood base with a good patina, old wear, minor nicks and natural age cracks. The bronze with a rich, naturally grown patina with malachite and cuprite encrustations.Weight: 410.1 g (excl. stand), 432.6 g (incl. stand)Dimensions: Length 7.7 cm With an associated, finely carved, open worked, and fitted wood stand dating from the Qing dynasty. (2)Auction result comparison: Type: Related Auction: Christie's Hong Kong, 4 October 2016, lot 33 Price: HKD 68,750 or approx. EUR 9,100 converted and adjusted for inflation at the time of writing Description: A silvered-bronze lion-form weight, Ming dynasty, 16th-17th century Expert remark: Note the similar size (7.5 cm).Auction result comparison: Type: Related Auction: Bonhams London, 27 February 2013, lot 382 Price: GBP 6,000 or approx. EUR 11,000 converted and adjusted for inflation at the time of writing Description: A parcel-gilt bronze scroll weight, Ming or Qing dynasty Expert remark: Note the similar size (7 cm). 明末銅鎏金獅形鎮紙中國, 十六至十七世紀。造型厚重，獅子呈坐姿，頭微仰，面朝前，身軀健碩，腿部成如意紋，鬃毛中也有如意紋，脊椎部飾有花瓣狀的捲發，尾巴分叉。長長的眉毛下面是圓圓的眼睛，修剪整齊的髮絲。 來源：Andre Le Gac船長的收藏，於 1920 年代在中國購得，當時他是一艘長江砲艇的船長，在同一家族保存至今。Andre Jules Gabriel Le Gac（95-1960 年）出生於法國布雷斯特。1914年，他加入法國海軍，並被授予Chevalier de la Legion d' Honneur（榮譽軍團騎士）。1945 年，他出席了德國在聖納澤爾的投降儀式。在隨海軍旅行期間（其中還曾在香港設有駐地），Le Gac收集了大量中國精美藝術品，並將其帶回法國，留在家族已經有近100年的歷史了。 品相：狀況良好，有磨損和鑄造不規則、輕微劃痕、小刻痕、輕微凹痕、鎏金輕微損失。木質底座具有良好的包漿、磨損、輕微刻痕和自然老化裂紋。青銅具有自然包漿，上面有紅綠色結殼。 重量：410.1克 (不含底座), 432.6 克 (含底座) 尺寸：長7.7 厘米 清朝木架。 (2)拍賣結果比較： 形制：相近 拍賣：香港佳士得，2016年10月4日，lot 33 價格：HKD 68,750（相當於今日EUR 9,100） 描述：明十六/十七世紀烙銀銅獅形鎮紙 專家評論：請注意相似的尺寸 (7.5 釐米)。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2013年2月27日，lot 382 價格：GBP 6,000（相當於今日EUR 11,000） 描述：明或清鎏金銅神獸紙鎮 專家評論：請注意相似的尺寸 (7 釐米)。

A LARGE BRONZE 'QILIN' CENSER, YUAN TO MING DYNASTYChina, 1279-1644. Heavily cast and finely detailed with its head turned back sharply in a defensive pose, the mouth open in a warning roar exposing sharp fangs and tongue, the face further with bulging eyes, long whiskers, and a single horn set between funnel ears, the haunches with flames, the bushy striated tail cast separately. The upper back with an oval aperture for incense burning. (2)Provenance: From a private estate in the northwest of France. According to the last owner, the bronze was in the same family for several generations. French trade, acquired from the above, by repute.Condition: Good condition with some old wear and expected casting irregularities. Traces of use, light scratches, minor losses, small dents, few tiny structural cracks. The bronze with a rich, naturally grown, dark green patina, and patches of malachite hue.Weight: 12.9 kgDimensions: Length 49.5 cm, Width 41.5 cm The present qilin is remarkable for its large size and lifelike posture. The qilin is one of the animals mentioned in the Zhou dynasty Book of Rites, together with the dragon, phoenix, and tortoise. It is a creature of good omen and a symbol of longevity, felicity, illustrious offspring, and wise administration.Literature comparison:Compare with a related 17th-century bronze qilin censer with similar striated casting of the tail and scales on the chest, included by Robert D. Mowry in the Catalogue of the Exhibition, China's Renaissance in Bronze, Phoenix Art Museum, 25 September-30 January 1994, pp. 222-223, no. 58.Auction comparison: Type: Closely relatedAuction: Christie's New York, 22 March 1999, lot 77Price: USD 74,000 or approx. EUR 125,000 converted and adjusted for inflation at the time of writingDescription: Compare the closely related modeling, with similar lifelike posture, and manner of casting. Note the much larger size (99 cm) and that this figure does not appear to be a censer. 元至明大型麒麟式香薰中國，1279-1644 年。香薰厚重，細節精緻，頭向後轉，呈防禦姿勢；嘴巴張開，似乎發出咆哮，並露出鋒利的獠牙和舌頭；大眼圓睜，長長的鬍鬚；漏斗形耳朵之間有一個獨角，臀部帶著火焰，濃密的尾巴分叉。背面上側有一橢圓形孔，供焚香之用。(2) 來源：根據最後一位主人的說法，這件銅爐來自法國西北部的一處私人莊園，同一家族幾代人傳承； 法國古玩交易，從上述知名收藏購得。 品相：狀況良好，有一些磨損、製造不規則、使用痕跡、輕微劃痕、損失、小凹痕、少量微小結構裂縫，具有豐富的自然包漿。 重量：12.9 公斤 尺寸：長 49.5 厘米，寬 41.5 厘米 文獻比較: 比較一件相近的十七世紀麒麟青銅火爐，尾部鑄有類似條紋，胸前有鱗片，見Robert D. Mowry，展覽於《China's Renaissance in Bronze》，鳳凰城藝術博物館，1994年1月30-9月25日，頁222-223，編號58。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，1999年3月22日，lot 77 價錢：USD 74,000（相當今日EUR 125,000） 描述：比較非常相近的模型、鑄造風格。請注意尺寸較大 (99 厘米) ，以及此銅像不是一個香爐。

A MONUMENTAL HEAD OF VAIROCANA, THE PRIMORDIAL BUDDHA, CIRCA 500-800 ADExpert's note: The present head is extraordinarily rare due to its exceptional size and history as part of a towering statue, likely standing around four meters tall, once gracing the exterior of a significant temple or cave shrine. It portrays a most important solely Buddhist subject, showcases a clear Gupta influence not seen in later Chinese sculpture, and was carved from red sandstone, a direct tribute to the art of Mathura. It therefore dates back to the Tang dynasty, if not considerably earlier, with a vanishingly small possibility of originating at the beginning of the Song dynasty. Powerfully yet sensitively sculpted, the full rounded face is carved with soft bow-shaped lips, the elongated eyes elegantly delineated beneath gracefully arched brows, the hair in crisply carved curls. Surmounted by a tall crown with three figures in high relief representing the Buddhas of the past, present, and future, each seated in dhyanasana on a lotus throne.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 was a renowned antique dealer and connoisseur, 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: Excellent condition, commensurate with age. Old wear, encrustations, and erosion. Obvious losses, minor nicks and scratches. The originally rather porous sedimentary rock now almost completely smoothed out by more than a millennia of weathering and worship. Magnificent naturally grown patina overall, giving the stone a deep auburn color.Weight: 120 kg (incl. stand) Dimensions: Height 60.1 (excl. stand) and 95 cm (incl. stand)With a fitted stand. (2)Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A GILT-BRONZE FIGURE OF AVALOKITESHVARA, LIAO DYNASTY, CHINA, 907-1125Two Scientific Analysis Reports: A technical examination was conducted by Podany Conservation Services, LLC, Los Angeles. The report concludes: “The bronze casting (Figure 1) exhibits no clear evidence of modern origin/manufacture." A copy of the signed examination report, dated 4 March 2021, accompanies this lot. A metal alloy analysis was conducted by Antiques Analytics, Institute for Scientific Authenticity Testing, Dr. Robert Neunteufel, Germany. The report concludes: “The results of the metal analysis are not in contradiction to a manufacture within the Liao Dynasty." A copy of the signed examination report, dated 19 May 2023, accompanies this lot.Superbly cast, seated on a lotus pedestal atop a stepped lobed base, the right hand held in vitarka mudra and the left in avakasha mudra, the bodhisattva clad in cascading loose robes falling in voluminous folds. The serene face with heavy-lidded almond-shaped eyes and lips rendered in a gentle smile, flanked by a pair of pendulous earlobes, all below an elaborate headdress with an incised miniature Amitabha enclosing a high chignon with tresses falling on the shoulders.Provenance: From the collection of Michael Phillips (*1943), the Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine art, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition with expected wear to gilt and some casting irregularities as expected. Small dents and losses, shallow surface scratches, a very minor old repair to the back. Naturally grown patina overall, with some distinct and solid malachite encrustations. To the base, a small hole drilled for metal sampling.Weight: 744.1 gDimensions: 18.4 cm Avalokiteshvara is the successor of Buddha Amitabha and will continue to deliver living beings from sufferings when Amitabha attains nirvana. The crown with the miniature Amitabha, like the one shown here, is a key feature of Avalokiteshvara iconography.This free-seated image is an example of classic Liao style, and the modeling of the body is voluminous. The figure has an oval face, refined features, and a solemn expression. The hair, crown, and jewelry are rich with minute detailing. Sumptuous attire and a lotus throne with thick petals are often seen in Liao dynasty statutes. The torso is elongated, and the meandering design of the drapery forms linear patterns.Literature comparison:Compare a closely related smaller figure of Avalokiteshvara in the Museum of East Asian Art, Bath, dated to the Liao dynasty, accession no. BATEA: 277. Also compare a closely related Liao dynasty Avalokiteshvara illustrated in 'Imprints of Buddha: Buddhist Art in the National Palace Museum Collection', in the National Palace Museum Taipei, pp. 148-149, no. 62. Compare a related gilt-bronze figure of Liao dynasty Avalokiteshvara seated on a lotus pedestal, in the Palace Museum, Beijing, published in Classics of the Forbidden City: Guanyin in the Collection of The Palace Museum, Beijing, 2012, pl. 26. Also compare related Avalokiteshvara in the Rijksmuseum, Amsterdam, published in Hai-Wai Yi-Chen: Chinese Art in Overseas Collections, Buddhist Sculpture I, Taipei, 1998, pl. 146.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 1 April 2019, lot 3104Estimate: HKD 300,000 or approx. EUR 37,500 converted and adjusted for inflation at the time of writingDescription: A rare gilt-bronze figure of Avalokiteshvara Liao DynastyExpert remark: Compare the closely related form. Note the similar size (19 cm). Also note the almost complete loss of gilt.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 September 2008, lot 392Estimate: USD 74,500 or approx. EUR 97,000 converted and adjusted for inflation at the time of writingDescription: A Rare Small Gilt-Bronze Figure of Buddha, Liao Dynasty (907-1125)Expert remark: Compare the closely related form, casting, incision work, and the naturally grown patina overall. Note the smaller size (14 cm). Also note that the gilt is worn off, most similarly as on the present lot.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 18 March 2016, lot 1408Estimate: USD 81,250 or approx. EUR 86,000 converted and adjusted for inflation at the time of writingDescription: A Small Gilt-Bronze Figure of Buddha Vairochana, Liao Dynasty (AD 907-1125)Expert remark: Compare the closely related form. Note the much smaller size (9 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 遼代銅鎏金觀音坐蓮像觀音銅鑄鎏金由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A GILT-BRONZE FIGURE OF A LAMA ON A STEPPED THRONE, TIBET, 13TH - 14TH CENTURYFinely cast, the lama sits atop a stepped pedestal with rosettes, floral decorations, and two Buddhist lions beneath an exquisite, beaded double-lotus throne. The patchwork robes of the lama are exceptionally fine, the hems decorated with minuscule and extremely fine beadwork all over. He is seated in vajraparyankasana, his right hand extended in bhumisparsha mudra and his left held in samadhi mudra, his face set with a meditative expression and a distinct widow's peak. The base bears the double vajra symbol.Provenance: From a German private collection. Condition: Very good condition with expected old wear and casting irregularities, minor rubbing to the gilding, occasional light scratches, and small dents. The back of the base with a rectangular aperture for a mandorla, which is lost. The base is sealed.Weight: 1,466 g Dimensions: Height 15.8 cm The present bronze likely depicts an important early lama from a period when Buddhism was flourishing and expanding in Tibet. The sculpture's combination of a lotus pedestal and a waisted plinth underneath the lama was a popular device in Central Tibet between the 13th and 15th centuries. It was particularly used by the Kagyu order and was recreated in the sculptures of the Densatil Monastery.Literature comparison:Compare U. von Schroeder, Buddhist Sculptures in Tibet, volume 2, page 1186, number 320A. Also compare a related bronze figure of a lama seated on a stepped pedestal, 14.3 cm high, dated to the 13th century, in Tsuglakang Temple, Lhasa, illustrated on Himalayan Art Resources, item no. 57364.Auction result comparison: Type: Closely related Auction: Christie's, 11 September 2019, lot 344 Price: USD 18,750 or approx. EUR 20,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Buddha Shakyamuni on a stepped throne, Tibet, 14th century Expert remark: Compare the closely related modeling with a similar lotus base and stepped throne, albeit depicting Buddha Shakyamuni. Note the slightly smaller size (13.7 cm). 十三至十四世紀西藏銅鎏金喇嘛像喇嘛結觸地印，以冥想姿勢坐在漸層蓮座上，下方有兩隻佛獅；身著敞右肩僧服，衣紋整齊，褶皺聚攏至腳踝，面容安詳，帶有沉思的表情，眼睛微閉，眉毛微攏，嘴唇豐滿。底座封口，封底有雙金剛杵紋。 來源：德國私人收藏。 品相：狀況極好，有磨損，製造缺陷、鎏金磨損和局部輕微劃痕和小凹痕。底座背面有一個用於曼陀羅的矩形孔，現已丟失。底座密封。 重量：1,466 克 尺寸：高 15.8 厘米 文獻比較： 比較一件見 U. von Schroeder，《Buddhist Sculptures in Tibet》，卷2，頁1186，編號320A。比較一件相近的十三世紀喇嘛坐像，高14.3 釐米，收藏於Tsuglakang Temple，Lhasa，見Himalayan Art Resources，館藏編號57364。 拍賣結果比較： 形制：非常相近 拍賣：佳士得，2019年9月11日，lot 344 價格：USD 18,750（相當於今日EUR 20,000） 描述：十四世紀西藏鎏金釋迦牟尼銅像 專家評論：比較非常相近的模型和蓮座，但主題是釋迦牟尼。請注意尺寸較小 (13.7 釐米)。

A LARGE BRONZE FIGURE OF RATNASAMBHAVA, CENTRAL TIBET, 13TH-14TH CENTURYFinely cast, seated in dhyanasana atop a double lotus base with a beaded upper rim, his right hand held in varada mudra and the left lowered above his lap, wearing a sheer dhoti, billowing scarves and richly adorned with elaborately designed jewelry. His serene face with sinuously lidded eyes, neatly incised brows centered by a rhombic urna, the hair piled up into a high chignon behind the distinct five-leaf tiara.Provenance: From a private collection in France, by repute acquired before 1983. The property of a nobleman, acquired from the above. Himalayan Art Resources, item no. 24860. Condition: Good condition, commensurate with age. Expected old wear, predominantly from centuries of worship within the culture. Minor casting flaws, small dents, minuscule nicks, light scratches, some losses, the seal plate has been replaced with a wooden panel. The face with remnants of gilt. Ancient remnants of pigment. A good, naturally grown patina overall.Weight: 2,517 g Dimensions: Height 33.7 cm Ratnasambhava is one of the Five Dhyani Buddhas (or Five Meditation Buddhas) of Mahayana and Vajrayana or Tantric Buddhism. Ratnasambhava's mandalas and mantras focus on developing equanimity and equality and, in Vajrayana Buddhist thought is associated with the attempt to destroy greed and pride. Ratnasaṃbhava is associated with the skandha of feeling or sensation and its relationship with consciousness. His activity in promoting Buddhism is enriching and is increasing the knowledge of Dharma. Ratnasambhava is associated with the jewel symbol, which corresponds to his family. His right hand grants wishes. He presides over the South, his element is earth, his sense is smell, and his color is yellow. It seems that he was the least popular of the group of five cosmic Buddhas, and for this reason large statues of him are exceedingly rare.Expert's note: The present lot belongs to a group long considered to originate from western Tibet. However, more recent scholarship suggests this type of early Tibetan sculpture is more likely to be from the central regions, where the primary stylistic influence up to around the 13th century was the art of Kashmir and eastern India during the late Pala period. Tibetan bronzes with Pala influence are mostly un-gilded, like the majority of their Indian antecedents. Tibetan sculpture after the 14th century, however, is increasingly modeled and gilded in the Nepalese manner.Literature comparison: Compare two closely related hollow-cast brass figures of Ratnasambhava, one 42 cm high, the other 27 cm, with silver and copper inlays, both attributed to Western Tibet and dated to the 13th century, illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, page 180, figs. 34A and 34B. Compare a related silver and copper-inlaid brass figure of Ratnasambhava, 42.3 cm high, attributed to western Tibet and dated to the 14th century, in the Tibet Museum Fondation Alain Bordier, accession number ABS 032.Auction result comparison: Type: Related Auction: Christie's New York, 22 March 2011, lot 357 Price: USD 194,500 or approx. EUR 247,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Buddha Vairocana, Tibet, 14th century Expert remark: Compare the closely related pose, dress, jewelry, expression, hairstyle, and crown. Compare also the related subject, depicting another of the Five Dhyani Buddhas, and lotus base. Note the related size (30.5 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2010, lot 222 Price: USD 56,250 or approx. EUR 73,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of Ratnasambhava, Western Tibet, 14th/15th century Expert remark: Compare the closely related subject, pose, hand gestures, dress, jewelry, lotus base with beaded upper rim, expression, hairstyle, and crown. Note the gemstone inlays, silver-inlaid eyes, and slightly larger size (38.1 cm).Auction result comparison: Type: Related Auction: Zacke, 9 March 2023, lot 169 Price: EUR 41,600 Description: A large bronze figure of Ratnasambhava, Central Tibet, 13th-14th century Expert remark: Compare the closely related subject, pose, hand gestures, dress, jewelry, lotus base with beaded upper rim, expression, hairstyle, and crown. Note the related size (31 cm). 西藏中部十三至十四世紀大型寶生佛銅像寶生佛跏趺坐坐在雙層蓮花座上，底座串珠紋。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A GILT COPPER ALLOY FIGURE OF AMOGHASIDDHI, ONE OF THE FIVE WISDOM BUDDHAS, POSSIBLY DENSATIL, TIBET, 14TH-15TH CENTURYExpert's note: The present sculpture dates from the fourteenth or early fifteenth century and is modelled in Nepalese style with the diaphanous robe clinging to the muscular body. The alloy with its rather high copper content and distinct copper-red color, the extra thick casting and the well-defined lotus petals are common traits of sculpture typically associated with the famed monastery of Densatil. Furthermore, close comparison can be drawn with the present lot's squared face, convexly stepped eyebrows, double-lined eyelids and lips, and sinuous upper lid with those of several Densatil figures in public and private collections (see comparisons below).The relatively simplistic form and lack of ornamentation is not common at Densatil, however, photographic evidence captured by Pietro Mele in 1948 shows closely related Buddha statues set against cast back panels in the fourth tier of the Tashi Gomang stupa. The base of the figure has been resealed with a simple metal plate, a fact that could indicate that it may once have been part of a larger supporting structure, such as Tashi Gomang stupa, from which it was forcibly removed. The many small traces of violence, see condition report below, could further support the theory that this figure may indeed have been one of the victims of the destruction of Densatil during China's Cultural Revolution (1966-1978).Finely cast seated in dhyanasana on a double lotus pedestal atop a stepped plinth, his right hand raised in abhaya mudra above his left lowered in dhyana mudra, the tapering waist wrapped in a sheer monastic robe, gathering elegantly in remarkably well executed folds at his feet and over the left shoulder. His serene face with heavy-lidded downcast eyes below gently arched brows centered by a raised circular urna. His hair arranged in tight curls over the domed ushnisha topped by a jewel.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate.Condition: Good condition, commensurate with age, showing expected old wear and casting flaws, scattered dents, light rubbing to gilt, tiny nicks here and there. Minor losses, minimal cracks, the fingers of one hand bent back slightly, due to heavy impact. A distinct stress crack at the lower end in front of the figure. The base resealed with a metal plate.Weight: 3,492 g Dimensions: Height 26.2 cm This fine sculpture depicts the Presiding Buddha Amoghasiddhi, whose name means, "He Whose Accomplishments Are Not in Vain". Amoghasiddhi, identified by his hand gesture of reassurance (abhaya mudra), exemplifies a Buddha's transcendence over jealousy. He is one of the Five Wisdom Buddhas (Tathagatas) of the Mahayana and Vajrayana tradition of Buddhism and as part of the five, this sculpture would have been joined by representation of the other four Tathagatas, exactly as seen in the fourth tier of the Tashi Gomang stupa in Densatil. His consort is Tara, meaning 'liberator', and he is often depicted mounted on Garuda. He belongs to the family of karma whose family symbol is the double vajra.Densatil was a Kagyu monastic complex in central Tibet, southeast of Lhasa, that has long been considered one of the great treasures of Tibet. Founded in the late 12th century, it enjoyed generous patronage and was lavishly decorated during a period of expansion from circa 1360 until the early 16th century. The monastery was known for eight extraordinary memorial stupas symbolizing Buddha's first teaching in Benares. These stupas were called tashi gomang, meaning "many doors of auspiciousness," and were multi-tiered copper-alloy structures filled with deities such as the present example, standing more than ten feet tall and resplendent with inlays of semiprecious stones. Prior to the destruction of Densatil, eight of them dating between 1208 and 1432 stood in the Monastery's main hall.Followers of the charismatic Phagmo Drupa Dorje Gyalpo (1110-1170) constructed the Densatil Monastery. His school, which came to be known as Phagmo Drupa Kagyu, was one of the four primary schools of the Kagyu lineage of Tibetan Buddhism. Its noble house became so powerful that their dynasty ruled from the mid-fourteenth to the mid-fifteenth century. Eventually it had died out by the end of the seventeenth century, but the Densatil Monastery survived intact under the control of other Tibetan Buddhist schools until it was eventually destroyed. Today the monastery is undergoing reconstruction thanks to the efforts of the Tibetan Autonomous Region Ministry of Culture and the Drigung (Drikung) Kagyu school.Literature comparison:Compare the seated unadorned Buddhas made by Newar craftsmen seen in photographs of Densatil monastery taken by Pietro Mele in 1948, see O. Czaja and A. Proser, Golden Visions of Densatil, New York, 2014, pp. 18-19. Compare a related bronze figure of Buddha Vajrasana, 34.1 cm high, dated to the 14th century, illustrated in Ulrich von Schroeder's book Buddhist Sculptures in Tibet, Vol. 2, Hong Kong, 2001 pp. 1062-1063, no. 271D, and note that this figure has also been resealed with a metal plate. Compare two Densatil figures of Amoghasiddhi and Akshobhya in the The Berti Aschmann Foundation Collection, see Uhlig, On a Path to Enlightenment, Museum Rietberg, Zurich, 1995, pp. 74-75. Compare a related figure of Akshobhya Buddha from Densatil, 30.5 cm high, dated late 14th to early 15th century, in the National Museum of Art, Smithsonian Institution, accession number S2012.6.Auction result comparison: Type: Closely related Auction: Bonhams New York, 17 March 2014, lot 16 Price: USD 461,000 or approx. EUR 543,000 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Buddha, Tibet, probably Densatil, early 15th century Expert remark: Compare the closely related extra thick casting, modeling with near-identical facial features and diaphanous robe, and size (26.7 cm). Note the different hand posture and more compressed lotus petals to the base.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 2 October 2018, lot 52 Price: HKD 1,1250,000 or approx. EUR 144,000 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Amoghasiddhi, Tibet, 15th century Expert remark: Compare the closely related subject with identical hand gestures and modeling with similar facial features and lotus base as well as the related manner of casting, gilding, and size (28.5 cm). Note the incised hems to the robe and the lack of slits to the earlobes.Auction result comparison: Type: Related Auction: Bonhams New York, 23 September 2020, lot 618 Price: USD 250,075 or approx. EUR 267,000 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Buddha, Tibet or Nepal, circa 14th century Expert remark: Compare the related thick casting, solid gilding, and modeling with a similar diaphanous robe gathering in double folds to the base. Note the different pose, incised hems, sinuous eyebrows, and slightly larger size (31.5 cm).由于平台拍品叙述的长度限制，我们移除了中文叙述，中文叙述请至www.zacke.at查看

MAITREYA IN THE TUSHITA HEAVEN, AN EXTREMELY RARE GILT-BRONZE FIGURE, XUANDE INCISED SIX-CHARACTER MARK AND OF THE PERIOD, CHINA, 1425-1435Expert's note: Maitreya is visualized here in his manifestation as a princely bodhisattva, teaching in the Tushita heaven, thus with his hands held in dharmachakra mudra, the teaching pose (turning the wheel of the second law), after which Maitreya will leave the Tushita heaven and come upon earth to 'establish the lost truths in all their purity.' Maitreya's face is imbued with compassion, the essential quality of the bodhisattva, with a downward gaze and gentle smile. Maitreya is the only Boddhisattva who is popular among all sects of Buddhism, such as the Mahayana, the Hinayana, and the Vajrayana, and he is often shown with his long hair hanging over his shoulders, such as in the present portrayal.Superbly cast, the bodhisattva seated in vajraparyankasana on a double-lotus base with beaded edges, his hands held in dharmachakra mudra, wearing a dhoti with exquisitely carved folds gathered at the waist and fastened by a beaded girdle and a scarf around the bare shoulders flowing over the arms, revealing the chest adorned with beaded pendent jewelry. The upper surface of the base is engraved with a six-character mark da Ming Xuande nian shi and of the period.Provenance: Spink & Son, London, United Kingdom, c. 1966. Adrian Maynard, London, United Kingdom, acquired from the above and thence by descent within the family. A noted Hungarian collector, acquired from the above after 2015. Adrian Maynard joined Spink & Sons in 1947, where he was appointed Director from 1962 and eventually Deputy Chairman until his retirement in 1984. He was a man of enormous drive and undoubtedly the most flamboyant character to take charge of the Asian art department, which he took to the height of its success. Maynard believed firmly that "a dealer, whose fortune and good name depends on knowing what to buy, has a much greater responsibility to be right about the objects that come into his hands than, say, an academic, who never handles large sums of money." Condition: Good condition with expected old wear. Minimal casting flaws, few minuscule nicks, and remnants of old pigment and varnish. The base retains the original sealing.Weight: 1,520 g Dimensions: Height 18.2 cm Maitreya is richly adorned with further fine bodhisattva jewelry including a foliate crown framing the forehead and tied with billowing sashes at the ears, circular studded earrings, and beaded bracelets, armbands, anklets, and foot adornments. The serene face with a benevolent expression, the eyes with heavy sinuous lids below gently arched brows centered by a raised circular urna. The smiling mouth with full bow-shaped lips, the neatly incised hair drawn up in a knotted jatamakuta topped by a cintamani jewel and falling elegantly in tresses to the shoulders. The base is sealed with a plate, neatly incised with a visvavajra emblem.During the Yuan Dynasty in the 13th and 14th centuries, the authority of Mongol rulers had become closely associated with Tibetan Buddhist or Lamaist rituals. At the beginning of the 15th century, the Buddhist fervor of the Ming court encouraged a cultural exchange between Tibet and China through Imperial patronage. Bronze sculptures in the Tibeto-Chinese style were first produced during the reign of Emperor Yongle (1403-1424) and are highly distinguished for their unsurpassed craftsmanship, overall refinement, and gracefulness. Emperor Yongle (1403-1425), a devout Buddhist himself, bestowed generous patronage to Buddhist monasteries and artistic ateliers, fostering the production of artworks depicting Tibetan Buddhist deities and imagery in a highly refined style, executed with the highest level of technical mastery. Gilt bronzes were commissioned from the Imperial workshops in Beijing for personal religious practices and as gifts for the many Tibetan emissaries invited to the court.Fewer examples bear the reign mark of Xuande (1425-1435) and the present lot is closely related to its Yongle predecessors, both stylistically and technically. The present figure was made at the Imperial ateliers in Beijing, probably during the early phase of the Xuande period, by the same craftsmen who continued their work from the Yongle period.Literature comparison: Very few other figures of Maitreya from this group of reign-marked, early-15th-century gilt-bronzes have been published. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, vol. II, pl. 343F. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in The Chang Foundation, Buddhist Images in Gilt Metal, Taipei, 1993, cat. 22. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong 1981, 147E (later restored without a vase and now in the Aschmann collection). For a related Xuande-marked gilt-bronze figure of Vajrasattva, see The Complete Collection of Treasures of the Palace Museum, Buddhist Statues of Tibet, p. 230, no. 219.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 9 July 2020, lot 2702 Price: HKD 4,325,000 or approx. EUR 516,000 converted and adjusted for inflation at the time of writing Description: A very rare and finely cast gilt-bronze figure of Maitreya, incised Yongle six-character presentation mark and of the period Expert remark: Compare the closely related subject, modeling, pose, expression, hair, robes, jewelry, and base, as well as the closely related manner of casting and gilding. Note the Yongle reign mark and the related size (20 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 7 October 2010, lot 2144 Price: HKD 6,020,000 or approx. EUR 989,000 converted and adjusted for inflation at the time of writing Description: A fine and rare gilt-bronze seated Maitreya, mark and period of Yongle Expert remark: Compare the closely related subject, modeling, pose, expression, hair, robes, jewelry, and base, as well as the closely related manner of casting and gilding. Note the Yongle reign mark. 明代宣德六字款罕見銅鎏金兜率天彌勒坐像彌勒佛結跏趺坐於雙層蓮花座上，雙手結法輪印，底座上表面刻有“大明宣德年施"六字款。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

AN EXTREMELY RARE SILVER-INLAID 'FUDING DING' BRONZE TRIPOD CENSER, SONG TO MING DYNASTYChina, 960-1644. Of archaic ding form, the bowl cast with shallow rounded sides supported on three tall bird-shaped legs, the rim set with two upright loop handles. Finely inlaid in remarkably thin silver wire to the body with bands of scroll, raised bosses and geometric designs against leiwen grounds, stiff pendent leaves enclosing key-fret and S-scrolls, and to the legs with further scroll designs. The bronze with a fine, naturally grown patina with scattered malachite encrustations.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. T.5.6. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. In 1968, he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Good condition with expected old wear, some corrosion and casting irregularities, few minuscule nicks, light scratches, small dents, and few losses to inlays.Weight: 298.4 gDimensions: Height 10.3 cm Literature comparison:This finely cast bronze vessel is after late Shang and early Western Zhou period archaic ding. Compare a Western Zhou bronze censer of this form, dated 11th-10th century BC, preserved in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.20. The hemispherical body, handles and flattened legs of this censer relate to several bronze tripod censers of Shang dynasty date, illustrated by Robert W. Bagley in Shang Ritual Bronzes in the Arthur M. Sackler Collections, Arthur M. Sackler Foundation, 1987, pp. 448-51, figs. 80.2-80.4, no. 81 and fig. 81.1. For further examples, see one in the Palace Museum, Beijing, illustrated in Bronzes in the Palace Museum, Beijing, 1999, pl. 86, standing on related bird-form feet; and the late Shang dynasty bronze fangding, its legs cast as birds standing on their long tails, illustrated in Ancient Chinese Bronzes from the Stoclet and Wessen Collections, Eskenazi London, 1975, cat. nos. 2.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 3 April 2012, lot 155 Price: HKD 275,000 or approx. EUR 42,500 converted and adjusted for inflation at the time of writing Description: An archaistic bronze censer, Ming dynasty Expert remark: Compare the closely related form. Note the complete lack of inlay decoration. 宋至明錯銀三足銅爐中國，960-1644年。古鼎式，淺圓邊，鳥形足，雙耳直立。精細的錯銀線，雷紋，芭蕉葉與雲紋。銅爐有細膩的自然包漿，綠色結殼。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號T.5.6。 品相：狀況良好，有磨損、一些腐蝕和鑄造不規則、微小刻痕與劃痕、小凹痕以及少量鑲嵌缺損。 重量：298.4 克 尺寸：高 10.3 厘米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2012年4月3日，lot 155 價格：HKD 275,000（相當於今日EUR 42,500） 描述：明青銅仿古「鳥紋」出戟雙耳三足爐 專家評論：比較非常相近外形。請注意此爐沒有鑲嵌裝飾由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A COPPER-INLAID COPPER ALLOY FIGURE OF DEVI, NEPAL, 10TH-11TH CENTURYExpert's note: The remarkable degree of wear originating from sustained ritual procedures is a common trait of the earliest Nepalese sculpture that is directly handled during worship. With the features almost worn smooth, the present figure's divine face has taken on an additional ethereal trait, amplifying her divine qualities.Elegantly cast standing on a pedestal with her legs crossed, shifting her weight to the right, holding a copper-inlaid lotus stem in her right hand, her dhoti drawn tightly over her thighs and neatly incised, her body richly adorned with beaded jewelry, the hair pulled back with a jeweled crown atop.Provenance: Wiener Kunstauktionen, Vienna, Austria, 29 September 1994, lot 1124. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. A copy of the original invoice from Wiener Kunstauktionen, dated 29 September 1994, describing the present lot as a figure of Devi, confirming the dating above, and stating a purchase price of ATS 22,196 (or approx. EUR 3,000 adjusted for inflation at the time of writing), accompanies this lot. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna's tight-knit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel ('Roll of Honor') of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Good condition with extensive wear, predominantly from centuries of worship within the culture. Remnants of gilt. Tiny nicks, losses, and light scratches. The base with an old fill.Weight: 102.9 gDimensions: Height 8 cm As Lakshmi, Parvati, and Tara are all known to hold the lotus seed as an attribute, Devi (the Sanskrit word for goddess) is an encompassing term that refers to the goddess regardless of her many forms. Having had several names during her long published history, statues such as the present lot have most commonly been identified as Devi on the basis of the ambiguity of her lone attribute, the lotus seed or gem.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 7 October 2019, lot 924 Price: HKD 250,625 or approx. EUR 32,000 converted and adjusted for inflation at the time of writing Description: A gilt copper figure of Surya, Nepal, circa 10th century Expert remark: Compare the closely related manner of casting, copper alloy material, and extensive wear. Note the slightly larger size (11.6 cm).Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2014, lot 1037 Price: USD 12,500 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Padmapani, Nepal, Licchavi period, circa 10th century Expert remark: Compare the related style, material, casting technique and wear from worship within the culture. Note the slightly larger size (10.8 cm). 尼泊爾十至十一世紀鎏金鑲銅提毗像神女造型優雅，盤腿立於台座上，重心右移，右手執鑲銅蓮花莖，腰係布巾，身上綴滿珠飾，頭髮向後梳，頭頂鑲寶王冠。 專家注釋：由於祭祀儀式造成的顯著磨損是尼泊爾造像的一個共同特徵。隨著五官幾乎被磨得光滑，現在的女神臉龐呈現出更加祥和的特徵，增添了她的神聖品質。 來源：奧地利維也納藝術拍賣，1994年9月29日，lot 1124；Mara與Johannes Nickl收藏，購於上述拍賣，在同一家族保存至今。隨附一份維亞納藝術拍賣行1994年9月29日出具的原始發票複印件，描述這件拍品為提毗像，確認了斷代，售價為 ATS 22,196 (或相當於 EUR 3,000 ，根據通貨膨脹率)。 品相：狀況良好，大面積磨損，應爲使用所致。鎏金殘餘，微小的刻痕、缺損和輕微的劃痕。底座舊時填補。 重量：102.9 克 尺寸：高 8 釐米 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2019年10月7日，lot 924 價格：HKD 250,625（相當於今日EUR 32,000） 描述：尼泊爾約十世紀銅鎏金太陽神像 專家評論：比較非常相近的鑄造風格、銅合金和大面積磨損。請注意尺寸稍大 (11.6 釐米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A GILT BRONZE FIGURE OF AMITAYUS, TIBET, 15th-16th CENTURYCast seated in dhyanasana on a sealed double lotus beaded base with the hands lowered in dhyana mudra, richly adorned in intricate jewelry, wearing a long flowing robe and billowing shawl pooling beautifully at the base. The deity is skillfully portrayed with a serene expression framed by an elaborate headdress and a pair of pendulous earlobes adorned with ornamental earrings. The hair is arranged in an elaborate double ushnisha surmounted by a lotus bud finial, several locks of hair gently falling over the shoulders.Provenance: From a noted private collection in Belgium. Condition: Very good condition with old wear and minor casting flaws, small nicks, tiny scratches.Weight: 1572 g Dimensions: 17.5 cm Expert's note: The heavy cast with a net weight of more than 1.5 kilos and the fine yet resilient gilding both confirm the dating of the present lot. Amitayus, the Buddha of Infinite Life, is the deity associated with the rites that ensure long life. He is especially worshipped by Tibetans, who believe that life can be extended through long lineages, faith, and compassion. It is also believed that one can achieve self-enlightenment and cater to the welfare of others with the help of Amitayus.Amitayus is also one of the most popular meditational deities in Vajravana Buddhism where he is highly revered for his longevity attributes, pure perception, and awareness of the emptiness of phenomena. According to the Larger Sutra of Immeasurable Life, compiled during the 1st or 2nd century AD, the infinite merits possessed by the deity resulted from the performance of good deeds in his past lives as a bodhisattva named Dharmakara. Having attained enlightenment, the deity resided in the wondrous realm of Sukhavati.Auction result comparison: Type: RelatedAuction: Sotheby's New York, 15 March 2017, lot 211Price: USD 13,750 or approx. EUR 16,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Amitayus, Tibet, 16th centuryExpert remark: Note the turquoise inlays.Auction result comparison: Type: Related Auction: Christie's New York, 12 September 2018, lot 308 Price: USD 16,250 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Amitayus, Tibet, 15th century Expert remark: Note the size (12.4 cm). 十五至十六世紀西藏銅鎏金無量壽佛坐蓮像無量壽佛結禪定印平行曡放在雙膝上，趺坐於雙層蓮座上，頭戴寶冠，髮髻高聳，身披束帶，項戴纓絡項鍊，裝飾華麗 。面容安詳，杏仁狀的眼睛，彎曲的眉毛，兩側是長長的耳垂，佩戴華麗大耳環。雙層蓮花座，大蓮瓣。 來源：比利時私人收藏。 品相：狀況極好，有磨損和輕微鑄造缺陷、小刻痕與微小劃痕。 重量：1572 克 尺寸：17.5 釐米 專家注釋：造像銅質緻密，鎏金厚重，其重量完全可以確認其年代。 無量壽佛是藏傳佛教信仰中地位舉足輕重，他能滿足現世人間眾生對於福壽綿長的追求，特別受到藏人的崇拜，因爲他們相信生命可以通過血統、信仰和惻隱之心而延長。人們還相信，在無量佛的幫助下，死後超脫輪迴之苦，前往美好的西方極樂世界。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2017年3月15日，lot 211 價格：USD 13,750（相當於今日EUR 16,000） 描述：十六世紀西藏鎏金阿彌陀佛銅像 專家評論：請注意綠松石鑲嵌。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2018年9月12日，lot 308 價格：USD 16,250（相當於今日EUR 18,000） 描述：十五世紀西藏鎏金阿彌陀佛銅像 專家評論：請注意尺寸(12.4 厘米)。

A BRONZE FIGURE OF AKSHOBHYA, CHINA, 15TH CENTURYFinely cast seated in dhyanasana on a double-lotus base with finely beaded edges, his right hand lowered in bhumisparsha mudra, his left held above his lap. Akshobhya is dressed in voluminous robes and richly adorned with elaborate jewelry. His serene face with heavy-lidded downcast eyes and bow-shaped lips forming a calm smile. His hair arranged in tight curls over the high ushnisha topped by a jewel behind the foliate tiara. Provenance: From an old private estate in Vienna, Austria. The grandparents of the last owner are said to have acquired the piece in the Austrian trade, shortly after the Second World War. Condition: Excellent condition with expected old wear and minor casting irregularities, small dents and losses, minuscule nicks, light scratches. The seal plate lost. The face, crown, some folds and the backside with distinct remnants of gilt.Weight: 2,060 g Dimensions: Height 23.6 cm Bhumisparsha mudra (the 'earth witness' gesture) is reserved for images of Buddha Shakyamuni and the Dhyani Buddha, Akshobhya. As Shakyamuni is traditionally depicted as an unadorned ascetic, the presence of the crown on this figure identifies him as Akshobhya. The latter is a concept of Tibetan-style Vajrayana Buddhism, which was introduced to China during the Yuan Dynasty (1279-1368).Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 11 December 2020, lot 29 Price: EUR 50,400 or approx. EUR 60,000 adjusted for inflation at the time of writing Description: A finely cast large bronze figure of Bodhisattva, Ming Dynasty, 15th century Expert remark: Note the size of 29 cm and the closely related manner of casting, quality of the jewelry, crown, incision work around the lotus base, and the lack of any remnants of gilding.Auction result comparison: Type: Closely related Auction: Christie's New York, 16 March 2015, lot 3200 Price: USD 23,750 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Akshobhya, Ming dynasty Expert remark: Compare the closely related pose, expression, base, and crown. Note the larger size (35.6 cm) and arguably lower quality especially when compared with the fine detail work on the present lot, mostly around the crown, the lotus base and the jewelry, as well as the complete lack of any gilding.Auction result comparison: Type: Related Auction: Sotheby's Paris, 20 June 2021, lot 1 Price: EUR 35,280 or approx. EUR 39,000 adjusted for inflation at the time of writing Description: A bronze figure of Avalokiteshvara Bodhisattva Ming dynasty, 16th century Expert remark: Note the larger size (31 cm), and the arguably lower quality specifically when compared with the fine detail work on the present lot, mostly around the crown, the lotus base and the jewelry, and the complete lack of any gilding, all as expected for a 16th century piece. 十五世紀阿閦佛坐蓮銅像阿閦佛全跏趺坐坐於蓮座上，結螺髻，髮髻頂部飾寶珠，戴五葉寶冠，佩大耳鐺。身著袒右袈裟，光素面，雕自然起伏的褶皺。左手結禪定印，右手結觸地印。 來源：奧地利私人舊藏。據說最後一位主人的祖父母是在第二次世界大戰後不久在奧地利購得這件拍品。 品相：狀況良好，有磨損和輕微鑄造缺陷、小凹痕和缺損、微小刻痕、輕微劃痕。密封板丟失。背面有明顯的鎏金痕跡。 重量：2,060 克 尺寸：高 23.6 釐米 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2020年12月11日，lot 29 價格：EUR 50,400（相當於今日EUR 60,000） 描述：明十五世紀銅菩蕯坐像 專家評論：請注意尺寸(29 釐米) ，非常相近的鑄造風格、珠寶品質、王冠、雕刻和蓮座，以及沒有任何鍍金殘留。 拍賣結果比較： 形制：相近 拍賣：巴黎蘇富比，2021年6月20日，lot 1 價格：EUR 35,280（相當於今日EUR 39,000） 描述：明十六世紀銅觀世音菩薩坐像 專家評論：請注意尺寸較大 (31 釐米)，與我們拍品的精美細節相比，質量可以說較低，主要是在王冠、蓮花底座和珠寶周圍，並且完全沒有任何鍍金，所有這些特徵都符合 16 世紀作品的預期。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A GILT COPPER-ALLOY REPOUSSE FIGURE OF BUDDHA AMITABHA, WITH AN INSCRIPTION REFERRING TO THE SECOND KIRTI LAMA, TENPA RINCHEN (1474-1558)Tibet, 15th-16th century. Seated in vajraparyankasana on a double-lotus base with beaded edges, neatly incised at the top beneath each knee with consecrated and dedicatory inscriptions. His hands are lowered in dhyana mudra. He is wearing a long flowing robe finely incised with foliate designs at the hems and gathering in carved folds at the base. The serene face with heavy-lidded, painted eyes, gently arched brows centered by an urna, and full lips forming a calm smile. The hair arranged in tight curls over the domed ushnisha topped by a jewel.Inscriptions: The complete translation of the inscription reads: “chos rje bstan pa’i rin chen nas bzhengs so“ (this was constructed by (or for) the Lord of Dharma, Tenpai Rinchen) and “jig rten ‘od“ (the light of the world).Provenance: Ute Asboth, Galerie Asboth, Vienna, May 2000. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. A copy of the original expertise letter written and signed by Ute Asboth, describing the illustrated present bronze as a gilt copper repousse figure of Amitabha and dating it to the 17th century, accompanies this lot. A copy of the original handwritten receipt, written and signed by Ute Asboth, dated 31 May 2000, accompanies this lot. Ute Asboth (c. 1927-2018) began her career in the Asian art trade at Galerie Zacke in the early 1980s before eventually founding Galerie Asboth in Vienna, Austria. The gallery specialized in East Asian art and published extensively. Several noted exhibitions were curated in close cooperation with Luigi Bandini from Eskenazi gallery in London, United Kingdom. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art.Condition: Very good condition with expected old wear, small dents, few tiny losses, light scratches. The base unsealed.Weight: 929 gDimensions: Height 26.5 cm The Second Kirti Lama, Tenpa Rinchen (1474-1558) was born in a place called Dungsha in the lower region of Ngawa, in Amdo. In 1489, at the age of sixteen, he traveled to U, where he studied medicine under a physician named Dondrub and the sutras of Maitreya under Lama Chopel Zangpo at a hermitage named Rakhadrak. He studied Abhidharma and Vinaya under Meru Jampa Rinchen, who, in 1493, gave him full ordination together with the name Tenpa Rinchen Chokyi Gyeltsen. After studying sutra and tantra for six years, he received empowerments for various dharma protectors from the Sakya lama Kunga Rinchen, after which he went into retreat for three years. In total, he spent fourteen years in U, returning home in 1504 at the age of thirty-one.Upon his return, Tenpa Rinchen first went to Tala Hermitage in Taktsang Lhamo, which had been established by Rongchen Gendun Gyeltsen (1374-1450). There he gave empowerments and teachings on language, poetry, medicine, and astrology. He lived at Tala for seven years, expanding it and overseeing the community. Afterwards, he announced that he was the reincarnation of Rongchen Gendun Gyeltsen, and then went to Kalari Kirti monastery, which Gendun Gyeltsen had established in 1412 as his seat. He took for himself the title of Kirti Lama, and posthumously gave the title of the First Kirti to Gendun Gyeltsen.As part of his activity in expanding the Gelug tradition in Amdo, he converted a Jonang monastery to Geluk, apparently by force. In retaliation, a Jonang Tulku sent the army of Tsangpa Lhundup Rabten to attack Kalari Kirti Monastery, forcing Tenpa Rinchen to flee. He was invited to Muge Monastery in Ngawa, where he gave teachings. At around the same time, the Chinese Ming Emperor Zhengde invited him to China. He declined the invitation but he did a divination for the Emperor and recommended what prayers he should read. Zhengde again sent an envoy with gold and silver gifts and an ivory stamp, which read 'The Precious Accomplished and Enlightened Teacher'. 鎏金銅阿彌陀佛像，刻有第二世格爾登喇嘛丹巴仁欽 (1474-1558) 銘文西藏，十五至十六世紀。阿彌陀佛呈金剛菩提坐於雙層蓮座上，膝蓋下方頂部整齊地刻有銘文。佛陀雙手低垂，結禪定印，面容安詳，雙眼微閉，雙眉之間有白毫，面露微笑，螺髻。身著一件袈裟，蓮座邊緣飾有串珠紋。款識: 底座頂部，佛陀左膝下方，寫有“Jigten Hoe"，後面是數字或日期； 右膝下方刻有“Choe Je Tenpa Rinchen Ne She So"。 來源: Ute Asboth, 維也納Asboth藝廊，2000年5月；Maria與Johannes Nickl收藏，購於上述藝廊，在同一家族保存至今。隨附一份由Ute Asboth出具的鑒定書複印件，上可見關於造像的描述並斷代為十七世紀。Ute Asboth (約1927-2018) 於 1980 年代初在 Zacke藝廊開始了她在亞洲藝術貿易的職業生涯，之後在奧地利維也納創立了 Asboth藝廊。該藝廊專門從事東亞藝術並廣泛出版，她與英國倫敦 Eskenazi 畫廊的 Luigi Bandini 密切合作，並策劃了幾個著名的展覽。Maria (1926-2022) 與 Johannes Nickl (d. 2020) 曾生活在奧地利維也納，是知名的亞洲藝術、佛教藝術以及埃及手工藝品收藏家。品相: 狀況極好，有磨損、小凹痕、輕微缺損、輕微劃痕。 底座未密封。 重量: 929 克 尺寸：高 26.5 厘米

A LARGE GILT-LACQUERED BRONZE FIGURE OF THE MEDICINE BUDDHA (BHAISAJYAGURU), MING DYNASTYChina, 1368-1644. Finely cast, the Buddha is seated in dhyanasana with his right hand extended in varadamudra while holding a small myrobalan fruit and his left raised above his lap. He wears monastic, loosely draped, and layered robes, belted at the waist and opening at the chest. His serene face with heavy-lidded eyes below elegantly arched brows centered by a circular urna, his full bow-shaped lips forming a calm smile, flanked by long pendulous earlobes. His hair is dressed in tight curls that continue up over the domed ushnisha.Provenance: From the collection of Captain Peter Dircks and thence by descent in the same family. Peter Leonardus Dircks (1883-1954) was a naval officer in the Siam Steam Navigation Company. He was posted between the ports of Beijing, Shanghai, Singapore, Bangkok, and Jakarta, and during his time with the Company he developed a profound interest and knowledge of Asian antiques and works of art. After years of travel, Dircks arrived in Copenhagen in the late 1920s, eventually settling in the Danish capital. From this time until his death in 1954, he kept collecting permanently.Condition: Good condition, commensurate with age. The lacquer coating is ancient and original, with absolutely no restoration whatsoever - something that is exceedingly rare to find. Old wear, signs of weathering and erosion, encrustations, flaking to lacquer, nicks, scratches, minor dents. Figure and stand do not fit 100% perfectly, possibly due to heat influence at some point in time, but definitely belong together originally. The bronze is covered overall in a rich, naturally grown, dark patina and displays exceptionally well.Weight: 15.1 kgDimensions: Height 49.6 cm The figure is raised on a separately cast lotus base comprised of three tiers of naturalistic petals above an openworked foot of scrolling foliage. (2)Auction result comparison: Type: Related Auction: Christie's London, 3 November 2020, lot 75 Price: GBP 43,750 or approx. EUR 65,500 converted and adjusted for inflation at the time of writing Description: A lacquered gilt-bronze figure of Buddha Shakyamuni, 16th century Expert remark: Compare the closely related modeling as well as the related lacquer gilding, also flaking off in some minor areas. Note the lacking base and the much smaller size (38 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2021, lot 777 Price: USD 250,000 or approx. EUR 254,000 converted and adjusted for inflation at the time of writing Description: A gilt-lacquered bronze figure of the Medicine Buddha, Ming dynasty Expert remark: Compare the closely related subject, modeling with similar pose, robes, expression, hair, and separately cast base, manner of casting, and lacquer-gilding. Note the larger size (71.1 cm). 明代鎏金漆藥師佛銅像中國，1368-1644年。此尊髮髻高束，面龐豐腴，雙目垂俯，眉間有白毫，相容和熙，頭髮成螺髻。肩胸寬厚，體態飽滿。身著敞胸袈裟，衣緣鏨刻精美的纏枝花卉，折疊曲复，流回自然。左手結禪定印，右手指地結觸地印，跏趺端坐於仰覆蓮台座。 來源：來自 Peter Dircks 船長的收藏，在同一家族傳承； 品相：狀態良好，漆層沒有經過任何修復。磨損、風化和侵蝕跡象、結殼、漆層剝落、刻痕、劃痕、輕微凹痕。造像和底座並非完美契合，但絕對是一套。造像整體上覆蓋著一層自然神色包漿。 重量：15.1 公斤 尺寸：高 49.6 厘米 底座鏤空，飾卷葉紋 (2) 拍賣比較： 形制：相近 拍賣：倫敦佳士得，2020年11月3日，lot 75 價格：GBP 43,750（相當今日EUR 65,500） 描述：明十六世紀鎏金銅紅金漆釋迦摩尼佛坐像 專家註釋：比較非常相近模型、相近金漆鎏金，有些地方漆層剝落。請注意 模有底座和尺寸較小 (38 厘米)。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2021年9月24日，lot 777 價格：USD 250,000（相當今日EUR 254,000） 描述：明銅漆金藥師佛坐像 專家註釋：比較非常相近主題、相似的姿勢、長袍、表情、髮型和另外鑄造的底座、鑄造風格，以及金漆鎏金。請注意 尺寸較大 (71.1 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LARGE GILT BRONZE FIGURE OF BUDDHA, MING DYNASTYChina, 16th-17th century. Heavily cast, seated in dhyanasana with his right hand lowered in bhumisparsha mudra and the left held above his lap. He is wearing loosely draped robes, opening at the chest cast with a wan symbol, the hems finely incised with floral decorations, the garment secured with a belt neatly tied around the waist in a bow. The face modeled with a serene expression marked by downcast eyes below gently arched eyebrows centered by an urna, and full lips forming a subtle smile, flanked by pendulous earlobes. The hair cast in tight curls over the ushnisha.Provenance: Property from an important Washington state collection.Condition: Very good condition with some wear, particularly to the gilding, and casting irregularities. Minor nicks and light scratches. The interior with remnants of pigment. The bronze with a rich, naturally grown, dark patina.Weight: 8,451 gDimensions: Height 39.2 cm Expert's note: The statue shows several meticulously inlaid miniature bronze plaques of rectangular shape to the back (see detail images online). These plaques have a ritual purpose and are frequently found in Buddhist sculpture.Literature comparison: A related gilt-bronze figure of Buddha Shakyamuni, dated 16th-17th century, in the Chang Foundation, is illustrated in Buddhist Images in Gilt Metal, Taipei, 1993, pp. 32-33, no. 9.Auction result comparison: Type: Closely related Auction: Bonhams London, 9 November 2017, lot 204 Price: GBP 68,750 or approx. EUR 110,000 converted and adjusted for inflation at the time of writing Description: A large gilt-bronze figure of Buddha Shakyamuni, 17th century Expert remark: Compare the closely related meditative pose and serene expression, wear to gilt, manner of casting, and decoration with similar incised floral hems. Note the closely related size (39.3 cm).Auction result comparison:Type: Closely related Auction: Christie's New York, 19-20 September 2013, lot 1529 Price: USD 147,750 or approx. EUR 176,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Buddha, Ming dynasty, 16th-17th centuryExpert remark: Compare the closely related meditative pose and serene expression, manner of casting, and decoration with similar incised floral hems. Note the smaller size (30.4 cm). 明代大型銅鎏金佛像中國, 十六至十七世紀。造像沉重，禪定姿，右手垂下，結觸地印，左手平放於在膝蓋上方。 佛陀沈著寬鬆袈裟，敞胸刻有卐字符，下擺上刻有精美的花卉裝飾，衣服上用一條腰帶系在腰間。面部表情平靜慈祥，雙眉之間有白毫，嘴露微笑，兩側長耳垂。頭髮成螺髻。 來源：華盛頓重要收藏。 品相：狀況極好，有一些鎏金磨損、鑄造不規則、輕微刻痕和劃痕。內部有顏料殘留，自然包漿。 重量：8,451 克 尺寸：高 39.2 厘米 專家注釋：造像的背面可見幾塊鑲嵌的矩形小銅牌（參見在線詳細圖片）。這些小牌經常出現在佛教造像上。文獻比較： 一件相近的十六至十七世紀鎏金釋迦牟尼銅像，收藏於Chang Foundation，見《Gilt Metal》，台北，1993年，頁32-33，編號9。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2017年11月9日，lot 204 價格：GBP 68,750（相當於今日EUR 110,000） 描述：十七世紀銅鎏金佛陀坐像 專家評論：比較非常相近的冥想姿勢、表情、鎏金磨損、鑄造風格和相似的長袍裝飾。請注意非常相近尺寸 (39.3 釐米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年9月19-20日，lot 1529 價格：USD 147,750（相當於今日EUR 176,000） 描述：明十六/十七世紀銅鎏金佛坐像 專家評論：比較非常相近比較非常相近的冥想姿勢、表情、鎏金磨損、鑄造風格和相似的長袍裝飾。請注意尺寸較小 (30.4 釐米)。

A SILVER-INLAID AND GILT-BRONZE FIGURE OF MAHASIDDHA, THE MYSTICAL TEACHER VIRUPATibet, 17th - 18th century. The figure dressed in a short dhoti seated in lalitasana on an antelope skin atop a remarkably well-incised foliate base. Looped across his waist over to his raised leg, a notched yogic band decorated finely with a scrolling vine, his one hand cradling a kapala, the other raised with fingers pointing upwards.Provenance: From an old German private collection. To the base, a collector's label, 'Vahasida' (sic!).Condition: Very good condition with old wear, expected casting flaws and traces of usage, small nicks here and there, few minuscule losses, light scratches. Good, naturally grown patina overall.Weight: 1471.2 gDimensions: Height 16 cmThe body ornamented with beaded jewelry, the hair knotted in a high chignon and pulled back with a headdress decorated with floral jewelry. The face in a tranquil expression with eyes inlaid in silver under raised eyebrows, the ears elongated with heavy spiral earrings, his curling moustache and long beard, all under a broad smile. To the copper base, an incised crossed vajra symbol.Mahasiddha may be translated as "Great Attainer" and implies a mystical teacher who is free-thinking and often eccentric, who has mastered the various yogic techniques and attained unusual magical and spiritual powers. Virupa, the Lord of Yoga, is venerated foremost in magical attainments among the 84 Mahasiddhas of India. He is pivotal within all traditions of Tibetan Buddhism. In the Sakya, Virupa is typically depicted in one or all of the six prescribed forms that follow the major events in his life story. The Sakya iconographic convention for depicting Virupa is to have the right hand raised for depicting the narrative of stopping the sun in the sky.The Indian mystic, Virupa is credited with performing many extraordinary deeds, including parting the waters of the Ganges and drinking enormous amounts of alcoholic beverages. Once he was refused further liquor at a tavern unless he could pay, upon which he prevented the sun from setting for two days with his magical powers. The local king, highly concerned, settled his bill in order to free the sun. Here, he is here depicted with his right arm raised in the threatening gesture of tarjani mudra, ordering the sun not to move. Virupa lived in the ninth century in southern India and studied at the University of Nalanda. He was known for his comments on the Hevajra Tantra.Literature comparison:Two related examples of Virupa in the Museum Rietberg are published in Uhlig, On the Path to Enlightenment, Zurich, 1995, pp.179, nos.122-3. Compare a closely related figure of Virupa, but with his right hand lowered instead of holding the skull cup, in U. von Schroeder, Indo-Tibetan Bronzes, 1981, cat. no. 128C; and two examples in the Berti Aschmann Collection, cf. H. Uhlig, On the Path to Enlightenment, 1995, cat. nos. 122 and 123.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 10 December 2014, lot 34Price: EUR 55,500 or approx. EUR 69,500 adjusted for inflation at the time of writingDescription: Statuette de Mahasiddha en Bronze Dore, Chine, Dynastie Qing, XVIIIemeExpert remark: Note the smaller size (10 cm).Auction result comparison:Type: RelatedAuction: Christie's Paris, 22 June 2016, lot 66Price: EUR 39,900 or approx. EUR 48,000 adjusted for inflation at the time of writingDescription: Statue d'un Mahasiddha en Bronze Dore Tibet, XVIIIeme SiecleExpert remark: Note the size (14.5 cm).銅鎏金錯銀大成就者毘魯巴西藏，十七至十八世紀。大成就者身穿短布腰布，坐於精雕羚羊皮葉紋底座。 一條腰帶從腰上繞到抬起的腿上，腰帶飾有藤蔓，他的一隻手抱著一個卡帕拉，另一隻手舉起，手指向上。來源：德國私人舊藏，底座有收藏標籤 “Vahasid“。 品相：狀況非常好，有磨損、鑄造缺陷和使用痕跡，很多小刻痕，微小的缺損，輕微的劃痕。自然包漿。 重量：1471.2 克 尺寸：高 16 厘米 拍賣結果比較： 形制：非常相近 拍賣：巴黎佳士得，2014年12月10日，lot 34 價格：EUR 55,500（相當於今日EUR 69,500） 描述：大成就者銅鎏金雕像，中國，清朝，十八世紀 專家評論：請注意尺寸較小 (10 釐米)。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2016年6月22日，lot 66 價格：EUR 39,900（相當於今日EUR 48,000） 描述：金銅大成就者雕像 專家評論：請注意尺寸 (14.5 釐米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

AN IMPERIAL PAIR OF QUADRILOBED CLOISONNE ENAMEL 'LOTUS' VASES, QIANLONG FIVE-CHARACTER MARK AND OF THE PERIODChina, 1736-1795. Each baluster body is distinctively four-lobed and rises from a splayed foot to a waisted neck surmounted by a trumpet mouth with an everted lip in gilt-copper. Decorated around the exterior with bands of lotus blooms borne on meandering leafy scrolls between bats, ruyi and stylized lappet bands, all reserved on a deep turquoise ground. The recessed gilt copper base neatly incised with a five-character mark Qianlong nianzhi ze and of the period. (2)Provenance: From the collection of J. J. Lally, New York, USA. To each box, a collector's label, 'Lally & Co. New York' with handwritten inventory number '4289.' James J. Lally was a renowned antique dealer and connoisseur, 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 catalog that have remained important reference guides within the field. This meticulous approach continued when he produced his own exhibitions and catalog. 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: Excellent condition with expected manufacturing irregularities and wear to gilt, minute hairlines, dents and nicks to enamels. Minor losses to enamels with associated old fills. Overall displaying exceptionally well.Weight: 1494.1 g and 1499.2 gDimensions: Height 36.3 cm (each) Each with a padded silk box and cover. (4)Literature comparison: Compare a closely related pair of cloisonne enamel vases, 34 cm high, with the same five-character Qianlong marks as the present lot, at Dorotheum, Vienna, 27 September 1994, lot 1041. Compare a closely related pair of cloisonne enamel 'lotus' vases, 36 cm high, also with five-character Qianlong marks, the fifth character being 'ze', illustrated by Brinker and Lutz, Chinese Cloisonne: The Pierre Uldry Collection, Asia Society, New York, 1989, no. 282, p. 74, where the authors note: “During the Qianlong period (1736-1795) an additional character, the significance of which is obscure, is occasionally found below the usual mark." The authors go on to suggest the 'ze' character may be an indication of the use or category of the object on which it is inscribed.Auction result comparison: Type: Related Auction: Christie's London, 11 May 2010, lot 110 Price: GBP 37,250 or approx. EUR 73,500 converted and adjusted for inflation at the time of writing Description: A large and rare cloisonne enamel vase, gu, Qianlong incised four-character mark within a double square and of the period Expert remark: Compare the related cloisonne decoration, lotus motif, and incised reign mark. Note the size (57 cm), different form, absence of an additional character to the reign mark, and that the lot comprises only a single vase.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 28 May 2014, lot 3005 Price: HKD 400,000 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A fine Imperial small cloisonne enamel 'lotus' dish, Qianlong incised six-character mark within double rectangles and of the period Expert remark: Compare the related cloisonne decoration, lotus motif, and incised reign mark (albeit six characters). Note the size 13 cm), different form, absence of an additional character to the reign mark, and that the lot comprises a single bowl. 乾隆五字款及年代一對銅胎掐絲琺瑯海棠式瓶中國, 1736-1795年。銅胎，長頸，撇口，圈足外撇。全器作海棠四瓣花形。全器滿飾纏枝蓮紋，瓶口飾如意，頸部可見蝙蝠，足部可見芭蕉葉紋。底足內鎏金並刻有“乾隆年製 則"。 (2) 來源：紐約 J. J. Lally私人收藏，每個盒子上都有一個藏家標籤，寫著 '4289'。 品相：狀況極佳，製造不規則性和鍍金磨損、微小的冲線、琺瑯上有凹痕和刻痕。只有非常小的缺損，和相應的舊修補。 重量：分別為1494.1 克與 1499.2克 尺寸：各高 36.3 厘米 蓋盒内襯絲緞。 (4) 由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看