A BRONZE 'TIGER' HALBERD BLADE, ZHONGHU GE, EASTERN ZHOU DYNASTY, WARRING STATES PERIOD 東周戰國虎紋中胡銅戈Published: Religion and Ritual in Chinese Art, Michael B. Weisbrod, Inc., New York, USA, 8 December 1987, no. 12, page 40.China, 480-220 BC. Finely worked with an elongated triangular blade (yuan) flaring gently into the flat blade guard. Cast in relief with the profile of the ferocious feline with a gaping mouth, baring fangs, and an extended long curling tongue, all in high relief. The ears and forelimbs bent with the body incised on the shank. The end of the yuan pierced with two rectangular chuan (apertures), the tang (nei) with a circular chuan. A rectangular tang with foliate incisions projects from the guard ending in a double curve 'E'-shaped edge.Provenance: Michael B. Weisbrod, New York, USA. The private collection of an American north-east collector, acquired from the above, c. 1987-1988. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Very good condition, commensurate with age. Extensive wear, weathering and erosion, nicks and cracks, shallow surface scratches, possibly minor old fills. Fine, solid patina with distinct malachite and cuprite encrustations. Presenting remarkably well overall.Weight: 396.4 g (excl. stand)Dimensions: Length 27.4 cm With a modern stand. (2)The ge dagger-axe was found in burials from the early Shang through the Warring States period. It came to be a ritual object and a part of the requisite ceremonial paraphernalia of a courtier. According to James Menzies, by the early Western Zhou, “its inclusion in the attire of nobles and officials at all formal functions may be presumed”; and in addition to other Shang and Western Zhou rituals, it may have been used in ceremonial war dance, celebrating the Zhou conquest of the Shang (Menzies, the Shang Ko, pp. 314-316). The ge was also frequently pictured on bronze vessels possibly as a clan emblem.Although the tiger appears on blades of the late Shang and early Western Zhou periods, the feline and the shape of the tang on the present lot indicate a product of a different culture. Manufacture of ge with triangular blades discontinued in the Central Plains area of China by the middle Western Zhou period. The type seems to have persisted in the kingdoms of Ba and Shu in modern Sichuan province through the Warring States period. Many of these excavated ge from this area have E-shaped tang which did not appear among the Shang or Western Zhou blades. Tigers are frequently seen as motifs on the various types of ge and other weapons of the Ba-Shu area. This may be related to the legend that when Lin Jun, first ancestor of the Ba tribe, died, his soul was transformed into a white tiger.Literature comparison:Compare profile tigers similar to this lot which are reproduced in Tong Enzheng's “Investigations of the bronze ge from Southwest China” (Kaogu Xuebao 1979, no. 4, pp. 442, fig. 1:6, pp. 447, fig. 3; see also Wenwu 1976 no. 3, p. 41 fig.2 and pl. I, no. 6; Wenwu 1976 no. 7, p. 82-85; Kaogu 1986 no. 11, pp. 986, fig. 6). Compare with a Zhonghu Ge with tiger pattern, China, unearthed at Dubaishu, Pixian County, Chengdu City, Warring States period, 475 - 221 BC, bronze Sichuan Provincial Museum Chengdu, China, accession number DSC04243. 東周戰國虎紋中胡銅戈中國，公元前480-220 年。戈，流行於商代至漢代的一種格鬥兵器，最早出現於先秦時期。因作戰需要和使用方式不同，便分為長、中、短戈三種。此戈長援中胡，長方形內，近欄處有三穿。援後部至內兩面飾半浮雕虎頭，張口吐舌，口中一穿；援的末端穿有兩個長方形的穿，內有一個圓形的穿。 帶有葉狀切口的矩形柄腳從防護裝置中伸出，末端為雙曲線“E”形邊緣。出版：Michael B. Weisbrod, Inc.，《Religion and Ritual in Chinese Art》，紐約，1987年12月8日，編號12，第 40頁。 來源：美國紐約Michael B. Weisbrod收藏；美國東北私人收藏，1987-1988年購於上述收藏。Michael B. Weisbrod是一位著名的中國藝術學者，在 過去五十多年的時間裡就該主題發表了大量著作。1972年，Michael加入了他父親Gerald Weisbrod博士在加拿大多倫多的亞洲藝廊。 這對父子團隊於1977 年在麥迪遜大道開設了他們的紐約分店，在接下來的四十五年裡，藝廊舉辦了大量展覽，向全球各地的博物館和私人收藏家出售作品，最終在上海和香港開設了分店。 品相：狀況非常好，大面積磨損、風化和侵蝕、刻痕和裂縫、表面淺劃痕，可能有輕微的小修。細膩、堅實的包漿，帶有明顯的紅綠色結殼。 重量：396.4 克 (不含底座) 尺寸：長27.4 厘米 現代支架。 (2) 從商初到戰國時期的墓葬中都發現了戈，它是朝臣必備的禮儀用具的一部分。根據James Menzies的說法，到了西周早期，“可以推測，它已經出現在貴族和官員在所有正式場合的服裝制式中”； 除了商朝和西周之外，它還被用於儀式性的戰舞，慶祝週征服商朝（Menzies，《the Shang Ko》，第 314-316 頁）。青銅器上也經常出現戈的圖案，可能是作為氏族的徽章。此類虎紋戈似乎在戰國時期一直存在於現代四川省的巴蜀王國中。該地區出土的許多戈刀都具有商或西周刀中所沒有的“E”形刀柄。巴蜀地區的各種戈具和其他武器上都以老虎為圖案。這或許與巴族始祖林俊死後靈魂化為白虎的傳說有關。文獻比較： 比較一件相似的，同恩正《西南青銅考》（《考古學報》1979，第4期，第442頁，圖1：6，第447頁，圖3。見《文武》1976年第3期，頁41，圖2和第6期，圖一）。 比較一件戰國時期西元前475 - 221年虎紋虎戈，出土成都市郫縣杜拜樹，四川省博物館，館藏編號DSC04243。
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A BASALT RELIEF DEPICTING GANESHA AND THE NINE PLANETS (NAVAGRAHA), 10TH-11TH CENTURYNorthern India, c. 950-1000 AD. Finely carved in high relief with ten figures standing on a ledge carved with their respective mounts, depicting (from left to right) Ganesha, Surya (Sun), Chandra (Moon), Mangala (Mars), Budha (Mercury), Brihaspati (Jupiter), Shukra (Venus), Shani (Saturn), Rahu (ascending node of the Moon), and Ketu (ascending node of the Sun). Each figure except the large Rahu wears a thin dhoti tied with a belt and a tall kiritamakuta, and each is backed by a halo.Provenance: From a noted private collection in Germany. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, soil encrustations, obvious losses, nicks, scratches. The stone with a fine, naturally grown, dark patina.Weight: 14.4 kg Dimensions: Length 56.5 cm The Navagraha continue to be worshipped in modern times and are given special enclaves within Hindu temples. They also appear on the door lintels of many temples in northern India as a means of protecting the shrine and its visitors from maleficent portents and beings.The role and importance of the Navagraha developed over time with various influences. Deifying planetary bodies and their astrological significance occurred as early as the Vedic period and was recorded in the Vedas. The earliest work of astrology recorded in India is the Vedanga Jyotisha which began to be compiled in the 14th century BCE. It was possibly based on works from the Indus Valley Civilization as well as various foreign influences. Babylonian astrology was the first astrology and calendar to develop and was adopted by multiple civilizations including India.Literature comparison:Compare the closely related Navagraha relief from Bihar in the same style, dated ca. 950-1000 AD, in the San Diego Museum of Art, accession number 2007.173. Compare a closely related sandstone frieze depicting the nine celestial bodies, 158.6 cm long, dated to the 8th century, in the Cleveland Museum of Art, accession number 1971.61.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 September 2021, lot 366 Price: USD 20,160 or approx. EUR 22,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of Navagraha, the planetary deities, India, Pala period, 11th-12th century Expert remark: Compare the closely related subject and manner of carving. Note the size (65 cm).
A THANGKA OF EKADASHAMUKHA AVALOKITESHVARA, EASTERN TIBET OR YUNNAN, 17TH -18TH CENTURY, CIRCLE OF CHOYING DORJE (1604-1674) 西藏東部或雲南十七至十八世紀十一面觀音唐卡Expert's note: In 1645, the Tenth Karmapa, Choying Dorje (1604-1674), fled Tibet, eventually taking refuge in the city of Lijiang (Yunnan province) until his death. There, according to his biographies, he created a copy of a famous set of silk arhat paintings kept at Gangkar monastery in Sichuan province, called the Drakthokma Arhats (Arhats atop Rocks). The eccentric style in which these copies were executed shares some characteristics with the present work. Compared to most Tibetan thangkas, both have a strong Chinese aesthetic, adopting not only traditional figural and floral elements, but also Chinese brushwork techniques and the medium of monochromatic ink on silk, with only few pale pigments added to the present work for accentuation.In fluid lines, this remarkable painting creates a dynamic image of the eleven-headed and eight-armed deity standing in samabhanga atop a lotus dais. His principal hands are clasped together in anjali mudra, the secondary hands radiate around him, holding the dharma wheel, a water vessel, a mala (prayer beads), a lotus blossom, and a bow and arrow, and one held out in varada mudra. He is wearing a layered dhoti cascading in graceful folds as well as a billowing scarf draped over both shoulders, and richly adorned with fine jewelry.Black ink and pigment on cloth, with an ancient silk brocade frame, mounted as a hanging scroll with a wood handle.Provenance: From an old private collection in Budapest, Hungary, acquired during the first half of the 20th century. Condition: Good condition with some wear, soiling, creases and small losses. Some tears and losses to the mounting. The ink is still crisp, the pigments are intentionally pale.Dimensions: Image size 31.2 x 24.5 cm, Size incl. mounting 66.9 x 37.1 cmAvalokiteshvara is backed by a red mandorla with rainbow-colored borders and flanked in the lower register by Green and White Tara seated on lotus thrones, surrounded by a verdant mountainous landscape with large lotus and peony blossoms, and thick swirling clouds beneath the moon and sun.The bodhisattva Avalokiteshvara (Chenrezig) is the patron deity of Tibet, embodying the compassion of all the Buddhas of the ten directions and three times. In the standing form, Ekadashamukha Avalokiteshvara (Eleven faced Avalokiteshvara) is closely associated with Lakshmi, the goddess of abundance and fortune. 西藏東部或雲南十七至十八世紀十一面觀音唐卡布本水墨設色，絲綢錦框，木柄掛軸。線條流暢，十一面八臂觀音站在蓮花台上，主手合十結印，副手呈放射狀，手持法輪、水器、念珠、蓮花、弓箭，另一隻手結施予印。觀音身穿袈裟，下身著長裙，雙肩披帔帛，項圈、長鏈、耳環、手鐲、臂釧裝飾全身。 來源：匈牙利布達佩斯私人收藏，購於二十世紀上半葉。 品相：狀況良好，有一些磨損、污垢、摺痕和小缺損，裱有一些水漬、缺損，墨色依然清晰，顏料變淺。 尺寸：畫面 31.2 x 24.5 厘米，總 66.9 x 37.1 厘米
A BRONZE 'DEER' WATERDROPPER, LATE MING TO EARLY QING DYNASTY 明末清初鹿形硯滴 China, 17th to 18th century. Naturalistically modeled as a deer seated on its haunches, detailed with branched antlers growing horizontally and forking into each other, the face with large wide eyes and alert funnel-shaped ears, the head raised and turned to one side with an opening through the mouth and pierced behind the neck with a circular aperture.Provenance: The present lot was part of an important collection of archaic Chinese bronzes, built by three generations of the Chasseloupe-Laubat family in France. Prosper de Chasseloup-Laubat (1805-1873), was a prominent aristocrat, politician, and art collector who became Minister of the French Navy and the Colonies under Napoleon III, traveling extensively though all of Asia. His son Louis (1863-1954), an engineer in ship design, significantly expanded the family collection, also during his frequent travels throughout Asia. François (1904-1968), Prosper's grandson, eventually inherited the family passion and became a renowned explorer and participant in the Hoggar Expedition. He was the first French explorer to reach English Malaysia, bringing back previously unpublished documents on the isolated Sakai tribes. As a collector, François Chasseloupe-Laubat was advised by Jean Claude Moreau-Gobard, an important French collector and dealer specializing in Asian art.Condition: Good condition with minor wear and casting irregularities, some nicks. One foot with a minor old repair and associated soldering marks. The bronze with a smooth patina of dark chestnut color overall.Weight: 258.7 gDimensions: Height 12.7 cm, Length 10.5 cm Deer antlers are classified as 'typical' or 'nontypical'. In general, the tines of typical antlers grow vertically as individual points, whereas the tines of nontypical antlers grow down horizontally and sometimes fork. Although most bucks grow typical racks, abnormalities that produce nontypical antlers similar to those seen on the present lot are relatively common.Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 14 September 2015, lot 8082Price: USD 3,125 or approx. EUR 3,700 converted and adjusted for inflation at the time of writingDescription: A bronze deer-form water dropper, 17th centuryExpert remark: Compare the related form and similar pose. Note the similar size (9.2 cm). 明末清初鹿形硯滴中國，十七至十八世紀。 造型自然，鹿成坐姿，鹿角分叉上揚，大眼，漏斗狀耳朵竪起，頭部抬起並轉向一側。鹿口有一個開口，頸部後面穿有一個圓形孔。 來源：法國Chasseloup-Laubat家族的三代人共同努力建立的中國古代青銅器重要收藏的一部分。Prosper de Chasseloup-Laubat（1805-1873 年）是一位著名的貴族、政治家和藝術收藏家，後來成為拿破崙三世領導下的法國海軍和殖民地部長，足跡遍及整個亞洲。他的兒子Louis（1863-1954 年）是一名船舶設計工程師。在他頻繁遊歷亞洲期間，他的家族收藏顯著擴大。 Prosper的孫子François（1904-1968）最終也成為著名的探險家和霍格探險隊的參與者。他是第一位到達英屬馬來西亞的法國探險家，帶回了之前未發表的關於與世隔絕的酒井部落的文獻。 作為一名收藏家，François Chasseloupe-Laubat 得到了Jean Claude Moreau-Gobard 的指導，後者是法國一位重要的亞洲藝術收藏家和經銷商。 品相：狀況良好，有輕微磨損和鑄造不規則，有一些刻痕。一隻腳有小修和焊接痕跡。整體呈深栗色。 重量：258.7 克 尺寸：高 12.7 厘米，長 10.5 厘米拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2015年9月14日，lot 8082 價格：USD 3,125（相當於今日EUR 3,700） 描述：十七世紀銅鹿形水滴 專家評論：比較相近的外形和相似的姿勢。請注意相似的尺寸(9.2厘米)。
A LARGE SANDSTONE HEAD OF VISHNU, ANGKOR PERIOD, PRE RUP STYLEKhmer Empire, 10th century. Sensitively carved, the serene face with almond shaped eyes below gently arched eyebrows, the fine nose above full lips framed by a moustache and beard, the face flanked by elongated ears, the head surmounted by a foliate tiara and two-tiered headdress of octagonal form, decorated with rows of florets and pearls.Provenance: From an old Belgian private collection. Acquired before 1970 and thence by descent in the family.Condition: Very good condition, commensurate with age. Signs of weathering and erosion, extensive wear, and encrustations. Obvious losses, minor nicks and scratches.Weight: 18.9 kg (incl. stand)Dimensions: Height 39.5 cm (excl. stand) and 67 cm (incl. stand)Mounted on a metal stand. (2)This larger-than-life head has a softer, more naturalistic and serene face than that of the earlier style of the Koh Kher. Pre Rup is a Hindu temple at Angkor, Cambodia, built for the Khmer king Rajendravarman (reigned 944-968) and dedicated in 961 or early 962. This powerfully carved head reflects the concept of the God-King (Deva-Raja), a system of statecraft that originated in India but was taken to new heights during the Khmer Empire. Despite being consecrated under the protection of the Hindu deity Shiva, the Khmer identified most closely with Vishnu, preserver of universal order. In fact, the deity often took on the likeness of individual Khmer rulers.Literature comparison:Compare a related sandstone head of Vishnu, dated to the first half of the 10th century, in the Museum of Fine Arts, Boston, accession number 26.13. Compare a related figure of Vishnu, dated to the 10th century, in the Los Angeles County Museum of Art, accession number M.76.19.Auction result comparison: Type: RelatedAuction: Bonhams Paris, 25 October 2022, lot 58Price: EUR 75,000 or approx. EUR 81,000 adjusted for inflation at the time of writingDescription: A sandstone head of a male divinity, Angkor period, Pre Rup style, 10th centuryExpert remark: Compare the closely related modeling and manner of carving with similar face and headdress as well as the related size (36.5 cm).
A LARGE AND HEAVY 'SNAKE AND LION' CHLORITE STEMCUP, JIROFT CULTURE, 3RD MILLENNIUM BCSoutheastern Iran, c. 2800-2300 BC. Well and boldly carved, the cup raised on a tall stem with a spreading foot, decorated to the exterior with two wide bands, the upper depicting intertwined snakes fighting lions standing on their hind legs, and the lower with intertwined confronted snakes.Provenance: French trade, by repute formerly in a French private collection built between ca. 1980 and 2012 and thence by descent.Condition: Good condition, commensurate with age, with ancient wear overall. Signs of weathering and erosions, encrustations, and small chips, all as expected for a vessel over five thousand years old.Weight: 1,675 g Dimensions: Height 20.8 cm This large and finely carved ceremonial vessel belongs to a class of chlorite artifacts from southeastern Iran described as Jiroft from the name of the area where they were produced in antiquity. The motif of the lion fighting a snake is a recurrent one on these types of vessels and appears several times amongst the famous corpus of unexcavated artifacts published by Madjidzadeh (see Jiroft, The Earliest Civilization, Teheran, 2003, pp. 76-94).In the region of Jiroft, a large number of chlorite vessels and objects, carrying human and animal motifs, have been discovered. This discovery is of particular importance since little is known about the region's history, and its proximity to the Cradle of Civilization makes it of vital importance to understanding the environment in which the first written historical records emerged. In the first half of the 3rd millennium BC, the Iranian plateau was at the crossroads of trade with its neighboring regions. It is located 1000 km from the valley of the Euphrates in the west and from the Indus River in the east. The exceptional development of the Jiroft culture can be accounted for by the distinctive environment of the region, which is in a deep depression, very different from the broad basins created on the plateau by the disappearance of large salt lakes.Literature comparison: Compare closely related chlorite vessels in the Archaeology Museum of Jiroft, Iran, some of which were included in the exhibition “Iran, Fruehe Kulturen zwischen Wasser und Wueste, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, 13 April-20 August 2017”.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 6 March 2021, lot 692 Price: EUR 16,432 or approx. EUR 19,415 adjusted for inflation at the time of writing Description: A large Western Asiatic chlorite bowl, 3rd millennium BC Expert remark: Compare the related material, manner of carving, lack of recesses for inlays, and subject of fighting animals. Note the different form and the size (29.5 cm).Auction result comparison: Type: Related Auction: Bonhams London, 30 September 2015, lot 66 Estimate: GBP 10,000 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: A 'figural style' green chlorite vessel, circa late 3rd millennium BC Expert remark: Compare the related material and motif. Note the different form, recesses for inlays, and the size (25 cm).
A COPPER-INLAID BRONZE RITUAL WINE VESSEL AND COVER, HU, EASTERN ZHOU DYNASTY 東周錯銅蓋壺Expert's note: For further research and a comparative analysis with published examples in major institutions, see Charles D. Weber, Chinese Pictorial Bronze Vessels of the Late Chou Period. Part III, published in Artibus Asiae, volume 29, number 2/3, 1967, pages 115-192. In this publication, the author provides a comprehensive analysis of pictorial bronze vessels from the late Zhou period and suggests that this type of decoration originated from Huixian, Henan province, from the 6th into the early 5th century BC.To properly evaluate the current lot, it is essential to compare it with the related examples found in the Fogg Art Museum and the Metropolitan Museum of Art (see literature comparison). These institutions possess vessels attributed to significant tombs in the vicinity of Huixian. These vessels share several identical pictorial elements with the present lot, as illustrated in the accompanying diagram. These pictorial elements also serve as a basis for dating the current lot, as referenced in fig. 70 of Weber's work, where the sinuous feline pictograms suggest a manufacture date of 500 B.C.Furthermore, page 151 of Weber's work highlights a pertinent observation. During the late Zhou period, pictorial decoration on these types of vessels was arranged irrespective of the placement of handles. Consequently, handles were often affixed over a portion of the pictorial representations, partially covering the design. This alignment further strengthens the connection of the present lot to the published examples, suggesting that it is not only closely related, originating from the same period and region, but also having a strong possibility of it originating from a neighboring site.China, late 6th-early 5th century BC. Superbly cast, the globular body supported on a tall spreading foot and rising to a waisted neck with a flared mouth, the shoulder set with two small lug handles. The body is finely inlaid with copper in five registers depicting geometrically arranged designs of pairs of birds, felines, and deer within lozenge borders which also encircle the foot, the body further interspersed by elaborate ruyi-like designs, the mouth and rim of the cover with line borders. The similarly decorated domed cover surmounted by a loop finial. The vase has retained its original cover for well over two millennia, which makes it exceedingly rare.Provenance: From a noted private collection in Southern California, USA.Condition: Excellent condition, commensurate with age. Extensive wear, signs of weathering and erosion, expected minor casting flaws, small nicks and losses, light scratches. Magnificent patina overall, the copper inlays naturally patinated to a distinct auburn color, the bronze with malachite encrustations and lustrous hues of cuprite.Weight: 2,496 gDimensions: Height 34 cm Literature comparison:Compare a related copper-inlaid bronze hu, 43 cm high, dated to the Warring States period, in the Fogg Art Museum, Harvard Art Museums, object number 1943.52.121.A-B. Compare a related related copper-inlaid bronze hu, lacking the cover, 44.5 cm high, dated ca. 5th century BC, in the Metropolitan Museum of Art, accession number 29.100.545. Compare also a related copper-inlaid bronze hu, lacking the cover, 44.7 cm high, dated to the Warring States period, in the Art Institute of Chicago, reference number 1928.143. A similar hu is illustrated by J. So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, 1995, vol. III, no. 44, where the author, p. 257, describes how the motifs “were first cast in copper, then inserted into the mold and held in place with spacers”. This technique was more effective in keeping the copper decoration in place than the more conventional method of hammering the copper into cast or incised depressions. Another similarly decorated hu lacking cover is in the museum collection of Fujii Yurinkan Museum, Kyoto, where it is registered as an Important Art Object by the Japanese government. Another hu with a cover was included in the exhibition Chinese Archaic Bronzes, Sculpture and Works of Art, J. J. Lally & Co., New York, June 1992, no. 24.Auction result comparison: Type: Closely related Auction: Christie's, New York, 21 March 2002, lot 70 Price: USD 23,500 or approx. EUR 36,500 adjusted for inflation at the time of writing Description: A rare copper-inlaid bronze wine jar, hu, Eastern Zhou dynasty, late 6th-early 5th century BCExpert remark: Compare the closely related form and inlays. Note the size (39.7 cm).Auction result comparison: Type: Closely related Auction: Christie's, New York, 23-24 September 2021, lot 705 Price: USD 32,500 or approx. EUR 32,500 adjusted for inflation at the time of writing Description: A rare copper-inlaid bronze ritual wine vessel, hu, Warring States period (475-221 BC)Expert remark: Compare the closely related form and inlays. Note the size (45.7 cm) and the obvious condition issues. 東周錯銅蓋壺中國，公元前六至五世紀初。壺口外撇，長頸微束，下方鏨刻變體蕉葉紋，溜肩，肩部兩側分鑄雙耳，腹部下收，壺口和腹部飾凹弦紋，圈足高而外撇。器身嵌紅銅，菱形邊框內有成對的鳥、貓、鹿等幾何排列圖案；足部周圍亦有精緻的如意圖案；口部及蓋緣亦點綴有如意紋。圓頂蓋頂部有一個環形鈕。皮色暗沉古穆。專家注釋：如需進一步研究以及與主要機構已發表實例的比較分析，請參閱 Charles D. Weber，《Chinese Pictorial Bronze Vessels of the Late Chou Period（中國晚期週時期青銅器圖案）》第三部分，發表於 Artibus Asiae，第 29 卷，第 2/3 期，1967 年，第 115-192 頁。 在本書中，作者對周晚期的青銅器圖案進行了全面的分析，認為這種裝飾起源於公元前六世紀至五世紀初的河南省輝縣。為了正確評估當前拍品，有必要將其與Fogg Art Museum和大都會藝術博物館的相關拍品進行比較（參見文獻比較）。 這些機構擁有來自輝縣附近重要墓葬的器皿。這些青銅器與本拍品有幾個相同的圖案元素，如附圖所示。 這些元素也可作為當前拍品年代測定的基礎，如圖 1 所示。Weber書中的 70 幅圖片中，貓科動物表明其生產日期為公元前 500 年。此外，Weber著作的第 151 頁強調了一個相關的觀察結果。周代晚期，此類器物上的圖案裝飾與手柄的位置無關。因此，手柄部分覆蓋設計。這種排列進一步證明了當前拍品與已發表的例子的聯繫，表明它不僅密切相關，起源於同一時期和地區，而且很有可能起源於鄰近地點。 來源：美國加利福尼亞州南部私人知名收藏。 品相：狀況極佳，大面積磨損、風化和侵蝕的跡象預計會出現輕微的鑄造缺陷、小刻痕和損失、輕微劃痕。整體上呈現出華麗的銅綠，銅鑲嵌物自然地呈現出獨特的赤褐色，青銅上鑲嵌著孔雀石和赤銅礦的光澤色調。 重量：2,496 克 尺寸：高 34 厘米文獻比較： 比較一件相近的戰國時期錯銅壺，高43 釐米，收藏於哈佛藝術博物館，館藏編號1943.52.121.A-B。比較一件相近的西元前五世紀嵌紅銅青銅壺，高44.5 釐米，收藏於大都會藝術博物館，館藏編號29.100.545。比較一件相近的戰國時期錯銅壺，高44.7 釐米，收藏於芝加哥藝術博物館，館藏編號1928.143。一件相似的壺，見J. So，《Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，1995年，卷三，編號44，作者在頁257提到，「首先用銅鑄造，然後插入模具並用墊片固定到位」。與將銅錘入鑄造或切割凹陷的傳統方法相比，這種技術更能有效地將銅裝飾固定在適當的位置。另一件相似的錯銅壺，收藏於京都藤井有鄰館。另一件青銅壺，《Chinese Archaic Bronzes，Sculpture and Works of Art》，J. J. Lally & Co.，紐約，6月 1992年，編號24。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2002年3月21日，lot 70 價格：USD 23,500（相當於今日EUR 36,500） 描述：西元前六世紀末和五世紀初東周青銅錯紅銅壺 專家評論：比較非常相近的外形和鑲嵌。請注意尺寸 (39.7 釐米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2021年9月23-24日，lot 705 價格：USD 32,500（相當於今日EUR 32,500） 描述：戰國青銅錯紅銅壺 專家評論：比較非常相近的外形和鑲嵌。請注意尺寸 (45.7 釐米) ，以及明顯的品相問題。
A KHMER SANDSTONE TORSO OF VISHNU, BAKHENG STYLE, ANGKOR PERIODKhmer Empire, 9th-10th century. The four-armed deity powerfully carved standing in samabhnaga, the body with an elegant hourglass waist, the main left hand resting on the tall gada (mace). His sampot is knee length, drawn up between the legs and secured at the back, and has distinctive pleated double-anchor folds.Provenance: From an old Belgian private collection. Acquired before 1970 and thence by descent in the family.Condition: Good condition, commensurate with age. Extensive wear, losses, repairs, signs of weathering and erosion, structural fissures, nicks, and scratches.Weight: 87.1 kg (total)Dimensions: Height 96 cm (excl. stand) and 106.5 cm (incl. stand)Mounted on an associated metal stand. (2)Literature comparison:For the type, see Helen Ibbitson Jessup ed, Millennium of Glory: Sculpture of Angkor and Ancient Cambodia, Washington, 1997, fig. 2. Compare a related sandstone figure of Brahma, Bakheng style, 10th century, in the Metropolitan Museum of Art, accession number 36.96.3.Auction result comparison: Type: Closely related Auction: Christie's Paris, 15 December 2010, lot 367 Price: EUR 31,000 or approx. EUR 38,500 converted and adjusted for inflation at the time of writing Description: A polished sandstone torso of a male deity, Cambodia, Khmer, Bakheng period, first quarter 10th century Expert remark: Compare the closely related modeling and manner of carving with similar hourglass figure and pleated sampot with double-anchor fold. Note the two arms and smaller size (76 cm). Auction result comparison: Type: Closely relatedAuction: Christie's New York, 20 March 2012, lot 172Price: USD 25,000 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A sandstone torso of a male deity, Khmer, Angkor Period, Bakheng Style, 10th centuryExpert remark: Compare the closely related modeling and manner of carving with similar hourglass figure and pleated sampot with double-anchor fold. Note the two arms and smaller size (59.7 cm).
A LARGE AND HIGHLY IMPORTANT WHITE MARBLE TORSO OF BUDDHA, NOTHERN QI DYNASTY 北齊大型漢白玉立佛殘件China, 6th century. Depicting a standing Buddha, dressed in loose robes draped over both shoulders and elegantly falling in stepped folds flaring at the hems in stylized pleats, the robe open at the chest to reveal the tied underskirt. The overall simple and naturalistic style clearly dates it to the later sixth century. Clinging tightly, the diaphanous drapery reveals the elegant body's form, characteristically indicated by incised lines and relief ridges.Provenance: Old Italian private collection, acquired 1971 from Wing Tat Hong Gallery, Hong Kong. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, losses, nicks and surface scratches, minor cracks. Remnants of ancient pigment. Displaying supremely. Dimensions: Height 92 cm (excl. base) and 101.5 cm (incl. base)Mounted to a modern metal base. (2)Expert's note: This magnificent sculpture embodies a profound spirituality achieved through the remarkable plasticity of drapery and form. The figure represents a standing Buddha and the monk's robes, which he wears, are arrayed to cover both shoulders. The size, sensitivity of carving, crisp treatment of the gracefully draped folds, both those falling in parallel curved lines down the front of the subtly indicated body and those of the hem, closely relate this figure to other imposing white marble statues of a similar date.Only occasionally encountered among Chinese Buddhist sculptures, white marble first rose to popularity during the Northern Qi period, when sculptors occasionally carved Buddhist images in beautiful white marble from Dingzhou, in southwest Hebei province. Although a quarry site can never be taken as the probable site at which a particular image was sculpted, the use of white marble nevertheless suggests that this extraordinary sculpture might have been carved in the vicinity of Dingzhou, likely in Hebei or Shanxi province.Faint traces of polychromy, evident on the shoulders, suggest that the sculpture was once entirely painted, as were virtually all early Indian and Chinese Buddhist sculptures in wood and stone. The brilliant pigments of the sculptures and wall paintings at Dunhuang, in Gansu province, suggest that the original colors of this Buddha would have been stunning.If the missing right arm was raised in the abhayamudra, then the left might have shown a variation of the varadamudra, the gift-giving gesture, also associated with preaching. Moreover, if the right arm displayed the abhayamudra then the present sculpture likely represented either the Historical Buddha Shakyamuni or Amitabha, the Buddha of Boundless Light, in a preaching mode. Because the sculpture lacks an identifying inscription, not to mention its right arm and any distinguishing iconographic attributes, the exact identity of this Buddha likely will remain an enigma.Literature comparison:Compare a related figure of Amitabha Buddha in the Royal Ontario Museum, illustrated in Homage to Heaven, Homage to Earth, 1992, p. 163, pl. 92. Compare a related figure illustrated in Chinese Marble Sculptures of the Transition Period, B.M.F.E.A., no. 12, Stockholm, 1940, pl. II (b). Compare a related sculpture in the Eskenazi exhibition Sculpture and ornament in early Chinese art, London, 11 June to 13 July 1996, no. 31.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 203Price: EUR 101,575 or approx. EUR 143,500 adjusted for inflation at the time of writingDescription: A Chinese stone torso of Buddha, Northern Qi dynasty Expert remark: Compare the closely related pose and manner of carving with similar diagonal pleats. Note the size (148 cm).北齊大型漢白玉立佛殘件中國，六世紀。立佛左右臂貼身，從肘部起殘缺，低開領的通肩袈裟，袈裟顯得輕薄而貼身，順著身體結構起伏，雙腿輪廓隱約可見。 來源：義大利私人舊藏，1971年購於香港Wing Tat Hong 藝廊；貝加莫Leonardo Vigorelli收藏，購於上述收藏。Leonardo Vigorelli Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度教佛教藝術。在學習人類學和數十年的旅行以及在印度、喜馬拉雅地區、東南亞和非洲的廣泛實地研究之後，他在義大利米蘭創立了 Dalton Somare 藝術畫廊，如今由他的兩個兒子經營。品相：狀況良好，與年齡相稱。大面積磨損、風化和侵蝕跡象、結殼、缺損、刻痕和表面劃痕、輕微裂縫。顏料殘餘。 尺寸：高92 厘米 (不含底座)，總101.5 厘米 現代金屬底座。 低開領的通肩袈裟，此尊像背面袈裟表面以彩繪方式，繪出袈裟的框格裝飾，表現福田相。遒勁流暢的陰刻衣紋，這種「薄衣貼體」的造像風格，是北齊時期造像的一大特色。造像肩上明顯的多色痕跡表明該雕塑曾經完全上色，幾乎所有早期的印度和中國佛教木石造像都是如此。甘肅敦煌的雕塑和壁畫色彩絢麗。漢白玉在中國佛教雕塑中并不常見，在北齊時期開始流行，當時河北省西南部定州的偶爾使用漢白玉製作佛像。漢白玉造像可能是在定州附近雕刻的，可能在河北或山西省。 文獻比較： 比較一件相近阿彌陀佛像，收藏於Royal Ontario博物館，見《Homage to Heaven，Homage to Earth》，1992年，頁163，編號92。比較一件相近的雕像《Chinese Marble Sculptures of the Transition Period》，B.M.F.E.A.，編號12，斯德哥爾摩，1940年，編號II (b)。比較一件相近雕像，展覽於Eskenazi，《Sculpture and ornament in early Chinese art》，倫敦，1996年6月11日至7月13日，編號31。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2004年5月12日，lot 203 價格：EUR 101,575（相當於今日EUR 143,500） 描述：北齊立佛石雕殘件 專家評論：比較非常相近的姿勢、衣袍的類似於對角線的摺痕。請注意尺寸(148 厘米)。
AN INLAID CELADON STONEWARE BOWL, GORYEO DYNASTY 高麗王朝内嵌花卉青瓷碗Korea, 12th-13th century. The deep rounded sides raised on a short foot, finely inlaid in white slip beneath the celadon glaze to the interior with a central flowerhead encircled by a band of ruyi-heads as well as alternating chrysanthemum sprays and pomegranate bunches enclosed by line borders, and to the exterior with flowerheads within roundels issuing freely painted vines framed by geometric and petal bands, with some details inlaid in black slip.Provenance: French trade. Acquired from an old French private collection of Korean ceramics and works of art. Condition: Good condition with old wear and expected firing flaws including pitting, glaze lines, kiln grit, and warping. The rim with two hairlines.The rim with a single professional restoration (10 x 4 cm).Weight: 788.6 g Dimensions: Diameter 20.6 cm This inlay technique is called 'sanggam', which was invented by Korean ceramic artists in the twelfth century. The design was incised into the clay body of the vessel and then filled with slip (diluted clay). The excess slip would have been removed before the piece was biscuit fired, then the bottle was covered with a translucent celadon glaze and fired again. The development of the sanggam inlay technique signifies the elegance and innovativeness of Goryeo ceramic production; no similar inlay technique was used by Chinese craftsmen at this time.Literature comparison:Compare a related bowl with similar decoration and motifs, 19.4 cm diameter, dated to the early 14th century, in the Metropolitan Museum of Art, accession number 27.119.10. Compare a related with similar decoration and motifs, 20 cm diameter, dated to the first half of the 13th century, in the National Museum of Asian Art, Smithsonian Institution, accession number F1917.294.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 15 October 2001, lot 291Price: USD 15,275 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: An inlaid celadon stoneware bowl, Goryeo dynasty, 12th-13th centuryExpert remark: Compare the closely related decoration and motif. Note the size (18.3 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 29 March 2005, lot 527 Price: USD 15,600 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: An inlaid celadon stoneware bowl, Goryeo dynasty, 13th century Expert remark: Compare the closely related form, decoration, and motif. Note the size (18.3 cm). 高麗王朝内嵌花卉青瓷碗韓國，十二至十三世紀。敞口，深弧腹，圈足，青瓷釉下精美鑲嵌白色釉料；碗內中央内凹，飾有一朵花，周圍一圈如意紋；内壁交替飾有菊花和石榴紋，碗沿三道弦紋；外壁卷葉花卉紋；一些細節鑲嵌在黑色的漿料中。 來源：法國古玩交易。購自法國韓國陶瓷和藝術品私人舊藏。 品相：狀況良好，有磨損、麻點、釉紋、窯砂和翹曲。邊緣有兩條冲線。邊緣有一個專業修補(10 x 4 厘米)。 重量：788.6 克 尺寸：直徑 20.6 厘米 文獻比較： 比較一件相近裝飾主題的十四世紀初碗，直徑19.4 厘米，收藏於大都會藝術博物館，館藏編號27.119.10。比較一件相近裝飾主題的十三世紀上半葉碗，直徑20 厘米，收藏於史密森國立亞洲藝術博物館，館藏編號F1917.294。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2001年10月15日，lot 291 價格：USD 15,275（相當於今日EUR 24,000） 描述：十二至十三世紀高麗王朝内嵌花卉青瓷碗 專家評論：比較非常相近的裝飾和主題。請注意尺寸(18.3 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2005年3月29日，lot 527 價格：USD 15,600（相當於今日EUR 22,500） 描述：十三世紀高麗王朝内嵌花卉青瓷碗 專家評論：比較非常相近的外形、裝飾和主題。請注意尺寸(18.3 厘米)。
A SLIP-INLAID 'CHILDREN AND GRAPEVINES' CELADON EWER, GORYEO DYNASTY (918-1392) 高麗王朝内嵌童戲葡萄紋青瓷執壺Korea, 13th century. The smooth, curved double gourd form supported on a short foot has a long, slender spout, a narrow mouth atop its smaller bulb, and a finely molded twisted-cord handle with a small ring for suspension. The body of the two bulbs is decorated using black and white slip inlay with a continuous frame of winegrowers alongside children tending to the large vines with grape bunches. The foot is decorated with stylized lotus petals, the mouth with lappets beneath a key-fret band, and the spout and handle with geometric dotted lines.Provenance: From a private collection in France. Condition: Condition commensurate with age, showing expected old wear and firring irregularities, such as glaze recesses, pitting, and minuscule chips to the glaze at the mouth and foot. Minute losses and several cracks, some with old repairs. The minuscule lid on top of the ewer is lost. Please request a UV light video for more details.Weight: 2,034 g Dimensions: Height 35 cm The National Museum of Korea suggests that this kind of ewer was produced at a celadon kiln in Yucheon-ri, boan-myeon, or buan-gun in the north Jeolla-do province. They are decorated using the art of sanggam, which involves etching desired patterns onto dry clay and filling the carved spaces with black and/or white slip. After that, a translucent glaze is applied, and the vessel is fired.Wine made from grapes reached eastern Asia for the first time during the Hellenistic period (321-32 BC). It became highly popular in China 600 years later during the Tang dynasty (618-907 AD) and historians believe it attracted mainstream interest in Korea only after Jesuit missionaries imported it at the beginning of the 17th century. However, it is known that it was available to elite circles much earlier, which explains the rarity of the design on the present ewer to some extent.Literature comparison:Compare a near identical wine ewer with the same decorations and motif, 36 cm high, dated to the Goryeo dynasty, in the National Museum of Korea, accession number Deoksu 19. Compare a closely related celadon ewer with a landscape design, 36 cm high, dated to the Goryeo dynasty, in the National Museum of Korea, accession number Deoksu 91. Compare a related celadon gourd-shaped ewer, 29.8 cm high, dated to the Goryeo dynasty, in the National Museum of Korea, accession number Deoksu 6236.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2002, lot 192 Price: USD 14,100 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: A inlaid celadon stoneware ewer, Goryeo dynasty Expert remark: Note the related style of slip inlay and the similar form. Note the size (34 cm). 高麗王朝内嵌童戲葡萄紋青瓷執壺韓國, 十三世紀。壺身呈葫蘆形，短平足，壺流細長，壺口較小，執柄成絞繩狀，帶有一個用於懸掛的小環。壺身上下兩部分分別内嵌裝飾葡萄豐收與葡萄藤下兒童戲耍的場景。壺口倒蓮紋對應足部蓮瓣紋。壺流與執柄上點綴連珠紋。 來源：法國私人收藏。 品相：狀況極好，有磨損和一些燒製不規則、釉面凹陷、麻點，以及口部和足部釉面的微小磕損。小缺損、裂痕和小修補。水壺頂部的小蓋子遺失。請索取紫外線視頻以了解更多詳細信息。 重量：2,034 克 尺寸：高 35 厘米 韓國國家博物館認爲這種壺是在全羅北道保安面柳川里或扶安郡的一個青瓷窯生產的。它們採用嵌入式釉漿技術進行裝飾，粘土坯體的表面須經雕刻，凹陷處用對比明顯的顏料充填並在施加薄層高透明青釉前打磨平滑。在希臘化時期（公元前 321-32 年），用葡萄釀造的酒首次到達東亞。 600 年後在唐朝（公元 618-907 年）非常流行，歷史學家認為，直到十七世紀初耶穌會傳教士將其引入韓國後，它才引起了韓國主流的興趣。 但眾所周知，它的出現在貴族階層應該更早，這在一定程度上解釋了目前該壺設計的稀有性。文獻比較： 比較一件幾乎相同的高麗王朝酒壺，高36 釐米，收藏於韓國國立中央博物館，館藏編號Deoksu 19。比較一件非常相近的高麗王朝青釉山水壺，高36 釐米，收藏於韓國國立中央博物館，館藏編號Deoksu 91。比較一件相近的青釉葫蘆壺，高29.8 釐米，收藏於韓國國立中央博物館，館藏編號Deoksu 6236。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2002年3月22日，lot 192 價格：USD 14,100（相當於今日EUR 22,500） 描述：高麗王朝青釉鑲嵌炻壺 專家評論：請注意相近的風格和相似的外形。請注意尺寸 (34 釐米)。
AN EXTRAORDINARILY RARE AND SPECTACULAR TERRACOTTA RELIEF OF A THINKING PRINCE SIDDHARTA UNDER THE BODHI TREE, ANCIENT REGION OF GANDHARA 犍陀羅罕見紅陶浮雕悉達多菩提樹下證道圖Scientific Analysis Report: A thermoluminescence sample analysis has been conducted by Arcadia, Tecnologie Per I Beni Culturali, Milan, dated 4 February 2019, reference no. 116L, 117L. The result is consistent with the suggested period of manufacture. A copy of the thermoluminescence analysis report accompanies this lot.Expert's note: The frescoes painted to the two columns on the present sculpture display a decidedly Chinese influence. Numerous such mural paintings have been found in Imperial tombs in China dating to the Northern Qi period (550-577), but the paintings on the present sculpture are among the oldest Buddhist frescoes in the history of mankind. They are also closely related to the paintings on the ceilings and walls of the Ajanta Caves, which were painted between 200 BC and 600 AD, and are the oldest known frescoes in India. They depict the Jataka tales, stories of Buddha's life in former existences as a Bodhisattva. The narrative episodes are shown one after another although not in a linear order. Their identification has been a core area of research on the subject since the time of the site's rediscovery in 1819.Kushan period, 4th-6th century. Superbly modeled, Prince Siddharta is standing in contrapposto, his feet resting on two small lotus pedestals, a prostrate caparisoned elephant at his feet. One hand resting on his waist and the other raised with one finger placed on his forehead in a deeply pensive expression. He is wearing loose-fitting robes cascading in voluminous folds and richly adorned with fine jewelry and billowing scarves. His serene face with heavy-lidded almond-shaped eyes and slender lips forming a calm smile. The hair arranged in wavy locks secured by an elaborate floral headdress. All below a canopy representing the legendary bodhi tree.Provenance: A private collection in Venice, Italy, acquired in the Italian antiques trade between 1985 and 1992. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Superb condition, commensurate with age and presenting magnificently overall. Some wear and weathering, firing flaws as expected, some nicks and cracks, losses to exposed areas, remnants of old varnish. The ancient pigments are remarkably well-preserved. Overall, fully consistent with the high age of this sculpture and with no visible signs of repairs or touchups worth mentioning. Drilled holes from sample-taking. Dimensions: Size 59 x 81 cm (excl. stand), Height 63 cm (incl. stand)Mounted on an associated stand. (2)Prince Siddharta is flanked by two flying apsaras as well as Maitreya to his right and Padmapani to his left, the bodhisattvas each standing on lotus pedestals and similarly dressed, Padmapani holding a lotus flower in his hand, both backed by halos and standing below similar leafy canopies, all framed by two massive columns, each with a superbly painted fresco, depicting a bodhisattva with a halo.This sculpture is a perfect example of the rich cultural interplay and hybrid art styles of the Gandharan empire in the first centuries CE. It represents the bodhisattva who will be born as the historic founder of Buddhism, Prince Siddhartha, sitting in a celestial abode called the Tushita heaven, where he teaches the gods and meditates on his future birth. Like other Gandharan bodhisattvas, he looks like an earthly prince, richly dressed and bejeweled.The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influences. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the 1st century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired earthenware instead of stone such as schist, marble or sandstone became popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such a large and expensive sculpture would have been a highly meritorious Buddhist offering. Only a few terracotta statues from this period and of this spectacular size have ever been recorded.Literature comparison: Compare a related terracotta sculpture of a pensive Prince Siddharta, dated 4th-6th century, in the collection of the Dallas Museum of Art, object number 2010.17. Note the similar pose with one finger placed on his forehead and one foot resting on a separate lotus pedestal.犍陀羅罕見紅陶浮雕悉達多菩提樹下證道圖貴霜王朝，四至六世紀。高浮雕菩提樹下悉達多太子，一手扶頭，正在沉思，雙腿成休閑姿，兩腳分別踩在小蓮花座上，身下伏著一頭大象。他穿著寬鬆的外袍，衣紋線條流暢，佩戴精美珠寶。面容沉靜，雙眼微閉，微笑，彎曲的頭髮由精緻的花卉頭飾固定。科學檢測報告：米蘭Arcadia，Tecnologie Per I Beni Culturali 研究所2019年2月4日出具的熱釋光檢測報告，編號116L，117L。結果表明年代與上述建議相符。隨附檢測報告複印件。 專家注釋：這件有明顯的中國風格影響。在北齊時期（550-577）的中國皇陵中發現了許多這樣的壁畫，但現在浮雕上的故事是最古老的佛教故事之一。它們還與阿旃陀石窟的穹頂與牆壁上的繪畫密切相關，這些繪畫創作於公元前 200 年至公元 600 年之間，是印度已知最古老的壁畫之一，描繪了本生故事，佛陀的前世生活故事。自 1819 年該遺址被發現以來，他們一直是該主題研究的核心領域。 來源：義大利威尼斯私人收藏，1985至1992年間購於義大利古玩市場。貝加莫 Leonardo Vigorelli購於上述收藏。Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度教佛教藝術。在學習人類學和數十年的旅行以及在印度、喜馬拉雅地區、東南亞和非洲的廣泛實地研究之後，他在義大利米蘭創立了 Dalton Somare 藝術畫廊，如今由他的兩個兒子經營。品相：狀況極佳，與年齡相稱。一些磨損和風化、燒製缺陷，一些刻痕和裂縫，有清漆的殘留。彩繪保存極好。總體而言，與這座雕塑的年代相符，沒有明顯的維修或修飾，有取樣鑽孔。 尺寸：59 x 81 厘米 (不含底座)，高63 厘米 (含底座)有底座。 悉達多太子的兩側各有一位飛天，右邊是彌勒佛，左邊是蓮花生大士，菩薩站在蓮花座上，衣著相似，蓮花生大士手持蓮花，後有光背，兩側兩根巨大的柱子支撐著頂部，柱壁上有一幅描繪菩薩的彩繪。這個雕塑是公元一世紀犍陀羅王國多元文化相互作用和混合藝術風格的完美結合的典範。 犍陀羅王國從公元前 530 年到公元 1021 年，當時它的最後一位國王被自己的軍隊殺害。它橫跨今天的阿富汗和巴基斯坦的部分地區。犍陀羅以其獨特的佛教藝術風格而聞名，它的風格融合了希臘、敘利亞、波斯和印度的藝術元素。犍陀羅風格在一世紀至五世紀的貴霜時期蓬勃發展並達到頂峰。在公元一世紀，犍陀羅是最早的佛教造像的發源地。 在公元四至六世紀末的犍陀羅時期，使用硬燒陶器代替片岩、大理石或砂岩等石頭開始流行。燒製粘土在該地區很昂貴，因為燒製過程所需的木材稀缺。 所以，這麼大型的佛像，本來就是一件極有功德的供品。只有少數這個時期的這麽大尺寸的陶像有記錄可循。文獻比較： 比較一件相近的公元四至六世紀紅陶浮雕悉達多王子坐像，收藏於達拉斯藝術博物館，館藏編號 2010.17。請注意相近的姿勢，例如一指撐頭和一腳踏在另一朵蓮座上。
A RARE AND LARGE ANDESITE TORSO OF BUDDHA AMITABHA, CENTRAL JAVANESE PERIOD, SHAILENDRA DYNASTYExhibited: The Asian Sculptor's Eye, The Rotunda, Hong Kong, 21 August 1995Java, circa 9th century. Powerfully carved seated in dhyanasana, his hands lowered in dhyanamudra, dressed in a sheer sanghati elegantly draped over the left shoulder and gathered in folds under the ankles. Provenance: Ha Tuc Can, The Sculpture Gallery, Hong Kong, before 1990. The Roger Moss Collection, acquired from the above, for the equivalent of EUR 17,000, and thence by descent to Hugh Moss. Ha Tuc Can came from a privileged Vietnamese noble family. However, the ravages of war left his family bankrupt and stripped them of their wealth. In the early 1960s, he embarked on a career as a war correspondent and cameraman for CBS. During this time, he forged a close friendship with Morley Safer. In his later years, Ha Tuc Can gained recognition as a filmmaker and antiquarian. He authored several books on Vietnamese arts and participated in joint exhibitions with Jean-Michel Beurdeley in Paris. In the late 1970s, he started a business called The Sculpture Garden in Hong Kong. C. Roger Moss, OBE (1936-2020) grew up in Yorkshire and was a lifelong collector of art, best known for his collection of Chinese sculpture dating to the Tang dynasty and earlier. He was a Finance Director at British Airways when the Concorde was launched, then became the CFO of MTR in Hong Kong. During this time he also served as the president of the Oriental Ceramic Society.Condition: Fully commensurate with age, extensive weathering and erosion, encrustations, and losses.Weight: 86 kgDimensions: Height 61 cm The drapery of the robe as well as the manner of carving of the hands and feet is consistent with central Javanese period images of Buddha from temple sites. The purpose of these images of Buddhas is to represent the stages of the path to enlightenment in Buddhist cosmology. As visitors to temples ascend through the different levels, they are guided through the process on a symbolic journey from the realm of desire to the realm of form and finally to the realm of formlessness, ultimately reaching enlightenment at the summit.The present statue is almost certainly from Borobudur or a related temple site, such as Sewu or Plaosan in Central Java. Built by the Shailendra dynasty around 825 CE, Borobudur is one of the greatest Buddhist monuments of all time, having one of the largest and most complete ensembles of Buddhist narrative relief panels in the world. Structured as a mandala of stacked platforms representing the three planes of existence in Mahayana cosmology (the world of desire, the world of forms, and the world of formlessness), Borobodur invites pilgrims circumambulating its didactic panels and sculpture to shuck the trappings of their perceived reality and realize their true inherent formlessness.Literature comparison:Compare a closely related statue of Buddha Amitabha, dated first half of the 9th century, in the Metropolitan Museum of Art, accession number 1995.256. Note the identical posture, especially with regards to the arms, folds of the robes, concave nature of the soles of the feet, and the treatment of the folded hands.
A LARGE CIZHOU BLACK-GLAZED RIBBED JAR, SONG DYNASTY 宋代磁州窯黑釉瀝線紋雙係罐China, 12th century. The ovoid form rising from a short spreading foot to a short straight neck with an everted rim flanked by two scrolling handles. The body decorated with narrowly spaced vertical ribs formed by trails of white slip. Covered by a lustrous black glaze that continues beyond the rounded mouth rim towards the inside and thins to pale russet on the ribs and the slip ribs that decorate the tapering strap handles. The interior is covered with a thin transparent glaze of mottled brown tone, as are the lower body and base. The foot remains unglazed, revealing the buff ware.Provenance: Hang Tang Cheng, Dragon House, San Francisco, USA, 1990s. A private collection in North America, acquired from the above and thence by descent. With an old collector's label, manually inscribed 'N. Song Jin 12 c, Large wide mouth, jar with vertical ribs, 37, two Kaf handle, Northern blackware, Cizhou type, light grey structure, 01-157SL501-5.' Hang Tang (Hank) Cheng is a well-respected dealer and appraiser of Asian art who ran the famous Dragon House antiques shop in San Francisco, established in 1979. Hank Cheng worked closely with museums, institutions, and auction houses including the Asian Art Museum, Bonhams, and Christie's.Condition: Very good condition with old wear, expected traces of use, and some firing flaws. Few small chips to foot, minor fritting to rim.Weight: 2,534.5 gDimensions: Height 22 cm With a padded silk box and cover. (2)Notable for its large, wide-mouthed globular body and its lustrous dark glaze, the present jar is a remarkable example of Cizhou-type wares produced at numerous kilns in Henan, Hebei and Shandong Provinces in North China during the twelfth century. The attractive ribs were meticulously applied in slip onto the surface of the vessel before the application of the glaze, creating a striking contrast between the raised ridge and the convex areas with the darker glaze.Dark-glazed, high-fired ceramic vessels were highly regarded as solid, practical wares. Their production began during the Tang dynasty (618-907) and rapidly spread throughout China. The development of black wares during the Northern Song period (960-1127) appears to have been inspired by contemporaneous plain lacquerware, and different kilns developed their own styles. Ribs made of white slip were first used on ceramics during the Tang dynasty in imitation of lacquer and silver. Later they were added to the exterior body of the vessel during the tenth and eleventh century and ribbing finally emerged as an important tool of decoration in its own right by the twelfth century, also enabling better and safer handling of the vessel itself.Literature comparison: Compare a closely related slip ribs and black glaze cizhou jar with handles, dated to the late Northern Song (960-1127)-Jin (1115-1234) dynasty, 12th century, 19.7 cm high, in the Metropolitan Museum of Art, accession number 1997.1.7. Also compare a related large cizhou-type black-glazed ribbed jar, dated to the Northern Song/Jin dynasty, 12th century, 20.6 cm high, at Christie's New York, 30 March 2005, lot 295. Compare a similar black-glazed ribbed jar, Northern Song to Jin period, in the Arthur M.Sackler Museum, Cambridge MA, is illustrated in Hare's Fur, Tortoiseshell and Partridge Feathers, Cambridge MA, 1995, p. 176, no. 61.Auction result comparison: Type: Closely relatedAuction: Bonhams London, 18 May 2023, lot 48Estimate: GBP 15,000 or approx. EUR 17,500 converted at the time of writingDescription: A black-glazed 'ribbed' jarExpert remark: Note the smaller size (20.3 cm). 宋代磁州窯黑釉瀝線紋雙係罐中國，十二世紀。唇口，直頸、鼓腹、圈足，雙係耳，施黑釉，腹部均等距離的垂直凸起的瀝線，線條纖細，凸線紋部分呈金黃色。底足部露胎。 來源：美國舊金山Hang Tang Cheng，Dragon House，上世紀九十年代；北美私人收藏購於上述藝廊。舊收藏標籤上手寫 'N. Song Jin 12 c，Large wid mouth，jar with vertical ribs，37，two Kaf handle，Northern blackware，Cizhou type，light grey structure，01-157SL501-5. Hang Tang (Hank) Cheng 是一位備受尊敬的亞洲藝術品經銷商和鑑定師，他經營著舊金山著名的 Dragon House 古董店，該店成立於 1979 年。Hank Cheng 與亞洲藝術博物館、邦瀚斯和佳士得等博物館、機構和拍賣行密切合作。 品相：狀況極好，有磨損、使用痕跡和一些燒製缺陷。腳部幾乎沒有小缺口，邊緣有輕微磨損。 重量：2,534.5 克 尺寸：高 22 厘米 蓋盒内襯絲綢 (2) 此罐造型碩大，廣口球形，釉色瑩潤，是十二世紀華北河南、河北、山東等地眾多窯爐燒製的磁州窯的典型代表。在施釉之前，瀝線被小心翼翼地塗在器皿表面上，在凸起的脊線和凸出的區域與深色釉料之間形成鮮明的對比。深色釉、高溫燒製的陶瓷器皿是堅固實用的器皿。它們的生產始於唐代（618-907）並迅速傳播到中國各地。北宋時期（960-1127）黑瓷的發展似乎受到了同時代素色漆器的啟發，不同的窯爐也發展出了自己的風格。 白泥製成的瀝線最早用於唐代陶瓷上，仿漆、仿銀。後來，在十世紀和十一世紀，它們被添加到容器的外部主體上，到十二世紀，瀝線最終成為一種重要的裝飾工具。文獻比較： 比較一件非常相近的北宋末期至金代十二世紀磁州黑釉棱線紋雙繫罐，高19.7 釐米，收藏於大都會藝術博物館，館藏編號1997.1.7。比較一件相近的北宋至金代十二世紀磁州黑釉瀝線紋雙係罐，高20.6 釐米，見紐約佳士得，2005年3月30日，lot 295。比較一件的北宋至金代磁州黑釉瀝線紋雙係罐，收藏於哈佛Arthur M.Sackler博物館，見Hare's Fur，《Tortoiseshell and Partridge Feathers》，劍橋，1995年，頁176，編號61。 拍賣結果比較： 形制：非常相近拍賣：倫敦邦瀚斯，2023年5月18日，lot 48 估價：GBP 15,000（相當於今日EUR 17,500） 描述：北宋/金黑釉棱線紋雙繫罐 專家評論：請注意尺寸較小 (20.3 釐米)。
A PARCEL-GILT COPPER 'MONK'S CAP' EWER AND A BRASS EWER, 19th CENTURYTibet, 19th century. The first of tapering form surmounted by a short neck and a galleried 'monk's cap' rim, applied with a strap handle terminating in large, imposing ruyi-heads, supported on a tall spreading foot with lipped rim. The second of brass rising from a separate silvered foot, cast with a loop handle and a straight spout.Condition: Overall good condition with wear and traces of use, casting irregularities, dents, and nicks here and there. Provenance: Austrian private collection.Weight: 1378 gDimensions: Height 34 cmThe form of a monk's cap that may have provided the model for these ewers is uncertain, but Tibetan priests such as Deshin Shekpa, or Shakya Yeshe (1354-1435), the representative of Tsongkhapa, who was sent on his behalf to the Yongle court, are usually depicted wearing a stiff black headdress with a staggered outline, which could be compared to the rims of these ewers. The Yongle Emperor ordered significant quantities of porcelain sacrificial vessels of this shape to be made at the imperial kilns for the ceremonies conducted by the Tibetan hierarchs, particularly those undertaken in honor of the emperor's deceased parents in 1407.
A BLACK SCHIST STELE OF BUDDHA SHAKYAMUNI, PALA PERIODNortheastern India, Bihar, 10th century. Well carved seated in dhyanasana on a double lotus base, supported on a stepped pedestal adorned with numerous smaller figures, the palm of the hand and soles of the feet with neatly incised circles. Buddha's face with a benign expression and almond shaped eyes, the hair in tight curls surmounted by an ushnisha, wearing a sanghati draped over one shoulder, flanked by two pillars surmounted by stupas centering a nimbus with a stylized foliate border.Provenance: The personal collection of Arturo Schwarz, Milan, late 1990s. Leonardo Vigorelli, Bergamo, acquired from the above. Arturo Schwarz (1924-2021) was an Italian scholar, art historian, poet, writer, lecturer, art consultant and curator of international exhibitions. He lived in Milan, where he amassed a large collection of Dada and Surrealist art, including many works by personal friends such as Marcel Duchamp, Andre Breton, Man Ray, and Jean Arp. In 1975, Schwarz started working as curator and author, writing extensive publications on the work of Marcel Duchamp, as well as books and numerous essays on the Kabbalah, Tantrism, alchemy, prehistoric and tribal art, and Asian art and philosophy. His 1977 book on Man Ray's works and life was the first to reveal Ray's real name. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, some losses, nicks and surface scratches, structural cracks. The finely polished surface with a solid, naturally grown patina and an unctuous feel overall. Dimensions: Height 61.2 cm (excl. base) and 64.2 cm (incl. base)Mounted to a modern metal base. (2)Literature comparison:Compare a related stone figure of Buddha, 10th century, Bihar, in the collection of the British Museum, museum number 1942,0415.1.Auction result comparison: Type: Closely related Auction: Christie's New York, 13 September 2011, lot 268Price: USD 86,500 or approx. EUR 111,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of seated Buddha, Northeastern India, Pala period, circa 10th century Expert remark: Note the related size (63.5 cm)Auction result comparison:Type: RelatedAuction: Bonhams New York, 20 March 2018, lot 3224Price: USD 250,000 or approx. EUR 290,000 converted and adjusted for inflation at the time of writingDescription: A blackstone stele of crowned Buddha, Bihar, Pala period, 10th centuryExpert remark: Note the size (45 cm)Auction result comparison:Type: RelatedAuction: Christie's Paris, 22 June 2016, lot 11Price: EUR 71,100 or approx. EUR 83,000 adjusted for inflation at the time of writingDescription: A rare sedimentary stone stele of Shakyamuni Buddha, Northeast India, Pala Period, 10th centuryExpert remark: Note the size (31 cm)
A LARGE BRONZE RITUAL WINE VESSEL, HU, HAN DYNASTY 漢代弦紋銅壺China, 206 BC-220 AD. Finely cast. The broad pear-shaped body raised on a pedestal foot with gently spreading sides below an indented waist, the sides encircled by three slightly raised bands and with a prominent pair of taotie masks suspending massive loose rings on the shoulder, the waisted neck rising to a slightly raised band below the rim. The interior with a distinct casting mark.Provenance: Michael Goedhuis, May 1993. A private collection in in France, acquired from the above. A copy of the original invoice, dated 10 May 1993, confirming the dating above, and stating a “special price” for the present lot of GBP 8,900 or approx. EUR 28,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Michael Goedhuis trained as an economist, graduating with an MBA from the Courtauld Institute in Art History. He started a successful career in investment banking in New York and London, only to leave it in 1975 to pursue his passion for art. He joined Jacob Rothschild's Colnaghi Oriental Gallery specializing in Persian, Mughal, and Islamic art. It was here that he published a catalog focused entirely on the subject of post-archaic East Asian bronzes, a first in the field, authored by Ulrich Hausmann in 1989. Major collections were curated and sold by Mr. Goedhuis to numerous institutions including The Rothschild Collection to the Shahbanu of Iran, and the Vever Collection to the Smithsonian Institution. He subsequently expanded his activities to India, Japan, and China, concentrating on important antiquities. Today, Mr. Goedhuis continues to exhibit around the world, including in New York and Maastricht.Condition: Very good condition, commensurate with age. Expected old wear, minor casting flaws, scratches, dents, soil encrustations, signs of weathering and corrosion. The bronze with a superb, naturally grown, rich patina with extensive malachite and cuprite encrustation.Weight: 8,945 gDimensions: Height 44 cm Literature comparison:Compare a closely related hu, of similar shape and also with bands encircling the body, excavated in 1968 from the tomb of Prince Liu Sheng who was the king of Zhongshan from 154 BC and died in 113 BC in Mancheng, Hebei province, illustrated in Zhongguo Wenwu Jinghua Daguan, Qingtongjuan, Hong Kong, 1994, no. 1100, p. 306. Compare a related hu vessel, dated to the Han dynasty, illustrated by Jessica Rawson in The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes, 1998, pl. 38.Auction comparison: Type: Closely relatedAuction: Christie's New York, 18 March 2009, lot 217Price: USD 13,750 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: A large bronze ritual wine vessel, hu, Western Han dynastyExpert remark: Compare closely related form, manner of casting, and decoration with similar bands and mask handles. Note the size (47 cm). 漢代弦紋銅壺中國，公元前206年至公元 220年。壺口外撇，頸微束，下方鏨刻變體蕉葉紋，溜肩，肩部兩側分鑄一對獸面紋銜環舖首，腹部下收，肩腹飾三匝凹弦紋，圈足高企而外撇，皮色暗沉古穆。 來源：Michael Goedhuis，1993 年 5 月；法國私人收藏，購自上述機構。隨附原始發票副本，日期為 1993 年 5 月 10 日，確認上述日期，並註明當前拍品的“特別價格”為 8,900 英鎊或約 28,000 歐元（根據撰寫本文時的通貨膨脹情況進行換算和調整）。Michael Goedhuis 接受過經濟學培訓，畢業於考陶爾德藝術史學院，獲得 MBA 學位。他在紐約和倫敦的投資銀行開始職業生涯，但於 1975 年離開該行業去追求他對藝術的熱情。他加入了Jacob Rothschild 的Colnaghi Oriental Gallery藝廊，專門研究波斯、莫臥兒和伊斯蘭藝術。正是在這裡，他出版了一本完全關注後古代東亞青銅器主題的畫冊，這是該領域的第一本畫冊，由Ulrich Hausmann 於1989 年撰寫。Goedhuis 先生策劃並出售了主要藏品給包括Rothschild家族在內的眾多機構，以及伊朗 Shahbanu 收藏，史密森學會 Vever 收藏。 隨後，他將活動範圍擴大到印度、日本和中國，重點關注重要文物。如今，Goedhuis 先生繼續在世界各地舉辦展覽，包括紐約和馬斯特里赫特。 品相：狀況極好，有磨損、輕微鑄造缺陷、劃痕、凹痕、污垢、風化和腐蝕跡象。精美的、自然包漿，帶有大量紅綠色結殼。 重量：8,945 克 尺寸：高 44 厘米 文獻比較: 比較一件非常相近的外型和帶狀裝飾壺，1968年出土於河北滿城縣漢代中山王劉勝（西元前154至113年），見《中國文物精華大觀・青銅卷》，香港，1994年，編號1100，頁306。比較一件相近的漢代壺，見Jessica Rawson，《The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes》，1998年，頁38。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2009年3月18日，lot 217 價錢：USD 13,750（相當今日EUR 18,000） 描述：西漢青銅弦紋壺 專家註釋：比較非常相近的外形、鑄造風格，以及帶邊裝飾和輔面環。請注意尺寸 (47 厘米)。
A RARE BRONZE RITUAL WINE VESSEL, ZHI, SHANG DYNASTY, CHINA, 13TH-12TH CENTURY BC 西元前十三至十二世紀商代青銅觶 Of oval section, the S-profile body is cast in relief to each side with a powerful taotie mask, flanked by pairs of ascending kui dragons, and divided vertically by four notched flanges, all below a narrow band of confronting birds. The background with a remarkably crisp and well-preserved leiwen ground. The tall pedestal foot is cast with two pairs of mythical birds.Inscriptions: A clan sign is finely cast to the interior of the base. This sign resembles those on several vessels from Fu Hao's tomb (see Beijing 1980f., pl. 48), and also several vessels from Anyang, all dating from the 13th century. In more complete forms of this same sign, the yaxing frames a graph recognizable as the name of a diviner from Wu Ding's reign.Provenance: The present lot was part of an important collection of archaic Chinese bronzes, built by three generations of the Chasseloupe-Laubat family in France. Prosper de Chasseloup-Laubat (1805-1873), was a prominent aristocrat, politician, and art collector who became Minister of the French Navy and the Colonies under Napoleon III, traveling extensively through all of Asia. His son Louis (1863-1954), an engineer in ship design, significantly expanded the family collection, also during his frequent travels throughout Asia. François (1904-1968), Prosper's grandson, eventually inherited the family passion and became a renowned explorer and participant in the Hoggar Expedition. He was the first French explorer to reach English Malaysia, bringing back previously unpublished documents on the isolated Sakai tribes. As a collector, François Chasseloupe-Laubat was advised by Jean Claude Moreau-Gobard, an important French collector and dealer specializing in Asian art. Condition: Very good condition, commensurate with age, with ancient wear and expected casting flaws. Some traces of weathering, corrosion, minor dents and losses, shallow surface scratches. The solid, naturally grown patina has distinct malachite and cuprite encrustations.Weight: 983.7 g Dimensions: Height 14.5 cm Expert's note: On this elliptical zhi wine cup, the designing artisans went to great lengths to vary the motifs of the low-relief decoration found in the six horizontal registers on each side, which vary significantly, and yet as a group achieve superb stylistic harmony. The three pairs of mythical beasts differ in the treatment of their wings, horns, eyes and other features, and the varying distance between them, whereas the central taotie mask with its prominently raised eyes beautifully echoes the outline of the vessel, which has its widest part in the lower third.Literature comparison:Compare a related bronze zhi with similarly stylized birds, 12.1 cm high, dated 10th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1919.6. Compare a closely related bronze zhi with similar decorations, 14.6 cm high, dated to the late 11th century BC, in the Metropolitan Museum of Art, accession number 24.72.6.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2019, lot 1503 Price: USD 300,000 or approx. EUR 332,000 converted and adjusted for inflation at the time of writing Description: The Peng Zhou Zhi, a rare small bronze ritual wine vessel, late Shang dynasty Expert remark: Compare the related form, albeit lacking flanges, as well as the closely related manner of casting, decorations with similar taotie and stylized bird designs, and patina with similar malachite encrustation. Note the related size (13.8 cm).Auction result comparison: Type: Related Auction: Christie's New York, 23 March 2012, lot 1504 Price: USD 290,500 or approx. EUR 357,000 converted and adjusted for inflation at the time of writing Description: A rare and finely cast bronze ritual wine vessel, zhi, late Shang dynasty, 12th-11th century BC Expert remark: Compare the related form with similar flanges, albeit with a slightly broader body, and patina with similar malachite encrustation. Note the size (11.2 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 13 September 2016, lot 10 Price: USD 68,750 or approx. EUR 81,000 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual wine vessel (zhi), Shang dynasty Expert remark: Compare the related form, decoration, and patina with similar malachite encrustation. 西元前十三至十二世紀商代青銅觶侈口，束頸，鼓腹，帶圈足。 雷紋地，浮雕饕餮面具，夔龍紋，四出戟，鳳鳥紋。 高足上鑄有兩對神鳥。底足内有菱形線條紋。 款識: 底座內部鑄有氏族標誌，與婦好墓中的幾件器皿上的標誌相似（參見北京1980f.，第48頁），也與安陽的幾件器皿上的標誌相似。這些器皿的歷史都可以追溯到公元前十三世紀。 來源：法國Chasseloup-Laubat家族的三代人共同努力建立的中國古代青銅器重要收藏的一部分。Prosper de Chasseloup-Laubat（1805-1873 年）是一位著名的貴族、政治家和藝術收藏家，後來成為拿破崙三世領導下的法國海軍和殖民地部長，足跡遍及整個亞洲。他的兒子Louis（1863-1954 年）是一名船舶設計工程師。在他頻繁遊歷亞洲期間，他的家族收藏顯著擴大。Prosper的孫子François（1904-1968）最終也成為著名的探險家和霍格探險隊的參與者。他是第一位到達英屬馬來西亞的法國探險家，帶回了之前未發表的關於與世隔絕的酒井部落的文獻。作為一名收藏家，François Chasseloupe-Laubat 得到了Jean Claude Moreau-Gobard 的指導，後者是法國一位重要的亞洲藝術收藏家和經銷商。 品相：狀況非常好，有磨損和鑄造缺陷，一些風化、腐蝕、輕微凹痕和缺損、表面淺劃痕。自然包漿與紅綠色結殼。 重量：983.7 克 尺寸：高 14.5 厘米 文獻比較: 比較一件相近的西元前十世紀鳥紋青銅觶，高12.1 厘米，收藏於史密森學會國立藝術博物館，館藏編號 F1919.6。比較一件非常相近裝飾的西元前十一世紀末青銅觶，高14.6 厘米，收藏於大都會藝術博物館，館藏編號 24.72.6。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2019年3月22日，lot 1503 價錢：USD 300,000（相當今日EUR 332,000） 描述：商晚期公元前十二至十一世紀倗舟觶 專家註釋：比較相近的外形，但沒有戟，以及非常相近的鑄造風格，饕餮紋和鳥紋，以及包漿類似孔雀石。請注意相近尺寸 (13.8 厘米)。 拍賣比較： 形制：相近 拍賣：紐約佳士得，2012年3月23日，lot 1504 價錢：USD 290,500（相當今日EUR 357,000） 描述：晚商青銅饕餮紋觶 專家註釋：比較相近的外形、四出戟 、體稍寬，包漿類似孔雀石。請注意尺寸 (11.2 厘米)。 拍賣比較： 形制：相近 拍賣：紐約蘇富比，2016年9月13日，lot 10 價錢：USD 68,750（相當今日EUR 81,000） 描述：商青銅饕餮紋觶 專家註釋：比較相近的外形、裝飾，以及包漿類似孔雀石。
A DEHUA FIGURE OF DAMO (BODHIDHARMA), CHINA, 17TH-18TH CENTURY 十七至十八世紀德化窯白釉達摩像Finely modeled standing barefoot, shrouded in a heavy robe cascading in voluminous folds, holding a fly-whisk elegantly draping over his right arm. His bearded face with a stern expression and his mouth slightly agape showing his teeth. The figure is covered in a finely crackled, ivory-tinged white glaze.Provenance: From a private collection in North London, United Kingdom, and thence by descent in the same family. Condition: Good condition with minor wear and firing irregularities, such as small glaze recesses, and minuscule dark spots. Small losses and light chips to edges.Weight: 272.2 g Dimensions: Height 17.4 cm Bodhidharma is regarded as the first Chinese patriarch of Chan Buddhism who lived between the 5th and 6th century. Despite the lack of robust biographical information, early Chinese texts such as the Luoyang Qielan Ji, 'Record of the Buddhist Temples of Luoyang', written around 547 by Yang Xuanzhi, recorded Bodhidharma as a monk who traveled from central Asia to China. Daoxuan described Bodhidharma in Xu Gaoseng Zhuan, the 'Continuation of The Biographies of Eminent Monks', in the mid-seventh century, as a monk from southern India who arrived at the Kingdom of Nanyue during the Song period and then turned north to the Kingdom of Wei. Legend says that the sage once crossed the Yangtze by riding reeds across the river to transmit the Mahayana teachings to the north. It is also being said that he was so dedicated to attaining enlightenment, that he cut off his own eyelids to prevent himself from falling asleep during meditation. He is thus always depicted with a stern expression of intense concentration.Auction result comparison: Type: Closely related Auction: Sotheby's London, 9 November 2011, lot 116 Estimate: GBP 8,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A 'blanc-de-chine' figure of Damo (Bodhidharma), 17th centuryExpert remark: Compare the closely related subject as well as the related modeling, similar pose, expression, and glaze. 十七至十八世紀德化窯白釉達摩像達摩身披袈裟，前額寬大，鬢髮捲曲，雙眉緊鎖，二目俯視，雙手合抱於袖中，握拂塵，衣袂飄蕩。通體施象牙白釉，釉質肥厚滋潤。 來源：英國倫敦北部私人收藏，在同一家族傳承。 品相：品相良好，有輕微磨損和燒製不規則，例如小釉面凹陷和微小黑點，小缺損，邊緣小磕損。 重量：272.2 克 尺寸：高 17.4 厘米拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2011年11月9日，lot 116 估價：GBP 8,000（相當於今日EUR 15,000） 描述：十七世紀德化達摩羅漢像 專家評論：比較非常相近的主題、相近的模型、姿勢表情和釉面。
A GILT AND TURQUOISE-INLAID COPPER ALLOY FIGURE OF GREEN TARA, DENSATIL STYLE, TIBET, 14TH CENTURY 十四世紀西藏銅鎏金嵌綠松石綠度母，丹薩替風格Elegantly cast, seated in lalitasana on a double-lotus base with beaded edges, her pendent right leg supported by a separate lotus blossom stemming from the base. Her right hand held in in varadamudra extending down her leg and her raised left holding a lotus stem which curls around her hand and arm coming to full bloom at the shoulder. Provenance: From an old German private collection.Condition: Remarkably well-preserved condition. Old wear, predominantly from centuries of worship within the culture, with some rubbing and minor losses to gilt. Minimal casting flaws, nicks and dents, occasional light scratches. Losses and possible replacements to inlays. Warping and dents to seal plate. The bronze with a fine, naturally grown, smooth patina overall.Weight: 908.1 g Dimensions: Height 16.2 cm She is clad in a dhoti neatly incised with rows of floral designs and a finely beaded hem, and richly adorned with a foliate crown, beaded necklace, belt, armlets and bracelets, and pendent earrings, all with fine turquoise inlays. Her serene face with sinuously-lidded downcast eyes below elegantly arched brows, her full lips forming a calm smile, her hair pulled up into a high chignon and falling elegantly in a twisted strand over her right shoulder and back. Heavily cast gilt copper alloy figures of this type are characteristic of the Densatil style, a Kagyu monastic complex in central Tibet, southeast of Lhasa, which has long been considered one of the great treasures of Tibet. Founded in the late 12th century, it enjoyed generous patronage and was lavishly decorated during a period of expansion from circa 1360 until the early 16th century. The monastery was known for eight extraordinary memorial stupas symbolizing Buddha's first teaching in Benares. These stupas were called tashi gomang, meaning 'many doors of auspiciousness,' and were multi-tiered copper-alloy structures filled with deities such as the present example, standing more than ten feet tall and resplendent with inlays of semiprecious stones. Prior to the destruction of Densatil during China's Cultural Revolution (1966-1978), eight of them dating between 1208 and 1432 stood in the monastery's main hall.Expert's note: Close stylistic parallels can be drawn between the present work and a number of gilt bronze sculptures produced by Newari craftsmen for the Densatil Monastery. Chief among the diagnostic traits that can identify a work from Densatil are the convexly stepped eyebrows and the precisely incised double-lined eyelids and lips. For example, compare a gilt bronze Padmapani figure, Densatil, 14th century, at Bonhams Paris, 14 June 2022, lot 44, from the Claude de Marteau collection.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 21 April 2021, lot 12 Price: HKD 4,002,500 or approx. EUR 483,000 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Tara, Tibet, Densatil style, circa 14th century Expert remark: Compare the related style, subject, manner of casting, and modeling with similar pose and hand gestures, and adornments with similar turquoise inlays and fine beading. Note the similar size (17 cm). 十四世紀西藏銅鎏金嵌綠松石綠度母，丹薩替風格綠度母頭戴花冠，面相方圓，慈眉善目，神態沉靜。耳垂花璫，胸戴瓔珞，袒露上身，下著錦褲，雙肩豎出蓮花法器，單腿伸出自然坐於單層覆蓮座上。底座密封雙金剛杵印。 來源：德國私人收藏。 品相：保存狀況極好，經過數世紀的膜拜，有磨損、鎏金缺損。鑄造缺陷、刻痕和凹痕、輕微劃痕、鑲嵌物損失和更換，密封板翹曲和凹痕，自然細膩的包漿。 重量：908.1 克 尺寸：高 16.2 厘米 此類型的重鑄鎏金銅合金造像是丹薩蒂爾風格的特徵，它是位於中國西藏自治區山南地區桑日縣的一座藏傳佛教帕竹噶舉派寺院，是帕竹噶舉派的第一座寺院。丹薩蒂爾寺的各類佛教造像數量很多，十分珍貴。它始建於十二世紀末，獲得了慷慨的讚助，並在大約1360年至十六世紀初的擴建。該寺院以八座非凡的佛塔而聞名，這些佛塔象徵著佛陀在貝拿勒斯的第一次教導。這些佛塔被稱為扎西五芒，意思是“許多吉祥之門”，是多層銅合金結構，裡面裝滿了如此拍品一般的造像，高十多英尺，鑲嵌著寶石，金碧輝煌。在中國文化大革命（1966-1978年）期間，丹薩蒂爾寺被毀之前，有8座1208年至1432年的作品矗立在寺院的大殿裡。 專家注釋：這件拍品與尼瓦里匠人為丹薩提爾寺製作的衆多銅鎏金造像在風格上有相似之處。 能夠識別丹薩蒂爾寺造像的主要特徵是凸出的眉毛以及雙眼瞼和嘴唇。 例如，比較一下 Claude de Marteau 收藏的十四世紀的丹薩提爾銅鎏金蓮花手菩薩造像，巴黎邦瀚斯拍賣行，2022 年 6 月 14 日，拍品 44。拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2021年4月21日，lot 12 價格：HKD 4,002,500（相當於今日EUR 483,000） 描述：西藏丹薩替風格約十四世紀銅鎏金度母像 專家評論：比較相近的主題 、鑄造風格、相近的姿勢、手勢，以及類似綠松石鑲嵌和精美串珠的裝飾品。請注意相似的尺寸 (17 釐米)
A LARGE BRONZE FIGURE OF MAITREYA, PALA REVIVALTibet, late 19th to first half of 20th century. Heavily cast, standing in samabhanga on a double lotus pedestal with a beaded rim, incised with scrolling designs along the base. He is holding in a lotus stem in his right hand which curls up his arm opening to a large blossom supporting a kundika at his shoulder. Wearing a short dhoti tied at the waist by a sash with beaded jewelry and a central floret clasp, his bare arms and chest are adorned with finely beaded jewelry with tassels and floret medallions.Provenance: From a private collection in Germany.Condition: Good condition with minor wear, casting flaws, small nicks, and minor dents.Weight: 5,910 g Dimensions: Height 56.2 cmHis serene face set with almond-shaped eyes and full lips. Finely incised, his curled secured by a foliat tiara and gathered in a tall, multi-tiered chignon surmounted by a lotus blossom.The presence of the kundika vase crowning the resplendent lotus flower by his left shoulder identifies this idealized young prince as the future Buddha Maitreya. Although equally vital to popular Buddhist practice, standing Maitreya images are relatively rare by comparison to more common bronzes of Avalokiteshvara Padmapani.Maitreya, also known as the Buddha of the Future, may be considered a Bodhisattva according to the sutras, or a Buddha according to the tantras. In Tibet, when represented as a Bodhisattva, he may be depicted standing or seated in European style with the feet resting on a small lotus throne. The princely appearance of this figure is one of the most popular manifestations of Maitreya.
A FINE THANGKA OF AKSHOBHYATibet, 18th-19th century. Distemper and gold on cloth, with a brocade frzaame and mounted as a hanging scroll. The blue-skinned deity seated in dhyanasana on a lotus throne with offerings before him, his right hand lowered in bhumisparsha mudra and his left holding a vajra, wearing monastic robes draped over his left shoulder, backed by a green and red aureole, a small figure of his consort Lochana seated beside him, all below Buddha Amitabha flanked by White Tara and Manjusri, the lower register painted with a small image of a devotee flanked by Vajrapani and Mahakala, all within a verdant mountainous landscape.Provenance: From the collection of Indrani and Yogaraj Yogasundram. Yogaraj Yogasundram (1927-2011) was a native Sri Lankan who served as ambassador of Sri Lanka in New York, and deputy permanent representative of Sri Lanka to the UN in the 1970s and 80s. His wife Indrani (nee Coomaraswamy) was an avid collector of Asian art, amassing a large collection during her time in China, Sri Lanka, and Iraq during her husband's assignments in the 1960s and in New York thereafter.Condition: Good condition with minor wear, light soiling, minor creasing, minimal staining, and light fading. The brocade frame in similar condition with minor wear, some loose threads, and small tears.Dimensions: Image size 54.9 x 74.3 cm, Size incl. frame 81 x 129.5 cmAkshobhya's name literally means 'Immovable One'. As each Transcendental Buddha adopts one of the canonical hand gestures (mudras) referring to a key moment in Shakyamuni's life, it is apt that Akshobhya should recall Shakyamuni's unshakeable determination against the armies and temptations of Mara. In mandalas relating to his 'vajra' clan, and the Unexcelled Yoga tantras (Anuttarayoga), he occupies the center, but in the earliest tantric mandalas where the Five Transcendental Buddhas first appear, he is the Lord of the eastern quadrant, and represents the transmutation of anger into wisdom.
A BRONZE TRIPOD RITUAL VESSEL AND COVER, HE, LATE WARRING STATES TO WESTERN HAN PERIOD 戰國晚期至西漢三足蓋爐China, 3rd-2nd century BC. Finely cast, the globular body raised on three tall cabriole legs and surmounted by a tall and gently flaring rim with a domed cover topped by a loop finial in the form of a bird's head. The spout is cast as a phoenix with wings spread out and beak agape, the high arch handle in the form of a winged feline beast, all with neatly incised details.Provenance: Michael Goedhuis, September 1997. A French private collection, acquired from the above. A copy of the original invoice, dated 22 September 1997, confirming the dating above, and stating a purchase price for the present lot of USD 25,000 or approx. EUR 43,500 (converted and adjusted for inflation at the time of writing) accompanies this lot. Michael Goedhuis trained as an economist, graduating with an MBA from the Courtauld Institute in Art History. He started a successful career in investment banking in New York and London, only to leave it in 1975 to pursue his passion for art. He joined Jacob Rothschild's Colnaghi Oriental Gallery specializing in Persian, Mughal, and Islamic art. It was here that he published a catalog focused entirely on the subject of post-archaic East Asian bronzes, a first in the field, authored by Ulrich Hausmann in 1989. Major collections were curated and sold by Mr. Goedhuis to numerous institutions including The Rothschild Collection to the Shahbanu of Iran, and the Vever Collection to the Smithsonian Institution. He subsequently expanded his activities to India, Japan, and China, concentrating on important antiquities. Today, Mr. Goedhuis continues to exhibit around the world, including in New York and Maastricht. Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, casting flaws, tiny losses, minor dents, light scratches. The bronze is covered in a rich, naturally grown patina with malachite encrustations.Weight: 3,579 g Dimensions: Height 26.4 cm, Diameter 25.5 cm Literature comparison:Compare a related earlier bronze he with a similar high arch handle in the form of a winged feline beast, dated to the Spring and Autumn period, at Sotheby's New York, 31 March-5 April 2005, lot 154A.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 7 July 2003, lot 626 Price: HKD 113,525 or approx. EUR 20,000 converted and adjusted for inflation at the time of writing Description: A bronze wine ewer and cover, he, Warring States period Expert remark: Compare the related form with similar cabriole legs and the phoenix spout. Note the smaller size (22.8 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 9 October 2022, lot 189 Price: HKD 189,000 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual pouring vessel, he, Eastern Zhou dynasty Expert remark: Compare the related form with similar cabriole legs and the phoenix spout. Note the smaller size (23.3 cm).Literature comparison:Compare a related ritual vessel, he, 35.5 cm in diameter, dated to the 5th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.31a-b. Compare a related bronze ewer, he, 21 cm in diameter, dated to the 4th century BC, in the Art Institute of Chicago, accession number 1930.366. Compare a related ritual vessel with lid, he, 24.1 cm in diameter, dated late 5th to 4th century BC, in the Asian Art Museum of San Francisco, accession number B60B103. 戰國晚期至西漢三足蓋爐中國，公元前三至二世紀。爐身成球體，三只獸腿足，圓頂蓋，鳥頭形鈕。壺嘴為展翅張嘴的鳳凰，高執柄為帶翼神獸造型，細節生動。 來源：英國倫敦Michael Goedhuis，1998 年；法國私人收藏，購自上述機構。隨附原始發票副本，日期為 1997 年 9 月 22 日，確認上述日期，並註明當前拍品的“特別價格”為 25,000美金或約 43,500 歐元（根據撰寫本文時的通貨膨脹情況進行換算和調整）。Michael Goedhuis 接受過經濟學培訓，畢業於考陶爾德藝術史學院，獲得 MBA 學位。他在紐約和倫敦的投資銀行開始職業生涯，但於 1975 年離開該行業去追求他對藝術的熱情。他加入了Jacob Rothschild 的Colnaghi Oriental Gallery藝廊，專門研究波斯、莫臥兒和伊斯蘭藝術。正是在這裡，他出版了一本完全關注後古代東亞青銅器主題的畫冊，這是該領域的第一本畫冊，由Ulrich Hausmann 於1989 年撰寫。Goedhuis 先生策劃並出售了主要藏品給包括Rothschild家族在內的眾多機構，以及伊朗 Shahbanu 收藏，史密森學會 Vever 收藏。 隨後，他將活動範圍擴大到印度、日本和中國，重點關注重要文物。如今，Goedhuis 先生繼續在世界各地舉辦展覽，包括紐約和馬斯特里赫特。 品相：狀況非常好，大面積磨損、風化和侵蝕跡象、結殼、鑄造缺陷、微小缺損、輕微凹痕、輕微劃痕。青銅器表面覆蓋著自然包漿，上面有綠色結殼。 重量：3,579 克 尺寸：高 26.4 厘米, 直徑25.5 厘米文獻比較： 比較一件相近的春秋時代青銅盉，見紐約蘇富比，2005年3月31日-4月5日，lot 154A。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2003年7月7日，lot 626 價格：HKD 113,525（相當於今日EUR 20,000） 描述：戰國時期青銅盉 專家評論：比較相近的外形，具有類似的足外撇和鳳凰口。請注意尺寸較小(22.8厘米)。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2022年10月9日，lot 189 價格：HKD 189,000（相當於今日EUR 22,500） 描述：東周青銅鳥首盉 專家評論：比較相近的外形，具有類似的足外撇和鳳凰口。請注意尺寸較小(23.3厘米)。 文獻比較： 比較一件相近的西元前五世紀青銅盉，直徑35.5厘米，收藏於史密森學會國立藝術博物館，館藏編號S1987.31a-b。比較一件相近的西元前四世紀青銅盉，直徑21厘米，收藏於芝加哥藝術機構，館藏編號1930.366。比較一件相近的西元前五世紀末四世紀青銅盉，直徑24.1厘米，收藏於舊金山亞洲藝術博物館，館藏編號B60B103。
AN ARCHAIC BRONZE RITUAL FOOD VESSEL, GUI, WESTERN ZHOU DYNASTY 西周青銅夔紋簋China, 11th-10th century BC. Well cast with the compressed body resting on a tall splayed foot, decorated below the gently everted rim with a band of stylized mythical birds, the two pairs on the main sides centered by an animal mask cast in high relief, the other two centered on the horned animal heads that surmount the handles, all above a bowstring band, the foot with a geometric band. The beast handles are neatly incised and set with pendent tabs.Provenance: The MacLean Collection of Asian Art Museum, acquired 1996 in Hong Kong and deaccessioned in 2022. The MacLean Collection has been formed over the last fifty years by Barry MacLean, a businessman from Chicago, who began to collect in the early 1970s. Over time, he made many trips to Asia for business, and began to narrow his focus to ancient bronzes from China and their archaistic counterparts from later dynasties. The MacLean Collection of Asian Art is housed in a museum which was designed by Larry Booth and completed in 2003. Since 2004, the museum has published seven books, held thirteen exhibitions, lent objects to many other museums, and awarded a dozen fellowships to train future specialists and enthusiasts.Published: Richard A. Pegg and Zhang Lidong, The MacLean Collection: Chinese Ritual Bronzes, Chicago, 2010, pl. 19.Condition: Very good condition, commensurate with age. The vessel is slightly leaning and has some old wear as well as minor casting flaws, minuscule nicks, and small dents. The lower body has two small fills, invisible to the naked eye, but precisely detected on the five X-ray images provided (available in the online catalog at www.zacke.at or via e-mail upon request). Spectacular, naturally grown patina overall with several layers of malachite encrustation and small areas of azurite and cuprite. The crisply cast decorations are extremely well-preserved, which makes this one of the most attractive examples of its kind. In such pristine condition, it must be considered exceedingly rare.Weight: 2,878 gDimensions: Width 28 cm (across handles)Gui were used during ritual ceremonies for storing cooked rice or millet. While this vessel shape first appeared in the Erligang phase, they were not widely produced and examples from this period are rare. The form increased in popularity from the early Western Zhou dynasty onwards, and numerous variations of the original shape also began to appear. The present vessel, with its rounded body, everted rim and animal-head handles represents the most popular form.Literature comparison: A related gui unearthed from Xi'an, Shaanxi province, now in the National Museum of China, Beijing, is illustrated in Zhongguo qingtongqi quanji [Complete collection of Chinese archaic bronzes], vol. 5, Beijing, 1996, pl. 61. Another from the collection of T. Yamamoto is published in Sueji Umehara, Nihon Schūcho Shina kodō Seikwa/ Selected Relics of Ancient Chinese Bronzes from Collections in Japan, vol. 2, Osaka, 1960, pl. 107. Jessica Rawson notes in Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington D.C., 1990, p. 415, that these types of gui vessels are more common in early Western Zhou, and lists five other examples, including one from Liaoning Kezuo Shanwanzi illustrated in Wenwu, 1977.12, p. 23-33, fig. 55. Compare also a related bronze gui, dated to the Western Zhou dynasty, in the collection of the British Museum, museum number 1955,0519.2. Finally compare a related bronze gui, dated to the Western Zhou dynasty, late 11th to early 10th century, in the collection of the Freer Gallery of Art at the National Museum of Asian Art, Smithsonian Institution, accession number F1924.14a-b.Auction result comparison: Type: RelatedAuction: Sotheby's New York, 23 September 2020, lot 570Price: USD 478,800 or approx. EUR 540,500 converted and adjusted for inflation at the time of writingDescription: An important archaic bronze ritual food vessel (gui), Western Zhou dynasty Expert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized birds. Note the similar size (29.5 cm) and that this gui has a six-character inscription.Auction result comparison: Type: Related Auction: Sotheby's New York, 17 September 2013, lot 15Price: USD 125,000 or approx. EUR 157,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel (gui), early Western Zhou dynasty, 11th-10th century BCExpert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized kui dragons. Note the similar size (29.5 cm) and that the gui has a three-character inscription.Auction result comparison: Type: Related Auction: Christie's New York, 16 March 2015, lot 3181 Price: USD 149,000 or approx. EUR 184,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel, gui, the gui early Western Zhou dynasty, 11th century BC, the inscription laterExpert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized taotie designs. Note the similar size (29.2 cm) and that this gui has a later-added inscription.西周青銅夔紋簋中國，公元前十一至十世紀。圓簋，折沿，雙耳，圓腹，圈足，耳做獸首形，下有附珥，圈足外有外凸的圈足座。口沿下有一圈有夔紋與獸面紋飾帶，器腹素面，足部飾橫條紋。 來源：亞洲藝術博物館MacLean 收藏，1996年購於香港，2022年撤出收藏。MacLean 收藏由來自芝加哥的商人 Barry MacLean 在50 年前創立，他於 1970 年代初開始收藏。他曾多次前往亞洲從商，並開始將注意力集中在來自中國的古代青銅器和後世的仿古青銅器上。The MacLean Collection由Larry Booth設計並於 2003 年完工。自 2004年以來，該博物館已出版了七本書，舉辦了十三次展覽，將藏品借給許多其他博物館，並用十幾個獎學金來培訓未來的專家和愛好者。 出版：Richard A. Pegg 與張立東，The MacLean Collection: Chinese Ritual Bronzes，芝加哥，2010年，圖19。 品相：狀況極好，容器略微傾斜，有一些磨損以及輕微的鑄造缺陷、微小的刻痕和小凹痕。簋下半部分有兩個肉眼看不見的小填充物，但在所提供的五張 X 射線圖像上可以精確檢測到（可在www.zacke.at的在線目錄中找到或通過電子郵件索取）。自然生長的銅綠包漿整體帶有幾層孔雀石綠色結殼和小面積的紅藍斑。清晰明快的鑄造裝飾保存得非常好，這使它極具吸引力。如此原始的狀態，是極其罕見的。 重量：2,878 克 尺寸：兩耳之間寬28 厘米 簋相當於今天的碗，是商周時期的盛飯工具。文獻中説是用來盛黍稷稻粱的器皿。這種器型曾出現在二里崗文化中。青銅簋出現在商代早期，但數量較少，商晚期逐漸增加。商周時期，簋是重要的禮器。 文獻比較： 一件相近的青銅簋，出土於陝西西安，現藏於北京中國國家博物館，見《中國青銅器全集》，卷五，北京，1996年，編號61。另一件收藏於T. Yamamoto，見歐米蒐儲，《支那古銅精華》，卷二，大阪，1960年，編號107。Jessica Rawson在 《Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，華盛頓D.C.，1990年，頁415，寫道「此種類型的簋較常見於西周早期」，她也列出了五個例子，包含一件出土於遼寧喀左山灣子的簋，見《文物》，1977年12月，頁23-33，圖55。 比較一件相近的西周青銅簋，收藏於大英博物館，編號1955,0519.2。最後比較一件相近的西周公元前十一世紀晚期至十世紀早期青銅簋 ，收藏於亞瑟·M·賽克勒美術館Freer Gallery of Art，史密森尼學會，編號F1924.14a-b。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2020年9月23日，lot 570 價格：USD 478,800（相當於今日EUR 540,500） 描述：西周侁簋 專家評論：比較非常相近外型、獸面紋和獸輔首，以及相近的鳥紋。請注意相似的尺寸(29.5厘米)，以及此簋有六字款識。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2013年9月17日，lot 15 價格：USD 125,000（相當於今日EUR 157,000） 描述：西周早期公元前十世紀青銅夔龍紋簋 專家評論：比較非常相近外型、獸面紋和獸輔首，以及相近的夔紋。請注意相似的尺寸(29.5厘米) ，以及此簋有三字款識。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年3月16日，lot 3181 價格：USD 149,000（相當於今日EUR 184,000） 描述：西周早期青銅饕餮紋簋，後刻銘文 專家評論：比較非常相近外型、獸面紋和獸輔首，以及相近的饕餮紋。請注意相似的尺寸(29.2厘米)， 以及此簋有後刻的款識。
AN EXCEPTIONALLY FINE THANGKA OF BUDDHA SHAKYAMUNI AND CLASSIC BUDDHIST TEACHING STORIES, NEW MENRI STYLE, TIBET, 18TH CENTURY 十八世紀西藏釋迦牟尼源流唐卡Expert's note: This painting belongs to a set of thirty-nine paintings depicting all one-hundred-and-eight classic teaching stories (known as rtogs brjod in Tibetan or avadana in Sanskrit). An inscription translating to 'fourteen, right' on the verso of the top dowel, indicates this painting's orientation within the set of thirty-nine.Finely painted with Buddha seated in dhyanasana atop a lotus cushion, his hands held in the teaching gesture known as dharmachakra mudra, backed by a shimmering mandorla and circular halo, surrounded by three scenes illustrating classic Buddhist stories from the Avadana compendium. Smaller figures of Buddha are surrounded by monks and teachers within temple compounds, along with further scenes depicting Buddhist deities, lamas and monks, animals, and mythical beasts, all within a verdant landscape. Three red trilobed vignettes are inscribed in Tibetan with gold letters, with a further inscription on one of the temple walls.Inscriptions: To the top dowel on the reverse, 'fourteen, right'.Provenance: From the collection of Ethelbert Tryba, acquired in Kathmandu, Nepal in 1966, and thence by descent. A copy of a personal letter from Tryba, written from Peshawar to his wife during his travels, in which he describes a recent purchase of a Gandharan statue in Peshawar as well as his impending trip to Kathmandu, accompanies this lot. Ethelbert Tryba (1928-1995) was born in Chicago, Illinois. During his life, he traveled throughout Central and Southeast Asia establishing trade ties for his company. During one particularly trying trip described in a personal letter, Tryba began collecting objects from antique shops in Pakistan, Northern India, and Nepal.Condition: Good original condition with some wear, slight creasing, soiling, light abrasions, few tiny losses. The brocade mounting with minor tears and losses. Dimensions: Image size 85.8 x 53.2 cm, Size incl. brocade mounting 164 x 94 cmDistemper and gold on cloth, with a silk brocade frame and mounted as a hanging scroll.Striking in its clarity and vibrancy, this thangka is an outstanding example of the New Menri style of Tsang which originated at Tashi Lhunpo Monastery (founded in 1447 by the first Dalai Lama and the traditional monastic seat of the Panchen Lama) in the 17th century by the hand of Choying Gyatso. The naturalistic clouds, rendered in blue and green, are hallmarks of this tradition, as is the placement of these clouds along the architectural elements that cover the landscape. Despite this painting's age, the gold inscriptions identifying each scene are only lightly abraded.Literature comparison: Compare a Tibetan-Chinese thangka depicting Buddha Shakyamuni with scenes from his life, dated to the 18th century, in the Nelson-Atkins Museum, object number 35-230/1.Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2018, lot 310 Price: USD 47,500 or approx. EUR 53,500 converted and adjusted for inflation at the time of writing Description: A large and very fine Thangka depicting Shakyamuni Buddha and two classic Buddhist teaching stories, Avadana, Tibet, 18th century Expert remark: This lot is a part of the same thirty-nine-painting set and is number 19 in the set. Compare the similar central Buddha in the same pose surrounded by life narratives. Note the size (101.9 x 59.6 cm). 十八世紀西藏釋迦牟尼源流唐卡布面膠畫，錦緞裝幀，掛軸。精美描繪了佛陀結跏趺坐坐在蓮座上，雙手結説法印，以釋迦牟尼佛為中心，佛身被光環圍繞，外緣飾有華麗的六靈捧座的唐卡，在由金翅鳥、龍女、摩羯巨鰲、孩童、祥麟、巨象組成，講述藏傳佛教的修行故事。三個紅色三葉小圖案，用藏文刻有金色字母。這幅畫屬於一組三十九幅畫，描繪了所有一百零八個經典修行故事（藏語稱為“rtogs brjod”，梵語稱為“avadana”）。 款識：反面頂部銘文翻譯為“十四，右”，表明這幅畫在三十九組中的方向。來源：Ethelbert Tryba收藏，1966 年在尼泊爾加德滿都購得，傳承至今。該拍品還附有Tryba在旅行期間從白沙瓦寫給妻子的一封私人信件副本，其中描述了他在白沙瓦購買的犍陀羅雕像以及他即將前往加德滿都的行程。Ethelbert Tryba （1928-1995）出生於伊利諾伊州芝加哥。 一生中他走遍了中亞和東南亞，為他的公司建立了貿易聯繫。在一封私人信件中描述的一次特別艱難的旅行中，Tryba開始從巴基斯坦、印度北部和尼泊爾的古董店收集物品。 品相：原始狀況良好，有一些磨損、輕微摺痕、污垢、擦傷、微小缺損。錦緞上有輕微的撕裂和缺損。 尺寸：畫面85.8 x 53.2 厘米，總164 x 94 厘米 文獻比較: 比較一件十八世紀漢藏釋迦牟尼唐卡，收藏於Nelson-Atkins博物館，館藏編號35-230/1。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2018年3月21日，lot 310 價格：USD 47,500（相當今日EUR 53,500） 描述：西藏十八世紀釋迦牟尼佛教譬喻兩故事唐卡 專家註釋：此唐卡為一組39張唐卡的編號19號。比較相似的佛坐中央被生活敘事所包圍。請注意尺寸 (101.9 x 59.6 厘米)。
A WHITE-GLAZED XING ZHADOU, LATE TANG DYNASTY TO FIVE DYNASTIES PERIOD 唐末至五代邢窯白釉渣斗China, 9th-10th century. The compressed globular body rising from a short foot to a waisted trumpet neck with a small cylindrical mouth. Covered overall in a smooth, creamy white glaze of eggshell tone, spare the foot and the base, revealing the pale ivory colored ware.Provenance: American trade.Condition: Good condition with old wear and expected manufacturing flaws including minor pitting, scattered dark spots and glaze crackling. Shallow surface scratches. Some flaking to glaze around the neck and rim.Weight: 363.9 gDimensions: Diameter 13 cm, Height 10.6 cm The unusual shape of this zhadou, with its broad sloping mouth rim, was inspired by early metalwork prototypes dating back to the Han dynasty. For an example see Zacke, 16th October, 2021, lot 333. It has been suggested that vessels of this specific shape may have functioned as waste recepticle for wine dregs or tea leaves.Xing wares from Hebei province were the best quality white-glazed ceramic of the Tang dynasty. The kilns are best known for their tea bowls, dishes and bowl stands, and vessels like the present zhadou are very rare.Literature comparison:Compare a closely related zhadou with a slightly smaller flared mouth, more compressed body and covered with a white-crackle glaze, dated to the Tang dynasty in the Palace Museum, Beijing, illustrated in Porcelain of the Jin and Tang Dynasties, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1996, no. 144, and another zhadou in the same monograph, no. 143. Also compare a zhadou of similar shape but covered with a celadon glaze that was included in the Nezu Institute of Fine Arts exhibition, Toji hakuji, seiji, sancai (Tang pottery and porcelain), Tokyo, 1988, no. 49. Compare two related Tang dynasty silver zhadou illustrated in Tangdai Jinyin Qi, Beijing, 1985, nos. 255 and 278, the first excavated at Xi'an, and the second with a slightly concave mouth rim found in a tomb in Linan Xian Shiu Qiushi, Zhejiang province. Also compare with a prototype from the Han Dynasty at Zacke, 16th October, 2021, lot 333.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 13 September 2019, lot 1017Price: USD 20,000 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: A rare Xing Zhadou, Late Tang Dynasty-Five dynasties period, 10th centuryExpert remark: Note the diameter (15.6 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 19 March 2007, lot 386Estimate: USD 15,000 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: A rare small 'Xing' spittoon (zhadou) Tang Dynasty 唐末至五代邢窯白釉渣斗中國，九至十世紀。渣斗口外撇，口沿呈漏斗形碗狀，膽形狀腹，平底。器里外施白釉，底無釉。此件渣斗胎質潔白細膩，造型規整大方。 來源：美國古玩交易。 品相：狀況良好，有磨損和製造缺陷，包括輕微凹坑、黑點和釉面裂紋。表面淺劃痕。頸部和邊緣有一些剝落的釉面。 重量：363.9 克 尺寸：直徑 13 厘米, 高 10.6 厘米 唐代渣斗的頸口則非常細，配合大敞的撇口，利於茶水與茶渣的分離。例如參見 Zacke，2021 年 10 月 16 日，拍品 333。河北邢窯白釉是唐代白釉陶瓷中品質最好的，以茶碗、茶盤、碗架而聞名。文獻比較： 比較一件非常相近的唐代渣斗有較小的開口，胎體更加壓縮，並覆蓋有白色裂紋釉，北京故宮博物院，見《故宮博物院藏文物精品集‧晉至唐瓷器》，香港，1996年，編號144。另一件渣斗，編號143。比較一件青釉蓋渣斗，展覽於Nezu Institute of Fine Arts，《Toji hakuji，seiji，sancai (Tang pottery and porcelain)》，東京，1988年，編號49。比較兩件相近的唐代銀製渣斗，《唐代金銀器》，北京，1985年，編號255和278，一件出土於西安，另一件出土於浙江臨安。比較一件漢代鎏金銅飛鳥走獸紋小瓶，見Zacke，2021年10月16日，lot 333。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2019年9月13日，lot 1017 價格：USD 20,000（相當於今日EUR 22,000） 描述：晚唐/五代邢窯渣斗 專家評論：請注意直徑 (15.6 釐米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2007年3月19日，lot 386 估價：USD 15,000（相當於今日EUR 20,500） 描述：唐代邢窯渣斗
A BLACK STONE FIGURE OF DURGA MAHISHASURAMARDINI, PRE-ANGKOR PERIOD, KHMER, 7TH CENTURYOpinion: Looking at Phnom Da style sculptures, one can see a great degree of cross-cultural influence. While one could argue that this sculptural style is distinctly of Khmer origin, with such early sites present in Vietnam, we are more likely seeing the spread of sources of foreign cultural influence, bringing things like Hinduism, coming from outside the region and merging with local cultures. Certain attributes of this sculpture in particular can be seen in early Gupta sculpture, such as the 4th century Harihara in the National Museum of New Delhi. It is also interesting to note that the earliest known written texts in Southeast Asia are from Vietnam, written during the 4th century, predating the first Khmer texts by hundreds of years.Finely carved in relief with four arms holding symbols of power, positioned above the severed head of a buffalo, with a tall crown and pendulous earlobes, backed by a striated nimbus.Provenance: Spink & Son, London, by 2 November 1999 (according to Christie's record). Christie's New York, 20 September 2000, lot 154 (according to Christie's record). Property from a West Coast collection, acquired from the above (according to Christie's record). Christie's New York, 13 September 2016, lot 245, estimate of USD 30,000 or approx. EUR 34,000 (converted and adjusted for inflation at the time of writing). Michael Phillips, acquired from the above in an after-sale transaction. A copy of a Christie's record, accessed on 1 October 2018, confirming the provenance above, and stating an after-sale purchase price for the present lot of USD 18,750 or approx. EUR 21,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, structural cracks, old fills.Dimensions: Height 89 cm (excl. stand) and 97 cm (incl. stand)Mounted on an associated stand. (2)Mahishasura was a shape-shifting king who was granted the power of immortality by Lord Brahma. After years of tormenting his people, he was vanquished by a manifestation of the demon-fighting form of Parvati known as Durga. Durga fought Mahishasura over a period of fifteen days during which he kept changing his shape into different animals. She finally vanquished him when he took the form of a buffalo, slaying him with her trident. It is just after this victorious moment that we see Durga depicted here, with the severed head of Mahishasura laying at Durga's feet and her four arms holding the conch shell, the wheel, the ball, and the club, symbolizing the powers given to her by Vishnu. It is an ancient story of good versus evil.Literature comparison:Compare with a stone image of a female deity from the Da Nang Museum of Cham Sculpture, exhibited in Arts of Ancient Viet Nam: From River Plain to Open Sea at the Houston Museum of Fine Arts, both statues showing an unusual and rare striated nimbus. Also, compare with a stone image of a reclining figure of Vishnu in the Da Nang Museum of Cham Sculpture, both statues showing very similar facial characteristics.Auction result comparison:Type: Closely RelatedAuction: Christie's New York, 13 September 2016, lot 249Price: USD 21,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A gray sandstone figure of Durga Mahishasuramardini, Khmer, pre-Angkor period, Phnom Da style, 6th centuryExpert remark: This is an important comparable of Durga from an early period in Southeast Asian history, not only because it is “rare to find a sculpture of the demon-slaying goddess from the pre-Angkor period” (as noted in the catalog description for the lot), but also because it was in the same Christie's sale. Note the much smaller size (51.5 cm).
A RARE GILT COPPER ALLOY FIGURE OF VISHNU, JAVA, 14TH-15TH CENTURY OR EARLIERFinely cast standing in samapada atop a circular lotus base with beaded edge, his main left hand resting on the handle of his mace, his main right holding a lotus stem, his secondary hands raised and holding the conch and disk. He is wearing a long diaphanous dhoti and the upavita (sacred thread) across his left shoulder, his body richly adorned with floral jewelry, his face bearing a serene expression, his hair pulled up into a high chignon secured by a band and topped by a jewel, behind the foliate tiara. Provenance: From the collection of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Very good condition with expected wear and manufacturing irregularities, minute nicks and small dents here and there, the gilding possibly later. The bronze with a fine, naturally grown patina with malachite encrustations. Weight: 105.6 gDimensions: Height 10 cmVishnu is the preserver and protector of the universe, called upon to save it from great calamity. In the current attitude, he is a martial deity, holding the mace and discus, and a conch to call troops to arms.Literature comparison: Compare a related earlier bronze of Vishnu, 13.8 cm high, dated late 9th to first half of the 10th century, in the Metropolitan Museum of Art, accession number 1987.142.15. Compare a gilt bronze figure of Shiva, 27.9 cm, dated 8th-9th century, in the Metropolitan Museum of Art, accession number 2004.556.Auction result comparison: Type: RelatedAuction: Christie's New York, 21 March 2018, lot 327Price: USD 5,000 or approx. EUR 5,700 converted and adjusted for inflation at the time of writingDescription: A gilt silver figure of Jambhala, Indonesia, Java, 14th/15th centuryExpert remark: Compare the related modeling, with similar floral jewelry and expression, and manner of casting and gilding, with a similar patina to the gilded figure. Note the smaller size (5.2 cm). Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 29 March 2018, lot 11 Price: HKD 375,000 or approx. EUR 49,000 converted and adjusted for inflation at the time of writing Description: A copper alloy figure of Vishnu, Java, 9th/10th century Expert remark: Note the larger size (29 cm).
A MEDICAL THANGKA WITH THE TREE OF DIAGNOSISTibet, 19th to early 20th century. Distemper and gold on cloth. Well painted in bright polychrome pigments, the central register with a large medical tree with four main stalks representing the four roots of treatment (diet, behavior, medication, and external therapy), with the blue-skinned Bhaisajyaguru (Medicine Buddha) seated in dhyanasana on a lotus pillow surrounded by a double aureole and peony blossoms to the right of the tree.Provenance: From an Austrian private collection.Condition: Very good condition with minor wear, minimal fading, light soiling, some staining, and minor fraying to edges.Dimensions: Size 70 x 88.9 cmThe upper register is painted with twelve figures, consisting of both monks and deities, each flanked by a bright nimbus and halo. The lower register contains three lines of medical text.This painting depicts the methods of treatment used in the Tibetan system of medicine. The first stem stands for diet treatment, which has six branches. The first two branches with ten and four blue leaves, respectively, show the diet and the drink best suited to treat lung disorders. The third and fourth branches with seven and five yellow leaves, respectively, stand for the diet and drink suitable for mkhris-pa disorders and the fifth and sixth branches with six and three white leaves, respectively, stand for the diet and drink recommended for bad-kan disorders.The second stem illustrates behavioral treatment. It has three branches with two leaves each representing the behaviors beneficial for the three humors.The third stem depicts the different medications. It has a total of 15 branches and 50 leaves. The first six branches each bear three leaves. These refer to the tastes and medicinal qualities favorable for treating rlung, mkhris-pa and bad-kan disorders, which are shown as blue, yellow, and white leaves. The seventh to the twelfth branches bear a total of 23 leaves representing different medicinal preparations: broth and medicinal butter, decoctions and powders, pills and specific medicinal powders.The fourth stem stands for external therapies, which are generally used as a last resort after all other treatments fail. It consists of three branches. The two blue leaves on the first branch portray the external therapy used to treat rlung disorders. The three yellow leaves on the second branch stand for external therapies used to fight mkhris-pa disorders and the two white leaves on the third branch signify external therapies used on bad-kan disorders.Literature comparison:Compare a related 'Tree of Diagnosis' thangka in the American Museum of Natural History, New York, included in the exhibition Body and Spirit: Tibetan Medical Paintings, 25 January-17 July 2011. Compare three further related thangkas in the Rubin Museum of Art, illustrated on Himalayan Art Resources, item nos. 1131-1133.
A LARGE AND IMPORTANT BRONZE OF SHIVA NATARAJA AND PARVATI, CHOLA PERIODSouth India, 9th-13th century. Superbly cast as a dancing Shiva and Parvati, each atop a double lotus base supported on a rectangular plinth with circular and rectangular apertures. The Lord of Dance performing Ananda Tandava, balancing atop of a dwarflike figure, his consort, Parvati, performing Lasya, joyously dancing and balancing on one leg with one arm outstretched.Provenance: SS Raghavachari, Vepay (Vepery), Madras, India, 29 March 1954. Mary Mark Merrill, acquired from the above (purchased for USD 2,000 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing). Taj (nee Merrill) Gilligan, acquired from the above in the early 1980s. The present lot is accompanies by a copy of the original agreement of sale between SS Raghavachari, resident of Sambanda Vilas, Vepay Madras, South India, and Mary Mark Merrill, Washington, United Kingdom, dated 29 March 1954, with a photograph of the present lot; a copy of the correspondence between Leslie Olmstead Merrill and his mother, dated 12 April 1954, detailing his travels in South India with his wife Mary and their purchase of the present lot; a copy of an appraisal from Wallace Thompson, noted patron of the Asian Art Museum, San Francisco, dated 20 October 1974, stating the value of the present lot as USD 20,000 or approx. EUR 113,000 (converted and adjusted for inflation at the time of writing); and a copy of a provenance statement written and signed by Taj Gilligan, dated 15 July 2023. Mary Mark Merrill was the daughter of real estate and broadcasting tycoon LeRoy Mark, who established the American Broadcasting Corporation (ABC). She married Leslie Olmstead Merrill, professor of Fine Arts at the University of Colorado, in March of 1953. The pair decided to travel the world in 1954, starting in Japan and eventually finding their way to India. Patrons of Asian arts, their love of India never waned, to the extent that they named their daughter Taj. Condition: Good condition with extensive natural wear, both from weathering and centuries of worship. Expected casting irregularities. Losses, cracks, nicks, scratches, all commensurate with age. The base somewhat warped in areas. Obvious heat damage, probably from a temple fire that happened long time ago. Overall displaying exceptionally well.Weight: 135.5 kgDimensions: Height 114 cm, Width 91 cmAnanda Tandava (masculine) dance to express happiness and joy is performed by Lord Shiva, while goddess Parvati is performing Lasya (soft/ feminine) offering a balance of cosmic energies — the male and the female. Together they symbolize the harmonious union of energies without which the universe would be in a state of flux.As a symbol, Shiva Nataraja is a brilliant invention. It combines in a single image Shiva's role as creator, preserver, and destroyer of the universe and conveys the Indian conception of the never-ending cycle of time. Although it appeared in sculpture as early as the fifth century, its present, world-famous form evolved under the rule of the Cholas. Shiva holds in his upper right hand the damaru (hand drum that made the first sounds of creation). His upper left hand holds agni (the fire that will destroy the universe). With his lower right hand, he makes abhayamudra (the gesture that allays fear). The dwarflike figure being trampled by his right foot represents apasmara purusha (illusion, which leads mankind astray). Shiva's front left hand, pointing to his raised left foot, signifies refuge for the troubled soul. These symbols imply that, through belief in Shiva, his devotees can achieve salvation.Literature comparison:Compare a related bronze group of Shiva and Parvati, dated c. 950-960, in the Cleveland Museum of Art, accession number 1961.94. Compare a related bronze group of Shiva, Uma, and Skanda (Somaskandamurti), 53 cm high, dated to the early 11th century, in the Metropolitan Museum of Art, accession number 1982.220.10.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A LACQUERED WOOD FIGURE OF A RAKAN (ARHAT)Japan, c. 1700, Edo period (1615-1868)The rakan seated in dhyanasana on a rectangular base, which is lacquered with an inscription to the interior. His left hand is lowered above his lap and holding a large leaf with incised veins. He is dressed in loose-fitting robes falling in graceful folds below the legs as if draped over an edge and finely decorated with dragons, a phoenix, and a butterfly as well as foliate designs, and gold-lacquered inscription of a Buddhist votive mantra. His face with a serene expression marked by heavy-lidded eyes inlaid with reverse-painted crystal, thick arched brows, full lips forming a subtle smile, and long pendulous earlobes.HEIGHT 33 cmCondition: Good condition with some wear, flaking and minor losses to lacquer, expected age cracks, minor losses, small nicks, light surface scratches.Provenance: From an old French private estate, found in an apartment in Paris' sixteenth arrondissement.According to Buddhist scripture, arhats (rakan) are protectors of the Dharma who also use assorted magical powers to assist the faithful. They were frequently depicted in groups of eight, sixteen, eighteen, twenty-eight, or five hundred.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.Auction comparison:Compare a related, yet larger, lacquered wood figure of a rakan at Zacke, Fine Japanese Art, 4 June 2021, Vienna, lot 126 (sold for 101,120 EUR).
A MONUMENTAL SANDSTONE STELE OF SURYA, NORTHERN INDIA, UTTAR PRADESH, 11TH-12TH CENTURYIdentified by his characteristic boots, breast plate, and tall cylindrical crown, while wielding a beaming lotus in each hand, the stele is devoted to the Sun God Surya, whose cult at one time rivaled that of Shiva and Vishnu, and who became prominently incorporated into the iconographic program of the latter's temples.Provenance: From an old French private collection. Hôtel Drouot, S.C.P. Maurice Rheims et Rene Laurin, expert Michel Beurdeley, Art de la Chine et d' Orient, 2nd-3rd March 1972, lot 76, illustrated on the back cover of the auction catalog. A noted French collector, acquired from the above and thence by descent in the family. A copy of a letter written and signed by Amina Okada, Conservateur au Musee National des Arts Asiatiques - Guimet, dated 22 January 1995, confirming the dating above, accompanies this lot. Copies of the front and back cover of the auction catalog Art de la Chine et d' Orient, 2nd-3rd March 1972, the latter with an image of the present lot, also accompany this lot.Condition: Good condition, commensurate with age. Extensive weathering, some wear, losses and structural cracks, signs of erosion, minor old repairs and fills. The proper left upper corner section broken off and reattached.Weight: ca. 225 kg Dimensions: Height 150 cm, Width 51 cm, Depth 22 cm The Brahmanic god Surya is dressed according to traditional conventions that depict him as a king. His 'northern' garb is thought to resemble that of Indo-Scythian tribesmen, like the Kushans, who ruled Northern India in the first centuries of the common era. It is also thought to reflect the influence of Iranian religious ideas on Indian sun worship. (Rosenfield, The Arts of India and Nepal, Boston, 1966, page 43) The monolithic stele depicts a full entourage accompanying the solar deity, with his wife, Ushas (the Dawn) standing immediately before him as the herald of each new day. On either side of his feet are Surya's clerk and measurer, Pingala and Danda, standing with complementary tribhangha poses. Immediately flanking them are a pair of anthropomorphized horses, offering gestures of reassurance: possibly ayudha-purushas of his chariot's steeds. Above Surya are Usha and Pratyusha, two archers defending dawn and dusk from the darkness. Surya's bold lotus blossoms and crisp halo, as Dye once deftly noted, “suggest both the sun itself and the boundless life it nurtures” (Dye III, The Arts of India, Richmond, 2001, p. 136). The softly modeled facial features of Surya with lightly arching brows and narrow prominent lips, harkening back to Gupta prototypes, point to the regional style of Uttar Pradesh in Northern India. So too does the buff-to-reddish colored sandstone, the less extravagant array of necklaces and regalia (in comparison with neighboring Rajasthan and Madhya Pradesh), and the treatment of the halo with its distinct triangular sunbeams, bordered by a plain circular rim.Literature comparison:Compare the aforementioned various idioms with examples attributed to Uttar Pradesh in Desai & Mason (editors), Gods, Guardians, and Lovers, New York, 1993, p. 187-188, 244-247, and 262-263, nos. 28, 62, and 70. Auction result comparison: Type: Related Auction: Bonhams New York, 19 March 2018, lot 3081 Price: USD 492,500 or approx. EUR 549,000 converted and adjusted for inflation at the time of writing Description: A large sandstone stele of Surya, Northern India, circa 11th century Expert remark: Compare the closely related subject, material, manner of carving, and height (152 cm), although the stele is considerably wider and more complete than the present lot.
AN ARCHAIC CEREMONIAL BONE CARVING, SHANG DYNASTY 商代骨雕祭祀用器China, 14th-11th century BC. A thin fragment of a hip bone, likely from a medium sized canine. Carved to one side with an impressive taotie mask and two kui dragons within a key-fret (leiwen) border, all in deep and high relief, adorned with neatly applied incision work, below a further key-fret band. The solid bone is smoothened around the edges with a fine sheen to the decorated surface.Provenance: Galerie Wannieck, Paris, September to October 1942 (according to an ancient family ledger inspected by Cabinet Portier, Paris, France, during their appraisal of the complete de Strycker estate; this ledger remains in the possession of the de Strycker family and may not be copied). Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent in the same family. The display stand has three old collection labels. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).Condition: Good condition, commensurate with age. Possibly with some old fills. Extensive wear, losses, natural imperfections including foramina and fissures, encrustations, signs of weathering and erosion.Weight: 29.2 g (excl. stand)Dimensions: Length 9.8 cm (excl. stand) With an old fitted velvet display stand, dating to the first half of the 20th century. (2)Literature comparison:For other examples of rare Shang bone carvings with similar taotie decoration included in the exhibition Early Chinese art from private collections, Eskenazi Ltd., London, 2016, cat. no. 2. Compare the carved bone example excavated from the tomb of the Shang royal consort Fu Hao, Anyang, Henan province, illustrated in Yin hsu Fu Hao mu, Beijing, 1980, pl. 179:1. A larger bone carving similarly adorned with ferocious masks and stylized cicadas, formerly in the Gibson and Stoclet collections, is said to have been discovered together with five other examples in Anyang, Henan; see Georges A. Salles and Daisy Lion-Goldschmidt, Collection Adolphe Stoclet, Brussels, 1956, pp. 328-31.Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 9 October 2022, lot 104Price: HKD 378,000 or approx. EUR 46,000 converted and adjusted for inflation at the time of writingDescription: An archaic bone carving, Shang dynasty, Anyang period, 14th-13th century BCExpert remark: Note the near-identical size (9.4 cm), the related carving work and applied technique.Auction result comparison: Type: RelatedAuction: Sotheby's New York, 22 March 2022, lot 4Price: USD 10,710 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: Two fragments of a ceremonial bone spatula, Shang dynastyExpert remark: Note that this lot comprises two different items that are both much smaller than the present carving (the longest being 7 cm). 商代骨雕祭祀用器中國，西元前十四至十一世紀。髖骨的薄碎片，可能來自中等大小的犬科動物。 一側刻有饕餮面具和雷紋，邊框內可見兩條夔龍。堅固的骨頭邊緣光滑，切口整齊，表面光澤細膩。 來源：巴黎Wannieck藝廊，1942年9月至10月 (根據法國巴黎Portier內閣在評估整個de Strycker莊園時的一份家族老帳本； 該帳本仍由 de Strycker 家族所有，不得複製)。Robert與Isabelle de Strycker收藏，購於上述藝廊，在同一家族保存至今。Robert de Strycker (1903-1968) 是一位法國冶金工程師。他畢業於史丹佛大學，曾是魯汶大學教授，同時也是魯汶天主教大學冶金研究所所長，是應用科學學院最有影響力的成員之一。二戰後，他為法國的戰後復興做出了巨大貢獻。 Robert與他的妻子Isabelle （1915-2010）於 上世紀三十年代在大英博物館首次接觸到中國藝術。因爲其風格和美感所吸引，他們決定研究和收藏中國藝術品。1938 年，他們開始建立自己的收藏，從比利時、巴黎和英國經銷商處購買。 他們與英國著名收藏家Harry Garner爵士（1891-1977）和捷克著名收藏家兼專家Fritz Low-Beer (1906-1976）保持著密切聯繫。 品相：狀態良好，有一些填充。大面積磨損，包括孔和裂縫、結殼、風化和侵蝕。 重量：29.2 克 (不含底座) 尺寸：長 9.8 釐米 (不含底座) 配有天鵝絨展示架，應來自二十世紀上半葉。 (2) 文獻比較： 一件具有類似饕餮裝飾的稀有商代骨雕的，展於早期中國藝術展覽中，Eskenazi Ltd.，倫敦，2016年，目錄編號2。比較河南安陽商王妃婦好墓出土骨雕實例，載於《殷墟婦好墓》，北京，1980年，圖 179:1。在河南安陽還發現了一件較大的骨雕，同樣飾有凶猛的面具和風格化的蟬，曾收藏於Gibson和Stoclet收藏。另其他五件骨雕一起被發現，參見 Georges A. Salles 和 Daisy Lion-Goldschmidt，Adolphe Stoclet 收藏，布魯塞爾，1956 年，頁328-31。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2022年10月9日，lot 104 價格：HKD 378,000（相當於今日EUR 46,000） 描述：商代安陽時期公元前十四至十三世紀 骨雕禮器 專家評論：請注意幾乎相同的尺寸(9.4 厘米)，以及相近的雕刻和技術。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比， 2022年3月22日，lot 4 價格：USD 10,710（相當於今日EUR 10,500） 描述：商骨雕殘片兩件 專家評論：請注意此為兩件不同的骨雕，但尺寸小很多 (最長的為7 厘米)。
A RARE BRONZE HORSE-FORM VESSEL, DONG SON CULTURENorthern Vietnam, 2nd century BC to 2nd century AD. Well cast standing on all fours with its head raised, ears pricked, and tail tucked between its legs. A single aperture to the back. The body is incised with numerous spiral designs characteristic of Dong Sun material culture.Provenance: From the private collection of Darwin Freeman, collected between 1968-1971, and thence by descent within the same family. Born 1946 in Idaho, USA, Darwin Freeman was a member of the armed forces and later became an avid collector. He met his wife in the mid-1960s, and the pair later relocated to her hometown of Innsbruck, Austria. In 1967, Freeman was drafted into the U.S. Army and served in Germany and Thailand. While he was stationed at the Embassy in Bangkok, between 1969 and 1971, he actively began engaging in the exploration and collection of ancient bronzes and other works of art. Upon completing his duty, Freeman arranged for his collection to be shipped to Austria, where it remained in storage until this day.Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, casting flaws, losses, one ear with an old repair. The bronze is covered in a rich, mottled, naturally grown patina with vibrant malachite and azurite encrustations.Weight: 515 g Dimensions: Length 13.2 cmDong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Văn Lang and Âu Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Literature comparison:Compare a related elephant-shaped vessel with similar spiral designs, 16 cm long, dated 2nd century BC to 2nd century AD, in the Asian Civilizations Museum, Singapore, accession number 2007-56439.
BRAZILIAN SCHOOL (19TH CENTURY) A SET OF SIX VIEWS OF BRAZIL INCLUDING VISTA TOMADA DE SANTO CHEREZAE, LAGO DO PACO, ST. CHRISTOVAO, PRAYA D'AJUDA, FORTALEZA DE PRAYA VERMELHA AND ENTRADA DA BARRA DO RIO DE JANEIROall: inscribed with title to margin lower centrepen and ink, watercolour and bodycolour heightened with gum arabic on papereach: 11 x 16.5cm; 4 1/4 x 6 1/2in 31.6 x 36cm; 12 1/2 x 14 1/4in (framed)(6)Property from a Private CollectionProvenanceA gift to the late grandfather of the present ownerExecuted circa 1840. The present works are after illustrations from Johann Jacob Steinmann (Swiss 1800-1844) Souvenirs de Rio de Janeiro dessinés d'après nature first published in 1835. Steinmann was hired in Paris as the official lithographer to King Dom Pedro IV (1798-1834) who was briefly king of Portugal, and subsequently Emperor of Brazil (1822-1831). Steinmann travelled to Brazil in 1825 where he worked mainly in Rio de Janeiro at the Military Archives. After his employment ended he set up a lithography company in Rio. He returned to Switzerland in 1835 where he published his 'Souvenirs' which include many of the maps and sketches of the topography he made during his time in South America.
MARCEL DUCHAMP (FRENCH 1887-1968) MONTE CARLO BONDsigned on the plate offset lithograph in colours on wove paper 31 x 22.5cm; 12 1/4 x 8 3/4in43.5 x 31cm; 17 1/4 x 12 1/4in (framed)Property from a Private Collection, West LondonProvenanceWilliam Weston Gallery, LondonPurchased from the above by the mother of the present owner in September 1977LiteratureXXe siècle, Paris, 1938, no. 4 (Christmas edition)Arturo Schwarz, The Complete Works of Marcel Duchamp, London, 1969, pp. 490-91, no. 280, cataloguedExecuted in 1938 in an edition of 2000 and distributed with the periodical XXe siècle, published at Christmas that year. Duchamp originally issued the first impression in an edition of 30 in 1924, and included a third edition in The Box in a Valise in 1941 (see Schwarz ibid. p. 511, no. 311). In 1924 Duchamp decided to try and raise money for a system he had developed for gambling at roulette by issuing bonds for 500 francs at 20% interest. Of the 30 bonds he originally printed, he only managed to sell two to friends - Jacques Doucet, the noted fashion designer and collector, and the painter Marie Laurencin. The system was a failure, Doucet was only repaid 100 francs and Laurencin nothing. The present example is from Duchamp's second edition issued in 1938. The portrait on the bond is from a photo by Man Ray of Duchamp covered in shaving soap.
• RICHARD LONG RA (BRITISH B.1945) Property sold to Benefit Turner's House, Twickenham (lots 36-42)Sandycombe Lodge, Turner’s House in Twickenham, offers a unique insight into the life and works of Britain’s greatest landscape painter, JMW Turner. Completed in 1813, Turner intended it as a quiet retreat, away from the pressures of the London art world; a place to which he would invite friends and indulge in his passion for fishing.Some of the house's features reflect the influence of Turner's great friend and fellow fisherman Sir John Soane, who had built his own country property near by - Pitzhanger Manor in Ealing - just a few years earlier and was architect of the Bank of England and Dulwich Picture Gallery. But Turner was very much his own designer, his construction of Sandycombe Lodge revealing a lot about his ideal for living and, true to character, is typically idiosyncratic. A private residence since Turner sold the house in 1826, its last owner, Professor Harold Livermore, lived there since 1947. Professor Livermore died in 2010, and in his will left the house in Trust, now Turner's House Trust. The Trust has since overseen its complete restoration, returning the property to how Turner had intended it, and recreating the quiet, domestic interiors that Turner would have known. Since opening to the public in 2017, the house has hosted a series of critically acclaimed exhibitions that have shone new light on Turner’s life and art. The Trust also works closely with community organisations, offering programmes to alleviate mental and physical ill health.Much of the funding for the house is from private donations, and the following seven lots by Richard Long and Peter Blake have been generously donated by the artists to raise funds to maintain the property and secure its future. To find out more about the house and how you can help support it visit www.turnershouse.org.uk. RICHARD LONG RA (BRITISH B.1945)RIVER AVON MUD FINGERPRINTS signed and dated Richard Long 2014 on the reversemud finger prints on painted cupboard door73 x 59cm; 28 3/4 x 23 1/4in(unframed)ProvenanceA gift from the artist to Turner's House, TwickenhamIn the present work, Long uses his index finger dipped in mud from the River Avon to make marks in lines which radiate from the centre. He says of his art: 'All my work is simple. I like the primal energy of just handprints or fingerprints. It's like cave painting.' Born in Bristol, where he still lives, Long's work is based around walking and the direct experience of nature. While still a student at St Martin's School of Art in the mid-'60s he began making walks, photographing the traces he had made (the flattened grass, stones displaced, paths formed), or marking the course of the walk on a map. Long first used mud as a medium in 1969, describing it as 'a simple, direct natural material'. Later he began laying rocks or twigs in straight lines or circles, and then started reconstructing these works in interior settings, although the walk remained the basis for collecting the natural material.Long represented Britain at the 37th Venice Biennale in 1976, and won the Turner Prize in 1989. He received the Chevalier de l'Ordre des Arts et des Lettres from the French Ministry of Culture in 1990, was elected a Royal Academician in 2001, and in 2009 was the recipient of the Praemium Imperiale for sculpture from Japan. He was awarded a Knighthood in 2018.
SIR WILLIAM ORPEN RA (IRISH 1878-1931) VATTETOT-SUR-MERtitled, dedicated and dated VATTETOT / SUR MER / 1899 / WILL ROTHENSTEIN and ALICE ROTHENSTEIN lower centregouache and watercolour on silk16.5 x 37cm; 6 1/2 x 14 1/2in (fan shaped)51.5 x 64cm; 20 1/4 x 25 1/4in (framed)Property from an English Private Collection ProvenanceWilliam and Alice Rothenstein, London (a wedding present from the artist)Mrs Rachel Ward (née Rothenstein; 1903-1989, inherited from the above)Thence by descent to the present ownerExhibitedLondon, The Leicester Galleries, The Collection of Sir William Rothenstein, 1946, no. 60 The present work, a wedding present from Orpen to William Rothenstein and his new bride Alice (née Newstub), celebrates the couple on holiday with friends in Vattetot on the Normandy coast. Rothenstein had married Alice on 11th June 1899. The figures depicted from top left are: Albert Rothenstein (later Rutherston) and William Orpen, Alice and William Rothenstein, Grace Knewstub (Alice’s sister, later Mrs. William Orpen) and John Herbert Everett, a fellow Slade student with Albert and Orpen. In the lower medallions are Augustus John (left) and Charles Conder (right). Orpen had first met William Rothenstein through his brother Albert when he was a fellow student at the Slade. Together with Augustus John the trio formed what William jocularly referred to as 'the three musketeers'. William and Alice had discovered Vattetot on a bicycling trip out from Dieppe. In his memoires William writes: 'On our return to London we spoke of Vattetot to John and Conder, who, with Orpen and my brother [Albert], proposed to join us there next summer. When the summer came, it was a large party which descended upon Vattetot; never had so many easels and paint-boxes been seen. It was a glorious time, divided between painting and play.' (William Rothenstein, Men and Memories, London, 1931, vol. 1, p. 347)
ELIZABETH (BESSIE) MACNICOL (SCOTTISH 1869-1904) PHYLLIS WITH A BOUQUET OF FLOWERSsigned B. MacNichol lower right oil on panel23 x 17.5cm; 9 x 7in 38.5 x 32cm; 15 1/4 x 12 1/2in (framed)Property from a Distinguished Private CollectionProvenanceRichard Green Gallery, LondonPurchased from the above by the present owner in 1999MacNicol was a student at the Glasgow School of Art (1887-1893) under Francis Henry Newbery, who encouraged her to travel to Paris to study at the more liberal Académie Colarossi where women were permitted to study alongside men. MacNichol was thus one of the first wave of female artists from Britain to study in France. Frustrated by the chauvinistic attitudes she encountered there, however, she soon returned to Scotland where she exhibited at the Royal Scottish Academy and the Royal Glasgow Institute. In 1896 she stayed in the artists' colony in the fishing village of Kirkcudbright in Galloway on the Solway Firth, where she painted her striking portrait of Edward Atkinson Hornel (collection of Broughton House, Kircudbright), one of the Glasgow Boys, and the colony's leading proponent. The same year she exhibited at the Munich Secession. She married Alexander Frew, a doctor and fellow artist, in 1899 and set up a large studio at their home in Glasgow, but died in the later stages of pregnancy in 1904. Now counted as one of the fabled 'Glasgow Girls', her work is all too little known as much was destroyed after her death.
ATTRIBUTED TO JAN WYCK (DUTCH 1644-1702) THE HEAT OF BATTLEinscribed Lach er zbit met yeel on the reverse pen and brown ink, with brown and grey wash on watermarked paper29 x 44cm; 11 1/2 x 17 1/4in 44 x 59cm; 17 1/4 x 23 1/4in (framed) Property from the Collection of a Distinguished British Scholar and CollectorProvenanceWilliam Reid CBE, London (born in Glasgow, Reid -1926-2014 - was fascinated with arms and armaments from boyhood. After Trinity College, Oxford, he became a junior curator and then assistant keeper at the Tower of London, before being appointed the first director of the National Army Museum in Chelsea, opened by Queen Elizabeth II in 1970. It was a position he held for the following seventeen years. Reid was made CBE in 1988.The enigmatic inscription Lach er zbit met yeel in pen and ink on the reverse can be translated from German as 'he laughs and says yes'.
ERIC SLOANE (AMERICAN 1905-1985) CLOUDSCAPEsigned and inscribed ERIC SLOANE A.N.A. lower leftoil on board 59 x 120.5cm; 23 1/4 x 47 1/2in83.5 x 145cm; 33 x 57in (framed)Property from a London CollectionBaptised Everard Jean Hinrichs and raised in New York, as a boy Sloane studied type design and art with his neighbour the noted typographer Frederic Goudy, and thanks to the pioneering aviator Wiley Post experienced flying at a precociously young age, experiences which gave him a love of painting and a life-long fascination for the sky. Sloane first worked in his 'teens as a commercial artist, sign painting and creating advertisements for the likes of tobacco companies Red Man and Bull Durham. Then he enrolled at the Art Students League of New York where he changed his name. Subsequently settling in Lichfield County, Connecticut, where he was inspired by the Hudson River School of artists, Sloane became fascinated by Americana and the American folk tradition. He wrote prolifically on every day life during the Colonial-era, from tools to architecture, farming techniques to folklore and became friends with the landscape painter Andrew Wyeth. In the 1950s he spent time in Taos New Mexico, attracted by the vast desert landscapes and the state's huge ecocative skies. One of his best known works is the skyscape mural, Earth Flight Environment, commissioned by the Smithsonian's Air and Space Museum for its opening in 1976, which remains on display there in the Independence Avenue Lobby. Sloane has a museum dedicated to his life and work in Kent, Connecticut.
SIR WILLIAM NICHOLSON (BRITISH 1872-1949) MIXED FLOWERS IN A BLACK JUG oil on canvas75 x 62cm; 29 1/2 x 24 1/2in92 x 80cm; 36 1/2 x 31 1/2in (framed)Property from a London CollectionPainted circa 1912. ProvenanceSir James Murray of Glenburnie Park, Aberdeen (by 1920)His sale, Christie’s London, 29 April 1927, lot 72 (as Flowers in a Black Vase)Lord Blanesburgh of AlloaRoyal Caledonian Schools (bequeathed from the above in 1946)Sale, Christie’s London, 18 July 1969, lot 28 (as Mixed Flowers in a Black Jug Standing beside a Curtain)Mr Walker (purchased at the above sale)Sale, Christie’s London, 11 July 1976, lot 69 (as Mixed Flowers in a Jug)Mr O’Brien (purchased at the above sale)ExhibitedAberdeen, City Art Gallery, Sir James Murray’s Collection of Pictures, 1920 (as Flowerpiece)Literature‘Sir James Murray’s Pictures’ in Aberdeen Press and Journal, 21 May 1920Patricia Reed William Nicholson Catalogue raisonné of the Oil Paintings, London, 2011, p. 237, no 271, illustrated in colourWilliam Nicholson’s flower pieces have always been popular, not least for the evident pleasure with which he approaches his subject. Often summer flowers that could be found in any garden are informally arranged in a variety of seemingly modest jugs and containers – creating a challenging combination of textures and colour. Here within the shallow picture space the flowers are dramatically presented against a dark chocolate velvet curtain, subtly distinguished from the glazed surface of the black Jackfield jug, with the flowers spot lit as on a stage. White nicotina stars with orange zinnias and blue delphiniums, while asters and others play a supporting role. Sometimes flowers depicted came from the artist’s garden in Rottingdean, but often when engaged on a portrait commission away from home Nicholson would chose flowers from his sitter’s gardens.Black Jackfield pottery jugs date from the mid-18th century, their distinctive look made from mixing manganese with a dark firing clay at Jackfield, part of the Ironbridge-Coalbrookedale area in Shropshire. The Jackfield factory is now better known for the glazed and painted tiles found in Victorian and Edwardian homes and shops. Nicholson’s famous painting of 1916 The Hundred Jugs (Liverpool Art Gallery) features several used in his flower pieces but not, as far as can be seen, a black Jackfield jug.The work is dated to circa 1912 on stylistic grounds; the composition is similar to Mauve Orchids in a Vase (Reed, ibid, p. 273) dated 1912. It is first recorded in the collection of Sir James Murray (1850-1933), when exhibited as part of the large art collection he had formed that hung in his London and Aberdeen homes. ‘…a beautiful composition of colouring’ declared the Aberdeen Press and Journal reviewing the 1920 exhibition. Having prospered in the Aberdeen meat trade Murray became Chairman of the Aberdeen Art Gallery Committee (1901-1928), and a major donor to the Gallery (founded 1885) both in terms of money and paintings. In 1917 he presented the Gallery with one of William Nicholson’s largest still lives The Brown Crow (1917) which, perhaps coincidentally, also includes a black Jackfield jug. We are grateful to Patricia Reed for preparing this catalogue entry.
• CESAR DOMELA (DUTCH 1900-1992) ABSTRACT COMPOSITIONsigned and dated Domela / 1953 lower rightgouache on handmade paper29 x 44cm; 11 1/2 x 17 1/4in41 x 55.5cm; 16 1/4 x 21 3/4in (framed)Property from a Private Collection, West LondonProvenanceA gift from the artist to his cousin, mother of the present owner (Domela's wife Ruth was the present owner's first cousin once removed)
• ADRIAN HEATH (BRITISH 1920-1992) ABSTRACT WITH RED AND ORANGE signed with initials AH lower right pencil, watercolour and bodycolour on paper49 x 36cm/ 19 1/4 x 14 1/4in 59.5 x 47cm/ 23 1/2 x 18 1/2in (framed)Executed circa 1980.Property from a Deceased Estate, LondonBorn in Burma, after attending Bryanston school in Dorset, Heath took classes with Stanhope Forbes in Newlyn, Cornwall before enrolling at the Slade. During the Second World War he served with the RAF as a tail gunner on Wellington Bombers. Taken prisoner after a failed mission, he spent the majority of the war incarcerated at Stalag 383 in Bavaria. There he met fellow prisoner Terry Frost (1915-2003), and taught him to paint. Following an unsuccessful attempt to escape, Heath spent much of his time in solitary confinement during which he developed his abstract approach to form. After the War he finished his course at the Slade, and spent time in Paris and Carcassonne. In the late 1940s and early 1950s he lived in Cornwall where he met Ben Nicholson and William Scott in St Ives. He was also a close associate of both Victor Pasmore and Anthony Hill. Heath became the main link between the emerging St Ives School in Cornwall and the British Constructivists based in London. He helped to organise the first post-war show of abstract art at the Artists International Association gallery in 1951, wrote on the origin and meaning of Abstract Art, and became the AIA's chairman (1954-1964). He served on the Arts Council's advisory art panel from 1964 to 1967.
• LINCOLN SELIGMAN (BRITISH B.1950) INDIAN TURBANSsigned LINCOLN SELIGMAN lower rightacrylic on canvas293 x 218cm; 115 1/2 x 86inProperty from the Estate of Sir John CravenProvenanceSir John Craven, London (commissioned from the artist). Sir John Craven (1940-2022), founded Phoenix Securities in 1981 and quickly became one of the most successful bankers in the glory days of the City following de-regulation. One of the early boutique investment banks in the Square Mile, Phoenix profited enormously from mergers and acquisitions at the time of the 1986 stockmarket big bang. Craven was subsequently courted by Morgan Grenfell, becoming their CEO. And when it in turn was acquired by Deutsche Bank Craven became the German bank's first non-German board member. Deutsche's fabled corporate art collection awakened Craven's interest in art, but it was via his connection with another significant corporate collection - that of Flemings Bank - he began collecting. His taste in art was eclectic and wide ranging, his particular interest in Asian culture influenced by his third wife Ning Chang - Lady Ning - who predeceased him in 2009.
AN EXHIBITION STANDARD MODEL OF AN 1845 W & A MCONIE, GLASGOW, ANGULAR LIVE STEAM STATIONARY ENGINE BUILT FROM DRAWINGS AND CASTINGS Having cylinder set at 30 degrees, open crank, eccentric driven steam valve, bevel gearing and fitted speed governor, and finished in green paintwork having 35cm long, 30cm wide, 23cm high The first Oscillating engine was attributed to Henry Maudsley in circa 1817 Similar engine sold at Dreweatts, 20th of April 2021 for £1,700
A UNIQUE AND RARE MODEL OF RUDOLF DIESEL'S FAMOUS THIRD TEST DIESEL ENGINE USED IN THE SUCCESSFUL 1897 ACCEPTANCE TEST The model is unfinished, includes a small collection of machined parts and spare parts In 1885, Diesel set up his first shop in Paris to begin development of a compression ignition engine. The process would last 13 years. In the 1890s, he received a number of patents for his invention of an efficient, slow burning, compression ignition, internal combustion engine. At MAN in Augsburg, prototype testing began with a 150 mm bore/400 mm stroke design on August 10, 1893. While the first engine test was unsuccessful, a series of improvements and subsequent tests led to a successful test on February 17, 1897 when Diesel demonstrated an efficiency of 26.2% with the engine, The full size engine of this design proved a significant improvement on the steam engines of the time which could only achieve an efficiency of 10 per cent. Please refer to 'Early History of the Diesel Engine' Rudolf Diesel's Invention. Dieselnet.com (Rudolf Diesel 1858-1913). Condition Report: This model is unfinished due to the builder passing away prior to completion of the model. Condition Report Disclaimer
AN EXHIBITION STANDARD 3 1/2 INCH GAUGE MODEL OF A 4-2-2 TENDER LOCOMOTIVE NO 3071 'EMLYN' BUILT BY AN AWARD WINNING BUILDER AND NATIONAL EXHIBITION JUDGE, THE LATE MR COLIN J F TICKLE OF NORTH WALES The silver soldered copper boiler having back-head fittings to include steam pressure gauge, water sight-glass, regulator, drain cocks with associated copper pipework and lever operated fire-box door. Simulated cab planked flooring, direction screw control and driver's seats on tool chests. The six-wheel tender having coal compartment, tool boxes, hand feed water pump and other controls. The locomotive finished in green and black lined livery with central splasher having brass polished mounts, fitted steps and handrails. Sold with transportation cradle. 110cm long overall, cab width 15cm No boiler history available. The late Colin Tickle was a long-standing volunteer and supporter of The Llanfair Railway in mid Wales where he helped from 1970 until his death in 2023. He first became a fireman followed by graduation to a locomotive driver. He retired from railway engineering at SAB Wabco in 1995. Working for them and associated companies since 1958. He was a fine model engineer winning awards and medals at the National Model Engineering Exhibition in London, where he also acted as a judge in the Railway sections. For his full obituary see The Llanfair Railway Journal No. 247. April 2023. Pages 17 to 19.
A PART BUILT 5 INCH GAUGE MODEL OF A 4-4-0 TENDER LOCOMOTIVE NO 529 THE WORK CARRIED OUT BY THE LATE MR COLIN J F TICKLE Sundry parts including part built copper boiler and tubes, a completed six-wheel tender finished in maroon and black lined livery with fitted steps, handrails and other usual fittings. The model mounted on builders stand. 145cm long (including tender), cab width 22cm The late Colin Tickle was a long-standing volunteer and supporter of The Llanfair Railway in mid Wales where he helped from 1970 until his death in 2023. He first became a fireman followed by graduation to a locomotive driver. He retired from railway engineering at SAB Wabco in 1995. Working for them and associated companies since 1958. He was a fine model engineer winning awards and medals at the National Model Engineering Exhibition in London, where he also acted as a judge in the Railway sections. For his full obituary see The Llanfair Railway Journal No. 247. April 2023. Pages 17 to 19.
A WELL-ENGINEERED 5 INCH GAUGE LONDON MIDLAND & SCOTTISH RAILWAY MODEL OF A 0-4-0 TANK SHUNTING LOCOMOTIVE NO 1529 BUILT BY AN AWARD WINNING BUILDER AND NATIONAL EXHIBITION JUDGE, THE LATE MR COLIN J F TICKLE OF NORTH WALES TO 1:11.3 SCALE The silver soldered copper boiler with back-head fittings to include steam pressure gauge, water sight-glass, regulator, lever operated firebox doors and quadrant direction control with lever and graduated settings. Fitted safety valves, whistle, and oiler system. The model is finished in black livery with polished bright-work and fitted with steps, handrails, and side water tanks. 75cm long, cab width 23cm.This locomotives sister engine No 1528 built by Mr Colin Tickle was sold by Christies at The Brighton and Hove Engineerium on the 22nd of October 1979. The late Colin Tickle was a long-standing volunteer and supporter of The Llanfair Railway in mid Wales where he helped from 1970 until his death in 2023. He first became a fireman followed by graduation to a locomotive driver. He retired from railway engineering at SAB Wabco in 1995. Working for them and associated companies since 1958. He was a fine model engineer winning awards and medals at the National Model Engineering Exhibition in London, where he also acted as a judge in the Railway sections. For his full obituary see The Llanfair Railway Journal No. 247. April 2023. Pages 17 to 19. The original full size locomotives were built at the Derby Works in 1907 for The Midland Railway. The principle places these engines were used were Staveley Iron Works, Gloucester Docks and the Breweries at Burton on Trent.
AN EXHIBITION STANDARD 3 1/2 INCH GAUGE GREAT WESTERN RAILWAY MODEL OF A 2-8-0 GOODS TENDER LOCOMOTIVE NO 4705 BUILT BY AN AWARD WINNING BUILDER AND NATIONAL EXHIBITION JUDGE, THE LATE MR COLIN J F TICKLE OF NORTH WALES TO 1:16 SCALE The silver soldered copper boiler with back-head fittings to include steam pressure gauge, water sight-glass, regulator, lever operated firebox doors and quadrant direction control with lever and graduated settings. The six-wheel tender with coal compartment and many other fittings. The model finished in Great Western green lined livery and crest finished with fitted steps, handrails, couplings and vacuum hoses. Sold with transportation cradle. 126cm long, cab width 17cm. No boiler history available. The original working engines were built at the GWR Swindon Works in 1922. One of a class of nine locomotives carrying fast overnight freight from London-Plymouth and London-Birkenhead. This model is based on the Swindon arrangement drawings and many photographs used by Mr Tickle to complete this fine model. The late Colin Tickle was a long-standing volunteer and supporter of The Llanfair Railway in mid Wales where he helped from 1970 until his death in 2023. He first became a fireman followed by graduation to a locomotive driver. He retired from railway engineering at SAB Wabco in 1995. Working for them and associated companies since 1958. He was a fine model engineer winning awards and medals at the National Model Engineering Exhibition in London, where he also acted as a judge in the Railway sections. For his full obituary see The Llanfair Railway Journal No. 247. April 2023. Pages 17 to 19.
A FINE RAKE OF FIVE GAUGE 1 COACHES 'BRIGHTON BELLE' FIVE-CAR SET MADE BY FM MODELS FOR GOLDEN AGE MODELS Model is switchable on 2-rail or radio controlled from onboard rechargeable battery. The coaches have full interiors with onboard rechargeable battery lighting. Complete with chargers and radio control handset. Mint condition, boxed with instructions. This Brighton Belle set 3053 comprising Driving Motor Cars 90 & 91, Third class Car 87 and First class Cars Audrey & Vera.
A selection of books relating to Scotland, titles including: The First Munroist, by Peter Drummond and Ian Mitchell; Scottish Mountaineering Club Guide: Island of Skye, by Steeple, Barlow, and Macrobert; A High and Lonely Place, by Jim Crumley; On Foot in the Cairngorms, by V. A. Firsoff; Tramping Holidays in Scotland, by Tom S. Hall; and others, contained across two boxes.
A collection of books relating to mountaineering including, England's Highest Peaks by Alastair Dibb, The First 50 Years of the British Mountaineering Council, native Stones by David Craig, Eastern Grit by Chris Cragg, Northern England by Chris Cragg, Western Grit by Chris Cragg, Northern England by Kris Craggs, Northumberland Climbing Guide, British Rock Climbing, by Jill Fawcett, Coastal Paths of the South West by Edward Piyatt, The Four Peaks by Rex Bellamy, the high peak to Sherwood by Thomas L Tudor, The Totem Pole by Paul Pritchard, and more, one box.
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