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A Chinese carved rootwood statue modelled as a wise man with dragon staff on a naturalistic base, H75cm

A Chinese bronze statue, 19/20th Century, depicting the Buddhist monk Bodhidharma (Damo), carrying a tree branch with a hulu and a douli hanging on it, a bowl in his right hand and a Foo dog on a plinth, 28cm high CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

A LIMESTONE TORSO OF A BODHISATTVA, TANG DYNASTYChina, early 8th century. The slender, elegant figure well carved standing in a subtle tribhanga pose, wearing a clinging diaphanous skirt falling in graceful folds, with scarves tied diagonally around the torso and draped from the shoulders, richly adorned with elaborate jewelry including beaded and foliate necklaces as well as pendent ornaments of beaded and floral designs. The gray limestone with a magnificent, naturally grown, smooth patina.Provenance: French trade, acquired from a French private collection built between ca. 1980 and 2012. Condition: Good condition, commensurate with age. Extensive wear, losses, small nicks, light scratches, a minor surface crack with associated old fill (only visible under strong blue light), signs of weathering and erosion, encrustations.Weight: 29 kg (incl. stand) Dimensions: Height 60 cm (excl. stand) and 64 cm (incl. stand)Mounted on an associated stand. (2)The 5th-century Gupta influence on Tang Buddhist sculpture is manifest in the sensuously rounded body of the present lot, together with the diaphanous robes and jewelry.Literature comparison: This statue is related to some of the larger figures from Longmen, such as the standing bodhisattva in a similar pose, with U-shaped drapery folds and roll of material at the waist, illustrated in Longmen Liusan Diaoxiang Ji (The Lost Statues of the Longmen Caves), Shanghai, 1993, p. 71, no. 78. Compare with a similar stone figure of a bodhisattva illustrated by O. Siren, Kinas Kunst Under Tre Artusenden, vol. 2, Stockholm, 1943, fig. 73A. Compare also a related sandstone figure from Tianlongshan, Shanxi Province, 101.6 cm high, dated approx. 700-750, in the Asian Art Museum of San Francisco, object number B60S6+. For a related figure in white marble with more elaborate realization of the drapery and with one foot placed slightly forward, see the figure from Longyenshan, Hebei, illustrated by W. Willetts, Foundations of Chinese Art, London, 1965, p. 222, fig. 139.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 1999, lot 162 Price: USD 134,500 or approx. EUR 218,000 converted and adjusted for inflation at the time of writing Description: A rare well-carved gray stone torso of a bodhisattva, Tang dynasty, early 8th centuryExpert remark: Compare the closely related pose, drapery, and folds. Note the similar size (63.5 cm). Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 1999, lot 161 Price: USD 36,800 or approx. EUR 59,500 converted and adjusted for inflation at the time of writing Description: A rare dark gray stone torso of a bodhisattva, Tang dynasty, circa 700, from the Longmen cavesExpert remark: Compare the closely related pose and color of the stone. Note the similar size (54.6 cm).唐代石灰石立姿菩薩殘軀中國，八世紀初。優雅身姿，三曲式，外衣輕薄而貼身，飾有精美的珠寶，如串珠和葉狀項鍊以及花卉紋的吊飾。順著身體結構起伏，雙腿輪廓隱約可見，褶皺線條流暢。灰色石灰石，自然包漿光滑。 來源：法國古玩交易，來自一個建立於1980-2012年之間的法國私人收藏。 品相：品相良好，大面積磨損、缺損、小劃痕、輕微的表面裂紋和相關的填充物（僅在強藍光下可見）、風化和侵蝕、結殼。 重量：29 公斤 (含底座) 尺寸：高 60 厘米 (不含底座) ，64 厘米 (含底座) 配置支架。(2) 五世紀古普塔對唐朝佛教雕塑的影響體現在本拍品圓潤的身體，以及透明的長袍和珠寶上。 文獻比較： This statue is 一件相近的龍門石窟立姿菩薩像，有相似的姿勢，長袍衣服U 形褶皺和腰帶，見《龍門流散雕像集》，上海，1993年，頁71，編號78。比較一件相似的菩薩石像，見《O. Siren，Kinas Kunst Under Tre Artusenden》，卷2，斯德哥爾摩，1943年，圖73A。比較一件相近的約700-750年山西天龍山砂岩石像，101.6 厘米高，收藏於舊金山亞洲藝術博物館，館藏編號B60S6+。一件相近的河北白大理石像 ，見W. Willetts，《Foundations of Chinese Art》，倫敦，1965年，頁222，圖139。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，1999年3月22日，lot 162 價格：USD 134,500（相當於今日EUR 218,000） 描述：八世紀初期唐代灰岩菩薩殘軀 專家評論：比較非常相近的姿勢、布料和衣摺。請注意相似的尺寸(63.5 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)。

Porcelain Statue of Russian Communist Leader Vladimir Lenin: Chinese communist made painted Bisque statue of Lenin in original box, 1960s/1970s stands 36 cms.

Hong Kong and Japan Toy Collection. Taito Battery operated Hot Rod plastic with metal fittings 'Speed 1931 series', Yone Clockwork Train(working), EHRI Tin Plate Auto Service(friction car in good condition some scuufs) with a similar Ambulance unmarked(friction car missing top light, good otherwise), 2 x Binky Winky dolls, one blow up with Squeak the other solid plastic, NPP Mego Batman Car 1974 in playworn condition(half grill missing), Lola Clockwork Bird(working), 1974 Playmobile figure, 2 x Dinosaurs(one Chinese) and six other smaller figures incuding Planet of the Apes(statue of liberty with losses), Hulk and E.T. Conditions are various and mostly stated

Fullt title: A very large Chinese gilt-lacquered wood figure of Weituo, 17th C.Description: H.: 145 cm Ref.:- Sotheby's, New York, Sept. 17, 2014, lot 441, for another large Weituo figure. (sold USD 52.500) (external link available on rm-auctions.com)- Sotheby's, New York, March 15, 2017, lot 541, for another large Weituo figure. (sold USD 137.500) (external link available on rm-auctions.com) Weituo appears in Buddhist temples as the 'Entry Guardian.' He leads the thirty-two heavenly generals who come under the Four Heavenly Kings and has earned such titles as the 'Protector of the Buddhist Faith,' the 'Protector of Monasteries,' and the 'Protector of Dharma Books.' In all temples where his image is found, he is always placed with his back to the statue of Maitreya Buddha so that he faces the Main or Grand Hall where the principal deities of the temple are enshrined.

Various box including Indian and African wood carvings, Chinese bijou box, crystal perfume bottles, crucifix, statue of Christ, etc.

Lot Chinese and Japanese porcelain and earthenware 18th and 19th century, dish with blue and white floral decor, Yongzheng period 22.5 cm diameter (hairline), 2 Yixing teapots (1 with restored handle), highest 14 cm high, Imari vase, Imari cup and saucer with fool (damage), Japanese miniature collar vase, Yixing cup and saucer, miniature lidded pot with blue and white floral decor, Meiping vase with blue and white decor, sauce boat with blue and white decor, Qianlong period (various damage) and soapstone statue of a dog

Ca. 618–907. Chinese Tang Dynasty (or later).. A beautiful marble statue of a seated bodhisattva depicted wearing voluminous robes elegantly draped over his wide shoulders and broad, muscular chest and cascading in deep folds over his pendant legs, falling to the sides of his seat and continuing down his back; the remains of his left arm resting on one thigh.Bodhisattvas are common figures in Buddhist literature and art. A bodhisattva is one who seeks awakening (bodhi) — hence, an individual on the path to becoming a BuddhaPerhaps the most striking feature of this marble fragment is its realistic portrayal of a seated figure revealed beneath drapery. The remains of his thick neck and developed pectoral muscles appear above his inner garment that crosses from his left shoulder downwards to the right hip. The voluminous outer garment spreads in unevenly spaced pleats and folds that suggest the natural effects of gravity as they fall across the arms, pendant legs and the front edge of the seat supporting him. Item comes with a professional historical report from Ancient Report Specialists. Size: L:300mm / W:220mm; 15.9kgProvenance: Collection of Chinese Stone Figures. Ex Collection of Roger Moss; The C Roger Moss OBE, 1936 - 2020 collection formely the President of "The oriental ceramics Society", these stone sculptures were acquired during his life in Hong Kong 1980 - 2003.

Chinese double gourd vase, Eiffel Tower and Statue of Liberty models, toby jug, Border Fine Arts otter etc.

Vintage Chinese Large Carved Wooden Lamp Base Statue Figure , no fittings present, height 35cm

An Imari Porcelain Bowl, Meiji period, typically painted with trellis panels, birds and mons, 25cm diameter, together with a Chinese carved flourite urn and cover, a Blue John bowl, two Chinese pale celadon jade bowls, two Chinese porcelain paste pots and covers painted in underglaze blue, six various stone carvings and a small Indian bronze devotional statue of Lord Ganesh (one tray)Blue John bowl - 13cm diameter, broken into four pieces and re stuck, some rim chips.Other items in the lot not reported.

A 20th century Chinese large jade coloured statue of a wise man, 47cm h Location:

AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH - MID-13TH CENTURY 大理國罕見觀音銅像Expert's note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th - mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance.大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。由於字數限制，完整中文敘述請至www.zacke.at查看。

THREE BOXES OF TREEN, VINTAGE CAMERAS TOGETHER WITH A QUANTITY OF AIRFORCE/AIRCRAFT RELATED BOOKS, to include three binders of Memorial Flight magazines from 1990-2011, a hinged wooden writing box, a wooden inlay musical jewellery box, a pair of Staffordshire dogs, a Victorian green case of three cut crystal perfume bottles, a pressed wooden mask/wall plaque, a Black Forest musical carved wood fruit dish, an Oriental bronze handle in the form of a Rooster, a vintage Wilson Lovatt & Sons spirit level, an Oriental style straw work basket, a hand painted Christmas card dated 1914, an Art Deco photo frame, two box cameras, a Koroll Bencini Film 120 camera, a marble Chinese Lion statue, a vintage Barneys tobacco tin, a glass topped case, two brass 20th Century Crotal bells, etc (s.d) (3 boxes)

A rare Beilby enamelled opaque twist wine glass, circa 1765-70The round funnel bowl painted in opaque white with a tall neoclassical column with a Corinthian capital, surmounted by a statue of a man holding a staff, in a landscape of trees and shrubs, the rim with very faint traces of gilding, the double-series stem with a pair of eight-ply spiral bands around a pair of gauze corkscrews, over a conical foot, 15.3cm highFootnotes:ProvenanceDarell Thompson-Schwab CollectionColumns and follies in neoclassical style are very rare on Beilby glasses but relate to a series of glasses painted in a similar style with classical ruins. An example decorated with classical ruins beside a column was sold by Bonhams in Part 1 of this collection on 21 June 2022, lot 103. A handful of examples painted with Chinese pavilions incorporate similar statues holding staffs, see the example illustrated by James Rush, A Beilby Odyssey (1987), p.66, no.25 which was sold by Bonhams as part of the A C Hubbard Jr Collection on 30 November 2011, lot 144 and that illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1987), p.337, no.1100 which was sold in the same sale, lot 139. An example of identical form painted in similar style with a temple or folly, perhaps from the same original set as the present lot, was sold by Bonhams in Part 1 of this collection on 21 June 2002, lot 100.For further information on this lot please visit Bonhams.com

A Chinese famille rose 'Cultural Revolution' statue, 20th century, 33cm high文革雕塑Condition Report: very minor wear to the surfaceCondition Report Disclaimer

A large Chinese blue and white 'Guangong' statue, 20th century, with Guangong, one of the main characters in Romance of Three Kingdom, wearing long robes painted with dragon roundels, holding a Guandao, riding on a standing horse, all finely carved and painted, positioned on a wooden stand, 71cm high.二十世紀 青花馬上關公像品項報告 Condition report Loss of an ear of the horse. Glued repair to the base and two feet of the horse. General ware commensurate with age.

Six Asian bronzes, 19th-20th century, comprising a Chinese gilt four arm bodhisattva, a miniature Tibetan Manjusri statue, a Chinese Buddhist lion dog, a Japanese cockerel, an Indian bronze of Parvati, and a Thai gilt bronze Thai lion dog, 32cm high. (6) 十九至二十世紀 亞洲銅器一組 品項報告 Condition report All with surface wear. Loss of gilt to the Thai lion dog and the Chinese four-arm bodhisattva. Dents and nicks apparent on the lower part of the Japanese cockerel and the Thai lion dog.

Wood statue of Guanyin, the Chinese goddess of compassion. Multicoloured. China, 18th or 19th century. Some loose elements. Hoogte 158 cm.

RARE STATUETTE DE BODHISTTAVA EN PIERRE SCULPTÉEDynastie des Zhou du Nord/dynastie Sui (557-581/589-618)AN EXCEPTIONALLY RARE STONE FIGURE OF A BODHISATTVANorthern Zhou/Sui Dynasty (557-581 AD/589-618 AD)The deity, probably representing Avalokiteshvara, standing with its body naturalistically slightly swayed to the front and right, holding a vase in its left hand containing the nectar of Immortality, wearing flowing robes naturalistically draped in folds around its shoulders and arms, folded over its waist and reaching its bare feet, adorned with beaded bejewelled and tasselled necklaces with a central lotus pendant, the right arm raised, the serene face gazing forward with well detailed features flanked by pendulous ears with adorned with earrings, below the high beaded and bejewelled tiara with ribbons set around the coiffure, the back displaying the robe with its folds and overlapping pleats, tied below the neck and folded over the waist, with a bracket section on the back of the head, with red, green and black pigments and gilding, supported on an inverted circular base, stand. 54.3cm (21 1/2in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), according to a family note, acquired from Tchou Teh Hoo, Beijing, 10 January 1925Jean-Pierre Rousset, Paris (1936-2021) Characterised by regal countenance and adornment, the present figure bridges the aesthetic style of the Northern Zhou and Sui dynasties. The Sui dynasty utilised the patronism of Buddhism to unify China in 589, with craftsmen merging the artistic achievements of the preceding quarter century of the Northern Qi and Northern Zhou styles.See a stone figure of Guanyin, Northern Zhou dynasty (550-581), with similar proportions of large head atop narrow shoulders, illustrated by O.Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, vol.I, Bangkok, 1998, pl.266A (reprinted from the Ernest Benn 1925 edition). Sculptures from this period are rare and the closest example to the present lot may be a pair of standing bodhisattvas, Northern Zhou dynasty, discovered in 1992 in Xi'an, Shaanxi Province, illustrated in China: Dawn of a Golden Age, 200-750 AD, New York, 2004, no.170. The present exceptional figure with its opulent decoration and rich jewels was thus clearly influenced by the Northern Zhou style.The bodhisattva most likely represents Avalokiteshvara, known as Guanyin in China. Characteristically, the deity carries in her left hand a vase, a 'pure water bottle', one of the eight symbols of good fortune. The vase was believed to contain pure water capable of relieving suffering. The right hand probably once held a willow branch used to sprinkle the divine water. Compare with a related stone figure of Guanyin similarly holding a bottle vase and draped with long necklace, Sui dynasty, and another related stone figure of Guanyin, Sui dynasty, illustrated by O.Siren, ibid., pls.311 and 316. See also two limestone figures of a bodhisattva, Sui dynasty, from the Avery Brundage collection, in the Asian Art Museum San Francisco (acc.nos.B60S37 and B60S423). Compare also two stone figures of Bodhisattva Avalokiteshvara (Guanyin), in the Freer Gallery of Art, Washington DC, the first dated by inscription to 592 AD, (acc.no.FSC-S-52), and the second to the Sui dynasty (acc.no.S2012.9.4531).Caractérisé par une attitude majestueuse et sa parure, cette statue fait le lien entre le style esthétique des Zhou du Nord et celui des Sui. La dynastie des Sui fit de son patronage du bouddhisme un outil de l'unification de la Chine en 589, ses artisans mêlant les styles développés durant le quart de siècle précédent par les Qi du Nord et des Zhou du Nord.Voir une statue de Guanyin en pierre, dynastie des Zhou du Nord (550-581), aux proportions similaires, une large tête et des épaules étroites, illustrée dans O. Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, vol. I, Bangkok, 1998, ill. .266A (réédition de l'original 1925 chez Ernest Benn). Les sculptures de cette époque sont rares et l'exemple le plus proche de ce lot pourrait être une paire de bodhisattvas debouts, dynastie des Zhou du Nord, découvert en 1992 à Xi'an, au Shaanxi, illustrée dans China : Dawn of a Golden Age, 200-750 AD, New-York, 2004, n°170. L'exceptionnelle statue présentée ici, avec ses riches ornements et joyaux, est ainsi clairement influencée par le style des Zhou du Nord.Le bodhisattva représente probablement Avalokiteshvara, appelé Guanyin en Chine. Il porte de façon caractéristique dans sa main gauche un vase, « bouteille à eau lustrale », un des huit symboles auspicieux. Ce vase était censé contenir une eau pure pouvant soulager les souffrances. La main droite tenait probablement une branche de saule, utilisée pour asperger cette eau sacrée.A comparer avec une sculpture de Guanyin tenant de la même manière un vase et portant de longs colliers, dynastie Sui, et une sculpture comparable de Guanyin, dynastie Sui, illustré dans O. Siren, Ibid., ill. 311 et 316. Voir aussi deux statues en calcaire de bodhisattva, dynastie Sui, dans l'Avery Brundage Collection, à l'Asian Art Museum de San Francisco (inv. n° B60S37 et B60S423). Comparer encore avec deux statues de bodhisattva Avalokiteshvara (Guanyin) à la Freer Gallery of Art, Washington DC, la première datée par une inscription de l'an 592 (inv. n° FSC-S-52), la seconde de la dynastie Sui (inv. n° S2012.9.4531).北周/隋 石雕菩薩立像來源：巴黎Robert Rousset（1901-1981）舊藏據家族記錄，於1925年1月10日購自北京Tchou Teh Hoo巴黎Jean-Pierre Rousset（1936-2021）舊藏該立像寶相莊嚴，衣飾華麗，集北周與隋之韻致於一身。隋代在589年重新統一中國，其帝王皆護持佛法，並以佛教作為鞏固統治手段之一。因此隋代二帝時全國建立經像，盛極一時。此時佛教造像發展及技藝亦臻於完善，上承北齊、北周之大成，下啟盛唐風氣。與本像頭闊肩窄之比例相似者，可參見一例北周石雕觀音像 ，收錄於喜仁龍（O. Siren），Chinese Sculpture from the Fifth to the Fourteenth Century（五至十四世紀之中國雕塑），卷一，曼谷，1998年，圖版266A（重印自1925年Ernest Benn版）。本拍品應為觀音造像。其左手所持'淨瓶'為八吉祥之一。右手或曾持楊柳枝，&#... For further information on this lot please visit Bonhams.com

RARE TÊTE DE GUANYIN EN PIERRE SCULPTÉEDynastie des Qi du Nord (550-577)A RARE STONE HEAD OF GUANYIN Northern Qi Dynasty (550-577 AD)Exquisitely carved with eyes downcast in a serene expression, with high arched brown, raised angular eyes and straight nose above the sensuous bud mouth and well-defined chin, the rounded forehead below the raised centrally parted hair flanked by the pair of pendulous ears, crowned with a high tiara with a central figure of a seated Buddha before a lotus petal and within an arch, flanked by a pair of coiled dragon-like beasts, triple-tassels and a flower with two angular terminals, with traces of black, red and copper-green pigments, stand. 25cm (10in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) This serene head represents the bodhisattva Avalokiteshvara also known as Guanyin. The sublimely carved oval face is counterbalanced by a tall crown richly carved with palmettes and foliate motifs, centred by a figure of Amitabha Buddha. The political and social turmoil that accompanied dynastic changes in the 6th century significantly impacted Chinese Buddhist practice in several ways which are reflected in Buddhist art of the period. In their search for refuge beyond the chaos of the material world, a variant form of Pure Land Buddhism, in which devotion to Amitabha (or a bodhisattva such as Avalokiteshvara) allowed adherents to be reborn in Sukhavati (the Western Paradise of the Buddha Amitabha), grew in popularity. Consequently, images of bodhisattvas proliferated in the third quarter of the 6th century, as demonstrated by the present lot.Compare with the face on a related statue of a bodhisattva standing on a lotus pedestal, dated to 576, illustrated by O.Siren, Chinese Sculpture: From the Fifth to the Fourteenth Century, vol.1, Bangkok, 1998, pl.230 (reprinted from the 1925 edition). See also similarly arched brows and squarish face on a statue of a seated bodhisattva, Northern Qi dynasty, illustrated in Compassion and Fascination, Beijing, 2003, p.42.A related sandstone head of Guanyin, Northern Qi/Sui dynasty, was sold at Sotheby's Hong Kong, 1 April 2019, lot 3055.北齊 約六世紀 石雕觀音首來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

TRÈS RARE ET IMPORTANTE TÊTE DE BODHISATTVA EN PIERREDynastie des Qi du Nord (550 – 577 ap. J.-C)AN IMPORTANT AND EXTREMELY RARE LARGE STONE HEAD OF A BODHISATTVA Northern Qi Dynasty (550-577 AD)The serene face with full lidded eyes downcast below high arched brows set with a central urna, with well-defined nose, sensuous bud mouth and set chin, with full rounded cheeks, flanked by the pendulous ears, below the arched centrally-parted black-pigmented hair, surmounted by a tall tri-foliate bejewelled crown, with traces of black, copper-green and azurite pigments, stand. 43.5cm (17in) high. (2).Footnotes:Provenance:Loo & Cie, Art Ancien de Chine, ParisRobert Rousset, Paris (1901-1981); acquired from the above on 21 February 1924Jean-Pierre Rousset, Paris (1936-2021) The wood stand by Kichizo Inagaki (1876-1951; active in Paris from 1906)Elegantly proportioned and superbly carved, the present head is a remarkable testament to the high standards achieved in Buddhist portraiture during the Northern Qi period, one of the most vibrant periods in the history of Chinese art. At this time, Buddhism flourished in China, with several shrines being constructed under the emperor's personal auspices and eminent monks were appointed as state preceptors. Buddhist art experienced a glorious moment following the dissemination of foreign ideas and styles and copious financial resources were devoted to the construction of Buddhist caves whose marvellous sculptures combined powerful and sensuous modelling with subtlety of expression. These features were likely to have derived from the contemporary Indian style of the Gupta period, which was highly regarded by the Qi aristocracy for its exotic traits. The benevolent expression, conveyed by gently downcast eyes and gentle smile of this majestic head, indicate that it represents Avalokiteshvara, also known as Guanyin, the benevolent Bodhisattva of Mercy. In Buddhist faith, images of deities served as important foci of worship and promoted significant devotional acts, which contributed to the devotee's personal growth towards spiritual liberation.Venerated in Indian Buddhism as the embodiment of the Compassion of the Buddha, Avalokiteshvara (known as Guanyin in China) is described in the 'Lotus Sutra', as capable of hearing all mankind, striving endlessly to help those offering prayers, transforming at will and appearing in more than thirty human guises to expound Buddhist teaching to devotees.Compare with a related limestone head of a bodhisattva, Northern Qi dynasty, from the Nelson Atkins Museum, Kansas City (acc.no.F99-1). See also a limestone head of a bodhisattva, Northern Qi dynasty, from the Museum of Art, San Diego, illustrated by K.Tsiang, Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan, Chicago, 2010, p.230, fig.32. See also a related monumental sandstone standing figure of Guanyin, Northern Qi dynasty, in the Metropolitan Museum of Art, New York, illustrated by A.F.Howard, et al, Chinese Sculpture, New Haven, 2006, p.288, fig.3.92.See a smaller white marble head of Mahasthamaprapta, Northern Qi dynasty (34cm high), which was sold at Bonhams London, The Ollivier Collection of Early Chinese Art, 8 November 2018, lot 31.Socle en bois de Kichizo Inagaki (1876-1951; actif à Paris à partir de 1906)Elégamment proportionnée et délicatement sculptée, cette tête est un remarquable témoignage du raffinement atteint dans l'art du portrait bouddhique à l'époque des Qi du Nord, une des périodes les plus dynamiques de l'histoire de l'art chinois. Le bouddhisme était alors florissant en Chine, avec plusieurs sanctuaires en construction sous le patronage personnel de l'empereur, et d'éminents moines nommés précepteurs à la Cour.Avec la diffusion d'idées et de styles étrangers, l'art bouddhique connut une période brillante, et d'abondantes ressources financières furent allouées à la construction de grottes bouddhiques, dont les magnifiques sculptures combinaient modelé puissant et sensuel et subtilité de l'expression. Ces particularités étaient probablement dérivées du style indien contemporain de l'époque Gupta, lequel était très admiré par l'aristocratie des Qi pour ses traits exotiques.L'expression bienveillante, donnée par les yeux délicatement baissés et le doux sourire de cette tête majestueuse, indique qu'elle représente Avalokiteshvara, aussi appelé Guanyin, le bienveillant boddhisattva de la compassion. Dans la foi bouddhiste, les images des divinités étaient d'importants foyers pour le culte, et encourageaient d'importants actes de dévotion, qui contribuaient à la progression personnelle du fidèle vers la libération spirituelle.Avalokiteshvara (appelé Guanyin en Chine), vénéré dans le bouddhisme indien comme l'incarnation de la compassion du Bouddha, est décrit dans le Sutra du Lotus comme capable d'entendre toute l'humanité, s'efforçant indéfiniment d'aider ceux qui l'invoquent dans leurs prières, se transformant à volonté et apparaissant sous plus de trente aspects humains pour exposer l'enseignement bouddhique aux fidèles.A comparer avec une tête de bodhisattva en calcaire similaire, dynastie des Qi du Nord, au Nelson Atkins Museum, Kansas City (acc.no.F99-1). Voir aussi une tête de bodhisattva en calcaire, dynastie des Qi du Nord, au Musée d'Art de San Diego, illustré dans K. Tsiang, Echoes of the Past : The Buddhist Cave Temples of Xiangtangshan, Chicago, 2010, p.230, fig.32. Et voir une statue monumentale de Guanyin debout en grès, dynastie des Qi du Nord, au Metropolitan Museum of Art, New York, illustré par A.F. Howard et autres, Chinese Sculpture, New Haven, 2006, p.288, Fig. 3.92. Voir enfin une plus petite tête de Mahasthamaprapta en marbre blanc, dynastie des Qi du Nord (H. 34 cm), vendu chez Bonhams à Londres, The Ollivier Collection of Early Chinese Art, le 8 novembre 2018, lot 31.北齊 石雕菩薩首來源：巴黎古董商盧芹齋巴黎Robert Rousset（1901-1981）舊藏，於1924年2月21日購自上述巴黎Jean-Pierre Rousset（1936-2021）舊藏木座為稲垣吉蔵（1876-1951，自1906年後活躍於巴黎）所製。北齊帝皇尊崇佛法，屢屢敕建佛寺佛窟，並徵召高僧如僧稠等入朝為師。此佛教隆盛之世，亦為中國佛教藝術高峰之一。本尊首像容貌安恬，冠飾華麗，比例勻稱，雕工審慎，乃北齊佛教造像藝術之代表。融合了豐富多彩的外來文化及藝術風格，兼有皇權護持，佛教藝術在北朝蓬勃發展。在皇室斥巨資並主ý... For further information on this lot please visit Bonhams.com

Ein paar Jade-Statuetten (Wengzong), China, 20. Jhdt. Vollplastisch geschnitzte Jadeit-Figuren. Höhe 14 cm. A pair of Chinese jade Wengzhong figures, 20th century Two jadeits carved as necklace statue Wengzhong. Height 13.5 cm.

Bronzene Buddha-Statue, China, späte Ming-Dynastie Bronze mit Resten von Lackvergoldung. In dhyanasana auf einem Lotusthron in Meditation versunkener Buddha, die Hände in bhumisparsa mudra haltend (der Zeigefinger nach unten umgeknickt). Die Schultern umrahmt drapiertes sanghati, unter der Brust gebundenes antarvasaka. Höhe 32 cm, Gewicht ca. 5,8 kg. A Chinese bronze Buddha statue, late Ming Dynasty Bronze mit Resten von Lackvergoldung. In dhyanasana auf einem Lotusthron in Meditation versunkener Buddha, die Hände in bhumisparsa mudra haltend (der Zeigefinger nach unten umgeknickt). Die Schultern umrahmt drapiertes sanghati, unter der Brust gebundenes antarvasaka. Höhe 32 cm, Gewicht ca. 5,8 kg.

20th century Chinese Bronze green patina Buddha statue. [22cm high]

ANTIQUE CHINESE FIGURE FOO DOG STATUE, CHERRYWOOD

Chinese bronze warrior statue of Guan Gong Yu standing holding a weapon, approx 27cm high

A SANDSTONE DOOR CASING PANEL OF A DEVATA, BAYON STYLEKhmer Empire, late 12th to 13th century. Carved as a standing devata, wearing a sampot, the right hand held to the chest, the faces with almond shaped eyes, the pendulous ears with round earrings, flanked by two pillars and a flaming arch. The right side with an ornamental band.Provenance: Santi's Art & Antiques, Bangkok, Thailand, 1987. A noted English private collection, by repute acquired from the above and thence by descent in the same family. Santi's Antiques was established in 1958 by Santi Sivakua in Bangkok, Thailand. Santi Sivakua became one of Thailand's most reputable dealers and an acclaimed expert in Chinese porcelain and Southeast Asian artifacts, serving as a consultant for several reference publications. In 1990, Santi's son Suk took over the business. Condition: Good condition, commensurate with age and as expected for a statue with an age of 800 years or more. Extensive wear, signs of centuries-old weathering and associated erosion, fills to backside, losses, few nicks, cracks and surface scratches. Displaying remarkably well overall. Dimensions: Height 76 cm (excl. base) and 82.8 cm (incl. base)Mounted to a modern wood base. (2)Devata are smaller and more focused Devas (Deities) in Indian religions, such as Hinduism and Buddhism. The term 'devata' itself can also mean deva and they can be either male or female. Every human activity has its devata, its spiritual counterpart or aspect.Literature comparison:Compare a related sandstone panel, dated to the 12th century, in the collection of the British Museum, accession number 2002,0330.1.Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 31 October 2006, lot 561Price: EUR 11,400 or approx. EUR 15,500 adjusted for inflation at the time of writingDescription: A Khmer, Bayon style, sandstone panel, 13th centuryExpert remark: Compare the figural element, the arch-shaped frame, and the ornamental decorations. Note the size (105 cm).

A LARGE GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, LATE QING TO REPUBLIC PERIODTibetan-Chinese, c. 1800-1950 or earlier. Massively cast seated in vajraparyankasana on a double lotus throne, the right hand extended in bhumisparsha mudra and the left held in samadhi mudra, the face with a meditative expression, crowned by a beaded tiara around the domed ushnisha with tightly coiled curls. The sanghati with borders of delicate beading, enclosing finely incised foliate scrolls along the hems, which gather in a fan shape between the feet, the front of the pedestal with a double vajra.Provenance: British trade. Condition: Overall in good condition commensurate with age. Few minor nicks, dents, losses, light scratches, and significant wear to gilt. Some casting irregularities, signs of corrosion, dark spots, remnants of old varnish and pigment. The seal plate lost, the interior was professionally cleaned some time ago. One finger lost. Naturally grown patina.Weight: 5,386 g Dimensions: Height 30.9 cmSeated in classic diamond posture, recalling the seminal moment when he attained enlightenment under the bodhi tree in Bodhgaya, Buddha embodies virtuosity and inner energy. Touching the ground with his right hand, he asks the earth to witness the truth of his teachings. The elongated earlobes represent his rejection of worldly goods and the robes, worn in a way to leave the right shoulder bare, recall the custom adopted by Buddhist monks in Southeast Asia when paying respect to a holy site.Auction result comparison:Type: Near identicalAuction: Bonhams London, 17 May 2018, lot 106Price: GBP 15,000 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: A very rare and large gilt-copper figure of the Buddha Shakyamuni, Tibet, 14th/15th centuryExpert remark: Compare the near identical pose, decoration, and closely related size (31.3 cm). Note that this statue most likely also dates from the Qing or Republic period.清末民初大型釋迦牟尼鎏金銅漢藏，約1800-1950年或更早。釋迦牟尼結金剛坐坐在雙層蓮花座上，右手施觸地印，左手為三摩地手印，面帶沉思，頭上有螺髻，佩戴連珠發帶。袈裟上飾以精美珠飾，沿裙擺附有精美紋飾，鋪在足間。蓮花座上有雙金剛杵。 來源：英國古玩交易。 品相：總體狀況良好，輕微的刻痕、凹痕、缺損、輕微劃痕和嚴重的鎏金磨損。一些鑄件不規則，腐蝕跡象，黑點，舊清漆和顏料的殘留物。封印板丟失，內部曾被專業清洗過。一根手指掉了。自然包漿。 重量：5,386 克 尺寸：高30.9 厘米 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦邦瀚斯，2018年5月17日，lot 106 價格：GBP 15,000 （相當於今日EUR 20,500） 描述：西藏十四至十五世紀銅鎏金釋迦牟尼佛坐像 專家評論：比較幾乎相同的姿勢、裝飾和非常相近的尺寸(31.3 厘米)。請注意此像很有可能斷為清末民初。

A GILT COPPER ALLOY FIGURE OF INDRA, NEPAL, 15TH-17TH CENTURYSeated in rajalilasana, leaning on his left hand, the left shoulder flanked by the stem of a lotus supporting the vajra, the right hand in vitarkamudra before his chest. The face with a serene expression, downcast eyes centered by the third eye, flanked by pendulous earlobes suspending circular earrings. Finely inlaid with glass, garnet, and possibly semi-precious stones. The base neatly sealed with a copper repousse plaque. Remarkably solid and heavy cast.Provenance: A noted Hungarian private collection. Condition: Good condition with some old wear and minor casting flaws, small losses, slight bending of few exposed areas, minuscule nicks and dents, remnants of pigment. Some inlays possibly renewed.Weight: 583.7 g Dimensions: Height 13.1 cmIndra, the Lord of the Gods, plays a central role in the legends, life, and art of Nepal. This elegantly and intricately modeled bronze is characteristic of the Nepali representation of Indra, seated in the graceful pose of 'Royal Ease' with the thunderbolt, his principal attribute, supported by a lotus flower, bearing a crescent-shaped crown, and with the horizontal 'third eye' incised on the forehead. This relaxed posture is similarly reflected in Chinese Song sculptures of Guanyin (Avalokiteshvara). Developed locally, depictions of Indra in rajalilasana have become one of the most recognizable images in Nepalese art history.Literature comparison: Compare the posture, hand gestures, jewelry and flower design with a fifteenth-century Nepalese gilt copper Indra formerly in the Nasli and Alice Heeramaneck Collection and now in the Los Angeles County Museum of Art, see Pratapaditya Pal, Art of Nepal, Los Angeles, 1985, page 119, cat. S42, illustrated page 50.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 22 September 2020, lot 321Price: USD 52,920 or approx. EUR 61,000 converted and adjusted for inflation at the time of writingDescription: A gilt copper figure of Indra, Nepal, 15th centuryExpert remark: Compare the closely related pose, fine incision work, inlays, and size of 13.5 cm. Note that this statue is possibly a bit earlier than the present lot.十五至十七世紀尼泊爾因陀羅（帝釋天）鎏金銅像左手撐座，右手自然優雅的放置在屈起的右膝之上，施安慰印；左腿盤起，右腿彎曲斜放，身體呈三折姿而坐，這種坐姿是古代帝王放鬆隨意的坐姿；寬闊的前額中央有一橫為第三眼，杏仁狀的眼睛，鼻子高挺，淡淡的微笑，洋溢著快樂安詳的感覺。主尊頭戴裝飾華麗的新月形王冠，這是尼泊爾形象的特色；佩有耳璫、項圈瓔珞、臂釧、腰鏈、掛鏈、手鐲及足釧等鑲嵌寶石的飾品；左肩有蓮花；光圓寬厚的臂膀、堅實的細腰、柔和的長臂，整尊造型優雅健美。 來源：匈牙利知名私人收藏。 品相：狀況良好，有磨損和輕微的鑄造缺陷，小缺損，局部輕微彎曲，微小的刻痕和凹痕，顏料殘留物。一些嵌體可能已更新。 重量：583.7 克 尺寸：高13.1 厘米 文獻比較：比較一件十五世紀尼泊爾鎏金銅因陀羅，有相似的姿勢、手勢、首飾和珠寶花飾，先前收藏於 Nasli and Alice Heeramaneck Collection ，現藏於洛杉磯郡藝術博物館，見Pratapaditya Pal，《Art of Nepal》，洛杉磯，1985年，頁119，圖錄S42，插圖見50。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2020年9月22日，lot 321 價格：USD 52,920（相當於今日EUR 61,000） 描述：十五世紀尼泊爾尼泊爾因陀羅鎏金銅像 專家評論：比較非常相近的姿勢、精緻雕刻、鑲嵌和尺寸(13.5 厘米)。請注意此像年代較現拍品早。

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 GILT COPPER REPOUSSE FIGURE OF GREEN TARA, 17TH-18TH CENTURYTibetan-Chinese. Well modeled seated in lalitasana, the right hand in varada mudra and the left in vitarka mudra, holding a lotus stem coming to full bloom at the shoulder, wearing elaborate jewelry and an incised robe falling in drapes, the face with a benevolent expression flanked by pendulous earlobes, crowned with a five-leaf tiara enclosing the hair coiled into an elaborate chignon. The seal plate with a punched double vajra.Provenance: From an old British private collection, acquired in the 1970s. A Belgian private collection, acquired from the above. Old label to base with manual inscription: “Nepal Tibet - Bronze dore - Acquis dans les annees 1970 Coll. A + JP de (…) Mc DONALD GB” (Nepal Tibet, gilt bronze, acquired in the 1970ies, collection of A + JP Mc Donald, UK) Condition: Good condition commensurate with age and still presenting remarkably well. Some wear and manufacturing flaws, minor dings and dents, small tears and losses, light scratches, minuscule old repairs. The base sealed and possibly still filled with sacred contents. Good, naturally grown patina overall.Weight: 1,055 gDimensions: Height 27 cmThis elegant seated figure of Tara exhibits many characteristics common to Buddhist imagery from the Qianlong period (1736-1795), made in the lamaist workshops in and around Beijing. In the latter half of Qianlong's reign, when the construction of Buddhist temples and the associated Buddhist images reached its apogee, the use of repousse, where thin metals are beaten rather than cast, became more prevalent in an effort to save materials and time. The artisans of the period quickly mastered the process, and details such as the ornately worked crown and flowers at the shoulders in the present figure demonstrate the mastery of the technique.Green Tara, also known as Shyamatara, is venerated as a savior and liberator from samsara, the earthly realm of birth and rebirth. According to Buddhist mythology, Green Tara emerged from a lotus bud rising from a lake of the tears of Avalokiteshvara, shed for the suffering of all sentient beings. She embodies compassion in a dynamic form, hence the usual depiction of the goddess with right leg outstretched, ready to leap out to ease suffering. Her right hand is always held out in varada mudra, a gesture of compassion and charity, and the left hand in vitarka mudra, a gesture of teaching.Auction result comparison: Type: Closely related Auction: Galerie Zacke, 27 September 2019, lot 68 Price: EUR 10,744 or approx. EUR 12,000 adjusted for inflation at the time of writing Description: A gilt copper statue of Manjusri, Tibetan-Chinese, 17th-18th century Expert remark: Compare the closely related repousse work, gilding, incision work, inlays, and double lotus base with similar petals and beaded edge. Note the related size (29.8 cm)Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2019, lot 673 Price: USD 21,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A repousse gilt-bronze figure of Tara, Inner Mongolia or China, late 18th century Expert remark: Compare the closely related repousse work and lotus base with similar petals and beaded edge. Note the size (39.4 cm).Auction result comparison: Type: Related Auction: Bonhams London, 16 May 2019, lot 171Price: GBP 15,062 or approx. EUR 19,500 converted and adjusted for inflation at the time of writing Description: A large gilt-copper repousse figure of Green Tara, Tibet, 16th centuryExpert remark: Compare the closely related expression, pose, and jewelry. Note the size (40.4 cm) and that this statue is of an earlier date. 十七至十八世紀銅鎏金錘鍱綠度母坐蓮像漢藏。綠度母頭戴花冠，面相方圓，慈眉善目，神態沉靜。耳垂花璫，胸戴瓔珞，袒露上身，下著錦褲，雙肩豎出蓮花法器，單腿伸出自然坐於單層覆蓮座上。底座密封雙金剛杵印。 來源：英國私人舊藏，購於上世紀七十年代；一個比利時私人收藏，購於上述收藏。底部有舊標籤 “Nepal Tibet - Bronze dore - Acquis dans les annees 1970 Coll. A + JP de (…) Mc DONALD GB” (尼泊爾或西藏，銅鎏金，購於1970年代，英國 A + JP Mc Donald收藏) 品相：品相良好，與年齡相稱。一些磨損和製造缺陷、輕微的凹痕、小撕裂和缺損、輕微的劃痕與維修。底座密封，造像内可能還裝了聖物。 整體良好，自然包漿。 重量：1,055 克 尺寸：高 27 厘米 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。

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。由於字數限制，完整中文敘述請至www.zacke.at查看。

AN IMPORTANT AND RARE UDAYANA-STYLE FIGURE OF MAITREYA, LATE YUAN DYNASTY - HONGWU PERIODOpinion: The present statue is stylistically very similar to an important gilt-bronze figure of Maitreya, which can be pinpointed by radiocarbon dating of organic material in its core to a quite narrow timeframe from the late Yuan dynasty to the Hongwu period. The distinct U-shaped folds, elongated undulating sleeves, and flared hems, as well as the characteristic hairstyle, all indicate that the two figures were made at more or less exactly the same time, around the years 1350-1380. The image is superbly carved standing with his right hand raised in abhaya mudra, the deity portrayed with a serene and meditative countenance below an urna, framed by a pair of long pendulous earlobes and hair neatly swept over the ushnisha, clad in a long robe with elongated sleeve openings and accentuated overall with pronounced folds and undulations, the garment loosely clinging to the gently rounded outlines of his stomach and legs and ending in a flaring hem above the bare feet. Provenance: A Belgian private collection. Condition: Good condition, commensurate with age and presenting remarkably well, especially when considering the high age of this statue. Extensive wear and expected natural age cracks. Minor flaking and crackling to lacquer. Light surface scratches, minuscule nicks, some losses. Possibly few minor old touchups here and there.Weight: 787.9 g Dimensions: Height 31.2 cmMaitreya, Buddha of the Future Age, governs two perfected worlds: Tusita Heaven, which he currently inhabits, and Ketumati, an ideal realm conducive to the pursuit of enlightenment where he will serve as the teaching Buddha. The Maitreya's hands are held in abhaya and varada mudras, embodying a message of the coming salvation of all sentient beings.As the Yuan dynasty crumbled amidst famine, floods and general unrest, the anti-Mongol slogan of Han Shantong, Grand Patriarch of the White Lotus sect, was a call to arms and rebellion. Central to Han's belief structure was the idea that Buddha Maitreya had finally manifested in the world as the successor to Buddha Shakyamuni. Shortly after Han's demise in 1351, Zhu Yuanzhang, also a member of the White Lotus sect, emerged as the leader of the ethnic Han Chinese rebelling against the Mongol-led Yuan dynasty. In 1368, he eventually proclaimed himself as the Hongwu Emperor of the newly established Ming dynasty. It was during this period that images of Buddha Maitreya, such as the present lot, were depicted almost exclusively in the distinct Udayana style which gained increased popularity.The formulaic rendering of the U-shaped folds of the robe is one of the most interesting iconographic features of the present figure. This is known as Udayana, an ancient name for the early Gandharan region now in the present-day Swat Valley, Pakistan, from which similarly robed images of Maitreya first originated. This distinctive style of dress had transmitted along the Silk Road all the way to China and appeared there as early as the fourth century, as exemplified by the gilt-bronze seated Buddha Shakyamuni illustrated by H. Munsterberg, in Chinese Buddhist Bronzes, New York, 1988, page 37, fig. 1, which bears an inscription dated to 338 AD.Literature comparison:Compare a closely related wood figure, dated to the Ming dynasty, in the collection of the Metropolitan Museum of Art, accession number 41.115.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 2 October 2017, lot 3135 Price: HKD 24,100,000 or approx. EUR 3,263,000 converted and adjusted for inflation at the time of writing Description: A magnificent and monumental gilt-bronze standing figure of Maitreya, Yuan dynasty - Hongwu periodExpert remark: Compare the closely related U-shaped folds, elongated undulating sleeves, and flared hems as well as the distinct hairstyle. Note that this lot came with a Carbon-14 test of the core which was consistent with the dating above. Note the much larger size (116.8 cm) and the fact that this statue is made from bronze, not wood.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2010, lot 1959 Price: HKD 3,020,000 or approx. EUR 526,500 converted and adjusted for inflation at the time of writing Description: A very rare early Ming gilt-bronze standing figure of Maitreya, Yongle incised six-character mark and of the period Expert remark: Compare the closely related U-shaped folds and elongated undulating sleeves. Note that this lot is made from gilt-bronze, not wood, and that it bears a Yongle mark and dates from the period. Also note the smaller size (16.5 cm). Eventually note that the image lacks the distinct Udayana hairstyle, probably because it was made a few decades later than the present lot.元末至洪武朝重要烏仗那式彌勒佛木雕像 造像身軀豐滿，姿態高貴，右手施無畏印，佛面微笑頭髮整齊地披在烏尼沙上，佛像通肩式之外袍，自肩膀垂直而下，佛像身形高挑，裙褶疊曲有序，氣韻生動，神彩宛如書法揮毫。由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE GILT BRONZE 'WILLOW LEAF' GUANYIN, BHAISAJYARAJA AVALOKITESHVARA, MING DYNASTYChina, 16th century. Finely cast seated in dhyanasana, the hands held in karana mudra, her left holding a bowl of elixir. She is wearing long flowing robes with well carved folds and neatly incised floral hems, and is richly adorned with fine jewelry. Her serene face with heavy-lidded downcast eyes and full lips forming a subtle smile, flanked by long pendulous earlobes suspending elaborate earrings.Provenance: From an old private collection in Paris, France, and thence by descent. French trade, acquired from the above. Condition: Superb condition. Some old wear, minor casting flaws, few minuscule nicks and light scratches. The gilt is well-preserved overall. The separately cast willow twig in her right is lost. Note that all exposed areas, and particularly the delicate crown, show no losses or signs of repair whatsoever. Fine, naturally grown patina. A 16th-century gilt-bronze figure in such magnificent condition is extremely rare.Weight: 6,729 g (excl. stand)Dimensions: Height 36 cm (excl. stand) and 41 cm (incl. base)The neatly incised hair falling elegantly in strands over the shoulders and tied up into a high chignon behind the open worked foliate crown centered by a small image of the Buddha Amitabha.With an old fitted wood base dating from the Qing dynasty. (2)According to the Lotus Sutra, Avalokiteshvara can take any form necessary to save sentient beings. Thirty-three manifestations of Avalokiteshvara are mentioned and are known to have been very popular in Chinese Buddhism as early as the Sui and Tang Dynasties. The present lot depicts the bodhisattva in a manifestation known as Bhaisajyaraja Avalokiteshvara, or the 'Willow Leaf' Guanyin in Chinese. In this form, the bodhisattva holds a vial or bowl of elixir in the left and a stalk of willow leaves in the right, which was cast separately for the present statue and is now lost. The willow has evil dispelling properties and is used to sprinkle the elixir over devotees, which is believed to cure all physical and spiritual illnesses. This iconographic form was popular among devotees wishing for good health.Buddhist gilt-bronze figures were produced almost from the beginning when Buddhism was embraced by various courts of China's division after the Han dynasty. Until the Tang dynasty, however, they remained very small. One of the earliest developments away from small votive images took place in the Khitan Liao dynasty, when statues not only became bigger but also developed stylistically towards a more sculptural aesthetic. During the early Ming period the court took complete control of their production, and a distinct classic style was devised that would determine the design of all future Buddhist gilt-bronze images, including the present lot.Auction result comparison:Type: Closely related Auction: Sotheby's Paris, 11 December 2018, lot 81 Price: EUR 50,000 or approx. EUR 57,000 adjusted for inflation at the time of writing Description: Statuette de Guanyin en bronze dore, dynastie Ming Expert remark: Compare the closely related pose, expression, robes, jewelry, hair, and crown. Note the smaller size (32 cm).Auction result comparison: Type: Related Auction: Sotheby's London, 7 November 2018, lot 66 Price: GBP 100,000 or approx. EUR 135,500 converted and adjusted for inflation at the time of writing Description: A lacquered parcel-gilt bronze figure of Guanyin, Ming dynasty, 16th century Expert remark: Compare the related pose, expression, robes, jewelry, hair, and crown. Note the larger size (47 cm) and that the statue has only partial gilding. 明代大型楊柳觀音鎏金銅像中國，十六世紀。觀音結跏趺坐，左手托淨瓶，右手當胸持楊柳枝作拋灑甘露的手勢。面相豐頤，曲眉似彎月與鼻樑相連，眼瞼較寬，神態慈和寧靜；雙眼微合，俯視前方；頭戴花冠，冠葉雕刻精細，冠正面有化佛阿彌陀佛。身軀雄健，體態優美，整體莊嚴神聖而又慈祥親切。胸前飾瓔珞，下身著高束腰及胸長裙，衣紋厚重，自然流暢，衣緣鏨刻大朵花紋飾樣，雕刻精細，紋飾清晰，鮮明的漢地造像裝飾風格。整體形態端莊。 來源：法國私人舊藏；法國古玩交易，購於上述收藏。品相：狀況極好，一些磨損，輕微的鑄造缺陷，一些微小的刻痕和輕微的劃痕，鎏金整體保存極好，右手中原先拿的柳枝遺失。請注意，造像沒有任何修復跡象。細膩自然的包漿。如此精美的明末鎏金造像極為罕見。由於字數限制，完整中文敘述請至www.zacke.at查看。

A Chinese statue of a terracotta warrior, 25cmH

A large reconstituted stone Chinese 'terracotta army' statue

Chinese bronze statue of the seated Buddha, traces of gilding, Qianling mark, 28cm high.

Small metal statue, Chinese censor and lidded pot

A Chinese bornite sculpture of Buddhi, 13cm h, wood stand and two other items (3)  The large statue with chips and losses to stomach and toes. Both of the smaller items in good condition

CHINESE WARRIOR - GARDEN STATUE

A collectors' lot to include a pair of Chinese-style ceramic models of koi carp, together with a carved and painted Thai mask, a bronzed model of a Greek-style statue, a ceramic model of a bull with pierced holes, and various other carved wooden items.

2 boxes of Chinese and Japanese porcelain and earthenware, soapstone objects, carvings and bronze Buddha statue, 19th/20th C.

Box Asian Wed. Blanc de Chine sculpture, cloisonne vases, bronze statue, 2 bone figures, glass snuff bottle, and Japanese and Chinese porcelain, among others. 19th century

Bronze statue of a Chinese warrior with sword, Yongle marked, but of a later period, 40 cm high

A SUPERB LARGE CHINESE CARVED WOOD STATUE of a seated dignitary, mounted to a wooden base, the figure carved with ceremonial garments, his feet rested upon a foot stool, the arms of the chair carved with dragon heads, 80cm high, 40.5cm wide, 37.5cm deep.

Gray stone garden statue of a Chinese chainmail warrior, China 19th/20th CTuinbeeld in grijze steen van een Chinese krijger in maliënkolder, China 19e/20e eeuwH 110 cm

A rare Beilby enamelled opaque twist wine glass, circa 1765-70The slender round funnel bowl painted in opaque white with a neoclassical temple or folly, four columns supporting a domed roof adorned by a statue of a man holding a staff, in a landscape of trees and shrubs, the rim with faint traces of gilding, the double-series stem with a pair of eight-ply spiral bands around a pair of gauze corkscrews, over a conical foot, 15.5cm highFootnotes:ProvenanceDarell Thompson-Schwab CollectionPavilions in neoclassical style are very rare on Beilby glasses but relate to a series of glasses painted in a similar style with classical ruins, see for example the previous lot in this sale. A handful of examples painted with Chinese pavilions incorporate similar statues holding staffs, see the example illustrated by James Rush, A Beilby Odyssey (1987), p.66, no.25 which was sold by Bonhams as part of the A C Hubbard Jr Collection on 30 November 2011, lot 144 and that illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1987), p.337, no.1100 which was sold in the same sale, lot 139.For further information on this lot please visit Bonhams.com

A Victorian leaf pattern dish, resin statue, pair of miniature Chinese style bowls and covers and other ceramics etc.

STATUE DE VAJRADHARA EN LAITON INCRUSTÉ D'ARGENTTSANG, TIBET CENTRAL, XVE SIÈCLEHimalayan Art Resources item no. 4840 24 cm (9 1/2 in.) high Footnotes:A SILVER-INLAID BRASS FIGURE OF VAJRADHARA TSANG, CENTRAL TIBET, 15TH CENTURY 藏中 十五世紀 銅錯銀金剛總持像 Provenance:With Claude de Marteau, Brussels, by 1970s The primordial Buddha, Vajradhara, crosses a vajra and bell before his chest (vajrahumkara mudra), symbolizing the perfected union of wisdom and compassion that is Buddha-consciousness, and into which the human ego can blissfully evaporate. His sublime body is clad in a lower garment with patterned floral hems, and a scarf that drapes over his shoulders before sweeping around the elbows and falling to his sides. His crown consists of five tall leaves, representing each of the Five Presiding Buddhas. The sculpture is a superior example of the non-gilded, brassy, and frequently inlaid style favored in Tsang province of Central Tibet. This alloy can be brought to a high polish, achieving an attractive buttery patina, as seen on the figure's back. Vajradhara's squarish countenance and accentuated smile are also characteristic of Tsang style. A 15th-century date is supported by the particular rippling of the lower garment around the shins, and the long, densely packed lotus petals around the base, which Tibetan craftsmen adopted from imperial Chinese Buddhist bronzes that were sent to powerful Tsang monasteries by the Yongle emperor (1403-24). Similar Tsang bronzes of Vajradhara are kept in the Johkang, Lhasa; the Rubin Museum of Art, New York (C.2005.37.1); and a private collection (see von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, p. 1193, no. 323B; HAR 90823; and HAR 30586, respectively).For further information on this lot please visit Bonhams.com

A Chinese carved rootwood statue, depicting a dragon chasing the sacred pearl, 35cm

A Chinese bronze three sided god statue.

Wooden Chinese statue of an immortal Houten Chinees beeld van een ontsterfelijke H 91.5 cm

Glazed ceramic statue of a Chinese sage Geglazuurd keramieken beeld van een Chinse wijze H 65 cm

Chinese statue of an immortal in mammoth ivory, marked Chinees beeld van een onsterfelijke in mammoetivoor, gemerkt H 31.5 cm

A carved Chinese root wood statue, Shou Lao, god of Longevity. 53cm high; Chinese brass chargers etc

Signed bronze statue of Chinese lady and child - Approx H: 29cm