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Lot 199
antique, possibly 18th Cent., bureau in burr of walnut with Louis XV style mountings in bronze || Antieke, mogelijk achttiende eeuwse, aan de vier zijden afgewerkte secretaire in wortelhout met Lodewijk XV- bronsbeslag en met twee deuren en een neervallend werkblad, dat een fraai interieur verbergt
Lot 187
François Pompon posthumous cast "Black Panther" sculpture in bronze on a marble base - with signature and justification by the foundry Ebano || POMPON FRANÇOIS (1855 - 1933) sculptuur in brons (cire-perdue) met zwarte patine n° G 4/8 getiteld "Panthère Noire" - 26 x 54 cm posthume gieting met gieterijmerk getekend en met certificaat / justificatie van de gieterij Ebano
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。
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