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Lot 125
TABATIÈRE EN JADE BLANC1780-1850A WHITE MUTTON FAT JADE SNUFF BOTTLE1780-1850Of elegant rectangular shape with grooved squared sides resting on a quatrefoil base, the stone a soft white tone, stopper. 5.3cm (2 1/8in) high. (2).Footnotes:PROPERTY FROM THE SMIT COLLECTION OF CHINESE SNUFF BOTTLES Smit家族舊藏中國鼻煙壺1780-1850 羊脂白玉方鼻煙壺Provenance:Fred and Elsje Smit Collection來源:Fred 和 Elsje Smit 舊藏For further information on this lot please visit Bonhams.com
Lot 127
PETITE TABATIÈRE EN JADE BLANCXIXe siècleA MINIATURE WHITE JADE BASKETWEAVE SNUFF BOTTLE19th centuryOf flattened rectangular form, finely carved overall with a basketweave design, the stone an even white tone, stopper. 3.8cm (1 1/2in) high. (2).Footnotes:PROPERTY FROM THE SMIT COLLECTION OF CHINESE SNUFF BOTTLESSmit家族舊藏中國鼻煙壺十九世紀 白玉籮筐紋鼻煙壺 Provenance:Fred and Elsje Smit Collection來源:Fred 和 Elsje Smit 舊藏For further information on this lot please visit Bonhams.com
Lot 128
DOUBLE TABATIÈRE EN JASPE VERT1800-1850A GREEN JASPER DOUBLE SNUFF BOTTLE 1800-1850Of double square shape, the sides plain, the stone a beautiful green colour with lighter patches, stopper. 5.6cm (2 1/4in) high (2).Footnotes:PROPERTY FROM THE SMIT COLLECTION OF CHINESE SNUFF BOTTLES Smit家族舊藏中國鼻煙壺1800-1850 碧玉雙連方瓶鼻煙壺Provenance:Fred and Elsje Smit Collection來源:Fred 和 Elsje Smit 舊藏For further information on this lot please visit Bonhams.com
Lot 76
VASE EN AMETHYSTE SCULPTÉEXIXe siècleA CARVED AMETHYST VASE19th centuryIn the shape of a budding magnolia flower, with overlapping petals and small branches, leaves and buds emanating from the base, the stone a brownish-purple colour. 17cm (6 3/4in) high.Footnotes:十九世紀 紫黃晶玉蘭花瓶Provenance:Collection DunisonCollection Maurice GentienHotel Drouot, Collection Maurice Gentien, 3 and 4 December 1923, lot 163 來源:Dunison舊藏Maurice Gentien舊藏巴黎德魯奧拍賣會，1923年12月3至4日，編號163For further information on this lot please visit Bonhams.com
Lot 126
TABATIÈRE EN JADE BLANC1780-1850A WHITE JADE SNUFF BOTTLE1780-1850Of quadrangular shape with a flared mouth, carved in relief on each side with a shou character, the narrow sides carved in high relief with a deer under a pine tree, the stone an even colour. 4.8cm (1 7/8in) high. (2).Footnotes:PROPERTY FROM THE SMIT COLLECTION OF CHINESE SNUFF BOTTLES Smit家族舊藏中國鼻煙壺1780-1850 羊脂白玉壽字紋鼻煙壺Provenance:Fred and Elsje Smit Collection來源:Fred 和 Elsje Smit 舊藏For further information on this lot please visit Bonhams.com
Lot 123
TABATIÈRE EN JADE BLANC1780-1850 A WHITE JADE BASKETWEAVE SNUFF BOTTLE1780-1850Of flattened rectangular form with rounded shoulders, carved all over with a basketweave design, the stone an even white colour, stopper. 6.6cm (2 5/8in) high. (2).Footnotes:PROPERTY FROM THE SMIT COLLECTION OF CHINESE SNUFF BOTTLES Smit家族舊藏中國鼻煙壺1780-1850 白玉籮筐紋鼻煙壺Provenance:Fred and Elsje Smit Collection來源:Fred 和 Elsje Smit 舊藏For further information on this lot please visit Bonhams.com
Lot 111
TABATIÈRE EN AGATE SCULPTÉEcole Officielle, 1780-1850AGATE 'CAMEO' SNUFF BOTTLEOfficial School, 1780-1850Of square form with a short straight collar, the stone a light translucent honey colour, carved one one side in high relief using the natural white vein in the stone with a horse tethered to a post, stopper. 5.7cm (2 1/4in) high. (2).Footnotes:PROPERTY FROM THE SMIT COLLECTION OF CHINESE SNUFF BOTTLES Smit家族舊藏中國鼻煙壺 1780-1850 瑪瑙巧雕立馬鼻煙壺Provenance:Fred and Elsje Smit Collection來源:Fred 和 Elsje Smit 舊藏For further information on this lot please visit Bonhams.com
Lot 25
TABATIÈRE EN JASPE SCULPTÉ1840-1900 A JASPER SNUFF BOTTLE1840-1900Of globular shape, boldly carved with two Buddhist lions playing with a wrapped bale, the well-polished stone a vivid green and red colour. 5cm (2in) high. (2).Footnotes:1840-1900 碧石「瑞獅戯球」鼻煙壺Provenance:A European private collection 來源：歐洲私人收藏For further information on this lot please visit Bonhams.com
Lot 54p
A MAGNIFICENT AND VERY RARE LARGE WOOD FIGURE OF THE BODHISATTVA GUANYIN IN WATER MOON FORMJin dynastySeated in rajalitasana, with the right arm resting on his right raised knee and his left arm and hand resting on the ground and supporting the body, the bare torso dressed in a short cape with long ribbons falling over his arms, a narrow, scarf draped over the left shoulder, falling diagonally across his chest and tied on the left in a large limpid knot, the lower body covered with a full diaphanous wrap-around skirt falling in linear folds around his legs and ankles, tied around the waist with an elaborate bow, a bejeweled necklace with an ornate central pendant lies at this chest, bracelets at his wrists, his rounded face with a serene, meditative expression, with arched brows above downcast eyes inlaid with black glass, with high cheekbones, small, full pursed lips and rounded chin, the hair drawn up into a high curled chignon with tresses falling to each shoulder where they are bound, divided into three wavy strands falling over his shoulders and arms, traces of blue, red and green pigments, and traces of gilding.111cm (43 3/4in) high.Footnotes THE PROPERTY OF A DISTINGUISHED FRENCH FAMILY 法國顯赫家族藏品金 木雕水月觀音坐像Provenance:Ta-Kou-Tchai (Studio for Understanding Antiquity) of Paul Houo-Ming-Tse (Paul Hou Ming-Zhi, ca. 1880-1949), Beijing, before 1930Alphonse Bellier et Andre Portier, Collection Paul Houo-Ming-Tse de Pékin. Objets d'Art de la Chine de Époques Archaïques au XVIIIe Siècle., Vente aux Encheres publiques, Hôtel Drouot, 15, 16 et 17 Février 1932, lot 63Acquired in Paris by the grandfather of the present owners before 1935, and thence by descentPublished, Illustrated and ExhibitedPaul Huo-Ming-Tse, Preuves des Antiquités de Chine Pékin, 1930, p.297Alphonse Bellier et Andre Portier, Collection Paul Houo-Ming-Tse de Pékin. Objets d'Art de la Chine de Époques Archaïques au XVIIIe Siècle., Vente aux Enchères publiques, Hôtel Drouot, 15, 16 et 17 Février 1932, lot 63Gazette de L'Hôtel Drouot, Numéro 19, Mardi 16 Février 1932, cover pageCabinet Portier, 100 Ans 1909–2009, Paris, 2010, fig.100The result of Re.S. Artes Radiocarbon Dating test no. C 145020A (E1 and E2) (9 May 2023) is consistent with the dating of this lot.來源：霍明志（约1880-1949)，達古齋，北京，1930年以前入藏巴黎德魯奧拍卖會，1932年2月15-17日，霍明志藏品專場，編號63現任藏家祖父於1935年前於巴黎獲得，並由後人保存迄今出版：霍明志,《達古齋古證錄》，北京, 1930年, 頁297巴黎德魯奧，《霍明志藏品專場圖錄》，編號63《巴黎德魯奧公報》封面，第19期，1932年2月16日Cabinet Portier,《百年鑒藏1909-2009》，巴黎，2010年，圖100法國Re.S.Artes實驗室碳-14測定結果，測試編號 C 145020A (樣本E1和E2，2023年5月9日）顯示本拍品年份與斷代相符 Eyes of CompassionThis impressive sculpture seated in a contemplative pose is a religious sculpture that was made in the 11th/12th century under the Jin dynasty (1115-1234). It represents the Buddhist Bodhisattva Guanyin whose Sanskrit name is Avalokiteshvara, 'the Lord who looks down'. Known as Guanshiyin in Chinese, the Bodhisattva Guanyin is the one who is attuned to the sounds of the worlds and hears all the world's suffering. His inward-turning gaze expresses The Bodhisattva's powers as a comforter of humans suffering and hardship while his naturalistic image expresses proximity and approachability. This Bodhisattva is known as the Bodhisattva of infinite compassion, he who has attained enlightenment and the utter state of bliss but who has deferred entering Nirvana to ease the suffering of all humans. As such he is one of the most important deities in Mahayana Buddhism.This magnificent figure of the Bodhisattva Guanyin is seated in the pose of 'Royal Ease', with his right hand resting on his right bent knee, a posture that is known as the 'Water-Moon' form of the Bodhisattva Guanyin (Shuiyue Guanyin in Chinese). The iconography is based on important Buddhist scriptures referring to the Bodhisattva Guanyin, in particular the Avatamasaka Sutra from the Huayan Jing , the Sutra of Flower Adornment, and the Fahua Jing, the Lotus Sutra. They portray the Bodhisattva Guanyin as the universal saviour who can embody many different forms, male and female, young and old. The 'Water-Moon' iconography is based on passages from the Avatamsaka Sutra which describe the young prince Sudhana visiting the Bodhisattva Guanyin on Mount Potalaka to receive the teachings of the Dharma. It is here that the Bodhisattva Guanyin could be found in deep contemplation of the moon's reflection on the water of the surrounding sea. His Chinese name ' Shuiyue Guanyin' refers to this pose and to his nature attuned to the sounds of the world and able to hear all the world's suffering ( guanyin).This figure is sculpted as male deity for his defined torso is clearly visible beneath his diaphanous robes and bejewelled necklace. His garments reveal the strong Indian influence on sculpture of this period, almost a thousand years since Buddhism first reached China from India. He is dressed luxuriously with diaphanous scarves and skirt falling in ample folds around his body. An elaborate necklace suspending a large central pendant adorns his chest and we can assume that he was wearing bejewelled earrings. His costly attire and regal posture remind us that Bodhisattvas originally were aristocratic princes. His hair is carefully tied back in a high chignon. A depression on the front of the top know indicates that a small carved figure of the Buddha may originally have been placed here. Amitabha was similarly revered as the figure of compassion and the figure of Guanyin was to be born from a ray of light emanating from the right eye of the Buddha Amithaba.During the 10th to 13th centuries, painted wooden figures such as this magnificent figure of the Bodhisattva Guanyin in Water-Moon form were made for Buddhist temples in Northern China. At that time, the North of China was ruled by the Jurchen Jin dynasty (1115-1234), a nomadic people from the steppes of Central Asia that had defeated in war the two largest and most powerful nations in Asia, the Khitan Liao and the Han Chinese. Under the Jin, Buddhism flourished. The Jin rulers were highly conscious of the fact that Buddhism was not a native Chinese religion. Under their patronage Buddhism received the official support and veneration it lacked in other parts of the empire. Consequently, a plethora of Buddhist temples thrived in and around Buddhist centres of religious activity in Taiyuan and Mount Wutai in modern Shanxi province. The Jurchen Jin rulers gradually adopted Buddhism as the state religion, thus establishing a rich legacy of temples, tombs, and artefacts.Large sculptures such as this magnificent figure of the Bodhisattva Guanyin in Water-Moon form were originally made for important Buddhist temples. These were often large structures with several halls of worship connected by courtyards where groups of vibrantly painted wood sculptures would be positioned along walls and around central figures of devotion. Due to the large demand for religious sculpture for the furnishings of Buddhist temples, craftsmen soon moved from working in stone to sculpting in wood, a material that was less expensive and could be worked more easily. Traces of bright cobalt blue pigment and gilding can be found in the back of the folds of the skirt of this figure hinting at the colours that once made this figure come alive. The sheer size of the figure that is worked entirely in the round conveys an almost life-like impression. For further information on this lot please visit Bonhams.com
Lot 121
DOUBLE TABATIÈRE EN JADE ROUILLE1780-1850A CELADON AND RUSSET JADE SNUFF BOTTLE1780-1850Well hollowed, with two separate vials and waisted neck, all resting on straight short round feet, the stone with natural russet veins around the necks and bases, stoppers. 4.1cm (1 5/8in) high. (3).Footnotes:PROPERTY FROM THE SMIT COLLECTION OF CHINESE SNUFF BOTTLES Smit家族舊藏中國鼻煙壺1780-1850 青白帶褐玉雕雙聯瓶鼻煙壺Provenance:Fred and Elsje Smit Collection來源:Fred 和 Elsje Smit 舊藏For further information on this lot please visit Bonhams.com
Lot 113
TABATIÈRE EN AGATE1780-1850A CHALCEDONY AGATE SNUFF BOTTLE 1780-1850well hollowed, of square section with rounded edges, carved on one side along the natural inclusions of the stone with a prancing horse tethered to a post, the saddle and bridle in low relief, stopper. 5.5cm (2 1/8in) high. (2).Footnotes:PROPERTY FROM THE SMIT COLLECTION OF CHINESE SNUFF BOTTLES Smit家族舊藏中國鼻煙壺 1780-1850 玉髓瑪瑙雕立馬鼻煙壺Provenance:Fred and Elsje Smit Collection來源:Fred 和 Elsje Smit 舊藏For further information on this lot please visit Bonhams.com
Lot 19
TABATIÈRE EN AGATE SCULPTÉEDe style Suzhou, 1750-1830A SUZHOU-TYPE CARVED AGATE SNUFF BOTTLE 1750-1830Of ovoid form, carved on one side in high relief using the natural inclusions of the stone with three monkeys playing with peaches issuing from a gnarled branch, a single bat on to the reverse, stopper. 6.7cm (2 5/8in) high. (2).Footnotes:1750-1830 蘇作風格瑪瑙巧雕「猴子獻桃」鼻煙壺Provenance:A European private collection 來源：歐洲私人收藏For further information on this lot please visit Bonhams.com
Lot 102
TABATIÈRE EN JADÉITE1780-1850A JADEITE SNUFF BOTTLE1780-1850Of generous rounded bulbous form raised on a flat foot, the well-polished stone a bright variegated apple green colour, stopper. 5.1cm (2in) high. (2).Footnotes:PROPERTY FROM THE SMIT COLLECTION OF CHINESE SNUFF BOTTLES Smit家族舊藏中國鼻煙壺1780-1850 翠玉光素鼻煙壺Provenance:Fred and Elsje Smit Collection來源:Fred 和 Elsje Smit 舊藏For further information on this lot please visit Bonhams.com
Lot 53
IMPORTANTE TÊTE DU BODHISATTVA GUANYIN EN PIERREVIe siècle après J.-C.A RARE LARGE STONE HEAD OF BODHISATTVA GUANYIN6th century ADThe full face with a serene, contemplative expression, carved with gracefully curved, downcast eyes under high arched brows, with a small pursed mouth, the plump lips carved with a clearly defined bowed outline bearing traces of red pigment, the rounded cheeks framed by pendulous earlobes, the hair parted in the middle and arranged in thick strands below an elaborate diadem secured with band laying in folds above the forehead and tied in an elaborate knot with ends streaming behind the ears, the three-part diadem centered on the Buddha Amitabha on a lotus base, flanked on either side by elaborate floret and cloud wisps, traces of red, blue and green pigments, stand. 39cm (15 3/8in) high. (2).Footnotes:THE PROPERTY OF A DISTINGUISHED FRENCH FAMILY 法國顯赫家族藏品六世紀 石雕觀音菩薩頭像Provenance:Acquired in Paris by the grandfather of the present owners before 1935, and thence by descent來源:現任藏家祖父於1935年前於巴黎獲得，並由後人保存迄今The small image of the Buddha Amitabha on a lotus base prominently positioned in the centre in the crown, is a clear indication of the bodhisattva's identity. Certain features of this head are shared with other Buddhist icons, namely the small indentation in the middle of the forehead, (urna), an auspicious mark from which wisdom radiates, the elongated and rather fleshy earlobes that allude to the aristocratic origins of Buddha's early years as an Indian prince when he wore heavy earrings. The facial expression is softly and naturally rendered. Exploiting the principles of sculptural realism, this large head possesses a voluptuous grace. The head would have been completely painted in colors dictated by the conventions of Buddhist art. Traces of the original pigments remain on the crown and face, especially on the mouth. Wearing an elaborate headdress comprising floral rosettes, cloud-like wisps and ribbons tied behind the ear, it includes decorative elements found in Buddhist sculpture produced in Shanxi in the sixth century AD. The very particular rounded, almost 'fat' style of carving, the dignified, somewhat haughty expression of the face, are similar in style to heads of bodhisattvas from Cave XVI at Tianlongshan, near Taiyuan in Shanxi, which are dated to the Northern Qi dynasty (550-577 AD), and are similarly carved from a buff sandstone and with traces of polychromie, compare three examples from Cave 16, published in Sun Di (ed.), Tianlongshan shiku: liushi haiwai shiku zaoxiang yanjiu [Tianlongshan Grottoes: Research on the Overseas Stone Statues], Beijing, 2004, p.135, figs.145 and 147, p.139, fig.156.For further information on this lot please visit Bonhams.com
Lot 46
IMPORTANT ET RARE VASE COUVERT EN JADE BLANCXIXe siècleA SUPERB AND RARE WHITE JADE VASE AND COVER WITH AN ARABIC INSCRIPTION 19th centuryOf baluster form raised on a short splayed foot and tapering to a cylindrical neck set with a pair of stylised archaistic dragon handles, finely carved around the exterior with a large taotie mask on each side, above a band of lotus lappets around the base and below a band of stylised archaistic dragons around the shoulder, the sides set with a pair of animal mask handles suspending loose rings, the straight neck carved with a wide band featuring an Arabic inscription reading سلام which may be translated as 'for peace', flanked by a pair of stylised archaistic dragon handles, the domed cover with a finial in the form of lion, the translucent stone of even white tone, silver-inlaid wood stand. 12.5cm (4 7/8in) high. (3).Footnotes:THE PROPERTY OF A DISTINGUISHED EUROPEAN FAMILY 歐洲顯赫家族藏品十九世紀 白玉刻阿拉伯文雕饕餮紋象耳活環獅鈕蓋瓶Provenance:Acquired by the parents of the present owners, and thence by descent來源:現任藏家父母獲得，並由後人保存迄今The body of this superb vase is carved from a single piece of white jade, the cover made of a stone of the same fine quality. The brilliant white colour, flawless stone and exceptional translucency all represent qualities that were highly sought after at the Qing court.The vase is highly unusual in its shape and also in its decoration. The bulbous body has sloping shoulders with rounded edges and is surmounted by a cylindrical neck wider at the top than at the bottom. The neck is carved with an Islamic inscription which alludes to the Islamic influence of this vase, as demonstrated by a 15th century jade ewer with an arabic inscription around the neck, from the collection of the Fundaçao Calouste Gulbenkian, Oeiras, Portugal, published in J.P.Palmer, Jade, London, 1967, pl.38. The very particular form immediately brings to mind the shape of Islamic glass and metal vessels. Compare, for instance, a 12th century Syrian yellowish green glass bottle, published in Stefano Carboni and David Whitehouse, Glass of the Sultans, New York, 2001, p.97,cat.no.23, or a 9th century Egyptian transparent glass and green overlay bottle, op.cit. p. 183, cat.no.89.Glass, metal ware and jades arrived in China from Western Asia and beyond as early as the Sui and Tang periods. It was under the Qianlong emperor that the Islamic and Mughal jades became highly collectible. The magnificent Shah Jehan jade cup in the collection of the Victoria and Albert Museum, London, (accession number IS.12-1962) is an example of a Western Asian jade object that was directly copied by the artists working in the imperial jade workshops under the Qianlong emperor, as an example in the National Palace Museum collection in Taipei illustrates, see Teng Shu-p'ing, Exquisite Beauty: Islamic Jades, Taipei, 2007, cat.no.266. This particular vessel demonstrates how the artists working in the Palace Museum workshops were skilled at adopting foreign shapes and design and adapting and interpreting them to suit contemporary taste. While there seems to be no direct Chinese prototype for the shape of this vase, the carved design around the main body is purely Chinese, and inspired by the classical decoration found on archaic bronzes. The Qianlong emperor was fascinated by antiquity and archaic bronzes. An avid collector, he published his extensive collection of 1500 ancient bronze vessels and utensils in an illustrated catalogue under the titel Catalogue of Xiqing Antiquities (Xiqing gujian. Many jade vessels made for the Qianlong emperor in the workshops within the Zaobanshu, the Imperial Palace Workshop, drew inspiration from the archaic bronzes, their shapes and designs, illustrated in the Xiqing gujian, including the present white jade vase. The quality of the execution of the taotie masks on this vase is sublime and reflects the high technical standards of these workshops which produced jade wares for imperial court, compare a white jade altar set, similarly decorated with taotie masks in the collection of the National Palace Museum, Taipei, published in The Complete Collection of Treasures of the Palace Museum. Jadeware (III), Hong Kong, 1995, pp. 136 and 137, cat.no.113. Hence this wonderful small vase and cover shows the impressive skills and imagination of the Qing craftsmen who used a flawless white jade and merged a rare shape with an archaistic design to create a visually compelling and possibly unique work of art with jewel-like qualities.For further information on this lot please visit Bonhams.com
Lot 20
TABATIÈRE EN AGATE SCULPTÉESuzhou, 1760-1830 A CARVED AGATE SNUFF BOTTLESuzhou, 1760-1830Well-carved on one side using the natural inclusions of the stone to form a monkey holding the reigns of a horse and a bee hovering above, the reverse plain, the stone a golden colour, stopper. 5.6cm (2 1/4in) high. (2).Footnotes:1760-1830 蘇作瑪瑙巧雕「馬上封侯」鼻煙壺Provenance:A European private collection來源：歐洲私人收藏For further information on this lot please visit Bonhams.com
Lot 50
TÊTE DE BUDDHA EN PIERREDynastie des Wei du Nord (386-534 ap. J.-C.)A SMALL SANDSTONE HEAD OF BUDDHANorthern Wei dynastyWell carved with a slightly elongated face rendered with a beatific expression, with downcast eyes below gracefully arched brows, with a gently curved mouth breaking into a smile and a pronounced long nose, framed by a pair of pendulous earlobes, his hair swept up into a domed ushnisha, Japanese wood stand. 19.5cm (7 5/8in) high. (2).Footnotes:北魏 石雕佛首像Provenance：Yokoyama, Inc., Kyoto, 9 December 1959Collection of Sidney Berger, New York來源：古美術横山，京都，1959年12月9日Sidney Berger舊藏，紐約The carving style of this small head of Buddha is characteristic of the style of the Yungang caves near Datong in Shanxi province, which were largely constructed between AD 398 and 494 AD under the Northern Wei dynasty. Buddhas heads with similar features are found in niches in Cave 5 at Yungang, illustrated in Zhongguo shiku: Yungang shiku, Beijing, 1998, pls.41, 45, 144 and 145. Compare also with two other heads attributed to Yungang, illustrated in Chinese Buddhist Stone Sculpture. Veneration of the Sublime, Osaka, 1995, nos.4 and 5.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 130
TABATIÈRE EN PIERRE DURE1800-1880A PUDDINGSTONE SNUFF BOTTLE1800-1880Of rectangular form, the variegated stone well polished, stopper. 5.5cm (2 1/8in) high. (2).Footnotes:PROPERTY FROM THE SMIT COLLECTION OF CHINESE SNUFF BOTTLES1800-1880 抱子石光素鼻煙壺Provenance:Fred and Elsje Smit Collection來源:Fred 和 Elsje Smit 舊藏For further information on this lot please visit Bonhams.com
Lot 7
TABATIÈRE EN JADEITE1800-1900A JADEITE SNUFF BOTTLE1800-1900 With a compressed globular, slightly ovoid body raised from a concave base, the stone of pale green tone with russet inclusions extended over the reverse, stopper. 5.1cm (2in) high. (2).Footnotes:1800-1900 赤褐翡翠鼻煙壺 Provenance: Sotheby's London, 5 December 1983, lot 168Eskenazi Ltd., LondonA European private collection來源：倫敦蘇富比，1983年12月5日，編號168倫敦 Eskenazi Ltd.歐洲私人收藏For further information on this lot please visit Bonhams.com
Lot 112
TABATIÈRE EN AGATE1780-1850A BANDED AGATE SNUFF BOTTLE1780-1850Of rectangular form with low shoulders, well hollowed, the honey-coloured tone with horizontal bands, the stone well polished, stopper. 6.1cm (2 3/8in) high. (2).Footnotes:PROPERTY FROM THE SMIT COLLECTION OF CHINESE SNUFF BOTTLES Smit家族舊藏中國鼻煙壺 1780-1850 瑪瑙天然紋鼻煙壺Provenance:Fred and Elsje Smit Collection來源:Fred 和 Elsje Smit 舊藏For further information on this lot please visit Bonhams.com
Lot 8
TABATIÈRE EN AGATE SCULPTÉE1820-1900A CARVED AGATE SNUFF BOTTLE 1820-1900Of flattened square form with rounded shoulders, finely carved on one side with a cockerel gazing at a butterfly above a leafy cockscomb plant, the stone with scattered cloudy inclusions, stopper. 6.6cm (2 5/8in) high. (2).Footnotes:1820-1900 瑪瑙巧雕「冠上加冠」鼻煙壺Provenance:A European private collection來源:歐洲私人收藏For further information on this lot please visit Bonhams.com
Lot 15
GRANDE TABATIÈRE EN AGATE SCULPTÉEÉcole de Suzhou, 1770-1850A LARGE SILHOUETTE AGATE SNUFF BOTTLESuzhou-School, 1770-1850Of rounded form and generous proportions, carved on one side following the natural inclusions of the stone with a monkey seated on a rock, the other side with a horse trotting along, a bee hovering above, stopper. 8.5cm (3 3/8in) high. (2).Footnotes:1770-1850 蘇作瑪瑙巧雕「馬上封侯」大鼻煙壺Provenance:A European private collection 來源：歐洲私人收藏The present lot creates a pun for the phrase mashang fenghou by borrowing the pronunciation in Chinese for being on the top of a horse (mashang), bee (feng), and monkey (hou). It is applied to wish someone to be promoted to a higher rank soon.For further information on this lot please visit Bonhams.com
Lot 634
A Regency Masons-type stone china tureen and cover, decorated with pagoda pattern in the Imari palette, to/w three 26 cm plates and a platter; lot also includes a large ironstone meat plate with drainer, 47 x 38 cm, three 24 cm plates , two soup plates, a dessert plate, square tureen and a sauce tureen - cover and stand (18 pieces)
Lot 633
A pair of 19th century blue and white pottery meat dishes, printed with a rural scene within a rose border, 30 x 38 cm, to/w two smaller poultry dishes and a tureen-stand, a Georgian Spode pottery Willow pattern dish and a pair of Hicks & Meigh Stone China 26.5 cm plates, decorated in the Imari palette(8)
Lot 199
A matched set of Victorian and later Kings pattern silver flatware, comprising six table forks, John Walton, Newcastle 1864 and a pair of table forks, John Stone, Exeter 1856, eight each dessert forks and spoons, various makers, London 1896-1912, a pair of tablespoons London 1900 and a teaspoon London 1899 and four other teaspoons Sheffield 1966, 67oz total weight; lot also includes a matching epns tablespoon
Lot 40
EUGENE DODEIGNE (1923-2015)Buste de femme Monogrammé au dosPierre bleueMonogram op de achterkantBlauwe steenBlue stoneMonogrammed on the back108 x 49 x 50 cmFootnotes:Provenance / HerkomstCollection privée / Privé collectie, BruxellesThis lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com
Lot 124
TÊTE DE BOUDDHA EN SCHISTE LAQUÉ D'ORANCIENNE RÉGION DU GANDHARA, IIIE/IVE SIÈCLE 21 cm (8 1/4 in.) high Footnotes:A GILT LACQUERED SCHIST HEAD OF BUDDHA ANCIENT REGION OF GANDHARA, 3RD/4TH CENTURY 犍陀羅 三/四世紀 片岩漆金佛首 This rare example of stone retaining its gilt-lacquer of the Buddha's portrayal chronicles an era of wealth, syncretic styles, and Buddhist patronage. The late Kushan empire in the third century flourished with mercantile activities, visual arts, and Buddhist thought. During this period, iconic images of the Buddha proliferated in a style infused with Classical features including undulating locks of hair, almond-shaped eyes, and an aquiline nose. Merged with Buddhist Mahayana paradigms of enlightenment, the urna along the face and tiered bun ushnisha with floriform center represent these qualities portrayed by the Buddha. For another example with its gilding perserved, see a stone image sold at Christie's, New York, 23 Sep 2004, lot 29.Provenance: Drs. Wilfried and Valentina Stache between 1965-1975, likely while in Karachi where Dr. Wilfried Stache served as Director of Goethe Institutes (1965-1968).For further information on this lot please visit Bonhams.com
Lot 61
STÈLE DE VISHNU EN GRÈS BEIGEINDE CENTRALE, XE/XIE SIECLE129.6 cm (51 in.) highFootnotes:A BUFF SANDSTONE STELE OF VISHNUCENTRAL INDIA, 10TH/11TH CENTURY印度中部 十/十一世紀 砂岩毗濕奴石碑Provenance:With Claude de Marteau, Brussels, by 1970sThe primary form of Vishnu appears in this sculpture in his iconic frontal form (sampada) with his head framed by a lotus nimbus in a presentation testifying to his role as preserver of balance. Shown with four arms, carrying a conch-shell trumpet, a chakra, and a clublike mace, his lower right arm extends in the gesture of generosity. He wears the garments of a prince including a tall crown (kiritamukuta), a sacred thread (yajnopavita) running down his chest, jewellery, sashes, and dhoti. Set within a palatial frame (parikara), Vishnu is flanked by columns and capitals surrounded by animated depictions of the deity's avatars.Of these emanations, Vishnu's entourage illustrates his great power in both the celestial and relative realms. Featured in this stele are his various forms including the Matsya the fish, Kurma the tortoise, Varaha the boar, Narasimha the man-lion, Vamana the dwarf, Parashurama the Brahmin, Rama the prince amongst others. Garland bearers, elephants, vyalas, and makaras decorate and enliven these celestial scenes. These acts of multiplicity illustrated in diminutive forms around Vishnu, emphasize his powerful position to descend from the heavenly realms to restore natural order to the world. Another depiction featuring Vishnu within this celestial setting from Uttar Pradesh sold at Christie's, New York, 16 September 2014, lot 237, and suggests the popularity of this iconographic program from the region. A fragmentary figure of Vishnu Allahabad shows a similar crown type (Trivedi, Stone Sculpture in the Allahabad Museum, New Delhi, 1996, cat.8, p. 85) as does a bust from Central India (Pal, The Sensuous Immortals, Los Angeles, 1978, no. 84), illustrating commonalities of style within this region. Elements of the dress and treatment of the nimbus compare to another stele of Surya identified from Uttar Pradesh (Pal, Art From the India Subcontinent, New Haven, 2003, no. 77, p. 118). Further, the architectural arrangement, including the capital types and tiered registers along the sides show similarities to another Central Indian stone depicting a Yakshi sold at Sotheby's, New York, 19 March 2016, lot 1314.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Lot 44
TÊTE D'UN BODHISATTVA EN SCHISTE GRISANCIENNE RÉGION DU GANDHARA, VERS IIIE SIÈCLE42 cm (16 1/2 in.) highFootnotes:A GREY SCHIST HEAD OF A BODHISATTVA ANCIENT REGION OF GANDHARA, CIRCA 3RD CENTURY犍陀羅 約三世紀 片岩菩薩首Provenance:With Claude de Marteau, Brussels, by 1970sThis sculpture of incredible size depicts the head of a bodhisattva, an awakened being devoted to helping others along their spiritual path. Arising in Gandhara, the popular strain of Mahayana Buddhism advocated for righteous and good deeds as the means of salvation. The bodhisattva ('Enlightened Being') represented this kind of spiritual advancement and salvation, in his ultimate act of voluntarily postponing enlightenment in order to ferry others towards their own liberation.Characterizing the hybridization of the Greco-Roman aesthetic in Gandharan art is the idealized symmetry of his face seamlessly juxtaposed with the naturalistic locks of his curly hair. The heavy-lidded eyes and pupils, which are well-preserved in high relief, convey the Gandharan artist's intent of evoking a calm yet powerful expression through the bodhisattva's watchful, piercing gaze. His ears remain wonderfully modelled with elongated lobes and beaded earrings, recalling his former princely status. His majestic face is framed by thick, voluminous ringlets that part in the middle, spilling over to the sides of the head and behind the ears. A beaded hairband keeps this arrangement in place, forming a domed topknot on the bodhisattva's head. In Gandharan art, this type of chignon is typically attributed with Maitreya, the Buddha of the Future. Beautifully carved from a polished dark stone, this bodhisattva head ranks among one of the largest examples with a topknot to be held in private hands. Its scale and sculptural quality is only rivalled by that of a bodhisattva head in the Peshawar Museum, published in Ingholt, Gandharan Art in Pakistan, 1957, p. 134, no. 286. Three smaller bodhisattva heads share a hairstyle with the present lot, including one sold at Christie's, New York, 21 March 2012, lot 723, another sold at Bonhams, New York, 14 September 2015, and a third sold at Bonhams, New York, 22 March 2022, lot 304. Also compare two bodhisattva statues bearing similar features, one in the Lahore Museum (ibid, p. 132, no. 282) and another in the National Gallery of Australia, Canberra (2006.295).This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Lot 53
TÊTE DE BOUDDHA EN GRÈSTHAÏLANDE, ÉPOQUE AYUTTHAYA, XVE SIÈCLE49 cm (19 1/4 in.) highFootnotes:A SANDSTONE HEAD OF BUDDHATHAILAND, AYUTTHAYA PERIOD, 15TH CENTURY泰國 大城時期 十五世紀 砂岩佛首Provenance:With Claude de Marteau, Brussels, by 1980s Retaining much of the original pigmentation and majority of the features, this Ayutthaya stone Buddha head is one of the best preserved of its kind. Illustrative of the Sukhothai styles which were adopted into the Ayutthaya period, these merging characteristics coalesced during the 15th century. The oval face, flaming ushnisha, and heart-shaped hairline echo Sukhothai features, while the abstracted bowline converging at the bridge of the nose, long nose with downturned tip, thick hairband, small nubs for hair, and fainter smile are more indicative of classic Early Ayutthaya styles. Two images from this period, both of which are now in the Walters Art Museum, Baltimore, include a stone head displaying the confluence of these periods (25.65), as well as a bronze example attributed to the first half of the 15th century with resembling facial features (54.2799).This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Lot 39
STATUE D'UN BODHISATTVA EN SCHISTE GRISANICENNE RÉGION DE GANDHARA, VERS IIIE SIÈCLE115 cm (45 1/4 in.) highFootnotes:A GREY SCHIST FIGURE OF A BODHISATTVA ANCIENT REGION OF GANDHARA, CIRCA 3RD CENTURY犍陀羅 約三世紀 片岩菩薩像Published:Isao Kurita, Gandharan Art, Vol. II, Tokyo, 1998 & 2003, p. 15, no. 17.Provenance:With Claude de Marteau, Brussels, by 1970sThis majestic figure of a standing bodhisattva evokes both strength and grace. He bears the qualities of a youthful prince, indicated by his jewelry and noble, smooth physiognomy. His pronounced musculature, circular nimbus, and lofty expression convey an idealized image of a divine and enlightened being. He likely represents Maitreya, who in Mahayana Buddhism is destined to succeed Shakyamuni as the next and final Buddha. Maitreya in Gandharan art is frequently depicted with a loosely folded topknot, a right hand raised in the gesture of reassurance (abhaya mudra), and a water flask that was presumably clutched by the lost lowered left hand. Reflecting the cosmopolitan attitude of Gandharan art, which fused Indic content with Iranian and Greco-Roman aesthetics, Maitreya is carved with long wavy locks, standing with a gentle contrapposto in the right knee. Located in what is today northwest Pakistan and southern Afghanistan, the ancient region of Gandhara was once a vibrant economic and cultural hub with an integral position within both overland and maritime silk routes around the 1st century BCE. The vast influx of wealth and commerce enabled Gandhara's urban centers to serve as the crossroads connecting China, Central Asia, the Indian peninsula, and the Mediterranean. However, Gandhara's advantageous geography meant the region fell repeatedly to invasion from powerful ancient empires. Alexander the Great conquered the ancient capital of Taxila in 326 BCE and the region was, for a brief time, absorbed into the Macedonian empire. After the death of Alexander, the Mauryans subsequently ruled for approximately one hundred and fifty years (c. 305-180 BCE). Greco-Bactrian invasions around 180 BCE then turned the region into an independent Indo-Greek kingdom (c. 185-97 BCE). One of its most famous rulers, King Menander I (r. 165/55-130 BCE), became a great patron of Buddhism and is still remembered for his dialogues with the Buddhist sage Nagasena, as recorded in the Milinda Panha, 'The Questions of Menander'. The Kushans, who were originally of Central Asian descent and adopted Greek and Iranian elements in their material culture, later established themselves in Gandhara in the early 1st century CE. The most accomplished of these kings was Kanishka I (r. 127-151 CE), who not only ruled a vast empire extending from Bactria to Pataliputra in Northeast India, but also followed the tradition of religious patronage set by the Indo-Greek kings and actively engaged in the creation and transmission of Buddhist literature, architecture, and art. It was during this cultural landscape of stone monuments and statuary, particularly once Mahayana Buddhism attained popularity in Gandhara by the late 2nd/early 3rd century CE, that images like the following sculpture were instrumental in the eastern transmission of early Buddhist art. Other standing images of Maitreya with similar attributes and stylistic features are found in several museum collections, published in Zwalf, A Catalogue of the Gandharan Sculpture in the British Museum, 1996, p. 38, nos. 51 & 52; Dye, The Arts of India: Virginia Museum of Fine Arts, 2001, p. 97, no.7; and Behrendt, The Art of Gandhara in the Metropolitan Museum of Art, 2007, p. 54, no. 42. For instance, the beaded jewelry adorning the present sculpture's hair and the floral medallions carved on the sides of the platform closely relate to the example in the Metropolitan Museum of Art, New York (13.96.17). Moreover, the acanthus leaves decorating the front of the present figure's platform, the large tassel hanging by the left arm, the sharp angular folds suspended over the left leg, and the deep ripples of the robe around the raised right forearm are striking in appearance to the example in Virginia. Also located beneath Maitreya's feet is an iconic trope illustrating a seated bodhisattva venerated by a congregation, as seen on two Gandharan statues of the Buddha, one sold at Bonham's, Hong Kong, 2 December 2021, lot 1036, and the other also from the Claude de Marteau Collection, Part 1, sold at Bonhams, Paris, 14 June 2022, lot 26.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Lot 34
THREE 9CT GOLD GEM SET RINGS, to include a topaz and diamond cluster, ring size O, a ruby and diamond oval cluster, ring size K 1/2, together with a ruby and diamond flower cluster (one stone missing), ring size O 1/2, each hallmarked 9ct Birmingham, approximate gross weight 5.3 grams (condition report: general light wear, one ring has a missing stone)
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