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Lot 101

Yorkshire.- Westall (William) Views of Fountains Abbey and Studley Park, Yorkshire, 8 fine etched & aquatint plates by Westall, no text as issued,some very light marginal spotting but generally very clean, restitched in original printed wrappers, with late 19th century guide to Studley Royal in original wrappers, together loose in modern morocco-backed cloth portfolio with ties, spine gilt, [Abbey, Scenery 383], 4to, 1846.⁂ Rare, with only 3 copies listed by Library Hub (Universities of Oxford, Edinburgh, and York; Not in the British Library).

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Lot 179

Gaguin (Robert) [Annales] De Francorum gestis annales..., edited by Humbert Vellay, title in red and black, printer's woodcut device to title, woodcut initials, full-page woodcut illustration to versos of cc4 and Y7, with final blank leaf, a few manuscript annotations (including to title), some very light damp-staining at top edge, later green vellum with small shell stamps at corners in gilt, spine gilt but toned, joints cracked at foot, 8vo, Paris, [Jean Cornillau for Pierre Viart], 1521.⁂ Gaguin died in 1501, so his abridged history of France, first printed in 1495, was continued up to the reign of François I by Humbert Vellay.Provenance: Julius Charles Hare (1795-1855), archdeacon of Lewes and the owner of a substantial library [bookplate]; D.A. Freeman [bookplate]; D.L. Cumming [ink inscription].

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Lot 158

NO RESERVE Duverdier (Gilbert Saulnier) Le Chevalier Hipocondriaque, title with engraved printer's device, lacking final 3ff. of Table at end, early and later ink ownership inscriptions to title and verso, title with small hole to gutter with loss to a letter of imprint, uneven browning, some soiling and occasional water-staining, contemporary calf, red morocco label to spine, spine little chipped, portion of wear to upper cover, rubbed, Paris, Pierre Billaine, 1632 § Recueil des histoires galantes, bookplate of Rev. F. Hutcheson, a couple instances of early ink correction and ownership inscription to head of A5, some very light surface soiling, occasional staining to lower margin, contemporary calf, red morocco label to spine, corners bumped, rubbed, A Cologne [?but Netherlands, Jean le Blanc], [?1670]; and others, French literature, most 18th century, some odd vol. or incomplete sets, v.s. (c.100)

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Lot 164

Hall (John Stevenson) Makarony Fables; Fables for Grown Gentlemen; Lyrick Epistles; and Several Other Poems, some light soiling and browning, endpapers lightly foxed, contemporary calf, spine with raised bands and red morocco label (chipped), light staining, heavily rubbed, Dublin, Thomas Ewing, 1772 § Le Sage (Alain René) The Devil upon two Sticks, engraved frontispiece and 4 plates, very light browning, the odd spot, contemporary calf, spine with raised bans and red morocco label, bump to fore-edge, rubbed, Edinburgh, A. Donaldson & J. Reid, 1762; and others, 18th century and leather bound, some incomplete sets or odd vol., 8vo & 12mo (c.45)

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Lot 42

Kent.- Martin (Charles Wykeham) The History and Description of Leeds Castle, Kent, first edition, 8 mounted albumen prints by J.Cruttenden, plan, pedigree and facsimile letter, original cloth, rubbed and marked, recased preserving original spine, [Gernsheim 458], 1869 § Amsinck (Paul) Tunbridge Wells, and its Neighbourhood, engraved frontispiece,30 plates and illustrations, list of subscribers, light foxing to plates,bookplate of John Hutton of Marske and morocco label of Eric Sexton, handsome contemporary calf, gilt, g.e., a little rubbed, rebacked preserving old gilt spine, 1810 § [Willis (H.Norton)] Biographical Sketches of Eminent Persons, whose Portraits form part of the ...Collection at Knole, first edition, 2 engraved plates, 4pp. advertisements at end, later half morocco, spine gilt, John Stockdale, 1795 § Bridgman (John) An Historical and Topographical Sketch of Knole, first edition, half-title, engraved plates, errata leaf at end, foxing, contemporary half calf, rebacked, spine gilt, 1817 § Darell (Rev. W.) The History of Dover Castle, engraved title and plates, foxed, modern half calf, 1797; and 8 others on Kent including some late guides to Knole, and a group of 13 double-page engraved plates (views of houses by Kip & Harris after Badeslade) and 2 maps from Harris's History of Kent, 1750, 4to & 8vo (c.30)

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Lot 150

Baths.- [Pöllnitz (Carl Ludwig von)] Amusemens des Eaux d'Aix-la-Chapelle, 3 vol., first edition, engraved additional title and 22 plates (all but one folding), folding map, a few engraved illustrations, titles printed in red and black, bookplate of Rev. F. Hutcheson, vol. 3 early ink ownership inscription of James Thompson 32 Tyrone Street to rear free endpaper, folding map with closed tear into image without loss and portion reinforced with paper to verso, some spotting and light browning, some soiling, heavier to endpapers, contemporary calf, spines richly gilt in compartments and with red morocco labels, vol. 2 label chipped, vol. 3 early ink ownership name to upper cover, rubbed and worn, 8vo, Amsterdam, Pierre Mortier, 1736.

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Lot 76

Sussex.- Arundel.- Mason (W.H.) Illustrations of Arundel Castle, Part I [all published], 4 tinted lithographed plates, c.195 x 280mm., light marginal spotting, original printed wrappers, resewn, preserved in modern cloth folder and morocco-backed slip-case, gilt-stamped morocco label to upper cover, Arundel, Frederick Mason, [c.1846] § [Caraccioli (Charles A.)] The Antiquities of Arundel..., first edition, list of subscribers at end, contemporary ink inscription to front pastedown, contemporary calf, spine gilt, joints split, spine ends chipped, for the Author, 1766 § Wright (C.) The Antiquities and Description of Arundel Castle, Sussex..., first edition, woodcut illustrations, contemporary ink inscription to head of title and one or two annotations, a little soiled, a couple of tears repaired, modern half red morocco, spine gilt, uncut, Brighton, for the Author, 1817; and 6 others on Arundel and the castle including a second edition of the last, v.s. (9)⁂ The first is seemingly unrecorded; the third has 4 listings on Library Hub.

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Lot 18

Cornwall & Devon.- Twycross (Edward) The Mansions of England and Wales. County of Cornwall, number 25 of 175 facsimile reprints signed by the printer and publisher, with accompanying booklet loosely inserted, folding map, plates, original blind-stamped cloth, slip-case, Buckingham, Fountain Lake Press, [2019] § Pett (Douglas Ellory) The Parks and Gardens of Cornwall, illustrations, original boards, dust-jacket, Penzance, 1998 § Stockdale (F.W.L.) Excursions in the County of Cornwall, large paper copy, half-title, engraved portrait, additional vignette title, folding map and 47 plates only (of 48, lacking plate of Carclew and pp.59-60, supplied in loosely inserted facsimile), light foxing, mostly to tissue guards or text, bookplate of Sir Graves Sawle Bart. of Penrice (p.49), modern half morocco, spine gilt, by J.C.Avery for Allen Thompson, with binder's manuscript note bound in at end, 1824 § Britton (John) Devonshire & Cornwall Illustrated, 2 vol. in 1, engraved maps, additional vignette titles and plates (each with two views) after Thomas Allom and W.H.Bartlett, rather foxed, light water-staining at beginning and end, contemporary half roan, gilt-stamped roan label to upper cover, rubbed, 1832; and another, v.s. (5)⁂ The first is a handsome reproduction of a notorious rarity. It was originally published in 1846 in a very limited number (probably only a few more than the 52 for subscribers), the first of a projected survey of the mansions of England and Wales. Five further volumes on Lancaster and Chester were produced in 1847-50 but none thereafter due to Twycross's death in 1852.

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Lot 270

NO RESERVE Roth (Cecil) Iscariot, first edition, light spotting to initial leaves, original cloth, lightly rubbed at spine head, dust-jacket, some chips and tears, light wear and creasing to extremities, The Mandrake Press, 1929 § Homer. The Odyssey, [2 copies], translated by George Herbert Palmer, colour plate illustrations by N.C. Wyeth, original pictorial cloth, spine ends bumped, The Riverside Press, 1929 § Stacpoole (H. de Vere) Pierrot! A Story, first US edition, original pictorial cloth, spine lightly toned, foot bumped, Philadelphia and London, 1896; and a quantity of others, v.s. (qty)⁂ Roth's 'Iscariot' was the first novel published by The Mandrake Press.

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Lot 19

[Cromwell (Thomas Kitson)] Ancient Reliques; or, Delineations of Monastic, Castellated, & Domestic Architecture, 2 vol., 1812-13; Excursions in the County of Norfolk [& Suffolk; Essex; Surrey; Kent; Sussex], 9 vol., 1818-22, together 11 vol., engraved frontispieces, additional pictorial titles, plates and folding maps, all neatly trimmed and tipped into larger leaves with contemporary ink calligraphic captions all within decorative engraved borders, some light foxing or browning but an attractive set, contemporary green roan with multi-ruled gilt border and Tudor roses at corners, g.e., spines rather faded and rubbed, 8vo

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Lot 155

Cook (Capt. James).- Hawkesworth (John) An Account of the Voyages...for Making Discoveries in the Southern Hemisphere, 3 vol., vol. 3 with advertisement f. at end, lacking folding chart at end of vol. 1 (seemingly seldom present), foxing, some browning and staining, contemporary calf, red and black morocco labels to spines, some staining, chipping to spine ends, quite worn, vol. 2 joints cracked but just holding, [Beddie 649], Dublin, for A. Leathley &tc, 1773 § Abridgement (An) of Captain Cook's First and Second Voyages...To which is Added a Narrative of Commodore Phipp's...Voyage to the North Pole, fourth edition, engraved frontispiece and 7 plates, browning and light offsetting, scattered spotting, the odd small stain, contemporary sheep, red morocco label to spine, spine with remains of old paper label to head, rubbed and worn, joints split, [Beddie 30], for G. Kearsley, 1788; and others, voyages or travel related, 8vo (c.17)

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Lot 184

Early religion.- Optatus, Milevitanus (Saint) De schismate donatistarum libri septem: ad manuscriptos codices et veteres editiones collati, et innumeris in locis emendati, half-title, title printed in red and black and with engraved printer's device, engraved folding map of North Africa (loose), engraved or woodcut head-pieces and initials, library ink stamp to lower margin of title, occasional spotting or light staining, later calf-backed mottled boards, spine in compartments and with red leather label, spine ends and corners worn, rubbed and scuffed, Paris, André Pralard, 1700; and Tertullian, Venice, 1744 & Fulgentius of Ruspe, Venice, 1742, folio (3)⁂ Optatus was Bishop of Milevis in Numidia in the fourth century, and is remembered for his writings against Donatism.

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Lot 227

Theatre.- Shakespeare.- Upton (John) Critical observations on Shakespeare, first edition, title with woodcut ornament, advertisement f. at end, some spotting or light foxing, lightly browned, contemporary speckled calf, gilt, spine in compartments and with red morocco label, spine ends and corners worn, rubbed, Printed for G. Hawkins, 1746 § [Heath (Benjamin)] A Revisal of Shakespear's [sic] Text, Wherein the Alterations introduced into it by the more modern Editors and Critics, are particularly considered, first edition, title chipped, and with ink author attribution and library blind-stamp recto and library numbers verso, occasional spotting, lightly browned, contemporary speckled calf, gilt, rebacked, rubbed, Printed for W. Johnston, 1765; and a third edition of William Richardson on Shakespeare, 8vo & small 8vo (3)

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Lot 109

Froissart (Sir John) Chronicles of England, France, Spain and the adjoining Countries, translated by Thomas Johnes, 2 vol., chromolithographed "illuminated" titles and plates by H.Noel Humphreys, some heightened with gold, wood-engraved illustrations, some spotting, contemporary red morocco, gilt, by Ramage, upper covers with central onlaid Royal coat-of-arms in red & blue roan surmounted by gilt crown, borders of helmets, swords etc. in gilt, spines gilt with similar motifs, g.e., a little rubbed, spine ends repaired, 1868 § Byron (G.G.N., Lord) The Prisoner of Chillon...Illuminated by W. & G.Audsley, chromolithographed throughout with decorative title and text within highly decorative borders by W.R.Tymms on thick paper printed on rectos only, ink stain to fore-edge of most leaves, some light marginal spotting, with original watercolour of Chillon castle tipped to front free endpaper, original cloth, rubbed and soiled, rebacked preserving original spine, 1865; and 7 others, illustrated, 8vo & 4to (10)

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Lot 187

Early religion.- Blind scholar.- Didymus, Alexandrinus. De Trinitate libri tres. Nunc primum ex Passioneiano codice Græce editi, editio princeps, parallel Greek and Latin text, title with engraved wolf printer's device, engraved facsimile 'Specimen Codicis' and tail-pieces, later pencil marginalia, some spotting or mostly light foxing, later vellum, rebacked preserving original backstrip with red morocco label and later ink date, some staining, folio, Bologna, Lelio dalla Volpe, 1769.⁂ Rare editio princeps of this work opposing Arianism by the theologian and teacher Didymus of Alexandria (c.313-398), who was blind from the age of four.

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Lot 152

Brontë (Charlotte)] "Currer Bell". The Professor, A Tale, 2 vol. in 1, first edition, half-titles, advertisement leaf at end vol. 1, 8pp. and 16pp. advertisements dated May 1858 at end vol. 2, half-title to vol. 1 lightly browned and with faint spotting, the odd spot or light patch of soiling elsewhere, upper hinge tender but holding, original blind-stamped cloth, spine lettered in gilt but lightly sunned, covers rather mottled and faded at extremities, lightly rubbed, [Smith p.162], 1857; and 2 others Brontë, Shirley (1858) and The Tenant of Wildfell Hall (1859), 8vo (3)

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Lot 197

NO RESERVE Chateaubriand (François René de) Les Martyrs, ou le triomphe de la religion chrétienn, 2 vol., first edition, ex-library stamp to title verso, occasional light spotting to final few pages, bookplate, contemporary tree calf, rubbed, corners worn, vol.2 spine joint splitting and chipped at foot, endpapers renewed, 8vo, Paris, le Normant, 1809.

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Lot 80

Throsby (John) New Copper Plate Magazine, containing Select Views of Noblemens and Gentlemens Seats in England, letterpress title and 78 engraved plates, most after Throsby, mostly of Leicestershire and Nottinghamshire, some with several views to a plate, some aquatint, faint pencil inscription to head of title, light marginal foxing or soiling, contemporary tree calf, gilt, spine gilt in compartments, part of manuscript label affixed to upper cover, rubbed, spine chipped at foot, oblong 4to, J.Barker for J.Edwards, [plates dated 1789-96]. ⁂ A scarce compilation using plates from Throsby's Leicestershire and Thoroton's Nottinghamshire. The number of plates appears to vary but is approximately 80.

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Lot 263

Barrett (George S., editor) Congregational Church Hymnal; or, Hymns of Worship, Praise and Prayer..., light spotting to first few pages, later 19th century blue crushed morocco, tooled in gilt with green and brown morocco onlays, design depicting sun emerging from heavens with peace dove flying, echoed design on spine in compartments, gilt, lightly faded, 8vo, 1887.

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Lot 326

NO RESERVE London.- [Beckett (Gilbert Abbott, editor)] Figaro in London, vol. 1 only (No. 1-52), general title, printed in double-column, wood-engraved illustrations by Robert Seymour, armorial bookplate, ink ownership inscription to front endpaper, some foxing and light browning, later cloth, spine a little sunned, light stains to lower cover, extremities lightly rubbed, William Strange, [1832]; and 2 others, London related, including an 1843 edition of Mercier's Nouveau Tableau de Londres with folding hand-coloured map, v.s. (3)⁂ Figaro in London, an English comic paper that ran from 1831-38. This volume covers numbers from December 1831 to December 1832.

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Lot 169

NO RESERVE Levant.- Tournefort (Joseph Pitton de) Relation d'un Voyage du Levant, 2 vol. in 1, titles printed in red and black, 89 engraved plates, 4 of which folding, numerous engraved illustrations, bookplate of Rev. F. Hutcheson to front free endpaper, with his ink ownership name to first title, lacking 3*1-4 (4ff. of "Lettre a Monsieur Begon"), 7 plates loose and frayed at edges to varying degrees, once causing very small loss to image at head, plate at Y4 browned along fold and with small loss to lower margin, most botanical plates captioned in early ink manuscript, some light soiling or spotting, endpapers frayed and worn, contemporary calf, spine richly gilt in compartments and with morocco label, spine with upper two compartments torn and working loose, worn, heavily to lower cover, 4to, Amsterdam, Aux dépens de la Compagnie, 1718; sold not subject to return. ⁂ Tournefort's botanical expedition to the Levant, covering Crete, Constantinople, Turkey, the Black Sea, Armenia, Persia, Georgia and Smyrna.

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Lot 46

Lincolnshire.- Howlett (Bartholomew) A Selection of Views in the County of Lincoln, half-title, hand-coloured engraved map, title with engraved vignette, engraved dedication, 54 plates (including 3 divisional titles) and 22 vignettes in text, some foxing, water- & damp-staining to lower outer corner of plates but not affecting images, contemporary half russia, rebacked with calf gilt spine, printed by W.Bulmer, 1805 § Illingworth (Rev. Cayley) A Topographical Account of the Parish of Scampton, in the county of Lincoln, and of the the Roman Antiquities lately discovered there, engraved additional vignette title, folding hand-coloured map, 10 plates, one hand-coloured and folding, and 3 illustrations in text, appears to lack another map, folding letterpress pedigree and list of plates, some spotting, bookplate of Charles W.G.Howard, contemporary diced calf, gilt, rebacked preserving most of old gilt spine, 1810 § [Tennyson d'Eyncourt (Charles)] Eustace; an Elegy, first edition, ?second issue, half-title, 4 lithographed plates on india paper and mounted, title almost detached, light spotting, bound with 2 tinted lithographs and pp. 235-242 on Bayons Manor from Burke's 'Visitation of Seats and Arms' vol.1 of 1852 at end, original cloth, upper cover with title and elaborate decorative gilt border, g.e., rubbed and faded, small stains to lower cover, rebacked in morocco, gilt, William Davy & Son, 1851, all rubbed; and 11 others on Lincolnshire, including 5 vol. 'Lost Lincolnshire Country Houses', v.s. (14)⁂ The last item was written in memory of Capt. Eustace Tennyson d'Eyncourt of Bayons Manor, by his father (Alfred Tennyson's uncle), following Eustace's death due to yellow fever a few days after arriving in Barbados to join his regiment. The first edition was published in 44pp. by Davy & Son in 1850 (one copy in BL) and a second edition in 48pp. by Saunders & Otley in 1851. Our copy has 48pp. but the title is imprinted Davy & Son 1851. Library Hub lists 2 other copies like this (Cambridge, V & A).

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Galerie Zacke
Lot 85

A VERY FINE GILT-BRONZE MINIATURE FIGURE OF BHAISAJYAGURU, QIANLONG PERIOD 乾隆時期微型銅鎏金藥師佛Expert's note: Most miniature figures show less expressive features and a lower quality of incision work. The present statue has, despite its small size, a finely worked face and many details to the robe, all of which are characteristic of the very best Qianlong bronzes.China, 1736-1795. The Medicine Buddha seated in dhyanasana on a double-lotus base with hands held in dhyana mudra holding an alms bowl and wearing long robes, finely incised with a geometrical border at the hems. His face is cast with a serene expression, flanked by elongated earlobes, the hair is cast in tight curls and surmounted by a high ushnisha. Provenance: From a noted Hungarian private collection. Condition: Very good condition with minor wear, few nicks, light surface scratches, and casting flaws. The base sealed.Weight: 35 g Dimensions: Height 3.8 cmAuction result comparison:Type: RelatedAuction: Christie's London, 11 May 2016, lot 378Price: GBP 15,000 or approx. EUR 22,500 converted and adjusted for inflation at the time of writingDescription: A group of six miniature gilt-bronze deities, 18th-19th centuryExpert remark: Compare the fine casting and incision work. Note that the lot comprises six figures, the largest of which is 4.3 cm high.乾隆時期微型銅鎏金藥師佛中國，1736-1795年。藥師佛像頭飾螺髮、肉髻高隆，五官生動而靜穆，雙耳垂肩，眉如初月，雙目低垂，嘴角上揚，略含笑意，神態怡然。雙手置於膝頭，托缽於腹前。身披袈裟，右肩袒露，袈裟上有花紋，皺褶清晰。雙腳互盤，呈吉祥坐姿。腳下坐具為束腰型雙層蓮花座。 專家注釋：大多數微型造像細節沒有如此精美，本尊雖小，但面部精細，衣袍多褶皺，無一不顯示乾隆青銅造像的精湛工藝。 來源：知名匈牙利私人收藏。 品相：狀況極好，有輕微磨損、少許刻痕、表面划痕和鑄造缺陷。 底座密封。 重量：35 克 尺寸：高3.8 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2016年5月11日，lot 378 價格：GBP 15,000（相當於今日EUR 22,500） 描述：十八-十九世紀一組六件小型鎏金銅神像 專家評論：比較鑄造和雕刻。請注意此組為六件銅像，最大的為4.3 厘米高。

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Galerie Zacke
Lot 107

A SILVER FUNERARY MASK OF A NOBLEMAN, LIAO DYNASTY 遼代貴族銀面具China, inner Mongolia, 907-1125. Formed from a sheet of thinly beaten silver and faithfully modeled to the contours of the deceased's face, the brows executed by fine striations, the eyes open, the nose long and straight above arched lips, the large ears neatly embossed. The outer rim is pierced to bind the mask to the deceased's head.Provenance: From an old private collection in Budapest, Hungary, acquired during the first half of the 20th century.Condition: Excellent condition, commensurate with age. Wear and traces of use, with light surface corrosion typical of ancient silver, signs of weathering and erosion, minor dents.Weight: 88.9 gDimensions: Height 18 cm, Width 20.5 cm Funerary masks are associated with the burial culture of the Qidan Liao and many examples made of bronze, silver sheet, or gilt bronze such as the present example have been found in tombs of the Liao elite in Inner Mongolia. Two impressive gold funerary masks were discovered in the royal tomb of the Prince and Princess of Chen, dated 1018. Similarly made of thin hammered gold sheet, they are supposed to realistically portray some of their owners' facial features.Literature comparison: Compare with a closely related silver alloy mase in the Philadelphia Museum of Art, accession number 2012-53-1. Compare with Zhu Qixinin, 'The Liao Dynasty tomb of a Prince and Princess of the Chen Kingdom', Orientations, October 1991, fig. 11. Compare another example made in gilt bronze sheet and excavated from a Liao tomb at Chifeng, Inner Mongolia, see 'The Silk Road in Inner Mongolia', Hong Kong, 2007, cat. no. 18. See also similar examples in the Musee Guimet, Paris, reference number MA2352. Compare with a similarly crafted mask in the Philadelphia Museum of Art, reference number 2012-53-1.Auction result comparison: Type: RelatedAuction: Sotheby's London, 14 May 2008, lot 92Price: GPB 26,900 or approx. EUR 54,500 converted and adjusted for inflation at the time of writingDescription: A silver funerary mask, Liao dynastyExpert remark: Compare the material, style and closely related embossing technique.Auction result comparison: Type: RelatedAuction: Galerie Zacke Vienna, 25 April 2020, lot 42Price: EUR 6,000 or approx. EUR 7,300 converted and adjusted for inflation at the time of writingDescription: A gilt-copper death mask, Liao dynastyExpert remark: Note the different material (copper) and larger size (23.4 cm). 遼代貴族銀面具中國，內蒙古，907-1125年。是用整張薄銀片製成，採用錘鍱工藝，形成浮雕效果。長圓臉，臉部寬平，神情肅穆威嚴。左右邊緣和上下端，都有小孔，用來穿細銀絲束縛面具。 來源：匈牙利布達佩斯私人舊藏，購於上世紀前半葉。 品相：狀態極佳，有磨損和使用痕跡，表面腐蝕，風化和侵蝕的跡象，輕微的凹痕。 重量：88.9 克 尺寸：高 18 厘米, 寬 20.5 厘米 遼代契丹族建國後，生活方式受到中原地區影響，沿襲唐代制度，貴族普遍重厚葬，使用特別豐厚而考究的裝飾。其中，以金屬面具最具特色， 如果約為1018年陳國公主的面具。這件面具樣貌生動，製作工藝精湛，真實的再現契丹貴族颯爽英姿。文獻比較： 比較一件非常相近的銀合金面具，收藏於賓州藝術博物館，館藏編號2012-53-1。比較Zhu Qixinin，《The Liao Dynasty tomb of a Prince and Princess of the Chen Kingdom》，Orientations，10月 1991年，圖11。比較另一件鎏金銅面具，出土於內蒙古赤峰市遼代墓葬，見《The Silk Road in Inner Mongolia》，香港，2007年，圖錄編號18。見另一件收藏於巴黎吉美國立亞洲藝術博物館，館藏編號MA2352。比較一件相似的雕刻面具，收藏於賓州藝術博物館，館藏編號2012-53-1。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2008年5月14日，lot 92 價格：GPB 26,900（相當於今日EUR 54,500） 描述：遼代墓葬銀面具 專家評論：比較材料、風格和非常相近的壓花技術。 拍賣結果比較： 形制：相近 拍賣：Galerie Zacke 維也納，2020年4月25日，lot 42 價格：EUR 6,000（相當於今日EUR 7,300） 描述：罕見銅鎏金面具，遼代 專家評論：請注意不同的材料 (銅) 和尺寸較大 (23.4 釐米)。

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Galerie Zacke
Lot 185

A LARGE AND IMPRESSIVE MIXED METAL DISH DEPICTING WASOBEI AND MOUNT FUJI Japan, Meiji period (1868-1912)The large bronze dish with raised rim neatly engraved with a cloud design, the front worked in iro-e takazogan of suaka, silver, shakudo, and gold depicting the giant Wasobei leaning against Mount Fuji with a somewhat disinterested attitude and glaring at two cranes which are flying past. The details are superbly rendered.DIAMETER 45 cmWEIGHT 7 kgCondition: Very good condition with minor typical wear including some tiny nicks and light surface scratches.Provenance: From a private collection in Chicago, USA.The subject has also been previously identified as Daidarabotchi, a gigantic yokai in Japanese mythology, sometimes said to pose as a mountain range when sleeping.Auction comparison:Compare a closely related dish by Kazutoshi at Zacke, Fine Japanese Art, 2 December 2022, Vienna, lot 79 (sold for 13,000 EUR).

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Galerie Zacke
Lot 203

AN EARLY INDIAN BRONZE FIGURE OF GANESHAIndia, c. 16th century. The four-armed deity seated in lalitasana on a lotus base, one hand on his knee and holding a bowl of sweets, the other hand in vitarka mudra, and the two back hands holding a mala and an axe, his face with a long trunk, flanked by large ears, and surmounted by a headdress and conical crown. Condition: Good condition with minor surface wear, minuscule nicks, light scratches, manufacturing flaws, the base with dents, and areas of malachite encrustations. Provenance: Estate of an Austrian collector, the collection was assembled in the 1980s - 1990s through purchases at Galerie Zacke and other specialized galleries in Vienna. Weight: 140 g Dimensions: Height 5.3 cm

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Galerie Zacke
Lot 147

A PAIR OF QINGBAI FUNERARY JARS AND COVERS WITH THE 'GREEN DRAGON' OF THE EAST AND THE 'WHITE TIGER' OF THE WEST, SONG DYNASTYChina, 960-1279. Each of baluster form, rising from a slightly splayed foot to a ribbed neck surmounted by a tall straight rim. One jar decorated to the shoulders in high relief with a dragon, a reclining figure, and the flaming pearl, the other similarly decorated with a sprawling tiger along the neck of the jar with a dog seated next to a reclining figure. Cloud scrolls are applied to the necks of both jars and a bird surmounts each lid. A disk is applied to the neck of each jar inscribed with the characters for the sun and the moon. Both covered overall with a translucent glaze of aquamarine tone slashed with iron-brown. (2)Provenance: From an English private collection.Condition: Good condition with wear commensurate to age and manufacturing irregularities including glaze recesses and some cracking, pitting. Chips, cracks, and losses. Both slightly titled. (blue light lights up lots of the cracks on the body)Weight: 2,106 g and 2,081 gDimensions: Height 35.6 cm and 37.5 cmThese funerary urns are decorated with two 'animals of the four directions', called 'siling' in Chinese. The White Tiger of the West is pursuing a dog and the Green Dragon of the East is chasing a flaming pearl. The birds on the covers may allude to the Vermillion Bird of the South. In China, artists decorated coffins and tombs with these creatures from the Han dynasty onwards. These jars stored provisions for the afterlife such as grain and are part of local southern burial practice.Literature comparison:Compare a closely related Qingbai pair of burial jars decorated with iron-brown details, dated to the 12th-13th century, on display at the Minneapolis Institute of Art, accession number 91.11.1a,b. Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 29 March 2022, lot 649Price: USD 7,560 or approx. EUR 7,500 converted and adjusted for inflation at the time of writingDescription: A pair of Qingbai funerary jars and covers, Song / Yuan dynastyExpert remark: Compare the closely related form, similar decoration, and size (36.3 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 

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Galerie Zacke
Lot 40

A THANGKA OF USHNISHA SITATAPATRA, TIBET, 18TH-19TH CENTURY 西藏十八至十九世紀大白傘蓋佛母 The thousand-headed Goddess of the Victorious White Parasol stands atop a myriad of prostrate figures divided by a heavenly structure guarded by snow lions on a lotus base, holding a Dharma wheel in her main right hand, her thousand arms radiating around her, backed by a flaming mandorla, the white parasol floating above her, flanked in the upper register by a six-armed bodhisattva and a blue Mahakala, and in the lower register by Green and White Tara above two wrathful deities, all in a verdant landscape with green hills and thick swirling clouds.Provenance: French trade. By repute acquired from an old private estate in the Rhone valley. Condition: Good condition with minor wear, light soiling and staining, small losses and creases to picture, and light staining. Possibly microscopic touchups.Dimensions: Image size 65.5 x 48.3 cm, Size incl. frame 79.5 x 61.7 cm Painted with ink and distemper on cloth, matted and framed.The white bodhisattva of one thousand heads, arms, and eyes astride at center is known in Sanskrit as Sitatapatra, or Ushnisha Sitatapatra which can be translated as 'The victorious white parasol'. It is believed that she is a powerful independent deity emanated by Gautama Buddha from his Ushnisha. In the Mahayana Sitatapatra Sutra, she is called Aparajita ('Undefeatable, Unconquerable') and is also identified as a form of goddess Tara, while in other sutras, she is regarded as a female counterpart to Avalokiteshvara, the bodhisattva of compassion. Her parasol symbolizes her ability to protect sentient beings from natural disasters and diseases. She is white in color because the primary means by which she performs this function is the enlightenment energy of pacification. Like Avalokiteshvara in his elaborate form, Ushnisha Sitatapatra has a thousand eyes that watch over living beings, and a thousand arms that protect and assist them. Her proper-left five hundred legs on the left side suppress a host of worldly deities and animals, while her proper-right five hundred legs suppress a host of worldly plights, demons, and animals.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 27 September 2019, lot 324 Price: EUR 10,112 or approx. EUR 11,500 adjusted for inflation at the time of writing Description: A Ushnisha Sitatapatra thangka, 18th-19th century Expert remark: Compare the closely related subject and related manner of painting. Note the related size (59.5 x 42.5 cm). 西藏十八至十九世紀大白傘蓋佛母布面水墨膠彩，裝幀並裝框。大白傘蓋千首白度母立於蓮花座上，蓮花座上有雪獅護衛，主右手執法輪，千臂環繞，背後火焰光背，大白傘蓋飄浮在她的上方，其上是六臂菩薩和藍色大黑天，下方是綠、白度母，還有兩位憤怒本尊，一切都在青山翠綠的風景中，祥雲環繞。腳下各種人物、動物是受其白傘蓋庇護的眾生。 來源：法國古玩交易。據説是從羅納河谷的一處古老的私人莊園獲得的。 品相：狀況良好，有輕微磨損、輕微污漬、缺損、圖片有少量磨損和摺痕，以及輕微污漬。可能有小修。 尺寸：畫面 65.5 x 48.3 厘米，總 79.5 x 61.7 厘米 拍賣結果比較： 形制：相近 拍賣：Galerie Zacke，維也納，2019年9月27日，lot 324 價格：EUR 10,112（相當於今日EUR 11,500） 描述：大白傘蓋佛母唐卡 專家評論：比較非常相近的主題和相近的繪畫風格。請注意相近尺寸(59.5 x 42.5 厘米)。

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Galerie Zacke
Lot 262

A BRONZE FIGURE OF AVALOKITESHVARA, SOUTH THAILAND, 8TH-9TH CENTURYStanding in samabhanga on a double lotus base with his hands radiating around him, the primary hands holding a kendi and lotus stem and the secondary hands raised near the shoulder. Dressed in a diaphanous dhoti secured around the waist with a sash knotted to one side and falling in pleats, the slender figure adorned with ornate jewelry. The serene face with heavy-lidded eyes below arched brows centered by a small urna, the full lips forming a subtle smile. The hair in wavy locks pulled into a high chignon centered by a diminutive Amitabha Buddha.Provenance: From the private collection of Darwin Freeman, collected between the 1968-1971, and thence by descent within the same family. Born 1946 in Idaho, USA, Darwin Freeman was a member of the armed forces and later became an avid collector. He met his wife in the mid-1960s, and the pair later relocated to her hometown of Innsbruck, Austria. In 1967, Freeman was drafted into the U.S. Army and served in Germany and Thailand. While he was stationed at the Embassy in Bangkok, between 1969 and 1971, he actively began engaging in the exploration and collection of ancient bronzes and other works of art. Upon completing his duty, Freeman arranged for his collection to be shipped to Austria, where it remained in storage until this day.Condition: Very good condition, commensurate with age. Extensive old wear, small losses, casting flaws, signs of weathering and erosion, small nicks, light scratches. Fine, naturally grown patina with extensive malachite encrustation.Weight: 329 gDimensions: Height 16.5 cmExpert's note: The bodhisattva's slightly flexed pose and delicately modeled torso contrast more common hieratic poses found in the Srivijaya period. The long stem of the lotus that trails down the right side to his ankle is balanced by a thick knot and pleated end falling from his left hip.Literature comparison:For another Avalokiteshvara see Diskul, The Art of Shrivijaya, 1980, pl. 25. Also see Van Beek, The Arts of Thailand, 1985, ill. p. 24. Compare with an earlier two-armed Maitreya in Chutiwongs & Leidy, Buddha of the Future, Singapore, 1994, no. 47, p. 81. Also compare with a mid 10th-century Lokanatha and Siva Mahadeva dated in the Songkhla National Museum published in Krairiksh, The Roots of Thai Art, Bangkok, 2012, pp. 177 & 248.Auction result comparison: Type: Near identicalAuction: Bonhams New York, 17 September 2014, lot 172Price: USD 10,000 or approx. EUR 12,000 converted and adjusted for inflation at the time of writingDescription: A copper alloy figure of Avalokiteshvara or Maitreya, South Thailand, 8th/9th centuryExpert remark: Compare the closely related modeling with similar pose, dangling lotus stem, and knotted sash. The figure is the same size (16.5 cm) as the present lot and also shows a similar patina.

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Galerie Zacke
Lot 115

A SILVERED AND GILT BRONZE 'SHOULAO AND DEER' INCENSE BURNER, QING DYNASTY 清代鎏金鎏銀壽老仙鹿香爐China, 17th-18th century. Well modeled, with the god of longevity shown holding a scroll while seated atop a separately cast recumbent stag with removable gilt antlers. Shoulao's wide sleeve is pierced to let out the smoke rising from within the deer's hollowed back. The interior of the figure is set with a short peg to fit into a pierced aperture on the deer.Provenance: From a private collection on 700 Park Avenue, Manhattan, New York, USA. Condition: Good condition with some old wear and expected casting irregularities, tarnishing to silver, light scratches, tiny nicks, small dents, minute touchups to the gilding of the antlers.Weight: 3,269 gDimensions: Height 25 cm, Length 27 cm During the Qing Dynasty in China, incense burners served not only functional purposes but were also commissioned as decorative objects with deep symbolic significance. These burners often took the form of auspicious animals or figures, reflecting the cultural beliefs and aspirations of the time.Shoulao held great importance in Chinese culture as he represented the desire for longevity and good health. His portrayal with a large head symbolized wisdom, while his long beard signified old age. It was believed that by venerating Shoulao and leading a virtuous and balanced life, individuals could attain longevity and even immortality.Deer are associated with the Daoist concept of immortality due to their believed exceptional lifespan. This led to deer becoming symbolic representations of the wish for a long and prosperous life. In Chinese mythology, they were often depicted as messengers of immortals, possessing magical abilities.Together, Shoulao and the deer exemplify the aspirations for longevity and good fortune.Literature comparison:See the collection of the Victoria & Albert Museum for a closely related group of figural censers that show immortals astride various creatures, particularly accession nos. M.264BODY-1929, M.265-1929, and M.2-1922.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2001, lot 64Price: USD 10,575 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A bronze incense burner and cover formed as Shoulao riding a deer, 17th/18th centuryExpert remark: Compare the related subject, modeling, and manner of casting. Note the size (41.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2008, lot 334 Price: USD 23,750 or approx. EUR 31,500 converted and adjusted for inflation at the time of writing Description: An unusual small lacquered bronze 'Shoulao and deer' incense burner, 17th/18th century Expert remark: Compare the related subject, modeling, manner of casting, and size (24.7 cm). Note the lacquer. 清代鎏金鎏銀壽老仙鹿香爐中國，十七至十八世紀。造型精良，長壽鎏銀，一手握捲軸，一手扶著鹿，笑容可親。鹿成臥姿，鹿角鎏金，可拆卸。 壽老的寬袖被刺穿，香可從鹿凹陷的背部散發。壽老內部裝有一個短釘，可插入鹿身上的穿孔中。 來源：美國紐約曼哈頓公園大道 700 號私人收藏。 品相：狀況良好，有一些磨損和鑄造不規則，銀色失去光澤、輕微劃痕、微小刻痕、小凹痕、鹿角鍍金的微小修飾。 重量：3,269 克 尺寸：高 25 厘米, 長 27 厘米文獻比較： 一件非常相近的壽老神獸香爐，收藏於維多利亞和亞伯特博物館，館藏編號M.264BODY-1929，M.265-1929和M.2-1922。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2001年3月20日，lot 64 價格：USD 10,575（相當於今日EUR 17,000） 描述：十七至十八世紀壽老仙鹿香爐 專家評論：比較相近的主題，模型和鑄造風格。請注意尺寸(41.2厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2008年3月19日，lot 334 價格：USD 23,750（相當於今日EUR 31,500） 描述：十七至十八世紀壽老仙鹿香爐 專家評論：比較相近的主題，模型，鑄造風格和尺寸(24.7厘米)。請注意漆。

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Galerie Zacke
Lot 112

A GOLD-SPLASHED BRONZE BOMBE CENSER, CHINA, 17TH-18TH CENTURY 十七至十八世紀灑金銅爐Heavily cast, the compressed globular body supported on a gently spreading foot rising to a wide flaring rim, flanked by two loop handles with pendent tabs, the exterior and base covered with prominent splashes of gilt. Some of these splashes show minuscule gold nugget grains, which have not completely molten away in the firing. The recessed base cast with an apocryphal six-character da Ming Xuande nianzhi within a rectangular reserve.Provenance: From a private collection in the Cotswolds, United Kingdom. Nicholas Pitcher, London, acquired from the above.Condition: Very good condition with minor wear and casting irregularities. Few light scratches. The bronze with a superb, naturally grown honey-brown patina.Weight: 616.3 gDimensions: Width 12.7 cm (across handles) Auction result comparison: Type: Closely relatedAuction: Christie's London, 5 November 2019Price: GBP 37,500 or approx. EUR 56,500 converted and adjusted for inflation at the time of writingDescription: A gilt-splashed bronze censer, 17th centuryExpert remark: Compare the closely related form, gilt-splashed decoration, and apocryphal reign mark. Note the size (20 cm).Auction result comparison: Type: Closely relatedAuction: Sotheby's London, 3 November 2021, lot 163Price: GBP 11,970 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A gold-splashed bronze censer, Qing dynasty, 17th centuryExpert remark: Compare the closely related form, gilt-splashed decoration, and apocryphal reign mark. Note the size (17.1 cm). 十七至十八世紀灑金銅爐造型莊重典雅，厚口平直微敞，垂腹豐腴，兩側置戟耳，圈足。爐身灑金。圈足内寄托款“大明宣德年製“。 來源：英國科茨沃爾德的私人收藏；倫敦Nicholas Pitcher，購自上述收藏。品相：狀況非常好，有輕微磨損和鑄造不規則，輕微劃痕。青銅具有精美的自然蜜棕色包漿。 重量：616.3 克 尺寸：寬 12.7 厘米(雙耳之間) 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2019年11月5日 價格：GBP 37,500（相當於今日EUR 56,500） 描述：明末清初灑金銅爐 專家評論：比較非常相近的外形、灑金裝飾和仿款。請注意尺寸(20厘米)。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2021年11月3日，lot 163 價格：GBP 11,970（相當於今日EUR 16,500） 描述：清十七世紀 灑金銅雙耳爐 專家評論：比較非常相近的外形、灑金裝飾和仿款。請注意尺寸(17.1厘米)。

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Galerie Zacke
Lot 3

A GILT COPPER-ALLOY FIGURE OF KUNZANG AKOR, BON TRADITION, TIBET, 14TH-15TH CENTURY 西藏十四至十五世紀合金銅貢桑阿闊像，苯教傳統Kunzang Akor is seated in padmasana, hands held in dhyanamudra on his lap, wearing elaborate jeweled necklaces. His serene face with heavy-lidded eyes below gently arched brows centered by an urna, framed by his hair falling elegantly in curled strands over the shoulders and piled up into a topknot behind the elaborate foliate crown. The mantra 'AH' is cast on his chest. The sealed base is incised with a double-lined wan symbol.Provenance: From an old Austrian collection. The base with a collector's label, '515. 24T.' Condition: Fine condition, commensurate with age. Some wear, mostly to gilt, and expected casting irregularities. Small nicks, dents and losses, minor warping, and light surface scratches. The base is sealed. Fine, naturally grown patina with some cuprite and malachite encrustations.Weight: 826.6 g Dimensions: Height 17.3 cm The deity Kunzang Akor is the meditational form of Shenlha Okar. As in the present example, he is generally recognized by the Tibetan letter 'AH' placed on the chest at the level of the heart. The two hands are placed in the lap and hold the stems of two flower blossoms supporting a stylized yungdrung symbol on the right and a vase on the left. There are numerous traditions of ritual cycles and meditation practices for Kunzang Akor. It is also common to have a sculpture of Kunzang Akor created as a death memorial. While in Tibetan Buddhism it is more common to have a painting created in memoriam, a sculpture is more common in the Bon Religion. The Tibetan lettering on the chest, not found on Buddhist sculpture, confirms that this deity is from the Bon tradition. For a closely related example, see S. Karmay and J. Watt, Bon: The Magic Word, 2007, page 50, fig. 38. Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 12 December 2013, lot 240Price: EUR 18,750 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: Statuette Bun de Kunzang Akor en bronze dore Tibet, XVE siecleAuction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2009, lot 1356Price: USD 13,750 or approx. EUR 18,000 adjusted for inflation at the time of writingDescription: A Gilt Bronze Figure of Kunzang Akor, Tibet, 14th/15th Century 西藏十四至十五世紀合金銅貢桑阿闊像，苯教傳統貢桑阿闊成蓮花坐姿，手結禪定印，佩戴精緻的寶石項鍊。他面容平靜，雙眼微閉，眉毛微彎，雙眉之間有白毫，頭髮捲曲，垂在肩上，部分在精緻的葉冠后成一個高髻。他的胸口鑄有三字明咒中的“啊”。密封的底座上刻有萬字符。 來源：奧地利私人舊藏，底座收藏標籤 '515. 24T.' 品相：品相完好，有些磨損，主要是鎏金部分，小缺口、凹痕和缺損、輕微翹曲和輕微表面劃痕。底座密封。精美的天然包漿，帶有一些紅綠色結殼。 重量：826.6 克 尺寸：高17.3 厘米 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2013年12月12日，lot 240 價格：EUR 18,750（相當於今日EUR 24,000） 描述：西藏十五世紀鍍金銅貢桑阿闊像 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得， 2009年3月20日，lot 1356 價格：USD 13,750（相當於今日EUR 18,000） 描述：十四至十五世紀鎏金銅貢桑阿闊像

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Galerie Zacke
Lot 8

A BRONZE FIGURE OF BUDDHA, NEPAL, 14TH-15TH CENTURY 十四至十五世紀尼泊爾佛陀銅像Heavily cast seated in dhyanasana with the right hand lowered in bhumisparsha mudra and the left on the lap, wearing a long-flowing robe, the folds gathering below the feet, the serene face with downcast eyes, a sharp nose, the mouth with a gentle smile, flanked by elongated ears, the hair in tight curls surmounted by an ushnisha. The bronze with a rich, smooth, naturally grown patina with malachite encrustations.Provenance: An important European private collection, the base with an old collector's label, 'Buddha Nepal 10th C.' Sotheby's Paris, 16 June 2022, lot 112. A German private collection, acquired from the above.Condition: Good condition with old wear and minor casting irregularities, tiny dents, small nicks, light scratches, and few microscopic losses. The base is pierced with two holes to the front and one hole to the back.Weight: 427.6 g (excl. stand)Dimensions: Height 11 cm (excl. stand) and 15 cm (incl. stand) With an associated fitted wood stand. (2)Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 16 November 2022, lot 60 Price: EUR 32,760 or approx. EUR 34,500 adjusted for inflation at the time of writing Description: A rare large bronze figure of Shakyamuni Buddha Tibet, ca. 14th century Expert remark: Note the larger size (27 cm) and that this figure comes from the same provenance as the present lot. 十四至十五世紀尼泊爾佛陀銅像釋尊結全跏趺坐於蓮花座之上，左手置腹前，施禪定印，右手施觸地印；頭頂高肉髻，螺髮密集，頂嚴寳珠，分明嚴整。眼長眉彎，雙目低垂，呈微笑慈悲和善之態；身著單肩袈裟，袒露前胸，胸襟束帶繫結，衣紋俐落流暢。自然包漿豐富。 來源：歐洲重要私人收藏，底部有一藏家標籤，可見 'Buddha Nepal 10th C.'；巴黎蘇富比，2022年6月16日，lot 112；德國私人收藏，購於上述拍賣。 品相：狀況良好，有磨損和輕微鑄造不規則、微小凹痕、小刻痕、輕微劃痕。底座前面有兩個孔，後面有一個孔。 重量：427.6 克 (不含底座) 尺寸：高 11 釐米 (不含底座) 與15 釐米 (含底座) 木製底座 (2) 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2022年11月16日，lot 60 價格：EUR 32,760（相當於今日EUR 34,500） 描述：西藏約十四世紀銅釋迦牟尼佛坐像 專家評論：請注意尺寸較大 (27 釐米) ，以及來源和本拍品相同。

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Galerie Zacke
Lot 206

A BRONZE FIGURE OF PARVATI, LATE VIJAYANAGAR TO NAYAK PERIODSouth India, 16th-17th century. Standing in tribhanga on a double lotus base, the graceful figure of the goddess is pinched at the waist and adorned with elaborate beaded jewelry. Her left arm lingers in lola hasta mudra while the right is raised in kataka mudra. The serene face with deeply incised eyes, brows, and a beguiling smile, the head crowned by a karanda mukata, of piled rings diminishing in size and culminating in a lotus bud, all backed by a large foliate shirashchakra.Provenance: From the private collection of Naval Captain Schuez, Germany, acquired in the early 20th century, and thence by descent within the same family.Condition: Very good condition with minor wear and casting irregularities, minor nicks and small dents mostly to base, occasional light scratches. Weight: 951.8 gDimensions: Height 22 cmLiterature comparison: Compare a related bronze figure of Parvati, also dated to the 16th-17th century, in the British Museum, museum number 1968,0520.1. Compare a related bronze figure of Parvati, also dated to the 14th-15th century, in the British Museum, museum number 1966,0419.1.

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Galerie Zacke
Lot 205

A SMALL BRONZE FIGURE OF VISHNUSouth India, 16th-17th century. Standing in samabhanga on a circular lotus base raised on a stepped plinth, his main hands held in mudras and the secondary hands holding a chakra (war discus) and shankha (conch battle trumpet). He is wearing a neatly incised dhoti and richly adorned with jewelry, his head crowned with a kiritamakuta and backed by a shirashchakra.Provenance: Galerie Artheme (Roger Anger), 2 July 1979. Collection Particuliere Française, acquired from the above.Condition: Good condition with casting flaws and extensive wear, predominantly from centuries of worship. Tiny nicks, minor dents, light scratches, encrustations. The bronze with a fine, smooth patina.Weight: 68.4 gDimensions: Height 7.3 cmAuction result comparison: Type: RelatedAuction: Christie's New York, 29 September 2020, lot 41Price: USD 2,125 or approx. EUR 2,400 converted and adjusted for inflation at the time of writingDescription: A small bronze figure of Hayagriva, South India, Tamil Nadu, Vijaynagara period, 15th-16th centuryExpert remark: Compare the related modeling and manner of casting as well as the similar wear, patina, and encrustations. Note the size (9.2 cm).

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Galerie Zacke
Lot 254

A MONUMENTAL LACQUER-GILT BRONZE STATUE OF BUDDHA SHAKYAMUNI, MANDALAY PERIODBurma, 1853-1948. Massively cast, seated in dhyanasana atop a tiered base centered by a shaped panel, his left hand resting on his lap and his right lowered in bhumisparsha mudra. Wearing long flowing robes cascading in voluminous folds, his serene face with agate-inlaid eyes. The full lips forming a calm smile, flanked by long pendulous earlobes, the hair in tight curls surmounted by an ushnisha and secured by a band of glass inlays.Provenance: From an Austrian private estate. Condition: Very good condition with expected wear and weathering, mostly to lacquer gilding, minor losses, some dents and nicks, light scratches, casting flaws.Dimensions: Height 104.5 cmLiterature comparison: Compare closely related examples in the Guimet Museum, Paris, accession number MA6210, and in the Asian Civilisations Museum, Singapore, accession number 2014-00461.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 29 March 2019, lot 41 Price: HKD 250,625 or approx. EUR 35,200 converted and adjusted for inflation at the time of writing Description: A copper alloy and lacquer seated Buddha in Maravijaya, Myanmar, Mandalay periodExpert remark: Compare the closely related pose, casting, and slightly smaller size (100 cm).

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Galerie Zacke
Lot 10

A GILT BRONZE FIGURE OF TONPA SHENRAPTibet. According to the accompanying invoice, '16th -17th century'. Crowned and bejeweled in regal dignity, Tonpa Shenrap, the founder of the Bon religion, seated in padmasana on a beaded double lotus base detailed with crisp individualized petals, his hands held together in dhyana mudra. The Bon left-turning yundrungs (swastikas) in bloom by his right shoulder.Provenance: From the private collection of Aldo Maria Andrea Emilie Eggers-Lura (1924-1997), acquired during the 1950s to 1960s, during his stationing in the east for the East Asian Company, and thence by descent to Eric Eggers-Lura. Song Gallery: Chinese Art, Maja Stage & Eric Eggers-Lura, 26 June 1998. A Danish private collection, acquired from the above. A copy of the original signed invoice from Song Gallery, dated 22 June 1998 and dating the present lot to the 16th-17th century, accompanies this lot.Condition: Very good condition with minor wear and casting irregularities. Tiny nicks and light scratches, rubbing to gilt, minor losses to inlays, some inlays replaced. The base resealed.Weight: 1,600.9 gDimensions: Height 21.5 cmWith a silk storage box. (2)Dressed in a dhoti with incised hems pooling elegantly at the base, the figure adorned with beaded jewelry and the face cast with a benevolent expression, the eyes downcast under arched brows, all flanked by pendulous earlobes with foliate medallion earrings, the head crowned with a foliate tiara enclosing the hair coiled into an elaborate chignon surmounted by a lotus finial.Tonpa Shenrap, also known as Shenrap Miwo ("Supreme Priest, Great Man"), is considered by Bonpos to be enlightened teacher of Bon in the present world, whose role is comparable to that of Shakyamuni in Buddhism. His life story is recorded in Bon literature and painting. Born a prince, Tonpa Shenrap became king of Tazik, the holy land of Bon situated to Tibet's west. Tonpa Shenrap travelled widely to propagate the Bon doctrine through preaching and rituals. In Bon art, he can be represented in two appearances - a crowned and bejeweled form like the present lot, or a Buddha-like figure wearing monastic robes.

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Galerie Zacke
Lot 80

A LARGE FAMILLE VERTE BISCUIT FIGURE OF AMITAYUS, KANGXI PERIOD 康熙大型素三彩無量壽佛立像China, 1662-1722. Well modeled standing, dressed in pale yellow, emerald-green, and aubergine garments tied at the waist with a simple belt gracefully falling to his feet, holding a sacred jewel in his left hand, his right arm stretched down to the side with the palm facing outward. Jeweled beads cling tightly against the contours of his body, on his arms, wrists, and neck. On his head rests a jeweled crown with five yellow, purple, and dark green three-point panels, the narrow strands of his blue hair fall gently over his shoulders.Provenance: US trade. Acquired from an old private estate in Florida. By repute acquired by the grandparents of the previous owner in China, c. 1940.Condition: Good condition with minor old wear and firing flaws including small cracks and glaze drippings. Few minor losses, the base drilled with a hole probably inherent to the manufacturing process. One small tip of the crown re-attached.The back with several large firing cracks, inherent to manufacture, as expected for this type of ware. Some of these cracks were previously touched-up, as seen on the image of the statue that shows the backside. In the meantime, these touch-ups have been removed, making the firing cracks visible for better judgement of the condition. Two images of the condition after the removal of the touch-ups are located in the natural light images section below.Weight: 6.7 kgDimensions: Height 56 cm Auction result comparison: Type: RelatedAuction: Christie's New York, 24 March 2011, lot 1720Price: USD 35,000 or approx. EUR 42,500 converted and adjusted for inflation at the time of writingDescription: A Rare Glazed Biscuit Figure of a Seated Luohan, Kangxi Period (1662-1722)Expert remark: Note the smaller size (48.3 cm) 康熙大型素三彩無量壽佛立像中國，1662-1722年。造型優美，無量壽佛頭戴寶冠，寳冠施三彩，髮髻高聳，項戴纓絡項鍊，裝飾華麗；外袍施淡黃、翠綠、紫紅色釉，腰間繫著腰帶；左手握著一顆寳珠，右臂伸向一側，掌心向外朝下。 來源：英國古玩交易，購於佛羅里達私人舊藏，據説是藏家的祖父母上世紀四十年代購於中國。 品相：狀況良好，有輕微磨損和燒製缺陷，包括小裂紋和釉滴，輕微小缺損，底座上鑽了一個可能是製造過程固有的孔。寳冠上曾經重新連接過。背面有幾處較大的燒製裂紋，這是製造所固有的。重量：6.7 公斤 尺寸：高 56 釐米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2011年3月24日，lot 1720 價格：USD 35,000（相當於今日EUR 42,500） 描述：康熙素三彩羅漢坐像 專家評論：請注意尺寸較小(48.3 釐米)。

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Galerie Zacke
Lot 293

A GILT LACQUERED BRONZE FIGURE OF BUDDHA SHAKYAMUNI, RATTANAKOSIN PERIODThailand, late 18th to 19th century. Seated in dhyanasana on a beaded double lotus pedestal raised on a faceted base with an inscription in front, his hands lowered in dhyanamudra, wearing tight-fitting robes and a sash draped over his left shoulder. The serene face with a benevolent smile, flanked by elongated earlobes, the hair in tight snail shell curls over the ushnishha. Provenance: From a Danish private collection, acquired in the early 1980s. Condition: Good condition with wear and casting flaws. Minor losses, rubbing to gilt, flaking to lacquer, minor nicks, light scratches. The ushnisha lost. Weight: 37.9 kgDimensions: Height 65.5 cm Literature comparison:Compare a related gilt bronze figure of Buddha, 42.5 cm tall, dated to the 16th-17th century, in the Victoria and Albert Museum, London, accession number IS.90-1958.

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Galerie Zacke
Lot 171

A GILT-LACQUERED WOOD FIGURE OF AMIDA NYORAIJapan, 19th century. Seated in dhyanasana, the hands lowered in mido no join, dressed in loose-fitting robes opening at the chest and cascading in voluminous folds. The face with a serene expression, heavy-lidded downcast eyes below gently arched eyebrows centered by a raised circular byakugo (urna), the hair arranged in tight curls over a domed ushnisha with a central jewel. Provenance: From a Hungarian private collection.Condition: Restored breakages to head and shoulder, wear, few chips, small losses, and flaking to lacquer.Weight: 3.5 kgDimensions: Height 31.5 cmThe sculpture represents Amitabha, known in Japanese as Amida Nyorai, or the Buddha of Limitless Light. The downcast gaze directed towards the onlooker below is emblematic of the infinite compassion of which his name is synonymous. Amitabha reigns over the Western Pure Land, a paradise to which anyone is welcomed if they faithfully and sincerely incant his name. This place of salvation became central to the Jodo or 'Pure Land' sect of Buddhism. Propounded in 1175 by the monk Honen, the accessibility of such tenets of redemption allowed this form of Buddhism to proliferate across the nation and feudal classes of Japan.

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Galerie Zacke
Lot 127

A BROWN LIMESTONE FIGURE OF A SEATED LION, TANG DYNASTY 唐代石獅China, 618-906. The muscular animal shown seated, the head turned slightly to the side and the face carved with an intense expression created by the bulging eyes, the mouth open in a menacing snarl, and the mane falling in layers along his neck. The stone of a dark-brown color with rust-brown veins, dark specks, and creamy white inclusions.Provenance: From a noted private collection of Chinese art. Condition: Extensive wear, losses, nicks, light surface scratches, few structural cracks, signs of weathering and erosion, and encrustations.Weight: 598.6 g Dimensions: Height 8.6 cmAuction result comparison:Type: Closely relatedAuction: Bonhams Paris, 25 October 2022, lot 44Price: EUR 4,845Description: A stone fragment of a lion, Tang dynastyExpert remark: Compare the closely related color of the stone, and facial expression. Note that this lion has lost most of its body, as opposed to the present lot.唐代石獅中國，618-906年。坐獅身形矯健，頭微微偏向一側，大眼圓睜，嘴巴張開似乎發出咆哮，鬃毛在脖子上層層疊疊。深褐色的石頭，帶有銹褐色的紋理、深色斑點。 來源：知名中國藝術私人收藏。 品相：大面積磨損、缺損、刻痕、輕微劃痕、少量結構裂縫、風化和侵蝕的跡象、結殼。 重量：598.6 克 尺寸：高8.6 厘米 拍賣結果比較： 形制：非常相近 拍賣：巴黎邦瀚斯，2022年10月25日，lot 44 價格：EUR 4,845 描述：唐石獅 專家評論：比較非常相近的石色和面部表情。請注意此石獅缺失了大部分的身體。

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Galerie Zacke
Lot 303

A GOLD REPOUSSE 'LION' PENDANT, WITH AN AGATE INTAGLIO OF THE DANCING SHIVA, CHAM PERIODVietnam, former kingdoms of Champa, circa 10th century. Of quadrilobed form, finely chased, embossed, and incised with two confronted anthropomorphized male lions standing in profile, facing a finely carved oval agate intaglio depicting Shiva performing his cosmic dance, surrounded by beaded and foliate designs. A single loop on top for suspension.Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Very good condition, commensurate with age, with some wear, small manufacturing irregularities, light tarnishing, and encrustations, all as to be expected for a gold object more than a thousand years old.Weight: 15.9 g Dimensions: Length 10.1 cm Literature comparison:Compare a stone intaglio also depicting a dancing shiva, 5.5 cm long, dated 9th-10th century, illustrated in Janos Jelen, et al., (eds.) Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik, Volume 1, Budapest, 2007, pp. 114, no. 82.

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Galerie Zacke
Lot 177

A LACQUER WOOD FIGURE OF AMIDA NYORAI, EDOJapan, 19th century, Edo period (1615-1868)Buddha is shown seated in meditative posture with legs folded in dhyanasana, joining the index fingers and thumbs of both hands in a mudra (sacred gesture) of welcoming and wearing a loose-fitting robe opening at the chest. His serene face with heavy-lidded inlaid eyes below gently arched eyebrows centered by a glass or rock crystal byakugo (urna), a broad nose, and full lips, flanked by long pendulous earlobes. The hair arranged in tight curls and surmounted by an ushnisha with a further glass or rock crystal inlay.Condition: Good condition with traces of wear and age. Several age cracks, some of which are filled. Old repairs at some joints. The figure is segmented. Provenance: Austrian private collection. Weight: 878 g Dimensions: Height 27 cmAmida Nyorai, the Buddha of Limitless Light, is the salvific central figure of Pure Land Buddhist teachings. Believers who call on the name of Amida will be greeted by him and his retinue at the moment of death and transported to the Pure Land.

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Galerie Zacke
Lot 199

A RARE BRONZE FIGURE OF PARVATI, CHOLA PERIOD, SOUTH INDIA, 13TH-14TH CENTURYThe goddess seated in lalitasana on an oval waisted lotus dais raised on a stepped rectangular base neatly incised with geometric and petal decorations, her left foot resting on a lotus bloom rising from the lower base. The face with large heavy-lidded eyes below arched brows, the hair piled up into a high topknot, the ears adorned with ornaments extending down to her shoulders. The body with fine jewelry, the upavita passing between her breasts and falling to an elaborate broad belt around her waist.Provenance: Collection Particuliere Française, and thence by descent within the family. According to family repute the piece was acquired 1981 in Pondicherry, India (known today as Puducherry).Condition: Good condition, commensurate with age, showing old wear and expected casting flaws, small dents, minuscule nicks, light scratches, minor losses, encrustations. The bronze with a rich, smooth patina due to extensive worship within the culture, particular to the face and breasts.Weight: 130 gDimensions: Height 7.6 cm Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2009, lot 1292 Price: USD 13,750 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: Two small bronze figures of Shiva Nataraja and Parvati Expert remark: Compare the related bronze figure of a standing Parvati, with similar base, features, and wear. Note the slightly larger size (11.7 cm) and that the lot comprises a second bronze.

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Galerie Zacke
Lot 15

A SILVER-DAMASCENED 'DRAGON' IRON HELMET, 17TH-18TH CENTURYTibet. The exterior of the helmet made from nine curved plates, seven of which are flat-inlaid in silver with shou symbols and Tibetan characters. Each plate is joined by a scalloped rim with prominent central rib, the upper tip of each rib notched to enclose the base of the knopped plume. The front of the helmet reinforced with a scalloped plate decorated with a dragon head at the center flanked by two sinuous dragons. The lower edge of the helmet pierced with numerous holes to secure the three-tiered neck guard.Inscriptions: To the plates, 'Lu', 'Sa', 'Sam', and 'Meh'.Provenance: French private collection.Condition: Good condition with wear, casting flaws, and traces of use. Corrosion, encrustations, minor nicks and losses, light scratches. The silver inlays are well preserved.Weight: 2,447 g (excl. stand) and 3,048 g (incl. stand)Dimensions: Height 44 cmThis type of segmented Tibetan helmet, used originally with a coat of lamellar armor, was probably derived from Sasanian Persian helmets of the 3rd century CE. Until the 17th century, Tibet was a disunited country where a number of regional secular rulers allied to religious orders vied for power and in which warfare was not uncommon. A sizeable armor production in Tibet was the result of this situation. The present helmet, with fine silver inlays depicting fierce dragons, is a rare example of this group.Literature comparison:Compare a closely related iron helmet of similar construction lacking the silver inlays, dated to the 14th-17th century, Tibet, in the collection of the National Museums Scotland, reference number A.1909.406 A. Compare a related iron helmet, dated to the 16th-17th century, Tibet, in the collection of the Metropolitan Museum of Art, accession number 2008.354.

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Galerie Zacke
Lot 12

AN IMPORTANT AND RARE BAMBOO FIGURE OF A CITIPATI, 17TH-18TH CENTURYTibet or Himalayas. Finely carved standing in samabhanga atop a small skull, lacking feet or arms, the spine neatly detailed, the ribs well-executed in openwork, the two large eye sockets vacant, with fierce grimace and teeth bared. Wearing a crown in the form of a vajra rising from lotus-lappets behind three smaller skulls.Provenance: Marc Assayag, Montreal. Indian Heritage, Paris, acquired from the above. Collection d'un Grand Amateur, France, acquired from the above. Marc Assayag is an art dealer, photographer, researcher, and writer. As one of the pioneers of presenting Tribal Art, Marc has been engaged as guest curator in New York, invited to travel with the Cousteau Foundation and served as photographer for many noted publications. As an international Art dealer, Marc participates in major art fairs around the world both as lecturer and dealer. Specializing in Melanesian art, Marc is also, since 2015, owner of the world class Jolika Collection of New Guinea art, and its reputed library. Established in 2006 by Frederic Rond, Indian Heritage is a gallery specializing in Indian and Himalayan art. Located in St Germain des Pres, Paris, it offers a large selection of primitive and classical pieces with a focus on Himalayan masks.Condition: Very good condition with minor old wear, few minuscule nicks, and occasional light scratches. Fine natural patina, commensurate with age, and an unctuous feel overall. Cornette de Saint Cyr, Paris, 12 June 2021, lot 124, sold for EUR 10.000. A copy of the original invoice accompanies this lot.Weight: 107.2 g (excl. stand)Dimensions: Height 30.7 cm (incl. stand) and 29.6 cm (excl. stand)With an associated metal stand. (2)Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 2 October 2017, lot 3144Price: HKD 9,100,000 or approx. EUR 1,263,500 converted and adjusted for inflation at the time of writingDescription: An extremely rare large gilt-bronze figure depicting a chitipati or kinkara tibet or himalayas, 17th - 18th centuryExpert remark: Compare the related motif, note the material. 十七至十八世紀罕見竹雕屍陀林像 西藏或喜馬拉雅。竹雕屍陀林立像，無足無臂，脊椎細密，肋骨鏤空，兩個大眼窩，猙獰地露出牙齒。頭上有三個骷髏，其後有一個金剛冠。 來源：蒙特利爾Marc Assayag。巴黎的Indian Heritage，購於上述收藏。法國 一個業餘愛好者收藏，購自上述收藏。 Marc Assayag 是一位藝術品經銷商、攝影師、研究員和作家。 作為展示部落藝術的先驅之一，Marc曾在紐約擔任客座策展人，受邀與Cousteau基金會一起旅行，並擔任許多著名出版物的攝影師。 作為國際藝術品經銷商，Marc 以講師和經銷商的身份參加世界各地的主要藝術博覽會。 Marc 專注於美拉尼西亞藝術，自 2015 年以來，他還是世界一流的新幾內亞 Jolika 藝術收藏館及其著名圖書館的所有者。 Indian Heritage 由 Frederic Rond 於 2006 年創立，是一家專門從事印度和喜馬拉雅藝術的藝廊。 它位於巴黎的聖日耳曼德佩區，有大量原始和古典作品，重點是喜馬拉雅面具。品相：狀況極其好，有輕微的磨損，微小的劃痕，局部有輕微劃痕。 細膩的自然光澤，與年齡相稱，整體感覺潤滑。 重量：不含底座107.2 克 尺寸：總高 30.7 厘米，不含29.6 厘米 配金屬支架 (2) 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2017年10月2日，lot 3144 價格：HKD 9,100,000（相當於今日EUR 1,263,500） 描述：十七至十八世紀西藏或喜瑪拉雅屍陀林像 專家評論：比較相近的形制。請注意材質。

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Galerie Zacke
Lot 97

A COPPER-INLAID BRONZE RITUAL WINE VESSEL AND COVER, HU, EASTERN ZHOU DYNASTY 東周錯銅蓋壺Expert's note: For further research and a comparative analysis with published examples in major institutions, see Charles D. Weber, Chinese Pictorial Bronze Vessels of the Late Chou Period. Part III, published in Artibus Asiae, volume 29, number 2/3, 1967, pages 115-192. In this publication, the author provides a comprehensive analysis of pictorial bronze vessels from the late Zhou period and suggests that this type of decoration originated from Huixian, Henan province, from the 6th into the early 5th century BC.To properly evaluate the current lot, it is essential to compare it with the related examples found in the Fogg Art Museum and the Metropolitan Museum of Art (see literature comparison). These institutions possess vessels attributed to significant tombs in the vicinity of Huixian. These vessels share several identical pictorial elements with the present lot, as illustrated in the accompanying diagram. These pictorial elements also serve as a basis for dating the current lot, as referenced in fig. 70 of Weber's work, where the sinuous feline pictograms suggest a manufacture date of 500 B.C.Furthermore, page 151 of Weber's work highlights a pertinent observation. During the late Zhou period, pictorial decoration on these types of vessels was arranged irrespective of the placement of handles. Consequently, handles were often affixed over a portion of the pictorial representations, partially covering the design. This alignment further strengthens the connection of the present lot to the published examples, suggesting that it is not only closely related, originating from the same period and region, but also having a strong possibility of it originating from a neighboring site.China, late 6th-early 5th century BC. Superbly cast, the globular body supported on a tall spreading foot and rising to a waisted neck with a flared mouth, the shoulder set with two small lug handles. The body is finely inlaid with copper in five registers depicting geometrically arranged designs of pairs of birds, felines, and deer within lozenge borders which also encircle the foot, the body further interspersed by elaborate ruyi-like designs, the mouth and rim of the cover with line borders. The similarly decorated domed cover surmounted by a loop finial. The vase has retained its original cover for well over two millennia, which makes it exceedingly rare.Provenance: From a noted private collection in Southern California, USA.Condition: Excellent condition, commensurate with age. Extensive wear, signs of weathering and erosion, expected minor casting flaws, small nicks and losses, light scratches. Magnificent patina overall, the copper inlays naturally patinated to a distinct auburn color, the bronze with malachite encrustations and lustrous hues of cuprite.Weight: 2,496 gDimensions: Height 34 cm Literature comparison:Compare a related copper-inlaid bronze hu, 43 cm high, dated to the Warring States period, in the Fogg Art Museum, Harvard Art Museums, object number 1943.52.121.A-B. Compare a related related copper-inlaid bronze hu, lacking the cover, 44.5 cm high, dated ca. 5th century BC, in the Metropolitan Museum of Art, accession number 29.100.545. Compare also a related copper-inlaid bronze hu, lacking the cover, 44.7 cm high, dated to the Warring States period, in the Art Institute of Chicago, reference number 1928.143. A similar hu is illustrated by J. So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, 1995, vol. III, no. 44, where the author, p. 257, describes how the motifs “were first cast in copper, then inserted into the mold and held in place with spacers”. This technique was more effective in keeping the copper decoration in place than the more conventional method of hammering the copper into cast or incised depressions. Another similarly decorated hu lacking cover is in the museum collection of Fujii Yurinkan Museum, Kyoto, where it is registered as an Important Art Object by the Japanese government. Another hu with a cover was included in the exhibition Chinese Archaic Bronzes, Sculpture and Works of Art, J. J. Lally & Co., New York, June 1992, no. 24.Auction result comparison: Type: Closely related Auction: Christie's, New York, 21 March 2002, lot 70 Price: USD 23,500 or approx. EUR 36,500 adjusted for inflation at the time of writing Description: A rare copper-inlaid bronze wine jar, hu, Eastern Zhou dynasty, late 6th-early 5th century BCExpert remark: Compare the closely related form and inlays. Note the size (39.7 cm).Auction result comparison: Type: Closely related Auction: Christie's, New York, 23-24 September 2021, lot 705 Price: USD 32,500 or approx. EUR 32,500 adjusted for inflation at the time of writing Description: A rare copper-inlaid bronze ritual wine vessel, hu, Warring States period (475-221 BC)Expert remark: Compare the closely related form and inlays. Note the size (45.7 cm) and the obvious condition issues. 東周錯銅蓋壺中國，公元前六至五世紀初。壺口外撇，長頸微束，下方鏨刻變體蕉葉紋，溜肩，肩部兩側分鑄雙耳，腹部下收，壺口和腹部飾凹弦紋，圈足高而外撇。器身嵌紅銅，菱形邊框內有成對的鳥、貓、鹿等幾何排列圖案；足部周圍亦有精緻的如意圖案；口部及蓋緣亦點綴有如意紋。圓頂蓋頂部有一個環形鈕。皮色暗沉古穆。專家注釋：如需進一步研究以及與主要機構已發表實例的比較分析，請參閱 Charles D. Weber，《Chinese Pictorial Bronze Vessels of the Late Chou Period（中國晚期週時期青銅器圖案）》第三部分，發表於 Artibus Asiae，第 29 卷，第 2/3 期，1967 年，第 115-192 頁。 在本書中，作者對周晚期的青銅器圖案進行了全面的分析，認為這種裝飾起源於公元前六世紀至五世紀初的河南省輝縣。為了正確評估當前拍品，有必要將其與Fogg Art Museum和大都會藝術博物館的相關拍品進行比較（參見文獻比較）。 這些機構擁有來自輝縣附近重要墓葬的器皿。這些青銅器與本拍品有幾個相同的圖案元素，如附圖所示。 這些元素也可作為當前拍品年代測定的基礎，如圖 1 所示。Weber書中的 70 幅圖片中，貓科動物表明其生產日期為公元前 500 年。此外，Weber著作的第 151 頁強調了一個相關的觀察結果。周代晚期，此類器物上的圖案裝飾與手柄的位置無關。因此，手柄部分覆蓋設計。這種排列進一步證明了當前拍品與已發表的例子的聯繫，表明它不僅密切相關，起源於同一時期和地區，而且很有可能起源於鄰近地點。 來源：美國加利福尼亞州南部私人知名收藏。 品相：狀況極佳，大面積磨損、風化和侵蝕的跡象預計會出現輕微的鑄造缺陷、小刻痕和損失、輕微劃痕。整體上呈現出華麗的銅綠，銅鑲嵌物自然地呈現出獨特的赤褐色，青銅上鑲嵌著孔雀石和赤銅礦的光澤色調。 重量：2,496 克 尺寸：高 34 厘米文獻比較： 比較一件相近的戰國時期錯銅壺，高43 釐米，收藏於哈佛藝術博物館，館藏編號1943.52.121.A-B。比較一件相近的西元前五世紀嵌紅銅青銅壺，高44.5 釐米，收藏於大都會藝術博物館，館藏編號29.100.545。比較一件相近的戰國時期錯銅壺，高44.7 釐米，收藏於芝加哥藝術博物館，館藏編號1928.143。一件相似的壺，見J. So，《Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，1995年，卷三，編號44，作者在頁257提到，「首先用銅鑄造，然後插入模具並用墊片固定到位」。與將銅錘入鑄造或切割凹陷的傳統方法相比，這種技術更能有效地將銅裝飾固定在適當的位置。另一件相似的錯銅壺，收藏於京都藤井有鄰館。另一件青銅壺，《Chinese Archaic Bronzes，Sculpture and Works of Art》，J. J. Lally & Co.，紐約，6月 1992年，編號24。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2002年3月21日，lot 70 價格：USD 23,500（相當於今日EUR 36,500） 描述：西元前六世紀末和五世紀初東周青銅錯紅銅壺 專家評論：比較非常相近的外形和鑲嵌。請注意尺寸 (39.7 釐米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2021年9月23-24日，lot 705 價格：USD 32,500（相當於今日EUR 32,500） 描述：戰國青銅錯紅銅壺 專家評論：比較非常相近的外形和鑲嵌。請注意尺寸 (45.7 釐米) ，以及明顯的品相問題。

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Galerie Zacke
Lot 58

A LARGE AND HIGHLY IMPORTANT WHITE MARBLE TORSO OF BUDDHA, NOTHERN QI DYNASTY 北齊大型漢白玉立佛殘件China, 6th century. Depicting a standing Buddha, dressed in loose robes draped over both shoulders and elegantly falling in stepped folds flaring at the hems in stylized pleats, the robe open at the chest to reveal the tied underskirt. The overall simple and naturalistic style clearly dates it to the later sixth century. Clinging tightly, the diaphanous drapery reveals the elegant body's form, characteristically indicated by incised lines and relief ridges.Provenance: Old Italian private collection, acquired 1971 from Wing Tat Hong Gallery, Hong Kong. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, losses, nicks and surface scratches, minor cracks. Remnants of ancient pigment. Displaying supremely. Dimensions: Height 92 cm (excl. base) and 101.5 cm (incl. base)Mounted to a modern metal base. (2)Expert's note: This magnificent sculpture embodies a profound spirituality achieved through the remarkable plasticity of drapery and form. The figure represents a standing Buddha and the monk's robes, which he wears, are arrayed to cover both shoulders. The size, sensitivity of carving, crisp treatment of the gracefully draped folds, both those falling in parallel curved lines down the front of the subtly indicated body and those of the hem, closely relate this figure to other imposing white marble statues of a similar date.Only occasionally encountered among Chinese Buddhist sculptures, white marble first rose to popularity during the Northern Qi period, when sculptors occasionally carved Buddhist images in beautiful white marble from Dingzhou, in southwest Hebei province. Although a quarry site can never be taken as the probable site at which a particular image was sculpted, the use of white marble nevertheless suggests that this extraordinary sculpture might have been carved in the vicinity of Dingzhou, likely in Hebei or Shanxi province.Faint traces of polychromy, evident on the shoulders, suggest that the sculpture was once entirely painted, as were virtually all early Indian and Chinese Buddhist sculptures in wood and stone. The brilliant pigments of the sculptures and wall paintings at Dunhuang, in Gansu province, suggest that the original colors of this Buddha would have been stunning.If the missing right arm was raised in the abhayamudra, then the left might have shown a variation of the varadamudra, the gift-giving gesture, also associated with preaching. Moreover, if the right arm displayed the abhayamudra then the present sculpture likely represented either the Historical Buddha Shakyamuni or Amitabha, the Buddha of Boundless Light, in a preaching mode. Because the sculpture lacks an identifying inscription, not to mention its right arm and any distinguishing iconographic attributes, the exact identity of this Buddha likely will remain an enigma.Literature comparison:Compare a related figure of Amitabha Buddha in the Royal Ontario Museum, illustrated in Homage to Heaven, Homage to Earth, 1992, p. 163, pl. 92. Compare a related figure illustrated in Chinese Marble Sculptures of the Transition Period, B.M.F.E.A., no. 12, Stockholm, 1940, pl. II (b). Compare a related sculpture in the Eskenazi exhibition Sculpture and ornament in early Chinese art, London, 11 June to 13 July 1996, no. 31.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 203Price: EUR 101,575 or approx. EUR 143,500 adjusted for inflation at the time of writingDescription: A Chinese stone torso of Buddha, Northern Qi dynasty Expert remark: Compare the closely related pose and manner of carving with similar diagonal pleats. Note the size (148 cm).北齊大型漢白玉立佛殘件中國，六世紀。立佛左右臂貼身，從肘部起殘缺，低開領的通肩袈裟，袈裟顯得輕薄而貼身，順著身體結構起伏，雙腿輪廓隱約可見。 來源：義大利私人舊藏，1971年購於香港Wing Tat Hong 藝廊；貝加莫Leonardo Vigorelli收藏，購於上述收藏。Leonardo Vigorelli Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度教佛教藝術。在學習人類學和數十年的旅行以及在印度、喜馬拉雅地區、東南亞和非洲的廣泛實地研究之後，他在義大利米蘭創立了 Dalton Somare 藝術畫廊，如今由他的兩個兒子經營。品相：狀況良好，與年齡相稱。大面積磨損、風化和侵蝕跡象、結殼、缺損、刻痕和表面劃痕、輕微裂縫。顏料殘餘。 尺寸：高92 厘米 (不含底座)，總101.5 厘米 現代金屬底座。 低開領的通肩袈裟，此尊像背面袈裟表面以彩繪方式，繪出袈裟的框格裝飾，表現福田相。遒勁流暢的陰刻衣紋，這種「薄衣貼體」的造像風格，是北齊時期造像的一大特色。造像肩上明顯的多色痕跡表明該雕塑曾經完全上色，幾乎所有早期的印度和中國佛教木石造像都是如此。甘肅敦煌的雕塑和壁畫色彩絢麗。漢白玉在中國佛教雕塑中并不常見，在北齊時期開始流行，當時河北省西南部定州的偶爾使用漢白玉製作佛像。漢白玉造像可能是在定州附近雕刻的，可能在河北或山西省。 文獻比較： 比較一件相近阿彌陀佛像，收藏於Royal Ontario博物館，見《Homage to Heaven，Homage to Earth》，1992年，頁163，編號92。比較一件相近的雕像《Chinese Marble Sculptures of the Transition Period》，B.M.F.E.A.，編號12，斯德哥爾摩，1940年，編號II (b)。比較一件相近雕像，展覽於Eskenazi，《Sculpture and ornament in early Chinese art》，倫敦，1996年6月11日至7月13日，編號31。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2004年5月12日，lot 203 價格：EUR 101,575（相當於今日EUR 143,500） 描述：北齊立佛石雕殘件 專家評論：比較非常相近的姿勢、衣袍的類似於對角線的摺痕。請注意尺寸(148 厘米)。

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Galerie Zacke
Lot 26

A LARGE BRASS AND COPPER RITUAL TEAPOTTibet, 19th century. The broad body supported on a spreading foot and flanked by a large loop handle and elegantly curved spout. The lotus-form cover is attached to the handle by a brass chain and surmounted by a bud finial. The brass foot neatly incised with lappets, the finely formed spout is decorated to the base with stylized foliage.Provenance: From a German private collection.Condition: Good condition with traces of use and wear, one rivet lost, minor dents here and there, few small nicks, and light scratches.Weight: 2,796 Dimensions: Height 36.2 cm Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 10 March 2023, lot 525 Price: EUR 11,700 Description: A parcel-gilt and silver-applied brass ritual teapot, late 18th to early 19th century Expert remark: Compare the related form, albeit with a silver and parcel-gilt makara handles and spout. Note the smaller size (31.3 cm).

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Galerie Zacke
Lot 33

A THANGKA OF BUDDHA AMITABHA IN SUKHAVATI, TIBET, 18TH CENTURY 西藏十八世紀阿彌陀佛極樂世界唐卡Distemper and gold on cloth with a silk brocade frame and mounted as a hanging scroll.Finely painted with the red-skinned Amitabha seated in dhyanasana on a lotus cushion with his hands in dhyana mudra supporting an alms bowl, wearing long flowing robes decorated with gold brocade patterns, backed by an aureole and halo, flanked by Green and White Tara. The upper register with two flying apsara between a lama and Akshobhya, both flanking the tall roof of the celestial building surrounded by billowing clouds. The lower register with monks, buddhas, and bodhisattvas, all within a verdant landscape.Provenance: French trade. Condition: Good condition with minor wear, light soiling, creasing, tiny losses, minor fading.Dimensions: Image size 70.4 x 43.8 cm, Size incl. frame 113.8 x 69.1 cm Sukhavati is described as the Western Paradise of Buddha Amitabha in the Pure Land schools of Mahayana Buddhism. According to followers of the Pure Land schools, which are widespread throughout East Asia, rebirth in Sukhavati is ensured by invoking the name of Amitabha, particularly at the moment of death. Sukhavati is expressively described in the Pure Land sutras as being a joyous world, soft and glowing, filled with the music of birds and the tinkling of trees adorned with precious jewels and garlands of golden bells.Literature comparison: Compare a related thangka depicting Buddha Amitabha in Sukhavati, 152 x 87cm, dated late 18th century, in the Rubin Museum of Art, accession number C2006.66.185.Auction result comparison: Type: Closely related Auction: Christie's New York, 21 September 2005, lot 131 Price: USD 8,400 or approx. EUR 12,000 converted and adjusted for inflation at the time of writing Description: A thangka of Amitabha in Sukhavati, Tibet, 18th century Expert remark: Compare the closely related subject and manner of painting. Note the size (91.4 x 65.4 cm). 西藏十八世紀阿彌陀佛極樂世界唐卡布面膠彩描金，絲緞裝幀，掛軸。阿彌陀佛紅色身，雙手托缽，現禪定相，坐於蓮花座上，身著天衣，飾瓔珞，綠色光背，兩側有綠白度母，上界有兩位飛天，分別位於一位喇嘛和不動佛之間，下界有僧、佛、菩薩。藍天浮雲，下方遍地珍寶、八功德池中蓮花化生。內容繁複，情節生動。來源：法國古玩交易。 品相：狀況良好，有輕微磨損、污漬、摺痕、微小缺損、輕微褪色。 尺寸：畫面70.4 x 43.8 厘米，總113.8 x 69.1 厘米 文獻比較： 比較一件相近的十八世紀末阿彌陀佛極樂世界唐卡，152 x 87厘米，收藏於Rubin藝術博物館，館藏編號C2006.66.185。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2005年9月21日，lot 131 價格：USD 8,400（相當於今日EUR 12,000） 描述：十八世紀西藏阿彌陀佛極樂世界唐卡 專家評論：比較非常相近的主題和繪畫風格。請注意尺寸 (91.4 x 65.4 厘米)。

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Galerie Zacke
Lot 231

AN INDIAN MINIATURE PAINTING DEPICTING KRISHNA'S TRYST WITH RADHAIndia, 19th century. Gilt, watercolors, and ink on paper. Depicting the couple seated beside a tree, Krishna reaching his hand towards Radha, a gopi to Radha's right, and a white ox emerging from the tree, situated in a green hilly landscape, framed by a black and dark blue floral band.Provenance: Swiss trade. Condition: Very good condition with minor wear, light creasing, and little soiling.Dimensions: Image size 24.4 x 17.7 cm, Size incl. frame 33.1 x 26.7 cmMatted and framed behind glass.Auction result comparison: Type: RelatedAuction: Sotheby's New York, 20 March2013, lot 314Price: USD 12,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: An Illustration to a Gita Govinda Series: Krishna's Tryst with Radha Expert remark: Compare the related scene and manner of painting as well as the size (16 x 22 cm).Auction result comparison: Type: RelatedAuction: Christie's New York, 18 September 2013, lot 364Estimate: USD 12,500 or approx. EUR 15,500 converted and adjusted for inflation at the time of writingDescription: Krishna and Radha with a friend, India, Kangra or Guler, circa 1880Expert remark: Compare the related scene and manner of painting as well as the size (16.2 x 23.8 cm).

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Galerie Zacke
Lot 111

A BRONZE 'BUDDHIST LION' SCROLL WEIGHT, LATE MING DYNASTY 明末太獅銅鎮China, 16th-17th century. Well cast, the recumbent animal seated curling towards its tail, its face with a fierce expression, the eyes wide and bulging, the mouth agape showing sharp fangs, the muscular lion's legs tucked to the side with the neatly incised mane flowing down its back. The bronze with a rich, naturally grown, dark patina.Provenance: From an Irish private collection.Condition: Very good condition with expected old wear and casting irregularities, small nicks and light scratches.Weight: 255.8 gDimensions: Length 6.7 cm Auction result comparison: Type: Related Auction: Christie's London, 8 November 2013, lot 1434 Price: GBP 8,750 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A bronze 'Buddhist lion' scroll weight, Ming dynasty Expert remark: Compare the related pose, incision work, manner of casting, and dark patina. Note the size (8.4 cm).Auction result comparison:Type: Related Auction: Bonhams London, 9 May 2022, lot 280 Price: GBP 43,140 or approx. EUR 56,000 converted and adjusted for inflation at the time of writing Description: A bronze 'Buddhist lion' scroll weight, 17th centuryExpert remark: Compare the related manner of casting and dark patina. Note the larger size (15 cm). 明末太獅銅鎮中國，十六至十七世紀。太獅伏身昂首向後，狀貌溫馴，嶙峋有致，大眼圓睜，張牙咧嘴。該鎮紙立體圓雕，大小適中，敦厚貴重。包漿豐富細膩。來源：愛爾蘭私人收藏。 品相：狀況極好，有磨損和鑄造不規則、小刻痕和輕微劃痕。 重量：255.8 克 尺寸：長6.7 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2013年11月8日，lot 1434 價格：GBP 8,750（相當於今日EUR 15,500） 描述：明代太獅銅紙鎮 專家評論：比較相近的姿勢、雕刻、鑄造風格和包漿。請注意尺寸(8.4 厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦邦翰斯，2022年5月9日，lot 280 價格：GBP 43,140（相當於今日EUR 56,000） 描述：十七世紀太獅銅紙鎮 專家評論：比較相近的鑄造風格和深色包漿。請注意尺寸較大 (15 厘米)。

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Galerie Zacke
Lot 292

A BRONZE FIGURE OF BUDDHA SHAKYAMUNI, THAILAND, 17TH-18TH CENTURYSeated in dhyanasana on a double lotus base with beaded upper edge raised on a faceted plinth, the right hand lowered in bhumisparsha mudra, the left held in dhyanasana above his lap. He is wearing tight-fitting monastic robes draped over his left shoulder. The serene face with a benevolent smile, flanked by long earlobes, the hair in tight curls surmounted by an ushnisha. The front of the plinth incised with an inscription. Inscriptions: Inscribed to the base.Provenance: From a private collection in Finland.Condition: Some wear, casting flaws, scratches, minor losses, small dents, light nicks, minute cracks. The bronze covered in a rich, dark, naturally grown patina with malachite encrustation. Minor areas of corrosion.Weight: 2,208 gDimensions: Height 24 cmAuction result comparison: Type: Closely relatedAuction: Sotheby's Paris, 11 December 2020, lot 99Price: EUR 3,780 or approx. EUR 4,500 adjusted for inflation at the time of writingDescription: A bronze figure of Buddha, Thailand, 17th-18th centuryExpert remark: Compare the closely related modeling and manner of casting with similar face, hairstyle, seating pose, and base. Note the different hand pose and larger size (34.7 cm).

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Galerie Zacke
Lot 14

A COPPER-INLAID BRONZE FIGURE OF CINTANAMI MAHAKALA, 17TH-18TH CENTURY 十七至十八世紀六臂大黑天銅像Tibetan-Chinese. Heavily cast, standing atop a separate lotus base with beaded rim, the primary hands before the chest, with four hands in apan mudra, dressed in a dhoti tied at the waist and neatly incised, adorned with beaded jewelry and dharma wheel at the belly, the back with a blossom jewel, a streaming ribbon draped over the shoulders, the face with a wrathful expression, open mouth revealing sharp fangs, curling beard, bulging eyes, the flaming hair behind a skull tiara. The teeth, two toes, and earrings with very fine copper inlays. Provenance: From a German private collection, acquired before 2007. Condition: Extensive wear, few losses, small nicks, light scratches, old metal fills, and some casting irregularities. The base cast separately.Weight: 1,017 g Dimensions: Height 17.2 cmMahakala belongs to the class of dharmapalas or protectors of the Buddhist Faith. According to Tibetan tradition, the dharmapalas are pre-Buddhist local deities. They were subdued by the great master Padmasambhava and included in the pantheon as fierce defenders of Tibetan Buddhism. Tibetan iconographic texts describe seven various forms of Mahakala. This six-armed form is known as Cintamani Mahakala or the 'Mahakala with the Wish Bestowing Gem'.Auction result comparison:Type: RelatedAuction: Christie's Paris, 8 June 2010, lot 321Price: EUR 39,400 or approx. EUR 51,000 converted and adjusted for inflation at the time of writingDescription: A partially gilded bronze statue of Cintamanimahakala, Tibet, 18th centuryExpert remark: Compare the related subject, pose, and style of the dhoti. Note the intact gilding and much larger size (27.5 cm).十七至十八世紀六臂大黑天銅像漢藏。本尊造像直立，一面六臂，頭戴骷髏冠，頂豎忿怒髪，雙目圓睜，粗眉上揚，張嘴露齒，耳戴銅耳飾，面相兇忿。胸前飾瓔珞，手臂掛有臂釧，六臂分施不同手印，肢體粗壯有力。整體處理的細緻到位，通體鎏金，水亮厚實，面部生動攝人。牙齒、兩隻腳趾和耳環都鑲有非常精細的銅。 來源：德國私人收藏，購於2007年前。 品相：磨損嚴重，些微缺損、有小磕損、輕微劃痕、舊金屬填充物和一些鑄造不規則現象。底座分開製作。 重量：1,017 克 尺寸：高17.2 厘米 大黑天梵語名瑪哈嘎拉，藏語稱為貢普，原來是古代印度的戰神，進入佛教後，很受密教的崇奉，是觀音菩薩化現的大護法，在護法中地位很高，同時也是密宗修法所依止的重要本尊。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2010年6月8日，lot 321 價格：EUR 39,400（相當於今日EUR 51,000） 描述：十八世紀西藏部分鎏金大黑天銅像 專家評論：比較相近的主題、姿勢和腰部風格。請注意只有部分鎏金和尺寸較大(27.5 厘米)。

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Galerie Zacke
Lot 167

A SLIP-INLAID 'CHILDREN AND GRAPEVINES' CELADON EWER, GORYEO DYNASTY (918-1392) 高麗王朝内嵌童戲葡萄紋青瓷執壺Korea, 13th century. The smooth, curved double gourd form supported on a short foot has a long, slender spout, a narrow mouth atop its smaller bulb, and a finely molded twisted-cord handle with a small ring for suspension. The body of the two bulbs is decorated using black and white slip inlay with a continuous frame of winegrowers alongside children tending to the large vines with grape bunches. The foot is decorated with stylized lotus petals, the mouth with lappets beneath a key-fret band, and the spout and handle with geometric dotted lines.Provenance: From a private collection in France. Condition: Condition commensurate with age, showing expected old wear and firring irregularities, such as glaze recesses, pitting, and minuscule chips to the glaze at the mouth and foot. Minute losses and several cracks, some with old repairs. The minuscule lid on top of the ewer is lost. Please request a UV light video for more details.Weight: 2,034 g Dimensions: Height 35 cm The National Museum of Korea suggests that this kind of ewer was produced at a celadon kiln in Yucheon-ri, boan-myeon, or buan-gun in the north Jeolla-do province. They are decorated using the art of sanggam, which involves etching desired patterns onto dry clay and filling the carved spaces with black and/or white slip. After that, a translucent glaze is applied, and the vessel is fired.Wine made from grapes reached eastern Asia for the first time during the Hellenistic period (321-32 BC). It became highly popular in China 600 years later during the Tang dynasty (618-907 AD) and historians believe it attracted mainstream interest in Korea only after Jesuit missionaries imported it at the beginning of the 17th century. However, it is known that it was available to elite circles much earlier, which explains the rarity of the design on the present ewer to some extent.Literature comparison:Compare a near identical wine ewer with the same decorations and motif, 36 cm high, dated to the Goryeo dynasty, in the National Museum of Korea, accession number Deoksu 19. Compare a closely related celadon ewer with a landscape design, 36 cm high, dated to the Goryeo dynasty, in the National Museum of Korea, accession number Deoksu 91. Compare a related celadon gourd-shaped ewer, 29.8 cm high, dated to the Goryeo dynasty, in the National Museum of Korea, accession number Deoksu 6236.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2002, lot 192 Price: USD 14,100 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: A inlaid celadon stoneware ewer, Goryeo dynasty Expert remark: Note the related style of slip inlay and the similar form. Note the size (34 cm). 高麗王朝内嵌童戲葡萄紋青瓷執壺韓國, 十三世紀。壺身呈葫蘆形，短平足，壺流細長，壺口較小，執柄成絞繩狀，帶有一個用於懸掛的小環。壺身上下兩部分分別内嵌裝飾葡萄豐收與葡萄藤下兒童戲耍的場景。壺口倒蓮紋對應足部蓮瓣紋。壺流與執柄上點綴連珠紋。 來源：法國私人收藏。 品相：狀況極好，有磨損和一些燒製不規則、釉面凹陷、麻點，以及口部和足部釉面的微小磕損。小缺損、裂痕和小修補。水壺頂部的小蓋子遺失。請索取紫外線視頻以了解更多詳細信息。 重量：2,034 克 尺寸：高 35 厘米 韓國國家博物館認爲這種壺是在全羅北道保安面柳川里或扶安郡的一個青瓷窯生產的。它們採用嵌入式釉漿技術進行裝飾，粘土坯體的表面須經雕刻，凹陷處用對比明顯的顏料充填並在施加薄層高透明青釉前打磨平滑。在希臘化時期（公元前 321-32 年），用葡萄釀造的酒首次到達東亞。 600 年後在唐朝（公元 618-907 年）非常流行，歷史學家認為，直到十七世紀初耶穌會傳教士將其引入韓國後，它才引起了韓國主流的興趣。 但眾所周知，它的出現在貴族階層應該更早，這在一定程度上解釋了目前該壺設計的稀有性。文獻比較： 比較一件幾乎相同的高麗王朝酒壺，高36 釐米，收藏於韓國國立中央博物館，館藏編號Deoksu 19。比較一件非常相近的高麗王朝青釉山水壺，高36 釐米，收藏於韓國國立中央博物館，館藏編號Deoksu 91。比較一件相近的青釉葫蘆壺，高29.8 釐米，收藏於韓國國立中央博物館，館藏編號Deoksu 6236。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2002年3月22日，lot 192 價格：USD 14,100（相當於今日EUR 22,500） 描述：高麗王朝青釉鑲嵌炻壺 專家評論：請注意相近的風格和相似的外形。請注意尺寸 (34 釐米)。

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Galerie Zacke
Lot 44

A LARGE THANGKA OF AVALOKITESHVARA SAHASRABHUJA, TIBET, 18TH-19TH CENTURYDistemper and gold on cloth. Finely painted with eleven faces and a thousand arms, the main hands raised at the chest and holding a conch, the secondary hands holding a rosary, a scepter with the dharma wheel, a lotus, a bow and arrow, and kundika, the other 992 hands radiating around him. He is robed in a deerskin and the lower part of his body is covered with fine silks. The central figure is surrounded by Lamas, bodhisattvas, and wrathful deities in a verdant mountainous landscape with swirling clouds.Inscriptions: To the back, 'Om Ah Hum'. Provenance: Acquired by the father of the present owner in Tibet around 1970 and thence by descent. Dr. David Templeman, a scholar of Tibetan Buddhism and Adjunct Research Fellow at Monash Asia Institute, Monash University in Melbourne, Australia, has previously appraised the present lot.Condition: Wear, light fading, creases, folds, fraying to edges, minor losses to pigments, soiling, and stains, overall presenting well. Dimensions: Size 154 x 125.5 cmOne prominent Buddhist story tells of Avalokiteshvara vowing never to rest until he had freed all sentient beings from samsara. Despite strenuous effort, he realizes that many unhappy beings were yet to be saved. After struggling to comprehend the needs of so many, his head splits into eleven pieces. Amitabha, seeing his plight, gives him eleven heads with which to hear the cries of the suffering. Upon hearing these cries and comprehending them, Avalokiteshvara tries to reach out to all those who needed aid but found that his two arms shattered into pieces. Once more, Amitabha comes to his aid and invests him with a thousand arms with which to aid the suffering multitudes.Literature comparison:Compare a related thangka of Avalokiteshvara Sahasrabhuja, 83.8 x 113 cm, dated to the 19th century, in the Rubin Museum of Art, accession number F1997.17.8.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

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Galerie Zacke
Lot 249

A PAIR OF BRONZE FIGURES OF SARIPUTRA AND MAUDGALYAYANA, SHAN STATE Burma, 18th-19th century. Each disciple kneeling on a lotus bloom rising from an elegantly curved stem, the hands clasped together in anjali mudra, the serene face with almond-shaped downcast eyes below gently arched brows, flanked by elongated earlobes.Provenance: French trade.Condition: Very good condition with minor wear and casting flaws, signs of weathering and erosion, encrustations, minuscule nicks, light scratches. The fine, naturally grown patina with malachite and cuprite encrustations.Weight: 1,349 g (excl. stand) and 1,268 g (excl. stand)Dimensions: Height 33.3 cm (excl. stand) and 33.8 cm (excl. stand) Each figure with an associated metal stand. (4)In Burma, two disciples traditionally flank important representations of the Buddha. Their presence is historically inaccurate, considering all the Buddha's friends deserted him at the time of his enlightenment. However, it reflects a traditional Burmese Buddhist belief that the faith was introduced into Burma by two of his disciples during the Buddha's lifetime. These two disciples begin to appear as early as the 11th century A.D. and can be identified as two of the chief disciples, Maudgalyayana and Sariputra. Here, the two are depicted in their traditional representation: seated in poses of quiet contemplation. They wear simple robes consistent with the monastic order. They are always depicted slightly smaller than the Buddha in order to reveal their status as disciples. Together, they represent an aspect of Buddhist art unique to Burma.Sariputra and Maudgalyayana were the Buddha's chief male disciples. Traditional accounts say they became spiritual wanderers in their youth. After having searched for spiritual truth for a while, they heard the Buddhist teaching through verses that had become widely known in the Buddhist world. Eventually they met the Buddha himself and were ordained as monks under him. Sariputra was considered the wisest of all Buddha's disciples. Both disciples became teachers, and Maudgalyayana became known for his psychic powers which he taught to his pupils.Literature comparison:Compare a related bronze triad of the buddha with Sariputra and Maudgalyayana, 36 cm high, dated to the 19th century, in the British Museum, registration number 1939,0120.1

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Galerie Zacke
Lot 143

A LARGE CIZHOU BLACK-GLAZED RIBBED JAR, SONG DYNASTY 宋代磁州窯黑釉瀝線紋雙係罐China, 12th century. The ovoid form rising from a short spreading foot to a short straight neck with an everted rim flanked by two scrolling handles. The body decorated with narrowly spaced vertical ribs formed by trails of white slip. Covered by a lustrous black glaze that continues beyond the rounded mouth rim towards the inside and thins to pale russet on the ribs and the slip ribs that decorate the tapering strap handles. The interior is covered with a thin transparent glaze of mottled brown tone, as are the lower body and base. The foot remains unglazed, revealing the buff ware.Provenance: Hang Tang Cheng, Dragon House, San Francisco, USA, 1990s. A private collection in North America, acquired from the above and thence by descent. With an old collector's label, manually inscribed 'N. Song Jin 12 c, Large wide mouth, jar with vertical ribs, 37, two Kaf handle, Northern blackware, Cizhou type, light grey structure, 01-157SL501-5.' Hang Tang (Hank) Cheng is a well-respected dealer and appraiser of Asian art who ran the famous Dragon House antiques shop in San Francisco, established in 1979. Hank Cheng worked closely with museums, institutions, and auction houses including the Asian Art Museum, Bonhams, and Christie's.Condition: Very good condition with old wear, expected traces of use, and some firing flaws. Few small chips to foot, minor fritting to rim.Weight: 2,534.5 gDimensions: Height 22 cm With a padded silk box and cover. (2)Notable for its large, wide-mouthed globular body and its lustrous dark glaze, the present jar is a remarkable example of Cizhou-type wares produced at numerous kilns in Henan, Hebei and Shandong Provinces in North China during the twelfth century. The attractive ribs were meticulously applied in slip onto the surface of the vessel before the application of the glaze, creating a striking contrast between the raised ridge and the convex areas with the darker glaze.Dark-glazed, high-fired ceramic vessels were highly regarded as solid, practical wares. Their production began during the Tang dynasty (618-907) and rapidly spread throughout China. The development of black wares during the Northern Song period (960-1127) appears to have been inspired by contemporaneous plain lacquerware, and different kilns developed their own styles. Ribs made of white slip were first used on ceramics during the Tang dynasty in imitation of lacquer and silver. Later they were added to the exterior body of the vessel during the tenth and eleventh century and ribbing finally emerged as an important tool of decoration in its own right by the twelfth century, also enabling better and safer handling of the vessel itself.Literature comparison: Compare a closely related slip ribs and black glaze cizhou jar with handles, dated to the late Northern Song (960-1127)-Jin (1115-1234) dynasty, 12th century, 19.7 cm high, in the Metropolitan Museum of Art, accession number 1997.1.7. Also compare a related large cizhou-type black-glazed ribbed jar, dated to the Northern Song/Jin dynasty, 12th century, 20.6 cm high, at Christie's New York, 30 March 2005, lot 295. Compare a similar black-glazed ribbed jar, Northern Song to Jin period, in the Arthur M.Sackler Museum, Cambridge MA, is illustrated in Hare's Fur, Tortoiseshell and Partridge Feathers, Cambridge MA, 1995, p. 176, no. 61.Auction result comparison: Type: Closely relatedAuction: Bonhams London, 18 May 2023, lot 48Estimate: GBP 15,000 or approx. EUR 17,500 converted at the time of writingDescription: A black-glazed 'ribbed' jarExpert remark: Note the smaller size (20.3 cm). 宋代磁州窯黑釉瀝線紋雙係罐中國，十二世紀。唇口，直頸、鼓腹、圈足，雙係耳，施黑釉，腹部均等距離的垂直凸起的瀝線，線條纖細，凸線紋部分呈金黃色。底足部露胎。 來源：美國舊金山Hang Tang Cheng，Dragon House，上世紀九十年代；北美私人收藏購於上述藝廊。舊收藏標籤上手寫 'N. Song Jin 12 c，Large wid mouth，jar with vertical ribs，37，two Kaf handle，Northern blackware，Cizhou type，light grey structure，01-157SL501-5. Hang Tang (Hank) Cheng 是一位備受尊敬的亞洲藝術品經銷商和鑑定師，他經營著舊金山著名的 Dragon House 古董店，該店成立於 1979 年。Hank Cheng 與亞洲藝術博物館、邦瀚斯和佳士得等博物館、機構和拍賣行密切合作。 品相：狀況極好，有磨損、使用痕跡和一些燒製缺陷。腳部幾乎沒有小缺口，邊緣有輕微磨損。 重量：2,534.5 克 尺寸：高 22 厘米 蓋盒内襯絲綢 (2) 此罐造型碩大，廣口球形，釉色瑩潤，是十二世紀華北河南、河北、山東等地眾多窯爐燒製的磁州窯的典型代表。在施釉之前，瀝線被小心翼翼地塗在器皿表面上，在凸起的脊線和凸出的區域與深色釉料之間形成鮮明的對比。深色釉、高溫燒製的陶瓷器皿是堅固實用的器皿。它們的生產始於唐代（618-907）並迅速傳播到中國各地。北宋時期（960-1127）黑瓷的發展似乎受到了同時代素色漆器的啟發，不同的窯爐也發展出了自己的風格。 白泥製成的瀝線最早用於唐代陶瓷上，仿漆、仿銀。後來，在十世紀和十一世紀，它們被添加到容器的外部主體上，到十二世紀，瀝線最終成為一種重要的裝飾工具。文獻比較： 比較一件非常相近的北宋末期至金代十二世紀磁州黑釉棱線紋雙繫罐，高19.7 釐米，收藏於大都會藝術博物館，館藏編號1997.1.7。比較一件相近的北宋至金代十二世紀磁州黑釉瀝線紋雙係罐，高20.6 釐米，見紐約佳士得，2005年3月30日，lot 295。比較一件的北宋至金代磁州黑釉瀝線紋雙係罐，收藏於哈佛Arthur M.Sackler博物館，見Hare's Fur，《Tortoiseshell and Partridge Feathers》，劍橋，1995年，頁176，編號61。 拍賣結果比較： 形制：非常相近拍賣：倫敦邦瀚斯，2023年5月18日，lot 48 估價：GBP 15,000（相當於今日EUR 17,500） 描述：北宋/金黑釉棱線紋雙繫罐 專家評論：請注意尺寸較小 (20.3 釐米)。

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Galerie Zacke
Lot 211

A BRONZE FIGURE OF GANESHA, SOUTH INDIA, 17TH-18TH CENTURYHeavily cast, seated on a round pedestal encircled by lotus petals, flanked by his vehicle the rat holding a ladoo ball and a cobra rising over sweets, his four hands holding an axe, prayer beads, a goad, and a ladoo ball which he samples from with his trunk. The body adorned with a beaded necklace and a short dhoti around his waist. The face with large almond-shaped eyes and neatly incised brows, the hair secured by a tall crown. Provenance: From an old private collection on the East Coast, USA. The base with a label 'B43'.Condition: Good condition with small casting flaws, few light scratches, minor nicks and losses, extensive old wear from centuries of worship.Weight: 3.9 kgDimensions: Height 20 cm

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Galerie Zacke
Lot 182

A FINE BRONZE FIGURE OF BENTEN WITH DRAGON, MEIJIJapan, Meiji period (1868-1912) Finely cast as a sinuously coiled dragon clambering up a rock, depicted with finely incised scales, ridged spine, long horns, and spiked mane. The rock surmounted by a bejeweled Benten, seated, and holding a Tama (magical pearl) in her hand, luring the dragon towards her, wearing a long flowing robe opening at the chest, the neatly cast hair arranged in an elaborate coiffure. Condition: Very good condition with minor wear and casting flaws, few minuscule nicks, occasional light scratches. One side of the dragon slightly loose. Provenance: Austrian private collection. Weight: 3,667 g Dimensions: Height 27 cm

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