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Lot 11
A LARGE AND IMPORTANT BUDDHIST VOTIVE PLAQUE, GILT COPPER REPOUSSE, EARLY TANG DYNASTY 唐初大型重要許願錘鍱鎏金銅牌Expert's note: This seems to be by far the largest and most detailed of all early Tang dynasty gilt repousse votive plaques that have been on the market in a long time. The extent to which this magnificent work of art was cherished by Hisazo Nagatani becomes best perceptible when one looks at the Japanese storage box in which this jewel was kept, with its outer casing, neatly inscribed and made from light wood and elegant red lacquer, the inner storage box with its abundant padding, tightly fitted to the exact dimensions of the plaque itself.China, 618-907, circa 7th century. The thin plaque finely decorated with the central figure of Buddha seated in dhyanasana atop an elaborate lotus throne growing from neatly incised waves flanked by two lions, his right hand raised in abhaya mudra and his left lowered in varada mudra, wearing loose-fitting robes cascading in voluminous folds, a flaming halo behind him and the bodhi tree towering above, flanked by two acolytes and surrounded by groups of worshipping monks and attendant bodhisattvas, all below swirling clouds and two flying apsaras.Provenance: From the collection of Hisazo Nagatani, and thence by descent within the family. The lacquered and padded wood box with an old label, 'Gilt Bronze Slab'. Hisazo Nagatani (1905-1994) was a Japanese-American collector, scholar, and noted dealer of Asian art. Growing up near his birthplace Osaka, he developed a passion for Asian art early on and joined Yamanaka & Co. in 1922, at the age of only 17. He soon moved to Beijing, traveling throughout China, and handling bronzes, porcelains, jades, and other works of art, before relocating to the United States. He eventually became the manager of the Yamanaka gallery on the Magnificent Mile in Chicago until the firm had to cease operations in the United States. In 1944, he opened his own gallery, Nagatani & Co., which flourished for many decades, selling to such important collectors as Robert Mayer, Stephen Junkunc, Avery Brundage, and the Alsdorfs. Nagatani later donated many of his works of art and his important library to museums.Condition: Good and original condition, commensurate with age, displaying simply spectacularly. Extensive wear, tears and losses, minor dents, small nicks, light scratches. Fine, naturally grown patina with malachite encrustations to the front, the back with extensive malachite, cuprite, and azurite encrustations. The gilt remarkably well preserved overall.Weight: 303.2 gDimensions: Height 24.4 cm (the plaque), Size 7 x 38.4 x 29.2 cm (the padded storage box) and 11 x 40.6 x 31.3 cm (the lacquered box)With a Japanese wood storage box, the inner silk padding fitted specifically for the present plaque, and an old Japanese lacquered wood box. (3)Literature comparison: Similar images of the Buddha seated under a roofed structure flanked by numerous bodhisattvas can be found in paintings from the Dunhuang caves, dated to the early 8th century, as evidenced by the fragment in the British Museum, illustrated by A. Farrer and R. Whitfield, Caves of the Thousand Buddhas: Chinese Art from the Silk Route, New York, 1990, page 24, no. 1 and cover. Compare, also, the gilt-bronze plaque in the Hakutsuru Fine Art Museum, Kobe, dated to the Sui dynasty of significantly smaller size (15.4 cm. high) with similar imagery, but lacking the Bodhi tree, illustrated by S. Mizuno, Bronze and Stone Sculpture of China from the Yin to the T'ang Dynasty, Tokyo, 1960, fig. 123.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2004, lot 74 Price: USD 17,925 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A small gilt-metal Buddhist plaque, Tang dynasty Expert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers, as well as the similar tear line at the top. Note the much smaller size (9.2 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 October 2001, lot 507 Price: HKD 1,035,000 or approx. EUR 183,000 converted and adjusted for inflation at the time of writing Description: A very rare repousse gilt-copper Buddhist votive plaque, early Tang dynasty, 7th centuryExpert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers. Note the smaller size (19.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 30 March 2005, lot 237 Price: USD 102,000 or approx. EUR 150,000 converted and adjusted for inflation at the time of writing Description: A rare gilt-copper Buddhist plaque, early Tang dynasty, 7th century Expert remark: Note the significantly smaller size (11.4 cm).唐初大型重要許願錘鍱鎏金銅牌中國，618-907年，約七世紀。薄薄的銅牌上精美錘鍱佛陀坐禪坐於蓮座上，蓮座從波浪中升起，兩側是兩隻獅子，右手上舉施無畏印，左手下垂施與願印，身著長袍，衣褶條紋流暢，身後有光背。菩提樹高高聳立，兩側有僧眾、侍從菩薩，兩飛天。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 177
A WHITE AND RUSSET JADE GROUP OF A WATER BUFFALO AND A CALF, 18TH - 19TH CENTURY 十八至十九世紀白玉留皮子母牛擺件China. Carved in the round as a large water buffalo lying placidly on its stomach with four legs bent underneath and the head turned to the left towards a smaller buffalo, the gracefully curved horns flanking the flat forehead, the neck detailed with an undulating dewlap, the tail finely detailed with hair markings. The calf with its head raised playfully facing his larger companion. The translucent stone of even white to very pale celadon tone with distinct russet and white veining.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings. Condition: Excellent condition with minor wear. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. The stone with an attractive soft polish.Weight: 340.0 g Dimensions: Length 8 cmAs a familiar beast of the fields, the water buffalo underpinned rice production and the rural economy. As such it is emblematic of agriculture and springtime and represents strength, endurance, dedication to hard work, prosperity, and tranquility. It is also used in artistic representations, particularly in Chinese paintings, to evoke a bucolic, idealized existence in the countryside. This, in turn, feeds into a more mythical or spiritual side to the buffalo, recalling both Buddhist and Daoist concerns with retreat, and the founder of Daoism, the philosopher Laozi, who departed from the borders of the known world on a buffalo.Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 2 December 2021, lot 220Price: HKD 852,500 or approx. EUR 107,000 converted and adjusted for inflation at the time of writingDescription: A superb pale green jade 'buffalo and young' group, 18th centuryExpert remark: Compare the closely related pose, and the fine incision work. Note the larger size (12.5 cm) and the fact that this group is firmly dated to the 18th century.十八至十九世紀白玉留皮子母牛擺件中國。圓雕子母牛，五官清晰，呈俯臥狀，腿彎曲在肚子下面，一隻小牛依偎在大牛身旁，頑皮地抬起頭，面對著母牛。玉質溫潤細膩，包漿醇厚。 來源：Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。 Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：狀況極好，有一些磨損。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些可能已經發展成微小的裂縫。 重量：340.0 克 尺寸：長 8 厘米 牛是最早被人類馴養的六畜之一，成為農耕社會裡重要的生產力。作為農耕社會的圖像符號，牛還像徵著春天，代表著力量、耐力、對辛勤工作的奉獻、繁榮和安寧。它也用於藝術表現，特別是在中國畫中，它是宋元畫家筆下描繪鄉野之趣、田園牧歌的詩意“化身”，也因此牛還有其神秘的一面，比如道教對退隱的嚮往，比如老子騎著青牛。 拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2021年12月2日，lot 220 價格：HKD 852,500（相當於今日EUR 107,000） 描述：十八世紀青白玉雕子母牛擺件 專家評論：比較非常相近的姿勢和精緻的雕刻。請注意尺寸較大 (12.5 厘米) ，以及此玉被斷為十八世紀。
Lot 143
A BIRD-SHAPED CELADON JADE PENDANT, WESTERN ZHOU DYNASTY 西周青玉鳥形珮China, c. 1100-771 BC. The pendant is finely carved as a stylized mythical bird of flattened arched form and decorated with fine incision work, pierced below the beak with an aperture for suspension. The translucent stone is of a fine celadon tone with cloudy inclusions, pale brown patches, and few small areas of alteration.Provenance: From a distinguished English private collection.Condition: Good condition with minor old wear, a small loss to the tip of the beak, some traces of use and shallow surface scratches overall, microscopic nicks here and there. Fine, naturally grown patina. The jade with natural inclusions and fissures.Weight: 11.2 gDimensions: Length 7.1 cmWith a fine lacquered wood storage and presentation box. (2)Literature comparison: Compare a related jade bird-shaped pendant in the collection of the British Museum, museum number 1947,0712.465.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 28 November 2018, lot 2739 Price: HKD 275,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writingDescription: A celadon jade bird-shaped pendant, Western Zhou dynasty (c. 1100-771 BC)Expert remark: Compare the closely related subject, form, and decoration. Note that the condition report for this lot states that “there is a break to the bird's head which has been reattached with associated areas of infill”. This appears to be very similar to the small loss at the tip of the beak of the present lot (see condition report).西周青玉鳥形珮中國，公元前約1100-771 年。珮呈扁片狀，以陰刻線技法雕琢側面梟鳥造型，鉤喙，圓眼，羽翅張開呈弧形上翹。鳥尾弧形下垂，尾端呈魚尾形。青玉質，取良玉雕就，局部淺褐色沁。 來源：傑出英國私人收藏。 品相：狀況良好，有輕微的磨損，鳥喙尖有少量磕損，有一些使用痕跡和整體表面淺劃痕，多處微小的劃痕。細膩的包漿，有天然內沁和裂縫的玉料。 重量：11.2 克 尺寸：長 7.1 厘米 木質漆盒。 文獻比較： 比較一件相近的晚商至西周玉鳥形珮，收藏於大英博物館，編號1947,0712.465. 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2018年11月28日，lot 2739 價格：HKD 275,000（相當於今日EUR 40,500） 描述：西周青玉鳥珮 專家評論：比較非常相近的主題、外型和裝飾。請注意此玉珮的前緣曾經斷過又重新接回，有相應的修補。此情況和現拍品鳥喙尖有少量磕損的狀況相似(見品相)。
Lot 159
A CELADON JADE 'TURTLE' SEAL, 17TH CENTURY 十七世紀青玉龜鈕印China. The square seal surmounted by a turtle standing foursquare, its minuscule head almost entirely retreated into the large shell with neatly incised carapace, the tail trailing to the ground, the seal face left plain. The translucent stone of a celadon tone with russet veins, dark specks, and cloudy white inclusions.Provenance: Adrian M. Joseph, c. 2003. British private collection, acquired from the above. Adrian Malcolm Joseph started studying and collecting Chinese ceramics during the late 1950s. He published various important papers and books including Ming Porcelains: Their Origins and Development (1971) and Chinese and Annamese Ceramics found in the Philippines and Indonesia (1973). He and his wife Phyllis began collecting Japanese art in the late 1960s, initially acquiring ceramics from important dealers such as Shimojo in Tokyo. Joseph became a Director of Hugh Moss Ltd. in the 1970s.Condition: Very good condition with minor wear, minuscule nicks, natural weathering.Weight: 42.7 gDimensions: Size 2.8 x 2.8 x 2.6 cmAuction result comparison: Compare a related black and gray jade seal of a tortoise, 3 cm high, dated Ming dynasty or earlier, at Christie's New York in The Collection of Robert Hatfield Ellsworth Part IV on 20 March 2015, lot 739, sold for USD 6,000 (part lot, together with a brown jade seal depicting a mythical beast). Compare a white jade seal depicting a bixi, 4 cm wide, dated to the late Ming dynasty, at Christie's Hong Kong in The Pavilion Sale on 6 October 2015, lot 47, sold for HKD 68,750.十七世紀青玉龜鈕印中國。方形印上雕刻龜形鈕，小小的腦袋幾乎完全縮進了龜殼裡，甲殼整齊切割，尾巴垂在地上。印面光滑，青色半透明玉石，帶有赤褐色的脈紋和白色絮狀物。 來源: Adrian M. Joseph, 約2003年；英國私人收藏，購於上述收藏；Adrian Malcolm Joseph 在 1950 年代後期開始研究和收集中國陶瓷。 他發表了多篇重要論文和著作，包括《Ming Porcelains: Their Origins and Development》（1971）和《Chinese and Annamese Ceramics found in the Philippines and Indonesia》（1973）。 他和他的妻子Phyllis在 1960 年代後期開始收集日本藝術品，最初是從東京的 Shimojo 等重要經銷商處購買陶瓷。 Joseph 在 1970 年代成為 Hugh Moss Ltd. 的董事。 品相: 狀況極好，輕微磨損，小劃痕，自然風化。 重量: 42.7 克 尺寸: 2.8 x 2.8 x 2.6 厘米 拍賣結果比較: 比較一件相近的明代或更早的灰白玉雕龜鈕印，高3 厘米 ，見紐約佳士得 The Collection of Robert Hatfield Ellsworth Part IV 2015年3月20日 lot 739, 售價USD 6,000 (與另一件褐色瑞獸鈕玉印一起)；比較一件明末白玉雕瑞獸，寬 4 厘米，見香港佳士得The Pavilion Sale 2015年10月 6日 lot 47, 售價HKD 68,750。
Lot 235
AN INSIDE-PAINTED HAIR CRYSTAL 'FISH' SNUFF BOTTLE, BY YE ZHONGSAN, DATED 1916 1916年葉仲三内化發晶《魚戲圖》鼻烟壺China, the bottle 1740-1860, the painting 1916. Of slightly flattened form, the ovoid body supported on a flat foot and with a broad cylindrical neck. Well painted with fish swimming amid aquatic fronds, the stone suffused with slender black tourmaline needles suggestive of reeds.Inscriptions: To one side, signed 'Ye Zhongsan' and dated 'In the Autumn of the Year of Bingchen' (corresponding to 1916). One seal.Provenance: Sotheby's London, 5 December 1983, lot 190. A British private collection, acquired from the above, and thence by descent in the same family.Condition: Very good condition with minor old wear, few minuscule nicks, the stone with natural imperfections and fissures, some of which may have developed into small hairline cracks over time. The stopper has been replaced since the bottle was at Sotheby's in 1983.Stopper: Aventurine and mother-of-pearl Weight: 43.2 g Dimensions: Height including stopper 70 mm, Diameter neck 15 mm and mouth 7 mmFrom about 1904 onwards, Ye Zhongsan began to take advantage of what we may presume to have been a weakening market for old snuff bottles in the wake of the gradually dying interest in snuff in favor of smoking cigarettes and the political turmoil that attended the aftermath of the Boxer Rebellion of 1900 and the collapse of the Qing dynasty, which would follow in 1911. We suddenly see a reasonable number of old agate and crystal bottles where the markings in the material are imaginatively used as the basis for ink-play paintings. Two examples in agate are illustrated in JICSBS, Autumn 1982, p. 35, figs. 83, 83a, 84, and 84a, the former a chalcedony bottle with a natural design of a fish in darker markings where Ye has painted further fish in a pond to augment it, and the latter a banded agate, where Ye has again added his painting to interpret and define the markings in the stone. For the present bottle, Ye has cleverly used the needle-like crystals of tourmaline as reeds, providing his fish with a naturalistic environment. It is quite remarkable that it took until the turn of the century for any inside-painted artists to realize the potential in painting inside such materials that were, after all, readily available and, it would seem, crying out for such treatment. It was Ye Zhongsan's use from the early years of the present century onwards that defined this particular branch of the art, and it remained his prerogative throughout his career, being adopted only occasionally by other artists, including Zhou Leyuan. This again seems strange, since once the idea was established, we might have expected other artists to respond more enthusiastically to it. But of course such initial enthusiasm may well have been impeded by the increased challenge of integrating one's personal artwork into an already existing natural environment.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 23 November 2010, lot 52 Price: HKD 72,000 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: An inside-painted 'hair-crystal' snuff bottle, Ye Zhongsan, dated 1905 (the bottle 1740-1860)1916年葉仲三内化發晶《魚戲圖》鼻烟壺中國，鼻烟壺為1740-1860年，内畫為1916年。壺體扁平，直頸，溜肩，收腹，橢圓形圈足。内畫水中魚戲。水晶内泛著細長的黑色針紋，讓人聯想到蘆葦。 款識：丙辰仲秋葉仲三作，一印 來源：1983年12月5日倫敦蘇富比 lot 190；英國私人收藏，購於拍賣，在同一家族中保存至今。 品相：狀況極好，有輕微磨損，少量細小的刻痕，水晶有天然的瑕疵和裂縫，隨著時間的推移，其中一些可能已經發展成細小的裂縫。壺蓋可能於1983年在蘇富比拍賣時被替換過。 壺蓋：砂金石與貝母 重量：43.2 克 尺寸：總高70毫米，頸部直徑15毫米，壺口直徑 7毫米 由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 222
A SHADOW AGATE 'LIU HAI LURING THE GOLDEN TOAD' SNUFF BOTTLE, 19TH CENTURY 十九世紀影子瑪瑙劉海戲金蟾鼻烟壺China. Of rounded form, rising from an oval foot to a straight neck, one side carved with a fisherman on a boat crossing a river towards a man on the shore, the reverse with Liu Hai luring the three-legged golden toad with a cash coin on a fishing-rod, his attendants holding a basket and lotus flowers. The translucent stone of a pale gray tone with dark brown markings. Provenance: Millon Jutheau on 24 April 1983, lot 167. French private collection, by repute acquired from the above (invoice lost). Thence by descent within the family to the last owner. Condition: Very good condition with minor old wear, minuscule nibbling to mouth and rim, few tiny nicks to exposed areas. Fine cracks to the rim, most likely inherent to the stone. Stopper: HardstoneWeight: 142.2 gDimensions: Height including stopper 76 mm. Diameter neck 21 mm and mouth 8 mmThe story of Liu Hai is frequently related as 'Liu Hai playing with the Golden Toad'. However, there is a hidden meaning here: The Chinese word for toad is chanchu, and sometimes only the first character, chan, is spoken. In some Chinese dialects, the character chan has a pronunciation very similar to qian which means 'coin'. Therefore, a storyteller reciting 'Liu Hai playing with the Golden Toad' could also be heard by listeners as 'Liu Hai playing with the gold coins'.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 17 September 2016, lot 1052Price: USD 3,250 or approx. EUR 3,800 converted and adjusted for inflation at the time of writingDescription: A shadow agate snuff bottle, Qing dynasty, 19th centuryExpert remark: Compare the similar form, the carving, and the shadings of the agate.十九世紀影子瑪瑙劉海戲金蟾鼻烟壺中國。寬肩微削，橢圓形圈足，圓柱形短頸，平唇。褐色半透明石頭，利用影子狀斑紋，一面雕刻了船上漁夫場景；另一面雕刻了劉海戲金蟾的故事，劉海垂釣於絲瓜井中，金蟾咬釣而起。他的童子拿著竹籃和荷花。 來源：1983年4月24日巴黎Millon Jutheau拍賣行 lot 128；法國私人收藏，據説購於上述拍賣（發票遺失）；在同一家族保存至今 品相：品相極好，有輕微的磨損，壺唇和邊緣有微小的磕損，壺身有細小的刻痕。邊緣有細裂縫，很可能是石料原有的。 壺蓋：硬石 重量：142.2 克 尺寸：高 （含蓋）76 毫米，頸部直徑21 毫米及壺口直徑8 毫米 劉海的故事經常與“劉海戲金蟾”有關。這裡除了關於劉海垂釣金蟾之後升天的故事，還有一個隱藏的含義：蟾中文是chan，在一些漢語方言中，“chan”這個字的發音與“硬幣”非常相似，硬幣就是財富，所以說“劉海戲金蟾”也可以理解成“劉海玩金幣”。拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2016年9月17日，lot 1052 價格：USD 3,250（相當於今日EUR 3,800） 描述：十九世紀清代影子瑪瑙鼻烟壺 專家評論：比較相近的外型、雕刻，以及瑪瑙的色澤。
Lot 169
AN IMPERIAL SPINACH-GREEN JADE 'LUOHAN' PANEL AFTER GUANXIU (823-912 AD), WITH A POETIC EULOGY BY HONGLI (1711-1799) 貫休款御製羅漢弘曆(1711-1799)詩文碧玉板Opinion: Imperial jade plaques from this distinct group are exceedingly rare. It is impossible to say whether the present lot once served as a table screen, possibly within a group of sixteen, or if it was once part of an Imperial jade book, such as the example in the Chester Beatty Library, Dublin, which portrays all sixteen luohan with accompanying inscriptions (see literature comparison). Either way, the supreme skill level of the incision work overall, as well as the carefully chosen stone and the immaculate calligraphy, all very clearly reflect Imperial workshop quality, no less.The poetic eulogy: Shaking the rock, he leans his knee on it and there takes his rest. It is only this superior being, neither speaking nor silent, who has such eyebrows that trail to the ground. As he pulls them up by hand, does he not seem to be sorting through clouds, and this shows how very fine they are.The author: Born Hongli, the fourth son of Yongzheng, Qianlong was the sixth Emperor of the Qing dynasty, reigning from 1735 to 1796. In 1796, he abdicated in favor of his son, Jiaqing, a filial act in order not to reign longer than his grandfather, the Kangxi Emperor, who ruled for 61 years. Despite his retirement, he retained ultimate power as the Emperor Emeritus until his death in 1799, making him one of the longest-reigning monarchs in history, and, dying at the age of 87, one of the longest-lived. As a capable and cultured ruler inheriting a thriving empire, during his long reign, the Qing Empire reached its most splendid and prosperous era, boasting a large population and economy.China, 1736-1795. Superbly incised and gilt with the luohan Kalika seated in a relaxed pose atop a rocky outcrop, a pair of sandals on the ground below him, all beneath a minute inscription identifying him along with an Imperial eulogy, and three finely incised seal marks. In one hand the luohan holds one of his extremely long eyebrows between two fingers. He is wearing loose-fitting monastic robes with well rendered folds, while the structure of the rock below is expressively incised as well. Provenance: From a noted private collection in Paris, France. Condition: Very good condition with minor wear, natural imperfections to the stone, and minuscule nicks here and there. The gilt to the incisions is partially faded and lost. Smooth silky matte polish overall, as expected on this type of imperial jade plaque.Weight: 265.6 g Dimensions: Size 14.1 x 9 cmThe distinctively exaggerated depiction of the luohan Kalika, finely incised and gilt on the present jade panel, originated with the famous Five Dynasties painter Guanxiu (823-912 AD), whose hugely influential rendition of each luohan's iconography is seen on a number of Qing dynasty Imperial jade carvings and other works of art.In 1757, Qianlong embarked upon a tour of inspection in southern China and visited Hangzhou where he was stationed near Shengyin Si, the monastery that owned the original paintings of the sixteen luohans by Guanxiu. The emperor believed the paintings to be the same set that had been recorded in the Xuanhe Huapu, the inventory of the Song dynasty emperor Huizong. Upon examining the paintings, it is reported that Qianlong wrote a poetic eulogy to each luohan image, renumbering them and providing a translation of their names in Chinese, see Nick Pearce, 'Images of Guanxiu's Sixteen Luohan in Eighteenth-Century China', Apollo, February 2003, pp. 25-31.In 1764, the head abbot at the Shengyin Si monastery, Master Mingshui, instructed local stone engravers to copy the sixteen portraits, incising Guangxiu's lines as well as the emperor's calligraphy and seals onto sixteen large flat stones that were embedded into the sixteen sides of the Miaoxiang marble Pagoda, illustrated in the exhibition catalog The Emperor's Private Paradise, Treasures from the Forbidden City, Peabody Essex Museum, Salem, 2010, fig. 23.In the following decades, the Qianlong emperor had artisans reproduce the images in a variety of mediums, including incising them on jade plaques. A Qianlong period jade book in the Chester Beatty Library, Dublin portraying sixteen luohan with accompanying inscriptions, is illustrated in William Watson, Chinese Jade Books in the Chester Beatty Library, Dublin, 1963, pls. 6-7.Literature comparison: Compare a stone rubbing after the set attributed to Guanxiu, possibly by Ding Guanpeng, in the collection of the Metropolitan Museum of Art, accession number 59.195.16.Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 11 December 2014, lot 164Price: EUR 97,500 or approx. EUR 113,500 adjusted for inflation at the time of writingDescription: Important ecran Imperial en jade celadon, Dynastie Qing, epoque QianlongExpert remark: Compare the closely related depiction of Kalika, with the same identifying inscription and poetic eulogy found on the screen as on the present lot.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 16 March 2016, lot 401 Estimate: USD 50,000 or approx. EUR 58,000 converted and adjusted for inflation at the time of writingDescription: A rare incised and gilt spinach-green jade 'luohan' table screen, Qing dynasty, 18th-19th century.貫休款御製羅漢弘曆(1711-1799)詩文碧玉板中國，1736-1795年。雕刻精美，鎏金嘎禮嘎尊者以游戲姿坐在岩石上，腳下放著一雙涼鞋。羅漢一隻手二指之間夾著他的長眉。他身著寬鬆的僧袍，褶皺紋理流暢。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 155
A CELADON AND RUSSET JADE FIGURE OF A CRANE, MING DYNASTY 明代青玉留皮仙鶴擺件China, 1644-1912. The bird perched on a lotus leaf with the feet tucked under the body, its head turned, the feathers and eyes finely incised. The translucent stone of a deep celadon tone with russet veins and highlights as well as small areas of calcification.Provenance: From the collection of Dr. Ferdinand and Dr. Gudrun Thaler-Szulyovsky, and thence by descent in the same family. The couple, who had both been practicing law, met in 1967 through their mutual passion for art. Together they built a substantial and diverse art collection over many decades, one of their first works of Asian art being a painting of Guan Yu, received as payment for legal services, from the prominent Styrian brewer Sigurd Reininghaus. Condition: Good condition with significant old wear, commensurate with age. The stone with natural inclusions and fissures, some of which have developed into small hairlines, small nicks here and there.Weight: 61.9 g Dimensions: Length 5.5 cm明代青玉留皮仙鶴擺件中國, 1644-1912年。仙鶴棲於荷葉上，雙足埋於身下，轉頭，翎毛與眼珠精雕細琢。深青色調的半透明玉料，帶有赤褐色的脈理和小面積的鈣化。 來源：Dr. Ferdinand 與Dr. Gudrun Thaler-Szulyovsky收藏，保存在同一家族至今。這對一直從事法律工作的夫婦於 1967 年因對藝術的共同熱情而相識。 幾十年來，他們一起建立了一個種類豐富的收藏。他們的第一批亞洲藝術古玩中有一幅《關羽肖像畫》，這是著名的施蒂里亞釀酒商 Sigurd Reininghaus 作爲法律服務給與的報酬。 品相：狀況良好，大面積磨損，與年代相符。玉料帶有天然内沁和裂紋，其中一些已經發展成細小的裂縫，大面積小刻痕。 重量：61.9 克 尺寸：長 5.5 厘米
Lot 134
† AN AGATE PENDANT OF A SQUIRREL WITH PEANUTS, 18TH-19TH CENTURY 十八至十九世紀瑪瑙巧雕松鼠花生掛件China. Carved in the form of a squirrel nestled between three peanuts, pierced through the body with two apertures for suspension. The translucent stone of amber-orange tone with areas of an opaque golden-yellow skin.Provenance: French private collection. Artcurial, Paris, 8 December 2014, lot 75 (part lot). A notable private collector in Kensington, London, United Kingdom, acquired from the above. An old collector's label, 'Brown chalcedony - rat & 3 peanuts', to the base. A copy of the original invoice from Artcurial, dated 9 December 2014 and stating a purchase price for the present lot (together with two further agate pendants and a malachite pendant, all dated to the late Qing dynasty) of EUR 18,200 or approx. EUR 21,500 (adjusted for inflation at the time of writing), accompanies this lot. Condition: Good condition with minor wear, few minuscule nicks, and light surface scratches.Weight: 26.7 g (excl. stand) and 40 g (incl. stand) Dimensions: Length 4.2 cm With a wood stand dating to the early 20th century. (2)Auction result comparison:Type: Closely relatedAuction: Sotheby's London, 13 May 2015, lot 221Estimate: GBP 4,000 or approx. EUR 5,600 converted and adjusted for inflation at the time of writingDescription: An agate squirrel group, Qing dynasty, 18th/19th century13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.十八至十九世紀瑪瑙巧雕松鼠花生掛件中國。瑪瑙巧雕松鼠與三顆花生，活靈活現，異常生動。一個穿孔用於懸掛。琥珀糖色的半透明瑪瑙，留皮。 來源：法國私人收藏；巴黎Artcurial，2014年12月8日，lot 75 (部分)；倫敦肯辛頓知名私人收藏，購於上述拍賣。底部有一個收藏家標籤“Brown chalcedony - rat & 3 peanuts” （褐色玉髓，老鼠和三顆花生）。隨附原始拍賣行發票副本，2014年12月9日出具，價格爲 (與其他兩件瑪瑙掛件和一件孔雀石掛件，都爲清末) EUR 18,200 相當於現在的 EUR 21,500 。 品相：狀況良好，有輕微磨損，少量細小的刻痕和表面輕微劃痕。 重量：26.7 克 (不含底座) ，總40 克 尺寸：長4.2 厘米 配置二十世紀初木質底座。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2015年5月13日，lot 221 估價：GBP 4,000（相當於今日EUR 5,600） 描述：清十八至十九世紀瑪瑙松鼠擺件
Lot 9
† A SMALL WHITE MARBLE FIGURE OF A LION, TANG DYNASTY 唐代小漢白玉獅Published: Religion and Ritual, Michael B. Weisbrod, Inc., 1987, no. 19.China, 618-907. Finely carved, the beast seated on its haunches atop a rectangular plinth and facing forward with the mouth wide open in a ferocious roar, the fierce expression further marked by large bulging eyes. Three long strands of a split beard are smoothly carved on the chest below the chin in rounded relief. The pointed ears are laid back above the thick, subtly carved curls of the mane. Its tail curls around the figure's right side with the end lying over the back paw and below the chest.Provenance: Michael B. Weisbrod, Inc., New York, USA, acquired 1985 in the Hong Kong market. The collection of J. Abraham Cohen, New York, USA, acquired from the above. Michael B. Weisbrod, Inc., New York, USA, 2010, acquired from the above. A notable Canadian private collection, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Superb condition, commensurate with age. Small losses and nicks, light scratches, old wear and weathering, some imperfections to the stone. Fine, naturally grown patina with an unctuous feel and a magnificent ivory color overall.Weight: 1,837 g Dimensions: Height 16.2 cmThe lion is well represented in Buddhist art of the Tang dynasty. Its roar was said to represent the dissemination of the Buddhist scriptures. In their role as guardian figures, lions can be found not only lining spirit roads which lead to imperial tombs, but also in pairs in tombs, such as the pair of small marble lions found guarding the front room of the underground hoard of Buddhist relics at the Famen Temple. See Famen Temple, Shanxi, 1990, pp. 164-167. This figure is stylistically related to other marble lions of Tang date that are also seated on a plinth, some facing forward, some with the mouth open.Literature comparison: The present marble lion bears a strong resemblance to one of the large stone guardian lions along the spirit path of the Qian Ling mausoleum, the tomb of Emperor Gao Zong and Empress Wu Zetian near Xi'an, illustrated by Qian, Out of China's Earth, page 156, and also by Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, volume 4, pl. 431A. Allowing the difference in size and material, there is a marked similarity in the shape of the muzzle, the split beard and the collar of flesh between the shoulders and legs. The large stone lion is probably no later than AD 683, the year of Gao Zong's death.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2020, lot 908 Price: USD 475,000 or approx. EUR 533,500 converted and adjusted for inflation at the time of writing Description: A small white marble figure of a seated lion, China, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (18.2 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 25 March 2022, lot 742 Price: USD 75,600 or approx. EUR 74,000 converted at the time of writing Description: A superb carved white marble figure of a lion, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (17 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.唐代小漢白玉獅中國，618-907年。雕工精巧，石獅呈現蹲坐式樣，前肢斜伸，胸部挺起，獅頭昂揚，雙目圓睜，頭頸處鬃毛分成數縷垂捲，細膩逼真，體格雄健。它的尾巴捲曲在右側，末端位於後爪上方和胸部下方。出版：Michael B. Weisbrod，Inc.，《Religion and Ritual》，1987年，編號19。 來源：美國Michael B. Weisbrod藝廊，1985年購於香港；美國紐約J. Abraham Cohen收藏；B. Weisbrod藝廊2010年購於上述收藏。美國紐約Michael B. Weisbrod私人收藏。 品相：狀態極好，小缺損和刻痕，輕微的劃痕，磨損和風化，石質有些不完美之美。自然包漿，瑩潤細膩。 重量：1,837 克 尺寸：高16.2 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 178
A PALE CELADON JADE-MOUNTED WOOD RUYI SCEPTER, QING DYNASTY 清代青玉三鑲嵌木製如意China, 19th century. The hardwood frame inset to either terminal and to the center with three oval jade plaques carved in low relief with an endless knot, bat, and plums, a Buddha's hand citron, and a pomegranate. An old green cord with an endless knot is attached to the lower end, suspending two tassels. The translucent stone is of a pale celadon tone with cloudy white inclusions and icy veining. All three jade plaques with a fine polish overall.Provenance: From the collection of Gurli and Valter Justusson, Sweden. Gurli (1918-2000) and Valter Justusson (1918-2009) were two folk art dealers who lived in SimlÃ¥ngsdalen just outside Halmstad on the west side of Sweden. The couple bought from many auctions and were avid collectors until their deaths in 2000. An old label with a collector's note 'hanger for mandarin' written in Swedish to the backside. Condition: Good condition commensurate with age, with old wear and traces of use. The wood frame with a nice patina, small losses, age cracks and minor old repairs. The jade with small losses and chips as well as natural inclusions and fissures, some of which have developed into small hairline cracks.Weight: 272 g Dimensions: Length 34.7 cmAuction result comparison:Type: Closely relatedAuction: Sotheby's New York, 17 September 2013, lot 138Price: USD 18,750 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A pale celadon jade-mounted wood ruyi scepter, Qing dynasty, 19th centuryExpert remark: Note the slightly larger size (41.3 cm)Auction result comparison:Type: Closely relatedAuction: Sotheby's London, 10 November 2017, lot 320Price: GBP 13,750 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A carved celadon jade-inset wood ruyi scepter, Qing dynasty, 19th centuryExpert remark: Note the slightly larger size (40 cm)清代青玉三鑲嵌木製如意中國，十九世紀。此件如意以木製器身襯托著首、腹、尾部的三鑲玉飾，富麗華貴。如意首鑲盤長、蝙蝠與雙桃紋，中鑲佛手瓜紋以及尾鑲石榴紋。下端繫著一條帶有綠色盤長，兩條流蘇。 這塊半透明的玉料呈淡青色調，帶有絮狀物和冰紋。三塊玉牌整體瑩潤光滑。 來源：瑞典私人收藏，背面標籤上有藏家注釋瑞典語“hanger for mandarin” 字樣。 品相：狀況良好，有磨損和使用痕跡。良好的包漿，小缺損、老化裂縫和輕微的小修。玉石有少量的磕損，還有天然的絮狀物和裂紋，有的已經發展成細小的裂縫。 重量：272 克 尺寸：長 34.7 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2013年9月17日，lot 138 價格：USD 18,750（相當於今日EUR 24,000） 描述：清十九世紀木嵌白玉八吉祥紋如意 專家評論：請注意尺寸較大(41.3厘米) 。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2017年11月10日，lot 320 價格：GBP 13,750（相當於今日EUR 19,000） 描述：清十九世紀木嵌青白玉太平有象紋如意 專家評論：請注意尺寸較大(40厘米)。
Lot 32
A COPPER ALLOY FIGURE OF VAJRAPANI 銅合金金剛手菩薩Tibet, 17th-18th century. Well cast, the fierce protector of Buddhism and its flock looms with a large belly and fierce snarl, striding in alidhasana on two prostrate figures atop a lotus base under a flaming mandorla, his raised right hand holding a vajra and his lowered left a ghanta with vajra handle, dressed in a tiger skin draped over his back and adorned with beaded jewelry, a coiled snake, and a garland of freshly severed heads, with an elephant head and another human head hanging from his right shoulder.Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family.Condition: In good condition with old wear and some casting flaws, minor nicks, dents and losses, light scratches, some of the inlaid stones are later replacements. The inlay to the right earring is original and made from glass paste in imitation of turquoise. The back with a sacred rectangular cavity, sealed with an old metal plate and associated soldering. Fine natural patina overall with an even, copper-brown tone.Weight: 743.6 gDimensions: Height 17.1 cmHis wrathful face with large bulging eyes below furrowed brows centered by an urna, his flaming hair secured by a skull tiara. The sealed base with a punched double vajra design. Literature comparison: Compare a related Tibetan copper alloy figure of Vajrapani, dated 18th century, 30.5 cm, with gilding and stone inlay, in the collection of the Rubin Museum, object number C2002.17.2.Auction result comparison: Type: RelatedAuction: Bonhams Hong Kong, 3 October 2017, lot 27Price: HKD 1,250,000 or approx. EUR 162,000 converted and adjusted for inflation at the time of writingDescription: A copper alloy figure of Vajrapani, Tibet, 17th/18th centuryExpert remark: Compare the lotus base and flaming mandorla as well as Vajrapani's expression and pose. Note the significantly larger size of 46 cm. 西藏，十七至十八世紀。金剛手菩薩雙目圓睜，雙眉之間有白毫，蓄短鬚，忿怒相，袒胸露腹，頭戴骷髏花冠，火焰狀的赤飄揚於頭頂，左手持金剛鈴，右手高舉金剛杵，下身著虎皮裙，左展姿立於蓮座之上。後有光背。 來源：維也納私人老收藏，在1910 年與1975年期間，經過幾代人的共同努力建立，在同一家族保存至今。 品相：品相良好，有磨損和一些鑄造缺陷，輕微的刻痕和凹痕，一些鑲嵌的石頭是後來的替代品。 右耳環的鑲嵌物是原始的，是仿綠松石玻璃製成。背面有一個矩形舊金屬板和相應焊接密封。 整體包漿細膩，具有均勻的銅棕色色調。 重量：743.6 克 尺寸：高17.1 厘米 底部封底，可見雙金剛杵印。文獻比較： 比較一件相近的18世紀西藏銅合金金剛手菩薩，30.5 厘米，鎏金和鑲石，見Rubin Museum, 藏品編號C2002.17.2。 拍賣結果比較： 形制：相近 拍賣：香港邦翰思,2017年10月3日, lot 27 價格：HKD 1,250,000 （相當於今日EUR 162,000） 描述：十七或十八世紀金鋼手菩薩銅像 專家評論：比較蓮座、背光上的火焰，以及金剛手菩薩的表情和姿勢。請注意尺寸較大（46 厘米）。
Lot 156
A YELLOW AND RUSSET MINIATURE 'PIG DRAGON' PENDANT, ZHULONG, MING DYNASTY 明代黃玉帶皮小豬龍China, c. 16th-17th century or earlier. Of iconic form with a coiled body and superbly rendered head, subtly detailed with bulging eyes, a wrinkled snout and flared nostrils, the slit below the sealed lips terminated before meeting the central perforation, the neck drilled for suspension. The translucent stone of a yellowish green tone with black specks, dark and light russet patches.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades. Condition: Excellent condition with some old wear, and possibly microscopic nicks here and there. The stone with natural inclusions.Weight: 9.0 g Dimensions: Length 3.0 cmPig dragons, or zhulong, are zoomorphic forms with a pig-like head and an elongated limbless body coiled around to the head. They were first produced by the Hongshan culture. Along with the same culture's jade eagles, they often featured as grave goods. Pig bones have been found interred alongside humans at Hongshan burial sites, suggesting that the animal had some ritual significance.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 29 May 2019, lot 608Price: HKD 37,500 or approx. EUR 5,000 converted and adjusted for inflation at the time of writingDescription: Two archaistic celadon jade carvings, Ming dynasty or earlierExpert remark: Compare subject, form and material. Note the lot consists of two jades.明代黃玉帶皮小豬龍中國，約十六至十七世紀或更早。玉豬龍造型渾厚，身體捲曲，首尾相接；面部雕琢逼真，神態炯炯有神；耳朵肥厚，眼睛大而誇張，豬吻上翹。黃綠色的半透明玉石，帶有黑色斑點、深色和赤褐色斑塊。 來源：Irene與 Wolfgang Zacke (1942-2022年) 私人收藏 。自1968 年起，這對夫婦活躍在藝術貿易界，並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980 年代後期，他們一直在收集中國古代玉器，幾十年來建立了極富多樣性的收藏。 品相：狀況極好，有一些磨損，大面積微小划痕。玉料含有天然內沁。 重量：9.0 克 尺寸：長3.0 厘米 玉豬龍是紅山文化的典型器，是用以代表神靈和先祖的圖騰物，且大多出現在墓葬當中，且為有身份地位的墓主所有。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2019年5月29日，lot 608 價格：HKD 37,500（相當於今日EUR 5,000） 描述：明或更早青玉豬龍及青玉琮 專家評論：比較主題、外型和材質。請注意此玉組有兩件玉。
Lot 154
A RARE ARCHAISTIC 'SHANG BRONZE IMITATION' JADE VESSEL, ZHI, LATE SONG TO EARLY MING DYNASTY 宋末至明初罕見仿商青銅酒杯玉觶China, 13th-15th century. Of flattened form, the pear-shaped body rising from a spreading foot carved with a raised bow-string band, the waisted neck with archaistic dragons and whorl motifs. The semi-translucent stone of a pale celadon tone with russet veins, cloudy inclusions, and few dark specks, mostly reserved to one side of the vessel which has been further heightened with cinnabar lacquer (extremely rare) to imitate the natural patina of the bronze prototype, cleverly presenting the archaistic jade to one side and its ancient inspiration to the other. Exhibited: On loan to the High Museum of Art, Atlanta, September 1973 to September 1980. Provenance: From the collection of William S. Arnett, Atlanta, Georgia, USA, acquired prior to 1971, and thence by descent within the same family. William Sydney Arnett (1939-2020) was an Atlanta-based writer, editor, curator, and art collector who built an internationally important collection of African, Asian, and African-American art. In 1978, he co-authored the Three Rivers of Nigeria exhibition catalog for Atlanta's High Museum of Art. As Arnett's collection of African-American art grew, he became convinced that the so-called folk or outsider artists of the black American South were in fact a coherent cultural movement and constituted a crucial chapter in world art. He spent decades gathering extensive documentation and amassing a near-definitive collection of work crucial to the understanding of this cultural phenomenon.Condition: Excellent condition with minor old wear from centuries of handling. Some minuscule nibbling is probably part of the simulated overall wear inherent to the original carving. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 127.1 gDimensions: Height 8.3 cmWith a velvet-padded silk storage box. (2)The present vessel was inspired by an archaic ritual bronze prototype, zhi, which contained wine offerings presented to the ancestors during the performance of religious rituals.The interest of Chinese scholars in ancient artifacts can be traced back to antiquity, but the study of these artifacts, known as antiquarianism or jinshixue 金石學, literally meaning 'the study of metals and stones,' first developed during the Northern Song dynasty. The practice of collecting precious objects was spreading through China as well, and many lost pieces from the Shang dynasty and later were found at building sites. Song scholars established a formal system of dating these artifacts by examining their inscriptions, decorative motif styles, and physical shapes, introducing terms such as taotie which are still in use today. Two works of this period, the Kaogu tu by Lü Dalin and the Bogu tu by Wang Fu, were especially influential on later artists. Along with many other illustrated catalogs they were reprinted during the Ming and Qing dynasties, inspiring the production of archaic style bronzes and jades.Literature comparison: Compare a closely related jade zhi in the collection of the Minneapolis Institute of Art, dated to the Song dynasty, decorated with a similar band and bowstring, accession number 16.10.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 1 December 2016, lot 568Price: HKD 437,500 or approx. EUR 59,000 converted and adjusted for inflation at the time of writingDescription: A small light brown jade miniature archaistic vase, hu, Song dynasty Expert remark: Compare the closely related form and decoration as well as related size (7.2 cm). Note the different color of the jade and that the vessel form was incorrectly identified as a hu.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 11 May 2021, lot 137Price: GBP 25,250 or approx. EUR 30,000 converted and adjusted for inflation at the time of writingDescription: An archaistic white jade vessel, zhi, Ming dynasty Expert remark: Compare the related form and size (9 cm) as well as the similar inclusions to the jade. Note the slightly different decoration.宋末至明初罕見仿商青銅酒杯玉觶中國，十三至十五世紀。小瓶狀，圓腹，侈口，圈足。頸部飾有螭龍和雲紋。半透明的淡青色玉，帶有赤褐色的脈紋和絮狀物以及少量黑色斑點，大部分聚集在玉觶一側，並用硃砂（極為罕見）進一步加強，模仿青銅的自然光澤。 展覽: High Museum of Art，亞特蘭大，1973年9月至1980年9月。 由於字數限制，完整中文敘述請至www.zacke.at查看。。
Lot 151
A SMALL JADE FIGURE OF A BIXIE, SIX DYNASTIES 六朝玉雕小辟邪China, 220-589. The mythical beast is shown crouched low in an attacking stance, standing on four feet, the face with mouth ajar revealing a set of sharp fangs, bulging eyes below curled eyebrows, the body further detailed and finely incised, terminating in a bifurcated tail, and pierced through the center. The translucent stone is of a fine pale celadon and yellow tone with white surface alterations.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades. Condition: Very good condition with minor wear, encrustations, surface alterations, remnants of iron red soil, few small nicks here and there. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 26.4 g Dimensions: Length 5.8 cmBixie are considered powerful protectors of feng shui practitioners and resemble strong, winged lions. Traditionally, Bixie have been regarded as auspicious creatures that possessed mystical powers capable of attracting wealth from all directions.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 31 May 2017, lot 2743Price: HKD 375,000 or approx. EUR 5,200 converted and adjusted for inflation at the time of writingDescription: A white jade Bixie, Six dynasties (220-589)Expert remark: Compare the closely related subject, form, material and similar size.六朝玉雕小辟邪中國，220-589年。神獸呈低蹲攻擊姿態，四足站立，作虎行狀；雙目炯炯，張嘴露齒，頭頂有雙角；尾巴分叉彎曲。半透明的玉料是細膩的淡青和黃色調，多處沁斑。 來源：Irene與 Wolfgang Zacke (1942-2022年) 私人收藏 。自1968 年起，這對夫婦活躍在藝術貿易界，並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980 年代後期，他們一直在收集中國古代玉器，幾十年來建立了極富多樣性的收藏。 品相：狀況極好，有輕微磨損、結殼、紅色土壤結殼，局部少量小刻痕。具有天然內沁和裂縫的石料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：26.4 克 尺寸：長5.8 厘米鎮墓石獸辟邪在東漢時頗為流行，小型者以玉製作，成為漢代人心目中的祥瑞之獸，至六朝風行不減。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年5月31日，lot 2743 價格：HKD 375,000（相當於今日EUR 5,200） 描述：魏晉南北朝白玉辟邪 專家評論：比較非常相近的主題、外型、材質和相似的尺寸。
Lot 167
A PALE CELADON FIGURE OF A BOY WITH A HOBBY HORSE, 18TH CENTURY 十八世紀青白玉騎馬上任童子珮China. Carved as a striding boy holding the reins of the hobby horse with one hand, the other holding a leafy lotus stem. The translucent stone of a pale celadon color with faint russet patches and veins, and cloudy white inclusions.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings.Condition: Very good condition with minor wear, minuscule nibbling to the base, the lotus flower with a small chip. The stone with natural imperfections and fissures, some of which may have developed into small hairline cracks over time.Weight: 74.0 g Dimensions: Height 65 cmExquisitely modeled in the round to depict a boy astride a hobby horse, the reins of which he lovingly clutches whilst slinging stems of lotus over his shoulder, this carving captures the playful ease and charm of the subject. Images of boys playing with a hobby horse form part of the popular 'boys at play' and 'Hundred Boys' subjects that emerged during the Song dynasty. This theme is symbolic of the Confucian ideal for the education and advancement of many sons, a wish further emphasized by the lotus he carries which is a homophone of 'continuous' and creates the rebus 'May you continuously give birth to sons'. As the boy is depicted riding a hobby horse, this conveys the further wish for it to come quickly as 'to be on top of a horse' means 'immediately'.Literature comparison:Compare a related carved jade figure of a boy, but holding a rattle instead of a lotus stem, in the collection of the Museum of East Asian Art, Bath, collection number BATEA 1218. Compare also a related jade figure of a boy holding a lantern on a pole, in the collection of the Metropolitan Museum of Art, accession number 2015.500.5.14.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 30 November 2016, lot 158Price: HKD 525,500 or approx. EUR 72,500 converted and adjusted for inflation at the time of writingDescription: A superb pale celadon jade 'boy and hobby horse' carving, Qing dynasty, 18th century十八世紀青白玉騎馬上任童子珮中國。圓雕一童子騎於玩具馬上，圓頭圓腦，頭頂髮髻，雙眼細瞇喜笑顏開。上衣及長褲衣紋褶皺自然，右手拿著一朵蓮花。馬顯得溫順可愛。青白玉細膩瑩潤。 來源：Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。 Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：品相極好，有輕微磨損，底部有輕微的磕損，蓮花帶有小磕損。玉料具有天然缺陷和裂縫，其中一些可能隨著時間的推移發展成細小的裂縫。 重量：74.0 克 尺寸：高65 厘米 通體琢刻細膩，匠心獨運，人物栩栩如生。男孩玩木馬是宋代流行的“嬰戲圖”和“百子圖”中的一部分。男童玩馬也取意即將出官入仕，平步青雲，玩趣十足。 文獻比較： 比較一件相近的騎馬上任童子玉珮，男童手上拿著蓮花，收藏於巴斯東亞藝術博物館，收藏編號BATEA 1218。比較一件相近的騎馬上任童子玉珮，男童手上拿著燈籠，收藏於大都會藝術博物館，編號2015.500.5.14。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2016年11月30日，lot 158 價格：HKD 525,500（相當於今日EUR 72,500） 描述：清十八世紀青白玉雕連生貴子把件
Lot 8
† A MARBLE HEAD OF BUDDHA, TANG DYNASTY 唐代漢白玉佛頭China, 618-907. Finely carved, the serene face depicted with a pair of heavy-lidded downcast eyes, an elongated nose flanked by long pendulous ears, and pursed lips forming a subtle smile, all below elegantly arched eyebrows, the hair arranged in dense rows of spiral curls rising to a domed ushnisha. Note the remarkably fine incision work on this piece as well as the subtle, elegant polish - both hallmarks of high Tang marble works.Provenance: Vallin Gallery, Wilton, Connecticut, USA. Karsten Tietz, acquired from the above during Asia Week New York in 2010. Michael Phillips, acquired from the above in 2016. A copy of the original invoice from Karsten Tietz, dated 23 March 2016, stating a purchase price of USD 15,000 or approximately EUR 18,200 converted and adjusted for inflation at the time of writing, signed by Karsten Tietz, accompanies this lot. Vallin Galleries, established in 1940, were dealers of fine Asian art. Owned and operated by Peter L. Rosenberg for nearly thirty years until his sudden death in December 2013, the gallery was widely regarded as an outstanding source for the best of Asian art. Karsten Tietz is a Berlin-based expert and dealer of selected masterpieces from Asia. Some of his pieces have been sold to important museums, including the Metropolitan Museum of Art. 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. Extensive wear, signs of weathering and erosion, soil encrustations, few nicks and tiny cracks, shallow surface scratches, some losses, remnants of pigments. Good natural patina overall.Weight: 1,102 g Dimensions: Height 12.5 cm (excl. stand), 25.7 cm (incl. stand)With a modern acrylic stand. (2)Literature comparison: Compare a closely related marble head of Buddha, dated to the Tang dynasty, 17.8 cm high, in the collection of the Israel Museum, Jerusalem, accession number B88.0040.Auction result comparison:Type: Remotely relatedAuction: Christie's London, 15 May 2018, lot 158Price: GBP 18,750 or approx. EUR 26,200 converted and adjusted for inflation at the time of writingDescription: A Small Dark Grey Stone Head of Buddha, Tang Dynasty (618-907)Expert's remark: Note the similar size (11.5 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.唐代漢白玉佛頭中國，618-907年。佛頭頭上有螺髻，眼睛微閉，彎月眉，面露微笑，表情慈祥安寧，長耳垂。漢白玉整體瑩潤光滑。表面光滑瑩潤，雕工精美，這是唐朝漢白玉造像的特徵。 來源：美國康涅狄格州威爾頓Vallin Gallery藝廊；Karsten Tietz在2010年紐約亞洲藝術周購於上述藝廊；Michael Phillips 2016年購於Karsten Tietz處。隨附Karsten Tietz出具的原始發票副本，時間爲2016年3月23日，價格為 USD 15,000，相當於現在的 EUR 18,200 。Vallin Galleries成立於 1940 年，是亞洲精美藝術品的經銷商，由 Peter L. Rosenberg經營近 30 年，直到 2013年 年 12 月突然去世。該藝廊被認為是亞洲藝術品的最佳藝廊之一。Karsten Tietz是來自柏林的專家和亞洲藝術品的經銷商，他的很多藏品已出售給重要的博物館，包括大都會博物館。Michael Phillips (出生於1943年) 是一位電影製片人，曾獲得奧斯卡獎。他出生在紐約布魯克林，父母是Lawrence 與Shirley Phillips，他們是著名的紐約亞洲美術經銷商，向大都會博物館、洛杉磯美術館、芝加哥藝術學院和大英博物館等機構出售藝術品。Michael Phillips本人是亞洲藝術收藏家，尤其是印度、東南亞和喜馬拉雅地區造像。他最重要的電影包括《騙中騙》（1973 年獲得奧斯卡最佳影片獎）、《出租車司機》（1976 年戛納電影節金棕櫚獎）和史蒂文·斯皮爾伯格的《第三類接觸》。 品相：狀況良好。大面積磨損、風化和侵蝕、土壤結塊、少量刻痕和微小裂縫、表面淺劃痕、顏料殘留。整體良好的自然光澤。 重量：1,102 克 尺寸：高12.5 厘米 (不含底座)，25.7 厘米 (含底座) 現代樹脂支架。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 152
A CELADON JADE 'BIRD' PENDANT, SONG DYNASTY 宋代青玉鳥形掛墜China, 960-1279. The recumbent bird finely carved and incised with a long tail, and almond shaped eyes, the curled wings with double-line grooves, a short beak, and claws tucked underneath. The back is pierced for suspension. The translucent stone of a pale celadon tone with icy inclusions and small areas of opaque gray and white alteration.Provenance: From the collection of David Taylor, and thence by descent within the Taylor family. David Taylor (1876-1958) was a notable British businessman who lived in Belfast and owned various commercial buildings along with a substantial portfolio of stocks and shares. During his travels to China in the early 20th century, he acquired many jades, including the present lot. His grandfather, Sir David Taylor, was born in 1815 in Perth, Scotland, and moved to Belfast in 1842, serving as its Mayor in 1867 and for two consecutive terms in 1883 and 1884. Condition: Fine condition, commensurate with age. The stone with minor nibbles and losses, natural fissures and some distinctly calcified areas. The jade with a good, unctuous feel overall.Weight: 64.1 g Dimensions: Length 7.3 cmAuction result comparison:Type: RelatedAuction: Sotheby's London, 11 May 2011, lot 100Price: GBP 10,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A rare carved jade bird, Song dynasty宋代青玉鳥形掛墜中國，960-1279年。玉鳥雕工精美，長尾，杏眼，雙線凹槽雕刻，短喙，爪子藏於身下。背部刺穿用以懸掛。淺青色調的半透明玉料，帶有冰狀内沁和不透明的灰色白色變化的小區域。 來源：David Taylor收藏，自此一直保存在Taylor家族中。David Taylor (1876-1958) 曾是一位著名的英國商人，住在貝爾法斯特，擁有各種商業建築以及大量股票和股份。二十世紀初，他到中國旅行時購買了許多玉器，包括現在的這件。 他的祖父戴維·泰勒爵士 1815 年出生於蘇格蘭Perth，1842 年移居Belfast，1867 年擔任市長，1883 年和 1884 年連任。 品相：狀況良好，與年齡相稱。 石頭有輕微磕損，天然裂縫和一些明顯的鈣化區域。玉質整體感覺瑩潤。 重量：64.1 克 尺寸：長 7.3 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2011年5月11日，lot 100 價格：GBP 10,000（相當於今日 EUR 15,000） 描述：罕見宋代玉鳥掛墜
Lot 140
A RARE JADE CONG-FORM BEAD, LIANGZHU CULTURE 罕見良渚文化琮形玉珠China, circa 3300-2200. Of rounded square form, carved as a three-tiered miniature cong. Each register is finely incised with stylized masks at each of the four corners. The bead is neatly drilled from both sides, exactly as expected from a miniature cong from this distinct group. The stone is now opaque and of buff color from alteration.Provenance: From a private estate in New York City, USA. Condition: Very good condition with minor old wear, one edge with a small smoothened chip. The stone with natural fissures which have developed into small hairline cracks over time. Very fine polish and good, unctuous feel overall.Weight: 36.4 g Dimensions: Length 6.5 cmAuction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 27 November 2019, lot 2723Price: HKD 525,000 or approx. EUR 66,500 converted and adjusted for inflation at the time of writingDescription: A cong-form jade bead, Liangzhu culture, circa 3300-2200 BCExpert remark: Compare the closely related cong-form, incision work, and color of the jade. Note the bead is two-tiered, and of smaller size (3.8 cm).罕見良渚文化琮形玉珠中國，約公元前3300至2200年。玉珠被雕刻成琮形，玉珠被雕刻成琮形，四個角獸形面具紋，穿孔。不透明的玉料上大面積鈣化。 來源：美國紐約私人收藏。 品相：品相非常好，輕微磨損 ，一角上有小磕損，隨著時間的推移已經變得平滑。帶有天然裂縫的石料，隨著時間的推移，其中一些可能會發展成細小的裂縫。非常精細的拋光和良好的整體感覺。 重量：36.4 克 尺寸：長 6.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2019年11月27日，lot 2723 價格：HKD 525,000（相當於今日 EUR 67,300） 描述：大約公元前3300-2200良渚文化琮形玉珠 專家評論：比較此玉珠非常相近琮形、雕刻、顏色。請注意此玉珠有兩層，以及尺寸較小(3.8 厘米)。
Lot 173
A PALE CELADON JADE INKSTONE WITH MATCHING ZITAN STAND AND COVER, QING DYNASTY 清代青玉硯China, 18th-19th century. The well-polished stone is of a rounded rectangular shape, surrounded by a thick border, the surface slightly depressing towards the center, and the top with a deeply recessed oval well. The Zitan wood stand and cover are finely carved in the form of a melon with trailing vines, leaves, and an additional smaller fruit. The translucent stone is of a milky-white tone with shades of pale celadon, icy inclusions and few russet veins. (3)Provenance: British trade. Condition: Very good condition with minor old wear. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time, as well as minuscule nicks here and there. The stand and lid with fine natural age-cracks, minor nicks here and there. Good, naturally grown patina overall.Weight: 116.0 g (the jade) and 146.6 g (incl. stand and cover) Dimensions: Length 8.6 cm Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 9 October 2007, lot 1594Price: HKD 487,500 or approx. EUR 76,500 converted and adjusted for inflation at the time of writingDescription: A white jade inkstone with 'sun and cloud' motifs Qing Dynasty, 18th / 19th centuryExpert remark: Compare the related form and size of the inkwell, the color of the jade, and the Zitan box and cover.清代青玉硯中國，十八至十九世紀。青玉圓角長方形，四周有厚實的邊框，表面向中心稍凹陷，頂部有一個深凹的橢圓形墨海。紫檀底座和蓋子，成瓜形；蓋子上精美雕刻瓜與藤蔓。半透明的玉料呈白色調，帶有淡淡的青色，有内沁和少量赤褐色的紋理。 來源：英國古玩交易。 品相：狀況極好，有輕微的磨損。帶有天然內沁和裂縫的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫，很多微小的刻痕。 木底座和蓋有自然老化裂縫，輕微的刻痕。整體良好，自然生長的包漿。 重量：玉116.0克，總146.6克 (含底座與蓋) 尺寸：長 8.6 厘米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2007年10月9日，lot 1594 價格：HKD 487,500（相當於今日EUR 76,500） 描述：十八至十九世紀清代白玉雲日硯 專家評論：比較相近的外型、墨海尺寸、玉石顏色，以及紫檀底座和蓋子。
Lot 172
A WHITE AND RUSSET JADE 'FOUR SCHOLARLY ACCOMPLISHMENTS' GROUP, SIYI, QING DYNASTY 清代白玉雕四藝擺件China, 18th-19th century. The stone carved in the form of a qin, a weiqi (go) board, a brush pot, a gnarled prunus branch, and billowing ribbons, symbolizing the 'Four Scholarly Pursuits' (siyi). The translucent stone of a pale yellow color with areas of russet and cloudy white inclusions.Provenance: London, United Kingdom trade.Condition: Excellent condition with minor wear and minuscule nibbling.Weight: 45.5 g Dimensions: Length 4.9 cmThe four arts (siyi), or the four essential arts of the Chinese scholar, were the four main academic and artistic talents required of the aristocratic ancient Chinese scholar-gentleman. They were the mastery of the qin (the guqin, a stringed instrument), weiqi (the strategy game of Go), shu (Chinese calligraphy) and hua (Chinese painting).Every scholar in Imperial China was expected to play the seven-stringed zither or qin. The board game of weiqi was considered equally a pastime and an art form. Chinese calligraphy was highly regarded as an expression of the practitioner's poetic nature and a significant test of manual dexterity. It comprises a minimalist set of rules which facilitates a system of complexity and grandeur. Finally, every scholar was expected to learn the art of brush painting, which was regarded as the greatest expression of individual creativity, through which one could demonstrate his mastery over the art of line.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 30 November 2017, lot 717Price: HKD 100,000 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: A pale celadon jade 'four scholarly accomplishments' group, Qing dynastyAuction result comparison: Type: Related Auction: Christie's London, 8 November 2011, lot 172 Price: GBP 43,250 or approx. EUR 65,500 converted and adjusted for inflation at the time of writingDescription: A celadon jade pendant, 18th century清代白玉雕四藝擺件中國，十八至十九世紀。玉石雕刻琴、圍棋盤、筆筒和梅枝，象徵著“四藝”。半透明的淡黃色玉石，帶有赤褐色絮狀内沁。 來源：英國倫敦古玩交易市場。 品相：狀況極好，有些微磨損和輕微的刻痕。 重量：45.5 克 尺寸：長4.9 厘米 四藝，通常指中國文人所推崇和要掌握的四門藝術，即琴、棋、書、畫， 又稱為“文人四藝”，他們是文人消遣並體現自身修養的四種藝術形式。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2017年11月30日，lot 717 價格：HKD 100,000（相當於今日EUR 13,000） 描述：清代青白玉四藝擺件 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2011年11月8日，lot 172 價格：GBP 43,250（相當於今日EUR 65,500） 描述：十八世紀青玉擺件
Lot 142
A CELADON AND RUSSET JADE AXE, NEOLITHIC PERIOD 新石器時代青玉斧China, 4000 to 2500 BC. The blade of flattened rectangular form with rounded edges and a small aperture for suspension. The translucent stone is of a pale celadon tone with areas of white clouding and distinct russet inclusions. The reverse with a series of deeply incised crescent-shaped markings.Provenance: New York trade, USA, by repute acquired from a private estate.Condition: Overall good condition. The stone with russet-colored encrustations, most likely residues from an iron source buried nearby. Some losses, mostly along the edges. The surface finely polished with several areas now silky matt, few intrinsic fissures, and a single large vein has developed into a natural crack.Weight: 144.8 gDimensions: Length 13.9 cm, width 5.9 cm, aperture 0.9 cmKnife- and axe-shaped blades made from stone were probably working tools in Neolithic societies. Jade is hard but brittle, so the blades made from this beautiful material are unlikely to have been put to practical use. Instead, they would have been held by chieftains as symbols of authority. Large quantities of jade blades have been excavated in different regions in China, indicating their widespread use over a span of more than 3,000 years.Expert note: The British Museum described a related form of axe as Songze type (see Literature comparison), which is a culture discovered at Dongshancun site in Zhangjiagang city, Jiangsu, where numerous tombs from ancient cultures were unearthed, including their manifold contents.Literature comparison: Compare a related stone axe, also dated to the Neolithic period, in the British Museum, accession number 1945,1017.115, and another in the Victoria and Albert Museum, London, with the accession number A.64-1936.新石器時代青玉斧中國，公元前4000 至2500年。青玉質，局部褐色沁。斧呈扁平片狀，長條形，淺圓弧刃。上端有單面鑽螺旋式孔用於懸挂，一側局部漸增灰白色土沁，通體光素，圓潤渾厚。背面可有新月圖形。 來源：紐約古玩市場，據説購於私人收藏。 品相：整體狀況良好。赤褐色内沁。邊緣有一些缺損。表面光滑細膩，少量內部裂紋理，一條脈理已經發展成天然裂紋。 重量：144.8 克 尺寸：長13.9 厘米，寬 5.9 厘米，圓孔直徑 0.9 厘米
Lot 14
A MAGNIFICENT LIMESTONE HEAD OF GUANYIN, YUAN TO MING DYNASTY 元明時期石灰石觀音頭像China, 14th century. The brown and gray stone with its distinct gray striations is deeply carved to depict Guanyin with a serene and benevolent expression, eyes downcast beneath elegantly arching brows centered by a circular urna, the neatly incised curled hair piled into a topknot and secured by a high-peaked Buddhist tiara with small images of the Amitabha Buddha seated in dhyanasana on a lotus pedestal.Provenance: From the collection of Karl Stirner, and thence by descent. Karl Stirner (1923-2016) was a German-born American sculptor known internationally for his metalwork. His art has been shown at the Museum of Modern Art in New York, the Pennsylvania Academy of Fine Arts, the Philadelphia Museum of Art, the Corcoran Gallery, the La Jolla Museum of Contemporary Art, the James A. Michener Art Museum, the Grounds for Sculpture in Hamilton, New Jersey, and the Delaware Art Museum, among other places. Condition: Good condition, commensurate with age, and exactly as expected of an authentic limestone sculpture from the 14th century. Extensive wear, weathering, encrustations and erosion. Losses, structural cracks, and minor nicks here and there. Remnants of multiple layers of lacquer and pigments from different periods.Weight: 18.2 kg (incl. stand) Dimensions: Height 34.5 cm (excl. stand), 56.5 cm (incl. stand) Mounted to a metal and wood stand. (2)Expert's note: The present sculpture bears the telltale signs of raised edges rubbed smooth, unequivocal testimonials of constant worshipping spanning many centuries, where beholders were gripped with the overt temptation to caress the cheekbones, forehead and nose.This remarkably beautiful and large head presents the bodhisattva of Compassion and Mercy. The iconography of the god was originally created on Indian soil and brought to China by monks at the beginning of the Christian era. In the early phase of Chinese Buddhism, stone and bronze examples of the god of Compassion followed these Indian iconographic treatises by depicting him as a male god. By the end of the Tang period (618-907) the depiction of Avalokiteshvara or (in Chinese) Guanyin had gradually become feminized to reach a climax during the Song dynasty (960-1279), when the majority had acquired a definite female appearance. During this period of transition, the mercy aspect of the god was emphasized, resulting in these stronger female features. The present, superbly sculpted head shows the pinnacle of this development, which had become the hallmark for all Guanyin representations from then onwards.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 13 June 2013, lot 261Price: EUR 39,900 or approx. EUR 46,000 converted and adjusted for inflation at the time of writingDescription: A limestone Guanyin head, China, 14th centuryExpert's remark: Note the height of 44 cm.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 10 May 2018, lot 986Price: USD 56,250 or approx. EUR 62,000 converted and adjusted for inflation at the time of writingDescription: A stone head of Guanyin, China, Ming dynasty (1368-1644)Expert's remark: Note the height of 25 cm.元明時期石灰石觀音頭像中國，十四世紀。灰褐色石料上刻有明顯的灰色條紋，觀音菩薩頭戴五葉冠，冠形繁複，上有阿彌陀佛坐像；臉型豐滿圓潤，雙目低垂，雙眉之間有白毫，表情莊嚴大氣。髮髻高聳。 來源： Karl Stirner私人收藏，保存至今。Karl Stirner (1923-2016年) 是一位出生於德國的美國雕塑家，以其金屬造像而聞名於世。他的藝術作品曾在紐約現代藝術博物館、賓夕法尼亞美術學院、費城藝術博物館、科科倫畫廊、拉霍亞當代美術館、James A. Michener美術館、新澤西州漢密爾頓The Grounds 雕塑舘和特拉華美術館等展出。 品相：品相良好，狀況與年代相符。大面積磨損、風化、結殼和侵蝕。很多缺損、結構裂縫和輕微的劃痕。不同時期的漆彩殘餘。 重量：18.2 公斤 (含底座) 尺寸：高34.5 厘米 (不含底座)，56.5 厘米 (含底座) 木底座，金屬支架。 專家注釋：這件造像帶有明顯的凸起邊緣因爲摩擦而變得光滑的跡象，明確證明了跨越多個世紀的膜拜與使用。觀者不由自主被吸引，想要撫摸顴骨、前額和鼻子。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 183
A LAVENDER AND APPLE GREEN JADEITE 'CHAIN' VASE AND COVER, EARLY 20TH CENTURY 二十世紀初飄紫翡翠獅鈕活環蓋瓶China. The translucent stone is of a fine apple green and pale lavender tone with few brown inclusions and dark green veining. The neck bears two lion head handles suspending loose rings. The cover is carved in relief with prominent taotie masks, surmounted by a Buddhist lion, its tail forming a loop attachment for the chain which is connected to the body, all carved from a single piece of jade. The vessel is neatly incised with further taotie masks above a lappet border, and the neck is additionally decorated with a band of plantain leaves.Provenance: From a private collection in Texas, USA, built over the past 50 years by a passionate collector of Asian art. Thence by descent within the same family. Condition: Very good condition, minor old wear, few minuscule nicks here and there.Weight: 824.8 g Dimensions: Height 21 cmAuction result comparison: Type: Closely relatedAuction: Bonham's Hong Kong, 24 November 2012, lot 229Price: HKD 250,000 or approx. EUR 36,800 converted and adjusted for inflation at the time of writingDescription: A Mughal-Style Jadeite Vase and CoverExpert remark: Compare the closely related color of the jadeite and the similar size of the vessel (21.5 cm), as well as the chain that connects the cover with the bodyAuction result comparison:Type: RelatedAuction: Christie's Paris, 10 December 2021, lot 700Price: EUR 30,000 or approx. EUR 32,500 adjusted for inflation at the time of writingDescription: A jadeite archaistic vase and cover, early 20th centuryExpert remark: Compare the color of the jadeite and the size of the vessel (19 cm) as well as the related taotie mask carving and the chain that connects the cover with the body. Note the different form.二十世紀初飄紫翡翠獅鈕活環蓋瓶中國。半透明翡翠呈細膩的蘋果綠色和淡紫色調，局部輕微褐色内沁和深綠色脈理。頸部獅耳活環。瓶蓋上浮雕饕餮紋，獅鈕，其尾巴連接著圓環鏈條，另一頭連載瓶子底部。瓶身浮雕饕餮紋，頸部飾有芭蕉葉紋。翡翠蓋瓶由一整塊翡翠雕刻而成。 來源：美國德克薩斯私人收藏，五十多年前由一位熱愛亞洲藝術的收藏家建立。自此保存在同一家族至今。 品相：品相極，輕微磨損，有很多微小刻痕。 重量：824.8 克 尺寸：高21 厘米拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2012年11月24日, lot 229 價格：HKD 250,000 （相當於今日EUR 36,800） 描述：翡翠痕都斯坦式玉瓶 專家評論：比較相似的翡翠色調，圓環鏈條也連接瓶蓋和瓶身，但尺寸較小 (21.5 厘米) 。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得, 2021年12月10日, lot 700 價格：EUR 30,000 （相當於今日EUR 32,500） 描述：20世紀仿古翡翠蓋瓶 專家評論：比較相似的翡翠色調和尺寸 (19 厘米) ，以及相近的饕餮紋，圓環鏈條也連接瓶蓋和瓶身。請注意形狀不同。
Lot 164
A PALE CELADON AND RUSSET JADE FIGURE OF A DOG, 17TH-18TH CENTURY 十七至十八世紀青玉帶皮臥犬China. The dog is carved with its hind legs tucked beneath its body, and the head turned back towards the curled tail. The face incised with bulging eyes below arched eyebrows. The translucent stone of a very pale celadon tone with russet veining and specks.Provenance: From the personal collection of Susan Chen, Hong Kong, and thence by descent in the family. Susan Chen (d. 2014) was a prominent Hong Kong collector and dealer during the 1980s and 1990s. A long-time member and supporter of the Oriental Ceramics Society, she created the Sze Yuan Tang and Feng Wentang Collections together with her husband Anthony Hardy. Her collections consisted of a wide range of objects, from modern paintings and calligraphies to bronzes, ancient ceramics, and jades, which the couple collected for more than 30 years. In 2016, Bonhams sold parts of the jade collection, which at the time was hailed as the most successful sale of the last decade in this category, reaching a total of HKD 178,000,000. Condition: Excellent condition with some old wear. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time. Some microscopic nicks here and there.Weight: 44.1 g Dimensions: Length 4.6 cmThe motif of a hound is usually associated with fidelity, high rank, and status in Chinese culture. Early representations of jade dogs were probably linked to the identity and aspirations of particular individuals.Auction result comparison:Type: RelatedAuction: Sotheby's London, 3 November 2021, lot 134Price: GBP 5,040 or approx. EUR 6,000 converted and adjusted for inflation at the time of writingDescription: A celadon jade figure of a dog, Ming dynastyExpert remark: Compare the related color of the jade and similarly carved face, tail, and paws, as well as the related size (5.5 cm)十七至十八世紀青玉帶皮臥犬中國。臥犬後腿藏在身體下，頭部轉向捲曲的尾巴，大耳後垂，憨態可掬，活潑可愛。半透明的玉料呈灰青色，帶有赤褐色的脈紋和斑點。 來源：香港 Susan Chen私人收藏，在同一家族保存至今。Susan Chen (2014年逝世) 曾是上世紀八九十年代香港著名的收藏家和經銷商。作為東方陶瓷學會的會員和支持者，她與丈夫Anthony Hardy一起創辦了四元堂和奉文堂收藏。 她的收藏範圍廣泛，從現代書畫到青銅器、古代陶瓷和玉器，這對夫婦收藏了 30 多年。2016年，邦瀚斯出售了部分玉器藏品，這在當時被譽為過去十年該類別中最成功的拍賣，總價達到178,000,000港幣。 品相：狀況極好，有一些磨損。具有天然內含物和裂縫的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。 局部有刻痕。 重量：44.1 克 尺寸：長4.6 厘米 狗在中國文化中意味著忠誠、高貴和地位。玉狗可能與其主人特定個體的身份和願望有關。拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2021年11月3日，lot 134 價格：GBP 5,040（相當於今日EUR 6,000） 描述：明代青玉臥犬 專家評論：比較相近的玉石顏色，以及臉部、尾巴和腳掌雕刻；尺寸相近 (5.5 厘米)。
Lot 157
A CHICKEN BONE JADE 'CHILONG' BELT HOOK AND BUCKLE, MING DYNASTY 明代雞骨玉螭龍紋帶扣一對China, 16th-17th century. Each of rectangular form and carved in openwork with coiled chilong, the hook terminating in a dragon head which fits perfectly into the semicircular loop on the buckle. The semi-translucent stone is of a distinct cream tone with dark veins and cloudy inclusions.Provenance: David Baker, London, United Kingdom. Established in 1978, David Baker Oriental Art is known for early ceramics, jades and works of art from China, Japan, and Korea. Baker was also instrumental in the founding of Asian Art in London in 1998.Condition: Very good condition with minor old wear and some nibbling to edges. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Good, naturally grown patina with a smooth feeling overall.Weight: 31.0 g (the buckle) and 36.6 g (the hook)Dimensions: Length 4.7 cm (the buckle), 5 cm (the hook), and 8.5 cm (when attached together)Auction result comparison: Compare a related white and russet jade belt hook and buckle, of similar form and also carved with a chilong and dragon-head hook, dated to the 17th century, at Sotheby's Hong Kong in The Muwen Tang Collection Of Chinese Jades on 30 November 2016, lot 45, sold for HKD 56,250 (part-lot, together with a smaller jade ornament).明代雞骨玉螭龍紋帶扣一對中國，十六至十七世紀。方形帶扣用整塊玉套雕而成，分子扣和母扣，正面鏤雕兩隻盤螭，方形玉扣上浮雕一龍首，將兩扣相連，開合自如。半透明的玉料具有獨特的奶油色調，帶有深色的紋理和絮狀物。 來源：倫敦David Baker收藏，創建於 1978。David Baker 東方藝術收藏中以中國、日本和韓國的早期陶瓷、玉器和藝術品而聞名。 Baker還在1998 年創立的倫敦亞洲藝術中心發揮了重要作用。品相：狀況極好，有輕微的磨損，邊緣有一些輕微的磨損。 具有天然裂紋的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。包漿細膩，整體感覺光滑。 重量：帶扣31.0 克，帶鈎36.6 克 尺寸：帶扣長4.7 厘米，帶鈎5 厘米，合在一起為 8.5 厘米 拍賣結果比較：比較一件相近的十七世紀白玉螭龍紋帶扣，見香港蘇富比The Muwen Tang Collection Of Chinese Jades 2016年11月30日 lot 45, 售價HKD 56,250。
Lot 170
A WHITE JADE BOWL, QIANLONG PERIOD 乾隆時期白玉碗Opinion: In recent years, perhaps no other Chinese work of art has been copied more often than the Qianlong white jade bowl, as its simple form and absolute lack of decoration make it a seemingly “easy” target for forgers. However, this particular bowl demonstrates that such an erroneous assumption is bound for failure. In reality, it is quite the opposite: The more sober a jade vessel, the more the observer's eye is diverted to the various aspects and dynamics of its shape and, maybe even more important, the quality of its polish, two features that are in fact the most difficult to reproduce convincingly. For some reason, the copies that this author has handled always lacked the masterfully equilibrated proportions of the massive yet slightly splayed foot, strictly focused on function, the elegant swing of the wall - in stark contrast to the present lot, and most remarkably the slanted lip, a distinct feature that forgers often “forget”, probably for the lack of reward given in exchange with the painstaking effort required to add this ”minor” embellishment in a well-controlled manner. Furthermore, and almost needless to mention, this bowl comes from an old collection that precedes the recent wave of copies, which only started around 15-20 years ago.China, 1736-1795. The bowl is well carved with deep rounded sides rising to a gently flaring rim, with a slanted lip, all supported on a massive yet slightly splayed cylindrical foot. The translucent stone is of an almost pure white tone with scattered cloudy inclusions and few minuscule dark-gray specks. It shows a masterfully applied manual polish overall, giving it a decent, lustrous shine.Provenance: From the collection of an English antiques dealer who was active between the 1960s and 1980s, and thence by descent to the last owner. Condition: Excellent condition with minor old wear, the rim with a microscopic nick.Weight: 212.3 g Dimensions: Diameter 12.3 cmNotable for their harmonious proportions, thinly carved walls, and lustrous finish, undecorated jade bowls were among the most luxurious dining utensils available, and their use at court was thus strictly regulated by sumptuary laws. The Guochao gongshi [court history] of the Qianlong period records that only the Empress Dowager and the Empress were allowed to own a 'jade bowl with a gold stand'. Furthermore, on the occasion of feasts at the imperial court, 'jade bowls and golden plates' could be used only in the presence of the Emperor.Auction result comparison: Type: Closely related Auction: Christie's London, 10 November 2015, lot 51 Price: GBP 68,500 or approx. EUR 94,500 converted and adjusted for inflation at the time of writing Description: A finely carved white jade bowl, Qianlong period Expert remark: Compare the closely related form, with a gently flaring rim, slanted lip and slightly splayed foot. Note the slightly larger size (15.6 cm)Auction result comparison: Type: Closely related Auction: Christie's London, 7 November 2012, lot 426 Price: GBP 20,000 or approx. EUR 29,500 converted and adjusted for inflation at the time of writingDescription: A Chinese white jade bowl Expert remark: Compare the similarly slated lip and related size (12.3 cm). Note the slightly different form.乾隆時期白玉碗中國，1736-1795年。碗身光素，敞口微外撇 ，直圈足。素玉碗比例協調、薄壁雕琢，半透明白玉，可見絮狀物和内沁，表面光滑瑩潤。 專家注釋：近年來，可能沒有其他中國藝術品比乾隆白玉碗更頻繁地被複製，因為它簡單形式和光素使其成為偽造者看似“容易”的目標。然而，這個特殊的碗表明，這種錯誤的假設注定會失敗。實際上恰恰相反：玉器越簡單，觀者的眼睛就越會被轉移到其形狀的各個方面上，也許更重要的是其拋光的質量，以及玉碗整體和諧的比例和形制。此外，這個碗來自一個古老的收藏，在近15-20年前出現的複製浪潮出現之前。 來源：來自一位活躍於1960年代至1980年代之間的英國古董商的收藏，一直保存到最後一位繼承者。 品相：狀況極好，輕微磨損，邊緣帶有微小的刻痕。 重量：212.3克 尺寸：直徑12.3厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2015年11月10日，lot 51 價格：GBP 68,500（相當於今日EUR 94,500） 描述：乾隆時期白玉碗 專家評論：比較非常相近的外型、敞口微外撇 ，直圈足。請注意尺寸稍大 (15.6厘米) 。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2012年11月7日，lot 426 價格：GBP 20,000（相當於今日EUR 29,500） 描述：白玉碗 專家評論：比較相似的敞口和相近的尺寸 (12.3厘米)。請注意稍微不同的外型。
Lot 150
A CELADON JADE 'FIGURE' PENDANT, HAN DYNASTY 漢代青玉人物掛件China, 206 BC - 220 AD. The slender personage is carved wearing a long robe and headdress, the arms crossed and tucked into the sleeves, the oval face and details of the robe finely incised. Vertically drilled to both sides for suspension. The translucent stone of a pale celadon tone with distinct russet veins, and cloudy white inclusions.Provenance: French trade. Condition: Very good condition, commensurate with age, showing extensive old wear. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. Microscopic nicks here and there.Weight: 17.4 g Dimensions: Height 7.2 cm Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 28 November 2018, lot 463Price: HKD 27,500 or approx. EUR 3,600 converted and adjusted for inflation at the time of writingDescription: A celadon jade 'figure' pendant, Han dynasty Expert remark: Compare the carving, stone and size (7.9 cm).漢代青玉人物掛件中國，公元前206 - 公元220年。瘦長的人物身穿長袍，頭戴髮冠，雙臂交叉掖入袖中，橢圓形的臉和長袍的細節雕刻精緻。垂直鑽孔。淺青色半透明玉料，帶有明顯的赤褐色脈理和白色絮狀物。 來源：法國古玩交易市場。 品相：品相非常好，與年代相稱，大面積磨損。天然內沁和紋理，其中一些可能隨著時間的推移發展成細小的細裂縫。局部有輕微刻痕。 重量：17.4 克 尺寸：高7.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2018年11月28日，lot 463 價格：HKD 27,500（相當於今日EUR 3,600） 描述：漢代青玉人物掛件 專家評論：比較相近的雕刻、玉石和尺寸 (7.9 厘米)。
Lot 135
A DUAN STONE 'BAT AND LINGZHI' WASHER, QING DYNASTY 清代端石蝙蝠靈芝筆洗China, 1644-1912. Superbly carved, the foliate lobed washer supported on four feet, three in the form of lingzhi, all growing from an open worked gnarled stem bearing further lingzhi to one side, and one in the form of a swooping bat, the base further with large scrolling designs. Note how the lapidary has used the various natural colors of the stone to enhance his design.Provenance: Old private collection in the United Kingdom, thence by descent within the family to the present owner.Condition: Excellent condition with minor wear, few minuscule nicks, and occasional light scratches.Weight: 109.2 gDimensions: Length 9.6 cmAuction result comparison:Type: Distantly relatedAuction: Christie's New York, 15 March 2017, lot 522Price: USD 187,500 or approx. EUR 226,500 converted and adjusted for inflation at the time of writingDescription: A large carved duan 'lotus leaf' ink stone, Qing dynasty (1644-1911)Expert remark: Compare the related lobed form, and stone. Note the size (24.5 cm)清代端石蝙蝠靈芝筆洗中國，1644-1912年。端石精雕細琢，筆洗呈葉瓣狀，四足中的三足為靈芝，一足為蝙蝠，綫條流暢，靈芝如祥雲般騰升而起，蔓延于外壁。巧妙利用端石的自然顏色來，體現了各種紋飾的獨特性。來源：英國私人收藏，在同一家族保存至現任藏家。 品相：狀況極好，輕微磨損、磕損和劃痕。 重量：109.2 克 尺寸：長 9.6 厘米 拍賣結果比較： 形制：些微相近 拍賣：紐約佳士得，2017年3月15日，lot 522 價格：USD 187,500（相當於今日EUR 226,500） 描述：清代端石荷蟹硯 專家評論：比較相近荷葉型和石質。請注意尺寸 (24.5厘米)。
Lot 148
A YELLOW JADE 'DRAGON AND PHOENIX' PENDANT, WARRING STATESJade. China, Warring States period, 5th-3rd century BCThe jade is carved on one end in the form of a dragon depicted with circular eyes, a snout-like nose, interlinking with a phoenix, terminating with its head carved on the other end. The arched, s-shaped body with a furcated tail toward the center and decorated throughout with comma spirals.The translucent stone is of an even yellow tone with russet and mottled brown patches as well as small areas of opaque calcification to the edges.Auction comparison: Compare a closely related jade dragon-form pendant, of slightly smaller size (10 cm long) and dated to the Han dynasty, at Christie's Hong Kong in Adorning the Kings - A Private Collection of Archaic Jade Ornaments on 31 May 2017, lot 2723 (sold for HKD 275,000), and a pair of closely related dragon and phoenix pendants (the larger 11 cm long), also dated to the Warring States period, at Christie's Hong Kong in Chinese Archaic Jades From The Yangdetang Collection Part II on 28 November 2018, lot 2755 (sold for HKD 875,000).LENGTH 14.2 cmProvenance: Private Collection of Irene and Wolfgang Zacke.
Lot 180
A SPINACH-GREEN JADEITE 'LINGZHI AND THREE FRIENDS OF WINTER' RUYI SCEPTER, 19TH CENTURY 十九世紀菠菜綠歲寒三友翡翠如意China. Finely carved in the form of a lingzhi fungus, a blossoming plum branch in openwork at the head, the handle in relief and openwork with smaller lingzhi shoots, pine branches, and leafy bamboo stalks, the scepter thus presenting the Three Friends of Winter (pine, bamboo, and plum). The translucent stone is of a deep spinach-green tone with some paler green shadings and cloudy white inclusions.Provenance: From a noted Hungarian private collection. Condition: Excellent condition with old wear and some minor nicks here and there as well as natural inclusions and fissures inherent to the stone.Dimensions: Height 43 cmWeight: 520.9 gAuction result comparison: Type: Closely related Auction: Sotheby's New York, 17 March 2021, lot 11Price: USD 35,280 or approx. EUR 35,000 converted and adjusted for inflation at the time of writingDescription: A spinach-green jade ruyi scepter, Qing dynasty, 19th centuryExpert remarks: Compare the similar lingzhi design, openwork carving, and related color, as well as the near-identical size (41 cm). Note that the scepter is carved with a chilong and a small bat instead of the Three Friends of Winter.Auction result comparison: Type: Related Auction: Christie's, 6 November 2012, lot 66 Price: GBP 10,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A carved spinach-green jade ruyi-sceptre, 18th/19th centuryExpert remarks: Compare the lingzhi design, plum blossoms, openwork carving, and related color, as well as the near-identical size (41 cm). Note that the scepter is carved with two birds near the end and does not show bamboo or pine.十九世紀菠菜綠歲寒三友翡翠如意中國。菠菜綠翡翠如意，如意柄從下至上鏤空浮雕歲寒三友竹葉、松樹以及如意頭鏤空雕刻梅花花枝，配以較小的靈芝。翡翠有着綠色陰影和白色內沁。 來源：匈牙利知名私人收藏。 品相：品相極好，有磨損和一些輕微的刻痕，以及玉料固有的天然内沁和裂縫。 尺寸：高43 厘米 重量：520.9 克拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比, 2021年3月17日，lot 11 價格：USD 35,280（相當於今日EUR 35,000） 描述：清十九世紀碧玉雕靈芝如意 專家評論：比較相似的靈芝裝飾，鏤空雕刻和顏色，以及相近的尺寸 (41 厘米) 。請注意此如意刻有螭龍、蝙蝠，而非歲寒三友。 拍賣結果比較： 形制：相近 拍賣：佳士得, 2012年11月6月, lot 66 價格：GBP 10,000 （相當於今日EUR 15,000） 描述：十八或十九世紀菠菜綠如意 專家評論：比較靈芝裝飾、梅花花枝、鏤空雕刻，相近的顏色和尺寸 (41 厘米) 。請注意此如意尾端刻有一對鳥，而非竹或松樹。
Lot 146
A JADE DISC, HUAN, EASTERN ZHOU DYNASTY 東周玉環China, 8th-3rd century BC. The disc is neatly decorated in low relief with archaic motifs of s-scrolls, interspersed by four evenly spaced mythical beasts with dragon heads and fish bodies, showing neatly incised scales and tail fins, all between slightly raised borders. The translucent stone is of a pale celadon to russet and dark brown tone with areas of semi-opaque calcification.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades.Condition: Very good condition with some old wear and minuscule nibbling here and there. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. Signs of natural weathering and erosion, surface alterations.Weight: 138.3 gDimensions: Diameter 12 cmLiterature comparison:Compare a related Eastern Zhou jade disc from the Myers collection, with altered areas and a similar design, published in Fillippo Salviati, Radiant Stones: Archaic Chinese Jades, 2004, Hong Kong, no. 82. A similar example but only carved on one side in the Palace Museum Collection, Beijing is illustrated in The Complete Collection of Treasures of the Palace Museum, Jadeware (I), 1995, Hong Kong, p. 126, pl. 104.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 27 November 2007, lot 1595 Price: HKD 162,500 or approx. EUR 30,500 converted and adjusted for inflation at the time of writing Description: A pale celadon jade huan, Eastern Zhou dynastyExpert remark: Note the related size (11.7 cm)東周玉環中國，公元前八至三世紀。玉環扁平，圓形，兩面紋飾相同，環內外緣各飾一圈弦紋，淺浮雕勾連雲紋，中間穿插著四隻龍魚紋，魚鱗清晰，通體規整。青玉質，局部微透明，表面布有深淺不一灰白及褐色沁與鈣化區域。 來源：Irene 與Wolfgang Zacke （1942-2022）收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代末，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 品相：狀況極好，有一些磨損和輕微的磕損。具有天然內沁和裂縫的玉料，其中一些可能隨著時間的推移發展成細小的裂縫。自然風化和侵蝕的跡象，表面鈣化。 重量：138.3 克 尺寸：直徑 12 厘米 文獻比較： 比較一件相近西周玉，有鈣化的區域和相似的設計，收藏於Myers collection，出版於Fillippo Salviati，《Radiant Stones: Archaic Chinese Jades》，2004年，香港，編號82。一件相似的例子，但只雕刻一面，收藏於北京故宮博物院，見《北京故宮博物院藏珍品全集‧玉器》，卷一， 1995年，香港，頁126，編號104. 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2007年11月27日，lot 1595 價格：HKD 162,500（相當於今日EUR 30,500） 描述：西周青玉環 專家評論：請注意相近尺寸(11.7厘米)。
Lot 174
A SPINACH GREEN JADE 'DUCK' LIBATION CUP, QING DYNASTY 清代碧玉鴨形杯China, 19th century. The unusual vessel crisply carved in openwork in the form of a duck with neatly incised feet and plumage, the face with round bulging eyes, a remarkably long beak that serves as a handle, and flanked by lobed flanges. The translucent stone is of a deep spinach-green tone with dark-green and black specks as well as few white and russet inclusions.Provenance: British trade. Condition: Very good condition with minor wear and minuscule nibbling to exposed areas. The stone with natural inclusions and fissures.Weight: 566.2 g Dimensions: Length 19.4 cmAuction result comparison:Type: Remotely relatedAuction: Bonhams London, 6 November 2006, lot 146Price: GBP 10,800 or approx. EUR 21,000 converted and adjusted for inflation at the time of writingDescription: A fine spinach-green jade rhyton, 19th centuryExpert remark: Compare the related type of jade, beast-head carving, period and size (18 cm)清代碧玉鴨形杯中國，十九世紀。鴨形杯，雕刻細節精緻，臉部有圓鼓的雙眼，長喙，生動活潑。半透明的碧玉呈深菠菜綠色調，帶有深綠色和黑色的斑點，以及少量的白色和赤褐色內沁。 來源：英國古玩交易市場。 品相：狀況極好，有輕微磨損，具有天然內沁和裂縫。 重量：566.2 克 尺寸：長19.4 厘米 拍賣結果比較： 形制：稍微相近 拍賣：倫敦邦瀚斯，2006年11月6日，lot 146 價格：GBP 10,800（相當於今日EUR 21,000） 描述：十九世紀碧玉龍形杯 專家評論：比較相近的玉杯型制、獸首雕刻、年代和尺寸 (18 厘米)。
Lot 175
A SPINACH GREEN JADE MINIATURE 'ARCHAISTIC' VASE, 18TH-19TH CENTURY 十八至十九世紀碧玉仿古紋雙耳瓶Opinion: This archaistic vase comes from a distinct group of spinach green archaistic miniature jade vessels, all created after varying ancient models, possibly by Imperial command. While it is not entirely clear what purpose these carvings served, they all share distinct features, such as perfectly matched, elaborate wood stands, 'razor sharp' relief carvings, outstanding purity of the jade, and an average size of 12-15 cm. China. Of flattened square baluster form, the tapering body carved in relief with a writhing chilong, its body terminating in interlocked fish heads on the lower end, the neck flanked by two loop handles, the short sides with archaistic scroll designs, the rim and foot each with a key-fret border. The stone is of a fine and pure spinach green tone with scattered black specks and patches.Provenance: An old English private collection, thence by descent in the same family. Old label to the base reading 'Taotie masks and dragons in archaic style. Chien Lung. 69'. Condition: Good condition with minor old wear, some nibbling to exposed areas. The stone with natural inclusions and fissures, some of which may have developed into microscopic hairlines over time. The wood stand with few small nicks and chips. Weight: 212.3 g (excl. stand) Dimensions: Height 12.2 cm (excl. stand) and 14.1 cm (incl. stand)With a finely carved, open worked, and fitted stand dating to the same period. (2) Auction result comparison:Type: Closely relatedAuction: Christie's London, 18 May 2012, lot 1043Price: GBP 39,650 or approx. EUR 53,500 converted and adjusted for inflation at the time of writingDescription: A Spinach Green Jade Vase of Quatrelobed Section, 18th/19th CenturyExpert's remark: Compare the closely related color, manner of carving, archaistic subject, and size (12.4 cm) of this vase with the present lot.十八至十九世紀碧玉仿古紋雙耳瓶中國。扁方形，束頸，雙耳。瓶身浮雕螭龍，下端魚頭互鎖，邊緣和足墻飾回紋。玉料呈現一種精細而純淨的碧綠色，帶有散落的黑色斑點和斑塊。專家注釋：此仿古花瓶出自一組獨特的碧玉仿古微型玉器，可能是受皇室委托。雖然尚不完全清楚這些玉器的用途，但它們都具有鮮明的特點，例如完美匹配且精緻的木架、線條清晰的浮雕、出眾的純度，以及平均尺寸為 12-15 厘米。 來源：英國私人老收藏，保存在同一家族至今。底座上有一標籤 “Taotie masks and dragons in archaic style. Chien Lung. 69” （仿古饕餮紋，乾隆.69）。 品相：狀況良好，有輕微的磨損。帶有天然內沁和裂縫的玉料，隨著時間的推移，其中一些可能已經發展成微小的細縫。 木架上有一些小刻痕和磕損。 重量：212.3 克 (不含底座) 尺寸：高12.2 厘米 (不含底座) 及 14.1 厘米 (含底座) 鏤雕的來自同一時期的木底座。拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2012年5月18日，lot 1043 價格：GBP 39,650（相當於今日EUR 53,500） 描述：十八或十九世紀四葉草形碧玉瓶 專家評論：比較相近的玉石顏色、雕刻風格、仿古、相似尺寸(12.4 厘米)。
Lot 171
AN IMPERIAL CELADON AND RUSSET JADE 'CHILONG' RHYTON, QIANLONG MARK AND PERIOD 乾隆款與年代御製青玉留皮螭龍角杯China, 1736-1795. Of baluster form with a handle in the form of a clambering chilong and a sloping lip. Carved with sparse C-shaped scrolls to the upper register, dense scrolls and two roundels with scroll designs to the middle register, and stiff leaves and key-fret to the lower register. The translucent stone of a pale celadon tone with russet veins and cloudy white inclusions. The concave base neatly incised with a four-character mark Qianlong nianzhi and of the period.Provenance: A private collector in the United Kingdom.Condition: Very good condition with minor old wear, microscopic nicks, the stone with natural fissures, some of which have developed into small hairline cracks over time.Weight: 225.9 gDimensions: Height 12.7 cmExpert's note: The Qianlong Emperor's great love of jade combined with his passion for antiques resulted in his commissioning significant numbers of archaistic jade items for his court. The present lot belongs to an important group of such objects, all carved from 'impure' jade with prominent fissures and inclusions, erroneously believed by some to be anathema to the Emperor. On the contrary, jades carved from this specific material were one of his greatest passions. During the 44th year of the Qianlong reign (1779), the Suzhou Manufactory was ordered to create a jade vase from a piece of shanliao (nephrite) raw jade. Because of cracks in the jade, the intended size was not possible, and the manufactory sought further instruction from the Emperor. Qianlong responded that if by reducing the size of the finished vase the cracks could be avoided, that would be a good solution, but if even then the cracks could not be avoided, then it would be better to maintain the intended size, as such cracks were a natural characteristic of jade after all. In fact, the Qianlong Emperor believed that defects such as spots and cracks added to the archaic feeling of a work.This aesthetic use of material defects can also be seen in other archaistic jade objects created during the Qianlong reign (see Auction result comparison), indicating that the Emperor considered the craft and decorative program of a jade object more important than the quality of the raw material. Although Qianlong had always had a love of the past, he only promoted the production of archaistic jades in society at large during the middle and late periods of his reign, due to the appearance of certain new kinds of jade that he detested. In the 39th year of his reign (1774), Qianlong criticized the “wretched new forms of jade” in his writing, and later proceeded to lodge repeated criticisms against other new-fangled forms that he considered unacceptably vulgar for being overwrought, excessively ornate, or slavish towards raw materiality. He regarded the popularity of such forms as a “catastrophe for jade”. Whether these forms strike us today as indeed catastrophic or rather innovative, it is clear that the Emperor found them unbearable.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 26 May 2013, lot 131Price: HKD 475,000 or approx. EUR 75,500 converted and adjusted for inflation at the time of writingDescription: An imperial archaistic jade 'phoenix' snuff bottle attributed to the palace workshops, mark and period of QianlongExpert remark: Compare the closely related color of the stone, and fine incision work.Auction result comparison:Type: Related Auction: Sotheby's Hong Kong, 3 April 2018, lot 3638Price: HKD 21,720,000 or approx. EUR 2,963,500 converted and adjusted for inflation at the time of writingDescription: An imperial, highly important and magnificent Khotan-green jade archaistic vase, Fanggu mark and period of QianlongExpert remark: Compare the closely related color of the stone, and fine incision work. Note the size (41.5 cm)Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 28 May 2014, lot 3370Price: HKD 2,920,000 or approx. EUR 445,500 converted and adjusted for inflation at the time of writingDescription: A rare large imperial jade archaistic vase, Qianlong four-character, Fanggu mark inscribed in a line and of the period (1736-1795)Expert remark: Compare the closely related color of the stone, and fine incision work. Note the size (33 cm)乾隆款與年代御製青玉留皮螭龍角杯中國，1736-1795年。角形杯，攀爬的螭龍，龍首上仰，修長矯健的身軀，成杯把。 玉杯上部有如意卷紋，中部刻卷葉紋，下部刻有雷紋和蟬紋。淡青色半透明玉料，帶有赤褐色紋理和白色絮狀内沁。圈足内刻“乾隆年製”四字款。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 137
A CARNELIAN AGATE 'PHOENIX AND LINGZHI' VASE, QING DYNASTY 清代紅玉髓鳳凰如意福壽瓶China, 18th-19th century. The vessel with two receptacles, the larger carved as a gnarled tree trunk and the smaller as a lingzhi fungus growing from the side, further carved in relief and openwork with a phoenix and a bat perched on the trunk as well as lingzhi sprigs and numerous leafy peach branches, the striking contrast between the white agate and bright-red carnelian inclusions ingeniously used to great effect.Provenance: British trade. Condition: Good condition, commensurate with age and displaying nicely overall, with old wear, minor nicks here and there, minuscule losses, and light surface scratches. The stone with extensive yet almost invisible natural fissuring, exactly as expected from ancient specimens of this conglomerate mineral, some of which developed into microscopic hairline cracks over time. Note that the vessel is leaning to one side, which was likely once compensated with a fitted wood stand.Weight: 694.6 gDimensions: Width 13.5 cmOpinion: The extensive yet almost invisible natural fissuring is a hallmark of the most ancient specimens of this conglomerate mineral, which was rare and thus highly coveted by Chinese literati and scholars of the 18th century. Much to the contrary, specimens mined in modern times all lack this distinct and unique feature.Auction result comparison:Type: Closely related Auction: Sotheby's Hong Kong, 30 November 2017, lot 362Price: 225,000 HKD or approx. EUR 29,000 converted and adjusted for inflation at the time of writing Description: A large carnelian agate 'sanduo' vase, Qing dynasty, 18th century Expert remark: Compare the closely related form with two receptacles and fine openwork carving as well as the related motif with tree trunk and peach. Note the larger size (21.3 cm).Auction result comparison: Type: Closely related Auction: Bonhams London, 13 May 2021, lot 46 Price: GBP 45,250 or approx. EUR 54,000 converted and adjusted for inflation at the time of writingDescription: A large carnelian agate 'sanduo' vase, 19th century Expert remark: Compare the closely related form, probably also leaning to one side and compensated by the matching stand, also with two receptacles and fine openwork carving as well as the similar motif with phoenix, tree trunk, and peach. Note the slightly larger size (19 cm).清代紅玉髓鳳凰如意福壽瓶中國，十八至十九世紀。小瓶有兩個容器，較大的雕刻為多節的樹幹，較小的雕刻為從側面生長的靈芝，采用浮雕和鏤空技藝。樹上棲息著一隻鳳凰和一隻蝙蝠，四周可見靈芝和眾多的綠葉和桃枝。白色瑪瑙與鮮紅色的紅玉髓內含物形成鮮明對比，巧妙運用，效果極佳。 來源：英國古玩交易市場。 品相：狀況良好，與年齡相稱，有磨損，輕微的劃痕，微小的缺損和輕微的表面劃痕。這塊石料具有廣泛但很輕微的天然裂縫，與這種礫岩礦物的古代標本所預期的完全一樣，其中一些隨著時間的推移發展髮絲縫。請注意此瓶向一側傾斜，可能曾經有一個相應的木底座。 重量：694.6克 尺寸：寬13.5厘米 專家注釋：廣泛但幾乎看不見的天然裂隙是這種礫岩礦物最古老的礦石的標誌，這種礫岩非常罕見，因此受到 十八世紀中國文人學者的高度推崇。而現代開採的石料都缺乏這種鮮明而獨特的特徵。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2017年11月30日，lot 362 價格：HKD 225,000（相當於今日EUR 29,000） 描述：十八世紀紅玉髓「三多」花插 專家評論：比較非常相近的外型、兩個容器和鏤空雕刻，以及相近的樹幹和桃子主題。請注意尺寸較大 (21.3厘米)。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2021年5月13日，lot 46 價格：GBP 45,250（相當於今日EUR 54,000） 描述：十九世紀南紅瑪瑙「三多」花插 專家評論：比較非常相近的形式，也是向一側傾斜，可能有相配的支架，也有兩個容器和精細的鏤空雕刻，以及類似的鳳凰、樹幹和桃子的圖案。注意它的尺寸稍大(19厘米)。
Lot 165
A CELADON AND RUSSET JADE 'BIXI' WATERPOT, 17TH - EARLY 18TH CENTURY 十七至十八世紀初青玉贔屭水丞China. Boldly carved as a Bixi, the mythical creature, standing foursquare on stout legs, the face detailed with large eyes, incised scrolling brows, and a pierced scowling mouth, the tail carved as a single ruyi-head, the body neatly incised with ruyi-shaped scroll designs. The semi-translucent stone is of an elegant grayish celadon tone with a deep russet skin and associated veining.Provenance: British trade. Condition: Very good condition with significant old wear, some traces of use and few minuscule nicks here and there. The surface with a fine manual polish overall. The stone with natural fissures and inclusions. The stopper is lost.Weight: 108.5 gDimensions: Length 6.7 cmOpinion: Sculptures of Bixi are traditionally rubbed for good luck, which explains why the neatly incised ruyi scrolls on the back of the mythical creature are mostly obliterated today, owing to hundreds of years of devotion by generations of scholars. It is to be hoped that the future owner of this masterpiece will extend it the same appreciation as their predecessors.Auction result comparison: Type: Related Auction: Christie's London, 7 November 2014, lot 403 Price: GBP 9,375 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: A pale celadon and russet jade model of a tigerExpert remark: Compare the russet skin and veining, as well as the circular aperture on the tiger's back, also missing the stopper. Note the slightly larger size (8.5 cm).Auction result comparison: Type: Related Auction: Christie's London, 14 May 2013, lot 122 Price: GBP 7,500 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: A celadon jade 'Buddhist lion' water pot and cover, 18th century Expert remark: Compare the similarly bold manner of carving. Note the slightly larger size (9.3 cm) and the stopper still present.Auction result comparison: Type: Related Auction: Christie's New York, 22-23 March 2012, lot 1896 Price: GBP 21,150 or approx. EUR 28,000 converted and adjusted for inflation at the time of writingDescription: A Greenish-White Jade Bixi-Form Water Pot, 17TH - 18TH Century Expert remark: Compare the same subject, the stopper also missing, and the bold manner of carving. Note the significantly larger size (11.3 cm) and the purity of the jade.十七至十八世紀初青玉贔屭水丞中國。神獸贔屭，四肢粗壯，運用圓雕的手法，雕刻出龍首、龍頸、麟尾，背部有圓孔。這顆半透明的玉料呈優雅的灰青色調。 來源：英國古玩交易市場。 品相：狀況極好，有明顯的磨損和一些使用痕跡，而且到處都有一些微小的刻痕。整體表面經過精細手工打磨。具有天然裂縫和內沁的玉料。塞子丟失。 重量：108.5克 尺寸：長6.7厘米 專家注釋：傳説撫摸贔屭，可以祈求好運，這也解釋了為什麼幾百年來贔屭背上雕刻如意的原因。拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2014年11月7日，lot 403 價格：GBP 9,375（相當於今日EUR 13,000） 描述：十八至十九世紀青玉留皮玉虎 專家評論：比較玉料褐色留皮和紋理，以及虎背上的圓孔，也遺失塞子。請注意尺寸稍大 (8.5厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2013年5月14日，lot 122 價格：GBP 7,500（相當於今日EUR 10,500） 描述：十八世紀青玉太獅水丞A celadon jade 'Buddhist lion' water pot and cover, 18th century 專家評論：比較相似的大膽雕刻風格。請注意尺寸較大 (9.3厘米)，以及尚有塞子。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2013年3月22 -23日，lot 1896 價格：GBP 21,150（相當於今日EUR 28,000） 描述：十七至十八世紀青白玉贔屭水丞 專家評論：比較相同的主題，蓋子遺失，以及大膽的雕刻風格。請注意明顯較大的尺寸 (11.3厘米) 和玉石的純淨度。
Lot 223
A HAIR CRYSTAL SNUFF BOTTLE, QING DYNASTY 清代發晶鼻烟壺China, 1730-1850. Very well-hollowed, the ovoid body rising from an oval foot to a broad cylindrical neck with concave top. The translucent stone suffused with scattered icy inclusions and a dense network of copper-brown rutile needles of various sizes and thicknesses.Provenance: From a French private collection.Condition: Very good condition with minor wear and little nibbling to foot and mouth.Stopper: Coral stopper with gilt-bronze plateletWeight: 61.2 gDimensions: Height incl. stopper 63 mm, Diameter neck 20 mm and mouth 6 mmAuction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 8 October 2020, lot 34Price: HKD 43,750 or approx. EUR 5,500 converted and adjusted for inflation at the time of writingDescription: A hair crystal snuff bottle, Qing dynasty, 1730-1850Expert remark: Compare the similar color and density of the rutile needles. Note that the lot also comprises a snuff dish.清代發晶鼻烟壺中國，1730-1850年。掏膛極好，扁瓶方形，直頸，平口，溜肩，橢圓形圈足，部凹入。半透明的水晶，散落著髮絲狀結晶，大小不一，粗細不一。 來源：法國私人收藏。 品相：狀況極好，輕微磨損，足部和嘴輕微磕損。 壺蓋：珊瑚，鎏金銅片 重量：61.2克 尺寸：含蓋高63毫米，頸部直徑20毫米，嘴部6毫米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2020年10月8日，lot 34 價格：HKD 43,750（相當於今日EUR 5,500） 描述：1730至1850年清代發晶鼻烟壺 專家評論：比較相似的顏色和髮絲狀結晶的密度。請注意此鼻烟壺還有一件相應的盤子。
Lot 147
A LARGE PALE GREEN AND RUSSET JADE 'DOUBLE DRAGON' PENDANT, HUANG, EARLY WESTERN HAN 西漢早期大型青玉帶沁雙龍紋璜China, 2nd century BC. The elegantly curved huang with a stylized dragon head to either end. The mostly translucent stone of a sea-green tone with cloudy white and russet inclusions and shadings. Pierced for suspension.Provenance: The Collection of Irene and Wolfgang Zacke. The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades.Condition: Very good condition with old wear, signs of weathering, minuscule nibbling to edges, shallow surface scratches and other traces of use, minor erosion.Weight: 227.6 gDimensions: Length 33.5 cmThe surface is densely covered with small and slightly raised hexagons, a pattern called pu, or 'cat tail'. During the Han dynasty, this motif was mostly used to decorate large funerary discs with carved masks. The squarish indentations carved on the border at the extremities of the ornaments evoke the stylized features of two dragon heads in profile: the chin, mouth, snout, and horns.Literature comparison: Three related huang carved with patterns of small, raised curls and hexagons were excavated from the princely tombs at Shizishan (Xuzhou, Jiangsu) between 1994 and 1995. Similar huang with jagged profiles but decorated with spirals and dated to the late Eastern Zhou period, are in the National Museum of History, Taiwan, and in the Samuel and Myrna Myers collection. Compare also with a very similar, yet significantly smaller pair in F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, no. 285.Auction result comparison: Compare with a related jade huang, of significantly smaller size and dated to the Eastern Zhou dynasty, at Sotheby's New York in Fine Chinese Ceramics & Works of Art on 18-19 March 2014, lot 151, bought-in at an estimate of USD 10,000-15,000.西漢早期大型青玉帶沁雙龍紋璜中國，公元前二世紀。弧形，典雅的黃褐色，兩端龍首，總體海綠色，半透明的玉石，帶有絮狀物和赤褐色的內含物。 穿孔。来源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授品相：狀況良好，有舊磨損，風化，細微的邊緣磕損，表面淺划痕和使用痕跡，輕微腐蝕。重量：227.6 克尺寸：長33.5 厘米拍賣結果比較：一件相近的東周玉璜，尺寸更小，見紐約蘇富比 Fine Chinese Ceramics & Works of Art 拍場2014年3月18-19日lot 151, 估價 USD 10,000-15,000.
Lot 263
A LARGE ANDESITE HEAD OF BUDDHA, INDONESIA, CENTRAL JAVA, 9TH CENTURYOpinion: The present andesite head epitomizes the ingenuity of the Central Javanese stone carvers of the time, with distinct characteristics such as the incised pupils, large and elongated ears, and masterful snail-shell curls, arguably the best-designed facial features across all Buddhist art. Furthermore, the present sculpture bears the telltale signs of smoothened areas where beholders were gripped with the overt temptation to caress the head, which combined with the porous nature of the stone give it a unique yet unmistakable and, without a doubt, inimitable appearance. Superbly and sensitively carved with a serene expression, marked by heavy-lidded downcast eyes below gently arched brows, centered by a raised circular urna, above a bow-shaped mouth with full lips forming a subtle smile, flanked by pendulous slit earlobes, the hair arranged in snail-shell curls over the domed ushnisha.Provenance: From a European private collection, acquired before 2007, and thence by descent.Condition: Superb condition, commensurate with age. Extensive wear, expected losses, signs of weathering and erosion. Dimensions: Height 39 cm (excl. stand) and 48.5 cm (incl. stand)Mounted on an associated metal stand. (2)A Buddha image of ineffable quiet and stillness has been carved from rough volcanic rock. The profile and dome of the head are broad, allowing for a round tapering of the forehead, cheeks, and chin that, once finished with a polish, produce an overall impression of smoothness, belying the porous nature of the stone, which has resisted over a millennium of weather exposure with stunning ease. The sculptors working on the great stone monuments of 9th-century Central Java produced some of the most beautifully proportioned Buddhist sculptures of any period or medium.The present statue is almost certainly from Borobudur or a related temple site, such as Sewu or Ngawen in Central Java. Built by the Shailendra dynasty around 825 CE, Borobudur is one of the greatest Buddhist monuments of all time, having one of the largest and most complete ensembles of Buddhist narrative relief panels in the world. Structured as a mandala of stacked platforms representing the three planes of existence in Mahayana cosmology (the world of desire, the world of forms, and the world of formlessness), Borobodur invites pilgrims circumambulating its didactic panels and sculpture to shuck the trappings of their perceived reality and realize their true inherent formlessness.Literature comparison:Three examples in the British Museum collected by Sir Thomas Stamford Raffles in the early 19th century demonstrate that not all Borobudur Buddha heads were created equal (1859,1228.175, 1859,1228.176, 1859,1228.177). Some have softer, more delicate brows while others show harder features and more pronounced monobrows. Some have spire-like ushnishas, while others are broader and more pleasing. Of the three British Museum heads, it is the most celebrated and widely exhibited one (1859,1228.176) that bears the closest resemblance to the present lot, illuminating its quality.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2012, lot 143Price: USD 170,500 or approx. EUR 207,000 converted and adjusted for inflation at the time of writingDescription: An andesite head of Buddha, Indonesia, central Java, 9th centuryExpert remark: Compare the closely related curls, urna, and expression. Note the size (36.8 cm).
Lot 141
A RARE AND LARGE JADE DISK, BI, LIANGZHU CULTUREJade. China, late Neolithic period, Liangzhu culture, c. 3300-2200 BCPublished: Filippo Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, p. 42-43, no. 46.Of circular form with a central aperture drilled from both sides to form an encircling ridge. The variegated stone of a deep green and russet tone with darker green shadings, patches of grayish-beige color, and extensive veining.Bi disks are a type of jade which continued to be crafted in numbers by cultures located in central and northwest China during the transitional period between the Neolithic and Bronze Age. The majority of these discs range in size between ten and twenty centimeters: large ones, such as the present lot, are rare. Their size and weight, requiring both hands to hold them, suggest that these imposing discs were displayed and used in a ritual context. The bi's surfaces were thoroughly polished, with the exception of the central aperture, which was drilled from both sides of the jade using sections of bamboo and sand abrasives, with the ridge in the center marking the point where the two holes meet.Museum comparison: Compare a related jade bi, dated c. 2500 BC, 32.5 cm diameter, in the collection of the Victoria & Albert Museum, accession number A.42-1936.Auction comparison: Compare a related jade bi, dated c. 2000 BC, 34.1 cm diameter, at Christie's New York in Fine Chinese Art from the Arthur M. Sackler Collections on 18 March 2009, lot 277 (sold for USD 194,500).DIAMETER 45.8 cmProvenance: Private Collection of Irene and Wolfgang Zacke.
Lot 149
A CELADON JADE 'TURTLEDOVE' FINIAL, JIU, HAN DYNASTY 漢代青玉雕臥鳩China, 206 BC to 220 AD. Finely carved, the bird facing forward, well detailed with round eyes, distinct elegantly curved brows, an inward-curved beak holding a small ball, and a feather issuing from the head, the wings tucked against its sides, the plumage finely defined with incised lines and carved grooves, the underside with a circular recess for attachment to a staff. Opinion: The present lot is an exceptional example of an early jade carving representing the pinnacle of Han dynasty jade craftsmanship. This superbly carved bird is remarkable in two aspects: the dynamic design combined with the attention to naturalistic details.Provenance: From the private collection of Professor Filippo Salviati, Rome, Italy. A professor of archeology and art history at the Italian Institute of Oriental Studies at the Sapienza University of Rome, Prof. Salviati has researched and published extensively on Chinese archaic art.Condition: Very good condition with some old wear and weathering, few minuscule nicks, microscopic encrustations and surface alterations. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 90.3 g Dimensions: Length 9 cmIn Chinese legend, Liu Bang (c. 256-195 BC), Emperor Gaozu of the Han dynasty, was once assisted by a divine turtledove to escape from his arch-rival Xiang Yu (232-202 BC), and became a symbol of benevolent rule and heavenly protection. Staffs or swords with mythical bird finials made from jade were also recorded in Han dynasty literature as special gifts given to the elders of the aristocracy to manifest benevolent rule and heavenly protection.Literature comparison: See a white jade sword pommel in the form of a mythical eagle, Western Han dynasty, excavated from a tomb at Longgangsi, Shaanxi Province, illustrated by Gu Fang, The Complete Collection of Jades Unearthed in China, vol. 14, Shaanxi, Beijing, 2005, page 149. Note the closely related head with similar round eyes below distinct curved brows and inward-curved beak, as well as the underside with a circular recess for attachment to a staff. Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 5 April 2016, lot 29 Price: HKD 1,720,000 or approx. EUR 244,500 converted and adjusted for inflation at the time of writing Description: A pale green jade turtledove, Western Han dynastyExpert remark: Compare the feather issuing from the head. Note the size (6 cm) and the similarities in the material.漢代青玉雕臥鳩中國，公元前206 年至公元 220 年。青玉質地溫潤，雕斑鳩作蹲伏狀，頭部突出，鳥翎自鳥首向背部延伸，身上琢出勾轉的平行線紋以示其翅膀，身下有收縮的足部，鳥尾刻出下垂的尾羽，工藝精巧。此類臥鳩流行於漢代中期至東漢，用途為鳩杖的杖首。 來源：義大利羅馬Filippo Salviati教授私人收藏，Filippo Salviati教授是羅馬大學東亞研究所考古系及藝術史系教授。他對中國古代文物以及玉器進行了廣泛研究並出版了很多專著。 品相：狀況極好，有一些磨損和風化，少量微小的刻痕、輕微結殼。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：90.3 克 尺寸：長9 厘米 傳説漢高祖劉邦 (公元前約 256-195 年)，還沒有統一天下時，有一次和項羽 (公元前232-202 年) 作戰，受一隻斑鳩庇佑得以逃脫。劉邦很感激斑鳩，即位為皇帝之後，就做鳩杖，賜給老人。 文獻比較： 見一件西漢鷹形玉劍首，出土於陝西省龍岡寺遺址，見古方編，《中國出土玉器全集》，卷14，陝西，北京， 2005年，頁149。請注意非常相近頭部有類似的圓眼，下面有明顯的彎曲的眉毛和向內彎曲的喙，底部一個圓形的凹槽，用以安裝劍筒並固定劍莖。 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2016年4月5日，lot 29 價格：HKD 1,720,000（相當於今日EUR 244,500） 描述：西漢青玉雕臥鳩 專家評論：比較頭部特色。請注意尺寸(6 厘米) ，以及相似的材質。
Lot 166
A BLACK AND WHITE JADE 'ARCHAISTIC' AXE-FORM OPENWORK PENDANT, 18TH CENTURY 十八世紀仿古黑白玉鏤空雕斧式佩China. Finely carved in the form of an axe-form bell detailed with a band of archaistic dragons below neatly incised ruyi heads forming a beast head, all surmounted by a bi disk and a pair of confronting chilong. The translucent stone of an attractive white tone with veins and patches of black.Provenance: From a notable English private collector of Chinese jades sold at Sotheby's London, June 16th 2020, lot 241 (see entry at the images). Condition: Excellent condition with minor wear, microscopic nibbling, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 85.2 gDimensions: Height 12.2 cmWith a fitted silk box. (2)Auction result comparison: Compare with a related white jade pendant, also in the form of an axe-form bell, of considerably smaller size and dated to the 18th/19th century, at Sotheby's Hong Kong in Fine Chinese Ceramics and Works of Art on 8 October 2013, lot 3329, sold for HKD 225,000.十八世紀仿古黑白玉鏤空雕斧式佩中國。鏤空雕刻斧形玉佩，龍紋與如意紋，斧頂一個玉璧和一對面對面的螭龍。 半透明的玉石，具有迷人的白色間帶有黑色的紋理和斑點。 來源：英國知名中國玉器私人收藏 品相：狀況極佳，有輕微磨損，細微的磕損，帶有天然裂紋的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：85.2 克 尺寸：高12.2 厘米 拍賣結果比較：一件相近鐘形白玉佩，尺寸稍小，十八至十九世紀，見香港蘇富比 Fine Chinese Ceramics and Works of Art拍場2013年10月8日 lot 3329, 售價HKD 225,000。
Lot 221
AN AGATE 'DOUBLE GOURD' SNUFF BOTTLE, 18TH - 19TH CENTURY 十八至十九世紀葫蘆形瑪瑙鼻烟壺China. Well carved in the form of a gourd borne on an open worked gnarled branch issuing a smaller double-gourd in high relief and scrolling leafy vines in low relief, the body further carved in low relief with a butterfly and neatly incised. The translucent stone of a creamy white color with pale amber bands, shadings, and veins as well as a few dark-brown specks.Provenance: From a south German private collection, assembled since the 1980s, and thence by descent to the last owner. Condition: Very good condition with minor wear, minuscule nibbling to mouth. The stone with natural inclusions and fissures, some of which may have developed into fine hairline cracks over time.Stopper: Silver-mounted coral branchWeight: 71.0 gDimensions: Height including stopper 74 mm. Diameter mouth 6 mmAuction result comparison:Type: RelatedAuction: Sotheby's New York, 28 September 2021, lot 816Price: USD 2,772 or approx. EUR 2,900 converted and adjusted for inflation at the time of writingDescription: A carved agate 'butterfly and gourd' snuff bottle, Qing dynasty, 18th century十八至十九世紀葫蘆形瑪瑙鼻烟壺中國。雕刻精美，成葫蘆形，壺身淺浮雕葫蘆籐與枝葉，側面雕一個小葫蘆。瑪瑙晶瑩剔透，帶有淡琥珀色紋理以及深棕色斑塊。 來源：德國南部私人收藏，上世紀八十年代起開始組建，保存至最後一名持有人。 品相：狀況極好，小磨損，壺口有輕微的磕損。具有天然內沁和裂縫的石料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。 壺蓋：珊瑚枝包銀邊 重量：71.0 克 尺寸：總高74 毫米，口部直徑6 毫米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2021年9月28日，lot 816 價格：USD 2,772（相當於今日EUR 2,900） 描述：清十八世紀瑪瑙巧雕瓜瓞綿綿鼻烟壺
Lot 100
A George III rose diamond oval cluster later adapted as a ring. The cluster with a central oval rose diamond within a small round diamond ten stone border, set in silver on a reeded gold closed-back mount, this now on a later gold shank with split scroll shoulders, unmarked, size M+, 2.8g gross.
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