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Lot 73
A pair of English Staffordshire figures of shepherds, late 19th century, depicting shepherd girls holding a sheep, resting on a stone wall, 18cm tall. Together with a Staffordshire flatback figure of Albert the Prince of Wales and a Staffordshire figure of a young girl holding a Nautilus shell. (4)
Lot 47
Five Rings, including a silver mother-of-pearl Clogau ring, finger size P1/2; a white stone wishbone ring, stamped '585', finger size O; a 9 carat gold tanzanite ring, finger size P; a sapphire ring, stamped '585', finger size J1/2; and a 9 carat gold blue topaz and diamond ring, finger size PClogau ring - 6.5 grams. Two stamped '585' - 5.5 grams. Two 9 carat gold - 5.3 grams.
Lot 126
A Quantity of Jewellery, including a silver enamel flag pendant on chain, a silver locket, a gilt metal locket, various simulated pearl necklaces, various studs and cufflinks, costume brooches, a lapis lazuli necklace etc; Three Loose Stones, including a synthetic sapphire simulating alexandrite, a blue zircon and a blue paste stone
Lot 304
A MUGHAL-STYLE AGATE 'CHRYSANTHEMUM' BRUSH WASHER AND STAND, QING DYNASTYChina, 18th-19th century. The rounded sides rising from a recessed foot to an incurved rim, finely carved with raised ridges to imitate chrysanthemum petals, flanked by loop handles surmounted by blossoms and suspending loose-ring handles, the ring-form stand supported on three short feet. (2) Provenance: Swiss trade. Condition: Very good condition with minor wear, small nibbles here and there, and two natural fissures. The stand with a few small chips and nicks, and minor nibbling to the feet.Weight: 162.1 g (excl. stand), 196 g (incl. stand) Dimensions: Length 13.2 cmAuction result comparison: Type: Closely related Auction: Christie's New York, 19 September 2014, lot 1307Price: USD 10,000 or approx. EUR 12,000 converted and adjusted for inflation at the time of writingDescription: A pair of agate bowls and stands, Qing dynasty, 19th century Expert remark: Compare the closely related form, handles, color of the stone, and stands. Note the slightly smaller size (11.8 cm) and that the lot comprises a pair.Auction result comparison:Type: RelatedAuction: Bonhams London, 12 May 2011, lot 186Price: GBP 14,400 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A fine Mughal-style agate brush washer, early 18th centuryExpert remark: Compare the related form, handles, and color of the stone. Note the slightly larger size (14.5 cm) and lacking stand.清代蒙兀兒風格瑪瑙菊瓣紋筆洗與底座中國，十八至十九世紀。筆洗成菊瓣紋，雙耳雕刻成小雛菊狀，每邊各有一個活環，通體晶瑩柔潤 。底座上三足。(2) 來源：瑞士古玩交易。 品相：狀況極好，有輕微磨損，大面積磕痕，還有兩條天然裂縫。底座有一些小缺口，輕微磨損。 重量：162.1 克 (不含底座)，196 克 (含底座) 尺寸：長13.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2014年9月19日，lot 1307 價格：USD 10,000（相當於今日EUR 12,000） 描述：十九世紀一對瑪瑙筆洗和底座 專家評論：比較非常相近的外形、雙耳、瑪瑙顏色和底座。請注意尺寸稍小(11.8 厘米) ，以及此為一組。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2011年5月12日，lot 186 價格：GBP 14,400（相當於今日EUR 24,000） 描述：十八世紀初期蒙兀爾風格瑪瑙筆洗 專家評論：比較相近的外形、雙耳、瑪瑙顏色。請注意尺寸稍大(14.5 厘米) 沒有底座。
Lot 698
A JAIPUR BLUE POTTERY 'PARVATI' FLASK, INDIA, RAJASTHAN, 19TH CENTURY OR EARLIERFinely molded and painted in bright cobalt-blue and turquoise-green to depict Parvati seated on her husband Shiva's mount, Nandi, holding a rosary in one hand, adorned with scarves and jewelry, her face with a calm expression, the foot and neck with petal borders, the short sides with lotus blossoms and foliage.Provenance: London trade. Condition: The fragmentary flask with wear, losses, chips, and light scratches.Weight: 723.7 g Dimensions: Height 26.8 cmBlue pottery is widely recognized as a traditional craft of Jaipur of Central Asian origin. The name' blue pottery' comes from the eye-catching cobalt blue dye used to color the pottery. It is one of many Eurasian types of blue and white pottery and is related in its shapes and decoration to Islamic and Chinese pottery. Jaipur blue pottery, made out of ceramic frit material similar to Egyptian faience, is glazed and low-fired. No clay is used: the 'dough' for the pottery is prepared by mixing quartz stone powder, powdered glass, Multani Mitti (Fuller's Earth), borax, gum, and water.Literature comparison: Compare a closely related flask illustrated in Kristine Michael, 'Earthen Jewels: Pottery Treasures from the Hendley Collection', in Chandramani Singh (ed.), Treasures of the Albert Hall Museum, Jaipur, p. 50. Further related examples are on display in the Albert Hall Museum.
Lot 156
A LIMESTONE TORSO OF A BODHISATTVA, TANG DYNASTYChina, early 8th century. The slender, elegant figure well carved standing in a subtle tribhanga pose, wearing a clinging diaphanous skirt falling in graceful folds, with scarves tied diagonally around the torso and draped from the shoulders, richly adorned with elaborate jewelry including beaded and foliate necklaces as well as pendent ornaments of beaded and floral designs. The gray limestone with a magnificent, naturally grown, smooth patina.Provenance: French trade, acquired from a French private collection built between ca. 1980 and 2012. Condition: Good condition, commensurate with age. Extensive wear, losses, small nicks, light scratches, a minor surface crack with associated old fill (only visible under strong blue light), signs of weathering and erosion, encrustations.Weight: 29 kg (incl. stand) Dimensions: Height 60 cm (excl. stand) and 64 cm (incl. stand)Mounted on an associated stand. (2)The 5th-century Gupta influence on Tang Buddhist sculpture is manifest in the sensuously rounded body of the present lot, together with the diaphanous robes and jewelry.Literature comparison: This statue is related to some of the larger figures from Longmen, such as the standing bodhisattva in a similar pose, with U-shaped drapery folds and roll of material at the waist, illustrated in Longmen Liusan Diaoxiang Ji (The Lost Statues of the Longmen Caves), Shanghai, 1993, p. 71, no. 78. Compare with a similar stone figure of a bodhisattva illustrated by O. Siren, Kinas Kunst Under Tre Artusenden, vol. 2, Stockholm, 1943, fig. 73A. Compare also a related sandstone figure from Tianlongshan, Shanxi Province, 101.6 cm high, dated approx. 700-750, in the Asian Art Museum of San Francisco, object number B60S6+. For a related figure in white marble with more elaborate realization of the drapery and with one foot placed slightly forward, see the figure from Longyenshan, Hebei, illustrated by W. Willetts, Foundations of Chinese Art, London, 1965, p. 222, fig. 139.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 1999, lot 162 Price: USD 134,500 or approx. EUR 218,000 converted and adjusted for inflation at the time of writing Description: A rare well-carved gray stone torso of a bodhisattva, Tang dynasty, early 8th centuryExpert remark: Compare the closely related pose, drapery, and folds. Note the similar size (63.5 cm). Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 1999, lot 161 Price: USD 36,800 or approx. EUR 59,500 converted and adjusted for inflation at the time of writing Description: A rare dark gray stone torso of a bodhisattva, Tang dynasty, circa 700, from the Longmen cavesExpert remark: Compare the closely related pose and color of the stone. Note the similar size (54.6 cm).唐代石灰石立姿菩薩殘軀中國，八世紀初。優雅身姿，三曲式，外衣輕薄而貼身，飾有精美的珠寶，如串珠和葉狀項鍊以及花卉紋的吊飾。順著身體結構起伏，雙腿輪廓隱約可見，褶皺線條流暢。灰色石灰石，自然包漿光滑。 來源：法國古玩交易，來自一個建立於1980-2012年之間的法國私人收藏。 品相：品相良好，大面積磨損、缺損、小劃痕、輕微的表面裂紋和相關的填充物（僅在強藍光下可見）、風化和侵蝕、結殼。 重量：29 公斤 (含底座) 尺寸：高 60 厘米 (不含底座) ，64 厘米 (含底座) 配置支架。(2) 五世紀古普塔對唐朝佛教雕塑的影響體現在本拍品圓潤的身體，以及透明的長袍和珠寶上。 文獻比較： This statue is 一件相近的龍門石窟立姿菩薩像，有相似的姿勢，長袍衣服U 形褶皺和腰帶，見《龍門流散雕像集》，上海，1993年，頁71，編號78。比較一件相似的菩薩石像，見《O. Siren，Kinas Kunst Under Tre Artusenden》，卷2，斯德哥爾摩，1943年，圖73A。比較一件相近的約700-750年山西天龍山砂岩石像，101.6 厘米高，收藏於舊金山亞洲藝術博物館，館藏編號B60S6+。一件相近的河北白大理石像 ，見W. Willetts，《Foundations of Chinese Art》，倫敦，1965年，頁222，圖139。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，1999年3月22日，lot 162 價格：USD 134,500（相當於今日EUR 218,000） 描述：八世紀初期唐代灰岩菩薩殘軀 專家評論：比較非常相近的姿勢、布料和衣摺。請注意相似的尺寸(63.5 厘米)。
Lot 319
A GRAYISH-GREEN JADE DISC, BI, WARRING STATES TO HAN DYNASTYChina, c. 3rd century BC. Of circular section centered with an aperture, each side carved with a dense network of raised comma spirals within a diamond grit, the inner and outer edges with line borders. The translucent stone of a pale green tone interspersed with cloudy white inclusions and dark specks.Provenance: Charles M. Blackmon, South Carolina, USA. A notable institution in the Southern United States, gifted from the above in 1963. The inner ring with a museum accession number '63.6.5 a' and an old label. Charles Mason Blackmon was a collector of Asian art. Following his graduation from Harvard University in 1934, Charles' interest in Asian culture grew when he was stationed in Southern China during World War II. His approach to collecting was thorough, as he believed that “determination in finding various objects and a knowledge of them” were important to building a well-rounded collection. Beginning in 1961, Charles became involved with several notable institutions, and over the years loaned some of his most important pieces to museum collections. Condition: Good condition with expected old wear, few minuscule chips and nicks to the inner and outer rim, and minor calcifications.Weight: 92.7 g Dimensions: Diameter 11.2 cmAuction result comparison:Type: Closely related Auction: Christie's New York, 20 September 2013, lot 1730 Price: USD 11,250 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing Description: A greyish-green jade bi, Warring States period/Han dynasty, circa 3rd century BC Expert remark: Compare the closely related form and decoration with similar comma spirals within a grid pattern. Note the different size (13.8 cm) and similarity of the stone.戰國至漢代青玉穀紋璧中國，公元前約三世紀。青玉，呈扁圓形，中間有一圓孔。內外廓各飾弦紋一周，中間滿飾谷紋。青白玉，白色絮狀物以及局部有黑斑。 來源：美國南卡羅林娜州Charles M. Blackmon收藏；一個美國南部知名機構1963年受贈。木底座上有收藏編號“69.6.5 a” 及一個小標籤。Charles Mason Blackmon是一位亞洲藝術收藏家。1934年從哈佛大學畢業後，他在二戰期間駐紮在中國南方，對亞洲文化的興趣與日俱增。他認為“收藏各種物品的決心和對它們的了解”對於建立一個全面的收藏很重要。1961 年開始，查爾斯與幾個著名機構接觸密切。多年來，他一直將一些最重要的藏品借給博物館展出。 品相：狀況良好，有預期的舊磨損，內外邊緣有輕微小缺口和刻痕，以及輕微的鈣化。 重量：92.7 克 尺寸：直徑11.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年9月20日，lot 1730 價格：USD 11,250（相當於今日EUR 14,000） 描述：戰國至漢代青玉穀紋璧 專家評論：比較非常相近的外型和相似的谷紋裝飾。請注意尺寸不同 (13.8厘米) 和玉石相似性。
Lot 694
A WOOD RELIEF OF A DANCING DEITY, KERALA, SOUTH INDIA, 18TH TO EARLY 19TH CENTURYRichly carved and reticulated with a dancing male deity, his right hand raised above the head holding a sword, the left arm wrapped around a hoop, dressed in a dhoti and finely embellished with beaded and floral jewelry, a richly adorned scarf at the shoulders, the face with bulging eyes below arched eyebrows centered by an urna, a bushy mustache, and surmounted by a floral crown, flanked by a dancing male and female attendant, each adorned with fine jewelry, and in the top right with a vyala next to a parasol. Provenance: Jeremy Knowles Ltd., London, United Kingdom, 2006. A British private collection, acquired from the above. A copy of the original invoice from Jeremy Knowles, dated 2 April 2006, describing the piece as a wooden chariot panel, and dating it from the late 18th to the early 19th century, accompanies this lot. Jeremy Knowles has been dealing with Indian and Asian works of art for over 25 years, specializing in fine and decorative sculpture and paintings. After working as a specialist in the Indian and Southeast Asian department of Spink and Son Ltd., he established his own business in 1993. He has previously exhibited at Asian Art in London, the Arts of Pacific Asia show in New York, and the Brussels Oriental Art Fair. Condition: Commensurate with age, with obvious losses, expected age cracks, chips, scratches, splits, warping, wormholes, extensive wear, signs of weathering, and old repairs with remnants of adhesive, but overall displaying extraordinarily well.Weight: 15.5 kg Dimensions: Height 58.4 cm (excl. base), 61 cm (incl. base)Wooden architecture is especially prevalent in Kerala, and ancient wooden prototypes are considered the forerunners of stone temple architecture. However, due to the perishable nature of the material and the tropical climate, only a few early examples have survived.A vyala is a mythical beast with the body of a lion and a horned, chimeric head. These figures are among the most common features of Indian temple architecture and usually act as brackets, set into the recesses of the exterior walls, typically supporting overhanging cornices. The composite figure of a lion and a mythical head is a symbol of both royalty and the force of nature, and their placement within temple architecture often serves as an element of protection.Literature comparison:Compare a related wooden temple cart of Shiva as Bhikshatana, 19th century, in the British Museum, museum number 1997,0127.4. Compare a related wooden panel of Shiva as Virabharda, 19th-20th century, in the British Museum, museum number 1997,0127.5. Compare a related wooden bracket of a mythical beast, 17th-18th century, in the British Museum, museum number 1960,0225.1. Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 19 November 1997, lot 53Price: NLG 9,226 or approx. EUR 7,800 converted and adjusted for inflation at the time of writingDescription: A South Indian Wood Architectural Ornament depicting Mohini trying to tempt the Rishis, 18th/19th CenturyExpert remark: Compare the related carving work and fine details. Note the similar size (58.5 cm).Auction result comparison:Type: RelatedAuction: Sotheby's New York, 19 March 2016, lot 1317Price: USD 27,500 or approx. EUR 32,500 converted and adjusted for inflation at the time of writingDescription: A carved wood standing demon, South India, Kerala, ca. 17th centuryExpert remark: Compare the related carving work and fine details. Note the much larger size (87 cm).
Lot 584
A CYLINDRICAL PUDDINGSTONE SNUFF BOTTLE, 18TH-19TH CENTURYChina. The elegant yet traditional 'Rouleau' form is supported on a circular foot ring and rises to a short straight neck with a flat rim. The opaque, greyish-brown matrix highlighted with large patches of dark chocolate- and reddish-brown veins.Inscriptions: The spoon inscribed in Japanese, 'Number 33 Yoneda'.Provenance: From a private collection in South California, USA. Acquired by the previous owner's stepfather while stationed in Tianjin, China, in the 1920s, and thence by descent in the same family. The base with an old collector's number, '79'. Condition: Very good condition, few tiny nibbles to the rim and foot. The stone with natural fissures.Stopper: Hardstone, stained bone spoon with inscriptionsWeight: 62.1 gDimensions: Height including stopper 86 mm. Diameter neck 12 mm and mouth 5 mmThis simple form may well reflect the deliberate choice of the artist to tame the busy pattern of the material. Similar snuff bottles have the palace-style upper neck rim and tapering form that suggest this type of puddingstone might have been carved at and for the court. A further link between this cylindrical form and the court is to be found in a series of cylindrical glass bottles, many of imperial color and attributable to the court (see, for instance, the ruby glass example in Au Hang 1993, no. 11, which is very similar in shape to this example). Others are known in white nephrite of exactly this form, (see, for instance, Au Hang 1993, no. 99). The existence of a range of different materials in identical form alerts one, as always, to the possibility of an imperial source.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 31 May 2015, lot 33Price: HKD 162,500 or approx. EUR 23,000 converted and adjusted for inflation at the time of writingDescription: A cylindrical puddingstone snuff bottle, Qing dynasty, 18th / 19th centuryExpert remark: Compare the related form and material. Note the size (56 mm).十八至十九世紀抱子石鼻煙壺中國 。圓柱體，直頸，口部略微外撇。此煙壺造型簡潔，變化不一的鵝卵石紋，意態自然，渾然天成。 款識：壺勺上刻著日文 '卅三米田' 來源：美國加利福尼亞私人收藏。之前的藏家的繼父曾於上世紀二十年代在中國天津駐留，在同一家族保存。底部有舊藏家標籤 '79'。 品相：狀況極好，邊緣和足部有輕微磕損，石料有天然裂縫。 壺蓋：硬石，石勺 重量：62.1 克 尺寸：含蓋高86 毫米. 頸部直徑12 毫米 ，壺口直徑5 毫米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2015年5月31日，lot 33 價格：HKD 162,500（相當於今日EUR 23,000） 描述：清十八 / 十九世紀抱子石光素鼻煙壺 專家評論：比較相近的外形和材質。請注意尺寸 (56 毫米)。
Lot 309
A GREEN JADE CEREMONIAL BLADE, NEOLITHIC PERIODChina, 3rd millennium BC. Of trapezoidal form with a straight upper edge and beveled lower edge, drilled with three apertures along the upper edge. The translucent stone of a pale green tone with grayish-white and brown shadings and cloudy inclusions.Provenance: From the estate of Ivar Bjoernberg. One side with an old label, '10'. Ivar Bjoernberg (1934-2021) was a noted art director from Stockholm, Sweden. He was friends with Victoria Lindstroem, a reputed dealer and collector of Chinese art, also based in Stockholm at the time. Bjoernberg worked at her gallery at a young age and when he eventually started his own collection, she mentored him. His collection was an academic one and it showed his keen eye, discerning taste and great passion for the aesthetics of Chinese art. Condition: Very good condition with ancient wear as well as tiny chips and nibbles which have smoothened over the centuries. Natural inclusions.Weight: 164.2 g Dimensions: Length 17.2 cmExpert's note: Jessica Rawson in Chinese Jade from the Neolithic to the Qing, British Museum, 1995, p. 184, discusses jade ceremonial blades and how they evolved from stone reaping implements.新石器時代青玉匕中國，西元前三千年。呈梯形，上緣直，下緣斜，沿上緣鑽三個孔。 淺青綠色調的半透明玉料，帶有灰白色和棕色陰影和絮狀物。 來源：知名瑞典斯德哥爾摩藝術經銷商Ivar Bjoernberg (1934-2021)舊藏，一面有舊標籤“10”。他與著名的中國藝術品經銷商和收藏家Victoria Lindstroem是好友，後者當時也居住在斯德哥爾摩。Bjoernberg 年輕時在她的畫廊工作，當他最終開始自己的收藏時，她給了他很多建議。他的收藏是學術性的，顯示了他敏銳的眼光、挑剔的品味和對中國藝術美學的極大熱情。 品相：狀況極好，有磨損以及經過幾個世紀磨平的細小磕損。 天然內沁。 重量：164.2 克 尺寸：長17.2 厘米
Lot 29
A PALE CELADON JADE 'FISH' PENDANT, LATE SHANG TO WESTERN ZHOU DYNASTYChina, 1300-771 BC. Of flattened form, carved as a curved fish with rounded eyes, the long dorsal fin rising along the spine and two smaller fins extending from the belly, the mouth and tail pierced with a circular aperture for suspension. The semi-translucent stone of a pale celadon tone with areas of white calcification.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. E.3.21A-H. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Very good condition with expected old wear, weathering and small nibbles.Weight: 11.4 g Dimensions: Length 8.2 cmLiterature comparison:Compare a related jade pendant of a fish, late Shang dynasty, 6.2 cm, in the Smithsonian Museum, accession number S1987.473. Also compare a related jade pendant of a fish, late Shang dynasty, 5.9 cm, in the Smithsonian Museum, accession number S1987.634.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 10 September 2019, lot 37Price: USD 17,500 or approx. EUR 19,500 converted and adjusted for inflation at the time of writingDescription: A calcified jade 'fish' pendant, Shang - Western Zhou dynastyExpert remark: Compare the related form, motif, similar color of the jade, and size (8.8 cm)Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 30 November 2020, lot 2772Price: HKD 250,000 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A jade fish-form pendant, Western Zhou dynastyExpert remark: Compare the related form, motif, and size (9 cm). Note the different color of the stone.商末至西周青白玉魚形佩飾中國，公元前1300-771 年。青白色玉，作一魚，首尾皆向下彎，似呈珮璜之形。圓眼，近魚嘴處和魚尾鑽一小孔用以穿繩繫掛。紋飾簡單而渾樸古趣。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號E.3.21A-H。吳權(1910-1997)博士曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。 品相：狀況極好，有磨損、風化和小磕損。 重量：11.4 克 尺寸：長 8.2 厘米
Lot 585
A PUDDINGSTONE SNUFF BOTTLE, QING DYNASTYPublished: Bob Stevens, The Collector's Book of Snuff Bottles, Weatherhill, 1976, pages 166-167, no. 620.China, 1750-1850. Of rounded rectangular form, supported on a short oval foot ring, surmounted by a cylindrical neck with flat rim. The opaque stone of a gray color suffused primarily with ovoid pebbles of olive, ochre, brown, and russet. Provenance: British trade. An inventory number' 037/0401' lacquered to the base. Condition: Very good condition with minor wear, few small nibbles to edges, a minuscule nick to the lip, light surface scratches, the stopper with minuscule nicks and light scratches. The stone with a natural fissure.Stopper: Rose quartz. Note that the stopper has been replaced since the publication of the bottle in the Stevens book.Weight: 78.4 gDimensions: Height incl. stopper 63 mm, Diameter neck 19 mm and mouth 8 mmPuddingstone is the general term for a conglomerate of sedimentary flint pebbles in a matrix of chert - both part of the quartz family. Bottles carved from this striking material come in a wide variety of colors, textures, sizes, and shapes. The stone's appearance is not dissimilar to plum pudding, from which it derives its name. The variation in size of the pebbles sets up an attractive counterpoint to the beige matrix, and the combination of shapes and sizes creates a strong design that compliments the simple and tactile form. Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 25 November 2013, lot 87Price: HKD 62,500 or approx. EUR 9,500 converted and adjusted for inflation at the time of writingDescription: A puddingstone snuff bottle, Qing dynasty, late 18th/19th centuryExpert remark: Compare the related form and color of the stone. Note the size (77 mm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 13 September 2017, lot 235Price: USD 11,250 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: A puddingstone snuff bottle, 1760-1850Expert remark: Compare the related form, color of the stone, and size (66 mm). Note the mask ring handles.清代抱子石鼻烟壺中國，1750-1850年。扁平長方，圓角，直頸，圈足。質地細潤，打磨光滑，褐、白、黑等色穿插，通體光素，未施琢任何紋飾，純以石質本身天然紋理取勝。出版：Bob Stevens，The Collectors Book of Snuff Bottles，Weatherhill，1976年，第166-167頁，圖620。來源：英國古玩交易，底部漆字收藏編號 '037/0401'。 品相：狀況極好，有輕微磨損，邊緣輕微磕損，表面有輕微划痕，壺蓋上有微小划痕。石料有天然裂紋。 壺蓋：粉紅石英。請注意，比較出版目錄，壺蓋曾經被更換過。 重量：78.4 克 尺寸：含壺蓋高63 毫米，頸部直徑19 毫米 ，壺口直徑8 毫米 抱子石，也稱布丁石，是在燧石基質中沉積燧石卵石的總稱——是石英家族的一種。用這種引人注目的材料雕刻而成的瓶子有多種顏色、紋理、尺寸和形狀，外觀與佈丁十分相像，因此得名。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2013年11月25日，lot 87 價格：HKD 62,500（相當於今日EUR 9,500） 描述：清十八世紀末 / 十九世紀初抱子石鼻煙壺 專家評論：比較相近的外型和石色。請注意尺寸(77 毫米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2017年9月13日，lot 235 價格：USD 11,250（相當於今日EUR 13,000） 描述：1760-1850年礫岩鋪首啣環耳鼻煙壺 專家評論：比較相近的外形、石色和尺寸 (66 毫米)。請注意輔首啣環耳。
Lot 581
A 'DEER AND HORSE' CARNELIAN SNUFF BOTTLE, QING DYNASTYChina, 19th century. Well carved from a pebble in high relief to depict to one side a spotted stag with its head raised toward the pine tree above, and to the other, a horse with one leg raised and tethered to a pine tree. The smoothly polished translucent stone is of a spectacular deep-red color with darker shadings cleverly utilized by the lapidary to highlight certain aspects of the scene.Provenance: Richwood Fine Art, Wigan, United Kingdom. From a private collection in Pennsylvania, USA, acquired from the above. The collection was assembled over a period of 30 years, specializing primarily in glass and hardstone snuff bottles. Richwood Fine Art is an English company run by Keith Richards and Ken Hailwood, offering an eclectic range of paintings, works of art, antiques, and antiquities, with over 40 years of collective experience. Condition: Very good condition with minor wear, microscopic nicks, the stone with natural fissures, some of which have developed into small hairline cracks over time.Stopper: Coral Weight: 35.7 g Dimensions: Height incl. stopper 60 mm. Diameter mouth 4 mmA horse tethered to a post forms a common rebus which expresses a wish for speedy promotion for young candidates. It was a popular subject found on Official School bottles of the late 18th/early 19th century. For a further discussion of this subject, see H. Moss, V. Graham, and K. B. Tsang, The Art of the Chinese Snuff Bottle: The J & J. Collection, New York, 1993, no. 151, and H. Moss, V. Graham, K. B. Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol. 2, Quartz, Hong Kong, 1998, nos. 302-4.The combination of a deer and horse is evocative of the phrase 'zhi luweima', meaning to point at a deer and call it a horse. The Records of the Grand Historian tell a story where the powerful eunuch and chancellor Zhao Gao (d. 207 BC), in an attempt to control the Qin government, devised a loyalty test for court officials using a deer and horse: “Zhao Gao was contemplating treason but was afraid the other officials would not heed his commands, so he decided to test them first. He brought a deer and presented it to the Emperor but called it a horse. The Emperor laughed and said, "Is the chancellor perhaps mistaken, calling a deer a horse?" Then the Emperor questioned those around him. Some remained silent, while some, hoping to ingratiate themselves with Zhao Gao, said it was a horse, and others said it was a deer. Zhao Gao secretly arranged for all those who said it was a deer to be brought before the law and had them executed instantly. Thereafter the officials were all terrified of Zhao Gao. Zhao Gao gained military power as a result of that.” (tr. Watson 1993:70)Auction result comparison: Type: Related Auction: Bonhams San Francisco, 25 June 2014, lot 6153 Price: USD 2,750 or approx. EUR 3,300 converted and adjusted for inflation at the time of writing Description: A Carved Carnelian Snuff BottleExpert remark: Compare the related material, deep carving, and color of the stone清代紅玉髓“鹿與馬”鼻煙壺中國，十九世紀。紅玉髓山子高浮雕，一面為一隻站在松樹下的鹿，它的頭朝上抬起；另一面為一匹拴在樹下的馬，單腿抬起。光滑拋光的半透明石頭呈深紅色，寶石匠巧妙地利用深色陰影來突出場景。 來源：英國Richwood Fine Art藝廊；美國賓夕法尼亞私人收藏，購於上述藝廊。這個收藏三十多年前建立，專注於收藏料器和硬石鼻煙壺。Richwood Fine Art 是一家由 Keith Richards 和 Ken Hailwood 經營的英國藝廊，提供繪畫、藝術品和古董，擁有超過 40 年的收藏經驗。 品相：狀況極好，有輕微磨損、劃痕，石頭有天然裂縫，隨著時間的推移，其中一些已經發展成髮絲般的細小裂紋。 壺蓋：珊瑚 重量：35.7 克 尺寸：含壺蓋高 60 毫米，壺口直徑4 毫米 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2014年6月25日，lot 6153 價格：USD 2,750（相當於今日EUR 3,300） 描述：紅玉髓鼻煙壺 專家評論：比較相近的材質、深刻和石色。
Lot 576
AN APPLE- AND EMERALD-GREEN JADEITE SNUFF BOTTLE, 18TH-19TH CENTURYChina, 18th-19th century. Well hollowed, of flattened globular form, supported on a flat oval foot and rising to a broad cylindrical neck with a slightly concave lip and small mouth. The translucent stone is of a magnificent apple-green color with distinct veins of intense emerald-green, as well as scattered icy inclusions. Provenance: From an old private collection in the United Kingdom, acquired in Shanghai and Hong Kong from the 1930s onwards, and thence by descent. Condition: Excellent condition with minor wear. Natural inclusions and fissures.Stopper: Coral, neatly carved with chilong in high relief, silver collar Weight: 85.7 g Dimensions: Height incl. stopper 60 mm. Diameter neck 17 mm and mouth 5 mmAuction result comparison: Type: Closely related Auction: Christie's New York, 16 September 2015, lot 253 Price: USD 6,250 or approx. EUR 7,500 converted and adjusted for inflation at the time of writing Description: A Translucent Mottled Pale and Moss-Green Jadeite Snuff Bottle, 1800-1900Expert remark: Compare the related form and color of the jade. Note the size (5.7 cm).十八至十九世紀翡翠素面鼻煙壺中國，十八至十九世紀。掏膛良好，壺直口，豐肩，扁腹，腹下漸收，平底。天然翡翠，壺身線條勻稱，造形簡練，通體不加任何雕飾，發色幽碧。 來源：英國私人收藏，上世紀三十年代在上海和香港購置，保存至今。 品相：狀況極佳，輕微磨損。天然内沁。 壺蓋：珊瑚雕刻螭龍紋，銀托片 重量：85.7 克 尺寸：含壺蓋高60 毫米. 頸部直徑17 毫米 ，壺口直徑5 毫米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年9月16日，lot 253 價格：USD 6,250（相當於今日EUR 7,500） 描述：1800-1900年翠玉光素鼻煙壺 專家評論：比較相近的外形和玉石顏色。請注意尺寸(5.7 厘米)。
Lot 669
A BACTRIAN STONE WEIGHT, CIRCA LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, p. 46, no. 43.Oxus Civilization. Of high domed form supported on a slightly rounded base, perforated for suspension at the top, the holes converging in a V-shape. The weight carved from chloritic breccia with calcitic inclusions.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, by repute acquired from the above for EUR 13,000 (invoice lost). Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Excellent condition, commensurate with age. Extensive wear, minor nicks, light scratches, natural fissures, signs of weathering and erosion, and few structural cracks.Weight: 9.3 kg Dimensions: Height 21.2 cmAuction result comparison: Type: Closely related Auction: Sotheby's New York, 6 December 2006, lot 175 Price: USD 13,200 or approx. EUR 19,000 converted and adjusted for inflation at the time of writing Description: Two Bactrian stone weights, circa late 3rd/early 2nd millennium BC Expert remark: Compare the closely related high domed form and suspension holes. Note this lot comprises two stone weights, heights 22.9 and 30 cm.Auction result comparison: Type: Closely related Auction: Christie's New York, 9 December 2015, lot 98 Price: USD 10,000 or approx. EUR 12,000 converted and adjusted for inflation at the time of writing Description: Two Bactrian stone weights, circa late 3rd-early 2nd millennium BC Expert remark: Compare the closely related high domed form, suspension holes, and size (21.6 cm). Note this lot comprises two stone weights.
Lot 47
A WHITE AND BROWN JADE 'LOTUS, CRAB AND MILLET' BRUSH WASHER AND MATCHING WOOD STAND, 18TH CENTURYChina. Exquisitely carved as a furled lotus leaf, finely detailed with veins, the curled stem serving as the foot and handle of the vessel, one side carved with a clambering crab. The superbly polished translucent stone of a pure white tone with pale sugar brown shadings and few russet inclusions and veins.Provenance: An old English private collection. A Hungarian private collection, acquired from the above. Condition: Very good condition with minor wear and few tiny nibbles. The stone with natural fissures, some of which have developed into small hairline cracks over time. The wood stand with minor wear, few expected age cracks, and small losses.Weight: 203.7 g (the washer) and 84.2 g (the stand) Dimensions: Length 11 cmThe matching wood stand, probably huali, lacquered and finely carved in openwork as two lotus leaves borne on curled stems further issuing lotus pods and millet stalks. (2)This brush washer is an exceptional example of the level of carving achieved by craftsmen in the 18th century. From the exquisitely detailed veins of the lotus leaf and modeling of the crab, to the fluid naturalistic form of the leaf, the carving has been expertly positioned and composed within the pebble to ensure minimal wastage and the clever incorporation of the brown portion of the stone to highlight the crab and stem.Lotus-leaf brush washers and water droppers were popular from the Ming dynasty, and were produced in various materials including porcelain, agate, bronze and jade. Such vessels are an example of the ideal natural world that was miniaturized and brought into the scholar's studio. These perfect representations of nature, which encompassed a range of objects including boulder carvings, brush pots and brush washers, proved a means of inspiration and escape for the scholar who was caught in the day-to-day duties of officialdom. An old name in Chinese for crab was jia, a reference to the creature's shell, and the word for lotus is lian.Such scenes were also imbued with auspicious meaning. Together, the crab and lotus formed the rebus lian ke jia di, meaning 'first place in consecutive examinations'. The lotus is also called hehua, and the common name for crab, xie, also combines to form the phrase hexia which means 'harmony'.Expert's note: It is rare to find a brush washer in white and brown jade, as this combination of colors was usually reserved for figural jades. The lapidary has masterfully utilized the different shades of the stone and polished it to a high translucency to further heighten the awe-inspiring effect, and even added a matching stand which strikingly complements the depiction, altogether leaving no doubt that the present lot was made during the 18th century. Literature comparison: Compare a related jade “cup” carved as a lotus leaf surmounted by a crab, dated to the Kangxi period, in the Cleveland Museum of Art, accession number 1952.501.十八世紀白玉褐斑蓮葉筆洗中國。筆洗成捲曲荷葉形，葉紋清晰，卷莖為器足和柄，一側刻有小蟹。表面光滑，呈純白色，帶有淺棕色斑紋和少量赤褐色絮狀物及紋理。 來源：英國私人舊藏；匈牙利私人收藏購於上述收藏。 品相：品相極好，有輕微磨損，具有天然裂隙的石料，隨著時間的推移，其中一些已經發展成細小的裂紋。木架有輕微磨損，輕微老化裂縫，小缺損。 重量：203.7 克 (筆洗)，84.2克 (底座) 尺寸：長11 厘米 配套的木架，可能是花梨木，上漆並精美鏤空，兩片荷葉承載在捲曲的莖上，其間可見蓮藕和花苞(2)
Lot 301
A SHADOW AGATE 'SCHOLAR' PENDANT, CHINA, 1750-1850Of teardrop form, finely carved utilizing the dark areas of the stone to depict a scholar resting under a pine and playing with his beard, with a wasp perched on the low hanging branch, the reverse with rockwork. The translucent stone is of a misty-gray tone with dark brown patches. Provenance: British trade. By repute previously in an old private estate. Condition: Very good condition with minor wear, microscopic nicks here and there.Weight: 23.1 g Dimensions: Length 3.9 cmThe wasp is considered a symbol of wisdom in China, and can be translated as 'granting a title'. Together with a scholar, it may represent a wish for promotion.Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 30 May 2018, lot 3152Price: HKD 200,000 or approx. EUR 26,500 converted and adjusted for inflation at the time of writingDescription: A carved shadow agate 'parrot' pendant, Qing dynasty, 18th centuryExpert remark: Compare the related form and color of the stone. Note the size (5 cm).1750-1850年影子瑪瑙文人佩水滴形，利用瑪瑙深色區域精雕細刻，描繪了一位文人在松樹下休息，摸著鬍鬚，一隻蜜蜂棲息在低垂的樹枝上，反面是假山。半透明的石料呈霧灰色調，帶有深棕色斑塊。 來源：英國古玩交易，據説購於私人舊藏。 品相：狀況非常好，有輕微磨損，很多微小的刻痕。 重量：23.1 克 尺寸：長 3.9 厘米 蜜蜂在中國被認為是智慧的象徵，可譯為“封侯”。 與文人一起，代表升遷的願望。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2018年5月30日，lot 3152 價格：HKD 200,000（相當於今日EUR 26,500） 描述：清十八世紀瑪瑙巧雕珮 專家評論：比較相近的外形和玉石顏色。請注意尺寸(5 厘米)。
Lot 651
A RARE BRONZE LION BELL TERMINAL, EASTERN JAVANESE PERIOD, 12TH CENTURYA finely cast bronze figure of a lion, almost certainly the upper portion of an important ritual temple bell, and part of a rather small corpus of surviving Javanese bronzes depicting the powerful feline. The gazing eyes outlined below folds of skins, ears of spade-form, mane with three stylized rows of curls, the figure standing erect above a primitive lotus-form base, with claws unsheathed and ready to strike.Provenance: The Marcel Marnat Collection, Paris, France. A collector in Chicago, USA, acquired from the above. Marcel Marnat (b. 1933) is a French musicologist, journalist, and radio producer. He has written books about Maurice Ravel, Joseph Haydn, Igor Stravinsky, Antonio Vivaldi, and Giacomo Puccini, and published articles on Modest Mussorgsky, Michelangelo, D. H. Lawrence, Paul Klee, and Ludwig van Beethoven. His book on Giacomo Puccini was honored by the Academie des Beaux-Arts and received the prix Pelleas as well as a prize for a musical biography of the SACEM at the Deauville book festival. He was an assiduous visitor to Hôtel Drouot for a long time and has built an eclectic collection including Southeast Asian and Indian works of art.Condition: Very good condition, commensurate with age. Extensive wear, minor losses and nicks, shallow surface scratches, expected casting flaws, signs of weathering and erosion, and encrustations. Superb, naturally grown patina.Weight: 1,127 gDimensions: Height 16.5 cm (excl. stand) and 21.7 cm (incl. stand)Mounted on a modern stand. (2)Javanese bronze images of lions are rare, but thankfully several large stone guardians remain scattered across ancient temple sites, such as the pair at the eastern staircase in Borobudur. These ancient stone guardians give us important clues for stylistic dating comparisons. The rarity of bronze lions probably stems from the fact that images of lions in Java were likely imported from Sri Lanka when Gunadharma, the great 9th-century architect, designed Borobudur for King Samaratungga of the Sailendra Dynasty. The depiction of these lions follows a clear evolution from the early examples at the palace of King Ashurnasirpal II in Assyria to the pair carved two millennia later at Yapahuwa Castle in Sri Lanka.Expert's note: The bronze has an attractive, deep patina that is characteristic of early Javanese metal works exposed to the tropical climate of Indonesia for many centuries.Literature comparison: Compare a closely related demon-form top of a bell, 12.5 cm high, also dated to the Eastern Javanese period, ca. second half of the 12th to early 13th century, in the Metropolitan Museum of Art, accession numbers 1987.142.17. Compare a closely related demon-form top of a bell, 11.8 cm high, also dated to the Eastern Javanese period, 14th century, in the Metropolitan Museum of Art, accession number 1982.460.2. For an in-depth discussion and comparison of the iconography of guardian lions across Asia through the ages, see Masatoshi Iguchi, Java Essay: The History and Culture of a Southern Country, Leicester, 2015.Auction result comparison:Type: Closely relatedAuction: Christie's Amsterdam, 2 December 2002, lot 173Price: EUR 7,768 or approx. EUR 12,000 adjusted for inflation at the time of writingDescription: A Javanese bronze temple bell, 13th/14th centuryExpert remark: This comparable confirms that the size of the present lot is within the appropriate range for a bell-handle element. Compare also the similarities in both the patina and the archaic pointed lotus petal-form base surrounding the figures.Auction result comparison:Type: Remotely relatedAuction: Christie's London, 25 October 2007, lot 198Price: GBP 11,875 or approx. EUR 20,000 converted and adjusted for inflation at the time of writingDescription: A bronze lion terminal, probably India, 14th centuryExpert remark: A similar type of rampant lion-form bronze handle. By comparison, the Javanese example can be viewed as a stand-alone object, and not primarily as a fragment, and is much more desirable in that regard. Seeing similar objects from other regions also further solidifies the iconographic power that the lion held across ancient cultures as discussed by Masatoshi Iguchi.
Lot 325
A WHITE JADE WEIGHT OF A BUDDHIST LION WITH CUB, 17TH CENTURYChina. Depicting a very interactive scene between a recumbent Buddhist lion mother and its cub, the lion carved with its legs tucked beneath, the head facing backwards towards its cub, the faces expressively carved. Their bushy eyebrows, tails, backbones, manes, and features are all finely detailed. The translucent stone of a fine white tone with cloudy inclusions, hues of pale celadon, and faint russet accents.Provenance: British trade. Condition: Very good condition with minor wear, minuscule nibbling, the stone with natural fissures.Weight: 197.7 g Dimensions: Length 7.8 cm Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 29 November 2017, lot 3062Price: HKD 125,000 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A white jade 'Buddhist lion and cub' carving, late Ming-early Qing dynasty, 17th centuryExpert remark: Compare the closely related motif, incision work, and size (8.5 cm).Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 1 June 2016, lot 3369Price: HKD 187,500 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A celadon and russet jade 'lion and cub' group, Kangxi period (1662-1722)Expert remark: Compare the closely related motif and fine incision work. Note the size (10.2 cm).十七世紀白玉太獅少獅鎮紙中國。白玉雕琢，太獅臥於地上，少獅倚其懷中。太獅面部口微張，雙目瞪圓，威中帶有暖意；少獅四爪張開，一副攀爬姿態，活潑可愛。玉質油潤，雕工細膩，製作精良。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損，微小的磕損，帶有天然裂縫的玉料。 重量：197.7 克 尺寸：長 7.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年11月29日，lot 3062 價格：HKD 125,000（相當於今日EUR 16,500） 描述：明末/清初白玉太獅少獅擺件 專家評論：比較非常相近的主題、雕刻和尺寸(8.5 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2016年6月1日，lot 3369 價格：HKD 187,500（相當於今日EUR 25,500） 描述：清康熙青白玉太獅少獅把件 專家評論：比較非常相近的主題、雕刻。請注意尺寸 (10.2 厘米)。
Lot 59
A WHITE JADE 'BAT' SNUFF BOTTLE, 1730-1850China. Well hollowed, carved in the form of a bat, each side with a face, incised with bulging eyes above a protruding snout, the body flanked by wings curling along the body and forming the foot of the bottle. The translucent stone of a beautiful white color with scattered icy inclusions.Provenance: From a private collection in Pennsylvania, USA. The collection was assembled over a period of 30 years specializing primarily in glass, jade and hardstone snuff bottles. Condition: Very good condition with minor wear and few minuscule nibbles here and there.Stopper: Coral with gilt metal collar, metal spoonWeight: 77.3 gDimensions: Height including stopper 58 mm. Diameter mouth 5 mmLiterature comparison: This rare bat-form bottle seems to fit into the group of superbly carved, very well hollowed animal-form bottles represented by related bottles from the Bloch collection, sold at Bonhams Hong Kong, 28 May 2010, lot 19, 23 November 2010, lot 113, and 25 May 2011, lot 118. The material is rather similar, as are the quality of the carving, degree of hollowing, soft matte polish, and the fact that the mouth of the bottle is drilled straight through the detailing of the bat's mouth.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 26 May 2013, lot 156Price: HKD 100,000 or approx. EUR 15,500 converted and adjusted for inflation at the time of writingDescription: A white jade 'bat' snuff bottle, Qing dynasty, mid-18th / mid-19th centuryExpert remark: Compare the closely related form, the color of the jade, and size (57 mm)1730-1850年白玉蝙蝠鼻煙壺中國。掏膛良好。雕刻成蝙蝠狀，展翅抱壺，蝙蝠細節雕刻精緻，兩耳及雙眼清晰可辨。美麗的白色半透明玉料，含有白色絮狀物。 來源：美國賓夕法尼亞私人收藏。這個收藏以琉璃、玉與硬石鼻煙壺爲主，已歷經三十多年。 品相：狀況極好，有輕微磨損和一些微小的磕損。 壺蓋：鎏金圈鑲珊瑚，金屬勺子 重量：77.3 克 尺寸：含蓋高58 毫米，壺口直徑5 毫米 文獻比較： 此蝙蝠型鼻煙壺似乎來自一群精美雕刻、掏膛良好的動物型鼻煙壺。相似的動物型鼻煙壺，來自Bloch collection，售於香港邦瀚斯，2010年5月28日，lot 19，2010年11月23日，lot 113，以及2011年5月25日，lot 118。這些鼻煙壺的材質非常相似、雕刻精美、掏膛良好，以及柔美的霧面拋光。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2013年5月26日，lot 156 價格：HKD 100,000（相當於今日EUR 15,500） 描述：清十八世紀中葉 / 十九世紀中葉白玉「瑞蝠」鼻煙壺 專家評論：比較非常相近的外形、玉石顏色和尺寸(57 毫米)。
Lot 653
A MAJAPAHIT VOLCANIC STONE FIGURE OF NANDI, JAVA, 13TH - 15TH CENTURYThe divine bull in a recumbent pose atop a double lotus base with three feet tucked under the body and the right front leg raised with the knee bent. The head turned and the tail swept to one side, adorned with a necklace suspending a large bell, the face with almond-shaped eyes, a floral ornament to his nose ridge, and flanked by long ears.Provenance: The collection of Anacleto Spazzapan. Paolo Bertuzzi, acquired from the above. Anacleto Spazzapan (born 1943) is a noted Italian archaeologist who, after retiring, became a successful furniture designer in Italy. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Very good condition, commensurate with age. Expected losses, few chips and nicks, signs of weathering and erosion, structural cracks, and encrustations.Dimensions: Length 54 cm, Height 43.5 cmNandi is Shiva's mount and the gatekeeper of Shiva in Hindu mythology. He is seen as full of joy (nandi) in the presence of his master. An image of controlled virility and devotion, he would typically be placed in front of a Shiva temple facing a shrine.Literature comparison:Compare a related andesite statue of Parvati standing on Nandi, East Javanese period, 14th century, in the collection of the Metropolitan Museum of Art, accession number 2001.407.
Lot 667
A BACTRIAN MARBLE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCOxus Civilization. The column of waisted form flaring towards the ends, the top and base with a crescent-shaped central groove. The stone of dark brown marble with white veins, and stress lines filled with calcite.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition commensurate with age showing expected old wear and traces of use, some obvious losses, chips, natural fissures, and old fills. Smooth polish.Weight: 3,782 g Dimensions: Height 21.2 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Literature comparison: Compare a related marble column idol, described as an “incense stand (?)”, 24.8 cm high, dated ca. late 3rd to early 2nd millennium BC, in the Metropolitan Museum of Art, accession number 1992.232.8.Auction result comparison:Type: RelatedAuction: Christie's London, 12 May 2004, lot 185Price: EUR 8,365 or approx. EUR 12,500 adjusted for inflation at the time of writingDescription: A Bactrian alabaster column idol, 2nd millennium BCExpert remark: Compare the related form and size (25 cm).
Lot 340
AN EMERALD-GREEN JADEITE 'DRAGON' BELT HOOK, 19TH CENTURYChina. The top is carved as a sinuous chilong grasping a lingzhi sprig in its jaws as it crawls toward the pierced dragon-head hook, its mane neatly incised, a rounded square button carved to the reverse, and the head pierced with a small aperture. The translucent stone is of a pale apple and deep emerald-green tone with icy inclusions and dark green specks.Provenance: From an old private collection in Texas, USA. The collector has over 50 years of collecting experience, specializing in Buddhist paintings, sculptures, and ritual artifacts from Central and South Asia including India, Pakistan, Nepal, Tibet, and China. Condition: Very good condition with minor wear and minuscule nibbling.Weight: 42.9 g Dimensions: Length 8.2 cm Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 30 May 2017, lot 1856Price: HKD 40,000 or approx. EUR 5,300 converted and adjusted for inflation at the time of writingDescription: A jadeite belt hookExpert remark: Compare the closely related form, openwork carving, and color of the jade. Note the size (10 cm).Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 6 November May 2014, lot 3176Price: HKD 325,000 or approx. EUR 49,500 converted and adjusted for inflation at the time of writingDescription: A Carved Jadeite 'Dragon' Belt Hook, Late Qing DynastyExpert remark: Compare the closely related form, openwork carving, and color of the jade. Note the size (9.5 cm).十九世紀翡翠龍首螭龍紋帶鉤中國。翠色純正，泛玻璃光澤。鉤首圓雕一龍首，雙角微突，凸額，吊睛，雙頜微啟。板狀鉤身化為龍身，下突圓鈕，其上鏤雕一銜靈芝草小螭龍，毛髮後飄，曲身，抬首與大龍相對而視，呈現出“蒼龍教子”之姿態，是為“望子成龍”之寓意。下突圓鈕，其上鏤雕一銜靈芝草小螭龍，毛髮後飄，曲身，抬首與大龍相對而視，呈“蒼龍教子”之姿，是為“望子成龍”之寓意。 來源：美國德克薩斯私人舊藏。這位收藏家擁有超過五十年的收藏經驗，專長於印度、巴基斯坦、尼泊爾、西藏、中國等中亞和南亞的佛教繪畫、造像和法器。 品相：狀況非常好，有輕微磨損和刻痕。 重量：42.9 克 尺寸：長8.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年5月30日，lot 1856 價格：HKD 40,000（相當於今日EUR 5,300） 描述：翡翠龍鈎 專家評論：比較非常相近的外形、鏤空雕刻和玉石顏色。請注意尺寸(10 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2014年11月26日，lot 3176 價格：HKD 325,000（相當於今日EUR 49,500） 描述：清末翡翠龍紋帶鉤 專家評論：比較非常相近的外形、鏤空雕刻和玉石顏色。請注意尺寸(9.5 厘米)。
Lot 662
TWO BACTRIAN BANDED AGATE BEADS, LATE 3RD TO EARLY 2ND MILLENIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, p. 34, no. 30 (the smaller bead).Oxus Civilization. Comprising two agate beads of flattened lozenge form, carved to highlight the natural formations in the stone. The larger bead of a translucent quality and honey-yellow tone with fingerprints and bands of white, ochre, and amber, and areas of crystalline striations. The smaller bead also translucent and of a pale gray tone with dark brown and white bands. (2) Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition with some wear, small chips here and there, signs of weathering and erosion with associated losses, the stones with natural fissures, some of which have developed into hairline cracks over time.Weight: 112.1 g (the larger bead) and 10.3 g (the smaller bead) Dimensions: 9.3 cm (the larger bead) and 4.3 cm (the smaller bead)The Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the "Oxus civilization", apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison: Type: RelatedAuction: Christie's New York, 9 December 2008, lot 203Price: USD 8,125 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A Bactrian banded agate bead necklace, circa late 3rd-early 2nd millennium BCExpert remark: Compare the closely related lozenge form of four beads on this necklace
Lot 187
A SANDSTONE HEAD OF BUDDHA SHAKYAMUNI, MON-DVARAVATI PERIODThailand, 8th-10th century. Sensitively carved with heavy-lidded downcast eyes with incised pupils, thick ridged brows, a broad nose, elongated earlobes, and full lips forming a calm smile, the hair in snail shell curls over a high ushnisha.Provenance: Collection Monsieur M., an important French private collection. Michael Phillips, acquired from the above. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Old wear, losses, nicks, scratches, very minor old fills, signs of weathering and erosion, encrustations, structural cracks. Fine, naturally grown patina. Scientific Analysis Report: A technical examination was conducted by Podany Conservation Services. The examination report concludes: “A comparison of observed features does favor the opinion that the head fragment is not of modern origin or a forgery.” The signed examination report, dated 24 May 2021, accompanies this lot. Note that the purported date stated in the examination report is circa 9th-11th century.Weight: 3,340 g (incl. stand)Dimensions: Height 17.5 cm (excl. stand) and 25.5 cm (incl. stand)Mounted on an associated stand. (2)While there is great variation within the Mon-Dvaravati tradition, the sensitivity paid to the modeling of these facial features is in keeping with the period's focus on the purity and fluidity of form. As expressed by Jean Boisselier in The Heritage of Thai Sculpture, 1975, p. 73, “The school of Dvaravati may stand alongside the great Buddhist artistic traditions of India, so enduring were its innovations and so persuasive its influence on most of the art of Southeast Asia.”Literature comparison: Compare a closely related sandstone head of Buddha in the National Museum Bangkok, dated 8th-10th century, with nearly identical facial features.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 12 June 2018, lot 239Price: EUR 15,000 or approx. EUR 18,000 adjusted for inflation at the time of writingDescription: A stone head of Buddha Shakyamuni, Thailand, Dvaravati period, 8th-9th centuryExpert remark: Despite being a larger example (32 cm), this comparable shares very similar facial characteristics with the current lot, including a flattened down-turned nose, a joined brow, pointed helices of the ears, and a lower lip equal or greater in size to that of the upper.Auction result comparison:Type: RelatedAuction: Bonhams New York, 19 March 2019, lot 874Price: USD 43,825 or approx. EUR 46,500 converted and adjusted for inflation at the time of writingDescription: A blackstone head of Buddha, Central Thailand, Dvaravati period, circa 8th centuryExpert remark: Note the size (23.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
Lot 531
A MONUMENTAL WALL THANGKA OF TSONGKAPATibet, 18th-19th century. Distemper and gilt on cloth. Seated at the center in dhyanasana on a lotus base in monastic robes, his hands in dharmachakra mudra holding lotus stems supporting a sword and book, the face with serene expression surmounted by a pointed cap and backed by a mandorla, with three deities in the upper register, and two bodhisattvas and worshippers below, amid a mountainous landscape with scrolling clouds.Provenance: Collected by the present owner's father in Tibet before 1970 and thence by descent. Condition: Extensive wear, creasing, soiling, losses, small tears, and loose threads.Dimensions: Size ca. 129 x 164 cmJe Tsongkhapa (1357-1419) is the founder of the Gelug order of Tibetan Buddhism, the “newest” of the extant schools. Tsongkhapa studied the traditions of the Nyingma, Sakya, Kagyue, and particularly Kadam lineages, and codified certain principles of all of them in the Gelug tradition. Today, the order is the most popularly followed in Tibet, with its head, the Dalai Lama, seen as the spiritual leader of the country. The Gelug tradition is also known as the “Yellow Hat Sect,” for the color of their pointed caps, and Tsongkhapa can often be identified by the hat as well as the sword and manuscript which sit in lotus blossoms at his shoulders.A Thangka Wall, in Tibetan religious architecture, is a stone-built structure used for hanging a giant or monumental thangka (such as the present lot) in some of the major Buddhist monasteries of Tibet. These giant thangkas are called gos ku, goku, gheku, or kiku (cloth image) in Tibetan. The Thangka Wall stands on a hillside from where it typically overlooks the monastic settlement. Its form is that of a narrow, tall, and rectangular building with a battered façade and a flat roof surrounded by a parapet. A silk brocade fitting is normally used to mount a thangka onto the Thangka Wall.Auction result comparison:Type: RelatedAuction: Galerie Zacke, Vienna, 16 October 2021, lot 481Price: EUR 8,848 or approx. EUR 10,000 adjusted for inflation at the time of writingDescription: A monumental wall thangka of Manjushri, 19th centuryExpert remark: Note the size (320 x 240 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.大型宗喀巴唐卡西藏，十八至十九世紀，布面膠彩描金。上師跏跌坐於蓮台寶座之上，穩坐畫面中央，雙手當胸結說法印，左右肩花上置經書和寶劍。上師面容慈祥，身後有光背。四周仙人環繞。上有三神，下二菩薩及供奉者，山巒起伏，雲霧繚繞。 來源：現藏家的父親購於上世紀七十年代，保存至今。 品相：磨損、摺痕、汙跡、缺損、小撕裂和鬆線。 尺寸：129 x 164 釐米 宗喀巴 (1357-1419) 現存宗派“最年輕”的藏傳佛教格魯派的創始人。宗喀巴大師研究了寧瑪派、薩迦派、噶舉派，創建了一整套佛學體系，其重要論著《菩提道次第廣論》和《密宗道次第廣論》無上瑜伽修法就是其思想體系的總結，也是他創立格魯派的理論基礎。今天，他的理論在西藏最為普遍，其首領達賴喇嘛被視為精神領袖。因為宗喀巴戴黃色桃形僧帽，所以又稱格魯派為“黃帽派”、“黃教”。宗喀巴大師通常可以通過帽子以及他肩上荷花中的劍和經書來辨認。 西藏宗教建築中的唐卡牆是石頭建造的，在一些主要佛教寺院可以見到。唐卡牆矗立在山坡上，從那裡通常可以俯瞰寺院。它的是一座狹長、高大的建築，外牆破舊，屋頂平坦，四周有欄杆。絲綢錦緞通常用於將唐卡安裝到唐卡牆上。 拍賣結果比較： 形制：相近 拍賣：維也納 Galerie Zacke，2021年10月16日，lot 481 價格：EUR 8,848（相當於今日EUR 10,000） 描述：十九世紀文殊菩薩唐卡 專家評論：請注意尺寸(320 x 240毫米)。
Lot 40
A CELADON JADE FIGURE OF BUDDHA, 17TH-18TH CENTURYChina. Finely carved, seated in dhyanasana, holding an offering bowl in his lowered right hand, his raised left held in abhaya mudra, wearing heavily pleated robes draped over his right shoulder and opening at the chest to reveal a beaded necklace. His serene face with heavy-lidded eyes centered by a circular urna and slender lips forming a benevolent smile. The superbly polished stone is of a deep celadon tone with cloudy inclusions and russet veins. Note the high translucency of the jade, particularly striking in the left hand.Provenance: The trade in Paris, France.Condition: Very good condition with minor old wear, few minuscule nicks, remnants of ink, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 1,180 g (excl. stand) Dimensions: 16.5 cm (excl. stand) and 19.5 cm (incl. stand)With a finely carved and fitted zitan double lotus stand, dating from the same period. (2)Buddhism flourished during the Qing dynasty, and was encouraged by the devotion of the Kangxi, Yongzheng, and Qianlong emperors. Buddhist artifacts were consequently produced in significant numbers for the imperial court, particularly as ceremonial gifts, such as for the birthdays of members of the court. The popularity of the present form of Buddha carved in jade is apparent from a number of examples of the highest quality surviving in the Imperial collections, most notably in the Palace Museum, Beijing.Expert's note: The present jade shows superficial remnants of ink, which we have left in place to some extent, despite the fact they are rather easy to remove, as they indicate appreciation by a previous collector, perhaps a scholar or artist who often had ink-stained fingers as they handled this Buddha.Literature comparison: See for example a fine celadon jade Buddha, illustrated in Compendium of Collections in the Palace Museum, Jade 8: Qing Dynasty, Beijing, 2011, no. 234, and other Buddhas illustrated ibidem, nos. 236-238. The Imperial association for such jade Buddhas is further evidenced by a related white jade Buddha from the Prince Kung Collection, illustrated in the catalog produced by American Art Galleries, The Remarkable Collection of the Imperial Prince Kung of China, New York, 1913, no. 71. A celadon jade figure of Buddha Shakyamuni, holding a small stupa, is illustrated in Treasures from Snow Mountains, Gems of Tibetan Cultural Relics, Shanghai Museum, 2001, no. 37.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 28 May 2021, lot 2718 Price: HKD 1,375,000 or approx. EUR 168,000 converted and adjusted for inflation at the time of writing Description: A pale greenish-white jade seated figure of Buddha, Qing dynasty, 18th centuryExpert remark: Note the similar size (17.2 cm) Auction result comparison: Type: Closely related Auction: Christie's London, 9 November 2012, lot 1281 Price: GBP 70,850 or approx. EUR 105,000 converted and adjusted for inflation at the time of writing Description: A large celadon jade Buddha mounted on a gilt bronze stand, 18th centuryExpert remark: Note the larger size (24.2 cm incl. stand) Auction result comparison: Type: Closely related Auction: Sotheby's London, 7 November 2012, lot 231 Price: GBP 70,850 or approx. EUR 105,000 converted and adjusted for inflation at the time of writing Description: A celadon jade figure of Buddha, Qing dynasty, 18th centuryExpert remark: Note the similar size (15.9 cm)十七至十八世紀青玉佛中國。釋迦牟尼佛全跏趺坐，雙臂自然下垂，左手於胸前施無畏印，右手腹前托一小缽；螺髮規整，雙耳垂肩，眉彎與鼻脛相連，慈顏垂視，嘴角略帶微笑，神態怡然，法相莊嚴；身軀端正，著袒左肩式袈裟，袒露前胸。衣褶自然流暢，刻工栩栩如生。青玉有白色絮狀紋理。 來源：法國巴黎古玩交易。 品相：狀況極好，有輕微磨損與微小的劃痕，墨水殘留，帶有天然裂縫的石料，隨著時間的推移，其中一些可能已經發展成細小的裂紋。 重量：1,180 克 (不含底座) 尺寸：16.5 釐米 (不含底座) ，19.5 釐米 (含底座) 紫檀雕刻雙層蓮座，來自同一時期。 (2)
Lot 580
A CARNELIAN AGATE MINIATURE 'PHOENIX' SNUFF BOTTLE, 18TH-19TH CENTURYChina. Of baluster form, supported on a thick oval foot and rising to a cylindrical neck with galleried rim. Each side carved in low relief with an archaistic phoenix above a band of stiff leaves, flanked by beast masks in high relief. The translucent stone of a deep red color with distinct white bands.Provenance: English trade. The base with an old label, '249'. Condition: Excellent condition with minor wear and minuscule nicks. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. The stopper lost.Weight: 29.1 g Dimensions: Height 40 mm. Diameter neck 11 mm and mouth 5 mmAuction result comparison: Type: Related Auction: Bonhams Hong Kong, 23 November 2010, lot 62 Price: HKD 102,000 or approx. EUR 17,500 converted and adjusted for inflation at the time of writing Description: A carnelian archaistic snuff bottle, Imperial, attributed to the palace workshops, Beijing, 1730-1830 Expert remark: Compare the related color and archaistic motif with similar beast mask handles, though suspending mock rings unlike the present lot. Note the size (4.05 cm). Auction result comparison: Type: Related Auction: Christie's New York, 12 September 2018, lot 676 Price: USD 3,000 or approx. EUR 3,400 converted and adjusted for inflation at the time of writing Description: A carved carnelian agate snuff bottle, 1780-1880Expert remark: Compare the related color and low-relief carving. Note the size (4.7 cm).十八至十九世紀紅玉髓鳳紋輔首小鼻煙壺中國，唇口，直頸，豐肩，斂腹，橢圓形圈足，淺浮雕鳳凰，肩部高浮雕獸面輔首。深紅色的半透明石頭，帶有明顯的白色條紋。 來源：英國古玩交易，底部有老標籤 '249'。 品相：狀況極佳，有輕微磨損和微小劃痕。具有天然內沁和裂隙，其中一些可能隨著時間的推移發展成細小的裂紋。壺蓋丟失。 重量：29.1 克 尺寸：高 40 毫米. 頸部直徑11 毫米 ，壺口直徑5 毫米 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2010年11月23日，lot 62 價格：HKD 102,000（相當於今日EUR 17,500） 描述：紅白玉髓雕獸面銜環鼻煙壺，御製品，推定是宮廷作坊作，北京，1730-1830 專家評論：比較相近的顏色、仿古的主題有相似輔首 。請注意尺寸(4.05 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2018年9月12日，lot 676 價格：USD 3,000（相當於今日EUR 3,400） 描述：1780-1880年玉髓瑪瑙雕鯉魚紋鼻煙壺 專家評論：比較相近的顏色和淺浮雕。請注意尺寸(4.7 厘米)。
Lot 30
A PALE GREEN JADE 'DRAGON' PENDANT, SHANG TO WESTERN ZHOU DYNASTYChina, 1300-1000 BC. Of flattened form, carved in the form of a recumbent dragon with open mouth and long tail. The translucent stone of a green tone with creamy white and russet speckles.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. E.3.21A-H. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Very good condition with expected old wear and weathering, little nibbling, few nicks, and light scratches.Weight: 10.3 g Dimensions: Length 8.4 cmSmall pendants in the form of animals form a major category of jades in the Shang period and can be found in many of the major burials of high-ranking individuals.Expert's note: The carving is unfinished on both sides, with only a small slit defining the opening of the mouth. For a similarly unfinished jade pendant, see Sotheby's London, 3 November 2021, lot 126.商至西周青綠玉龍形佩中國，公元前1300-1000 年。扁平龍形佩，龍張嘴，長尾巴，斜躺。綠色調的半透明玉料，白色和赤褐色斑點。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號E.3.21A-H.。吳權(1910-1997) 博士曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。 品相：狀況極好，有磨損和風化，小刻痕、輕微劃痕。 重量：10.3 克 尺寸：長 8.4 厘米 動物形狀的小佩飾是商代玉器的中一類，在許多達官貴人的墓葬中都能找到。 專家注釋：兩邊的雕刻都未完成，只有一個小縫隙表現了開口，一件同樣未完成的玉佩見倫敦蘇富比 2021年11月3日，lot 126。
Lot 583
A DUAN STONE 'BATS AND CASH COINS' SNUFF BOTTLE, 1760-1860China. Of flattened oval form, supported on a short foot ring, rising to a cylindrical neck slightly tapering towards the flat lip, each side carved with two confronting bats with swirling wings and centered by a cash coin. The opaque stone of a dark chocolate brown color.Provenance: An English private collection of Chinese Snuff Bottles. Condition: Excellent condition with minor wear, few minuscule nibbles to the rims, the stone with a natural fissure.Stopper: Carved glassWeight: 40.0 gDimensions: Height incl. stopper 64 mm, Diameter neck 13 mm and mouth 5 mmWith a padded silk box. (2)Bats and cash coins are both auspicious symbols in Chinese culture. The bat signifies fortune or wealth, and the cash coin is a symbol of receiving benefits. They are often shown together due to their similar meaning.This bottle is made from duan stone, a material that is highly valued by scholars and most often made into inkstones. Duan stone was traditionally used for grinding ink because of its light weight and soft but not slippery surface. Auction result comparison:Type: RelatedAuction: Bonhams New York, 19 September 2022, lot 69Price: USD 4,080 or approx. EUR 3,800 converted at the time of writingDescription: A carved duan stone snuff bottleExpert remark: Compare the related form, incision work, and material. Note the size (55 mm), inscription, and mark.1760-1860年端石蝙蝠紋鼻煙壺中國，長方圓角，直頸，短圈足。每面都雕刻著一隻圍著錢幣的蝙蝠。深褐色不透明石頭。 來源：英國一個中國鼻煙壺私人收藏。 品相：狀況極佳，輕微磨損，邊緣細小磕損，石頭有天然裂縫。 壺蓋：雕刻琉璃 重量：40.0 克 尺寸：含壺蓋高64 毫米，頸部直徑13 毫米 ，壺口直徑5 毫米 配置有内襯的盒子 (2) 此鼻煙壺由端石製成，端石是文人特別喜愛的材料，經常被製成硯台。端石質輕，表面柔軟而不滑，很適合用來磨墨。 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2022年9月19日，lot 69 價格：USD 4,080（相當於今日EUR 3,800） 描述：1750-1800 端石刻雲龍銘文及舖首啣環鼻煙壺一件，或爲御製 專家評論：比較相近的外形、雕刻和材質。請注意尺寸(55 毫米)、款和款識。
Lot 239
AN IMPORTANT AND MONUMENTAL BLACK STONE HEAD OF TARA, PALA PERIODOpinion: This particular work should be considered a most important example from an era that saw the production of some of the finest sculptural works ever produced in India. The quality of the carving, coupled with the life-size proportions, indicates that this was likely part of a monumental statue that was a principal focus of worship.India, 10th-12th century. Finely carved with a benevolent expression, having full bow-shaped lips, rounded cheeks, and heavy-lidded eyes beneath a swirled high chignon surrounded by an elaborate jewel-swagged diadem. The ears pierced at the helix with hanging gems and set with massive ear spools. The surface smoothly polished.Provenance: From a noted private collection in the United States. Acquired in Lille, France, previously in a Belgian private collection. Condition: Very good condition consistent with an example of great antiquity. Wear, losses, structural cracks, minor nicks, light scratches, signs of weathering and erosion. Fine, naturally grown, rich, smooth patina overall.Dimensions: Height 38 cm (excl. stand) and 45 cm (incl. stand)Mounted on a modern stand. (2)Expert's note: The iconography of the carving points to this being an image of Syama Tara, a female bodhisattva known as the Mother of Liberation. Figures of similar iconography show the bodhisattva seated on a double-lotus throne, with right leg extending below the throne and right foot supported by a lotus, all surrounded by a large mandorla, flanked by pearls and flames or adorative figures such as apsaras. This complete picture gives us an idea of the original scale and grandeur of the complete life-size work, which is unusual for its fine craftsmanship and monumental scale, pointing to a sculpture that was likely made for passing pilgrims. For a figure with similar distinctive features, including the massive ear spools and jewel-swagged diadem, see the Khadiravani Tara dating to the reign of Ramapala, acc. no. 3824/A25158 in the collection of the Indian Museum of Kolkata.Auction result comparison:Type: RelatedAuction: Christie's, New York, 20 March 2009, lot 1203.Price: USD 43,750 or approx. EUR 55,000 converted and adjusted for inflation at the time of writingDescription: A black stone head of Vishnu, Northeastern India, Pala period, 12th centuryExpert remark: Note the much smaller size (24 cm) and almost complete loss of the ears.Auction result comparison: Type: Related Auction: Christie's New York, 17 September 2003, lot 22 Price: USD 47,800 or approx. EUR 70,000 converted and adjusted for inflation at the time of writing Description: An important large black stone head of a crowned Buddha, Northeastern India, Bihar, Pala period, 10th/11th centuryExpert remark: Note the larger size (48.2 cm).
Lot 638
A BRONZE FIGURE OF BUDDHA SHAKYAMUNI, WAT TRA KUAN STYLE, SUKHOTHAI KINGDOMNorthern Thailand, late 14th to early 16th century. Seated in dhyanasana with his right hand lowered in bhumisparsha mudra and his left resting on his lap, wearing a tight-fitting sanghati draped over his left shoulder. His serene face with heavy-lidded eyes painted white with dark pupils, below thick, elegantly arched brows, his full lips forming a subtle smile, flanked by long pendulous earlobes. The hair arranged in tight curls over the ushnisha surmounted by a conical jewel.Provenance: French trade. A noted Belgian private collection, acquired from the above. Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, dents, signs of weathering and erosion, and encrustations. The bronze with a rich, naturally grown, solid patina with distinct areas of malachite and cuprite encrustations.Weight: 1,938 g (incl. stand) Dimensions: 22.5 cm (excl. stand) and 25.5 cm (incl. stand)Mounted on an associated modern wood stand. (2)The Buddhist temple complex Wat Tra Kuan was built by the Sukhothai Kingdom in the Old City of Sukhothai, north of Wat Mahathat. The ruins today consist of a main bell-shaped stupa and a chapel surrounded by a ditch. The original name of the temple has not survived, and according to a theory of Vajiravudh, the sixth monarch of Siam under the Chakri dynasty as Rama VI (r. 1910-1925), Tra Kuan is a Khmer term for Morning Glory. The temple is mentioned in a stone inscription discovered in 1955 at Wat Sorarsak, known as Inscription no. 49.Literature comparison: Compare a closely related bronze figure of Buddha, with similar painted eyes, illustrated in Lopetcharat, Thailand, A History in Buddha Image, vol. 1, Bangkok, 2006, p. 299.
Lot 296
A LARGE DALI MARBLE-INSET 'DREAMSTONE' HUALI TABLE SCREEN, QING DYNASTYChina, 1644-1912. Of rectangular form, the natural marble of creamy-white tones suffused with alternating light and dark gray swirls, reminiscent of a dreamy landscape, evoking thoughts of mountain peaks in rising mist and clouds. Mounted in a dark huali wood frame, fitted into two grooved uprights of the matching stand with finely carved archaistic designs.Provenance: Collection of Terence Kelleher, Esq., Southold, New York. Terrance Kelleher, a graduate of Saint Peter's University in New Jersey and the Fordham Law School of Manhattan, served as a Captain in the United States Army Reserve Corp and served as a member of the United States Court of International Trade. He also served as CEO of a non-profit healthcare company and was on the board of directors of Eastern Long Island Hospital.Condition: Good condition with minor wear overall. The marble screen with small chips along the edge which are concealed by the frame. The frame is in overall good condition with small losses, age cracks as expected and minor old repairs. The wood with a fine, naturally grown patina.Dimensions: Size 38.8 x 49.4 cm (the panel and frame) and 59.5 x 56 x 30 cm (the screen)Expert's note: The use of variegated marble and other colored stones in conjunction with hardwood furniture was prevalent throughout the Ming and Qing dynasties, as the color of the stone often complimented the rich color and grain of the wood. The picturesque swirls of the marble inclusions also appealed to the creative mind of the scholarly at the time, who often saw a deeper symbolic representation in everyday objects. For a discussion of marble and other stones used in Ming and early Qing furniture, see Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, vol. I, Hong Kong, 1990, pages 153-54.Auction result comparison:Type: Closely relatedAuction: Christie's, Hong Kong, 3 October 2018, lot 128.Price: HKD 300,000 or EUR 38,500 converted and adjusted for inflation at the time of writingDescription: A dali marble-inset huanghuali table screenExpert remark: Compare the similar composition of the dreamstone and the related dimensions of the screen (57 x 57 x 30 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's, London, 13 May 2009, lot 103Price: GBP 8,750 or EUR 14,000 converted and adjusted for inflation at the time of writingDescription: A dream stone table screen and hardwood stand, Qing dynasty, 19th centuryExpert remark: Compare the related shades of the marble. It is also worth noting that the Sotheby's stand has been ebonized at some point, and the underlying original wood tone may be of comparable color.清代大型花梨木鑲夢石座屏中國，1644-1912年。屏花梨木為框、座，鑲嵌大理石，木框尚保留原皮殼，色澤沉穩而層次豐富。整體保存極為完整。大理石屏心，正面紋路豐富，上有黑、灰色石紋，若千山羅列，夏峰過雨，雲霧變化，洶湧澎湃。木底座雕刻精美的仿古設計。 來源：紐約州紹索爾得鎮Terence Kelleher收藏。Terrance Kelleher畢業於新澤西聖彼得大學和曼哈頓福特漢姆法學院，曾任美國陸軍預備役上尉以及美國國際法院古玩交易公司首席執行官。他還曾擔任一家非營利性醫療保健公司首席執行官，並且是東長島醫院的董事會成員。 品相：整體狀況良好，略有磨損。大理石邊緣有小磕損，但被框架隱藏。框架總體狀況良好，小缺損，有老化裂縫和小修。整體木框有自然良好的包漿。 尺寸：總 38.8 x 49.4 厘米 與 59.5 x 56 x 30 厘米 (大理石) 專家注釋：這樣的木架與石料結合的裝飾在整個明清時期都很流行，因為石材的顏色常常與木材的豐富色彩和紋理相得益彰。大理石如畫般的紋理也吸引了當時學者的創造性思維，他們經常在日常物品中看到更深層次的象徵意義。見王世襄《明式家具研究》，卷一，香港，1990年，第153-54頁。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2018年10月3 日，lot 128. 價格：HKD 300,000（相當於今日EUR 38,500） 描述：清黃花梨嵌大理石案屏 專家評論：比較相似的雲石和相近尺寸 (57 x 57 x 30釐米)。
Lot 579
A CAMEO AGATE 'MONKEY AND HORSE' SNUFF BOTTLE, OFFICIAL SCHOOL, 18TH-19TH CENTURYChina. Well hollowed, of rounded square form, rising from an oval, concave foot to a straight neck with concave lip. The honey-brown inclusion skillfully utilized by the lapidary to depict a playful scene with a horse led by a monkey pulling its reins, another monkey perched on the horse's back, all standing above a rock, the reverse plain to highlight the fine markings of the stone. The translucent bottle of a creamy pale-honey color with bands, shadings, and a vein of amber.Provenance: John O'Hara, Philadelphia, USA, who has collected snuff bottles for over 20 years. He has given seminars for the International Chinese Snuff Bottle Society (ICSBS) and bottles from his collection have been on exhibition at Drexel University, Philadelphia. Condition: Very good condition with minor old wear, a small nick to the mouth, minuscule nibbling here and there.Stopper: Agate with black platelet, bone spoonWeight: 60.0 gDimensions: Height including stopper 69 mm. Diameter neck 22 mm and mouth 7 mmIndividually, the monkey symbolizes cleverness and agility while the horse represents strength and speed. The depiction of a monkey on a horse's back represents the rebus 'Ma shang feng hou' which may be translated as 'May you receive a swift promotion to a high rank of office'. This popular motif would have been used to confer good wishes to ambitious individuals within officialdom.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 September 2013, lot 1234Price: USD 12,500 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A cameo agate snuff bottle, official school, 1780-1850Expert remark: Compare the closely related color, motif, and related form. Note the size (60 mm)十八至十九世紀焦糖瑪瑙《馬上封侯》鼻煙壺，或爲御用工坊中國。掏膛良好，直頸，削肩，橢圓形圈足。巧妙運用焦糖色內沁，雕刻一隻猴子拉韁牽馬，馬背上站著另一隻猴子。半透明的焦糖色瑪瑙，帶有條紋、陰影和琥珀色紋理。 來源：美國費城John O'Hara收藏，有著二十多年的歷史。他曾給國際中國鼻煙壺協會 (ICSBS) 授課，他收藏中的鼻煙壺曾在費城 Drexel大學展出過。 品相：狀況極好，有輕微磨損，壺口上有一個小缺口，很多微小的磕損。 壺蓋：瑪瑙，黑色托片，骨質小勺 重量：60.0 克 尺寸：含蓋高69 毫米. 頸部直徑22 毫米 ，嘴部直徑7 毫米 猴與“侯“諧音，因此猴子象徵了高官厚祿的願望，比如猴站在馬上，寓意“馬上封侯”，功成名就。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年9月19日，lot 1234 價格：USD 12,500（相當於今日EUR 15,000） 描述：1780-1850年瑪瑙巧雕馬上封侯鼻煙壺 專家評論：比較非常相近的顏色、主題和相近的外形。請注意尺寸 (60 毫米)。
Lot 244
A WHITE MARBLE FIGURE OF GANESHA, HINDU SHAHI, AFGHANISTAN, 822-1026Finely carved, the coiled trunk raised toward the mouth as he has just sampled a sweet from the bowl held in his right hand, the face with almond-shaped eyes below elegantly arched and raised brows centered by an urna, the hair secured by a beaded headband.Provenance: Dr. Rene Schroeder, Luxembourg, 1973. Yvette Starck, Luxembourg, acquired from the above and thence by descent. A Belgian private collection, acquired from the above. A copy of the original invoice from Dr. Rene Schroeder, dated 10 September 1973 and addressed to Yvette Starck, accompanies this lot.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, structural cracks, minor old repairs and fills, encrustations.Weight: 17.3 kg (incl. stand) Dimensions: Height 39 cm (excl. stand) and 45 cm (incl. stand)Mounted on an associated stand. (2)The Hindu Shahis (822-1026) were a dynasty that held sway over the Kabul Valley, Gandhara, and western Punjab during the early medieval period in the Indian subcontinent. The dynasty was established after the overthrow of the Turk Shahis. Shaivism was practiced by the Hindu Shahis and likely was also the predominant religion. Saura was practiced by some subjects, as were Buddhism and Islam. Scholarship on the Hindu Shahis remains scarce and details regarding past rulers can only be assembled from disparate chronicles, coins, and stone inscriptions.Literature comparison: Compare a related marble figure of Ganesha, 22.6 cm high, attributed to Pakistan or Afghanistan and dated to the Shahi period, 7th-8th century, in the Art Institute of Chicago, reference number 2012.689. Compare the related manner of carving of a Hindu Shahi white marble linga, with similar eyes and brows, dated 9th century, in the Metropolitan Museum of Art, accession number 1980.415. A related white marble figure of Ganesha, 47.5 cm high, attributed to the Hindu Shahi or post-Gupta period, Punjab Hills, dated mid-9th century, was exhibited at Asian Art in London by Joost Van den Bergh in Objects of Veneration: Sculpture & Paintings from Gandhara, Burma, Khmer, Ceylon, India & Tibet, 5-14 November 2015.
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