We found 400965 price guide item(s) matching your search
There are 400965 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
400965 item(s)/page
Lot 33
A yellow metal and cairngorm set plaid brooch, the central prismatic cut stone surrounded by a wrapped chain effect brooch mount, 49mm wide, 47mm high, a "Quendal Beast" silver brooch, the circular brooch with central pierced depiction of the beast, stamped SS STERLING SHETLAND verso, 31mm diameter, An Elizabeth II Scottish silver brooch, Edinburgh 1952, maker mark rubbed, the brooch with central depiction of a lion holding a dagger and the Latin motto of FIDE ET FORTITUDINE, the Farquharson clan motto, 39.5mm wide (3)
Lot 71
Shropshire.- Joffroy (L.) Views of Porkington, lithographed pictorial title & 3 views only of the house at different periods, all on india paper and mounted, lithographed coat-of-arms (duplicated), no text, title and views lightly foxed (marginal on two), modern half morocco, gilt-stamped morocco label to upper cover and spine, with original printed wrappers bound in, n.p., 1835 § Companion (A) to the Leasowes, Hagley, and Enville; with a Sketch of Fisherwick, 3 engraved plates, one aquatint, advertisement leaf at end, final two leaves lacking lower outer corner not affecting text, book-label of Percy J.Pond and bookplate of John Harris (by Reynolds Stone), modern half calf over marbled boards, [Abbey, Scenery 421], Birmingham, [1800] § [Hill (Jane)] Some Account of the Antiquities of Hawkstone, only edition, 5 lithographed views on 4 plates, wood-engraved illustrations, original cloth, paper label (chipped), rubbed, preserved in modern morocco-backed cloth slip-case, spine gilt, Shrewsbury, printed by W. & J.Eddowes, [c.1830]; and 8 others on Shropshire, v.s. (11)⁂ The first is a very rare but incomplete suite of plates depicting Porkington Hall (now called Brogyntyn), near Oswestry, once home of the Ormsby-Gore family but sold by Lord Harlech in 2001. Not recorded by Library Hub or WorldCat a copy sold at Sotheby's in 1979 for £160 but contained a title and 8 plates.
Lot 1
A RARE CARVED WOOD TEMPLE STRUT (VIGRAHA) DEPICTING A YOGINI 寺廟木柱雕刻瑜伽士Nepal, 13th-14th century or earlier. Finely carved standing in tribhanga, the left hand raised in the healing gesture of prithvi mudra, the right holding a skull cup. The emaciated body adorned with a garland of severed heads, the gaunt face with large eyes protruding from cavernous sockets, the head surmounted by an elaborate tiara.Provenance: From the estate of Richard S. Ravenal (1927-2022), Livingston Manor, New York, USA. The former owner of both the Asian Gallery in New York, Richard Ravenal was an avid collector and connoisseur of East Asian antiquities. Pieces formerly in his possession can be found today in several prominent institutions, including the Brooklyn Museum.Condition: Good condition, commensurate with age. Ancient wear, expected age cracks and splits, losses, signs of weathering and erosion, minor worming, nicks, scratches. Overall presenting remarkably well. A magnificent, naturally grown patina overall.Weight: 13.4 kg (incl. stand)Dimensions: Height 73 cm (excl. stand) and 88.5 cm (incl. stand) Mounted on a fitted stand. (2)Nepalese temple struts, known as tunala or vigraha, are considered fine works of art and are often made by highly skilled craftsmen using traditional techniques. They are an important part of the cultural heritage of Nepal and can be found in many different styles and designs throughout the country. These struts are found in traditional Nepalese architecture, particularly in religious structures such as temples and shrines, ornately carved and often painted, serving both structural and symbolic purposes.Structurally, the struts help support the roof of the temple or shrine, which is made of heavy timber or stone. The struts are typically placed at regular intervals along the eaves of the roof, and their weight helps to counterbalance the weight of the roof, making the structure more stable.Symbolically, the struts are often carved with intricate designs and figures from Nepalese mythology, and are believed to have religious significance. They are thought to represent various deities or supernatural beings, and are intended to offer protection and blessings to the structure and its occupants.Literature comparison: Compare a related wood temple strut depicting a yakshi, 128 cm high, dated to the 13th century, formerly in the Art Gallery New South Wales, accession number 33.2000.a-b, recently repatriated to Nepal in May 2003 and currently on display at the Patan Museum. Compare a related wood temple strut depicting Varaha, 74.5 cm high, dated to the 15th century, previously in the James W. and Marilynn Alsdorf Collection and now in the Art Institute of Chicago, reference number 1984.1495. See a comparable set of temple struts dated to the 15th century, still in place at Gunakar monastery in Jyatha Tol, Chhusyabaha, Kathmandu, Nepal.Auction result comparison: Type: Related Auction: Christie's Amsterdam, 8 May 2001, lot 531 Price: NLG 25,850 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A Nepalese wood temple strut, circa 14th century Expert remark: Compare the related manner of carving. While the present lot appears significantly older than the Christie's example, both have comparable iconography. The Christie's example also shows that the current lot may possibly be missing a lower portion. Note the size (101 cm).Auction result comparison: Type: Related Auction: Bonhams Paris, 15 December 2022, lot 154 Estimate: EUR 50,000 or approx. EUR 51,500 converted and adjusted for inflation at the time of writing Description: A sandalwood figure of Lokeshvara, Nepal, 11th/13th century Expert remark: Compare the related manner of carving. Note the size (66 cm). 寺廟木柱雕刻瑜伽士尼泊爾，十三至十四世紀或更早。精雕細刻，呈三曲式，左手舉起，結地手印治療姿勢，右手拿著一個骷髏杯。 瘦弱的身體上戴著骷髏花環，憔悴的臉龐，大眼突出，頭上戴著頭飾。 來源：Richard S. Ravenal (1927-2022年) 舊藏，美國紐約利文斯頓莊園。Richard Ravenal是紐約亞洲藝廊的前任所有者，他是一位熱心的東亞古董收藏家和鑑賞家。 如今，包括布魯克林博物館在內的幾個著名機構中都可以找到他以前擁有的藏品。 品相：狀態良好，磨損、裂縫和裂口、缺損、風化和侵蝕、輕微的蟲蛀、刻痕、劃痕，自然包漿。 重量：13.4 公斤(含底座) 尺寸：高 73 厘米 (不含底座) 與 88.5 厘米 (含底座) 固定支架 (2) 文獻比較: 比較一件相近的十三世紀寺廟木雕藥叉女，高128 厘米，曾藏於Art Gallery New South Wales，館藏編號33.2000.a-b，2003年5月已被送回尼泊爾，現藏於Patan 博物館。比較一件相近的十五世紀寺廟木雕婆羅訶，高74.5 厘米，曾藏於James W.和Marilynn Alsdorf Collection，現藏於芝加哥藝術博物館，館藏編號1984.1495。見一件十五世紀寺廟木雕像，仍在尼泊爾加德滿都Jyatha Tol的Gunakar修道院。 拍賣比較： 形制：相近 拍賣：阿姆斯特丹佳士得，2001年5月8日，lot 531 價格：NLG 25,850（相當今日EUR 18,500） 描述：約十四世紀尼泊爾寺廟木雕 專家註釋：比較相近的雕刻風格。 雖然我們的拍品看起來比佳士得的木雕年代更久遠，但兩者的圖像具有可比性。佳士得的例子還表明，我們的拍品可能缺少下部部分。請注意尺寸 (101 厘米)。 拍賣比較： 形制：相近 拍賣：巴黎邦翰斯，2022年12月15日，lot 154 估價：EUR 50,000（相當今日EUR 51,500） 描述：尼泊爾十一/十三世紀檀香木雕聖觀自在菩薩像 專家註釋：比較相近的雕刻風格。請注意尺寸 (66 厘米)。
Lot 100
A RARE TURQUOISE-INLAID BRONZE MIRROR, WARRING STATES PERIOD 戰國嵌綠松石銅鏡China, 475-221 BC. Finely cast, the back of the circular mirror intricately inlaid in turquoise with intertwined stylized dragons arranged in a grid-like structure interspersed by circular recesses and encircled by a band of similarly stylized beasts. The mirror is cast with three loops suspending loose and massive bronze rings.Provenance: A private collection in Northern Thailand. Het Magazijn, Ghent, Belgium, September 2006. The private collection of Mr. and Mrs. S., Ghent, Belgium, acquired from the above and thence by descent in the family. A copy of a signed authentication certificate from Het Magazijn, including two photographs of the present lot, and confirming the provenance and dating above, accompanies this lot.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, losses, nicks, scratches. The bronze is covered in a rich, naturally grown patina with fine malachite encrustation. Displaying spectacularly well overall.Weight: 1,926 g Dimensions: Diameter 29.9 cm Expert's note: Unlike most mirrors of Warring States and Tang Dynasty date, which have a central loop or knob for the attachment of a cord, this mirror - and others like it - have loops at the outer edge, which are thought to have been used for suspending it. Fragments of stone left within one of the eight circular recesses suggest this mirror was once additionally inlaid with precious stones which are now lost. This suggests a high degree of importance surrounding this mirror as all other comparisons have simple bronze knobs cast as one piece rather than gemstone inlays.Literature comparison:Compare a closely related turquoise-inlaid mirror, also with three rings, excavated at Linzi (a city of the Qi state), Shandong province, dated to the Warring States period, in the Shandong Museum, illustrated in Zhongguo Qingtongqi Quanji ('Complete Collection of Chinese Bronzes') - 16 - Bronze Mirrors, Beijing, 1998, p. 32, no. 32; and by Thomas Lawton, Chinese Art of the Warring States Period: Change and Continuity, 480-222 BC, Freer Gallery of Art, 1982, p. 81, where it is noted that other mirrors with suspension loops at the rim were excavated from a tomb at Shiertai, Chaoyang county, Liaoning province. A turquoise-inlaid bronze mirror found in 1965 in a Western Han tomb at the Sanlidun site in Lianshui county, Jiangsu province, was unearthed with a bronze figure of a recumbent deer, suggesting that the mirror might have been suspended by two of the rings from the antlers. For illustrations of the deer and mirror see Ancient Bronze Mirrors from the Shanghai Museum, Shanghai, 2005, p. 59, fig. 13.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 4 Oct 2018, lot 73 Price: HKD 175,000 or approx. EUR 24,500 converted and adjusted for inflation at the time of writing Description: A rare small turquoise-inlaid silvery bronze circular mirror with rings, Warring States period (475-221) Expert remark: Compare the identical form with three loose rings and similar decoration with similar turquoise inlays. Note the much smaller size (9 cm). 戰國嵌綠松石銅鏡中國，公元前475-221年。圓形鏡子，背面鑲嵌綠松石，花紋對稱，成蜿蜒龍紋狀，十分精美，邊緣一周獸形紋。三個銅活環。 來源：泰國北部私人收藏；比利時根特Het Magazijn，2006 年 9 月；比利時根特 S. 夫人和先生私人收藏，是從上述家族獲得。該拍品隨附一份 Het Magazijn 簽署的鑑定證書副本，其中包括本拍品的兩張照片，並確認上述出處和日期。 品相：狀況良好，大面積磨損、風化和侵蝕、缺損、刻痕、劃痕。青銅表面覆蓋著自然包漿，上面散佈著著精美的綠色外殼。 重量：1,926 克 尺寸：直徑 29.9 厘米 文獻比較: 比較一件非常相近的戰國時期嵌綠松石銅鏡，也有三環，出土於山東省臨淄（舊齊國城市），收藏於山東博物館，見《中國青銅器全集・16・銅鏡》，北京，1998年，頁32，編號32。另一件西元前480-222年銅鏡，見Thomas Lawton，《Chinese Art of the Warring States Period: Change and Continuity》，Freer Gallery of Art，1982年，頁81。值得注意的是，遼寧省朝陽縣十二台墓葬中還出土了其他邊緣帶有吊環的鏡子。 1965年，江蘇省漣水縣三里屯遺址西漢墓葬中出土了一面鑲嵌綠松石的銅鏡，鏡上有一銅鹿臥身像，表明的兩枚圓環為鹿角而製。一件鹿和銅鏡，見《Ancient Bronze Mirrors from the Shanghai Museum》，上海，2005年，頁59，圖13。 拍賣比較： 形制：非常相近 拍賣：香港佳士得，2018年10月4日，lot 73 價錢：HKD 175,000（相當今日EUR 24,500） 描述：戰國鑲嵌綠松石三活環鍍銀銅鏡 專家註釋：比較相同的外形帶有三個環和類似的裝飾，帶有類似的綠松石鑲嵌物。請注意尺寸較小 (9 厘米)。
Lot 126
A RARE WHITE MARBLE CARVING OF A PHALLUS, WESTERN HAN DYNASTY 西漢漢白玉玉勢China, 206 BC-8 AD. The realistically carved elongated phallus is decorated with rings along the shaft and with a cross-hatched decorative band at the base. The base has a domed recess inside that is pierced horizontally for suspension. This recess has a second aperture that extends to the tip of the phallus.Provenance: Bonhams, Hong Kong, December 16th, 2022, lot 351. Note that Bonham's experts originally dated this lot to the Tang dynasty.Condition: Good condition commensurate with age. Signs of wear, weathering, and erosion. Minor nicks and losses. Soil encrustations overall, issuing from an extended period of burial. These encrustations cannot be easily removed, and they have left distinct marks to the mineral. The stone with natural inclusions and fissures, some of which have developed into hairline cracks. Fine, naturally grown golden-brown patina overall.Weight: 431.7 g Dimensions: Length 18.9 cm Expert's note: Similar to the few known phallus sculptures from ancient China, the heavy encrustation from extensive burial is evidence of its (eventual) use as a grave good. The elaborate carving with great attention to detail and the two apertures, one for suspension and one for added realism, suggest the elite status of the person with which this was buried. Phallic objects carved from stone, or cast from metal or terracotta, are common subjects of any major ancient culture. Throughout time, the phallus was seen as an emblem of life and procreation. Not only did it have the power to induce fertility, but it also had an equally important role as an auspicious emblem which would ward off diseases. The practice of castration and the employment of court eunuchs, likely established in China during the Sui dynasty, added a secondary role of model phalli: the restoration of manhood after death (court eunuchs would be buried with their detached genitalia). However, this multifaceted subject remains somewhat of a taboo, which has contributed to relatively scarce publications about ancient Chinese erotic sculpture.Phalluses of various materials, believed to be associated with fertility rites, have been made in various prehistoric cultures in the Yellow River basin. Later in the Shang dynasty, when pictographic language emerged, the character zu (ancestor) closely resembled the male sexual organ, indicating the significance of the male role in ancient Chinese ancestry.Literature comparison: Compare two similar bronze phallus excavated from a tomb in the Dayun Mountain, Xuyi, Jiangsu, dated to the Western Han dynasty, in the Nanjin Museum, included in the exhibition Tomb Treasures: New Discoveries from China's Han Dynasty, Asian Art Museum, San Francisco, 17 February-28 May 2017. Compare two bronze V-shaped double-phalli, excavated in the tomb of Prince Zhongshan (Liu Sheng), dated to the Han dynasty, published in Mancheng Han mu Fajue Baogao (Excavation Report of the Han Dynasty tomb at Mancheng), Beijing, 1980, vol. 1, pp. 100. The former was unearthed together with a pair of matching stone pebbles, illustrated ibid., vol. 2, pl. LXI, fig. 2.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 29 April 2022, lot 3670 Estimate: HKD 140,000 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: A bronze phallus, Han dynasty Expert remark: Note the similar wrinkle-like rings at the top of the shaft. Note the size (17.2 cm). 西漢漢白玉玉勢中國，公元前206年至公元八年。雕刻逼真的細長陽具，底部飾有交叉紋飾帶。底座內部有一個圓頂凹槽，水平穿孔用於懸掛。凹出有延伸至陰莖尖端的第二個孔。 來源：香港邦翰思，2022年12月16日。請注意邦翰思專家認爲這件拍品來自唐代。 品相：狀況良好，有磨損、風化和侵蝕的跡象，輕微劃痕和缺損。總體而言，土壤結殼是由於長期在地下而產生的。這些結殼不容易去除，並且在大理石上留下了明顯的痕跡。石料具有天然内沁和裂隙，有的已發展成裂紋。整體呈精美的金棕色包漿。 重量：431.7 克 尺寸：長18.9 厘米 文獻比較： 比較兩件戰國時期青銅勢，出土於江蘇大雲山江都王陵，收藏於南京博物館，展覽於《Tomb Treasures: New Discoveries from China's Han Dynasty，Asian Art Museum》，舊金山，2017年2月17日 -5月28。比較兩件漢代V形雙陽具，出土於中山王墓，出土於《滿城漢墓發掘報告》，北京，1980年，卷1，頁100。其中一件與一對相配的鵝卵石一起出土，見上書，卷2，圖LXI，圖2。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2022年4月29日，lot 3670 估價：HKD 140,000（相當於今日EUR 16,500） 描述：漢青銅祖 專家評論：請注意相似的環。請注意尺寸(17.2 厘米)。
Lot 127
A BROWN LIMESTONE FIGURE OF A SEATED LION, TANG DYNASTY 唐代石獅China, 618-906. The muscular animal shown seated, the head turned slightly to the side and the face carved with an intense expression created by the bulging eyes, the mouth open in a menacing snarl, and the mane falling in layers along his neck. The stone of a dark-brown color with rust-brown veins, dark specks, and creamy white inclusions.Provenance: From a noted private collection of Chinese art. Condition: Extensive wear, losses, nicks, light surface scratches, few structural cracks, signs of weathering and erosion, and encrustations.Weight: 598.6 g Dimensions: Height 8.6 cmAuction result comparison:Type: Closely relatedAuction: Bonhams Paris, 25 October 2022, lot 44Price: EUR 4,845Description: A stone fragment of a lion, Tang dynastyExpert remark: Compare the closely related color of the stone, and facial expression. Note that this lion has lost most of its body, as opposed to the present lot.唐代石獅中國，618-906年。坐獅身形矯健，頭微微偏向一側，大眼圓睜，嘴巴張開似乎發出咆哮，鬃毛在脖子上層層疊疊。深褐色的石頭，帶有銹褐色的紋理、深色斑點。 來源：知名中國藝術私人收藏。 品相：大面積磨損、缺損、刻痕、輕微劃痕、少量結構裂縫、風化和侵蝕的跡象、結殼。 重量：598.6 克 尺寸：高8.6 厘米 拍賣結果比較： 形制：非常相近 拍賣：巴黎邦瀚斯，2022年10月25日，lot 44 價格：EUR 4,845 描述：唐石獅 專家評論：比較非常相近的石色和面部表情。請注意此石獅缺失了大部分的身體。
Lot 128
AN AGATE BOWL, SONG DYNASTY, CHINA, 960-1279 宋代瑪瑙碗Finely carved, the shallow rounded sides raised on a thick foot and rising to an everted rim, the luminous translucent stone is superbly polished and shows natural swirls and ripples of pale grey to deep honey tones with scattered dark inclusions. With a magnificent surface polish, rendering an unctuous feel to the surface overall.Provenance: From the personal collection of J. J. Lally, New York, USA. With two labels from J. J. Lally, each inscribed with the number '4154'. James J. Lally is a renowned antique dealer and expert, recognized as one of the greatest scholar-dealers of Chinese art, who has been a leader in the field for more than 40 years. After graduating from Harvard College and Columbia University, Lally joined Sotheby's where he held many positions within the Chinese art department. In 1970 he served as the director of Chinese works of art at Sotheby's in New York and Hong Kong, and by 1983 was named president of Sotheby's in North America. In 1986 he founded his namesake gallery, J. J. Lally & Co., at 41 East 57th Street in New York - just a few blocks away from the MoMA, to provide advisory services for keen collectors. Lally fondly recalls the moment, not long after he opened his gallery, when a young man walked through the door with a Shang Dynasty gong—a bronze vessel shaped like a gravy boat—decorated with a dragon and tiger and in beautiful condition. It was, Lally described, “one of the most important objects I ever had in my hands.” The young man said he had inherited it from his father and was not really interested in Chinese art himself. He wanted to buy a sailboat and wondered if the gong was valuable enough to pay for that. “I was very happy to tell him that it was valuable enough to buy two sailboats,” Lally noted. The gallery helped to establish New York as a major center of commerce for Chinese art and allowed Lally to concentrate on his own specific interests, particularly early ceramics, ritual bronze vessels, archaic jade carvings and sculpture. Lally brought a learned approach to his work, publishing detailed, scholarly catalogs that have remained important reference guides within the field. This meticulous approach continued when he produced his own exhibitions and catalogs. Giuseppe Eskenazi, dubbed the “Godfather of Chinese Antiques,” and one of the world's most esteemed Chinese art dealers, also spoke highly of Lally for his achievements in the industry, alongside William Chak from Hong Kong, and the Marchant family from London. In the spring of 2023, Christie's and Bonhams conducted single owner sales of Lally's collection which broke several auction records.Condition: Superb condition with expected old wear, few small areas with inclusions along the foot and rim which have been slightly smoothened.Weight: 127.3 gDimensions: Diameter 9.8 cm With a padded silk box and cover. (2)Literature comparison:Compare a closely related bowl of similar color, dated to the Southern Song period, 9.5 cm diameter, in the collection of the Asian Art Museum of San Francisco, object number B60J6. Compare a related bowl of similar form, dated to the Song dynasty (960-1279), 17.8 cm diameter, in the collection of the Asian Art Museum of San Francisco, object number B60J159.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 19 March 2015, lot 597Price: GBP 13,750 or approx. EUR 15,500 adjusted for inflation at the time of writing Description: A Pale Grey Agate Flower-Form Bowl, China, Possibly Southern Song DynastyExpert remark: Note the size (12 cm diameter).Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 31 May 2017, lot 3141Price: HKD 150,000 or approx. EUR 21,000 adjusted for inflation at the time of writing Description: An Agate Oval Stem Dish, Song Dynasty (960-1279) Expert remark: Note the size (15.7 cm). 宋代瑪瑙碗天然瑪瑙製成，盞身光素，敞口 ，直圈足，乳白色的底色。半透明瑪瑙經過拋光精良，呈現出淺灰色至深蜜色調的自然漩渦和波紋，深色內沁，表面光滑瑩潤。 來源：紐約 J. J. Lally私人收藏，J. J. Lally留下兩個標籤，上面都寫著 '4154'。James J. Lally是一位著名的古董商和專家，被公認為中國藝術最偉大的儒商之一。四十多年來，他一直是該領域的領導者。從哈佛大學和哥倫比亞大學畢業後，Lally加入蘇富比中國藝術部門並擔任多個職位。1970年，他擔任紐約和香港蘇富比中國藝術品總監，並於1983年被任命為蘇富比北美區總裁。1986 年，他在紐約東 57 街 41 號（距現代藝術博物館僅幾個街區）創立了同名畫廊 J. J. Lally & Co.，為收藏家提供諮詢服務。Lally深情地回憶起藝廊開張不久，一位年輕人拿著商代銅器（刻有龍虎圖案的青銅器皿，狀態良好）走進門的那一刻。“這是我手中最重要的物品之一。” 這位年輕人說，他是從父親那裡繼承的，他自己對中國藝術並不真正感興趣。 他想買一艘帆船，不知道這銅器是否值錢。”我很高興告訴他，它的價值足以購買兩艘帆船，” Lally告訴他。該藝廊幫助紐約成為中國藝術的主要商業中心，並使Lally能夠專注於自己的興趣，特別是早期陶瓷、青銅禮器、古代玉雕和造像。Lally為出版了詳細的學術目錄，這些目錄至今仍然是該領域的重要參考，他被譽為“中國古董教父”。全球最受尊敬的中國藝術品經銷商之一的Giuseppe Eskenazi 與香港的 William Chak 和倫敦的 3月ant 家族一樣，也高度評價了 Lally的成就。2023年春季，佳士得和邦瀚斯對拉利的藏品進行了拍賣，打破了多項拍賣記錄。品相：狀況極好，有磨損，足部和邊緣有一些小區域有內沁，已稍微平滑。 重量：127.3 克 尺寸：直徑 9.8 釐米 內襯絲綢蓋盒 (2) 文獻比較： 比較一件非常相近的南宋瑪瑙碗，直徑9.5 釐米，收藏於舊金山亞洲藝術博物館，館藏編號B60J6。比較一件相近的宋代瑪瑙碗有相似的外形，直徑17.8 釐米，收藏於舊金山亞洲藝術博物館，館藏編號B60J159。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年3月19日，lot 597 價格：GBP 13,750（相當於今日EUR 15,500） 描述：可能為南宋瑪瑙花口盌 專家評論：請注意尺寸 (12 釐米 直徑)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年5月31日，lot 3141 價格：HKD 150,000（相當於今日EUR 21,000） 描述：宋瑪瑙橢圓形高足盤 專家評論：請注意尺寸 (15.7 釐米)。
Lot 129
AN AGATE CUP AND MATCHING CUP STAND, YONGZHENG PERIOD 雍正瑪瑙杯及杯碟China, 1723-1735. The tall cup with deep rounded sides rising from a recessed base to a lipped rim, neatly mounted in finely gilt-bronze. The stand matching the cup perfectly, with an accurately carved circular recess to the top center, designed for the cup to fit in. Both carved from the same translucent pale gray stone showing characteristic jagged striations of cream, black, and honey tones, all quite typical for this specific material, which was much coveted at the Yongzheng court.Provenance: From the personal collection of J. J. Lally, New York, USA. With two labels from J. J. Lally, each inscribed with the number '4359'. James J. Lally is a renowned antique dealer and expert, recognized as one of the greatest scholar-dealers of Chinese art, who has been a leader in the field for more than 40 years. After graduating from Harvard College and Columbia University, Lally joined Sotheby's where he held many positions within the Chinese art department. In 1970 he served as the director of Chinese works of art at Sotheby's in New York and Hong Kong, and by 1983 was named president of Sotheby's in North America. In 1986 he founded his namesake gallery, J. J. Lally & Co., at 41 East 57th Street in New York - just a few blocks away from the MoMA, to provide advisory services for keen collectors. Lally fondly recalls the moment, not long after he opened his gallery, when a young man walked through the door with a Shang Dynasty gong—a bronze vessel shaped like a gravy boat—decorated with a dragon and tiger and in beautiful condition. It was, Lally described, “one of the most important objects I ever had in my hands.” The young man said he had inherited it from his father and was not really interested in Chinese art himself. He wanted to buy a sailboat and wondered if the gong was valuable enough to pay for that. “I was very happy to tell him that it was valuable enough to buy two sailboats,” Lally noted. The gallery helped to establish New York as a major center of commerce for Chinese art and allowed Lally to concentrate on his own specific interests, particularly early ceramics, ritual bronze vessels, archaic jade carvings and sculpture. Lally brought a learned approach to his work, publishing detailed, scholarly catalogs that have remained important reference guides within the field. This meticulous approach continued when he produced his own exhibitions and catalogs. Giuseppe Eskenazi, dubbed the “Godfather of Chinese Antiques,” and one of the world's most esteemed Chinese art dealers, also spoke highly of Lally for his achievements in the industry, alongside William Chak from Hong Kong, and the Marchant family from London. In the spring of 2023, Christie's and Bonhams conducted single owner sales of Lally's collection which broke several auction records.Condition: The cup in fair condition, commensurate with age, showing expected minor wear, the stone with natural fissures, some of which have developed into minor hairlines and a star crack below the rim. The matching saucer is in absolutely perfect condition.Weight: 39.1 g Dimensions: Height 4.6 cm With a padded silk box and cover. (3)The appreciation of the agate stone saw a revival during the Yongzheng reign. Records in the archives of the Imperial Jade Workshops, yuzuo, dated 1724-1729, noted that the Yongzheng emperor ordered for agate brush washers and bowls to be kept undecorated in order to show the original pattern of the agate stone. Pieces with 'intricate' designs or of unsatisfactory quality were rejected and sent back to the Imperial Palace Workshops.Literature comparison:The Imperial collections in Taipei and Beijing hold a number of extant agate vessels, bearing the Yongzheng mark and of the period; see Feng Mingzhu, Harmony and Integrity: The Yongzheng Emperor and His Times, Taipei, 2009, pp. 235-245. Compare an agate cup and dish in the Palace Museum, Beijing, illustrated by Yang Boda, Zhongguo Yuqi Quanji, Hebei, 2005, pp. 553 and 550, nos. 10 and 62. Also compare an agate bowl from the Yongzheng period in the National Palace Museum in Taipei, image number K1D000405N000000000PAB.Auction result comparison:Type: Closely related Auction: Sotheby's Hong Kong, 8 October 2014, lot 3774 Price: HKD 1,060,000 or approx. EUR 154,000 converted and adjusted for inflation at the time of writing Description: A rare agate cup incised seal mark and period of YongzhengExpert remark: Compare the related form and size. Note the present Yongzheng reign mark and the missing cup-stand. 雍正瑪瑙杯及杯碟中國，1723-1735年。高杯，杯口鎏金，圈足。杯墊與杯子完美匹配。半透明淺灰色瑪瑙，呈現出典型的奶油色、黑色和蜜色的鋸齒狀條紋，非常漂亮。此類特殊石料，在雍正朝宮廷中備受青睞。 來源：紐約 J. J. Lally私人收藏，J. J. Lally留下兩個標籤，上面都寫著 '4359'。James J. Lally是一位著名的古董商和專家，被公認為中國藝術最偉大的儒商之一。四十多年來，他一直是該領域的領導者。從哈佛大學和哥倫比亞大學畢業後，Lally加入蘇富比中國藝術部門並擔任多個職位。1970年，他擔任紐約和香港蘇富比中國藝術品總監，並於1983年被任命為蘇富比北美區總裁。1986 年，他在紐約東 57 街 41 號（距現代藝術博物館僅幾個街區）創立了同名畫廊 J. J. Lally & Co.，為收藏家提供諮詢服務。Lally深情地回憶起藝廊開張不久，一位年輕人拿著商代銅器（刻有龍虎圖案的青銅器皿，狀態良好）走進門的那一刻。 “這是我手中最重要的物品之一。” 這位年輕人說，他是從父親那裡繼承的，他自己對中國藝術並不真正感興趣。他想買一艘帆船，不知道這銅器是否值錢。”我很高興告訴他，它的價值足以購買兩艘帆船，” Lally告訴他。該藝廊幫助紐約成為中國藝術的主要商業中心，並使Lally能夠專注於自己的興趣，特別是早期陶瓷、青銅禮器、古代玉雕和造像。Lally為出版了詳細的學術目錄，這些目錄至今仍然是該領域的重要參考，他被譽為“中國古董教父”。全球最受尊敬的中國藝術品經銷商之一的Giuseppe Eskenazi 與香港的 William Chak 和倫敦的 3月ant 家族一樣，也高度評價了 Lally的成就。2023年春季，佳士得和邦瀚斯對拉利的藏品進行了拍賣，打破了多項拍賣記錄。 品相：狀況良好，輕微磨損，瑪瑙有天然裂縫，邊緣下方有星形裂縫。配套的碟子狀況極好。 重量：39.1 克 尺寸：高4.6 釐米 內襯絲綢蓋盒(3) 雍正年間，瑪瑙重新得到使用，根據清宮造辦處檔案記載，1724年至1729年，雍正皇帝下令瑪瑙筆洗和碗不加任何裝飾，以顯示瑪瑙的原始圖案。 設計“複雜”或質量不合格的作品被拒絕並送回造辦處。 文獻比較： 台北和北京的故宮收藏有許多現存的雍正款及年代瑪瑙器皿，參見馮明珠，《Harmony and Integrity: The Yongzheng Emperor and His Times》，台北，2009年，頁235-245。 比較一件瑪瑙杯盤，北京故宮博物院藏，見楊伯達著，《中國玉器全集》，河北，2005年，頁553和550，編號10 與 62。比較另一件雍正時期瑪瑙碗，藏於台北故宮博物院，圖號K1D000405N000000000PAB。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2014年10月8日，lot 3774 價格：HKD 1,060,000（相當於今日EUR 154,000） 描述：清雍正瑪瑙素盌 《雍正年製》款 專家評論：比較相近的外形和尺寸。請注意有雍正款，但沒有杯盤。
Lot 131
A LARGE GREEN AND RUSSET JADE FIGURE OF A THREE-LEGGED TOAD, MING DYNASTY 明代大型三足玉蟾China, 1368-1644. The pebble boldly carved in the round as a crouching toad with its single hind leg tucked beneath. The animal well detailed with wrinkles on its back, large protruding eyes, and incised feet. The opaque stone is of a mottled green and dark-gray tone with russet patches and distinctive veins.Provenance: Ute Asboth, Galerie Asboth, Vienna, c. 2000. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. A copy of an expertise written and signed by Ute Asboth, with a stamp from Galerie Asboth, confirming the dating above, accompanies this lot. Ute Asboth (c. 1927-2018) began her career in the Asian art trade at Galerie Zacke in the early 1980s before eventually founding Galerie Asboth in Vienna, Austria. The gallery specialized in East Asian art and published extensively. Several noted exhibitions were curated in close cooperation with Luigi Bandini from Eskenazi gallery in London, United Kingdom. Some pieces from Ute Asboth's private collection reside now in the Museum of Ethnology, Vienna (today the Weltmuseum). Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna's tightknit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel ('Roll of Honor') of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Good condition with old wear, minor signs of weathering and erosion with associated small losses. The stone with natural fissures, some of which have developed into small hairline cracks. Few minor nicks.Weight: 724 gDimensions: Length 12 cm The toad enjoyed popularity in late Ming jade carving due to its association with Daoism and continued into the Qing dynasty. The three-legged toad in particular became so popular an image that its meaning became synonymous with the Daoist immortal Liu Hai. The word for toad is homophonous with offspring (wa), which means the toad came to symbolize the wish for multiple offspring to continue the family line.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 1 June 2016, lot 25Estimate: HKD 300,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writing Description: A sage-green jade figure of a toad, late Ming dynasty to the early Qing dynasty Expert remark: Compare the related pebble-form and pose. Note the color of the jade.Auction result comparison: Type: Related Auction: Christie's London, 11 November 2011, lot 1221Price: GBP 11,875 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing Description: A celadon jade carving of a toad, 17th century Expert remark: Note the size (6.3 cm).Auction result comparison: Type: RelatedAuction: Sotheby's London, 13 December 2021, lot 109Price: GBP 5,040 or approx. EUR 6,900 converted and adjusted for inflation at the time of writingDescription: A celadon and black jade figure of a toad, Ming dynastyExpert remark: Compare the pose. Note the size (6 cm). 明代大型三足玉蟾中國，1368-1644年。玉料雕刻成一隻臥蟾，一條後腿藏在身下，背部有皺紋，大眼突出，細節十分精細。不透明玉料呈斑駁的綠色和深灰色調，帶有黃褐色斑紋理。 來源：Ute Asboth ，維也納Asboth藝廊，約2000年；Maria與Johannes Nickl收藏，購於上述藝廊，在同一家族保存至今。隨附一份由Ute Asboth出具的鑒定書複印件，上還可見 Asboth藝廊印章，確認斷代。Ute Asboth (約1927-2018) 於 1980 年代初在 Zacke藝廊開始了她在亞洲藝術貿易的職業生涯，之後在奧地利維也納創立了 Asboth藝廊。該藝廊專門從事東亞藝術並廣泛出版，她與英國倫敦 Eskenazi 畫廊的 Luigi Bandini 密切合作，並策劃了幾個著名的展覽。Ute Asboth 的一些私人收藏品現在收藏在維也納民族學博物館（現為世界博物館）。品相：狀況良好，有磨損，輕微風化，小缺損和小劃痕。玉料有天然裂隙，有的已發展成細小的裂紋。 重量：724 克 尺寸：長 12 厘米 蟾蜍因與道教有關，在晚明玉雕中極受歡迎，一直延續到清代。其中，“劉海戲金蟾”的故事廣爲流傳。蟾蜍即蛙，字與“娃”諧音，意思是蟾蜍來了，象徵著多子多孫。拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2016年6月1日，lot 25 估價：HKD 300,000（相當於今日EUR 40,500） 描述：明末至清初青玉蟾蜍 專家評論：比較相近大眼突出和姿勢。請注意玉石顏色。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2011年11月11日，lot 1221 價格：GBP 11,875（相當於今日EUR 21,500） 描述：十七世紀青白玉蟾蜍 專家評論：請注意尺寸(6.3厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2021年12月13日，lot 109 價格：GBP 5,040（相當於今日EUR 6,900） 描述：明青玉蟾蜍 專家評論：比較姿勢。請注意尺寸(6厘米)。
Lot 132
A CELADON AND RUSSET JADE OF AN ELEPHANT LADEN WITH AUSPICIOUS FRUIT, LATE MING TO MID-QING DYNASTY 明末至清朝中期青玉留皮臥象China, 17th-18th century. Well carved with the pachyderm turning its head sharply to the left and its tail flicking towards its right as the tassels of its caparison reach the ground. The elephant is finely detailed, emphasizing the wrinkly texture of its skin and paying close attention to the vessel filled with auspicious fruit, which is pierced through the center for suspension. The partly translucent stone is of a pale grayish-green tone with distinct russet and dark-gray shadings as well as cloudy inclusions and dark veins. Good polish.Provenance: Jade House, Hong Kong, 8 October 1996. Collection of T. Eugene Worrell, acquired from the above and thence by descent in the same family. Thomas 'Gene' Worrell (1919-2006) was a newspaper owner and art collector based in Charlottesville, Virginia. During his youth, Worrell attended college, completing a degree at the George Washington School of Law, and worked for the FBI during World War II as a special agent. In 1949, he began a career as a newspaperman and, with his wife, founded The Virginia Tennessean in Bristol. This marked the beginning of Worrell Newspapers, Inc., which became one of the largest chains of small dailies in the United States. The office of the Worrell Investment Company was home to The Worrell Collection, where the present lot was exhibited until 2022. The only collection of its magnitude in the country, it included sculpture, paintings, and antique Chinese jades. Parts of the jade collection were published by John Ayers in 'A Jade Menagerie: Creatures Real and Imaginary from the Worrell Collection', London, 1993.Condition: Very good condition with some old wear, minor signs of weathering and erosion, and small nibbles to edges. The stone with natural fissures, some of which may have developed into small hairline cracks.Weight: 71.5 gDimensions: Height 4.9 cm Auction result comparison: Type: Closely relatedAuction: Christie's New York, 23 March 2012, lot 1815Price: USD 21,250 or approx. EUR 26,000 converted and adjusted for inflation at the time of writingDescription: A small greenish-yellow and russet jade carving of an elephant, 17th centuryExpert remark: Compare the related motif, color, and manner of carving. Note the near-identical size (5 cm). 明末至清朝中期青玉留皮臥象中國，十七至十八世紀。雕刻精美，大象向右回首，呈半臥姿，長鼻翻捲，體態肥碩，雙耳如扇，四肢如柱，背上背著一筐水果，刻飾嫻熟流暢。穿孔，中心懸掛。青玉留皮，巧妙利用皮色，使大象更顯憨厚生動。局部半透明的玉石呈淡灰綠色調，具有赤褐色和深灰色陰影以及絮狀物和深色紋理。 來源：香港Jade House藝廊，1996年10 月8日；T. Eugene Worrell收藏，購於上述藝廊，在同一家族傳承。Thomas 'Gene' Worrell（1919-2006年 年）是弗吉尼亞州夏洛茨維爾的一名報紙老闆和藝術品收藏家。 Worrell年輕時就讀大學，在喬治華盛頓法學院獲得學位，並在第二次世界大戰期間作為特工為聯邦調查局工作。1949 年，他開始了新聞記者的職業生涯，並與妻子在布里斯托爾創辦了《弗吉尼亞田納西報》。 這標誌著沃雷爾報業公司 (Worrell Newspapers，Inc.) 的誕生，該公司成為美國最大的小型日報連鎖店之一。 Worrell投資公司的辦公室是Worrell收藏的所在地，目前的拍品一直展出到2022年。這是該地區唯一的此類規模的收藏，其中包括雕塑、繪畫和中國古董玉器。 John Ayers 在《A Jade Menagerie: Creatures Real and Imaginary from the Worrell Collection》一書中出版了部分玉石藏品，倫敦，1993 年。 品相：狀況極好，有一些磨損，輕微的風化和侵蝕跡象，邊緣有小磕損。玉石上有天然裂縫，有的可能發展成細小裂縫。 重量：71.5 克 尺寸：高4.9 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 1815 價格：USD 21,250（相當於今日EUR 26,000） 描述：明末/清初青玉雕象馱如意把件 專家評論：比較相近主題、顏色和雕刻風格。請注意幾乎相同的尺寸(5 厘米)。
Lot 133
A PALE CELADON FIGURE OF A BOY WITH A HOBBY HORSE, 18TH CENTURY 十八世紀青白玉騎馬上任童子珮China. Carved as a striding boy holding the reins of the hobby horse with one hand, the other holding a leafy lotus stem. The translucent stone of a pale celadon color with faint russet patches and veins, and cloudy white inclusions.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings.Condition: Very good condition with minor wear, minuscule nibbling to the base, the lotus flower with a small chip. The stone with natural imperfections and fissures, some of which may have developed into small hairline cracks over time.Weight: 74.0 g Dimensions: Height 65 cmExquisitely modeled in the round to depict a boy astride a hobby horse, the reins of which he lovingly clutches whilst slinging stems of lotus over his shoulder, this carving captures the playful ease and charm of the subject. Images of boys playing with a hobby horse form part of the popular 'boys at play' and 'Hundred Boys' subjects that emerged during the Song dynasty. This theme is symbolic of the Confucian ideal for the education and advancement of many sons, a wish further emphasized by the lotus he carries which is a homophone of 'continuous' and creates the rebus 'May you continuously give birth to sons'. As the boy is depicted riding a hobby horse, this conveys the further wish for it to come quickly as 'to be on top of a horse' means 'immediately'.Literature comparison:Compare a related carved jade figure of a boy, but holding a rattle instead of a lotus stem, in the collection of the Museum of East Asian Art, Bath, collection number BATEA 1218. Compare also a related jade figure of a boy holding a lantern on a pole, in the collection of the Metropolitan Museum of Art, accession number 2015.500.5.14.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 30 November 2016, lot 158Price: HKD 525,500 or approx. EUR 72,500 converted and adjusted for inflation at the time of writingDescription: A superb pale celadon jade 'boy and hobby horse' carving, Qing dynasty, 18th century十八世紀青白玉騎馬上任童子珮中國。圓雕一童子騎於玩具馬上，圓頭圓腦，頭頂髮髻，雙眼細瞇喜笑顏開。上衣及長褲衣紋褶皺自然，右手拿著一朵蓮花。馬顯得溫順可愛。青白玉細膩瑩潤。 來源：Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。 Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：品相極好，有輕微磨損，底部有輕微的磕損，蓮花帶有小磕損。玉料具有天然缺陷和裂縫，其中一些可能隨著時間的推移發展成細小的裂縫。 重量：74.0 克 尺寸：高65 厘米 通體琢刻細膩，匠心獨運，人物栩栩如生。男孩玩木馬是宋代流行的“嬰戲圖”和“百子圖”中的一部分。男童玩馬也取意即將出官入仕，平步青雲，玩趣十足。 文獻比較： 比較一件相近的騎馬上任童子玉珮，男童手上拿著蓮花，收藏於巴斯東亞藝術博物館，收藏編號BATEA 1218。比較一件相近的騎馬上任童子玉珮，男童手上拿著燈籠，收藏於大都會藝術博物館，編號2015.500.5.14。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2016年11月30日，lot 158 價格：HKD 525,500（相當於今日EUR 72,500） 描述：清十八世紀青白玉雕連生貴子把件
Lot 18
A GILT BRONZE FIGURE OF MANJUSHRI, 18TH CENTURY 十八世紀銅鎏金文殊菩薩Tibetan-Chinese. Finely cast seated in dhyanasana atop a double lotus base with beaded edges, holding aloft the hilt of his sword in his raised right hand, the left hand held in vitarka mudra. The bodhisattva clad in a voluminous dhoti with neatly incised foliate hems and richly adorned with billowing sashes and beaded jewelry. His serene face with sinuously lidded eyes below arched brows centered by a raised circular urna, his bow-shaped lips forming a subtle smile, flanked by elongated ears with chakra earrings, the hair arranged in a high chignon topped by a lotus finial behind the foliate tiara in front of a high chignon topped by a lotus finial. The base sealed, the seal plate incised with a double vajra.Provenance: A private collection in Hungary. Galerie Zacke, Vienna, 8 December 2018, lot 66, sold for EUR 5,100 or approx. EUR 6,400 (adjusted for inflation at the time of writing). A private collection in Portugal, acquired from the above.Condition: Very good condition with minor wear and casting irregularities. Small nicks, some scratches, minor rubbing to gilt. The sword blade lost.Weight: 1,067.2 gDimensions: Height 15.5 cm Auction result comparison: Type: Closely related Auction: Christie's New York, 11 September 2019, lot 379 Price: USD 6,250 or approx. EUR 6,800 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Manjushri, Tibeto-Chinese, 18th century Expert remark: Compare the closely related modeling with similar pose, expression, base, and jewelry. Note the more extensive wear to the gilding, the sword, and the related size (17.2 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 20 September 2021, lot 349 Price: USD 7,560 or approx. EUR 7,700 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Manjushri, Tibeto-Chinese, 18th century Expert remark: Compare the related modeling with similar pose, expression, and base, as well as the loss to the sword. Note the stone inlays, lotus blossom supporting the book, and much smaller size (11.1 cm). 十八世紀銅鎏金文殊菩薩漢藏。文殊菩薩全跏趺坐於蓮座之上，面部豐滿，下頜微尖，雙目微闔，面容肅穆；頭戴五葉寶冠，耳後繒帶上卷，圓形耳璫作寶相花形；雙肩披天衣，兩側尾端對稱搭於蓮座之上，線條流暢自然，斜掛聖帶，於胸前打結，胸前點綴各類釧環、瓔珞；右手上舉結斯克印，持智慧劍劍柄，左手於胸前結說法印；下身著長裙，褶皺自然寫實，裙擺一匝花紋裝飾。來源：匈牙利私人收藏。Galerie Zacke，維也納，2018 年 12 月 8 日，拍品 66，售價 5,100 歐元或約 6,400 歐元（根據撰寫本文時的通貨膨脹情況進行調整）；葡萄牙私人收藏，購自上述拍賣。 品相：狀況非常好，有輕微磨損和鑄造不規則。小刻痕，一些劃痕，瑬金輕微摩擦。劍刃丟失。 重量：1,067.2 克 尺寸：高 15.5 厘米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2019年9月11日，lot 379 價格：USD 6,250（相當於今日EUR 6,800） 描述：十八世紀漢藏文殊菩薩鎏金銅像 專家評論：比較非常相近的模型、姿勢、表情、底座和珠寶。請注意此像鎏金磨損較明顯，以及相近的尺寸(17.2厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2021年9月20日，lot 349 價格：USD 7,560（相當於今日EUR 7,700） 描述：十八世紀漢藏文殊菩薩鎏金合金像 專家評論：比較相近的模型、姿勢、表情、底座，以及劍缺失。請注意內嵌石、蓮花支撐著書本，以及尺寸較小(11.1厘米)。
Lot 187
A SANDSTONE TORSO OF A YAKSHI, INDIA, MATHURA, KUSHAN PERIOD, 1ST-2ND CENTURYFinely carved standing in tribhanga, narrow-waisted and with a belly button, her arms raised, wearing a dhoti secured at the waist with a beaded belt, and folds falling down to the front, the arms with numerous bracelets, and a beaded necklace between her voluminous breasts.Provenance: From the Sally Hunter and Ian Posgate collection, Badgemore Grange, United Kingdom, by repute acquired in the London trade during in the 1980s or 1990s and thence by descent. RD collection, Paris, France, acquired from the above. Sally Hunter and Ian Posgate built their collection of paintings, objects, china, and furniture over the past 30 years in their home, Badgemore Grange. The property was bought in 1970 by Ian Posgate (1932-2017), an insurance underwriter at Lloyds of London. The couple shared a love for India and its decorative arts. They visited the subcontinent together many times and built a sizeable collection of objects, mainly through shops and salerooms in London. Condition: Very good condition, commensurate with age. Extensive wear and losses, dents, and nicks. Signs of weathering and erosion, minor structural fissures. Some remnants of soil.Weight: 12.3 kg (incl. stand) Dimensions: Height 42.7 cm (excl. base) and 47.3 cm (incl. base)Mounted to a metal stand. (2)The sense of dynamism and power in the stance, the masterful transformation of stone into the suppleness of youthful, voluptuous flesh barely interrupted by clothing, as well as touches of naturalism are all stylistic characteristics of female figures made during the early 2nd century.Yakshis are nature spirits and symbols of fertility and the depiction of them reveals the traditional Indian ideal of female beauty.Related sandstone reliefs of Yakshis dating back to the Kushan period, 1st and 2nd century, were found in a Buddhist stupa and monastery complex in the village of Sanghol. These stone figures and other artifacts from the Kushan period are now displayed in the Sanghol Archeological Museum, Punjab.Literature comparison:Compare a related sandstone bas-relief figure of Yakshi putting on a necklace, India, Mathura, Kushan period, 1st-2nd century, in the Sanghol Archeological Museum, Punjab. Compare a related sandstone figure of a female devotee, 74.5 cm, India, Mathura, Kushan period, 1st century, in the Cleveland Museum of Art, accession number 2012.19. Compare a related red sandstone figure of Yakshi, 44.3 cm, India, Mathura, Kushan period, in the Ackland Art Museum, object number 84.2.1. Compare a related sandstone figure of Yakshi Shalabhanjika, 119 cm, India, Mathura, 2nd century, in the Victoria and Albert Museum, accession number IM.72-1927. Compare the style of the belt to a figure published in Stanislaw J. Czuma, Kushan Sculpture: Images from Early India, Cleveland, 1985, p. 93, fig. 30.Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 8 May 2002, lot 511Price: EUR 14,340 or approx. EUR 20,000 adjusted for inflation at the time of writingDescription: An Indian, Kushan period, Mathura area, mottled red sandstone female torso, circa 2nd centuryExpert remark: Compare the related motif, pose, and color of the stone. Note the larger size (74 cm).Auction result comparison:Type: RelatedAuction: Sotheby's New York, 19 March 2008, lot 260Price: USD 25,000 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A Yakshi mottled sandstone, Northern India, Kushan PeriodExpert remark: Compare the related pose and decoration. Note the smaller size (35.5 cm).
Lot 189
A RARE TERRACOTTA RELIEF DEPICTING AN ASURA, GUPTA PERIODEastern India, Bengal, 5th-6th century. Powerfully modeled, the asura standing in a dynamic pose with one leg crossed over the other, his face with a confident expression, perhaps mocking an unseen opponent, marked by his bulging wild eyes and the open mouth showing teeth, framed by a thick beard. He is wearing a short robe secured at the waist by a floral belt and adorned with jewelry. Provenance: From a notable collector in London, United Kingdom. Condition: Excellent condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, encrustations, few structural cracks.Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 14 September 2020, based on sample number C120e27, sets the firing date of one sample taken at between 900 and 1500 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Academic Dossier: A detailed academic commentary on the present lot, elaborating on the meaning of the Asuras as well as the history of the Gupta Empire in general, and showing many comparisons to examples in both public and private collections, is available upon request. For a PDF copy of this dossier, please refer to the department.Weight: 4,507 g (excl. stand) Dimensions: Height 43 cm (excl. stand)With an acrylic glass mounting at the back and an associated metal stand. (2)The lively figure depicted in this terracotta fragment is probably an Asura, one of a group of gods who opposed but were ultimately defeated by the Devas, the gods who are central to Hindu and earlier Vedic beliefs; it is quite likely that the myths relating to the Devas and Asuras evolved from a single belief system. The legendary conflict may be based on a factual clash between two sects that existed in the post-Harappan period, when beliefs surrounding the Vedic gods and their associated social structure were challenged by revised ideas emanating from Iran, which ultimately died out or were driven away by the existing mainstream hierarchy in western India.Terracotta was the traditional material for religious images in the Ganges Valley and in the Mauryan and Shunga periods (3rd-1st century BC). Bengal had been the source of some of the most sophisticated figures of gods and goddesses. In the Gupta period, several centers of terracotta sculpture emerged across the Empire, from Akhnur in Kashmir, down to Shravasti and Bitargaon in Uttar Pradesh, around the Gupta capital at Pataliputra (Patna), and down into the Ganges Delta where some of the richest red clays were available. The lack of stone in eastern Bihar and Bengal meant that clay had always been used for architectural purposes, brick adorned with terracotta or stucco being the most widely used material, and a number of archaeological sites in Bengal attest to the sophistication of the effects achieved.Literature comparison: Compare a related terracotta relief depicting Krishna killing the horse demon Keshi, dated to the 5th century, in the collection of the Metropolitan Museum of Art, accession number 1991.300. Compare a related terracotta torso of a nobleman, dated 5th century, in the collection of the Michael C. Carlos Museum, Emory University, object number 2001.001.011. Compare a related terracotta relief depicting the battle between Hanuman and Indrajit, dated 6th century, in the collection of the State Museum, Lucknow, illustrated by M. C. Joshi and J. F. Farrige, L'Âge d'or de l'Inde Classique, L'Empire des Gupta, Paris, 2007.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
Lot 192
A BLACK SCHIST STELE OF BUDDHA SHAKYAMUNI, PALA PERIODNortheastern India, Bihar, 10th century. Well carved seated in dhyanasana on a double lotus base, supported on a stepped pedestal adorned with numerous smaller figures, the palm of the hand and soles of the feet with neatly incised circles. Buddha's face with a benign expression and almond shaped eyes, the hair in tight curls surmounted by an ushnisha, wearing a sanghati draped over one shoulder, flanked by two pillars surmounted by stupas centering a nimbus with a stylized foliate border.Provenance: The personal collection of Arturo Schwarz, Milan, late 1990s. Leonardo Vigorelli, Bergamo, acquired from the above. Arturo Schwarz (1924-2021) was an Italian scholar, art historian, poet, writer, lecturer, art consultant and curator of international exhibitions. He lived in Milan, where he amassed a large collection of Dada and Surrealist art, including many works by personal friends such as Marcel Duchamp, Andre Breton, Man Ray, and Jean Arp. In 1975, Schwarz started working as curator and author, writing extensive publications on the work of Marcel Duchamp, as well as books and numerous essays on the Kabbalah, Tantrism, alchemy, prehistoric and tribal art, and Asian art and philosophy. His 1977 book on Man Ray's works and life was the first to reveal Ray's real name. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, some losses, nicks and surface scratches, structural cracks. The finely polished surface with a solid, naturally grown patina and an unctuous feel overall. Dimensions: Height 61.2 cm (excl. base) and 64.2 cm (incl. base)Mounted to a modern metal base. (2)Literature comparison:Compare a related stone figure of Buddha, 10th century, Bihar, in the collection of the British Museum, museum number 1942,0415.1.Auction result comparison: Type: Closely related Auction: Christie's New York, 13 September 2011, lot 268Price: USD 86,500 or approx. EUR 111,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of seated Buddha, Northeastern India, Pala period, circa 10th century Expert remark: Note the related size (63.5 cm)Auction result comparison:Type: RelatedAuction: Bonhams New York, 20 March 2018, lot 3224Price: USD 250,000 or approx. EUR 290,000 converted and adjusted for inflation at the time of writingDescription: A blackstone stele of crowned Buddha, Bihar, Pala period, 10th centuryExpert remark: Note the size (45 cm)Auction result comparison:Type: RelatedAuction: Christie's Paris, 22 June 2016, lot 11Price: EUR 71,100 or approx. EUR 83,000 adjusted for inflation at the time of writingDescription: A rare sedimentary stone stele of Shakyamuni Buddha, Northeast India, Pala Period, 10th centuryExpert remark: Note the size (31 cm)
Lot 195
A BASALT RELIEF DEPICTING GANESHA AND THE NINE PLANETS (NAVAGRAHA), 10TH-11TH CENTURYNorthern India, c. 950-1000 AD. Finely carved in high relief with ten figures standing on a ledge carved with their respective mounts, depicting (from left to right) Ganesha, Surya (Sun), Chandra (Moon), Mangala (Mars), Budha (Mercury), Brihaspati (Jupiter), Shukra (Venus), Shani (Saturn), Rahu (ascending node of the Moon), and Ketu (ascending node of the Sun). Each figure except the large Rahu wears a thin dhoti tied with a belt and a tall kiritamakuta, and each is backed by a halo.Provenance: From a noted private collection in Germany. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, soil encrustations, obvious losses, nicks, scratches. The stone with a fine, naturally grown, dark patina.Weight: 14.4 kg Dimensions: Length 56.5 cm The Navagraha continue to be worshipped in modern times and are given special enclaves within Hindu temples. They also appear on the door lintels of many temples in northern India as a means of protecting the shrine and its visitors from maleficent portents and beings.The role and importance of the Navagraha developed over time with various influences. Deifying planetary bodies and their astrological significance occurred as early as the Vedic period and was recorded in the Vedas. The earliest work of astrology recorded in India is the Vedanga Jyotisha which began to be compiled in the 14th century BCE. It was possibly based on works from the Indus Valley Civilization as well as various foreign influences. Babylonian astrology was the first astrology and calendar to develop and was adopted by multiple civilizations including India.Literature comparison:Compare the closely related Navagraha relief from Bihar in the same style, dated ca. 950-1000 AD, in the San Diego Museum of Art, accession number 2007.173. Compare a closely related sandstone frieze depicting the nine celestial bodies, 158.6 cm long, dated to the 8th century, in the Cleveland Museum of Art, accession number 1971.61.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 September 2021, lot 366 Price: USD 20,160 or approx. EUR 22,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of Navagraha, the planetary deities, India, Pala period, 11th-12th century Expert remark: Compare the closely related subject and manner of carving. Note the size (65 cm).
Lot 21
A STONE FIGURE OF PADMAPANINepal, 19th century or earlier. Standing in tribhanga on a short rectangular base, the right hand in varadamudra and the left holding a lotus stem blossoming at the shoulder, clad in a short dhoti and adorned with a sash and beaded jewelry, the serene face with heavy-lidded downcast eyes and the hair tied neatly into an elaborate chignon secured with a foliate tiara centered by a figure of the Buddha Amitabha.Provenance: From a German private collection.Condition: Very good condition with minor wear, tiny nicks, light scratches. The stone with a fine, smooth, naturally grown patina.Weight: 650.6 gDimensions: Height 25.5 cm
Lot 216
A MUGHAL PINK SANDSTONE CHINI KANA PANEL WITH PEACOCKSExpert's note: This type of decoration was referred to as Chini Kana, a term meaning 'China room', and applied to wall niches in temples and other structures into which bottles, vases and various vessels were placed. Motifs such as this one may originally have had a connection with the 'waters of fertility' and hence with good fortune and abundance, but it seems likely that by the seventeenth century they were appreciated more for their elegance and sophisticated design. The present panel displays the Mughal fascination with naturalistic renditions of flora and fauna. Equally, the fluidity of the work demonstrates the strength of the Indian stone carving tradition.North India, 17th-18th century. Depicting a pair of peacocks facing a vessel issuing floral sprays, carved in high relief within a rectangular reserve, to the right flanked by a smaller reserve with a meandering vine and a finely carved column decorated with a foliate design.Provenance: From an English private collection, by repute purchased from Christie's in London during the 1980s or 1990s. Condition: Excellent condition, commensurate with age. Some wear, weathering and erosion, encrustations, minor losses. Few smaller cracks, nicks and surface scratches, remnants of ancient pigment and varnish. Dimensions: Size 89.6 x 60.2 cmLiterature comparison: Compare a related Mughal red sandstone panel with floral design, dated to the late 17th century, in the collection of the Asian Civilizations Museum, Singapore, accession number 1993-01751.Auction result comparison:Type: RelatedAuction: Christie's London, 23 September 2005, lot 81Price: GBP 8,400 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A fine Mughal red sandstone Chini Kana panel, North India, 17th century
Lot 226
A JAIPUR BLUE POTTERY 'GANESHA' FLASK, INDIA, RAJASTHAN, 19TH CENTURYFinely molded and painted in bright cobalt-blue and turquoise-green depicting Ganesha seated in lalitasana, the primary hands flat on his lap, the secondary hands holding an axe and a rope, the elephant head adorned with a tripundra surmounted by a foliate crown, his face with a calm expression.Provenance: From the collection of Peter Millett. Peter Millett (1925-2016) was born in Karwar, Karnataka, on the west coast of India, where his father was serving in the forestry department of the British administered Indian Civil Service. His father-in-law encouraged him to take up a career in tea plantation management, and he moved with his wife and three daughters to the Pambra Estate in Kerala in 1958. There he developed a fondness for the working elephants on the estate and immersed himself in local culture. He became fluent in Tamil and after his eventual retirement in England, he started to pursue his favorite pastime, antique auctions with Indian art, a field in which he was a respected expert. Condition: Good condition with minor wear and manufacturing irregularities. Some minor glaze losses and the foot with some small chips. An old repair to one of the tips of the foliate rim mouth.Weight: 683.5 gDimensions: Height 30 cm The vessel with a lobed mouth decorated with acanthus leaves, strap handles the neck, the foot and neck with petal borders, the short sides with scrolling flowerheads.Blue pottery is widely recognized as a traditional craft of Jaipur. The name 'blue pottery' comes from the eye-catching cobalt blue dye used to color the pottery. It is one of many Eurasian types of blue and white pottery and is related in its shapes and decoration to Islamic and Chinese pottery. Jaipur blue pottery, made out of ceramic frit material similar to Egyptian faience, is glazed and low-fired. No clay is used: the 'dough' for the pottery is prepared by mixing quartz stone powder, powdered glass, multani mitti (Fuller's Earth), borax, gum, and water.Literature comparison:Compare a closely related flask also depicting Ganesha, dated to the late 19th century, in the Albert Hall Museum, Jaipur, accession number 8131. Compare further related flasks illustrated in Kristine Michael, 'Earthen Jewels: Pottery Treasures from the Hendley Collection', in Chandramani Singh (ed.), Treasures of the Albert Hall Museum, Jaipur.
Lot 232
A BACTRIAN LIMESTONE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central Asia, page 49, fig. 45.Oxus Civilization. The column of waisted form flaring towards the ends, the top and base with a crescent-shaped central groove. The stone of light brown hue with deep red veins.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2004. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 30 June 2004, and stating a purchase price of EUR 4,800 or approx. EUR 7,500 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, chips, and natural fissures.Weight: 9,304 gDimensions: Height 29 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 187Price: EUR 8,963 or approx. EUR 14,000 adjusted for inflation at the time of writingDescription: A Bactrian marble column idol, 2nd millennium BCExpert remark: Compare the related form and color of the stone. Note the size (29.5 cm).Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 186Price: EUR 6,573 or approx. EUR 10,500 adjusted for inflation at the time of writingDescription: A Bactrian alabaster column idol, 2nd millennium BCExpert remark: Compare the related form and color of the stone. Note the size (36 cm).
Lot 233
A BACTRIAN STONE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central Asia, page 48, fig. 44.Oxus Civilization. The column of cylindrical form flaring to the foot, the top and base with a deep central groove which runs down the sides of the body. The stone of a red and orange hue with yellow and reddish-yellow bands.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2005. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 28 February 2005, and stating a purchase price of EUR 5,200 or approx. EUR 7,900 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, chips, and natural fissures.Weight: 14.4 kgDimensions: Height 28.2 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 183Price: EUR 7,170 or approx. EUR 11,200 adjusted for inflation at the time of writingDescription: A Bactrian marble column idol, 2nd millennium BCExpert remark: Compare the related form and color of the stone. Note groves to the side and the size (29.5 cm).
Lot 234
A BACTRIAN MARBLE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central Asia, page 50, fig. 46.Oxus Civilization. The column of waisted form flaring towards the ends, the top and base with a crescent-shaped central groove. The stone of dark brown marble with white veins, and stress lines filled with calcite.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2003. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 28 February 2003, and stating a purchase price of EUR 4,100 or approx. EUR 6,500 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Very good condition commensurate with age showing expected old wear and traces of use, some obvious losses, chips, and natural fissures.Weight: 5,320 gDimensions: Height 25.5 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 22 October 2003, lot 464Price: USD 6,600 or approx. EUR 9,900 converted and adjusted for inflation at the time of writingDescription: A Bactrian marble ritual object, 3rd millennium BCExpert remark: Compare the closely related form and color of the stone. Note the larger size (38.1 cm).
Lot 235
A BACTRIAN STONE RITUAL OBJECT, LATE 3rd TO EARLY 2nd MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central, page 75, fig. 61.Oxus Civilization. The staff of cylindrical form, bulging at the center and tapering to the ends. The dark heavy stone with orange-russet inclusions on one side.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2003. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 30 July 2003, and stating a purchase price of EUR 7,500 or approx. EUR 12,000 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, some chips, and natural fissures.Weight: 9.1 kgDimensions: Height 80 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison:Type: RelatedAuction: Christie's London, 15 April 2015, lot 62Price: GBP 23,750 or approx. EUR 40,000 adjusted for inflation at the time of writingDescription: A Bactrian green stone ritual object, c. 2300-1700 B.C.Expert remark: Compare the related form and color of the stone. Note the size (83 cm).Auction result comparison:Type: RelatedAuction: Christie's London, 25 October 2007, lot 104Price: GBP 8,125 or approx. EUR 17,000 adjusted for inflation at the time of writingDescription: A Bactrian gray stone 'idol', late 3rd-2nd millennium B.C.Expert remark: Compare the related form and color of the stone. Note the size (94 cm).
Lot 236
A BACTRIAN DARK GREY STONE OXSCHIST RITUAL OBJECT, LATE 3rd TO EARLY 2nd MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central, page 75, fig. 61.Oxus Civilization. The stone of a greenish-black color, the staff of long cylindrical form tapering on one side.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2003. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 30 July 2003, and stating a purchase price of EUR 6,800 or approx. EUR 11,500 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, some chips, few encrustations, and natural fissures.Dimensions: Height 110 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.The precise use of these objects found in graves at Gonur in Margiana, in the cenotaphs of Sibri near Mehrgarh (Pakistan) and at Tepe Hissar and Shahdad in eastern Iran, is still unknown: they must have been used for some specific task, because their functional end, as a rule is worn, and finally deposed in the graves after the funeral.Literature comparison:Compare a related ritual object with cylindrical shaft tapering then flaring towards the flat ends illustrated in M.-H. Pottier, Materiel Funeraire de la Bactriane Meridionale de l'Age du Bronze, Paris, 1984, pp. 16, pl. V, fig. 7, no. 31.Auction result comparison: Type: RelatedAuction: Christie's London, 2 July 2018, lot 40Price: GBP 15,000 or approx. EUR 23,000 converted and adjusted for inflation at the time of writingDescription: A Bactrian stone idol, circa 3rd-2nd millennium B.C.Expert remark: Compare the related form and note the larger size (138 cm).
Lot 238
A LURISTAN BRONZE 'RAM' WHETSTONE FINIAL, CIRCA 1000-650 BCFinely cast in the form of a recumbent ram, the tubular base is hollowed with two apertures on either side for mounting. The ram naturalistically rendered with a long neck and two large horns which curl around its protruding ears.Provenance: Galerie Persepolis, Brussels, exhibited from 28 October to 13 November 1971. Collection Monsieur H., Brussels, acquired from the above. Collection Madame D.T., acquired from the above.Condition: Good condition, commensurate with age, with wear, signs of weathering and erosion, encrustations, and nicks. The sharpening stone lost.Weight: 93 g (excl. stand) and 164.2 g (incl. stand) Dimensions: Height 7.4 cm (excl. stand) and 12.2 cm (incl. stand)With a modern metal stand. (2)Luristan bronzes are small cast and decorated objects from the Early Iron Age (first millennium BC) which have been found in large numbers in Lorestan province and Kermanshah in western Iran. They include a great number of ornaments, tools, weapons, horse fittings, and a smaller number of vessels including situlae and are characterized by a wide range of idiosyncratic forms and a highly stylized conception of human and animal representation. Those from recorded excavations were generally found in burials. The ethnicity of the people who created them remains unclear, though they may well have been Iranian, possibly related to the modern Lur people who have given their name to the area. Luristan bronze objects came to the notice of the world art market from the late 1920s onwards. They were excavated in considerable quantities by local people and are found today in many of the world's most important museums.Museum comparison:Compare a closely related Luristan wet stone with a bronze ram finial, dated 1000-800 BC, in the Louvre Museum, accession number AO 20866. Compare a related Luristan wet stone with a bronze ibex finial, dated 1000-800 BC, in the Louvre Museum, accession number AO 20864.
Lot 244
AN EXTRAORDINARILY RARE AND SPECTACULAR TERRACOTTA RELIEF OF A THINKING PRINCE SIDDHARTA UNDER THE BODHI TREE, ANCIENT REGION OF GANDHARA 犍陀羅罕見紅陶浮雕悉達多菩提樹下證道圖Scientific Analysis Report: A thermoluminescence sample analysis has been conducted by Arcadia, Tecnologie Per I Beni Culturali, Milan, dated 4 February 2019, reference no. 116L, 117L. The result is consistent with the suggested period of manufacture. A copy of the thermoluminescence analysis report accompanies this lot.Expert's note: The frescoes painted to the two columns on the present sculpture display a decidedly Chinese influence. Numerous such mural paintings have been found in Imperial tombs in China dating to the Northern Qi period (550-577), but the paintings on the present sculpture are among the oldest Buddhist frescoes in the history of mankind. They are also closely related to the paintings on the ceilings and walls of the Ajanta Caves, which were painted between 200 BC and 600 AD, and are the oldest known frescoes in India. They depict the Jataka tales, stories of Buddha's life in former existences as a Bodhisattva. The narrative episodes are shown one after another although not in a linear order. Their identification has been a core area of research on the subject since the time of the site's rediscovery in 1819.Kushan period, 4th-6th century. Superbly modeled, Prince Siddharta is standing in contrapposto, his feet resting on two small lotus pedestals, a prostrate caparisoned elephant at his feet. One hand resting on his waist and the other raised with one finger placed on his forehead in a deeply pensive expression. He is wearing loose-fitting robes cascading in voluminous folds and richly adorned with fine jewelry and billowing scarves. His serene face with heavy-lidded almond-shaped eyes and slender lips forming a calm smile. The hair arranged in wavy locks secured by an elaborate floral headdress. All below a canopy representing the legendary bodhi tree.Provenance: A private collection in Venice, Italy, acquired in the Italian antiques trade between 1985 and 1992. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Superb condition, commensurate with age and presenting magnificently overall. Some wear and weathering, firing flaws as expected, some nicks and cracks, losses to exposed areas, remnants of old varnish. The ancient pigments are remarkably well-preserved. Overall, fully consistent with the high age of this sculpture and with no visible signs of repairs or touchups worth mentioning. Drilled holes from sample-taking. Dimensions: Size 59 x 81 cm (excl. stand), Height 63 cm (incl. stand)Mounted on an associated stand. (2)Prince Siddharta is flanked by two flying apsaras as well as Maitreya to his right and Padmapani to his left, the bodhisattvas each standing on lotus pedestals and similarly dressed, Padmapani holding a lotus flower in his hand, both backed by halos and standing below similar leafy canopies, all framed by two massive columns, each with a superbly painted fresco, depicting a bodhisattva with a halo.This sculpture is a perfect example of the rich cultural interplay and hybrid art styles of the Gandharan empire in the first centuries CE. It represents the bodhisattva who will be born as the historic founder of Buddhism, Prince Siddhartha, sitting in a celestial abode called the Tushita heaven, where he teaches the gods and meditates on his future birth. Like other Gandharan bodhisattvas, he looks like an earthly prince, richly dressed and bejeweled.The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influences. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the 1st century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired earthenware instead of stone such as schist, marble or sandstone became popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such a large and expensive sculpture would have been a highly meritorious Buddhist offering. Only a few terracotta statues from this period and of this spectacular size have ever been recorded.Literature comparison: Compare a related terracotta sculpture of a pensive Prince Siddharta, dated 4th-6th century, in the collection of the Dallas Museum of Art, object number 2010.17. Note the similar pose with one finger placed on his forehead and one foot resting on a separate lotus pedestal.犍陀羅罕見紅陶浮雕悉達多菩提樹下證道圖貴霜王朝，四至六世紀。高浮雕菩提樹下悉達多太子，一手扶頭，正在沉思，雙腿成休閑姿，兩腳分別踩在小蓮花座上，身下伏著一頭大象。他穿著寬鬆的外袍，衣紋線條流暢，佩戴精美珠寶。面容沉靜，雙眼微閉，微笑，彎曲的頭髮由精緻的花卉頭飾固定。科學檢測報告：米蘭Arcadia，Tecnologie Per I Beni Culturali 研究所2019年2月4日出具的熱釋光檢測報告，編號116L，117L。結果表明年代與上述建議相符。隨附檢測報告複印件。 專家注釋：這件有明顯的中國風格影響。在北齊時期（550-577）的中國皇陵中發現了許多這樣的壁畫，但現在浮雕上的故事是最古老的佛教故事之一。它們還與阿旃陀石窟的穹頂與牆壁上的繪畫密切相關，這些繪畫創作於公元前 200 年至公元 600 年之間，是印度已知最古老的壁畫之一，描繪了本生故事，佛陀的前世生活故事。自 1819 年該遺址被發現以來，他們一直是該主題研究的核心領域。 來源：義大利威尼斯私人收藏，1985至1992年間購於義大利古玩市場。貝加莫 Leonardo Vigorelli購於上述收藏。Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度教佛教藝術。在學習人類學和數十年的旅行以及在印度、喜馬拉雅地區、東南亞和非洲的廣泛實地研究之後，他在義大利米蘭創立了 Dalton Somare 藝術畫廊，如今由他的兩個兒子經營。品相：狀況極佳，與年齡相稱。一些磨損和風化、燒製缺陷，一些刻痕和裂縫，有清漆的殘留。彩繪保存極好。總體而言，與這座雕塑的年代相符，沒有明顯的維修或修飾，有取樣鑽孔。 尺寸：59 x 81 厘米 (不含底座)，高63 厘米 (含底座)有底座。 悉達多太子的兩側各有一位飛天，右邊是彌勒佛，左邊是蓮花生大士，菩薩站在蓮花座上，衣著相似，蓮花生大士手持蓮花，後有光背，兩側兩根巨大的柱子支撐著頂部，柱壁上有一幅描繪菩薩的彩繪。這個雕塑是公元一世紀犍陀羅王國多元文化相互作用和混合藝術風格的完美結合的典範。 犍陀羅王國從公元前 530 年到公元 1021 年，當時它的最後一位國王被自己的軍隊殺害。它橫跨今天的阿富汗和巴基斯坦的部分地區。犍陀羅以其獨特的佛教藝術風格而聞名，它的風格融合了希臘、敘利亞、波斯和印度的藝術元素。犍陀羅風格在一世紀至五世紀的貴霜時期蓬勃發展並達到頂峰。在公元一世紀，犍陀羅是最早的佛教造像的發源地。 在公元四至六世紀末的犍陀羅時期，使用硬燒陶器代替片岩、大理石或砂岩等石頭開始流行。燒製粘土在該地區很昂貴，因為燒製過程所需的木材稀缺。 所以，這麼大型的佛像，本來就是一件極有功德的供品。只有少數這個時期的這麽大尺寸的陶像有記錄可循。文獻比較： 比較一件相近的公元四至六世紀紅陶浮雕悉達多王子坐像，收藏於達拉斯藝術博物館，館藏編號 2010.17。請注意相近的姿勢，例如一指撐頭和一腳踏在另一朵蓮座上。
Lot 257
A MONUMENTAL AND HIGHLY IMPORTANT SANDSTONE FIGURE OF BUDDHA, PRE-ANGKOR PERIODMekong Delta, present-day Cambodia and Vietnam, 6th-7th century. Superbly carved standing with each foot on a separate lotus dais, wearing a diaphanous sanghati, the folds elegantly draped over his left shoulder and elbow, gathered at the ankles. The serene face sensitively drawn with heavy-lidded eyes, the sinuous lids and round pupils neatly incised, gently arched brows, and full lips, flanked by long pendulous earlobes, the hair arranged in snail-shell curls surmounted by a tall ushnisha. Provenance: From a notable collector in London, United Kingdom.Condition: Magnificent condition, commensurate with age. Extensive wear, encrustations, losses, signs of weathering and erosion, minor nicks, cracks and scratches. Fine, naturally grown patina overall. Dimensions: Height of figure excluding base and tang: 146.5 cm. Height of figure including tang, but excluding base: 190 cm. Height including base: 196 cm.The youthful-looking Buddha presents an elegant image that acts as a metaphor for his spiritual perfection. He stands on two lotus flowers, which probably identifies him as one of the esoteric Buddhas, depicted in Nirvana or another of the heavenly realms. This is the serene eternal state of one who is removed from the passage of time and the emotional issues of the human sphere. He has caused the lotuses to bloom and as they support his weightless form, they symbolize his purity of thought.The earliest stone sculptures of the region were created in the Mekong Delta, now shared by Cambodia and Vietnam, where Indian trading communities introduced their own Buddhist and Hindu beliefs. Contacts with regions to the north and China were also strengthened by trade. This Buddha retains elements of form that are associated with India while the two lotuses, rather than one, on which he stands indicate a Chinese influence. His appearance has been transformed by the introduction of a purely regional aesthetic, however. Separated from the South Asian sangha (religious establishment), local devotees came to see the Buddhist faith as their own and consequently endorsed their beliefs with images resembling themselves.Buddhism had reached Southeast Asia by the 1st century AD, largely thanks to its popularity amongst Indian merchants who established trading communities around the Mekong Delta. They initially sourced gold in the region but found other rare commodities such as ivory, gemstones, minerals and fine woods for markets both at home and further west. As a result, the Mekong Delta became part of a wider trading network linking the China Seas with the Roman Empire. There are epigraphical accounts describing the journeys on merchant ships of Buddhist missionaries from southern India and Sri Lanka, but the earliest visual record of stone sculptures indicates that evangelists from northern India and possibly Gandhara and China were also active in the region.International trading predated the establishment of diplomatic links between the rulers of the Mekong Delta with China in the 3rd century and various Indian kings in the 4th century. Indian and to a lesser extent Chinese culture gradually infiltrated the region's hierarchy and while the higher echelons were attracted to the Buddhist and Hindu faiths, the vast majority of the people maintained their traditional beliefs.A number of cities linked by canals existed in the Delta region, including the extensive sites of Oc Eo, Phnom Da, and Angkor Borei, which may have been autonomous principalities or part of a confederation. Along with the adjacent Phnom Da, Angkor Borei was a notable ritual center; its influence outlived the eclipse of Funan, perhaps through association with an ancestral cult. Buddhism and Hinduism had a unifying effect to some extent but within the region, devotees only adopted those aspects of the Indian faiths that were relevant to their needs; these probably varied from place to place. It is possible that the Buddha and Hindu gods were honored with temples and statues, emulating those of India, in order to bolster the political or social status of their Southeast Asian adherents.Expert's note: A detailed academic commentary on the present lot, elaborating on the history and art of Funan as well as the evolution of Buddhist images in the Mekong Delta, and showing many further comparisons to examples in private and public collections, is available upon request..To receive a PDF copy of this academic dossier, please refer to the department.Literature comparison: Compare a closely related sandstone figure of the Buddha preaching, attributed to Southern Cambodia and dated to the late 7th century, 94 cm high, in the collection of the Musee Guimet, reference number MG18891, and exhibited in the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, April 14, 2014-July 27, 2014, cat. no. 44. Compare a related sandstone figure of Avalokiteshvara, also standing on two lotus flowers, attributed to Southern Vietnam and dated second half of the 7th to early 8th century, 188 cm high, in the collection of the Musee Guimet, reference number MA5063, and illustrated ibid., cat. no. 137. Compare a closely related wood figure of Buddha, dated c. 6th century, in the Museum of Vietnamese History, Ho Chi Minh City, illustrated by Nancy Tingley, Arts of Ancient Viet Nam: From River Plain to Open Sea, Houston, 2009. Compare a closely related sandstone figure of Buddha, dated to the 7th century, 98.2 cm high, in the National Museum of Cambodia, inventory number Ka.1589.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2012, lot 151 Price: USD 338,500 or approx. EUR 423,500 converted and adjusted for inflation at the time of writing Description: A sandstone figure of Buddha Shakyamuni, Khmer, Angkor Borei, 9th century Expert remark: Note that this figure is slightly later and considerably smaller (82.6 cm) than the present lot.Auction result comparison: Type: Related Auction: Christie's New York, 17 March 2015, lot 35 Price: USD 413,000 or approx. EUR 500,000 converted and adjusted for inflation at the time of writing Description: An important stone figure of Buddha, Thailand, Dvaravati period, 8th century Expert remark: Note that this figure is attributed to Dvaravati, around 600 miles northwest of the Mekong Delta. While Buddhist sculpture of the pre-Angkor period sometimes shares characteristics with contemporaneous Dvaravati art, the present figure's slightly attenuated proportions mark a departure, imbuing the Buddha with a lithe, uplifted quality. Note the slightly smaller size (111.7 cm).Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.
Lot 258
A BLACK STONE FIGURE OF DURGA MAHISHASURAMARDINI, PRE-ANGKOR PERIOD, KHMER, 7TH CENTURYOpinion: Looking at Phnom Da style sculptures, one can see a great degree of cross-cultural influence. While one could argue that this sculptural style is distinctly of Khmer origin, with such early sites present in Vietnam, we are more likely seeing the spread of sources of foreign cultural influence, bringing things like Hinduism, coming from outside the region and merging with local cultures. Certain attributes of this sculpture in particular can be seen in early Gupta sculpture, such as the 4th century Harihara in the National Museum of New Delhi. It is also interesting to note that the earliest known written texts in Southeast Asia are from Vietnam, written during the 4th century, predating the first Khmer texts by hundreds of years.Finely carved in relief with four arms holding symbols of power, positioned above the severed head of a buffalo, with a tall crown and pendulous earlobes, backed by a striated nimbus.Provenance: Spink & Son, London, by 2 November 1999 (according to Christie's record). Christie's New York, 20 September 2000, lot 154 (according to Christie's record). Property from a West Coast collection, acquired from the above (according to Christie's record). Christie's New York, 13 September 2016, lot 245, estimate of USD 30,000 or approx. EUR 34,000 (converted and adjusted for inflation at the time of writing). Michael Phillips, acquired from the above in an after-sale transaction. A copy of a Christie's record, accessed on 1 October 2018, confirming the provenance above, and stating an after-sale purchase price for the present lot of USD 18,750 or approx. EUR 21,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, structural cracks, old fills.Dimensions: Height 89 cm (excl. stand) and 97 cm (incl. stand)Mounted on an associated stand. (2)Mahishasura was a shape-shifting king who was granted the power of immortality by Lord Brahma. After years of tormenting his people, he was vanquished by a manifestation of the demon-fighting form of Parvati known as Durga. Durga fought Mahishasura over a period of fifteen days during which he kept changing his shape into different animals. She finally vanquished him when he took the form of a buffalo, slaying him with her trident. It is just after this victorious moment that we see Durga depicted here, with the severed head of Mahishasura laying at Durga's feet and her four arms holding the conch shell, the wheel, the ball, and the club, symbolizing the powers given to her by Vishnu. It is an ancient story of good versus evil.Literature comparison:Compare with a stone image of a female deity from the Da Nang Museum of Cham Sculpture, exhibited in Arts of Ancient Viet Nam: From River Plain to Open Sea at the Houston Museum of Fine Arts, both statues showing an unusual and rare striated nimbus. Also, compare with a stone image of a reclining figure of Vishnu in the Da Nang Museum of Cham Sculpture, both statues showing very similar facial characteristics.Auction result comparison:Type: Closely RelatedAuction: Christie's New York, 13 September 2016, lot 249Price: USD 21,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A gray sandstone figure of Durga Mahishasuramardini, Khmer, pre-Angkor period, Phnom Da style, 6th centuryExpert remark: This is an important comparable of Durga from an early period in Southeast Asian history, not only because it is “rare to find a sculpture of the demon-slaying goddess from the pre-Angkor period” (as noted in the catalog description for the lot), but also because it was in the same Christie's sale. Note the much smaller size (51.5 cm).
Lot 264
A SANDSTONE GUARDIAN FIGURE DEPICTING A YAKSHA, KOH KER STYLEKhmer Empire, 10th century. Finely carved kneeling atop a square base with one knee raised, his right hand holding a vajra and his left resting on his thigh, wearing a short pleated sampot with fine incision work. The face well detailed with a wrathful expression marked by large bulging eyes with neatly incised pupils, thick brows, a mustache, a broad nose, full lips, the mouth slightly agape revealing teeth, the head surmounted by an elaborate foliate crown.Provenance: From a distinguished Italian private collection, acquired between the late 1960s and early 1970s. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Excellent condition, commensurate with age. Extensive wear, small losses, minor nicks and surface scratches, signs of weathering and erosion, structural cracks, encrustations. The head has been reattached using a metal rod. Fine, natural patina overall. Dimensions: Height 62.5Guardian figures such as the present lot were placed aside of gateways, steps, and entrances of sacred areas like temples.Koh Ker, which lies 50 miles (80 km) northeast of Angkor, was the capital of the Khmer Empire from 928-944. Koh Ker's sculptural style is thus distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form. The Koh Ker rulers adhered to the Hindu religion, especially the Shaiva sect.The yakshas are a broad class of nature-spirits, usually benevolent, but sometimes mischievous or capricious, connected with water, fertility, trees, the forest, treasure and wilderness. They appear in Hindu, Jain and Buddhist texts, as well as in ancient and medieval era temples of South and Southeast Asia as guardian deities. The yakshas have a dual personality: On the one hand, they may be inoffensive nature-fairies, associated with woods and mountains, but there is also a darker version of them, which is a kind of a ghost that haunts the wilderness and devours travelers. Kubera, the god of wealth and prosperity, is considered the king of the yakshas.Literature comparison: Compare a closely related Koh Ker sandstone head of a Yaksha, 40.5 cm high, in the collection of the National Museum of Cambodia, inventory number Ka.1666.Auction result comparison: Type: Related Auction: Christie's Paris, 14 December 2016, lot 17 Price: EUR 80,500 or approx. EUR 94,000 adjusted for inflation at the time of writing Description: An important sandstone figure of a half-male half-female deity, Cambodia, Khmer, Koh Ker period, 10th century Expert remark: Compare the closely related pose, pleated sampot, and crown. Note that the sculpture depicts a rare and unidentified androgynous deity and is of larger size (93 cm).
Lot 268
AN EXTREMELY RARE AND MONUMENTAL SANDSTONE STATUE OF VISHNU, ANGKOR PERIODKhmer Empire, 10th-12th century. The Preserver of the Universe standing in samapada on a rectangular base, holding the conch in his one remaining hand, wearing a short pleated sampot, tied at the front below the navel with the folds splayed across the left thigh and secured with a butterfly sash at the back, the extra material folding over at the waist. The serene face sensitively modeled with neatly incised details, such as the almond-shaped eyes, full lips, and wavy mustache. The hair piled up into an elaborate conical chignon secured by a foliate tiara. Provenance: The collection of Beowulf Klebert. An Austrian private collection, acquired from the above circa 1980 and thence by descent in the same family. Beowulf K. Klebert (1948-2008) was a noted Austrian collector of Asian sculpture and works of art as well a respected contributor to Arts of Asia magazine. He was known for his scholarly expertise and extensive travels through all of Asia.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, losses, nicks, scratches, structural cracks, expected old repairs. The stone with a fine, naturally grown, smooth patina overall. Scientific Analysis Report: An Expert Report from Antiques Analytics - Institute of Scientific Authenticity Testing, test report number AA 21-03064, dated 5 May 2022, written and signed by Dr. R. Neunteufel, analyzing the surface alterations after examination by scanning electron microscopy (SEM) and element analysis with attached energy-dispersed X-ray micro element analyzer (EDX), concludes that the observed surface alterations are not in contradiction with the dating above. A copy of the report accompanies this lot.Dimensions: Height 207 cm (incl. base)With an associated wood base. (2)Literature comparison: Compare a closely related sandstone figure of Vishnu, dated to the 12th century, in the Tokyo National Museum, collection reference no. TC-382. Compare a related sandstone figure of Vishnu, dated c. 1050, 105.4 cm high, in the Norton Simon Museum, accession number M.2004.1.S. Compare a related sandstone figure of Vishnu, dated to the 11th century, 104.1 cm high, formerly in the collection of John D. Rockefeller and now in the Asia Society Museum, New York, object number 1979.064.Auction result comparison: Type: Related Auction: Christie's Paris, 11 December 2013, lot 342 Price: EUR 121,500 or approx. EUR 144,000 converted and adjusted for inflation at the time of writing Description: A rare and important sandstone figure of Vishnu, Cambodia, Khmer, Pre-Rup style, mid-10th century Expert remark: Compare the related modeling and manner of carving. Note the much smaller size (121 cm).Auction result comparison: Type: Related Auction: Christie's Paris, 7 June 2011, lot 385 Price: EUR 145,000 or approx. EUR 178,000 converted and adjusted for inflation at the time of writing Description: An important sandstone torso of a male deity, Cambodia, Khmer, Baphuon style, 11th century Expert remark: Compare the related modeling and manner of carving. Note the much smaller size (130 cm).
Lot 283
A KHMER BRONZE FIGURE OF AVALOKITESHVARA, ANGKOR PERIODKhmer Empire, 12th century. The bodhisattva standing in samapada on a square base, holding in his four hands a lotus bud, water vessel, scroll, and rosary, wearing a short pleated sampot with a striated belt decorated with pendent tassels. Richly adorned with jewelry, the hair arranged in a high topknot with a small Buddha Amitabha behind the circular diadem. The face finely detailed with full lips, ridged brows, and almond-shaped eyes.Provenance: Art of the Past, New York, 3 December 2002. Collection of Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above. A copy of the original invoice, dating the piece to the 12th century, accompanies this lot. Condition: Excellent condition commensurate with age. Old wear, minuscule nicks here and there. Fine and naturally grown malachite-green patina overall.Weight: 297.8 g Dimensions: Height 14.5 cmAvalokiteshvara is the personification of compassion, and the figure has a lively facial expression with alert eyes and a pleasant smile, bestowing benevolence on the devotee.The rigid frontal pose is characteristic of the Angkor Wat period and, in contrast to the preceding Baphuon style with its delicate curves, sculptures display an authoritarian nature not seen since the Bakheng period, possibly reflecting political developments at the time. The eyes are prominently outlined, the corners extending towards the temples, a feature found extensively in both stone and bronze sculpture of this period.Literature comparison:Compare a related bronze figure of Avalokithesvara, Angkor period, in the collection of the Metropolitan Museum of Art, accession number 1999.262.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 19 March 2008, lot 243Price: USD 73,000 or approx. EUR 97,000 converted and adjusted for inflation at the time of writingDescription: Avalokiteshvara, copper alloy, Khmer, Angkor PeriodExpert remark: Compare the closely related pose and facial features. Note the significantly larger size (34 cm).
Lot 284
A ROCK CRYSTAL LINGA AND BRONZE YONI, ANGKOR PERIODKhmer empire, 12th-13th century. The linga is supported by the square stepped yoni terminating in a tapered spout and covered entirely in a rich, naturally grown patina with distinct malachite encrustation. The finely cut linga is completely transparent with a flat base and a rounded top, the stone of good clarity with few minute natural inclusions. (2)Provenance: French trade.Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations overall, small losses, casting flaws, minor dents. It cannot be said with certainty that the Linga is original to the Yoni, but the crystal is ancient and fits perfectly well, and so it has a good chance to be.Weight: 1.001.2 Dimensions: Length 14.6 cm The lingam and yoni (or snanadroni) are aniconic representations of Shiva and Uma. They are symbolic of the female and male reproductive organs, which within Hinduism bring a balance to the cosmos when joined together. Within Hindu countries, adoration of the lingam was understood to be worship of the great generative principle of the universe, conceptualized as an aspect of Shiva. Some of the Khmer kings identified themselves with Shiva, placing a lingam at the summit of their most important temples as part of their royal paraphernalia.Literature comparison:Compare a closely related quartz linga and bronze-silver alloy snanadroni, dated to the Angkor period, in the National Museum in Phnom Penh, accession number Ga.3557. Compare a related Khmer stone linga with architectural base, 37.5 cm high, dated to the Angkor period, ca. 975, in the Metropolitan Museum of Art, accession number 1988.393.Auction result comparison: Type: Related Auction: Christie's New York, 23 March 1999, lot 222 Price: USD 9,200 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A quartz linga and gilt bronze yoni, Thailand, 15th century or earlier Expert remark: Compare the closely related form. Note the gilding, separate cylindrical cover, and size (19.8 cm). Note the Thai attribution.
Lot 289
A LARGE BRONZE HEAD OF BUDDHA, LAN NA KINGDOM, CHIENG SEN STYLENorthern Thailand, 15th century. Heavily cast, the serene face with downcast eyes, heavy eyelids under arched eyebrows, the hair finely worked in rows of curls, pulled together at top towards the ushnisha.Provenance: Christie's Amsterdam, 13 April 1999. A German private collection, acquired from the above. A private collection in Monaco, acquired from the above via an intermediary.Condition: Good condition, commensurate with age. Signs of weathering and erosion, remnants of gilt, extensive wear. Obvious losses, fissures, minor nicks and scratches. Remnants of gilt. The bronze with a rich, naturally grown patina with areas of verdigris.Weight: 23.4 kg (incl. stand)Dimensions: Height 38 cm (excl. stand), 44 cm (incl. stand)Mounted to a stone stand. (2)The larger than life-size and superbly cast head of the historical Buddha shows him with a sublime inner calm resulting from his deep spiritual compassion. This is enhanced by the rich patina of the bronze. The voluminous face, with its snail-shaped curls, is a fine testimony of the casting workshops of the city of Chieng Sen in the Lan Na kingdom in North Thailand.Auction result comparison: Type: Closely relatedAuction: Christie's London, 11 May 2016, lot 102Price: GBP 40,000 or approx. EUR 65,000 adjusted for inflation at the time of writingDescription: A monumental bronze head of buddha, Thailand, Chieng Sen period, 15th centuryExpert remark: Compare the closely related modeling, with similar facial expression, and wear, with a similar patina. Note the related size (41 cm).
Lot 303
A GOLD REPOUSSE 'LION' PENDANT, WITH AN AGATE INTAGLIO OF THE DANCING SHIVA, CHAM PERIODVietnam, former kingdoms of Champa, circa 10th century. Of quadrilobed form, finely chased, embossed, and incised with two confronted anthropomorphized male lions standing in profile, facing a finely carved oval agate intaglio depicting Shiva performing his cosmic dance, surrounded by beaded and foliate designs. A single loop on top for suspension.Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Very good condition, commensurate with age, with some wear, small manufacturing irregularities, light tarnishing, and encrustations, all as to be expected for a gold object more than a thousand years old.Weight: 15.9 g Dimensions: Length 10.1 cm Literature comparison:Compare a stone intaglio also depicting a dancing shiva, 5.5 cm long, dated 9th-10th century, illustrated in Janos Jelen, et al., (eds.) Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik, Volume 1, Budapest, 2007, pp. 114, no. 82.
Lot 311
A CORUNDUM-SET GOLD 'FLOWERS AND BIRD' PRIEST'S RINGIndonesia, Bali, 19th to early 20th century. The gold ring with a conical bezel surmounted by a corundum cabochon, held by a beak-shaped brace, the bezel with intricate granular decorations.Provenance: From the private collection of a diplomat in England, and thence by descent to the last owner.Condition: Good condition with some old wear, one brace missing, traces of use and some manufacturing irregularities.Weight: 3.8 gDimensions: Height 2.2 cmGoldsmiths in Bali are masters of the granulation technique. Small gold grains are delicately soldered to the ring surface to create intricate designs. A gold strip is additionally folded over the primary gem, holding the stone and forming a collar around it. This lot is a remarkable example of the southern Balinese style, with the birds' beaks serving as prongs to hold the ruby stone (one of two missing), a concept known from the Majapahit Empire that flourished in the 14th century.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 28 July 2021, lot 1054Price: HKD 16,380 or approx. EUR 2,100 converted and adjusted for inflation at the time of writingDescription: A gem-set gold priest's ring Bali, Indonesia, 19th - early 20th centuryExpert remark: Compare the closely related form and decorations of the gold ring
Lot 312
A GARNET-SET GOLD 'FLORAL' PRIEST'S RINGIndonesia, Bali, 19th to early 20th century. The gold ring with a conical bezel surmounted by a faceted garnet held by two braces, the ring intricately granulated with floral and trefoil designs, further with geometric decorations.Provenance: From the private collection of a diplomat in England, and thence by descent to the last owner. Condition: Very good condition with minor old wear, few small nicks, traces of use, and minor manufacturing irregularities.Weight: 2.6 g Dimensions: Height 2.2 cmGoldsmiths in Bali are masters of the granulation technique. Small gold grains are delicately soldered to the ring surface to create intricate designs. A gold strip is additionally folded over the primary gem, holding the stone and forming a collar around it. Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 28 July 2021, lot 1031Price: HKD 27,720 or approx. EUR 3,300 converted and adjusted for inflation at the time of writingDescription: A gold priest's ring set with an iridescent gem Bali, Indonesia, 19th - early 20th centuryExpert remark: Compare the related form and decorations of the gold ring
Lot 56
A SANDSTONE HEAD OF BUDDHA, NORTHERN WEI DYNASTYChina, 386-534. Well carved with a slightly elongated face rendered with a beatific expression, with downcast eyes below gracefully arched brows, with a gently curved mouth breaking into a smile and a pronounced long nose, framed by a pair of pendulous earlobes, his hair swept up into a domed ushnisha.Provenance: A noted private collection in the United Kingdom.Condition: Good condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, encrustations, small nicks, light scratches. The stone with a rich, naturally grown patina with extensive pinkish-red encrustations.Weight: 1,946 g (incl. stand), 1,633 g (excl. stand) Dimensions: Height 23.6 cm (incl. stand), 16.2 cm (excl. stand)With a wood stand. (2)Several cave complexes, commonly referred to as Buddhist grottoes, were constructed during the Northern Wei dynasty. The Longmen, Gongxian, and Yungang cave grottoes in the Henan and Shanxi provinces are the largest and most famous grottoes from this period. They consist of thousands of sculptures including stupas, stele, and figural sculptures, some with extensive inscriptions. The largest complex, the Longmen grottoes, consists of 110,000 Buddhist stone statues, more than 60 stupas, and 2,800 inscriptions carved on steles. The present lot is an example of a grotto sculpture from this period and is comparable to a sandstone head of the Buddha from the Yungang grottoes (see below).Auction result comparison: Type: Related Auction: Bonhams Paris, 13 June 2023, lot 50 Price: EUR 19,200Description: A small sandstone head of buddha, Northern Wei dynasty Expert remark: Compare the related serene expression, downcast eyes, and domed ushnisha. Note the similar size (19.2 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
Lot 57
A RARE AND IMPORTANT LIMESTONE FIGURE OF A BODHISATTVA, LONGMEN GROTTOES, NORTHERN WEI DYNASTY 北魏罕見石灰石菩薩立像，龍門石窟 China, 386-534. Finely carved standing on a circular lotus dais, the right hand held in front of the chest and the left lowered at his side, the head slightly tilted to his right. Wearing long flowing robes secured at the waist and billowing scarves falling loosely over the body. The face sensitively carved with a serene expression marked by heavy-lidded eyes, gently arched brows, and full lips, flanked by long pendulous earlobes. A simple tiara with a central flower separates the braids of hair pulled up in front of the head, and equally serves as the base for a hairdo that forms an almost crown-like design on top.Provenance: A private collection in Cleveland, Ohio, USA, pre-1983. Anunt Hengtrakul, New York, USA, acquired from the above c. 1984. Michael B. Weisbrod, Inc., New York, USA, acquired from the above, c. 1992. The collection of J. Abraham Cohen, New York, USA, acquired from the above. Anunt Hengtrakul was a collector of fine Chinese works of art, active in the US and Canada during the 1980s and 1990s. In the early 2000s, he began to gift objects to museums, including the Joslyn Art Museum in Omaha, Nebraska, and the Middlebury College Museum of Art in Middlebury, Vermont. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Published: Michael B. Weisbrod, Inc., Brochure, New York, 1992.Condition: Excellent condition, commensurate with age, and presenting remarkably well. Extensive wear, minor losses and cracks, small nicks, light scratches, signs of weathering and erosion, some encrustations. Fine, naturally grown patina with a subtle luster overall, worn from centuries of exposure to the natural elements.Weight: 5,796 g (excl. stand)Dimensions: Height 53.5 cm (excl. stand) and 59 cm (incl. stand)Sculptures of this type are known to be from the Longmen Grottoes in Luoyang, Henan, China. They are all fragmentary, and of a dark and mottled color, alternating from gray to black, as seen on the back of the present statue where the raw stone becomes visible. Occasionally, a light brown color appears on the carved surface in the front. All figures were cut from the caves in a particular manner, leaving the present statue with a V-shaped cross-section.Of all the caves in the Longmen Grottoes, those completed during the Northern Wei and Tang dynasties make up around 30 % and 60 %, respectively. Naturally, these two dynasties show widely different styles of carving. Those of the Northern Wei are vivacious, slim, and sensitively carved, while the Tang figures are more plump. The Wei figures are some of the finest examples of Chinese Buddhist art.Literature comparison: Several illustrated examples, found in different collections and museums around the world, have been published in The Lost Statues of Longmen Cave, Longmen Grottoes Research Institute, by C. K. Chan, Wen Yucheng, and Wang Zhenguo, numbers 6, 9, 11, and 22, all of which have characteristics similar to the present lot including the long upper torso, low waist, S-shaped folds on the robes or sleeves, and the shallow but confident carving of the details, as well as a similar patina and encrustation. Compare two closely related limestone figures of attendant bodhisattvas, dated to the Northern Wei dynasty, early 6th century, in the Metropolitan Museum of Art, accession numbers 48.176 and 48.182.4. Compare a related limestone figure of a seated Buddha, dated to the Northern Wei dynasty, in the Asian Art Museum of San Francisco, object number B60S40. Compare a related sandstone figure probably depicting Avalokiteshvara, dated Six Dynasties period, middle Northern Wei dynasty, about 470-480, in the Los Angeles County Museum of Art, accession number 47.37. Compare two related limestone bodhisattvas, each 88.9 cm high, with similarly carved lotus daises, previously attributed to the Northern Wei dynasty but now thought to be from the Northern Qi dynasty, in the Victoria & Albert Museum, accession numbers A7-1913 and A.8-1913.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 北魏罕見石灰石菩薩立像，龍門石窟中國，386-534年。菩薩立於圓形蓮台上，右手抱於胸前，左低垂於身側，頭略偏右。表情平靜，雙眼低垂，豐滿的嘴唇，平靜恬雅；兩側是長長的下垂耳垂，髮髻華麗，頭戴花飾。本像身軀婀娜，線條柔雅，身體重心置於一側，腹腰豐滿細緻，衣袍纖薄貼身，隱露雙腿。 來源：1983年前美國俄亥俄克利夫蘭私人收藏；紐約Anunt Hengtrakul約在1984年購於上述收藏。紐約Michael B. Weisbrod藝廊1992年購於上述收藏； 紐約J. Abraham Cohen收藏，購於上述收藏。Anunt Hengtrakul 1980 年代和 1990 年代活躍於美國和加拿大的中國藝術品收藏家。 在 2000 年代初，他開始向博物館贈送物品，包括內布拉斯加州奧馬哈的喬斯林藝術博物館和佛蒙特州米德爾伯里學院藝術博物館。美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 出版：Michael B. Weisbrod，Inc.，《Brochure》，1992年，紐約。 品相：狀況極佳，大面積磨損、輕微缺損和裂縫、刻痕、小劃痕、風化和侵蝕跡象、一些結殼。細膩的包漿。 重量：5,796 g (不含底座) 尺寸：高53.5 厘米(不含底座) ，59 厘米(含底座) 這種類型的石雕造像風格來自中國河南洛陽的龍門石窟。石像表面顏色呈暗色和斑駁，從灰色到黑色交替變化，從現在的雕像背面可以看到原石。偶爾，正面的雕刻表面會出現淺棕色。在龍門石窟的全部洞窟中，北魏和唐代建成的洞窟分別佔30%和60%左右。自然，這兩個朝代表現出截然不同的雕刻風格。北魏人物活潑、苗條、雕琢細膩，而唐人人物則較為豐滿。 文獻比較： 在世界各地不同的收藏品和博物館中發現的幾個圖例，見龍門石窟研究所編，《龍門流散雕像集》中發表，編號6、9、11和22，它們都具有與現拍品相似的特徵，包括長上身、低腰、長袍或袖子上的S形褶皺，以及淺而自信的細節雕刻，還有類似的銅銹和包漿。比較兩件非常相近的六世紀初北魏時期石灰石菩薩像，收藏於大都會藝術博物館，收藏編號為48.176和48.182.4。比較一件相近的北魏時期石灰岩坐佛像，收藏於三藩市亞洲藝術博物館，文物編號B60S40。比較一件相近的約470-480年六朝時期北魏中期可能描繪觀音菩薩的砂岩造像，收藏於洛杉磯縣藝術博物館，收藏編號為47.37。比較兩尊相近的石灰岩菩薩，每尊高88.9釐米，雕刻有類似的蓮台，以前認為是北魏時期的，但現在被斷為是北齊時期的，收藏於維多利亞和亞伯特博物館，收藏編號為A7-1913和A.8-1913。
Lot 58
A LARGE AND HIGHLY IMPORTANT WHITE MARBLE TORSO OF BUDDHA, NOTHERN QI DYNASTY 北齊大型漢白玉立佛殘件China, 6th century. Depicting a standing Buddha, dressed in loose robes draped over both shoulders and elegantly falling in stepped folds flaring at the hems in stylized pleats, the robe open at the chest to reveal the tied underskirt. The overall simple and naturalistic style clearly dates it to the later sixth century. Clinging tightly, the diaphanous drapery reveals the elegant body's form, characteristically indicated by incised lines and relief ridges.Provenance: Old Italian private collection, acquired 1971 from Wing Tat Hong Gallery, Hong Kong. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, losses, nicks and surface scratches, minor cracks. Remnants of ancient pigment. Displaying supremely. Dimensions: Height 92 cm (excl. base) and 101.5 cm (incl. base)Mounted to a modern metal base. (2)Expert's note: This magnificent sculpture embodies a profound spirituality achieved through the remarkable plasticity of drapery and form. The figure represents a standing Buddha and the monk's robes, which he wears, are arrayed to cover both shoulders. The size, sensitivity of carving, crisp treatment of the gracefully draped folds, both those falling in parallel curved lines down the front of the subtly indicated body and those of the hem, closely relate this figure to other imposing white marble statues of a similar date.Only occasionally encountered among Chinese Buddhist sculptures, white marble first rose to popularity during the Northern Qi period, when sculptors occasionally carved Buddhist images in beautiful white marble from Dingzhou, in southwest Hebei province. Although a quarry site can never be taken as the probable site at which a particular image was sculpted, the use of white marble nevertheless suggests that this extraordinary sculpture might have been carved in the vicinity of Dingzhou, likely in Hebei or Shanxi province.Faint traces of polychromy, evident on the shoulders, suggest that the sculpture was once entirely painted, as were virtually all early Indian and Chinese Buddhist sculptures in wood and stone. The brilliant pigments of the sculptures and wall paintings at Dunhuang, in Gansu province, suggest that the original colors of this Buddha would have been stunning.If the missing right arm was raised in the abhayamudra, then the left might have shown a variation of the varadamudra, the gift-giving gesture, also associated with preaching. Moreover, if the right arm displayed the abhayamudra then the present sculpture likely represented either the Historical Buddha Shakyamuni or Amitabha, the Buddha of Boundless Light, in a preaching mode. Because the sculpture lacks an identifying inscription, not to mention its right arm and any distinguishing iconographic attributes, the exact identity of this Buddha likely will remain an enigma.Literature comparison:Compare a related figure of Amitabha Buddha in the Royal Ontario Museum, illustrated in Homage to Heaven, Homage to Earth, 1992, p. 163, pl. 92. Compare a related figure illustrated in Chinese Marble Sculptures of the Transition Period, B.M.F.E.A., no. 12, Stockholm, 1940, pl. II (b). Compare a related sculpture in the Eskenazi exhibition Sculpture and ornament in early Chinese art, London, 11 June to 13 July 1996, no. 31.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 203Price: EUR 101,575 or approx. EUR 143,500 adjusted for inflation at the time of writingDescription: A Chinese stone torso of Buddha, Northern Qi dynasty Expert remark: Compare the closely related pose and manner of carving with similar diagonal pleats. Note the size (148 cm).北齊大型漢白玉立佛殘件中國，六世紀。立佛左右臂貼身，從肘部起殘缺，低開領的通肩袈裟，袈裟顯得輕薄而貼身，順著身體結構起伏，雙腿輪廓隱約可見。 來源：義大利私人舊藏，1971年購於香港Wing Tat Hong 藝廊；貝加莫Leonardo Vigorelli收藏，購於上述收藏。Leonardo Vigorelli Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度教佛教藝術。在學習人類學和數十年的旅行以及在印度、喜馬拉雅地區、東南亞和非洲的廣泛實地研究之後，他在義大利米蘭創立了 Dalton Somare 藝術畫廊，如今由他的兩個兒子經營。品相：狀況良好，與年齡相稱。大面積磨損、風化和侵蝕跡象、結殼、缺損、刻痕和表面劃痕、輕微裂縫。顏料殘餘。 尺寸：高92 厘米 (不含底座)，總101.5 厘米 現代金屬底座。 低開領的通肩袈裟，此尊像背面袈裟表面以彩繪方式，繪出袈裟的框格裝飾，表現福田相。遒勁流暢的陰刻衣紋，這種「薄衣貼體」的造像風格，是北齊時期造像的一大特色。造像肩上明顯的多色痕跡表明該雕塑曾經完全上色，幾乎所有早期的印度和中國佛教木石造像都是如此。甘肅敦煌的雕塑和壁畫色彩絢麗。漢白玉在中國佛教雕塑中并不常見，在北齊時期開始流行，當時河北省西南部定州的偶爾使用漢白玉製作佛像。漢白玉造像可能是在定州附近雕刻的，可能在河北或山西省。 文獻比較： 比較一件相近阿彌陀佛像，收藏於Royal Ontario博物館，見《Homage to Heaven，Homage to Earth》，1992年，頁163，編號92。比較一件相近的雕像《Chinese Marble Sculptures of the Transition Period》，B.M.F.E.A.，編號12，斯德哥爾摩，1940年，編號II (b)。比較一件相近雕像，展覽於Eskenazi，《Sculpture and ornament in early Chinese art》，倫敦，1996年6月11日至7月13日，編號31。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2004年5月12日，lot 203 價格：EUR 101,575（相當於今日EUR 143,500） 描述：北齊立佛石雕殘件 專家評論：比較非常相近的姿勢、衣袍的類似於對角線的摺痕。請注意尺寸(148 厘米)。
Lot 59
A LIMESTONE HEAD OF BUDDHA, TANG DYNASTY, CHINA, 7TH - EARLY 8TH CENTURY 唐代七至八世紀初石灰石佛頭Expert's note: The present monumental Buddha head, carved from the hard, dark gray limestone generally found in Henan province and associated with Buddhist carvings from the Longmen caves, is a superb example of the High Tang style of the late 7th to early 8th century.Finely carved, the serene face with a pair of heavy-lidded downcast eyes with sinuous lids, below gently arched brows, above pursed bow-shaped lips with a pronounced philtrum, the hair arranged in tight curls, the head surmounted by a domed ushnisha.Provenance: An old Danish private collection. Bruun Rasmussen, Copenhagen, 9 December 2015. A Danish private collector, acquired from the above. A copy of a provenance statement from Bruun Rasmussen, dated 9 December 2015, written and signed by Ralph Lexner, Head of the Asian & Islamic Department, confirming that the present lot came from an old Danish private collection, accompanies this lot. Condition: Good condition, commensurate with age. Extensive wear, predominantly from centuries of worship within the culture. Signs of weathering and erosion, encrustations, shallow surface scratches, nicks, losses, remnants of ancient pigment. Fine, naturally grown patina overall, thus displaying remarkably well.Weight: 15.4 kg (incl. stand) Dimensions: Height 41.7 cm (incl. stand) and 28.5 cm (excl. stand) Mounted on a massive white marble base, dating from the 20th century. (2)Literature comparison:Compare a related limestone head of the Buddha, 43.1 cm high, dated to the Tang dynasty, illustrated by Osvald Siren, Chinese Sculpture: From the Fifth to the Fourteenth Century, 1925, pl. 466A, and sold by Sotheby's New York, 3 September 2013, lot 8. Compare a related Buddha head in the collection of the Museum fuer Ostasiatische Kunst, Cologne, illustrated by Gunhild Gabbert, Buddhistische Plastik aus China und Japan, Wiesbaden, 1972, pl. 89; two published in R. L. d'Argence, Chinese, Korean and Japanese Sculpture in the Avery Brundage Collection, San Francisco, 1974, pls. 104 and 106; and a further example depicted in situ published in Longmen liusan diaoxiang ji, Shanghai, 1993, p.104, pl. 41, the main Buddha in the Santa Dong (Three Tower Cave) complex.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2004, lot 115 Price: USD 95,600 or approx. EUR 140,000 converted and adjusted for inflation at the time of writing Description: A gray stone head of Buddha, Tang dynasty, circa 700, Longmen Caves Expert remark: Compare the related manner of carving with a similar roughly hewn surface. Note the size of the head (34.3 cm). 唐代七至八世紀初石灰石佛頭佛頭頭頂飾有小螺髮，肉髻平緩，面部豐滿而圓潤，頭額寬平，兩眼細長，唇部飽滿，嘴角上揚，笑意盈然，神情恬靜親切。 來源：丹麥私人舊藏；哥本哈根Bruun Rasmussen，2015 年 12 月 9 日；丹麥私人收藏。家，購自上述。隨附一份由亞洲與伊斯蘭部門負責人Ralph Lexner 於2015 年12 月9 日撰寫並簽署的Bruun Rasmussen 出處聲明副本，確認本拍品來自丹麥私人舊藏。 品相：品相良好，大面積磨損，風化和侵蝕、結殼、淺表面劃痕、刻痕、缺損、顏料殘留。整體細膩包漿。 重量：15.4 公斤 (含底座) 尺寸：高41.7 厘米 (含底座) 與 28.5 厘米 (不含底座) 安裝在巨大的白色大理石底座上，其歷史可追溯至二十世紀。 (2) 文獻比較： 比較一件相近的唐代石灰石佛頭，高43.1 厘米，見Osvald Siren，《Chinese Sculpture: From the Fifth to the Fourteenth Century》，1925年，圖466A，以及售於紐約蘇富比，2013年9月3日，lot 8。比較一件相近的佛頭，見科隆東亞藝術博物館，見Gunhild Gabbert，《Buddhistische Plastik aus China und Japan》，Wiesbaden，1972年，圖89。兩件見R. L. d'Argence，《Chinese，Korean and Japanese Sculpture in the Avery Brundage Collection》，舊金山，1974年，圖104和106。另一件例子發表於《龍門流散雕像集》，上海，1993年，頁104，圖41，主佛在三塔洞（三塔洞）建築群中。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2004年3月24日，lot 115 價格：USD 95,600（相當於今日EUR 140,000） 描述：約700年龍門唐代灰石佛頭 專家評論：比較相近的雕刻風格，以及相似的切割技巧。請注意佛頭尺寸 (34.3 厘米)。
Loading...-
400965 item(s)/page