We found 708 price guide item(s) matching your search

A bronze statue of a Chinese warrior or guardian

Chinese Art A porcelain statue depicting GuandìChina, Yuan/Ming dynasty, 14th - 16th century . . Cm 22,00.

A YIXING ZISHA FIGURE OF AN IMMORTAL, 17TH-18TH CENTURYChina, late Ming to early Qing dynasty. The finely modeled clay body is of a deep brown tone with shades of caramel brown throughout. Some highlights, such as the many holes in his gown, are neatly picked out in black lacquer.Condition: Superb condition with some old wear, soiling and minor firing flaws. The figure may once have held a separate stick or pole. The hardwood base is attached to the statue and may only be removed by a professional (we will under no circumstance attempt to remove it, even though a signature or inscription may be situated on the underside). The base shows significant traces of use and its lower section is loose.Provenance: From an Austrian private collection. By repute acquired in the local market before 1980 and thence by descent in the same family.Weight: 2,258 g including the hardwood baseDimensions: 34.3 cm without the base and 38 cm with the baseThe immortal is shown standing with raddled gown and headgear. His face, with contemplative expression, is carved with pronounced eyes and a crisply rendered beard, to which his gnarled hands and feet are in stark contrast. Carved hardwood base with four feet and finely incised lappet border in slight relief, dating to the later Qing dynasty. (2)Auction result comparison: Compare with a related Yixing Zisha figure of Shakyamuni from the same period at Christies New York, in Fine Chinese Ceramics and Works of Art, on 16 September 2016, lot 1339, sold for a hammer price of USD $40,000.宜興紫砂仙人像，十七至十八世紀中國，明末清初。造型精美，紫砂成深棕色調，整個為焦糖棕色。一些亮點，比如袍子上的許多大孔，讓人物塑造更加生動。品相：狀況極佳，有磨損，弄髒和輕微的燒傷瑕疵。人物可能曾經用單獨的棍子或桿子固定。硬木底座固定在雕像上，只能由專業人員拆除（在任何情況下我們都不會嘗試拆除，即使底部可能有簽名或題詞），底座也顯示出明顯的使用痕跡，其下部很鬆散。來源：奧地利私人收藏，據説1980年前購於當地市場，自此保存在同一家族至今。重量：含硬木底座總重2,258 克尺寸：34.3 厘米不含底座，38 厘米含底座

Faux Ivory Chinese Dragon Statue. Height 20cm.

Carved Chinese mamoth ivory statue Chinees snijwerk in mamoetivoor. W 52 cm

AN IMPORTANT GILT AND LACQUERED WOOD FIGURE OF A RAKANJapan, 17th – early 18th century, early Edo period (1615-1868)The graceful, long-waisted figure is shown seated in padmasana, his richly decorated monastic robe worn around his torso, draped over both shoulders and falling in graceful folds below the legs as if draped over an edge, a kesa covering the left shoulder, the neck creased and the slender face well cast with crisp features set in a contemplative expression.HEIGHT 70 cmCondition: Traces of use and old wear as expected, some touchups, age cracks and losses. Generally in very good condition, commensurate with age, and better than most lacquered and gilt wood statues of this size and period. Provenance: Ancient French Private Collection “F”. Thence by descent within the same family. A copy of an image showing the living room of the family mansion, with the present figure as a centerpiece, dating from c. 1900, is accompanying this lot.Rakan, also known as Luohan in Chinese or Arhat in Sanskrit, is the 'Destroyer of the Passions'. They vary in numbers between 16 and 108 and were depicted in Japanese art from the 8th century onwards.As Buddha’s apostles, Arhats were first mentioned as sixteen in the Mahayanavataraka which was translated into Chinese in AD 437 and later also into Japanese. A full transcript of these sixteen names was given in AD 653 by the pilgrim monk Xuan Zang with the additional two that were probably adopted by the end of the 10th century, these being the Arhats who tamed the Dragon and the Tiger representing Eastern and Western directions respectively.There are only few surviving examples of gilt-lacquer figures of Arhats dating to the early Edo period, making the present statue exceptionally rare. The superb carving and imposing style is related to that of two gilt-bronze figures of Luohan dated to the Chinese Song dynasty and sold at Christie’s Hong Kong, 1 October 1991, lot 1668. Another related Chinese figure of a Luohan is illustrated by Hajek, Chinesische Kunst in Tschechoslowakischen Museen, Prague, 1954, no. 115. All of these figures - Japanese and Chinese - share a similarity in the fluid execution of the drapery and the almost portrait-like naturalism of the facial features.The discovery of some forty clay figures of Luohan at the Lingyan Temple in China, dated to the Song period, but of smaller size, is recorded by Wenwu 1994:3, pages 76-82. In their animated gestures, quality of portraiture and the treatment of the fluid folds of drapery at the front, they also bear resemblance to the present figure.Auction comparison:Compare with a closely related bronze figure of a Luohan from the Song Dynasty, sold at Christie's Hong Kong, Important Chinese Ceramics and Works of Art, 30 November 2016, lot 3233 (sold for 34,140,000 HKD - c. 3.5 million EUR). Also compare with a smaller wood head of an Arhat, Japan, Edo period, which has lost all of the lacquer and gilding, from the collection of Yves St. Laurent, sold at Sotheby’s Paris, Pierre Berge: From one Home to Another, October 30th 2018, lot 33 (sold for 20,000 EUR).

Statue der Guanyin, Balsa-Holz, China, 18. - 19. Jhdt. Eindrucksvolle, polychrom gefasste Statue der auf einem Felsen sitzenden Guanyin in anmutiger Haltung. Die nach unten gerichteten Augen symbolisieren, dass die Guanyin über die Welt wacht. Detailreiche Schnitzarbeit. Linker Unterarm angesteckt. Leichte Bestoßungen. Fassungen zum Teil vergangen. Höhe 93 cm. Provenienz: Aus süddeutscher Privatsammlung.Zustand: II -A wooden Chinese Guanyin statue, 18th - 19th century Impressive polychrome statue of the Guanyin sitting on a rock in a graceful posture. The eyes turned downwards, symbolising that Guanyin watches over the world. Detailed carving. Left forearm pinned. Slightly bumped. Sockets partly lost. Height 93 cm.Provenance: South German private collection.Condition: II -

Late Ming Dynasty, 1368-1644 AD. A substantial hollow-formed ceramic statue formed as a seated figure holding an oval disk against the torso, resting one hand on a knee, and wearing a floor-length layered robe and ribbed headdress; face with thin eyes, raised brows, pursed lips and ears with elongated robes; blue, red, yellow and green painted pigment survives.See Lili, F., Chinese Ceramics, Cambridge, 2010, for discussion.64.2 kg total, 74cm (29"). From the important collection of Chinese art formed in Japan. [No Reserve] Fair condition, repaired.

Sui Dynasty, 581-618 AD. A carved marble statue presenting Buddha seated on a rectangular plinth flanked by two standing attendants, with aureole behind; Buddha wearing voluminous robes and sitting with legs crossed, hands held in lap, elongated earlobes, ushnisha and serene facial expression; attendants adopting different mudras, also with aureoles behind their heads; large aureole decorated with scrolls; Buddha figures within nichés and stylised lotus petals(?); front face of plinth carved with five rows of Chinese characters.9.6 kg, 36cm (14 1/4"). From a West Country collection, 1990s; formerly with a Hong Kong gallery. [No Reserve] Fine condition.

A Chinese red coral sculptured statue of a lady, around 1980. (7 x 14 x 19 cm)

A Chinese red coral sculptured statue of a lady, around 1980. (7 x 7 x 20,5 cm)

*CHINESE CARVED HORN STATUE OF AN ELDER - BLACK - 15.5CM HIGH - CARVING [LQD197]

A CHINESE BRONZE THREE BUDDHA STATUE, with three buddha / deity stood upon a pedestan with animals and figures surrounds, 28cm high x 17cm wide.

A DOCUMENTARY MARBLE FIGURE OF A LOKAPALADated by inscription to the Eighth Year of the Eastern Wei Dynasty (550 AD) and of the periodThe guardian figure standing on a lotus base over a rectangular plinth, clad in long flowing robes tied at the waist with a loose sash, the pugnacious expression of his face defined by bulging eyes and raised eyebrows, his right hand positioned and hollowed to hold a halberd.27.5cm (10 6/8in) high.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價東魏 理石雕天王像「武定八年」楷書刻款The inscription may be read as '武定八年二月八日 賈安民 為身眷屬造玉像一軀 息祖囗楊尊', which may be translated as '8th day of the second month of the eighth year of the Wuding Era (corresponding to 550 AD), Jia Anming made [this statue] for the Yang family'.See a related marble sculpture of dvarapala of similar height, Northern Qi and Northern Zhou dynasties (550-581), illustrated by O.Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, Bangkok, 1998, pl.250A.For further information on this lot please visit Bonhams.com

A RARE LARGE POLYCHROMED LIMESTONE FIGURE OF A LUOHAN9th/10th centurySubtly carved standing forward with his gaze downcast in a serene expression, the rounded face set with narrowed eyes below the high arched eyebrows, with the elegantly-carved nose above the tightly-closed mouth and well-defined chin, the bald and smooth head with full cheeks and elongated ears, the right hand in varada mudra, the left in abhaya mudra, clad in flowing robes over his shoulders and cascading in arched waves below the chest, the bare feet protruding below the robes, the disciple raised on a circular dais. 94cm (37in) high. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價九/十世紀 石雕彩繪羅漢像Provenance: an American private collectionSotheby's New York, 11-12 September 2012, lot 115Published, Illustrated and Exhibited: Roger Keverne Ltd., Summer Exhibition, London, 2013, no.93來源：美國私人舊藏紐約蘇富比，2012年9月11-12日，拍品編號115展覽著錄：Roger Keverne Ltd.，《夏季展覽》，倫敦，2013年，編號93Luohan, also known as 'Arhats' or 'Destroyers of the Passions', vary in numbers between 16 and 108 and were depicted in Chinese art from the Tang dynasty onwards. As Buddha's apostles, Luohan were first mentioned as sixteen Arhats in the Mahayanavataraka, an Indian text translated into Chinese during the fifth century. A full transcript of these sixteen names was given in 653 by the pilgrim monk Xuan Zang, with the addition of two which were probably adopted by the end of the 10th century, respectively, the Arhats who tamed the Dragon and the Tiger, representing the Eastern and Western directions.The present figure may be identified as Ananda, the primary attendant of the Buddha and one of his ten principal disciples. Among the Buddha's many disciples, Ananda had the best memory, and most of the texts of the early Buddhist Sutta-Piṭaka are attributed to his recollection of the Buddha's teachings during the First Buddhist Council.See a similar statue of Ananda, Tang dynasty, illustrated by O.Siren, Annales du Musée Guimet, Bibliothèque d'Art, Nouvelle Série I, La Sculpture Chinoise de Ve au XIVe Siècle, Tome III, Paris, 1926, pl.374, which was later sold at Bonhams London, 17 May 2012, lot 101.Compare also with a similar sandstone figure of a Luohan, Tang dynasty, identified as Sravaka, in the Museum of Far Eastern Antiquities, Stockholm (fig.1), illustrated in Zhong guo lin shi hai wai fo jiao zao xiang zhong he tu mu, vol.6, Beijing, 2005, p.1137. However, it seems more likely that the present figure is a representation of Buddha's disciple Ananda, who (together with Kasyapa) is often portrayed flanking Buddha.See a similar painted stone figure of a Buddhist disciple, Tang dynasty dated 718, which was sold at Bonhams London, 8 November 2012, lot 231.For further information on this lot please visit Bonhams.com

A 19th century Sino-Tibetan small patinated bronze statue of a Buddha raised on a lotus throne, together with a quantity of Chinese carved hardwood figures, Satsuma bottle vase and other Eastern metalwares (one tray)

A 20th century Chinese oriental alabaster carved figurine of an old man / shepherds with goats. The statue being finely carved raised on a naturalistic base along with a pair of Chinese oriental stone night lanterns / incense holder of a cylindrical form with lotus flower finial and pierced decoration to the body depicting flowers, birds, deer, butterfly, bamboo trees, etc. Raised on a circular pieced base. Measures: 21 cm tallest. Condition: good condition overall, some light damage on the incense burners. 

C. 386-534 AD. Chinese Northern Wei Dynasty. Terracotta Horse. An elegant hollow-moulded terracotta horse. This horse is modelled in a standing pose with its neck elegantly arched and its ears pricked forward attentively. Taken together with the elaborate trappings which are modelled in great, this terracotta may represent a horse fitted out for parade. The head is well modelled with notched ears pricked either side of a feather ornament, with a tasselled rope looped around the top of the neck and tufted ornaments on the chest collar, the back is covered with a long cloth gathered at the bottom atop the flaring mud guard. Traces of gold foil are still visible. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws that restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China's military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302. 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 full report will also accompany this lot. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:450mm / W:330mm ; 3.8kg

C. 386-534 AD. Chinese Northern Wei Dynasty. Terracotta Horse. An elegant hollow-moulded terracotta horse. This horse is modelled in a standing pose with its neck elegantly arched and its ears pricked forward attentively. Taken together with the elaborate trappings which are modelled in great, this terracotta may represent a horse fitted out for the parade. The head is well modelled with mouth open and notched ears pricked either side of a feather ornament, with a tasselled rope looped around the top of the neck and tufted ornaments on the chest collar, the back is covered with a long cloth gathered at the bottom atop the flaring mudguard. Traces of green and red pigment and gold foil are still visible. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws that restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China's military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302. 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 a full report will also accompany this lot. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:440mm / W:300mm ; 3.9kg

Ca. 1368-1644 AD. Ming Dynasty. Ceramic Horse with Rider. An elegant ceramic figurine depicting a grey horse in a standing pose with its neck stretching forward and its tail loose, over one hindquarter. The horse's trappings, including the bridle and breastplate, saddle blanket, and breeching are molded in the round and coloured in dark green. The rider is shown dressed in period-typical garb with the tunic painted orange and blue, holding a green vessel. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws that restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China's military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302. Provenance:Provenance: From an old British collection formed in the 1990s, formerly acquired in the UK and European Art Market.; Size: L:335mm / W:280mm ; 2.2kg

C. 386-534 AD. Chinese Northern Wei Dynasty. Terracotta Horse. An elegant hollow-moulded terracotta horse. This horse is modelled in a standing pose with its neck elegantly arched and its ears pricked forward attentively. Taken together with the elaborate trappings which are modelled in great, this terracotta may represent a horse fitted out for the parade. The head is well modelled with notched ears pricked either side of a feather ornament, with a tasselled rope looped around the top of the neck and tufted ornaments on the chest collar, the back is covered with a long cloth gathered at the bottom atop the flaring mudguard. Traces of gold foil are still visible. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws that restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China's military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302. 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 full report will also accompany this lot. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:620mm / W:430mm ; 11.2kg

Ca. 1368-1644 AD. Ming Dynasty. Ceramic Horse with Rider. An elegant ceramic figurine depicting a grey horse in a standing pose with its neck stretching forward and its tail lose, over one hind quarter. The horse's trappings, including the bridle and breastplate, saddle blanket, and breeching are molded in the round and coloured in striking blue. The rider is shown dressed in period-typical garb with the tunic painted blue with orange accents and wearing a brimmed conical hat. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws that restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China's military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302. Provenance: Important London collection of Ancient art; formed in 1970-80s then passed by descent. Size: L:275mm / W:215mm ; 1.35kg

Ca. 1368-1644 AD. Ming Dynasty. Ceramic Horse with Rider. An elegant ceramic figurine depicting a grey horse in a standing pose with its neck stretching forward and its tail loose, over one hind quarter. The horse's trappings, including the bridle and breastplate, saddle blanket, and breeching are molded in the round and coloured in striking blue. The rider is shown dressed in period-typical garb with the tunic painted in blue and wearing a brimmed orange-colored conical hat. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws that restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China's military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302. Provenance: Important London collection of Ancient art; formed in 1970-80s then passed by descent. Size: L:420mm / W:320mm ; 3.3kg

Lead garden statue in the form of a stylised heron attached to a stone base, together with a stone effect Chinese style garden temple (2), heron 85cm high Condition: The stone pedestal has two cracks to it but appears whole, though there are losses to the corners and edges, all items show signs of wear from being outside - **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.

Mixed Collection of Porcelain, comprising large blue and white Delft round plate, diameter 15''; Royal Doulton statue of Pope John Paul II No. HN 2888; commemorative plate of Pope's 1982 visit; Copeland Spode square floral print plate; Wedgwood table lighter; Copeland Spode 'Chinese Rose' lidded conserve pot; together with a brass Zippo lighter.

A large Chinese micaceous marble statue of Guanyin: in the Tang style, wearing traditional robes and headdress, holding a flower in her right hand, 140cm high.

A large 20th Century Chinese sancai glazed statue of a horse after the Tang, a/f with loss to ear, 66.5cm x 64cm x 19cm,

Lot Chinese Epitaph China 12th century Rice bowl late MING Tang statue Lot met divers Chinees. Epitaph China 12e eeuw. Rijstkom laat MING. Tang standbeeld. H 6 - 26 cm

Fernando Botero (B. 1932)Gatta 2008 incised with the artist's signature, numbered 4/6 and stamped with the Fonderia Artistica Versiliese Italy markbronze22.5 by 65 by 28.4 cm8 7/8 by 25 9/16 by 11 3/16 in.This work was executed in 2008, and is from an edition of six numbered versions.Footnotes:ProvenanceGary Nader Fine Art, MiamiAcquired directly from the above by the present owner in 2008LiteratureGary Nader Editions, Fernando Botero. The Grand Show. Paintings, Drawings & Sculpture, Miami 2010, n.p., illustrated in colourRenowned for his voluptuous and exaggerated paintings, sculptures and drawings, Fernando Botero is arguably one of the most important Colombian modern artists and certainly the most recognisable. Not unlike Picasso, whose Cubist breakthrough came after experimenting with the construction of a guitar, Botero had his artistic revolution with a mandolin. In 1956, while painting an image of a mandolin resting on a table, Botero placed a disproportionately small hole in the body of the instrument, thus transforming it into an object of exaggerated mass and monumentality; a lifelong fascination with the exploration of volume was born. Well known for subjects ranging from the Old Masters to circus scenes, bullfights, domestic life and political satire, the present work is an inimitable take on one of art history's most universal icons—the cat. Cats feature in much of Botero's work, but especially in his monumental sculptures which are well-loved features in parks and city centres around the world. Whilst in his paintings, cats often accompany a dominant matriarch or a sensual nude and symbolize femininity and domesticity, they are often the sole protagonist in sculpture. One of Botero's most famous felines resides at the end of Barcelona's Rambla del Raval where the colossal endearing statue has become an integral part of the neighbourhood and a well-cherished tourist attraction. Other works by the artist are presently held in the collections of The Museum of Modern Art in New York, the Art Institute of Chicago, and the Museo Botero in Bogotá which is dedicated to the artist and his oeuvre. In 1958 and 1992 Botero participated in the Venice Biennale and represented Colombia in the 5th São Paulo Biennial, Brazil. He has had major retrospectives at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (1979); Seibu Museum of Art, Tokyo (1981); Museo Nacional Centro de Arte Reina Sofía, Madrid (1987); Museo de Bellas Artes, Bilbao (2012); and many others. Revered and admired for centuries of human history, the cat has inseparably woven its way into the canon of art history without ever losing any of its charm or appeal. From ancient Egyptian tomb adornments and centuries of Chinese and Japanese artistic practice all the way to the exotic markets of 19th century orientalist paintings and French impressionist living rooms the cat has been and still is a firm feature in many of the worlds most revered artistic masterpieces. Today, in the age of the internet and social media, no animal captivates audiences quite like the humble house cat and the subject is more accessible, one might even say more popular than ever.Fernando Botero would not have been ignorant to the wide and varied depiction of felines in art throughout the ages. Having studied under Roberto Longhi, a renowned authority on Italian Renaissance and Baroque art, Botero obtained a remarkable art historical knowledge of Western Classicism. The canon of art history, especially the European one became a rich source of inspiration whilst studying Italy's Renaissance frescoes, Spain's Golden Age masters and France's turn-of-the-century School of Paris on his travels in the 1950's. Deeply influenced by these masterworks, Botero embarked on a quest to critically re-interpret iconic paintings, to pay homage to the great artists of the past and finding a gateway to true originality whilst doing so. Gatta from 2008 is a particularly beautiful example of Botero's many reinterpretations of this perennial theme. Whilst it incorporates elements of the elegant goddesses and playful street pranksters that preceded it, Botero's Gatta is extremely topical and modern for it can be best described with one of the most universally used adjectives in 21st century popular culture- it is quintessentially 'cute'. Executed in Botero's distinctively rotund signature style, the curvaceous head, body, limbs and tail of the reclining feline give it a monumental quality. Sphinx like she resides elegantly on her plinth, head lowered attentively, ears pricked forwards, keenly aware of her surroundings. The swift flash of her tongue gives Gatta a more playful, accessible quality than its divine Egyptian forebears and captures its distinctive character. Humorous elements such as this are a common and important feature within Botero's formally refined plastic oeuvre. He breaks with the established tradition of sculpture, bronze traditionally being used to eternalize the classically heroic and brave, and instead memorializes the humble and happy house cat. Like Manet with his Olympia, Botero shifts the classical muse, the deity of centuries past into the realm of the common and trivial, the realm of day-to-day life which makes it so much more endearing.The present work is sold to benefit the Fondation Bernard et Caroline de Watteville to support cultural and humanitarian actions in Switzerland and abroad.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

CHINESE PORCELAIN GUANYIN STATUE. Very interesting porcelain statuette of Guanyin depicted seated on her knees, wearing a lose robe and an intricate headdress. The figure is covered in an overall blue and white glaze with some iron red details. Size: L:195mm / W:122mm ; 555g Provenance: From United Kingdom / European estate collections and antique fairs; acquired between 1970 and 2010.

CHINESE BRONZE JEWELLED STATUE OF BUDDHA. This fantastic example of bronze Buddha (or Boddhisattva) is depicted sitting on a throne wearing a a large crown, the figure is elaborately enameled with brightly coloured raisin. Size: L:325mm / W:230mm ; 3.9kg Provenance: From United Kingdom / European estate collections and antique fairs; acquired between 1970 and 2010.

A MONUMENTAL SANCAI-GLAZED FIGURE OF BUDDHA SHAKYAMUNI, MING DYNASTYChina, Henan province or Shanxi province, 1368-1644 (ca. 1500-1600). Seated in dhyanasana on a matching, separately fired double-lotus base with beaded edge. His left hand is raised in front of the chest and his right lowered on his lap, wearing a loose-fitting monastic robe opening at the chest. The serene face with downcast eyes and full lips forming a benevolent smile, flanked by long pendulous earlobes, the hair in tight curls surmounted by a domed ushnisha.Provenance: From a Swedish private estate.Condition: Excellent condition with old wear and firing flaws, including a glaze recess to one hand. A major firing crack to the base was sealed at the time of production, with associated superficial recesses that look similar to firing cracks but are in fact glaze recesses. Minor chips and losses along the edge of the base, intentional glaze crackling, extensive weathering to glaze areas resulting in some sections being slightly dull. Note that for a sancai statue of this size and age, the present condition must be considered as superb.Weight: 44 kg Dimensions: Height 83.5 cm (measured including the matching lotus base, the Buddha alone measuring already 67 cm height)Both Buddhist and Daoist sancai-glazed stoneware figures were popularly commissioned during the Ming dynasty. They were likely inspired by the famous Yixian glazed pottery luohans, discovered before World War I in caves at Yizhou and described as one of the most important groups of ceramic sculpture in the world.No other sancai-glazed figures of Buddha, with such fine modeling, in equally well-preserved condition, and of this date and size, appear to have been published in private collections.A sancai-glazed seated figure of Buddha is illustrated by Rene-Yvon Lefevre d'Argence, Chinese, Korean and Japanese Sculpture from the Avery Brundage Collection, Kondasha, Tokyo, 1974, fig. 170. In the catalog description, the author writes, “The figure belongs to a large series, many of which have reportedly come from Shansi, and is very close to a Buddha now in the Musee Guimet. The Avery Brundage Collection example seems to continue the style of a pottery Buddha, dated 1494, in the Metropolitan Museum of Art.” The dated figure in the Metropolitan Museum is illustrated by W. Cox, The Book of Pottery and Porcelain, Vol. 1, New York, 1947, pl. 151.Literature comparison: Compare with a closely related sancai Buddha from the Avery Brundage collection, now in the Asian Art Museum, San Francisco, object number B60P139. Compare with a sancai-glazed sculpture of a luohan, dated to the Liao dynasty, in the Metropolitan Museum of Art, accession number 21.76. Compare also with a polychrome figure which may represent the Daoist deity Yuan Shi Tian Zun (The Primal Celestial Excellency) of the San Qing (Three Pure Ones) in the British Museum, museum number 1930,0719.62. Further Daoist examples include a figure of the Heavenly Marshal Zhao, dated 1482 in the Metropolitan Museum of Art, New York and another related seated figure of the Daoist God of Literature, Wenchang Wang in the Royal Ontario Museum is illustrated in Henry Trubner, Royal Ontario Museum, The Far Eastern Collection, Toronto, 1968, p. 72, no. 90.Auction result comparison: Compare with a related sancai figure of a Daoist deity of larger size (111.8 cm high) at Sotheby’s New York in Fine Chinese Ceramics & Works of Art on 17-18 September 2013, lot 49, sold for USD 149,000. Compare also with a related but slightly larger (89.8 cm high) sancai-glazed figure of Guanyin at Christie’s Hong Kong in Important Chinese Ceramics and Works of Art on 1 June 2011, lot 3767, sold for HKD 4,580,000.明代三彩釋迦牟尼坐蓮像中國，河南省或山西省，1368-1644 (約 1500-1600)年。釋迦牟尼結跏趺坐坐在匹配但分開燒製的寶珠紋雙層蓮座上。他的左手在胸前舉起，右手擱在膝上，身著寬鬆敞胸袈裟。寧靜的臉龐，雙眼微垂，嘴唇豐滿，露出仁慈的笑容。臉部兩側是長長的耳垂，頭頂頭髮捲曲，有螺髻。 來源：瑞典私人遺產 品相：狀況極佳，有舊磨損和燒製瑕疵，包括一隻手上有釉面凹陷。底座一條燒製裂紋已在製作時經過修補，相關的表面凹陷，看起來類似燒裂，但實際上是釉面凹陷。底座邊緣有細小碎屑和缺損，釉面開裂，釉面區域有廣泛風化導致某些斷面有些暗沉。請注意，像這樣的尺寸和年代的三彩造像，當前狀況算是保存相當好的。 重量：44公斤 尺寸：高 83.5 厘米 (含蓮座，佛像高67 厘米) 在明代，佛教和道教的三彩釉陶器都極受推崇，可能是受到著名的易縣三彩羅漢的啟發，它們是在一戰前在易州發現的，是世界上最重要的陶瓷造像群之一。 在私人收藏中的同期且相近尺寸的三彩造像沒有任何一座保存如此完整。 一件三彩坐佛見 Rene-Yvon Lefevre d'Argence所著的Chinese, Korean and Japanese Sculpture from the Avery Brundage Collection, 東京講談社 1974年出版，圖 170。在畫冊中，作者寫道 “The figure belongs to a large series, many of which have reportedly come from Shansi, and is very close to a Buddha now in the Musee Guimet. The Avery Brundage Collection example seems to continue the style of a pottery Buddha, dated 1494, in the Metropolitan Museum of Art.”（該造像屬於一個造像系列，其中很多據報導自山西省，與現在吉美美術館中的佛像非常接近。Avery Brundage 收藏的例子似乎延續了大都會博物館中一座1494年的陶佛的風格。）大都會博物館中的陶佛可見W. Cox, 畫冊The Book of Pottery and Porcelain, 第一冊，紐約1947年, 圖151。 文獻比較：一件來自Avery Brundage collection相近三彩佛像，現存於舊金山亞洲藝術博物館，編號 B60P139；一件遼代三彩羅漢，大都會博物館，編號 21.76. ；一件粉彩元始天尊見大英博物館，編號1930,0719.62. 其他道教造像如1482年的趙公明像見紐約大都會博物館管，多倫多皇家安大略博物館的文曲星造像可見Henry Trubner所著的Royal Ontario Museum, The Far Eastern Collection, 多倫多1968年, 72頁, 90號。 拍賣結果比較：一件三彩道教人物造像 (高111.8 厘米) 見紐約蘇富比 Fine Chinese Ceramics & Works of Art 拍場2013年9月 17-18日 lot 49, 售價 USD 149,000. 一件相近但更大 (高89.8厘米)的三彩觀音像見香港佳士得Important Chinese Ceramics and Works of Art 拍場2011年6月1日 lot 3767, 售價 HKD 4,580,000.

AN ORIGINALLY SEALED GILT COPPER ALLOY FIGURE OF AVALOKITESHVARA SHADAKSHARI, 15TH-16TH CENTURYTibet. Cast seated in dhyanasana on a sealed double lotus base, the principal hands in anjalimudra in front of the chest, the other right hand in vitarkamudra and the other left hand holding a lotus blossom, wearing a luxurious dhoti neatly incised with floral patterns, and richly adorned in beaded jewelry inlaid with turquoises.Provenance: Galerie Peter Hardt, Radevormwald, Germany, 1 December 1994. A Hungarian private collection, acquired from the above. A copy of the original certificate for this piece from Galerie Peter Haardt, stating the origin as Tibet, but erroneously dating the piece to the 17th century, accompanies this lot.Condition: Very good condition with minor wear and casting irregularities, minuscule nicks here and there, occasional light scratches, traces of pigment, minor wear to gilt, some losses to inlays. Original sealing!Weight: 553.7 gDimensions: Height 16.1 cmThe face shows a serene expression below the urna with heavy-lidded eyes under gently arched eyebrows, and slender lips forming a subtle smile, flanked by long earlobes with lotus-form earrings. The hair is surmounted by an ushnisha with a finial in the form of the head of Buddha Amithaba, all behind an elaborate crown.Shadakshari Lokeshvara is the embodiment of the mystic Buddhist mantra, Ohm Mani Padme Hum. The six syllables are the seeds of the six realms in the great cosmic wheel. Om stands for the god realm, Ma for the demigod or asura realm, Ni for the human realm, Pad for the animal realms, Me for the hungry ghost realm, and Hum stands for the hell realm. Shadakshari Lokeshvara helps to bring all beings from the six realms into enlightenment. The present bronze therefore is a cheerful reminder of the spiritual quest for nirvana.The statue has extensively been screened with x-ray, revealing various contents, at least one being a consecrated miniature statue, probably made of gold. Several videos shot during the x-ray screening will be handed over to the winning bidder.Literature comparison: For an interesting article about Tibetan-Chinese gilt sculptures of the early Ming dynasty in the Museum Rietberg, particularly about CT (X-ray Computed Tomography) scans of the interior of such sculptures and their contents, see Christian Boehm, Arts of Asia, September-October 2019, pages 84-97 (CT scans on page 91).Auction result comparison: Compare with a related copper alloy figure, but without any contents, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 14 March 2016, lot 44, sold for USD 27,500.十五至十六世紀銅鎏金四臂觀音坐蓮像 西藏。觀音金剛坐姿坐於雙層蓮座上，前兩臂合掌當胸並持如意寶珠，後兩臂高舉至肩，左手持一白蓮。身著綢緞及纓絡，鑲嵌綠松石。 來源：德國Radevormwald 的Peter Hardt 藝廊。一個匈牙利私人收藏家于1994年12月1 日購買。一份藝廊出具的原始證書注明此造像來自西藏，但是證書上把時間錯誤寫成十七世紀。隨附證書原件。 品相：狀況極佳，有輕微磨損和鑄件不規則現象，到處都有微小的刻痕，偶爾有輕微的划痕，輕微的鎏金磨損，鑲嵌物有所損失。 原始密封！重量：553.7 克 尺寸：高 16.1 厘米 觀音低目慈視莊嚴，嘴角微露笑容，頭戴五葉寶冠，頭頂束高髮髻，餘發垂肩，頭頂上的五方佛冠代表五方的智慧。觀自在菩薩六字大明王陀羅尼，知名佛教普傳密咒漢語中又被寫作嗡，嘛，呢，唄，咩，吽，是觀世音菩薩的微妙本心，也被認為是四臂白觀音的心咒。六個音節是宇宙飛輪中六個領域的種子。 嗡代表天道，嘛代表阿修羅道，呢代表人間道，唄代表旁生道，咩代表餓鬼道，吽代表地獄道。 四臂觀音幫助將六個領域的眾生得到圓滿功德。觀音的慈悲與智慧能化現為不同形象，其中四臂觀音是常見且具代表性的種類之一，其心咒可助眾生脫離六道輪回的痛苦，培養幸福安樂。對該造像進行了X射線檢查，發現了造像内部還有其他內容，其中一個是奉獻的微型造像，可能是金制的。X射線檢查過程中拍攝的幾段視頻將在拍賣后交給中標人。文獻比較：一篇很有意思的關於一件Museum Rietberg裏明初漢藏銅鎏金造像通過X光照射檢查内部的文章可參考Christian Boehm, Arts of Asia, September-October 2019, pages 84-97 (CT scans on page 91). 拍賣結果比較：一個相似銅鎏金但沒有任何填充物的雕像，售于紐約邦瀚斯Indian, Himalayan & Southeast Asian Art 拍場，2016年3月14日，lot 44, 售價USD 27,500.

A GILT BRONZE FIGURE OF VAJRADHARA AND CONSORT, EARLY QINGTibetan-Chinese, 17th-18th century. Cast seated in dhyanasana on an unsealed double-lotus base, a billowing shawl falling neatly over the base, embracing his consort while holding a vajra in either hand, a long garland around his arms and torso, the consort seated on his lap.Provenance: Austrian private collection.Condition: Fair condition with losses to the male deity’s crown and to the back, extensive dents and nicks, scratches, wear and casting irregularities.Weight: 1,530 gDimensions: Height 15.5 cmBoth richly adorned in beaded jewelry, their hair arranged in high chignons behind elaborate crowns and their faces with skillfully executed and expressive features. Note the massive casting and the substantial weight of this statue.Auction result comparison: Compare with a related figure of larger size, with a Qianlong seven-character jing zao mark and of the period, at Christie’s New York in Important Chinese Ceramics and Works of Art on 25 September 2020, lot 1536, sold for USD 60,000. A Sitasamvara bronze of smaller size was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 11 May 2019, lot 250, for EUR 9,480. Compare also with a related larger figure of Sitasamvara and consort at Sotheby’s London in Fine Chinese Ceramics & Works of Art on 16 May 2007, lot 96, sold for GBP 26,400.清初銅鎏金多杰羌佛與其佛母 漢藏，十七至十八世紀。多杰羌佛結迦趺座，雙層蓮花底座未密封，一條飄揚的披肩整齊地落在基座上，一隻手擁抱著佛母，另一隻手握著金剛杵，周圍圍著一個花環。 來源：奥地利私人收藏 品相：狀況良好，雄獅的頭冠和後背受到損失，大範圍的凹痕和缺口，划痕，磨損和鑄造不規則。 重量：1,530 克 尺寸：高 15.5 厘米 拍賣結果比較：一件相似但尺寸較大銅鎏金乾隆七字款及年代像，售于紐約佳士得Important Chinese Ceramics and Works of Art拍場2020年9月25日，lot 1536, 售價USD 60,000。一件相似尺寸較小的樂勝金剛像，售于本拍賣行Fine Chinese Art, Buddhism and Hinduism拍場2019年5月11日, lot 250, 售價EUR 9,480。一件相似尺寸較大的樂勝金剛像售于倫敦蘇富比 Fine Chinese Ceramics & Works of Art 拍場2007年5月16日，lot 96, 售價GBP 26,400。

A LARGE AND MASSIVE WOOD STATUE OF GUANYIN, MING DYNASTYChina, 1368-1644. Seated in rajalalitasana on a naturalistically carved base in the form of craggy rockwork. Adorned in beaded jewelry, wearing a long flowing robe draped over the left shoulder, the serene face with an urna and heavy-lidded eyes below elegantly arched brows, flanked by long earlobes. The hair surmounted by a high crown centered by a small Amitabha Buddha.Provenance: A French private collection in Saigon, acquired circa in 1920. Thence by descent in the same family.Condition: Overall strong weathering and subsequent erosion to the wood, leading to extensive losses, including one hand. Small areas of old fillings. Age cracks. Remnants of polychrome pigment and lacquer gilding.Dimensions: Height 88 cmAuction result comparison: Compare with a related but smaller and earlier wood figure of Guanyin, dated Song to Jin dynasty, at Christie’s New York in Fine Chinese Ceramics & Works of Art on 17-18 March 2016, lot 1506, sold for USD 87,500.明代大型木雕自在觀音像 中國，1368-1644年。觀音以游戲坐姿坐在雕刻的岩石上。纓絡裝飾，穿著的長袍綫條流暢，披在左肩上，表情寧靜安詳，在拱形眉毛下方雙眼微垂，兩側是長耳垂。 頭髮上有一個寳冠，中間是小阿彌陀佛。 來源：西貢的一個法國私人收藏，大約於1920年購得，自此在同一家族世代相傳。 品相：整體風化和隨後對木材的侵蝕較大，導致大量缺失，包括一隻手。 小面積的顔料修補。 年代裂縫。 殘存的多色顏料和金漆。 尺寸：高88 厘米 拍賣結果比較：一件近似但尺寸較小、年代略早的木雕觀音像，斷代為宋至金，售于紐約佳士得 Fine Chinese Ceramics & Works of Art 拍場2016年3月17-18日，lot 1506, 售價USD 87,500.

A GILT-BRONZE FIGURE OF EKADASHAMUKHA AVALOKITESHVARA, 18TH CENTURYTibetan-Chinese. The eleven-headed and eight-armed bodhisattva of compassion standing in samapada on a separately cast oval lotus base with the principal hands in anjali mudra and the other hands radiating and forming various mudras, wearing long flowing robes and five-leaf crowns, richly adorned in beaded jewelry with turquoise inlays.Provenance: From a private estate in the USA. A Belgian collector, acquired from the above. Condition: Very good condition with minor wear and casting flaws, light scratches, minuscule nicks, some wear to gilt, traces of pigment. The base and the statue are separately cast.Weight: 164.0 gDimensions: Height 10.3 cmAuction result comparison: Compare with a related figure at Christie’s New York in Himalayan, Indian and Southeast Asian Art on 15 March 2017, lot 201, sold for USD 8,750.十八世紀銅鎏金十一面觀音漢藏。十一面八臂菩薩立於分開鑄造的蓮座上，中央的雙手合十，其他的手臂分別施不同手印。觀音身著長袍，頭戴五葉冠，佩戴鑲嵌綠松石的瓔珞。來源：美國私人遺產；比利時收藏家購於上述收藏。 品相：狀況極佳，有輕微的磨損和鑄件缺陷，輕微的划痕，微小的刻痕，有些燙金、顏料痕跡。 底座和雕像分開鑄造。重量：164.0 克 尺寸：高10.3 厘米拍賣結果比較：一件相近觀音像見紐約佳士得Himalayan, Indian and Southeast Asian Art 拍場2017年3月15日, lot 201, 售價USD 8,750.

AN EXCEPTIONALLY RARE ‘DIAMOND REALM’ BUDDHA VAIROCANA BRONZE, MING DYNASTYChina, 15th century. Cast seated in dhyanasana on an unsealed double-lotus base with the hands in dharmachakra mudra holding a Diamond Realm Mandala, a symbol for the metaphysical space inhabited by the Five Tathagatas. The Diamond Realm Mandala is based on an esoteric Buddhist sutra called the Vajrasekhara Sutra.Provenance: Hungarian private collection.Condition: Very good condition with minor wear and casting flaws, occasional light scratches, few minuscule nicks.Weight: 2,363 gDimensions: Height 25.6 cmThe hair in tight, pointed knots around an ushnisha and framing the face in a broad, bowed outline, the pendulous earlobes pierced through, the brows arching down to meet the bridge of the nose between downcast, half-closed eyes and above small, full lips. The robes draped in cascading folds over the body, terminating in neat pleats about the legs, the hems neatly incised with floral scrolls. The figure entirely covered in a dark, near-black patina and with traces of gilding remaining.The statue is inscribed to the back, ‘Da Xia Biao’.Apart from being the tutelary deity of the Diamond Realm (Vajradhatu) in Tantric Buddhism, Vairocana is also the Lord of the Avatamsaka World and an important deity of both exoteric and esoteric Buddhism, noted for his richly varied forms and different gestures.Auction result comparison: Compare with a very similar but larger dry lacquer figure of Vairocana at Sotheby’s New York in Important Chinese Art on 21 March 2018, lot 571, sold for USD 110,000.明代罕見金剛界大日如來銅像 中國，十五世紀。大日如來結金剛坐，雙層蓮座未密封，雙手結説法印握金剛界曼陀羅，是形而上空間的五方佛的象徵。 來源：匈牙利私人收藏 品相：狀況極佳，有輕微磨損和鑄造瑕疵，偶有輕微划痕。重量：2,363 克 尺寸：高25.6 厘米銅像背面刻有 ‘大夏彪’字樣。拍賣結果比較：一件非常相似但尺寸較大的如來銅像，售于紐約蘇富比Important Chinese Art 拍場2018年3月21日，lot 571, 售價USD 110,000。

AN EXCEPTIONALLY LARGE AND MASSIVE CAST-BRONZE AND COPPER-REPOUSSE STATUE OF BUDAI, QING DYNASTYChina, 1644-1912. The gilt-lacquered laughing Buddha is seated in rajalalitasana on his sack, which is hidden under his long flowing robe, atop a double lotus base, his left hand resting on his knee with the palm facing upwards, his right resting on the other knee, wearing a loose-fitting monastic robe hanging off the shoulders and opening at the chest.Provenance: Italian private estate. Austrian private collector, acquired from the above.Condition: Extensive wear, some losses, dents, nicks, and casting flaws. The statue has suffered significant structural damage, mostly to the copper-repousse base, which has literally been torn to pieces, resulting in modern repair work to most of the joints, only visible from the inside. Because of these repairs, the lacquer coating has also suffered in areas, but also due to extensive weathering, leading to the application of several layers of lacquer and gilt over the decades and possibly even centuries. A public temple statue such as the present lot, and particularly one depicting the extremely popular Budai, will inevitably be exposed to extensive touching. As a result, the lacquer gilding of an authentic piece will have been renewed many, many times. The present statue was at least once removed by force from its original location, causing the present structural damages, and soldered back together much later, when it entered the trade some time ago.Weight: ca. 31 kgDimensions: Height 79.5 cmThe cheerful face with gently arched eyebrows above heavy-lidded eyes with incised pupils, centered by an urna, a broad nose, and a wide-open mouth as the Happy Buddha lets out a joyous laugh, flanked by elongated pendulous earlobes.Budai is a popular figure in Qing art, representative of contentment and abundance. He is usually portrayed as laughing, hence the title ‘Laughing Buddha’. The current figure of Budai is an exceptionally large example and must therefore be considered extremely rare.The base and parts of the body are made from solid copper-alloy and worked in fine repousse, while the upper sections are made from cast bronze.Auction result comparison: A related but smaller gilt bronze Budai dated to the Ming dynasty was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 27 September 2019, lot 50, sold for EUR 74,820.清代布袋和尚銅像中國，1644-1912年。鎏金漆銅笑佛呈休閑坐坐在麻袋上，而麻袋則藏在長袍下，雙層蓮花座。左手放在膝蓋上，手掌朝上，右手放在另一邊的膝蓋上，穿著一件寬鬆的袈裟，披在肩膀上，敞胸露腹。來源：意大利私人遺產。奧地利私人收藏，購於上述遺產。 品相：大量磨損，一些損失，凹痕，缺口和鑄造缺陷。該雕像曾受過重大的結構性損壞，主要是銅錘揲的底座，實際上已成碎片，因此有大量的現代維修，這些部分只能從內部看到，也因此漆層在某些地區受到破壞。因爲廣汎的風化，所以過去的幾十年甚至幾百年進行過多次上漆和鎏金。像現在這樣的公共寺廟雕像，尤其是深受歡迎的布袋和尚，就不可避免地會受到觸摸。原始漆層和鎏金被更新很多次。這座雕像至少一次被用力從其原始位置移開，造成了目前的結構性損壞，並在不久前因爲銷售又被重新焊接在一起。 重量：約31 公斤 尺寸：高79.5 厘米 底座和像身部份由銅合金製成，並使用精美錘揲工藝，而上部則是銅鑄而成。 拍賣結果比較：一件相近但更小的明代鎏金銅布袋曾在本拍賣行Fine Chinese Art, Buddhism and Hinduism拍場2019年9月27日 lot 50, 售價EUR 74,820.

A HIGHLY IMPORTANT AND LARGE SCHIST STATUE OF HARITI, GANDHARA, 2ND-3RD CENTURYDepicted seated in European fashion with each foot on a small lotus pedestal, one hand holding a child on her lap motioning towards her breast, the other hand holding a bunch of grapes, richly adorned in beaded jewelry, wearing a loose robe with voluminous folds, the face with a softly smiling expression and almond shaped eyes, her hair arranged into an elaborate chignon with a scaled headdress, a second child standing by her side.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Un Gandhara en schiste – dit: Hariti – Haut: 95,5 cm.” (A schist Gandhara – called: Hariti – Height: 95.5 cm). A copy of the inventory list and cover page are accompanying this lot.Condition: Extensive weathering and wear. Few structural cracks with associated old repairs. Some breaks, losses, nicks, dents and erosions. Remnants of old varnish coating above remnants natural soiling from excavation.French Export License: Certificat d’exportation pour un bien culturel Nr. 185430 dated 3 July 2017 has been granted and is accompanying this lot.Weight: 90 kg (total)Dimensions: Height 95.5 cm (excl. base)With an associated wood base. (2)Hariti was the principal female Buddhist deity of ancient Gandhara with widespread popularity throughout Central Asia and China for at least the first three quarters of the first millennium CE. When the Chinese pilgrim, Yi Jing, visited Gandhara in 671, he saw sculptures of Hariti commonly installed near the dining halls of Buddhist monasteries (see Takakusu (trans.), Record of the Buddhist Religion as Practiced in India and the Malay Archipelago, Oxford, 1896). Yet only about a half dozen large sculptures of Hariti have survived to this day. Among these, the present sculpture is one of the best carved examples in private hands.The story of Hariti’s conversion to Buddhism survives in many ancient Indian and Chinese sources. Despite being a mother to 10,000 children, the ogress Hariti routinely terrorized the Northern Indian city of Rajagrha, devouring its children. After failing to appease, Rajagrha's inhabitants beseeched the Buddha to pacify her. Underneath his alms bowl, Buddha hides Hariti's most beloved child from her. This sends Hariti into a frenzy, searching for her missing son. When Buddha finally returns her child, he prompts Hariti to consider the pain she has caused other mothers. Struck by empathy, Hariti converts to Buddhism and, in exchange for food offerings, promises to protect its monastic communities and Rajagrha's children.Auction result comparison: Compare with a closely related schist Hariti at Bonhams London in Islamic and Indian Art including Modern and Contemporary South Asian Art on 22 October 2019, lot 144, sold for GBP 187,562.二至三世紀健陀羅重要大型片岩鬼子母像鬼子母神以歐洲風格坐在蓮座上，一隻手抱著個孩子擱在膝蓋上似乎正往胸前送，另一隻手拿著一串葡萄。她佩戴著精美珠寶，穿著寬鬆的長跑，綫條流暢，表情溫柔，杏仁狀眼睛，高髻。一側站著另一個孩子。來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。在此目錄裏，對本拍品有如下描述：片岩健陀羅鬼子母 高95，5厘米）。隨附目錄與其封面。品相：廣泛的風化和磨損。些微裂縫與舊修補。一些斷裂、缺損、划痕、凹痕和腐蝕。還保留著舊時的清漆塗層。 法國出口證書：隨附2017年7月3日出具的Certificat d’exportation pour un bien culturel 出口證書，編號 185430 。重量：總重 90 公斤 尺寸：高95.5 厘米 (不含底座) 木底座。 鬼子母神是古健陀羅地區主要佛教女護法神。當年，來自大唐的求法高僧義净671年來到健陀羅時，在寺院食堂附近發現了鬼子母雕塑 (見高楠順次郎的 Record of the Buddhist Religion as Practiced in India and the Malay Archipelago, Oxford, 1896)。到目前爲止，只發現了六件鬼子母神像。其中，這件雕塑是私人收藏中雕刻得最好的作品之一。在佛教故事裏都記載了關於鬼子母的傳説。據説夜叉鬼子母有一萬個孩子。爲了養育他們，她不停的去印度拉價格哈吞噬其他孩子。居民們不勝其擾，請釋迦牟尼來收服她。釋迦牟尼把她最寵愛的一個孩子藏在了他的食缽中。鬼子母找不到自己的孩子，只好找釋迦牟尼求助。佛陀說她現在也體會到了失去孩子的痛苦。於是，鬼子母收到慈悲的教化，成爲護法神之一。而與此同時，佛教僧人開始養育其孩子。 拍賣結果比較：一件相近片岩鬼子母像見倫敦邦瀚斯Islamic and Indian Art including Modern and Contemporary South Asian Art 拍場2019年10月22日lot 144, 售價GBP 187,562.

A KHMER SANDSTONE FRAGMENT OF TWO NAGAS, BAYON STYLEKhmer Empire, 12th-13th century. This expressively carved and incised fragment was once part of a very large Buddha Muchalinda statue, depicting a naga head with a smaller naga flanking it.Provenance: Belgian private collection. Condition: Good condition commensurate with age, extensive wear, losses, small nicks here and there.Weight: 4.9 kg (incl. stand)Dimensions: Height 30 cm (incl. stand) and 20 cm (excl. stand)In Buddhism the Naga are divine, half-human half-serpent beings that reside in the netherworld (Patala) and can occasionally take human form. They are depicted either as wholly human with snakes on their heads and necks, or as common serpents, or as half-human half-snake beings. A female Naga is called Nagini. Nagaraja is the king of all Nagas and Naginis. Nagas hold considerable cultural significance in the mythological traditions of most Southeast Asian cultures.Mounted on a modern metal stand. (2)Literature comparison: For a large Buddha Muchalinda from the 12th century, missing the top naga head, see Zacke, Fine Chinese Art, Buddhism and Hinduism on 25 April 2020, lot 437.

A LARGE GILT BRONZE STATUE OF MAHAKATYAYANA, RATTANAKOSIN KINGDOMThailand, late 18th to mid-19th century. Seated in dhyanasana on a stepped two-tiered base, the hands supporting his huge belly, wearing a dhoti with a finely incised shawl draped over the left shoulder, the face with a meditative yet slightly humorous expression, flanked by pendulous ears, the hair in tight curls.Provenance: From an Austrian private collector.Condition: Fine and original condition with old wear and minor losses to the gilding and lacquer. Some minor fatigue fractures. Few tiny dents and nicks here and there. Some losses.Weight: 27 kgDimensions: Height 46 cmMahakatyayana (or Katyayana) was a disciple of Gautama Buddha, listed among one of the ten principal disciples and renowned for his ability to elaborate on the Shakyamuni's terse instructions. His fat appearance is almost certainly co-opted from Chinese images of Budai. However, according to Thai folklore, Mahakatyayana (Thai: Sangkajai) was extremely sought after for his looks, so he transformed himself into a fat monk to avoid distraction from the arhat path. Greatly revered in Thailand, a similar, monumental sculpture of Mahakatyayana is built in Wat Bang Nam Phueng Nok, in Samut Prakan province (see fig. 1).Auction result comparison: Compare with a related but slightly larger copper alloy figure of Mahakatyayana (Himalayan Art Resources item no. 61649) at Bonhams Hong Kong in The Presencer Collection of Buddhist Art on 2 October 2018, lot 138, bought-in at an estimate of HKD 160,000-240,000.

A VIETNAMESE GILT-LACQUERED WOOD STATUE OF BUDDHAVietnam, 17th-18th century. The facial features emphasize reclusiveness while the sharp curls on his head symbolize spirituality. Carved seated in dhyanasana, the right hand lowered in dhyanamudra on his lap and the left raised in mutrashay mudra.Provenance: Hungarian private collection.Condition: Weathering, age cracks, some of which show old fillings and touchups, minor losses, and extensive wear to lacquer, the underside with several drilled holes and related fills, where the statue was once attached to a base.Weight: 7.9 kgDimensions: Height 51 cmFinely crafted red lacquer plinth. The base is sealed and hollow, possibly still bearing original offerings inside. Buddha is wearing long flowing robes, the serene face with heavy-lidded eyes and full lips forming a benevolent smile, flanked by long earlobes, the hair arranged in tight curls surmounted by an ushnisha.Literature comparison: Compare with a related Buddha, Vietnam, c. 1600, in the collection of The Pacific Asia Museum, accession number 1996.28.3.Auction result comparison: A closely related Buddha was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 25 April 2020, lot 456, for EUR 15,168.越南鎏金漆木雕佛像越南，十七至十八世紀。面部表情強調隱逸，頭上捲髮像徵著靈性。 結迦趺座，右手施禪定印。 來源：匈牙利私人收藏 品相：有風化年齡裂縫，舊的填充物和補漆，輕微的損失，以及漆面的大量磨損，下側有幾個鑽孔和填充物，雕像曾經被固定在底座上。 重量：7.9 公斤 尺寸：高51厘米 拍賣結果比較：一尊相似的佛像，於本拍行2020年4月25日 Fine Chinese Art, Buddhism and Hinduism拍場售出，lot 456, 售價EUR 15,168。

Depicting Chinese Wiseman with a rosewood stick and flowers on a tree branch, signed with 2 characters on the bottom, 87 cm. tall, circa 1880 - 1900. In addition to Large antique statue of Quanyin with flowers on a tree branch, decorated with small colored stones, circa 1880 - 1900, signed with 2 characters on bottom. Both come with Certificate of Authenticity delcaring date. This lot will not be shipped outside the European Union.

A Chinese 20th century jadeite statue of Guanyin, 33cm high

A Chinese carved wood statue of a monk, in flowing robes, at prayer in seated pose, possibly 18thC, 23cm high.

A Chinese verdigris bronze Buddha head, probably 17th or 18th century, mounted on modern woodblock plinth, overall height 35cm, plinth width 23cmThis appears to be part of a full length statue

A 20th Century Chinese Oriental bronze metal statue figurine in the form of Guanyin. Highly detailed example with crown headpiece, detailed robes raised on coiled dragon base. Hand raised in Vitarka Mudra and other holding a conch shell. An impressive example. Measures approx: 37cm tall.

An antique early 20th Century Chinese large hand carved red and green soapstone carving statue figurine depicting a Tang Dynasty type war horse. Detailed features with proud flaring mane & tail, ornamental harness raised on naturalist base. A good decorative display piece approx; 28cm tall. 

Old Chinese wooden polychrome colored statue of a dignitary with storage space in the back and cover panel, sitting on the throne 19 cm high, with oak wall bracket 15.5 cm high

2 boxes of various Asian art. 3 wooden bowls, Chinese rice basket and jewelry cabinet with mirror, various wayang puppets, Indian wood carvings, polychrome colored copper decorative vases, bronze and brass religious figures, turtle with text on the bottom, bone carving, carved statue of Balinese djanger dancer and miscellaneous

A RARE YELLOW MARBLE FIGURE OF AVALOKITESHVARA, NORTHERN QI DYNASTY China, 550-577. Elegantly carved in the form of Avalokiteshvara standing sturdily on a round lotus base supported by a rectangular plinth, the figure portrayed with both elbows bent, adorned in robes cascading in voluminous folds, the serene expression framed by a cowl. Condition: Extensive wear, encrustations and weathering with areas of erosion. Minor losses. Old and visible repair to two vertical fissures. Overall condition exactly as expected from a statue of this age. Provenance: From an old Swiss private collection. Weight: 1021.7 g Dimensions: Height 22.3 cm This rare statue displays the major artistic developments of the Northern Qi dynasty, one of the most vibrant periods in the history of Chinese lapidary work, when carvers began incorporating a heightened awareness of the human body in their works. The rounded contours clothed in lightweight robes evidence this first attempt at naturalism and mark an important shift from the strict linearity of the preceding Northern Wei dynasty. The collapse of the Wei dynasty and resultant split of China into the Northern Qi (550-577) dynasty in the east and the Northern Zhou (557-581) dynasty in the west, had a profound influence on Buddhist doctrine and art in China. While the Gandharan and Mathuran schools of Kushan India had influenced the art of the Northern Wei, Northern Qi carvers turned to the sensuous sculptures of the Gupta School for inspiration. This approach to the human body is best displayed in the sculptures of the Northern and Southern Xiantangshan caves, situated between Henan and Hebei, close to the capital Ye, and in votive statues such as the present. These sculptures feature rounder figures dressed in unobtrusive elegant robes, lacking the heavy straight folds of drapery of the preceding dynasty, and a naturalistic, more benevolent approach to the rendering of facial expressions. 罕見漢白玉觀音立像，北齊 中國，550-577。觀音站立矩形底座上的蓮花座上，手肘彎曲，長褶疊疊的長袍，面容慈祥。 品相：廣汎磨損，局部結殼、風化侵蝕。 輕微缺失。 兩個垂直裂縫曾進行修復。總體狀況完全符合這個時代雕像。 來源：瑞士私人收藏 重量：1021.7 克 尺寸：高22.3 厘米

A YIXING ZISHA FIGURE OF AN IMMORTAL, 17TH-18TH CENTURY China, late Ming to early Qing dynasty. The finely modeled clay body is of a deep brown tone with shades of caramel brown throughout. Some highlights, such as the many holes in his gown, are neatly picked out in black lacquer. Condition: Superb condition with some old wear, soiling and minor firing flaws. The figure may once have held a separate stick or pole. The hardwood base is attached to the statue and may only be removed by a professional (we will under no circumstance attempt to remove it, even though a signature or inscription may be situated on the underside). The base shows significant traces of use and its lower section is loose. Provenance: From an Austrian private collection. By repute acquired in the local market before 1980 and thence by descent in the same family. Weight: 2,258 g including the hardwood base Dimensions: 34.3 cm without the base and 38 cm with the base The immortal is shown standing with raddled gown and headgear. His face, with contemplative expression, is carved with pronounced eyes and a crisply rendered beard, to which his gnarled hands and feet are in stark contrast. Carved hardwood base with four feet and finely incised lappet border in slight relief, dating to the later Qing dynasty. (2) Auction result comparison: Compare with a related Yixing Zisha figure of Shakyamuni from the same period at Christies New York, in Fine Chinese Ceramics and Works of Art, on 16 September 2016, lot 1339, sold for a hammer price of USD $40,000. 宜興紫砂仙人像，十七至十八世紀 中國，明末清初。造型精美，紫砂成深棕色調，整個為焦糖棕色。一些亮點，比如袍子上的許多大孔，讓人物塑造更加生動。 品相：狀況極佳，有磨損，弄髒和輕微的燒傷瑕疵。人物可能曾經用單獨的棍子或桿子固定。硬木底座固定在雕像上，只能由專業人員拆除（在任何情況下我們都不會嘗試拆除，即使底部可能有簽名或題詞），底座也顯示出明顯的使用痕跡，其下部很鬆散。 來源：奧地利私人收藏，據説1980年前購於當地市場，自此保存在同一家族至今。 重量：含硬木底座總重2,258 克 尺寸：34.3 厘米不含底座，38 厘米含底座

Ca. 618 - 907 AD. Chinese Tang Dynasty. An elegant terracotta statue depicting an ox lying down, with its tail flicked over its haunches and one foreleg extended as though about to rise. This ox is carefully modelled with a curcing horns, delicate ears with pink pigment, and an exquisitely detailed muzzle. Oxes are the second animal in the zodiac and are known for diligence, dependability, strength and determination. Oxen also served important roles in chinese agriculture, trade, and infrastructure and were considered a symbol of high status and wealth. 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 full report will also accompany this lot. Excellent condition.Size: L:300mm / W:470mm ; 6.3kg; Provenance; Property of a Central London gallery, acquired from an established English collection; formerly acquired in Hong Kong, Hollywood Antique Center in the early 1990s.

Ca. 368-534 AD. Chinese Northern Wei Dynasty. A beautiful painted terracotta statue of an ox. This black and white painted ox is shown standing, with its head and neck stretching forward, with its muzzle agape as though bellowing for its fellows. This ox wears a head collar and an elaborate harness perhaps suggesting that it is a working animal. Oxen are the second animal in the zodiac and are known for diligence, dependability, strength and determination. Oxen also served important roles in chinese agriculture, trade, and infrastructure and were considered a symbol of high status and wealth. 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 full report will also accompany this lot. Excellent condition.Size: L:390mm / W:410mm ; 4.45kg; Provenance; Property of a Central London gallery, acquired from an established English collection; formerly acquired in Hong Kong, Hollywood Antique Center in the early 1990s.

Ca. 1368-1644 AD. Chinese Ming Dynasty. Ceramic horse and groom figurine. This figurine shows a groom, dressed in a dark blue tunic, with light blue trim, a light blue belt and light blue trousers, standing by a horse with one arm extended as if to hold the reins. The horse stands still, with blue mane falling over its neck, and its blue tail flicking over the hindquarters, as though swatting flies. The horse's equipment is modelled in high relief with the saddle and bridle painted dark blue, whilst the rest of the equipment is coloured shades of light blue. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws which restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China's military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302 (see Cartier, M. 1993.Considerations sur l'histoire du harnachement et de l'Aquitation en Chine. Anthropozoologica, 18, 29-44). Good Condition.Size: L:160mm / W:185mm ; 780g; Provenance: From an old Oxford collection formed in the 1990s.

Ca. 1368-1644 AD. Chinese Ming Dynasty. Ceramic. This figurine shows a groom, dressed in a dark blue tunic, with light blue trim, a light blue belt and light blue trousers, standing by a horse with one arm extended as if to hold the reins. The horse stands still, with mane falling over its neck, and its tail flicking over the hindquarters, as though swatting flies. The horse's equipment is modelled in high relief with the saddle painted dark blue, whilst the rest of the equipment is coloured shades of light blue. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws which restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China’s military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302 (see Cartier, M. 1993.‘Considérations sur l'histoire du harnachement et de l'équitation en Chine.’ Anthropozoologica, 18, 29-44). Excellent condition.Size: L:160mm / W:195mm ; 835g; Provenance: Private collection of an Oxford professional, formed in the 1970s-1990s on the UK art market.

A scalloped sauce boat, Chinese export porcelain, polychrome and gilt decoration "Flower garlands", gray and gold centre "Equestrian statue of King D. José I of Portugal", Qianlong period (1736-1795), restored, Dim. - 8 x 22 x 11 cm

Standfigur des Kriegsgottes Guandi China Auf Sockel stehend, gekleidet in reich ornamentierter Rüstung mit wehenden Schalbändern. Bronze. H. 27 cm. - Attribut der rechten Hand abgebrochen. Chinesisches Kunsthandwerk Statue of the god of war Guandi China Standing on a plinth, dressed in richly ornamented armour with waving scarf bands. Bronze. H. 27 cm. - Attribute of the right hand broken off. chinese crafts

Japan, Hong Kong, India, West Indies, Venezuela, Egypt & Algeria.- [Townshend (Edward Lee, Captain, Cheshire Regiment and Cheshire Yeomanry, married Mildred Henrietta Cholmondeley, d. 1938, son of Edward Townshend, 1835-85, of 26 Hyde Park Gate and Wincham Hall, Cheshire, 1868-1914)] Travel journal of seven voyages to the Canary Islands, Spain, Egypt and the Holy Land, West Indies, "Round the World" (including India, Hong Kong, Japan and Canada) and Algeria, autograph manuscript, together 111pp. excluding blanks, slightly browned, original half calf, slightly rubbed, 4to, 1889-97.⁂ Townshend takes seven voyages in less than 10 years across the world, meeting numerous people and has a special interest in botanical gardens and plants.West Indies. Trinidad. "Feb.r 9 & 10th [1894] Drove about the island, up the Merivale [Maraval] Valley, & the Chinese Gardens... . Febru. 12th. Sir Napier [Sir Frederick Napier Broome (1842-96), colonial governor] & Lady Broome asked us to a lawn tennis party: Govt House is the finest in the West Indies. It boasts a magnificent ball room, & the house itself is both large and airy... . Feb 13th. Drove with the Bishop [James Thomas Hayes (1847-1904), Bishop of Trinidad & Tobago 1889-1904] to the Jacarigua Orphanage: All the schools seem excellently managed. The masters generally agree that up to the age of 15 the children compare most favourably with those of the same age in England... ."Japan. "April 7. [1895] Train to Nara & put up at our first teahouse. Went to the Dai Butsu temple with a bronze statue of Buddha 58 ft in height, the Kazuga temple where the Shinto priestesses perform the sacred dance & a sacred pony eats his dinner out of a polished brass manger. April 8. Ricksha to Kioto... Yaami's Hotel stands high looking down on the town with fir clad mountains behind; cherry trees everywhere in full bloom, flowers double, very large & all shades of colour from white to pale pink & deep red. There are 40 different kinds, one drooping like our weeping willows, very graceful. The curious shaped arches in either wood or stone in front of every temple stand for a letter or sign in Japanese meaning Heaven."

Late Ming Dynasty, 1368-1644 AD. A substantial hollow-formed ceramic statue formed as a seated figure holding an oval disk against the torso, resting one hand on a knee, and wearing a floor-length layered robe and ribbed headdress; face with thin eyes, raised brows, pursed lips and ears with elongated robes; blue, red, yellow and green painted pigment survives. See Lili, F., Chinese Ceramics, Cambridge, 2010, for discussion. 64.2 kg total, 74cm (29"). From the important collection of Chinese art formed in Japan. [No Reserve] Fair condition, repaired.