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Lot 72
A Waterman's Ideal Filigree Silver overlay fountain pen, black with sterling silver Art Deco style overlay, the cap engraved WATERMAN'S STERLING to the lower rim, the clip engraved CLIP CAP STERLING PAT. SEPT 26.05 and with Ideal globe logo, the barrel overlay further engraved STERLING and with logo, the pen base marked WATERMAN'S REG. USA PAT OFF MADE IN USA, the nib engraved WATERMAN'S IDEAL NEW YORK 4, length 13.5cm (capped), weight 22g
Lot 73
A Waterman's Ideal No.7 Red Ripple fountain pen, the cap missing colour band, the lower band engraved FDW, the tapering ball-ended clip engraved CLIP CAP and with Ideal in globe logo, the nib engraved PINK WATERMAN'S IDEAL REG. U.S. PAT. OFF, the recessed clip to the barrel bearing Ideal globe logo, length 14cm (capped), weight 18.4g
Lot 455
A mid-20th century illuminated celestial globe marked Columbus-Himmelsglobus, bearbeitet von Prof Dr Johannes Reim, kartograph C Luther, Columbus verlag Paul Oestergaard, approximately 34cm diameter on chromium and wooden base, 44cm high overall, together with an illuminated 'Rath Fisical Political Globe', 34cm approximately, (2).
Lot 35
Chad Valley - Mettoy - A collection of vintage toys including a tin plate ball race game with a tobacco tin of balls, a Chad Valley M200 Globe, a Mettoy Toytown Cash Register and other items. They show some signs of age and use and appear in Good condition overall. (This does not constitute a guarantee)
Lot 319
A QUANTITY OF CUT CRYSTAL AND OTHER GLASS WARES, approximately eighty pieces, to include a Royal Brierly globe vase height approximately 15cm, a Matisse Jaffe Rose square decanter, a sugar sifter with plated lid and rim, a vase with flared rim height 15cm, a covered jar, eleven sets of drinking glasses with some singles and pairs, etc (Qty) (Condition report: most pieces appear in good condition, occasional chips/fleabites)
Lot 458
A GROUP OF COLOURED GLASS WARES, fifteen pieces to include a Phoenician Glass, Malta yellow, blue and brown glass sculpture height 16cm, a Mdina turquoise, brown and white baluster vase height 11.5cm, a Zorza art glass green and white bowl, a small black Phoenician Glass vase with silver inclusions height 15cm x diameter 3.5cm, a paperweight in the form of the globe, assorted vases tallest 50.5cm, etc (15) (Condition report: most pieces appear in good condition, some damage)
Lot 11
Curved enamel sign imitating a barber pole with the words "Modern Service" on the front of it. Bottom of sign is marked "Bob White Sign Co, Milwaukee/Pat. No. 1,688,017.". Front of the enamel sign is in good condition with some minor rust on edges and a large patch of finish missing on blue star spangled globe. Bottom edge has a patch of rust and missing finish. Height: 122 cm. Width: 23 cm. Depth: 7,5 cm. Condition: Good. Location: The Netherlands, Tilburg.
Lot 193
1983 Destron GDI "The Main Event" coin-operated arcade boxing game. Built like the classic boxing arcade games in early 20th century, this arcade works in a very similar way. A two player game where each player is attempting to score points or a knockout by striking their opponent. This arcade shows little wear, is complete with no cracks to the plexiglas globe. No keys. Height: 106,5 cm. Width: 90 cm. Depth: 142 cm. Condition: Very Good. Location: USA, Philadelphia.
Lot 316
Early Gilbert & Barker gas pump with older restoration done in Red Crown gasoline motif. Painted red inside and out with proper and double sided reproduction metal globe and glass inserts. Some exterior parts re-chromed and added a new white cloth gas hose. Has the original side buttons, visual gallon scale panel and dial face. It is missing the original pump handle. Height: 250 cm. Width: 45 cm. Depth: 45 cm. Condition: Good. Location: The Netherlands, Tilburg
Lot 26
A Disney Aladdin snow globe, 31 cm (h) and a limited edition Wedgwood Looney Tunes porcelain model depicting Bugs Bunny and Yosemite Sam, numbered 222/500. [2]Condition Report: On the Aladdin example Iago has lost the upper part of his beak, there are surface marks and dirt in areas, musical movement working, illumination untested, porcelain model appears in good condition, no chips, cracks, hairlines or restoration, there is surface dirt throughout.
Lot 258
STUDIO GLASS SPIRALE INCALMO DECANTER BY BOB CROOKS, of globe & shaft form with spiral stopper, signed, 32cm h, together with three tall Italian moulded coloured glass flasks & stoppers, and two Whitefriars style moulded glass vases (6)Comments: Crooks decanter stopper with foot cracked and glued.
Lot 565
'THE ARRIVAL AT THE PEACH FESTIVAL', QING DYNASTYChina. Ink and color on silk. Depicting the arrival of deities to the peach festival with Xiwangmu on the top right riding a horned dragon, to her right, Yudi on a throne carried by his attendants, both emerging from clouds, with other attendants and spectators carrying oversized peaches, on the lower left depicting the eight immortals, some arriving by boat and horse, and in the right corner Shoulao and his attendants in conversation while walking towards a bridge.Inscriptions: Top right one seal 'Qianlong yulan zhibao'. Center right 'Longmian jushi, Li Gonglin' and two seals.Provenance: From the private collection of Michael B. Weisbrod, New York, USA. 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: Commensurate with age, some losses, creasing, tears, one handle missing, foxing, and soiling. Abrasions and wear. Dimensions: Image size 150 x 192 cm, Size incl. mounting 160.7 x 225 cmWith a brocade frame and a European brass handle, the latter dating to the first half of the 20th century or earlier.Expert's note: The present lot is influenced by the artwork of the Northern Song dynasty painter Li Gonglin (active 1049-1106). It is known that during the reign of Emperor Qianlong (1736-1795) masters from the Palace Painting Academy were commissioned to copy a significant number of ancient works from the Imperial palace collection, predominantly for conservatory purposes, but also for a number of other reasons. This could explain why a 'Qianlong yulan zhibao' seal mark can be found on the top right corner of the artwork.The Queen Mother of the West, or Xiwangmu, is one of the most important goddesses of the traditional Chinese pantheon. According to legend, she dwelt in the Kunlun Mountains, located south of the Takla Makan desert in western China, where she was visited by a number of emperors and Daoist masters seeking immortality. Her most famous encounter reportedly occurred in 110 BC, when she journeyed to the court of Emperor Wu of the Han dynasty (reigned 141-87 BC) and presented him with several magical peaches, which ripen only once every three thousand years. Said to confer immortality when eaten, these special peaches became the most common attribute of the Queen Mother. According to early sources, the peaches of immortality grow not only in the mountain home of the goddess but also on certain mythological islands in the ocean east of China, where other gods and immortals reside.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.清代《群仙拱壽圖》中國。絹本水墨設色。群仙來到爲慶祝西王母壽誕蟠桃盛會。圖中可見西王母騎著虯龍，很多侍從手中拿著仙桃，還可看到八仙過海場景，很多仙人翹首觀望，並有壽老與其隨從往一座橋走去。人物動作神態十分寫實自然，面部表情生動，將各人不同特徵表露無疑。 款識：乾隆御覽之寶，龍眠居士李公麟製 來源：美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 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術藝廊。 這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：有一些缺損、摺痕、撕裂、褐變、污漬，有磨損。缺一柄。 尺寸：畫面150 x 192 厘米，總160.7 x 225 厘米 織錦框架和歐洲黃銅手柄，後者可以追溯到20世紀上半葉或更早。 專家注釋：此拍品受北宋畫家李公麟（1049-1106 年）的風格影響。眾所周知，在乾隆年間（1736-1795），宮廷畫院的畫師們被委託從皇宮收藏中復制大量古代作品，主要用於保存古代名作的目的，但也有其他一些原因 。這可以解釋為什麼在藝術品的右上角可以找到“乾隆御覽之寶”的印。
Lot 587
A LARGE 'FIVE DRAGON' WOOL CARPET, QIANLONGChina, 1736-1795. Finely woven with a central front-facing five-clawed dragon writhing around a flaming pearl, encircled by two pairs of confronting sinuous dragons, each chasing a pearl, surrounded by swirling clouds, bordered to the long sides with bands of pearls, key-fret, and the Eight Buddhist emblems alternating with floral designs, each end with a terrestrial diagram above lishui stripe.Provenance: From the personal collection of Michael B. Weisbrod, New York, by repute acquired at Sotheby's in the 1990s for approx. USD 30,000. 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: Overall fair condition with extensive wear, minor fading to colors, losses and tears, possibly minor old repairs.Dimensions: Size ca. 480 x 350 cmWhile the dragon itself is the symbol of the emperor, the number five is most auspicious and represents the 'Five Blessings (wufu)' of old age, wealth, health, virtue and peaceful death. The design of 'Five Dragons' also alludes to the 'Five Dragons of Yanshan (Yanshan wulong)', named after the five sons of Dou Yujun, who lived in Yanshan during the Five dynasties period (907-960), each of whom achieved exceptional success with their father epitomizing the ideal parent.The Eight Auspicious Buddhist Symbols (bajixiang) amongst the dragons in the design are also unusual and suggest the possibility of the rug being used at Buddhist ceremonies or on special religious occasions. However, it also demonstrates the level of creative freedom exercised by artists during Qianlong's reign who were encouraged to produce pieces with one-off designs. See a zitan closet, where the bajixiang is carved amongst dense ruyi-form clouds, from the Qing Court collection and still in Beijing, included in The Complete Collection of Treasures of the Palace Museum, Furniture of the Ming and Qing Dynasties (II), Hong Kong, 2002, pl. 206, and a red sandalwood throne also carved with dragons and clouds, where the bajixiang is used as a design element on its own, ibidem, pl. 26.Literature comparison: A related Imperial dragon carpet dating from the 18th century is illustrated by R. Soame Jenyns, Chinese Art, Vol. III, Oxford, 1981, no. 18.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.乾隆大型紅地五龍紋羊毛地毯中國，1736-1795年。地毯正中央盤旋著一條五爪大龍，龍身與龍頭為深藍色，龍爪則是深藍色，龍看上去炯炯有神，面對一顆火珠，氣勢十足。在這條大龍的上下兩側，分佈著四條模樣相似的小龍，這些小龍都面向大龍團團圍住，一派祥和。而在五條龍盤踞的區域外圍，則有規律地分佈著花草、祥雲、五色波紋，圖案豐滿，氣勢恢宏。 來源：美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 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術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：整體狀況良好，磨損嚴重，輕微褪色、缺損，撕裂，可能有輕微的維修。 尺寸：約480 x 350 厘米 龍象徵帝王，數字五是最吉祥，是代表著長壽、財富、健康、美德和安寧的“五福”。此外，地毯上的八吉祥紋也很不尋常，表明地毯可能用於佛教儀式或特殊的宗教場合。同時，它也展示了乾隆年間藝術家的創作自由程度。文獻比較： 一件相近的十八世紀御製龍紋地毯，R. Soame Jenyns，《Chinese Art》，卷III，牛津，1981年，編號18。
Lot 277
A CLOISONNE 'LANDSCAPE' VASE, CONG, LATE QING TO REPUBLICChina, 1850-1950 or earlier. The square-sectioned body rising from a splayed foot and surmounted by a tapered neck, each facet brightly enameled with a landscape scene, variously depicting tiered pavilions nestled amongst jagged cliffs and trees below vaporous clouds, the foot and neck similarly decorated with stylized lotus scrolls against a turquoise ground, the borders covered in gilt. The base with a neatly incised four-character mark Qianlong nianzhi within an inlaid and gilt square reserve.Provenance: From the private collection of Michael B. Weisbrod, New York, USA. 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 with some old wear, shallow surface scratches overall, firing flaws including extensive pitting, few minor nicks and microscopic hairline cracks here and there.Weight: 3 kg Dimensions: Height 32.2 cmLiterature comparison:Compare a closely related cloisonne enamel 'landscape' cong, but dated to the Qianlong period (1736-1795), at Christie's Hong Kong, 29 May 2013, lot 2075.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.清末民初山水紋掐絲琺瑯瓶中國，1850-1950 年或更早。沿襲了玉琮基本形制，上下口足為圓形，短頸，方柱形長身。瓶口足、邊緣棱角均鎏金，瓶身四面開光內以藍色琺瑯釉為地，以紅、白、藍、黑等色繪製軒榭庭宇、遠山近水等紋飾，頸、足處掐絲裝飾四朵纏枝蓮花紋，色彩繽紛艷麗，工藝精湛。圈足内“乾隆年製”款。 來源：美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 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術藝廊。 這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：狀況極好，有一些舊磨損，整體表面劃痕較淺，燒製缺陷包括大範圍的點蝕，很少有輕微的劃痕和細微的細線裂紋。 重量：3 公斤 尺寸：高32.2 厘米 文獻比較： 比較一件非常相近的清乾隆山水圖掐絲琺瑯琮式瓶，見香港佳士得，2013年5月29日，lot 2075。
Lot 561
'DEER AND PINE', 17TH-18TH CENTURY OR EARLIERChina. Ink and watercolor on silk. Depicting two deer, one resting below a rose bush, the other raising his head towards two birds perched on a gnarly branch. The background with a waterfall and crashing waves. Mounted to a blue brocade frame with wan symbols.Provenance: From the private collection of Michael B. Weisbrod, New York, USA. 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: The painting is in good original condition, commensurate with age, and still presenting well. Minor wear, few creases, small tears and losses, some abrasions, staining and browning, but no restorations or touch-ups whatsoever. The colors are still quite fresh. The brocade mount with losses and tears.Dimensions: Image size 177.5 x 100.5 cm, Size incl. mounting 224.3 x 117 cmIn Chinese culture, the deer symbolized longevity, but can also have wealth and prosperity connotations to it. The Chinese word for deer is also a homonym for lu, which means good income. The animal is generally associated with Shoulao, the god of longevity.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.十七至十八世紀或更早《松下雙鹿圖》中國，絹本水墨設色。描繪了兩隻鹿，一隻在玫瑰叢下休息，另一隻抬起頭，望著兩隻棲息在松樹上的錦鷄。樹後岩石之間有瀑布。萬字紋藍色織錦裝裱。 來源：美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 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術藝廊。 這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：畫作保存完好，輕微磨損、少量摺痕與撕裂、一些擦傷、缺損、染色和褐變，但沒有任何修復或修飾。顏色仍然相當鮮豔。錦緞裝裱有缺損和撕裂。 尺寸：畫面177.5 x 100.5 厘米，總224.3 x 117 厘米
Lot 95
World.- Vaugondy (Didier Robert de) Mappemonde ou Description du Globe Terrestre, double-hemisphere world map with the north-west of North America left unknown, outlines of parts of New Zealand and speculative coastal delineation of the west of Australia, and showing the tracks of the voyages of Bouvet de Lozier (1738-9) in the Antarctic and of Anson (1740-43) across the Pacific 1752, ornate cartouche designed by Cochin and engraved by Tardieu in the upper and lower sections, engraving with full early hand-colouring, on laid paper with watermark and countermark dated '1742', platemark 495 x 730 mm (19 1/2 x 23 3/4 in), sheet 530 x 840 mm (20 7/8 x 33 in), full margins, vertical folds with some minor repairs to splitting, minor nicks and tears to extremities, handling creases light spotting and surface dirt, unframed, Pairs, 1752
Lot 19
A 'TAOTIE' INCENSE STAND, XIANGJI, QING DYNASTYChina, 1644-1912. Of roughly oval, foliate-lobed form, the top carved to the sides with key-fret and inset with a conforming panel above the recessed waist carved with reticulated kui scroll panels, supported on an intricately carved apron decorated with taotie masks, pierced designs, and cloud scroll, the six elaborate cabriole legs carved with further archaistic scroll motifs, raised on a stretcher carved with key-fret to the sides.Provenance: From the private collection of Michael B. Weisbrod, New York, USA. 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: Good condition with old wear, expected age cracks, small losses, minor chips, light scratches. There is a remote possibility that the apron and cabriole legs are of a significantly earlier date than the top, waist, and stretcher which date from the mid to late Qing dynasty. Fine, naturally grown patina overall.Dimensions: Height 69 cm, Width 60 cm (the tabletop)Incense stands, both in lacquer and hardwood, are seen in a variety of forms, including round, square, foliate, hexagonal and octagonal and are constructed with between three and six legs. Round lacquer incense stands appear to be the most commonly published examples and are depicted in woodblock prints from the Ming dynasty. The Palace Museum, Beijing has four examples ranging in date from the Xuande period (1426-1435) to the early Qing dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum, Furniture of the Ming and Qing Dynasties, 2002, nos. 162, 165, 166, and 169.Expert's note: The timber from which this incense stand was made is rosewood (Dalbergia). It has a lovely grain and fine patina. While some houses refer to this type of wood as huanghuali, in our opinion and due to some subtle differences, it may also be accurate to refer to it as hongmu. The stand has been created by a highly skilled craftsman and the quality of the carving is excellent, most remarkably around the apron and cabriole legs.Expert's note (continued): Since the printing of this catalogue, we have been informed that this lot was originally acquired by Anunt Hengtrakul in New York, USA, c. 1985. Furthermore, it was at the time inspected by the famous Manhattan-based Chinese art dealer Robert H. Ellsworth and his restorer, Paul Chow, and both confirmed that while the apron and feet of this Xiangji are carved from Zitan, the top, waist and stretcher are made from Hongmu. Ellsworth specifically mentioned that while this seems to be a rare combination, he had seen other examples before. One such table for example is found in the Soame Jenyns Collection of Japanese and Chinese Art, sold at Christies London, 6 November 2018, lot 43, for GBP 32,500, or EUR 44,500 (converted and adjusted for inflation). A Xiangji with the same combination was sold by Sotheby's on 7 November 2018, lot 130, for GBP 32,500 or EUR 44,500 as well.Literature comparison:Compare a related xiangji, also supported on six legs, in the Palace Museum, Beijing, illustrated in Wang Shixiang, Classic Chinese Furniture, London, 1986, pl. 76.Auction result comparison: Type: Related Auction: Christie's London, 10 May 2011, lot 192 Price: GBP 18,750 or approx. EUR 30,000 converted and adjusted for inflation at the time of writing Description: A huanghuali five-legged incense stand, xiangji, 18th century Expert remark: Compare the related openwork decoration to the apron. Note the smaller size (51.2 cm high)13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.清代饕餮紋香几中國，1644-1912年。六足香几，高束腰，造型優美典雅、線條高挑流暢，頂部刻有雷紋，並在束腰部上方嵌有一個面板，雕刻有網狀夔龍紋，牙條飾有饕餮面具，鏤空雕刻，捲雲紋，六條三彎腿上雕刻著卷葉紋，圓形托泥帶龜腳。 來源：美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 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術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。品相：狀況良好，老化裂紋、小缺損、輕微碎屑、輕微劃痕。牙條和腿的年代可能早於其他部位。整體包漿細膩。 尺寸：高69 厘米，寬 60 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 154
A SMALL WHITE MARBLE FIGURE OF A LION, TANG DYNASTYPublished: Religion and Ritual, Michael B. Weisbrod, Inc., 1987, no. 19.China, 618-907. Finely carved, the beast seated on its haunches atop a rectangular plinth and facing forward with the mouth wide open in a ferocious roar, the fierce expression further marked by large bulging eyes. Three long strands of a split beard are smoothly carved on the chest below the chin in rounded relief. The pointed ears are laid back above the thick, subtly carved curls of the mane. Its tail curls around the figure's right side with the end lying over the back paw and below the chest.Provenance: Michael B. Weisbrod, Inc., New York, USA, acquired 1985 in the Hong Kong market. The collection of J. Abraham Cohen, New York, USA, acquired from the above. Michael B. Weisbrod, Inc., New York, USA, 2010, acquired from the above. A notable Canadian private collection, acquired from the above. 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: Superb condition, commensurate with age. Small losses and nicks, light scratches, old wear and weathering, some imperfections to the stone. Fine, naturally grown patina with an unctuous feel and a magnificent ivory color overall.Weight: 1,837 g Dimensions: Height 16.2 cmThe lion is well represented in Buddhist art of the Tang dynasty. Its roar was said to represent the dissemination of the Buddhist scriptures. In their role as guardian figures, lions can be found not only lining spirit roads which lead to imperial tombs, but also in pairs in tombs, such as the pair of small marble lions found guarding the front room of the underground hoard of Buddhist relics at the Famen Temple. See Famen Temple, Shanxi, 1990, pp. 164-167. This figure is stylistically related to other marble lions of Tang date that are also seated on a plinth, some facing forward, some with the mouth open.Literature comparison: The present marble lion bears a strong resemblance to one of the large stone guardian lions along the spirit path of the Qian Ling mausoleum, the tomb of Emperor Gao Zong and Empress Wu Zetian near Xi'an, illustrated by Qian, Out of China's Earth, page 156, and also by Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, volume 4, pl. 431A. Allowing the difference in size and material, there is a marked similarity in the shape of the muzzle, the split beard and the collar of flesh between the shoulders and legs. The large stone lion is probably no later than AD 683, the year of Gao Zong's death.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2020, lot 908 Price: USD 475,000 or approx. EUR 533,500 converted and adjusted for inflation at the time of writing Description: A small white marble figure of a seated lion, China, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (18.2 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 25 March 2022, lot 742 Price: USD 75,600 or approx. EUR 74,000 converted at the time of writing Description: A superb carved white marble figure of a lion, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (17 cm).13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.唐代小漢白玉獅中國，618-907年。雕工精巧，石獅呈現蹲坐式樣，前肢斜伸，胸部挺起，獅頭昂揚，雙目圓睜，頭頸處鬃毛分成數縷垂捲，細膩逼真，體格雄健。它的尾巴捲曲在右側，末端位於後爪上方和胸部下方。出版：Michael B. Weisbrod，Inc.，《Religion and Ritual》，1987年，編號19。 來源：美國Michael B. Weisbrod藝廊，1985年購於香港；美國紐約J. Abraham Cohen收藏；B. Weisbrod藝廊2010年購於上述收藏。美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 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術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：狀態極好，小缺損和刻痕，輕微的劃痕，磨損和風化，石質有些不完美之美。自然包漿，瑩潤細膩。 重量：1,837 克 尺寸：高16.2 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 136
A RARE ARCHAIC BRONZE RITUAL WINE VESSEL, HU, MIDDLE WESTERN ZHOU DYNASTYExpert's note: This vessel comes in a 100% untreated, original, as-excavated condition unlike most of the large Shang and Zhou Dynasty bronzes in circulation, which typically have undergone substantial restoration and patina treatment/enhancement. The X-Ray (images 3 and 4) reveals that the meticulously incised design is in a magnificent state of preservation just below the patina. The X-Ray (images 20, 21, 22 and 23) further reveals that there is no repair work whatsoever, and that deep surface corrosion is minimal. Overall, it must be said that such a large vessel, which such fine designs, and in such a good condition must be regarded as very rare. (more x-ray images available upon request)China, 10th-9th century BC. The sides flat-cast with four rows of large fish scale patterns with combed borders, below two pairs of long-tailed birds confronted on a leiwen band between a pair of lug handles flanking the base of the neck, the whole raised on a spreading pedestal foot pierced on two sides with a circular aperture. The bronze is covered overall in a magnificent, naturally grown patina with extensive malachite, cuprite, and azurite encrustation.Provenance: A Far Eastern collector in Queens, New York, USA. Originally, one of a pair. The other sold from his collection at Christie's New York, 26 March 2003, lot 155, and is now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Michael B. Weisbrod, acquired from the above. 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: Excellent condition, commensurate with age. Extensive wear, minor losses and small nicks, light scratches, encrustations. Natural patina overall with extensive malachite, cuprite, and azurite encrustations. The patina further with scattered cloth imprints from ancient linen into which the vessel was shrouded before being buried, now long gone. X-ray images proving the excellent condition are available upon request.Weight: 5,480 gDimensions: Height 40.5 cmLiterature comparison: Compare the counterpart to this jar, once in the same collection as the present lot, at Christie's New York, 26 March 2003, lot 155, and now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Compare also a similar bronze hu, with cover, found in Baijia, Fufeng, Shaanxi province, 1975, and now in the Fufeng County Museum, illustrated in Zhonguo meishu quanji, gongyi meishu, bian 4, qingtongqi (1), (The Great Treasury of Chinese Fine Arts, Arts and Crafts, volume 4, Bronzes (1)), Beijing, 1987, page 192, no. 213, where the pattern on the body is described as fish scales. It is possible, however, that this may be feathers, which would relate to the birds on the neck. Either way, the patterns on the present vessel and the published example are identical. Compare also a related hu, of more slender form with a band of confronted birds on the neck between the lug handles, and rows of overlapping feathers or fish scale patterns of smaller size covering the body, in the collection of the Shanghai Museum, included in the exhibition, Ancient Chinese Bronzes, Hong Kong Museum of Art, 1 February-3 April 1983, no. 28. Like the present hu, this example is dated to the middle Western Zhou period.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.西周中期罕見青銅壺中國，公元前十至九世紀。兩側平鑄，浮雕四排魚紋，下面兩對長尾鳥紋，雷紋帶，頸部兩側分別有一貫耳。圈足外撇，有一個孔。青銅壺整體美麗的綠色皮殼，并有綠色、藍紅色鏽斑。 來源：紐約皇后區遠東收藏家，原本是一對。另一個於2003年3月26日紐約佳士得售出，Lot 155，目前在英國沃克郡 Compton Verney 美術館，編號CVCSC 0303.A；Michael B. Weisbrod購於上述藏家處。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 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術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。品相：狀況極佳，與年齡相稱。大面積磨損、輕微損失和小劃痕、結殼。整體天然皮殼，帶有大量綠色、紅色以及藍色鏽斑。可根據要求提供證明狀況良好的 X 射線圖像。 重量：5,480 克 尺寸：高40.5 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
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