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A RUBY RED OVERLAY 'COIN' SNUFF BOTTLE, LATE 18TH - EARLY 19TH CENTURYChina, 1780-1840. The snowflake glass bottle of flattened, rounded form, rising from an oval foot ring, neatly carved through the ruby red overlay with the obverse of a Spanish silver dollar, the monarch's head encircled by a legend, the narrow sides with beast mask handles suspending mock rings.Provenance: From an old Slovakian private collection. Condition: Very good condition with minor wear, minuscule nibbles to mouth and lip.Stopper: Glass in imitation of jade, bone spoonWeight: 33.7 gDimensions: Height including stopper 61 mm. Diameter neck 15 mm and mouth 8 mm.Expert's note: The present snuff bottle is carved after a Spanish coin of the period, which was a popular subject at the time. However, the lapidary was clearly (and unsurprisingly) not familiar with Latin and made at least a few spelling mistakes, including even slight variations between the front and back of the bottle. Such mistakes are common on these types of bottles.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 29 March 2006, lot 68Price: USD 18,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A rare blue overlay 'coin' glass snuff bottleExpert remark: Compare the closely related form and decoration. Note the different color of the overlay and that this bottle depicts a Spanish silver dollar with Carolus IIII.十八世紀末至十九世紀初雪花地寶石紅套料“錢幣”鼻煙壺 中國，1780-1840年。雪花地料器鼻煙壺，圓形壺身，橢圓形圈足。壺身兩面分別寶石紅套料呈現西班牙人像錢幣，兩側分別有一個獸首啣環輔首紋。 來源：斯洛伐克私人收藏。 品相：品相良好，輕微磨損，壺口處有小磕損。 壺蓋：仿玉料器，骨質小勺 重量：33.7 克 尺寸：含蓋高61 毫米，頸部直徑15 毫米，壺口 8 毫米 專家評論：鼻煙壺紋飾使用當時流行的一枚西班牙錢幣。 然而，這位工匠顯然（毫不奇怪）不熟悉拉丁文，有一些拼寫錯誤，包括瓶子正面和背面之間的細微差異。這種錯誤在此類型的瓶子上很常見。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2006年3月29日，lot 68 價格：USD 18,000（相當於今日EUR 25,500 ） 描述：雪花藍套料“錢幣”鼻煙壺 專家評論：比較非常相近的外型和裝飾。請注意不同顏色，瓶身雕刻的是有查理四世頭像的銀幣。

A RARE FAMILLE ROSE AND GRISAILLE 'DON QUIXOTE' DISH, QIANLONG PERIODChina, 1736-1795. The shallow rounded sides rising to a broad flared rim, finely enameled with a central medallion depicting Don Quixote on horseback and his faithful attendant Sancho Panza being watched by two ladies hiding behind a tree. The rim decorated in gilt, iron-red, and gray enamels with floral sprays within scroll bands. Provenance: French trade. Condition: Excellent condition with minor wear to the gilt and manufacturing flaws including pitting and dark spots.Weight: 388.5 g Dimensions: Diameter 23.1 cmLiterature comparison:For a plate with an identical scene and pattern, see D. Howard, J. Ayers, China for the West, New York, 1978, I, pp. 345-6, no. 344. The design originally derives from B. Picart's engraving after a painting by Charles-Antoine Coypel (1694-1752). Auction result comparison:Type: Closely relatedAuction: Sotheby's London, 15 May 2019, lot 143Price: GBP 3,750 or approx. EUR 5,000 converted and adjusted for inflation at the time of writingDescription: A rare Chinese export famille-rose 'Don Quixote' dish, Qing dynasty, Qianlong period, circa 1755-70Expert remark: Compare the closely related decoration, enamels, and size (23.5 cm)乾隆罕見粉彩描金堂吉訶德盤中國，1736-1795年。圓形淺盤，折沿，粉彩開光描畫西班牙小說《唐吉訶德》的經典場景，同時結合中式山水元素。邊沿描金，花卉紋使用鐵紅釉與黑灰色釉。 來源：法國古玩交易。 品相：狀況極佳，描金有輕微磨損和製造缺陷，包括點蝕和黑點。 重量：388.5 克 尺寸：直徑 23.1 厘米 文獻比較： 一件幾乎相同主題的盤子，見D. Howard，J. Ayers，《China for the West》，紐約，1978年，卷I，頁345-6，編號344。該設計最初來自B.Picart根據Charles-Antoine Coypel(1694-1752)的畫作所做的雕刻。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2019年5月15日，lot 143 價格：GBP 3,750（相當於今日 EUR 5,000） 描述：清乾隆約1755至1770年外銷粉彩唐吉訶德圖小盤 專家評論：比較非常相近的裝飾、琺瑯和尺寸 (23.5 厘米)。

A RARE BRONZE WINE JAR, HU, EASTERN HAN DYNASTYPublished: Rose Kerr et al., Chinese Antiquities from the Wou Kiuan Collection, page 67, no. 39.China, 25-220 AD. The globular body supported on a short foot and rising to a stout cylindrical neck with galleried rim, finely cast with a broad leiwen band encircling the waist, applied with two taotie masks in high relief, each with a loop handle suspending a loose ring. The bronze with a superb, naturally grown, rich patina with malachite and cuprite encrustations.Provenance: Sotheby's London, 24 June 1958, lot 91 (dated to the Six Dynasties period). Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum, coll. no. H.4.2. A copy of the catalog entry for the present lot from Sotheby's London, 24 June 1958, lot 91, noting the buyer “Wou” and a purchase price of forty-six British pounds, approximately two months' salary at the time, accompanies this lot. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Excellent condition, commensurate with age. Expected old wear, minor dents and losses, casting flaws, encrustations, signs of weathering and erosion, one loop handle with a small crack, all exactly as expected from a bronze that is 2,000 years old. Weight: 5,664 g Dimensions: Height 34.3 cm東漢罕見雙耳青銅壺中國，公元前25至公元220年。壺口外撇，頸微束，溜肩，肩部兩側分鑄一對獸面紋銜環舖首，腹部下收，肩腹飾雷紋帶，圈足高，嵌紅銅，皮色暗沉古穆。 出版：Rose Kerr et al.，《Chinese Antiquities from the Wou Kiuan Collection》，頁67，編號39。 來源：倫敦蘇富比，1958年6月24日，lot 91 (當時斷代為六朝時期)；吳權博士購於上述拍賣，吳蓮伯美術館，編號 H.4.2.。隨附一份蘇富比拍賣目錄複印件，上面寫著“Wou”，售價46英鎊。吳權(1910-1997)博士曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。 品相：狀態極佳，磨損、輕微的凹痕和缺損、鑄造缺陷、結殼、風化和侵蝕的跡象，一活環帶有小裂紋。 重量：5,664 克 尺寸：高 34.3 厘米

A LARGE AND VERY HEAVY BLUE AND WHITE 'HUNDRED DEER' JARDINIERE, MING DYNASTYChina, 1368-1644, second half of the 16th to early 17th century. Sturdily potted, of conical form, finely painted to the exterior in various shades of underglaze blue with a mountain landscape depicting one hundred deer amid scrolling clouds, rockwork and trees. The upper rim with a border of meandering vines interspersed with blossoms, and a double line above the foot.Provenance: Wiltshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Good condition, commensurate with age, showing extensive old wear, surface scratches, and manufacturing flaws including glaze recesses, pitting, firing flaws, and firing cracks, all exactly as expected from a large porcelain jardiniere from this period. Displaying exceptionally well.Weight: 38.9 kg Dimensions: Height 51.6 cm, Diameter 58.9 cmThe 'hundred deer' motif was very popular, as the landscape depicted contains important symbolic references. The subject of deer has a long history in Chinese art, as it refers to the rebus where the Chinese word for 'deer' is a homophone for 'emolument' or 'civil service salary'. The 'hundred deer' motif therefore represents the ultimate success, a career in government service in Imperial China.In the troubled times of the late Ming dynasty emperors were particularly keen for evidence of Heaven's blessing on their rule. Hu Zongxian (1512-1565) for example, submitted a memorial to the Jiajing emperor on the sighting of a rare white deer - a good omen for the superstitious Jiajing emperor - for which Hu was richly rewarded. Jars such as the present lot, decorated with deer, were particularly favored at Court during the second half of the 16th century and early 17th century.Literature comparison: Compare a related Wanli 'hundred deer' jar in the collection of the Musee Guimet, Paris, illustrated in Alexandre Hougron, La Céramique Chinoise Ancienne, Paris, 2015, page 138. Compare a pair of blue and white jars and covers of related design, in the Museum of Far Eastern Antiquities, Stockholm, illustrated in Oriental Ceramics, volume 8, pl. 247, and by D.Lion-Goldschmidt, Ming Ceramics, New York, 1978, page 187, no. 183.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 25 May 2022, lot 457Price: HKD 126,000 or approx. EUR 15,500 converted at the time of writingDescription: A large blue and white 'hundred deer' jardiniere, Ming dynasty, Wanli periodExpert remark: Compare the related motif. Note the much smaller size of only 34.5 cm.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 3 November 2022, lot 145Price: GBP 69,600 or approx. EUR 81,000 converted at the time of writingDescription: A rare large blue and white 'hundred' deer jar, WanliExpert remark: Compare the closely related motif and near-identical size (55 cm). Note the different form.明代大型青花百鹿紋花盆中國，十六世紀下半葉至十七世紀初。胎體結實，圓錐形花盆。外壁用深淺不一的青花精心描繪山景，百鹿在山間跳躍。盆沿飾纏枝花卉紋，足部一道雙線紋。 來源：英國維特郡古玩交易，據説購於私人收藏。 品相：品相良好，磨損、表面劃痕和製造缺陷，例如釉面凹陷、點蝕和燒製裂紋。 重量：38.9 公斤 尺寸：高 51.6 厘米，直徑 58.9 厘米“百鹿”圖非常流行，具有重要的象徵意義。鹿的題材在中國藝術中有著悠久的歷史，因為“鹿”與“祿”同音。因此，“百鹿”圖寓意成功。 明朝，胡宗憲（1512-1565 年）因看到一頭稀有的白鹿而上奏嘉靖皇帝，這對迷信的嘉靖皇帝來說是個好兆頭，胡宗憲為此得到賞賜。十六世紀下半葉和十七世紀初，宮廷特別青睞鹿紋罐，例如本拍品。 文獻比較： 比較一件相近萬曆百鹿罐 ，收藏於巴黎Musee Guimet，見Alexandre Hougron，《La Céramique Chinoise Ancienne》，巴黎，2015年，頁138。比較一對相近設計的青花罐，收藏於斯德哥爾摩東亞Museum of Far Eastern Antiquities，見Oriental Ceramics，第8卷，圖247；見D.Lion-Goldschmidt，《Ming Ceramics》，紐約，1978年，頁187，編號183。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，25 5月 2022年，lot 457 價格：HKD 126,000（相當於今日EUR 15,500） 描述：明萬曆青花百鹿缸 專家評論：比較相近的主題。請注意尺寸較，只有34.5 厘米。

A BLACK-GROUND THANGKA DEPICTING VAJRAKILATibet, 18th-19th century. Ink, distemper, and gold on cloth. Finely painted with the three-faced and six-armed winged deity in blissful union with his consort Diptachakra, stamping over the splayed bodies of Maheshvara and Uma atop a lotus base above jewels and blood-filled skullcups, the main hands holding a pointed kila at the heart, the others holding gold vajras, a trident, and flames entwined around the index finger, his consort holding a kapala from which one of his heads drinks, engulfed in flames below ferocious dragons, the upper register with an image of blue Samantabhadra in union with his consort Samantabhadri.Provenance: A noted Hungarian collection. Condition: Good condition with some wear, soiling, small losses. The mounting with some tears to the edges.Dimensions: Image size ca. 73 x 54 cm, Size incl. mounting 123 x 84 cm, Size incl. frame 142 x 100.5 cm With a silk brocade mounting and framed behind glass. (2)Vajrakila is identified by the phurba (dagger), also known as a kila, held in his main hands. Vajrakila is an important meditational deity in the Nyingma, Sakya, Jonang, and Kagyu orders of Tibetan Buddhism. In the Nyingma tradition, such wrathful deities were referred to as Herukas (blood-drinkers) and embodied a meditational focus, such as body, speech, or mind. Vajrakila represents the activity aspect of the Heruka tradition.Vajrakila is one of the great protectors of Tantric Buddhism. According to the Tibetan hidden texts, terma, the deity emerged in a previous eon during the time of the Buddha's taming of the wrathful Shiva-Rudra, the archdemon of pride and egoism. Shiva was in fact reborn as a powerful demon, in the malignant form of Rudra, as a result of having broken the tantric vows in his previous lifetimes. Unable to peacefully convince Rudra to recognize his erroneous ways, the Buddhas in Akanishta Heaven emanated from themselves a powerful being to destroy him. Another narrative relates Vajrakila to the wisdom manifestation of all Buddhas, emanating from the heart of Vajrasattva to eradicate all ignorance and emotional afflictions preventing the dawning of realization. Vajrakila is particularly esteemed in the Nyingma Tradition of Tibetan Buddhism because of his relation with Padmasambhava, the 'Precious Guru' credited with bringing Buddhism to Tibet and transmitting the Varjakila tantric collection of texts in the region.Auction result comparison: Type: Closely related Auction: Bonhams London, 9 November 2017, lot 217 Price: GBP 37,500 or approx. EUR 51,000 converted and adjusted for inflation at the time of writing Description: A rare black-ground thangka of Vajrakila, Tibet, 17th century Expert remark: Note the similar size (71 x 54.5 cm) and the apparently earlier dateAuction result comparison: Type: Related Auction: Bonhams London, 11 May 2017, lot 45 Price: GBP 28,750 or approx. EUR 39,000 converted and adjusted for inflation at the time of writing Description: A rare black-ground thangka of Heruka, Tibet, 19th century Expert remark: Note the much smaller size (40 x 26 cm) and the apparently later dateAuction result comparison: Type: Related Auction: Bonhams New York, 18 March 2013, lot 169 Price: USD 18,750 or approx. EUR 22,000 converted and adjusted for inflation at the time of writing Description: A black ground thangka of Heruka, Tibet, circa 18th century Expert remark: Note the size (62.2 x 47.2 cm)黑地普巴金剛唐卡西藏，十八至十九世紀，布面水墨膠彩。主尊普巴金剛立於畫面中央，深藍膚色，三首六臂四足，主手拿著一個尖尖的心，其他手持金剛杵，三叉戟，背生雙翼。三面，頭戴骷髏冠，金色的怒髮如同火焰一般。每面皆有圓鼓鼓的三目，呲牙咧嘴，露出鋒利的獠牙，表情兇猛可畏。他的明妃拿著卡巴拉，正要飲血。其上方可見普賢雙修圖。 來源：知名匈牙利私人收藏。 品相：狀況良好，有一些磨損、污漬和缺損。安裝時邊緣有些撕裂。 尺寸：畫面約73 x 54 厘米, 含裝幀123 x 84 厘米, 含框142 x 100.5 厘米 玻璃裝框 (2)

A RARE BLUE-GROUND POLYCHROME-DECORATED 'DRAGON' BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. Superbly potted with deep rounded sides rising from a straight foot to a gently flared rim, the exterior vividly enameled with two ferocious dragons, one in green enamel, the other iron-red, racing through green, yellow and iron-red flames in pursuit of flaming pearls positioned above cruciform clouds, resting on a band of overlapping petals, all reserved on a washed underglaze-blue ground, the interior with a central medallion enclosing a similar green dragon. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From a private collection in North Yorkshire, United Kingdom. Condition: Very good condition with expected wear and shallow surface scratches, minimal firing irregularities, few barely visible glaze lines. Weight: 227.8 g Dimensions: Diameter 14 cmLiterature comparison: A Kangxi-marked bowl of this same design was included in the exhibition Joined Colors, Decoration and Meaning in Chinese Porcelain, Ceramics from Collectors in the Min Chiu Society, Hong Kong, illustrated by L.A. Cort and J. Stuart, Catalogue, Hong Kong, 1993, p. 84, pl. 13. Qianlong-marked bowls of this type are relatively rare, examples include one sold at Christie's New York, 28 March 1996, lot 363, and another at Sotheby's Hong Kong, 1 December 1977, lot 648.Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 29 May 2013, lot 1924 Price: HKD 870,000 or approx. EUR 132,000 converted and adjusted for inflation at the time of writing Description: A rare blue-ground polychrome-decorated 'dragon' bowl, Qianlong six-character seal mark and of the periodExpert remark: Note the near identical form, decoration, reign mark, and size (14 cm). Also note that this lot is in excellent condition. Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 28 May 2014, lot 3456 Price: HKD 475,000 or approx. EUR 72,000 converted and adjusted for inflation at the time of writing Description: A Rare Blue-Ground Polychrome-Decorated 'Dragon' Bowl, Qianlong Six-Character Seal Mark and of the Period (1736-1795)Expert remark: Note the near identical form, decoration, reign mark, and size (14 cm). Also note that this lot is in restored condition.乾隆款及年代罕見青花藍地紅綠彩龍紋碗中國，1736-1795年。胎體緊緻，碗口略外撇，深弧腹。碗外壁青花藍地，分別用紅彩與綠彩描繪兩條矯健雲龍戲珠，被綠色、黃色和鐵紅色火焰環繞。腹底飾一圈重疊花瓣紋。碗內開光内藍地綠彩雲龍。足底青花“大清乾隆年製”款。 來源：英國北約克郡私人收藏。 品相：品相極好，有磨損和表面劃痕，製造瑕疵，少量不明顯的釉面裂紋。 重量：227.8 克 尺寸：直徑14 厘米 文獻比較： 一件相同設計康熙款碗，見Joined Colors，《Decoration and Meaning in Chinese Porcelain，Ceramics from Collectors in the Min Chiu Society》，香港，見L.A. Cort和J. Stuart，圖錄，香港，1993年，頁84，編號13。一件乾隆款碗，售於Christie's New York，1996年3月28日，lot 363，以及售於香港蘇富比，1977年12月1日，lot 648。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2013年5月29日，lot 1924 價格：HKD 870,000（相當於今日EUR 132,000） 描述：清乾隆藍地紅綠彩龍紋盌，六字篆書款 專家評論：請注意幾乎相同的外形、裝飾、款識和尺寸 (14 厘米)。請注意此碗品相極佳。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2014年5月28日，lot 3456 價格：HKD 475,000（相當於今日EUR 72,000） 描述：清乾隆藍地紅綠彩龍紋盌，六字篆書款 專家評論：請注意幾乎相同的外形、裝飾、款識和尺寸 (14 厘米)。請注意此碗曾修復過。

A RARE AND IMPORTANT BRONZE RITUAL WINE VESSEL, EASTERN ZHOU DYNASTY, SHANXI OR HEBEI, CHINA, 7TH-5TH CENTURY BCPublished: Friedrich Georg Zeileis, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, pages 252-253, no. 86. Superbly cast, the globular body rising to a short waisted neck with an everted rim, densely decorated with rectangular panels full of archaic scrolls divided by rope-twist bands, all neatly incised in fine relief. The bronze with a rich, solid, naturally grown patina with malachite and cuprite encrustation.Provenance: A noted private collection in New York, assembled since the 1920s. E & J Frankel Ltd., New York, early 1990s. Friedrich Georg Zeileis, acquired from the above, according to his publication. E & J Frankel was a major New York gallery specializing in Asian Art since 1967. Run by Edith (1939-2012) and Joel Frankel (1937-2018), it was one of the oldest galleries in the United States focusing exclusively on Asian art. Leaders in their field, the Frankels traveled the world in search of Asian art treasures and educated the general public about their shared passion. Their gallery on Madison Avenue in New York City became a local institution, best known for its regular schedule of innovative thematic exhibitions, and frequently visited by the biggest names in the field, such as Eskenazi, Ellsworth, Junkunc, and the Alsdorfs. Dr. Friedrich Georg Zeileis (b. 1939) is a retired physician who built an important collection of ancient Chinese jades and bronzes. He was also a pianist and composer, and published several books, as well as catalogs of his substantial art collections, including fine Chinese jades and bronzes. Condition: Very good condition, commensurate with age, displaying spectacularly. Extensive old wear, minor dents, small nicks, light scratches, minute losses, signs of weathering and erosion, soil encrustations. Absolutely original with no fills or repairs whatsoever! A Zhou-dynasty bronze in such a well-preserved state must be considered exceedingly rare.Weight: 2,628 g Dimensions: Height 23.5 cmSeveral names have been given to vessels of this shape. A variety of designations, including lei, ling, fou, and pou, appear in inscriptions cast on the everted rims of some of these bronzes, even vessels closely comparable in shape. This type first appeared in the late Shang/early Western Zhou period, and the first versions typically had a long neck and sharply angled shoulders. By the end of the eighth century, the necks on these vessels had become proportionately shorter, and the shoulders more rounded. With its sharply angled shoulders and short neck, the present vessel would appear to represent a transitional period in the vessel's development.Expert's note: According to the Zeileis publication, the present lot was judged by Dr. W. Thomas Chase, retired Head Conservator of the Department of Conservation and Scientific Research at the Arthur M. Sackler Gallery and the Freer Gallery of Art, as a “doubtless genuine bronze”, while it was with E & J Frankel. According to the same publication, the present lot was examined in 1998 by Dr. Anna Bennett, an archeological scientist and conservator, who found it to be irreproachably authentic as well as unusual in this form, and extremely rare.Literature comparison: Compare a related bronze fu with similar decoration, also without handles, illustrated by Jenny So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, 1995, page 217, no. 34. The author notes that vessels with 'twist-rope' panels can be found from the provinces Shanxi to Hebei. Compare a related bronze pou, 20.5 cm high, dated to the Eastern Zhou dynasty, 7th century BC, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.277, illustrated by Jenny So, ibid., p. 210-213, no. 32. A lei without handles and with related dragon scroll cast on the shoulder, but undecorated on the lower body, from Henan Xinyang Guangshan Baoxiangsi G1, is illustrated by Jenny So, ibid., p. 134, fig. 13.2, where it is dated to the second quarter of the 6th century BC.Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2013, lot 1113 Price: USD 663,750 or approx. EUR 771,000 converted and adjusted for inflation at the time of writing Description: A fine and rare bronze ritual wine vessel, lei, Spring and Autumn period, early 7th century BCExpert remark: Compare the closely related form and related decoration. Note the slightly larger size (29.5 cm).Auction result comparison: Type: Related Auction: Christie's Amsterdam, 6 November 2007, lot 334 Price: EUR 86,650 or approx. EUR 125,000 adjusted for inflation at the time of writing Description: An archaic bronze ceremonial wine vessel, fou, Eastern Zhou dynastyExpert remark: Compare the related form and decoration. Note the animal handles and slightly larger size (29.7 cm).西元前七至五世紀重要青銅酒器，山西或河北敞口外翻，束頸，豐肩，斂足，圈足。器身地飾鳥紋與繩紋帶。豐富、堅固、自然的銅銹，帶有孔雀石色和赤銅色結殼。造型美觀，紋飾謹嚴，鑄造精良。出版：Friedrich Georg Zeileis，《Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze)》，1999年，第252-253頁，圖 86。 來源：知名紐約私人收藏，建立於上世紀二十年代；紐約E & J Frankel Ltd.藝廊，上世紀九十年代初；Friedrich Georg Zeileis購於上述藝廊，並收編於他的出版物。 品相：品相極好，大量磨損、輕微凹痕、小刻痕、輕微劃痕、微小缺損、風化和侵蝕跡象、土壤結殼。無任何填充或維修！如此保存完好的周代青銅器，實屬難得一見。 重量：2,628 克 尺寸：高 23.5 釐米

A RARE BRONZE ARROW VASE, TOUHU, SONG - YUAN DYNASTYChina, 13th-14th century. The bottle-shaped body rising from a flaring foot to a long neck tapering towards the galleried rim and flanked by two tubular handles, cast to the body with a band of single-horned dragons above a leiwen ground, the neck and handles with a wider and narrower band of leiwen, the body and neck divided by two ribs and stiff leaves, the foot with further stiff leaves.Provenance: From a private estate in Staffordshire, United Kingdom. Condition: Very good condition with minor wear, small nicks, light scratches, few dents, minor cracks, tiny losses, and casting flaws. Solid, naturally grown patina overall.Weight: 2,732 g Dimensions: Height 38.8 cmExpert's note: Large arrow vases from this early period are exceedingly rare, especially with a dragon design in such high relief. Further note the clever and elegant alignment of the two elongated narrow tubes with the neck of the vessel, which also serves as the main tube.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 7 October 2014, lot 3384Price: HKD 325,000 or approx. EUR 47,000 converted and adjusted for inflation at the time of writingDescription: A Bronze Archaistic Arrow-Handled Vase Song / Yuan DynastyExpert remark: Compare the related cast and design. Note the much smaller size (24.6 cm).宋至元銅投壺中國，十三至十四世紀。長直頸、兩側貫耳，圓鼓腹。鼓腹上雷紋地單角龍紋，頸部和手柄有寬窄不一的雷紋帶，頸部和腹部弦紋帶，頸部和足部修飾蕉葉紋。 來源：英國斯坦福郡私人舊藏。 品相：狀況極好，有輕微磨損、小刻痕、輕微劃痕、少量凹痕、輕微裂紋、微小損失和鑄造缺陷。整體包漿緊實。 重量：2,732 克 尺寸：高 38.8 厘米 專家注釋：這一時期的投壺非常罕見，尤其是龍形浮雕如此之高。請注意兩個細長的頸部與貫耳的對稱。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2014年10月7日，lot 3384 價格：HKD 325,000（相當於今日EUR 47,000） 描述：宋 / 元銅饕餮紋貫耳壺 專家評論：比較相近的鑄造和設計。請注意尺寸較小(24.6 厘米)。

A RARE GILT COPPER ALLOY FIGURE OF A STANDING MAITREYA, NEPAL, 14TH CENTURYFinely cast standing on a circular lotus base with tiered beaded rims, his left hand raised in front of the chest and holding a lotus stem coming to full bloom at the shoulder topped by a kundika, his right pendent and similarly holding a lotus stem. Clad in a sheer dhoti incised with foliate designs and flaring at the sides, richly adorned with beaded and floral jewelry with inlays of turquoise, lapis lazuli, and coral.Provenance: Jacques How Asian Art, Brussels, Belgium. A noted German private collection, acquired from the above. The base with an old label from Jacques How Asian Art. Jacques How-Choong has been collecting and dealing in Chinese and Southeast Asian art for many years, specializing in particular in Himalayan art and ritual objects, rare early Buddhist art, focusing on Dali Kingdom sculpture, as well as archaic works of art. Several museums, institutions, dealers, and private collectors are among his clientele. He is a distinguished member of Asian Art in Brussels and also exhibits annually at Parcours des Mondes in Paris.Condition: Good condition with some wear, particularly to gilt, minuscule nicks, minor dents, light scratches. The inlays possibly replaced at different times over many centuries. The figure leaning. The base sealed. The back with a small inlaid bronze plaque of rectangular shape for ritual purpose.Weight: 244.3 gDimensions: Height 11.2 cmWith an old fitted wood stand, possibly zitan, cleverly serving to compensate the leaning posture of the figure. (2)His serene face with heavy-lidded almond-shaped eyes below raised arched brows centered by a rectangular urna, further with a broad nose and full lips forming a subtle smile, the hair piled in a tall chignon topped with a jewel behind the foliate tiara.The presence of the kundika vase crowning the resplendent lotus flower by his left shoulder identifies this idealized young prince as the future Buddha Maitreya. Although equally vital to popular Buddhist practice, standing Maitreya images are relatively rare by comparison to more common bronzes of Avalokiteshvara Padmapani. This most elegant form of a standing bodhisattva maintained its popularity in Nepal until at least the 16th century, being applied to various deities including Manjushri.Auction result comparison: Type: Related Auction: Christie's New York, 13 September 2016, lot 201 Price: USD 23,750 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of a standing tara, Nepal, 14th century Expert remark: Compare the related pose, circular lotus base, and inlaid gemstones. Note the size (13.3 cm).十四世紀尼泊爾罕見彌勒佛鎏金銅像彌勒佛立於圓形蓮座上，邊緣有連珠紋，左手舉於胸前，手持一枝盛開於肩部的蓮花，上有一個淨瓶，右手垂下，同樣手持一朵蓮花。身穿飾有葉狀圖案並在兩側張開的法衣，鑲嵌有綠松石、青金石和珊瑚。面容平靜安詳，雙眼微垂，眉毛之間有白毫，闊鼻，嘴唇豐滿，頭髮盤成一個高高的髮髻，在葉狀頭飾後面鑲嵌著一顆寶石。來源：比利時布魯塞爾Jacques How Asian Art藝廊；知名德國私人收藏。購於上述藝廊。底部有 Jacques How Asian Art藝廊標籤。Jacques How-Choong多年來一直從事中國和東南亞藝術品的收藏和交易，尤其擅長喜馬拉雅藝術品和法器、稀有的早期佛教藝術品，專注於大理王國雕塑，以及古代藝術品。一些博物館、機構、經銷商和私人收藏。家都是他的客戶。他是布魯塞爾亞洲藝術協會的傑出成員，並且每年都會在巴黎的 Parcours des Mondes 舉辦展覽。 品相：狀況良好，有一些磨損，特別是鍍金方面，有微小的劃痕和輕微的凹痕。鑲嵌物可能在過去更換過。造像傾斜。 底座密封。背面鑲嵌一小塊長方形青銅牌，供祭祀之用。 重量：244.3 克 尺寸：高 11.2 厘米 相配木底座，或爲紫檀，巧妙地彌補了人物的傾斜姿勢。(2) 造像左肩上的蓮花淨瓶，表明他就是未來的彌勒佛。儘管對流行的佛教修行同樣重要，但與更常見的觀世音蓮花生青銅造像相比，站立的彌勒佛像相對較少。此類優雅立像造型至少在十六世紀之前在尼泊爾一直很受歡迎，被應用於包括文殊菩薩在內的各種菩薩。

AN AGATE PEBBLE WEIGHT, SONG TO MING DYNASTYChina, 13th-15th century. The translucent stone of cream and amber color with brown shadings, alternating fingerprints, bands of ochre, brown and gray, and an area of crystalline striations. The stone is sensitively carved, masterfully incorporating both polished and rough areas and exposing the crystalline structure underneath. Provenance: From the private 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 expected old wear and traces of extensive usage, some erosion, minuscule nicks here and there, few natural fissures, and inherent pitting.Weight: 292.7 g Dimensions: Length 7.5 cmExpert's note: The lapidary, after finding the exact right stone for their task, carved and polished as little as possible, letting nature do most of the work, to achieve the greatest possible effect and highlight the stone's spectacular features.Auction result comparison:Type: Closely relatedAuction: Galerie Zacke, Vienna, 15 October 2021, lot 30Price: EUR 4,298 or approx. EUR 4,700 converted and adjusted for inflation at the time of writingDescription: A rare agate 'recumbent hare' pebble, Song to early Ming dynastyExpert remark: Compare the closely related form and color. Note the different size (9 cm).宋至明瑪瑙山子鎮紙中國，十三至十五世紀。半透明的琥珀色瑪瑙，帶有棕色陰影、交替赭石、棕色和灰色紋理帶，以及結晶條紋區域。瑪瑙石經過巧妙地結合了拋光和啞光區域，並露出下面的晶體結構。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況良好，有預期的磨損和廣泛使用痕跡、一些侵蝕，大面積微小的刻痕，輕微自然裂縫和固有的點蝕。 重量：292.7 克 尺寸：長7.5 厘米 專家注釋: 寶石工匠在找到合適的石料後，盡可能少地進行雕刻和拋光，讓大自然完成大部分工作，以達到最大可能的效果並突出石料的自然特徵。 拍賣結果比較： 形制：非常相近 拍賣：維也納Galerie Zacke，2021年10月15日，lot 30 價格：EUR 4,298（相當於今日EUR 4,700） 描述：宋至明初罕見瑪瑙臥兔山子 專家評論：比較非常相近的外型和顏色。請注意尺寸不同(9厘米)。

A MOTTLED GRAY JADE 'KNEELING FIGURE' PENDANT, TANG TO MING DYNASTYChina, c. 8th-16th century. The figure rendered kneeling with the hands resting on the knees, the face looking directly ahead, portrayed with straight brows, large eyes above a broad nose, flat lips, flanked by ears in the form of C-scrolls. The translucent stone of a pale gray tone with darker gray and white inclusions, and dark specks.Provenance: From the collection of David Taylor, and thence by descent within the Taylor family. David Taylor (1876-1958) was a notable British businessman who lived in Belfast and owned various commercial buildings along with a substantial portfolio of stocks and shares. During his travels to China in the early 20th century, he acquired many jades, including the present lot. His grandfather, Sir David Taylor, was born in 1815 in Perth, Scotland, and moved to Belfast in 1842, serving as its mayor in 1867 and for two consecutive terms in 1883 and 1884. Condition: Very good condition with extensive old wear, signs of weathering and erosion, and microscopic nicks here and there. The stone with natural fissures and inclusions. The flat head is pierced with two apertures for suspension, which may be of a later date than the figure.Weight: 39.6 g Dimensions: Height 4.2 cmThe earliest kneeling figures carved from jade date back to the Shang dynasty and are extremely rare. Examples carved with related features have been found at the tomb of Lady Hao, dated to around 1200 BC. While the identification and function of kneeling figures is a matter of speculation, their rarity suggests that “they are likely to have been extremely valuable and to have offered Fu Hao some sort of power or access to power.” (Jessica Rawson, Mysteries of Ancient China, London, 1996, p. 108).Literature comparison:Five kneeling figures from the tomb of Fu Hao are illustrated in Tomb of Lady Hao at Yinxu in Anyang, Beijing, 1980, pls. 129 and 130, together with two related jade heads, pl. 131, no. 1 and 2. Compare a related figure in the Harvard Art Museums, Cambridge, and included in the exhibition Ancient Chinese Jades, Fogg Art Museum, Harvard University, Cambridge, 1975, cat. no. 121. Compare a jade kneeling figure from the collection of Jay C. Leff, sold in Sotheby's New York, 25 October 1975, lot 98. Compare a seated figure with knees raised, illustrated in Teng Shu P'ing, One Hundred Jades from the Lantien Shanfang collection, Taipei, 1995, pl. 37, together with a jade head, pl. 36. Auction result comparison:Type: RelatedAuction: Christie's New York, 20 September 2013, lot 1674Price: USD 16,250 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A rare greyish-green and brown jade figure of a kneeling foreigner, Tang/Ming dynasty, 7th-16th centuryExpert remark: Compare the related figural motif, the color of the jade, and the flattened head with pierced suspension apertures. Note the size (6 cm).Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 2 April 2019, lot 3412Price: HKD 1,000,000 or approx. EUR 125,000 converted and adjusted for inflation at the time of writingDescription: An extremely rare white and russet jade 'kneeling figure', Shang dynastyExpert remark: Compare the related figural motif, pose, and size (4 cm). Note the different color of the stone and the much earlier dating.唐至明代玉人形佩中國，約八至十六世紀。人物呈跪姿，雙手擱膝，眼睛正視前方，直眉，大眼，寬鼻，平唇，兩耳呈C字形。淺灰色調的半透明石料，帶有較深的灰色和白色絮狀物，以及黑色斑點。 來源：David Taylor收藏，自此一直保存在Taylor家族中。David Taylor (1876-1958) 曾是一位著名的英國商人，住在貝爾法斯特，擁有各種商業建築以及大量股票和股份。二十世紀初，他到中國旅行時購買了許多玉器，包括現在的這件。 他的祖父戴維·泰勒爵士 1815 年出生於蘇格蘭Perth，1842 年移居Belfast，1867 年擔任市長，1883 年和 1884 年連任。 品相：狀況極好，大面積磨損、風化和侵蝕，以及很多可見的微小刻痕。具有天然裂隙和内沁的石料。頭上有兩個掛孔，可能來自稍晚年代。 重量：39.6 克 尺寸：高4.2 厘米

A SAPPHIRE-BLUE OVERLAY 'MONKEY KING STEALING THE PEACHES OF IMMORTALITY' GLASS SNUFF BOTTLEChina, c. 1700-1780, probably Imperial, attributed to the Palace Workshops, Beijing. Of compressed globular form, supported on a wide oval foot with recessed base, and cylindrical neck flaring slightly towards the rim, carved through the sapphire blue layer to the bubble suffused 'snowflake' ground, one side depicting a crane striding through lotus, water, and rockwork, the reverse with a monkey perched on a branch bearing peaches, decorated with a butterfly, bat, and lingzhi, the neck encircled by a band of stiff leaves.Provenance: From a private collection in Pennsylvania, USA. The collection was assembled over a period of 30 years specializing primarily in glass, jade and hardstone snuff bottles. Condition: Minor wear, few nibbles to rim and foot, minor manufacturing irregularities, possibly with a small repair to the neck.Stopper: Glass in imitation of jadeiteWeight: 64.1 gDimensions: Height including stopper 74 mm. Diameter neck 16 mm and mouth 8 mmHomophones for monkey, hou, include the Chinese words for 'nobleman', 'high official', and 'descendants'. The monkey therefore represents the wish for the success of one's descendants. The representation of monkey and peach relates to the legendary Sun Wukong, also known as the Monkey King, who stole the peaches of immortality. Similarly, the crane is a symbol of longevity, as the animal has a life expectancy of more than 20 years. Therefore, the present lot bestows auspicious wishes for success and longevity for generations.Auction result comparison:Type: RelatedAuction: Christie's New York, 29 March 2006, lot 55Price: USD 24,000 or approx. EUR 33,500 converted and adjusted for inflation at the time of writingDescription: A Rare Blue Overlay 'Fruit Bowl' Glass Snuff Bottle Expert remark: Compare the form, the superb quality of the carving, the translucent sapphire-blue overlay on snowflake ground, and the peach subject.Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 5 April 2004, lot 826Price: HKD 262,900 or approx. EUR 49,500 converted and adjusted for inflation at the time of writingDescription: A Very Rare Blue Overlay Bubble-Suffused Glass Snuff Bottle Expert remark: Compare the form, the superb quality of the carving, the translucent sapphire-blue overlay on snowflake ground, and the peach subject.雪花地寶石藍套料《猴王摘桃》鼻煙壺中國，約1700-1780年，或爲北京御用工坊製作。直頸溜肩，橢圓形圈足。雪花地琉璃套藍寶石色。一面描繪蓮池白鶴，另一面描繪猴王摘桃，四周可見蝴蝶、蝙蝠和靈芝。 來源：美國賓夕法尼亞私人收藏，三十多年收藏琉璃與玉石鼻煙壺。 品相：輕微磨損，邊緣和足部有輕微磕損，製造過程中輕微的不規則性，頸部可能有小修。 壺蓋：仿翡翠玻璃 重量：64.1 克 尺寸：含蓋高74 毫米，頸部直徑16毫米，口部直徑8 毫米 猴與“侯“諧音，因此猴子象徵了高官厚祿的願望。猴和桃與傳說中的孫悟空有關，孫悟空偷走了長生不老的桃子。同樣，鶴是長壽的象徵。因此，本拍品寄託了子孫後代功成名就、長壽吉祥的意願。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2006年3月29日，lot 55 價格：USD 24,000（相當於今日EUR 33,500） 描述：雪花地寶石藍套料《水果盤》鼻煙壺 專家評論：比較外形、精美雕刻、雪花地琉璃套藍寶石色，以及壽桃主題。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2004年4月5日，lot 826 價格：HKD 262,900（相當於今日EUR 49,500） 描述：雪花地寶石藍套料鼻煙壺 專家評論：比較外形、精美雕刻、雪花地琉璃套藍寶石色，以及壽桃主題。

A GUAN-TYPE LONGQUAN TRIPOD CENSER, LIAN, SOUTHERN SONG DYNASTYPublished: Song Ceramics, the Eight Kiln Groups at a Glance, Examples from the Jiyuanshanfang Collection, 2008, page 332.China, 1127-1279. The cylindrical body is encircled by three sets of raised bow-string bands, comprised of two ribs above the three foliate-molded ruyi-head supports, three encircling the mid-body and three below the flat inward-canted mouth rim. The censer is covered overall with a rich, finely crackled, bluish-green glaze which thins slightly on the rim and raised decoration, the unglazed edge of the tapering rim on the underside burnt orange in the firing.Provenance: The Jiyuanshanfang Collection. Currently housed on New York's Upper East Side and originally founded upon an old family collection, a comprehensive catalog of the Jiyuanshanfang collection titled “Song Ceramics: The Eight Kiln Groups” was published in 2008 with a foreword written by Li Zhiyan, Research Fellow at the Beijing Palace Museum. Another contributor to this catalog was Martin Lorber, formerly Director of Sotheby's New York. Jiyuanshanfang's first exhibition was held in 2012 at the Morris Museum in New Jersey. In 2015, Jiyuanshanfang lent early Chinese ceramics to a large-scale exhibition at the Norton Museum of Art in Palm Beach, Florida, titled “High Tea: Glorious Manifestations - East and West”.Condition: Good condition commensurate with age, showing expected old wear, traces of usage and shallow surface scratches. Some firing irregularities, the rim with a short hairline and associated microscopic loss, the foot rim with a tiny crack, one ruyi foot with an old kintsugi repair. The interior with remnants of calcification and russet discoloration to the crackle, consistent with temporary use as a jardiniere.Weight: 808.3 g Dimensions: Diameter 14 cmThe shape of the present censer originates from archaic bronze lian vessels, which were among the ritual implements aimed to present food and drink offerings to the ancestors during the Han dynasty. This archaistic shape was also produced in the Ruyao glaze during the Northern Song period as exemplified in a related Ruyao tripod incense burner from the Qing Court collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelain of the Song Dynasty (I), Hong Kong, 1996, p. 2, no. 1. Ceramic vessels of this form are often molded with bow-strings around the body, such as the well-known Northern Song Ru censer in the Percival David Collection, illustrated in Sekai Toji Zenshu, vol. 12, Tokyo, 1977, p. 70, no. 62.Expert's note: The glaze on this censer is a particularly good example of the attractive bluish-green tone characteristic of the finest Longquan glazes of the guan type.Literature comparison: A closely related Longquan tripod censer, in the collection of the Hangzhou Archaeological Bureau, is illustrated by Zhu Boqian (ed.), Celadons from Longquan Kilns, Taipei, 1998, p. 149, no. 116. A small Longquan censer of similar form was discovered in 1991 in Suining, Sichuan province, amongst a cache of ceramics dating from the late Southern Song period, and is illustrated in Newly Discovered Southern Song Ceramics, A Thirteenth-Century “Time Capsule”, Tokyo, 1998, p. 32, no. 23.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2018, lot 527 Price: USD 62,500 or approx. EUR 71,500 converted and adjusted for inflation at the time of writingDescription: A Longquan celadon tripod censer, Southern Song dynasty Expert remark: Compare the closely related form, with similar bow-string bands, ruyi feet, inward-canted rim, and bluish-green glaze. Note the similar size (14.7 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2002, lot 151 Price: USD 204,000 or approx. EUR 325,000 converted and adjusted for inflation at the time of writingDescription: A rare Longquan celadon ribbed censer, Southern Song dynasty Expert remark: Compare the closely related form, with similar bow-string bands, ruyi feet, inward-canted rim, and finely crackled bluish-green glaze. Note the similar size (14.3 cm).南宋龍泉窯仿官釉弦紋三足爐中國，1127-1279年。爐口沿較寬，直壁，圈足，足下承三個雲頭形足，三足與圈足在同一平面。器身凸起弦紋。通體施青釉，釉面開片，沿口略薄，圈足端無釉，呈橙色。出版: 《宋瓷八大窯系一覽——吉緣山房藏品》，美國加州，2008年，頁332。 來源：吉緣山房收藏；美國知名私人收藏購於上述收藏。 品相：品相良好，可見磨損與使用痕跡，表面有淺劃痕。一些燒製不規則現象，邊緣有短細裂紋和相關的細微缺損，足部邊緣有微小裂縫，一個如意足有金繼修復。內部有鈣化殘留物和裂紋的黃褐色變色，表明此器可能曾被用作花盆。 重量：808.3 g 尺寸：直徑14 厘米

A LARGE INLAID LACQUER 'HUNDRED BIRDS WORSHIP THE PHOENIX' ZITAN-FRAMED HANGING PANEL, QIANLONG PERIODChina, 1736-1795. Masterfully inlaid on a misty sky-blue lacquer ground with 11 different materials: Spinach green jade, lapis lazuli, malachite, carnelian, turquoise, soapstone, coral, wood, stained bone and tortoise shell, altogether depicting a phoenix perched under a wutong tree, surrounded and worshipped by a myriad of birds including a peacock, magpies, cranes, pheasants, and mandarin ducks, some perched on the tree, some in flight and others resting on rockwork, amid peonies, lingzhi, and bamboo. Provenance: UK trade. Formerly in a European private collection. Condition: Displaying remarkably well, with no restoration or replacement work worth mentioning, making this one of the best-preserved wall panels from the Qianlong period ever to be recorded. Some old wear, expected age cracks to lacquer with associated losses, only two small pieces (!) of the many hundred inlays lost. Light scratches. The frame with few minuscule chips, expected minor age cracks with an associated small touchup to the upper right corner. The suspension is made from gilt-bronze and is original to frame and panel.Dimensions: Panel size 67.5 x 100.5 cm, Size incl. frame 76 x 109 cmWith a well-carved zitan frame mounted with a gilt-bronze suspension in the form of finely incised lingzhi-shaped clouds.Paintings and embroideries with phoenixes surrounded by various birds, including cranes, mandarin ducks, and pheasants, are a common motif in Chinese culture. Phoenixes are regarded as the king of the birds, as they represent power, virtue, and grace. This large and impressive inlaid panel is an outstanding example and possibly of imperial origin. Literature comparison: A related example of an inlaid screen was exhibited in Tributes from Guangdong to the Qing Court, Chinese University of Hong Kong Art Gallery, 28 February to 12 April 1987, no. 86.Auction result comparison:Type: Closely relatedAuction: Christie's 11 July 2006, lot 73Price: GBP 131,200 or approx. EUR 261,000 converted and adjusted for inflation at the time of writingDescription: An ivory and hardstone inlaid zitan hanging panel, Qianlong (1736-95)Expert remark: Compare the closely related motif, material, frame, and size (81 x 118 cm).Auction result comparison:Type: RelatedAuction: Bonhams London, 7 November 2013, lot 339Price: GBP 122,500 or approx. EUR 193,000 converted and adjusted for inflation at the time of writingDescription: A rare pair of jade and hardstone-inlaid wall screens, 18th/19th centuryExpert remark: Compare the related motif, material, and size (82.5 x 111 cm). Note that this is a pair.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.乾隆時期大型《百鳥朝鳳》鑲寳漆屏，紫檀木框中國，1736-1795年。以十一種不同材質巧妙鑲嵌在天藍色地漆面上：碧玉、青金石、孔雀石、紅玉髓、綠松石、皂石、珊瑚、木頭、彩色骨質、玳瑁，共同描繪了一隻鳳凰棲息在梧桐樹上，在牡丹、靈芝和竹子之間，孔雀、喜鵲、鶴、雉鷄和鴛鴦等無數鳥類圍繞，有的棲息在樹上，有的飛翔，有的立在岩石上。 來源：英國古玩交易，之前來自一個歐洲私人收藏。 品相：品相極佳，無顯著修復或更換，是有史以來保存最完好的乾隆時期掛屏之一。一些舊磨損，兩塊鑲嵌中丟失。 輕微劃痕。框架輕微缺損，右上角有小修。原裝懸扣由鎏金青銅製成。 尺寸：掛屏67.5 x 100.5 厘米，總 76 x 109 厘米 紫檀木框，銅鎏金靈芝形金屬掛扣。 《百鳥朝鳳》這個題材在繪畫和刺繡中經常出現。鳳凰被視為百鳥之王，至高至上，美好吉祥。這塊巨大且令人印象深刻的掛屏是一個傑出的例子，可能是御製。 文獻比較： 一件相近鑲嵌的屏 ，曾展於《Tributes from Guangdong to the Qing Court》，香港中文大學 中國文化研究所文物館，1987年2月28日至4月12日，編號86。 拍賣結果比較： 形制：非常相近 拍賣：佳士得，2006年7月11日，lot 73 價格：GBP 131,200（相當於今日EUR 261,000） 描述：乾隆硬石象牙紫檀木框掛屏 專家評論：比較非常相近的主題、材料、木框和尺寸(81 x 118 厘米)。

A FAMILLE ROSE 'IMMORTALS' BALUSTER VASE, JUREN TANG MARK, REPUBLIC PERIODChina, 1912-1949. The slender ovoid body rising to a waisted neck. Superbly painted in bright enamels with five immortals in a garden, each holding auspicious objects including a peach, finger citron, lingzhi, and gourd, one carrying a gnarled pine staff and another a bamboo stick, each wearing long flowing robes decorated with roundels and diapered designs, framed by a gnarled pine and wisteria tree to one side, and craggy rockwork to the other side, with a crane flying above.Inscriptions: To the base in iron red, 'Juren Tang zhi' (The Hall where Benevolence Resides).Provenance: French trade. Condition: Good condition with minimal wear, a thin hairline to the mouth rim, and a barely visible star-crack below the shoulder.Weight: 3,959 g Dimensions: Height 24.9 cm The Juren Tang (The Hall where Benevolence Resides) in Zhongnanhai was the building in which Yuan Shikai (1859-1916) lived and also where he had his office around 1915. Yuan Shikai was the first President of the Republic of China and Emperor of the short-lived Empire of China (1915-1916), taking the era name Hongxian. In 1916, Guo Baochang, an antique dealer with a good relation to the court, was appointed to oversee Hongxian's new imperial porcelain production. The intent from the outset was that the items produced were to be of excellent quality. The biscuit used was very thin, the enamels were sent from the Imperial Workshops and the mark used was a red seal reading Juren Tang zhi. The quality of items produced was reputed to be excellent. Unfortunately, during production, because of the very thin biscuit, many objects were damaged. The remaining few perfect pieces were given to the most favored officials and are exceedingly rare today.Yuan Shikai stood down as Emperor on 22 March 1916 and resumed his presidency, dying shortly afterward in June 1916. After his death, production was halted and the kilns were destroyed, but the enamels were stolen by workers who then proceeded to copy the Juren Tang production, marking their pieces Hongxian nianzhi (also Hongxian Yu Chih or Hongxian Yuan Nian), mostly with Kaishu script. The first copies produced were apparently of extremely high quality, as they were still using the imperial biscuit and enamels, but quality fell as the quantity increased and, presumably, the imperial resources were depleted. One opinion has it that all Hongxian marked pieces are made after the actual period, and that the only possibly genuine mark of the Hongxian period is the Juren Tang if any. Still, from extant pieces it is clear that the porcelain industry was much stimulated at this time and for decades to come, and that pieces of very high quality were made, some of which bear the Hongxian mark while others are marked Juren Tang.Auction result comparison:Type: RelatedAuction: Christie's London, 13 May 2014, lot 402Price: GBP 37,500 or approx. EUR 61,000 converted and adjusted for inflation at the time of writingDescription: A famille rose 'immortals' vase, Republic period, four-character iron-red Juren Tang zhi markExpert remark: Compare the form, fine enamels, figural motif, and mark. Note the size (28.2 cm).Auction result comparison:Type: RelatedAuction: Christie's London, 9 November 2012, lot 1137Price: GBP 7,500 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: A slender famille rose baluster vase, Republic period (1912-1949), Juren Tang zhi iron-red seal markExpert remark: Compare the related form, fine enamels, figural motif, and mark. Note the size (34.5 cm). 民國居仁堂款粉彩《五仙圖》賞瓶中國，1912-1949年。瓶口略外撇，頸微束，豐肩，修長瓶身。粉彩描繪山中五仙圖，壽老持桃、祿星持佛手、靈芝、白鬍仙人手持掛著葫蘆的松杖；身著飄逸長袍，周圍可見松樹和紫藤，另一側是崎嶇的岩石，空中仙鶴飛舞。 款識：圈足内“居仁堂製” 來源：法國古玩交易。 品相：品相良好，極少磨損，口緣處有細冲線，肩部下方輕微星形裂紋。重量：3,959 克 尺寸：高24.9 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2014年5月13日，lot 402 價格：GBP 37,500（相當於今日EUR 61,000） 描述：民國居仁堂款粉彩仙人圖瓶 專家評論：比較的外形、精美的琺瑯、人物主題和款識。請注意尺寸(28.2 厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2012年11月9日，lot 1137 價格：GBP 7,500 EUR 13,000（相當於今日） 描述：民國居仁堂款粉彩高士詩文圖瓶 專家評論：比較相近的外形、精美的琺瑯、人物主題和款識。請注意尺寸(34.5 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 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 A RAT, DONG SON CULTUREVietnam, 500 BC to 300 AD. Well cast standing foursquare with the head slightly raised and ears pricked, the tail pointing upwards, the face with bulging eyes and open mouth.Provenance: From the collection of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Some repair and touchups as generally expected from ancient Dong Son excavations. Losses, fissures, erosion, and corrosion. Minor casting flaws. Overall, still good condition, especially for such a rare piece. Fine malachite-green patina with brown encrustations overall.Weight: 164.8 g Dimensions: Length 12 cmDong Son (named for Dong Son, a village in Thanh Hoa) was a Bronze Age culture centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Van Lang and Au Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Auction result comparison:Type: RelatedAuction: Galerie Zacke, Vienna, 10 March 2022, lot 285Price: EUR 3,539Description: A rare bronze fish and mythical beast, Dong Son culture東山文化罕見銅鼠擺件越南，公元前500 至公元300 年。銅鼠呈站姿，四足着地，頭略微抬起，耳朵豎起，尾巴朝上，眼睛張開。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。 他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：一些修復，正如古代東山文化挖掘所普遍預期的那樣。缺損、裂縫、侵蝕和腐蝕，輕微鑄造缺陷。總體而言，品相良好。精美的孔雀石綠銅鏽，整體呈棕色結殼。 重量：164.8 克 尺寸：長 12 厘米 東山文化是位於越南北部紅河河谷的一個鐵器時代史前文化。它約繁盛於公元前1000年到公元前後，它影響的區域包括東南亞其他地區乃至以及印度-馬來亞群島。越南歷史學家將其歸因於範朗州和悠樂州。公元前1000年，它的影響了東南亞的其他地區，包括海上東南亞。長期以來，這種文化對西方考古學家來說一直是個謎，人們只能通過青銅器了解它，其中許多通過考古墓地挖掘。東山青銅器在其原始位置被確定之前就在歐洲展出了一個世紀，關於文化年代測定方法的幾種理論和推測一直持續到今天。 拍賣結果比較： 形制：相近 拍賣：維也納Galerie Zacke，2022年3月10日，lot 285 價格：EUR 3,539 描述：東山文化魚與神獸青銅擺件

A SMALL LINGZHI FUNGUS TABLE SCREEN, QING DYNASTYChina, 1644-1912. The dried natural fungus head is supported on a projecting fungal growth in the back, spreading out dramatically with a lobed outline, one side with an uneven surface and naturally gnarled, the native patina of a warm brown color. Two apertures drilled to the top for suspension. Provenance: From a Dutch private collection, assembled before 2007, and thence by descent.Condition: Very good condition with extensive old wear, minor losses, minuscule chips, natural age cracks, traces of use and natural decomposition, all commensurate with age.Weight: 346.9 gDimensions: Height 14 cm, Width 14.5 cmLiterature comparison:A number of lingzhi fungus mounted in wood table screens are in the Imperial Collection, the largest of these, dated to the 18th century, is illustrated by Yang Xin and Zhu Chengru, in the exhibition catalog, Secret World of the Forbidden City: Splendors from China's Imperial Palace, The Bowers Museum of Cultural Art, Santa Ana, California, p. 61. Another smaller fungus (21.6 cm long) mounted in a zitan table screen and dated 16th to early 17th century is illustrated by P. Moss, The Literati Mode, Sydney L. Moss Ltd., London, 1986, pp. 188-9, no. 66. Auction result comparison:Type: Closely relatedAuction: Christie's New York, 18 September 2003, lot 73Price: USD 10,755 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A rare lingzhi fungus table screen, Qing dynasty (1644-1911)Expert remark: Note the larger size (29.2 cm)Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 2 April 2018, lot 3030Price: HKD 100,000 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: A lingzhi fungus, Qing dynastyExpert remark: Note the larger size (32 cm)清代靈芝小桌屏中國，1644-1912年。乾燥的天然靈芝如傘狀，展現出層出不窮的年輪紋路，彎彎曲曲，宛若流雲紋理，呈現天然的暖棕色包漿。背面有兩個鑽孔並配有金屬鉤。 來源：荷蘭私人收藏，購於2007年前，保存至今。 品相：狀況極好，大量磨損、少量缺損、輕微磕損，自然年代裂痕，以及有使用痕跡。 重量：346.9 克 尺寸：高 14 厘米，寬 14.5 厘米 文獻比較： 一些靈芝小桌屏被清宮廷所收藏，最大宗的為十八世紀，見Yang Xin and Zhu Chengru，展覽圖錄《Secret World of the Forbidden City: Splendors from China's Imperial Palace》，加州聖塔安娜The Bowers Museum of Cultural Art，頁61。另一件十六至十七世紀初靈芝紫檀桌屏 (21.6 厘米長，見P. Moss，《The Literati Mode》，Sydney L. Moss Ltd.，倫敦，1986年，頁188-9，編號66。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2003年9月18日，lot 73 價格：USD 10,755（相當於今日EUR 17,000） 描述：清代靈芝桌屏 專家評論：請注意尺寸較大(29.2 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2018年4月2日，lot 3030 價格：HKD 100,000（相當於今日EUR 13,000 ） 描述：清靈芝擺件 專家評論：請注意尺寸較大 (32 厘米)。

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)

AN EXCEPTIONALLY RARE AND SIGNED GILT BRONZE FIGURE OF BUDDHA, EARLY MING DYNASTYPublished: Svenska Hem i Ord och Bilder (Swedish Home in Words and Pictures), Stockholm, 1922, page 109. Note that this information is according to the family of the previous owner, as the present lot cannot be identified beyond any doubt on the ancient image in the publication.China, early 15th century. Finely cast, seated in dhyanasana on a double-lotus base with beaded edges, his hands lowered in dhyanamudra above his lap, wearing a richly pleated robe with neatly incised foliate hems. The serene face with heavy-lidded eyes, gently arched brows, a circular urna, and full lips forming a calm smile, flanked by long pendulous earlobes. The hair arranged in tight snail-shell curls, the high ushnisha surmounted by a jewel. Magnificent, naturally grown patina overall.Inscriptions: Signature to the back, 'Made by the lay follower Guo with the maiden name Huiming'.Provenance: From the collection of Inez Utter (nee Bonnier, 1890-1968) and Tore Utter (1880-1953), and thence by descent within the same family. Condition: Excellent condition commensurate with age, with well-preserved gilt, some old wear and expected casting flaws, including one to the back of the head with an associated small loss. The base resealed with ancient remnants of soldering, otherwise absolutely original with no restoration or repair of any kind. Presenting exceptionally well.Weight: 2,841 g Dimensions: Height 27.5 cmThis exquisite figure is notable for its fine casting and gilding, as evidenced in the naturalistically modeled folds of the robes and in the figure's serene facial expression. Stylistically it follows in the tradition established in the Yuan period, when Tibetan Buddhism became the court religion, and a new sculptural style began to appear. The full, yet somewhat squared facial features, robust body and stylization of the boldly cast lotus lappet base all indicate a rather early 15th-century date.Expert's note: Figures with gently smiling faces, full rounded bodies and tiered thrones are depicted in the early 14th-century woodblock prints made for the monastery of Yanshen Yuan, Hangzhou, and illustrated in Heather Stoddard Karmay, Early Sino-Tibetan Art, Warminster, 1975, pls. 26, 29, and 30. It is possible that these images, which reflect the style favored in Tibet at the time, were used for inspiration by craftsmen active in the early 15th century.Literature comparison:Compare a related gilt-bronze figure of Bhaisajyaguru Buddha, dated to the first year of the Jingtai reign (1450), illustrated in Gems of Beijing Cultural Relics Series: Buddhist Statues (I), Beijing, 1999, page 153, no. 115.Auction result comparison: Type: Closely related Auction: Sotheby's London, 8 November 2017, lot 67 Price: GBP 187,500 or approx. EUR 258,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Shakyamuni Buddha, Ming dynasty, early 15th centuryExpert remark: Compare the closely related manner of casting, pose, robe, face, base, and size (27 cm). Note that this bronze is also signed. Note that the gilt is even better preserved than on the present lot. Auction result comparison: Type: Closely related Auction: Christie's Amsterdam, 23 March 2011, lot 161 Price: EUR 133,000 or approx. EUR 179,000 adjusted for inflation at the time of writing Description: A Chinese Ming period gilt bronze figure of Buddha Shakyamuni, indistinct mark, 15th centuryExpert remark: Compare the closely related manner of casting, pose, robe, face, base, and size (27 cm). Note this bronze is also marked. Also note that the gilt is not as well preserved as on the present lot.明初鎏金銅釋迦牟尼坐蓮像中國，十五世紀初。釋迦牟尼坐於仰覆蓮座上，結全跏趺坐，雙手施禪定印。肉髻高隆呈塔形，螺髮，寶珠頂嚴。寬額豐頤，雙耳垂肩，彎眉細長與鼻脛相連，雙眉之間有白毫，雙目微合下視，嘴角微露笑意，法相莊嚴。頸施三道弦紋，胸膛寬闊，腰部收束，著袈裟，陰刻卷草紋。衣紋轉折流暢自然，富有層次感。蓮座上緣各飾一道連珠紋。座下封底。通體自然包漿。 出版：Svenska Hem i Ord och Bilder (Swedish Home in Words and Pictures)，斯特哥爾摩，1922年， 第109頁。請注意，此信息是根據前任藏家的家人提供的，無法根據出版物中的圖片確認當前拍品。款識：信女郭氏惠名造 來源：Inez Utter (nee Bonnier，1890-1968) 與 Tore Utter (1880-1953)收藏，在同一家族中保存至今。 品相：狀態極佳，鎏金保存完好，有一些磨損和鑄造缺陷，包括頭部後面的一個缺陷以及相關的小缺損。底座曾重新密封，沒有任何形式的修復或修理。 重量：2,841 克 尺寸：高27.5 厘米

A MAGNIFICENT AND EXTREMELY RARE MOTHER-OF-PEARL INLAID BLACK-LACQUER AND SILVER POURING VESSEL, YIChina, 17th - 18th century. The black dry lacquer ground is intricately inlaid with several thousand microscopic pieces of gold foil and mother-of-pearl, to the interior with a central double vajra with ruyi heads issuing a scrolling border enclosing the design, encircled by bands of floral diaper and key fret, the interior sides with further diapered floral patterns and cloud designs below key-fret bands and at the rim continuing to the spout, the exterior similarly decorated with bands of ruyi heads, key fret, rounded lappets, and floral diaper.Provenance: From a Hungarian private collection. Condition: The rim, spout, and inlays with losses. The lacquer with minute age cracks, further with minuscule nicks and minor chips, some old wear, the silver base with a dark patina in some areas. Overall displaying remarkably well and in good condition commensurate with age and the fragile nature of this lot.Weight: 75.8 g Dimensions: Length 9.2 cmThe deep rounded sides supported on an oval foot with a recessed and rounded base and rising to a straight rim, one side set with slightly tapered spout of square U-shaped section, the foot and base made of solid silver.With a padded silk storage box. (2)Auction result comparison: Type: Related Auction: Christie's Hong Kong, 27 November 2013, lot 3561 Price: HKD 1,000,000 or approx. EUR 154,000 converted and adjusted for inflation at the time of writing Description: A very rare mother-of-pearl inlaid black-lacquered double gourd, Qing dynasty, 18th century Expert remark: Compare the intricate gold foil and mother-of-pearl inlays with similar ruyi designs and floral diaper. Note that this vessel has a Qianli mark to base. Also note that arguably the inlay work is not as fine as on the present lot, and that despite this vessel being 31 cm large, the total number of microscopic inlay pieces used for this example is probably smaller than on the present lot.罕見黑漆地錯銀鑲螺鈿匜中國，十七至十八世紀。黑漆地面鑲嵌著數以千記的金箔和螺鈿，器內中央紋飾如雙金剛杵，如意形邊框，花卉紋，側壁上錦地花卉級和紋理；外壁有同樣裝飾。工藝繁複精湛，在光線的照射之下五彩繽紛，閃爍變幻絢麗異常。 來源：匈牙利私人收藏。 品相：邊緣、壺嘴和鑲嵌物有缺損。漆面有細微的老化裂紋，還有微小的刻痕和細小的缺口，有些陳舊，銀底在某些區域帶有深色銅綠。整體狀況良好。 重量：75.8 克 尺寸：長 9.2 厘米 匜器深腹，橢圓形足，底部内凹，一側設置有U 形截面口，足部和底座由純銀製成。 配有襯墊的盒子 (2) 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2013年11月27日，lot 3561 價格：HKD 1,000,000（相當於今日EUR 154,000） 描述：十八世紀罕見黑漆地鑲螺鈿葫蘆瓶 專家評論：比較複雜的鎏金和鑲螺鈿，以及相似的如意設計和花卉尿布。 請注意，此器底部有千里款，以及鑲嵌工藝不如本拍品精細，儘管此器皿有 31 厘米大，但用於此瓶的微型鑲嵌件總數可能比本拍品少。

A PALE CELADON JADE FIGURE OF A PERSIAN FALCONER, 18TH CENTURYChina. Finely carved, clad in a long cloak hanging over the shoulders and loose robes tied at the waist, wearing a large hat, a falcon perched on his right hand, and holding a treasure in his left hand, his square face with a broad mouth and short beard, flanked by elongated earlobes. The finely polished stone of translucent quality showing an even, pale celadon color with only scattered cloudy-white inclusions.Provenance: British trade. Condition: Very good condition with expected old wear and few minuscule nicks to the rim of the hat. Good, unctuous feel overall.Weight: 143.4 g Dimensions: Height 8.4 cmThe costume of this well-carved figure identifies him as a foreigner, while the treasure held in his hand suggests he is a tribute bearer. The falcon in his right hand also indicates that he is a falconer, most likely of Persian descent. Small jade figures of this type were first made during the Tang dynasty when figures of foreigners were produced in various materials, representing the cosmopolitan society of the period.Falcons and falconry have been part of the religious and ideological tradition of the Persianate world from remote antiquity to the pre-modern period. The falcon has been important as a symbol of royal ideology and political legitimation. Already from the earliest Zoroastrian hymns, the Avesta, to manuals on falconry in the nineteenth century, the importance of this bird and the sport is detailed. As the privileged hobby of sovereigns and high dignitaries, falconry seems to have flourished in pre-Islamic Iran, as evidenced by various legends relating to hunting parties. In Islamic Iran, the expensive sport of hunting with falcons continued to be a favorite entertainment of the rulers and high dignitaries, enabling them to parade military prowess in times of peace. The prestige of such sport was enhanced because the Arab overlords in Baghdad and their provincial deputies, after having encountering the Persians, Byzantines, and others, had developed a keen enthusiasm for falconry.Auction result comparison:Type: RelatedAuction: Sotheby's London, 18 May 2018, lot 455Price: GBP 5,000 or approx. EUR 7,000 converted and adjusted for inflation at the time of writingDescription: A carved pale celadon jade figure of a foreigner, Qing dynasty, 17th/18th centuryExpert remark: Compare the related robe, facial features, and color of the jade. Note the slightly smaller size (7.5 cm).Auction result comparison:Type: RelatedAuction: Christie's New York, 17 March 2016, lot 950Price: USD 93,750 or approx. EUR 111,000 converted and adjusted for inflation at the time of writingDescription: A rare small pale greenish-white jade figure of a foreigner, late Ming-early Qing dynasty, 16th-18th centuryExpert remark: Compare the related robe, pose, and near-identical size (8.9 cm).十八世紀青白玉波斯馴鷹人 中國，人物身披長氅，寬袍束腰，頭戴暖帽，右手上停著一隻鷹，左手執寶，方臉闊口短鬚。表面拋光細膩，玉料成均匀的半透明青色，白色絮狀物。 來源：英國古玩交易 品相：品相極好，磨損，帽子邊緣有細小的劃痕。整體包漿瑩潤。 重量：143.4 克 尺寸：高8.4 厘米 這個雕刻精美的人物的服裝表明他是外國人，而他手中拿著的寶物表明他是貢品。他右手的獵鷹也表明他是一名馴鷹者，很可能是波斯血統。這種小玉人最早出現在唐代，當時用各種材料製作外國人的形象，代表了那個時期的國際化社會。 從遠古到近現代時期，獵鷹和馴服獵鷹一直是波斯世界宗教和意識形態傳統的一部分。獵鷹是重要的皇家意識形態和政治合法性的象徵。從最早的瑣羅亞斯德的讚美詩阿維斯塔，到 19 世紀的獵鷹手冊，都詳細介紹馴服獵鷹的重要性。馴服獵鷹似乎盛行於伊斯蘭時代以前的伊朗，也是君主和達官貴人的特權和愛好，有許多關於狩獵派對的各種傳說。在伊斯蘭化後的伊朗，以獵鷹舉行昂貴的狩獵運動仍然是統治者和達官貴人最喜歡的娛樂活動，用來在和平時期炫耀其軍事實力。 由於巴格達的阿拉伯霸主及其省級代表在與波斯人、拜占庭人和其他國家接觸後，對馴服獵鷹產生了濃厚的興趣，因此提高了這項運動的聲望。

AN EXCEEDINGLY RARE PAIR OF INCISED YELLOW-GLAZED 'FLORAL MEDALLION' BOWLS, KANGXI MARKS AND PERIODChina, 1662-1722. Each bowl is incised on the exterior with four floral roundels divided by cloud scrolls above petal lappets around the foot, the interior with another floral medallion in the center enclosed within a double circle, covered inside and out with an egg-yolk yellow glaze, save for white base. Each bowl with an underglaze-blue six-character mark within a double circle da Qing Kangxi nianzhi and of the period. (2)Provenance: The VWS Collection, acquired by the previous owner's father (1890-1977) in China during the 1930s and thence by descent within the family. Each bowl with an old collection label, 'VWS'. One bowl with an old label, '62'. French trade, acquired from the above. The VWS collection tells the extraordinary story of a family fleeing the Tsarist Empire in Russia. Their journey began in 1903 as the Chinese Eastern Railway, the eastern branch of the Trans-Siberian Railway, was completed. Fleeing, like others, a climate of political persecution and anti-Semitism, the family settled in Harbin, the most northerly city in China and started to develop its businesses from 1906 onwards. Like many others, they were attracted to this cosmopolitan place, then a major economic and cultural center in Manchuria, because of its large Jewish community. In Harbin, the father, a cultured, open-minded and multilingual man, felt at home and his early successes in business earned him respect. By 1932, he and his family were forced to flee again, following the Japanese invasion of Manchuria, and found a new home in Shanghai. From there, his businesses took him to Hong Kong, North America, and other Asian countries, where the family would remain for many years. They began collecting art in China during the 1930s and these artworks have remained with the family heirs ever since.Condition: Superb condition with only minor wear and firing irregularities: The first bowl with a faint glaze line to the rim, the second bowl with three faint glaze lines to the rim, all of which are inherent to the manufacture. None of these glaze lines are visible to the naked eye, or even under the strongest blue light. Also, they are not noticeable to the touch.Weight: 162.1 g and 147.6 g Dimensions: Diameter 12 cm (each)Literature comparison: Compare a closely related yellow-glazed incised bowl, 12 cm high, also with a Kangxi mark and of the period, sold at Christie's London, 13 December 1976, lot 55, and illustrated by Regina Krahl, Chinese Ceramics from the Gulexuan Collection, p. 128, no. 97. A bowl of this design from the Elphinstone collection in the Percival David Foundation, London, is listed in the Foundation's Illustrated Catalogue of Ming and Qing Monochrome Wares, London, 1989, no. A599. Another bowl of this design from the Kostolany collection was included in the exhibition Monochrome Porcelain of the Ming and Manchu Dynasties, Oriental Ceramic Society, London, 1948, cat. no. 188.Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 26 November 2014, lot 3291 Price: HKD 325,000 or approx. EUR 46,000 converted and adjusted for inflation at the time of writing Description: An incised yellow-enameled 'floral medallion' bowl, Kangxi six-character mark in underglaze blue within a double circle and of the periodExpert remark: Compare the closely related form, decoration, Kangxi mark, and size (11.8 cm). Note that the lot comprises only one bowl.康熙款及年代一對黃釉暗刻團花碗中國，1662-1722年。碗直口，深腹，圈足略高，器型規整。內外滿施黃釉為地。口沿外及足牆均飾兩道弦紋，外壁以暗刻技法飾四朵團花，間以如意雲紋，近底足刻變體蓮花瓣紋，紋飾簡潔生動。圈足內白地青花雙圈“大清康熙年製”款。 (2) 來源：VWS 收藏，前主人的父親 (1890-1977)於上世紀三十年代在中國購得，保存在同一家族至今。每個碗上都有一個收藏舊標籤 'VWS'；一個碗上有標籤 '62'；法國古玩交易，購於上述收藏。 品相：品相極佳，只有輕微磨損和燒製不規則：一個碗的邊緣有一條微弱的釉裂，第二個碗的邊緣有三條輕微的釉裂，這些釉紋沒有一條是肉眼可見的，甚至在最強烈的藍光下也是如此。此外，它們觸摸起來並不明顯。 重量：分別爲162.1克與147.6克 尺寸：直徑12 厘米 (每個)

A RARE SANCAI GLAZED 'BOVINE' RHYTON, KANGXI PERIODChina, 1662-1722. Well modeled in the form of a bovine head with two horns joined by a raised rope leading to the animal's nostrils. Further detailed with large eyes and splashed with aubergine, green, and ochre glazes, all typical for this ware and as expected for the period.Provenance: Stefanos Lagonico, Alexandria, and thence by descent over several generations in the same family. Stefanos Lagonico was a member of the wealthy Greek community of Alexandria whose family settled in Egypt in the late 19th century. His collection of important Iznik ceramics was formed after the First World War, comprising mostly plates and jugs from the classic period (post 1570). At least six pieces from this collection were included in the important 1925 Exposition d'Art Musulman in Alexandria. Lagonico eventually left Egypt for Switzerland, just before the rise of nationalism and the abolition of the Capitulations in May 1937. His son Jean, an importer of dried fruits and nuts from the Levant, inherited most of the collection, and kept it in obscurity at his house in southern France until its dispersal at auction beginning in 1991.Condition: Fine wear overall. Some firing irregularities, minuscule hairlines, the horns with small old repairs, a minute chip with associated fill to the rim.Weight: 161.5 g (excl. base) and 225.5 g (incl. base) Dimensions: Length 11.7 cm (excl. base) and 11 cm (the base)With a fitted huali wood base from the late 19th century. (2)康熙罕見三彩牛頭杯中國，1662-1722年。牛頭形，牛頭有兩個角，兩角之間有一根交叉的白色繩紋。大眼炯炯，五彩釉，十分典型的的特徵，並且符合該時期的特點。 來源：亞歷山大港Stefanos Lagonico，在同一家族保存了幾代。每一個盤底都有一個打印並手寫的標籤No. 4603。 Stefanos Lagonico是富有的亞歷山大希臘社區的成員，他的家人在十九世紀後期定居在埃及。他的重要伊茲尼克陶瓷收藏是在第一次世界大戰後建立的，主要包括古典時期（1570 年後）的盤子和水壺。該系列中至少有六件作品曾在 1925 年亞歷山大港藝術博覽會中展覽。後來，Lagonico 離開埃及前往瑞士，就在 1937 年 5 月民族主義興起和投降條約廢除之前。他的兒子 Jean 是黎凡特干果和堅果的進口商，他繼承了大部分藏品，並一直默默無聞地保存在他法國南部的房子裏，直到 1991 年開始被拍賣。 品相：整體品相良好。一些製造瑕疵、細小的裂紋，兩角有小修，邊緣有一個微小的開片與其小修充。 重量：161.5 克 (不含底座)，225.5 克 (含底座) 尺寸：長11.7 厘米（不含底座) ，11 厘米 (底座) 十九世紀末花梨木底座。(2)

A MONUMENTAL SANDSTONE HEAD OF BUDDHA, NORTHERN WEI DYNASTY, CHINA, 386-534Opinion: The head is carved from buff sandstone that has the appearance of granite from a distance. The style and material are typical of examples from the Yungang caves and surrounding area.Published: Stephen Little, Images of the Buddha from the Michael Phillips Collection, Arts of Asia, Jan-Feb 2013, page 112, no. 29.The rounded face deeply carved with small, pursed lips, broad flattened nose and thin, sharply cut eyes, flanked by long pendulous ears, all beneath the simply rendered hair and tall ushnisha. The stone of reddish-brown tone with some crystalline flecks.Provenance: An American private collection. Christie's New York, 15-16 September 2011, lot 1360, estimate of USD 60,000 or approx. EUR 72,000 (converted and adjusted for inflation at the time of writing). The private collection of Michael Phillips (born 1943), who is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion.Scientific Analysis Report: A scientific and technical examination was conducted by John Twilley, art conservation scientist. A copy of the examination report, dated 20 September 2007, accompanies this lot. The report concludes that “the evidence strongly supports a history of natural weathering of the stone, on a scale of centuries rather than decades, subsequent to its carving”. Note that this report is also mentioned in the catalog entry by Christies from 15-16 September 2011.Dimensions: Height 43 cm (excl. stand) and 65 cm (incl. stand)Mounted on an associated stand. (2)The first of the formative phases of Buddhist sculpture in China, to which the current sculpture dates, lasted until roughly 495 AD and is represented by the cave temples in the north at Yungang. Over 50,000 statues lay within the Yungang Grottoes and surrounding area. Constructed during the Northern Wei dynasty by the imperial order of Emperor Wencheng, carving in the area began in 460 AD as an act of reparation for the Buddhist persecution of 445-452, and lasted until 494 AD when the capital was moved to Luoyang. The Yungang cliff is formed of horizontal layers of buff-colored sandstone, which lends itself well to sculpture, as well as to the excavation of large caves with horizontal ceilings. The sandstone of this head of Buddha is typical of that found in the Yungang region.Literature comparison:Compare a polychromed figure of Buddha still in place in Cave 9 of the Yungang Grottoes. Compare a related sandstone head of Buddha with similar features and carved of the same type of stone in The Nelson-Atkins Museum of Art, illustrated in the Handbook of the Collection, Kansas City, 1993, p. 303. Also compare with a 'yungang' sandstone head of a bodhisattva, Northern Wei dynasty, at Sotheby's London, 13 May 2015, lot 18. The use of this comparable, which is rather smaller in size (7 cm), serves as solid proof in tying our example to the Yungang area. The sandstone is of an identical color and texture, and the face has very similar features. It therefore almost certainly places our example amongst the most important Buddhist carvings from the Northern Wei period. Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 1 April 2018, lot 3029Price: HKD 3,120,000 or approx. EUR 396,000 converted and adjusted for inflation at the time of writingDescription: A rare and large sandstone head of a Buddha, Northern Wei dynastyExpert remark: This comparable shows numerous similarities with our example, from the domed ushnisha above the simple outlined hair to the long pendulous ears. Note the related size (40 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 5 April 2016, lot 2814Price: HKD 625,000 or approx. EUR 82,500 converted and adjusted for inflation at the time of writingDescription: A large 'yungang' sandstone head of Buddha, Northern Wei dynastyExpert remark: Note the closely related size (43 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.386-534年北魏砂岩佛陀頭像 出版：Stephen Little，〈Images of the Buddha from the Michael Phillips Collection〉，《Arts of Asia》，2013年1-2月，第112頁，圖 29。 來源：美國私人收藏；紐約佳士得，2011年9月15-16日，lot 1360，估價USD 60,000；Michael Phillips (出生於1943)私人收藏 品相：條件良好，大面積磨損、缺損、刻痕、劃痕、風化和侵蝕。 科學檢測報告：藝術保護科學家John Twilley對此頭像進行了科學檢測。本拍品附有一份日期為 2007年 9 月 20 日的檢驗報告複印本。該報告得出結論，“證據有力地支持了石頭在雕刻之後的自然風化歷史，其規模為數百年而不是數十年”。請注意，佳士得 2011年 9 月 15 日至 16 日的圖錄中也提到了這份報告。 尺寸：高 43 釐米 (不含底座) 與65 釐米 (含底座) 配置底座。 (2)

A TRANSLUCENT AQUAMARINE GLASS 'COSMIC EGG', HAN DYNASTYChina, 202 BC to 220 AD. The ritual object of ovoid form, the deep-blue glass of high translucency.Provenance: 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. Extensive wear, small losses, nicks, scratches, cracks, extensive signs of weathering and erosion. Displaying remarkably well overall.Weight: 852.2 gDimensions: Height 9.5 cmIn Chinese history, glass played a peripheral role in arts and crafts when compared to ceramics and metal work. The limited archaeological distribution and use of glass objects are evidence of the rarity of the material. Literary sources date the first manufacture of glass to the 5th century AD. However, the earliest archaeological evidence for glass manufacture in China comes from the Warring States period. The Chinese learned to manufacture glass comparatively later than the Mesopotamians, Egyptians and Indians. Imported glass objects first reached China during the late Spring and Autumn and early Warring States periods, c. early 5th century BC, in the form of polychrome 'eye beads'. These imports created the impetus for the production of indigenous glass beads. During the Han dynasty, the use of glass diversified. The introduction of glass casting in this period encouraged the production of molded objects, such as bi disks and other ritual objects.The cosmic egg is a mythological motif found in the cosmogonies of the Proto-Indo-European culture and several other major civilizations. Typically, the world egg is a beginning of some sort, and the universe or some primordial being comes into existence by "hatching" from the egg, sometimes lain on the primordial waters of the Earth. Eggs symbolize the unification of two complementary principles (represented by the egg white and the yolk) from which life or existence, in its most fundamental philosophical sense, emerges.In the myth of Pangu, developed by Taoist monks hundreds of years after Lao Zi, the universe began as an egg that symbolizes the primordial state of Taiji. A primeval hermaphroditic giant named Pangu, born inside the egg, broke it into two halves: the upper half became the sky, while the lower half became the earth. As the god grew taller, the sky and the earth grew thicker and were separated further. Finally Pangu died and his body parts became the sun, moon, different parts of the earth and living things. The first writer to record the myth of Pangu was Xu Zheng during the Three Kingdoms period. Recently his name was found in a tomb dated AD 156, during the later Han period.Literature comparison: Compare a related “glob” of glass, 3.5 cm high, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.698. Compare a related glass bi disk, 17.8 cm diameter, dated to the Western Han dynasty, in the Metropolitan Museum of Art, accession number 2006.404. Compare a glass bowl, 8.3 cm diameter, dated to the Western Han dynasty, excavated from Tomb 70 at Wenchangta, Hepu county, Guangxi, 1987, lent by the Guangxi Zhuang Autonomous Region Museum, exhibited in The Metropolitan Museum of Art, Age of Empires: Chinese Art of the Qin and Han Dynasties, 3 April to 16 July, 2017.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 5 March 2021, lot 48Price: EUR 7,584 or approx. EUR 8,600 adjusted for inflation at the time of writing Description: An aquamarine green glass bi disk, Han dynasty Expert remark: Note the size (14.3 cm)Auction result comparison: Type: Remotely related Auction: Christie's Hong Kong, 1 December 2010, lot 2902 Price: HKD 620,000 or approx. EUR 108,000 converted and adjusted for inflation at the time of writing Description: A very rare early translucent aqua glass cup, Han dynasty Expert remark: Note the diameter (7.7 cm)漢代海藍寶石色玻璃蛋中國，公元前202 年至公元 220 年。半透明海藍寶石色玻璃，橢圓形禮器。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況良好，磨損、輕微的缺損、刻痕、劃痕、裂縫、風化和侵蝕跡象。 重量：852.2 克 尺寸：高9.5 厘米

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 RUSSET AND BROWN JADE NOTCHED DISC, XUANJI, LATE NEOLITHIC TO SHANG DYNASTYPublished: Friedrich Georg Zeileis, Ausgewaehlte Chinesische Jade aus Sieben Jahrtausenden (selected Chinese jades from seven millennia), 1994, pages 80-81, no. 64.China, c. 3000-1000 BC. The exterior rim carved as three arcs, each rising to a point and carved with raised teeth, the interior with a plain circle. The stone of a beautiful russet and honey-brown tone with dark veins.Provenance: A private collection in San Francisco, USA, 1980s. Friedrich Georg Zeileis, acquired from the above. Dr. Friedrich Georg Zeileis (b. 1939) is a retired physician who built an important collection of ancient Chinese jades and bronzes. He was also a pianist and composer, and published several books, as well as catalogs of his substantial art collections, including fine Chinese jades and bronzes. Condition: Condition commensurate with age. Old wear and tiny nibbles. The stone with natural fissures, some of which have developed into small cracks over time, with associated old fills.Weight: 58.8 g Dimensions: Diameter 9.7 cm (at the widest points)Literature comparison: Compare a related jade xuanji, 11.3 cm wide, dated Neolithic or Shang, 15th-10th century BC, in the British Museum, registration number 2022,3034.82, illustrated by Jessica Rawson, Chinese Jade from the Neolithic to the Qing, 1995, cat. no. 8.1. Compare a related jade xuanji, 13.9 cm diameter, dated to the Shandong or Henan Longshan culture, c. 2300-1700 BC, in the Museum of East Asian Art, Bath, record number 589. Compare a related jade notched disc, 15.6 cm diameter, in the Metropolitan Museum of Art, accession number 27.15.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 18 March 2014, lot 123 Price: USD 75,000 or approx. EUR 85,500 converted and adjusted for inflation at the time of writing Description: A jade ritual notched disc (xuanji), Neolithic periodExpert remark: Note the significantly larger size (18.5 cm) Auction result comparison: Type: Closely related Auction: Christie's New York, 23 September 2022, lot 822 Price: USD 18,900 or approx. EUR 17,500 converted and adjusted for inflation at the time of writing Description: A rare pale green and beigish-brown jade notched disc, Northwest China, late Neolithic period-early Bronze Age, 3rd-2nd millennium BCExpert remark: Note the similar size (11.5 cm) Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 28 November 2018, lot 2709 Price: HKD 1,000.000 or approx. EUR 137,500 converted and adjusted for inflation at the time of writing Description: A Celadon Jade Notched Disc, YabiExpert remark: Note the slightly larger size (13 cm)新石器時代末至商代玉璇璣中國，公元前約3000-1000年。璇璣為扁薄體，近似圓形，光素無紋。中部一大圓孔，內緣規整，外緣為三個同方向旋轉的凸脊，間距相等，每脊間各有兩組分別三個齒狀鉏牙，鉏牙皆排列規整，保存完好。美麗的赤褐色和蜜棕色調玉石，帶有深色紋理。 出版：Friedrich Georg Zeileis，《Ausgewaehlte Chinesische Jade aus Sieben Jahrtausenden (selected Chinese jades from seven millennia)》，1994年，第80-81頁，圖 64。 來源：美國舊金山私人收藏，1980年代；Friedrich Georg Zeileis，購於上述收藏。Friedrich Georg Zeileis 博士（生於 1939 年）是一位退休醫生，收藏了一批重要的中國古代玉器和青銅器。他還是一位鋼琴家和作曲家，出版了數本書籍，並出版了大量藝術收藏品的目錄，其中包括精美的中國玉器和青銅器。品相：品相良好，有磨損和小刻痕，帶有天然裂縫的玉料，隨著時間的推移，其中一些已經發展成小裂縫，並有填充物。 重量：58.8 克 尺寸：直徑 9.7 厘米 (最寬處)

A RARE BRONZE FIGURE OF A RECUMBENT BUFFALO, DONG SON CULTUREVietnam, 500 BC to 300 AD. Well cast in a recumbent position with the legs tucked underneath the body, the head raised and flanked by horns, the head and body incised with numerous characteristic spiral designs.Provenance: From the private collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy, and the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Minor old repairs and fills as generally expected from ancient Dong Son excavations. Some losses, fissures, signs of weathering and erosion, and casting flaws. Overall, still in very good condition commensurate with age. Fine malachite-green patina with brown encrustations overall.Weight: 394.5 g Dimensions: Length 11.8 cmDong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Văn Lang and Âu Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Literature comparison: Compare a related elephant-shaped vessel with similar spiral designs, 16 cm long, dated 2nd century BC to 2nd century AD, in the Asian Civilizations Museum, Singapore, accession number 2007-56439.Auction result comparison:Type: RelatedAuction: Christie's London, 30 January 2019, lot 149Price: GBP 5,250 or approx. EUR 7,200 converted and adjusted for inflation at the time of writingDescription: Four Cambodian Dong Son buffalo bells, Battambang province, probably 300 BC-300 ADExpert remark: Compare the related spiral decorations and curled horns東山文化罕見銅牛擺件越南，公元前500至公元300年。臥牛雙腿夾在身體下方，頭部抬起，兩側有角，頭部和身體表面有許多典型的螺旋圖案。 來源：Paolo Bertuzzi (1943-2022年) 私人收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。 Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。 他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：小修和填充，一些缺損，裂縫，風化和侵蝕的跡象，鑄造缺陷。綠色銅鏽包漿細膩，有棕色結殼。 重量：394.5 克 尺寸：長 11.8 厘米 東山文化是位於越南北部紅河河谷的一個鐵器時代史前文化。它約繁盛於公元前1000年到公元前後，它影響的區域包括東南亞其他地區乃至以及印度-馬來亞群島。越南歷史學家將其歸因於範朗州和悠樂州。公元前1000年，它的影響了東南亞的其他地區，包括海上東南亞。長期以來，這種文化對西方考古學家來說一直是個謎，人們只能通過青銅器了解它，其中許多通過考古墓地挖掘。東山青銅器在其原始位置被確定之前就在歐洲展出了一個世紀，關於文化年代測定方法的幾種理論和推測一直持續到今天。

A CINNABAR LACQUER THREE-TIERED BOX AND COVER, LATE YUAN TO MID-MING DYNASTYChina, 14th-16th century. Of rounded square form, supported on a spreading foot with a shaped apron. The cover superbly carved with a scene of a scholar and his attendant standing on a path and looking toward another scholar in a pavilion, partly obscured by plantain leaves. A tree and craggy rockwork issuing neatly incised bamboo, below a wispy cloud and beside a gnarled tree, all against three notably different types of finely diapered grounds, a hallmark of excellence found only on the very best of Chinese lacquer wares. The sides carved with dense leafy sprays of peony and chrysanthemum. The interior and base lacquered black.Provenance: English trade, by repute previously in an ancient Japanese private collection.Condition: Very good condition with expected wear and small age cracks, few tiny nicks, occasional light scratches. By repute, the box was re-polished by a Japanese lacquer master in the mid-20th century. Weight: 682 g Dimensions: Height 16.2 cm, Length 12 cmLiterature comparison: Compare a closely related cinnabar lacquer three-tiered box and cover, 13.6 cm high, 12 cm long, dated to the late Yuan to early Ming dynasty, 14th century, exhibited in the Shanghai Museum, In A Myriad of Forms: The Ancient Chinese Lacquers, 16 November 2018 to 24 February 2019, p. 110-111, cat. no. 66. Compare a related cinnabar lacquer four-tiered box and cover, 14.3 cm high, dated to the mid-Ming dynasty, from the Qing Court Collection, illustrated in Lacquer Wares of the Yuan and Ming Dynasties. The Complete Collection of the Treasures of the Palace Museum (Yuan Ming Qiqi. Gugong Bowuyuan Cang Wenwu Zhenpin Quanji), vol. 45, Hong Kong, 2006, p. 112-113, no. 82. Compare a closely related cinnabar lacquer three-tiered box and cover, dated to 1451-1500, in the British Museum, registration number 1974,0226.21, illustrated by Garner, Chinese Lacquer, London, 1979, p. 99, no. 41.Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2008, lot 346Price: USD 55,000 or approx. EUR 71,000 converted and adjusted for inflation at the time of writing Description: A rare four-tiered square lacquer box and cover, Ming dynasty, 16th centuryExpert remark: Compare the closely related manner of carving with a similar scholarly scene to the cover and blossoming flowers to the sides. Note the similar size (17.8 cm) and that the box is four-tiered.元末至明代中期剔紅纏枝花卉三層方盒中國，十四至十六世紀。四方形盒，外髹紅漆，全器上下共三層，方足外撇。蓋面錦地雕携琴訪友圖，園中小道上文人訪友，身側小童抱著琴。一位文人從一側亭中探出，似在打招呼又似在告別。四周芭蕉園林。外壁纏枝富貴牡丹紋。盒内與底足内髹黑漆。來源：英國古玩交易，據説在一個日本私人收藏購得。 品相：狀況極好，有磨損和小的老化裂縫，微小的刻痕、劃痕。據說，這個盒子在二十世紀中葉由一位日本漆器大師重新拋光。 重量：682 克 尺寸：高16.2 厘米，長12 厘米 文獻比較： 比較一件非常相近的十四世紀元末明初剔紅三層方盒，高13.6 厘米，長12 厘米，展覽於上海博物館，《In A Myriad of Forms: The Ancient Chinese Lacquers》，2018年11月16日至2019年2月24日，頁110-111，圖錄編號66。比較一件相近的明代中期清廷收藏剔紅四層方盒，14.3 厘米高，見《故宮博物院藏文物珍品全集‧元明漆器》，卷45，香港，2006年，頁112-113，編號82。比較一件非常相近的1451-1500年剔紅三層方盒 ，收藏於大英博物館，館藏編號1974,0226.21，見Garner，《Chinese Lacquer》，倫敦，1979年，頁99，編號41。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2008年3月19日，lot 346 價格：USD 55,000（相當於今日EUR 71,000） 描述：十六世紀明代剔紅四層方盒 專家評論：比較非常相近的雕刻風格，例如文人場景和花卉紋。請注意相似的尺寸(17.8 厘米) ，以及此盒是四層。

AN IMPORTANT TERRACOTTA STATUE OF VAJRAPANI IN THE FORM OF HERCULES, ANCIENT REGION OF GANDHARAScientific Analysis Report: A thermoluminescence sample analysis has been conducted by Arcadia, Tecnologie Per I Beni Culturali, Milan, dated 2 October 2015, reference no. 348E. The result is consistent with the suggested period of manufacture. A copy of the signed thermoluminescence analysis report accompanies this lot.4th-5th century. The gallant masculine figure seated with his hands placed on his knees, his torso left bare save for a loin cloth gathered around the waist, the mustachioed face with almond-shaped eyes and full lips, the curled hair secured by a twisted headband.Provenance: Collection of Elisabeth Maria Coebergh, Paris, France, acquired c. 1980. An important private collection of a distinguished gentleman in Milan, Italy, assembled in the 1990s and early 2000s, acquired from the above in 2003. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. A provenance statement written and signed by Elisabeth Coebergh, dated 30 September 2003, describing the present figure as a depiction of Kubera, accompanies this lot. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Good condition, commensurate with age. Wear, losses, nicks, structural cracks with associated old fills, drilled holes from sample-taking, signs of weathering and erosion, encrustations.Dimensions: Height 72 cm (incl. stand) and 74 cm (excl. stand)Mounted on an associated stand. (2)This large terracotta sculpture is a rare legacy of the ancient kingdom of Gandhara, encapsulating the rich cultural interplay and hybrid art styles derived from Hellenistic and Indian influences. It depicts the bodhisattva Vajrapani, the protector of Buddhism, represented with the iconography of the Greek god Hercules, who was widely venerated as a hero and savior in western Asia during the early centuries of the present era. As a great champion, yet one who nevertheless understood the human condition, Hercules was easily assimilated into Mahayana Buddhism. Like other Gandharan bodhisattvas, he is depicted as an earthly prince with his aristocratic bearing and posture. While his distinct mustache belongs to the Indian world, the naturalistic face and especially the muscular body are clearly reminiscent of Greco-Roman sculpture.The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influences. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the 1st century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired earthenware instead of stone such as schist, marble or sandstone became popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such a large and expensive sculpture would have been a highly meritorious Buddhist offering. Only a few terracotta statues from this period and of this spectacular size have ever been recorded.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 1 April 2019, lot 3105 Estimate: HKD 1,500,000 or approx. EUR 186,000 converted and adjusted for inflation at the time of writing.Description: A monumental terracotta statue of Vajrapani in the form of Hercules, Gandhara, 4th-5th centuryExpert remark: Compare the closely related material, style of carving and subject. Note the larger size (91 cm).犍陀羅重要金剛手菩薩神頭像呈赫拉克勒斯陶像四至五世紀。男性人物坐像，高大，比例勻稱，骨架分明，肌肉健碩。面部表情沉靜肅穆，捲髮，小鬍子。身軀裸露，腰間圍著的腰布。 科學檢測報告：隨附一份米蘭Arcadia Tecnologie Per I Beni Culturali 研究所2015年10月2日出具的熱釋光檢測報告複印本，編號 348E，其斷代結果與本文判斷一致。 來源：法國巴黎 Elisabeth Maria Coebergh收藏，約於1980年購入；一位義大利米蘭傑出的紳士收藏，建立於上世紀九十年代至2000年，於2003年購於上述收藏；義大利貝加莫Leonardo Vigorelli收藏，購於上述收藏。隨附一份2003年9月30日由Elisabeth Coebergh簽名的檔複印本，描述該像為俱毘羅。Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度教佛教藝術。在學習人類學和數十年的旅行以及在印度、喜馬拉雅地區、東南亞和非洲的廣泛實地研究之後，他在義大利米蘭創立了 Dalton Somare 藝術畫廊，如今由他的兩個兒子經營。 品相：品相良好，磨損、缺損、缺口、結構裂縫和相關小修、取樣鑽孔、風化和侵蝕跡象、結殼。 尺寸：高 72 厘米 (含底座)和74 厘米 (不含底座) 配置底座。(2)

A GREEN AND WHITE DOUBLE-OVERLAY PINK GLASS 'SILKWORM' SNUFF BOTTLE, YANGZHOU SCHOOLChina, c. 1820-1910. The flattened globular body supported on a gently spreading foot and rising to a cylindrical neck, finely carved through the outer white and green layers to the dusky pink ground with a continuous scene of silkworms, silk moths, and cocoons as well as half-eaten mulberry leaves.Provenance: From the collection of Chip and Muffy Matthews, St. Louis, USA. Churchill “Chip” Matthews, Jr. (1940-2021) and Martha “Muffy” Matthews were American collectors of Chinese snuff bottles who traveled extensively. Chip was a US army veteran, who founded the noted medical company Wrymark Inc. in 1989. In 2013, their private garden was featured by St. Louis Homes and Lifestyles as the 'Garden of the Year'. Condition: Excellent condition with some old wear and expected manufacturing irregularities, including a notable open bubble to one side.Stopper: Green glassWeight: 50.9 gDimensions: Height incl. stopper 70 mm. Diameter neck 18 mm and mouth 7 mmExpert's note: The present lot is a rare double overlay from the Yangzhou school of the popular silkworm design. This subject is usually found in single overlay bottles only. Hugh Moss recently wrote about the Yangzhou and Li Junting school of bottles: “We now know that there was a Yangzhou philanthropist named Li Weizhi with the zi Junting or, read properly, Yunting. Like several Chinese characters, jun has more than one reading. In this case, it is also an ancient form of yun, 'resonance', and can be read with that pronunciation. On Treasury 5, no. 1024, we find the name written with the standard yun: 'For the enjoyment of Yunting himself'. Li Weizhi was a native of Dantu and set up a silk factory in Zhenjiang, right across the Yangtze River from Yangzhou, in 1895. Jingjiang, which [one] bottle tells us is Li's native place, is an old name for both Dantu (now a district of Zhenjiang) and Zhenjiang. Despite the strong association of this style of glass snuff bottle with Yangzhou, it is possible that Li Weizhi had his bottles made in Zhenjiang. Whatever the case, our new knowledge of Li Yunting's identity enables us to reassess the bottles we have been ascribing to the 'Li Junting school'. We are engaged in that process and shall soon be making a full report to the snuff-bottle world.”Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 28 May 2010, lot 61 Price: HKD 264,000 or approx. EUR 44,000 converted and adjusted for inflation at the time of writing Description: A green and white double-overlay pink glass 'silkworm production' snuff bottle, Li Junting School, probably Yangzhou, 1775-1910 Expert remark: Compare the closely related motif, double overlay, and colors. Note the different form and lacking foot rim.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 4 June 2021, lot 1005 Price: HKD 239,400 or approx. EUR 29,000 converted and adjusted for inflation at the time of writing Description: An emerald-green and yellow double-overlay pink glass 'silkworms' snuff bottle, Yangzhou school, Qing dynasty, 19th century Expert remark: Compare the closely related motif, form, and double overlay. Note the different colors and the lacking foot rim.揚州粉地套白綠雙色料蠶蟲桑葉紋鼻煙壺中國，約1820-1910年。扁圓形壺身，圈足略外撇，圓柱形頸部，粉紅地套白綠雙色料，綠色為桑葉或桑樹枝，白色為蠶。 來源：美國聖路易士Chip 與Muffy Matthews收藏。Churchill "Chip" Matthews，Jr. (1940-2021年) 與 Martha "Muffy" Matthews 是來自美國的經驗豐富的中國鼻煙壺收藏家。Chip 是一名美國退伍軍人，他於 1989 年創立了著名的醫療公司 Wrymark Inc.。2013 年，他們的私人花園被聖路易士Homes和Lifestyles 雜志評為“年度花園”。 品相：狀況極佳，有一些磨損和製造瑕疵，包括一側有明顯的開口氣泡。 壺蓋：綠色玻璃 重量：50.9 克 尺寸：含蓋高70 毫米，頸部直徑18 毫米與頸部直徑7 毫米 拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2010年5月28日，lot 61 價格：HKD 264,000（相當於今日EUR 44,000） 描述：嫣紅地白料、松花綠料兼套玻璃蠶鼻煙壺，李均亭流派，大約作於揚州，1775～1910 專家評論：比較非常相近的主題、顏色和套料。請注意不同的外形和缺少圈足。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2021年6月4日，lot 1005 價格：HKD 239,400（相當於今日EUR 29,000） 描述：清十九世紀揚州作粉紅地套黃綠料錦衣玉食圖鼻煙壺 專家評論：比較非常相近的主題、外形和套料。請注意不同的外形和缺少圈足。

A RARE AND IMPORTANT STUCCO FIGURE OF BUDDHA, ANCIENT REGION OF GANDHARA3rd-4th century. Superbly modeled standing on a square plinth and holding the folds of his sanghati in his left hand, the robe finely detailed with voluminous folds, the serene face with bow-shaped mouth, aquiline nose, and heavy-lidded eyes flanked by pendulous earlobes, the hair in thick locks over the ushnisha.Provenance: An old private collection in Paris, France. Indian Heritage, Paris, France, acquired from the above. LP Collection Paris, France, acquired from the above. An expertise signed by Frederic Rond, owner of Indian Heritage, dated 27 August 2015, addressed to the present owner, and dating the present lot circa 3rd century, accompanies this lot. Established in 2006 by Frederic Rond, Indian Heritage is a gallery specializing in Indian and Himalayan art. Located in St Germain des Pres, Paris, it offers a large selection of primitive and classical pieces. Condition: Good condition, commensurate with age. Restoration to where the feet connect with the base. Several smaller breakages and losses with associated minor repairs and old fills. Nicks and light scratches. Signs of weathering and erosion, encrustations. Good patina.Dimensions: Height 87 cm (excl. base) and ca. 110 cm (incl. base)In addition to schist, stucco was a popular medium for sculpture in the ancient Gandhara region. A lightweight, malleable ware, stucco readily lends itself to delicate detailing and sensitive modeling, conveying a sense of emotional presence exemplified in this large-scale figure of Buddha. With idealized proportions, beatific expression, and flowing robes, the serene figure is the embodiment of compassion.Literature comparison: Compare two related Gandharan stucco figures of standing Buddhas in the National Museum, New Delhi, dated 2nd-3rd century, illustrated by Giovanni Verri, et al., Investigations of a Gandharan stucco head of the Buddha at the Victoria and Albert Museum (IM.3-1931), Techne, issue 48, 2019, fig. 13. Compare a related example illustrated in Kurita, Gandharan Art, Vol. II, Tokyo, 1990, no. 305.Auction result comparison: Type: Closely related Auction: Christie's New York, 20 March 2012, lot 16 Price: USD 98,500 or approx. EUR 116,000 converted and adjusted for inflation at the time of writing Description: An important polychromed stucco figure of Buddha, Gandhara, 3rd/4th centuryExpert remark: Note the similar size (80 cm) and faint remnants of polychrome pigments.犍陀羅罕見灰泥佛陀立像三至四世紀。佛陀立於方座上，佛像面容呈橢圓形﹐眉目端莊﹐鼻樑高而長﹐雙眼微垂，雙眉之間有白毫，頭髮呈波浪形並有頂髻﹐身披希臘式大褂﹐衣褶多線條流暢。 來源：法國巴黎私人舊藏；法國巴黎Indian Heritage藝廊，購於上述收藏；法國巴黎LP Collection收藏，購於上述遺產。隨附一份由Frederic Rond，Indian Heritage藝廊擁有者，於2015年8月27日出具的文書，收件人為現在的持有者，指出此拍品為三世紀產物。Indian Heritage 由 Frederic Rond 於 2006 年創立，是一家專門從事印度和喜馬拉雅藝術的藝廊。它位於巴黎聖日爾曼德佩區，提供大量原始和古典作品。 品相：品相良好，腳與底座連接的位置有修補。一些較小的破損和缺損以及相關的小修和舊填充物，刻痕、劃痕和輕微風化和侵蝕，結殼。包漿良好。 尺寸：高 87 厘米 (不含底座)，約110 厘米 (含底座) 除了片岩，灰泥也是古代犍陀羅地區流行的造像材料。灰泥是一種輕質、可塑的材料，很容易通過細節和造型傳遞出這種大型佛像所體現的情感存在感。理想化的比例、祥和的表情和飄逸的長袍也象徵著慈悲。 文獻比較： 比較兩件相近的公元二至三世紀犍陀羅灰泥佛陀立像，收藏於新德里，見Giovanni Verri編，〈Investigations of a Gandharan stucco head of the Buddha at the Victoria and Albert Museum (IM.3-1931)〉，《Techne》，卷48，2019年，圖13。比較一件相近的例子，見Kurita，《Gandharan Art》，卷II，東京，1990年，編號305。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月20日，lot 16 價格：USD 98,500（相當於今日EUR 116,000） 描述：公元三至四世紀犍陀羅灰泥佛陀立像 專家評論：請注意相似的尺寸(80 厘米) 和些微地顏料殘留。

A LARGE AND IMPORTANT DAYAZHAI-TYPE IMPERIAL YELLOW-GROUND FISH BOWL, TIHEDIAN MARK, TONGZHI/GUANGXU PERIODInscriptions: With an iron-red seal mark 'Tihedian zhi' in a line below the rim.China, 1862-1908. Sturdily potted with rounded sides virtuously decorated in black grisaille with leafy peony branches issuing large blooms in various stages of growth against a bright yellow-ground below an iron-red line border at the massive lipped rim. The top of the rim and interior with a transparent glaze.Provenance: English trade, formerly in a French private collection.Condition: Excellent condition with expected old wear, shallow surface scratches and traces of use overall. Kiln irregularities include glaze recesses, small firing cracks and dark spots.Weight: 24.3 kg Dimensions: Diameter 53.5 cm (at the widest points)The Hall of Manifest Harmony, Tihedian, was one of the six palaces in the northwestern sector of the Forbidden City where the Empress Dowager Cixi lived during much of her tenure as Regent to her son, Emperor Tongzhi. Special porcelains, such as the present example, were designed and produced for several of these palaces.Literature comparison: Compare a pair of massive yellow-ground Tihedian-marked fishbowls at Christie's New York, 29 November 1984, lot 577. Compare a turquoise-ground grisaille-decorated fishbowl in the Chuxiugong (Palace of Concentrated Beauty), Beijing, illustrated in The Forbidden City, The Forbidden City Publishing House, Beijing, 1988.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 May 2018, lot 3126 Price: HKD 1,000,000 or approx. EUR 132,000 converted and adjusted for inflation at the time of writingDescription: A very rare large dayazhai-type yellow-ground fish bowl, Tihedian iron-red seal mark in a line, Guangxu period Expert remark: Compare the closely related form, decoration, and mark. Note the closely related size (53 cm)Auction result comparison: Type: Closely related Auction: Christie's New York, 15 September 2011, lot 1599 Price: USD 290,500 or approx. EUR 362,000 converted and adjusted for inflation at the time of writingDescription: A Very Rare Pair of Large Grisaille-Decorated Yellow-Enameled Jardinieres, Tihedian Zhi Iron-Red Marks in a Line, Tongzhi/Guangxu Period (1862-1908) Expert remark: Compare the closely related form, decoration, and marks. Note the closely related size (50.8 cm). Also note that this lot consists of two bowls.同治光緒時期大型大雅齋風格御用黃地墨彩牡丹魚缸，“體和殿製”款中國，1862-1908年。胎體厚重堅固，黃地墨彩描繪富貴牡丹圖。紋飾生動細膩，色彩濃淡相宜，清新雅緻。 款識：礬紅彩“骵和殿製”款 來源：英國古玩交易，之前來自法國一個私人收藏。 品相：狀況極佳，有磨損、表面淺劃痕和使用痕跡，釉面凹陷、燒製裂紋和黑點。 重量：24.3 公斤 尺寸：直徑 53.5 厘米 (最寬處) 文獻比較： 比較一對大型黃地體和殿製款魚缸，售於紐約佳士得，1984年11月29日，lot 577。比較一件綠松石地純灰釉畫魚缸，藏於紫禁城儲秀宮，見《The Forbidden City，The Forbidden City Publishing House》，北京，1988年。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2018年5月30日，lot 3126 價格：HKD 1,000,000（相當於今日EUR 132,000） 描述：清光緒黃地墨彩牡丹圖大缸，礬紅「體和殿製」篆書橫款 專家評論：比較非常相近的外形、裝飾和款式。請注意非常相近的尺寸(53 厘米) 。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2011年9月15日，lot 1599 價格：USD 290,500（相當於今日EUR 362,000） 描述：清同治/光緒黃地墨彩牡丹紋缸一對，礬紅《體和殿製》篆書橫款 專家評論：比較非常相近的外形、裝飾和款式。請注意非常相近的尺寸(50.8 厘米)。請注意此為一對。

A RARE 'PENSIVE MONKEY' BRONZE VESSEL, DONG SON CULTUREVietnam, 500 BC to 300 AD. The vessel in the form of a seated monkey with slender elongated arms and legs, one elbow resting on his knee, the left hand lowered toward his waist and touching his prominent member. The face of almond shape with bulging eyes and a broad nose, the incised mouth forming a subtle smile, flanked by two tubular ears, the mouth of the vessel at the top of his head. The body incised with vertical lines, the recessed base decorated with a characteristic spiral design.Provenance: From the private collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy, and the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Minor old repairs and fills as generally expected from ancient Dong Son excavations. Some losses, fissures, signs of weathering and erosion, casting flaws. Overall, still very good condition commensurate with age. Fine malachite-green patina with brown encrustations overall.Weight: 663.8 g Dimensions: Height 20 cmDong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Văn Lang and Âu Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Literature comparison: Compare a related seated male figure, though of much smaller size (8.9 cm), in the collection of the Metropolitan Museum of Art, accession number 2000.287.Auction result comparison:Type: Closely relatedAuction: Galerie Zacke Vienna, 16 October 2021, lot 579Price: EUR 15,168 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A rare male bronze figure, Dong Son cultureExpert remark: Compare the nude man with prominent member and related incised decoration. Note the size (28 cm).東山文化罕見坐猴銅管越南，公元前500至公元300年。器形為坐猴狀，手腳細長，一肘擱膝，左手垂向腰部。杏仁形臉，雙眼圓睜，闊鼻，咧開的嘴露出笑意，兩側耳朵。器皿的口在頭頂。主體刻有垂直線條，圈足，全身有螺旋狀圖案。 來源：Paolo Bertuzzi (1943-2022年) 私人收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。 他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：小修和填充，一些缺損，裂縫，風化和侵蝕的跡象，鑄造缺陷。綠色銅鏽包漿細膩，有棕色結殼。 重量：663.8 克 尺寸：高20 厘米

A GRAY SCHIST GABLE OF BUDDHA SURROUNDED BY HIS DISCIPLES, KUSHAN PERIODAncient region of Gandhara, 2nd - 3rd century. Finely carved with a central figure of Buddha seated on a lotus pedestal, flanked by standing and kneeling acolytes with hands clasped together in prayer, all above five arches enclosing the Buddha accepting an offering from a lady flanked by busts of female deities.Provenance: Old European collection, 1970s. The collection of a gentleman in London, United Kingdom, acquired during the early 2000s in France. Condition: Good condition, commensurate with age. The faces of most figures, particularly that of the central Buddha, are exceptionally well-preserved, which is rare in Gandharan reliefs. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, old repairs and minor fills, few structural cracks, soil encrustations.Weight: 22.9 kg Dimensions: Length 61 cm, Height 38 cm (excl. base)With a fitted wood base. (2)Narrative panels were often affixed to the drums of large and small stupas and could thus be read like a storyboard sequentially in the ritual process of circumambulation. Reliefs were also placed in false gables on the front and the mid-section of a stupa. For a structural illustration, see Behrendt, The Art of Gandhara in the Metropolitan Museum of Art, New York, 2007, fig. 15, page 33.Literature comparison: Compare a complete upper false gable depicting a narrative scene from Buddha's life, illustrated in Miyaji, Gandhara Art, Tokyo, 1984, no. 50. Compare a panel in the Musee Guimet and another in the Victoria and Albert Museum, illustrated in Kurita, Gandharan Art, vol. I, Tokyo, 1988, p. 276, nos. 590 and 591. For further examples, see Tissot, The Art of Gandhara, Paris, 1985, figs. 30 and 31.Auction result comparison: Type: Related Auction: Christie's, 23 March 2010, lot 145 Price: USD 8,125 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: An unusual green schist gable with Buddha and animals, Gandhara, 2nd/3rd century Expert remark: Note the much smaller height (14.3 cm)Auction result comparison: Type: Related Auction: Bonhams New York, 17 September 2014, lot 84 Estimate: USD 35,000 or approx. EUR 42,000 converted and adjusted for inflation at the time of writingDescription: A schist false chaitya arch with the attack of Mara, ancient region of Gandhara, 2nd/3rd century Expert remark: Note the similar height (44.4 cm)貴霜時期灰色片岩佛像山墻犍陀羅地區，二至三世紀。精美雕刻佛像坐在中央蓮座上，兩側是站著和跪著的侍僧。他們雙手合十祈禱。佛陀身下五座拱門。他們正接受一位婦人的供養，兩側是女性神靈的半身像。 來源：歐洲收藏，上世紀七十年代；英國倫敦紳士收藏，2000年初購於法國。 品相：品相良好，大多數人物的面部，尤其是中央佛像的面部保存極好，這在犍陀羅浮雕中是罕見的。大面積磨損、缺損、刻痕、風化和侵蝕跡象、小修補和小填充、少量結構裂縫、土壤結殼。 重量：22.9 公斤 尺寸：長61 厘米，高 38 厘米 (不含底座) 配套木底座 (2) 文獻比較： 比較一件完整描繪佛陀生活敘事場景的山牆，見Miyaji，《Gandhara Art》，東京，1984年，編號50。比較一件山牆，收藏於Musee Guimet和維多利亞與亞伯特博物館，見Kurita，《Gandharan Art》，卷I，東京，1988年，頁276，編號590和591。另一個例子見Tissot，《The Art of Gandhara》，巴黎，1985年，圖30和31。 拍賣結果比較： 形制：相近 拍賣：佳士得，2010年3月23日，lot 145 價格：USD 8,125（相當於今日EUR 10,500） 描述：二至三世紀貴霜綠色片岩佛像山墻 專家評論：請注意高 (14.3 厘米) 小很多。 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2014年9月17日，lot 84 估價：USD 35,000（相當於今日EUR 42,000） 描述：二至三世紀貴霜綠色片岩佛像山墻 專家評論：請注意相似高度 (44.4 厘米)。

A BLUE AND WHITE 'SCHOLARS AND BOYS' JAR, GUAN, WANLI MARK AND PERIODChina, 1573-1619. Superbly painted in shades of cobalt blue with a continuous scene depicting scholars engaged in leisurely pursuits and boys at play, including a scholar seated by a large painted screen and holding a fan as well as a young boy flying a kite, all amid trees, rockwork, and flowers, framed by a ruyi-head band at the shoulder and a lappet band above the foot, the short neck with a band of freely painted scroll. The base with an underglaze blue six-character mark da ming wanli nianzhi within double circles and of the period.Provenance: British trade. Condition: Minor old wear and some expected firing irregularities. Several stabilized cracks, running from the shoulder to the foot, across the base and extending upwards to the middle section of the jar. Please request a video, shot under strong blue light, for further documentation of the exact condition of this lot. Despite these issues, displaying remarkably well.Weight: 394.8 g Dimensions: Height 11 cm, Width 13 cmAuction result comparison: Type: Closely related Auction: Christie's New York, 25 September 2020, lot 1563 Price: USD 40,000 or approx. EUR 43,500 converted and adjusted for inflation at the time of writing Description: A small blue and white 'Daoist immortals' jar, Wanli six-character mark in underglaze blue within a double circle and of the periodExpert remark: Compare the related form and decoration. Note the height (16.2 cm).Auction result comparison: Type: Closely related Auction: Sotheby's New York, 23 September 2020, lot 517 Estimate: USD 50,000 or approx. EUR 54,000 converted and adjusted for inflation at the time of writing Description: A small and rare blue and white 'Daoist immortals' jar, Wanli mark and periodExpert remark: Note the diameter (12.1 cm) Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 May 2018, lot 3106 Price: HKD 625,000 or approx. EUR 81,000 converted and adjusted for inflation at the time of writing Description: A blue and white 'Daoist immortal and lantern' bowl, Wanli six-character mark in underglaze blue within a double circle and of the periodExpert remark: Note the diameter (15.5 cm).萬曆款及年代青花人物場景罐中國，1573-1619年。青花彩繪，園中文人閒遊、童子嬉戲場景。頸部飾卷葉紋，肩部飾如意紋，足部飾垂飾帶。 圈足内雙圈青花“大明萬曆年製”六字款。 來源：英國古玩交易。 品相：輕微磨損，幾條裂縫，從肩部延伸到腳部，穿過底部，向上延伸到罐子的中部。請聯繫索取在強藍光下拍攝的視頻，以進一步確定該拍品的狀況。 重量：394.8 克 尺寸：高 11 厘米，寬 13 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2020年9月25日，lot 1563 價格：USD 40,000（相當於今日EUR 43,500） 描述：明萬曆青花八仙過海圖小罐，雙圈三行六字楷書款 專家評論：比較相近的外形和裝飾。請注意高 (16.2 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2020年9月23日，lot 517 估價：USD 50,000（相當於今日EUR 54,000） 描述：明萬曆青花仙人祝壽圖小罐，《大明萬曆年製》款 專家評論：請注意直徑 (12.1 厘米) 。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2018年5月30日，lot 3106 價格：HKD 625,000（相當於今日EUR 81,000） 描述：明萬曆青花道教人物圖盌，雙圈六字楷書款 專家評論：請注意直徑 (15.5 厘米)。

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 RARE MARBLE LINGA WITH FOUR FACES, PANCHAMUKHALINGA, HINDU SHAHINorthwestern India, c. 8th century. Finely carved with four faces of Shiva around a central domed shaft, all supported on a square base, each head with a slightly different hairstyle, headdress, and jewelry.Provenance: From the collection of Anthony d'Offay. Christie's New York, 19 September 2002, lot 127. A private collection in the United States, acquired from the above. Copies of two handwritten labels, confirming provenance and dating, accompany this lot. Georges Anthony d'Offay (b. 1940) is a retired British art dealer, collector, and curator. In 1965, at the age of 25, he opened his first gallery in London. His personal art collection, valued in excess of £100 million, was donated jointly to the National Galleries of Scotland and the Tate in 2008 with the assistance of the Scottish and British Governments. The various exhibitions of his pieces have been seen by a total of over 29 million visitors. Anthony d'Offay has received The Prince of Wales Medal for Arts Philanthropy (2011).Condition: Good condition, commensurate with age. Extensive wear and weathering as expected, some losses, nicks and scratches. Signs of erosion, minor fissures and encrustations. Nicely grown natural patina with a beautiful ivory tone overall.Weight: 3,684 g Dimensions: Height 16.5 cmLingas such as the present lot are extremely rare and were produced under the Shahi dynasties (6th-11th centuries), which ruled in the lands formerly known as the ancient region of Gandhara under the Kushan empire. The most recent analysis of this subject is found in Michael Henss, The Mystery of the 'Hund Statues': An Unknown Chapter of Central Asian Statuary, Arts of Asia, January 2016, pp. 28-43. As exemplified in this sculpture, the hair and regalia still echo the visual apparatus of Gandhara, while the rounder facial features are informed by the Gupta style.The linga is the sign of Shiva, a column connecting heaven and earth representing creative power. This form is thought to indicate a five-faced linga (panchamukhalinga), but the fifth face is invisible as it cannot be comprehended by mortals, so lingas of this type always show just four faces. The linga is the main object of worship in Hindu temples.Auction result comparison: Type: Related Auction: Bonhams New York, 19 March 2018, lot 3069 Price: USD 75,000 or approx. EUR 83,500 converted and adjusted for inflation at the time of writing Description: A marble mukhalinga, Hindu Shahi, circa 9th centuryExpert remark: Note the larger size (25.9 cm)

A RARE SANCAI-GLAZED POTTERY FIGURE OF A SEATED COURT LADY, TANG DYNASTYChina, 618-906. Well modeled seated on a waisted stool, poised with one hand at the waist holding a lotus flower, the other arm along the torso. The long gown glazed in alternating swaths of bright green and amber, crisply modeled with vertical stripes enclosing trefoil florets, the amber glazed decollete bodice with a blue glazed hem and green glazed sleeves, two blue glazed shoes peeking out under the dress. The unglazed face with painted features framed by an elaborate coiffure, parted at the center and swept up to either side into a double-topknot.Provenance: British trade. Condition: Overall good condition, commensurate with age and presenting very well. Extensive wear, minor losses, firing cracks, glaze flakes, small chips, old repairs, the seat with an aperture for steaming drilled before the firing and with minor associated nibbles, all exactly as expected from authentic Tang dynasty excavations.Weight: 1,307 g Dimensions: Height 37.1 cmThis particularly charming figure is rare due to it being applied with the precious cobalt-blue glaze. The application of this expensive glaze suggests that the original owner was one of wealth and privilege. The present figure combines an elaborately decorated dress with hair simply bunched on either side of the head in a style more usually associated with younger girls. This gives a rather endearing impression of a young girl in her best clothes. In her introduction to the Exhibition of Tang Sancai Pottery Selected from the Collection of Alan and Simone Hartman, Margaret Medley notes that a similarly dressed standing figure with hair in side-bunches was that of a 'young adolescent girl'.The source of manufacture for these figures has proven difficult to identify. Among figural representations, sancai-glazed sculptures of seated ladies are relatively rare and to date it appears that there were very few kilns known to produce sancai-glazed statues at all. The Gongyi (Gongxian) kilns in Henan province in north China are well known as the producers of China's finest sancai lead-glazed wares, but excavations at the site have revealed few figural remains. A misfired sancai-glazed lady, seated and holding a duck-form vessel, was discovered at the Liquanfang kilnsite in Chang'an, illustrated in Lu Junmao & Zhang Guozhu, Fragmentary Ceramics of Ancient Xi'an, Xi'an, 2003, page 8, which is of similar form to a sancai figure unearthed from the tomb of Li Du and his wife in Changzhi, Shanxi, dated to AD 710, illustrated in Hsie Mingliang, Zhongguo gudai qianyoutao de shijie (The world of lead-glazed objects from ancient China: from the Warring States to Tang), Taipei, 2014, fig. 5.28.Literature comparison:Compare a closely related sancai pottery figure of a seated court lady, 8th to 9th century, in the Phoenix Art Museum, accession number 2006.36. A near-identical figure, seated with a related hair style and blue and amber-glazed dress, was exhibited at Sui to Tang Dynasty Art, Osaka City Museum, 1976, catalog no. 200. Another closely related female seated figure, with slightly different hair style but wearing an identical dress, is in the Nezu Museum of Art and illustrated in Selected Masterpieces from the Nezu Museum Collection, Japan, 2009, pl. 67 (fig. 1).Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 11 September 2019, lot 741Price: USD 27,500 or approx. EUR 30,500 converted and adjusted for inflation at the time of writingDescription: A sancai-glazed pottery figure of a seated court lady, Tang dynastyExpert remark: Compare the closely related pose, dress, decoration, hair, and size (31.8 cm)Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 29 November 2017, lot 2916Price: HKD 1,250,000 or approx. EUR 166,000 converted and adjusted for inflation at the time of writingDescription: A very rare inscribed blue and amber-glazed pottery figure of a seated lady, Tang dynasty (618-907)Expert remark: Compare the closely related pose, dress, decoration, hair, and size (30 cm). Note the inscription to the base in black ink 'Guang jia zhi nu zi', which may be translated as 'daughter of the Guang family'.唐代罕見三彩坐姿陶俑中國，618-906年。女俑呈坐姿，面容圓潤，體態豐腴，衣紋褶皺自然流暢，一手自然下垂，一手置於腹前，顯得悠閒自如，面部未上釉，五官秀美，可見工匠有很強的人體刻畫塑形能力。衣領敞口，衣紋流暢，修飾三葉草小花，綠釉和黃釉是這件陶俑的主色調。 來源：英國古玩交易。 品相：總體狀況良好，大面積磨損、小缺損、輕微燒製裂紋，釉面剝落，小缺口，小修，燒製前鑽有蒸氣孔，並伴有輕微的磕損。 重量：1,307 克 尺寸：高 37.1 厘米 人俑身著裝飾精美的連衣裙，頭髮簡單地束在頭的兩側，Margaret Medley在介紹 “Alan and Simone Hartman收藏唐三彩陶器展”時指出，一個穿著相似、頭髮束成兩束的人俑意味著這是一個“青春期少女”。

A SUPERB BRONZE FIGURE OF A DRAGON, EASTERN ZHOU DYNASTY, CHINA, 770-256 BCPublished: Friedrich Georg Zeileis, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, page 318, no. 118. Finely cast as a dragon standing foursquare with the head turned back. The elegantly curved tail with a curled tip, the body with raised and finely incised S-scroll, clouds, and spiral designs. The bronze with a solid and naturally grown, rich patina with malachite and cuprite encrustation.Provenance: Sotheby's London, 1995. Friedrich Georg Zeileis, acquired from the above, according to his publication, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, page 318, no. 118. Dr. Friedrich Georg Zeileis (b. 1939) is a retired physician who built an important collection of ancient Chinese jades and bronzes. He was also a pianist and composer, and published several books, as well as catalogs of his substantial art collections, including fine Chinese jades and bronzes. Condition: Remarkably well preserved, commensurate with age. Extensive wear, minor losses, some nicks, scratches, signs of weathering and erosion, soil encrustations. Fine naturally grown patina overall, with small areas of faint cuprite and various shades of malachite green.Weight: 288.2 g Dimensions: Length 16 cmLiterature comparison: Compare a near identical bronze in the form of a dragon, 16.2 cm long, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.2118.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 28 July 2022, lot 3031 Price: HKD 352,800 or approx. EUR 41,500 converted at the time of writing Description: A rare bronze figure of a winged tiger, Eastern Zhou dynastyExpert remark: Note the much smaller size (11 cm)Auction result comparison: Type: Closely related Auction: Christies New York, 22 March 2013, lot 1233 Price: USD 62,500 or approx. EUR 72,500 converted at the time of writing Description: A Very Rare Bronze Tiger-Form Applique, Late Eastern Zhou Dynasty, 5th-4th Century BCExpert remark: Note the much smaller size (11.1 cm)西元前770-256年青銅龍鑄造精良，龍頭後轉，龍尾捲曲，造型美觀，龍身飾雲紋和螺旋紋。表面銅鏽堅固且自然，並有綠色紅色結殼。 出版：Friedrich Georg Zeileis，《Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three和a Half Millenia of Chinese Bronze)》，1999年，第318頁，圖118。 來源：倫敦蘇富比，1995年；Friedrich Georg Zeileis，根據他出版的書上記載，購於上述拍賣。Dr. Friedrich Georg Zeileis博士（生於 1939 年）是一位退休醫生，收藏了大量中國古代玉器和青銅器。他還是一位鋼琴家和作曲家，出版了數本書籍與大量藝術收藏品目錄，其中包括精美的中國玉器和青銅器。 品相：保存完好，年代久遠。嚴重磨損、輕微缺損、一些刻痕、劃痕、風化和侵蝕跡象、土壤結殼。整體有自然美麗的銅綠，帶有小面積的微弱紅色和各種深淺不一的綠色結殼。 重量：288.2 克 尺寸：長16 厘米 文獻比較： 比較一件幾乎相同的青銅龍，長16.2 厘米，收藏於Arthur M. Sackler Gallery in the National Museum of Asian Art，史密森學會，館藏編號S2012.9.2118。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2022年7月28日，lot 3031 價格：HKD 352,800（相當於今日EUR 41,500） 描述：東周銅翼虎 專家評論：請注意尺寸小很多(11 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年3月22日，lot 1233 價格：USD 62,500（相當於今日EUR 72,500） 描述：公元前五至四世紀東周青銅虎 專家評論：請注意尺寸較小很多(11.1 厘米)。

A SHALLOW CAFE-AU-LAIT GLAZED BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. The gently rounded sides rising from a shallow foot to a lightly flared rim, the body embellished with a raised double bow-string band, the interior and exterior covered with a lustrous cafe-au-lait glaze of a reddish-brown tone, the white base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: Sotheby's Hong Kong, May 2000, lot 724 (according to label to base). A distinguished Asian collection, acquired from the above. Sotheby's Hong Kong, 3 October 2018, lot 3644. A noted private collection, acquired from the above. Condition: Very good condition with some wear and minor firing irregularities, shallow surface scratches, and few small glaze bumps.Weight: 274 g Dimensions: Diameter 17 cmWith a silk storage box. (2)Literature comparison: It is rare to find a bowl of this type with a Qianlong mark, but one is in the collection of the Asian Art Museum, San Francisco, illustrated by He Li, Chinese Ceramics, A New Comprehensive Survey, New York, 1996, p. 284, no. 565. For a Kangxi precursor of this Qianlong example see the bowl in the Percival David Foundation, illustrated in Oriental Ceramics, The World's Great Collections, vol. 6, Tokyo, 1982, no. 233. Yongzheng-marked examples are represented by one illustrated in Old Oriental Ceramics Donated by Mr. Yokogawa, Tokyo National Museum, 1953, pl. 389, and another included in the exhibition, Chinese Antiquities from the Brian S. McElney Collection, Hong Kong Museum of Art, 1987, no. 100.Auction result comparison: Type: Near identical Auction: Sotheby's Hong Kong, 8 April 2011, lot 3012 Price: HKD 325,000 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: A shallow cafe-au-lait glazed bowl, seal mark and period of QianlongExpert remark: Compare the closely related form, decoration, Qianlong reign mark, and size (17.1 cm). Auction result comparison: Type: Near identical Auction: Christie's New York, 19 September 2006, lot 380 Price: USD 36,000 or approx. EUR 48,000 converted and adjusted for inflation at the time of writing Description: A cafe-au-lait-glazed shallow bowl, Qianlong seal mark in underglaze blue and of the periodExpert remark: Compare the closely related form, decoration, Qianlong reign mark, and size (17.1 cm).乾隆款及年代紫金釉弦紋碗中國，1736-1795年。口外撇，淺弧腹，腹中部有雙圈弦紋，圈足。內外壁通體施紫金釉，釉面柔和，足內施透明釉，底書青花“大清乾隆年製”篆書款。 來源：香港蘇富比，2000年5月，lot 724 (根據碗底標籤)；一個知名亞洲收藏，購於上述拍賣；香港蘇富比，2018年10月3日，lot 3644；一個知名私人收藏，購於上述收藏。 品相：品相極好，有一些磨損和輕微的燒製不規則，輕微表面劃痕與釉面凸起。 重量：274 克 尺寸：直徑 17 厘米 配置內襯方盒。 (2) 文獻比較： 此類型的碗有乾隆款較罕見，但有一件收藏於舊金山亞洲藝術博物館，見He Li，《Chinese Ceramics，A New Comprehensive Survey》，紐約，1996年，頁284，編號565。一見康熙時期例子，收藏於Percival David Foundation，見東方陶瓷學會，《The World's Great Collections》，卷6，東京，1982年，編號233。雍正款例子，見Mr. Yokogawa捐給 Old Oriental Ceramics，東京國家博物館，1953年，圖389；另一件展覽於《Chinese Antiquities from the Brian S. McElney Collection》，香港藝術館，1987年，編號100。 拍賣結果比較： 形制：幾乎相同 拍賣：香港蘇富比，2011年4月8日，lot 3012 價格：HKD 325,000（相當於今日EUR 52,500） 描述：乾隆款及年代紫金釉弦紋碗 專家評論：比較非常相近的外形、裝飾、乾隆款和尺寸(17.1 厘米)。 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2006年9月19日，lot 380 價格：USD 36,000（相當於今日EUR 48,000） 描述：乾隆款及年代紫金釉弦紋碗 專家評論：比較非常相近的外形、裝飾、乾隆款和尺寸(17.1 厘米)。

A RARE GILT BRONZE FIGURE OF VARAHA, NEPAL, 16TH-17TH CENTURYCast striding on a nagaraja above a lotus base, dressed in a loin cloth, adorned with beaded jewelry and bangles, his left arm raised supporting the goddess Bhudevi, his face in the form of a boar with long snout and two protruding fangs, standing on a coiled snake next to a small depiction of Buddha Muchalinda. The base sealed and incised with a double vajra.Provenance: From the private collection of Angela Trueb, Somerset, United Kingdom, and thence by descent in the same family. Angela Trueb (1918-1991) was the wife of Swiss coffee planter Hans Trueb. During her childhood, she spent many years in a coffee estate in Doddengudda, South India, and later moved to India again with her husband. Trueb inherited her mother's passion for Indian religious sculptures and art. During her stay in India, Trueb invested a lot of time and energy into researching Indian temple sites and started her collection, which was later moved to her home when her family returned to Somerset in 1967. Condition: Very good condition with expected old wear, few nicks and dents, light surface scratches, and casting flaws. Very good, naturally grown patina overall. Sealed.Weight: 646.5 g Dimensions: Height 14.1 cmThe present figure depicts Vishnu as the cosmic boar Varaha telling the scene where the god prevents the earth from flooding. The earth goddess Bhudevi was captured by the demon Hiranayaksha and trapped in the cosmic waters when Vishnu took the form of a divine boar and rescued her after defeating the primeval serpent monster.Auction result comparison:Type: RelatedAuction: Christie's New York, 15 September 2015, lot 22Price: USD 12,500 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A gilt bronze figure of an animal-headed attendant, Tibet, 16th/17th centuryExpert remark: Compare the related pose, beast head, and size (15 cm)十六至十七世紀尼泊爾罕見銅鎏金筏羅訶像豬頭大聖左腿膝蓋微屈，大開步站在蓮座上，長鼻子和兩顆獠牙突出，腰圍圍裙，佩戴珠飾和手鐲，左臂高舉，托著女神布德維；脚下盤繞的蛇，一側坐著那迦龍王目支鄰陀像。底座用雙金剛杵密封。 來源：英國薩默塞特Angela Trueb收藏，在同一家族保存至今。Angela Trueb (1918-1991) 是瑞士咖啡豆莊園主Hans Trueb的妻子。童年時代，她在南印度多登古達的一個咖啡莊園度過多年，後來隨丈夫再次移居印度。Trueb 繼承了她母親對印度宗教雕塑和藝術的熱情。在印度逗留期間，Trueb投入了大量時間和精力研究印度寺廟遺址，並開始了她的收藏，後來當她的家人於 1967 年返回薩默塞特時，這些收藏被搬到了她的家中。 品相：狀況極好，有磨損，輕微刻痕和凹痕，表面有輕微的劃痕和鑄造缺陷。自然包漿。密封。 重量：646.5 克 尺寸：高 14.1 厘米 這件造像將毗湿奴描繪成豬頭大聖筏羅訶，阻止大地洪水氾濫的場景。大地女神布德維被惡魔俘虜並被困在水域中，毗湿奴在擊敗蛇怪後化身為神豬並將她救出。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得， 2015年9月15日，lot 22 價格：USD 12,500（相當於今日EUR 15,000） 描述：A gilt bronze figure of an animal-headed attendant，Tibet，16th/17th century 專家評論：比較相近的姿勢、獸首和尺寸(15 厘米)。

AN EXTREMELY RARE GILT-BRONZE FIGURE OF AVALOKITESHVARA IN ROYAL EASE, YONGLE INCISED SIX-CHARACTER MARK AND OF THE PERIODChina, 1402-1424. Superbly cast seated in rajalilasana, with swaying torso and head inclined, the left leg drawn up and the right folded in front, the left hand raised and held in vitarka mudra and the right elegantly resting on the rear of the double-lotus pedestal base with beaded rims. The front left corner at the top of the base is neatly incised with the six-character mark Da Ming Yongle nianzhi and of the period.Provenance: From the private collection of a gentleman in the United Kingdom. Condition: Superb condition with only minor wear, minimal casting flaws, minuscule nicks, and remnants of old varnish. The base retains the original sealing.X-Ray Images: Available upon request.Weight: 1,441 g Dimensions: Height 17 cmExpert's remark: The present figure was in private ownership for a long time. Until just recently, it was covered entirely by a thick layer of old varnish, which had blackened completely over the years. The six-character mark was unrecognizably hidden under this coating, and the owner was unaware of its presence. A significant portion of the varnish has now been removed to reveal the magnificent original gilding hidden below. Needless to say, this was done in a most sensitive manner, without scratching the gilding, using only pure alcohol and cotton. There are still some remains of varnish, mostly in the many corners and recesses, which may also be removed if one wishes. Prospective bidders are encouraged to study our high-resolution images in full detail. These will confirm that most of the black areas remaining are ancient varnish, under which the gilding is well preserved.The bodhisattva is wearing a finely detailed foliate tiara, a profusion of beaded jewels around the neck, arms, waist and ankles, a diaphanous scarf billowing at either side, and a voluminous lower garment gathered at the waist with a jeweled girdle and spreading onto the lotus pedestal. The face is exquisitely modeled to provide a benevolent expression with downcast eyes, gently arched brows, circular urna, and smiling lips. The neatly incised hair is drawn up into a knotted jatamakuta topped by a cintamani jewel and elegantly falling in tresses over the shoulders.Bronzes in the Tibetan-Chinese style produced during the reign of Emperor Yongle in the first quarter of the 15th century and bearing his reign mark are highly distinguished for their unsurpassed craftsmanship, overall refinement and gracefulness. Executed by the Imperial ateliers, they display a highly consistent and uniform style, which evolved out of the influence of the Nepalese artist Anige (1244-1306) at the Yuan court and the close links with Tibet established by the Yongle Emperor. The distinct Imperial style includes double-lotus bases with beaded rims and characteristic facial features with broadened outline, gently arched brows above the lidded eyes and subtle smile, all finished with great attention to detail.The future Yongle Emperor was likely introduced to Tibetan Buddhism and became interested in it around 1380, when he was enfeoffed in Beijing, and of course he had strong ties to the Mongol military elite, who were also adherents of lamaist Buddhism, so it appears that he continued to practice this form of Buddhism for the rest of his life. Certainly more works of art depicting lamaist Buddhist deities and imagery were produced during his reign period than under any other Chinese emperor, with the exception of the Qing Emperor Qianlong. For further discussion of this topic see J.C.Y. Watt and D.P. Leidy, Defining Yongle: Imperial Art in Early Fifteenth-Century China, Yale University Press, 2005.In 1406, the Yongle Emperor sent a mission to Tibet inviting the famous hierarch of the Karmapa monastery, Halima, to Nanjing, to take part in the memorial services for the Hongwu Emperor and Empress Ma. Halima first sent a tribute mission, and then in the Spring of 1407 came to the Ming court in person. There he was received with great honor, given the title Dabao Fawang (Great Precious Religious Prince) and asked to perform religious ceremonies for the Emperor's deceased parents. After his return to Tibet, Halima continued to exchange gifts with the Emperor. The Yongle Emperor also invited the hierarch of the Sakyapa to the court at Nanjing in 1413 and treated him too with great honor. Thereafter missions were sent from Sakya abbots until the 1430s. A high-ranking representative of the Yellow Sect was invited to Nanjing in 1413 and was also greatly honored and returned to Tibet in 1416 with many gifts. Gifts and missions continued to be exchanged with the Yellow Sect until the 1430s.Literature comparison: Compare a closely related figure of Avalokiteshvara, also with the Yongle mark incised to the front left corner at the top of the base, below Avalokiteshvara's left knee, at exactly the same place where it is found on the present lot, in the Norbulingka Palace in Lhasa, recorded by von Schroeder in his survey of the holdings of Tibetan monastery collections, illustrated in von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, pp. 1270-1, pl. 353D, and in E. F. Lo Bue (ed.), Tesori del Tibet: Offetti d'arte dai Monasteri di Lhasa, 1994, p. 110, no. 70. Auction result comparison: Type: Closely related Auction: Sotheby's London, 7 November 2007, lot 362 Price: GBP 546,900 or approx. EUR 939,000 converted and adjusted for inflation at the time of writing Description: A rare and extremely fine gilt-bronze figure of Avalokiteshvara, erased mark of Yongle and of the period Expert remark: Compare the regal pose, bodhisattva jewelry, smiling expression, double-lotus pedestal base with beaded rims, and near identical size (18 cm). Note that this figure has an erased Yongle reign mark.永樂款罕見銅鎏金觀音中國，1402-1424年。蓮台座面上題刻“大明永樂年製”，為明宮廷風格的作品。 來源：英國一位紳士私人收藏。 品相：狀況極佳，只有輕微磨損、極小的鑄造缺陷、劃痕和舊清漆殘留。底座保留了原來的密封。X光檢測圖片:如有需可經詢問提供。 重量：1,441 克 尺寸：高17 厘米

A RARE WHITE GLAZED FIGURE OF A SEATED BUDAI, DEHUA, SIGNED XU YOUYI (CHINA 1887-1940)Expert's note: On the back of this figure, a neatly impressed square seal mark states Xu Yuyuan-zhi ("produced by Xu Yuyuan"). For a long-time the origin of this seal was not known, though some authors and experts misidentified the name as that of a Qing potter. A recent study by a noted dehua expert sheds light on the matter. Brought up in a family of Buddhist figure-makers, Xu Youyi (1887-1940), was rewarded with gold medals for his works, which were selected for international art fairs in Japan, Taiwan, and the United Kingdom. The best figures carry his seal marks, most commonly Xu Yunlin (his nickname) and Xu Yuyuan (his shop name). This piece clearly reflects the late Ming dehua style, with a distinct modernist nuance to it, apparently a hallmark of this artist. Also see John Ayers, Blanc de Chine: Divine Images in Porcelain, China Institute, New York, 2002, page 34, where the author notes that the potter Xu Youyi (1887-1940) used this specific square seal mark. The Laughing Buddha well modeled with his left arm resting on a tied sack to his side, dressed in a long, flowing garment open at the front to reveal his protuberant stomach, holding a large prayer bead in his right hand, the face with an exuberantly joyful expression, flanked by long earlobes, all under a creamy and thick white glaze.Inscriptions: The back impressed with the seal mark 'Xu Yuyuan zhi'Provenance: French trade. Condition: Very good condition with minor wear and manufacturing flaws including firing cracks with associated minor losses.Weight: 1,432 g Dimensions: Height 18.1 cmAuction result comparison:Type: RelatedAuction: Christie's New York, 27 March 2018, lot 64Price: USD 5,250 or approx. EUR 5,600 converted and adjusted for inflation at the time of writingDescription: A dehua figure of seated Budai, 17th-18th centuryExpert remark: Compare the related pose and color of the glaze. Note that this example is the late Ming prototype for the present lot.Auction result comparison:Type: A work by the same artistAuction: Sotheby's New York, 20 March 2007, lot 778Price: USD 12,000 or approx. EUR 15,500 converted and adjusted for inflation at the time of writingDescription: A 'Blanc-de-Chine' figure of Guanyin with crown, late 19th / early 20th century十七至十八世紀許裕源製德化白釉布袋和尚中國。布袋和尚造型精良，左臂擱在身旁繫著的麻袋上，身著僧衣，前襟敞開，露出隆起的大肚子，右手執一顆大佛珠，面帶快樂的表情，兩側是長長的耳垂，通體施白釉。專家注釋：此瓷像底部有"許裕源製"。此款識被一些作者和專家誤認為是清代陶藝家的名字，直到一位著名的德化瓷專家糾正了這個看法。許友義（1887-1940）成長於佛像製作世家，作品獲金獎，入選日本、臺灣、英國等國際藝博會。有他款識的瓷佛，最常見的是許雲林（他的暱稱）和許裕源（他的工作坊名）。 這件作品明顯有晚明德化風格，並帶有明顯的現代主義色彩，顯然是這位藝術家的標誌，見 John Ayers，《Blanc de Chine: Divine Images in Porcelain, China Institute》，紐約，2002年，頁34。 款識：許裕源製 來源：英國古玩交易。 品相：狀況極好，有輕微磨損和製造缺陷，包括燒製裂紋和輕微缺損。 重量：1,432 克 尺寸：高18.1 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2018年3月27日，lot 64 價格：USD 5,250（相當於今日EUR 5,600） 描述：清十七/十八世紀德化布袋和尚 專家評論：比較相近姿勢和釉色。請注意尺寸 (15.2 厘米)。拍賣結果比較： 形制：相同的藝術家 拍賣：紐約蘇富比，2007年3月20日，lot 778 價格：USD 12,000（相當於今日EUR 15,500） 描述：十九世紀末期 / 二十世紀初期觀音戴王冠瓷像

A RARE, LARGE AND POWERFUL JADE FIGURE OF A BIXIE, MID-WESTERN HAN DYNASTY - EARLY SIX DYNASTIES PERIODExpert's note: The magnificent polish and remarkably unctuous feel overall are a distinctive testimony of many centuries of passionate handling, indicating that this piece may either be a rare heirloom example, or at the least was only buried for a rather short period, and thence handed down from generation to generation of respectful keepers.China, c. 100 BC to 400 AD. Powerfully carved in a prowling pose with the legs and the right haunch tucked under the body and the left extended backward, rigorously pushing the winged body forward. The face with bulging eyes below thick brows and a pair of curved horns, the pierced mouth baring teeth above the distinct goat beard. The body neatly incised with wings, fur markings, and scroll motifs. The softly polished translucent stone is of a pale green and creamy russet-brown tone with distinct chestnut inclusions and russet veining.Provenance: The personal collection of Robert Rousset, acquired before 1935. Thence by descent to Jean-Pierre Rousset. The underside with an old label, 'C. 1085'. Robert Rousset 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. With no children of his own, Robert took his nephew Jean-Pierre (1936-2021) under his wing and began grooming him to eventually take over the gallery. He loved to wander with Jean-Pierre through the gallery's exhibitions and storerooms, telling stories about each piece while cultivating his protege's eye. Jean-Pierre was also sent by his uncle to train with the great expert in Asian art and Robert's close friend, Michel Beurdeley, whose numerous publications are still commonly referenced today. When Robert passed away, his private collection was divided between Jean-Pierre and his sister, Anne-Marie, whose part was sold with great success after her death in 2019.Condition: Good condition with minor wear, few tiny nicks and light scratches. A small section of the tail has been reattached. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Export License: A French certificat d'exportation pour un bien culturel, document Nr. 233778, dated 31 May 2022, has been granted by the French government. A copy of the document accompanies this lot.Weight: 183.4 g Dimensions: Length 10 cmJade bixie carvings in the round are extremely rare and precious. There are two jade bixie excavated in the Weiling tomb in Xianyang, Shaanxi province: one is striding upright, with two horns curling backwards along the head (fig. 1), the other is crouching with its head down, with two horns growing closely alongside and bifurcating at the tip (fig. 2). There is an Eastern Han jade bixie (fig. 3) in the Taipei Palace Museum with a long snout resembling either a dragon or a horse, unlike the more common tiger-like bixie with shorter snouts, and closely resembles the griffin of Western Asia.Amongst the very few excavated and heirloom examples of jade bixie, the two examples from the Weiling tomb are dated the earliest, indicating that the production of these bixie carvings in the round began as early as the mid-Western Han dynasty. Although none of the bixie carvings from the Two Han dynasties appear identical to one another, they share these characteristics: Double or single-horned, with lion or tiger head and body, goat beard and bird wings. They are also extremely fierce, powerful in musculature, gallant in stature, carved in the round and decorated with incised decoration, shallow relief, high relief and pierced decoration in precise and neat wheel cuts.Although jade bixie have heads like a lion or a tiger, it is the tiger that most embodies its essence. In the Three Kingdoms period, Zhuge Liang in his military strategy coined the now well-known term 'like a tiger added with wings' to describe a general that excels at deploying his troops. The origin of this phrase can be found in his anthology Zhuge Zhongwuhou wenji, juan 4, edited by Zhang Shu (1781-1847): “Military command is the mandate to lead the three armies, and the authority of the chief commander. A general who has the command of the army and knows the essence of troop deployment to gain the upper hand, is like a fierce tiger that has been given wings and able to travel the four seas, to apply force when he sees fit.”Zhuge Liang's description of an able general as 'a tiger added with wings' is the Han dynasty jade bixie personified.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 21 September 2021, lot 46 Price: USD 107,100 or approx. EUR 107,000 converted and adjusted for inflation at the time of writing Description: A beige and russet jade bixie, Han - Six DynastiesExpert remark: Compare the closely related subject, pose, manner of carving, and russet veining. Note the beige color and much smaller size (7 cm). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 9 October 2020, lot 40 Price: HKD 2,142,000 or approx. EUR 285,000 converted and adjusted for inflation at the time of writing Description: A Rare Celadon Jade Figure of a Bixie, Eastern Han DynastyExpert remark: Compare the closely related subject, the related pose and manner of carving. Note the different color of the jade and much smaller size (4.8 cm). Auction result comparison: Type: Related Auction: Sotheby's New York, 27 September 2021, lot 524 Price: USD 746,000 or approx. EUR 741,000 converted and adjusted for inflation at the time of writing Description: A beige and brown jade figure of a bixie, Ming dynasty or laterExpert remark: Compare the closely related subject, the similar pose and manner of carving. Note the different color of the jade and larger size (12 cm). Also note the original estimate of USD 8,000-12,000 and the market's rather unambiguous response to the conservative dating of this lot.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 November 2022, lot 2748 Price: HKD 26,850.000 or approx. EUR 3,170.000 converted and adjusted for inflation at the time of writing Description: An Exceedingly Rare and Exceptional Jade Carving of a Mythical Beast, Bixie, Late Western Han Dynasty, c. 1st Century BCExpert remark: Compare the related carving and subject. Note the different color and smaller size (7.2 cm).

A RARE SPINACH-GREEN JADE CUP, ZUN, 17TH-18TH CENTURYChina. Of lobed melon form supported on a tall foot, the sides finely carved with lotus blossoms, plantain leaves, and scrolling vines, the foot further carved with floral designs. The semi-translucent stone of a deep green tone with dark specks as well as lighter and darker striations.Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years. A label to the base, 'Antique Jade Spinich [sic!] carved archaic vessel 18/19th century'. An inventory number, '217.14.QT', lacquered to the mouth. An old price label, 'HC 102 BIR 2'' $160'. An inventory number, '22' lacquered to the base. Condition: Very good condition with expected old wear, few small nicks, the stone with natural inclusions and fissures, some of which have developed into hairline cracks. The wood stand with minor wear.Weight: 305.4 g (excl. stand), 331.5 g (incl. stand) Dimensions: Height 7.7 cm (excl. stand), 10.1 cm (incl. stand)With a fitted and reticulated wood stand supported on four short feet, dating from the Qing dynasty. (2)This austere form, sometimes also referred to as chi kou zun, appears to derive from the earthenware originals, popular during the Shang and Zhou eras, as 'A Dictionary of Chinese Ceramics' by Wang Qingzheng, page 45, refers. This genre oscillates between the shape offered here, and the more conventional stem cup forms of gao zu bei and ba bei. Interestingly, both are known in gray jade from examples made during the Ming dynasty, but never before has a version carved from spinach green jade appeared on the market, at least not to the knowledge of this author. For an example of the gao zu bei form in gray hue, see No.2823 of the 1935-36 International Exhibition of Chinese Art at The Royal Academy, lent to the Exhibition by Major General Sir Neil Malcolm.Auction result comparison:Type: Remotely relatedAuction: Bonhams Hong Kong, 3 December 2015, lot 39Price: HKD 312,500 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: A rare spinach-green jade 'heavenly bird' jar, Zun, Qianlong/JiaqingExpert remark: Compare the related color of the jade and the similarly detailed floral carving. Note the additional bird heads and the slightly larger size (10.1 cm).十七至十八世紀罕見纏枝蓮紋棱花口碧玉尊中國，分瓣瓜形，高足，開光雕刻纏枝蓮花與芭蕉葉紋，足部刻有花卉紋。深綠色調的半透明玉料，帶有深色斑點以及條紋。 來源：英國倫敦紳士收藏，其收藏至少超過五十年歷史。底部標籤上可見 'Antique Jade Spinich [sic!] carved archaic vessel 18/19th century'，口部寫著一個收藏編號 '217.14.QT'，舊價格標籤 'HC 102 BIR 2'' $160'，底部寫著一個收藏編號 '22'。 品相：狀況極好，有磨損，輕微小刻痕，玉石内有天然内沁和裂隙，其中一些已經發展成細裂紋。木架有輕微磨損。 重量：305.4 克 (不含底座)，331.5 克 (含底座) 尺寸：高7.7 厘米 (不含底座)，10.1 厘米 (含底座) 清代四足木底座。(2) 拍賣結果比較： 形制：稍微相近 拍賣：香港邦瀚斯，2015年12月3日，lot 39 價格：HKD 312,500（相當於今日EUR 44,000） 描述：清乾隆/嘉慶碧玉天雞尊 專家評論：比較相近玉石顏色，以及相似的纏枝蓮花雕刻。請注意此玉尊有三頭，以及尺寸 (10.1 厘米)較大。

A VERY RARE SILVER BOX AND COVER DEPICTING THE BLACK TORTOISE, XUANWU, TANG DYNASTYChina, 618-907. Both sides of the flat circular box are finely chased, the cover neatly embossed to the center with a tortoise entwined with a snake, their heads confronted, the serpent's scales and tortoise's carapace meticulously incised, encircled by two foliate bands divided by a raised line band. The sides of the box and cover with a similar foliate band, the underside similarly decorated with two confronted phoenixes centered by a flowerhead and encircled by a raised line and a foliate band, all against a ring-punched ground.Provenance: Hong Kong trade.Condition: Very good condition with some old wear, traces of use and manufacturing irregularities, expected minor tarnishing to the silver, and few tiny dents.Weight: 50.3 g Dimensions: Diameter 6 cmThe Black Tortoise (xuanwu) is one of the Four Symbols of the Chinese constellations, which emerged in Chinese cosmology around the third century BC and became firmly established in the following centuries. Despite its English name, it is usually depicted as a tortoise entwined together with a snake. The name used in East Asian languages does not mention either animal. The alternative name 'Black (or Dark or Mysterious) Warrior' is a more faithful translation. It represents the north and the winter season, thus it is sometimes called Xuanwu of the North. The creature's name is identical to that of the important Taoist god Xuanwu, who is sometimes (as in Journey to the West) portrayed in the company of a turtle and a snake.This depiction of a tortoise entwined with a snake is highly symbolic. According to Chinese mythology, tortoises are exclusively female and must be paired with snakes, which have similarly shaped heads, to conceive. Therefore, the adroitly entwined tortoise and snake do not represent a violent struggle, but rather a harmonious balance of Yin and Yang. Interestingly, neither is capable of defeating the other, as the snake is unable to crush the tortoise's shell and reach its vital organs while the tortoise is unable to attack the serpent due to its short limbs and neck. Furthermore, the creature's name is identical to that of the important Daoist god Xuanwu, who is sometimes (as in Journey to the West) portrayed in the company of a turtle and a snake.Literature comparison:Compare the mural of the Black Tortoise, dated early 7th century, Goguryeo Kingdom, painted on the northern wall of the Great Tomb of Kangso in Pyongyang. Compare a bronze mirror with symbols of the four cardinal directions, including the Black Tortoise, dated 7th century, Sui or Tang dynasty, in the Metropolitan Museum of Art, accession number 2022.151.Auction result comparison: Type: Related Auction: Christie's New York, 12 September 2019, lot 544 Price: USD 102,500 or approx. EUR 108,000 converted and adjusted for inflation at the time of writing Description: A finely engraved small silver 'mandarin duck' box and cover, Tang dynastyExpert remark: Compare the related circular (though convex) form and chased decoration, however lacking the embossed details to the center. Note the smaller size (4.4 cm).唐代玄武紋銀盒中國，618-907年。扁圓盒兩面精美雕刻，雙層纏枝卷葉紋，中央開光，浮雕龜蛇纏繞，蛇首相對，蛇鱗和龜甲細節可辨。盒子的側面有相似的卷葉紋。盒底裝飾雙層纏枝花卉紋，中央開光，浮雕面對面的鳳凰。所有紋飾以圓點為地。 來源：香港古玩交易。 品相：狀況極好，有一些磨損、使用痕跡和製造瑕疵，銀質輕微變色，輕微小凹痕。 重量：50.3 克 尺寸：直徑 6 厘米 玄武，中國古代神話中的天之四靈之一，又名龜蛇 ，源於遠古星宿崇拜。玄武是一種由龜和蛇組合成的一種靈物，北方玄武象徵四像中的老陰，四季中的冬季，同時也是天之北陸。 這幅烏龜纏蛇的描繪極具象徵意義。根據中國神話，烏龜是唯一的女性，必須與頭部形狀相似的蛇配對才能構精。因此，纏繞的龜蛇並不代表激烈的鬥爭，而是陰陽的和諧平衡。此外該生物的名字與重要的道教神玄武的名字相同，玄武有時（如在西遊記中）被描繪成一隻烏龜和一條蛇。 文獻比較： 比較七世紀初期高句麗黑玄武壁畫，畫於平壤的江西三墓的北牆。比較一件七世紀隋或唐代四方神獸銅鏡，其中也有黑玄武，收藏於大都會藝術博物館，館藏編號2022.151。

AN IMPERIAL BEIJING ENAMEL CUP STAND, KANGXI YUZHI MARK AND OF THE PERIOD (1662-1722)China, c. 1700-1722. Of sixteen-lobed form, the body of heavily cast copper alloy and with the rims finely gilt. Exquisitely painted in bright enamels, the interior with eight phoenixes radiating from the central raised stand with kuilong decoration against a yellow ground. The central recessed ring, added to support a cup, with a half-open peony bloom and furled petals against a turquoise ground, the base similarly painted with radiating and overlapping flower petals, centered by a roundel enclosing a red-enameled four-character mark Kangxi yuzhi and of the period.Provenance: By repute from an old estate in London, United Kingdom. English trade, acquired from the above. Condition: Good condition, commensurate with age, presenting remarkably well with crisp colors and a subtle luster overall. Old wear and a dense crackling to the enamels, as well as minor warping, dents and nicks to the metal fittings, exactly as expected from this type of ware. Small areas of verdigris, the inner edges and corners of the well with minor yet distinct areas of calcification, indicating the piece may have been used as a jardiniere for some time. Obvious nicks and losses, no restoration or repair of any kind.Weight: 744.3 g Dimensions: Diameter 21.6 cmThe sides painted on the interior with petals against a turquoise ground and on the exterior with colorful kuilong against a yellow ground, the galleried rim with blue foliate scroll against a white ground.The rich color palette and the delicacy of the multi-colored design employed to decorate this exquisite cup stand demonstrate the superb craftsmanship of the Imperial Palace Workshops in Beijing, the Zaobanchu, and the extraordinary skill of their painters. The technique of enameling on metal was originally introduced to the Chinese craftsmen in the Guangzhou area by French Jesuit missionaries in 1684, following the lifting of restrictions at Chinese ports. Being a port city, these artisans were the first to be exposed to wares from Europe and initially developed the skills to replicate these imports. Enamored with the range of vivid and pastel tones of both the imported and tributary wares, the Kangxi Emperor recruited enamel artisans from Guangzhou and Jesuit missionaries to work in the Palace and advance the proficiency of the Enamel Workshops. Painted enamel thus became a defining art form of this period, in quality, innovation, and unsurpassed opulence.The appearance of Kangxi yuzhi marks - unframed, inside double circles, as in the case of the current cup stand - on a number of the surviving examples provides an indication of the Emperor's close personal attachment to these pieces. This exquisitely decorated cup stand can probably be dated to the latter years of the Kangxi reign, possibly to the period AD 1700-22, since a fully developed enamel palette has been used to great effect in its painted decoration on a yellow ground, which is found on the majority of enameled metal vessels from this era. The delicately-painted phoenixes are rendered in both pink and blue enamels, of types which were not successfully prepared in the imperial ateliers until around 1700. In fact, this lot can be seen as a celebration of these newly invented enamel colors and the way they could be used to create painterly, but at the same time jewel-like, decoration. A related palette can be found on a small white-ground lobed box, also with a Kangxi yuzhi mark, in the collection of the National Palace Museum, Taipei (see Enamel Ware in the Ming and Qing Dynasties, Taipei, 1999, page 172, no. 82), which also bears a blue Kangxi yuzhi mark. The painting on the current lot is, however, executed with even greater sophistication.Literature comparison: Compare a Beijing enamel plate, also of sixteen-lobed form, with a Kangxi yuzhi mark, and painted with the same design, in the National Palace Museum, Taipei, image number K1E000374N000000000PBA.Also compare an almost exact reproduction of the present cup stand commissioned by the Qianlong Emperor, 22.5 cm diameter, with an enameled four-character Qianlong mark and of the period, from the Qing Court collection and still in Beijing, illustrated in Metal-bodied Enamel Ware: The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2001, pages 212-213, no. 203. The fact that only a few details were slightly reinterpreted to suit the Qianlong Emperor's taste speaks for the timeless beauty of the present cup stand. Furthermore, compare with entry I-15 in Garland of Treasures: Masterpieces of Precious Crafts in the Museum Collection. Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 30 November 2022, lot 27 Price: HKD 885,000 or approx. EUR 107,000 converted at the time of writing Description: A superb and rare imperial Beijing enamel circular dish, Kangxi red enamel yuzhi four-character mark and of the periodExpert remark: Compare the closely related enamel decoration, yellow ground, and Kangxi yuzhi mark. Note the different form, motif, and the significantly smaller size (9.5 cm). Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 May 2013, lot 2157 Price: HKD 1,230,000 or approx. EUR 186,000 converted and adjusted for inflation at the time of writing Description: A very rare imperial painted-enamel cup and stand, Yongzheng enameled four-character marks and of the periodExpert remark: Compare the related enamel decoration and yellow ground of the cup stand. Note the different form, motif, smaller size (15.2 cm), Yongzheng reign mark, and that the lot also comprises the matching cup.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 April 2013, lot 3028 Price: HKD 1,840,000 or approx. EUR 278,000 converted and adjusted for inflation at the time of writing Description: A rare imperial enameled gold-bodied cup stand, Qing dynasty, Qianlong / Jiaqing periodExpert remark: This lot is another example of an imperial enameled cup stand, however of later date and unmarked. Note the related size (20.5 cm). The Sotheby's catalog note for this lot states that the Qianlong-marked cup stand in the National Palace Museum (see Literature comparison) is gold-bodied, which is contradicted by the Palace Museum's own publication, stating that the rims of the cup stand are only gilt, e.g. not made from solid gold.“康熙御製”款黃地花式鳳紋折沿杯托中國，約1700-1722年。 來源：據説來自英國倫敦私人收藏；英國古玩交易，購於上述收藏。

A LARGE IMPERIAL CLOISONNE ENAMEL ARCHAISTIC CENSER AND COVER, FANGDING, QIANLONG MARK AND PERIODChina, 1736-1795. The tapering rectangular censer has twin upright handles and is decorated to each side with massive raised flanges separating finely enameled taotie masks surrounded by and below a band of confronting kui dragons, all supported on four blade-shaped legs emerging from mythical-beast terminals. The reticulated gilt copper alloy cover is decorated with pierced foliage, enameled with angular scrolls, and surmounted by a gilt finial in the shape of a Buddhist lion. The cover is neatly incised with a horizontal six-character mark da Qing Qianlong nianzhi on a gilt plaque and of the period.Provenance: Hong Kong trade. By repute acquired from an old private estate.Condition: Magnificent condition with minor wear and manufacturing irregularities, including expected pitting and tiny casting holes. The censer wobbles very slightly. No restorations or fills of any kind visible under the examination of strong UV light. Note that such a general state of preservation on a censer from this period is extremely rare.Weight: 8,338 gDimensions: Height 44.5 cm, Width 27.7 cmWith a custom fitted silk storage box. (2)The shape of this censer is based on ancient bronze vessels. The finely gilt blade-shaped legs, loop handles and flanges, along with the wide spreading taotie masks, all have their prototypes in Zhou dynasty bronzes, many of which are illustrated in Xiqing Gujian, 'Inspection of Antiques from the Zhou Dynasty', the catalogs of ancient bronzes in the Qing Court Collection compiled under the authorization of the Qianlong Emperor in 1755. Censers of this type not only served as an important part of the palace furnishing, but were also used in rituals, banquets, and imperial ceremonies.Literature comparison: Several similar cloisonne fangding-form censers have been preserved in the Qing Court Collection, which are found in varying sizes with different combinations of decorative elements. Compare the fangding with cover with a cloisonne enamel Qianlong six-character mark, similarly decorated with taotie design but with flat dragon-form legs in the National Palace Museum, Taipei, illustrated in Enamel Ware in the Ming and Ch'ing Dynasties, Taipei, 1999, no. 59 (33.8 cm). Compare also three examples in the Palace Museum, Beijing, the first dated to the early Qing dynasty with a gilt openwork cover, lion-form finial and flat blade-shaped legs (35.6 cm), the second with a cast Qianlong six-character mark without a cover and decorated with angular chilong motifs (28.7 cm), the third with a cast Qianlong four-character mark and decorated with taotie design with blade-shaped feet (48.3 cm), illustrated in Compendium of Collections in the Palace Museum, Enamels - 2 - Cloisonne in the Qing Dynasty (1644-1911), Beijing, 2011, nos. 68, 245 and 246, respectively. Compare also one with a lion-form finial and reticulated panels on the cover (38 cm) in the Shenyang Imperial Palace Museum, illustrated in The Prime Cultural Relics Collected by Shenyang Imperial Palace Museum - The Enamel Volume, Shenyang, 2007, pp. 146-147, no. 1.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 2 December 2015, lot 3250 Price: HKD 1,240,000 or approx. EUR 168,000 converted and adjusted for inflation at the time of writing Description: A cloisonne enamel archaistic censer and cover, fangding, Qianlong periodExpert remark: Compare the closely related form and decoration as well as the similar size of 48.2 cm, the difference of 3.7 cm owed solely to the fact that the Buddhist lion on top of this censer has its body raised in an alert position, while it is shown in a rather huddled position on the present lot. Note also the absence of a reign mark.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 November 2020, lot 2911 Price: HKD 4,750,000 or approx. EUR 570,000 converted and adjusted for inflation at the time of writing Description: A superb imperial cloisonnne enamel 'taotie' fangding-form censer and cover, and a champleve stand, Qianlong periodExpert remark: Compare the closely related form and decoration as well as the similar size (46.5 cm excl. stand). Note the absence of a reign mark and the additional champleve stand.乾隆款及時期大型掐絲琺瑯饕餮紋出戟鼎式方蓋爐中國，1736-1795年。銅胎，纏枝蓮紋鏤雕蓋，鎏金臥獅蓋鈕，拱門式立耳；立耳和口沿下飾回紋，一面口沿中央有“大清乾隆年製”，腹面中央及四角鑲稜脊，爐身饕餮紋；神獸形四足。 來源：香港古玩交易，據説購於一個老收藏。 品相：狀況極佳，有輕微磨損和製造不規則，比如微小的鑄孔。香爐有輕微搖晃。在強紫外線的檢查下，看不到任何類型的修復體或填充物。 請注意，這一時期的香爐上如此保存狀態極為罕見。 重量：8,338 克 尺寸：高 44.5 釐米，寬 27.7 釐米 配置絲襯方盒。 (2) 此爐仿青銅器造型，精美的鎏金刀狀腿、拱形耳朵、折邊，寬幅的饕餮紋，均出自周代青銅器，多見於1749年乾隆帝授意開始編撰的《西清古鑑》中關於周代古物的研究。此類香爐不僅是宮廷器物的重要組成部分，還用於祭祀、宴請和宮廷大典。

Shifferli (Christoph, editor) The Japanese Box: facsimile reprint of six rare photographic publications of the Provoke era, 7 vol. including introductory leaflet, number 1417 of 1500 sets, photographic illustrations, original wrappers, together in original black wooden box with hinged lid and metal clasps designed by Karl Lagerfeld, 4to, Paris, 2001.⁂ Comprising: Provoke 1, Provoke 2, Provoke 3, Sentimental Journey by Nobuyoshi Araki Bye Bye, Photography Dear by Daido Moriyama, For a Language to Come by Takuma Nakahira.

Coins: a rare Pope Leo X (1513-21) hammered silver coin, Mezzo bianco (?), Bologna, 28mm, 3.8g, (holed).

Coins: a rare Civil War Charles I Newark 1646 hammered silver shilling, 35mm, 5.9g, (holed).

Rare suite of three early 19th Century painted satinwood tables, comprising a pair of D-shaped fold-over card tables and a Pembroke table, all three with broad gilt-ground floral borders (a/f) on floral frieze and square tapered supports with simulated ebony stringing, the card tables 91.5cm x 45cm x 75cm high (closed), the Pembroke table with brass square caps and castors, 76cm x 51.5cm closed / 95cm open x 72.5cm high (3)Private collection, Clifton, Bristol.

JOHNSON, Samuel. Cartoon drawing showing Johnson's ghost offering money to Hester Thrale. Published by Thomas Cornell, 7th April 1788. Hand-coloured, 250mm by 170mm. "Frontispiece for the 2nd edition of Dr. J...n's Letters. / Madam (my debt to nature paid) / I thought the grave with hallow'd shade / Would now protect my name. / Yet there in vain I seek repose / My friends each little fault disclose / and murder Johnson's Fame. / First B...ll [James Boswell] with officious care / Shew'd me as men would show a Bear / and call'd himself my Friend. / Sir J...n [Sir John Hawkins] strew'd my hearse / and Co....y [Colley Cibber] pester'd me with verse. / You torture without end. / When Streatham [where Hester Thrale lived] opened its plenteous board, / I opened Learnings valued hoard / And as I feasted, prosed / Good things I said, good things I eat / I gave you knowledge for your Meat. / And thought th' Account was closed. / If Obligations still I owed / You sold each item to the Crowd, / I suffered by the Tale. / For God's sake Madam, let me rest / Nor longer vex your quondam Guest / I'll pay you for your Ale." Framed and glazed. This is a rare Johnson print. Apparently no copy in the ESTC.

A Thai verdigris patinated bronze figure of a standing Buddha, hands held to chest in the rare posture of contemplating the metaphysical, lead export seal attached 32 cm high including base

Six early 20th century travel guides used by W. A. B. Leach. 'Guide to Tientsin,' thin card wraps, string bound, fold out map, advertisements, some spotting to this rare survivor, Tientsin Press, Tientsin (Tianjin), 1904; F. BEHME and M. KRIEGER. 'Guide to Tsingtau and its Surroundings,' second edition, thin card wraps, three fold out maps, b+w photographic illustrations throughout, H. Wessel, at Heckner's Press, wolfenbuttle, 1905; 'Peking, North China, South Manchuria and Korea,' Thomas Cook guide, fourth edition, original boards, textblock loosening from binding, fold out maps, illustrations, Thomas Cook & Son, 1920; BASIL HALL CHAMBERLIN and W. B. MASON. 'A Handbook for Travellers in Japan,' eighth edition, rubbed original cloth, fold out maps, John Murray, Kelly & Walsh, 1907; With two other travel guides for 'India, Burma, and Ceylon'. (6)Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.

Heuer Autavia 2446C Mark 1 Compressor Case Tachymeter - 1968 Few brands excite the sophisticated vintage collector more than Heuer does. While the modern iteration of the Brand, Tag Heuer, caters to the entry level segment of the market the Heuer of old was at the top of their game at the time and second to none.The watch we present to you today is one of the very finest examples of 1960s watchmaking. The name "Autavia" is derived from the words automotive and aviation, and it is in the former segment that Heuer dominated. If you wanted a racing chronograph in the sixties and seventies then Heuer was your brand of choice. After all Steve McQueen, Niki Lauda, and Jochen Rindt can't all be wrong when choosing their watch of choice.This specific model is a reference 2446 Autavia with the compressor case. This watch is from 1968, the year this model got introduced, and has the Mark 1 dial which can be identified by the smaller teeth on the bezel not having any red accents.Driving this Autavia is the legendary Valjoux 72 movement which is a legend in its own right having been housed in such watches as the Navitimer and the Daytona. The manual wound three register chronograph works perfectly, is a joy to operate, and a pleasure to work on.At 40,5 mm in diameter it wears like a modern watch but has the patina to back up its vintage heritage. The recent revival of this model is only a testament to its timeless design. The fact that this Autavia has the rare tachymeter bezel is the cherry on top to make this the perfect vintage racing watch.