We found 239713 price guide item(s) matching your search

Persian Bidjar ivory ground carpet, decorated all-over with stylised floral motifs and interlacing branch, five band border decorated with flower heads Dimensions: Length/Width: 333cm  Depth/Diameter: 215cm

Persian Kashan golden ivory ground carpet, the central medallion surrounded by a field of interlacing branch and stylised plant motifs, the guarded border with scrolling design decorated with flower heads Dimensions: Length/Width: 342cm  Depth/Diameter: 247cm

Persian Bidjar ivory ground runner, decorated with three medallions in a field of Herati motifs, three band border with overall floral designDimensions: Length/Width: 300cm  Depth/Diameter: 83cm

Late 19th century longcase clock in a mahogany case c 1880, 8-day movement and painted dial, with a swan's neck pediment, trunk with canted corners and short trunk door on a wide plinth, fully painted break-arch dial with similarly painted spandrels and long Roman numerals, subsidiary calendar and seconds dial and stamped brass hands, rack striking movement, striking the hours on a cast bell. With pendulum and weights. Maker's name indistinct.This item has been registered for sale under Section 10 of the APHA Ivory Act Dimensions: Height: 230cm  Length/Width: 70cm  Depth/Diameter: 27cmCondition Report:Ivory Act - Submission reference: 92MTVUHV

Noritake Ivory China Adagio 7237 Pattern dinner set

A large Ziegler carpet, the red field of interlaced trailing foliate design framed within an ivory guarded border with similar floral design, 520cm x 420cm

An Iranian runner rug, hand knotted thick wool pile, the ivory field centred with gul, with two further guls to each end, and bordered, 281cm x 82cm

A Persian Hamadan runner rug, hand knotted, with triple medallion on ivory field framed within geometric design to border, 284cm x 80cm

A group of Royal Worcester blush ivory, c. 1900, comprising: a jar and cover, of lobed ovoid form, painted with floral sprays, black printed mark, no. 1312; a jug with reeded gilt handle, painted with floral sprays, puce mark, no. 1094; and a smaller jug, of the same shape, painted with floral sprays, green mark no. 1094. (3) 17cm, 16cm and 12cm

A pair of ancesestor figures, carved as a male and female in standing pose, finished in natural palm oil heightened with white kaolin, mounted on stand, Baule People, Ivory Coast, mid-20th century, h.23.5cm; a wooden fetish figure, carved as a female in standing pose with applied kaolin and plant fibre braid, Bakongo People, D.R.C., 2nd half 20th century, h.36cm; a wooden divination box and cover, of rectangular form relief carved with a mask to the front and cover with further carved lozenge shaped decoration and plant fibre cords, Luba People, D.R.C., 2nd half 20th century, w.27cm; and a Ceremonial wooden palm wine cup, the exterior with carved interlocking geometric decoration and loop handle, Kuba People, D.R.C., early-mid 20th century, h.18cm.see extra images.

Early 19th century English school - bust portrait of a middle-aged woman wearing a blue dress, miniature watercolour on ivory, unsigned, 34 x 28mm, housed in a yellow metal backed mount, unmarked but tests as approx 18ct, gross weight 13.1gIvory submission reference 6H32JVH4

A 19th Century Tabriz Carpet, woven in colours of ivory, fawn and wine, the field filled with trailing leaf and floral ornament, on an ivory ground within conforming three stripe borders, signed and woven by "Sabag Etelafi" who was a master weaver, 10ft x 6ft 9ins

A Late 19th Century Korasson Carpet, woven in colours of ivory, navy blue and wine, with a central stylised floral medallion, with conforming spandrels, the field filled with trailing leaf and floral ornament, on a navy blue ground, within conforming seven stripe borders, 9ft 6ins x 6ft 6ins

A 20th Century Sarugh Carpet, woven in colours of ivory, navy blue and wine, with a central stylised flowerhead medallion and conforming spandrels, the field filled with trailing leaf and floral ornament on a navy blue ground, within conforming seven stripe borders, 12ft 9ins x 9ft

A 20th Century Kashan Carpet, woven in colours of ivory, navy blue, fawn and wine, with a bold central stylised floral pole medallion, the field filled with trailing leaf and floral ornament and urns, on a navy blue ground with conforming spandrels, within wide single border filled with boteh and meandering vine pattern, 13ft x 10ft

An Early 20th Century Tabriz Carpet, woven in colours of wine, green and ivory, the field filled with trailing leaf and floral ornament on a wine ground, within conforming five stripe border filled with meandering vine pattern, 10ft x 7ft 3ins

A 19th Century Kirman Carpet, woven in colours of navy blue, ivory and wine, with a bold central stylised floral medallion, the field filled with trailing leaf and floral ornament, on a navy blue ground, with conforming spandrels within conforming five stripe borders, 10ft x 7ft 6ins

A 19th Century Bidjar Carpet, woven in colours of ivory, navy blue and wine, the field filled with endless floral repeats, and stylised geometric motifs on a wine ground, within conforming multi stripe borders, 8ft 6ins x 4ft 9ins

A Late 19th Century Bakhtiari Carpet, woven in colours of ivory, navy blue and wine, with a bold central stylised floral pole medallion, with conforming spandrels, the field filled with trailing floral and leaf ornament, on a wine ground, within conforming three stripe borders, 10ft 9ins x 8ft

An Early 20th Century Kirman Carpet, woven in pastel shades of navy blue, pale blue and fawn, with trailing palmettes and leafage, on an ivory ground within conforming seven stripe borders, 11ft 6ins x 8ft 3ins

An Early 20th Century Tabriz Carpet, woven in colours of ivory, navy blue and wine, the field filled with trailing leaf and floral ornament, on a wine ground, within seven stripe border filled with meandering vine pattern, 12ft 9ins x 9ft 6ins

IMPORTANT CATALOGUE AMENDMENT:NOTE: Ivory handle removed from lot, and elephant handled stick inset with ivory REMOVED from this lot due to Ivory Act 2018 laws.A collection of twelve early 20th century sticks, including Malacca canes, an early 20th century sword stick, 82.5cm long overall, a club with ovoid end, a WWI era stick (missing handle) carved with various African names 'Kahinda..Mbenkuru.. Ropunda', 88.5cm long, and several with silver and white metal fittings. (12)

A brass ship's bulkhead clock, with Roman numeric ivory coloured dial and inset seconds dial with Arabic numerals, brass winding key, mounted on a stained wood base. D.29cm overall

Longines yellow metal gentleman's wristwatch with an ivory coloured dial, seconds dial, Arabic and arrow head markers, enclosing an automatic movement, on a leather strap, probably 9ct, gross 41.6grs, weight of back 4.8grs, 3.3cm, (working when catalogued)

Longines yellow metal gentleman's wristwatch with an ivory coloured dial, black Arabic numerals and sweep seconds hand, enclosing an automatic movement, on a leather strap, probably 9ct, gross 48.3grs, 3.5cm, (working when catalogued)Condition Report:Unable to open back. All-over bubbling to face. Slight damage at opening 

Omega yellow metal gentleman's wristwatch with an ivory coloured dial, seconds dial and arrow head markers, enclosing an automatic movement, on a crocodile style leather strap, probably 9ct, gross 42.4grs, 3.5cm, (working when catalogued)

A large circular button upholstered centre stool, ivory fabric upholstery on stained hardwood plinth base by repute from George Smith, 98 cm dia x 44 cm h

A Locke & Co 'Shrub Hill' Royal Worcester vase hand painted with roses on an ivory coloured ground, 6¼" tall.

Royal Worcester porcelain figure no. 2801 of a sitting woman in ivory colour and gilt detailing- 1923.

An Astra Ware Drizzled Pottery Vase, hens on nests, Wood ivory ware, Staffordshire cow creamer, etc:- One Tray

ASSORTED COSTUME, LACE, LINEN & ACCESSORIES, including an cotton Indian print dress, velvet hats, ostrich feather hat accessories, ladies long kid and lace gloves, Irish lace fichu and other pieces of lace, child's ivory satin dress, black crepe dress & collar, other black costume, white cotton apron, embroidered table linen, walking sticks and umbrellas, etc.

ASSORTED TREEN & FOLK ART, including carved vegetable ivory pepperette and souvenir needle case inscibed 'A Present from the Thames Tunnel' (Wapping tunnel c. 1843), turned bowl, lace bobbin with caged balls, painted tin nutmeg grater, fruitwood snuff box, butter curler, etc.

A FIGURAL STYLE 'SNAKE AND LION' CHLORITE VESSEL, CIRCA LATE 3RD MILLENNIUM BCSoutheastern Iran, Jiroft culture. The slightly tapered sides boldly carved in relief with a roaring lion standing foursquare flanked by two confronting coiled serpents, the beasts with many recesses to take inlays. Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot comes from the same estate as the objects compiled in this inventory, but is not specifically mentioned, possibly because it was deemed too small to warrant inclusion, as suggested by the following entry for four closely related but larger vessels: “Quatre pots anciens en pierre sculptee avec decor d'incrustations ivoire ou os? Haut: 21 cm à 30, Etiquettes: Massoudi ou Iran Nord?” (Four old carved stone jars with inlays of ivory or bone? Height: 21 cm to 30, labels: Massoudi or Northern Iran?). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the high age of this piece. Scratches, cracks, nicks, losses, minor fills, encrustations, all inlays lost. Remnants of old varnish. Significant wear, traces of aging, weathering overall.French Export License: Certificat d'exportation pour un bien culturel Nr. 184687 dated 9 June 2017 has been granted and a copy is accompanying this lot (note that although the certificate was granted for three items, only two lots are being offered at this point). Weight: 1,030 g Dimensions: Height 9.8 cm, Diameter 12.6 cmExpert's note: This finely decorated ceremonial vessel belongs to a class of chlorite artifacts from South-Eastern Iran described as 'Figural Style' or 'Jiroft' from the name of the area where they were most likely produced in antiquity. The Figural Style is characterized by high-quality workmanship that combines the use of powerful imagery with simple lines and the extensive use of inlays. Literature comparison:The motif of the lion fighting against a snake is a recurrent one in these types of vessels and appears several times amongst the famous corpus of unexcavated artifacts published by Madjidzadeh in 2003, see Y. Madjidzadeh, Jiroft. The Earliest Civilization, Teheran, 2003, pp. 76-94. Auction result comparison: Type: Closely related Auction: Bonhams London, 16 April 2015, lot 43 Estimate: GBP 20,000 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A 'Figural Style' green chlorite vessel, South-East Iran, circa late 3rd Millennium B.C.+Expert remark: Compare the closely related subject with fighting lion and snake and decoration with similar relief and deep recesses to take inlays. Note the different form and larger size (25 cm).Auction result comparison: Type: Closely related Auction: Galerie Zacke, 16 October 2021, lot 550 Price: EUR 12,008 or approx. EUR 13,000 adjusted for inflation at the time of writing Description: A Western Asiatic chlorite 'snake and lion' jar and cover, 3rd millennium BC Expert remark: Compare the closely related subject and decoration with similar relief and deep recesses to take inlays. Note the slightly different form, cover, and height (12 cm).

AN IVORY SUNDIAL, TUGUI, QING DYNASTYChina, 1644-1912. Of rectangular form, incised with characters to one side indicating time periods and to the other indicating the celestial poles, seasons, and 24 solar terms, along with how long the shadow should be for specific time periods. The top of the sundial is pierced with two small holes to insert the gnomon, which is stored in a small recess at the lower end covered by a small rectangular ivory fitting.Provenance: From a French private collection. Condition: Very good condition with minor wear, natural age cracks, few minuscule nicks and light scratches. With a naturally grown, honey-golden patina overall.Weight: 118.7 gDimensions: Length 15.8 cmTrade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0074).Some types of sundials have existed in China since around 800 BC, and these eventually evolved into sophisticated water clocks by circa 1000 AD. Sometime during the Song dynasty, a compass would also be added to the sundial. There is an early reference to sundials from 104 BC, found in an assembly of calendar experts. However, equatorial and polar sundials, as commonly found in Europe and Arabia, did not exist in China until the late Ming dynasty, when Catholic missionaries introduced them to Chinese astronomers.Literature comparison: Compare a wood sundial compass, dated possibly 18th century, in the collection of the Cooper Hewitt, Smithsonian Design Museum, accession number 1957-165-12, and another dated 1850-1900 in the Horniman Museum & Gardens, London, museum number 6.12.65/265, and an ivory compass and sundial, dated to the 19th century, at Christie's New York, 17 October 2000, lot 41.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.清代象牙日晷中國， 1644-1912年。 象牙長方形日晷，一面有南北兩極的使用指示和二十四節氣，另一面的移動式陀羅尼上有一個小格子開口，表面刻著交錯時間。 可根據緯度的不同，調節好晷版的坡度仰角，在晷版立一籤板，在晷版投影上，就可以讀出時間，在景版上，就可以讀出節氣來。 來源：法國私人收藏。品相：品相極好，輕微磨損， 年代裂紋， 一些微小的刻痕和輕微的劃痕。 整體帶有自然生長的蜜色包漿。 重量：118.7 克 尺寸：長 15.8 厘米象牙交易證書：附有此拍品在歐盟範圍內的交易證書複本(證書編號 AT 22-B-0074)。 西元前 800 年左右，中國有了日晷，最終在西元 1000 年左右演變成複雜的水鐘。 在宋朝時，日晷上也會增加一個指南針。 曾有記錄發現了西元前 104 年的日晷。然而，在歐洲和阿拉伯常見的赤道日晷和極地日晷，直到明朝末年才出現在中國，是當時的天主教傳教士將它們介紹給中國天文學家。 文獻比較：比較一件可能約為十八世紀的木雕日晷，見庫柏休伊特設計博物館，編號1957-165-12。另一件1850-1900年的木雕日晷在倫敦Horniman Museum & Gardensmuseum，編號6.12.65/265。一件十九世紀象牙日晷，見紐約佳士得，2000年10月17日，lot 41。

A RARE RED LACQUER 'MONGOL HUNT' BOWL, ATTRIBUTED TO ZHOU ZHUChina, 16th-17th century. The deep rounded sides rising from a short straight foot to an everted rim. Deeply carved with a continuous scene of four Mongolian hunters on horseback brandishing spears, one having just killed a wolf with his weapon, riding through a rocky landscape with grass and lingzhi as well as trees including paulownia, willow, and pine, against a floral diaper ground, the interior lacquered black. Provenance: Captain W. F. Collins (1865-1948), Beijing. Bluett & Sons, London, 26 May 1926. The Parry Collection of Chinese Art, London, acquired from the above and thence by descent. The base with an old collector's label, '341', partly obscuring a label from Bluett & Sons below. A copy of the original typed, stamped, and signed invoice from Bluett & Sons, dated 26 May 1926, addressed to “E. A. Parry, Esq.”, dating the present lot to the Ming dynasty, accompanies this lot. Captain Collins (1865-1948), was Bluett's main supplier in China from February 1925 to January 1928. He also sold pieces to John Sparks and other dealers in London and Paris between the 1920s and 1940s. The Parry Collection was an important English private collection of Imperial enamel, lacquer, porcelain, and jades, started by Edward Arthur Parry (1879-1946), a barrister by trade, and his wife Angela Parry (nee Scully, 1879-1977) from as early as 1919. The collection has passed down three generations of the Parry family, with many of the pieces having been acquired from the famous London dealers Spink and Bluett's.Condition: Good condition with old wear, natural age cracks and few minuscule losses to the red lacquer, the black lacquer with several shallow losses to the rim and associated old minor touchups.Weight: 119.0 gDimensions: Diameter 10.7 cmWith a finely carved hardwood stand dating to the Qing dynasty. (2)Lacquer bowls depicting hunting are extremely rare. Although hunting was extolled by early Ming Emperors who had inherited the tradition from the Mongol Yuan as a sign of military prowess and state authority, by the mid and late Ming period it was seen by the literati as a distraction from grave matters of state. The role of hunting became a charged area of contestation, where Ming Emperors and senior court ministers staked claims about rulership, ruler-minister relations, and the role of the military in the polity. The heirless Zhengde Emperor (1505-1521) was particularly passionate about hunting, much to the consternation of his ministers, see D. M. Robinson, Martial Spectacles of the Ming Court, Cambridge MA, 2013, pp. 214-220.Expert's note: Research conducted by Hugh M. Moss of the Water, Pine and Stone Retreat, concerning a red lacquer box and cover carved with a closely related scene of five Mongolian hunters (see Auction result comparison), has found that box “to be a lacquer version of inlaid wooden boxes decorated with a hunting scene and attributed to the 16th-century artist Zhou Zhu.” For this reason, we do attribute the present bowl, identical in quality to the aforementioned box, to Zhou Zhu as well.Zhou Zhu is recorded in the writings of the Ming and Qing literati as having worked in Yangzhou in Jiangsu province during the reign of the Jiajing Emperor. He was famous for his perfection of the technique of inlaying a wide variety of precious stones and other materials onto wood and lacquer. What distinguishes Zhou's works from others is his use of a much broader range of material and the complexity of the inlay itself. By skillfully utilizing kaleidoscopic materials to depict extraordinarily vivid scenes adorning precious woods, Zhou pioneered a range of beautifully inlaid works of art distinctive for their three-dimensional quality with eye-catching effects. His work provided inspiration for numerous subsequent interpretations. Literature comparison: Compare a hardstone-inlaid box and cover, attributed to Zhou Zhu and depicting a Mongolian hunting scene, dated by inscription to 1537, at Sotheby's Hong Kong in Water, Pine and Stone Retreat Collection – Scholarly Art on 7 October 2010, lot 2192. See also two related hardstone-inlaid zitan boxes and covers, early Qing dynasty, decorated with equestrian hunting figures, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn, Hong Kong, 2002, nos. 230-231. A similar hunting scene can be found on a two-colored lacquer tray in the Tokugawa Art Museum, Nagoya, illustrated in Karamono. Imported Lacquerwork – Chinese, Korean and Ryukyuan, Selections from the Tokugawa Art Museum, no. 2, Nagoya, 1997, pl. 95, attributed to the Yuan or Ming period.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 7 October 2010, lot 2213Price: HKD 860,000 or approx. EUR 155,000 converted and adjusted for inflation at the time of writingDescription: A cinnabar lacquer box and cover attributed to Zhou Zhu Ming dynasty, 16th / 17th centuryExpert remark: Compare the related Mongolian hunting scene, and also attributed to Zhou Zhu.周柱風格罕見剔紅狩獵圖碗中國，十六至十七世紀。 來源：北京W. F. Collins (1865-1948) 上尉。倫敦Bluett & Sons 藝廊，1926年5月26日。倫敦Parry Collection中國藝術收藏，購於上述藝廊並保存至今。底部可見收藏老標籤“341”，Bluett & Sons 的標籤局部被遮蓋。隨附Bluett & Sons藝廊出具的蓋章發票副本，時間爲1926年5月26日，收件人地址爲 “E. A. Parry, Esq.”。發票上注明此拍品為明代。 品相：狀況良好，有舊磨損、自然老化裂縫，紅漆和黑漆的邊緣有幾處輕微的缺失，存在相關的輕微修補。 重量：119.0 克 尺寸：直徑10.7 厘米 清代硬木底座。 (2) 由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE MARBLED 'JIAO TAI' GLOBULAR JAR, NORTHERN SONG DYNASTYChina, 960-1127. Finely potted, the body formed of two hemispherical sections, each made from striated dark brown and cream-colored clays, altogether raised on a thick cream-glazed foot and surmounted by a short cream-glazed neck, covered overall in a translucent ivory-colored glaze.Provenance: From a private estate in the United Kingdom.Condition: Excellent condition with old wear, minor weathering, traces of use, shallow surface scratches, some firing flaws, including a small firing crack to the base. Old inventory label with faded inscription to base.Weight: 403.9 gDimensions: Height 10.4 cm, Width 10.7 cmExpert's Note: The marbled effect on the present lot was produced by kneading together clays of white and brown color. This technique is known in China as jiao tai (mixed body). In this exquisite little jar the mixed clay body was additionally coated by a layer of transparent ivory glaze. Different names, such as 'wood grain pattern', 'pheasant's wing pattern' or 'feather pattern' are given to the resulting effect, depending on how exactly the clays were mixed. The technique was initially developed in the Tang dynasty, when marbled wares were produced in the kilns of Gongxian. After centuries of trial and error it eventually became possible to produce small vases and jars with the highly desired 'wood grain pattern' by merging two hemispherical sections. The pinnacle of production was reached during the Northern Song dynasty, thereafter it slowly declined.Literature comparison: A related marbled jar is in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum - Porcelain of the Song Dynasty (I), Hong Kong, 1996, page 208, no. 188.Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 23 September 2020, lot 706Price: USD 63,000 or approx. EUR 65,500 converted and adjusted for inflation at the time of writingDescription: A rare marbled jar, Northern Song dynastyExpert remark: Note the identical jiao tai (mixed body) technique and colors as well as the related form and size (9.8 cm)北宋罕見絞胎罐中國, 960-1127。罐小口，豐肩，鼓腹，平足。罐身由上下兩個半球形組合，以褐、白兩色泥料揉絞出花紋。罐身至足部施透明象牙色釉。 來源：英國私人收藏 品相：品相極好，有風化、磨損，表面有一些細小的劃痕、燒製裂紋，底部有細小裂紋。底足有舊時收藏標籤。 重量：403.9 克 尺寸：高10.4 厘米, 寬10.7 厘米 專家注釋：本拍品的大理石紋效果是是利用二种不同色调的胎土料，分别制成坯泥，根据纹理构图需要進行剪切拼合，這種手法被稱爲 “絞胎” 。這個小罐子表面施透明象牙色釉。器物显现各种出不同花纹图案，如木理纹與羽状纹，是中國唐代創造的一種胎裝飾產品，經過幾個世紀的反複試驗，最終可以通過合併兩個半球形來製作出精美的“木理紋”小花瓶和罐子。北宋時期生產達到頂峰，此後逐漸衰落。 文獻比較：一件相似的大理石紋罐， 見北京故宮博物館編，《故宮博物院藏文物珍品全集·兩宋瓷器》（上卷），香港，1996年，頁208，編號188。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2020年9月23日，lot 706 價格：USD 63,000（相當於今日EUR 65,500） 描述：北宋絞胎罐 專家評論：比較相同的絞胎技術和顏色，以及相似的形制和尺寸(9.8 厘米)

A RARE 'MUTTON FAT' JADE IMITATION QUARTZITE SNUFF BOTTLE, 19TH CENTURYChina. Of flattened ovoid form, with one small russet inclusion to one side, superbly hollowed. The stone is of an unusually even ivory-white color, and to accentuate this, a slightly glossier surface polish has been applied, which gives it the appearance of 'mutton fat' jade.Provenance: French private collection.Condition: Pristine condition with only very minimal natural flaws to the material and microscopic chipping to the lip. Scientific Analysis Report: A report from the Natural History Museum, Vienna (Naturhistorisches Museum Wien), written and signed by Dr. Vera M. F. Hammer, dated 19 January 2022, confirms that the present lot is carved from quartzite.Expert's note: A test on the Mohs scale reveals a hardness between 7 and 8.Stopper: Aquamarine Weight: 79.4 g Dimensions: Height including stopper 61 mm. Diameter neck 17 mm and mouth 7 mmQuartzite is a term that has not been much used among snuff-bottle enthusiasts, with the result that bottles in this material often tend to get called by the wrong name. Deprived of its own independent weight as a distinct material, it tends to be drawn by the gravitational pull of the chalcedony group. Visually it is distinguished by a finely granular appearance that seems minutely and evenly speckled under a magnifying glass. The color is usually of a yellowish or beige tone, but it is also found in other colors, including gray, white, almost black, yellow, green, and richly speckled brown. Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 23 November 2014, lot 125Price: HKD 18,750 or approx. EUR 2,800 converted and adjusted for inflation at the time of writingDescription: A yellow-beige quartzite snuff bottle, Qing dynasty, 18th / 19th centuryExpert remark: Compare the related form. Note the color variation of the quartzite. 十九世紀仿羊脂玉素面石英鼻烟壺中國。扁平橢圓形，一面有一小塊斑紋，如籽玉留皮。掏膛極好。石料呈均勻的象牙白色，表面光滑瑩潤，看起來像“羊脂”玉。 來源：法國私人收藏。 品相：品相良好，只有極少的天然瑕疵和壺唇有微小磕損。 科學檢測報告：維也納Natural History Museum博物館 (Naturhistorisches Museum Wien) Dr. Vera M. F. Hammer博士於2022年1月19日出具的報告，確認此鼻烟壺為石英。 專家注釋：莫氏硬度測試表明硬度介於7 與8之間。 壺蓋：海藍寶石 重量：79.4 克 尺寸：高 （含蓋）61 毫米. 頸部直徑17 毫米 及瓶口直徑7 毫米 石英石是一個在鼻烟壺收藏中不多見的術語，因為這材料往往被錯誤地命名，經常被歸於玉髓之類。從視覺上看，它的特點是外觀成細粒狀，在放大鏡下有細微而均勻的斑點。顏色通常是淡黃色或米色，但也有其他顏色，如灰色、白色、近黑色、黃色、綠色和帶有豐富斑點的棕色。拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2014年11月23日，lot 125 價格：HKD 18,750（相當於今日EUR 2,800） 描述：十八或十九世紀清代黃米鼻烟壺 專家評論：比較相近的外型。請注意石英顏色的不同。

A PARCEL GILT BRASS SNUFF BOTTLE, 1860-1940Japan. Of flattened shield form, with a pendent ruyi-head at the base, short waisted neck, and tall cylindrical mouth, the body patinated to a warm copper tone and parcel-gilt, the front and back bearing the same design of a central recessed panel with an array of chrysanthemum and other blossoms, encircled by eleven butterflies, flanked by two handles in the form of sinuous serpents with furcated tails as handles, with a chain strap. Provenance: From an English private collection. Condition: Excellent condition with minor old wear, microscopic nicks, shallow surface scratches.Stopper: Green jadeiteWeight: 16.7 g Dimensions: Height including stopper 63 mm. Diameter neck 6 mm and mouth 4 mmThis bottle belongs to a limited number of high-quality objects made during or shortly after the Meiji period (1868-1912) in Japan and more than likely created for export to China. The Japanese excelled with their highly creative and intricate works of art especially involving ivory, bronze, and lacquer.Literature comparison: Compare two closely related brass snuff bottles, one illustrated by Robert Hall, Chinese Snuff Bottle IV, London, 1991, page 6, no. 6, and the other illustrated by Bob Stevens, Snuff Bottles, New York, 1976, page 218, no. 812.1860-1940年鎏金銅鼻烟壺日本。扁平盾形，底部下飾如意，束頸，高筒口，通體為暖銅色包金，正反同為開光，内飾菊花和其他花卉，十一隻蝴蝶環繞，兩側有兩條蜿蜒曲折的蛇形耳，並帶有鏈帶。 來源：英國私人收藏 品相：品相優良，小磨損、刻痕，表面有淺劃痕。 壺蓋：翡翠 重量：16.7 克 尺寸：高 （含蓋）63 毫米，頸部直徑6 毫米及瓶口直徑4 毫米 此瓶屬於日本明治時期（1868-1912）或之後不久製造的可能是為出口到中國的，數量有限。日本人以其極富創意和復雜的藝術作品而著稱，尤其是象牙雕刻、青銅造像和漆器。 文獻比較：比較兩件非常相近的銅質鼻烟壺，一件見Robert Hall，《Chinese Snuff Bottle IV》，倫敦，1991年，頁6，編號6；另一件見 Bob Stevens，《Snuff Bottles》，紐約，1976年，頁 218，編號812。

A WESTERN ASIATIC 'SNAKE AND BIRD' CHLORITE VESSEL, 3RD MILLENNIUM BCWith a slightly domed base and tapering sides rising to a flat everted rim, carved in relief with three birds of prey with spread wings and curved beak, each flanked by two confronting serpents coiled to form a figure of eight, the animals' eyes neatly inlaid in bone, the snakes with many recesses to take inlays.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot comes from the same estate as the objects compiled in this inventory, but is not specifically mentioned, possibly because it was deemed too small to warrant inclusion, as suggested by the following entry for four closely related but larger vessels: “Quatre pots anciens en pierre sculptee avec decor d'incrustations ivoire ou os? Haut: 21 cm à 30, Etiquettes: Massoudi ou Iran Nord?” (Four old carved stone jars with inlays of ivory or bone? Height: 21 cm to 30, labels: Massoudi or Northern Iran?). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the high age of this piece. Scratches, cracks, nicks, losses, minor fills, encrustations, most inlays lost (except for the animals' eyes). Remnants of old varnish. Significant wear, traces of aging, weathering overall.French Export License: Certificat d'exportation pour un bien culturel Nr. 184687 dated 9 June 2017 has been granted and a copy is accompanying this lot (note that although the certificate was granted for three items, only two lots are being offered at this point).Weight: 2,902 g Dimensions: Height 14.2 cm, Diameter 26.3 cmLiterature comparison:A related chlorite vessel with two zebu, of smaller size, dated 2600-2350 BC and attributed to Al-Rafiah, on the east coast of the island of Tarut, is in the collection of the Metropolitan Museum of Art, accession number 2014.717.Auction result comparison:Type: Related Auction: Christie's London, 1 October 2014, lot 143 Price: GBP 20,000 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A Bactrian chlorite jar, 3rd millennium B.C.Expert remark: Compare the related subject and decoration. Note the diameter (9.5 cm).Auction result comparison: Type: Closely related Auction: Galerie Zacke, 6 March 2021, lot 693 Price: EUR 15,168 or approx. EUR 16,500 adjusted for inflation at the time of writing Description: A Western Asiatic chlorite 'snake' vessel, 3rd millennium BCExpert remark: Compare the closely related form with similar domed base and tapering sides rising to a flat everted rim as well as the relief and inlay decoration. Note the height (16 cm).

A FINELY CARVED CORAL GROUP OF A MERMAID AND FISH, 20TH CENTURYChina. Finely carved as a mermaid resting on a carp emerging from scrolling waves, with five further fishes amid the ripples. The coral of a bright orange-pink tone. The hardwood stand rising on ruyi-shaped feet, decorated with a scrolling band in fine silver inlay. (2)Provenance: French trade. Old inventory number '11.43' to the base. Condition: Very good condition with minor wear, minuscule nicks, possibly few minor losses to the natural and uncarved areas of the coral and maybe also to the fin of the mermaid. The carving is attached to the stand and cannot be removed.Weight: 678 g (incl. stand) Dimensions: Height 23.5 cm (incl. stand)Mounted to a hardwood stand.In Chinese culture, the earliest record of fish-like people can be found in the book 'Classic of Mountains and Seas' (Shanhaijing), dating from the 4th century BC, calling the creature lingyu or renyu. According to the book, lingyu are described as having a human face and a fish's body. Other aquatic creatures of humanoid appearance that cry tears that turn into pearls are mentioned in the books Shuyiji and Taiping Yulan.Auction result comparison:Type: RelatedAuction: Christie's New York, 19 September 2014, lot 1311Price: USD 20,000 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: A carved coral 'phoenix and meiren' carvingExpert remark: Compare the related subject, similar manner of carving the figures, as well as the color of the coral. Note the size (18.2 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.二十世紀珊瑚雕美人魚擺件中國。雕刻精美的美人魚坐在一條從波浪中浮現的鯉魚上，在水中還有五條魚。明亮的橙粉色珊瑚。硬木底座，如意形足，底座鑲銀成卷葉紋。 來源：法國古玩交易，底座收藏舊標籤“11.43”。 品相：狀況極好，輕微磨損，微小的刻痕，珊瑚的自然和未雕刻區域和美人魚的鰭可能局部有輕微缺損。雕像固定在支架上，無法移除。 重量：678 克 (含底座) 尺寸：高23.5 厘米 (含底座) 硬木底座。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2014年9月19日，lot 1311 價格：USD 20,000（相當於今日EUR 25,000） 描述：珊瑚雕鳳凰和美人魚擺件 專家評論：比較相近的主題、相似的雕刻對象，以及珊瑚色。請注意尺寸(18.2 厘米)。

A DEHUA 'RABBIT' WATERDROPPER AND COVER, EARLY QING DYNASTYChina, late 17th-18th century. Standing foursquare with long ears, almond-shaped eyes, paws, and a short bushy tail, its head raised and mouth slightly agape, pierced to function as a water dropper. Carrying a saddle on the back, finely molded with scrolling vines and flowerheads, the pommel and cantle each with two apertures, possibly for a handle. The circular cover similarly decorated with flowers and scroll. The exterior covered in a fine ivory white glaze.Provenance: French trade. Condition: Good condition with some old wear and minor manufacturing flaws, shallow surface scratches, minuscule nicks, the cover with a loss.Weight: 335.1 gDimensions: Length 18 cm清初德化兔形硯滴中國，十七世紀末至十八世紀。白兔四足著地，長耳，杏仁狀眼，短毛尾，抬頭朝天，嘴微張，為硯滴出口。背上有一個鞍座，鞍座和燭台各有兩個孔，可能是一個把手。蓋子上飾纏枝花卉紋。通體施象牙色白釉。 來源：法國古玩交易市場。 品相：狀況良好，有一些磨損和輕微的製造瑕疵，表面有淺劃痕和刻痕，蓋子有缺損。 重量：335.1 克 尺寸：長18 厘米

A RARE HORNBILL 'SANXING' SNUFF BOTTLE, EARLY 19TH CENTURYOpinion: 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. Finally, the ovoid form, quite different from the rectangular forms commonly found, indicates that this is an early yet fine example from this rare group.China. Well hollowed, the ovoid body supported on a short oval foot and rising to a cylindrical neck with everted rim. Finely carved in relief to one side with the three star gods, the Sanxing, seated in a relaxed manner and holding wine cups, and to the other with Shoulao tending to his deer while his attendant is holding his cane with the double gourd, the shoulder and neck carved continuously with five bats amid clouds. The short sides each with a large double gourd vessel 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 particuliere dans le departement Eure-et-Loir, France.Condition: Very good condition with significant old wear, natural imperfections to the material, few microscopic age cracks, and few minuscule nicks. Magnificent natural patina overall.Stopper: Translucent reddish-amber hardstone with black platelet, fine hornbill spoonWeight: 23.9 g Dimensions: Height including stopper 61 mm, Diameter neck 13 mm and mouth 5 mmHornbill 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: Christie's New York, 10 September 2007, lot 707 Price: USD 67,000 or approx. EUR 82,700 converted and adjusted for inflation at the time of writing Description: A Very Rare And Superbly Carved Hornbill Snuff Bottle, 1820-1840 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.十九世紀罕見鶴頂紅“福祿壽三星”鼻烟壺中國。掏膛良好，直頸，扁平，削肩，橢圓形圈足。一面浮雕福祿壽三星悠閒端坐，端著酒杯；另一面壽老撫鹿，身側侍者手持葫蘆與手杖，身邊飛舞著五隻蝙蝠。兩側各有一個大葫蘆，保留了鶴頂紅特有的深紅色，與半透明的蜜色內層形成獨特的對比。 專家注釋：此鼻烟壺色澤上乘瑩潤，表明它是使用已失傳的鶴頂紅角處理方法製成的，使材料具有半透明性，並防止其隨著時間的推移而開裂。鶴頂紅鼻烟壺上的浮雕精美，難得一見。最後，與常見的矩形完全不同的卵形表明這是一件鶴頂紅雕刻初期的產物。 來源：法國 Eure-et-Loir省私人收藏。品相：品相極好，有明顯的磨損，材料自然瑕疵，輕微年代裂縫和小劃痕。整體呈現瑩潤的自然包漿。 壺蓋：半透明琥珀色硬石，黑色托片，鶴頂紅雕小勺 重量：23.9 克 尺寸：高 （含蓋）61 毫米，頸部直徑13 毫米及壺口直徑5 毫米 由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。

A MARBLE FIGURE OF BUDDHA, TANG DYNASTYChina, 618-907. Buddha is shown seated in padmasana on an oval base, dressed in heavy robes with cascading folds tied at the waist, the face with a serene expression, downcast eyes below gently arched eyebrows, and the smooth hair surmounted by an ushnisha, flanked by two elongated earlobes. Fine ancient polish with an unctuous feel overall.Provenance: From the collection of Michael Phillips, Los Angeles, California, USA. An old collector's label to the base. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme D'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, soil encrustations, few nicks and shallow surface scratches, some losses, and minor cracks. Magnificent natural patina of ivory color overall.Weight: 1,357 g Dimensions: Height 17.2 cmLiterature comparison:Compare a related marble figure of buddha, dated to the Tang dynasty, in the collection of the Metropolitan Museum of Art, accession number 28.114.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.唐代漢白玉佛像中國，618-907年。佛像坐在橢圓形底座上，頭上有螺髻，身著僧袍，褶皺紋理流暢，面部表情慈祥安寧，眼睛微閉，眉毛微拱，長耳垂。漢白玉整體瑩潤光滑。 來源：美國洛杉磯Michael Phillips 私人收藏，底座有藏家收藏標籤。Michael Phillips (出生於1943年) 是一位電影製片人，曾獲得奧斯卡獎。他出生在紐約布魯克林，父母是Lawrence 與Shirley Phillips，他們是著名的紐約亞洲美術經銷商，向大都會博物館、洛杉磯美術館、芝加哥藝術學院和大英博物館等機構出售藝術品。Michael Phillips本人是亞洲藝術收藏家，尤其是印度、東南亞和喜馬拉雅地區造像。他最重要的電影包括《騙中騙》（1973 年獲得奧斯卡最佳影片獎）、《出租車司機》（1976 年戛納電影節金棕櫚獎）和史蒂文·斯皮爾伯格的《第三類接觸》。 品相：狀況良好。大面積磨損、風化和侵蝕跡象、土壤結殼、少量刻痕和表面淺劃痕、一些缺損、輕微裂縫。整體呈現象牙色的自然光澤。 重量：1,357 克 尺寸：高17.2 厘米 文獻比較： 比較一件相近的唐代漢白玉佛像，收藏於大都會藝術博物館，編號28.114。

AN IVORY FIGURE OF SHOULAO, MING DYNASTYChina, 16th-17th century. The standing immortal carved from the curved tusk holding a peach and wearing long robes falling to the ground in soft pleats, depicted with a long beard, his face with a cheerful expression, heavy-lidded eyes, and a calm smile. The top with a hardwood plug, the ivory with a naturally grown golden-brown patina overall.Provenance: From a notable private collector in Mayfair, London, United Kingdom. Condition: Very good condition with old wear, expected natural age cracks, minor nicks, the foot with two small repairs. Remnants of green and red pigment.Weight: 962.2 g Dimensions: Height 31.8 cmTrade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0439).Auction result comparison:Type: Closely relatedAuction: Christie's London, 5 November 2013, lot 1Price: GBP 10,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: An ivory carving of Shoulao, 17th centuryExpert remark: Compare the closely related subject and manner of carving, also from the curved tusk, and the similar size (31.3 cm). Note the dark patina and jade finial of the staff.Auction result comparison:Type: Closely relatedAuction: Bonhams San Francisco, 21 June 2011, lot 8001Price: USD 13,420 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: An ivory figure of Shoulao, Ming DynastyExpert remark: Compare the closely related subject and manner of carving, also from the curved tusk. Note the dark patina and size (27 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.明代象牙雕壽老立像中國，十六至十七世紀。象牙雕刻壽老立像，長須，面容慈祥，笑容可掬；手捧仙桃，身穿長袍，衣紋劉暢。頭頂帶有硬木塞子。整體呈現細膩的金蜜色光澤。 來源：英國倫敦梅費爾知名私人收藏。 品相：狀況極好，有磨損和自然年代裂縫，輕微劃痕，足部有兩次小修，有綠色和紅色顔料殘留。 重量：962.2 克 尺寸：高 31.8 厘米象牙交易證書：附有此拍品在歐盟範圍內的交易證書複本(證書編號 AT 22-B-0439)。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2013年11月5日，lot 1 價格：GBP 10,000（相當於今日EUR 15,000） 描述：十七世紀象牙雕壽老立像 專家評論：比較非常相近的主題、雕刻風格、彎曲的型態，以及相似的尺寸(31.3厘米)。請注意包漿較深，和拐杖上有玉鑲嵌。 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦瀚斯，2011年6月21日，lot 8001 價格：USD 13,420（相當於今日EUR 17,500） 描述：明代象牙雕壽老立像 專家評論：比較非常相近的主題、雕刻風格、彎曲的型態。請注意包漿較深，和尺寸(27厘米)。

A RHINOCEROS HORN ARCHAISTIC LIBATION CUP, JUE, EARLY QING DYNASTYChina, 17th to early 18th century. Finely carved, one side of the vessel with a flattened spout, the other slightly raised and tapering into a wide curve. The lip surrounded by a wave border incised in shallow relief. The body carved with two sinuous chilong holding branches of lingzhi in their mouths. The rhinoceros horn of a deep honey color, darkening towards the legs, and with a silky, naturally grown patina.Provenance: From the collection of Malcolm Moncrieff Stuart, OBE, CIE, and thence by descent. Stuart was a State Magistrate in the Civil Service in India from 1928 and 1949. After retiring he returned to Edinburgh, Scotland. Condition: Some losses to lip and body, minor age cracks. Absolutely untouched original condition.Weight: 133.5 gDimensions: Height 12.3 cmThe present libation cup, superbly carved in the form of the well-known bronze ritual vessel jue, exhibits an exceptional level of skill exercised by the carver, who used the highly complex technique of bending different sections of the split horn outwards to form the three splayed blade legs.Literature comparison: See T. Fok, Connoisseurship of Rhinoceros Horn Carving in China, page 93, lot 46, for a similar libation cup from the collection of Chun-hung Li. Compare a rhinoceros horn jue decorated with a taotie design illustrated in The Complete Collection of Treasures of the Palace Museum, Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Shanghai, 2001, pl. 205, together with a four-legged ding form cup, pl. 206, and a tripod ding vessel, pl. 207.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 April 2011, lot 2710 Price: HKD 2,420,000 or approx. EUR 413,500 converted and adjusted for inflation at the time of writing Description: A rhinoceros horn 'jue' libation cup, 17th centuryExpert remark: Compare the related color of the horn, splayed legs, and chilong decoration. Note the size (11 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 197Price: USD 182,500 or approx. EUR 230,500 converted and adjusted for inflation at the time of writingDescription: A rare rhinoceros horn archaistic libation cup (jue), Qing dynasty, 17th century Expert remark: Compare the related color of the horn and splayed legs. Note the size (10.2 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.清初螭龍紋犀角杯中國，十七至十八世紀初。爵形杯，雕刻精美，杯子一側的杯流扁平，另一側略微凸起並逐漸變細。杯口外壁淺浮雕波浪紋，外壁浮雕兩條螭龍，嘴裡叼著靈芝。犀角杯呈深蜜色，向腿部往下逐漸變深，並帶有絲般的光澤。 來源：Malcolm Moncrieff Stuart 收藏，OBE，CIE，保存至今。Stuart曾從 1928 年到 1949 年，擔任印度州治安法官。退休後，他回到了蘇格蘭的愛丁堡。 品相：杯口和杯體有局部磕損，輕微的年代裂縫。原始狀況。 重量：133.5 克 尺寸：高 12.3 厘米 文獻比較： 一件相似的犀角杯，Chun-hung Li收藏，見 T. Fok，《Connoisseurship of Rhinoceros Horn Carving in China》，頁93，lot 46。比較一件饕餮紋犀角爵，見《故宮博物院藏珍品全集‧竹木牙角雕刻》，上海，2001年，編號205，與一件四足鼎杯，編號206，和三足鼎，編號207。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2011年4月7日，lot 2710 價格：HKD 2,420,000（相當於今日EUR 413,500） 描述：十七世紀爵形犀角杯 專家評論：比較相近的犀角顏色、杯腳外撇和螭龍裝飾。請注意尺寸(11厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2012年3月20日，lot 197 價格：USD 182,500（相當於今日EUR 230,500） 描述：十七世紀爵形犀角杯 專家評論：比較相近的犀角顏色和杯腳外撇。請注意尺寸(10.2厘米)。

A LARGE AND IMPORTANT 'LEOPARD QUEEN' CHLORITE JAR, WESTERN ASIA, 3RD MILLENNIUM BCThe massive and heavy vessel is supported on a domed base with tapering sides rising to a lipped rim finely incised with diapered lozenges, boldly carved in relief with two standing female figures, each holding two leopards by their tails, each flanked by two confronting scorpions below the protruding handles, the leopards with many circular recesses to take inlays.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Quatre pots anciens en pierre sculptee avec decor d'incrustations ivoire ou os? Haut: 21 cm à 30, Etiquettes: Massoudi ou Iran Nord?” (Four old carved stone jars with inlays of ivory or bone? Height: 21 cm to 30, labels: Massoudi or Northern Iran?). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the high age of this piece. Scratches, cracks, nicks, losses, minor fills, encrustations, the inlays are all lost. Remnants of old varnish. Significant wear, traces of aging, weathering overall.French Export License: Certificat d'exportation pour un bien culturel Nr. 184682, dated 9 June 2017, has been granted and a copy is accompanying this lot. Dimensions: Height 20 cm, Diameter 40 cmLiterature comparison:A related chlorite vessel with two zebu, of smaller size, dated 2600-2350 BC and attributed to Al-Rafiah, on the east coast of the island of Tarut, is in the collection of the Metropolitan Museum of Art, accession number 2014.717.Auction result comparison:Type: Related Auction: Christie's London, 15 May 2002, lot 265 Price: GBP 19,975 or approx. EUR 23,750 converted and adjusted for inflation at the time of writing Description: A Western Asiatic chlorite jar, circa 2500 B.C.Expert remark: Note the much smaller height (10.8 cm)Auction result comparison: Type: Closely related Auction: Galerie Zacke, 6 March 2021, lot 694 Price: EUR 53,720 or approx. EUR 58,500 adjusted for inflation at the time of writing Description: A large and heavy Western Asiatic chlorite 'scorpion' vessel, 3rd millennium BCExpert remark: Compare the related form as well as the closely related decoration with similar female figures, though holding scorpions (instead of leopards as on the present lot). The relief and inlay are closely related as well. Note the height (22.5 cm).

AN IVORY FIGURE OF KRISHNA VENUGOPALA, PLAYING THE FLUTEIndia, 16th-17th century. Carved standing, his arms raised to the side to play the flute, the wavy hair cascading down the back and surmounted by a high chignon, adorned with beaded jewelry, a scarf wrapped around his arms, the face with a calm expression marked by almond-shaped eyes and full lips.Provenance: French trade. By repute from an old private estate in Paris. Condition: Extensive natural wear. Some losses, expected minor age cracks, small chips, minuscule nicks. Remarkably beautiful honey-brown patina, grown naturally through centuries of worship and handling.Weight: 25.2 g Dimensions: Height 7.8 cmTrade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0437). Literature comparison:Compare a related ivory figure depicting Krishna as butter thief, dated to 16th century, India, Karnataka, Mysore, in the collection of the Los Angeles County Museum of Art (LACMA), accession number M.84.34.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 24 March 2011, lot 101Price: USD 60,000 or approx. EUR 77,000 converted and adjusted for inflation at the time of writingDescription: Krishna Venugopala, ivory, South IndiaExpert remark: Compare the closely related pose and similar decorations. Note the considerably larger size (20 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.

A CHRYSANTHEMUM-SHAPED DINGYAO MOLDED 'CRANE' DISH, JIN DYNASTYChina, 12th-13th century. Delicately potted with shallow rounded sides supported on a short tapered foot and rising to an everted raised rim of lobed form. The interior with an impressed design of a crane standing amid grasses, bamboo, and a pierced scholar's rock. The sides molded with scroll designs divided by narrow ribs, the rim with overlapping petal tips. Applied throughout with a fine glaze of elegant ivory tone.Provenance: From a private collection in Atlanta, Georgia, USA, mostly acquired in New York, Europe, and Hong Kong between the 1940s and 1970s. Thence by descent to the last owner. Old label to base, 'Ting-Yao Dish. 18th Century. $280.00'. A copy of the anonymized provenance statement signed by the previous owner accompanies this lot.Condition: Superb condition with only minor old wear and minimal firing irregularities.Weight: 144.0 gDimensions: Diameter 14.9 cmMolded decoration on Ding wares was adopted in the latter part of the Northern Song dynasty and flourished during the Jin dynasty. The molding technique allowed the Ding potters to adopt more complex and formal designs. The molds used were meticulously crafted and similar to those used to cast decoration on gold and silver works of art. Typically Dingyao molded decoration included chrysanthemum-petal shapes, such as seen on the present lot, flying birds like ducks, fowl and crane, composite leafy floral motifs, dragons and fishes. The decoration with cranes is rare and particularly auspicious, with cranes being a symbol of immortality due to the ancient Chinese belief that cranes live for a thousand years.Literature comparison: Compare two closely related dishes with similar rims, illustrated by Tsai Meifen, Decorated Porcelains of Dingzhou: White Ding Wares from the collection of the National Palace Museum, Taipei, 2014, p. 201, no. II-136 and p. 204, no. II-139. Compare a closely related dish with similar impressed design of peacocks and rocks, illustrated ibid., p. 203, no. II-138.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 9 October 2014, lot 159 Price: HKD 600,000 or approx. EUR 87,000 converted and adjusted for inflation at the time of writingDescription: A Rare Dingyao 'Chrysanthemum-Head' Molded DishExpert's remark: Compare the crane, bamboo and rock design, as well as the similar form, lobed rim, ivory glaze, and size (14.5 cm).金代定窯白瓷菊花鶴紋百褶盤中國，十二至十三世紀。多瓣菊花形，侈口折沿，淺週壁，平底。模製印花成形，器內口唇折沿上印菊瓣紋一週，內底心印假山竹林，内中飾仙鶴一隻。全器施罩牙白色釉，釉色微微帶黃。 來源：美國亞特蘭大私人收藏，其藏品多在上世紀四十至七十年代購於紐約、歐洲以及香港，保存至今。盤底有舊標籤， 'Ting-Yao Dish. 18th Century. $280.00'。隨附一份由前任所有者簽署的匿名出處聲明複本。 品相：品相極好，只有輕微磨損和燒製瑕疵。 重量：144.0 克 尺寸：直徑 14.9 厘米 文獻比較： 比較兩件非常相近的定窯盤，見蔡玫芬主編，《定州花瓷：院藏定窯系白瓷特展》，台北，2014年，頁201，編號II-136 和頁204，編號. II-139。 另一見非常相似的定窯盤，飾有孔雀和石群，見上述同本書，頁203，編號II-138。拍賣結果比較： 形制：非常相近 拍賣：香港邦翰思, 2014年10月9日, lot 159 價格：HKD 600,000（相當於今日EUR 87,000） 描述：北宋/金 定窯白釉印花龜鶴齊齡圖百褶盤 專家評論：比較相近的仙鶴、假山竹林樣式，相似的外型、盤緣同為多瓣菊花形，施牙白色釉，尺寸差不多 (14.5 厘米)。

A CHICKEN BONE JADE 'DOUBLE FISH' MARRIAGE BOWL, 17TH-18TH CENTURYChina. The flared sides supported on four short feet and rising to an everted bracket-lobed rim, the interior finely carved in relief to depict two confronting carps with lotus sprigs in their mouths. The opaque stone of a creamy ivory tone with dark veins and patches.Provenance: From an old Swiss private collection and thence by descent to the last owner.Condition: Good condition with minor old wear. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time. Microscopic nicks here and there. The rim with a minor chip and associated old fill.Weight: 224.9 g (excl. stand)Dimensions: Length 15.3 cmWith a finely carved and open worked Zitan stand dating from the same period. (2)Marriage bowls are so named because of their auspicious imagery symbolizing a long and happy marriage with abundant offspring to carry on the family line, and thus were often presented as betrothal or wedding gifts. In this case, the imagery is provided by the pair of fish and the lotus flowers as well as the ruyi form.Chicken bone is a term for a rare and highly coveted nephrite jade of an opaque creamy beige color, often with extensive dark veining, which was particularly valued between the later Ming and early Qing dynasties. It is also sometimes said to be 'burnt jade' which has an opaque chalky appearance, usually with minute cracks all over the surface. It is known that nephrite - when heated to about 1000 degrees Celsius in a dry atmosphere - breaks down into diopside, enstatite (a magnesium silicate) and some quartz. In an experiment in the Freer Gallery Laboratory, samples of blue-green and white nephrite were submitted to temperatures up to 1025 degrees Celsius and both altered to an opaque chalky beige color with no change in the shape of the piece or the decoration of the surface. The chief mineral which resulted was diopside, and several nephrite jades in the Freer which appear to have been burnt also give a diopside x-ray diffraction pattern. Jadeite when heated in a similar manner behaves quite differently: it fuses to a glassy material, the surface smoothens out, and if the object is small enough it bends out of shape. See Elisabeth West, Jade: Its Character and Occurrence, The Bulletin of the University Museum of Pennsylvania, Volume 5, Issue 2, Winter 1963, page 5.The Qianlong Emperor lauded jades, among many reasons, for the durability that this specific stone offers against the ravages of time and fire, unlike most others. The specific chicken bone color pattern of the present bowl may have been produced either by nature, or by deliberately heating the nephrite in a workshop, or by accidental exposure to fire. The collection of the Palace Museum in Beijing, for example, contains numerous chicken bone jades that were burnt in fires which erupted at the palace over the centuries.Auction result comparison: Type: Closely related Auction: Christie's London, 13 May 2016, lot 513Price: GBP 86,500 or approx. EUR 124,000 converted and adjusted for inflation at the time of writing Description: A 'chicken bone' jade relief-carved bowl, 17th-18th centuryExpert remark: Compare the related relief carving and closely related chicken bone color pattern of the jade. Note the smaller size (12.7 cm).十七至十八世紀雞骨白雙魚玉洗中國 。花口玉洗，四短足，口沿外翻；玉洗内精美浮雕兩條面對面的鯉魚，魚嘴裡銜著小蓮花。乳白象牙色的不透明玉料，帶有深色紋理和斑塊。 來源：瑞士私人舊藏，保存至今。 品相：狀況良好，有輕微磨損，具有天然內含物和裂縫的石頭，隨著時間的推移，其中一些已經發展成細小的裂縫。多處細微刻痕，邊緣有少量磕損和填充。 重量：224.9 克 (不含底座) 尺寸：長 15.3 厘米 鏤空雕同時代紫檀底座。 此類玉洗之所以被稱爲婚碗，是因為其寓意吉祥如意，婚姻美滿，子孫繁盛，常作為聘禮或結婚禮物。現在這個拍品的中央有一對魚和蓮花，正好寓意吉祥如意與婚姻美滿。 雞骨白是一種稀有的軟玉，呈不透明的乳白色，通常帶有廣泛的深色脈紋，在明末清初尤其受到重視。它具有不透明的鈣化斑，通常表面有微小的裂縫。有關雞骨白請參見 Elisabeth West，《Jade: Its Character and Occurrence》，賓夕法尼亞大學博物館公報，第 5 卷，第 2 期，1963 年冬季，頁5。由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE FULL-TIP RHINOCEROS HORN CUP, 19TH CENTURYChina, late Qing Dynasty. Using the full length of the horn, the intricate openwork carving depicts a lush panoply of squirrels on grapevines. The horn is of a warm golden honey-brown tone. With a massive carved and pierced wood stand, similarly decorated throughout with bunches of grapes on vines. (2)Provenance: Joseph Vallot (16 February 1854 – 11 April 1925). Maître Lair Dubreuil, Commissaire-Priseur, Paris, February 2nd, 1926. Gaston LAZARD (1878-1956), Paris, France. Jane LEVY (1886-1985), wife of the above, Paris France. Thence by descent to the present owner. A copy of an invoice from Maître Lair Dubreuil, dated February 2nd, 1926, confirming the sale of lot 160 "Corne de Rhinoceros Sculpté" to Monsieur Lazard, the grandfather of the present owner, is accompanying this lot. Joseph Vallot (16 February 1854 – 11 April 1925) was a French scientist, astronomer, botanist, geographer, cartographer and alpinist and "one of the founding fathers of scientific research on Mont Blanc". He is known mainly for his fascination with Mont Blanc and his work in funding and constructing a high-altitude observatory below its summit, and for the many years of study and research work that he and his wife conducted both there, and at their base in Chamonix. The observatory and adjacent refuge that he constructed for use by mountain guides and their clients attempting Mont Blanc summit both still bear his name today, despite being rebuilt in modern times. Condition: Excellent condition with some old wear, few natural age cracks, and minor chips or losses to exposed areas. The wood base with natural age cracks, minor chips and losses, and light surface scratches overall. The ensemble with a good, naturally grown patina.Weight: 1,738 g Dimensions: Height 62.2 cm (total), 49.8 cm (the horn cup)Lavishly decorated full-tip cups from this group were generally produced from the 19th century onwards, mainly in Canton where they were fashionable and in high demand, especially from Western collectors. The largest possible horns were selected and carved in an extravagant fashion, as clearly demonstrated by the present cup.Expert's note: A full-tip rhinoceros cup of this magnificent size, still retaining its matching wood base, and as well preserved as the present lot, is extremely rare, because due to their intricate openwork design these cups are prone to damage.Literature comparison: Compare a related rhinoceros cup on loan to the Durham University Oriental Museum, illustrated in Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, pl. 38. Compare also a related rhinoceros cup, dated to the 19th century, in the collection of the Victoria & Albert Museum, accession number 243-1896.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 15 September 2011, lot 1231Price: USD 314,500 or approx. EUR 405,500 converted and adjusted for inflation at the time of writingDescription: A large full-tip rhinoceros horn cup, 19th centuryExpert remark: Compare the closely related form and manner of carving as well as the similar wood stand. Note the smaller size (55.3 cm) and the different subject.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.十九世紀大型鏤空滿雕犀角杯中國，清末。鏤空雕刻葡萄藤以及活潑的松鼠，葡萄顯得晶瑩剔透。犀角呈溫暖的金蜜色。有一個巨大木架，同樣裝飾著葡萄串。 來源：法國知名私人收藏，在第二次世界大戰之前或之後不久獲得，家族內部的傳承，直到現在的持有者。品相：狀況極佳，有一些磨損，輕微自然老化裂縫，有輕微碎裂。木底座有自然老化裂縫、輕微碎屑以及整體表面輕微劃痕。整體包漿瑩潤。 重量：1,738 克 尺寸：總高62.2 厘米，杯高 49.8 厘米 這樣華麗滿雕的犀角杯是從十九世紀開始生產，主要在廣州流行且需求量很大，尤其是西方收藏家。 專家注釋：如此巨大尺寸的滿雕犀牛杯，仍保留其配套的木底座，並與目前的拍品一樣保存完好，極為罕見。這些杯子由於其複雜的鏤空設計極其容易損壞。 文獻比較： 比較一件相近犀角杯，收藏於Durham 大學Oriental博物館，見Jan Chapman，《The Art of Rhinoceros Horn Carving in China》，倫敦，1999年，頁38。比較一件相近的十九世紀犀角杯，收藏於維多莉亞與亞伯特博物館，編號243-1896。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2011年9月15日，lot 1231 價格：USD 314,500（相當於今日EUR 405,500） 描述：清十九世紀巨型犀角鏤雕花果仙人盃 專家評論：比較非常相近的外型和雕刻風格，以及相似的木底座。請注意尺寸較小(55.3厘米) ，以及不同主題。

Mekong Delta, present-day Cambodia and Vietnam, 6th-7th century. Superbly carved standing with each foot on a separate lotus dais, wearing a diaphanous sanghati, the folds elegantly draped over his left shoulder and elbow, gathered at the ankles. The serene face sensitively drawn with heavy-lidded eyes, the sinuous lids and round pupils neatly incised, gently arched brows, and full lips, flanked by long pendulous earlobes, the hair arranged in snail-shell curls surmounted by a tall ushnisha.Provenance: From a notable collector in London, United Kingdom.Condition: Magnificent condition, commensurate with age. Extensive wear, encrustations, losses, signs of weathering and erosion, minor nicks, cracks and scratches. Fine, naturally grown patina overall.Dimensions: Height of figure excluding base and tang: 146.5 cm. Height of figure including tang, but excluding base: 190 cm. Height including base: 196 cm.The youthful-looking Buddha presents an elegant image that acts as a metaphor for his spiritual perfection. He stands on two lotus flowers, which probably identifies him as one of the esoteric Buddhas, depicted in Nirvana or another of the heavenly realms. This is the serene eternal state of one who is removed from the passage of time and the emotional issues of the human sphere. He has caused the lotuses to bloom and as they support his weightless form, they symbolize his purity of thought.The earliest stone sculptures of the region were created in the Mekong Delta, now shared by Cambodia and Vietnam, where Indian trading communities introduced their own Buddhist and Hindu beliefs. Contacts with regions to the north and China were also strengthened by trade. This Buddha retains elements of form that are associated with India while the two lotuses, rather than one, on which he stands indicate a Chinese influence. His appearance has been transformed by the introduction of a purely regional aesthetic, however. Separated from the South Asian sangha (religious establishment), local devotees came to see the Buddhist faith as their own and consequently endorsed their beliefs with images resembling themselves.Buddhism had reached Southeast Asia by the 1st century AD, largely thanks to its popularity amongst Indian merchants who established trading communities around the Mekong Delta. They initially sourced gold in the region but found other rare commodities such as ivory, gemstones, minerals and fine woods for markets both at home and further west. As a result, the Mekong Delta became part of a wider trading network linking the China Seas with the Roman Empire. There are epigraphical accounts describing the journeys on merchant ships of Buddhist missionaries from southern India and Sri Lanka, but the earliest visual record of stone sculptures indicates that evangelists from northern India and possibly Gandhara and China were also active in the region.International trading predated the establishment of diplomatic links between the rulers of the Mekong Delta with China in the 3rd century and various Indian kings in the 4th century. Indian and to a lesser extent Chinese culture gradually infiltrated the region’s hierarchy and while the higher echelons were attracted to the Buddhist and Hindu faiths, the vast majority of the people maintained their traditional beliefs.A number of cities linked by canals existed in the Delta region, including the extensive sites of Oc Eo, Phnom Da, and Angkor Borei, which may have been autonomous principalities or part of a confederation. Along with the adjacent Phnom Da, Angkor Borei was a notable ritual center; its influence outlived the eclipse of Funan, perhaps through association with an ancestral cult. Buddhism and Hinduism had a unifying effect to some extent but within the region, devotees only adopted those aspects of the Indian faiths that were relevant to their needs; these probably varied from place to place. It is possible that the Buddha and Hindu gods were honored with temples and statues, emulating those of India, in order to bolster the political or social status of their Southeast Asian adherents.Expert’s note: For a detailed academic commentary on the present lot, elaborating on the history and art of Funan as well as the evolution of Buddhist images in the Mekong Delta, and showing many further comparisons to examples in private and public collections, please see the lot description on www.zacke.at. To receive a PDF copy of this academic dossier, please refer to the department.Literature comparison:Compare a closely related sandstone figure of the Buddha preaching, attributed to Southern Cambodia and dated to the late 7th century, 94 cm high, in the collection of the Musée Guimet, reference number MG18891, and exhibited in the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, April 14, 2014–July 27, 2014, cat. no. 44. Compare a related sandstone figure of Avalokiteshvara, also standing on two lotus flowers, attributed to Southern Vietnam and dated second half of the 7th to early 8th century, 188 cm high, in the collection of the Musée Guimet, reference number MA5063, and illustrated ibid., cat. no. 137. Compare a closely related wood figure of Buddha, dated c. 6th century, in the Museum of Vietnamese History, Ho Chi Minh City, illustrated by Nancy Tingley, Arts of Ancient Viet Nam: From River Plain to Open Sea, Houston, 2009. Compare a closely related sandstone figure of Buddha, dated to the 7th century, 98.2 cm high, in the National Museum of Cambodia, inventory number Ka.1589.Auction result comparison:Type: RelatedAuction: Christie’s New York, 20 March 2012, lot 151Price: USD 338,500 or approx. EUR 423,500 converted and adjusted for inflation at the time of writingDescription: A sandstone figure of Buddha Shakyamuni, Khmer, Angkor Borei, 9th centuryExpert remark: Note that this figure is slightly later and considerably smaller (82.6 cm) than the present lot.Auction result comparison:Type: RelatedAuction: Christie’s New York, 17 March 2015, lot 35Price: USD 413,000 or approx. EUR 500,000 converted and adjusted for inflation at the time of writingDescription: An important stone figure of Buddha, Thailand, Dvaravati period, 8th centuryExpert remark: Note that this figure is attributed to Dvaravati, around 600 miles northwest of the Mekong Delta. While Buddhist sculpture of the pre-Angkor period sometimes shares characteristics with contemporaneous Dvaravati art, the present figure's slightly attenuated proportions mark a departure, imbuing the Buddha with a lithe, uplifted quality. Note the slightly smaller size (111.7 cm).

A RARE AND MASSIVE MOTTLED JADE CONG, LIANGZHU CULTUREChina, late Neolithic period, c. 3300-2200 BC. The thick-walled cong is of short square section with rounded sides and a cylindrical interior, each corner carved with a stylized human and animal mask design. The eyes and noses as well as the raised bands above the human mask and recesses in between are finely incised with line and scroll designs. The faces are divided with a gently recessed vertical band to the center of each side.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades.Condition: Good condition, commensurate with age. Some wear, weathering, and minor alterations, as well as small nicks and nibbling to edges, the stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 1,349 g Dimensions: Diameter 10 cmThe partly translucent stone is of an olive-green and russet-brown tone with russet veins and inclusions as well as patches of cream tone and areas of opaque ivory-white calcification.The present cong displays the distinctive characteristic of Liangzhu culture cong vessels, with a square outer section around a circular inner part and decorated with stylized masks neatly arranged on each of the four corners. The exceptional craftsmanship is particularly notable in the very delicate and precise quality of the carving and incised decoration, enhanced by the lustrous patina formed on the surface over time.Literature comparison: Compare a similar jade cong, Liangzhu culture, also carved with two registers of stylized human and animal masks excavated in 1984 from Fuquanshan in Qingpu County, Shanghai, now in the Shanghai Administrative Committee of Culture Heritage, illustrated in Liangzhu wenhua yuqi, Hong Kong, 1989, p. 17, pl. 19. See another related example of a jade cong, included in the Min Chiu Society Thirtieth Anniversary Exhibition: Selected Treasures of Chinese Art, Hong Kong, 1990, no. 195. For several other examples of two-tiered cong, see F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, nos. 51, 53, and 54.Auction result comparison: Type: Closely related Auction: Christie's New York, 19 March 2015, lot 470 Price: USD 60,000 or approx. EUR 75,500 converted and adjusted for inflation at the time of writing Description: A mottled olive-green, russet-brown and ivory-colored opaque jade cong, China, Neolithic period, Liangzhu culture, 3rd millennium BC Expert remark: Compare the closely related two-tiered form, animal masks, and olive-green and russet-brown color of the jade with similar opaque ivory-white calcification. Note the thinner walls and smaller size (6.5 cm).Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 5 April 2016, lot 1 Price: HKD 375,000 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: A mottled green jade vessel, cong, Neolithic period, Liangzhu culture Expert remark: Compare the closely related two-tiered form, animal masks, and olive-green and russet-brown color of the jade with similar opaque ivory-white calcification. Note the thinner walls and smaller size (7.5 cm).良渚文化玉琮中國 ，新石器時代末期，公元前約3300-2200年。器呈外方內圓的筒形，兩端琢成圓口，上下穿透，四角各有不同人面紋。 來源：Irene與 Wolfgang Zacke (1942-2022)。自1968 年起，這對夫婦活躍在藝術貿易界，並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980年代後期，他們一直在收集中國古代玉器，幾十年來建立了極富多樣性的收藏。 品相：品相良好，一些磨損、風化、細微變化、刻痕，邊緣有一些小磕損，玉料帶有天然的內沁和裂縫，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：1,349 克 尺寸：直徑10 厘米這件玉琮展現了良渚文化的鮮明特色，外方內圓，均以四角為中軸線，雕琢神人獸面紋，雕琢精細。玉質精良，玉色深綠，局部得見黃白沁斑，不透明的象牙白色鈣化區域。表面包漿細膩。由於字數限制，完整中文敘述請至www.zacke.at查看。

A SMALL WHITE MARBLE FIGURE OF A LION, TANG DYNASTYPublished: Religion and Ritual, Michael B. Weisbrod, Inc., 1987, no. 19.China, 618-907. Finely carved, the beast seated on its haunches atop a rectangular plinth and facing forward with the mouth wide open in a ferocious roar, the fierce expression further marked by large bulging eyes. Three long strands of a split beard are smoothly carved on the chest below the chin in rounded relief. The pointed ears are laid back above the thick, subtly carved curls of the mane. Its tail curls around the figure's right side with the end lying over the back paw and below the chest.Provenance: Michael B. Weisbrod, Inc., New York, USA, acquired 1985 in the Hong Kong market. The collection of J. Abraham Cohen, New York, USA, acquired from the above. Michael B. Weisbrod, Inc., New York, USA, 2010, acquired from the above. A notable Canadian private collection, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Superb condition, commensurate with age. Small losses and nicks, light scratches, old wear and weathering, some imperfections to the stone. Fine, naturally grown patina with an unctuous feel and a magnificent ivory color overall.Weight: 1,837 g Dimensions: Height 16.2 cmThe lion is well represented in Buddhist art of the Tang dynasty. Its roar was said to represent the dissemination of the Buddhist scriptures. In their role as guardian figures, lions can be found not only lining spirit roads which lead to imperial tombs, but also in pairs in tombs, such as the pair of small marble lions found guarding the front room of the underground hoard of Buddhist relics at the Famen Temple. See Famen Temple, Shanxi, 1990, pp. 164-167. This figure is stylistically related to other marble lions of Tang date that are also seated on a plinth, some facing forward, some with the mouth open.Literature comparison: The present marble lion bears a strong resemblance to one of the large stone guardian lions along the spirit path of the Qian Ling mausoleum, the tomb of Emperor Gao Zong and Empress Wu Zetian near Xi'an, illustrated by Qian, Out of China's Earth, page 156, and also by Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, volume 4, pl. 431A. Allowing the difference in size and material, there is a marked similarity in the shape of the muzzle, the split beard and the collar of flesh between the shoulders and legs. The large stone lion is probably no later than AD 683, the year of Gao Zong's death.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2020, lot 908 Price: USD 475,000 or approx. EUR 533,500 converted and adjusted for inflation at the time of writing Description: A small white marble figure of a seated lion, China, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (18.2 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 25 March 2022, lot 742 Price: USD 75,600 or approx. EUR 74,000 converted at the time of writing Description: A superb carved white marble figure of a lion, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (17 cm).13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.唐代小漢白玉獅中國，618-907年。雕工精巧，石獅呈現蹲坐式樣，前肢斜伸，胸部挺起，獅頭昂揚，雙目圓睜，頭頸處鬃毛分成數縷垂捲，細膩逼真，體格雄健。它的尾巴捲曲在右側，末端位於後爪上方和胸部下方。出版：Michael B. Weisbrod，Inc.，《Religion and Ritual》，1987年，編號19。 來源：美國Michael B. Weisbrod藝廊，1985年購於香港；美國紐約J. Abraham Cohen收藏；B. Weisbrod藝廊2010年購於上述收藏。美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：狀態極好，小缺損和刻痕，輕微的劃痕，磨損和風化，石質有些不完美之美。自然包漿，瑩潤細膩。 重量：1,837 克 尺寸：高16.2 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

AN IMPERIAL SCROLL-SHAPED ZITAN BOX AND COVER, QIANLONGChina, 1736-1795. Naturalistically carved as three stacked scrolls, the upper scroll with a neatly incised lozenge diaper pattern in deep relief, the lower two with similarly executed floral and wan-symbol patterns, respectively. Each of the three with a bone-inlaid plaque imitating a label, meticulously engraved with gilt inscriptions identifying the paintings once contained in the box, all framed by a remarkably fine silver-inlaid T-scroll border, and cleverly decorated with further inlays to imitate the clasps and scroll handles. The sides again meticulously carved and painted to imitate the scroll ends. The interiors delicately padded with lozenge-diapered Imperial yellow silk.Inscriptions: The upper scroll box, 'Poetic Ideas from the Imperial Jiguang Temple, painted by Qian Weicheng, calligraphy by Liang Shizheng'. The lower left scroll, 'Poetic Ideas of the Imperial Jade Belt Bridge, painted by Xu Yang, calligraphy by Wang Yudun'. The lower right scroll, 'Poetic Ideas on the Boat Journey to Spring, painted by Dong Bangda, calligraphy by Liang Shizheng'.Provenance: British trade. Condition: Very good condition with some old wear and traces of usage, also to the interior, light surface scratches, minuscule age cracks, nicks and losses. The gilt to the incised inscriptions slightly worn off. The textiles to the inside slightly faded, with loose thread and minor creases.Weight: 1,194 g Dimensions: Length 27.8 cm This exquisitely conceived box is remarkable for the combination of zitan wood, gilt bone inlays, and silk textiles which all have been carefully assembled resulting in a harmonious design overall. Skillfully modeled to simulate three scrolls, such elaborate curiosity pieces are rare and would have enjoyed a place of prestige in an elegant scholar's studio or even an Imperial palace.The Qianlong Emperor's love of painting and calligraphy fueled the development of boxes for such treasured items. The characteristics of these containers included the use of choice materials, the preferences being zitan, carved lacquer, cloisonne, and bamboo, due to their durability and fine quality which would complement the painting and calligraphy. The shape and decoration of these containers were also carefully considered to reflect both their contents and the imperial authority. Scroll boxes in the form of either three or five stacked scrolls were made in a variety of materials and demonstrate the importance given to packaging during the Qianlong reign.The paintings contained in such scroll boxes were usually made by well-known court painters and the boxes usually depict the title on the cover. The present box is decorated with three meticulously carved inlaid plaques imitating labels, each inscribed with the title of a famous painting, all three by court painters known to be active during the reign of Qianlong. One is a landscape depicting the Yudai bridge by Xu Yang, another a landscape painting of the Jiguang temple by Qian Weicheng, the last a painting of a boat by Dong Bangda.Literature comparison:Boxes made to imitate scrolls were popular in the Qianlong period and were made in various materials and designs. Compare the near-identical scroll-form box made of zitan and inlaid ivory, and the one in carved red lacquer, both in the Palace Museum, Beijing, and illustrated in The Sumptuous Art of Imperial Packaging, Macau, 2000, pp. 30-31, nos. 2 and 3.Compare an imperial carved cinnabar lacquer scroll box and cover, dated to the Qianlong period (1736-1795), at Christie's New York, 19 March 2009, lot 589. Compare a gilt-bronze and cloisonne enamel covered box, dated to the Qianlong period, at Sotheby's Paris, 16 June 2022, lot 141. Compare a hardwood scroll shaped box and cover, dated to the Qing dynasty, at Sotheby's London, 6 November 2013, lot 73.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 2 April 2018, lot 3413 Estimate: HKD 500,000 or approx. EUR 68,500 converted and adjusted for inflation at the time of writingDescription: A pair of ivory-inlaid zitan scroll-shaped boxes and covers, Qing dynasty, 18th centuryExpert remark: Compare the closely related form, inlays, and decorations. Note that this lot comprises two boxes.乾隆御製紫檀卷軸蓋盒中國，1736-1795年。紫檀卷軸刻雷紋、團花紋與萬字紋，嵌象牙，象牙上刻所裝書畫名稱等畫名。可開啓。此包裝的造型采用卷軸冊頁式，製作精美。盒内襯雷紋黃地絲綿。 款識：御制玉帶橋詩意，徐揚畫，汪由敦書；御制積廣詩意，錢維城畫，梁詩正書；御制舟行春興詩意，梁詩正書，董邦達畫。 來源：英國古玩交易。 品相：狀況極好，有一些磨損和使用痕跡，內部也有輕微的劃痕，微小的老化裂縫、刻痕和缺損。鎏金略有磨損，内襯略微褪色，線鬆散，有輕微摺痕。 重量：1,194 克 尺寸：長 27.8 厘米 紫檀木、鎏金象牙以及絲綢紡織品的組合使盒子顯得尤爲珍貴，整體設計和諧，深受文人雅士甚至皇宮之中所推崇。由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE WUCAI 'ZHANG TIANSHI AND THE FIVE POISONS' DISH, WANLI MARK AND PERIODChina, 1573-1620. Exquisitely potted, the shallow rounded sides supported on a tapered foot and rising to an everted rim. Superbly painted in bright enamels and cobalt-blue to the interior with Zhang Tianshi riding a tiger with flame-like mane and bushy tail, raising his sword as he chases a snake hiding behind a craggy rock, all below a gnarled pine tree and above further rockwork and blossoming flowers, enclosed by a double line border and encircled by butterflies, floral motifs, and lingzhi. The exterior similarly decorated with reeds, floral motifs, and a lizard. The recessed base with an underglaze-blue six-character mark da Ming Wanli nianzhi within a double circle and of the period.Provenance: New York trade, by repute acquired from an old Japanese private collection.Condition: Superb condition with minor old wear and distinct firing irregularities, as expected from authentic Wanli wares, including scattered pits and few dark spots. Only minimal rubbing to enamels, occasional light surface scratches.Weight: 191.5 gDimensions: Diameter 16 cmWith a Japanese wood storage box and protective cloth wrapping. (3)The theme in this dish is associated with the Dragon Boat Festival (duanwujie), which falls on the fifth day of the fifth lunar month. Many of the motifs associated with duanwujie relate to the desire to combat evil forces and poisonous creatures. On this dish, we see the legendary Daoist priest Zhang Tianshi, who cuts through evil with his sword.The snake, lizard, centipede, toad, and scorpion constitute the 'Five Poisons' in Chinese traditions. Here, Zhang is depicted chasing two of them, a snake and a lizard, the latter of which is painted to the exterior of this dish. The pomegranate flowers, which are in bloom at the time of the Dragon Boat Festival, are associated with fertility and were worn as amulets by women. Their brilliant red color is also the color of joy.Zhang Tianshi, courtesy name Fuhan, also known as Zhang Daoling and Zhang Ling, among other names, was a Chinese religious leader who lived during the Eastern Han dynasty and founded the Way of the Celestial Masters sect, the first organized form of religious Daoism. In 142 CE, Zhang announced that Laozi had appeared to him, and commanded him to rid the world of decadence and establish a new state consisting only of the 'chosen people'. Zhang became the first Celestial Master and began to spread his newly founded movement throughout the province of Sichuan. The movement was initially called the Way of the Five Pecks of Rice, because each person wishing to join was required to donate five pecks of rice. The movement spread rapidly, particularly under his son Zhang Heng and grandson Zhang Lu. Their rebellion against the Han dynasty is known as the Five Pecks of Rice Rebellion. After the success of the rebellion in 194, they founded the theocratic state of Zhang Han in the Hanzhong Valley of Sichuan, enjoying full independence.Expert's note: Wucai dishes with related designs and Wanli marks were sometimes copied during the Kangxi period. The present lot, however, is without a doubt a genuine Wanli piece, as indicated by the creamy, pale ivory-colored ware, the distinct kiln marks, the fine warping and the inimitable color palette.Literature comparison: A smaller Wanli wucai dish with similar theme but differently rendered with Zhang Tianshi surrounded by all the 'Five Poisons' is in the Palace Museum, Beijing, illustrated in Porcelains in Polychrome and Contrasting Colors, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, no. 47. The present dish also relates to a somewhat larger Wanli wucai dish in the collection of the Percival David Foundation and now in the Victoria & Albert Museum, accession number C.1037-1917, illustrated by Rosemary E. Scott and Rose Kerr in Ceramic Evolution in the Middle Ming Period, V&A and Percival David Foundation, London, 1994, p. 22, no. 25, and another in the collection of the Tianminlou Foundation, illustrated by Louise Allison Cort and Jan Stuart, Joined Colors, Smithsonian Institution, Washington, 1993, p. 130, no. 57. The latter two dishes have the theme of the Five Poisonous Creatures on the back and another aspect of the Duanwujie festival - dragon boat races - on the interior.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 November 2016, lot 3400 Price: HKD 525,000 or approx. EUR 74,000 converted and adjusted for inflation at the time of writing Description: A fine and very rare wucai 'Zhang Tianshi' dish, Wanli six-character mark in underglaze blue within a double circle and of the period Expert remark: Compare the closely related depiction of Zhang Tianshi with raised sword, the exterior also with a lizard, and further decoration of butterflies, pomegranate flowers and lingzhi. Note that there is no tiger and no snake. Also note that the dish is of smaller size (14 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 6 April 2016, lot 47 Price: HKD 1,125,000 or approximately EUR 158,500 converted and adjusted for inflation at the time of writing Description: A small wucai 'shoulao' dish, mark and period of Wanli Expert remark: Compare the closely related form and wucai decoration, though depicting a different subject. Note the smaller size (12.3 cm).萬曆款與年代五彩開光《張天師斬五毒圖》盤中國，1573-1620年。盤沿外撇，弧腹，圈足。圈足内有“大明萬曆年製”六字二行青花楷體雙圈款。來源：紐約古玩交易市場，據説購於一個日本私人舊藏。 品相：品相極佳，有輕微的磨損和明顯的燒製不規則現象。琺琅磨損輕微，局部有輕微的劃痕。 重量：191.5 克 尺寸：直徑16 厘米 日本木製盒子。 由於字數限制，完整中文敘述請至www.zacke.at查看。

A LAPIS LAZULI FIGURE OF BUDDHA, QING DYNASTYChina, mid-18th to 19th century. Superbly carved, seated in dhyanasana with the hands lowered in dhyana mudra, supporting a globular jewel, wearing a loose-fitting robe falling down the body in naturalistic folds, the wide face bearing a contemplative and serene expression marked by heavy-lidded downcast eyes and framed by long pendulous earlobes and sharply carved curls of hair surrounding a small ushnisha. The stone of an intense, striking blue hue amid veins in various shades of gray beneath glimmering mica flecks.Provenance: A private collection in New England, USA. A notable private collector in Kensington, London, United Kingdom, acquired from the above.Condition: Excellent condition with minor old wear and possibly microscopic nicks here and there. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Weight: 301.5 g Dimensions: Height 10 cmWith a velvet-padded silk storage box. (2)Lapis lazuli was highly prized during the Qianlong period, as evidenced by a pair of Qianlong period stone lions dyed to imitate the stone, included in the exhibition Tributes from Guangdong to the Qing Court, Hong Kong, 1987, cat. Nos. 71 and 72, and a Qianlong period lapis lazuli mountain in the Asian Art Museum of San Francisco, illustrated in Michael Knight, He Li and Terese Tse Bartholomew, Chinese Jades, San Francisco, 2007, plate 354. The stone was mostly imported from Afghanistan, and was used principally for carving vessels, figures in relatively small sizes and boulder or grotto carvings, often with solitary luohans. Little Buddha figures, such as the present lot, were often made for smaller Imperial altars during the late 18th century and onwards.Literature comparison: Examples of lapis lazuli figures of Buddha are illustrated in Buddhist Art from Rehol, Tibetan Buddhist Images and Ritual Objects from the Qing Dynasty Summer Palace at Chengde, Taipei, 1999, no.81; and by M. Knight, He Li and T. Tse Bartholomew, Chinese Jades, San Francisco, 2007, no. 327, dated to the 18th century. Compare a closely related lapis lazuli figure of Buddha, dated 18th century, exhibited by the Oriental Ceramic Society at Bonhams London, Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October 2021. Compare a closely related lapis lazuli figure of Buddha, 18th century, in the Metropolitan Museum of Art, accession number 30.95.324. Compare a closely related ivory figure of Buddha, dated late Ming to early Qing dynasty, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, p. 143, cat. no. 113.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 25 June 2013, lot 8009 Price: USD 52,500 or approx. EUR 65,500 converted and adjusted for inflation at the time of writing Description: A carved lapis lazuli figure of the BuddhaExpert remark: Compare the related carving style and the similarities of the stone. Note the larger size (18cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.清代青金石佛像中國，十八世紀中期至十九世紀。精雕細琢，阿彌陀佛結珈趺坐，雙手結印，托寳珠，身穿寬鬆長袍，紋理流暢，面容慈祥，雙眼微垂，長耳垂，螺髻。青金石閃爍的雲母斑點，深淺不一的灰色紋理，醒目的藍色。 來源：美國新英格蘭私人收藏；英國倫敦肯辛頓知名私人收藏，購於上述收藏。 品相：狀況極好，有輕微磨損，大面積微小劃痕。具有天然紋理和裂縫的石料，其中一些可能隨著時間的推移發展成細小的裂縫。 重量：301.5 克 尺寸：高10 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A framed watercolour on ivory panel of estuary at Hengistbury, Christchurch by Frederick Norbury, 6.5in x 5.25in

ATTRIBUTED TO JOHN SMART - A SUPERB GEORGE III OVAL PORTRAIT IVORY MINIATURE  OF A GENTLEMAN wearing a blue coat, the reverse with blue guilloche enamel and a lock of hair. 48mm x 57mm

Collection of Six Worcester Blush Ivory Porcelain, including four jugs with floral decoration, a pedestal vase and a small flower vase. Slight hairline to one vase, and one spout. Tallest 6.25".

Two Royal Worcester Jugs, No. 29115, style No. 1094. Beautiful Royal Worcester gilded jugs circa 1885, ivory ground with floral and leaf pattern. Gilt handles. Jugs measure 7" and 6" tall.