A LARGE AND IMPORTANT BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEKhmer Empire, 12th-13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity clad in a short sampot with fishtail pleat and jeweled sash, incised finely with foliate decorations. His hands depicted holding his attributes. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, aquiline nose, an urna, full lips and ears with pendulous earrings.Provenance: Old Spanish private collection, acquired in the 1960s. Old French private collection, acquired from the above in 1998. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 30 September 2005, confirming the dating and provenance above, accompanies this lot. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Good condition commensurate with age. As expected, there is extensive wear, some casting flaws, losses, signs of weathering and erosion, few nicks and shallow surface scratches, fatigue cracks with associate losses and old fills, all as expected from a Khmer bronze of nearly 1,000 years of age. Superb, naturally grown, rich patina with extensive malachite encrustation and faint hues of cuprite.Weight: 3,077 g cm (excl. stand), 3,372 g (including base)Dimensions: Height 40.6 cm (excl. stand), 46 cm (including base) With a modern wood base. (2)Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms, varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. And also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 September 2000, lot 157Price: USD 138,000 or approx. EUR 225,000 converted and adjusted for inflation at the time of writingDescription: An Important Bronze Figure of Avalokiteshvara, Khmer, Koh Ker Style, 10th CenturyExpert remark: Note the similar size (44 cm). Bronze figures from the Khmer empire with a size exceeding 40 cm are extremely rare, which is why this comparison was chosen, although this statue is from Koh Ker and dates to the 10th century.
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A RARE POTTERY FIGURE OF A FULLY ARMORED CHINESE CATAPHRACT, SIX DYNASTIES PERIODExpert's note: Comprehensive armor for horses made of metal might have been used in China as early as the Three Kingdoms period, but the usage wasn't widely adapted as most cavalry formation requires maneuverability. It was not until the early 4th century, however, that cataphracts came into widespread use among the Xianbei tribes of Inner Mongolia and Liaoning, which led to the readoption of cataphracts en masse by Chinese armies during the Jin dynasty (266-420) and Northern and Southern Dynasties era.China, 3rd-7th century. The horse standing foursquare on a rectangular base, the head clothed in an embroidered covering flowing down the back of the neck with depictions of birds and rings, the body almost entirely covered in plated armor with similar figures of birds and seven-ring clusters. With ears pricked, the horse is saddled and standing at attention.Provenance: From the collection of Captain Walter Herbert Adgey-Edgar. Sotheby's London, 13 May 1969, lot 58. A private collection based in the United Kingdom and the United States, acquired from the above, and thence by descent. A copy of the original invoice from Sotheby's, dated 15 May 1969, signed by Graham D. Llewellyn, the later chief executive, dating the horse to the Six Dynasties period, and stating a purchase price for the present lot of GBP 1,200 or approx. EUR 30,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Walter Herbert Adgey-Edgar (1887-1977) was a well-known philatelist and writer on China and studied both Japanese and Chinese Stamps. In 1947, he self-published a book entitled 'A Catalogue of Imperial Japanese Overprints and Issues in Occupied British Territories'. He also wrote for stamp journals using the by-line 'London Chat'. In 1955 he wrote a paper that was widely published by the philatelic press entitled 'The Postal and Airmail Routes of Manchuria'.Condition: Condition commensurate with age. Extensive wear, losses, firing flaws, chips, old repairs and fills, calcification, and encrustations, all exactly as expected from an authentic earthenware statue dating to the Six Dynasties period.Weight: 1,280 gDimensions: Length 24.5 cm 六朝陶馬俑 中國，西元三至七世紀。馬俑四腿直立立於長方形底座上，頭部覆蓋繡花頭罩，從頸後垂下，可見鳥紋和環紋；身體覆蓋著身甲，上面有相近的鳥紋和七環圖案。馬豎起耳朵，身材矯健。專家注釋：早在三國時期，中國就已經開始使用金屬製成的馬甲，但由於大多數騎兵隊形需要靈活性，所以這種馬甲並沒有被廣泛採用。 直到四世紀初，鐵甲騎兵在內蒙古和遼寧的鮮卑部落中才得到大量使用，宋金戰爭中大規模使用鐵甲騎兵，至南朝時代。 來源：Walter Herbert Adgey-Edgar收藏；倫敦蘇富比，1969年5月13日，lot 58；英美兩地生活的一位私人藏家，購於上述拍賣。隨附一份1969年5月15日蘇富比出具的發票複印本，Graham D. Llewellyn簽名，他後來成爲首席執行官，發票上可見對這馬來自六朝時期，當時售價 GBP 1,200 或相當於 EUR 30,000 (根據通貨膨脹率)。Walter Herbert Adgey-Edgar (1887-1977) 是著名的集郵家和中國問題作家，研究過日本和中國的郵票。1947年，他自行出版了一本名為《A Catalogue of Imperial Japanese Overprints 和Issues in Occupied British Territories》的書。 他還使用署名“London Chat"為郵票期刊撰稿。1955 年，他寫了一篇題為“The Postal 和Airmail Routes of Manchuria"的論文，被集郵出版社廣泛發表。 品相：大面積磨損、缺損、燒製缺陷、缺口、小修、鈣化和結殼。 重量：1,280 克 尺寸：長24.5 釐米
A PAIR OF LARGE RUBY-GROUND FAMILLE ROSE BUDDHIST EMBLEM ALTAR ORNAMENTS, QING DYNASTYChina, 19th century. Each finely modeled and enameled in brilliant tones in the form of an open worked ruby-red medallion enclosing one of the Eight Buddhist Emblems (bajixiang), one the Parasol (san), representing spiritual authority, reverence, and purity, and the other the Vase (ping), symbolizing eternal harmony, the receptacle for lustral water, the nectar of immortality. The turquoise-glazed bases each with an iron red six-character seal mark da Qing Qianlong nianzhi.Provenance: Collection of Milton Drexel Rutherford (1894-1976), acquired in China between c. 1930 and 1940, and thence by descent within the same family. The storage boxes padded with Russian and Chinese newspaper clippings from the period. Each altar stand inscribed in black ink to the base, 'China'. Milton Drexel (Rex) Rutherford was a US veteran and engineer. He lived and worked in the city of Chicago, excavating the tunnels for the city's subway. His proliferate collection began when a client gifted him an artifact from eastern Asia igniting a passion for collecting Asian art, including Kangxi ceramics as well as Japanese metalwork and lacquers. Condition: Superb condition with expected old wear, minor rubbing and flaking to enamels, occasional light scratches. Small glaze touchups inherent to manufacture, and other firing irregularities. The boxes worn, soiled and with minor damages.Weight: 1,934 g and 2,020 Dimensions: Height 38.5 cm and 38.3 cm Each emblem sits atop a lotus pod with recessed seeds nestled in a lotus blossom raised on a stem of chevrons flanked by openwork curling leaves, the whole raised on a domed base neatly enameled on a ruby-red ground with lappets framed by bands of ruyi-heads and key-fret, lappets, and covered in turquoise enamel on the interior.Each with an old fitted wood stand, finely carved with lotus lappets between two key-fret bands, dating to the late 19th century.Each with an old compartmented storage box, dating ca. 1930-1949. (6)The present lot belongs to a group of important altar ornaments placed in temples and chapels in front of Buddhist deities. The complicated openwork panels required a manual dexterity in handling the clay and testify of the technical virtuosity of the Jingdezhen potters at the kilns in Jiangxi province. Richly painted in the famille-rose enamel palette, they reflect the eclectic and ornate style of the period. As a serious student and active practitioner of Tibetan Buddhism, the Qianlong Emperor (r. 1736-1795) commissioned thousands of ritual implements and sacrificial utensils to furnish the renovated and newly built monasteries and temples as well as the numerous chapels and shrines in the palaces in the Forbidden City, Yuanmingyuan summer palace and the Chengde summer residence. Religious objects formed also part of the presents offered to family and court members. He is known, for example, to have lavished these on his beloved mother, the Empress Dowager Xiaosheng (1691-1771), who was a pious Buddhist. They equally played an essential role in the interchange of gifts to honor religious and diplomatic relations with the Dalai and Panchen Lamas who came to Chengde to pay homage to the Emperor.A complete set of the bajixiang, similar in design to the present lot, can be seen on an altar in front of a statue of Manjushri, the Bodhisattva of Wisdom, in the Fanzonglou (Hall of Buddhism), a private chapel in the Forbidden City, see Qing gong Zang chuan fojiao wenwu/Culltural relics of Tibetan Buddhism Collected in the Qing Palace, Beijing, 1992, pl. 99-1, where related sets of altar ornaments in gilt copper and silver gilt are also illustrated, pls. 138 and 139. A complete set of altar emblems is depicted in an official Court portrait, illustrated in Court Paintings of the Qing Dynasty of the Collection in the Palace Museum, Beijing, 1992, pl. 14, where the emblems are arranged on a low table in front of Emperor Kangxi holding a string of beads.Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2007, lot 414 Price: USD 43,000 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A pair of famille rose Buddhist emblem altar ornaments, Qianlong seal marks in iron-red and of the period. Expert remark: Compare the closely related form and decoration, with one of the emblems also being the parasol, as well as the Qianlong reign marks. Note the closely related size (38.1 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 April 2002, lot 535 Price: HKD 3,594,100 or approx. EUR 612,000 converted and adjusted for inflation at the time of writing Description: A magnificent set of eight famille rose Buddhist emblems, iron-red Qianlong four-character seal marks and of the period. Expert remark: Compare the closely related form, decoration, and Qianlong reign marks, albeit with four characters. Note the smaller size (24 cm) and that this lot comprises a complete set of eight Buddhist emblems. 清代一對大型寶石紅地粉彩佛教八寶供器中國，十九世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A LARGE BRONZE HEAD OF BUDDHA, YUAN - EARLY MING DYNASTY, CHINA, 14TH-15TH CENTURYExpert's note: The head of the Buddha reflects profound contemplation. It was undoubtedly a component of a larger statue, approximately 70-80 cm in height, and probably salvaged after the remaining parts of the statue were destroyed in a fire. There are slight indications of fire damage on the right side of the deity's face, serving as a testament to this incident. The partially closed eyes capture the essence of Buddha's meditation, while the intricately carved facial features highlight his vibrant serenity and inner tranquility.The massively cast head is flanked by elongated earlobes, surmounted by an ushnisha and covered with a multitude of snail shell curls in high relief. The face shows prominent brows, heavy-lidded eyes, and a sharp nose above the bow-shaped lips outlining a indulgent smile.Provenance: Jacques Barrere, Paris, France. A copy of the signed expertise from Jacques Barrere Art D'Extrême Orient, dated 10 November 1999, confirming the dating above, accompanies this lot. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Good condition commensurate with age and size, showing significant old wear and weathering, minimal corrosion, and expected casting flaws. Some dents, losses, and minor fire damage. Magnificent naturally grown patina overall.Weight: 11.4 kgHeight: Height 18 cm (excl. base) and 32 cm (incl. base) Mounted on an associated base. (2)Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 20 March 2019, lot 680Price: USD 137,500 or approx. EUR 150,000 converted and adjusted for inflation at the time of writingDescription: A large bronze figure of Shakyamuni Ming Dynasty, 16th-17th centuryExpert remark: Note the size of the complete figure here is 54.6 cm, resulting in a size of 14.5 cm for the head itself, which is smaller than the present lot with a height of 18 cm. 十四至十五世紀元至明初大型銅佛陀頭像圓臉，表情寧靜，半閉的柳葉形眼睛，狹窄的鼻樑，柳葉形眉。笑容慈祥，側面長耳垂，螺髻。 來源：法國巴黎Jacques Barrere; 此拍品附有Jacques Barrere Art D'Extrême Orient 藝廊於 1999 年 11 月 10 日簽署的專業意見的副本，確認了上述日期。Jacques Barrere藝廊位於巴黎市中心的聖日耳曼德佩區。自1969年以來，它一直舉辦展覽以推廣和保護遠東藝術。該藝廊專注於中國雕塑、考古、陶瓷和裝飾藝術，以及日本藝術品和瓷器，也定期展出來自犍陀羅、印度或東南亞的雕像藝術。Jacques Barrere曾經擁有的藏品現在分佈在世界各地的重要博物館中，包括吉美博物館、賽努奇博物館和上海博物館。Barrere 藝廊經常參加馬斯特里赫特 TEFAF 博覽會。 品相：狀況良好，顯示出明顯的磨損和風化、輕微腐蝕和鑄造缺陷，一些凹痕、缺損和輕微的火災損壞。自然包漿。 重量：11.4 公斤 尺寸：高18 厘米 (不含底座)，32 厘米 (含底座) 配置底座（2）拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年3月20日，lot 680 價格：USD 137,500（相當於今日EUR 150,000） 描述：明十六 / 十七世紀銅釋迦牟尼佛坐像 專家評論：此像的完整尺寸為 54.6 厘米，頭部尺寸為 14.5 厘米，比本拍品的高度 18 厘米要小。
A SMALL GILT BRONZE FIGURE OF BUDDHA AMITABHA, 17TH-18TH CENTURYTibetan-Chinese. Seated in dhyanasana atop a double lotus throne with beaded edges, his hands held above his lap in dhyana mudra and holding an alms bowl. Dressed in voluminous robes and a scarf incised with foliate designs, the outer robe opening at the chest revealing the similarly decorated undergarment tied above the waist. His serene face with downcast eyes below arched brows, his full lips forming a benevolent smile flanked by long pendulous earlobes, the hair arranged in tight curls over the high ushnisha topped with a jewel.Provenance: A private collection in Hungary. Galerie Zacke, Vienna, 8 December 2018, lot 62, sold for EUR 1,138 or approx. EUR 1,400 (adjusted for inflation at the time of writing). A private collection in Portugal, acquired from the above.Condition: Good condition with expected old wear and casting irregularities. The base sealed with a simple copper sheet. The bowl replaced. Small nicks, some scratches, minor rubbing to gilt. Remnants of ancient pigment.Weight: 111.9 gDimensions: Height 6.8 cm Auction result comparison: Type: RelatedAuction: Sotheby's Paris, 12 December 2017, lot 25Price: EUR 10,000 or approx. EUR 11,500 adjusted for inflation at the time of writingDescription: A small statue of Buddha, Ming dynastyExpert remark: Compare the related modeling, manner of casting, and gilding.Auction result comparison: Type: RelatedAuction: Christie's New York, 22 March 2007, lot 218Price: USD 14,400 or approx. EUR 20,000 converted and adjusted for inflation at the time of writingDescription: A fine and rare pair of small gilt-bronze Buddhas, 17th/18th centuryExpert remark: Compare the related modeling, manner of casting, and gilding. Note the larger size (9.8 cm) and that the lot comprises a pair. 十七至十八世紀銅鎏金無量壽佛坐蓮像漢藏。無量壽佛銅鑄鎏金製成，結金剛跏趺坐於蓮座之上。髮束高髻，螺髻。長眉細目，雙目微垂，鼻樑挺直，薄唇，神情平淡嚴肅。雙耳肥厚。身著袈裟，雙手於腹前結禪定印。造型體態豐滿健壯，周身裝飾簡潔考究，細節處均精工細作。 來源：匈牙利私人收藏。維也納Galerie Zacke藝廊，2018 年 12 月 8 日，拍品 62，售價 1,138 歐元或約 1,400 歐元（根據撰寫本文時的通貨膨脹情況進行調整）。 葡萄牙私人收藏。，購自上述。 品相：狀況良好，有磨損和鑄造不規則，底座用簡單的銅片密封。碗換了。小刻痕，一些劃痕，鎏金的輕微摩擦。顏料的殘留物。 重量：111.9 克 尺寸：高 6.8 厘米拍賣結果比較： 形制：相近 拍賣：巴黎蘇富比，2017年12月12日，lot 25 價格：EUR 10,000（相當於今日EUR 11,500） 描述：明十五世紀鎏金銅佛坐像 專家評論：比較相近的模型、鑄造風格和鎏金。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2007年3月22日， lot 218 價格：USD 14,400（相當於今日EUR 20,000） 描述：十七至十八世紀一對鎏金銅佛像 專家評論：比較相近的模型、鑄造風格和鎏金。請注意尺寸較大(9.8厘米)，以及此為一對。
ASSORTED COLLECTABLES comprising a Jacques Perille Helice steel corkscrew, with propeller-style wingnut, impressed to one side 'J. PERILLE / DEPOSE / PARIS', and to the other 'HELICE / JP / DEPOSE'; a brass crotal bell, probably Chinese, 9cm high; an Indian brass statue of Shiva, 9.5cm high; a copper and brass lidded pot, 9cm high; a silver coloured metal lion rampant brooch or badge, 5.25cm high; and a German pin cushion doll, circa 1920, 7.5cm high, (6).
BronzeChina , Ming Dynasty Dimensions: Height 27 cm Wide 13 cm Depth 8 cmWeight: 1285 grams Wei Tuo Bodhisattva, also known as Skanda, is the Divine Protector of Chinese Buddhism, usually shown in majestic general armor. Here he is standing solidly on a rock, his hands joined together in front of his chest in serving gesture with a smiling face. His armor is intricately designed with patterned details, bands of cloth billowing around his head. The statue is hollow.
To be sold without reserve. Property of a Lady. Chinese, 19th Century, A soapstone statue of a man in traditional dress, Modern. A painted terracotta foot soldier, after the Terracotta Army. Indian, 20th Century, A carved brown stone Mohini dancer. Dimensions: 5.75 in. (H) x 3.25 in. (W) x 2 in. (D) 7 in. (H) x 2 in. (W) x 2.5 in. (D) 6.25 in. (H) x 2 in. (W)
Ca. 581-618 AD.A stone head of Buddha with elaborate coiffured hair curls under a richly ornamented headdress. He is characterised by his arched brow, heavily lidded, half-closed eyes, bulbous nose, full lips, rounded chin, and large, pendulous ears. An urna is depicted in the centre of the forehead. This beautiful piece may originally have formed part of a larger statue. The Sui Dynasty was a period of profound change and innovation in Chinese history. It followed the Northern and Southern Dynasties and preceded the Tang Dynasty. During this time, Buddhism was introduced to China and gained a foothold in Chinese society.Size: L:260mm / W:140mm ; 15.8kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Chinese Han or Tang dynasty ceramic pottery statue depicting a horse with rider. With sancai green and ochre glazes. This lot can be seen in the background of an image of Malcolm Lein in an article written about him on November 23, 1983.Provenance: From the collection of Malcolm E. Lein, former director of the Minnesota Museum of American Art.Malcolm Emil Lein (1913-2003) was the director of the Minnesota Museum of American Art during its early and formative years. During his 30-year tenure, he fought to procure the museum funding, grow its permanent collection, and establish it as St. Paul's premiere gallery. Along with his wife Miriam, who worked at the Walker Art Center, he was a fixture in the Twin Cities artistic community throughout his life.Height: 13 1/2 in x width: 4 in x depth: 10 1/2 in.Condition: Heavy wear and restorations throughout. Large repaired cracks along the neck of the horse, the torso of the figure, and the neck of the figure. Signs of repair to all four legs of the horse. One of the ears of the horse is missing. There are chips throughout. Crazing to the glaze throughout and losses to the glaze throughout. Mineral deposits throughout.
Two 1970's mens shirts, one labelled 'Brutus' with a printed design of the Statue of Liberty, the other labelled 'Pickwick made in Hong Kong' which has a printed design of Chinese houses, a vintage swimming costume with little pleated skirt, printed with the letters off a typewriter, a pair of vintage fur mittens, assorted scarves, linen, embroidered shawl, a pair of very stout gent's walking shoes by Simpson, etc (1 box)
A 19TH CENTURY CHINESE PORCELAIN GUAN YIN STATUE decorated with polychrome colours, on a naturalistic base51cm high There are several firing cracks to the base. Done in manufacture. There is damage to her fingers and a restored thumb. There are small areas of white restoration to the edges of her robe and her head has been broken off and reglued. Extra images of damage have been uploaded.
Ca. 618-907 AD.A ceramic tomb statue known as the 'Fat Lady.' This standing figure, facing forward with one foot slightly angled to the side, captures the essence of the Tang era's evolving aesthetic ideals. Adorned in long-sleeved, loose-hanging robes, the court dress exudes elegance and sophistication. Notably, the figure's attire is enhanced by exquisitely detailed upturned shoes, a testament to the meticulous craftsmanship of the period. Delicate paintwork accentuates the facial features, with carefully executed depictions of eyes, lips, nose, and eyebrows. The figure's countenance emanates a sense of grace and allure. Crowned by an elaborate coiffure, the intricately styled hair complements the figure's overall regal appearance. The so-called 'Fat Lady' figures gained popularity as attendant figures among the wealthy during the Tang Dynasty. This period witnessed a shift in the prevailing standards of feminine beauty, as opulent tastes influenced a redefinition of the ideal female form. The slender aesthetic of earlier periods gave way to a preference for more voluptuous and curvaceous body types. The 'Fat Lady' figures embody this newfound appreciation for fuller figures, symbolizing wealth, prosperity, and abundance. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with the full report will also accompany this lot. For a similar, please see Christie's, Live Auction 2830, Fine Chinese Ceramics and Works of Art, 21 March 2014, Lot 2070. Size: L:500mm / W:205mm ; 3.92kg Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
A fine and rare mirror pair of Chinese export porcelain phoenix, each decorated in famille rose enamels on a well molded body. Dating to the early to mid 20th Century. Each with an applied seal stamp along the base.Each, height: 18 3/4 in x width: 5 1/4 in x depth: 5 in.Condition: There are no visible breaks, cracks, losses, or restorations. There are discolored glazing flaws throughout. Areas of loss to the glaze throughout, especially along the high points. There is general wear throughout consistent with age and use. Wear to the underside; along the underside of one of the statues there is a small round sticker; along the underside of the other statue there is residual adhesive affixed consistent with the aforementioned sticker.
Hermes, after the Antique, a bronze desk ornament of Hermes, a Roman statue, on a marble plinth, 12cm hightogether with a Chinese figure, on a marble plinth, 11.5cm higha Chinese ewer, cover detached, 8cm highand a carved limewood and partially painted putti, 19cm high (4)Condition ReportHermes - patina good, marble chipped. Ewer - detched cover - worn.Chinese figure - fair, modernLimewwod carving - chips and losses throughout.
A RARE CHINESE EXPORT ‘ROYAL’ SCANDINAVIAN-MARKET PLATE, QING DYNASTY, QIANLONG PERIOD, CIRCA 1772Of octagonal form, decorated with an equestrian statue of King Frederick V (1746 – 1766) of Denmark & Norway, the rim inscribed with the name of his Queen: ‘Juliana Maria’, set with their coat-of-arms all within a laurel leaf and key-fret borderDiameter: 25cmA plate from this service may be found in the British Museum, inventory no. Franks.612, illustrated and discussed by Regina Krahl & Jessica Harrison-Hall, Ancient Chinese Trade Ceramics from the British Museum, Taipei, 1999Condition ReportUV light inspected. Three small minor rim chips: two to reverse, one to third lobe corner at 3 o'clock. Some wear to gilding. See additional photographs.
Budai-Skulpturengruppe CHINA, Qing-Dynastie (1644-1912). Keramik mit cremefarbener Glasur. Der dickbäuchige, lachende Mönch wird auch als „Lucky Buddha“ (Glücksbuddha) oder „Laughing Buddha“ (lachender Buddha) bezeichnet. Die Statue des Lachenden Buddha befindet sich in chinesischen Klöstern in der Halle der vier Himmelskönige. Die Darstellung zeigt ihn lachend, von einer Kinderschar umgeben, mit dickem nacktem Bauch und in sitzender Körperhaltung auf seinem prall gefüllten Sack, um den sich ein Drache windet. Die Figur des Budai verkörpert einige chinesische Lebensideale. Der dicke Bauch steht für Reichtum, das Lachen und die lockere Sitzhaltung symbolisieren Gelassenheit und Zufriedenheit mit sich und der Welt. Die die Statue umgebenden Kinder weisen auf eine der chinesischen Haupttugenden hin: Kinderliebe. Als stets gut gelaunter, besitzloser Mönch stand Budai/Hotei ursprünglich für die Tugend der Selbstgenügsamkeit. Sein prall mit Almosen gefüllter Sack besagt, dass der, der mit wenig zufrieden ist, den größten Schatz besitzt. Er gilt auch als Buddha(aspekt), der dem einfachen Volk zugewandt ist und die in seinem Sack gesammelten Almosen an Kinder und Arme weitergibt. So steht er auch symbolisch für den sozial engagierten Buddhismus. Rückseitige Pressmarken. Altersspuren| Budai sculpture group of glazed ceramic. CHINA, Qing dynasty (1644-1912). The pot-bellied laughing monk is also known as Lucky Buddha or Laughing Buddha. The statue of the Laughing Buddha is found in Chinese monasteries in the Hall of the Four Heavenly Kings. The depiction shows him laughing, surrounded by a crowd of children, with a fat naked belly and in a sitting posture on his bulging sack, around which a dragon is coiled. The figure of Budai embodies some Chinese ideals of life. The fat belly stands for wealth, the laughter and the relaxed sitting posture symbolize serenity and contentment with oneself and the world. The children surrounding the statue indicate one of the main Chinese virtues: love of children. As an always good-humored, propertyless monk, Budai/Hotei originally stood for the virtue of self-sufficiency. His sack, bulging with alms, says that he who is content with little possesses the greatest treasure. He is also considered a Buddha(aspect), who is turned towards the common people and gives the alms collected in his sack to children and the poor. Thus, he is also symbolic of socially engaged Buddhism. Marked on the back. Signs of age.
Two modern Chinese Scholar's rocks,one pierced, 47.5cm high, wood stand, another, 38cm high, wood stand, andaccompanied by a bronze bodhisattva,13cm high (5)Condition ReportRocks - damaged and repaired, signs of glue in various locations. Stands - cracks, surface scratches and chips. Statue - surface scratches and dents, loaded. Tired.
AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH – MID-13TH CENTURYExpert’s note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th – mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie’s New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance.大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。該像法相威儀，觀音跣足而立，右手低垂結與願印，左手置於胸前。身著飄逸的長袍，線條流暢，佩戴瓔珞。觀音面部平靜慈祥，雙眼微垂，雙眉之間有白毫。頭髮披肩，葉冠后高髻。專家注釋：大理國銅器的一個獨特之處是合金中的砷含量高，使銅質變得柔軟，並因合金產生微小的孔洞。後來的銅器和其他地區的銅器沒有這個特徵，這在本拍品和同類銅造像器中清晰可見（見拍賣結果比較）。大理銅造像的風格包括細長的臉、精緻的頭飾和纖柔的手，這些特徵仍然顯示出印度和東南亞佛教造像的影響。文獻參考： (1) Denise Patry Leidy，Donna Strahan，《Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art》，紐約，耶魯大學出版社， 2010年，頁206-207。 (2) Albert Lutz，《Der Goldschatz der drei Pagoden》，蘇黎世Rietberg博物館, 1991年。Paul Jett，《Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich》，頁73。 (3) 同上本書，頁71。 (4) Wenli Zhou，《Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911)》，倫敦大學學院2012年，頁26。 (5) 同上本書，頁39。 (6) 同上本書，頁46-47。
A GILT-LACQUERED BRONZE FIGURE OF SONGZI GUANYIN, MING DYNASTYChina, 1368-1644. Finely cast seated in dhayanasana above a separately cast and reticulated lotus base, the hands gently holding a male child with his hands folded in anjali mudra, dressed in flowing robes with floral hems, open at the chest to reveal an elaborate pendant, the face with a serene expression and downcast eyes, the hair tied behind a crown centered by the figure of Amitabha Buddha and covered by a cowl. Provenance: Dutch trade. Condition: Good condition with some wear, small nicks, little dents, few losses, small cracks, flaking to the lacquer, and casting flaws.Weight: 2,128 g Dimensions: Height 30.9 cmThe Songzi representation of Guanyin, or the 'Bringer of Sons,' is identifiable by the boy seated on her knee. Male children were extremely important to the Confucian family structure. They ensured not only the continuity of family and clan but that there would be uninterrupted generations to carry on the rituals of ancestral worship. The child-giving Guanyin was prayed to by worshipers for healthy children and intelligent male heirs.Literature comparison: A related gilt-bronze figure of Songzi Guanyin seated on a lotus base, 42.3 cm high, is illustrated by H. Munsterberg, Chinese Buddhist Bronzes, Rutland, Vermont and Tokyo, 1967, no. 73. Auction result comparison:Type: RelatedAuction: Christie's New York, 23 March 2012, lot 1787Price: USD 32,500 or approx. EUR 38,000 converted and adjusted for inflation at the time of writingDescription: A gilt-lacquered bronze figure of Songzi Guanyin, 17th centuryExpert remark: Compare the related pose, facial expression, and decoration. Note the size (25.7 cm) and the fact that this statue is fire-gilt whereas the present lot is lacquer-gilt.Auction result comparison:Type: RelatedAuction: Bonhams Los Angeles, 17 December 2019, lot 72Price: USD 8,200 or approx. EUR 8,600 converted and adjusted for inflation at the time of writingDescription: A gilt copper alloy seated figure of the Songzi Guanyin, 17th/18th centuryExpert remark: Compare the related pose, facial expression, and decoration. Note the much smaller size (14.3 cm).明代鎏金漆送子觀音坐蓮像中國，1368-1644年。觀音菩薩結跏趺坐坐於仰蓮台座上；觀音束高髻，天冠中有化佛，披頭巾；兩肩方圓，胸口平實，手部肌理豐滿圓潤，姿態纖巧生動；衣紋對稱，衣領與袖袍邊緣鏨刻紋飾，是典型的明代裝飾樣式。底座與造像分鑄而成。觀音懷中的童子頭形渾圓，面帶微笑，身穿肚兜，軀體圓潤，四肢長細，雙掌合十，雙腳交叉，神情愉悅地坐臥在菩薩的手掌之間。 來源：荷蘭古玩交易。 品相：狀況良好，有一些磨損、小刻痕、小凹痕、少許缺損、小裂紋、漆面剝落和鑄造缺陷。 重量：2,128 克 尺寸：高30.9 厘米 文獻比較： 一件相近的鎏金銅送子觀音坐蓮像，42.3 厘米高，見H. Munsterberg，《Chinese Buddhist Bronzes, Rutland》，佛蒙特和東京，1967年，編號73。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2012年3月23日，lot 1787 價格：USD 32,500（相當於今日EUR 38,000） 描述：明末/清初銅漆金送子觀音坐像 專家評論：比較相近姿勢，面部表情和裝飾。請注意尺寸 (25.7 厘米) 。這尊雕像是火鍍金的，而現在的拍品是漆金的。 拍賣結果比較： 形制：相近 拍賣：洛杉磯邦瀚斯，2019年12月17日，lot 72 價格：USD 8,200（相當於今日EUR 8,600） 描述：十七/十八世紀鎏金銅合金送子觀音坐像 專家評論：比較相近姿勢，面部表情和裝飾。請注意尺寸小很多(14.3 厘米)。
A COPPER-INLAID BRONZE FIGURE OF CINTANAMI MAHAKALA, 17TH-18TH CENTURYTibetan-Chinese. Heavily cast, standing atop a separate lotus base with beaded rim, the primary hands before the chest, with four hands in apan mudra, dressed in a dhoti tied at the waist and neatly incised, adorned with beaded jewelry and dharma wheel at the belly, the back with a blossom jewel, a streaming ribbon draped over the shoulders, the face with a wrathful expression, open mouth revealing sharp fangs, curling beard, bulging eyes, the flaming hair behind a skull tiara. The teeth, two toes, and earrings with very fine copper inlays. Provenance: From a German private collection, acquired before 2007. Condition: Extensive wear, few losses, small nicks, light scratches, old metal fills, and some casting irregularities. The base cast separately.Weight: 1,017 g Dimensions: Height 17.2 cmMahakala belongs to the class of dharmapalas or protectors of the Buddhist Faith. According to Tibetan tradition, the dharmapalas are pre-Buddhist local deities. They were subdued by the great master Padmasambhava and included in the pantheon as fierce defenders of Tibetan Buddhism. Tibetan iconographic texts describe seven various forms of Mahakala. This six-armed form is known as Cintamani Mahakala or the 'Mahakala with the Wish Bestowing Gem'.Auction result comparison:Type: RelatedAuction: Christie's Paris, 8 June 2010, lot 321Price: EUR 39,400 or approx. EUR 51,000 converted and adjusted for inflation at the time of writingDescription: A partially gilded bronze statue of Cintamanimahakala, Tibet, 18th centuryExpert remark: Compare the related subject, pose, and style of the dhoti. Note the intact gilding and much larger size (27.5 cm).十七至十八世紀六臂大黑天銅像漢藏。本尊造像直立，一面六臂，頭戴骷髏冠，頂豎忿怒髪，雙目圓睜，粗眉上揚，張嘴露齒，耳戴銅耳飾，面相兇忿。胸前飾瓔珞，手臂掛有臂釧，六臂分施不同手印，肢體粗壯有力。整體處理的細緻到位，通體鎏金，水亮厚實，面部生動攝人。牙齒、兩隻腳趾和耳環都鑲有非常精細的銅。 來源：德國私人收藏，購於2007年前。 品相：磨損嚴重，些微缺損、有小磕損、輕微劃痕、舊金屬填充物和一些鑄造不規則現象。底座分開製作。 重量：1,017 克 尺寸：高17.2 厘米 大黑天梵語名瑪哈嘎拉，藏語稱為貢普，原來是古代印度的戰神，進入佛教後，很受密教的崇奉，是觀音菩薩化現的大護法，在護法中地位很高，同時也是密宗修法所依止的重要本尊。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2010年6月8日，lot 321 價格：EUR 39,400（相當於今日EUR 51,000） 描述：十八世紀西藏部分鎏金大黑天銅像 專家評論：比較相近的主題、姿勢和腰部風格。請注意只有部分鎏金和尺寸較大(27.5 厘米)。
Late 20th century A.D. Of Eastern Zhou style helmet from a statue(?), domed with raised panels to the brim and vertical crest, hollow-formed spike above; the face-opening with shallow peak to the upper edge. Cf. for original similar helmets Cheng Dong and Zhong Shao-yi, Ancient Chinese Weapons - A Collection of Pictures, Beijing, 1990, fig 12, no. 4-157, of 5th-3rd century B.C.3.07 kg, 36 cm high (14 1/8 in.). Acquired in the 1990s. From a UK collection. The earliest bronze helmets in China date back to the Shang Dynasty, covered the neck and ears, and were often decorated with taotie masks and animal faces to make the warrior appear fearsome. Chou (Zhou) bronze helmets were similar to the Shang types but less elaborately decorated, and it is thought that the hood-shaped styles of the later Han Dynasty were metal copies of older leather versions. [No Reserve]
A collection of five 20th century Chinese collectables, being two identical little saucers / plates, decorated with pink floral display on blue ground marked to base with four character mark and 'Made in China' to verso, decorative ornament / statue in decorated chrome depicting an elderly gentleman holding a planter and mounted on baize (20cm tall), and two Native American resin engraved animal statues of a bear and a wolf's head (5)
Bronzestatue des sitzenden Shou Xing, China, 19. Jhdt. Mehrteilig aus Bronze gegossene Figur des Gottes Shou Xing mit langem Bart und hochgewölbter Stirn. Auf dem figürlich dekorierten Sockel sitzt der Gott erhöht auf einem Felsen und hält in leicht geöffneter Hand eine Schriftrolle, die andere am angewinkelten Bein ablegend. Rückseitig ziert sein Gewand ein feines Fenghuang-Relief. Am Sockel stellenweise Fehlstellen und ein vorderseitiger Riss. Eine Messingschraube verloren. Höhe ca. 52 cm. A Chinese bronze statue of seated Shou Xing, 19th century A Chinese bronze statue of seated Shou Xing, 19th centuryMehrteilig aus Bronze gegossene Figur des Gottes Shou Xing mit langem Bart und hochgewölbter Stirn. Auf dem figürlich dekorierten Sockel sitzt der Gott erhöht auf einem Felsen und hält in leicht geöffneter Hand eine Schriftrolle, die andere am angewinkelten Bein ablegend. Rückseitig ziert sein Gewand ein feines Fenghuang-Relief. Am Sockel stellenweise Fehlstellen und ein vorderseitiger Riss. Eine Messingschraube verloren. Höhe ca. 52 cm.Condition: II -
Ca. 581-618 AD. A stone head of Buddha with elaborate coiffured hair curls under a richly ornamented headdress. He is characterised by his arched brow, heavily lidded, half-closed eyes, bulbous nose, full lips, rounded chin, and large, pendulous ears. An urna is depicted in the centre of the forehead. This beautiful piece may originally have formed part of a larger statue. The Sui Dynasty was a period of profound change and innovation in Chinese history. It followed the Northern and Southern Dynasties and preceded the Tang Dynasty. During this time, Buddhism was introduced to China and gained a foothold in Chinese society.Size: L:260mm / W:140mm ; 15.8kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
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