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Cornas Granit 30 2010 (1) Cornas Granit 60 2010 (1) Cornas Le Geynale 2010 (1) All of the above are Domaine-bottled by Vincent Paris This lot is offered in bond (LCB Barking) and is subject to excise duty and VAT on the hammer price if taken duty-paid

Chateau du Beaucastel, Chateauneuf-du-Pape 2010 (1) Clos des Papes, Chateauneuf-du-Pape 2010 (1) Domaine du Vieux Telegraphe, Chateauneuf-du-Pape 2010 (1) This lot is offered in bond (LCB Barking) and is subject to excise duty and VAT on the hammer price if taken duty-paid

6 bottles Chassagne-Montrachet Le Concis de Champs 2012 Cote de Beaune. Domaine Hubert Lamy In original carton This lot is offered in bond (LCB Barking) and is subject to excise duty and VAT on the hammer price if taken duty-paid

1 bottle Gevrey-Chambertin 1er Cru, Les Corbeaux Vieilles Vignes 2013 Cote de Nuits. Domaine Denis Bachelet This lot is offered in bond (LCB Barking) and is subject to excise duty and VAT on the hammer price if taken duty-paid

1 bottle Gevrey-Chambertin Vieilles Vignes 2013 Cote de Nuits. Denis Bachelet This lot is offered in bond (LCB Barking) and is subject to excise duty and VAT on the hammer price if taken duty-paid

6 bottles Chablis Grand Cru Les Clos 2012 Chablis. Domaine William Fevre In original wooden case This lot is offered in bond (LCB Barking) and is subject to excise duty and VAT on the hammer price if taken duty-paid

1 bottle Hermitage Le Greal 2010 Rhone. Domaine Marc Sorrel This lot is offered in bond (LCB Barking) and is subject to excise duty and VAT on the hammer price if taken duty-paid

4 bottles Charmes-Chambertin Grand Cru 2010 Cote de Nuits. Camille Giroud This lot is offered in bond (LCB Barking) and is subject to excise duty and VAT on the hammer price if taken duty-paid

6 bottles Chateau de Lacaze Bas Armagnac 1981 In original carton. 46% ABV This lot is subject to VAT on the hammer price Lying at LCB Barking

12 bottles Pommard Clos Marey Monge 2009 Cote de Beaune. Chateau de Pommard In original six-bottle cartons. Stored at Chateau de Pommard on behalf of the owner until August 2021 This lot is offered in bond (LCB Barking) and is subject to excise duty and VAT on the hammer price if taken duty paid

6 bottles Chablis Grand Cru Les Clos 2012 Chablis. Domaine William Fevre In original wooden case This lot is offered in bond (LCB Barking) and is subject to excise duty and VAT on the hammer price if taken duty-paid

2 bottles Cornas La Geynale 2010 Rhone. Domaine Vincent Paris This lot is offered in bond (LCB Barking) and is subject to excise duty and VAT on the hammer price if taken duty paid

4 bottls Nuits-Saint-Georges 1er Cru Les Pruliers 2010 Cote de Nuits. Domaine Jean Grivot This lot is offered in bond (LCB Barking) and is subject to excise duty and VAT on the hammer price if taken duty-paid

1 bottle Bin 707 Cabernet Sauviugnon 2007 South Australia. Penfolds This lot is offered in bond (LCB Barking) and is subject to excise duty and VAT on the hammer price if taken duty-paid

English Pepperbox Pistol with 6 barrels each 65mm in length, bore approx. 9mm by "Cort & Co, Leicester". Working action and safety catch. Folding trigger. Plain white metal escutcheon plate. Engraved decoration to both sides of the lock and to the Dolphin shaped hammer. Overall length 205mm. NOTE: Section 58 (2) No licence required in the UK.

Percussion Cap Musket with 83cm long barrel, bore approx. 20mm. Working action but hammer is loose missing retaining nut. No makers mark or proof marks. Overall length 121cm. Complete with ramrod. NOTE: Section 58 (2) No licence required in the UK.

Viking Age, Ca. 700–900 AD. A silver amulet of a stylised hammer with a slightly asymmetrical head and a tapering shaft. This type of amulet is modelled after the axe Molnia and is often seen as a counterpart to the common Mjölnir amulet. Some associate these axe pendants with Perun who was the ruler of the living world, sky and earth who used the axe to kill the snake that stole the earthly light. For more information on Viking jewellery, see Arbman, H. (1940). Birka I Die Gräber. Uppsala & Hubbard, B. (2016) The Viking Warrior. Amber Books Ltd, London, 61-65.Size: L:245mm / W:mm ; 50gProvenance: Private London collection since the 1990.

Ca. 900-1100 AD. An iron bearded axe head with a slender and long curved blade and a square-section poll that may have been used as a hammer. The profile of the blade is square at the lower edge in the classic Skeggøx profile manner. Bearded axes were common from the 6th century AD onwards in Scandinavia but made especially famous by the Vikings. In bearded axes, the main part of the blade extends below the butt of the axe creating a large cutting blade that allows fighters to hook onto the shields or weapons of their opponents.Size: L:100mm / W:170mm ; 455gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1990s on the UK / International art markets.

Ca. 900-1100 AD. A stunning silver pendant in the shape of a Mjölnir (Thor's hammer) decorated with engraved dots and crosses. Good condition. Thor's hammer pendants were worn as religious amulets throughout the Viking era; they were usually made of silver and hung on silver chains. Thor was a prominent Norse god and his Mjölnir is depicted in Norse mythology as one of the most fearsome weapons, capable of levelling mountains. Though generally recognised and depicted as a hammer, Mjölnir is sometimes referred to as an axe or club. This item is in wearable condition and it comes with a modern necklace cord. To find out more about the Vikings and their art, see Graham-Campbell, J. (2013). Viking Art. London: Thames and Hudson Ltd. For more information on Viking Jewellery, see Arbman, H. (1940). Birka I Die Gräber. Uppsala and Hubbard, B. (2016) The Viking Warrior. Amber Books Ltd, London, 61-65.Size: L:65mm / W:45mm ; 30gProvenance: Property of a European private collector; formerly acquired from UK private collection.

A Norwegian silver and enamel Butterfly Brooch, by Marius Hammer, in pale blue, marked on the reverse 930S and with makers mark, 3.3cm wide.

A gilt-metal mantel clock, circa 1900. Mounted with a man holding a hammer and chisel, the white dial with Roman numerals, with striking mechanism and pendulum, on a shaped gilt-metal base with floral details, H24cm

An 18th century brass long case clock dial and movement, the brass chapter ring showing Roman numerals with subsidiary seconds dial and date aperture, the 8-day movement with five pillars, width 28cmSigned William Moore in Brantforde, with full repeat, six pillar movement. Some rust to movement. Hammer bent. No engraving to back plate. No weights or pendulum. 11" dial, 10" chapter ring. 8 day going movement.

Good mahogany and ebony strung square piano by Clementi & Co of London, the fascia board inscribed New Patent, Clementi & Co, Cheapside either side of stylised scrolling foliage, ser. no. 12015, fitted with a single pedal and supported upon seven turned tapering legs terminating in brass caps and castors, 68" wide, 25" deep, 33" high ** Ivory Sale Submission reference WJWBYCXM *This piano has undergone professional restoration and is in good playing condition. It also retains the original strings and hammer leathers and, overall, is in reasonable original condition

Vintage hammer throwing equipment 

Enamelled seed pearl and paste white metal pendant necklace, blue enamel, split seed pearls and baroque pearls, length approx 45.5cm, probably Scandinavian in the style of Marius Hammer

Edward the Confessor (1042-1066), Penny, Hammer Cross type, Steyning, Deorman, diorman mo stænig, 1.33g/3h (HHK 35; Freeman 8, this coin cited; N 828; S 1182). Extremely fine, attractively toned £400-£500 --- Provenance: R.C. Lockett Collection, part I, Glendining Auction, 6-9th June 1955, lot 848 (part) bt Baldwin 1963 Struck from the same dies as the Fitzwilliam (SCBI 1, 928-9), Ashmolean (SCBI 9, 982-3) and Mack (SCBI 20, 1263) specimens.

A FAMILLE VERTE BOTTLE VASE, YUHUCHUNPING, KANGXI PERIODChina, 1661-1722. Well potted, the pear-shaped body rising from a splayed foot to a waisted neck with everted rim, finely painted to the exterior with evenly spaced flowering prunus branches, framed to the shoulder and foot with bands of lotus blossoms and scrolling vines, the neck with a geometric border. The base with an iron-red monogram.Provenance: Robert H. Ellsworth, New York, USA. Michael B. Weisbrod, New York, USA, acquired from the above, ca. 1990. Two old inventory numbers '2' and '929' to the mouth and base. 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: Some old wear, glaze flakes, expected firing flaws including dark spots and pitting, the base drilled, the foot with some chips, a small glaze crack, and minuscule losses.Weight: 1,294 g Dimensions: Height 25 cmExpert's note: According to Michael B. Weisbrod, the vase was acquired from Robert H. Ellsworth, who confirmed it as a Kangxi period vessel. Robert Hatfield Ellsworth (1929-2014) was a noted Manhattan-based collector and dealer of Asian paintings, works of art and furniture from the Ming and Qing dynasties. He was a supporter of architectural restoration in Huangshan and an honorary Chinese citizen.Auction result comparison:Type: RelatedAuction: Christie's London, 7 November 2008, lot 360Price: GBP 3,000 or approx. EUR 5,400 converted and adjusted for inflation at the time of writingDescription: A famille verte bottle vase, KangxiExpert remark: Compare the closely related form and enamels. Note the smaller size (17.4 cm) and different subject.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.康熙硬彩玉壺春瓶中國，1661-1722年。玉壺春瓶撇口，束頸，頸以下漸向外闊，其腹部渾圓大氣，至近底處內斂，圈足微外撇。腹部團花紋，近足部纏枝花卉紋。圈足内鐵紅單字款。 來源：紐約Robert H. Ellsworth收藏；紐約Michael B. Weisbrod約於1990年購於上述收藏。口部和底部分別有收藏標籤 '2' 與 '929'。Michael B. Weisbrod購於上述收藏。Michael B. Weisbrod是一位著名的中國藝術學者，在五十多年的時間內發表了大量有關中國藝術的文章。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畫廊。這對父子團隊於 1977 年在紐約麥迪遜大道開設了他們的藝廊，在接下來的四十五年裡，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，最終在上海和香港也開設了分店。 品相：局部磨損，釉層剝落，預期的燒製缺陷，包括黑點和麻點，底座鑽孔，足部有一些缺口，小釉裂和微小的損失。 重量：1,294 克 尺寸：高 25 厘米 專家評論：據Michael B. Weisbrod所述，這個玉壺春瓶購於Robert H. Ellsworth處，Ellsworth確認為康熙時期。Robert Hatfield Ellsworth (1929-2014年) 曾是曼哈頓著名的明清繪畫、藝術品和傢俱收藏家和經銷商。他是黃山建築修復的支持者和榮譽中國公民。拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2008年11月7日，lot 360 價格：GBP 3,000（相當於今日EUR 5,400） 描述：康熙時期硬彩玉壺春瓶 專家評論：比較非常相近外型和琺瑯。請注意尺寸較小 (17.4 厘米) 和不同的主題。

A SANDSTONE HEAD OF BUDDHA SHAKYAMUNI, MON-DVARAVATI PERIODThailand, 8th-10th century. Sensitively carved with heavy-lidded downcast eyes with incised pupils, thick ridged brows, a broad nose, elongated earlobes, and full lips forming a calm smile, the hair in snail shell curls over a high ushnisha.Provenance: Collection Monsieur M., an important French private collection. Michael Phillips, acquired from the above. 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. Old wear, losses, nicks, scratches, very minor old fills, signs of weathering and erosion, encrustations, structural cracks. Fine, naturally grown patina. Scientific Analysis Report: A technical examination was conducted by Podany Conservation Services. The examination report concludes: “A comparison of observed features does favor the opinion that the head fragment is not of modern origin or a forgery.” The signed examination report, dated 24 May 2021, accompanies this lot. Note that the purported date stated in the examination report is circa 9th-11th century.Weight: 3,340 g (incl. stand)Dimensions: Height 17.5 cm (excl. stand) and 25.5 cm (incl. stand)Mounted on an associated stand. (2)While there is great variation within the Mon-Dvaravati tradition, the sensitivity paid to the modeling of these facial features is in keeping with the period's focus on the purity and fluidity of form. As expressed by Jean Boisselier in The Heritage of Thai Sculpture, 1975, p. 73, “The school of Dvaravati may stand alongside the great Buddhist artistic traditions of India, so enduring were its innovations and so persuasive its influence on most of the art of Southeast Asia.”Literature comparison: Compare a closely related sandstone head of Buddha in the National Museum Bangkok, dated 8th-10th century, with nearly identical facial features.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 12 June 2018, lot 239Price: EUR 15,000 or approx. EUR 18,000 adjusted for inflation at the time of writingDescription: A stone head of Buddha Shakyamuni, Thailand, Dvaravati period, 8th-9th centuryExpert remark: Despite being a larger example (32 cm), this comparable shares very similar facial characteristics with the current lot, including a flattened down-turned nose, a joined brow, pointed helices of the ears, and a lower lip equal or greater in size to that of the upper.Auction result comparison:Type: RelatedAuction: Bonhams New York, 19 March 2019, lot 874Price: USD 43,825 or approx. EUR 46,500 converted and adjusted for inflation at the time of writingDescription: A blackstone head of Buddha, Central Thailand, Dvaravati period, circa 8th centuryExpert remark: Note the size (23.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A MONUMENTAL WALL THANGKA OF TSONGKAPATibet, 18th-19th century. Distemper and gilt on cloth. Seated at the center in dhyanasana on a lotus base in monastic robes, his hands in dharmachakra mudra holding lotus stems supporting a sword and book, the face with serene expression surmounted by a pointed cap and backed by a mandorla, with three deities in the upper register, and two bodhisattvas and worshippers below, amid a mountainous landscape with scrolling clouds.Provenance: Collected by the present owner's father in Tibet before 1970 and thence by descent. Condition: Extensive wear, creasing, soiling, losses, small tears, and loose threads.Dimensions: Size ca. 129 x 164 cmJe Tsongkhapa (1357-1419) is the founder of the Gelug order of Tibetan Buddhism, the “newest” of the extant schools. Tsongkhapa studied the traditions of the Nyingma, Sakya, Kagyue, and particularly Kadam lineages, and codified certain principles of all of them in the Gelug tradition. Today, the order is the most popularly followed in Tibet, with its head, the Dalai Lama, seen as the spiritual leader of the country. The Gelug tradition is also known as the “Yellow Hat Sect,” for the color of their pointed caps, and Tsongkhapa can often be identified by the hat as well as the sword and manuscript which sit in lotus blossoms at his shoulders.A Thangka Wall, in Tibetan religious architecture, is a stone-built structure used for hanging a giant or monumental thangka (such as the present lot) in some of the major Buddhist monasteries of Tibet. These giant thangkas are called gos ku, goku, gheku, or kiku (cloth image) in Tibetan. The Thangka Wall stands on a hillside from where it typically overlooks the monastic settlement. Its form is that of a narrow, tall, and rectangular building with a battered façade and a flat roof surrounded by a parapet. A silk brocade fitting is normally used to mount a thangka onto the Thangka Wall.Auction result comparison:Type: RelatedAuction: Galerie Zacke, Vienna, 16 October 2021, lot 481Price: EUR 8,848 or approx. EUR 10,000 adjusted for inflation at the time of writingDescription: A monumental wall thangka of Manjushri, 19th centuryExpert remark: Note the size (320 x 240 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.大型宗喀巴唐卡西藏，十八至十九世紀，布面膠彩描金。上師跏跌坐於蓮台寶座之上，穩坐畫面中央，雙手當胸結說法印，左右肩花上置經書和寶劍。上師面容慈祥，身後有光背。四周仙人環繞。上有三神，下二菩薩及供奉者，山巒起伏，雲霧繚繞。 來源：現藏家的父親購於上世紀七十年代，保存至今。 品相：磨損、摺痕、汙跡、缺損、小撕裂和鬆線。 尺寸：129 x 164 釐米 宗喀巴 (1357-1419) 現存宗派“最年輕”的藏傳佛教格魯派的創始人。宗喀巴大師研究了寧瑪派、薩迦派、噶舉派，創建了一整套佛學體系，其重要論著《菩提道次第廣論》和《密宗道次第廣論》無上瑜伽修法就是其思想體系的總結，也是他創立格魯派的理論基礎。今天，他的理論在西藏最為普遍，其首領達賴喇嘛被視為精神領袖。因為宗喀巴戴黃色桃形僧帽，所以又稱格魯派為“黃帽派”、“黃教”。宗喀巴大師通常可以通過帽子以及他肩上荷花中的劍和經書來辨認。 西藏宗教建築中的唐卡牆是石頭建造的，在一些主要佛教寺院可以見到。唐卡牆矗立在山坡上，從那裡通常可以俯瞰寺院。它的是一座狹長、高大的建築，外牆破舊，屋頂平坦，四周有欄杆。絲綢錦緞通常用於將唐卡安裝到唐卡牆上。 拍賣結果比較： 形制：相近 拍賣：維也納 Galerie Zacke，2021年10月16日，lot 481 價格：EUR 8,848（相當於今日EUR 10,000） 描述：十九世紀文殊菩薩唐卡 專家評論：請注意尺寸(320 x 240毫米)。

A GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI, KANDYAN PERIODExpert's note: Sri Lankan figures of Buddha are noted for remarkable stylistic conservativism, having followed a consistent canon of proportions from their earliest origins. The later Kandyan period, however, saw considerable variation in the rendering of the robe, marked by highly precise linear patterns worked into the folds. There are elements to this specific bronze, from the softer casting style of the shoulders and arms to the pronounced surface wear, that make it feel a bit older than most of the Kandyan Period examples on the market.Sri Lanka, 17th-18th century. Solidly cast seated in vajraparyankasana with his hands folded in dhyanamudra, the Buddha's broad-shouldered form is fitted in a finely pleated sanghati draped over his left shoulder. His face bares a calm, meditative expression and was likely once framed by pendulous earlobes and surmounted by a flaming siraspata.Provenance: The Phillips Family Collection, Lawrence and Shirley Phillips, and thence by descent to Michael Phillips (born 1943), who 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: Some wear and casting irregularities, minor losses, soldering marks, small nicks, light scratches. The head has been reattached at some point in time. Fine, naturally grown, rich patina.Weight: 3,340 gDimensions: Height 15.5 cmAfter three hundred years of internecine civil conflict and successive waves of European imperialists, the Kingdom of Kandy emerged as the pre-eminent Sinhalese political authority. Under its stability and the avid patronage of its kings, Sri Lanka witnessed a Buddhist revival with an unprecedented amount of building and restoring of monastic institutions. Bronze Buddha images proliferated, most of them either gilded or non-gilded depicting the sage in a standing pose. Fewer portrayed the Buddha seated, like the present example.Two predominant forces inform the distinctive style of Kandyan Buddhist art. One is the continuance of Sinhalese tradition in depicting Buddha with a broad body type wrapped in a pleated robe, set by colossal statues of the Anuradhapura and Polunnaruwa periods. The other is a South Indian tradition of expressing dynastic identity through artistic patronage of religious objects, pursued with enthusiasm by the Nayak princes, who were invited to assume Kandy's throne after its last Sinhalese king died without an heir in 1739. Such fusion is exemplified by the present sculpture, whose massive shoulders and air of empyrean authority evoke tradition, while the mesmerizing crinkles of the garment, abstracted physiognomy, and enlarged flame finial summon Kandyan panache.Literature comparison:Compare a closely related bronze figure of Buddha dated to the 18th century, in the Art Institute of Chicago, gifted by Lawrence and Shirley Phillips, the previous owners of the present lot, reference number 1984.1304. Compare fifteenth and sixteenth-century Buddhas from the Divided Kingdoms period (c. 1232-1597), see U. von Schroeder, Buddhist Sculptures of Sri Lanka, p. 467, pls. 144 D-G.Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 30 November 2022, lot 1047Price: HKD 355,800 or approx. EUR 42,000 converted and adjusted for inflation at the time of writingDescription: A Silvered Copper Alloy Figure Of Seated Buddha, Sri Lanka, Kandyan Period, 18th CenturyExpert remark: Note the closely related style of the garment folds. Also note that the figure is silvered and significantly larger (26.5 cm) than the present lot.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A BRONZE FIGURE OF A STANDING BUDDHA, POST-GUPTA PERIOD, INDIA, C. 7TH CENTURYFinely cast standing in contrapposto on an integral lotus-petal base upon a square plinth, the right arm extended to the earth, the open palm exaggerated, the left hand grasping the hem of the robe.Provenance: Steven Finkelman, The Buddha Gallery, California, USA, 2014. Michael Phillips, acquired from the above. Steven Finkelman is a retired social work service director with over 30 years of experience in collecting and selling Buddhist and Hindu sculpture. 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: Very good condition, commensurate with age. Wear, minor dents, small nicks, light scratches, casting flaws, signs of weathering and erosion, losses.Weight: 189.7 g Dimensions: Height 11 cmThe present lot is characteristic of Indian art from the post-Gupta period. This small type of portable figure is thought to be one of the earliest kinds of Buddhist images to have been produced by local craftsmen, reflecting the spread of Buddhism throughout India and the rest of Asia after the 3rd century. We see this type of figure replicated in regional styles all the way out to Myanmar. It was even reported by the Chinese scholar Xuanzang (602-664), who traveled to India in the 7th century, that the monks of India had small icons of Buddha in their quarters that they venerated with chanting, ritual bathing, and small offerings of incense and food. He identified these as a small group of metal standing Buddha figures. The Ajanta Caves are approximately thirty Buddhist cave monuments dating from the second century BC to about 480 AD in the Aurangabad district of Maharashtra state in India. Textual records suggest that these caves served as a monsoon retreat for monks, as well as a resting site for merchants and pilgrims in ancient India. The caves include paintings and rock-cut sculptures described as among the finest surviving examples of ancient Indian art, particularly expressive works that present emotions through gesture, pose and form. They are universally regarded as masterpieces of Buddhist religious art. The caves were built in two phases, the first starting around the second century BC and the second occurring from 400 to 650 AD. They constitute ancient monasteries (Chaityas) and worship-halls (Viharas) of different Buddhist traditions carved into a 75-meter (246 ft) wall of rock. The caves also present paintings depicting the past lives and rebirths of the Buddha, pictorial tales from Aryasura's Jatakamala, and rock-cut sculptures of Buddhist deities. The patron and bronze founder of the present lot were clearly intimately familiar with the Ajanta site. In cave 4 for example, see a standing Buddha closely related to the present lot.Literature comparison: Compare a related carved relief of a standing Buddha in Cave 19 at the Ajanta complex, taken by Henry Cousens around 1880, from the Archaeological Survey of India Collections. See Sarita Khettry, 'Portable' Images (Buddhist) from Gandhara, Proceedings of the Indian History Congress, vol. 72, 2011, pp. 204-11. Compare also a related pillar painting in Cave 10. Compare a closely related figure, 11 cm high, dated 7th-8th century, at Galerie Hioco, June 24, 2019.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A RARE PAIR OF CLOISONNE ENAMEL FIGURES DEPICTING GUANYIN, QING DYNASTYPublished: Michael B. Weisbrod, Inc., Brochure, New York, 1992, p. 50-53, no. 14.China, late 18th - 19th century. Modeled standing on a rockwork base, wearing hooded cloaks over long dresses decorated with cranes amid swirling clouds, open at the chest to reveal beaded pendants. The hands, feet, and chest in gilt, the dresses embellished with pomegranates, Buddha's hand citrons, and peaches. The faces with downcast eyes below gently arched eyebrows and finely enameled hair. (2)Provenance: A private collection in New England, USA. 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: Very good condition with some old wear and manufacturing flaws as expected. Each figure with a pierced aperture in the left hand of which one was filled. The gilt renewed in some areas.Weight: 1,434 g and 1,460 g Dimensions: Height 35.9 cm and 36.1 cmThe ladies represent the deity of mercy, Guanyin, who is typically depicted wearing long flowing gowns with a hood over her head and a necklace on her chest. She often stands on a rockwork base that is reminiscent of Pu Tao Island, where she lived as Queen of the Southern Seas.Figural representations in cloisonne enamel appear to be extremely rare and only a few related examples have been published. According to Sir Harry Garner in Chinese and Japanese Cloisonne Enamels, page 93, the earliest human figures made of cloisonne date back to the seventeenth century.Literature comparison: A pair of seated female figures, from the A.W. Bahr Collection, in the Metropolitan Museum of Art, accession number 54.154.1a-c and 54.154.2a, b, dated to the Qianlong period or later, are illustrated by B. Quette, Cloisonne: Chinese Enamels from the Yuan, Ming and Qing, Singapore, 2011, p. 297, no. 142.Auction result comparison:Type: RelatedAuction: Christie's New York, 20 September 2013, lot 1632Price: USD 43,750 or approx. EUR 54,000 converted and adjusted for inflation at the time of writingDescription: A rare pair of cloisonne enamel figures of female immortals, late 18th/19th centuryExpert remark: Compare the related subject, facial features, rockwork bases, and sizes (38.6 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.清代一對罕見銅胎掐絲琺瑯觀音立像中國，十八世紀末至十九世紀。觀音站在山水紋底座上，身穿連帽斗篷，長裙上飾有仙鶴圖案，漩渦狀雲紋，胸前敞開，露出瓔珞吊墜。手、足、胸鍍金，衣飾石榴、佛手、桃子等紋飾。髮紋精美，雙眼微閉，眉毛微彎。(2) 出版: Michael B. Weisbrod，Inc.，Brochure，紐約，1992年，頁50-53，編號14。 來源：美國新英格蘭私人收藏；Michael B. Weisbrod購於上述收藏。Michael B. Weisbrod是一位著名的中國藝術學者，在五十多年的時間內發表了大量有關中國藝術的文章。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畫廊。這對父子團隊於 1977 年在紐約麥迪遜大道開設了他們的藝廊，在接下來的四十五年裡，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，最終在上海和香港也開設了分店。 品相：狀況非常好，如預期的那樣有一些磨損和製造缺陷。每個人物的左手都有一個穿孔，其中一個經過填充。局部鎏金經過翻新。 重量：分別爲1,434克與1,460 克 尺寸：高 35.9 厘米與36.1 厘米觀世音菩薩身著飄逸長袍，頭戴兜帽，胸前佩戴瓔珞，居住在南海。 景泰藍此類人物形像極為罕見，根據 Harry Garner 爵士在《中國和日本景泰藍琺瑯》中的記載，頁93，最早的景泰藍人物雕像可以追溯到十七世紀。 文獻比較： 一對清乾隆時期或較晚婦人坐像，收藏於A.W. Bahr Collection，大都會博物館，編號54.154.1a-c和54.154.2a,b，見B. Quette，《Cloisonne: Chinese Enamels from the Yuan，Ming and Qing》，新加坡，2011年，頁297，編號142。

A RARE AND LARGE GILT BRONZE FIGURE OF AN ENTHRONED MAITREYA, CENTRAL JAVANESE PERIODExpert's note: The fuller, fleshier depiction of Buddha, with a lack of jeweled adornment, places the style of this statue amongst examples dating from the 9th century. The throne and figure are cast from different metal alloys, the throne having a higher copper content and the figure having a higher iron content, resulting in a different appearance of the two, as the metals have developed differently over the centuries.Indonesia, Java, 8th-9th century. Seated in bhadrasana on a stepped rectangular throne, his feet placed on a circular lotus dais, the hands held in dharmachakra mudra, dressed in a monastic robe, and backed by an ornately scrolled foliate mandorla.Provenance: Christie's Paris, 10 December 2014, lot 349. Michael Phillips, acquired from the above. A copy of the original invoice from Christie's, dated 16 January 2015, addressed to Michael Phillips, confirming the dating above, and stating a purchase price of EUR 6,500 or approx. EUR 7,500 (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, minor nicks, scratches, pitting, losses to gilt, signs of weathering and erosion, corrosion. Still presenting remarkably well, especially given the high age of this sculpture.Weight: 6,585 gDimensions: Height 28.5 cmThis extraordinary gilt-bronze statue represents Maitreya, the Buddha of the future. It is believed that Maitreya will come to save humanity during the final days. The iconography of this particular statue has many similarities with Western prototypes, demonstrating how Buddhist imagery spread to Java along the Silk Road from places as far away as Tibet and Sri Lanka. Such statues were often part of an important and much larger altar set forming a ritual mandala, flanked by supportive bodhisattvas and surrounded by lesser deities.Literature comparison:Compare a closely related bronze figure in the Museum Volkenkunde, Leiden, inventory number 1403-2845. Compare a closely related bronze figure in the Metropolitan Museum of Art, accession number 1987.142.14.Compare also a stone image of Buddha located in situ at Candi Mendut, illustrated in Peter Sharrock and Emma Bunker, Seeds of Vajrabodhi: Buddhist Ritual Bronzes from Java and Khorat. Esoteric Buddhism in Mediaeval Maritime Asia: Networks of Masters, Texts, Icons, 2016, pp. 237-252.Auction result comparison:Type: RelatedAuction: Christie's New York, 19 September 2000, lot 193Price: USD 171,000 or approx. EUR 237,000 converted and adjusted for inflation at the time of writingDescription: An important bronze figure of Kubera, Indonesia, 9th/10th centuryExpert remark: While representing Kubera, the statue contains numerous points for comparison. Note the larger size of 34.8 cm and the significantly better state of preservation.Auction result comparison:Type: RelatedAuction: Christie's Paris, 9 October 2014, lot 350Price: EUR 20,000 or approx. EUR 23,000 adjusted for inflation at the time of writingDescription: A bronze figure of the cosmic Buddha Amoghasiddi, Indonesia, East Java, 11th centuryExpert remark: This statue is an important example for comparison, not only because of the age and casting similarities, but also because it was the following lot in the Paris 2014 Christie's sale. It is important to note that this figure is about half as large and not gilt.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

'A RIVER LANDSCAPE', BY PAN GONGSHOU (1741-1794)China. Ink on paper, mounted as a hanging scroll. Finely painted with a mountainous river landscape with a few houses and pavilions nestled between boldly executed trees, above a single figure paddling in a boat.Inscriptions: To the painting, upper left, inscribed 'Lianchao jushi Pan Gongshou', dated 'on a summer day in the Year of Wuwu in the Jiaqing era' (corresponding to 1798), and inscribed 'in the style of Gao Fangshan' (Gao Kegong, 1248-1310); two seals of the artist, 'gong' and 'shou'. Lower right, two seals. To the mounting, to the left beside the painting, inscribed by Wu Yun (1811-1883), 'The exquisite brushwork by Lianchao Jushi [Pan Gongshou] is attributed to the yipin class. This painting is in the style of Gao Fangshan, it is especially excellent. In the Spring of the Year of Yihai [corresponding to 1875], Yuting Wu Yun'; one seal, 'Pingzhai shending'. To the mounting, to the right beside the painting, inscribed by Tang Yusheng (1778-1853), 'Pan Gongshou, artist name Shenfu, sobriquet Lianchao, came originally from Dantu. Wen Hengshan [Wen Zhengming, 1470-1559] titled. It was said that the painting by Wang Menglou [Wang Wenzhi, 1730-1802] was in the style of Gao Kegong and signed by himself. It is really an exceptional painting. Written on a summer day in Jilong shanlu'; two seals. The scroll with an old label, inscribed 'Pan Gongshou, Landscape, Authentic'.Provenance: Collection of W. W. Winkworth, 1966. The Oliver Impey Collection of Modern Paintings, acquired from the above. William 'Billy' Wilberforce Winkworth (1897-1991) was a legendary collector of Asian art. The Oriental Ceramic Society was founded at his father's home in 1921. After military service in World War I, he joined the British Museum in 1922 under R. L. Hobson in the Department of Ceramics, leaving in 1926 to become a full-time collector and 'marchand amateur'. Between around 1948 and 1970 he was a part-time cataloger at Sotheby's, working on Japanese netsuke, lacquer, and sword fittings. He was famous for his eye and range of connoisseurship, especially in ceramics, and exercised a great influence on his generation of British collectors. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie's in Hong Kong in the late 2000s. Condition: Very good condition with minor wear and soiling. The mounting with some wear, creases, and minor losses.Dimensions: Image size 61 x 31.5 cm, Size incl. mounting 216 x 45.7 cmPan Gongshou (1741-1794), also known as Lianchao, was born in Dantu, near today's Zhenjiang, Jiangsu province. He was a painter, seal carver and poet, famous for his landscapes, figural motifs, and still lifes. Many of his paintings depict poetic inscriptions, and Pan is also known to have collaborated with other calligraphers such as Wang Wenzhi. His works can be found in the collection of the National Art Museum of China, among many other museums.Expert's note: The present painting is notable for its appreciative post-mortem inscription by Pan Gongshou's frequent collaborator Wang Wenzhi (1730-1802), which has a posthumous dating of 1798. The superior quality of the painting, as further attested to by the numerous laudatory collectors' inscriptions to the mounting, as well as the old and illustrious Winkworth and Impey provenances, leave absolutely no doubt as to the authenticity of the painting.Auction result comparison:Type: RelatedAuction: Duo Yun Xuan, Shanghai, 30 November 2020, lot 1027Hammer price: EUR 25,437 (converted by Artprice at the time of writing)Description: Pan Gongshou (1741-1794), Landscape (1784), watercolor and ink on silkExpert remark: Note the size (88 x 48 cm), the similar style and the numerous inscriptions潘恭壽(1741-1794)《摹高房山筆》中國，紙本設色，掛軸。峻岩怪石突兀而立，雜樹挺立濃郁，水閣依山臨水，近景一漁夫讀作江舟。境界幽美，深厚蒼渾。 款識：摹高房山筆嘉慶戊午夏日，蓮巢居士潘恭壽 ；鈴印：恭，壽蓮巢居士蓮巢居士筆法精妙，？為逸品。此幅仿高房山，尤屬出神之？也。乙亥小春愉庭吳雲？；鈴印：平齋審定潘恭壽字慎夫，號蓮巢，丹徒籍，？？文畫宗文衡山（文徵明1470-1559）署題，都傳王夢樓（王文治 1730-1802）此幀模高尚書而自署。？誠真妙昌也。丁酉夏日貽汾題於雞籠山麓；鈴印：雨生 來源：W. W. Winkworth收藏，1966年；Oliver Impey現代水墨收藏，購於上述收藏。 品相：狀況極好，有輕微磨損和污漬。裝幀有一些磨損、摺痕和輕微損失。 尺寸：畫面61 x 31.5 厘米，總45.7 厘米

A ROBIN'S EGG GLAZED BRUSHPOT, BITONG, 18TH CENTURYChina. Of cylindrical form with straight sides rising to an incurved rim, and supported on a tall, gently rounded and unglazed foot, applied all over with a mottled turquoise and blue glaze.Provenance: British trade. Condition: Very good condition with expected wear to glaze, few traces of use, and small manufacturing flaws. Some black ink stains to the interior, probably from previous usage as a brush pot.Weight: 689.3 g Dimensions: Height 13.1 cmThe 'Robin's egg' glaze represents a significant technical innovation of the Yongzheng period (1723-35) attributable to Tang Ying (1682-1756), the greatest porcelain superintendent in Chinese history. The Yongzheng Emperor, who initiated many revivals of earlier ceramic techniques, was particularly enamored with the variegated Jun glazes of the Song (960-1279) and Ming (1368-1644) dynasties. In order to have the glazes recreated or imitated, Tang Ying sent his trusted assistant from the imperial kilns in Jingdezhen, Jiangxi province, on study trips to the Jun region in Henan province to learn from the local potters and even went as far as having ceramic raw materials mined in the Jun area transported over thousands of kilometers to Jingdezhen. Among the many types of glazes derived from those efforts are mottled purple ones such as the flambe variety, and mottled turquoise ones such as 'robin's egg', which Tang Ying termed Lu Jun or Oven Jun, i.e., a Jun glaze fired in low-temperature ovens instead of high-temperature kilns (see Jingdezhen Institute of Ceramic Archaeology et al, The Cultures of Porcelain Superintendents and Jingdezhen, conference volume, Nanchang, 2011). The 'robin's egg' glaze is mentioned on a stele in Jingdezhen, inscribed by Tang Ying, as one of the major types of ceramics that he succeeded in firing and proposed as suitable for regular delivery to the Imperial court. Its color is described as intermediate between the glazes of the Shiwan kilns of Foshan, Guangdong, and those used by the Yixing kilns in Jiangsu for their zisha tea pots, but having a better and more beautiful flow.Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 28 November 2011, lot 455Price: HKD 187,500 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A robin's egg brushpot, mid-Qing dynastyExpert remark: Compare the closely related form and glaze. Note the size (11.1 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 September 2014, lot 907Price: USD 21,250 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: A 'robin's egg'-enameled brush pot, 18th-19th centuryExpert remark: Compare the closely related form and glaze. Note the size (10.7 cm). Note also that the hammer price far exceeded the low estimate of USD 3,000 only, somewhat insinuating that bidders may have found an 18th-century date to be more likely.十八世紀爐鈞釉筆筒中國，圓筒形，口部微寬於足部，淺圈足，器形小巧。筆筒通體遍施爐鈞釉，釉汁自然流淌，繁密斑駁，呈現藍、紫和綠色。 來源：英國古玩交易。 品相：品相極好，釉面有磨損，輕微使用痕跡與製造缺陷。內部有一些黑色墨水漬，可能是以前用作筆筒時留下的。 重量：689.3 克 尺寸：高13.1 厘米 爐鈞釉創於清雍正年間，盛行於雍正、乾隆二朝，歸功於中國歷史上最偉大的瓷器主管唐英（1682-1756 年）。多次復興早期陶瓷技術的雍正皇帝特別喜歡宋朝（960-1279 年）和明朝（1368-1644 年）的雜色鈞釉。為了重製或仿製釉料，唐英派江西景德鎮御窯親信到河南鈞州學習，向當地陶藝家學習，甚至還製作了陶器。 鈞區開采的原材料，千里迢迢運到景德鎮。在這些努力衍生出的眾多類型的釉中，有斑駁的紫色釉料，如窯變釉，以及斑駁的綠松石釉料，如爐鈞釉，因低溫爐內燒成仿宋鈞釉而得其名。釉中含有粉劑，故而釉厚不透明。釉面結晶呈色多種，深淺不一，可呈現之顏色有紅，藍，紫，綠，月白等，並熔於一體。拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2011年11月28日，lot 455 價格：HKD 187,500（相當於今日EUR 31,000） 描述：清中期爐鈞釉筆筒 專家評論：比較非常相近的外形和釉面。請注意尺寸(11.1 厘米)。

A SUPERB DOUCAI DOUBLE-GOURD VASE, LINGZHI MARK, LATE 17TH TO EARLY 18TH CENTURYChina, c. 1680-1730. Finely painted in underglaze blue and enamels in shades of green, red, yellow, and aubergine to the upper pear-shaped section with three boys at play and to the lower section with a continuous scene of officials meeting foreign envoys in a garden with palm trees and lingbi stones. The recessed base with a lingzhi fungus mark within a double circle, neatly painted in underglaze blue.Provenance: A noted private collection in Texas, USA. Christie's New York, 19 March 2021, lot 871 (dated 18th century), sold for USD 15,000 or approx. EUR 15,000 (converted and adjusted for inflation at the time of writing). A private collector, acquired from the above. A copy of the original invoice from Christie's accompanies this lot.Condition: Magnificent condition with only minor wear to enamels, some shallow surface scratches here and there, and few firing irregularities. Extremely rare to find an authentic, early and large piece of Doucai ware in such a pristine state of preservation.Weight: 957 gDimensions: Height 26.5 cmExpert's note: During the early Qing dynasty, up until the 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including lingzhi fungus marks in double circles.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 March 2017, lot 1213Price: USD 118,750 or approx. EUR 131,000 converted and adjusted for inflation at the time of writing Description: A Large Doucai Vase, Kangxi-Yongzheng Period (1662-1735) Expert remark: Compare the subject, style of painting, enamels, and material. Note the larger size (39 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.十七世紀末至十八世紀初鬥彩人物場景葫蘆瓶中國，約1680-1730年。葫蘆形瓶，上部分可見三個在玩耍的兒童，下部為官員在園中會見外國使節的場景。青花勾勒，琺瑯彩繪製。圈足內雙圈靈芝款。 來源：美國德克薩斯知名私人收藏；紐約佳士得，2021年3月19日，lot 871 (描寫為十八世紀)，售價 USD 15,000或相當於 EUR 15,000 (根據通貨膨脹率)；私人藏家，購於上述拍賣。隨附佳士得原始發票複印本。 品相：狀況極佳，僅琺瑯有輕微磨損，表面有一些淺劃痕，輕微燒製不規則。難得有保存如此完整的早期大件鬥彩瓶。 重量：957 克 尺寸：高 26.5 釐米 專家注釋：清朝初期，直至 1680 年代，中國局勢動盪不安，宮廷器物的製作和年號在瓷器上的使用受到各種形式的限制。在此期間，出現了不同類型的其他款識，包括雙圈靈芝標記。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2017年3月17日，lot 1213 價格：USD 118,750（相當於今日EUR 131,000） 描述：清康熙/雍正鬥彩亭臺仕女圖瓶 專家評論：比較主題、繪畫風格、琺瑯和材料。請注意尺寸較大(39 厘米)。

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).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A BRONZE FIGURE OF A DANCING HEVAJRA, ANGKOR PERIOD, BAYON STYLEKhmer Empire, late 12th to early 13th century. The eight-headed deity very well cast dancing atop a prostrate figure with one leg raised and arms radiating around him holding diminutive figures of deities and animals, wearing a short sampot secured with a pendent fishtail sash, the details intricately rendered.Provenance: From a noted private collection. A copy of a certificate of authenticity, N° 389912, issued and signed by an archeologist and an official representative of the Asian Antiques Association of Thailand, dated 17 October 2014, confirming the dating above, and noting Prasat Muang Phai, Sakaew province, Thailand, as the original provenance for the present figure, accompanies this lot. A copy of an export license, issued by the government of the Kingdom of Thailand, EB0078/2022, also accompanies this lot. Condition: Good condition, commensurate with age. Extensive wear, minor losses, small dents and nicks, signs of weathering and erosion, soil deposits, corrosion, encrustations, all as expected from a Khmer bronze of nearly 1,000 years of age. Superb, naturally grown, rich patina with extensive malachite encrustation and faint hues of cuprite. The surface of the figure has been cleaned in areas where the corrosion was thick and obscured the cast detail. A corrosion inhibiting varnish was then applied to the surface for protection against moisture intake from the atmosphere. Weight: 3,613 g (excl. base) Dimensions: Height 37.5 cm (excl. base, incl. tang) and 41 cm (incl. base)With a fitted modern metal base. (2)Hevajra is the personification of enlightenment, the dance pose symbolizing the process of enlightenment as liberation from worldly constraints.Literature comparison: Compare a closely related Khmer Bayon-style bronze of Hevajra, 22.7 cm high, in the CB National Museum, inventory number Ga.4170. Another closely related example was exhibited in the Ethnological Museum, Berlin. Compare a closely related Khmer Bayon-style bronze of Hevajra, 41 cm high, dated c. 1180-1230, illustrated in Wolfgang Felten and Martin Lerner, Thai Sculpture from the 6th to the 14th centuries, Stuttgart, 1988, p. 235, no. 37.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 September 2004, lot 57 Price: USD 31,070 or approx. EUR 44,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of a dancing Hevajra, Khmer, Angkor period, Bayon style, late 12th/early 13th centuryExpert remark: Compare the closely related pose, number of heads and arms, and malachite patina. Note the smaller size (24 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

'CRANE AND DEER', BY SHEN QUAN (1682-1760)China, ca. 1730-1740. Ink and watercolors on paper. Finely painted with a confronting crane and deer, the crane with beak agape standing on a craggy rock with its long neck twisting and head lowered toward the deer below, which also turns its head to face the crane with a lively expression, all amid peonies, hibiscus, and bamboo below a towering tree.Inscriptions: Center left, signed 'Shen Quan Wuxing'. Three seals, 'Shen Quan', 'Nanping', and 'Zhu Jiuri Duhua' (this is a Japanese seal, the identical seal is also found for example on a painting by Qian Du (1764-1844) in the Osaka City Museum of Fine Arts).Provenance: An Austrian private collection. Galerie Zacke, Vienna, 16 June 2018, lot 82, sold for EUR 8,216 or approx. EUR 10,000 (adjusted for inflation at the time of writing). A noted collector from New York, acquired from the above.Condition: Fair condition with some wear, scratches, staining, creasing, possibly trimmed, small losses. Laid down on a wood board.Dimensions: Size 175 x 90 cmFramed behind glass. (2)Shen Quan (ca. 1682-1760) was active during the Qing dynasty and painted in the Ming academic style. Shen was very influential in Japan, inspiring an entire school of painting, the Nanping School, which flourished in Nagasaki during the Edo period, after Shen's arrival there in 1731, and was named after the artist's courtesy name. Shen had many pupils while in Japan; his most important was Kumashiro Yuhi, who in turn taught So Shiseki and Kakutei. Other artists influenced by Shen included Katsushika Hokusai, Maruyama Okyo, and Ganku. Shen's paintings were popular for their realistic, colored images of animals and flowers, and three-dimensional trees and rocks.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 27 November 2018, lot 1007 Price: HKD 500,000 or approx. EUR 64,000 converted and adjusted for inflation at the time of writing Description: Shen Quan (1682-1762), Cranes and Deers Expert remark: Note the similar size (184 x 101 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.沈銓 (1682-1760)款《鶴鹿同春》中國，約1730-1740年，紙本水墨設色。工筆滿繪鶴鹿同春圖，空間襯以參天大樹、山石與芙蓉花等。仙鶴立於石上，小鹿在一旁休憩，神態活潑，構圖豐滿。 款識：吳興沈銓 寫；鈴印：沈銓，南屏；收藏印：朱九日讀畫記 來源：奧地利私人收藏；維也納Galerie Zacke藝廊, 2018年6月16日，lot 82, 售價EUR 8,216 或相當於 EUR 10,000 (根據通貨膨脹率)；紐約知名收藏家購於上述拍賣。 品相：狀況良好，有一些磨損、劃痕、污漬、摺痕，可能有修剪，有少量損毀。 尺寸：175 x 90 厘米 玻璃裝框 (2) 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2018年11月 27日，lot 1007 價格：HKD 500,000（相當於今日EUR 64,000） 描述：清沈銓《鹿鶴雙壽》 專家評論：請注意相似的尺寸(184 x 101釐米)。

A YELLOW JADE 'DOUBLE DRAGON' PENDANT, HUANG, WESTERN ZHOU DYNASTYChina, c. 1100-771 BC. The arc-shaped huang is carved on one side with a stylized motif that represents the dragon's body and legs, terminating at each end with an abstract dragon head. Two small holes are drilled for suspension. The translucent stone of a superb yellow color with brown shadings, russet veins, and small areas of opaque calcification.Provenance: Wiltshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Very good condition with expected old wear and traces of use, tiny nibbles to edges, remnants of pigment, one smoothened area to the upper edge.Weight: 30.7 g Dimensions: Length 11.9 cmLiterature comparison: The dragon on the current huang was a common design during the mid-Western Zhou Dynasty. Compare a similarly decorated jade huang, excavated from the Rui State tomb, illustrated in Selected Bronze, Jade and Gold Treasures from the Rui State of Early Spring and Autumn Period, Xian, 2007, no. 16, pp. 68-69. Compare a related huang, 7.5 cm long, excavated from Tomb no. 49 at the burial site of Shangguo, Wenxi, in the Shanxi Provincial Museum, illustrated in The Complete Collection of Jades Unearthed in China, vol. 3, Beijing, 2005, p. 159. Compare a related huang, 7.3 cm long, excavated from Tomb no. 31 in the Necropolis of the Marquis of Jin State, Quwo, in the Shanxi Provincial Institute of Archeology, illustrated in The Complete Collection of Jades Unearthed in China, vol. 3, Beijing, 2005, p. 101.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 29 November 2018, lot 4 Price: HKD 225,000 or approx. EUR 29,500 converted and adjusted for inflation at the time of writing Description: An archaistic yellowish-celadon jade pendant, huang, Han dynasty or earlierExpert remark: Compare the closely related form and carving. Note the slightly smaller size (9.4 cm) and the paler color of the jade. Also note that the dating “Han dynasty or earlier” was somewhat overruled by the market, the hammer price far exceeding the original estimate of HKD 20,000-30,000.Auction result comparison: Type: Closely related Auction: Sotheby's London, 6 November 2019, lot 215 Price: GBP 32,500 or approx. EUR 42,500 converted and adjusted for inflation at the time of writing Description: A Celadon Jade Pendant, Huang, Western Zhou DynastyExpert remark: Compare the closely related form and carving. Note the slightly smaller size (10.8 cm) and the pale celadon color of the jade. Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 28 November 2018, lot 2741 Price: HKD 437,500 or approx. EUR 62,500 converted and adjusted for inflation at the time of writing Description: A Celadon Jade 'Dragon' Pendant, Huang, Mid-Western Zhou DynastyExpert remark: Compare the closely related form, the carving and the near-identical size (11.3 cm). Note the pale celadon color of the jade.西周黃玉雙龍璜中國，公元前1100-771年。此件玉璜呈米黃色，半透明，帶有棕色、赤褐色紋理和小塊不透明鈣化區域。飾陰線雙龍紋，兩端為龍首。璜兩端各鑽有一個圓形穿孔。 來源：英國威爾特郡古玩交易，據説購於一個私人收藏。 品相：品相極好，有磨損和使用痕跡，邊緣有微小的磕損，顏料殘留，上邊緣有一個平滑區域。 重量：30.7 克 尺寸：長11.9 厘米 文獻比較： 此件玉璜的龍圖形為西周中期的常見圖案。比較一件相似裝飾的玉璜，出土於芮國墓，見《芮國金玉選粹 : 陝西韓城春秋寶藏 》，2007年，編號16，頁68-69。比較相近的玉璜，長7.5 厘米，出土於山西聞喜上郭城址第49號墓，收藏於山西省博物館，見《中國出土玉器全集》，卷3，北京，2005年，頁159。比較相近的玉璜，長7.3 厘米，於山西省曲沃縣晉侯墓地31號墓出土，現存山西省考古研究所，見《中國出土玉器全集》，卷3，北京，2005年，頁101。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2018年11月29日，lot 4 價格：HKD 225,000（相當於今日EUR 29,500） 描述：漢或更早青白玉龍紋璜 專家評論：比較非常相近的外形和雕刻。請注意尺寸 (9.4 厘米)稍小，以及玉石顏色較淺。 也請注意此玉璜被斷定為「漢代或較早」，此看法不被市場認同，落槌價遠超原估價20,000-30,000港元。

A MONUMENTAL SANDSTONE HEAD OF BUDDHA, NORTHERN WEI DYNASTY, CHINA, 386-534Opinion: The head is carved from buff sandstone that has the appearance of granite from a distance. The style and material are typical of examples from the Yungang caves and surrounding area.Published: Stephen Little, Images of the Buddha from the Michael Phillips Collection, Arts of Asia, Jan-Feb 2013, page 112, no. 29.The rounded face deeply carved with small, pursed lips, broad flattened nose and thin, sharply cut eyes, flanked by long pendulous ears, all beneath the simply rendered hair and tall ushnisha. The stone of reddish-brown tone with some crystalline flecks.Provenance: An American private collection. Christie's New York, 15-16 September 2011, lot 1360, estimate of USD 60,000 or approx. EUR 72,000 (converted and adjusted for inflation at the time of writing). The private collection of Michael Phillips (born 1943), who 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.Scientific Analysis Report: A scientific and technical examination was conducted by John Twilley, art conservation scientist. A copy of the examination report, dated 20 September 2007, accompanies this lot. The report concludes that “the evidence strongly supports a history of natural weathering of the stone, on a scale of centuries rather than decades, subsequent to its carving”. Note that this report is also mentioned in the catalog entry by Christies from 15-16 September 2011.Dimensions: Height 43 cm (excl. stand) and 65 cm (incl. stand)Mounted on an associated stand. (2)The first of the formative phases of Buddhist sculpture in China, to which the current sculpture dates, lasted until roughly 495 AD and is represented by the cave temples in the north at Yungang. Over 50,000 statues lay within the Yungang Grottoes and surrounding area. Constructed during the Northern Wei dynasty by the imperial order of Emperor Wencheng, carving in the area began in 460 AD as an act of reparation for the Buddhist persecution of 445-452, and lasted until 494 AD when the capital was moved to Luoyang. The Yungang cliff is formed of horizontal layers of buff-colored sandstone, which lends itself well to sculpture, as well as to the excavation of large caves with horizontal ceilings. The sandstone of this head of Buddha is typical of that found in the Yungang region.Literature comparison:Compare a polychromed figure of Buddha still in place in Cave 9 of the Yungang Grottoes. Compare a related sandstone head of Buddha with similar features and carved of the same type of stone in The Nelson-Atkins Museum of Art, illustrated in the Handbook of the Collection, Kansas City, 1993, p. 303. Also compare with a 'yungang' sandstone head of a bodhisattva, Northern Wei dynasty, at Sotheby's London, 13 May 2015, lot 18. The use of this comparable, which is rather smaller in size (7 cm), serves as solid proof in tying our example to the Yungang area. The sandstone is of an identical color and texture, and the face has very similar features. It therefore almost certainly places our example amongst the most important Buddhist carvings from the Northern Wei period. Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 1 April 2018, lot 3029Price: HKD 3,120,000 or approx. EUR 396,000 converted and adjusted for inflation at the time of writingDescription: A rare and large sandstone head of a Buddha, Northern Wei dynastyExpert remark: This comparable shows numerous similarities with our example, from the domed ushnisha above the simple outlined hair to the long pendulous ears. Note the related size (40 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 5 April 2016, lot 2814Price: HKD 625,000 or approx. EUR 82,500 converted and adjusted for inflation at the time of writingDescription: A large 'yungang' sandstone head of Buddha, Northern Wei dynastyExpert remark: Note the closely related size (43 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.386-534年北魏砂岩佛陀頭像 出版：Stephen Little，〈Images of the Buddha from the Michael Phillips Collection〉，《Arts of Asia》，2013年1-2月，第112頁，圖 29。 來源：美國私人收藏；紐約佳士得，2011年9月15-16日，lot 1360，估價USD 60,000；Michael Phillips (出生於1943)私人收藏 品相：條件良好，大面積磨損、缺損、刻痕、劃痕、風化和侵蝕。 科學檢測報告：藝術保護科學家John Twilley對此頭像進行了科學檢測。本拍品附有一份日期為 2007年 9 月 20 日的檢驗報告複印本。該報告得出結論，“證據有力地支持了石頭在雕刻之後的自然風化歷史，其規模為數百年而不是數十年”。請注意，佳士得 2011年 9 月 15 日至 16 日的圖錄中也提到了這份報告。 尺寸：高 43 釐米 (不含底座) 與65 釐米 (含底座) 配置底座。 (2)

Diana, Princess of Wales. [Sale Catalogue] Dresses from the Collection..., number 158 of 250 deluxe copies signed by Diana, photographic illustrations, many colour, with price list, invitation to private view, ticket to auction and other ephemera loosely inserted, original purple morocco, with original protective casing, folio, New York, Christie's, 1997.⁂ Stunning catalogue of Diana's designer dresses which raised $3,258,750 hammer for AIDS and cancer charities. The top price was $222,500 for lot 79, the long ink blue velvet dinner dress by Victor Edelstein for a state dinner at the White House given by President and Mrs Reagan, at which she danced with John Travolta.

Group of Scandinavian silver comprising; a pair of Marius Hammer salts, each in the form of a two-handled kasa or ale bowl, with mythical beast handles, stamped MH 830 S, 7.8cm across handles; two silver and enamel-lidded glass pepperets, stamped Sterling 925S Norway;David Andersen pickle fork and knife with knotwork handles, stamped D-A 830S; pair of sugar tongs stamped 830S NM [Norskt Monster], and a match case embossed with a tavern scene, stamped 'Denmark', 9cm x 5.7cm

A Norwegian silver and enamelled buckle, Marius Hammer, oval form purple guilloche enamel with border with white beaded band, 6.5cm wide, 21.5gms

A Norwegian Dragestil silver reticulated buckle, Marius Hammer, Bergen circa 1915, the oval panels of zoomorphic knots within beaded borders flanking a central Celtic bar, 10.5cm long, 1.07ozt

Archibald Knox for Liberty and Co., an Arts and Crafts Cymric silver chatelaine, Birmingham 1902, the stylised hammer head belt hook with chain suspensions and sewing too cases, each embossed with Celtic knot bands in the Iona style, 27cm long, 2.98ozt

Einhell Model TCDH 43 demolition hammer in case

A 19th Century Blissett box lock, side hammer belt pistol with octagonal barrel inscribed "I Blissett 69 Leadenhall Street London" to the barrel, bearing proof marks, the handle with hatched grip, 20 cm

Percussion pistol with folding spike, 29cm long, hammer pulls half cocks / cocks back & fires on both barrels, length 30cm

A Marius Hammer enamel butterfly brooch in pale blue, antennas missing stamped 930s

TWO SILVER BROOCHES AND A BUCKLEcomprising a French enamel decorated buckle, an Egyptian style winged figure brooch; and a Norwegian enamel decorated brooch by Marius Hammer (3)

A deactivated 12-bore double barrel hammer shotgun by K D Radcliffe with shortened barrels and EU deactivation certificate

MIDDLE AGES AND EARLIER - 10 games: Struggle of Empires, Anno 1503, Qvo.Vadis, Viking Raiders, Mare Nostrum, Seige Tactics, Outremer, Cry Havoc, Gustaf Adolf the Great, Hammer of the Scotts

Box of Russian items (1944) including map, calculator with compass protractor in case, army hat with red enamelled hammer and sickle, badge and four Russian individual identification booklets with photograph.

2 Army style cloth caps:- German with ear warming covers and swastika eagle badge and a fabric Russian hat with enameled hammer and sickle over cloth red star

Lesbian Vampire Lovers hammer horror movie 8x10 photo, signed by Madeline Smith, pictured topless, she never signed many of these!. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Lesbian Vampire Lovers hammer horror movie 8x10 photo, signed by Judy Matheson, pictured topless! Desirable image. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Lesbian Vampire Lovers hammer horror movie 8x10 photo, signed by Judy Matheson, pictured topless! Desirable image. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Edward Lear (British, 1812-1888)Thebes inscribed and dated 'Thebes.July 4.1848' (lower left), inscribed and dated 'Thebes/4 July 1848' (lower right), variously annotated throughoutpen and ink and watercolour heightened with white23.5 x 43cm (9 1/4 x 16 15/16in).Footnotes:On the reverse of the sheet there is an unfinished landscape pencil sketch.ProvenanceWith Spink & Sons Ltd., London, K3/1749.Private collection, USA.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

William Bruce Ellis Ranken (British, 1881-1941)'Jade and Black' signed with initials and dated 'WBER: 1936:' (lower left)oil on canvas laid to board211 x 98.5cm (83 x 38 3/4in).Footnotes:ProvenanceGifted by the sitter Dolores to Noreen Coward.Thence by descent, private collection, South Africa.The tall, elegant sitter depicted in this painting by William Bruce Ellis Ranken (1881-1941) is the world-renowned model Dolores. Born in Bromley, Kent, and christened Dorothy Stephenson, she became a model in the 1930s.It was the designer Sir Norman Bishop Hartnell, KCVO (1901-1979) who fell for Dorothy's distinctive and exotic Spanish look which led to her becoming his top model for over 18 years. Hartnell was a leading British fashion designer and was best known for his work for the ladies of the royal family. He gained the Royal Warrant as Dressmaker to Queen Elizabeth in 1940, and Royal Warrant as Dressmaker to Queen Elizabeth II in 1957.Professionally Dorothy was known as Dolores, as Hartnell changed her name to make her sound more exotic and to match her Spanish look. Dolores travelled the world to show off Hartnell's clothes, doing TV appearances, judging regional beauty contests, and opening boutiques on his behalf. She even wrote beauty and style columns and gave regular interviews on the world of fashion. Dolores reigned over London's fashion scene for two decades. In December 1955, then in her mid-forties, Dolores retired and emigrated to South Africa.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com