A GILT BRONZE FIGURE OF GREEN TARA, 15TH-16TH CENTURYTibet. Seated in lalitasana on a sealed double-lotus base with the pendent foot resting on a smaller lotus, the right hand extended in varadamudra and the left held in vitarkamudra. The base plate incised with a vishvavajra.Provenance: Old Swiss private collection, purchased in Nepal, October 1968. Collector's inventory label '8119' to base. Ancient inscription '39' neatly incised in Tibetan to backside of base.Condition: Very good condition with significant old wear, some casting flaws, few small nicks, occasional light scratches, some minor losses, some inlays missing. Fine natural patina overall.Weight: 500.3 gDimensions: Height 12.2 cmThe face with a serene expression surmounted by a foliate tiara, the hair arranged in a tall chignon. Clad in a knee-length dhoti and richly adorned in floral and beaded jewelry, inlaid with glass paste and semiprecious stones.Auction result comparison: Compare a closely related Tibetan gilt bronze figure of Green Tara, also dated to the 15th-16th century, at Christie's New York in Sacred and Imperial: The James and Marilynn Alsdorf Collection Part II on 24 September 2020, lot 947, sold for USD 18,750. 十五至十六世紀銅鎏金綠度母坐蓮像 西藏。綠度母結游戲姿坐於雙層蓮台上，右足踩在一株伸出的小蓮蓬上。右手結與愿印，左手安慰印。底座封板上刻著金剛杵。 來源：瑞士私人老收藏，1968年10月購於尼泊爾。底座上有藏家收藏編號 '8119' 。底座背面刻有藏文"39"字樣。品相：品相極好，有明顯的舊磨損，一些鑄造缺陷，很少的小刻痕，局部有輕微的划痕，一些輕微的缺損，一些鑲嵌寶石缺失。整體精美的天然包漿。 重量：500.3 克 尺寸：高12.2 厘米 拍賣結果比較：一件相近的西藏銅鎏金綠度母像，十五至十六世紀，見紐約佳士得Sacred and Imperial: The James and Marilynn Alsdorf Collection Part II 2020年9月24日，售價USD 18,750。
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A BURLWOOD 'TREE TRUNK' BRUSH POT, BITONG, QINGChina, 1644-1912. Of attractive form and proportions, the wood with several natural crevices and knots, left undecorated in appreciation of the fine pattern of the wood.Provenance: Estate of Sear Hang Hwie Pao (1937-2009). Two old collector's labels to base. Pao was one of Canada's leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke Ltd., owned together with his wife Mrs. von Moltke, who descended from a German and Danish noble family, was a fixture in Toronto's trendy Yorkville area from the 1980s to early 2000s.Condition: Good condition with old wear and weathering, occasional light scratches and small nicks, and some minor natural age cracks.Weight: 328.9 gDimensions: Height 14.5 cm清代癭木筆筒 中國，1644-1912年。天然木料帶有一些自然的縫隙的癭木，未經修飾就可以欣賞木材的精美花紋。 來源：Sear Hang Hwie Pao (1937-2009)遺產。Pao是加拿大中國瓷器和藝術品的主要經銷商之一。他的古董店Pao＆Moltke Ltd.是他與妻子von Moltke夫人成立，後者是德國和丹麥貴族的後裔。從1980年代到2000年代初期，他們的古董店曾是多倫多時尚Yorkville地區不可缺少的部分。 品相：狀況良好，有舊磨損和風化，偶爾有輕微的划痕和小刻痕，還有一些較小的自然裂縫。 重量：328.9 克 尺寸：高14.5 厘米
A SET OF THREE CLOISONNE CANDLESTICKS, QIANLONG PERIOD, TAKEN DURING THE 1860 SUMMER PALACE RAIDChina, 1736-1795. The cylindrical body finely decorated in bright enamels with geometrically arranged lotus blossoms borne on scrolling vines against a turquoise ground, surmounted by a gilt-bronze globular mid-section rising to a drip pan decorated with keyfret against a dark-blue ground. (3)Inscriptions: To the shoulder of the largest candlestick, engraved 'Summer Palace. Pekin 1860. Alfred Abercromby Dick. Lieut. & Adjt. Probyn's Horse'.Provenance: Old Viennese private collection. Condition: Very good condition with minor wear and manufacturing flaws, including expected pitting. Small dents, minor nicks, occasional light scratches. The foot ring (above the gilt-bronze base) and the cup (above the drip pan) and associated screws are British replacements added shortly after 1860.Weight: 1,520 gDimensions: Height 19.8 cm (the largest)Probyn's Horse: The regiment known as 11th King Edward's Own Lancers was originally raised on 1 August 1857 by Captain Frederick Wale as Wale's Horse during the Indian Rebellion of 1857 and served at Lucknow. Captain Wale was killed in action in 1858, while leading the regiment in the pursuit of rebels, and was replaced by Major Dighton Probyn, VC. In 1860 the regiment was dispatched to China to take part in the Second Opium War. It participated in the advance on Peking in October 1860.In 1860, during the Second Opium War, British and French expeditionary forces, having marched inland from the coast at Tianjin, arrived in Beijing. In mid-September, two envoys went ahead of the main force under a flag of truce to negotiate with Prince Yi and representatives of the Qing Empire at Tongzhou and to scout out campsites behind enemy lines. The delegates and their escort were taken to the Ministry of Justice (or Board of Punishments) in Beijing, where they were confined and tortured. Nineteen British, French, and Indian captives died.On the night of 5 October, French units diverted from the main attack force towards the nearby Old Summer Palace. At the time, the palace was occupied by only some eunuchs and palace maids; the Xianfeng Emperor and his entourage had already fled to the Chengde Mountain Resort in Hebei. Although the French commander Charles Cousin-Montauban assured his British counterpart, James Hope Grant, that "nothing had been touched", there was extensive looting by French and British soldiers. There was no significant resistance to the looting, even though many Qing soldiers were in the vicinity.On 18 October, Lord Elgin, the British High Commissioner to China, ordered the destruction of the Old Summer Palace. It took 3,500 British troops to set the entire place ablaze, and the massive fire lasted for three days. Once the Old Summer Palace had been reduced a sign was raised by the invaders with an inscription in Chinese stating, 'This is the reward for perfidy and cruelty'. The burning of the palace was the last act of the war. 乾隆時期一套三件銅胎掐絲琺琅燭臺，1860年圓明園被掠中國，1736-1795年。臺座圓柱體，景泰藍地，纏枝蓮紋；頂部通體鎏金，滴水盤。 款識: 最高的燭臺肩部，刻著"Summer Palace. Pekin 1860. Alfred Abercromby Dick. Lieut. & Adjt. Probyn's Horse" （圓明園，北京1860，Alfred Abercromby Dick，中尉，普羅賓的馬） 來源：維也納私人老收藏。 品相：狀況極好，有輕微磨損和製造瑕疵，包括預期的點蝕。 小凹痕，輕微劃痕。圈足（鎏金銅底座上方）和聚蠟盤和相關螺絲是 1860 年後不久添加的英國替代品。重量：1,520 克 尺寸：高19.8 厘米 (最大)
A 'BAGUA' BRONZE CENSER AND COVER, QING DYNASTYChina, 1644-1912. The compressed globular body supported on three short feet, cast and incised with a band of leaves, the rim with two flaring handles, all supporting a cover with eight pierced trigrams surrounding the finial, which is cast as a Buddhist lion showing delicately incised details, with one front paw on a reticulated brocade ball.Provenance: From an old German private collection.Condition: Very good condition with old wear, traces of use, casting flaws, small nicks and occasional light scratches. Fine, naturally grown patina. With encrustations to the interior.Weight: 940 g Dimensions: Height 12 cmAuction result comparison: For another Bagua censer, also with bagua decoration to the cover, height 20 cm, see Bonhams San Francisco in Fine Asian Art on 21 June 2011, lot 8193, sold for USD 134,000. 清代青銅獅鈕八卦蓋爐中國，1644-1912年。爐口平整，束頸鼓腹，肩起雙耳，下承三足。 爐蓋雕刻八卦圖案，爐鈕飾獅子戲球，活潑可愛。來源：德國私人老收藏。 品相：狀況極好，有舊磨損、使用痕跡、鑄造瑕疵、小劃痕和局部輕微劃痕。自然細膩的包漿。内部鏽斑。 重量: 940 克 尺寸：高 12 厘米 拍賣結果比較：另一件八卦爐，蓋上也有八卦紋，高 20 厘米，見舊金山邦翰思Fine Asian Art 2011年6月21日 lot 8193, 售價USD 134,000。
A LARGE COPPER REPOUSSE FIGURE OF TARA, LATE 18TH CENTURYInner Mongolia or China. Seated in dhyanasana atop a double lotus base with beaded upper edge, the hands held in vitarka mudra, clad in a flowing dhoti with hems neatly incised with a foliate pattern, and richly adorned with beaded jewelry inlaid with turquoises. The face is centered by a third eye at the forehead, and the hair is pulled into a tall chignon behind the foliate tiara.Provenance: Old Belgian private collection. A Hungarian collector, acquired from the above.Condition: Good condition with minor old wear, small nicks and dents, light scratches, minuscule losses. The base unsealed and covered with ancient fabric. Remnants of gilt.Weight: 2,100 g Dimensions: Height 38.5 cmThis elegant figure of Tara exhibits many characteristics common to Buddhist imagery from the Qianlong period (1736-1795), made in the lamaist workshops in and around Beijing. In the latter half of Qianlong's reign, when the construction of Buddhist temples and the associated Buddhist images reached its apogee, the use of repousse, where thin metals are beaten rather than cast, became more prevalent in an effort to save materials and time. The artisans of the period quickly mastered the process, and details such as the ornately worked crown and flowers at the shoulders in the present figure demonstrate the mastery of the technique.Auction result comparison: Compare a related gilt bronze figure of Tara, 39.4 cm high, also dated to the late 18th century, at Christie's New York in Indian, Himalayan & Southeast Asian Works of Art on 20 March 2019, lot 673, sold for USD 21,250. Compare the bodily proportions, the repousse details, and the treatment of the lotus base of the present work with a Qianlong-period figure of a bodhisattva, 37.1 cm high, at Christie's New York in Fine Chinese Ceramics and Works of Art on 16 September 2016, lot 1231, sold for USD 35,000. 十八世紀末大型度母錘鍱銅像內蒙古或中國。度母結跏趺坐坐於蓮上，頭戴寶冠，冠葉細小，冠葉間距大，佩飾鑲嵌綠松石。華麗優美。像修眉廣目，面型圓滿，儀容端莊秀麗，姿態典雅。左手拇指與無名指相捻結施依印，右手結與願印置於膝上。長裙衣紋自然流暢，裙擺垂蓋蓮座。 來源：比利時私人老收藏；匈牙利藏家，購於上述收藏。 品相：狀況良好，有輕微磨損、小劃痕和凹痕和細微缺損。底座未封閉，覆蓋著老織物。鎏金殘留。重量：2,100 克 尺寸：高 38.5 厘米 拍賣結果比較：比較一對相近的十八世紀鎏金度母銅像，高4 厘米，見紐約佳士得Indian, Himalayan & Southeast Asian Works of Art 2019年3月 20日 lot 673, 售價USD 21,250；比較一件局部锤揲的乾隆時期菩薩造像，高37.1 厘米， 見紐約佳士得Fine Chinese Ceramics and Works of Art 2016年9月16日 lot 1231, 售價USD 35,000。
A LONGQUAN CELADON 'TRELLIS' DISH, MING DYNASTYChina, 15th century. The gently rounded sides rising from a short tapered foot to a lipped rim, carved to the interior with a trellis diaper medallion encircled by scrolling lotus, covered overall with a thick glaze of sea-green tone, except for a wide ring on the base which has burnt orange in the firing.Provenance: Collection of Jean Jardine Johnstone Keswick, thence by descent within the same family. Jean Keswick (1885-1977) lived in Hong Kong during the late 19th century. She was part of the Keswick family, a business dynasty of Scottish origin associated with the Far East region since 1855, and in particular the conglomerate Jardine Matheson. She was the daughter of James Johnstone Keswick (1845-1914), who had resided in Japan, Shanghai, and Hong Kong. During his residence in China, James Keswick was one of the best known figures in the foreign community, in which he was nicknamed 'James the bloody polite'.Condition: Good condition with extensive wear, some firing irregularities, traces of use, light scratches, the rim with a small chip which has smoothened over time.Weight: 3,921 g Dimensions: Diameter 38.6 cmAuction result comparison: Compare a closely related dish, 36 cm diameter, also dated to the 15th century, at Sotheby's London, 7 November 2012, lot 226, sold for GBP 6,250. Compare a closely related dish, 36.5 cm diameter, also dated to the 15th century, at Sotheby's London, 14 May 2014, lot 291, sold for GBP 6,875.明代龍泉窯青釉暗紋盤中國，十五世紀。厚胎，敞口，斜弧壁，圈足。盤內開光，外圍卷葉蓮紋，開光内網狀紋。通體施著厚厚的青釉，圈足内露胎，成橙色。 來源: Jean Jardine Johnstone Keswick收藏，在同一家族保存至今。Jean Keswick (1885-1977) 十九世紀末生活在香港。她是 Keswick 家族的一員，來自蘇格蘭，該家族自 1855 年在遠東地區的建立了商業王朝，尤其是Jardine Matheson。她是James Johnstone Keswick (1845-1914)的女兒，曾居住在日本、上海和香港。在中國居住期間，James Keswick 是外國社區中最知名的人物之一，他被暱稱為"該死的有禮貌的詹姆斯"。 品相: 狀況良好，大面積磨損、燒製瑕疵，有使用痕跡和輕微劃痕，邊緣有小磕碎稍有磨平。 重量: 3,921 克 尺寸: 直徑38.6 厘米 拍賣結果比較: 比較一件十分相近的十五世紀的龍泉窯盤，直徑36 厘米，見倫敦蘇富比2012年11月7日 lot 226, 售價GBP 6,250；另一件十五世紀的盤，直徑 36.5 厘米，見倫敦蘇富比2014年5月14日lot 291, 售價GBP 6,875。
A RUBY-RED OVERLAY GLASS 'CARP' SNUFF BOTTLE, 1760-1840China. Of long oval shape, the transparent overlay in ruby-red carved as a jumping carp in pursuit of a pearl, wrapping around the flattened foot of the bottle, reserved on a clear pink bubble suffused ground. Provenance: From an English private collection. Condition: Good condition with some wear, light surface scratches, little nibbling to the mouth, small chips to stopper, neck, and relief. Stopper: Dark blue hardstone stopper Weight: 59 g Dimensions: Height including stopper 72 mm. Diameter neck 14 mm and mouth 7 mm. The bold conception of this overlay glass bottle is impressive, and is a variation on the design of the 'Carp leaping through Dragon Gate', which alludes to the attainment of rank and fulfillment of one's ambitions, as when the carp transforms into the dragon according to legend.Literature comparison: Compare a similar bottle in the Marian Meyer Collection with the same type of elongated glass snuff bottle with a red overlay fish wrapped around the foot, with the only difference being that this one spouts a pavillion from its mouth on one side, illustrated in Hall, Chinese Snuff Bottles II, London, 1989, no. 44. See also another bottle of similar shape and decoration but on clear ground from the Eric Young Collection sold at Sotheby's Hong Kong, 28 October 1993, lot 1031.Auction result comparison: Compare also a related red overlay clear glass snuff bottle, attributed to the Beijing Palace Workshops, dated 1750-1790, at Sotheby's New York in Fine Chinese Ceramics & Works of Art on 31 March 2005, lot 359, sold for USD 4,320. 1760-1840年寶石紅套料鯉魚紋鼻烟壺中國，橢圓形削肩，透明粉紅色地料器，寶石紅套料雕一條跳躍的鯉魚追逐一顆珍珠。來源：英國私人收藏。 品相：狀況良好，有一些磨損，輕微的表面劃痕，唇部輕微磕損，壺蓋、頸部和浮雕上有小磕損。 壺蓋：深藍色石質 重量：59 克 尺寸：含壺蓋高72 毫米；頸部直徑14 毫米，唇部直徑7 毫米 拍賣結果比較：比較一件1750-1790年相近的紅色套料鼻烟壺，或爲北京御用工坊，見紐約蘇富比Fine Chinese Ceramics & Works of Art 2005年3月31日 lot 359, 售價USD 4,320。
A TURQUOISE GLASS ALMS BOWL, QING DYNASTYChina, 18th-19th century. The vessel with thick walls thinning towards the rim and rising to an even mouth, the flat base supported by four slanted round feet. The opaque glass body of a deep turquoise color with delicate swirls in the background.Provenance: From the collection of Ina and Sandford Gadient. Asiantiques, Winter Park, Florida, 2009, acquired from the above. An institutional collection in Illinois, USA, acquired from the above. Ina and Sandford were collectors of Chinese glass and long-time donors of the Lowe Art Museum at the University of Miami in Florida. From 3 December 1999 to 30 January 2000, the Museum, one of the most important art museums in Florida, hosted an exhibition of 120 pieces from the Gadient collection, titled Treasures of Chinese Glass Workshops. According to the Asiantiques catalog, the exhibition "was very popular and well attended". Published: Asiantiques, Chinese Qing Dynasty Glass Treasures. A Selection from the Gadient Collection, 2009, no. 17. The present lot is described as a 19th-century alms bowl.Condition: Very good condition with minor old wear, firing irregularities and few light scratches.Weight: 1,132 gDimensions: Diameter 17 cm Auction result comparison: Compare a pale-blue glass jardiniere, Qianlong four-character mark and of the period, at Bonhams Hong Kong in Fine Chinese Ceramics and Works of Art on 1 December 2020, lot 148, sold for HKD 402,500. Compare a related pair of turquoise glass bowls, also dated to the 18th to 19th century, 11.1 cm diameter, at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on 26 November 2014, lot 3370, sold for HKD 50,000. 清代松石綠料器化緣缽中國，十八至十九世紀。厚壁，邊緣變薄，平口，底部四淺圓足。深松石綠色不透明玻璃料，精緻的漩渦。 來源：Ina 與Sandford Gadient收藏。佛羅里達Winter Park亞洲古玩藝廊，2009年。美國伊利諾伊州一個研究機構收藏購於上述藝廊。Ina 與Sandford Gadient 曾是中國料器收藏家，佛羅里達州邁阿密大學 Lowe 藝術博物館的長期支持者。 1999年12月3日，美國一個重要藝術機構博物館舉辦了"中國玻璃工坊珍品展"，展出了Gadient藏品120餘件。據目錄所寫，"展覽深受歡迎，來訪者衆多"。 品相：狀況極好，有輕微磨損、燒製瑕疵和輕微的劃痕。 重量：1,132 克 尺寸：直徑17 厘米 拍賣結果比較: 比較一件藍灰色玻璃花盆，乾隆四字款及年代，見香港邦翰思Fine Chinese Ceramics and Works of Art 2020年12月 1日 lot 148, 售價HKD 402,500；比較一對相近的松石綠料器碗，十八至十九世紀，直徑 11.1厘米，見香港佳士得Important Chinese Ceramics and Works of Art 2014年11月26日 lot 3370, 售價HKD 50,000。
A POWDER-BLUE-GROUND GILT-DECORATED 'DEER AND CRANE' BOTTLE VASE, GUANGXU MARK AND PERIODChina, 1875-1908. Finely painted in gilt to the globular body with two stags in a forest with pine trees, two long-tailed birds perched on a gnarled branch, and craggy rockwork, below a band of alternating stylized Shou characters and flowerheads surrounded by scrolling vines at the shoulder, and to the neck with a crane standing in front of a pine tree, all below a band of ruyi heads below the rim. The recessed base with a six-character mark da Qing Guangxu nianzhi and of the period.Provenance: From an old German private collection, acquired in China before 1937, and thence by descent in the family.Condition: Good condition overall commensurate with age, old wear, mostly to gilt, and some firing flaws. The body with several circumferential glaze hairlines, near invisible to the naked eye. For a detailed video of the vase shot under strong blue light, please refer to the department.Weight: 3,771 gDimensions: Height 38.5 cmAuction result comparison: Compare a closely related gilt-decorated powder-blue-ground vase, also Guangxu mark and period and with similar decorative bands, but painted with bats amid clouds, at Christie's New York in Fine Chinese Ceramics and Works of Art on 26 March 2010, lot 1432, sold for USD 20,000.光緒款與年代霽藍釉描金"鹿鶴同春"瓶中國, 1875-1908年。撇口，細長頸，肩部裝飾凸弦紋，圓腹，圈足。通體施霽藍釉，釉面濃淡一致。紋飾以金彩描繪，口沿繪如意紋，肩部繪纏枝花卉和壽字紋，近底部繪仰蓮紋，線條細膩流暢，華貴雍容。腹部描繪鹿鶴同春，寓意六合同春，天地萬物欣欣向榮。圈足内"大清光緒年製"六字款。來源：德國私人老收藏, 自此保存在同一家族。品相：總體狀況良好，與年齡相稱，舊磨損，主要是鍍金部分；還有一些燒製缺陷，身體有幾條細微釉面裂紋，肉眼幾乎看不見。 在強藍光下拍攝的花瓶的詳細視頻，請垂詢團隊。重量：3,771 克尺寸：高 38.5 厘米拍賣結果比較：比較一件相近霽藍釉描金瓶，光緒款與年代，金彩描繪蝙蝠祥雲紋， 見紐約佳士得Fine Chinese Ceramics and Works of Art on 26 March 2010, lot 1432，售價USD 20,000。
A SILVERED BRONZE 'MYTHICAL BEASTS' MIRROR, TANG DYNASTYChina, 618-907. Of circular form, cast with four leonine beasts racing around the central pierced knop, encircled by a raised border surrounded by a recessed outer band with alternating birds and floral sprays below a band of spaced floral scrolls to the stepped rim.Provenance: From an English private collection. Condition: Very good condition, commensurate with age. Old wear and casting irregularities, signs of weathering and erosion, few small nicks and light scratches. Fine, naturally grown patina with areas of malachite and azurite encrustation, particularly to the front of the mirror.Weight: 643.2 gDimensions: Diameter 12.3 cmLiterature comparison: Compare a related bronze mirror, also dated to the Tang dynasty and illustrated by Ju-hsi Chou, Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors, The Cleveland Museum of Art, 2000, p. 62, no. 50.Auction result comparison: Compare a related bronze mirror with similar creatures at Christie's New York in Fine Chinese Art from the Arthur M. Sackler Collections on 18 March 2009, lot 238, sold for USD 13,750 (part lot, together with another bronze mirror).唐代鎏銀瑞獸銅鏡中國，618-907年。鏡呈圓形，半球鈕，上飾斜立二重齒紋圈，分為內外二區。內區飾四瑞獸為主題，圍繞著中央鏡鈕。外區飾花草鳥紋。 來源：英國私人收藏。 品相：狀況極好，與年齡相稱。 磨損和鑄件瑕疵，風化和侵蝕的跡象，輕微小刻痕和劃痕。包漿自然細膩，在鏡子前面帶有藍綠色鏽斑。 重量：643.2 克 尺寸：直徑12.3 厘米 拍賣結果比較：比較一件相近的瑞獸銅鏡，見紐約佳士得Fine Chinese Art from the Arthur M. Sackler Collections 2009年3月18日 lot 238, 售價USD 13,750 (其中一件，與另一件銅鏡)。
A GILT-COPPER REPOUSSE FIGURE OF A LAMA, 18TH CENTURYTibetan-Chinese. Seated in dhyanasana on a double lotus base with beaded upper edge, both hands held in dharmachakramudra, wearing voluminous robes with finely incised, patterned hems. His face with meditative expression, heavy-lidded eyes, and full lips, surmounted by a tall, pointed hat with side flaps elegantly falling over the shoulders. Provenance: From an Austrian private collection.Condition: Very good condition with some wear, minuscule nicks, light scratches, small dents, and rubbing to gilt, particularly to the face and arms. The base unsealed.Weight: 548.4 g Dimensions: Height 20 cmAuction result comparison: Compare a related gilt-copper repousse figure of a seated lama, 45 cm high, also dated to the 18th century, at Christie's New York, 13 February 2018, lot 107, sold for USD 43,750.十八世紀鎏金銅錘鍱喇嘛像漢藏。喇嘛結跏趺坐坐於雙層蓮座上，蓮座飾有連珠紋，雙手結法輪印，身著寬大的袍子，衣擺上精美的花紋。他的面部表情祥和，雙眼微閉，嘴唇豐滿，頭上戴著一頂喇嘛帽，右肩上搭著外袍。 來源: 奧地利私人收藏。 品相: 狀況極好，有一些磨損、微小的刻痕、劃痕，小凹痕，以及鎏金磨損，尤其是臉部和手臂。底座開封。 重量: 548.4 克 尺寸: 高20 厘米 拍賣結果比較: 比較一件相近的十八世紀銅鎏金錘鍱喇嘛坐像，高45 厘米，見紐約佳士得2018年2月13日 lot 107, 售價USD 43,750。
A CARVED WOOD PANEL, PAIWAN, 19TH TO EARLY 20TH CENTURYTaiwan. Of rectangular form, carved in high relief with standing and seated figures under the crescent moon, as well as birds and other animals, including an ibex. Fine, naturally grown patina of deep burgundy color and a smooth feel overall.Provenance: Old British private collection, by repute acquired before 1980. Hungarian private collection, acquired from the above.Condition: Very good condition with minor old wear, some weathering and age cracks, small chips and nicks, light scratches, few small losses to edges, the wood slightly warped.Weight: 1,998 gDimensions: Size 43 x 60.5 cmThe Paiwan (Payuan) are an indigenous people of Taiwan, who live in the Central Mountain Range, from Damumu Mountain and the Wuluo River in the north to the Hengchun Peninsula in the south. According to a myth, Paiwan ancestors lived in a location on Dawu mountain (Tawushan) that was called Paiwan, where heaven was said to exist. Paiwan people have spread out from this location, so the name of the original place was assumed as their group name. According to some group members, Paiwan also means 'human being'.The social system of the Paiwan consists of three levels: the nobility (aristocrats and landowners), the second-rank nobility, and the ordinary people. Only members of the first rank have the privilege of owning works bearing the sacred motifs of the serpent or the human figure, both considered as representing ancestors. Sculpture is the privileged way for Paiwan aristocrats to distinguish their houses, perceived as the incarnation of the social status, authority, privileges, and existence of a fundamental entity of society.Literature comparison: Compare a related Paiwan carved wood architectural ornament, 23 by 80 cm, also dated 19th to early 20th century, in the collection of the Metropolitan Museum of Art, accession number 1987.453.4.Auction result comparison: Compare a related Paiwan carved wood container lid, 45.1 cm diameter, at Sotheby's New York in Art of Africa, Oceania, and the Americas on 18 May 2021, lot 35, sold for USD 37,800. 十九至二十世紀木雕排灣族祖靈牌台灣。長方形，高浮雕或站或坐的月下人物，之間有鳥與其他動物，包括一隻山羊。包漿自然細膩，通體表面光滑。 來源：英國私人老收藏，購於1980年前；匈牙利藏家，購於上述收藏。 品相：狀況極好，有輕微磨損，一些風化和老化裂縫，小磕損和刻痕，輕微劃痕，邊緣少量缺損，木材略微翹曲。重量：1,998 克 尺寸：43 x 60.5 厘米 拍賣結果比較：比較一件相近的木雕排灣族祖靈牌，直徑45.1 厘米，見紐約蘇富比Art of Africa, Oceania, and the Americas 2021年5月18日 lot 35, 售價USD 37,800。
A TRANSLUCENT GREEN DOUBLE-GOURD GLASS VASE, GUANGXU MARK AND PERIODChina, 1875-1908. Thickly molded from a solid block of bubble-suffused, translucent glass of dark green tone, rising from a short foot to a straight neck. The recessed circular base is engraved with a four-character Guangxu reign mark.Provenance: From a French private collection, by repute acquired at Drouot more than 10 years ago.Condition: Good condition with light surface scratches, minor nibbling to foot and rim, nicks and manufacturing irregularities.Weight: 432 gDimensions: Height 16.3 cm Auction result comparison: Compare a related yellow glass double gourd vase, of smaller size (12.1 cm high), dated to the 18th to 19th century, at Sotheby's New York in The Hundred Antiques: Fine & Decorative Asian Art on 30 September 2020, lot 1016, sold for USD 10,080.光緒款及年代綠料葫蘆瓶中國，1875-1908年。厚重的半透明深綠色琉璃，充滿氣泡，長頸葫蘆形，圈足，可見"光緒年製"四字款。 來源：法國私人收藏，據説十多年前購於 Drouot 藝廊。 品相：狀況良好，表面有輕微劃痕，足部和邊緣有輕微磕損，有刻痕和製造瑕疵。 重量：432 克 尺寸：高16.3厘米 拍賣結果比較：比較一個相近的十八至十九世紀黃料葫蘆瓶，尺寸稍小 (高12.1厘米)，見紐約蘇富比The Hundred Antiques: Fine & Decorative Asian 2020年9月 30日 lot 1016, 售價10,080 USD。
A TIBETAN RITUAL BONE APRON, 18TH-19TH CENTURYComprising five oblong plaques carved with deities in elegant dancing postures wearing long flowing robes and richly adorned with jewelry, and thirteen rectangular plaques carved with the Eight Auspicious Symbols, a flower, and double vajras, all in openwork and suspending a network of stranded beads joined with small square plaques at the intersections.Provenance: German trade.Condition: Very good condition with minor wear, natural age cracks, small nicks and light scratches, possibly minor losses. Fine, naturally grown, honey-brown patina.Two oblong and two double-vajra plaques are displayed separately at the top, each also with stranded beads and square plaques. These were probably used as armlets or bracelets.Wood backing with burgundy velvet dates from the 20th century.Weight: 3,946 g (incl. mounting) Dimensions: Length 15 cm (the largest), Size incl. mounting 118 x 56 cmLiterature comparison For another example dated to the 17th century, in the James and Marilynn Alsdorf Collection, see P. Pal, A Collecting Odyssey, 1997, cat. no. 312. For another example, dated 16th-20th century, see P. Pal, Tibet, Tradition and Change, 1997, cat. no. 85, indicating that individual parts were replaced over time.Auction result comparison: Compare a closely related ritual bone apron at Christie's Paris in Art Africain et Oceanien on 4 December 2008, lot 109, sold for EUR 7,250.十八至十九世紀西藏儀式法器骨飾法器上不同的骨牌，其中五塊長方形骨牌上雕刻著身著長袍的神人，優雅的舞姿；另外十三塊長方形骨牌上刻有八吉祥、一朵花、雙金剛杵；均以鏤空方式雕刻，並用串珠編成網狀，交叉處有小方形骨牌。 來源: 德國古玩市場。 品相: 狀況極好，輕微磨損、自然老化裂紋和輕微劃痕，可能有輕微缺損失。蜜褐色包漿自然細膩。 酒紅色托片與木板為二十世紀。 重量: 總3,946 克 尺寸: 長 15 厘米 (最大的), 總 118 x 56 厘米 拍賣結果比較: 比較一件十分相近的儀式法器骨飾，見巴黎佳士得Art Africain et Oceanien 2008年12月4日 lot 109, 售價EUR 7,250。
A BRONZE 'PUXIAN' ELEPHANT-FORM CENSER, MING DYNASTYChina, 1368-1644. The mighty animal standing foursquare in an alert posture with flared ears. The thick curved trunk is flanked by a pair of large tusks with smaller auxiliary tusks, which clearly identifies the beast as the elephant of Samantabhadra (Puxian). A seat atop its back is fitted with a loop to the backside, once used to attach the cover of the incense burner.Provenance: French trade.Condition: Good condition with minor wear and casting flaws, small nicks and dents, light scratches, the cover lost. Fine, naturally grown patina overall.Weight: 3,405 gDimensions: Height 20.5 cm, Length 28 cmSamantabhadra is the bodhisattva associated with the practice of Buddhist teaching and joins Manjushri, the lord of transcendent wisdom, in a trinity with Shakyamuni Buddha. The deity is known as 'He whose bounty is omnipresent' and represents the Buddhist Law and compassion. The bodhisattva is borne by a white elephant, symbolic of the strength achieved through the practice of Buddhism.Known as Puxian in Chinese, he is sometimes shown in Chinese art with feminine characteristics, bearing similar dress and features to some depictions of Guanyin. It is in this guise that Samantabhadra is revered as the patron bodhisattva of the monasteries associated with Mount Emei in western China. Some believe that the white elephant mount of Samantabhadra was the same elephant that appeared to Queen Maya, the mother of the Buddha, to herald his birth.Auction result comparison: Compare a related bronze elephant-form censer, 37 cm long, dated to the late Ming dynasty, at Christie's Hong Kong in The Pavilion Sale on 4 April 2017, lot 64, sold for HKD 100,000. 明代象形爐中國，1368-1644年。動物立於四足，大耳張開。粗壯的身軀，一對大牙，其背部頂部有一個環，曾經用於連接香爐的蓋子。來源：法國古玩市場。 品相：狀況良好，有輕微磨損和鑄造瑕疵、小刻痕和凹痕、輕微劃痕、蓋子丟失。整體上包漿自然細膩。重量：3,405 克 尺寸：高20.5 厘米, 長28 厘米 拍賣結果比較：比較一件相近的明末象形銅爐，長37 厘米，見香港佳士得The Pavilion Sale 2017年4月4日 lot 64, 售價HKD 100,000。
A SANCAI-GLAZED FIGURE OF GUANYIN, MING DYNASTYChina, 1368-1644. Seated in royal ease atop a lotus base, wearing voluminous robes tied at the waist and opening at the chest adorned with beaded jewelry, a billowing scarf around her back and legs. The serene face with heavy-lidded almond-shaped eyes and full lips, the hair arranged in a high chignon behind the tiara, a mandorla behind her. Covered overall save for the head, upper torso, arms, hands, feet, and underside of the base with bright glazes of green, ochre, and aubergine color. Provenance: Swedish private collection, thence by descent. Old inventory label to base, '1246'.Condition: The head and mandorla have been reattached with associated old repairs and touchups, further with small losses and minor touchups. Minor nicks and light scratches.Weight: 1,432 gDimensions: Height 29.5 cm 明代三彩自在觀音像 中國，1368-1644年。觀音高螺髻，戴寶冠，面目秀美，身著衣裙帔帛，胸腿飾瓔珞，垂左足，抬右腿曲於練座上，雙手按右膝，姿勢自在輕鬆。佛像除了頭部、上身、手臂、手、腳和底部外，施綠、淡褐、黃三色釉，局部飾黑彩。 來源：瑞典私人收，保存至今。底部有老標籤注收藏編號 "1246"。 品相：頭部和光背已經重新連接過，有小缺損和輕微的修飾，輕微的劃痕。 重量：1,432 克 尺寸：高29.5 厘米
AN EMERALD-GREEN AND CINNABAR-RED GLASS SNUFF BOTTLE, 18TH-19TH CENTURYChina. Of compressed spherical form with an oval foot ring, recessed base and large opening. The semi-transparent body of emerald-green glass with a single cinnabar-red streak to each side. The green color of the glass becomes only visible when the body is held against strong light. Without light, the color appears almost black. Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member.Condition: Good condition with some manufacturing irregularities such as open bubbles, light wear and surface scratches, some nibbling, mostly at the foot rim.Stopper: Hardstone stopper Weight: 30 g Dimensions: Height including stopper 59 mm. Diameter neck 12 mm and mouth 9 mm. Auction result comparison: Compare a near-identical emerald-green glass snuff bottle, dated to the 18th-19th century, at Sotheby's Hong Kong in Snuff Bottles From The Mary & George Bloch Collection: Part VIII on 25 May 2014, lot 1157, sold for HKD 40,000.十八至十九世紀墨綠朱紅紋料器鼻烟壺中國。圓柱形直頸，扁平圓形，橢圓形圈足。半透明的墨綠色料器，每面有一條朱紅色條紋。只有強光照射時，才能看出玻璃的綠色。 來源: Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻煙壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相: 狀況良好，有一些製造瑕疵，如開口氣泡、輕微磨損和表面劃痕，足部有些磕損。 壺蓋: 硬石 重量: 30 克 尺寸: 含蓋高 59 毫米，頸部直徑12 毫米，壺嘴直徑 9 毫米 拍賣結果比較: 比較一件幾乎一模一樣的十八至十九世紀翡翠綠料器鼻烟壺，見香港蘇富比Snuff Bottles From The Mary & George Bloch Collection: Part VIII 2014年5月25日 lot 1157, 售價HKD 40,000。
A GILT-COPPER CLOISONNE QUADRILOBED CUP STAND, 18TH CENTURYChina. Finely decorated in bright enamels to the interior and exterior with stylized lotus surrounded by archaistic and foliate scroll, the long sides each with a bat in flight. The overall form, and especially that of the gilt base, is reminiscent of the crabapple (haitang), further adding to the auspicious nature of this piece.Provenance: French trade.Condition: Very good condition with some wear, particularly to gilt, and expected manufacturing flaws, such as pitting. Minor nicks, small dents, and light scratches.Weight: 140.3 cm Dimensions: Length 15.1 cmAuction result comparison: Compare with a related cup stand, 15.4 cm long, dated to the Qianlong period, described as a dish, at Sotheby's London in Fine Chinese Ceramics and Works of Art on 11 May 2011, lot 209A, sold for GBP 6,875. 十八世紀銅胎掐絲琺琅盞托中國，海棠式口盞托，材質厚重，底部鎏金。上下飾以纏枝蓮紋與紅蝠紋，寓意福壽連年。托外壁同樣裝飾雙蝠纏枝蓮紋兩組。全器裝飾風格華麗，製作規整。來源: 法國古玩市場。 品相: 狀況極好，一些磨損，特別是鎏金，以及預期的製造瑕疵，如麻點。小刻痕、輕微劃痕和小凹痕。 重量: 140.3 厘米 尺寸: 長 15.1 厘米 拍賣結果比較: 比較一件乾隆時期盞托，長15.4 厘米，被描述爲盤子，見倫敦蘇富比 Fine Chinese Ceramics and Works of Art 2011年5月11日 lot 209A, 售價GBP 6,875。
AN EGG-YOLK YELLOW PEKING GLASS VASE, LATE QING TO REPUBLIC PERIODChina, 1860-1940. Translucent at the upper part, the almost flawless, thick glass vase of a rich, egg-yolk color, corresponding to a butterscotch amber tone. With a slender tapering body and an everted mouth rim. An apocryphal four-character Qianlong reign mark incised to the underside.Provenance: From a private German collection of old Chinese glass, by repute acquired before 1980. A French private collection, acquired from the above.Condition: Very good condition with minor old wear, and light surface scratches, mostly on the underside.Weight: 1,120 gDimensions: Height 21.4 cm清末民初蛋黃北京料器賞瓶中國，1860-1940年。幾乎完美無瑕的厚玻璃賞瓶，濃郁的蛋黃色。敞口，縮頸，豐肩。 底面刻有四字"乾隆年製"寄托款。 來源：德國的中國古代料器私人收藏，據說購於 1980 年之前；法國私人收藏，購於上述收藏。 品相：狀況極好，主要在底部有輕微的磨損和表面劃痕。 重量：1,120 克 尺寸：高21.4 厘米
A NATURAL GOURD SNUFF BOTTLE, 18th-19th CENTURYChina. The dried, hollowed gourd finely polished and applied with silver at the neck, neatly incised in imitation of leaves. A naturally grown patina with an unctuous feel overall. Provenance: From the collection of Dr. Erika Pohl-Stroeher (1919-2016), thence by descent in the same family. Dr. Erika Pohl-Stroeher was a German-born Swiss resident and heiress to the hair care and cosmetics company Wella AG. She was a passionate collector and had amassed in her lifetime various important art collections, as well as one of the world's most valuable collections of gems and minerals.Condition: Excellent condition with only minor old wear.Stopper: Natural coral branch stopper Weight: 7 g (!) Dimensions: Height including stopper 85 mm. Diameter neck 7 mm and mouth 4 mm.Gourds have been used since the earliest of times in many cultures as natural containers. Growing in a wide variety of shapes and sizes, the dried rind of the fruit becomes a very light, impervious container which, if the mouth is kept narrow, can be easily stoppered and made airtight.Literature comparison: For an unadorned gourd snuff bottle in the Palace collection, see Snuff Bottles in the National Palace Museum, with an introduction by Chang Lin-sheng, Taipei, 1991, p. 270, no. 413.Auction result comparison: Compare a related natural gourd snuff bottle, dated 1760-1860, at Christie's New York in Important Chinese Snuff Bottles from the J & J Collection on 30 March 2005, lot 43, sold for USD 9,600. Compare also a related natural gourd snuff bottle, dated 1770-1880, at Christie's New York in The Meriem Collection Important Chinese Snuff Bottles on 18 September 2007, lot 606, sold for USD 8,125.十八至十九世紀天然葫蘆鼻烟壺中國。曬乾並挖空的葫蘆經過打磨，並在頂部鍍銀，樹葉紋。自然包漿，整體感覺細膩。 來源：Erika Pohl-Stroeher（1919-2016）博士收藏，保存於同一家族至今。Erika Pohl-Stroeher博士是德國出生的瑞士人，是護髮和化妝品公司Wella AG的女繼承人。她是一位有熱誠的收藏家，一生中積累了許多重要的藝術收藏，以及世界上最有價值的寶石和礦石收藏之一。 品相：狀況極佳，輕微磨損。 壺蓋: 天然珊瑚 重量：7 克 尺寸：總85毫米；頸部直徑7 毫米；嘴部直徑4 毫米 拍賣結果比較：比較一件相近的天然葫蘆鼻烟壺，1760-1860年，見紐約佳士得 Important Chinese Snuff Bottles from the J & J Collection 2005年3月30日 lot 43, 售價USD 9,600；比較另一件天然葫蘆鼻烟壺，1770-1880年，見紐約佳士得The Meriem Collection Important Chinese Snuff Bottles 2007年9月18日 lot 606, 售價USD 8,125。
A SILVER WIRE-INLAID BRONZE FIGURE OF A QILIN, ATTRIBUTED TO SHISOU, QING DYNASTYChina, 1644-1912. Finely cast seated on its haunches, the front legs braced, the head with sharply cast, elegantly curved antlers, large ears, bulging eyes, a ruyi-shaped nose, the mouth open revealing teeth, sharp fangs, and tongue. The furcated tail curling to one side, the spine neatly articulated.Provenance: From a private collection in northern Germany, acquired before 2000.Condition: Very good condition with minor wear and casting flaws, few losses to inlays, occasional light scratches, few minuscule nicks. Fine, naturally grown, dark patina.Weight: 2,439 g (incl. base)Dimensions: Height 18 cm (excl. base) and 19 cm (incl. base)The bronze is finely inlaid with silver wire to depict the wavy fur, spirals to the spine and head, and a scroll design to the collar. The beast wears a collar around its neck attached with two small double-gourds and a drop-shaped ornament as well as a loop to the back.Mounted to a modern base.Little is known about the historical figure Shisou. The earliest reference in the Zhongguo meishujia renming cidian ('Dictionary of Chinese Artists') comes from the Luochuang xiaodu and is presumably from the same source as published in Zhongguo yishujia zhenglue ('Brief Introduction of Chinese Artists'). Shisou is listed there only as a late Ming dynasty monk without any further biographical information. A number of vessels and sculptures from the seventeenth to the nineteenth century bear his name, sometimes in combination with a hall name, Jinyu tang ('Hall of Prosperity'). Although the present piece is unsigned, the high quality of the casting and intricate silver-wire inlays make an attribution to Shisou or a related workshop more than reasonable.Auction result comparison: Compare a related bronze lion-form censer, with similar silver-inlaid wavy fur and spirals to the spine, also dated to the Qing dynasty (50.2 cm high), at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on 30 November 2016, lot 3246, sold for HKD 300,000. 清代石叟款銅錯銀麒麟擺件中國，1644-1912年。銅麒麟作昂首挺立的姿勢，身形修長，儀態優雅，微展雙角立於頭之上，以陰線雕刻眼眶，突出一對圓鼓的雙目，嘴微微張開，面部用陰線簡單勾勒表現五官，頸部略靠後，胸脯前突。來源：德國北部私人收藏，購於2000年之前。品相：狀況極好，有輕微磨損和鑄造瑕疵，少量鑲嵌缺損，局部有輕微劃痕，少量微小刻痕。包漿細膩且自然生長。重量：總2,439 克尺寸：高18 釐米 (不含底座)，總 19 釐米現代底座。拍賣結果比較：比較相近的清代銅獅香爐，毛與脊椎部位有著相近的錯銀紋理，高50.2釐米，見香港佳士得Important Chinese Ceramics and Works of Art 2016年11月30日 lot 3246, 售價HKD 300,000。
A CELADON JADE PENDANT, WESTERN ZHOU DYNASTYChina, 1100 to 771 BC. The flattened plaque is finely carved with a bird below a coiled dragon and an elephant's head merged with the dragon's tail. Both sides are neatly enhanced with double-line grooves and various geometric designs. The translucent stone is of a pale celadon tone with distinct shades of beige-brown and white alteration along one side.Provenance: From the collection of David Taylor, and thence by descent within the Taylor family. David Taylor (1876-1958) was a notable British businessman who lived in Belfast and owned various commercial buildings along with a substantial portfolio of stocks and shares. During his travels to China in the early 20th century, he acquired many jades, including the present lot. His grandfather, Sir David Taylor, was born in 1815 in Perth, Scotland, and moved to Belfast in 1842, serving as its Mayor in 1867 and for two consecutive terms in 1883 and 1884.Condition: The stone with minor nicks, losses, light surface scratches, natural fissures, some of which have developed into small hairline cracks over time. One small aperture drilled to upper end, below a smoothened loss, is a later addition. It is obvious that a segment at the top of the plaque is missing; although one can only speculate about the carving, considering comparable jades such as the one mentioned in the Auction result comparison below, it is reasonable to think it was a depiction of a human head.Expert's note: Note that in the 19th and earlier 20th century, when the previous owner David Taylor was frequently travelling to China, it was common that pieces with damage or losses such as the present lot were subject to improvised 'repair measures' to make them suitable for sale to Western visitors. The present jade was most likely a dragon-human form pendant, a rare and important type from the Western Zhou dynasty, which was however incomplete and thus sold off. Weight: 70.4 gDimensions: Length 10.9 cm, Width 4.3 cmAuction result comparison: Compare a related jade dragon-human form pendant, also dated to the Western Zhou dynasty, of smaller size (8.7 cm), at Christie's Hong Kong in Chinese Archaic Jades From The Yangdetang Collection PART II on 28 November 2018, lot 2743, sold for HKD 187,500. 西周青玉掛件 中國，公元前1100至771 年。扁平狀平雕，龍下有鳥與龍尾融為一體，采用雙鈎陰線方式，運用不同紋飾。半透明玉料呈淺青色，一側有明顯的米褐色和白色内沁。 來源：David Taylor收藏，自此一直保存在Taylor家族中。David Taylor (1876-1958) 曾是一位著名的英國商人，住在貝爾法斯特，擁有各種商業建築以及大量股票和股份。二十世紀初，他到中國旅行時購買了許多玉器，包括現在的這件。 他的祖父戴維·泰勒爵士 1815 年出生於蘇格蘭Perth，1842 年移居Belfast，1867 年擔任市長，1883 年和 1884 年連任。 品相：玉料上有輕微的刻痕、缺損、劃痕、天然裂紋，隨著時間的推移，其中一些已經發展成細小的細裂紋。 一個鉆孔，應是後來添加的。很明顯，斑塊頂部的有一段缺失；雖然只能推測，考慮到類似的玉石，例如拍賣結果比較中提到的，有理由認為它雕刻了一個人頭。 重量：70.4 克 尺寸：長10.9 厘米, 寬4.3 厘米 拍賣結果比較：比較一件相近的西周人龍合體玉件，尺寸稍小 (8.7 厘米)，見香港佳士得Chinese Archaic Jades From The Yangdetang Collection PART II 2018年11月28日, lot 2743, 售價HKD 187,500。
A PALE CELADON AND RUSSET JADE 'CARP' SNUFF BOTTLE, 19TH CENTURYChina. Well hollowed, naturalistically carved and incised in the form of a large carp with bulging eyes, its mouth forming the opening of the bottle. The stone of pale celadon color with small russet inclusions.Provenance: From a private collection in Chicago, Illinois, USA. Condition: Very good condition with light surface scratches and minor nibbling to the lip. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: Coral stopper on silver mounting, carved spoon Weight: 85 g Dimensions: Height including stopper 98 mm. Diameter mouth 7 mm.Auction result comparison: Compare a related white jade 'goldfish' snuff bottle, dated to the early 18th-19th century, at Sotheby's Hong Kong in Snuff Bottles From The Mary And George Bloch Collection: Part VI on 26 May 2013, lot 101, sold for HKD 175,000. Compare also a carved white jade fish form snuff bottle, at Christie's New York in Fine Chinese Ceramics and Works of Art on 20 September 2013, lot 1624, sold for USD 10,000.十九世紀青白玉雕鯉魚鼻烟壺中國。掏膛良好，隨形雕刻成大鯉魚的形狀，眼睛凸出，嘴巴處包銀成鼻烟壺口。青白色玉料，有少量赤褐色皮。 來源：美國伊利諾斯州芝加哥私人收藏。 品相：狀況極好，表面有輕微劃痕，唇部有輕微磕損。有天然紋理的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。 壺蓋：珊瑚壺蓋，包銀，雕刻的小勺 重量：85 克 尺寸：含壺蓋高98 毫米，嘴部直徑7 毫米. 拍賣結果比較：比較一件相近白玉金魚鼻烟壺，十八世紀初至十九世紀，見香港蘇富比Snuff Bottles From The Mary And George Bloch Collection: Part VI 2013年5月26日 lot 101, 售價HKD 175,000；比較一件白玉雕魚形鼻烟壺，見紐約佳士得Fine Chinese Ceramics and Works of Art 2013年9月20日 lot 1624, 售價USD 10,000。
A BRONZE 'BUDDHIST LION' CENSER AND COVER, QING DYNASTYChina, 18th-19th century. Formed as a stout Buddhist lion standing on its haunches, the front legs braced, and cast with cloud-like scrolls on the body. The separately cast head with large bulging eyes, a broad ruyi-shaped nose, thickly curling mane and brows, the mouth wide open revealing teeth and tongue, and a tang for attachment to the censer. The tail is also separately cast with curling tufts of hair.Provenance: From an English private collection.Condition: Very good condition with some wear and minor casting flaws, minuscule nicks, light scratches, small dents.Weight: 3,064 gDimensions: Height 21.5 cmAuction result comparison: Compare a closely related censer formed as a Buddhist lion, also dated 18th-19th century (34.8 cm high), at Christie's New York in Chinese Art from the Art Institute of Chicago on 17 September 2019, lot 109, sold for USD 21,250 (part lot, with another related lion-form censer, 35.6 cm high and also dated 18th-19th century).清代銅獅薰爐 中國，十八至十九世紀。此器以銅鑄雄獅，獅子體態健碩渾圓，身上飾祥雲紋，仰首傲立，雙目圓瞪，炯炯有神，如意狀鼻子，整體氣勢威嚴；頭部可掀開，腹部中空，可作香薰使用，口張開，以便香味飄散；其面相、毛髮、獸爪等細節刻畫栩栩如生，線條流暢精細。 來源：英國私人收藏。 品相：狀況極好，有一些磨損和輕微的鑄造瑕疵、微小的刻痕、輕微的劃痕、小凹痕。 重量：3,064 克 尺寸：高 21.5 厘米 拍賣結果比較：比較一件十八至十九世紀銅獅爐 (高34.8 厘米)，見紐約佳士得Chinese Art from the Art Institute of Chicago 2019年9月17日 lot 109, 售價USD 21,250 (此拍品的一部分，兩外還有兩件銅獅爐高 35.6 厘米，十八至十九世紀)。
AN INSIDE-PAINTED GLASS SNUFF BOTTLE, BY BI RONGJIUChina. Of flattened rectangular form, standing on a short, splayed foot, painted to one side with a scene from Dream of the Red Chamber showing two ladies resting near a bridge, the reverse depicting a mountain and river landscape with two wanderers crossing a bridge. Inscribed on the top right with a short text declaring the bottle as a gift to an older brother. Two seal marks, the reverse signed Rongjiu with one seal mark.Inscription: One side with 'by Rongjiu' and seal mark, the reverse with 'gifted by brother Mingge'.Provenance: From a French private collection, by repute acquired from Millon Jutheau on 2 February 1983, lot 124. Condition: Good condition with little wear and light surface scratches, some nibbles to lip and foot rim, some wear and microscopic scratches to the inside painting. Stopper: Carnelian Weight: 29 g Dimensions: Height including stopper 73 mm. Diameter neck 19 mm.Bi Rongjiu (1874-1925) was the founder of the Boshan School for inside-painting, in Shandong province. The artist is known for his technique of figure painting, with simple outlines filled-in with color.Literature comparison: Further examples of Bi's work in a similar style are illustrated in Hugh Moss, Victor Graham and Ka Bo Tsang, 'A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection', vol. 4, part 2, Hong Kong, 2000, no. 655 and in Hugh Moss, et. al., 'The Art of the Chinese Snuff Bottle: The J & J Collection', vol. 2, New York, 1993, no. 451.Auction result comparison: Compare a related inside-painted snuff bottle, by Bi Rongjiu, at Bonhams New York in Chinese Art from the Scholar's Studio on 16 September 2013, lot 4048, sold for USD 5,000. Compare also another inside-painted snuff bottle by the artist, at Bonhams Hong Kong in The Paul Braga Collection of Snuff Bottles on 24 November 2012, lot 185, sold for HKD 40,000. 畢榮九款内畫玻璃鼻烟壺中國。扁平長方圓肩，圈足外撇。一側繪有紅樓夢寶玉黛玉場景；另一面為山下小屋，文人携侍者過橋。 款識: 一面"榮九作"；另一面上"弟 名閣贈"等字樣。 來源：法國私人收藏，據説1983年2月2日購於Millon Jutheau 藝廊，lot 124。 品相：狀況良好，極少量磨損和輕微的表面劃痕，唇部和足部邊緣有一些小刻痕，內畫有一些磨損和微小的劃痕。壺蓋: 玉髓 重量：29 克 尺寸：含蓋高73 毫米；頸部直徑19 毫米 拍賣結果比較：比較一個相近的畢榮九内畫鼻烟壺, 見紐約邦翰思Chinese Art from the Scholar's Studio 2013年9月16日 lot 4048, 售價USD 5,000；比較另一件畢榮九内畫鼻烟壺，見香港邦翰思The Paul Braga Collection of Snuff Bottles 2012年11月24日 lot 185, 售價HKD 40,000。
A ROOT AMBER SNUFF BOTTLE, 1750-1850China. Of flattened ovoid form, surmounted by a tubular neck with flat lip, the shoulders finely carved with lion mask and mock ring handles, supported on an oval foot ring, the remaining surfaces unadorned to best display the swirled and variegated material with patterns resembling an ancient piece of burl wood.Provenance: From the collection of Dr. Erika Pohl-Stroeher (1919-2016), thence by descent in the same family. Dr. Erika Pohl-Stroeher was a German-born Swiss resident and heiress to the hair care and cosmetics company Wella AG. She was a passionate collector and had amassed in her lifetime various important art collections, as well as one of the world's most valuable collections of gems and minerals.Condition: Good condition with some wear, light surface scratches, some nibbling around the lip and base, a few nicks and minor natural flaws.Stopper: Aventurine stopper, carved spoon Weight: 43 g Dimensions: Height including stopper 68 mm. Diameter neck 12 mm and mouth 7 mm.Literature comparison: For a similar root-amber bottle still in the Imperial Collection see Chang Lin-Sheng, 'Snuff Bottles in the Collection of the National Palace Museum', Taipei, 1991, p. 252, no.374.Auction result comparison: Compare a related root amber snuff bottle with mask handles, dated 1780-1850, at Bonhams New York in The Dr Sylvan and Faith Golder Collection of Fine Chinese Snuff Bottles, Part II on 19 March 2018, lot 144, sold for USD 3,125. Compare also a related root amber snuff bottle with mask handles, dated to the 19th century, at Bonhams New York in Fine Chinese Paintings and Works of Art on 21 July 2020, lot 116, at an estimate of USD 3,500-5000. 1750-1850年根珀鼻烟壺中國。根珀扁壺，器身光素，兩肩有獅面輔首，圓柱頸，平唇，圈足，表面光滑，呈現出瘤木般漂亮的花紋。來源：Erika Pohl-Stroeher（1919-2016）博士收藏，保存於同一家族至今。Erika Pohl-Stroeher博士是德國出生的瑞士人，是護髮和化妝品公司Wella AG的女繼承人。她是一位有熱誠的收藏家，一生中積累了許多重要的藝術收藏，以及世界上最有價值的寶石和礦石收藏之一。 品相：狀況良好，有一些磨損，輕微的表面劃痕，唇部和底部有一些磕損，一些刻痕和輕微的天然瑕疵。 壺蓋: 砂金石，經過雕刻的小勺 重量：43 克 尺寸：含壺蓋高 68 毫米，頸部直徑12 毫米，嘴部直徑 7 毫米 拍賣結果比較：比較一件相近的1780-1850年根珀輔首鼻烟壺，見紐約邦翰思The Dr Sylvan and Faith Golder Collection of Fine Chinese Snuff Bottles, Part II 2018年3月19日 lot 144, 售價USD 3,125 ；比較另一件十九世紀根珀鼻輔首烟壺，見紐約邦翰思Fine Chinese Paintings and Works of Art 2020年7月21日lot 116, 估價USD 3,500-5000。
A CLOISONNE ENAMEL VASE AND COVER, JIAQING TO DAOGUANG PERIODChina, 1796-1851. The compressed globular body rising from a tall foot to a short cylindrical neck with everted rim, surmounted by a domed cover with a bud finial, the rims gilt. Finely decorated with colorful scrolling lotus above a lappet band and below a ruyi-head band. The shoulder and neck with bands of foliate scroll, the foot with geometric designs, all against a bright turquoise ground save for the dark-red-ground shoulder band.Provenance: Collection of Asbjorn Lunde. Asbjorn Lunde (1927-2017) was a New York lawyer and devoted art collector. Over more than 60 years, he built a substantial collection featuring Old Masters, landscape paintings, prints, European sculpture, South Asian painting and sculpture, and Asian decorative arts. Throughout his life, Mr. Lunde supported more than forty museums in New York City, across the United States, and in Europe with loans, gifts, and funding. He was a Fellow and Benefactor at the Metropolitan Museum of Art.Condition: Good condition with minor old wear and manufacturing irregularities, such as expected pitting. A shallow and small, hardly visible bruise to the body with associated flaking to enamels. The lower interior rim of the cover is bent. Few minuscule nicks and occasional light scratches.Weight: 1,850 gDimensions: Height 26.4 cmThe cover similarly decorated with lotus scroll, below a black-ground band of similar design to the one at the foot, and above a ruyi-head band encircling the finial. 嘉慶至道光時期掐絲琺琅纏枝蓮紋蓋瓶中國，1796-1851年。罐唇口，短直頸，豐肩圓腹，圈足。拱形瓶蓋，蓮花寶珠頂。景泰藍地，瓶蓋和瓶身施纏枝蓮紋，頸部卷葉紋，肩部如意紋。造型高貴典雅，製作精美。 來源：Asbjorn Lunde收藏。Asbjorn Lunde (1927-2017) 是一位紐約律師和忠實的藝術收藏家。 六十多年來，他建立了龐大的收藏，涵蓋古代大師、山水畫、版畫、歐洲雕塑、南亞繪畫和雕塑以及亞洲裝飾藝術。在他的一生中，他通過貸款、禮物和資金支持了紐約市、美國和歐洲的四十多家博物館。他是大都會藝術博物館的研究員和捐助者。 品相：狀況良好，有輕微的磨損和製造瑕疵，例如預期的點蝕。瓶身有一處淺而小、幾乎看不出的擦傷，並有琺琅剝落。 蓋子的下內緣是彎曲的。少量細小的刻痕和輕微劃痕。 重量：1,850 克 尺寸：高26.4 厘米
A COPPER AND SILVER-INLAID BRONZE 'FLORAL' VASE, ATTRIBUTED TO THE SHISOU WORKSHOPChina, 17th-18th century. The very heavy, compressed globular body rising from a spreading foot to a waisted neck with a cup-shaped mouth and lipped rim, the body decorated with a network of flowerheads connected by straight or gently curved lines, below wire-inlaid bands of lappets and scroll to the mouth and oval designs to the foot. The base with a silver wire-inlaid two-character seal mark within a square.Inscriptions: To base, 'Rongtai'.Provenance: UK trade.Condition: Very good condition with minor wear and casting irregularities, few minor losses to inlays, small nicks, light scratches.Weight: 3,421 gDimensions: Height 23 cmLittle is known about the historical figure Shisou. The earliest reference in the Zhongguo meishujia renming cidian ('Dictionary of Chinese Artists') comes from the Luochuang xiaodu and is presumably from the same source as published in Zhongguo yishujia zhenglue ('Brief Introduction of Chinese Artists'). Shisou is listed there only as a late Ming dynasty monk without any further biographical information. A number of vessels and sculptures from the seventeenth to the nineteenth century bear his name, sometimes in combination with a hall name, Jinyu tang ('Hall of Prosperity'). Although the present piece does not bear his name, the high quality of the casting and fine silver-wire inlays make an attribution to Shisou or a related workshop reasonable. 石叟款銅錯銀花卉紋瓶中國，十七至十八世紀。花瓶厚重，侈口，縮頸，削肩，鼓腹，圈足外撇。口沿下蕉葉紋，頸部與腹部錯銀網狀紋，交叉處花卉紋，圈足部位雙圈紋。底部四方錯銀"榮泰"款。 來源：英國古玩市場。 品相：狀況極好，有輕微磨損和鑄件不規則，鑲嵌物有輕微缺損，小刻痕，輕微劃痕。重量：3,421 克 尺寸：高23 厘米
A SUPERB INDIAN STONE LINGAM, LATE 19TH - EARLY 20TH CENTURYDeemed the purest embodiment of Shiva, the lingam serves as the primary emblem of worship for this Hindu deity. Its aniconic form symbolizes a phallus or a pillar of light. Self-manifested or svayambhu lingas are spawned in the bed of the sacred Narmada River in Western India. Occurring through natural rock formations and erosions, ovoid boulders such as the present lot are considered remarkably propitious.Provenance: From a private collection in southern Germany, mostly assembled between the 1960s and 1980s.Condition: Excellent condition with minor wear.Dimensions: Height 50 cm (excl. stand)With a modern wood stand. (2)Auction result comparison: Compare a related stone lingam, 129.5 cm high, at Sotheby's New York in Indian & Southeast Asian Works of Art on 19 March 2014, lot 21, sold for USD 17,500. A related stone brahmanda, 46 cm high, dated to the 19th century, with a matching bronze tripod stand, was sold in these rooms in Fine Chinese Art, Buddhism & Hinduism on 6 March 2021, lot 748, sold for EUR 16,432.
A BRONZE 'HUNTING' GROUP, MING DYNASTYChina, 1368-1644. Finely cast as a dog seated on its rear haunches, its spine neatly articulated, the mouth agape revealing teeth and a long tongue, the bulging eyes lending the animal a quizzical expression, a collar around its neck centered by a small double-gourd. A small falcon with incised wings is perched on the dog's head.Provenance: French trade. Condition: Very good condition with minor wear and casting flaws, few small dents and minuscule nicks, occasional light scratches. Fine, naturally grown, smooth patina.Weight: 662.5 gDimensions: Height 13.7 cmExpert's note: The dog depicted in this bronze is most likely a Saluki, originally bred in the Fertile Crescent and once used by nomadic tribes to run down game animals. Examples of dogs that look like Salukis were painted by the Xuande Emperor, who himself was an avid hunter, a characteristic shared by many Ming Emperors. The falcon, depicted in the present bronze perched on the dog's head, is another animal widely used in hunting, and would have been known as such to the Ming from the previous ruling dynasty in China, the Yuan.明代銅犬鎮紙中國，1368-1644年。銅犬蹲坐，背部挺拔，嘴巴張開，露出牙齒和舌頭，大眼凸出，似乎露出疑惑的表情，脖子上戴著項圈。一隻展翅的小獵鷹站在它的頭上。 來源：法國古玩市場。 品相：狀況極好，有輕微磨損和鑄造瑕疵、小凹痕和微小的刻痕，局部有輕微的劃痕。包漿自然光滑細膩。 重量：662.5 克 尺寸：高13.7 厘米
A SAPPHIRE-BLUE OVERLAY GLASS 'CELESTIAL EYE' SNUFF BOTTLE, 18TH-19TH CENTURYChina. Of upright rectangular form with sloping shoulders standing on a well-finished oval foot ring, the front and back decorated with a celestial eye goldfish amid lotus carved from translucent sapphire-blue glass overlay, the body of transparent glass. Provenance: British trade. Condition: Good condition with minor nibbling to lip and base, some wear and light surface scratches, a little chip to the neck. Stopper: Stopper of red colored organic material Weight: 51 g Dimensions: Height including stopper 90 mm. Diameter neck 13 mm and mouth 6 mm. Celestial eye goldfish or Choutengan is a double-tailed breed of fancy goldfish that has a defining pair of telescope eyes which are turned upwards, pupils gazing skyward. Celestial eye goldfish in a pond were a popular motif during the Qing dynasty. Auction result comparison: Compare a related sapphire-blue overlay glass 'carp' snuff bottle, dated 18th-19th century, at Christie's New York, in Chinese Works of Art: Snuff Bottles & Books, on 29 July 2013, lot 6, sold for USD 2,500. 十八至十九世紀寶石藍套料荷塘魚戲鼻烟壺中國。扁長形，削肩，橢圓形圈足，透明玻璃，兩面可見藍寶石玻璃描繪荷塘魚戯。 來源：英國古玩市場。 品相：狀況良好，唇部和底部有輕微磨損和表面劃痕，頸部有一點磕損。 壺蓋：紅色有機材料 重量：51 克 尺寸：含壺蓋高90 毫米，頸部直徑13 毫米，唇部直徑6 毫米 拍賣結果比較：比較一件十八至十九世紀相近寶石藍套料鯉魚紋鼻烟壺，見紐約佳士得Chinese Works of Art: Snuff Bottles & Books 2013年7月29日 lot 6, 售價USD 2,500。
A GILT BRONZE FIGURE OF A LAMA, 17TH-18TH CENTURYTibet. Heavily cast seated in dhyanasana on a double lotus base, the right hand lowered in bhumisparsa mudra and the left held in dhyana mudra, dressed in a vest and billowing sanghati with neatly incised patterned hems, the folds gathered over the ankles, the serene face finely cold-painted with a meditative expression marked by heavy-lidded eyes, arched brows, and full lips. The base sealed, the seal plate inset with a gilt medallion, cast with a double-vajra in relief.Provenance: From the collection of an artist and university professor in Vienna. The base with an old merchant label, 'Ref. 540. CR$ […]'.Condition: Good condition with some wear and casting flaws, minuscule nicks, light scratches, small dents, some rubbing to gilt, minor loss to pigment.Weight: 1,255 gDimensions: Height 13.1 cm 十七至十八世紀鎏金銅喇嘛像西藏，喇嘛結觸地印，以冥想姿勢坐在雙層蓮花座上，身著敞右肩僧服，衣紋整齊，褶皺聚攏至腳踝，面容安詳，帶有沉思的表情，眼睛微閉，眉毛微攏，嘴唇豐滿。底座封口，封底有雙金剛杵紋。 來源: 維也納一位藝術家、大學教授的收藏。底座上可見商家標籤，"Ref. 540. CR$ […]"。 品相: 品相良好，一些磨損和鑄造瑕疵，微小的刻痕，小凹痕，鎏金處有磨損，輕微的色彩損失。重量: 1,255 克 尺寸: 高13.1 厘米
A PAIR OF CLOISONNE VASES, QIANLONG TO JIAQINGChina, 1736-1820. The ovoid body supported on a spreading foot and rising to a waisted neck with flared rim. Finely decorated in bright enamels to the neck and body with floral scroll against a turquoise ground, divided by a band of trefoils against a white ground to the shoulder, with bands of ruyi-heads, stiff leaves, and floral scroll. (2)Provenance: From an old private collection in the Rhineland, Germany, assembled during the 1980s and 1990s.Condition: Very good condition with some wear, particularly to gilt, and expected manufacturing flaws, such as pitting. Minor nicks and light scratches.Weight: 669.9 g and 681.5 gDimensions: Height 18.6 cm and 18.9 cmAuction result comparison: Compare a related cloisonne 'lotus' vase, 35 cm high, dated to the Qianlong period, at Christie's Hong Kong in Reverence and Perfection - Magnificent Imperial Cloisonne Enamels from a Private European Collection on 29 May 2013, lot 2070, sold for HKD 625,000. Compare a related cloisonne 'lotus' vase, 33 cm high, dated to the Qianlong period, at Christie's Paris in Art d'Asie on 12 June 2012, lot 103, sold for EUR 25,000. 乾隆至嘉慶一對銅胎掐絲琺琅纏枝蓮紋瓶中國，1736-1820年。侈口，長頸，削肩，圈足外撇。松石綠色地飾多彩琺琅，口沿下與肩部飾如意紋，頸部卷葉荷花紋，腹部纏枝蓮紋。琺琅明亮沉穩。 來源：德國萊茵蘭私人老收藏，購於上世紀八十年代至九十年代。 品相：狀況極好，有一些磨損，尤其是鎏金，以及製造瑕疵，例如點蝕。輕微的刻痕和劃痕。 重量：分別爲669.9 克與 681.5 克 尺寸：高分別爲18.6 厘米 與18.9 厘米 拍賣結果比較：比較一件相近的乾隆時期銅胎掐絲琺琅蓮紋瓶，高35 厘米，見香港佳士得Reverence and Perfection - Magnificent Imperial Cloisonne Enamels from a Private European Collection 2013年5月29日 lot 2070, 售價HKD 625,000。比較另一件相近的乾隆時期銅胎掐絲琺琅蓮紋瓶，高33 厘米，見巴黎佳士得Art d'Asie 2012年6月12日 lot 103, 售價EUR 25,000。
AN AMBER-GLAZED MARBLED POTTERY JAR, TANG DYNASTYChina, 618-908. Finely potted, the body formed of two sections meeting at the shoulder, the flaring sides rising from a flat foot to a rounded shoulder with a short waisted neck and everted lip. Made from rolled and flattened layers of dark and light clay, covered with a transparent amber glaze stopping unevenly above the foot, revealing the buff-brown ware.Provenance: From a private collection in New York, USA.Condition: Very good condition with some old wear and firing flaws, the base with light surface scratches and traces of use, the shoulder with a small nick and a minor glaze flake.Weight: 255.1 gDimensions: Height 9 cmMarbling, known as jiao tai in Chinese, became a popular decorative technique on ceramics of the Tang dynasty, and was applied to a number of different forms, including jars, cups, bowls, dishes and censers. Sections of marbling were also inlaid into larger items, such as pillows, for special decorative effect. The popularity of marbled wares with the Tang aristocracy was confirmed by the discovery of a small number of horses made with marbled clay among the items in the tomb of the Tang Princess Yongtai, who was given a grand reinterment in AD 706.The marbled appearance could be achieved either by combining clays of different colors when making the vessel, or by using two contrasting slips on the surface of the vessel. In either case the piece was afterwards covered with a transparent glaze. The most popular glazes were amber, as seen on the present jar, green, or colorless. It can clearly be seen that the present jar was made by mixing contrasting clays, and it can further be seen that the upper and lower sections were made separately and then luted together. This would have required considerable skill on the part of the potter, and on the present jar it was done quite successfully.Literature comparison: Compare a related and similarly glazed jar, also without a cover, found at Xianyang, Shaanxi province in 1952. The tomb from which the Xianyang jar was excavated has been dated to AD 714. The jar, now in the Shaanxi Provincial Museum, is illustrated in Zhongguo wenwu jinghua daoquan - Taoci juan, Taipei, 1993, p. 247, no. 246. Another larger marbled jar with amber glaze, also without a cover, is illustrated by R. Krahl in Chinese Ceramics from the Meiyintang Collection, vol. I, London, 1994, no. 230.Auction result comparison: Compare a closely related amber-glazed marbled pottery jar with cover, dated to the Tang dynasty, at Christie's New York in The Falk Collection 1: Fine Chinese Ceramics & Works of Art on 16 October 2001, lot 19, sold for USD 58,750. 唐代琥珀色釉絞胎瓷罐 中國，618-908年。罐小口，豐肩，鼓腹，平足。罐身以褐、白兩色泥料揉絞出花紋。罐身至足部施琥珀色釉。 來源：美國紐約私人收藏。 品相：狀況極好，有舊時磨損和燒製瑕疵，底座有輕微的劃痕和使用痕跡，肩部有一個小刻痕和輕微的釉面剝落。 重量：255.1 克 尺寸：高9 厘米 拍賣結果：比較一件相近的唐代琥珀色釉絞胎瓷蓋罐，見紐約佳士得The Falk Collection 1: Fine Chinese Ceramics & Works of Art 2001年10月16日 lot 19, 售價USD 58,750。
A BLUE AND WHITE PORCELAIN SNUFF BOTTLE, 19TH CENTURYChina. The cylindrical bottle painted in blue and white with a continuous design of a phoenix standing in a river landscape, surrounded by a pine tree, lingzhi and rocks. The base with an apocryphal six-character Qianlong reign mark.Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member.Condition: Good condition with some manufacturing flaws, such as firing irregularities and dark spots, flakes to the foot, little surface wear, a faint surface crack along the foot rim, detectable under blue light.Stopper: Hardstone stopper Weight: 59 g Dimensions: Height including stopper 95 mm. Diameter neck 9 mm and mouth 8 mm.Auction result comparison: Compare a related blue and white porcelain snuff bottle with double phoenix motif, also dated to the 19th century, at Sotheby's Hong Kong in Snuff Bottles From The Mary And George Bloch Collection: Part X on 31 May 2015, lot 135, sold for HKD 12,500. 十九世紀青花松下鳳凰鼻烟壺 中國。圓柱體，青花繪製河邊松下鳳凰昂首而立，靈芝與岩石在其一側。圈足内"大清乾隆年製"六字寄托款。 來源：Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻煙壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：品相良好，有一些製造瑕疵，例如燒製不規則和黑點，足部剝落，表面小磨損，足部邊緣有輕微的表面裂紋，在藍光下可檢測到。 壺蓋: 硬石 重量：59 克 尺寸：含蓋高95 毫米，頸部直徑9 毫米，及口部直徑8 毫米 拍賣結果比較：比較一件相近的十九世紀青花雙鳳紋鼻烟壺，見香港蘇富比Snuff Bottles From The Mary And George Bloch Collection: Part X 2015年5月31日 lot 135, 售價HKD 12,500。
A LARGE LINGAM COVER, MAHARASTRA, INDIA, 18TH-19TH CENTURYThe mustachioed brass head expressively cast with a straight nose and bulging eyes, flanked by wide ears, surmounted by a tiered crown with a short and flared foliate brim and finely incised with stylized petal designs.Provenance: From a private collection in southern Germany, mostly assembled between the 1960s and 1980s.Condition: Very good condition with extensive old wear, some manufacturing flaws, small nicks and dents, light scratches, remnants of old lacquer coating.Weight: 1,957 gDimensions: Height 26.5 cmLiterature comparison: Compare a related brass Shivalinga cover, dated 17th-18th century, in the collection of the Los Angeles County Museum of Art, accession number AC1995.220.1.Auction result comparison: Compare a related brass lingam cover, 40.6 cm high, also dated 18th-19th century, at Christie's New York in Indian and Southeast Asian Art on 18 September 2013, lot 249, sold for USD 7,500. Compare a related brass lingam cover, 28 cm high, dated to the 19th century, at Christie's London, 19 March 2013, lot 387, sold for GBP 4,375.
A BRONZE 'LUDUAN' CENSER, EARLY QING DYNASTYChina, 17th-18th century. Finely modeled as a mythical beast standing foursquare, detailed with neatly delineated mane and tail above a stout body with stylized markings, the head forming the cover with bulging eyes, ruyi-shaped nose, and mouth agape revealing tongue and teeth.Provenance: Austrian trade, by repute from a private estate.Condition: Good condition with old wear and casting flaws, tiny losses, minuscule nicks, and light scratches, the underside with a minor old fill, few small drilled holes.Weight: 1,822 gDimensions: Length 19 cmThe throne of the Emperor of China in the Hall of Supreme Harmony has two incense burners shaped as Luduans, the legendary Chinese auspicious creatures who can travel 18,000 li (9,000 km) in a single day and speak all world languages. A legend says that a Luduan once appeared to Genghis Khan and convinced him to abandon his efforts to conquer India. The auspicious nature of luduan was particularly appropriate for the purpose of these censers. Cast with hinged or removable heads, they were made for burning incense and smoke would emerge from the beast's mouth, animating and empowering the sculpture. As Chuimei Ho and Bennet Bronson note in their discussion of a pair of Qianlong cloisonne enamel examples from the Palace Museum, Beijing, included in the exhibition 'Splendors of China's Forbidden City, The Glorious Reign of Emperor Qianlong' by The Field Museum, Chicago, 2004, these burners were traditionally valued at the Imperial Court, as with their open mouths and smoke billowing forth, they were a reminder to the emperor that he should always be receptive to honest advice (see page 37).Auction result comparison: Compare a closely related bronze luduan censer, 7.5 cm high, bearing a Xuande mark, dated to the 17th century, at Sotheby's London in Menagerie: An English Private Collection of Chinese Animal Carvings on 10 May 2017, lot 29, sold for GBP 13,125.清初甪端銅香薰爐中國，十七至十八世紀。昂首傲立，雙目圓瞪，如意鼻，髮鬚盤結，頭部與身體相分開，便於燃香，腹部中空，口齒鏤空，以利香散，設計巧妙。體態飽滿圓潤。全器包漿厚實凝重，形制古樸。 來源：奧地利古玩市場，據説購於私人收藏。 品相：狀況良好，磨損和鑄造瑕疵、微小的缺損和刻痕以及劃痕，底部有少量舊填充物，有小孔。 重量：1,822 克 尺寸：長 19 厘米 拍賣結果比較：比較一件相近的甪端銅爐，高 7.5 厘米，有宣德款，十七世紀，見倫敦蘇富比Menagerie: An English Private Collection of Chinese Animal Carvings 2017年5月10日 lot 29, 售價GBP 13,125。
A PAIR OF BRONZE 'LUDUAN' CENSERS, 17TH-18TH CENTURYChina. Each boldly cast standing foursquare, the mouth agape to release smoke, with a pierced horn extending from the top of the head, curling mane and brows, leaf-shaped ears, ruyi-form nose, and a large bushy flame-like tail behind. (2)Provenance: Danish trade. Condition: Good condition with minor wear and casting flaws, minor nicks and light scratches, small dents, one lion with a minor structural crack to the body, the interiors with traces of use.Weight: 701.9 g and 759.5 gDimensions: Height 12.6 cm and 12.3 cmAuction result comparison: Compare a closely related luduan censer, 13.1 cm long, also dated 17th-18th century, at Sotheby's Hong Kong in CHINA / 5000 Years on 5 June 2020, lot 424, sold for HKD 52,500 (for a single censer).十七至十八世紀一對甪端香爐中國。昂首傲立，頭頂獨角，雙目圓瞪，葉形耳，如意鼻，發須如火焰紋，前胸配以纓絡鈴鐺，頭部與身體相分開。腹部中空，設計巧妙。體態飽滿圓潤。(2) 來源：丹麥古玩市場。 品相：狀況良好，有輕微磨損和鑄造瑕疵、輕微刻痕和劃痕、小凹痕，一隻甪端的身體有輕微的結構裂縫，內部有使用痕跡。 重量：分別為701.9 克與 759.5 克 尺寸： 分別高12.6 厘米 與12.3 厘米 拍賣結果比較：比較一件十分相近的甪端香爐，長13.1 厘米，十七至十八世紀，見香港蘇富比CHINA / 5000 Years 2020年6月5日lot 424, 售價HKD 52,500 (一個單獨的爐)。
Dizzy Gillespie signed 6x4 black and white promo photo. John Birks Dizzy Gillespie ( October 21, 1917 - January 6, 1993) was an American jazz trumpeter, bandleader, composer, educator and singer. He was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic and rhythmic complexity previously unheard in jazz. His combination of musicianship, showmanship, and wit made him a leading populariser of the new music called bebop. His beret and horn-rimmed spectacles, scat singing, bent horn, pouched cheeks, and light-hearted personality provided one of bebop's most prominent symbols. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Yusuf Adebayo Cameron Grillo (Nigerian, 1934-2021)The Dancing Bride, circa mid-1960s signed 'Y Adebayo Grillo' (verso)oil on board122 x 81cm (48 1/16 x 31 7/8in).Footnotes:ProvenanceA private collection, UK.With a career extending over six decades, Yusuf Grillo (1935-2021) is one of the most significant figures in Nigerian art. As a young man, he belonged to the influential Zaria Art Group formed by pioneering artists including Uche Okeke, Bruce Onobrakpeya, and Demas Nwoko while studying together at the Nigerian College of Arts, Science and Technology, Zaria in the 1950s. These artists challenged the hegemony of the European canon in the landscape of contemporary African art. They embraced their West-African cultural heritage to establish a modern Nigerian aesthetic at a time when the country was fighting for its independence from British colonial rule. Elements of Western art history were fused with themes, techniques, and mediums indigenous to Nigeria in a process that Okeke termed 'Natural Synthesis'. While Grillo proactively engaged with the ideas propagated by the Zaria Art Group, he distinguished his approach to artmaking by privileging the role of the individual artist in this process of synthesisation. Working across diverse media including painting, sculpture, mosaic, and stained glass, he asserted that this fusion of European and Nigerian references ought to be seen 'in the light' of individual experience 'knowing that you are part of the system' (Grillo quoted in Sike and Oyelola, 1988: p. 64). Grillo's conviction in the significance of the artist's creative vision led to his own formulation of a distinctive painterly style and subject matter, as evidenced in The Dancing Bride. Thematically, Grillo painted the people he encountered in Lagos. He favoured female subjects and had a particular interest in the Yoruba heritage which he believed to be at the heart of the city in which he was born and lived most of his life. In the present work, he captures a moment of celebration. A sense of movement is conveyed through the energetic brushstrokes used to depict the dynamic stance of the female figure: her weight rests on one leg while her hips are cocked to the side as if anticipating the next step of the dance. Executed in the cool blue and purple tones synonymous with Grillo's paintings, The Dancing Bride evidences the influence of both Pablo Picasso's Blue Period (which the artist had encountered as a student in Zaria) and abide (the indigo-dyed cloth of the Yoruba people). While Grillo primarily takes the human figure as his subject, Chika Okeke-Agulu argues that this 'subject matter is meaningful only to the extent that it permits him to engage enduringly and passionately with form, colour and painting' (C. Okeke-Agulu, 2020: p. 41). The female figure is elongated in a process of stylization. Reflecting Grillo's enduring interest in mathematics, her body is expressed through flattened planes that echo the geometric shapes that comprise the non-representational background. The drapery of the bride's dress is transformed into curved forms which are carefully balanced against the jagged triangles that frame the figure. As in his other paintings from the mid-1960s depicting stylised women such as Two Women (1965) and Ayi and Tayi (1965), Grillo's engagement with the female form can be conceived as much a formalist experiment as a representational exercise. Fusing mathematics, Western art historical references, and Yoruba culture, through The Dancing Bride Grillo synthesises a distinctive approach to painting which stands as a powerful contribution to postcolonial modernism within the canon of Nigerian art.BibliographyPaul Chike Dike and Pat Oyelola (eds.), The Zaria Art Society: A New Consciousness (Lagos, 1998)Chika Okeke-Agulu, Yufus Grillo: Painting. Lagos. Life (Milan, 2020).For further information on this lot please visit Bonhams.com
Gerard Sekoto (South African, 1913-1993)Three figures with bicycle. Sophiatown, circa 1940-42 signed 'G. SEKOTO' (lower right)oil on canvasboard29 x 44cm (11 7/16 x 17 5/16in).Footnotes:ProvenanceThe collection of Marcella Bloom;A private collection, UK.ExhibitedJohannesburg, Johannesburg Art Gallery, Gerard Sekoto: Unsevered Ties, 1 November 1989 - 10 February 1990, no. 23, p. 76 (illustrated).LiteratureBarbara Lindop, Gerard Sekoto (Randburg, 1988), pp. 66-69 (illustrated)Gerard Sekoto, My Life and Work (Johannesburg, 1995), p. 46N. Chabani Manganyi, Gerard Sekoto: 'I am an African' (Johannesburg, 2004), p. 37.Gerard Sekoto embarked in earnest upon his artistic career in 1939 when he made the decision to leave his teaching post in Polokwane (Pieterburg) and relocate to Sophiatown, Johannesburg. Living with his cousins on Gerty Street, it was here that Sekoto was first able to devote his energy solely to artmaking. He undertook a period of experimentation with technique and medium which underpinned his later success as a pioneer of South-African Social Realism.Upon his arrival in Sophiatown, Sekoto was introduced to Brother Roger Castle, a teacher and well-known patron of black artists. Brother Roger introduced Sekoto to his network of artists and gallerists including Joan Ginsberg, the owner of the Gainsborough Gallery, with whom the young artist would later exhibit his paintings in May 1939 and June 1940. The young artist's connection with the gallery put in him contact with other practicing artists including Alexis Preller (1911-1975) and Judith Gluckman (1915-1961). The two artists played a significant role in the development of his practice: Preller gifted Sekoto his first tubes of oil paint and Gluckman taught him how to apply the new medium to canvas. With limited access to materials and formal training, Sekoto had previously been using 'poster paint' or body colour on brown paper. In her studio, Gluckman taught him the Western painterly techniques she had learnt during her training at the Witwatersrand Technical School in Johannesburg. Armed with these new techniques and materials, Sekoto drew great inspiration from the inhabitants and architecture of Sophiatown. In the late 1930s, the bustling streets of the Johannesburg suburb were largely populated by an impoverished black working class. For Sekoto, 'the vitality of the area was a great stimulus'. In contrast to his rural upbringing in Botshabelo, '[i]t was a theatrical scene seeing all these various types of people: women with baskets of shopping, some carrying baggage either on their heads or shoulders. Men of various styles of walking and clothing, some bicycle-riding or driving cars' (Sekoto quoted in B. Lindop, 1988: p. 19). Three figures and a bicycle. Sophiatown (c. 1940-42) illustrates a dynamic vignette or 'theatrical scene' of these routines of daily life. A man pushes a bicycle down a street and turns his head to speak to woman. Another figure passes the couple carrying a sack over his shoulder as he walks towards a woman balancing an unseen object on her head. Sekoto's signature attention to the compositional potential of light – a technique he honed during this period in Sophiatown – is evidenced in the darkened shadows that fall rhythmically across the luminous orange street. The sunlight warms the left edge of the sack that rests on the man's back and catches the white sleeve of the central figure's arm as he guides his bicycle. The tightly compressed composition and visceral brushstrokes employed in the work imbue the painting with a sense of movement which echoes the women's skirts as they swing in the breeze. As evidenced in Sekoto's treatment of light, Three figures and a bicycle is as much a study of painterly colour and composition as a study of daily life in the suburb. The row of houses carves a diagonal line across the work, leading the eye along the street and, thus, the surface of the canvas. This dynamic compositional model was favoured by Sekoto early in his career. It is repeated in the line of figures leaving the Johannesburg suburb on their daily commute in the contemporaneous painting, Cyclists in Sophiatown. It appears again in the line of field labourers with bent knees and outstretched arms in his well known painting, Song of the Pick (1947). Facilitated by the artist's discovery of the medium of oil paint, these works evidence the early experimentation with perspective, colour and form which would underpin Sekoto's painterly practice in subsequent years. The theme of the bicycle rider also recurred throughout his oeuvre, most significantly in the 1970s during Sekoto's self-imposed exile in Paris when he illustrated his memories of the formative period he had spent in South Africa as a young man.BibliographyBarbara Lindop, Gerard Sekoto (Randburg, SA, 1988).For further information on this lot please visit Bonhams.com
Art Deco Brosche mit 3 Altschliff-Diamanten und ca. 64 kleine Altschliff-Diamanten und Diamantrosen zus. ca. 1 ct, um 1925. 585/- Weißgold, rhodiniert. Längliche Rechteckform mit abgerundeten Ecken. Feiner geometrischer Sägeschnittdekor mit Millgriffränder und reichhaltigem Altschliff-Diamantenbesatz, zusammen ca. 1 ct. Detailliert: 3 Altschliff-Diamanten, zusammen ca.0,60 ct. Farbe: 2 x I-J, 1 x light brown. Reinheit: SI. 64 Altschliff-Diamanten und Diamantrosen, zusammen ca. 0,40 ct. Maße der Brosche: 20,4 x 50 mm. Weitere Fotos auf Anfrage.
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)"Christ Crucified".Oil on canvas.Period frame.Measurements: 62 x 47 cm; 71 x 54 cm. (frame).The figure of the dead Christ was very common in the Spanish Baroque iconography. Murillo made several versions in which, as in the important painting that we show here, the imposing image of the Crucified Christ is outlined on a dark background of twilight lights in contrast with the powerful focus of light that models his powerful anatomy. This is a Christ with three nails, in which the master avoids excessive pathos and, on the contrary, prioritises atmospheric capture, the softness of the forms and chromatic nuances, in order to procure a contemplative immersion for the believer. What is important is to emphasise the magical moment in which humanity is redeemed by the suffering of the Saviour. The composition, the bold iridescence of light and the rapid brushstroke In composition and language this work is very close to Murillo's Christ Crucified in the Museo del Prado. Specialists have pointed to the influence of the Christ that Van Dyck painted for the church of Dendermonde. Dated around 1667, it was possibly bought by Philip V's wife, Isabella of Farnese, and was in her collection in 1746, appearing in her collection three years later in the Palace of Aranjuez, from where it was transferred to the Prado in 1818. Here, too, the cross is a vertical part of the composition, and the body acquires sculptural volume thanks to the masterly handling of the light. The landscape of Golgotha is reduced to an atmospheric impression, establishing a chiaroscuro dialogue with the suffering flesh tones. Here too, the skull and some of the instruments of the Passion are depicted at the foot of the cross. The stylistic and formal correspondences between these two paintings and others from Murillo's mature period lead specialists to believe that they share the same authorship.Little is known about Murillo's childhood and youth, except that he lost his father in 1627 and his mother in 1628, which is why he was taken into the care of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, most likely with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship lasted about six years, as was customary at the time. After his marriage in 1645 he embarked on what was to be a brilliant career that gradually made him the most famous and sought-after painter in Seville. The only trip he is known to have made is documented in 1658, when Murillo was in Madrid for several months. It is conceivable that while at court he kept in touch with the painters who lived there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all the artists who passed through the court. Despite the few documentary references to his mature years, we know that he enjoyed a comfortable life, which enabled him to maintain a high standard of living and have several apprentices. Having become the city's leading painter, even surpassing Zurbarán in fame, he was determined to raise the artistic level of local painting. In 1660 he decided, together with Francisco Herrera el Mozo, to found an academy of painting, of which he was the main driving force. His fame spread so far throughout Spain that Palomino states that around 1670 King Charles II offered him the chance to move to Madrid to work there as a court painter. We do not know whether this reference is true, but the fact is that Murillo remained in Seville until the end of his life. Works by Murillo are now in the most important art galleries in the world, such as the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York and the National Gallery in London.
17th century Spanish school."Apparition of the Virgin and Child to Saint Simon de Rojas".Oil on canvas.Measurements: 57 x 41 cm; 63 x 46 cm (frame).Frame 19th century.In this work the painter offers us an image of Saint Simón de Rojas, a saint from Valladolid who lived between 1551 and 1624. He was a saint who received a very intense cult due to the greatness of his spiritual work, carried out throughout his life. He was confessor to Queen Isabella of Valois, third wife of Philip III, redeemer of captives, great preacher and assistant to the sick.The composition is approached from a narrative point of view, which seeks to make the scene easy for the faithful to understand, within the naturalist Counter-Reformationist taste, which is combined with a markedly scenographic space, also typically Baroque. This is a work set in the Spanish School of the 17th century, undoubtedly the golden age of the arts in Spain as a result of a sweet cultural moment. In the field of painting, this century was to produce some of the most important artists of all time, not only in Spain, but also in Western art. The Baroque painting of the Golden Age in Spain has a series of more or less common characteristics: religious themes predominate because this was the time of the Counter-Reformation; Spanish painters were influenced by Caravaggio's tenebrism in the treatment of light, although they later abandoned it; there was a deliberate absence of sensuality in painting and, furthermore, the painters' main client was the Church of the time. In the present case, the figure of the saint appears in the centre of the composition in a prayerful pose, holding a rosary in his right hand and a loaf of bread in his left, the figure is perfectly emphasised by his position and the space in which he is depicted. In the upper part of the composition are the Virgin Mary and the infant Jesus in a cloud, who appears blessing with his right hand, placed in his mother's arms.
French school of the late 17th century."Death of Saint Louis of France".Oil on canvas.Size: 95 x 61 cm; 116 x 82 cm (frame).We are in front of a completely narrative work, with Saint Louis of France represented in the manner of Louis XIV. Formally, the anatomical modelling and the features stand out, which is expressed through an excellent use of light contrasts. The features of the executioners are dehumanised, and their ugliness contrasts with the saint's nobility. The definition of the figures in the foreground contrasts with the deliberately blurred forms in the background.
Andalusian school of the late 17th century."Virgin of the Refuge".Oil on canvas. Re-coloured.It presents damages and repainting.Measurements: 56 x 46,5 cm; 63 x 52 cm (frame).In this painting the image of the Virgin with the Child is represented following the model of representation of the Virgin of the Refuge of the Sinners, iconography that refers to one of the invocations of the Lauretan litany. This theme presents Mary as the living ark that preserves men from the evils of the soul and body, the city that shelters the wretched and helpless, the lighthouse tower that gives light to men navigating in the dangerous sea of the world, the one who saves souls from shipwreck. As intercessor and merciful Mother, she is the moon that shines by night for the sinners who call upon her, just as Christ shines by day for the righteous. The origin of the devotion to Our Lady of Refuge is to be found in the Italian town of Frascatti at the beginning of the 18th century, and by 1717 the invocation was established and spread by the Society of Jesus. Shortly afterwards, in the same 18th century, prints and copies of the original image arrived in New Spain, which was the starting point for the new iconography. From then on, the devotion spread rapidly, for didactic and propagandistic purposes, through the Jesuits. The iconography is based on the elements we see here: Mary dressed in red and brown. Jesus appears only covered by a delicate cloth, held by the Virgin on the Child's chest and back.
Valencian school, late 17th century, early 18th century."Pietà".Oil on canvas.Measurements: 79,5 x 96,5 cm.In this work of devotional character, the author represents the Pietà, placing the Virgin and the body of Jesus in the centre, with a triangular composition. Christ's anatomy, which is perfectly described and of sought-after classicism, is no doubt derived from observation from life, while the Virgin's clothing, with its angular drapery, lends a sense of theatricality to the piece. In addition, the elements of the Passion can be seen, such as the crown of thorns, the nails and the cross, although we can only see the lower part of the cross and can only guess at the rest. The entire scene plays with light and shadow, showing only the elements relevant to the scene and leaving a dark landscape as a background. The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first surviving example being found in the city of Coburg, a piece from around 1320. Over time the iconography spread throughout Europe, and by the 17th century, after the Counter-Reformation, it had become one of the most important themes in devotional painting.
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