We found 598 price guide item(s) matching your search

An ornamental Chinese Bronze Buddha statue, stands approx 11.5cm in height.

A Chinese Bronze Taoism Three Gods of Blessing Wealth Longevity Statue, stands approx 9cm in height

Chinese porcelain blanc de chine statue of a dignitary with sceptre. Equipped with bottom mark. Dimensions: H 33 cm. In good condition.

Antique Chinese ancestor statue made of porcelain. Family Rose decor. Glued. Dimensions: H 46 cm. In decent shape.

Chinese gilt bronze statue Dimensions: 10.5 x 4 in.

Chinese bronze feng shui God of wealth statue, approx 9cm tall

Chinese copper writing brush / pen washer statue in the form of a horse, removable lid, measures approx 8.5cm x 6cm.

Chinese pondering pose gilt religious Buddha statue

Original vintage Asia travel poster - The Orient is Hong Kong Jet BOAC - featuring two children in traditional Chinese clothing looking at each other in front of flowers and trees with a statue in the centre, the bold text above and below with a stylised plane flying through the lettering. Printed in Hong Kong for the Hong Kong Tourist Association by Yat Sun Printing Co. Very good condition, small repaired tears, minor staining, backed on linen. Country of issue: Hong Kong, designer: Unknown, size (cm): 89x63, year of printing: 1970s.

A Chinese warrior garden statue hollow resin 108cmH

A Chinese soapstone carved Foo Dog statue, measuring 20cm tall

A Chinese copper writing brush / pen washer statue in the form of a horse, removable lid, measures approx 8.5cm x 6cm.

MAO ZEDONG LARGE AGRARIAN BLANC DE CHINE POTTERY STATUE Chairman Mao holding bundle of wheat with round conical hat, Chinese script to front of base 75cm height Condition: The hat has been glued to his back (though it does not appear to have broken from his back and most likely would have been fired separately). This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A Chinese copper Maitreya Buddha ornamental figural statue, approx 8cm in height by 10.5cm in length.

A Chinese bronze Taoism Three Gods of Blessing, Wealth and Longevity ornamental Statue Buddha Figurine, approx 11cm in length.

A Chinese ornamental bronze statue figure of Buddha Guan Yin, stands approx 11cm in height

A Chinese Copper ornamental lion figural statue, stands approx 6cm in height.

A lot of various Chinese jewelry, including amulets, 20th/21st century. Here is a statue, tot. 7x.

A Chinese ornamental cast brass sleeping Buddha statue figure, measures approx 13.5cm in length x 5.5cm in height.

A Chinese cast bronze ornamental Buddha statue, measures approx 12.5cm in height x 8.4cm in width.

A Chinese copper ornamental Tathagata Buddha Statue, measures approx 9.5cm in height x 5.6cm width.

A Chinese copper writing brush / pen washer statue in the form of a horse, removable lid, measures approx 8.5cm x 6cm.

A Chinese bronze Guan Yin ornamental Buddha statue, stands approx 11cm in height

A Chinese ornamental copper Guanyin Bodhisattva upon bench statue figure, measures approx 8cm in width x 8cm in height.

Chinese composite ivory statue of the king of the gods Indra, seated on an oil elephant and surrounded by Guanyin, the infant Buddha and the warlord Guan Yu, with various embedded gemstones. China, late 19th centuryChinees samengesteld ivoren beeld van de koning der Goden Indra, ghezeten op een oilifant en omringd Guanyin, het kindje Boeddha en de krijgsheer Guan Yu, met diverse ingewerkte edelsteentjes. China, eind 19e eeuwH 64.5 cm with certificate Cites European Union only

A retro mid 20th century Chinese ceramic pottery horse statue / figure. Of tall standing position draped in dressage attire in a brown ground with green detail. Tail AF. Measures approx. 41cm tall. With makers signature to plinth base.

Assorted Ceramics, Glass and Metalwares etc, including a Japanese bronzed metal vase, a modern Chinese Imari bowl, a silver brush pot, a pair of lion dogs, 19th century glassware, an embossed leather cigar pouch, a bronze arrow head, a small gilt framed pier glass, a pair of continental porcelain candlesticks, a pair of Victorian leather childs clogs and similar shoes, a bronzed composite statue of an otter, etc (one shelf)

Arrah Lee Gaul (1888 - 1980) Still life of Lillies and a Chinese ivory statuesigned 'Arrah Lee Gaul' (lower right) oil on canvas75 x 62cm

Mixed lot of decorative and interesting items including a papier mâché tray, metal tray, assorted Chinese gardwood pot stands, pair of gold painted cherub candlesticks, metal and green onyx mounted figural statue, trinket boxes and pots various, vintage soap advertisement glass plaque etc.

A LARGE BRONZE BONSHO BELL FOR THE ENMEI-IN TEMPLE, DATED 1900Japan, Yokohama, dated 1900Well cast in barrel form, decorated in high relief with horizontal and vertical lines, bands of bosses, and flowerheads, surmounted by a twin dragon loop handle. The side engraved with an inscription dating the bell to the 33rd year of the Meiji period (corresponding to 1900), naming the devotees who commissioned the bell, and identifying the temple for which it was made.Condition: Very good condition with wear, casting flaws, signs of weathering and erosion, traces of use, and scratches.Provenance: From a Dutch private collection.Weight: 18.9 kgDimensions: Height 55.8 cmThe earliest bells date to around 600 AD, although the general design is of much earlier Chinese origin and shares some of the features seen in ancient Chinese bells. Their penetrating and pervasive tone carries over considerable distances. The sound of the bell is thought to have supernatural properties. It is believed, for example, that it can be heard in the underworld.In Japanese ceremonies, hanging bells are used for signaling during the prayer and for calling Buddhists to worship. In China, similar bells were employed in ensembles, where they represented the yin, or "receptive" principle, and were sounded after the beat of a large drum (yang, or "creative" element). The bonsho incorporates many symbolic motifs found in the Far East. The suspension loop (ryuzo) is formed by two dragon heads and a flame; the upper third contains nipples (nyu), symbols of fertility; and the barren field below (ikenomachi) provides a place for poetry or iconography. The chrysanthemum, a symbol of longevity and happiness, forms the striking surface (shuza). The bonsho may occasionally be heard in the kabuki theatre's off-stage ensembles.The Enmei-in Temple in Yokohama was rebuilt during the 19th century, but local legend dates the foundations of the temple to the 9th century. According to oral tradition, the temple was originally built by Kobo Daishi, possibly falling into its dilapidated state during the Edo period. Today it houses a large statue of Buddha dedicated by the Tokugawa family, Fudomyouo. The temple is known for the story of the priest Nitto, who is executed for murder and sexual promiscuity.

A Chinese bronze Ji Gong Monk statue, stands approx 8cm in height.

Five Russian white metal spoons 93g together with a white metal Chinese Tibet hand carved tiger town ruler statue Location:

TWO SHIWAN KILN SEATED FIGURES OF ARHAT, ONE SIGNED PAN YU SHUChina, late Qing dynasty.Carved seated in dhyanasana wearing a shawl and long robes, one covered with brown glaze and another with celadon glaze.H. 16cm; 13cm Provenance: Collection of Professor Sean Mackey (1917-1997)出處：前香港大學教授肖恩·麥基(1917-1997)私人收藏。Professor Sean Mackey, a civil engineering graduate from UCD, began his career in the early 1950s as a Professor of Civil Engineering at UNESCO's institute in Kharagpur, India. Later, he assumed the Chair of Civil Engineering at Hong Kong University, where he not only transformed the department but also served as the Dean. Sean's engineering expertise led him to establish a consulting practice in Hong Kong, where he played a pivotal role in major projects, including the airport.During his 21-year association with Hong Kong University, Sean developed an interest in Chinese art, initiating his collection. He frequently spent time in Hollywood Road, the renowned antique region in Hong Kong.肖恩·麦基教授是爱尔兰大学都柏林分校的土木工程专业毕业生。在20世纪50年代初，他成为联合国教科文组织在印度卡拉格普尔的研究所的土木工程教授。后来，肖恩在香港大学担任土木工程主席，改革了该系并担任院长。肖恩在工程领域的专业知识使他创建了一个在香港的咨询公司，在其中他在包括机场在内的重要项目中发挥了关键作用。在与香港大学的21年合作中，肖恩对中国艺术产生了浓厚兴趣，并开始了自己的收藏。他经常在业余时间流连于香港著名的古董街荷里活道。Note: Pan Yushu, born during the Guangxu era, initially learned the art of making cloth dolls at his father's shop in Foshan. He later became an apprentice to the celebrated ceramic artist Chen Weiyan in Shiwan. Under Chen's guidance, he honed his skills in both culture and ceramic art, specializing in figure sculpting. Pan Yushu's innovative talent quickly made him a renowned figure in the field.Invited to Jingdezhen, a famous porcelain hub in Jiangxi, Pan Yushu continued to learn from his mentor, Chen Juanyan, and sculpted the 'Guandi statue,' earning wide recognition. He made a living by selling his clay models, which he referred to as 'original works.' In his later years, he established 'Pan Yushu Antiques,' his family workshop.Pan Yushu's prime coincided with the challenging days of the War of Resistance against Japanese Aggression, a time of immense suffering for the Chinese people. Tragically, he succumbed to hunger. Nonetheless, his short life left an indelible mark on the history of Shiwan ceramic art.

Full title: A Chinese bronze bell and two figures, Ming and laterDescription:Dim.: 23,5 x 13 x 39 cm (the bell)H.: 17 cm (the tallest statue)Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.

A SMALL GILT BRONZE FIGURE OF BUDDHA AMITABHA, 17TH-18TH CENTURY 十七至十八世紀銅鎏金無量壽佛坐蓮像Tibetan-Chinese. Seated in dhyanasana atop a double lotus throne with beaded edges, his hands held above his lap in dhyana mudra and holding an alms bowl. Dressed in voluminous robes and a scarf incised with foliate designs, the outer robe opening at the chest revealing the similarly decorated undergarment tied above the waist. His serene face with downcast eyes below arched brows, his full lips forming a benevolent smile flanked by long pendulous earlobes, the hair arranged in tight curls over the high ushnisha topped with a jewel.Provenance: A private collection in Hungary. Galerie Zacke, Vienna, 8 December 2018, lot 62, sold for EUR 1,138 or approx. EUR 1,400 (adjusted for inflation at the time of writing). A private collection in Portugal, acquired from the above.Condition: Good condition with expected old wear and casting irregularities. The base sealed with a simple copper sheet. The bowl replaced. Small nicks, some scratches, minor rubbing to gilt. Remnants of ancient pigment.Weight: 111.9 gDimensions: Height 6.8 cm Auction result comparison: Type: RelatedAuction: Sotheby's Paris, 12 December 2017, lot 25Price: EUR 10,000 or approx. EUR 11,500 adjusted for inflation at the time of writingDescription: A small statue of Buddha, Ming dynastyExpert remark: Compare the related modeling, manner of casting, and gilding.Auction result comparison: Type: RelatedAuction: Christie's New York, 22 March 2007, lot 218Price: USD 14,400 or approx. EUR 20,000 converted and adjusted for inflation at the time of writingDescription: A fine and rare pair of small gilt-bronze Buddhas, 17th/18th centuryExpert remark: Compare the related modeling, manner of casting, and gilding. Note the larger size (9.8 cm) and that the lot comprises a pair. 十七至十八世紀銅鎏金無量壽佛坐蓮像漢藏。無量壽佛銅鑄鎏金製成，結金剛跏趺坐於蓮座之上。髮束高髻，螺髻。長眉細目，雙目微垂，鼻樑挺直，薄唇，神情平淡嚴肅。雙耳肥厚。身著袈裟，雙手於腹前結禪定印。造型體態豐滿健壯，周身裝飾簡潔考究，細節處均精工細作。 來源：匈牙利私人收藏。維也納Galerie Zacke藝廊，2018 年 12 月 8 日，拍品 62，售價 1,138 歐元或約 1,400 歐元（根據撰寫本文時的通貨膨脹情況進行調整）。 葡萄牙私人收藏。，購自上述。 品相：狀況良好，有磨損和鑄造不規則，底座用簡單的銅片密封。碗換了。小刻痕，一些劃痕，鎏金的輕微摩擦。顏料的殘留物。 重量：111.9 克 尺寸：高 6.8 厘米拍賣結果比較： 形制：相近 拍賣：巴黎蘇富比，2017年12月12日，lot 25 價格：EUR 10,000（相當於今日EUR 11,500） 描述：明十五世紀鎏金銅佛坐像 專家評論：比較相近的模型、鑄造風格和鎏金。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2007年3月22日， lot 218 價格：USD 14,400（相當於今日EUR 20,000） 描述：十七至十八世紀一對鎏金銅佛像 專家評論：比較相近的模型、鑄造風格和鎏金。請注意尺寸較大(9.8厘米)，以及此為一對。

A COPPER-INLAID BRONZE FIGURE OF CINTANAMI MAHAKALA, 17TH-18TH CENTURY 十七至十八世紀六臂大黑天銅像Tibetan-Chinese. Heavily cast, standing atop a separate lotus base with beaded rim, the primary hands before the chest, with four hands in apan mudra, dressed in a dhoti tied at the waist and neatly incised, adorned with beaded jewelry and dharma wheel at the belly, the back with a blossom jewel, a streaming ribbon draped over the shoulders, the face with a wrathful expression, open mouth revealing sharp fangs, curling beard, bulging eyes, the flaming hair behind a skull tiara. The teeth, two toes, and earrings with very fine copper inlays. Provenance: From a German private collection, acquired before 2007. Condition: Extensive wear, few losses, small nicks, light scratches, old metal fills, and some casting irregularities. The base cast separately.Weight: 1,017 g Dimensions: Height 17.2 cmMahakala belongs to the class of dharmapalas or protectors of the Buddhist Faith. According to Tibetan tradition, the dharmapalas are pre-Buddhist local deities. They were subdued by the great master Padmasambhava and included in the pantheon as fierce defenders of Tibetan Buddhism. Tibetan iconographic texts describe seven various forms of Mahakala. This six-armed form is known as Cintamani Mahakala or the 'Mahakala with the Wish Bestowing Gem'.Auction result comparison:Type: RelatedAuction: Christie's Paris, 8 June 2010, lot 321Price: EUR 39,400 or approx. EUR 51,000 converted and adjusted for inflation at the time of writingDescription: A partially gilded bronze statue of Cintamanimahakala, Tibet, 18th centuryExpert remark: Compare the related subject, pose, and style of the dhoti. Note the intact gilding and much larger size (27.5 cm).十七至十八世紀六臂大黑天銅像漢藏。本尊造像直立，一面六臂，頭戴骷髏冠，頂豎忿怒髪，雙目圓睜，粗眉上揚，張嘴露齒，耳戴銅耳飾，面相兇忿。胸前飾瓔珞，手臂掛有臂釧，六臂分施不同手印，肢體粗壯有力。整體處理的細緻到位，通體鎏金，水亮厚實，面部生動攝人。牙齒、兩隻腳趾和耳環都鑲有非常精細的銅。 來源：德國私人收藏，購於2007年前。 品相：磨損嚴重，些微缺損、有小磕損、輕微劃痕、舊金屬填充物和一些鑄造不規則現象。底座分開製作。 重量：1,017 克 尺寸：高17.2 厘米 大黑天梵語名瑪哈嘎拉，藏語稱為貢普，原來是古代印度的戰神，進入佛教後，很受密教的崇奉，是觀音菩薩化現的大護法，在護法中地位很高，同時也是密宗修法所依止的重要本尊。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2010年6月8日，lot 321 價格：EUR 39,400（相當於今日EUR 51,000） 描述：十八世紀西藏部分鎏金大黑天銅像 專家評論：比較相近的主題、姿勢和腰部風格。請注意只有部分鎏金和尺寸較大(27.5 厘米)。

A RARE AND LARGE ANDESITE TORSO OF BUDDHA AMITABHA, CENTRAL JAVANESE PERIOD, SHAILENDRA DYNASTYExhibited: The Asian Sculptor's Eye, The Rotunda, Hong Kong, 21 August 1995Java, circa 9th century. Powerfully carved seated in dhyanasana, his hands lowered in dhyanamudra, dressed in a sheer sanghati elegantly draped over the left shoulder and gathered in folds under the ankles. Provenance: Ha Tuc Can, The Sculpture Gallery, Hong Kong, before 1990. The Roger Moss Collection, acquired from the above, for the equivalent of EUR 17,000, and thence by descent to Hugh Moss. Ha Tuc Can came from a privileged Vietnamese noble family. However, the ravages of war left his family bankrupt and stripped them of their wealth. In the early 1960s, he embarked on a career as a war correspondent and cameraman for CBS. During this time, he forged a close friendship with Morley Safer. In his later years, Ha Tuc Can gained recognition as a filmmaker and antiquarian. He authored several books on Vietnamese arts and participated in joint exhibitions with Jean-Michel Beurdeley in Paris. In the late 1970s, he started a business called The Sculpture Garden in Hong Kong. C. Roger Moss, OBE (1936-2020) grew up in Yorkshire and was a lifelong collector of art, best known for his collection of Chinese sculpture dating to the Tang dynasty and earlier. He was a Finance Director at British Airways when the Concorde was launched, then became the CFO of MTR in Hong Kong. During this time he also served as the president of the Oriental Ceramic Society.Condition: Fully commensurate with age, extensive weathering and erosion, encrustations, and losses.Weight: 86 kgDimensions: Height 61 cm The drapery of the robe as well as the manner of carving of the hands and feet is consistent with central Javanese period images of Buddha from temple sites. The purpose of these images of Buddhas is to represent the stages of the path to enlightenment in Buddhist cosmology. As visitors to temples ascend through the different levels, they are guided through the process on a symbolic journey from the realm of desire to the realm of form and finally to the realm of formlessness, ultimately reaching enlightenment at the summit.The present statue is almost certainly from Borobudur or a related temple site, such as Sewu or Plaosan 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 closely related statue of Buddha Amitabha, dated first half of the 9th century, in the Metropolitan Museum of Art, accession number 1995.256. Note the identical posture, especially with regards to the arms, folds of the robes, concave nature of the soles of the feet, and the treatment of the folded hands.

AN EXCEPTIONALLY FINE THANGKA OF BUDDHA SHAKYAMUNI AND CLASSIC BUDDHIST TEACHING STORIES, NEW MENRI STYLE, TIBET, 18TH CENTURY 十八世紀西藏釋迦牟尼源流唐卡Expert's note: This painting belongs to a set of thirty-nine paintings depicting all one-hundred-and-eight classic teaching stories (known as rtogs brjod in Tibetan or avadana in Sanskrit). An inscription translating to 'fourteen, right' on the verso of the top dowel, indicates this painting's orientation within the set of thirty-nine.Finely painted with Buddha seated in dhyanasana atop a lotus cushion, his hands held in the teaching gesture known as dharmachakra mudra, backed by a shimmering mandorla and circular halo, surrounded by three scenes illustrating classic Buddhist stories from the Avadana compendium. Smaller figures of Buddha are surrounded by monks and teachers within temple compounds, along with further scenes depicting Buddhist deities, lamas and monks, animals, and mythical beasts, all within a verdant landscape. Three red trilobed vignettes are inscribed in Tibetan with gold letters, with a further inscription on one of the temple walls.Inscriptions: To the top dowel on the reverse, 'fourteen, right'.Provenance: From the collection of Ethelbert Tryba, acquired in Kathmandu, Nepal in 1966, and thence by descent. A copy of a personal letter from Tryba, written from Peshawar to his wife during his travels, in which he describes a recent purchase of a Gandharan statue in Peshawar as well as his impending trip to Kathmandu, accompanies this lot. Ethelbert Tryba (1928-1995) was born in Chicago, Illinois. During his life, he traveled throughout Central and Southeast Asia establishing trade ties for his company. During one particularly trying trip described in a personal letter, Tryba began collecting objects from antique shops in Pakistan, Northern India, and Nepal.Condition: Good original condition with some wear, slight creasing, soiling, light abrasions, few tiny losses. The brocade mounting with minor tears and losses. Dimensions: Image size 85.8 x 53.2 cm, Size incl. brocade mounting 164 x 94 cmDistemper and gold on cloth, with a silk brocade frame and mounted as a hanging scroll.Striking in its clarity and vibrancy, this thangka is an outstanding example of the New Menri style of Tsang which originated at Tashi Lhunpo Monastery (founded in 1447 by the first Dalai Lama and the traditional monastic seat of the Panchen Lama) in the 17th century by the hand of Choying Gyatso. The naturalistic clouds, rendered in blue and green, are hallmarks of this tradition, as is the placement of these clouds along the architectural elements that cover the landscape. Despite this painting's age, the gold inscriptions identifying each scene are only lightly abraded.Literature comparison: Compare a Tibetan-Chinese thangka depicting Buddha Shakyamuni with scenes from his life, dated to the 18th century, in the Nelson-Atkins Museum, object number 35-230/1.Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2018, lot 310 Price: USD 47,500 or approx. EUR 53,500 converted and adjusted for inflation at the time of writing Description: A large and very fine Thangka depicting Shakyamuni Buddha and two classic Buddhist teaching stories, Avadana, Tibet, 18th century Expert remark: This lot is a part of the same thirty-nine-painting set and is number 19 in the set. Compare the similar central Buddha in the same pose surrounded by life narratives. Note the size (101.9 x 59.6 cm). 十八世紀西藏釋迦牟尼源流唐卡布面膠畫，錦緞裝幀，掛軸。精美描繪了佛陀結跏趺坐坐在蓮座上，雙手結説法印，以釋迦牟尼佛為中心，佛身被光環圍繞，外緣飾有華麗的六靈捧座的唐卡，在由金翅鳥、龍女、摩羯巨鰲、孩童、祥麟、巨象組成，講述藏傳佛教的修行故事。三個紅色三葉小圖案，用藏文刻有金色字母。這幅畫屬於一組三十九幅畫，描繪了所有一百零八個經典修行故事（藏語稱為“rtogs brjod”，梵語稱為“avadana”）。 款識：反面頂部銘文翻譯為“十四，右”，表明這幅畫在三十九組中的方向。來源：Ethelbert Tryba收藏，1966 年在尼泊爾加德滿都購得，傳承至今。該拍品還附有Tryba在旅行期間從白沙瓦寫給妻子的一封私人信件副本，其中描述了他在白沙瓦購買的犍陀羅雕像以及他即將前往加德滿都的行程。Ethelbert Tryba （1928-1995）出生於伊利諾伊州芝加哥。 一生中他走遍了中亞和東南亞，為他的公司建立了貿易聯繫。在一封私人信件中描述的一次特別艱難的旅行中，Tryba開始從巴基斯坦、印度北部和尼泊爾的古董店收集物品。 品相：原始狀況良好，有一些磨損、輕微摺痕、污垢、擦傷、微小缺損。錦緞上有輕微的撕裂和缺損。 尺寸：畫面85.8 x 53.2 厘米，總164 x 94 厘米 文獻比較: 比較一件十八世紀漢藏釋迦牟尼唐卡，收藏於Nelson-Atkins博物館，館藏編號35-230/1。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2018年3月21日，lot 310 價格：USD 47,500（相當今日EUR 53,500） 描述：西藏十八世紀釋迦牟尼佛教譬喻兩故事唐卡 專家註釋：此唐卡為一組39張唐卡的編號19號。比較相似的佛坐中央被生活敘事所包圍。請注意尺寸 (101.9 x 59.6 厘米)。

A RARE AND IMPORTANT LIMESTONE FIGURE OF A BODHISATTVA, LONGMEN GROTTOES, NORTHERN WEI DYNASTY 北魏罕見石灰石菩薩立像，龍門石窟 China, 386-534. Finely carved standing on a circular lotus dais, the right hand held in front of the chest and the left lowered at his side, the head slightly tilted to his right. Wearing long flowing robes secured at the waist and billowing scarves falling loosely over the body. The face sensitively carved with a serene expression marked by heavy-lidded eyes, gently arched brows, and full lips, flanked by long pendulous earlobes. A simple tiara with a central flower separates the braids of hair pulled up in front of the head, and equally serves as the base for a hairdo that forms an almost crown-like design on top.Provenance: A private collection in Cleveland, Ohio, USA, pre-1983. Anunt Hengtrakul, New York, USA, acquired from the above c. 1984. Michael B. Weisbrod, Inc., New York, USA, acquired from the above, c. 1992. The collection of J. Abraham Cohen, New York, USA, acquired from the above. Anunt Hengtrakul was a collector of fine Chinese works of art, active in the US and Canada during the 1980s and 1990s. In the early 2000s, he began to gift objects to museums, including the Joslyn Art Museum in Omaha, Nebraska, and the Middlebury College Museum of Art in Middlebury, Vermont. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Published: Michael B. Weisbrod, Inc., Brochure, New York, 1992.Condition: Excellent condition, commensurate with age, and presenting remarkably well. Extensive wear, minor losses and cracks, small nicks, light scratches, signs of weathering and erosion, some encrustations. Fine, naturally grown patina with a subtle luster overall, worn from centuries of exposure to the natural elements.Weight: 5,796 g (excl. stand)Dimensions: Height 53.5 cm (excl. stand) and 59 cm (incl. stand)Sculptures of this type are known to be from the Longmen Grottoes in Luoyang, Henan, China. They are all fragmentary, and of a dark and mottled color, alternating from gray to black, as seen on the back of the present statue where the raw stone becomes visible. Occasionally, a light brown color appears on the carved surface in the front. All figures were cut from the caves in a particular manner, leaving the present statue with a V-shaped cross-section.Of all the caves in the Longmen Grottoes, those completed during the Northern Wei and Tang dynasties make up around 30 % and 60 %, respectively. Naturally, these two dynasties show widely different styles of carving. Those of the Northern Wei are vivacious, slim, and sensitively carved, while the Tang figures are more plump. The Wei figures are some of the finest examples of Chinese Buddhist art.Literature comparison: Several illustrated examples, found in different collections and museums around the world, have been published in The Lost Statues of Longmen Cave, Longmen Grottoes Research Institute, by C. K. Chan, Wen Yucheng, and Wang Zhenguo, numbers 6, 9, 11, and 22, all of which have characteristics similar to the present lot including the long upper torso, low waist, S-shaped folds on the robes or sleeves, and the shallow but confident carving of the details, as well as a similar patina and encrustation. Compare two closely related limestone figures of attendant bodhisattvas, dated to the Northern Wei dynasty, early 6th century, in the Metropolitan Museum of Art, accession numbers 48.176 and 48.182.4. Compare a related limestone figure of a seated Buddha, dated to the Northern Wei dynasty, in the Asian Art Museum of San Francisco, object number B60S40. Compare a related sandstone figure probably depicting Avalokiteshvara, dated Six Dynasties period, middle Northern Wei dynasty, about 470-480, in the Los Angeles County Museum of Art, accession number 47.37. Compare two related limestone bodhisattvas, each 88.9 cm high, with similarly carved lotus daises, previously attributed to the Northern Wei dynasty but now thought to be from the Northern Qi dynasty, in the Victoria & Albert Museum, accession numbers A7-1913 and A.8-1913.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 北魏罕見石灰石菩薩立像，龍門石窟中國，386-534年。菩薩立於圓形蓮台上，右手抱於胸前，左低垂於身側，頭略偏右。表情平靜，雙眼低垂，豐滿的嘴唇，平靜恬雅；兩側是長長的下垂耳垂，髮髻華麗，頭戴花飾。本像身軀婀娜，線條柔雅，身體重心置於一側，腹腰豐滿細緻，衣袍纖薄貼身，隱露雙腿。 來源：1983年前美國俄亥俄克利夫蘭私人收藏；紐約Anunt Hengtrakul約在1984年購於上述收藏。紐約Michael B. Weisbrod藝廊1992年購於上述收藏； 紐約J. Abraham Cohen收藏，購於上述收藏。Anunt Hengtrakul 1980 年代和 1990 年代活躍於美國和加拿大的中國藝術品收藏家。 在 2000 年代初，他開始向博物館贈送物品，包括內布拉斯加州奧馬哈的喬斯林藝術博物館和佛蒙特州米德爾伯里學院藝術博物館。美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 出版：Michael B. Weisbrod，Inc.，《Brochure》，1992年，紐約。 品相：狀況極佳，大面積磨損、輕微缺損和裂縫、刻痕、小劃痕、風化和侵蝕跡象、一些結殼。細膩的包漿。 重量：5,796 g (不含底座) 尺寸：高53.5 厘米(不含底座) ，59 厘米(含底座) 這種類型的石雕造像風格來自中國河南洛陽的龍門石窟。石像表面顏色呈暗色和斑駁，從灰色到黑色交替變化，從現在的雕像背面可以看到原石。偶爾，正面的雕刻表面會出現淺棕色。在龍門石窟的全部洞窟中，北魏和唐代建成的洞窟分別佔30%和60%左右。自然，這兩個朝代表現出截然不同的雕刻風格。北魏人物活潑、苗條、雕琢細膩，而唐人人物則較為豐滿。 文獻比較： 在世界各地不同的收藏品和博物館中發現的幾個圖例，見龍門石窟研究所編，《龍門流散雕像集》中發表，編號6、9、11和22，它們都具有與現拍品相似的特徵，包括長上身、低腰、長袍或袖子上的S形褶皺，以及淺而自信的細節雕刻，還有類似的銅銹和包漿。比較兩件非常相近的六世紀初北魏時期石灰石菩薩像，收藏於大都會藝術博物館，收藏編號為48.176和48.182.4。比較一件相近的北魏時期石灰岩坐佛像，收藏於三藩市亞洲藝術博物館，文物編號B60S40。比較一件相近的約470-480年六朝時期北魏中期可能描繪觀音菩薩的砂岩造像，收藏於洛杉磯縣藝術博物館，收藏編號為47.37。比較兩尊相近的石灰岩菩薩，每尊高88.9釐米，雕刻有類似的蓮台，以前認為是北魏時期的，但現在被斷為是北齊時期的，收藏於維多利亞和亞伯特博物館，收藏編號為A7-1913和A.8-1913。

A LARGE WOOD FIGURE OF SONGZI GUANYIN AND CHILD, CHINA, EARLY MING DYNASTY, 14TH-15TH CENTURY 明初十四至十五世紀大型送子觀音木像Boldly carved as Guanyin with hair piled up into a high topknot beneath her flowing cowl, holding a child seated in her lap, both wearing voluminous robes with deeply carved folds, their faces with wide heavy-lidded eyes, broad noses, and full lips. The soft wood of an attractive grain with a rich, naturally grown patina overall.Provenance: From an old private collection on the Upper East Side of Manhattan, New York, and Bridgehampton, NY, acquired before 1979, and thence by descent in the family. A copy of a signed insurance declaration, on the letterhead of the Chubb Group, dated 25 August 1978, describing the present lot as an 'Unusual Large Wooden Figure of Kuan Yin', accompanies this lot. Condition: Extensive wear, weathering and erosion, worming, losses, chips, and natural imperfections including age cracks. The condition of this statue is commensurate with age and contributes to its unique beauty. The aged wood has seen extensive weathering, which displays exceptionally well.Weight: 13.8 kg (incl. stand) Dimensions: Height 92.5 cm (excl. stand) and 95.2 cm (incl. stand)With a fitted wood stand. (2) The Songzi representation of Guanyin, or the 'Bringer of Sons,' is identifiable by the boy seated on her knee. Male children were extremely important to Confucian family structure. They ensured not only the continuity of family and clan, but that there would be uninterrupted generations to carry on the rituals of ancestral worship. The Child-Giving Guanyin was prayed to by worshipers for healthy children and intelligent male heirs. Extant depictions of Songzi Guanyin from the later Ming dynasty are known in various materials, including bronze, wood, stone, and ivory, but such an early example must be considered extremely rare.Quoted from 'Compassion, Mercy, and Love: Guanyin and the Virgin Mary - How two independent cultures - feudal Europe and imperial China - depicted divine figures with incredible visual similarities.' By Kevin D. Pham, Metropolitan Museum of Art, New York, May 7, 2021:'During the Middle Ages - a period of over one thousand years - people of various cultures across the world practiced independent religious faiths, ranging from western feudal Europe to imperial China, while also maintaining cross-cultural exchange. Surprisingly, certain works of art in both western Christian and eastern Buddhist cultures seem to share visual similarities. Both contexts produced images of divine figures that represent concepts like compassion, mercy, and love: the Virgin Mary in medieval Europe, and Guanyin in imperial China.''These examples pose interesting questions about how pre-modern artists visualized different aspects of divinity in their respective cultural contexts. The Christian and Buddhist devout understood the Virgin Mary and Guanyin, respectively, in similar manners and archetypes of imagery, despite the fact that they did not directly influence one another until later periods of Imperialism and Colonialism in Asia. Centuries of shifts in these representations illustrate how people across the world have envisioned human compassion and mortal emotions.' (article continued below)'The Virgin Mary', Jesus Christ's mother, was a popular focus of personal devotion in western Christianity. She was often depicted with her infant child, emphasizing her role as a holy maternal figure and mediator between humanity and the divine. Through this easily understood archetype, she became a popular intercessor for devout Christians across Medieval Europe, where various types of 'Virgin and Child' works of art proliferated.Guanyin is the Chinese translation of Avalokiteshvara, the bodhisattva of compassion. Bodhisattvas are enlightened beings who chose to stay on earth as accessible examples for Buddhist faithful to follow. Originally depicted as a male or gender-neutral entity able to take on thirty-three manifestations, Avalokiteshvara is a compassionate savior who hears the woes of humankind, regardless of age, gender, or social class. However, in imperial China, Guanyin became increasingly cemented as a female figure. Similar to the Virgin Mary, Guanyin became a popular intercessor for humanity to understand divine salvation.Enthroned Virgin and Child (1150-1200), currently on display at The Met Cloisters, is a counterpart to a sculpture from about 1175 to 1200 included in the exhibition Crossroads: Power and Piety. In both sculptures, mother and child are rendered in a stiff and rigid form that typifies the theological concept Sedes Sapientiae or “Throne of Wisdom.” The infant Jesus, depicted as a diminutive mature figure rather than a child, represents divine wisdom and is seated upon the Virgin, who acts as his throne. Both the Virgin and Child's emotionless expressions, coupled with the strongly linear symmetry, suggest the timeless permanence of divine authority in the Christian context.The eleventh-century Bodhisattva Avalokiteshvara in Water Moon Form (Shuiyue Guanyin), currently on display in the Met Gallery 208, depicts Avalokiteshvara in a relaxed, leisurely pose, with one knee raised and the other crossed in front. This posture represents the “Water Moon” manifestation of the bodhisattva in his personal paradise. Avalokiteshvara is adorned within an ornate crown and necklace. Relaxed but strong and formative, Avalokiteshvara beckons the audience forward, ready to hear the cries of the world.Both of these sculptures would have been placed in public churches or temples. The Virgin and Child also might have been carried in religious processions outside the architectural setting of the church, while Avalokiteshvara would likely have been shown at a monastery altar. Despite their different poses, both figures convey a divinity distinctly removed from the real experiences of mortal humans.'Expert's note: This lot offers an astounding example of the symmetry between two separate worlds - Imperial China and medieval Europe, Western Christianity and Eastern Buddhism - with similar archetypes of imagery illustrating compassion and emotion. Compare the famous wood sculpture of the Enthroned Virgin and Child from the Cloisters Collection, 102.9 cm high, dated ca. 1130-1140, in the Metropolitan Museum of Art, accession number 47.101.15. Compare also two wood sculptures from 13th century France depicting the Virgin Mary and infant Jesus, 68.6 cm and 79.5 cm high, in the Metropolitan Museum of Art, accession numbers 67.153 and 16.32.194a, b. 明初大型送子觀音木像觀音，髮髻高束，膝上抱著一個孩子；兩人都穿著寬大的衣袍，衣紋流暢；眼睛微閉，表情安詳。柔軟的木材，紋理迷人，整體具有自然包漿。 來源：來自紐約曼哈頓上東區和紐約州布里奇漢普頓的私人舊收藏，於 1979 年之前購得，在同一家族保存。該拍品隨附一份帶有Chubb Group安達集團出具的的保險聲明副本，日期為 1978 年 8 月 25 日，將本拍品描述為“不尋常的大型木觀音像”。 品相：大面積磨損、風化和侵蝕、蠕蟲、損失、碎裂和自然缺陷，包括老化裂紋。重量：13.8 公斤 (含底座) 尺寸：高 92.5 厘米 (不含底座) 與95.2 厘米 含底座) 木底座 (2)

A POLYCHROME WOOD FIGURE OF BASARA TAISHO (DOG GENERAL), LATE MUROMACHI TO EDOJapan, 16th-17th century, late Muromachi period (1336-1573) to early Edo period (1615-1868)Finely carved and painted in polychrome pigments, the heavenly general standing in a fierce battle pose atop a wood base with his right hand raised above his head holding what was once a vajra, his left hand reaching towards his knees. His blue face is set with a grizzly expression, baring his teeth, his wild eyes made of black and gold lacquer on ivory painted red in the corners beneath a transparent rock crystal inlay. He wears a tiger skin cloth and heavy armor painted in elaborate colors with fine details to the hems, depicting dharma wheels and foliate designs, his hair pulled into a tight topknot, flying upwards, with a dog's head protruding from the top. HEIGHT 60.9 cmCondition: Wear, some chips, expected age cracks, extensive flaking to pigments, losses, and possible old repairs.Provenance: From a private collection in Vienna, Austria.The Twelve Heavenly Generals, also known as Juni Shinsho, are the protective deities of Yakushi (Bhaisajyaguru in Sanskrit) and his followers; Bhaisjyaguru is the buddha of healing and medicine in Mahāyāna Buddhism. Each of the Twelve Divine Generals embodies a vow taken by Yakushi to heal ailments of the body and mind. Responsible for protecting the faithful and vanquishing the enemies of Buddhism, they are depicted with ferocious countenances, wearing armor, and standing in fighting poses. In ancient times they became associated with the twelve animals of the Chinese zodiac and were often the subject of sculptures during the Heian and Kamakura periods. It is believed that sculptures of the Heavenly Generals were enshrined in temples, since several in the Tokyo National Museum are believed to be from the Joruri-ji temple of the school of Pure Land Buddhism in Kizugawa, Kyoto prefecture. Many of these sculptures were votive offerings made by a nobleman, and many sculptors of these figures belonged to the famous Kei school of Buddhist sculpture that emerged in the early Kamakura period.Museum comparison:Compare an earlier wood statue of Basara Taisho striking a similar pose and holding his vajra, dated to the Kamakura period, in the collection of the National Tokyo Museum.

A WOOD TEMPLE STATUE OF ANIRA TAISHO (SHEEP GENERAL), LATE MUROMACHI TO EDOJapan, 16th-17th century, late Muromachi period (1336-1573) to early Edo period (1615-1868)Finely carved and elaborately painted in polychrome pigments, the heavenly general standing atop a rock base surrounded by crashing waves painted onto the tiered base painted gold on the side with openwork and chased-metal fittings. The warrior stands in a powerful pose with one leg propped on a rock holding his right hand up, holding what was once a long spear, wearing a tiger's skin, heavy plated armor with elaborate detailing and foliate and wan designs. His green face bearing a fierce expression, his mouth open, his wild bloodshot eyes made of dark horn, ivory, and gold inlays painted covered in transparent rock crystal, his hair flowing behind his metal crown with a central floral medallion in front of the sheep head rising from the top of his head. Inscribed to the base and back with the label, 'Sheep.'HEIGHT 63.2 cmCondition: Good condition with minor wear, expected age cracks, minor losses to pigments, some flaking, few losses. Generally presenting well. Provenance: From a French private collection.Once a set of twelve, this lot and lot 44 belong to the same set of temple figures. The Twelve Heavenly Generals, also known as Juni Shinsho, are the protective deities of Yakushi (Bhaisajyaguru in Sanskrit) and his followers; Bhaisjyaguru is the buddha of healing and medicine in Mahāyāna Buddhism. Each of the Twelve Divine Generals embodies a vow taken by Yakushi to heal ailments of the body and mind. Responsible for protecting the faithful and vanquishing the enemies of Buddhism, they are depicted with ferocious countenances, wearing armor, and standing in fighting poses. In ancient times they became associated with the twelve animals of the Chinese zodiac and were often the subject of sculptures during the Heian and Kamakura periods. It is believed that sculptures of the Heavenly Generals were enshrined in temples, since several in the Tokyo National Museum are believed to be from the Joruri-ji temple of the school of Pure Land Buddhism in Kizugawa, Kyoto prefecture. Many of these sculptures were votive offerings made by a nobleman, and many sculptors of these figures belonged to the famous Kei school of Buddhist sculpture that emerged in the early Kamakura period.

(China, Hong Kong, Asia, British Royal Navy, British Forces Overseas Hong Kong), two photograph albums c.1903-1904 containing 400+ mounted photographs mainly of Hong Kong & China, a few Singapore, Macau etc, both albums with "H.J.A. McCaffery" in gilt to front covers, images depicting architectural, street amd topographical scenes, images of local populace/inhabitants, members of British army and navy at leisure, British Navy and other warships, various other ships and boats, etc etc., larger album (leaves approx 25 x 32cm) containing approx 275 mounted photographs, all with contemporary manuscript pen & ink captions, images includ Hong Kong harbour, "prisoners in the canque Wei-Hei-Wei", prisoner in the stocks, "Kennedy Town Hospital West Point - Hong Kong", junks at Wei-Hein-Wei, H.M.S. Blenheim, Kowloon City, skipping drill on deck of unknown British Navy ship, "Loading junk with lime near Taikoo", village of Taikoo, "Interior of a Chinese Joss House (Temple)", fishing village, Chinese junks, Shau Kei Wan bay and village, sampans at Shau Kei Wan, several images of Japanese and Russian ships, Battle of Chemulpo bay, Russo-Japanese War, February 1904, including "Russian cruiser Varyag deserted & abandoned. On fire at sunset", "Group of Russian Sailors on board HMS Talbot", "Varyag keeling over to port at sunset", "Japanese cruiser Chyoda proceeding to sea prior to fight", "Sunken cruiser Varyag at low water", "Blowing up of the Koretz by Russians" etc, various images Hong Kong including Hong Kong gardens, Cap-si-mun, Dockyard gates, view from the peak, near Stanley, mount Kellett, "A blind beggar", "Grasscutter at work (Chinese girls in background)", several images of a visit to Tai Mo Shan mountain, various local inhabitants working incl. water carrier, rickasha coolie, farm labourers at work, grass cutter etc., Indian tailor's shop, various images of Dragon Boat festival, Aberdeen, Hong Kong, 1904, "deformed labourer at Ti Mo Shan digging up pineapples", group photograph of British Officers captioned "Group of Ex-Buglers & Boys of R.E. N.C.O.'s Mess Hong Kong. May 1904", m/s names to mount of the 13 men including "S. Sgt McCaffery", another image overleaf of H.J.A. McCaffery seated on rickshaw, two photos of electric trams in Hong Kong, 1904, Des Voeux Road, and crossing Bowrington canal, large image inspection of the Hong Kong police force at Central Police Station Hong Kong, Lai Chi Kok including harvest, Kowloon, large photo "Hong Kong Harbour 1904 (Kennedy Rd ... A Block)", prisoners HM naval yard Hong Kong, King's Birthday Parade Happy Valley 1904, "V.R.C. aquatic sports . Kowloon 1904", "A high class Chinese school near Macao, South China (Portuguese Colony)", various images Royal Engineers regatta Hong Kong 1904, a few images Singapore, Port Said, Ismailia Suez canal, "Blake Pier Hong Kong decorated for reception of Sir Matthew Nathan RE Governor of Hong Kong 1904", etc etc, oblong album, contemporary boards gilt, images various sizes approx 6 x 10cm-20 x 28cm, later rebacked half leather gilt; the smaller album leaves approx. 16 x 25cm, approx. 128 mounted images, mainly approx 10 x 14cm, Hong Kong images including Queen's statue, Praya central, City hall, Peak Disctrict, Queen's Road looking West, Hong Kong & Shanghai Bank, Des Voeux Road, harbour, trams, old city of Kowloon, Yan-Ma-Ti, etc, then a series of images of Canton, including nine storey Pagoda, "Examination Hall Canton", library at Canton, five storey Pagoda (City Walls of Canton), "Temple of the 500 Geneii Canton", Shameen Canton, joss house, Shameen canal, "native sawyer at work", Chinese soldiers, photograph of five men shackled in foreground, soldiers in background, captioned "Awaiting execution", the photograph beneath captioned "After" showing men posing next to decapitated bodies, the following photograph captioned "heads on posts - bodies mutilated", "prisoners in stocks (hanging by their chins)", "bodies of murderers cut into pieces", farmer, lady spinning yarn, family/social trip to Chin Wan good friday 1903, street scene Chin Wan, several images of Macau including Boundary Arch, landing stage, gardens, Chinese street, Praya Grande etc., some family photographs, one captioned "wedding group Miss Olive Blake and Captn. Arbuthnot M.V.O. Scots Gds", photograph of Pagoda in distance on Pearl river, first bar Pagoda, second bar Pagoda and Tiger Island, Pearl River, field workers near Chin San, "H.J.A McCaffery & his cat", a few images Tai Hang Joss House, close up photograph of nine storey Pagoda Canton, machine gun practice at stonecutters, etc etc, all with contemporary m/s pen & ink captions beneath to mount, oblong, original boards, later rebacked leather/leather corners gilt (2)

Full title: Three Chinese porcelain and soapstone sculptures and a flambe-glazed vase, 20th C.Description:H 26 - 16 cm (the biggest and smallest statue) H 19,5 cm (the vase)Condition reports and high resolution pictures are available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.comPlease note that external links are available on our website www.coronariauctions.com

Full title: Two Chinese bronze sculptures of a guardian and a musician, probably MingDescription:H 15,5 - 12,7 cm (biggest and smallest statue)Condition reports and high resolution pictures are available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.comPlease note that external links are available on our website www.coronariauctions.com

Full title: A Chinese gilt bronze Buddha, an engraved paktong handwarmer and a candle holder, 19th C.Description:H 20 cm (statue) H 12 - W ca. 20,5 cm (hand warmer) H 42 cm (lamp incl. base and mount)Condition reports and high resolution pictures are available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.comPlease note that external links are available on our website www.coronariauctions.com

Full title: Three Chinese and Japanese bronze sculptures and a jardiniere, 19th/20th C.Description:W 20 - H 7 cm (jardiniere) H 15 - 9 cm (the biggest and smallest statue)Condition reports and high resolution pictures are available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.comPlease note that external links are available on our website www.coronariauctions.com

Full title: Ten various Chinese famille rose and verte sculptures, 19th/20th C..Description:H 39 - 14,5 cm (the biggest and smallest statue)Condition reports and high resolution pictures are available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.comPlease note that external links are available on our website www.coronariauctions.com

A Chinese Tibetan Bronze Buddhist Statue from the 18th-19th Century Height: Approximately 15cm Private collector from Belgium

A Victorian writing slope with fitted interior, single inkwell, beech cupboard, a Victorian silver plated six-bottle cruet set with cut glass bottles, and an early 20th century Chinese carved root statue of Shou Lao Location:

Earthenware statue of a Chinese warrior, after an antique example, China, late 20th century, 24 cm high

A Chinese famille rose statue of a fishermanRepublic period, Fujian Hui guan, Husen Jizao marksThe grey-bearded man wearing yellow robes cinched at the waist with a blue belt, holding with both hands a fish wire slung across his shoulder and hanging a large iron-red fish across his back, two impressed marks to base.23.5cm high.民國 粉彩漁夫像，模印「福建會館」，「胡森記造」款Condition Report: A chip to the back fin of the dorsal fin of approx. 0.6cm across, a chip to the platform, or 0.5cm across, and a chip to hem of the trouser to the right let of approx. 0.3cm across, an area of overpainting with possible restoration to the robe behind his right leg, wear to the enamel and glaze commensurate with age, firing fault including lines in the body and fritting.

A scalloped deep saucerChinese export porcelainPolychrome and gilt decorationFloral and foliage garlands to lip encased by gilt and green filleting and central depiction of King José I (1750-1777) equestrian statue in Lisbon's Palace Square - dinner set commemorative of its unveiling in 1775Qianlong reign, ca. 1770-75(restored)Literature:Castro Nuno de "A porcelana chinesa ao tempo do Império" p. 275; Santos A. Varela "Portugal na porcelana da China: 500 anos de comércio" volume II, Artemágica, Lisboa, 2008 pp. 534-542Diam.: 26 cm

* A Chinese white glaze porcelain statue of "the laughing buddha", 18th century, modelled in traditional Buddhist robes, with characteristic smile, large belly and bare feet, holding a ball-shaped medical tablet and the other hand holding a gourd container, 21.5 cm, with old printed label for 'Old Antique House, Washington No 6686', together with a smaller white glazed buddha modelled wearing a chain of Buddhist rosary on the chest, 12.8 cm highQTY: (2)

A group of trinkets and boxes, to include a white metal-mounted leather wallet with applied Near Eastern late 19th century mother-of-pearl panels, one with an image of either the Dome of the Rock in Jerusalem or the shrine of Yahya at the Umayyad mosque of Damascus, the other with a rosette medallion with peacocks and foliate designs, an empty shagreen etui, a brass-bound lignum vitae model of a barrel with brass spout, 9.8cm high, a gilt metal needle case inscribed The Quadruple Needle Casket Manufactured By R Turner and Co. Redditch, of rectangular shape, 6.8 x 3cm, an oval brass box with roundel of cupid to the lid, approx. 9cm diameter, a white metal box of curving elliptical shape, incised with castle keep to base and floral motifs to lid, inscribed S. T. Bower and dated 1916, 8.6cm long, a brass box modelled as a statue of a Chinese man to a verde antico marble base, approx. 17cm high, a bone shoe horn, a softwood box carved with flowers, a puzzle ball snuff box, a hardstone paperweight, a diamond shaped wood box with brass plaque decorations to the lid, a brass mounted nephrite box with mother of pearl cross and faux diamonds to lid, a diamond pattern mother of pearl sleeve, and a white metal lozenge box (lot)

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

A LARGE AND HIGHLY IMPORTANT ZITAN AND GILT-LACQUERED STATUE OF SARIPUTRA, THE FIRST OF BUDDHA'S TWO CHIEF DISCIPLES, CHINA, 1520-1580The Ming dynasty's largest surviving Zitan sculpture.Scientific Analysis Report: The result of a radiocarbon dating test (C14) conducted by Re. S. Artes, no. C 245112A, 2 August 2023, based on one sample taken from the wooden core of the figure, is consistent with the dating of this lot. The report states a probability of 95.4 % for a dating range of 1517-1656, of which a predominant probability of 63.5 % is for the range of 1517-1589. Copies of the analysis certificate and the detailed scientific report accompany this lot. X-Rays: Conventional X-ray scans conducted in 2023 confirm the existence of multiple vertical cavities within the statue. Some of these voids may still hold ancient scriptures, or sutras, on paper and/or textile. It's important to note that an X-ray image captured in 1985 (published in Galerie Zacke, Skulpturen des Buddhismus und Hinduismus, Vienna, 1985, no. 48) using an X-ray image intensifier (XRII) discloses the possible presence of several objects, which remain beyond the purview of standard X-ray imaging methods. Given that the statue is hermetically sealed and must remain unopened, the actual confirmation of its contents is unattainable, thus precluding any assurance regarding their nature.The face and the exposed body are gilded overall. He is powerfully carved standing in samabhanga, his right hand held in karana mudra, and his left in dhyana mudra. His voluminous monastic robe is precisely carved with undulating folds and outlined in gold with patchwork, the hems similarly decorated with scroll and lozenge diaper, the undergarment with floral designs. His serene face shows heavy-lidded eyes, picked out in ancient pigments, gently arched brows, and bow-shaped lips forming a calm smile, flanked by pendulous earlobes, his short hair lacquered entirely black.His back shows a rectangular aperture for consecration, and another to the back of his head, both sealed (see X-Ray section for more details).The wood shows an attractive grain and elegant deep-red color, as expected from Zitan with a naturally grown patina, that is 500 years old.The disciple stands on a finely carved, lacquered, and fitted wood pedestal decorated with overlapping lotus petals below a thickly beaded edge, dating from the 1700-1750 (see condition report and expert's note for more details).Condition: The statue is in superb condition, especially considering its high age of half a millennia and the rather sensitive Zitan wood. It is constructed of meticulously joined pieces of wood. Expected old wear, rubbing to gilt, and natural age cracks. Occasional light scratches, few minuscule chips. The original base is lost (see expert's note) and was replaced between 1700 and 1750 with the present pedestal, which is in good condition with expected old wear, natural age cracks, minor flaking to lacquer and small losses.Provenance: - Collection of Anton Exner (1882-1952), Vienna, Austria, acquired in the Republic of China after the Xinhai Revolution of 1911- Collection of Walter Exner (1911-2003), Bad Wildungen, Germany, acquired from the above after 1945- Galerie Zacke, Vienna, Austria, acquired from the above and exhibited in 1985- A noted private collection in Vienna, AustriaAnton Exner (1882-1952) was the most important dealer, collector, and assessor of East Asian art in Vienna during the interwar period. His collection included all branches of Asian art, from all epochs, and particularly Chinese and Japanese works. During a long sojourn through Canada and the USA from 1908 to 1910, he made first contacts with Chinese dealers and subsequently acquired numerous antiques at various Asian ports, which formed the basis for his future business activities. From then on, he went almost every year on buying trips to the Far East. The Austrian auction house Dorotheum appointed him as a sworn assessor of Asian art, a position he held for c. 25 years. From the early 1920s onwards, he lent objects to most major exhibitions of Asian art held in Austria, and eventually gifted a large part of his personal collection, numbering several thousand objects, to the Museum of Applied Arts in Vienna, where it is on permanent exhibition to this day.Walter Exner (1911-2003), among other family members, inherited parts of the vast collection, which he had built together with his father from 1935 onwards, after their first joint trip to East Asia. He spent a year in Beijing from 1936 to 1937 and from 1956 to 1963, he directed the Asian Institute in Frankenau, Germany, which he founded, as well as its museum. The present lot was exhibited at the opening of this museum in June 1956. In 1965, Walter Exner moved the institute and the museum to Bad Wildungen, Germany. To fund the museum, he deaccessioned pieces from the collection until his passing in 2003.Published: Galerie Zacke, Skulpturen des Buddhismus und Hinduismus, Vienna, 1985, no. 48.Exhibited: Asien-Institut Frankenau, 1956-1963 Asien Institut Bad Wildungen, 1965-1977 Galerie Zacke, Vienna, 1985Weight: 20.1 kgDimensions: Height 91 cmAuction result comparison: Type: Closely related Auction: Christie's New York, 20 March 2002, lot 69 Price: USD 116,000 or approx. EUR 182,000 converted and adjusted for inflation at the time of writing Description: A very rare zitan and gilt-lacquered figure of Shakyamuni, Tibeto-Chinese, Yongle nine-character mark and period Expert remark: Compare the closely related material, lacquer gilding, modeling with similar robe and face, and sealed aperture to the back. Note the Yongle reign mark to the base. Also note the much smaller size (33 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.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 IMPORTANT BRONZE STATUE OF BUDDHA WITHIN A FLAMING AUREOLE, INDONESIA, CENTRAL JAVA, 8TH-9TH CENTURYGracefully cast, the standing Buddha holds both hands out in chin mudra, the gesture of consciousness, evoking peace and concentration. He is clad in a long diaphanous sanghati, his face with sinuously lidded downcast eyes and full lips, the hair arranged in snail-shell curls around the ushnisha. The head is backed by a circular aureole, from which twelve lambent flames emerge, the twelfth flame hidden behind Buddha's back.Provenance: Collection of Paul J. Jewell, acquired 1984 in Singapore. A copy of a provenance statement written and signed by Paul J. Jewell, dated 15 April 2023, confirming the provenance stated above, accompanies this lot. Paul J. Jewell lived and worked in South East Asia for over 20 years, serving as the executive director of the European Chamber of Commerce in Vietnam. To this day, he continues to collect Asian art and antiquities. Condition: Excellent condition, commensurate with age, with ancient wear, minor signs of weathering and erosion, expected casting irregularities, small losses and nicks. The bronze encrusted with a rich, naturally grown patina of vibrant malachite-green color overall. Displaying exceptionally well.Weight: 3,050 g (incl. stand) Dimensions: Height 33.1 cm (incl. stand), 28.2 cm, (excl. stand) Mounted to a wood and metal stand. (2)Expert's note: Buddhist art produced in Indonesia during the 8th and 9th centuries under the patronage of the Shailendra dynasty displays a unique amalgam of regional artistic styles borrowed from the Indian subcontinent. The flowing contours of the body subtly delineated beneath the diaphanous garment are reminiscent of the Gupta style of northern India while the sloping shoulders and oval face with full cheeks recall the Sri Lankan Buddha images produced in Anuradhapura during the 7th and 8th centuries.In Buddhist art, the nimbus is often imagined as consisting not just of light, but also of real flames. While this type seems to first appear in Chinese bronzes of which the earliest surviving examples date from before 450, it became something of a hallmark for the most important Chola bronzes, such as Shiva Nataraja, an image which emerged around 800 AD in Southern India, at the height of the Chola Empire. In the present statue, the depiction of the twelve flames is rather formal, as they are neatly arranged in identical intervals around a ring aureole, almost like on an ancient sundial.Literature comparison:Compare a related Javanese bronze standing figure of Buddha, 19 cm high, dated 9th-10th century, in the British Museum, registration number 1859,1228.98. Compare a related Javanese bronze figure of a seated Buddha Vairocana, 19.4 cm high, dated late 9th century, in the Metropolitan Museum of Art, accession number 1987.142.23. Compare a related Indonesian bronze figure of Buddha, 26.7 cm high, dated 7th-8th century, in the Metropolitan Museum of Art, accession number 1993.64.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2012, lot 148 Price: USD 22,500 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of Buddha, Indonesia, Srivijaya, Palambang, 8th century Expert remark: Compare the closely related facial features and pose. Note the similar size (34.3 cm) and patina. Also note the extensive weathering, losses, and other condition issues.

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.

A RARE POTTERY FIGURE OF A FULLY ARMORED CHINESE CATAPHRACT, SIX DYNASTIES PERIODExpert's note: Comprehensive armor for horses made of metal might have been used in China as early as the Three Kingdoms period, but the usage wasn't widely adapted as most cavalry formation requires maneuverability. It was not until the early 4th century, however, that cataphracts came into widespread use among the Xianbei tribes of Inner Mongolia and Liaoning, which led to the readoption of cataphracts en masse by Chinese armies during the Jin dynasty (266-420) and Northern and Southern Dynasties era.China, 3rd-7th century. The horse standing foursquare on a rectangular base, the head clothed in an embroidered covering flowing down the back of the neck with depictions of birds and rings, the body almost entirely covered in plated armor with similar figures of birds and seven-ring clusters. With ears pricked, the horse is saddled and standing at attention.Provenance: From the collection of Captain Walter Herbert Adgey-Edgar. Sotheby's London, 13 May 1969, lot 58. A private collection based in the United Kingdom and the United States, acquired from the above, and thence by descent. A copy of the original invoice from Sotheby's, dated 15 May 1969, signed by Graham D. Llewellyn, the later chief executive, dating the horse to the Six Dynasties period, and stating a purchase price for the present lot of GBP 1,200 or approx. EUR 30,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Walter Herbert Adgey-Edgar (1887-1977) was a well-known philatelist and writer on China and studied both Japanese and Chinese Stamps. In 1947, he self-published a book entitled 'A Catalogue of Imperial Japanese Overprints and Issues in Occupied British Territories'. He also wrote for stamp journals using the by-line 'London Chat'. In 1955 he wrote a paper that was widely published by the philatelic press entitled 'The Postal and Airmail Routes of Manchuria'.Condition: Condition commensurate with age. Extensive wear, losses, firing flaws, chips, old repairs and fills, calcification, and encrustations, all exactly as expected from an authentic earthenware statue dating to the Six Dynasties period.Weight: 1,280 gDimensions: Length 24.5 cm 六朝陶馬俑 中國，西元三至七世紀。馬俑四腿直立立於長方形底座上，頭部覆蓋繡花頭罩，從頸後垂下，可見鳥紋和環紋；身體覆蓋著身甲，上面有相近的鳥紋和七環圖案。馬豎起耳朵，身材矯健。專家注釋：早在三國時期，中國就已經開始使用金屬製成的馬甲，但由於大多數騎兵隊形需要靈活性，所以這種馬甲並沒有被廣泛採用。 直到四世紀初，鐵甲騎兵在內蒙古和遼寧的鮮卑部落中才得到大量使用，宋金戰爭中大規模使用鐵甲騎兵，至南朝時代。 來源：Walter Herbert Adgey-Edgar收藏；倫敦蘇富比，1969年5月13日，lot 58；英美兩地生活的一位私人藏家，購於上述拍賣。隨附一份1969年5月15日蘇富比出具的發票複印本，Graham D. Llewellyn簽名，他後來成爲首席執行官，發票上可見對這馬來自六朝時期，當時售價 GBP 1,200 或相當於 EUR 30,000 (根據通貨膨脹率)。Walter Herbert Adgey-Edgar (1887-1977) 是著名的集郵家和中國問題作家，研究過日本和中國的郵票。1947年，他自行出版了一本名為《A Catalogue of Imperial Japanese Overprints 和Issues in Occupied British Territories》的書。 他還使用署名“London Chat"為郵票期刊撰稿。1955 年，他寫了一篇題為“The Postal 和Airmail Routes of Manchuria"的論文，被集郵出版社廣泛發表。 品相：大面積磨損、缺損、燒製缺陷、缺口、小修、鈣化和結殼。 重量：1,280 克 尺寸：長24.5 釐米