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A Frisian tail clock, Friesland, mid 19th century. Oak case, the curved hood is crowned with Atlas and trumpet-blowing angels, pilasters with Corinthian capital and base as styles, polychrome decorated dial with a fantasy landscape in the bar and bridal wreath. The dial ring with Roman and Arabic numerals indicates the hours, minutes and seconds, h 148 cm.

A walnut-glued column mantel clock, France, Napoleon Trois, ca. 1870. Capital and base with applications in floral motifs, white enamel dial with black Roman numerals, gilt frame with relief in volutes and fitted with a ditto flower garland, h 47 cm (damages) .

A tail clock with moon and date indication, double cap with double curved crown of Atlas and trumpet-blowing angels, 1st half 19th century. Mahogany case, twisted pilasters with brass Corinthian capital and base as styles, polychrome decorated dial with a fantasy landscape with church at the top, dial ring with Roman and Arabic numerals indicates the hours and minutes, the movement with alarm and striking mechanism on the whole and the half hour, l 170 cm.

A MODERN BRONZED TABLE LAMP with foliate capital and stem on square base, paper shade 53cm Condition Report: As catalogued this is of late 20th century make in an early style - overall the condition reflects this, the metal with patination and verdis-gris possibly to simulate greater age than this truly possesses Please note these are sold as a decorative items of furniture only and not as a working electrical lamp - it would need to be rewired and tested by a professional electrician prior to use in a domestic setting. Please see additional images for visual reference to condition Condition Report Disclaimer

A SET OF FOUR EBONISED, PARCEL GILT, AND PAINTED ARMCHAIRSCIRCA 1810 AND LATER, IN THE MANNER OF JOHN GEETwo stamped T S the other G87cm high, 55cm wide, 52cm deepProvenance: Possibly the collection of Oliver Messel at Pelham Place Supplied by Messel to Flaxley AbbeyIllustrated: C. Castle, Oliver Messel: A Biography, London, 1986, p. 215, 'the morning-room'. T. Messel, Oliver Messel: in the theatre of design, New York, 2011, p. 124, 'the morning room'. This set of ebonised and parcel-gilt open armchairs illustrates the fashion in the latter part of the 18th century for japanned (painted) furniture. In 1793, an advertisement of William Peat in the Edinburgh Evening Courant noted that in London 'the Ornamental Parts of Japanned Work... are practised by Japanners only, whereby the chairs produced from that Capital are found to be superior, both in appearance and durability, to any that have hitherto done here'. Thus, cabinet- and chair-makers seemingly outsourced decorative work. This is reinforced by Thomas Sheraton in his The Cabinet Dictionary (1803), who affirmed that chair painting was a specific branch of the decorator's art. In this example, foliate scrolls, floral sprays and grisaille panels depicting putti, possibly inspired by the work of Jacob de Wit (1695-1754), were applied to the ground paint of chairs that were intended for a parlour or drawing room. Such furniture generally harmonised with the colour scheme of the rooms for which it was acquired. Although most painted furniture was finished in the decorator's workshop, some pieces were the work of middle class and aristocratic women, who were described in Pride and Prejudice by Jane Austen as accomplished for they all 'paint tables, cover screens and knit purses'.  Condition Report: Each with marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, chips and losses, looseness to joints and signs of repairs in these areas including glue, screws, bracing,Splits to the cane seats to two chairs, the other two with intact canework - this is almost certainly later work, one chair has damage to the rails where the cane should sit this will require repair before re-caningThe squab cushions with dirt and discolouration, marks and stains and will benefit from re-coveringThe painted surfaces with repairs and touching upPlease refer to additional images for visual reference to condition  Condition Report Disclaimer

Don Balke (North Carolina, B. 1933) "Indigo Bunting" Signed middle right. Original Watercolor on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork was originally published on the Fleetwood Commemorative Cover for the limited edition collection of The Songbirds of the Fifty States. Each cover was postmarked on the anniversary of statehood in the appropriate state capital. When first encountering the vivid blue Indigo Bunting, people sometimes believe they have spied an exotic bird escaped from the zoo. The songbird is so beautiful in his breeding plumage, he appears to be lost from a tropical homeland. These regally-clothed songsters arrive in late spring from a winter home in Panama. Although they arrive later than most birds in their northern home, the Indigo Buntings make up for lost time by singing from sun up to sun down, all summer long. Even in late August, long after other birds have ceased to sing their joyous summer songs, the persistent Indigo Buntings keep on as if regretful that the season is drawing to a close. As autumn approaches, the birds' vivid blue color dulls to brown. Only faint hints of the deep purplish blue remain as remnants of their previous splendor. These remaining flashes remind the viewer that the Indigo Buntings will return in spring once again to dazzle Americans with their glistening plumage and sweet song. Image Size: 8.5 x 8.75 in. Overall Size: 18 x 18 in. Unframed. (B07411)

J. Craig Thorpe (American, B. 1948) "Japanese Class C-62" Signed lower right. Original Oil on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands First Day Cover for the 55c Japanese C-62 Class 4-6-4 Hudson stamp issued August 23, 1996. Class C62s were the largest and most popular Japanese steam passenger locomotive. Forty-nine Class C62s were manufactured from 1948 to 1949 to pull Japan's express trains. They were a remarkable product of Japanese industry and ingenuity -- constructed from wartime Class D52 freight locomotives. The locomotive and tender weighed more than 150 tons. The engine rated at 30,644 pounds of tractive force with a boiler pressure limit of 228 pounds. Class C62s ran on the 3 ft. 6 in. gauge lines of Japanese National Railways and displayed colorful, circular headboards with emblems and names such as Tsubeme (Swallow). They also pulled passenger trains named Dove, Peace and Mount Fuji. Class C62s spent their final days hauling express trains on the island of Hokkaido between the ferry port of Hakodate and capital, Sapporo. Retired in 1971, Class C62s were the ultimate development of Japanese mainline steam passenger locomotives. Image Size: 10 x 13.25 in. Overall Size: 13.5 x 17.75 in. Unframed. (B15424)

SPRINGBANK 10 YEAR OLDSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70clFill level in high neck. Minor wear to label.Please see additional images of bottle condition. 

SPRINGBANK 1989 12 YEAR OLD RUM WOODSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: 1989Bottledd: April 2002Finished in rum barrels.54.6% ABV / 70clFill level in mid neck.

LONGROW 1989 13 YEAR OLD SHERRY WOODSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: 1989Bottled: November 2002Matured in Sherry Butts.53.2% ABV / 70clFill level in mid neck.

LONGROW 1991 10 YEAR OLD SHERRYWOODSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Matured in Sherry wood.46% ABV / 70clFill level in mid neck.

SPRINGBANK 1967 31 YEAR OLD MURRAY MCDAVIDSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: February 1967Bottled: May 1988Matured in a fresh Sherry cask.46% ABV / 70clFill level in mid shoulder.

SPRINGBANK CV 20CL AND HAZELBURN CV 20CLSingle malts.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Springbank - 46% ABV / 20clHazelburn - 46% ABV / 20cl

LONGROW 1974 16 YEAR OLDSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.This rare bottle represents one of the first distillations of their heavily peated Longrow expression.46% ABV / 75clFill level in low neck / high shoulder.

SPRINGBANK 1973 18 YEAR OLD CADENHEAD'SSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: June 1973Bottled: September 1991Matured in a Rum Butt57.5% ABV / 70clFill level at top of shoulder.Please see additional images.

2 BOTTLES OF SPRINGBANK 1979 GOLF OPEN CHAMPIONSHIP 1995 - SIGNED BY COLIN MONTGOMERY & NICK PRICESingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: June 1989Bottled: Spring 1995Bottle Numbers: 129 & 325 of 100046% ABV / 70clPlease see additional image.

SPRINGBANK 20 YEAR OLD LAST BOTTLING OF 20TH CENTURY AND 21 YEAR OLD FIRST BOTTLING OF THE 21ST CENTURYSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.These extremely rare Springbanks were a private bottling for staff and shareholders of J. & A. Mitchell, the owners of the distillery.Each 46% ABV / 70clBoth fill levels are in mid neck.Please see additional image.

SPRINGBANK - THE COMPLETE MILLENNIUM COLLECTION (6 X 70CL)Single malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.25 Year Old - 46% ABV / 70cl30 Year Old - 46% ABV / 70cl35 Year Old - 46% ABV / 70cl40 Year Old - 40.1% ABV / 70cl45 Year Old - 40.1% ABV / 70cl50 Year Old - 40.5% ABV / 70clPlease see additional images. 

LONGROW 1992 10 YEAR OLDSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.46% ABV / 70clFill level in mid neck.

SPRINGBANK 1989 14 YEAR OLD PORT WOODSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Bottled: September 2004One of only 7200 bottles released.52.8% ABV / 70clFill level in mid neck.

SPRINGBANK 12 YEAR OLD 175TH ANNIVERSARYSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.This expression was bottled in 2003 to mark the distillery's 175th anniversary.46% ABV / 70clFill level in mid neck. Minor wear to carton.

SPRINGBANK 12 YEAR OLD 175TH ANNIVERSARYSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.This expression was bottled in 2003 to mark the distillery's 175th anniversary.46% ABV / 70clFill level in mid neck. Minor wear to carton.

'AN AUDIENCE WITH THE HONGXI EMPEROR', QING DYNASTYChina, 1644-1912. Ink and watercolors on silk laid down on paper. Finely painted with the Emperor seated on a wood throne on a fine diapered rug, two female attendants standing behind him holding large fans, another at his side holding up a cup with a spoon inside. A courtier is kneeling in front of the Emperor, supported by an elderly companion. All within a palace terrace with peonies and rockwork as well as an elaborate key fret-style display containing various scholar's objects and a tall gnarled wood stand with two vases.Provenance: British trade. Condition: Good condition overall with some old wear, minor soiling, creases, small losses, minor tears to edges, few small holes.Dimensions: Size 74.5 x 55 cmThe Hongxi Emperor (1378-1425), personal name Zhu Gaochi, was the fourth Emperor of the Ming dynasty, reigning from 1424 to 1425. He succeeded his father, the Yongle Emperor, in 1424. His era name Hongxi means 'vastly bright'. Zhu Gaochi was born on 16 August 1378 and was educated by prominent Confucian tutors. He often acted as regent in Nanjing or Beijing during his father's northern military campaigns. He was uninterested in military matters but had prowess in archery. Upon taking the throne, he restored disgraced Confucian officials, such as the Yongle Emperor's minister of revenue Xia Yuanji (imprisoned since 1421), and reorganized the administration to give high ranks to his close advisors. Hanlin academicians became grand secretaries, and they dismantled his father's unpopular militaristic policies to restore the civil government. The Hongxi Emperor improved finances by canceling requisitions for lumber, gold, and silver. Taxes were remitted so that vagrant farmers could return home, especially in the overburdened Yangtze River Delta. The Hongxi Emperor appointed a commission to investigate taxes. He overruled his secretaries by ordering that grain should be sent immediately to relieve disaster areas. The Hongxi Emperor ordered that the capital be moved back to Nanjing from Beijing (which had been made the capital by the Yongle Emperor in 1421). However, he died a month later, probably of a heart attack, in May 1425. His son had been declared heir apparent and became the Xuande Emperor at age 26. Although the Hongxi Emperor had a short reign, he is credited with reforms that made lasting improvements, and his liberal policies were continued by his son.Auction result comparison: Type: Related Auction: Bonhams San Francisco, 28 June 2017, lot 6432 Price: USD 4,750 or approx. EUR 5,150 converted and adjusted for inflation at the time of writing Description: Anonymous (20th century), Birthday Celebration Expert remark: Compare the closely related depiction of an audience with an emperor or ruler, also painted on silk. Note the larger size (142.8 x 82 cm).Auction result comparison: Type: Related Auction: Sotheby's London, 17 May 2019, lot 464 Price: GBP 10,000 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: Chinese School, Qing dynasty, 19th century Expert remark: Note the larger size (206 x 125 cm)清代《洪熙帝接見圖》中國，1644-1912年，絹本設色，鏡心。工筆精美描繪洪熙帝坐皇座上。兩位女官站在他身後，手持大扇子，一側站著一位宮妃，端著一個杯子。一位朝臣跪在皇帝面前，由一位年長的侍官扶著。皇帝的右側有一排博古架，上可見佛手瓜、蘭草、盆景和書籍等文房用品。另一側可見假山以及富貴牡丹。 來源：英國古玩市場。 品相：整體狀況良好，有一些磨損、輕微污漬、摺痕、少量缺損、邊緣輕微撕裂、少量小孔。 尺寸：74.5 x 55 厘米 明仁宗朱高熾（1378年8月16日－1425年5月29日），年號洪熙，明成祖嫡長子，明朝第四代皇帝。永樂二年（1404年），立為皇太子，並在明成祖屢次北伐中，擔任監國職位，實際負責國家政事。永樂二十二年（1424年），繼承皇位，年號“洪熙”，在位期間，採取一系列政治、經濟、軍事改革與調整，國家富足。仁宗與子明宣宗在政治用人、行政處理上，均為後世所稱善，史稱“仁宣之治”。 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2017年6月28日，lot 6432 價格：USD 4,750（相當於今日EUR 5,150 ） 描述：二十世紀萬壽節圖 專家評論：比較非常相近的對皇帝或統治者的描繪，也是絹本設色。請注意尺寸較大 (142.8 x 82 厘米)。拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2019年5月17日，lot 464 價格：GBP 10,000（相當於今日EUR 12,500 ） 描述：十九世紀皇帝與皇子圖 專家評論：請注意尺寸較大(206 x 125 厘米)。

A PINK SANDSTONE HEAD OF BUDDHA, MATHURA, KUSHAN PERIODIndia, Uttar Pradesh, 2nd-3rd century. The head finely carved with a round face, a gentle smile below heavy-lidded eyes, the brows centered by a circular urna, the face flanked by elongated ears and surmounted by closely cropped hair, remains of a back pillar. Provenance: The Pan-Asian Collection of Christian Humann, Denver, Colorado, USA. Formerly on loan to the Denver Art Museum. Sotheby's New York, 27 March 1991, lot 13, at an estimate of USD 4,000 or approx. EUR 8,500 (converted and adjusted for inflation at the time of writing). Stefaan Grusenmeyer, Belgium, acquired from the above. A noted Belgian private collection, acquired from the above in 1991 and thence by descent in the same family. A copy of the Sotheby's catalog entry from 27 March 1991 for the present lot, dating the head to circa 2nd century AD and attributing it to Mathura, accompanies this lot. Christian Humann (1929-1981) was born in France and later moved to the United States, eventually becoming the Curator of Asian Art at the Denver Art Museum. Humann was an enthusiastic collector of Asian statues, and his Pan-Asian Collection included a vast number of sculptures spanning from Afghanistan to Southeast Asia over the last two millennia. Condition: Good condition commensurate with age and overall as expected from a stone sculpture with an age of roughly two millennia. Extensive wear with signs of weathering and erosion, some nicks, structural cracks, and losses. Fine, naturally grown patina.Weight: 5,390 g Dimensions: Height 19.6 cm (excl. stand), 28.8 cm (incl. stand)With a modern metal stand. (2)Due to its location on the caravan trade routes through central India, Mathura was for centuries an important economic center. In the 2nd and 3rd centuries, it became a capital for the mighty Kushan Empire. During this time, both in Mathura and the region of Gandhara simultaneously, images of Buddha began to appear in anthropomorphic form for the first time. In contrast to Gandhara, where Graeco-Roman concerns for naturalism were stressed, the body types of the Mathura Buddhas convey an idealized Indian vitality.Literature comparison: Compare a related Indian red sandstone head of Buddha, dated to 1st-2nd century, in the collection of the Metropolitan Museum of Art, accession number 28.97.2.Auction result comparison:Type: Near identicalAuction: Christie's New York, 19 March 2014, lot 1069Price: USD 60,000 or approx. EUR 74,000 converted and adjusted for inflation at the time of writingDescription: A red sandstone head of Buddha, India, Mathura, Kushan period, 2nd/3rd centuryExpert remark: Compare the near identical face, eyes, urna, and hair. Note the size (33.5 cm).

A 'BLEU DE HUE' PORCELAIN BOWL, NOI PHU THI NAM MARKChina for the Annamese court, 18th - 19th century. The deep rounded sides supported on a thick straight foot, the exterior finely painted in shades of cobalt-blue with a lotus pond, large blossoms, pods, leaves rising from the water, and two small crabs.Inscriptions: To base, 'Neifu shizhong'.Provenance: From a German private collection. Condition: Excellent condition with minor wear and firing irregularities.Weight: 471.5 g Dimensions: Diameter 19.3 cmFrom the 1700s onwards, kings of the Le-Trinh dynasty in Vietnam ordered porcelain from China for their court. This type is named after Hue, the 19th-century capital of the last royal dynasty in Vietnam, the Nguyen dynasty (1802-1945). Although Chinese artisans executed the painting, the Vietnamese rulers dictated the designs. Each ruler ordered ceramics of his own liking for use in his court, as well as presentation pieces to give to members of royal families and mandarin officials.The marks on bleu de Hue are frequently puzzling, the more so when one thinks one can read Chinese. Sometimes they appear to be readily legible, but that can be deceiving, because the meanings derive from adaptations of Chinese script by the scholar Nguyen Thuyen in the thirteenth century. Sometimes the characters are used in the Chinese sense, and sometimes they represent Vietnamese pronunciations or phrases.Auction result comparison: Type: Related Auction: Sotheby's Paris, 9 November 2021, lot 7 Price: EUR 10,710 or approx. EUR 11,500 adjusted for inflation at the time of writing Description: A 'Bleu de Hue' porcelain dragon bowl, China for the Annamese court, mark of Thieu TriExpert remark: Note that the bowl is likely later than the present lot as Thieu Tri reigned from 1841 until 1847. Note the smaller size (13.5 cm).青花《荷塘圖》碗中國為越南王室所做，十八至十九世紀。深圓腹，厚圈足，外壁青花描繪荷塘荷花荷葉，并有嬉戲的小蟹。 款識：内府侍中 來源：德國私人收藏。 品相：狀況極好，輕微磨損，燒製瑕疵。 重量：471.5 克 尺寸：直徑19.3 厘米 從 1700 年代起，越南的後黎朝的王室從中國訂購瓷器供宮廷使用。這種類型以順化命名，順化是越南最後一個皇家王朝阮朝（1802-1945）的十九世紀首都。中國工匠設計了此類紋樣，越南王室決定使用並訂購自己喜歡的陶瓷供宮廷使用，以及贈送給皇室成員。 拍賣結果比較： 形制：相近 拍賣：巴黎蘇富比， 2021年11月9日，lot 7 價格：EUR 10,710（相當於今日EUR 11,500） 描述：清十九世紀外銷安南青花游龍戲珠紋盌，《紹治年製》款 專家評論：請注意此碗年代較晚，紹治年為1841年至1847年。請注意尺寸稍小 (13.5 厘米)。

A PINK SANDSTONE ARCHITECTURAL CORNER ELEMENT WITH TWO MANIFESTATIONS OF SHIVA, CHANDELLA PERIODNorthern India, Rajasthan, mid-11th century. The corner piece carved with two figures, each a different form of Shiva. The figure on the left resembling Bhairava, holding a head of Brahma in his left hand, a twisted serpent writhing around his neck, the headdress formed from sinuous snakes, the face with an unusually serene expression. The figure on the right resembling Shiva in his pure Mahadeva (great god) form, elegantly dressed, the hair arranged in a chignon secured by a crown, with pearls and flowers around his forehead.Provenance: From a notable collector in London, United Kingdom.Condition: Excellent condition, commensurate with age. Extensive wear, nicks, losses, minor signs of weathering and erosion, few structural cracks. Dimensions: Height 72.5 cmEach figure stands in tribhanga, the relaxed triple-angled pose adopted by gods as they attend to their devotees. They have round faces, the god resembling Bhairava frowns slightly, but his Mahadeva-like companion looks benignly, confidently downwards. Both faces are stylized, but not in the exaggerated way that one sees increasingly towards the end of the 11th century. The sculpture is fashioned in pink sandstone which suggests that it comes from the western part of the Chandella kingdom, probably the southern region of Rajasthan.The fine, smooth texture of this specific pink sandstone made it the ideal raw material, both for architectural purposes and detailed sculptural work.The present sculpture is an architectural cornerstone element that would have been placed high on the wall of a Shaivite temple, so the devotees looked up at it. Consequently, the two gods look down as they encounter the visitor. The narrow ledge on which they stand is emphasized by the position of their feet, only just able to rest securely. Likewise, as they are sculpted in high relief, they seem to press their hips against the backing block. This of course was shaped to form part of the temple wall.Various stylistic elements indicate that the sculpture dates from the 11th century. The long straight legs and slender body of each figure are indicative of this date and well illustrate the elegance of the mature Chandella style. In the 10th century, both male and female figures tend to appear shorter and plumper.In northern India during the 8th to 13th centuries, numerous princely states coexisted. This was a period marked by warfare, rivalries and political alliances, taking place against a backdrop of an elegant courtly culture. Regardless of their status amongst their peers, the various rulers aimed to emulate the atmosphere of the 4th - 6th century Gupta Empire, which had been a time of literary and artistic achievement.The Chandella dynasty became a great power in northern India in the 10th century. Thereafter successive rulers built magnificent temples at Khajuraho and elsewhere in their realm, to commemorate their military victories. As their influence expanded, their exquisite architectural style became admired across much of northern India, as indeed, it is now around the world. Chandella kings commissioned some of the finest temples in northern India. The best known of these today are in Khajuraho, Madhya Pradesh, now a village but once the Chandella capital. Other temples, no longer standing, were located throughout their realm.Expert's note: For a detailed commentary on the present lot, elaborating on the meaning of the stupa vedika and showing many further comparisons to examples in both public and private collections, please refer to the department to receive a PDF copy of this academic dossier, please refer to the department.Auction result comparison: Type: Related Auction: Christie's New York, 27 March 2003, lot 34 Price: USD 71,700 or approx. EUR 113,000 converted and adjusted for inflation at the time of writing Description: A buff sandstone stele of Shiva and Parvati, India, Uttar Pradesh or Rajasthan, 11th century Expert remark: Note the size (80.5 cm)Auction result comparison: Type: Related Auction: Christie's Mumbai, 18 December 2016, lot 63 Price: INR 1,500,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A pink sandstone figure of Shiva, India, Rajasthan or Madhya Pradesh, circa 12th centuryExpert remark: Note the size (66 cm)13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

A CAST AND REPOUSSE GILT COPPER ALLOY FIGURE OF AMITAYUS, QIANLONG PERIODChina, 1736-1795. The figure is shown seated in dhyanasana on a double-lotus base, the hands lowered in dhyana mudra, wearing loose-fitting robes decorated with foliate scroll at the hems, richly adorned with beaded, floral, and inlaid jewelry. The hair is pulled up into a tall double-topknot, falling elegantly in long segments down the sides of the shoulders, and surmounted by a jewel.Provenance: A private collector in New York, USA.Condition: Excellent condition with minor old wear, occasional light scratches, tiny nicks, few small dents. The base sealed. Some losses to inlays, some other inlays may be later replacements. Well-preserved ancient pigments. The amrita vase held in the figure's hands is lost.Weight: 4,077 gDimensions: Height 38.5 cmThe statue is made from solid and massively gilt copper alloy, as clearly evidenced by the lack of any dings or bent areas to body and base. Only the earrings, scarf, and strands of hair are executed in copper repousse.The serene face shows heavy-lidded eyes, gently arched brows centered by an urna, and full lips forming a calm smile, flanked by long pendulous earlobes.The present work exhibits many characteristics common to the Buddhist workshops of the Qianlong period, such as the combination of cast and repousse parts, the languid and slightly effeminate treatment of the face and body, and the tightly waisted double-lotus base with broad petals. The Qing court patronage of Buddhism that began under the Kangxi Emperor reached epic proportions under his grandson, the Qianlong Emperor. The Buddhist centers of Beijing, Rehol, and Dolonnor produced thousands upon thousands of images to keep up with the demand of the numerous temples in and outside the capital.Auction result comparison:Type: RelatedAuction: Christie's New York, 16 September 2016, lot 1231Price: USD 35,000 or approx. EUR 43,500 converted and adjusted for inflation at the time of writingDescription: A cast and repousse gilt-bronze figure of a Bodhisattva, Qianlong period (1736-1795)Expert remark: Compare the related pose, jewelry, and size (37.1 cm)13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.乾隆時期鎏金銅錘鍱觀音坐蓮像中國，1736-1795年。髮髻高聳，耳垂花璫，髮綹層疊垂落披肩。細眉長目微閉，鼻樑挺秀，雙眉間有白毫，雙唇微抿，神情柔和。上身坦露，飾項圈和長鏈，雙肩披帔帛，飾瓔珞，臂釧、手臅等，下身著貼體薄裙，腰纖細，繫有寶帶，結跏趺坐坐於蓮座上，姿態優美。蓮座上飾一道連珠紋，蓮瓣橢圓修長，富有層次。 來源：紐約私人收藏。 品相：狀況極佳，有輕微磨損，局部有輕微劃痕與微小的刻痕，少量小凹痕。 底座密封。損失一些鑲嵌物，一些鑲嵌可能曾後期更換過。顔料保存完好。觀音手中的淨瓶丟失。 重量：4,077 克 尺寸：高38.5 厘米 造像鎏金厚重，身體和底座沒有任何凹痕或彎曲區域清楚地證明了這一點。只有耳環與帔帛及一縷頭髮是用錘鍱而成。 此造像呈現出乾隆時期銅鎏金造像的許多特點，如鑄件與錘鍱工藝的結合，面部和身體的慵懶和略顯柔美的處理，以及寬瓣束腰雙層蓮座。康熙帝在位時期對佛教的推廣在他的孫子乾隆帝時期達到了鼎盛。北京、瑞荷、多隆諾等佛教中心為了滿足眾多寺廟的需求，製作了成千上萬的佛教造像。 拍賣結果比較：形制：相近拍賣：紐約佳士得，2016年9月16日，lot 1231價格：USD 35,000（相當於今日EUR 43,500）描述：清乾隆鎏金銅菩薩坐像專家評論：比較相近的姿勢、珠寶和尺寸(37.1厘米)。

A GILT COPPER ALLOY COMPOSITE IMAGE OF VAJRAPANI AND KUBERA, TIBETAN IMPERIAL PERIOD REVIVAL SCHOOL, 17TH-18TH CENTURY OR EARLIERHeavily cast with fine gilding, depicting a potbellied figure with unruly hair, dressed in a loin cloth tied at the waist, standing on a snake above a lotus base, all supported by an oval pedestal with a pair of coiled nagarajas. The deity incorporates aspects of Vajrapani and Kubera, with his right hand holding a vajra and in the left a mongoose.Provenance: A Hungarian private collection. Condition: Very good condition, commensurate with age, showing significant old wear, mostly to gilt, with few small nicks and dents, shallow surface scratches. The base sealed.Weight: 602.6 g Dimensions: Height 13.5 cmThe Yarlung dynasty, or Pre-Imperial Tibet, was founded in 127 BC in the Yarlung Valley and was home to the first king of Tibet, Nyatri Tsenpo. It remained the capital of the Tibetan empire until it was moved to Lhasa in the seventh century. The Yarlung Dynasty reached its peak during the military successes of the seventh and eighth centuries and abruptly came to an end in 842 due to the assassination of King Lang Darma. It is often nostalgically portrayed by Tibetan historiographers as the “Golden Age” of Tibetan history. The tombs of the great Yarlung Emperors are still located in the Yarlung valley to this day and are important destinations of pilgrimage.During the 17th and 18th century, artists of the imperial period revival school began to create bronze figures inspired by the distinct style of Yarlung dynasty sculptures.Literature comparison:Compare a related composite figure of Vajrapani and Kubera, dated to the 17th century, at Bonhams Hong Kong, 29 November 2016, lot 110, also illustrated in Ulrich von Schroeder, Buddhist Sculptures in Tibet, Volume Two: Tibet & China, Hong Kong, 2001, pp.740–6, 754–5, figs. XII–13, pl. 175. Compare a related bronze figure of Sarasvati, Tibetan imperial period revival school, dated to the 17th century, illustrated by Ulrich von Schroeder, Buddhist Sculptures in Tibet, Volume Two: Tibet & China, Hong Kong, 2001, pp. 818-819, figs. 194A-194D.西藏鎏金銅金剛手菩薩與俱毗羅，十七至十八世紀或更早精美鎏金，描繪一個大腹便便的人像，頭髮不羈，束腰，站在一條蛇上，下有蓮花座，底下橢圓形底座和一對盤繞的龍。造像融合了金剛手菩薩和俱毗羅的形象，右手持金剛杵，左手拿著貓鼬。 來源：匈牙利私人收藏。 品相：狀況良好，明顯的磨損，主要是鎏金，輕微小刻痕和凹痕，表面有淺劃痕。底座密封。 重量：602.6 g 尺寸：高13.5 厘米 雅隆王朝或前西藏帝國於公元前 127 年在雅隆河谷建立，是西藏第一位國王聶赤贊普的故鄉。它一直是西藏帝國的首都，直到它在七世紀搬到拉薩。雅隆王朝在七、八世紀的軍事勝利中達到頂峰，並在 842 年因朗達瑪王遇刺而戛然而止。西藏史學家常常將其描繪為西藏歷史的“黃金時代”。雅隆大帝的陵墓至今仍位於雅隆山谷，是重要的朝覲目的地。 在十七世紀和十八世紀，皇家復興派的藝術家開始創作青銅造像，其靈感來自於雅隆王朝造像的獨特風格。文獻比較： 比較一件相近的十七世紀金剛手俱毗羅復合銅像，見香港邦瀚斯，2016年11月29日，lot 110；也見於Ulrich von Schroeder，《Buddhist Sculptures in Tibet》，〈卷二：Tibet & China〉，香港，2001年，頁740–6，754–5，圖XII–13，編號175。比較一件相近十七世紀辯才天女銅像，見Ulrich von Schroeder，《Buddhist Sculptures in Tibet》，〈卷二：Tibet & China〉，香港，2001年，頁818-819，插圖194A-194D。

AN EARLY BRONZE FRAGMENT OF BUDDHA, PYU KINGDOMBurma, 8th-9th century. Cast seated in vajrasana on a pedestal, his right hand in bhumisparsha mudra, his left resting on his lap, wearing a monastic robe, the face with a serene expression, heavy-lidded downcast eyes, gently arched eyebrows, a broad nose, and full lips. The hair worked in tight curls and surmounted by a conical ushnisha.Provenance: French trade. Condition: Condition commensurate with age and still presenting remarkably well for an excavated bronze from this period. Extensive wear, weathering and corrosion, significant losses, remnants of countless layers of old lacquer from different periods, structural cracks, some dents and nicks.Weight: 6,024 g Dimensions: Height 37 cmThe Pyu kingdom flourished in central and northern Burma from the early years B.C. to about 832, when Halin, the capital, was sacked by forces of the southern Chinese Nanchao kingdom. The sculpture displays a fluidity of modeling, with an emphasis on soft, flowing volumes rather than a linear development of form, which is only seen in very early Southeast Asian sculpture. Literature comparison:Compare a related bronze figure of a Buddha, dated to the Pyu period, 8th to 9th century, Burma, in the collection of the Metropolitan Museum of Art, accession number: 2006.53.

A MANDARIN'S SUMMER HAT, JI GUAN, WITH A NINTH-RANK OFFICIAL'S FINIAL AND LEATHER TRAVELLING BOX, QING DYNASTYChina, 1644-1912. The hat of conical shape decorated with red tassels, surmounted by a gilt finial signifying an official of the ninth rank, the bamboo frame covered in a pale-yellow silk damask gauze with floral design, brocade rim, and blue ribbon. The interior covered in red silk with foliate design and with a blue ribbon. The original hat box made from wood, leather, textiles and further with metal handles and lock, designed to carry the Mandarin's robe, belt, boots, necklace etc. during travel.Inscriptions: To the interior of the hat box, 'Yue Dong' (East Canton), 'Shen Chen Gao Di Jie Dong Yue Yu He Zao' (made by Yue Yu He in East Gao Di Street of the provincial capital), and 'Guaranteed to be genuine and if you purchased a fake from us, we will give you an exchange'.Expert's note: A chop such as the one on the interior of the present hat case is not only quite rare to find, but it also indicates that already during the Qing dynasty many fake hats must have been in circulation. As a result, the shop had to provide a written guarantee to appease suspicious customers, an apparently timeless issue that most readers will be familiar with. Published: Linda Wrigglesworth, The Accessory, London, April 1991, page 3. Provenance: Linda Wrigglesworth, London, 1991. An English private collection, acquired from the above. Finding her passion for Chinese textiles in 1976, when encountering her first dragon robe, Linda Wrigglesworth opened her gallery in 1978, and over the following decades became one of the world's leading experts in antique Chinese costumes and textiles, helping to buy and sell pieces to private collections and public institutions worldwide. She has written countless articles and curated countless exhibitions. In 2008 she retired from her business and sold her private collection of Imperial textiles at Christie's New York. Condition: Overall good condition with natural wear, minor losses and traces of use, as expected from such a piece. The hat with small tears, few minor stains, and loose threads. The silk possibly faded and with some soiling. The box with minor scratches and losses, soiling, natural age cracks and associated old repairs. Displaying remarkably well throughout.Weight: 230 g (the hat), 4.5 kg (incl. the box) Dimensions: Diameter 32.5 cm (the hat), Length 56 cm (the box)With a matching hat box of the same period. (2)The present lot was intended for summer use, as indicated by the silk material over a lightweight bamboo frame. This semi-formal type of hat is referred to as ji guan or festive hat. Under Manchu formal dress regulations, the colors of hat finials were used to distinguish official ranks. In 1727 the Yongzheng Emperor introduced a new type of formal insignia, so-called 'mandarin hat buttons', a large round bead, which was mounted with a gilt base to the hat. These mandarin hat buttons signified a person's rank. Officials of higher rank were permitted to wear jewels, while lower ranks wore plain gilt jewels. Ninth-rank officials were allowed to use plain gilt beads as hat buttons.Auction result comparison:Type: RelatedAuction: Christie's New York, 24 March 2004, lot 34Price: USD 10,158 approx. EUR 15,500 converted and adjusted for inflation at the time of writingDescription: A group of three semi-formal court hats, jiguang, and a tiered hat box, 19th centuryExpert remark: Compare the related form and decorations, as well as the size (31.1 cm). Note this lot comprises three hats and a tiered box.清代九品官吉服冠中國，1644-1912年。無簷，喇叭式，圓錐形帽飾紅色流蘇，鎏金頂飾，用篾席外裹淡黃色綾羅，錦邊。內部覆蓋著帶有葉狀紋的紅色絲綢和一條藍色絲帶。帽盒由木頭、皮革、紡織品製成，並帶有金屬把手和鎖扣，旅行便携盒，可用來放置長袍、腰帶、靴子、項鍊等。 款識：帽盒内標籤”粵東，省城高第街，東約裕和造，如假包換” 專家注釋：像現在的帽盒內部的標籤，不僅非常罕見，而且說明在清代一定已經有很多假帽子在流通。這家商店不得不提供書面保證。 出版：Linda Wrigglesworth，《The Accessory》，倫敦，1991年4月，頁3。 來源：Linda Wrigglesworth，倫敦，1991年；一個英國私人收藏，購於上述收藏。 品相：整體狀況良好，自然磨損、小缺損，有使用痕跡。這頂帽子有小水漬和輕微的污漬，還有鬆散的線。絲綢有些褪色、污漬。盒子有輕微的劃痕和損失、污漬、自然老化和相應的維修。重量：帽230 克，總 4.5 公斤 尺寸：帽直徑 32.5 厘米，盒子長 56 厘米 來自同時期的相配帽盒。由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。

Andrews, John: A collection of plans of the most capital cities in the other three parts of the world. With a description of theitr most remarkable buildings, trade, situation ... selcted from the best authorities. London: John Hand 1772. 24 x 18,2 cm. Mit 42 (37 doppelblattgr., 3 gefalt., 2 kolor.) gest. Plänen. 2 Bll., 140 SS. Restauriertes Ldr. (Etwas berieben und bestoßen, Einband restauriert. Stellenweise gebrauchs- und altersfleckig; einige Pläne mit Falzeinrissen.)ESTC 006019550. Worms/Baynton-Williams S. 19 f. - Mit Plänen von London, Paris, Rom, Neapel, Wien, Berlin, Dresden, Köln, St. Petersburg, Kopenhagen, Moskau uvm. Die Pläne von Venedig und Amsterdam koloriert.

Skinner, Joseph: The present state of Peru: Comprising its geography, topography, natural history, ... The whole drawn from original and authentic documents, chiefly written and compiled in the peruvian capital. London: R. Phillips 1805. 26,2 x 20,2 cm. Mit 20 kol. Kupfertafeln (davon eine als Frontispiz). XIV, 487 SS., 1 nn. S. HLdr. mit Rs. und Rv.(Vorderdeckel lose. Leicht gebräunt und stellenweise feucht- bzw. altersfleckig).Lipperh. Md 5. Hiler S. 802. Colas 2751. - Erstausgabe. - Mit kolorierten Kostümtafeln der Einwohner von Peru, sowie Textbeiträgen zur Geographie, Topographie, Flora und Fauna, Brauchtum, der indigenen Bevölkerung und gegenwärtigen Kunst, Literatur und Philosophie des Landes.

Virgilius Maro (Publius) Codex antiquissimus a Rufio Turcio Aproniano V.C. distinctus et emendatus qui nunc Florentiae in Bibliotheca Mediceo-Laurentiana..., additional engraved architectural title, half-title, printed in red & black capital letters, engraved title vignette portrait, head- & tail-pieces and initial, half-title lightly marked, small and neat hole repairs to pp.457-459, with final page (blank recto) laid down to endpaper, contemporary calf, ruled in bright gilt, joints rubbed with lower joint cracked but holding firm, one or two scuff marks, still an excellent copy overall, 4to, Florence, Manni, 1741.⁂ Type-facsimile of the 4th century Virgil manuscript in the Bibliotheca Laurenziana, edited by P.F.Foggini, later librarian of the Vatican Library. The edition, printed by Manni in Florence, was printed with types imitating the uncial script of the original, in red and black. By combining different sizes of types, the printer was also able to include the annotations and emendations of Asterius and Laetus. "A curious piece of Italian typography, very characteristic of the eighteenth century." Updike, Printing Types I p.171.

Rowlandson (Thomas) [Picturesque Beauties of Boswell... Designed and Etched by Two Capital Artists...], 20 loose plates only, including frontispiece, from designs by Samuel Collings, etchings on thick wove paper without watermarks, each sheet approx. 375 x 550 mm (14 3/4 x 21 3/4 in), wide margins, a few with slightly rough edges, some minor nicks and small losses, handling creases, surface dirt, loose, unframed, E. Jackson and G. Kearsley, 1786

A CAST AND REPOUSSE GILT COPPER ALLOY FIGURE OF GREEN TARA, QIANLONG PERIODTibetan-Chinese, 1736-1795. Seated in lalitasana atop a double-lotus base with beaded edges, her raised left hand held in vitarka mudra and holding a lotus stem, her left lowered in prithvi mudra. Wearing a fine dhoti cascading in voluminous folds and neatly incised with foliate and diapered designs at the hems. Richly adorned with beaded, floral, and inlaid jewelry. The finely incised hair pulled up into a tall double-topknot falling elegantly in long segments down the sides of the shoulders and surmounted by a jewel.Provenance: From the collection of Gustave Fayet (1865-1925), thence by descent in the family. Gustave Fayet was a French painter and art collector, who owned works by Degas, Manet, Pissarro and above all Paul Gauguin. Fayet was a man with a universal curiosity, an eminent patron of the arts, and a discerning collector in all fields.Condition: Overall fine condition commensurate with age and presenting remarkably well and attractive. With old wear, traces of use and some minor casting flaws, occasional light scratches, tiny nicks, few small dents. Losses to inlays, some of the remaining inlays may be later replacements. Well-preserved ancient pigments. The separately cast lotus flowers at the shoulders are missing. The lacquer gilt sections with scattered stains. The fire gilt sections with minor areas of malachite encrustation. The base lid is bent and indented.Weight: 3,166 gDimensions: Height 37.7 cmThe serene face with heavy-lidded eyes, gently arched brows centered by an urna, and full lips forming a benevolent smile, flanked by long pendulous earlobes.The impressive statue is made from a solid cast of copper alloy, as clearly evidenced by the lack of any dings or bent areas to body and base. Only the earrings, scarf, strands of hair, and the lotus foot support are executed in copper repousse. The statue is gilt overall, partially in lacquer and partially with a superb fire-gilt, exactly as expected from a statue of the Qianlong period.The present work exhibits many characteristics common to the Buddhist workshops of the Qianlong period, such as the combination of cast and repousse parts, the languid and feminine treatment of the face and body, and the tightly waisted double-lotus base with broad petals. The Qing court patronage of Buddhism that began under the Kangxi Emperor reached epic proportions under his grandson, the Qianlong Emperor. The Buddhist centers of Beijing, Rehol, and Dolonnor produced thousands upon thousands of images to keep up with the demand of the numerous temples in and outside the capital.Auction result comparison: Type: Closely related Auction: Christie's New York, 16 September 2016, lot 1231 Price: USD 35,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writingDescription: A cast and repousse gilt-bronze figure of a bodhisattva, Qianlong period Expert remark: The bronze belongs to the same group as the present lot, combining repousse elements with a cast figure. The bronze is of near-identical size (37.1 cm) and also dated to the Qianlong period.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2019, lot 674 Price: USD 112,500 or approx. EUR 122,500 converted and adjusted for inflation at the time of writingDescription: A large cast and repousse gilt-bronze figure of Green Tara, Inner Mongolia, Dolonnor style, late 18th century Expert remark: The bronze also depicts Green Tara and belongs to the same group as the present lot, combining repousse elements with a cast figure. The bronze is of considerably larger size (58.1 cm high) and dated to the late 18th century.乾隆銅鎏金錘鍱綠度母漢藏, 1736-1795年。本尊綠度母坐像，通身以錘鍱工藝製作，半跏趺舒坐於蓮花寶座上，為典型的三折姿勢。葫蘆形髮髻高聳，雙耳垂肩，耳懸花鐺，披肩長辮優美。面容飽滿，嘴角上揚微笑，雙眉之間有白毫，端莊靜穆，給人以悲憫之感。上軀袒露，佩掛項圈及連珠長鏈，手、臂、踝均飾有釧環。左腿橫盤，右腳下應踏小蓮台，左手於胸前施三寶印，右手置膝前作予願印。其下蓮座為雙層束腰仰覆式，台座規矩，蓮瓣舒展精細。 來源：Gustave Fayet (1865-1925) 收藏，保存在同一家族至今。Gustave Fayet 曾是一位法國畫家和藝術收藏家。他的收藏中可見德加、莫奈、畢加索和高更。Fayet是一個特別有好奇心的傑出的藝術贊助人，也是一個在各個領域都獨具慧眼的收藏家。 品相：整體狀況良好，與年齡相稱。有磨損，使用痕跡和一些輕微的鑄造缺陷，局部輕微的劃痕和刻痕，少量小凹痕。鑲嵌物的遺失，一些剩餘的鑲嵌物可能在後期更換過。顏料保存完好。肩部分鑄的蓮花遺失。漆面鎏金部分有散落的污漬，少量綠色結殼。底蓋彎曲。由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE AND MASSIVE SPINACH-GREEN KHOTAN JADE FIGURE OF GUANYIN, PROBABLY TAKEN FROM THE OLD SUMMER PALACE IN BEIJING IN 1861China, ca. mid-18th to mid-19th century. Finely carved standing, cradling a lingzhi sprig and ruyi scepter in her delicate hands, wearing a long flowing robe cascading in voluminous folds, her serene face with heavy-lidded eyes, the neatly incised hair tied up into a high chignon secured by a ruyi-head hairpin. The stone of a deep spinach-green tone with creamy, russet, and cloudy inclusions.Provenance: Eugenie de Montijo (1826-1920), Empress of the French from her marriage to Emperor Napoleon III, and thence by descent in the family. Christie's London, 12 October 1950, lot 121. The Graham Collection, London, acquired from the above and thence by descent in the 1970s to a private English collector. A copy of the lot entry in the Christie's London auction catalog from 12 October 1950, stating the present lot was “Formerly the Property of the Empress Eugenie” and with handwritten notes by a previous owner, accompanies this lot.It is probable that the present statue was originally located at the Old Summer Palace, Yuanmingyuan, in Beijing and subsequently part of the loot of several hundred pieces sent to Empress Eugenie directly by General Charles Cousin-Montauban (1796-1878).In the morning of 21 September 1860 General Cousin-Montauban was the commanding officer of the Anglo-French troops, fighting the battle at the bridge of Palikao against the Qing Imperial forces, a decisive event of the Second Opium War. Their victory allowed the Western forces to take the Chinese capital Beijing and eventually defeat the Qing Empire. On 6 October 1860, French and British troops captured the Old Summer Palace, looting the Imperial collections over the next few days, again under the command of General Cousin-Montauban.In 1861, General Charles Cousin-Montauban sent numerous crates of the enormous French loot of the Summer Palace to Empress Eugenie in France as a personal gift to the Imperial French household, with the first shipment arriving in February 1861. The inventory of this shipment numbers some 800 objects, with over 300 coming directly from the sack of the Summer Palace. As a reward, the general eventually received the title of Comte de Palikao by Emperor Napoleon III in 1862.In 1863, the Empress established a museum of Chinese art called the Musee Chinois (Chinese Museum) at the Palace of Fontainebleau. She carefully curated the collections and displays of this museum, at the time almost exclusively consisting of the objects taken from the Old Summer Palace in 1860. In later years, Eugenie combined the Chinese collection with gifts originating from the French embassies in Siam, Cambodia, Japan, Korea, and Tibet to collectively form the core of the Asian art collection in Fontainebleau, which she later complemented with objects confiscated by the state during the French Revolution and kept since then at the National Library, some diplomatic and non-diplomatic gifts, and acquisitions she made on the French art market using the Imperial household's personal budget. The museum has been preserved in a layout largely similar to that of the 1860s and is one of the world's oldest museums specifically dedicated to Asian art. It is unknown which and how many of the pieces from the museum went with Empress Eugenie to England after her husband was overthrown in 1870, but there are speculations that the amount was quite substantial.Empress Eugenie of France was born María Eugenia Ignacia Agustina de Palafox y Kirkpatrick, 19th Countess of Teba, 16th Marchioness of Ardales, in Granada, Spain. She was Empress of the French from her marriage to Emperor Napoleon III on 30 January 1853 until the Emperor was overthrown on 4 September 1870. Napoleon and Eugenie had one child together, Napoleon, Prince Imperial (1856-79). After the fall of the Empire, the three lived in exile in England. Eugenie outlived both her husband and son and spent the remainder of her life working to commemorate the Second French Empire. After World War I, Eugenie lived long enough to see the collapse of other European monarchies, such as those of Russia, Germany and Austria-Hungary. She left her house in Farnborough with all her collections to the heir of her son, Prince Victor Bonaparte.Published: The Times, London, 13 October 1950, a column in the paper relating to various jades in the Christie's sale including this figure of Guanyin from Princess Eugenie which sold at 250 Guineas (at the time, the cost of house in London averaged at ca. 1.500 Guineas). A copy of a newspaper clipping with this column accompanies this lot.Condition: Very good condition with some old wear, natural inclusions and imperfections of the stone, few minuscule nicks here and there, light scratches. The wood base with minor losses, natural age cracks and a fine naturally grown patina.Weight: c. 24 kg (without the base) Dimensions: Height 75 cmWith a matching wood base dating from the same period, finely carved with lotus petals. (2)Literature comparison: Compare the movement of the robes, expression, high chignon with hairpin, and wood stand on a closely related jade figure of Guanyin, dated 19th century, 72.4 cm high, in the collection of the Metropolitan Museum of Art, accession number 39.65.24a, b.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2011, lot 1515 Price: USD 290,500 or approx. EUR 378,000 converted and adjusted for inflation at the time of writing Description: A large mottled jadeite figure of Guanyin Expert remark: Note the much smaller size (39.4 cm) 大型和田碧玉觀音立像，可能來自1861年圓明園之劫中國，約十八世紀中期至十九世紀中期。 來源：Eugenie de Montijo歐珍妮·德·蒙提荷(1826-1920)，是法蘭西第二帝國皇帝拿破崙三世的妻子和法國最後一位皇后，保存在同一家族；倫敦佳士得，1950年10月12日，lot 121；倫敦 Graham Collection，購於拍賣，一直保存至上世紀七十年代被一英國私人收藏家收藏。隨附倫敦佳士得拍賣目錄文字副本，上描述 “Formerly the Property of the Empress Eugenie” （歐珍妮皇后財產）與上任藏家手寫注釋。 由於字數限制，完整中文敘述請至www.zacke.at查看。

A SANDSTONE GUARDIAN FIGURE DEPICTING HANUMAN, KOH KER STYLEKhmer Empire, 10th century. Finely carved seated on a rectangular base with one knee raised, his right hand holding a vajra and his left resting on his thigh, wearing a short pleated sampot with fine incision work. The face well detailed, the large bulging eyes with neatly incised pupils, the mouth agape revealing sharp teeth and a wrathful expression, flanked by elongated lobes with large earrings, the head surmounted by an elaborate foliate crown. Provenance: From a distinguished Italian private collection, acquired between the late 1960s and early 1970s. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Excellent condition, commensurate with age. Extensive wear, small losses, minor nicks and surface scratches, signs of weathering and erosion, structural cracks, encrustations. Fine, natural patina overall.Dimensions: Height 62.8 cmGuardian figures such as the present lot were placed aside of gateways, steps, and entrances of sacred areas like temples.Koh Ker, which lies 50 miles (80 km) northeast of Angkor, was the capital of the Khmer Empire from 928-944. Koh Ker's sculptural style is thus distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form. The Koh Ker rulers adhered to the Hindu religion, especially the Shaiva sect.Hanuman is most prominently featured in the Indian epic Ramayana, which had gained popularity in Cambodia by the 600s. As a divine being, Hanuman has the power to augment or diminish his size at will, and so he grows to such a stature that he can span the ocean with a single stride.Literature comparison: Compare a closely related Koh Ker sandstone figure of Hanuman, 177.8 cm high, in the collection of the National Museum of Cambodia, inventory number NMC.259. Compare a related Koh Ker bronze figure of Hanuman, 15.2 cm high, in the collection of the Cleveland Museum of Art, accession number 1987.43.Auction result comparison: Type: Related Auction: Christie's Paris, 7 June 2011, lot 381 Price: EUR 97,000 or approx. EUR 119,000 adjusted for inflation at the time of writing Description: An important sandstone figure of a lion-headed guardian, Cambodia, Khmer, Koh Ker Style, mid-10th century Expert remark: Compare the closely related pose and manner of carving, the guardian also holding a vajra in his hand. Note the size (84 cm).

A RARE AND COMPLETE SET OF FOUR JADE OPENWORK SWORD FITTINGS, WESTERN HAN DYNASTYChina, 206 BC to 8 AD.Comprising:1) A pommel (shou) of circular form, the domed center carved as a dragon, encircled by alternating taotie masks and archaic scroll,2) A sword guard (ge) carved with central taotie masks to each side, the nose extending to the pointed lower end, flanked by phoenixes and archaic scroll,3) A scabbard chape (bi) of trapezoidal form carved with sinuously coiled dragons,4) A scabbard slide (zhi) carved with a central bi disc flanked by two confronting dragons with tails terminating in phoenix heads.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades.Condition: Excellent condition, commensurate with age. Expected wear, alterations and weathering, minuscule nibbling and losses, soil and iron rust encrustations. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time. Weight: 113.6 g (total) Dimensions: Length 14 cm (the scabbard slide), 7 cm (the scabbard chape), and 6.8 cm (the sword guard), Diameter 6.7 cm (the pommel)The translucent jades are of a fine, greenish-yellow tone with cloudy inclusions, and scattered black speckles. The distinct iron rust encrustation indicates that the jades were buried with a source of iron, doubtlessly the decomposed blade.Expert's note: Xi'an City was the capital of China during the Western Han (202 BC-8 AD) period. According to metallographic studies of iron swords excavated in this region, all known examples were found in a severely decomposed condition. Consequently, they presented a wide range of damage such as fractures, incompleteness, and thick layers of corrosion. Such corrosion leaves notable decaying marks on their corresponding jade fittings, which take centuries to develop into the russet 'spiderweb' crackle found on the present lot. These alteration marks are inimitable, not only because they leave behind irreversible scars on the jade itself, but also because their metallurgic composition is quite unique.In ancient China, there were two pathways known for soft iron making: One was the so-called “direct process” in which bloomery iron, with a low-carbon content, was smelted in a furnace and then directly used for smithing larger numbers of lower quality blades. The second, so-called “indirect process” was more complex: After smelting from a blast furnace, cast iron was decarburized through a liquid-state procedure called Chaogang. This produced still-malleable iron with a significantly higher carbon content of up to 1%, or - in other words - steel of the best possible quality for the manufacture of high-end blades. Needless to say, jade was used primarily for fittings of blades from this group, a sign of almost exuberant luxury, marking its owner as a person of nobility. Similar fittings were also found on bronze swords, but only the ones discovered near the remnants of iron blades are encrusted with distinct rust patterns such as the present lot.This exceptional set of sword fittings exemplifies the best jade carving of the early Western Han period. Note the extreme thinness of the jades in several areas, with some parts of the guard and the chape measuring an incredible 1 mm in thickness.Literature comparison: Compare a closely related set of sword fittings once belonging to the King of Nanyue, illustrated in Zhongguo Yuqi Quanji 4 - Qin, Han, Nanbeichao, Hebei, 1993, pp. 60-61, nos. 79-82. Compare four sword fittings from the Myers collection, dated to the Western Han period, published in Fillippo Salviati, Radiant Stones: Archaic Chinese Jades, 2004, Hong Kong, nos. 130-133.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2017, lot 2711 Price: HKD 8,460,000 or approx. EUR 1,148,000 converted and adjusted for inflation at the time of writing Description: An important set of three jade 'chilong' sword fittings and a jade sword guard, Western Han dynasty Expert remark: Note the smaller size (the largest 8.8 cm)西漢罕見一套四件玉劍飾中國，公元前206年至公元8 年。一套四件 來源：Irene與 Wolfgang Zacke (1942-2022)。自1968 年起，這對夫婦活躍在藝術貿易界，並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980 年代後期，他們一直在收集中國古代玉器，幾十年來建立了極富多樣性的收藏。 品相：狀況極佳，有磨損、風化、磕損、缺損、土壤結殼與鏽斑。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：總113.6克 尺寸：劍璏長 14 厘米，劍珌7 厘米，劍格6.8 厘米，劍首直徑 6.7 厘米 玉質細膩，有綠色、赭色斑，瑩潤有澤。玉石上明顯的鐵鏽斑。由於字數限制，完整中文敘述請至www.zacke.at查看。

A CHAMPLEVE AND ENAMEL WALL VASE, GUANGDONG TRIBUTE TO THE IMPERIAL COURT, QIANLONGChina, 1736-1795. Of flattened form, the gilt bronze baluster body supported on a short spreading foot and rising to a flared neck, the mouth and foot rims are three-lobed. Inlaid at the center with a haitang-shaped and finely enameled plaque neatly painted with two court ladies seated in a lush garden with willows, rockwork, and flowers, one playing the flute. The plaque is encircled by raised kuilong executed in champleve enamel, the foot and base of the neck with similar kuilong and with an enameled taotie mask below the mouth.Provenance: From a North German private collection, assembled before 2007.Condition: The canton enamel plaque with small repairs to lost enamels, the vase further with some dents and nicks, light surface scratches, manufacturing flaws such as expected pitting, minor old wear to gilt. Overall presenting remarkably well, the condition consistent with age.Weight: 579.2 gDimensions: Height 21 cmThe back with a circular aperture within a rectangular recess for wall suspension.Palace archival records confirm that significant quantities of enamel and champleve wares were produced in the Guangdong province with a wide range of designs that included luxurious and eye-catching pieces such as the present wall vase. Yang Boda notes the high quality of champleve wares made in Guangzhou, the capital of the province, adding that they were 'second to none during the whole Qing dynasty' (see Tributes from Guangdong to the Qing Court, Chinese University of Hong Kong, 1987, page 54). During the 18th century, Guangzhou had become an important artistic center as craftsmen active there were in very close contact with European missionaries and traders bringing to China new and innovative techniques. Wares made in these foreign techniques were highly coveted by the Imperial household, especially during the Qianlong era, hence a number of such champleve wares were sent as tribute gifts from Guangdong to the Imperial court in Beijing. During the reign of the Qianlong Emperor, the manufacture of champleve, cloisonne and painted enamel products flourished to achieve its most sophisticated level in both range and quality.Expert's note: Champleve wall vases only seldomly appear on the market. The present lot - with its unique addition of a finely enameled plaque - seems to have no comparable examples found in private or public collections and hence must be considered exceedingly rare.Auction result comparison:Type: RelatedAuction: Bonhams London, 13 May 2010, lot 401Estimate: GBP 15,000 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A fine champleve enamel and gilt-bronze baluster wall vase, late QianlongExpert remark: Compare the related champleve enameling and similar kui dragons. Note that this vase is of almost the same size (18.3 cm) but lacks the canton enamel plaque.Auction result comparison:Type: Remotely relatedAuction: Christie's Hong Kong, 29 May 2013, lot 2068Price: HKD 3,150,000 or approx. EUR 475,500 converted and adjusted for inflation at the time of writingDescription: A very rare Imperial champleve and gilt-bronze archaistic vase, hu, QianlongExpert remark: Note that this is not a wall vase and of significantly larger size (39.3 cm) than the present lot乾隆内填琺瑯壁瓶，廣東進貢中國，1736-1795年。扁瓶形，撇口，束頸，豐肩，下收腹，底足外撇。頸部中央一道弦紋。瓶身開光鑲嵌精美琺瑯瓷牌，兩位仕女坐在園中柳樹下，四周鮮花環繞，假山亭子。開光周圍是用内填琺瑯描繪夔龍紋和饕餮紋。 來源：德國北部私人收藏，購於2007年之前。 品相：琺瑯面有小修復，花瓶有一些凹痕和刻痕，表面有輕微劃痕，製作瑕疵，例如麻點、鎏金的輕微磨損。整體狀況良好，與年齡相吻合。 重量：579.2 克 尺寸：高21 厘米 背面帶有矩形凹槽，圓形孔，用於牆壁懸掛。由於字數限制，完整中文敘述請至www.zacke.at查看。

A SANDSTONE GUARDIAN FIGURE DEPICTING GARUDA, KOH KER STYLEKhmer Empire, 10th century. Finely carved kneeling atop a square base with one knee raised, his right hand holding a vajra and his left resting on his thigh, wearing a tight-fitting dhoti which is neatly incised with a diapered feather-like design, his wings at the back are also finely incised. The face well detailed with large bulging eyes, thick brows, and a prominent beak, flanked by elongated lobes with large earrings, the head surmounted by an elaborate foliate crown. Provenance: From a distinguished Italian private collection, acquired between the late 1960s and early 1970s. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Excellent condition, commensurate with age. Extensive wear, small losses, minor nicks and surface scratches, signs of weathering and erosion, structural cracks, encrustations. Fine, natural patina overall. Dimensions: Height 65.3 cmGuardian figures such as the present lot were placed aside of gateways, steps, and entrances of sacred areas like temples.Koh Ker, which lies 50 miles (80 km) northeast of Angkor, was the capital of the Khmer Empire from 928-944. Koh Ker's sculptural style is thus distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form. The Koh Ker rulers adhered to the Hindu religion, especially the Shaiva sect.Garuda is a half-bird, half-human creature that appears in both Hinduism and Buddhism. In Hinduism, Garuda is the mount of the god Vishnu and the sworn enemy of the Naga serpent. As a symbol of supremacy, this bird-king demonstrates the harmony between power and grace, creating a magical figure of strength and heroism.Literature comparison: Compare a related Koh Ker sandstone figure Garuda, 216.5 cm high, in the collection of the National Museum of Cambodia, inventory number Ka.1737. Compare a closely related Koh Ker sandstone head of Garuda, 16 cm high, in the National Museum of Cambodia, inventory number Ka.3053.

A RARE GUAN-TYPE VASE, HU, QIANLONG MARK AND PERIODChina, 1736-1795. The ovoid body supported on a thick spreading foot and tapering to a waisted flared neck, set to either side with a lion-head-form loop handle over a molded mock ring handle at the shoulder, applied overall in a thick bluish-gray glaze suffused with a bold network of steel gray and pale gold crackles stopping at the unglazed foot ring dressed in a dark brown wash in imitation of Song dynasty guan ware. The recessed base with an underglaze-blue six-character mark da Qing Qianlong nianzhi and of the period.Provenance: Swiss trade. Condition: Fine condition overall with wear and firing irregularities, shallow surface scratches, the rim with a small chip and associated minor old repair. Please request further detail images as well as a video, shot under strong blue light, for accurate documentation of the condition of the present lot.Weight: 6,002 gDimensions: Height 37 cmThe crisply molded lion-form loop handles on the present piece are striking, varying from the usual shallow applied lion-mask handles with pendent rings or the rarer elephant-head loop handles. The bold feature is a charming 18th-century innovation on a vase that in both form and glaze references two well-known early accomplishments of Chinese art: the iconic hu form derived from the great bronzes of the Shang dynasty and the rich crackled glaze of the famed Guan wares of the Southern Song dynasty. The official or Guan ware was produced for the court in the capital, Hangzhou, in Zhejiang province. Laohudong in southern Hangzhou appears to have been the most important Guan kiln creating wares with an attractive crackled glaze, a version of which is seen on the present piece. The crackle was purposefully made utilizing refined technical skill to calibrate a cooling rate for the wares that would produce the different layers of fissures and allow them to be filled with two to three different colors. The present piece with its two tones references the jinsi tiexian (gold thread and iron wire).Such a pointed allusion to the past served to both pay homage to the past while simultaneously noting the technical achievements of the present. Archaism enjoyed a major revival during the height of the Qing dynasty under the Yongzheng and Qianlong emperors. The combination of a precious glaze and ancient form suggests a deep appreciation and respect for the past, together with the want for its preservation.Auction result comparison: Type: Near-identical Auction: Sotheby's New York, 17 March 2015, lot 287 Price: USD 87,500 or approx. EUR 107,500 converted and adjusted for inflation at the time of writing Description: A rare Guan-type vase, Hu, Qianlong seal mark and period Expert remark: Compare the identical form, two-tone crackled glaze, and extremely rare lion-form loop handles. Note the smaller size (30 cm).乾隆款及年代仿官釉雙耳壺中國，1736-1795年。仿漢壺尊形制，鼓腹，外撇圈足。頸部兩側有獅首耳，通體及足內均施仿官釉，釉面開片紋。胎體優美，造型素雅，猶可辨趙宋遺韻。圈足内六字篆書款“大清乾隆年製”。 來源：瑞士古玩交易。 品相：整體狀況良好，磨損和燒製不規則，表面淺劃痕，邊緣有小磕損和相應小修。請聯繫部門詢問更多細節圖片以及在強藍光下拍攝的視頻，以準確查看當前拍品的狀況。 重量：6,002 克 尺寸：高37 厘米 這件作品上造型清晰的獅首耳特別引人注目，與通常帶有活環的獅首或較罕見的象首耳不同。此器的造型、釉色都極似宋代的作品，是仿古之作。清雍正時期對宋代五大名窯的仿製取得了空前的成就，摹古水平極高。此時所仿製的宋代官窯釉面或有冰裂紋或無片紋，其紋呈白色或鐵色。胎色黑，頗能體現宋代官窯 “紫口鐵足”的特色，在清代文獻中被稱為“鐵骨大觀”。拍賣結果比較： 形制：幾乎相同 拍賣：紐約蘇富比，2015年3月17日，lot 287 價格：USD 87,500（相當於今日EUR 107,500） 描述：清乾隆官式瑞獸耳壺 《大清乾隆年製》款 專家評論：比較幾乎相同的外型、雙色調的釉面開片，以及罕見的獅首耳。請注意尺寸較小 (30 厘米)。

A SANDSTONE FIGURE OF A DVARAPALA, KOH KER STYLE, ANGKOR PERIODKhmer Empire, early 10th century. Superbly carved, standing in a wide-legged dancing stance, his back slightly arched and his legs strong and taut. His chest is full, his right shoulder is slightly raised and in keeping with the preferred style of the period, he is stoutly built with a rounded stomach. The position of the upper arms suggests that his hands were placed in namaskara mudra (respectfully greeting) in front of his body and the disc shape on the chest marks an area originally covered by the two thumbs. His head is tilted slightly to the left side, his expression is serene and distinctly confident, given further emphasis by his full lips and broad smile, the hair drawn into a conical chignon secured with a foliate tiara.Provenance: From a notable collector in London, United Kingdom.Condition: Excellent condition, commensurate with age. Extensive wear, some nicks, losses, minor signs of weathering and erosion, few structural cracks. Dimensions: Height 72 cm (excl. stand) and 78 cm (incl. stand)The dvarapala wears a short garment with a curving upper edge that adds emphasis to the massive strength of his body. The fine pleats and delicate curve at the edge of the fabric seem to defy the nature of the stone. A long scarf falls between the legs and would originally have extended to the ankles. Its sway further indicates the sense of movement contained within the figure.Mounted on an associated metal stand. (2)A dvarapala is a temple guardian. In India, where the concept originated, two giant figures, sculpted in high relief, are often found flanking the principal temple entrance. One is formidable, to scare away those of ill intent while the other is seductively handsome, in order to lure the faithful past the portal. In Cambodia the form evolved separately because the temples were built to different plans. There, a succession of courtyards contained secondary buildings and the principal one was only accessible to a limited number of ritual participants. In the 10th century dvarapala were freestanding statues, still sculpted in pairs but resting within the precinct. Although they observed approaching visitors, their essential role was that of bodyguards, protecting the deity lodged within the temple.This latter role appears to have become increasingly dominant in the Koh Ker period when the supremacy of the kings of Angkor was challenged by a powerful royal claimant who established another court to the north of the Kulen mountains, from where he imposed martial rule on much of the kingdom. The achievement of this alternative court is reflected in some of the finest works of art to emanate from Cambodia during the Angkor period. The sculptures are notable for their spontaneous appearance, strong personalities and sense of inner, spiritual energy. Even when the subject is not a recognizable deity, the suggestion of individual personality is always present. This image of a dvarapala exemplifies the style of the period, full of confident swagger but maintaining a deeply serious purpose in his guardian role.Benign dvarapalas can often be found flanking doorways or protruding from corner brackets, while apsaras are ubiquitous to the temples of Angkor. Dvarapalas became integral to temple sculpture in India as early as the 5th century and appear in Cambodia in the earliest of the Angkor Empire's temples, the Roulos group, constructed around the turn of the 10th century. The Shaivite temples at Koh Ker are similar to these in their iconographical programs and architectural structures.Koh Ker, which lies 50 miles (80 km) northeast of Angkor, was the capital of the Khmer Empire from 928-944. Koh Ker's sculptural style is thus distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form.Expert's note: For a detailed commentary on the present lot, elaborating on the history and architecture of the Khmer Empire, the Koh Ker style, and the sculpture itself and showing many further comparisons to examples in both public and private collections, please see the lot description on www.zacke.at. To receive a PDF of this academic dossier, please refer to the department.Literature comparison: Compare two closely related larger Koh Ker sandstone figures, 236 cm and 234 cm high, in the collection of the National Museum of Cambodia, inventory numbers NMC.149 and NMC.150. Compare a related Koh Ker sandstone figure of a female dancing deity in the Musee Guimet, illustrated by Helen Jessup and Thierry Zephir in Sculpture of Angkor and Ancient Cambodia: Millennium of Glory, Paris, 1997, cat. no. 43.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2009, lot 1428 Price: USD 146,500 or approx. EUR 198,000 converted and adjusted for inflation at the time of writing Description: A monumental gray sandstone figure of a Dvarapala, Khmer, Koh Ker Style, 10th century Expert remark: Note the significantly larger size (129.5 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

* LEON MORROCCO RSA RGI (SCOTTISH b. 1942),SHRINE BY THE SEAmixed media on paper, signed, titled label versoimage size 15cm x 21cm, overall size 30cm x 35cm Mounted, framed and under glass. Label verso: The Open Eye Gallery, Edinburgh.Note: The Royal Scottish Academy recently honoured Leon Morrocco by staging a major exhibition "Leon Morrocco: Long Road Home" (30th July - 28th August 2022). The RSA website reports: Timed to coincide with the artist’s 80th birthday (and the 2022 Edinburgh International Arts Festival) this major survey exhibition of one of our longest-standing Academicians celebrates the breadth of Leon’s prolific career. Although Leon was born in Edinburgh he has not lived in Scotland since 1979. This exhibition charts the ‘long road home’ to showing in the capital this summer.Note 2: Leon Morrocco RSA was born in Edinburgh in 1942. The son of Scottish-Italian artist Alberto Morrocco RSA OBE (1917-1998), Leon spent his childhood in Aberdeen and Dundee where his father taught at the art colleges. On family holidays to Italy Leon and his father would go out into the hills around Rome and Alberto would paint whilst Leon would draw. In 1959 Leon enrolled at Duncan of Jordanstone College of Art, Dundee, before continuing to the Slade School of Art, London (1960-61), and Edinburgh College of Art (1961-65). After art school, he was awarded the Andrew Grant Scholarship and an Italian Government Scholarship to the Accademia di Brera, Milan. Allowing him to travel around Greece, Turkey and Italy, these awards catalysed the itinerant lifestyle that would define his career. Elected an Associate of the Royal Scottish Academy at the unusually young age of 29, Leon was Lecturer in Drawing and Painting at Edinburgh College of Art from 1965 to 1968 before taking up a similar position at Glasgow School of Art from 1969 to 1979. Driven by a desire for travel and adventure, in 1979 he left Scotland to become the Head of Fine Art at the Chisholm Institute, Melbourne. Leon and his family would live in Australia for 12 years. Buoyed by gallery support, in 1984 he left academia and for the first time focused solely on his own practice. Following several successful exhibitions in Melbourne and Sydney, in 1991 Leon and his family returned to the UK, settling in North London. Leon Morrocco's work is held in numerous notable public, corporate and private collections, including the Scottish National Gallery of Modern Art, H.R.H Princess Margaret, Leeds Art Gallery, The Nuffield Foundation, and Queensland Art Gallery.

* IRENE LESLEY MAIN (SCOTTISH b. 1959),RADIANCEoil on board, signed and dated 1981, titled and dated label versoimage size 54cm x 77cm, overall size 68cm x 91cm Framed and under glass. Artist's label verso. Note: Irene Lesley Hope Main was born in Glasgow. She studied Drawing and Painting at the Glasgow School of Art from 1976 until graduating in 1980 (under Donaldson, Robertson, Shanks and Rae), the Patrick Allan-Fraser School of Art at Hospitalfield to which she won a scholarship in Italy. She has travelled extensively throughout Europe, America and Africa and has exhibited widely in one-person and group exhibitions in the United Kingdom, Europe and America. Main is a full-time painter, a winner of the Hiram Walker Award and the Lauder Award, and has studios in Glasgow, Athens and Brodick, Isle of Arran. The artist has been strongly influenced by the Scottish Colourists (in particular, J. D. Fergusson) and the Glasgow School, with its emphasis on light and shade, use of colour and sensuous handling of paint, and traditional pursuit of academic excellence. Her great love of nature underpins her joie de vivre and essential optimism, of which her work is a direct and fluent complement and statement. Lesley Main's work is well-known, and is in public and private collections world- wide, including those of: H.R.H. Diana, Princess of Wales; Allied Irish Bank; Argyll Group; Australian Capital Equity; Bank of Ireland; British Petroleum; Charterhouse Development Capital; Citicorp Scrimgeour Vickers International; Clyde Port Authority; Commonwealth Development Corporation; Robert Fleming Holdings; Henry Ford Foundation; G. K. Goh; Gouldens; Iomart Group; Lam Soon Group; Lanitis Development; Lithgow Group; John Makepeace; Mercury Asset Management; Metropole Group; Prudential Corporation; BWD Rensburg; Royal Bank of Scotland; Save and Prosper; Scottish Arts Council; Herbert Smith; South African Department of Foreign Affairs; Standard Life; Deloitte Touche; University of Strathclyde; Warwick Arts Trust; Yarrow.

* GERARD BURNS (SCOTTISH b. 1961),BALLERINAoil on canvas, signedimage size 62cm x 41cm, overall size 80cm x 60cm Framed.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh, Lemond Gallery (Glasgow). Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.Condition is good overall, with no visible signs of damage or known issues. 

A RIAA platinum disc awarded to 'Billy Squier'. Presented to Capital records for 1,000,000 records sold for the album 'Don't Say No' by Billy Squier, framed and glazed. 52cm x 42.5cm

Italian school of the 18th century.Skull "Memento mori", 1735.Patinated terracotta.Contains monogram "A", dated.Measurements: 19 x 12 x 11 cm.This magnificent and rare object contains a monogram and is dated 1735. Vanitas, representing human skulls, were used as meditation objects or, rather, to enrich the cabinet of curiosities. These objects were intended as a reminder of the mortality and finite life of human beings. The origin of the use of the skull as a reminder of the end of human life may have its roots in Ancient Rome, especially in the face of the generals who entered the streets of the capital victorious and who, on their backs, carried a servant who reminded them that they too were men.

Spanish or French school of the 17th century. Follower of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640)."The Descent from the Cross".Oil on panel. Engatillado.Size: 63 x 46 cm; 80 x 63.5 cm (frame).The present panel is a faithful reproduction of the painting of the same subject, "The Descent from the Cross", painted by Peter Paul Rubens in 1612. It is the central part of a triptych, which also shows the Visitation of the Virgin and the Presentation of Jesus in the Temple. It is kept in Antwerp Cathedral, Belgium. The author of the present work may have become acquainted with Rubens' painting through a contemporary engraving by Lucas Emil Vorsterman, as is attested by an engraving identical to the present work in the Rijks Museum.Peter Paul Rubens was a painter of the Flemish school who nevertheless competed on an equal footing with contemporary Italian artists and was of major international importance, as his influence was also key to other schools, such as the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family was originally from. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he stayed from 1600 to 1608. During this decisive period, the young Flemish master had first-hand experience of naturalism and classicism, the works of Caravaggio and the Carracci. During his visit to Mantua he was impressed by Mantegna, especially by his "Triumphs of Caesar", which influenced his later "Triumph of the Eucharist", where we see the same classical theatrical sense of Mantegna. It was also in Mantua that he would see at first hand the giants of Giulio Romano's Tea Palace. He visited Rome on several occasions, and also studied the art of Classical Antiquity, which influenced his early sculptural and monumental style, which evolved over time towards a more pictorial language. In the Italian capital Rubens also became acquainted with Italian Renaissance painting and the works of Michelangelo, Raphael and Leonardo. On his tour of Italy he also visited Florence and Parma, where he came into contact with the work of Correggio. In Venice he learned the sense of ostentation of Veronese and the dramatism of Tintoretto, and in 1609 he returned to the Low Countries to serve the governors of Flanders, Archduke Albert and the Infanta Isabella Clara Eugenia. In addition to being a court painter, Rubens carried out diplomatic work for the court, which took him to Spain, London and Paris. In 1609 he married Isabella Brant in Antwerp and organised his workshop, recruiting excellent collaborators with whom he worked side by side, many of whom were specialist painters (Frans Snyders, Jan Brueghel de Velours, etc.). He also took on pupils and created an excellent workshop of engravers, who worked from drawings by his own hand and under his supervision. During these years he produced important commissions such as "The Elevation from the Cross" (1610) and "The Descent from the Cross" (1611-14), both for Antwerp Cathedral. By this time Rubens was already the leading painter in Flanders and it was in his workshop that outstanding masters such as Anton van Dyck and Jacob Jordaens were trained. Today works by Rubens are to be found in the most important collections throughout the world, including the Prado Museum, the Hermitage in Saint Petersburg, the Louvre in Paris, the Mauritshuis Gallery in The Hague, the Metropolitan Museum in New York, the National Gallery in London and the Rijksmuseum in Amsterdam.

A pair of early 17th century oak figural terms, circa 1600-20Each carved in high relief, designed as a male, with naked torso, above a grotesque mask cartouche, with Ionic capital, height 40.5cm, width 9.5cm, depth 5cm, (2)

A 17th century walnut long table, SpanishHaving a twin-plank top with ovolo-moulded over nulled-carved edge, further nulling to frieze rails and two small drawers, on paired end-supports, with integral scroll-carved brackets, on Ionic-capital carved feet, H-form stretcher,  199cm wide, 72cm wide, 76cm high

comprising of ten various fly, coarse and sea rods by makers to include Abu Garcia, Shakespeare, Capital and Sportex along with twelve various fly, coarse and sea reels by Shakespeare, Daiwa and others (22)

Motorbike racing interest, comprising a Valentino Rossi coloured photograph bearing biro signature, with Capital Autographs UK certificate of authenticity, Suzuki road badge, British Championship patch badges and car stickers, etc. (a quantity)

Two 9ct gold rings,a 9ct gold initial signet ring with a sans serif capital 'JB', with irregular textured hammered bands to shoulders and shank, London 1985, and a 9ct gold onyx signet ring, by Charles Green and Sons, a square onyx tablet, to plain flat section tapered shoulders and a 'D' shape shank, Sheffield 1977, 6.36g total (2)Finger size K, K½Condition ReportMaker's mark CG&S.Marks/scratches.Solder join at bottom of onyx ring.JB ring thin at bottom of shank.

A 9ct gold initial signet ring, solid capital sans serif 'JB' initials, to flat hammered textured shoulders and shank, London 1978, 10.03g.Finger size TCondition ReportMarks/scratches to ring.Dirty.

A 9ct gold identity bracelet,a flat section curved identity bar with capital sans serif 'J-R-B' initials, to a hammered textured filed curb link chain and a textured snap clasp, safety chain jump rings attached, safety chain deficient, London 1978, 40.87gCondition ReportSafety chain missing, jump rings in place for a replacement chain to be added.Marks/scratches and dents.Clasp holds securely.

Lisa Snowdon 7x5 colour promo photograph. Lisa Snowdon born on 23 January 1972 is an English television and radio presenter and fashion model. She was the host of the Living TV reality television show Britain's Next Top Model from 2006 until 2009. She also co-presented Capital Breakfast on Capital London from August 2008 until 18 December 2015. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

MASAAKI HASEGAWA (Tokyo, Japan, 1987)."Lost in a Deep forest and found a way out", 2022.Mixed media (acrylic and spray) on canvas.Enclosed certificate issued by the artist.Measurements: 100 x 120 cm.Linked to the world of sport, after winning the Inter High School Taekwondo Championship in Japan, Masaaki Hasegawa began his career as a professional MMA fighter in Japan, while studying finance and obtaining a degree in International Business. He then began his career as an investment strategist at Daiwa Capital Markets. However, he changed his life to devote himself fully to art, focusing especially on conceptual art. In his artistic work he founded Creatvida in 2014, which is a platform that hosts different creative profiles worldwide. In 2015 he published his first book "Yes, you are creative" and, in 2016, the second book, "New paradigm of creativity", in addition he also leads the project "Connect People Thru Art Beyond Borders" and is an advisor to the Contemporary Museum of Calligraphy in Moscow. His work has been exhibited at the Bauhaus Center in Tel-Aviv, Paper Pavilion in Madrid, Urvanity Art and We Crave, and he has intervened in Google installations. Masaaki Hasegawa has also created the largest calligraphy work in Europe on the rooftop of the Zapadores Museum in Madrid.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Untitled", 1973.Oil on card.Signed and dated in the lower corner.Enclosed certificate of authenticity issued by Esther Romero Fajardo.Measurements: 33 x 24,5 cm; 52 x 42 cm (frame).Painter, sculptor, engraver and writer, his training was basically self-taught. When he was eighteen years old he had his first individual exhibition in the gallery N'Art in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition devoted to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

ROBERT COMBAS (Lyon, 1957).Untitled, 1992, from the Suite Olympic Centennial.Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Signed, dated and numbered in pencil.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.A French painter and sculptor, Robert Combas trained at the Ecole des Beaux-Arts in the town of Sete, in south-eastern France, and held his first solo exhibition in 1980. He is considered to be the co-founding father of free figuration, a movement that began in Paris in 1980 as a reaction to the minimalism and conceptual art that were becoming established in the French capital at the time. Free figuration, "a painting that does not deny its primitive instincts or its desire for culture" according to Combas himself, has its roots in Fauvism and Expressionism and establishes a connecting thread with the Neo-Expressionist movement and graffiti art. Combas's works therefore become a critique of society in general, through an intense style based on the use of powerful, vivid and passionate colours that leave no centimetre of the canvas free, outlining the figures he depicts in black.The Olympic Suite is made up of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen are defined by diverse movements and pictorial currents, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov who concentrates on the human figure, intensely expressive and treated with forceful forms and intense colours that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the Suite Olympic Centennial, 1992.Relief silkscreen on Vélin d'Arches 270 grams paper, copy 110/250.Signed and justified in pencil.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.Chillida began his training at the School of Architecture at the University of Madrid, but abandoned his studies to devote himself to football, as goalkeeper for Real Sociedad. As a result of an injury he was forced to give up sport, and it was then that his artistic vocation awoke. He began drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. It was at this time that he began his rivalry with the sculptor Jorge Oteiza, who accused him of plagiarising his work. Both with a work linked to the constructivist tradition, they nevertheless dealt with different themes. In 1951 he returned to San Sebastian for good, and produced his first work in iron, the material with which he would work for the rest of his life. With the idea that art should be accessible to everyone, he produced numerous public works throughout his life, as well as sculptures for museums all over the world. His works dialogue with their surroundings, which is why many of them are already considered emblematic places for citizens, as is the case with the "Peine del viento" in San Sebastian and the "Puerta de la Libertad" in Barcelona. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize (1965), the Rembrandt Prize (1975), the Wolf Foundation Prize for the Arts (1984/85) and the Prince of Asturias Prize for the Arts (1987). He was also a member of the Royal Academy of Fine Arts of San Fernando, a member of the American Academy of Arts and Sciences, an Honorary Member of the Royal Academy of Arts in London, a member of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue National gallery in Berlin.The Olympic Suite consists of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The chosen artists are defined by different movements and pictorial trends.