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Ca. 900-1100 AD. A stunning silver pendant in the shape of a Mjölnir (Thor's hammer) decorated with engraved dots and crosses. Good condition. Thor's hammer pendants were worn as religious amulets throughout the Viking era; they were usually made of silver and hung on silver chains. Thor was a prominent Norse god and his Mjölnir is depicted in Norse mythology as one of the most fearsome weapons, capable of levelling mountains. Though generally recognised and depicted as a hammer, Mjölnir is sometimes referred to as an axe or club. This item is in wearable condition and it comes with a modern necklace cord. To find out more about the Vikings and their art, see Graham-Campbell, J. (2013). Viking Art. London: Thames and Hudson Ltd. For more information on Viking Jewellery, see Arbman, H. (1940). Birka I Die Gräber. Uppsala and Hubbard, B. (2016) The Viking Warrior. Amber Books Ltd, London, 61-65.Size: L:65mm / W:45mm ; 30gProvenance: Property of a European private collector; formerly acquired from UK private collection.

A modern pink tinted art glass vase together with an oversized brandy glass and a figure of a dolphin

BAUERMEISTER, Mary (*1934), "Needless needles", Objektkasten: Linsen und bemalte bzw. beschriftete Holzobjekte auf Glasscheiben vor Kopie einer Tuschezeichnung auf Papier, 40 x 48 x 12, handsigniert und datiert auf der Rahmenrückwand: Mary Bauermeister, 1982 (63), betitelt. Dieses Werk geht auf eine Zeichnung "Needless Needles" aus der Ausstellung der Galeria Bonino in New York zurück, die dort von Alfred Barr, Gründungsdirektor des Museum of Modern Art, und der dortigen Kuratorin, Dorothy Miller, erworben wurde und später in die Sammlung des MoMA ging.

A LURISTAN BRONZE 'MASTER OF ANIMALS' STANDARD FINIAL, IRAN, CIRCA 1000-650 BCThe tubular base surmounted by a stylized janus-headed figure with three further janus heads above, flanked on either side by mythical creatures with zoomorphic heads grasped by the central figure at the neck.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: 274.8 g (excl. stand) Dimensions: Height 21 cm (excl. stand) and 24.8 cm (incl. stand)With 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.The Master of Animals is a motif in ancient art showing a human between and grasping two confronted animals. The motif is widespread in the art of the Ancient Near East and Egypt. Although such figures are not all, or even usually, deities, the term may be a generic name for a number of deities from a variety of cultures with close relationships to the animal kingdom or in part animal form (in cultures where that is not the norm). These figures control animals, usually wild ones, and are responsible for their continued reproduction and availability for hunters. The Greek god shown as 'Master of Animals' is usually Apollo as a hunting deity. Shiva has the epithet Pashupati meaning the 'Lord of animals', and these figures may derive from an archetype. Chapter 39 of the Book of Job has been interpreted as an assertion of the deity of the Hebrew Bible as Master of Animals.Literature comparison: Compare a closely related Luristan bronze standard finial, 19.2 cm high, also dated circa 1000-650 BC, in the Los Angeles County Museum of Art, accession number M.76.97.91. Compare a closely related Luristan bronze standard finial, 20.5 cm high, also dated circa 1000-650 BC, in the Los Angeles County Museum of Art, accession number M.76.97.94.Auction result comparison: Type: Related Auction: Christie's New York, 9 June 2022, lot 24 Price: USD 31,500 or approx. EUR 29,000 converted for inflation at the time of writing Description: A Luristan bronze goddess, circa 9th-7th century BC Expert remark: Note the size (13.7 cm)Auction result comparison: Type: Related Auction: Christie's New York, 4 June 2015, lot 154 Price: USD 23,750 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A luristan bronze goddess finial, circa 9th-7th century BC Expert remark: Note the size (18.4 cm)

A SUPERB FAMILLE ROSE 'KINGFISHER AND LOTUS' PLAQUE, CHINA, STUDIO OF CHENG YITING (1895-1948)Superbly and delicately enameled with two kingfishers perched on a rock below a large wilting lotus leaf amid further leaves, a bud, and two blossoms, a stream in the background. With a lengthy inscription as well as the artist's signature and seal.Inscriptions: Upper left, signed 'Zhushan Cheng Yiting, painted in Peigu-Zhai' and inscribed 'In the Spring in the style of Nansha Laoren [Jiang Tingxi, 1669-1732]'. Two seals of the artist, 'Yiting' and 'Cheng yin'. Provenance: Bonhams Knightsbridge, 3 November 2014, lot 478 (described as “After Cheng Yiting”, and together with another plaque), sold for GBP 3,125 or approx. EUR 4,400 (converted and adjusted for inflation at the time of writing). A Swedish private collector, acquired from the above, and thence by descent. Condition: Very good condition with minor wear and firing irregularities, few light scratches. The hardwood frame with expected age cracks, nicks and losses, and traces of use.Dimensions: Size 62 x 31 cm (excl. frame)With a fine hardwood frame and brass fitting from the period. (2)This masterfully painted plaque represents a new style pursued by porcelain artists upon the fall of the Qing dynasty. With imperial orders discontinued, craftsmen in the porcelain center of Jingdezhen were released from the constraints of the court and eagerly sought to develop new markets. In 1928, eight of the leading artists formed a group called Yueman hui (Full Moon Society), because they met to exchange ideas during the full moon. This group later became known as Zhushan Bayou (Eight friends of Zhushan), comprised of Cheng Yiting, Wang Qi, Deng Bishan, Wang Dafan, Wang Yeting, He Xuren, Bi Botao, Xu Zhongnan, and Tian Hexian.Cheng Yiting (1895-1948), a native of Leping, Jiangxi province, began learning to paint on porcelain at the age of sixteen at the Jiangxi Ceramics School in Poyang. In 1925 he moved from Jiujiang to Jingdezhen and set up his own business before traveling to Shanghai in 1931 to study under the Zhe School artist, Cheng Zhang (1869-1938). It was during this period that his skills greatly improved and developed the exquisite bird and flower painting style for which he is most famous.Jiang Tingxi (1669-1732) was a noted Chinese painter, and an editor of the 5020-volume encyclopedia Gujin Tushu Jicheng (Complete Collection of Ancient and Modern Writings and Charts), which was published in 1726 and had been compiled by Jiang and Chen Menglei during the reigns of the Kangxi and Yongzheng Emperors. As an official painter and grand secretary to the imperial court, Jiang used a wide variety of artistic styles and focused particularly on paintings of birds and flowers. He was also proficient in calligraphy and his works influenced several later painters. Apart from cultural activity, as a holder of the jinshi degree, Jiang performed important duties in the Qing government's Office of Military Finance, on par with Zhang Tingyu (headed by Yinxiang, the Yongzheng Emperor's brother). He was born in Changshu, Jiangsu. Besides the name Yangsun, he was also known by the pseudonym Nansha.Literature comparison: For an overview of the artists' plaques depicting birds amongst lotus and chrysanthemum, see those from the Muwentang Collection published in Simon Kwan, Chinese Porcelain of the Republic Period, Hong Kong, 2008, nos. 44, 45, 47, 49, and 50. Compare also two related plaques which were included in the exhibition Brush and Clay. Chinese Porcelain of the Early 20th Century, Hong Kong Museum of Art, Hong Kong, 1990, cat. nos. 47 and 48.Auction result comparison: Type: Closely related Auction: Heritage Auctions, New York, 19 March 2019, lot 78195 Price: USD 81,250 or approx. EUR 86,000 converted and adjusted for inflation at the time of writing Description: A Chinese Enameled Porcelain Plaque, 20th century, seal reading “Cheng Yiting” Expert remark: Compare the closely related subject, style, enamels and manner of painting, most notably the similarly wilted leaves. Note the much smaller size (36.8 x 23.9 cm).Auction result comparison: Type: Related Auction: Bonhams London, 8 November 2012, lot 350 Price: GBP 79,250 or approx. EUR 116,250 converted and adjusted for inflation at the time of writing Description: A famille rose rectangular plaque, Republic period, signed and sealed Cheng Yiting Expert remark: Compare the related style, enamels and manner of painting with similar wilted leaves. Note the smaller size (39.5 x 26.7 cm).程意亭(1895-1948) 粉彩《翠鳥荷花》瓷板畫長條形邊框，框體雕飾花卉紋，畫心繪盛開的荷花、荷葉、翠鳥。粉紅的荷花、碧綠的荷葉下，一對翠鳥立於石上。一翠鳥聚精會神的凝視著水面，一翠鳥回首觀望，被他物所吸引。 款識：不妨翠鳥偷窺，為種荷花葉數莖。春仲撫南沙老人大意，翥山程意亭寫於佩古齋；鈴印：意亭，程印 來源：騎士橋邦翰思2014年11月 3日 lot 478 (描述爲程意亭風格，與其他幾件瓷板一起)，售價 GBP 3,125 或相當於 EUR 4,400 (根據通貨膨脹率)；瑞典私人收藏，購於上述拍賣，保存至今。 品相：狀況極好，有輕微磨損和燒製瑕疵，輕微劃痕。硬木框有年代裂縫、刻痕和缺損，有使用痕跡。 尺寸：62 x 31 厘米 (不含框) 同期硬木框與銅扣。(2)

A PINK SANDSTONE STELE OF BUDDHA SHAKYAMUNI, KUSHAN PERIOD, MATHURA, LATE 1ST TO EARLY 2ND CENTURYOf rectangular form with an arched top, finely and deeply carved in high relief, depicting Buddha seated in dhyanasana atop a tiered square plinth with three lions, flanked by chauri bearers below flying apsaras. He is wearing a heavily pleated robe draped over his left shoulder. His serene face with heavy-lidded almond-shaped eyes below thick, elegantly arched brows centered by a circular urna, the hair surmounted by a whorled ushnisha, backed by a sun-form halo.Provenance: From the collection of Jean-Marc Andral, acquired between 1996 and 2005 at Galerie Carre des Antiquaires in Versailles, France. A copy of a provenance statement, written and signed by Jean-Marc Andral, dated 31 July 2022, accompanies this lot. Jean-Marc Andral is a Belgian manager based in Brussels and active in the healthcare industry for over 25 years.Condition: Very good condition, commensurate with age. Some wear, minor losses, few structural cracks, small nicks, light scratches, signs of weathering and erosion, encrustations. Dimensions: Height 52 cm (excl. stand) and 54 cm (incl. stand)With a modern metal stand. (2)Literature comparison: Compare the closely related pink sandstone stele of Buddha, known as the “Katra stele”, dated end of 1st century AD, in the Government Museum, Mathura, illustrated in James C. Harle, The Art and Architecture of the Indian Subcontinent, Yale University Press, 1994, p. 63, no. 43 (where it is dated to the early 2nd century). Compare a closely related sandstone stele of Buddha, dated 110 AD, in the National Museum, New Delhi, object number L.55.25. Compare a related pink sandstone stele of Buddha, 93 cm high, dated c. 131 AD, in the Kimbell Art Museum, accession number AP 1986.06.

A RARE BRONZE LION BELL TERMINAL, EASTERN JAVANESE PERIOD, 12TH CENTURYA finely cast bronze figure of a lion, almost certainly the upper portion of an important ritual temple bell, and part of a rather small corpus of surviving Javanese bronzes depicting the powerful feline. The gazing eyes outlined below folds of skins, ears of spade-form, mane with three stylized rows of curls, the figure standing erect above a primitive lotus-form base, with claws unsheathed and ready to strike.Provenance: The Marcel Marnat Collection, Paris, France. A collector in Chicago, USA, acquired from the above. Marcel Marnat (b. 1933) is a French musicologist, journalist, and radio producer. He has written books about Maurice Ravel, Joseph Haydn, Igor Stravinsky, Antonio Vivaldi, and Giacomo Puccini, and published articles on Modest Mussorgsky, Michelangelo, D. H. Lawrence, Paul Klee, and Ludwig van Beethoven. His book on Giacomo Puccini was honored by the Academie des Beaux-Arts and received the prix Pelleas as well as a prize for a musical biography of the SACEM at the Deauville book festival. He was an assiduous visitor to Hôtel Drouot for a long time and has built an eclectic collection including Southeast Asian and Indian works of art.Condition: Very good condition, commensurate with age. Extensive wear, minor losses and nicks, shallow surface scratches, expected casting flaws, signs of weathering and erosion, and encrustations. Superb, naturally grown patina.Weight: 1,127 gDimensions: Height 16.5 cm (excl. stand) and 21.7 cm (incl. stand)Mounted on a modern stand. (2)Javanese bronze images of lions are rare, but thankfully several large stone guardians remain scattered across ancient temple sites, such as the pair at the eastern staircase in Borobudur. These ancient stone guardians give us important clues for stylistic dating comparisons. The rarity of bronze lions probably stems from the fact that images of lions in Java were likely imported from Sri Lanka when Gunadharma, the great 9th-century architect, designed Borobudur for King Samaratungga of the Sailendra Dynasty. The depiction of these lions follows a clear evolution from the early examples at the palace of King Ashurnasirpal II in Assyria to the pair carved two millennia later at Yapahuwa Castle in Sri Lanka.Expert's note: The bronze has an attractive, deep patina that is characteristic of early Javanese metal works exposed to the tropical climate of Indonesia for many centuries.Literature comparison: Compare a closely related demon-form top of a bell, 12.5 cm high, also dated to the Eastern Javanese period, ca. second half of the 12th to early 13th century, in the Metropolitan Museum of Art, accession numbers 1987.142.17. Compare a closely related demon-form top of a bell, 11.8 cm high, also dated to the Eastern Javanese period, 14th century, in the Metropolitan Museum of Art, accession number 1982.460.2. For an in-depth discussion and comparison of the iconography of guardian lions across Asia through the ages, see Masatoshi Iguchi, Java Essay: The History and Culture of a Southern Country, Leicester, 2015.Auction result comparison:Type: Closely relatedAuction: Christie's Amsterdam, 2 December 2002, lot 173Price: EUR 7,768 or approx. EUR 12,000 adjusted for inflation at the time of writingDescription: A Javanese bronze temple bell, 13th/14th centuryExpert remark: This comparable confirms that the size of the present lot is within the appropriate range for a bell-handle element. Compare also the similarities in both the patina and the archaic pointed lotus petal-form base surrounding the figures.Auction result comparison:Type: Remotely relatedAuction: Christie's London, 25 October 2007, lot 198Price: GBP 11,875 or approx. EUR 20,000 converted and adjusted for inflation at the time of writingDescription: A bronze lion terminal, probably India, 14th centuryExpert remark: A similar type of rampant lion-form bronze handle. By comparison, the Javanese example can be viewed as a stand-alone object, and not primarily as a fragment, and is much more desirable in that regard. Seeing similar objects from other regions also further solidifies the iconographic power that the lion held across ancient cultures as discussed by Masatoshi Iguchi.

A RARE BRONZE FIGURE OF BUDDHA, MON DVARAVATI PERIODScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 12 February 2020, based on sample number N120b91, sets the firing date of one sample taken between 1000 and 1600 years ago. A copy of the report, signed by Helen Mason and Doreen Stoneham for Oxford Authentication, accompanies this lot.Thailand, 8th-9th century. Superbly cast standing with the hands extended, draped in a dhoti and sanghati, his face with benign expression, downcast eyes, arched joined brows, full lips, and a broad nose, flanked by pendulous earlobes, his hair in tight curls over a high ushnisha.Provenance: From an old Belgian private collection.Condition: Good condition commensurate with age. As expected there is extensive wear, some casting flaws, losses to the hands, signs of weathering and erosion, few nicks and shallow surface scratches. The back drilled with a hole from sample-taking. Naturally grown patina of a fine malachite-green tone overall, with distinct areas of cuprite encrustations.Weight: 1,812 g (excl. base) and 2,586 g (incl. base)Dimensions: Height 31 cm (excl. base and tang), 36 cm (excl. base) and 42 cm (incl. base)With a modern base. (2)The Mon polity of Dvaravati was one of the earliest and most important societies in mainland Southeast Asia. Based around the Chao Phraya and Mae Klang river basins of central Thailand, Dvaravati was known from early Chinese textual sources, as well as being mentioned in a single local inscription that dates to roughly 550-650 AD. Due to the large numbers of Buddhist sculptures associated with the culture, it is most likely that the rulers were patrons of the Buddhist faith. The images of Buddha were influenced by contemporary Indian sculptural works, including the Gupta style based around the site of Sarnath. The facial features of the Mon Dvaravati Buddhist images, however, display arched, joined eyebrows which are unlike those found in India, and are therefore characteristic of Mon Dvaravati. Compared to earlier and later Thai kingdoms, Dvaravati was geographically and economically isolated, which contributed to the distinct qualities of its sculpture. Their style was bold, self-assured, recognizable, and highly influential on subsequent Thai sculpture and artistic production throughout Southeast Asia.Within the context of the dominant Theravada school of Buddhism, which emphasized the singularity of the Buddha Shakyamuni, bronze sculptures from this area also demonstrate a remarkably cohesive design. As unifying features, the Buddha is clad in the humble dress of a religious renunciant, with the thin garment clinging closely to the body to reveal his delicate proportions and graceful contours that lie beneath. His face is characterized by high cheekbones, full lips, prominent eyes, and - as stated - the curved brows that form the characteristic V-shape at the bridge of the nose.As expressed by Jean Boisselier, "The school of Dvaravati may stand alongside the great Buddhist artistic traditions of India, so enduring were its innovations and so persuasive its influence on most of the art of Southeast Asia" (J. Boisselier, The Heritage of Thai Sculpture, 1975, page 73). Bronze sculptures of this type and large size are exceedingly rare.Further emphasizing the presence of Buddha in the world of the devotee, the figure is depicted as if in motion, with the hems of the robe gently swaying to the sides. This stance, which also draws upon the classic tribhanga posture of Indian sculpture, presages the famous “Walking Buddhas” of Thailand that would grow prominent many centuries later. The bronze caster has masterfully captured the youthful appearance of Buddha that gives the spiritual themes imported from India their highly unique and refined local expressivity.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 March 2015, lot 29Price: USD 269,000 or approx. EUR 318,000 converted and adjusted for inflation at the time of writingDescription: A Bronze Figure of Buddha, Thailand, 8th CenturyExpert remark: Compare the closely related pose, facial features, expression, robe, and size (36.1 cm)Auction result comparison: Type: Closely related Auction: Christie's New York, 15 March 2017, lot 244 Price: USD 68,750 or approx. EUR 80,500 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha, Thailand, Mon Dvaravati style, 9th century Expert remark: Compare the closely related pose, facial features, expression, curls, ushnisha, and robe. Note that the figure is of slightly larger size (42.5 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 16 September 2008, lot 572Price: USD 32,500 or approx. EUR 43,000 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha, Thailand, Mon-Dvaravati, 8th/9th centuryExpert remark: Compare the closely related pose, facial features, expression, and robe. Note that the figure is of smaller size (21.6 cm).

A BACTRIAN MARBLE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCOxus Civilization. The column of waisted form flaring towards the ends, the top and base with a crescent-shaped central groove. The stone of dark brown marble with white veins, and stress lines filled with calcite.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: Good condition commensurate with age showing expected old wear and traces of use, some obvious losses, chips, natural fissures, and old fills. Smooth polish.Weight: 3,782 g Dimensions: Height 21.2 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Literature comparison: Compare a related marble column idol, described as an “incense stand (?)”, 24.8 cm high, dated ca. late 3rd to early 2nd millennium BC, in the Metropolitan Museum of Art, accession number 1992.232.8.Auction result comparison:Type: RelatedAuction: Christie's London, 12 May 2004, lot 185Price: EUR 8,365 or approx. EUR 12,500 adjusted for inflation at the time of writingDescription: A Bactrian alabaster column idol, 2nd millennium BCExpert remark: Compare the related form and size (25 cm).

'SCHOLARS ON A BOAT', BY FU BAOSHI (1904-1965), DATED 1962Ink and watercolors on paper, laid down on paper. Superbly painted in the artist's characteristic style, mostly eschewing outlines in his dappling of the brush and ink washes while still meticulously rendering each element with distinctive purpose. Depicting two scholars seated in a boat, two fishing baskets at their side, floating along a calm stream below thick clouds, the riverbank with leafy and barren trees.Inscriptions: Upper right, 'View in the country, painted by Baoshi in Nanjing in May of the Year of Renyin (corresponding to 1962)'.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate.Condition: Some wear and minor soiling, losses, creasing. The paper with areas of minor corrugation. The mounting with creasing and small tears to edges.Dimensions: Image size 32.4 x 34 cm, Size incl. mounting 40 x 52 cmFu Baoshi (1904-1965) was a Chinese painter from Xinyu, Jiangxi Province. Credited with revolutionizing Chinese ink painting, Fu is perhaps the most original figure painter and landscapist of China's modern period, and one of the most important artists of the 20th century overall. In 1933, Fu went to Japan to study the History of Oriental Art at the Tokyo School of Fine Arts. After returning to China, he taught in the Art Department of Central University (today Nanjing University). At this time, Fu developed a new style, smoothly incorporating foreign ideas and techniques, and began creating boldly individualistic yet sometimes strongly nationalistic work. He also sought to revive early schools of realist depiction that made greater use of color and ink wash. His most important and acclaimed works of landscape painting employed skillful use of inking methods, such as washing, rubbing or dotting, creating a distinct style that encompasses a sheerly enormous range of varieties, but all within strict traditional rules. His detailed paintings of miniature figures remain unmatched to this day, due to his remarkably delicate and thus inimitable brushstrokes.Auction result comparison:Type: Related Auction: Christie's Hong Kong, 1 December 2020, lot 1065 Price: HKD 8,650,000 or approx. EUR 1,051,000 converted and adjusted for inflation at the time of writing Description: Fu Baoshi (1904-1965), Returning Boat Expert remark: Note the much larger size (61.2 x 49.7 cm)Auction result comparison: Type: Related Auction: Christie's Hong Kong, 27 May 2014, lot 1608 Price: HKD 3,640,000 or approx. EUR 521,000 converted and adjusted for inflation at the time of writing Description: Fu Baoshi (1904-1965), Scholar Resting on a Boat Expert remark: Note the larger size (53 x 49.2 cm).傅抱石款《郊外所見》，1962年紙本水墨設色。兩位文人坐在船上垂釣，興致正濃，身後有漁簍，順著平靜的溪流漂浮著。河岸上綠樹成蔭。意境蕭疏。構圖不求滿密，乾淨利索，取得了形簡意賅的藝術效果。 款識：郊外所見，抱石記于南京壬寅五月；鈴印：抱石之作 來源：英國伯克郡，據説購於私人舊藏。 品相：有一些磨損和輕微污漬、缺損、摺痕，紙面局部有較小波紋區域，裝幀邊緣有摺痕和小撕裂。 尺寸：畫面32.4 x 34 厘米，總40 x 52 厘米 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2020年12月1日，lot 1065 價格：HKD 8,650,000（相當於今日EUR 1,051,000） 描述：傅抱石《風雨同舟》 專家評論：請注意尺寸大很多(61.2 x 49.7 厘米) 。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2014年5月27日，lot 1608 價格：HKD 3,640,000（相當於今日EUR 521,000） 描述：傅抱石《文人棲於舟》 專家評論：請注意尺寸 (53 x 49.2 厘米)較大。

TWO BACTRIAN BANDED AGATE BEADS, LATE 3RD TO EARLY 2ND MILLENIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, p. 34, no. 30 (the smaller bead).Oxus Civilization. Comprising two agate beads of flattened lozenge form, carved to highlight the natural formations in the stone. The larger bead of a translucent quality and honey-yellow tone with fingerprints and bands of white, ochre, and amber, and areas of crystalline striations. The smaller bead also translucent and of a pale gray tone with dark brown and white 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: Good condition with some wear, small chips here and there, signs of weathering and erosion with associated losses, the stones with natural fissures, some of which have developed into hairline cracks over time.Weight: 112.1 g (the larger bead) and 10.3 g (the smaller bead) Dimensions: 9.3 cm (the larger bead) and 4.3 cm (the smaller bead)The Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the "Oxus civilization", apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison: Type: RelatedAuction: Christie's New York, 9 December 2008, lot 203Price: USD 8,125 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A Bactrian banded agate bead necklace, circa late 3rd-early 2nd millennium BCExpert remark: Compare the closely related lozenge form of four beads on this necklace

A SANDSTONE HEAD OF BUDDHA SHAKYAMUNI, MON-DVARAVATI PERIODThailand, 8th-10th century. Sensitively carved with heavy-lidded downcast eyes with incised pupils, thick ridged brows, a broad nose, elongated earlobes, and full lips forming a calm smile, the hair in snail shell curls over a high ushnisha.Provenance: Collection Monsieur M., an important French private collection. Michael Phillips, acquired from the above. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Old wear, losses, nicks, scratches, very minor old fills, signs of weathering and erosion, encrustations, structural cracks. Fine, naturally grown patina. Scientific Analysis Report: A technical examination was conducted by Podany Conservation Services. The examination report concludes: “A comparison of observed features does favor the opinion that the head fragment is not of modern origin or a forgery.” The signed examination report, dated 24 May 2021, accompanies this lot. Note that the purported date stated in the examination report is circa 9th-11th century.Weight: 3,340 g (incl. stand)Dimensions: Height 17.5 cm (excl. stand) and 25.5 cm (incl. stand)Mounted on an associated stand. (2)While there is great variation within the Mon-Dvaravati tradition, the sensitivity paid to the modeling of these facial features is in keeping with the period's focus on the purity and fluidity of form. As expressed by Jean Boisselier in The Heritage of Thai Sculpture, 1975, p. 73, “The school of Dvaravati may stand alongside the great Buddhist artistic traditions of India, so enduring were its innovations and so persuasive its influence on most of the art of Southeast Asia.”Literature comparison: Compare a closely related sandstone head of Buddha in the National Museum Bangkok, dated 8th-10th century, with nearly identical facial features.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 12 June 2018, lot 239Price: EUR 15,000 or approx. EUR 18,000 adjusted for inflation at the time of writingDescription: A stone head of Buddha Shakyamuni, Thailand, Dvaravati period, 8th-9th centuryExpert remark: Despite being a larger example (32 cm), this comparable shares very similar facial characteristics with the current lot, including a flattened down-turned nose, a joined brow, pointed helices of the ears, and a lower lip equal or greater in size to that of the upper.Auction result comparison:Type: RelatedAuction: Bonhams New York, 19 March 2019, lot 874Price: USD 43,825 or approx. EUR 46,500 converted and adjusted for inflation at the time of writingDescription: A blackstone head of Buddha, Central Thailand, Dvaravati period, circa 8th centuryExpert remark: Note the size (23.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A JUN-TYPE FLAMBE-GLAZED DISH, CHINA, 18TH CENTURYOpinion: The beautiful glaze that transitions from a deep purple at the rim to a light blue around the cavetto in very thin, uniform streaks is characteristic of Qianlong-period flambe wares.The shallow rounded sides rising from a short foot to an everted rim. The interior glazed in a deep purplish-red that suffuses to a pale blue, the well with copper-green splashes, some of which have darkened significantly over time. The thick glaze thinning towards the rim to reveal the fine white porcelain. The foot neatly polished.Provenance: From the collection of Dr. Frederick Whiting (1861-1946), mostly assembled before 1930, and thence by descent in the same family. The base with an old label, '46'. An 1890 graduate of the University of Vienna, Austria, Dr. Whiting was a Fellow of the American College of Surgeons and a member of the New York Academy of Medicine. He was a recognized collector of American paintings and Chinese porcelains, and a respected author, having written numerous scientific articles as well as a book on surgical techniques titled 'The Modern Mastoid Operation'.Condition: Very good condition with minor wear and firing irregularities original to manufacture. The foot smoothened in some areas, probably inherent to manufacturing, due to the uneven glaze dripping along the foot rim which is expected from this type of ware.Weight: 494.7 gDimensions: Diameter 17.6 cmAlso known as transmutation ware, flambe porcelains came to being thanks to early Imperial interest in the glazes of antiquity. Flambe porcelains are a direct result of Jingdezhen potters' attempts to re-create the famous Junyao of the Song dynasty. The splashes of metallic blue, purple, and reddish-brown are the results of the transmutation of colloidal copper, iron, or other metallic minerals in the glaze surface. Is it very common for these wares, being fired in high temperatures, for the glaze to overrun at the base and require grinding after firing.Literature comparison: Compare a closely related flambe-glazed dish of similar form and exhibiting the same characteristic streaking to the glaze, 26 cm diameter, also dated to the 18th century, in the Metropolitan Museum of Art, accession number 91.1.388. It is interesting to note that Dr. Whiting was in New York around the time of the Metropolitan's acquisition of their dish (1891) and may have had a chance to see it during his lifetime. Compare a related jun-type lavender-glazed dish, Ming Dynasty, 17.5 cm diameter, dated 1400-1435, in the British Museum, registration number 1936,1012.88.Auction result comparison:Type: RelatedAuction: Christie's, New York, 18 March 2009, lot 556.Price: USD 134,500 or approx. EUR 170,000 converted and adjusted for inflation at the time of writingDescription: A very rare early Ming Jun-type dish, Yongle/Xuande period, first quarter 15th centuryExpert remark: Acquired around the same 1890 period, this dish shows a continuous interest in the replication of Jun ware from an even earlier period. Compare the similar colors and related size (17 cm), demonstrating that there is a clear canon being followed by the Ming and Qing potters.十八世紀仿鈞窯變釉盤折沿，淺弧腹，淺圈足。盤內釉面呈深紫紅色，逐漸泛出淡藍色，盤中央花樣綠斑，隨著時間的推移，其中一些已經明顯變暗。邊緣釉面變薄，露出精美的瓷胎。圈足被打磨良好。美麗的釉面從邊緣的深紫色過渡到淺藍色，形成非常細、均勻的條紋，這是乾隆時期燒製瓷器的特徵。 來源：Dr. Frederick Whiting (1861-1946) 收藏, 大多藏品購於1930年前, 在同一家族保存至今。底座有一個老標籤 '75'。 Whiting 博士於 1890 年畢業於奧地利維也納大學，是美國外科醫學院的院士，也是美國耳科學會、紐約耳科學會和紐約醫學院的成員。Whiting博士還是許多俱樂部的成員，其中包括紐約運動俱樂部、丁香谷杆槍俱樂部、世紀協會和康涅狄格州辛辛那提協會。他是一位公認的美國繪畫和中國瓷器收藏家，也是一位受人尊敬的作家，撰寫了大量科學文章以及一本名為《The Modern Mastoid Operation》的外科技術書籍。 品相：狀況極好，有輕微磨損和燒製瑕疵。足部在某些區域變得光滑，這可能是製造所固有的。 重量：494.7 克 尺寸：直徑 17.6 厘米

'GRAPES', BY QI LIANGCHI (1921-2003)China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Boldly painted with vivid brushstrokes, depicting hanging branches with large leaves and bunches of grapes.Inscriptions: Upper left, signed 'Qi Liangchi', dated 'in the Year of Ren[…]', and inscribed 'for brother Rongtang'.Provenance: The Oliver Impey Collection of Modern Paintings. Acquired at PS & N in October 1966. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie's in Hong Kong in the late 2000s. Condition: Very good condition with minor wear, little soiling, minuscule tears to edges, minor creasing.Dimensions: 68,5 x 33 image size, and 203 x 49,5 total sizeQi Liangchi (1921-2003), born in Xiangtan, Hunan, became a well-known painter in the style of Zichang. He was the fourth child of the famous Qi Baishi. At the age of ten, he studied traditional Chinese painting techniques under the guidance of his father. At twenty-four, he graduated from the Fine Arts Department of Beijing Furen University, and then engaged in art education. Later, following Zhou Enlai's entrustment, he resigned from teaching to serve the elderly Baishi and study the Qi School of painting. After Baishi's death, he taught at the National Peiping Art College. Auction result comparison:Type: RelatedAuction: Beijing Hanhai Art Auction Co. Beijing, 7 December 2012, lot 337Price: CNY 103,500 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: Qi Liangchi (1921-2003), Grape and butterflyExpert remark: Compare the related motif and technique with similar brushstrokes. Note the size (130 x 66 cm).齊良遲(1921-2003)《葡萄》中國，紙本水墨設色，掛軸。流暢的構圖和清麗的設色，不加任何渲染，葡萄憑空而來，藤纏蔓繞，果實累累，葡萄的闊葉以兩三筆簡練寫出，明暗墨色變化多端。 款識：榮唐師兄法正壬年三月齊良遲；鈴印：齊良遲 來源： Oliver Impey 現代繪畫收藏，於1966年10月購於PS & N。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長（1997-2000），牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。他曾就讀於牛津大學，在倫敦蘇富比工作期間完成了論文。在蘇富比，他的鑑賞力和非凡的知識得以發展，以及他對藝術貿易的深入瞭解和對交易的警惕眼光。1967 年，他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡，Impey 孜孜不倦地收購精美物品，極大地擴大了博物館的藏品。他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者，他們為博物館提供了重要的捐贈。 他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品，其中許多作品於2000年後期香港佳士得拍賣會上售出。 品相：狀況極好，有輕微磨損、少量汙漬、邊緣有輕微撕裂和摺痕。 尺寸：畫面68,5 x 33 釐米, 總 203 x 49,5 釐米

A GRAY SCHIST STELE OF VISHNU, NORTHEASTERN INDIA, PALA PERIOD, 11TH - 12TH CENTURYFinely carved as Vishnu standing in samabhanga, holding a mace and discus in his upper hands, a conch shell and lotus bud in his lower hands, his body is richly adorned with elaborate jewelry, including a foliate collar, armlets, wristbands, and circular earrings, his face with almond-shaped eyes, flanked by elongated ears, and surmounted by an ornate headdress, with Lakshmi and Sarasvati standing to his side.Provenance: Galerie Le Corneur Roudillon, Paris, France. A French private collection, acquired from the above. A label to the base 'Le Corneur Roudil[…]'. Le Corneur Roudillon was a gallery established in Paris by Jean Roudillon and noted French jewelry designer Olivier Le Corneur. Jean Roudillon (1923-2020) was an expert in non-European arts, especially in arts from Africa, Oceania, and the Americas, and one of the last great figures instrumental in the recognition of tribal art in the 20th century. He participated in over a thousand sales, including those of the collections of Helena Rubinstein and Andre Levy. The gallery Le Corneur Roudillon specialized in pre-Hispanic American antiques, sculptures from Oceania, classical antiquities, archaeology, and artifacts from the Middle Ages. Condition: Condition commensurate with age and displaying remarkably well. Extensive wear, signs of weathering and erosion, losses, nicks, and light scratches. Some restored cracks, and associated minor losses.Weight: 12.3 kg (incl. stand) Dimensions: Height 42.5 cm (excl. stand), 47.5 cm (incl. stand)Mounted to a modern wood stand. (2)Literature comparison:Compare a related stele of standing Vishnu, 80.6 cm, Pala period, 10th century, in the Brooklyn Museum, accession number 68.185.25.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 24 June 2020, lot 881Price: USD 6,250 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: A black stone stele of Vishnu, India, Pala period, 11th / 12th centuryExpert remark: Compare the related motif, pose, and decoration. Note the larger size (59.7 cm)Auction result comparison:Type: RelatedAuction: Bonhams New York, 15 March 2022, lot 383Price: USD 12,112 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A blackstone stele of Vishnu, Pala period, Northeast India, circa 12th centuryExpert remark: Compare the related motif, pose, and decoration. Note the similar size (47.6 cm).

'NINE CRABS GOING ASHORE', MING DYNASTYChina, 1368-1644. Ink and watercolors on silk, laid down on paper. Exquisitely painted with nine crabs by the shore with reeds, grasses, and daisies, vividly executed with most crabs on land, one partly submerged in the water, and another emerging amid water reeds, each crab shown in a different position and painted with remarkably realistic detail.Inscriptions: Lower left, signed 'Li Goungyuan'. To the back, inscribed '[…] Crabs'.Provenance: The Oliver Impey Collection of Modern Paintings, previously in the Collection Josenbans. The reverse inscribed, 'Collection Josenbans. Period: Ming Dynasty. Subject: Marine life, Grappes [sic]. Artist: Lee Shen Wan', and with an old Swiss customs stamp. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie's in Hong Kong in the late 2000s. Condition: Condition commensurate with age. Wear, staining, soiling, creasing, few tears, minor losses. The silk has thinned substantially over the centuries so that the ink inscription on the reverse has slightly bled through to the front.Dimensions: Image size 98.5 x 40.3 cm, Size incl. mounting 118.5 x 44.3 cmAn old name in Chinese for crab was jia, a reference to the creature's shell, which has the additional meaning of 'first' as in achieving the highest score in the examination to become a government official. The crab was therefore a symbol of success in the imperial examination system. Furthermore, the common Chinese name for crab and the Chinese word for harmony are both pronounced 'xie'.明代《九蟹橫波》中國，1368-1644年，絹本水墨設色，橫軸。岸邊蘆葦叢中九隻螃蟹，栩栩如生，各自戲耍，有的半沉入水中，有一隻出現在蘆葦中，各自不同姿態，生動逼真。 款識：李供垣；鈴印：李供垣印 來源：Oliver Impey現代水墨收藏，來自Josenbans收藏。背面有 'Collection Josenbans. Period: Ming Dynasty. Subject: Marine life，Grappes [sic]. Artist: Lee Shen Wan'字樣，並有瑞士海關印章。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長（1997-2000），牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。 他曾就讀於牛津大學，在倫敦蘇富比工作期間完成了論文。在蘇富比，他的鑑賞力和非凡的知識得以發展，以及他對藝術貿易的深入了解和對交易的警惕眼光。1967 年，他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡，Impey 孜孜不倦地收購精美物品，極大地擴大了博物館的藏品。 他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者，他們為博物館提供了重要的捐贈。 他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品，其中許多作品于2000年後期香港佳士得拍賣會上售出。品相：磨損、染色、污漬、摺痕、少量撕裂、輕微損失。背面的墨水銘文略微滲透到正面。 尺寸：畫面98.5 x 40.3 厘米，總118.5 x 44.3 厘米

A BRONZE 'DUCK' CENSER AND COVER, MING DYNASTYChina, 1368-1644. Modeled standing on one of its webbed feet, the other raised, the curved neck supporting its upwards turned head, detailed with a long opened beak and plumage, the upper body forming the cover, with three openings at the beak and plumage, mounted to a rectangular wood stand.Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years, and thence by descent. The base with an old label, 'Antique Ming dynasty bronze incense burner 17th c.'. Condition: Very good condition with minor wear, few small nicks, light surface scratches, and casting flaws.Weight: 1,164 g (excl. stand), 1,511 g (incl. stand) Dimensions: 26.4 cm (excl. stand), 31.8 cm (incl. stand)With a modern, fitted wood stand. (2)Auction result comparison:Type: RelatedAuction: Bonhams London, 10 May 2021, lot 303Price: GBP 7,012 or approx. EUR 9,200 converted and adjusted for inflation at the time of writingDescription: A bronze mandarin duck form incense burner and cover, Ming dynasty Expert remark: Compare the related form of the beak, plumage, and feet. Note the smaller size (21 cm).Auction result comparison:Type: RelatedAuction: Christie's New York, 29 June 2021, lot 99Price: USD 25,000 or approx. EUR 26,000 converted and adjusted for inflation at the time of writingDescription: A bronze duck-form censer and cover, late Ming dynasty, 17th century Expert remark: Compare the related form, pose, and plumage. Note the larger size (44.8 cm) and rockwork base.明代鴨型銅爐中國，1368-1644年。鴨子單腳站立，另一隻腳抬起，彎曲的脖子，頭擡起，長喙和羽毛細節刻畫精緻，上半身形成蓋子，在喙和羽毛處有三個開口，安裝在一個矩形木架上。 來源：英國倫敦紳士收藏，收藏亞洲藝術至少五十年，保存至今。底座老標籤上注明“Antique Ming dynasty bronze incense burner 17th c.”。 品相：狀況極好，有輕微磨損、極少的刻痕、表面劃痕和鑄造缺陷。 重量：1,164 克 (不含底座)，1,511 克 (含底座) 尺寸：26.4 厘米 (不含底座)，31.8 厘米 (含底座) 現代木底座 (2) 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2021年5月10日，lot 303 價格：GBP 7,012（相當於今日EUR 9,200） 描述：明代鴛鴦銅爐蓋 專家評論：比較相近的長喙外形、羽毛和足部。請注意尺寸較小(21 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2021年6月29日，lot 99 價格：USD 25,000（相當於今日EUR 26,000） 描述：晚明十七世紀銅鴨形蓋爐 專家評論：比較相近的外形、姿勢和羽毛。請注意尺寸較大(44.8 厘米)和岩石形底座。

A SILK APPLIQUE THANGKA OF A CHITIPATI YANTRA, MONGOLIA, 19TH CENTURYFinely woven with two skeletons standing in unity on conch shells atop a lotus pillow, holding a skull club, a kapala, a kundika, and a medicinal plant. The thangka is centered by the circular yantra with a lengthy inscription and decorated with flame, vajra, and floral designs.Provenance: The Triay Collection of Himalayan Art. Ian Triay is a Spanish banking executive and the Honorary Consul in Spain for the Kingdom of Bhutan. He actively participated in the establishment of diplomatic relations between Spain and Bhutan and in projects of mutual interest to both countries. Assembled over a period of 40 years with an eye for the unusual and esoteric, the Triay Collection was a unique assemblage of Himalayan art. With many works featured in the landmark exhibitions in the Fundacion "La Caixa", Madrid in 2000, Musee Guimet, Paris in 2002, Los Angeles County Museum of Art in 2003, and the Rubin Museum of Art in New York in 2010, this collection shines a fascinating light on Buddhist ritual art. A particular focus in the collection was the Chitipati. In the Tibetan Buddhist artistic traditions, graphic images of death and the afterlife - an area which is of particular fascination to the collector - are used as reminders that life is fleeting and that we must act virtuously. Condition: Good condition with old wear, traces of age and usage, little soiling, loose threads.Dimensions: Image size 46 x 33 cm, Size incl. mounting 83.5 x 51.5 cmChitipati are a divine skeleton couple also and initially known as Shri Shmashana Adhipati, "the lord and lady of the charnel ground." They act as protector deities, particularly against thieves and grave robbers, vowing to destroy enemies of the Dharma. They are closely associated with the Chakrasamvara Tantra and visually represented as intertwined jovial skeletal figures, each holding various attributes, dancing in a halo of wild flames. Their wrathful and skeletal appearance can be likened to a momento mori, acting as a reminder of death and the temporality of all things. As macabre lords of the cremation grounds, they serve to remind Tibetans of the inevitability of death and decay, while at the same time, to celebrate one's ultimate liberation from duality. A much beloved subject in Tibetan Buddhism, the Chitipati are represented on thangkas and appliques, in sculpture, on wooden shrines and furniture, and as elaborate costumes worn during ceremonial dances (Cham), in a visual type that becomes standardized for centuries.Memento mori (Latin for 'remember that you die') is an artistic or symbolic trope acting as a reminder of the inevitability of death. The concept has its roots in the philosophers of classical antiquity and appeared in art and architecture from the medieval period onwards. The most common motif is a skull, often accompanied by one or more bones, or a complete skeleton. Often this alone is enough to evoke the trope, but sometimes other motifs such as a coffin, hourglass and wilting flowers were added to signify the impermanence of human life.From Leonardo to Basquiat, the most important artists of the modern world were fascinated by the Memento Mori trope. Likewise, the Chitipati are a reminder of the eternal cycle of life and death. Furthermore, there is a mind training practice in Tibetan Buddhism known as Lojong, the 'Four Contemplations to Cause a Revolution in the Mind'. The second of these four is the contemplation of impermanence and death. In particular, one contemplates that:All compounded things are impermanent,The human body is a compounded thing,Therefore, death of the body is certain,The time of death is uncertain and beyond our control.There are a number of classic verse formulations of these contemplations meant for daily reflection to overcome our strong habitual tendency to live as though we will certainly not die today.Literature comparison: Compare an earlier Tibetan painted thangka of the Chitipati, dated to the 15th century, in the Rubin Museum of Art, object number F1996.16.5. Compare a related painted Chitipati yantra, dated 1900-1959, in the collection of Richard R. and Magdalena Ernst, Himalayan Art Resources item no. 18430.十九世紀蒙古唐卡屍林怙主唐卡精細編織而成，本尊呈骷髏骨架形態，白色，父母本尊各有一張臉，三隻紅眼睛和兩隻手。左邊的父尊用右手高舉一根骷髏棒，左手在心臟位置捧著一個顱碗，穿著老虎皮，站在海螺殼上。母尊高舉的右手拿著一株麥穗，左手拿著一個像徵財富的寶瓶，穿著各種絲綢，站在貝殼上。兩者都頭飾五骷髏冠。 來源：喜瑪拉雅藝術 Triay Collection收藏。 品相：狀況良好，有磨損、歲月痕跡和使用痕跡，輕微汙漬，線頭鬆動。 尺寸：畫面 46 x 33 釐米，總83.5 x 51.5 釐米

A LARGE BACTRIAN LIMESTONE JAR, CIRCA LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, fig. 53, p. 62 (dated to the third millennium BC).Oxus Civilization. The tall and massive vessel of ovoid form, well hollowed, supported on a rounded base and rising to a broad mouth, the interior with neatly incised concentric lines encircling a small protrusion at the center of the base.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium, 2003. Paolo Bertuzzi, acquired from the above. A copy of the original invoice from Alex Vervoordt, dated 4 April 2003, addressed to Paolo Bertuzzi, dating the present lot to the second millennium BC, and listing a purchase price of EUR 8,400 or approx. EUR 12,600 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Excellent condition, commensurate with age. Extensive wear, signs of weathering and erosion, minor chips, structural cracks, small losses, minuscule nicks, light scratches, expected old fills and repairs, and encrustations.Weight: 3,936 gDimensions: Height 29 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the "Oxus civilization", apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures at many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison: Type: Remotely related Auction: Christie's New York, 10 June 2010, lot 4 Price: USD 4,000 or approx. EUR 5,300 converted and adjusted for inflation at the time of writing Description: A Bactrian fossiliferous limestone bowl, circa late 3rd-early 2nd millennium BC Expert remark: Compare the rounded base and hollowing. Note the diameter (27.9 cm).

A SCHIST STELE DEPICTING BUDDHA, ANCIENT REGION OF GANDHARA, 3RD-4TH CENTURYOf rectangular form, deeply carved in high relief, with Buddha seated in dhyanasana atop a lotus base supported by two small figures, flanked by bodhisattvas, under a canopy with apsaras flanked by a Buddha and a bodhisattva, all above kneeling worshippers. His hands are held in dharmachakra mudra, wearing a loose-fitting robe with deeply carved folds, his serene face with almond-shaped eyes, elegantly arched brows, a circular urna, and full lips, the wavy hair with a high ushnisha, backed by a halo.Provenance: Dr. Rene Schroeder, Luxembourg, 1973. The collection of Yvette Starck, Luxembourg, acquired from the above and thence by descent. A noted Belgian collector, acquired from the above. A copy of the original invoice from Dr. Rene Schroeder, dated 10 September 1973, addressed to Yvette Starck, accompanies this lot.Condition: Very good condition, commensurate with age. Some wear, minor losses, few structural cracks, small nicks, light scratches, signs of weathering and erosion, encrustations. Dimensions: Height 46.5 cm (excl. stand) and 49 cm (incl. stand)With a modern metal stand. (2)Literature comparison: Compare a related schist stele depicting Buddha, 97 cm high, in the Lahore Museum, Pakistan. Compare a related schist stele depicting Buddha, dated c. 3rd century AD, in the Government Museum and Art Gallery, Chandigarh, object number 572.Auction result comparison: Type: Related Auction: Christie's Paris, 8 June 2010, lot 423 Price: EUR 70,600 or approx. EUR 86,000 adjusted for inflation at the time of writing Description: An important gray schist relief, Gandhara region, 3rd/4th centuryExpert remark: Note the significantly larger size (76 x 59.5 cm)三至四世紀犍陀羅片岩坐佛石碑長方石碑，高浮雕佛陀坐蓮像，雙手結法輪印，身著僧衣，線條流暢，面容安詳，杏眼，彎眉，雙眉之間有白毫，高髻。兩側分佈菩薩，上有飛天華蓋，周圍有信徒。後有光背。 來源：盧森堡Dr. Rene Schroeder收藏，1973年；盧森堡Yvette Starck收藏，購於上述收藏；知名比利時藏家，購於上述收藏。隨附Dr. Rene Schroeder 1973年9月10日給Yvette Starck出具的發票複印本。 品相：品相極好，一些磨損、輕微缺損、少量結構裂縫、小刻痕、輕微劃痕、風化和侵蝕跡象、土壤結殼。 尺寸：高46.5 厘米 (不含底座) 與49 厘米 (含底座) 現代金屬底座。 (2) 文獻比較： 比較一件相近的片岩佛石碑，高97 厘米，收藏於巴基斯坦Lahore Museum。比較一件相近的三至四世紀片岩佛石碑，收藏於昌迪加爾Government Museum and Art Gallery，收藏編號572。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，8 6月 2010年，lot 423 價格：EUR 70,600 EUR 86,000 （相當於今日） 描述：三至四世紀犍陀羅片岩佛石碑 專家評論：請注意尺寸明顯較大(76 x 59.5 厘米)。

A BACTRIAN NECKLACE, LATE 3RD TO EARLY 2ND MILLENIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, p. 34, no. 30. Oxus Civilization. Composed of eleven larger conical beads interspersed with smaller beads. The agate, jasper, and carnelian beads of a creamy-white tone with bands and fingerprints of gray, brown, and bluish-white, some with red accents.Provenance: Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition with some wear, few small chips to the edges, light surface scratches.Weight: 86.3 g Dimensions: Length 66 cm, Largest bead 7.6 cm, Smallest bead 0.5 cmScattered around Western collections, beads such as those on the present necklace are frequently said to come from Bactria. Although their exact source is unknown, they are comparable with examples found in controlled excavations at Gonur in Margiana.The Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the "Oxus civilization", apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 5 December 2012, lot 301Price: USD 3,250 or approx. EUR 4,100 converted and adjusted for inflation at the time of writingDescription: A Bactrian agate and carnelian bead necklace, circa late 3rd-early 2nd millennium BCExpert remark: Compare the closely related form of the beads, and the colors of the stones. Note the size (71.1 cm).

'A RIVER LANDSCAPE', BY PAN GONGSHOU (1741-1794)China. Ink on paper, mounted as a hanging scroll. Finely painted with a mountainous river landscape with a few houses and pavilions nestled between boldly executed trees, above a single figure paddling in a boat.Inscriptions: To the painting, upper left, inscribed 'Lianchao jushi Pan Gongshou', dated 'on a summer day in the Year of Wuwu in the Jiaqing era' (corresponding to 1798), and inscribed 'in the style of Gao Fangshan' (Gao Kegong, 1248-1310); two seals of the artist, 'gong' and 'shou'. Lower right, two seals. To the mounting, to the left beside the painting, inscribed by Wu Yun (1811-1883), 'The exquisite brushwork by Lianchao Jushi [Pan Gongshou] is attributed to the yipin class. This painting is in the style of Gao Fangshan, it is especially excellent. In the Spring of the Year of Yihai [corresponding to 1875], Yuting Wu Yun'; one seal, 'Pingzhai shending'. To the mounting, to the right beside the painting, inscribed by Tang Yusheng (1778-1853), 'Pan Gongshou, artist name Shenfu, sobriquet Lianchao, came originally from Dantu. Wen Hengshan [Wen Zhengming, 1470-1559] titled. It was said that the painting by Wang Menglou [Wang Wenzhi, 1730-1802] was in the style of Gao Kegong and signed by himself. It is really an exceptional painting. Written on a summer day in Jilong shanlu'; two seals. The scroll with an old label, inscribed 'Pan Gongshou, Landscape, Authentic'.Provenance: Collection of W. W. Winkworth, 1966. The Oliver Impey Collection of Modern Paintings, acquired from the above. William 'Billy' Wilberforce Winkworth (1897-1991) was a legendary collector of Asian art. The Oriental Ceramic Society was founded at his father's home in 1921. After military service in World War I, he joined the British Museum in 1922 under R. L. Hobson in the Department of Ceramics, leaving in 1926 to become a full-time collector and 'marchand amateur'. Between around 1948 and 1970 he was a part-time cataloger at Sotheby's, working on Japanese netsuke, lacquer, and sword fittings. He was famous for his eye and range of connoisseurship, especially in ceramics, and exercised a great influence on his generation of British collectors. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie's in Hong Kong in the late 2000s. Condition: Very good condition with minor wear and soiling. The mounting with some wear, creases, and minor losses.Dimensions: Image size 61 x 31.5 cm, Size incl. mounting 216 x 45.7 cmPan Gongshou (1741-1794), also known as Lianchao, was born in Dantu, near today's Zhenjiang, Jiangsu province. He was a painter, seal carver and poet, famous for his landscapes, figural motifs, and still lifes. Many of his paintings depict poetic inscriptions, and Pan is also known to have collaborated with other calligraphers such as Wang Wenzhi. His works can be found in the collection of the National Art Museum of China, among many other museums.Expert's note: The present painting is notable for its appreciative post-mortem inscription by Pan Gongshou's frequent collaborator Wang Wenzhi (1730-1802), which has a posthumous dating of 1798. The superior quality of the painting, as further attested to by the numerous laudatory collectors' inscriptions to the mounting, as well as the old and illustrious Winkworth and Impey provenances, leave absolutely no doubt as to the authenticity of the painting.Auction result comparison:Type: RelatedAuction: Duo Yun Xuan, Shanghai, 30 November 2020, lot 1027Hammer price: EUR 25,437 (converted by Artprice at the time of writing)Description: Pan Gongshou (1741-1794), Landscape (1784), watercolor and ink on silkExpert remark: Note the size (88 x 48 cm), the similar style and the numerous inscriptions潘恭壽(1741-1794)《摹高房山筆》中國，紙本設色，掛軸。峻岩怪石突兀而立，雜樹挺立濃郁，水閣依山臨水，近景一漁夫讀作江舟。境界幽美，深厚蒼渾。 款識：摹高房山筆嘉慶戊午夏日，蓮巢居士潘恭壽 ；鈴印：恭，壽蓮巢居士蓮巢居士筆法精妙，？為逸品。此幅仿高房山，尤屬出神之？也。乙亥小春愉庭吳雲？；鈴印：平齋審定潘恭壽字慎夫，號蓮巢，丹徒籍，？？文畫宗文衡山（文徵明1470-1559）署題，都傳王夢樓（王文治 1730-1802）此幀模高尚書而自署。？誠真妙昌也。丁酉夏日貽汾題於雞籠山麓；鈴印：雨生 來源：W. W. Winkworth收藏，1966年；Oliver Impey現代水墨收藏，購於上述收藏。 品相：狀況極好，有輕微磨損和污漬。裝幀有一些磨損、摺痕和輕微損失。 尺寸：畫面61 x 31.5 厘米，總45.7 厘米

A LONGQUAN CELADON ARROW VASE, TOUHU, SOUTHERN SONG DYNASTYChina, 1127-1279. Delicately potted, the pear-shaped body supported on a short tapered foot and rising to a long slender neck flanked by a pair of tubular handles. Covered overall in a rich vitreous glaze of soft sea-green color, save for the unglazed foot rim revealing the ware burnt to orange in the firing.Provenance: The J. M. Hu, Zande Lou Collection. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art.Condition: Excellent condition with expected old wear and minor firing irregularities, including glaze recesses and other minuscule glaze faults. The neck is slightly leaning. The unglazed areas of the ware burnt to orange in the firing.Weight: 149.2 gDimensions: Height 12.3 cmThe form of this vase is based on arrow vases, or touhu, the primary accessory of a drinking game which involved throwing all of one's arrows into the mouth of the vessel. The loser was assessed a penalty drink for every errant throw. This game had been popular among elite men and women from the Spring and Autumn period (770-476 BC) onwards. In line with emerging trends of antiquarianism and archaism, the game was revived during the Song dynasty and touhu vases, made in various materials including bronze, cloisonne, and ceramic, remained popular throughout the Ming dynasty and later.Elaborate rituals and intricate rules, recorded in the Li Ji (Book of Rites), added further complexity to the game. Puzzling pitching techniques were described in the Touhu Yijie (Ceremonial Usages and Rules of Touhu), an illustrated manual written by Wang Ti (1490-1530), and these shots were given fancy names, like 'A Pair of Dragons Enters the Sea' when two arrows were thrown from a great height at once into the vase. The touhu game was used to practice archery, one of the essential accomplishments of a gentleman. Later in the Ming era, the game became more widespread and was played by rich merchants as well as the aristocracy and scholarly elite. A scene in the famous late Ming novel Jin Ping Mei (Plum Blossom in the Golden Vase), written in 1619, describes the wealthy merchant Ximen Qing's seduction of his concubine Panjinlian. She becomes inebriated while playing touhu on a picnic and the game leads to an amorous encounter. For a further discussion of the game see Isabelle Lee, 'Touhu: Three Millennia of the Chinese Arrow Vase and the Game of Pitch-pot', Transactions of the Oriental Ceramic Society, vol. 56, 1991-2, pp. 13-7.Too small to actually be used in the drinking game, the present vase was probably intended to hold a single branch, a small flower, or an incense stick.Literature comparison: A pair of related Longquan arrow vases, of slightly larger size and with wider necks, was recovered from the tomb of the Yuan calligrapher Xian Yushu (1251-1302), see Zhang Yulan, Hangzhoushi faxian Yuandai Xian Yushu mu, Wenwu, 1990:9, page 24, figures 11-12. A similar vase was included in the exhibition, The Scholar as Collector: Chinese Art at Yale, Yale University Art Gallery and China Institute in America, New York, 2004, page 18, figure 8.Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1081 Price: USD 27,720 or approx. EUR 26,000 converted at the time of writing Description: A Longquan celadon 'arrow' vase, Southern Song dynasty Expert remark: Compare the related pear-shaped form and soft sea-green glaze. Note the size (16 cm).Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1033 Price: USD 119,700 or approx. EUR 113,000 converted at the time of writing Description: A small Longquan celadon bowl, Southern Song dynasty Expert remark: Compare the almost identical vitreous sea-green glaze and the similarly designed foot rim, also burnt to orange in the firing. Note that this bowl was previously also in the J. M. Hu Collection.南宋龍泉青瓷投壺中國，1127-1279年。胎體緊密，細長頸，頸部有對稱貫耳，豐腹下垂，圈足。通體覆蓋著柔和的青釉，足緣露胎，在燒製中成橙色。

A TERRACOTTA PLAQUE DEPICTING A MOTHER GODDESS, EASTERN INDIA, CHANDRAKETUGARH, C. 1ST CENTURY BC TO 1ST CENTURY ADScientific Analysis Report: A thermoluminescence sample analysis was conducted by Arcadia, Tecnologie Per I Beni Culturali, Milan. The result is consistent with the suggested period of manufacture. A copy of the thermoluminescence analysis report, dated 20 January 2023, accompanies this lot.Of rectangular form, exquisitely modeled with a goddess standing atop a jar, her right hand placed on her hip and her left lowered, the body with narrow shoulders, heavy breasts, wide hips, and attenuated limbs, richly adorned in jewelry and wearing an elaborate headdress, surrounded by children and attendants within an architectural frame.Provenance: An important private collection of a distinguished gentleman in Milan, Italy, assembled in the 1990s and early 2000s. Leonardo Vigorelli, Bergamo, Italy, 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: Commensurate with age. Extensive wear, firing flaws, minor losses, nicks, scratches, chips, signs of weathering and erosion, and encrustations. Four major cracks and associated losses have been professionally restored. Overall presenting remarkably well.Dimensions: Height 50 cm (excl. stand) and 52 cm (incl. stand)Fitted with a modern metal stand. (2)Terracotta was the traditional material for religious images in the Ganges Valley and in the Mauryan and Shunga periods (3rd-1st century BC). Considerable numbers of terracotta plaques have also been excavated at the ancient urban site of Chandraketugarh, in Bengal, suggesting that they served as icons for personal devotion in households or were placed at outdoor shrines. All are dominated by a hieratically enlarged central female figure whose precise identity is unknown to us. In this early phase of image worship in India, the goddess routinely appears with weapons projecting from her headdress, a form later associated with Durga. She is naked, apart from heavy jewelry and a massive hip belt. The honorific umbrella suggests she is a deity, as does the lowered hand gesture denoting the granting of boons.Chandraketugarh is a 2,500 years old archaeological site located near the Bidyadhari river, about 35 km northeast of Kolkata, India, once an important hub of international maritime trade. The Asutosh Museum of Indian Art conducted excavations on the site from 1957 to 1968, which revealed relics of several historical periods, although the chronological classification remains incomplete to this day. Most of the Chandraketugarh terracottas are now in collections of museums in India and abroad, and only a few remain in private collections. According to some historians, the Chandraketugarh site and surrounding area could be the place known to ancient Greek and Roman writers as having the same name as the river Ganges.Literature comparison:Compare a related terracotta plaque, 26.7 cm high, attributed to Chandraketugarh and dated 1st century BC to 1st century AD, in the Metropolitan Museum of Art, accession number 1990.281.

A BANDED CALCITE BACTRIAN CHALICE, LATE 3RD TO EARLY 2ND MILLENIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, p. 59, no. 51, described as banded calcite or travertine.Oxus Civilization. The compressed globular bowl supported on a tall splayed foot. The stone of a cream color with faint veins of white and ochre.Provenance: Bruno Cooper, Norwich, United Kingdom, 2009. Paolo Bertuzzi, acquired from the above in 2009. A copy of the original invoice from Bruno Cooper, Norwich, dated 18 October 2009, describing the piece as a high stemmed cup, attributed to Bactria and dated 3rd millennium BC, stating a purchase price of EUR 2,800 or approx. EUR 3,700 converted and 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, small chips and nicks to the edges, signs of weathering and erosion, and encrustations.Weight: 1,168.4 g Dimensions: Height 17.1 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (short BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or Integration Era. Though it may be called the "Oxus civilization", apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later (c. 1950-1450 BC) sites in northern Bactria, currently known as southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the current territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations from the late 1970s onward revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison:Type: RelatedAuction: Christie's New York, 6 December 2007, lot 61Price: USD 16,250 or approx. EUR 22,500 converted and adjusted for inflation at the time of writingDescription: A Bactrian alabaster chalice, circa late 3rd-early 2nd millennium BCExpert remark: Compare the related form and material. Note the size (34.9 cm).

A LARGE BACTRIAN BANDED AGATE BEAD, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, p. 34, no. 30.Oxus Civilization, c. 2500-1900 BC. Of biconical form tapering towards the ends, the mostly opaque stone of a grayish white color with fingerprints, and bands of amber, ochre, and blueish white.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: Good condition with old wear, few minuscule chips to the edges, natural fissures, and calcifications.Weight: 45.3 g Dimensions: Length 9.3 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the "Oxus civilization", apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison:Type: RelatedAuction: Christie's New York, 6 December 2007, lot 370Price: USD 7,500 or approx. EUR 10,200 converted and adjusted for inflation at the time of writingDescription: A Bactrian Gold and Banded Agate Bead Pendant Expert remark: Note the near-identical size (9.1 cm) and the gold embellishment

A SILVER-INLAID BRONZE FIGURE OF BUDDHA SHAKYAMUNI, PAGAN KINGDOMBurma, 12th-13th century. Finely cast seated in dhyanasana with his left hand resting in his lap and the right lowered in bhumisparsha mudra. He is wearing a diaphanous sanghati draped over his left shoulder and with folds gathering below his feet. His oval face with silver-inlaid almond-shaped eyes and a circular urna, aquiline nose, and pursed lips forming a serene smile, flanked by long pendulous earlobes, his hair arranged in tight curls rising to a domed ushnisha. The back with a long and massive tang. Provenance: English trade. Condition: Good condition, commensurate with age. Extensive wear and weathering as expected, some losses with associated old fills mostly around the base, casting flaws, foundry grit, nicks and dents, shallow surface scratches, encrustations. Naturally grown, rich malachite-green patina overall.Weight: 3,408 g Dimensions: Height 26 cmThe Kingdom of Pagan was the first Burmese kingdom to unify the regions that would later constitute modern-day Myanmar. Pagan's 250-year rule over the Irrawaddy valley and its periphery laid the foundation for the ascent of Burmese language and culture, the spread of Bamar ethnicity in Upper Myanmar, and the growth of Theravada Buddhism in Myanmar and in mainland Southeast Asia. The Burmese language and culture gradually became dominant in the upper Irrawaddy valley, eclipsing the Pyu, Mon, and Pali norms by the late 12th century. Theravada Buddhism slowly began to spread to the village level although Tantric, Mahayana, Brahmanic, and animist practices remained heavily entrenched at all social strata. Pagan's rulers built over 10,000 Buddhist temples in the Bagan Archaeological Zone of which over 2,000 remain today. The wealthy donated tax-free land to religious authorities. The kingdom went into decline in the mid-13th century as the continuous growth of tax-free religious wealth by the 1280s had severely affected the crown's ability to retain the loyalty of courtiers and military servicemen. This ushered in a vicious circle of internal disorders and external challenges by the Arakanese, Mons, Mongols and Shans. Repeated Mongol invasions between 1277 and 1301 toppled the four-century-old kingdom.Literature comparison: Compare a closely related Pagan bronze figure of a seated Buddha, with a similar tang to the back (referred to as a “strut”), 34 cm high, also dated 12th-13th century, in the British Museum, registration number 1971,0727.1. Compare a related Pagan bronze figure of a standing Buddha, with a similar expression and silver-inlaid eyes, 50.5 cm high, also dated 12th-13th century, in the Metropolitan Museum of Art, accession number 1993.235.1.Auction result comparison: Type: Related Auction: Christie's New York, 17 September 1998, lot 170 Price: USD 134,500 or approx. EUR 231,000 converted and adjusted for inflation at the time of writing Description: A large bronze figure of Buddha, Burma, Pagan period, 12th centuryExpert remark: Compare the closely related expression, with similar silver-inlaid eyes, and rich green patina. Note the standing pose and larger size (50.5 cm).

AN IMPORTANT SCHIST HEAD OF MAITREYA, ANCIENT REGION OF GANDHARA, 2ND-3RD CENTURYFinely carved, the serene face with heavy-lidded almond-shaped eyes, elegantly arched brows, full lips, and a wavy mustache, flanked by leogryph earrings. His coiffure secured by beaded and jeweled bands and immaculately arranged in a butterfly topknot with ringlets falling across his forehead in high relief.Provenance: From the collection of Yvette Starck, Luxembourg, by c. 1970, and thence by descent. A noted Belgian collector, acquired from the above. A copy of a provenance statement, written and signed by the previous owner, dated 25 November 2022 and confirming the provenance stated above, accompanies this lot.Condition: Good condition, commensurate with age. Some wear, minor losses, nicks, scratches, signs of weathering and erosion, encrustations. Structural cracks, partially with minor old repairs and fills.Weight: 9,523 g (excl. stand) and 11,657 g (incl. stand)Dimensions: Height 26 cm (excl. stand) and 40 cm (incl. stand)The luxurious treatment of the voluminous curls across his broad forehead and the tops of his ears presents the lingering influence of Greco-Roman sculpture on early Buddhist art. Each terminates with exquisite tail-like twists. This style of the topknot is generally assigned to Maitreya, as in an example from the Avery Brundage Collection (see Literature comparison).The leogryph earrings seen on the present head are a common feature of Gandharan depictions of Maitreya that exemplifies the wide range of influences on Gandharan art, such as the hybrid lion-eagle creatures popular in Persian art motifs and the centaurs of Greek mythology.With a modern metal base. (2)Literature comparison:Compare a figure of Maitreya from the Avery Brundage Collection in the Asian Art Museum of San Francisco, object number B60S597, illustrated in The Asian Art Museum of San Francisco: Selected Works, 1994, p. 23.Auction result comparison: Type: Closely related Auction: Christie's New York, 18 September 2013, lot 201 Price: USD 87,500 or approx. EUR 104,000 converted and adjusted for inflation at the time of writing Description: A gray schist head of a bodhisattva, Gandhara, 2nd/3rd centuryExpert remark: Compare the closely related treatment of the face and butterfly topknot with similar ringlets. Note the smaller size (22.8 cm).二至三世紀犍陀羅重要片岩彌勒佛頭彌勒面部表情雕刻細膩，優雅的拱形眉毛，雙眼微閉，小鬍子。他的髮型一塵不染，蝴蝶狀的髮髻，由串珠和鑲有寶石的髮帶固定。 來源：盧森堡 Yvette Starck收藏，約 1970年進入收藏；知名比利時收藏，購於上述收藏。隨附一份上任藏家於2022年11月25日出具的來源證明複印本。 品相：品相良好，一些磨損，輕微缺損、刻痕，劃痕，風化和侵蝕的跡象，有結殼，有結構裂縫，小修補和填充。重量：9,523 g (不含底座) 與 11,657 g (含底座) 尺寸：高26 厘米 (不含底座) 與 40 厘米 (含底座) 寬闊的前額與蓬鬆捲髮都展現希臘羅馬雕塑對早期佛教藝術的揮之不去的影響。這類頭髻樣式通常用於彌勒，例如Avery Brundage 收藏中的一個例子（參見文獻比較）。本尊頭像上的獅鷲耳環是犍陀羅彌勒造像的特徵，例如波斯藝術裏流行的獅鷲混合生物和希臘神話中的半人馬。 現代金屬底座。(2) 文獻比較： 比較一件彌勒佛像，收藏於舊金山亞洲藝術博物館Avery Brundage Collection，收藏編號B60S597，見《The Asian Art Museum of San Francisco: Selected Works》，1994年，頁23。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年9月18日，lot 201 價格：USD 87,500（相當於今日EUR 104,000） 描述：二至三世紀犍陀羅片岩彌勒佛頭 專家評論：比較非常相近的捲髮、面部和蝴蝶髮髻。請注意尺寸較小(22.8 厘米)。

AN ICONIC LARGE BRONZE TORSO OF THE 'WALKING BUDDHA', SUKHOTHAI KINGDOMOpinion: The present lot is a sad and, at the same time, hopeful testimonial to the sheer endless number of Buddhist images that were destroyed during two millennia of turmoil, upheaval, revolution, and outright war. Sad, because the tragedy of brutal and mortifying repression is apparent in this statue, hopeful because even the most savage physical harm was unable to diminish Buddha's eternally peaceful appearance.Thailand, 15th-16th century. Cast striding with the right leg slightly raised, his left hand in vitarka mudra and his right gracefully extended alongside his body, wearing a diaphanous sanghati over his left shoulder and flaring down towards a gently undulating hemline.Provenance: French trade. By repute acquired from an old private estate. Condition: Presenting remarkably well. Condition overall commensurate with age. Old wear, partially from extensive worshipping within the culture. Some casting flaws, few nicks and dents, small cracks and old fills, obvious losses. Fine, naturally grown, dark patina.Dimensions: Height circa 84 cm (excl. stand), circa 97 cm (incl. stand)Mounted to a modern metal stand. (1)The 'Walking Buddha' is a striking and iconic Thai invention emerging in bronze sculpture during the 14th century. Known in Sukhothai as cankrama (walking back and forth) it refers to the pacing of Buddha during the third week after Enlightenment, see H. Woodward, The Sacred Sculpture of Thailand, 1997, page 160ff. When Shakyamuni renounced his princely life, he dismounted from his horse to become a peripatetic mendicant. Buddhist texts describe his constant wandering from city to city in the course of his teaching, exemplifying the important role that the act of walking had upon Buddha's life.Literature comparison:Large models of this size and condition are extremely rare. Compare a related bronze figure of the walking Buddha, dated to the 15th century, height 128.3 cm, in the Minneapolis Institute of Art, accession number 31.115. Compare another smaller example of the walking Buddha, dated to the 14th century, height 28 cm, in the British Museum, museum number 1947,0514.1.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 September 1999, lot 254Price: USD 112,500 or approx. EUR 194,000 converted and adjusted for inflation at the time of writingDescription: A Large and Important Bronze Figure of a 'Walking Buddha', Thailand, Sukhothai, 15th/16th centuryExpert remark: Compare the closely related pose, color of the bronze, and size (117 cm including head and feet).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 13 September 2017, lot 635Price: USD 100,000 or approx. EUR 117,000 converted and adjusted for inflation at the time of writingDescription: A Rare Bronze Figure of a Walking Buddha, Thailand, Sukhothai period, 15th centuryExpert remark: Compare the closely related pose and dress. Note the small size (43.7 cm).

'PAIR OF HERONS', BY LIN FENGMIAN (1900-1991)China. Ink and watercolor on paper. Depicting a pair of herons perched at the shore of a lake, fishing, surrounded by reeds, painted with vivid brush strokes, and sharp yellow beaks.Inscriptions: Lower right, signed 'Lin Fengmian'. One seal, 'Lin Fengmian'Provenance: From a noted private collection. By repute acquired from a collector who purchased the painting directly from Chung Kiu Chinese Products Emporium, which was established on Nathan Road in Hong Kong in 1958, and is a known early provenance of works by Lin Fengmian. Merchant paper label to backside with inscription: "Lin Fegmian, pair of herons". Condition: Very good condition with only minor wear, few minuscule tears, some foxing, and little creasing.Dimensions: Image size 72 x 65.5 cm, Size incl. mounting 100 x 93 cmFramed. (2)Lin Fengmian (1900-1991) is considered a pioneer of modern Chinese painting, mostly for blending Western and Chinese styles, as he was one of the earliest Chinese painters to study in Europe. He was also an important innovator in the area of Chinese art education and one of The Four Great Academy Presidents, a group of artists who were revered in the early Republic due to their effective stewardship of the art academies they presided over. Auction result comparison:Type: Closely relatedAuction: Sotheby's London, 4 November 2020, lot 131Price: GBP 119,700 or approx. EUR 160,000 converted and adjusted for inflation at the time of writingDescription: Lin Fengmian (1900-1991), Two cranesExpert remark: Compare the closely related motif, brush strokes, color, and size (66 x 69.5 cm)林風眠款《雙鷺》中國，紙本水墨設色。描繪一對白鷺棲息在湖邊尋食，四周蘆葦叢生，筆觸傳神。 款識：林風眠；鈴印：林風眠印 來源：知名私人收藏，據説前藏家直接購於中僑國產百貨有限公司。該公司曾坐落於香港九龍，1958年成立，2016年解散，曾是出售林風眠作品很出名的出處。背面有售出時的標籤："林風眠 雙鷺"。 品相：狀況極好，只有輕微磨損與細小的撕裂，有些起皺，輕微摺痕。 尺寸：畫面72 x 65.5 厘米，總100 x 93 厘米 裝框。(2) 林風眠（1900-1991）是中國現代繪畫的先驅，他是最早留學歐洲的中國畫家之一，其作品融合西方和中國風格。他還是中國藝術教育領域的重要創新者和四大書院院長之一，這群藝術家因其對所主持的藝術學院的有效管理而在民國初期受到尊敬。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2020年11月4日，lot 131 價格：GBP 119,700（相當於今日EUR 160,000） 描述：林風眠（1900-1991年） 《雙鶴》 設色紙本 專家評論：比較非常相近的主題、筆觸、顏色和尺寸 (66 x 69.5 厘米)。

A RARE LACQUERED AND PAINTED WOOD TOMB GUARDIAN FIGURE, ZHENMUSHOU, WARRING STATESChina, Chu Kingdom, 475-221 BC. The monstrous head with round bulging eyes, shaped brows, a long protruding tongue, and a curved neck inserted into a central mortise to the separately carved square base with raised geometric segments, the head with two further mortises to the sides to hold the separately carved antlers, all with black-painted scrolling designs.Provenance: Homo Sapiens di Giannozzo Pandolfini, Firenze, Italy, 2012. Paolo Bertuzzi, acquired from the above. A copy of the original signed invoice from Homo Sapiens di Giannozzo Pandolfini, dated 21 January 2012, dating the present lot to the Warring States period, c. 4th century BC, stating it was duly imported and collected at Venice Airport on 7 December 2010, registered with number 2109 on 27 January 2011, and stating a purchase price of EUR 4,000 or approx. EUR 5,000 (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, commensurate with age. Extensive wear, losses, chips, age cracks, nicks, scratches, wear to lacquer and pigments, signs of weathering and erosion, old repairs and fills, all as expected from a wood figure of more than 2,000 years of age.Weight: 5,090 g (incl. stand)Dimensions: Height 69.5 cm (incl. stand)With a modern metal stand. (2)This large menacing creature with antlers and a protruding tongue is a guardian (zhenmushou), often found in tombs of the Chu culture in the southern Chinese provinces of Hunan, Henan, and Hubei during the Warring States through Western Han periods. They are found placed in the chamber of the tomb, closest to the head of the tomb occupant and facing inward toward the occupant, in order to protect the deceased. Chu culture is renowned for its elaborately carved and painted lacquer objects; designs similar to the ones on this mythical guardian are also found on Chu textiles and inlaid bronzes of the same period.The southern state of Chu, which dominated the area of the great lakes north of the Yangzi river, is renowned for its complex views of the spirit world recorded in the later Han period text Shanhaijing ('Classic of the mountains and seas'). It seems likely that this southern area, which had employed figures of animals for its bronze vessels, retained a deep-seated interest in representing form in three dimensions. In this heavily forested area, the abundance of wood made wooden sculpture possible.Literature comparison:Compare a closely related lacquered and painted wood tomb figure, 105.7 cm high, also dated to the Warring States period, in the Brooklyn Museum, accession number 1999.20a-d. Compare a related wood guardian figure, 76.2 cm high, dated to the Eastern Zhou dynasty, c. 4th century BC, in the British Museum, registration number 1950,1115.1.Auction result comparison: Type: Related Auction: Christie's Amsterdam, 20 November 2002, lot 414 Price: EUR 5,975 or approx. EUR 9,200 adjusted for inflation at the time of writing Description: A wood tomb spirit, Warring States Expert remark: Compare the closely related form, square base, and antlers. Note that this piece represents a slightly different type with two guardians in mirror image. Note the larger size (95 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 4 June 1992, lot 143 Price: USD 35,000 or approx. EUR 72,000 converted and adjusted for inflation at the time of writing Description: A rare painted wood dragon-form totem and base, Warring States Expert remark: Compare the closely related concept, design, form, material and painting. Note the smaller size (55.9 cm).戰國時期楚式彩繪木雕鎮墓獸中國，公元前475-221 年，楚國。巨大的頭部雙目圓睜，眉毛上揚，長長的突出的舌頭和彎曲的脖子插入中央榫眼，單獨雕刻的帶有凸起幾何部分的方形底座，頭部兩側有兩個榫眼以固定單獨雕刻的黑色鹿角。 來源：義大利弗洛倫薩Homo Sapiens di Giannozzo Pandolfini藝廊，2012年；Paolo Bertuzzi購於上述藝廊。隨附2012年1月21日Homo Sapiens di Giannozzo Pandolfini藝廊出具的發票複印本，上面斷代為戰國時期，公元前約四世紀，並證明2010年12月7日在威尼斯機場正式進口，并於2011年1月27日登記號 2109，售價EUR 4,000 或相當於 EUR 5,000 (根據通貨膨脹率)。 品相：品相良好，大面積磨損、缺口、磕損、老化裂縫、刻痕、劃痕、漆面和顏料磨損、風化和侵蝕的跡象、小修補和填充。 重量：5,090 克 (含底座) 尺寸：高 69.5 厘米 (含底座) 現代金屬支架。 (2)

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 RARE SANDSTONE HEAD OF HARIHARA, PRE-ANGKOR PERIOD7th to late 8th century. Finely carved with a serene expression, almond-shaped eyes with neatly incised pupils, and full lips forming a subtle smile, flanked by long pendulous earlobes. The hair is partly jatamakuta (braided) and partly kiritamakuta (cylindrical), representing Shiva and Vishnu, respectively. Provenance: From the private collection of Camille Mines (1950-2018), Luxembourg. By repute acquired by his father, Rene Mines, in the local trade during the early 1970s. By descent to Robert Mines. A copy of a handwritten provenance statement signed by Robert Mines, dated 15 September 2022, confirming the above, accompanies this lot.Condition: Good condition, commensurate with age. Extensive wear, cracks, losses, nicks, scratches, signs of weathering and erosion, encrustations.Dimensions: Height 30 cm (excl. stand), height 41 cm (incl. stand)Mounted to a modern stand. (2)Syncretism is a favored device in Indian cosmologies for representing the complex and multifaceted personalities of the gods. The oldest archaeological evidence of this practice is sculptures from Kushana-era Mathura (late 1st - 3rd century), northern India, depicting Shiva combined with his female aspect, Parvati, as the androgynous Ardhanarishvara. Vishnu (Hari) combined with Shiva (Hara) appeared later in India, in the fifth century during the Gupta period, and is explained mythically as Shiva representing the male half of the universe and Vishnu, in his female aspect as Mohini, representing the female element. Harihara is born of their sexual union. The artistic styles that developed during the Pre-Angkor period, before the capital was moved north to Angkor, exhibit a wider range of artistic motifs than those that would develop during the Angkor period. Phnom Da was an important center of artistic creation during the 6th-7th centuries.Literature comparison: Compare a related sandstone head of Harihara, 11.5 cm high, also dated to the Pre-Angkor period, in the CB National Museum, inventory number Ka.2687. Compare a related sandstone head of Harihara, dated to the early 7th century, in the collection of the Musee Guimet, inventory number MG14899, exhibited in The Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, 14 April to 27 July 2014, cat. no. 91.

A RARE BRONZE FIGURE OF UMA, ANGKOR WAT STYLE, KHMER EMPIRE, 12TH CENTURYExpert's note: The finely cast details of the face, clothing and jewelry are all indicative of the Angkor period. Uma was a favored goddess in Khmer Angkor, and while sandstone representations of the goddess abound, bronze devotional figures of Uma are considerably rarer.Well cast standing upon a simple square plinth with her hands extended. Her pleated sampot is suspended from a charm-embellished belt and a central sash that tapers off in a distinct fishtail shape. She is ornamented in fine jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem.Provenance: The personal collection of Robert Rousset, acquired in the 1950s-1970s. Thence by descent to Jean-Pierre Rousset (1936-2021). The underside with an old label, 'C. 1085'. Robert Rousset (1901-1982) was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks, scratches, dents, a crack to the lower sampot, signs of weathering and erosion, and encrustations. No hidden damages. Magnificent malachite green patina, naturally grown overall.Weight: 547 g (incl. base) Dimensions: Height 17.8 cm (excl. base) and 20.5 cm (incl. base)Mounted on an associated modern base. (2) Auction result comparison: Type: Closely related Auction: Christie's New York, 23 July 2020, lot 36 Price: USD 8,125 or approx. EUR 8,500 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Uma, Khmer, Angkor period, Angkor Way [sic] style, 12th century Expert remark: Note the near-identical size (18.5 cm)

A FAMILLE ROSE 'RECLINING LADY' SNUFF BOTTLE, LATE 18TH TO EARLY 19TH CENTURYChina, 1780-1840. Molded and painted to depict a reclining woman holding a handkerchief in her left hand and resting her chin in the palm of her right hand, her bound feet peeking out from her trousers, one foot forming the stopper.Provenance: From a noted French private collection. Condition: Very good condition with minor wear to gilt and enamels as well as minimal firing irregularities.Stopper: PorcelainWeight: 30.6 g Dimensions: Height including stopper 91 mm. Diameter neck 15 mm and mouth 8 mmOne of the popular figural molds of the mid-Qing period was of a reclining woman. In practically every case, the foot of the extended leg forms the stopper, granting somewhat constrained access to the interior by way of the hollow leg. None of the reclining-woman bottles is dated to any particular reign. The enamels generally would accord with the Jiaqing period, or a little later in some particular cases. The general impression gained from the group of figure-form molded porcelains is that they began at the same time as other molded types in the last years of the Qianlong reign, flourished in the Jiaqing, and tailed off during the Daoguang period to settle into the regular, occasional production of later-Qing types. There seems to have been a shift in focus during the early Daoguang period from molded porcelain bottles to individually carved ones, which may have been one reason for their decline.This model, despite its apparent innocence to the Western eye, would probably have been considered erotic by the Chinese. The bound feet of women in pre-modern China were considered erotic, because they were specific to women, embodied feminine charm and beauty, and were practically never seen.Literature comparison:For similar molded examples, see three illustrated by M.C. Hughes, The Blair Bequest. Chinese Snuff Bottles from the Princeton University Art Museum, Baltimore, 2002, no. 297-299.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 27 May 2013, lot 107Price: HKD 125,000 or approx. EUR 19,500 converted and adjusted for inflation at the time of writingDescription: A famille-rose porcelain 'reclining lady' snuff bottle, Qing dynasty, late 18th / early 19th centuryExpert remark: Compare the closely related pose, and enamelsAuction result comparison:Type: Closely relatedAuction: Bonhams New York, 22 March 2011, lot 35Price: USD 14,640 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: An enameled 'reclining lady' porcelain snuff bottle, 1780-1820Expert remark: Compare the closely related pose, enamels, and size (10.8 cm)十八世紀末至十九世紀初粉彩“睡美人”鼻煙壺中國，1780-1840年。鼻煙壺呈一婦人斜臥，左手執帕，右手托腮，一足從褲中探出，另一足為壺蓋。 來源：法國知名私人收藏。 品相：狀況非常好，鎏金和琺瑯有輕微磨損，細微燒製不規則。 壺蓋：陶瓷 重量：30.6 克 尺寸：含蓋高91毫米，頸部直徑15 毫米，壺口 8毫米 清代中期流行的鼻煙壺造型之一是睡美人，即成臥姿的婦人，一足作爲壺蓋。目前還無法確定睡美人鼻煙壺可以追溯到哪一個統治時期。琺瑯彩鼻煙壺盛於嘉慶時期，個別情況稍晚一些。人物造型的陶瓷起於乾隆末年，盛於嘉慶，道光年間漸趨衰落。道光初期，鼻煙壺製作的重心似乎已經從模製瓷瓶轉移到單獨雕刻的瓶上，這可能是它們衰落的原因之一。睡美人鼻煙壺儘管在西方人眼中看起來很純樸，但中國人可能會認為它很情色。古時中國女性的小腳被認為是色情的，因為它們是女性特有的，體現了女性的魅力和美麗，幾乎不會被生人看見。文獻比較： 一件相似的鼻煙壺，見M.C. Hughes，《The Blair Bequest : Chinese Snuff Bottles from the Princeton University Art Museum》，巴爾的摩，2002年，編號297-299。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2013年5月27日，lot 107 價格：HKD 125,000（相當於今日EUR 19,500） 描述：清十八世紀末 / 十九世紀初 粉彩「臥姿仕女」鼻煙壺 專家評論：比較非常相近的姿勢和琺瑯。

'SCHOLAR UNDER A WUTONG TREE', BY ZHANG DAQIAN (1899-1983)Exquisitely painted with a bearded scholar seated on a bamboo chair, wearing loose-fitting robes and a tall cap, under two blossoming wutong trees, their leaves painted in shades of blue with virtuosic skill, all above a squatting attendant fanning a small oven to prepare some tea.China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll.Inscriptions: Upper right, signed 'Zhang Daqian Yuan', and titled 'Scholar under a Wutong Tree', two seals of the artist, 'Zhang Yuan siyin' and 'Daqian Jushi'. Lower left, one seal.Provenance: The Oliver Impey Collection of Modern Paintings. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie's in Hong Kong in the late 2000s.Condition: Good condition with some wear, creasing, soiling, small losses, minor touchups, the roller caps lost. Dimensions: Image size 98 x 51 cm, Size incl. mounting 208 x 62.4 cmZhang Daqian (1899-1983) was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally active as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he is regarded as one of the most gifted master forgers of the twentieth century. After the Communist Revolution in 1949, he left China and spent years living in South and North America, extensively touring Northern California. Zhang's first California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a thousand. Finally, he settled in Taipei, Taiwan in 1978. During his years of wandering, he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He also kept a pet gibbon and affected the long robe and long beard of a traditional Chinese scholar.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 November 2021, lot 1127Price: HKD 275,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: Zhang Daqian (1899-1983), Scholar Looking for Inspiration Expert remark: Compare the closely related subject with a similarly painted tree. Note the size (107 x 41.2 cm).張大千(1899-1983)《梧桐樹下翁》中國，紙本水墨設色，掛軸。梧桐樹下，老翁坐在竹椅上，身穿寬鬆長袍，頭戴高帽，一旁蹲著的小童正扇著小爐燒水，準備茶水。筆墨灑脫，工寫結合。 款識：高梧三雙玉，綠蔭如秋水，下有兀坐翁，妙在澄懷裏。爰。鈴印：張爰之印，大千居士。 來源：Oliver Impey 現代繪畫收藏。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長（1997-2000），牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。他曾就讀於牛津大學，在倫敦蘇富比工作期間完成了論文。在蘇富比，他的鑑賞力和非凡的知識得以發展，以及他對藝術貿易的深入了解和對交易的警惕眼光。1967 年，他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡，Impey 孜孜不倦地收購精美物品，極大地擴大了博物館的藏品。 他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者，他們為博物館提供了重要的捐贈。 他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品，其中許多作品於2000年後期香港佳士得拍賣會上售出。 品相：狀況良好，有一些磨損、摺痕、污漬、小缺損、小修補、掛軸蓋丟失。 尺寸：畫面98 x 51 厘米，總208 x 62.4 厘米

A BACTRIAN MARBLE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, page 50, no. 46.Oxus Civilization. The column of waisted form flaring towards the ends, the top and base with a crescent-shaped central groove. The stone of dark brown marble with yellow and white veins, and stress lines filled with calcite.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: Good condition commensurate with age showing expected old wear and traces of use, some obvious losses, chips, natural fissures, and old fills. Smooth polish.Weight: 5,181 gDimensions: Height 23.5 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Literature comparison: Compare a related marble column idol, described as an “incense stand (?)”, 24.8 cm high, dated ca. late 3rd to early 2nd millennium BC, in the Metropolitan Museum of Art, accession number 1992.232.8.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 22 October 2003, lot 464Price: USD 6,600 or approx. EUR 9,600 converted and adjusted for inflation at the time of writingDescription: A Bactrian marble ritual object, 3rd millennium BCExpert remark: Compare the closely related form and color of the marble. Note the size (38.1 cm).

A LARGE PARCEL-GILT COPPER REPOUSSE PLAQUE OF A SNOW LION, 17TH-18TH CENTURYTibet. The striding beast with a fierce expression, bulging eyes below flaming brows, the mouth revealing a set of sharp fangs below a ruyi shaped snout. The finely detailed flaming mane, tail, mouth, and bell nicely picked out. The head and body cast separately and joined with rivets. Provenance: From the private collection of Jan Finch. Jan Ellen Finch (1952-2021) was a celebrated art and antiques dealer who started out in Portobello Market during the 1980s. Her company Finch & Co became one of the best-known and most charismatic dealerships of the modern era. The firm's rigorously researched and hugely informative catalogs became the mainstay of many dealers' and collectors' libraries. Her private collection included numerous curiosities and rare examples of Asian and ethnographic art, European sculptures, and modern British art. Condition: Good condition, commensurate with age and the generally fragile nature of repousse works, with some old wear, minor tears and small losses, dents and nicks, minute cracks, some added pinholes for suspension, few malachite encrustations. Remnants of ancient pigment.Weight: 2,590 g (excl. base), 5,600 g (incl. base) Dimensions: Length 42.6 cmMounted to a modern metal base. (2) Auction result comparison:Type: Closely relatedAuction: Christie's New York, 31 March 2005, lot 193Price: USD 9,000 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: A Gilt Copper Repousse Lion, Tibet, circa 17th centuryExpert remark: Compare the closely related pose and picked-out details. Note the related size (47 cm).Auction result comparison:Type: RelatedAuction: Bonhams London, 14 May 2009, lot 159Price: GBP 13,200 or approx. EUR 24,500 converted and adjusted for inflation at the time of writingDescription: A pair of gilt-copper repousse 'lion' panels, Tibet, 19th centuryExpert remark: Compare the related motif. Note that the lot comprises two pieces of larger size (62.7 cm).十七至十八世紀大型銅鎏金浮雕雪獅西藏。神情凶狠的雪獅，火紅的眉毛下雙眼圓睜，鋒利的獠牙，如意形鼻子，脊梁挺直，黑色的火焰狀鬃毛，細節刻畫精緻。頭部和身體分開鑄造，並用鉚釘連接。 來源：Jan Finch私人收藏。Jan Ellen Finch (1952-2021年) 曾是一位著名的藝術品及古董商，她於 1980 年代在波多貝羅市場起家。她的公司 Finch & Co 成為當代最著名且最具魅力的經銷商之一。該公司經過嚴格研究並提供大量信息的目錄成為許多經銷商和收藏家圖書館中的不可缺少的書籍。她的私人收藏包含亞洲和民族志藝術、歐洲雕塑和現代英國藝術，其中不乏奇珍異寶和稀有例子。 品相：狀況良好，錘鍱作品普遍脆弱，有一些磨損、輕微撕裂和小缺損，可見凹痕和刻痕、微小裂縫、一些用於懸掛的額外針孔，少量孔雀石綠結殼，古代顏料的殘餘。 重量：2,590 克 (不含底座)，5,600 克 (含底座) 尺寸：長 42.6 厘米 現代金屬支架 (2) 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2005年3月31日，lot 193 價格：USD 9,000（相當於今日EUR 13,000） 描述：十七世紀銅鎏金錘鍱獅牌 專家評論：比較非常相近的姿勢和細節。請注意相近尺寸 (47 厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2009年5月14日，lot 159 價格：GBP 13,200（相當於今日EUR 24,500） 描述： 十九世紀一對銅鎏金錘鍱獅牌 專家評論：比較相近的主題。請注意此牌為一對和尺寸 (62.7 厘米)較大。

A RARE BLACK STONE STELE OF PARVATI, PALA EMPIRENortheastern India, 10th-12th century. Well carved, standing on a lotus dais raised on a plinth, her four hands holding a sword, lotus, disc, and small child. Her serene face with almond-shaped eyes below gently arched brows and full lips forming a calm smile, backed by a halo. The figure flanked by two chauri-bearing attendants standing in tribhanga.Provenance: Christie's Amsterdam, 24 May 2006, lot 661, sold for EUR 4,560 or approx. EUR 6,700 (adjusted for inflation at the time of writing). A noted collector from Belgium, acquired from the above. Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, and encrustations.Dimensions: Height 49 cm (excl. stand) and 54 cm (incl. stand)Mounted on a modern metal stand. (2)Parvati is the Hindu goddess of power, energy, nourishment, harmony, love, beauty, devotion, and motherhood. She is one of the central deities of the goddess-oriented sect called Shaktism and the chief goddess in Shaivism. Along with Lakshmi and Saraswati, she forms the Tridevi. Literature comparison: Compare a related stone stele, described as depicting a “deity, perhaps Ambika”, 71.1 cm high, dated approx. 900-1000, in the Asian Art Museum of San Francisco, object number B60S124+.

A PAIR OF GILT-BRONZE TAOTIE MASK FITTINGS WITH LOOSE RING HANDLES, WARRING STATES PERIOD TO HAN DYNASTYChina, 5th century BC to 2nd century AD. Each well cast and finely detailed with bulging eyes below thick brows and curved horns, all above a pair of arms, suspending a loose ring from the down-turned nose, which continues into a rectangular tab on the back below another tab pierced for attachment. Fine, solid patina with malachite and cuprite encrustations.Provenance: A French private collection, acquired in Hong Kong during the 1980s. Galerie Archaia, Lyon, France, 2011. A French private collection built between ca. 1980 and 2012, acquired from the above, and thence by descent. A copy of the original invoice from Galerie Archaia, Lyon, dated 9 November 2011, describing the present lot as a pair of gilt bronze taotie from the Warring States period, accompanies this lot.Condition: Very good condition, commensurate with age. Extensive wear, minor dents, small nicks, light scratches, losses, signs of weathering and erosion, casting flaws, and encrustations.Dimensions: Height 13.7 cm (each)Each with a modern acrylic glass stand. (6)Expert's note: The inclusion of human-like arms in this design is very unusual, and related to a small number of bronze ring handles with human-form decoration, including one excavated in 1968 at Mancheng, Hebei Province, from the tomb of Liu Sheng (d.113 BC) in the Hebei Provincial Museum which was illustrated in the Metropolitan Museum of Art exhibition catalog Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.-A.D. 220), New York, 2017, pages 184-185, no. 103.Auction result comparison: Type: RelatedAuction: Bonhams London, 17 May 2018, lot 41 Price: GBP 8,750 or approx. EUR 11,500 converted and adjusted for inflation at the time of writing Description: A rare pair of gilt-bronze 'taotie and figure' door handles, pushou, Warring States period/Han dynasty Expert remark: Compare the related human-form decoration. Note the width of the handles (12.5 cm) and that the lot also comprises a pair.Auction result comparison: Type: Related Auction: Christie's New York, 16 March 2017, lot 861 Price: USD 23,750 or approx. EUR 26,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze taotie mask fitting with loose ring handle, Han dynasty Expert remark: Note the similar size (15.2 cm) and that the lot only comprises a single taotie mask fitting.戰國至漢代一對銅鎏金獸面輔首啣環 描述：中國，公元前五世紀至公元二世紀。鑄造精良，細節精緻，獸面濃密的眉毛，彎曲的角，大眼圓睜，嘴部有一雙手，鼻子下懸掛一個可以活動的環。細膩堅固的包漿，帶有紅綠色銅鏽結殼。 來源：法國私人收藏，上世紀八十年代購於香港；2011年法國里昂Galerie Archaia藝廊；法國私人收藏，建立於1980年至2012年間，購於上述收藏，保存至今。隨附一份Galerie Archaia原始發票複印件，時間爲2011年11月9日，描述爲來自戰國時代的銅鎏金饕餮。 品相：狀態極好，大面積磨損、輕微凹痕、小刻痕、輕微劃痕、缺損、風化和侵蝕跡象、鑄造缺陷、結殼。 尺寸：分別高13.7 厘米 現代玻璃底座。 (6) 專家注釋：這件拍品中包含人形手臂非常不尋常，可能與有人形裝飾的青銅環柄有關，其中包括 1968 年在河北省滿城出土的劉勝墓(公元前113年)並在河北省博物館展出，可參見大都會藝術博物館《 Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.-A.D. 220)》，紐約，2017年，第184-185頁，圖103。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2018年5月 17日，lot 41 價格：GBP 8,750（相當於今日EUR 11,500） 描述：戰國/漢銅鎏金輔首銜環 一對 專家評論：比較相近的裝飾。請注意環寬度(12.5 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2017年3月16日，lot 861 價格：USD 23,750（相當於今日EUR 26,000） 描述：漢鎏金銅輔首啣環 專家評論：請注意相似的尺寸(15.2 厘米) ，以及此饕餮輔首啣環只有一件。

A BACTRIAN TRAVERTINE BOWL, LATE 3RD TO EARLY 2ND MILLENIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, p. 59, no. 51, described as a truncated cone-shaped bowl in banded calcite or travertine.Oxus Civilization. The deep conical sides supported on a slightly rounded base and rising to an everted rim above a short waisted section. The stone of a beautiful cream color with faint veins of amber.Provenance: Bruno Cooper, Norwich, United Kingdom, 2009. Paolo Bertuzzi, acquired from the above. A copy of the original invoice from Bruno Cooper, Norwich, dated 18 October 2009, describing the piece as a Bactrian truncated cone-shaped bowl in travertine, dating it to the 3rd millennium BC, and stating a purchase price of EUR 1,800 or approx. EUR 2,400 (converted and 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: Very good condition with old wear, few minuscule chips to the rim, signs of weathering and erosion, encrustations, and natural fissures, some of which may have developed into hairline cracks.Weight: 825.2 g Dimensions: Diameter 16.3 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the "Oxus civilization", apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Literature comparison: Compare a closely related marble bowl, with a similar waisted section below the rim, dated ca. late 3rd to early 2nd millennium BC, in the Metropolitan Museum of Art, accession number 1983.535.4.Auction result comparison:Type: RelatedAuction: Christie's New York, 11 December 2003, lot 99Price: USD 7,170 or approx. EUR 11,500 converted and adjusted for inflation at the time of writingDescription: A Bactrian banded calcite-alabaster bowl, circa late 3rd-early 2nd millennium BCExpert remark: Compare the related form, material, and size (17.5 cm). Note the vibrant bands and thin walls.

'AUTUMN MOUNTAIN LANDSCAPE', BY HUANG JUNBI (1898-1991), CHINA, DATED 1951Boldly painted with a scholar seated amid bamboo stalks near a bridge in a vast misty landscape with towering mountains, pines and other trees, two waterfalls, and small huts.Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll.Inscriptions: Upper left, signed 'Huang Junbi', titled 'Landscape', and dated 'In the Summer of the Year of Xinmao' (corresponding to 1951). Two seals of the artist, 'Huang Junbi yin' and 'Jun Weng'.Provenance: The Oliver Impey Collection of Modern Paintings. Sotheby's Hong Kong, 3 October 2011, lot 1836, sold for HKD 300,000 or approx. EUR 49,000 (converted and adjusted for inflation at the time of writing). A private collector, acquired from the above. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie's in Hong Kong in the late 2000s.Condition: Very good condition with minor wear and little soiling.Dimensions: Image size 115 x 54 cm, Size incl. mounting 217 x 64 cmHuang Junbi (1898-1991) was an important Chinese master painter, who strongly believed in the inheritance of traditional brushwork while reforming it constantly to express one's personal feelings. He moved to Taiwan together with Pu Ru and Zhang Daqian in 1949, the group thus becoming known as the 'The Three Masters Crossing The Sea'. Huang studied both Chinese and Western painting in Guangzhou and Japan, eventually teaching at the National University in Chongqing (Guoli zhongyang daxue) during the Second Sino-Japanese war. After 1949, he became the head of the Fine Arts Department at the National Taiwan University.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 16 December 2014, lot 8401 Price: USD 75,000 or approx. EUR 88,500 converted and adjusted for inflation at the time of writing Description: Huang Junbi (1898-1991), Waterfall Landscape, dated 1943 Expert remark: Note the size (102.9 x 59.4 cm)Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 27 November 2012, lot 1339 Price: HKD 800,000 or approx. EUR 124,000 converted and adjusted for inflation at the time of writing Description: Huang Junbi (1898-1991), Mountainous Landscape, dated 1941 Expert remark: Note the size (96 x 40.6 cm)黃君璧《松壑秋閒》，1951年紙本水墨設色，掛軸。山岩矗立，由前至後，草葉繁茂，苔點細密，山林之間文人靜坐觀瀑。用筆愈趨凝重剛強。 款識：松壑秋閒，辛卯夏黃君璧；鈴印：黃君璧印，君翁 來源：Oliver Impey 現代繪畫收藏；香港蘇富比，2011年10月3日，lot 1836，售價 HKD 300,000 或相當於EUR 49,000 (根據通貨膨脹率)；私人收藏，購於上述拍賣。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長（1997-2000），牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。 他曾就讀於牛津大學，在倫敦蘇富比工作期間完成了論文。在蘇富比，他的鑑賞力和非凡的知識得以發展，以及他對藝術貿易的深入了解和對交易的警惕眼光。1967 年，他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡，Impey 孜孜不倦地收購精美物品，極大地擴大了博物館的藏品。 他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者，他們為博物館提供了重要的捐贈。 他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品，其中許多作品于2000年後期香港佳士得拍賣會上售出。品相：品相非常好，稍微磨損和汙積。 尺寸：畫面115 x 54 厘米，總217 x 64 厘米

Barney (Matthew) The Cremaster Cycle, New York, 2002 § Bryson (Norman) & others, editors. John Currin, New York, 2006 § Goicela (Anthony) Drawings, signed by Goicela on title, Santa Fe, 2005 § Vollbracht (Michaele) Nothing Sacred: Cartoons and Comments, signed by Vollbracht on half-title, New York, 1985 § Julian Schnabel, New York, 2003 § Dennison (Lisa) Ross Bleckner, New York, 1995 § O'Keeffe (Georgia) 100 Flowers, New York, 1987, illustrations, many colour, original cloth or boards, all but the second and third with dust-jackets, the second also with slip-case, and c.20 others on modern and contemporary American art, 4to & folio (c.25)

NO RESERVE Castleman (Riva) Technics and Creativity, illustrations, some colour, prospectus loosely inserted, original wrappers, with an original signed offset lithograph "Target 1970" by Jasper Johns on thick card with collage of 3 watercolour pads and paintbrush mounted inside lid, together in white plastic hinged box, 4to, New York, Museum of Modern Art, 1971; and 4 others on pop art, 4to (5)

Matisse (Henri) Jazz, facsimile reprint, New York, 1983 § Éluard (Paul) A Toute Épreuve, facsimile reprint with introductory pamphlet in original wrappers, colour illustrations by Joan Miró, original boards, pictorial dust-jacket, together in original folder and slip-case, New York, 1984 § Elderfield (John) Henri Matisse: A Retrospective, New York, 1992, § Kochno (Boris) Christian Bérard, 1988 § Maeght (Yoyo) The Maeght Family: A Passion for Modern Art, New York, 2006 § Emboden (William A.) Jean Cocteau: Dessins, Peintures, Sculptures, Paris, 1989 § Waldman (Diane) Georg Baselitz, New York, 1995, illustrations, many colour, all but the second original cloth with dust-jackets, the first also with slip-case; and 2 others, folio & 4to (9)

Osten (Gert von der) & Horst Keller, editors. Kunst der Sechziger Jahre: Sammlung Ludwig im Wallraf-Richartz Museum, 5 vol. comprising first edition and second, third, fourth & fifth revised editions, original embossed plastic wrappers fastened with two large metal screws, Cologne, 1969-71 § Hultén (K.G.Pontus)The Machine as seen at the end of the mechanical age, original metal with hinged metal covers (upper pictorial), with original cardboard box with flap (rubbed and browned), New York, MOMA, 1968 § Francis (Mark) & Kay Pallister, editors. Crash: Homage to J.G.Ballard, 2 vol. including box of posters, original plastic wrappers, covers with pocket containing photograph of crashed car, with box of folding posters (one of 100 copies) featuring crashes by Warhol and other artists loose in original decorated card box with lid, Gagosian Gallery, 2010 § Booth-Clibborn (Edward) The History of the Saatchi Gallery, second edition, original half rexine, prospectus tipped to lower cover, 2011, illustrations, many colour, some tipped in; and c.15 others, exhibition catalogues, collections etc. of modern and contemporary art, v.s. (c.20) ⁂ The first is an important catalogue of the art of the 1960s featuring the work of Warhol, Lichtenstein and many others.

Fiell (Charlotte & Peter) Domus: L'Arte nella Casa, 12 vol., text in Italian and English, illustrations, some colour, original pictorial boards, together in two original boxes, small folio, Cologne, 2006.⁂ An excellent set of this facsimile reprint of the important magazine from 1928-1999. Founded in 1928 by Gio Ponti, the magazine created an insight towards identifying the style of a particular age, from Art Deco, Modern Movement, Functionalism and Postwar to Pop, Post-Modernism and Late Modern

NO RESERVE Auction Catalogues.- A collection of auction catalogues of modern & contemporary art, photography and design, illustrations, original wrappers or cloth/boards with dustjackets, 4to, v.d. (c.45)⁂ Including The Edward James Collection, 4 vol., Christie's, 1986; The Maurice & Margo Cohen Collection: Important 20th Century Decorative Arts, New York, Christie's, 1999; The Beck Collection of German Expressionist & Modern Art, 5 vol., Sotheby's, 2002; Veronica's Revenge: Contemporary Photography from the Lambert Collection, New York, Phillips, 2004; Andy Warhol's Mao, Christie's, 2006; The Savoy Sale, Bonham's, 2007.

A box of sundry items to include a pewter mounted cigarette box in the Art Nouveau style with Ruskin style pottery medallion to the lid, 10.5 cm wide x 10 cm deep x 6.3 cm high, an embossed leather gentleman's stud box with gilt embossed stag's head and hunting horn decoration, 17 cm wide x 8 cm deep x 4 cm high, a brass photograph frame with micro-mosaic floral decoration, 10.5 cm wide x 15.5 cm high, another Rococo style easel photograph frame, an embossed brass foliate decorated box with print portrait to lid, a filigree work decorated white metal box set with hard stone beads, a Russian lacquered rectangular box, a Ferrand Rapid Rule in box, a copper flower head design vesta holder, ebony cylindrical box, painted tin fly box, oak box with shield motif to top, a modern champlevée decorated lidded box and a brass lidded box set with paste / stone beads various

Sam FRANCIS (1923-1994)SF-230, CONCERT HALL SET I, 1977 (Lembark, 223)Lithographie en couleurs sur BFK RivesEpreuve d'artiste signée et justifiée 'AP'Louisiana Museum of Modern Art Editeur, HumlebaekLitho Shop, Inc., Imprimeur, Santa Monica73,7 x 58,4 cmFor further information on this lot please visit Bonhams.com

AR * Rogers (Claude, 1907-1979). Woman in a Black Shawl (Portrait of the Artist's Wife, Elsie), circa 1935, oil on canvas, relined, with a gallery label of Earnest, Brown & Phillips, Ltd., The Leicester Galleries, and three exhibition labels to verso, and a further handwritten label with the name and address of a former owner Mrs Noel Blakinson, 6 Markham Square, S.W.3., 61.5 x 51 cm (24 x 20 ins), antique gilt carved wood frame (77 x 67cm)QTY: (1)NOTE:Provenance: Mrs. Noel Blakiston née Georgiana Russell (1903-1995), thence by descent.Exhibited: Arts Council of Great Britain, British Painters 1939-1945, New Burlington Galleries, London, 1 January - 31 December 1946. Hatton Gallery, King's College in the University of Durham, Paintings & Drawings by Claude, 14 February - 12 March 1955, catalogue no. 8; and Arts Council of Great Britain, Welsh Committee, British Art and the Modern Movement 1930-40, Cardiff, 13 October - 25 November 1962, catalogue no. 152.Claude Rogers acted as external examiner to the fine art department at Newcastle between 1954 and 1966.

AR * Maeckelberghe (Margo, 1932-2014). Chûn Castle West Penrith, 1962, oil on canvas, depicting a view across moorland, a building in the distance, canvas size 35.3 x 46 cm (13 7/8 x 18 1/8 ins), inscribed by artist to verso of stretcher with title and date, framed (49.5 x 59.8 cm), together with a small bundle of posters from various galleries advertising exhibitions including Penwith Society 49-94, etc., QTY: (1)NOTE:Margo Maeckleberghe was born in Penzance, where she grew up and lived for most of her life. Her studio was situated at the top of the moors between Penzance and Zennor, and was thus both the actual as well as metaphoric centre of her vision. She studied at Penzance School of Art, and then from 1949 to 1952 attended Bath Academy of Art at its postwar home, Corsham Court in Wiltshire, rather than at the Slade in London where she had also been offered a place. Corsham had become an important centre for modern painting in Britain, whose principal, Clifford Ellis, appointed artists of stature to head its specialist courses; the head of painting was William Scott. many visiting tutors came from Cornwall, including Bryan Wynter, Terry Frost and Peter Lanyon, the latter being a particularly important influence on Margo's work.

AR * Maeckelberghe (Margo, 1932-2014). Boscastle, oil on board, depicting a view from the sea looking towards Boscastle harbour and the village, board size 30 x 60.5 cm (11 3/4 x 23 3/4 ins), Sancreed Studios label to verso, framed (43.4 x 73.5 cm), together with a small folder of postcards, some with handwriting from the artist to a friend, QTY: (1 and folder )NOTE:Margo Maeckleberghe was born in Penzance, where she grew up and lived for most of her life. Her studio was situated at the top of the moors between Penzance and Zennor, and was thus both the actual as well as metaphoric centre of her vision. She studied at Penzance School of Art, and then from 1949 to 1952 attended Bath Academy of Art at its postwar home, Corsham Court in Wiltshire, rather than at the Slade in London where she had also been offered a place. Corsham had become an important centre for modern painting in Britain, whose principal, Clifford Ellis, appointed artists of stature to head its specialist courses; the head of painting was William Scott. many visiting tutors came from Cornwall, including Bryan Wynter, Terry Frost and Peter Lanyon, the latter being a particularly important influence on Margo's work.

* Morgan (Gwenda, 1908-1991). In The Barn, circa 1954, wood engraving, signed, titled and numbered 10/30 in pencil to lower margin, engraving for a Christmas card for Sampson Press in 1954, some toning, image size 10.2 x 15.3 cm (4 x 6 ins), sheet size 17.1 x 19.2 cm (6 3/4 x 7 1/2 ins), mountedQTY: (1)NOTE:Gwenda Morgan was born in Petworth, West Sussex, and studied at Goldsmith's College of Art in London. She continued her education at Grosvenor School of Modern Art with a focus in wood engraving under Scottish artist Iain Macnab. She exhibited at the Royal Academy and the Redfern Gallery, and was a fellow of the Royal Society of Painter-Etchers and Engravers.

* Morgan (Gwenda, 1908-1991). It's a Short Walk to the Sea, circa 1960, wood engraving on japon, signed, titled and numbered 4/50 in pencil to lower margin, image size 17.6 x 17.6 cm (6 7/8 x 6 7/8 ins), sheet size 23 x 20.4 cm (9 x 8 ins), mountedQTY: (1)NOTE:Gwenda Morgan was born in Petworth, West Sussex, and studied at Goldsmith's College of Art in London. She continued her education at Grosvenor School of Modern Art with a focus in wood engraving under Scottish artist Iain Macnab. She exhibited at the Royal Academy and the Redfern Gallery, and was a fellow of the Royal Society of Painter-Etchers and Engravers.

* Franco (Battista, 1510-1561). Allegorical Figure of Chastity, circa 1550, black chalk heightened with white on grey paper backed with laid paper, shaped at the top, inscribed verso in pen and ink 'Primaticcio 3 3', with counterfeit collector's stamp of Sir Peter Lely (see Lugt 2092), and an unidentified initial 'B' in pen and ink lower right, sheet size 15.5 x 12.8 cm (8 1/8 x 5 ins), modern wooden frame (49.5 x 35 cm) QTY: (1)NOTE:Provenance: Collection of Sir Lawrence Gowing (1918-1991).The verso of the frame is annotated with notes by Gowing on attribution and iconography obtained from fellow art historians: 'Popham (from the grave) / Pouncey (after a re-think) and Gere (upside down) now agree that this drawing is by Battista Franco / ? Virtues etc in Hall of Libreria / Giuseppe Porta called Salviati (J.A.G.) / Salviati (better than) / Felicity S.W. / Parmesan School A.E. / Giambattista Zelotti / RBH'.Previously identified as an allegorical figure of Abundance. However this drawing lacks the main attributes associated with virtue: the presence of rabbits at the Virgin Mary's feet symbolise the overcoming of lust through chastity, while the veil also symbolises chastity.Around 1554, Battista Franco was in Venice where he was commissioned to make the ceiling tondi of allegorical subjects and wall panels for the now famous Libreria Marciana, designed by the architect Jacopo Sansovino, and constructed between 1537 and 1588.

Sir Frank Bowling OBE RA,British b.1934-Towards Crab Island, 2018;giclée print in colours on wove,initialled and numbered 6/75 in black ink,published by the Irish Museum of Modern Art,sheet 51 x 83.6cm, (unframed)(ARR) Note: together with book 'Frank Bowling: Mappa Mundi', published by Prestel, 2017.

Keith Haring,American 1958-1990,Untitled, 1989 (San Francisco Museum of Modern Art, 1998);offset lithograph in colours on heavy paper,printed in Germany,published for the San Francisco Museum of Modern Art, 1998,sheet: 92.7 x 67.7 cm,(unframed)  Note: from the original acrylic and enamel on canvas, 'Untitled, 1989'.

A modern Tiffany style three branch chandelier, with blue shades, 30cm H x 39cm H, together with three modern Tiffany and art nouveau style lamps, with Lilypad inspired bases, differing shades and sizes, the largest with a smaller shade 41cm high, all untested and require re-wiring (4)

Three Chinese works of art, comprising a 20th century hardstone fish sculpture, broken and restored on a wooden base, 21.5cm high, a modern glass snuff bottle, 9.5cm high and a cast resin twin handled vase, elephants as handles, with raised naturalistic scene decoration 31.5cm high (3)