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Lot 178
19th Cent. neoclassical clock in white marble and gilded bronze with a bronze group with godess and cupid on top - with a "Vincenti" signed work || Negentiende eeuwse neoclassicistische klok met zuilvormige kast in witte marmer en gedoreerde brons, bekroond met een bronzen groep met dame en amourtje - met werk getekend "Vincenti Médaille d'argent" - hoogte : 45,5 cm
Lot 174
antique neoclassical 3pc garniture in marble and bronze : a pair of candelabra and a portico clock with "Japy frêres" signed work || Antieke driedelige neoclassicistische schouwgarnituur in witte marmer en gedoreerde brons : een paar driearmige kandelaars en een portico-klok met werk getekend "Japy frêres Médaille d'honneur" - hoogtes : 27,5 en 45,5 cm
Lot 177
antique Le Roy (on the face) signed neoclassical clock with a case in partially gilded bronze - with a LRC signed work || LE ROY fraaie antieke Franse neoclassicistische klok met kast in deels vergulde brons en bekroond met een slapende Amor met boog in de hand - hoogte en breedte : 35 en 23 cm - met getekende wijzerplaat en met werk gemonogrammeerd L R C n° 728
Lot 224
Konvolut Seitengewehr 7 Tl., 1x Infanterie - Schwert mit Scheide, Frankreich, Talabot Model 1832 Paris, Bronze, Stahl, Gesamtlänge: 64 cm, Klingenlänge: 49 cm, 1x Bajonett Model 8807, einseitige Klinge, Gesamtlänge: 68 cm, Klingenlänge: 56 cm, 1x Bajonett mit Scheide, Gesamtlänge: 61 cm, Klingenlänge: 50 cm, 1x Krummsäbel, Gesamtlänge: 58 cm, Klingenlänge: 42 cm, 1x Krummsäbel, Gesamtlänge: 60 cm, Klingenlänge: 45 cm, 1x Hirschfänger, Österreich-Ungarn, Gesamtlänge: 60 cm, Klingenlänge: 48 cm, 1x Offiziersdolch mit Scheide, Aviacion Española Toledo, Gesamtlänge: 55 cm, Klingenlänge: 41 cm. Altersgemäßer Zustand mit Gebrauchsspuren.
Lot 76
A GE-TYPE VASE, HU, QIANLONG MARK AND PROBABLY OF THE PERIOD 乾隆款仿哥釉壺，或為乾隆時期China, c. 1736-1795. The globular body supported on a tall spreading foot and rising to a waisted neck with galleried rim, the shoulder applied with two pierced handles in the form of bats suspending ruyi heads, and further decorated with two raised bowstrings each below the neck and above the foot. Covered overall with a creamy gray glaze suffused with a striking network of black and golden-brown crackle. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and probably of the period. Provenance: From a Norwegian private collection. Condition: Excellent condition with minor wear and firing irregularities. The piercings to the bat-form handles with traces of use including minute nibbling around the openings. The rings now lost. Weight: 4,424 g Dimensions: Height 28.7 g Expert's note: The high level of control exhibited by the glaze of the present vase, with its razor-sharp black and golden-brown crackle, along with the archaistic yet strictly precise form and the finely executed bowstrings, leaves little doubt that it was made in the 18th century. The bat-form handles are a particularly notable detail, as they once held separately crafted ring handles, probably made of gilt bronze, as evidenced by the piercings from one side to the other and the wear and nibbling around the openings. Auction result comparison: Type: Closely related Auction: Christie's London, 7 June 2004, lot 145 Price: GBP 21,510 or approx. EUR 43,000 converted and adjusted for inflation at the time of writing Description: A ge-type vase, hu, underglaze-blue Qianlong six-character seal mark and of the period Expert remark: Compare the closely related two-tone crackle glaze, bowstring decoration, and Qianlong seal mark, as well as the related form and size (26.1 cm). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 April 2011, lot 36 Price: HKD 7,220,000 or approx. EUR 1,241,000 converted and adjusted for inflation at the time of writing Description: A fine and rare ge-type vase, seal mark and period of Qianlong Expert remark: Compare the closely related two-tone crackle glaze and Qianlong seal mark as well as the related form. Note the smaller size (16.5 cm).乾隆款仿哥釉壺，或為乾隆時期中國，約1736-1795年。盤口，束頸，溜肩，鼓腹，底足外撇。肩部如意形蝙蝠輔首，肩部和底足有兩道凸起的弦紋。通體施灰白色釉，黑色和金棕色開片紋。圈足内青花六字款“大清乾隆年製”。 來源：挪威私人收藏。 品相：狀況良好，輕微磨損，燒製不規則。蝙蝠形輔首有使用痕跡，邊緣處有微小磕損，輔首中的環丟失。 重量：4,424 克 尺寸：高28.7 厘米 專家注釋：此瓶釉色高雅，黑色和金棕色的開片紋，古樸而嚴謹的造型，可能是十八世紀製作的。蝙蝠形輔首中的環已丟失，可能曾是鎏金銅環，可以從輔首上的孔的磨損可以看出。拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2004年6月7日，lot 145 價格：GBP 21,510（相當於今日EUR 43,000） 描述：乾隆款及年代仿哥釉壺 專家評論：比較非常相近的雙色釉面開片、弦紋和乾隆款識，以及相近的外型和尺寸 (26.1厘米)。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2011年4月7日，lot 36 價格：HKD 7,220,000（相當於今日EUR 1,241,000） 描述：乾隆款和年代仿哥釉壺 專家評論：比較非常相近的雙色釉面開片和乾隆款識，以及相近的外型。請注意尺寸較小(16.5厘米)。
Lot 11
A LARGE AND IMPORTANT BUDDHIST VOTIVE PLAQUE, GILT COPPER REPOUSSE, EARLY TANG DYNASTY 唐初大型重要許願錘鍱鎏金銅牌Expert's note: This seems to be by far the largest and most detailed of all early Tang dynasty gilt repousse votive plaques that have been on the market in a long time. The extent to which this magnificent work of art was cherished by Hisazo Nagatani becomes best perceptible when one looks at the Japanese storage box in which this jewel was kept, with its outer casing, neatly inscribed and made from light wood and elegant red lacquer, the inner storage box with its abundant padding, tightly fitted to the exact dimensions of the plaque itself.China, 618-907, circa 7th century. The thin plaque finely decorated with the central figure of Buddha seated in dhyanasana atop an elaborate lotus throne growing from neatly incised waves flanked by two lions, his right hand raised in abhaya mudra and his left lowered in varada mudra, wearing loose-fitting robes cascading in voluminous folds, a flaming halo behind him and the bodhi tree towering above, flanked by two acolytes and surrounded by groups of worshipping monks and attendant bodhisattvas, all below swirling clouds and two flying apsaras.Provenance: From the collection of Hisazo Nagatani, and thence by descent within the family. The lacquered and padded wood box with an old label, 'Gilt Bronze Slab'. Hisazo Nagatani (1905-1994) was a Japanese-American collector, scholar, and noted dealer of Asian art. Growing up near his birthplace Osaka, he developed a passion for Asian art early on and joined Yamanaka & Co. in 1922, at the age of only 17. He soon moved to Beijing, traveling throughout China, and handling bronzes, porcelains, jades, and other works of art, before relocating to the United States. He eventually became the manager of the Yamanaka gallery on the Magnificent Mile in Chicago until the firm had to cease operations in the United States. In 1944, he opened his own gallery, Nagatani & Co., which flourished for many decades, selling to such important collectors as Robert Mayer, Stephen Junkunc, Avery Brundage, and the Alsdorfs. Nagatani later donated many of his works of art and his important library to museums.Condition: Good and original condition, commensurate with age, displaying simply spectacularly. Extensive wear, tears and losses, minor dents, small nicks, light scratches. Fine, naturally grown patina with malachite encrustations to the front, the back with extensive malachite, cuprite, and azurite encrustations. The gilt remarkably well preserved overall.Weight: 303.2 gDimensions: Height 24.4 cm (the plaque), Size 7 x 38.4 x 29.2 cm (the padded storage box) and 11 x 40.6 x 31.3 cm (the lacquered box)With a Japanese wood storage box, the inner silk padding fitted specifically for the present plaque, and an old Japanese lacquered wood box. (3)Literature comparison: Similar images of the Buddha seated under a roofed structure flanked by numerous bodhisattvas can be found in paintings from the Dunhuang caves, dated to the early 8th century, as evidenced by the fragment in the British Museum, illustrated by A. Farrer and R. Whitfield, Caves of the Thousand Buddhas: Chinese Art from the Silk Route, New York, 1990, page 24, no. 1 and cover. Compare, also, the gilt-bronze plaque in the Hakutsuru Fine Art Museum, Kobe, dated to the Sui dynasty of significantly smaller size (15.4 cm. high) with similar imagery, but lacking the Bodhi tree, illustrated by S. Mizuno, Bronze and Stone Sculpture of China from the Yin to the T'ang Dynasty, Tokyo, 1960, fig. 123.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2004, lot 74 Price: USD 17,925 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A small gilt-metal Buddhist plaque, Tang dynasty Expert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers, as well as the similar tear line at the top. Note the much smaller size (9.2 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 October 2001, lot 507 Price: HKD 1,035,000 or approx. EUR 183,000 converted and adjusted for inflation at the time of writing Description: A very rare repousse gilt-copper Buddhist votive plaque, early Tang dynasty, 7th centuryExpert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers. Note the smaller size (19.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 30 March 2005, lot 237 Price: USD 102,000 or approx. EUR 150,000 converted and adjusted for inflation at the time of writing Description: A rare gilt-copper Buddhist plaque, early Tang dynasty, 7th century Expert remark: Note the significantly smaller size (11.4 cm).唐初大型重要許願錘鍱鎏金銅牌中國，618-907年，約七世紀。薄薄的銅牌上精美錘鍱佛陀坐禪坐於蓮座上，蓮座從波浪中升起，兩側是兩隻獅子，右手上舉施無畏印，左手下垂施與願印，身著長袍，衣褶條紋流暢，身後有光背。菩提樹高高聳立，兩側有僧眾、侍從菩薩，兩飛天。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 40
A LARGE AND MASSIVE BRONZE VAJRA, 17TH-18TH CENTURY 十七至十八世紀大型銅金鋼杵Tibet. Heavily cast, the central rod made of iron, the four-pronged vajra decorated in relief with worshippers to the lower end of each prong flanked by incised borders, the central sphere framed by a beaded border and a foliate band. Provenance: From an old South German private collection, by repute acquired from Schoettle Ostasiatika between 1968 and 1989, and thence by descent to the last owner. Condition: Very good condition with old wear and some casting imperfections. The iron with encrustations. Few minuscule nicks and light scratches here and there. Fine, naturally grown, dark patina. Weight: 987.1 g Dimensions: Length 24.2 cm The vajra, a symbol of indestructibility and power, is one of the primary ritual symbols in Tibetan Buddhism. Derived from Sanskrit and translating to both thunderbolt and diamond, the vajra consists of two sets of prongs from which lotus petals emanate, flanking a central sphere. Often used in combination with a bell, which represents feminine wisdom, the vajra symbolizes the masculine attribute of skillful means or compassion.Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 30 June 2020, lot 6034Price: HKD 37,500 or approx. EUR 4,500 converted and adjusted for inflation at the time of writingDescription: A large bronze vajra, Tibet, 17th centuryExpert remark: Compare the similar decoration, though showing dragons instead of worshippers, and related size (26 cm). Note that the vajra is six-pronged and slightly less elaborate than the present lot.十七至十八世紀大型銅金鋼杵西藏。兩端首作五股式，摩羯首銜之，中央鑄鐵，托以蓮瓣，手執處光素。 來源：德國南部知名私人收藏，據説1968-1989年間購於Schoettle Ostasiatika ，保存至今。 品相：品相良好，有磨損和一些鑄造缺陷。鑄鐵部分有結殼。局部有微小刻痕和輕微劃痕。自然生長的天然深色包漿。 重量：987.1 克 尺寸：長24.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比, 2020年6月30日, lot 6034 價格：HKD 37,500（相當於今日EUR 4,500） 描述：十七世紀藏傳銅金剛杵 專家評論：比較相似的裝飾，但裝飾龍而非禮拜者，以及相近的尺寸 (26 厘米)。請注意此金剛杵為六股式和較少裝飾。
Lot 20
A BRONZE 'TWIN BOYS' WEIGHT, MING DYNASTY 明代四喜童子銅鎮China, 1386-1644. The bronze cast in the form of two reclining boys arranged head to toe, each with legs in a near-crossed position, both heads supported by one arm, one boy holding a cup, the other a bell. Their waist incised with a floral diapered band.Provenance: From a German private collection. Condition: Good condition with old wear, traces of use and casting irregularities, few nicks and light surface scratches.Weight: 121.4 g Dimensions: Size 4.6 x 4.9 cmAuction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 4 June 2020, lot 449Price: HKD 52,500 or approx. EUR 6,800 converted and adjusted for inflation at the time of writingDescription: A bronze 'twin boys' group, 17th centuryExpert remark: Compare the closely related form and incised waist band. Note the size (7.7 cm).明代四喜童子銅鎮 中國，1386-1644年。二童面龐豐腴，眉弓弧彎，杏目微啟，眉鼻相連，一童手持杯子，另一童子持鈴鐺。經過巧妙組合，無論是上是下，是左是右，無論從哪個角度觀賞，孩童或立或臥，或背或對，相互構成四個完整的戲耍孩童，意趣盎然，惹人疼愛。 來源：德國私人收藏。 品相：狀況良好，有磨損、使用痕跡和鑄件不規則，輕微劃痕。 重量：121.4 克 尺寸：4.6 x 4.9 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2020年6月4日，lot 449 價格：HKD 52,500（相當於今日EUR 6,800） 描述：十七世紀銅雙喜童子 專家評論：比較非常相近外型和腰部雕刻。請注意尺寸(7.7 厘米)。
Lot 30
A GILT COPPER ALLOY FIGURE OF PADMAPANI, LICCHAVI REVIVAL 利察維王朝鎏金合金銅蓮華手菩薩Nepal, 17th century. Gracefully cast seated in lalitasana on a double lotus base, the right foot supported by a beaded lotus dais. Clad in a close-fitting dhoti and sash neatly incised with flowers and foliage, the latter a hallmark of the Licchavi revival in Nepal, the left hand holding a lotus stem coming to full bloom at the shoulder. The serene face with heavy-lidded eyes and full lips, the hair pulled up into a high chignon with locks escaping over the shoulders, secured by a beaded and floral headdress, backed by a foliate-incised mandorla.Provenance: A & J Speelman Oriental Art, London, United Kingdom. A Hungarian collector, acquired from the above. Condition: Very good condition with extensive wear to gilt, some casting flaws, few small losses, nicks and dents, remnants of pigment. The base unsealed.Weight: 770.0 g Dimensions: Height 14.4 cm The present sculpture depicts Padmapani, identifiable by the lotus stalk held at the left shoulder. Cast in lustrous copper alloy, the figure is defined by flowing lines and soft features, and clearly inspired by the sensitivity of modeling and graceful beauty of Licchavi and Transitional period sculpture. Originating in Northern Bihar, the Licchavi aesthetic was deeply rooted in North Indian artistic traditions. Characterized by soft rounded modeling and languid forms, the Sarnath style of sculpture from the Gupta period had an immense influence on Nepalese art. Faint traces of blue pigment in the hair suggest that this bronze may have been absorbed into a Tibetan collection at some point in its history.Literature comparison:Compare a related gilt copper alloy figure of Ratnapani, Licchavi period, dated 10th century, in the collection of the Norton Simon Museum, accession number F.1972.45.13.S. Note the noticeable lack of incised flowers and foliage as well as the similarities in the alloy, the gilt, the design of the base, the posture of the figure and the jewelry.Auction result comparison:Type: RelatedAuction: Christie's New York, 21 March 2012, lot 835Price: USD 86,500 or approx. EUR 110,500 converted and adjusted for inflation at the time of writingDescription: A Gilt Bronze Figure of Padmapani, Nepal, Licchavi Revival Style, 17th CenturyExpert remark: Compare the subject, the design of the base, and the neatly incised flowers and foliage. Note the larger size of 24.8 cm.利察維王朝鎏金合金銅蓮華手菩薩尼泊爾，十七世紀。菩薩以休閑姿坐於蓮花座上，右腳下垂踩在小蓮花台上。初月眉，雙眼微垂，擴鼻小嘴，臉部輪廓飽滿，雙耳以大環型耳環為裝飾，兩側黑髮垂肩，胸前飾以多寶項鍊。腰帶上裝飾著花朵和樹葉，後者是尼泊爾利察維王朝復興時期的標誌，左手自然下垂，按在蓮座上，握著曲延而上的蓮花莖，右手施予願印。後有光背。 來源：英國倫敦A & J Speelman Oriental Art收藏，匈牙利藏家購於上述收藏。 品相：狀況極好，鎏金大面積磨損，有鑄造缺陷，小缺損，有刻痕和凹痕、顏料殘留。底座開封。 重量：770.0 克 尺寸：高14.4 厘米 此造像描繪了蓮花生大士，特徵是其左肩上的蓮花莖。銅合金鑄造，線條流暢，五官柔和，明顯受到利察維王朝和過渡時期造像風格的啟發。利察維美學起源於北比哈爾邦，深深植根於北印度的藝術傳統。以其柔和的圓形造型和慵懶的形式為特徵，笈多時期的鹿野苑雕塑風格對尼泊爾藝術產生了巨大的影響。頭髮中微弱的藍色痕跡表明，此銅造像可能在某時期在西藏收藏中。 文獻比較： 比較一件相近十世紀利察維王朝鎏金合金Ratnapani銅像，收藏於 Norton Simon 博物館，編號F.1972.45.13.S。請注意此像明顯沒有雕花和葉子，但相似的合金、鎏金、底座的設計、姿勢和鑲嵌珠寶。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2012年3月21日，lot 835 價格：USD 86,500（相當於今日EUR 110,500） 描述：十七世紀利察維王朝風格鎏金銅蓮華手菩薩 專家評論：比較主題、底座設計，以及雕花和葉子。請注意尺寸較大 (24.8厘米)。
Lot 33
A MASSIVE GILT BRONZE RELIEF OF A BUDDHIST LION, 17TH-18TH CENTURY 十七至十八世紀銅鎏金獅子浮雕片Tibet. The copper alloy is heavily cast in relief as a Buddhist lion, its head turned towards the curled tail, the neck with a collar suspending a bell, the mouth open to reveal sharp teeth and fangs. The head, tail, and legs finely incised with fur.Provenance: From a noted European private collection, assembled prior to 2007. Condition: Good condition with extensive old wear and some casting irregularities, the reverse with distinct malachite encrustation. Weight: 1,311 g Dimensions: Length 17 cmWith an associated metal stand (2). Auction result comparison: Type: RelatedAuction: Christie's New York, 19 September 2002, lot 166Price: USD 8,365 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A large gilt bronze figure of a lion, Tibet, 16th-17th centuryExpert remark: Compare the related casting and incision work. Note that the bronze is of a larger size than the present lot. Auction result comparison:Type: RelatedAuction: Christie's New York, 20 March 2002, lot 62Price: USD 15,275 or approx. EUR 23,000 converted and adjusted for inflation at the time of writingDescription: A Gilt Bronze Lion, Tibet, circa 17th centuryExpert remark: Compare the fierce expression, bushy tail and fur, as well as the related size (20.2 cm).十七至十八世紀銅鎏金獅子浮雕片西藏。鎏金銅浮雕佛獅，轉頭怒視其左側，張口露出獠牙，口型巨大，獵毛反捲向側後上方聳立。獅兩後腿左右分立，四趾緊抓地面，蓄勢待發。雕刻線條清晰流暢，動態十足。 來源：法國私人收藏，收藏於2007年前。 品相：狀況良好，有大量磨損和一些不規則鑄造，反面有明顯的結殼。 重量：1,311 克 尺寸：長17 厘米 有配套金屬架(2)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得, 2002年9月19日, lot 166 價格：USD 8,365（相當於今日EUR 12,500） 描述：十六至十七世紀西藏大型銅鎏金獅像 專家評論：比較相近的鑄造和雕刻形制。請注意此銅像遠大於我們的拍品。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得, 2002年3月20日, lot 62 價格：USD 15,275（相當於今日EUR 23,000） 描述：大約十七世紀西藏銅鎏金獅像 專家評論：比較相似的兇猛神情、旺盛的毛髮和尾巴。尺寸大小相近(20.2 厘米)。
Lot 12
AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH - MID-13TH CENTURY 大理國罕見觀音銅像Expert's note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th - mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance.大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 268
A SANDSTONE FIGURE OF STANDING BUDDHAThailand, Lopburi period, 13th century. Standing on a rectangular base, the right hand raised before the chest, the left arm held tightly along the body, the palms of both hands turned outward and bearing a chakra, wearing a samghati over a long dhoti secured with a jeweled belt. His face with a serene expression, the hair with tight curls and surmounted by an ushnisha. Provenance: Jacob Wiegersma, Utrecht, Netherlands. An important Dutch private collection, acquired from the above. Old collector's labels, inscribed 'Collection Wiegersma Utrecht', and 'Siam, Buddha, 12th century, Lopburi/Khmer. Granite, very rare' in Dutch, and an inventory number 'J76' to the base. Jacob Josephus "Jaap" Wiegersma (1898-1967) was a noted Dutch art dealer. Condition: Condition overall commensurate with age. Perfectly repaired single breaks to the neck and the lower part of the body. Old wear, signs of weathering and erosion. Minor losses, nicks, scratches, encrustations, and cracks.Weight: 1,539 g (incl. stand) Dimensions: Height 33.6 cm (incl. stand)This sandstone Buddha is a typical example from the Lopburi period in Thailand, which is strongly influenced by Khmer art of the thirteenth century. Statues from this period are characterized by the palms of their hands always turned outward, and neatly incised with a chakra.Literature comparison:Compare a closely related statue of a standing Buddha, in the collection of the National Museum, Bangkok, Thailand, museum number 041, described as standing Buddha 1, 13c, Lopburi. Compare a related Lopburi sandstone figure of a Buddha, dated to the 14th century, Thailand, at Christie's London, 11 May 2016, lot 93. Two further examples are published by J. Fontein in, The Art of Southeast Asia: The Collection of the Museum Rietberg Zurich, Zurich, 2007, pl. 27 and 28.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2007, lot 287Price: USD 21,600 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A Bronze figure of Buddha, Thailand, Lopburi, 13th centuryExpert remark: Compare the closely related pose, clothing, facial features and size (29.2 cm). Note the different material.
Lot 100
A PORCELAIN WATER POT, WITH MATCHING BRONZE SPOON AND WOOD STAND, QING DYNASTY 清代青花釉裏紅纏枝蓮紋蝙蝠水丞China, 18th-19th century. Of compressed globular form with a short straight neck, painted in underglaze blue and copper red, the neck encircled by a ruyi shaped border, the shoulders with a ring of ten stylized bats above a diapered floral band, surrounded by a dense pattern of red dots, the lower half with four stylized lotus flowerheads amid scrolling vines. The recessed base with a single-line circle in underglaze blue against a creamy-white crackled ground.With a finely carved wood stand and an elegantly curved bronze spoon showing an open worked and cloud-shaped terminal, all most likely dating from the same period and therefore a rare set. (3)Provenance: From the collection of David and Diane Buck, Milwaukee, Wisconsin, USA. The base with an old collector's label inscribed 'Buck'. Prof. Emeritus David Douglas Buck (born 1936) is an American scholar of Chinese history who worked as a professor at the University of Wisconsin-Milwaukee from 1972 until his retirement. He received his PhD from Stanford University and has written several books on Chinese history, including “Urban Change in China: Politics and Development in Tsianan Shantung 1890-1949”. Condition: Very good condition with minor wear and manufacturing flaws, including pitting and dark spots, the base with minuscule nicks and light surface scratches. The wood stand with some wear, few nicks, and a minor old repair to one foot. The bronze spoon in superb condition with a fine patina overall.Weight: 121.3 g (excl. base and spoon), 174.7 g (total) Dimensions: Diameter 9.2 cm Literature comparison: Compare a remotely related Yongzheng-marked ruby-red glass waterpot with a related curved metal spoon terminating in a dragon head at Sotheby's Hong Kong, 2 May 2005, lot 549.Auction result comparison:Type: Remotely relatedAuction: Christie's Hong Kong, 28 November 2012, lot 2403Price: HKD 400,000 or approx. EUR 64,500 converted and adjusted for inflation at the time of writingDescription: A carved white jade water pot and metal spoon, Qing dynasty, 18th centuryExpert remark: Compare the related form and bat motif of the water pot, and related curved metal spoon. Note the different size (5.2 cm) and that the water pot is carved from white jade.清代青花釉裏紅纏枝蓮紋蝙蝠水丞中國，十八至十九世紀。短直頸，鼓腹，圈足。青花釉裏紅，頸圍青花如意紋帶，肩部一圈釉裏紅點為地，由十隻蝙蝠組成的紋飾；腹部以上為一圈菱形花紋飾帶，腹部以下纏枝蓮紋。圈足内藍花單圈。相配的銅勺和木底座。 來源：美國威斯康星州密爾沃基David 與Diane Buck收藏。底部有收藏標籤，上寫“Buck”字樣。Emeritus David Douglas Buck (出生於1936) 教授是一位美國中國歷史學者，1972 年至退休，一直在威斯康星大學密爾沃基分校擔任教授。他在斯坦福大學獲得博士學位，並撰寫了多本關於中國歷史的書籍，包括《Urban Change in China: Politics and Development in Tsianan Shantung 1890-1949”》（中國的城市變遷：1890-1949 年山東天安的政治與發展）。 品相：狀況極好，有輕微磨損和製造缺陷，包含點時和黑點，底座有微小的刻痕和輕微的表面劃痕。木架有一些磨損和刻痕，一隻腳有輕微的修理。銅勺狀況極佳，整體帶有細膩包漿。 重量：121.3 克 (不含底座和小勺)，總174.7 克 尺寸：直徑9.2 厘米 文獻比較： 比較一件稍微相近雍正款寶石紅水丞，有相近的龍首金屬小勺，見香港蘇富比，2005年5月2日，lot 549。 拍賣結果比較： 形制：稍微相近 拍賣：香港佳士得，2012年11月28，lot 2403 價格：HKD 400,000（相當於今日EUR 64,500） 描述：清十八世紀白玉雕蝠紋桃形水丞及金屬龍首勺 專家評論：比較相近的外型、蝙蝠主題和相配的金屬小勺。請注意尺寸不同 (5.2 厘米) ，以及此水丞為白玉雕。
Lot 75
A CARVED CELADON-GLAZED 'LOTUS' VASE, QIANLONG MARK AND PERIOD 乾隆款及年代青釉暗刻纏枝蓮紋瓶China, 1736-1795. Finely carved in high relief around the body with stylized lotus flowerheads borne on scrolling leafy vines, overall incised with minute details, above a lappet border and below a band of ruyi heads. The shoulder similarly decorated with foliate scroll below a distinct leiwen border, the neck with overlapping palm blades above pendent trefoils, with further ruyi bands at the foot and below the rim. The base incised with a six-character seal mark da Qing Qianlong nianzhi in intaglio within a slightly recessed square and of the period.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Excellent condition with minor old wear and firing flaws, tiny surface scratches. Weight: 3,097 g Dimensions: Height 38.3 cmThe rounded sides supported on a spreading foot and sweeping up to an angular shoulder and waisted neck. Covered overall in a lustrous sea-green glaze pooling to a rich and deep celadon tone within the carved recesses. The base and inside glazed as well, leaving only the foot rim unglazed, revealing the white biscuit.From its fine potting, translucent pale green celadon glaze, crisp lotus scroll and supporting designs, this vase reveals the technical and artistic virtuosity of craftsmen active at the Imperial kilns in Jingdezhen during the 18th century. The form evokes a sense of effortless elegance, despite its design being meticulously executed and conceived in advance. The decoration and glaze both draw from the celebrated ceramic tradition of Longquan in Zhejiang province and reinterpret it to suit the eclectic taste of the 18th century and growing interest in timeless elegance, literally overarching millennia. Celadon-glazed wares are perhaps the type of ceramics most intimately associated with China. Their origins can be traced back to the Bronze Age, and since then they continued to be popular throughout the Chinese empire. The brilliant bluish-celadon glazes created at the Longquan kilns had provided much inspiration to the potters of the Jingdezhen imperial kilns since the early Ming dynasty. By lessening the amount of iron in the glaze, the potters were able to create a cool and delicate celadon glaze that, when applied on a white porcelain body, resembled the translucency and texture of pale celadon jade. A wide range of exquisite celadon tones was created in the early Qing dynasty, as a result of the Yongzheng and Qianlong Emperors' appreciation of Song dynasty porcelain. Much admired by contemporary connoisseurs was the douqing (bean-green), a bright sea-green color, and the present fenqing (soft green), a pale celadon-green glaze. When applied to finely carved pieces as on the present vase, the thinning and pooling of the glaze on the raised lines and the recesses create a delicate shaded effect, thus accentuating the crispness of the design. The present vase belongs to a group of monochrome wares where, by using a multi-level carving technique, the craftsmen have created a contrast in the color tone, as if two shades of the same color were used. The motif is elaborate and complex, displaying a level of porcelain carving and incision quality only achieved in the Imperial kilns of the 18th century, yet without any cluttering or overload whatsoever. The elegant silhouette of this vase, its restrained decoration, subtle glaze, and intaglio mark suggest that it was made in the early to middle years of the Qianlong reign, some time before designs slowly started to become overtly elaborate. Expert's note: The luxuriant lotus scroll on the present vase, which is particularly crisp in its rendering, was adapted from the somewhat rough and rustic designs on Longquan celadons of the Yuan and Ming dynasties. By adding tall palm blades to the neck, precise ruyi borders to the edges, multi-layer lappets to the lower body, and a hyper-accurate leiwen band to the shoulder, the artist has sensibly transitioned original Longquan designs into the highly formal decor language of the Imperial court. Later copies of these designs always lack such sophisticated semantics, for they not only demand complete submission to simplicity, but also scrupulously precise execution. Literature comparison: Compare a related Imperial celadon-glazed globular jar, also with a six-character incised seal mark of Qianlong in intaglio within a slightly recessed square and of the period, illustrated by Marchant, Recent Acquisitions 2012, Important Chinese Porcelain from Private Collections, London, page 94, no. 41. Compare a related celadon-glazed vase in the Qing Court collection, also with a Qianlong mark and of the period, with similarly carved ruyi heads, illustrated in Monochrome Porcelain: The Complete Collection of the Treasures of the Palace Museum, 1999, pages 152-153, no. 138. Compare a related celadon-glazed vase with carved lotus scrolls, with a similar incised Qianlong seal mark and of the period, illustrated in Shanghai Museum, Beijing Museum, Art Museum, The Chinese University of Hong Kong, Qing Imperial Monochromes. The Zande Lou Collection, Shanghai, Beijing, Hong Kong, 2005, p. 120, no. 43. Compare a closely related celadon-glazed bottle vase, 37.5 cm high, also with a Qianlong mark and of the period, with similarly carved palm blades, at Sotheby's Hong Kong, 8 April 2011, lot 3018. Compare a related celadon-glazed fanghu, 34.9 cm high, also with a Qianlong mark and of the period, with similarly carved lotus scroll, at Sotheby's New York, 16 September 2014, lot 158. Finally, compare also a closely related pear-shaped vase, Jiaqing mark and period, at Christie's Hong Kong, 29 and 30 April 2001, lot 554. Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3018Price: HKD 20,000.000 or approx. EUR 2,935.000 converted and adjusted for inflation at the time of writingDescription: A Fine and Extremely Rare Carved Celadon-Glazed Bottle Vase, Seal Mark and Period of QianlongExpert remark: Compare the closely related celadon glaze, form, and characteristic carving techniques including high reliefs and remarkably fine incision work with corresponding glaze poolings.Auction result comparison: Type: Related Auction: Sotheby's London, 6 November 2019, lot 17 Price: GBP 375,000 or approx. EUR 492,500 converted and adjusted for inflation at the time of writingDescription: A superb and rare carved celadon-glazed 'peony' vase, Qianlong incised seal mark and periodExpert remark: Compare the related celadon glaze, carved decoration, and incised seal mark, and particularly the near-identical lappet border above the foot, perfectly encapsulating the skill required to make this vase. Note the slightly smaller size (32.4 cm).乾隆款及年代青釉暗刻纏枝蓮紋瓶中國，1736-1795年。圈足内六字篆書款“大清乾隆年製”。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 154
A RARE ARCHAISTIC 'SHANG BRONZE IMITATION' JADE VESSEL, ZHI, LATE SONG TO EARLY MING DYNASTY 宋末至明初罕見仿商青銅酒杯玉觶China, 13th-15th century. Of flattened form, the pear-shaped body rising from a spreading foot carved with a raised bow-string band, the waisted neck with archaistic dragons and whorl motifs. The semi-translucent stone of a pale celadon tone with russet veins, cloudy inclusions, and few dark specks, mostly reserved to one side of the vessel which has been further heightened with cinnabar lacquer (extremely rare) to imitate the natural patina of the bronze prototype, cleverly presenting the archaistic jade to one side and its ancient inspiration to the other. Exhibited: On loan to the High Museum of Art, Atlanta, September 1973 to September 1980. Provenance: From the collection of William S. Arnett, Atlanta, Georgia, USA, acquired prior to 1971, and thence by descent within the same family. William Sydney Arnett (1939-2020) was an Atlanta-based writer, editor, curator, and art collector who built an internationally important collection of African, Asian, and African-American art. In 1978, he co-authored the Three Rivers of Nigeria exhibition catalog for Atlanta's High Museum of Art. As Arnett's collection of African-American art grew, he became convinced that the so-called folk or outsider artists of the black American South were in fact a coherent cultural movement and constituted a crucial chapter in world art. He spent decades gathering extensive documentation and amassing a near-definitive collection of work crucial to the understanding of this cultural phenomenon.Condition: Excellent condition with minor old wear from centuries of handling. Some minuscule nibbling is probably part of the simulated overall wear inherent to the original carving. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 127.1 gDimensions: Height 8.3 cmWith a velvet-padded silk storage box. (2)The present vessel was inspired by an archaic ritual bronze prototype, zhi, which contained wine offerings presented to the ancestors during the performance of religious rituals.The interest of Chinese scholars in ancient artifacts can be traced back to antiquity, but the study of these artifacts, known as antiquarianism or jinshixue 金石學, literally meaning 'the study of metals and stones,' first developed during the Northern Song dynasty. The practice of collecting precious objects was spreading through China as well, and many lost pieces from the Shang dynasty and later were found at building sites. Song scholars established a formal system of dating these artifacts by examining their inscriptions, decorative motif styles, and physical shapes, introducing terms such as taotie which are still in use today. Two works of this period, the Kaogu tu by Lü Dalin and the Bogu tu by Wang Fu, were especially influential on later artists. Along with many other illustrated catalogs they were reprinted during the Ming and Qing dynasties, inspiring the production of archaic style bronzes and jades.Literature comparison: Compare a closely related jade zhi in the collection of the Minneapolis Institute of Art, dated to the Song dynasty, decorated with a similar band and bowstring, accession number 16.10.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 1 December 2016, lot 568Price: HKD 437,500 or approx. EUR 59,000 converted and adjusted for inflation at the time of writingDescription: A small light brown jade miniature archaistic vase, hu, Song dynasty Expert remark: Compare the closely related form and decoration as well as related size (7.2 cm). Note the different color of the jade and that the vessel form was incorrectly identified as a hu.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 11 May 2021, lot 137Price: GBP 25,250 or approx. EUR 30,000 converted and adjusted for inflation at the time of writingDescription: An archaistic white jade vessel, zhi, Ming dynasty Expert remark: Compare the related form and size (9 cm) as well as the similar inclusions to the jade. Note the slightly different decoration.宋末至明初罕見仿商青銅酒杯玉觶中國，十三至十五世紀。小瓶狀，圓腹，侈口，圈足。頸部飾有螭龍和雲紋。半透明的淡青色玉，帶有赤褐色的脈紋和絮狀物以及少量黑色斑點，大部分聚集在玉觶一側，並用硃砂（極為罕見）進一步加強，模仿青銅的自然光澤。 展覽: High Museum of Art，亞特蘭大，1973年9月至1980年9月。 由於字數限制，完整中文敘述請至www.zacke.at查看。。
Lot 3
AN ARCHAIC BRONZE RITUAL WINE VESSEL, ZHI, LATE SHANG TO EARLY WESTERN ZHOU DYNASTY 商末至西周青銅觶China, ca. 1050 BC. Of elongated pear shape with a waisted neck and flared rim, cast below the neck with a single border of leiwen in deep relief, the splayed hollow foot encircled by two bow-string bands. The bronze skin with a magnificent, naturally grown patina showing a multitude of deep-green malachite and cuprite encrustations. Provenance: Christie's South Kensington, London, 28 July 1994. Catherine Farrell, London, acquired from the above. A copy of the provenance statement, written and signed by Catherine Farrell, dated 8 July 2022, attesting to her purchase of the present lot at Christie's South Kensington on 28 July 1994 as well as it being authenticated by Dr. Jessica Rawson in 1990, whose appraisal mentioned in the letter confirms the dating above, accompanies this lot. Dame Jessica Mary Rawson (b. 1943) is an English art historian, curator, and sinologist. She is also an academic administrator, specializing in Chinese art. Between 1976 and 1994, she served as Deputy Keeper and then Keeper of the Department of Oriental Antiquities at the British Museum in London and from 2006 to 2011 as pro-vice-chancellor of Oxford University. She has been involved in a number of high-profile exhibitions such as the Mysteries of Ancient China.Condition: Superb condition, commensurate with age, and absolutely original with no repairs or touchups whatsoever. Old wear, signs of weathering and erosion, minor nicks here and there. Solid, naturally grown patina with extensive malachite and cuprite encrustation.X-Ray: Images 18-22 confirm the excellent original condition of this lot.Weight: 317.8 g Dimensions: Height 13.4 cmZhi goblets such as the present example served as drinking vessels. They were employed in important ritual performances aimed at paying homage to the ancestors. According to Chinese beliefs, the ancestors were deemed active participants in the life of their offspring, which they could positively influence if provided with the correct necessities for their own afterlife, see Jessica Rawson, 'The Power of Images: The Model Universe of the First Emperor and its Legacy', in Historical Research, no.75, 2002, pp. 123-154.Expert's note: The Qianlong emperor's great love of jade combined with his passion for antiques resulted in his commissioning significant numbers of archaistic jade items for his court. The form of the present zhi vessel has served as the inspiration for a number of jade zhi now in private and public collections, including no. 40 in this catalog (please see the lot entry for further examples). This clearly shows that bronze zhi such as the present lot were already highly valued 300 years ago.Literature comparison: Compare a closely related zhi, of similar form and also with a leiwen band below the neck and two bow-string bands around the foot, dated to the early Western Zhou period, mid-11th to early 10th century BC, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1981.106. Compare a related zhi, also decorated with leiwen and bow-string bands, dated Shang dynasty to Western Zhou period, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1956.87.Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2014, lot 10 Price: USD 30,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: The Fu Xin Zhi, a bronze ritual wine vessel, late Shang dynasty, 13th-11th century BC Expert remark: Compare the related form and manner of casting with similar leiwen and bow-string bands, additionally with taotie mask and flanges. Note the larger size (15.2 cm) and that the zhi has a three-character inscription.Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2018, lot 1103 Price: USD 37,500 or approx. EUR 40,000 converted and adjusted for inflation at the time of writing Description: A rare small bronze ritual wine vessel, zhi, late Shang-early Western Zhou dynasty, 11th century BC Expert remark: Compare the similar form and manner of casting with leiwen and bow-string bands, additionally with taotie mask and flanges. Note the smaller size (11.4 cm) and that the zhi has a two-character inscription.商末至西周青銅觶中國，約公元前1050 年。器身細高，敞口，直唇，體呈橢圓形，下腹外鼓，喇叭形高圈足，頸部雷紋帶，圈足上兩道弦紋。該器壁勻薄，造型挺拔優美。青銅表皮自然生長的包漿，呈現出大面積深綠色的銅鏽。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 5
A BRONZE 'XINIU' MIRROR STAND AND 'LION AND GRAPEVINE' MIRROR, MING AND TANG DYNASTY 明代犀牛望月銅鏡架，唐代海獸葡萄銅鏡China, 1368-1644 (the mirror stand) and 618-907 (the mirror). The stand well cast, the recumbent beast with a long curved horn flanked by a pair of funnel-shaped ears, its head turned back, the spine supporting a mirror stand in the form of a crescent-shaped moon above a cloud cluster. The mirror of circular form and finely cast in the center with a crouching beast-form loop encircled by lions amid grapevines, and in the outer field with various birds and animals amid further grapevine below a foliate border. (2)Provenance: From the collection of Carl Johan Claëson (1879‑1963) and Greta Claëson (1887‑1978), and thence by descent in the family to the last owner. A copy of a picture taken c. 1950 in the appartment of the Claëson family, showing the present Xiniu bronze already together with the present Tang dynasty mirror, is accompanying this lot.Condition: Very good condition with minor wear and casting flaws, few minuscule nicks, tiny dents, occasional light scratches and losses.Weight: 1,091 g (the mirror stand) and 450.3 g (the mirror)Dimensions: Length 20.5 cm (the mirror stand), Diameter 13.6 cm (the mirror)The design of a Xiniu gazing at the moon appears for the first time in the Song dynasty and remains popular through the 13th and 14th centuries, appearing on Dingyao and Yaozhou bowls and dishes as well as textiles and elsewhere in Chinese decorative arts. A fine example is the Xiniu porcelain vase, Kangxi mark and period, in the present catalog, number 75.The Xiniu theme is discussed at length by Wirgin, in Sung Ceramic Designs, B.M.F.E.A., No. 42, Stockholm, 1970, pp. 196-198. According to Wirgin, the term hsi-niu (xiniu) meant rhinoceros in ancient Chinese texts, but the rhinoceros became extinct in the post-archaic period, and by the Song dynasty the xiniu had become a beast of legend, known only through literary references. The design of a xiniu gazing at the moon in Chinese ceramics and porcelains illustrates the popular myth that the beast magically “communicates with the sky” through its horn. The magical powers attributed to this horn continued to gain in popularity during later periods. Supernatural, medicinal and other valuable properties were attributed to it by Daoist adepts and medicine men, including the reputation for its powerful effect as an aphrodisiac. This eventually led to the production of rhinoceros horn bowls and cups in the 17th century, a category of decorative art unique to China.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 6 April 2016, lot 3670 Price: HKD 162,500 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: A bronze 'xiniu' mirror stand, Ming dynastyAuction result comparison: Type: Closely related Auction: Christie's New York, 20 September 2013, lot 1481 Price: USD 12,500 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A bronze 'lion and grapevine' circular mirror, Tang dynasty Expert remark: Note the identical size (13.6 cm)明代犀牛望月銅鏡架，唐代海獸葡萄銅鏡中國，鏡架1368-1644 年，銅鏡618-907年。鑄造精美，犀牛為俯臥狀，前蹄支地，似欲撐起上半身，後蹄自然壓於身下，回首望向背部由如意雲紋托起的月牙。牛首有角，雙眼有神。圓形銅鏡，伏獸鈕，弦紋高圈將鏡背紋飾分為內外兩區，內區高浮雕六隻海獸環繞鏡鈕、在葡萄葉蔓之間攀援嬉戲的瑞獸。瑞獸間飾以舒卷纏繞的葡萄枝蔓。外區飾一周同向環繞的瑞獸和鸞鳥。鏡緣處飾一周花卉紋。 來源：Carl Johan Claëson (1879‑1963) 與 Greta Claëson (1887‑1978) 收藏，在同一家族保存到最後一任主人。隨附一張拍攝於約1950年在克萊森家的公寓照片的複本，展示了現在的犀牛鏡架和鏡子。 品相：狀況極好，有輕微磨損和鑄造缺陷，微小的刻痕和凹痕、局部輕微的劃痕和缺損。 重量：鏡架1,091 克，銅鏡450.3 克 尺寸：鏡架長 20.5 厘米，銅鏡直徑 13.6 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 119
AN EXCEEDINGLY RARE MINIATURE CLOISONNE HAT STAND, JIAQING 嘉慶掐絲琺瑯花卉紋帽座Opinion: This splendid little 'hat stand', the perfect receptacle for the finest and smallest brushes, belongs to a rare group of miniature cloisonne scholar's objects, examples of which only seldomly come up for auction. However, the present lot even stands out from this illustrious group, with its unusually fine enameling, naturalistic subject matter, and the extremely rare hat stand form, including the hallmark apertures.China, 1796-1820. Of cylindrical form, the turquoise ground finely decorated in bright enamels and gilt wire with butterflies and crickets amid leafy sprays of blossoming peony, chrysanthemum, plum, and hibiscus, all framed by a ruyi-head band below the rim and a leafy lappet border above the foot, the body further pierced with quatrefoil apertures. The interior of turquoise enamel. The rim, foot, and base of gilt bronze.Provenance: From a noted English private collection, acquired in the 1970s, and thence by descent to the last owner. Condition: Excellent condition with minor old wear and manufacturing irregularities.Weight: 50.8 gDimensions: Height 5.8 cmHat stands made from porcelain first appeared at the beginning of the Jiaqing reign (1796-1820) and were originally conceived as unusually tall, cylindrical vessels only. But commencing later in the Jiaqing period, and through to Daoguang and Tongzhi, these tall vessels were equipped with a number of distinct apertures cut into the body, promoting a flow of air and thus assisting in the removal of odors from the hat, which was placed on top of the vessel. From Guangxu (1875-1908) onwards the apertures slowly disappeared again.The decoration of butterflies and various flowers offers opportunities for symbolic and auspicious meaning. For example, the combination of a butterfly and plum blossom signifies a quest for blissful love. In Daoism, butterflies represented the freedom of the soul.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 1 June 2011, lot 3874Price: HKD 150,000 or approx. EUR 24,500 converted and adjusted for inflation at the time of writing Description: A rare miniature cloisonne enamel brushrest, Qianlong periodExpert remark: Note the small size (3.5 cm)Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 May 2007, lot 1423Price: HKD 144,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A rare pair of miniature cloisonne enamel scroll weights, Qing dynasty, 18th centuryExpert remark: Note the small size (5.7 cm)嘉慶掐絲琺瑯花卉紋帽座中國，1796-1820年。圓柱體。帽傘上近口沿處裝飾如意雲頭紋一周，腹部主題紋飾為蝴蝶紋理、勾連紋、卷草紋、如意雲頭等紋樣。松石綠地，鎏金靚麗，光彩照人。 專家注釋：這件精美絕倫的小“帽架”，屬於稀有的迷你景泰藍文人藏品，很少見。其琺瑯異常精美，傳統題材，極為罕見的帽架形式，包括用來熏香用的小孔。 來源：英國知名私人收藏，上世紀七十年代前購買，保存至今直到家族最後一位主人。 品相：狀況極好，有輕微的磨損和製造瑕疵。 重量：50.8克 尺寸：高5.8厘米 帽座最初為瓷器，最早出現於嘉慶年間（1796-1820年），初期為異常高大的圓柱形器。從嘉慶後期開始，直到道光和同治，開始在帽架上鏤空，内置熏香，從而有助於去除帽子上的氣味。從光緒（1875-1908）開始，這些孔又慢慢消失了。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2011年6月1日，lot 3874 價格：HKD 150,000（相當於今日EUR 24,500） 描述：乾隆時期小型掐絲琺瑯筆擱 專家評論：請注意尺寸非常小 (3.5厘米) 。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2007年5月29日，lot 1423 價格：HKD 144,000（相當於今日EUR 25,500） 描述：清代十八世紀一對小型掐絲琺瑯紙鎮 專家評論：請注意尺寸非常小 (5.7厘米)。
Lot 127
Ɏ A RHINOCEROS HORN ARCHAISTIC LIBATION CUP, JUE, EARLY QING DYNASTY 清初螭龍紋犀角杯China, 17th to early 18th century. Finely carved, one side of the vessel with a flattened spout, the other slightly raised and tapering into a wide curve. The lip surrounded by a wave border incised in shallow relief. The body carved with two sinuous chilong holding branches of lingzhi in their mouths. The rhinoceros horn of a deep honey color, darkening towards the legs, and with a silky, naturally grown patina.Provenance: From the collection of Malcolm Moncrieff Stuart, OBE, CIE, and thence by descent. Stuart was a State Magistrate in the Civil Service in India from 1928 and 1949. After retiring he returned to Edinburgh, Scotland. Condition: Some losses to lip and body, minor age cracks. Absolutely untouched original condition.Weight: 133.5 gDimensions: Height 12.3 cmThe present libation cup, superbly carved in the form of the well-known bronze ritual vessel jue, exhibits an exceptional level of skill exercised by the carver, who used the highly complex technique of bending different sections of the split horn outwards to form the three splayed blade legs.Literature comparison: See T. Fok, Connoisseurship of Rhinoceros Horn Carving in China, page 93, lot 46, for a similar libation cup from the collection of Chun-hung Li. Compare a rhinoceros horn jue decorated with a taotie design illustrated in The Complete Collection of Treasures of the Palace Museum, Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Shanghai, 2001, pl. 205, together with a four-legged ding form cup, pl. 206, and a tripod ding vessel, pl. 207.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 April 2011, lot 2710 Price: HKD 2,420,000 or approx. EUR 413,500 converted and adjusted for inflation at the time of writing Description: A rhinoceros horn 'jue' libation cup, 17th centuryExpert remark: Compare the related color of the horn, splayed legs, and chilong decoration. Note the size (11 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 197Price: USD 182,500 or approx. EUR 230,500 converted and adjusted for inflation at the time of writingDescription: A rare rhinoceros horn archaistic libation cup (jue), Qing dynasty, 17th century Expert remark: Compare the related color of the horn and splayed legs. Note the size (10.2 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.清初螭龍紋犀角杯中國，十七至十八世紀初。爵形杯，雕刻精美，杯子一側的杯流扁平，另一側略微凸起並逐漸變細。杯口外壁淺浮雕波浪紋，外壁浮雕兩條螭龍，嘴裡叼著靈芝。犀角杯呈深蜜色，向腿部往下逐漸變深，並帶有絲般的光澤。 來源：Malcolm Moncrieff Stuart 收藏，OBE，CIE，保存至今。Stuart曾從 1928 年到 1949 年，擔任印度州治安法官。退休後，他回到了蘇格蘭的愛丁堡。 品相：杯口和杯體有局部磕損，輕微的年代裂縫。原始狀況。 重量：133.5 克 尺寸：高 12.3 厘米 文獻比較： 一件相似的犀角杯，Chun-hung Li收藏，見 T. Fok，《Connoisseurship of Rhinoceros Horn Carving in China》，頁93，lot 46。比較一件饕餮紋犀角爵，見《故宮博物院藏珍品全集‧竹木牙角雕刻》，上海，2001年，編號205，與一件四足鼎杯，編號206，和三足鼎，編號207。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2011年4月7日，lot 2710 價格：HKD 2,420,000（相當於今日EUR 413,500） 描述：十七世紀爵形犀角杯 專家評論：比較相近的犀角顏色、杯腳外撇和螭龍裝飾。請注意尺寸(11厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2012年3月20日，lot 197 價格：USD 182,500（相當於今日EUR 230,500） 描述：十七世紀爵形犀角杯 專家評論：比較相近的犀角顏色和杯腳外撇。請注意尺寸(10.2厘米)。
Lot 14
A MAGNIFICENT LIMESTONE HEAD OF GUANYIN, YUAN TO MING DYNASTY 元明時期石灰石觀音頭像China, 14th century. The brown and gray stone with its distinct gray striations is deeply carved to depict Guanyin with a serene and benevolent expression, eyes downcast beneath elegantly arching brows centered by a circular urna, the neatly incised curled hair piled into a topknot and secured by a high-peaked Buddhist tiara with small images of the Amitabha Buddha seated in dhyanasana on a lotus pedestal.Provenance: From the collection of Karl Stirner, and thence by descent. Karl Stirner (1923-2016) was a German-born American sculptor known internationally for his metalwork. His art has been shown at the Museum of Modern Art in New York, the Pennsylvania Academy of Fine Arts, the Philadelphia Museum of Art, the Corcoran Gallery, the La Jolla Museum of Contemporary Art, the James A. Michener Art Museum, the Grounds for Sculpture in Hamilton, New Jersey, and the Delaware Art Museum, among other places. Condition: Good condition, commensurate with age, and exactly as expected of an authentic limestone sculpture from the 14th century. Extensive wear, weathering, encrustations and erosion. Losses, structural cracks, and minor nicks here and there. Remnants of multiple layers of lacquer and pigments from different periods.Weight: 18.2 kg (incl. stand) Dimensions: Height 34.5 cm (excl. stand), 56.5 cm (incl. stand) Mounted to a metal and wood stand. (2)Expert's note: The present sculpture bears the telltale signs of raised edges rubbed smooth, unequivocal testimonials of constant worshipping spanning many centuries, where beholders were gripped with the overt temptation to caress the cheekbones, forehead and nose.This remarkably beautiful and large head presents the bodhisattva of Compassion and Mercy. The iconography of the god was originally created on Indian soil and brought to China by monks at the beginning of the Christian era. In the early phase of Chinese Buddhism, stone and bronze examples of the god of Compassion followed these Indian iconographic treatises by depicting him as a male god. By the end of the Tang period (618-907) the depiction of Avalokiteshvara or (in Chinese) Guanyin had gradually become feminized to reach a climax during the Song dynasty (960-1279), when the majority had acquired a definite female appearance. During this period of transition, the mercy aspect of the god was emphasized, resulting in these stronger female features. The present, superbly sculpted head shows the pinnacle of this development, which had become the hallmark for all Guanyin representations from then onwards.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 13 June 2013, lot 261Price: EUR 39,900 or approx. EUR 46,000 converted and adjusted for inflation at the time of writingDescription: A limestone Guanyin head, China, 14th centuryExpert's remark: Note the height of 44 cm.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 10 May 2018, lot 986Price: USD 56,250 or approx. EUR 62,000 converted and adjusted for inflation at the time of writingDescription: A stone head of Guanyin, China, Ming dynasty (1368-1644)Expert's remark: Note the height of 25 cm.元明時期石灰石觀音頭像中國，十四世紀。灰褐色石料上刻有明顯的灰色條紋，觀音菩薩頭戴五葉冠，冠形繁複，上有阿彌陀佛坐像；臉型豐滿圓潤，雙目低垂，雙眉之間有白毫，表情莊嚴大氣。髮髻高聳。 來源： Karl Stirner私人收藏，保存至今。Karl Stirner (1923-2016年) 是一位出生於德國的美國雕塑家，以其金屬造像而聞名於世。他的藝術作品曾在紐約現代藝術博物館、賓夕法尼亞美術學院、費城藝術博物館、科科倫畫廊、拉霍亞當代美術館、James A. Michener美術館、新澤西州漢密爾頓The Grounds 雕塑舘和特拉華美術館等展出。 品相：品相良好，狀況與年代相符。大面積磨損、風化、結殼和侵蝕。很多缺損、結構裂縫和輕微的劃痕。不同時期的漆彩殘餘。 重量：18.2 公斤 (含底座) 尺寸：高34.5 厘米 (不含底座)，56.5 厘米 (含底座) 木底座，金屬支架。 專家注釋：這件造像帶有明顯的凸起邊緣因爲摩擦而變得光滑的跡象，明確證明了跨越多個世紀的膜拜與使用。觀者不由自主被吸引，想要撫摸顴骨、前額和鼻子。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 264
A FINE BRONZE PLAQUE WITH BUDDHAS AND BODHISATTVASIndonesia, east Java, 12th-13th century. Of rectangular form, depicting Buddhas and Bodhisattvas embossed in high relief, with fine incision work, the sides and top with a scrolling floral design.Provenance: Stefaan Grusenmeyer, Brussels, Belgium, 1991. A French private collection, acquired from the above. Stefaan Grusenmeyer was a Belgian art dealer initially based in Ghent. In 1983, he opened a gallery in Brussels, which his son Karim took over in 2000. The gallery specializes in sculpture, archaeology, jewelry, and decorative arts from Southeast Asia, China, and India. Condition: Good condition with extensive old wear, few nicks and dents, small losses, and malachite encrustations. Fine, naturally grown patina overall.Weight: 224.3 g (incl. stand), 164.5 g (excl. stand) Dimensions: Height 9.2 cm (incl. stand), 7.1 cm (excl. stand)Mounted to an associated stand. (2)Literature comparison:Compare a related bronze plaque, dated to the 13th century, east Java, in the collection of the Metropolitan Museum of Art, accession number 2014.517.
Lot 265
A BRONZE DRUM, MOKKO, 19TH CENTURYIndonesia, Sunda Islands. Surmounted by a circular tray, the waisted body decorated with floral sprays and tendrils in low relief, four handles attached to the upper half, the base hollow. The drum produces a clear and distinct sound.Provenance: From the collection of Harald Leo Diamond, Vienna. Collection of Tony Bingham, United Kingdom, acquired from the above. Tony Bingham is a retired dealer of antique musical instruments. He and his wife Irene opened several stores in London beginning in the 1960s, where they were selling antique instruments to museums, private collectors, and musicians, for more than 40 years. He also published several books on the history of musical instruments, including The New Langwill Index, a Dictionary of Musical Wind-Instrument Makers and Inventors.Published: A. Janata, Musikinstrumente der Völker: Außeuropäische Musikinstrumente und Schallgeräte, Systematik und Themenbeispiele, Vienna, 1975, pages 26-27, plate 18. Condition: Good condition with expected wear, minor nicks and dents, shallow surface scratches, and few small losses. Good naturally grown patina.Weight: 7.9 kg Dimensions: Height 54.3 cm, Diameter 33.5 cmLiterature comparison:Compare a related Mokko, dated to the 20th century, in the collection of The Metropolitan Museum with the accession number 1990.130.3.
Lot 41
A BRONZE VAJRATibet, 18th - 19th century. The rounded eight-pronged vajra with a central knob flanked by lappet bands, finely cast in bronze.Condition: Good condition with wear, few minuscule nicks and small dents. Provenance: South German private collector, who mostly purchased from Schoettle Ostasiatika between 1968 and 1980. Weight: 233 g Dimensions: Length 12.5 cm
Lot 7
A GILT BRONZE FIGURE OF THE ELEVEN-HEADED AVALOKITESHVARA, TANG DYNASTY 唐代銅鎏金十一首觀音Opinion: The elegantly cast figure of Avalokiteshvara is extremely rare in this eleven-headed manifestation. The slim features and elegantly curved posture are representative of the artistic style of the high Tang era.China, 618-907. Finely cast, standing elegantly in tribhanga atop a lotus pedestal, holding a water vessel in the lowered left hand. The deity's eyes half-closed, evoking a sense of peace, the slim features and posture elegantly curved, the body adorned in a long dhoti and flamboyant scarves, the chest with elaborate jewelry. The neatly incised hair falling in strands over the shoulders and surmounted by ten small heads reminiscent of the Buddha Amitabha. The back of the main head with a pierced tab.Provenance: United Kingdom trade. By repute from a private estate in Essex, United Kingdom.Condition: Very good condition, commensurate with age. Extensive wear, some weathering and deterioration, light scratches, few minuscule nicks and dents, small losses. Areas of fine, natural malachite-green patina with expected encrustations.Weight: 94.8 g (incl. stand) Dimensions: Height 13.2 cm (incl. stand) and 10.9 cm (excl. stand)Mounted on an associated wood stand. (2)Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 12 October 2021, lot 3512 Estimate: HKD 2,000,000 or approx. EUR 251,500 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Avalokiteshvara, Tang dynasty Expert remark: Compare the closely related pose, depiction, expression, and manner of casting. Note that this figure has six arms and is of larger size (21.6 cm). Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 12 October 2021, lot 3518 Price: HKD 119,700 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Avalokiteshvara, Tang dynasty Expert remark: Compare the closely related pose, expression, and manner of casting. Note the smaller size (9.5 cm) and lack of the additional heads. 唐代銅鎏金十一首觀音中國，618-907年。觀音呈三曲式優雅地立於蓮台上，左手持淨瓶。觀音雙眼微閉，給人以平和之感；身姿修長，胸飾瓔珞，腕、臂、足飾寶釧，肩披帛帶，自臂纏繞，垂至裙下，作飛翹狀。頭頂三層面，第一層佛面背面帶有穿孔標籤。 專家注釋：十一首觀音菩薩造型優美，極為罕見。 五官秀美，姿態優雅，盛唐時期藝術風格的代表。 來源：英國古玩交易，據説來自英國 埃塞克斯郡私人舊藏。 品相：狀況非常好，與年齡相符。大面積磨損，一些風化和老化，輕微的劃痕、刻痕和凹痕，小缺損。細膩的天然綠色銅鏽，帶有預期的結殼。 重量：總94.8 克 尺寸：總高13.2 厘米，不含底座10.9 厘米 木質底座。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2021年10月12日，lot 3512 估價：HKD 2,000,000（相當於今日EUR 251,500） 描述：唐代鎏金銅十一面觀世音菩薩立像 專家評論：比較非常相近的姿勢、形制、表情和這造風格。請注意此像有六臂和尺寸較大 (21.6 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2021年10月12日，lot 3518 價格：HKD 119,700（相當於今日EUR 15,000） 描述：唐代鎏金銅觀世音菩薩立像 專家評論：比較非常相近的姿勢、表情和這造風格。請注意尺寸較小(9.5 厘米) ，以及只有一顆頭。
Lot 250
A BRONZE HEAD OF SHIVA, KARNATAKA, BHUTA CULTURE, 18TH-19TH CENTURYSouthern India. Cast as the head of Shiva, the round face with bulging eyes, arched eyebrows centered by the third eye, with a parted grin revealing a set of square teeth and fangs, and a mustache below the straight nose.Provenance: From the collection of Peter Cochrane, acquired in 1978, and thence by descent within the same family. Old label to the back. John Peter Cochrane (1913-2004) was a noted English art dealer. At Arthur Tooth & Sons in Mayfair, he started his five-decade career in bringing new European and American art to London just after the war. Later he pursued his increasing personal interests as a collector. Serving as a respected consultant for Christie's London, he always refused a salary, declaring "they can't fire me because they don't pay me". Condition: Overall commensurate with age showing extensive old wear, losses, small nicks, and shallow surface scratches. Minor casting flaws. Naturally grown patina.Weight: 1,424 g Dimensions: Height 18 cmExpert's note: The present lot is likely a fragment of a pole finial, mask or similar fitting, as indicated by the large opening at the back. The distinct form of the open mouth also suggests that it once may have been used as a jingle bell.Literature comparison:Compare a related bronze palki finial of Yali, with similar open mouth and curled fangs as seen on the present lot, in the collection of the Heritage Transport Museum, Gurgaon, India. These finials often depicted birds, flowers and animals as well as figures from mythology and folklore.Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 18 March 2013, lot 52Price: USD 8,750 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: A brass mask of shiva, South India, Karnataka, Bhuta culture, early 19th centuryExpert remark: Compare the closely related face at the center of the mask with its open mouth and fangs. Note the size overall (40.5 cm).
Lot 4
A SILVERED BRONZE 'LION AND GRAPEVINES' MIRROR, TANG DYNASTY 唐代海獸葡萄鎏銀銅鏡Published: Treasures of Chinese Art, Chinese Art in Czech private collections, Galerie Arcimboldo, Prague, 2016, pp. 40-41.China, 618-906. Of circular form, the back cast in high relief in the center with a crouching lion knob encircled by four lions and scrolling grapevines, and in the outer field with twelve birds amid similar vines and grape bunches, below a band of scrolling leaves.Inscriptions: The box inscribed 'Tang dynasty, sea beast and grape mirror, 11.9 cm, 1.3 cm'.Provenance: From a noted Czech private collection. A Japanese collector's box with an old paper label, inscribed by a previous owner, accompanies this lot. (2) Condition: Good condition with some wear, small nicks, a single fissure with associated minuscule losses, the rim with a smoothened chip. Overall with fine malachite and cuprite encrustations. The design still crisp and the silvering well preserved.Weight: 554.3 g Dimensions: Diameter 12 cmLiterature comparison:A similar mirror, dated to the Tang dynasty, of slightly larger size (14.5 cm), is illustrated by S. Cahill in The Lloyd Cotsen Study Collection of Chinese Bronze Mirrors, vol. I: Los Angeles, 2012, pp. 94-95.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 September 2014, lot 1014Price: USD 15,000 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A silvery bronze 'lion and grapevine' mirror, Tang dynasty (ad 607-907)Expert remark: Compare the closely related motif, malachite patina, and size (13.2 cm)唐代海獸葡萄鎏銀銅鏡中國，618-906年。圓形，背面中央高浮雕，臥獅鈕，四周環繞著四隻海獸和葡萄藤，外場有十二隻神鳥與葡萄藤和葡萄串，卷葉紋。出版：《Treasures of Chinese Art，Chinese Art in Czech private collections》，Galerie Arcimboldo，2016年，布拉格，第40-41頁。 款識：唐時代海獸葡萄銅鏡 11.9 （厘米），1.3 （厘米） 來源：捷克私人收藏。日本收藏家的盒子和一個舊紙標簽，前任藏家Dr. Kokubo 書寫。 品相：狀況良好，有一些磨損、小刻痕、單個裂痕以及相應的微小缺損，邊緣有平滑的磕損。整體帶有細膩的紅綠銅鏽結殼。浮雕仍然清晰，鎏銀保存完好。 重量：554.3 克 尺寸：直徑12 厘米 文獻比較： 一件相似的唐代銅鏡，尺寸較大(14.5 厘米)，見S. Cahill，《The Lloyd Cotsen Study Collection of Chinese Bronze Mirrors》，〈卷一：洛杉磯〉，2012年，頁94-95。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2014年9月19日，lot 1014 價格：USD 15,000（相當於今日EUR 19,000） 描述：唐代銅狻猊葡萄紋鏡 專家評論：比較非常相近的形制、綠銅繡和尺寸(13.2 厘米)。
Lot 21
A RARE BRONZE FIGURE OF BUDDHA SHAKYAMUNI WITH WAN SYMBOL, EARLY MING DYNASTY 明初罕見釋迦牟尼銅像China, 14th-15th century. Seated in dhyanasana, his right hand lowered in bhumisparsa mudra and the left held above his lap. He is wearing loose robes draped over the shoulders, opening at the chest cast with a wan symbol, tied at the waist, and boldly incised with foliate designs. His face with a benevolent expression marked by heavy-lidded eyes centered by an incised urna above full lips forming a gentle smile, flanked by long pendulous earlobes. The hair arranged in tight spikes surmounted by a smooth ushnisha and a second, smaller bump.Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family.Condition: Wear and casting flaws, minor nicks, dents and losses, light scratches, signs of heat exposure with associated losses and old fills. The interior with remnants of the casting core. Superb patina.Dimensions: Height 18 cm Weight: 1,164 gAuction result comparison: Type: Closely relatedAuction: Bonhams Hong Kong, 26 May 2013, lot 360 Price: HKD 62,500 or approx. EUR 9,300 adjusted for inflation at the time of writingDescription: A bronze seated figure of Shakyamuni, Ming dynastyExpert remarks: Note the closely related appearance of the figure including the loose robes with incised hems, identical mudra, and absence of a base, whereas the figure is slightly larger (23.2 cm), the hair is different (concurrent with later Ming bronzes), and there is no wan symbol.明初罕見釋迦牟尼銅像中國，十四至十五世紀。釋迦牟尼結全跏趺坐，右手施觸地印。頭頂高肉髻，螺髮密集，頂嚴雙珠，分明嚴整。眉彎眼長，鼻秀唇薄，雙目低垂，呈微笑童子相。雙耳垂肩，頸施三道弦紋，身著袈裟，袒露前胸，胸前一個萬字符，衣紋流暢，以精緻花紋裝飾衣邊與袖口。 來源：維也納私人老收藏，在1910 年與1975年期間，經過幾代人的共同努力建立，在同一家族保存至今。 品相：磨損和鑄造缺陷、輕微劃痕、凹痕和缺損，有填充物。 內部有鑄芯殘留物。 細膩包漿。 尺寸：高18 厘米 重量：1,164 克 拍賣結果比較： 形制：非常相近 拍賣：香港邦翰思, 2013年5月26日, lot 360 價格：HKD 62,500（相當於今日EUR 9,300） 描述：明銅釋迦牟尼坐像 專家評論：非常相近的外觀，例如袈裟的衣紋裝飾、手印、無底座。尺寸稍大 (23.2 厘米)。但髮型不同（晚明青銅像特色）、沒有萬字符。
Lot 31
A BRONZE FIGURE OF MAHAKALA, 17TH-18TH CENTURY 十七至十八世紀大黑天銅像Tibet. Mahakala standing atop a prostrate figure on a lotus base, his right hand holding a flaying knife and his left a skull cup, the wrathful face crowned with a skull tiara encircling the flaming hair, wearing long flowing robes, richly adorned with jewelry and a garland of severed heads, a serpent writhing around his belly. The base sealed. Provenance: From an old private collection in Bavaria, Germany, acquired in the 1960s and thence by descent. Condition: Very good condition with minor wear and casting flaws, few nicks, small dents, light surface scratches. Remnants of ancient pigments.Weight: 943.1 g Dimensions: Height 12 cmAuction result comparison:Type: RelatedAuction: Christie's New York, 20 September 2006, lot 148Price: USD 8,400 or approx. EUR 12,000 converted and adjusted for inflation at the time of writingDescription: A gilt bronze figure of Mahakala, 17th centuryExpert remark: Note the size (14 cm)Auction result comparison: Type: Related Auction: Sotheby's New York, 22 March 2018, lot 1053 Price: USD 18,750 or approx. EUR 21,500 converted and adjusted for inflation at the time ofDescription: A gilt-bronze figure of Shadbhuja Mahakala, Tibet, 18th centuryExpert remark: Note the additional arms and larger size (17.8 cm)十七至十八世紀大黑天銅像西藏。怒相神大黑天立於蓮座上，腳踩惡鬼，火焰狀頭髮，頭戴著骷髏王冠，身著長袍，手裡拿著月牙刀和嘎巴拉杯。底座密封。 來源：德國巴伐利亞私人舊藏，購於上世紀六十年代，保存至今。 品相：狀況極好，有輕微磨損和鑄造缺陷，幾乎沒有刻痕、小凹痕、輕微的表面劃痕。顏料殘餘。 重量：943.1 克 尺寸：高12 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2006年9月20日，lot 148 價格：USD 8,400（相當於今日EUR 12,000） 描述：十七世紀鎏金大黑天銅像 專家評論：請注意尺寸(14 厘米) 。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2018年3月22日，lot 1053 價格：USD 18,750（相當於今日EUR 21,500） 描述：十八世紀西藏鎏金大黑天銅像 專家評論：請注意此尊銅像為六臂，且尺寸較大(17.8 厘米)。
Lot 38
A GILT BRONZE FIGURE OF RATNASAMBHAVA, TIBET, 18TH CENTURY 十八世紀西藏銅鎏金寶生佛坐像Seated in dhyanasana atop a double lotus base with beaded upper edge, his right hand lowered in varada mudra, the left resting on his lap, wearing a loose-fitting monastic robe draped over his left shoulder, the serene face with heavy-lidded eyes below gently arched eyebrows centered by an urna, and full lips forming a subtle smile, flanked by elongated earlobes, the hair arranged in tight curls over the domed ushnisha surmounted by a jewel.Provenance: From a German private collection, acquired before 2007, and thence by descent. Condition: Good condition with some wear, particularly to gilt, casting flaws, minor nicks, occasional light scratches, small dents, remnants of pigment.Weight: 352.5 g Dimensions: Height 13.3 cmRatnasambhava, the 'jewel-born', is one of the Five Presiding Buddhas. Within a mandala, he occupies the southern quadrant, represented by the color yellow, and presides over the jewel family of Buddhas and bodhisattvas. As a solitary image, he can be identified by his outstretched palm, which imparts the gesture of wish-granting (varada mudra).Expert's note: The base is sealed with a fine copper repousse plate, masterfully incised with a double vajra symbol.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 16 September 2015, lot 479 Price: USD 12,500 or approx. EUR 14,500 converted and adjusted for inflation at the time of writing Description: A gilt bronze seated Buddha, Tibet, 19th centuryExpert remark: Compare the similarly outstretched palm, as well as the posture, gilding and size. Note the related size (15.5 cm) and that the bronze is dated to the 19th century.十八世紀西藏銅鎏金寶生佛坐像寶生佛像身著菩薩裝，髮髻雕刻精細成螺髻，面相豐滿，雙目細瞇，雙眼之間有白毫，長耳垂，嘴角含笑。袒上身，肩披帛帶，下裙褶紋起伏，流暢自如。右手結與願印，左手結禪定印，全跏趺坐。仰覆蓮座蓮瓣尖端上卷，上下邊緣飾聯珠紋。 來源：德國私人收藏，購於2007年前，保存至今。 品相：狀況良好，有一些磨損，尤其是鎏金部分，鑄造缺陷、輕微劃痕、小凹痕、色素殘留。 重量：352.5 克 尺寸：高13.3 厘米 寶生佛為五方佛之一，主南方，代表平等性智。寶生佛現身常著黃色，可以通過與願印手勢分辨出來。 專家注釋：底座雙金剛杵紋密封。拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2015年9月16日，lot 479 價格：USD 12,500（相當於今日EUR 14,500） 描述：十九世紀西藏坐佛像 專家評論：比較相近的手印，以及姿勢、鎏金和尺寸。請注意尺寸相近似(15.5 厘米) ，且此佛像為十九世紀。
Lot 120
A RECTANGULAR CLOISONNE BOX, LATE QING DYNASTYChina, late 19th century. The bronze and cloisonne box of rectangular shape, with a hinged saddle shaped cover, bronze fittings, lined to the interior with embroidered silk. The exterior enameled with floral scroll and two roundels of interlocking ruyi-heads to either side.Condition: Good condition with some wear and manufacturing flaws such as pitting, few tiny chips. Provenance: Danish private collection. Weight: 3.7 kg Dimensions: Length 28.5, Height 16 cm
Lot 27
A BRONZE 'BUDDHIST LION' WEIGHT, MING DYNASTY 明代太獅銅鎮China, 1368-1644. The recumbent beast is finely modeled with a large snout, round eyes, thick curly mane, and bushy tail flicked to one side of its left hind leg.Provenance: British trade. Condition: Very good condition with some old wear and minor casting flaws, few minuscule nicks, and light scratches. Good patina overall, naturally grown.Weight: 240.8 g Dimensions: Length 6.2 cm Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 6 April 2015, lot 160Price: HKD 37,500 or approx. EUR 5,300 converted and adjusted for inflation at the time of writingDescription: A small bronze lion-form weight, Ming dynasty (1368-1644)Expert remark: Compare the closely related pose, and incision work, as well as related size (5.5 cm)明代太獅銅鎮中國，1368-1644年。太獅臥於地，大眼圓睜，鬃毛平順，濃密的尾巴翻轉到左後腿的一側，細節生動。 來源：英國古玩交易 品相：狀況極好，有一些磨損和輕微的鑄造缺陷，有少量微小的刻痕和輕微的劃痕。整體包漿良好。 重量：240.8 克 尺寸：長 6.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，6 4月 2015年，lot 160 價格：HKD 37,500（相當於今日EUR 5,300） 描述：明代銅臥獅紙鎮 專家評論：比較非常相近的姿勢、雕刻，以及相近的尺寸 (5.5 厘米)。
Lot 1
A RARE AND IMPORTANT BRONZE RITUAL AXE-HEAD, YUE, EARLY SHANG DYNASTY, CIRCA 1500-1400 BC 公元前1500-1400年商代早期銅鉞Opinion: Except for the different size, the present lot has remarkable similarities with a yue that bears a near-identical relief decoration surrounding the central hole, but lacks the taotie at the haft. This yue was excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and is now in the Hubei Provincial Museum. Discovered in 1954, Panlongcheng is a city-site that dates from the early Shang Dynasty. Located on the bank of Panlong Lake in Huangpi District, it covers an area of roughly 15 acres. The city conforms to the top-layer culture (circa 1500 BC) of the Shang site of Erligang in terms of bronze-making techniques, burial customs, styles of jade-wares, and features of pottery. It might have been a state built by Shang people in the middle reaches of the Yangtze to exploit resources in the south. Its discovery confirmed for the first time that the Shang culture of the Central Plains had reached the valley of the Yangtze River already during the early Shang Dynasty. The discovery of the yue in tomb 2 also confirms the function of the city as a military stronghold. Given the many features and striking resemblances that the present lot shares with the larger yue from Panlongcheng, and the provenance history described below, it seems possible, if not likely, that our yue was once found at the same site.China, ca. 1500-1400 BC. The wide flattened blade with a beveled edge, crisply cast in deep relief with Kui dragons with raised eyes flanking a large central aperture below two small rectangular holes, the haft similarly cast with taotie masks.Provenance: Mandala Fine Arts, Hong Kong, 1989. Acher Eskenasy, Paris, acquired from the above (invoice lost). Martin Doustar, Brussels, acquired from the above in 2011. An American gentleman, acquired from the above. A copy of a handwritten letter, signed by Acher Eskenasy, confirming his purchase of the present lot from Mandala Fine Arts, Hong Kong, in 1989 and its sale to Martin Doustar in 2011, accompanies this lot. 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: Superb condition, commensurate with age. Extensive wear, signs of weathering and erosion, corrosion, minor nicks, cracks and scratches. Fine, naturally grown patina with malachite encrustation overall.Weight: 838.8 g (excl. stand)Dimensions: Length 24.9 cm (excl. stand)With an associated metal stand. (2)The yue was an ancient long-handled weapon and instrument of execution, symbolic of noble authority. Evidence suggests that these axes played a part in ritual beheadings in addition to being symbols of power. Almost central holes also dominate several other early bronze axes, including two from Panlongcheng in Hubei province.Literature comparison: Compare a closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (41.4 cm) and lacking the taotie at the haft, excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and now in the Hubei Provincial Museum, illustrated by Wen Fong, The Great Bronze Age of China: An Exhibition from The People's Republic of China, The Metropolitan Museum of Art, New York, 2013, page 104, no. 7. Another closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (35.2 cm) and lacking the taotie at the haft, is in the Jiangxi Provincial Museum. Compare a closely related bronze yue, also with a large central hole, excavated in 1995 from Guojiazhuang Southeast, Tomb M26, and now in the Yin Ruins Museum. Compare a related bronze ceremonial axe, dated to the Eastern Zhou dynasty, 11th century BC, illustrated by Christian Deydier Oriental Bronzes Ltd., Le Banquet des Dieux, Bronzes Rituels de la Chine Ancienne, Paris, January 1996, page 37, no. 12. Compare a related yue axe, also decorated with taotie masks, dated to the Shang dynasty, 13th-11th century BC, from the collection of the King of Sweden, illustrated by Christian Deydier, Chinese Bronzes, Fribourg, 1980, page 86, no. 59. Compare a related qi axe with a human mask on the blade, in the collection of the Museum für Ostasiatische Kunst, Berlin, dated to the Shang dynasty, 13th-11th century BC, illustrated ibidem, page 88, no. 63.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 3 Price: USD 80,500 or approx. EUR 100,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual axe-head (yue), Shang dynasty, 12th/11th century BC Expert remark: Compare the related form, though slightly flared, similar relief decoration, and the taotie masks to the haft. Compare also the closely related rectangular holes. Note the smaller size (16.4 cm).公元前1500-1400年商代早期銅鉞中國，公元前約1500-1400年。 來源：香港Mandala Fine Arts, 1989年；巴黎Acher Eskenasy購於上述藝廊 (發票遺失)；布魯塞爾Martin Doustar 2011年購於上述收藏；一位美國紳士購於上述收藏。隨附一封手寫的信，Acher Eskenasy簽名，確認此拍品于1989年購於香港Mandala Fine Arts，2011年賣于 Martin Doustar。Acher Eskenasy是一位著名的法國學者和亞洲和部落藝術收藏家。 他以前擁有的主要藏品現在都在重要的博物館收藏中，例如紐約大都會藝術博物館和巴黎的 Musee du Quai Branly。 品相：狀態極佳，與年齡相稱。大面積磨損、風化和侵蝕、輕微劃痕和裂縫。細膩的包漿，孔雀石色結殼。 重量：838.8 克 (不含底座) 尺寸：長24.9 厘米 (不含底座) 金屬支架。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 44
A BLACK POTTERY AMPHORA WITH APPLIED BRONZE BOSSES, HAN DYNASTY 漢代黑陶嵌銅泡釘雙耳壺China, 202 BC to 220 AD. With waisted, incised neck and everted, pinched mouth emanating two bold wide strap handles joining the ovoid, tapering body centered by spiral designs. Applied overall with conical metal bosses.Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 11 July 2022, based on sample number C122f97, sets the firing date of two samples taken at 1500 - 2400 years ago. A copy of the report, issued by Oxford Authentication, is accompanying this lot.Provenance: From a private collection in Bavaria, Germany, built since the 1970s into one of the largest collections of Buddhist bronzes and sculptures in Central Europe. The collector was a noted magician and as such guided by the fundamental idea that one thing can also be another, always looking for a second nature or hidden meaning behind the primary appearance of an artwork. Condition: Good condition with old wear and weathering, some casting flaws, small nicks here and there, the bosses with malachite-green encrustations and corrosion, some losses and minor repairs, all exactly as expected from an authentic piece with this age. Small holes from sample-taking.Weight: 1,391 g Dimensions: Height 21.6 cm Many non-Han peoples lived in southwest China, even after the establishment of the Qin and Han dynasties. This unusually shaped amphora may have been the product of the Qiang people who probably came from the steppe but later also lived in the region of the Dian people in southwest China. Vessels such as this with lozenge shaped mouths and twin flat handles have been discovered in present day Sichuan and are known as Lifan ware, after the area in Sichuan Province where such jars have been found.Auction result comparison: Type: Near identical Auction: Galerie Zacke, Vienna, 5 March 2021, lot 138 Price: EUR 56,880 or approx. EUR 61,500 adjusted for inflation at the time of writingDescription: A black pottery amphora with applied bronze bosses, Han dynastyExpert remark: Note the larger size of 33 cm in height.漢代黑陶嵌銅泡釘雙耳壺中國，公元前202至公元220年。縮頸，壺口外撇，鼓腹，寬大的雙耳從壺口延伸到腹部。壺上鑲嵌泡釘。 科學檢測報告：隨附牛津熱釋光檢測報告副本，根據樣本C122f97，2022年7月11日測試結果，該拍品應爲1500 - 2400年前所製。 來源：德國巴伐利亞的私人收藏，該收藏創建於1970年代，是歐洲最大的佛教青銅器和造像收藏之一。這位收藏家是一位著名的魔術師，因此遵循“一物也可以是另一物”這一基本理念，總是在藝術品的主觀背後尋找第二本性或隱藏的意義。 品相：狀況良好，磨損和風化，一些鑄造瑕疵，到處都是小刻痕，銅綠與結殼。因爲檢測進行樣品採集而鑽孔，一些缺損和小修，與其年代相符。重量：1,391克 尺寸：高21.6厘米拍賣結果比較： 形制：幾乎相同 拍賣：維也納Zacke藝廊，2021年3月5日，lot 138 價格：EUR 56,880（相當於今日EUR 61,500） 描述：漢代黑陶嵌銅泡釘雙耳壺專家評論：請注意尺寸較大(33厘米)。
Lot 48
A MONUMENTAL SICHUAN POTTERY FIGURE OF A HORSE, HAN DYNASTY 漢代四川立馬陶俑China, 206 BC to 220 AD. Powerfully modeled standing foursquare in a pose of alert attention, its strong neck and head poised with open mouth and flaring nostrils, the legs supporting a muscular body, the upturned tail ending in a knob, the head and back incised with lines representing the halter, bridle, and saddle.Provenance: From a private collection in London, United Kingdom.Condition: Very good condition overall, commensurate with age. Some repairs and touchups as generally expected from Han dynasty excavations of this important size. Extensive wear, losses, encrustations, structural cracks. Drilled holes from sample-taking.Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 25 June 1997, based on sample number C97b48, sets the firing date of two samples taken between 1300 and 2000 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot. A copy of a Polaroid photograph of the present horse, inscribed 'Submitted as C97b48' (the sample number for the Oxford Authentication thermoluminescence analysis report), accompanies this lot. Dimensions: Height 116 cm, Length 100 cmExpert's note: Large horses of this type have been found in a number of tombs within the Han empire. Among the most famous are those from the graves of the well-known Han dynasty minister Zhou Bo and his son excavated at Yangjiawan, Xianyang, Shaanxi province, see Los Angeles County Museum of Art, The Quest for Eternity, Thames and Hudson, 1987, Catalogue, nos. 11-15. The well-sculpted head, flaring nostrils and upwardly-curling top lip are characteristic of these Han horses, typified by the large bronze horse excavated at Hejiashan, Jinyang, Sichuan province and recorded in Wenwu, 1991, no. 3, page 9, pl. iii.Auction result comparison: Type: Closely related Auction: Christie's Amsterdam, 16 December 2008, lot 6 Price: EUR 23,750 or approx. EUR 30,500 adjusted for inflation at the time of writingDescription: A massive Chinese Sichuan painted grey pottery figure of a horse, Han dynasty Expert remark: Compare the closely related pose and decoration. Note the slightly smaller size (110 cm).漢代四川立馬陶俑中國，公元前206年至公元220年。通體素面，造型敦實。馬作直立狀，右腿向前邁出，昂首挺胸，腰肥體壯，雙耳豎立，小耳大眼，目光前視，鼻翼翕張，尾巴上翹，身軀健碩。 來源：英國倫敦私人收藏。 品相：整體品相極好，與年齡相應。漢代如此重要規模的考古工作通常會進行一些修復和修飾。大面積磨損、缺損、結殼、結構裂縫。取樣鑽孔。科學檢測報告：1997年6月25日牛津熱釋光報告，樣本編號 C97b48，根據兩個樣本結論為1300 至2000年前。隨附報告複印件。隨附檢測時的照片複印件。 尺寸：高116 厘米，長100 厘米 專家注釋：類似這樣的陶馬佣在漢墓考古發現中出現了一大批。其中最著名的是，出土於陝西咸陽楊家灣的漢朝大臣周勃周亞夫父子墓，見洛杉磯美術館，《The Quest for Eternity，Thames and Hudson》，1987年，畫冊，圖11-15。漢馬造型精巧，鼻孔張開，上唇上翹，以四川晉陽何家山出土的大型青銅馬為代表，見《文物》，1991年，圖3，頁9，圖 iii。 拍賣結果比較： 形制：非常相近 拍賣：阿姆斯特丹佳士得，2008年12月16日，lot 6 價格：EUR 23,750（相當於今日EUR 30,500） 描述：漢代四川灰陶立馬陶俑 專家評論：比較非常相近的姿勢和裝飾。請注意尺寸稍小 (110 厘米)。
Lot 22
A BRONZE FIGURE OF BUDDHA SHAKYAMUNI, MING DYNASTY 明代釋迦牟尼銅像China, 1368-1644. Seated in dhyanasana with his right hand lowered in bhumisparsa mudra and the left lowered above his upturned feet, dressed in long flowing robes opening at the chest, tied at the waist, and cascading in folds. The face with a serene expression marked by heavy-lidded eyes below gently arched brows centered by an urna above full lips forming a subtle smile, flanked by elongated earlobes. The hair arranged in tight curls with an ushnisha.Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family.Condition: Very good condition with some wear and casting flaws, minor nicks, dents, losses and scratches, remnants of ancient pigment, the back with distinct file marks. Fine dark patina, the interior with little malachite and cuprite encrustation.Weight: 2,036 g Dimensions: Height 21.5 cmExpert's note: The distinct file marks to the back of the figure as well as the remnants of ancient pigment are characteristic of authentic bronzes of the period.Auction result comparison: Type: RelatedAuction: Sotheby's London, 10 November 2017, lot 266Price: GBP 12,500 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Shakyamuni Buddha, Ming dynasty, 16th centuryExpert remarks: Note the closely related garment folds and expression as well as the absence of a base, whereas the figure is of slightly larger size (26.5 cm) and has incised hems and a wan symbol to the chestAuction result comparison: Type: RelatedAuction: Christie's London, 15 May 2018, lot 164Price: GBP 10,000 or approx. EUR 12,800 converted and adjusted for inflation at the time of writingDescription: A lacquered bronze figure of Buddha, Ming dynastyExpert remarks: Note the closely related expression and hair curls as well as the absence of a base, whereas the figure is lacquered, of slightly larger size (25.5 cm high), and has incised hems.明代釋迦牟尼銅像中國, 1368-1644年。釋迦牟尼結全跏趺坐，右手施觸地印，左手置於膝上，身著袈裟，袒露前胸，衣紋流暢。面目莊嚴，雙眼微閉，雙眉之間有白毫。頭頂高肉髻，螺髮密集。 來源：維也納私人老收藏，在1910 年與1975年期間，經過幾代人的共同努力建立，在同一家族保存至今。 品相：品相非常好，有一些磨損和鑄造缺陷，輕微的刻痕、凹痕和劃痕，古代顏料的殘留物，背面有明顯的銼痕。 細膩的深色包漿，內部有少量綠色和紅色結殼。 重量：2,036 克 尺寸：高21.5 厘米 專家注釋：銅像背面的銼痕和顔料餘留是該時期青銅器的真實特徵。拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2017年11月10日，lot 266 價格：GBP 12,500（相當於今日EUR 16,500） 描述：16世紀明代釋迦牟尼銅像 專家評論：請注意非常相近的衣紋摺邊和表情、無底座。尺寸稍大 (26.5 厘米) ，胸口有萬字符。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2018年5月15日，lot 164 價格：GBP 10,000 （相當於今日EUR 12,800） 描述：明代釋迦牟尼銅像 專家評論：請注意非常相近的表情、螺髮和無底座。但此佛像上漆、尺寸稍大 (25.5 厘米 high)，以及刻有衣服摺邊。
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