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Click here to subscribeROBERT G.D. ALEXANDER (BRITISH 1875-1945) SHENFIELD CHURCH; THREE TREES; OFF STONE POINT NEAR WALTONone signed R Alexander lower rightwatercolourlargest: 24 x 34.5cm; 9 1/2 x 13 1/2inlargest: 44 x 54cm; 17 1/4 x 21 1/4in (framed)together with: British School (20th Century), Farmland with figures (recto); Landscape with river (verso) and Charles Bone (b.1926), Henley Regatta(5) Property of a Lady*offered for sale without reserve
Sir Robin Philipson RA PRSA FRSA RSW RGI DLitt LLD (British, 1916-1992)Seated Figure oil on board25 x 33cm (9 13/16 x 13in).Footnotes:ProvenanceWith The Stone Gallery, Newcastle, 1962.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Sir Robin Philipson RA PRSA FRSA RSW RGI DLitt LLD (British, 1916-1992)Fighting Cocks - The Kill signed 'R.Philipson' (lower right), signed, inscribed with artist's address and titled (on label, verso)oil on board30 x 40cm (11 13/16 x 15 3/4in).Footnotes:ProvenanceWith The Stone Gallery, Newcastle.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David McLeod Martin RSW RGI SSA (British, 1922-2018)Field and Village signed 'David M Martin' (lower left)oil on board44 x 54cm (17 5/16 x 21 1/4in).Footnotes:ProvenanceWith The Stone Gallery, Newcastle, no. D.M.14.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Sir William MacTaggart PPRSA RA FRSE HonRSW LLD (British, 1903-1981)Humbie, East Lothian; Dirleton two worksboth signed 'WMacTaggart' (one lower left, the other lower right)watercolour and ink, the larger also with chalks47 x 62cm (18 1/2 x 24 7/16in); and 28 x 41cm (11 x 16 1/8in). (2)Footnotes:ProvenanceBoth with The Stone Gallery, Newcastle.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Barbara Rae CBE RA RSA FRSE (British, born 1943)Standing Stone signed and dated 'Rae 79' (lower right) collage and gouache15.5 x 19cm (6 1/8 x 7 1/2in).Footnotes:ProvenanceAitken Dott & Son, Edinburgh, 1979.ExhibitedEdinburgh, Aitken Dott & Son, October 1979, no. 52.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Pierre Molinier (1900-1976)Bague de petit doigt. Jonc anglais en or 18 carats serti dans la masse d'une pierre fine rouge de 1,5 carat. Sur la face interne deux prénoms gravés : « Marayat-Pierre ».English 18-carat gold bangle set in the mass of a 1.5-carat fine red stone. On the inner side two engraved first names: 'Marayat-Pierre'.Footnotes:ProvenanceCollection particulière, FranceThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
VELVET UNDERGROUND - CONCERT POSTER, JULY 12-13 1968, SHRINE EXPOSITION HALL, LOS ANGELES WITH BUTTERFIELD BLUES BAND, SLY & FAMILY STONE, ROCKETS art by Neon Park, framed and behind perspexvisible poster 65.5cm x 39.7cmThere are creases and some surface imprints, please note these are difficult to capture in images, some either surface scuffs or printing inconsistencies, this includes some spitting and inclusions, some light surface scratches also, paper slightly wavy, images available
DIAMOND THREE-STONE RINGBrilliant-cut diamonds, diamonds approx. 1.65cts total, ring size approx. M½ Footnotes:Please note this lot has VAT at the prevailing rate on the Hammer Price and Buyer's Premium.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
COLOURED DIAMOND AND DIAMOND THREE-STONE RINGA brilliant-cut diamond of brown tint and old-cut diamonds, brown diamond untested for natural colour, brown diamond approx. 0.70ct, remaining diamonds approx. 1.20cts total, ring size approx. M½For further information on this lot please visit Bonhams.com
BOODLES & DUNTHORNE: DIAMOND SINGLE-STONE RING, 1998Old brilliant-cut diamond, mounted in 18 carat gold, diamond very approx. 2.10cts, maker's mark for Boodles & Dunthorne, London hallmark, ring size approx. LFootnotes:Please note this lot has VAT at the prevailing rate on the hammer price and buyer's premium.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
SAPPHIRE AND DIAMOND THREE-STONE RINGCircular-cut sapphire and old brilliant-cut diamonds, sapphire approx. 1.10cts, diamonds approx. 1.15cts total, ring size approx. M½ Footnotes:Please note this lot has VAT at the prevailing rate on the Hammer Price and Buyer's Premium.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Japanese Lacquered Helmet Kabuto, 19th Century, hachi of peach stone form composed of leather, red lacquered exterior (some crazing/cracking overall), pierced with heart-shaped tehen kanemono at rear, black lacquered interior and 4 lame shikaro, soft metal mounts to peak and fukigayeshi retaining some gilding, brass datemono (well replaced, helmet lining as found); black lacquered mempo with red lacquered interior, detachable nose, 4 lame throat guard, on black lacquered stand, some relacquering overall. Good condition.
A MONUMENTAL AND HIGHLY IMPRESSIVE LINGBI SCHOLAR'S ROCK, QING DYNASTYExpert's note: Ranked first among the four types of the famous Chinese Scholar's Rocks, Lingbi are mostly carved from calcite and other ancient types of limestone. They originate from Lingbi county in Anhui Province and are fine-grained and delicately textured, found lying deep in the red mud of the Qingshi mountains. Naturally shaped, they need almost no cutting or carving. Depleted after generations of mining, large high-quality Lingbi such as the present lot are now exceedingly rare. Their mineral composition is such that they produce a metallic, distinct sound when tapped. Hence, they are also called 'resonant rocks' (bayinshi). Combining masculine beauty with antique simplicity, Lingbi have been admired by connoisseurs for centuries. In the Northern Song dynasty, Emperor Huizong wrote about a Lingbi in his collection: “The mountain is high while the moon looks small, the water ebbs and the rock juts forth."China, 1644-1912. The perforated vertical rock is evocative of a sinuous human figure in profile, with protrusions, stalactite-like extensions, deep crevices, and cavities. The porous stone is of a distinctly black tone suffused by distinct gray veins.Provenance: New York trade. Acquired from a private estate. Condition: The stone with minor dents, small losses and associated old repairs, few nicks, and natural inclusions and fissures, some of which have developed into small cracks over time. Signs of extensive weathering, erosion and wear, naturally grown patina overall. The wood base with expected minor age cracks and light surface scratches. Overall displaying magnificently!Weight: 46 kg (excl. stand) and 48 kg (incl. stand) Dimensions: Height 82 cm (excl. stand) and 96 cm (incl. stand) With a modern wood stand. (2)Traditionally, scholars collected two types of rocks for their studies: vertical peaks and horizontal mountain ranges. The present piece has primarily vertical peaks with cavities resembling cave topography. Hence, one can appreciate its inner and outer form. In texture and color, the stone is like black lacquer and is quite lustrous. Connoisseurs of scholar's rocks throughout the ages have boiled down their criteria for evaluating stones into twelve terms: thin, wrinkled, porous, permeable, clear, ugly, obtuse, clumsy, teal, powerful, beautiful, deep. Stones that have half of these features are considered rare and superior.Literature comparison:Compare a related black scholar's rock, 46.7 cm high, dated to the Qing dynasty, in the Metropolitan Museum of Art, accession number 2009512.1a, b, exhibited in the 'The World of Scholars' Rocks: Gardens, Studios, and Paintings,' February 1-August 20, 2000 and in the 'Noble Virtues: Nature as Symbol in Chinese Art,' September 10, 2022-January 29, 2023.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2021, lot 1007 Price: USD 62,500 or approx. EUR 66,000 converted and adjusted for inflation at the time of writing Description: A lingbi scholar's rock Expert remark: Compare the closely related form and similar stand. Note the much smaller size (44.5 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3302 Price: HKD 2,660,00 or approx. EUR 430,000 converted and adjusted for inflation at the time of writing Description: A black 'lingbi' scholar's rock, Qing dynasty, 18th century Expert remark: Note the similar reticulations and veins of the rock. Also note the similar stand. 清代靈璧石供石中國，1644-1912年。依靈璧石的天然造型而成，造型奇巧，體態夭矯，肖形狀物，妙趣天成。深灰色紋理，帶有黑色的斑塊。專家注釋：靈璧石位居中國四大名岩之首，原產於安徽省靈璧縣，質地細膩，自然成型。歷經幾代開採，優質靈璧已稀少。有的靈璧石在敲擊時會產生金屬的、獨特的聲音。因此，它們也被稱為“八音石"。靈璧兼具陽剛之美和古樸質感，幾個世紀以來一直為鑑賞家所推崇。北宋徽宗在《靈璧》中寫道：“山高月小，水落石出"。 來源：紐約古玩交易，購於一個私人舊藏。 品相：石頭上有輕微凹痕、小缺損和修復、少量刻痕以及天然內沁和裂縫，大面積風化、侵蝕和磨損，整體自然包漿良好。木質底座具有輕微老化裂紋和表面劃痕。 重量：46 公斤 (不含底座) 與48 公斤(含底座) 尺寸：高82 釐米 (不含底座) 與 96 釐米 (含底座) 現代木製底座 (2)由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A WHITE MARBLE FIGURE OF BUDDHA, NORTHERN QI DYNASTY, CHINA, 550-577Finely carved, standing with the left hand lowered in abhaya mudra, dressed in a long flowing monastic robe draped over both shoulders and rendered simply in descending rows of graceful U-shaped folds above the cascading hem. His serene face with heavy-lidded eyes and full lips forming a calm smile. The hair arranged in tight curls over the domed ushnisha.Provenance: From a noted private collection in New York, USA, and thence by descent in the family. New York trade, by repute acquired from the above. Condition: Good condition, commensurate with age. Extensive ancient wear, obvious losses, nicks, scratches, signs of natural weathering and erosion, encrustations, cracks, old repairs. Naturally grown patina overall, the originally white marble has acquired a fine ivory tone over the course of the centuries.Weight: 14.3 kg (incl. stand) Dimensions: Height 62.4 cm (excl. stand) and 68.5 cm (incl. stand) With a fitted metal stand. (2)Literature comparison:Compare a related marble figure of Buddha, dated to the late 6th century, 110 cm high, in the Minneapolis Institute of Arts, accession number 2000.207.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 19 December 2016, lot 8198 Price: USD 47,500 or approx. EUR 55,500 converted and adjusted for inflation at the time of writingDescription: A rare carved stone figure of the Buddha, Northern Qi Period (550-577) CEExpert remark: Compare the closely related subject, style, applied carving technique and form. Note the near-identical size (63.5 cm). 550-577年北齊漢白玉佛像佛陀立像雕刻精美，螺髮刻畫清晰，面容圓潤飽滿，雙眼微閉，神態沉靜而優雅。敞胸披袈裟。左臂置於胸前，左手丟失，右手自然下垂結與願印，儀態端莊肅穆。此造像工藝考究，袈裟衣褶的處理尤為精彩，如行雲流水一般。 來源：紐約知名私人收藏，在同一家族保存至今；紐約古玩交易，據説購於上述收藏。 品相：品相良好，大面積磨損、明顯的缺損、刻痕、劃痕、自然風化和侵蝕的跡象、結殼、裂縫、微小的修復。白色大理石整體自然包漿，經過幾個世紀的發展，逐漸呈現出精美的象牙色色調。 重量：14.3 公斤 (含底座) 尺寸：高 62.4 釐米 (不含底座) 及68.5 釐米 (含底座) 金屬支架 (2) 文獻比較： 比較一件相近的六世紀末期漢白玉佛像，高110 釐米，收藏於明尼亞波利斯藝術館，館藏編號2000.207。 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦瀚斯，2016年12月19日，lot 8198 價格：USD 47,500（相當於今日EUR 55,500） 描述：A rare carved stone figure of the Buddha，Northern Qi Period (550-577) CE 專家評論：比較非常相近的主題、風格和雕刻技巧，以及外形。請注意幾乎相同的尺寸(63.5 釐米)。
A MONUMENTAL HEAD OF VAIROCANA, THE PRIMORDIAL BUDDHA, CIRCA 500-800 ADExpert's note: The present head is extraordinarily rare due to its exceptional size and history as part of a towering statue, likely standing around four meters tall, once gracing the exterior of a significant temple or cave shrine. It portrays a most important solely Buddhist subject, showcases a clear Gupta influence not seen in later Chinese sculpture, and was carved from red sandstone, a direct tribute to the art of Mathura. It therefore dates back to the Tang dynasty, if not considerably earlier, with a vanishingly small possibility of originating at the beginning of the Song dynasty. Powerfully yet sensitively sculpted, the full rounded face is carved with soft bow-shaped lips, the elongated eyes elegantly delineated beneath gracefully arched brows, the hair in crisply carved curls. Surmounted by a tall crown with three figures in high relief representing the Buddhas of the past, present, and future, each seated in dhyanasana on a lotus throne.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 was a renowned antique dealer and connoisseur, 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: Excellent condition, commensurate with age. Old wear, encrustations, and erosion. Obvious losses, minor nicks and scratches. The originally rather porous sedimentary rock now almost completely smoothed out by more than a millennia of weathering and worship. Magnificent naturally grown patina overall, giving the stone a deep auburn color.Weight: 120 kg (incl. stand) Dimensions: Height 60.1 (excl. stand) and 95 cm (incl. stand)With a fitted stand. (2)Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
AN INSCRIBED BUDDHIST LIMESTONE STELE, TANG DYNASTYChina, 618-907. The arched stele deeply carved with a central Buddha seated in dhyanasana on a throne, with robes cascading in voluminous folds, flanked by two disciples as well as two bodhisattvas standing on lotus pedestals, all above a central stupa flanked by two Buddhist lions and below a canopy finely incised with foliate designs, all supported on a rectangular base neatly incised with an inscription as well as figures of monks.Inscription: The bottom right corner of the base reads 'Bhikkhuni Zhen […] commissioned the creation of the Buddhist triad for the sick.'Provenance: From an old private estate near Copenhagen, Denmark, by repute acquired before the Second World War. Danish trade, acquired from the above.Condition: Good condition, commensurate with age. Extensive wear, scratches, nicks, chips, minor losses, signs of weathering and erosion, the stone with natural fissures.Weight: 17.8 kgDimensions: Height 37 cm Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 1 April 2019, lot 3015 Estimate: 500,000 HKD or approx. EUR 63,000 converted and adjusted for inflation at the time of writing Description: A rare limestone 'Buddhist triad' stele, Tang dynasty, 618-907 Expert remark: Note the smaller size (26.4 cm) and the arched form of the stele.Auction result comparison: Type: Related Auction: Christie's New York, 15 September 2017, lot 918 Price: USD 11,250 or approx. EUR 13,000 converted and adjusted for inflation at the time of writing Description: Grey limestone Buddhist stele, Tang Dynasty, 618-907 Expert remark: Note the related size (34.6 cm), compare the dedicatory inscription written along the rectangular base of the stele. 唐代石灰石佛碑中國，618-907年。此尊龕式造像碑，裝飾精美。高浮雕佛陀立蓮像，右手施無畏印，左手與願印，身穿寬鬆袈裟，面容安詳。雙眼微垂，面容豐滿，頭上結螺髻。兩側為二位弟子與二位立於蓮花座上的菩薩。蓮座下方兩隻面對面的獅子。矩形底座。 款識：比丘尼貞□為身患得恙敬造阿彌陀石像一舖供養時佛 來源：丹麥哥本哈根附近一個私人舊藏，據説購於二戰前；丹麥古玩交易，購於上述舊藏。 品相：狀況良好，大面積磨損、劃痕、刻痕、缺口、輕微缺損、風化和侵蝕跡象，石料帶有天然裂縫。 重量：17.8 公斤 尺寸：高 37 釐米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2019年4月1日，lot 3015 估價：HKD 500,000（相當於今日EUR 63,000） 描述：唐石灰石浮雕一佛二菩薩龕 專家評論：請注意尺寸較小(26.4 釐米)，以及石碑的拱形形狀。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2017年9月15日，lot 918 價格：USD 11,250（相當於今日EUR 13,000） 描述： 618-907年唐代灰色石灰石佛碑 專家評論：請注意相近 尺寸(34.6 釐米)。
A LIMESTONE TORSO OF A BODHISATTVA, TANG DYNASTYChina, early 8th century. The slender, elegant figure well carved standing in a subtle tribhanga pose, wearing a clinging diaphanous skirt falling in graceful folds, with scarves tied diagonally around the torso and draped from the shoulders, richly adorned with elaborate jewelry including beaded and foliate necklaces as well as pendent ornaments of floral design. The gray limestone with hues of maroon and a superb, naturally grown patina overall.Provenance: From the personal collection of Ed Hardy, who is an American artist known for his strong influence on the development of modern tattoo styles, and his eponymous apparel and accessories brand. He became recognized for being the main driver in incorporating ancient Asian tattoo aesthetics and techniques into Western styles of work, taking tattoos from a fringe culture into the mainstream. Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, a minor structural crack with an associated old fill (only visible under strong blue light), signs of weathering and erosion, encrustations. Overall displaying exceptionally well.Weight: 39.9 kg (incl. stand) Dimensions: Height 58.5 cm (excl. stand) and 67.4 cm (incl. stand) With a modern metal stand. (2) Expert's note: The 5th-century Gupta influence on Tang Buddhist sculpture is manifest in the sensuously rounded body of the present lot, together with the diaphanous robes and jewelry. Two related Tang Dynasty bodhisattvas, standing in contrapposto and currently residing in the Zhengzhou Museum, published in Annette Juliano's Treasures of Ancient China in 1981 (see image section), were unearthed at the site of the Dahai Monastery in Xingyang County, Henan Province. The folds to the robes, the simplified jewelry over the outlined pectorals, and the slightly forward abdominal bulge are all similar to the current lot, which may originate from the same region.Literature comparison: Stylistically, the present figure relates most closely to some of the Tianlongshan figures. Compare a related sandstone figure from Tianlongshan, Shanxi Province, 101.6 cm high, dated approx. 700-750, in the Asian Art Museum of San Francisco, object number B60S6+. The present figure is also related to some of the larger figures from Longmen, such as the standing bodhisattva in a similar pose, with U-shaped drapery folds and roll of material at the waist, illustrated in Longmen Liusan Diaoxiang Ji (The Lost Statues of the Longmen Caves), Shanghai, 1993, p. 71, no. 78. Compare a similar stone figure of a bodhisattva illustrated by O. Siren, Kinas Kunst Under Tre Artusenden, vol. 2, Stockholm, 1943, fig. 73A. For a related figure in white marble with more elaborate realization of the drapery and with one foot placed slightly forward, see the figure from Longyenshan, Hebei, illustrated by W. Willetts, Foundations of Chinese Art, London, 1965, p. 222, fig. 139.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 1999, lot 162 Price: USD 134,500 or approx. EUR 218,000 converted and adjusted for inflation at the time of writing Description: A rare well-carved gray stone torso of a bodhisattva, Tang dynasty, early 8th century Expert remark: Compare the closely related pose, drapery, and folds. Note the related size (63.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 唐代石灰石菩薩殘軀優雅身姿，三曲式，外衣輕薄而貼身，飾有精美的珠寶，如串珠和葉狀項鍊以及花卉紋的吊飾。順著身體結構起伏，雙腿輪廓隱約可見，褶皺線條流暢。灰色石灰石，自然包漿光滑。 來源：美國藝術家 Ed Hardy 私人收藏，Ed Hardy 因其對現代紋身風格發展的強大影響而聞名，以及他的同名服裝和配飾品牌。他可以説是將古代亞洲紋身美學和技術融入西方工作風格的主要推動者，將紋身從邊緣文化帶入主流。 品相：狀態良好，大面積磨損、缺損、刻痕、劃痕、與舊填充物相關的輕微結構裂縫（僅在強藍光下可見）、風化和侵蝕的跡象、結殼。 重量：39.9 公斤 (含底座) 尺寸：高 58.5 厘米 (不含底座) 及67.4 厘米 (含底座) 現代金屬支架 (2) 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，1999年3月22日，lot 162 價格：USD 134,500（相當於今日EUR 218,000） 描述：八世紀初期唐代菩薩殘軀 專家評論：比較非常相近的姿勢、罩衫和皺褶。請注意相近 尺寸 (63.5 釐米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A LIMESTONE STELE OF VISHNU, LATE MALLA, THREE KINGDOMS PERIODNepal, 1520-1768. Finely carved as Vishnu standing in samabhanga atop a lotus base, holding a conch shell, battle club, lotus bud and war discus in his four hands, wearing a richly incised dhoti pleated to the front. The body adorned with elaborate jewelry, including armlets, wristbands, and foliate earrings. His face with heavy-lidded eyes below gently arched brows and slender lips forming a calm smile, backed by a halo. Embellished with a vanamala (long floral garland) reaching his knees, the relief is set within a foliate arch.Provenance: Belgian trade, by repute acquired from a local collection in Ghent.Condition: Very good condition, commensurate with age. Extensive wear, shallow surface scratches, signs of weathering and erosion. Small losses, nicks and cracks, some encrustations. Remnants of red pigment.Weight: 2,287 gDimensions: Height 22.8 cm (excl. stand), 26.5 cm (incl. stand) Mounted to an associated oakwood stand. (2)Vishnu's four hands hold objects that are symbols of his divine qualities and martial kingly attributes: a chakra or war-disk (representing the mind), a conch shell (the four elements), a lotus flower (the moving universe) and the club (primeval knowledge).Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 10 June 2014, lot 333Estimate: EUR 8,000 or approx. EUR 9,500 adjusted for inflation at the time of writingDescription: Sandstone stele representing Vishnu Nepal, Malla period, 18th centuryAuction result comparison:Type: RelatedAuction: Christie's Paris, 20 June 2017, lot 160Price: EUR 7,500 or approx. EUR 8,700 adjusted for inflation at the time of writingDescription: Stone stele representing Vishnu, Nepal, 17thcenturyExpert remark: Note the size (42 cm). 馬拉王朝末期三國時代石灰石毗濕奴碑尼泊爾，1520-1768 年。 毗濕奴立於蓮座上，四手持著海螺、蓮花、金剛杵和法輪，衣紋流暢，佩戴精緻的珠寶，如臂環、腕帶和葉形耳環。雙眼微閉，眉毛輕彎，笑容安詳，背後有光背。來源：比利時古玩交易，據說是從根特當地收購。 品相：狀況極好，大面積磨損、淺表面劃痕、風化和侵蝕跡象，小缺損、刻痕和裂縫、一些結殼，紅色素殘留。 重量：2,287 克 尺寸：高 22.8 厘米 (不含底座)，總高 26.5 厘米 木底座 (2) 毗濕奴四個法器分別為海螺、蓮花、金剛杵和法輪，象徵著四種元素、宇宙、知識和心靈。拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2014年6月10日，lot 333 估價：EUR 8,000（相當於今日EUR 9,500） 描述：尼泊爾、十八世紀石雕毘濕奴立像碑 拍賣結果比較： 形制：相近 拍賣：巴黎蘇富比，2017年6月20日，lot 160 價格：EUR 7,500（相當於今日EUR 8,700） 描述：十七世紀尼泊爾石雕毘濕奴立像碑 專家評論：請注意尺寸 (42 釐米)。
AN IMPORTANT OVER-LIFESIZE ANDESITE HEAD OF BUDDHA, CENTRAL JAVANESE PERIOD, INDONESIA, 9TH CENTURYExpert's note: The current lot exhibits compelling similarities to the renowned group of Buddha statues from Borobudur and can in particular be compared to several examples found at the Rupadhatu level. While appearing similar, each Buddha statue within this group actually possesses subtle variations, encompassing varying hand positions (mudras) and distinct facial features. These nuances symbolize distinct facets of enlightenment, from compassion and wisdom to spiritual power. For a closely related statue from the same period, see an andesite statue of Buddha which remains in situ at Borobudur (fig. 1). This particular statue exhibits several shared facial characteristics with the current lot, including outlined lips and crescent-shaped eyes, which become particularly apparent when viewed side by side (fig. 2) or superimposed over each other (fig. 3).Superbly carved, the serene face with sinuously lidded downcast eyes below gently arched brows centered by a raised circular urna, above a broad nose and full bow-shaped lips with a raised lower edge forming a benevolent smile, flanked by long pendulous earlobes with pointed helices. The hair arranged in neatly incised snail-shell curls over the high ushnisha.Provenance: From a European private collection, acquired before 2007, and thence by descent.Condition: Superb condition, commensurate with age. Extensive wear, expected losses, signs of weathering and erosion, minor nicks. The stone with a superb, naturally grown, dark patina overall.Weight: 25.2 kg (incl. stand)Dimensions: Height 42 cm (excl. stand) and 58.5 cm (incl. stand) With an associated stand. (2)The present andesite head epitomizes the ingenuity of the Central Javanese stone carvers of the time, with distinct characteristics such as the incised pupils, large and elongated ears, and masterful snail-shell curls, arguably the best-designed facial features across all Buddhist art. Furthermore, the present sculpture bears the telltale signs of smoothened areas where beholders were gripped with the overt temptation to caress the head, which combined with the porous nature of the stone give it a unique yet unmistakable and, without a doubt, inimitable appearance.A Buddha image of ineffable quiet and stillness has been carved from rough volcanic rock. The profile and dome of the head are broad, allowing for a round tapering of the forehead, cheeks, and chin that, once finished with a polish, produce an overall impression of smoothness, belying the porous nature of the stone, which has resisted over a millennium of weather exposure with stunning ease. The sculptors working on the great stone monuments of 9th century Central Java produced some of the most beautifully proportioned Buddhist sculptures of any period or medium.The present statue is almost certainly from Borobudur or a related temple site, such as Sewu or Ngawen in Central Java. Built by the Shailendra dynasty around 825 CE, Borobudur is one of the greatest Buddhist monuments of all time, having one of the largest and most complete ensembles of Buddhist narrative relief panels in the world. Structured as a mandala of stacked platforms representing the three planes of existence in Mahayana cosmology (the world of desire, the world of forms, and the world of formlessness), Borobodur invites pilgrims circumambulating its didactic panels and sculpture to shuck the trappings of their perceived reality and realize their true inherent formlessness.Literature comparison: Compare a related andesite head of Buddha, 36 cm high, dated c. 800, originally part of a sculpture at Candi Sewu, Java, now in the Museum of Fine Arts, Boston, accession number 43.6, illustrated by Ananda K. Coomaraswamy, “A Buddha Head from Java", Bulletin of the Museum of Fine Arts, Vol. 41, No. 244 (June 1943), pp. 33-34. Three examples in the British Museum collected by Sir Thomas Stamford Raffles in the early 19th century demonstrate that not all Borobudur Buddha heads were created equal (1859,1228.175, 1859,1228.176, 1859,1228.177). Some have softer, more delicate brows while others show harder features and more pronounced monobrows. Some have spire-like ushnishas, while others are broader and more pleasing. Of the three British Museum heads, it is the most celebrated and widely exhibited one (1859,1228.176) that bears the closest resemblance to the present lot, illuminating its quality.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 March 2016, lot 23Price: USD 509,000 or approx. EUR 596,000 converted and adjusted for inflation at the time of writingDescription: An important stone head of Buddha, Indonesia, Central Java, 9th centuryExpert remark: Compare the closely related stone, manner of carving, and expression. While the Christie's example hails from a well-known collection, the current lot bears greater resemblance to pieces found in prominent museum collections. Both examples share similar features and size, but the current lot stands out as aesthetically superior. Note the related size (39.9 cm)Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2012, lot 143Price: USD 170,500 or approx. EUR 207,000 converted and adjusted for inflation at the time of writingDescription: An andesite head of Buddha, Indonesia, central Java, 9th centuryExpert remark: Compare the closely related stone, manner of carving, and expression. Note the much smaller size (36.8 cm).
A BRONZE FIGURE OF BUDDHA MUCHALINDA, KHMER EMPIRE, ANGKOR PERIODKhmer Empire, 12th-13th century. Cast seated in meditation on a coiled snake, his hands held in his lap in dhyanamudra, wearing a dhoti secured at the waist, a thick torque around his neck, the face with a benign expression flanked by pendulous earlobes, the hair pulled into a conical chignon surmounted by an ushnisha and secured with a wide tiara.The seven-headed serpent rising above his head to form a hood sheltering the figure. The faces of the nagas remarkably well-defined and with neatly incised scales.Provenance: From a noted private collection in Belgium. Condition: Very good condition with old wear and some minor casting flaws, small nicks and losses, and tiny scratches. A naturally grown, fine deep brown and dark green patina overall. Ancient soil encrustations and remnants of pigment.Weight: 1,851 g (incl. stand) Dimensions: Height 23.6 cm (excl. stand) and 25.5 cm (incl. stand) Mounted on an associated wood base.This iconic image of Siddartha Gautama's pursuit of enlightenment shows the scene when torrential rain threatened to drown him. The king of the nagas, Muchalinda, rose from the earth, coiling his body to form a seat swelling his great hood to shelter Buddha beneath his seven-headed canopy. Only few early examples of this type have been recorded. The well-modeled naga hood in later stylistic development dissolves into greater ornamentation; compare to an in situ example of a stone sculpture of Buddha Muchalinda, illustrated in M. Freeman and R. Warner, Angkor, The Hidden Glories, 1990, page 128.Literature comparison:Compare a related bronze figure of Buddha Muchalinda, 16 cm high, dated to the Angkor period, 12th century, in the National Museum in Phnom Penh, inventory number NMC.419. Compare a related bronze figure of Buddha Muchalinda, 14.2 cm high, dated to the Angkor period, 12th century, in the National Museum in Phnom Penh, inventory number NMC.414. Compare a related bronze figure of Buddha Muchalinda, 11.4 cm high, dated to the Angkor period, 12th-13th century, in the Brooklyn Museum, accession number 83.237.4.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2002, lot 11Price: USD 94,000 or approx. EUR 149,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Buddha Muchalinda, Khmer, Bayon style, late 12th/13th centuryExpert remark: Note the larger size (29.1 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2009, lot 1433Price: USD 15,000 or approx. EUR 20,000 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha Muchalinda, Thailand, Lobpuri period, 13th centuryExpert remark: Note the smaller size (19.5 cm).
A LARGE AND IMPORTANT BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEKhmer Empire, 12th-13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity clad in a short sampot with fishtail pleat and jeweled sash, incised finely with foliate decorations. His hands depicted holding his attributes. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, aquiline nose, an urna, full lips and ears with pendulous earrings.Provenance: Old Spanish private collection, acquired in the 1960s. Old French private collection, acquired from the above in 1998. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 30 September 2005, confirming the dating and provenance above, accompanies this lot. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Good condition commensurate with age. As expected, there is extensive wear, some casting flaws, losses, signs of weathering and erosion, few nicks and shallow surface scratches, fatigue cracks with associate losses and old fills, all as expected from a Khmer bronze of nearly 1,000 years of age. Superb, naturally grown, rich patina with extensive malachite encrustation and faint hues of cuprite.Weight: 3,077 g cm (excl. stand), 3,372 g (including base)Dimensions: Height 40.6 cm (excl. stand), 46 cm (including base) With a modern wood base. (2)Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms, varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. And also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 September 2000, lot 157Price: USD 138,000 or approx. EUR 225,000 converted and adjusted for inflation at the time of writingDescription: An Important Bronze Figure of Avalokiteshvara, Khmer, Koh Ker Style, 10th CenturyExpert remark: Note the similar size (44 cm). Bronze figures from the Khmer empire with a size exceeding 40 cm are extremely rare, which is why this comparison was chosen, although this statue is from Koh Ker and dates to the 10th century.
AN EXCEPTIONAL YELLOW JADE FIGURE OF A BEAR, HUANGXIONG, HAN DYNASTY, CHINA, 202 BC - 220 ADExpert's note: At peace with itself and the world, the bear appears to be enjoying the moment and is wholly lacking the ferocity that typifies most Han-dynasty representations of bears, tigers, and other wild beasts, marking this as an astonishingly rare and naturalistic sculpture. The stone is calcified throughout, but a single patch of the original jade fades from a fine yellow tone through a deep orange into a remarkable cinnabar red, exemplifying the fact that jade can have almost any color.Special care seems to have been given to this jade bear after its rediscovery. Not only has the stone been finely polished by a dedicated craftsman after it's retrieval from the earth - extensive soil encrustations remain visible all over the exterior - but it was also repaired with a neatly lacquered replacement piece meticulously inserted to the lower jaw. This lacquer repair, likely Japanese in origin, interplays nicely with the red shades on the left hind leg of the bear. The conclusion of this author is that the present lot was probably found at some point around the 18th century, where it was treated as described above, and eventually brought to Japan, where the red lacquer repair has been carried out. From there it made its way to Europe, probably at some point in the earlier part of the 20th century. Also note that until 1945, the German Reich and the Japanese Empire were close allies, exchanging on many different levels of culture.The small yet compelling sculpture represents a plump bear seated on its haunches in a moment of repose. The round eyes gazing forward and flanking the nose, the forehead with a central line below the attentively raised ears, the spine extending to the short, peach-form tail with very fine incised lines on either side, the haunches well rounded and extending to the muscular legs and clawed paws, with one tucked underneath. The opaque jade is of a deep yellow hue with orange, red and russet shades, covered almost entirely in ancient calcification.Provenance: From a German private estate, by repute acquired by an unknown ancestor long time ago and in the family ever since. Condition: Good condition, commensurate with age, displaying exceptionally well. Signs of wear and weathering, losses, nicks, calcification and encrustation as a result of an extended period of burial. An ancient red lacquer 'Kintsugi' style repair to the lower jaw, most likely applied in Japan a long time ago. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. The calcification also covers most of the incision work, which becomes apparent from looking at the tail which is not completely calcified.Weight: 212 g Dimensions: Height 6.6 cmAuction result comparison: Type: Related Auction: Bonhams Hong Kong, 27 November 2018, lot 108 Price: HKD 6,700,000 or approx. EUR 859,000 converted and adjusted for inflation at the time of writing Description: An exceedingly rare and important white and russet jade carving of a bear, Western Han dynasty Expert remark: Note the related facial features of this jade bear. Note the size (5.7 cm).Auction result comparison: Type: Related Auction: Sotheby's Paris, 13 May 2014, lot 20 Price: EUR 247,500 or approx. EUR 283,000 adjusted for inflation at the time of writing Description: A rare celadon-yellow jade bear, Song dynasty or earlier Expert remark: Compare the closely related subject. Compare also the fine detailing and incision work. Note the slightly smaller size (5.1 cm) and celadon-yellow color.Auction result comparison: Type: Related Auction: Sotheby's Paris, 13 May 2014, lot 18 Price: EUR 4,207,500 or approx. EUR 4,818,000 adjusted for inflation at the time of writing Description: A rare yellow jade mythical animal, Song dynasty or earlier Expert remark: Compare the closely related pose. Compare also the related carving with similar drooping chest and rotund belly as well as the fine detailing and incision work. The mythical animal has a bear-like appearance with the addition of wings and horns. Note the slightly smaller size (5 cm) and yellow color. Note also that this jade was previously published and exhibited by J. J. Lally & Co., Chinese Archaic Jades and Bronzes from the Estate of Professor Max Loehr and Others, New York, 1993, cat. no. 85.Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A LARGE BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEExhibited: Los Angeles County Museum of Art, USA, according to the expertise from Jacques Barrere Art D'Extrême Orient, dated 9 July 2001.Khmer Empire, late 12th to early 13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity is clad in a short sampot with fishtail pleat and jeweled sash, to the back a flared tang. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, an aquiline nose, an urna, and full lips.Provenance: Former Pan Asian Collection. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 9 July 2001, confirming the dating and provenance above, accompanies this lot. The expertise also states a 'replacement value' of 170,000 FF or EUR 37,500, converted and adjusted for inflation. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Excellent condition, commensurate with age. There is extensive wear, some casting flaws, minor losses, signs of weathering and erosion, small nicks and shallow surface scratches, all as expected from a Khmer bronze of nearly 1,000 years of age. Faint remnants of gilt.Weight: 3,557 gDimensions: Height 38.8 cm Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. Also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 8 June 2004, lot 437Estimate: GBP 18,000 or approx. EUR 42,500 adjusted for inflation at the time of writingDescription: A large and important bronze figure of a five headed ten-armed deity, probably Sadasiva, Khmer, Angkor Period, Angkor Wat style, 12th CenturyExpert remark: Note the smaller size (32 cm).Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 10 December 2002, lot 114Price: EUR 33,460 or approx. EUR 52,500 adjusted for inflation at the time of writingDescription: A Khmer, Angkor Vat style, bronze figure of PrajnaparamitaExpert remark: Note the larger size (46 cm).
A GRAY SCHIST FRIEZE DEPICTING BUDDHA'S PARINIRVANA, ANCIENT REGION OF GANDHARA, KUSHAN PERIOD2nd-4th century. Finely carved with the dying Buddha lying on his right side on a raised bed, resting his head on a round cushion, surrounded by his mourning disciples. Behind him, three mourners raise their hands above their heads in lament with distraught facial expressions. Haloed mourners standing on each side rest their hands on the bed, flanked by tall columns. Below the bed sit three mourners, two facing out while the third, the monk Subhadra, is reassured in his knowledge of Buddha's achievement of nirvana.Provenance: From a private collection in Germany. Condition: Good condition, commensurate with age. Old wear, signs of weathering and erosion, losses, nicks, scratches, soil encrustations.Weight: 15.1 kg Dimensions: Length 48.2 cm Mounted on a metal stand. (2)According to the Buddhist chronicles, when Buddha died near the city of Kushinagara, in northern India, he broke free from the cycle of rebirths and attained nirvana, absolute release from karmic rebirth. This panel shows the Buddha surrounded by lay and monastic mourners expressing their grief. These reactions are contrasted with the calm of the monk Subhadra, seated facing Buddha's corpse raising his hands, who alone comprehends the true meaning of the Buddha's death. Images of Buddha's Parinirvana from Gandhara became important icons for veneration across the Buddhist world in the following centuries.Literature comparison:Compare a related schist frieze depicting the death of the Buddha (Parinirvana), 41.1 cm wide, dated 2nd-3rd century BC, in the Metropolitan Museum of Art, accession number 67.43.13.Auction result comparison: Type: Related Auction: Christie's New York, 23 September 2020, lot 627 Price: USD 35,000 or approx. EUR 37,500 converted and adjusted for inflation at the time of writing Description: A green schist relief depicting the Parinirvana, ancient region of Gandhara, probably Swat Valley, 2nd-4th century. Expert remark: Compare the related stone, subject, and manner of carving. Note the smaller size (34 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2011, lot 239 Price: USD 40,000 or approx. EUR 50,500 converted and adjusted for inflation at the time of writing Description: A gray schist stupa base with scenes from Buddha's life, Gandhara, 2nd/3rd century Expert remark: Compare the related stone, subject, and manner of carving. Note the size (34.3 cm) and that this is a stupa base carved with further scenes from Buddha's life. 健陀羅灰色片岩佛陀涅槃像貴霜帝國，二至四世紀。這件作品中畫面正中為右脅在下獅子臥的釋迦，右手枕在鋪著床上，雙足交疊。釋迦左側床頭站立一人，曲發、鬍髭，著希臘式服裝，神情悲切，手中可能拿著金剛杵，應是執金剛。釋迦床前坐三名弟子，左起第一位掩面而泣，神情悲慟。中間一人垂頭而坐。釋迦腳下所坐僧人可能是禮拜佛足的摩訶迦葉。釋迦身後站有四名世俗人物，格外悲傷，應是拘尸那揭羅的王公貴族。整件作品線條細膩，眾人各異的神情生動地表現了佛陀涅槃時的悲痛氛圍，是一件典型的犍陀羅風格的佛陀涅槃作品。 來源：德國私人收藏。 品相：狀態良好，有磨損、風化和侵蝕跡象、損失、刻痕、劃痕、土壤結殼。 重量：15.1 公斤 尺寸：長 48.2 厘米 金屬底座固定 (2) 文獻比較: 比較一件相近的二至三世紀灰色片岩佛陀涅槃像，寬41.1 厘米，收藏於大都會藝術博物館，館藏編號67.43.13。 拍賣比較： 形制：相近 拍賣：紐約佳士得，2020年9月23日，lot 627 價格：USD 35,000（相當今日EUR 37,500） 描述：二至四世紀健陀羅綠色片岩斯瓦特谷佛陀涅槃像 專家註釋：比較相近的岩石、主題和雕刻風格。請注意尺寸較小 (34 厘米)。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2011年3月22日，lot 239 價格：USD 40,000（相當今日EUR 50,500） 描述：二至三世紀健陀羅灰色片岩佛陀人生像 專家註釋：比較相近的岩石、主題和雕刻風格。請注意 尺寸 (34.3 厘米) ，這是一座佛塔底座，上面描述佛陀的一生。
A LARGE GRAY SCHIST RELIEF DEPICTING BUDDHA, A ROYAL DONOR AND SEVERAL ATTENDANTS, ANCIENT REGION OF GANDHARA, 2ND-3RD CENTURYSuperbly carved, standing in slight contrapposto and surrounded by royal donors and attendants, each with hands clasped in front of their chest with their gaze directed at his outstretched right arm holding an alms bowl. The Buddha is dressed in voluminous robes which fall gracefully in well detailed folds. The hems of his alluring robes are gathered in a soft roll clutched by his left hand to keep the garment taut and in place. The serene face with heavy-lidded downcast eyes below gently arched brows centered by a circular raised urna, above full bow-shaped lips forming a subtle smile, flanked by long pendulous earlobes. His hair is arranged in wavy locks over the domed ushnisha.Provenance: From an old Belgian private collection. Acquired before 1970 and thence by descent in the family.Condition: Good condition, commensurate with age. Extensive wear, obvious losses, nicks, scratches, small old repairs, signs of weathering and erosion, few structural cracks.Weight: 103.3 kg (incl. stand) Dimensions: Height 94.3 cm (incl. stand), 88.8 cm (excl. stand), Width 57.1 cm Note the hierarchical proportions used by the sculpture, with Buddha double the size of the donor and the attendant figures.The ancient region of Gandhara was once an important center for trade and religious activities. Carved stone monuments and iconic statuary were created for Buddhist patrons while drawing on Greco-Roman sculptural traditions. The present work is one such example, incorporating the emphasis on naturalism, seen in the treatment of the Buddha's heavy, monastic robe wrapping around his neck in thick layers and forming U-shaped folds on his legs with a convincing sense of gravity.This panel alludes to a delightful moment in the life of Buddha, which is retold by Harald Ingholt: “It was routine for the Buddha at a certain time of the day to wander around in quest of food. Once when he was doing this in Rajagriha, with his begging bowl held out before him, he met two small boys playing in the road. One of these moved as if to make an offering, but having nothing else at hand, he took a good fistful of dust and dropped it into the bowl saying that it was barely flour. The Buddha was much impressed by this childish act of piety and prophesied that the boy would become a mighty Buddhist monarch in some future life." (Gandharan Art in Pakistan, New York, 1959, pp. 80-81). This story was later interpreted to identify the child as the great Buddhist emperor Ashoka (304-232 BC) in a previous life. While the figure of the child, the object of the Buddha and his entourage's gaze, is now lost, the alms bowl remains partially preserved. Other depictions of this scene are found in ibid., nos. 110-111, and Kurita, Gandharan Art, Volume 1, Tokyo, 1988, pp. 178-181, nos. 351-358, and Sun and He, A History of Gandhara Civilization, Beijing, 2009, pp. 389, nos. 7, 128, 30.Auction result comparison: Type: Closely related Auction: Christie's New York, 13 March 2013, lot 209 Price: USD 183,750 or approx. EUR 224,000 converted and adjusted for inflation at the time of writing Description: A rare green schist relief of Buddha and a royal donor, 2nd/3rd century Expert remark: Compare the closely related manner of carving, with Buddha standing in similar pose and holding the hem of his garment beside a smaller donor figure. Note the size (106.8 cm). 陀羅二至三世紀灰色片岩佛像雕刻精美，以輕微的三曲式姿勢站立，周圍環繞著皇家供養人和侍從。每個人都雙手合十於胸前，目光注視著佛陀伸出的拿著缽的右臂。佛陀身著寬大的袈裟，袈裟優雅地垂落，衣紋流暢。他左手握著長袍的下擺。佛陀面容平靜安詳，雙眼微垂，眉毛微彎，雙眉之間有白毫，略帶微笑，兩側是長耳垂。他的頭髮在頭頂成螺髻。 來源：來自比利時私人舊藏，1970 年之前購得，此後由家族傳承。品相：狀況良好，大面積磨損、明顯的缺損、刻痕、劃痕、小修、風化和侵蝕，少量結構裂縫。 重量：103.3 公斤(含底座) 尺寸：高 94.3 厘米 (含底座)，88.8 厘米 (不含底座)，寬 57.1 厘米 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2013年3月13日，lot 209 價錢：USD 183,750（相當今日EUR 224,000） 描述：西元二至三世紀灰色片岩佛像 專家註釋：比較非常相近的雕刻風格、佛陀以類似的姿勢站立，並在一個較小的捐贈者雕像旁邊握住他的衣服下擺。請注意 尺寸 (106.8 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A LIMESTONE FIGURE OF THE THREE-HEADED VAIKUNTHA VISHNU, HINDU SHAHINorthwestern India, 8th century. Gracefully modeled, the deity standing in slight tribhanga, holding a conch in his left hand and a lotus blossom in his right. Three-headed, his main head flanked by that of a lion to his right and that of a boar to his left. He is wearing a short pleated dhoti tied at the waist and adorned with a lotus garland and fine jewelry. His serene face with almond-shaped eyes below gently arched brows centered by a raised circular urna, above a wavy mustache, bow-shaped lips, and prominent chin. His hair arranged in curly locks beneath the elaborate tiara.Provenance: Italian private collection. Leonardo Vigorelli, Bergamo, Italy, 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 run by his two sons.Condition: Good condition, commensurate with age. Wear, signs of weathering and erosion, minor structural cracks, losses, few minor old fills, nicks, scratches, encrustations. The stone with a fine, naturally grown patina overall.Weight: 63 kg (incl. stand)Dimensions: Height 103.4 cm (incl. stand) and 85.4 cm (excl. stand) With an associated stand. (2)This complex form of Vishnu is identifiable by the epithet Para-Vasudeva, “the highest god." The lion and boar represent Vishnu's Varaha and Narasimha avatars. Similar carvings include a fourth face on the back, a demonic, grimacing representation with fangs and a vertical third eye on the forehead. The small attendant on Vishnu's right is Chakra purusha, the personification of his war disk, on which the gods left hand rests. The earth goddess Prithvi stands between Vishnu's legs.Under the Hindu Shahi rulers in the 8th-13th century, a unique style of sculpture and architecture developed that departed from the Kushan and Gupta style of the central plains. It is evident that the distinctive facial features and hair styles reflect the earlier Gandharan style to a certain degree.Literature comparison:For related Shahi sculptures, see Donald M. Stadtner, 'Shahi Sculpture Revisited,' Orientations, October 1999, p. 68-73.Auction result comparison: Type: Related Auction: Christie's Amsterdam, 18 October 2005, lot 14 Price: EUR 11,950 or approx. EUR 17,500 adjusted for inflation at the time of writing Description: A Hindu Shahi marble bust of Vaikuntavishnu, circa 8th century Expert remark: Compare the related modeling and iconography. Note the much smaller size (28 cm).
A GRANITE STELE OF SHIVA ARDHANARISHVARA AND NANDI, CHOLA PERIOD, SOUTH INDIA, TAMIL NADU, 11TH-12TH CENTURYExpert's note: This inspiring statue was originally carved to depict Ardhanarishvara, Shiva's half-male and half-female form, as indicated by the earring on the left ear, and especially the left half of the chest with an area of loss where a female breast once was, a crucial detail not mentioned by Christie's Amsterdam when they sold this figure in 2007. Ardhanarishvara (lit. 'The half-female Lord'), is a form of the Hindu deity Shiva combined with his consort Parvati, depicted as half-male and half-female, equally split down the middle. The right half is usually the male Shiva, illustrating his traditional attributes, including his abode Nandi, such as in the present lot.Superbly and deeply carved standing in tribhanga and leaning against Nandi, his four arms holding attributes including a trishula, and wearing a dhoti. The deity adorned with beaded jewelry, the face with a serene expression, the hair crowned with a high chignon.Provenance: Werner Coninx, Zurich, Switzerland, and thence by descent within the same family. Christie's Amsterdam, 21 November, 2007, lot 569, sold for EUR 7,450 or approx. EUR 11,000 (adjusted for inflation at the time of writing), by repute acquired from the above. A noted European private collection, acquired from the above. Werner Coninx (1911-1980) was one of the world's most voracious art collectors. The son of a prominent Swiss publisher, and a friend of the important Swiss novelist Max Frisch, who mentioned Coninx in his novel Montauk, he amassed some 14,000 paintings, drawings, and sculptures during his lifetime. In terms of sheer size, his art collection was probably the largest in Switzerland. Broadly based, ranging from Swiss art to German Expressionism and French Impressionism to East Asian art, ancient Greece, and Africa, it remains unforgotten to this day.Condition: Condition commensurate with age. Extensive wear, losses, cracks, nicks, and signs of weathering and erosion, natural encrustations, all as expected from a granite figure with almost an entire millennium of age. The stone with a beautiful and smooth surface, nicely worn down from centuries of rain and devoted worship within the culture, resulting in a remarkably unctuous feel overall.Weight: 151.4 kg (excl. stand) Dimensions: Height 100 cm (excl. stand) and 101 cm (incl. stand) With an associated metal stand. (2)The earliest Ardhanarishvara images are dated to the Kushan period, starting from the first century CE. Its iconography evolved and was perfected in the Gupta era. The Puranas and various iconographic treatises write about the mythology and iconography of Ardhanarishvara, which remains a popular iconographic form found in most Shiva temples throughout India today, though very few temples are dedicated to this deity.Ardhanarishvara represents the synthesis of masculine and feminine energies of the universe (Purusha and Prakriti) and illustrates how Shakti, the female principle of God, is inseparable from (or the same as, according to some interpretations) Shiva, the male principle of God, and vice versa. The union of these principles is exalted as the root and womb of all creation. Another view is that Ardhanarishvara is a symbol of Shiva's all-pervasive nature.Auction result comparison:Type: Closely related Auction: Christie's New York, 21 March 2008, lot 758 Price: USD 51,400 or approx. EUR 68,500 converted and adjusted for inflation at the time of writing Description: A granite figure of Vishnu, South India, Chola period, 12th/13th centuryExpert remark: Note the slightly larger size (113.7 cm).
A BLACK STONE STELE OF PADMAPANI, PALA PERIOD, NORTHEASTERN INDIA, 10TH-12TH CENTURYSeated in lalitasana on a double lotus throne with a pendent leg resting on a separate padma, his primary right hand lowered in varada mudra and his primary left resting on the base holding a lotus coming to full bloom at his shoulder. His secondary hands holding a mala (rosary) and an amrita vase. He is wearing a sheer dhoti tied at the waist and his body is richly adorned with beaded jewelry and upavita (sacred thread). His serene face with almond-shaped eyes below gently arched eyebrows centered by a drop-shaped urna, above his full lips forming a calm smile, flanked by long pendulous earlobes.Provenance: Collection of Giovanni Paltenghi, Italy, by the early 1990s. Leonardo Vigorelli, Bergamo, Italy, 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 run by his two sons.Condition: Excellent condition, commensurate with age. Ancient wear from within the culture, signs of weathering and erosion, minor losses, small nicks, light scratches, and minute encrustations. The stone with a fine, naturally grown, smooth patina overall.Weight: 50.8 kg Dimensions: Height 56 cm His tall jatamukata is secured by a studded diadem centered with a diminutive image of the Buddha Amitabha, backed by a flaming mandorla and flanked by two flying apsaras carrying lotus garlands. The base is carved with a worshiper kneeling at an altar.Avalokiteshvara (The Allseeing Lord), known variously as Lokeshvara (Lord of the World), Lokanatha (Savior of the World), and Padmapani (The Lotus-bearer), is the pre-eminent bodhisattva of Mahayana Buddhism, which developed in India during the early centuries of the Common Era, and has remained an inspiration to its followers to this day. As a result, he has a wide variety of iconographic forms in both India and all other countries of Asia where his cult spread, as is clear from the surviving archaeological and literary evidence. He was especially venerated in the region of present-day Bihar, West Bengal, and Bangladesh in the Indian subcontinent between the 8th and 12th centuries.The present sculpture is carved from the familiar black stone that occurs in the region of both Bihar and old Bengal (now West Bengal in India and Bangladesh). The material is identified in literature generically as schist but is also known as phylite. The hardness of the stone allows it to be carved confidently into rich surfaces with both exuberant designs and fine details, as becomes abundantly evident in the present work.Literature comparison:Compare a related stele with a seated Avalokiteshvara, 50.2 cm high, dated 11th-12th century, in the Brooklyn Museum, accession number 1994.199.4.Auction result comparison: Type: Closely related Auction: Christie's New York, 18 September 2013, lot 233 Price: USD 111,750 or approx. EUR 123,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of Padmapani, Northeastern India, Pala period, 10th century Expert remark: Compare the related modeling and iconography. Note the much smaller size (28 cm).Compare the related modeling and iconography. Note the much smaller size (28 cm).Compare the related modeling and iconography. Note the much smaller size (28 cm).ompare the closely related modeling with the primary hands in the same poses, his secondary right also holding a mala, also seated in lalitasana with a pendent foot resting on a lotus, and further with similar expression, beaded jewelry, and jatamukata fronted by an image of Amitabha. Note the arched back carved with the Buddhist creed. Note the slightly smaller size (46.3 cm).Auction result comparison: Type: Related Auction: Bonhams New York, 16 March 2015, lot 58 Price: USD 68,750 or approx. EUR 81,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of Avalokiteshvara Shadakshari, Bihar, Pala period, 11th/12th century Expert remark: Compare the related stone and manner of carving. Note the smaller size (30.5 cm).Auction result comparison: Type: Related Auction: Christie's Paris, 6 July 2022, lot 235 Price: EUR 47,880 or approx. EUR 50,500 adjusted for inflation at the time of writing Description: A black stone stele of Avalokiteshvara Northern India, Pala period, 11th century Expert remark: Compare the related stone and manner of carving. Note the size (51 cm).
A JAIN WHITE MARBLE FIGURE OF A TIRTHANKARA, WESTERN INDIA, 17TH-18TH CENTURYSeated in padmasana on a cushioned throne, the figure wearing a diaphanous lower garment, the sash projecting in relief in front of the legs, his hands folded in dhyana mudra, his chest with a srivatsa mark. His face with downcast eyes and serene expression, flanked by elongated earlobes, the hair arranged in tight curls and surmounted by a cranial protrusion. The stone with a good polish, resulting in a smooth, unctuous feel overall.Provenance: From a private estate in the United Kingdom.Condition: Small chips and minor losses, the stone with natural inclusions, irregularities and fissures. Some cracks and breaks with old repairs and associated fills. Magnificent naturally grown patina overall, with a fine pale ivory tone.Weight: 13.8 kgDimensions: Height 38.5 cm The nudity of Jain saints was a practice of both asceticism and their belief in non-possession, dating back to the days of Mahavira. However, a schism arose in around 79 AD, extensively recorded in literature, about what constitutes total renunciation. At the time, Jain monks separated into rival factions, the Digambaras ('clothed with the sky'), who were nude, and the Svetambaras ('clothed with white'), who wore white cloths. According to inscriptions, the Svetambaras worshipped the nude image without objection and for both sects the Jinas and the saint Bahubali are represented naked while all other deities are clothed and even ornamented.Literature comparison: Compare a closely related marble tirthankara from Gujrat, Western India, dated c. 1612, in the Los Angeles County Museum of Art, accession number AC1998.256.2.Auction result comparison: Type: Closely related Auction: Christie's London, 18 October 2002, lot 122 Price: GBP 4,465 or approx. EUR 11,000 converted and adjusted for inflation at the time of writing Description: An Indian marble deity Jain, probably 12th/13th century Expert remark: Compare the closely related material, manner of carving, pose, and expression. Note the size (56 cm) and the somewhat spurious dating of “probably 12th/13th century".
A LARGE GRAY AND BLACK JADE FIGURE OF A WATER BUFFALO, LATE MING TO EARLY QING DYNASTYExpert's note: The present jade buffalo is one of the most 'lifelike' portrayals of this small group, the unusual coloring of the stone in different tones of buff and grey being reminiscent of the actual animals' skin. The rather eccentric choice of material, distinctly colored and veined, might best fit a late Ming date, while the masculine strength, elegance, and simplicity of the sculpting are in tune with stylistic principles of the Kangxi reign.China, 17th to early 18th century. Powerfully carved in a recumbent pose, the right foreleg bent with the knee raised, the other legs tucked underneath the stout muscular body, the neatly incised tail flung to the left, the head turned in a position emphasizing the beast's humped back. Its strong appearance contrasting with the calm, docile expression of its proud face, marked by almond-shaped eyes with incised pupils, and further detailed with an impressive pair of horns curving exactly parallel to the funnel-shaped ears. The smoothly polished, opaque stone is of a fine gray tone with black and russet shadings and veins, smokey and cloudy inclusions, the face and horns with partly calcified areas of 'chicken bone'. Excellent polish, resulting in an unctuous surface feel overall.Provenance: Rare Art, Inc., New York, USA, 1973. A private collection in the United States, acquired from the above and thence by descent. A copy of the original invoice from Rare Art, dated 30 May 1973, stating a purchase price for the present lot of USD 6,400 or approx. EUR 40,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. The base with an old label from Rare Art stating the original listing price for the present lot of USD 8,000 or approx. EUR 50,500 (converted and adjusted for inflation at the time of writing). Condition: Very good condition with expected ancient wear, few small nicks here and there, the stone with natural inclusions and fissures, some of which have developed into small hairline cracks.Weight: 4,747 g Dimensions: Length 23.5 cm Jade buffalo, like this superbly carved example, have traditionally been greatly prized in China, where the animal is associated with strength, prosperity and tranquility. The ox or buffalo is one of the twelve horary animals representing one of the twelve branches of the Chinese calendrical system. Buffalo are also associated with farming and the production of food. The poetic view of the buffalo resonated with Chan Buddhists and Daoists alike, suggesting retreat into a tranquil rural life away from the cities and the responsibilities of public office.The popularity of these creatures has an ancient source, since the legendary Emperor Yu of the Xia dynasty (c. 2100-1600 BC) is said to have cast an iron ox or buffalo to subdue the floods. This theme was taken up by the Qianlong Emperor (1736-95), when in 1755 he had a large bronze ox cast and placed looking out over Kunming Lake at the Summer Palace. On the animal's back was cast an 80-character essay in seal script referring to Yu's casting of the iron buffalo to control the floods. The mythological and practical auspiciousness of buffalo ensured that they were included among animal figures from early times, and by the period of the late Ming into the early Qing dynasty, a group of large finely carved jade figures was being produced. These buffalo were clearly treasured by the Imperial family since several of the extant examples are known to have come from the Summer Palace in 1860.Literature comparison:Compare a related gray and black jade buffalo from the Somerset de Chair and Mrs. Parsons collections, at Sotheby's London, 18 July 1952, lot 50, and again, 9 June 2004, lot 151. Compare a related gray and black jade buffalo from the collection of Lord Gladwyn, illustrated by Jessica Rawson, Chinese Jade from the Neolithic to the Qing, British Museum, London, 1995, pl. 26:19, where the author notes that the buffalo is “said to have come from the Summer Palace, Beijing during the China War of 1860." The provenance for the British Museum buffalo is further detailed in the footnote to lot 11 in Sotheby's London, 15 December 1987, noting that the British Museum jade buffalo was ... looted from the Summer Palace, Peking in 1860 and rescued on the troop ship from a soldier who was attempting to break it up for easier concealment on coming ashore...'.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 April 2010, lot 1909 Price: HKD 7,820,000 or approx. EUR 1,302,000 converted and adjusted for inflation at the time of writing Description: A rare large black and gray jade water buffalo, early Qing dynasty Expert remark: Compare the related modeling with similar pose, features, and expression, manner of carving, and color of the jade with similar shadings of gray and black (albeit lacking the areas of chicken-bone). Note the tuft of hair on the buffalo's forehead. Auction result comparison: Type: Related Auction: Christie's London, 8 November 2016, lot 6 Price: GBP 60,000 or approx. EUR 99,500 converted and adjusted for inflation at the time of writing Description: A mottled gray jade buffalo, 17th-18th century Expert remark: Compare the related modeling, manner of carving, and color of the jade. Note the smaller size (14 cm). 明末清初大型灰黑色玉水牛中國, 十七至十八世紀初。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A GRAY AND RUSSET JADE FIGURE OF A RECUMBENT ELEPHANT, LATE MING TO MID-QING DYNASTYChina, 17th-18th century. Carved from a large pebble, the pachyderm lies with its front feet extending outward and its back feet tucked underneath, its tail flicks up towards its head which is turned sharply to the right. Masterfully carved, the elephant's eyes, lashes, and brows are finely incised with the folds of its ears, its wrinkly skin, and its three-toed feet excellently detailed. The superbly polished and partly translucent stone is of a celadon tone with opaque cream and russet shadings, icy veins, and dark grayish-green clouds.Provenance: Spink & Son, London (according to the label). Property of an American Collector, acquired from the above. Sotheby's New York, 24 March 1998, lot 383, offered at a low estimate of USD 10,000 or approx. EUR 17,000 (converted and adjusted for inflation at the time of writing). 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 minor wear and few minuscule nibbles to edges. The stone with natural fissures, some of which may have developed into small hairline cracks.Weight: 1,343 gDimensions: Length 14.6 cm The elephant is an auspicious symbol which is used in numerous rebuses to convey peace, prosperity, and good fortune. In Buddhism, elephants are regarded as one of the Seven Treasures and in a broader context are seen as symbols of strength, wisdom, and power.Auction result comparison: Type: Related Auction: Christie's London, 14 May 2019, lot 131 Price: GBP 45,000 or approx. EUR 68,500 converted and adjusted for inflation at the time of writing Description: A large pale grayish-green jade carving of an elephant, 18th century Expert remark: Compare the related motif and style of carving. Note the different pose and color as well as the larger size (22.8 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2019, lot 1171 Price: USD 75,000 or approx. EUR 82,000 converted and adjusted for inflation at the time of writing Description: A mottled gray, dark brown, and russet jade figure of an elephant, China, Ming dynasty Expert remark: Compare the closely related motif as well as the related color, manner of carving, and size (12.7 cm). Note the different pose, pronounced wrinkling, and mottling of the jade. 明末至清朝中期灰玉留皮臥象擺件中國, 十七至十八世紀。呈山子形，大象向左回首，呈半臥姿，長鼻翻捲，體態肥碩，雙耳如扇，四肢如柱。青玉留皮，巧妙利用皮色，使大象更顯憨厚生動。 來源：倫敦Spink & Son藝廊 (根據標籤)；一位美國收藏家的財產，從上述人士處購得；紐約蘇富比，1998 年 3 月 24 日，拍品 383，最低估價為 10,000 美元或約17,000 歐元（根據撰寫本文時的通貨膨脹情況進行換算和調整）。 Thomas 'Gene' Worrell（1919-2006 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：狀況非常好，有輕微磨損，邊緣有一些微小的磕損。玉石上有天然裂縫，有的發展成細小裂縫。 重量：1,343 克尺寸：長14.6 厘米 由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A RARE SPINACH-GREEN JADE FIGURE OF A TIGER, SECOND HALF OF THE QIANLONG PERIODChina, c. 1760-1795. Carved from a large boulder, the tiger rests in a recumbent pose with its legs tucked beneath its body and its tail curling to the side. The body is neatly incised with thin stripes, and its face is well detailed with large round eyes, thick arched brows, and thin whiskers. The tiger bares its sharp teeth in a fierce snarl, wrinkling its face, and laying its ears back. The prominent, menacing claws are another distinct feature, clearly identifying the animal as the biggest and most dangerous of all felines, also known as 'Man Eater' in some cultures.The superbly polished stone of an even and remarkably pure deep spinach-green tone with few minute dark flecks and icy veins. Possibly Khotan jade.Provenance: French trade. Condition: Superb condition with minimal wear. The stone with few natural fissures, some of which may have developed into small hairline cracks.Weight: 1,488.3 g Dimensions: Length 15.3 cm Prior to the Qianlong period, jade carvings in China were largely confined to small-sized items such as scholar's objects, pendants, plaques, and palm-sized vessels, due to the rarity of quality jade. Most jade quarries were a great distance from the capital and were outside the jurisdiction of the early Qing empire until the 1750s. In the middle of Qianlong's reign in 1759, the emperor expanded his rule into the Xinjiang territory while quelling the Dzungar Khanate and the Altishahr Khojas rebellions, making a large supply of jade material from the region available to the empire.After 1760, when the Kingdom of Yutian (modern-day Xinjiang province) was brought under Chinese influence, the fine raw jade boulders from that area were readily available to Chinese carvers. The region known as Khotan, now in Xinjiang province, is particularly famous for its fine nephrite jade. With these materials, and the encouragement of the emperor, the jade lapidaries of the second half Qianlong period were able to produce remarkable feats of carving. Large jade animal carvings represent some of the finest jade products of the early Qing dynasty, leading to the heights of achievement associated with the reign of the Qianlong emperor. Animals including tigers, horses, and elephants were popular, as were mythical beasts such as the qilin or the Buddhist lion.Tigers have been of great importance in Chinese culture since the earliest surviving records of Chinese history, with the character 虎 appearing on Shang-era oracle bones. In ancient China, the Siberian and Bengal tigers were common in the northeast and southwest respectively, and tigers figure prominently in Chinese myth, astrology, poetry, painting, and other fields. Most prominently, the tiger has long been regarded as a major symbol of masculine yang energy and the king of the animals.Literature comparison:Compare a related large spinach-green jade Buddhistic lion, 19.8 cm wide, date to the Qianlong period, formerly in the collections of R.C. Bruce, the 3rd Baron Alington of Crichel, and the Hon. Mrs Mary Anna Marten OBE, illustrated by S.C.Nott in Chinese Jade Throughout the Ages, Rutland, Vermont, 1973, pl. LXIII. Auction result comparison: Type: Related Auction: Woolley & Wallis, 17 November 2010, lot 342 Price: GBP 440,000 or approx. EUR 888,000 converted and adjusted for inflation at the time of writing Description: An extremely rare Chinese Imperial gilded spinach-green jade Buddhist lion dog, Qianlong period Expert remark: Compare the related color with a similar albeit slightly more uneven green tone, and compare the related manner of carving. Note the size (20 cm).Auction result comparison: Type: Related Auction: Woolley & Wallis, 20 May 2009, lot 388 Price: GBP 3,400,000 or approx. EUR 7,120,000 converted and adjusted for inflation at the time of writing Description: The Pelham Water Buffalo, Qianlong period Expert remark: Compare the closely related even tone of spinach green, and the related manner of carving. Note the size (20.8 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 May 2013, lot 1962 Price: HKD 275,000 or approx. EUR 41,000 converted and adjusted for inflation at the time of writing Description: A pair of carved spinach-green jade rams Expert remark: Compare the related color and manner of carving. Note the size (17.5 cm) and that the lot comprises a pair. 乾隆時期後半葉菠菜綠玉虎中國，約1760-1795年。 老虎由一整塊玉石雕刻而成，呈臥姿，雙腿收在身體下方，尾巴捲曲到一側。玉虎大眼圓睜，濃眉，細須，齜牙咧嘴，似乎在發出咆哮，耳朵向後仰。表面拋光精美，呈均勻且非常純淨的深菠菜綠色調，帶有一些微小的黑色斑點和冰冷的内沁。可能是和田玉。 來源：法國古玩交易。 品相：狀況極佳，極少磨損。玉石有輕微天然裂隙，有的可能已發展成細小的裂紋。 重量：1,488.3 克 尺寸：長 15.3 厘米由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A BAMBOO VENEER 'BAJIXIANG' RUYI SCEPTER, ZHUHUANG, CHINA, 18TH CENTURYThe scepter finely carved in high relief with the Eight Buddhist Emblems (bajixiang), the ruyi head showing the pair of fish, vase, and parasol amidst blossoming lotus flowers within a scroll-design border, the rectangular central section with the conch shell, endless knot, and the victory banner, and the terminal with the wheel of dharma. The handle is neatly incised with auspicious fruit in form of branches with finger citrons and pomegranates.Provenance: French trade. By repute acquired from a deceased estate in Bourgogne.Condition: Very good condition with expected old wear, traces of usage, natural age cracks and few tiny nibbles to edges. Some discoloration and staining as often found on these early bamboo veneer scepters. Sublime, naturally grown patina overall, with a decent luster and an unctuous feel, beautiful golden amber color.Weight: 147.4 gDimensions: Length 42 cm This scepter is impressive for its fine workmanship as revealed by the precise carving on the head and shaft. While ruyi scepters were made in large numbers during the reign of the Qianlong Emperor, as attested in the Guo Chao Gong Shi, which records that the Qianlong Emperor's mother received one hundred and eight ruyi scepters for her sixtieth birthday, those made of bamboo veneer are relatively rare. Known as Zhuhuang or veneer bamboo, this technique involves the separation of the veneer, which is of pale amber-yellow coloration and taken from the inner wall of the bamboo stem. The veneer is then applied over a wood core and is carved in shallow relief. As the color of the bamboo skin is lighter than wood, the design is left in reserve against the darker background, resulting in an elegant and attractive finish.Literature comparison:A similar scepter, in the Palace Museum, Beijing, was included in the exhibition China. The Three Emperors 1662-1795, Victoria & Albert Museum, London, 2005, cat. no. 368; another was included in the Min Chiu Society exhibition Auspicious Emblems. Chinese Cultural Treasures, Hong Kong Museum of Art, Hong Kong, 2005, cat. no. 173; a third is published in Series of Exceptional Carvings. Selected Ming & Qing Bamboo Carvings, National Museum of History, Taipei, 2005, p. 153; and a further scepter, from the Water, Pine, and Stone Retreat collection, was included in the Oriental Ceramic Society of Hong Kong exhibition Arts from the Scholar's Studio, Fung Ping Shan Museum, Hong Kong, 1986, cat. no. 121.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 24 March 2011, lot 1440Price: USD 21,250 or approx. EUR 27,000 converted and adjusted for inflation at the time of writingDescription: A rare bamboo veneer ruyi scepter, 18th centuryExpert remark: Note the smaller size (35 cm).Auction result comparison:Type: RelatedAuction: Christie's Paris, 10 December 2014, lot 139Price: EUR 12,500 or approx. EUR 15,000 adjusted for inflation at the time of writingDescription: A rare bamboo-veneer ruyi scepter, Qing dynasty, 18th centuryExpert remark: Note the similar size (40 cm). 十八世紀八寳紋竹簧如意以竹為胎，利用竹簧紋理的深淺包鑲淺刻出八寶、佛手、石榴等吉祥經典裝飾紋樣。造型優美典雅，包鑲雕刻精密，紋飾佈局勻稱。 來源：法國古玩交易，據説購於勃艮第一遺產。 品相：狀況極好，有磨損、使用痕跡、自然老化裂紋，邊緣有一些微小磕損，有一些變色和汙漬。整體自然包漿，光澤細膩，有著美麗的金琥珀色。 重量：147.4 克 尺寸：長 42 釐米由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A WHITE AND RUSSET JADE 'SANYANG AND LINGZHI' GROUP, QING DYNASTYChina, 18th-19th century. Exquisitely carved with three rams portrayed in recumbent postures, lying on a stepped rocky outcrop with the largest ram in the middle, each naturalistically carved with legs neatly tucked, and the majestic head slightly raised and crowned with long curled horns. The translucent and lustrous creamy-white stone with veining and russet inclusions, one skillfully used by the lapidary for a sprig of lingzhi growing at the base of the rocky outcrop.Provenance: A private collection in Germany. Bonhams New York, 9 September 2019, lot 817, bought-in at an estimate of USD 10,000 or approx. EUR 11,000 (converted and adjusted for inflation at the time of writing). A private collection in the United Kingdom, acquired from the above. Condition: Very good condition with minor wear, minuscule nibbling, few microscopic nicks. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks.Weight: 672.7 g Dimensions: Width 11.9 cm The motif of three rams or sheep (sanyang) is a pun referring to the Yi Jing, where solid lines represent the male or yang principal, while broken lines represent the female or yin principal. The hexagram tai which represents spring and new beginnings is comprised of three broken lines above three solid lines. It is considered to be in perfect balance with the three broken lines symbolizing heaven above and the three solid lines symbolizing the earth below. The three rams or sheep, standing in for the three solid lines, form a rebus for the phrase sanyang kaitai, referencing the period between the winter solstice and the New Year, when the warm yang energy is emerging, and the earth is returning to life.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 11 June 2021, lot 3181 Price: HKD 100,000 or approx. EUR 12,000 converted and adjusted for inflation at the time of writing Description: A white jade 'three rams' group, Qing dynasty, 18th-19th century Expert remark: Compare the related sanyang subject and white color of the stone, as well as the closely related size (12.1 cm). Note the absence of the rockwork base.Auction result comparison: Type: Related Auction: Christie's London, 10 November 2015, lot 98 Price: GBP 98,500 or approx. EUR 169,000 converted and adjusted for inflation at the time of writing Description: A large white jade 'three rams' group, Qianlong period Expert remark: Compare the related sanyang subject, white color of the stone, and size (12.4 cm). Note the absence of the rockwork base, the group instead supported on a wood stand. 清代白玉三羊開泰中國，十八至十九世紀。精美雕刻的三隻羊呈臥姿，臥在岩石上，其中最大的羊在中間。雙腿收攏，頭微微抬起，頭上長著捲曲的角。雕刻自然，栩栩如生。半透明、有光澤的白玉，帶有紋理和赤褐色內沁，巧妙利用色澤雕刻生長在岩石底部的小靈芝。 來源：德國私人收藏；紐約邦瀚斯，2019年 年 9 月 9 日，拍品 817，以估價 10,000 美元或約11,000 歐元（根據撰寫本文時的通貨膨脹情況進行換算和調整）；英國私人收藏，購自上述拍賣。 品相：狀況極好，有輕微磨損，微小刻痕、嗑損。玉石上有天然内沁和裂隙。 重量：672.7 克 尺寸：寬 11.9 厘米 拍賣比較： 形制：相近 拍賣：香港佳士得，2021年6月11日，lot 3181 價格：HKD 100,000（相當今日EUR 12,000） 描述：清十八/十九世紀白玉三羊開泰擺件 專家註釋：比較相近的三羊開泰主題，白色玉石顏色 ，以及非常相近尺寸 (12.1 厘米)。請注意此擺件沒有岩石底座。 拍賣比較： 形制：相近 拍賣：倫敦佳士得，2015年11月10日，lot 98 價格：GBP 98,500（相當今日EUR 169,000） 描述：乾隆白玉三羊開泰擺件 專家註釋：比較相近的三羊開泰主題，白色玉石顏色 ，以及尺寸 (12.4 厘米).。請注意此擺件沒有岩石底座，而是玉底座。
A SONGHUA STONE 'BAT AND LINGZHI' BRUSHWASHER, FIRST HALF OF THE QING DYNASTYChina, late 17th - 18th century. Supported on three stout legs, the deep sides rising to a foliate rim, naturalistically carved in high relief with bats flying amid large lingzhi sprigs. The stone of a grayish-green color transmuting to ocher-yellow, tinged with russet. The natural inclusions and shadings of the mineral cleverly utilized by the lapidary to enhance the design.Provenance: French trade.Condition: Good condition with expected old wear, distinct signs of weathering and erosion, minuscule nicks here and there, light scratches.Weight: 2,072 gDimensions: Length 19 cm, Width 14 cm, Height 7.3 cm Expert's note: Qing dynasty emperors often had their inkstones and related objects, such as brush washers, made of Songhua stones. Outside the palace, the design of literati items developed largely in parallel with imperial design. Gu Erniang was the most famous inkstone-maker among Chinese scholars in the early Qing dynasty. Records indicate her inkstones were elegant and relatively simple, as was the preferred style at the time. However, by the later Qing dynasty, the inkstone market had turned to favoring highly intricate designs.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 28 November 2011, lot 452 Price: HKD 187,500 or approx. EUR 31,000 converted and adjusted for inflation at the time of writing Description: A large songhua libation cup, mid-Qing dynasty Expert remark: Compare the related color of the stone, the natural inclusions and shadings similarly utilized by the lapidary, albeit with a different design. Note the related size (20.2 cm). 清代上半葉《蝙蝠如意》松花石筆洗中國，十七世紀末至十八世紀。葉狀邊緣，三足，自然隨形浮雕蝙蝠飛舞與如意雲中。灰綠色的硯石逐漸變赭黃色，略帶黃褐色。巧妙地利用石料的天然紋理和色調來增強設計。硯石質碧潤，造型大方典雅，刷絲紋理勻淨縝密，雕工自然流暢。 來源：法國古玩交易。 品相：狀況良好，有磨損、明顯的風化和侵蝕跡象、多處微小的刻痕、輕微的劃痕。 重量：2,072 克 尺寸：長 19 厘米, 寬 14 厘米, 高7.3 厘米 拍賣結果比較： 形制：相近 拍賣：香港邦翰斯，2011年11月28日，lot 452 價格：HKD 187,500（相當於今日EUR 31,000） 描述：清中期松花石雕奠杯 專家評論：比較相近的石色，工匠同樣使用的天然內沁和陰影作雕刻，但不同的設計。請注意相近的尺寸 (20.2厘米)。
A TAIHU 'DRAGON' SCHOLAR'S ROCK, LATE QING DYNASTYChina, early 1900s. The porous stone of a distinct grayish-buff color with dark veining providing an attractive contrast, formed with jagged outcrops and protrusions as well as numerous interconnected perforations. Note the obvious zoomorphic qualities evoking a ferocious dragon.Provenance: New York trade, acquired from a private estate and formerly in an old Chinese collection. A copy of an old exhibition card, from where this rock was originally acquired by the previous owner, is accompanying this lot.Condition: Good condition, commensurate with age, with expected old wear, signs of weathering and erosion, natural fissures, minute nicks, light scratches.Weight: 13.2 kg (incl. stand), 11.9 kg (excl. stand)Dimensions: Height 71.3 cm (incl. stand) and 60.4 cm (excl. stand) With a fitted Hongmu stand from the 20th century, supported on five cabriole legs and finely carved with lingzhi clouds. (2)This rock is a fine representation of the 'tou' quality, openness or holes, one of the few fundamental qualities prized in a scholar's rock. This is further explained by Richard Rosenblum in his essay in Robert D. Mowry's Worlds Within Worlds: The Richard Rosenblum Collection of Scholars' Rocks, Harvard University Art Museums, 1996, pp. 117-18, where he writes in reference to Taihu rocks, “the holes within holes of these rocks give the experience of infinity" and “varying in size and orientation, these holes create the sensation of an ever-changing and infinite world within a finite object."Taihu or porous stone is a kind of limestone produced at the foot of Dongting Mountain in Suzhou, which is close to Lake Tai. Due to long-term surging by water, this kind of rock features many pores and holes of various depths and sizes.Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 18 March 2008, lot 64Price: USD 25,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writingDescription: A 'Taihu' scholar's rock: birds flocking among incense clouds, wood standExpert remark: Compare the closely related form and color. 清末龍形太湖石中國，十九世紀初。天然隨形而成，造型奇巧，體態夭矯，如矯健飛龍，妙趣天成。深灰色調，帶有赤褐色的斑塊，泛著白色的紋理。 來源：紐約古玩交易，購自私人莊園，原為中國古代收藏。該拍品附有一張老展覽的票的副本，該票的前主人最初是從那裡獲得這塊太湖石的。 品相：狀況良好，有磨損、風化和侵蝕跡象、自然裂縫、微小刻痕、輕微劃痕。 重量：13.2 公斤 (含底座), 11.9 公斤 (不含底座) 尺寸：高71.3 厘米 (含底座) 與 60.4 厘米 (不含底座) 二十世紀的紅木支架，五獸足，精雕細刻如意祥雲。 (2) 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2008年3月18日，lot 64 價格：USD 25,000（相當於今日EUR 33,000） 描述：太湖雲石木底座 專家評論：比較非常相近的外形和顏色。
A RARE SOAPSTONE FIGURE OF VIJRAPUTRA, AKA THE LAUGHING LION LUOHAN OR XIAOSHI LUOHAN, QING DYNASTYExpert's note: The present lot depicts Vijraputra, one of the eighteen luohan, who is also known as the 'laughing lion luohan' (chinese: xiaoshi luohan) and is always accompanied by a Buddhist lion. However, the depiction of such playfulness between the figure and the beast is quite rare.China, 17th-18th century. Well carved, the luohan seated in rajalilasana, holding with both hands a lion cub playfully tugging on his earring. He is wearing voluminous robes with neatly incised floral hems, all masterfully embellished with ink and polychrome pigments. The finely polished stone is of a creamy beige hue with deep orange and red shadings and veins as well as cloudy inclusions. Provenance: From the private collection of a gentleman in the United States. Condition: Very good condition with some old wear, rubbing and losses to pigment, the stone with natural inclusions fissures, some of which may have developed into small hairline cracks. Everything exactly as expected and commensurate with age.Weight: 160.1 g Dimensions: Height 8.6 cm With a padded storage box. (2)The eighteen luohan (arhats) are the original followers of Buddha, who were commanded to await the coming of the Future Buddha, Maitreya. Believed by some to have attained enlightenment, they are also regarded as being freed from the cycle of reincarnation and act as guardians over those who have not.Literature comparison: Compare a related soapstone figure of a luohan, 10.8 cm high, dated to the 17th century, in the Metropolitan Museum of Art, accession number 2013.167. Compare a related soapstone figure of a luohan with a lion cub by Zhou Bin, dated to the 17th century, at Sotheby's Hong Kong, 3 April 2012, lot 136.Auction result comparison: Type: Related Auction: Christie's New York, 25 January 2007, lot 241 Price: GBP 11,400 or approx. EUR 25,000 converted and adjusted for inflation at the time of writing Description: A Chinese creamy soapstone model of a luohan, 17th/18th century Expert remark: Compare the related motif and manner of carving. Note the rockwork stand, coral and turquoise embellishments, and the size (11.4 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2008, lot 203 Price: USD 20,000 or approx. EUR 26,000 converted and adjusted for inflation at the time of writing Description: A fine soapstone 'luohan and lion cub' group, Qing dynasty, 18th century Expert remark: Compare the closely related motif, with the lion also playfully tugging on the luohan's earring, and related manner of carving. Note the deep red color. 清代皂石笑獅羅漢中國，十七至十八世紀。羅漢由皂石雕製而成，色呈黃褐色，質地瑩潤，紋理細膩。羅漢身著僧衣，衣褶線條流暢，雙腿呈半跏趺坐，軀體微向左傾，雙手撫抱一獅，神態閒適。小獅踩踏羅漢手及肩上，用舌頭輕舔其左耳，羅漢額頭及眼尾皺紋深陷，弓眉突顴，雙眼微閉，嘴角含笑左翹，露出愉悅之情。刻劃自然得體，神情塑造尤其生動出色，極具巧思，具有絕佳的神韻風采。 來源：美國紳士私人收藏。 品相：狀況極好，有一些磨損和顏色損失，石頭帶有天然裂紋，其中一些可能發展成細小的裂紋。 重量：160.1 克 尺寸：高8.6 厘米 配有帶襯墊的儲物盒。(2) 文獻比較： 比較一件相近的十七世紀羅漢皂石，高10.8 厘米，收藏於大都會藝術博物館，館藏編號2013.167。比較一件相近的十七世紀壽山石雕「伏獅羅漢」像《古閩周彬尚均氏製》款，見香港蘇富比，2012年4月3日，lot 136。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2007年1月25日， lot 241 價格：GBP 11,400（相當於今日EUR 25,000） 描述：十七至十八世紀羅漢奶油色皂石 專家評論：比較相近的主題和雕刻風格。請注意石座、珊瑚和綠松石鑲嵌，以及尺寸(11.4 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2008年3月18日，lot 203 價格：USD 20,000（相當於今日EUR 26,000） 描述：十八世紀清代伏獅羅漢皂石 專家評論：比較非常相近的主題，獅子還頑皮地拉著羅漢的耳環，以及相近的雕刻風格。請注意深紅顏色。
A BAIFURONG SOAPSTONE FIGURE OF XIAOSHI LUOHAN WITH A BUDDHIST LION, EARLY QING DYNASTYExpert's note: The present lot depicts Vijraputra, one of the eighteen Luohan, who is also known as the 'laughing lion luohan' (Chinese: xiaoshi luohan) and is always accompanied by a Buddhist lion.China, 17th-18th century. Finely carved as a reclining Luohan, leaning on a Buddhist lion while holding a small jar in his right and a flywhisk in his left. Dressed in loose robes open at the chest, the garment falling in folds over the bent knees and arms. His garments are embellished with floral sprays and geometrical designs at the hem painted in green, violet, red and blue. The round face has full lips forming a subtle smile framed by a stippled beard, flanked by long pendulous lobes suspending earrings. The opaque stone is of a creamy white tone suffused with pale gray, amber, and russet inclusions.Provenance: From a French private collection. Condition: Very good condition with expected old wear, some light surface scratches to the base, minor nicks, and small amounts of the pigment have worn away. The stone with natural inclusions and fissures, some of which may have developed into hairline cracks.Weight: 350.7 g Dimensions: Height 8.5 cm The eighteen Luohan (arhats) are the original followers of Buddha, who were commanded to await the coming of the future Buddha, Maitreya. Believed by some to have attained enlightenment, they are also regarded as being freed from the cycle of reincarnation and act as guardians over those who have not.Literature comparison: Compare a related soapstone figure of a luohan, 10.8 cm high, dated to the 17th century, in the Metropolitan Museum of Art, accession number 2013.167. Compare the related soapstone figure of a luohan seated beside a similarly carved lion in the collection of the Palace Museum, Beijing, illustrated in Zhongguo meishu quanji, diaosu bian - 6 - Yuan Ming Qing diaosu, Beijing, 1988, pp. 145, pl. 157. Compare a related soapstone figure of luohan with a mythical beast, dated to the 17th century, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, pp. 161, cat. no. 135.Auction result comparison: Type: Related Auction: Bonhams San Francisco, 20 June 2014, lot 6578 Price: USD 6,875 or approx. EUR 8,100 converted and adjusted for inflation at the time of writing Description: A carved soapstone figure of a luohan, 17th/18th century Expert remark: Compare the related pose, facial expression, pigments, and decoration of the robe. Note the size (9 cm).Auction result comparison: Type: Related Auction: Sotheby's London, 7 November 2012, lot 282 Estimate: GBP 6,000 or approx. EUR 7,900 converted and adjusted for inflation at the time of writing Description: A carved soapstone figure of a luohan, 17th/18th century Expert remark: Compare the related pose, facial expression, pigments, decoration of the robe, and size (9.2 cm). 清初白芙蓉石笑獅羅漢中國，十七至十八世紀。戲獅羅漢擺件選用芙蓉石雕刻而成，整體色帶微黃，質地堅實，採用立體圓雕的手法雕刻。羅漢坐於地上，靠著獅子，右手托小缽靠著右膝，左腿微曲，左手執拂塵；雙眼微閉，面帶微笑，兩側長長的耳垂戴著耳環。袈裟紋理清晰，花卉紋。小獅子回首望著羅漢，顯得活潑可愛。不透明的石料呈乳白色調，淺灰色、琥珀色和黃褐色內沁。 來源：法國私人收藏。 品相：狀況極好，有磨損，底座有一些輕微的劃痕、刻痕、少量顏料磨損，石料有天然內沁和紋理，其中一些可能發展成裂紋。 重量：350.7 克 尺寸：高 8.5 釐米十八羅漢是釋迦牟尼的得道弟子，奉命迎接未來佛彌勒的降臨，已經擺脫了輪迴，並幫助那些沒有開悟的人。拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2014年6月20日，lot 6578 價格：USD 6,875（相當於今日EUR 8,100） 描述：十七至十八世紀皂石雕羅漢像 專家評論：比較相近的姿勢、面部表情、顏料和長袍裝飾。請注意尺寸 (9 釐米)。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2012年11月7日，lot 282 估價：GBP 6,000（相當於今日EUR 7,900） 描述：十七/十八世紀加彩壽山石「搖鈴羅漢」 專家評論：比較相近的姿勢、面部表情、顏料和長袍裝飾，以及尺寸 (9.2 釐米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A LAPIS LAZULI SEATED FIGURE OF BUDDHA, CHINA, 18TH - 19TH CENTURYFinely carved seated in dhyanasana on a double lotus base with his right hand lowered in bhumisparsha mudra and the left in dhyana mudra, wearing a voluminous robe falling down the body in naturalistic folds. The contemplative face with downcast eyes and gentle smile, below the hair formed from rows of snail-shell curls encircling the domed ushnisha. The stone of an intense, striking blue hue amid veins in various shades of gray beneath glimmering mica flecks.Provenance: Central London trade, United Kingdom. Condition: Very good condition with expected old wear, minor nicks and losses. The stone has natural inclusions, fissures and veins, some of which have developed into small hairline cracks.Weight: 1,782 g Dimensions: Height 19.3 cm The base finely incised with a four-character mark Qianlong yuzhi.Lapis lazuli was highly prized during the Qianlong era and subsequent period, as evidenced by a pair of Qianlong period stone lions dyed to imitate the stone, included in the exhibition 'Tributes from Guangdong to the Qing Court', Hong Kong, 1987, cat. Nos. 71 and 72, and a Qianlong period lapis lazuli mountain in the Asian Art Museum of San Francisco, illustrated in Michael Knight, He Li and Terese Tse Bartholomew, Chinese Jades, San Francisco, 2007, plate 354. The stone was mostly imported from Afghanistan, and was used principally for carving vessels, figures in relatively small sizes and boulder or grotto carvings, often with solitary luohans. Buddha figures, such as the present lot, were often made for imperial altars during the late 18th century and onwards.Literature comparison:Examples of lapis lazuli figures of Buddha are illustrated in Buddhist Art from Rehol, Tibetan Buddhist Images and Ritual Objects from the Qing Dynasty Summer Palace at Chengde, Taipei, 1999, no.81, and by M. Knight, He Li and T. Tse Bartholomew, Chinese Jades, San Francisco, 2007, no. 327, dated to the 18th century. Compare a closely related lapis lazuli figure of Buddha, dated 18th century, exhibited by the Oriental Ceramic Society at Bonhams London, Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October 2021.Auction result comparison: Type: Related Auction: Bonhams San Francisco, 25 June 2013, lot 8009 Price: USD 52,500 or approx. EUR 63,500 converted and adjusted for inflation at the time of writing Description: A carved lapis lazuli figure of the Buddha Expert remark: Compare the related modeling, with similar robes and seated pose, manner of carving, and stone with similar mica flecks and gray veins. Note the absence of a lotus pedestal and the size (18 cm). 十八至十九世紀青金石坐佛像釋尊結全跏趺坐於蓮花座之上，頭頂高肉髻，螺髮密集，頂嚴雙珠，分明嚴整。眼長眉彎，雙目低垂，呈微笑慈悲和善之態；身著漢式雙肩袈裟，袒露前胸，內著僧祇支，胸襟束帶繫結，衣紋俐落流暢。左手置腹前，施禪定印，右手施觸地印，青金石中雲母斑點閃爍，藍色艷麗。 來源：英國倫敦私人收藏。 品相：狀況非常好，有磨損、輕微劃痕。青金石有天然包裹體、裂隙和紋理，有的已發展成細小的裂紋。 重量：1,782 克 尺寸：高 19.3 厘米 底座刻“乾隆御製"四字款。文獻比較： 幾件相近的十八世紀青金石雕佛陀坐像，見Buddhist Art from Rehol，《Tibetan Buddhist Images and Ritual Objects from the Qing Dynasty Summer Palace at Chengde》，台北，1999年，編號81。M. Knight，He Li和T. Tse Bartholomew，《Chinese Jades》，舊金山，2007年，編號327。比較一件非常相近的十八世紀青金石雕佛陀坐像，展覽於東方陶瓷協會，見倫敦邦瀚斯， 2021年10月27，Reginald和Lena Palmer收藏，1921-1970年。 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2013年6月25日，lot 8009 價格：USD 52,500（相當於今日EUR 63,500） 描述：十八世紀青金石雕佛陀坐像 專家評論：比較相近的模組、相近的長袍和坐姿、雕刻風格 。請注意此像沒有蓮座和尺寸 (18 釐米)。
A MONUMENTAL LAPIS LAZULI MOUNTAIN, LATE QING DYNASTYChina, mid-19th to early 20th century. Finely and intricately carved in relief to depict a mountainous landscape with craggy rockwork and gnarled pines, with travelers walking along a winding trail leading over waterfalls and around peaks to pavilions nestled into the rock. The stone of an intense blue hue with gray and white inclusions as well as some mica.Provenance: Chicago trade. Condition: Expected minor losses, occasional nicks and light scratches. The stone with natural inclusions and fissures, some of which have developed into structural cracks, with associated old fills and repairs.Weight: 16 kgDimensions: Height 50.5 cm Lapis lazuli has long held a prominent place in the realm of Chinese culture since it was first imported via the ancient Silk Road. During the Qing Dynasty, it was considered a precious material, often used for jewelry, such as court necklaces, and more rarely, with large specimens carved into decorative mountain landscapes and screens for furnishing the interiors of imperial palaces.Literature comparison:A related lapis lazuli boulder carved with similar decoration can be seen in the collection of the Palace Museum, Beijing, illustrated in Zhongguo Yuqi Quanji [Complete collection of Chinese jades], Qing Dynasty, vol. 6, Hebei, 1991, p. 180, no. 262, where it is dated to the middle of the Qing Dynasty.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 29 November 2017, lot 3063Price: HKD 250,000 or approx. EUR 32,500 converted and adjusted for inflation at the time of writingDescription: A carved lapis lazuli mountain, Qing dynasty, 19th centuryExpert remark: Compare the closely related subject and manner of carving with similar rockwork, pines, and pavilions. Note the 19th century dating and the much smaller size (25 cm).Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 9 October 2022, lot 130Price: HKD 1,512,000 or approx. EUR 211,000 converted and adjusted for inflation at the time of writingDescription: A carved lapis lazuli boulder, Qing dynasty, Qianlong periodExpert remark: Compare the closely related subject and manner of carving with similar rockwork, pines, and pavilions. Note the much smaller size (12.3 cm) and that this is an example from the 18th century. 清末青金石山子中國，十九世紀中期至二十世紀初。青金石雕作山形，巨峰兀立，色藍如靛，純正雅麗，質地細膩，帶有金星，光輝燦爛。主體岩石挺拔嶙峋，松樹枝幹彎曲遒勁，枝葉繁茂。半山之間，一座小亭主靜靜佇立，一側一株蒼松橫生，氣勢不凡。整個山子景致佈局周密，鏤雕深邃，可謂集鏤、雕、刻、琢，鑽等多種表現工藝於一體，極富有層次感。 來源：芝加哥古玩交易。 品相：有輕微缺損、刻痕和輕微劃痕。石料裏有天然內沁和裂縫，其中一些已發展成結構裂縫，並有小修。 重量：16 公斤 尺寸：高 50.5 厘米文獻比較： 一件相近的清代中期青金石雕山水圖山子，收藏於北京故宮博物院，《中國玉器全集‧清代》，卷6，河北，1991年，頁180，編號262。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年11月29日，lot 3063 價格：HKD 250,000（相當於今日EUR 32,500） 描述：清十九世紀青金石雕山水圖山子 專家評論：比較非常相近的主題和雕刻風格、山水、松樹和亭閣。請注意年代為十九世紀和尺寸較小(25厘米)。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2022年10月9日，lot 130 價格：HKD 1,512,000（相當於今日EUR 211,000） 描述：清乾隆青金石雕松蔭樓閣圖山子 專家評論：比較非常相近的主題和雕刻風格、山水、松樹和亭閣，以及尺寸較小(12.3厘米) ，且年代為十八世紀。
A WHITE JADE 'RABBIT' ZODIAC PENDANT, CHINA, 18TH CENTURYExpert's note: The quality of the stone and the workmanship on this plaque is outstanding, pointing to it being an Imperial commission, one of a group of Imperial white jade ornaments decorated with twelve Chinese zodiac figures in anthropomorphic forms and their associated Earthly Branches represented by archaic Chinese characters.Finely carved in low relief to one side with the figure of a rabbit wearing celestial robes and billowing scarves while holding a fan, well detailed with almond-shaped eyes and tall pointed ears, framed by scrolling and angular designs below a central stylized lotus blossom, the reverse carved with an archaic character, pierced above and below the central panel for suspension. The translucent, smoothly polished stone is of a white tone with few minute russet and icy inclusions.Inscriptions: To the back, 'mao' (referring to the Earthly Branch associated with the Rabbit in the Chinese Zodiac).Provenance: British trade. Condition: Very good condition with expected minor wear and tiny nibbles here and there. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks.Weight: 40.7 g Dimensions: Length 5.1 cm Literature comparison: See a complete set of twelve jade carvings depicting all the zodiac figures from the Qing Court collection, illustrated in The Complete Collection of Treasures of the Palace Museum - Jadeware (III), vol. 42, Hong Kong, 1995, no. 111, pp. 132-133.Auction result comparison: Type: Closely related Auction: Christie's London, 15 May 2012, lot 75 Price: GBP 37,250 or approx. EUR 69,000 converted and adjusted for inflation at the time of writing Description: A white jade pendant, 18th century Expert remark: Compare the closely related manner of carving, subject with near identical rabbit to one side and the same character 'mao' to the other (albeit also with a trigram roundel), and white color. Note the size (6.3 cm). 十八世紀十二生肖“兔“白玉牌一面淺浮雕身著仙袍的兔子，身著仙袍，手持扇子，細節精緻，高尖的耳朵，惟妙惟肖。玉牌上端蓮紋，四周回字紋，背面刻有"卯“字。玉牌上下中央有穿孔用於懸掛。白色玉石半透明，表面光滑，帶有少量微小的赤褐色和內沁。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損和磕損。玉石上有天然内沁和裂隙。 重量：40.7 克 尺寸：長 5.1 厘米 文獻比較: 一組清宮收藏十二生肖玉雕，見故宮博物院藏文物珍品全集 (III)，卷42，香港，1995年，編號111，頁132-133。 拍賣比較： 形制：非常相近 拍賣：倫敦佳士得，2012年5月15日，lot 75 價格：GBP 37,250（相當今日EUR 69,000） 描述：清十八世紀白玉牌 專家註釋：比較非常相近的雕刻風格，一面幾乎相同的兔子，另一面 刻有"卯“字，以及白玉顏色。請注意尺寸 (6.3 厘米)。
A LAPIS LAZULI 'CHILONG' LIBATION CUP, LATE QING DYNASTYChina, 19th - early 20th century. Well hollowed, the flaring upper body tapering to a short oval foot, a pair of chilongs with furcated tails forming the two openwork handles, one peering near the spout, and the other clambering below the rim. The stone of an intense, striking blue hue amid veins in various shades of gray beneath glimmering mica flecks.Provenance: French trade.Condition: Excellent condition with some old wear and minuscule nicks. The stone with natural inclusions and fissures, some of which may have developed into microscopic hairline cracks. Weight: 154.4 gDimensions: Height 7.3 cm, Width 7.4 cm Auction result comparison: Type: RelatedAuction: Sotheby's Paris, 10 June 2014, lot 257Price: EUR 6,000 or approx. EUR 7,100 adjusted for inflation at the time of writingDescription: A small lapis lazuli brush washer, Qing dynastyExpert remark: Compare the related manner of carving with similar chilong. 清末青金石螭龍杯中國，十九世紀至二十世紀初。杯口外翻，兩側螭龍執柄，鏤空雕刻，尾部分叉，橢圓形圈足。一隻往上攀爬至杯口，另一隻往下攀爬。石料色澤濃鬱，金色星點閃閃發光。 來源：法國古玩交易。 品相：狀況良好，有一些磨損和微小的刻痕。石材具有天然内沁和裂隙，其中一些可能已發展成微小的裂紋。 重量：154.4 克 尺寸：高 7.3 厘米, 寬 7.4 厘米拍賣結果比較： 形制：相近 拍賣：巴黎蘇富比，2014年6月10日，lot 257 價格：EUR 6,000（相當於今日EUR 7,100） 描述：清 青金石螭龍紋筆洗 專家評論：比較相近雕刻風格和相似的螭龍。
AN ARCHAIC GREEN JADE AXE BLADE, DAO, NEOLITHIC PERIODChina, c. 3000-1700 BC. Of trapezoidal form with a thin blade and beveled lower edge, pierced with three apertures along the upper edge. The translucent stone of a dark green hue with russet clouding and veins, and black shadings around the edges.Provenance: From the collection of Paolo Bertuzzi. 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 together with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition with ancient wear, some losses, chips and nibbles which have smoothened over the centuries of handling. Natural fissures in the stone, some of which have developed into small hairlines.Weight: 269.3 gDimensions: Length 24 cm Expert's note: Jessica Rawson in Chinese Jade from the Neolithic to the Qing, British Museum, 1995, pages 184, discusses jade ceremonial blades of the neolithic period and how they evolved from stone reaping implements.Literature comparison: Compare a related jade harvesting knife, hu, 62.7 cm long, dated to the Neolithic period, in the National Museum of Asian Art, Smithsonian Institution, accession number F1916.417. Compare a related jade harvesting knife, hu, 32.4 cm long, dated to the Neolithic period, in the National Museum of Asian Art, Smithsonian Institution, accession number F 1916.375.Auction result comparison: Type: RelatedAuction: Bonhams London, 18 March 2023, lot 4Price: GBP 17,850 or approx. EUR 21,000 converted at the time of writingDescription: A very large archaic jade axe blade, dao, Neolithic periodExpert remark: Note the larger size (38.5 cm). 新石器時代青玉刀中國，西元前約 3000-1700年。青玉質，局部褐色沁。刀呈扁平片狀，長條形，淺圓弧刃。上端有三個單面鑽螺旋式孔，一側局部漸增灰白色土沁，一面有黃褐色紋理，通體光素，圓潤渾厚。來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況良好，有磨損，一些缺損、磕損。玉料上有天然裂縫。 重量：269.3 克 尺寸：長 24 厘米 專家注釋：Jessica Rawson 在 《Chinese Jade from the Neolithic to the Qing》（大英博物館，1995年，第184頁）討論新石器時代的玉祭刀以及它們如何從石製收割工具演變而來的專題。 文獻比較： 比較一件相近的新石器時代青玉刀笏，長62.7 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號F1916.417。比較一件相近的新石器時代青玉留皮刀笏，長32.4 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號F 1916.375。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2023年3月18日，lot 4 價格：GBP 17,850（相當於今日EUR 21,000） 描述：新石器時代玉刀 專家評論：請注意尺寸較大 (38.5 厘米)。
A RARE AND MASSIVE NINE-TIERED GREEN AND RUSSET JADE CONG, LIANGZHU CULTURE OR LATERExpert's note: The present piece, carved with nine tiers of face masks, is exceptionally tall for a Liangzhu jade cong, and would have undoubtedly been extremely time-consuming to make due to the consumption of such a large piece of material. Each tier is delicately rendered at the four corners with circles displaying the eyes, a raised rib underneath denoting the nose and two slimmer parallel bands above indicating the crown. Such large pieces are very rare and examples with nine tiers are particularly uncommon.China, c. 3300-2200 BC or later. Superbly carved, of square cross section surrounding a cylindrically hollowed tube to the center with rounded square corners, and tapering slightly from top to bottom. The sides are divided into nine registers with a stylized mask at each of the four corners, comprising two long bars above a shorter bar and flanked by two incised circles. The opaque stone of a mottled spinach color with creamy inclusions and russet veining.Provenance: A private collection in Belgium, and thence by descent. Condition: Good condition with significant old wear and traces of use, as well as nicks and minor losses, mostly along the edges. Traces of weathering and erosion. The stone with natural inclusions and fissures, many of which have developed into distinct hairline cracks over time.Weight: 12.3 kgDimensions: Height 39 cm Similar carvings can be found in the lavishly adorned tombs of ancient China, dating back to the late fourth and third millennia B.C., offering intriguing insights into the cultural significance of jade objects as possible prestigious burial gifts or important property of the deceased. The immense value placed on these jade items continued into the modern period with collectors from scholars to the emperor himself keeping such jades as decorative artifacts, using them as objects of contemplation, and even fitting them out with copper liners for use as flower vases.Literature comparison: Compare a closely related green and russet jade cong, also carved with nine registers and of similar form and color, dated to the end of the third millennium BC, in the collection of the Palace Museum, Beijing, exhibited by the Berliner Festspiele, Horizonte - Festival der Weltkulturen, 12 May-18 August 1985, cat. no. 54, and illustrated by Lothar Ledderose (ed.), Palastmuseum Peking, Schätze aus der Verbotenen Stadt, p. 180, no. 106. 良渚文化或更晚九層玉琮中國，約公元前 3300-2200 年或更晚。器形呈高方柱體，內圓外方，上下端為圓面的射。共九層， 側面被分為九個區域，四個角各有一個人面紋。菠菜色的不透明玉石，半透明的深綠色區域點綴著黑色斑點和白色紋理。 來源：比利時私人收藏，傳承至今。 品相：狀況良好，有磨損和使用痕跡、刻痕和輕微損失，大部分位於邊緣，風化和侵蝕的痕跡。玉石具有天然內沁和裂縫，其中許多隨著時間的推移已經發展成明顯的裂縫。 重量：12.3 公斤 尺寸：高 39 厘米文獻比較： 比較一件非常相近的西元前三千年青玉留皮玉琮，相似的外形和顏色，收藏於北京故宮博物院，展覽於《Berliner Festspiele，Horizonte - Festival der Weltkulturen》，1985年5月12日 - 8月18日，圖錄編號54，以及見Lothar Ledderose 編，《Palastmuseum Peking，Schätze aus der Verbotenen Stadt》，頁180，編號106。
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