A FINE FAMILLE ROSE PLAQUE DEPICTING WANG ZHAOJUN, QING DYNASTYChina, 1644-1912. Exquisitely painted in bright enamels with Wang Zhaojun in a cold winter landscape with gnarled barren branches, bamboo leaves, craggy rockwork, and towering mountains partly obscured in the fog, shrouding herself in her voluminous robes, a youthful attendant walking behind her and carrying her silk-covered pipa, both with well-detailed, expressive faces of reddened complexion.Provenance: English trade, previously in an English private estate. Condition: Very good condition with some wear and expected firing irregularities, minor fritting to edges, and a small chip to one corner.Dimensions: Size 50.5 x 32.5 cmWang Qian, commonly known by her courtesy name Wang Zhaojun, was known as one of the Four Beauties of ancient China. Born in Baoping Village, Zigui County (in current Hubei Province) in the Western Han dynasty (206 BC-8 AD), she was sent by Emperor Yuan to marry Chanyu Huhanye of the Xiongnu Empire in order to establish friendly relations with the Han dynasty through marriage. The present plaque depicts Wang's journey north across the steppe.Wang Zhaojun was endowed with dazzling beauty and an extremely intelligent mind. She was adept in playing the pipa and was also a master of the ancient 'Four Arts of the Chinese Scholar' - the guqin, weiqi, calligraphy, and Chinese painting. Although Zhaojun was a concubine in the harem of Emperor Yuan (Han Yuandi, reigned 48-32 BC), he had never noticed her. One reason was that she refused to bribe a painter, Mao Yanshou, so his painting of her did not do her justice. As a result, when a Central Asian nomad prince named Huhanye came looking for a bride, the Emperor volunteered her (by another account she was so desperate that she volunteered herself). She then had to spend the rest of her life in the barren lands of Central Asia. When her husband died, she was married to her stepson, as custom dictated. She requested permission from Han Emperor Cheng to return home, but he refused.A set of tombs near the Inner Mongolian capital, Hohhot, is said to include the grave of Wang Zhaojun. The grave is mentioned as early as the Tang dynasty, by which time stories of Wang Zhaojun had become very popular. There are a number of poems about her. Most of them are sad, dwelling on her desire to return home. Typical is this poem by Li Bai, which at the end mentions her grave:The moon above the Han palace and land of Qin, Sheds a flood of silvery light, bidding Mingfei ("the radiant lady") farewell. She sets out on the road of the Jewel Gate, a road she will not travel back. The moon above the Han palace rises from the eastern seas, But the radiant lady wed in the west will return nevermore. On the Mongolian mountains flowers are made of the long winter's snow, The moth-eyebrowed one, broken-hearted, lies buried in the desert sand. Living she lacked the gold, and so her portrait was distorted, Dying she leaves a green mound, which moves all the world to pity. (taken from Yang Gang, Zhongguo ming sheng shi ci da ci dian, 2001, page 161)清代粉彩王昭君瓷板畫中國，1644-1912年。粉彩描繪王昭君出塞圖，枯枝竹葉，怪石嶙峋，巍峨群山半掩於霧中；王昭君身披寬大紅色斗篷，丫鬟抱著她的琵琶。瓷片髮色沉著，畫面生動。 來源：英國古玩交易，來自英國私人舊藏。 品相：狀況極好，有一些磨損和燒製瑕疵，邊緣有輕微磨損，一個角有小缺口。 尺寸：50.5 x 32.5 厘米 內蒙古首都呼和浩特附近的一個墓葬群，據說包括王昭君的墳墓。早在唐代，王昭君的故事就已廣為流傳。有很多關於她的詩，訴說著她想回家的願望。最典型的是李白的這首詩，最後提到了她的墳墓：漢家秦地月，流影照明妃。一上玉關道，天涯去不歸。漢月還從東海出，明妃西嫁無來日。燕支長寒雪作花，蛾眉憔悴沒胡沙。生乏黃金枉圖畫，死留青塚使人嗟。（摘取自楊剛，《中國名勝詩詞大辭典》，浙江大學出版社，2001年，頁161）
We found 534297 price guide item(s) matching your search
There are 534297 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
534297 item(s)/page
A MARBLE-INSET LACQUERED HARDWOOD INCENSE STAND, XIANGJI, 19TH CENTURYChina. Of hexagonal form, the top neatly inset with a white marble panel, supported on six scrolling feet joined by a hexagonal base stretcher, the shaped apron decorated with a foliate design, the legs with ruyi and archaistic scroll. Provenance: Swiss trade. Condition: Very good condition with minor wear, few small nicks, and light scratches.Weight: 7.9 kg Dimensions: Height 83.5 cmIncense stands, both in lacquer and hardwood, are seen in a variety of forms, including round, square, foliate, hexagonal, and octagonal. They are constructed with between three and six legs. Round examples appear to be the most common type, while hexagonal stands are considerably rarer.The Chinese have burned incense and aromatics since the Han dynasty. Censers were used for both secular and religious purposes and held a variety of aromatic substances, some to be burned as incense, others to more slowly release their scent. These censers were used to freshen interiors and could be placed in imperial offices, private residences, places of worship or used outdoors. To support censers, incense stands became a standard piece of furniture for any individual who could afford luxury goods. Incense stands tend to be tall and symmetrical in form. They were generally placed away from the wall and centrally located within an interior space, to allow for the effective diffusion of scent. Though the name, incense stand, implies a specific use, Ming-dynasty prints show the incense stand used for numerous purposes, including the display of scholar's rocks, flowers, and decorative objects. Auction result comparison: Type: Related Auction: Bonhams London, 11 May 2021, lot 387 Price: GBP 3,187 or approx. EUR 4,200 converted and adjusted for inflation at the time of writing Description: A hongmu octagonal stand, xiangji, 19th centuryExpert remark: Note the octagonal form and larger size (129 cm)Auction result comparison:Type: RelatedAuction: Christie's Paris, 10 December 2020, lot 152Price: EUR 137,500 or approx. EUR 155,000 adjusted for inflation at the time of writingDescription: Hardwood stand, Xiangji, China, Qing dynasty or later Expert remark: Compare the related manner of carving with similar scroll decoration, material, and size (86.3 cm). Note the circular form.十九世紀鑲漢白玉木香几中國。六角形，面攢框鑲漢白玉石板，光素高束腰，蓬牙披水，壼門式樣，其上浮雕如意紋，三彎腿，翻足落於六角形形托泥之上，六足。 來源：瑞士古玩交易。 品相：狀況極好，有輕微磨損、刻痕和輕微劃痕。 重量：7.9 公斤 尺寸：高 83.5 厘米 硬木製成的香几有很多形狀，如圓形、方形、葉形、六角形和八角形。 它們由三到六條腿組成。圓形是最為常見的，而六角形非常少見。拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2021年5月11日，lot 387 價格：GBP 3,187（相當於今日EUR 4,200） 描述：十九世紀紅木八方香几 專家評論：請注意八角形的外形和尺寸較大(129 厘米) 。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2020年12月10日，lot 152 價格：EUR 137,500（相當於今日EUR 155,000） 描述：清或更晚硬木螭龍紋五足香几 專家評論：比較相的雕刻風格 、材料和尺寸(86.3 厘米)。請注意圓形的外形。
A GREEN JADE 'HORSE-HOOF' ORNAMENT, HONGSHAN CULTUREChina, c. 3500-2500 BC. The tubular form flaring towards the sloping top in the form of a horse hoof (mati), cut across at an oblique angle forming an arched profile to the rim, the narrower end pierced with two holes. The translucent stone of a variegated green and light brown color with darker speckles and russet veining.Provenance: From the collection of Paolo Bertuzzi. 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 with minor wear, few minuscule nibbles to the edges, the upper and lower rim uneven, the stone with few natural fissures, some of which may have developed into small hairline cracks over time.Weight: 264.6 g Dimensions: Height 12.9 cmLarge jade ornaments of this specific form were a product of the Hongshan culture, and examples have been recovered at the Niuheliang burial site in Liaoning province. While generally referred to as headpieces, Jenny F. So has recently suggested that they may have been worn on the forearm to protect the arm and wrist (Jenny F. So, Early Chinese Jades in the Harvard Art Museums, Cambridge, 2019, page 74). She cites an example worn on the forearm of the occupant of Site III at Niuheliang, and another recovered from the Bronze Age burial site at Dadianzi, in present-day inner Mongolia. Auction result comparison:Type: RelatedAuction: Bonhams Los Angeles, 21 June 2022, lot 30Price: USD 7,650 or approx. EUR 7,400 converted at the time of writingDescription: A yellowish-celadon jade hoof-shaped ornament, Neolithic period, Hongshan cultureExpert remark: Compare the related plain form. Note the smaller size (8.6 cm) and yellowish-celadon color.紅山文化青玉馬蹄形配飾中國，公元前約 3500-2500 年。管狀物件向上傾斜，頂部張開，如馬蹄狀，斜角切割，邊緣的拱形，較窄的一端穿有兩個孔。半透明石料，綠色和淺棕色紋理，帶有較深的斑點和黃褐色斑。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：品相極佳，輕微磨損，邊緣細微磕損，上下邊緣凹凸不平，輕微天然裂隙，部分裂隙隨著時間的推移可能發展成細小的裂紋。 重量：264.6 克 尺寸：高 12.9 厘米 這種特殊形式的大型玉器是紅山文化的產物，在遼寧省牛河梁墓葬遺址曾發現過一些相似物件。 雖然通常被認爲是頭飾，但 Jenny F. So 最近表認爲們可能曾被佩戴在前臂上以保護手臂和手腕（Jenny F. So，Early Chinese Jades in the Harvard Art Museums，Cambridge，2019年，74頁 )。她舉了一個牛河梁遺址 III 的前臂佩飾例子，以及另一個在今內蒙古大甸子青銅時代墓葬遺址中發現的例子。 拍賣結果比較： 形制：相近 拍賣：洛杉磯邦瀚斯，2022年6月21日，lot 30 價格：USD 7,650（相當於今日EUR 7,400） 描述：紅山文化新石器時代青黃玉馬蹄形配飾 專家評論：比較相近的形式。請注意尺寸較小 (8.6厘米)，以及青黃色的玉石顏色。
A TIANHUANG 'BUDDHIST LION AND CUB' SEAL, QING DYNASTYChina, first half of the 19th century. Of square section, surmounted by a seated lion with its head turned towards its cub, one paw holding it down, their snouts gently touching and eyes interlocked. The mane, paws, and bushy tails finely carved and incised, the claws and spine well detailed. The seal face inscribed with a section of a poem by Tang dynasty poet Bai Juyi. The stone of a magnificent and even amber-orange color.Inscriptions: The seal face inscribed 'Ma jiang song gong shou, xin yu zhu ju kong' (The appearance of the pine is thin, the heart is empty like a bamboo). Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Excellent condition with expected old wear, light scratches, little nibbling to edges, the stone with natural fissures and inclusions.Weight: 86.0 g Dimensions: Size 4.1 x 3.9 x 3.6 cmThe fine coloration and luminosity of this tianhuang stone are skillfully accentuated through its intricately carved details which reveal the layers of subtle golden hues. The combination of carving in the round and low-relief detailing effectively captures the sunlight as it shines on and passes through the seal to further intensify the richness of color.Tianhuang is a type of soapstone that is valued for its warm tones of amber and egg yolk as well as its lustrous sheen and was considered the rival to the finest and purest jade. Apart from being graded by its color, tianhuang was also priced according to its weight rather than size, hence making it one of the most expensive materials to carve. Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 7 October 2015, lot 3734Price: HKD 1,937,500 or approx. EUR 271,000 converted and adjusted for inflation at the time of writingDescription: A tianhuang 'Buddhist lion' seal, Qing dynastyExpert remark: Compare the related motif, carving style, facial expressions, color of the stone, and size (4.9 x 3 x 3 cm)Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 29 May 2019, lot 546Price: HKD 312,500 or approx. EUR 40,000 converted and adjusted for inflation at the time of writingDescription: A finely carved soapstone 'lion' seal, Qing dynastyExpert remark: Compare the related motif, carving style, color of the stone, and size (3.8 x 3.1 x 3.1 cm)Auction result comparison:Type: RelatedAuction: Galerie Zacke Vienna, 15 October 2021, lot 51Price: EUR 13,904 or approx. EUR 15,500 converted and adjusted for inflation at the time of writingDescription: A carved tianhuang 'qilin' seal for Wen Xiang, Qing dynastyExpert remark: Compare the related motif and color of the stone. Note the size (4.8 x 2.5 x 2.5 cm).清代太獅少獅田黃印中國，十九世紀上半葉。方印，印鈕雕刻一頭坐獅，它的頭轉向它的幼崽，用一隻爪子按住它，它們的鼻子親暱地相碰，眼睛相對。細節精美。印面刻有唐代詩人白居易的一段詩句。石料瑩潤，呈琥珀色。 款識：貌將松共瘦，心與竹俱空。 來源：英國伯克郡西部古玩交易，據説購於私人收藏。 品相：狀況極佳，有磨損、輕微劃痕，石料有天然裂縫和內沁 重量：86.0 克 尺寸：4.1 x 3.9 x 3.6 厘米 這塊田黃石的精美色澤和光度通過其複雜的雕刻細節巧妙地突出，展現出微妙的金色層次。圓形雕刻與淺浮雕細節相結合，有效捕捉陽光照射並穿過印章，進一步增強色彩的豐富度。 田黃是一種皂石，因其溫暖的琥珀色和蛋黃色調以及光澤而受到推崇，被認為可與最優質、最純淨的玉石相媲美。除了根據顏色分級外，田黃還根據重量而不是大小定價，它可以説是最昂貴的雕刻材料之一。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2015年10月7日，lot 3734 價格：HKD 1,937,500（相當於今日EUR 271,000） 描述：清田黄太獅少獅鈕方章，印文：《坐看飛雲自卷舒》 專家評論：比較相近的主題、雕刻風格、面部表情、石色和尺寸(4.9 x 3 x 3 厘米) 。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2019年5月29日，lot 546 價格：HKD 312,500（相當於今日EUR 40,000） 描述：清壽山石臥獅紐方印，印文：俠骨禪心 專家評論：比較相近的主題、雕刻風格、石色和尺寸(3.8 x 3.1 x 3.1 厘米)。
A BRONZE FIGURE OF BUDDHA SHAKYAMUNI, SWAT VALLEY, 8TH-9TH CENTURYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 31 March 2021, based on sample number N121c25, sets the firing date of one sample taken at between 800 and 1200 years ago, consistent with the suggested period of manufacture (8th-9th century). A copy of the report, signed by Helen Mason and Doreen Stoneham for Oxford Authentication, accompanies this lot.Seated on a cushion over an elaborate lotus throne with lions on either side and supported on a rectangular plinth, his right hand lowered in abhaya mudra and his left holding the hem of his sanghati falling over the chest in finely incised rhythmic folds. His serene face with silver-inlaid eyes and urna, deeply incised brows, and full lips forming a calm smile, flanked by long pendulous earlobes, the hair in tight curls over the ushnisha.Provenance: A private collection in Hong Kong. German trade, acquired from the above.Condition: Very good condition, commensurate with age. Extensive wear, some losses, obvious signs of weathering and erosion, soil encrustations, small nicks and dents, light scratches. Superb, naturally grown malachite and cuprite patina overall.Weight: 1,894 g (incl. backplate) and 1,280 g (excl. backplate) Dimensions: Height 25 cm (incl. backplate) and 22 cm (excl. backplate)Few Swat bronzes are known that retain a complete backplate as in the present example. It is separately cast and inserted into a loop on the throne and a tang issuing from Buddha's back. The flaming mandala is topped with a stupa and flanked by female bodhisattvas standing on lotus bases below seated male bodhisattvas.According to Pal, placing Buddha on a throne like on the present lot associates him with royal imagery and emphasizes his spiritual sovereignty, while the lotus base symbolizes his divine quality (see Pal, Indian Sculpture, Vol.2, 1988, pp.68-9). His enlightened nature is further signaled by the silver-inlaid eyes and urna. Gently looking down with a compassionate expression, he extends his right hand in the gesture of charity. With his left, he holds the hem of his robe. The iconography of Shakyamuni holding his garment is widely employed in seated Swat figures, extending the idiom from earlier Gandharan stone images.The Swat Valley is located along the upper stream of the Indus in the heartland of the Gandhara region. It was a melting pot of various people and arts and served as a link between India and Central Asia and further eastwards for a constant flow of Buddhist pilgrims. The earlier Gandhara style is still echoed in the art of many icons of the Swat Valley, as visible in the present example. The Buddha's parallel folds as well as the protuberance on top of his head, can be traced back to Gandhara Buddha figures. However, the V-shaped pleats around his neck are associated with Kashmiri prototypes, as is the use of silver inlay. His face reflects a Gupta idiom, with its small mouth and incised eyebrows. The lotus base on which he sits is typical for Swat Valley images. Thus, this fine bronze Buddha figure perfectly embodies the aforementioned melting pot of various styles.Literature comparison: Compare a closely related Swat Valley bronze Buddha, with a similar base and hand gesture, dated 625-1003, in the National Museum of Pakistan, Karachi, recorded in the Huntington Archive, scan number 9602. Compare a related Swat Valley bronze Buddha, dated circa 7th-8th century, in the National Museum of Pakistan, Karachi, recorded in the Huntington Archive, scan number 9600. Compare the throne, gestures, and the robe's evenly arranged narrow folds with that of a closely related example published in von Schroeder, Buddhist Sculptures in Tibet, Vol. I, 2001, pp. 40-1, figs. 6A-C. Also see Pal, Bronzes of Kashmir, 1975, pp. 194-5, no. 73. For a fragment of a backplate from the Eilenberg Collection, see M. Lerner and S. Kossak, The Lotus Transcendent, 1991, cat. no. 86, p. 116. Furthermore, compare with lots 29 and 78 in Imprints of Buddhas, Buddhist Art in the National Palace Museum Collection. Auction result comparison: Type: Closely related Auction: Christie's New York, 21 September 2007, lot 230 Price: USD 115,000 or approx. EUR 160,000 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Buddha Shakyamuni with backplate, Swat Valley, 7th/8th century Expert remark: Compare the closely related pose, expression, patina, the abhaya mudra of the lowered right hand, the elaborate throne and base, and the backplate with attendant figures and central stupa. Note the smaller size (20.3 cm).Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 2 December 2021, lot 1007 Price: HKD 377,500 or approx. EUR 47,500 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of Shakyamuni, Swat Valley, 8th/9th century Expert remark: Compare the related pose, expression, silver inlaid eyes and urna, hand gestures, and throne. Note the smaller size (18 cm).Auction result comparison: Type: Closely Related Auction: Bonhams Paris, 14 June 2022, lot 18 Price: EUR 75,975 Description: Statuette de Bouddha en Alliage de Cuivre Incruste D'argent, Vallee De Swat, VII Siecle Expert remark: Compare the related pose, expression, and silver inlays. Note the significantly smaller size (10.5 cm).Auction result comparison: Type: Related Auction: Christies New York, 15 March 2016, lot 44 Price: USD 173,000 or approx. EUR 201,500 converted and adjusted for inflation at the time of writing Description: A Silver-Inlaid Bronze Figure of Buddha Shakyamuni, Swat Valley, 7th Century Expert remark: Compare the related pose, expression, and silver inlays. Note the significantly smaller size (13.5 cm).Auction result comparison:Type: RelatedAuction: Christie's New York, 19 March 2014, lot 1040Price: USD 209,000 or approx. EUR 246,500 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha, Kashmir, 7th CenturyExpert remark: Compare the closely related cast, posture, throne, and silver inlaid eyes八至九世紀斯瓦特谷釋迦牟尼銅像科學檢測報告：隨附牛津檢測所2021年3月31日由Doreen Stoneham出具的熱釋光檢測報告複印本，樣本號N121c25，結果為該造像為800至1200年前製作，符合推測的八至九世紀。 品相：狀態極好，大量磨損，一些缺損，明顯的風化和侵蝕跡象，土壤結垢，小刻痕和凹痕，輕微劃痕。包漿自然。
A BRONZE FIGURE OF HANUMAN, INDIA, 17TH CENTURYFinely cast standing on a circular base above a square plinth, his hands clasped together in anjali mudra, dressed in a short dhoti, embellished with a necklace, bangles, earrings, and a sash, his tail turned upward curling on top of his head, the face with almond shaped eyes, a subtle smile, and surmounted by a floral headdress. Provenance: From the collection of the late Joost Slingerland, Yorkshire, United Kingdom, and thence by descent. 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 expected old wear, small nicks, light scratches, casting flaws, and few malachite encrustations. Good patina.Weight: 499.5 g Dimensions: Height 14.5 cm Auction result comparison:Type: RelatedAuction: Christie's New York, 23 September 2004, lot 53Price: USD 8,963 or approx. EUR 13,500 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Hanuman, India, 17th centuryExpert remark: Compare the related motif, pose, plinth, and curled tail. Note the significantly larger size (40 cm).十七世紀印度哈努曼銅像哈努曼站在方形底座的蓮座上，雙手合十，腰間圍裙，飾有項鍊、手鐲、耳環和腰帶，尾巴向上捲曲在頭頂，臉部帶著微笑，頭上戴著花卉頭飾。 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，有磨損、小刻痕、輕微劃痕、鑄造缺陷和少量綠色結殼。良好的包漿。 重量：499.5 克 尺寸：高 14.5 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2004年9月23日，lot 53 價格：USD 8,963（相當於今日EUR 13,500） 描述：十七世紀印度哈努曼銅像 專家評論：比較相近的主題、姿勢、底座和捲曲的尾巴。請注意尺寸較大(40 厘米)。
A GUAN-TYPE TRIPOD CENSER, CHINA, 18TH CENTURYThe compressed globular body raised on three short conical feet, the waisted neck with slightly everted rim set with two upright loop handles, covered overall in a soft, vitreous, thick glaze of sea-green, the interior suffused with a dense network of iron wire, gold thread, and transparent crackle, the exterior with similar but more sparsely arranged crackle. Provenance: British trade. Condition: Very good condition with minor old wear, light surface scratches, and manufacturing flaws, including glaze recesses, the glaze slightly smoothened at the feet.Weight: 737.6 g Dimensions: Diameter 13.4 cmThe glaze of this censer was made to imitate one of the most celebrated official wares of the Song dynasty, Guan, which was made for the court in Hangzhou in Zhejiang province. Laohudong in southern Hangzhou appears to have been the most important of the Guan kilns that produced wares of this highly attractive crackled glaze. Almost half a millennium later, pieces in the imperial court collection inspired the Yongzheng and Qianlong emperors, both of whom were ardent admirers of Song dynasty ceramics, to commission modern copies of Guan wares. Imperial enthusiasm for the ware was highly influential, and many fine and compelling versions of the rich crackled glaze of this 18th-century revival of Song-style ware were produced.Literature comparison: Compare a small celadon-glazed censer of related form in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Monochrome Porcelain, Hong Kong, 1999, p. 224, no. 202, described as imitating Guan glaze from the Ming dynasty. Auction result comparison:Type: RelatedAuction: Christie's London, 19 July 2018, lot 316Price: GBP 10,625 or approx. EUR 14,500 converted and adjusted for inflation at the time of writingDescription: A small Guan-type crackle-glazed tripod censer, 18th centuryExpert remark: Compare the related form and glaze. Note the size (8 cm).Auction result comparison:Type: RelatedAuction: Sotheby's New York, 11 September 2012, lot 250Estimate: USD 25,000 or approx. EUR 30,500 converted and adjusted for inflation at the time of writingDescription: A large Guan-type tripod censer, Qing dynasty, 18th centuryExpert remark: Compare the related form and glaze. Note the (25.5 cm).Auction result comparison:Type: RelatedAuction: Sotheby's New York, 17 March 2015, lot 44 Price: USD 150,000 or approx. EUR 177,000 converted and adjusted for inflation at the time of writingDescription: A 'Guan'-type tripod censer, Qing dynasty, 18th / 19th centuryExpert remark: Compare the related form and glaze. Note the size (20.6 cm).十八世紀仿官釉雙耳三足爐口外侈，收頸，雙耳，鼓腹，下腹圜收，三足。通體厚施青色釉，爐内開片成密集冰裂紋，爐外壁有類似但稀疏的開片。 來源：英國古玩交易。 品相：狀態極好，有輕微磨損、表面劃痕和製造缺陷，包括釉面凹陷，底部的釉面略微光滑。 重量：737.6 克 尺寸：直徑13.4 厘米 此釉色仿宋代浙江杭州官窯青釉冰裂紋。將近半個世紀後，宮廷珍藏更激發了雍正和乾隆皇帝的靈感，他們都是對宋代陶瓷極爲推崇，委託仿製官窯釉。拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2018年7月19日，lot 316 價格：GBP 10,625（相當於今日EUR 14,500） 描述：清十八世紀仿官釉三足爐 專家評論：比較相近的外形和釉面。請注意尺寸(8 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2012年9月11日，lot 250 估價：USD 25,000（相當於今日EUR 30,500） 描述：清十八世紀仿官窰三足爐 專家評論：比較相近的外形和釉面。請注意(25.5 厘米). 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2015年3月17日，lot 44 價格：USD 150,000（相當於今日EUR 177,000） 描述：清十八 / 十九世紀官窰式三足香爐 專家評論：比較相近的外形和釉面。請注意尺寸(20.6 厘米)。
A GILT-SPLASHED BRONZE CENSER, CHINA, 18TH CENTURYThe compressed globular body rising from a slightly spreading foot to an everted rim, the short neck with a recessed band, liberally splashed with gold around the exterior. The base with an apocryphal four-character mark Xuande nianzhi.Provenance: British trade. Condition: Very good condition with minor old wear, few nicks and light surface scratches, and expected casting flaws.Weight: 510 g Dimensions: Diameter 10.3 cmAuction result comparison:Type: RelatedAuction: Sotheby's London, 11 May 2011, lot 233Price: GBP 23,750 or approx. EUR 35,500 converted and adjusted for inflation at the time of writingDescription: A Gilt-Splashed Bronze Censer Qing Dynasty, 18th CenturyExpert remark: Compare the simple form, which is rather unusual for censers of this period.十八世紀灑金銅爐撇口，束頸，鼓腹下收，承外撇圈足，爐身素面灑金。底座為仿“宣德年製”四字款。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損、刻痕和劃痕，以及鑄造缺陷。 重量：510 克 尺寸：直徑 10.3 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2011年5月11日，lot 233 價格：GBP 23,750（相當於今日EUR 35,500） 描述：十八世紀灑金銅爐 專家評論：比較在這個年代少見的簡易外形。
A HORSE-FORM BRONZE RHYTON, CENTRAL ASIA, C. 1000 ADScientific Analysis Report: A copy of an Expert Report from Antiques Analytics - Institute of Scientific Authenticity Testing, test report number AA 22-10021, dated 11 March 2022, written and signed by Dr. R. Neunteufel, accompanies this lot. The alloy components of the present lot have been analyzed via atomic emission spectrometry of a sample dissolved in mineral acid. Findings include a zinc content of 5.6% (rare for objects from the period), a low arsenic content of 0.02% (could indicate a refinement of raw copper, speaking for a later period of manufacture), and a tin content of 5.7% (lower than usually found in Central Asian bronzes of the period). The report concludes that the findings do not decisively contradict the suggested period of manufacture.The horn-shaped beaker with fluted sides below a neatly incised wave band and the gently everted rim. The separately cast horse and rhyton are connected by a raised cuff. The muscular animal shows bent forelegs just below a small filler neck, further detailed with pricked ears, almond-shaped eyes, a prominent muzzle, and a short mane. The bronze with a superb, naturally grown and professionally stabilized patina with malachite encrustation.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Good condition, commensurate with age. Wear, losses, minor dents and nicks, light scratches, encrustations, signs of weathering and corrosion. The patina was stabilized with a layer of varnish some time ago. A drilled hole from sample-taking.Dimensions: Height 24.5 cm
A SGRAFFIATO-GROUND FAMILLE-ROSE 'LU DONGBIN' WINE CUP, QING DYNASTY, DAOGUANG PERIODChina, 1821-1850. Of bell shape, rising from a short foot to a flaring rim, painted in bright enamels with Lu Dongbin on his raft to one side, the reverse with a flying crane, a pavilion above celestial clouds and Lu Dongbin's sword wrapped with a ribbon, all above a neatly incised wave patterned ground.Provenance: From a private collection in North London, United Kingdom, and thence by descent within the same family. Condition: Good condition with minor wear and a few small hairlines to base and rim. Manufacturing flaws including dark spots and a light indentation above the foot.Weight: 70.7 g Dimensions: Length 6.4 cmLu Dongbin is a legendary scholar and poet said to have lived during the Tang dynasty. He is widely considered to be one of the earliest masters of neidan, or internal alchemy. In Chinese art, Lu Dongbin is generally depicted dressed as a scholar carrying a sword that dispels evil spirits.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 29 September 2021, lot 903Price: USD 27,720 or approx. EUR 28,500 converted and adjusted for inflation at the time of writingDescription: A sgraffiato-ground famille-rose 'immortal' wine cup, Qing dynasty, Daoguang periodExpert remark: Compare the related form, sgraffiato decoration, figural motif, and size (6.6 cm). Note the gilt rim and mark to the base.道光時期軋道粉彩呂洞賓圖酒杯中國，1821-1850年。軋道粉彩描繪呂洞賓身佩寶劍，腳踏竹筏於波濤之上，身旁瑞鶴飛舞，祥雲中可見樓閣。 來源：英國倫敦北部，在同一家族保存至今。 品相：狀況良好，輕微磨損，底部和邊緣有一些細小的髮際線。製造缺陷包括黑點和足部上方的淺凹痕。 重量：70.7 克 尺寸：長6.4 厘米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2021年9月29日，lot 903 價格：USD 27,720（相當於今日EUR 28,500） 描述：清道光白地軋道粉彩仙人圖盃 《嶰竹主人造》款 專家評論：比較相近的外形，軋道粉彩、人物主題和尺寸 (6.6 厘米)。請注意鎏金邊緣和底部有款。
A GILT BRONZE FIGURE OF YAMA DHARMARAJA, CHINA, 17TH-18TH CENTURYFinely cast standing in pratyalidhasana on a separately cast caparisoned bull atop a prostrate figure over a lotus base, his right hand brandishing a ceremonial stick (danda), the left hand in apan mudra, depicted naked, erect, adorned with a garland of severed heads, beaded necklaces inlaid at the center with a turquoise inlay, bracelets, a scarf floating around his shoulders, his menacing buffalo head emphasized with red pigments, the forehead girded with a crown of skulls, the flaming hair with red pigment. The base sealed and incised with a double vajra.Provenance: From a private collection in New York, USA. Condition: Very good condition with minor wear, few nicks, small dents, light scratches, the pegs renewed, and casting flaws.Weight: 1,049 g Dimensions: Height 17.6 cmAccording to the Vajrabhairava Tantra, Manjushri took the form of Yama Dharmaraja to subdue Death ('Yama'), the personification of endless suffering through the cycle of death and rebirth. As this tantra is widely practiced in Tibetan Buddhism, Yama Dharmaraja can be found as an important wisdom deity in all traditions including the Sakya, Kagyu, and Gelug schools. He holds special significance for the Gelugpa, who regard him, alongside Shadbhuja Mahakala and Vaishravana, as one of the order's three principal protectors.Literature comparison: Compare a related bronze published in Pal, The Art of Tibet, New York, 1969, p. 102, pl. 72; von Schroeder, Indo-Tibetan Bronzes, Hong Kong 1981, pp. 550-1, no. 157E; and Neven, Art Lamaique, Bruxelles, 1975, pl. 87.Auction result comparison:Type: RelatedAuction: Christie's Paris, 12 June 2019, lot 184Price: EUR 10,625 or approx. EUR 12,000 adjusted for inflation at the time of writingDescription: A gilt bronze statue of Yama, China, Qing dynasty, 18th centuryExpert remark: Compare the related pose, gilt, and pigments. Note the size (19 cm).Auction result comparison:Type: RelatedAuction: Christie's Paris, 6 July 2022, lot 217Price: EUR 10,080Description: A gilt bronze statue of Yama Dharmaraja, China, Qing dynasty, 18th-19th centuryExpert remark: Compare the related pose, gilt, and pigments. Note the size (16 cm).十七至十八世紀銅鎏金閻羅法王像閻羅法王右屈式，頭戴骷髏冠、張著血盆大口。紅色頭髮呈火焰狀上揚，披掛人頭掛鍊，中央鑲嵌著綠松石鑲嵌物，右手高舉骷髏棒。右腿彎曲，左腿伸展，形象威猛可怖。法王站在一頭公牛上，公牛為單獨鑄造，公牛身下還壓著一個羅剎。底座用雙金剛杵密封。 來源：美國紐約私人收藏。 品相：狀況極好，有輕微磨損、少量刻痕、小凹痕、輕微劃痕、更新的釘子和鑄造缺陷。 重量：1,049 克 尺寸：高17.6 厘米根據《大威金剛密續》，文殊菩薩化身為閻摩法王來降伏死神（'閻摩'），死神是生死輪迴中無盡苦難的化身。由於此密續在藏傳佛教中廣為流傳，所以在薩迦派、噶舉派和格魯派等所有教派中，閻王法王都是重要的智慧本尊。他對格魯派具有特殊意義，格魯派將他與 六臂大黑天和 多聞天王 一起視為該教團的三位主要保護者之一。 文獻比較： 比較一件相近銅像，出版於Pal，《The Art of Tibet》，紐約，1969年，頁102，圖72; 又見von Schroeder，《Indo-Tibetan Bronzes》，香港， 1981年，頁550-1，編號157E; 以及Neven，《Art Lamaique》，布魯塞爾，1975年，圖87。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2019年6月12日，lot 184 價格：EUR 10,625（相當於今日EUR 12,000） 描述：清十八世紀鎏金銅閻羅王立像 專家評論：比較相近姿勢、鎏金和顏料。請注意尺寸 (19 厘米)。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2022年7月6日，lot 217 價格：EUR 10,080 描述：清十八/十九世紀鎏金銅閻魔立像 專家評論：比較相近姿勢、鎏金和顏料。請注意尺寸 (16 厘米)。
A TIBETAN AGATE 'CHUNG DZI' BEADTibet, 19th to early 20th century, or earlier. The bead of tubular form with black ends and etched decorations. The translucent stone of a light amber color.Provenance: Gabriele Aronica, Rome, Italy. Paolo Bertuzzi, acquired from the above. A copy of the original signed invoice from Gabriele Aronica, dated 20 October 2005, stating a purchase price of EUR 3,800 or approx. EUR 5,400 (adjusted for inflation at the time of writing), accompanies this lot. 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 old wear, some nibbling to the edges, and a small crack with associated minor loss.Weight: 3.7 g Dimensions: Length 3.4 cmDzi beads are a type of stone bead of uncertain origin worn as part of a necklace and sometimes as a bracelet. In several Central Asian cultures, including that of Tibet, the bead is considered to provide positive spiritual benefits. These beads are generally prized as protective amulets and are sometimes ground into a powder to be used in traditional Tibetan medicine. Beads subject to this process have small 'dig marks', where a portion of the bead has been scraped or ground away to be included in the medicine.Literature comparison: Compare a necklace with related etched agate dzi beads, along with imitation glass dzi beads and a gau amulet box, dated to the early 20th century, in the Victoria & Albert Museum, accession number IM.121F-1923. Compare a necklace with related agate beads, along with mantra tally counters, dated mid-19th century to mid-20th century, in the Philadelphia Museum of Art, accession number 2013-66-27.西藏沖係天珠西藏，十九至二十世紀初，或更早。帶有黑色末端和蝕刻裝飾的管狀珠子。淺琥珀色的半透明石頭。 來源：義大利羅馬Gabriele Aronica藝廊；Paolo Bertuzzi購於上述藝廊。隨附一份2005年10月20日 Gabriele Aronica 出具的原始發票複印本，顯示當時售價為EUR 3,800 或相當於EUR 5,400 (根據通貨膨脹率)。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。 他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況良好，有磨損，邊緣有小刻痕、小裂紋，輕微缺損。 重量：3.7 克 尺寸：長3.4 厘米 天珠的名稱何人所取已不可求證，可作為項鍊的一部分佩戴，有時作為手鍊佩戴。在包括西藏文化在內的中亞文化中，天珠是神創造的超自然之物，通常被視為護身符，有時被磨成粉末入藥。文獻比較： 比較一件二十世紀項鍊有相近的沖系天珠，配有仿玻璃天珠和一個嘎烏盒，收藏於伊莉莎白與亞伯特博物館，館藏編號IM.121F-1923。比較一件十九世紀至二十世紀中期項鍊有相近的瑪瑙天珠，費城藝術博物館，館藏編號2013-66-27。
A CLOISONNE ENAMEL 'PRECIOUS OBJECTS' CIRCULAR WALL PLAQUE, JIAQING PERIODChina, 1796-1820. The circular plaque is finely enameled with a large blue and white baluster vase on a carved stand at the center, issuing blossoming peonies and prunus, flanked by an ornate cloisonne censer and a colorful brush holder with calligraphy implements including brushes and paper, backed by two books and a waterpot, the foreground scattered with fruits, all above a turquoise wan-diaper ground.Provenance: From an old Austrian private estate, where it was originally fitted into an old German sideboard dating from circa 1870-1880. The back with an old label '60 frco'. Condition: Very good condition with minor wear, few scratches, light nicks, little warping, small chips and losses to the edge, and pitting as expected. The back with scratches.Weight: 1,680 g Dimensions: Diameter 41.7 cmCloisonne enamel plaques were popular from the second half of the 16th century onwards and became particularly popular during the mid-Qing dynasty, bringing vibrant colors to the imperial palaces' interiors. These plaques were used on screens, large furniture such as imperial thrones, or as decorative framed hanging panels.Literature comparison: Compare a related cloisonne plaque, dated mid-Qing dynasty, illustrated in Compendium of Collections in the Palace Museum: Enamels, vol. 4, Beijing, 2011, pls. 133-148. Compare related cloisonne panels decorated with antiques, dated to the second half of the 18th century, illustrated in H. Brinker and A. Lutz, Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, nos. 307-310.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 7 June 2021, lot 743Price: GBP 35,250 or approx. EUR 49,000 converted and adjusted for inflation at the time of writingDescription: A large cloisonne enamel 'precious objects' circular plaque, Qianlong/JiaqingExpert remark: Compare the closely related form and motif. Note the significantly larger size (67.1 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 22 June 2017, lot 175Price: EUR 25,000 or approx. EUR 28,500 adjusted for inflation at the time of writingDescription: A gilded bronze and cloisonne enamel plaque, Qing dynasty, Jiaqing-Daoguang periodExpert remark: Compare the closely related motif and size (41.3 x 50.8 cm). Note the rectangular form.嘉慶掐絲琺瑯博古紋壁盤中國，1796-1820年。圓盤銅胎掐絲琺瑯，盤内藍地修飾博古紋，一個青花賞瓶中插著三朵盛開的牡丹；瓶兩側分別是一個仿古景泰藍香爐和一個木紋釉筆筒，筆筒裏放著毛筆，瓶后有書籍和筆洗；瓶子前面散落著水果。 來源：奧地利私人舊藏，它最初被安置於大約 1870-1880 年的舊德國餐具櫃中。背面帶有舊標籤“60 frco”。 品相：狀況極好，輕微磨損與劃痕、刻痕和小翹曲，邊緣有小缺口，點蝕。背面有劃痕。 重量：1,680 克 尺寸：直徑 41.7 厘米 銅胎掐絲琺瑯壁飾從十六世紀下半葉開始流行，並在清朝中葉盛行，為皇宮的內部增添了鮮豔的色彩。這些壁飾被用在屏風、大型家具（如皇家寶座）上。 文獻比較： 比較一件相近的明代中期銅胎掐絲琺瑯掛屏，見 《故宮博物院藏品大系‧琺瑯器編》，卷 4，北京，2011年，圖133-148。比較一件相近的十八世紀下半葉銅胎掐絲琺瑯古董紋掛屏，見 H. Brinker 和 A. Lutz，《Chinese Cloisonne: The Pierre Uldry Collection》，紐約，1989年，編號307-310。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2021年6月7日，lot 743 價格：GBP 35,250（相當於今日EUR 49,000） 描述：清乾隆/嘉慶銅胎掐絲琺瑯博古圖「百事如意」圓掛屏 專家評論：比較非常相近的外形和主題。請注意明顯尺寸較大 (67.1釐米)。 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2017年6月22日，lot 175 價格：EUR 25,000（相當於今日EUR 28,500） 描述：清嘉慶/道光掐絲琺瑯清供圖長方屏 專家評論：比較非常相近的主題和尺寸(41.3 x 50.8釐米)。請注意此屏是長方形。
A LARGE BRONZE FIGURE OF NILAMBARA VAJRAPANI, TIBET, TSANG VALLEY, 13TH-14TH CENTURYPublished and exhibited: John C. Huntington and Dina Bangdel, The Circle of Bliss: Buddhist Meditational Art, Los Angeles County Museum of Art and Columbus Museum of Art, 5 October 2003 to 9 May 2004, pp. 203-204, cat. no. 53.Powerfully modeled and boldly cast striding in aldhasana atop a double-headed naga on a lotus base, his right hand holding a vajra and his left held admonishingly in tarjani mudra. He is wearing a tiger pelt around his waist and adorned with jewelry in the form of snakes as well as a beaded necklace. His face with a wrathful expression marked by sharp fangs, wide eyes, raised brows centered by a prominent urna, and a neatly incised beard. His fiery hair is surmounted by a blade-like protuberance with an image of Akshobya Buddha.Provenance: Oriental Gem Co., London, United Kingdom, by 1971. The John C. and Susan L. Huntington Collection, Columbus, Ohio, USA. John (d. 2021) and Susan Huntington are important scholars of Buddhist art, who have done extensive field research and photographic documentation throughout Asia. The couple were not just partners in life but partners in their chosen work of teaching, researching, and publishing about the art of Asia. John's doctoral dissertation, Styles and Stylistic Sources of Tibetan Painting, was a pioneering work written at a time when there was little, if any, scholarly attention being paid to the study of Tibetan art. Following his doctoral work, John spent 1969-1970 traveling in Asia on a National Endowment for the Humanities postdoctoral fellowship pursuing his study of Buddhist art. At the same time, Susan was doing field research in India on a Fulbright grant for her doctoral dissertation. They married in India in 1970. Prior to undertaking graduate studies, John had been a professional photographer and throughout his life, his passion for photography never waned. Susan had developed an abiding interest in photography since taking a course in high school. Together, with Susan making exhaustive field notes as they photographed, the pair developed a teamwork that continued throughout their lifetime of field work, culminating in the John C. and Susan L. Huntington Photographic Archive of Buddhist and Asian Art, which contains nearly 300,000 original slides and photographs documenting art and architecture throughout Asia. Both taught at the Ohio State University, with Susan serving as Dean of the Graduate School and Vice Provost for Graduate Education from 1995 and 2005, and John building a flourishing program in Asian art history, and they have published many articles and books on a wide range of topics related to Asian and Buddhist art, both separately and together. The collecting history of the Huntingtons aligned closely with their academic research and passion for learning. While they collected works in established categories that epitomized major Indian and Himalayan artistic styles or periods, they also pursued pieces that were little understood and that begged for further academic research.Condition: Good condition commensurate with age. Expected old wear, predominantly from centuries of worship within the culture. Minor casting flaws, small dents, minuscule nicks, light scratches, some losses, the unsealed base further with a small tear. The left arm has been reattached with ancient rivets, probably hundreds of years ago. Remnants of pigment. Fine, naturally grown patina overall.Weight: 998.7 gDimensions: Height 25.2 cmVajrapani, originally a peaceful bodhisattva in the Mahayana tradition, has a wrathful manifestation within the Tantric or Vajrayana Buddhist tradition. The present lot depicts Nilambara Vajrapani, or the Blue-Clad One. In this form Vajrapaṇi is dark blue, with one face, three eyes, and two hands. His clothing is blue and his thick matted hair streams upward. His body is adorned with eight serpents in various places, and in his right hand he brandishes a vajra. For the Tibetans, and no doubt for Indian tantric practitioners, this form of Vajrapaṇi was highly popular, to the extent that the Kangyur contains no less than seven tantras and two dharani texts centered on this awakened figure.In this manifestation, the wrathful Vajrapani displays his rightful indignation at hindrances that impede the practitioner on the path to enlightenment, directed toward the foolishness of someone who has encountered the Buddha's teaching and who is, even so, too arrogant and prideful to take refuge in the Buddha, Dharma, and the Sangha. For both protection and purification, a wrathful Vajrapani is invoked during the Krodhavesha ritual in the Kalachakra practice, in which the practitioner identifies with Vajrapani.Stylistically the piece belongs to the Tsang Valley school of the 13th or 14th century, but it is entirely Tibetan in conception and execution, without the usual Newar-inspired characteristics associated with this school. Rather, it is freely modeled, ignoring all but the most significant details. The present sculpture's great potency comes from the violently angry grimace and lunging thrust of its position. The modeler has truly captured the feeling of outrage at the unfortunate being who does not have the good sense to seek refuge in the Buddhist teachings.Literature comparison:Compare a related brass figure of Chanda Vajrapani, 16.6 cm high, dated to the 13th century, in the Tibet Museum Fondation Alain Bordier, accession number ABS 070. Compare the iconography of a painting of Vajrapani, illustrated in Robert N. Linrothe and Jeff Watt, Demonic Devine: Himalayan Art and Beyond, New York, p. 229.Auction result comparison: Type: Closely related Auction: Christie's New York, 18 September 2013, lot 304 Price: USD 75,000 or approx. EUR 92,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of Achala, Tibet, 13th century Expert remark: Compare the closely related striding pose, wrathful expression with three eyes and sharp fangs, snake ornaments, hairstyle, and color of the bronze. Note the related size (26.2 cm).十三至十四世紀西藏大型金剛手菩薩出版及展覽：John C. Huntington、Dina Bangdel，《The Circle of Bliss: Buddhist Meditational Art》，洛杉磯郡立美術館和哥倫布藝術博物館，2003年10月5日至2004年5月9日，頁203-204，目錄號 53。 來源：英國倫敦Oriental Gem Co.，約1971年；美國俄亥俄州哥倫布The John C. and Susan L. Huntington 收藏。
A LARGE BRONZE FIGURE OF RATNASAMBHAVA, CENTRAL TIBET, 13TH-14TH CENTURYPublished: John C. Huntington and Dina Bangdel, The Circle of Bliss: Buddhist Meditational Art, Columbus, 2003, page 108, figure 1.Sensitively modeled and finely cast, seated in dhyanasana atop a double lotus base with beaded upper rim, his right hand held in varada mudra and the left lowered above his lap, wearing a sheer dhoti, billowing scarves and richly adorned with elaborate beaded jewelry, his serene face with sinuously lidded eyes, neatly incised brows centered by a rhombic urna, and full lips forming a calm smile, the hair piled up into a high chignon topped by a jewel behind the five-leaf tiara.Provenance: Oriental Gem Co., London, United Kingdom, by 1971. The John C. and Susan L. Huntington Collection, Columbus, Ohio, USA. John (d. 2021) and Susan Huntington are important scholars of Buddhist art, who have done extensive field research and photographic documentation throughout Asia. The couple were not just partners in life but partners in their chosen work of teaching, researching, and publishing about the art of Asia. John's doctoral dissertation, Styles and Stylistic Sources of Tibetan Painting, was a pioneering work written at a time when there was little, if any, scholarly attention being paid to the study of Tibetan art. Following his doctoral work, John spent 1969-1970 traveling in Asia on a National Endowment for the Humanities postdoctoral fellowship pursuing his study of Buddhist art. At the same time, Susan was doing field research in India on a Fulbright grant for her doctoral dissertation. They married in India in 1970. Prior to undertaking graduate studies, John had been a professional photographer and throughout his life, his passion for photography never waned. Susan had developed an abiding interest in photography since taking a course in high school. Together, with Susan making exhaustive field notes as they photographed, the pair developed a teamwork that continued throughout their lifetime of field work, culminating in the John C. and Susan L. Huntington Photographic Archive of Buddhist and Asian Art, which contains nearly 300,000 original slides and photographs documenting art and architecture throughout Asia. Both taught at the Ohio State University, with Susan serving as Dean of the Graduate School and Vice Provost for Graduate Education from 1995 and 2005, and John building a flourishing program in Asian art history, and they have published many articles and books on a wide range of topics related to Asian and Buddhist art, both separately and together. The collecting history of the Huntingtons aligned closely with their academic research and passion for learning. While they collected works in established categories that epitomized major Indian and Himalayan artistic styles or periods, they also pursued pieces that were little understood and that begged for further academic research.Condition: Good condition commensurate with age. Expected old wear, predominantly from centuries of worship within the culture. Minor casting flaws, small dents, minuscule nicks, light scratches, some losses, the base and seal plate with tears and some warping. The face with remnants of gilt.Weight: 1,602 g Dimensions: Height 31 cmRatnasambhava is one of the Five Dhyani Buddhas (or Five Meditation Buddhas) of Mahayana and Vajrayana or Tantric Buddhism. Ratnasambhava's mandalas and mantras focus on developing equanimity and equality and, in Vajrayana Buddhist thought is associated with the attempt to destroy greed and pride. Ratnasaṃbhava is associated with the skandha of feeling or sensation and its relationship with consciousness. His activity in promoting Buddhism is enriching and increasing knowledge of Dharma. Ratnasambhava is associated with the jewel symbol, which corresponds with his family. His right hand is granting wishes. He presides over the South, his element is earth, his sense is smell, and his color is yellow. It seems that he was the least popular of the group of five cosmic Buddhas, and for this reason large statues of him are exceedingly rare.Expert's note: The present lot belongs to a group long considered to originate from western Tibet. However, more recent scholarship suggests this type of early Tibetan sculpture is more likely to be from the central regions where the primary stylistic influence up to around the 13th century was the art of Kashmir and eastern India during the late Pala period. Tibetan bronzes with Pala influence are mostly un-gilded, like the majority of their Indian antecedents. Tibetan sculpture after the 14th century, however, is increasingly modeled and gilded in the Nepalese manner.Literature comparison: Compare two closely related hollow-cast brass figures of Ratnasambhava, one 42 cm high, the other 27 cm, with silver and copper inlays, both attributed to Western Tibet and dated to the 13th century, illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, page 180, figs. 34A and 34B. Compare a related silver and copper-inlaid brass figure of Ratnasambhava, 42.3 cm high, attributed to western Tibet and dated to the 14th century, in the Tibet Museum Fondation Alain Bordier, accession number ABS 032.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2011, lot 357 Price: USD 194,500 or approx. EUR 249,000 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha Vairocana, Tibet, 14th century Expert remark: Compare the closely related pose, dress, jewelry, expression, hairstyle, and crown. Compare also the related subject, depicting another of the Five Dhyani Buddhas, and lotus base. Note the closely related size (30.5 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2010, lot 222 Price: USD 56,250 or approx. EUR 74,000 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Ratnasambhava, Western Tibet, 14th/15th century Expert remark: Compare the closely related subject, pose, hand gestures, dress, jewelry, lotus base with beaded upper rim, expression, hairstyle, and crown. Note the gemstone inlays, silver-inlaid eyes, and slightly larger size (38.1 cm).十三至十四世紀西藏大型寶生如來銅像 出版：John C. Huntington、Dina Bangdel，《The Circle of Bliss: Buddhist Meditational Art》，Columbus，2003年，頁108，圖1。 來源：英國倫敦Oriental Gem Co.，約1971年；美國俄亥俄州哥倫布The John C. and Susan L. Huntington 收藏。品相：品相良好，有磨損和使用痕跡；輕微鑄造缺陷、小凹痕、微小劃痕和缺損，底座和密封板有撕裂和一些翹曲。臉上殘留著鎏金痕跡。 重量：1,602 克 尺寸：高31 厘米
A LARGE PAINTING DEPICTING SHOULAO AND AN ATTENDANT, BY GU JIANLONG (1606-1687), DATED 1679China. Ink and watercolors on paper. Depicting Shoulao holding a lingzhi fungus in his right hand, his face with a cheerful expression, dressed in fine robes with a floral hem, a jade pendant in the form of a ruyi cloud tied to his waist, followed by his attendant carrying his master's cane with attached gourd, the attendant also dressed in fine robes embellished with medallions of scrolling clouds, both standing in a rocky landscape below a gnarled pine tree backed by clouds, with rockwork issuing lingzhi in the foreground.Inscriptions: Upper left, inscribed 'The magical fungus of immortality', 'Painted in the autumn of the Year of Ji Wei (corresponding to 1679) in the manner of Tang Ziwei (also known as Tang Yin, 1470-1523)', 'Painted in the Studying Straw Hall of Deep Willow', and signed 'Yun Chen Gu Jianlong'. Two seals, 'Gu Jianlong Yin' and 'Yun Chen'. Provenance: From the collection of James Kedzie Penfield, and thence by descent in the same family. James Kedzie Penfield (1908-2004), after graduating from Stanford, joined a hand-picked team who traveled to China to work for the American Diplomatic Corps during the 1930s and 1940, where, according to his daughter, he spent the best years of his life. During his stay, he established friendships with local artists, including Zhang Daqian, one of the most famous Chinese painters of the 20th century, and was gifted a painting by him as a farewell present, which was sold at Woolley & Wallis on 1 July 2020, lot 15, for GBP 50,000. In 1954, James Penfield became the High Commissioner for Austria and was sent there to re-establish a neutral and democratic country.Condition: The painting with extensive wear, tears, creasing, losses, touch-ups, soiling, and stains, but overall displaying remarkably well despite obvious signs of age. Mounted and stabilized behind a solid wood frame with glass. The frame with few small nicks and light scratches.Dimensions: Image size 226 x 107 cm, Size incl. fame 239.5 x 119.5 cmGu Jianlong (1606-1687) was born in Suzhou Taichang and served at the Qing court as a painter during the 1660s and 1670s, where he painted portraits of the Emperors Shunzhi and Kangxi as well as of the Imperial family.Literature comparison:Compare a related silk scroll painting by Gu Jianlong, in the British Museum, registration number 1910,0212,0.486. Compare also a related portrait of Ma Shiqi (1650-1714), illustrated in Wai-Kam Ho, et al., Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and The Cleveland Museum of Art, p. 347-348, no. 255.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 March 2021, lot 852Price: USD 50,000 or approx. EUR 53,000 converted and adjusted for inflation at the time of writingDescription: With signature of Gu Jianlong (1606-after 1687), Shoulao on a White DeerExpert remark: Compare the closely related motif. Note the slightly smaller size (182.5 x 97 cm).顧見龍(1606-1687)款《長壽仙芝》，1679年中國，紙本水墨設色。壽老右手持一株靈芝，面帶喜色，身著細花邊長袍，腰佩如意佩，侍從手持仙杖跟在後面，仙杖上掛著一個葫蘆，同樣身著精美的長袍，上面飾有雲紋理。一側青松高聳，祥雲浮動。面前地上靈芝遍地。 款識：長壽仙芝, 時己未之秋仿唐子畏筆意寫於深柳讀書草堂，雲臣顧見龍製；鈴印：顧見龍印，雲臣 來源：James Kedzie Penfield私人收藏，保存在同一家族至今。James Kedzie Penfield (1908-2004) 從斯坦福大學畢業後，於1930 年至 1940 年間前往中國為美國外交使團工作。據他的女兒說，他在那裡度過了一生中最美好的時光。在中國，他與藝術家建立了友誼，其中包括二十世紀最著名的中國畫家之一張大千，並獲張大千贈送一幅畫作為告別禮物，該畫於 2020 年 7 月 1 日在 Woolley & Wallis 售出，Lot 15，售價 50,000 英鎊。1954 年，James Penfield 成為高級專員，並被派往奧地利重建一個中立和民主的國家。 品相：磨損、撕裂、摺痕和汙漬，儘管有明顯的年代痕跡，但整體狀體極好。帶玻璃的木框。框架有一些小劃痕。 尺寸：畫面226 x 107 釐米, 總 239.5 x 119.5 釐米 顧見龍(1606-1687) 生於蘇州太倉，1660 至 1670 年代在清宮任畫家，曾為順治、康熙及皇室畫像。
A COPPER ALLOY FIGURE OF AMITAYUS, NEPAL, C. 14TH-15TH CENTURY OR EARLIERRemarkably solid cast with a total weight of almost 2 kilograms. The Lord of the Western Paradise seated in dhayanasana on a lotus base with neatly incised petals atop a footed and pierced pedestal, holding the amrita vase in his lap. Dressed in a sanghati with the folds elegantly arranged below the ankles and wearing a shawl drawn across the body. The face with heavy-lidded eyes below finely incised brows, adorned in beaded jewelry, the hair in a tall chignon behind a foliate tiara, and backed by a flaming mandorla.Provenance: From a French private collection. A noted Hungarian collector, acquired from the above. Condition: Good condition with significant old wear, scattered nicks and dents, light surface scratches, small cracks to the mandorla, and expected casting flaws. Remnants of blue pigment in the hair and tiny remnants of gilt on the left ear and crown. Fine, naturally grown, copper-red patina overall.Weight: 1,868 gDimensions: Height 18.2 cmExpert's note: The present sculpture appears to be an ancient copy of an even older Nepalese bronze, with several distinct features from works of the 9th and 10th century, including the incised lotus petals, the foliate crown, the beaded jewelry, the shawl and garment. See for example Bonhams Hong Kong, 7 October 2019, lot 805, and Sotheby's New York, 22 September 2020, lot 322. While it seems rather difficult to accurately date such a work, it was clearly made not much later than the 15th century, as evidenced by the heavy weight of the cast, the characteristic old wear including the many small nicks and dents, as well as the finely incised yet sparse detail work, which does not appear in this distinct setting on later works.Auction result comparison: Type: Closely related Auction: Christie's New York, 19 March 2013, lot 340 Price: USD 52,500 or approx. EUR 65,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Amitayus, Nepal, circa 13th centuryExpert remark: Compare the closely related expression, the jewelry with especially similar earrings and crown, and the distinct patina color of the copper alloy. Note that the figure itself is larger (18.7 cm) than the present lot if you discount the base and mandorla.Auction result comparison: Type: Related Auction: Christie's Paris, 15 December 2010, lot 321 Price: EUR 63,400 or approx. EUR 83,000 adjusted for inflation at the time of writing Description: A rare gilt-copper figure of Manjushri, Nepal, 14th/15th centuryExpert remark: Note the closely related size (18.5 cm)十四至十五世紀或更早尼泊爾銅合金阿彌陀佛坐像非常堅固的鑄像，總重近2公斤。阿彌陀佛結跏趺坐在蓮花座上，髮髻高聳，頭戴葉狀頭飾，眉毛細長，雙眼為垂，身披僧衣，衣紋褶皺優雅，飾有瓔珞。背後有火焰光背。 來源：法國私人收藏；知名匈牙利藏家購於法國。 品相：狀況良好，有明顯的磨損，局部有刻痕和凹痕，表面有輕微的劃痕，光背上有小裂紋和鑄造缺陷。頭髮中殘留的藍色色素以及左耳和皇冠上的微小鍍金殘留物。整體包漿細膩成銅紅色及銅綠色。 重量：1,868 克 尺寸：高18.2 厘米 專家注釋：此件造像看上去像是一件更古老的尼泊爾青銅造像的複製品，具有與九世紀和十世紀作品截然不同的幾個特徵，比如蓮花花瓣、葉狀皇冠、瓔珞配飾、披巾和衣服。例如，香港邦瀚斯拍賣行，2019年 10 月 7 日，拍品編號 805，以及紐約蘇富比拍賣行，2020年9 月 22 日，拍品編號 322。雖然要準確確定此類作品的年代相當困難，但顯然它的創作時間不晚於十五世紀，正如鑄件的重量、包括許多小刻痕和凹痕在內的典型磨損以及精美的細節工作所證明的那樣。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年3月19日，lot 340 價格：USD 52,500（相當於今日EUR 65,000） 描述：十三世紀尼泊爾阿彌陀佛銅像 專家評論：比較非常相近的表情、相似的耳環和頭冠，以及銅合金特殊的古銅色。請注意如果不算底座和光背，此銅像尺寸比我們的銅像較大 (18.7 厘米) 。
AN IMPERIAL JADE-INLAID CINNABAR LACQUER WALL VASE INSCRIBED WITH A POEM BY HONGLI (1711-1799), QIANLONG PERIODThe poem inscribed on the jade plaque was composed by Hongli (1711-1799), better known as the Qianlong Emperor (reigned from 1736-1795). It is recorded in Qing Gaozong yuzhi shiwen quanji (Anthology of Imperial Qianlong Poems and Texts), volume 3, juan 58, page 19, figure 1, and can be translated as follows:Jade carved into flowers are fragrant like orchids,Between the garden steps, a few are elegantly planted.Who knows their essential beauty?Youdu, once asked this, answered with "Xie An".China, 1736-1795. Finely cast from gilt-bronze into baluster form flattened on one plane, mounted on the body with a shaped yellowish-celadon jade plaque inscribed in clerical script with a thirty-one-character Imperial poem, all surrounded by superbly carved blossoms of peony, chrysanthemum, and prunus borne on leafy branches against a diaper ground, framed by bands of prunus blossoms below the neck and above the foot, the neck flanked by two short tubular handles incised with scroll.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.J.111. 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: Superb condition with expected minor wear, few minuscule nicks, the back with light surface scratches, the wood base with a small chip. Fine, naturally grown patina overall.Weight: 512.2 g Dimensions: Height 18.6 cmMounted on a short wood base, probably zitan and dating from the same period. (2)Hongli was the fourth son of Yongzheng and born to Noble Consort Xi. He was adored by his grandfather, the Kangxi Emperor, and some historians argue to this day that Kangxi appointed Yongzheng as his successor only because Hongli was his favorite grandson. One of China's eternal visionaries, Kangxi is said to have spotted the singular leadership talent of the later Emperor Qianlong in Hongli when he was still a child. In 1796, the Qianlong Emperor abdicated in favor of his son, the Jiaqing Emperor, in a filial act so as not to reign longer than his grandfather, the Kangxi Emperor, who ruled for 61 years. Despite his retirement, he retained ultimate power as the Emperor Emeritus until his death in 1799, making him one of the longest-reigning monarchs in history, and, dying at the age of 87, one of the longest-lived. As a capable and cultured ruler inheriting a thriving empire, during his long reign, the Qing Empire reached its most splendid and prosperous era, boasting a large population and economy.Wall vases were particularly popular during the reign of Qianlong and are known to have adorned the walls of the Sanxitang (The Hall of Three Rarities), a tiny studio next to the Imperial bedchamber in the Yangxindian. They were produced in a variety of materials, including porcelain, cloisonne enamel and lacquer, and occasionally inscribed with poems by the Emperor himself, such as the present lot. Compare several porcelain wall vases in the collection of the Palace Museum Beijing, illustrated in The Life of Emperor Qianlong, The Macau Museum of Art, Macau, 2002, cat. nos. 63-2 to 63-9. The present wall vase ranks among the most unusual and rarest examples produced during the Qianlong reign, as it combines gilt-bronze, cinnabar lacquer and carved jade.Expert's note: Carved cinnabar lacquer and gilt-bronze wall vases combined with jade inlays are very rare. The examples that come up for auction now and then almost invariably have condition issues such as strong wear to the gilding, losses and cracks to the lacquer, cracks or - worse - replacements to the jade inlays, and others. The pristine condition of the present wall vase makes it not just exceptionally rare, but literally unique. Literature comparison: Compare a pair of wall vases in the National Palace Museum, Taipei, included in the museum's exhibition The Enchanting Splendor of Vases and Planters: A Special Exhibition of Flower Vessels from the Ming and Qing Dynasties, 2014, pl. II-48 (fig. 1), where the author notes that 'Lacquerware with jade inlay on a copper body is very rarely seen'.Also compare two boxes, one rectangular, the other chime-shaped, both inset with jade plaques, in the Palace Museum Beijing, illustrated in Carved Lacquer in the Collection of the Palace Museum, Beijing, 1964, cat. nos. 313 and 315. Compare a jade plaque inset in a cinnabar lacquer moon flask, similarly incised with a Qianlong seal mark and of the period, at Christie's Hong Kong, 27 April 1997, lot 21.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 25 April 2004, lot 19 Price: HKD 744,000 or approx. EUR 139,000 converted and adjusted for inflation at the time of writing Description: A very rare jade inlaid cinnabar lacquer wall vase, Qing dynasty, Qianlong periodExpert remark: Compare the closely related (and extremely rare) combination of carved lacquer and jade with an Imperial poem. Note the similar size (18 cm). Also note that the jade plaque on this example has several cracks, whereas on the present example it is in perfect condition.乾隆時期御製剔犀鑲玉刻御詩壁瓶中國，1736-1795年。鑲鎏金銅，剔犀掛瓶，頸部左右分別有一貫耳。瓶身錦地纏枝花卉紋，瓶身中央鑲嵌玉牌，上雕刻一首御詩。
AN EXTREMELY RARE PAIR OF 'CONTINUOUS LANDSCAPE' CONNECTED JADE PLAQUES, 18TH TO 19TH CENTURYChina. Of rectangular form, each plaque neatly carved and incised with one half of a connected mountain and river landscape, depicting a pavilion, rocks, a traveler crossing a bridge, and a scholar resting near a cliff while appreciating the landscape. The reverse of each plaque carved in relief with a poem and signed. The reticulated top with confronting kui dragons, pierced at the center for suspension. A yellow string with small pearls and coral beads attached. The translucent stone of a fine and even pale celadon tone. (2)Inscriptions: Each plaque signed 'Wen Zhen' to the reverse. This artist signature could also be translated as 'scholarly treasure'. Each plaque is further inscribed with one half of a poem, beginning with the right plaque, 'The clear water mirrors the shadows of the trees, one can see the mountain landscape through the wall. The autumnal trees have yellow leaves and are shrouded in the light of the setting sun,' and continuing on the left plaque, 'The bamboo and chrysanthemums in the garden are only here for me. Slowly the new moon shows itself, I will stay in this garden for a while.'Provenance: British trade. Condition: Very good condition with expected old wear, few minuscule nibbles here and there. Microscopic natural inclusions to the stone.Weight: 50.9 g and 47.7 g Dimensions: Size 5.9 x 4.2 cm (each)Expert's note: It is extremely rare to find a pair of jade plaques carved with a continuous landscape such as the present lot, with no comparable examples found by this author. Jade plaques of this type are usually either crafted as a single piece or as pairs showing the same depiction, sometimes in mirror image.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 5 June 2020, lot 685Price: HKD 100,000 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A white jade plaque, Qing dynasty, 18th century Expert remark: Compare the related form, reticulated top, color of the jade, beads and cord, and size (5.9 cm). Note the color of the jade is described as white in the title, but of a more celadon tone, as can be seen in the photo. Note also that the lot comprises only one plaque.Auction result comparison: Type: Related Auction: Christie's London, 8 November 2013, lot 1307 Price: GBP 13,750 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: A pair of pale celadon jade rectangular plaques, 19th centuryExpert remark: Note that while this lot also comprises a pair of jade plaques, the depiction is not continuous as on the present pair of jade plaques, but mirrored instead, which is decidedly more common.十八至十九世紀一對罕見連綿山水玉牌中國。長方玉牌，每一塊玉牌一面雕刻山水景觀與人物，另一面浮雕一首詩。兩塊山水牌放在一起，可以發現兩邊山水相連。玉牌頂部雙龍紋，中央穿孔懸掛。一條黃色的繩子，上面繫著小珍珠和珊瑚珠。玉料成青白色半透明，細膩瑩潤。 款識：1. 水影動深樹，山光窺短墻。秋邨黃葉滿，一半入斜陽。2. 幽竹入人靜，寒花爲我芳。小園宜小立，新月似新霜。鈴印：文珍 來源：英國古玩交易。 品相：狀況極好，有磨損，大面積細小的刻痕。玉料内有絮狀物。 重量：50.9 克與47.7 克 尺寸：5.9 x 4.2 厘米 專家注釋：像本拍品這樣的山水牌，實屬難得一見，筆者亦無可比之例。這類山水牌通常有可能製作成單件，或是製作成對，顯示相同的圖案，有時是鏡像，有時相連。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2020年6月5日，lot 685 價格：HKD 100,000（相當於今日EUR 12,500） 描述：清十八世紀白玉米芾拜石題字牌 《子岡》仿款 專家評論：比較相近的外形，頂部鏤空雕刻、玉石顏色、小珠和珊瑚珠，以及尺寸(5.9 厘米)。請注意此玉石顏色被描述為白色，但照片上看起來更像青色。請注意此玉為一件。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2013年11月8日，lot 1307 價格：GBP 13,750（相當於今日EUR 20,500） 描述：十九世紀一對青白玉牌 專家評論：請注意此對玉牌上雕刻的場景並非連續，而是鏡像。
A MASSIVE BLUE AND WHITE 'LANDSCAPE' STAND, LATE MING TO EARLY QING DYNASTYChina, 17th-18th century. Supported on four short feet, the shaped sides and square top each with a panel depicting a vast landscape with small buildings and figures, each surrounded by dense foliate scroll, the waisted neck with a band of key-fret. Note the remarkably fine and detailed painting in neatly accentuated shades of cobalt blue, as well as the heavy weight of over 2.5 kilograms.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 underside with numerous old labels, 'Asia - Africa Museum Geneve. Ama 3044/2', 'Art Ancien de Chine & Extrême-Orient Geneve. AMA 3044/2', 'AMA 3037/3', 'F.15000/1. Tres rare. Socle. Ming.', '[…] 3037/3 […]', '3037/3', and 'Ming Dynasty 1368-1644'. Condition: Very good condition with minor wear and firing irregularities, including glaze recesses, dark spots, and firing cracks, few minuscule nicks, small smoothened areas, probably inherent to the manufacture, and light surface scratches. Weight: 2,502 g Dimensions: Height 15 cm, Width 15.2 cm明末清初青花開光山水方底座中國，十七至十八世紀。四短足，各面分別開光描繪山水人物景觀，外框為纏枝花卉紋，頸部一圈雷紋。請注意，青花描繪濃淡運用自如，重量超過 2.5 公斤。 來源：瑞士日內瓦知名私人收藏，自 1960 年代開始收集，保存至今。該收藏的一個重要部分被永久借出，並在日內瓦的亞非博物館展出了幾十年。底部老標籤 'Asia - Africa Museum Geneve. Ama 3044/2'，'Art Ancien de Chine & Extrême-Orient Geneve. AMA 3044/2'，'AMA 3037/3'，'F.15000/1. Tres rare. Socle. Ming.'，'[…] 3037/3 […]'，'3037/3'，與 'Ming Dynasty 1368-1644'。 品相：狀態良好，有輕微磨損和燒製不規則，如釉面凹陷、黑點和燒製裂紋，微小的刻痕。重量：2,502 克 尺寸：高 15 厘米，寬 15.2 厘米
A GILT-BRONZE FIGURE OF BUDDHA, ZANABAZAR SCHOOLMongolia, 17th-18th century. Heavily cast, seated in dhyanasana with the right hand lowered in bhumisparsha mudra and the left on the lap, wearing a long-flowing robe, the hems incised with a geometric border, the serene face with downcast eyes painted with black pupils, the red mouth with a gentle smile, flanked by elongated ears, the hair in tight curls surmounted by an ushnisha with globular jewel, the base with an original seal in the form of a double vajra. 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. Two labels, 'Antique gilt bronze Buddha on lotus base shrine. 17/18 century', 'HC21/04.75'. A lacquered inventory number '222.14.QI' to the base, indicating an earlier museum deaccession. Another inventory number, '222' lacquered to the top of the base. Condition: Very good condition with minor old wear, few nicks, small dents, light scratches, and expected casting flaws.Weight: 1,137 g Dimensions: Height 15.8 cmThis heavily cast bronze belongs to the Zanabazar artistic school of Mongolia, founded in the 17th century by Jetsun Lobzong Tenpai Gyaltsen (1635-1723). He was an important Mongolian religious figure and personal guru to the Kangxi Emperor. Zanabazar was at an early age recognized by both the Panchen Lama and Dalai Lama as the reincarnation of the Tibetan Lama, Taranatha (1575-1634), and proclaimed the First Jetsundamba, an honorific title. He traveled to Tibet to continue his religious instruction before returning to Mongolia in 1651, bringing fifty sculptors and painters with him in an attempt to establish the Geluk order amongst the Mongols.During his time as a religious leader of the Khalkha Mongols, Zanabazar oversaw a proliferation of Buddhist art in the region. He is especially known for his visualization and design of gilt-bronze sculpture, subsequently carried out by Nepalese bronze casters, which are widely recognized as some of the finest Buddhist gilt-bronze sculptures created.Zanabazar bronze sculptures exhibit a cohesive style testament to the vision of the great leader, characterized by richly gilt surfaces overall, finely modeled and smoothly sloping contours with embellishments limited to borders, full figures standing or seated on an elevated double-lotus base, and a minimalist aesthetic that endows the figures with a sense of stability. Auction result comparison:Type: RelatedAuction: Bonhams London, 14 May 2014, lot 209Price: GBP 20,000 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A fine gilt-bronze figure of Buddha, Zanabazar School, 17th centuryExpert remark: Compare the related pose, facial expression, lotus base, and gilding. Note the smaller size (11.2 cm).Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 2 October 2018, lot 127Price: HKD 500,000 or approx. EUR 65,500 converted and adjusted for inflation at the time of writingDescription: A gilt copper alloy figure of Amitabha, Mongolia, Zanabazar school, 17th centuryExpert remark: Compare the related pose, facial features, lotus base, and fine incision work. Note the slightly smaller size (13.5 cm).札那巴札爾派銅鎏金佛像蒙古，十七至十八世紀。佛陀結跏趺座，右手觸地印，左手擱膝，身著長袍，面容安詳，垂眸塗黑瞳，面帶溫和的微笑，兩側是細長的耳垂，螺髻中央頂寶珠。雙金剛杵印密封底。 來源：英國倫敦紳士收藏，收藏亞洲藝術已超過五十年，保存至今。兩個標籤'Antique gilt bronze Buddha on lotus base shrine. 17/18 century'與 'HC21/04.75'；底部一個收藏編號 '222.14.QI'，表明可能來自博物館；另一個收藏編號 '222' 。 品相：狀況極好，有輕微的磨損、少量劃痕、小凹痕和鑄造缺陷。 重量：1,137 克 尺寸：高 15.8 厘米
A GILT-LACQUER BRONZE FIGURE OF BUDDHA SHAKYAMUNI, RATTANAKOSIN KINGDOMThailand, reign of King Rama III, 1824-1851. Seated in virasana, his right hand lowered in bhumisparsha mudra and his left held in dhyana mudra above his lap, his close-fitting sanghati finely cast with diapered floral designs and embellished in 'gesso' with floral roundels (pha lai) conveying a lavishly embroidered cloth. His serene face with heavy-lidded eyes below gently arched brows and full lips forming a calm smile, flanked by long pendulous earlobes, the hair arranged in tight curls over the ushnisha surmounted by a separately cast ketumala.Provenance: Galerie Claude Jongen, Belgium, by 1977. Gustaaf Wauters, Belgium, acquired from the above, and thence by descent to his son Godfried Wauters, who has been active in the Belgian trade for over 40 years. He has built a substantial art collection including Chinese and Buddhist sculptures, significantly expanding on the collection already built by his late father Gustaaf (1905-1992). Condition: Very good condition with minor wear and casting irregularities, minor flaking to gilt, few minuscule nicks, small dents, occasional light scratches.Dimensions: Height 92 cm (incl. flame)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: Closely related Auction: Bonhams New York, 23 July 2020, lot 841 Price: USD 22,575 or approx. EUR 23,500 converted and adjusted for inflation at the time of writing Description: A gilt lacquer copper alloy figure of Buddha, Thailand, Rattanakosin period, 19th centuryExpert remark: Compare the closely related pose, robe, and face. Note the related size (90 cm). Note the missing flame.
A LARGE 'BIRDS WORSHIPPING THE PHOENIX' CLOISONNE BASIN, MING DYNASTYChina, 16th to early 17th century. The interior exquisitely decorated in bright enamels with a majestic phoenix standing proudly on one leg, surrounded by adoring birds including a crane beside a tree, a peacock in flight amid colorful clouds, mandarin ducks in a pond, and pheasants perched on bamboo stalks, all encircled by red-ground foliate and white-ground lappet bands. The cavetto with a band of alternating lotus blossoms and the Eight Treasures (babao) below a diapered floral band, the everted rim with a band of chrysanthemum flowerheads and scrolling vines above a ruyi-head border, all against a dark blue ground.Provenance: London trade. Condition: Good condition with some old wear and expected manufacturing irregularities, including pitting to the enamel, the cavetto with small losses to enamel and associated old fills, minute dents, light wear to gilt. Weight: 1,960 g Dimensions: Diameter 37.5 cmPhoenixes surrounded by various birds, including cranes, mandarin ducks, and pheasants, are a common motif in Chinese culture. Phoenixes are regarded as the king of the birds, as they represent power, virtue, and grace. The present lot is a rare example of such a depiction on a cloisonne basin. Literature comparison: Compare a related cloisonne phoenix basin, dated to the late Ming dynasty, illustrated in the Compendium of Collections in the Palace Museum: Enamels 1, Beijing, 2011, no. 170. Two Ming dynasty cloisonne enamel basins decorated with phoenixes from the 15th and 16th centuries are illustrated by H. Brinker and A. Lutz in Chinese Cloisonne: The Pierre Uldry Collection, The Asia Society Galleries, USA, 1989, pls. 19 and 63.Auction result comparison: Type: Closely related Auction: Christie's Paris, 9 June 2021, lot 166 Price: EUR 17,500 or approx. EUR 19,000 adjusted for inflation at the time of writing Description: A cloisonne enamel 'phoenix' basin, China, Ming dynasty, 16th-17th centuryExpert remark: Compare the closely related form, enamels, decorative bands, and phoenixes. Note the slightly smaller size (35 cm). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 30 May 2018, lot 653 Price: HKD 175,000 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: A cloisonne enamel 'carp' basin, Ming dynasty, Wanli periodExpert remark: Compare the closely related form, enamels, and decorative bands. Note the slightly smaller size (35.5 cm) and different subject. Auction result comparison: Type: Related Auction: Christie's Paris, 10 December 2020, lot 6 Price: EUR 56,250 or approx. EUR 61,500 adjusted for inflation at the time of writing Description: A large cloisonne enamel basin, China, 17th centuryExpert remark: Compare the closely related form, enamels, and decorative bands. Note the significantly larger size (53.5 cm) and different subject.明代大型《百鳥朝鳳》掐絲琺瑯盆中國，十六至十七世紀初。盆折沿，弧腹，平足。明豔精美的琺瑯，盆中開光描繪一隻威風凜凜的鳳凰單腿站立，周圍環繞著可愛的鳥兒，包括樹旁的鶴，彩雲中飛翔的孔雀，池塘中的鴛鴦，竹上的雉鷄；盆内壁可見纏枝蓮紋帶與八寶紋帶。 來源：倫敦古玩交易。 品相：狀況良好，有一些磨損和製造不規則，包括琺瑯點蝕和凹陷、鎏金有些缺損和相對應的修補、鎏金輕微磨損。 重量：1,960 克 尺寸：直徑37.5 厘米 《百鳥朝鳳》這個題材在繪畫和刺繡中經常出現。鳳凰被視為百鳥之王，至高至上，美好吉祥。文獻比較： 比較一件相近的明代銅胎掐絲琺瑯鳳凰盆 ，見《故宮博物院藏品大系．琺瑯器編1》，北京，2011年，編號170。兩件十五至十六世紀明代銅胎掐絲琺瑯鳳凰盆，見H. Brinker和A. Lutz《Chinese Cloisonne: The Pierre Uldry Collection》，The Asia Society Galleries，美國，1989年，頁19和63。 拍賣結果比較： 形制：非常相近 拍賣：巴黎佳士得，2021年6月9日，lot 166 價格：EUR 17,500（相當於今日EUR 19,000） 描述：明十六/十七世紀掐絲琺瑯鳳紋折沿盆 專家評論：比較非常相近的外形、琺瑯、裝飾花邊和鳳凰。請注意尺寸(35 厘米)稍小。
A BLUE AND WHITE 'LUOHAN' DISH, JIAJING MARK, QING DYNASTYChina, 1644-1912. The deep sides flaring towards the rim, painted in inky shades of blue with a central medallion enclosing a luohan seated on a rock beside a cliff, trees, and further rockwork, the cavetto decorated with vines issuing lotus blossoms. The reverse with six evenly dispersed lotus sprays, framed by double lines to the rim and foot. Provenance: New York trade. Condition: Very good condition with minor wear and firing flaws including pitting. Few light surface scratches, few minuscule chips to the foot rim.Weight: 632 g Dimensions: Diameter 25.4 cmThe recessed base inscribed with an apocryphal six-character mark da Ming Jiajing nianzhi within a double circle.In Buddhism, a luohan, or arhat, is a person who has gained insight into the true nature of existence, achieved Nirvana and was liberated from the endless cycle of rebirth.清代嘉靖款青花羅漢盤中國，1644-1912年。折沿，淺腹，圈足。折沿上深藍色纏枝蓮紋，盤中開光，描繪林中羅漢盤腿讀經。盤背面有六個均勻分佈的纏枝蓮紋。圈足内雙圈“大清嘉靖年製”寄托款。 來源：紐約古玩交易。 品相：狀況極好，有輕微磨損和燒製缺陷，包括點蝕，輕微的劃痕，足緣上有微小的碎片。 重量：632 克 尺寸：直徑 25.4 厘米
A 'GANESHA' BRONZE BELL, KHMER EMPIRE, ANGKOR PERIOD, 11TH-12TH CENTURYHeavily cast, decorated with ribs to the lip and at the shoulder, the finial with two floral lappets enclosing the seated figure of Ganesha and a central arch with decorative ridges. The bronze with a fine, solid patina with malachite encrustations.Provenance: A private collection in Paris, France. LP Collection, Paris, France, acquired from the above. Condition: Very good condition with minor old wear, some weathering and erosion, expected casting flaws, few nicks, light scratches, and encrustations. Good malachite-green patina overall.Weight: 2,076 g Dimensions: Height 22.4 cmLiterature comparison: Compare a related Khmer bronze altar bell with Ganesha, 19.4 cm high, dated to the 12th century, in the Minneapolis Institute of Art, accession number 91.22.2.
A BRONZE HEAD OF A MAN, GOA MADE, EAST JAVA, INDONESIA, 1ST MILLENNIUM BC - 1ST MILLENNIUM ADPublished: Claudio Giardino, Massimo Vidale, and Gian Luca Bonora (editors), Goa Made - An Archeological Discovery, Rome, 2012, page 241, no. 215.Agus Aris Munandar, Hitawasana: Studies on Indonesian Archeology, page 55, no. 6.Finely cast and modeled in the round with a hollow interior. The face with almond-shaped eyes below prominent lids and gently arched brows, centered by a long nose of trapezoidal section above a raised mouth, flanked by elongated ears.Provenance: A private collector in London, United Kingdom, and thence by descent to his daughter Amanda Torri. Alex Torri, Bologna, Italy, inherited from the above. Paolo Bertuzzi, acquired from the above in 2002. A copy of the original invoice from Alex Torri, dated 25 June 2002, showing an image of the present lot, and stating a purchase price of ITL 15,000,000 or approx. EUR 12,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy, and 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. Some wear, minor losses, small nicks, light scratches, signs of weathering and erosion, encrustations. The head is entirely covered in a superb, naturally grown, malachite-green patina with small areas of azurite encrustation to the interior.Weight: 735.1 g Dimensions: Height 26 cmGoa (or Gua) Made (Made Cave) is a site north of the Brantas River in East Java. Its importance was first discovered by Anacleto Spazzapan, an Italian archeologist, designer, and collector of ethnographic and folk art who frequently traveled to Indonesia. He was first led to the site in 1999 and brought back fragments of fired clay, which he sent to Arcadia labs in Milan for thermoluminescence testing. The first official excavations were subsequently conducted in an underground temple by the Bureau for the Archaeological Conservation of East Java (BACEJ) in 2001 and 2006, the latter funded by Paolo Bertuzzi (the last owner of the present lot), who had developed a profound interest in the site. Finds included imported glazed pottery, Chinese copper or bronze coins, and highly distinct bronze heads such as the present lot. Thermoluminescence analysis of terracotta bricks found in the excavations indicated a date in the early 1st millennium BC. This would not only suggest the discovery of a lost civilization but also challenge widely held notions of Southeast Asian history. The earliest uncontested architectural remains in East Java are two temples dating from the 8th - 9th century AD.In 2007, larger-scale excavations were carried out by a team of Italian and Indonesian archeologists, which revealed a previously overlooked shaft, a complex subterranean structure displaying a sophisticated integrated design that would have required mass community involvement in both its construction and usage. In the following years, disagreements between archeologists involved in the Goa Made project began to emerge. A 2010 article by Andreas M. Steiner and Massimo Vidale in the renowned Italian magazine Archeo supports the dating of the bronze heads to the early 1st millennium BC. In the same year, however, Fiorella Rispoli wrote an article for World Archeology Magazine wherein she questions the accuracy of the thermoluminescence analysis and instead proposed a post-10th century AD dating for the bronze heads, suggesting that the underground temple was most likely a water control system, while the heads should rather be placed within the tradition of East Java folk practices. In his 2016 book Hitawasana, Studies on Indonesian Archeology (where the present lot is illustrated, page 55), Prof. Dr. Agus Aris Munandar from the University of Indonesia wrote that further scientific studies remain necessary, and that additional research is expected to step-by-step resolve the questions regarding this important archeological site.
A BRONZE ARCHAISTIC MINIATURE TRIPOD CENSER, DING, QING DYNASTY, 17TH CENTURYChina. The slightly tapered cylindrical body supported on three tapered cylindrical legs, the galleried rim surmounted by a pair of arched handles, the exterior cast with three taotie masks divided by three vertical raised flanges, all against a leiwen ground, the legs decorated with archaistic pendent cicada leaves.Provenance: French trade. Condition: Very good condition with minor wear, small nicks, little dents, light surface scratches, encrustations, and casting flaws.Weight: 235 g Dimensions: Height 8.4 cm Auction result comparison:Type: Near identicalAuction: Sotheby's Hong Kong, 7 October 2014, lot 3336Price: HKD 35,000 or approx. EUR 5,000 converted and adjusted for inflation at the time of writingDescription: A miniature bronze incense burner, ding, Qing dynasty, 17th centuryExpert remark: Compare the near identical form, decorations, and size (8.4 cm)十七世紀青銅仿古三足鼎式爐中國。鼎式爐球形深腹，雙立耳，下承三足。外壁雷紋地饕餮紋。足部蕉葉紋。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損、小劃痕、小凹痕、結殼和鑄造缺陷。 重量：235 克 尺寸：高8.4 厘米 拍賣結果比較： 形制：幾乎相同 拍賣：香港蘇富比，2014年10月7日，lot 3336 價格：HKD 35,000（相當於今日EUR 5,000） 描述：清十七世紀銅饕餮紋沖天耳袖珍鼎式爐 專家評論：比較幾乎相同的外形，裝飾和尺寸 (8.4 厘米)。
TWO LARGE WESTERN ASIATIC BANDED AGATE BEADS, 1ST MILLENNIUM BC OR EARLIERComprising a bead of slightly convex cylindrical form and of a dark-brown color with white and gray bands; and a triangular bead of oval section and of a warm gray color with white and ochre bands. (2)Provenance: From the collection of Paolo Bertuzzi (1943-2022), who 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: Very good condition with minor wear, few small nicks, and light surface scratches.Weight: 37.7 g and 17.5 g Dimensions: Length 8.8 cm and 7.1 cmLiterature comparison: Compare a related banded agate bead, 4 cm long, dated 750-300 BC, in the British Museum, registration number 1894,1101.103. Compare a related group of beads, dated circa 2200-1800 BC, in the Los Angeles County Museum of Art, accession number M.2000.183.2.Auction result comparison: Type: Related Auction: Christie's New York, 6 December 2007, lot 370 Price: USD 7,500 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: A Bactrian gold and banded agate bead pendant, circa 5th century BCExpert remark: Note the length (9.1 cm) and gold sheet decorationAuction result comparison: Type: Related Auction: Christie's New York, 12 April 2022, lot 31 Price: USD 5,670 or approx. EUR 5,500 converted and adjusted for inflation at the time of writing Description: A Western Asiatic banded agate bead necklace, circa late 3rd-early 2nd millennium BC Expert remark: Note the closely related form and color of some beads in this necklace
A PAIR OF 'QIANJIANG CAI' ENAMELED 'PEACOCK AND CRANE' VASES, BY MA QINGYUN, DATED 1920China. Each of bottle form with bulbous body surmounted by a cylindrical neck with straight rim, painted in bright enamels with a peacock and a pair of cranes perched on craggy rocks, with peonies and a gnarled pine tree. One side with a poetic inscription and signature. The bases with iron-red maker's marks. (2)Inscriptions: To one side, signed 'by Ma Qingyun in Changjiang', dated 'in the Summer of the Year of Gengshen' (corresponding to 1920), inscribed 'The most beautiful woman compares to a peony, the Emperor glanced at her with pleasure, the beauty just, like a gentle wind in spring, removed of all resentment, in Chenxiang pavilion the Emperor and his concubine lean against the fence', and 'the poem titled Qingbingdiao by Li Qinglian'. To the base, 'Ma Qingyun xie hua Yawan'.Provenance: From a noted Hungarian private collection. Condition: Very good condition, minor wear, light scratches, and manufacturing flaws including firing cracks, dark spots, and minuscule fritting. One vase with a hairline along the base.Weight: 3,762 g and 3,892 g Dimensions: Height 34.6 cm and 34.5 cmThe inscription on the present vases is an excerpt from the poem Qingbingdiao, written by Li Qinglian, also known as Li Bai (701-762), one of China's most famous poets from the Tang dynasty. The poem comprises three sections and illustrates the supposed love story between Emperor Xuanzong and his consort Yang Guifei, one of the Four Beauties of ancient China. According to some historical accounts, the Emperor and Yang Guifei would enjoy a nighttime celebration of peony viewing whenever the peonies were in full bloom. During one celebration, the Emperor was displeased with the selection of music and called for Li Bai to write a song. Li Bai, who was supposedly drunk during this time, rapidly composed this poem that pleased the Emperor.Ma Qingyun was a painter, poet, and literary artist who was active from the late Guangxu period into the Republic period.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.Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 13 March 2012, lot 3464Price: USD 15,000 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: A pair of polychrome enameled porcelain baluster vases, Republic periodExpert remark: Compare the related Qianjiang style, motif, poem, and seal mark. Note the different form and sizes (58 cm).馬慶雲款一對淺絳彩花鳥賞瓶，1920年中國，長頸瓶，溜肩鼓腹，圈足外撇。淺絳彩描繪孔雀和一對仙鶴站在松下假山上，牡丹盛開。另一面書寫李白詩。圈足鈴印“馬慶雲畫雅玩”。 款識：名花傾國兩相歡，常得君王帶笑看。解釋春風無限恨，沉香亭北倚闌干。庚申夏右？李青蓮 清平調 則于昌江客邸馬慶雲寫之意 。 來源：知名匈牙利私人收藏。 品相：狀況非常好，有輕微磨損、劃痕和製造缺陷如燒製裂紋、黑點和微小的熔塊。其中一個花瓶底部有冲線。 重量：分別為3,762克與3,892克 尺寸：高34.6 厘米與 34.5 厘米 馬慶雲是活躍於光緒末年至民國時期的畫家、詩人、文學家。拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2012年3月13日，lot 3464 價格：USD 15,000（相當於今日EUR 17,500） 描述：民國一對淺絳彩賞瓶 專家評論：比較相近淺絳彩、主題、詩和印。請注意不同的外形和尺寸(58 厘米)。
A MARBLE FIGURE OF RADHA, WESTERN INDIA, GUJARAT, 13TH-15TH CENTURYStanding in samabhanga on a rectangular plinth, wearing a dhoti and a long scarf draped over her voluptuous breasts, richly adorned with fine jewelry, her face with large almond-shaped eyes below thick arched brows, full lips forming a subtle smile, the hair arranged in an elaborate coiffure and elegantly falling down the neck.Provenance: From an old Swiss private collection. Condition: Condition commensurate with age, displaying remarkably well. Some wear, light scratches, signs of weathering and erosion, and remnants of ancient pigment. Obvious losses, nicks, and structural cracks with associated old fills. Fine, naturally grown patina overall with a subtle luster and unctuous feel.Weight: 5,760 g Dimensions: Height 43.5 cmRadha, whose name means 'prosperity', was chief among the gopis (milkmaids) and the favorite consort of Krishna. According to popular legends, she was not officially married to Krishna but rather to a cowherd.Literature comparison: Compare a related marble sculpture of Prahlada, 27.9 cm high, also from Gujarat, dated c. 12th century, in the Philadelphia Museum of Art, accession number 1994-148-24.Auction result comparison:Type: Related Auction: Christie's New York, 19 March 2014, lot 1087 Price: USD 11,875 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing Description: A black marble figure of Krishna Venugopala, India, Gujarat, circa 15th centuryExpert remark: Compare the related facial features, hairstyle, and jewelry. Note the different color of the marble and the size (66 cm).
A BRONZE FIGURE OF VISHNU, ANGKOR PERIODKhmer Empire, 11th-12th century. Well cast, standing in samapada on a square base, eight-armed, holding his implements, the primary right hand with a bow, dressed in a long sampot secured at the waist with beaded belts, adorned with jewelry and a sash around the upper body. The face with a serene expression and almond-shaped eyes below a gently arched eyebrow, flanked by elongated earlobes, surmounted by a headdress and conical chignon. The bronze with a rich, naturally grown, solid patina with malachite and cuprite encrustations.Provenance: An Austrian collection, acquired at auction in Holland. By repute previously in an old private estate. Condition: Very good condition with wear, few nicks, small dents and losses, light scratches, and signs of weathering and erosion. The marble base with traces of use and minor nicks.Weight: 2,328 g (incl. stand) Dimensions: Height 19.5 cm (excl. stand) and 27.7 cm (incl. stand)Mounted to an old, neatly faceted black marble base, dating from around 1900. (2)Auction result comparison:Type: RelatedAuction: Christie's New York, 21 September 2007, lot 366Price: USD 21,250 or approx. EUR 27,500 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Lokeshvara, Khmer, Angkor Period, Bayon style, 13th centuryExpert remark: Compare the pose. Note the larger size (26.5 cm).Auction result comparison:Type: RelatedAuction: Christie's New York, 23 July 2020, lot 37Price: USD 9,375 or approx. EUR 9,800 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Vishnu, Khmer, 10th-11th centuryExpert remark: Compare the pose. Note the larger size (27.2 cm).Auction result comparison:Type: RelatedAuction: Bonhams London, 8 June 2004, lot 437Estimate: GBP 18,000 or approx. EUR 40,000 converted and adjusted for inflation at the time of writingDescription: A large and important bronze figure of a five-headed ten-armed deity, probably Sadasiva, Khmer, Angkor Period, Angkor Wat style, 12th CenturyExpert remark: Compare the pose. Note the much larger size (32 cm).
A TAIHU 'INFINITY' SCHOLAR'S ROCK, LATE QING DYNASTY TO REPUBLIC PERIODChina, Suzhou, 1850-1949. The massive rock is of a fine ochre-yellow tone throughout. The irregular, horizontal form with its innumerable protrusions and deep crevasses evokes a monumental mountain range.Provenance: Chicago trade, USA. Condition: Very good condition with extensive old wear and some weathering, minute nicks, light scratches, signs of erosion consistent with having been exposed to weather conditions for at least several decades.Weight: 33 kg (excl. base) Dimensions: Width 53 cm (excl. base) and 54 cm (incl. base)With a fitted hardwood stand dating from the same period or slightly later. (2)Taihu or porous stone is a kind of limestone produced at the foot of Dongting Mountain in Suzhou, which is close to Lake Tai. Due to long-term surging by water, this kind of rock features many pores and holes of various depths and sizes.This rock is a fine representation of the 'tou' quality, openness or holes, one of the few fundamental qualities prized in a scholar's rock. This is further explained by Richard Rosenblum in his essay in Robert D. Mowry's Worlds Within Worlds: The Richard Rosenblum Collection of Scholars' Rocks, Harvard University Art Museums, 1996, pp. 117-18, where he writes in reference to Taihu rocks, “the holes within holes of these rocks give the experience of infinity” and “varying in size and orientation, these holes create the sensation of an ever-changing and infinite world within a finite object.”Auction result comparison: Type: Closely related Auction: Christie's New York, 17 March 2017, lot 1117 Price: USD 30,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: A taihu scholar's rock Expert remark: Note the slightly larger width (66 cm)Auction result comparison: Type: Closely related Auction: Christie's New York, 25 September 2020, lot 1642 Price: USD 18,750 or approx. EUR 19,500 converted and adjusted for inflation at the time of writing Description: A large yellow taihu scholar's rock, Qing dynasty Expert remark: Note the slightly larger width (64.8 cm)清末明初太湖石賞石中國, 蘇州，1850-1949年。各有峰巒，嵌空穿眼，宛轉相通，通體呈細膩的赭黃色調。 來源：美國芝加哥古玩交易。 品相：狀況極好，有磨損和一些風化、微小的劃痕、侵蝕跡象。 重量：33 公斤 (不含底座) 尺寸：寬 53 厘米 (不含底座)，54 厘米 (含底座) 同期或稍晚的硬木底座。(2) 這件賞石很好地代表了“透”的品質與意境，這是文人石所珍視的基本品質之一。Richard Rosenblum 在Robert D. Mowry 的文章《世界中的世界：理查德·羅森布魯姆收藏的文人石》（Robert D. Mowry's Worlds Within Worlds: The Richard Rosenblum Collection of Scholars' Rocks，哈佛藝術舘，1996年, 第117-18頁）中進一步解釋了這一點，他在文章中提到了太湖岩石，“這些岩石的洞中洞給人無限的體驗”和“大小和方向各不相同，這些洞在有限的物體中創造了一個不斷變化和無限的世界的感覺。” 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2017年3月17日，lot 1117 價格：USD 30,000（相當於今日EUR 33,000） 描述：太湖賞石一件 專家評論：請注意尺寸較寬 (66釐米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2020年9月25日，lot 1642 價格：USD 18,750（相當於今日EUR 19,500） 描述：清太湖賞石 專家評論：請注意尺寸較寬(64.8釐米)。
A RARE AND IMPORTANT BRONZE RITUAL WINE VESSEL, EASTERN ZHOU DYNASTY, SHANXI OR HEBEI, CHINA, 7TH-5TH CENTURY BCPublished: Friedrich Georg Zeileis, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, pages 252-253, no. 86. Superbly cast, the globular body rising to a short waisted neck with an everted rim, densely decorated with rectangular panels full of archaic scrolls divided by rope-twist bands, all neatly incised in fine relief. The bronze with a rich, solid, naturally grown patina with malachite and cuprite encrustation.Provenance: A noted private collection in New York, assembled since the 1920s. E & J Frankel Ltd., New York, early 1990s. Friedrich Georg Zeileis, acquired from the above, according to his publication. E & J Frankel was a major New York gallery specializing in Asian Art since 1967. Run by Edith (1939-2012) and Joel Frankel (1937-2018), it was one of the oldest galleries in the United States focusing exclusively on Asian art. Leaders in their field, the Frankels traveled the world in search of Asian art treasures and educated the general public about their shared passion. Their gallery on Madison Avenue in New York City became a local institution, best known for its regular schedule of innovative thematic exhibitions, and frequently visited by the biggest names in the field, such as Eskenazi, Ellsworth, Junkunc, and the Alsdorfs. Dr. Friedrich Georg Zeileis (b. 1939) is a retired physician who built an important collection of ancient Chinese jades and bronzes. He was also a pianist and composer, and published several books, as well as catalogs of his substantial art collections, including fine Chinese jades and bronzes. Condition: Very good condition, commensurate with age, displaying spectacularly. Extensive old wear, minor dents, small nicks, light scratches, minute losses, signs of weathering and erosion, soil encrustations. Absolutely original with no fills or repairs whatsoever! A Zhou-dynasty bronze in such a well-preserved state must be considered exceedingly rare.Weight: 2,628 g Dimensions: Height 23.5 cmSeveral names have been given to vessels of this shape. A variety of designations, including lei, ling, fou, and pou, appear in inscriptions cast on the everted rims of some of these bronzes, even vessels closely comparable in shape. This type first appeared in the late Shang/early Western Zhou period, and the first versions typically had a long neck and sharply angled shoulders. By the end of the eighth century, the necks on these vessels had become proportionately shorter, and the shoulders more rounded. With its sharply angled shoulders and short neck, the present vessel would appear to represent a transitional period in the vessel's development.Expert's note: According to the Zeileis publication, the present lot was judged by Dr. W. Thomas Chase, retired Head Conservator of the Department of Conservation and Scientific Research at the Arthur M. Sackler Gallery and the Freer Gallery of Art, as a “doubtless genuine bronze”, while it was with E & J Frankel. According to the same publication, the present lot was examined in 1998 by Dr. Anna Bennett, an archeological scientist and conservator, who found it to be irreproachably authentic as well as unusual in this form, and extremely rare.Literature comparison: Compare a related bronze fu with similar decoration, also without handles, illustrated by Jenny So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, 1995, page 217, no. 34. The author notes that vessels with 'twist-rope' panels can be found from the provinces Shanxi to Hebei. Compare a related bronze pou, 20.5 cm high, dated to the Eastern Zhou dynasty, 7th century BC, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.277, illustrated by Jenny So, ibid., p. 210-213, no. 32. A lei without handles and with related dragon scroll cast on the shoulder, but undecorated on the lower body, from Henan Xinyang Guangshan Baoxiangsi G1, is illustrated by Jenny So, ibid., p. 134, fig. 13.2, where it is dated to the second quarter of the 6th century BC.Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2013, lot 1113 Price: USD 663,750 or approx. EUR 771,000 converted and adjusted for inflation at the time of writing Description: A fine and rare bronze ritual wine vessel, lei, Spring and Autumn period, early 7th century BCExpert remark: Compare the closely related form and related decoration. Note the slightly larger size (29.5 cm).Auction result comparison: Type: Related Auction: Christie's Amsterdam, 6 November 2007, lot 334 Price: EUR 86,650 or approx. EUR 125,000 adjusted for inflation at the time of writing Description: An archaic bronze ceremonial wine vessel, fou, Eastern Zhou dynastyExpert remark: Compare the related form and decoration. Note the animal handles and slightly larger size (29.7 cm).西元前七至五世紀重要青銅酒器，山西或河北敞口外翻，束頸，豐肩，斂足，圈足。器身地飾鳥紋與繩紋帶。豐富、堅固、自然的銅銹，帶有孔雀石色和赤銅色結殼。造型美觀，紋飾謹嚴，鑄造精良。出版：Friedrich Georg Zeileis，《Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze)》，1999年，第252-253頁，圖 86。 來源：知名紐約私人收藏，建立於上世紀二十年代；紐約E & J Frankel Ltd.藝廊，上世紀九十年代初；Friedrich Georg Zeileis購於上述藝廊，並收編於他的出版物。 品相：品相極好，大量磨損、輕微凹痕、小刻痕、輕微劃痕、微小缺損、風化和侵蝕跡象、土壤結殼。無任何填充或維修！如此保存完好的周代青銅器，實屬難得一見。 重量：2,628 克 尺寸：高 23.5 釐米
A RARE BRONZE ARROW VASE, TOUHU, SONG - YUAN DYNASTYChina, 13th-14th century. The bottle-shaped body rising from a flaring foot to a long neck tapering towards the galleried rim and flanked by two tubular handles, cast to the body with a band of single-horned dragons above a leiwen ground, the neck and handles with a wider and narrower band of leiwen, the body and neck divided by two ribs and stiff leaves, the foot with further stiff leaves.Provenance: From a private estate in Staffordshire, United Kingdom. Condition: Very good condition with minor wear, small nicks, light scratches, few dents, minor cracks, tiny losses, and casting flaws. Solid, naturally grown patina overall.Weight: 2,732 g Dimensions: Height 38.8 cmExpert's note: Large arrow vases from this early period are exceedingly rare, especially with a dragon design in such high relief. Further note the clever and elegant alignment of the two elongated narrow tubes with the neck of the vessel, which also serves as the main tube.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 7 October 2014, lot 3384Price: HKD 325,000 or approx. EUR 47,000 converted and adjusted for inflation at the time of writingDescription: A Bronze Archaistic Arrow-Handled Vase Song / Yuan DynastyExpert remark: Compare the related cast and design. Note the much smaller size (24.6 cm).宋至元銅投壺中國，十三至十四世紀。長直頸、兩側貫耳，圓鼓腹。鼓腹上雷紋地單角龍紋，頸部和手柄有寬窄不一的雷紋帶，頸部和腹部弦紋帶，頸部和足部修飾蕉葉紋。 來源：英國斯坦福郡私人舊藏。 品相：狀況極好，有輕微磨損、小刻痕、輕微劃痕、少量凹痕、輕微裂紋、微小損失和鑄造缺陷。整體包漿緊實。 重量：2,732 克 尺寸：高 38.8 厘米 專家注釋：這一時期的投壺非常罕見，尤其是龍形浮雕如此之高。請注意兩個細長的頸部與貫耳的對稱。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2014年10月7日，lot 3384 價格：HKD 325,000（相當於今日EUR 47,000） 描述：宋 / 元銅饕餮紋貫耳壺 專家評論：比較相近的鑄造和設計。請注意尺寸較小(24.6 厘米)。
A BRONZE ARCHAISTIC ARROW VASE, TOUHU, SONG TO YUAN DYNASTYChina, late 12th to 13th century. Of slender pear shape with long neck, rising from a flaring foot to a straight cylindrical rim flanked by a pair of tubular handles, the handles and neck decorated with a band of leiwen, the design repeated at the foot. With a naturally grown, fine brownish-black patina overall.Provenance: Collection of Arnold Vissiere, Paris, France, thence by descent in the same family. Arnold Vissiere (1858-1930) was a French sinologist born in Paris and one of the creators of the French School of the Far East system. He worked as an interpreter at the French legation in Beijing and became a professor at the Ecole des Langues Orientales Vivantes in 1911. Later, Vissiere was appointed Consul General in Shanghai and then Minister Plenipotentiary in China. He also worked at the National Library on the catalog of Chinese books. Vissiere collected Chinese art including Chinese maps, some of which are exhibited in the Musee Guimet.Condition: Very good condition with minor wear, few nicks, small dents, light scratches, small cracks with associated minor losses, and casting flaws.Weight: 691.1 g Dimensions: Height 26.8 cmLiterature comparison:Compare a related bronze arrow vase, 21.6 cm, also dated Song to Yuan dynasty, late 12th to 13th century, in the Metropolitan Museum of Art, accession number 2021.294.Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 11 June 2021, lot 3192Price: HKD 75,000 or approx. EUR 9,100 converted and adjusted for inflation at the time of writingDescription: A bronze 'wave' two-handled tool arrow vase, Yuan dynastyExpert remark: Compare the related form and decoration. Note the much smaller size (17.9 cm).宋至元仿古銅投壺中國，十二世紀末至十三世紀。修長的梨形，長頸，圈足外撇，頸部雙貫耳。貫耳和頸部飾有雷紋紋飾帶，圈足處重複。整體細膩棕黑色包漿。 來源：法國巴黎 Arnold Vissiere，在同一家族保存至今。Arnold Vissiere (1858-1930) 是一位生於巴黎的法國漢學家，法國遠東學派體系的創始人之一。他曾在北京的法國大使館擔任翻譯，並於 1911 年成為 Ecole des Langues Vivantes 的教授。後來，Vissiere 被任命為駐上海總領事，隨後被任命為駐華全權公使。他還在國家圖書館從事中文圖書目錄工作。 Vissiere 收藏了包括中國地圖在內的很多中國藝術品，其中一些在吉美博物館展出。 品相：狀況極好，有輕微磨損、少量刻痕、小凹痕、輕微劃痕、小裂紋以及相關的輕微缺損和鑄造缺陷。 重量：691.1 克 尺寸：高26.8 厘米 文獻比較： 比較一件相近的宋至元十二至十三世紀投壺，21.6 厘米，收藏於大都會美術館，館藏編號 2021.294。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2021年6月11日，lot 3192 價格：HKD 75,000（相當於今日EUR 9,100） 描述：元銅海水紋投壺 專家評論：比較相近的外形和裝飾。請注意尺寸小很多(17.9 厘米)。
A LIMESTONE 'LION' MAT WEIGHT, HAN DYNASTYChina, 206 BC to 220 AD. Carved as a recumbent lion with its feet tucked underneath, the head resting on his paws, the face with bulging eyes and a ruyi-shaped snout, finely incised with a central ridge along the face and scrolling fur. The stone of an even blackish-brown color.Provenance: From a noted Czech private collection. Originally acquired in Japan. Condition: Good condition, commensurate with age. Small nicks, cracks and losses, light surface scratches, few little chips, remnants of pigment, signs of weathering and soil encrustations. Overall exactly as expected for an authentic Han dynasty limestone sculpture.Weight: 358 g Dimensions: Length 9.5 cmAuction result comparison: Type: Related Auction: Christie's New York, 27 March 2015, lot 8267 Price: USD 27,500 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: A pair of ivory-colored stone recumbent lion-form mat weights, China, Western Han dynasty or later Expert remark: Note the size (8.3 cm), the ivory-colored stone, and that this lot comprises two mat weights. Auction result comparison:Type: RelatedAuction: Christie's New York, 22 June 2011, lot 436Price: USD 8,125 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A Chinese soapstone figure of a recumbent tiger, Han dynastyExpert remark: Compare the closely related pose, central ridge at the head, and size (10.2 cm). Note the different material.漢代石灰石臥獅席鎮中國，公元前206年至公元 220年。席鎮成臥獅形，其雙足夾在身下，頭枕在爪子上，面部雙眼圓睜，如意形鼻子，面部中央有一道脊線，毛皮捲曲。石料呈均勻黑褐色。 來源：捷克私人收藏，購於日本。 品相：品相良好，有小刻痕、裂縫和缺損，表面有輕微的劃痕，顏料殘留，有風化跡象和土壤結殼。 重量：358 克 尺寸：長 9.5 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年3月27日，lot 8267 價格：USD 27,500（相當於今日EUR 33,000） 描述：石獅子形蓆鎮一對 專家評論：請注意尺寸 (8.3 厘米)，象牙色石，以及此席鎮為一對。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2011年6月22日，lot 436 價格：USD 8,125 （相當於今日EUR 12,500）描述：漢代皂石臥虎專家評論：比較非常相近的姿勢、面部中央有一道脊線，以及尺寸 (10.2 厘米)。請注意材質不同。
A RARE GILT COPPER ALLOY FIGURE OF A STANDING MAITREYA, NEPAL, 14TH CENTURYFinely cast standing on a circular lotus base with tiered beaded rims, his left hand raised in front of the chest and holding a lotus stem coming to full bloom at the shoulder topped by a kundika, his right pendent and similarly holding a lotus stem. Clad in a sheer dhoti incised with foliate designs and flaring at the sides, richly adorned with beaded and floral jewelry with inlays of turquoise, lapis lazuli, and coral.Provenance: Jacques How Asian Art, Brussels, Belgium. A noted German private collection, acquired from the above. The base with an old label from Jacques How Asian Art. Jacques How-Choong has been collecting and dealing in Chinese and Southeast Asian art for many years, specializing in particular in Himalayan art and ritual objects, rare early Buddhist art, focusing on Dali Kingdom sculpture, as well as archaic works of art. Several museums, institutions, dealers, and private collectors are among his clientele. He is a distinguished member of Asian Art in Brussels and also exhibits annually at Parcours des Mondes in Paris.Condition: Good condition with some wear, particularly to gilt, minuscule nicks, minor dents, light scratches. The inlays possibly replaced at different times over many centuries. The figure leaning. The base sealed. The back with a small inlaid bronze plaque of rectangular shape for ritual purpose.Weight: 244.3 gDimensions: Height 11.2 cmWith an old fitted wood stand, possibly zitan, cleverly serving to compensate the leaning posture of the figure. (2)His serene face with heavy-lidded almond-shaped eyes below raised arched brows centered by a rectangular urna, further with a broad nose and full lips forming a subtle smile, the hair piled in a tall chignon topped with a jewel behind the foliate tiara.The presence of the kundika vase crowning the resplendent lotus flower by his left shoulder identifies this idealized young prince as the future Buddha Maitreya. Although equally vital to popular Buddhist practice, standing Maitreya images are relatively rare by comparison to more common bronzes of Avalokiteshvara Padmapani. This most elegant form of a standing bodhisattva maintained its popularity in Nepal until at least the 16th century, being applied to various deities including Manjushri.Auction result comparison: Type: Related Auction: Christie's New York, 13 September 2016, lot 201 Price: USD 23,750 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of a standing tara, Nepal, 14th century Expert remark: Compare the related pose, circular lotus base, and inlaid gemstones. Note the size (13.3 cm).十四世紀尼泊爾罕見彌勒佛鎏金銅像彌勒佛立於圓形蓮座上，邊緣有連珠紋，左手舉於胸前，手持一枝盛開於肩部的蓮花，上有一個淨瓶，右手垂下，同樣手持一朵蓮花。身穿飾有葉狀圖案並在兩側張開的法衣，鑲嵌有綠松石、青金石和珊瑚。面容平靜安詳，雙眼微垂，眉毛之間有白毫，闊鼻，嘴唇豐滿，頭髮盤成一個高高的髮髻，在葉狀頭飾後面鑲嵌著一顆寶石。來源：比利時布魯塞爾Jacques How Asian Art藝廊；知名德國私人收藏。購於上述藝廊。底部有 Jacques How Asian Art藝廊標籤。Jacques How-Choong多年來一直從事中國和東南亞藝術品的收藏和交易，尤其擅長喜馬拉雅藝術品和法器、稀有的早期佛教藝術品，專注於大理王國雕塑，以及古代藝術品。一些博物館、機構、經銷商和私人收藏。家都是他的客戶。他是布魯塞爾亞洲藝術協會的傑出成員，並且每年都會在巴黎的 Parcours des Mondes 舉辦展覽。 品相：狀況良好，有一些磨損，特別是鍍金方面，有微小的劃痕和輕微的凹痕。鑲嵌物可能在過去更換過。造像傾斜。 底座密封。背面鑲嵌一小塊長方形青銅牌，供祭祀之用。 重量：244.3 克 尺寸：高 11.2 厘米 相配木底座，或爲紫檀，巧妙地彌補了人物的傾斜姿勢。(2) 造像左肩上的蓮花淨瓶，表明他就是未來的彌勒佛。儘管對流行的佛教修行同樣重要，但與更常見的觀世音蓮花生青銅造像相比，站立的彌勒佛像相對較少。此類優雅立像造型至少在十六世紀之前在尼泊爾一直很受歡迎，被應用於包括文殊菩薩在內的各種菩薩。
A LARGE LINGBI SCHOLAR'S ROCK, GONGSHI, QING DYNASTY OR EARLIERChina, 1644-1912 or earlier. The organic form well-balanced, with furrows and hollows as well as two large central perforations. The stone of a deep gray color overall and with distinct calcified veining.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who 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: Overall good condition. The stone with minor dents, losses and cracks, as well as natural fissures and inclusions. Extensive wear, naturally grown patina overall. The wood base with expected minor age cracks, small chips, and light surface scratches.Dimensions: Height circa 75 cm (excl. stand), circa 84 cm (incl. stand)With an old fitted wood stand supported on four short feet and carved with a naturalistic surface on top imitating rockwork. (2) Auction result comparison:Type: RelatedAuction: Christie's New York, 15 September 2011, lot 1301Price: USD 35,000 or approx. EUR 44,500 converted and adjusted for inflation at the time of writingDescription: An unusual large black lingbi rock in the form of a standing phoenixExpert remark: Compare the related form and color of the stone. Note the size (97 cm).清代或更早大型靈璧供石中國，1644-1912年或更早。供石美感平衡，有溝槽和凹陷以及兩個大的穿孔。整體呈深灰色，具有明顯的鈣化脈絡。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：總體狀況良好，有輕微凹陷、缺損和裂紋，以及天然裂隙，大面積磨損，整體自然包漿。木質底座有輕微老化裂縫、小缺損和輕微的表面劃痕。 尺寸：高約75 厘米 (不含底座)，約 84 厘米 (含底座) 一個木底座，四短足，並模仿岩石的頂部，表面雕刻自然。(2) 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2011年9月15日，lot 1301 價格：USD 35,000（相當於今日EUR 44,500） 描述：靈碧石 專家評論：比較相近的外形和石色。請注意尺寸 (97 厘米)。
AN APPLE-GREEN JADEITE SNUFF BOTTLE, 1718-1860China. Well hollowed, of flattened globular form with tapering foot, surmounted by a straight cylindrical neck with concave top. The translucent stone dramatically patterned with areas of icy white, opaque green, and brilliant emerald-green tone.Provenance: Ago von Maltzan, acquired in Beijing between 1912 and 1916, and thence by descent within the same family. A collector's number '18' to the base. Adolf Georg Otto “Ago” von Maltzan, Freiherr zu Wartenberg und Penzlin (1877-1927), was a preeminent German diplomat of the Weimar Republic, who served in Beijing between 1912 and 1916, after posts in Kristiania (1909), St. Petersburg (1911), and Rio de Janeiro (1907). As the Permanent Under-Secretary for Foreign Affairs, he was a signatory of the Treaty of Rapallo (1922) between Germany and Soviet Russia, under which both countries renounced all territorial and financial claims against each other and opened friendly diplomatic relations. From 1924, he served as Ambassador to the United States in Washington, D.C. The Vossische Zeitung, a nationally known Berlin newspaper that represented the interests of the liberal middle class and was generally regarded as Germany's national newspaper of record, described Maltzan as the most competent diplomat that Germany ever had. Condition: Very good condition with minor nibbling. The stone with natural fissures, some of which may have developed into thin hairline cracks over time. The stopper with a smoothened chip, the gilt-copper collar with light wear, small nicks, and minuscule losses.Stopper: Tourmaline with gilt-copper collar, good tortoiseshell spoonWeight: 66.9 gDimensions: Height including stopper 53 mm. Diameter neck 17 mm and mouth 6 mm.Jadeite comes from a remote part of Burma and first became a readily available material probably between 1784 and 1800 when relations between Burma and China improved with the opening up of regular trade. It is likely that bottles such as this example represent the earliest popular use of jadeite in China. With the imperially inspired snuff-bottle craze at its height during the late eighteenth century, there can be no question that a striking new material arriving on the scene would promptly be carved into bottles. Porcelain bottles made to imitate jadeite during the Daoguang period attest to its well-established popularity.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 27 September 2022, lot 780Price: USD 8,820 or approx. EUR 8,200 converted and adjusted for inflation at the time of writingDescription: A jadeite snuff bottle, Qing dynasty, 19th centuryExpert remark: Compare the related form, color, and texture of the stone, and size (54 mm).Auction result comparison:Type: RelatedAuction: Christie's New York, 19 September 2013, lot 1240Price: USD 10,000 or approx. EUR 11,500 converted and adjusted for inflation at the time of writingDescription: Two mottled jadeite snuff bottles, 1780-1900Expert remark: Compare the related form, color, and texture of the stone. Note the size (57 mm). Note the lot comprises two snuff bottles.1718-1860翡翠素面鼻煙壺中國，掏膛良好，呈扁平球形，足部逐漸下斂，直圓柱形頸，頂部呈凹形。 半透明翡翠，打磨細緻柔滑，通體透亮，色澤嬌翠，顏色鮮豔活潑。來源： Ago von Maltzan1912年至1916年間購於北京，在同一家族保存，底部可見收藏編號“18”。Adolf Georg Otto „Ago“ von Maltzan，Freiherr zu Wartenberg und Penzlin (1877-1927) 是魏瑪共和國傑出的德國外交官，1912 年至 1916 年在北京任職，此前曾在克里斯蒂安尼亞（1909 年）、聖彼得堡（1911 年）和里約熱內盧（ 1907 年）任職。作為外交部常任副國務卿，他是德國和蘇俄之間拉帕洛條約（1922 年）的簽署人。根據該條約，兩國放棄了對彼此的所有領土和金融要求，建立了友好的外交關係。從 1924 年起，他擔任駐華盛頓特區的駐美大使。代表自由派中產階級利益的知名柏林報紙 Vossische Zeitung ，稱 Maltzan 是德國曾經有過的最能幹的外交官。 品相：狀況極好，有輕微磕痕。具有天然裂隙的翡翠，其中一些可能隨著時間的推移發展成細小的裂縫。壺蓋上有一個光滑的缺口，鎏金銅托片有輕微磨損和極小的損失。 壺蓋：碧璽，鎏金銅托片，玳瑁小勺 重量：66.9 克 尺寸：含壺蓋高53 毫米，頸部直徑17 毫米與壺蓋直徑6 毫米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2022年9月27日，lot 780 價格：USD 8,820（相當於今日EUR 8,200） 描述：清十九世紀翠玉鼻煙壺 專家評論：比較相近的外形、顏色、石頭的質地和尺寸 (54 毫米)。
AN AMETHYST 'IMMORTALS' SNUFF BOTTLE, 1750-1850China. Well hollowed, of tapering ovoid form, supported on an oval foot with recessed base, surmounted by a waisted neck with straight rim. One side carved with Shoulao holding his staff in his right hand and a peach in his left, standing below a pine tree, the reverse depicting Liu Hai holding cash coins and looking down at the three-legged toad, framed by a plantain.Provenance: From a private collection in Pennsylvania, USA. The base with an old label, 'H 2081 90.00'. Condition: Good condition, a chip to the upper rim, few small nibbles here and there.Stopper: Glass in imitation of jadeiteWeight: 58.7 gDimensions: Height including stopper 71 mm. Diameter neck 12 mm and mouth 6 mm.The transparent stone is of an attractive and intense violet tone with contrasting light and deep violet areas interspersed with dark specks, the lighter areas skillfully utilized by the lapidary to depict Liu Hai and the three-legged toad.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 14 September 2010, lot 161Price: USD 8,125 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: An amethyst snuff bottleExpert remark: Compare the closely related color of the stone, motif, and related form. Note the size (63 mm).1750-1850年紫晶《壽老劉海》鼻煙壺中國。掏膛良好，直頸，呈橢圓形，並橢圓形圈足，一面雕刻松下壽老，一手執杖，一手持桃；另一面可見劉海戯金蟾。 來源：美國賓夕法尼亞私人收藏，底部可見老標籤 'H 2081 90.00'。 品相：狀況良好，上緣有缺口，局部有一些小磕損。 壺蓋：仿翡翠玻璃 重量：58.7 克 尺寸：含蓋高71 毫米，頸部直徑12 毫米，壺口直徑6 毫米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2010年9月14日，lot 161 價格：USD 8,125（相當於今日EUR 10,500） 描述：紫水晶鼻煙壺 專家評論：比較非常相近水晶顏色、主題和相近的外形。請注意尺寸 (63 毫米)。
A LARGE PARCEL-GILT IRON VAJRA, TIBET, 12TH - 13TH CENTURYThe eight-pronged vajra with a central knob of compressed globular form, flanked to each side by four stylized beast masks, the recessed geometric decorations covered with gilt lacquer, a loose ring attached to the interior central pole to either end of the vajra, the prongs terminating in pointed finials. Provenance: British trade. Condition: Very good condition with expected wear from centuries of handling and worship, minor nicks and dents here and there, some casting flaws, light scratches.Weight: 666.9 g Dimensions: Length 25.4 cmThe vajra, a symbol of indestructibility and power, is one of the primary ritual symbols in Tibetan Buddhism. Derived from Sanskrit and translating to both thunderbolt and diamond, the vajra consists of two sets of prongs from which lotus petals emanate, flanking a central sphere. Often used in combination with a bell, which represents feminine wisdom, the vajra symbolizes the masculine attribute of skillful means or compassion.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 19 March 2014, lot 58Price: USD 52,500 or approx. EUR 62,500 converted and adjusted for inflation at the time of writingDescription: An Iron Vajra with Gold InlayExpert remark: Compare the related form, parcel gilt decoration, and size (25.4 cm)Auction result comparison:Type: RelatedAuction: Sotheby's New York, 20 March 2013, lot 220Price: USD 25,000 or approx. EUR 30,000 converted and adjusted for inflation at the time of writingDescription: An Iron VajraExpert remark: Compare the related form and size (25.7 cm). Note the lack of gilt.十二至十三世紀西藏大型局部鎏金鐵金剛杵九股金剛杵，雙八字形，弧線流暢，八楞菱形中股，摩羯首銜之，兩側各有一個蓮臺，一個鬆動的環連接在金剛杵兩端的內部中股上。 來源：英國古玩交易。 品相：狀況極好，有磨損和小刻痕和凹痕，一些鑄造缺陷、輕微的劃痕。 重量：666.9 克 尺寸：長 25.4 厘米 金剛杵是堅不可摧和力量的象徵，是藏傳佛教的主要法器之一。金剛杵源自梵語，意為閃電和鑽石，由兩組叉子組成，蓮花瓣從叉子中散發出來，位於中央球體的兩側。金剛杵經常與代表女性智慧的金剛鈴組合使用，象徵著善巧方便或慈悲的男性屬性。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2014年3月19日，lot 58 價格：USD 52,500（相當於今日EUR 62,500） 描述：錯金鐵金剛杵 專家評論：比較相近的外形、鎏金裝飾和尺寸(25.4 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2013年3月20日，lot 220 價格：USD 25,000（相當於今日EUR 30,000） 描述：鐵金剛杵 專家評論：比較相近的外形和尺寸(25.7 厘米)。請注意沒有鎏金。
A THREE-COLOR LACQUER 'CHUN' SPRING BOX AND COVER, QIANLONG PERIODChina, 1736-1795. The top of the cover with a circular panel that is deeply carved through several layers of cinnabar, orange and black lacquer on the diapered ground with a bowl of precious objects radiating rays illuminating the large character Chun (Spring) centered with a roundel enclosing Shoulao flanked by two boy attendants, all enclosed by a key-fret border. The rounded sides of the box and cover are carved with further key-fret designs as well as large floral blossoms alternating with shaped panels enclosing flowers and rockwork, the foot with a key-fret band. The interior and base are lacquered black. Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years. The base with an old Christie's label, '2554', a lacquered inventory number '214.14.QT', and an old label, 'Antique cinnabar cared [sic] lacquer treasure box. 18th century. Qing dynasty'. Condition: Good condition with expected old wear from centuries of handling, natural age cracks, small nicks and light scratches, few losses, minor soiling.Weight: 1,372 g Dimensions: Diameter 25.5 cmThe form and design of the chun-character lacquer boxes follows a Jiajing period prototype. Boxes from this group were so admired by the Qianlong Emperor that he ordered a number of copies during his reign, and they were frequently used to hold food presented as a ceremonial gift at the lunar new year or for birthdays.The motifs decorating this box and others like it are all very auspicious. The character Chun (Spring) on the cover is also a metaphor for youth. Combined with the overlaying roundel of Shoulao, the God of Longevity, the box would have represented wishes for eternal youth.Literature comparison: Qianlong period examples, such as the present lot, are extant in the Imperial collections in Beijing and Taipei: see the example now in the National Palace Museum, Taipei, image number K1H000047N000000000PAF, illustrated in Special Exhibition of Palace Lacquer Objects, Taipei, 1981, catalogue no. 67, and in the Palace Museum, Beijing, illustrated in Lacquer, The Complete Collection of the Treasures of the Palace Museum, vol. 8, 1999, pl. 172. Compare another Qianlong period example, 52.7 cm diameter, from the Avery Brundage Collection, in the Asian Art Museum of San Francisco, object number B60M317.a-.b, illustrated by Sir Harry Garner in Chinese Lacquer, London, 1979, pl. 90.Auction result comparison: Type: Closely related Auction: Christie's London, 10 November 2015, lot 175 Price: GBP 68,500 or approx. EUR 99,500 converted and adjusted for inflation at the time of writing Description: A carved polychrome lacquer 'spring' circular box and cover, Qianlong period Expert remark: Compare the closely related form, motif, and three-color lacquer decoration. Note the slightly larger size (30.8 cm).Auction result comparison: Type: Closely related Auction: Bonhams London, 8 November 2012, lot 27 Price: GBP 97,250 or approx. EUR 148,000 converted and adjusted for inflation at the time of writing Description: An imperial carved three-color lacquer 'chun' box and cover, Qianlong Expert remark: Compare the closely related form, motif, and three-color lacquer decoration. Note the slightly larger size (31.1 cm).乾隆時期剔彩春壽蓋盒中國，1736-1795年。寶盒呈圓形，子母口，矮壁淺圈足，底部及盒內髹黑漆。外壁通體剔彩髹朱、黃、黑三色漆，以黃、黑漆作錦地，朱漆“春”為主題紋飾。蓋面圓形開光，開光內雕聚寶盆，盆內滿盛珍寶，映射出萬道霞光。上托“春”字，春字中心圓形開光，居中壽星端坐於青松下。 “春”字兩側各雕蕉葉紋，四周襯托彩雲。盒壁上下各有四組開光，內雕纏枝花卉、蝙蝠與壽字，有“福壽”之意。開光外纏枝蓮紋。 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。底座有佳士得拍賣標籤上，注明 '2554'，一個收藏編號 '214.14.QT'，一個老標籤 'Antique cinnabar cared [sic] lacquer treasure box. 18th century. Qing dynasty'。 品相：品相良好，使用痕跡，自然老化裂紋、小刻痕、淺劃痕和輕微缺損、輕微污漬。 重量：1,372 克 尺寸：直徑 25.5 厘米
A SMALL JUNYAO PURPLE-SPLASHED 'LOTUS BUD' WATERPOT, NORTHERN SONG OR JIN DYNASTYChina, 960-1234. The broad sides narrowing towards the mouth from a short foot, all covered in a thick, crackled, and bubble-suffused sky-blue glaze with light lavender streaks, thinning to mushroom around the rim, continuing over the mouth into the interior, the exterior dashed with a bold splash of purple, the glaze falling short above the foot revealing the body burnt to orange in the firing.Provenance: From a Swedish private collection. Condition: Excellent condition with only minor old wear and expected firing flaws including kiln grit and pottery lines.Weight: 209.2 g Dimensions: Height 8.1 cmAuction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 1 December 2017, lot 536Price: HKD 250,000 or approx. EUR 33,500 converted and adjusted for inflation at the time of writingDescription: A Junyao purple-splashed 'lotus bud' waterpot, Northern Song - Jin dynastyExpert remark: Compare the closely related glaze, lavender splash, and small size (7.5 cm). Note the slightly wider mouth.北宋或金代小型鈞窯紫斑蓮形筆洗中國，960-1234年。小口，鼓腹，厚圈足，整體如蓮花花苞。筆洗覆蓋著一層厚厚的、開片並充滿氣泡的天藍色釉，帶有淡紫色條紋，在邊緣周圍變薄，從口部一直延伸到筆洗內；外部可見紫色斑紋，圈足露胎，成橙色。 來源：瑞典私人收藏。 品相：狀況極佳，只有輕微的磨損和燒製缺陷，如窯砂和陶紋。 重量：209.2 克 尺寸：高8.1 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2017年12月1日，lot 536 價格：HKD 250,000（相當於今日EUR 33,500） 描述：北宋至金鈞窰紫斑蓮苞式水盂 專家評論：比較非常相近的釉面、淡紫色斑紋和尺寸較小 (7.5 厘米)。請注意此水盂的瓶口稍大。
AN IMPORTANT BUDDHIST VOTIVE PAINTING DEPICTING BUDDHA, EARLY MING DYNASTY, 1400-1450Published: Roderick Whitfield et al., Classical Chinese Art - Selected Catalogue of the Paintings and Calligraphy, Wou Lien-Pai Museum, Hong Kong, 2011, pages 16-17, elaborately discussed in Roderick Whitfield's essay “Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art”, and page 109, no. 6 (note that the size is erroneously noted as 136.5 x 68 cm).Expert's note: According to Roderick Whitfield in his essay “Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art”, written in 2008, the present lot exhibits numerous features which are typical of Buddhist paintings on silk dating from the first half of the fifteenth century, some originating from the capital and others from Shanxi province. Roderick Whitfield (b. 1937) is a British scholar and art historian who was the Percival David Professor at the School of Oriental and African Studies of the University of London, as well as Assistant Keeper at the British Museum between 1968 and 1984 and head of the Percival David Foundation of Chinese Art between 1984 and 1993.China, first half of the 15th century. Ink and watercolors on silk. Depicting the Buddha seated on a double lotus over an elaborate hexagonal tiered throne supported by two striding guardian figures centered by a lion, his left hand holding a small flask and his right held above his lap, wearing loose-fitting robes and adorned with jewelry, backed by a circular halo of multi-colored rays of light. His serene face with heavy-lidded eyes and pursed lips, his blue hair arranged in spiral curls around the central ushnisha. Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. P.38. The frame with an old label, 'KW P38', as well as further old labels to the back. 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: Extensive wear, creasing, losses, tears, and soiling. Minor old touch-ups here and there. The wood frame with wear, chips, and losses.Dimensions: Image size 148 x 70 cm, size incl. frame 157.5 x 80 cmWith a finely carved old gilt wood frame. (2)The present image is a symbolic representation placed on a wall during Buddhist rituals. From the Buddhist perspective, paintings and calligraphy belong to Silpakarma-vidya, one of the five types of knowledge and wisdom. Over time monks and laymen painted and practiced calligraphy and Buddhist-themed works became more sophisticated during the Song and Yuan dynasties. By the early Ming dynasty, votive paintings, such as the present example, were used within private chapels and side pavilions of major temple monasteries.As explained in Caroline Gyss-Vermandes' pioneering article about the sets of Shuilu (Water and Land) paintings obtained by Paul Pelliot from “a library in the Imperial Palace” and now in the Musee Guimet (Demons et Merveilles: vision de la nature dans une peinture liturgique du XVe siecle, Arts Asiatiques 43, 1988, pages 106-122), such paintings were not objects of worship, but rather illustrations of the pantheon invoked in the Water and Land rituals, hung up in a prescribed order on the left and right walls of the sanctuary, while the main deities, in a larger size, were hung slightly higher on the north wall. Literature comparison: Compare a related painting of the Medicine Buddha, dated 1477, in the University of Oregon Museum of Art, illustrated in Marsha Weidner, Latter Days of the Law: Images of Chinese Buddhism 850-1850, cat. no. 5, pl. 3.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 17 March 2016, 1110 Price: USD 112,500 or approx. EUR 130,000 converted and adjusted for inflation at the time of writing Description: A Buddhist Figure, ink and color on silk, anonymousExpert remark: Compare the closely related manner of painting. Note the smaller size (95.7 x 50.4 cm).1400-1500年明初重要還願佛陀坐蓮像中國，十五世紀上半葉，絹本水墨設色。出版：Roderick Whitfield et al.，《Classical Chinese Art - Selected Catalogue of the Paintings and Calligraphy》，吳蓮伯美術館，香港，2011年，頁16-17，Roderick Whitfield的文章 “Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art”，頁109，圖 6 (請注意，錯誤尺寸136.5 x 68 厘米)。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 P.38。框上和背面有老標籤。 品相：大量磨損、摺痕、缺損、撕裂和汙跡，多處輕微的小修補，木框有磨損、刻痕和缺損。 尺寸：畫面148 x 70 厘米，含框 157.5 x 80 厘米 描金雕刻木框 (2)
A FAMILLE ROSE 'DOCTOR'S VISIT' DISH, BY CORNELIUS PRONK, EARLY QIANLONG PERIODChina, circa 1738-1740. The shallow dish painted in gilt and bright enamels after a design by Cornelius Pronk entitled 'The Doctor's Visit to the Emperor', the central roundel with a scene of four Chinese noblemen conversing in a fenced garden below a blossoming tree, a large Ming dish on the table before them and a peacock at their side, enclosed by a gilt border with geometrical design, the rim with fish encircled by scalloped green bands, interspersed with birds standing in grasses and diaper pattern, the rim lined in gilt.Provenance: S. Marchant & Son, London, 1999. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from S. Marchant & Son, London, dated 10 June 1999, describing the piece as a famille rose plate painted after a design by Cornelius Pronk with the scene of the 'doctor's visit', dating it to the Yonzheng period, 1723-1735, and stating a purchase price of GBP 6,500 or approx. EUR 15,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. Label 'Marchant London Yongzheng 1723-1735' to base. S. Marchant & Son was founded in 1925 by Samuel Sydney Marchant (1897-1975). It held a large stock of Asian art, but also dealt in arms and armor, paintings, and continental porcelain. In 1953, Richard Marchant joined his father and from that time onwards the partnership specialized in Asian art. Nowadays the company's focus is on Imperial Chinese Ming and Qing porcelains, jades, cloisonne, pottery, and works of art. Condition: Very good condition, the enamels still fresh and crisp, minor wear to the gilt and enamels mostly along the rim, and manufacturing flaws including pitting, dark spots, glaze recesses, and light warping.Weight: 522 g Dimensions: Diameter 25.8 cmThe scene, entitled 'The Doctors' or 'The Doctors Visiting the Emperor', was designed by Pronk in 1735 and sent to China in 1736, arriving only at the end of 1737. The finished products were sent back to the Netherlands at the end of 1738 and in 1739. A second, simpler version of the design with only three figures was sent to China in 1739. This scene was originally designed after a motif in traditional Chinese iconography, illustrating the legend of the woodcutter Wang Shi who encountered three Daoist gods playing chess in a cave.Only one of Cornelis Pronk's four official commissions for the Dutch East India Co., an original watercolor design, can still be seen in the Rijksmuseum, Amsterdam. While the experiment in commissioned designs was quickly discontinued, dinner sets, tea pieces and large jars with covers were made with the 'The Doctors' motif. See C.J.A. Joerg, Porcelain and the Dutch China Trade, pp. 99-101, and Howard & Ayers, op. cit., pp. 193-194.Literature comparison:Compare a near identical Pronk 'Doctor's visit' dish, ca. 1738, in the collection of the Victoria and Albert Museum, accession number C.43-1912.Auction result comparison:Type: Near identicalAuction: Christie's New York, 17 January 2019, lot 541Price: USD 6,875 or approx. EUR 7,700 converted and adjusted for inflation at the time of writingDescription: A famille rose 'Pronk doctors' large dish, Qianlong period, circa 1738-1740Expert remark: Compare the near identical design, crisp enamels, and gilt embellishments. Note the size (32.1 cm).乾隆早期粉彩眾博士圖中國，約1738-1740年。折沿，淺盤，圈足。盤面正中開光粉彩描繪由荷蘭的畫家考納利·普朗克（Cornelis Pronk）設計的《眾博士圖》。四位博士，其中三位圍坐在放有青花瓷盤的桌子周圍，另外一位博士站在他們身後高談闊論。畫面左邊圍欄上站立著一隻孔雀，右側的樹木枝頭上棲息著一隻鳥。折沿繪有水禽一組，其間飾以菱形開光，內各飾一條顏色各異的魚。盤邊裝飾六片黃色花口形菱花錦地紋。 來源：倫敦S. Marchant & Son藝廊，1999年；Richard 與 Maxine Markell，購於上述藝廊。隨附一份S. Marchant & Son 1999年6月10日出具的原始發票複印件，上面描繪此盤粉彩描繪仿考納利·普朗克（Cornelis Pronk）設計的《眾博士圖》，為雍正時期，1723-1735年，售價GBP 6,500 ，相當於EUR 15,500 (根據現今通貨膨脹率)。底部可見標籤 'Marchant London Yongzheng 1723-1735' 。S. Marchant & Son藝廊由 Samuel Sydney Marchant(1897-1975) 與1925年成立。該藝廊擁有大量亞洲藝術品，同時也經營武器和盔甲、繪畫和瓷器。1953 年，Richard Marchant加入了他父親藝廊行列，從那時起，藝廊專門從事亞洲藝術。 如今，該藝廊的重點是中國明清宮廷瓷器、玉器、景泰藍、陶器和工藝品。品相：狀況極好，琺瑯仍然鮮艷，邊緣的描金和琺瑯有輕微磨損，製造缺陷包括點蝕、黑點、釉面凹陷和輕微翹曲。 重量：522 克 尺寸：直徑 25.8 厘米
A LARGE INLAID LACQUER 'HUNDRED BIRDS WORSHIP THE PHOENIX' ZITAN-FRAMED HANGING PANEL, QIANLONG PERIODChina, 1736-1795. Masterfully inlaid on a misty sky-blue lacquer ground with 11 different materials: Spinach green jade, lapis lazuli, malachite, carnelian, turquoise, soapstone, coral, wood, stained bone and tortoise shell, altogether depicting a phoenix perched under a wutong tree, surrounded and worshipped by a myriad of birds including a peacock, magpies, cranes, pheasants, and mandarin ducks, some perched on the tree, some in flight and others resting on rockwork, amid peonies, lingzhi, and bamboo. Provenance: UK trade. Formerly in a European private collection. Condition: Displaying remarkably well, with no restoration or replacement work worth mentioning, making this one of the best-preserved wall panels from the Qianlong period ever to be recorded. Some old wear, expected age cracks to lacquer with associated losses, only two small pieces (!) of the many hundred inlays lost. Light scratches. The frame with few minuscule chips, expected minor age cracks with an associated small touchup to the upper right corner. The suspension is made from gilt-bronze and is original to frame and panel.Dimensions: Panel size 67.5 x 100.5 cm, Size incl. frame 76 x 109 cmWith a well-carved zitan frame mounted with a gilt-bronze suspension in the form of finely incised lingzhi-shaped clouds.Paintings and embroideries with phoenixes surrounded by various birds, including cranes, mandarin ducks, and pheasants, are a common motif in Chinese culture. Phoenixes are regarded as the king of the birds, as they represent power, virtue, and grace. This large and impressive inlaid panel is an outstanding example and possibly of imperial origin. Literature comparison: A related example of an inlaid screen was exhibited in Tributes from Guangdong to the Qing Court, Chinese University of Hong Kong Art Gallery, 28 February to 12 April 1987, no. 86.Auction result comparison:Type: Closely relatedAuction: Christie's 11 July 2006, lot 73Price: GBP 131,200 or approx. EUR 261,000 converted and adjusted for inflation at the time of writingDescription: An ivory and hardstone inlaid zitan hanging panel, Qianlong (1736-95)Expert remark: Compare the closely related motif, material, frame, and size (81 x 118 cm).Auction result comparison:Type: RelatedAuction: Bonhams London, 7 November 2013, lot 339Price: GBP 122,500 or approx. EUR 193,000 converted and adjusted for inflation at the time of writingDescription: A rare pair of jade and hardstone-inlaid wall screens, 18th/19th centuryExpert remark: Compare the related motif, material, and size (82.5 x 111 cm). Note that this is a pair.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.乾隆時期大型《百鳥朝鳳》鑲寳漆屏，紫檀木框中國，1736-1795年。以十一種不同材質巧妙鑲嵌在天藍色地漆面上：碧玉、青金石、孔雀石、紅玉髓、綠松石、皂石、珊瑚、木頭、彩色骨質、玳瑁，共同描繪了一隻鳳凰棲息在梧桐樹上，在牡丹、靈芝和竹子之間，孔雀、喜鵲、鶴、雉鷄和鴛鴦等無數鳥類圍繞，有的棲息在樹上，有的飛翔，有的立在岩石上。 來源：英國古玩交易，之前來自一個歐洲私人收藏。 品相：品相極佳，無顯著修復或更換，是有史以來保存最完好的乾隆時期掛屏之一。一些舊磨損，兩塊鑲嵌中丟失。 輕微劃痕。框架輕微缺損，右上角有小修。原裝懸扣由鎏金青銅製成。 尺寸：掛屏67.5 x 100.5 厘米，總 76 x 109 厘米 紫檀木框，銅鎏金靈芝形金屬掛扣。 《百鳥朝鳳》這個題材在繪畫和刺繡中經常出現。鳳凰被視為百鳥之王，至高至上，美好吉祥。這塊巨大且令人印象深刻的掛屏是一個傑出的例子，可能是御製。 文獻比較： 一件相近鑲嵌的屏 ，曾展於《Tributes from Guangdong to the Qing Court》，香港中文大學 中國文化研究所文物館，1987年2月28日至4月12日，編號86。 拍賣結果比較： 形制：非常相近 拍賣：佳士得，2006年7月11日，lot 73 價格：GBP 131,200（相當於今日EUR 261,000） 描述：乾隆硬石象牙紫檀木框掛屏 專家評論：比較非常相近的主題、材料、木框和尺寸(81 x 118 厘米)。
A PAIR OF COPPER REPOUSSE FIGURES OF DEER, TIBET, 18TH-19TH CENTURYThe deer, one male and female, with their attentive demeanor, symbolize the audience of Shakyamuni Buddha's first teaching at the deer park of Sarnath after attaining enlightenment. He preached the eight-fold path towards liberation from the suffering of unenlightened life. The deer would have flanked an eight-spoked wheel of dharma, symbolizing the Buddhist teaching or 'turning of the wheel', and are generally placed above the front gates of Buddhist monasteries, allowing for the path toward liberation and happiness to progress.Each modeled in a recumbent pose atop an incised lotus base, the legs tucked underneath the body, the face with an alert expression marked by slightly raised heads and pricked ears, one with a short single horn with rounded tip. The faces well detailed and picked out in red, black, pink, and green pigments. (2)Provenance: Collection de Monsieur E., a private collection of Tibetan bronzes in France, and thence by descent. Condition: Very good condition with minor old wear, few nicks, small dents, light scratches, few minuscule cracks, and remnants of lacquer. Ancient pigments. Fine, naturally grown patina overall.Weight: 641.8 g and 637.1 g Dimensions: Height 19.2 cm and 19.7 cmAuction result comparison:Type: RelatedAuction: Christie's New York, 24 September 2020, lot 735Price: USD 21,250 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: A pair of bronze deer, China or Tibet, 19th centuryExpert remark: Note the significantly larger size (36.2 cm)十八至十九世紀一對西藏錘鍱銅鹿臥鹿臥於蓮花座上，雙腿收於身下，面部神情警惕，頭微揚，雙耳豎立，尖端圓潤。細節豐富，並以紅色、黑色、和綠色顏料勾勒。(2)鹿一公一母，神情專注，象徵著釋迦牟尼佛得道後在鹿野苑第一次開示的聽眾。他宣揚八正道，以從未開悟的生活痛苦中解脫出來。鹿的兩側是八輻法輪，象徵著佛教教義或“轉法輪”，通常被放置在佛教寺院的正門上方，讓通往解脫和幸福的道路得以推進。 來源：Monsieur E.私人收藏，法國一個西藏銅器私人收藏，保存至今。 品相：狀況極好，有輕微磨損、少許刻痕、小凹痕、輕微劃痕、少許細小裂紋、殘漆。整體呈細膩自然的包漿。 重量：分別641.8克與637.1克 尺寸：分別高19.2 厘米與19.7 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2020年9月24日，lot 735 價格：USD 21,250（相當於今日EUR 22,000） 描述：一對十九世紀西藏或中國銅鹿 專家評論：請注意明顯尺寸較大(36.2 厘米)。
A LURISTAN BRONZE AXE HEAD, IRAN, CIRCA 1350-1000 BCThe axe with a rimmed, fan-shaped blade. The cylindrical socket extending into four molds terminating in spikes, with bands crossing over and merging above the blade. Overall with a rich, naturally grown, solid patina with distinct areas of encrustations.Provenance: Galerie Persepolis, Brussels, exhibited from 28 October to 13 November 1971. Collection Monsieur H., Brussels, acquired from the above. Collection Madame D.T., acquired from the above. Condition: Good condition, commensurate with age. Extensive wear, few nicks, light scratches, minor losses, signs of weathering and corrosion, and encrustations.Weight: 385.5 g (excl. stand) Dimensions: Length 23.5 cmWith a modern metal stand. (2)Luristan bronzes are small cast and decorated objects from the Early Iron Age (first millennium BC) which have been found in large numbers in Lorestan province and Kermanshah in western Iran. They include a great number of ornaments, tools, weapons, horse fittings, and a smaller number of vessels including situlae and are characterized by a wide range of idiosyncratic forms and a highly stylized conception of human and animal representation. Those from recorded excavations were generally found in burials. The ethnicity of the people who created them remains unclear, though they may well have been Iranian, possibly related to the modern Lur people who have given their name to the area. Luristan bronze objects came to the notice of the world art market from the late 1920s onwards. They were excavated in considerable quantities by local people and are found today in many of the world's most important museums.Literature comparison:Compare a related bronze axe, 22.5 cm long, dated circa 1350-1000 BC, in the Los Angeles County Museum of Art, accession number M.76.97.457. Compare a related bronze axe, 25.3 cm long, dated to the 9th century BC, in the British Museum, registration number 1973,1220.17. Compare a related bronze axe, 19.3 cm long, 1000-800 BC, in the Louvre, inventory number AO 20399. Compare a related bronze axe, illustrated in Alexis Cabrol, Bronzes prehistoriques de Perse. Bulletin de la Societe prehistorique de France, 1932, vol. 29, no. 9, pp. 429-432.Auction result comparison:Type: RelatedAuction: Christie's New York, 12 April 2022, lot 53Price: USD 21,420 or approx. EUR 19,500 converted and adjusted for inflation at the time of writingDescription: A Luristan bronze axe head surmounted by an ibex, circa 1200-900 BCExpert remark: Note the similar size (25.4 cm)
A FAMILLE ROSE 'LANDSCAPE' PLAQUE, LATE QING DYNASTY TO REPUBLIC PERIODChina, 1850-1949. Of rectangular form, painted in shades of green, blue, and salmon-pink, depicting an idyllic mountain and river landscape with Zhang Guolao riding his donkey along a path towards pavilions on a cliff with pines, bamboo, and prunus issuing from rockwork, the immortal's attendant walking ahead, an old man standing at the cliff watching the distant fishermen and sailing boats. Provenance: Swiss trade. Condition: Very good condition with minor wear. The frame with few small nicks and light surface scratches.Dimensions: Image size 37 x 24.1 cm, Size incl. frame 59.5 x 47 cmSet within a fine two-color burlwood frame with a brass suspension hook. (2)Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 2 June 2016, lot 881Price: HKD 75,000 or approx. EUR 10,000 converted and adjusted for inflation at the time of writingDescription: A famille-rose 'landscape' plaque, Qing dynasty, 19th centuryExpert remark: Compare the related motif, enamels, colors, and size (37.3 x 28.8 cm, the plaque)清末民初粉彩《山水》瓷板中國，1850-1949年。長方形，粉彩描繪山水景觀。山清水秀，張果老騎著毛驢，往崖上的亭子走去，岩見可見松梅，侍從走在前面；一個老人站在懸崖上望著遠方的漁民和帆船。 來源：瑞士古玩交易。 品相：狀況極好，有輕微磨損。框架有少量刻痕和小劃痕。 尺寸：畫面37 x 24.1 釐米, 總59.5 x 47 釐米 精美木框，黃銅吊鉤。(2) 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2016年6月2日，lot 881 價格：HKD 75,000（相當於今日EUR 10,000） 描述：清十九世紀粉彩山水圖瓷板 專家評論：比較相近的主題、琺瑯、顏色和尺寸(37.3 x 28.8毫米，含掛版)。
A MASSIVE LOBED 'ELEPHANT' BRONZE VASE, CHINA, 17TH CENTURYElegantly cast with a slender waist, a band of ruyi-shaped clouds at the shoulder and above the foot, flanked by a pair of elephant-head handles, and an integral hexagonal stand supported on ruyi-shaped feet. The base cast with a seal mark.Inscriptions: To the base, 'Yongcunzhai'. Provenance: From a private collection in Westphalia, Germany, acquired before 2007, and thence by descent. Condition: Minor old wear, few small nicks, light scratches, one foot lost, and some casting flaws as expected.Weight: 2,998 g Dimensions: Height 33 cmAuction result comparison:Type: Closely relatedAuction: Sotheby's New York, 21 March 2015, lot 764Price: USD 40,000 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: A bronze lobed 'elephant' vase, 17th centuryExpert remark: Compare the closely related form and decoration. Note the much smaller size (17.3 cm).十七世紀瓜棱形象首耳銅瓶造型優雅，腰身纖細，肩部及足部飾如意雲紋，兩側各飾象首耳一對，六如意形足，底座内留款。 款識：永存齋 來源：德國威斯特法倫私人收藏，購於2007年前，保存至今。 品相：輕微磨損，一些小刻痕、輕微劃痕，一隻腳丟失，以及一些鑄造瑕疵。 重量：2,998 克 尺寸：高33 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2015年3月21日，lot 764 價格：USD 40,000（相當於今日EUR 45,500） 描述：十七世紀銅如意紋象首耳海棠形瓶 專家評論：比較非常相近的外形和裝飾。請注意尺寸小很多(17.3 厘米)。
A VERY LARGE BRONZE OF SHIVA NATARAJA, SOUTH INDIA, 18TH - 19TH CENTURYFinely cast, the eight-armed deity gracefully presented with a raised leg, dancing on a lotus pedestal atop a rectangular plinth, within a flaming aureole, his right foot resting upon the demon Apasmarapurusha, his hands holding various implements including a drum, flame, dagger, disk, and trident. His face neatly incised with almond-shaped eyes, gently arched brows, an urna, and full lips, his hair radiating in serpentine tresses, the head surmounted by a naga headdress.Provenance: From an Austrian private collection. Old trade label to backside.Condition: Very good condition with expected old wear and casting irregularities, small nicks, light scratches, minor dents. Beautiful, naturally grown chocolate-brown patina overall.Dimensions: Height 91 cmShiva Nataraja, Shiva as Lord of the Dance, is considered the creator of the universe and dances the world into existence. At the same time, he is also its destroyer. Much symbolism is attached to this specific form of Shiva. His drum stands for the creation of the world. His open palm protects human beings while his downward stretched hand symbolizes the solace of the world. His other hand holds the fire standing for the dissolution of the world. The dwarf on whom he tramples represents ignorance and the large flaming aureole the cosmos. The goddess Ganga represented in his hair fell from heaven to earth through his hair.Literature comparison:Compare a closely related bronze figure of Shiva Nataraja, 76.2 cm high, dated to the 18th century, in the Brooklyn Museum, accession number 27.959.Auction result comparison: Type: Related Auction: Christie's Paris, 14 December 2016, lot 5 Price: EUR 92,500 or approx. EUR 113,000 adjusted for inflation at the time of writing Description: An important bronze figure of Shiva Nataraja, South India, Nayak period, late 18th century Expert remark: Compare the closely related pose, manner of casting, serpentine hair and naga headdress, flaming aureole, and lotus pedestal. Note the size (106 cm).
AN EXCEEDINGLY RARE PAIR OF INCISED YELLOW-GLAZED 'FLORAL MEDALLION' BOWLS, KANGXI MARKS AND PERIODChina, 1662-1722. Each bowl is incised on the exterior with four floral roundels divided by cloud scrolls above petal lappets around the foot, the interior with another floral medallion in the center enclosed within a double circle, covered inside and out with an egg-yolk yellow glaze, save for white base. Each bowl with an underglaze-blue six-character mark within a double circle da Qing Kangxi nianzhi and of the period. (2)Provenance: The VWS Collection, acquired by the previous owner's father (1890-1977) in China during the 1930s and thence by descent within the family. Each bowl with an old collection label, 'VWS'. One bowl with an old label, '62'. French trade, acquired from the above. The VWS collection tells the extraordinary story of a family fleeing the Tsarist Empire in Russia. Their journey began in 1903 as the Chinese Eastern Railway, the eastern branch of the Trans-Siberian Railway, was completed. Fleeing, like others, a climate of political persecution and anti-Semitism, the family settled in Harbin, the most northerly city in China and started to develop its businesses from 1906 onwards. Like many others, they were attracted to this cosmopolitan place, then a major economic and cultural center in Manchuria, because of its large Jewish community. In Harbin, the father, a cultured, open-minded and multilingual man, felt at home and his early successes in business earned him respect. By 1932, he and his family were forced to flee again, following the Japanese invasion of Manchuria, and found a new home in Shanghai. From there, his businesses took him to Hong Kong, North America, and other Asian countries, where the family would remain for many years. They began collecting art in China during the 1930s and these artworks have remained with the family heirs ever since.Condition: Superb condition with only minor wear and firing irregularities: The first bowl with a faint glaze line to the rim, the second bowl with three faint glaze lines to the rim, all of which are inherent to the manufacture. None of these glaze lines are visible to the naked eye, or even under the strongest blue light. Also, they are not noticeable to the touch.Weight: 162.1 g and 147.6 g Dimensions: Diameter 12 cm (each)Literature comparison: Compare a closely related yellow-glazed incised bowl, 12 cm high, also with a Kangxi mark and of the period, sold at Christie's London, 13 December 1976, lot 55, and illustrated by Regina Krahl, Chinese Ceramics from the Gulexuan Collection, p. 128, no. 97. A bowl of this design from the Elphinstone collection in the Percival David Foundation, London, is listed in the Foundation's Illustrated Catalogue of Ming and Qing Monochrome Wares, London, 1989, no. A599. Another bowl of this design from the Kostolany collection was included in the exhibition Monochrome Porcelain of the Ming and Manchu Dynasties, Oriental Ceramic Society, London, 1948, cat. no. 188.Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 26 November 2014, lot 3291 Price: HKD 325,000 or approx. EUR 46,000 converted and adjusted for inflation at the time of writing Description: An incised yellow-enameled 'floral medallion' bowl, Kangxi six-character mark in underglaze blue within a double circle and of the periodExpert remark: Compare the closely related form, decoration, Kangxi mark, and size (11.8 cm). Note that the lot comprises only one bowl.康熙款及年代一對黃釉暗刻團花碗中國，1662-1722年。碗直口，深腹，圈足略高，器型規整。內外滿施黃釉為地。口沿外及足牆均飾兩道弦紋，外壁以暗刻技法飾四朵團花，間以如意雲紋，近底足刻變體蓮花瓣紋，紋飾簡潔生動。圈足內白地青花雙圈“大清康熙年製”款。 (2) 來源：VWS 收藏，前主人的父親 (1890-1977)於上世紀三十年代在中國購得，保存在同一家族至今。每個碗上都有一個收藏舊標籤 'VWS'；一個碗上有標籤 '62'；法國古玩交易，購於上述收藏。 品相：品相極佳，只有輕微磨損和燒製不規則：一個碗的邊緣有一條微弱的釉裂，第二個碗的邊緣有三條輕微的釉裂，這些釉紋沒有一條是肉眼可見的，甚至在最強烈的藍光下也是如此。此外，它們觸摸起來並不明顯。 重量：分別爲162.1克與147.6克 尺寸：直徑12 厘米 (每個)
A GILT BRONZE FIGURE OF VAIROCANA, TIBET, 15TH-16TH CENTURYSeated in dhyanasana on a waisted base with a beaded band between two rows of lotus lappets, his hands held in dharmachakra mudra, wearing a loose-fitting robe draped over his left shoulder and gathering in folds at the base, his serene face with downcast eyes, raised arched brows centered by a circular urna, and full lips, flanked by long pendulous earlobes, the hair in tight curls with a high ushnisha surmounted by a jewel. The seal plate neatly incised with a double vajra symbol.Provenance: From the private collection of a gentleman in the United Kingdom.Condition: Very good condition with some wear, minor nicks, small dents, light surface scratches. The base sealed.Weight: 779.4 gDimensions: Height 14.5 cmThis finely cast and richly gilt image depicts the nirmankaya form of the tathagata Vairocana. Vairocana is considered a celestial or primordial Buddha and represents the dharma body of the historical Buddha. Vairocana is also seen as the embodiment of the Buddhist concept of sunyata, emptiness, and is one of the Five Dhyani Buddhas, which represent the five qualities of the Buddha. In this respect, Vairocana stands for Buddha's all-encompassing wisdom.Auction result comparison: Type: Related Auction: Christie's New York, 23 March 2022, lot 420 Price: USD 11,340 or approx. EUR 11,000 converted at the time of writing Description: A gilt-bronze figure of a Buddha, Tibet, 15th-16th century Expert remark: Compare the closely related pose, hand gesture, expression, and ushnisha topped by a jewel. Note the extensive wear to gilt, incised hems, and size (17.8 cm). Note also that this bronze was identified as either the nirmankaya form of Vairocana or the historical Buddha Shakyamuni, as the iconography is complicated by the presence of a vajra on the top of the base.Auction result comparison: Type: Related Auction: Bonhams New York, 14 March 2016, lot 30 Price: USD 25,000 or approx. EUR 30,000 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Buddha, Tibet, 15th/16th century Expert remark: Compare the closely related pose, hand gesture, expression, and ushnisha topped by a jewel. Note the tilting head and larger size (20 cm).十五至十六世紀西藏鎏金普賢王如來像普賢結跏趺座坐於雙層蓮座上，蓮座上邊緣飾有珠紋，普賢雙手施法輪印，身穿寬鬆長袍，披在左肩上，底部有褶皺，面容平靜，雙目低垂 ，雙眉之間有白毫，長耳垂，頭髮結螺髻，頭上鑲嵌著一顆寶石。封底刻有雙金剛杵。 來源：英國紳士私人收藏。 品相：狀況極好，有一些磨損、輕微劃痕、小凹痕。底座密封。 重量：779.4 克 尺寸：高 14.5 厘米 這尊鑄造精良、鎏金造像描繪了毘盧遮那如來的化身。毘盧遮那被認為是本初佛，代表第一佛陀的法身。毘盧遮那也是五方佛之一，代表佛的五種功德與佛陀的無所不包的智慧。拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2022年3月23日，lot 420 價格：USD 11,340（相當於今日EUR 11,000） 描述：西藏十五/十六世紀鎏金銅佛坐像 專家評論：比較非常相近的姿勢、手勢、表情、螺髻上鑲有寶石。請注意此像鎏金有大面積磨損、長袍的雕刻，以及尺寸(17.8 厘米)。請注意，此件青銅被認為是毘盧遮那佛的法身佛形式或釋迦摩尼，因為底座頂部有金剛杵，因此圖像變得複雜。 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2016年3月14日，lot 30 價格：USD 25,000（相當於今日EUR 30,000） 描述：西藏十五／十六世紀銅鎏金佛坐像 專家評論：比較非常相近的姿勢、手勢、表情、螺髻上鑲有寶石。請注意頭微傾和尺寸較大(20 厘米)。
AN IRON-RED AND SEPIA 'LANDSCAPE AND POEM' BRUSHPOT, BITONG, GUANGXU MARK AND PERIODChina, 1875-1908. Of rectangular form with straight sides, painted in iron-red to the wider sides with mountain landscapes, one side depicting two pavilions nestled amid rocks and trees, the reverse with a scholar walking along a river towards a pavilion. The shorter sides each with a poem describing mountain landscapes and three seal marks. The recessed base with an iron-red six-character mark da Qing Guangxu nianzhi and of the period.Inscriptions: One poem describes a spring landscape with trees covered in red blossoms amid mountains, green meadows, and travelers, titled 'three poems on spring excursions in Fengle pavilion', written by Ouyang Xiu, a Song period historian and poet. The second poem outlines a scenery with mountains and misty lakes and rivers.Provenance: French trade. Condition: Very good condition with minor wear, light surface scratches, and minuscule nibbling.Weight: 418.2 g Dimensions: Height 12.1 cmOuyang Xiu (1007-1072) was a Chinese historian, calligrapher, epigrapher, essayist, poet, and politician of the Song dynasty. He was a renowned writer among his contemporaries and is considered the central figure of the Eight Masters of the Tang and Song period. He revived the Classical Prose Movement and promoted it in imperial examinations, paving the way for future masters like Su Shi and Su Zhe.光緒款及年代礬紅彩山水詩文筆筒中國，1875-1908年。筆筒造型方正，四方倭角，施釉明潤。外壁兩面分別畫礬紅彩山水，整幅畫面佈局自然，畫面為古木遒勁詩味濃郁又意境深邃的繪畫風格。遠近分明，空間清晰，合乎自然。畫作意境寂寥空闊，思古幽情，亦不乏人欣賞。士大夫在此清幽雅逸之永恆天地閒適自在任意逍遙。題識書法恣意奔放。底足紅彩“大清光緒年製”。 款識：1）帝峰入雲樓碧霄，江湖煙？足風凌。風日晴和景色好，秀水青山分外嬌。2）紅樹青山日欲斜，長郊草色綠無涯。游人不管春將老，來往亭前踏落花。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損、輕微的表面劃痕和磕損。 重量：418.2 克 尺寸：高12.1 厘米
A PAIR OF 'SPOTTED BAMBOO' FAMILLE ROSE DISHES, EARLY QIANLONG PERIODChina, circa 1740. The dishes with openwork sides in the form of overlapping rings imitating spotted bamboo (xiangfei zhu), enameled in yellow and brown. The center decorated with peonies, chrysanthemums and butterflies superbly painted in crisp enamels, enclosed by a floral diaper band, detailed with radiating lines within cells on a green ground with horizontal lines. (2)Provenance: Sotheby's, London, 6 November 1973, lot 132. Dr. Anton C.R. Dreesmann, acquired from the above. Christie's, London, 10 April 2002, lot 374, sold for GBP 3,525 or approx. EUR 7,800 (converted and adjusted for inflation at the time of writing). S. Marchant and Son, London, 2002. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from S. Marchant and Son, London, dated 14 June 2002, dating the plates to circa 1740, and stating a purchase price of GBP 6,500 or approx. EUR 14,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. Each dish with two old inventory labels from the Dreesmann collection to the base, one dish further with a label 'Marchant London Qianlong 1736-1795'. Dr. Anton C.R. Dreesmann (1923-2000) was a third-generation member of the founding family of the biggest Dutch department store, Vroom & Dreesmann, and a passionate collector, amassing over 1,300 works of art, including the famous 'Waterloo Bridge' by Claude Monet. Condition: Very good condition, superbly enameled and with only light wear, manufacturing flaws including minor warping, pitting, dark spots, glaze recesses, and few firing cracks.Weight: 316.6 g and 312.2 g Dimensions: Diameter 21.4 cm and 21.2 cmXiangfei zhu, or spotted bamboo, a native plant of Hunan, Henan, Jiangxi and Zhejiang, refers to several types of bamboo with stems that are mottled by dark spots. The stems of the spotted bamboos are generally esteemed for making the handles of Chinese brushes, used for calligraphy and painting. Early examples from brushes made of spotted bamboo date back to the 8th century, Tang dynasty, and were highly valued in China as well as Japan, as can be seen from objects imitating spotted bamboo in the Shosoin (treasure house) in Japan.Literature comparison: Compare a closely related dish with openwork rim, late 17th to early 18th century, in the collection of the Metropolitan Museum of Art, accession number 79.2.1037.乾隆早期一對粉彩湘妃竹紋開光花開富貴盤子中國，約1740年。折沿淺腹盤，圈足。折沿鏤空連環狀，琺瑯彩黃褐相間，如湘妃竹紋理。盤中開光描繪富貴花開圖，牡丹、菊花，四周蝴蝶飛舞。 (2) 來源：倫敦蘇富比，1973年11月6日；Dr. Anton C.R. Dreesmann購於上述拍賣；倫敦佳士得，2002年4月10日，lot 374，售價 GBP 3,525，折合為現今EUR 7,800 (根據現今通貨膨脹率)；倫敦S. 3月ant and Son，2002年；Richard and Maxine Markell，購於上述藝廊。隨附倫敦S. Marchant and Son藝廊2002年6月14日出具的原始發票複印件，上面斷代為約1740年，售價 GBP 6,500 ，折合為現今 EUR 14,500 (根據現今通貨膨脹率)。每個盤子底部都有Dreesmann 收藏標籤，一個上面可見 '3月ant London Qianlong 1736-1795'。 Dr. Anton C.R. Dreesmann (1923-2000) 是荷蘭最大百貨公司 Vroom & Dreesmann 創始家族的第三代成員，也是一位忠實的收藏家，收藏了 1,300 多件藝術品，包括莫奈 Claude Monet 著名的“滑鐵盧橋”。 品相：狀況非常好，釉色精美，輕微磨損，製造缺陷包括輕微翹曲、點蝕、黑點、釉面凹陷和少量燒製裂紋。 重量：分別爲316.6 克與 312.2 克 尺寸：直徑分別為 21.4 厘米與 21.2 厘米 文獻比較： 比較非常相近的十七世紀晚期至十八世紀早期鏤空雕刻彩盤，收藏於大都會藝術博物館，館藏編號79.2.1037。
A 'COSMIC EGG', BRAHMANDA, INDIA, 19TH CENTURYThe stone of typical ovoid form and finely polished with distinct natural markings in blood red and creamy white.Provenance: French trade, acquired from a French private collection built between ca. 1980 and 2012. Condition: Very good condition with old wear and weathering as expected, few light nicks and scratches, natural fissures.Weight: 4,068 g Dimensions: Length 19.5 cmCosmic eggs are so called because in the Hindu religion, they symbolize the union between heaven and earth. These natural stones were collected from the Narmada River in ancient times and it is believed that a meteorite colored the stone on its impact with the earth. The natural markings on the egg-shaped form symbolize the male and female principles in a single unit, a realization of the wholeness of the entire universe.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 17 April 2008, lot 181Price: EUR 5,250 or approx. EUR 6,900 adjusted for inflation at the time of writingDescription: A Shiva lingam, Narmada River, IndiaExpert remark: Compare the related form and color of the stone. Note the size (44 cm).Auction result comparison:Type: RelatedAuction: Galerie Zacke, Vienna, 6 March 2021, lot 748Price: EUR 16,432 or approx. EUR 18,000 adjusted for inflation at the time of writingDescription: An Indian stone Brahmanda, 'cosmic egg', and matching bronze tripod standExpert remark: Compare the form and markings. Note the size (23 cm).
A MAGNIFICENT BLACK STONE STELE DEPICTING AN ENSHRINED VAIROCANA, PALA PERIOD, NORTHEASTERN INDIA, 11TH-12TH CENTURYExpert's note: This depiction of Vairocana shows the distinct Pala emphasis on figures with broad shoulders and chests, articulated waists, and almost square faces, with long, thin features.Finely and deeply carved in high relief with Vairocana seated in dhyanasana on a lotus base, his right hand lowered in bhumisparsha mudra and his left resting on his lap, the primordial Buddha within a tri-lobed arched shrine supported by two columns and centered by a kirtimukha, surrounded by seated Buddhas in niches, the top corners each with a stupa.Provenance: From a private collection in Bergamo, Italy, acquired in the antiques trade during the late 1980s and early 1990s. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Very good condition, commensurate with age. Wear, minor losses, small nicks, light scratches, few minor cracks, signs of weathering and erosion, encrustations.Dimensions: Height 59 cm (excl. stand) and 60 cm (incl. stand)Mounted on an associated stand. (2)Vairocana, also known as the primordial Buddha, is a celestial deity central to many Buddhist sutras and the development of Vajrayana Tantric Buddhism. This stele was likely one of five panels, each depicting one of the five Dhyani Buddhas, who represent the five mental and physical aggregates that make up the whole of cosmic and individual existence.Auction result comparison: Type: Closely related Auction: Christie's New York, 18 March 2015, lot 4049 Price: USD 32,500 or approx. EUR 37,000 converted and adjusted for inflation at the time of writing Description: A stone stele depicting Vairocana, Northeastern India, Pala period, 11th/12th centuryExpert remark: Note the smaller size (51.4 cm)
A PAIR OF ZITAN WEIQI COUNTER CONTAINERS, WEIQIZIHE, 17TH-18TH CENTURYChina. Each of melon form, with well-rounded double lobes divided by ridges, the high curving shoulder rising from the tapered base, the similarly carved elegantly domed cover with a central dimple. The zitan wood of an attractive grain and color with characteristic 'crab's claw' marks. (2)Provenance: Swedish trade. Condition: Very good condition with minor wear, expected minor age cracks, few small chips and minuscule nicks, occasional light scratches, one box with a minor old repair.Weight: 555 g and 536.7 g Dimensions: Diameter 13 cm (each, at the widest points)Weiqi (more commonly known in the West under its Japanese name, go) originated in ancient China and was one of the four accomplishments that a Chinese scholar had to practice. There is a tangle of conflicting popular and scholarly anecdotes attributing its invention to the two earliest emperors in China, Yao and Shun, an Imperial vassal, Wucao, or a court astrologer in the Western Zhou Dynasty. It is generally agreed that weiqi is more than 2,500 years old, which makes it the world's oldest strategic board game continuously played to the present day.Auction result comparison: Type: Closely related Auction: Christie's New York, 16 September 2016, lot 1213 Price: USD 68,750 or approx. EUR 77,500 converted and adjusted for inflation at the time of writing Description: A pair of zitan weiqi counter containers, weiqizihe, 17th-18th centuryExpert remark: Note the similar size (11.7 cm)十七至十八世紀一對南瓜形紫檀圍棋盒中國，盒身是整料製成，深雕瓜棱線。器蓋同樣雕飾瓜棱線條。整器氣韻十足。紫檀木料溫厚色澤細膩，包漿圓潤，可見蟹爪紋。 (2) 來源：瑞典古玩交易。 品相：狀況非常好，有輕微磨損，有輕微老化裂縫，有輕微小缺口和微小劃痕；一個盒子有輕微小修。 重量：分別為555克與536.7克 尺寸：直徑13 厘米 (最寬處) 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2016年9月16日，lot 1213 價格：USD 68,750（相當於今日EUR 77,500） 描述：十七/十八世紀紫檀瓜棱圍棋蓋罐一對 專家評論：請注意相似的尺寸(11.7 厘米)。
A COPPER-INLAID IRON PHURBHA, TIBET, 15TH-16TH CENTURYThe tripartite blade issuing from the fangs of a makara and with snakes meandering down the sides, the mid-section of biconical form with lappets framed on both ends by pierced endless knots, rising to the head of a wrathful deity with circular eyes, the hair tied in a high chignon and surmounted by a skull crown, inlaid in copper to the head of the makara and at the connecting element above.Provenance: British trade. Condition: Very good condition with expected traces of use, old wear, some corrosion, few nicks and dents, light surface scratches, and casting flaws.Weight: 351.2 g Dimensions: Length 25.9 cmThe phurbha is thought to be the only implement capable of transmuting the powerful negative energy of vice and egocentrism into benevolent compassion, see Rhie & Thurman, Worlds of Transformation, New York, 1999, page 435. According to legend, Padmasambhava introduced the magic dagger to Tibet to subdue forces hostile to Buddhism. It is the embodiment of Vajrakila, who is one of the eight Herukas (wrathful deities) of the Nyingma Mahayoga.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 17 March 2015, lot 1042Price: USD 27,500 or approx. EUR 32,500 converted and adjusted for inflation at the time of writingDescription: Two iron phurbha with copper inlay, Tibet, ca. 16th CenturyExpert remark: Compare the closely related form, decoration, and material. Note the size (34.3 cm) and that the lot also comprises a smaller phurbha.Auction result comparison:Type: RelatedAuction: Bonhams New York, 17 March 2014, lot 23Price: USD 10,000 or approx. EUR 11,800 converted and adjusted for inflation at the time of writingDescription: An Iron Vajrakila Purbha, Tibet, circa 13th centuryExpert remark: Compare the related form, decoration, and material. Note the size (35.6 cm).十五至十六世紀西藏鐵錯銅普巴金剛橛三棱鉄匕首從摩迦儸的尖牙中伸出，蛇從兩側蜿蜒而下，雙錐形的中間部分，兩側是兩個球形“無盡結”，直到大眼圓睜的忿怒相神頭上，發成高髻，忿怒護法神，頭戴骷髏冠。 來源：英國古玩交易。 品相：狀況極好，有使用痕跡、磨損、一些腐蝕、少量刻痕和凹痕、輕微的表面劃痕和鑄造缺陷。 重量：351.2 克 尺寸：長25.9 厘米 Phurbha，藏傳佛教儀式中的匕首，被認為是唯一能夠將邪惡和自我中心主義的強大負能量轉化為仁慈同情心的工具，見 《Rhie & Thurman，Worlds of Transformation》，紐約，1999年，圖435。相傳，蓮花生大士將金鋼鐝匕首引入西藏，以製服敵對佛教的勢力。它是寧瑪派大瑜伽部八尊忿怒本尊之一金剛杵的化身。拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2015年3月17日，lot 1042 價格：USD 27,500（相當於今日EUR 32,500） 描述：兩件約十六世紀西藏鐵錯銅普巴金剛橛 專家評論：比較非常相近的外形、裝飾和材料。請注意尺寸 (34.3 厘米) 和此有一件較小的普巴金剛橛。 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2014年3月17日，lot 23 價格：USD 10,000（相當於今日EUR 11,800） 描述：約十三世紀西藏鐵普巴金剛橛 專家評論：比較相近的外形、裝飾和材料。請注意尺寸 (35.6 厘米)。
AN ABSTRACTLY PAINTED POTTERY COCOON JAR, HAN DYNASTYChina, 202 BC-220 AD. The rounded oblong body supported on a short pedestal foot and surmounted by a circular neck rising to an everted rim, expressively painted with numerous abstract bands and scrolls in shades of red, white, cream, and light blue, with a red band encircling the neck.Provenance: From a South German private collection, assembled before 2007, and thence by descent. Condition: Fine condition, commensurate with age. Extensive wear, few small chips, losses, cracks, firing flaws, signs of weathering and erosion, encrustations.Weight: 2,874 g Dimensions: Height 26.7 cm, Width 31.5 cmLiterature comparison:Compare a related jar, excavated in Xinxiangxian, Henan province, illustrated in Historical Relics Unearthed in New China, Beijing, 1972, pl. 87. Auction result comparison:Type: Closely relatedAuction: Christie's New York, 24 March 2011, lot 1105Price: USD 2,500 or approx. EUR 3,100 converted and adjusted for inflation at the time of writingDescription: A painted grey pottery cocoon jar, Western Han dynasty, late 3rd/2nd century BCExpert remark: Compare the near identical form and closely related decoration, although this example is in rather poor conditionAuction result comparison:Type: Closely relatedAuction: Christie's New York, 18 September 2003, lot 196Price: USD 4,183 or approx. EUR 5,500 converted and adjusted for inflation at the time of writingDescription: A well-painted dark grey pottery cocoon jar, Han dynastyExpert remark: Compare the near identical form, closely related decoration and fine condition漢代彩繪繭形陶壺中國，公元前202 至公元220年。陶壺呈唇口、短頸、圈足，腹呈橫向長橢圓狀。壺周身以紅、白顏色為主，彩繪流雲、幾何圖案。 來源：德國南部私人收藏，購於2007年前，保存至今。 品相：狀態良好，大面積磨損，少量小磕損、缺損，裂縫，燒製缺陷，風化和侵蝕跡象，結殼。 重量：2,874 克 尺寸：高 26.7 厘米，寬 31.5 厘米 文獻比較： 比較一件相近的陶罐，出土於河南省新鄉縣，見《新中國出土文物》，北京，1972年，編號87。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2011年3月24日，lot 1105 價格：USD 2,500（相當於今日EUR 3,100） 描述：公元前三至二世紀西漢彩繪灰陶繭形陶壺 專家評論：比較幾乎相同外型和非常相近的設計，雖然此壺品相較糟糕。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2003年9月18日，lot 196 價格：USD 4,183（相當於今日EUR 5,500） 描述：漢代彩繪灰陶繭形陶壺 專家評論：比較幾乎相同外型，非常相近的設計和品相良好。
Loading...-
534297 item(s)/page