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Lot 131

Royal Crown Derby Harrods Bulldog paperweight with silver stopper, approx 8.5cm tall, boxed - note Harrods gold writing has rubbed off

Lot 133

Royal Crown Derby Cat paperweight with gold stopper, approx 13cm tall together with Royal Crown Derby sleeping kitten with silver stopper, approx 8cm long (2)

Lot 134

Royal Crown Derby Walrus paperweight with silver stopper, approx 11cm tall x 13cm long together with Royal Crown Derby Imari crab, 12cm wide, no stopper (2)

Lot 141

Royal Crown Derby Kingfisher paperweight with silver stopper, approx 10cm tall together with Royal Crown Derby Brown Pelican with silver stopper, approx 13cm tall  (repainted chip to tail)(2)

Lot 144

Royal Crown Derby Arctic Fox paperweight with gold stopper, Rabbit with silver stopper and Duck with silver stopper (3)

Lot 150

Royal Crown Derby Hamster paperweight with silver stopper together with a Royal Crown Derby Collectors Guild Derby Dormouse, no stopper, boxed

Lot 181

Large Country Artists 'silver shadow' Harpey eagle figurine 52cmH

Lot 320

Ladies cocktail watches 1 silver

Lot 340

Silver crucifix with m.o.p detail, silver belcher chain, some silver religious pendants, necklace and bracelet set (not silver)

Lot 341

2 silver bangles 44gms and 2 white metal bangles 25gms

Lot 351

Silver sugar tongs J. Williams & co London 1944

Lot 355

A boxed set of silver hallmarked tea spoons and pair of sugar tongs, London 1897 by Josiah Williams & Co (George Jackson and David Fullerton) 130g gross weight.

Lot 356

A boxed Silver spoon hallmarked Sheffield 1942 by Atkin Brothers, with an ingraved 'E' - 25g gross weight, a silver hallmarked vesta case (some dents and wear)  Birmingham 1887, by Howard James - 25g gross weight. And a part cruet set (some damage, and glass liner missing from mustartd pot) Birmingham 1931, by Kemp brothers. 50g gross silver weight.

Lot 357

Silver sugar tongs and a plated pen knife 

Lot 389

Silver £5 Trafalgar coin, silver £2 piedfort coin, ER11 crown and a childs silver bangle 5.5gms

Lot 409

Silver teaspoon set, silver topped cane and silver plated cigarette case 

Lot 431

Granite pestle and mortar, hallmarked silver spoon and mirror etc 

Lot 445

2 silver collared perfume bottles, A silver (unmarked) photo frame a/f and a vintage mini glass oil lamp and a trinket box

Lot 460

Viners silver plate coffee pots etc  (some items not viners)

Lot 461

Silver plate teapot, jug and sugar bowl

Lot 462

Silver Plate angel and cherub photo frame and cherub vanity mirror

Lot 498

4 walking canes 2 with silver collar/tips

Lot 744

Large silver framed wall mirror 55cm x 132cm approx 

Lot 32

M'Clintock (Francis). A Narrative of the Discovery of the Fate of Sir John Franklin and his Companions, 1st edition, London: John Murray, 1859, 3 folding maps, folding facsimile letter, illustrations, some spotting at front, previous owner signature, endpapers renewed, contemporary half morocco gilt, joints rubbed, 8vo, together with Peary (Robert E.) Northward Over the "Great Ice". A Narrative of Life and Work along the shores and upon the interior ice-cap of Northern Greenland in the years 1886 and 1891-1897, 2 volumes, 1st UK edition, London: Methuen & Co., 1898, portrait frontispieces, half-tone illustrations, some toning to endpapers, top edge gilt, original blue cloth gilt, upper covers with small vignettes blocked in silver, one or two tiny indentations to edges, 8vo, with others including The Sea Lions: or, the Last Sealers, by J. F. Cooper, 1854, W. J. Gordon's Round About the North Pole, 1907, Heroes of the Polar Seas. A Record of Exploration in the Arctic and Antarctic Seas, by J. Kennedy Maclean, 1910, J. Gordon Hayes' The Conquest of the North Pole, 1934, The Conquest of the Arctic, by Louis Segal, 1939 and 36 issues of The Polar Record periodical, 1960's-2000'sQTY: (59)

Lot 394

Dulac (Edmund, illustrator). Shakespeare's comedy of The Tempest, with an introduction by A.T. Quiller-Couch, [1908], tipped-in colour frontispiece and plates with captioned tissue-guards, occasional light spotting mainly to preliminaries, flyer advertising an exhibition of Dulac's original watercolour illustrations for the book at Leicester Galleries, on 14th November 1908, loosely inserted, original green cloth gilt, some light marks, rubbing to spine edges, 4to, plus The Bells and other Poems by Edgar Allan Poe, [1912], and The Green Lacquer Pavilion by Helen Beauclerk, 1926, both illustrated by Dulac, together with:Rackham (Arthur, illustrator). Little Brother & Little Sister, London: Constable & Co Ltd, 1917, tipped-in colour frontispiece and plates, monochrome illustrations, decorative endpapers, some toning, original green cloth gilt, 4to, with The Ring of Niblung, London: William Heinemann, (partial remnant of dust jacket present), 1939, plusKingsley (Charles). The Water Babies, Nottingham: Boots the Chemist, 1929, colour frontispiece, numerous colour plates, some minor spotting, contemporary ownership inscription to front free endpaper, original green pictorial cloth gilt, rubbed and worn, 4to, and three other illustrated books comprising: The Book of the Flower Fairies by Ciciely M.Barker, The Silver Ship by Lady Cynthia Asquith (signed), The Love of the Foolish Angel by Helen Beauclerk, and Fairyland by Ida Rentoul OuthwaiteQTY: (10)

Lot 416

Grandjean (Serge, et al). Gold Boxes and Miniatures of the Eighteenth Century [The James A. de Rothschild collection at Waddesdon Manor], 1st edition, Fribourg: Office du Livre, 1975, numerous colour & monochrome illustrations, original cloth in dust jacket & slipcase, large 8vo, together with:Grigsby (Leslie B.), English Pottery, Stoneware and Earthenware 1650-1800 [The Henry H. Weldon Collection], London: Sotheby's, 1990, numerous colour & monochrome illustrations, original cloth in dust jacket & slipcase, ex-libris sticker to the foot of the spine, folio, limited edition 784/800, plusSchroder (Timothy B.), The Gilbert Collection of Gold and Silver, 1st edition, Los Angeles: County Museum of Art, 1988, numerous colour & monochrome illustrations, original cloth in dust jacket & slipcase, minor rubbing to the head & foot of the covers, large 4to, and other modern antiques reference & related, mostly original cloth in dust jackets, VG, 8vo/folio QTY: (3 shelves )

Lot 144

A PAIR OF SILVER- AND GOLD-INLAID BRONZE 'TIGER' WEIGHTS, HAN DYNASTYChina, 206 BC-220 AD. Each finely cast and modeled in a recumbent pose with the head raised in a menacing attitude marked by an open mouth showing sharp teeth. The feline's faces detailed with a broad snout below wide eyes and short ears, their facial features and stripes finely gilt and inlaid with silver. The smoothly finished bronze with a rich, naturally grown patina with malachite and cuprite encrustations. (2)Provenance: From the collection of Joseph Rondina, New York, United States, acquired before 2000. Joseph Rondina (1927-2022) was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Very good condition, commensurate with age. Wear, casting flaws, signs of weathering and erosion, corrosion, encrustations, nicks, scratches, losses. The ancient bitumen filling normally found inside such weights is lost.Weight: 161 g and 140 gDimensions: Length 5.8 cm (each) Weights of this type were used to hold down the corners of woven mats used for seating or for the board game liubo. Inlaid animal-form weights were also discovered in the tomb of Dou Wan, consort of Liu Sheng, Prince Jing of Zhongshan (d. 113 BC), alongside food and wine vessels. They were usually made in the shape of animals, often coiled to form a circle, or in the shape of human figures, and even mountains. Usually made of bronze, and often sumptuously decorated in gilding, or inlaid with gold, silver and gemstones, these weights conveyed the high social status of its owner.The tiger is one of the oldest and most revered animals in Chinese history. According to Han mythology, the tiger symbolized the Western cardinal point, and in conjunction with the Green Dragon of the West, Vermilion Bird of the South and Black Tortoise of the North, positioned the burial within the spatial-temporal features of the universe. It is possible that tigers were deemed to protect the tomb occupant against the malign influences they may encounter in their afterlife.Literature comparison:A related coiled feline shape can be seen in a pair of gilt-bronze weights, and in a set of four agate weights, all dated Western Han dynasty, illustrated by M. Wang et al., in the exhibition catalog, A Bronze Menagerie: Mat Weights of Early China, Isabella Stewart Gardner Museum, Boston, 2006, pp. 76-7, nos. 1 and 2. See related excavated examples of bronze recumbent tiger paperweights, in the Shenmu County Museum, illustrated in Bronzes from Northern Shaanxi, Vol. V, Chengdu, 2009, p. 964-966. Two tiger-shaped weights were also exhibited in the Biennale Des Antiquaries, illustrated by C. Deydier, Ancient Chinese Bronzes, Paris, 2014, p. 49.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 9 October 2022, lot 145 Price: HKD 176,400 or approx. EUR 21,000 converted and adjusted for inflation at the time of writing Description: A silver-inlaid bronze 'tiger' weight, Han dynasty Expert remark: Compare the related pose, manner of casting, and inlaid decoration. Note the size (7 cm) and that this result is for a single weight only. 漢代一對錯金銀伏虎銅鎮中國, 公元前206至公元220年。由于平台拍品叙述的长度限制,我们移除了中文叙述,完整中文叙述请至www.zacke.at查看

Lot 157

A PARCEL-GILT SILVER TRIPOD JAR AND COVER, TANG DYNASTYChina, 618-907. The globular body raised on three cabriole legs engraved with feathers. Finely chased and incised on a minutely ring-punched ground with tall trees, sprouting and blooming plants, dragonflies, butterflies, birds, and a reclining feline. The gently domed cover surmounted by a lotus bud finial.Provenance: A private collection in Scandinavia. Bukowskis Auktioner, Stockholm, 12-15 June 2012, lot 1838. A private collection in Finland, acquired from the above. A copy of the original invoice from Bukowskis Auktioner, dated 18 June 2012, accompanies this lot.Condition: Very good condition, commensurate with age. Wear, rubbing to gilt, minor tarnishing to silver, tiny nicks, light scratches, small dents.Weight: 330.8 gDimensions: Height 8.6 cm, Diameter 7.4 cm Literature comparison: Compare a related parcel-gilt silver tripod vessel, dated to the Tang dynasty, illustrated in Christian Deydier and Han Wei's Understanding Ancient Chinese Gold and Silver, 2021, pp. 165. Compare a related tripod vessel in Xian, dated to the Tang dynasty, Xian, illustrated in Christian Deydier and Han Wei's Ancient Chinese Gold, Paris, 2001, pp. 161, no. 390.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 13 October 2021, lot 3678 Estimate: HKD 400,000 or approx. EUR 48,500 converted and adjusted for inflation at the time of writing Description: A rare parcel-gilt silver tripod vessel and cover, Tang dynasty Expert remark: Compare the closely related form and decoration. Note the size (6.5 cm).Auction result comparison: Type: Related Auction: Christie's New York, 20 September 2013, lot 1466 Price: USD 27,500 or approx. EUR 33,500 converted and adjusted for inflation at the time of writing Description: A rare miniature parcel-gilt silver globular tripod jar, Tang dynasty Expert remark: Compare the closely related form and decoration. Note the smaller size (4.1 cm) and the missing cover. 唐鏨銀鎏金三足圓蓋罐中國,618-907。球狀的身體,三獸足。鏨銀鎏金雕刻花木、蜻蜓、蝴蝶、鳥類和猛獸。圓蓋頂部飾有蓮花鈕。。 來源:斯堪的納維亞半島私人收藏;斯德哥爾摩Bukowskis Auktioner拍賣行,2012 年 6 月 12-15 日,拍品 1838;芬蘭私人收藏,購自上述拍賣行。該拍品隨附 Bukowskis Auktioner 於 2012 年 6 月 18 日出具的原始發票副本。 品相:狀況極好,有磨損、鎏金磨損、銀質輕微失去光澤、微小刻痕、輕微劃痕、小凹痕。 重量:330.8 克 尺寸:高 8.6 厘米,直徑 7.4 厘米文獻比較: 比較一件相近的唐代鏨銀鎏金罐,見Christian Deydier和Han Wei,《Understanding Ancient Chinese Gold and Silver》,2021年,頁165。比較一件相近唐代西安三足罐 ,見《Christian Deydier and Han Wei's Ancient Chinese Gold》,巴黎,2001年,頁161,編號390。 拍賣結果比較: 形制:非常相近 拍賣:香港蘇富比,2021年10月13日,lot 3678 估價:HKD 400,000(相當於今日EUR 48,500) 描述:銀局部鎏金鏨花鳥紋三足蓋罐 專家評論:比較非常相近的外形和裝飾。請注意尺寸 (6.5 釐米)。 拍賣結果比較: 形制:相近 拍賣:紐約佳士得,2013年9月20日,lot 1466 價格:USD 27,500(相當於今日EUR 33,500) 描述:唐鎏金花鳥紋三足小銀爐 專家評論:比較非常相近的外形和裝飾。請注意尺寸較小 (4.1 釐米) ,無蓋。

Lot 158

A LARGE AND FINE SILVER LADLE, TANG DYNASTYChina, 8th-9th century. The deep, petal-lobed bowl is finely engraved on the exterior with foliate scroll on a minutely ring-punched ground. The long, elegantly curved, tapering handle is similarly decorated with further foliate scroll and terminates in a neatly gilt bird's head.Provenance: From an old private collection in New York, USA, assembled before 1980 and thence by descent. Condition: Very good condition, commensurate with age. Expected tarnish to silver, ancient wear overall, traces of usage, few tiny nicks here and there. The handle with faint traces of solder where it connects to the bowl, probably inherent to manufacture.Weight: 58.1 gDimensions: Length 28.6 cm Literature comparison: Compare a related silver ladle, also with a petal-lobed bowl and bird-head terminal, 33 cm long, dated to the 8th century, in the Metropolitan Museum of Art, accession number 22.79.5. Compare a related silver ladle, also with engraved foliate decoration, petal-lobed bowl, and bird-head terminal, dated to the first half of the 8th century, in the Art Institute of Chicago, reference number 1945.169. Compare a related gilt silver ladle, also with a petal-lobed bowl and bird-head terminal, 30.8 cm long, dated to the 9th century, in the Seattle Art Museum, accession number 45.66. A related ladle was included in the exhibition Chinesisches Gold und Silber. Die Sammlung Pierre Uldry, Museum Rietberg, Zurich, 1994, cat. no. 157. A related ladle originally in the collections of Mrs. Christian R. Holmes and the Hon. Senator Hugh Scott, included in the China Institute in America exhibition Early Chinese Gold and Silver, China House Gallery, New York, 1971, cat. no. 72, and illustrated in Hugh Scott, The Golden Age of Chinese Art, Rutland, Vermont, 1967, pl. 13, was sold at Christie's New York, 2 December 1982, lot 399.Auction result comparison: Type: Closely related Auction: Christie's New York, 12 September 2019, lot 553 Price: USD 225,000 or approx. EUR 244,000 converted and adjusted for inflation at the time of writing Description: A fine and rare large silver ladle, Tang dynasty Expert remark: Compare the closely related form with similar petal-lobed bowl, elegantly curved handle, and bird-head terminal, which however is not gilt. Also compare the closely related decoration with similarly engraved foliate scroll against a ring-punched ground, albeit further with three birds. Note the similar size (26 cm) and weight (67.5 g). 唐代鏨花銀勺中國,八至九世紀。貝殼形勺,精美鏨刻卷葉紋與串珠紋。長而優雅的弧形執柄同樣工藝裝飾,末端飾有鎏金鳥頭頭。 來源:美國紐約私人收藏,購於1980年前,保存至今。 品相:狀況極好,銀色會失去光澤,整體磨損,有使用痕跡,大面積細小的刻痕。手柄與碗的連接處有微弱的焊料痕跡,可能是製造過程中固有的。 重量:58.1 克 尺寸:長 28.6 厘米 文獻比較: 比較一件相近的八世紀銀勺,亦有瓣形勺和鳥頭端,長33 厘米,收藏於大都會藝術博物館,館藏編號22.79.5。比較一件相近的八世紀上半葉銀勺,亦有瓣形勺和鳥頭端,收藏於芝加哥藝術博物館,館藏編號1945.169。比較一件相近的九世紀錯金銀勺,亦有瓣形勺和鳥頭端,長30.8 厘米,收藏於西雅圖博物館,館藏編號45.66。一件相近的銀勺,展覽於《Chinesisches Gold und Silber. Die Sammlung Pierre Uldry》,Rietberg博物館,蘇黎世,1994年,圖錄編號157。一件相近的勺 ,收藏於Mrs. Christian R. Holmes和Hon. Senator Hugh Scott,見《China Institute in America exhibition Early Chinese Gold and Silver》,China House Gallery,紐約,1971年,圖錄編號72,以及見Hugh Scott,《The Golden Age of Chinese Art》,佛蒙特州拉特蘭市,1967年,圖13,見紐約佳士得,1982年12月2日,lot 399。 拍賣比較: 形制:非常相近 拍賣:紐約佳士得,2019年9月12日,lot 553 價格:USD 225,000(相當今日EUR 244,000) 描述:唐銀鏨刻花鳥紋花形勺 專家註釋:比較非常相近的外形、相似的瓣形勺和鳥頭端,但沒有鎏金。比較非常相近裝飾,也刻有類似的葉狀捲軸,儘管還刻有三隻鳥。請注意相似的尺寸 (26 厘米) 和重量(67.5 公克)。

Lot 159

A RARE GOLD REPOUSSE MELON-FORM JAR AND COVER, TANG DYNASTYChina, 618-907. The lobed sides of the vessel supported on a slightly concave base and surmounted by a short straight rim, the domed cover similarly lobed and centered by a finial in the form of the melon's stem. The shoulder is finely decorated with a wide band of neatly incised scrolling foliage against a ring-punched ground, the foot encircled by a band of overlapping petals.Provenance: From the collection of Dr. Jonathan Broido (1941-2008), who was a professor of mathematics and philosophy as well as a passionate collector of Chinese art and archaic Turkoman weavings, known for his expertise and scholarly approach. He traveled throughout Asia acquiring pieces for his collection, as well as making some spectacular finds in UK and US antique markets, auctions and trade. Condition: Excellent condition, commensurate with age. Expected old wear, soil encrustations, minor dents and nicks, a few light scratches, all as expected for a gold object with over a thousand years of age. Tested purity c. 750/1000.Weight: 129 g Dimensions: Height 12.4 cm Literature comparison:Compare a related parcel-gilt silver box and cover, also in the form of a melon, 6.4 cm high, dated late 7th to early 8th century, in the National Museum of Asian Art, accession number F1930.39a-b.Auction result comparison: Type: Closely related Auction: Poly Auction Hong Kong Limited, 14 July 2022, lot 3137 Estimate: HKD 700,000 or approx. EUR 83,500 converted and adjusted for inflation at the time of writing Description: A fine repousse gold floral box and cover, Tang dynasty Expert remark: Compare the closely related lobed form, as well as the similar repousse, incision and punching work. Note the slightly smaller size (9 cm). This lot was exhibited by the Musee Baur, Geneva, L'or des steppes, Arts somptuaires de la dynastie Liao, 2007, catalog no. 13. 唐代錘鍱瓜棱形金罐中國,618-907年。罐身成瓜棱形,小口鼓腹,平底。頸部和足部分別以錘鍱工藝修飾卷葉籐紋和雙層花瓣紋。罐蓋成瓜皮帶瓜蒂狀。 來源:Jonathan Broido (1941-2008年) 博士是一位數學和哲學教授,也是一位熱衷於中國藝術和古代土庫曼編織品的收藏家,以其專業知識和學術方法而聞名。 他走遍亞洲尋找藏品,並在英國和美國的古董市場、拍賣和交易中取得了一些驚人的發現。 品相:狀態極佳,有磨損、土壤結殼、輕微的凹痕和刻痕、一些輕微的劃痕,測試純度 C. 750/1000。重量:129 克 尺寸:高 12.4 厘米 文獻比較: 比較一件相近的七世紀末至八世紀初鎏金銀蓋盒,以及瓜形的外形,高6.4 厘米,收藏於國立亞洲藝術博物館,館藏編號F1930.39a-b。 拍賣比較: 形制:非常相近 拍賣:香港保利,2022年7月14日,lot 3137 估價:HKD 700,000(相當今日EUR 83,500) 描述:唐代錘鍱花紋蓋盒 專家註釋:比較非常相近的外形,相似的錘鍱、雕刻技術。請注意尺寸較小 (9 厘米)。此蓋盒展覽於Musee Baur,日內瓦,L'or des steppes,《Arts somptuaires de la dynastie Liao》,2007年,圖錄編號13。

Lot 16

A PAIR OF SILVER-LINED ZITAN 'MAGNOLIA' LIBATION CUPS, CHINA, 18TH CENTURYEach finely carved as a large magnolia flower borne on an openworked gnarled branch bearing neatly incised buds and blossoms. The interiors with meticulously applied silver liners. The base of each cup painted in red lacquer with a single-character mark. The dark-red zitan wood is of an attractive grain and color with characteristic 'crab's claw' markings overall. (2)Inscriptions: To each base, 'Qiao'.Provenance: John Sparks Ltd., London, United Kingdom, 1986. A private collection in West Yorkshire, United Kingdom, acquired from the above and thence by descent. A copy of the original signed invoice from John Sparks, dated 1 May 1986 and confirming the dating above, accompanies this lot. Note that the invoice describes the cups as being of 'peach-shape'. Condition: One cup in excellent condition with only minor old wear, the other in very good condition with a minute natural age crack, possibly with an associated old fill. The silver liner is exceptionally well preserved on both cups. Overall with a magnificent patina and displaying exceptionally well.Weight: 58.6 g and 62.6 g Dimensions: Width 9.5 cm and 9.4 cm Literature comparison: Compare a closely related zitan cup carved with squirrels and grapevines, 6.8 cm high, dated ca. 1650-1700, in the Victoria & Albert Museum, accession number FE.129-1978.Auction result comparison: Type: Related Auction: Christie's New York, 20 September 2013, lot 1588 Price: USD 8,750 or approx. EUR 11,500 converted and adjusted for inflation at the time of writing Description: A set of four Zitan cups, 18th-19th century Expert remark: Compare the related form and material. Note the lacking of any liner, the later date, and that the lot comprises four cups. Note the near-identical diameters (10 cm).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. 十八世紀一對紫檀雕玉蘭嵌銀角杯杯身呈喇叭狀,敞口漸細至小足,杯内嵌銀内胎。以浮雕、透雕手法刻畫木蘭花樹,木蘭花或是含苞欲放,或是嬌艷盛開,刀法樸拙厚重而不失精巧。請注意優雅的紅褐色和獨特的“蟹爪"紋理,兩者都是紫檀木的獨特標誌。(2) 款識:每個杯底都可見“喬“字 來源:英國倫敦John Sparks Ltd.,1986 年;英國西約克郡的私人收藏。 此拍品附有John Sparks 簽名的原始發票副本,日期為 1986 年 5 月 1 日,並確認了上述日期。請注意,發票將杯子描述為“桃形"。 品相:一個杯子狀況良好,只有輕微的磨損;另一個狀況非常好,有微小的自然老化裂紋,可能有小填充物。兩個杯子上的銀色胎都保存得非常好。總體而言,具有自然包漿。 重量:分別為58.6克與62.6 克 尺寸:分別寬 9.5 厘米與9.4 厘米 文獻比較:比較一件相近的1650-1700年紫檀杯,浮雕松鼠和葡萄,高6.8釐米,收藏於維多利亞和亞伯特博物館,館藏編號FE.129-1978。 拍賣比較: 形制:相近 拍賣:紐約佳士得,2013年9月20日,lot 1588 價格:USD 8,750(相當今日EUR 11,500) 描述:清十八/十九世紀紫檀雕花卉紋盃一組四件 專家註釋:比較相近的外形、材質。 and material. 請注意沒有限、年代較晚,以及此組為四件。請注意幾乎相同直徑(10 厘米)。

Lot 160

AN ARCHAISTIC MINATURE GOLD AND SILVER-INLAID BRONZE VESSEL, POU, SONG TO MING DYNASTYChina, 960-1644. Of flattened ovoid shape, short waisted neck with a flat rim and a flat base decorated overall in gold and silver inlays in a geometric design with pendent leaves which enclose scroll designs within silver wire enclosures. The double handles inlaid with a gold design.Provenance: Galerie Zacke, Vienna, c. 1990. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. An old exhibition label from Galerie Zacke, dating the present lot to the 13th-14th century, stating a purchase price of ATS 10,000 (or approx. EUR 1,300 converted and adjusted for inflation at the time of writing), accompanies this lot. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna's tight-knit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel ('Roll of Honor') of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Good condition with ancient wear and a solid, natural patina with scattered malachite encrustations. Minor signs of weathering, encrustations, small nicks and chips, light scratches.Weight: 70 gDimensions: Height 4 cm Literature comparison:Compare a related small archaistic gold and silver-inlaid bronze handled vessel, dated to the Song dynasty, 8.7 cm wide, at Sotheby's London, 3 November 2021, lot 159. Compare a related miniature gold and silver-inlaid bronze gu, 5.6 cm tall, dated Song to Ming dynasty, at Sotheby's Hong Kong, 22 April 2021, lot 3667. Compare two related miniature inlaid bronze archaistic censers, dated to the 18th century, at Christie's New York, 19 March 2008, lot 326. Compare a related miniature inlaid bronze covered ding, dated to the Ming dynasty, at Sotheby's Hong Kong, 3 April 2012, lot 173.Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 1 April 2019, lot 3123Price: HKD 137,500 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: A Gold and Silver-Inlaid Bronze Miniature Wine Vessel, Zun, Ming DynastyExpert remark: Compare the closely related decor and inlay work. Note the miniature size of 8 cm. 宋至明錯金銀小銅郶中國,960-1644年。敞口外翻,束頸,豐肩,肩部有雙系環錯金,斂足,圈足。器身地飾鳥紋與繩紋帶。器身錯金銀對稱蕉葉紋。雙手柄有鑲金。造型美觀。 來源:維也納 Zacke藝廊,約1990年;Maria 與Johannes Nickl收藏,在同一家族保存至今。隨附一個維也納 Zacke藝廊展廊老標籤,上顯示此拍品為十三至十四世紀,售價 ATS 10,000 (根據通貨膨脹率相當於 EUR 1,300) 。Maria (1926-2022) 與 Johannes Nickl (d. 2020年) 住在奧地利維也納,是亞洲、佛教和埃及藝術品的熱心收藏家。他們在維也納的亞洲藝術貿易中非常活躍,並在 1980 年代和 90 年代收集了大部分藏品,經常從 Zacke 藝廊和後來的 Asboth藝廊購買。 這對夫婦也是著名的博物館贊助人,他們的名字至今仍出現在維也納藝術史博物館(維也納美術博物館)埃及和近東藏品的榮譽榜上。 品相:品相完好,古色古香,包漿緊緻,天然藍綠色結殼。輕微風化跡象、結殼、小劃痕和缺口、輕微劃痕。 重量:70 克 尺寸:高4 釐米 文獻比較: 比較一件相近宋銅錯金銀仿古水盂,寬8.7 釐米,見倫敦蘇富比,2021年11月3日,lot 159。比較一件相近的宋至明 銅錯金銀蕉葉卷草紋出戟袖珍型觚,高5.6 厘米,見香港蘇富比,2021年4月22日,lot 3667。比較兩件相近的十八世紀仿古內嵌青銅器,見紐約佳士得,2008年3月19日,lot 326。比較一件相近明十六至十七世紀銅貼金銀仿古雙耳三足小蓋鼎,見香港蘇富比,2012年4月3日,lot 173。 拍賣結果比較: 形制:非常相近 拍賣:香港蘇富比,2019年4月1日,lot 3123 價格:HKD 137,500(相當於今日EUR 17,500) 描述:明銅錯金銀獸面紋出戟小花觚 專家評論:比較相近的裝飾和內嵌設計。請注意尺寸僅有 8 厘米。

Lot 174

A LARGE BRONZE FIGURE OF RATNASAMBHAVA, CENTRAL TIBET, 13TH-14TH CENTURYFinely cast, seated in dhyanasana atop a double lotus base with a beaded upper rim, his right hand held in varada mudra and the left lowered above his lap, wearing a sheer dhoti, billowing scarves and richly adorned with elaborately designed jewelry. His serene face with sinuously lidded eyes, neatly incised brows centered by a rhombic urna, the hair piled up into a high chignon behind the distinct five-leaf tiara.Provenance: From a private collection in France, by repute acquired before 1983. The property of a nobleman, acquired from the above. Himalayan Art Resources, item no. 24860. Condition: Good condition, commensurate with age. Expected old wear, predominantly from centuries of worship within the culture. Minor casting flaws, small dents, minuscule nicks, light scratches, some losses, the seal plate has been replaced with a wooden panel. The face with remnants of gilt. Ancient remnants of pigment. A good, naturally grown patina overall.Weight: 2,517 g Dimensions: Height 33.7 cm Ratnasambhava is one of the Five Dhyani Buddhas (or Five Meditation Buddhas) of Mahayana and Vajrayana or Tantric Buddhism. Ratnasambhava's mandalas and mantras focus on developing equanimity and equality and, in Vajrayana Buddhist thought is associated with the attempt to destroy greed and pride. Ratnasaṃbhava is associated with the skandha of feeling or sensation and its relationship with consciousness. His activity in promoting Buddhism is enriching and is increasing the knowledge of Dharma. Ratnasambhava is associated with the jewel symbol, which corresponds to his family. His right hand grants wishes. He presides over the South, his element is earth, his sense is smell, and his color is yellow. It seems that he was the least popular of the group of five cosmic Buddhas, and for this reason large statues of him are exceedingly rare.Expert's note: The present lot belongs to a group long considered to originate from western Tibet. However, more recent scholarship suggests this type of early Tibetan sculpture is more likely to be from the central regions, where the primary stylistic influence up to around the 13th century was the art of Kashmir and eastern India during the late Pala period. Tibetan bronzes with Pala influence are mostly un-gilded, like the majority of their Indian antecedents. Tibetan sculpture after the 14th century, however, is increasingly modeled and gilded in the Nepalese manner.Literature comparison: Compare two closely related hollow-cast brass figures of Ratnasambhava, one 42 cm high, the other 27 cm, with silver and copper inlays, both attributed to Western Tibet and dated to the 13th century, illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, page 180, figs. 34A and 34B. Compare a related silver and copper-inlaid brass figure of Ratnasambhava, 42.3 cm high, attributed to western Tibet and dated to the 14th century, in the Tibet Museum Fondation Alain Bordier, accession number ABS 032.Auction result comparison: Type: Related Auction: Christie's New York, 22 March 2011, lot 357 Price: USD 194,500 or approx. EUR 247,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Buddha Vairocana, Tibet, 14th century Expert remark: Compare the closely related pose, dress, jewelry, expression, hairstyle, and crown. Compare also the related subject, depicting another of the Five Dhyani Buddhas, and lotus base. Note the related size (30.5 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2010, lot 222 Price: USD 56,250 or approx. EUR 73,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of Ratnasambhava, Western Tibet, 14th/15th century Expert remark: Compare the closely related subject, pose, hand gestures, dress, jewelry, lotus base with beaded upper rim, expression, hairstyle, and crown. Note the gemstone inlays, silver-inlaid eyes, and slightly larger size (38.1 cm).Auction result comparison: Type: Related Auction: Zacke, 9 March 2023, lot 169 Price: EUR 41,600 Description: A large bronze figure of Ratnasambhava, Central Tibet, 13th-14th century Expert remark: Compare the closely related subject, pose, hand gestures, dress, jewelry, lotus base with beaded upper rim, expression, hairstyle, and crown. Note the related size (31 cm). 西藏中部十三至十四世紀大型寶生佛銅像寶生佛跏趺坐坐在雙層蓮花座上,底座串珠紋。由于平台拍品叙述的长度限制,我们移除了中文叙述,完整中文叙述请至www.zacke.at查看

Lot 181

AN EXTREMELY RARE SILVER-INLAID 'FUDING DING' BRONZE TRIPOD CENSER, SONG TO MING DYNASTYChina, 960-1644. Of archaic ding form, the bowl cast with shallow rounded sides supported on three tall bird-shaped legs, the rim set with two upright loop handles. Finely inlaid in remarkably thin silver wire to the body with bands of scroll, raised bosses and geometric designs against leiwen grounds, stiff pendent leaves enclosing key-fret and S-scrolls, and to the legs with further scroll designs. The bronze with a fine, naturally grown patina with scattered malachite encrustations.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. T.5.6. 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. 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: Good condition with expected old wear, some corrosion and casting irregularities, few minuscule nicks, light scratches, small dents, and few losses to inlays.Weight: 298.4 gDimensions: Height 10.3 cm Literature comparison:This finely cast bronze vessel is after late Shang and early Western Zhou period archaic ding. Compare a Western Zhou bronze censer of this form, dated 11th-10th century BC, preserved in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.20. The hemispherical body, handles and flattened legs of this censer relate to several bronze tripod censers of Shang dynasty date, illustrated by Robert W. Bagley in Shang Ritual Bronzes in the Arthur M. Sackler Collections, Arthur M. Sackler Foundation, 1987, pp. 448-51, figs. 80.2-80.4, no. 81 and fig. 81.1. For further examples, see one in the Palace Museum, Beijing, illustrated in Bronzes in the Palace Museum, Beijing, 1999, pl. 86, standing on related bird-form feet; and the late Shang dynasty bronze fangding, its legs cast as birds standing on their long tails, illustrated in Ancient Chinese Bronzes from the Stoclet and Wessen Collections, Eskenazi London, 1975, cat. nos. 2.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 3 April 2012, lot 155 Price: HKD 275,000 or approx. EUR 42,500 converted and adjusted for inflation at the time of writing Description: An archaistic bronze censer, Ming dynasty Expert remark: Compare the closely related form. Note the complete lack of inlay decoration. 宋至明錯銀三足銅爐中國,960-1644年。古鼎式,淺圓邊,鳥形足,雙耳直立。精細的錯銀線,雷紋,芭蕉葉與雲紋。銅爐有細膩的自然包漿,綠色結殼。 來源:吳權博士收藏;吳蓮伯美術館,館藏編號T.5.6。 品相:狀況良好,有磨損、一些腐蝕和鑄造不規則、微小刻痕與劃痕、小凹痕以及少量鑲嵌缺損。 重量:298.4 克 尺寸:高 10.3 厘米 拍賣結果比較: 形制:相近 拍賣:香港蘇富比,2012年4月3日,lot 155 價格:HKD 275,000(相當於今日EUR 42,500) 描述:明青銅仿古「鳥紋」出戟雙耳三足爐 專家評論:比較非常相近外形。請注意此爐沒有鑲嵌裝飾由于平台拍品叙述的长度限制,我们移除了中文叙述,完整中文叙述请至www.zacke.at查看

Lot 186

A GILT COPPER-ALLOY REPOUSSE FIGURE OF BUDDHA AMITABHA, WITH AN INSCRIPTION REFERRING TO THE SECOND KIRTI LAMA, TENPA RINCHEN (1474-1558)Tibet, 15th-16th century. Seated in vajraparyankasana on a double-lotus base with beaded edges, neatly incised at the top beneath each knee with consecrated and dedicatory inscriptions. His hands are lowered in dhyana mudra. He is wearing a long flowing robe finely incised with foliate designs at the hems and gathering in carved folds at the base. The serene face with heavy-lidded, painted eyes, gently arched brows centered by an urna, and full lips forming a calm smile. The hair arranged in tight curls over the domed ushnisha topped by a jewel.Inscriptions: The complete translation of the inscription reads: “chos rje bstan pa’i rin chen nas bzhengs so“ (this was constructed by (or for) the Lord of Dharma, Tenpai Rinchen) and “jig rten ‘od“ (the light of the world).Provenance: Ute Asboth, Galerie Asboth, Vienna, May 2000. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. A copy of the original expertise letter written and signed by Ute Asboth, describing the illustrated present bronze as a gilt copper repousse figure of Amitabha and dating it to the 17th century, accompanies this lot. A copy of the original handwritten receipt, written and signed by Ute Asboth, dated 31 May 2000, accompanies this lot. Ute Asboth (c. 1927-2018) began her career in the Asian art trade at Galerie Zacke in the early 1980s before eventually founding Galerie Asboth in Vienna, Austria. The gallery specialized in East Asian art and published extensively. Several noted exhibitions were curated in close cooperation with Luigi Bandini from Eskenazi gallery in London, United Kingdom. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art.Condition: Very good condition with expected old wear, small dents, few tiny losses, light scratches. The base unsealed.Weight: 929 gDimensions: Height 26.5 cm The Second Kirti Lama, Tenpa Rinchen (1474-1558) was born in a place called Dungsha in the lower region of Ngawa, in Amdo. In 1489, at the age of sixteen, he traveled to U, where he studied medicine under a physician named Dondrub and the sutras of Maitreya under Lama Chopel Zangpo at a hermitage named Rakhadrak. He studied Abhidharma and Vinaya under Meru Jampa Rinchen, who, in 1493, gave him full ordination together with the name Tenpa Rinchen Chokyi Gyeltsen. After studying sutra and tantra for six years, he received empowerments for various dharma protectors from the Sakya lama Kunga Rinchen, after which he went into retreat for three years. In total, he spent fourteen years in U, returning home in 1504 at the age of thirty-one.Upon his return, Tenpa Rinchen first went to Tala Hermitage in Taktsang Lhamo, which had been established by Rongchen Gendun Gyeltsen (1374-1450). There he gave empowerments and teachings on language, poetry, medicine, and astrology. He lived at Tala for seven years, expanding it and overseeing the community. Afterwards, he announced that he was the reincarnation of Rongchen Gendun Gyeltsen, and then went to Kalari Kirti monastery, which Gendun Gyeltsen had established in 1412 as his seat. He took for himself the title of Kirti Lama, and posthumously gave the title of the First Kirti to Gendun Gyeltsen.As part of his activity in expanding the Gelug tradition in Amdo, he converted a Jonang monastery to Geluk, apparently by force. In retaliation, a Jonang Tulku sent the army of Tsangpa Lhundup Rabten to attack Kalari Kirti Monastery, forcing Tenpa Rinchen to flee. He was invited to Muge Monastery in Ngawa, where he gave teachings. At around the same time, the Chinese Ming Emperor Zhengde invited him to China. He declined the invitation but he did a divination for the Emperor and recommended what prayers he should read. Zhengde again sent an envoy with gold and silver gifts and an ivory stamp, which read 'The Precious Accomplished and Enlightened Teacher'. 鎏金銅阿彌陀佛像,刻有第二世格爾登喇嘛丹巴仁欽 (1474-1558) 銘文西藏,十五至十六世紀。阿彌陀佛呈金剛菩提坐於雙層蓮座上,膝蓋下方頂部整齊地刻有銘文。佛陀雙手低垂,結禪定印,面容安詳,雙眼微閉,雙眉之間有白毫,面露微笑,螺髻。身著一件袈裟,蓮座邊緣飾有串珠紋。款識: 底座頂部,佛陀左膝下方,寫有“Jigten Hoe",後面是數字或日期; 右膝下方刻有“Choe Je Tenpa Rinchen Ne She So"。 來源: Ute Asboth, 維也納Asboth藝廊,2000年5月;Maria與Johannes Nickl收藏,購於上述藝廊,在同一家族保存至今。隨附一份由Ute Asboth出具的鑒定書複印件,上可見關於造像的描述並斷代為十七世紀。Ute Asboth (約1927-2018) 於 1980 年代初在 Zacke藝廊開始了她在亞洲藝術貿易的職業生涯,之後在奧地利維也納創立了 Asboth藝廊。該藝廊專門從事東亞藝術並廣泛出版,她與英國倫敦 Eskenazi 畫廊的 Luigi Bandini 密切合作,並策劃了幾個著名的展覽。Maria (1926-2022) 與 Johannes Nickl (d. 2020) 曾生活在奧地利維也納,是知名的亞洲藝術、佛教藝術以及埃及手工藝品收藏家。品相: 狀況極好,有磨損、小凹痕、輕微缺損、輕微劃痕。 底座未密封。 重量: 929 克 尺寸:高 26.5 厘米

Lot 191

A SILVER FIGURE OF AVALOKITESHVARA IN ROYAL EASE, FIRST HALF OF THE QING DYNASTYChina, late 17th - 18th century. Seated in royal ease, the Bodhisattva of Infinite Compassion, is raising his right hand in kamajayi mudra and supporting himself on the separately cast rockwork base above crashing waves with his left. Robed in a finely cast voluminous dhoti with a beaded hem and a cloth belt tied at the waist. His serene face with sinuously lidded downcast eyes below gently arched brows, the mouth with bow-shaped lips, flanked by long pendulous earlobes. The hair piled up into a jatamakuta adorned with floral blossoms and elegantly falling in twisted strands down his shoulders. (2)Provenance: UK trade.Condition: Excellent condition with expected old wear and minor casting flaws, a few small nicks, and minimal tarnishing to the silver. Possibly once with inlays that are now lost.Weight: 762.3 g Dimensions: Height 13.1 cm The present figure is hollow-cast in two parts, statue and base, and is made entirely from silver of a high purity, showing fine and detailed incision work. It shares the physical proportions, sensuous plasticity, and exquisite modeling that normally characterizes sculptures from ancient India, which certainly served as an inspiration. The excellent polish of the surface shows the hand of a highly experienced silversmith, indicating a possible connection to the Imperial workshops in Beijing.The Kamajayi Mudra involves pressing the thumb against the index finger of the same hand while allowing the other fingers to remain in a relaxed and slightly curled position. This mudra serves to control desires and cravings and it promotes the awakening of spiritual energy. It is seldomly found on Buddhist statues of the period, and may have been depicted here for a specific reason, possibly in connection with the original recipient of this figure.Literature comparison: Compare a Tibetan silver figure of Vajradhara, 16.5 cm high, dated to the 15th century, in the Art Institute of Chicago, reference number 2014.1031. Compare a Nepalese silver figure of Tara, dated c. 1900, in the Powerhouse Collection of the Museum of Applied Arts & Sciences, Sydney, object number 2014/132/25.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 2 October 2018, lot 78 Estimate: HKD 700,000 or approx. EUR 89,500 converted and adjusted for inflation at the time of writing Description: A silver figure of Marici, Qianlong period Expert remark: Compare the related Buddhist subject, silver casting, incision work and modeling. Note the size (18.5 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 1 December 2016, lot 559 Estimate: HKD 90,000 or approx. EUR 12,000 converted and adjusted for inflation at the time of writing Description: A silver figure of a female attendant Expert remark: Compare the related silver hollow-casting and detailed modeling. Note that this statue is from the Carl Kempe collection and also dates from the earlier part of the Qing dynasty. 清朝上半葉觀音自在姿銀橡中國,十七世紀末至十八世紀。觀音菩薩自在坐,舉起右手,左手支撐在岩石上,身著精美長袍,下擺飾有串珠瓔珞。面容平靜安詳,雙眸低垂,長耳垂。頭髮束成高髻,優雅地盤繞在肩上。(2) 來源:英國古玩交易。 品相:狀況良好,有磨損和輕微的鑄造缺陷,一些小刻痕,小污漬使銀失去光澤。可能曾經有鑲嵌物,但現已丟失。 重量:762.3 克 尺寸:高 13.1 厘米 本尊為空心鑄造,分為雕像和底座兩部分,全部由高純度的白銀製成,切口精細。 它具有印度雕塑比例、精緻的造型。 表面的拋光顯示了製作精良,表明可能與北京的皇家作坊有關。文獻比較: 比較一件的十五世紀西藏觀音銀像,高16.5 釐米,收藏於芝加哥藝術博物館,館藏編號2014.1031。比較一件約1900年尼泊爾度母銀像,收藏於雪梨應用藝術與科學博物館的動力博物館,館藏編號 2014/132/25。 拍賣結果比較: 形制:相近 拍賣:香港邦瀚斯,2018年10月2日,lot 78 估價:HKD 700,000(相當於今日EUR 89,500) 描述:乾隆時期銀質積光佛母像 專家評論:比較相近的佛陀主題、銀鑄造、雕刻和模型 。請注意尺寸 (18.5 釐米)。 拍賣結果比較: 形制:相近 拍賣:香港蘇富比,2016年12月1日,lot 559 估價:HKD 90,000(相當於今日EUR 12,000) 描述:銀製女像 專家評論:比較相近的銀製空心鑄造和細節。請注意此像來自Carl Kempe收藏,以及亦為清代前期。

Lot 192

A SILVER-INLAID AND GILT-BRONZE FIGURE OF MAHASIDDHA, THE MYSTICAL TEACHER VIRUPATibet, 17th - 18th century. The figure dressed in a short dhoti seated in lalitasana on an antelope skin atop a remarkably well-incised foliate base. Looped across his waist over to his raised leg, a notched yogic band decorated finely with a scrolling vine, his one hand cradling a kapala, the other raised with fingers pointing upwards.Provenance: From an old German private collection. To the base, a collector's label, 'Vahasida' (sic!).Condition: Very good condition with old wear, expected casting flaws and traces of usage, small nicks here and there, few minuscule losses, light scratches. Good, naturally grown patina overall.Weight: 1471.2 gDimensions: Height 16 cmThe body ornamented with beaded jewelry, the hair knotted in a high chignon and pulled back with a headdress decorated with floral jewelry. The face in a tranquil expression with eyes inlaid in silver under raised eyebrows, the ears elongated with heavy spiral earrings, his curling moustache and long beard, all under a broad smile. To the copper base, an incised crossed vajra symbol.Mahasiddha may be translated as "Great Attainer" and implies a mystical teacher who is free-thinking and often eccentric, who has mastered the various yogic techniques and attained unusual magical and spiritual powers. Virupa, the Lord of Yoga, is venerated foremost in magical attainments among the 84 Mahasiddhas of India. He is pivotal within all traditions of Tibetan Buddhism. In the Sakya, Virupa is typically depicted in one or all of the six prescribed forms that follow the major events in his life story. The Sakya iconographic convention for depicting Virupa is to have the right hand raised for depicting the narrative of stopping the sun in the sky.The Indian mystic, Virupa is credited with performing many extraordinary deeds, including parting the waters of the Ganges and drinking enormous amounts of alcoholic beverages. Once he was refused further liquor at a tavern unless he could pay, upon which he prevented the sun from setting for two days with his magical powers. The local king, highly concerned, settled his bill in order to free the sun. Here, he is here depicted with his right arm raised in the threatening gesture of tarjani mudra, ordering the sun not to move. Virupa lived in the ninth century in southern India and studied at the University of Nalanda. He was known for his comments on the Hevajra Tantra.Literature comparison:Two related examples of Virupa in the Museum Rietberg are published in Uhlig, On the Path to Enlightenment, Zurich, 1995, pp.179, nos.122-3. Compare a closely related figure of Virupa, but with his right hand lowered instead of holding the skull cup, in U. von Schroeder, Indo-Tibetan Bronzes, 1981, cat. no. 128C; and two examples in the Berti Aschmann Collection, cf. H. Uhlig, On the Path to Enlightenment, 1995, cat. nos. 122 and 123.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 10 December 2014, lot 34Price: EUR 55,500 or approx. EUR 69,500 adjusted for inflation at the time of writingDescription: Statuette de Mahasiddha en Bronze Dore, Chine, Dynastie Qing, XVIIIemeExpert remark: Note the smaller size (10 cm).Auction result comparison:Type: RelatedAuction: Christie's Paris, 22 June 2016, lot 66Price: EUR 39,900 or approx. EUR 48,000 adjusted for inflation at the time of writingDescription: Statue d'un Mahasiddha en Bronze Dore Tibet, XVIIIeme SiecleExpert remark: Note the size (14.5 cm).銅鎏金錯銀大成就者毘魯巴西藏,十七至十八世紀。大成就者身穿短布腰布,坐於精雕羚羊皮葉紋底座。 一條腰帶從腰上繞到抬起的腿上,腰帶飾有藤蔓,他的一隻手抱著一個卡帕拉,另一隻手舉起,手指向上。來源:德國私人舊藏,底座有收藏標籤 “Vahasid“。 品相:狀況非常好,有磨損、鑄造缺陷和使用痕跡,很多小刻痕,微小的缺損,輕微的劃痕。自然包漿。 重量:1471.2 克 尺寸:高 16 厘米 拍賣結果比較: 形制:非常相近 拍賣:巴黎佳士得,2014年12月10日,lot 34 價格:EUR 55,500(相當於今日EUR 69,500) 描述:大成就者銅鎏金雕像,中國,清朝,十八世紀 專家評論:請注意尺寸較小 (10 釐米)。 拍賣結果比較: 形制:相近 拍賣:巴黎佳士得,2016年6月22日,lot 66 價格:EUR 39,900(相當於今日EUR 48,000) 描述:金銅大成就者雕像 專家評論:請注意尺寸 (14.5 釐米)。由于平台拍品叙述的长度限制,我们移除了中文叙述,完整中文叙述请至www.zacke.at查看

Lot 199

A PAIR OF ALBUMS, EACH WITH TWELVE 'BUDDHIST SYMBOLS' PAINTINGS, BY MEI LANFANG (1894-1961)China. Comprising two accordion albums, each with twelve leaves, painted with ink and color on paper. Each leaf depicts the hand of a Buddhist deity or celestial maiden, emerging from swirling clouds and adorned with a gold bracelet suspending a red, a blue, and a green bead, and holding various attributes, accompanied by identifying inscriptions and excerpts from sutra texts, all within a band of alternating scroll designs and dharmachakra enclosed by an S-scroll border.Inscriptions:The titleslip of the first album: 'Mei Lanfang xiansheng lin Dunhuang foshou shangce Zhongzhou Zhang Boju cang' (Buddhist hand poses from the Dunhuang Caves by Mei Lanfang, Volume 1, Collection of Zhang Boju from Zhongzhou).The titleslip of the second album: 'Mei Lanfang xiansheng lin Dunhuang foshou xiace Zhongzhou Zhang Boju cang' (Buddhist hand poses from the Dunhuang Caves by Mei Lanfang, Volume 2, Collection of Zhang Boju from Zhongzhou).Provenance: Formerly in the collection of Zhang Boju (1898-1982), who was known as one of the 'Four Young Princes' of the Republican era, who became one of the country's most discerning, as well as generous, connoisseurs and collectors of antiquities. He was China's most celebrated private art collector. His father Zhang Zhenfang was related by marriage to the first president of the Chinese Republic, Yuan Shikai, and himself was Chairman of the Board of the Salt Industry Commercial Bank. Zhang used his family's large fortune to indulge his love of antiques and art. He became an expert in this field, exchanging silver dollars, gold bars, jewelry, property, and even risking his own life (he was once kidnapped) to amass a collection of inestimable treasures that could rival those of the Palace Museum. He is quoted as once saying, “I do not wish to possess the things I collect. They should be handed down from one generation to the next. I sit at my desk and bury my head in my old books. This is the scholar's true task. May the weapons of war give way to eternal peace and may the people live in tranquility. What greater happiness can there be than this?"Condition: Very good condition with only very minor wear, little soiling and foxing, few tiny losses, and few minuscule tears.Dimensions: Image size ca. 30 x 19.5 cm (each), Album size 36 x 22.5 cm (each)Each album with a silk brocade front and back cover finely decorated with dragon roundels on a key-fret ground. (2)Mei Lanfang (1894-1961), born Mei Lan, was an important Beijing opera (Jingju) artist in modern Chinese theater, and an accomplished painter. Mei was known as the 'Queen of Peking Opera' and was exclusively known for his female lead roles (dan), particularly his 'verdant-robed girls' (qingyi), young or middle-aged women of grace and refinement. He was considered one of the Four Great Dan, along with Shang Xiaoyun, Cheng Yanqiu, and Xun Huisheng. Born into a family of famous actors, he learned from his family members and also from many teachers and went on to become a pioneer of the newly emerging dan (a female role) actor genre in the early 20th century. His performance style was rigorous and refined yet elegant and beautiful, appearing reserved but actually full of complexity: his singing was exquisite, pure and full; his spoken lines were delivered in a sweet but rich voice, strong but not rough. Mei's famous portrayal of Beauty Yu was so historically moving that Wenting Song said he was one of the greatest vocal artists in modern China.Mei was the first artist to spread Beijing opera to foreign countries, participating in cultural exchanges with Japan, the United States, and other regions. He toured the world, forming friendships with the western contemporaries of his day, including Charlie Chaplin. In 1930 he toured North America, visiting Hollywood, where he was welcomed by Douglas Fairbanks and Mary Pickford. In 1935, Mei toured Europe, playing to appreciative audiences in Berlin and Moscow. Seeing Mei perform especially impressed the German playwright Bertolt Brecht and influenced his concept of the alienation effect.In July 1937, the Marco Polo Bridge Incident occurred, and the Imperial Japanese Army soon occupied Beijing. The commander of the Japanese Army ordered Mei to perform for them and appointed Mei to a high rank official position, but Mei refused to sing throughout the duration of the war and endured an impoverished lifestyle until the war ended in 1945. During this period, he relied solely on selling his paintings. After 1949, he served as director of the China Beijing Opera Theater, director of the Chinese Opera Research Institute, and vice chairman of the China Federation of Literary and Art Circles.Auction result comparison: Type: Related Auction: China Guardian, Beijing, 21 March 2010, lot 1379 Price: CNY 156,800 or approx. EUR 28,000 converted and adjusted for inflation at the time of writing Description: Mei Lanfang, landscape and flowers Expert remark: Compare the album of twenty-four small paintings (24 x 36 cm) by the same artist, albeit depicting a different subject.Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.由于平台拍品叙述的长度限制,我们移除了中文叙述,完整中文叙述请至www.zacke.at查看

Lot 204

AN IMPERIAL YELLOW-GROUND SILK 'FIVE DRAGON' CARPET, JINGREN RONG BEI YONG MARK (FOR USE IN THE PALACE OF GREAT BENEVOLENCE), QING DYNASTYChina, 19th century. Silk and metal thread, probably a silver-copper alloy. Finely woven in shades of blue, Imperial yellow, orange, and red with a central lobed roundel enclosing a front-facing five-clawed dragon, writhing around a flaming pearl. Encircled by four sinuous dragons amid leafy lotus scroll, surrounded by a narrow key-fret border within a band of the Eight Buddhist Emblems (bajixiang), alternating with blossoming peony. The top edge with the five-character mark.Inscriptions: To the top edge, 'Jingren Gong bei yong' (for the use in the Palace of Great Benevolence).Provenance: From a European private collection.Condition: Superb condition with only minor wear. The pile is high, the threads with a good shine and only few minor pulls. Some losses to fringes.Dimensions: Size ca. 250 x 158 cm The five-character inscription woven at the top of the carpet reads Jingren Gong beiyong and can be translated as 'For the use of the Hall of Great Benevolence'. Jingren Gong was one of the Six Eastern Halls located on the north-eastern side of the Forbidden City in Beijing. During the Qing dynasty, the Six Eastern Halls served as the living quarters of the Imperial wives and concubines. Jingren Gong is known to have housed the Shunzhi Emperor's wife, and it was where the Kangxi Emperor was born. The Hall was reconstructed in 1655 and during the reigns of the Qianlong Emperor and the Daoguang Emperor it served as the living quarter of the Empress Dowagers.While the dragon itself is the symbol of the Emperor, the number five is most auspicious and represents the Five Blessings (wufu) of old age, wealth, health, virtue and peaceful death. The design of Five Dragons also alludes to the Five Dragons of Yanshan (Yanshan wulong), named after the five sons of Dou Yujun, who lived in Yanshan during the Five dynasties period (907-960), each of whom achieved exceptional success with their father epitomizing the ideal parent.The Eight Buddhist Emblems (bajixiang) are a set of traditional symbols that represent the offerings made by the gods to Buddha upon his enlightenment. The symbols include the parasol, the golden fish, the conch shell, the endless knot, the lotus flower, the victory banner, the Dharma wheel, and the treasure vase. Each symbol has its own significance and is used in various contexts, such as in religious rituals, on prayer flags, and in artwork. Together, these symbols are believed to bring good fortune, prosperity, and happiness to those who use or encounter them.Auction result comparison: Type: Closely relatedAuction: Bonhams London, 16 May 2013, lot 409Estimate: GBP 25,000 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: A rectangular 'dragon' carpet, late Qing dynasty, Jingren Gong bei yong inscriptionExpert remark: Compare the closely related manner of weaving and decoration with similar arrangement of five dragons, the identical inscription, and the near-identical size (153 x 245 cm).Auction result comparison: Type: Closely relatedAuction: Sotheby's Paris, 18 June 2020, lot 28Price: EUR 40,000 or approx. EUR 45,000 adjusted for inflation at the time of writingDescription: An Imperial silk 'Five Dragon' carpet, Taihe dian bei yong Mark, Qing dynasty, 19th centuryExpert remark: Compare the closely related manner of weaving and decoration with similar arrangement of five dragons as well as the related inscription albeit referring to a different hall. Note the slightly larger size (277 x 186 cm). 清代御製黃地五龍絲毯中國,十九世紀。採用藍色、帝王黃、橙色和紅色精心編織而成,中央有開光,正面環繞著一條戲珠五爪龍,四周纏枝蓮紋,四角盤踞四龍,回紋邊框,八吉祥圖案與盛開的牡丹交替出現。 款識:景仁宮備用 來源:歐洲私人收藏。 品相:狀況極佳,僅有輕微磨損。絲毯厚重,紗線光澤良好,只有輕微磨損。一些邊緣損失。 尺寸:250 x 158 厘米 =拍賣結果比較: 形制:非常相近 拍賣:倫敦邦瀚斯,2013年5月16日,lot 409 估價:GBP 25,000(相當於今日EUR 44,000) 描述:清晚期「景仁宮備用」繡五龍紋地毯 專家評論:比較非常相近的編織風格和五龍紋,以及相同的款識,幾乎相同的尺寸 (153 x 245 釐米)。 拍賣結果比較: 形制:非常相近 拍賣:巴黎蘇富比,2020年6月18日,lot 28 價格:EUR 40,000(相當於今日EUR 45,000) 描述:清十九世紀御製黃地絲絨五龍紋地毯 《太和殿備用》款 專家評論:比較非常相近的編織風格和五龍紋,以及相同的款識,但款識不同。請注意尺寸較大 (277 x 186 釐米)。由于平台拍品叙述的长度限制,我们移除了中文叙述,完整中文叙述请至www.zacke.at查看

Lot 210

AN IMPORTANT SILVER-INLAID GOLD REPOUSSE BOWL DEPICTING GARUDA, VIETNAM, FORMER KINGDOMS OF CHAMPA, CIRCA 10TH CENTURYSuperbly worked, the deep rounded sides supported on a tall faceted foot and flaring to a beaded rim, finely decorated to the exterior with overlapping trefoil-arched panels enclosing rosettes and scrolling foliage, below interlocking scrolling vines. The foot with square panels and indented corners enclosing rosettes, all against ring-punched grounds. The interior with a circular silver-inlaid base depicting a winged Garuda with human face, wearing a richly incised dhoti, foliate crown, and fine jewelry, his arms raised as if about to take flight, surrounded by leafy lotus blossoms, enclosed by a beaded border. Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Good condition, commensurate with age, with old wear and casting flaws, small losses, some tarnishing, and dents, all exactly as expected of a gold object more than a thousand years old.Weight: 243.9 g Dimensions: Diameter 18.8 cm Garuda is a half-bird, half-human creature that appears in both Hinduism and Buddhism. The mythological account of Garuda's birth in the Mahabharata identifies him as the younger brother of Aruna, the charioteer of the sun god, Surya. Garuda's mother, Vinata, mother of the birds, was tricked into becoming the slave of her sister and co-wife, Kadru, mother of the nagas (serpents). The lasting enmity between the birds, particularly Garuda, and the serpents is attributed to this. The nagas agreed to release Vinata if Garuda could obtain for them a drink of the elixir of immortality, the amrita or soma. Garuda performed the feat, thus giving the snakes the ability to slough off their old skins, and on his return Garuda met Vishnu, agreeing to serve him as his vehicle. Garuda is described in one text as emerald in color, with the beak of a hawk, roundish eyes, golden wings, and four arms and with a breast, knees, and legs like those of a hawk. He is also depicted anthropomorphically, with wings and hawk-like features. Sometimes images of Garuda are used by devotees of Vishnu to designate their affiliations; such images appear on coins throughout various periods and on jewelry and ritual vessels, like this lot. Garuda, also known as Garula, are golden-winged birds in Buddhist religious texts. Under the Buddhist concept of samsara, they are one of the Aṣṭagatyaḥ, the eight classes of inhuman beings.Expert's note: Depictions of Garuda with a human face like on the present lot are considerably rarer than their bird-faced counterparts, but are found across different cultures and materials. Compare an ivory relief depicting Garuda from Nepal, 10 cm high, dated to the 14th century, in the Victoria & Albert Museum, accession number IS.124-1999. Compare a bronze plaque depicting Garuda from East Java, 12.7 cm high, dated c. 1300, in the Norton Simon Museum, accession number P.2003.01.10. Compare a terracotta sculpture of Garuda from Western Thailand, 48 cm high, dated to the first half of the 7th century, excavated from site 40, Khu Bua, Ratchaburi Province, by the Fine Arts Department, Thailand, in 1962, and now in the National Museum, Bangkok, exhibited by the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, 14 April-27 July 2014. Compare a granite figure of Garuda from India, Tamil Nadu, 137.8 cm high, dated second half of the 8th to early 9th century, in the Metropolitan Museum of Art, accession number 1983.518. Compare a gray schist turban ornament with Garuda from Gandhara, 11.4 cm high, dated 2nd-3rd century, at Christie's New York, 18 March 2015, lot 4009.

Lot 233

A SILVER-INLAID BRONZE FIGURE OF BUDDHA VAIROCANA, SWAT-VALLEY, 7TH-8TH CENTURYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 1 September 2020, based on sample number N120d91, confirms the object is “consistent with the suggested period of manufacture." A copy of the report, issued by Oxford Authentication, accompanies this lot.Depicted in the sambhogakaya form, Vairocana holds his hands in the bodhyagrimudra while sitting atop a pedestal supported by two anthropomorphic Buddhist lions. The lions have humanized faces, silver-inlaid eyes, snail-curled hair, and are standing atop a lotus base. The Vairocana wears an ornate crown, tied on both sides with ribbons which drape down around his arms and hang from the pedestal. His face is serene, set with almond-shaped eyes with silver inlays to the pupils and central urna. The back with a tang for attachment to a temple structure.Provenance: From the private collection of Michael Phillips. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine art, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Very good condition, commensurate with age. Expected signs of wear, corrosion and weathering with only small remnants of gilt remaining. The naturally grown patina has distinct malachite and cuprite encrustations and was at some point coated with a layer of varnish or wax for conservation purposes. Some losses, dents and scattered nicks.Weight: 3,090 g Dimensions: Height 26.3 cm The Swat Valley is located along the upper stream of the Indus in the heartland of the Gandhara region. It was a melting pot of various people and arts and served as a link between India and Central Asia and further eastwards for a constant flow of Buddhist pilgrims. The earlier Gandhara style is still echoed in the art of many icons of the Swat Valley, as visible in the present example. The Buddha's parallel folds as well as the protuberance on top of his head can be traced back to Gandhara Buddha figures. However, the V-shaped pleats around his neck are associated with Kashmiri prototypes, as is the use of silver inlay. His face reflects a Gupta idiom, with its small mouth and incised eyebrows. The lotus base on which he sits is typical for Swat Valley images. Thus, this fine bronze Buddha figure perfectly embodies the aforementioned melting pot of various styles.The iconography of the crowned Buddha Vairocana has been a subject of dispute amongst scholars due to the lack of clear lines of interpretation within the imagery. Many conclude the crown is intended to denote Sakyamuni as a cakravartin or universal Buddha while some suggest it represents a sambhogakaya Buddha in Mahayana Buddhism. In her 2018 article Images of the Crowned Buddha along the Silk Road, Rebecca Twist examines the iconography of Silk Road crowned Buddhas and concludes the recurring evidence points to the crowned Buddha as sambhogakaya as an early esoteric meditational construct. Many of the Buddha Vairocana that Twist examines are closely related to the present lot. According to Twist, these similar figures which appear from various locations along the Silk Road “demonstrate a systematic form of transmission and religious syncretism in both iconography and ideology." The present lot is a part of the clear pattern of deliberate core iconographic elements which recur in crowned Buddha Vairocana figures along the Silk Road. These elements included the sambhogakaya form, the embodiment of dharmakaya, the bodhyagrimudra, and the similarly styled crown.Auction result comparison: Type: Related Auction: Bonhams New York, 16 March 2021, lot 306 Price: USD 50,312 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of a Bodhisattva, Swat Valley, circa 8th century Expert remark: Note the similar patina, the roves with a single narrow sash across the chest, the silver inlaid eyes and urna, and the closely related crown. Note the much smaller size (13 cm).Auction result comparison: Type: Closely related Auction: Bonhams New York, 19 March 2018, lot 3009 Estimate: USD 450,000 or approx. EUR 495,000 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of Vairocana, Swat Valley, 8th/9th century Expert remark: Note the closely related pose, the similar crown and garments, the Buddhist lions which support the Vairocana atop the lotus pedestal, and the single ring molded to the back of the figure for mounting. Note the size (17.8 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 七至八世紀斯瓦特谷銅錯銀毘盧遮那佛毘盧佛施智拳印,全跏趺坐。半圓形台座正面有毘盧佛的坐騎--兩頭獅子(立姿)。毘盧佛頭戴華麗王冠,兩側飾有絲帶,從他的手臂上垂下,並懸掛在底座上。面容安詳,瞳孔鑲銀,雙眉之間有白毫。背面有支腳,用於固定到寺廟結構上。 科學檢測報告:牛津認證公司於 2020 年 9 月 1 日出具了一份基於樣品編號 N120d91 的熱釋光分析報告確認該造像“與建議的製作日期一致"。該拍品隨附一份報告副本。由于平台拍品叙述的长度限制,我们移除了中文叙述,完整中文叙述请至www.zacke.at查看

Lot 243

A LARGE JAIN PATA OF PARSHVANATHA, GUJARAT, WESTERN INDIA, 18TH - 19TH CENTURY OR EARLIERPublished: Asian Art Society, Online Catalogue IV, 1 January 2021, p. 90-91, no. 21 (presented by Joost van den Bergh, London, United Kingdom; text by Dr. Gautam Vajracharia, University of Wisconsin), and illustrated on the cover of the catalog.Tempera and gold on cloth. Parshvanatha is depicted in the center standing in koyotsarga protected by a hood of nagas issuing from his golden crown, draped in a white dhoti with foliate designs, his body adorned in gold and silver jewelry, all above a smaller figure of the tirthankara above a lotus. The central deity surrounded by several lobed and star-shaped panels (satkonas) representing the cosmos and its phenomena, with identifying inscriptions. The satkonas depict Sarvavinivritta, Sumangalanatha, and Krishnaranga to the left, and Kunthunatha, Parshvabhrata, and Nyamibhrata to the right.Inscriptions: According to Dr. Piotr Balcerowsczy (Chair of South Asian Studies, Faculty of Oriental Studies, University of Warsaw): “These are mostly (90%) in Sanskrit, with some stray portions of Prakrit. In general, these are “recycled" verses coming from some literature - these were not composed by the author of the pata. My first guess would be that the origin of some of these verses could be Hemacandra's Trịsạsṭiśalākāpuruṣacarita (but that should be checked). Another most possible option is Jinasena's Parsvabhyudaya. The other source (that of the Prakrit passages) could be the respective chapter of Kalpa-sutra."Provenance: Collection of Jose Ramón Pons Oliveras, Barcelona, Spain, 1998. Collection of Carlos Cruañas Dalmau, Barcelona, Spain, acquired from the above. A copy of the original invoice signed by Jose Ramón Pons Oliveras, dated 15 April 1998, addressed to Carlos Cruañas Dalmau, dating the present lot to the 17th-18th century, and stating a purchase for the present lot together with three other Indian paintings; also dated 17th-18th century, of which the present lot is the largest, of EUR 35,000 or approx. EUR 63,000 converted and adjusted for inflation at the time of writing, accompanies this lot. Jose Ramón Pons Oliveras (1928-2013) was a traveler, photographer, and cinematographer of nature, and a noted collector of Indian works of art. He travelled extensively to Asia, Oceania, Africa, and South America, filming in many isolated and inaccessible areas of the world. He acquired rare and important works of art during his travels to India in the 1970s, some of which have been sold by Christie's, including a mottled red sandstone figure of a lion, Mathura, 2nd century, at Christie's New York, 19 March 2013, lot 259.Condition: Good condition with minor wear, soiling, few loose threads, and tiny losses.Dimensions: Size 190 x 167 cm Parshvanatha, the Jaina saint, is believed to be the 23rd Tirthankara. His life story is closely related to the cult of serpents. Although serpents are considered malevolent creatures by some, people in India believe that they are auspicious divine beings. High religions of India such as Hinduism, Buddhism and Jainism, show sympathy to the cult of serpent, which has remained popular since prehistoric time. The present pata shows the episode of the life of Parshvanatha when Yaksha Dharnendra and his wife Yakshini Padmavati endeavored to cover Parshvanatha by creating a canopy of snake-hoods over his head and lifting him up from the ground to save him from submergence.When Parshvanatha was born, his mother saw a serpent crawling near her side, and therefore she named her child Parshva. The auspicious appearance of the snake at his birth is also related to an important event that took place in the earlier life of Parshva, in which he was born as a prince. While wandering in the forest, the prince saw an ascetic, who was about to sacrifice a snake. Such a ritual act was mandatory for the Vedic ritual of fire worship that he was performing. The prince thought that killing a creature for a religious purpose is a cruel act. Therefore, he forcefully interrupted the ongoing ritual of fire worship and saved the life of the snake. The ascetic was so angry with the prince that his anger remained intact even after his death.In the next cycle of birth, the ascetic incarnated himself as the cloud demon, Meghmalin, and the prince as the Jain saint Parshvanatha. Likewise, the serpent was born as a divine serpent, Dharana, with multiple snake-hoods. The cloud demon created a devastating flood when Parshvanatha was practicing yoga in a standing posture called kayotsarga, a technical Sanskrit term, which can be translated as “out of physical body." The flood almost submerged him. But the serpent Dharana, remembering that Parshvanatha protected him in his earlier life, came there to help him. He brought a giant lotus and placed it under Parshvanatha's feet and spread his multiple hoods to shelter him from heavy rain. Thus, the Jain saint was able to continue his yogic practice without being disturbed by the flood.Literature comparison:Compare a related large and rare early example in the Philadelphia Museum of Art, accession number 2003-143-1, illustrated in Pratapaditya Pal, The Peaceful Liberators: Jain Art from India, Los Angeles, 1994, no. 100, p. 227.Auction result comparison: Type: Related Auction: Bonhams New York, 13 September 2011, lot 1124 Price: USD 11,250 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A Jain pata of Sahasraphana Parshvanatha, Gujarat, 15th century Expert remark: Compare the related subject, also depicting Parshvanatha, and manner of painting. Note the earlier dating and the smaller size (83.8 x 54.6 cm).Auction result comparison: Type: Related Auction: Christie's New York, 12 September 2012, lot 617 Price: USD 10,000 or approx. EUR 12,000 converted and adjusted for inflation at the time of writing Description: A painting of Mahavira enthroned, Rajasthan or Gujarat, 18th/19th century Expert remark: Compare the related Jain subject and similar manner of painting. Note the much smaller size (43.5 x 28.5 cm).

Lot 244

A QAJAR SILVER- AND GOLD-DAMASCENED IRON FIGURE OF AN IBEX, PERSIA, 19TH CENTURYNaturalistically modeled standing foursquare with the head turned to the left, the horns curling over the head, the animal further detailed with funnel-shaped ears, almond-shaped eyes, and a long muzzle. The body finely decorated with silver- and gold-damascened foliate and geometric decorations, the chest and back with floral arabesques, and the head with facial features and hair neatly outlined.Provenance: London trade. By repute from a noted private collection.Condition: Very good condition with expected old wear and minor casting irregularities, light scratches, tiny nicks, small dents, wear to inlays, encrustations. A good, naturally grown patina overall.Weight: 1,364 gDimensions: Height 30.5 cm, Length 26.3 cm Steel (pulad) was widely available in Iran and had been in use in these lands since the Pre-Islamic period, though before the 18th century this material was used primarily for the production of arms. The boom in artistic expression that occurred during the Qajar era was a side effect of the period of relative peace that accompanied the rule of Agha Muhammad Khan (1742-1797), the founder of the Qajar dynasty, and his descendants. With his ascension, the bloody turmoil that had been the first half of the 18th century came to a close and made it possible for peacetime arts to flourish again in Persia.Damascened steel figures of animals are one of the Qajar period's most beloved creations, depicting a vast range of creatures including ibexes, deer, cats, elephants, camels, peacocks, doves, and many more. These sculptures served to decorate the 'alams' (devotional standards) used during important ceremonies and processions, the most important taking place during the month of Muharram and commemorating Hussain's martyrdom in Kerbela (see Annabelle Collinet, L'empire des Roses: Chefs-d'œuvre de l'art persan du XIXe siecle, Louvre-Lens, 2018, p. 92-93).Literature comparison:Compare a closely related silver and gold-damascened steel deer, dated to the second half of the 19th century, 43 cm high, in the Musee des Beaux-Arts, Rennes, accession number 1932.8.120, and included in the exhibition L'empire des Roses: Chefs-d'œuvre de l'art persan du XIXe siecle, Louvre-Lens, 23 March-23 July 2018, p. 93, no. 78.Auction result comparison: Type: Closely related Auction: Christie's London, 13 October 1998, lot 339 Price: GBP 9,200 or approx. EUR 24,500 converted and adjusted for inflation at the time of writing Description: A pair of Qajar silver and gold damascened steel ibex, Persia, 19th century Expert remark: Compare the closely related subject, modeling, silver- and gold-damascening, and decoration. Note the related size (29.4 cm) and that the lot comprises a pair.Auction result comparison: Type: Closely related Auction: Sotheby's London, 5 October 2011, lot 332 Price: GBP 8,750 or approx. EUR 16,000 converted and adjusted for inflation at the time of writing Description: A pair of Qajar damascened steel ibex, Persia, 19th century Expert remark: Compare the closely related subject, modeling, silver- and gold-damascening, and decoration. Note that the lot comprises a pair.

Lot 262

A SMALL PARCEL-GILT SILVER REPOUSSE POMANDER, CHINA, 19th CENTURYOf circular form with a reticulated basket weave design to the base, the sides and cover executed in repousse. The cover with a central stylized floral head with finely incised petals enclosed in a geometric design with parcel-gilt silver blossoms and fitted with a loop handle for suspension. The sides with shaped panels enclosing blossoming prunus branches with leaves and buds on ring punched ground.Provenance: From a German private collection.Condition: Good condition with minor old wear and some casting irregularities, minor dents to the base, few microscopic tears to the weaving work, and some scratches.Weight: 57.8 gDimensions: Diameter 7.4 cm 十九世紀鍍金錘鍱銀香盒呈圓形,側面和蓋子採用錘鍱工藝,分別開光,開光內裝飾桃花樹枝紋理;蓋子中央蓮紋,活環鈕;花瓣精細雕刻,局部鍍金。底部採用鏤空網狀籃式編織設計。 來源: 德國私人收藏。 品相:狀況良好,有輕微磨損和一些鑄造不規則,底部有輕微凹痕,有微小的撕裂,還有一些劃痕。 重量:57.8 克 尺寸:7.4 釐米

Lot 266

A PAIR OF INSCRIBED AND PARCEL-GILT SILVER 'BIRDS AND FLOWERS' BALUSTER VASES, LATE 19TH CENTURYChina. Each raised on a domed base with ruyi-form feet and rising to a rounded shoulder surmounted by a waisted neck with a flared mouth. Finely decorated to the exterior in relief with an exotic long-tailed bird perched on a leafy stem bearing blossoming cotton-roses and buds against a ring punched ground, the petals highlighted with gilt, the details neatly incised, all below a band of ruyi heads encircling the shoulder. The base similarly decorated with foliate designs below a petal band. (2)Inscriptions: The reverse of each with an inscription in raised characters, 'The cotton rose endows a splendid auspicious color, the divine birds bestow long life.'Provenance: French trade. Condition: Good condition with expected old wear and manufacturing irregularities, few small dents, occasional light scratches, minimal losses to relief, minor warping. Presenting well.Weight: 165.6 g and 169.9 g, total 335.5 g Dimensions: 14.6 cm and 14.5 cm 十九世紀末一對局部鎏金花鳥詩文銀瓶中國。銀瓶喇叭口,縮頸,豐肩,斜弧腹,如意云足。外部精美浮雕裝飾,珍珠紋地,燦爛盛開的牡丹花及花枝,一隻長尾鳥棲息在花枝上。花瓣以鎏金突出,上下錯落,頗富逸趣。紋樣中穿插靈巧鳥兒停佇,賦予更活潑的生命力。 款識:芙蓉舖瑞彩,仙鳥獻長生。 來源:法國古玩交易。 品相:狀況良好,有磨損和製造不規則,輕微小凹痕,局部有輕微劃痕,浮雕小缺損,輕微翹曲。 重量:分別為165.6 克與169.9克,總335.5克 尺寸:14.6 厘米與14.5 厘米

Lot 267

A PAIR OF REPOUSSE SILVER VASES, YANGQINGHE MARK, LATE QING TO REPUBLIC PERIODChina, c. 1850-1935. Each with a baluster body raised on three floral feet above a waisted base and surmounted by a gently flaring neck with a foliate rim. Neatly engraved with prunus and peony blossoms borne on leafy stems, the body with five beaded panels enclosing inscriptions, four of which contain auspicious characters while one is a passage from Journey to the West. (2)Inscriptions: Maker's mark to the base of each, 'Yang Qinghe'. Each vase is inscribed with a passage from Journey to the West: 'Even the wind through the pines and the moon in the water are not as pure as Master Xuanzang. The heavenly morning dew and pearls are not as crystal clear as Master Xuanzang. He is wise, carefree, and has a clear mind. But he does not show this.'Provenance: London trade. Condition: Good condition with some old wear and manufacturing irregularities, light tarnishing, small scratches, minor nicks and minimal warping.Weight: 102.9 g and 104.6 g Dimensions: Height 15.5 cm and 16.1 cm The earliest records of the silver atelier known as Yangqinghe date to 1775 in Shanghai. By the end of the Qing dynasty, it had the reputation as being the best silver workshop on the Shanghai bund. Not only did they make decorative items, but also accessories and jewelry, popular among the Shanghai elite. After 1850, the atelier divided into three separate branches, Jiuji, Faji, and Fuji, and passed to the ownership of Shao Youlian's family.Shao was a statesman who had served as the Qing court's charge d'affaires at St. Petersburg, had been a past governor of Taiwan and acting governor of Hunan. After his death in 1901, his family did not immediately divide up his estate, but his second son Shao Heng, gradually assumed ownership of the Jiuji branch of Yangqinghe. Shao Heng was known as a spendthrift and tended to neglect the business. Jiuji eventually ceased operation in 1935.Journey to the West (Xiyouji), is an epic 16th-century novel fictionalizing the actual journey of the historical figure of Xuanzang (602-664) who made a pilgrimage to India to collect Buddhist sutras. During the eventful trip accompanied by Sun Wukong, the honest but hapless monk encounters a tempestuous and powerful monkey king recently released from a supernatural prison, Zhu Bajie, as well as a greedy pig-like demon and Sha Wujing, a quiet and sensible river spirit. The troupe suffer a series of increasingly dangerous trials but eventually prevail, finally bringing the true word of Buddha back to the Tang imperial court. Auction result comparison: Type: Related Auction: Sotheby's New York, 15 September 2018, lot 1479 Estimate: USD 5,000 or approx. EUR 5,600 converted and adjusted for inflation at the time of writing Description: A silver 'dragon' ewer, late Qing dynasty Expert remark: Compare the related Yangqinghe mark. Note the different form, dragon motifs, and the size (26.5 cm). 清末民初一對卷蓮口錘鍱銀瓶中國,約1850-1935年。卷蓮口,長頸,豐肩,五瓣瓶身,三如意足。頸部雕刻卷葉紋。器身五瓣分別開光,塊串珠板,內刻。 (2) 款識: 松風水月,未足比其清華;仙露明珠,詎能方其朗潤。故以智通無累,神測未形。 楊慶和 來源:倫敦古玩交易。 品相:狀況良好,有一些磨損和製造不規則、輕微變色、小劃痕、輕微刻痕和輕微翹曲。 重量:分別102.9克與104.6克 尺寸:分別高 15.5 厘米與16.1 厘米 拍賣結果比較: 形制:相近 拍賣:紐約蘇富比,2018年9月15日,lot 1479 估價:USD 5,000(相當於今日EUR 5,600) 描繪:清末銀開光龍紋龍柄執壺《上》《楊慶和》款 專家評論:比較相近的楊慶和款。請注意不同的外型,龍紋主題和尺寸(26.5 厘米)。

Lot 268

A SIX-PIECE 'CHRYSANTHEMUM' 900/1000 SILVER TEA & COFFEE SERVICE, OVER 2 KG TOTAL WEIGHT, LATE QING DYNASTYInscribed: Several pieces stamped with 'IS' and '90'China, late 19th to early 20th century. All pieces made from solid silver 900/1000. Comprised of a coffeepot, a teapot, a cream jug, a sugar bowl, a stand and a burner, each vessel is set with a bamboo-form handle and decorated with chrysanthemums in high relief. The hinged covers are further incised with bamboo leaves and have finials in the form of bamboo stalks. The handles bear circular insulators carved from organic material. (6)Provenance: Property from the private collection of Walter Knoke (1885-1952), assembled in China during the 1920s and 1930s, and thence by descent in the same family.Condition: Very good condition with minor wear, few small nicks, light scratches, and minuscule dents. The larger teapot missing the covers hinge pin.Weight: 557.2 g (smaller teapot), 268.2 g (sugar bowl), 189.9 g (cream jug), 702.4 (larger teapot), 344.2 (stand and burner) Dimensions: Length 26.7 cm (smaller teapot), 16.8 cm (sugar bowl), 15.1 cm (cream jug), 23 cm (large teapot) Auction result comparison:Type: RelatedAuction: Sotheby's London, 5 November 2014, lot 335Price: GBP 11,875 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: An Export Silver Tea Set Qing Dynasty, 19th CenturyExpert remark: Note that this set also contains a silver tray. 清末六件菊花紋茶或咖啡杯具,900/1000 銀,重2公斤多中國,十九世紀末至二十世紀初。純銀 900/1000 製成。由咖啡壺、茶壺、奶油壺、糖罐、支架和爐組成,每件器皿均配有竹形手柄,並飾有高浮雕菊花。 鉸接蓋竹葉紋,並具有竹杆狀的流。手柄帶有由有機材料雕刻而成的圓形絕緣體。 (6) 款識: 可見'IS' 與 '90'字樣 來源:Walter Knoke(1885-1952 年)私人收藏,於上世紀二十年代至三十年代在中國收藏,並由同一家族傳承。 品相:狀況極好,有輕微磨損、少量小刻痕、輕微劃痕、微小凹痕。較大的茶壺缺少蓋子鉸鏈銷。 重量:557.2 克 (小茶壺),268.2克 (糖罐),189.9克 (奶油罐),702.4克 (大茶壺),344.2克 (底座和燃器) 尺寸:長26.7 厘米 (小茶壺),16.8 厘米 (糖罐),15.1 厘米 (奶油罐),23 厘米 (大茶壺) 拍賣結果比較: 形制:相近 拍賣:倫敦蘇富比,2014年11月5日,lot 335 價格:GBP 11,875(相當於今日EUR 18,000) 描述:清十九世紀外銷銀菊紋茶器一套 《恒昌造》款 專家評論:請注意此茶具套有一件銀盤。

Lot 269

A LARGE 3.5 KG SILVER TRAY, FOR A COMPLETE TEA OR COFFEE SERVICE, CHINA, CIRCA 1900Of octagonal and rectangular form, the border and field finely engraved with bamboo stalks and leaves against a finely stippled ground, all around a similarly shaped vacant cartouche, flanked by two angled loop handles. The base impressed with three marks.Inscriptions: To the back, 'Silver', 'Nanking Store', and 'Shen Chang'.Provenance: From a private collection on 1111 Park Avenue, Manhattan, New York, USA. Condition: Very good condition with minor wear and manufacturing irregularities. Light scratches and minuscule nicks.Weight: 3,449 gDimensions: Length 67.5 cm, Width 37.5 cm During the 19th century, the consumption of tea in Europe became a fashionable and prestigious habit. Although tea was initially introduced in the 17th century, it wasn't until the 19th century that tea became a common beverage among various social classes in Europe. This rise in popularity led to the development of tea-drinking rituals, the use of specialized tea-ware, and the establishment of social customs associated with tea.Chinese export porcelains and silver articles played a significant role in these tea-drinking ceremonies and became highly valued items among the European elite. They were regarded as status symbols, representing the owner's wealth and refinement. Exquisite trays, such as the current lot, served both functional and decorative purposes, showcasing the artistic and cultural connections between China and Europe during the 19th century. They exemplified the intricate craftsmanship of Chinese artisans and the appreciation for Eastern aesthetics in Europe at the time.Literature comparison:Compare a silver celery vase with the mark of Shen Chang at Christie’s New York, 22 August 2019, lot 17. We are grateful to Dr. Adrian von Ferscht for identifying this mark.Auction result comparison: Type: Related Auction: Christie's London, 11 May 2010, lot 34 Price: GBP 3,500 or approx. EUR 6,900 converted and adjusted for inflation at the time of writing Description: A Chinese export silver two-handled tray, mark of Hung Chong and Co., Canton and Shanghai, circa 1900 Expert remark: Compare the related engraved decoration and angled handles. Note the similar length (70.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 22 August 2019, lot 4 Price: USD 4,750 or approx. EUR 5,200 converted and adjusted for inflation at the time of writing Description: A Chinese export silver two-handled tray, mark of Ci, Hong Kong, retailed by Kwan Hing, Hong Kong, late 19th/early 20th century Expert remark: Compare the related engraved decoration. Note the much smaller size (49.2 cm). 約1900年大銀盤,重近3,5公斤呈八角長方形,折沿;盤内雕刻著竹子,折沿上有竹葉紋;托盤兩側有兩個環形手柄。 底座上刻有三個標記。 款識:Silver;Nanking Store;順昌 來源:美國紐約曼哈頓公園大道 1111 號私人收藏。 品相:狀況非常好,有輕微磨損和製造缺陷。輕微劃痕和微小的刻痕。 重量:3,449 克 尺寸:長 67.5 厘米, 寬 37.5 厘米拍賣結果比較: 形制:相近 拍賣:倫敦佳士得,2010年5月11日,lot 34 價格:GBP 3,500(相當於今日EUR 6,900) 描述:約1900年鴻昌款廣東和上海銀製雙耳盤 專家評論:比較相近的刻字裝飾和斜角手柄。請注意相似的長度(70.2厘米)。 拍賣結果比較: 形制:相近 拍賣:紐約佳士得,2019年8月22日,lot 4 價格:USD 4,750(相當於今日EUR 5,200) 描述:十九世紀末至二十世紀初香港銀製雙耳盤 專家評論:比較相近的刻字裝飾。請注意尺寸較小(49.2厘米)。

Lot 270

A LARGE SILVER 'DRAGON' RETICULATED PUNCH BOWL, MARKS OF SUI CHANG AND WANG HINGExpert's note: During the 19th and early 20th century, entertaining in Europe and America became a fashionable and prestigious habit amongst the society elites. Chinese export porcelains and silver articles played a significant role in these events as they showcased the owner's level of wealth, refined taste, and culture.China, late 19th to early 20th century. The circular body richly cast, embossed and chased with dragons writhing between a pierced ground of swirling clouds around a flaming pearl cartouche, raised on three dragon supports.Inscriptions: Stamped 'Sui Chang', 'WH' (mark of Wang Hing & Co), and '90' (for 90% silver purity).Provenance: Chicago trade.Condition: Superb condition with minor old wear and manufacturing irregularities. Light scratches and occasional minuscule losses and dents. The glass liner with light scratches and manufacturing irregularities as well.Weight: 4,376 g (incl. glass liner) and 2,379 g (excl. glass liner)Dimensions: Diameter 33 cm With a matching glass bowl to the inside. (2)Probably the greatest and finest Chinese Export retailer of the period, Wang Hing started trading in Canton soon after 1842 when, with the end of the First Opium War and the treaty of Nanking, China opened its ports to foreign merchants and Hong Kong became a British colony.Wang Hing was the trading name chosen by the Lo family who established the business and passed it down for generations until 1941. Although little is known about the founder of the company, we know that the Lo's were a wealthy merchant family living in one of the richest areas of Canton, the district of Xiguan.Thanks to the fine quality of the pieces and to the entrepreneurial abilities of the family members, the reputation of the firm grew. In the 1920's Lo Hung Tong, grandson of the founder, opened a store on Queen's Road, Hong Kong and another in Shanghai.Literature comparison: For further information on Wang Hing, see David Chan, Chinese Export Silver: The Chan Collection, Asian Civilizations Museum, Singapore, 2005. See a related silver dragon punch bowl, retailed by Hung Chong & Co., Shanghai, with Koopman Rare Art, London, illustrated in Roland Arkell, “Silver Linings", Antiques Trade Gazette, October 2019.Auction result comparison:Type: Closely relatedAuction: Sotheby's London, 12 May 2015, lot 158Price: GBP 15,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A Chinese export silver bowl, Wang Hing, Canton and Hong Kong, late 19th/early 20th CenturyExpert remark: Compare the closely related form, cast and chased decoration on a pierced ground, and dragon motif. Note the smaller size (28.4 cm). 大型鏤空龍紋三足銀碗,“遂昌“與"宏興“款中國,十九世紀末至二十世紀初。 碗身滿工鏤空鑄造,浮雕和雕刻龍紋,飛龍騰雲;三龍托碗。 款識:遂昌;宏興;90 來源:芝加哥古玩交易。 品相:狀況極佳,有輕微磨損和製造缺陷,輕微劃痕和微小缺損和凹痕。玻璃內襯有輕微劃痕且製造不規則。 重量:4,376 克 (含玻璃碗) ,2,379 克 (不含玻璃碗) 尺寸:直徑33 厘米 内部配置玻璃碗。 (2) 文獻比較: 更多關於宏興公司介紹,見David Chan,《Chinese Export Silver: The Chan Collection》,新加坡亞洲文明博物館,2005年。一件相近銀製龍紋碗 ,鴻昌公司出品,上海,見Roland Arkell,《Silver Linings》,《Antiques Trade Gazette》,倫敦,2019年10月。 拍賣結果比較: 形制:非常相近 拍賣:倫敦蘇富比,2015年5月12日,lot 158 價格:GBP 15,000(相當於今日EUR 25,500) 描述:十九世紀末和二十世紀初鴻昌款銀製碗 專家評論:比較非常相近的外形,在穿孔的底部鑄造和雕刻裝飾,以及龍紋主題。請注意尺寸較小(28.4厘米)。

Lot 277

A NECKLACE WITH CORAL BEADS, CHINA, LATE 19TH TO 20TH CENTURYComposed of 39 globular coral beads of graduating size, each carved with a Shou character and dragon in profile with furcated scrolling body, detailed with almond shaped eyes, separated by small knots, joined by a modern silver closure. The beads in variegated shades of pale red to orange with scattered white inclusions.Provenance: Austrian trade, by repute acquired from an old Viennese private estate.Condition: Good condition with minor old wear, traces of use, and natural imperfections including minor flaking and few expected age cracks, some beads with small chips.Weight: 859 g (!) Dimensions: Length 109 cm Shou is the Chinese character for longevity and is often used as a symbol of long life and good health. It is often depicted in the form of a stylized character, as well as in the form of various objects and motifs.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. 十九世紀末至二十世紀珊瑚珠項鏈共三十九顆大小漸進的珊瑚珠組成,每顆珊瑚珠均刻有壽字和龍紋,珊瑚珠之間由小結分開,現代銀扣。珊瑚珠呈淡紅色至橙色的,有白色紋理。 來源: 奧地利古玩交易,據説來自維也納一個私人舊藏。 品相:狀況良好,有輕微磨損、使用痕跡和天然瑕疵,包括輕微老化裂紋,一些珠子有小碎片。 重量:859 克 (!) 尺寸:長109 釐米

Lot 4

AN IMPERIAL CLOISONNE ENAMEL JARDINIERE, SUPPORTED BY THREE GILT-BRONZE 'KNEELING BOYS' FEET, QIANLONG PERIODPublished: Cohen & Cohen, Tyger Tyger!, Antwerp, 2016, pages 72-73, no. 32.China, 1736-1795. The vessel with gently flared sides and supported by three feet, cast in gilt copper-alloy as kneeling boys dressed in voluminous robes incised with lotus blossoms and leafy vines, draped in billowing scarves, their faces well detailed with smiling expressions. The exterior of the vessel finely decorated with two rows of rectangular panels separated by raised gilt bands of twisted-rope design, each panel with five flowerheads brightly enameled in shades on a of blue, yellow, green, and white, borne on scrolling tendrils reserved on a rich red ground. The rim neatly incised with lotus blossoms and foliate scroll.Provenance: Cohen & Cohen, Antwerp, 2016. A noted private collection in New York, USA, acquired from the above.Condition: Excellent condition with some old wear, expected small losses with associated old fills, minor rubbing to gilt, minor nicks to enamels and metals. Shallow surface scratches. Expected manufacturing flaws such as minimal pitting. The interior has a good naturally grown patina with malachite encrustations.Weight: 1,484 g Dimensions: Height 18.2 cm, Diameter 15.5 cm The present vessel's bucket shape echoes a rustic wooden pail with vertical slats bound by rope and is clearly designed as an amusing variant of this standard artisan vessel, executed in expensive cloisonne enamels. Such conceits were very popular with the early Qing emperors, who took a particular pleasure in instructing their Palace and external craftsmen to recreate familiar objects in entirely different materials: archaic bronzes in jade, eel-trap nets in porcelain, bronze incense burners in lapis lazuli, or rhinoceros horn carvings in silver.Jardinieres of this shape still exist in the Qing Court Collections and have been published. Indeed, some still survive with additional embellishments at the top confirming that they were intended to be displayed in the Forbidden City and other Imperial palaces as pails of flowers, because some were deliberately fitted with simulated flower arrangements comprising miniature flowering trees, created with curling wire branches and suspending green hardstone leaves set with carnelian, crystal and other semi-precious hardstones.Literature comparison:Compare a closely related cloisonne flowerpot, dated to the mid-Qing dynasty, in the National Palace Museum, Beijing, illustrated in the Compendium of Collections in the Palace Museum: Enamels 4, Cloisonne in the Qing Dynasty, Beijing, 2011, p. 35, no. 6. Compare a closely related gilt-bronze and cloisonne jardiniere illustrated in Colorful, Elegant, and Exquisite: A Special Exhibition of Imperial Enamel Ware from Mr. Robert Chang's Collection, Suzhou, 2009, pp. 84-85. Compare a closely related gilt-bronze and red cloisonne-enamel jardiniere supported by three boys, dated to the mid-Qing dynasty, illustrated in the Prime Cultural Relics Collected by Shenyang Imperial Palace Museum: The Enamel Volume, Shenyang, 2007, pp. 204-205. This example shows that the jardiniere was used to hold hardstone imitations of auspicious flowers.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 27 November 2019, lot 37 Price: HKD 313,125 or approx. EUR 38,500 converted and adjusted for inflation at the time of writing Description: A rare imperial gilt-bronze and cloisonne-enamel jardiniere, Qianlong Expert remark: Compare the closely related form, decoration, and feet depicting kneeling foreigners. Note the larger size of the vessel (24.8 cm), which makes the kneeling foreigner figures look rather small in comparison. Also note that a vessel with kneeling foreigners feet is not registered in the Imperial collections, unlike the kneeling boys feet, of which numerous examples are documented. 乾隆時期御製銅胎掐絲琺瑯三足盆中國, 1736-1795年。盆斜腹敞口,三童子以跪姿肩負盆。童子為鎏金銅,穿著纏枝蓮花紋長袍,面露微笑。盆外壁如木桶狀,紅地飾花卉錦地,三道扭繩撞的鎏金束繩。琺瑯色彩明亮生動。盆口工整地刻有卷葉蓮紋。 出版:Cohen & Cohen, Tyger Tyger!, 安特衛普, 2016, 72-73頁, 圖 32。 來源:安特衛普Cohen & Cohen藝廊, 2016年;美國紐約知名私人收藏,購於上述藝廊。 品相:狀況極佳,有一些磨損,缺損有相應的修補,鎏金有輕微摩擦,琺瑯和金屬上有微小的刻痕。表面有淺劃痕。鑄造不規則,例如麻點。內部自然包漿,綠色結殼。 重量:1,484 克 尺寸:高 18.2 厘米, 直徑 15.5 厘米 由于平台拍品叙述的长度限制,我们移除了中文叙述,完整中文叙述请至www.zacke.at查看

Lot 401

A 'NINE DRAGON' SILK BROCADE BOOK COVER, PROBABLY FROM THE IMPERIAL LIBRARYChina, 19th century. Of square form, finely woven with silver, gold, and turquoise threads (rare) on an imperial-yellow ground with a central front-facing five-clawed dragon writhing around a large flaming pearl. He is surrounded by lingzhi-shaped clouds and wispy flames, and encircled by eight smaller dragons, all pursuing flaming pearls along the border with terrestrial diagrams and lishui stripe separated by clouds and crashing waves.Provenance: London trade. The reverse with an old label, 'No. 40, Peking, Ching'. Condition: Very good condition with only minor wear, few loose threads, and minimal soiling to the back.Dimensions: 77.2 x 75.3 cm Literature comparison:Compare a closely related book cover, described as “used for wrapping books in the imperial library", of larger size (106 x 108 cm), in the Museum of Anthropology, University of British Colombia, accession number N1.17, from the Bernulf and Edith Clegg Oriental Collection.Auction result comparison: Type: Closely related Auction: Sotheby's London, 6 November 2019, lot 111 Price: GBP 5,000 or approx. EUR 7,700 converted and adjusted for inflation at the time of writing Description: A pale yellow-ground silk brocade 'dragon' panel, Qing dynasty, 19th century Expert remark: Compare the related motif and manner of weaving. Note the size (73.5 x 72.5 cm). 九龍紋書藉鋪蓋中國,十九世紀。方形,黃地以金銀線和綠松石色線精細編織,正面中央有一條五爪龍,圍繞著一顆巨大的火珠。四周如意祥雲圍繞,八條小龍戲珠,邊框江崖麗水紋。來源:倫敦古玩交易,背面有老標籤,可見 'No. 40, Peking, Ching'。 品相:狀況非常好,只有輕微磨損,少量線頭鬆脫與背面的污垢。 尺寸:77.2 x 75.3 厘米文獻比較: 比較一件非常相近的書套,描述為「用於包裝皇家圖書館的書籍」,尺寸較大 (106 x 108厘米),收藏於英數哥倫比亞大學人類學博物館,館藏編號N1.17,來自Bernulf和Edith Clegg東方收藏。 拍賣結果比較: 形制:非常相近 拍賣:倫敦蘇富比, 2019年11月6日,lot 111 價格:GBP 5,000(相當於今日EUR 7,700) 描述:清十九世紀黃地錦織五龍趕珠紋墊面 專家評論:比較相近的主題和刺繡風格。請注意尺寸(73.5 x 72.5厘米)。

Lot 449

AN UNUSUAL LOBED DING WARE 'HIBISCUS' BOX AND COVER, NORTHERN SONG TO JIN DYNASTYExpert's note: A distinctive aspect of the Ding kiln in Hebei province is that when placed underneath a very strong light, the white ware develops an orange hue, almost like a corona, especially where the ware is thinning, such as around the foot rim for example. This characteristic aspect makes objects from the Ding kilns easily identifiable and is due to the unique composition of the ware, which is mostly covered by a rather thick pale-ivory glaze. This ding box is also notable for its rather unusual shape for which we could not find any direct comparisons.China, c. 12th-13th century. The four-lobed square box stands on a short square foot with raised rim, and the cover is decorated with incision work, beading, and a central hibiscus flower medallion with four lines of beading extending from its petals.Provenance: From a private collection in the northeastern United States. Condition: Very good condition, commensurate with age. Signs of wear and light weathering, minuscule nicks to the edge of base and lid, expected firing flaws including several glaze recesses. The form slightly uneven overall.Weight: 106 g Dimensions: Width 7 cm Molded decoration on Ding wares was adopted in the latter part of the Northern Song dynasty and flourished during the Jin dynasty. The technique allowed the Ding potters to adopt more complex and also more formal designs. The molds used were meticulously crafted and similar to those used to cast decoration on gold and silver works of art.Literature comparison:Compare related a trefoil-shaped 'Ding' box, from the R.F.A. Riesco and Hans Popper collections, illustrated in Song Ceramics from the Hans Popper Collection, Eskenazi, London, 2005, pl. 17. Compare the shape of the present box with the shape of a brush washer, made in imitation of Ding ware, produced at the imperial kilns of Jingdezhen in southern China, c. 1680-1780, and inscribed by Emperor Qianlong, at the Victoria & Albert Museum, London, C.44-1935. Also compare with another unusual lidded box with six applique roundels, Liaoning or Hebei province, Liao dynasty (916-1125), diameter 11.4 cm, in the Avery Brundage Collection, B60P1533.a-.b. 北宋至金定窯海棠口方蓋盒中國,約十二至十三世紀。四瓣海棠口方盒,子母口,短足,緣凸起。蓋子邊緣串珠紋,中央有一朵芙蓉花。專家注釋:河北省定窯的一個獨特之處在於,在強光下,白瓷會呈現出橙色色調,幾乎像日暈,特別是在瓷器變薄的地方,例如足緣周圍。 這一特徵使得定窯的器物很容易辨認,通體覆蓋著相當厚的淡象牙色釉。 來源:美國東北部私人收藏。 品相:狀況極好,磨損和輕微風化,底座和蓋子邊緣有微小刻痕、燒製缺陷,包括釉面凹槽。整體形狀略顯不平。 重量:106 克 尺寸:寬7 釐米 定窯紋飾始於北宋後期,盛於金代。成型技術使設計更複雜。所用模具製作精良,與金銀工藝品鑄造裝飾的模具相似。 文獻比較:比較一件相近的三葉形定窯方盒,來自R.F.A. Riesco和Hans Popper收藏,見《Song Ceramics from the Hans Popper Collection》,Eskenazi,倫敦,2005年,圖17。比較一件1680-1780年乾隆御題景德鎮仿定窯筆洗,收藏於倫敦維多利亞和亞伯特博物館,編號C.44-1935。比較另一件遼代遼寧和河北省六貼花圓蓋盒,直徑 11.4 釐米,收藏於 Avery Brundage收藏,B60P1533.a-.b。

Lot 455

A BLACK-GLAZED 'OIL SPOT' BOWL, JIN DYNASTYChina, 1115-1234. Well potted with deep rounded sides supported on a short, broad and characteristic foot, rising to a gently incurved rim. Covered overall with a lustrous blackish-brown glaze suffused with a myriad of silver 'oil spots'. The glaze falls short of the foot, with an irregular yet attractive lacrimal pooling, exposing the beige body.Provenance: The Elaine Whewell collection of Asian ceramics, North Berwick, Scotland, assembled since the 1990s, by repute acquired 2001 in Hong Kong. Condition: Very good condition with minor old wear and firing irregularities including glaze recesses, kiln grit, and pitting.Weight: 202.1 g Dimensions: Diameter 11.8 cm Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 4 October 2016, lot 12 Price: HKD 62,500 or approx. EUR 8,300 converted and adjusted for inflation at the time of writing Description: A black-glazed 'oil spot' bowl, Jin dynasty Expert remark: Compare the closely related form, glaze, and near-identical size (12 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 November 2016, lot 3152 Price: HKD 150,000 or approx. EUR 20,000 converted and adjusted for inflation at the time of writing Description: A large russet 'oil spot' black-glazed bowl, Jin dynasty Expert remark: Compare the closely related form and glaze. Note the larger size (16 cm). 金代黑釉油滴斑碗中國,1115-1234年。敞口,深弧腹,短足,內側和外側覆蓋著一層發亮的黑色釉,上面覆蓋著虹彩的藍銀色和不同大小的紅褐色“油斑",釉面停在腳上,無釉部分露出内胎。 來源:Elaine Whewell 亞洲陶瓷收藏,蘇格蘭北貝里克,自二十世紀九十年代起開始收藏,據稱於 2001 年在香港收購。 品相:狀況非常好,有輕微磨損和燒製不規則現象,包括釉面凹陷、窯砂和麻點。 重量:202.1 克 尺寸:直徑11.8 厘米拍賣結果比較: 形制:非常相近 拍賣:香港佳士得,2016年10月4日,lot 12 價格:HKD 62,500(相當於今日EUR 8,300) 描述:金油滴釉盌 專家評論:比較非常相近的外形,釉面和幾乎相同尺寸(12厘米)。 拍賣結果比較: 形制:相近 拍賣:香港佳士得,2016年11月30日,lot 3252 價格:HKD 150,000(相當於今日EUR 20,000) 描述:金黑釉金油滴大盌 專家評論:比較非常相近的外形和釉面。請注意尺寸較大 (16厘米)。

Lot 461

A RARE YAOZHOU BLACK-GLAZED FOLIATE STEMCUP, SONG DYNASTYExpert's note: The lobed mouth and the high foot, according to Peter Lam in Layered Beauty, Hong Kong, 2010, page 10, are inherited from Tang dynasty gold and silver wares which are commonly copied in Song ceramics, especially Yaozhou, Qingbai, and Yue wares. This is also interesting, because Dr. Broido was an avid collector of Tang dynasty wares, for example see lot 159 of this auction.China, 1127-1279. Delicately molded in the form of a lotus leaf with furled edges and ribbed interior supported by a tall foot with waisted mid-section, the body covered with a rich lustrous black-brown glaze, the foot ring unglazed, revealing the buff ware.Provenance: A noted British private collection. Bonhams London, 7 November 2005, lot 33, listed at an estimate of GBP 15,000 or approx. EUR 34,000 (converted and adjusted for inflation at the time of writing). The collection of Dr. Jonathan Broido, acquired from the above in an after-sale transaction, and thence by descent within the family. Dr. Jonathan Broido (1941-2008) was a professor of mathematics and philosophy as well as a passionate collector of Chinese art and archaic Turkoman weavings, known for his expertise and scholarly approach. He traveled throughout Asia acquiring pieces for his collection, as well as making some spectacular finds in UK and US antique markets, auctions, and trade.Condition: Very good condition with expected old wear and firing irregularities, shallow surface scratches, and very minor chips to the foot.Weight: 149.3 gDimensions: Diameter 13.3 cm 宋代耀州窯黑釉高足荷葉碟中國,1127-1279年。造型精美,碟子面呈荷葉形,捲邊,高足兩道弦紋成階梯狀。通體施黑褐色釉,釉色濃郁,圈足無釉,露出黃色胎。來源:倫敦知名私人收藏。;倫敦邦翰思,2005 年 11 月 7 日,拍品 33,估價 15,000 英鎊或約 34,000 歐元(根據撰寫本文時的通貨膨脹情況進行換算和調整);Jonathan Broido(1941-2008)博士私人收藏。購於上述拍賣場的場后銷售階段,在同一家族傳承。Jonathan Broido博士是一位數學和哲學教授,也是一位熱衷於中國藝術和古代土庫曼編織品的收藏家,擁有極其豐富的專業知識和學術方法。他走遍亞洲為自己的收藏尋找藏品,並在英國和美國的古董市場、拍賣和貿易中取得很大的收穫。 品相:狀況極好,有磨損和燒製不規則、表面淺劃痕,以及足部輕微的碎裂。 重量:149.3 克 尺寸:直徑 13.3 厘米

Lot 540

A PAIR OF LARGE RUBY-GROUND FAMILLE ROSE BUDDHIST EMBLEM ALTAR ORNAMENTS, QING DYNASTYChina, 19th century. Each finely modeled and enameled in brilliant tones in the form of an open worked ruby-red medallion enclosing one of the Eight Buddhist Emblems (bajixiang), one the Parasol (san), representing spiritual authority, reverence, and purity, and the other the Vase (ping), symbolizing eternal harmony, the receptacle for lustral water, the nectar of immortality. The turquoise-glazed bases each with an iron red six-character seal mark da Qing Qianlong nianzhi.Provenance: Collection of Milton Drexel Rutherford (1894-1976), acquired in China between c. 1930 and 1940, and thence by descent within the same family. The storage boxes padded with Russian and Chinese newspaper clippings from the period. Each altar stand inscribed in black ink to the base, 'China'. Milton Drexel (Rex) Rutherford was a US veteran and engineer. He lived and worked in the city of Chicago, excavating the tunnels for the city's subway. His proliferate collection began when a client gifted him an artifact from eastern Asia igniting a passion for collecting Asian art, including Kangxi ceramics as well as Japanese metalwork and lacquers. Condition: Superb condition with expected old wear, minor rubbing and flaking to enamels, occasional light scratches. Small glaze touchups inherent to manufacture, and other firing irregularities. The boxes worn, soiled and with minor damages.Weight: 1,934 g and 2,020 Dimensions: Height 38.5 cm and 38.3 cm Each emblem sits atop a lotus pod with recessed seeds nestled in a lotus blossom raised on a stem of chevrons flanked by openwork curling leaves, the whole raised on a domed base neatly enameled on a ruby-red ground with lappets framed by bands of ruyi-heads and key-fret, lappets, and covered in turquoise enamel on the interior.Each with an old fitted wood stand, finely carved with lotus lappets between two key-fret bands, dating to the late 19th century.Each with an old compartmented storage box, dating ca. 1930-1949. (6)The present lot belongs to a group of important altar ornaments placed in temples and chapels in front of Buddhist deities. The complicated openwork panels required a manual dexterity in handling the clay and testify of the technical virtuosity of the Jingdezhen potters at the kilns in Jiangxi province. Richly painted in the famille-rose enamel palette, they reflect the eclectic and ornate style of the period. As a serious student and active practitioner of Tibetan Buddhism, the Qianlong Emperor (r. 1736-1795) commissioned thousands of ritual implements and sacrificial utensils to furnish the renovated and newly built monasteries and temples as well as the numerous chapels and shrines in the palaces in the Forbidden City, Yuanmingyuan summer palace and the Chengde summer residence. Religious objects formed also part of the presents offered to family and court members. He is known, for example, to have lavished these on his beloved mother, the Empress Dowager Xiaosheng (1691-1771), who was a pious Buddhist. They equally played an essential role in the interchange of gifts to honor religious and diplomatic relations with the Dalai and Panchen Lamas who came to Chengde to pay homage to the Emperor.A complete set of the bajixiang, similar in design to the present lot, can be seen on an altar in front of a statue of Manjushri, the Bodhisattva of Wisdom, in the Fanzonglou (Hall of Buddhism), a private chapel in the Forbidden City, see Qing gong Zang chuan fojiao wenwu/Culltural relics of Tibetan Buddhism Collected in the Qing Palace, Beijing, 1992, pl. 99-1, where related sets of altar ornaments in gilt copper and silver gilt are also illustrated, pls. 138 and 139. A complete set of altar emblems is depicted in an official Court portrait, illustrated in Court Paintings of the Qing Dynasty of the Collection in the Palace Museum, Beijing, 1992, pl. 14, where the emblems are arranged on a low table in front of Emperor Kangxi holding a string of beads.Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2007, lot 414 Price: USD 43,000 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A pair of famille rose Buddhist emblem altar ornaments, Qianlong seal marks in iron-red and of the period. Expert remark: Compare the closely related form and decoration, with one of the emblems also being the parasol, as well as the Qianlong reign marks. Note the closely related size (38.1 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 April 2002, lot 535 Price: HKD 3,594,100 or approx. EUR 612,000 converted and adjusted for inflation at the time of writing Description: A magnificent set of eight famille rose Buddhist emblems, iron-red Qianlong four-character seal marks and of the period. Expert remark: Compare the closely related form, decoration, and Qianlong reign marks, albeit with four characters. Note the smaller size (24 cm) and that this lot comprises a complete set of eight Buddhist emblems. 清代一對大型寶石紅地粉彩佛教八寶供器中國,十九世紀。由于平台拍品叙述的长度限制,我们移除了中文叙述,完整中文叙述请至www.zacke.at查看

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