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Lot 110
Abdoulaye Diarrassouba 'Aboudia' (Ivorian, born 1983)Untitled signed and dated 'ABOUDiA/18' (lower right)acrylic, spray paint, oil stick and paper collage on canvas149.8 x 151.2cm (59 x 59 1/2in).(unframed)Footnotes:ProvenanceGalerie Santa Maria, Ivory Coast,Private Collection, Switzerland,Acquired from the above by the present owner.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
Lot 122
Ibrahim El-Salahi (Sudan, born 1930)I walk in the night with sleepy eyes closed signed 'Salahi' (lower right); inscribed '27' (crossed out)/ 'No, 22'/ 'Series F'' (verso)Indian ink on paper 19.5 x 41cm (7 11/16 x 16 1/8in).Accompanied by an exhibition catalogue, 'Drawings: Ibrahim El Salahi', (Mbari Publications Ibadan, 1962)Footnotes:ProvenanceBought directly from the artist 1963;A private collection.Calligraphic modernism is thematically central to Ibrahim El-Salahi's oeuvre, and indeed to this work. The artist uses text to bridge together his desire to create modern works and his heritage to draw the attention of traditionalists into his work. In the present work, the beautifully fluid lines displaying an abstracted almost animalistic figure are symptomatic of El-Salahi's most iconic works. Paired here with the Arabic sentence to the top of the work, translating to 'I walk in the night with sleepy eyes closed', we see the artist has conflated two forms of aestheticism.'I said to myself, 'Man, let us for a time forget about those archaic concepts of art for art's sake, and that unreal nonsense of the muse and the ivory tower recluse that we read about, and get down to work that might solve our problem.'...I worked like mad, introduced Arabic writing and decorative patters in a corner of my works like a stamp on an envelope, and exhibited some of those works. People recognizing something that they were a bit familiar with, took note and came a bit closer. I gradually spread the lettering with symbols, words from the Qur'an and Sufi poetry over the surface of the picture, mixing it with figurative work. They came closer, showing a greater degree of interest.'El-Salahi was committed to the idea of a wider Muslim aesthetic, acquiring universalism through transnational modernism. During the era of decolonization, the introduction of Islamic discursive inclusion attempts to appeal to the wider community; endeavouring to formulate a sense of unification in modernity.BibliographySalah M. Hassan, 'Ibrahim El-Salahi, A Visionary Modernist', (New York: Museum of African Art, 2012), p. 49.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
Lot 818
VICTORIAN LACQUERED WALKING CANE, LATE 19TH CENTURY the ivory handle carved as a dog's head set with one glass eye, with silver collar for London 1888, together with an African ebonised cane, the handle carved as an elephant head with bone tusks.This lot contains elephant ivory material. Several countries, including in the EU and USA, prohibit the importation of ivory items unless under specific conditions. Prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.Ivory Act 2018 (2022) compliant with APHA registration reference 3VK1WLQ5. the first 85cm long Both in overall good condition. Scratches and age related wear. Dents to the body. Dogs head missing an eye. Silver collar with further wear. Additional images now available.
Lot 700a
FRENCH ORMOLU TRINKET BOX, LATE 19TH CENTURY of serpentine outline, the hinged cover inset portrait miniature on ivory, bordered with scrolling foliage and bows, and with pierced detail to purple guilloche enamel, the frieze similairly decorated with acanthus leaves and roses, lined interior, on four bracket feetThis lot contains elephant ivory material. Several countries, including in the EU and USA, prohibit the importation of ivory items unless under specific conditions. Prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.Ivory Act 2018 (2022) compliant with APHA registration reference YM7EVLNY. 15cm wide
Lot 863
PETER TERESZCZUK, AUSTRIAN-UKRANIAN, 1875-1963, L'ELEGANTE AU SOULIER the bronze and ivory figure signed to base and bearing foundry mark, on rectangular veined marble baseThis lot contains elephant ivory material. Several countries, including in the EU and USA, prohibit the importation of ivory items unless under specific conditions. Prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.Ivory Act 2018 (2022) compliant with APHA registration reference 2TU5CJDP. 20cm high
Lot 161
Doulton Lambeth biscuit barrel by Mark Marshall Doulton Lambeth biscuit barrel by Mark V Marshall, circa 1880, cylinder form with a silver plated fittings, decorated with incised formal patterns, incised initial M.V.M.height 20cmNo damage or restoration. The silver plated barrel finial lacks an ivory button which has had to be removed due to new UK Ivory laws.
Lot 1031
A JADE 'ELEPHANT' PENDANT, LATE SHANG DYNASTY, ANYANG PHASEChina, 13th-11th century BC. Thick flattened jade plaque, finely carved in the form of an elephant with an upward-curling trunk and a slightly open mouth, with thread relief and incised lines to express the eyes, ears, and tail, as well as geometric decorations. The translucent stone is of a white tone with areas of creamy-white calcification, cloudy inclusions, and few dark specks. The tip of the trunk has a small 'natural' aperture for suspension.Provenance: Collection of Harry Geoffrey Beasley (1881-1939) and thence by descent to his widow Irene Beasley. Collection of Alfred William Cowperthwaite (1890-1964), acquired from the above c. 1939 and thence by descent in the same family. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate, as the Cranmore Museum was destroyed by bombing. After the war, substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum, and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters. Alfred William Cowperthwaite (1890-1964) was a contributor to the Cranmore Museum and became good friends with Harry Beasley. Shortly after Harry Beasley's death, he acquired a number of objects from Irene Beasley, including the present lot. Condition: Excellent condition with extensive wear, microscopic soil encrustations and remnants of ancient pigment.Weight: 12.3 g Dimensions: Length 4.8 cm During the Shang dynasty, the Central Plain of China enjoyed a warm and humid climate and provided a suitable habitat for elephants. The archaeological ruins of Anyang, one of the Shang capitals, yielded large amounts of ivory and elephant bones, indicating that the Shang nobility sacrificed elephants in their rituals. The Lüshi Chunqiu (Spring and Autumn Annals of Master Lü) records the Shang people's taming of elephants: 'The Shang people trained elephants, which they used to oppress the Eastern Yi people. The Duke of Zhou consequently chased them with his armies to the Jiangnan region.'Literature comparison: Compare a related jade figure of an elephant, dated Shang dynasty, 12th-11th century BC, 7.3 cm long, exhibited by J. J. Lally & Co. in Ancient Chinese Jade: From the Neolithic to the Han, 10 March – 2 April 2016, no. 21. Compare two related jade elephants carved in the round, excavated from the tomb of Fu Hao, measuring 6-6.5 cm in length and 3-3.3 cm in height, illustrated in 'Zhongguo gu qingtongqi xuan', Beijing, 1976, pl. 91. One of these elephants is also illustrated in 'Zhongguo meishu quanji, Diaosu bian', vol. 1, Beijing, 1988, p. 51. Compare the small jade figure of an elephant unearthed from tomb 1728 at the Shang dynasty royal cemetery site in Xibeigang, Henan province, illustrated by Lee (ed.) in 'Yinxu chutu qiwu xuancui (Selected Works Unearthed from Yinxu)', Taipei, 2009, p. 216, no. 201; and the larger jade elephant of similar form unearthed from tomb 1567 at the same royal cemetery, illustrated by Lee (ed.), op. cit., pp. 196-197, no. 175. Compare also the jade figure of an elephant simply carved as a small free-standing silhouette in the collection of the Tianjin City Art Museum illustrated in 'Tianjin shi yishu bowuguan cang yu (Jades from the Tianjin City Art Museum)', Hong Kong, 1993, no. 51.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 28 November 2019, lot 706 Price: HKD 250,000 or approx. EUR 32,000, converted and adjusted for inflation at the time of writing Description: A brown jade 'elephant' pendant, late Shang dynasty, Anyang phase Expert remark: Compare the related form with similar upward-curling trunk and slightly open mouth. Note the different color, lack of thread relief, and the size (2.9 cm).
Lot 311
A large 17th century woolwork panel Of irregular rectangular shape, together with a smaller rhomboid shaped panel.Originally from a bed hanging, brightly coloured flowers and leaves issuing from a central eight petalled flower, an intertwining chain pattern to the border in coloured wools and silks on a brown hessian ground.62 x 49cm & 94 x112cm approx.Together with a large ivory silk bed covering, with applied decorative calico tapework of floral motifs and broad sections of lace. The silk backed by muslin. Purchased from the Tyttenhanger House sale.270 x 270cm approx.Multiple holed areas to the larger panel, a some to the smaller. The silk of the ivory bed cover is deteriorating in several places.
Lot 556
Continental Cavalry Officers Sword c.1840, curved single edge blade 75cms, cut with a single broad fuller and blued and gilt for first 20cms with small devices including 2 martial trophies, blade with maker’s initials A. K. beneath langet, brass hilt with traces of gilding (knuckle bow missing), lion’s head pommel, prominent oval langets with trophies of arms in relief, one piece chequered ivory grip, in its brass mounted iron scabbard. Good condition. Ivory declaration number DLMPXZQ3
Lot 68
Mixed ceramics and African jewellery to include Neofitou (handmade Greek china) and others comprising of cups, bowls and plates and a Belleek vase, jewellery to include two necklaces with various metal and wooden beads, one with faux ivory elephant and another with a turtle together with a costume jewellery diamond necklace. Location :CAB1+RAF
Lot 10
AN IVORY PENDANT DEPICTING LI TIEGUAI AND KUI XING, MING DYNASTYChina, 1368-1644. Of rectangular form with rounded corners, carved in relief depicting on one side Li Tieguai with his characteristic iron crutch amid tufts of grass flanked by a craggy rock and towering pine tree amid swirling clouds, and to the other Kui Xing, the God of Examinations, standing atop a cloud in his characteristically vigorous pose holding a writing brush in his raised right hand and an ingot in the left.Provenance: Collection of Maria and Johannes Nickl, thence by descent in the same family. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna's tight-knit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel ('Roll of Honor') of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Very good condition with some wear, natural imperfections including expected age cracks, light scratches, few tiny nicks. One minuscule old fill to upper edge. Magnificent ancient and natural patina.CITES: European Union Certificate number AT 23-B-0235, dated 06.7.2023.Weight: 48.1 gDimensions: Height 7 cm Literature comparison: Compare a related ivory plaque depicting a figure and Buddhist lion, also dated to the Ming dynasty, 6.8 cm high, in the British Museum, registration number 2018,3005.551.Auction result comparison: Type: RelatedAuction: Sotheby's London, 9 November 2011, lot 14Estimate: GBP 30,000 or approx. EUR 55,000 converted and adjusted for inflation at the time of writingDescription: A carved ivory pendant, Ming dynastyExpert remark: Note the similar form and the more extensive wear to this ivory pendant as opposed to the present lot which is still in very good condition.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 明代象牙雕鐵拐李與魁星佩飾中國，1368-1644年。圓角長方，一面浮雕李鐵拐，手持鐵杖，周圍草叢怪石，松樹參天，雲霧繚繞；另一面是魁星立在雲端，右手舉著毛筆，左手拿著金錠。來源：Maria 與Johannes Nickl收藏，在同一家族保存至今。Maria (1926-2022年) 與 Johannes Nickl (d. 2020) 住在奧地利維也納，是亞洲、佛教和埃及藝術品的熱心收藏家。他們在維也納的亞洲藝術貿易中非常活躍，並在 1980 年代和 90 年代收集了大部分藏品，經常從 Zacke 藝廊和後來的 Asboth藝廊購買。這對夫婦也是著名的博物館贊助人，他們的名字至今仍出現在維也納藝術史博物館（維也納美術博物館）埃及和近東藏品的榮譽榜上。品相：狀況極好，有一些磨損、自然瑕疵，包括老化裂紋、輕微劃痕、一些微小刻痕。上部邊緣有舊修補。自然包漿。CITES：歐盟證書編號AT 23-B-0235，於2023年7月6日發行。 重量：48.1 克 尺寸：高 7 釐米 文獻比較： 比較一件相近的明代象牙雕人物太獅佩飾，高6.8 釐米，收藏於大英博物館，館藏編號2018,3005.551。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2011年11月9日，lot 14 估價：GBP 30,000（相當於今日EUR 55,000） 描述：明代象牙雕鶴配飾 專家評論：請注意相似的外形，該象牙配飾磨損較嚴重。
Lot 131
A CELADON-GLAZED LOTUS POD-FORM BOX AND COVER, QING DYNASTYChina, 18th-19th century. Delicately potted with deep rounded sides rising from a short foot with recessed base to a broad flat inward rim, surmounted by a cylindrical cover with slightly concave top, exquisitely molded and incised as a lotus flower centered by a mature pod. The box and cover covered overall in a soft sea-green glaze, nicely thinning at the edges and darkening in the recesses. Probably designed after a cricket box, see literature comparisons below for closely related examples made from Hongmu and ivory.The base with an underglaze-blue six-character mark da Qing Yongzheng nianzhi, but probably dating from the early 19th century, see auction result comparisons below for an closely related example from the Daoguang period.Provenance: From a private collection in northern Germany. The wood stand with an old label, '102'.Condition: Excellent condition with only minor old wear and minimal firing irregularities. The wood stand with some natural wear and small age cracks.Weight: 193.9 gDimensions: Diameter 7.1 cm With a finely carved wood stand decorated with chrysanthemum petals, also dating from the Qing dynasty. (2)An appreciation of crickets for their chirping songs and cultural symbolism flourished during the Ming and Qing dynasties. Keeping crickets in specially designed containers became a favored pastime among the literati, scholars, and the upper class. Cricket containers during these periods were typically crafted with great attention to detail and featured intricate designs and embellishments. The containers were often adorned with carvings, paintings, calligraphy, and other decorative elements, showcasing the artistic craftsmanship of the period. They were made from various materials, including bamboo, wood, porcelain, and metal.The present box and cover, designed in the form of a blooming lotus flower, highlights the exceptional creativity exhibited by potters at the Imperial kilns during the Yongzheng era and subsequent periods. These boxes were inspired by earlier containers traditionally made of wood and ivory. Examples of such containers can be found in a range of monochromatic colors, including qingbai and celadon. Despite the presence of preserved examples in prominent collections like the Palace Museum, these boxes remain scarce and are rarely published in literature.Literature comparison: Compare a hongmu cricket box of related form, dated to the 18th century, in the Minneapolis Institute of Art, accession number 2003.100.2A-C. Compare an ivory lotus pod-form box and cover, dated to the 17th century, at Christie's New York, 20 September 2002, lot 131.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 28 May 2014, lot 3449Price: HKD 325,000 or approx. EUR 46,500 converted and adjusted for inflation at the time of writingDescription: A small celadon-glazed lotus pod-form box and cover, Daoguang seal mark and of the periodExpert remark: Compare the closely related form, glaze, decoration, and size (7 cm). Note the Daoguang reign mark. While from two different periods, and each with unique qualities, there are noticeable similarities between the finishing work on both examples, where the edge of the glazed body meets the unglazed porcelain. The incision work on the Daoguang-marked example is also of an arguably lesser quality compared to the present lot, which may indicate that the latter is indeed from an earlier date. 清代青釉蓮花紋蓋盒中國，十八至十九世紀。蓋盒呈扁圓形，子母口相合，下承外撇圈足。全器滿施青釉，釉層瑩潤，質地細膩。蓋面微鼓，刻劃蓮花紋，中心蓮蓬碩大，蓮子清晰，環繞飽滿蓮瓣，花瓣重疊富有層次。整體造形秀美。請參閱文獻比較，了解由紅木和象牙製成的相近例子。圈足内青花“大清雍正年製"。可能來自十九世紀初，見拍賣結果比較中來自道光朝的例子。 來源：來自德國北部私人收藏，木底座上有一個舊標籤，上可見 '102' 字樣。 品相：狀況極佳，只有輕微磨損和輕微燒製不規則。木底座有一些磨損和年代裂縫。 重量：193.9 克 尺寸：直徑 7.1 厘米 由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Lot 14
A LARGE ZITAN 'IMMORTALS' BRUSH POT, BITONG, CHINA, 18TH CENTURYExpert's note: This brush pot is finely carved in a manner that closely adheres to the Imperial language of the mid-18th century, including crashing waves, layered rockwork issuing lingzhi, and densely scrolling clouds. Furthermore, it is made from Zitan wood, a material that was highly prized during this period.Of cylindrical form, the exterior deeply carved in low relief with Li Tieguai balancing on his crutch and holding a calabash gourd, Liu Hai riding his three-legged toad, the He-He twins skimming and rafting over crashing waves, and Shoulao riding a crane, all amid craggy rockwork issuing lingzhi mushrooms and below thick swirling clouds. The Zitan wood of an attractive grain with characteristic crab's claw marks and a rich, dark burgundy color.Provenance: From an English private collection.Condition: Very good condition with expected old wear, resulting in a naturally-grown lustrous patina overall. Expected age cracks, tiny nicks and losses, and light scratches. The base with extensive wear and larger age cracks.Weight: 3,015 gDimensions: Height 21.4 cm, Diameter 24.5 cm Auction result comparison: Type: Closely relatedAuction: Christie's London, 10 May 2011, lot 171Price: GBP 12,500 or approx. EUR 23,500 converted and adjusted for inflation at the time of writingDescription: A large carved zitan brushpotExpert remark: Compare the related form and manner of carving, albeit depicting the Eighteen Luohan. Note the slightly smaller diameter (19.4 cm).Auction result comparison: Type: Closely relatedAuction: Bonhams San Francisco, 15 December 2009, lot 8203Price: USD 19,520 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A Zitan brush pot, Bitong, 19th centuryExpert remark: Compare the related form and manner of carving, albeit arguably more simplistic and depicting scholars. Note the 19th century dating for the brush pot and the slightly shorter height (17.1 cm).Auction result comparison: Type: Closely relatedAuction: Christie's Hong Kong, 3 December 2021, lot 3060Price: HKD 1,875,000 or approx. EUR 225,000 converted and adjusted for inflation at the time of writingDescription: A superbly carved Zitan 'River Landscape' brushpot, Qianlong periodExpert remark: Compare the related form. Note the smaller size (14.5 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 十八世紀大型紫檀仙人筆筒圓柱體，外壁深浮雕，拄拐杖拿著葫蘆的李鐵拐、騎三足蟾蜍的劉海、驚濤駭浪中的和合二仙、騎鶴的壽老。福山壽海，靈芝祥雲。紫檀木紋理迷人，典型的蟹爪紋和濃鬱的深酒紅色。 來源：英國私人收藏。 品相：狀況極好，有磨損，整體自然包漿。預期的老化裂紋、微小的刻痕和損失以及輕微的劃痕。底座大面積磨損和較大的年代裂縫。 重量：3,015 克 尺寸：高 21.4 厘米, 直徑 24.5 厘米拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2011年5月10日， lot 171 價格：GBP 12,500（相當於今日EUR 23,500） 描述：紫檀筆筒 專家評論：比較相近的外形、雕刻風格，以及呈現十八羅漢。請注意直徑 (19.4 釐米)稍小。 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦瀚斯，2009年12月15日，lot 8203 價格：USD 19,520（相當於今日EUR 25,500） 描述：十九世紀紫檀筆筒 專家評論：比較相近的外形、雕刻風格，以及呈現學者圖。請注意此筆筒為十九世紀，高度較低 (17.1 釐米)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2021年12月3日，lot 3060 價格：HKD 1,875,000（相當於今日EUR 225,000） 描述：清乾隆方琮款紫檀淺刻山水人物圖筆筒 專家評論：比較相近的外形。請注意尺寸較小 (14.5 釐米)。
Lot 16
A PAIR OF SILVER-LINED ZITAN 'MAGNOLIA' LIBATION CUPS, CHINA, 18TH CENTURYEach finely carved as a large magnolia flower borne on an openworked gnarled branch bearing neatly incised buds and blossoms. The interiors with meticulously applied silver liners. The base of each cup painted in red lacquer with a single-character mark. The dark-red zitan wood is of an attractive grain and color with characteristic 'crab's claw' markings overall. (2)Inscriptions: To each base, 'Qiao'.Provenance: John Sparks Ltd., London, United Kingdom, 1986. A private collection in West Yorkshire, United Kingdom, acquired from the above and thence by descent. A copy of the original signed invoice from John Sparks, dated 1 May 1986 and confirming the dating above, accompanies this lot. Note that the invoice describes the cups as being of 'peach-shape'. Condition: One cup in excellent condition with only minor old wear, the other in very good condition with a minute natural age crack, possibly with an associated old fill. The silver liner is exceptionally well preserved on both cups. Overall with a magnificent patina and displaying exceptionally well.Weight: 58.6 g and 62.6 g Dimensions: Width 9.5 cm and 9.4 cm Literature comparison: Compare a closely related zitan cup carved with squirrels and grapevines, 6.8 cm high, dated ca. 1650-1700, in the Victoria & Albert Museum, accession number FE.129-1978.Auction result comparison: Type: Related Auction: Christie's New York, 20 September 2013, lot 1588 Price: USD 8,750 or approx. EUR 11,500 converted and adjusted for inflation at the time of writing Description: A set of four Zitan cups, 18th-19th century Expert remark: Compare the related form and material. Note the lacking of any liner, the later date, and that the lot comprises four cups. Note the near-identical diameters (10 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 十八世紀一對紫檀雕玉蘭嵌銀角杯杯身呈喇叭狀，敞口漸細至小足，杯内嵌銀内胎。以浮雕、透雕手法刻畫木蘭花樹，木蘭花或是含苞欲放，或是嬌艷盛開，刀法樸拙厚重而不失精巧。請注意優雅的紅褐色和獨特的“蟹爪"紋理，兩者都是紫檀木的獨特標誌。(2) 款識：每個杯底都可見“喬“字 來源：英國倫敦John Sparks Ltd.，1986 年；英國西約克郡的私人收藏。 此拍品附有John Sparks 簽名的原始發票副本，日期為 1986 年 5 月 1 日，並確認了上述日期。請注意，發票將杯子描述為“桃形"。 品相：一個杯子狀況良好，只有輕微的磨損；另一個狀況非常好，有微小的自然老化裂紋，可能有小填充物。兩個杯子上的銀色胎都保存得非常好。總體而言，具有自然包漿。 重量：分別為58.6克與62.6 克 尺寸：分別寬 9.5 厘米與9.4 厘米 文獻比較：比較一件相近的1650-1700年紫檀杯，浮雕松鼠和葡萄，高6.8釐米，收藏於維多利亞和亞伯特博物館，館藏編號FE.129-1978。 拍賣比較： 形制：相近 拍賣：紐約佳士得，2013年9月20日，lot 1588 價格：USD 8,750（相當今日EUR 11,500） 描述：清十八/十九世紀紫檀雕花卉紋盃一組四件 專家註釋：比較相近的外形、材質。 and material. 請注意沒有限、年代較晚，以及此組為四件。請注意幾乎相同直徑(10 厘米)。
Lot 167
A WHITE MARBLE FIGURE OF BUDDHA, NORTHERN QI DYNASTY, CHINA, 550-577Finely carved, standing with the left hand lowered in abhaya mudra, dressed in a long flowing monastic robe draped over both shoulders and rendered simply in descending rows of graceful U-shaped folds above the cascading hem. His serene face with heavy-lidded eyes and full lips forming a calm smile. The hair arranged in tight curls over the domed ushnisha.Provenance: From a noted private collection in New York, USA, and thence by descent in the family. New York trade, by repute acquired from the above. Condition: Good condition, commensurate with age. Extensive ancient wear, obvious losses, nicks, scratches, signs of natural weathering and erosion, encrustations, cracks, old repairs. Naturally grown patina overall, the originally white marble has acquired a fine ivory tone over the course of the centuries.Weight: 14.3 kg (incl. stand) Dimensions: Height 62.4 cm (excl. stand) and 68.5 cm (incl. stand) With a fitted metal stand. (2)Literature comparison:Compare a related marble figure of Buddha, dated to the late 6th century, 110 cm high, in the Minneapolis Institute of Arts, accession number 2000.207.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 19 December 2016, lot 8198 Price: USD 47,500 or approx. EUR 55,500 converted and adjusted for inflation at the time of writingDescription: A rare carved stone figure of the Buddha, Northern Qi Period (550-577) CEExpert remark: Compare the closely related subject, style, applied carving technique and form. Note the near-identical size (63.5 cm). 550-577年北齊漢白玉佛像佛陀立像雕刻精美，螺髮刻畫清晰，面容圓潤飽滿，雙眼微閉，神態沉靜而優雅。敞胸披袈裟。左臂置於胸前，左手丟失，右手自然下垂結與願印，儀態端莊肅穆。此造像工藝考究，袈裟衣褶的處理尤為精彩，如行雲流水一般。 來源：紐約知名私人收藏，在同一家族保存至今；紐約古玩交易，據説購於上述收藏。 品相：品相良好，大面積磨損、明顯的缺損、刻痕、劃痕、自然風化和侵蝕的跡象、結殼、裂縫、微小的修復。白色大理石整體自然包漿，經過幾個世紀的發展，逐漸呈現出精美的象牙色色調。 重量：14.3 公斤 (含底座) 尺寸：高 62.4 釐米 (不含底座) 及68.5 釐米 (含底座) 金屬支架 (2) 文獻比較： 比較一件相近的六世紀末期漢白玉佛像，高110 釐米，收藏於明尼亞波利斯藝術館，館藏編號2000.207。 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦瀚斯，2016年12月19日，lot 8198 價格：USD 47,500（相當於今日EUR 55,500） 描述：A rare carved stone figure of the Buddha，Northern Qi Period (550-577) CE 專家評論：比較非常相近的主題、風格和雕刻技巧，以及外形。請注意幾乎相同的尺寸(63.5 釐米)。
Lot 18
A LARGE HUANGHUALI APOTHECARY CABINET (YAOGUI) WITH FOURTEEN DRAWERS, EARLY QING DYNASTYChina, 17th-18th century. The rectangular frame set with a pair of finely figured paneled doors fitted flush with the surface and opening to reveal a pair of smaller doors beneath three rows of three sets of drawers, enclosed by two smaller drawers on both sides and a single larger drawer beneath it. These two smaller doors open to an inner cabinet with a carved frame. Each drawer is fitted with elegant baitong pulls, the exterior with foliate door escutcheons with loose rectangular pulls, rectangular hinges, and loose ring handles set to the sides also made of baitong. The wood of an attractive grain and color with impressive 'ghost eyes' on the cabinet doors.Provenance: Tomlinson Antique House, Geylang, Singapore, before 1995. From a French private collection, acquired from the above and thence by descent. A copy of a Certificate of Antiquity from Tomlinson Antique House, with photos of the present lot and dating it to the 18th century, accompanies this lot. Tomlinson Antique House was established 1976 in Singapore and specializes in antique Chinese furniture and Asian antiquities. Condition: Good condition, commensurate with age, showing old wear and traces of use, light surface scratches, natural age cracks and splits, small losses, tarnishing to the baitong fittings. Possibly with minor replacements, as expected from ancient Chinese furniture with an age of 250 years or more. Overall with a magnificent naturally grown patina, thus displaying exceptionally well.Weight: 52 kg Dimensions: Height 73 cm, Width 71.7 cm, Depth 39 cm Cabinets of this size and form are generally described as traveling bookcases if the interior contains shelves, and as apothecary chests if there are numerous drawers, as in the present example. The large size and luxurious hardwood render these forms quite heavy and not easy to move, and thus they are often described as table cabinets. In fact, the drawers could have been used to store a variety of things from treasured scholarly objects to cosmetics and accessories.Expert's note: See Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Dynasties, vol. I, Hong Kong, 1990, pp. 94-95, for a discussion on apothecary chests.Literature comparison: See a similar example illustrated by Wang Shixiang, Classic Chinese Furniture: Ming and Early Qing Dynasties, Hong Kong, 1986, pl. 159. Another example of smaller size is illustrated in Grace Wu, The Best of the Best, The MQJ Collection of Ming Furniture, vol. 2., Hong Kong, 2017, pp. 334-5. See also a related cabinet, a traveling bookcase with side posts and top rail, in the Minneapolis Museum of Art, illustrated in Robert D. Jacobsen with Nicholas Grindley, Classical Chinese Furniture in the Minneapolis Institute of Art, Minneapolis, 1999, pl. 70.Auction result comparison: Type: Closely related Auction: Bonhams New York, 20 March 2023, lot 87 Price: USD 120,075 or approx. EUR 109,000 converted at the time of writing Description: A rare huanghuali apothecary cabinet, yaogui, early Qing dynasty, 17th century Expert remark: Compare the closely related form, also with fourteen drawers surrounding a central compartment with doors, and baitong mounts with similar pulls and hinges. Note the related size (74.9 x 60.7 x 35.5 cm).Auction result comparison: Type: Related Auction: Christie's New York, 21 September 2004, lot 15 Price: USD 77,675 or approx. EUR 116,000 converted and adjusted for inflation at the time of writing Description: A fine huanghuali apothecary cabinet, yaoxiang, 17th century Expert remark: Compare the related form, huanghuali wood, and baitong mounts with similar side handles, pulls, and hinges. Note the related size (78.1 x 71.1 x 38.9 cm) and that the interior encloses twenty-eight drawers.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2019, lot 702 Price: USD 68,750 or approx. EUR 75,500 converted and adjusted for inflation at the time of writing Description: A 'huanghuali' square-corner apothecary cabinet (yaoxiang), 17th/18th century Expert remark: Compare the related form, huanghuali wood, and mounts with similar side handles, pulls, and hinges. Note the related size (73.7 x 69.2 x 30.8 cm) and that the interior encloses sixteen drawers.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 清代早期黃花梨藥櫃，十四個抽屜中國，十七至十八世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Lot 186
A GILT COPPER-ALLOY REPOUSSE FIGURE OF BUDDHA AMITABHA, WITH AN INSCRIPTION REFERRING TO THE SECOND KIRTI LAMA, TENPA RINCHEN (1474-1558)Tibet, 15th-16th century. Seated in vajraparyankasana on a double-lotus base with beaded edges, neatly incised at the top beneath each knee with consecrated and dedicatory inscriptions. His hands are lowered in dhyana mudra. He is wearing a long flowing robe finely incised with foliate designs at the hems and gathering in carved folds at the base. The serene face with heavy-lidded, painted eyes, gently arched brows centered by an urna, and full lips forming a calm smile. The hair arranged in tight curls over the domed ushnisha topped by a jewel.Inscriptions: The complete translation of the inscription reads: “chos rje bstan pa’i rin chen nas bzhengs so“ (this was constructed by (or for) the Lord of Dharma, Tenpai Rinchen) and “jig rten ‘od“ (the light of the world).Provenance: Ute Asboth, Galerie Asboth, Vienna, May 2000. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. A copy of the original expertise letter written and signed by Ute Asboth, describing the illustrated present bronze as a gilt copper repousse figure of Amitabha and dating it to the 17th century, accompanies this lot. A copy of the original handwritten receipt, written and signed by Ute Asboth, dated 31 May 2000, accompanies this lot. Ute Asboth (c. 1927-2018) began her career in the Asian art trade at Galerie Zacke in the early 1980s before eventually founding Galerie Asboth in Vienna, Austria. The gallery specialized in East Asian art and published extensively. Several noted exhibitions were curated in close cooperation with Luigi Bandini from Eskenazi gallery in London, United Kingdom. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art.Condition: Very good condition with expected old wear, small dents, few tiny losses, light scratches. The base unsealed.Weight: 929 gDimensions: Height 26.5 cm The Second Kirti Lama, Tenpa Rinchen (1474-1558) was born in a place called Dungsha in the lower region of Ngawa, in Amdo. In 1489, at the age of sixteen, he traveled to U, where he studied medicine under a physician named Dondrub and the sutras of Maitreya under Lama Chopel Zangpo at a hermitage named Rakhadrak. He studied Abhidharma and Vinaya under Meru Jampa Rinchen, who, in 1493, gave him full ordination together with the name Tenpa Rinchen Chokyi Gyeltsen. After studying sutra and tantra for six years, he received empowerments for various dharma protectors from the Sakya lama Kunga Rinchen, after which he went into retreat for three years. In total, he spent fourteen years in U, returning home in 1504 at the age of thirty-one.Upon his return, Tenpa Rinchen first went to Tala Hermitage in Taktsang Lhamo, which had been established by Rongchen Gendun Gyeltsen (1374-1450). There he gave empowerments and teachings on language, poetry, medicine, and astrology. He lived at Tala for seven years, expanding it and overseeing the community. Afterwards, he announced that he was the reincarnation of Rongchen Gendun Gyeltsen, and then went to Kalari Kirti monastery, which Gendun Gyeltsen had established in 1412 as his seat. He took for himself the title of Kirti Lama, and posthumously gave the title of the First Kirti to Gendun Gyeltsen.As part of his activity in expanding the Gelug tradition in Amdo, he converted a Jonang monastery to Geluk, apparently by force. In retaliation, a Jonang Tulku sent the army of Tsangpa Lhundup Rabten to attack Kalari Kirti Monastery, forcing Tenpa Rinchen to flee. He was invited to Muge Monastery in Ngawa, where he gave teachings. At around the same time, the Chinese Ming Emperor Zhengde invited him to China. He declined the invitation but he did a divination for the Emperor and recommended what prayers he should read. Zhengde again sent an envoy with gold and silver gifts and an ivory stamp, which read 'The Precious Accomplished and Enlightened Teacher'. 鎏金銅阿彌陀佛像，刻有第二世格爾登喇嘛丹巴仁欽 (1474-1558) 銘文西藏，十五至十六世紀。阿彌陀佛呈金剛菩提坐於雙層蓮座上，膝蓋下方頂部整齊地刻有銘文。佛陀雙手低垂，結禪定印，面容安詳，雙眼微閉，雙眉之間有白毫，面露微笑，螺髻。身著一件袈裟，蓮座邊緣飾有串珠紋。款識: 底座頂部，佛陀左膝下方，寫有“Jigten Hoe"，後面是數字或日期； 右膝下方刻有“Choe Je Tenpa Rinchen Ne She So"。 來源: Ute Asboth, 維也納Asboth藝廊，2000年5月；Maria與Johannes Nickl收藏，購於上述藝廊，在同一家族保存至今。隨附一份由Ute Asboth出具的鑒定書複印件，上可見關於造像的描述並斷代為十七世紀。Ute Asboth (約1927-2018) 於 1980 年代初在 Zacke藝廊開始了她在亞洲藝術貿易的職業生涯，之後在奧地利維也納創立了 Asboth藝廊。該藝廊專門從事東亞藝術並廣泛出版，她與英國倫敦 Eskenazi 畫廊的 Luigi Bandini 密切合作，並策劃了幾個著名的展覽。Maria (1926-2022) 與 Johannes Nickl (d. 2020) 曾生活在奧地利維也納，是知名的亞洲藝術、佛教藝術以及埃及手工藝品收藏家。品相: 狀況極好，有磨損、小凹痕、輕微缺損、輕微劃痕。 底座未密封。 重量: 929 克 尺寸：高 26.5 厘米
Lot 187
A LARGE AND HIGHLY IMPORTANT ZITAN AND GILT-LACQUERED STATUE OF SARIPUTRA, THE FIRST OF BUDDHA'S TWO CHIEF DISCIPLES, CHINA, 1520-1580The Ming dynasty's largest surviving Zitan sculpture.Scientific Analysis Report: The result of a radiocarbon dating test (C14) conducted by Re. S. Artes, no. C 245112A, 2 August 2023, based on one sample taken from the wooden core of the figure, is consistent with the dating of this lot. The report states a probability of 95.4 % for a dating range of 1517-1656, of which a predominant probability of 63.5 % is for the range of 1517-1589. Copies of the analysis certificate and the detailed scientific report accompany this lot. X-Rays: Conventional X-ray scans conducted in 2023 confirm the existence of multiple vertical cavities within the statue. Some of these voids may still hold ancient scriptures, or sutras, on paper and/or textile. It's important to note that an X-ray image captured in 1985 (published in Galerie Zacke, Skulpturen des Buddhismus und Hinduismus, Vienna, 1985, no. 48) using an X-ray image intensifier (XRII) discloses the possible presence of several objects, which remain beyond the purview of standard X-ray imaging methods. Given that the statue is hermetically sealed and must remain unopened, the actual confirmation of its contents is unattainable, thus precluding any assurance regarding their nature.The face and the exposed body are gilded overall. He is powerfully carved standing in samabhanga, his right hand held in karana mudra, and his left in dhyana mudra. His voluminous monastic robe is precisely carved with undulating folds and outlined in gold with patchwork, the hems similarly decorated with scroll and lozenge diaper, the undergarment with floral designs. His serene face shows heavy-lidded eyes, picked out in ancient pigments, gently arched brows, and bow-shaped lips forming a calm smile, flanked by pendulous earlobes, his short hair lacquered entirely black.His back shows a rectangular aperture for consecration, and another to the back of his head, both sealed (see X-Ray section for more details).The wood shows an attractive grain and elegant deep-red color, as expected from Zitan with a naturally grown patina, that is 500 years old.The disciple stands on a finely carved, lacquered, and fitted wood pedestal decorated with overlapping lotus petals below a thickly beaded edge, dating from the 1700-1750 (see condition report and expert's note for more details).Condition: The statue is in superb condition, especially considering its high age of half a millennia and the rather sensitive Zitan wood. It is constructed of meticulously joined pieces of wood. Expected old wear, rubbing to gilt, and natural age cracks. Occasional light scratches, few minuscule chips. The original base is lost (see expert's note) and was replaced between 1700 and 1750 with the present pedestal, which is in good condition with expected old wear, natural age cracks, minor flaking to lacquer and small losses.Provenance: - Collection of Anton Exner (1882-1952), Vienna, Austria, acquired in the Republic of China after the Xinhai Revolution of 1911- Collection of Walter Exner (1911-2003), Bad Wildungen, Germany, acquired from the above after 1945- Galerie Zacke, Vienna, Austria, acquired from the above and exhibited in 1985- A noted private collection in Vienna, AustriaAnton Exner (1882-1952) was the most important dealer, collector, and assessor of East Asian art in Vienna during the interwar period. His collection included all branches of Asian art, from all epochs, and particularly Chinese and Japanese works. During a long sojourn through Canada and the USA from 1908 to 1910, he made first contacts with Chinese dealers and subsequently acquired numerous antiques at various Asian ports, which formed the basis for his future business activities. From then on, he went almost every year on buying trips to the Far East. The Austrian auction house Dorotheum appointed him as a sworn assessor of Asian art, a position he held for c. 25 years. From the early 1920s onwards, he lent objects to most major exhibitions of Asian art held in Austria, and eventually gifted a large part of his personal collection, numbering several thousand objects, to the Museum of Applied Arts in Vienna, where it is on permanent exhibition to this day.Walter Exner (1911-2003), among other family members, inherited parts of the vast collection, which he had built together with his father from 1935 onwards, after their first joint trip to East Asia. He spent a year in Beijing from 1936 to 1937 and from 1956 to 1963, he directed the Asian Institute in Frankenau, Germany, which he founded, as well as its museum. The present lot was exhibited at the opening of this museum in June 1956. In 1965, Walter Exner moved the institute and the museum to Bad Wildungen, Germany. To fund the museum, he deaccessioned pieces from the collection until his passing in 2003.Published: Galerie Zacke, Skulpturen des Buddhismus und Hinduismus, Vienna, 1985, no. 48.Exhibited: Asien-Institut Frankenau, 1956-1963 Asien Institut Bad Wildungen, 1965-1977 Galerie Zacke, Vienna, 1985Weight: 20.1 kgDimensions: Height 91 cmAuction result comparison: Type: Closely related Auction: Christie's New York, 20 March 2002, lot 69 Price: USD 116,000 or approx. EUR 182,000 converted and adjusted for inflation at the time of writing Description: A very rare zitan and gilt-lacquered figure of Shakyamuni, Tibeto-Chinese, Yongle nine-character mark and period Expert remark: Compare the closely related material, lacquer gilding, modeling with similar robe and face, and sealed aperture to the back. Note the Yongle reign mark to the base. Also note the much smaller size (33 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Lot 210
AN IMPORTANT SILVER-INLAID GOLD REPOUSSE BOWL DEPICTING GARUDA, VIETNAM, FORMER KINGDOMS OF CHAMPA, CIRCA 10TH CENTURYSuperbly worked, the deep rounded sides supported on a tall faceted foot and flaring to a beaded rim, finely decorated to the exterior with overlapping trefoil-arched panels enclosing rosettes and scrolling foliage, below interlocking scrolling vines. The foot with square panels and indented corners enclosing rosettes, all against ring-punched grounds. The interior with a circular silver-inlaid base depicting a winged Garuda with human face, wearing a richly incised dhoti, foliate crown, and fine jewelry, his arms raised as if about to take flight, surrounded by leafy lotus blossoms, enclosed by a beaded border. Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Good condition, commensurate with age, with old wear and casting flaws, small losses, some tarnishing, and dents, all exactly as expected of a gold object more than a thousand years old.Weight: 243.9 g Dimensions: Diameter 18.8 cm Garuda is a half-bird, half-human creature that appears in both Hinduism and Buddhism. The mythological account of Garuda's birth in the Mahabharata identifies him as the younger brother of Aruna, the charioteer of the sun god, Surya. Garuda's mother, Vinata, mother of the birds, was tricked into becoming the slave of her sister and co-wife, Kadru, mother of the nagas (serpents). The lasting enmity between the birds, particularly Garuda, and the serpents is attributed to this. The nagas agreed to release Vinata if Garuda could obtain for them a drink of the elixir of immortality, the amrita or soma. Garuda performed the feat, thus giving the snakes the ability to slough off their old skins, and on his return Garuda met Vishnu, agreeing to serve him as his vehicle. Garuda is described in one text as emerald in color, with the beak of a hawk, roundish eyes, golden wings, and four arms and with a breast, knees, and legs like those of a hawk. He is also depicted anthropomorphically, with wings and hawk-like features. Sometimes images of Garuda are used by devotees of Vishnu to designate their affiliations; such images appear on coins throughout various periods and on jewelry and ritual vessels, like this lot. Garuda, also known as Garula, are golden-winged birds in Buddhist religious texts. Under the Buddhist concept of samsara, they are one of the Aṣṭagatyaḥ, the eight classes of inhuman beings.Expert's note: Depictions of Garuda with a human face like on the present lot are considerably rarer than their bird-faced counterparts, but are found across different cultures and materials. Compare an ivory relief depicting Garuda from Nepal, 10 cm high, dated to the 14th century, in the Victoria & Albert Museum, accession number IS.124-1999. Compare a bronze plaque depicting Garuda from East Java, 12.7 cm high, dated c. 1300, in the Norton Simon Museum, accession number P.2003.01.10. Compare a terracotta sculpture of Garuda from Western Thailand, 48 cm high, dated to the first half of the 7th century, excavated from site 40, Khu Bua, Ratchaburi Province, by the Fine Arts Department, Thailand, in 1962, and now in the National Museum, Bangkok, exhibited by the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, 14 April-27 July 2014. Compare a granite figure of Garuda from India, Tamil Nadu, 137.8 cm high, dated second half of the 8th to early 9th century, in the Metropolitan Museum of Art, accession number 1983.518. Compare a gray schist turban ornament with Garuda from Gandhara, 11.4 cm high, dated 2nd-3rd century, at Christie's New York, 18 March 2015, lot 4009.
Lot 242
A JAIN WHITE MARBLE FIGURE OF A TIRTHANKARA, WESTERN INDIA, 17TH-18TH CENTURYSeated in padmasana on a cushioned throne, the figure wearing a diaphanous lower garment, the sash projecting in relief in front of the legs, his hands folded in dhyana mudra, his chest with a srivatsa mark. His face with downcast eyes and serene expression, flanked by elongated earlobes, the hair arranged in tight curls and surmounted by a cranial protrusion. The stone with a good polish, resulting in a smooth, unctuous feel overall.Provenance: From a private estate in the United Kingdom.Condition: Small chips and minor losses, the stone with natural inclusions, irregularities and fissures. Some cracks and breaks with old repairs and associated fills. Magnificent naturally grown patina overall, with a fine pale ivory tone.Weight: 13.8 kgDimensions: Height 38.5 cm The nudity of Jain saints was a practice of both asceticism and their belief in non-possession, dating back to the days of Mahavira. However, a schism arose in around 79 AD, extensively recorded in literature, about what constitutes total renunciation. At the time, Jain monks separated into rival factions, the Digambaras ('clothed with the sky'), who were nude, and the Svetambaras ('clothed with white'), who wore white cloths. According to inscriptions, the Svetambaras worshipped the nude image without objection and for both sects the Jinas and the saint Bahubali are represented naked while all other deities are clothed and even ornamented.Literature comparison: Compare a closely related marble tirthankara from Gujrat, Western India, dated c. 1612, in the Los Angeles County Museum of Art, accession number AC1998.256.2.Auction result comparison: Type: Closely related Auction: Christie's London, 18 October 2002, lot 122 Price: GBP 4,465 or approx. EUR 11,000 converted and adjusted for inflation at the time of writing Description: An Indian marble deity Jain, probably 12th/13th century Expert remark: Compare the closely related material, manner of carving, pose, and expression. Note the size (56 cm) and the somewhat spurious dating of “probably 12th/13th century".
Lot 277
A NECKLACE WITH CORAL BEADS, CHINA, LATE 19TH TO 20TH CENTURYComposed of 39 globular coral beads of graduating size, each carved with a Shou character and dragon in profile with furcated scrolling body, detailed with almond shaped eyes, separated by small knots, joined by a modern silver closure. The beads in variegated shades of pale red to orange with scattered white inclusions.Provenance: Austrian trade, by repute acquired from an old Viennese private estate.Condition: Good condition with minor old wear, traces of use, and natural imperfections including minor flaking and few expected age cracks, some beads with small chips.Weight: 859 g (!) Dimensions: Length 109 cm Shou is the Chinese character for longevity and is often used as a symbol of long life and good health. It is often depicted in the form of a stylized character, as well as in the form of various objects and motifs.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 十九世紀末至二十世紀珊瑚珠項鏈共三十九顆大小漸進的珊瑚珠組成，每顆珊瑚珠均刻有壽字和龍紋，珊瑚珠之間由小結分開，現代銀扣。珊瑚珠呈淡紅色至橙色的，有白色紋理。 來源： 奧地利古玩交易，據説來自維也納一個私人舊藏。 品相：狀況良好，有輕微磨損、使用痕跡和天然瑕疵，包括輕微老化裂紋，一些珠子有小碎片。 重量：859 克 (!) 尺寸：長109 釐米
Lot 278
A CHINESE CARVED RED CORAL FIGURE OF A MEIREN WITH BOYSChina, early to mid-20th century. The tall beauty is finely carved standing and reaching her arms out to one side, holding a fan as a young boy clings to her right arm and a little girl peaks out from behind her excitedly raising her arms. The skillfully carved flowing garments of the lady and children are decorated with floral designs, the meiren's finely incised hair tightly tied with a ribbon. The exquisite coral is of a beautiful and even reddish-orange hue with scattered white inclusions.Provenance: The collection of Ted Adameck, USA, and thence by descent in the same family. A copy of an old expertise from Adameck's Asian Art accompanies this lot. Ted Adameck (1924-2019) was a legendary collector of Japanese Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture. Condition: Good condition with minor wear, some small chips and minor losses to the head decoration.Weight: 380 g (excl. stand) Dimensions: Height 22.6 cm (incl. stand) With a fitted wood stand finely carved in openwork. (2)Auction result comparison: Type: Closely related Auction: Bonhams Sydney, 10 August 2022, lot 61 Price: AUD 17,220 or approx. EUR 11,500 converted and adjusted for inflation at the time of writing Description: A coral figure of a courtesan and a child, early to mid 20th century Expert remark: Note the similar size (21.2 cm).Auction result comparison: Type: Related Auction: Bonhams San Francisco, 7 June 2005, lot 2040 Price: USD 16,450 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A fine carved coral figural group Expert remark: Note the size (23.5 cm).Auction result comparison: Type: Related Auction: Christies New York, 18 June 2014, lot 76 Price: USD 23,750 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A Chinese carved red coral figure of a maiden with birds and flowers Expert remark: Note the larger size (26 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 珊瑚雕夫人童子像中國，二十世紀早期至中期。美人線條流暢優美，一手持扇子，一個小男孩抱住她的右臂，一個小女孩從她身後探出，興奮地舉起雙臂。婦人與兒童的衣著精雕細刻，飾花卉紋理；婦人的頭髮刻畫分明，佩戴絲帶。珊瑚呈美麗均勻的紅橙色，帶有散落的白色紋理。 來源：美國Ted Adameck收藏，自此同一家族世代相傳。隨附一份Ted Adameck 藝廊的鑒定複印件。Ted Adameck (1924-2019) 是Netsuke的傳奇收藏家，活躍了幾十年，在檀香山經營兩家古董店，寫了無數有關該主題的文章和書籍，以及許多其他有關亞洲藝術和文化的文章。 品相：狀況良好，有輕微磨損、小刻痕、小缺口，頭部裝飾有輕微損失。 重量：380 克 (不含底座) 尺寸：高 22.6 釐米 (含底座) 鏤空雕刻木底座。(2) 拍賣結果比較： 形制：非常相近 拍賣：雪梨邦瀚斯，2022年8月10日，lot 61 價格：AUD 17,220（相當於今日EUR 11,500） 描述：二十世紀早至中期提籃仕女童子像及座、盒 專家評論：請注意相似的尺寸 (21.2 釐米)。 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2005年6月7日，lot 2040 價格：USD 16,450（相當於今日EUR 24,000） 描述：珊瑚仕女像 專家評論：請注意尺寸 (23.5 釐米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2014年6月18日，lot 76 價格：USD 23,750（相當於今日EUR 28,500） 描述：珊瑚雕刻花鳥少女像 專家評論：請注意尺寸較大 (26 釐米)。
Lot 279
A SUPERB CORAL CARVING OF A DRAGON IN FRONT VIEW, LATE QING DYNASTY TO REPUBLIC PERIODExpert's note: Coral carvings of figures and animals, designed as decorative additions to a scholar's table, are relatively common, but it is extremely rare to find a piece of this outstanding size and quality, let alone with the depiction of a dragon in front view.Carved in the round as two sinuous scaly dragons writhing around a central flaming pearl amid swirling clouds, the ferocious beasts with bulging eyes and an open mouths revealing long tongues, the back carved with tumultuous cresting waves.Provenance: From the Collection R., Paris, France.Condition: Very good condition with minor losses, natural imperfections, and few fine age cracks. Hard to find in such a pristine state of preservation. Good, naturally grown patina overall.Weight: 713.3 g (incl. stand), 499.3 g (excl. stand)Dimensions: Height 23 cm (incl. stand), 19 cm (excl. stand) With a fitted cloud-form hardwood base, finely carved in openwork, also dating from the late Qing dynasty to Republic period. (2)Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 8 October 2014, lot 3655Price: HKD 750,000 or approx. EUR 106,300 converted and adjusted for inflation at the time of writingDescription: An imperial coral carving of a dragon, Qing dynasty, 18th centuryExpert remark: Compare the closely related subject and manner of carving. Note the earlier dating.Auction result comparison: Type: Closely relatedAuction: Christie's London, 8 November 2011, lot 80Price: GBP 18,750 or approx. EUR 34,500 converted and adjusted for inflation at the time of writingDescription: A coral carving of a dragon, 19th centuryExpert remark: Compare the closely related subject and related manner of carving. Note the size (33 cm).Auction result comparison: Type: RelatedAuction: Bonhams San Francisco, 29 Jun 2009, lot 8089Price: USD 15,860 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: A large coral branch carving, 20th centuryExpert remark: Compare the closely related subject and related manner of carving. Note the size (28.5 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 清末民初珊瑚雕刻雙龍戲珠擺件珊瑚隨形圓雕蜿蜒蛟龍在雲中戲珠。龍身矯健，大眼圓睜，两首相对，拱形相向，威风凛凛，刻画细腻传神，寓意吉祥。來源：法國巴黎R.收藏。 品相：狀況極好，有輕微損失、自然缺陷和少量細小的老化裂紋。自然包漿。 重量：713.3 克 (含底座), 499.3 克 (不含底座) 尺寸：高23 厘米 (含底座), 19 厘米 (不含底座) 清末民初雲形硬木底座，鏤空精美。(2) 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2014年10月8日，lot 3655 價格：HKD 750,000（相當於今日EUR 106,300） 描述：清十八世紀珊瑚鏤雕雲龍擺件 專家評論：比較非常相近的主題和雕刻風格。請注意年代較早。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2011年11月8日，lot 80 價格：GBP 18,750（相當於今日EUR 34,500） 描述：清十九世紀珊瑚雕龍擺件 專家評論：比較非常相近的主題和相近雕刻風格。請注意尺寸 (33厘米)。 拍賣結果比較： 形制：相近 拍賣：舊金山邦翰斯，2009年6月29日，lot 8089 價格：USD 15,860（相當於今日EUR 20,500） 描述：二十世紀珊瑚擺件 專家評論：比較非常相近的主題和相近雕刻風格。請注意尺寸 (28.5厘米)。
Lot 280
A LARGE CORAL CARVING OF TWO MEIRENChina, early 20th century. Carved in the round with two demurely smiling beauties standing atop a lush and flowering gnarled hibiscus branch, dressed in long flowing robes and scarves, each with the neatly incised hair arranged in elegant chignons surmounted by elaborate floral headdresses.Provenance: Shamirian SPRL, Brussels, Belgium. A private collection in Brussels, Belgium, acquired from the above in 2016. A copy of a signed expertise from Shamirian SPRL, written and signed by Stefanidis Charalambos, expert at the Public Prosecutor's Office in Brussels, dated 18 October 2016, confirming the dating above, and stating a replacement value of EUR 18,000 or EUR 22,500 (adjusted for inflation), accompanies this lot.Condition: Very good condition with minor wear, natural imperfections including tiny holes and few minor cracks. Few minuscule losses and small nicks.Weight: 1,141 g (excl. stand)Dimensions: Height 37.5 cm (excl. stand) and 42 cm (incl. stand) With an associated fitted wood stand. (2)Auction result comparison: Type: Closely relatedAuction: Christie's New York, 20 September 2013, lot 1764Price: USD 23,750 or approx. EUR 28,500 converted and adjusted for inflation at the time of writingDescription: A coral carving of two female musiciansExpert remark: Compare the closely related modeling and manner of carving. Note the smaller size (28 cm).Auction result comparison: Type: Closely relatedAuction: Christie's London, 8 November 2011, lot 83Price: GBP 18,750 or approx. EUR 35,000 converted and adjusted for inflation at the time of writingDescription: A coral carving of two female figures, 19th centuryExpert remark: Compare the closely related modeling and manner of carving. Note the smaller size (24.2 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 大型珊瑚雕刻美人中國，二十世紀初。隨形就勢而雕，神女目光微斂，表情端莊，佩戴瓔珞，身著法衣自然貼體，十分飄逸，更襯托出體態的修長。頭飾花團錦簇，一片祥瑞之氣。此件珊瑚擺件材質細膩，顏色均勻，為不可多得的佳作。 來源：比利時布魯塞爾Shamirian SPRL；比利時布魯塞爾私人收藏。，於 2016 年從上述機構購得。由 Shamirian SPRL 出具的專業意見副本，由布魯塞爾專家 Stefanidis Charalambos 撰寫和簽署，日期為 2016 年 10 月 18 日，確認了上述日期，並註明重置價值為18,000 歐元或22,500 歐元（根據通貨膨脹調整）。 品相：狀況極好，有輕微磨損、自然缺陷，包括小孔和少量裂紋，有微小的缺損和小劃痕。 重量：1,141 g (不含底座) 尺寸：高 37.5 厘米(不含底座)，42 厘米(含底座) 配有木架。(2) 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年9月20日，lot 1764 價格：USD 23,750（相當於今日EUR 28,500） 描述：珊瑚雕雙仙女像 專家評論：比較非常相近模型和雕刻風格。請注意尺寸較小(28厘米) 。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，8 11月 2011年，lot 83 價格：GBP 18,750 EUR 35,000 （相當於今日） 描述：清十九世紀珊瑚雕仕女擺件 專家評論：比較非常相近模型和雕刻風格。請注意尺寸較小(24.2厘米) 。
Lot 281
AN EXCEPTIONAL OPENWORK AND RETICULATED IVORY 'HUNDRED BOYS' VASE AND COVER, LATE QING TO REPUBLICChina, late 19th to early 20th century. The ovoid body rising from a waisted foot to a concave neck with an everted rim, meticulously carved with innumerable boys engaging in leisurely pursuits, decorated with key-fret, bat, ruyi-head, leiwen, and floral bands. Provenance: From the private collection of a French diplomat. Condition: The neck with discoloration and extensive crackling to the ivory due to heat influence, areas of touchup limited to the neck, otherwise in superb condition with minor wear, minuscule nicks, and occasional light scratches. The lid slightly paler than the vase.CITES: European Union Certificate number AT 23-B-0294, dated 27.7.2023. Weight: 2,044 g Dimensions: Height 32.6 cm The domed oval cover with a finial in the form of two boys seated on a lotus leaf, one playing the flute and the other gleefully laughing. The present piece is decorated with the subject of the 'Hundred Boys', a very popular motif in porcelain decoration as it symbolizes the Chinese perpetual wish for many sons. According to Terese Tse Batholomew in Hidden Meanings in Chinese Art, San Francisco, 2006, p. 63, the 'Hundred Boys' theme has its origins in the Western Zhou dynasty when King Wen of the Zhou adopted one son in addition to his ninety-nine sons to complete the number of one hundred.Auction result comparison: Type: Closely relatedAuction: Christie's London, 11 November 2011, lot 1345Price: GBP 32,450 or approx. EUR 60,000 converted and adjusted for inflation at the time of writingDescription: A large carved ivory vase and cover, 19th centuryExpert remark: Compare the closely related vase and cover, possibly from the same workshop, but slightly larger (41 cm), and depicting the immortals as the main subject instead of the hundred boys.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 清末民初象牙鏤空雕嬰戲圖瓶 中國，十九世紀末至二十世紀初。瓶身呈圓柱形，瓶身分層精心雕刻著嬰戲圖，有玩耍的，有玩琴的，有舞龍的，並裝飾著雷紋、蝙蝠與纏枝花卉紋。 來源：法國外交家私人收藏。 品相：頸部因熱影響而變色，表面有大量裂紋，頸部有修補。基本狀況極佳，輕微磨損，小刻痕，局部輕微劃痕。 蓋子比花瓶略微白。CITES:歐盟證書編號AT 23-B-0294，於2023年7月27日發行。 重量：2,044 克 尺寸：高32.6厘米 拍賣結果比較：形制：非常相近拍賣：倫敦佳士得，2011年11月11日，lot 1345價格：GBP 32,450（相當今日EUR 60,000）描述：十九世紀象牙蓋瓶專家評論：比較非常相近的瓶和蓋，或許來自相同作坊，尺寸稍大(41厘米)，並以仙人為主要題材，而不是百童。
Lot 282
A HUANGHUALI BRUSH POT, BITONG, EARLY QING DYNASTYChina, late 17th - 18th century. Modeled in a cylindrical form and gently flaring toward the mouth rim. The attractively figured surface is of a warm brown color with dark fluid streaks and distinct 'ghost eyes'. Note the elegant luster and grain of the wood.Provenance: From a private collection in southern Germany.Condition: Very good condition with expected old wear, traces of use, few light surface scratches, minuscule nicks. Naturally grown, golden amber tone patina overall. The wooden plug inside the base is of a later date.Weight: 1,397 gDimensions: Diameter 18.6 cm and Height 18.9 cm Auction result comparison: Type: Closely relatedAuction: Christie's New York, 18 March 2015, lot 194Price: USD 62,500 or approx. EUR 75,000 converted and adjusted for inflation at the time of writingDescription: A Huanghuali brush pot, bitong, Qing dynastyExpert remark: Compare the closely related form, the golden amber tone patina and the similar 'ghost eyes'. Note the similar size (17.2 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 清初黃花梨筆筒中國，十七世紀末至十八世紀。筆筒表面光滑，細木紋，帶有多個鬼眼和峰頂，均帶有棕色包漿和細膩的光澤。 來源：南德私人收藏。 品相：狀況極好，有磨損、使用痕跡、輕微的劃痕、微小的刻痕。自然包漿，整體成琥珀色。底座內的木塞是後置的。 重量：1,397 克 尺寸：直徑18.6 厘米，高 18.9 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年3月18日，lot 194 價格：USD 62,500（相當於今日EUR 75,000） 描述：清十八世紀黃花梨筆筒 專家評論：比較非常相近的外形、琥珀色包漿，相似的鬼眼。請注意相似的尺寸(17.2 厘米)。
Lot 290
A RED-LACQUERED WOOD FIGURE OF BUDDHA, LATE MING DYNASTYChina, 16th-17th century. Carved from hardwood, probably Zitan. Seated in dhyanasana with the hands folded in dhyana mudra and his head bowed slightly creating wrinkles beneath the neck, wearing robes that elegantly drape over the shoulders and fold along the resting arms, the serene face with heavy-lidded eyes below gently arched brows, and pursed bow-shaped lips, the hair arranged in tight curls over the ushnisha.Provenance: A private collection in Vienna, Austria. Galerie Zacke, Vienna, 1996. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. A copy of the original invoice from Galerie Zacke, dated 30 October 1996, addressed to the Nickls, and stating a purchase price for the present lot of ATS 7,000 (or approx. EUR 900 converted and adjusted for inflation at the time of writing), accompanies this lot. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna's tightknit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel ('Roll of Honor') of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Good condition with minor wear, small chips, losses, light scratches, remnants of gilt, minor signs of weathering, few expected age cracks. The lacquer commensurate with age and with several layers which have been renewed over a long period of time.Weight: 116 gDimensions: Height 13.5 cm Auction result comparison:Type: RelatedAuction: Christie's Paris, 8 December 2021, lot 29Price: EUR 9,375 or approx. EUR 11,000 adjusted for inflation at the time of writingDescription: A brown and gilt lacquered wood figure of Buddha, Ming dynasty, 16th centuryExpert note: Compare the similar reddish-brown lacquer. Note the larger size (29.5 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 明末紅漆木雕坐佛中國，十六至十七世紀。用硬木雕刻而成，也可能是紫檀木。佛陀禪定坐，雙手交叉施禪定印，頭微微低下，面容平靜，雙眼微閉，嘴唇豐滿，頭上有螺髻。 來源：奧地利維也納私人收藏； 維也納 Zacke藝廊，1996年；Maria 與Johannes Nickl收藏，購於上述藝廊，在同一家族保存至今。隨附一份於1996年10月30日由 Zacke藝廊出局的原始賬單複印件，收件人為Nickls ，當時價格為 ATS 7,000 （根據通貨膨脹約為EUR 900）。Maria (1926-2022) 與 Johannes Nickl (d.2020年) 住在奧地利維也納，是亞洲、佛教和埃及藝術品的熱心收藏家。他們在維也納的亞洲藝術貿易中非常活躍，並在 1980 年代和 90 年代收集了大部分藏品，經常從 Zacke 藝廊和後來的 Asboth藝廊購買。這對夫婦也是著名的博物館贊助人，他們的名字至今仍出現在維也納藝術史博物館（維也納美術博物館）埃及和近東藏品的榮譽榜上。品相：品相良好，有輕微磨損、小缺口、缺損、輕微劃痕、金彩餘留、輕微風化跡象，輕微老化裂紋。漆層有多次更新。重量：116 克 尺寸：高13.5 厘米 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2021年12月8日 ，lot 29 價格：EUR 9,375（相當於今日EUR 11,000） 描述：十六世紀明代棕漆木雕坐佛 專家評論：比較相似的類似的紅棕色漆。請注意尺寸較大 (29.5厘米)。
Lot 380
A HORNBILL 'CAT AND BUTTERFLY' SNUFF BOTTLE, 1800-1880Opinion: The superb color and excellent polish of the present bottle suggest that it was created by using the ancient and today lost method of treating hornbill (see detailed note below), giving the material a rich translucency and protecting it from cracking over time. The carved decoration is well rendered and rare to find in such an elaborate manner on hornbill snuff bottles. China. The rounded rectangular body supported on a short foot with recessed base and rising to an oval neck. Finely carved in relief on both sides with panels, one enclosing a cat and butterfly framed by a gnarled prunus tree and the other with dynamic warriors and cavalry in front of a fortress. The short sides each carved with a dragon, retaining the characteristic deep red color of the outer sheath layer of the hornbill, creating a unique contrast to the inner layer of translucent honey-yellow to pale cream tone.Provenance: Collection of Ted Adameck, thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture.Condition: Good condition with minor wear and natural imperfections to the material, including expected age cracks. Few tiny nicks, the mouth possibly with a small chip that has been smoothened. Magnificent natural patina overall.Stopper: Hornbill (matching) Weight: 34 g Dimensions: Height including stopper 64 mm, Diameter neck 15 mm and mouth 4 mm Cats and butterflies are symbols of longevity. The cat (mao) is a homonym for 'seventy', while the butterfly (die) shares the same sound as 'eighty'. Together, they form a rebus for maodie. This term implies that one would live to be seventy or eighty - considered high age in ancient China.Hornbill was a highly valued material in China well before snuff bottles came into fashion in the Qing dynasty, after tobacco was introduced from the West in the early 18th century. The precise value is listed in the official regulations of the Ming dynasty, which set it for a single piece of 'ho-ting' (the term given to the material by Ming scholars, writing it with the characters for 'crane' and for 'head') at a thousand cash, the same amount given for half an ounce of precious coral beads, or a fifth of an ounce of rare seed pearls. This also shows that hornbill was worth far more than elephant ivory at that time, for the latter was valued at five hundred cash per pound, while it would have taken a great many pieces of ho-ting to make a pound, especially since the term was sometimes applied to the red sheathing alone.It is thought that there were once two distinct methods of treating hornbill, the solid casque with the tough red sheath that sits atop the upper beak, protecting the brain of the bird. The secret of the first method appears to have been lost but may have involved heating and perhaps permeating the material with some preservative. All known early pieces seem to have been handled this way, including snuff bottles. This treatment preserves the material very well, giving it a rich translucency and strength. We can only infer this preliminary manipulation from the finished product since no direct information about the techniques of treating hornbill ivory has been recorded. Any special methods used by Chinese craftsmen were always kept as closely guarded secrets by the guilds involved to forestall outside competition. The second method involved carving the material directly, which left the surface prone to cracking.Auction result comparison: Type: Related Auction: Bonhams San Francisco, 23 August 2010, lot 6138 Price: USD 3,965 or approx. EUR 4,500 converted and adjusted for inflation at the time of writing Description: A carved hornbill snuff bottle, 1800-1880 Expert remark: Compare the material, carving and treatment technique, as well as the characteristic deep red color of the outer sheath layer, creating a unique contrast to the inner layer of translucent honey-yellow to pale cream tone.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 1800-1880年鶴頂紅“貓蝶戲"鼻煙壺中國。扁平壺，直頸，溜肩，橢圓圈足。兩面分別浮雕屬下靈貓戲蝶圖與人物刀馬圖。壺兩側各雕刻一條龍，保留了鶴頂紅外鞘層特有的深紅色，與半透明的蜜黃色形成獨特的對比。 專家注釋: 本瓶的絕妙的顏色運用和極佳的拋光，説明它是使用古老但如今已失傳的處理鶴頂紅的方法製成的，賦予材料豐富的半透明性並防止其隨著時間的推移而開裂。鶴頂紅鼻煙壺上的雕工精細，實屬罕見。橢圓形壺身與常見的方形截然不同，更佳體現其稀有。 來源：Ted Adameck收藏，在同一家族保存至今。br /> 品相：狀況良好，有輕微磨損和自然缺陷，包括老化裂紋，細小的劃痕，壺口處有一個可能已經磨平的小缺口，整體包漿自然。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Lot 381
A CYLINDRICAL TORTOISESHELL SNUFF BOTTLE, FORMERLY IN THE COLLECTION OF WU RANGZHI (1799-1870)China, 19th century. The elegant yet traditional 'Rouleau' form, decorated in gilt with inscriptions, supported on a flat base, the conical shoulder rising to a narrow neck with a flat rim. The shell of caramel color highlighted with patches of dark chocolate and near-black tones. The base inscribed with a four-character collection seal.Inscriptions: To the body, 'Shishenxuan cang' (Collection of Shishenxuan); 'Wu / Lu jing Lufu / Songmen Huxi / Yideng wudao / Wie ke bumi'; 'Wu Rangzhi qingwan' (Collection of Wu Rangzhi); ´Jue / li zhi wu wo / kong ya you xing / xin ying xian jue / si bu huang ning'. To the base, 'Jin Shi Cang Yin'. Provenance: From a Hungarian private collection. Condition: Good condition with expected old wear, minuscule nicks, light scratches, natural imperfections.Stopper: Coral Weight: 20.4 g Dimensions: Height including stopper 69 mm. Diameter neck 11 mm and mouth 5.5 mm Wu Rangzhi (1799-1870), also known as Wu Xizai, was a Chinese painter, calligrapher, and master seal carver. He developed the Wan School, originally founded by Deng Shiru, and frequently paired his own texts with rubbings of stelae and other carvings, demonstrating the range of possibilities available to artists inspired by the scholarship of the Stele School and its willingness to blend old and new forms.Auction result comparison: Type: Closely relatedAuction: Woolley & Wallis, London, 17 May 2016, lot 129Estimate: GBP 5,000 or approx. EUR 8,300 converted and adjusted for inflation at the time of writingDescription: A Chinese tortoiseshell square-section snuff bottle, Qing dynastyExpert remark: Compare the closely related material and inscriptions, bearing the same three collector's marks to the body ('Shishenxuan cang' and 'Wu Rangzhi qingwan') and the base ('Jin Shi Cang Yin'). Note the different form and the size (8 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 玳瑁鼻烟壺，原爲吳讓之(1799-1870) 收藏中國，十九世紀。圓柱形壺，平底，鍍金銘文，削肩。 焦糖色，帶有深棕色和近乎黑色的色調。款識：悟：路經盧阜，松門虎溪。一燈悟道，為客不迷；覺：理知無我，空壓有形。心應先覺，思不遑寧；師慎軒藏；吳讓之清玩；金石藏印。來源：匈牙利私人收藏。品相：狀況良好，有磨損、微小劃痕和自然瑕疵。壺蓋：珊瑚重量：20.4 克尺寸：含蓋高69 毫米，頸部直徑11 毫米，壺口直徑5.5 毫米 吳讓之 (1799-1870), 字熙載，清代畫家、篆刻家、書法家。包世臣的入室弟子。善書畫，尤精篆刻。少時即追摹秦漢印作，後直接取法鄧石如，得其神髓，又綜合自己的學識，發展完善了“鄧派"篆刻藝術，在明清流派篆刻史上具有舉足輕重的地位。吳煕載以篆書和隸書最為知名，在晚清書壇享有很高的聲譽。對後來的趙之謙、吳昌碩均有影響。拍賣結果比較： 形制：非常相近 拍賣：Woolley & Wallis，倫敦，2016年5月17日，lot 129 估價：GBP 5,000（相當於今日EUR 8,300） 描述：清代玳瑁鼻煙方壺 專家評論：比較非常相近材質、款識，有同樣的三個收藏印。請注意不同的外形和尺寸 (8厘米)。
Lot 449
AN UNUSUAL LOBED DING WARE 'HIBISCUS' BOX AND COVER, NORTHERN SONG TO JIN DYNASTYExpert's note: A distinctive aspect of the Ding kiln in Hebei province is that when placed underneath a very strong light, the white ware develops an orange hue, almost like a corona, especially where the ware is thinning, such as around the foot rim for example. This characteristic aspect makes objects from the Ding kilns easily identifiable and is due to the unique composition of the ware, which is mostly covered by a rather thick pale-ivory glaze. This ding box is also notable for its rather unusual shape for which we could not find any direct comparisons.China, c. 12th-13th century. The four-lobed square box stands on a short square foot with raised rim, and the cover is decorated with incision work, beading, and a central hibiscus flower medallion with four lines of beading extending from its petals.Provenance: From a private collection in the northeastern United States. Condition: Very good condition, commensurate with age. Signs of wear and light weathering, minuscule nicks to the edge of base and lid, expected firing flaws including several glaze recesses. The form slightly uneven overall.Weight: 106 g Dimensions: Width 7 cm Molded decoration on Ding wares was adopted in the latter part of the Northern Song dynasty and flourished during the Jin dynasty. The technique allowed the Ding potters to adopt more complex and also more formal designs. The molds used were meticulously crafted and similar to those used to cast decoration on gold and silver works of art.Literature comparison:Compare related a trefoil-shaped 'Ding' box, from the R.F.A. Riesco and Hans Popper collections, illustrated in Song Ceramics from the Hans Popper Collection, Eskenazi, London, 2005, pl. 17. Compare the shape of the present box with the shape of a brush washer, made in imitation of Ding ware, produced at the imperial kilns of Jingdezhen in southern China, c. 1680-1780, and inscribed by Emperor Qianlong, at the Victoria & Albert Museum, London, C.44-1935. Also compare with another unusual lidded box with six applique roundels, Liaoning or Hebei province, Liao dynasty (916-1125), diameter 11.4 cm, in the Avery Brundage Collection, B60P1533.a-.b. 北宋至金定窯海棠口方蓋盒中國，約十二至十三世紀。四瓣海棠口方盒，子母口，短足，緣凸起。蓋子邊緣串珠紋，中央有一朵芙蓉花。專家注釋：河北省定窯的一個獨特之處在於，在強光下，白瓷會呈現出橙色色調，幾乎像日暈，特別是在瓷器變薄的地方，例如足緣周圍。 這一特徵使得定窯的器物很容易辨認，通體覆蓋著相當厚的淡象牙色釉。 來源：美國東北部私人收藏。 品相：狀況極好，磨損和輕微風化，底座和蓋子邊緣有微小刻痕、燒製缺陷，包括釉面凹槽。整體形狀略顯不平。 重量：106 克 尺寸：寬7 釐米 定窯紋飾始於北宋後期，盛於金代。成型技術使設計更複雜。所用模具製作精良，與金銀工藝品鑄造裝飾的模具相似。 文獻比較：比較一件相近的三葉形定窯方盒，來自R.F.A. Riesco和Hans Popper收藏，見《Song Ceramics from the Hans Popper Collection》，Eskenazi，倫敦，2005年，圖17。比較一件1680-1780年乾隆御題景德鎮仿定窯筆洗，收藏於倫敦維多利亞和亞伯特博物館，編號C.44-1935。比較另一件遼代遼寧和河北省六貼花圓蓋盒，直徑 11.4 釐米，收藏於 Avery Brundage收藏，B60P1533.a-.b。
Lot 458
A LARGE LOBED QINGBAI GLAZED PORCELAIN BOWL, SONG DYNASTYChina, 960-1279. Of conical form supported on a short straight foot rising to a gently everted rim. The rounded sides divided into six petal lobes by notches around the rim. The interior carved and combed with foliate designs, covered overall in a smooth grayish-straw glaze save for the base.Provenance: From the collection of Teddy Hahn, Darmstadt, and thence by descent to the present owner. Theodor “Teddy" Hahn (1933-2012) was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been."Condition: Very good condition with minor wear and manufacturing irregularities including pitting and dark spots. Some crackling and minor glaze lines. Few shallow chips to foot.Weight: 387.5 gDimensions: Diameter 18.1 cm Expert's note: Among the Fujian Qingbai, there is an interesting group of thinly potted bowls with more elaborately carved and combed floral or wave motifs. They usually have a straw color or grayish-white glaze and are characterized by pooling of glaze near the inner and outer rim and sometimes even the inner and outer wall. It has been argued that the glaze is intended to imitate the ivory Ding glaze with the typical pooling of teardrop-like effect. The Minqing Yi kiln has been identified as the major place that produced such bowls. Substantial quantities were recovered from the Nanhai 1, the Indonesian Java wreck, and the Philippines Breaker Shoal wreck.Literature comparison:Compare a related bowl of similar form, associated with the Tongan kilns of Fujian, dated to the 13th century, exhibited by the Southeast Asian Ceramics Society, and illustrated in Chinese Celadons And Other Related Wares in Southeast Asia, Singapore, 1979, pp. 156-157, no. 78, pls. 66-67. Compare closely related bowls from the cargo of the Nanhai no. 1 shipwreck, illustrated in the Nanhai Ship No. 1 1989-2004 Excavation Report, p. 434-436.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 26 Jun 2019, lot 6Price: USD 5,625 or approx. EUR 6,200 converted and adjusted for inflation at the time of writingDescription: A carved Qingbai bowl, Song dynastyExpert remark: Compare the closely related form and similar carving. Note the size (19.7 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 September 2013, lot 1508Price: USD 11,875 or approx. EUR 14,500 converted and adjusted for inflation at the time of writingDescription: A Qingbai carved deep conical bowl, Southern Song dynastyExpert remark: Note the size (19.7 cm). 青白釉刻花葵口碗中國，960-1279年。葵口外翻，淺弧腹，圈足。碗内暗刻卷葉紋，整體施淺灰色白釉，圈足内露胎。 來源：德國達姆施塔特Teddy Hahn收藏，並由其後裔傳承。Theodor “Teddy" Hahn 是一位著名且受人尊敬的根付和其他亞洲藝術品收藏家。他花了很多時間在博物館研究世界早期文化，對雕塑特別感興趣。之後他開始收集，並說道：“我不知何故知道這將對我的生活產生深遠的影響。我是多麼正確啊。 我是多麼高興啊。" 品相：狀況極好，有輕微磨損和製造缺陷，包括凹坑和黑點，一些裂紋和輕微的冲線，足部細微磕損。 重量：387.5 克 尺寸：直徑18.1 厘米文獻比較： 比較一件相近的十三世紀相似外形福建同安窯碗，展覽於《Southeast Asian Ceramics Society》，見《Chinese Celadons And Other Related Wares in Southeast Asia》，新加坡，1979，頁156-157，編號78，圖66-67。比較非常相近的青白瓷碗，出土於南海1號沈船，見南海1號沈船考古報告之一-1989-2004年調查，頁434-436。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2019年6月26日，lot 6 價格：USD 5,625（相當於今日EUR 6,200） 描述：宋青白釉刻花盌 專家評論：比較非常相近的外形和相近的雕刻。請注意尺寸(19.7厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年9月20日，lot 1508 價格：USD 11,875（相當於今日EUR 14,500） 描述：南宋青白釉牡丹紋笠式花口盌 專家評論：請注意尺寸(19.7厘米)。
Lot 490
A MASSIVE PAIR OF TURQUOISE AND CREAM-GLAZED 'BUDDHIST LION' STANDS, MING DYNASTYExpert's note: The zhadou-form vases on the lions' backs at one time probably each supported a large temple lamp, the stands placed on either side of a main altar. Evidence for candles made from whale fat in China dates back to the Qin Dynasty (221-206 BC).China, 15th - early 17th century. Each fearsome lion stands foursquare with its head proudly raised and tail flicked upward in an alert expression marked by large bulging eyes and flared nostrils. The rich scrolling mane finely incised and muscular body festooned with an ornate caparison, supporting on its back a zhadou-form vase. The lions covered with a lustrous turquoise glaze with some details picked out in cream. Both lions show fangs, and one bares its teeth.Provenance: From a private collection in Bordeaux, France.Condition: Good condition with expected old wear, weathering and firing irregularities, minor losses with associated old repairs and touchups, one lion with the tail reattached. Minor chips and light scratches.Weight: 12.3 kg and 12.7 kg (excl. stand); 13.1 kg and 13.5 kg (incl. stand)Dimensions: Height 39.5 cm (excl. stand) and 39.9 cm (excl. stand); 43.3 cm (incl. stand) and 43.5 cm (incl. stand) Each with a fitted wood stand. (4)Auction result comparison: Type: Related Auction: Christie's New York, 13 September 2019, lot 1083 Price: USD 35,000 or approx. EUR 38,000 converted and adjusted for inflation at the time of writing Description: A massive tileworks figure of a seated Buddhist lion, Ming-early Qing dynasty, 15th-17th century Expert remark: Compare the related turquoise and cream glazes, albeit with additional green and ivory glazes. Compare also the closely related modeling with similar features. Note the size (81.3 cm) and that the lot comprises a single lion. 明代一對松石綠色釉佛獅燭臺中國，十五至十七世紀初。佛獅四足著地，昂首挺胸，尾巴向上翹起，大眼圓睜，鼻孔張開，齜牙咧嘴，表情警惕。濃密捲曲的鬃毛，雕刻精美，身軀矯健，背上背著一個燭臺。獅子通體施濃鬱的松石綠色釉，局部細節用米黃色釉突出。 來源：法國波爾多地區私人收藏。 品相：狀況良好，有磨損、風化和燒製不規則、輕微缺損有小修補，一隻獅子的尾巴重新連接，輕微缺口和劃痕。 重量：分別為12.3 公斤 與12.7 公斤 (不含底座); 分別13.1 公斤與 13.5 公斤 (含底座) 尺寸：分別高39.5 厘米 (不含底座) 與39.9 厘米 (不含底座); 分別高43.3 厘米 (含底座) 與 43.5 厘米 (含底座) 各配置木底座 (4)拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2019年9月13日，lot 1083 價格：USD 35,000（相當於今日EUR 38,000） 描述：明/清初三彩獅子坐像 專家評論：比較相近的綠松石和奶油色釉面，雖然沒有綠和奶油色釉面。 比較非常相近的模型、尺寸(81.3 厘米) ，以及此為一隻獅子。
Lot 639
A SMALL BRONZE CENSER WITH A ZITAN COVER, QING DYNASTYChina, 1644-1912. The compressed body supported on a short spreading foot and rising to an everted rim, the sides cast with two well detailed lion-mask handles. The domed zitan cover is finely carved and pierced with ruyi designs, surmounted by a small jade finial modeled as a kneeling figure, both dating from the same period.Provenance: English trade.Condition: Very good condition with some old wear and casting irregularities, small nicks, light scratches. The bronze with a rich copper-brown patina. The wooden cover with minuscule natural age cracks.Weight: 945 gDimensions: Diameter 10.6 cm, Height 15 cm (total) The recessed base with an apocryphal six-character reign mark da Ming Xuande nianzhi.Literature comparison:Compare a related bronze censer in the National Museum of History, Taipei, included in the exhibition Guan cang ya diao ji Ming Qing tong lu te zhan: Rekishi Hakubutsukan korekushon zōge chōkoku oyobi Min Shin dōro shōrai tokuten, Kumamote City Museum, Kumamote, 1997, cat. no. 245.Auction result comparison: Type: Closely relatedAuction: Christie's London, 9 November 2011, lot 663Price: GBP 5,000 or approx. EUR 9,300 converted and adjusted for inflation at the time of writingDescription: A Chinese bronze censer, 17th/18th centuryExpert remark: Compare the closely related lion mask handles. Note the larger size (28.5 cm).Auction result comparison: Type: RelatedAuction: Christie's Amsterdam, 13 December 2012, lot 539Price: EUR 9,375 or approx. EUR 12,500 adjusted for inflation at the time of writingDescription: A Chinese bronze censer, 19th century, with Zhengde six-character mark to the baseExpert remark: Compare the closely related lion mask handles. Note the larger size (22.7 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 清代紫檀蓋銅香爐中國，1644-1912年。鑄造精美，口外撇，束頸，鼓腹下垂，高圈足。頸部一對獅面輔首。圓頂紫檀蓋雕工精細，鏤空如意紋，玉人蓋鈕。兩者都是同一時期的。 來源：英國古玩交易。 品相：狀況非常好，有一些磨損和鑄造不規則、小刻痕、輕微劃痕，濃郁的銅棕色光澤。木蓋上有微小的自然老化裂紋。 重量：945 克 尺寸：直徑10.6 厘米，總高15 厘米。 底座内六字寄托款“大明宣德年製"。文獻比較： 比較一件相近的銅爐，收藏於臺北歷史博物館，展覽於《館藏牙雕暨明清銅爐特展圖錄》，熊本市博物館，熊本市，1997年，圖錄編號245。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2011年11月9日， lot 663 價格：GBP 5,000（相當於今日EUR 9,300） 描述：十七至十八世紀銅爐 專家評論：比較非常相近的獅輔面耳。請注意尺寸較大 (28.5厘米)。 拍賣結果比較： 形制：相近 拍賣：阿姆斯特丹佳士得，2012年12月13日，lot 539 價格：EUR 9,375（相當於今日EUR 12,500） 描述：正德款十九世紀銅爐 專家評論：比較非常相近的獅輔面耳。請注意尺寸較大 (22.7厘米)。
Lot 690
A CARVED BONE KRIS HILT IN THE FORM OF A FEMALE DEMON, INDONESIA, 18TH-19TH CENTURYPowerfully carved in the form of a seated female demon, crowned, with right arm stretched behind her head, gripping a leafy branch, her hair masterfully incised in curling strands, her right foot propped up on a decorative branch exposing a grotesque inversion, her mouth open exposing fangs and tusks, with her monstrous tongue extending down between her sagging breasts. A decorative band of roundels encircles the base of the figure and below the seated demon is leafy foliate.Provenance: French trade. Acquired from an old private estate in the greater Paris area, by repute.Condition: Very good condition with wear and natural imperfections including expected age cracks. The bone with a fine, naturally grown, golden amber colored patina.Weight: 93.7 gDimensions: Height 12.1 cm Literature comparison: Compare a related ivory kris hilt dated to the 19th century, in the British Museum, registration number As1878,1230.910.a.
Lot 691
A CARVED BONE KRIS HILT IN THE FORM OF A MALE DEMON, INDONESIA, 18TH-19TH CENTURYPowerfully carved in the form of a male demon seated on a mound decorated with foliage. The demon is naked, exposing its distended belly and protruding phallus, the mouth agape with a grotesque grin exposing sharp fangs, the wrinkles of the face are meticulously incised to depict the monstrous expression. Beneath the seated demon are three carved bands above a decorative line of roundels.Provenance: French trade. Acquired from an old private estate in the greater Paris area, by repute.Condition: Good condition with wear and natural imperfections including expected age cracks, few tiny losses. The bone with a fine, naturally grown, golden amber colored patina.Weight: 100.6 gDimensions: Height 12.9 cm Literature comparison:Compare a related ivory kris hilt, 9 cm tall, dated 15th-17th century, in the British Museum, registration number As1939,04.72.
Lot 729
A CARVED WOOD 'YALI' BRACKET, SOUTH INDIA, 16TH-17TH CENTURYBoldly carved as a fierce yali standing atop an elephant, the beast with an arched body, bulging eyes, and a gaping mouth revealing sharp fangs, holding in its raised front paws an arched element from which the elephant hangs by its trunk.Provenance: New York trade.Condition: Overall good condition, commensurate with age, with some chips and losses, expected age cracks and other natural imperfections, signs of weathering and erosion.Weight: 12.2 kg (incl. stand) Dimensions: Height 84.2 cm (excl. stand) and 87.5 cm (incl. stand) Mounted on a modern wood stand. (2)Yalis are mythical composite creatures sculpted on pillars and pilasters across temples in South Asia, also known as vyalas. They are most frequently depicted in late medieval and early modern temples in southern India. The term 'yali' is derived from the Tamil and Sanskrit words for 'fierce monster'. As per Vaishnava tradition, Yali is a combination of elephant, lion, and snake. It has the head and body of lion but with an elephant trunk and has the tail of a serpent. This type of Yali is sculpted at the entrance of temples and homes to keep away evil.Literature comparison:Compare related ivory brackets depicting yalis in the Victoria and Albert Museum, see Jaffer, Luxury Goods from India, 2002, p. 26, illustrated in Pal, Elephants and Ivories, 1981, no. 78, and two in the Los Angeles County Museum of Art, accession numbers M.80.232.7a-b.Auction result comparison:Type: RelatedAuction: Christie's New York, 31 March 2005, lot 96Price: USD 9,600 or approx. EUR 14,000 adjusted for inflation at the time of writing Description: A carved wood figure of Narasimha, India, Kerala, 14th/15th centuryExpert remark: Note the size (70 cm) and the earlier dating.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 19 March 2016, lot 1317Price: USD 27,500 or approx. EUR 32,500 adjusted for inflation at the time of writing Description: A carved wood standing demon, South India, Kerala, ca. 17th centuryExpert remark: Compare the related bold manner of carving.
Lot 85
A LARGE AND RARE 'QILIN, MYTHICAL HOUND AND BUDDHIST LION' JAR, MING DYNASTY, JIAJING PERIOD, 1521-1567Expert's note: The combination of iron-red and green glazes was utilized primarily during the Jiajing period (1521-1567). According to Daisy Lion-Goldschmidt in Ming Porcelain, New York, 1978, page 164, in her discussion of the 'Red-and-Green' Group, this palette would come to dominate polychrome porcelains, eventually leading to the appearance of famille verte during the second half of the seventeenth century.China. The ovoid body is supported on a flat base and rises to a short and slightly flared neck with a lipped rim. Boldly painted in green, red, and aubergine enamels with three lobed panels enclosing a mythical hound, a Buddhist lion and a Qilin, each with a long snout and standing foursquare amid foliage and rockwork depicted in profile and facing the viewer, surrounded by floral sprays, all beneath a band of phoenixes and peony blossoms below the rim decorated with lingzhi sprays. Covered overall with a finely crackled transparent glaze of a pale-ivory tone, the interior with a dark brown glaze.Provenance: The J. M. Hu, Zande Lou Collection. An old, padded silk box fitted to the vase accompanies the lot. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art. Condition: Remarkably well preserved, commensurate with age. Expected old wear and firing irregularities, including some burst bubbles, firing cracks, tiny bumps, pitting, dark spots, and glaze recesses. Occasional light scratches. Minor chips to base, mostly smoothened over time. Small hairlines. Displaying exceptionally, due to its size and excellent condition.Weight: 13.5 kg Dimensions: Height 40 cm Literature comparison:Compare a related red and green enameled porcelain 'min yao' dish donated by R. Soame Jenyns, 30.3 cm in diameter, dated to the Ming dynasty, likely Jiajing, in the British Museum, registration number 1951,1010.1. Compare a related polychrome enameled jar decorated with horses, with a Jiajing mark and of the period, 18 cm high, in the Metropolitan Museum of Art, accession number 1991.253.58.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2023, lot 1036 Price: USD 32,760 or approx. EUR 30,000 converted at the time of writing Description: A very rare green and red-enameled 'fish' jar, Ming dynasty, 16th century Expert remark: Compare the related form and decoration. Note the different motif and smaller size (24.8 cm high). 嘉靖開光麒麟太獅罐中國。罐小口，豐肩，鼓腹，平足。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
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