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An antique carved stone Chinese temple dog of Fo statue, approximately 30cm tall. postage category D

A stone freeform statue together with tribal bust and Chinese vase

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.

An antique carved stone Chinese temple dog of Fo statue, approximately 30cm tall. postage category D

Antique Chinese Carved Jade Figure Statue Buddha, size: 72mm X 59mm X 18mm , weight: 106Gr

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 Chinese Carved Hardwood Statue Formed as a Nomad, together with other similar hardwood, boxwood and bamboo carvings, including buddas, sages and others, native american style carvings and Chinese vase stands

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.

A vintage 20th century Tibetan cast bronze statue of Hindu god goddess Tara. In a standing pose on a base. Together with a soapstone carving of Chinese Shoulau. Tallest measures approx. 31cm 

Chinese cast bronze statue of Guan Yu, commander in Han Empire, 25.5cm high

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.

Large Chinese porcelain statue of Lu Xing, 20th centuryGroot Chinees porseleinen beeld van Lu Xing, 20e eeuwH 61.5 cm

A vintage 20th century Tibetan cast bronze statue of Hindu god goddess Tara. In a standing pose on a base. Together with a soapstone carving of Chinese Shoulau. Tallest measures approx. 31cm 

Chinese bronze statue of the God of Longevity (approx 16.5cm high)

A Collection of Asian Art, including a Chinese hardstone carving of Shou Lao, a gilt wood statue of a seated dignitary, cloisonne vessels, and a copper and white metal mounted shell (one tray)

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)。

A Chinese jade carving,20th century, of a mythical beast statue,21cm highCondition ReportThe stone with cracks and small chips in various locations.

A collection of silver plated items consisting of a dish, candelabras, lion headed bowl, a plate model of a Chinese Junk, a eagle statue supporting a glass plate etc.

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 -

A decorative 20th Century carved Chinese root wood statue of a laughing Buddha, of large proportions, 50 x 25 x 105cm high.

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.

Box various Wed. wooden mask of a Chinese man, 2 lamps in the shape of cranes, wall decorations incl. panel and antique wooden statue

Chinese Tang dynasty bronze-gilt Buddha statue H:33cm W:15cm Weight:1730g

Chinese Qing dynasty boxwood fairy statue H:60cm W:16cm

Chinese Liao Dynasty bronze gilt Buddha statue H:24cm W:13cm Weight:2009g

Chinese Qing dynasty Hetian jade arhat statue H:20cm W:10cm Weight:1389g

Chinese Qing dynasty bronze-gilt Buddha statue H:45cm W:32.5cm

Chinese Qing dynasty Hetian jade Guanyin statue H:23cm W:8.5cm Weight:1000g

Chinese Ming dynasty bronze-gilt Buddha statue H:47cm W:37cm

Chinese Tang dynasty bronze-gilt Buddha statue H:90cm W:73cm

Chinese Qing dynasty Hetian jade Taoist statue H:14.7cm W:9cm Weight:979g

Chinese Qing Dynasty Emerald Buddha Statue Plaque Diameter:5cm Weight:45g

Chinese Ming dynasty bronze-gilt Buddha statue H:27cm W:16.2cm Weight:4397g

Chinese Qing dynasty bronze-gilt Buddha statue H:30cm W:23cm Weight:8180g

Chinese Han Dynasty sandalwood Guanyin statue H:12cm W:6.5cm Weight:70g

Chinese Qing dynasty lacquerware Guanyin statue H:39cm W:22.7cm

Chinese Qing dynasty Hetian jade Guanyin statue H:9.6cm W:3cm Weight:90.7g

Chinese Qing dynasty rosewood Guanyin statue H:23.5cm W:13cm

Chinese Ming dynasty bronze-gilt Buddha statue H:11cm W:6.7cm

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