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AN OVAL BRONZE FOLDING OIL LAMP, DENG, HAN DYNASTYChina, 206 BC to 220 AD. The lamp is made in the shape of an ear cup and raised on a narrow foot ring. One side of the cover is hinged and has a spout at one end and a pricket on the interior. The cover is divided into quadrants cast with dragons and tigers separated by a central panel with inscriptions and set with tiny loops similar to a third at one end of the lamp. The dragon and tiger motifs are repeated on the handles.Inscriptions: To the central panel, '[…] zi ji'.Provenance: Guy Portier, Paris, France, 22 February 1969. Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum, coll. no. H.1.1. Guy Portier (1919-2005) was an important French auctioneer and Asian art expert. His father Andre specialized in the import of silk from the Far East and later served as an expert in the sales of major French collections of Asian art. Guy was in charge of the silk department of the family company until he took over in 1942, gradually focusing on Far Eastern works of art, Japanese prints being one of his passions. In 1967, he included a list of estimates for the objects put up for sale in one of his catalogs for the first time, back in these days a revolutionary change. The family company, Cabinet Portier, still exists to this day. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. Condition: Very good condition, commensurate with age. Extensive wear, minor losses, signs of weathering and erosion, small nicks, light scratches. Fine, naturally grown, rich patina with malachite and cuprite encrustations.Weight: 287.6 g Dimensions: Length 10 cmDr. Wou's immense passion and superior knowledge sometimes allowed him to pick up unusual and exquisite Chinese works of art with rare inscriptions, right under the noses of the most experienced dealers and collectors of his days, simply because most of them were unable to read Chinese. The present lot is yet another testimonial to this fact.Literature comparison: A closely related bronze oil lamp, also dated to the Han dynasty, is illustrated in Bronze Articles for Daily Use: The Complete Treasures of the Palace Museum, Hong Kong, 2006, no. 90. It is inscribed yi zi sun ji ('blessings for future generations') in the center panel of the cover. Note that two of these characters ('zi' and 'ji') are also found on the present lot. A closely related bronze oil lamp, 13 cm long, also dated to the Han dynasty, is in the Art Institute of Chicago, reference number 1930.907, illustrated by C.F. Kelley and Chen Mengjia in Chinese Bronzes from the Buckingham Collection, 1946, p. 199, pl. LXIX.Auction result comparison: Type: Near-identical Auction: Christie's New York, 22 March 2013, lot 1245 Price: USD 30,000 or approx. EUR 36,000 converted and adjusted for inflation at the time of writing Description: A small bronze oval oil lamp, Han dynastyExpert remark: Compare the near-identical form, decorations, and size (10.2 cm). Note that the oil lamp is inscribed yi zi sun ji ('blessings for future generations') in the center panel of the cover, with two of these characters ('zi' and 'ji') also found on the present lot.漢代銅燈中國，公元前206 年至公元220 年。燈做成耳杯狀，橢圓形淺圈足上。蓋子的一側是鉸接的，一端可以上翻。燈罩分為龍紋和虎紋，由帶有銘文的中央面板隔開，並在燈的一端設置類似於三分之一的小環。手柄上重複出現龍虎圖案。 款識：[…] 子 吉 來源：法國巴黎Guy Portier，1969年2月22日；吳權博士購於上述藝廊。吳蓮伯美術館，館藏 H.1.1.號。Guy Portier (1919-2005) 是法國重要的拍賣師和亞洲藝術專家。他的父親Andre專門從事從遠東進口絲綢，後來成為法國主要亞洲藝術收藏品的銷售專家。Guy在 1942 年接任之前負責家族企業的絲綢部門，逐漸專注於遠東藝術作品，收藏日本版畫是他的愛好之一。1967 年，他首次在自己的目錄中列出了待售物品的估價清單，這在當時是一個革命性的變化。家族企業 Cabinet Portier 至今仍然存在。吳權博士(1910-1997) 是一位中國外交家和知名中國藝術學者。 品相：品相極好，與年齡相稱。嚴重磨損、風化和侵蝕跡象、小刻痕、輕微劃痕。細膩包漿，帶有紅綠色結殼。 重量：287.6 克 尺寸：長10 厘米

A GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI, KANDYAN PERIODExpert's note: Sri Lankan figures of Buddha are noted for remarkable stylistic conservativism, having followed a consistent canon of proportions from their earliest origins. The later Kandyan period, however, saw considerable variation in the rendering of the robe, marked by highly precise linear patterns worked into the folds. There are elements to this specific bronze, from the softer casting style of the shoulders and arms to the pronounced surface wear, that make it feel a bit older than most of the Kandyan Period examples on the market.Sri Lanka, 17th-18th century. Solidly cast seated in vajraparyankasana with his hands folded in dhyanamudra, the Buddha's broad-shouldered form is fitted in a finely pleated sanghati draped over his left shoulder. His face bares a calm, meditative expression and was likely once framed by pendulous earlobes and surmounted by a flaming siraspata.Provenance: The Phillips Family Collection, Lawrence and Shirley Phillips, and thence by descent to Michael Phillips (born 1943), who is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Some wear and casting irregularities, minor losses, soldering marks, small nicks, light scratches. The head has been reattached at some point in time. Fine, naturally grown, rich patina.Weight: 3,340 gDimensions: Height 15.5 cmAfter three hundred years of internecine civil conflict and successive waves of European imperialists, the Kingdom of Kandy emerged as the pre-eminent Sinhalese political authority. Under its stability and the avid patronage of its kings, Sri Lanka witnessed a Buddhist revival with an unprecedented amount of building and restoring of monastic institutions. Bronze Buddha images proliferated, most of them either gilded or non-gilded depicting the sage in a standing pose. Fewer portrayed the Buddha seated, like the present example.Two predominant forces inform the distinctive style of Kandyan Buddhist art. One is the continuance of Sinhalese tradition in depicting Buddha with a broad body type wrapped in a pleated robe, set by colossal statues of the Anuradhapura and Polunnaruwa periods. The other is a South Indian tradition of expressing dynastic identity through artistic patronage of religious objects, pursued with enthusiasm by the Nayak princes, who were invited to assume Kandy's throne after its last Sinhalese king died without an heir in 1739. Such fusion is exemplified by the present sculpture, whose massive shoulders and air of empyrean authority evoke tradition, while the mesmerizing crinkles of the garment, abstracted physiognomy, and enlarged flame finial summon Kandyan panache.Literature comparison:Compare a closely related bronze figure of Buddha dated to the 18th century, in the Art Institute of Chicago, gifted by Lawrence and Shirley Phillips, the previous owners of the present lot, reference number 1984.1304. Compare fifteenth and sixteenth-century Buddhas from the Divided Kingdoms period (c. 1232-1597), see U. von Schroeder, Buddhist Sculptures of Sri Lanka, p. 467, pls. 144 D-G.Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 30 November 2022, lot 1047Price: HKD 355,800 or approx. EUR 42,000 converted and adjusted for inflation at the time of writingDescription: A Silvered Copper Alloy Figure Of Seated Buddha, Sri Lanka, Kandyan Period, 18th CenturyExpert remark: Note the closely related style of the garment folds. Also note that the figure is silvered and significantly larger (26.5 cm) than the present lot.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A BRONZE FIGURE OF A STANDING BUDDHA, POST-GUPTA PERIOD, INDIA, C. 7TH CENTURYFinely cast standing in contrapposto on an integral lotus-petal base upon a square plinth, the right arm extended to the earth, the open palm exaggerated, the left hand grasping the hem of the robe.Provenance: Steven Finkelman, The Buddha Gallery, California, USA, 2014. Michael Phillips, acquired from the above. Steven Finkelman is a retired social work service director with over 30 years of experience in collecting and selling Buddhist and Hindu sculpture. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Very good condition, commensurate with age. Wear, minor dents, small nicks, light scratches, casting flaws, signs of weathering and erosion, losses.Weight: 189.7 g Dimensions: Height 11 cmThe present lot is characteristic of Indian art from the post-Gupta period. This small type of portable figure is thought to be one of the earliest kinds of Buddhist images to have been produced by local craftsmen, reflecting the spread of Buddhism throughout India and the rest of Asia after the 3rd century. We see this type of figure replicated in regional styles all the way out to Myanmar. It was even reported by the Chinese scholar Xuanzang (602-664), who traveled to India in the 7th century, that the monks of India had small icons of Buddha in their quarters that they venerated with chanting, ritual bathing, and small offerings of incense and food. He identified these as a small group of metal standing Buddha figures. The Ajanta Caves are approximately thirty Buddhist cave monuments dating from the second century BC to about 480 AD in the Aurangabad district of Maharashtra state in India. Textual records suggest that these caves served as a monsoon retreat for monks, as well as a resting site for merchants and pilgrims in ancient India. The caves include paintings and rock-cut sculptures described as among the finest surviving examples of ancient Indian art, particularly expressive works that present emotions through gesture, pose and form. They are universally regarded as masterpieces of Buddhist religious art. The caves were built in two phases, the first starting around the second century BC and the second occurring from 400 to 650 AD. They constitute ancient monasteries (Chaityas) and worship-halls (Viharas) of different Buddhist traditions carved into a 75-meter (246 ft) wall of rock. The caves also present paintings depicting the past lives and rebirths of the Buddha, pictorial tales from Aryasura's Jatakamala, and rock-cut sculptures of Buddhist deities. The patron and bronze founder of the present lot were clearly intimately familiar with the Ajanta site. In cave 4 for example, see a standing Buddha closely related to the present lot.Literature comparison: Compare a related carved relief of a standing Buddha in Cave 19 at the Ajanta complex, taken by Henry Cousens around 1880, from the Archaeological Survey of India Collections. See Sarita Khettry, 'Portable' Images (Buddhist) from Gandhara, Proceedings of the Indian History Congress, vol. 72, 2011, pp. 204-11. Compare also a related pillar painting in Cave 10. Compare a closely related figure, 11 cm high, dated 7th-8th century, at Galerie Hioco, June 24, 2019.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A COPPER-INLAID BRONZE FIGURE OF BUDDHA, TIBET, 13TH-14TH CENTURYSeated in dhyanasana atop a double-lotus base with a beaded upper rim, his right hand lowered in bhumisparsha mudra and his left held in dhyana mudra above his lap, his body clad in a close-fitting sanghati gathered on one shoulder, the robe bordered with neatly incised hems inlaid in copper. The finely painted face with a meditative expression marked by heavy-lidded eyes, gently arched brows, an urna, and full lips, flanked by a pair of long pendulous ears. The head and domed ushnisha covered with tight curls and surmounted by a jewel.Provenance: Swedish trade. Condition: Good condition with some wear and casting irregularities, minor nicks and dents, the base with small tears, the seal plate replaced, minimal warping. Very good, naturally grown patina overall, with an unctuous feel from centuries of handling. Remnants of ancient pigments.Weight: 731 g Dimensions: Height 16 cmExpert's note: The close-fitting robe, which fans out before the shins, eclipses his left wrist, and drapes over Buddha's left shoulder, indicate a stylistic borrowing from Northeastern Indian Pala prototypes, reflected in five 10th-century bronzes held in the Calcutta Museum (see Niharranjan, Eastern Indian Bronzes, New Delhi, 1986, nos. 217-21). Meanwhile, the fishtail hem, draped high above his left shoulder, and the additional hems neatly draped over his left bicep are characteristics of the 13th-century Khasa Malla style, evident in bronzes held in the Rubin Museum of Art and the Patan Museum (see HAR item nos. 65687 & 59501, respectively). The fusion of these elements indicates to art historians that early Tibetan bronze casters turned to Buddha images from both India and Nepal for inspiration when first creating their own.Auction result comparison: Type: Closely related Auction: Christie's New York, 20 March 2009, lot 1358 Price: USD 9,375 or approx. EUR 12,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Buddha Shakyamuni, Tibet, 13th/14th centuryExpert remark: Note the similar size (17 cm)十三至十四世紀西藏銅佛佛陀結跏趺座坐於雙蓮花座上，蓮座上邊緣有一圈寳珠紋，右手觸地印，左手置於膝上，身著袒右肩袈裟，線條流暢，長袍鑲邊，邊緣整齊地鑲在銅中。面部彩繪，呈寂靜相，雙眼微合，微彎的眉毛，雙眉之間有白毫，嘴唇豐滿，兩側是一對長耳垂。螺發，肉髻高聳，摩尼寶珠頂嚴。 來源：瑞典古玩交易。 品相：狀況良好，有一些磨損和鑄造不規則、輕微的刻痕和凹痕，底部有小裂痕，密封板已更換，小翹曲。整體包漿良好細膩，古代顏料殘餘。 重量：731 克 尺寸：高16 厘米 專家注釋：緊身長袍在小腿前呈扇形展開，遮住他的左手腕，並袒右肩，表明在風格上借鑒了東北印度帕拉原型，反映在加爾各答博物館收藏的五件10世紀青銅器中（見 Niharranjan ，Eastern Indian Bronzes，新德里，1986 年，編號 217-21）。 與此同時，高高垂在左肩上方的魚尾下擺，以及整齊地垂在左小臂的額外下擺，都是13 世紀馬拉風格的特徵，在魯賓藝術博物館和帕坦博物館收藏的青銅器中可見一斑（見 HAR 庫存號分別為 65687 和 59501）。這些元素的融合向藝術史學家表明，早期西藏青銅鑄工在首次創作自己的佛像時曾從印度和尼泊爾的佛像中尋找靈感。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，20 3月 2009年，lot 1358 價格：USD 9,375 EUR 12,000 （相當於今日） 描述：十三至四世紀西藏鎏金銅釋迦牟尼銅像 專家評論：請注意相似的尺寸(17 厘米)。

AN INLAID BRONZE 'ELEPHANT' TRIPOD CENSER AND OPENWORK COVER, 18TH CENTURYChina. Heavily cast, the censer is decorated in relief with lotus scrolls flanked by a pair of handles in the form of caparisoned elephant heads with their trunks raised, supported on three further elephant heads, their curved trunks forming the legs. The openwork cover is pierced with lotus scrolls surrounding the finial cast as a recumbent elephant with an urn on its back filled with auspicious and precious objects including a conch, ingot, the Three Jewels, and a cash coin. The censer is embellished with inlays of pearl, glass, and semiprecious stones. The base cast with a lotus knop. Provenance: From a Danish private collection and thence by descent. The underside with faint remnants of an old collector's inscription. Condition: Very good condition with old wear, traces of use and casting irregularities, some losses to inlays, the handles slightly loose. Fine, naturally grown, rich patina.Weight: 3,577 g Dimensions: Height 31 cmExpert's note: The fine inlays of pearl, glass, and semiprecious stones strongly indicate an imperial connection to this censer, which also compares favorably to Qianlong-marked examples, see for example Christie's Hong Kong, 29 May 2019, lot 3115.Literature comparison: The tradition of using three elephant heads as the feet of imperial bronze censers and braziers can be traced back at least as far as the Xuande reign (1426-1435). An example of a censer, bearing a six-character Xuande reign mark, on which the elephants balance on their rolled trunks, as on the present lot, is in the collection of the National Palace Museum, Taipei, and illustrated in A Special Exhibition of Incense Burners and Perfumers Throughout the Dynasties, Taipei, 1994, p. 199, no. 54.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 May 2012, lot 4128 Price: HKD 524,000 or approx. EUR 82,000 converted and adjusted for inflation at the time of writing Description: A bronze 'elephant' tripod censer and openwork cover, Qing dynasty, 18th centuryExpert remark: Compare the closely related form, decoration, and inlays, as well as the related size (33.6 cm). Note the gilt handles and finial, which may possibly be of a later date. Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 24 June 2013, lot 1119 Price: USD 92,500 or approx. EUR 107,000 converted and adjusted for inflation at the time of writing Description: A large bronze tripod censer and cover, Qianlong period Expert remark: Compare the closely related form, decoration, and inlays. Note the apocryphal dating inscription (corresponding to 1651) as well as the larger size (51.5 cm).十八世紀銅嵌寳太平有象三足銅爐中國。熏爐體型碩大，造型繁複絢麗，一尊大象伏臥於爐蓋之上，雙耳肥碩，象鼻彎曲，寶象滿飾纓絡，背負聚寶盆，内有吉祥珍品，如海螺、元寶等。爐蓋高聳，通體透雕纏枝蓮花紋，枝葉錯縱盤繞，蓮花盛開其間。雙象首耳，象鼻、象牙造型誇張，腹部浮雕纏枝花卉，下承三象首足，裝飾瓔珞並嵌飾各色寶石，整體造型華美，銅質精良。 來源：丹麥私人收藏，保存至今。底部可見藏家款識。 品相：狀況極好，有磨損、使用痕跡和鑄造不規則，鑲嵌物有一些缺損，手柄略微鬆動。黃銅色皮殼包漿自然。 重量：3,577 克 尺寸：高31 厘米 專家注釋：珍珠、玻璃和半寶石的精美鑲嵌表明此香爐與皇家有關，與乾隆時期的例子相比也毫不遜色，見香港佳士得，2019年5月29日，lot 3115。 文獻比較： 以三象頭為御製青銅香爐和火盆足的傳統，至少可以追溯到宣德年間。一件六字款的宣德年款象足銅爐，收藏於臺北故宮博物院，見《A Special Exhibition of Incense Burners and Perfumers Throughout the Dynasties》，臺北，1994年，頁199，編號54。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2012年5月30日，lot 4128 價格：HKD 524,000（相當於今日EUR 82,000） 描述：清十八世紀銅太平有象三足熏爐 專家評論：比較非常相近的外形、裝飾、內鑲嵌，以及相近尺寸 (33.6 厘米)。請注意有鎏金雙耳和頂蓋鈕，可能年代較晚。

A CLOISONNE ENAMEL STEM CUP, QING DYNASTYChina, 18th century. The globular body supported on a tall, splayed foot, decorated to the exterior with lotus scroll divided by dark blue borders, set against a turquoise ground, the foot with scrolling vines beneath a plantain leaf band. The rims and base gilt.Provenance: From a Norwegian private collection. Condition: Good condition with old wear and expected manufacturing irregularities, such as crackling and pitting, few small dents and losses, the interior with some residue from extensive previous usage as a censer. The cover with scattered nicks.Weight: 528.2 g (incl. cover) Dimensions: Height 14.5 cmWith a reticulated silver cover showing a dense floral design. Added in Japan, probably during the 19th century, so that the cup could serve as a koro (incense burner). (2) Auction result comparison:Type: RelatedAuction: Millon, Paris, 9 June 2022, lot 25Price: EUR 21,000Description: A gilt bronze and cloisonne enamel footed bowlExpert remark: Compare the closely related form and lotus decoration. Note the Qianlong reign mark.Auction result comparison: Type: RelatedAuction: Bonhams Hong Kong, 29 May 2018, lot 18Price: HKD 350,000 or approx. EUR 46,500 converted and adjusted for inflation at the time of writingDescription: A very rare cloisonne enamel stem cup, incised Qianlong four-character mark and of the periodExpert remark: Compare the related form and lotus decoration. Note the Qianlong reign mark.清代銅胎掐絲琺瑯高足杯 中國，十八世紀。杯鼓腹，高足，足底外撇。杯外壁以藍釉為地色，飾纏枝蓮花，高足處則飾蕉葉紋一周。杯口與足部鎏金。 來源：挪威私人收藏。 品相：狀況良好，輕微磨損和預期的製造不規則，例如裂紋和點蝕，輕微小凹痕和缺損，杯內有一些使用痕跡。杯蓋有些許劃痕。 重量：528.2 克 (含蓋) 尺寸：高14.5 厘米 鏤空花卉紋銀蓋，可能是在十九世紀在日本被加上，如此便可以當作香薰杯使用。(2) 拍賣結果比較： 形制：相近 拍賣：巴黎Millon，2022年6月9日，lot 25 價格：EUR 21,000 描述：18世紀銅胎掐絲琺瑯高足碗 專家評論：比較非常相近外型和蓮花裝飾。請注意此碗有乾隆款。 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2018年5月29日，lot 18 價格：HKD 350,000（相當於今日EUR 46,500） 描述：清乾隆銅胎掐絲琺瑯纏枝蓮紋高足杯，陰刻「乾隆年製」楷書款 專家評論：比較相近外型和蓮花裝飾。請注意此杯有乾隆款。

A LARGE GILT-LACQUERED WOOD FIGURE OF AVALOKITESHVARA, VIETNAM, 18TH-19TH CENTURYThe Bodhisattva depicted seated in padmasana on a lotus base, his primary hands in a tantric mudra, a further set of hands resting in his lap, while the other arms radiate around him, holding auspicious symbols, dressed in long flowing robes, adorned with jewelry, the face with a serene expression, heavy-lidded eyes, and full lips, flanked by elongated earlobes, the head surmounted by a tall crown.Provenance: From a private estate in Nice, France. Condition: Good condition with some old wear, weathering, scratches, small chips, few expected age cracks, minor losses, flaking to lacquer, and the arms with old repairs.Weight: 6,122 g Dimensions: Height 59 cmAlthough many Buddhists in mainland Southeast Asia are practitioners of Theravada Buddhism, this sculpture represents Vietnam's vassalage under the Chinese, who largely introduced Mahayana Buddhism to the country. Among the most important Buddhist deities in the Mahayana pantheon is the Bodhisattva of Compassion, Avalokiteshvara.Literature comparison:Compare a related gilt-lacquered wood figure of Bodhisattva Avalokiteshvara, 59.4 cm, Vietnam, 19th century, in the USC Pacific Asia Museum, accession number 1988.5.1. Compare a related gilt lacquer bronze figure of Bodhisattva Avalokiteshvara, North Vietnam, 18th century or later, in the Asian Civilisations Museum, accession number 1998-00054.Auction result comparison:Type: RelatedAuction: Bonhams London, 26 February 2008, lot 128Price: GBP 3,600 or approx. EUR 7,000 converted and adjusted for inflation at the time of writingDescription: A Vietnamese dry lacquered-wood figure of Avalokitesvara, 19th centuryExpert remark: Compare the related pose and face. Note the size (69 cm).十八至十九世紀越南大型鎏金漆觀音木像菩薩坐在蓮花座上，他的主手施密宗手印，另一組手放在他的膝蓋上，而其他手則分別施不同手印，穿著飄逸的僧袍，飾有珠寶 ，面容安詳，雙眼下垂，嘴唇豐滿，兩側是細長的耳垂，頭上戴高冠。 來源：法國尼斯舊藏。 品相：狀況良好，有一些磨損、風化、劃痕、小缺口、輕微老化裂縫、微小缺損、漆面剝落，以及手臂處有小修。 重量：6,122 克 尺寸：高59 厘米 雖然東南亞大陸的許多佛教徒都是上座部佛教的修行者，但這座造像代表了越南在中國的影響之下，將大乘佛教引入該國。大乘萬神殿中最重要的佛教本尊之一是大悲觀世音菩薩。文獻比較： 比較一件相近的越南十九世紀金漆觀音木像，59.4 厘米，收藏於南加州大學亞太博物館，館藏編號 1988.5.1。比較一件相近十八世紀或較晚越南北部金漆觀音木像，收藏於亞洲文明博物館，館藏編號 1998-00054。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2008年2月26日，lot 128 價格：GBP 3,600（相當於今日EUR 7,000） 描述：越南十九世紀乾漆觀音木像 專家評論：比較相近的姿勢和面部。請注意尺寸(69 厘米)。

A BRONZE ELEPHANT BELL, KHMER EMPIRE, ANGKOR PERIOD12th-13th century. The ovoid body encircled with two disk shaped ridges finely worked with geometric bands, surmounted by a loop surrounded by radiating lotus petals with upturned tips, the bottom with a pierced opening with four lappets, two of which are finely decorated with beast masks, and the edges with lines and geometric designs. The bronze with a rich, naturally grown, solid patina with distinct areas of malachite, azurite, and cuprite encrustations.Provenance: From an old German private collection, assembled in the 1980s. Condition: Good condition, commensurate with age. Wear, small losses, cracks, minor dents, and encrustations.Weight: 2,350 g (excl. stand), 3,970 g (incl. stand) Dimensions: Height 17.7 cm (excl. stand), 41.9 cm (incl. stand)Hanging from a hooked metal stand. (2)Elephant bells such as the present lot hung from the elephant's saddle or around the neck, ringing as the animal moved. The prominent ridges projecting from the surface serve to keep the main body of the bell from touching the elephant's skin thereby dulling its tone.Literature comparison:Compare a related Khmer bronze elephant bell, 22.8 cm high, dated late 12th to early 13th century, in the Hartenberger World Music Collection of Historical Instruments, catalog number 2AS-IDST-76. Compare a related Khmer bronze bell, 6.7 cm high, dated to the Angkor period, 12th century, in the CB National Museum, inventory number NMC.437. Compare a related Khmer bronze bell, 19 cm high, dated to the Angkor period, late 12th to early 13th century, in the CB National Museum, inventory number NMC.436.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 September 2003, lot 44Price: USD 9,560 or approx. EUR 14,000 converted and adjusted for inflation at the time of writingDescription: An unusual bronze bell, Khmer, Angkor Period, 12th/13th centuryExpert remark: Compare the closely related form. Note the size (35.5 cm).

A FAMILLE ROSE PORCELAIN 'LINGZHI' RUYI SCEPTER, MID-QING DYNASTYChina, 1770-1850. The biscuit handle finely modeled as a gnarled branch with a twisting vine bearing leaves, blossoms, and peaches, the ruyi head in the form of a large lingzhi fungus, the head and lower end of the handle each with a gilt-decorated bat.Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years, and thence by descent. Condition: Good condition with expected old wear and some firing irregularities, few tiny losses, little rubbing to gilt and enamels.Weight: 452 g Dimensions: Length 32 cmWith a fine silk tassel dating from the same period. (2)The ruyi scepter, meaning 'as you wish', expresses the desire that someone's wishes come true. As such, it was considered a most suitable gift for an honored friend or high ranking official, particularly on the occasion of a birthday.Ruyi scepters were made in the widest range of materials, from jade and hardwoods to gilt bronze, semi-precious stones and organic materials such as lacquer, ivory, and bamboo. It is particularly rare, however, to find a ruyi scepter made of porcelain, perhaps due to its natural fragility making it a less suitable material for such a long, slender shape.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2011, lot 1610 Price: USD 18,750 or approx. EUR 23,500 converted and adjusted for inflation at the time of writing Description: An unusual famille rose ruyi scepter, 19th centuryExpert remark: Compare the related form, modeling, famille rose enamels, and size (30 cm).清代中期粉彩靈芝福壽如意杖中國，1770-1850年。陶瓷堆塑成多節桃枝，藤蔓纏繞，鮮艷玲瓏的壽桃和桃花，如意頭是一株大靈芝，描金蝙蝠飛舞期間。 來源：英國倫敦紳士收藏，其亞洲收藏至少超過五十年歷史，保存至今。 品相：狀況良好，有磨損和一些燒製不規則，輕微小缺損，描金和琺瑯有輕微摩擦。 重量：452 克 尺寸：長 32 厘米 來自同期的細絲流蘇。 (2) 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2011年3月24日，lot 1610 價格：USD 18,750（相當於今日EUR 23,500） 描述：十九世紀粉彩如意杖 專家評論：比較相近的外形、堆塑、粉彩和尺寸(30 厘米)。

A RARE AND LARGE GILT BRONZE FIGURE OF AN ENTHRONED MAITREYA, CENTRAL JAVANESE PERIODExpert's note: The fuller, fleshier depiction of Buddha, with a lack of jeweled adornment, places the style of this statue amongst examples dating from the 9th century. The throne and figure are cast from different metal alloys, the throne having a higher copper content and the figure having a higher iron content, resulting in a different appearance of the two, as the metals have developed differently over the centuries.Indonesia, Java, 8th-9th century. Seated in bhadrasana on a stepped rectangular throne, his feet placed on a circular lotus dais, the hands held in dharmachakra mudra, dressed in a monastic robe, and backed by an ornately scrolled foliate mandorla.Provenance: Christie's Paris, 10 December 2014, lot 349. Michael Phillips, acquired from the above. A copy of the original invoice from Christie's, dated 16 January 2015, addressed to Michael Phillips, confirming the dating above, and stating a purchase price of EUR 6,500 or approx. EUR 7,500 (adjusted for inflation at the time of writing), accompanies this lot. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, minor nicks, scratches, pitting, losses to gilt, signs of weathering and erosion, corrosion. Still presenting remarkably well, especially given the high age of this sculpture.Weight: 6,585 gDimensions: Height 28.5 cmThis extraordinary gilt-bronze statue represents Maitreya, the Buddha of the future. It is believed that Maitreya will come to save humanity during the final days. The iconography of this particular statue has many similarities with Western prototypes, demonstrating how Buddhist imagery spread to Java along the Silk Road from places as far away as Tibet and Sri Lanka. Such statues were often part of an important and much larger altar set forming a ritual mandala, flanked by supportive bodhisattvas and surrounded by lesser deities.Literature comparison:Compare a closely related bronze figure in the Museum Volkenkunde, Leiden, inventory number 1403-2845. Compare a closely related bronze figure in the Metropolitan Museum of Art, accession number 1987.142.14.Compare also a stone image of Buddha located in situ at Candi Mendut, illustrated in Peter Sharrock and Emma Bunker, Seeds of Vajrabodhi: Buddhist Ritual Bronzes from Java and Khorat. Esoteric Buddhism in Mediaeval Maritime Asia: Networks of Masters, Texts, Icons, 2016, pp. 237-252.Auction result comparison:Type: RelatedAuction: Christie's New York, 19 September 2000, lot 193Price: USD 171,000 or approx. EUR 237,000 converted and adjusted for inflation at the time of writingDescription: An important bronze figure of Kubera, Indonesia, 9th/10th centuryExpert remark: While representing Kubera, the statue contains numerous points for comparison. Note the larger size of 34.8 cm and the significantly better state of preservation.Auction result comparison:Type: RelatedAuction: Christie's Paris, 9 October 2014, lot 350Price: EUR 20,000 or approx. EUR 23,000 adjusted for inflation at the time of writingDescription: A bronze figure of the cosmic Buddha Amoghasiddi, Indonesia, East Java, 11th centuryExpert remark: This statue is an important example for comparison, not only because of the age and casting similarities, but also because it was the following lot in the Paris 2014 Christie's sale. It is important to note that this figure is about half as large and not gilt.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A BRONZE 'DUCK' CENSER AND COVER, MING DYNASTYChina, 1368-1644. Modeled standing on one of its webbed feet, the other raised, the curved neck supporting its upwards turned head, detailed with a long opened beak and plumage, the upper body forming the cover, with three openings at the beak and plumage, mounted to a rectangular wood stand.Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years, and thence by descent. The base with an old label, 'Antique Ming dynasty bronze incense burner 17th c.'. Condition: Very good condition with minor wear, few small nicks, light surface scratches, and casting flaws.Weight: 1,164 g (excl. stand), 1,511 g (incl. stand) Dimensions: 26.4 cm (excl. stand), 31.8 cm (incl. stand)With a modern, fitted wood stand. (2)Auction result comparison:Type: RelatedAuction: Bonhams London, 10 May 2021, lot 303Price: GBP 7,012 or approx. EUR 9,200 converted and adjusted for inflation at the time of writingDescription: A bronze mandarin duck form incense burner and cover, Ming dynasty Expert remark: Compare the related form of the beak, plumage, and feet. Note the smaller size (21 cm).Auction result comparison:Type: RelatedAuction: Christie's New York, 29 June 2021, lot 99Price: USD 25,000 or approx. EUR 26,000 converted and adjusted for inflation at the time of writingDescription: A bronze duck-form censer and cover, late Ming dynasty, 17th century Expert remark: Compare the related form, pose, and plumage. Note the larger size (44.8 cm) and rockwork base.明代鴨型銅爐中國，1368-1644年。鴨子單腳站立，另一隻腳抬起，彎曲的脖子，頭擡起，長喙和羽毛細節刻畫精緻，上半身形成蓋子，在喙和羽毛處有三個開口，安裝在一個矩形木架上。 來源：英國倫敦紳士收藏，收藏亞洲藝術至少五十年，保存至今。底座老標籤上注明“Antique Ming dynasty bronze incense burner 17th c.”。 品相：狀況極好，有輕微磨損、極少的刻痕、表面劃痕和鑄造缺陷。 重量：1,164 克 (不含底座)，1,511 克 (含底座) 尺寸：26.4 厘米 (不含底座)，31.8 厘米 (含底座) 現代木底座 (2) 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2021年5月10日，lot 303 價格：GBP 7,012（相當於今日EUR 9,200） 描述：明代鴛鴦銅爐蓋 專家評論：比較相近的長喙外形、羽毛和足部。請注意尺寸較小(21 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2021年6月29日，lot 99 價格：USD 25,000（相當於今日EUR 26,000） 描述：晚明十七世紀銅鴨形蓋爐 專家評論：比較相近的外形、姿勢和羽毛。請注意尺寸較大(44.8 厘米)和岩石形底座。

A GILT-COPPER REPOUSSE AND PALE CELADON JADE BOWL, LIAO DYNASTYChina, 907-1125. The deep round sides supported on a short foot, the jade bowl fitted with neatly incised gilt-copper repousse decorations depicting flying geese amid scrolling foliage in openwork, the rim and foot in gilt copper as well, the translucent stone of a pale celadon tone.Provenance: Old Japanese private collection. Czech private collection, acquired from the above.Condition: Good condition, commensurate with age. Some old wear and minor corrosion, dents and nicks, light scratches, signs of weathering and erosion, the bronze with malachite encrustations, the jade with extensive creamy-white calcification and iron residue overall.Weight: 141 g Dimensions: Diameter 10.3 cmLiterature comparison: Compare a closely related bowl in L'or des Qidan, Christian Deydier, p. 28 and 29. 遼代鎏金銅錘鍱青白玉碗中國，907-1125年。敞口，口略外撇，深弧腹，圈足，玉碗飾以鏤空雕刻的鎏金銅錘鍱，描繪飛雁穿梭於枝葉之間，沿足亦採用鎏金裝飾，淺青色調的半透明玉石。 來源：日本私人舊藏；捷克私人收藏，購於上述收藏。 品相：品相良好，有一些磨損和輕微腐蝕，凹痕和劃痕、風化和侵蝕痕跡，有孔雀石色結殼，玉器有大面積乳白色鈣化和鐵渣。 重量：141 克 尺寸：直徑 10.3 釐米文獻比較：比較一件非常相近的玉碗，見L'or des Qidan，《Christian Deydier》，頁28和29。

A BRONZE FIGURE OF BUDDHA, NORTHEASTERN INDIA, 8TH-10TH CENTURYExquisitely modeled standing in a dynamic pose, reminiscent of tribhanga and similar to contrapposto, his right hand raised in shuni mudra and his left holding the hem of his diaphanous robe draped over his left shoulder. The crisply cast serene face with heavy-lidded downcast eyes below gently arched brows centered by an urna, an aquiline nose, and full lips, flanked by long pendulous earlobes. The hair arranged in tight curls with an ushnisha. The bronze with a rich, naturally grown patina with malachite encrustations.Provenance: From a distinguished French collection, assembled in the course of over forty years. A noted Italian private collection, acquired from the above.Condition: Good condition, commensurate with age. Minor old repairs and fills. Extensive wear, casting irregularities, small nicks, light scratches, minor losses, signs of weathering and erosion, encrustations. Weight: 2,675 g (incl. stand) Dimensions: Height 31.5 cm (excl. stand) and 39.5 cm (incl. stand)Mounted to an associated wood stand. (2)Literature comparison: Compare a related bronze figure of Buddha, attributed to Bihar and dated to the 10th century, in the National Museum, New Delhi, object number 47.47. Compare a related bronze figure of Buddha, attributed to Bihar and dated circa 10th century, in the Indian Museum, Kolkata, object number 9436/A24276.Auction result comparison:Type: Related Auction: Christie's New York, 17 March 2015, lot 29 Price: USD 269,000 or approx. EUR 314,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Buddha, Thailand, 8th centuryExpert remark: Compare the related pose, robe, and color of the bronze. Note the larger size (36.1 cm) and that the figure was attributed to Thailand.

A GOLD AND SILVER-INLAID BRONZE HU-FORM ARCHAISTIC VASE, 18TH CENTURYChina. Well cast, the square baluster body supported on a tall spreading foot and rising to a waisted neck with a circular mouth, the shoulder flanked by two dragon-form loop handles. Finely decorated to the body with a band of taotie masks above pendent stiff leaves with confronting dragon designs, to the foot with a band of confronting dragons, and to the neck with a band of dragons above pendent stiff leaves with confronting beasts, all divided by flanges and reserved against leiwen grounds.Provenance: Lempertz, Cologne, 2 June 1981, lot 989. An old German private collection, acquired from the above, and thence by descent in the same family. Condition: Excellent condition with minor old wear, traces of use, minuscule nicks and scratches, and some casting irregularities, the base plate reattached some time ago.Weight: 4,192 g Dimensions: Height 34.5 cmAuction result comparison: Type: Related Auction: Sotheby's London, 6 November 2019, lot 120 Estimate: GBP 15,000 or approx. EUR 19,500 converted and adjusted for inflation at the time of writing Description: A Large Gold and Silver-Inlaid Bronze Archaistic Vase Qing Dynasty, 17th/18th CenturyExpert remark: Compare the related style and manner of casting, form, and inlay work. Note the larger size (48 cm).十八世紀錯金銀仿古方銅壺中國。壺為銅鑄造，色澤柔和溫潤。壺呈平口，斜肩，四方圓腹，四方圈足。造型仿春秋青銅器，口部微闊，飾龍紋一周，頸部收束，肩兩側飾鋪首銜環，腹部向外鼓出，上腹以饕餮紋為主體圖案，瑞獸相貌猙獰，頗得古風。頸部與腹下緣飾蕉葉形鳳鳥紋，並以細密的雲雷紋滿飾整個紋飾帶。底部收束，飾鳳鳥紋，以雲雷紋地。全器在裝飾上採以錯金銀點綴，其鳳鳥眼睛及饕餮雙目等採用金片鑲嵌，另再鳳鳥與獸面身軀等地以銀絲鑲嵌。 來源：科隆Lempertz拍賣行，1981年6月2日，lot 989，來自德國私人舊藏，購於上世紀七十至八十年代，保存在同一家族至今。 品相：狀況極佳，有輕微的磨損、使用痕跡、微小的刻痕、劃痕以及一些鑄造不規則，底座在一段時間前重新連接。 重量：4,192 克 尺寸：高34.5 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2019年11月6日，lot 120 估價：GBP 15,000（相當於今日EUR 19,500） 描述：清十七/十八世紀銅錯金銀仿古夔鳳紋雙耳大瓶 專家評論：比較相近的鑄造風格、外形和鑲嵌。請注意尺寸較大(48 厘米)。

A LARGE BACTRIAN LIMESTONE JAR, CIRCA LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, fig. 53, p. 62 (dated to the third millennium BC).Oxus Civilization. The tall and massive vessel of ovoid form, well hollowed, supported on a rounded base and rising to a broad mouth, the interior with neatly incised concentric lines encircling a small protrusion at the center of the base.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium, 2003. Paolo Bertuzzi, acquired from the above. A copy of the original invoice from Alex Vervoordt, dated 4 April 2003, addressed to Paolo Bertuzzi, dating the present lot to the second millennium BC, and listing a purchase price of EUR 8,400 or approx. EUR 12,600 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Excellent condition, commensurate with age. Extensive wear, signs of weathering and erosion, minor chips, structural cracks, small losses, minuscule nicks, light scratches, expected old fills and repairs, and encrustations.Weight: 3,936 gDimensions: Height 29 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the "Oxus civilization", apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures at many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison: Type: Remotely related Auction: Christie's New York, 10 June 2010, lot 4 Price: USD 4,000 or approx. EUR 5,300 converted and adjusted for inflation at the time of writing Description: A Bactrian fossiliferous limestone bowl, circa late 3rd-early 2nd millennium BC Expert remark: Compare the rounded base and hollowing. Note the diameter (27.9 cm).

A SILVER-INLAID COPPER ALLOY FIGURE OF GANESHA, SOUTH INDIA, C. 1650-1750Well cast seated on a square base with spreading feet, his vehicle the rat found prominently at the front, holding in his secondary hands two axes and in his primary hands his broken tusk and sweets which he is sampling from with his elegantly curved trunk. He is wearing a short dhoti and an upavita. His almond-shaped eyes are finely inlaid in silver. His head is surmounted by a tiered conical crown and backed by a floral halo. With an attractive, buttery patina, this personal shrine image has clearly been the object of much affection under the devotee's thumbs over the past centuries. Provenance: German trade. Condition: Good condition with some wear, casting flaws, small nicks, minor losses, dents, light scratches. Fine, naturally grown patina with areas of malachite encrustation.Weight: 2,284 gDimensions: Height 18.2 cmLiterature comparison: Compare a related bronze figure of Ganesha, 16.5 cm high, also attributed to South India and dated 1650-1750, in the Victoria & Albert Museum, accession number IM.76-1914.Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2001, lot 42 Price: USD 8,813 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing Description: A Bronze Figure Of Ganesha, South India, 17th Century Expert remark: Note the similar size (19 cm)

A GLASS-INLAID GILT-BRONZE 'TIGER AND DRAGON' BELT HOOK, WARRING STATES PERIODChina, 475-221 BC. Intricately cast and pierced to depict a tiger and chilong with powerful claws emerging from their entwined bodies, terminating in a neatly incised dragon-head hook above an oval green glass inlay. The underside with a circular button.Provenance: English trade. Condition: Good condition, commensurate with age. Extensive wear mostly to gilt, light scratches, signs of weathering and erosion, minor losses, small dents, possibly with an ancient repair to the hook. The glass inlay is original to the piece and shows natural decay as expected. Fine, naturally grown patina overall with malachite and cuprite encrustations.Weight: 133.4 g Dimensions: Length 18.3 cmLiterature comparison: Compare a closely related gilt bronze belt hook, 17.6 cm long, also dated to the Warring States period, exhibited by the Oriental Ceramic Society of Hong Kong & Urban Council of Hong Kong, Ancient Chinese and Ordos Bronzes, 12 October to 2 December 1990, and illustrated by Jessica Rawson and Emma Bunker, p. 212, no. 129. Also compare with a gilt-bronze and glass-inlaid belt hook at the Metropolitan Museum New York, accession number 1985.214.71.Auction result comparisonType: Closely related Auction: Sotheby's New York, 20 March 2019, lot 668 Estimate: USD 4,000 or approx. EUR 4,400 converted and adjusted for inflation at the time of writing Description: A gilt-bronze 'dragon' belt buckle, Warring States period Expert remark: Note the slightly smaller size (17.5 cm), and the lack of glass inlay.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2015, lot 707Price: USD 9,375 or approx. EUR 11,200 converted at the time of writingDescription: A Rare Small Glass-Inlaid Gilt-Metal Belt Hook, Late Warring States-Early Eastern Han Dynasty Expert remark: Compare the closely related glass inlay, note the much smaller size (8.9 cm).戰國鎏金銅鑲玻璃龍虎斗帶鈎中國，公元前475-221年。繁複鑄造鏤空龍虎纏繞相鬥場景，龍頭鈎下有一塊橢圓形綠色玻璃鑲嵌物。底部有一個圓形扣鈕。 來源：英國古玩交易。 品相：品相良好，主要是鎏金磨損、輕微劃痕、風化和侵蝕的跡象、小凹痕，鉤子可能有過修復。玻璃鑲嵌物是原件。整體呈現精美、自然生長的包漿，帶有孔雀石色和赤色結殼。 重量：133.4 克 尺寸：長18.3 厘米 文獻比較： 比較一件非常相近的戰國鎏金銅帶鈎，17.6 厘米長，展覽於Oriental Ceramic Society of Hong Kong & Urban Council of Hong Kong，《Ancient Chinese and Ordos Bronzes》，1990年10月12日至12月2日，見Jessica Rawson和Emma Bunker，頁212，編號129。比較一件鎏金銅鑲玻璃帶鈎，收藏於大都會藝術博物館，館藏編號1985.214.71。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年3月20日，lot 668 估價：USD 4,000（相當於今日EUR 4,400） 描述：戰國銅鎏金龍形帶鉤 專家評論：請注意尺寸稍小(17.5 厘米)，以及沒有玻璃鑲嵌。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年3月20日，lot 707 價格：USD 9,375（相當於今日EUR 11,200） 描述：戰國晚期/東漢早期鎏金銅嵌玻璃獸首帶鉤 專家評論：比較非常相近的玻璃鑲嵌；請注意尺寸小很多(8.9 厘米)。

A RARE BLUE AND WHITE 'DRAGON' ZHADOU, ZHENGDE MARK AND PERIODChina, 1506-1521. The compressed globular body rising from a short spreading foot to a broad flaring neck, painted around the exterior with two bands of scaly five-clawed dragons amidst scrolling leafy lotus, the interior of the neck similarly painted, all above a ruyi band at the foot. The recessed base with an underglaze-blue four-character mark Zhengde nianzhi and of the period.Provenance: Chamberlain Antiques, Amherst, New Hampshire, USA, 2010. An Irish private collection, acquired from the above. Condition: Good condition with old wear, traces of use and shallow surface scratches. Distinctive firing irregularities, including the horizontal seam where the two halves of the zhadou were put together being visible to both the interior and exterior, with several smoothened glaze blisters along the seam to the exterior. The seam between the neck and the vessel has an associated glaze recess on the interior. Minor kiln grit. The foot somewhat smoothened. The edges of the foot burnt to orange in the firing.Weight: 652.2 g Dimensions: Diameter 15.4 cm, Height 12.8 cmThe present jar is notable for its delicate yet lively painting of dragons amid a luscious floral scroll, a motif that originated in the early Ming dynasty and was particularly favored at the Zhengde court. The writhing movement of the creature, which captures its auspicious and positive essence, the unctuous glaze, and the well-proportioned body of the vessel are all characteristic of the period.The Zhengde reign marks a transition from the refined porcelain vessels of the preceding Chenghua reign to the bold designs of the Jiajing period. Stylistic changes resulted from the political and social instability created by the excessive power and increasing number of corrupt eunuchs at court. While the Zhengde Emperor was encouraged to live a life of luxury and extravagance away from official duties, eunuchs took control of court administration. This had a profound effect on porcelain production at the Imperial kilns in Jingdezhen: the standard of quality for Imperial porcelain remained exceptionally high and the variety of forms and designs increased, however, production shrank as testified by the small amount of excavated material.The subtle hue of the cobalt blue of these wares as seen on this jar is also noticeably different from the preceding and succeeding reigns, as the material most probably came from local mines. The Ruizhou fuzhi (Annals of Ruizhou prefecture) from 1515 mentions that 'At Tianzi Hill in Shanggao County [Jiangxi province] there is a nameless stone which is used at Jingdezhen as a painting medium on porcelain', which suggests that Jiangxi was one source of cobalt pigment (Wang Qingzheng, Qinghua youlihong / Underglaze Blue and Red, Hong Kong, 1987, p. 11).Both the form and decoration of this jar follow early Ming prototypes. The globular shape with its wide everted rim originated from archaic bronze zun, but was made in porcelain from the early 15th century. Over the centuries the rim evolved to become wider and the body more compact. Although jars of this form are often referred to as 'spittoons', they were probably used as general waste jars at tables. A Yuan scholar observed that 'During Song times, when prominent families held banquets, jinping [receptacle for chopsticks] and zhadou [spittoon] would certainly be placed on the tables' (see The Radiant Ming 1368-1644 through the Min Chiu Society Collection, Hong Kong Museum of History, Hong Kong, 2015-2016, p. 37).Literature comparison: Three closely related zhadou in the Palace Museum, Beijing, were included in the Museum's exhibition 'Imperial Porcelains from the Reign of Hongzhi and Zhengde in the Ming Dynasty', Beijing, 2017, volume 2, cat. nos. 180-182, together with a reconstructed example excavated at the Imperial kiln site in Zhushan, cat. no. 418. One in the National Palace Museum, Taipei, was included in Radiating Hues of Blue and White, Taipei, 2016, pl. 76. Another from the Sir Percival David collection now in the British Museum, registration number PDF,A.682, is published in Oriental Ceramics, The World's Great Collections, Tokyo, 1980, volume 6, pl. 124, and a further example from the Lauritzen collection in the Museum of Far Eastern Antiquities, Stockholm, is illustrated ibidem, volume 8, pl. 228. Auction result comparison:Type: Near identical Auction: Sotheby's London, 15 May 2019, lot 53 Price: GBP 37,500 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: A rare blue and white 'dragon' zhadou, Zhengde mark and period Expert remark: Compare the closely related form, decoration, and size (15.5 cm), as well as the similarly pale tone of cobalt blue and the visible horizontal seam where the two halves of the zhadou were put together.正德款及年代青花穿蓮龍紋渣斗中國 ，1506-1521年。渣斗喇叭口，寬頸，圓腹，圈足外撇。外壁及口沿內側以青花龍紋為飾，隙地滿繪纏枝番蓮紋，圈足外繪如意雲紋一圈，口沿內外緣及圈足下緣各有兩道弦紋邊飾。圈足底緣露胎呈白色，圈足内中央以青花書“正德年製” 雙圈四字雙行楷款。 來源：美國新罕布什爾州阿默斯特Chamberlain Antiques藝廊，2010年；愛爾蘭私人收藏，購於上述藝廊。 品相：狀況良好，有磨損、使用痕跡和表面淺劃痕，明顯的燒製不規則性，包括在內外可見的渣斗兩半拼合處的水平接縫，沿接縫到外部有數處釉面氣泡。頸部和容器之間的接縫在內部有一個釉槽；小窯砂，足部邊緣成橙色。 重量：652.2 克 尺寸：直徑 15.4 厘米，高12.8 厘米

A 'DRAGONS AND CLOUDS' BRONZE COVER AND CENSER, LATE MING TO EARLY QING DYNASTYExhibited: Galerie Zacke, Ming Bronzen, 1987, no. 82.China, 17th century. Of rectangular section, the sides tapering towards the base, supported on four short feet incised with taotie masks, the sides decorated with dragons amid crashing waves in high relief, flanked by two dragon-mask handles. The interior molded with six coins and inscriptions to the walls. The pierced cover with a dragon and scrolling cloud design, centered by a dragon-head finial. The base with a dragon roundel enclosing a two-character mark.Inscriptions: To the base, 'Nei yong'.Provenance: The Plesch Collection, no. Bh 19e (label to base). Galerie Zacke, Vienna, 8 April 1987, sold for ATS 24,000 or approx. EUR 4,400 (converted and adjusted for inflation at the time of writing). An Austrian private collection, acquired from the above. Peter and Traudi Plesch were both refugees from Nazi persecution. Peter had left Germany with his father, who was the medical doctor of Albert Einstein, who once gently commented on the practical difficulties of young Peter's ingenious design for a perpetual motion machine. Peter Plesch had already formed a fine collection when he met Traudi. One influence had been his maternal great uncle, Fritz von Gans, who had left his antiquities collection to the Royal Prussian Museum, Berlin. However, on their honeymoon in Israel, Traudi fell for the lure of ancient Chinese glass which inspired a new joint adventure, the one criterion for a purchase being that she and Peter should both want the object, although not necessarily with the same passion. Thus, their collection was formed slowly and wisely over four decades, later expanding into jades and ancient bronzes, reflecting their desire to have beautiful, but also academically meaningful pieces. Condition: Excellent condition commensurate with age showing some wear, few nicks, minuscule scratches, few dents, small losses, corrosion, and casting flaws. Fine, naturally grown patina overall, with distinct hues of malachite and cuprite.Weight: 2,860 g Dimensions: Length 20.6 cm, Height 14.7 cmAuction result comparison:Type: Closely relatedAuction: Sotheby's New York, 21 March 2018, lot 630Price: USD 47,500 or approx. EUR 51,000 converted and adjusted for inflation at the time of writingDescription: A bronze 'chilong' censer and cover, 17th centuryExpert remark: Compare the closely related form, dragon decoration, pierced cover, and dragon-mask handles. Note the slightly larger height (18.2 cm).明末清初雲龍紋蓋爐中國，十七世紀。長方形爐，上寬下窄，饕餮紋如意形四足；爐身側面高浮雕驚濤拍岸龍紋，另兩側飾有龍面紋輔首。顱内有六枚硬幣紋。鏤空蓋飾有龍紋和卷雲紋，龍首鈕。爐底一個龍紋。展覽 ：Galerie Zacke藝廊，《明代青銅器》，1987年，圖82。 款識：内用 來源： Plesch收藏，編號Bh 19e (底部標籤)；維也納Galerie Zacke藝廊，1987年4月 8日，售價 ATS 24,000 或相當於 EUR 4,400 (根據通貨膨脹率)；奧地利私人收藏購於上述藝廊。Peter 與Traudi Plesch 兩人都是遭受納粹迫害的難民。Peter與他的父親一起離開了德國，他的父親是阿爾伯特·愛因斯坦的醫生，愛因斯坦曾經溫和地和年輕的Peter討論如何設計永動機的實際困難。Peter Plesch 在遇到 Traudi 時已經擁有了一個很好的收藏。他的外叔祖弗里茨·馮·甘斯 (Fritz von Gans) 曾給Peter極大的影響，他將自己的文物收藏留給了柏林皇家普魯士博物館。然而，在以色列度蜜月時，Traudi 被中國古代琉璃的魅力所吸引，因此激發了一次新收藏冒險。他們購買藏品的的一個標準是她和彼得必須都想要這件物品，但并不一定要有相同的熱情。因此，他們的藏品在四十年來被緩慢卻明智地構建著，後來擴展到玉器和古代青銅器，這反映了他們願意擁有美麗但同時也具有學術意義的藏品。 品相：狀況良好，有一些磨損、少許刻痕、小劃痕、凹痕、小缺損、腐蝕和鑄造缺陷。整體包漿細膩自然，有明顯紅綠色銅鏽。 重量：2,860 克 尺寸：長20.6 厘米，高 14.7 厘米

A BRONZE FIGURE OF SAMANTABHADRA RIDING AN ELEPHANT, MING DYNASTYChina, 1368-1644. Seated on the back of a recumbent elephant with the feet resting on a lotus base, his left hand holding a scroll, his right hand raised in shuni mudra, clad in long robes tied at the waist and open at the chest revealing a beaded necklace with ruyi and pendants, the serene face with downcast eyes centered by an urna, flanked by elongated earlobes embellished with floral earrings, the hair tied behind a floral and beaded tiara and flanked by elaborately tied bows. The elephant is embellished with beaded gear and a bell collar.Provenance: Norwegian trade. Condition: Good condition commensurate with age. With some old wear, small dents, light scratches, losses, corrosion, and casting flaws.Weight: 4,520 g Dimensions: Height 33.7 cmSamantabhadra is the bodhisattva associated with the practice of Buddhist teaching and joins Manjushri, the lord of transcendent wisdom, in a trinity with Shakyamuni Buddha. The bodhisattva is borne by a white elephant, symbolic of the strength achieved through the practice of Buddhism. The bronze is typical of later Ming works, finely cast and of rich color, and made with elegant reference to antiquity, the heavy and elaborate jewelry and voluminous undulating robes echoing the classical styles of Northern Qi through Song period sculpture.Literature comparison: There is a long tradition of depicting the bodhisattva Samantabhadra in bronze. A Song dynasty figure of Samantabhadra in the collection of the Palace Museum, Beijing, is illustrated as one of a pair, together with the Bodhisattva Manjusri in Zhongguo meishu quanji. Diaosu bian (The complete collection of Chinese art: Sculptures), vol. 5, Beijing, 1989, pls 153-154.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 9 October 2020, lot 3653Price: HKD 277,200 or approx. EUR 33,500 converted and adjusted for inflation at the time of writingDescription: A gilt-lacquered bronze figure of Samantabhadra, late Ming dynastyExpert remark: Note the similar size (31.5 cm)明代普賢騎象銅像中國，1368-1644年。普賢菩薩面相方正清秀，額頭白毫凸起，彎眉細目，眼瞼微啟，嘴唇飽滿。髮髻高聳，戴寳冠，身著天衣綢裙，瓔珞釧環等裝飾刻劃精美，帔帛繞臂飄拂。普賢左手舉起持書卷，右手結耐心印置於腿上。菩薩法相妙然，沉穩祥和。菩薩脚踏蓮花，坐於臥象上。大象飾有串珠和鈴鐺。 來源：挪威古玩交易。 品相：良好的條件，有一些舊磨損、小凹痕、輕微劃痕、缺損、腐蝕和鑄造缺陷。 重量：4,520 克 尺寸：高33.7 厘米 普賢菩薩象徵理德、行德，與文殊菩薩的智德、正德相對。這兩位菩薩是娑婆世界釋迦牟尼佛的右、左脅侍，被稱為“華嚴三聖”。普賢菩薩被認爲 “恩惠無所不在”，代表佛法和慈悲。菩薩由一頭白象承載，象徵通過修行獲得力量。銅像為典型的晚明造像，鑄工精細，仿古典雅，精美的首飾和寬大的長袍承襲北齊至宋代雕塑的古典風格。 文獻比較： 用青銅鑄造普賢菩薩的傳統由來已久。北京故宮博物院藏宋代普賢菩薩像，與文殊菩薩為一對，見 《中國美術全集雕塑編》，卷5，北京，1989年，圖153-154。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2020年10月9日，lot 3653 價格：HKD 277,200（相當於今日EUR 33,500） 描述：明末漆金銅普賢菩薩像 專家評論：請注意相似的尺寸 (31.5 厘米)。

A RARE BRONZE 'KUILONG' CUP, HAN DYNASTY, CHINA, 206 BC-220 ADThe rounded sides resting on a splayed foot and flaring at the rim, set to one side with a loop handle, the exterior with a band of neatly incised kuilong above two ribs. The bronze with a rich, naturally grown, solid patina with areas of malachite, cuprite, and azurite encrustation.Provenance: French trade, acquired from a French private collection built between ca. 1980 and 2012. Condition: Good condition, commensurate with age. Old wear, small losses, few scratches, a tiny crack to the center of the base, encrustations, and signs of weathering and erosion.Weight: 478.2 g Dimensions: Length 17.7 cmLiterature comparison:Compare a closely related bronze cup, 14 cm, Han dynasty, in the Suzhou Museum, China. Note the lacking band of kuilong.漢代公元前206至公元220年夔龍紋青銅杯杯口微外撇，弧腹，圈足，環形手柄。杯上沿和腰部各有兩道弦紋。杯口下方有一道夔龍紋。青銅杯具有自然堅實的銅銹，有紅綠色結殼區域。 來源：法國古玩交易，購於一個建立於1980年與2012年之間的法國私人收藏。 品相：狀況良好，磨損、小缺損、少許劃痕、底座中心的微小裂縫、結殼以及風化和侵蝕的跡象。 重量：478.2 克 尺寸：長17.7 厘米 文獻比較： 比較一件非常相近的漢代青銅杯，14 厘米，收藏於中國蘇州博物館。請注意沒有夔龍紋。

A BACTRIAN NECKLACE, LATE 3RD TO EARLY 2ND MILLENIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, p. 34, no. 30. Oxus Civilization. Composed of eleven larger conical beads interspersed with smaller beads. The agate, jasper, and carnelian beads of a creamy-white tone with bands and fingerprints of gray, brown, and bluish-white, some with red accents.Provenance: Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition with some wear, few small chips to the edges, light surface scratches.Weight: 86.3 g Dimensions: Length 66 cm, Largest bead 7.6 cm, Smallest bead 0.5 cmScattered around Western collections, beads such as those on the present necklace are frequently said to come from Bactria. Although their exact source is unknown, they are comparable with examples found in controlled excavations at Gonur in Margiana.The Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the "Oxus civilization", apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 5 December 2012, lot 301Price: USD 3,250 or approx. EUR 4,100 converted and adjusted for inflation at the time of writingDescription: A Bactrian agate and carnelian bead necklace, circa late 3rd-early 2nd millennium BCExpert remark: Compare the closely related form of the beads, and the colors of the stones. Note the size (71.1 cm).

A LONGQUAN CELADON ARROW VASE, TOUHU, SOUTHERN SONG DYNASTYChina, 1127-1279. Delicately potted, the pear-shaped body supported on a short tapered foot and rising to a long slender neck flanked by a pair of tubular handles. Covered overall in a rich vitreous glaze of soft sea-green color, save for the unglazed foot rim revealing the ware burnt to orange in the firing.Provenance: The J. M. Hu, Zande Lou Collection. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art.Condition: Excellent condition with expected old wear and minor firing irregularities, including glaze recesses and other minuscule glaze faults. The neck is slightly leaning. The unglazed areas of the ware burnt to orange in the firing.Weight: 149.2 gDimensions: Height 12.3 cmThe form of this vase is based on arrow vases, or touhu, the primary accessory of a drinking game which involved throwing all of one's arrows into the mouth of the vessel. The loser was assessed a penalty drink for every errant throw. This game had been popular among elite men and women from the Spring and Autumn period (770-476 BC) onwards. In line with emerging trends of antiquarianism and archaism, the game was revived during the Song dynasty and touhu vases, made in various materials including bronze, cloisonne, and ceramic, remained popular throughout the Ming dynasty and later.Elaborate rituals and intricate rules, recorded in the Li Ji (Book of Rites), added further complexity to the game. Puzzling pitching techniques were described in the Touhu Yijie (Ceremonial Usages and Rules of Touhu), an illustrated manual written by Wang Ti (1490-1530), and these shots were given fancy names, like 'A Pair of Dragons Enters the Sea' when two arrows were thrown from a great height at once into the vase. The touhu game was used to practice archery, one of the essential accomplishments of a gentleman. Later in the Ming era, the game became more widespread and was played by rich merchants as well as the aristocracy and scholarly elite. A scene in the famous late Ming novel Jin Ping Mei (Plum Blossom in the Golden Vase), written in 1619, describes the wealthy merchant Ximen Qing's seduction of his concubine Panjinlian. She becomes inebriated while playing touhu on a picnic and the game leads to an amorous encounter. For a further discussion of the game see Isabelle Lee, 'Touhu: Three Millennia of the Chinese Arrow Vase and the Game of Pitch-pot', Transactions of the Oriental Ceramic Society, vol. 56, 1991-2, pp. 13-7.Too small to actually be used in the drinking game, the present vase was probably intended to hold a single branch, a small flower, or an incense stick.Literature comparison: A pair of related Longquan arrow vases, of slightly larger size and with wider necks, was recovered from the tomb of the Yuan calligrapher Xian Yushu (1251-1302), see Zhang Yulan, Hangzhoushi faxian Yuandai Xian Yushu mu, Wenwu, 1990:9, page 24, figures 11-12. A similar vase was included in the exhibition, The Scholar as Collector: Chinese Art at Yale, Yale University Art Gallery and China Institute in America, New York, 2004, page 18, figure 8.Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1081 Price: USD 27,720 or approx. EUR 26,000 converted at the time of writing Description: A Longquan celadon 'arrow' vase, Southern Song dynasty Expert remark: Compare the related pear-shaped form and soft sea-green glaze. Note the size (16 cm).Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1033 Price: USD 119,700 or approx. EUR 113,000 converted at the time of writing Description: A small Longquan celadon bowl, Southern Song dynasty Expert remark: Compare the almost identical vitreous sea-green glaze and the similarly designed foot rim, also burnt to orange in the firing. Note that this bowl was previously also in the J. M. Hu Collection.南宋龍泉青瓷投壺中國，1127-1279年。胎體緊密，細長頸，頸部有對稱貫耳，豐腹下垂，圈足。通體覆蓋著柔和的青釉，足緣露胎，在燒製中成橙色。

A PARCEL-GILT AND SILVER-APPLIED BRASS RITUAL TEAPOTTibet, late 18th to early 19th century. The body tapering towards the base, surmounted by a short cylindrical neck and domed cover with bud finial, flanked by an incised dragon handle and an outward-curving spout issuing from the jaws of a makara, finely worked with gilt and silver details, the cover attached to the body by a chain.Provenance: From an old private collection in Rhineland, Germany, assembled between the 1960s and 2007. Austrian private collection, acquired from the above. A label to the base 'Ausguß: F. d. Wasser-Elefanten (Makara) Henkel: Drachen M.'Condition: Good condition with traces of use and old wear, small losses and dents here and there, few small nicks, and light scratches.Weight: 1,386 g Dimensions: Height 31.3 cmElaborate teapots with handles in the form of dragons and spouts issuing from the jaws of mythological water monsters ('makara') were found throughout the Tibetan cultural area in slightly differing styles. They were used only on special occasions such as weddings or other ceremonies or for an important visitor.Literature comparison:Compare a related brass and silver teapot, 30.2 cm, Tibet, 19th century, in the Victoria and Albert Museum, accession number IM.113-1927. Compare a related brass and silver teapot with dragon handle and makara spout, 34.8 cm, Tibet, 19th century, in the Victoria and Albert Museum, accession number IM.154-1921.Auction result comparison:Type: RelatedAuction: Bonhams London, 10 May 2022, lot 466Price: GBP 8,925 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A fine silver and bronze teapot and cover, Tibet, 18th centuryExpert remark: Compare the closely related form of the handle and spout, and size (33 cm). Note the fine decoration to the body and cover.Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 23 March 2011, lot 159Price: EUR 6,000 or approx. EUR 8,100 adjusted for inflation at the time of writingDescription: A Tibetan silver and gilt copper tea vessel, 19th centuryExpert remark: Compare the related form and spout. Note the slightly larger size (36.5 cm).西藏局部鎏金銀銅茶壺西藏，十八世紀末至十九世紀初。壺直頸弦唇，豐肩，弧腹，平底，寶塔形圓頂蓋，蓮花蓋鈕，雕龍執柄，摩迦儸形流，精美的鎏金和銀色細節，壺蓋用鉸鏈固定。 來源：德國萊茵州私人收藏，建立於上世紀六十年代至2007年；奧地利私人收藏，購於上述收藏。底部有一個標簽“Ausguß: F. d. Wasser-Elefanten (Makara) Henkel: Drachen M.' （水器：摩迦儸流，龍柄） 品相：品相良好，有使用和磨損痕跡，很多小缺損和凹痕，輕微小劃痕。 重量：1,386 克 尺寸：高31.3 厘米 此類帶有龍形手柄和樓伽羅流的茶壺在整個西藏文化區曾被發現，風格略有不同。它們僅在特殊場合使用，例如婚禮或其他儀式或重要訪客。 文獻比較： 比較一件相近的十九世紀西藏銀銅茶壺，30.2 厘米，收藏於維多利亞和阿爾伯特博物館，館藏編號 IM.113-1927. 比較一件相近的十九世紀西藏銀銅茶壺，也有龍形手柄和摩迦儸形流brass 和 silver teapot with dragon h和le 和 makara sput，34.8 厘米，收藏於維多利亞和阿爾伯特博物館，館藏編號 IM.154-1921。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2022年5月10日，lot 466 價格：GBP 8,925（相當於今日EUR 11,000） 描述：十八世紀西藏銀銅茶壺和蓋 專家評論：比較非常相近的外形的手柄和流，以及尺寸(33 厘米)。請注意精美裝飾的壺身和蓋。 拍賣結果比較： 形制：相近 拍賣：阿姆斯特丹佳士得，2011年3月23日，lot 159 價格：EUR 6,000（相當於今日EUR 8,100） 描述：十九世紀西藏鎏金銀銅茶壺 專家評論：比較相近的外形和流。請注意尺寸稍大 (36.5 厘米)。

A GILT BRONZE OF TSONGKHAPA, TIBETAN-CHINESE, 18TH CENTURYWell cast, seated in dhyanasana on a double-lotus plinth with beaded edge, the hands held in dharmachakra mudra, his arms flanked by long lotus stems that come to full bloom at the shoulders, crowned with a peaked hat, and dressed in elaborately chased robes with floral hems.Provenance: From the collection of an artist and university professor in Vienna. Condition: Good condition with old wear and casting flaws as expected, light scratches, few minor nicks. Scattered ancient metal fills, probably inherent to manufacturing. The small attribute on the right lotus is lost.Weight: 1,059 g Dimensions: Height 16.2 cmTsongkhapa (1357-1419) is widely regarded in Tibet as a second Buddha and the main teacher of the first Dalai Lama, Gendun Drub (1391-1474). An eminent scholar, he reformed the old Kadampa sect, creating the new Gelugpa sect (Yellow Hat), and is the founder of the monasteries Ganden, Drepung, and Sera. He is revered as an emanation of the Buddhist god of wisdom, Manjushri. Although the present bronze has lost one of his attributes, the sword, he is clearly recognizable by the pronounced facial features, for which Tsongkhapa was known, and the remaining attribute, the book.Auction result comparison:Type: Closely relatedAuction: Christie's London, 9 May 2017, lot 46Price: GBP 8,750 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A parcel gilt-bronze figure of Tsongkhapa, 18th centuryExpert remark: Compare the closely related pose, fine incision work, and size (16.5 cm)Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2012, lot 766Price: USD 8,125 or approx. EUR 10,000 converted and adjusted for inflation at the time of writingDescription: A gilt bronze figure of Tsongkhapa, Tibeto-Chinese, 18th centuryExpert remark: Compare the closely related pose, fine incision work, and size (17.2 cm)十八世紀漢藏銅鎏金宗喀巴坐像上師結跏趺座坐在蓮座上，雙手當胸結說法印，左右肩上有蓮花。上師面容慈祥，著僧袍。 來源：維也納一位藝術家及大學教授收藏。 品相：狀況良好，有磨損和鑄造缺陷，輕微劃痕，些微刻痕、局部金屬填充物。右邊蓮花上的小法器丟失。 重量：1,059 克 尺寸：高 16.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2017年5月9日，lot 46 價格：GBP 8,750（相當於今日EUR 12,500） 描述：十八世紀宗喀巴鎏金銅像 專家評論：比較非常相近的姿勢、精美雕刻和尺寸 (16.5 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月21日，lot 766 價格：USD 8,125（相當於今日EUR 10,000） 描述：十八世紀漢藏宗喀巴鎏金銅像 專家評論：比較非常相近的姿勢、精美雕刻和尺寸 (17.2 厘米)。

A BRONZE FIGURE OF SHIVA NATARAJA, VIJAYANAGARA EMPIRE, SOUTH INDIA, 1336-1646Heavily cast, shown dancing on a prostrate dwarf playing with a snake, his primary right hand in abhaya mudra, the other two hands raised holding a damaru and flame, dressed in a short dhoti. The body finely embellished with beaded necklaces, armbands, and circular earrings. The face with a subtle smile below almond shaped eyes, surmounted by a high, tapering headdress, backed by a floral halo. Provenance: German trade. Condition: Good condition commensurate with age. Some wear, small nicks and dents, light scratches, casting flaws, obvious losses. Fine, naturally grown, dark patina.Weight: 1,417 g (excl. base), 1,930 g (incl. base) Dimensions: Height 21.2 cm (excl. base), 23.6 cm (incl. stand)With a modern metal stand. (2)This image of Shiva depicts him as Nataraja, the Lord of the Dance. Shiva balances on the dwarf Apasmarapurusha, the demon of ignorance and indolence. His primary right hand is raised in the reassuring abhaya mudra, while his primary left hand should be in gajahasta, indicating the defeat of ignorance that hinders the realization of the universal truth. In his secondary right hand, he holds the damaru symbolizing the sound of creation - the Big Bang - whose cosmic vibrations perpetuate the universe. His other hand holds agni, the fire which signifies the final destruction out of which a new world will arise.Auction result comparison: Type: Related Auction: Bonhams Sydney, 7 December 2022, lot 128Price: AUD 18,450 or approx. EUR 11,500 converted at the time of writing Description: A bronze figure of Shiva Nataraja, Vijayanagar period, 16th century Expert remark: Note the smaller size (15.8 cm) and flaming halo.Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2013, lot 254 Price: USD 27,500 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Shiva Nataraja, South India, Vijayanagara period, 16th centuryExpert remark: Note the larger size (28.5 cm) and flaming halo.

A PAIR OF GILT-BRONZE TIGER HEAD CHARIOT ORNAMENTS, WARRING STATES TO HAN DYNASTYChina, 475 BC to 220 AD. Each finely modeled in the form of a feline mask extending in a gentle curve to a socket of oval section terminating in three triangular points, the face with bulging eyes and a prominent snout.Provenance: A French private collection, acquired in Hong Kong during the 1980s. Galerie Achaia, Lyon, France, 2011. A French private collection built between ca. 1980 and 2012, acquired from the above. A copy of the original invoice from Galerie Archaia, Lyon, dated 10 November 2011, describing the present lot as a pair of gilt bronze animal-head chariot fittings from the Warring States period, accompanies this lot. Condition: Fine condition, commensurate with age. Signs of weathering, traces of malachite and cuprite encrustations, soil encrustations, small nicks, and light scratches. The gilt particularly well preserved.Weight: 171.7 g (excl. base) and 366.2 g (incl. base), 164.4 g (excl. base) and 372.4 g (incl. base) Dimensions: Length 7.7 cm and 7.7 cmWith two modern metal stands. (4)Excavations have revealed that these intriguing fittings are chariot ornaments once used to crown the curved ends of the yoke that was fitted around the horse's neck. Similar tiger fittings, either gilt-bronze or gilt and silvered bronze, were excavated in the Han tombs of Mancheng, Heibei province. See the excavation report, Mancheng Hanmu Fajue Baogao (Excavation of the Han tombs at Mancheng), volume 1, Beijing, 1980, pages 322-3, fig. 219-1 for illustration and fig. 215 for a reconstructed diagram showing where these fittings were originally placed.Literature comparison: Compare a related example included in the exhibition Inlaid Bronze and Related Material from Pre-Tang China, Eskenazi, London, 1991, cat. no. 23.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 28 July 2022, lot 3039Price: HKD 44,100 or approx. EUR 5,300 converted and adjusted for inflation at the time of writingDescription: A pair of gilt-bronze 'tiger' chariot yoke fittings, Western Han dynastyExpert remark: Compare the closely related form, decoration and size (8.5 cm). Note the condition issues.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 26 August 2021, lot 1078Estimate: HKD 30,000 or approx. EUR 3,700 converted and adjusted for inflation at the time of writingDescription: A pair of gilt-bronze tiger-form chariot fittings, Han dynastyExpert remark: Compare the closely related form, decoration and size (8.5 cm). Note the significant condition issues.戰國至漢代一對銅鎏金虎頭輅中國，公元前475年至公元220年。每一個都虎頭形式精心建模，以柔和的曲線延伸到橢圓形截面的輅，終止於三個三角形點，面部大眼圓睜和鼻子突出。 來源：法國私人收藏，上世紀八十年代購於香港；法國里昂Galerie Achaia藝廊，2011年；法國私人收藏，建立於約 1980 至2012，購於上述藝廊。隨附一份里昂Galerie Archaia藝廊2011年11月10日發票複印本，描述此拍品來自戰國時期。 品相：狀況良好，風化跡象、紅綠色結殼、土壤結殼、小刻痕和輕微劃痕。鎏金保存完好。 重量：分別171.7 克 (不含底座)與366.2克 (含底座)，分別為164.4 克 (不含底座) 與372.4 g (含底座) 尺寸：分別長7.7 厘米與7.7 厘米 兩個現代金屬支架。 (4) 考古表明，這些有趣的配件是戰車裝飾品，曾經用於安裝在馬脖子上的輅彎曲端。河北省滿城漢墓出土了類似的虎形飾器，有鎏金銅或鎏金鍍銀青銅器。見考古報告，《滿城漢墓發掘報告》，卷一，北京，1980年，頁322-3，圖219-1 用於說明和圖215 的顯示了這些配件最初放置的位置。 文獻比較： 比較一件相近的例子，有相近材質《Pre-Tang China》，Eskenazi，倫敦，1991年，圖錄編號23。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2022年7月28日，lot 3039 價格：HKD 44,100（相當於今日EUR 5,300） 描述：西漢鎏金銅虎首車馬器一對 專家評論：比較非常相近的外形，裝飾和尺寸(8.5 厘米)。請注意品相問題。

A SMALL JASPER-GREEN FACETED GLASS SNUFF BOTTLE, IMPERIAL GLASSWORKS, 18TH CENTURYChina, Beijing, 1700-1780. Of compressed horizontal ovoid form with octagonal profile, surmounted by a cylindrical neck with flat lip, and a flat foot, the two main sides with raised, faceted oval panels surrounded by further faceting. The glass of an opaque jasper-turquoise color with few yellow streaks around the base.Provenance: Guwan Cheng, Beijing, November 2006, by repute excavated from a tomb. Hugh Moss Ltd., Hong Kong, 2010. An English private collector of Snuff Bottles, acquired from the above. A copy of the original invoice from Hugh Moss Ltd., Hong Kong, dated 11 October 2010, dating the piece to 1700-1780, noting the tomb excavation, and stating a purchase price of USD 5,400 (or approx. EUR 6,900 converted and adjusted for inflation at the time of writing), accompanies this lot. Hugh Moss (b. 1943) is an author, dealer, artist, lifelong collector, and enthusiast of Chinese art, and foremost authority on Chinese snuff bottles. Condition: Excellent condition with minor wear and manufacturing irregularities, including open bubbles, few nibbles to the edges and light surface scratches.Stopper: Mother-of-pearl with gilt bronze collarWeight: 20.7 gDimensions: Height incl. stopper 40 mm, Diameter neck 12 mm and mouth 7 mmWith a padded silk box. (2)The present snuff bottle belongs to a series of octagonal faceted snuff bottles made at the court for distribution by the Qing Emperors as gifts to officials, scholars, and other worthies on specific occasions each year. The faceting arose out of the influence of the Bavarian Kilian Stumpf who set up the Imperial Glassworks in 1696 and became a popular form of decoration for glass bottles and other wares throughout the earlier Qing dynasty. Because they were frequently distributed as gifts, the bottles became symbols of honor and were frequently buried with Qing snuff-takers.This bottle is typical of the smaller-sized range for this form. The mouth is well within the range of early wide mouths on glass bottles. The jasper green color, perhaps inspired by the natural stone, is among the rarer ones found in Palace-faceted octagonal snuff bottles of the 18th century and does not appear to have been produced at all during the 19th century.Expert's note: According to Hugh Moss, this bottle was excavated from a tomb near Beijing in the early 2000s. Many such tombs have been uncovered in the past decades due to the expansion of Beijing and massive building programs such as the 2008 Olympics, and thus a number of glass snuff bottles (along with many other types of precious objects) were discovered. The glass snuff bottles typically show obvious signs of burial as they are affected by contact with damp soil for so long. They are, as a rule, polished after coming out of the tomb, having lost much of their surface gloss from long burial, but in this case traces of the original iridescence have remained intact. The foot and lip, however, were wisely left cleaned but unpolished so as not to obscure the original extent of wear on the bottle from before it was buried.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 26 May 2013, lot 236Price: HKD 106,250 or approx. EUR 16,000 converted and adjusted for inflation at the time of writingDescription: A facetted turquoise-green glass snuff bottle, imperial glassworks, Qing dynasty, 18th centuryExpert remark: Compare the closely related form and similarly small size (36 mm). Note the slightly paler color of the glass.十八世紀碧玉綠切面小鼻煙壺，御用工坊中國，北京，1700-1780。八角形切面，平口，圓柱形頸部和扁平足，兩個主要側面帶有多面橢圓形面，素面。不透明的碧玉綠松石色玻璃，底部周圍有幾條黃色條紋。 來源：北京古玩城，2006年11月，據説來自墓葬挖掘；香港Hugh Moss Ltd.藝廊，2010年；一個英國私人鼻煙壺收藏傢，購於上述藝廊。隨附香港Hugh Moss Ltd.藝廊2010年10月11日發票複印件，斷代為1700-1780年，也記錄為墓葬出土，價格 USD 5,400 (或 EUR 6,900 ，根據通貨膨脹)。Hugh Moss (出生於1943) 是一位作家、商人、藝術家和中國藝術忠實的收藏家，特別是中國鼻煙壺。品相：狀況極佳，有輕微磨損和製造不規則，包括開口氣泡、邊緣有少量磕損和表面輕微的划痕。 壺蓋：Mother-of-pearl with gilt bronze collar 貝母鑲鎏金銅片。 重量：20.7 克 尺寸：含蓋高40毫米，頸部直徑12 毫米，頸部直徑7 毫米 内襯絲盒。 (2)

A CLOISONNE ENAMEL FIGURE OF A RAM, 18TH CENTURYChina. The bronze finely modeled in a recumbent pose with one front leg bent. The head slightly turned towards the left, the mouth agape, the ribbed horns distinctly curled, the hind legs tucked beneath the body. The white fur neatly detailed in fine wires with swirling circles.Provenance: Stefanos Lagonico, Alexandria, and thence by descent over several generations in the same family. Stefanos Lagonico was a member of the wealthy Greek community of Alexandria whose family settled in Egypt in the late 19th century. His collection of important Iznik ceramics was formed after the First World War, comprising mostly plates and jugs from the classic period (post 1570). At least six pieces from this collection were included in the important 1925 Exposition d'Art Musulman in Alexandria. Lagonico eventually left Egypt for Switzerland, just before the rise of nationalism and the abolition of the Capitulations in May 1937. His son Jean, an importer of dried fruits and nuts from the Levant, inherited most of the collection, and kept it in obscurity at his house in southern France until its dispersal at auction beginning in 1991.Condition: Good condition with old wear and expected manufacturing irregularities such as pitting, the right front leg with a minor old repair.Weight: 489.4 g (excl. base), 701.7 g (incl. base) Dimensions: Length 16 cm (excl. base) and 16.1 cm (the base)With a fitted huali wood base dating from the late 19th century. (2)Auction result comparison:Type: Closely relatedAuction: Christie's London, 26 October 2011, lot 1144Price: GBP 4,750 or approx. EUR 7,800 converted and adjusted for inflation at the time of writingDescription: A pair of Chinese cloisonne enamel rams, 18th centuryExpert remark: Note the near-identical related size (16 cm) and that this lot comprises a pairAuction result comparison:Type: RelatedAuction: Sotheby's London, 14 May 2014, lot 306Price: GBP 15,000 or approx. EUR 22,500 converted and adjusted for inflation at the time of writingDescription: A pair of cloisonne enamel rams, Qing dynasty, 18th centuryExpert remark: Note the gilt details and that this lot comprises a pair十八世紀銅胎掐絲琺瑯臥羊 中國。羊以右前腿彎曲，臥姿精心塑造；頭略微偏向左側，張大嘴巴，羊角捲曲，後腿夾在身體下方。羊身白地渦旋狀捲曲細線。 來源：亞歷山大港Stefanos Lagonico，在同一家族保存了幾代。Stefanos Lagonico是亞歷山大港富有的希臘社區的成員，他的家人於十九世紀末在埃及定居。他的重要伊茲尼克陶瓷收藏是在第一次世界大戰後形成的，主要包括古典時期（1570 年後）的盤子和水壺。 1925 年在亞歷山大港舉行的重要穆斯林藝術博覽會中，至少有六件來自該收藏。1937 年 5 月民族主義興起，廢除投降協議之前，Lagonico最終離開埃及前往瑞士。他的兒子Jean從黎凡特進口乾果和堅果，他繼承了大部分藏品，並將其保存在法國南部的房子，直到 1991 年開始在拍賣會上分散。 品相：狀況良好，有磨損和預期的製造不規則，例如點蝕，右前腿有輕微的小修補。 重量：489.4 克 (不含底座)，701.7 克 (含底座) 尺寸：長 16 厘米 (不含底座) ，16.1 厘米 (底座) 花梨木底座，十九世紀末。(2) 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2011年10月26日，lot 1144 價格：GBP 4,750（相當於今日EUR 7,800 ） 描述：十八世紀一對銅胎掐絲琺瑯臥羊 專家評論：請注意幾乎相同的相近尺寸 (16 厘米) ，以及此拍品為一對。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2014年5月14日，lot 306 價格：GBP 15,000（相當於今日EUR 22,500） 描述：十八世紀清代一對銅胎掐絲琺瑯臥羊 專家評論：請注意琺瑯細節，以及此拍品為一對。

A PAIR OF CLOISONNE ENAMEL FIGURES OF DUCKS, QING DYNASTYChina, 1780-1840. Modeled standing with upright head, the wings and tail decorated with colorful enamels, the body with a turquoise ground. The exposed bronze areas finished in fine gilt.Provenance: Stefanos Lagonico, Alexandria, and thence by descent over several generations in the same family. Stefanos Lagonico was a member of the wealthy Greek community of Alexandria whose family settled in Egypt in the late 19th century. His collection of important Iznik ceramics was formed after the First World War, comprising mostly plates and jugs from the classic period (post 1570). At least six pieces from this collection were included in the important 1925 Exposition d'Art Musulman in Alexandria. Lagonico eventually left Egypt for Switzerland, just before the rise of nationalism and the abolition of the Capitulations in May 1937. His son Jean, an importer of dried fruits and nuts from the Levant, inherited most of the collection, and kept it in obscurity at his house in southern France until its dispersal at auction beginning in 1991.Condition: Good condition with minor wear and manufacturing irregularities such as expected pitting, few minor dents and losses to enamels.Weight: 187.1 g and 192.5 g Dimensions: Height 13.2 cm and 12.7 cm Auction result comparison:Type: Closely relatedAuction: Christie's New York, 3 April 2013, lot 186Price: USD 3,750 or approx. EUR 4,600 converted and adjusted for inflation at the time of writingDescription: A pair of small Chinese cloisonne enamel standing figures of ducksExpert remark: Compare the closely related pose, beaks, gilt details, and size (13.3 cm)清代一對銅胎掐絲琺瑯鴨子中國，1780-1840年。鴨子直立，翅膀和尾部飾有彩色琺瑯，身體以綠松石色琺瑯為地，精美鎏金。 來源：亞歷山大港Stefanos Lagonico，在同一家族保存了幾代。Stefanos Lagonico是亞歷山大港富有的希臘社區的成員，他的家人於十九世紀末在埃及定居。他的重要伊茲尼克陶瓷收藏是在第一次世界大戰後形成的，主要包括古典時期（1570 年後）的盤子和水壺。1925 年在亞歷山大港舉行的重要穆斯林藝術博覽會中，至少有六件來自該收藏。1937 年 5 月民族主義興起，廢除投降協議之前，Lagonico最終離開埃及前往瑞士。他的兒子Jean從黎凡特進口乾果和堅果，他繼承了大部分藏品，並將其保存在法國南部的房子，直到 1991 年開始在拍賣會上分散。 品相：狀況良好，有輕微磨損和製造不規則，例如預期的點蝕、少量輕微凹痕和琺瑯缺損。 重量：分別為187.1 克與192.5 克 尺寸：高 13.2 厘米與12.7厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年4月3日，lot 186 價格：USD 3,750（相當於今日EUR 4,600） 描述：一對銅胎掐絲琺瑯鴨子 專家評論：比較非常相近的姿勢、鳥喙、琺瑯細節和尺寸 (13.3 厘米)。

A LARGE GILT-BRONZE FIGURE OF AVALOKITESHVARA, SUI DYNASTY, CHINA, 581-618Published: Friedrich Georg Zeileis, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, pages 372-373, no. 153. Standing in tribhanga atop an elaborate lotus base, composed of two petaled sections framing an open worked foliate design, all above a tiered pedestal with faceted sides that rises from a separately cast rectangular four-legged stand with open sides.His lowered right hand holds a water vessel while his left hand is raised. He is wearing a long flowing robe with billowing scarves and is adorned with fine jewelry. A flaming mandorla with pierced circular floral nimbus is affixed to the back of the head.The bronze with a superb, solid, naturally grown, rich patina with malachite and cuprite encrustation overall.Provenance: A noted private collection in New York, USA. E & J Frankel Ltd., New York, early 1990s. Friedrich Georg Zeileis, acquired from the above, according to his publication. E & J Frankel was a major New York gallery specializing in Asian Art since 1967. Run by Edith (1939-2012) and Joel Frankel (1937-2018), it was one of the oldest galleries in the United States focusing exclusively on Asian art. Leaders in their field, the Frankels traveled the world in search of Asian art treasures and educated the general public about their shared passion. Their gallery on Madison Avenue in New York City became a local institution, best known for its regular schedule of innovative thematic exhibitions, and frequently visited by the biggest names in the field, such as Eskenazi, Ellsworth, Junkunc, and the Alsdorfs. Dr. Friedrich Georg Zeileis (b. 1939) is a retired physician who built an important collection of ancient Chinese jades and bronzes. He was also a pianist and composer, and published several books, as well as catalogs of his substantial art collections, including fine Chinese jades and bronzes. Condition: Good condition, commensurate with age. Extensive wear, minor losses, nicks, scratches, signs of weathering and erosion, encrustations, corrosion. Minor old repairs. Remarkably well preserved, especially the gilt.Weight: 251.4 g Dimensions: Height 21.2 cmThe unifying but brief Sui dynasty (581-618) set the stage for an artistic and cultural renaissance that reached its zenith in the succeeding Tang dynasty (618-907). Characteristics of Sui period bronze figures of bodhisattvas include subtly swaying, elongated columnar bodies that are adorned in elaborate robes and jewelry. The artisan of the present figure employed a subtle contrapposto positioning, elegant body proportions, a separate mandorla, and a lotus base, elements that developed further during the early and high Tang dynasty.Literature comparison:Compare a related gilt bronze figure of Avalokiteshvara, 43.8 cm high, dated to the Sui dynasty, late 6th century, in the Metropolitan Museum of Art, accession number 12.161a-c, illustrated in Christian Deydier, Chinese Bronzes, New York, 1980, p. 160, no. 126.Auction result comparison: Type: RelatedAuction: Christie's New York, 14 September 2017, lot 818 Price: USD 23,750 or approx. EUR 26,000 converted and adjusted for inflation at the time of writing Description: A small gilt-bronze figure of a bodhisattva, Sui dynastyExpert remark: Compare the closely related manner of casting and gilding, pose, robes and scarves, lotus base with tiered pedestal. Note the much smaller size (8.9 cm). Auction result comparison: Type: Related Auction: Sotheby's New York, 21 March 2018, lot 558 Price: USD 68,750 or approx. EUR 74,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Avalokiteshvara, Sui dynastyExpert remark: Compare the closely related manner of casting and gilding, pose, and robes and scarves. Compare the related lotus base, four-legged stand, and flaming mandorla. Note the similar size (22.9 cm). Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2017, lot 829 Price: USD 106,250 or approx. EUR 117,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze seated figure of Buddha, Sui-Tang dynasty, 6th-7th century Expert remark: Compare the closely related manner of casting and gilding, lotus base with similar foliate design, and four-legged stand with open sides. Note that this figure depicts a seated Buddha as opposed to the standing bodhisattva in the present lot. Also note the slightly larger size (26 cm).581-618年隋朝大型銅鎏金觀音立蓮像觀音以三曲式立於蓮座上，蓮座分層。觀音左手舉起，右手持一個淨瓶；身著飄逸長袍，佩戴著精美的珠寶。身後有鏤空火焰形光背。銅像包漿堅實自然，整體帶有綠色紅色結殼。 出版：Friedrich Georg Zeileis，《Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three和a Half Millenia of Chinese Bronze)》，1999年，頁372-373，圖153。 來源：美國紐約知名私人收藏；紐約E & J Frankel Ltd.藝廊，1990年代初；Friedrich Georg Zeileis，購於上述藝廊，根據他的出版記錄。 品相：狀況良好，嚴重磨損、小缺損、刻痕、劃痕、風化和侵蝕跡象、結殼、腐蝕。有小修補。保存完好，特別是鎏金部分。 重量：251.4 克 尺寸：高 21.2 厘米

A MAGNIFICENT BRONZE HEAD OF BUDDHA, SUKHOTHAI KINGDOMThailand, 15th-16th century. The serene face with arched eyebrows above heavy-lidded downcast eyes, a broad nose with incised nostrils, thin lips forming a benevolent smile, the chin heightened with incision work as well, flanked by long pendulous earlobes, the hair in tight curled spikes with a raised ushnisha.Provenance: From a noted Hungarian private collection. Condition: Good condition, commensurate with age, with expected old wear, small nicks here and there, obvious losses, some encrustations, minor casting irregularities, and a small aperture beside the ears. Naturally grown, almost black patina overall.Weight: 4,974 g (incl. stand) Dimensions: Height 24.5 cm (excl. stand), 35.7 cm (incl. stand)Mounted to a modern stand. (2)Expert's note: Over the centuries, the bronze has naturally patinated into a dark green, almost black tone with an unctuous feel to the surface, creating an overall not only elegant, but also meditative appearance.The Sukothai kingdom lasted for just two centuries but was an extremely wealthy and powerful period in the history of Thailand. Artists produced some of the most sophisticated and original sculpture found in the history of Thailand. For example they were the first to depict Buddha in four different attitudes: standing, seated, walking and reclining. The influence of this period can be seen in Thai sculpture throughout subsequent centuries. Religious texts prescribed strict definitions as to how Buddha should be depicted and these rules were firmly adhered to while maintaining an inspiring and meditative fluidity of line.Auction result comparison:Type: RelatedAuction: Christie's London, 11 May 2016, lot 94Price: GBP 20,000 or approx. EUR 29,500 converted and adjusted for inflation at the time of writingDescription: A fine bronze head of buddha, Thailand, Sukhothai period, 15th centuryExpert remark: Compare the closely related facial features, particularly the eyes, brows, nose, and ears, and the remarkably fine lines. Note the size (33 cm).

A BANDED CALCITE BACTRIAN CHALICE, LATE 3RD TO EARLY 2ND MILLENIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, p. 59, no. 51, described as banded calcite or travertine.Oxus Civilization. The compressed globular bowl supported on a tall splayed foot. The stone of a cream color with faint veins of white and ochre.Provenance: Bruno Cooper, Norwich, United Kingdom, 2009. Paolo Bertuzzi, acquired from the above in 2009. A copy of the original invoice from Bruno Cooper, Norwich, dated 18 October 2009, describing the piece as a high stemmed cup, attributed to Bactria and dated 3rd millennium BC, stating a purchase price of EUR 2,800 or approx. EUR 3,700 converted and adjusted for inflation at the time of writing, accompanies this lot. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition with old wear, small chips and nicks to the edges, signs of weathering and erosion, and encrustations.Weight: 1,168.4 g Dimensions: Height 17.1 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (short BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or Integration Era. Though it may be called the "Oxus civilization", apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later (c. 1950-1450 BC) sites in northern Bactria, currently known as southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the current territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations from the late 1970s onward revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison:Type: RelatedAuction: Christie's New York, 6 December 2007, lot 61Price: USD 16,250 or approx. EUR 22,500 converted and adjusted for inflation at the time of writingDescription: A Bactrian alabaster chalice, circa late 3rd-early 2nd millennium BCExpert remark: Compare the related form and material. Note the size (34.9 cm).

A SMALL BRONZE RAIN DRUM, DONG SON CULTURE, VIETNAM, CA. 500 BC TO 300 ADThe round drum with a spreading base, the body composed of straight sides below a bulbous section, finely cast with geometric designs and set with two pairs of loop handles on either side, surmounted by the slightly concave top. The bronze with a fine, naturally grown, solid patina with malachite encrustations.Provenance: An old private collection in France. Acher Eskenasy, Paris, France, acquired from the above in 2001. LP Collection Paris, France, acquired from the above. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris. Condition: Good condition, commensurate with age. Extensive wear, minor losses, dents, nicks, scratches, signs of weathering and erosion, and encrustations.Weight: 2,487 g Dimensions: Height 15.8 cm, Diameter 19.9 cm Dong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Văn Lang and Âu Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day. Bronze rain drums were invented by the Dong Son culture and produced from about 600 BC or earlier until the third century AD. Ranging in height from a few inches to over six feet, up to four feet in diameter, and often of considerable weight, the drums are one of the culture's most astounding examples of metalworking. Examples produced in Vietnam, in addition to works made locally, have been found in south China and throughout mainland and island Southeast Asia. The discovery of Dong Son drums in New Guinea is seen as proof of trade connections - spanning at least a thousand years - between this region and the technologically advanced societies of Java and China.Bronze drums are still being used ceremoniously in Southeast Asia by the Yi people, Zhuang people, Miao people and Qabiao people in northern Vietnam and southern China. They are generally struck in the center with a soft mallet and on the side with a wood or bamboo stick. Among the ethnic Vietnamese, they are still used in some rituals, such as those of the Hung kings, but are rarely used as a musical instrument anymore. In Thailand, the Dong Son drum is also used in some ceremonies, where it is called the Mahorathuek.Literature comparison: Compare a related bronze miniature drum with four frogs, also dated ca. 500 BC to 300 AD, in the Metropolitan Museum of Art, accession number 2000.284.57.

A VERY LARGE 'ROBIN'S EGG' ENAMELED AND GILT PORCELAIN FIGURE OF AMITAYUS, QIANLONG TO JIAQING PERIODChina, 1736-1820. Heavily potted, seated in dhyanasana on a cloth draped over a rectangular plinth with a shaped recessed gilt panel above a dragon emerging from crashing waves. His hands are lowered in dhyana mudra and holding an alms bowl. He is wearing long flowing robes opening at the chest adorned with a beaded jeweled necklace. His serene face with heavy-lidded eyes, gently arched brows, a circular urna, and bow-shaped lips. His hair elegantly falling in tresses over the shoulders and piled up into a topknot surmounted by a jewel behind the foliate tiara. The cloth, base, robe, hair, and jewels enameled in robin's egg with details picked out in turquoise and blue. The face, torso, hands, feet, tiara, and dragon gilt. Provenance: From an old German private collection, acquired in the 1970s and 80s. Thence by descent. Condition: As expected, the tips of the tiara, topknot, fingers, earrings and dragon's horns are restored to perfection. Further with glaze recesses, flaking and abrasions. Microscopic remnants of pigment which indicate that the figure was painted at some stage. Gilt porcelain figures of such a large size are usually restored to a much wider extent, due to their fragility, and it is therefore exceedingly rare to find one in such a well-preserved state overall.Weight: 5,156 g Dimensions: Height 43.5 cmExpert's note: Gilt porcelain figures of bodhisattva were produced from the Qianlong period onwards. The inspiration for such figures may have come from Ming dynasty bronze prototypes, such as the Xuande period gilt-bronze figure currently in the Berti Aschmann Foundation, Museum Rietberg, illustrated in On the Path to Enlightenment, Zurich, 1995, no. 72. An unmarked example, dated to the Xuande period, is in the V&A collection, no. 275&A-1898.Literature comparison: For a related 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, pg. 54, no. 12Auction result comparison: Type: Related Auction: Sotheby's New York, 17 September 2013, lot 52 Price: USD 68,750 or approx. EUR 80,000 converted and adjusted for inflation at the time of writing Description: An unusual enameled and gilt-decorated figure of a bodhisattva, Qing dynasty, 18th / 19th centuryExpert remark: Compare the closely related robin's egg enamels, gilt decoration, and face. Note the related size (40 cm). Note the different pose and base. Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 29 May 2008, lot 578 Price: HKD 960,000 or approx. EUR 169,000 converted and adjusted for inflation at the time of writing Description: A rare enameled figure of a kneeling bodhisattva, QianlongExpert remark: Compare the closely related robin's egg enamels, gilt decoration, and face. Note the much smaller size (29 cm) as well as the different pose and base.乾隆至嘉慶時期爐鈞釉描金無量壽佛坐蓮像中國，1736-1820年。此尊無量壽佛結跏趺坐穩坐於波濤之上，一條金龍從水中探出；雙手施禪定印，托缽；高螺發，面龐圓潤，耳大垂肩，額際寬廣，慈眉善目，表情溫和慈祥；頭戴五葉佛冠，項配瓔珞，更顯法相尊嚴。其面部及身體露膚處均施金釉，佛冠、瓔珞及綬帶等則以金釉和爐鈞釉搭配裝飾，瓔珞處採用爐鈞釉以仿松石、青金石的效果，絢爛多姿，富麗堂皇。 來源：德國私人舊藏，購於上世紀七十至八十年代，保存至今。 品相：頭飾、高髻、手指、耳環和龍角的尖端都已恢復。有釉面凹陷、剝落和擦傷。輕微的顏料殘留表明該造像曾經經過彩繪。如此巨型的鎏金瓷像，由於其易碎性，修復範圍通常要大得多，因此，整體保存如此好的造像極為罕見。 重量：5,156 克 尺寸：高43.5 厘米

A GREEN JADE 'HORSE-HOOF' ORNAMENT, HONGSHAN CULTUREChina, c. 3500-2500 BC. The tubular form flaring towards the sloping top in the form of a horse hoof (mati), cut across at an oblique angle forming an arched profile to the rim, the narrower end pierced with two holes. The translucent stone of a variegated green and light brown color with darker speckles and russet veining.Provenance: From the collection of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Excellent condition with minor wear, few minuscule nibbles to the edges, the upper and lower rim uneven, the stone with few natural fissures, some of which may have developed into small hairline cracks over time.Weight: 264.6 g Dimensions: Height 12.9 cmLarge jade ornaments of this specific form were a product of the Hongshan culture, and examples have been recovered at the Niuheliang burial site in Liaoning province. While generally referred to as headpieces, Jenny F. So has recently suggested that they may have been worn on the forearm to protect the arm and wrist (Jenny F. So, Early Chinese Jades in the Harvard Art Museums, Cambridge, 2019, page 74). She cites an example worn on the forearm of the occupant of Site III at Niuheliang, and another recovered from the Bronze Age burial site at Dadianzi, in present-day inner Mongolia. Auction result comparison:Type: RelatedAuction: Bonhams Los Angeles, 21 June 2022, lot 30Price: USD 7,650 or approx. EUR 7,400 converted at the time of writingDescription: A yellowish-celadon jade hoof-shaped ornament, Neolithic period, Hongshan cultureExpert remark: Compare the related plain form. Note the smaller size (8.6 cm) and yellowish-celadon color.紅山文化青玉馬蹄形配飾中國，公元前約 3500-2500 年。管狀物件向上傾斜，頂部張開，如馬蹄狀，斜角切割，邊緣的拱形，較窄的一端穿有兩個孔。半透明石料，綠色和淺棕色紋理，帶有較深的斑點和黃褐色斑。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：品相極佳，輕微磨損，邊緣細微磕損，上下邊緣凹凸不平，輕微天然裂隙，部分裂隙隨著時間的推移可能發展成細小的裂紋。 重量：264.6 克 尺寸：高 12.9 厘米 這種特殊形式的大型玉器是紅山文化的產物，在遼寧省牛河梁墓葬遺址曾發現過一些相似物件。 雖然通常被認爲是頭飾，但 Jenny F. So 最近表認爲們可能曾被佩戴在前臂上以保護手臂和手腕（Jenny F. So，Early Chinese Jades in the Harvard Art Museums，Cambridge，2019年，74頁 )。她舉了一個牛河梁遺址 III 的前臂佩飾例子，以及另一個在今內蒙古大甸子青銅時代墓葬遺址中發現的例子。 拍賣結果比較： 形制：相近 拍賣：洛杉磯邦瀚斯，2022年6月21日，lot 30 價格：USD 7,650（相當於今日EUR 7,400） 描述：紅山文化新石器時代青黃玉馬蹄形配飾 專家評論：比較相近的形式。請注意尺寸較小 (8.6厘米)，以及青黃色的玉石顏色。

A LARGE BACTRIAN BANDED AGATE BEAD, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, p. 34, no. 30.Oxus Civilization, c. 2500-1900 BC. Of biconical form tapering towards the ends, the mostly opaque stone of a grayish white color with fingerprints, and bands of amber, ochre, and blueish white.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition with old wear, few minuscule chips to the edges, natural fissures, and calcifications.Weight: 45.3 g Dimensions: Length 9.3 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the "Oxus civilization", apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison:Type: RelatedAuction: Christie's New York, 6 December 2007, lot 370Price: USD 7,500 or approx. EUR 10,200 converted and adjusted for inflation at the time of writingDescription: A Bactrian Gold and Banded Agate Bead Pendant Expert remark: Note the near-identical size (9.1 cm) and the gold embellishment

A SILVER-INLAID BRONZE FIGURE OF BUDDHA SHAKYAMUNI, PAGAN KINGDOMBurma, 12th-13th century. Finely cast seated in dhyanasana with his left hand resting in his lap and the right lowered in bhumisparsha mudra. He is wearing a diaphanous sanghati draped over his left shoulder and with folds gathering below his feet. His oval face with silver-inlaid almond-shaped eyes and a circular urna, aquiline nose, and pursed lips forming a serene smile, flanked by long pendulous earlobes, his hair arranged in tight curls rising to a domed ushnisha. The back with a long and massive tang. Provenance: English trade. Condition: Good condition, commensurate with age. Extensive wear and weathering as expected, some losses with associated old fills mostly around the base, casting flaws, foundry grit, nicks and dents, shallow surface scratches, encrustations. Naturally grown, rich malachite-green patina overall.Weight: 3,408 g Dimensions: Height 26 cmThe Kingdom of Pagan was the first Burmese kingdom to unify the regions that would later constitute modern-day Myanmar. Pagan's 250-year rule over the Irrawaddy valley and its periphery laid the foundation for the ascent of Burmese language and culture, the spread of Bamar ethnicity in Upper Myanmar, and the growth of Theravada Buddhism in Myanmar and in mainland Southeast Asia. The Burmese language and culture gradually became dominant in the upper Irrawaddy valley, eclipsing the Pyu, Mon, and Pali norms by the late 12th century. Theravada Buddhism slowly began to spread to the village level although Tantric, Mahayana, Brahmanic, and animist practices remained heavily entrenched at all social strata. Pagan's rulers built over 10,000 Buddhist temples in the Bagan Archaeological Zone of which over 2,000 remain today. The wealthy donated tax-free land to religious authorities. The kingdom went into decline in the mid-13th century as the continuous growth of tax-free religious wealth by the 1280s had severely affected the crown's ability to retain the loyalty of courtiers and military servicemen. This ushered in a vicious circle of internal disorders and external challenges by the Arakanese, Mons, Mongols and Shans. Repeated Mongol invasions between 1277 and 1301 toppled the four-century-old kingdom.Literature comparison: Compare a closely related Pagan bronze figure of a seated Buddha, with a similar tang to the back (referred to as a “strut”), 34 cm high, also dated 12th-13th century, in the British Museum, registration number 1971,0727.1. Compare a related Pagan bronze figure of a standing Buddha, with a similar expression and silver-inlaid eyes, 50.5 cm high, also dated 12th-13th century, in the Metropolitan Museum of Art, accession number 1993.235.1.Auction result comparison: Type: Related Auction: Christie's New York, 17 September 1998, lot 170 Price: USD 134,500 or approx. EUR 231,000 converted and adjusted for inflation at the time of writing Description: A large bronze figure of Buddha, Burma, Pagan period, 12th centuryExpert remark: Compare the closely related expression, with similar silver-inlaid eyes, and rich green patina. Note the standing pose and larger size (50.5 cm).

A BRONZE TRIPOD POURING VESSEL, HE, WARRING STATES TO HAN DYNASTYChina, 5th century BC to 2nd century AD. Of globular form, the body cast in two parts joined at the waist with a notable rib. Supported on three bear-form feet, rising to an upright rim, the shoulder set with a bird-head spout with hinged cover, and a square sectioned dragon-head handle hollowed to receive an insert. The bronze with a rich, naturally grown, solid patina with distinct areas of malachite and cuprite encrustation. The scattered gold splashes on the body are what is left of the original gilding below the patina.Provenance: A French private collection built between ca. 1980 and 2012. Thence by descent. Condition: Good condition, commensurate with age. Extensive wear, losses, signs of weathering and corrosion, encrustations, corrosion, old fills, nicks, and scratches. The hinge of the spout cover has corroded off. The lid is missing.Weight: 1,132 g Dimensions: Height 13.2 cmLiterature comparison: Compare a related bronze vessel, he, with elaborate spout, illustrated in Eleanor von Erdberg, Chinese Bronzes from the Collection of Chester Dale and Dolly Carter, Switzerland, 1978, no. 41, p. 64. Compare a related bronze vessel, referred to as jiaohu, excavated from a tomb of the mid to late Western Han dynasty at Dongyang, Xuyi county, Jiangsu province, illustrated in a line drawing in Kaogu, 1979, no. 5, p. 422, fig. 10; 6. Compare a related bronze wine kettle, he, 12.3 cm, Warring states period, 3rd century BC, in the Nara National Museum, accession number 1317-89.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 21 September 2005, lot 154Price: USD 5,400 or approx. EUR 6,700 converted and adjusted for inflation at the time of writingDescription: A Bronze Tripod Kettle, (He), Warring States / Han DynastyExpert remark: Compare the closely related form, handle, spout, feet, and size (14 cm). Note the cover.戰國至漢代青銅三足盉中國，公元前五世紀至公元二世紀。短直頸，球形器，身體分為兩部分，腰部有一道明顯的弦紋，三獸足，肩部有一個帶鉸鏈蓋的鳥頭流，以及一個空心的方形龍頭手柄。銅器有自然堅固的銅鏽，帶有明顯的紅綠銅結殼區域。身體上散落的金色飛濺是銅鏽下方原始鎏金的殘留物。 來源：法國私人收藏，建立於1980年至 2012年間，保存至今。 品相：品相良好，大量磨損、缺損、風化和腐蝕跡象、結殼、舊填充物、刻痕、劃痕。流的鉸鏈已腐蝕。蓋子遺失。 重量：1,132 克 尺寸：高13.2 厘米 文獻比較： 比較一件相近青銅三足盉，見Eleanor von Erdberg，《Chinese Bronzes from the Collection of Chester Dale and Dolly Carter》，瑞士，1978年，編號41，頁64。比較一件相近的青銅澆壺，出土於江蘇盱眙縣東陽鄉西漢中期至晚期的墓，見《Kaogu》，1979年，編號5，頁422，圖10; 6。比較一件相近的公元前三世紀戰國時代青銅盉，12.3 厘米，收藏於Nara National Museum，館藏編號 1317-89。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2005年9月21日，lot 154 價格：USD 5,400（相當於今日EUR 6,700） 描述：戰國至漢代青銅三足盉 專家評論：比較非常相近的外形、手柄、流、三足和尺寸 (14 厘米)。請注意有蓋。

A BRONZE FIGURE OF BUDDHA SHAKYAMUNI, SWAT VALLEY, 8TH-9TH CENTURYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 31 March 2021, based on sample number N121c25, sets the firing date of one sample taken at between 800 and 1200 years ago, consistent with the suggested period of manufacture (8th-9th century). A copy of the report, signed by Helen Mason and Doreen Stoneham for Oxford Authentication, accompanies this lot.Seated on a cushion over an elaborate lotus throne with lions on either side and supported on a rectangular plinth, his right hand lowered in abhaya mudra and his left holding the hem of his sanghati falling over the chest in finely incised rhythmic folds. His serene face with silver-inlaid eyes and urna, deeply incised brows, and full lips forming a calm smile, flanked by long pendulous earlobes, the hair in tight curls over the ushnisha.Provenance: A private collection in Hong Kong. German trade, acquired from the above.Condition: Very good condition, commensurate with age. Extensive wear, some losses, obvious signs of weathering and erosion, soil encrustations, small nicks and dents, light scratches. Superb, naturally grown malachite and cuprite patina overall.Weight: 1,894 g (incl. backplate) and 1,280 g (excl. backplate) Dimensions: Height 25 cm (incl. backplate) and 22 cm (excl. backplate)Few Swat bronzes are known that retain a complete backplate as in the present example. It is separately cast and inserted into a loop on the throne and a tang issuing from Buddha's back. The flaming mandala is topped with a stupa and flanked by female bodhisattvas standing on lotus bases below seated male bodhisattvas.According to Pal, placing Buddha on a throne like on the present lot associates him with royal imagery and emphasizes his spiritual sovereignty, while the lotus base symbolizes his divine quality (see Pal, Indian Sculpture, Vol.2, 1988, pp.68-9). His enlightened nature is further signaled by the silver-inlaid eyes and urna. Gently looking down with a compassionate expression, he extends his right hand in the gesture of charity. With his left, he holds the hem of his robe. The iconography of Shakyamuni holding his garment is widely employed in seated Swat figures, extending the idiom from earlier Gandharan stone images.The Swat Valley is located along the upper stream of the Indus in the heartland of the Gandhara region. It was a melting pot of various people and arts and served as a link between India and Central Asia and further eastwards for a constant flow of Buddhist pilgrims. The earlier Gandhara style is still echoed in the art of many icons of the Swat Valley, as visible in the present example. The Buddha's parallel folds as well as the protuberance on top of his head, can be traced back to Gandhara Buddha figures. However, the V-shaped pleats around his neck are associated with Kashmiri prototypes, as is the use of silver inlay. His face reflects a Gupta idiom, with its small mouth and incised eyebrows. The lotus base on which he sits is typical for Swat Valley images. Thus, this fine bronze Buddha figure perfectly embodies the aforementioned melting pot of various styles.Literature comparison: Compare a closely related Swat Valley bronze Buddha, with a similar base and hand gesture, dated 625-1003, in the National Museum of Pakistan, Karachi, recorded in the Huntington Archive, scan number 9602. Compare a related Swat Valley bronze Buddha, dated circa 7th-8th century, in the National Museum of Pakistan, Karachi, recorded in the Huntington Archive, scan number 9600. Compare the throne, gestures, and the robe's evenly arranged narrow folds with that of a closely related example published in von Schroeder, Buddhist Sculptures in Tibet, Vol. I, 2001, pp. 40-1, figs. 6A-C. Also see Pal, Bronzes of Kashmir, 1975, pp. 194-5, no. 73. For a fragment of a backplate from the Eilenberg Collection, see M. Lerner and S. Kossak, The Lotus Transcendent, 1991, cat. no. 86, p. 116. Furthermore, compare with lots 29 and 78 in Imprints of Buddhas, Buddhist Art in the National Palace Museum Collection. Auction result comparison: Type: Closely related Auction: Christie's New York, 21 September 2007, lot 230 Price: USD 115,000 or approx. EUR 160,000 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Buddha Shakyamuni with backplate, Swat Valley, 7th/8th century Expert remark: Compare the closely related pose, expression, patina, the abhaya mudra of the lowered right hand, the elaborate throne and base, and the backplate with attendant figures and central stupa. Note the smaller size (20.3 cm).Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 2 December 2021, lot 1007 Price: HKD 377,500 or approx. EUR 47,500 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of Shakyamuni, Swat Valley, 8th/9th century Expert remark: Compare the related pose, expression, silver inlaid eyes and urna, hand gestures, and throne. Note the smaller size (18 cm).Auction result comparison: Type: Closely Related Auction: Bonhams Paris, 14 June 2022, lot 18 Price: EUR 75,975 Description: Statuette de Bouddha en Alliage de Cuivre Incruste D'argent, Vallee De Swat, VII Siecle Expert remark: Compare the related pose, expression, and silver inlays. Note the significantly smaller size (10.5 cm).Auction result comparison: Type: Related Auction: Christies New York, 15 March 2016, lot 44 Price: USD 173,000 or approx. EUR 201,500 converted and adjusted for inflation at the time of writing Description: A Silver-Inlaid Bronze Figure of Buddha Shakyamuni, Swat Valley, 7th Century Expert remark: Compare the related pose, expression, and silver inlays. Note the significantly smaller size (13.5 cm).Auction result comparison:Type: RelatedAuction: Christie's New York, 19 March 2014, lot 1040Price: USD 209,000 or approx. EUR 246,500 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha, Kashmir, 7th CenturyExpert remark: Compare the closely related cast, posture, throne, and silver inlaid eyes八至九世紀斯瓦特谷釋迦牟尼銅像科學檢測報告：隨附牛津檢測所2021年3月31日由Doreen Stoneham出具的熱釋光檢測報告複印本，樣本號N121c25，結果為該造像為800至1200年前製作，符合推測的八至九世紀。 品相：狀態極好，大量磨損，一些缺損，明顯的風化和侵蝕跡象，土壤結垢，小刻痕和凹痕，輕微劃痕。包漿自然。

A BRONZE FIGURE OF HANUMAN, INDIA, 17TH CENTURYFinely cast standing on a circular base above a square plinth, his hands clasped together in anjali mudra, dressed in a short dhoti, embellished with a necklace, bangles, earrings, and a sash, his tail turned upward curling on top of his head, the face with almond shaped eyes, a subtle smile, and surmounted by a floral headdress. Provenance: From the collection of the late Joost Slingerland, Yorkshire, United Kingdom, and thence by descent. Joost Slingerland was a Dutch collector of Hindu and Buddhist bronzes from India, Southeast Asia, and the Himalayas, based in Driffield, Yorkshire. He assembled his collection between 1995 and 2005 and regularly came to London to acquire pieces. Condition: Very good condition with expected old wear, small nicks, light scratches, casting flaws, and few malachite encrustations. Good patina.Weight: 499.5 g Dimensions: Height 14.5 cm Auction result comparison:Type: RelatedAuction: Christie's New York, 23 September 2004, lot 53Price: USD 8,963 or approx. EUR 13,500 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Hanuman, India, 17th centuryExpert remark: Compare the related motif, pose, plinth, and curled tail. Note the significantly larger size (40 cm).十七世紀印度哈努曼銅像哈努曼站在方形底座的蓮座上，雙手合十，腰間圍裙，飾有項鍊、手鐲、耳環和腰帶，尾巴向上捲曲在頭頂，臉部帶著微笑，頭上戴著花卉頭飾。 來源：英國約克郡Joost Slingerland收藏，保存至今。底部内部有一個標籤 '2'。Joost Slingerland是一位荷蘭收藏家，專注收集來自印度、東南亞和喜馬拉雅山的印度教和佛教青銅造像，常年生活在約克郡德里菲爾德。他在 1995 年至 2005 年期間開始收藏，並定期去倫敦尋找藏品。 品相：狀況極好，有磨損、小刻痕、輕微劃痕、鑄造缺陷和少量綠色結殼。良好的包漿。 重量：499.5 克 尺寸：高 14.5 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2004年9月23日，lot 53 價格：USD 8,963（相當於今日EUR 13,500） 描述：十七世紀印度哈努曼銅像 專家評論：比較相近的主題、姿勢、底座和捲曲的尾巴。請注意尺寸較大(40 厘米)。

A GILT-SPLASHED BRONZE CENSER, CHINA, 18TH CENTURYThe compressed globular body rising from a slightly spreading foot to an everted rim, the short neck with a recessed band, liberally splashed with gold around the exterior. The base with an apocryphal four-character mark Xuande nianzhi.Provenance: British trade. Condition: Very good condition with minor old wear, few nicks and light surface scratches, and expected casting flaws.Weight: 510 g Dimensions: Diameter 10.3 cmAuction result comparison:Type: RelatedAuction: Sotheby's London, 11 May 2011, lot 233Price: GBP 23,750 or approx. EUR 35,500 converted and adjusted for inflation at the time of writingDescription: A Gilt-Splashed Bronze Censer Qing Dynasty, 18th CenturyExpert remark: Compare the simple form, which is rather unusual for censers of this period.十八世紀灑金銅爐撇口，束頸，鼓腹下收，承外撇圈足，爐身素面灑金。底座為仿“宣德年製”四字款。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損、刻痕和劃痕，以及鑄造缺陷。 重量：510 克 尺寸：直徑 10.3 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2011年5月11日，lot 233 價格：GBP 23,750（相當於今日EUR 35,500） 描述：十八世紀灑金銅爐 專家評論：比較在這個年代少見的簡易外形。

A HORSE-FORM BRONZE RHYTON, CENTRAL ASIA, C. 1000 ADScientific Analysis Report: A copy of an Expert Report from Antiques Analytics - Institute of Scientific Authenticity Testing, test report number AA 22-10021, dated 11 March 2022, written and signed by Dr. R. Neunteufel, accompanies this lot. The alloy components of the present lot have been analyzed via atomic emission spectrometry of a sample dissolved in mineral acid. Findings include a zinc content of 5.6% (rare for objects from the period), a low arsenic content of 0.02% (could indicate a refinement of raw copper, speaking for a later period of manufacture), and a tin content of 5.7% (lower than usually found in Central Asian bronzes of the period). The report concludes that the findings do not decisively contradict the suggested period of manufacture.The horn-shaped beaker with fluted sides below a neatly incised wave band and the gently everted rim. The separately cast horse and rhyton are connected by a raised cuff. The muscular animal shows bent forelegs just below a small filler neck, further detailed with pricked ears, almond-shaped eyes, a prominent muzzle, and a short mane. The bronze with a superb, naturally grown and professionally stabilized patina with malachite encrustation.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Good condition, commensurate with age. Wear, losses, minor dents and nicks, light scratches, encrustations, signs of weathering and corrosion. The patina was stabilized with a layer of varnish some time ago. A drilled hole from sample-taking.Dimensions: Height 24.5 cm

A GILT BRONZE FIGURE OF YAMA DHARMARAJA, CHINA, 17TH-18TH CENTURYFinely cast standing in pratyalidhasana on a separately cast caparisoned bull atop a prostrate figure over a lotus base, his right hand brandishing a ceremonial stick (danda), the left hand in apan mudra, depicted naked, erect, adorned with a garland of severed heads, beaded necklaces inlaid at the center with a turquoise inlay, bracelets, a scarf floating around his shoulders, his menacing buffalo head emphasized with red pigments, the forehead girded with a crown of skulls, the flaming hair with red pigment. The base sealed and incised with a double vajra.Provenance: From a private collection in New York, USA. Condition: Very good condition with minor wear, few nicks, small dents, light scratches, the pegs renewed, and casting flaws.Weight: 1,049 g Dimensions: Height 17.6 cmAccording to the Vajrabhairava Tantra, Manjushri took the form of Yama Dharmaraja to subdue Death ('Yama'), the personification of endless suffering through the cycle of death and rebirth. As this tantra is widely practiced in Tibetan Buddhism, Yama Dharmaraja can be found as an important wisdom deity in all traditions including the Sakya, Kagyu, and Gelug schools. He holds special significance for the Gelugpa, who regard him, alongside Shadbhuja Mahakala and Vaishravana, as one of the order's three principal protectors.Literature comparison: Compare a related bronze published in Pal, The Art of Tibet, New York, 1969, p. 102, pl. 72; von Schroeder, Indo-Tibetan Bronzes, Hong Kong 1981, pp. 550-1, no. 157E; and Neven, Art Lamaique, Bruxelles, 1975, pl. 87.Auction result comparison:Type: RelatedAuction: Christie's Paris, 12 June 2019, lot 184Price: EUR 10,625 or approx. EUR 12,000 adjusted for inflation at the time of writingDescription: A gilt bronze statue of Yama, China, Qing dynasty, 18th centuryExpert remark: Compare the related pose, gilt, and pigments. Note the size (19 cm).Auction result comparison:Type: RelatedAuction: Christie's Paris, 6 July 2022, lot 217Price: EUR 10,080Description: A gilt bronze statue of Yama Dharmaraja, China, Qing dynasty, 18th-19th centuryExpert remark: Compare the related pose, gilt, and pigments. Note the size (16 cm).十七至十八世紀銅鎏金閻羅法王像閻羅法王右屈式，頭戴骷髏冠、張著血盆大口。紅色頭髮呈火焰狀上揚，披掛人頭掛鍊，中央鑲嵌著綠松石鑲嵌物，右手高舉骷髏棒。右腿彎曲，左腿伸展，形象威猛可怖。法王站在一頭公牛上，公牛為單獨鑄造，公牛身下還壓著一個羅剎。底座用雙金剛杵密封。 來源：美國紐約私人收藏。 品相：狀況極好，有輕微磨損、少量刻痕、小凹痕、輕微劃痕、更新的釘子和鑄造缺陷。 重量：1,049 克 尺寸：高17.6 厘米根據《大威金剛密續》，文殊菩薩化身為閻摩法王來降伏死神（'閻摩'），死神是生死輪迴中無盡苦難的化身。由於此密續在藏傳佛教中廣為流傳，所以在薩迦派、噶舉派和格魯派等所有教派中，閻王法王都是重要的智慧本尊。他對格魯派具有特殊意義，格魯派將他與 六臂大黑天和 多聞天王 一起視為該教團的三位主要保護者之一。 文獻比較： 比較一件相近銅像，出版於Pal，《The Art of Tibet》，紐約，1969年，頁102，圖72; 又見von Schroeder，《Indo-Tibetan Bronzes》，香港， 1981年，頁550-1，編號157E; 以及Neven，《Art Lamaique》，布魯塞爾，1975年，圖87。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2019年6月12日，lot 184 價格：EUR 10,625（相當於今日EUR 12,000） 描述：清十八世紀鎏金銅閻羅王立像 專家評論：比較相近姿勢、鎏金和顏料。請注意尺寸 (19 厘米)。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2022年7月6日，lot 217 價格：EUR 10,080 描述：清十八/十九世紀鎏金銅閻魔立像 專家評論：比較相近姿勢、鎏金和顏料。請注意尺寸 (16 厘米)。

A MAGNIFICENT GILT BRONZE FIGURE OF MAITREYA, 17TH CENTURY, PUBLISHED BY SCHROEDERPublished: Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pages 446-447, nos. 121D & E (illustrated).Central Tibet. Finely cast, seated in bhadrasana ('European pose') on a stepped rectangular throne with his feet resting on a lotus blossom, the hands in dharmachakramudra holding the stems of lotuses flowering along his upper shoulder supporting a flask and stupa, clad in a richly pleated robe neatly incised with geometric and floral designs. His serene face with sinuously lidded downcast eyes below gently arched brows centered by a raised urna and bow-shaped lips, flanked by long pierced earlobes. The hair arranged in tight curls, the high ushnisha surmounted by a jewel.Provenance: From the collection of Mr. and Mrs. John Marsing, and thence by descent in the family. John Marsing (1918-1998) was a Danish businessman who, at the age of 20, had established a pharmaceutical company, Marsing & Co. The firm expanded during the mid-20th century and had branches all over Europe, Canada, and Korea. Marsing was very interested in Asian culture and a passionate collector of Asian works of art, particularly from the Himalayas, China, and Korea. He built a substantial collection over decades, buying in Asia and from antique dealers in Denmark as well as auction houses all around Europe. Condition: Good condition with some wear and casting irregularities, small dents, minor losses, remnants of pigment. The base sealed.Weight: 987 g Dimensions: Height 17.5 cmMaitreya awaits the day when the teachings of the Gautama Buddha, Shakyamuni, are forgotten by earth's inhabitants, at which point he will descend from the Tushita Heaven to become a Buddha. The present lot exudes reassurance through his benevolent facial expression and graceful gesture. It depicts Maitreya in his Buddha form, which is much rarer than the more commonly encountered bodhisattva form. Auction result comparison: Type: Related Auction: Christie's New York, 23 March 2022, lot 424 Price: USD 44,100 or approx. EUR 40,500 converted at the time of writing Description: A gilt-bronze figure of Maitreya, Tibet, 17th-18th centuryExpert remark: Note the larger size (26.7 cm) and that the bronze depicts Maitreya in his more common bodhisattva form, unlike the present lot. Auction result comparison: Type: Related Auction: Bonhams New York, 16 March 2015, lot 28 Price: USD 35,000 or approx. EUR 40,000 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Maitreya, Tibet, 16th/17th centuryExpert remark: Note the slightly larger size (21.8 cm) and that the bronze depicts Maitreya in his more common bodhisattva form, unlike the present lot.十七世紀重要銅鎏金彌勒佛坐像西藏中部。彌勒通體鎏金，雙手當胸結說法印，並持蓮花莖，雙腿垂足而坐，為“善跏趺坐”，跣足踏於覆蓮台上，承坐於高束腰金剛座上；螺發，肉髻高聳，摩尼寶珠頂嚴；面龐飽滿，額際高廣，白毫凸出，雙眼微合，凝視天下，法相端莊；雙耳垂齊，頸部蠶節紋明顯。上身穿坦右肩袈裟，下穿僧裙，衣領暗刻纏枝紋，衣褶自然流暢，原裝全包式封底，封板中心鏨刻十字金剛杵紋。出版：Ulrich von Schroeder，Indo-Tibetan Bronzes，香港，1981年，第446-447頁，圖 121D & E。 來源：John Marsing私人收藏，在同一家族保存至今。John Marsing (1918-1998) 是一位丹麥商人。二十歲時，他成立了一家製藥公司 Marsing & Co。該公司在二十世紀中葉擴大規模，在歐洲、加拿大和韓國都設有分公司。Marsing 對亞洲文化非常感興趣，並且熱衷於收藏亞洲藝術品，尤其是來自喜馬拉雅山、中國和韓國的藝術品。幾十年來，他的收藏一直在發展，從亞洲、丹麥的古董商以及歐洲各地的拍賣行購買。品相：狀況良好，有一些磨損和鑄造不規則、小凹痕、輕微缺損、顏料殘留。底座密封。 重量：987 克 尺寸：高17.5 厘米 此拍品通過突出彌勒仁慈的面部表情和優雅的手勢散發出慈悲之心。它以佛陀的形象描繪了彌勒，這比更常見的菩薩形像要罕見得多。

A PAIR OF 'DRAGON AND TAOTIE MASK' BRONZE CHEEK-PIECE FITTINGS, ZHOU DYNASTYChina, 1046-256 BC. Each finely incised with archaic motifs and geometric designs to the body, cast to one end with a pierced dragon head and terminating to the other side in a frontal facing taotie mask with two horns and a wide snout, the reverse with two loop attachments. The bronzes with a rich, naturally grown, solid patina with areas of malachite, cuprite, and azurite encrustation. (2) Provenance: French trade, acquired from a French private collection built between ca. 1980 and 2012. Condition: Overall in good condition, commensurate with age and with significant old wear, signs of weathering and corrosion, few nicks, and minor dents.Weight: 48.1 g and 45.4 g Dimensions: Length 14 cm and 13.8 cmLiterature comparison: Compare a related bronze cheek-piece fitting, Western Zhou dynasty, 1050-771 BC, in the British Museum, registration number 1932,0316.5.周代一對饕餮青銅龍形飾中國，西元前1046-256年。精細雕刻蟬紋與饕餮紋，兩端有龍頭，兩個角和一個寬鼻，反面有兩個環形附件。青銅表面自然包漿緊實，帶有紅綠藍色結殼區域。(2) 來源：法國古玩交易，購於一個建立於1980年至2012年間的法國私人收藏。 品相：總體狀況良好，有明顯磨損、風化和腐蝕跡象，輕微劃痕和凹痕。 重量：分別爲48.1克與 45.4克 尺寸：長14 厘米與13.8 厘米 文獻比較： 比較一件相近西周西元前1050-771年青銅龍形飾，收藏於大英博物館，館藏編號1932,0316.5。

A GILT BRONZE FIGURE OF CHAKRASAMVARA, LATE MALLA, THREE KINGDOMS PERIODNepal, 1520-1768. Striding in alidhasana with his consort Vajravarahi in yab-yum, the four-headed deity surmounted by a skull crown, his primary hands embracing his consort and holding a vajra and ghanta, the other ten hands holding attributes including damaru, kapala, kartika, and katvanga, dressed in a beaded loincloth, his legs flanked by two billowing scarfs, Vajravarahi wearing an elaborate skirt with skull pendant. Their faces finely incised with gently arched eyebrows centered by an urna, with almond shaped eyes, and a subtle smile.Provenance: British trade. Condition: Very good condition with expected old wear to the gilt, minimal losses, minor casting flaws, and few small malachite encrustations. The stand with few chips to the edges and natural age cracks.Weight: 1,269 g (incl. stand) Dimensions: Height 20.4 cm (incl stand)With a fitted hardwood base, probably Zitan, finely carved as a double lotus throne. (2)The Three Kingdoms period - the time of the later Mallas - began in 1520 and lasted until the mid-eighteenth century. The complete flowering of the unique culture of the Kathmandu Valley occurred during this period, and it was also during this time that the old palace complexes in the three main towns achieved much of their present-day forms. The kings still based their legitimate rule on their role as protectors of dharma, and often they were devout donors to religious shrines. Kings built many of the older temples in the valley, gems of late medieval art and architecture, during this final Malla period. The present figure seems to be rather early in the period, e.g., 16th to mid-17th century.The vision of Twelve-armed Samvara in an ecstatic, dance-like embrace with his consort Vajravarahi is one of the most exquisite subjects in Vajrayana Buddhist art. Meaning 'Wheel of Bliss' in Sanskrit, the union of the two deities is known as Chakrasamvara, as represented in this near-complete example. The deities embody the attainment of the highest yoga tantra tradition and Tibetan Buddhism's supreme ideal: the skilled union of perfect wisdom (Vajravarahi) and compassion (Samvara).Being so complex, only the very best artists were fit to undertake the challenge of casting Chakrasamvara. The task most often fell to Newari master craftsmen from Nepal who produced such sculptures for domestic and Tibetan worship. The stylistic preferences of each audience are somewhat slightly different. While many contemporaneous Tibetan examples emphasize the ferociousness of Chakrasamvara's facial expressions, here instead, a benign intimacy is shared between the deities gazing into each other's eyes. The sentiment betrays a preference in Nepal for showing divine couples in harmony, as representatives of ideal matrimony.Literature comparison:Compare a related two-armed gilt bronze figure of Chakrasamvara, Nepal, 16th century, in the collection of the British Museum, museum number 1921,0219.1.Auction result comparison:Type: RelatedAuction: Christie's New York, 15 September 2015, lot 35Price: USD 32,500 or approx. EUR 39,000 converted and adjusted for inflation at the time of writingDescription: A gilt bronze figure of Durga, Nepal, 16th/17th centuryExpert remark: Compare the related motif, gilt accents, fine casting work, and stand. Note the size (16.5 cm).馬拉王朝末年，三國時期，銅鎏金勝樂金剛像尼泊爾，1520-1768年。勝樂金剛勝四頭，十二臂，兩足，弓步。主尊頭戴五葉冠，上有太陽和新月符。主臂兩手分別持金剛杵和金剛鈴，另外兩手擁抱明妃金剛亥母。其餘各手分別持不同的法器，如三叉戟、匕首、卡巴拉碗等。脖子上掛人首做成的項鍊，雙足奮力踩踏兩個魔鬼，威力無比。金剛亥母雙腿盤在勝樂金剛腰間，，穿著花飾腰帶，佩戴著珠飾。金剛及其明妃面容表情細緻入微，眉毛微彎，微笑。 來源：英國古玩交易。 品相：狀況極好，鎏金有磨損，小缺損，輕微鑄造缺陷，少量孔雀石色結殼。底座邊緣輕微碎屑和自然老化裂縫。 重量：1,269 克 (含底座) 尺寸：高20.4 厘米 (含底座) 硬木底座，可能爲紫檀，精美雕刻雙層蓮座。 (2) 尼泊爾三國時期，即馬拉王朝末年——始於 1520 年，一直持續到十八世紀中葉。加德滿都谷地獨特文化的全面發展就在這一時期，也是在這一時期，三個主要城鎮的舊宮殿建築群形成了今天的大致規模。國王們的合法統治仍然基於他們作為佛法保護者的角色，而且他們經常是宗教聖地的虔誠捐助者。在馬拉王朝末年，國王們在山谷中建造了許多古老的寺廟，這些寺廟是中世紀晚期藝術和建築的瑰寶。目前這件造像可能來自十六世紀至十七世紀中葉。

A CLOISONNE ENAMEL 'PRECIOUS OBJECTS' CIRCULAR WALL PLAQUE, JIAQING PERIODChina, 1796-1820. The circular plaque is finely enameled with a large blue and white baluster vase on a carved stand at the center, issuing blossoming peonies and prunus, flanked by an ornate cloisonne censer and a colorful brush holder with calligraphy implements including brushes and paper, backed by two books and a waterpot, the foreground scattered with fruits, all above a turquoise wan-diaper ground.Provenance: From an old Austrian private estate, where it was originally fitted into an old German sideboard dating from circa 1870-1880. The back with an old label '60 frco'. Condition: Very good condition with minor wear, few scratches, light nicks, little warping, small chips and losses to the edge, and pitting as expected. The back with scratches.Weight: 1,680 g Dimensions: Diameter 41.7 cmCloisonne enamel plaques were popular from the second half of the 16th century onwards and became particularly popular during the mid-Qing dynasty, bringing vibrant colors to the imperial palaces' interiors. These plaques were used on screens, large furniture such as imperial thrones, or as decorative framed hanging panels.Literature comparison: Compare a related cloisonne plaque, dated mid-Qing dynasty, illustrated in Compendium of Collections in the Palace Museum: Enamels, vol. 4, Beijing, 2011, pls. 133-148. Compare related cloisonne panels decorated with antiques, dated to the second half of the 18th century, illustrated in H. Brinker and A. Lutz, Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, nos. 307-310.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 7 June 2021, lot 743Price: GBP 35,250 or approx. EUR 49,000 converted and adjusted for inflation at the time of writingDescription: A large cloisonne enamel 'precious objects' circular plaque, Qianlong/JiaqingExpert remark: Compare the closely related form and motif. Note the significantly larger size (67.1 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 22 June 2017, lot 175Price: EUR 25,000 or approx. EUR 28,500 adjusted for inflation at the time of writingDescription: A gilded bronze and cloisonne enamel plaque, Qing dynasty, Jiaqing-Daoguang periodExpert remark: Compare the closely related motif and size (41.3 x 50.8 cm). Note the rectangular form.嘉慶掐絲琺瑯博古紋壁盤中國，1796-1820年。圓盤銅胎掐絲琺瑯，盤内藍地修飾博古紋，一個青花賞瓶中插著三朵盛開的牡丹；瓶兩側分別是一個仿古景泰藍香爐和一個木紋釉筆筒，筆筒裏放著毛筆，瓶后有書籍和筆洗；瓶子前面散落著水果。 來源：奧地利私人舊藏，它最初被安置於大約 1870-1880 年的舊德國餐具櫃中。背面帶有舊標籤“60 frco”。 品相：狀況極好，輕微磨損與劃痕、刻痕和小翹曲，邊緣有小缺口，點蝕。背面有劃痕。 重量：1,680 克 尺寸：直徑 41.7 厘米 銅胎掐絲琺瑯壁飾從十六世紀下半葉開始流行，並在清朝中葉盛行，為皇宮的內部增添了鮮豔的色彩。這些壁飾被用在屏風、大型家具（如皇家寶座）上。 文獻比較： 比較一件相近的明代中期銅胎掐絲琺瑯掛屏，見 《故宮博物院藏品大系‧琺瑯器編》，卷 4，北京，2011年，圖133-148。比較一件相近的十八世紀下半葉銅胎掐絲琺瑯古董紋掛屏，見 H. Brinker 和 A. Lutz，《Chinese Cloisonne: The Pierre Uldry Collection》，紐約，1989年，編號307-310。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2021年6月7日，lot 743 價格：GBP 35,250（相當於今日EUR 49,000） 描述：清乾隆/嘉慶銅胎掐絲琺瑯博古圖「百事如意」圓掛屏 專家評論：比較非常相近的外形和主題。請注意明顯尺寸較大 (67.1釐米)。 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2017年6月22日，lot 175 價格：EUR 25,000（相當於今日EUR 28,500） 描述：清嘉慶/道光掐絲琺瑯清供圖長方屏 專家評論：比較非常相近的主題和尺寸(41.3 x 50.8釐米)。請注意此屏是長方形。

A LARGE BRONZE FIGURE OF NILAMBARA VAJRAPANI, TIBET, TSANG VALLEY, 13TH-14TH CENTURYPublished and exhibited: John C. Huntington and Dina Bangdel, The Circle of Bliss: Buddhist Meditational Art, Los Angeles County Museum of Art and Columbus Museum of Art, 5 October 2003 to 9 May 2004, pp. 203-204, cat. no. 53.Powerfully modeled and boldly cast striding in aldhasana atop a double-headed naga on a lotus base, his right hand holding a vajra and his left held admonishingly in tarjani mudra. He is wearing a tiger pelt around his waist and adorned with jewelry in the form of snakes as well as a beaded necklace. His face with a wrathful expression marked by sharp fangs, wide eyes, raised brows centered by a prominent urna, and a neatly incised beard. His fiery hair is surmounted by a blade-like protuberance with an image of Akshobya Buddha.Provenance: Oriental Gem Co., London, United Kingdom, by 1971. The John C. and Susan L. Huntington Collection, Columbus, Ohio, USA. John (d. 2021) and Susan Huntington are important scholars of Buddhist art, who have done extensive field research and photographic documentation throughout Asia. The couple were not just partners in life but partners in their chosen work of teaching, researching, and publishing about the art of Asia. John's doctoral dissertation, Styles and Stylistic Sources of Tibetan Painting, was a pioneering work written at a time when there was little, if any, scholarly attention being paid to the study of Tibetan art. Following his doctoral work, John spent 1969-1970 traveling in Asia on a National Endowment for the Humanities postdoctoral fellowship pursuing his study of Buddhist art. At the same time, Susan was doing field research in India on a Fulbright grant for her doctoral dissertation. They married in India in 1970. Prior to undertaking graduate studies, John had been a professional photographer and throughout his life, his passion for photography never waned. Susan had developed an abiding interest in photography since taking a course in high school. Together, with Susan making exhaustive field notes as they photographed, the pair developed a teamwork that continued throughout their lifetime of field work, culminating in the John C. and Susan L. Huntington Photographic Archive of Buddhist and Asian Art, which contains nearly 300,000 original slides and photographs documenting art and architecture throughout Asia. Both taught at the Ohio State University, with Susan serving as Dean of the Graduate School and Vice Provost for Graduate Education from 1995 and 2005, and John building a flourishing program in Asian art history, and they have published many articles and books on a wide range of topics related to Asian and Buddhist art, both separately and together. The collecting history of the Huntingtons aligned closely with their academic research and passion for learning. While they collected works in established categories that epitomized major Indian and Himalayan artistic styles or periods, they also pursued pieces that were little understood and that begged for further academic research.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 unsealed base further with a small tear. The left arm has been reattached with ancient rivets, probably hundreds of years ago. Remnants of pigment. Fine, naturally grown patina overall.Weight: 998.7 gDimensions: Height 25.2 cmVajrapani, originally a peaceful bodhisattva in the Mahayana tradition, has a wrathful manifestation within the Tantric or Vajrayana Buddhist tradition. The present lot depicts Nilambara Vajrapani, or the Blue-Clad One. In this form Vajrapaṇi is dark blue, with one face, three eyes, and two hands. His clothing is blue and his thick matted hair streams upward. His body is adorned with eight serpents in various places, and in his right hand he brandishes a vajra. For the Tibetans, and no doubt for Indian tantric practitioners, this form of Vajrapaṇi was highly popular‍, to the extent that the Kangyur contains no less than seven tantras and two dharani texts centered on this awakened figure.In this manifestation, the wrathful Vajrapani displays his rightful indignation at hindrances that impede the practitioner on the path to enlightenment, directed toward the foolishness of someone who has encountered the Buddha's teaching and who is, even so, too arrogant and prideful to take refuge in the Buddha, Dharma, and the Sangha. For both protection and purification, a wrathful Vajrapani is invoked during the Krodhavesha ritual in the Kalachakra practice, in which the practitioner identifies with Vajrapani.Stylistically the piece belongs to the Tsang Valley school of the 13th or 14th century, but it is entirely Tibetan in conception and execution, without the usual Newar-inspired characteristics associated with this school. Rather, it is freely modeled, ignoring all but the most significant details. The present sculpture's great potency comes from the violently angry grimace and lunging thrust of its position. The modeler has truly captured the feeling of outrage at the unfortunate being who does not have the good sense to seek refuge in the Buddhist teachings.Literature comparison:Compare a related brass figure of Chanda Vajrapani, 16.6 cm high, dated to the 13th century, in the Tibet Museum Fondation Alain Bordier, accession number ABS 070. Compare the iconography of a painting of Vajrapani, illustrated in Robert N. Linrothe and Jeff Watt, Demonic Devine: Himalayan Art and Beyond, New York, p. 229.Auction result comparison: Type: Closely related Auction: Christie's New York, 18 September 2013, lot 304 Price: USD 75,000 or approx. EUR 92,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of Achala, Tibet, 13th century Expert remark: Compare the closely related striding pose, wrathful expression with three eyes and sharp fangs, snake ornaments, hairstyle, and color of the bronze. Note the related size (26.2 cm).十三至十四世紀西藏大型金剛手菩薩出版及展覽：John C. Huntington、Dina Bangdel，《The Circle of Bliss: Buddhist Meditational Art》，洛杉磯郡立美術館和哥倫布藝術博物館，2003年10月5日至2004年5月9日，頁203-204，目錄號 53。 來源：英國倫敦Oriental Gem Co.，約1971年；美國俄亥俄州哥倫布The John C. and Susan L. Huntington 收藏。

AN EXCEPTIONAL CREAMY-WHITE AND BLACK JADE FIGURE OF A BEAR, SONG DYNASTY OR EARLIERChina, 960-1279 or earlier. Powerfully and sensitively carved. The mighty yet gentle animal seated with the knees and elbows bent, the hands resting on the legs, the lowered head slightly turned to the left, evoking a pensive state of mind. The body with slightly drooping chest and rotund belly. The lower legs are accented with a neatly incised scroll below each knee, while the clawed paws and short tail are finely incised as well. The face is well detailed with almond-shaped eyes, a long muzzle and snout, thin lips framing rows of teeth, and subtle fur markings incised to the ruff.Provenance: From the private collection of Adrianus Verhelst, Netherlands. Adrianus Cornelis Maria Verhelst (b. 1955) is a retired Dutch entrepreneur and manager, stemming from the Verhelst family, who served as a director of Verlascon Management, a noted financial holding company based in Roosendaal, Netherlands. He was a passionate and discerning collector of Chinese and Buddhist art, displaying some of his pieces prominently across the family properties in the Netherlands, Belgium, and England.Condition: Very good condition commensurate with age, showing old wear, microscopic nicks here and there, few small areas with minuscule age-related losses, smoothened over time. The stone with natural fissures, some of which have developed into small hairline cracks over time, consistent with jade figures dating from the Song dynasty. The stone with a smooth, unctuous feel overall, the result of centuries of gentle handling.Weight: 237.3 gDimensions: Height 7.5 cm, Width 6 cmThe superbly polished, translucent stone is of a creamy white, somewhat yellowish tone with brownish-black shadings ingeniously incorporated into the carving, as well as russet and black veins, and cloudy inclusions. Bears are native to China, their presence there known since antiquity. They were kept in Han imperial zoos and parks, where the emperor and his entourage enjoyed watching them in performance or in combat with other animals. On the other hand, they were perceived as enlightened creatures and it was believed that they resided in spiritual mountains and possessed the ability to intermediate between heaven and earth. Bears have also been linked with military prowess, shamanism, and immortality. As a corollary, it might be noted that the words for 'bear' and 'virility' are exact homonyms, pronounced xiong. According to the 'Rites of Zhou', Zhou Li, edited during the Han dynasty, bears were employed in exorcism rituals, their skin worn over the head of the performer who, holding a lance and a shield, led the officials to perform the Seasonal Exorcism by searching through houses and driving away pestilences. See J. Lagerway, Early Chinese Religion. Part One. Shang through Han (1250 BC-220 AD), Boston, 2008, page 287.In ancient China, immortality was often considered the ultimate pursuit for royalty. The First Emperor who united the country in 221 BC is known to have sent expeditions into the eastern sea in search of Penglai, a mountainous island shrouded in a mysterious cloud, which at the time was believed to be the home of immortals, where elixirs of immortality could be retrieved. Once every 99th year, an immortal from this mysterious island would descend to the earthly realm and bestow immortality upon a select few. These immortals were believed to take the form of carved jade animals, for example bears.Jade was the only material in which these mythological epitomes were believed to exist. This conviction is probably due to the near-indestructible quality of the mineral, which would make such a carving outlive every human being. When inhabited by an immortal, the jade would have looked almost fully translucent, especially when held against strong moonlight. According to ancient creed, the owner of such a magical jade animal was ensured an extended life. By having everyday contact with the object through rubbing its surface, the power of the inhibiting immortal would slowly be transferred to its owner. Highly sought after by the rich and wealthy, a jade animal as such was extremely rare and thus widely copied throughout Chinese history, particularly during the Song and Ming dynasties.Literature comparison: Compare an earlier gilt-bronze figure of a bear, seated in a highly similar manner and sharing several other features, such as the almond-shaped eyes, drooping chest, and rotund belly, 7.6 cm high, dated to the Western Han dynasty, exhibited in Flora and Fauna: Themes and Symbolism in the Decorative Arts of China, The Bruce Museum, Greenwich, Connecticut, 23 June to 9 September 2007, and sold at Christie's New York, 17 March 2015, lot 1. Compare a related black jade bear, with similar almond-shaped eyes, 5.1 cm high, dated to the Han dynasty, purchased by Oscar Raphael from Wannieck in November 1923 and previously found by Wannieck when excavating Ma Chang, now in the Fitzwilliam Museum, Cambridge, object number O.17-1946. Compare a related white and russet jade figure of a seated bear, also carved in the Han style and dated to the Song dynasty, 8.2 cm long, in the British Museum, registration number 1947,0712.487.Auction result comparison: Type: Closely related Auction: Christie's London, 13 May 2014, lot 156 Price: GBP 43,750 or approx. EUR 63,500 converted and adjusted for inflation at the time of writing Description: A small white and russet jade carving of a bear, Song/Ming dynastyExpert remark: Compare the closely related subject and pose. Compare also the dark shadings, which are less pronounced than on the present lot, and the fine detailing and incision work. The bear is of much smaller size (4.4 cm wide) than the present lot.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 24 November 2013, lot 260 Price: HKD 625,000 or approx. EUR 97,000 converted and adjusted for inflation at the time of writing Description: A fine and rare cream and black jade 'recumbent hound' carving, Song dynastyExpert remark: Compare the closely related creamy color with black shadings. Compare also the fine detailing and incision work. Note the slightly smaller size (6 cm).Auction result comparison: Type: Related Auction: Sotheby's Paris, 13 May 2014, lot 20 Price: EUR 247,500 or approx. EUR 283,000 adjusted for inflation at the time of writing Description: A rare celadon-yellow jade bear, Song dynasty or earlierExpert remark: Compare the closely related subject. Compare also the fine detailing and incision work. Note the slightly smaller size (5.1 cm) and celadon-yellow color.Auction result comparison: Type: Related Auction: Sotheby's Paris, 13 May 2014, lot 18 Price: EUR 4,207,500 or approx. EUR 4,818,000 adjusted for inflation at the time of writing Description: A rare yellow jade mythical animal, Song dynasty or earlierExpert remark: Compare the closely related pose. Compare also the related carving with similar drooping chest and rotund belly as well as the fine detailing and incision work. The mythical animal has a bear-like appearance with the addition of wings and horns. Note the slightly smaller size (5 cm) and yellow color. Note also that this jade was previously published and exhibited by J. J. Lally & Co., Chinese Archaic Jades and Bronzes from the Estate of Professor Max Loehr and Others, New York, 1993, cat. no. 85.

A LARGE BRONZE FIGURE OF RATNASAMBHAVA, CENTRAL TIBET, 13TH-14TH CENTURYPublished: John C. Huntington and Dina Bangdel, The Circle of Bliss: Buddhist Meditational Art, Columbus, 2003, page 108, figure 1.Sensitively modeled and finely cast, seated in dhyanasana atop a double lotus base with 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 elaborate beaded jewelry, his serene face with sinuously lidded eyes, neatly incised brows centered by a rhombic urna, and full lips forming a calm smile, the hair piled up into a high chignon topped by a jewel behind the five-leaf tiara.Provenance: Oriental Gem Co., London, United Kingdom, by 1971. The John C. and Susan L. Huntington Collection, Columbus, Ohio, USA. John (d. 2021) and Susan Huntington are important scholars of Buddhist art, who have done extensive field research and photographic documentation throughout Asia. The couple were not just partners in life but partners in their chosen work of teaching, researching, and publishing about the art of Asia. John's doctoral dissertation, Styles and Stylistic Sources of Tibetan Painting, was a pioneering work written at a time when there was little, if any, scholarly attention being paid to the study of Tibetan art. Following his doctoral work, John spent 1969-1970 traveling in Asia on a National Endowment for the Humanities postdoctoral fellowship pursuing his study of Buddhist art. At the same time, Susan was doing field research in India on a Fulbright grant for her doctoral dissertation. They married in India in 1970. Prior to undertaking graduate studies, John had been a professional photographer and throughout his life, his passion for photography never waned. Susan had developed an abiding interest in photography since taking a course in high school. Together, with Susan making exhaustive field notes as they photographed, the pair developed a teamwork that continued throughout their lifetime of field work, culminating in the John C. and Susan L. Huntington Photographic Archive of Buddhist and Asian Art, which contains nearly 300,000 original slides and photographs documenting art and architecture throughout Asia. Both taught at the Ohio State University, with Susan serving as Dean of the Graduate School and Vice Provost for Graduate Education from 1995 and 2005, and John building a flourishing program in Asian art history, and they have published many articles and books on a wide range of topics related to Asian and Buddhist art, both separately and together. The collecting history of the Huntingtons aligned closely with their academic research and passion for learning. While they collected works in established categories that epitomized major Indian and Himalayan artistic styles or periods, they also pursued pieces that were little understood and that begged for further academic research.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 base and seal plate with tears and some warping. The face with remnants of gilt.Weight: 1,602 g Dimensions: Height 31 cmRatnasambhava 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 increasing knowledge of Dharma. Ratnasambhava is associated with the jewel symbol, which corresponds with his family. His right hand is granting 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: Closely related Auction: Christie's New York, 22 March 2011, lot 357 Price: USD 194,500 or approx. EUR 249,000 converted and adjusted for inflation at the time of writingDescription: 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 closely 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 74,000 converted and adjusted for inflation at the time of writingDescription: 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).十三至十四世紀西藏大型寶生如來銅像 出版：John C. Huntington、Dina Bangdel，《The Circle of Bliss: Buddhist Meditational Art》，Columbus，2003年，頁108，圖1。 來源：英國倫敦Oriental Gem Co.，約1971年；美國俄亥俄州哥倫布The John C. and Susan L. Huntington 收藏。品相：品相良好，有磨損和使用痕跡；輕微鑄造缺陷、小凹痕、微小劃痕和缺損，底座和密封板有撕裂和一些翹曲。臉上殘留著鎏金痕跡。 重量：1,602 克 尺寸：高31 厘米

A COPPER ALLOY FIGURE OF AMITAYUS, NEPAL, C. 14TH-15TH CENTURY OR EARLIERRemarkably solid cast with a total weight of almost 2 kilograms. The Lord of the Western Paradise seated in dhayanasana on a lotus base with neatly incised petals atop a footed and pierced pedestal, holding the amrita vase in his lap. Dressed in a sanghati with the folds elegantly arranged below the ankles and wearing a shawl drawn across the body. The face with heavy-lidded eyes below finely incised brows, adorned in beaded jewelry, the hair in a tall chignon behind a foliate tiara, and backed by a flaming mandorla.Provenance: From a French private collection. A noted Hungarian collector, acquired from the above. Condition: Good condition with significant old wear, scattered nicks and dents, light surface scratches, small cracks to the mandorla, and expected casting flaws. Remnants of blue pigment in the hair and tiny remnants of gilt on the left ear and crown. Fine, naturally grown, copper-red patina overall.Weight: 1,868 gDimensions: Height 18.2 cmExpert's note: The present sculpture appears to be an ancient copy of an even older Nepalese bronze, with several distinct features from works of the 9th and 10th century, including the incised lotus petals, the foliate crown, the beaded jewelry, the shawl and garment. See for example Bonhams Hong Kong, 7 October 2019, lot 805, and Sotheby's New York, 22 September 2020, lot 322. While it seems rather difficult to accurately date such a work, it was clearly made not much later than the 15th century, as evidenced by the heavy weight of the cast, the characteristic old wear including the many small nicks and dents, as well as the finely incised yet sparse detail work, which does not appear in this distinct setting on later works.Auction result comparison: Type: Closely related Auction: Christie's New York, 19 March 2013, lot 340 Price: USD 52,500 or approx. EUR 65,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Amitayus, Nepal, circa 13th centuryExpert remark: Compare the closely related expression, the jewelry with especially similar earrings and crown, and the distinct patina color of the copper alloy. Note that the figure itself is larger (18.7 cm) than the present lot if you discount the base and mandorla.Auction result comparison: Type: Related Auction: Christie's Paris, 15 December 2010, lot 321 Price: EUR 63,400 or approx. EUR 83,000 adjusted for inflation at the time of writing Description: A rare gilt-copper figure of Manjushri, Nepal, 14th/15th centuryExpert remark: Note the closely related size (18.5 cm)十四至十五世紀或更早尼泊爾銅合金阿彌陀佛坐像非常堅固的鑄像，總重近2公斤。阿彌陀佛結跏趺坐在蓮花座上，髮髻高聳，頭戴葉狀頭飾，眉毛細長，雙眼為垂，身披僧衣，衣紋褶皺優雅，飾有瓔珞。背後有火焰光背。 來源：法國私人收藏；知名匈牙利藏家購於法國。 品相：狀況良好，有明顯的磨損，局部有刻痕和凹痕，表面有輕微的劃痕，光背上有小裂紋和鑄造缺陷。頭髮中殘留的藍色色素以及左耳和皇冠上的微小鍍金殘留物。整體包漿細膩成銅紅色及銅綠色。 重量：1,868 克 尺寸：高18.2 厘米 專家注釋：此件造像看上去像是一件更古老的尼泊爾青銅造像的複製品，具有與九世紀和十世紀作品截然不同的幾個特徵，比如蓮花花瓣、葉狀皇冠、瓔珞配飾、披巾和衣服。例如，香港邦瀚斯拍賣行，2019年 10 月 7 日，拍品編號 805，以及紐約蘇富比拍賣行，2020年9 月 22 日，拍品編號 322。雖然要準確確定此類作品的年代相當困難，但顯然它的創作時間不晚於十五世紀，正如鑄件的重量、包括許多小刻痕和凹痕在內的典型磨損以及精美的細節工作所證明的那樣。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年3月19日，lot 340 價格：USD 52,500（相當於今日EUR 65,000） 描述：十三世紀尼泊爾阿彌陀佛銅像 專家評論：比較非常相近的表情、相似的耳環和頭冠，以及銅合金特殊的古銅色。請注意如果不算底座和光背，此銅像尺寸比我們的銅像較大 (18.7 厘米) 。

AN IMPERIAL JADE-INLAID CINNABAR LACQUER WALL VASE INSCRIBED WITH A POEM BY HONGLI (1711-1799), QIANLONG PERIODThe poem inscribed on the jade plaque was composed by Hongli (1711-1799), better known as the Qianlong Emperor (reigned from 1736-1795). It is recorded in Qing Gaozong yuzhi shiwen quanji (Anthology of Imperial Qianlong Poems and Texts), volume 3, juan 58, page 19, figure 1, and can be translated as follows:Jade carved into flowers are fragrant like orchids,Between the garden steps, a few are elegantly planted.Who knows their essential beauty?Youdu, once asked this, answered with "Xie An".China, 1736-1795. Finely cast from gilt-bronze into baluster form flattened on one plane, mounted on the body with a shaped yellowish-celadon jade plaque inscribed in clerical script with a thirty-one-character Imperial poem, all surrounded by superbly carved blossoms of peony, chrysanthemum, and prunus borne on leafy branches against a diaper ground, framed by bands of prunus blossoms below the neck and above the foot, the neck flanked by two short tubular handles incised with scroll.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.J.111. 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. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but 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: Superb condition with expected minor wear, few minuscule nicks, the back with light surface scratches, the wood base with a small chip. Fine, naturally grown patina overall.Weight: 512.2 g Dimensions: Height 18.6 cmMounted on a short wood base, probably zitan and dating from the same period. (2)Hongli was the fourth son of Yongzheng and born to Noble Consort Xi. He was adored by his grandfather, the Kangxi Emperor, and some historians argue to this day that Kangxi appointed Yongzheng as his successor only because Hongli was his favorite grandson. One of China's eternal visionaries, Kangxi is said to have spotted the singular leadership talent of the later Emperor Qianlong in Hongli when he was still a child. In 1796, the Qianlong Emperor abdicated in favor of his son, the Jiaqing Emperor, in a filial act so as not to reign longer than his grandfather, the Kangxi Emperor, who ruled for 61 years. Despite his retirement, he retained ultimate power as the Emperor Emeritus until his death in 1799, making him one of the longest-reigning monarchs in history, and, dying at the age of 87, one of the longest-lived. As a capable and cultured ruler inheriting a thriving empire, during his long reign, the Qing Empire reached its most splendid and prosperous era, boasting a large population and economy.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 ranks among the most unusual and rarest examples produced during the Qianlong reign, as it combines gilt-bronze, cinnabar lacquer and carved jade.Expert's note: Carved cinnabar lacquer and gilt-bronze wall vases combined with jade inlays are very rare. The examples that come up for auction now and then almost invariably have condition issues such as strong wear to the gilding, losses and cracks to the lacquer, cracks or - worse - replacements to the jade inlays, and others. The pristine condition of the present wall vase makes it not just exceptionally rare, but literally unique. Literature comparison: Compare a pair of wall vases in the National Palace Museum, Taipei, included in the museum's exhibition The Enchanting Splendor of Vases and Planters: A Special Exhibition of Flower Vessels from the Ming and Qing Dynasties, 2014, pl. II-48 (fig. 1), where the author notes that 'Lacquerware with jade inlay on a copper body is very rarely seen'.Also compare two boxes, one rectangular, the other chime-shaped, both inset with jade plaques, in the Palace Museum Beijing, illustrated in Carved Lacquer in the Collection of the Palace Museum, Beijing, 1964, cat. nos. 313 and 315. Compare a jade plaque inset in a cinnabar lacquer moon flask, similarly incised with a Qianlong seal mark and of the period, at Christie's Hong Kong, 27 April 1997, lot 21.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 25 April 2004, lot 19 Price: HKD 744,000 or approx. EUR 139,000 converted and adjusted for inflation at the time of writing Description: A very rare jade inlaid cinnabar lacquer wall vase, Qing dynasty, Qianlong periodExpert remark: Compare the closely related (and extremely rare) combination of carved lacquer and jade with an Imperial poem. Note the similar size (18 cm). Also note that the jade plaque on this example has several cracks, whereas on the present example it is in perfect condition.乾隆時期御製剔犀鑲玉刻御詩壁瓶中國，1736-1795年。鑲鎏金銅，剔犀掛瓶，頸部左右分別有一貫耳。瓶身錦地纏枝花卉紋，瓶身中央鑲嵌玉牌，上雕刻一首御詩。

A BRONZE FIGURE OF BUDDHA, SUKHOTHAI KINGDOMThailand, 15th-16th century. Seated in dhyanasana atop a base with his right hand in bhumisparsa mudra, the left resting in his lap, dressed in a sanghati draped over his left shoulder, the serene face with heavy-lidded downcast eyes below elegantly arched brows, the hair arranged in tight curls over the ushnisha.Provenance: French trade, by repute previously in a French private estate. Condition: The Buddha with extensive old wear, weathering and corrosion, dents, losses, cracks, old repairs and fills.Weight: 3,856 g Dimensions: Height 34.2 cmEstablished in 1238, the Sukhothai kingdom enjoyed a brief but artistically brilliant period of independence until it acquiesced to Ayutthaya in 1583. Guided by itinerant Sinhalese Buddhist monks that frequented the Bay of Bengal and the Andaman Sea, Sukhothai sculptors returned to the ancient poetic descriptions of the mahalakshana ('signs of a great man') to create a new idealized Buddha image, breaking away from Mon and Khmer idioms.Auction result comparison:Type: RelatedAuction: Bonhams Paris, 14 June 2022, lot 64Price: EUR 8,925Description: A copper alloy figure of Buddha, Thailand, Northern Sukhothai style, 14th/15th centuryExpert remark: Compare the related pose and size (33.5 cm).Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 21 May 2008, lot 383Price: EUR 5,250 or approx. EUR 6,500 adjusted for inflation at the time of writingDescription: A Thai Sukhothai style bronze figure of Buddha, 15th/16th century or laterExpert remark: Compare the related pose and color of the bronze. Note the slightly larger size (40 cm).

A LACQUERED WOOD FIGURE OF THE INFANT BUDDHA, MING DYNASTYChina, 1368-1644. Well carved standing on a red lacquered lotus base, both hands folded in anjali mudra with bangles around the wrists and ankles, the square face with downcast eyes above red lips, the hair surmounted by a red ushnisha.Provenance: Gisal SA, Montreux, Switzerland, 2007. Swiss private collection, acquired from the above. A copy of a certificate of origin, stating that the present lot originates from Anhui Province, China, and dating it to the late Ming dynasty, and a letter from Gisal SA, dated 6 December 2007, accompany this lot. Condition: Good condition with old wear, natural age cracks, the lacquer with expected craquelure and some flaking, minor losses, two pierced apertures for mounting to the base, and remnants of gilt. The lacquer commensurate with age and with several layers which have been renewed over a long period of time.Weight: 229.4 g Dimensions: Height 22.5 cmAuction result comparison:Type: RelatedAuction: Christie's New York, 7 December 2017, lot 188 Price: USD 5,000 or approx. EUR 5,900 converted and adjusted for inflation at the time of writing Description: A gilt-lacquered bronze figure of the infant Buddha, Ming dynasty Expert remark: Compare the closely related subject and size (22.2 cm). Note the different material.明代幼佛漆木像中國，1368-1644年。雕刻精良，幼佛立於紅漆蓮花座上，雙手合十，手腕和腳踝佩戴手環脚環，方臉，雙眼微閉，紅唇，頭上有一塊紅色頭巾。 來源：瑞士蒙特勒Gisal SA收藏，2007年；瑞士私人收藏，購於上述收藏。隨附一份2007年12月6日Gisal SA出具的明代與來自安徽省的證書副本。 品相：品相良好，舊磨損，自然老化裂紋，漆器有預期的龜裂和一些色彩剝落，輕微缺損，兩個用於安裝到底座上的穿孔，以及鎏金殘留物。漆彩與年齡相稱，並具有多層漆彩。 重量：229.4 克 尺寸：高 22.5 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2017年12月7日，lot 188 價格：USD 5,000（相當於今日EUR 5,900 ） 描述：明銅漆金指天指地童子佛像 專家評論：比較非常相近的主題和尺寸 (22.2厘米)。請注意材質不同。

A GILT-BRONZE FIGURE OF BUDDHA, ZANABAZAR SCHOOLMongolia, 17th-18th century. Heavily cast, seated in dhyanasana with the right hand lowered in bhumisparsha mudra and the left on the lap, wearing a long-flowing robe, the hems incised with a geometric border, the serene face with downcast eyes painted with black pupils, the red mouth with a gentle smile, flanked by elongated ears, the hair in tight curls surmounted by an ushnisha with globular jewel, the base with an original seal in the form of a double vajra. Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years, and thence by descent. Two labels, 'Antique gilt bronze Buddha on lotus base shrine. 17/18 century', 'HC21/04.75'. A lacquered inventory number '222.14.QI' to the base, indicating an earlier museum deaccession. Another inventory number, '222' lacquered to the top of the base. Condition: Very good condition with minor old wear, few nicks, small dents, light scratches, and expected casting flaws.Weight: 1,137 g Dimensions: Height 15.8 cmThis heavily cast bronze belongs to the Zanabazar artistic school of Mongolia, founded in the 17th century by Jetsun Lobzong Tenpai Gyaltsen (1635-1723). He was an important Mongolian religious figure and personal guru to the Kangxi Emperor. Zanabazar was at an early age recognized by both the Panchen Lama and Dalai Lama as the reincarnation of the Tibetan Lama, Taranatha (1575-1634), and proclaimed the First Jetsundamba, an honorific title. He traveled to Tibet to continue his religious instruction before returning to Mongolia in 1651, bringing fifty sculptors and painters with him in an attempt to establish the Geluk order amongst the Mongols.During his time as a religious leader of the Khalkha Mongols, Zanabazar oversaw a proliferation of Buddhist art in the region. He is especially known for his visualization and design of gilt-bronze sculpture, subsequently carried out by Nepalese bronze casters, which are widely recognized as some of the finest Buddhist gilt-bronze sculptures created.Zanabazar bronze sculptures exhibit a cohesive style testament to the vision of the great leader, characterized by richly gilt surfaces overall, finely modeled and smoothly sloping contours with embellishments limited to borders, full figures standing or seated on an elevated double-lotus base, and a minimalist aesthetic that endows the figures with a sense of stability. Auction result comparison:Type: RelatedAuction: Bonhams London, 14 May 2014, lot 209Price: GBP 20,000 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A fine gilt-bronze figure of Buddha, Zanabazar School, 17th centuryExpert remark: Compare the related pose, facial expression, lotus base, and gilding. Note the smaller size (11.2 cm).Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 2 October 2018, lot 127Price: HKD 500,000 or approx. EUR 65,500 converted and adjusted for inflation at the time of writingDescription: A gilt copper alloy figure of Amitabha, Mongolia, Zanabazar school, 17th centuryExpert remark: Compare the related pose, facial features, lotus base, and fine incision work. Note the slightly smaller size (13.5 cm).札那巴札爾派銅鎏金佛像蒙古，十七至十八世紀。佛陀結跏趺座，右手觸地印，左手擱膝，身著長袍，面容安詳，垂眸塗黑瞳，面帶溫和的微笑，兩側是細長的耳垂，螺髻中央頂寶珠。雙金剛杵印密封底。 來源：英國倫敦紳士收藏，收藏亞洲藝術已超過五十年，保存至今。兩個標籤'Antique gilt bronze Buddha on lotus base shrine. 17/18 century'與 'HC21/04.75'；底部一個收藏編號 '222.14.QI'，表明可能來自博物館；另一個收藏編號 '222' 。 品相：狀況極好，有輕微的磨損、少量劃痕、小凹痕和鑄造缺陷。 重量：1,137 克 尺寸：高 15.8 厘米

A GILT-LACQUER BRONZE FIGURE OF BUDDHA SHAKYAMUNI, RATTANAKOSIN KINGDOMThailand, reign of King Rama III, 1824-1851. Seated in virasana, his right hand lowered in bhumisparsha mudra and his left held in dhyana mudra above his lap, his close-fitting sanghati finely cast with diapered floral designs and embellished in 'gesso' with floral roundels (pha lai) conveying a lavishly embroidered cloth. His serene face with heavy-lidded eyes below gently arched brows and full lips forming a calm smile, flanked by long pendulous earlobes, the hair arranged in tight curls over the ushnisha surmounted by a separately cast ketumala.Provenance: Galerie Claude Jongen, Belgium, by 1977. Gustaaf Wauters, Belgium, acquired from the above, and thence by descent to his son Godfried Wauters, who has been active in the Belgian trade for over 40 years. He has built a substantial art collection including Chinese and Buddhist sculptures, significantly expanding on the collection already built by his late father Gustaaf (1905-1992). Condition: Very good condition with minor wear and casting irregularities, minor flaking to gilt, few minuscule nicks, small dents, occasional light scratches.Dimensions: Height 92 cm (incl. flame)Buddha images wearing such patterned robes, a symbol of royalty, were introduced during the reign of King Rama III (reigned 1824-1851), and disappeared thereafter. It is thus most likely that this majestic sculpture was one such royal commission produced under King Rama III's reign.Literature comparison: See further examples of Rattanakosin-period gilt-lacquer bronze Buddha images discussed in Rod-Ari, The Buddha as Sacred Siamese King: Brocaded Buddhas of the Third Reign, The Walters Art Museum Journal, vol. 73, 2018, figs. 1-5.Auction result comparison: Type: Closely related Auction: Bonhams New York, 23 July 2020, lot 841 Price: USD 22,575 or approx. EUR 23,500 converted and adjusted for inflation at the time of writing Description: A gilt lacquer copper alloy figure of Buddha, Thailand, Rattanakosin period, 19th centuryExpert remark: Compare the closely related pose, robe, and face. Note the related size (90 cm). Note the missing flame.

A BRONZE TEMPLE BELL, CHINA, 17TH CENTURYWell cast in barrel form, decorated in high relief with horizontal and vertical lines, bands of bosses, and flowerheads, surmounted by a twin dragon loop handle topped by a conch-form knop. The bronze bell lacquered black.Provenance: From the estate of Robert Schiffman, New York, USA. Condition: Very good condition with some wear, minor nicks, expected casting irregularities, and traces of use.Weight: 2,260 grams Dimensions: Height 24 cm (the bell), Length 30.5 cm (the gong stick)With an associated gong stick dating from the 20th century. (2)Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 29 May 2019, 718 Price: HKD 25,000 or approx. EUR 3,100 converted and adjusted for inflation at the time of writing Description: A bronze temple bell, 17th-18th century Expert remark: Note the related size (27 cm).十七世紀中國銅鐘此銅編鐘器形呈圓酒桶形，下口平齊，鑄造精良，飾有水平和垂直線條，頂部是雙龍形鈕，頂部是海螺。銅鐘漆成黑色。 來源：美國紐約Robert Schiffman舊藏。 品相：狀況極好，有一些磨損、輕微劃痕、鑄造瑕疵和使用痕跡。 重量：2,260 克 尺寸：高24 厘米(鐘)，長30.5 厘米(鐘杵) 二十世紀鐘杵。 (2) 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2019年5月29日，718 價格：HKD 25,000（相當於今日EUR 3,100） 描述：十七至十八世紀銅交龍鈕鐘 專家評論：請注意相近尺寸(27 厘米)。

A BRONZE FIGURE OF A DANCING HEVAJRA, ANGKOR PERIOD, BAYON STYLEKhmer Empire, late 12th to early 13th century. The eight-headed deity very well cast dancing atop a prostrate figure with one leg raised and arms radiating around him holding diminutive figures of deities and animals, wearing a short sampot secured with a pendent fishtail sash, the details intricately rendered.Provenance: From a noted private collection. A copy of a certificate of authenticity, N° 389912, issued and signed by an archeologist and an official representative of the Asian Antiques Association of Thailand, dated 17 October 2014, confirming the dating above, and noting Prasat Muang Phai, Sakaew province, Thailand, as the original provenance for the present figure, accompanies this lot. A copy of an export license, issued by the government of the Kingdom of Thailand, EB0078/2022, also accompanies this lot. Condition: Good condition, commensurate with age. Extensive wear, minor losses, small dents and nicks, signs of weathering and erosion, soil deposits, corrosion, encrustations, all as expected from a Khmer bronze of nearly 1,000 years of age. Superb, naturally grown, rich patina with extensive malachite encrustation and faint hues of cuprite. The surface of the figure has been cleaned in areas where the corrosion was thick and obscured the cast detail. A corrosion inhibiting varnish was then applied to the surface for protection against moisture intake from the atmosphere. Weight: 3,613 g (excl. base) Dimensions: Height 37.5 cm (excl. base, incl. tang) and 41 cm (incl. base)With a fitted modern metal base. (2)Hevajra is the personification of enlightenment, the dance pose symbolizing the process of enlightenment as liberation from worldly constraints.Literature comparison: Compare a closely related Khmer Bayon-style bronze of Hevajra, 22.7 cm high, in the CB National Museum, inventory number Ga.4170. Another closely related example was exhibited in the Ethnological Museum, Berlin. Compare a closely related Khmer Bayon-style bronze of Hevajra, 41 cm high, dated c. 1180-1230, illustrated in Wolfgang Felten and Martin Lerner, Thai Sculpture from the 6th to the 14th centuries, Stuttgart, 1988, p. 235, no. 37.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 September 2004, lot 57 Price: USD 31,070 or approx. EUR 44,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of a dancing Hevajra, Khmer, Angkor period, Bayon style, late 12th/early 13th centuryExpert remark: Compare the closely related pose, number of heads and arms, and malachite patina. Note the smaller size (24 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A 'GANESHA' BRONZE BELL, KHMER EMPIRE, ANGKOR PERIOD, 11TH-12TH CENTURYHeavily cast, decorated with ribs to the lip and at the shoulder, the finial with two floral lappets enclosing the seated figure of Ganesha and a central arch with decorative ridges. The bronze with a fine, solid patina with malachite encrustations.Provenance: A private collection in Paris, France. LP Collection, Paris, France, acquired from the above. Condition: Very good condition with minor old wear, some weathering and erosion, expected casting flaws, few nicks, light scratches, and encrustations. Good malachite-green patina overall.Weight: 2,076 g Dimensions: Height 22.4 cmLiterature comparison: Compare a related Khmer bronze altar bell with Ganesha, 19.4 cm high, dated to the 12th century, in the Minneapolis Institute of Art, accession number 91.22.2.