A PINK SANDSTONE STELE OF BUDDHA SHAKYAMUNI, KUSHAN PERIOD, MATHURA, LATE 1ST TO EARLY 2ND CENTURYOf rectangular form with an arched top, finely and deeply carved in high relief, depicting Buddha seated in dhyanasana atop a tiered square plinth with three lions, flanked by chauri bearers below flying apsaras. He is wearing a heavily pleated robe draped over his left shoulder. His serene face with heavy-lidded almond-shaped eyes below thick, elegantly arched brows centered by a circular urna, the hair surmounted by a whorled ushnisha, backed by a sun-form halo.Provenance: From the collection of Jean-Marc Andral, acquired between 1996 and 2005 at Galerie Carre des Antiquaires in Versailles, France. A copy of a provenance statement, written and signed by Jean-Marc Andral, dated 31 July 2022, accompanies this lot. Jean-Marc Andral is a Belgian manager based in Brussels and active in the healthcare industry for over 25 years.Condition: Very good condition, commensurate with age. Some wear, minor losses, few structural cracks, small nicks, light scratches, signs of weathering and erosion, encrustations. Dimensions: Height 52 cm (excl. stand) and 54 cm (incl. stand)With a modern metal stand. (2)Literature comparison: Compare the closely related pink sandstone stele of Buddha, known as the “Katra stele”, dated end of 1st century AD, in the Government Museum, Mathura, illustrated in James C. Harle, The Art and Architecture of the Indian Subcontinent, Yale University Press, 1994, p. 63, no. 43 (where it is dated to the early 2nd century). Compare a closely related sandstone stele of Buddha, dated 110 AD, in the National Museum, New Delhi, object number L.55.25. Compare a related pink sandstone stele of Buddha, 93 cm high, dated c. 131 AD, in the Kimbell Art Museum, accession number AP 1986.06.
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A BLUE AND WHITE 'EIGHT HORSES OF MU WANG' BOWL, KANGXI PERIODChina, 1662-1722. Of conical form, supported on a straight foot and rising to an everted rim protected by a copper band, which is original to the piece. The widely flared sides painted to the exterior with seven lively horses in a continuous grass field landscape with mountains in the background. The interior with a medallion showing the eighth horse, resting between two craggy rocks with its abdomen facing upwards.Provenance: From a private collection in London, United Kingdom. Condition: Very good condition with only minor wear, few firing irregularities, and light scratches.Weight: 299 g Dimensions: Diameter 17.5 cmThe recessed base with an apocryphal six-character mark da Ming Jiajing nianzhi within a double circle.The charming scene represents the Eight Horses of King Mu Wang, who reigned during the Zhou dynasty in the 10th Century BC, and these Eight Horses were his favorite chargers which pulled the Emperor's chariot as he progressed about his realm to visit the Goddess Hsi Wang Mu.Expert's note: The present lot belongs to a small yet well-recorded group of blue and white bowls, all painted with the Eight Horses of Mu Wang, and bearing six-character marks da Ming Jiajing nianzhi within a double circle. Note that it has most recently been suggested by some scholars that these bowls might rather date to the Jiajing period (1521-1567) instead of the Kangxi period (1662-1722).Literature comparison:For a pair of dishes with similar iron-painted rims and Jiajing marks, dated to the early Qing dynasty, see Yeo and Martin, Chinese Blue & White Ceramics, Arts Orientalis, Singapore, 1978, p. 248 and pl. 160, nos. 296 and 297. Another bowl of similar form, horse decoration, and Jiajing mark, dated to the later Transitional period is published in Richard Kilburn, Transitional Wares and Their Forerunners, Oriental Ceramic Society of Hong Kong, 1981, p. 148, no. 97.Auction result comparison: Type: Closely relatedAuction: Galerie Zacke, Vienna, 11 March 2022, lot 489 Price: EUR 8,848 Description: A blue and white 'eight horses of Mu Wang' bowl, Kangxi periodExpert remark: Compare the closely related form, motif, manner of painting, and Jiajing mark. Note the size (16.7 cm).康熙時期青花《穆王八駿》碗中國，1662-1722年。碗敞口，微外撇，斜腹，圈足，口沿施醬色釉。碗外壁青花描繪群山為景，七匹馬或是嬉戲，或是休憩，或是奔跑。碗内開光青花繪製第八匹馬。 來源：英國倫敦私人收藏。 品相：狀況極好，只有輕微磨損、燒製不規則和輕微劃痕。 重量：299 克 尺寸：直徑17.5 厘米 圈足内青花雙圈僞“大明嘉靖年製”款。 專家注釋：這類青花碗產量雖小，但記錄詳實，均繪《穆王八駿圖》，雙圈內書“大明嘉靖年製”六字款。最近一些學者提出這些碗可能是嘉靖時期（1521-1567）而非康熙時期（1662-1722）。 文獻比較： 一對清代初期嘉靖款相似瓷盤，見Yeo和Martin，《Chinese Blue & White Ceramics，Arts Orientalis》，新加坡，1978年，頁248和圖160，編號296和297。另一件相似外形的過渡時期嘉靖款馬圖碗，出版於Richard Kilburn，《Transitional Wares and Their Forerunners》，香港陶瓷學會，1981年，頁148，編號97。 拍賣結果比較： 形制：非常相近 拍賣：維也納Galerie Zacke，11 3月 2022年，lot 489 價格：EUR 8,848 描述：康熙 “穆王八駿”青花碗 專家評論：比較非常相近的外形、畫風和嘉靖款。請注意尺寸(16.7 厘米)。
A SILVERED BRONZE 'DEITIES AND BEASTS' MIRROR, HAN DYNASTYChina, 206 BC to 220 AD. Of circular form, the central knob is encircled by six seated deities flanked by mythical beasts, all cast in high relief within a band of semi-circles alternating with rectangles, each enclosing a stylized character, followed by a raised sawtooth band next to a band of stylized insects and scrolls. The knob and reverse lacquered black.Provenance: Collection of Dr. Walter Rieder (1890-1986), thence by descent. Old inventory labels to the mirror 'RIE.1976.299' and '82'. Dr. Walter Rieder served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialized in educational, literary, and philanthropic work and Dr. Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics, and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr. Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr. Rieder forged with local artists, some of whom he knew from his teaching activities. Dr. Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr. Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018. Condition: Good condition, commensurate with age and as expected for an authentic bronze with an age of ca. 2,000 years. Extensive weathering, cracks, few small nicks and light surface scratches, and minor encrustations. The silvering is remarkably well preserved overall, which makes this mirror quite rare.Weight: 252.8 g Dimensions: Diameter 12.1 cmLiterature comparison:Compare a related silvered bronze mirror with deities, beasts, and characters, Han dynasty, in the collection of the British Museum, museum number 1947,0721.1. A closely related bronze mirror dated to the Eastern Han dynasty is illustrated by Jessica Rawson and Emma Bunker, Ancient Chinese and Ordos Bronzes, Hong Kong, 1990, p.256, no.175.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2015, lot 719Price: USD 37,500 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: A bronze circular mirror with deities and animals, China, mid-late Eastern Han dynasty, late 2nd-3rd century ADExpert remark: Compare the closely related motif. Note the different size (14 cm) and the lack of silvering.Auction result comparison:Type: Closely relatedAuction: Bonhams Paris, 26 October 2022, lot 220Price: EUR 6,375Description: A bronze circular mirror, Eastern Han dynastyExpert remark: Compare the closely related motif and black lacquer. Note the different size (9.5 cm) and the lack of silvering.漢代鎏銀瑞獸銅鏡中國，公元前206 年至公元220年。圓形，背面中央圓鈕，四周環繞著六隻神獸，外圍多圈花紋帶，如鋸齒紋，昆蟲紋。旋鈕和鏡面成黑色。 來源：Dr. Walter Rieder (1890-1986) 收藏，保存至今。鏡面可見收藏標籤 'RIE.1976.299' 與 '82'。Dr. Dr. Walter Rieder 1930 年 10 月至 1951 年 12 月間在山東青島的瑞士東亞傳道部 (SOAM) 任職。該傳道部專門從事教育、文學和慈善工作，而Rieder博士實際上不是神學家或傳教士，而是一位SOAM 附屬高中的數學、物理和科學教師。他的教育原則是“在不同文化之間建立理解”和“在東西方之間架起橋樑”。在青島期間，Rieder博士收藏了種類繁多的中國藝術品。收藏中的物品為了解二十世紀下半葉青島的古玩類型提供了一個獨特的窗口。他的收藏除了展現他對中國藝術的熱情外，還可從中看出Rieder博士與當地藝術家建立的個人友誼，其中一些藝術家是他從教學活動中認識的。 Rieder 博士採用學術方法研究他的收藏。除了他的許多藏品外，有時還可以找到細緻的筆記，詳細介紹其藝術發展史。因此，其收藏成為 Rieder 博士了解中國歷史和文化的窗口。他的收藏曾於 2006年和 2018年在瑞士因特拉肯美術館館展出。品相：品相良好，與年代相稱。大面積風化、裂紋、少量的小刻痕和輕微的表面劃痕，輕微的結殼。鎏銀整體保存良好。 重量：252.8 克 尺寸：直徑12.1 厘米
A THAI BRONZE FIGURE OF BUDDHA, AYUTTHAYA KINGDOMThailand, 17th century. Cast standing in samabhanga, the right hand raised in abhaya mudra and the left elegantly lowered at the side, wearing a long samghati robe secured with a belt around his hips and covering his left shoulder. The face showing a serene expression with downcast eyes below elegantly arched brows, flanked by elongated earlobes, the hair in tight curls over the ushnisha surmounted by a flame. The bronze with a fine, solid patina with malachite encrustations.Provenance: RD collection, Paris, France. Acquired in the trade in Monte Carlo, Principality of Monaco. Condition: Good condition, commensurate with age. Extensive wear and some weathering, minor losses, few nicks, light scratches, and cracks.Weight: 1,254 g (incl. stand) Dimensions: Height 33.7 cm (excl. stand), 42.8 cm (incl. stand)Mounted to a modern wood stand. (2) Auction result comparison:Type: RelatedAuction: Galerie Zacke, Vienna, 6 March 2021, lot 724Price: EUR 5,688 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: A Thai bronze figure of Buddha, Ayutthaya kingdomExpert remark: Compare the related pose, robe, period, patina, and size (34.6 cm). Note the different headdress.
A COPPER-INLAID BRONZE FIGURE OF CINTANAMI MAHAKALA, 17TH-18TH CENTURYTibetan-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)。
A SMALL ROBIN'S EGG GLAZED 'ARCHAISTIC' BASIN, 18TH CENTURYChina. The vessel of flattened circular form, the exterior finely molded with mask handles suspending mock rings, framed by recessed bands below an incurved rim and short foot, covered overall with an opaque turquoise glaze densely mottled in bright and dark blue save for the broad unglazed foot rim encircling the countersunk base.Provenance: From a noted private collection in Geneva, Switzerland, assembled since the 1960s, and thence by descent. An important part of this collection was on permanent loan and exhibited over several decades at the Asia-Africa Museum in Geneva. The base lacquered with an old inventory number, 'AMA-3081', and further with two old labels, '3081' and 'Art Ancien de Chine & Extrême-Orient Geneve. 4237/2. K. Lung 1736' Condition: Good condition with some wear and expected traces of use, the interior with light surface scratches, tiny glaze recesses. One side with a thin, barely visible hairline.Weight: 170.4 g Dimensions: Width 10 cm (at the widest points)As early as the Song dynasty, the Imperial court was fascinated with archaic objects and many wares were produced in imitation of ancient forms. The shape of the present censer, although flattened, is reminiscent of bronze containers known as lian, which were among the ritual implements aimed to present food and drink offerings to the ancestors during the Han dynasty. As such, the present censer may not only be emulating the bronze prototype, but also the ceramic form of the Northern Song dynasty, as exemplified by a Ruyao tripod incense burner from the Qing Court collection, illustrated in Porcelain of the Song Dynasty (I): The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1996, p. 2, no. 1.The 'Robin's egg' glaze represents a significant technical innovation of the Yongzheng period (1723-35) attributable to Tang Ying (1682-1756), the greatest porcelain superintendent in Chinese history. The Yongzheng Emperor, who initiated many revivals of earlier ceramic techniques, was particularly enamored with the variegated Jun glazes of the Song (960-1279) and Ming (1368-1644) dynasties. In order to have the glazes recreated or imitated, Tang Ying sent his trusted assistant from the imperial kilns in Jingdezhen, Jiangxi province, on study trips to the Jun region in Henan province to learn from the local potters and even went as far as having ceramic raw materials mined in the Jun area transported over thousands of kilometers to Jingdezhen. Among the many types of glazes derived from those efforts are mottled purple ones such as the flambe variety, and mottled turquoise ones such as 'robin's egg', which Tang Ying termed Lu Jun or Oven Jun, i.e., a Jun glaze fired in low-temperature ovens instead of high-temperature kilns (see Jingdezhen Institute of Ceramic Archaeology et al, The Cultures of Porcelain Superintendents and Jingdezhen, conference volume, Nanchang, 2011). The 'robin's egg' glaze is mentioned on a stele in Jingdezhen, inscribed by Tang Ying, as one of the major types of ceramics that he succeeded in firing and proposed as suitable for regular delivery to the Imperial court. Its color is described as intermediate between the glazes of the Shiwan kilns of Foshan, Guangdong, and those used by the Yixing kilns in Jiangsu for their zisha tea pots, but having a better and more beautiful flow.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 24 November 2013, lot 234 Price: HKD 600,000 or approx. EUR 91,000 converted and adjusted for inflation at the time of writing Description: An archaistic robin's-egg glazed vase, cong, 18th centuryExpert remark: Compare the related glaze and archaistic design. Note the size (height 14.4 cm). Auction result comparison: Type: Related Auction: Sotheby's London, 3 November 2021, lot 9 Price: GBP 5,292 or approx. EUR 7,000 converted and adjusted for inflation at the time of writing Description: A 'robin's egg'-glazed 'double-peach' washer, Qing dynasty, 18th/19th centuryExpert remark: Compare the related glaze. Note the similar size (length 9.6 cm).十八世紀爐鈞釉仿古小盆中國。扁平圓形器皿，外壁中央環紋，兩側饕餮輔首啣環，弧形邊沿，底足未上釉，内凹處有釉，通體施不透明綠松石色爐鈞釉。 來源：瑞士日内瓦私人收藏，建立於上世紀六十年代，保存至今。這個收藏重要的一部分長期在日内瓦亞非博物館展出。底部有收藏編號AMA-3081，以及另外兩個標籤 '3081'與 'Art Ancien de Chine & Extrême-Orient Geneve. 4237/2. K. Lung 1736' 。 品相：品相良好，有一些磨損和使用痕跡，內部有輕微的劃痕，微小的釉面凹陷。一側有細的、幾乎看不見的裂紋。 重量：170.4 克 尺寸：寬 10 厘米 (最寬處)
A GILT BRONZE FIGURE OF A MAHASIDDHA, TIBET, 15TH-16TH CENTURYSeated with his legs crossed on a double lotus base with beaded upper rim, both hands in karana mudra, dressed in a tiger skin, embellished with fine jewelry tied above the belly, the face with a semi-wrathful expression, flanked by elongated earlobes suspending floral earrings, surmounted by a skull crown, the hair tied in a high chignon below a jewel. Provenance: From the collection of Joost Slingerland, Yorkshire, United Kingdom, and thence by descent. A label, '2' inside the base. Joost Slingerland was a Dutch collector of Hindu and Buddhist bronzes from India, Southeast Asia, and the Himalayas, based in Driffield, Yorkshire. He assembled his collection between 1995 and 2005 and regularly came to London to acquire pieces. Condition: Very good condition with minor wear, few nicks, light surface scratches, the inlays lost, and casting flaws. The base unsealed.Weight: 264.3 g Dimensions: Height 11.8 cmThere are eighty-four Mahasiddhas of Tantric Buddhism who can be male and female, kings and beggars, young and old, monks and laymen who through experiencing different kinds of life crises, attain the realization of the Buddha's teachings leading to the status of a guru or a tantric master. Auction result comparison:Type: RelatedAuction: Bonhams London, 15 May 2014, lot 266Price: GBP 18,750 or approx. EUR 29,000 converted and adjusted for inflation at the time of writingDescription: A gilt-bronze figure of a Mahasiddha, 14th/15th centuryExpert remark: Compare the related motif and embellishments. Note the slightly larger size (14.3 cm) and the dating to the 14th-15th century.Auction result comparison:Type: RelatedAuction: Bonhams New York, 14 March 2017, lot 3252Price: USD 25,000 or approx. EUR 28,500 converted and adjusted for inflation at the time of writingDescription: A Gilt Copper Alloy Figure Of Kanha, Central Tibet, 16th CenturyExpert remark: Compare the related motif, pose and embellishments. Note the larger size (20 cm).十五至十六世紀西藏銅鎏金大成就者坐像成就佛造像為菩薩裝束，雙手施大手印，全跏趺坐於蓮座之上，蓮座上飾連珠紋；頭戴骷髏冠，耳戴環璫。長眉細目，雙眼低垂，面龐端正，呈寂靜相。袒露上身，帔帛搭於雙肩，胸前飾項圈瓔珞，下著長裙，繫腰帶。 來源：英國約克郡Joost Slingerland收藏，保存至今。底部内部有一個標籤 '2'。Joost Slingerland是一位荷蘭收藏家，專注收集來自印度、東南亞和喜馬拉雅山的印度教和佛教青銅造像，常年生活在約克郡德里菲爾德。他在 1995 年至 2005 年期間開始收藏，並定期去倫敦尋找藏品。品相：狀況極好，有輕微磨損、少許劃痕，鑲嵌物丟失，有鑄造缺陷。底座未密封。 重量：264.3 克 尺寸：高 11.8 厘米 密宗有八十四大成就者，有男有女，有國王乞丐，有老有小，有僧有俗，通過經歷不同的人生危機，證悟佛法，成為上師或密宗大師。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2014年5月15日，lot 266 價格：GBP 18,750（相當於今日EUR 29,000） 描述：十四/十五世紀銅鎏金大成就者像 專家評論：比較相近的主題和點綴。請注意尺寸稍大(14.3 厘米) ，以及斷代為十四至十五世紀。 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2017年3月14日，lot 3252 價格：USD 25,000（相當於今日EUR 28,500） 描述：藏中十六世紀銅鎏金甘赫像 專家評論：比較相近的主題、姿勢和點綴。請注意尺寸較大(20 厘米)。
AN ELABORATELY MOLDED AND RETICULATED FAMILLE ROSE BRUSHPOT, BITONG, REPUBLIC PERIODChina, 1912-1949. The sides decorated with three quatrefoil panels enclosing mountain and river landscapes with gnarled trees, pavilions, and figures, the treetops and roof tiles finely molded and with minuscule reticulation work, all above a turquoise ground set with small bosses on an incised cash coin pattern, the mouth with a finely textured yellow rim.Provenance: From a private collection in New York, USA. Condition: Very good condition with minor wear, tiny losses to the molded and reticulated details, few light scratches, and manufacturing flaws including minor firing cracks.Weight: 2,206 g Dimensions: Diameter 20.4 cmThe broad unglazed foot rim encircling the countersunk base impressed in relief with a very fine apocryphal six-character mark da Qing Qianlong nianzhi.民國堆塑粉彩開光筆筒中國，1912-1949年。外壁綠松石色地，整齊的小圓點，組成錢幣圖案；倭角開光，山水景觀，林間房屋、亭台樓閣和人物，樹梢和屋頂瓦片經過精心模製並帶有微小的網紋。黃色邊緣。 來源：美國紐約私人收藏。 品相：狀況非常好，有輕微磨損、模製和網狀細節的微小損失、輕微劃痕和製造缺陷，包括輕微燒製裂紋。 重量：2,206 克 尺寸：直徑20.4 厘米 平底内凹，綠松石色釉，浮雕紅色“大清乾隆年製“寄托款。
A LARGE UNDERGLAZE-BLUE AND COPPER-RED GLAZED CHARGER, KANGXI PERIODChina, 1662-1722. The shallow rounded sides supported on a short foot, the interior painted in shades of cobalt blue and copper red with a river landscape at night, the full moon emerging from wispy clouds above a flock of birds at flight, two sages standing by a stream with pavilions scattered amid rocks, trees, and bushes. Provenance: British trade Condition: Very good condition with minor wear, light surface scratches, and firing flaws including pitting, dark spots, a porcelain wart, and firing cracks.Weight: 2,317 g Dimensions: Diameter 37.8 cmLiterature comparison: Compare a related underglaze blue and copper red dish, 36.5 cm diameter, also dated to the Kangxi period, in the British Museum, museum number Franks.493.+.Auction result comparison:Type: RelatedAuction: Christie's New York, 16 March 2015, lot 3589Price: USD 62,500 or approx. EUR 74,000 converted and adjusted for inflation at the time of writingDescription: A large underglaze-blue and copper-red-decorated dish, early Kangxi period, circa 1670Expert remark: Compare the related form, colors, shadings, style and period. Note the size (33.2 cm).康熙大型青花釉裏紅山水盤中國，1662-1722年。敞口，弧腹，淺盤，圈足。滿月浮雲，月下江景，空中飛鳥，二人立於江邊，亭台樓閣散佈在岩石、樹木林中。 來源：英國古玩交易。 品相：狀況非常好，有輕微磨損、表面劃痕和燒製缺陷，包括點蝕、黑點和燒製裂紋。 重量：2,317 克 尺寸：直徑37.8 厘米 文獻比較： 比較一件相近康熙青花釉裏紅山水盤，直徑36.5 厘米，收藏於大英博物館，館藏編號 Franks.493.+。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年3月16日，lot 3589 價格：USD 62,500（相當於今日EUR 74,000） 描述：清康熙早期(約1670年) 青花釉裏紅西廂記人物故事圖大盤 專家評論：比較相近的外形、顏色、陰影、風格和年代。請注意尺寸 (33.2 厘米)。
A JUN-TYPE FLAMBE-GLAZED DISH, CHINA, 18TH CENTURYOpinion: The beautiful glaze that transitions from a deep purple at the rim to a light blue around the cavetto in very thin, uniform streaks is characteristic of Qianlong-period flambe wares.The shallow rounded sides rising from a short foot to an everted rim. The interior glazed in a deep purplish-red that suffuses to a pale blue, the well with copper-green splashes, some of which have darkened significantly over time. The thick glaze thinning towards the rim to reveal the fine white porcelain. The foot neatly polished.Provenance: From the collection of Dr. Frederick Whiting (1861-1946), mostly assembled before 1930, and thence by descent in the same family. The base with an old label, '46'. An 1890 graduate of the University of Vienna, Austria, Dr. Whiting was a Fellow of the American College of Surgeons and a member of the New York Academy of Medicine. He was a recognized collector of American paintings and Chinese porcelains, and a respected author, having written numerous scientific articles as well as a book on surgical techniques titled 'The Modern Mastoid Operation'.Condition: Very good condition with minor wear and firing irregularities original to manufacture. The foot smoothened in some areas, probably inherent to manufacturing, due to the uneven glaze dripping along the foot rim which is expected from this type of ware.Weight: 494.7 gDimensions: Diameter 17.6 cmAlso known as transmutation ware, flambe porcelains came to being thanks to early Imperial interest in the glazes of antiquity. Flambe porcelains are a direct result of Jingdezhen potters' attempts to re-create the famous Junyao of the Song dynasty. The splashes of metallic blue, purple, and reddish-brown are the results of the transmutation of colloidal copper, iron, or other metallic minerals in the glaze surface. Is it very common for these wares, being fired in high temperatures, for the glaze to overrun at the base and require grinding after firing.Literature comparison: Compare a closely related flambe-glazed dish of similar form and exhibiting the same characteristic streaking to the glaze, 26 cm diameter, also dated to the 18th century, in the Metropolitan Museum of Art, accession number 91.1.388. It is interesting to note that Dr. Whiting was in New York around the time of the Metropolitan's acquisition of their dish (1891) and may have had a chance to see it during his lifetime. Compare a related jun-type lavender-glazed dish, Ming Dynasty, 17.5 cm diameter, dated 1400-1435, in the British Museum, registration number 1936,1012.88.Auction result comparison:Type: RelatedAuction: Christie's, New York, 18 March 2009, lot 556.Price: USD 134,500 or approx. EUR 170,000 converted and adjusted for inflation at the time of writingDescription: A very rare early Ming Jun-type dish, Yongle/Xuande period, first quarter 15th centuryExpert remark: Acquired around the same 1890 period, this dish shows a continuous interest in the replication of Jun ware from an even earlier period. Compare the similar colors and related size (17 cm), demonstrating that there is a clear canon being followed by the Ming and Qing potters.十八世紀仿鈞窯變釉盤折沿，淺弧腹，淺圈足。盤內釉面呈深紫紅色，逐漸泛出淡藍色，盤中央花樣綠斑，隨著時間的推移，其中一些已經明顯變暗。邊緣釉面變薄，露出精美的瓷胎。圈足被打磨良好。美麗的釉面從邊緣的深紫色過渡到淺藍色，形成非常細、均勻的條紋，這是乾隆時期燒製瓷器的特徵。 來源：Dr. Frederick Whiting (1861-1946) 收藏, 大多藏品購於1930年前, 在同一家族保存至今。底座有一個老標籤 '75'。 Whiting 博士於 1890 年畢業於奧地利維也納大學，是美國外科醫學院的院士，也是美國耳科學會、紐約耳科學會和紐約醫學院的成員。Whiting博士還是許多俱樂部的成員，其中包括紐約運動俱樂部、丁香谷杆槍俱樂部、世紀協會和康涅狄格州辛辛那提協會。他是一位公認的美國繪畫和中國瓷器收藏家，也是一位受人尊敬的作家，撰寫了大量科學文章以及一本名為《The Modern Mastoid Operation》的外科技術書籍。 品相：狀況極好，有輕微磨損和燒製瑕疵。足部在某些區域變得光滑，這可能是製造所固有的。 重量：494.7 克 尺寸：直徑 17.6 厘米
A SANCAI-GLAZED 'FLORAL' DISH, LIAO DYNASTYChina, 907-1125. Well potted with shallow sides rising from a short foot, the interior molded with a single chrysanthemum surrounded by peony blossoms picked out in amber and with emerald-green leaves against a creamy ivory ground, the exterior glazed in amber stopping well above the foot, revealing the buff gray ware. Provenance: From the collection of R. Marian Hicks, OBE, who was a professor at the School of Pathology and Department of Oncology at Middlesex Hospital Medical School, London. She was an avid collector of Tang and Song dynasty ceramics and her noted collection also included Chinese bronzes, textiles, and rank badges. Condition: Very good condition with minor wear, light surface scratches, minuscule glaze losses, and manufacturing flaws including spur marks, glaze crackling, and pottery lines.Weight: 778.1 g Dimensions: Diameter 24.9 cmLiterature comparison: Compare a related sancai dish found in Chifeng, Inner Mongolia, illustrated in Complete Collection of Ceramic Art Unearthed in China, vol. 4, Beijing, 2008, p. 72. Compare also with a related dish, illustrated in Tsugio Mikami, Ceramics Art of the Word, volume 1981, page 19, pl. 9. Auction result comparison:Type: Closely relatedAuction: Christie's New York, 6 December 2017, lot 65Price: USD 6,875 or approx. EUR 7,800 converted and adjusted for inflation at the time of writingDescription: A sancai-glazed pottery dish, Liao dynasty, 10th centuryExpert remark: Compare the closely related form, decoration, glaze, and size (24.5 cm)遼代三彩花卉紋盤中國，907-1125年。敞口，斜腹，圈足。碗心模印團菊一朵，周圍環繞牡丹花紋，飾葉紋，盤內施黃，綠，白三色釉彩，盤外施半釉。 來源：R. Marian Hicks私人收藏，她是倫敦米德爾塞克斯醫院醫學院病理學院和腫瘤學系的教授。她特別喜歡收藏唐宋陶瓷，收藏中還包括中國青銅器、紡織品和軍銜徽章。 品相：狀況極好，有輕微磨損、表面劃痕、極小的釉料缺損、製造缺陷、釉面裂紋和陶紋。 重量：778.1 克 尺寸：直徑24.9 厘米 文獻比較： 比較一件相近的內蒙古赤峰市出土的三彩盤，見《Complete Collection of Ceramic Art Unearthed in China》，卷4，北京，2008年，頁72。比較一件相近的彩盤，見 Tsugio Mikami，《Ceramics Art of the Word》，第1981期，頁19，編號9。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2017年12月6日，lot 65 價格：USD 6,875（相當於今日EUR 7,800） 描述：遼十世紀三彩印花牡丹紋盤 專家評論：比較非常相近的外形、裝飾、釉面和尺寸 (24.5 厘米)。
A PAIR OF 'POMEGRANATE' AND 'CAMELLIA' PORCELAIN PLAQUES IN PARCEL-GILT SILVER FRAMES, MING DYNASTYChina, the porcelain 15th - 16th century, the frames from the Qing dynasty. Each plaque of fan shape and finely painted, one with pomegranates borne on leafy vines, the second depicting blossoming camellia flowers, each within a silver frame surmounted by two qilin, with a gilt band decorated with birds and vines against a ring-punched ground, and inlaid with tourmaline and sapphire matrix cabochons. (4)Provenance: Formerly in a European private collection. Condition: Very good condition with minor wear, light surface scratches, small dents, some inlays missing.Weight: 3,643 g and 3,649 g Dimensions: Size 32.7 x 45.5 cm (each)Expert's note: The parcel-gilt silver frames date from circa 1780-1880 and boast a superb quality of craftsmanship as well as an inspired design, the neatly inlaid semi-precious stones adding further to their singularity, overall indicating the possibility of an imperial connection.The camellia is native to China where it has a rich national history, particularly in the southwest region. In Chinese belief, it represents the union between two lovers. The delicately layered petals represent the woman, and the calyx (the green leafy part of the stem that holds the petals together) represents the man who protects her. The pomegranate with its many seeds is viewed as a symbol of having multiple sons who are expected to continue the family line. The pairing of camellia and pomegranate thus represents a wish for a happy marriage with many offspring.Literature comparison:Compare a blue and white bianhu vase with camellia motif, dated to the Yongle period, in the Shanghai Museum, ID number CI00000173. Compare a blue and white bowl painted with pomegranates in the center, with a Xuande mark and of the period, in the Metropolitan Museum of Art, accession number 1991.253.39.明代一對石榴與茶花陶瓷掛屏中國，瓷屏十五至十六世紀，清代鎏銀屏框。瓷板成扇形，青花繪製，一面是纏枝石榴紋，另一面是纏枝茶花紋。鑲銀框，框上有麒麟掛扣，銀框鑲嵌碧璽和藍寶石。(4) 來源：歐洲私人收藏。 品相：狀況極好，有輕微磨損與表面劃痕、小凹痕、一些鑲嵌物缺失。 重量：分別爲3,643克與3,649克 尺寸：分別爲32.7 x 45.5 厘米 專家注釋：鎏銀框的年代約為 1780-1880 年，精湛的工藝和設計，整齊鑲嵌的寶石增加了獨特性，很可能為御用。 文獻比較： 比較一件永樂景德鎮窯青花山茶紋扁壺，藏於上海博物館，編號CI00000173。比較一件宣德款及年代石榴紋青花碗，收藏於大都會藝術博物館，館藏編號1991.253.39。
A BRONZE FIGURE OF PADMAPANI, GUGE KINGDOM, WESTERN TIBET, 11TH-12TH CENTURYFinely cast, standing on a lotus dais over a stepped pedestal cast with a central figure flanked by two lions, his right hand in abhayamudra and his left clutching a lotus stem blossoming at his shoulder, wearing a short dhoti with neatly incised folds and richly adorned with beaded jewelry. The face with elongated eyes, the hair in a topknot centered by a small image of the Buddha Amitabha, all backed by a finely incised flaming nimbus and aureole.Provenance: German trade. By repute from a noted German private collection. Condition: Good condition, commensurate with age. Extensive wear, losses, small dents, minor nicks, light scratches, encrustations. Fine, naturally grown patina with malachite and cuprite encrustations.Weight: 796.7 g Dimensions: Height 18.2 cmThe ancient Kingdom of Guge was a small Western Himalayan kingdom which was founded by King Yeshe-OE and flourished from the tenth through twelfth centuries. Its artistic tradition was heavily influenced by Kashmiri sculptural and painting styles due to the presence of Kashmiri teachers and artisans active in the area during the period of the second dissemination of Buddhism in Tibet (c. 950-1200). The manner of modeling the rounded face with long, thin eyes, the pronounced belly, and the conjoined nimbus form in the present work are all reminiscent of Kashmiri prototypes that began appearing in Tibet at the turn of the eleventh century.Literature comparison: The style of depiction closely resembles murals in caves such as those at Ropa and Tsaparang, surrounding the Sutlej River which was once the heart of the western Tibetan Kingdom of Guge. The present sculpture, with its restrained representation, differs from the early masterpieces of Kashmir, which are defined by their exaggerated features. Compare the iconography, proportions, and rendering of the facial features of the present work with a related figural depiction of Eleven-headed Avalokiteshvara attributed to the Tholing region of Western Tibet, from the eleventh century, at the Los Angeles Museum of Art, accession number M.78.40, illustrated by C. Luczanits in Collecting Paradise: Buddhist Art of Kashmir and Its Legacies, New York, p. 111, fig. 2.4.Auction result comparison: Type: Closely related Auction: Christie's New York, 21 September 2022, lot 406 Price: USD 32,760 or approx. EUR 31,000 converted at the time of writing Description: A bronze figure of Eleven-headed Avalokiteshvara, Western Tibet, probably Guge, 11th-12th century Expert remark: Compare the closely related stepped base with similar central figure and lions, and incised nimbus and aureole. Note the smaller size (12.7 cm).Auction result comparison: Type: Related Auction: Christie's New York, 13 September 2011, lot 350 Price: USD 98,500 or approx. EUR 124,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Padmapani, Kashmir or western Tibet, 11th/12th centuryExpert remark: Note the much larger size (33.7 cm)Auction result comparison: Type: Closely related Auction: Bonhams New York, 13 March 2017, lot 3062 Price: USD 18,750 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing Description: A copper alloy figure of Manjushri, Western Tibet, Kashmir Style, circa 11th century Expert remark: Note the similar size (19 cm)十一至十二世紀西藏古格王朝蓮花手菩薩蓮花手菩薩站在蓮台上，蓮臺壁上可見兩隻獅子，他的右手施無畏印，左手抓著在他的肩膀上盛開的蓮花莖部，衣紋褶皺流暢，佩戴華麗瓔珞。雙眼低垂，盤髻中央有一尊小阿彌陀佛像，身後有火焰光背。 來源：德國古玩交易，據説來自一個德國紳士收藏。 品相：品相良好，大量磨損、缺損、小凹痕、微刻痕、輕微劃痕、結殼。精美的天然包漿，帶有孔雀石綠和赤銅色結殼。 重量：796.7 克 尺寸：高 18.2 厘米 古格王國是喜馬拉雅西部的一個小王國，由耶西烏國王建立，並在十世紀到十二世紀達到興盛。在西藏第二次傳播佛教期間（約 950-1200 年）活躍在該地區的克什米爾工匠的藝術風格深受克什米爾雕塑和繪畫風格的影響。本造像的圓臉、細長的眼睛、突出的腹部和連體的光背造型方式，都讓人聯想到十一世紀初在西藏開始出現的克什米爾原型。
A FINELY PAINTED FAMILLE ROSE 'IMMORTALS' PLAQUE, QIANLONG PERIODChina, 1736-1795. Exquisitely painted in remarkably fine detail and bright enamels with female immortals and their attendants in a raft over crashing and swirling waves, floating towards further immortals standing on rocky cliffs. All wearing long flowing robes and holding various attributes including a basket of peaches, a parasol, a ruyi scepter, and a lotus flower, amid colorful shrubs and trees, below a pavilion nestled between towering craggy rocks emerging from wispy scrolling clouds beside a crane in flight.Provenance: From a private collection in Kent, United Kingdom. Condition: Very good condition with only minor wear and expected small firing irregularities. The enamels are spectacularly crisp and well preserved. The frame with wear, minor nicks, and light scratches.Dimensions: Panel size 38.5 x 29.5 cm, Size incl. frame 45 x 35.5 cmWith a fine old wood frame, possibly from the period. (2)Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 22 April 2021, lot 3636 Price: HKD 856,800 or approx. EUR 105,000 converted and adjusted for inflation at the time of writing Description: A famille-rose 'immortal on raft' plaque, Qing dynasty, Qianlong periodExpert remark: Compare the closely related subject and manner of painting. Note the size (66.4 x 35.6 cm). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 29 November 2018, lot 424Price: HKD 412,500 or approx. EUR 53,500 converted and adjusted for inflation at the time of writing Description: A famille-rose 'eight immortals' plaque, Qing dynasty, Qianlong periodExpert remark: Compare the closely related subject, enamels, and manner of painting. Note the size (height 76 cm with frame).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 22 April 2021, lot 3637 Price: HKD 630,000 or approx. EUR 77,500 converted and adjusted for inflation at the time of writing Description: A famille-rose 'immortals' plaque, Qing dynasty, 18th centuryExpert remark: Compare the closely related subject, enamels, and manner of painting. Note the size (41 by 57.2 cm).乾隆時期粉彩《眾仙圖》瓷板掛屏中國，1736-1795年。鮮豔琺瑯彩精美繪製細節，女仙和她們的侍從乘木筏越過洶湧的海浪，皆身著飄逸長袍，手執桃籃、寶傘、如意杖、蓮花等，祥雲五光十色，樓閣下的亭子依偎在聳立的怪石之間，雲霧繚繞，仙鶴飛舞。 來源：英國肯定特郡私人收藏。 品相：狀況極好，只有輕微磨損和燒製不規則。琺瑯保存完好。框架有磨損和輕微劃痕。 尺寸：瓷板38.5 x 29.5 厘米，總 45 x 35.5 厘米 木框，或爲同時期。(2) 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2021年4月22日，lot 3636 價格：HKD 856,800（相當於今日EUR 105,000） 描述：清乾隆粉彩仙人乘槎掛屏 專家評論：比較非常相近的主題和繪畫風格。請注意尺寸(66.4 x 35.6 厘米)。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2018年11月29日，lot 424 價格：HKD 412,500（相當於今日EUR 53,500） 描述：清乾隆粉彩八仙獻壽圖瓷板掛屏 專家評論：比較非常相近的主題、琺瑯和繪畫風格。請注意尺寸(高 76 厘米含框)。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2021年4月22日，lot 3637 價格：HKD 630,000（相當於今日EUR 77,500） 描述：清十八世紀 粉彩仙女賀壽瓷板 專家評論：比較非常相近的主題、琺瑯和繪畫風格。請注意尺寸(41 x 57.2 厘米)。
A LARGE IRON-RED AND GILT 'DRAGONS' DISH, GUANGXU MARK AND PERIODChina, 1875-1908. Nicely potted with rounded sides and finely painted in iron red and gilt with two confronting dragons amid ruyi-shaped clouds and flames chasing a pearl, the dragons' eyes dotted in black on an opaque white enamel ground also used to depict their fangs and claws. The design repeated along the exterior walls. The recessed base with an iron-red six-character mark da Qing Guangxu nianzhi and of the period.Provenance: From a Swedish private collection. Originally gifted to the previous owner in the 1950s, and thence by descent in the same family. Condition: Magnificent condition with only minimal firing irregularities, little wear to gilt and enamels, minor fritting to foot, and light surface scratches. The gilt remarkably well-preserved!Weight: 1,892 g Dimensions: Diameter 34 cmAuction result comparison:Type: Near identicalAuction: Christie's London, 3 November 2020, lot 184Price: GBP 18,750 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: A large iron-red-decorated 'dragon' dish, Guangxu six-character mark in iron-red and of the periodExpert remark: Compare the near identical motif to the interior, and similar size (37 cm). Note the exterior is enameled with four blooms on leafy scrolls.Auction result comparison:Type: Near identicalAuction: Christie's London, 14 May 2013, lot 281Price: GBP 22,500 or approx. EUR 35,500 converted and adjusted for inflation at the time of writingDescription: A pair of iron-red-decorated 'dragon' dishes, Guangxu six-character mark and of the periodExpert remark: Compare the near identical motif to the interior and exterior, and the similar size (33.2). Note the lot comprises two dishes.光緒款及年代大型礬紅描金雙龍戲珠紋盤中國，1875-1908年。胎骨堅致，白釉潤澤，敞口弧壁，淺腹圈足。通體施白釉，釉面光潤。口沿飾金彩，盤心以礬紅彩繪雙龍戲珠，並以金彩描繪雙龍身軀、雲紋及龍珠。雙龍身形矯健，鬃鬣飛揚，展現威風凜凜之態。外壁繪雙龍趕珠，內外紋飾呈呼應之勢，底部礬紅彩書“大清光緒年製”。 來源：瑞典私人收藏，是受贈之物，之前的主人購於上世紀五十年代，在同一家族保存至今。 品相：品相精美，僅有微小的製造瑕疵，描金和琺瑯輕微磨損，足部有輕微的熔塊，表面有小劃痕。 重量：1,892 克 尺寸：直徑 34 厘米 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦佳士得，2020年11月3日，lot 184 價格：GBP 18,750（相當於今日EUR 25,000） 描述：清光緒礬紅描金雙龍戲珠紋盤礬紅六字楷書款 專家評論：比較內盤幾乎相同的主題，以及尺寸 (37 厘米)較小。請注意盤外圍飾有花卉纏枝紋。 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦佳士得，2013年5月14日，lot 281 價格：GBP 22,500（相當於今日EUR 35,500） 描述：一對光緒款及年代大型礬紅描金雙龍戲珠紋盤 專家評論：比較內盤幾乎相同的主題，尺寸 (33.2)較小。請注意此盤為一對。
A POWDER-BLUE GROUND 'THREE CARP' BOTTLE VASE, KANGXI PERIODChina, 1662-1722. The globular body rising from a short foot to a tall cylindrical neck, finely painted with three large iron-red carps swimming among gilt-decorated algae, floral blooms, and small aquatic creatures, the confronting carps with black pupils and gilt highlights.Provenance: British trade. Condition: Very good condition with minor wear and firing irregularities, some rubbing to gilt, light surface scratches to base, the vase slightly leaning.Weight: 2,638 g Dimensions: Height 44 cmExpert's note: A 19th-century dating for the present vase can be safely excluded due to the fine use of and characteristic wear to the gilt, the skillful shadings of the iron-red, the brilliance of the powder-blue glaze, as well as the distinct pottery marks inside the neck and the fact that the vase is slightly leaning. These features do not appear in such coherent unity on later pieces, removing any doubt as to the Kangxi dating of this piece.Auction result comparison: Type: Related Auction: Christie's London, 5 November 2013, lot 417 Price: GBP 20,000 or approx. EUR 29,500 converted and adjusted for inflation at the time of writing Description: A pair of powder-blue ground iron-red and gilt decorated vases, Kangxi periodExpert remark: Compare the closely related subject, manner of painting, and decoration with similar iron-red and gilt on a powder-blue ground. Note the smaller size (36.1 cm), different form, and that the lot comprises a pair. Auction result comparison: Type: Related Auction: Christie's New York, 29 March 2006, lot 444 Price: USD 15,600 or approx. EUR 21,500 adjusted for inflation at the time of writing Description: An Iron-Red and Gilt-Decorated Powder-Blue-Ground Rouleau Vase, Kangxi Period (1662-1722)Expert remark: Compare the closely related subject with four carps painted in similar iron-red and gilt on a powder-blue ground. Also note the similar size (45.1 cm).康熙粉青紅彩三鯉長頸瓶中國，1662-1722年。細長頸，球腹，圈足。瓶身細繪三條礬紅釉大鯉魚，描金水藻、花卉和小型水生動物，對峙的鯉魚黑瞳描金突出。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損和燒製不規則，描金有一些摩擦，底部有輕微的劃痕，花瓶略微傾斜。 重量：2,638 克 尺寸：高 44 厘米 專家注釋：由於鎏金的使用和特有的磨損以及礬紅色巧妙的陰影、粉藍色釉的光彩以及獨特的器型，可以排除這件花瓶為十九世紀的產品。這些特徵並沒有在後來的作品中如此連貫地統一出現，從而消除了關於這件作品為康熙時代的疑問。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2013年11月5日，lot 417 價格：GBP 20,000（相當於今日EUR 29,500） 描述：康熙一對藍地礬紅釉描金花瓶 專家評論：比較非常相近的主題、繪畫風格和相似的藍地礬紅釉和描金。 請注意尺寸較小(36.1 厘米)，不同的外形，以及此瓶為一對。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2006年3月29日，lot 444 價格：USD 15,600（相當於今日EUR 21,500） 描述：康熙藍地礬紅釉描金花瓶 專家評論：比較非常相近的主題，以礬紅釉畫有四條鯉魚。請注意相似的尺寸(45.1 厘米)。
A PALE GREEN JADE 'DRAGON' PENDANT, SHANG TO WESTERN ZHOU DYNASTYChina, 1300-1000 BC. Of flattened form, carved in the form of a recumbent dragon with open mouth and long tail. The translucent stone of a green tone with creamy white and russet speckles.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. E.3.21A-H. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Very good condition with expected old wear and weathering, little nibbling, few nicks, and light scratches.Weight: 10.3 g Dimensions: Length 8.4 cmSmall pendants in the form of animals form a major category of jades in the Shang period and can be found in many of the major burials of high-ranking individuals.Expert's note: The carving is unfinished on both sides, with only a small slit defining the opening of the mouth. For a similarly unfinished jade pendant, see Sotheby's London, 3 November 2021, lot 126.商至西周青綠玉龍形佩中國，公元前1300-1000 年。扁平龍形佩，龍張嘴，長尾巴，斜躺。綠色調的半透明玉料，白色和赤褐色斑點。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號E.3.21A-H.。吳權(1910-1997) 博士曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。 品相：狀況極好，有磨損和風化，小刻痕、輕微劃痕。 重量：10.3 克 尺寸：長 8.4 厘米 動物形狀的小佩飾是商代玉器的中一類，在許多達官貴人的墓葬中都能找到。 專家注釋：兩邊的雕刻都未完成，只有一個小縫隙表現了開口，一件同樣未完成的玉佩見倫敦蘇富比 2021年11月3日，lot 126。
A BRONZE FIGURE OF BUDDHA, SRI LANKA, 18TH TO 19TH CENTURYHeavily cast, seated in dhyanasana atop a low spreading base, the hands folded in dhyana mudra, dressed in a loose, pleated robe draped over his left shoulder, the face with a serene expression marked by heavy-lidded eyes and full lips, flanked by elongated earlobes, the hair in tight curls and surmounted by an ushnisha.Provenance: From the collection of a Hungarian diplomat. Condition: Very good condition with minor wear, few small nicks, light surface scratches, and expected casting flaws.Weight: 3,366 g Dimensions: Height 21.7 cmLiterature comparison:Compare a related bronze figure of Buddha, 18th century, in the collection of the Victoria and Albert Museum, accession number IS.127-1964.
A DUAN STONE 'BATS AND CASH COINS' SNUFF BOTTLE, 1760-1860China. Of flattened oval form, supported on a short foot ring, rising to a cylindrical neck slightly tapering towards the flat lip, each side carved with two confronting bats with swirling wings and centered by a cash coin. The opaque stone of a dark chocolate brown color.Provenance: An English private collection of Chinese Snuff Bottles. Condition: Excellent condition with minor wear, few minuscule nibbles to the rims, the stone with a natural fissure.Stopper: Carved glassWeight: 40.0 gDimensions: Height incl. stopper 64 mm, Diameter neck 13 mm and mouth 5 mmWith a padded silk box. (2)Bats and cash coins are both auspicious symbols in Chinese culture. The bat signifies fortune or wealth, and the cash coin is a symbol of receiving benefits. They are often shown together due to their similar meaning.This bottle is made from duan stone, a material that is highly valued by scholars and most often made into inkstones. Duan stone was traditionally used for grinding ink because of its light weight and soft but not slippery surface. Auction result comparison:Type: RelatedAuction: Bonhams New York, 19 September 2022, lot 69Price: USD 4,080 or approx. EUR 3,800 converted at the time of writingDescription: A carved duan stone snuff bottleExpert remark: Compare the related form, incision work, and material. Note the size (55 mm), inscription, and mark.1760-1860年端石蝙蝠紋鼻煙壺中國，長方圓角，直頸，短圈足。每面都雕刻著一隻圍著錢幣的蝙蝠。深褐色不透明石頭。 來源：英國一個中國鼻煙壺私人收藏。 品相：狀況極佳，輕微磨損，邊緣細小磕損，石頭有天然裂縫。 壺蓋：雕刻琉璃 重量：40.0 克 尺寸：含壺蓋高64 毫米，頸部直徑13 毫米 ，壺口直徑5 毫米 配置有内襯的盒子 (2) 此鼻煙壺由端石製成，端石是文人特別喜愛的材料，經常被製成硯台。端石質輕，表面柔軟而不滑，很適合用來磨墨。 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2022年9月19日，lot 69 價格：USD 4,080（相當於今日EUR 3,800） 描述：1750-1800 端石刻雲龍銘文及舖首啣環鼻煙壺一件，或爲御製 專家評論：比較相近的外形、雕刻和材質。請注意尺寸(55 毫米)、款和款識。
AN IMPORTANT AND MONUMENTAL BLACK STONE HEAD OF TARA, PALA PERIODOpinion: This particular work should be considered a most important example from an era that saw the production of some of the finest sculptural works ever produced in India. The quality of the carving, coupled with the life-size proportions, indicates that this was likely part of a monumental statue that was a principal focus of worship.India, 10th-12th century. Finely carved with a benevolent expression, having full bow-shaped lips, rounded cheeks, and heavy-lidded eyes beneath a swirled high chignon surrounded by an elaborate jewel-swagged diadem. The ears pierced at the helix with hanging gems and set with massive ear spools. The surface smoothly polished.Provenance: From a noted private collection in the United States. Acquired in Lille, France, previously in a Belgian private collection. Condition: Very good condition consistent with an example of great antiquity. Wear, losses, structural cracks, minor nicks, light scratches, signs of weathering and erosion. Fine, naturally grown, rich, smooth patina overall.Dimensions: Height 38 cm (excl. stand) and 45 cm (incl. stand)Mounted on a modern stand. (2)Expert's note: The iconography of the carving points to this being an image of Syama Tara, a female bodhisattva known as the Mother of Liberation. Figures of similar iconography show the bodhisattva seated on a double-lotus throne, with right leg extending below the throne and right foot supported by a lotus, all surrounded by a large mandorla, flanked by pearls and flames or adorative figures such as apsaras. This complete picture gives us an idea of the original scale and grandeur of the complete life-size work, which is unusual for its fine craftsmanship and monumental scale, pointing to a sculpture that was likely made for passing pilgrims. For a figure with similar distinctive features, including the massive ear spools and jewel-swagged diadem, see the Khadiravani Tara dating to the reign of Ramapala, acc. no. 3824/A25158 in the collection of the Indian Museum of Kolkata.Auction result comparison:Type: RelatedAuction: Christie's, New York, 20 March 2009, lot 1203.Price: USD 43,750 or approx. EUR 55,000 converted and adjusted for inflation at the time of writingDescription: A black stone head of Vishnu, Northeastern India, Pala period, 12th centuryExpert remark: Note the much smaller size (24 cm) and almost complete loss of the ears.Auction result comparison: Type: Related Auction: Christie's New York, 17 September 2003, lot 22 Price: USD 47,800 or approx. EUR 70,000 converted and adjusted for inflation at the time of writing Description: An important large black stone head of a crowned Buddha, Northeastern India, Bihar, Pala period, 10th/11th centuryExpert remark: Note the larger size (48.2 cm).
A MINIATURE CLOISONNE ENAMEL AND WOOD TABLE SCREEN, QING DYNASTYChina, the cloisonne c. 1750-1830, the wood fitting from the later 19th century. The screen of rectangular form, fitted with a cloisonne enamel plaque depicting a river landscape with a pavilion, bridge, fisherman, and trees, enclosed by a wood frame with vines and a stand with scrolling feet.Provenance: From a private collection in New York, USA. The underside inscribed 'China'. Condition: The cloisonne in very good condition with some wear, small nicks, minuscule losses, light scratches. The wood screen with old repairs and associated remnants of adhesive.Weight: 164.2 g Dimensions: Height 9.9 cm, Width 10.8 cm Auction result comparison:Type: RelatedAuction: Christie's London, 14 July 2006, lot 113Price: GBP 2,400 or approx. EUR 5,000 converted and adjusted for inflation at the time of writingDescription: A small cloisonne table screen, 18th centuryExpert remark: Compare the related motif and wood screen. Note the slightly larger size (13.8 cm).清代鑲掐絲琺瑯《水上獨釣》木桌屏中國，掐絲琺瑯約1750-1830年，木桌屏應爲十九世紀末。長方形桌屏，鑲有景泰藍琺瑯屏，描繪河景、亭台、小橋、漁人和樹木。木框雕刻纏枝紋和底座。 來源：美國紐約私人收藏，底部可見“China”字樣。 品相：景泰藍狀況極好，有一些磨損、小刻痕和微小的缺損。木框帶有小修補和相關黏合劑殘留物。 重量：164.2 克 尺寸：高 9.9 厘米，寬 10.8 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2006年7月14日，lot 113 價格：GBP 2,400（相當於今日EUR 5,000） 描述：十八世紀鑲掐絲琺瑯木桌屏 專家評論：比較相近的主題和木底座。請注意尺寸稍大(13.8 厘米)。
A GILT-LACQUERED BRONZE FIGURE OF SEATED BUDDHA SHAKYAMUNI, RATTANAKOSIN KINGDOMThailand, reign of King Rama III, 1824-1851. Seated in virasana on a stepped lotus base with petal and floral decoration, his hands resting in dhyana mudra above the lap, the close-fitting sanghati finely cast with diapered floral designs and embellished in 'gesso' conveying a lavishly embroidered cloth, finely inlaid with red glass. The face showing a meditative expression with downcast eyes inlaid in mother-of-pearl, arched eyebrows, and a subtle smile, flanked by long earlobes, the hair tightly arranged in small spikes and surmounted by a flaming ushnisha. Provenance: From an old German private collection, acquired before 2007. Condition:Very good condition, some wear and flaking to the gilt, light scratches, small nicks, few dents, some inlays lost, casting flaws, and signs of weathering. A minor old repair to the peg at the lower end of the flame.Weight: 20.5 kg Dimensions: Height 67.7 cmThe flame is original to the statue but separately cast. (2)Buddha images wearing such patterned robes, a symbol of royalty, were introduced during the reign of King Rama III (reigned 1824-1851) and disappeared thereafter. It is thus most likely that this majestic sculpture was one such royal commission produced under King Rama III's reign.Literature comparison:See further examples of Rattanakosin period gilt-lacquer bronze Buddha images discussed in Rod-Ari, The Buddha as Sacred Siamese King: Brocaded Buddhas of the Third Reign, The Walters Art Museum Journal, vol. 73, 2018, figs. 1-5. Auction result comparison:Type: RelatedAuction: Christie's New York, 5 June 2004, lot 998Price: USD 4,541 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: A Thai gilt-lacquered bronze figure of Buddha, late Rattanakosin period, 19th centuryExpert remark: Compare the related pose and gilt-lacquered decoration. Note the similar size (73.5 cm).Auction result comparison:Type: RelatedAuction: Bonhams Los Angeles, 30 August 2021, lot 113Estimate: USD 8,000 or approx. EUR 8,000 converted and adjusted for inflation at the time of writingDescription: A gilt lacquer copper alloy figure of buddha, Thailand, Rattanakosin period, 19th centuryExpert remark: Compare the related pose and gilt-lacquered decoration. Note the near-identical size (68.6 cm).
A LARGE GILT BRONZE FIGURE OF TSONGKHAPA, 17TH-18TH CENTURYTibetan-Chinese. The heavily cast figure weighs over 6 kilograms and is applied overall with a fine gilding. Seated in dhyanasana on a sealed double-lotus base, the hands held in dharmachakra mudra. He is wearing loose-fitting monastic robes cascading in voluminous folds and neatly incised at the hems with foliate designs as well as a pandita hat with the lappets hanging over the shoulders. His serene face with heavy-lidded eyes below gently arched brows and full lips forming a calm smile. The seal plate finely incised with a double vajra.Provenance: From a private collection in Paris, France. Condition: Very good condition with some wear to gilt, minor casting irregularities, few minuscule nicks here and there, occasional light scratches. Fine, naturally grown patina overall. Sealed.Weight: 6,058 gDimensions: Height 30.8 cmTsongkhapa (1357-1419) is widely regarded in Tibet as a second Buddha and the main teacher of the first Dalai Lama, Gendun Drub (1391-1474). An eminent scholar, he reformed the old Kadampa sect, creating the new Gelugpa sect (Yellow Hat), and is the founder of the monasteries Ganden, Drepung, and Sera. He is revered as an emanation of the Buddhist god of wisdom, Manjushri. Although the present bronze image lacks his attributes of the sword and the book, he is clearly recognizable by the pronounced facial features, for which Tsongkhapa was also known.Auction result comparison: Type: Closely related Auction: Christie's Paris, 7 December 2007, lot 367 Price: EUR 31,450 or approx. EUR 40,000 adjusted for inflation at the time of writing Description: A gilt-bronze figure of Tsongkhapa, Tibeto-Chinese, 17th/18th century Expert remark: Note the similar size (30 cm) and the missing base.十七至十八世紀大型銅鎏金宗喀巴像漢藏。宗喀巴佛像，重達6公斤，通身鎏金，寶相莊嚴。坐於蓮花座上，當胸結說法印；佛像頭戴黃色通人冠，雙目緊閉，面相飽滿而略帶微笑，身披法衣。蓮座底部雙金剛杵密封。 來源：法國巴黎私人收藏。 品相：狀況極好，有一些鎏金磨損，輕微鑄造不規則，一些刻痕、大面積微小的劃痕，整體包漿細膩，密封。 重量：6,058 克 尺寸：高30.8 厘米 宗喀巴大師（1357-1419 年）在西藏認為是第二位佛陀，也是第一世嘉瓦仁波切根敦珠（1391-1474 年）的老師。他是傑出的學者，改革舊噶當派，創建新的格魯派（黃教），是甘丹寺、哲蚌寺和色拉寺的創始人。他被尊為佛教智慧之神文殊菩薩的化身。本尊銅像雖無劍書屬性，但從明顯的五官特徵可清晰辨認。拍賣結果比較： 形制：非常相近 拍賣：巴黎佳士得，2007年12月7日，lot 367 價格：EUR 31,450 （相當於今日EUR 40,000） 描述：十七 /十八世紀漢藏銅鎏金宗喀巴像 專家評論：請注意相似的尺寸 (30 厘米) ，以及沒有底座。
A 'QIANJIANG CAI' ENAMELED 'SEVEN MONKEYS' PLAQUE, STUDIO OF PAN TAOYU (1887-1926)China, Jingdezhen. The rectangular plaque painted in green and blue tones with seven monkeys frolicking, each with a comical and mischievous expression, a pair with a young seated below a tree playing the flute and pointing upwards, a young monkey playing with a lamp at the tree top, and two monkeys perched on a branch holding a stick trying to reach out to another monkey hanging on a tendril.Inscriptions: Center left, inscribed 'Guanyin fenghou' (a wish for a speedy promotion), one seal of the artist, 'Gu huan' (ancient joy).Provenance: From the private collection of a doctor, Connecticut, USA. Condition: Very good condition with some old wear and little rubbing. The frame with few small nicks and scratches.Weight: 3,340 g Dimensions: Image size 40.8 x 25.3 cm, Size incl. mounting 47.8 x 32.3 cmIn a hardwood frame with metal mount, both from the period. (2)Gu huan (ancient joy) is the studio name that belongs to Pan Taoyu (1887-1926), a porcelain master from Jingdezhen. The emergence of the market for fine decorative art porcelains was an important development and brought a fresh and vibrant energy to porcelain making in China during the Republic period. Pan Taoyu was one of the most important pioneers and masters of porcelain painters in the early 20th century. With his superb ability to depict delicate fine shadings, Pan achieved excellence in painting a wide range of objects on porcelain, including figures, landscapes, and bird-and-flowers motifs. Among Pan Taoyu's students are Wang Yeting, Liu Yucen and Cheng Yiting, all important members of the celebrated 'Eight Friends of Zhushan' group who were among the best fencai masters of the Republic period. Pan Taoyu died young, and very few of his personal works survived.Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.Monkeys are a popular motif in Chinese art. Shown together with the inscription, they symbolize the wish for immediate success or a speedy promotion of young candidates.Literature comparison: Examples of Pan Taoyu's personal porcelain paintings are illustrated by Simon Kwan, Chinese Porcelain of the Republic Period, The Muwen Tang Collection Series, Hong Kong, 2008, p. 68-73, and on the cover. Auction result comparison:Type: RelatedAuction: Bonhams London, 10 November 2011, lot 569Price: GBP 361,250 or approx. EUR 641,000 converted and adjusted for inflation at the time of writingDescription: A rare pair of enameled fan-shaped plaques, circa 1900-1920, signed by Pan Taoyu (circa 1887-1926)Expert remark: Note that the lot comprises two fan-shaped plaques and that these are personal (not studio) works by the master. Note also the much larger size (54 cm). 潘匋宇(1887-1926)淺絳彩《卦印封侯》瓷板中國，景德鎮。長方，此橫幅作品以一角構圖，繪樹上樹下幾隻靈猴或是掛於樹間，或是在樹下戲耍。樹上有一隻手正努力把一個印掛在樹上。畫法細膩，樹枝凹凸斑駁處著意用粉彩渲染，色澤由暗漸明，可見是經過層層暈染方成，極富立體感。以靈猴裝飾瓷器，明清時較為少見，但從晚清民國的瓷器鳥獸畫來看，藉著吉祥“封侯”之寓意，在作品中繪以雅趣。 款識：卦印封候；鈴印：古歡 來源：美國康涅狄格州醫生私人收藏。 品相：狀況極好，有一些磨損和少量磨損。木框上有一些小劃痕。 重量：3,340 克 尺寸：畫面40.8 x 25.3 釐米，總47.8 x 32.3 釐米 硬木框金屬架，應爲來自同期。
AN OVAL BRONZE FOLDING OIL LAMP, DENG, HAN DYNASTYChina, 206 BC to 220 AD. The lamp is made in the shape of an ear cup and raised on a narrow foot ring. One side of the cover is hinged and has a spout at one end and a pricket on the interior. The cover is divided into quadrants cast with dragons and tigers separated by a central panel with inscriptions and set with tiny loops similar to a third at one end of the lamp. The dragon and tiger motifs are repeated on the handles.Inscriptions: To the central panel, '[…] zi ji'.Provenance: Guy Portier, Paris, France, 22 February 1969. Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum, coll. no. H.1.1. Guy Portier (1919-2005) was an important French auctioneer and Asian art expert. His father Andre specialized in the import of silk from the Far East and later served as an expert in the sales of major French collections of Asian art. Guy was in charge of the silk department of the family company until he took over in 1942, gradually focusing on Far Eastern works of art, Japanese prints being one of his passions. In 1967, he included a list of estimates for the objects put up for sale in one of his catalogs for the first time, back in these days a revolutionary change. The family company, Cabinet Portier, still exists to this day. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. Condition: Very good condition, commensurate with age. Extensive wear, minor losses, signs of weathering and erosion, small nicks, light scratches. Fine, naturally grown, rich patina with malachite and cuprite encrustations.Weight: 287.6 g Dimensions: Length 10 cmDr. Wou's immense passion and superior knowledge sometimes allowed him to pick up unusual and exquisite Chinese works of art with rare inscriptions, right under the noses of the most experienced dealers and collectors of his days, simply because most of them were unable to read Chinese. The present lot is yet another testimonial to this fact.Literature comparison: A closely related bronze oil lamp, also dated to the Han dynasty, is illustrated in Bronze Articles for Daily Use: The Complete Treasures of the Palace Museum, Hong Kong, 2006, no. 90. It is inscribed yi zi sun ji ('blessings for future generations') in the center panel of the cover. Note that two of these characters ('zi' and 'ji') are also found on the present lot. A closely related bronze oil lamp, 13 cm long, also dated to the Han dynasty, is in the Art Institute of Chicago, reference number 1930.907, illustrated by C.F. Kelley and Chen Mengjia in Chinese Bronzes from the Buckingham Collection, 1946, p. 199, pl. LXIX.Auction result comparison: Type: Near-identical Auction: Christie's New York, 22 March 2013, lot 1245 Price: USD 30,000 or approx. EUR 36,000 converted and adjusted for inflation at the time of writing Description: A small bronze oval oil lamp, Han dynastyExpert remark: Compare the near-identical form, decorations, and size (10.2 cm). Note that the oil lamp is inscribed yi zi sun ji ('blessings for future generations') in the center panel of the cover, with two of these characters ('zi' and 'ji') also found on the present lot.漢代銅燈中國，公元前206 年至公元220 年。燈做成耳杯狀，橢圓形淺圈足上。蓋子的一側是鉸接的，一端可以上翻。燈罩分為龍紋和虎紋，由帶有銘文的中央面板隔開，並在燈的一端設置類似於三分之一的小環。手柄上重複出現龍虎圖案。 款識：[…] 子 吉 來源：法國巴黎Guy Portier，1969年2月22日；吳權博士購於上述藝廊。吳蓮伯美術館，館藏 H.1.1.號。Guy Portier (1919-2005) 是法國重要的拍賣師和亞洲藝術專家。他的父親Andre專門從事從遠東進口絲綢，後來成為法國主要亞洲藝術收藏品的銷售專家。Guy在 1942 年接任之前負責家族企業的絲綢部門，逐漸專注於遠東藝術作品，收藏日本版畫是他的愛好之一。1967 年，他首次在自己的目錄中列出了待售物品的估價清單，這在當時是一個革命性的變化。家族企業 Cabinet Portier 至今仍然存在。吳權博士(1910-1997) 是一位中國外交家和知名中國藝術學者。 品相：品相極好，與年齡相稱。嚴重磨損、風化和侵蝕跡象、小刻痕、輕微劃痕。細膩包漿，帶有紅綠色結殼。 重量：287.6 克 尺寸：長10 厘米
A THREE-PIECE 'MAGPIES' SILVER TEA SERVICE, MARK OF LUEN WO, SHANGHAI, CIRCA 1880-1925China. Comprising a teapot, cream jug, and sugar bowl, each of globular form set with bamboo-form handles, decorated with magpies on blossoming prunus branches, the teapot further with a bamboo-form spout, the hinged cover with bamboo leaves and a finial in the form of a bamboo stalk, the handle with organic material insulators. (3)Inscriptions: The bases each marked Shanghai, Yebo, and Luen Wo.Provenance: From the private collection of Ludvig Stenersen Muenter, Denmark, thence by descent within the family. Ludvig Stenersen Muenter (1877-1957) worked for the Great Nordic Telegraph Company in Newcastle, United Kingdom. He later became the assistant at the Administration Office in London (1897) and senior assistant in Shanghai in 1907. From 1911 to 1929 he was the station master in Beijing until he retired from active service. During his stay, he started his collection of Asian Art. Condition: Very good condition with minor wear, few small nicks, light scratches, and minuscule dents.Weight: 584 g (the teapot), 222 g (the cream jug), 244 g (the sugar bowl) Dimensions: Length 25 cm (the teapot), 14.7 cm (the cream jug), 14.7 cm (the sugar bowl)Luen Wo was an important retail silversmith based in Shanghai who traded in jewelry, diamonds, and embroideries. The manufacturer relied on a large number of designers and artisans, such as Ning Zhao Ji. His items generally bear the mark with his full name or the initials LW and the mark of the artisan who realized the piece. The firm mainly produced items in the traditional Chinese style, featuring classical motifs such as bamboo leaves, prunus blossoms, chrysanthemums, dragons, and magpies.Auction result comparison:Type: RelatedAuction: Christie's New York, 28 October 2014, lot 27Price: USD 8,125 or approx. EUR 9,300 converted and adjusted for inflation at the time of writingDescription: A Chinese export four-piece silver tea service, mark of Luen Wo, Shanghai, circa 1880-1925Expert remark: Compare the related form and decorations. Note the lot also comprises a kettle with stand.約1880-1925年上海聯和LUEN WO《喜上眉梢》銀茶壺中國。由茶壺、奶杯和糖罐組成，各自有竹節狀執柄，外壁飾喜上眉梢圖。茶壺的流也成竹節形，壺蓋上有竹葉紋及頂飾竹節鈕。執柄採用有機材料絕緣體。 款識：Shanghai，葉伯Yebo，Luen Wo. 這裏的tian到底是哪個字呢？我看起來像“伯” 來源：丹麥Ludvig Stenersen Muenter私人收藏，保存在同一家族至今。Ludvig Stenersen Muenter (1877-1957) 在英國紐卡斯爾的大北電報公司工作，1897 年任倫敦行政辦公室助理，1907 年任上海高級助理。1911 年至 1929 年任北京站長，直至退休。在中國時，他開始收藏亞洲藝術。 品相：狀況極好，有輕微磨損、小刻痕、少量劃痕和微小凹痕。 重量：茶壺584克，奶杯222克，糖罐244 克 尺寸：茶壺長25 厘米 ，奶杯14.7 厘米 ，糖罐14.7 厘米 聯和曾是上海最早和經營最大的粵幫銀樓之一，從事珠寶、鑽石和刺繡貿易，有自己的一大批設計師和工匠。他的商品通常帶有全名或首字母 LW 的標記以及工匠的標記。該公司主要生產中國傳統風格的產品，以竹葉、梅花、菊花、龍和喜鵲等經典圖案為特色。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得， 2014年10月28日，lot 27 價格：USD 8,125 （相當於今日EUR 9,300） 描述：中國出口純銀製茶具組四件，附上海LUEN WO標記，約1880-1925年製 專家評論：比較相近的外形和裝飾。請注意此有附托架的水壺。
A KESI SILK 'PHOENIX' PANEL, 18TH CENTURYChina. Of square form, finely worked in silver and gray silk and gold thread, with a central medallion enclosing a phoenix perched on a rock amid peonies and bamboo, framed by a magnolia-bearing tree, each corner decorated with archaic scrolls. Provenance: French trade. Condition: Very good condition with minor wear, few little stains, minor creasing. The frame with a few nicks and light scratches.Dimensions: Image size 56.5 x 56.2 cm, Size incl. mounting 61.1 x 61 cmFramed behind glass. (2)Auction result comparison:Type: RelatedAuction: Sotheby's London, 5 November 2008, lot 389Estimate: GBP 6,000 or approx. EUR 11,500 converted and adjusted for inflation at the time of writingDescription: A silk kesi 'deer' panel, Qing dynasty, 18th centuryExpert remark: Compare the related colors, weaving technique, and material. Note the size (81.5 x 101.5 cm).十八世紀緙絲《鳳凰》中國。正方形，採用銀色和灰色絲綢和金線精心製作，中央飾有一隻鳳凰，鳳凰棲息在牡丹和竹子之間的岩石上，周圍環繞著一棵玉蘭樹，外圍四角都裝飾著仿古雷紋。 來源：法國古玩交易。 品相：狀況極好，有輕微磨損、少量小汙漬和輕微摺痕。框架有一些劃痕。 尺寸：畫面56.5 x 56.2 釐米, 總 61.1 x 61 釐米 玻璃面裝框。 (2) 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2008年11月5日，lot 389 估價：GBP 6,000（相當於今日EUR 11,500） 描述：十八世紀清代鹿緙絲掛毯 專家評論：比較相近的顏色、編織技巧和材料。請注意尺寸(81.5 x 101.5毫米)
A RARE WOOD HEAD OF A LUOHAN, SONG DYNASTYChina, 960-1279. Superbly carved with a gentle contemplative expression, marked by heavy-lidded eyes below thick arched brows centered by a distinct nose bridge and full lips forming a slight smile, flanked by long pendulous earlobes, the forehead with a characteristic bump.Provenance: The estate of Louis-Pierre Denil, Leuven, Belgium. Bertin Verstraete, Belgium, acquired from the above. A Belgian private collector, acquired from the above. Louis-Pierre Denil (1965-2016) was an internationally renowned restorer, collector, and dealer of antique chandeliers. Since the 1990s, he was purveyor to the Belgian court, including King Albert II and King Philippe, and became close friends with members of the Imperial family. Condition: Good condition, commensurate with age. Extensive wear, minor chips and losses, expected age cracks, small nicks, light scratches. Covered with numerous layers of lacquer applied over many centuries, of which only fragments remain, with a stable wood core underneath. Weight: 5,215 g Dimensions: Height 38 cmSensitively modeled with meticulous attention to detail which successfully captures the luohan's expressive countenance, this superbly carved head is striking for both its large size and vivid realism, with intricate and naturalistic detailing of the gentle curvature of the skull.Luohan, or arhats, were close personal disciples of Shakyamuni Buddha. Although they attained Buddhahood during the course of their lives, they delayed entering Nirvana and remained on earth to protect the Buddhist dharma and to aid others in seeking enlightenment according to the instruction of the Buddha. Invested with extraordinary spiritual power, they are believed to possess perfect wisdom and insight into all existence while being freed from the bonds of desires. Luohan figures became increasingly popular from the Song dynasty. Li Song in 'From the Northern Song to the Qing', Chinese Sculpture, New Haven, 2006, pp. 389, suggests that during the Song dynasty, various Buddhist schools were eager to trace their lineages to Shakyamuni. Thus luohan, with their direct connections to the Historical Buddha, became the ultimate iconographic bridge to the Indian founders of Buddhism.Literature comparison: Compare a closely related limestone head of a luohan, 41.3 cm high, dated Song to early Ming dynasty, at Sotheby's New York, 12 September 2018, lot 14.Auction result comparison: Type: Closely related Auction: Christie's New York, 20 September 2005, lot 144 Price: USD 72,000 or approx. EUR 99,500 converted and adjusted for inflation at the time of writing Description: A rare wood head of a luohan, Song dynastyExpert remark: Note the related size (39.7 cm) Auction result comparison: Type: Closely related Auction: Bonhams London, 7 November 2019, lot 51 Price: GBP 68,813 or approx. EUR 91,000 converted and adjusted for inflation at the time of writing Description: A rare carved wood head of a Lokapala, Song dynastyExpert remark: Note the related size (39 cm)宋代木雕羅漢頭像中國，960-1279年。刻畫細膩，濃眉闊鼻，眼睛微閉，嘴唇豐滿，兩側長耳垂；笑容慈祥，似在沉思。 來源：比利時魯汶Louis-Pierre Denil收藏；比利時Bertin Verstraete，購於上述收藏；比利時私人收藏，購於上述收藏。Louis-Pierre Denil (1965-2016年) 是國際知名的古董枝形吊燈修復師、收藏家和經銷商。自 1990 年代以來，他一直是比利時宮廷的供應商，包括阿爾貝二世國王和菲利普國王，並與皇室成員成為密友。 品相：品相良好，嚴重磨損、輕微缺口和損失、預期老化裂紋、小刻痕、輕微劃痕。表面覆蓋著多層漆彩，其中僅剩下碎片，可見木芯。 重量：5,215 克 尺寸：高 38 厘米 對細節的一絲不苟從而成功地捕捉到了羅漢富有表情的面容，這尊精雕細琢的頭像以其巨大的尺寸和生動的現實主義而引人注目，細節複雜而自然。羅漢是釋迦牟尼佛的親近弟子。他們雖在世成佛，卻遲入涅槃，留在人間，護持佛法，依佛陀的教化，幫助眾生求證。 他們被賦予了非凡的精神力量，被認為擁有完美的智慧和對所有存在的洞察力，同時擺脫了慾望的束縛。羅漢像從宋代開始流行起來。見Li Song《From the Northern Song to the Qing，Chinese Sculpture》，紐黑文，2006年，頁389,中指出，在宋代，各種佛教宗派都渴望將他們的血統追溯到釋迦牟尼。
A LARGE DALI MARBLE-INSET 'DREAMSTONE' HUALI TABLE SCREEN, QING DYNASTYChina, 1644-1912. Of rectangular form, the natural marble of creamy-white tones suffused with alternating light and dark gray swirls, reminiscent of a dreamy landscape, evoking thoughts of mountain peaks in rising mist and clouds. Mounted in a dark huali wood frame, fitted into two grooved uprights of the matching stand with finely carved archaistic designs.Provenance: Collection of Terence Kelleher, Esq., Southold, New York. Terrance Kelleher, a graduate of Saint Peter's University in New Jersey and the Fordham Law School of Manhattan, served as a Captain in the United States Army Reserve Corp and served as a member of the United States Court of International Trade. He also served as CEO of a non-profit healthcare company and was on the board of directors of Eastern Long Island Hospital.Condition: Good condition with minor wear overall. The marble screen with small chips along the edge which are concealed by the frame. The frame is in overall good condition with small losses, age cracks as expected and minor old repairs. The wood with a fine, naturally grown patina.Dimensions: Size 38.8 x 49.4 cm (the panel and frame) and 59.5 x 56 x 30 cm (the screen)Expert's note: The use of variegated marble and other colored stones in conjunction with hardwood furniture was prevalent throughout the Ming and Qing dynasties, as the color of the stone often complimented the rich color and grain of the wood. The picturesque swirls of the marble inclusions also appealed to the creative mind of the scholarly at the time, who often saw a deeper symbolic representation in everyday objects. For a discussion of marble and other stones used in Ming and early Qing furniture, see Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, vol. I, Hong Kong, 1990, pages 153-54.Auction result comparison:Type: Closely relatedAuction: Christie's, Hong Kong, 3 October 2018, lot 128.Price: HKD 300,000 or EUR 38,500 converted and adjusted for inflation at the time of writingDescription: A dali marble-inset huanghuali table screenExpert remark: Compare the similar composition of the dreamstone and the related dimensions of the screen (57 x 57 x 30 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's, London, 13 May 2009, lot 103Price: GBP 8,750 or EUR 14,000 converted and adjusted for inflation at the time of writingDescription: A dream stone table screen and hardwood stand, Qing dynasty, 19th centuryExpert remark: Compare the related shades of the marble. It is also worth noting that the Sotheby's stand has been ebonized at some point, and the underlying original wood tone may be of comparable color.清代大型花梨木鑲夢石座屏中國，1644-1912年。屏花梨木為框、座，鑲嵌大理石，木框尚保留原皮殼，色澤沉穩而層次豐富。整體保存極為完整。大理石屏心，正面紋路豐富，上有黑、灰色石紋，若千山羅列，夏峰過雨，雲霧變化，洶湧澎湃。木底座雕刻精美的仿古設計。 來源：紐約州紹索爾得鎮Terence Kelleher收藏。Terrance Kelleher畢業於新澤西聖彼得大學和曼哈頓福特漢姆法學院，曾任美國陸軍預備役上尉以及美國國際法院古玩交易公司首席執行官。他還曾擔任一家非營利性醫療保健公司首席執行官，並且是東長島醫院的董事會成員。 品相：整體狀況良好，略有磨損。大理石邊緣有小磕損，但被框架隱藏。框架總體狀況良好，小缺損，有老化裂縫和小修。整體木框有自然良好的包漿。 尺寸：總 38.8 x 49.4 厘米 與 59.5 x 56 x 30 厘米 (大理石) 專家注釋：這樣的木架與石料結合的裝飾在整個明清時期都很流行，因為石材的顏色常常與木材的豐富色彩和紋理相得益彰。大理石如畫般的紋理也吸引了當時學者的創造性思維，他們經常在日常物品中看到更深層次的象徵意義。見王世襄《明式家具研究》，卷一，香港，1990年，第153-54頁。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2018年10月3 日，lot 128. 價格：HKD 300,000（相當於今日EUR 38,500） 描述：清黃花梨嵌大理石案屏 專家評論：比較相似的雲石和相近尺寸 (57 x 57 x 30釐米)。
A PAIR OF CLOISONNE ENAMEL 'BIRD' CANDLESTICKS, QIANLONG PERIODChina, 1736-1795. Each bird modeled standing with outstretched wings, the plumage finely enameled in white and accentuated in dark blue near the wings and beaks, the feathers well detailed in gilt wire, the head lowered supporting the drip pans decorated with floral motifs on turquoise ground, the beak holding a ball, and standing on gilt clawed feet. Provenance: From an old Austrian private collection. Condition: Good condition commensurate with age. Some wear, the figures leaning, with warping, bends, obvious losses, minor nicks and dents, and expected touchups. The wood stands with few nicks and light surface scratches.Weight: 425 g and 440 g (excl. base), 514 g and 520 g (incl. base) Dimensions: Height 24.8 cm and 25.7 cm (excl. base), 28.6 cm and 29 cm (incl. base)With two fitted wood stands, dating from the late Qing dynasty to the Republic period. (4)Literature comparison:Compare a single cloisonne bird candlestick with cloisonne stand, described as petrel, dated to the mid-Qing period, from the Qing Court Collection at the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Metal-bodied Enamel Ware, Hong Kong, 2002, p. 159, pl. 151. Compare also a closely related pair from the National Palace Museum, illustrated in Chen Hsia-Sheng, Enamel Ware in the Ming and Ch'ing Dynasties, Taipei, 1999, pl. 55. A related example from a private collection is illustrated in Zhang Xin, ed., Colorful, Elegant, and Exquisite: A Special Exhibition of Imperial Enamel Ware from Mr. Robert Chang's Collection, Suzhou, 2007, p. 72. Another related cloisonne bird candlestick holder, formerly in the Kitson Collection, is illustrated in Sir Harry Garner, Chinese and Japanese Cloisonne Enamels, London, 1970, pl. 74B.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 5 November 2009, lot 42Price: GBP 20,400 or approx. EUR 37,500 converted and adjusted for inflation at the time of writingDescription: A rare pair of cloisonne enamel 'bird and tortoise' candlesticks, QianlongExpert remark: Compare the related pose, colors, and size (24.4 cm). Note the cloisonne bases.乾隆時期一對銅胎掐絲琺瑯鳥形燭檯中國，1736-1795年。每隻鳥都張開雙翼站立，羽毛以白色精美琺瑯描繪，並在翅膀和喙附近以深藍色突出，羽毛用鎏金線條突出細節。鳥低著頭，頭頂綠松石色地纏枝花卉紋的滴盤，鳥爪鎏金。 來源：奧地利私人收藏。 品相：品相良好，一些磨損，燭檯稍有傾斜、翹曲、缺損，輕微的刻痕和凹痕，以及小修補。木底座有些為刻痕和輕微劃痕。 重量：分別爲425 克與 440 克 (不含底座)，514 克與520 可 (含底座) 尺寸：高 24.8 厘米與25.7 厘米 (不含底座)，28.6 厘米與29 厘米 (含底座) 清末民初木底座 (4) 文獻比較： 比較一件明中期銅胎掐絲琺瑯鳥形燭檯，被描述為海燕，來自北京故宮清廷收藏，見《故宮博物院藏文物珍品全集：金屬琺瑯器》，香港，2002年，頁159，圖151。比較一對非常相近的燭檯，收藏於臺北故宮博物院，見Chen Hsia-Sheng，《Enamel Ware in the Ming and Ch'ing Dynasties》，臺北，1999，圖55.。一件相近的私人收藏例子 ，見Zhang Xin編，《絢麗、華貴、至尊：香港張宗憲先生珍藏御製宮廷掐絲琺瑯特展》，蘇州，2007年，頁72。另一件相近的銅胎掐絲琺瑯鳥形燭檯 ，曾收藏於Kitson Collection，見Sir Harry Garner，《Chinese and Japanese Cloisonne Enamels》，倫敦，1970，圖74B。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2009年11月5日，lot 42 價格：GBP 20,400（相當於今日EUR 37,500） 描述：乾隆一對銅胎掐絲琺瑯鳥形燭檯 專家評論：比較相近的姿勢、顏色和尺寸(24.4 厘米)。請注意此燭檯的底座。
AN AMBER GLAZED 'HATCHED' EWER, TANG DYNASTYChina, 618-906. The ovoid body rising from a short foot to a flaring neck, set with a short, ribbed spout, two small lugs, and an arched handle, the body decorated with hatching under a crackled amber glaze stopping unevenly above the foot, revealing the buff ware partly burnt orange in the firing process. Provenance: From the collection of R. Marian Hicks, OBE, who was a professor at the School of Pathology and Department of Oncology at Middlesex Hospital Medical School, London. She was an avid collector of Tang and Song dynasty ceramics and her noted collection also included Chinese bronzes, textiles, and rank badges. Condition: Good condition with old wear, glaze flaking, small nicks, few chips, light surface scratches, minor losses, an old repair to the upper rim, and expected manufacturing flaws.Weight: 1,197 g Dimensions: Height 19.5 cmLiterature comparison:Compare a closely related ewer with loop handles, 9th century, 15.6 cm, in the Metropolitan Museum of Art, accession number 1977.449.3.Auction result comparison:Type: RelatedAuction: Sotheby's London, 4 November 2020, lot 232Price: GBP 5,040 or approx. EUR 6,800 converted and adjusted for inflation at the time of writingDescription: A rare sancai-glazed ewer, Tang dynastyExpert remark: Compare the related form, glaze, and hatched design. Note the much smaller size (13 cm).唐代琥珀色釉執壺中國，618-906年。壺身呈優美的弧度，上肩短流，壺柄彎曲狀，兩道係帶，壺身暗刻細紋。通體施琥珀色釉，止在底足上方，底足露胎。 來源：R. Marian Hicks私人收藏，她是倫敦米德爾塞克斯醫院醫學院病理學院和腫瘤學系的教授。她特別喜歡收藏唐宋陶瓷，收藏中還包括中國青銅器、紡織品和軍銜徽章。 品相：狀況良好，有磨損、釉面剝落、小刻痕、少量缺口、輕微的表面劃痕、輕微缺損，上邊緣小修。 重量：1,197 克 尺寸：高 19.5 厘米 文獻比較： 比較一件非常相近的九世紀執壺，9th century，15.6 厘米，收藏於大都會藝術博物館，館藏編號1977.449.3。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2020年11月4日，lot 232 價格：GBP 5,040（相當於今日EUR 6,800） 描述：唐三彩執壺 專家評論：比較相近的外形、釉面和設計。請注意尺寸較小(13 厘米)。
A GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI, KANDYAN PERIODExpert's note: Sri Lankan figures of Buddha are noted for remarkable stylistic conservativism, having followed a consistent canon of proportions from their earliest origins. The later Kandyan period, however, saw considerable variation in the rendering of the robe, marked by highly precise linear patterns worked into the folds. There are elements to this specific bronze, from the softer casting style of the shoulders and arms to the pronounced surface wear, that make it feel a bit older than most of the Kandyan Period examples on the market.Sri Lanka, 17th-18th century. Solidly cast seated in vajraparyankasana with his hands folded in dhyanamudra, the Buddha's broad-shouldered form is fitted in a finely pleated sanghati draped over his left shoulder. His face bares a calm, meditative expression and was likely once framed by pendulous earlobes and surmounted by a flaming siraspata.Provenance: The Phillips Family Collection, Lawrence and Shirley Phillips, and thence by descent to Michael Phillips (born 1943), who is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Some wear and casting irregularities, minor losses, soldering marks, small nicks, light scratches. The head has been reattached at some point in time. Fine, naturally grown, rich patina.Weight: 3,340 gDimensions: Height 15.5 cmAfter three hundred years of internecine civil conflict and successive waves of European imperialists, the Kingdom of Kandy emerged as the pre-eminent Sinhalese political authority. Under its stability and the avid patronage of its kings, Sri Lanka witnessed a Buddhist revival with an unprecedented amount of building and restoring of monastic institutions. Bronze Buddha images proliferated, most of them either gilded or non-gilded depicting the sage in a standing pose. Fewer portrayed the Buddha seated, like the present example.Two predominant forces inform the distinctive style of Kandyan Buddhist art. One is the continuance of Sinhalese tradition in depicting Buddha with a broad body type wrapped in a pleated robe, set by colossal statues of the Anuradhapura and Polunnaruwa periods. The other is a South Indian tradition of expressing dynastic identity through artistic patronage of religious objects, pursued with enthusiasm by the Nayak princes, who were invited to assume Kandy's throne after its last Sinhalese king died without an heir in 1739. Such fusion is exemplified by the present sculpture, whose massive shoulders and air of empyrean authority evoke tradition, while the mesmerizing crinkles of the garment, abstracted physiognomy, and enlarged flame finial summon Kandyan panache.Literature comparison:Compare a closely related bronze figure of Buddha dated to the 18th century, in the Art Institute of Chicago, gifted by Lawrence and Shirley Phillips, the previous owners of the present lot, reference number 1984.1304. Compare fifteenth and sixteenth-century Buddhas from the Divided Kingdoms period (c. 1232-1597), see U. von Schroeder, Buddhist Sculptures of Sri Lanka, p. 467, pls. 144 D-G.Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 30 November 2022, lot 1047Price: HKD 355,800 or approx. EUR 42,000 converted and adjusted for inflation at the time of writingDescription: A Silvered Copper Alloy Figure Of Seated Buddha, Sri Lanka, Kandyan Period, 18th CenturyExpert remark: Note the closely related style of the garment folds. Also note that the figure is silvered and significantly larger (26.5 cm) than the present lot.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A BRONZE FIGURE OF A STANDING BUDDHA, POST-GUPTA PERIOD, INDIA, C. 7TH CENTURYFinely cast standing in contrapposto on an integral lotus-petal base upon a square plinth, the right arm extended to the earth, the open palm exaggerated, the left hand grasping the hem of the robe.Provenance: Steven Finkelman, The Buddha Gallery, California, USA, 2014. Michael Phillips, acquired from the above. Steven Finkelman is a retired social work service director with over 30 years of experience in collecting and selling Buddhist and Hindu sculpture. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Very good condition, commensurate with age. Wear, minor dents, small nicks, light scratches, casting flaws, signs of weathering and erosion, losses.Weight: 189.7 g Dimensions: Height 11 cmThe present lot is characteristic of Indian art from the post-Gupta period. This small type of portable figure is thought to be one of the earliest kinds of Buddhist images to have been produced by local craftsmen, reflecting the spread of Buddhism throughout India and the rest of Asia after the 3rd century. We see this type of figure replicated in regional styles all the way out to Myanmar. It was even reported by the Chinese scholar Xuanzang (602-664), who traveled to India in the 7th century, that the monks of India had small icons of Buddha in their quarters that they venerated with chanting, ritual bathing, and small offerings of incense and food. He identified these as a small group of metal standing Buddha figures. The Ajanta Caves are approximately thirty Buddhist cave monuments dating from the second century BC to about 480 AD in the Aurangabad district of Maharashtra state in India. Textual records suggest that these caves served as a monsoon retreat for monks, as well as a resting site for merchants and pilgrims in ancient India. The caves include paintings and rock-cut sculptures described as among the finest surviving examples of ancient Indian art, particularly expressive works that present emotions through gesture, pose and form. They are universally regarded as masterpieces of Buddhist religious art. The caves were built in two phases, the first starting around the second century BC and the second occurring from 400 to 650 AD. They constitute ancient monasteries (Chaityas) and worship-halls (Viharas) of different Buddhist traditions carved into a 75-meter (246 ft) wall of rock. The caves also present paintings depicting the past lives and rebirths of the Buddha, pictorial tales from Aryasura's Jatakamala, and rock-cut sculptures of Buddhist deities. The patron and bronze founder of the present lot were clearly intimately familiar with the Ajanta site. In cave 4 for example, see a standing Buddha closely related to the present lot.Literature comparison: Compare a related carved relief of a standing Buddha in Cave 19 at the Ajanta complex, taken by Henry Cousens around 1880, from the Archaeological Survey of India Collections. See Sarita Khettry, 'Portable' Images (Buddhist) from Gandhara, Proceedings of the Indian History Congress, vol. 72, 2011, pp. 204-11. Compare also a related pillar painting in Cave 10. Compare a closely related figure, 11 cm high, dated 7th-8th century, at Galerie Hioco, June 24, 2019.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A LARGE CANTON ENAMEL 'SCHOLARS' DISH, 18TH CENTURYChina. Finely painted in bright enamels to the interior with a scene of scholars and their attendants carrying staffs and books, examining a scroll in a verdant landscape with rockwork and trees, encircled by a wide band of floral blossoms borne on leafy scrolling vines on a yellow ground below a key-fret band, and to the exterior with a similar yellow-ground floral band with chilong. The base with a finely painted chilong medallion.Provenance: The Paris trade, previously acquired from an old French private estate. The base with an ancient, slightly faded ink inscription dating from the early 20th century, reading '… Jaune' (= … yellow). Condition: Good condition with minor wear and manufacturing irregularities. Light surface scratches, few expected stress lines to the well along the foot rim, minimal hairlines here and there, the outside with a single minor loss to the enameling with associated remnants of old paint, well visible under strong blue light. The colors are crisp and remarkably well-preserved. Overall the condition is considerably better than generally expected from this type of canton enamel dish. Displaying exceptionally well.Weight: 2,144 g Dimensions: Diameter 44 cm Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 1 December 2010, lot 3229 Price: HKD 350,000 or approx. EUR 57,500 converted and adjusted for inflation at the time of writing Description: A large canton enamel circular dish, Qing dynasty, 18th century Expert remark: Note the similar size (40 cm)十八世紀大型廣東琺瑯開光文人圖盤中國。盤內開光精美描繪文人們山間談天説地，有手持法杖，有的拿著書籍，周圍岩石和樹木環繞，並可見花卉。盤沿黃地纏枝花卉紋。圈足內飾有精美的螭龍紋。 來源：法國古玩交易，購於一個法國私人舊藏。底部有一個二十世紀初墨書 '… Jaune' (= … 黃色)“。 品相：狀況良好，有輕微磨損和製造缺陷，輕微的表面劃痕，沿著腳緣處有輕微衝線，局部輕微的琺瑯損失和舊油漆殘留，在強藍光下清晰可見。顏色清晰，保存完好。總的來說，這種廣州琺瑯盤的狀況比一般預期的要好得多。 重量：2,144 克 尺寸：直徑 44 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2010年12月1日，lot 3229 價格：HKD 350,000（相當於今日EUR 57,500） 描述：十八世紀廣東琺瑯開光圓盤 專家評論：請注意相似的尺寸(40 厘米)。
A RARE 'LADY PLAYING THE QIN' BLUE AND WHITE PORCELAIN TRAY, 18TH-19TH CENTURYChina, 1700-1850. Of rectangular form, finely painted in shades of cobalt blue to the interior with a lady dressed in voluminous robes playing the qin, her hair arranged in an elaborate coiffure, the interior sides with a double line border, the exterior with a wide key-fret band, covered overall in a transparent glaze, save for two unglazed concentric rectangular foot rims.Provenance: English trade. Condition: Very good condition with minor wear and firing irregularities, and light surface scratches.Weight: 697.2 g Dimensions: Length 23.2 cmThe subject of a Manchu court lady playing a qin evokes culture, taste, refinement, and scholarly accomplishment - all characteristics male scholars would also strive to possess. The present depiction is quite unusual in that it portrays the lady from behind, making this a rare variation of a popular subject.十八至十九世紀罕見青花仕女彈琴托盤中國，1700-1850年。長方形，盤內青花精美繪製一位身著寬大衣袍的仕女在彈琴。她的頭髮梳成精緻的髮髻。内壁兩道青花紋。外壁青花雷紋，長方圈足未上釉。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損和燒製不規則，表面有輕微劃痕。 重量：697.2 克 尺寸：長 23.2 厘米
A GRAY SCHIST STELE OF VISHNU, NORTHEASTERN INDIA, PALA PERIOD, 11TH - 12TH CENTURYFinely carved as Vishnu standing in samabhanga, holding a mace and discus in his upper hands, a conch shell and lotus bud in his lower hands, his body is richly adorned with elaborate jewelry, including a foliate collar, armlets, wristbands, and circular earrings, his face with almond-shaped eyes, flanked by elongated ears, and surmounted by an ornate headdress, with Lakshmi and Sarasvati standing to his side.Provenance: Galerie Le Corneur Roudillon, Paris, France. A French private collection, acquired from the above. A label to the base 'Le Corneur Roudil[…]'. Le Corneur Roudillon was a gallery established in Paris by Jean Roudillon and noted French jewelry designer Olivier Le Corneur. Jean Roudillon (1923-2020) was an expert in non-European arts, especially in arts from Africa, Oceania, and the Americas, and one of the last great figures instrumental in the recognition of tribal art in the 20th century. He participated in over a thousand sales, including those of the collections of Helena Rubinstein and Andre Levy. The gallery Le Corneur Roudillon specialized in pre-Hispanic American antiques, sculptures from Oceania, classical antiquities, archaeology, and artifacts from the Middle Ages. Condition: Condition commensurate with age and displaying remarkably well. Extensive wear, signs of weathering and erosion, losses, nicks, and light scratches. Some restored cracks, and associated minor losses.Weight: 12.3 kg (incl. stand) Dimensions: Height 42.5 cm (excl. stand), 47.5 cm (incl. stand)Mounted to a modern wood stand. (2)Literature comparison:Compare a related stele of standing Vishnu, 80.6 cm, Pala period, 10th century, in the Brooklyn Museum, accession number 68.185.25.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 24 June 2020, lot 881Price: USD 6,250 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: A black stone stele of Vishnu, India, Pala period, 11th / 12th centuryExpert remark: Compare the related motif, pose, and decoration. Note the larger size (59.7 cm)Auction result comparison:Type: RelatedAuction: Bonhams New York, 15 March 2022, lot 383Price: USD 12,112 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A blackstone stele of Vishnu, Pala period, Northeast India, circa 12th centuryExpert remark: Compare the related motif, pose, and decoration. Note the similar size (47.6 cm).
A BRONZE 'DUCK' CENSER AND COVER, MING DYNASTYChina, 1368-1644. Modeled standing on one of its webbed feet, the other raised, the curved neck supporting its upwards turned head, detailed with a long opened beak and plumage, the upper body forming the cover, with three openings at the beak and plumage, mounted to a rectangular wood stand.Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years, and thence by descent. The base with an old label, 'Antique Ming dynasty bronze incense burner 17th c.'. Condition: Very good condition with minor wear, few small nicks, light surface scratches, and casting flaws.Weight: 1,164 g (excl. stand), 1,511 g (incl. stand) Dimensions: 26.4 cm (excl. stand), 31.8 cm (incl. stand)With a modern, fitted wood stand. (2)Auction result comparison:Type: RelatedAuction: Bonhams London, 10 May 2021, lot 303Price: GBP 7,012 or approx. EUR 9,200 converted and adjusted for inflation at the time of writingDescription: A bronze mandarin duck form incense burner and cover, Ming dynasty Expert remark: Compare the related form of the beak, plumage, and feet. Note the smaller size (21 cm).Auction result comparison:Type: RelatedAuction: Christie's New York, 29 June 2021, lot 99Price: USD 25,000 or approx. EUR 26,000 converted and adjusted for inflation at the time of writingDescription: A bronze duck-form censer and cover, late Ming dynasty, 17th century Expert remark: Compare the related form, pose, and plumage. Note the larger size (44.8 cm) and rockwork base.明代鴨型銅爐中國，1368-1644年。鴨子單腳站立，另一隻腳抬起，彎曲的脖子，頭擡起，長喙和羽毛細節刻畫精緻，上半身形成蓋子，在喙和羽毛處有三個開口，安裝在一個矩形木架上。 來源：英國倫敦紳士收藏，收藏亞洲藝術至少五十年，保存至今。底座老標籤上注明“Antique Ming dynasty bronze incense burner 17th c.”。 品相：狀況極好，有輕微磨損、極少的刻痕、表面劃痕和鑄造缺陷。 重量：1,164 克 (不含底座)，1,511 克 (含底座) 尺寸：26.4 厘米 (不含底座)，31.8 厘米 (含底座) 現代木底座 (2) 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2021年5月10日，lot 303 價格：GBP 7,012（相當於今日EUR 9,200） 描述：明代鴛鴦銅爐蓋 專家評論：比較相近的長喙外形、羽毛和足部。請注意尺寸較小(21 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2021年6月29日，lot 99 價格：USD 25,000（相當於今日EUR 26,000） 描述：晚明十七世紀銅鴨形蓋爐 專家評論：比較相近的外形、姿勢和羽毛。請注意尺寸較大(44.8 厘米)和岩石形底座。
A GILT-COPPER REPOUSSE AND PALE CELADON JADE BOWL, LIAO DYNASTYChina, 907-1125. The deep round sides supported on a short foot, the jade bowl fitted with neatly incised gilt-copper repousse decorations depicting flying geese amid scrolling foliage in openwork, the rim and foot in gilt copper as well, the translucent stone of a pale celadon tone.Provenance: Old Japanese private collection. Czech private collection, acquired from the above.Condition: Good condition, commensurate with age. Some old wear and minor corrosion, dents and nicks, light scratches, signs of weathering and erosion, the bronze with malachite encrustations, the jade with extensive creamy-white calcification and iron residue overall.Weight: 141 g Dimensions: Diameter 10.3 cmLiterature comparison: Compare a closely related bowl in L'or des Qidan, Christian Deydier, p. 28 and 29. 遼代鎏金銅錘鍱青白玉碗中國，907-1125年。敞口，口略外撇，深弧腹，圈足，玉碗飾以鏤空雕刻的鎏金銅錘鍱，描繪飛雁穿梭於枝葉之間，沿足亦採用鎏金裝飾，淺青色調的半透明玉石。 來源：日本私人舊藏；捷克私人收藏，購於上述收藏。 品相：品相良好，有一些磨損和輕微腐蝕，凹痕和劃痕、風化和侵蝕痕跡，有孔雀石色結殼，玉器有大面積乳白色鈣化和鐵渣。 重量：141 克 尺寸：直徑 10.3 釐米文獻比較：比較一件非常相近的玉碗，見L'or des Qidan，《Christian Deydier》，頁28和29。
A SILK APPLIQUE THANGKA OF A CHITIPATI YANTRA, MONGOLIA, 19TH CENTURYFinely woven with two skeletons standing in unity on conch shells atop a lotus pillow, holding a skull club, a kapala, a kundika, and a medicinal plant. The thangka is centered by the circular yantra with a lengthy inscription and decorated with flame, vajra, and floral designs.Provenance: The Triay Collection of Himalayan Art. Ian Triay is a Spanish banking executive and the Honorary Consul in Spain for the Kingdom of Bhutan. He actively participated in the establishment of diplomatic relations between Spain and Bhutan and in projects of mutual interest to both countries. Assembled over a period of 40 years with an eye for the unusual and esoteric, the Triay Collection was a unique assemblage of Himalayan art. With many works featured in the landmark exhibitions in the Fundacion "La Caixa", Madrid in 2000, Musee Guimet, Paris in 2002, Los Angeles County Museum of Art in 2003, and the Rubin Museum of Art in New York in 2010, this collection shines a fascinating light on Buddhist ritual art. A particular focus in the collection was the Chitipati. In the Tibetan Buddhist artistic traditions, graphic images of death and the afterlife - an area which is of particular fascination to the collector - are used as reminders that life is fleeting and that we must act virtuously. Condition: Good condition with old wear, traces of age and usage, little soiling, loose threads.Dimensions: Image size 46 x 33 cm, Size incl. mounting 83.5 x 51.5 cmChitipati are a divine skeleton couple also and initially known as Shri Shmashana Adhipati, "the lord and lady of the charnel ground." They act as protector deities, particularly against thieves and grave robbers, vowing to destroy enemies of the Dharma. They are closely associated with the Chakrasamvara Tantra and visually represented as intertwined jovial skeletal figures, each holding various attributes, dancing in a halo of wild flames. Their wrathful and skeletal appearance can be likened to a momento mori, acting as a reminder of death and the temporality of all things. As macabre lords of the cremation grounds, they serve to remind Tibetans of the inevitability of death and decay, while at the same time, to celebrate one's ultimate liberation from duality. A much beloved subject in Tibetan Buddhism, the Chitipati are represented on thangkas and appliques, in sculpture, on wooden shrines and furniture, and as elaborate costumes worn during ceremonial dances (Cham), in a visual type that becomes standardized for centuries.Memento mori (Latin for 'remember that you die') is an artistic or symbolic trope acting as a reminder of the inevitability of death. The concept has its roots in the philosophers of classical antiquity and appeared in art and architecture from the medieval period onwards. The most common motif is a skull, often accompanied by one or more bones, or a complete skeleton. Often this alone is enough to evoke the trope, but sometimes other motifs such as a coffin, hourglass and wilting flowers were added to signify the impermanence of human life.From Leonardo to Basquiat, the most important artists of the modern world were fascinated by the Memento Mori trope. Likewise, the Chitipati are a reminder of the eternal cycle of life and death. Furthermore, there is a mind training practice in Tibetan Buddhism known as Lojong, the 'Four Contemplations to Cause a Revolution in the Mind'. The second of these four is the contemplation of impermanence and death. In particular, one contemplates that:All compounded things are impermanent,The human body is a compounded thing,Therefore, death of the body is certain,The time of death is uncertain and beyond our control.There are a number of classic verse formulations of these contemplations meant for daily reflection to overcome our strong habitual tendency to live as though we will certainly not die today.Literature comparison: Compare an earlier Tibetan painted thangka of the Chitipati, dated to the 15th century, in the Rubin Museum of Art, object number F1996.16.5. Compare a related painted Chitipati yantra, dated 1900-1959, in the collection of Richard R. and Magdalena Ernst, Himalayan Art Resources item no. 18430.十九世紀蒙古唐卡屍林怙主唐卡精細編織而成，本尊呈骷髏骨架形態，白色，父母本尊各有一張臉，三隻紅眼睛和兩隻手。左邊的父尊用右手高舉一根骷髏棒，左手在心臟位置捧著一個顱碗，穿著老虎皮，站在海螺殼上。母尊高舉的右手拿著一株麥穗，左手拿著一個像徵財富的寶瓶，穿著各種絲綢，站在貝殼上。兩者都頭飾五骷髏冠。 來源：喜瑪拉雅藝術 Triay Collection收藏。 品相：狀況良好，有磨損、歲月痕跡和使用痕跡，輕微汙漬，線頭鬆動。 尺寸：畫面 46 x 33 釐米，總83.5 x 51.5 釐米
A SILK PAINTING OF XIWANGMU AND OTHER FEMALE DEITIES, QING DYNASTYChina, 1644-1912. Ink and watercolors on silk. Finely painted with Xiwangmu dressed in a white robe, embellished with floral garlands, Guanyin clad in a light blue cowl, the other female deities each holding a different attribute, a red pearl, a dragon, two cats, and a red cup. The lower register with Zhongli Quan grasping his fan, surrounded by a goddess carrying a basket filled with lingzhi, and Magu. The figures framed by dense rockwork and trees.Provenance: Christie's Paris, 9 June 2015, lot 100. A noted French private collection, acquired from the above. The reverse inscribed twice in French 'The eight divinities, T.B', and in Chinese 'Gold' and '8060 Gold'. The back with an inventory number, '52', and a label from Christie's. Condition: Commensurate with age, with some creasing, losses, soiling, and touchups. The frame with small nicks, flakes to the lacquer, and minor scratches.Dimensions: Image size 131.2 x 53 cm, Size incl. mounting 150 x 70.5 cmFramed behind glass. (2)This painting depicts a scene from the peach festival, which is a popular Daoist subject associated with the birthday celebration of Xiwangmu, who has the sole authority to grant the Peaches of Eternal Life and bestow celebrants of the festival with great fortune. According to legend, the festival is held at the Jade Palace in the Kunlun Mountains in the Western Paradise and only takes place every 3000 years.清代絹本《西王母圖》中國，1644-1912年，絹本水墨設色。西王母身著白袍，飾以花環；觀音頭戴淡藍色頭巾，其他女仙各持不同法器。畫面下方可見漢鍾離手持扇子，旁邊還有一位提著裝滿靈芝籃子的女神以及麻姑。周圍雲霧繚繞，樹木茂密。 來源：巴黎佳士得2015年6月9日lot 100；法國知名私人收藏，購於上述拍賣。法文書寫“八仙”，中文寫著“金”與 “8060金”。背面有收藏編號 '52'與佳士得標籤。 品相：與年齡相稱，有一些摺痕、缺損、污漬和修飾。木框有小劃痕、漆面剝落和輕微劃痕。 尺寸：畫面131.2 x 53 厘米，總150 x 70.5 厘米 玻璃裝框(2) 此畫描繪的是蟠桃盛會場景片段。蟠桃盛會是西王母慶生的流行題材。西王母有權賜予長生桃，賜福於人。相傳，這個節日在西方天堂崑崙山的玉皇宮舉行，每三千年才舉行一次。
A BRONZE FIGURE OF BUDDHA, NORTHEASTERN INDIA, 8TH-10TH CENTURYExquisitely modeled standing in a dynamic pose, reminiscent of tribhanga and similar to contrapposto, his right hand raised in shuni mudra and his left holding the hem of his diaphanous robe draped over his left shoulder. The crisply cast serene face with heavy-lidded downcast eyes below gently arched brows centered by an urna, an aquiline nose, and full lips, flanked by long pendulous earlobes. The hair arranged in tight curls with an ushnisha. The bronze with a rich, naturally grown patina with malachite encrustations.Provenance: From a distinguished French collection, assembled in the course of over forty years. A noted Italian private collection, acquired from the above.Condition: Good condition, commensurate with age. Minor old repairs and fills. Extensive wear, casting irregularities, small nicks, light scratches, minor losses, signs of weathering and erosion, encrustations. Weight: 2,675 g (incl. stand) Dimensions: Height 31.5 cm (excl. stand) and 39.5 cm (incl. stand)Mounted to an associated wood stand. (2)Literature comparison: Compare a related bronze figure of Buddha, attributed to Bihar and dated to the 10th century, in the National Museum, New Delhi, object number 47.47. Compare a related bronze figure of Buddha, attributed to Bihar and dated circa 10th century, in the Indian Museum, Kolkata, object number 9436/A24276.Auction result comparison:Type: Related Auction: Christie's New York, 17 March 2015, lot 29 Price: USD 269,000 or approx. EUR 314,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Buddha, Thailand, 8th centuryExpert remark: Compare the related pose, robe, and color of the bronze. Note the larger size (36.1 cm) and that the figure was attributed to Thailand.
'MOUNTAIN WATERFALL', BY QIAN SONGYAN (1899-1985), DATED 1959China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Painted in shades of blue and light pink, depicting a waterfall in the mountains, with pine trees and two travelers admiring the monumental scene.Inscriptions: To the upper right, inscribed 'Spring reigns in the mountains, farmers and workers are in united front', dated '1959', signed 'by Qian Songyan'. Two seals, 'Qian' and 'Songyan'. To the reverse, inscribed 'Qian Songyan, Mountain water landscape' Provenance: A noted private collector, acquired in China between 1980 and 1990. The current owner lived in Xi'an, China, during the 1980s and 1990s. There he became friends with Zhao Wenfa, who at that time was a professor of Chinese arts at the Xi'an Art Academy. Zhao Wenfa advised him on Chinese painting and eventually inspired him to start his own collection. Condition: Very good condition with minor wear, little creasing, and minor soiling.Dimensions: Image size 135.5 x 69 cm, Size incl. mounting 185 x 79.2 cmQian Songyan (1899-1985) was born in Jiangsu province, China. He learned painting at an early age from his father. Qian graduated in 1923 from the Jiangsu Provincial College and taught art at academies in Suzhou and Wuxi after 1949. His work was exhibited both within China and abroad. Qian was also the executive director of the Association of Chinese Artists and the President of the Jiangsu Academy of Chinese Painting. He is closely associated with the 'New Nanjing Style' and often depicted monumental natural scenes such as waterfalls and mountains.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 16 September 2014, lot 83Price: USD 22,500 or approx. EUR 27,000 converted and adjusted for inflation at the time of writingDescription: Qian Songyan (1899-1985), Autumn mountainsExpert remark: Compare the closely related motif. Note the smaller size (61 x 36.2 cm).錢松喦1959年《古塞新天萬里春》中國，紙本水墨設色，掛軸。峰巒曡嶂，青松遍野，瀑布直流，游人步於山間。 款識：古塞新天萬里春，工農戰線頻。一九五九年錢松喦作。 來源：知名私人收藏家，1980年至1990年間購於中國，藏家當時生活在西安。他與西安美術學院教授趙文發成爲好友 。趙文發在中國畫方面向他提供建議，並最終啟發他開始了自己的收藏。品相：狀況極好，有輕微磨損、摺痕和污漬。 尺寸：畫面135.5 x 69 厘米，總185 x 79.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2014年9月16日，lot 83 價格：USD 22,500（相當於今日EUR 27,000） 描述：錢松喦《秋山清趣》 專家評論：比較非常相近主題。請注意尺寸較小(61 x 36.2 厘米)。
A LARGE BACTRIAN LIMESTONE JAR, CIRCA LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, fig. 53, p. 62 (dated to the third millennium BC).Oxus Civilization. The tall and massive vessel of ovoid form, well hollowed, supported on a rounded base and rising to a broad mouth, the interior with neatly incised concentric lines encircling a small protrusion at the center of the base.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium, 2003. Paolo Bertuzzi, acquired from the above. A copy of the original invoice from Alex Vervoordt, dated 4 April 2003, addressed to Paolo Bertuzzi, dating the present lot to the second millennium BC, and listing a purchase price of EUR 8,400 or approx. EUR 12,600 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Excellent condition, commensurate with age. Extensive wear, signs of weathering and erosion, minor chips, structural cracks, small losses, minuscule nicks, light scratches, expected old fills and repairs, and encrustations.Weight: 3,936 gDimensions: Height 29 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the "Oxus civilization", apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures at many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison: Type: Remotely related Auction: Christie's New York, 10 June 2010, lot 4 Price: USD 4,000 or approx. EUR 5,300 converted and adjusted for inflation at the time of writing Description: A Bactrian fossiliferous limestone bowl, circa late 3rd-early 2nd millennium BC Expert remark: Compare the rounded base and hollowing. Note the diameter (27.9 cm).
A JIZHOU PHOSPHATIC-SPLASHED BLACK-GLAZED BOWL, SOUTHERN SONG DYNASTYChina, 1127-1279. The bowl is potted with conical sides rising to the finger-grooved rim, applied with a lustrous dark brown glaze splashed with variegated russet and pale milky brown strokes stopping at the base revealing the buff body burnt orange during firing.Provenance: New York trade, by repute acquired from a Japanese private collection. Condition: Old wear and firing irregularities as expected, the rim with two old kintsugi repairs, minuscule losses, light surface scratches.Weight: 180.7 g Dimensions: Diameter 12 cmAuction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 30 November 2016, lot 3161Price: HKD 162,500 or approx. EUR 22,500 converted and adjusted for inflation at the time of writingDescription: A Jizhou phosphatic-splashed black-glazed bowl, Southern Song dynastyExpert remark: Compare the closely related glaze, splashes, form, and size (12.1 cm)Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 September 2008, lot 429Price: USD 30,000 or approx. EUR 40,000 converted and adjusted for inflation at the time of writingDescription: A rare Jizhou splashed black-glazed bowl, Southern Song dynastyExpert remark: Compare the closely related glaze, color of splashes, and form. Note the size (16 cm)南宋吉州窯黑釉斑碗中國，1127-1279年。碗口微斂，斜腹，淺圈足。器內外壁施以黑、黃、白等多種色釉，不同顏色的釉層相互映襯，絢爛富有變化。底足露胎。 來源：紐約古玩交易，據説購於一個日本私人收藏。 品相：磨損和燒製不規則，邊緣有兩處金繼修復，微小的缺損，輕微的表面劃痕。 重量：180.7 克 尺寸：直徑12 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2016年11月30日，lot 3161 價格：HKD 162,500（相當於今日EUR 22,500） 描述：南宋吉州窯黑釉斑碗 專家評論：比較非常相近的釉面、飛濺滴釉、外型和尺寸 (12.1厘米) 。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2008年9月17日，lot 429 價格：USD 30,000（相當於今日EUR 40,000） 描述：南宋吉州窯黑釉斑碗 專家評論：比較非常相近的釉面、飛濺滴釉顏色和外型。請注意尺寸 (16厘米)。
A SILVER-INLAID COPPER ALLOY FIGURE OF GANESHA, SOUTH INDIA, C. 1650-1750Well cast seated on a square base with spreading feet, his vehicle the rat found prominently at the front, holding in his secondary hands two axes and in his primary hands his broken tusk and sweets which he is sampling from with his elegantly curved trunk. He is wearing a short dhoti and an upavita. His almond-shaped eyes are finely inlaid in silver. His head is surmounted by a tiered conical crown and backed by a floral halo. With an attractive, buttery patina, this personal shrine image has clearly been the object of much affection under the devotee's thumbs over the past centuries. Provenance: German trade. Condition: Good condition with some wear, casting flaws, small nicks, minor losses, dents, light scratches. Fine, naturally grown patina with areas of malachite encrustation.Weight: 2,284 gDimensions: Height 18.2 cmLiterature comparison: Compare a related bronze figure of Ganesha, 16.5 cm high, also attributed to South India and dated 1650-1750, in the Victoria & Albert Museum, accession number IM.76-1914.Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2001, lot 42 Price: USD 8,813 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing Description: A Bronze Figure Of Ganesha, South India, 17th Century Expert remark: Note the similar size (19 cm)
A GLASS-INLAID GILT-BRONZE 'TIGER AND DRAGON' BELT HOOK, WARRING STATES PERIODChina, 475-221 BC. Intricately cast and pierced to depict a tiger and chilong with powerful claws emerging from their entwined bodies, terminating in a neatly incised dragon-head hook above an oval green glass inlay. The underside with a circular button.Provenance: English trade. Condition: Good condition, commensurate with age. Extensive wear mostly to gilt, light scratches, signs of weathering and erosion, minor losses, small dents, possibly with an ancient repair to the hook. The glass inlay is original to the piece and shows natural decay as expected. Fine, naturally grown patina overall with malachite and cuprite encrustations.Weight: 133.4 g Dimensions: Length 18.3 cmLiterature comparison: Compare a closely related gilt bronze belt hook, 17.6 cm long, also dated to the Warring States period, exhibited by the Oriental Ceramic Society of Hong Kong & Urban Council of Hong Kong, Ancient Chinese and Ordos Bronzes, 12 October to 2 December 1990, and illustrated by Jessica Rawson and Emma Bunker, p. 212, no. 129. Also compare with a gilt-bronze and glass-inlaid belt hook at the Metropolitan Museum New York, accession number 1985.214.71.Auction result comparisonType: Closely related Auction: Sotheby's New York, 20 March 2019, lot 668 Estimate: USD 4,000 or approx. EUR 4,400 converted and adjusted for inflation at the time of writing Description: A gilt-bronze 'dragon' belt buckle, Warring States period Expert remark: Note the slightly smaller size (17.5 cm), and the lack of glass inlay.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2015, lot 707Price: USD 9,375 or approx. EUR 11,200 converted at the time of writingDescription: A Rare Small Glass-Inlaid Gilt-Metal Belt Hook, Late Warring States-Early Eastern Han Dynasty Expert remark: Compare the closely related glass inlay, note the much smaller size (8.9 cm).戰國鎏金銅鑲玻璃龍虎斗帶鈎中國，公元前475-221年。繁複鑄造鏤空龍虎纏繞相鬥場景，龍頭鈎下有一塊橢圓形綠色玻璃鑲嵌物。底部有一個圓形扣鈕。 來源：英國古玩交易。 品相：品相良好，主要是鎏金磨損、輕微劃痕、風化和侵蝕的跡象、小凹痕，鉤子可能有過修復。玻璃鑲嵌物是原件。整體呈現精美、自然生長的包漿，帶有孔雀石色和赤色結殼。 重量：133.4 克 尺寸：長18.3 厘米 文獻比較： 比較一件非常相近的戰國鎏金銅帶鈎，17.6 厘米長，展覽於Oriental Ceramic Society of Hong Kong & Urban Council of Hong Kong，《Ancient Chinese and Ordos Bronzes》，1990年10月12日至12月2日，見Jessica Rawson和Emma Bunker，頁212，編號129。比較一件鎏金銅鑲玻璃帶鈎，收藏於大都會藝術博物館，館藏編號1985.214.71。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年3月20日，lot 668 估價：USD 4,000（相當於今日EUR 4,400） 描述：戰國銅鎏金龍形帶鉤 專家評論：請注意尺寸稍小(17.5 厘米)，以及沒有玻璃鑲嵌。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年3月20日，lot 707 價格：USD 9,375（相當於今日EUR 11,200） 描述：戰國晚期/東漢早期鎏金銅嵌玻璃獸首帶鉤 專家評論：比較非常相近的玻璃鑲嵌；請注意尺寸小很多(8.9 厘米)。
A RARE 'JUN-IMITATION' WATERPOT, PINGGUOZUN, KANGXI PERIODOpinion: No other examples of this specific glaze type, combined with this specific form and mark, appear to have come on the market. The unique imitation Jun ware purplish-red glaze, derived from copper, combined with the simple apple-form and auspicious artemisia leaf mark, firmly places the jar within the Kangxi period. The high age of the jar is further cemented by its early provenance.China, 1662-1722. Delicately potted, the 'apple jar' is of compressed globular form with an inverted rim, covered overall in an elegant purplish-red, somewhat experimental glaze, attractively and irregularly pooling below the mouth and transmuting to a bluish celadon, building a distinct line of glaze drops in remarkably high relief around the central body. The white base with an underglaze-blue artemisia leaf mark.Provenance: From the collection of Dr. Frederick Whiting (1861-1946), mostly assembled before 1930, and thence by descent in the same family. The base with an old label, '75'. An 1890 graduate of the University of Vienna, Austria, Dr. Whiting was a Fellow of the American College of Surgeons and a member of the American Otological Society, the New York Otological Society, and the New York Academy of Medicine. Dr. Whiting was also a member of numerous clubs, among others the New York Athletic Club, the Clove Valley Rod and Gun Club, the Century Association, and the Society of Cincinnati in the State of Connecticut. He was a recognized collector of American paintings and Chinese porcelains, and a respected author, having written numerous scientific articles as well as a book on surgical techniques titled The Modern Mastoid Operation.Condition: Excellent condition with minor wear and firing irregularities, with a subtle orange tinge to the foot rim and stained craquelure to the interior. Dimensions: Height 6.4 cm (excl. stand), Diameter 8.5 cmWeight: 237 g (excl. stand)With a finely carved zitan stand. (2)When the Kangxi Emperor came to the throne, he immediately began to show an interest in the production of porcelain and encouraged the potters to experiment, improve and rediscover earlier techniques. One of those rediscoveries was the attempt at replicating Jun ware of the Song Dynasty, remarkable for its thick luscious glaze of intense coloration which can vary from light to deep turquoise blue splashed with purplish-red derived from copper. The splashes added a flamboyant effect, which had an immense appeal to the literati and nobility of the time. The present lot seems to be one of the rather early prototypes from this group.During the early Qing dynasty, up until the early 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including artemisia leaf marks.康熙時期罕見仿鈞釉蘋果尊中國，1662-1722年。器呈侈口，無頸、圓腹，器口頸若果蒂下凹於圓腹之中，底內凹。器體小巧玲瓏，豐滿圓潤。全器施玫紅色仿均釉，近足部成淺藍色，釉色流淌和緩且變化自然。圈足內施白地青花蒿葉款。 專家注釋: 市場上似乎沒有這種特殊釉面類型的例子，並帶有這種特殊款識標記。獨特的仿鈞窯玫紅色釉料，以銅為原料，結合簡潔的蘋果形和吉祥的蒿葉款，所以此罐應來自康熙時期。 來源：Dr. Frederick Whiting (1861-1946) 收藏，大多藏品購於1930年前，在同一家族保存至今。底座有一個老標籤 '75'。 Whiting 博士於 1890 年畢業於奧地利維也納大學，是美國外科醫學院的院士，也是美國耳科學會、紐約耳科學會和紐約醫學院的成員。 Whiting博士還是許多俱樂部的成員，其中包括紐約運動俱樂部、丁香穀杆槍俱樂部、世紀協會和康涅狄格州辛辛那提協會。 他是一位公認的美國繪畫和中國瓷器收藏家，也是一位受人尊敬的作家，撰寫了大量科學文章以及一本名為《The Modern Mastoid Operation》的外科技術書籍。 品相：品相極佳，有輕微磨損和燒製不規則，足緣略帶橙色，內部有裂紋。 尺寸：高 6.4 釐米 (不含底座)，直徑 8.5 釐米 重量：237 克 (不含底座) 紫檀雕刻底座。 (2)
A SCHIST STELE DEPICTING BUDDHA, ANCIENT REGION OF GANDHARA, 3RD-4TH CENTURYOf rectangular form, deeply carved in high relief, with Buddha seated in dhyanasana atop a lotus base supported by two small figures, flanked by bodhisattvas, under a canopy with apsaras flanked by a Buddha and a bodhisattva, all above kneeling worshippers. His hands are held in dharmachakra mudra, wearing a loose-fitting robe with deeply carved folds, his serene face with almond-shaped eyes, elegantly arched brows, a circular urna, and full lips, the wavy hair with a high ushnisha, backed by a halo.Provenance: Dr. Rene Schroeder, Luxembourg, 1973. The collection of Yvette Starck, Luxembourg, acquired from the above and thence by descent. A noted Belgian collector, acquired from the above. A copy of the original invoice from Dr. Rene Schroeder, dated 10 September 1973, addressed to Yvette Starck, accompanies this lot.Condition: Very good condition, commensurate with age. Some wear, minor losses, few structural cracks, small nicks, light scratches, signs of weathering and erosion, encrustations. Dimensions: Height 46.5 cm (excl. stand) and 49 cm (incl. stand)With a modern metal stand. (2)Literature comparison: Compare a related schist stele depicting Buddha, 97 cm high, in the Lahore Museum, Pakistan. Compare a related schist stele depicting Buddha, dated c. 3rd century AD, in the Government Museum and Art Gallery, Chandigarh, object number 572.Auction result comparison: Type: Related Auction: Christie's Paris, 8 June 2010, lot 423 Price: EUR 70,600 or approx. EUR 86,000 adjusted for inflation at the time of writing Description: An important gray schist relief, Gandhara region, 3rd/4th centuryExpert remark: Note the significantly larger size (76 x 59.5 cm)三至四世紀犍陀羅片岩坐佛石碑長方石碑，高浮雕佛陀坐蓮像，雙手結法輪印，身著僧衣，線條流暢，面容安詳，杏眼，彎眉，雙眉之間有白毫，高髻。兩側分佈菩薩，上有飛天華蓋，周圍有信徒。後有光背。 來源：盧森堡Dr. Rene Schroeder收藏，1973年；盧森堡Yvette Starck收藏，購於上述收藏；知名比利時藏家，購於上述收藏。隨附Dr. Rene Schroeder 1973年9月10日給Yvette Starck出具的發票複印本。 品相：品相極好，一些磨損、輕微缺損、少量結構裂縫、小刻痕、輕微劃痕、風化和侵蝕跡象、土壤結殼。 尺寸：高46.5 厘米 (不含底座) 與49 厘米 (含底座) 現代金屬底座。 (2) 文獻比較： 比較一件相近的片岩佛石碑，高97 厘米，收藏於巴基斯坦Lahore Museum。比較一件相近的三至四世紀片岩佛石碑，收藏於昌迪加爾Government Museum and Art Gallery，收藏編號572。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，8 6月 2010年，lot 423 價格：EUR 70,600 EUR 86,000 （相當於今日） 描述：三至四世紀犍陀羅片岩佛石碑 專家評論：請注意尺寸明顯較大(76 x 59.5 厘米)。
A BRONZE FIGURE OF SAMANTABHADRA RIDING AN ELEPHANT, MING DYNASTYChina, 1368-1644. Seated on the back of a recumbent elephant with the feet resting on a lotus base, his left hand holding a scroll, his right hand raised in shuni mudra, clad in long robes tied at the waist and open at the chest revealing a beaded necklace with ruyi and pendants, the serene face with downcast eyes centered by an urna, flanked by elongated earlobes embellished with floral earrings, the hair tied behind a floral and beaded tiara and flanked by elaborately tied bows. The elephant is embellished with beaded gear and a bell collar.Provenance: Norwegian trade. Condition: Good condition commensurate with age. With some old wear, small dents, light scratches, losses, corrosion, and casting flaws.Weight: 4,520 g Dimensions: Height 33.7 cmSamantabhadra is the bodhisattva associated with the practice of Buddhist teaching and joins Manjushri, the lord of transcendent wisdom, in a trinity with Shakyamuni Buddha. The bodhisattva is borne by a white elephant, symbolic of the strength achieved through the practice of Buddhism. The bronze is typical of later Ming works, finely cast and of rich color, and made with elegant reference to antiquity, the heavy and elaborate jewelry and voluminous undulating robes echoing the classical styles of Northern Qi through Song period sculpture.Literature comparison: There is a long tradition of depicting the bodhisattva Samantabhadra in bronze. A Song dynasty figure of Samantabhadra in the collection of the Palace Museum, Beijing, is illustrated as one of a pair, together with the Bodhisattva Manjusri in Zhongguo meishu quanji. Diaosu bian (The complete collection of Chinese art: Sculptures), vol. 5, Beijing, 1989, pls 153-154.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 9 October 2020, lot 3653Price: HKD 277,200 or approx. EUR 33,500 converted and adjusted for inflation at the time of writingDescription: A gilt-lacquered bronze figure of Samantabhadra, late Ming dynastyExpert remark: Note the similar size (31.5 cm)明代普賢騎象銅像中國，1368-1644年。普賢菩薩面相方正清秀，額頭白毫凸起，彎眉細目，眼瞼微啟，嘴唇飽滿。髮髻高聳，戴寳冠，身著天衣綢裙，瓔珞釧環等裝飾刻劃精美，帔帛繞臂飄拂。普賢左手舉起持書卷，右手結耐心印置於腿上。菩薩法相妙然，沉穩祥和。菩薩脚踏蓮花，坐於臥象上。大象飾有串珠和鈴鐺。 來源：挪威古玩交易。 品相：良好的條件，有一些舊磨損、小凹痕、輕微劃痕、缺損、腐蝕和鑄造缺陷。 重量：4,520 克 尺寸：高33.7 厘米 普賢菩薩象徵理德、行德，與文殊菩薩的智德、正德相對。這兩位菩薩是娑婆世界釋迦牟尼佛的右、左脅侍，被稱為“華嚴三聖”。普賢菩薩被認爲 “恩惠無所不在”，代表佛法和慈悲。菩薩由一頭白象承載，象徵通過修行獲得力量。銅像為典型的晚明造像，鑄工精細，仿古典雅，精美的首飾和寬大的長袍承襲北齊至宋代雕塑的古典風格。 文獻比較： 用青銅鑄造普賢菩薩的傳統由來已久。北京故宮博物院藏宋代普賢菩薩像，與文殊菩薩為一對，見 《中國美術全集雕塑編》，卷5，北京，1989年，圖153-154。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2020年10月9日，lot 3653 價格：HKD 277,200（相當於今日EUR 33,500） 描述：明末漆金銅普賢菩薩像 專家評論：請注意相似的尺寸 (31.5 厘米)。
A BLUE AND WHITE BARREL-FORM GARDEN STOOL, QING DYNASTYChina, 1644-1912. Well painted in shades of cobalt blue with a dense network of meanders issuing lotus blossoms between rows of bosses, framed by a ruyi border to the upper rim and a band of scrolls above the unglazed foot, pierced to the sides with a double cash-coin design, the top similarly decorated with a double cash-coin motif encircled by a band of meandering scrolls and lotus blossoms. Provenance: British trade. Condition: Excellent condition with minor wear, light surface scratches, and manufacturing flaws including glaze recesses, pitting, and firing flaws.Weight: 13.7 kg Dimensions: Height 45 cm Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 18 March 2017, lot 1471Price: USD 12,500 or approx. EUR 14,500 converted and adjusted for inflation at the time of writingDescription: A pair of blue and white garden seats, Qing dynasty, 19th centuryExpert remark: Compare the closely related form, dense motif, bosses, and size (47 cm).清代青花纏枝蓮紋如意鼓凳中國，1644-1912年。通體以青花纏枝蓮紋為飾，沿面邊緣下方如意雲頭紋，腹部中心飾兩組圓形方孔套錢紋，上腹與脛部各飾一周乳釘紋。器形規整端莊，紋飾嚴整工細，青花色澤清新典雅。 來源：英國古玩交易。 品相：品相極佳，有輕微磨損、表面劃痕和製造缺陷，包括釉面凹陷、點蝕和燒製缺陷。 重量：13.7 公斤 尺寸：高45 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2017年3月18日，lot 1471 價格：USD 12,500（相當於今日EUR 14,500） 描述：清十九世紀青花纏枝蓮紋坐墩一對 專家評論：比較非常相近的外形，主題和尺寸 (47 厘米)。
A BACTRIAN NECKLACE, LATE 3RD TO EARLY 2ND MILLENIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, p. 34, no. 30. Oxus Civilization. Composed of eleven larger conical beads interspersed with smaller beads. The agate, jasper, and carnelian beads of a creamy-white tone with bands and fingerprints of gray, brown, and bluish-white, some with red accents.Provenance: Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition with some wear, few small chips to the edges, light surface scratches.Weight: 86.3 g Dimensions: Length 66 cm, Largest bead 7.6 cm, Smallest bead 0.5 cmScattered around Western collections, beads such as those on the present necklace are frequently said to come from Bactria. Although their exact source is unknown, they are comparable with examples found in controlled excavations at Gonur in Margiana.The Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the "Oxus civilization", apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 5 December 2012, lot 301Price: USD 3,250 or approx. EUR 4,100 converted and adjusted for inflation at the time of writingDescription: A Bactrian agate and carnelian bead necklace, circa late 3rd-early 2nd millennium BCExpert remark: Compare the closely related form of the beads, and the colors of the stones. Note the size (71.1 cm).
A SCENIC BLUE AND WHITE 'MOUNTAIN LANDSCAPE' PLAQUE, LATE QING DYNASTY TO REPUBLIC PERIODChina, late 19th to mid-20th century. The rectangular plaque finely painted in numerous shades of cobalt blue, subtly graduated, with a river and mountain landscape scattered with pavilions, two travelers crossing a bridge towards a leafy willow tree, a solitary boatman on the waterway, two sailing boats in the distance, and tree-filled rocks.Provenance: From a private collection in New York, USA. The frame with an old label, 'G138 77326/3'. Condition: Very good condition with minor wear, few light surface scratches. The frame with small nicks, lights scratches, and minuscule losses to the lacquer.Dimensions: Image size 31 x 21.5 cm, Size incl. mounting 35.6 x 26.4 cmIn a wood frame with a metal suspension hook. Most likely from the same period as the plaque. For a closely related frame, see the first auction result comparison. (2)Auction result comparison:Type: Closely relatedAuction: Bonhams San Francisco, 20 December 2016, lot 9352Price: USD 11,250 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A blue and white porcelain plaque, 20th centuryExpert remark: Compare the closely related motif, fine details, shading, and form. Note the size (27 x 38 cm). Also note the similarity of the frame, indicating that this example and the present lot may originally come from the same artist and workshop.Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 24 June 2014, lot 8312Price: USD 10,625 or approx. EUR 12,000 converted and adjusted for inflation at the time of writingDescription: A blue and white landscape plaque, 20th centuryExpert remark: Compare the related motif, fine details, shading, and form. Note the size (38.8 x 25 cm).清末民初青花山水瓷板中國, 十九世紀末至二十世紀中期。長方形瓷板，山水景觀，亭台樓閣，橋上行人，湖邊柳樹，水上孤舟，遠處兩帆船。青花深淺不一，層次分明。 來源：美國紐約私人收藏，木框上舊標籤'G138 77326/3'。 品相：狀況極好，輕微磨損，表面輕微劃痕。框架有小劃痕，漆面磨損。 尺寸：畫面31 x 21.5 釐米, 總 35.6 x 26.4 釐米 帶有金屬吊鉤的木框，很可能與瓷板來自同一時期。(2) 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦瀚斯，2016年12月20日，lot 9352 價格：USD 11,250（相當於今日EUR 12,500） 描述：二十世紀青白瓷掛屏 專家評論：比較非常相近的主題、精細細節、陰影和外形。請注意尺寸(27 x 38毫米)。請注意畫框相似，說明此掛屏與我們的拍品可能出自同一藝術家及作坊 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2014年6月24日，lot 8312 價格：USD 10,625（相當於今日EUR 12,000） 描述：二十世紀青白瓷山水掛屏 專家評論：比較相近的主題、精細細節、陰影和外形。請注意尺寸(38.8 x 25毫米)。
A PARCEL-GILT AND SILVER-APPLIED BRASS RITUAL TEAPOTTibet, late 18th to early 19th century. The body tapering towards the base, surmounted by a short cylindrical neck and domed cover with bud finial, flanked by an incised dragon handle and an outward-curving spout issuing from the jaws of a makara, finely worked with gilt and silver details, the cover attached to the body by a chain.Provenance: From an old private collection in Rhineland, Germany, assembled between the 1960s and 2007. Austrian private collection, acquired from the above. A label to the base 'Ausguß: F. d. Wasser-Elefanten (Makara) Henkel: Drachen M.'Condition: Good condition with traces of use and old wear, small losses and dents here and there, few small nicks, and light scratches.Weight: 1,386 g Dimensions: Height 31.3 cmElaborate teapots with handles in the form of dragons and spouts issuing from the jaws of mythological water monsters ('makara') were found throughout the Tibetan cultural area in slightly differing styles. They were used only on special occasions such as weddings or other ceremonies or for an important visitor.Literature comparison:Compare a related brass and silver teapot, 30.2 cm, Tibet, 19th century, in the Victoria and Albert Museum, accession number IM.113-1927. Compare a related brass and silver teapot with dragon handle and makara spout, 34.8 cm, Tibet, 19th century, in the Victoria and Albert Museum, accession number IM.154-1921.Auction result comparison:Type: RelatedAuction: Bonhams London, 10 May 2022, lot 466Price: GBP 8,925 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A fine silver and bronze teapot and cover, Tibet, 18th centuryExpert remark: Compare the closely related form of the handle and spout, and size (33 cm). Note the fine decoration to the body and cover.Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 23 March 2011, lot 159Price: EUR 6,000 or approx. EUR 8,100 adjusted for inflation at the time of writingDescription: A Tibetan silver and gilt copper tea vessel, 19th centuryExpert remark: Compare the related form and spout. Note the slightly larger size (36.5 cm).西藏局部鎏金銀銅茶壺西藏，十八世紀末至十九世紀初。壺直頸弦唇，豐肩，弧腹，平底，寶塔形圓頂蓋，蓮花蓋鈕，雕龍執柄，摩迦儸形流，精美的鎏金和銀色細節，壺蓋用鉸鏈固定。 來源：德國萊茵州私人收藏，建立於上世紀六十年代至2007年；奧地利私人收藏，購於上述收藏。底部有一個標簽“Ausguß: F. d. Wasser-Elefanten (Makara) Henkel: Drachen M.' （水器：摩迦儸流，龍柄） 品相：品相良好，有使用和磨損痕跡，很多小缺損和凹痕，輕微小劃痕。 重量：1,386 克 尺寸：高31.3 厘米 此類帶有龍形手柄和樓伽羅流的茶壺在整個西藏文化區曾被發現，風格略有不同。它們僅在特殊場合使用，例如婚禮或其他儀式或重要訪客。 文獻比較： 比較一件相近的十九世紀西藏銀銅茶壺，30.2 厘米，收藏於維多利亞和阿爾伯特博物館，館藏編號 IM.113-1927. 比較一件相近的十九世紀西藏銀銅茶壺，也有龍形手柄和摩迦儸形流brass 和 silver teapot with dragon h和le 和 makara sput，34.8 厘米，收藏於維多利亞和阿爾伯特博物館，館藏編號 IM.154-1921。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2022年5月10日，lot 466 價格：GBP 8,925（相當於今日EUR 11,000） 描述：十八世紀西藏銀銅茶壺和蓋 專家評論：比較非常相近的外形的手柄和流，以及尺寸(33 厘米)。請注意精美裝飾的壺身和蓋。 拍賣結果比較： 形制：相近 拍賣：阿姆斯特丹佳士得，2011年3月23日，lot 159 價格：EUR 6,000（相當於今日EUR 8,100） 描述：十九世紀西藏鎏金銀銅茶壺 專家評論：比較相近的外形和流。請注意尺寸稍大 (36.5 厘米)。
A GILT BRONZE OF TSONGKHAPA, TIBETAN-CHINESE, 18TH CENTURYWell cast, seated in dhyanasana on a double-lotus plinth with beaded edge, the hands held in dharmachakra mudra, his arms flanked by long lotus stems that come to full bloom at the shoulders, crowned with a peaked hat, and dressed in elaborately chased robes with floral hems.Provenance: From the collection of an artist and university professor in Vienna. Condition: Good condition with old wear and casting flaws as expected, light scratches, few minor nicks. Scattered ancient metal fills, probably inherent to manufacturing. The small attribute on the right lotus is lost.Weight: 1,059 g Dimensions: Height 16.2 cmTsongkhapa (1357-1419) is widely regarded in Tibet as a second Buddha and the main teacher of the first Dalai Lama, Gendun Drub (1391-1474). An eminent scholar, he reformed the old Kadampa sect, creating the new Gelugpa sect (Yellow Hat), and is the founder of the monasteries Ganden, Drepung, and Sera. He is revered as an emanation of the Buddhist god of wisdom, Manjushri. Although the present bronze has lost one of his attributes, the sword, he is clearly recognizable by the pronounced facial features, for which Tsongkhapa was known, and the remaining attribute, the book.Auction result comparison:Type: Closely relatedAuction: Christie's London, 9 May 2017, lot 46Price: GBP 8,750 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A parcel gilt-bronze figure of Tsongkhapa, 18th centuryExpert remark: Compare the closely related pose, fine incision work, and size (16.5 cm)Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2012, lot 766Price: USD 8,125 or approx. EUR 10,000 converted and adjusted for inflation at the time of writingDescription: A gilt bronze figure of Tsongkhapa, Tibeto-Chinese, 18th centuryExpert remark: Compare the closely related pose, fine incision work, and size (17.2 cm)十八世紀漢藏銅鎏金宗喀巴坐像上師結跏趺座坐在蓮座上，雙手當胸結說法印，左右肩上有蓮花。上師面容慈祥，著僧袍。 來源：維也納一位藝術家及大學教授收藏。 品相：狀況良好，有磨損和鑄造缺陷，輕微劃痕，些微刻痕、局部金屬填充物。右邊蓮花上的小法器丟失。 重量：1,059 克 尺寸：高 16.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2017年5月9日，lot 46 價格：GBP 8,750（相當於今日EUR 12,500） 描述：十八世紀宗喀巴鎏金銅像 專家評論：比較非常相近的姿勢、精美雕刻和尺寸 (16.5 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月21日，lot 766 價格：USD 8,125（相當於今日EUR 10,000） 描述：十八世紀漢藏宗喀巴鎏金銅像 專家評論：比較非常相近的姿勢、精美雕刻和尺寸 (17.2 厘米)。
A BRONZE FIGURE OF SHIVA NATARAJA, VIJAYANAGARA EMPIRE, SOUTH INDIA, 1336-1646Heavily cast, shown dancing on a prostrate dwarf playing with a snake, his primary right hand in abhaya mudra, the other two hands raised holding a damaru and flame, dressed in a short dhoti. The body finely embellished with beaded necklaces, armbands, and circular earrings. The face with a subtle smile below almond shaped eyes, surmounted by a high, tapering headdress, backed by a floral halo. Provenance: German trade. Condition: Good condition commensurate with age. Some wear, small nicks and dents, light scratches, casting flaws, obvious losses. Fine, naturally grown, dark patina.Weight: 1,417 g (excl. base), 1,930 g (incl. base) Dimensions: Height 21.2 cm (excl. base), 23.6 cm (incl. stand)With a modern metal stand. (2)This image of Shiva depicts him as Nataraja, the Lord of the Dance. Shiva balances on the dwarf Apasmarapurusha, the demon of ignorance and indolence. His primary right hand is raised in the reassuring abhaya mudra, while his primary left hand should be in gajahasta, indicating the defeat of ignorance that hinders the realization of the universal truth. In his secondary right hand, he holds the damaru symbolizing the sound of creation - the Big Bang - whose cosmic vibrations perpetuate the universe. His other hand holds agni, the fire which signifies the final destruction out of which a new world will arise.Auction result comparison: Type: Related Auction: Bonhams Sydney, 7 December 2022, lot 128Price: AUD 18,450 or approx. EUR 11,500 converted at the time of writing Description: A bronze figure of Shiva Nataraja, Vijayanagar period, 16th century Expert remark: Note the smaller size (15.8 cm) and flaming halo.Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2013, lot 254 Price: USD 27,500 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Shiva Nataraja, South India, Vijayanagara period, 16th centuryExpert remark: Note the larger size (28.5 cm) and flaming halo.
A SMALL LAC BURGAUTE BOX AND COVER, KANGXI PERIODChina, 1662-1722. Of globular form, raised on a low foot, the domed cover decorated in the center with a chrysanthemum blossom encircled by concentric rows of geometric motifs followed by six radiating petals of different diaper patterns meticulously inlaid with mother-of-pearl and gilt. The rims framed by geometric bands and floral borders, the foot and rim of the cover protected by a band of gilt metal. The interior lacquered in black with a peach to the center of the dome and a branch of flowers to the well of the box. The recessed base similarly inlaid with a taiji symbol surrounded by flowers.Provenance: Austrian private collection. Condition: Good condition with little wear, light surface scratches, few minuscule nicks, minor losses to the inlays, small chips to the rims with associated flaking and minor losses, the gilt metal rims slightly loose.Weight: 8 g Dimensions: Diameter 3.4 cmLiterature comparison: Compare a box of similar form and decoration, illustrated in the catalog to the Oriental Ceramic Society exhibition, The Arts of the Ch'ing Dynasty, London, 1964, no. 385, and subsequently included in the Spink & Son catalog The George de Menasce Collection, Part I, London, 1971, no. 131. A related lobed box inlaid with the Qianli mark is illustrated by H. Moss, Arts from the Scholar's Studio, Hong Kong, 1986, no. 144.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 16 May 2013, lot 387Price: GBP 13,750 or approx. EUR 23,000 converted and adjusted for inflation at the time of writingDescription: A pair of 'lac burgaute' circular boxes and covers Kangxi, two-character Qianli marksExpert remark: Compare the closely related form, fine inlays, and size (3.7 cm). Note that the lot comprises two boxes, each with a two-character Qianli mark.康熙髹黑漆嵌螺鈿圓蓋盒中國，1662-1722年。球形，盒蓋邊緣和盒子圈足鎏金。以黑漆嵌薄螺鈿技術，盒蓋上錦地花卉紋飾一朵菊花，花瓣呈放射狀，盒子外壁眼神相同紋飾，青光閃閃，精細優美。盒内髹黑漆，圓頂中央有一個桃子，盒子的内有一枝花。 凹陷的底座鑲嵌著一個被花卉紋環繞的太極符號。 來源：奧地利私人收藏。 品相：狀況良好，輕微磨損和表面劃痕，局部螺鈿缺損，邊緣有小缺口，鎏金邊緣略微鬆動。 重量：8 克 尺寸：直徑 3.4 厘米 文獻比較： 比較一件相似外形和裝飾的圓蓋盒，見東方陶瓷學會展覽圖錄，《The Arts of the Ch'ing Dynasty》，倫敦，1964年，編號385，以及見《Spink & Son catalog The George de Menasce Collection》，第一輯，倫敦，1971年，編號131。一件相近的千里款花瓣蓋盒 ，見 H. Moss，《Arts from the Scholar's Studio》，香港，1986年，編號144。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2013年5月16日，lot 387 價格：GBP 13,750（相當於今日EUR 23,000） 描述：清康熙黑漆螺鈾球形蓋盒一對 「千里」篆書款 專家評論：比較非常相近的外形、精美鑲嵌和 尺寸(3.7 厘米)。請注意此為兩件盒子，皆有千里款。
A FAMILLE ROSE WATER POT, JIAQING MARK AND PERIODChina, 1796-1820. Delicately potted, of beehive form, brightly painted to the exterior with large lotus blossoms interspersed with smaller similar blooms, all borne on leafy scrolls, the rim framed by a band of yellow and blue ruyi-heads, all against a white ground. The recessed base with an iron-red six-character mark da Qing Jiaqing nianzhi and of the period.Provenance: British trade. Condition: Fine condition with old wear and traces of use. A minuscule star crack forming several small hairlines, all barely visible to the naked eye. Light rubbing to the enamels and minor manufacturing flaws, including the expected microscopic bubbles typical for these wares. Overall displaying remarkably well.Weight: 82.0 g Dimensions: Diameter 6.9 cmAuction result comparison:Type: Near identicalAuction: Christie's London, 6 November 2012, lot 248Price: GBP 12,500 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: A small famille rose water pot, Jiaqing iron-red seal mark and of the periodExpert remark: Compare the closely related form, enamels with similar wear, and size (6.8 cm)Auction result comparison: Type: Near identical Auction: Sotheby's London, 10 November 2010, lot 130Price: GBP 22,500 or approx. EUR 36,500 converted and adjusted for inflation at the time of writingDescription: A 'famille rose' waterpot, Jiaqing mark and period Expert remark: Compare the closely related form, enamels, motif, and size (7 cm)嘉慶款及年代粉彩纏枝蓮紋水丞中國，1796-1820年。胎體細膩緊致，外壁粉彩描繪纏枝蓮花，頸部黃地青花如意紋。圈足内礬紅釉“大清嘉慶年製”六字款。 來源：英國古玩交易。 品相：狀況良好，有磨損和使用痕跡。一道細小的裂縫，形成了數條細小的細紋，肉眼幾乎看不出來。琺瑯有輕微摩擦和製造缺陷，包括微小氣泡。 整體表現非常出色。 重量：82.0 克 尺寸：直徑6.9 厘米 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦佳士得，2012年11月6日，lot 248 價格：GBP 12,500（相當於今日EUR 20,500） 描述：粉彩纏枝蓮紋小水盂礬紅六字篆書款 專家評論：比較非常相近的外形、琺瑯有輕微磨損，以及尺寸(6.8 厘米)。 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦蘇富比，2010年11月10日，lot 130 價格：GBP 22,500（相當於今日EUR 36,500） 描述：嘉慶款及年代粉彩纏枝蓮紋水丞 專家評論：比較非常相近的外形、琺瑯、主題，以及尺寸(7 厘米)。
A LARGE SILVER REPOUSSE 'BUDDHIST LION' TRAY, LATE QING DYNASTYExpert's note: The incision work is remarkably fine on this example, leaving no doubt that it must have been a very expensive piece at the time.China, c. 1900. The tray with a lobed rim, applied with a bamboo border, elaborately decorated with playful Buddhist lions in high relief chasing brocade balls, dragons, phoenixes, and birds, interspersed with Buddhist symbols and ribbons, a rockwork landscape with pine and bamboo to the upper left, bordered by a raised band of bamboo and prunus, the oval foot in openwork with a floral diaper pattern.Inscriptions: To the base, impressed hallmarks 'Yongshenglong' and 'Wenyin' (silver). Provenance: French trade. Condition: Very good condition with minor wear, few small nicks and dents, light surface scratches.Weight: 1,065 g Dimensions: Length 41.2 cm Auction result comparison:Type: RelatedAuction: Sotheby's London, 6 November 2013, lot 428Price: GBP 7,500 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A Chinese export repousse silver 'dragon and carp' tray, circa 1900Expert remark: Compare the related repousse work and mythical animal subject. Note the size (57.7 cm) and that the tray is marked 'WH' for Wang Hing.清末錘鍱太獅銀盤中國，約1900年。花口盤，淺底，邊沿竹節紋，折沿上裝飾竹林紋；盤中高浮雕太獅戲球，龍鳳紋，佛教八寶紋，橢圓形不連貫圈足。專家注釋：銀盤工藝精美，毫無疑問，它在當時一定是一件非常昂貴的工藝品。 款識：永盛隆，紋銀 來源：法國古玩交易。 品相：狀況極好，有輕微磨損和凹痕，表面有輕微劃痕。 重量：1,065 克 尺寸：長41.2 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2013年11月6日，lot 428 價格：GBP 7,500（相當於今日EUR 11,000） 描述：清十九世紀末銀魚躍龍門紋長方盤 專家評論：比較相近的錘鍱工藝和神獸主題。請注意尺寸 (57.7 厘米) ，以及此托盤有 'WH'款。
A PAIR OF GILT-BRONZE TIGER HEAD CHARIOT ORNAMENTS, WARRING STATES TO HAN DYNASTYChina, 475 BC to 220 AD. Each finely modeled in the form of a feline mask extending in a gentle curve to a socket of oval section terminating in three triangular points, the face with bulging eyes and a prominent snout.Provenance: A French private collection, acquired in Hong Kong during the 1980s. Galerie Achaia, Lyon, France, 2011. A French private collection built between ca. 1980 and 2012, acquired from the above. A copy of the original invoice from Galerie Archaia, Lyon, dated 10 November 2011, describing the present lot as a pair of gilt bronze animal-head chariot fittings from the Warring States period, accompanies this lot. Condition: Fine condition, commensurate with age. Signs of weathering, traces of malachite and cuprite encrustations, soil encrustations, small nicks, and light scratches. The gilt particularly well preserved.Weight: 171.7 g (excl. base) and 366.2 g (incl. base), 164.4 g (excl. base) and 372.4 g (incl. base) Dimensions: Length 7.7 cm and 7.7 cmWith two modern metal stands. (4)Excavations have revealed that these intriguing fittings are chariot ornaments once used to crown the curved ends of the yoke that was fitted around the horse's neck. Similar tiger fittings, either gilt-bronze or gilt and silvered bronze, were excavated in the Han tombs of Mancheng, Heibei province. See the excavation report, Mancheng Hanmu Fajue Baogao (Excavation of the Han tombs at Mancheng), volume 1, Beijing, 1980, pages 322-3, fig. 219-1 for illustration and fig. 215 for a reconstructed diagram showing where these fittings were originally placed.Literature comparison: Compare a related example included in the exhibition Inlaid Bronze and Related Material from Pre-Tang China, Eskenazi, London, 1991, cat. no. 23.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 28 July 2022, lot 3039Price: HKD 44,100 or approx. EUR 5,300 converted and adjusted for inflation at the time of writingDescription: A pair of gilt-bronze 'tiger' chariot yoke fittings, Western Han dynastyExpert remark: Compare the closely related form, decoration and size (8.5 cm). Note the condition issues.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 26 August 2021, lot 1078Estimate: HKD 30,000 or approx. EUR 3,700 converted and adjusted for inflation at the time of writingDescription: A pair of gilt-bronze tiger-form chariot fittings, Han dynastyExpert remark: Compare the closely related form, decoration and size (8.5 cm). Note the significant condition issues.戰國至漢代一對銅鎏金虎頭輅中國，公元前475年至公元220年。每一個都虎頭形式精心建模，以柔和的曲線延伸到橢圓形截面的輅，終止於三個三角形點，面部大眼圓睜和鼻子突出。 來源：法國私人收藏，上世紀八十年代購於香港；法國里昂Galerie Achaia藝廊，2011年；法國私人收藏，建立於約 1980 至2012，購於上述藝廊。隨附一份里昂Galerie Archaia藝廊2011年11月10日發票複印本，描述此拍品來自戰國時期。 品相：狀況良好，風化跡象、紅綠色結殼、土壤結殼、小刻痕和輕微劃痕。鎏金保存完好。 重量：分別171.7 克 (不含底座)與366.2克 (含底座)，分別為164.4 克 (不含底座) 與372.4 g (含底座) 尺寸：分別長7.7 厘米與7.7 厘米 兩個現代金屬支架。 (4) 考古表明，這些有趣的配件是戰車裝飾品，曾經用於安裝在馬脖子上的輅彎曲端。河北省滿城漢墓出土了類似的虎形飾器，有鎏金銅或鎏金鍍銀青銅器。見考古報告，《滿城漢墓發掘報告》，卷一，北京，1980年，頁322-3，圖219-1 用於說明和圖215 的顯示了這些配件最初放置的位置。 文獻比較： 比較一件相近的例子，有相近材質《Pre-Tang China》，Eskenazi，倫敦，1991年，圖錄編號23。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2022年7月28日，lot 3039 價格：HKD 44,100（相當於今日EUR 5,300） 描述：西漢鎏金銅虎首車馬器一對 專家評論：比較非常相近的外形，裝飾和尺寸(8.5 厘米)。請注意品相問題。
A SMALL JASPER-GREEN FACETED GLASS SNUFF BOTTLE, IMPERIAL GLASSWORKS, 18TH CENTURYChina, Beijing, 1700-1780. Of compressed horizontal ovoid form with octagonal profile, surmounted by a cylindrical neck with flat lip, and a flat foot, the two main sides with raised, faceted oval panels surrounded by further faceting. The glass of an opaque jasper-turquoise color with few yellow streaks around the base.Provenance: Guwan Cheng, Beijing, November 2006, by repute excavated from a tomb. Hugh Moss Ltd., Hong Kong, 2010. An English private collector of Snuff Bottles, acquired from the above. A copy of the original invoice from Hugh Moss Ltd., Hong Kong, dated 11 October 2010, dating the piece to 1700-1780, noting the tomb excavation, and stating a purchase price of USD 5,400 (or approx. EUR 6,900 converted and adjusted for inflation at the time of writing), accompanies this lot. Hugh Moss (b. 1943) is an author, dealer, artist, lifelong collector, and enthusiast of Chinese art, and foremost authority on Chinese snuff bottles. Condition: Excellent condition with minor wear and manufacturing irregularities, including open bubbles, few nibbles to the edges and light surface scratches.Stopper: Mother-of-pearl with gilt bronze collarWeight: 20.7 gDimensions: Height incl. stopper 40 mm, Diameter neck 12 mm and mouth 7 mmWith a padded silk box. (2)The present snuff bottle belongs to a series of octagonal faceted snuff bottles made at the court for distribution by the Qing Emperors as gifts to officials, scholars, and other worthies on specific occasions each year. The faceting arose out of the influence of the Bavarian Kilian Stumpf who set up the Imperial Glassworks in 1696 and became a popular form of decoration for glass bottles and other wares throughout the earlier Qing dynasty. Because they were frequently distributed as gifts, the bottles became symbols of honor and were frequently buried with Qing snuff-takers.This bottle is typical of the smaller-sized range for this form. The mouth is well within the range of early wide mouths on glass bottles. The jasper green color, perhaps inspired by the natural stone, is among the rarer ones found in Palace-faceted octagonal snuff bottles of the 18th century and does not appear to have been produced at all during the 19th century.Expert's note: According to Hugh Moss, this bottle was excavated from a tomb near Beijing in the early 2000s. Many such tombs have been uncovered in the past decades due to the expansion of Beijing and massive building programs such as the 2008 Olympics, and thus a number of glass snuff bottles (along with many other types of precious objects) were discovered. The glass snuff bottles typically show obvious signs of burial as they are affected by contact with damp soil for so long. They are, as a rule, polished after coming out of the tomb, having lost much of their surface gloss from long burial, but in this case traces of the original iridescence have remained intact. The foot and lip, however, were wisely left cleaned but unpolished so as not to obscure the original extent of wear on the bottle from before it was buried.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 26 May 2013, lot 236Price: HKD 106,250 or approx. EUR 16,000 converted and adjusted for inflation at the time of writingDescription: A facetted turquoise-green glass snuff bottle, imperial glassworks, Qing dynasty, 18th centuryExpert remark: Compare the closely related form and similarly small size (36 mm). Note the slightly paler color of the glass.十八世紀碧玉綠切面小鼻煙壺，御用工坊中國，北京，1700-1780。八角形切面，平口，圓柱形頸部和扁平足，兩個主要側面帶有多面橢圓形面，素面。不透明的碧玉綠松石色玻璃，底部周圍有幾條黃色條紋。 來源：北京古玩城，2006年11月，據説來自墓葬挖掘；香港Hugh Moss Ltd.藝廊，2010年；一個英國私人鼻煙壺收藏傢，購於上述藝廊。隨附香港Hugh Moss Ltd.藝廊2010年10月11日發票複印件，斷代為1700-1780年，也記錄為墓葬出土，價格 USD 5,400 (或 EUR 6,900 ，根據通貨膨脹)。Hugh Moss (出生於1943) 是一位作家、商人、藝術家和中國藝術忠實的收藏家，特別是中國鼻煙壺。品相：狀況極佳，有輕微磨損和製造不規則，包括開口氣泡、邊緣有少量磕損和表面輕微的划痕。 壺蓋：Mother-of-pearl with gilt bronze collar 貝母鑲鎏金銅片。 重量：20.7 克 尺寸：含蓋高40毫米，頸部直徑12 毫米，頸部直徑7 毫米 内襯絲盒。 (2)
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