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A WHITE JADE 'KUILONG' SNUFF BOTTLE, PROBABLY IMPERIAL, 1750-1820Opinion: The present bottle is of exceptional quality. The jade of pure white color, the bottle superbly hollowed to the interior, and the stone smoothly polished with an inimitable unctuous feel overall. Bottom line: Only the lapidaries from the Imperial workshops in Suzhou had the skills indispensable to carving a jade at the quality level shown by the present bottle. China. Well hollowed, of rounded rectangular form, carved on either side with two kui dragons confronted on a flaming pearl, the configuration of their undulating bodies suggestive of a shou character, the narrow sides with further kui dragons. The translucent stone of even white tone with few icy inclusions and a faint russet vein.Provenance: Collection particulière dans le departement Eure-et-Loir, France. Condition: Superb condition with only minor old wear and possibly microscopic nicks. The stone with natural fissures and inclusions.Stopper: Pink tourmaline cabochon with glass finial in imitation of emerald green jade, remarkably well carved spoon. The combination is most likely original to this bottle and also made by the Imperial workshops.Weight: 115.3 gDimensions: Height including stopper 87 mm. Diameter neck 23 mm and mouth 8 mm.Auction result comparison:Type: Near identicalAuction: Christie's New York, 15 September 2011, lot 1177Price: USD 43,750 or approx. EUR 53,500 converted and adjusted for inflation at the time of writingDescription: A carved white jade snuff bottle, probably imperial, 1750-1820Expert remark: Compare the near identical form and design, as well as the color of the jade. Note the significantly smaller size of 62 mm (excluding the stopper) and the slightly lower quality of the jade color.1750-1820年白玉夔龍鼻烟壺，或爲御製中國。掏膛良好，四方圓肩，兩面皆浮雕夔龍戲珠紋，形如壽字。兩側也有夔龍紋。半透明的玉料呈均勻的白色，輕微冰狀紋理和褐色脈絡。專家注釋：此拍品質量上乘，純白的玉料，精美壺身，表面光滑，整體瑩潤優雅。只有蘇州御作坊的匠人才具備雕刻玉石不可缺少的技能，達到本瓶所顯示的質量水平。 來源：法國 Eure-et-Loir省私人收藏。 品相：品相極好，只有輕微的磨損和細微刻痕，石料具有天然裂縫和內沁。 壺蓋：粉紅色碧璽，仿翡翠綠玻璃頂，雕刻精美的勺子。這種組合也意味著這個鼻烟壺很可能是御製。 重量：115.3 克 尺寸：高 （含蓋）87 毫米，頸部直徑23 毫米及壺口直徑8 毫米 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2011年9月15日，lot 1177 價格：USD 43,750（相當於今日EUR 53,500） 描述：1750-1820年白玉鼻烟壺，或爲御製 專家評論：比較幾乎相同的外型和設計，以及玉石顏色。請注意幾乎相同的小尺寸62 毫米 (不含壺蓋)，以及品質稍微低的玉石顏色。

A BLACK SCHIST FIGURE OF GANESHA WITH A SNAKE MANDORLA, PALA PERIODNortheastern India, Bihar, 11th century. The six-armed pot-bellied god of auspicious beginnings and granter of fulfillment is shown here in a dancing pose on a double lotus base, flanked by four attendants, holding a battle ax, a bowl of sweets and an arched snake, his head slightly turned in a joyful expression, the base carved with a mouse as his vehicle (vahana). The arched snake also cleverly forms the mandorla which is flanked by two elaborately carved apsaras.Expert's note: Ganesha has a mythical connection with snakes, which is only seldomly found in statues with his image. The story begins with Ganesha eating a lot of candies until his belly became very big and hard to move. When he was going home late in the night, Ganesha rode a mouse as his vahana. In the journey, Ganesha was interrupted by a snake that frightened him and so he fell. Ganesha could not stand up again because his belly was too full. This incident was observed by the moon that laughed out loud. Ganesha was offended by that and cursed the moon to disappear. This made the world instantly dark so that there were many requests to Ganesha to cancel the curse, and he was able to change it so that the moon now only disappears once a month. (Dwyer, 2015, page 270)Provenance: A private collection in Bologna, Italy, c. 1995-1998. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, soil encrustations, some losses, nicks and surface scratches, structural cracks. The present sculpture bears the telltale signs of raised edges rubbed smooth where beholders were gripped with the overt temptation to caress the forehead, trunk and protruding belly. Dimensions: Height 61.5 cm (excl. base) and 63.7 cm (incl. base)With a modern metal base.Literature comparison: Compare a related six-armed sandstone sculpture of Ganesha, dated to the 11th century, Madhya Pradesh, in the collection of the Los Angeles County Museum of Art, accession number M.88.221.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 September 2002, lot 42Price: USD 50,190 or approx. EUR 81,000 converted and adjusted for inflation at the time of writingDescription: A Black Stone Stele of Ganesha, Northeastern India, Pala Period, 10th/11th centuryExpert remark: Compare the closely related pose, decorations, stone, and size (60.9 cm)Auction result comparison:Type: Closely relatedAuction: Christie's New York, 16 September 2008, lot 377Price: USD 68,500 or approx. EUR 92,500 converted and adjusted for inflation at the time of writingDescription: A Black Stone Stele of Ganesha, Northeastern India, Pala Period, 11th centuryExpert remark: Compare the closely related pose, decorations and stone.

A RARE BUDDHIST STONE STELE, NORTHERN WEI DYNASTYChina, 386-534. Buddha is shown seated in dhyanasana with hands held in dhyanamudra, wearing robes that fall in heavy folds, his sensitively carved face bears a serene expression with heavy-lidded eyes and full lips, the hair arranged in tight curls beneath the usnisha. The figure is flanked by two smaller acolytes above two Buddhist lions and backed by a tall aureole carved with bands decorated with acolytes and diminutive Buddhas. The plinth with further figures.Provenance: An old German private collection, ca. 1980, by repute. A private collection in Bavaria, Germany, acquired from the above. Galerie Zacke, Vienna, 16 November 2013, lot 17. A notable private collector in Kensington, London, United Kingdom, acquired from the above. A copy of the original invoice from Galerie Zacke, dated 17 November 2013 and stating a purchase price of EUR 16,432 or approx. EUR 19,500 (adjusted for inflation at the time of writing), accompanies this lot. The aforementioned Bavarian collection has been built since the 1970s into one of the largest collections of Buddhist bronzes and sculptures in Central Europe. The collector was a noted magician and as such guided by the fundamental idea that one thing can also be another, always looking for a second nature or hidden meaning behind the primary appearance of an artwork.Condition: Very good condition, commensurate with age, and overall exactly as expected and found on other examples from the same period. Extensive wear, weathering, erosion, encrustations, structural fissures, and minor cracks. Some losses and nicks, as seen in the images. Dimensions: Height 66 cmThis exceptional and important statue belongs to a small group of Northern Wei Buddhist stone steles depicting the Buddha with acolytes on one side and scenes of the Buddha's life on the reverse, the imagery deriving from Indian prototypes. The reverse of the present stele shows scenes from the life of Buddha, including his final death, the parinirvana.Literature comparison: A similar but slightly smaller stone stele of Buddha, dated by inscription to AD 455 of the Northern Wei dynasty, is illustrated by Jin Shen in the Catalogue of Treasures of Buddhist Sculpture in Overseas Collections including Hong Kong and Taiwan, Shanxi, 2007, page 3. Also illustrated, page 10, is another stone stele of Buddha, dated to AD 472 of the Northern Wei dynasty, also depicting friezes of the Buddha's life on the reverse.Auction result comparison: Type: Closely related Auction: Christie's New York, 25 March 2022, lot 733Price: USD 781,200 or approx. EUR 763,000 converted at the time of writing Description: An important and very rare stone Buddhist stele, Northern Wei dynasty, dated by inscription to AD 457 Expert remark: Compare the closely related carving and subject, with a similar aureole carved with diminutive Buddhas, the reverse also with scenes from the Buddha's life. Note the smaller size (41 cm) and the dating inscription, as well as the exceptionally well documented provenance and history of publications.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.北魏罕見佛碑中國，386-534年。佛陀結跏趺坐，雙手施禪那印，身穿著長袍，褶皺綫條流暢。面容沉靜慈祥，雙眼微閉，面露微笑，俯首下視，神情祥和親切。頭上螺髻。佛像兩側各有一位菩薩侍立，石碑左右兩角為獅子。後有光背，光背上刻有人物場景的紋帶。 來源：德國私人舊藏，據説購於 1980年前後；德國巴伐利亞私人收藏購於上述收藏；維也納Galerie Zacke藝廊，2013年11月16日，lot 17；英國倫敦肯辛頓知名私人收藏購於上述拍賣。隨附一份Zacke藝廊2013年11月17日出具的原始發票複印件，上面注明價格為 EUR 16,432，相當於現在的 EUR 19,500。巴伐利亞收藏創建於上世紀七十年代，是歐洲最大的佛教銅像和雕塑造像收藏之一。這位收藏家是一位著名的魔術師，因此遵循“一物也可以是另一物”這一基本理念，總是在藝術品的主觀背後尋找第二本性或隱藏的意義。品相：狀況極好，與年齡相符。大面積磨損、風化、侵蝕、結殼、結構裂縫，一些缺損和刻痕，如圖所示。 尺寸：高66 厘米 這尊非凡而重要的雕像屬於北魏佛教石碑，一面描繪佛陀，背面描繪佛陀的生活場景，展示了佛陀生前的故事與涅槃。由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE AND MASSIVE SPINACH-GREEN KHOTAN JADE FIGURE OF GUANYIN, PROBABLY TAKEN FROM THE OLD SUMMER PALACE IN BEIJING IN 1861China, ca. mid-18th to mid-19th century. Finely carved standing, cradling a lingzhi sprig and ruyi scepter in her delicate hands, wearing a long flowing robe cascading in voluminous folds, her serene face with heavy-lidded eyes, the neatly incised hair tied up into a high chignon secured by a ruyi-head hairpin. The stone of a deep spinach-green tone with creamy, russet, and cloudy inclusions.Provenance: Eugenie de Montijo (1826-1920), Empress of the French from her marriage to Emperor Napoleon III, and thence by descent in the family. Christie's London, 12 October 1950, lot 121. The Graham Collection, London, acquired from the above and thence by descent in the 1970s to a private English collector. A copy of the lot entry in the Christie's London auction catalog from 12 October 1950, stating the present lot was “Formerly the Property of the Empress Eugenie” and with handwritten notes by a previous owner, accompanies this lot.It is probable that the present statue was originally located at the Old Summer Palace, Yuanmingyuan, in Beijing and subsequently part of the loot of several hundred pieces sent to Empress Eugenie directly by General Charles Cousin-Montauban (1796-1878).In the morning of 21 September 1860 General Cousin-Montauban was the commanding officer of the Anglo-French troops, fighting the battle at the bridge of Palikao against the Qing Imperial forces, a decisive event of the Second Opium War. Their victory allowed the Western forces to take the Chinese capital Beijing and eventually defeat the Qing Empire. On 6 October 1860, French and British troops captured the Old Summer Palace, looting the Imperial collections over the next few days, again under the command of General Cousin-Montauban.In 1861, General Charles Cousin-Montauban sent numerous crates of the enormous French loot of the Summer Palace to Empress Eugenie in France as a personal gift to the Imperial French household, with the first shipment arriving in February 1861. The inventory of this shipment numbers some 800 objects, with over 300 coming directly from the sack of the Summer Palace. As a reward, the general eventually received the title of Comte de Palikao by Emperor Napoleon III in 1862.In 1863, the Empress established a museum of Chinese art called the Musee Chinois (Chinese Museum) at the Palace of Fontainebleau. She carefully curated the collections and displays of this museum, at the time almost exclusively consisting of the objects taken from the Old Summer Palace in 1860. In later years, Eugenie combined the Chinese collection with gifts originating from the French embassies in Siam, Cambodia, Japan, Korea, and Tibet to collectively form the core of the Asian art collection in Fontainebleau, which she later complemented with objects confiscated by the state during the French Revolution and kept since then at the National Library, some diplomatic and non-diplomatic gifts, and acquisitions she made on the French art market using the Imperial household's personal budget. The museum has been preserved in a layout largely similar to that of the 1860s and is one of the world's oldest museums specifically dedicated to Asian art. It is unknown which and how many of the pieces from the museum went with Empress Eugenie to England after her husband was overthrown in 1870, but there are speculations that the amount was quite substantial.Empress Eugenie of France was born María Eugenia Ignacia Agustina de Palafox y Kirkpatrick, 19th Countess of Teba, 16th Marchioness of Ardales, in Granada, Spain. She was Empress of the French from her marriage to Emperor Napoleon III on 30 January 1853 until the Emperor was overthrown on 4 September 1870. Napoleon and Eugenie had one child together, Napoleon, Prince Imperial (1856-79). After the fall of the Empire, the three lived in exile in England. Eugenie outlived both her husband and son and spent the remainder of her life working to commemorate the Second French Empire. After World War I, Eugenie lived long enough to see the collapse of other European monarchies, such as those of Russia, Germany and Austria-Hungary. She left her house in Farnborough with all her collections to the heir of her son, Prince Victor Bonaparte.Published: The Times, London, 13 October 1950, a column in the paper relating to various jades in the Christie's sale including this figure of Guanyin from Princess Eugenie which sold at 250 Guineas (at the time, the cost of house in London averaged at ca. 1.500 Guineas). A copy of a newspaper clipping with this column accompanies this lot.Condition: Very good condition with some old wear, natural inclusions and imperfections of the stone, few minuscule nicks here and there, light scratches. The wood base with minor losses, natural age cracks and a fine naturally grown patina.Weight: c. 24 kg (without the base) Dimensions: Height 75 cmWith a matching wood base dating from the same period, finely carved with lotus petals. (2)Literature comparison: Compare the movement of the robes, expression, high chignon with hairpin, and wood stand on a closely related jade figure of Guanyin, dated 19th century, 72.4 cm high, in the collection of the Metropolitan Museum of Art, accession number 39.65.24a, b.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2011, lot 1515 Price: USD 290,500 or approx. EUR 378,000 converted and adjusted for inflation at the time of writing Description: A large mottled jadeite figure of Guanyin Expert remark: Note the much smaller size (39.4 cm) 大型和田碧玉觀音立像，可能來自1861年圓明園之劫中國，約十八世紀中期至十九世紀中期。 來源：Eugenie de Montijo歐珍妮·德·蒙提荷(1826-1920)，是法蘭西第二帝國皇帝拿破崙三世的妻子和法國最後一位皇后，保存在同一家族；倫敦佳士得，1950年10月12日，lot 121；倫敦 Graham Collection，購於拍賣，一直保存至上世紀七十年代被一英國私人收藏家收藏。隨附倫敦佳士得拍賣目錄文字副本，上描述 “Formerly the Property of the Empress Eugenie” （歐珍妮皇后財產）與上任藏家手寫注釋。 由於字數限制，完整中文敘述請至www.zacke.at查看。

A FINELY CARVED 'HAIR-CRYSTAL' BRUSH WASHER, 1750-1850China. Of signified peach form, with thick walls and an uneven, wavy rim allowing for use as a brush rest. The clear rock crystal with an attractive sparse pattern of tourmaline needles.Provenance: Dutch trade. Condition: Excellent condition with traces of use, old wear and possibly microscopic nicks. The stone with natural flaws and fissures, some of which may have developed into microscopic hairline cracks over time.Weight: 826.9 g Dimensions: Length 14.5 cmExpert's note: With the random distribution of differently colored needles of varying thickness and length, scholarly objects made from hair crystal provide an infinite variety of exciting patterns. The needle-like crystalline inclusions can be black (tourmaline), green (actinolite) and coppery red or silvery gold (rutile). The inclusions in this remarkable example are tourmaline. The artist has set the natural scene by giving the vessel a distinct form remnant of a peach, with a wavy rim ideally suited for several brushes to rest. The 'hairs' are concentrated in the lower portion of the washer, around the well, rising up from there and thinning as they go. The effect is suggestive of reeds or long grass and the dramatic image is further enhanced by the small flaws in the stone which reflect light in brilliant, iridescent bursts.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 20 March 2012, lot 178Price: USD 4,375 or approx. EUR 5,100 converted and adjusted for inflation at the time of writingDescription: A hair-crystal brush washer, Qing dynasty, 19th centuryExpert remark: Compare the related material and similar size (12 cm). Note the elaborate carving.Auction result comparison:Type: RelatedAuction: Bonhams London, 7 November 2011, lot 45Price: GBP 12,500 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A hair-crystal brush washer, 18th centuryExpert remark: Compare the related material and form. Note the elaborate carving and smaller size (7 cm). 1750-1850年發晶桃形筆洗中國 。筆洗呈桃形，厚壁，不規則波浪形邊緣，可用做筆架。晶瑩剔透的水晶内含有黑色針狀電氣石。 來源：荷蘭古玩交易市場 品相：品相極好，有使用痕跡, 舊磨損和輕微刻痕。晶石具有天然瑕疵和裂紋，隨著時間的推移，其中一些可能已經發展成髮際線裂縫。 重量：826.9 克 尺寸：長14.5 厘米 專家注釋：排列組合不同的毛髮針狀礦物質分佈在水晶的內部，整體看起來就像是水晶裏麵包含住了髮絲一樣。而包含各種不同礦物質的發晶就會形成不同的顏色發晶，進而形成不同的圖案。這件水晶内含有黑色電氣石。筆洗呈桃狀，彎曲的邊緣非常適合擱置毛筆。“毛髮“集中在筆洗下部，讓人聯想到蘆葦或青草，晶石上的小瑕疵進一步增強了戲劇性效果，可以折射出明亮的彩虹色。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比, 20 March 2012, lot 178 價格：USD 4,375 （相當於今日EUR 5,100） 描述：十九世紀清代發晶筆洗 專家評論：比較相近的材質、精心雕琢，但尺寸較小 (12 厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦邦翰思, 2011年11月7日, lot 45 價格：GBP 12,500（相當於今日EUR 19,000） 描述：十八世紀發晶筆洗 專家評論：比較相近的材質和形制。請注意精心雕琢、尺寸較小 (7 厘米)。

AN EXTRAORDINARILY RARE AND SPECTACULAR TERRACOTTA RELIEF OF A THINKING PRINCE SIDDHARTA UNDER THE BODHI TREE, ANCIENT REGION OF GANDHARAScientific Analysis Report: A thermoluminescence sample analysis has been conducted by Arcadia, Tecnologie Per I Beni Culturali, Milan, dated 4 February 2019, reference no. 116L, 117L. The result is consistent with the suggested period of manufacture. A copy of the thermoluminescence analysis report accompanies this lot.Expert's note: The frescoes painted to the two columns on the present sculpture display a decidedly Chinese influence. Numerous such mural paintings have been found in Imperial tombs in China dating to the Northern Qi period (550-577), but the paintings on the present sculpture are among the oldest Buddhist frescoes in the history of mankind. They are also closely related to the paintings on the ceilings and walls of the Ajanta Caves, which were painted between 200 BC and 600 AD, and are the oldest known frescoes in India. They depict the Jataka tales, stories of Buddha's life in former existences as a Bodhisattva. The narrative episodes are shown one after another although not in a linear order. Their identification has been a core area of research on the subject since the time of the site's rediscovery in 1819.Kushan period, 4th-6th century. Superbly modeled, Prince Siddharta is standing in contrapposto, his feet resting on two small lotus pedestals, a prostrate caparisoned elephant at his feet. One hand resting on his waist and the other raised with one finger placed on his forehead in a deeply pensive expression. He is wearing loose-fitting robes cascading in voluminous folds and richly adorned with fine jewelry and billowing scarves. His serene face with heavy-lidded almond-shaped eyes and slender lips forming a calm smile. The hair arranged in wavy locks secured by an elaborate floral headdress. All below a canopy representing the legendary bodhi tree.Provenance: A private collection in Venice, Italy, acquired in the Italian antiques trade between 1985 and 1992. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Superb condition, commensurate with age and presenting magnificently overall. Some wear and weathering, firing flaws as expected, some nicks and cracks, losses to exposed areas, remnants of old varnish. The ancient pigments are remarkably well-preserved. Overall, fully consistent with the high age of this sculpture and with no visible signs of repairs or touchups worth mentioning. Drilled holes from sample-taking. Dimensions: Size 59 x 81 cm (excl. stand), Height 63 cm (incl. stand)Mounted on an associated stand. (2)Prince Siddharta is flanked by two flying apsaras as well as Maitreya to his right and Padmapani to his left, the bodhisattvas each standing on lotus pedestals and similarly dressed, Padmapani holding a lotus flower in his hand, both backed by halos and standing below similar leafy canopies, all framed by two massive columns, each with a superbly painted fresco, depicting a bodhisattva with a halo.This sculpture is a perfect example of the rich cultural interplay and hybrid art styles of the Gandharan empire in the first centuries CE. It represents the bodhisattva who will be born as the historic founder of Buddhism, Prince Siddhartha, sitting in a celestial abode called the Tushita heaven, where he teaches the gods and meditates on his future birth. Like other Gandharan bodhisattvas, he looks like an earthly prince, richly dressed and bejeweled.The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influences. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the 1st century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired earthenware instead of stone such as schist, marble or sandstone became popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such a large and expensive sculpture would have been a highly meritorious Buddhist offering. Only a few terracotta statues from this period and of this spectacular size have ever been recorded.Literature comparison: Compare a related terracotta sculpture of a pensive Prince Siddharta, dated 4th-6th century, in the collection of the Dallas Museum of Art, object number 2010.17. Note the similar pose with one finger placed on his forehead and one foot resting on a separate lotus pedestal.犍陀羅罕見紅陶浮雕悉達多菩提樹下證道圖貴霜王朝，四至六世紀。科學檢測報告：米蘭Arcadia，Tecnologie Per I Beni Culturali 研究所2019年2月4日出具的熱釋光檢測報告，編號116L，117L。結果表明年代與上述建議相符。隨附檢測報告複印件。 品相：狀況極佳，與年齡相稱。一些磨損和風化、燒製缺陷，一些刻痕和裂縫，有清漆的殘留。彩繪保存極好。總體而言，與這座雕塑的年代相符，沒有明顯的維修或修飾，有取樣鑽孔。 尺寸：59 x 81 厘米 (不含底座)，高63 厘米 (含底座)有底座。由於字數限制，完整中文敘述請至www.zacke.at查看。

A CELADON JADE 'TURTLEDOVE' FINIAL, JIU, HAN DYNASTYChina, 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。

A PALE CELADON JADE INKSTONE WITH MATCHING ZITAN STAND AND COVER, QING DYNASTYChina, 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。

A LARGE AND HIGHLY IMPORTANT WHITE MARBLE TORSO OF BUDDHA, NOTHERN QI DYNASTYChina, 6th century. Depicting a standing Buddha, dressed in loose robes draped over both shoulders and elegantly falling in stepped folds flaring at the hems in stylized pleats, the robe open at the chest to reveal the tied underskirt. The overall simple and naturalistic style clearly dates it to the later sixth century. Clinging tightly, the diaphanous drapery reveals the elegant body's form, characteristically indicated by incised lines and relief ridges.Provenance: Old Italian private collection, acquired 1971 from Wing Tat Hong Gallery, Hong Kong. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, losses, nicks and surface scratches, minor cracks. Remnants of ancient pigment. Displaying supremely. Dimensions: Height 92 cm (excl. base) and 101.5 cm (incl. base)Mounted to a modern metal base. (2)Expert's note: This magnificent sculpture embodies a profound spirituality achieved through the remarkable plasticity of drapery and form. The figure represents a standing Buddha and the monk's robes, which he wears, are arrayed to cover both shoulders. The size, sensitivity of carving, crisp treatment of the gracefully draped folds, both those falling in parallel curved lines down the front of the subtly indicated body and those of the hem, closely relate this figure to other imposing white marble statues of a similar date.Only occasionally encountered among Chinese Buddhist sculptures, white marble first rose to popularity during the Northern Qi period, when sculptors occasionally carved Buddhist images in beautiful white marble from Dingzhou, in southwest Hebei province. Although a quarry site can never be taken as the probable site at which a particular image was sculpted, the use of white marble nevertheless suggests that this extraordinary sculpture might have been carved in the vicinity of Dingzhou, likely in Hebei or Shanxi province.Faint traces of polychromy, evident on the shoulders, suggest that the sculpture was once entirely painted, as were virtually all early Indian and Chinese Buddhist sculptures in wood and stone. The brilliant pigments of the sculptures and wall paintings at Dunhuang, in Gansu province, suggest that the original colors of this Buddha would have been stunning.If the missing right arm was raised in the abhayamudra, then the left might have shown a variation of the varadamudra, the gift-giving gesture, also associated with preaching. Moreover, if the right arm displayed the abhayamudra then the present sculpture likely represented either the Historical Buddha Shakyamuni or Amitabha, the Buddha of Boundless Light, in a preaching mode. Because the sculpture lacks an identifying inscription, not to mention its right arm and any distinguishing iconographic attributes, the exact identity of this Buddha likely will remain an enigma.Literature comparison:Compare a related figure of Amitabha Buddha in the Royal Ontario Museum, illustrated in Homage to Heaven, Homage to Earth, 1992, p. 163, pl. 92. Compare a related figure illustrated in Chinese Marble Sculptures of the Transition Period, B.M.F.E.A., no. 12, Stockholm, 1940, pl. II (b). Compare a related sculpture in the Eskenazi exhibition Sculpture and ornament in early Chinese art, London, 11 June to 13 July 1996, no. 31.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 203Price: EUR 101,575 or approx. EUR 143,500 adjusted for inflation at the time of writingDescription: A Chinese stone torso of Buddha, Northern Qi dynasty Expert remark: Compare the closely related pose and manner of carving with similar diagonal pleats. Note the size (148 cm).北齊大型漢白玉立佛殘件中國，六世紀。立佛左右臂貼身，從肘部起殘缺，低開領的通肩袈裟，袈裟顯得輕薄而貼身，順著身體結構起伏，雙腿輪廓隱約可見。 來源：義大利私人舊藏，1971年購於香港Wing Tat Hong 藝廊；貝加莫Leonardo Vigorelli收藏，購於上述收藏。Leonardo Vigorelli Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度教佛教藝術。在學習人類學和數十年的旅行以及在印度、喜馬拉雅地區、東南亞和非洲的廣泛實地研究之後，他在義大利米蘭創立了 Dalton Somare 藝術畫廊，如今由他的兩個兒子經營。品相：狀況良好，與年齡相稱。大面積磨損、風化和侵蝕跡象、結殼、缺損、刻痕和表面劃痕、輕微裂縫。顏料殘餘。 尺寸：高92 厘米 (不含底座)，總101.5 厘米 現代金屬底座。由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE AND MASSIVE MOTTLED JADE CONG, LIANGZHU CULTUREChina, late Neolithic period, c. 3300-2200 BC. The thick-walled cong is of short square section with rounded sides and a cylindrical interior, each corner carved with a stylized human and animal mask design. The eyes and noses as well as the raised bands above the human mask and recesses in between are finely incised with line and scroll designs. The faces are divided with a gently recessed vertical band to the center of each side.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: Good condition, commensurate with age. Some wear, weathering, and minor alterations, as well as small nicks and nibbling to edges, the stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 1,349 g Dimensions: Diameter 10 cmThe partly translucent stone is of an olive-green and russet-brown tone with russet veins and inclusions as well as patches of cream tone and areas of opaque ivory-white calcification.The present cong displays the distinctive characteristic of Liangzhu culture cong vessels, with a square outer section around a circular inner part and decorated with stylized masks neatly arranged on each of the four corners. The exceptional craftsmanship is particularly notable in the very delicate and precise quality of the carving and incised decoration, enhanced by the lustrous patina formed on the surface over time.Literature comparison: Compare a similar jade cong, Liangzhu culture, also carved with two registers of stylized human and animal masks excavated in 1984 from Fuquanshan in Qingpu County, Shanghai, now in the Shanghai Administrative Committee of Culture Heritage, illustrated in Liangzhu wenhua yuqi, Hong Kong, 1989, p. 17, pl. 19. See another related example of a jade cong, included in the Min Chiu Society Thirtieth Anniversary Exhibition: Selected Treasures of Chinese Art, Hong Kong, 1990, no. 195. For several other examples of two-tiered cong, see F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, nos. 51, 53, and 54.Auction result comparison: Type: Closely related Auction: Christie's New York, 19 March 2015, lot 470 Price: USD 60,000 or approx. EUR 75,500 converted and adjusted for inflation at the time of writing Description: A mottled olive-green, russet-brown and ivory-colored opaque jade cong, China, Neolithic period, Liangzhu culture, 3rd millennium BC Expert remark: Compare the closely related two-tiered form, animal masks, and olive-green and russet-brown color of the jade with similar opaque ivory-white calcification. Note the thinner walls and smaller size (6.5 cm).Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 5 April 2016, lot 1 Price: HKD 375,000 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: A mottled green jade vessel, cong, Neolithic period, Liangzhu culture Expert remark: Compare the closely related two-tiered form, animal masks, and olive-green and russet-brown color of the jade with similar opaque ivory-white calcification. Note the thinner walls and smaller size (7.5 cm).良渚文化玉琮中國 ，新石器時代末期，公元前約3300-2200年。器呈外方內圓的筒形，兩端琢成圓口，上下穿透，四角各有不同人面紋。 來源：Irene與 Wolfgang Zacke (1942-2022)。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：品相良好，一些磨損、風化、細微變化、刻痕，邊緣有一些小磕損，玉料帶有天然的內沁和裂縫，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：1,349 克 尺寸：直徑10 厘米這件玉琮展現了良渚文化的鮮明特色，外方內圓，均以四角為中軸線，雕琢神人獸面紋，雕琢精細。玉質精良，玉色深綠，局部得見黃白沁斑，不透明的象牙白色鈣化區域。表面包漿細膩。由於字數限制，完整中文敘述請至www.zacke.at查看。

A SMALL WHITE MARBLE FIGURE OF A LION, TANG DYNASTYPublished: 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。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 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。

AN EXCEPTIONAL LIMESTONE HEAD OF BUDDHA, NORTHERN QI DYNASTYChina, 550-577. Finely carved with almost perfectly symmetrical features imparting the head with a serene vitality, the eyebrows rising in smooth curves issuing from the bridge of the nose, the deeply-set large eyes half-closed under heavy lids sweeping in bowstring curves, the crisp undulating lips forming a subtle smile, all flanked by large ears with deeply cut lobing, beneath stylized hair depicted as undulating and overlapping waves rising rhythmically up to the smoothly domed ushnisha and centered with two whorls.Provenance: Dr. Robert Bigler, Zurich, Switzerland, 22 May 1997. A Swiss private collection, acquired from the above. A copy of the original signed invoice from Dr. Robert Bigler, dated 22 May 1997, stating a purchase price of CHF 45,000 or approx. EUR 65,300 (converted and adjusted for inflation at the time of writing), accompanies this lot. Dr. Robert Bigler mentions in the document above that the head was examined by “Dr. Brand” [sic] of the Linden-Museum Stuttgart, referring to Dr. Klaus-Joachim Brandt, who was the museum's curator for East Asian art at the time.Condition: Excellent condition, commensurate with age. Extensive wear, some weathering, losses, minor signs of erosion, nicks, scratches, encrustations.Weight: 9,667 g (excl. stand)Dimensions: Height 26.5 cm (excl. stand) and 29.8 cmLiterature comparison: Compare a related limestone head of a bodhisattva, also dated to the Northern Qi dynasty, exhibited by Gisèle Croës at Asia Week New York 2014.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 22 September 2005, lot 21 Price: USD 18,000 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A finely carved limestone small head of Buddha, China, late Northern Qi dynasty Expert remark: Compare the closely related carving with similar stylized hair centered by two whorls and large ears with deeply cut lobing. Note the smaller size (18.2 cm). Auction result comparison: Type: Related Auction: Christie's New York, 22 March 2013, lot 1259 Price: USD 50,000 or approx. EUR 62,500 converted and adjusted for inflation at the time of writing Description: A limestone head of a bodhisattva, Northern Qi dynasty Expert remark: Compare the closely related stone and manner of carving with similar head form and symmetrical features. Note the larger size (33.5 cm).北齊石灰石佛陀頭像中國，550-577年。五官幾乎完美對稱，表情顯得更加寧靜慈祥。細眉長目，鼻樑筆挺，側面長耳垂，波浪形頭髮整齊地在頭上梳成螺髻。 來源：蘇黎世Dr. Robert Bigler收藏，購於1997年5月22日；一個瑞士私人收藏購於上述收藏。隨附由Dr. Robert Bigler簽名的原始發票的副本，時間爲1997年5月22日，售價為 CHF 45,000（相當於今日EUR 65,300）。Dr. Robert Bigler 在這份文件中提到這件佛頭曾被斯圖加特林登美術館東亞藝術部策展人Dr. Klaus-Joachim Brandt 的檢查。 品相：狀況極好，與年代相符。大面積磨損、一些風化、缺損、輕微的侵蝕跡象、刻痕、劃痕、結殼。 重量：不含底座9,667 克 尺寸：高26.5 厘米 (不含底座) ，總高 29.8 厘米 文獻比較： 比較一件相近的北齊石灰石菩薩像，於2014年紐約亞洲藝術週由 Gisèle Croës展出。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2005年9月22日，lot 21 價格：USD 18,000（相當於今日EUR 27,000） 描述：北齊末年石灰石佛陀頭像 專家評論：比較非常相近的髮型雕刻，以兩個螺髻為中心，以及兩側垂耳上深深的切口。請注意尺寸較小 (18.2 厘米). 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2013年3月22日，lot 1259 價格：USD 50,000（相當於今日EUR 62,500） 描述：北齊石灰石菩薩頭像 專家評論：比較非常相近的石質、頭形的雕刻風格，以及五官對稱的特徵。請注意尺寸較大 (33.5 厘米)。

A SANDSTONE GUARDIAN FIGURE DEPICTING HANUMAN, KOH KER STYLEKhmer Empire, 10th century. Finely carved seated on a rectangular base with one knee raised, his right hand holding a vajra and his left resting on his thigh, wearing a short pleated sampot with fine incision work. The face well detailed, the large bulging eyes with neatly incised pupils, the mouth agape revealing sharp teeth and a wrathful expression, flanked by elongated lobes with large earrings, the head surmounted by an elaborate foliate crown. Provenance: From a distinguished Italian private collection, acquired between the late 1960s and early 1970s. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Excellent condition, commensurate with age. Extensive wear, small losses, minor nicks and surface scratches, signs of weathering and erosion, structural cracks, encrustations. Fine, natural patina overall.Dimensions: Height 62.8 cmGuardian figures such as the present lot were placed aside of gateways, steps, and entrances of sacred areas like temples.Koh Ker, which lies 50 miles (80 km) northeast of Angkor, was the capital of the Khmer Empire from 928-944. Koh Ker's sculptural style is thus distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form. The Koh Ker rulers adhered to the Hindu religion, especially the Shaiva sect.Hanuman is most prominently featured in the Indian epic Ramayana, which had gained popularity in Cambodia by the 600s. As a divine being, Hanuman has the power to augment or diminish his size at will, and so he grows to such a stature that he can span the ocean with a single stride.Literature comparison: Compare a closely related Koh Ker sandstone figure of Hanuman, 177.8 cm high, in the collection of the National Museum of Cambodia, inventory number NMC.259. Compare a related Koh Ker bronze figure of Hanuman, 15.2 cm high, in the collection of the Cleveland Museum of Art, accession number 1987.43.Auction result comparison: Type: Related Auction: Christie's Paris, 7 June 2011, lot 381 Price: EUR 97,000 or approx. EUR 119,000 adjusted for inflation at the time of writing Description: An important sandstone figure of a lion-headed guardian, Cambodia, Khmer, Koh Ker Style, mid-10th century Expert remark: Compare the closely related pose and manner of carving, the guardian also holding a vajra in his hand. Note the size (84 cm).

A BIRD-SHAPED CELADON JADE PENDANT, WESTERN ZHOU DYNASTYChina, 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)。

A LARGE CELADON JADE 'DRAGON' PENDANT, EASTERN ZHOU DYNASTYChina, 5th-3rd century BC. The flat stone carved as a sinuous dragon, the long body forming a slender S-curve and detailed on both sides with neatly arranged scrollwork, the head with a slit mouth, upwards-curled snout, and a pointed laid-back ear, the furcated tail curling inwards above the body, the lower body issuing a pair of legs further carved with parallel grooves. The translucent stone of a celadon tone with creamy-white patches and black specks.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: Excellent condition, commensurate with age. Some wear, encrustations, minor signs of erosion, few minuscule nicks, remnants of pigment. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Fine, naturally grown patina overall.Weight: 117.0 gDimensions: Length 23 cmWith a padded silk storage box. (2)Literature comparison: Compare a related jade dragon of similar form but lacking the appendix at the bottom, from the A. W. Bahr Collection, illustrated by Alfred Salmony, Carved Jade of Ancient China, 1938, pl. XLI, no. 5. Compare two jade dragon plaques from the collection of Dr. T. K. Cheng, Cambridge, illustrated by S. H. Hansford, Chinese Carved Jades, London, 1968, pl. 46.Auction result comparison: Type: Related Auction: Sotheby's New York, 10 September 2019, lot 39 Price: USD 18,750 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing Description: A black and beige jade 'dragon' pendant, Eastern Zhou dynasty Expert remark: Compare the closely related sinuous form, slit mouth, and scrollwork. Note the smaller size (11.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 18 March 2009, lot 302 Price: USD 30,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writing Description: An altered greyish-green jade dragon pendant, late Eastern Zhou dynasty, 5th-4th century BCExpert remark: Compare the closely related head with similar slit mouth and pointed laid-back ear and legs with similar parallel grooves. Note the smaller size (10.2 cm).東周大型青玉龍形佩中國，公元前五至三世紀。龍回首，長鼻與弓起的龍身連接，尖尾上揚翻捲，龍體呈S形，生翼顯爪。雙面單陰線刻卷雲紋。腿上還刻有平行的凹槽。青色的半透明玉石，帶有乳白色和黑色的斑紋。 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：狀況極佳，與年齡相稱。一些磨損、結殼、輕微的侵蝕跡象、微小刻痕、色素殘留。有天然裂縫的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。整體上包漿細膩。 重量：117.0 克 尺寸：長23 厘米 相配的有襯絲盒子。 文獻比較： 比較一件相近的玉雕龍形佩，但底部沒有附加物，見A. W. Bahr收藏，Alfred Salmony，《Carved Jade of Ancient China》，1938年，編號 XLI，圖5。比較兩件玉雕龍形佩， 劍橋Dr. T. K. Cheng收藏，見S. H. Hansford，《Chinese Carved Jades》，倫敦，1968年，編號46。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2019年9月10日，lot 39 價格：USD 18,750（相當於今日EUR 21,500） 描述：東周玉雕龍紋珮 專家評論：比較非常相近蜿蜒外型、長鼻和卷雲紋。請注意尺寸較小(11.2 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2009年3月18日，lot 302 價格：USD 30,000（相當於今日EUR 40,500） 描述：公元前五至四世紀東周晚期 龍形玉佩 專家評論：比較非常相近頭型、長鼻、收耳，以及腿上的平行的凹槽。請注意尺寸較小(10.2 厘米)。

'MONKEY REACHING FOR THE MOON'S REFLECTION', AN IMPORTANT CAMEO AGATE SNUFF BOTTLE, SUZHOU SCHOOLPublished: Journal of The International Chinese Snuff Bottle Society, June 1975, illustrated on the cover, discussed on page 6, dated 1780-1850Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 160-161, no. 67, dated 1750-1850China, 1750-1850. Superbly well hollowed, of globular shape and waisted neck, resting on a minuscule recessed foot. Finely carved utilizing the opaque white, beige, golden-brown and dark natural layers in the stone to create a three-dimensional scene of exceptional quality, to one side with a monkey in high relief, surrounded by lingzhi and pine cut from the darker areas, reaching for the moon's reflection below him. The reverse with a neatly incised poem in high relief. The translucent stone of a pale gray with inclusions of ochre, white, brown, and greenish-gray.Expert's note: In this bottle, the master carver draws on a common theme in Chan Buddhism: A monkey trying to capture the moon's reflection in water. This image derives from an early Buddhist story in which five hundred monkeys hold onto each other's tails and attempt to seize the reflection of a moon in a well. They fail when the branch from which they are hanging suddenly breaks. The monkeys in this story stand for unenlightened people who cannot distinguish between reality and illusion. On the other side the monkey, hou, is a homonym for the word marquis, the second highest grade among the nobility, and represents the aspiration for a corresponding rise in rank. For this reason, it may be assumed that the present bottle was intended both as a good luck charm and a cautionary tale.Inscription: Top right 'cai zhi xian cao ying chang chun' (everlasting spring is reflected in the celestial herb of immortality).Provenance: Janos Szekeres, Connecticut, USA. Sotheby's New York, 27 October 1986, lot 174 (dated 1800-1880). Christie's New York, 27 November 1991, lot 123. Rachelle R. Holden, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '212' to the base. Janos Szekeres (1914-1998) was a scientist, inventor, and businessman. Born in Hungary, he later attended the University of Vienna where he graduated in chemistry. In 1941 he enlisted in the US Army Air Force and was sent to Asia, where he spent his free time visiting antique shops and became a collector of Chinese art. Szekeres served on the Board of Directors of the International Chinese Snuff Bottle Society and of the Chinese Art Committee of the Harvard University Art Museums. Rachelle Holden (1934-2020) was a famous collector of snuff bottles. She purchased her first snuff bottle in 1974, finding the art form fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Excellent condition with minor old wear, minuscule nibbling to rim, mouth, and exposed areas. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: White and russet hardstone stopperWeight: 44.7 g Dimensions: Height including stopper 55 mm. Diameter neck 16 mm and mouth 5 mm.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 28 November 2005, lot 1525Price: HKD 420,000 or approx. EUR 78,000 converted and adjusted for inflation at the time of writingDescription: A finely carved Suzhou agate snuff bottleExpert remark: Compare the closely related form, the singular appearance and utilization of the opaque white layer in the stone, the color of the agate, the fine incision work, as well as the closely related size (55 mm).Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 28 May 2010, lot 55Price: HKD 360,000 or approx. EUR 61,000 converted and adjusted for inflation at the time of writingDescription: An agate 'Liu hai' snuff bottle, Zhiting School, Suzhou, 1730-1850Expert remark: Compare the closely related form, the singular appearance and utilization of the opaque white layer in the stone, the color of the agate, the fine incision work, as well as the related size (44.1 mm).蘇作瑪瑙巧雕 “猴子撈月”鼻烟壺中國，1750-1850年。掏膛極好，弦唇，束頸，豐胸，收腹，平底。淺灰色半透明石料，夾雜著赭色、白色、棕色和灰綠色。 出版：《中國鼻烟壺學會期刊》，1975年6月，封面圖片，文字見第6頁，斷代1780-1850年間。 Rachelle Holden，Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary，New York，1994年，頁160-161，編號67，斷代1750-1850 間。 專家注釋:《群猴撈月》原是一則流傳於古印度的寓言故事，後經佛教徒附加上宗教的涵義收入佛典，隨著佛典漢澤傳入中國。這則寓言提示人們看問題一定要看清它的本質，不要為表面現象所迷惑，草率行事而造成白費力氣的結果。 款識：採芝仙草映長春 來源：美國康乃狄克州Janos Szekeres收藏；1986年10月27日紐約蘇富比 lot 174 (斷代為1800-1880)；1991年11月27日紐約蘇富比 lot 123；紐約Rachelle R. Holden購於上述拍賣。底部可見Rachelle Holden 的收藏標籤號 “21”。由於字數限制，完整中文敘述請至www.zacke.at查看。

A TIGER-FORM JADE PENDANT, LATE SHANG DYNASTYChina, 13th-11th century BC. The crouching tiger carved in profile, the body well detailed and decorated with double-line grooves, the mouth pierced for suspension. The translucent stone of a celadon tone with extensive russet shading, some black patches, and small areas of alteration.Provenance: A Western private collection. Roger Keverne Ltd., London, United Kingdom, December 2007. A distinguished English private collection, acquired from the above. Roger Keverne served as the Chairman of Asian Art in London and as the President of BADA. He began his 50-year career with Spink & Son, rising to head the Asian department by the age of only 28. He left Spink in 1992 to start his own gallery together with Miranda Clarke, his wife and business partner, in Mayfair, London, which eventually closed its doors in June 2020. Published: Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics Summer Exhibition, London, 2007, page 101, no. 84.Condition: Very good condition overall with some old wear, traces of use and shallow surface scratches, an area of calcification to the tip of the tail with an associated minuscule loss. Fine, naturally grown patina. The jade with natural inclusions and fissures.Weight: 11.3 g Dimensions: Length 6.5 cmAn important stylistic feature of the present pendant is the use of the so-called double-line grooves. On first inspection, it appears that these rise in low relief. But in fact this is an optical illusion, or trompe-l'œil effect, as those slender “relief lines” are actually flush with the object's surface and seem to rise in relief only because of the intaglio lines, or grooves, that flank them. Such trompe-l'œil lines are a rare feature, and found on the very finest Shang jades only.The tiger, called hu or laohu in Chinese, is among the most recognizable of the world's charismatic megafauna. Originating in China and northern Central Asia, the tiger was known to the earliest Chinese, who likely feared, admired, and respected it for its strength, ferocity, and regal bearing. Though its precise symbolism in Shang times (c. 1600-1046 BC) remains unknown, the tiger doubtless played a totemic, tutelary, or talismanic role. By the Western Han period (206 BC-AD 9)—a thousand years after this pendant was made—the tiger was regarded as the “king of the hundred beasts”, or baishou zhi wang, due to its power and ferocity and especially to the markings on its forehead which typically resemble the character wang, or “king”. In addition, not only did the tiger figure among the twelve animals of the Chinese zodiac, but it gained a place among the auspicious animals that symbolize the four cardinal directions—the white tiger, or baihu, of the west, the azure dragon of the east, the vermillion bird of the south, and the black tortoise of the north.Literature comparison: Compare a related jade tiger plaque, also dated to the Shang dynasty, in the collection of the Asian Art Museum in San Francisco, object number B60J538. Compare a related jade tiger plaque, also dated to the Shang dynasty, circa 1200-1050 BC, in the collection of the British Museum, museum number 1935,0115.19.Auction result comparison: Type: Closely related Auction: Bonhams, 30 May 2017, lot 20 Price: HKD 562,500 or approx. EUR 84,000 converted and adjusted for inflation at the time of writing Description: A jade tiger and a jade bird, the tiger Shang dynasty, the bird Western Zhou dynastyExpert remark: Compare the closely related pose and manner of carving, also employing double-line grooves, the mouth similarly pierced for suspension, the eyes and mouth near-identical. Note the smaller size (3.9 cm) and that the lot also comprises a small jade bird (2.5 cm) from a later period.Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 15 December 2016, lot 9 Price: EUR 20,000 or approx. EUR 23,500 adjusted for inflation at the time of writingDescription: Pendentif en jade Dynastie Shang, ca. 1200-1100 avant J.-C.Expert remark: Compare the closely related pose and manner of carving, with similar double-line grooves. Note the slightly larger size (8.2 cm).商末虎形青玉珮中國，公元前十三至十一世紀。珮呈扁片狀，以陰刻雙線技法雕琢半蹲老虎的側身形，虎口處，琢一小穿。局部淺褐色沁。 來源：西方私人收藏 ；英國倫敦Roger Keverne Ltd.藝廊，2007年12月；一個傑出的英國私人收藏，購於上述藝廊。Roger Keverne曾任倫敦亞洲藝術主席和BADA總裁。他在 Spink & Son 開始了 50 年的職業生涯，年僅 28 歲就升任亞洲部負責人。他於 1992 年離開 Spink，與他的妻子兼商業夥伴 Miranda Clarke 一起在倫敦梅菲爾開設了自己的畫廊 ，最終於 2020年 6 月關門。 出版：Roger Keverne，《Fine and Rare Chinese Works of Art and Ceramics Summer Exhibition》，2007年，倫敦，頁101，編號84. 品相：整體狀況極好，有一些磨損、使用痕跡和表面淺劃痕、尾部尖端有鈣化區域以及相應的微小缺損。細膩的包漿，有天然內沁和裂縫的玉料。 重量：11.3 克 尺寸：長 6.5 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE COPPER ALLOY FIGURE OF MANIKKAVACAKAR, TAMIL NADU, 14TH-15TH CENTURYSouth India. Boldly cast standing in tribhanga atop a double lotus pedestal supported on a stepped base decorated with beaded edges, incised lotus and geometric designs. He is holding prayer beads in his right hand, a manuscript in his left, wears a tight-fitting dhoti and is adorned with beaded jewelry. The serene face with large almond-shaped eyes with incised pupils below elegantly arched brows, the full lips forming a calm smile, flanked by pendulous pierced earlobes. Provenance: From a private collection in London, United Kingdom, acquired prior to 2000. Thence by descent.Condition: Very good condition with minor wear and casting flaws, small nicks, light scratches, minor dents. The back of the legs with remnants of an old label which have left marks on the patina.Weight: 7,856 gDimensions: Height 38.5 cmManikkavacakar (Tamil: 'One whose words are like gems') was a 9th-century Tamil saint and poet who wrote Tiruvasakam, a book of Shaiva hymns. Speculated to have been a minister to the Pandya king Varagunavarman II (c. 862-885), he lived in Madurai and is revered as one of the Nalvar, a set of four prominent Tamil saints alongside Appar, Sundarar, and Sambandar. The other three contributed to the first seven volumes (Tevaram) of the twelve-volume Shaivite work Tirumurai, the key devotional text of Shaiva Siddhanta. Manikkavacakar's Tiruvasakam and Thirukkovaiyar form the eighth volume. These eight are considered to be the Tamil Vedas by the Shaivites, and the four saints are revered as Samaya Kuravar (religious preceptors). Manikkavacakar's works are celebrated for their poetic expression of the anguish of being separated from God, and the joy of God-experience, with his ecstatic religious fervor drawing comparisons with those of Western saints like St. Francis of Assisi. Manikkavackar's stone image is worshiped in almost all Shiva temples of Tamil Nadu.Expert's note: There is a remote possibility that the present figure dates from the 12th-13th century, especially when comparing the metallurgy and some physical characteristics with the statue of Yashoda at the Metropolitan Museum. If this were the case, however, it would also mean that the lower two-thirds of the base would have been replaced or at least re-decorated at a later point in time, probably between the 15th and 17th centuries.Literature comparison: Compare a closely related bronze of the Shaiva saint Sambandar, dated to the 15th century, 52.1 cm high, in the collection of the Norton Simon Museum, accession number F.1972.25.3.S. Compare also a related bronze depicting Yashoda with the infant Krishna, dated early 12th century, the cast of similar copper-brown patina and with similar wear and casting flaws, in the collection of the Metropolitan Museum of Art, accession number 1982.220.8.Auction result comparison: Type: Related Auction: Nagel, Stuttgart, 11 December 2020, lot 1656 Price: EUR 57,600 or approx. EUR 59,500 adjusted for inflation at the time of writing Description: A fine bronze figure of Sambhandar, South-India, Vijayanagar period, ca. 13th ct.Expert remark: Compare the closely related pose and coppery tone of the bronze. Note the similar size (37 cm).

A PAIR OF RARE MUGHAL-STYLE JADEITE MARRIAGE BOWLS, LATE QING DYNASTYChina, 19th century. The bowls well carved with elegantly rounded sides rising from short circular feet to incurved rims, each flanked by a pair of double loose-ring handles pendent from reticulated designs of blossoming chrysanthemums issuing from foliage. The translucent stone of a pale lavender tone with pale green shadings and bright emerald-green and russet streaks.Provenance: From a private collection in New York, USA.Condition: Very good condition with minor wear, possibly few minuscule smoothened losses to exposed areas. Natural inclusions to the stone. The wood stands with some wear and light scratches, some of the separately carved feet are loose.Weight: 231.6 g and 211.2 g (each excl. stand)Dimensions: Width 18 cm (each)Each bowl with a matching wood stand. (4)Expert's note: Mughal-style marriage bowls carved from jadeite are extremely rare and this particular pair is exquisitely made from a superb material of beautiful color. The exceptional quality of the stone and the carving, showing a relatively restrained form of decoration, indicate a rather early dating for jadeite carvings, no later than the mid/end of the 19th century.Auction result comparison: Type: Related Auction: Christie's London, 14 May 2013, lot 18 Price: GBP 25,000 or approx. EUR 37,500 converted and adjusted for inflation at the time of writing Description: A Mughal-style celadon jade marriage bowl, 19th century Expert remark: Note the size (24 cm)Auction result comparison: Type: Related Auction: Bonhams San Francisco, 17 December 2014, lot 9132 Price: USD 25,000 or approx. EUR 30,500 converted and adjusted for inflation at the time of writing Description: A Mughal-style carved jade marriage bowl, Qianlong mark Expert remark: Note the apocryphal Qianlong mark and size (28.5 cm)晚清一對罕見蒙兀兒風格菊花紋活環翡翠洗中國，十九世紀。翡翠，器薄，雕刻精美，圓邊，淺腹，圈足。翡翠洗雙耳成菊花紋，活環。淡紫色半透明石料，帶有淡綠色紋理和明亮的翠綠色和赤褐色條紋。 來源：美國紐約私人收藏。 品相：品相極好，有輕微磨損。石料天然內沁。木底座有一些磨損和輕微劃痕，單獨雕刻的足部鬆動。 重量：不含底座分別為231.6 克與211.2克 尺寸：寬18 厘米 分別配置木底座。 專家注釋：蒙兀兒風格的翡翠玉洗極爲罕見，這對玉洗色彩精美，雕刻品質卓越，紋飾簡潔，説明年代較早，19 世紀中葉之前。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2013年5月14日，lot 18 價格：GBP 25,000（相當於今日EUR 37,500） 描述：十九世紀蒙兀兒風格青玉洗 專家評論：請注意尺寸(24 厘米) 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2014年12月17日，lot 9132 價格：USD 25,000（相當於今日EUR 30,500） 描述：乾隆款蒙兀兒風格玉洗 專家評論：請注意乾隆款識和尺寸 (28.5 厘米)

A YELLOW AND RUSSET JADE 'RABBIT' INKSTONE, EARLY QING DYNASTYOpinion: Inkstones depicting various animals were made during the Qing dynasty, including pieces of the highest quality made for the Qing court. The present inkstone, being of an abstracted form that still clearly shows the silhouette of a rabbit, with a circular recess (perhaps reminiscent of the moon, with which the rabbit is frequently associated in China) placed exactly where the hare's eye would be, is a unique and rare example of this group.China, late 17th - 18th century. Well carved as the silhouette of a rabbit with distinct nose and ears, a circular recess carved in place of the animal's eye serving as the inkwell. The translucent stone is of a fine and distinct yellow tone with russet and black patches as well as cloudy white inclusions.Provenance: French trade. Condition: Very good condition with expected old wear and signs of use including small nicks, light surface scratches, remnants of ink inside the inkwell. Natural fissures and inclusions.Weight: 231.1 gDimensions: Length 12.3 cmThe rabbit is the fourth animal in the Chinese zodiac and considered the luckiest out of all the twelve animals. It symbolizes mercy, elegance, and beauty. Rabbits are also associated with longevity by way of the Moon Hare. In Chinese folklore, the rabbit often is portrayed as a companion of the Moon goddess Chang'e, constantly pounding the elixir of life for her.Literature comparison: Compare an imperially inscribed zisha chengni inkstone molded with a rabbit gazing at the moon, with a Qianlong Yuming mark and of the period, at Christie's Hong Kong, 30 November 2020, lot 2837. Compare an inscribed inkstone in the form of a goose, dated to the Qianlong period, at Sotheby's Hong Kong, 4 October 2011, lot 1915. Compare an inkstone in the form of a buffalo, dated Ming or Qing dynasty, at Sotheby's Hong Kong, 7 April 2010, lot 1980.清初黃玉留皮兔形硯臺中國，十七世紀末至十八世紀。兔形硯臺，線條清晰分明，在眼睛的地方有一個圓形凹槽。這顆半透明石料呈溫潤的黃色，帶有赤褐色和黑色斑塊以及白色絮狀物。 專家注釋：動物形狀的硯台出現在清代，其中包括御製硯台。這件硯台以簡潔的形式清晰地顯示出兔子的輪廓，在兔子眼睛所在的位置有一個圓形的凹槽（讓人想起月亮，兔子經常與月亮聯繫在一起）。 來源：法國古玩交易。 品相：品相極好，有磨損和使用跡象，包括小刻痕、輕微的劃痕，有墨水殘留。自然裂縫和内沁。 重量：231.1 克 尺寸：長12.3 厘米 兔子在中國十二生肖中排行第四，它象徵著慈悲和優雅。兔子因爲月兔神話，同時也寓意著長壽。在中國民間傳說中，兔子是月神嫦娥的伴侶，為她搗長生不老藥。 文獻比較： 比較一件乾隆御銘的紫砂澄泥硯，飾有兔凝月，見香港佳士得，2020年11月30日，lot 2837。比較一件乾隆時期鵝形硯臺，見香港蘇富比，2011年10月4日，lot 1915。比較一件明或清代水牛形硯臺，見香港蘇富比，2010年4月7日，lot 1980。

A LARGE AND IMPORTANT BUDDHIST VOTIVE PLAQUE, GILT COPPER REPOUSSE, EARLY TANG DYNASTYExpert'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。

A SANDSTONE 'BUDDHIST TRIAD' STELE, TANG DYNASTY, DATED 717China. Well carved in deep relief, the arched niche centered by a figure of Buddha standing on a double lotus dais with his right hand raised in abhaya mudra and his left lowered in varada mudra, wearing loose-fitting robes cascading in voluminous folds, his serene face with heavy-lidded eyes, plump cheeks, and full lips, the hair surmounted by an ushnisha, backed by a neatly incised halo. Flanked by two similarly carved bodhisattvas with their hair pulled up into high chignons, all above a rectangular panel with a neatly incised inscription.Inscriptions: Below the figures, 'On the eighth day of the third month of the fifth year of the Kaiyuan era of the Tang dynasty, Jia had this stele made for his parents'.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. The back with an old label, '717 AD'. 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, commensurate with age. Extensive wear, shallow surface scratches, signs of weathering and erosion. Small losses, nicks and cracks, some encrustations.Weight: 3,357 gDimensions: Height 23.3 cmLiterature comparison: Compare the stone stele of this shape that is similarly carved in high relief with a seated figure of Buddha flanked by two bodhisattvas standing on waisted lotus plinths, that bears a dedicatory inscription dated to the second year of Jingyun (AD 711), illustrated by Li JIngjie in Shifo Xuancui (Essence of Buddhistic Statues), Beijing, 1995, p. 73, no. 53. The inscription states that the stele was donated by Lu Zhaoshun.Auction result comparison: Type: Closely related Auction: Christie's New York, 15 September 2017, lot 918 Price: USD 11,250 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A grey limestone Buddhist stele, Tang dynasty Expert remark: Compare the closely related form of the arched niche, deep relief carving of the figures, and inscription with dating below the figures. Note the larger size (34.6 cm) and the more advanced weathering and erosion of the stone. Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 1 April 2019, lot 3015 Estimate: HKD 500,000 or approx. EUR 65,500 converted and adjusted for inflation at the time of writing Description: A rare limestone 'Buddhist triad' stele, Tang dynasty Expert remark: Compare the related form of the arched niche and deep relief carving of the figures. Note the similar size (26.4 cm).唐代砂岩三聖造像碑，717年中國。此尊龕式造像碑，裝飾精美。高浮雕佛陀立蓮像，右手施無畏印，左手與願印，身穿寬鬆袈裟，面容安詳。雙眼微垂，面容豐滿，頭上結螺髻，後有光背。兩側是菩薩，同樣高髻。 款識：大唐開元五年三月八日賈氏爲父母敬造 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：品相極佳，與年代相符。大面積磨損、表面淺劃痕、風化和侵蝕跡象。小缺損，刻痕和裂縫，一些結殼。 重量：3,357 克 尺寸：高23.3 厘米 文獻比較： 比較一尊高浮雕坐佛像，兩邊是站在腰部蓮花座上的兩位菩薩，有景雲二年（西元711年）的銘文，見李靜杰编著，《石佛選粹》，北京，1995年，頁73，編號53。由於字數限制，完整中文敘述請至www.zacke.at查看。

A SONGHUA INK STONE, BOX AND COVER, QIANLONG MARK AND PERIODChina, 1736-1795. The soft grayish-green ink stone is of magnificent quality with distinct striations and deeply carved with a lingzhi-shaped well. The outline conforms with the highest possible precision to that of the shallow box and cover, which in turn is finely carved on the top through the grayish-green outer layer to the purplish-brown under layer with two crested cranes perched on the trunk of a gnarled pine tree, the burls in the wood superbly sculpted, the pine leaves and the cranes' plumages neatly incised.The base of the inkstone incised in a line with a four-character seal mark Qianlong nianzhi and of the period.Provenance: Mrs. Walter Sedgwick, collection no. 307, as per old label to base, and thence by descent. Probably Sotheby's London after 1968 and from there into a French collection. Parisian trade, acquired from the above. Mrs. Walter Sedgwick (1883-1967) was an English collector of Chinese art who came from a family of architects. Quite unusually at the time, she collected independently of her husband who was a barrister with little interest in Chinese art. She lent many pieces to the 1935-36 Chinese exhibition at the Royal Academy. Soame Jenyns described her as a collector of impeccable taste and in 1953 dedicated his book 'Ming Pottery and Porcelain' to her. She donated and bequeathed Chinese objects to the British Museum from 1933 to 1968 and was a generous benefactor to the British Museum, the Fitzwilliam in Cambridge, and the Victoria & Albert Museum. After her death, her collection was sold off by Sotheby's London beginning in 1968. Mrs. Sedgwick was the aunt of Professor Jessica Rawson.Condition: Excellent condition with only minor wear and traces of use.Weight: 243.6 gDimensions: Length 9 cmExpert's note: The present lot was no doubt made during the Qianlong period, a fact illuminated by a Songhua ink stone, box, and cover dated to the Republic period at Christie's Hong Kong, 9 October 2019, lot 270. Although this later example appears quite similar to the present lot at first glance, it quickly becomes evident that it does not even remotely show the same exceptional skill and attention to detail. Closer study reveals a vast number of small yet striking differences, including the two cranes, which lack the crests and open beaks, as well as the pine leaves, which lack the raised edges of their central circles, and last but not least the Imperial mark itself, which is by far not as neatly incised.Songhua stone, for its color, quality and ease of grinding the ink, was one of the preferred materials for making inkstones for the scholar's table during the Qing dynasty. Chi Jo-hsin in 'A study of the Sunghua Inkstone Tradition', Special Exhibition of Sunghua Inkstone, National Palace Museum, Taipei, 1993, page 38, notes that 'during the Qianlong period, an inventory of inkstones in the Imperial Household was compiled. Of the more than two hundred entries, six sunghua inkstones with imperial reign marks of the K'ang-hsi, Yung-cheng and Ch'ien-lung periods are recorded, five of which are in the collection of the National Palace Museum.'Design on inkstones often imitated fine paintings and it is known that the Qianlong emperor commissioned his court painters to design the lids of many of his inkstones. Shapes of the ink pool and cover also became more varied during the Qianlong emperor's reign, when new shapes in the form of peaches, crescent-moons and flowers were introduced alongside the traditional circular, octagonal and oblong shapes.In Qianlong's poetry collection 'Shengjing tuchan zoayang shier shou' (Twelve Miscellaneous Poems on the Native Products of Shengjing), the emperor praises the stone as 'Songhua yu' (Songhua jade) and mentions that it is the product of the Yuantong River in Jilin province in northeast China and can be used for making inkstones.Zhou Nanquan notes in 'Songhuashi yan' (Songhua Inkstone), Wenwu, 1980, no. 1, pages 86-87, that Songhua stone was used for the production of imperial inkstones from the early to mid-Qing dynasty. Zhou further notes that in the 39th year of Qianlong's reign (corresponding to 1774), official records mention a total of 120 Songhua stone pieces, whether worked or as raw material, in the Palace collection.Records from the fourth day of the twelfth month of the 39th year of Qianlong's reign note that on three occasions, raw material amounting to 38 pieces from Jilin province, was sent to the palace and, out of five stone pieces, eight inkstones and their boxes were made. It was customary with Songhua stone from the palace to have the inkstones in original boxes of the same material, usually using the different stratified colors. Currently there are eighty Songhua inkstones in the Palace Museum collection, of which ten are attributed to Kangxi, sixteen to Yongzheng, thirteen to Qianlong, nine to Jiaqing, one to Daoguang and five to Guangxu's reigns.Literature comparison: A related ink stone, box, and cover was included in Selected Treasures of Chinese Art, Hong Kong, 1990, cat. no. 238. A related Qianlong inkstone and cover of rectangular shape, also carved with pine trees and cranes, was included in the Special Exhibition of Songhua Inkstone, National Palace Museum, Taipei, 1993, cat. no. 57.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 November 2017, lot 2931 Price: HKD 562,500 or approx. EUR 76,000 converted and adjusted for inflation at the time of writing Description: A Songhua ink stone, box and cover, Qianlong incised four-character seal mark and of the period Expert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, gnarled pine tree, and incised leaves, and four-character seal mark incised in a line. Note the similar size (9.6 cm). Further note that this example arguably does not show the same exceptional skill and attention to detail as the present inkstone.Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 23 October 2005, lot 23 Price: HKD 2,696,000 or approx. EUR 517,500 converted and adjusted for inflation at the time of writing Description: A fine Songhua inkstone, box and cover, carved mark and period of QianlongExpert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, gnarled pine tree, and incised leaves, and incised four-character seal mark. Note the similar size (10 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 23 October 2005, lot 149 Price: HKD 1,912,000 or approx. EUR 367,500 converted and adjusted for inflation at the time of writing Description: A fine Songhua inkstone, box and cover, carved mark and period of Qianlong Expert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, cranes, gnarled pine tree, and incised leaves, and incised four-character seal mark. Note the similar size (9.5 cm).乾隆款及年代松花硯中國，1736-1795年。由於字數限制，完整中文敘述請至www.zacke.at查看。

A BLACK SCHIST STELE OF BUDDHA SHAKYAMUNI, PALA PERIODNortheastern India, Bihar, 10th century. Well carved seated in dhyanasana on a double lotus base, supported on a stepped pedestal adorned with numerous smaller figures, the palm of the hand and soles of the feet with neatly incised circles. Buddha's face with a benign expression and almond shaped eyes, the hair in tight curls surmounted by an ushnisha, wearing a sanghati draped over one shoulder, flanked by two pillars surmounted by stupas centering a nimbus with a stylized foliate border.Provenance: The personal collection of Arturo Schwarz, Milan, late 1990s. Leonardo Vigorelli, Bergamo, acquired from the above. Arturo Schwarz (1924-2021) was an Italian scholar, art historian, poet, writer, lecturer, art consultant and curator of international exhibitions. He lived in Milan, where he amassed a large collection of Dada and Surrealist art, including many works by personal friends such as Marcel Duchamp, Andre Breton, Man Ray, and Jean Arp. In 1975, Schwarz started working as curator and author, writing extensive publications on the work of Marcel Duchamp, as well as books and numerous essays on the Kabbalah, Tantrism, alchemy, prehistoric and tribal art, and Asian art and philosophy. His 1977 book on Man Ray's works and life was the first to reveal Ray's real name. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, some losses, nicks and surface scratches, structural cracks. The finely polished surface with a solid, naturally grown patina and an unctuous feel overall. Dimensions: Height 61.2 cm (excl. base) and 64.2 cm (incl. base)Mounted to a modern metal base. (2)Literature comparison:Compare a related stone figure of Buddha, 10th century, Bihar, in the collection of the British Museum, museum number 1942,0415.1.Auction result comparison: Type: Closely related Auction: Christie's New York, 13 September 2011, lot 268Price: USD 86,500 or approx. EUR 111,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of seated Buddha, Northeastern India, Pala period, circa 10th century Expert remark: Note the related size (63.5 cm)Auction result comparison:Type: RelatedAuction: Bonhams New York, 20 March 2018, lot 3224Price: USD 250,000 or approx. EUR 290,000 converted and adjusted for inflation at the time of writingDescription: A blackstone stele of crowned Buddha, Bihar, Pala period, 10th centuryExpert remark: Note the size (45 cm)Auction result comparison:Type: RelatedAuction: Christie's Paris, 22 June 2016, lot 11Price: EUR 71,100 or approx. EUR 83,000 adjusted for inflation at the time of writingDescription: A rare sedimentary stone stele of Shakyamuni Buddha, Northeast India, Pala Period, 10th centuryExpert remark: Note the size (31 cm)

A RARE AND COMPLETE SET OF FOUR JADE OPENWORK SWORD FITTINGS, WESTERN HAN DYNASTYChina, 206 BC to 8 AD.Comprising:1) A pommel (shou) of circular form, the domed center carved as a dragon, encircled by alternating taotie masks and archaic scroll,2) A sword guard (ge) carved with central taotie masks to each side, the nose extending to the pointed lower end, flanked by phoenixes and archaic scroll,3) A scabbard chape (bi) of trapezoidal form carved with sinuously coiled dragons,4) A scabbard slide (zhi) carved with a central bi disc flanked by two confronting dragons with tails terminating in phoenix heads.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, commensurate with age. Expected wear, alterations and weathering, minuscule nibbling and losses, soil and iron rust encrustations. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time. Weight: 113.6 g (total) Dimensions: Length 14 cm (the scabbard slide), 7 cm (the scabbard chape), and 6.8 cm (the sword guard), Diameter 6.7 cm (the pommel)The translucent jades are of a fine, greenish-yellow tone with cloudy inclusions, and scattered black speckles. The distinct iron rust encrustation indicates that the jades were buried with a source of iron, doubtlessly the decomposed blade.Expert's note: Xi'an City was the capital of China during the Western Han (202 BC-8 AD) period. According to metallographic studies of iron swords excavated in this region, all known examples were found in a severely decomposed condition. Consequently, they presented a wide range of damage such as fractures, incompleteness, and thick layers of corrosion. Such corrosion leaves notable decaying marks on their corresponding jade fittings, which take centuries to develop into the russet 'spiderweb' crackle found on the present lot. These alteration marks are inimitable, not only because they leave behind irreversible scars on the jade itself, but also because their metallurgic composition is quite unique.In ancient China, there were two pathways known for soft iron making: One was the so-called “direct process” in which bloomery iron, with a low-carbon content, was smelted in a furnace and then directly used for smithing larger numbers of lower quality blades. The second, so-called “indirect process” was more complex: After smelting from a blast furnace, cast iron was decarburized through a liquid-state procedure called Chaogang. This produced still-malleable iron with a significantly higher carbon content of up to 1%, or - in other words - steel of the best possible quality for the manufacture of high-end blades. Needless to say, jade was used primarily for fittings of blades from this group, a sign of almost exuberant luxury, marking its owner as a person of nobility. Similar fittings were also found on bronze swords, but only the ones discovered near the remnants of iron blades are encrusted with distinct rust patterns such as the present lot.This exceptional set of sword fittings exemplifies the best jade carving of the early Western Han period. Note the extreme thinness of the jades in several areas, with some parts of the guard and the chape measuring an incredible 1 mm in thickness.Literature comparison: Compare a closely related set of sword fittings once belonging to the King of Nanyue, illustrated in Zhongguo Yuqi Quanji 4 - Qin, Han, Nanbeichao, Hebei, 1993, pp. 60-61, nos. 79-82. Compare four sword fittings from the Myers collection, dated to the Western Han period, published in Fillippo Salviati, Radiant Stones: Archaic Chinese Jades, 2004, Hong Kong, nos. 130-133.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2017, lot 2711 Price: HKD 8,460,000 or approx. EUR 1,148,000 converted and adjusted for inflation at the time of writing Description: An important set of three jade 'chilong' sword fittings and a jade sword guard, Western Han dynasty Expert remark: Note the smaller size (the largest 8.8 cm)西漢罕見一套四件玉劍飾中國，公元前206年至公元8 年。一套四件 來源：Irene與 Wolfgang Zacke (1942-2022)。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：狀況極佳，有磨損、風化、磕損、缺損、土壤結殼與鏽斑。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：總113.6克 尺寸：劍璏長 14 厘米，劍珌7 厘米，劍格6.8 厘米，劍首直徑 6.7 厘米 玉質細膩，有綠色、赭色斑，瑩潤有澤。玉石上明顯的鐵鏽斑。由於字數限制，完整中文敘述請至www.zacke.at查看。

A GRAY AND BLACK NEPHRITE JADE FIGURE OF A HORSE, MING DYNASTYChina, 17th century. Well carved as a recumbent horse with the legs tucked in. The head is turned backwards with the mane falling on either side of the arched neck, and the tail is flicked onto the left rear haunch. The semi-translucent stone is of a pale gray tone with cloudy inclusions, dark veins, and black patches and shadings.Provenance: S. Bernstein & Co., Jade & Oriental Art, San Francisco, 23 August 2004. A private collection in Bethesda, Maryland, USA, acquired from the above. A copy of a description document from S. Bernstein & Co., signed and sealed by Sam Bernstein and confirming the dating above, as well as a copy of the original invoice, dated 23 August 2004 and stating a purchase price of USD 14,000 or approx. EUR 20,500 (converted and adjusted for inflation at the time of writing), accompany this lot. Sam Bernstein is an internationally recognized specialist dealer in Chinese antiquities. He has authored thirteen volumes on Chinese art including The Emperor's Jade Suit and Chinese Jade: The Immortal Stone. Over the past twenty-five years, Mr. Bernstein has gained experience in forming some of the greatest collections of Asian art in the world. Both of his parents were passionate collectors of Asian art and traveled extensively throughout Europe and the Far East. In 1991, Mr. Bernstein founded S. Bernstein & Co., Jade and Oriental Art, a gallery in San Francisco located in the historic Fairmont Hotel, which specializes in museum quality Chinese jade and related arts.Condition: Very good condition with minor old wear, few light surface scratches and minuscule nicks, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 197.2 g (excl. base) and 245.7 g (incl. base)Dimensions: Length 8.5 cm (the jade) and 9.1 cm (the base)With a fitted wood base and a padded box. (3)The horse has a long history as a symbol of power, energy, and prestige in China. Jade carvings of horses are thought to originate in the Tang dynasty, reflecting the powerful stone sculptures of horses found on Spirit Roads and the pottery horses found in tombs.Auction result comparison:Type: Related Auction: Christie's New York, 20 September 2013, lot 1683 Price: USD 56,250 or approx. EUR 67,000 converted and adjusted for inflation at the time of writing Description: A well-carved grey-green jade figure of a recumbent horse, 17th/18th century Expert remark: Compare the closely related pose and incision work. Note the different color and larger size (15.2 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 November 2017, lot 3056 Price: HKD 500,000 or approx. EUR 66,000 converted and adjusted for inflation at the time of writing Description: A jade recumbent horse, Ming dynasty Expert remark: Compare the closely related eyes, mane, tail, and ears, as well as the similar size (9.4 cm). Note the slightly different pose and mostly russet color.明代灰黑玉臥馬中國，十七世紀。臥馬表滿佈絲霧狀黑褐色沁，玉質溫潤，觸手細膩，包漿潤潤。玉馬倒地嬉戲，臥馬兩耳圓潤，肢體健碩，骨肉豐滿，回首向背。 來源：2004年8月23日舊金山S. Bernstein & Co.玉器與東亞藝術藝廊；美國馬里蘭州貝塞斯達私人收藏，購於上述藝廊。隨附一份藝廊Sam Bernstein親筆簽署並蓋章的描述文件，以及一份原始發票複印件，時間爲2004年8月23日，價格爲USD 14,000，相當於現在的EUR 20,500。Sam Bernstein是國際公認的中國古物專業經銷商。他撰寫了十三卷有關中國藝術的著作，包括《The Emperor's Jade Suit》和《Chinese Jade: The Immortal Stone》。在過去的二十五年裡，Bernstein先生積累了豐富的亞洲藝術收藏的經驗。他的父母都是亞洲藝術的熱情收藏家，並在歐洲和遠東多次旅行。1991 年，Bernstein先生在舊金山歷史悠久的Fairmont酒店創立了 S. Bernstein & Co., 玉器與東亞藝術藝廊，專門研究博物館品質的中國玉器及相關藝術品。 品相：狀況非常好，有輕微的磨損，輕微的表面劃痕和刻痕，有天然裂縫的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。 重量：197.2 克 (不含底座) 與245.7 克(含底座) 尺寸：長 8.5 厘米 (玉) 與9.1 厘米 (底座) 配有合身的木質底座和帶襯墊的盒子。(3)由於字數限制，完整中文敘述請至www.zacke.at查看。

A SOAPSTONE FIGURE OF A LUOHAN WITH A BUDDHIST LION, 18TH CENTURYChina. Seated with his right knee raised, wearing long flowing robes with finely incised hems, holding a flywhisk (fuchen) in his right hand, beside him a majestic lion, his left hand holding one strand of the lion's mane. The facial features, beard, and hair finely incised and picked out in black pigment, the hems painted in gilt and deep green. The base fitted and carved as a craggy rock with pierced holes. The figure of an attractive honey-brown tone, the stand of elegant burgundy red color with white and gray veining.Provenance: From the collection of Gerard Hawthorn, London, United Kingdom. In 1963, Gerard Hawthorn joined Sydney L. Moss Ltd. He later became an independent art dealer, assisting the world's leading collectors and museums in acquiring rare Chinese antiques. Additionally, he formed his own collection of Chinese art, especially bamboo and Yixing wares. Gerard Hawthorn is also the author of the catalog series 'Oriental Works of Art', which features fine works of art from China, Japan, and Korea. Condition: Very good condition with some old wear, mostly to gilt and pigment, few light surface scratches and minor nicks here and there. The left hand of the luohan and the head of the lion with minuscule old fills. Fine naturally grown patina with an unctuous feel overall.Weight: 418.2 g Dimensions: Height 9.1 cmLiterature comparison:Compare the related soapstone figure of a luohan seated beside a similarly carved lion in the collection of the Palace Museum, Beijing, illustrated in Zhongguo meishu quanji, diaosu bian - 6 - Yuan Ming Qing diaosu, Beijing, 1988, page 145, pl. 157. Compare also a related soapstone figure of luohan with mythical beast, dated to the 17th century, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, p. 161, cat. no. 135.Auction result comparison:Type: Closely relatedAuction: Christie's London, 8 June 2021, lot 290Price: GBP 16,250 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A Chinese soapstone figure of a luohan, 18th centuryExpert remark: Compare the pose of the luohan, the detail work of the hem, and the rocky base. Note the larger size (16 cm).Auction result comparison:Type: RelatedAuction: Christie's London, 10 May 2011, lot 45Price: GBP 10,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A small carved soapstone figure of a luohan, 18th centuryExpert remark: Compare the closely related posture of the luohan, the detail work of the hem, as well as the honey color of the stone. Note the smaller size (4 cm) and lack of a base.十八世紀笑獅羅漢皂石擺件中國。羅漢身體魁梧健壯，儀容莊嚴凜然，手持拂塵，身著僧袍。身側臥著一隻獅子。獅子的鬃毛用黑色顏料刻畫，下半身描金以及深綠色顔料。底座為鏤空雕刻的岩石，蜜褐色包漿，優雅的紅色與白色和灰色紋理。 來源：英國倫敦Gerard Hawthorn收藏；1963年他加入悉尼L. Moss Ltd藝廊，成為一名獨立的藝術品經銷商，協助世界重要收藏家和博物館購買稀有的中國古董。此外，他還見了了自己的中國藝術品收藏，尤其是竹子和宜興瓷器。Hawthorn 也是“Oriental Works of Art”系列畫冊的作者，該畫冊收錄了來自中國、日本和韓國的精美藝術作品。 品相：狀況極好，有一些磨損，主要是描金和顏料部分，表面有輕微的劃痕。羅漢的左手和獅子的頭上有微小的填充物。細膩的包漿，整體感覺光滑瑩潤。 重量：418.2 克 尺寸：高9.1 厘米 文獻比較： 比較一件非常相近的笑獅羅漢皂石擺件，收藏於北京故宮博物院，見《中國美術全集‧雕塑篇‧6元明清雕塑》，北京，1988年，頁145，圖157。比較一件相近的十七世紀羅漢神獸皂石擺件，見Gerard Tsang and Hugh Moss，《Arts from the Scholar's Studio》，香港大學美術館，香港，1986年，頁161，圖錄編號135。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2021年6月8日，lot 290 價格：GBP 16,250（相當於今日EUR 16,500） 描述：十八世紀皂石羅漢擺件 專家評論：比較羅漢的姿勢，衣袍下擺的細節雕刻，以及岩石底座。注意尺寸較大(16 厘米)。由於字數限制，完整中文敘述請至www.zacke.at查看。

A GRAY SCHIST BUST OF VISHNU, KASHMIR, 8TH-9TH CENTURYThis is a superb example of its type, expressively carved and subtly blending purity of form with intricate detail. The four-armed deity expressively carved standing, holding a conch and lotus flower in his main hands, the muscular body adorned with fine jewelry, the serene face with wide almond-shaped eyes below gently arched eyebrows. The finely incised curled hair elegantly falling over his shoulders and surmounted by a tall crown, the face framed by pendulous ears and backed by a halo.Provenance: British trade. Condition: Excellent condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, structural cracks, nicks, shallow surface scratches. All as expected from a stone figure of over 1000 years of age.Weight: 528.3 g Dimensions: Height 16 cmLiterature comparison: For a stylistically similar example with comparable iconography, see P. Pal, Indian Sculpture, vol. II, 1988, p. 71, cat. no. 14b.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2008, lot 338Price: USD 39,400 or approx. EUR 50,500 converted and adjusted for inflation at the time of writingDescription: A rare green stone figure of Vishnu, Kashmir, 8th centuryExpert's remark: Note the size of 26 cmAuction result comparison: Type: Closely related Auction: Christie's New York, 20 March 2012, lot 42 Price: USD 20,000 or approx. EUR 24,500 converted and adjusted for inflation at the time of writing Description: A green stone figure of a deity, Kashmir, 9th centuryExpert's remark: Note the size of 25 cm

AN IMPORTANT AND RARE PALE CELADON AND RUSSET JADE MOUNTAIN, 18TH CENTURYChina. Finely carved to one side with a scholar and his boy attendant walking along the mountain toward a neatly incised waterfall, and to the other with an attendant playing the qin near a pavilion above a group of scholars near a stream, one kneeling and holding a bucket, his attendant standing behind him carrying a large stick, the other two standing in front of a small cascade, all set in a monumental mountainous landscape with several beautifully carved pine trees. The translucent stone is of a pale celadon tone with distinct russet veining and patches, as well as scattered cloudy inclusions.Provenance: From a Swiss private collection. Condition: Superb condition with minor old wear, possibly microscopic nicks, the stone with natural inclusions and fissures. The matching wood base with old age cracks, minor nicks and losses, and fine naturally grown patina overall.Weight: 877.3 g (incl. base), 804.2 g (excl. base) Dimensions: Height 18.9 cm (incl. base), 16.4 cm (excl. base)With a matching wood base of the same period, finely carved with craggy rockwork, pine, bamboo, and chrysanthemum. (2)Expert note: The present jade mountain is carved all around to show a continuous scene, with the waterfall on one side of the mountain and the cascade on the other stemming from the same source. Such jade mountains with no preferred side are extremely rare. Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 1 June 2011, lot 3904Price: HKD 680,000 or approx. EUR 118,500 converted and adjusted for inflation at the time of writingDescription: A pale celadon jade mountain carving, Qing dynasty, 18th/19th centuryExpert remark: Compare the closely related form, the color of the jade, as well as the similar size (16.7 cm)Auction result comparison:Type: Closely relatedAuction: Christie's London, 8 November 2016, lot 159Price: GBP 40,000 or approx. EUR 55,000 converted and adjusted for inflation at the time of writingDescription: A pale celadon jade 'scholars' mountain, Qianlong period (1736-1795)Expert remark: Compare the closely related size and form of the figures, rock work and pine tree, as well as the closely related color of the jade. Note the smaller size (12 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 13 October 2021, lot 3693Price: HKD 378,000 or approx. EUR 49,000 converted and adjusted for inflation at the time of writingDescription: A pale green jade 'scholar' mountain Qing dynasty, 18th centuryExpert remark: Compare the closely related form, with carvings to both sides, the neatly executed rockwork, color of the jade, as well as the size (16.8 cm).十八世紀青玉山子中國。山子取整塊青玉雕琢，細膩溫潤，晶瑩通透，融合高浮雕、鏤雕、圓雕及陰刻技法，營造出山勢高聳巍峨，令人驚嘆之仙境美景。畫面中山峰猶如拔地而起，山岩間松樹老松遒勁，枝幹蜿蜒，松針如輪，挺然獨秀。山腰間搭建亭台，台上一文人撫琴。山腳有三位文人及童子，或成雙清談，或木桶取水，身後一童子。方溪澗流水潺潺。另一面山形奇特峭峻，怪石嶙峋，蒼松繁茂，一位文人沿著山徑緩步而行，後面跟著一個携琴童子。青玉帶著紅色紋理及絮狀内沁。 來源：瑞士私人收藏。 品相：狀況極佳，有輕微磨損，微小的刻痕，玉石有天然的內沁和紋理。配套的木質底座帶有老舊的裂縫、輕微的劃痕和缺損，整體包漿自然。 重量：877.3 克 (含底座)，804.2 克 (不含底座) 尺寸：高18.9 厘米 (含底座), 16.4 厘米 (不含底座) 同期木底座，雕刻假山、竹子和菊花。 專家注釋：玉山子圓雕，一氣呵成，山體一側有飛瀑，另一側瀑布同源。這種沒有偏重一邊的玉山子，極為罕見。拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2011年6月1日，lot 3904 價格：HKD 680,000（相當於今日EUR 112,500） 描述：十八或十九世紀清代青玉山子 專家評論：比較相近的形式，玉石的顏色，以及相似的大小 (16.7 厘米)。由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE FRAGMENTARY BUST OF A FEMALE DEITY, GILT COPPER-ALLOY, PROBABLY DENSATIL, TIBET, 14TH-15TH CENTURYOpinion: The particularly well-proportioned female image, possibly Prjanaparamita, with its simple yet sensuous appearance is - at first glance - evocative of high Newari craftsmanship, popularly commissioned by wealthy Tibetan monastic patrons during the 14th and 15th centuries. However, after looking at some of the characteristics more closely, several distinct features make an attribution to the Densatil monastery seem more appropriate. Chief among the diagnostic traits that can identify a work from the Densatil are the convexly stepped eyebrows and the precisely incised double-lined eyelids and lips. The oval pinna, remotely signifying a lotus-petal, from which the lavish hairbands issue seamlessly, is another unequivocal feature, as are the extra-thick and heavy casting overall and the leaning head, which indicates that the present lot may once have been part of a larger supporting structure. For example compare a gilt bronze support, Densatil, 15th century, at Christie's New York, 27 March 2003, lot 105.Finally, the harrowing brutality to which this image was evidently exposed is a silent monument to the destruction of Densatil during China's Cultural Revolution (1966-1978), where one of the most inspiring cultural heritages of mankind became victim to an unconscionable mob.Superbly cast, richly adorned with a beaded and a floral necklace above her voluptuous breasts as well as lotiform armlets, the face with a serene expression, the eyes with distinct sinuous lids and raised brows, both heightened with subtle incision work, as well as full lips forming a calm smile, the neatly incised hair parted in the middle and secured by a tiara.Provenance: From a private collection in Paris, France.Condition: Condition overall as expected and commensurate with age. Extensive wear and losses. Dents, nicks, scratches and battering. Wear to gilt. All semi-precious stone inlays are now lost. Several distinct ritual patches.Weight: 3,472 g Dimensions: Height 33 cmHeavily cast gilt copper-alloy figures of this type are characteristic of the Densatil style, a Kagyu monastic complex in central Tibet, southeast of Lhasa, that has long been considered one of the great treasures of Tibet. Founded in the late 12th century, it enjoyed generous patronage and was lavishly decorated during a period of expansion from circa 1360 until the early 16th century. The monastery was known for eight extraordinary memorial stupas symbolizing Buddha's first teaching in Benares. These stupas were called tashi gomang, meaning "many doors of auspiciousness," and were multi-tiered copper-alloy structures filled with deities such as the present example, standing more than ten feet tall and resplendent with inlays of semiprecious stones. Prior to the destruction of Densatil during China's Cultural Revolution (1966-1978), eight of them dating between 1208 and 1432 stood in the Monastery's main hall.Followers of the charismatic Phagmo Drupa Dorje Gyalpo (1110-1170) constructed the Densatil Monastery. His school, which came to be known as Phagmo Drupa Kagyu, was one of the four primary schools of the Kagyu lineage of Tibetan Buddhism. Its noble house became so powerful that their dynasty ruled from the mid-fourteenth to the mid-fifteenth century. Eventually it had died out by the end of the seventeenth century, but the Densatil Monastery survived intact under the control of other Tibetan Buddhist schools until it was eventually destroyed. Today the monastery is undergoing reconstruction thanks to the efforts of the Tibetan Autonomous Region Ministry of Culture and the Drigung (Drikung) Kagyu school.Literature comparison: Compare with a statue of Prajnaparamita from tier 3 of the tashi gomang stupas, dating to 1370, in About the 18 stupas and other treasures once at the Densatil monastery, by Jean-Luc Estournel, September 2020.Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2014, lot 1016 Price: USD 617,000 or approx. EUR 731,000 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of a Nagaraja, Densatil Style, 15th century Expert remark: Compare the heavy and massive casting as well as the similar treatment of the eyes, lids, brows, breasts and pinna.十四至十五世紀西藏大型銅鎏金女神半身像專家注釋：特別勻稱的女性形象，可能是般若菩薩，其簡單而感性的外觀 - 乍一看 - 令人回想起十四世紀和十五世紀西藏寺院富有的贊助人經常委託的紐瓦里工藝。然而，在更仔細地研究了一些特徵之後，幾個不同的地方，讓人更能確定，這座半身像可能來自丹薩替寺，比如她凸出的階梯式眉毛和清晰的雙眼皮和嘴唇。橢圓形耳廓，蓮花髮帶，是另一個明確的特徵。整體厚重，包括傾斜的頭部，這表明本拍品可能有更大的支撐結構。例如，比較一個鎏金青銅支架。丹薩蒂爾寺，15世紀，紐約佳士得，2003年3月27日，編號105。 丹薩替寺在中國文化大革命（1966-1978）期間被毀，實在令人痛心。 來源：法國巴黎私人收藏。 品相：整體狀況符合預期，大面積磨損和缺損。凹痕、刻痕、劃痕，鎏金磨損。很多寶石遺失，幾個修補。幾個儀式留下來的明顯斑塊。 重量：3,472克 尺寸：高33厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。

A BUFF SANDSTONE FIGURE OF DANCING GANESHA, MAHAGANAPATI, 10TH CENTURYCentral India. Carved as a dancing Ganesha with his right leg raised, the trunk curling playfully to his left, holding a battle ax and prayer beads in his right hands, and a flower with leaves in his upper left hand, a bowl filled with sweets next to his foot, a naga wrapped around his belly.Published: Kitty Higgins Far Eastern Art, Indian Stone Sculpture, Washington, 1989, no. 13. Provenance: Kitty Higgins Far Eastern Art, Inc., Washington, D.C., USA, 1994. A copy of the receipt from Kitty Higgins, dated 11 February 1994, and stating a purchase price of USD 6,400 or approx. EUR 12,500 (converted and adjusted for inflation at the time of writing), and a copy of a letter of appraisal signed by Kitty Higgins and dated 29 October 1994, accompany this lot. Kitty Higgins is a Far Eastern Art expert and owner of a notable gallery in Washington, D.C. She also curated and lectured many exhibitions, and is an avid collector. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, minor losses, encrustations, nicks, scratches, few structural cracks. Dimensions: Size 58.5 x 36 cmGanesha, the son of Shiva and Parvati, is known as the giver of counsel and remover of obstacles for humans and deities alike. Although his elephant-headed form lends a playful quality, Ganesha's significance is profound. As overseer of the relationship between past, present, and future, Ganesha maintains balance in the universe. He is typically worshipped at the beginning of rituals. Known in India for his youthful cleverness and predilection for pranks, Ganesha is frequently depicted dancing or standing in tribhanga.The figure here is represented as Mahaganapati, or the dancing Ganesha. With his hips swayed and his right foot slightly raised, his pose echoes that of his father's dancing form, Shiva Nataraja. Ganesha's dance, however, has a childlike quality that contrasts with the cosmic destruction of Shiva's Nataraja form. With his dance, Ganesha carries away all obstacles, his rotund belly reinforces his powers to shower his devotees with abundance.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2019, lot 645Price: USD 50,000 or approx. EUR 57,500 converted and adjusted for inflation at the time of writingDescription: A red sandstone stele of dancing Ganesha, Central India, 10th-11th centuryExpert remark: Compare the closely related pose, implements, and color of the stone, as well as the similar size (62.2 cm)

A CELADON JADE 'BIRD' PENDANT, MID-WESTERN ZHOU DYNASTYChina, circa mid-10th to mid-9th century BC. The bird has a flattened, angular head, and a sharply pointed beak. The wing feathers are embellished with incised lines rising out of the scrolls that form the breast. The bifurcated tail seems to be that of a fish. Pierced through the breast is a small hole. The translucent stone is of a yellowish celadon tone with russet and cloudy inclusions as well as small dark veins and specks.Provenance: Sotheby's New York, 6 December 1989, lot 3. William and Sophia Harrison, acquired from the above. Gifted to the Speed Art Museum, Louisville, Kentucky, USA, in 2000, accession number 2000.13.16 (according to lacquer inscription), deaccessioned in 2022. The Speed Art Museum is the oldest, largest, and foremost museum of art in Kentucky, USA. The Speed houses ancient, classical, and modern art from around the world. Hattie Bishop Speed established the museum in memorial of her husband James Breckenridge Speed, a prominent Louisville businessman, art collector, and philanthropist.Condition: Very good condition with minor old wear, minuscule nibbling around the pierced hole. Microscopic encrustations and a fine, naturally grown patina overall.Weight: 5.4 gDimensions: Length 6 cmAuction result comparison: Type: Closely related Auction: Christie's, 28 November 2018, lot 2740 Price: HKD 112,500 or approx. EUR 14,500 converted and adjusted for inflation at the time of writing Description: A celadon jade 'bird' pendant, mid-Western Zhou dynasty, circa mid-10th-mid-9th century BCExpert remark: Compare the closely related beak, eyes, and bifurcated fish tail, as well as the related size (5.7 cm). Note that the incised lines are slightly more dense and rounded than on the present lot.西周中期青玉鳥形佩中國，公元前十世紀中期至九世紀中期。作鳥形，長尾巴，首微揚，頭上一大束羽冠，姿態生動。雙面陰刻紋飾。胸口鑽有一孔，用來繫繩佩掛。鳥形佩青黃色，褐色紋理及深色黑點。 來源：紐約蘇富比，1989年12月6日，lot 3。William 與 Sophia Harrison購於上述拍賣；2000年贈於美國肯塔基州路易維爾市 Speed Art Museum，編號 2000.13.16 ，2022年出售。The Speed Art Museum是路易維爾市最古老、最大、最重要的藝術博物館，收藏了來自世界各地的古代、古典和現代藝術作品。Hattie Bishop Speed 建立了這座博物館，以紀念她的丈夫 James Breckenridge Speed，他是路易斯維爾著名的商人、藝術收藏家和慈善家。品相：狀況非常好，有輕微的磨損，穿孔周圍有微小的刻痕。輕微結殼和自然包漿。重量：5.4 克 尺寸：長 6 厘米 拍賣結果比較： 形制：非常相近 拍賣：佳士得，2018年11月28日，lot 2740 價格：HKD 112,500（相當於今日EUR 14,500） 描述：大約公元前十世紀中期至九世紀中期西周中期青玉鳥形佩 專家評論：比較非常相近的喙、眼睛和分叉的魚尾，以及尺寸（5.7厘米）。請注意，此玉珮的刻線比現拍品略為密集和圓潤。

A LAPIS LAZULI FIGURE OF BUDDHA, QING DYNASTYChina, mid-18th to 19th century. Superbly carved, seated in dhyanasana with the hands lowered in dhyana mudra, supporting a globular jewel, wearing a loose-fitting robe falling down the body in naturalistic folds, the wide face bearing a contemplative and serene expression marked by heavy-lidded downcast eyes and framed by long pendulous earlobes and sharply carved curls of hair surrounding a small ushnisha. The stone of an intense, striking blue hue amid veins in various shades of gray beneath glimmering mica flecks.Provenance: A private collection in New England, USA. A notable private collector in Kensington, London, United Kingdom, acquired from the above.Condition: Excellent condition with minor old wear and possibly microscopic nicks here and there. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Weight: 301.5 g Dimensions: Height 10 cmWith a velvet-padded silk storage box. (2)Lapis lazuli was highly prized during the Qianlong period, as evidenced by a pair of Qianlong period stone lions dyed to imitate the stone, included in the exhibition Tributes from Guangdong to the Qing Court, Hong Kong, 1987, cat. Nos. 71 and 72, and a Qianlong period lapis lazuli mountain in the Asian Art Museum of San Francisco, illustrated in Michael Knight, He Li and Terese Tse Bartholomew, Chinese Jades, San Francisco, 2007, plate 354. The stone was mostly imported from Afghanistan, and was used principally for carving vessels, figures in relatively small sizes and boulder or grotto carvings, often with solitary luohans. Little Buddha figures, such as the present lot, were often made for smaller Imperial altars during the late 18th century and onwards.Literature comparison: Examples of lapis lazuli figures of Buddha are illustrated in Buddhist Art from Rehol, Tibetan Buddhist Images and Ritual Objects from the Qing Dynasty Summer Palace at Chengde, Taipei, 1999, no.81; and by M. Knight, He Li and T. Tse Bartholomew, Chinese Jades, San Francisco, 2007, no. 327, dated to the 18th century. Compare a closely related lapis lazuli figure of Buddha, dated 18th century, exhibited by the Oriental Ceramic Society at Bonhams London, Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October 2021. Compare a closely related lapis lazuli figure of Buddha, 18th century, in the Metropolitan Museum of Art, accession number 30.95.324. Compare a closely related ivory figure of Buddha, dated late Ming to early Qing dynasty, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, p. 143, cat. no. 113.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 25 June 2013, lot 8009 Price: USD 52,500 or approx. EUR 65,500 converted and adjusted for inflation at the time of writing Description: A carved lapis lazuli figure of the BuddhaExpert remark: Compare the related carving style and the similarities of the stone. Note the larger size (18cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.清代青金石佛像中國，十八世紀中期至十九世紀。精雕細琢，阿彌陀佛結珈趺坐，雙手結印，托寳珠，身穿寬鬆長袍，紋理流暢，面容慈祥，雙眼微垂，長耳垂，螺髻。青金石閃爍的雲母斑點，深淺不一的灰色紋理，醒目的藍色。 來源：美國新英格蘭私人收藏；英國倫敦肯辛頓知名私人收藏，購於上述收藏。 品相：狀況極好，有輕微磨損，大面積微小劃痕。具有天然紋理和裂縫的石料，其中一些可能隨著時間的推移發展成細小的裂縫。 重量：301.5 克 尺寸：高10 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

AN UNUSUAL SANDSTONE HEAD OF THE LUOHAN ASITA, SONG TO MING DYNASTYChina, 12th-15th century. The pale ochre sandstone vividly rendered with a bare head, the face revealing an expression of quiet power and compassion, framed by a pair of long bushy eyebrows extending to a wrinkled forehead and straight nose, with taut rounded cheeks above a gentle smile encircled by further wrinkles, flanked by long pendulous earlobes. Provenance: From a Swiss private collection. Condition: Good condition commensurate with age and overall exactly as expected from a stone sculpture with an age of half a millennia or more. Extensive wear with signs of natural weathering and erosion, some nicks, age cracks and losses. Solid naturally grown patina.Weight: 8.4 g (incl. stand) Dimensions: Height 36 cm (incl. stand), 20.4 cm (excl. stand) With a modern metal stand.Asita means incomparably proper in Sanskrit, or of correct proportions in spirit and physique. According to legend, Asita was born with two long white eyebrows. The story was that in his previous life he was a monk who, though having tried very hard, could not attain enlightenment even at a ripe old age and had only two long white eyebrows left. After his death he was reincarnated as a human being. Animated portraits of luohans are rare, most examples being straightforward and somewhat idealized renditions. The trend of more naturalistic sculpture was initiated by Song dynasty artists, who also often depicted human figures with animated, expressive faces. This trend continued into the subsequent Yuan and Ming dynasties.Literature comparison: Two sandstone sculptures of arhats, one with a tiger, the other with a dragon, were discovered in 1980 at the Boshan Temple site in Fu County, Shaanxi Province, see H. Rogers, China 5000 Years, Innovation and Transformation in the Arts, New York, 1998, no. 177.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 7 November 2019, lot 55Price: GBP 8,812 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A rare sandstone head of a luohan, 14th/15th centuryAuction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 4 April 2016, lot 2835Price: HKD 750,000 or approx. EUR 106,000 converted and adjusted for inflation at the time of writingDescription: A rare limestone head of a luohan, Song dynasty宋至明砂岩長眉羅漢頭像中國，十二至十五世紀。赭色砂岩，長眉羅漢禿頂廣額，前額突起似桃形，下有皺紋連連，一對長長的濃密眉毛，容貌清臞、慈眉善目。 來源：瑞士私人收藏。 品相：品相良好，整體完全符合石雕的年代預期。大面積磨損，帶有自然風化和侵蝕的跡象、一些刻痕、老化裂縫和缺損。自然包漿。 重量：8.4 克 (含底座) 尺寸：高36 厘米 (含底座), 20.4 厘米 (不含底座) 現代金屬底座。 Asita在梵文中的意思是無與倫比的意思，或在精神和身體上的和諧。相傳，阿西塔出生時有兩條長長的白眉。故事說他前世是個僧人，雖然很努力，但到了晚年也不能成道，只剩下兩根長長的白眉毛。他死後轉世為人。羅漢的造像很少見，大多數例子都是直截了當且有些理想化的演繹。宋代藝術家開創了更自然的雕塑風格，他們也經常用生動、富有表現力的面孔來描繪人物形象。這種風格一直延續到後來的元明朝 文獻比較： 1980年，在陝西省富縣博山寺遺址發現了兩件砂岩羅漢雕塑，一件是老虎，另一件是龍，見H.Rogers，《China 5000 Years, Innovation and Transformation in the Arts》，紐約，1998年，頁177。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2019年11月7日，lot 55 價格：GBP 8,812（相當於今日EUR 11,000） 描述：十四/十五世紀石雕羅漢頭像 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2016年4月4日，lot 2835 價格：HKD 750,000（相當於今日EUR 101,200） 描述：宋代石灰岩羅漢頭像

AN IMPERIAL 'DRAGON' HARDWOOD CHEST, COMMEMORATING THE RENOVATION OF THE JADE PEAK PAGODA BY EMPEROR QIANLONGOpinion: The Jade Peak Pagoda, or Yu feng ta, is a famous building on Jade Spring hill in the Imperial Garden, Jingming Yuan, in Beijing. The site was originally an Imperial retreat during the Liao dynasty. Later destroyed, it was renovated in the 18th century by the Qianlong Emperor. The pagoda is 30 meters high, has seven stories, an octagonal base and frame, and is built of brick and stone. Its design imitates the Cishou Pagoda of Jiangtian Temple on the Golden Hill near Zhenjiang, Jiangsu province. It seems plausible that the present lot with its virtuously carved Imperial dragon on the lid was created to commemorate the renovation of the pagoda by Emperor Qianlong. Likewise, the ruling family of Liechtenstein is known for always having maintained an intimate relationship with China, only recently lending the country 100 works by Rubens, van Dyck and other highly important Flemish masters, for the exhibition "Masterpieces from the Collections of the Prince of Liechtenstein" in Beijing's National Museum of China.China, 1736-1795. Of rectangular form standing on four short bracket feet with a hinged cover. The cover virtuously carved in deep relief with a sinuous dragon amidst clouds, framed by a key-fret border, the sides decorated with clouds within rectangular reserves above a finely incised key-fret band. The interior cover with a blue silk panel, finely painted to depict the Jade peak pagoda on the Jade Spring hill with a stupa in the background.Inscriptions: Upper right, a poem about lotus flowers and stillness, signed 'Zhou Peiting', one seal.Provenance: From the collection of Wilhelm Alfred von und zu Liechtenstein, in the family since at least the late 19th century. Wilhelm Alfred von und zu Liechtenstein (1922-2006) was the cousin of Franz Josef II, Prince of Liechtenstein. On 21 September 1950, he renounced his name and title and began to study at the University of Natural Resources in Vienna, graduating as a forest engineer and subsequently active in various management positions in the wood industry. From 1990 until his death, he was the Grand Prior of the Sovereign Military Order of Malta. Wilhelm received several national honors, including the Grand Decoration of Honor in Silver with Sash in 1999.Condition: Very good condition with some old wear, natural age cracks, an old fill to the base, few nicks and scratches, minor splits and losses. Superb patina overall.Weight: 6 kgDimensions: Size 15.5 x 48.7 x 30.4 cm清代御製硬木龍紋木箱中國，1736-1795年。長方木箱，四短足，長方形，立在四個短支架腳上，木蓋有鉸鏈。 蓋上精美地雕刻著一條蜿蜒在雲層中的龍，雷紋邊框；箱子外壁飾雲紋。蓋内以藍色絲綢嵌板，描繪頤和園内玉泉山上的玉峰塔。 專家注釋：玉峰塔，或稱玉峰塔，是北京御花園玉泉山上的一座著名建築，位於景明園。該地原是遼朝時的皇室禁地。後來被毀，在十八世紀由乾隆皇帝重修。該塔高30米，有七層，八角形底座和框架，由磚石建成。它的設計模仿了江蘇鎮江金山寺慈壽塔。本件拍品的蓋子上刻有德高望重的御龍，似乎是為了紀念乾隆皇帝重修寶塔而製作的。同樣，列支敦士登的統治家族也因一直與中國保持著密切的關係而聞名，最近才借給中國100件Rubens、van Dyck和其他非常重要的Flemish School的作品，用於在北京中國國家博物館舉辦的《Masterpieces from the Collections of the Prince of Liechtenstein》展覽。 款識：絹本畫面上可見“菱荷香遠亭臺靜，寶塔流雲景愈幽。周佩亭並題”。 來源：Wilhelm Alfred von und zu Liechtenstein收藏，最晚在十九世紀末進入家族收藏。Wilhelm Alfred von und zu Liechtenstein (1922-2006) 是列支敦士登親王Franz Josef II的表弟。1950年9月21日他放棄了自己的姓名和頭銜，開始在維也納自然資源大學學習，畢業於森林工程係，隨後活躍於木材行業，擔任各種管理職位。從 1990 年到他去世，他是馬爾他主權軍事教團的大主教並獲得了多項國家榮譽，包括 1999 年的銀質榮譽勳章。 品相：狀況極好，有一些磨損、自然老化裂縫、底座修補、少量刻痕、劃痕、輕微裂痕和缺損。整體包漿良好。 重量：6 公斤 尺寸：15.5 x 48.7 x 30.4 厘米

A SANDSTONE GUARDIAN FIGURE DEPICTING GARUDA, KOH KER STYLEKhmer Empire, 10th century. Finely carved kneeling atop a square base with one knee raised, his right hand holding a vajra and his left resting on his thigh, wearing a tight-fitting dhoti which is neatly incised with a diapered feather-like design, his wings at the back are also finely incised. The face well detailed with large bulging eyes, thick brows, and a prominent beak, flanked by elongated lobes with large earrings, the head surmounted by an elaborate foliate crown. Provenance: From a distinguished Italian private collection, acquired between the late 1960s and early 1970s. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Excellent condition, commensurate with age. Extensive wear, small losses, minor nicks and surface scratches, signs of weathering and erosion, structural cracks, encrustations. Fine, natural patina overall. Dimensions: Height 65.3 cmGuardian figures such as the present lot were placed aside of gateways, steps, and entrances of sacred areas like temples.Koh Ker, which lies 50 miles (80 km) northeast of Angkor, was the capital of the Khmer Empire from 928-944. Koh Ker's sculptural style is thus distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form. The Koh Ker rulers adhered to the Hindu religion, especially the Shaiva sect.Garuda is a half-bird, half-human creature that appears in both Hinduism and Buddhism. In Hinduism, Garuda is the mount of the god Vishnu and the sworn enemy of the Naga serpent. As a symbol of supremacy, this bird-king demonstrates the harmony between power and grace, creating a magical figure of strength and heroism.Literature comparison: Compare a related Koh Ker sandstone figure Garuda, 216.5 cm high, in the collection of the National Museum of Cambodia, inventory number Ka.1737. Compare a closely related Koh Ker sandstone head of Garuda, 16 cm high, in the National Museum of Cambodia, inventory number Ka.3053.

'A SPRING OFFERING WITH AN ANCIENT GUI AND A STONE RUBBING OF A MYTHICAL BEAST', BY WU CHANGSHUO (1844-1927) AND ZHU CHENG (1826-1900)China. Ink and watercolors on paper, mounted as a hanging scroll. Superbly painted with a vibrantly colored flower growing from a leafy stem inside an ancient gui bronze vessel above a stone rubbing depicting a legendary bovine animal surrounded by astrological symbols, below a lengthy inscription.Inscriptions: Center right, 'Qingshan Qiaosu Cheng', and one seal, 'Zhu Cheng Zhi Yin'. Upper left, a text about the rubbing and the legendary animal it depicts, signed 'Changshuo Wu Junqin', and two seals, 'Wu Jun Zhi Yin' and 'Cang Shi'.Provenance: From a noted private collector. Condition: Excellent condition with only minor wear and minimal soiling to mounting.Dimensions: Image size 99.7 x 32.5 cm, Size incl. mounting 181 x 47 cm Wu Changshuo (1844-1927) was a prominent Chinese painter, calligrapher, and seal artist of the late Qing Period. Initially, he devoted himself to poetry and calligraphy with a strong interest in early scripts. He also led the Xiling Seal Art Society, an academic organization for Hangzhou-based seal artists. Only later did he consider himself a painter associated with the 'Shanghai School'. As a painter, he was noted for helping to rejuvenate the art of painting flowers and birds.Expert's note: The calligraphy, the gui and the stone rubbing are by Wu Changshuo, whereas the flower is by Zhu Cheng. Artprice, the world-leading art database, has recorded a total of eight other noted artists from the period with whom Zhu Cheng (aka Zhu Menglu) had similar collaborations during his accomplished career. Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 27 November 2012, lot 1259Price: HKD 500,000 or approx. EUR 79,000 converted and adjusted for inflation at the time of writingDescription: Wu Changshuo (1844-1927), Bamboo and BronzeExpert remark: Compare the closely related motif. Note the smaller size (68.5 x 33.8 cm)吳昌碩與朱偁款《土缶富貴花圖》中國，紙本設色，掛軸。牡丹綻放盛開，花朵艷麗，在枝壯葉茂的映襯下顯得風姿綽約。牡丹栽种在一土缶里，下方为缶之拓片。 款識：左上：土缶雖無字，是漢是晉莫能必，然出土與黃龍磚同穴，其古可知。先師藐公嘗顔予齋曰缶廬。予亦珍若璆琳，不肯輕示人，而富貴人皆不以缶為室寳。翔兄命工拓出，補以富貴花，深恐遽有豪攫者，茲特其先兆耳。昌碩吳俊卿。鈴印：吳俊之印；蒼石右上：青山樵叟偁；鈴印：朱偁之印 來源：知名私人收藏。 品相：品相良好，只有輕微的磨損和裝幀處小污漬。 尺寸：畫面99.7 x 32.5 厘米, 總181 x 47 厘米 專家注釋：書法、缶、拓片以及牡丹花為朱偁合作完成，兩位同爲晚清海派花鳥畫大師。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2012年11月27日，lot 1259 價格：HKD 500,000（相當於今日EUR 79,000） 描述：吳昌碩 (1844-1927)《竹與青銅器》 專家評論：比較非常相近的主題。請注意尺寸較小 (68.5 x 33.8 厘米)。

A SANDSTONE FIGURE OF A DVARAPALA, KOH KER STYLE, ANGKOR PERIODKhmer Empire, early 10th century. Superbly carved, standing in a wide-legged dancing stance, his back slightly arched and his legs strong and taut. His chest is full, his right shoulder is slightly raised and in keeping with the preferred style of the period, he is stoutly built with a rounded stomach. The position of the upper arms suggests that his hands were placed in namaskara mudra (respectfully greeting) in front of his body and the disc shape on the chest marks an area originally covered by the two thumbs. His head is tilted slightly to the left side, his expression is serene and distinctly confident, given further emphasis by his full lips and broad smile, the hair drawn into a conical chignon secured with a foliate tiara.Provenance: From a notable collector in London, United Kingdom.Condition: Excellent condition, commensurate with age. Extensive wear, some nicks, losses, minor signs of weathering and erosion, few structural cracks. Dimensions: Height 72 cm (excl. stand) and 78 cm (incl. stand)The dvarapala wears a short garment with a curving upper edge that adds emphasis to the massive strength of his body. The fine pleats and delicate curve at the edge of the fabric seem to defy the nature of the stone. A long scarf falls between the legs and would originally have extended to the ankles. Its sway further indicates the sense of movement contained within the figure.Mounted on an associated metal stand. (2)A dvarapala is a temple guardian. In India, where the concept originated, two giant figures, sculpted in high relief, are often found flanking the principal temple entrance. One is formidable, to scare away those of ill intent while the other is seductively handsome, in order to lure the faithful past the portal. In Cambodia the form evolved separately because the temples were built to different plans. There, a succession of courtyards contained secondary buildings and the principal one was only accessible to a limited number of ritual participants. In the 10th century dvarapala were freestanding statues, still sculpted in pairs but resting within the precinct. Although they observed approaching visitors, their essential role was that of bodyguards, protecting the deity lodged within the temple.This latter role appears to have become increasingly dominant in the Koh Ker period when the supremacy of the kings of Angkor was challenged by a powerful royal claimant who established another court to the north of the Kulen mountains, from where he imposed martial rule on much of the kingdom. The achievement of this alternative court is reflected in some of the finest works of art to emanate from Cambodia during the Angkor period. The sculptures are notable for their spontaneous appearance, strong personalities and sense of inner, spiritual energy. Even when the subject is not a recognizable deity, the suggestion of individual personality is always present. This image of a dvarapala exemplifies the style of the period, full of confident swagger but maintaining a deeply serious purpose in his guardian role.Benign dvarapalas can often be found flanking doorways or protruding from corner brackets, while apsaras are ubiquitous to the temples of Angkor. Dvarapalas became integral to temple sculpture in India as early as the 5th century and appear in Cambodia in the earliest of the Angkor Empire's temples, the Roulos group, constructed around the turn of the 10th century. The Shaivite temples at Koh Ker are similar to these in their iconographical programs and architectural structures.Koh Ker, which lies 50 miles (80 km) northeast of Angkor, was the capital of the Khmer Empire from 928-944. Koh Ker's sculptural style is thus distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form.Expert's note: For a detailed commentary on the present lot, elaborating on the history and architecture of the Khmer Empire, the Koh Ker style, and the sculpture itself and showing many further comparisons to examples in both public and private collections, please see the lot description on www.zacke.at. To receive a PDF of this academic dossier, please refer to the department.Literature comparison: Compare two closely related larger Koh Ker sandstone figures, 236 cm and 234 cm high, in the collection of the National Museum of Cambodia, inventory numbers NMC.149 and NMC.150. Compare a related Koh Ker sandstone figure of a female dancing deity in the Musee Guimet, illustrated by Helen Jessup and Thierry Zephir in Sculpture of Angkor and Ancient Cambodia: Millennium of Glory, Paris, 1997, cat. no. 43.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2009, lot 1428 Price: USD 146,500 or approx. EUR 198,000 converted and adjusted for inflation at the time of writing Description: A monumental gray sandstone figure of a Dvarapala, Khmer, Koh Ker Style, 10th century Expert remark: Note the significantly larger size (129.5 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A MONUMENTAL STONE HEAD OF BUDDHA, MON-DVARAVATI PERIODChao Phraya and Mae Klang river basins of central Thailand, 8th - 9th century. Superbly carved with a serene expression marked by heavy lidded downcast eyes below ridged and elegantly arched brows, further with a wide nose and prominent full lips, flanked by long pendulous earlobes, the hair arranged in snail shell curls over a high ushnisha. The stone appears to be a black granite with white quartz inclusions.Provenance: From an old and prominent Flemish private collection, acquired before 2000 and thence by descent in the same family.Condition: Good condition, commensurate with age. Extensive wear, losses, weathering and erosion, minor nicks and cracks.Weight: 24.4 kg (incl. stand) Dimensions: Height 38 cm (excl. stand)The Mon polity of Dvaravati was one of the earliest and most important societies in mainland Southeast Asia. Based around the Chao Phraya and Mae Klang river basins of central Thailand, the Dvaravati polity was known from early Chinese textual sources, as well as being mentioned in a single local inscription that dates to roughly AD 550-650. Due to the large numbers of Buddhist sculptures associated with the culture, it is most likely that the rulers were patrons of the Buddhist faith. The images of Buddha are heavily influenced by contemporary Indian sculptural styles, including the Gupta style based around the site of Sarnath. The facial features of the Mon Dvaravati Buddhist images, however, display arched, joined eyebrows which are unlike those found in India, and which are therefore characteristic of the Mon Dvaravati style. Compared to earlier and later Thai kingdoms, Dvaravati was relatively geographically and economically isolated, which contributed to the distinct qualities of its sculpture, such as the aforementioned eyebrows, the broad, almost squared face, and the full, prominent lips. Additionally, the local stone was tough and difficult to work with, leading artists to prefer thick, strong features over softness and subtlety. Their style was bold, self-assured, recognizable, and highly influential on subsequent Thai sculpture and artistic production throughout Southeast Asia.Auction result comparison: Type: Closely related Auction: Christie's New York, 12 September 2012, lot 620 Price: USD 31,250 or approx. EUR 39,500 converted and adjusted for inflation at the time of writing Description: A black stone head of Buddha, Thailand, Mon Dvaravati period, 8th/9th century Expert remark: Note the smaller size (26.7 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2022, lot 463 Price: USD 44,100 or approx. EUR 43,000 converted at the time of writingDescription: A rare stone head of Buddha, Thailand, Mon Dvaravati style, 8th-9th centuryExpert remark: Note the smaller size (23.5 cm).

A CELADON AND RUSSET JADE FIGURE OF AN ELEPHANT, MING DYNASTYChina, 1368-1644. Boldly carved as an elephant standing foursquare, three of his large legs with deep incisions reminiscent of swirling lingzhi-shaped clouds, the snout of its trunk in the form of a ruyi head, the feet neatly articulated and the almond-shaped eyes finely incised. The semi-translucent stone of a celadon and russet tone with opaque grayish-white patches and icy inclusions.Provenance: A private collection in the United States, acquired between 1960 and the early 1980s, and thence by descent in the same family. Christie's New York, 17-18 September 2015, lot 2380, sold for USD 8,750 or approx. EUR 10,800 (converted and adjusted for inflation at the time of writing). A noted private collection, acquired from the above.Condition: Excellent condition, commensurate with age. Ancient wear, small nicks, some areas with signs of erosion and minor surface alteration. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Fine, naturally grown patina, with an unctuous worn feel overall, due to extensive handling over centuries. Weight: 648.0 gDimensions: Length 10.2 cmAuction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2019, lot 1171 Price: USD 75,000 or approx. EUR 85,000 converted and adjusted for inflation at the time of writing Description: A mottled grey, dark brown and russet jade figure of an elephant, China, Ming dynasty Expert remark: Compare the closely related manner of carving and deep incision work with similar 'naturalistic' details, though in this case with ears in the form of lotus leaves (instead of the legs with swirling lingzhi clouds found on the present lot). Note the slightly larger size (12.7 cm).Auction result comparison: Type: Related Auction: Christie's New York, 23 March 2012, lot 1815 Price: USD 21,250 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A small greenish-yellow and russet jade carving of an elephant, 17th century Expert remark: Compare the closely related color and ruyi-form snout. Note the smaller size (5 cm).明代青玉留皮雕臥象擺件中國，1368-1644年。大象向右回首，呈半臥姿，長鼻翻捲，體態肥碩，雙耳如扇，四肢如柱，腿上飾如意雲紋，刻飾嫻熟流暢。青玉留皮，巧妙利用皮色，使大象更顯憨厚生動。 來源：美國私人收藏，購於上世紀六十至八十年代初，保存在同一家族至今；紐約佳士得2015年9月17-18日，lot 2380，售價 USD 8,750 ，相當於現在的 EUR 10,800；知名私人收藏，購於此拍賣。 品相：狀況極佳，與年齡相稱。磨損、小刻痕、部分有侵蝕跡象、輕微表面變化，具有天然裂縫的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。由於幾個世紀以來的賞玩，表面有自然瑩潤的包漿。 重量：648.0 克 尺寸：長10.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2019年3月21日，lot 1171 價格：USD 75,000（相當於今日EUR 85,000） 描述：明代灰褐玉象 專家評論：比較非常相近的雕刻風格、巧妙利用皮色的細節，雖然此玉象飾蓮葉紋雕刻。請注意尺寸稍大(12.7 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2012年3月23日，lot 1815 價格：USD 21,250（相當於今日EUR 27,000） 描述：明末清初十七世紀青玉雕象馱如意把件 專家評論：比較非常相近的顏色和如意鼻頭。請注意尺寸較小(5 厘米)。

A CAMEO AGATE SNUFF BOTTLE, OFFICIAL SCHOOL, 1740-1840Published:Hugh Moss, Chinese Snuff Bottles of the Silica or Quartz Group, London, 1971, p. 58, no. 149Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 148-149, no. 61China. Well hollowed, of flattened form, rising from an ovoid foot to a straight cylindrical neck, the pale gray stone cleverly carved utilizing the brown and light gray markings to depict a sage and his attendant under a pine tree with a ruyi shaped cloud floating at the top left, the reverse with a horse tethered to a post and a sun drifting amid clouds, incised with a ri character (for 'sun'). The rockwork extending from above the base around the bottle. The work finely detailed and incised. The translucent stone of a pale gray color with brownish black and gray inclusions. Provenance: Squadron Leader S. B. Johnston. Hugh M. Moss, Hong Kong, acquired from the above. Gerd Lester, New York, acquired from the above. Rachelle R. Holden, New York, acquired from the above in 1981. A collector's label from Rachelle Holden with inventory number '48' to the base. S. B. Johnston was an English pilot for the Royal Air Force, who was promoted from Flight Lieutenant to Squadron Leader in 1968. Gerd Lester was a passionate collector of snuff bottles who wrote many articles for Arts of Asia. Hugh Moss (b. 1943) is an author, dealer, artist, lifelong collector, and enthusiast of Chinese art, and foremost authority on Chinese snuff bottles. Rachelle Holden (1934-2020) was a famous collector of snuff bottles. She purchased her first bottle in 1974, finding the art form fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Excellent condition with minor old wear and possibly microscopic nibbles.Stopper: CoralWeight: 57.2 g Dimensions: Height including stopper 67 mm. Diameter neck 16 mm and mouth 6 mm.A tethered horse forms the rebus 'Can catch the wind', indicating that this would be an encouraging and complimentary gift for someone of still undiscovered talent.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 March 2012, lot 1560Price: USD 25,000 or approx. EUR 32,000 converted and adjusted for inflation at the time of writingDescription: A finely carved cameo agate snuff bottle, official school, 1740-1840Expert remark: Compare the closely related form and utilization of the dark markings, the color of the agate and the fine incision work, as well as the size (60 mm). 1740-1840年瑪瑙巧雕人物鼻烟壺中國。掏糖良好，寬肩微削，橢圓形圈足，圓柱形短頸，平唇。褐色半透明石頭，利用焦糖色斑紋，巧妙雕刻，一面描繪松樹下的聖賢和他的侍從，左上角飄浮如意祥雲；反面是拴在柱子上的馬和祥雲，雲中刻有“日”字。雕刻細緻入微，淺灰色半透明瑪瑙，帶有棕黑色和灰色內含物。出版：Hugh Moss，《Chinese Snuff Bottles of the Silica or Quartz Group》，倫敦，1971年，頁58，編號149。 Rachelle Holden，《Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary》，紐約，1994年，頁148-149，編號61。 來源：S. B. Johnston少校舊藏；香港Hugh M. Moss購於上述收藏；紐約Gerd Lester購於上述收藏；紐約Rachelle R. Holden1981年購於上述收藏。底部可見Rachelle Holden收藏編號“48”。S. B. Johnston是英國皇家空軍的一名飛行員，1968 年從飛行中尉晉升為少校。Gerd Lester 是一位熱情的鼻烟壺收藏家，為亞洲藝術雜誌撰寫了許多文章。Hugh Moss (出生於1943) 是一位中國藝術方面的作家、經銷商、藝術家、收藏家，也是中國鼻烟壺界的權威。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：極好的品相，有輕微磨損，有細微磕損。 壺蓋：珊瑚 重量：57.2 克 尺寸：高 （含蓋）67 毫米，頸部直徑16 毫米及壺口直徑6 毫米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 1560 價格：USD 25,000（相當於今日EUR 32,000） 描述：1740-1840年造辦處作瑪瑙巧雕鼻烟壺 專家評論：比較非常相近的外型和利用深色斑紋雕刻，瑪瑙的顏色和巧雕，以及尺寸(60 毫米)。

Early 20th century gold graduating five stone old cut diamond ring, total diamond weight approx 1.00 carat Condition Report:Approx 2.85gm, size N-O, tested between approx 9-12ct, chank probably replacement/restored

18ct gold three stone diamond and sapphire stylised flower brooch, London import mark 1969Condition Report:Approx 8.2gm, back pin also 18ct, 38mm x 30mm, good condition

Early 20th century gold milgrain set three stone old cut diamond ring, stamped 18ct, total diamond weight approx 0.50 caratCondition Report:Approx 3.2gm, size N

Early 20th century 18ct gold five stone ruby and diamond ring, hallmarkedCondition Report:Approx 3.5gm, size P, date letter rubbed either 1907 or 1912, slightly bend shank stones appear to be secure in setting, max depth = 6.5mm

9ct gold paste stone set articulated clown pendant, London 1996Condition Report:Approx 16.9gm, length = 53mm, good condition

18ct gold three stone oval sapphire and round brilliant cut diamond ring, stamped 18KT, total diamond weight approx 0.30 carat, sapphire approx 0.80 caratCondition Report:Approx 3.45gm, size P, shank slightly worn to base but not detrimental still sound and solid shank, diamonds bright well matched and good colour

9ct gold six stone peridot and split pearl flower cluster ring, London 1973 Condition Report:5.3gm, size O-P, overall head = 18mm x 18mm, several pearls missing, some evidence of resizing

18ct white gold single stone round brilliant cut diamond ring, diamond approx 0.50 caratCondition Report:Approx 3.15gm, size M-N, very good colour, good condition

18ct gold five stone old cut diamond ring, total diamond weight approx 0.75 caratCondition Report:Approx 3.35gm, size Q, central diamond approx 0.40 carat, marks rubbed tested 18ct

18ct gold three stone diamond ring, 9ct gold star set cubic zirconia eternity ring and a 9ct gold signet ring, all stamped or hallmarked Condition Report:18ct approx 1.3gm, size N, eternity ring approx 1.6gm, size J, signet ring approx 0.8gm, size I (shank bent)

Gold amethyst and cubic zirconia cluster ring, gold three stone cubic zirconia crossover ring and a gold single stone amethyst ring, all hallmarked 9ct Condition Report:Approx 4.10gm, sizes between N-P, shanks very slightly bent

Silver-gilt single stone opal and cubic zirconia cluster ring, stamped Sil Condition Report:Size O-P, good condition

Silver-gilt five stone peridot, amethyst and pearl ring, stamped SilCondition Report:Size M-N, good condition

9ct gold jewellery including articulated fish pendant, cameo ring, stone set full eternity ring and stone set ring and a silver textured link braceletCondition Report:9ct gold approx 12.7gm, bracelet approx 61.95gm

Edwardian 9ct rose gold marquise shaped blue and clear paste stone set ring, Birmingham 1907Condition Report:Approx 2.85gm, size P-Q, head = 19mm x 8mm

Edwardian gold pink stone and diamond scroll design brooch with applied floral decoration, Chester 1904 and a gold single stone blue stone bar brooch, both stamped 9ctCondition Report:Approx 4.75gm (back pins not gold), Edwardian brooch width = 43mm, bar brooch width = 50mm

Edwardian gold amethyst and pearl brooch, turquoise and pearl bug brooch and a garnet and pearl brooch, all 15ct and one other purple stone set brooch Condition Report:15ct brooches approx 9gm, back pins not not or low carat gold (bug brooch mount is 15ct bar and back bar mounted on is 9ct

9ct gold jewellery including two rings, necklace, stick pin and silver jewellery including amethyst cabochon thistle bracelet, moonstone bracelet and a pair of mystic topaz stud earrings Condition Report:Non stone set 9ct approx 2gm, stone set 9ct approx 3gm

18ct gold single stone round synthetic blue spinel ring, with pierced leaf borderCondition Report:Approx 4.7gm, tested 18ct, size J-K, head diameter = 18.2mm