A MOTTLED GREEN JADE CONG, LIANGZHU CULTUREChina, Late Neolithic, c. 3300-2200 BC. Of cylindrical form with square projections on four corners, each corner carved with two different registers of stylized mask, one comprising twin bands of narrow parallel grooves above incised circular ‘eyes’ and a short raised band with rounded ends for the ‘nose’, and the other with larger eyes and without the parallel bands.Provenance: Old French private collection. Note the old inventory number, neatly inscribed in red lacquer to the inner ring of the cong.Condition: Good condition commensurate with age, some nicks and nibbling to the edges, the stone with natural fissures, some of which may have developed into minor cracks over time. Fine patina.Weight: 814.8 gDimensions: Height 5.9 cm, Diameter 9.1 cmThe dark green jade mottled and streaked with cloudy off-white and black veins and inclusions. Cong are the most characteristic artifacts of the Liangzhu culture and are a kind of counterpart to the “cosmic” Bi discs, as well as possibly having a symbolic connection to the goddess of the earth.The majority of the comparable examples from controlled excavations have been discovered in the richly furnished tombs of two of the most important Liangzhu culture cemeteries, Yaoshan and Fanshan in Yuhang County, Zheiiang Province and in other sites: see the examples reproduced in Zhongguo meishu quanji, nos. 172, 175, 177, 180 and 181.Literature comparison: A Liangzhu jade cong of similar form, material and also carved with two registers of masks at the corners, with the top register representing a man, and the bottom register representing a monster mask, is currently in the Zhejiang Provincial Institute of Cultural Relics and Archaeology, and illustrated in Liangzhu wenhua yuqi, Hong Kong, 1989, p. 17, no. 18 (fig. 3). Another example similar to the present lot with linear designs, but with only one register of masks, is also in the Zhejiang Provincial Institute of Cultural Relics and Archaeology and illustrated in Liangzhu wenhua yuqi, Hong Kong, 1989, p. 30, no. 39. For additional 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: Compare with a related cong of similar form but slightly smaller size, also carved with two registers of masks at the corners, the stone of an ivory-white tone, at Christie’s Hong Kong in Important Chinese Ceramics and Works of Art on 30 May 2018, lot 3080, sold for HKD 3,700,000.良渚文化玉琮中國，新石器時代晚期，公元前約 3300-2200 年。内圓外方，雕刻人面紋。 來源：法國私人老收藏，内圈可見紅漆書寫的收藏編號。 品相：良好的狀態與年齡相稱，有一些缺口和邊緣磨損，有天然裂縫的石頭，隨著時間的流逝，其中一些可能會發展成細微的裂縫。 良好的包漿。 重量：814.8 克 尺寸：高5.9 厘米, 直徑9.1 厘米 拍賣結果比較：一件相似尺寸略小的琮，四角雕有人面紋，象牙白色調，售于香港佳士得Important Chinese Ceramics and Works of Art 拍場2018年5月30日，lot 3080, 售價HKD 3,700,000.
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A DARK-GREEN JADE ‘PIG-DRAGON’ CARVING, ZHULONG, HONGSHAN CULTURE, C. 4000-3000 BCThe jade is carved as a coiled stylized mythical animal, with incised circular eyes below pricked ears, and pierced with a circular aperture to the center between a slit and a smaller aperture for suspension. The stone is of a rich dark green color, appearing black at first glance, with dark brown to ochre shadings and cloudy grayish-white inclusions.Provenance: French private collection. Condition: Very good condition with only minor areas of erosion, fissures, old wear, traces of use, minuscule nibbles, tiny nicks here and there, and a fine naturally grown patina.Weight: 78.5 gDimensions: Height 6.2 cmAuction result comparison: A closely related zhulong jade, but of smaller size and different color, was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 25 April 2020, lot 173, for EUR 19,952.紅山文化深綠色玉豬龍，公元前4000-3000 年中國。玉整體彎曲，且首尾相連，頭部有肥大的耳朵，圓形眼睛。頭下方圓形小孔，以供懸掛。 玉石為深綠色，猶如黑色，深棕色至紅褐色紋理，灰白色絮狀內含物。來源：法國私人收藏 品相：狀況極佳，僅有少量腐蝕，裂縫，舊磨損，使用痕跡，細小磕損，局部有細小划痕以及自然生長的包漿。重量：78.5 克 尺寸：高6.2 厘米 拍賣結果比較：一件相近玉豬龍，但尺寸稍小，顔色不同，見本藝廊Fine Chinese Art, Buddhism and Hinduism 拍場2020年4月25日 lot 173, for EUR 19,952.
A CELADON JADE ‘CROUCHING TIGER’ PENDANT, WESTERN ZHOU DYNASTYChina, c. 1100-771 BC. Thinly carved as a flattened tiger with large eyes, and an upswept hook-shaped tail as it crouches down ready to leap at its prey. The semitranslucent stone of a celadon tone with cloudy white inclusions and creamy beige shadings. Pierced with a small aperture, drilled from both sides, to the tiger’s arched back.Provenance: Austrian private collection.Condition: Old repairs to tail, some signs of erosion, minor wear and nibbling, otherwise in excellent condition commensurate with age.Weight: 27.3 gDimensions: Length 10.8 cmAuction result comparison: Compare with a related jade tiger pendant at Sotheby’s Hong Kong in The Robert Youngman Collection of Chinese Jade II on 3 April 2019, lot 3435, sold for HKD 93,750, and another at Christie’s Hong Kong in The Chang Wie-Hwa Collection of Archaic Jades – Xia, Shang and Western Zhou Dynasties on 30 November 2020, lot 2768, sold for HKD 275,000.西周青玉虎形飾中國，公元前約1100-771 年。細雕成扁平的老虎，大眼睛，尾巴彎曲，隨時準備猛撲獵物的樣子。 青色半透明玉石，帶有白色絮狀內含物。 老虎背部一個鑽孔。 來源：奧地利私人收藏 品相：尾巴処舊時小修，一些腐蝕跡象，輕微磨損和磕損，狀況會與年齡相稱。 重量：27.3 克 尺寸：長10.8 厘米 拍賣結果比較：一件相近虎形配飾見香港蘇富比The Robert Youngman Collection of Chinese Jade II 拍場2019年4月3日 lot 3435, 售價HKD 93,750, ；另一件見香港佳士得The Chang Wie-Hwa Collection of Archaic Jades – Xia, Shang and Western Zhou Dynasties 拍場2020年11月30日lot 2768, 售價HKD 275,000.
A BROWN JADE CONG, LIANGZHU CULTUREChina, Late Neolithic, c. 3300-2200 BC. Of cylindrical form with square projections on four corners, each corner carved with two different registers of stylized masks, one comprising twin bands of narrow parallel grooves above incised circular ‘eyes’ and a short raised band with rounded ends for the ‘nose’, and the other with larger eyes and without the parallel bands.Provenance: Myrna Myers, Paris, 1987, by repute. English private collection in Bournemouth, acquired from the above and thence by descent in the same family. When Sam Myers was sent to Paris by his law firm in the mid-1960s, he and his wife Myrna became so enamored with the city that they decided to make it their home. There, over the course of 50 years, they built an extraordinary art collection, and in 1976, Myrna opened a gallery in Paris specializing in Asian art.Condition: Good condition commensurate with age, some nicks and nibbling to the edges, the stone with natural fissures, some of which may have developed into minor cracks over time.Weight: 439.5 gDimensions: Height 5.9 cm, Diameter 7.6 cmLiterature comparison: For several examples of two-tiered Cong, see F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, nos. 51, 53 and 54.良渚文化玉琮 中國，新石器時代末期，公元前約 3300-2200 年。内圓外方，四角各有不同人面紋。 來源：一個英國Bournemouth私人收藏據説1987年購於巴黎Myrna Myer，自此保存在同一家族至今。1960年代中期，Sam Myers被他的律師事務所派往巴黎，他和妻子Myrna對這座城市非常著迷，以至於他們決定將其作為自己的家。 在之後的50年的時間裡，他們在那裡建立了非凡的藝術收藏。1976年，Myrna在巴黎開設了一家專門從事亞洲藝術的藝廊。圖片：Myrna 與 Sam Myers 品相：良好的狀態與年齡相稱，有一些缺口和邊緣磨損，玉石有天然裂縫，隨著時間的流逝，其中一些可能會發展成細微的裂縫。 重量：439.5 克 尺寸：高5.9 厘米, 直徑7.6 厘米
A BOXWOOD 'CRANE AND PINE TREE' INCENSE HOLDER, QING DYNASTY, KANGXI PERIODChina, 1661-1722. The slender body naturalistically carved in the form of a gnarled pine tree trunk and in relief with a gnarly pine tree rising from the base to just below the rim and bearing clusters of pine needles, a branch with buds and flowers issuing from the mouth, scattered with irregular concentric rings to indicate weathered growth-lines. A crane is to be found at the lower end with stylized water lines at his feet.Provenance: Estate of Sear Hang Hwie Pao (1937-2009). Pao was one of Canada’s leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke Ltd., owned together with his wife Mrs. von Moltke, who descended from a German and Danish noble family, was a fixture in Toronto’s trendy Yorkville area from the 1980’s to early 2000’s.Condition: Excellent condition with old wear, some light surface scratches and minimal nicks here and there.Weight: 447.4 gDimensions: Height 17 cmThe design of this piece is after tree-trunk form vases and brush pots generally carved in bamboo that became popular in the late Ming dynasty and continued to be made in the Qing period. While boxwood carvings of this type are rare, it is a medium that was appreciated for its fine grain and rich tone of brown coloration.Literature comparison: See a closely related boxwood vase in the form of the trunk of an aged pine tree, similarly carved with gnarled roots and vigorously twisted branches issuing clusters of pine needles, from the collection of Mary and George Bloch, sold by Sotheby’s on 23rd October 2005, lot 25. For a related bamboo example, compare also a vase illustrated in Chinese Metalwares and Decorative Arts, vol. 2, Bath, 1993, pl. 335; and another published in Ip Yee and Laurence C.S. Tam, Chinese Bamboo Carving, Part 1, Hong Kong, 1978, col. pl. 7, together with an irregularly-shaped brushpot attributed to the 18th century and described as made of yuzhu (jade bamboo), pl. 113.Auction result comparison: A closely related boxwood incense holder was sold by Sotheby’s Hong Kong in Water, Pine and Stone Retreat Collection – Playthings on 2 June 2016, lot 96, for HKD 325,000.清康熙黃楊木雕松鶴樁香筒 中國，1661-1722年。香筒隨形而雕，修長的身體木料自然地雕刻成松樹樹幹的樣子，松針、仙鶴、花和藤曼的位置都是经过悉心设计，不仅寓意吉祥，而且形态逼真。來源：Sear Hang Hwie Pao (1937-2009)遺產。Pao是加拿大中國瓷器和藝術品的主要經銷商之一。他的古董店Pao＆Moltke Ltd.是他與妻子von Moltke夫人成立，後者是德國和丹麥貴族的後裔。從1980年代到2000年代初期，他們的古董店曾是多倫多時尚Yorkville地區不可缺少的部分。 品相：狀況良好，有舊磨損，一些輕度的表面刮痕，局部些微划痕。重量：447.4 克 尺寸：高17厘米拍賣結果比較：一個相近的黃楊木香筒售于香港蘇富比Water, Pine and Stone Retreat Collection – Playthings 拍場 2016年6月2日, lot 96, 售價 HKD 325,000。
A BLACK JADE AXE, 2ND MILLENNIUM BCNorthwest China. The blade broadens slightly towards the cutting edge opposite the hafting end with a circular hole drilled from both sides. The stone has a satiny polish.Provenance: Ex-collection of Mrs. Buck, Chicago, with old collector’s note, dated April 1966 and describing the piece as a “SHANG DYN TOOL (1400-1100 B.C.) Ancient nephrite in a dark, flecked green. Irregular in shape (small axe head) with two tapered edges and a ½” dia. straight hole and a slight groove on one side off center.” The piece itself is inscribed with a serial number “6-53-54” which corresponds to the serial number on the collector’s card.Condition: Excellent condition commensurate with age, old wear, minor nibbling to the edges.Weight: 39.1 gDimensions: Size 8 x 5.6 cmAuction result comparison: Compare with a related black jade axe at Christie’s New York in Important Chinese Ceramics and Works of Art on 25 September 2020, lot 1729, sold for USD 5,250.公元前2000年黑玉鉞 中國西北部。刀片朝與柄端相對的切削刃略微加寬，並從兩側鑽出一個圓形孔。 玉石表面光滑。 來源：芝加哥Mrs. Buck遺物，老藏家標簽上寫著日期1966年4月，並將玉鉞描述為“SHANG DYN TOOL（公元前1400-1100年），深色斑點綠色的古代軟玉。 形狀不規則（小斧頭），帶有兩個錐形邊緣和½“直徑的直孔，偏離中心的一側有一個小凹槽。”。此古玉身上刻有序列號6-53-54，該編號與收藏者卡上的序列號相對應。品相：狀況與年齡、舊磨損、輕微磨損相對應。 重量：39.1 克 尺寸：8 x 5.6 厘米 拍賣結果比較：於2020年9月25日在紐約佳士得Important Chinese Ceramics and Works of Art拍場一件相似的中國玉器黑玉斧，拍號1729，成交價USD 5,250
A LACQUERED BAMBOO RETICULATED BRUSH POT, BITONG, MID-QINGChina, 18th century. Masterfully carved around the exterior in varying levels of relief depicting a scene from the Lanting Xu, 'Orchid Pavilion Preface', enclosing a multitude of scholars engaged in leisurely pursuits along a stream within a mountainous landscape with pavilions amid craggy rockwork and dense clusters of pine trees.Provenance: French private collection. Condition: Good condition with old wear, natural age cracks, chips, losses, old fillings. The fine patina grown to a warm honey-golden color.Weight: 849.5 gDimensions: Height 18 cmThe present lot took its inspiration from the very well-known preface Lanting Xu (Preface to the Orchid Pavilion) composed by the most celebrated Chinese calligrapher, Wang Xizhi (c. 303-361), regarded as 'the Sage of Calligraphy'. The scene illustrated on the brush pot took place in the ninth year of the Yonghe reign, of the Eastern Jin dynasty, when forty-two scholars were invited to the Orchid Pavilion (Lanting), near Shanyin, Zhejiang province, for the Spring Purification Festival. Scholars were required to take part in a poetry competition and a drinking contest with wine cups flowing down a winding creek. Those who failed to come up with a poem would have to drink in forfeit.Lanting Xu was one of the most celebrated works of literature and had a profound influence on later generations. Literati thereafter copied this canonical preface onto stone and ink-rubbings, table screens, ink cakes, and many other scholarly objects, see for example a 'Lanting Gathering' ink-rubbing compilation dated to the late Ming dynasty (1592), illustrated by G. Tsang and H. Moss, Art from the Scholar's Studio, Hong Kong, 2011, pp.66-69, pl.28. This highly favored subject matter was also used as a decoration on Imperial works of art made of various materials including jade, porcelain, lacquer and bamboo. The impact continued into the Qing dynasty where the Qianlong emperor, who was known for his admiration for Wang Xizhi's talent, also commissioned to build a Floating Cup Pavilion, Liubei Ting, in the Pavilion of the Purification Ceremony, Xishang Ting in the Forbidden City. See N. Berliner, The Emperor's Private Paradise: Treasures from the Forbidden City, New Haven and London, 2010, pp. 96-97.The present brush pot exemplifies the lively craftsmanship during the early to mid-Qing dynasty, demonstrating a high level of vibrant and crisp carving skills with a naturalistic rendering of pine trees, rockwork and flowing water.Auction result comparison: Compare with a related bamboo brush pot depicting the same subject, at Bonhams Hong Kong in Fine Chinese Ceramics and Works of Art on 2 June 2016, lot 25, sold for HKD 237,500.清代中期竹雕筆筒 中國，十八世紀。雕刻生動形象，浮雕上描繪蘭亭集會場景，許多學者沿著崎山路散步，清談，山中可見岩石和松樹包圍的亭子，山間小溪。 來源：法國私人收藏 品相：狀況良好，有舊磨損，自然老化裂紋，磕損，舊填料。 溫暖的蜜金色包漿。 重量：849.5 克 尺寸：高18 厘米 拍賣結果比較：比較一個主題相似的竹製筆筒，於2016年6月2日在香港邦瀚斯Fine Chinese Ceramics and Works of Art拍場，拍號25，成交價HKD 237,500。
A BLACK JADE AXE, 2ND MILLENNIUM BCNorthwest China. The blade broadens slightly towards the cutting edge opposite the hafting end with a small circular hole drilled from one side. The stone has a satiny polish.Provenance: Ex-collection of Mrs. Buck, Chicago, with old collector’s note, dated April 1966 and describing the piece as a “SHANG DYN TOOL (1400-1100 B.C.) Ancient nephrite in a dark black. Irregular in shape with one tapered edge and a small tapered hole 1/16” dia.” The piece itself is inscribed with a serial number “6-54-55” which corresponds to the serial number on the collector’s card.Condition: Excellent condition commensurate with age, old wear, minor nibbling to the edges.Weight: 33.2 gDimensions: Size 8.2 x 5.3 cmAuction result comparison: Compare with a related black jade axe at Christie’s New York in Important Chinese Ceramics and Works of Art on 25 September 2020, lot 1729, sold for USD 5,250.公元前2000年黑玉鉞 中國西北部。刀片朝與柄端相對的切削刃略微加寬，並從兩側鑽出一個圓形孔。 玉石表面光滑。 來源：芝加哥Mrs. Buck遺物，老藏家標簽上寫著日期1966年，並將玉鉞描述為“SHANG DYN TOOL（公元前1400-1100年）， 形狀不規則（小斧頭），帶有錐形邊緣和一個1/16”直徑的直孔”。此古玉身上刻有序列號6-54-55，該編號與收藏者卡上的序列號相對應。品相：狀況與年齡與舊磨損相對應，邊緣有小磕損。重量：33.2 克 尺寸：8.2 x 5.3 厘米 拍賣結果比較：於2020年9月25日紐約佳士得拍賣會，Important Chinese Ceramics and Works of Art，一件相似黑玉鉞，拍號1729，成交價USD 5,250。
AN ARCHAISTIC RUSSET AND CELADON JADE AXE, QI, MING DYNASTYChina, 1368-1644. The larger curved end forming the axe blade. The mid-section carved with a band of stylized chilong on a leiwen ground, the other end with a single pierced hole drilled from both sides, the opaque stone of a mottled russet and celadon tone with dark brown and russet veins.Provenance: Previously in the private collection of Gabriele Rossi Osmida (1943-2020), who was an archaeologist and writer as well as an assistant to the important paleontologist Giancarlo Ligabue.Condition: Excellent condition with minor wear. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Areas of significant erosion, some pitting, minor old fills. Fine naturally grown patina with an unctuous feel to the surface.Weight: 591.2 gDimensions: Height 18 cm明代青玉戚 中國，1368-1644年。戚扁平狀，略呈長梯形斧，整器型制規整，弧形刃，刃圓無鋒。中部浮雕雷紋地螭龍紋。頂部有一圓形穿孔。紅黃之質，褐色斑紋，質地溫潤，通體光素瑩亮。 來源： 先前於Gabriele Rossi Osmida私人收藏。Gabriele Rossi Osmida (1943-2020) 是一位考古學家和作家，也是重要的古生物學家Giancarlo Ligabue的助手。圖片：Gabriele Rossi Osmida 品相：狀況極佳，磨損小。 玉石具有天然裂縫，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 嚴重侵蝕，點蝕，少量舊填料。 細膩自然生長的古銅色包漿，表面感覺柔軟溫潤。 重量：591.2 克 尺寸：高 18 厘米
A DARK GREEN JADE HOOF-SHAPED ORNAMENT, HONGSHAN CULTUREChina, 4700-2900 BC. Of hollow cylindrical form with an oblique and gently curved rim. The opaque stone of a dark green tone, appearing almost black, with pale green veins and cloudy white inclusions.Provenance: The Collection of Irene and Wolfgang Zacke. The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades. Old inventory number ‘C.17.4’ to the interior, indicating a prior museum deaccession.Condition: Very good condition with old wear, signs of weathering, particularly to the interior, the stone with natural fissures, some of which may have developed into small hairline cracks over time. Minor traces of erosion and shallow surface scratches.Weight: 136.2 gDimensions: Height 9.8 cmLiterature comparison: For a related jade, see the ornament unearthed at a Hongshan site at Niuheiliang, Jianping, Liaoning Province included in Xiaoneng Yang (ed.), The Golden Age of Chinese Archeology, Yale University Press, 1999, cat. no. 11, pp. 83-85.Auction result comparison: Compare with a related hoof-shaped jade ornament at Christie’s Hong Kong in The Chang Wei-Hwa Collection of Archaic Jades, Part I – The Neolithic Period on 27 November 2019, lot 2714, sold for HKD 112,500.紅山文化墨綠色馬蹄形玉件中國，公元前4700-2900 年。呈空心圓柱體，傾斜且柔和彎曲的邊緣。 深綠色調的不透明玉石，幾乎呈黑色，有淺綠色的脈絡和混濁的絮狀物。來源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。内部有博物館收藏標簽“C.17.4”。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授圖片：内部博物館收藏標簽“C.17.4”品相：狀況良好，有舊磨損，風化，尤其是內部，石頭具有天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 輕微的腐蝕痕跡和表面淺划痕。重量：136.2 克尺寸：高 9.8 厘米拍賣結果比較：一件相近馬蹄形玉件，見香港佳士得 The Chang Wei-Hwa Collection of Archaic Jades, Part I – The Neolithic Period 拍場，2019年11月27日，lot 2714, 售價HKD 112,500.
A DARK GREEN JADE OPENWORK ‘CLOUD-SCROLL’ PENDANT, GOUYUN, HONGSHAN CULTUREChina, c. 4500-3000 BC. The opaque stone of a dark green, almost black tone with paler green shadings as well as cloudy white and russet inclusions, the pendant with a prominent central scroll and protuberances at the corners reminiscent of phoenix heads. Pierced for suspension.Provenance: The Collection of Irene and Wolfgang Zacke. The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades. Published: 4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 20, no. 18.Condition: Very good condition with old wear, signs of weathering, some nibbling to edges, minor traces of use and shallow surface scratches, the stone with natural fissures, some of which may have developed into small hairline cracks over time. Weight: 117.1 gDimensions: Length 13.5 cmLiterature comparison: Compare with a related jade excavated at the Sudalei archaeological site in Bairin Right Banner and now in the Museum of Chifeng city, Inner Mongolia Autonomous Region.Auction result comparison: Compare with a related cloud-scroll ornament of a paler green color at Christie’s Hong Kong in The Chang Wei-Hwa Collection of Archaic Jades, Part I – The Neolithic Period on 27 November 2019, lot 2711, sold for HKD 175,000.紅山文化墨綠色玉勾云紋佩中國，公元前 4500-3000年。暗綠色的不透明玉石，幾乎呈黑色，帶有淡綠色的紋理，夾雜這白色和赤褐色。玉佩中央彎曲鏤空，在邊角處有突起，讓人聯想到鳳凰頭部。 穿孔懸掛。來源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授出版：4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 20, no. 18.品相：狀況良好，有舊磨損，風化，一些邊緣磨損，輕微使用痕跡和表面淺痕，帶有天然裂紋的玉石，隨著時間的流逝，其中一些可能發展成細小的裂縫。重量：117.1 克尺寸：長13.5 厘米拍賣結果比較：一件相近雲紋青玉佩見香港佳士得The Chang Wei-Hwa Collection of Archaic Jades, Part I – The Neolithic Period 拍場2019年11月27日 lot 2711, 售價HKD 175,000.
AN ALBUM OF 50 STONE RUBBINGS DEPICTING LUOHAN, QING DYNASTYChina, 19th century. The accordion album with fifty leaves, each depicting a seated luohan beneath a title inscription, with plain hardwood covers, one with an old Chinese export seal in the lower right corner.Provenance: German private collection. Old German inscription in pencil to the back of one leaf, confirming the dating and description of the present lot. Old Chinese price label to the back of one leaf and another old Chinese label to the back of another leaf.Condition: Extensive wear, wormholes mostly backed with paper strips, soiling, creasing, tears, browning to edges, some loose leaves, the wood covers with minuscule nibbling to edges, scratches, and natural age cracks.Dimensions: Cover size 30 x 16.5 cmAuction result comparison: Compare with a closely related set of ten albums of smaller size at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 13 May 2011, lot 1111, sold for GBP 10,625.清代石拓《羅漢應真圖》冊頁 中國，十九世紀。一共五十頁，顯示五十個羅漢應真圖。普通的硬木封面，右下角有一個中國老出口封條。 來源：德國私人收藏，冊頁背面用鉛筆注明冊頁時期以及相關描寫。背面亦可見舊時價格。 品相：廣泛磨損，蟲洞，污跡，起皺，撕裂，邊緣變成褐色，冊頁裝幀疏鬆。木封面邊緣損壞，划痕和自然的年齡裂縫。 尺寸：封面30 x 16.5 厘米 拍賣結果比較：一套十本冊頁但尺寸稍小的《羅漢應真圖》，見倫敦佳士得Chinese Ceramics, Works of Art and Textiles 拍場，2011年5月13日 lot 1111, 售價GBP 10,625.
A LARGE PALE GREEN AND RUSSET JADE ‘DOUBLE DRAGON’ PENDANT, HUANG, EARLY WESTERN HANChina, 2nd century BC. The elegantly curved huang with a stylized dragon head to either end. The mostly translucent stone of a sea-green tone with cloudy white and russet inclusions and shadings. Pierced for suspension.Provenance: The Collection of Irene and Wolfgang Zacke. The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades.Condition: Very good condition with old wear, signs of weathering, minuscule nibbling to edges, shallow surface scratches and other traces of use, minor erosion.Weight: 227.6 gDimensions: Length 33.5 cmThe surface is densely covered with small and slightly raised hexagons, a pattern called pu, or ‘cat tail’. During the Han dynasty, this motif was mostly used to decorate large funerary discs with carved masks. The squarish indentations carved on the border at the extremities of the ornaments evoke the stylized features of two dragon heads in profile: the chin, mouth, snout, and horns.Literature comparison: Three related huang carved with patterns of small, raised curls and hexagons were excavated from the princely tombs at Shizishan (Xuzhou, Jiangsu) between 1994 and 1995. Similar huang with jagged profiles but decorated with spirals and dated to the late Eastern Zhou period, are in the National Museum of History, Taiwan, and in the Samuel and Myrna Myers collection. Compare also with a very similar, yet significantly smaller pair in F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, no. 285.Auction result comparison: Compare with a related jade huang, of significantly smaller size and dated to the Eastern Zhou dynasty, at Sotheby’s New York in Fine Chinese Ceramics & Works of Art on 18-19 March 2014, lot 151, bought-in at an estimate of USD 10,000-15,000.西漢早期大型青玉帶沁雙龍紋璜中國，公元前二世紀。弧形，典雅的黃褐色，兩端龍首，總體海綠色，半透明的玉石，帶有絮狀物和赤褐色的內含物。 穿孔。来源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授品相：狀況良好，有舊磨損，風化，細微的邊緣磕損，表面淺划痕和使用痕跡，輕微腐蝕。重量：227.6 克尺寸：長33.5 厘米拍賣結果比較：一件相近的東周玉璜，尺寸更小，見紐約蘇富比 Fine Chinese Ceramics & Works of Art 拍場2014年3月18-19日lot 151, 估價 USD 10,000-15,000.
A WHITE AND RUSSET JADE ‘DOUBLE DRAGON’ PENDANT, HUANG, LATE EASTERN ZHOU TO HANChina, 770 BC to 220 AD. Of arched form, each side of the upper section finely carved in relief with comma spirals, the lower section carved in symmetrical openwork with confronting dragons flanking a flaming pearl, terminating with a pair of dragon heads with curved snouts, the open jaws exposing fangs and curled beards. The translucent stone of white tone with russet shadings and a fine polish. Provenance: An Austrian private collection.Condition: Very good condition with old wear, remnants of pigment, signs of weathering, soiling from excavation. Some erosion, shallow surface scratches.Weight: 162.1 gDimensions: Length 23.8 cmAuction result comparison: Compare with a related white jade huang pendant dated to the late Eastern Zhou at Christie’s New York in The Collection of Robert Hatfield Ellsworth Part I, on 17 March 2015, lot 4, sold for USD 197,000, and another in beige jade and dated to the Eastern Zhou dynasty at Sotheby’s New York in Fine Chinese Ceramics & Works of Art on 18-19 March 2014, lot 149, sold for USD 62,500. Compare also with a related calcified gray jade huang dated to the Warring States period to Han dynasty at Bonhams Hong Kong in The Sze Yuan Tang Collection of Chinese Jades on 5 April 2016, lot 11, sold for HKD 812,500.東周至漢白玉龍首璜佩中國，公元前770 年至公元220年。璜體白玉質帶沁，龍首位於璜形玉器的兩端，表面谷紋。璜下鏤空雕刻雙龍戲珠。來源：奧地利私人收藏品相：狀況良好，有舊磨損，變色，風化，挖掘污染。有些腐蝕，表面淺划痕。重量：162.1 克尺寸：長23.8 厘米拍賣結果比較：一件相近東周末白玉璜見紐約佳士得The Collection of Robert Hatfield Ellsworth Part I拍場2015年3月17日lot 4, 售價USD 197,000, ；另一件東周米黃色玉見紐約蘇富比Fine Chinese Ceramics & Works of Art 拍場2014年3月18-19 日lot 149, 售價USD 62,500. 一件戰國至漢鈣化灰玉璜見香港邦翰思The Sze Yuan Tang Collection of Chinese Jades 拍場2016年4月5日lot 11, 售價HKD 812,500.
AN EXCEPTIONALLY LARGE PALE GREEN AND RUSSET JADE BI DISC, EARLY BRONZE AGEChina, c. 2200-1900 BC. Of somewhat irregular thickness and still retaining the cutting marks on the walls of the central hole drilled from both sides, the mostly translucent stone of variegated shades of green ranging from pale olive to sea-green with some russet-brown veining and shadings as well as cloudy white inclusions.Provenance: The Collection of Irene and Wolfgang Zacke. The couple have been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades.Published: 4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 96, no. 109.Condition: Excellent condition with old wear, signs of weathering, nibbling and some losses to edges, the stone with natural fissures, some of which have developed into larger hairline cracks over time. Some traces of use and shallow surface scratches.Weight: 3,814 gDimensions: Diameter 43.5 cmBi discs are a type of jade which continued to be crafted in numbers by cultures located in central and northwest China during the transitional period between the Neolithic and Bronze Age. The majority of these discs range in size between ten and twenty centimeters: large ones, such as the present lot, are rare. Their size and weight, requiring both hands to hold them, suggest that these imposing discs were displayed and used in a ritual context. The hole is usually drilled from one side only: on larger discs, it is smoothed down and the traces of the tool marks are almost invisible.The whitened areas are mostly limited to the edges. This alteration, which is often seen on excavated jades, was probably created by the action of alkaline body fluids on the nephrite.Literature comparison: A related green jade bi of smaller size (22 cm diameter) is illustrated by J. Rawson, Chinese Jade from the Neolithic to the Qing, British Museum, 1995, p. 155, no. 7:6, where the author ascribes it to northwest China, c. 2000-1000 BC. One large disc which measures 32.5 cm in diameter is in the Victoria & Albert Museum, London, accession number A.42-1936.Auction result comparison: Compare with a related dark green jade bi, dated to circa 2000-1500 BC, of much smaller size (21.3 cm diameter), at Christie’s New York in Fine Chinese Ceramics and Works of Art on 20 September 2013, lot 1449, sold for USD 40,000. Compare also with a related jade from the same period, but still of considerably smaller size (34.1 cm diameter), from the A.W. Bahr Collection, at Christie’s New York in Fine Chinese Art from the Arthur M. Sackler Collections on 18 March 2009, lot 277, sold for USD 194,500.青銅時代大型青玉璧中國，公元前2200-1900 年。厚度不規則，保留著切割痕跡，主體半透明，夾雜著不同深淺的綠色，從淺橄欖色到海綠色，帶有紅褐色的紋理，以及絮狀物。來源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授出版：4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 96, no. 109.品相：狀況良好，有舊磨損，風化，一些邊緣磨損，輕微使用痕跡和表面淺痕，帶有天然裂紋的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。重量：3,814 克尺寸：直徑43.5 厘米拍賣結果比較：一件相近墨綠玉璧，公元前 2000-1500年, 尺寸更小 (直徑21.3 厘米), 見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2013年9月20 日 lot 1449, 售價USD 40,000. 一件來自同一時期但尺寸更小（直徑34.1 厘米）的玉璧，來自A.W. Bahr 收藏, 見紐約佳士得Fine Chinese Art from the Arthur M. Sackler Collections 拍場2009年3月18日 lot 277, 售價USD 194,500.
A YELLOW AND RUSSET JADE FIGURE OF A PHOENIX, EASTERN ZHOUChina, 770-475 BC. The semitranslucent stone of an attractive greenish-yellow tone with russet veins and shadings, particularly prominent on the beak and face of the mythical bird and on the belly. The plumage of the phoenix is cleverly simulated by raised C-shaped scrolls. Two stubby wings extend towards the back and the short tail feathers touch the ground.Provenance: A private collection. Zacke Auctions Vienna, Ancient Chinese Jades from a Private Collection Part I, 23 November 1999, lot 54. An Austrian private collection, acquired from the above. Condition: Excellent condition with minor wear, minuscule nibbles here and there.Weight: 66.1 gDimensions: Height 5.9 cmExpert’s note: The characteristic and well-defined c-shaped curls show that this jade was probably carved in the earlier Eastern Zhou period, namely the Chunqiu (Spring and Autumn) period.Auction result comparison: Compare with a white jade figure of a pig, from the same period and with closely related C-shaped scrolls, at Christie’s Hong Kong in Monochrome II on 9 October 2020, lot 56, sold for HKD 189,000.東周黃玉帶皮鳳凰中國，公元前770-475 年。半透明玉石，迷人的青黃色，褐色紋理，在神鳥的喙和臉以及腹部特別突出。以連雲紋表現鳳凰的羽毛。翅膀向後延伸，短尾羽落在地面。來源：私人收藏。維也納Zacke 拍賣行 Ancient Chinese Jades from a Private Collection Part I拍場1999年11月23日 lot 54。奧地利私人收藏，購於上述拍賣。品相：狀況極佳，小磨損，局部微小的碎裂。重量：66.1 克尺寸：高 5.9 厘米專家注釋: C形雲紋出現在春秋早期。拍賣结果比较：一件相近C形雲紋白玉豬，見香港佳士得Monochrome II 拍場2020年10月 9日 lot 56, 售價HKD 189,000.
AN IMPERIAL WHITE JADE ‘HAITANG’ BRUSHWASHER, WITH A POEM BY CHEN YUYI, YONGZHENG MARK AND PERIODChina, 1723-1735. Carved to one side in shallow relief with leafy crabapple (haitang) branches, blossoms and small fruit, as well as craggy rockwork, the reverse superbly incised with a poem. The translucent stone of a spectacularly pure white tone with a single russet and cloudy white vein, masterfully incorporated into the depiction. The base neatly incised with a four-character seal mark Yongzheng nianzhi and of the period.Inscriptions: Two lines from a poem composed by the famous Song Dynasty poet Chen Yuyi (1090-1138), which may be translated as 'the crab apple flower displays its pink blossoms, standing alone in the rain'.Provenance: A private Danish collection, acquired in Asia prior to 1922, thence by descent within the family. A private collection in Europe, acquired in Sweden prior to 2000. Old illegible collector’s label to base. Old inventory number ’90.635.42.3’ to interior, indicating a prior museum deaccession. Condition: Excellent condition with minor old wear. Natural flaws to stone.Weight: 119.5 gDimensions: Height 3.4 cm, Length 9.3 cmA handscroll in the Victoria & Albert Museum, titled Guwan tu (Pictures of Ancient Playthings), made for the Yongzheng emperor as a pictorial inventory of his palace collections, includes a guan-type brush washer of Haitang-form. It is possible that the present jade washer was commissioned by the emperor and made by the palace workshops using the guan washer as a prototype, because of its distinct crabapple form.The form of this elongated four-lobed washer supported by a broad foot rim directly references the crabapple (haitang), which is also the subject of both the poem incised to one side as well as the relief carving to the other. The crabapple could be combined with other emblems to create auspicious rebuses. Its second character, ‘tang’, is homophonous with the character for ‘hall’ and, by extension, ‘the family home’. For examples of Imperial objects of the Qing court of related haitang shape, see a bamboo tray at Bonhams Hong Kong, 24 November 2012, lot 323 (see fig. 1), and a pair of gilt bronze and cloisonne jardinieres at Bonhams London, 8 November 2012, lot 250 (see fig. 2).One of the most striking things about the present washer is that the mark on the base is incised with a series of apparently wheel-cut lines to build up the thickness of the strokes in a style very similar to that found on glass objects from the Beijing Palace workshops during the early to mid-Qing dynasty. With this as a clue to provenance, the very slight flaws in the material also indicate a Palace workshops origin, since this is a prominent feature found in a group of jade objects attributable to the court.The stone shows minuscule inclusions, which is almost hallmark of early Imperial jades, during a time where lapidaries worked by Imperial command striving to create small items of the purest white jade, which began in the Yongzheng period, marking the transition from the mottled pebbles of the Ming dynasty to the flawless white vessels of the Qianlong reign. Hence the most superb jades of the Yongzheng period, such as the present lot, have minuscule flaws which are masterfully integrated into the design and show the absolute highest level of manual polishing of all time, creating a smooth, somewhat ‘oily’ surface with an unctuous feel and lustrous appearance, the latter especially when sunrays shine through the material.Chen Yuyi (1090-1138) was a poet and politician of the Song dynasty. His biography was included in the History of Song. He composed some of the best shi poetry of the Song era and was a native of Loyang, coming from an official family. He obtained his degree in 1113 and held a number of minor posts before moving to the capital. When North China was invaded by the Jin, he had to flee for his life and his poetry became much more intense and emotionally charged. He returned to official service in the exiled Song court in Hangzhou in 1131.Jade vessels inscribed with Yongzheng reign marks and of the period are extremely rare. The only published examples from museum collections appear to be a small number preserved in the holdings of the Palace Museum, Beijing. No other Yongzheng reign-marked white jade vessel has been sold ever at a major auction house outside of China.The Palace Museum, Beijing has published five jade vessels inscribed with Yongzheng reign-marks: a green jade handled cup, a green jade flared bowl, a pale green jade cup, a black and white jade bowl, and a pale green jade brush washer, illustrated in Compendium of Collections in the Palace Museum, Jade. Qing Dynasty, vol. 10, Beijing, 2011, pls 146, 153, 154, 187, and a set of black jade rings, illustrated in Compendium of Collections in the Palace Museum. Jade. Qing Dynasty, vol. 9, Beijing, 2011, pl. 224. The marks are intricately articulated in the same archaic-style seal script in two columns, undoubtedly in the same production process.Literature comparison: Compare with a related white jade washer, of oval form and carved with a chilong, in the Palace Museum, Taipei (collection number K1C003785N000000000PAB). Compare also with a related pale green jade brush washer, Yongzheng four-character mark and of the period, from the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum. Jade 10. Qing Dynasty, Beijing, 2011, p.237, no.187. Compare also with two jade bowls in the Palace Museum, Beijing, with Yongzheng reign marks, Cultural Relic nos. 00103853 and 00102973.清雍正款白玉題詩海棠式洗中國, 1723-1735年。海棠式洗呈四瓣海棠之形，曲壁，線條流暢圓潤，圈足隨形。一面淺浮雕多葉的海棠樹，上面可見海棠花與小花骨朵。旁邊假山岩石。背面刻有一首詩。白玉光瑩溫潤，些微赤褐色脈紋，巧妙融入整體。整器造型端莊，雕刻嫻熟。底足可有四字款“雍正年制”。款識：宋代詩人陳與義(1090-1138)：海棠不惜胭脂色/獨立濛濛細雨中來源：丹麥私人收藏，1922年前購於亞洲，自此保存在同一家族。歐洲私人收藏，2000年前購於瑞典。底部可見老收藏標簽。筆洗内有舊收藏編號“90.635.42.3”，可能是之前博物館收藏所留。 圖片：收藏編號“90.635.42.3”，可能是之前博物館收藏所留。 品相：狀況極佳，輕微使用磨損。玉石自然缺陷。 重量： 119.5 克 尺寸：高3.4 厘米, 9.3 厘米 這件細長的四瓣花口形洗由海棠四出花瓣演變而來，同時也對應了所刻的詩句以及另一面的浮雕花卉。海棠花的"棠"字與"堂"同音，與其他花卉可以組成“玉堂富貴”的意思。清宮也有很多利用海棠進行創作的例子，請參見香港邦瀚斯的御製竹根雕海棠式洗（2012年11月24日，Lot 323）（圖1），以及倫敦邦瀚斯的掐絲琺瑯開光纏枝蓮紋海棠式花盆一對，2012年11月8日，Lot 250（圖2）。 圖片：御製竹根雕海棠式洗, 清初, 香港邦瀚斯, 2012年11月24日, lot 323, 售價HKD 150,000. 圖片：掐絲琺瑯開光纏枝蓮紋海棠式花盆一對, 倫敦邦瀚斯, 2012年11月8日, lot 250, 售價GBP 37,250. 本海棠式洗最引人注目的一件事是，在其底座上的有兩道切割線，以强調玉洗雕工的細緻感，其樣式與北京料器製品相似。這可以作爲出處的一個線索，材料上的細微瑕疵也表明了此洗來自御用工坊的，因為這是根據現有研究發現的宮廷玉器中突出特徵。玉石上略帶皮色，這可以説是早期清代宮廷玉器的特徵。清初，御用工坊努力創造出最純净的白玉小器物。雍正時期是明朝使用的籽料至乾隆年間無瑕的白色器皿的過渡期。 因此，雍正時期最精湛的玉器（如這件白玉洗）具有微小的瑕疵，這些瑕疵被巧妙地運用到設計中，顯示出有史以來最清湛拋光工藝，玉器表面緻密細膩，瑩潤凝脂，尤其是當陽光透過玉料時。陳與義 (1090-1138) 宋代詩人及政治人物，在宋史中可找到其生平。他是宋代傑出的詩人，洛陽人，出生於士族。1113年中進士，之後擔任不同職位，直至進入首都。北宋敗於金人時，他不得不南遷避難，詩歌變得更加憂國憂民。 1131年，他回到南宋杭州的宮廷繼續任職。Victoria & Albert Museum有一幅《古物圖》, 描繪了雍正帝的宮廷收藏，包括一件海棠式官窯筆洗，很可能是此次拍品的原型，而這件拍品也很可能也曾存在於雍正帝收藏中。雍正款的玉器留世極少。博物館藏品中唯一公開發表的例子似乎是保存在北京故宮博物院藏品。在中國以外的大型拍賣行中，沒有其他雍正款白玉器被出售。北京故宮博物院曾在《故宮博物院藏品大系：玉器編10》中介紹了五件雍正款玉器：青玉雙耳杯，青玉撇口碗，淺青玉杯，黑白玉碗及淺青玉洗(見《故宮博物院藏品大系：玉器編10》，北京2011年，圖146, 153, 154, 187)以及一組墨玉板指，見《故宮博物院藏品大系：玉器編9》，北京，2011年，圖版224。兩玉碗之刻款與現器之銘款均為篆書，形神一致，應出於同一人之手無疑。文獻比較：一件相近螭龍玉洗，橢圓形，見臺北故宮博物院 (藏品編號K1C003785N000000000PAB)；另一件雍正四字款綠玉筆洗見《故宮博物院藏品大系：玉器編10 》，北京2011年，237頁, no 187；北京故宮中還有兩件雍正款素面玉碗（編號 00103853 與 00102973）。
AN IMPERIAL ‘DOUBLE DRAGON’ SPINACH-GREEN JADE SEAL, THE SEAL FACE INSCRIBED IN MANCHU AND CHINESEChina, 18th century. Of large and massive square form, surmounted by a superbly articulated pair of addorsed dragons, each powerfully depicted with eyes bulging and nostrils flaring above curling whiskers and jaws bearing sharp fangs, the scales and flowing mane meticulously incised, the bodies tightly intertwined and crouching on the haunches.The seal face inscription: ‘Jiangning fudu Chenghuang zhi yin’ (‘The seal of Chenghuang in the Capital of Jiangning’), written in both Manchu and Chinese. Chenghuang, god of the boundaries, is an important deity in China who protects the local people and affairs of a village, town, or capital, both in life and death.The inscriptions incised to the sides, added in 1878: ‘Zhuchi Xianding li’ (consecrated by abbot Xianding), ‘Puren Juntong Ye Wenquan kan’ (amended by Ye Wenquan of Pu region) and ‘Guangxu san'nian zao’ (in the third year of the Guangxu reign). Ye Wenquan was an official during the Guangxu period, from Jiangsu province, who passed the imperial examination in 1890. Provenance: Nicholas Grindley, Inc., Asian Works of Art, New York, 28 September 1982 (label to side). The James and Marilynn Alsdorf Collection, Chicago, USA, acquired from the above. Over four decades, the renowned couple assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miró and Jean Dubuffet, as well as a significant number of highly important Chinese works of art. Nicholas Grindley (born 1951) is a well-known dealer and scholar of Chinese art. Since 1998 he has published two catalogs a year, and exhibited in London, New York and Hong Kong. Many works from these exhibitions are in museums and important private collections throughout the world.Condition: Good condition with old wear, some nicks and nibbling to edges and corners, the stone with natural flaws, fissures and inclusions. Fine patina.Weight: 1,678 g Dimensions: Height 8.8 cm, Width 10.1 cmThe present seal illustrates the mastery of Imperial jade craftsmanship during the Qing Dynasty, and especially the Qianlong period. It appears to be one of the better-preserved examples of Imperial lapidary work from the 18th century and is notable for its high-quality jade of pure dark green color, vigorous rendering of the dragons, and inscriptions to the sides added during the Guangxu period. Large top-quality jade stones such as in the present example were not readily available during the later Qing dynasty. For this reason, seals inherited by emperors after 1850 were sometimes re-purposed and provided with additional inscriptions on various occasions. The fine material, the fullness of the crouching body, the three-dimensionality in the facial features, and the intricately carved scales set the present seal clearly apart from the characteristic stiffness of typical Guangxu seals (see literature comparison further down below for two such seals). It is therefore concluded that despite the incised inscriptions to the top sides being dated 1878, the seal itself is from an earlier date – the Qianlong period. As opposed to the present lot, Imperial seals belonging to the Guangxu court and related officials, carved at the time, typically are of a lesser material, already reflecting the financial constraints of the period. The limited availability of good-quality jade stone during these days is demonstrated by the use of serpentine and wood in the production of Imperial seals. Several 'double-dragon' seals belonging to the Dowager Empress Cixi and made of serpentine are known, see the example sold at Christie's Paris, 14 June 2006, lot 139 (see literature comparison further down below). The reign of the Guangxu Emperor was witness to one of the most disruptive periods in the 5000-year history of China, which eventually led to the demise of the entire Qing Dynasty Empire. Naturally, these hard times saw a significant decline in both the quality of artwork created and the quality of materials available to the workshops. Literature comparison: For typical seals carved during the Guangxu period, see a wooden double-dragon seal belonging to the Guangxu Emperor, sold at Sotheby's Paris, 11 June 2009, lot 233, and a green serpentine double-dragon seal belonging to the empress dowager Cixi, sold at Christies Paris, June 14 2006, lot 139. For a seal that is stylistically related to the present lot, but created for Emperor Qianlong’s eightieth birthday, see Sotheby’s London, 4 November 2009, lot 136.Auction result comparison: Compare the present seal with a related, but slightly larger double-dragon seal, also with an inscription in Manchu and Chinese, at Sotheby’s Hong Kong, Important Chinese Art, 7 October 2015, lot 3698, bought-in at an estimate of HKD 5,000,000-7,000,000. Also compare with a double-dragon seal from the 18th century, with the seal face re-carved during the Guangxu reign for the Empress Dowager Cixi, at Sotheby’s London, Fine Chinese Ceramics and Works of Art, 16 May 2012, lot 186, sold for GBP 313,250.御制碧玉滿漢文交龍鈕中國，十八世紀。印面呈方形，立體高浮雕交龍鈕，神龍挺胸，龍首微昂，圓目張吻，平視前方，豎角橫須，鬃發飛揚，凜然神威。龍身捲曲交纏而龍首相背，龍爪緊抓印面，龍脊微隆，軀幹遒勁，威猛張揚。龍身鱗片雕琢精細。印文：印文規整，刻工精湛，滿漢雙語，江寧福都城隍之印。款識：光緒三年造；主持賢定立 ；濮人俊同葉文銓刊。葉文銓，江蘇人， 1890年光緒時期進士。來源：紐約Nicholas Grindley 亞洲藝術藝廊，1982年9月28日 (可見標簽)。美國芝加哥James and Marilynn Alsdorf 收藏，購於上述收藏。在過去的40年中，這對著名的夫婦收集了一系列非凡的藏品，其中包括一些現代藝術名人的作品，如Rene Magritte，Frida Kahlo，Joan Miró 和Jean Dubuffet，以及大量非常重要的中國藝術品。Nicholas Grindley 出生於1951，是知名中國藝術學者與商人。自1998 年起他出版了兩本畫冊並在倫敦、紐約和香港舉辦展覽。這個展覽裏的很多展品曾在全球重要博物館和私人收藏展出過。圖片：1950年James 與 Marilynn Alsdorf在邁阿密圖片：Nicholas Grindley品相：狀況良好，有舊磨損，輕微划痕，邊角磕損，玉石有天然裂縫和內含物。 良好的包漿。重量： 1,678 克尺寸：高8.8 厘米, 寬10.1 厘米這枚龍鈕碧玉章充分體現了清代對玉雕工藝的精通，並且似乎是該時期御用文物保存最完好的例子之一，純正的深綠色玉石，生動交龍紋以及兩側精湛的刻字。在本例子中，大型的優質玉石在19世紀後期並不容易獲得。 出於這個原因，有時會重新利用繼承的印章，並在各種場合增加額外的文字。 精美的材料，精湛的雕工，明顯不同於典型的光緒印章的特有硬度（請參閱下面的文獻比較，進一步了解這兩種印章 ）。 因此得出的結論是，儘管上面刻有切刻的銘文是1878年，但封印本身必須是較早的日期，乾隆時期。相反的是，光緒朝廷和官員的印章材料等級較次，反映了該時期的財務限制，因此優質玉石的供應有限。這可通過使用蛇紋石和木料來生產皇家印章的現象來佐證。 慈禧太后“雙龍”印章是眾所周知的，請參見巴黎佳士得於2006年6月14日139號拍出的示例（請參見下面的文獻比較）。文獻比較: 光緒時期的印章以光緒帝一件木製雙龍印售于巴黎蘇富比，2009年6月11日 lot 233；慈禧的蛇紋石雙龍印售于巴黎佳士得2006年6月14日 lot 139。一件乾隆八十歲閑章見倫敦蘇富比2009年11月 4日，lot 136。拍賣結果比較：一件相近但更大的滿漢文雙龍印見香港蘇富比 Important Chinese Art拍場2015年10月7日，lot 3698, 估價HKD 5,000,000-7,000,000。慈禧雙龍印見倫敦蘇富比 Fine Chinese Ceramics and Works of Art拍場2012年5月16日 lot 186, 售價GBP 313,250。
A WHITE AND GRAY JADE ‘HEHE ERXIAN’ GROUP, 17TH CENTURYChina. The twin immortals of harmony and union carved in openwork standing side by side with cheerful expressions and wearing long flowing robes. One holds a large lotus stem extending over both their shoulders and the other a lobed box and cover. The stone of a translucent white tone with gray speckles and shadings as well as opaque white patches.Provenance: British private collection.Condition: Excellent condition with minor wear.Weight: 196.1 gDimensions: Height 7.6 cmAuction result comparison: Compare with a closely related pale celadon and russet jade Hehe Erxian group of larger size at Sotheby’s New York in Chinese Art from The Metropolitan Museum of Art: The Florence and Herbert Irving Gift on 10 September 2019, lot 106, sold for USD 12,500.十七世紀灰白玉和合二仙中國。和合二仙開心地並肩站立，著長袍。 一個手裏拿著大蓮花莖擱在肩膀上，另一個拿著一個盒子。 半透明白色玉石，帶有灰色斑點和紋理以及不透明的白色斑點。來源：英國私人收藏 品相：狀況極佳，小磨損。 重量：196.1 克 尺寸：高7.6 厘米 拍賣結果比較：一件青白色帶皮且更大尺寸的和合二仙見紐約蘇富比Chinese Art from The Metropolitan Museum of Art: The Florence and Herbert Irving Gift 拍場2019年9月10日lot 106, 售價USD 12,500.
A PALE CELADON, GRAY AND RUSSET JADE FIGURE OF DONGFANG SHUO, QING DYNASTYChina, 18th-19th century. The immortal carved standing with a double gourd on the ground before him, holding a peach on a leafy stem in one hand and a lingzhi sprig raised in the other, wearing a long flowing robe and hat, the face with a benevolent expression. The stone of a translucent pale celadon tone with opaque shadings of gray and russet. With a matching wood base. (2)Provenance: French private collection.Condition: Good condition with some wear, a small chip to the brim of the hat, microscopic nibbles here and there.Weight: 109.7 gDimensions: Height 7.8 cmDongfang Shuo (c. 160-93 BC) was a Han Dynasty scholar-official, fangshi (‘master of esoterica’), author, and court jester to Emperor Wu (reigned 141-87 BC). In Chinese mythology, Dongfang is considered a Daoist xian (immortal) and the spirit of Venus who incarnated as a series of ancient ministers including Laozi.The legend of Dongfang Shuo has him attempting to steal one of the famous 'peaches of longevity' from the orchard of Xi Wangmu, the Queen Mother of the West, whose palace was believed to be in the Kunlun Mountains. The peaches were believed to ripen only once in 3,000 years and to confer immortality on anyone who ate them.Literature comparison: Compare a celadon jade figure of Dongfang Shuo, attributed to the 18th-19th century, in the collection of the Victoria & Albert Museum, London, acc. no. 1633&A-1882. Another, attributed to the late Ming/early Qing period, is illustrated in Chinese Jades from Han to Ching, Asia Society, New York, 1980, pl. 101. See also a white jade figure attributed to the late Ming period illustrated in Jades from China, The Museum of East Asian Art, Bath, 1994, cat. no. 101. For a late Qing example, see one in the collection of the Asian Art Museum, San Francisco, included in Michael Knight, He Li, and Terese Tse Bartholomew, Later Chinese Jades: Ming Dynasty to Early Twentieth Century, San Francisco, 2007, pl. 324.Auction result comparison: Compare with a related celadon jade figure of Dongfang Shuo, but of considerably larger size, at Sotheby’s New York in Junkunc: Chinese Jade Carvings on 22 September 2020, lot 236, sold for USD 30,240. Compare also with a related but much larger and earlier chicken bone jade of the same immortal, dated to the 16th/17th century, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 17 September 2008, lot 294, sold for USD 10,000. For a similar jade figure of a gentleman, dated to the 19th/20th century, see Christie’s London in Chinese Ceramics, Works of Art and Textiles on 16 May 2014, lot 1075, sold for GBP 7,500.清代青白玉帶皮東方朔中國，十八至十九世紀。東方朔身前有一個大葫蘆，他一隻手拿著桃子，另一隻手舉著一隻靈芝，頭戴長袍和帽子，表情慈祥。玉石為半透明的淡青色，帶有不透明的灰色和赤褐色紋理。 相配的木底座。 來源：法國私人收藏 品相：狀況良好，有些磨損，帽子邊緣有小磨損，局部有細微的磕損。 重量：109.7 克 尺寸：高7.8 厘米 拍賣結果比較：一件相近青玉東方朔但尺寸更大，見紐約蘇富比Junkunc: Chinese Jade Carvings 拍場2020年9月22日 lot 236, 售價USD 30,240. ；一件相近但尺寸更大更早的雞骨玉東方朔，十六至十七世紀，見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2008年9月17日lot 294, 售價USD 10,000. ；一件相似人像，十九至二十世紀，見倫敦佳士得 Chinese Ceramics, Works of Art and Textiles 拍場2014年5月16日 lot 1075, 售價GBP 7,500.
A RUSSET AND WHITE JADE ‘BUDDHIST LION’ WATER POT AND COVER WITH MATCHING HARDWOOD BASE, LATE MING TO EARLY QINGChina, 17th-18th century. The stone of an even white tone with amber and russet inclusions, finely carved as a large Buddhist lion, a cub at its side, the matching cover in the form of a smaller cub climbing on its back. The matching hardwood base shows a third (!) cub lying on its back, the mother lion’s front paw resting on its belly. (2)Provenance: Leslie Gifford Kilborn, USA, and thence by descent in the same family. Leslie Gifford Kilborn (1895-1972), son of Retta and Omar Kilborn, was born in Sichuan, China. He greatly advanced missionary work in Western China, was the author of multiple texts and served as dean of the College of Medicine of the West China Union University. In 1952, he left China and became a professor of physiology at the University of Hong Kong.Condition: Excellent condition with minor wear. The stone with natural fissures, some of which may have naturally developed into small cracks over time. One of the wooden cub’s paws is lost.Weight: 294.2 g (the jade)Dimensions: Height 11 cm (incl. base)Expert’s note: It is very rare to find such an ensemble with a matching cover and base, with no less than four Buddhist lions, all still together after so many years!Auction result comparison: Compare with a related celadon jade water pot and cover, also with a lion cub finial but missing the matching base, at Christie’s London in Chinese Ceramics and Works of Art on 14 May 2013, lot 122, sold for GBP 7,500.明末清初白玉雕太獅少獅水丞 中國，十七至十八世紀。玉石均勻白色調，帶有琥珀色和赤褐色的內沁，精細雕刻為太獅，側面有少獅，背面則飾有較小的幼崽。 相匹配的硬木底座顯示出第三隻小獅子躺在其後部，母獅的前爪擱在其腹部上。 來源：美國Leslie Gifford Kilborn，自此保存在同一家族. Leslie Gifford Kilborn (1895-1972), Retta and Omar Kilborn的兒子, 出生於中國四川。他極大地促進了中國西部的傳教工作，是多篇著作的作者，還曾擔任過華西聯合大學醫學院的院長。 1952年，他離開中國，成為香港大學生理學教授。圖片：Leslie Gifford Kilborn (1895-1972, 左起第三位) 品相：狀況極佳，磨損小。 具有天然裂縫的石材，隨著時間的流逝，其中一些可能會自然發展成小裂縫。木製幼崽的一隻爪子丟失了。 重量：玉 294.2 克 尺寸：含底座高 11 厘米 專家注釋: 很難找到這樣一個擁有相配的蓋子和底座的水丞，並且不少於四隻獅子。經過這麼多年，它們仍然在一起！拍賣結果比較：一件相近青玉雕刻的帶蓋水丞，同樣有一隻幼獅，但沒有相應底座，售于倫敦佳士得Chinese Ceramics and Works of Art 拍場，2013年5月14日，lot 122, 售價 GBP 7,500。
A WHITE JADE ARCHAISTIC PHOENIX-FORM INCENSE HOLDER, QIANLONGChina, 1735-1796. Deftly carved, the archaistic bird with a leafy vine in its beak and a pomegranate below, its head elegantly curved in an S-shape, the wings finely incised with plumage, surmounted by a flattened fanggu vase decorated with taotie masks and stiff leaves in relief. The stone of an even white to pale celadon tone with dark speckles and lighter inclusions.Provenance: Belgian private collection. Condition: Excellent condition with minor wear and few minuscule nicks.Weight: 282.1 g (the jade) and 203.3 g (the base)Dimensions: Height 10.3 cm (incl. base) and 8.1 cm (excl. base), Length 12 cm (the jade) and 12.5 cm (the base)With a matching but later gilt bronze base with ruyi-head feet and decorated with the Three Friends of Winter: pine, bamboo, and plum. (2)Literature comparison: For a closely related gilt bronze stand, together with a smaller white jade incense holder carved as two boys holding a vase, see Sotheby’s Hong Kong in China, 5000 Years, on 5 June 2020, lot 416.Auction result comparison: Compare with a related white jade archaistic phoenix-form pouring vessel of slightly larger size at Christie’s New York in Fine Chinese Ceramics & Works of Art on 22 March 2007, lot 97, sold for USD 84,000.乾隆白玉鳳形香插 中國，1735-1796年。精心雕琢的鳳凰，喙上叼著纏枝藤蔓，其中可見一個石榴。鳳凰頭部優雅彎曲，翅膀細緻地雕刻成羽毛，背上立著扁平的方觚瓶，瓶壁雕刻著饕餮紋與纏枝紋 。玉石為白色至淺青瓷色調，内含深色斑點和較淺的絮狀物。 來源：比利時私人收藏 品相：狀況極佳，磨損很小，細微划痕。重量：玉282.1 克，底座203.3 克 尺寸：縂高10.3 厘米，不含底座 8.1 厘米, 玉長12 厘米，底座12.5 厘米 拍賣結果比較：一件相似白玉鳳形壺售于紐約佳士得Fine Chinese Ceramics & Works of Art 拍場2007年3月 22日，lot 97, 售價USD 84,000.
A RARE AND IMPORTANT TERRACOTTA HEAD OF BUDDHA SHAKYAMUNIAncient region of Gandhara, 4th century. The large head is superbly modeled with a serene and meditative expression, almond-shaped eyes beneath finely arched brows, distinct urna, aquiline nose, and full lips forming a gentle, benevolent smile. The hair is in tight curls with a dome-shaped ushnisha on top.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the dating of this piece. Some firing flaws, minor nicks and dents, material loss to exposed areas, all hardly noticeable due to a light-colored varnish coating which was applied a long time ago. Overall, fully consistent with the age of this sculpture.Scientific Analysis Report: A Thermoluminescence sample analysis has been conducted by Oxford Authentication, TL test no. N116n6, dated 18 October 2016, and is consistent with the suggested period of manufacture, a copy of the thermoluminescence analysis report accompanies this lot (the original is lost).Weight: 8.7 kg (total)Dimensions: Height 35 cm (the head) and 49.5 cm (incl. base)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 influence. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired ceramic instead of stone such as schist was 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 an expensive sculpture would have been a highly meritorious Buddhist offering. Only very few terracotta statues from this period and of this size have ever been recorded.The masterfully carved head of Buddha is a fine example of the rich cultural interplay and hybrid art styles of the Gandharan empire in the first centuries CE and embodies an idealized, transcendent male form of an earthly prince. Based on Greco-Roman prototypes, his elegant neck is slightly elongated, and his heavy eyelids frame a pair of almond-shaped eyes, his forehead remaining perfectly uncreased, and there is no tension in his rosebud mouth. While activated with energy, movement and life, the Buddha is simultaneously in a state of otherworldly tranquility.The sculptor has also skillfully referenced Buddha’s earlier history as Prince Siddhartha by carving openings in the elongated earlobes where, as a prince, he would have worn heavy jewelry. This detail reminds the viewer that, while the Prince’s past was centered on excess, the absence of material goods – jewelry and fine clothing – emphasizes the Buddha’s renunciation of worldly attachments.Compare the face of this Buddha with that of another in the Peshawar Museum (see H. Ingholt, Gandharan Art in Pakistan, 1957, p.113, fig.223). In both examples, the artist has skillfully carved and polished the face to transform it into human skin. While the face of the published image has been carved in a rather formulaic manner, the present work has been carved by a master of naturalism. The softly rounded cheeks give way to hollows on either side of the skin, the upper and lower lids are nearly spherical to emphasize the eyes, and the pupils are not carved. The quiet contours and gentle shadows model the flawless structure of the face, encapsulating the eternal youthfulness of the Buddha. Almost androgynous in appearance, the Buddha transcends gender, embodying the perfect balance of masculinity and femininity.This head has a high aesthetic value, illustrious provenance, and is in a beautifully preserved condition. It is an important and rare masterpiece of Gandharan art.Mounted on an associated wood base. (2)Auction result comparison: Compare with a related but smaller (28 cm) terracotta head of a Bodhisattva at Christie’s New York, Indian and Southeast Asian Art, 19 March 2013, lot 212, sold for USD 75,000, and a related but much smaller (20.3 cm) terracotta head of a Buddha at Sotheby’s New York, Images Of Enlightenment: Devotional Works Of Art And Paintings, 17 September 2014, lot 410, sold for USD 62,500.罕見重要陶土釋迦牟尼頭像健陀羅，四世紀。大型佛頭造型優美，沉靜冥思，眉毛下方拱形杏仁狀眼睛，眉間白毫，豐滿的鼻子，溫柔仁慈的笑容。 頭髮緊卷，呈螺髻。來源：Arthur Huc (1854-1932)收藏。Marcel Huc繼承，自此保存在同一家族至今。Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。 同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。 此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。 GANDHARA”（二十二個陶土頭像系列，健陀羅）。隨附清單和封面副本。圖片：Arthur Huc (1854-1932)品相：狀況很好，尤其是考慮到這件作品的年代。一些燒製缺陷，輕微的刻痕和凹痕，裸露區域有材料缺損。表面的清漆應爲很久之前所塗，所以現在已經基本看不出來了。總體而言，狀況與該雕塑的年代相符。科學檢測報告：隨附一份牛津熱釋光檢測鑒定報告（原件遺失）。監測報告 no. N116n6，2016年10月18日，與目前斷代一致。重量：縂8.7 公斤尺寸：頭高35 厘米 ；縂49.5 厘米 這件頭像有很高的美學價值，出眾的外觀，並且保存完好，堪稱是健陀羅藝術裏的重要且罕見的傑作。底座。拍賣結果比較：一件相近但稍小 (28 厘米) 陶土菩薩頭像見紐約佳士得Indian and Southeast Asian Art拍場2013年3月19日 lot 212, 售價USD 75,000, ；一件相近但更小 (20.3 厘米) 的佛陀陶土頭像見紐約蘇富比Images Of Enlightenment: Devotional Works Of Art And Paintings拍場2014年9月17日 lot 410, 售價USD 62,500.
A LIFE-SIZED TERRACOTTA HEAD OF VAJRAPANI IN THE FORM OF HERACLESAncient region of Gandhara, 4th-5th century. Powerfully modeled with a stern expression, framed by dense facial hair arranged into long voluminous curls, wavy hair, a billowing moustache and full beard. The furrowed brow, indication of age, and piercing gaze reflect an ancient yet astonishingly present taste for naturalism.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot.Condition: Excellent, almost unique condition, fully consistent with the age of the sculpture, some firing flaws and material loss to exposed areas, hardly noticeable due to a light-colored varnish coating which was applied a long time ago.Scientific Analysis Report: A Thermoluminescence sample analysis has been conducted by Oxford Authentication, TL test no. N116n15, dated 18 October 2016, and is consistent with the suggested period of manufacture, a copy of the thermoluminescence analysis report accompanies this lot (the original is lost).Weight: 8.3 kg (total)Dimensions: Height 29.5 cm (the head) and 42.5 cm (incl. base)This large terracotta head is an extremely rare legacy of the ancient kingdom of Gandhara, encapsulating the rich cultural interplay and hybrid art styles derived from Hellenistic and Indian influences. It depicts the bodhisattva Vajrapani, the protector of Buddhism, represented with the iconography of the Greek god Hercules, who was widely venerated as a hero and savior in western Asia during the early centuries of the present era. As a great champion, yet one who nevertheless understood the human condition, Hercules was easily assimilated into Mahayana Buddhism. Like other Gandharan bodhisattvas, he is depicted as an earthly prince with his aristocratic bearing and posture. However, his heavily moustached face belongs to the Indian world, while the naturalistic face is reminiscent of Greco-Roman sculpture.The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influence. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired ceramic instead of stone such as schist was popular during the later Gandharan period from the 4th to the 6th centuries. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering. Only very few terracotta statues from this period and of this size have ever been recorded.Mounted on an associated base. (2)Literature Comparison: Compare with a terracotta head of Dionysos (The God of Wine and Divine Intoxication), 4th–5th century, strongly resembling the present lot, in the collection of the Metropolitan Museum of Art, New York (accession no. 1979.507.2).Auction result comparison: Compare with a closely related terracotta statue of Vajrapani in the form of Hercules at Sotheby’s Hong Kong in Curiosity V, 02 April 2019, lot 3105, bought in at an estimate of HKD 1,500,000-1,800,000. Also compare with a closely related head of Vajrapani in the form of Heracles, sold in these rooms on 25 April 2020, lot 427, for EUR 45,500.陶土執金剛神頭像呈赫拉克勒斯形象健陀羅，四至五世紀。表情嚴肅，濃密的鬍鬚，長捲髮。 眉頭緊皺，年齡的顯示和尖利的目光反映出古老而又令人驚訝的自然主義品味。來源：Arthur Huc (1854-1932)收藏。Marcel Huc繼承，自此保存在同一家族至今。Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。 同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。 此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。 GANDHARA”（二十二個陶土頭像系列，健陀羅）。隨附清單和封面副本。圖片：Arthur Huc (1854-1932)品相：狀況極佳，非常獨特，與雕塑的年齡相符，存在一些燒製瑕疵，裸露區域材料缺失，多年前的淺色清漆塗層已經幾乎看不出。科學檢測報告：隨附一份牛津熱釋光檢測鑒定報告（原件遺失）。監測報告 no. N116n15，2016年10月18日，與目前斷代一致。重量：縂8.3 公斤尺寸：頭高29.5 厘米，總 42.5厘米底座。拍賣結果比較：一件相近頭像見香港蘇富比Curiosity V拍場2019年4月2日lot 3105, 估價HKD 1,500,000-1,800,000. ；另一件十分相似的頭像在此拍賣行2020年4月25日lot 427, 售價 EUR 45,500.
A PALE CELADON JADE ‘PHOENIX’ EWER, GONG, QING DYNASTYChina, 18th century. Crisply carved in shallow relief on both sides of the flattened body with the wings of an archaistic phoenix, its head carved in high relief below the spout suspending a loose ring, a sinuously coiled chilong with furcated tail clambering through the scroll-shaped handle, the mouth and foot rim with key-fret bands and the foot with a geometric pattern. Provenance: European private collection.Condition: A minimal loss to the base, otherwise in very good condition with minor wear, the stone with natural fissures, some of which may have developed into small hairline cracks over time. Weight: 367.7 gDimensions: Height 12.4 cm The translucent stone of a pale celadon tone with milky white and russet inclusions as well as few dark speckles. The Qianlong emperor’s great love of jade combined with his passion for antiques resulted in his commissioning significant numbers of archaistic jade items for his court. The vessel from which the present lot takes inspiration is the archaic bronze gong. Archaic bronze examples would normally have been accompanied by a cover in zoomorphic form, such as an example illustrated in the woodblock printed catalog Xiqing Gujian, ‘Inspection of Antiques’ (fig. 1). However, this exquisite white jade version was evidently produced without a cover. It is the ultimate testament of a consummate master craftsman to have been able to conceive and combine elegant form with confident subtly defined motifs, working the pure white raw material to its best and fullest advantage. Only few other examples of this rare form and outstanding quality are known, most of which are preserved in the Qing court collection. A white jade gong of wider proportion (16,6 cm high, 18 cm wide) is in the Palace Museum, Beijing, illustrated in Zhongguo yuqi quanjj – 6 – Qing, Shijiazhuang, 1991, no. 37, which is also made without a cover. For a white jade gong with cover, compare to two examples in the National Palace Museum, Taipei, one of which is closely modeled after the bronze original in form and decoration (14,4 cm high, 16.6 cm wide), the other similar in style to the present ewer but of a more flattened form, see The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch’ing Court, Taipei, 1997, nos. 13 and 20, respectively. Auction result comparison: Compare with a related but smaller ewer, with a cover, at Sotheby’s London in Important Chinese Art on 8 November 2017, lot 33, sold for GBP 18,750. Also compare with a much larger version of the present ewer, in white jade, at Christies Hong Kong, in Leisurely Delights, 29 May 2019, lot 3027, sold for HKD 7,325,000.清代青白玉鳳飾龍抱觥中國，十八世紀。仿古彝器，以青銅器觥為其造型基礎，扁筒式，口稍敞，橢圓形足，方折拐子形鋬，一螭龍自其中鑽過，其首倚於鋬上，造型無比生動。流口下雕一鳳首，套一活環。身腹兩側淺浮雕夔鳳紋，下為蟬紋。來源：歐洲私人收藏 品相：底座稍有損失，除此之外狀態很好，且磨損很小，石料内天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：367.7 克尺寸：高12.4 厘米 淡淡的青色半透明石頭，帶有乳白色和赤褐色的內含物，幾乎沒有深色斑點。拍賣結果比較：一件稍小的玉蓋壺見倫敦蘇富比Important Chinese Art 拍場，2017年11月8日 lot 33, 售價GBP 18,750.
AN IMPORTANT STONE STELE OF PARVATI WITH HER SONS GANESHA AND SKANDALate Kushan Empire, 4th-5th century. The finely carved relief panel shows three main figures, each standing on a double lotus base, with Parvati in a formal position holding floral attributes in her four hands, accompanied by her sons, the elephant-headed Ganesha and the god of war Skanda, also known as Karttikeya, all on a rectangular pedestal bearing a distinct circular lotus frieze.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as part of a group of Gandhara stones as follows: “Seconde pièce cave- 32 pierres similaires Gandhara emballes- Bouddha et divers. (Voir suite)” (second room basement: 32 similar Gandhara stones wrapped- Buddhas and various. (see followup). A copy of the inventory list and cover page are accompanying this lot.Condition: Excellent condition, fully consistent with the age of the sculpture. Some loss to exposed areas, smaller dents and nicks, structural cracks, all hardly noticeable due to a light-colored varnish coating which was applied a long time ago.On a wooden base. (2)Weight: 65 kgDimensions: Height 76 cm (excl. base) and 95 cm (incl. base)Parvati is the perfection of beauty. In the present statue, she is shown with a benign facial expression, large eyes, round breasts and a narrow waist, wearing a diaphanous dhoti with schematized folds at the lower part. She is richly bejeweled, wearing her hair in an elaborate coiffure. Parvati is the daughter of Himavat, the embodiment of the Himalayan Mountains, and the consort of Shiva, one of Hinduism's most important gods. Her name means “Daughter of the Mountain.” Figuratively and literally, she is born from the stone itself and flanked by her two sons, the elephant-headed Ganesha on her right, and Karttikeya (also known as Skanda) on her left. In her four hands she holds various flowers as attributes. Some regard Kali as Parvati’s fearsome aspect while others consider Durga to be the manifestation that the goddess assumes to fight evil. In some ways Parvati can be regarded as the embodiment of the divine feminine, “The Great Goddess.”The present stele is carved from buff stone and undoubtedly was once positioned in a niche within a temple and served as a focus of worship.Literature comparison: Compare with a stone panel of Parvati and her sons in the collection of the Asian Art Museum, San Francisco, USA, object no. B64S6, showing the same compositional concept and iconography, but dating from the Pala empire, 8th-12th century.Auction comparison: Compare with a green stone relief of Shiva and Parvati from the 12th century at Christie’s New York in Indian & Southeast Asian Art on 21 March 2008, lot 746, sold for USD 79,000.
A LARGE WESTERN ASIATIC CHLORITE BOWL, 3RD MILLENNIUM BCThe deep rounded sides rising from the flat base to the slightly incurved rim, the interior finely carved in relief with three registers, the upper and lower depicting confronting horses with a tall, flame-like flower in between, the central register with several hounds attacking an antelope.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Quatre pots anciens en pierre sculptee avec decor d’incrustations ivoire ou os? Haut: 21 cm à 30, Etiquettes: Massoudi ou Iran Nord?” (Four old carved stone jars with inlays of ivory or bone? Height: 21 cm to 30, labels: Massoudi or Northern Iran?). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the dating of this piece. Scratches, nicks, losses, cracks, erosion, encrustations. Remnants of old varnish.French Export License: Certificat d’exportation pour un bien culturel Nr. 184685 dated 9 June 2017 has been granted and is accompanying this lot.Weight: 2,509 g Dimensions: Diameter 29.5 cmAuction result comparison: Compare with a related but earlier Western Asiatic bronze bowl, dated c. 8th-6th century BC, at Christie’s London in Antiquities on 30 April 2008, lot 24, sold for GBP 11,250.公元前三千年大型西亞綠泥石碗深圓的側面，平底，邊緣略微彎曲，碗內精細浮雕圍獵場景，馬群、獵犬和羚羊，以及一朵大蓮花。 來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。在目錄清單裏這麽描述本拍品：一組4件鑲嵌著象牙或骨質的罐，高21-30厘米，Massoudi 或北伊朗。隨附目錄清單副本及其封面。 圖片：Arthur Huc (1854-1932) 品相：狀況良好，尤其是在考慮到它的年代時。 划痕、缺口、缺損、裂縫、腐蝕和結殼。舊時清漆殘留。 法國出口證書：隨附2017年6月9日出具的Certificat d’exportation pour un bien culturel 證書，編號 184685 。 重量：2,509 克 尺寸：直徑 29.5 厘米 拍賣結果比較：一件相近但公元前八至六世紀西亞銅碗見倫敦佳士得Antiquities 拍場2008年4月 30日 lot 24, 售價GBP 11,250.
A WESTERN ASIATIC CHLORITE ‘SNAKE’ VESSEL, 3RD MILLENNIUM BCWith a slightly domed base and tapering sides rising to a flat everted rim, carved in relief to either side with a large, archaic snake coiled around a bull with an elongated body and large oval eyes, divided by incised palm leaves, the beasts‘ eyes neatly inlaid in bone, the snake with many circular recesses to take inlays.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Quatre pots anciens en pierre sculptee avec decor d’incrustations ivoire ou os? Haut: 21 cm à 30, Etiquettes: Massoudi ou Iran Nord?” (Four old carved stone jars with inlays of ivory or bone? Height: 21 cm to 30, labels: Massoudi or Northern Iran?). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the dating of this piece. Scratches, nicks, losses, minor fills, encrustations, most inlays lost (except for the animals’ eyes). Remnants of old varnish.French Export License: Certificat d’exportation pour un bien culturel Nr. 184684 dated 9 June 2017 has been granted and is accompanying this lot.Weight: 3,644 g Dimensions: Height 16 cm, Diameter 30 cmLiterature comparison: A related chlorite vessel with two zebu, of smaller size, dated 2600-2350 BC and attributed to Al-Rafiah, on the east coast of the island of Tarut, is in the collection of the Metropolitan Museum of Art, accession number 2014.717.Auction result comparison: Compare with a related but considerably larger chlorite vessel, dated c. 2500-2600 BC, at Christie’s New York in Antiquities on 8 June 2001, lot 332, sold for USD 58,750.公元前三千年西亞綠泥石蛇紋罐平底略凸，側面逐漸變細，罐表面浮雕纏繞著公牛的大蛇，細長的身體和橢圓形的大眼睛，間隔蕉葉紋，獸眼鑲嵌著骨珠，蛇身帶有許多圓形凹槽，曾經有鑲嵌。 來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。在目錄清單裏這麽描述本拍品：一組4件鑲嵌著象牙或骨質的罐，高21-30厘米，Massoudi 或北伊朗。隨附目錄清單副本及其封面。 圖片：Arthur Huc (1854-1932) 品相：狀況良好，尤其是在考慮它的年代時。 划痕、缺口、缺損、小修和結垢，大部分鑲嵌物丟失（動物的眼睛除外）。 舊清漆餘留。 法國出口證書：隨附2017年6月9日出具的Certificat d’exportation pour un bien culturel 證書，編號. 184684。 重量：3,644 克 尺寸：高16 厘米, 直徑30 厘米 拍賣結果比較：一件相近但更大的公元前2500-2600年的綠泥石罐見紐約佳士得Antiquities 拍場2001年6月 8日 lot 332, 售價USD 58,750.
A LARGE AND HEAVY WESTERN ASIATIC CHLORITE ‘SCORPION’ JAR, 3RD MILLENNIUM BCWith a slightly domed circular base, the sides with two semicircular handles and tapering toward the flat everted rim, finely carved with female figures with bone-inlaid eyes holding vertically hanging scorpions by the tail in each hand, below a band of horizontally positioned scorpions, the circular and oval tail segments with deep recesses to take inlays.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Quatre pots anciens en pierre sculptee avec decor d’incrustations ivoire ou os? Haut: 21 cm à 30, Etiquettes: Massoudi ou Iran Nord?” (Four old carved stone jars with inlays of ivory or bone? Height: 21 cm to 30, labels: Massoudi or Northern Iran?). A copy of the inventory list and cover page are accompanying this lot.Condition: Good condition, especially when considering the dating of this piece. Scratches, nicks, small losses, encrustations, cracks, minor old fills, most inlays lost (except for the figures’ eyes). Remnants of old varnish.French Export License: Certificat d’exportation pour un bien culturel Nr. 184681 dated 9 June 2017 has been granted and is accompanying this lot.Weight: 11.9 kg Dimensions: Height 22.5 cmAuction result comparison: Compare with a related chlorite jar from the same period, decorated with hybrid scorpion-men, with similar recesses for inlays, but of much smaller size (7.3 cm high), at Christie’s London in Antiquities on 15 May 2002, lot 265, sold for GBP 19,975.公元前三千年大型西亞綠泥石蠍子紋罐圓底微凸，肩部側面雙耳。罐子裝飾著女性人物，雙手提著蠍子的尾巴。頸部蠍子紋飾帶有著圓形和橢圓形深凹口可以鑲嵌寶石。 來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。在目錄清單裏這麽描述本拍品：一組4件鑲嵌著象牙或骨質的罐，高21-30厘米，Massoudi 或北伊朗。隨附目錄清單副本及其封面。 圖片：Arthur Huc (1854-1932) 品相：狀況良好，尤其是在考慮到這件拍品的年代。 划痕、缺口、小缺損、結垢和裂縫，小修，大部分鑲嵌物丟失（人物的眼睛除外）。殘留的舊清漆。 法國出口證書：隨附2017年6月9日出具的Certificat d’exportation pour un bien culturel 證書，編號 184681 。 重量：11.9 公斤 尺寸：高22.5 厘米 拍賣結果比較：一件同一年代的綠泥石罐，蠍子紋，相似鑲嵌物，但尺寸更小 (高7.3 厘米), 見倫敦佳士得Antiquities 拍品2002年5月15日 lot 265, 售價GBP 19,975.
A SPINACH-GREEN JADE RUYI SCEPTER, MID-QINGChina, 18th century. Carved in the form of a lingzhi fungus, with a bat perched on the head and a chilong clambering up the stem amidst smaller lingzhi shoots. The stone is of a deep spinach-green tone with some darker speckles.Provenance: Roger Keverne, London, 2012. The Lenora and Walter F. Brown Collection, San Antonio, Texas, acquired from the above and thence by descent in the same family. Walter F. Brown (1930-2014) was an independent oil and gas producer. He founded Delray Oil Inc. and W. F. Brown Exploration Ltd. of Canada. The Browns began donating their collection of Asian works of Art to the San Antonio Museum of Art in the 1980s. In 2005, the museum honored the couple for their ongoing commitment by naming their new expansion the ‘Lenora and Walter F. Brown Asian Wing’.Published: Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics - Winter Exhibition, London, 2012, no. 84.Condition: Excellent condition with minor wear, some minuscule nicks, one crack with an old repair (invisible to the naked eye but inspected under strong blue light). The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 345.8 gDimensions: Length 36.2 cmWith an old Chinese silk stand. (2)As Roger Keverne explains, the present scepter relates closely to one presented by the Qianlong Emperor to Sir George Staunton in 1793, now in the collection of the Victoria and Albert Museum. Sir George Staunton (1737-1801) was Minister Plenipotentiary to the 1792 Macartney Embassy to Beijing. The Staunton ruyi scepter is illustrated in “Encounters: The Meeting of Asia and Europe 1500 -1800” by Jackson and Jaffer, fig. 7.2, page 94. William Alexander accompanied Lord Macartney on the mission and his drawing of the Staunton scepter is illustrated in “Image of China: William Alexander” by Legouix, pl. 44, page 62. It is noted there that the scepter was one of three presented by the Emperor Qianlong. The other two were given to Lord Macartney, one for himself and the second for King George III. The drawing is in the collection of the British Museum, registration number 1865,0520.272. It is therefore possible that the present scepter is the one that was presented by Emperor Qianlong to Lord Macartney, while the third scepter most likely remains in the Imperial household and collections, handed down from George III, who was King of England from 1760-1801.Literature comparison: For other similar examples, see Auspicious Ju-i Scepters of China, no. 17, p. 90, in the collection of the National Palace Museum, Taipei; Kerr, Immortal Images: The Jade Collection of Margaret and Trammell Crow, p. 26; Keverne, Jade, fig. 127, p. 178; Nott, Chinese Jade throughout the Ages: A Review of its Characteristics, Decoration, Folklore and Symbolism, pl. XLVI; and Palace Museum, Compendium of Collections in the Palace Museum: Jade, vol. 8, no. 73, p. 102.Auction result comparison: Compare with a related spinach-green jade ruyi scepter at Christie’s in Fine Chinese Ceramics & Works of Art Including Jades from the Fine Arts Museums of San Francisco on 18 March 2009, lot 412, sold for USD 25,000.清代中期碧玉靈芝如意 中國，十八世紀。如意首作鏤雕靈芝形，內雕一蝙蝠，柄作靈芝莖狀，上雕小靈芝數朵與螭龍。如意、靈芝與蝙蝠相伴出現有福壽雙全的寓意。玉石成深綠色的菠菜色，有深色斑點。此如意玉質細膩溫潤，整器以靈芝造型，浮雕與局部鏤雕手法相結合，如意首部琢一大靈芝頭，長柄靈芝枝葉纏繞，多處鏤空，甚為玲瓏，表現出靈芝的肌理質感，更顯古樸自然。 來源：倫敦Roger Keverne, 2012。德克薩斯州聖安東尼奧市Lenora and Walter F. Brown收藏，從上述收藏獲得併自此保存在同一家族中的。Walter F. Brown（1930-2014）是一家獨立的石油和天然氣生產商。 他創立了Delray Oil Inc.和加拿大W. F. Brown Exploration Ltd.。 Brown一家在1980年代開始將其亞洲藝術品收藏捐贈給San Antonio Museum of Art博物館。 2005年，博物館將新展館名字命名為“ Lenora and Walter F. Brown Asian Wing”，以表彰這對夫婦的不懈努力。圖片：Walter F. Brown (1930-2014) 出版：Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics - Winter Exhibition, London, 2012, no. 84. 品相：狀況極佳，輕微磨損，一些微小的刻痕，一條裂縫舊時已修復（肉眼看不見，但在強烈的藍光下檢查過）。具有天然裂縫的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：345.8 克 尺寸：長36.2 厘米 配置中國絲質底座。 正如Roger Keverne所説，本如意與乾隆皇帝於1793年贈予Sir George Staunton（現由維多利亞和阿爾伯特博物館收藏）密切相關。Sir George Staunton（1737-1801）是1792年馬卡特尼（Macartney）駐北京大使館的全權代表。Sir George Staunton 的如意可見Jackson和Jaffer 所著的“Encounters: The Meeting of Asia and Europe 1500 -1800”，參見圖7.2頁，第94頁。William Alexander陪同 Macartney勳爵，他曾繪製了Sir George Staunton如意，見Legouix 所著的“Image of China: William Alexander”，圖44，第62頁。在那裡提到，此如意是乾隆皇帝所贈三件如意中的一件，另外兩件分別送給了Macartney勳爵，另一件給了喬治三世國王。該圖在大英博物館收藏，編號1865,0520.272。因此，現在的如意很可能是乾隆皇帝送給馬卡特尼勳爵的，而第三只很可能仍留在皇室和收藏中，由1760-1801年的英格蘭國王喬治三世傳世。 文獻比較: 一件相似如意可見於 Auspicious Ju-i Scepters of China, no. 17, p. 90, 臺北故宮博物院收藏; Kerr, Immortal Images: The Jade Collection of Margaret and Trammell Crow, p. 26; Keverne, Jade, fig. 127, p. 178; Nott, Chinese Jade throughout the Ages: A Review of its Characteristics, Decoration, Folklore and Symbolism, pl. XLVI; 北京故宮博物院: Jade, vol. 8, no. 73, p. 102. 拍賣結果比較：一件相近碧玉如意售于佳士得Fine Chinese Ceramics & Works of Art Including Jades from the Fine Arts Museums of San Francisco 拍場，2009年3月18日，拍號412, 售價USD 25,000。
A BLACK STONE FIGURE OF VAJIMUKHA, ANGKOR PERIOD, KOH KER STYLEKhmer Empire, 9th-10th century. The horse-headed deity carved standing with a well-rounded human torso, wearing a short vertically striated sampot, a double-anchor fold falling at the front between his legs, the muzzle with two incised nostrils below almond-shaped eyes, the crown with geometric and floral decorations, in front of the stupa-like chignon.Provenance: British private estate. A notable French collector, acquired from the above.Condition: Condition commensurate with age, extensive wear and losses, structural cracks, soiling, remnants of pigment, the head was likely reattached some time ago.Weight: 10.1 kg (total)Dimensions: Height 57.5 cm (excl. base)Literature comparison: A related but much larger sandstone statue of Vajimukha, from Prasat Neang Khmau at Koh Ker, is in the National Museum of Cambodia, inventory number Ka.1656. Another related but larger sandstone statue of Vajimukha, excavated at Sambor Pre Kuk, is in the collection of the Musee Guimet. Another related but larger statue is in the collection of the Royal Ontario Museum.
A CELADON JADE ‘WASHING THE ELEPHANT’ CARVING, QINGChina, 1644-1912. Carved as a huge elephant standing foursquare with its head turned to the right and trunk curled onto the right foreleg. The head is incised with a sun symbol. A foreigner is seated on the elephant’s back emptying a jug of water over its side, a boy by the right hindleg is scrubbing the pachyderm with a long brush.Provenance: British private collection.Condition: Excellent condition with minor wear, few microscopic nicks here and there, the stone with few natural fissures, some of which may have developed into small cracks over time.Weight: 1,900 gDimensions: Height 14.3 cm, Length 12.5 cmThe smoothly finished gray-green stone with cloudy-white inclusions and russet speckles.Literature comparison: The scene of washing the elephant is well known and can be found on a jade group in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Jade ware (III), Hong Kong, 1995, pl.98; and on a jade boulder in the National Palace Museum, Taipei, illustrated in The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch’ing Court, Taipei, 1997, pl.44.Auction result comparison: A related jade carving was sold by Bonhams New York in Fine Chinese Paintings and Works of Art on 21 July 2020, lot 98, for USD 10,075. Another related jade carving was sold by Christie’s New York in Fine Chinese Jade Carvings from a Private Collection on 13 September 2018, lot 958, for USD 23,750.清代青玉雕洗象擺件 中國，1644-1912。青玉雕一頭巨大的大象，直立，頭部轉向右側，鼻子縮在右側前肢上。 頭部刻有太陽符號。 一個外族人坐在大象背上，從大象的側面倒出一壺水，一個男孩立於象右側後腿旁正用長刷子擦洗大象。來源：英國私人收藏 品相：狀況極佳，磨損小，局部有微小的磕損，玉石内有少量天然裂紋，隨著時間的流逝，其中一些可能會發展成小裂縫。 重量：1,900 克 尺寸：高14.3 厘米，長12.5 厘米 表面光滑潤澤，灰綠色玉石帶有灰白色玉沁和赤褐色斑沁。 拍賣結果比較：一件相似玉雕售于紐約邦翰思Fine Chinese Paintings and Works of Art拍場，2020年7月21日，lot 98, 售價 USD 10,075。另一件相近玉雕售于紐約佳士得Fine Chinese Jade Carvings from a Private Collection拍場。2018年9月13日，lot 958, 售價USD 23,750.
A TERRACOTTA FIGURE OF A FEMALE DEITY, MAJAPAHITJava, 13th-15th century. Standing in samapada on a stepped rectangular base, the ornately incised dhoti secured with several florally decorated belts, the floral motifs repeated on the necklace, earrings, and headdress, the serene face with downcast eyes and full lips, the long pleated hair falling neatly behind her shoulders.Provenance: La Datina, Florence, Italy, 2000. Italian private collection, acquired from the above.Condition: Extensive wear, losses, pitting, encrustations. The statue was broken into several pieces and reassembled after excavation.Weight: 3,627 g Dimensions: Height 56.7 cmLiterature comparison: Compare with a related carved stone figure of Parvati, dated to the 15th century, in the collection of the Victoria & Albert Museum, museum number IM.147-1921.Auction result comparison: Compare with a Majapahit stone fragment of an ancestor figure, dated to the 14th-15th century, at Bonhams San Francisco in Fine Works of Asian Art on 18 June 2007, lot 6166, sold for USD 7,200.
A VOLCANIC STONE STELE OF DURGA SLAYING THE BUFFALO DEMON, 11TH-13TH CENTURYIndonesia, East Java. Standing bare-breasted on a buffalo, the eight-armed goddess grasps the demon by his hair and holds various attributes such as sword, conch and dharmachkra. Her torso is contoured and adorned with a heavy necklace, the face with a benign expression and crowned by a diadem and elaborate headdress. She is clad in a batik sarong fastened with several beaded belts, two rosette clasps and pendant festoons, her hair tied in a high chignon with tresses flowing to the sides, backed by a halo and with the stele forming a torana around her.Provenance: From the personal collection of the grandfather of the present owner, acquired c. 1960 in Italy, and thence by descent in the same family.Condition: Excellent condition with extensive weathering and wear, areas of erosion, some structural cracks and losses, minor dents and nicks here and there, all commensurate with the age of this statue. Good natural patina.Weight: 123 kgDimensions: Height 90.5 cmRepresentations of the goddess Durga killing the buffalo demon are celebrated throughout India. Transmitted to Southeast Asia, the theme appears in Indonesian and especially Javanese art as well as in the early sculptures of Thailand and Cambodia. When the gods were defeated by the lord of the demons, Mahisha, they pleaded with Durga, the incarnation of female energy, to defend the universe. Having been given a weapon by each of the gods and thus possessing all of their powers, she defeated first the demon's armies and then Mahisha himself, who had taken the form of a buffalo. In this sculpture, Durga stands on the corpse of the vanquished beast. The demon, having already left it, stands next to her and tries to defend himself in a last, desperate and – as we know – futile move.Expert’s note: Especially due to its superb state of preservation, this unusually large sculpture remains one of the most imposing images of this theme.Literature comparison: Compare with an earlier version of the same subject, 9th century, also carved from volcanic stone, at the Metropolitan Museum of Art, New York, accession number 1988.160.
A CARVED CELADON AND RUSSET JADE FIGURE OF A DOG, LATE MING DYNASTYChina, 1368-1644. The recumbent dog finely carved with a characteristic flat nose and muzzle, round bulging eyes, and laidback ears, showing a docile expression, the hind legs tucked under the body and the tail flicked upward to one side. The stone is of a deep celadon tone with cloudy white and russet inclusions.Provenance: From a French private estate.Condition: Excellent condition with minor wear and few minuscule nicks.Weight: 592.1 gDimensions: Length 12.5 cmAuction result comparison: Compare with a considerably smaller white and russet jade dog pendant at Christie’s Hong Kong in Important Chinese Ceramics and Works of Art on 30 May 2018, lot 3136, sold for HKD 187,500 and another at Sotheby’s London in Fine Chinese Ceramics and Works of Art, 16 May 2012, lot 42, sold for GBP 22,500.晚明青玉雕臥犬 中國，1368-1644年。橫臥的狗精雕細刻，具有典型的扁平鼻子和嘴，圓鼓的眼睛和放鬆的耳朵，表現出溫順的表情。後腿藏在身體下方，尾巴向上滑動到一側。 石頭具有深青色調，帶有混濁的白色和赤褐色絮狀物。 來源：法國私人產業 品相：狀況極佳，磨損很小，非常少的微小划痕。重量: 592.1 克尺寸: 長 12.5 厘米 拍賣結果比較：比較一個尺寸較小的赤褐色白玉狗吊墜，於 2018年5月30日在香港佳士得Important Chinese Ceramics and Works of Art 拍場，拍號3136，成交價 HKD 187,500；另一件在倫敦蘇富比Fine Chinese Ceramics and Works of Art拍場，於2012年5月16日，拍號42，成交價 GBP 22,500。
A KHMER BRONZE FIGURE OF BUDDHA MUCHALINDA, LATE ANGKOR PERIODKhmer Empire, Bayon style, late 12th to early 13th century. Seated in dhyanamudra on the coils of Muchalinda, beneath the seven-headed canopy of the serpent king, wearing a short loincloth around his waist, adorned with elaborate jewelry, a crown surrounding his hair piled high and surmounted by a conical ushnisha, his face with a serene expression, downcast eyes and hands held in his lap holding a stupa.Provenance: Old German private collection.Condition: Some minor fills to the back, otherwise in good condition with wear, some nicks here and there, light scratches, and losses. Fine natural patina with malachite-green and copper-red encrustations.Weight: 703.8 g (the bronze only)Dimensions: Height 19.5 cm (excl. base) and 26.5 cm (excl. base)Mounted on a modern metal base. (2)When a storm raged and torrential rain poured for a whole week, the king of the nagas, Muchalinda, rose from the earth, coiling its body to form a seat and swelling its great hood to shelter Buddha.Expert’s note: Few early examples of this type appear to be recorded. The well-modeled naga hood in later stylistic development dissolves into greater ornamentation. The present piece can therefore be considered as rare.Literature comparison: Compare to an in-situ example of a stone sculpture of Buddha Muchalinda, in M. Freeman and R. Warner, Angkor, The Hidden Glories, 1990, ill. p. 128. Compare also with two other examples in G. Coed/ges, Bronzes Khmers, 1923, plate XXI, figs 1 and 2.Auction result comparison: Compare with a closely related but smaller bronze at Christie’s New York in Indian and Southeast Asian Art including 20th Century Indian on 19 September 2002, lot 193, sold for USD 26,290, and another, though of larger size, at Christie’s New York in Indian and Southeast Asian Art on 20 March 2002, lot 11, sold for USD 94,000.
A CELADON AND GREY JADE BALUSTER VASE AND COVER, QING DYNASTYChina, 18th century. The flattened shield-shaped body carved in high relief with a dragon in pursuit of a flaming pearl at the shoulder and a phoenix on rockwork. A small horse is riding above crashing waves near the base. The elephant head handles are set with loose rings, the cover is surmounted by a recumbent lion finial.Provenance: From a notable English private collector of Chinese jades. Condition: Excellent condition with minor wear, some scattered nicks to the edges, as well as pitting to the surface overall. One corner of the rim of the vase has been lightly polished.Weight: 637.0 gDimensions: Height 17.8 cmThe dark gray inclusions to the otherwise translucent stone near the base of the vase have been cleverly utilized by the lapidary to accentuate the horse, as it emerges from fiercely crashing waves, distinctively reminiscent of important works from the Suzhou school of jade carving, made by Imperial command during the mid- to late 18th century.Auction result comparison: Compare with a considerably larger grayish-white jade baluster vase and cover at Christie’s Hong Kong in Important Chinese Ceramics and Works of Art on 1 June 2011, lot 3989, sold for HKD 400,000, as well as a vase of very similar form but with different decorations at Bonhams London in Fine Chinese Art on 5 November 2020, lot 167, sold for GBP 35,062. Also compare a related celadon vase and cover with recumbent lion finial at Sotheby’s New York in Fine Chinese Ceramics & Works of Art on 18-19 March 2014, lot 329, sold for USD 18,750.清代青白玉雙象耳蓋瓶 中國，十八世紀。扁平的瓶身上浮雕著一龍一鳳，龍鳳玩耍著空中的火珠。一匹小馬飛奔在底座附近的巨浪之上。象鼻耳裏各有一個玉環。瓶蓋一隻橫臥的獅子。 來源：來自英國貴族私人中國玉器收藏 品相：狀況極佳，磨損很小，邊緣有一些散落的刻痕，整個表面都有點蝕。花瓶邊緣的一個角已打磨過。 重量：637.0 克 尺寸：高 17.8 厘米 花瓶底部附近那塊深灰色絮狀斑紋被精雕細琢用來表現奔馬，它就如從波濤中奔騰而出。這種手法很像蘇式玉雕流派流傳下來的重要作品，18世紀中後期至後期的御用工藝。 拍賣結果比較：一件更大些的青白玉蓋售于香港佳士得Important Chinese Ceramics and Works of Art 拍場，2011年6月1 日，lot 3989, 售價 HKD 400,000；以及另一件有著非常相似的形狀但不同雕飾的蓋瓶售于倫敦邦瀚斯 Fine Chinese Art 拍場，2020年11月5日，lot 167, 售價 GBP 35,062。還有一件相近的青玉獅鈕蓋瓶售于紐約蘇富比Fine Chinese Ceramics & Works of Art 拍場，2014年3月18-19 日，lot 329, 售價USD 18,750。
A ‘NANDI’ HOLY WATER FOUNTAIN SPOUTIndia, probably Karnataka, 16th-18th century. The holy white bull carved with powerful almond-shaped eyes, wide nostrils, large laidback ears, and prominent horns. The mouth with a large opening functioning as the spout.Provenance: A London private collector, acquired from the personal collection of David Aaron, owner of the Aaron Gallery in London. Originally founded in Isfahan, Iran in 1910, the David Aaron Gallery is widely recognized as one of the oldest and most preeminent galleries in the world for important and exquisite antiquities and ancient works of art. The gallery is currently based in Berkeley Square, Mayfair, London. Condition: Good condition with old wear, few nicks and dents, small losses, and natural encrustations as well as other signs of weathering and erosion.With a modern metal stand. (2)Weight: 33.1 kg (excl. stand) Dimensions: Length 62.5 cmThis fountain spout in the form of Nandi is reminiscent of the Sri Dakshinamukha Nandi Tirtha Kalyani Kshetra, a small temple, reported by some as ca. 400 years old, located in front of the Gangamma temple in Northwestern Bangalore. The focal point of this temple is a unique stone Nandi which is positioned facing the Southern direction. There is a continuous stream of water that flows out of the Nandi’s mouth, which is considered holy water. The water falls from the Nandi’s mouth onto a Shivalinga below and from there flows into a stepped tank in the middle of the temple, called a ‘Kalyani’ (temple tank).At some point in its history, the Nandi Tirtha temple fell into disuse and was slowly buried under mud and dirt. As this temple is below the normal ground level of the surrounding area, and there is no Gopuram tower, the entire structure eventually disappeared from view. However, knowledge of the existence of a temple continued to survive in the memory of the people residing in this area. As Malleswaram developed into one of the preferred residential areas of Bangalore, property prices increased significantly. In 1997, there was an attempt to usurp this temple area and sell it off as a vacant plot of land. After protests by the local population, the land in question was dug up and the temple complex gradually emerged from under the mud.The present piece once served a similar function as the one in Nandi Tirtha, probably in another lost temple, where it was removed from the site a long time ago.
A CELADON AND RUSSET JADE ‘DRAGON’ RHYTON, 17TH CENTURYChina. Of oval section with deep U-shaped sides bending slightly to imitate the natural curvature of a horn, one side carved in high relief with a dragon, its head issuing from the side with a ruyi-shaped nose and finely incised mane, its feet forming the base of the vessel, the wings rendered in low relief wrapping around each side of the rhyton with archaistic flourishes.Provenance: British private collection. Condition: Excellent condition with old wear. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 378.5 gDimensions: Height 12 cmAbove the dragon with stylized archaistic scrolls as well as a key-fret band below the rim. The translucent stone of a pale celadon tone with gray and russet shadings. Two horizontal piercings for suspension, one at the mouth and the other below the beard of the dragon.Rhyton cups in the form of an animal or an animal’s head appeared in China as early as the Western Han dynasty. There was a resurgence of interest in this form in the Song dynasty, and the enthusiasm was sustained through the subsequent Yuan, Ming, and Qing periods. Later jade rhytons, including the present example, are typically decorated with archaistic motifs including mythical creatures and ground patterns derived from ancient bronze vessels.Literature comparison: Compare a Ming dynasty gray jade rhyton with chilong in high relief and openwork in the collection of the Asian Art Museum of San Francisco, illustrated in Michael Knight et al., Later Chinese Jades: Ming Dynasty to Early Twentieth Century from the Asian Art Museum of San Francisco, San Francisco, 2007, pl. 151; another with chilong attributed to the latter half of the Ming dynasty in the collection of the Musee Guimet, Paris, exhibited in Jade: From Emperors to Art Deco, Musee Guimet, Paris, 2018, cat. no. 97.Auction result comparison: Compare with a related rhyton, of slightly smaller size and carved with a heavenly bird, at Sotheby’s New York in Chinese Art from The Metropolitan Museum of Art: The Florence and Herbert Irving Gift on 10 September 2019, lot 71, sold for USD 17,500.十七世紀青玉雕仿古神獸紋觥形杯 中國，十七世紀。這青玉觥則是神獸負皿形狀。青玉觥以神獸形設計，揹馱酒杯，兩側浮雕雙翼。橢圓形截面，側面略微彎曲以模仿角的自然曲率，一側雕刻有龍形浮雕，其頭部從側面鉆出，如意形的鼻子和雕刻精細的鬃毛。整器古風盎然。 來源：英國私人收藏 品相：狀況良好，有舊磨損。 具有天然裂縫的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量： 378.5 克 尺寸： 高 12 厘米 玉觥杯上螭龍紋，青色調的半透明玉石，帶有灰色和赤褐色陰影。兩個水平的穿孔用於懸掛，一個在嘴上，另一個在龍鬚下方。 玉觥仿祭祀用青銅觥。觥形杯是盛酒器，外形多以一或數種動物姿態，配合酒器形狀設計。部分款式只有頭蓋是獸形，亦有整尊皆為獸形。動物或動物頭部形式的觥形杯最早出現在西漢時期。在宋朝，人們對這種形式的興趣再次興起，這種熱情在隨後的元、明、清時期得到了延續。 後來的玉觥杯，包括本例，通常都裝飾有古風圖案，包括神話人物和源自古代青銅器皿的圖案。 文獻比較: 在舊金山亞洲藝術博物館的收藏了一件明代灰玉鏤空雕刻螭龍觥形杯，見Michael Knight等人所著的《亞洲玉器：明朝至二十世紀初》（Later Chinese Jades: Ming Dynasty to Early Twentieth Century from the Asian Art Museum of San Francisco），San Francisco, 2007, 圖151; 另一個明代中期后的螭龍觥形杯展出于巴黎吉梅博物館Jade: From Emperors to Art Deco, Musee Guimet, Paris, 2018, cat. 圖 97。 拍賣結果比較：一件尺寸較小的鳥形玉玉觥杯售于紐約蘇富比Chinese Art from The Metropolitan Museum of Art: The Florence and Herbert Irving Gift 拍場，2019年9月10日，lot 71, 售價 USD 17,500。
A MASSIVE INDIAN CARVED BLACK STONE VOTIVE STUPA WITH FOUR BUDDHAS, PALA PERIODIndia, 10th-11th century. The stupa of bell-shaped form with a three-tiered square base. Buddha is repeated in various mudras within four foliate niches above four smaller, arched niches at the base, all referencing moments from his life.Provenance: Brook Street Gallery, Mayfair, London, 1970s. British private collection, acquired from the above and thence by descent within the same family to the present owner.Condition: Condition commensurate with age, extensive wear, natural weathering, bruises and losses.Weight: 15.5 kgDimensions: Height 34.5 cmSmall stupas such as this example were placed near massive stupas containing the ashes of the Buddha. By this time, the connection between the historic Buddha Shakyamuni, who revealed the Buddhist teachings on earth, and the Buddha Vairocana, who resides in heaven, was known from texts and accepted in religious practice. The dome of the stupa simultaneously represents Shakyamuni’s relics and Vairocana’s celestial presence. The four directional Buddhas look out of foliate niches. These small stupas held the ashes of the monastic dead, allowing deceased monks to be eternally in the presence of the Buddha Shakyamuni and perhaps even aided in their being reborn in one of the pure lands.Literature comparison: A closely related but smaller stupa, missing the tiered base, is in the collection of the Metropolitan Museum of Art, accession number 20.70, exhibited in the Metropolitan Museum of Art in “Cosmic Buddhas in the Himalayas” from 24 June to 10 December 2017.Auction result comparison: Compare with a related but slightly larger stupa at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 14 September 2015, sold for USD 20,000, and another at Christie’s New York in Indian and Southeast Asian Art on 18 September 2013, lot 241, sold for USD 16,250.
AN INDIAN BLACK STONE STELE DEPICTING UMA-MAHESHVARA, PALA PERIODNorthern India, 12th century. The divine couple seated in lalitasana on a lotus pedestal, each with one foot supported on a lotus footrest, Shiva's primary right hand touching his consort’s chin affectionately, his primary left hand around her back and cupping her breast, one of his upper hands holding a lotus.Provenance: From an ancient French private collection. Condition: Good condition commensurate with age, extensive old wear, losses, soil encrustations, small nicks and scratches.Weight: 11 kg Dimensions: Size 45 x 23 cmUma with one arm draped around Shiva's shoulders, her left hand holding a mirror, their mounts, the Nandi bull and the lion, couchant below the throne, along with two female figures praying and an emaciated figure dancing. Ganesha, the son of Shiva and Uma, can be seen on a lotus throne in the upper left corner above Shiva’s head.Uma-Maheshvara represents the sacred embrace, alingana, of the Lord Shiva joined with the Goddess Uma. The Great Ascetic, Lord Shiva, who was overcome with the beauty of Uma, Daughter of the Mountain, succumbed to their union for the benefit of his devotees (S. Kramrisch, Manifestations of Shiva, Philadelphia, 1981, p. 57). Their union is principally metaphysical, though during the Pala period, Shiva and Uma's relationship can be most immediately observed through their corporeal interplay. It is through their sensual relationship that they are meant to become a gateway for the devotee to enter their sacred realm.Here, the divine couple is featured in the moment before their union, the anticipation of which accentuates the possibility of entering the divine realm. This expectancy is what creates a feeling of activity, carried throughout the piece in the swaying movement of the surrounding figures and swirling foliate carvings throughout.Literature comparison: A related but earlier stone stele depicting Uma Maheshvara is in the collection of the Metropolitan Museum of Art, accession number 1978.541.Auction result comparison: For a related black stone stele, showing a similar fragmentation as the present piece, see Christie’s New York, Indian and Southeast Asian Art on 18 September 2013, lot 231, sold for USD 27,500. For a related black stone stele with a nearly identical depiction, better preserved as the present piece, see Sotheby’s New York, Indian, Himalayan & Southeast Asian Works of Art on 22 September 2020, lot 351, sold for USD 94,500.
AN INDIAN STONE BRAHMANDA, ‘COSMIC EGG’, AND MATCHING BRONZE TRIPOD STANDIndia, 19th century. The stone of ovoid form and finely polished with natural markings and grain. The stand with three rearing mythical animals forming the supports, and with a sun-shaped open ring to the top where the stone rests. (2)Provenance: Collection of Alain Presencer. Over the past 50 years, Alain Presencer has devoted his life to the study and promotion of Tibetan Buddhism and culture. His contributions to the field resulted in numerous recognitions, including his appointment as a Fellow of the Royal Asiatic Society. Alain also brought to the West his knowledge of the extraordinary and mystical religious music of the region. As a result, he produced a popular recording of his own performances, introducing this musical genre to a global audience with his album 'The Singing Bowls of Tibet', which has sold over a million copies to date.Condition: Excellent condition with old wear, the stand with few minuscule nicks and occasional light scratches.Weight: 9.7 kg (total)Dimensions: Height 46 cm (incl. stand) and 23 cm (the brahmanda)The natural markings on the egg-shaped form symbolize the male and female principles in a single unit, a realization of the wholeness of the entire universe.Literature comparison: For a related brahmanda, see A. Mookerjee, Yoga Art, 1975, pl 39, p.71.Auction result comparison: Compare with two related brahmanda, one of slightly larger and the other of considerably larger size, at Christie’s New York in Indian And Southeast Asian Art Including Property From The Collections Of Ariane Dandois And Robert H. Ellsworth on 21 September 2007, lot 298, sold for USD 6,000.
A HEAVY BLACK STONE HEAD OF AVALOKITESHVARA, PALA PERIODNortheastern India, 10th-11th century. The face showing a serene expression, with heavy-lidded almond-shaped eyes beneath gently arched eyebrows centered by an urna, full lips forming a subtle smile, and distinct rounded chin, flanked by long and elegantly curved ears, the hair piled up in a high coiffure centered by a small Buddha Amitabha.Provenance: Indian Heritage, Paris. LP Collection Paris, acquired from the above. Established in 2006 by Frederic Rond, Indian Heritage is a gallery specializing in Indian and Himalayan art. Located in St Germain des Pres, Paris, it offers a large selection of primitive and classical pieces with a focus on Himalayan masks.Condition: Extensive wear and losses, nicks and scratches, all visible on images.Weight: 5.8 kgDimensions: Height 20 cm (excl. base) and 27.5 cm (incl. base)Mounted on an associated metal base. (2)The present head is a fragment, though of relatively large mass and size, and most likely was originally part of a monumental stele, at least 80 cm tall.Auction result comparison: Compare with a related fragment of a stele, of overall larger size but with a considerably smaller head, at Christie’s Paris in Arts d’Asie on 19 December 2012, lot 206, sold for EUR 15,000.
A LOBED SPINACH-GREEN JADE ‘CHRYSANTHEMUM’ BOWL, QINGChina, 18th century. The deeply lobed sides rounded about the splayed foliate foot before flaring towards the slightly everted rim. Finely carved with chrysanthemums surrounded by scrolling leafy vines above a band of lappets, the translucent stone of a rich spinach-green color with light cloudy inclusions and dark speckles.Provenance: Rare Art Inc., Alan and Simone Hartman, New York, c. 1984. Collection of Isidore Cohn, Jr., M.D, according to his estate acquired from the above, and thence by descent in the same family. Isidore Cohn (1921-2015) was a prominent surgeon in New Orleans. Dr. Cohn served as the first Vice President of the American College of Surgeons (1993). He was also a passionate collector of art, with several exhibitions of pieces from his collection conducted by The New Orleans Museum of Art, including Chinese Jades from the Collection of Marianne and Isidore Cohn, Jr. in 2013-2014. Condition: Excellent condition with minor wear and a tiny chip to the lip. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 255.4 gDimensions: Height 7.8 cm, Diameter 12 cmAuction result comparison: Compare with a spinach-green jade box and cover of similar size at Sotheby’s Hong Kong in The Muwen Tang Collection of Chinese Jades on 1 December 2016, lot 13, sold for HKD 225,000.清代碧玉葵口纏枝菊花紋碗 中國，十八世紀。葵口碗，張開的葉狀腳周圍變圓，邊緣稍稍外翻。半透明的石頭精心雕刻菊花紋，周圍層層曡曡的纏枝紋。碧玉色澤濃郁，帶有淡淡的雲霧絮狀和深色斑點。 來源： 紐約Rare Art Inc., Alan and Simone Hartman, 約1984年。Isidore Cohn，M.D收藏，根據他的遺產説明是從上述藝廊購得，自此保存在同一家族中。 Isidore Cohn（1921-2015）是新奧爾良的著名外科醫師。 Cohn醫生（1993）擔任美國外科醫生學院第一任副校長。 他還是一位熱情的藝術收藏家，在新奧爾良藝術博物館舉辦的展覽中多次展出他的藏品，包括2013-2014年Marianne and Isidore Cohn, Jr.收藏的中國玉器。 圖片: Isidore Cohn, Jr., M.D 品相：狀況極佳，磨損很小，碗唇邊上有細小的磕損。 玉石内具有天然裂縫，隨著時間的流逝，其中一些可能會發展成細小裂縫。 重量： 255.4 克 尺寸： 高 7.8 厘米,直徑12 厘米 拍賣結果比較：一件相近尺寸的碧玉蓋盒售于香港蘇富比 The Muwen Tang Collection of Chinese Jades 拍場，2016年12月1日，lot 13, 售價HKD 225,000。
A BLACK STONE STELE OF AVALOKITESHVARA PADMAPANI, PALA PERIODNortheastern India, Bihar, 9th-10th century. Superbly carved with six arms holding various attributes such as a lotus in bloom and a rosary, amplifying the bodhisattva's compassionate expression. His downward gaze instructs the eye across crisply defined jewelry and sashes towards his right hand extended in charity. In wonderful detail, the hems of his lower garment terminate in diagonal lines conveying a weight and texture to the cloth otherwise diaphanous and rarely distinguished on Pala sculpture.Provenance: From a private collection in Belgium, by repute acquired c. 1978.Condition: Good condition with some losses, structural cracks, dents and nicks, extensive weathering and wear, all commensurate with the high age of the present lot. Solid natural patina.Weight: 8.4 kgDimensions: Height 33 cmAvalokiteshvara is surrounded by worshippers. A minuscule figure of Amitabha is identifiable at the base of his elaborate head dress. Traces of inscriptions are found in the upper section of the bottom of the stele.Until the 10th century AD, many large Pala steles of Avalokiteshvara show the Bodhisattva in a standing position. In the 11th and 12th centuries, however, the form of representation with two arms and seated in a relaxed position (lalitasana) prevails. For this reason, the present statue is to be dated to the earlier Pala period e.g. 9th – 10th century. Buddhist steles from the early Pala period with such a wealth of decoration across the entire surface usually come from the Munger or Bhagalpur districts in Bihar, or from Bengal.Auction result comparison: Compare with a related but larger black stone stele of a four-armed Padmapani at Christie’s New York in Indian and Southeast Asian Art including 20th Century on 17 October 2001, lot 19, sold for USD 12,925.
AN IMPORTANT SANDSTONE FIGURE OF GANESHAIndia, Madhya Pradesh, 10th century. The six-armed elephant-headed god dancing with two legs bent on a rectangular plinth, wearing anklets, arm bangles and a tiara with strands of pearls. His expressive face with gentle eyes and ears fanning open, flanked by musicians, dancers, and animals inside niches, with four vidyadharas bearing garlands above, the torana centered by a lotus finial.Provenance: Arnold H. Lieberman Buddhist & Hindu Antiquities, New York, 4 April 2006. Peter Hardt, Germany, acquired from the above. Arnold Lieberman, known as ‘The Grumpy Connoisseur’, has been a fine art and antique dealer since the early 1970s and was on the board of directors of The Art and Antique Dealers League of America for ten years. A copy of the original invoice, at a price of USD 38,000 and describing the piece as “One Stone Dancing Ganesh” and “India, Madhya Pradesh, c. 10th century” accompanies this lot.Condition: Superb condition commensurate with age, extensive wear and losses, signs of weathering and associated erosion.Dimensions: Height 81.5 cm (excl. base)This masterfully carved Ganesha embodies the energy of present devotion imbued with the authority of the past. His supple body, slender waistline, delicate jewelry, graceful face, and ten arms, together with the elongated proportions and lyrical bends of the accompanying figures, situates the sculpture firmly in the tenth century, when stone carving had reached a superb level of mastery in northern and central India. During this period, artists made use of the soft local sandstone to create agile figures that belie the heaviness of the material.Working from single blocks of stone, they realized glorious deities surrounded by mythical animals and members of the celestial supporting cast, all carved in deep relief with portions of the stone pierced entirely through, adding negative space to enhance the form. The liveliness of Ganesha's dance similarly belies not only the material but also his corpulent stature. His dance connects him with Shiva, who dances the universe into oblivion, yet Ganesha's dance has a childlike quality that lightens Shiva's cosmic load. Energetically dancing to the classical rhythms of drums and cymbals and the melody of flutes resounding from the gracious musicians at his feet, he carries away all obstacles and grants those who behold him the ability to achieve success.Ganesha, the beloved elephant-headed god of prosperity and remover of obstacles, is worshipped throughout India at the beginning of journeys or undertaking of new endeavors. As such, he is often placed at thresholds or entries in private homes, and he is the first deity encountered even in massive, multi-sanctum temple complexes, where he is worshipped with offerings of sweets, fruits, coins, flowers, and freshly cut grass. He is a symbol of abundance, and he is also a paragon of wisdom, having broken off his own tusk and recorded the Mahabharata at the time of its recitation by the great sage Vyasa. Although he is the son of Shiva and Parvati, Ganesha is honored by all devotees and is the most popular god in modern India.Mounted on a modern metal base. (2)Literature comparison: Compare with a related sandstone figure from the 10th century in the Boston Museum of Fine Arts, published in Darielle Mason, Gods, Guardians, and Lovers, New York, 1993, p. 168, cat. no. 17.Auction result comparison: Compare with a closely related sandstone figure of Ganesha, 111 cm high, at Christie’s in The India Sale on 15 December 2015, lot 119, sold for EUR 98,010 (INR 8,625.000).
A ‘BUDDHA’S HAND’ JADEITE PENDANT, QING DYNASTYChina, 19th century. Carved as a finger citron, known as ‘Buddha’s hand’, growing from a leafy vine with three lingzhi on top, a ‘natural’ opening between the vine and fruit allowing for suspension as a pendant. The slightly translucent stone of a pale celadon tone with splashes of apple green and milky white inclusions.Provenance: From a noted French private collection.Condition: Excellent condition with minor wear, few minuscule nicks.Weight: 97.2 gDimensions: Height 6.2 cmAuction result comparison: Compare with a related, but slightly larger jade pendant of celadon color at Christie’s London, in Fine Chinese Ceramics and Works of Art, on 5 November 2013, lot 221, sold for GBP 5,000.清代翡翠佛手擺件中國，十九世紀。淡淡的青玉雕刻成佛手狀，頂部有三個靈芝，藤蔓和果實之間的“天然”開口可以用來懸掛做為吊墜。玉石内有蘋果綠色和乳白色内含物。來源：法國知名私人收藏 品相：狀況極佳，磨損很小，輕微划痕。重量： 97.2 克尺寸：高6.2 厘米 拍賣結果比較：一件相似青玉挂件見倫敦佳士得Fine Chinese Ceramics and Works of Art拍場2013年11月5日 lot 221, 售價GBP 5,000.
A CELADON JADE ‘TWO MONKEYS’ PENDANT, QING DYNASTYChina, 1644-1912. Carved as two side-facing monkeys standing cheek-to-cheek, their arms around each other and their feet touching, their expressive faces with bulging round eyes, furrowed brows, and a wrinkled forehead. The stone of a fine celadon color with russet inclusions.Provenance: From the private collection of a German-national director of a shipping line in Shanghai. Old collector’s label reading ‘BeijingKP’, KP possibly an abbreviation of ‘Kaiserlicher Palast [Imperial Palace]’.Condition: Excellent condition with minor wear.Weight: 93.3 gDimensions: Height 5.5 cm清代青玉雙猴挂件中國，1644-1912年。雕刻為兩隻面對面的猴子，面頰到臉頰，兩臂互相纏繞，腳部接觸，富有表情的臉龐，圓圓的眼睛，眉毛彎曲，額頭皺紋。青色玉石，帶有紅褐色内含物。來源：上海一家航運公司的德國董事私人收藏，藏家老標簽“BeijingKP”, KP可能是德文皇宮的縮寫。品相：狀況極好，輕微磨損。重量： 93.3 克尺寸：高5.5 厘米
A PAIR OF SPINACH-GREEN JADE CUPS, QING DYNASTYChina, 18th century. Each with deep sides rising from a thick ring foot. The translucent stone of an attractive and intense green tone with scattered black speckles. Fine manual surface polish with an unctuous, silky matt finish. (2)Provenance: Ex-collection of Bao Dai, last emperor of the Nguyen dynasty (a letter of provenance, signed by Dr. István Zelnik, will be handed to the winning bidder). The István Zelnik Southeast Asian Gold Museum, acquired from the above. An institutional art collection in Belgium, acquired from the above. Bao Dai was the 13th and final Emperor of the Nguyen dynasty, the last Imperial dynasty of Vietnam. From 1926 to 1945, he was Emperor of Annam. After his abdication in 1945, he remained an important advisor to the new government under Ho Chi Minh but left for France in 1946, until he was persuaded by the French to return as head of state in 1949. He moved back to France in 1954 after the peace deal between the French and the Viet Minh, appointing Ngo Dinh Diem as his prime minister. After being removed from power by Diem in a referendum in 1955, he spent the remainder of his life in exile in France.Condition: Excellent condition with minor wear, the stone with natural flaws and microscopic fissures, some of which may have developed into small hairline cracks over time.Weight: 262.1 g (total)Dimensions: Height 7 cm (each), Diameter 8.2 cm (each)Auction result comparison: Compare with a related pair of wine cups, with incised four-character Qianlong marks and of the period, at Christie’s London in Fine Chinese Ceramics and Works of Art on 8 November 2011, lot 78, sold for GBP 15,000.清代一對碧玉杯中國，十八世紀。玉杯圈足，半透明，碧色濃鬱，散佈著黑色斑點。 表面光滑溫潤。來源：原越南阮朝最後一位皇帝阮福永瑞收藏 (根據來源信件，由 Dr. István Zelnik簽名，將會交給獲得此藏品的藏家) 。The István Zelnik Southeast Asian Gold Museum, 購於上述收藏。一個比利時藝術收藏機構購於上述美術館。阮福永瑞，即保大帝，是越南最後的皇朝阮朝第十三位也是最後一位皇帝。從1926年到1945年，他是安南皇帝。 自1945年退位後，他一直是胡志明領導下的新政府的重要顧問，但於1946年前往法國，直到法國說服他在1949年返回越南成爲臨時國家元首。1954年，他移居法國。1955年，在首相吳廷琰私下操縱的公民投票中，越南的君主制被廢除，保大帝隨後流亡法國直至逝世。圖片：保大帝 (1913-1997) 品相：狀況極佳，磨損很小，石頭具有自然缺陷和微觀裂縫，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：縂262.1 克 尺寸：各高7 厘米, 直徑分別8.2 厘米 拍賣結果比較：一對相近的酒杯，乾隆四字款見倫敦佳士得Fine Chinese Ceramics and Works of Art 拍場2011年11月8日lot 78, 售價GBP 15,000。
A PALE GRAY JADE FIGURE OF A RECUMBENT HOUND, TANG TO SONG DYNASTYChina, 618-1279. The translucent stone of a pale gray tone with streaks of white and russet veins, carved in the form of a lean male hound with a coiled tail, reclining with his front paws stretched out under his face, the attenuated body articulated by the ribs and spine showing.Provenance: From the private estate of Mrs. Gilmore, Northern California, USA, collected prior to the 1980s. Old collectors label ‘#83 750’ to baseCondition: Excellent condition with minor wear, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 53.0 gDimensions: Length 7.6 cmAuction result comparison: Compare with a closely related but slightly larger (9.3 cm long) jade at Sotheby’s Hong Kong in Fine Chinese Ceramics & Works of Art on 8 April 2010, lot 1987, sold for HKD 475,000.唐至宋灰白玉臥犬中國，618-1279年。淡灰色半透明玉石，帶有白色和褐色紋理，雕刻成一隻臥著的獵犬，尾巴呈盤繞狀，他的前爪趴在臉下，肋骨和脊柱処細節尤其清晰。 來源：北加利福尼亞Gilmore夫人遺產, 1980年前收藏。底部可見藏家老標簽 “#83 750”。 品相：狀況極佳，小磨損，玉石有自然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：53.0 克 尺寸：長7.6 厘米 拍賣結果比較：一件相近但更大 (長9.3 厘米) 的玉犬見香港蘇富比Fine Chinese Ceramics & Works of Art 拍場2010年4月8日 lot 1987, 售價HKD 475,000.
A WHITE AND RUSSET JADE ‘MANDARIN FISH’ PENDANT, SONG TO MING DYNASTYChina, 1279-1644. Finely carved in the form of a mandarin fish with slightly open mouth, large eyes, fins, and an upswept tail, the scales finely rendered, pierced with a small aperture at the top, the translucent stone of a white color with russet and pale-yellow shadings.Provenance: Estate of Sear Hang Hwie Pao (1937-2009). Pao was one of Canada’s leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke Ltd., was a fixture in Toronto’s trendy Yorkville area from the 1980’s to early 2000’s.Condition: Excellent condition with minor wear.Weight: 20.9 gDimensions: Length 6.5 cmAuction result comparison: Compare with a related gray jade mandarin fish of the same size at Sotheby’s Hong Kong in Fine Chinese Ceramics & Works of Art on 8 April 2010, lot 1995, sold for HKD 212,500.宋至明代白玉帶皮錦鯉挂墜中國，1279-1644年。精細雕刻錦鯉，嘴巴略張開，大眼睛，鰭與尾巴向上彎曲，鱗片精細渲染，頂部穿小孔，白色的半透明玉石帶有赤褐色和淡紫色玉皮， 黃色紋理。來源：Sear Hang Hwie Pao (1937-2009) 遺產。Pao是加拿大中國瓷器和藝術品的主要經銷商之一。 他和妻子創立了Pao＆Moltke Ltd古玩店，他們的古玩店從1980年代到2000年代初期曾是多倫多時尚的Yorkville地區的熱門店鋪。 品相：狀況極佳，輕微磨損。 重量：20.9 克 尺寸：長6.5 厘米 拍賣結果比較：一件相近大小的灰玉錦鯉見香港蘇富比 Fine Chinese Ceramics & Works of Art 拍場2010年4月8日 lot 1995, 售價HKD 212,500.
A GRAYISH-GREEN JADE ‘BIXIE’ CARVING, YUAN TO MING DYNASTYChina, 1279-1644. Carved in a recumbent position with one paw scratching its ear and another grasping the furcated tail, the ferocious face with bulging eyes and a broad nose, the mostly opaque stone of a rich mottled grayish-green color with dark gray and cloudy white inclusions.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Very good condition with old wear, traces of use, some nibbling, the stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Weight: 152.6 gDimensions: Length 6.5 cmThis bixie is deftly carved with a dramatic profile that emphasizes the power and mystique of the mythical creature. The balanced composition makes excellent use of the natural variegations in the stone.Literature comparison: A white jade carving of a similar mythical beast was excavated from a Yuan dynasty site in Xi'an in 1978 and illustrated in Yang Boda, Zhongguo yuqi quanji (The Complete Compilation of Chinese Jades), vol. 2, Shijiazhuang, 2005, pl. 196. Compare also a Yuan dynasty white and russet jade qilin, exhibited in Jades from China, The Museum of East Asian Art, Bath, 1994, cat. no. 261Auction result comparison: Compare with a related jade carving of a bixie at Sotheby’s New York in The Robert Youngman Collection of Chinese Jade on 19 March 2019, lot 235, sold for USD 27,500.元至明代青灰玉辟邪中國，1279-1644年。圓雕異獸，臥狀，一隻爪扒著耳朵，另一隻爪抓著分叉的尾巴，兇猛的臉龐，圓目，鼻子寬大，大部分不透明，呈斑駁的青灰色，深灰色和白色絮狀內含物。 來源：Karl Zeilinger (1944-2014), 德國紐倫堡中國藝術及古董武器收藏家。自此保存在同一家族至今。 品相：狀況良好，有舊磨損，使用痕跡，有些磕損，有天然內含物和裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。重量：152.6 g 尺寸：長6.5 厘米 拍賣結果比較：一件相近玉辟邪見紐約蘇富比The Robert Youngman Collection of Chinese Jade 拍場2019年3月19日 lot 235, 售價USD 27,500.
A ‘CHICKEN BONE’ AND BLACK JADE ‘GOOSE’ PENDANT, MING DYNASTYChina, 1368-1644. Of compact pebble-like form, well carved in the round as a recumbent goose with its feet tucked underneath and head turned back over its body, with details such as wings and feathers neatly incised, the stone an opaque creamy beige with patches of russet and black particularly to one side.Provenance: British private collection. Condition: Very good condition with old wear, the piece having clearly been handled extensively over centuries and the stone with a smooth, unctuous feel, minor nibbling, few signs of erosion, the stone with natural fissures, some of which have developed into small cracks over time.Weight: 130.9 gDimensions: Height 4.5 cm, Length 6.5 cmAuction result comparison: Compare with a related but slightly later chicken bone jade goose, dated to the 17th/18th century, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 17 September 2008, lot 261, sold for USD 7,500. Compare with a related celadon and russet jade carving of a goose at Christie’s London on 20 September 2011, lot 207, sold for GBP 6,000. Compare also with a related jade goose at Christie’s New York in Fine Chinese Jade Carvings from Private Collections on 13 September 2018, lot 927, sold for USD 4,375.明代雞骨白灰玉鵝挂件中國，1368-1644年。形狀緊湊，呈鵝卵石狀，表面潤澤。雕刻成斜臥的鵝，鵝掌藏氣，頭朝身體上方轉，翅膀和羽毛細節刻畫生動。玉石不透明的灰白色，上面有赤褐色的斑點和黑色紋理，尤其是一側。來源：英國私人收藏 品相：狀況良好，帶有舊磨損，經過數個世紀的使用，此挂件表面更顯光滑潤澤，輕微磨損，幾乎沒有腐蝕跡象，帶有自然裂紋的玉石，其中一些隨著時間的推移已發展成小裂縫 。重量：130.9 克 尺寸：高 4.5 厘米, 長6.5 厘米 拍賣結果比較：一件相近但更晚的雞骨白玉鵝，十七至十八世紀，見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2008年9月17日 lot 261, 售價USD 7,500. ；一件相近青玉帶皮玉鵝見倫敦佳士得2011年9月20日 lot 207 售價GBP 6,000. ；一件相近玉鵝見紐約佳士得Fine Chinese Jade Carvings from Private Collections拍場2018年9月13日 lot 927, 售價USD 4,375.
AN OPENWORK JADE GROUP OF A BUDDHIST LION AND CHILONG, MING DYNASTYChina, 1368-1644. Carved as a recumbent Buddhist lion with a small coiled chilong clambering around its side, its multifurcated tail intertwined around the lion’s body. The semitranslucent grayish-white stone with russet and black inclusions, somewhat resembling the so-called 'chicken-bone' jade.Provenance: Hungarian private collection. Condition: Excellent condition with minor wear, few minuscule nicks, the stone with natural fissures, some of which may have developed into small hairline cracks over time. Fine natural patina.Weight: 118.6 gDimensions: Length 7 cm明代雞骨玉雕太獅螭龍擺件 中國，1368-1644年。雕成斜臥的太獅，側面盤繞著一隻螭龍，其多叉尾巴纏繞在獅子的身上。半透明的灰白色石頭，帶有紅褐色和黑色內含物。 來源：匈牙利私人收藏. 品相：狀況極佳，磨損很小，幾乎沒有細微的刻痕，玉石内具有天然脈絡，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 天然包漿細膩。 重量：118.6 克 尺寸：長7厘米
A CELADON AND RUSSET JADE ‘CHILONG’ PENDANT, QING DYNASTYChina, 1644-1912. Well carved as two chilong clambering atop a finely ribbed leaf with lingzhi growing from the stem and a small bat with spread wings behind one of the chilong, the translucent stone of a deep celadon color with white shadings and russet patches and veins.Provenance: British private collection. Condition: Excellent condition with minor wear and nibbling, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 83.5 gDimensions: Length 6.8 cmTwo small openings, one to the top and the other to the bottom of the carving, allow for suspension as pendant. Auction result comparison: Compare with a related but earlier and slightly larger celadon and russet jade chilong plaque, dated to the Yuan/Ming dynasty, at Sotheby’s London in Menagerie: An English Private Collection of Chinese Animal Carvings on 10 May 2017, lot 53, sold for GBP 6,875.清代青玉帶皮螭龍佩中國，1644-1912年。精心雕刻，兩隻螭龍盤繞在葉子上，莖上長有靈芝，一隻蝙蝠藏在一隻螭龍後展開翅膀。深青色半透明玉石，帶有白色和赤褐色斑紋與紋理。 來源：英國私人收藏 品相：狀況極佳，有輕微磨損和磕損，石材具有自然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：83.5 克 尺寸：長6.8 厘米 拍賣結果比較：一件相近但更早期更大的青玉帶皮螭龍佩，元至明代，見倫敦蘇富比Menagerie: An English Private Collection of Chinese Animal Carvings拍場2017年5月10日 lot 53, 售價GBP 6,875.
A BLACK AND WHITE JADE ‘ARCHAISTIC’ AXE-FORM OPENWORK PENDANT, 18 CENTURYChina. Finely carved in the form of an axe-form bell detailed with a band of archaistic dragons below neatly incised ruyi heads forming a beast head, all surmounted by a bi disk and a pair of confronting chilong. The translucent stone of an attractive white tone with veins and patches of black.Provenance: From a notable English private collector of Chinese jades. Condition: Excellent condition with minor wear, microscopic nibbling, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 85.2 gDimensions: Height 12.2 cmWith a fitted silk box. (2)Auction result comparison: Compare with a related white jade pendant, also in the form of an axe-form bell, of considerably smaller size and dated to the 18th/19th century, at Sotheby’s Hong Kong in Fine Chinese Ceramics and Works of Art on 8 October 2013, lot 3329, sold for HKD 225,000.十八世紀仿古黑白玉鏤空雕斧式佩中國。鏤空雕刻斧形玉佩，龍紋與如意紋，斧頂一個玉璧和一對面對面的螭龍。 半透明的玉石，具有迷人的白色間帶有黑色的紋理和斑點。 來源：英國知名中國玉器私人收藏 品相：狀況極佳，有輕微磨損，細微的磕損，帶有天然裂紋的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：85.2 克 尺寸：高12.2 厘米 拍賣結果比較：一件相近鐘形白玉佩，尺寸稍小，十八至十九世紀，見香港蘇富比 Fine Chinese Ceramics and Works of Art拍場2013年10月8日 lot 3329, 售價HKD 225,000.
AN OPENWORK JADE ‘BIRDS AND FLOWERS’ PLAQUE, MING DYNASTYChina, 1368-1644. The pale celadon jade carved with two birds surrounded by flowers on scrolling leafy vines, with a tree and a craggy rock around the lower section. Mounted into a hardwood frame from the late Qing dynasty.Provenance: From the private collection of Karl Hennig, owner of ZEN art gallery in Hamburg, Germany. A German private collection, acquired from the above.Condition: The jade in good condition with nicks, nibbles, and losses here and here, the stone with natural fissures, some of which have developed into small hairline cracks over time. The hardwood frame with wear, chips, and extensive losses.Weight: 477.0 gDimensions: Size incl. mounting 27.1 x 22.7 cm, Size 14.8 x 10.6 cm (the jade)Auction result comparison: Compare with a related jade plaque, also mounted in a hardwood frame, at Sotheby’s Hong Kong in Chine / 5000 YEARS on 27 November 2020, lot 700, sold for HKD 37,800.明代玉雕喜鵲登梅 中國，1368-1644年。青白玉鏤空雕刻兩隻喜鵲梅樹，樹下假山。清末鏤空雕硬木框。 來源：Karl Hennig私人收藏, 他擁有德國漢堡 ZEN art gallery 藝廊。德國私人收藏, 從上述收藏購得。 品相：狀況良好的玉器，到處都有刻痕，細碎痕跡和缺損，帶有天然裂縫的石頭隨著時間的流逝逐漸發展成細小的裂縫。 硬木框架有磨損，碎屑和局部缺損。 重量：477.0 克 尺寸：含框27.1 x 22.7 厘米, 玉14.8 x 10.6 厘米 拍賣結果比較：一件相近玉牌，木框裝置，見香港蘇富比Chine / 5000 YEARS 拍場，2020年11月27日 lot 700, 售價HKD 37,800.
A CELADON JADE OPENWORK SQUARE ‘KEY FRET’ PLAQUE, QING DYNASTYChina, 1644-1912. Carved with a central roundel enclosing a flower with lingzhi petals and surrounded by four key-fret scrolls with finely incised grooves along the edges. The translucent and almost transparent stone of a celadon tone with milky white inclusions.Provenance: The estate of Joachim Hinz, a collector from Hamburg, Germany.Condition: Very good condition with minor wear, traces of use, minuscule nibbling, the stone with natural fissures, some of which have developed into small hairline cracks over time.Weight: 61.9 gDimensions: Size 7.1 x 7.1 cmAuction result comparison: Compare with a related plaque, of closely related size and form but reticulated and depicting chilong and lingzhi, at Sotheby’s New York in Fine Chinese Ceramics & Works of Art on 17-18 September 2013, lot 90, sold for USD 5,000.清代青玉四方鏤空雕回紋牌中國，1644-1912年。中央圓形鏤空，一朵四瓣靈芝形花瓣的花朵，周圍環繞著回紋，近乎透明的青色玉石帶有乳白色內含物。 來源：德國漢堡Joachim Hinz收藏 品相：狀況極佳，有輕微磨損，使用痕跡，微小的磕損，天然裂紋，其中一些隨著時間的推移已發展成細小的裂縫。 重量：61.9 克 尺寸：7.1 x 7.1 厘米 拍賣結果比較：一件相近但鏤空雕刻螭龍靈芝紋的玉牌見紐約蘇富比Fine Chinese Ceramics & Works of Art拍場2013年9月17-18日 lot 90, 售價USD 5,000.
AN APPLE- AND EMERALD-GREEN JADEITE ‘LINGZHI’ PLAQUE, QING DYNASTYChina, 1644-1912. Of rectangular form, carved in relief with lingzhi funghi, as well as a bixie and a small chilong to one side, with finely incised details. The stone of translucent light apple green ground suffused with brilliant emerald green streaks. Pierced with a small aperture at the top.Provenance: From a private collection in Southern California, USA.Condition: Excellent condition with minor wear. Some natural flaws to the mineral.Weight: 53.5 gDimensions: Size 6 x 4 cmAuction result comparison: Compare with a related apple and emerald green jadeite plaque carved with gourds at Christie’s Hong Kong in Magnificent Jadeite Jewelry on 30 November 2006, lot 2643, sold for HKD 38,400.清代靈芝翡翠如意紋挂墜中國，1644-1912年。圓角長方形，浮雕靈芝如意紋，另一面為辟邪與螭龍紋，細節精緻。半透明的淺綠色石料，散佈著鮮豔的翠綠色條紋。 頂部穿孔。 來源：南加利福尼亞私人收藏 品相：狀況極佳，小磨損小。自然瑕疵。 重量：53.5 克 尺寸：6 x 4 厘米 拍賣結果比較：一件翡翠葫蘆挂墜見香港佳士得Magnificent Jadeite Jewelry 拍場2006年11月30日 lot 2643, 售價HKD 38,400.
A BEIGE JADE ‘BAT AND COIN’ CARVING, QING DYNASTYChina, 18th century. Masterfully carved as a bat resting with its wings spread out over a Wu Zhu cash coin. The semitranslucent stone of an even, pale beige color with cloudy white and russet inclusions as well as scattered grayish black patches. Note the finely incised detail work.Provenance: From a notable English private collector of Chinese jades. Condition: Good condition, one small chip and few minuscule nibbles to edges, the stone with natural fissures, some of which have developed into small hairline cracks over time.Weight: 20.9 gDimensions: Width 4.2 cmWu Zhu is a type of Chinese cash coin produced from the Han dynasty in 118 BC when they replaced the earlier San Zhu coins, until they themselves were replaced by the Kaiyuan Tongbao coins of the Tang dynasty in 621 AD. The name Wu Zhu literally means ‘five zhu’, which is a measuring unit officially weighing about 4 grams. In reality however, the weights and sizes of Wu Zhu cash coins varied significantly over the years. During the Han dynasty a large quantity of Wu Zhu coins were cast, but their production continued under subsequent dynasties until the Sui. Minting definitively ended in 618 with the establishment of the Tang dynasty. Wu Zhu coins were cast from 118 BC to 618 AD, having a span of 736 years, the longest for any coin in the history of the world.Auction result comparison: Compare with a celadon and russet jade carving of a bat and coin, dated to the 19th century, at Sotheby’s Hong Kong in Chinese Art on 2-3 June 2016, lot 928, sold for HKD 500,000.清代玉蝙蝠五銖幣中國，十八世紀。巧妙地雕刻成蝙蝠，翅膀抱著五株幣。 半透明玉石，顔色均勻，淺米色，白色和紅褐色絮狀内含物，以及散佈的灰黑色斑點。 細節雕刻精美。來源：英國知名中國玉器私人收藏 品相：狀況良好，一小塊碎屑，邊緣有細小磕損，玉石有天然裂紋，隨著時間的流逝，其中一些已經發展成細小的裂縫。 重量：20.9 克 尺寸：款4.2 厘米 拍賣結果比較：一件青玉帶皮玉雕蝙蝠錢幣，十九世紀，見香港蘇富比Chinese Art 拍場2016年6月2-3日 lot 928, 售價HKD 500,000.
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