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A RARE PAIR OF GILT BRONZE CLOISONNÉ ENAMEL "WU DU TU"（FIVE POISONOUS CREATURES）NARCISSUS BOWLS清中期 銅鎏金掐絲琺瑯 '五毒圖'水仙盆一對China, mid 19th century. each applied with gilt metal Greek key rims over a lobed panel body decorated with flowers, fruits and the five poisons: snake,scorpion, centipede, toad and spider, against a rich blue ground, on short scroll feetL: 24 cmProvenance：Private Irish collection of Marion Newman and Blanche HandelmanIn the vibrant era of the 1960s, Marion Newman and Blanche Handelman embarked on a remarkable venture by opening antique shops in Dublin. At No. 4 Molesworth Street and Ormond Quay, the duo established their esteemed antique stores, with the latter named Ormond Antiques.Mrs. Handelman, distinguished by her passion for Belleek porcelain, emerged as a prominent dealer in this exquisite art form. Beyond her expertise in Belleek, she was an avid collector of artworks, with a particular affinity for pieces of Asian origin.For three decades, Ormond Antiques graced Dublin's antique scene, becoming a hub for enthusiasts and collectors alike. However, as the sands of time continued to flow, the chapter of Ormond Antiques concluded in 1990. Despite the conclusion of its trading days, the legacy of Marion Newman and Blanche Handelman's contributions to the world of antiques and art endures, leaving an indelible mark on Dublin's cultural tapestry.Publication: Inventory of Fine period furniture, porcelain, bronzes and effects, by Richard J.Lattimore, auctioneer and valuer of James Adams & Sons, July 1984, page 13出处：瑪麗安·紐曼（Marianne Newman）和布蘭奇·漢德爾曼（Blanche Handelman）的愛爾蘭私人收藏在 1960 年代充滿活力的時代，瑪麗安 ·紐曼 （Marianne Newman） 和布蘭奇·漢德爾曼 （Blanche Handelman） 在都柏林開設位于莫爾斯沃思街 4 號和奧蒙德碼頭的古董店。Handelman夫人以對Belleek瓷器的熱情而著稱，成為這種精緻藝術形式的傑出轉銷商。 除了在Belleek的專業知識外，她還是一位狂熱的藝術品收藏家，對亞洲艺术品情有獨鍾。 经营的三十年來他们的古董店成为艺术愛好者和收藏家的中心，他们夫妇二人成為都柏林乃至爱尔兰的古董界的重要角色。 奧蒙德古董店于1990 年結束。出版：《精美时期家具、瓷器、青铜器和效果清单》，由本公司的拍卖师兼估价师理查德·J·拉蒂莫尔编写，1984年7月，第13页。NOTE-a similar decoration on a Qianlong period copper box, in the collection of National Palace Museum, reference故琺000995N000000000In ancient China, the fifth day of the fifth month, known as Duanwu, marked the start of summer and was considered dangerous due to the emergence of poisonous animals. To protect against this, people used customs like drinking realgar wine, hanging Zhong Kui pictures, and employing "Five Poison" charms featuring snakes, scorpions, centipedes, toads, and spiders, believed to be "poisonous" creatures.People thus display objects adorned with motifs of the Five Poisons and wear clothing with patterns depicting these creatures during the Duanwu Festival to ward off evil and invite good fortune. Our pair of finely crafted cloisonné narcissus bowls should be considered as a festive display item for affluent families during this auspicious time.

TWO FAMILLE ROSE DISHES,China, 18 - 19th Centuryof circular shape, decorated in traditional palette, decorated with alternating fan-shaped panels with figures in a pavilion interior and flower groups together with a famille rose saucer dish, Qianlong (1736-1795) of shallow circular form, colourfully enamelled with scattered flowerheads and leafy sprigs (2) D. 13.5 and 33.5 cmProvenance：Private Irish collection of Marion Newman and Blanche Handelman出處：愛爾蘭瑪麗安 ·紐曼 （Marianne Newman） 和布蘭奇·漢德爾曼 （Blanche Handelman）收藏。In the vibrant era of the 1960s, Marion Newman and Blanche Handelman embarked on a remarkable venture by opening antique shops in Dublin. At No. 4 Molesworth Street and Ormond Quay, the duo established their esteemed antique stores, with the latter named Ormond Antiques.Mrs. Handelman, distinguished by her passion for Belleek porcelain, emerged as a prominent dealer in this exquisite art form. Beyond her expertise in Belleek, she was an avid collector of artworks, with a particular affinity for pieces of Asian origin.For three decades, Ormond Antiques graced Dublin's antique scene, becoming a hub for enthusiasts and collectors alike. However, as the sands of time continued to flow, the chapter of Ormond Antiques concluded in 1990. Despite the conclusion of its trading days, the legacy of Marion Newman and Blanche Handelman's contributions to the world of antiques and art endures, leaving an indelible mark on Dublin's cultural tapestry.在 1960 年代充滿活力的時代，瑪麗安 ·紐曼 （Marianne Newman） 和布蘭奇·漢德爾曼 （Blanche Handelman） 在都柏林開設位于莫爾斯沃思街 4 號和奧蒙德碼頭的古董店。Handelman夫人以對Belleek瓷器的熱情而著稱，成為這種精緻藝術形式的傑出轉銷商。 除了在Belleek的專業知識外，她還是一位狂熱的藝術品收藏家，對亞洲艺术品情有獨鍾。 经营的三十年來他们的古董店成为艺术愛好者和收藏家的中心，他们夫妇二人成為都柏林乃至爱尔兰的古董界的重要角色。 奧蒙德古董店于1990 年結束。

A PAIR OF CLOISONNÉ ENAMEL DISHES, Japan, Meiji period (1868-1912)each central reserve depicting stages of an eagle hunting a prey bird, against a deep yellow ground, encircled by lobed panels filled with pairs of cranes in flight, the underside in turquoise enamel.D: 30.9cmProvenance：Private Irish collection of Marion Newman and Blanche HandelmanIn the vibrant era of the 1960s, Marion Newman and Blanche Handelman embarked on a remarkable venture by opening antique shops in Dublin. At No. 4 Molesworth Street and Ormond Quay, the duo established their esteemed antique stores, with the latter named Ormond Antiques.Mrs. Handelman, distinguished by her passion for Belleek porcelain, emerged as a prominent dealer in this exquisite art form. Beyond her expertise in Belleek, she was an avid collector of artworks, with a particular affinity for pieces of Asian origin.For three decades, Ormond Antiques graced Dublin's antique scene, becoming a hub for enthusiasts and collectors alike. However, as the sands of time continued to flow, the chapter of Ormond Antiques concluded in 1990. Despite the conclusion of its trading days, the legacy of Marion Newman and Blanche Handelman's contributions to the world of antiques and art endures, leaving an indelible mark on Dublin's cultural tapestry.

Possibly Ming Dynasty, Ca. AD 1368-1646.A Ming dynasty ochre-glazed terracotta dog depicted sitting on its haunches, with its tail curled over its back. Head held high with its mouth slightly open as if smiling. The dog's tail and ears are painted green and lightly textured to imitate long hair.Size: 110mm x 100mm; Weight: 315gProvenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.

Ming Dynasty, Ca. AD 1368-1644.A large ceramic vessel with a raised rim and a bulbous body gently tapering to a flat base; tooled in groove at the shoulder. Bright turquoise glass decorates the surface, displaying allowing variations in hues. Size: 190mm x 230mm; Weight: 2.28kg Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.

Possibly Gandharan Ca. AD 300 or later.A stucco slab with a high relief depiction of a monk, possibly engaged in the practice of marana-sati (contemplation of death). The monk's face is depicted with distinct features, including a rounded visage, heavy-lidded eyes, a broad nose, and full lips. His head is covered with a scarf, and his upper body is uncovered. The monk holds a human skull with both hands, positioned at chest level, offering a striking visual representation of mortality and spiritual contemplation. For a similar type, please see The Berlin State Museums, Museum of Asian Art, Ident. No .: I 125. Size: 530mm x 270mm; Weight: 8.1kg Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1990s on the UK / International art markets.

Full title: A pair of fine Chinese famille rose trembleuse stands or 'mancerina', QianlongDescription:L.: 25,5 cm – H.: 4 cm (the stands)Dia.: 7 cm – H.: 4,5 cm (the cups) Provenance:- The collection of Tove and Karl Emil Stromstad (born 1936), Norway. - Acquired in 1894 by or from Thomas WU (?), for the price of GBP 5.50 each, according to the label on the base. Ref.:- Christie's, The Tibor Collection, New York, April 10, 2019, for a nearly identical pair. (sold USD 5.000) (External link available on rm-auctions.com)The accompanying text states:The mancerina is closely associated with the Hispanic market and with the Spanish custom of chocolate drinking. Both chocolate and silver of course came from the Spanish New World, so it is fitting that this form was often made in silver as well as in Spanish maiolica. It is said that the 2nd Marques de Mancera, Viceroy of New Spain 1664-1673, had a palsied hand and thus needed the all-in-one cupstand, which took his name, though none survive from this early period. Interestingly, a very similar form exists in Chinese ceramics of the Song period, which may have influenced the development of the export examples.For a Mexican silver mancerina see H.R. Borrell et al, The Grandeur of Viceregal Mexico, p. 380. An almost identical single export mancerina is in the Museo Nacional de Historia, Mexico City, and illustrated by M. Priyadarshini, Chinese Porcelain in Colonial Mexico, p. 123. - Denver Art Museum, Accession Number 2017.143, for a similar yet less elaborate example. (External link available on rm-auctions.com)The accompanying text by Jorge Rivas Perez states: This large Chinese famille rose mancerina decorated with flowers is a specialized item found in chocolate services. The mancerina is a deep, wide saucer, often in the shape of a seashell, with a cup holder in the center to hold the jícara (chocolate cup) in place and prevent it from tipping over. It was invented in Mexico in the mid-1600s and named after Don Antonio Sebastian alvarez de Toledo Molina y Salazar, 2nd Marquis of Mancera, and Grandee of Spain (c. 1608 - 1715), a Spanish nobleman who was Viceroy of New Spain (Mexico) from 1664 to 1673.Mancerinas became very fashionable across the Spanish empire during the colonial period and were manufactured in both silver and ceramic. In the 18th C., thanks to the trade with Asia via the Manila Galleon, porcelain mancerinas were also produced in China for the Mexican market. This example, a Qianlong period (1736-1795) famille rose mancerina decorated with flowers from circa 1760-70, is representative type of the Asian export wares for the Spanish market.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 WESTERN ASIATIC ALABASTER RHYTON WITH MOTHER GODDESS AND CHILD2nd to 3rd century AD. The curved rhyton with a tiered circular mouth and rope-twist handle, the body centered by the head of a female deity, her neatly incised hair forming a raised band above the lower section, the face bearing a calm smile, below the head of a child with large eyes and curled hair surmounted by a raised arch, the lower end of the vessel with further rope-twist decoration.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Very good condition, commensurate with age, with wear, signs of weathering and erosion, minor chips, and soil encrustations.Weight: 947 g Dimensions: Height 20.3 cmMuseum comparison:Compare a related ceramic rhyton with a female head from Mesopotamia, dated to the 3rd century AD, in the Metropolitan Museum of Art, accession number 2001.178.Auction result comparison: Type: Related Auction: Christie's London, 3 July 2018, lot 43 Price: GBP 25,000 or approx. EUR 39,500 converted and adjusted for inflation at the time of writing Description: A late Parthian or early Sasanian turquoise glazed pottery rhyton, circa 3rd century AD Expert remark: Compare the similar form and central female face. Note this lot is made of glazed pottery. Note the larger size (35.5 cm).

A RARE GILT AND POLYCHROME WOOD FIGURE OF JIZO BOSATSUJapan, 13th-14th century, Kamakura period (1185-1333)Finely carved, the bodhisattva standing on a double lotus dais with beaded rim raised on a naturalistically carved rockwork base supported on a tiered rectangular pedestal carved with diapered floral and rinzu designs. He is dressed in a long flowing robe applied with gilt and colored pigments as well as an ornamental necklace suspending small beads. He is holding the hoju (treasure jewel) in his left hand and the shakujo (staff) suspending loose rings in his right. His serene face with heavy-lidded eyes below gently arched brows centered by a crystal-inlaid byakugo (urna). The lotus dais is inset with a flattened post surmounted by a metal halo applied with three metal foliate elements.HEIGHT 33.2 cmCondition: Good condition with some wear, minor age cracks, minor flaking and small losses to lacquer and pigments, few tiny losses, one foot restored.Provenance: Kyoto Gallery, Brussels, 2000. Liliane and Michel Durand-Dessert, Paris, acquired from the above. Liliane and Michel Durand-Dessert were luminous gallery owners who worked in Paris from 1975 to 2004, and were both informed and avant-garde collectors. They are significant not only because of the analytical and original approach the couple applied in each acquisition, but also because of their visionary take on exhibiting the most radical 20th-century art in their gallery, which was the subject of a 2004 retrospective organized by the Museum of Grenoble. According to Michel Durand-Dessert, who was inspired to open the couple's first gallery by a visit to Documenta in 1968, “it is certain that a collection is a portrait, and that the objects we buy are those in which we sometimes recognize ourselves, sometimes we project ourselves. One way or another, acquiring them means adopting them, in every sense of the word.”Jizo Bosatsu (Ksitigarbha) has been worshipped since the Heian period, particularly as the protector of children. This bodhisattva is a merciful figure who alone among Buddhist deities moves through the six worlds of illusion in his role of saving all sentient beings. As in this example he is usually depicted as a monk with the hoju (treasure jewel) and shakujo, a staff with a finial of rings which jingle to warn small creatures of his approaching footfalls.Museum comparison: Compare a related gilt-decorated wood figure of Jizo dated to the Kamakura period, 13th century, 35.5 cm high, in the collection of the Freer Gallery of Art in the National Museum of Asian Art, Smithsonian Institution, accession number F1965-19a-h. Compare a related gilt and polychrome wood figure of Jizo standing on a similar gilt double-lotus dais, dated to the 12th century, 88 cm high, in the Ny Carlsberg Glyptotek, Copenhagen, object number IN 2262.Auction comparison: Compare a related wood figure of Jizo Bosatsu, with the gilt and pigments mostly lost, dated Heian or Kamakura period, 12th century, 50.4 cm high, at Bonhams, 15 March 2017, New York, lot 6154 (sold for 33,750 USD).

A RARE CARVED WOOD TEMPLE STRUT (VIGRAHA) DEPICTING A YOGINI 寺廟木柱雕刻瑜伽士Nepal, 13th-14th century or earlier. Finely carved standing in tribhanga, the left hand raised in the healing gesture of prithvi mudra, the right holding a skull cup. The emaciated body adorned with a garland of severed heads, the gaunt face with large eyes protruding from cavernous sockets, the head surmounted by an elaborate tiara.Provenance: From the estate of Richard S. Ravenal (1927-2022), Livingston Manor, New York, USA. The former owner of both the Asian Gallery in New York, Richard Ravenal was an avid collector and connoisseur of East Asian antiquities. Pieces formerly in his possession can be found today in several prominent institutions, including the Brooklyn Museum.Condition: Good condition, commensurate with age. Ancient wear, expected age cracks and splits, losses, signs of weathering and erosion, minor worming, nicks, scratches. Overall presenting remarkably well. A magnificent, naturally grown patina overall.Weight: 13.4 kg (incl. stand)Dimensions: Height 73 cm (excl. stand) and 88.5 cm (incl. stand) Mounted on a fitted stand. (2)Nepalese temple struts, known as tunala or vigraha, are considered fine works of art and are often made by highly skilled craftsmen using traditional techniques. They are an important part of the cultural heritage of Nepal and can be found in many different styles and designs throughout the country. These struts are found in traditional Nepalese architecture, particularly in religious structures such as temples and shrines, ornately carved and often painted, serving both structural and symbolic purposes.Structurally, the struts help support the roof of the temple or shrine, which is made of heavy timber or stone. The struts are typically placed at regular intervals along the eaves of the roof, and their weight helps to counterbalance the weight of the roof, making the structure more stable.Symbolically, the struts are often carved with intricate designs and figures from Nepalese mythology, and are believed to have religious significance. They are thought to represent various deities or supernatural beings, and are intended to offer protection and blessings to the structure and its occupants.Literature comparison: Compare a related wood temple strut depicting a yakshi, 128 cm high, dated to the 13th century, formerly in the Art Gallery New South Wales, accession number 33.2000.a-b, recently repatriated to Nepal in May 2003 and currently on display at the Patan Museum. Compare a related wood temple strut depicting Varaha, 74.5 cm high, dated to the 15th century, previously in the James W. and Marilynn Alsdorf Collection and now in the Art Institute of Chicago, reference number 1984.1495. See a comparable set of temple struts dated to the 15th century, still in place at Gunakar monastery in Jyatha Tol, Chhusyabaha, Kathmandu, Nepal.Auction result comparison: Type: Related Auction: Christie's Amsterdam, 8 May 2001, lot 531 Price: NLG 25,850 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A Nepalese wood temple strut, circa 14th century Expert remark: Compare the related manner of carving. While the present lot appears significantly older than the Christie's example, both have comparable iconography. The Christie's example also shows that the current lot may possibly be missing a lower portion. Note the size (101 cm).Auction result comparison: Type: Related Auction: Bonhams Paris, 15 December 2022, lot 154 Estimate: EUR 50,000 or approx. EUR 51,500 converted and adjusted for inflation at the time of writing Description: A sandalwood figure of Lokeshvara, Nepal, 11th/13th century Expert remark: Compare the related manner of carving. Note the size (66 cm). 寺廟木柱雕刻瑜伽士尼泊爾，十三至十四世紀或更早。精雕細刻，呈三曲式，左手舉起，結地手印治療姿勢，右手拿著一個骷髏杯。 瘦弱的身體上戴著骷髏花環，憔悴的臉龐，大眼突出，頭上戴著頭飾。 來源：Richard S. Ravenal (1927-2022年) 舊藏，美國紐約利文斯頓莊園。Richard Ravenal是紐約亞洲藝廊的前任所有者，他是一位熱心的東亞古董收藏家和鑑賞家。 如今，包括布魯克林博物館在內的幾個著名機構中都可以找到他以前擁有的藏品。 品相：狀態良好，磨損、裂縫和裂口、缺損、風化和侵蝕、輕微的蟲蛀、刻痕、劃痕，自然包漿。 重量：13.4 公斤(含底座) 尺寸：高 73 厘米 (不含底座) 與 88.5 厘米 (含底座) 固定支架 (2) 文獻比較: 比較一件相近的十三世紀寺廟木雕藥叉女，高128 厘米，曾藏於Art Gallery New South Wales，館藏編號33.2000.a-b，2003年5月已被送回尼泊爾，現藏於Patan 博物館。比較一件相近的十五世紀寺廟木雕婆羅訶，高74.5 厘米，曾藏於James W.和Marilynn Alsdorf Collection，現藏於芝加哥藝術博物館，館藏編號1984.1495。見一件十五世紀寺廟木雕像，仍在尼泊爾加德滿都Jyatha Tol的Gunakar修道院。 拍賣比較： 形制：相近 拍賣：阿姆斯特丹佳士得，2001年5月8日，lot 531 價格：NLG 25,850（相當今日EUR 18,500） 描述：約十四世紀尼泊爾寺廟木雕 專家註釋：比較相近的雕刻風格。 雖然我們的拍品看起來比佳士得的木雕年代更久遠，但兩者的圖像具有可比性。佳士得的例子還表明，我們的拍品可能缺少下部部分。請注意尺寸 (101 厘米)。 拍賣比較： 形制：相近 拍賣：巴黎邦翰斯，2022年12月15日，lot 154 估價：EUR 50,000（相當今日EUR 51,500） 描述：尼泊爾十一/十三世紀檀香木雕聖觀自在菩薩像 專家註釋：比較相近的雕刻風格。請注意尺寸 (66 厘米)。

A PAINTED GRAY POTTERY FIGURE OF A TRICORN, HAN DYNASTY 漢代彩繪灰陶三角獸China, 206 BC - 220 AD. The sturdy beast is shown mid-stride with its three-horned bovine head lowered and its long bifurcated tail with curled tips raised. A raised strip along the backbone is applied with three flat knobs.Provenance: E & J Frankel Ltd., New York, 1991. German private collection, acquired from the above and thence by descent to the last owner. German trade, acquired from the above. Condition: Good condition, commensurate with age. Extensive wear, firing flaws, minor losses and associated old repairs, small chips, few structural cracks, signs of weathering and erosion, encrustations, drilled holes from sample-taking, all exactly as expected from Han dynasty excavations. Scientific Analysis Report: A thermoluminescence sample analysis has been conducted by the Research Laboratory for Archeology and the History of Art at Oxford University (today known as Oxford Authentication), based on sample number 566t53 taken on 31 July 1991, and sets the firing date of both samples taken between 1700 and 2800 years ago. A copy of the thermoluminescence report, dated 9 September 1991 and signed by Doreen Stoneham (d. 2022), accompanies this lot. A copy of a Polaroid photograph of the present lot, taken in 1991, inscribed 'Submitted as 566t53' (the sample number for the Oxford Authentication thermoluminescence analysis report), and stamped 'Research Laboratory for Archaeology, Oxford University', accompanies this lot.Weight: 1,550 g Dimensions: Length 28.5 cmLiterature comparison: The present figure of a rhinoceros-like beast closely resembles a larger one from a Western Jin dynasty (AD 265-317) tomb in Zhengzhou, Henan province, illustrated in Kaogu Tongxun, 1957:1, no. 1, pl. XIV:4. A closely related larger pottery figure of a tricorn in the Metropolitan Museum of Art, New York, is illustrated by S. G. Valenstein in A Handbook of Chinese Ceramics, New York, 1975, p. 57, no. 50. Compare a closely related pottery figure of a tricorn, also dated to the Han dynasty, 33.8 cm long, in the collection of the Asian Civilisations Museum in Singapore, accession number C-1264.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 18 March 2016, lot 1472Price: USD 15,000 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: A rare and unusually large painted grey pottery figure of a tricorn, late Eastern Han-Six dynasties period (3rd-4th century ad)Expert remark: Compare the closely related pose, tricorn, face, and tail. Note the size (45 cm).漢代彩繪灰陶三角獸中國，公元前206 - 公元220年。這只健壯的三角獸大步向前，頭向下低；長長的分叉尾巴抬起，尖端捲曲；背脊上有三個扁平圓鈕狀突起。 來源：1991年紐約E & J Frankel Ltd.藝廊；德國私人收藏，購於上述藝廊，在同一家族保存至最後一位主人；德國古玩交易，購於上述收藏。 品相：狀況良好，大面積磨損、燒製缺陷、輕微缺損和相應的維修、小刻痕、少量結構裂縫、風化和結殼、取樣鑽孔，所有這些都與漢代考古挖掘所預期的一樣。 科學檢測報告：牛津考古與藝術史研究室（現爲牛津鑒定研究所）根據2個取樣（566t53號，1991年7月31日）進行熱釋光檢測，得出拍品應爲1700至 2800年燒製。隨附一份1991年9月9日 Doreen Stoneham (2022年逝世) 簽署的檢測報告的照片（1991年拍攝），上可見“Submitted as 566t53” (樣本編號)，去蓋章”Research Laboratory for Archaeology，Oxford University“。 重量：1,550 克 尺寸：長 28.5 厘米 文獻比較： 現拍品與河南鄭州西晉墓出土的一件三角獸，圖見《考古通訊》，1957年，第1期，編號XIV:4。一件非常相近的較大的灰陶三角神獸，收藏於紐約大都會博物館，見S. G. Valenstein，《A Handbook of Chinese Ceramics》，紐約，1975年，頁57，編號50。比較一件非常相近的漢代三角獸陶俑(長33.8 厘米)，收藏於新加坡亞洲文明博物館，編號C-1264。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2016年3月18日，lot 1472 價格：USD 15,000（相當於今日EUR 18,000） 描述：東漢晚期至六朝彩繪灰陶三角獸 專家評論：比較非常相近的姿勢、三角、面部和尾巴。請注意尺寸(45 cm)。

A BRONZE FIGURE OF THE JAIN HERO BAHUBALIIndia or Nepal, 18th - 19th century. Standing in kayotsarga atop a circular base with leafy vines wrapped around his arms and legs. The serene face with heavy-lidded almond-shaped eyes below curved brows as well as an aquiline nose and full lips forming a subtle smile, flanked by long pendulous earlobes, the hair arranged in tight curls.Provenance: Collection of Gerard Wahl-Boyer and thence by descent within the same family. French private collection, acquired from the above. Gerard Wahl-Boyer (d. 2014), better known to most as 'Bebe Rose', was an insatiable collector whose interests spanned a wide range of religious and tribal art from South and East Asia as well as Africa. He was a fixture in Parisian auction rooms, known as a great picker.Condition: Very good condition with old wear and minor casting flaws, few losses, dents, nicks, and scratches as well as signs of weathering and erosion. Remnants of pigment. Fine, naturally grown, dark patina with small areas of malachite encrustation.Weight: 2,440 gDimensions: Height 39 cmThe torso and lower body are cast separately, though not detachable, suggesting the possibility of relics contained within, indicated also by the circular aperture to the back of the head.Bahubali was the son of Rishabhanatha (the first tirthankara of Jainism) and the brother of Bharata Chakravartin. He is said to have meditated motionless for a year in a standing posture (kayotsarga) and that during this time, climbing plants grew around his legs. After his a year of meditation, Bahubali is said to have attained omniscience (Kevala Gyana).In 948 AD the Ganga general Chavundaraya commissioned a monumental sculpture of Bahubali at Shravanbelagola, Karnataka. The Gommateshwara statue is the tallest monolithic statue in the world today and was carved out of a single block of granite. It is 17 meters and can be seen from 30 kilometers away. This image inspired the production of smaller devotional images of Bahubali that became popular in southern India. Such images were for household use and were often bought back by pilgrims from one of the Jain tirthas (pilgrimage sites) or centers of Jainism.Literature comparison: Compare a closely related but smaller bronze figure of Bahubali, also dated 1500-1700, in the Victoria and Albert Museum, accession number IM.14-1922. Compare also a larger and older carved chlorite figure, dated to the 14th century, in the British Museum, museum number 1880.241, and a much earlier and smaller bronze figure, dated late 6th to 7th century, in the Metropolitan Museum of Art, accession number 1987.142.339.Auction result comparison: Compare a related but earlier figure of a Jina, dated 10th-11th century, at Christie's New York in Indian and Southeast Asian Art on 23 March 2010, lot 166, sold for USD 62,500.

A LARGE GREEN AND RUSSET JADE FIGURE OF A THREE-LEGGED TOAD, MING DYNASTY 明代大型三足玉蟾China, 1368-1644. The pebble boldly carved in the round as a crouching toad with its single hind leg tucked beneath. The animal well detailed with wrinkles on its back, large protruding eyes, and incised feet. The opaque stone is of a mottled green and dark-gray tone with russet patches and distinctive veins.Provenance: Ute Asboth, Galerie Asboth, Vienna, c. 2000. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. A copy of an expertise written and signed by Ute Asboth, with a stamp from Galerie Asboth, confirming the dating above, accompanies this lot. Ute Asboth (c. 1927-2018) began her career in the Asian art trade at Galerie Zacke in the early 1980s before eventually founding Galerie Asboth in Vienna, Austria. The gallery specialized in East Asian art and published extensively. Several noted exhibitions were curated in close cooperation with Luigi Bandini from Eskenazi gallery in London, United Kingdom. Some pieces from Ute Asboth's private collection reside now in the Museum of Ethnology, Vienna (today the Weltmuseum). Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna's tightknit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel ('Roll of Honor') of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Good condition with old wear, minor signs of weathering and erosion with associated small losses. The stone with natural fissures, some of which have developed into small hairline cracks. Few minor nicks.Weight: 724 gDimensions: Length 12 cm The toad enjoyed popularity in late Ming jade carving due to its association with Daoism and continued into the Qing dynasty. The three-legged toad in particular became so popular an image that its meaning became synonymous with the Daoist immortal Liu Hai. The word for toad is homophonous with offspring (wa), which means the toad came to symbolize the wish for multiple offspring to continue the family line.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 1 June 2016, lot 25Estimate: HKD 300,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writing Description: A sage-green jade figure of a toad, late Ming dynasty to the early Qing dynasty Expert remark: Compare the related pebble-form and pose. Note the color of the jade.Auction result comparison: Type: Related Auction: Christie's London, 11 November 2011, lot 1221Price: GBP 11,875 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing Description: A celadon jade carving of a toad, 17th century Expert remark: Note the size (6.3 cm).Auction result comparison: Type: RelatedAuction: Sotheby's London, 13 December 2021, lot 109Price: GBP 5,040 or approx. EUR 6,900 converted and adjusted for inflation at the time of writingDescription: A celadon and black jade figure of a toad, Ming dynastyExpert remark: Compare the pose. Note the size (6 cm). 明代大型三足玉蟾中國，1368-1644年。玉料雕刻成一隻臥蟾，一條後腿藏在身下，背部有皺紋，大眼突出，細節十分精細。不透明玉料呈斑駁的綠色和深灰色調，帶有黃褐色斑紋理。 來源：Ute Asboth ，維也納Asboth藝廊，約2000年；Maria與Johannes Nickl收藏，購於上述藝廊，在同一家族保存至今。隨附一份由Ute Asboth出具的鑒定書複印件，上還可見 Asboth藝廊印章，確認斷代。Ute Asboth (約1927-2018) 於 1980 年代初在 Zacke藝廊開始了她在亞洲藝術貿易的職業生涯，之後在奧地利維也納創立了 Asboth藝廊。該藝廊專門從事東亞藝術並廣泛出版，她與英國倫敦 Eskenazi 畫廊的 Luigi Bandini 密切合作，並策劃了幾個著名的展覽。Ute Asboth 的一些私人收藏品現在收藏在維也納民族學博物館（現為世界博物館）。品相：狀況良好，有磨損，輕微風化，小缺損和小劃痕。玉料有天然裂隙，有的已發展成細小的裂紋。 重量：724 克 尺寸：長 12 厘米 蟾蜍因與道教有關，在晚明玉雕中極受歡迎，一直延續到清代。其中，“劉海戲金蟾”的故事廣爲流傳。蟾蜍即蛙，字與“娃”諧音，意思是蟾蜍來了，象徵著多子多孫。拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2016年6月1日，lot 25 估價：HKD 300,000（相當於今日EUR 40,500） 描述：明末至清初青玉蟾蜍 專家評論：比較相近大眼突出和姿勢。請注意玉石顏色。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2011年11月11日，lot 1221 價格：GBP 11,875（相當於今日EUR 21,500） 描述：十七世紀青白玉蟾蜍 專家評論：請注意尺寸(6.3厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2021年12月13日，lot 109 價格：GBP 5,040（相當於今日EUR 6,900） 描述：明青玉蟾蜍 專家評論：比較姿勢。請注意尺寸(6厘米)。

A GILT BRONZE FIGURE OF TONPA SHENRAPTibet. According to the accompanying invoice, '16th -17th century'. Crowned and bejeweled in regal dignity, Tonpa Shenrap, the founder of the Bon religion, seated in padmasana on a beaded double lotus base detailed with crisp individualized petals, his hands held together in dhyana mudra. The Bon left-turning yundrungs (swastikas) in bloom by his right shoulder.Provenance: From the private collection of Aldo Maria Andrea Emilie Eggers-Lura (1924-1997), acquired during the 1950s to 1960s, during his stationing in the east for the East Asian Company, and thence by descent to Eric Eggers-Lura. Song Gallery: Chinese Art, Maja Stage & Eric Eggers-Lura, 26 June 1998. A Danish private collection, acquired from the above. A copy of the original signed invoice from Song Gallery, dated 22 June 1998 and dating the present lot to the 16th-17th century, accompanies this lot.Condition: Very good condition with minor wear and casting irregularities. Tiny nicks and light scratches, rubbing to gilt, minor losses to inlays, some inlays replaced. The base resealed.Weight: 1,600.9 gDimensions: Height 21.5 cmWith a silk storage box. (2)Dressed in a dhoti with incised hems pooling elegantly at the base, the figure adorned with beaded jewelry and the face cast with a benevolent expression, the eyes downcast under arched brows, all flanked by pendulous earlobes with foliate medallion earrings, the head crowned with a foliate tiara enclosing the hair coiled into an elaborate chignon surmounted by a lotus finial.Tonpa Shenrap, also known as Shenrap Miwo ("Supreme Priest, Great Man"), is considered by Bonpos to be enlightened teacher of Bon in the present world, whose role is comparable to that of Shakyamuni in Buddhism. His life story is recorded in Bon literature and painting. Born a prince, Tonpa Shenrap became king of Tazik, the holy land of Bon situated to Tibet's west. Tonpa Shenrap travelled widely to propagate the Bon doctrine through preaching and rituals. In Bon art, he can be represented in two appearances - a crowned and bejeweled form like the present lot, or a Buddha-like figure wearing monastic robes.

A BACTRIAN STONE RITUAL OBJECT, LATE 3rd TO EARLY 2nd MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central, page 75, fig. 61.Oxus Civilization. The staff of cylindrical form, bulging at the center and tapering to the ends. The dark heavy stone with orange-russet inclusions on one side.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2003. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 30 July 2003, and stating a purchase price of EUR 7,500 or approx. EUR 12,000 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, some chips, and natural fissures.Weight: 9.1 kgDimensions: Height 80 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison:Type: RelatedAuction: Christie's London, 15 April 2015, lot 62Price: GBP 23,750 or approx. EUR 40,000 adjusted for inflation at the time of writingDescription: A Bactrian green stone ritual object, c. 2300-1700 B.C.Expert remark: Compare the related form and color of the stone. Note the size (83 cm).Auction result comparison:Type: RelatedAuction: Christie's London, 25 October 2007, lot 104Price: GBP 8,125 or approx. EUR 17,000 adjusted for inflation at the time of writingDescription: A Bactrian gray stone 'idol', late 3rd-2nd millennium B.C.Expert remark: Compare the related form and color of the stone. Note the size (94 cm).

A RARE BRONZE SPADE COIN, BU, ZHOU DYNASTY China, 1046-256 BC. Finely cast with a hollow handle, the rectangular spade head with a concave edge with three parallel ridges to each side, one side inscribed with an archaic character. A single sign inscribed to one side.Provenance: Dutch trade. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, small losses, and casting flaws. The bronze is covered in a rich, naturally grown patina with vibrant malachite and cuprite encrustations.Weight: 103.2 (incl. stand) Dimensions: Length 15.1 cm (incl. stand) and 9.4 cm (excl. stand)Mounted to an associated metal stand. (2)Spade coins (bu) were an early form of money used during the Zhou dynasty. It was shaped like a spade or weeding tool, but the thin blade and small sizes of spade money indicate that it had no utilitarian function. The inscriptions on these coins usually consist of one character, usually either a number, a cyclical character, a place name, or the name of a clan. The crude writing is that of the artisans who made the coins, not the more careful script of the scholars who wrote the votive inscriptions on bronze. The current lot is an example of a square shouldered spade coin.Literature comparison:Compare a related spade coin with a similar inscription of the name of a city, 'Wu', in the British Museum, registration number 1909,0511.5. Compare a related spade coin with a similar inscription in the National Museum of Asian Art, accession number S2012.9.2278. Compare a spade coin of closely related form, 9.5 cm long, in the British Museum, registration number 1983,0817.1.

A BRONZE 'TIGER' HALBERD BLADE, ZHONGHU GE, EASTERN ZHOU DYNASTY, WARRING STATES PERIOD 東周戰國虎紋中胡銅戈Published: Religion and Ritual in Chinese Art, Michael B. Weisbrod, Inc., New York, USA, 8 December 1987, no. 12, page 40.China, 480-220 BC. Finely worked with an elongated triangular blade (yuan) flaring gently into the flat blade guard. Cast in relief with the profile of the ferocious feline with a gaping mouth, baring fangs, and an extended long curling tongue, all in high relief. The ears and forelimbs bent with the body incised on the shank. The end of the yuan pierced with two rectangular chuan (apertures), the tang (nei) with a circular chuan. A rectangular tang with foliate incisions projects from the guard ending in a double curve 'E'-shaped edge.Provenance: Michael B. Weisbrod, New York, USA. The private collection of an American north-east collector, acquired from the above, c. 1987-1988. 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.Condition: Very good condition, commensurate with age. Extensive wear, weathering and erosion, nicks and cracks, shallow surface scratches, possibly minor old fills. Fine, solid patina with distinct malachite and cuprite encrustations. Presenting remarkably well overall.Weight: 396.4 g (excl. stand)Dimensions: Length 27.4 cm With a modern stand. (2)The ge dagger-axe was found in burials from the early Shang through the Warring States period. It came to be a ritual object and a part of the requisite ceremonial paraphernalia of a courtier. According to James Menzies, by the early Western Zhou, “its inclusion in the attire of nobles and officials at all formal functions may be presumed”; and in addition to other Shang and Western Zhou rituals, it may have been used in ceremonial war dance, celebrating the Zhou conquest of the Shang (Menzies, the Shang Ko, pp. 314-316). The ge was also frequently pictured on bronze vessels possibly as a clan emblem.Although the tiger appears on blades of the late Shang and early Western Zhou periods, the feline and the shape of the tang on the present lot indicate a product of a different culture. Manufacture of ge with triangular blades discontinued in the Central Plains area of China by the middle Western Zhou period. The type seems to have persisted in the kingdoms of Ba and Shu in modern Sichuan province through the Warring States period. Many of these excavated ge from this area have E-shaped tang which did not appear among the Shang or Western Zhou blades. Tigers are frequently seen as motifs on the various types of ge and other weapons of the Ba-Shu area. This may be related to the legend that when Lin Jun, first ancestor of the Ba tribe, died, his soul was transformed into a white tiger.Literature comparison:Compare profile tigers similar to this lot which are reproduced in Tong Enzheng's “Investigations of the bronze ge from Southwest China” (Kaogu Xuebao 1979, no. 4, pp. 442, fig. 1:6, pp. 447, fig. 3; see also Wenwu 1976 no. 3, p. 41 fig.2 and pl. I, no. 6; Wenwu 1976 no. 7, p. 82-85; Kaogu 1986 no. 11, pp. 986, fig. 6). Compare with a Zhonghu Ge with tiger pattern, China, unearthed at Dubaishu, Pixian County, Chengdu City, Warring States period, 475 - 221 BC, bronze Sichuan Provincial Museum Chengdu, China, accession number DSC04243. 東周戰國虎紋中胡銅戈中國，公元前480-220 年。戈，流行於商代至漢代的一種格鬥兵器，最早出現於先秦時期。因作戰需要和使用方式不同，便分為長、中、短戈三種。此戈長援中胡，長方形內，近欄處有三穿。援後部至內兩面飾半浮雕虎頭，張口吐舌，口中一穿；援的末端穿有兩個長方形的穿，內有一個圓形的穿。 帶有葉狀切口的矩形柄腳從防護裝置中伸出，末端為雙曲線“E”形邊緣。出版：Michael B. Weisbrod, Inc.，《Religion and Ritual in Chinese Art》，紐約，1987年12月8日，編號12，第 40頁。 來源：美國紐約Michael B. Weisbrod收藏；美國東北私人收藏，1987-1988年購於上述收藏。Michael B. Weisbrod是一位著名的中國藝術學者，在 過去五十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店，在接下來的四十五年裡，藝廊舉辦了大量展覽，向全球各地的博物館和私人收藏家出售作品，最終在上海和香港開設了分店。 品相：狀況非常好，大面積磨損、風化和侵蝕、刻痕和裂縫、表面淺劃痕，可能有輕微的小修。細膩、堅實的包漿，帶有明顯的紅綠色結殼。 重量：396.4 克 (不含底座) 尺寸：長27.4 厘米 現代支架。 (2) 從商初到戰國時期的墓葬中都發現了戈，它是朝臣必備的禮儀用具的一部分。根據James Menzies的說法，到了西周早期，“可以推測，它已經出現在貴族和官員在所有正式場合的服裝制式中”； 除了商朝和西周之外，它還被用於儀式性的戰舞，慶祝週征服商朝（Menzies，《the Shang Ko》，第 314-316 頁）。青銅器上也經常出現戈的圖案，可能是作為氏族的徽章。此類虎紋戈似乎在戰國時期一直存在於現代四川省的巴蜀王國中。該地區出土的許多戈刀都具有商或西周刀中所沒有的“E”形刀柄。巴蜀地區的各種戈具和其他武器上都以老虎為圖案。這或許與巴族始祖林俊死後靈魂化為白虎的傳說有關。文獻比較： 比較一件相似的，同恩正《西南青銅考》（《考古學報》1979，第4期，第442頁，圖1：6，第447頁，圖3。見《文武》1976年第3期，頁41，圖2和第6期，圖一）。 比較一件戰國時期西元前475 - 221年虎紋虎戈，出土成都市郫縣杜拜樹，四川省博物館，館藏編號DSC04243。

A PALE CELADON FIGURE OF A BOY WITH A HOBBY HORSE, 18TH CENTURY 十八世紀青白玉騎馬上任童子珮China. Carved as a striding boy holding the reins of the hobby horse with one hand, the other holding a leafy lotus stem. The translucent stone of a pale celadon color with faint russet patches and veins, and cloudy white inclusions.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings.Condition: Very good condition with minor wear, minuscule nibbling to the base, the lotus flower with a small chip. The stone with natural imperfections and fissures, some of which may have developed into small hairline cracks over time.Weight: 74.0 g Dimensions: Height 65 cmExquisitely modeled in the round to depict a boy astride a hobby horse, the reins of which he lovingly clutches whilst slinging stems of lotus over his shoulder, this carving captures the playful ease and charm of the subject. Images of boys playing with a hobby horse form part of the popular 'boys at play' and 'Hundred Boys' subjects that emerged during the Song dynasty. This theme is symbolic of the Confucian ideal for the education and advancement of many sons, a wish further emphasized by the lotus he carries which is a homophone of 'continuous' and creates the rebus 'May you continuously give birth to sons'. As the boy is depicted riding a hobby horse, this conveys the further wish for it to come quickly as 'to be on top of a horse' means 'immediately'.Literature comparison:Compare a related carved jade figure of a boy, but holding a rattle instead of a lotus stem, in the collection of the Museum of East Asian Art, Bath, collection number BATEA 1218. Compare also a related jade figure of a boy holding a lantern on a pole, in the collection of the Metropolitan Museum of Art, accession number 2015.500.5.14.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 30 November 2016, lot 158Price: HKD 525,500 or approx. EUR 72,500 converted and adjusted for inflation at the time of writingDescription: A superb pale celadon jade 'boy and hobby horse' carving, Qing dynasty, 18th century十八世紀青白玉騎馬上任童子珮中國。圓雕一童子騎於玩具馬上，圓頭圓腦，頭頂髮髻，雙眼細瞇喜笑顏開。上衣及長褲衣紋褶皺自然，右手拿著一朵蓮花。馬顯得溫順可愛。青白玉細膩瑩潤。 來源：Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。 Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：品相極好，有輕微磨損，底部有輕微的磕損，蓮花帶有小磕損。玉料具有天然缺陷和裂縫，其中一些可能隨著時間的推移發展成細小的裂縫。 重量：74.0 克 尺寸：高65 厘米 通體琢刻細膩，匠心獨運，人物栩栩如生。男孩玩木馬是宋代流行的“嬰戲圖”和“百子圖”中的一部分。男童玩馬也取意即將出官入仕，平步青雲，玩趣十足。 文獻比較： 比較一件相近的騎馬上任童子玉珮，男童手上拿著蓮花，收藏於巴斯東亞藝術博物館，收藏編號BATEA 1218。比較一件相近的騎馬上任童子玉珮，男童手上拿著燈籠，收藏於大都會藝術博物館，編號2015.500.5.14。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2016年11月30日，lot 158 價格：HKD 525,500（相當於今日EUR 72,500） 描述：清十八世紀青白玉雕連生貴子把件

A LARGE EMBROIDERED SILK PANEL WITH THREE RAKANS Japan, 19th centuryThe large panel is finely embroidered in various shades of red, brown, black, gold, bronze and blue, depicting three rakans under a vine, with one holding a miniature pagoda, another a book, and the last one being Handaka Sonja holding his bowl of alms from which the dragon in front of him emerged. The central embroidery is framed by a silk brocade border and mounted to a wooden stretcher frame. SIZE 156 x 89 cmCondition: Overall still good condition with intricate detail with soiling, loose threads, small tears, and material loss to the silk brocade borders. Provenance: The Langlois Collection. Jean-Marie-Charles Langlois, a Senior Railway Engineer in Indochina from 1920 to 1949, was passionate about Asian art and managed to build a collection that was later repatriated to France by his wife and children after his death. He tragically lost his life in 1949 during a Viet-Minh train attack. His son, Jean Marie Langlois, inherited the collection and continued to expand it with the support of his wife, aiming for coherence and quality in tribute to his father. The collection, which spans over a hundred years of collecting, was recently rediscovered in the family home.

A BRONZE 'DEER' WATERDROPPER, LATE MING TO EARLY QING DYNASTY 明末清初鹿形硯滴 China, 17th to 18th century. Naturalistically modeled as a deer seated on its haunches, detailed with branched antlers growing horizontally and forking into each other, the face with large wide eyes and alert funnel-shaped ears, the head raised and turned to one side with an opening through the mouth and pierced behind the neck with a circular aperture.Provenance: The present lot was part of an important collection of archaic Chinese bronzes, built by three generations of the Chasseloupe-Laubat family in France. Prosper de Chasseloup-Laubat (1805-1873), was a prominent aristocrat, politician, and art collector who became Minister of the French Navy and the Colonies under Napoleon III, traveling extensively though all of Asia. His son Louis (1863-1954), an engineer in ship design, significantly expanded the family collection, also during his frequent travels throughout Asia. François (1904-1968), Prosper's grandson, eventually inherited the family passion and became a renowned explorer and participant in the Hoggar Expedition. He was the first French explorer to reach English Malaysia, bringing back previously unpublished documents on the isolated Sakai tribes. As a collector, François Chasseloupe-Laubat was advised by Jean Claude Moreau-Gobard, an important French collector and dealer specializing in Asian art.Condition: Good condition with minor wear and casting irregularities, some nicks. One foot with a minor old repair and associated soldering marks. The bronze with a smooth patina of dark chestnut color overall.Weight: 258.7 gDimensions: Height 12.7 cm, Length 10.5 cm Deer antlers are classified as 'typical' or 'nontypical'. In general, the tines of typical antlers grow vertically as individual points, whereas the tines of nontypical antlers grow down horizontally and sometimes fork. Although most bucks grow typical racks, abnormalities that produce nontypical antlers similar to those seen on the present lot are relatively common.Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 14 September 2015, lot 8082Price: USD 3,125 or approx. EUR 3,700 converted and adjusted for inflation at the time of writingDescription: A bronze deer-form water dropper, 17th centuryExpert remark: Compare the related form and similar pose. Note the similar size (9.2 cm). 明末清初鹿形硯滴中國，十七至十八世紀。 造型自然，鹿成坐姿，鹿角分叉上揚，大眼，漏斗狀耳朵竪起，頭部抬起並轉向一側。鹿口有一個開口，頸部後面穿有一個圓形孔。 來源：法國Chasseloup-Laubat家族的三代人共同努力建立的中國古代青銅器重要收藏的一部分。Prosper de Chasseloup-Laubat（1805-1873 年）是一位著名的貴族、政治家和藝術收藏家，後來成為拿破崙三世領導下的法國海軍和殖民地部長，足跡遍及整個亞洲。他的兒子Louis（1863-1954 年）是一名船舶設計工程師。在他頻繁遊歷亞洲期間，他的家族收藏顯著擴大。 Prosper的孫子François（1904-1968）最終也成為著名的探險家和霍格探險隊的參與者。他是第一位到達英屬馬來西亞的法國探險家，帶回了之前未發表的關於與世隔絕的酒井部落的文獻。 作為一名收藏家，François Chasseloupe-Laubat 得到了Jean Claude Moreau-Gobard 的指導，後者是法國一位重要的亞洲藝術收藏家和經銷商。 品相：狀況良好，有輕微磨損和鑄造不規則，有一些刻痕。一隻腳有小修和焊接痕跡。整體呈深栗色。 重量：258.7 克 尺寸：高 12.7 厘米，長 10.5 厘米拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2015年9月14日，lot 8082 價格：USD 3,125（相當於今日EUR 3,700） 描述：十七世紀銅鹿形水滴 專家評論：比較相近的外形和相似的姿勢。請注意相似的尺寸(9.2厘米)。

A GOLD REPOUSSE 'LION' PENDANT, WITH AN AGATE INTAGLIO OF THE DANCING SHIVA, CHAM PERIODVietnam, former kingdoms of Champa, circa 10th century. Of quadrilobed form, finely chased, embossed, and incised with two confronted anthropomorphized male lions standing in profile, facing a finely carved oval agate intaglio depicting Shiva performing his cosmic dance, surrounded by beaded and foliate designs. A single loop on top for suspension.Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Very good condition, commensurate with age, with some wear, small manufacturing irregularities, light tarnishing, and encrustations, all as to be expected for a gold object more than a thousand years old.Weight: 15.9 g Dimensions: Length 10.1 cm Literature comparison:Compare a stone intaglio also depicting a dancing shiva, 5.5 cm long, dated 9th-10th century, illustrated in Janos Jelen, et al., (eds.) Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik, Volume 1, Budapest, 2007, pp. 114, no. 82.

A BACTRIAN DARK GREY STONE OXSCHIST RITUAL OBJECT, LATE 3rd TO EARLY 2nd MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central, page 75, fig. 61.Oxus Civilization. The stone of a greenish-black color, the staff of long cylindrical form tapering on one side.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2003. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 30 July 2003, and stating a purchase price of EUR 6,800 or approx. EUR 11,500 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, some chips, few encrustations, and natural fissures.Dimensions: Height 110 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.The precise use of these objects found in graves at Gonur in Margiana, in the cenotaphs of Sibri near Mehrgarh (Pakistan) and at Tepe Hissar and Shahdad in eastern Iran, is still unknown: they must have been used for some specific task, because their functional end, as a rule is worn, and finally deposed in the graves after the funeral.Literature comparison:Compare a related ritual object with cylindrical shaft tapering then flaring towards the flat ends illustrated in M.-H. Pottier, Materiel Funeraire de la Bactriane Meridionale de l'Age du Bronze, Paris, 1984, pp. 16, pl. V, fig. 7, no. 31.Auction result comparison: Type: RelatedAuction: Christie's London, 2 July 2018, lot 40Price: GBP 15,000 or approx. EUR 23,000 converted and adjusted for inflation at the time of writingDescription: A Bactrian stone idol, circa 3rd-2nd millennium B.C.Expert remark: Compare the related form and note the larger size (138 cm).

A MONUMENTAL AND HIGHLY IMPORTANT SANDSTONE FIGURE OF BUDDHA, PRE-ANGKOR PERIODMekong Delta, present-day Cambodia and Vietnam, 6th-7th century. Superbly carved standing with each foot on a separate lotus dais, wearing a diaphanous sanghati, the folds elegantly draped over his left shoulder and elbow, gathered at the ankles. The serene face sensitively drawn with heavy-lidded eyes, the sinuous lids and round pupils neatly incised, gently arched brows, and full lips, flanked by long pendulous earlobes, the hair arranged in snail-shell curls surmounted by a tall ushnisha. Provenance: From a notable collector in London, United Kingdom.Condition: Magnificent condition, commensurate with age. Extensive wear, encrustations, losses, signs of weathering and erosion, minor nicks, cracks and scratches. Fine, naturally grown patina overall. Dimensions: Height of figure excluding base and tang: 146.5 cm. Height of figure including tang, but excluding base: 190 cm. Height including base: 196 cm.The youthful-looking Buddha presents an elegant image that acts as a metaphor for his spiritual perfection. He stands on two lotus flowers, which probably identifies him as one of the esoteric Buddhas, depicted in Nirvana or another of the heavenly realms. This is the serene eternal state of one who is removed from the passage of time and the emotional issues of the human sphere. He has caused the lotuses to bloom and as they support his weightless form, they symbolize his purity of thought.The earliest stone sculptures of the region were created in the Mekong Delta, now shared by Cambodia and Vietnam, where Indian trading communities introduced their own Buddhist and Hindu beliefs. Contacts with regions to the north and China were also strengthened by trade. This Buddha retains elements of form that are associated with India while the two lotuses, rather than one, on which he stands indicate a Chinese influence. His appearance has been transformed by the introduction of a purely regional aesthetic, however. Separated from the South Asian sangha (religious establishment), local devotees came to see the Buddhist faith as their own and consequently endorsed their beliefs with images resembling themselves.Buddhism had reached Southeast Asia by the 1st century AD, largely thanks to its popularity amongst Indian merchants who established trading communities around the Mekong Delta. They initially sourced gold in the region but found other rare commodities such as ivory, gemstones, minerals and fine woods for markets both at home and further west. As a result, the Mekong Delta became part of a wider trading network linking the China Seas with the Roman Empire. There are epigraphical accounts describing the journeys on merchant ships of Buddhist missionaries from southern India and Sri Lanka, but the earliest visual record of stone sculptures indicates that evangelists from northern India and possibly Gandhara and China were also active in the region.International trading predated the establishment of diplomatic links between the rulers of the Mekong Delta with China in the 3rd century and various Indian kings in the 4th century. Indian and to a lesser extent Chinese culture gradually infiltrated the region's hierarchy and while the higher echelons were attracted to the Buddhist and Hindu faiths, the vast majority of the people maintained their traditional beliefs.A number of cities linked by canals existed in the Delta region, including the extensive sites of Oc Eo, Phnom Da, and Angkor Borei, which may have been autonomous principalities or part of a confederation. Along with the adjacent Phnom Da, Angkor Borei was a notable ritual center; its influence outlived the eclipse of Funan, perhaps through association with an ancestral cult. Buddhism and Hinduism had a unifying effect to some extent but within the region, devotees only adopted those aspects of the Indian faiths that were relevant to their needs; these probably varied from place to place. It is possible that the Buddha and Hindu gods were honored with temples and statues, emulating those of India, in order to bolster the political or social status of their Southeast Asian adherents.Expert's note: A detailed academic commentary on the present lot, elaborating on the history and art of Funan as well as the evolution of Buddhist images in the Mekong Delta, and showing many further comparisons to examples in private and public collections, is available upon request..To receive a PDF copy of this academic dossier, please refer to the department.Literature comparison: Compare a closely related sandstone figure of the Buddha preaching, attributed to Southern Cambodia and dated to the late 7th century, 94 cm high, in the collection of the Musee Guimet, reference number MG18891, and exhibited in the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, April 14, 2014-July 27, 2014, cat. no. 44. Compare a related sandstone figure of Avalokiteshvara, also standing on two lotus flowers, attributed to Southern Vietnam and dated second half of the 7th to early 8th century, 188 cm high, in the collection of the Musee Guimet, reference number MA5063, and illustrated ibid., cat. no. 137. Compare a closely related wood figure of Buddha, dated c. 6th century, in the Museum of Vietnamese History, Ho Chi Minh City, illustrated by Nancy Tingley, Arts of Ancient Viet Nam: From River Plain to Open Sea, Houston, 2009. Compare a closely related sandstone figure of Buddha, dated to the 7th century, 98.2 cm high, in the National Museum of Cambodia, inventory number Ka.1589.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2012, lot 151 Price: USD 338,500 or approx. EUR 423,500 converted and adjusted for inflation at the time of writing Description: A sandstone figure of Buddha Shakyamuni, Khmer, Angkor Borei, 9th century Expert remark: Note that this figure is slightly later and considerably smaller (82.6 cm) than the present lot.Auction result comparison: Type: Related Auction: Christie's New York, 17 March 2015, lot 35 Price: USD 413,000 or approx. EUR 500,000 converted and adjusted for inflation at the time of writing Description: An important stone figure of Buddha, Thailand, Dvaravati period, 8th century Expert remark: Note that this figure is attributed to Dvaravati, around 600 miles northwest of the Mekong Delta. While Buddhist sculpture of the pre-Angkor period sometimes shares characteristics with contemporaneous Dvaravati art, the present figure's slightly attenuated proportions mark a departure, imbuing the Buddha with a lithe, uplifted quality. Note the slightly smaller size (111.7 cm).Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.

AN INLAID CELADON STONEWARE BOWL, GORYEO DYNASTY 高麗王朝内嵌花卉青瓷碗Korea, 12th-13th century. The deep rounded sides raised on a short foot, finely inlaid in white slip beneath the celadon glaze to the interior with a central flowerhead encircled by a band of ruyi-heads as well as alternating chrysanthemum sprays and pomegranate bunches enclosed by line borders, and to the exterior with flowerheads within roundels issuing freely painted vines framed by geometric and petal bands, with some details inlaid in black slip.Provenance: French trade. Acquired from an old French private collection of Korean ceramics and works of art. Condition: Good condition with old wear and expected firing flaws including pitting, glaze lines, kiln grit, and warping. The rim with two hairlines.The rim with a single professional restoration (10 x 4 cm).Weight: 788.6 g Dimensions: Diameter 20.6 cm This inlay technique is called 'sanggam', which was invented by Korean ceramic artists in the twelfth century. The design was incised into the clay body of the vessel and then filled with slip (diluted clay). The excess slip would have been removed before the piece was biscuit fired, then the bottle was covered with a translucent celadon glaze and fired again. The development of the sanggam inlay technique signifies the elegance and innovativeness of Goryeo ceramic production; no similar inlay technique was used by Chinese craftsmen at this time.Literature comparison:Compare a related bowl with similar decoration and motifs, 19.4 cm diameter, dated to the early 14th century, in the Metropolitan Museum of Art, accession number 27.119.10. Compare a related with similar decoration and motifs, 20 cm diameter, dated to the first half of the 13th century, in the National Museum of Asian Art, Smithsonian Institution, accession number F1917.294.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 15 October 2001, lot 291Price: USD 15,275 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: An inlaid celadon stoneware bowl, Goryeo dynasty, 12th-13th centuryExpert remark: Compare the closely related decoration and motif. Note the size (18.3 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 29 March 2005, lot 527 Price: USD 15,600 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: An inlaid celadon stoneware bowl, Goryeo dynasty, 13th century Expert remark: Compare the closely related form, decoration, and motif. Note the size (18.3 cm). 高麗王朝内嵌花卉青瓷碗韓國，十二至十三世紀。敞口，深弧腹，圈足，青瓷釉下精美鑲嵌白色釉料；碗內中央内凹，飾有一朵花，周圍一圈如意紋；内壁交替飾有菊花和石榴紋，碗沿三道弦紋；外壁卷葉花卉紋；一些細節鑲嵌在黑色的漿料中。 來源：法國古玩交易。購自法國韓國陶瓷和藝術品私人舊藏。 品相：狀況良好，有磨損、麻點、釉紋、窯砂和翹曲。邊緣有兩條冲線。邊緣有一個專業修補(10 x 4 厘米)。 重量：788.6 克 尺寸：直徑 20.6 厘米 文獻比較： 比較一件相近裝飾主題的十四世紀初碗，直徑19.4 厘米，收藏於大都會藝術博物館，館藏編號27.119.10。比較一件相近裝飾主題的十三世紀上半葉碗，直徑20 厘米，收藏於史密森國立亞洲藝術博物館，館藏編號F1917.294。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2001年10月15日，lot 291 價格：USD 15,275（相當於今日EUR 24,000） 描述：十二至十三世紀高麗王朝内嵌花卉青瓷碗 專家評論：比較非常相近的裝飾和主題。請注意尺寸(18.3 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2005年3月29日，lot 527 價格：USD 15,600（相當於今日EUR 22,500） 描述：十三世紀高麗王朝内嵌花卉青瓷碗 專家評論：比較非常相近的外形、裝飾和主題。請注意尺寸(18.3 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 EXTREMELY RARE AND MONUMENTAL SANDSTONE STATUE OF VISHNU, ANGKOR PERIODKhmer Empire, 10th-12th century. The Preserver of the Universe standing in samapada on a rectangular base, holding the conch in his one remaining hand, wearing a short pleated sampot, tied at the front below the navel with the folds splayed across the left thigh and secured with a butterfly sash at the back, the extra material folding over at the waist. The serene face sensitively modeled with neatly incised details, such as the almond-shaped eyes, full lips, and wavy mustache. The hair piled up into an elaborate conical chignon secured by a foliate tiara. Provenance: The collection of Beowulf Klebert. An Austrian private collection, acquired from the above circa 1980 and thence by descent in the same family. Beowulf K. Klebert (1948-2008) was a noted Austrian collector of Asian sculpture and works of art as well a respected contributor to Arts of Asia magazine. He was known for his scholarly expertise and extensive travels through all of Asia.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, losses, nicks, scratches, structural cracks, expected old repairs. The stone with a fine, naturally grown, smooth patina overall. Scientific Analysis Report: An Expert Report from Antiques Analytics - Institute of Scientific Authenticity Testing, test report number AA 21-03064, dated 5 May 2022, written and signed by Dr. R. Neunteufel, analyzing the surface alterations after examination by scanning electron microscopy (SEM) and element analysis with attached energy-dispersed X-ray micro element analyzer (EDX), concludes that the observed surface alterations are not in contradiction with the dating above. A copy of the report accompanies this lot.Dimensions: Height 207 cm (incl. base)With an associated wood base. (2)Literature comparison: Compare a closely related sandstone figure of Vishnu, dated to the 12th century, in the Tokyo National Museum, collection reference no. TC-382. Compare a related sandstone figure of Vishnu, dated c. 1050, 105.4 cm high, in the Norton Simon Museum, accession number M.2004.1.S. Compare a related sandstone figure of Vishnu, dated to the 11th century, 104.1 cm high, formerly in the collection of John D. Rockefeller and now in the Asia Society Museum, New York, object number 1979.064.Auction result comparison: Type: Related Auction: Christie's Paris, 11 December 2013, lot 342 Price: EUR 121,500 or approx. EUR 144,000 converted and adjusted for inflation at the time of writing Description: A rare and important sandstone figure of Vishnu, Cambodia, Khmer, Pre-Rup style, mid-10th century Expert remark: Compare the related modeling and manner of carving. Note the much smaller size (121 cm).Auction result comparison: Type: Related Auction: Christie's Paris, 7 June 2011, lot 385 Price: EUR 145,000 or approx. EUR 178,000 converted and adjusted for inflation at the time of writing Description: An important sandstone torso of a male deity, Cambodia, Khmer, Baphuon style, 11th century Expert remark: Compare the related modeling and manner of carving. Note the much smaller size (130 cm).

A LARGE CIZHOU BLACK-GLAZED RIBBED JAR, SONG DYNASTY 宋代磁州窯黑釉瀝線紋雙係罐China, 12th century. The ovoid form rising from a short spreading foot to a short straight neck with an everted rim flanked by two scrolling handles. The body decorated with narrowly spaced vertical ribs formed by trails of white slip. Covered by a lustrous black glaze that continues beyond the rounded mouth rim towards the inside and thins to pale russet on the ribs and the slip ribs that decorate the tapering strap handles. The interior is covered with a thin transparent glaze of mottled brown tone, as are the lower body and base. The foot remains unglazed, revealing the buff ware.Provenance: Hang Tang Cheng, Dragon House, San Francisco, USA, 1990s. A private collection in North America, acquired from the above and thence by descent. With an old collector's label, manually inscribed 'N. Song Jin 12 c, Large wide mouth, jar with vertical ribs, 37, two Kaf handle, Northern blackware, Cizhou type, light grey structure, 01-157SL501-5.' Hang Tang (Hank) Cheng is a well-respected dealer and appraiser of Asian art who ran the famous Dragon House antiques shop in San Francisco, established in 1979. Hank Cheng worked closely with museums, institutions, and auction houses including the Asian Art Museum, Bonhams, and Christie's.Condition: Very good condition with old wear, expected traces of use, and some firing flaws. Few small chips to foot, minor fritting to rim.Weight: 2,534.5 gDimensions: Height 22 cm With a padded silk box and cover. (2)Notable for its large, wide-mouthed globular body and its lustrous dark glaze, the present jar is a remarkable example of Cizhou-type wares produced at numerous kilns in Henan, Hebei and Shandong Provinces in North China during the twelfth century. The attractive ribs were meticulously applied in slip onto the surface of the vessel before the application of the glaze, creating a striking contrast between the raised ridge and the convex areas with the darker glaze.Dark-glazed, high-fired ceramic vessels were highly regarded as solid, practical wares. Their production began during the Tang dynasty (618-907) and rapidly spread throughout China. The development of black wares during the Northern Song period (960-1127) appears to have been inspired by contemporaneous plain lacquerware, and different kilns developed their own styles. Ribs made of white slip were first used on ceramics during the Tang dynasty in imitation of lacquer and silver. Later they were added to the exterior body of the vessel during the tenth and eleventh century and ribbing finally emerged as an important tool of decoration in its own right by the twelfth century, also enabling better and safer handling of the vessel itself.Literature comparison: Compare a closely related slip ribs and black glaze cizhou jar with handles, dated to the late Northern Song (960-1127)-Jin (1115-1234) dynasty, 12th century, 19.7 cm high, in the Metropolitan Museum of Art, accession number 1997.1.7. Also compare a related large cizhou-type black-glazed ribbed jar, dated to the Northern Song/Jin dynasty, 12th century, 20.6 cm high, at Christie's New York, 30 March 2005, lot 295. Compare a similar black-glazed ribbed jar, Northern Song to Jin period, in the Arthur M.Sackler Museum, Cambridge MA, is illustrated in Hare's Fur, Tortoiseshell and Partridge Feathers, Cambridge MA, 1995, p. 176, no. 61.Auction result comparison: Type: Closely relatedAuction: Bonhams London, 18 May 2023, lot 48Estimate: GBP 15,000 or approx. EUR 17,500 converted at the time of writingDescription: A black-glazed 'ribbed' jarExpert remark: Note the smaller size (20.3 cm). 宋代磁州窯黑釉瀝線紋雙係罐中國，十二世紀。唇口，直頸、鼓腹、圈足，雙係耳，施黑釉，腹部均等距離的垂直凸起的瀝線，線條纖細，凸線紋部分呈金黃色。底足部露胎。 來源：美國舊金山Hang Tang Cheng，Dragon House，上世紀九十年代；北美私人收藏購於上述藝廊。舊收藏標籤上手寫 'N. Song Jin 12 c，Large wid mouth，jar with vertical ribs，37，two Kaf handle，Northern blackware，Cizhou type，light grey structure，01-157SL501-5. Hang Tang (Hank) Cheng 是一位備受尊敬的亞洲藝術品經銷商和鑑定師，他經營著舊金山著名的 Dragon House 古董店，該店成立於 1979 年。Hank Cheng 與亞洲藝術博物館、邦瀚斯和佳士得等博物館、機構和拍賣行密切合作。 品相：狀況極好，有磨損、使用痕跡和一些燒製缺陷。腳部幾乎沒有小缺口，邊緣有輕微磨損。 重量：2,534.5 克 尺寸：高 22 厘米 蓋盒内襯絲綢 (2) 此罐造型碩大，廣口球形，釉色瑩潤，是十二世紀華北河南、河北、山東等地眾多窯爐燒製的磁州窯的典型代表。在施釉之前，瀝線被小心翼翼地塗在器皿表面上，在凸起的脊線和凸出的區域與深色釉料之間形成鮮明的對比。深色釉、高溫燒製的陶瓷器皿是堅固實用的器皿。它們的生產始於唐代（618-907）並迅速傳播到中國各地。北宋時期（960-1127）黑瓷的發展似乎受到了同時代素色漆器的啟發，不同的窯爐也發展出了自己的風格。 白泥製成的瀝線最早用於唐代陶瓷上，仿漆、仿銀。後來，在十世紀和十一世紀，它們被添加到容器的外部主體上，到十二世紀，瀝線最終成為一種重要的裝飾工具。文獻比較： 比較一件非常相近的北宋末期至金代十二世紀磁州黑釉棱線紋雙繫罐，高19.7 釐米，收藏於大都會藝術博物館，館藏編號1997.1.7。比較一件相近的北宋至金代十二世紀磁州黑釉瀝線紋雙係罐，高20.6 釐米，見紐約佳士得，2005年3月30日，lot 295。比較一件的北宋至金代磁州黑釉瀝線紋雙係罐，收藏於哈佛Arthur M.Sackler博物館，見Hare's Fur，《Tortoiseshell and Partridge Feathers》，劍橋，1995年，頁176，編號61。 拍賣結果比較： 形制：非常相近拍賣：倫敦邦瀚斯，2023年5月18日，lot 48 估價：GBP 15,000（相當於今日EUR 17,500） 描述：北宋/金黑釉棱線紋雙繫罐 專家評論：請注意尺寸較小 (20.3 釐米)。

A BLACK SCHIST STELE OF BUDDHA SHAKYAMUNI, PALA PERIODNortheastern India, Bihar, 10th century. Well carved seated in dhyanasana on a double lotus base, supported on a stepped pedestal adorned with numerous smaller figures, the palm of the hand and soles of the feet with neatly incised circles. Buddha's face with a benign expression and almond shaped eyes, the hair in tight curls surmounted by an ushnisha, wearing a sanghati draped over one shoulder, flanked by two pillars surmounted by stupas centering a nimbus with a stylized foliate border.Provenance: The personal collection of Arturo Schwarz, Milan, late 1990s. Leonardo Vigorelli, Bergamo, acquired from the above. Arturo Schwarz (1924-2021) was an Italian scholar, art historian, poet, writer, lecturer, art consultant and curator of international exhibitions. He lived in Milan, where he amassed a large collection of Dada and Surrealist art, including many works by personal friends such as Marcel Duchamp, Andre Breton, Man Ray, and Jean Arp. In 1975, Schwarz started working as curator and author, writing extensive publications on the work of Marcel Duchamp, as well as books and numerous essays on the Kabbalah, Tantrism, alchemy, prehistoric and tribal art, and Asian art and philosophy. His 1977 book on Man Ray's works and life was the first to reveal Ray's real name. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, some losses, nicks and surface scratches, structural cracks. The finely polished surface with a solid, naturally grown patina and an unctuous feel overall. Dimensions: Height 61.2 cm (excl. base) and 64.2 cm (incl. base)Mounted to a modern metal base. (2)Literature comparison:Compare a related stone figure of Buddha, 10th century, Bihar, in the collection of the British Museum, museum number 1942,0415.1.Auction result comparison: Type: Closely related Auction: Christie's New York, 13 September 2011, lot 268Price: USD 86,500 or approx. EUR 111,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of seated Buddha, Northeastern India, Pala period, circa 10th century Expert remark: Note the related size (63.5 cm)Auction result comparison:Type: RelatedAuction: Bonhams New York, 20 March 2018, lot 3224Price: USD 250,000 or approx. EUR 290,000 converted and adjusted for inflation at the time of writingDescription: A blackstone stele of crowned Buddha, Bihar, Pala period, 10th centuryExpert remark: Note the size (45 cm)Auction result comparison:Type: RelatedAuction: Christie's Paris, 22 June 2016, lot 11Price: EUR 71,100 or approx. EUR 83,000 adjusted for inflation at the time of writingDescription: A rare sedimentary stone stele of Shakyamuni Buddha, Northeast India, Pala Period, 10th centuryExpert remark: Note the size (31 cm)

A LARGE BRONZE RITUAL WINE VESSEL, HU, HAN DYNASTY 漢代弦紋銅壺China, 206 BC-220 AD. Finely cast. The broad pear-shaped body raised on a pedestal foot with gently spreading sides below an indented waist, the sides encircled by three slightly raised bands and with a prominent pair of taotie masks suspending massive loose rings on the shoulder, the waisted neck rising to a slightly raised band below the rim. The interior with a distinct casting mark.Provenance: Michael Goedhuis, May 1993. A private collection in in France, acquired from the above. A copy of the original invoice, dated 10 May 1993, confirming the dating above, and stating a “special price” for the present lot of GBP 8,900 or approx. EUR 28,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Michael Goedhuis trained as an economist, graduating with an MBA from the Courtauld Institute in Art History. He started a successful career in investment banking in New York and London, only to leave it in 1975 to pursue his passion for art. He joined Jacob Rothschild's Colnaghi Oriental Gallery specializing in Persian, Mughal, and Islamic art. It was here that he published a catalog focused entirely on the subject of post-archaic East Asian bronzes, a first in the field, authored by Ulrich Hausmann in 1989. Major collections were curated and sold by Mr. Goedhuis to numerous institutions including The Rothschild Collection to the Shahbanu of Iran, and the Vever Collection to the Smithsonian Institution. He subsequently expanded his activities to India, Japan, and China, concentrating on important antiquities. Today, Mr. Goedhuis continues to exhibit around the world, including in New York and Maastricht.Condition: Very good condition, commensurate with age. Expected old wear, minor casting flaws, scratches, dents, soil encrustations, signs of weathering and corrosion. The bronze with a superb, naturally grown, rich patina with extensive malachite and cuprite encrustation.Weight: 8,945 gDimensions: Height 44 cm Literature comparison:Compare a closely related hu, of similar shape and also with bands encircling the body, excavated in 1968 from the tomb of Prince Liu Sheng who was the king of Zhongshan from 154 BC and died in 113 BC in Mancheng, Hebei province, illustrated in Zhongguo Wenwu Jinghua Daguan, Qingtongjuan, Hong Kong, 1994, no. 1100, p. 306. Compare a related hu vessel, dated to the Han dynasty, illustrated by Jessica Rawson in The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes, 1998, pl. 38.Auction comparison: Type: Closely relatedAuction: Christie's New York, 18 March 2009, lot 217Price: USD 13,750 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: A large bronze ritual wine vessel, hu, Western Han dynastyExpert remark: Compare closely related form, manner of casting, and decoration with similar bands and mask handles. Note the size (47 cm). 漢代弦紋銅壺中國，公元前206年至公元 220年。壺口外撇，頸微束，下方鏨刻變體蕉葉紋，溜肩，肩部兩側分鑄一對獸面紋銜環舖首，腹部下收，肩腹飾三匝凹弦紋，圈足高企而外撇，皮色暗沉古穆。 來源：Michael Goedhuis，1993 年 5 月；法國私人收藏，購自上述機構。隨附原始發票副本，日期為 1993 年 5 月 10 日，確認上述日期，並註明當前拍品的“特別價格”為 8,900 英鎊或約 28,000 歐元（根據撰寫本文時的通貨膨脹情況進行換算和調整）。Michael Goedhuis 接受過經濟學培訓，畢業於考陶爾德藝術史學院，獲得 MBA 學位。他在紐約和倫敦的投資銀行開始職業生涯，但於 1975 年離開該行業去追求他對藝術的熱情。他加入了Jacob Rothschild 的Colnaghi Oriental Gallery藝廊，專門研究波斯、莫臥兒和伊斯蘭藝術。正是在這裡，他出版了一本完全關注後古代東亞青銅器主題的畫冊，這是該領域的第一本畫冊，由Ulrich Hausmann 於1989 年撰寫。Goedhuis 先生策劃並出售了主要藏品給包括Rothschild家族在內的眾多機構，以及伊朗 Shahbanu 收藏，史密森學會 Vever 收藏。 隨後，他將活動範圍擴大到印度、日本和中國，重點關注重要文物。如今，Goedhuis 先生繼續在世界各地舉辦展覽，包括紐約和馬斯特里赫特。 品相：狀況極好，有磨損、輕微鑄造缺陷、劃痕、凹痕、污垢、風化和腐蝕跡象。精美的、自然包漿，帶有大量紅綠色結殼。 重量：8,945 克 尺寸：高 44 厘米 文獻比較: 比較一件非常相近的外型和帶狀裝飾壺，1968年出土於河北滿城縣漢代中山王劉勝（西元前154至113年），見《中國文物精華大觀・青銅卷》，香港，1994年，編號1100，頁306。比較一件相近的漢代壺，見Jessica Rawson，《The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes》，1998年，頁38。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2009年3月18日，lot 217 價錢：USD 13,750（相當今日EUR 18,000） 描述：西漢青銅弦紋壺 專家註釋：比較非常相近的外形、鑄造風格，以及帶邊裝飾和輔面環。請注意尺寸 (47 厘米)。

A MONUMENTAL SANDSTONE HEAD OF A MALE DEITY, ANGKOR WAT STYLEKhmer Empire, 12th century. The face with a serene expression marked by almond-shaped eyes below ridged brows, a broad nose, and full lips, flanked by elongated earlobes, one with a pendeloque earring. The neatly incised hair with a diadem in front surmounted by the conical headdress.Provenance: Dr. J. Macken, Antwerp, Belgium.Expert Authentication: A signed certificate on the letterhead of Galerie de Ruimte, Oude Aziatische Kunst, Jean en Marcel Nies, addressed to Dr. J. Macken, confirming the attribution and dating stated above, accompanies this lot. Marcel Nies is a Belgian art expert and dealer who specializes in important works of art from Southeast Asia, India, and the Himalaya regions. Active since 1975, he has built an internationally recognized expertise and advises numerous vetting committees worldwide. Apart from the annual exhibitions held at his gallery, Marcel Nies has taken part in TEFAF Maastricht for over 30 years, showcasing some of the finest pieces in his collection. He has supplied works of art to important private collections and museums, including the Rijksmuseum in Amsterdam, the museum for Ostasiatische Kunst Koeln, the Victoria and Albert Museum London, the Rietberg Museum Zurich, the Metropolitan Museum New York, the Asian Art Museum San Francisco, the Barbier-Mueller Museum Dallas, and the Asian Civilization Museum in Singapore.Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, losses, nicks, scratches. Fine, naturally grown, smooth patina.Weight: 50.2 kg (incl. stand) Dimensions: Height 45 cmMounted to an associated wood base. (2)The present head dates to the Angkor Wat period, in the twelfth century, when the Khmer Empire was at its territorial zenith. This starts with the reign of Suryavarman II (1113-1145), who ordered the construction of Angkor Wat, the largest temple of the Angkor period, dedicated to Vishnu. The present head's expression, however, is more reminiscent of the Bayon style, built in the late 12th or early 13th century as the state temple of the Mahayana Buddhist King Jayavarman VII, and perhaps represents a transition from the Angkor Wat style to the later Bayon.Stylistically, the sculpture of the Angkor Wat period is marked by a return to the somewhat angular and upright modeling of the periods preceding the Baphuon style of the eleventh century. The size of sculpture from the Angkor Wat period, however, is generally in line with the more diminutive Baphuon period works, in contrast to the monumental sculpture of the tenth century and earlier.

A RARE ARCHAIC BRONZE RITUAL WINE VESSEL, HU, MIDDLE WESTERN ZHOU DYNASTY 西周中期罕見青銅壺 Expert's note: This vessel comes in a 100% untreated, original, as-excavated condition unlike most of the large Shang and Zhou Dynasty bronzes in circulation, which typically have undergone substantial restoration and patina treatment/enhancement. The X-Ray (images 3 and 4) reveals that the meticulously incised design is in a magnificent state of preservation just below the patina. The X-Ray (images 20, 21, 22 and 23) further reveals that there is no repair work whatsoever, and that deep surface corrosion is minimal. Overall, it must be said that such a large vessel, which such fine designs, and in such a good condition must be regarded as very rare. (more x-ray images available upon request) China, 10th-9th century BC. The sides flat-cast with four rows of large fish scale patterns with combed borders, below two pairs of long-tailed birds confronted on a leiwen band between a pair of lug handles flanking the base of the neck, the whole raised on a spreading pedestal foot pierced on two sides with a circular aperture. The bronze is covered overall in a magnificent, naturally grown patina with extensive malachite, cuprite, and azurite encrustation.Provenance: A Far Eastern collector in Queens, New York, USA. Originally, one of a pair. The other sold from his collection at Christie's New York, 26 March 2003, lot 155, and is now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Michael B. Weisbrod, acquired from the above. 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.Condition: Excellent condition, commensurate with age. Extensive wear, minor losses and small nicks, light scratches, encrustations. Natural patina overall with extensive malachite, cuprite, and azurite encrustations. The patina further with scattered cloth imprints from ancient linen into which the vessel was shrouded before being buried, now long gone. X-ray images proving the excellent condition are available upon request.Weight: 5,480 gDimensions: Height 40.5 cmLiterature comparison: Compare the counterpart to this jar, once in the same collection as the present lot, at Christie's New York, 26 March 2003, lot 155, and now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Compare also a similar bronze hu, with cover, found in Baijia, Fufeng, Shaanxi province, 1975, and now in the Fufeng County Museum, illustrated in Zhonguo meishu quanji, gongyi meishu, bian 4, qingtongqi (1), (The Great Treasury of Chinese Fine Arts, Arts and Crafts, volume 4, Bronzes (1)), Beijing, 1987, page 192, no. 213, where the pattern on the body is described as fish scales. It is possible, however, that this may be feathers, which would relate to the birds on the neck. Either way, the patterns on the present vessel and the published example are identical. Compare also a related hu, of more slender form with a band of confronted birds on the neck between the lug handles, and rows of overlapping feathers or fish scale patterns of smaller size covering the body, in the collection of the Shanghai Museum, included in the exhibition, Ancient Chinese Bronzes, Hong Kong Museum of Art, 1 February-3 April 1983, no. 28. Like the present hu, this example is dated to the middle Western Zhou period.西周中期罕見青銅壺中國，公元前十至九世紀。兩側平鑄，浮雕四排魚紋，下面兩對長尾鳥紋，雷紋帶，頸部兩側分別有一貫耳。圈足外撇，有一個孔。青銅壺整體美麗的綠色皮殼，并有綠色、藍紅色鏽斑。 來源：紐約皇后區遠東收藏家，原本是一對。另一個於2003年3月26日紐約佳士得售出，Lot 155，目前在英國沃克郡 Compton Verney 美術館，編號CVCSC 0303.A；Michael B. Weisbrod購於上述藏家處。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。品相：狀況極佳，與年齡相稱。大面積磨損、輕微損失和小劃痕、結殼。整體天然皮殼，帶有大量綠色、紅色以及藍色鏽斑。可根據要求提供證明狀況良好的 X 射線圖像。 重量：5,480 克 尺寸：高40.5 厘米 文獻比較： 比較一件來自同樣收藏的青銅壺，見紐約佳士得，2003年3月26日，lot 155，現藏英國瓦立克郡Compton Verney Art Gallery，編號CVCSC 0303.A。比較一件類似的帶蓋青銅壺，1975年出土於陝西扶風白家，現藏於扶風縣博物館，圖見《中國美術全集》，卷四，〈青銅器1〉(The Great Treasury of Chinese Fine Arts，Arts and Crafts，volume 4，Bronzes (1))，北京，1987年，頁192，編號213；此青銅器器身的花紋被描述為魚鱗。不過，這有可能是羽毛，這與青銅器頸部上的鳥紋有關。不管怎麼說，現拍品的圖案和已發表的例子是一樣的。比較一件相近的西周中期青銅壺，它的形狀更細長，頸部有一圈對峙的鳥紋，身體上有一排重疊的羽毛或小尺寸的魚鱗紋，收藏於上海博物館，曾展覽於1983年2月1日至4月3日香港藝術館，《中國古代青銅器》，編號28。13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A RARE BRONZE RITUAL WINE VESSEL, ZHI, SHANG DYNASTY, CHINA, 13TH-12TH CENTURY BC 西元前十三至十二世紀商代青銅觶 Of oval section, the S-profile body is cast in relief to each side with a powerful taotie mask, flanked by pairs of ascending kui dragons, and divided vertically by four notched flanges, all below a narrow band of confronting birds. The background with a remarkably crisp and well-preserved leiwen ground. The tall pedestal foot is cast with two pairs of mythical birds.Inscriptions: A clan sign is finely cast to the interior of the base. This sign resembles those on several vessels from Fu Hao's tomb (see Beijing 1980f., pl. 48), and also several vessels from Anyang, all dating from the 13th century. In more complete forms of this same sign, the yaxing frames a graph recognizable as the name of a diviner from Wu Ding's reign.Provenance: The present lot was part of an important collection of archaic Chinese bronzes, built by three generations of the Chasseloupe-Laubat family in France. Prosper de Chasseloup-Laubat (1805-1873), was a prominent aristocrat, politician, and art collector who became Minister of the French Navy and the Colonies under Napoleon III, traveling extensively through all of Asia. His son Louis (1863-1954), an engineer in ship design, significantly expanded the family collection, also during his frequent travels throughout Asia. François (1904-1968), Prosper's grandson, eventually inherited the family passion and became a renowned explorer and participant in the Hoggar Expedition. He was the first French explorer to reach English Malaysia, bringing back previously unpublished documents on the isolated Sakai tribes. As a collector, François Chasseloupe-Laubat was advised by Jean Claude Moreau-Gobard, an important French collector and dealer specializing in Asian art. Condition: Very good condition, commensurate with age, with ancient wear and expected casting flaws. Some traces of weathering, corrosion, minor dents and losses, shallow surface scratches. The solid, naturally grown patina has distinct malachite and cuprite encrustations.Weight: 983.7 g Dimensions: Height 14.5 cm Expert's note: On this elliptical zhi wine cup, the designing artisans went to great lengths to vary the motifs of the low-relief decoration found in the six horizontal registers on each side, which vary significantly, and yet as a group achieve superb stylistic harmony. The three pairs of mythical beasts differ in the treatment of their wings, horns, eyes and other features, and the varying distance between them, whereas the central taotie mask with its prominently raised eyes beautifully echoes the outline of the vessel, which has its widest part in the lower third.Literature comparison:Compare a related bronze zhi with similarly stylized birds, 12.1 cm high, dated 10th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1919.6. Compare a closely related bronze zhi with similar decorations, 14.6 cm high, dated to the late 11th century BC, in the Metropolitan Museum of Art, accession number 24.72.6.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2019, lot 1503 Price: USD 300,000 or approx. EUR 332,000 converted and adjusted for inflation at the time of writing Description: The Peng Zhou Zhi, a rare small bronze ritual wine vessel, late Shang dynasty Expert remark: Compare the related form, albeit lacking flanges, as well as the closely related manner of casting, decorations with similar taotie and stylized bird designs, and patina with similar malachite encrustation. Note the related size (13.8 cm).Auction result comparison: Type: Related Auction: Christie's New York, 23 March 2012, lot 1504 Price: USD 290,500 or approx. EUR 357,000 converted and adjusted for inflation at the time of writing Description: A rare and finely cast bronze ritual wine vessel, zhi, late Shang dynasty, 12th-11th century BC Expert remark: Compare the related form with similar flanges, albeit with a slightly broader body, and patina with similar malachite encrustation. Note the size (11.2 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 13 September 2016, lot 10 Price: USD 68,750 or approx. EUR 81,000 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual wine vessel (zhi), Shang dynasty Expert remark: Compare the related form, decoration, and patina with similar malachite encrustation. 西元前十三至十二世紀商代青銅觶侈口，束頸，鼓腹，帶圈足。 雷紋地，浮雕饕餮面具，夔龍紋，四出戟，鳳鳥紋。 高足上鑄有兩對神鳥。底足内有菱形線條紋。 款識: 底座內部鑄有氏族標誌，與婦好墓中的幾件器皿上的標誌相似（參見北京1980f.，第48頁），也與安陽的幾件器皿上的標誌相似。這些器皿的歷史都可以追溯到公元前十三世紀。 來源：法國Chasseloup-Laubat家族的三代人共同努力建立的中國古代青銅器重要收藏的一部分。Prosper de Chasseloup-Laubat（1805-1873 年）是一位著名的貴族、政治家和藝術收藏家，後來成為拿破崙三世領導下的法國海軍和殖民地部長，足跡遍及整個亞洲。他的兒子Louis（1863-1954 年）是一名船舶設計工程師。在他頻繁遊歷亞洲期間，他的家族收藏顯著擴大。Prosper的孫子François（1904-1968）最終也成為著名的探險家和霍格探險隊的參與者。他是第一位到達英屬馬來西亞的法國探險家，帶回了之前未發表的關於與世隔絕的酒井部落的文獻。作為一名收藏家，François Chasseloupe-Laubat 得到了Jean Claude Moreau-Gobard 的指導，後者是法國一位重要的亞洲藝術收藏家和經銷商。 品相：狀況非常好，有磨損和鑄造缺陷，一些風化、腐蝕、輕微凹痕和缺損、表面淺劃痕。自然包漿與紅綠色結殼。 重量：983.7 克 尺寸：高 14.5 厘米 文獻比較: 比較一件相近的西元前十世紀鳥紋青銅觶，高12.1 厘米，收藏於史密森學會國立藝術博物館，館藏編號 F1919.6。比較一件非常相近裝飾的西元前十一世紀末青銅觶，高14.6 厘米，收藏於大都會藝術博物館，館藏編號 24.72.6。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2019年3月22日，lot 1503 價錢：USD 300,000（相當今日EUR 332,000） 描述：商晚期公元前十二至十一世紀倗舟觶 專家註釋：比較相近的外形，但沒有戟，以及非常相近的鑄造風格，饕餮紋和鳥紋，以及包漿類似孔雀石。請注意相近尺寸 (13.8 厘米)。 拍賣比較： 形制：相近 拍賣：紐約佳士得，2012年3月23日，lot 1504 價錢：USD 290,500（相當今日EUR 357,000） 描述：晚商青銅饕餮紋觶 專家註釋：比較相近的外形、四出戟 、體稍寬，包漿類似孔雀石。請注意尺寸 (11.2 厘米)。 拍賣比較： 形制：相近 拍賣：紐約蘇富比，2016年9月13日，lot 10 價錢：USD 68,750（相當今日EUR 81,000） 描述：商青銅饕餮紋觶 專家註釋：比較相近的外形、裝飾，以及包漿類似孔雀石。

A CIZHOU SILVER-DECORATED AND BLACK-GLAZED TEA BOWL, SOUTHERN SONG OR JIN DYNASTY 南宋或金代磁州窯China, 12th-13th century. The deep conical sides rising from a short straight foot, covered overall with a black glaze, changing to a distinct russet tone along the rim. Finely decorated with silvering to the interior showing scrolling foliage against a striated ground. On the exterior, the glaze ends in an irregular line above the foot to reveal the granular buff ware.Provenance: English trade.Condition: Good condition with old wear and expected manufacturing irregularities, some crackling and glaze lines, few minor hairlines to rim. Smoothened chips to the foot and few minute nicks to the rim.Weight: 158.4 gDimensions: Diameter 11 cm This bowl embraces a technique of decoration otherwise virtually unknown among Cizhou wares: overglaze silvering. The silver designs to the interior reveal influence from the overglaze-gold designs on russet-and-black-glazed Ding ware. Gold and silver bands were affixed to ceramic vessels as early as the Warring States period; so too was metallic foil used to decorate many of those vessels, as evinced by a gray earthenware covered hu jar in the Asian Art Museum of San Francisco that has been dated to the third century BC. And although their numbers were never large, many more ceramics from Warring States times onward must have been decorated with overglaze gold and silver than the few extant pieces might suggest.Literature comparison:Compare a pear-shaped bottle of Cizhou type with silver glaze decoration, formerly in the Robert Hatfield Ellsworth Collection, illustrated by Robert Mowry in Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown- and Black-Glazed Ceramics, 400-1400, Harvard University, 1996, pp. 167-69, no. 57, where it is dated to the Jin dynasty.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 21 March 2014, lot 2082Price: USD 13,750 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A rare cizhou-type silver-decorated black-glazed tea bowl, Southern Song/Jin dynastyExpert remark: Compare the closely related form, decoration, black and russet glaze, and similar striations. Note the size (11.7 cm).Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 25 May 2022, lot 328Price: HKD 126,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A rare silver-inscribed black-glazed bowl, Southern Song dynastyExpert remark: Compare the closely related form, decoration, black and russet glaze, and similar striations. Note the size (8.7 cm) and that this lot also comprises a cup stand. 南宋或金代磁州窯茶盞中國，十二至十三世紀。唇沿，深直腹，圈足。覆以有光澤的黑褐色釉，釉面密佈銀色“油滴”。黑釉至於圈足上方，露出棕褐色內胎。 來源：英國古玩交易。 品相：狀況良好，有磨損和製造不規則，一些裂紋和冲線。足部和口部有刻痕。 重量：158.4 克 尺寸：直徑11 厘米文獻比較： 比較一件金代梨形磁州銀製釉面裝飾，曾於Robert Hatfield Ellsworth收藏，見Robert Mowry，《Hare's Fur，Tortoiseshell，and Partridge Feathers: Chinese Brown- and Black-Glazed Ceramics，400-1400》，哈佛大學，1996年，頁167-69，編號57。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2014年3月21日，lot 2082 價格：USD 13,750（相當於今日EUR 16,500） 描述：南宋/金磁州系黑釉銀彩「壽山福海」茶盞 專家評論：比較非常相近的外形、裝飾和褐黑釉面，以及相似的條紋。請注意尺寸(11.7厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2022年5月25日，lot 328 價格：HKD 126,000（相當於今日EUR 15,000） 描述：南宋乙酉元年（1165年）黑釉描銀「滿堂金玉」、「萬代子孫」斂口茶盞 《乙酉元年》款 、「茶香」字 連 磁州系白釉盞托 專家評論：比較非常相近的外形、裝飾和褐黑釉面，以及相似的條紋。請注意尺寸(8.7厘米) ，以及此碗有一個托。

A FINE THANGKA OF AKSHOBHYATibet, 18th-19th century. Distemper and gold on cloth, with a brocade frzaame and mounted as a hanging scroll. The blue-skinned deity seated in dhyanasana on a lotus throne with offerings before him, his right hand lowered in bhumisparsha mudra and his left holding a vajra, wearing monastic robes draped over his left shoulder, backed by a green and red aureole, a small figure of his consort Lochana seated beside him, all below Buddha Amitabha flanked by White Tara and Manjusri, the lower register painted with a small image of a devotee flanked by Vajrapani and Mahakala, all within a verdant mountainous landscape.Provenance: From the collection of Indrani and Yogaraj Yogasundram. Yogaraj Yogasundram (1927-2011) was a native Sri Lankan who served as ambassador of Sri Lanka in New York, and deputy permanent representative of Sri Lanka to the UN in the 1970s and 80s. His wife Indrani (nee Coomaraswamy) was an avid collector of Asian art, amassing a large collection during her time in China, Sri Lanka, and Iraq during her husband's assignments in the 1960s and in New York thereafter.Condition: Good condition with minor wear, light soiling, minor creasing, minimal staining, and light fading. The brocade frame in similar condition with minor wear, some loose threads, and small tears.Dimensions: Image size 54.9 x 74.3 cm, Size incl. frame 81 x 129.5 cmAkshobhya's name literally means 'Immovable One'. As each Transcendental Buddha adopts one of the canonical hand gestures (mudras) referring to a key moment in Shakyamuni's life, it is apt that Akshobhya should recall Shakyamuni's unshakeable determination against the armies and temptations of Mara. In mandalas relating to his 'vajra' clan, and the Unexcelled Yoga tantras (Anuttarayoga), he occupies the center, but in the earliest tantric mandalas where the Five Transcendental Buddhas first appear, he is the Lord of the eastern quadrant, and represents the transmutation of anger into wisdom.

A RARE BRONZE FIGURE OF UMA, ANGKOR WAT STYLE, KHMER EMPIRE, 12TH CENTURYExpert's note: The finely cast details of the face, clothing and jewelry are all indicative of the Angkor period. Uma was a favored goddess in Khmer Angkor, and while sandstone representations of the goddess abound, bronze devotional figures of Uma are considerably rarer.Well cast standing upon a simple square plinth with her hands extended. Her pleated sampot is suspended from a charm-embellished belt and a central sash that tapers off in a distinct fishtail shape. She is ornamented in fine jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem.Provenance: The personal collection of Robert Rousset, acquired in the 1950s-1970s. Thence by descent to Jean-Pierre Rousset (1936-2021). The underside with an old label, 'C. 1085'. Robert Rousset (1901-1982) was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. A French "certificat d'exportation d'un bien culturel" (export license), issued 12/12/2022, number 237595, is accompanying this lot. Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks, scratches, dents, a crack to the lower sampot, signs of weathering and erosion, and encrustations. No hidden damages. Magnificent malachite green patina, naturally grown overall.Weight: 547 g (incl. base) Dimensions: Height 17.8 cm (excl. base) and 20.5 cm (incl. base)Mounted on an associated modern base. (2) Auction result comparison: Type: Closely related Auction: Christie's New York, 23 July 2020, lot 36 Price: USD 8,125 or approx. EUR 8,500 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Uma, Khmer, Angkor period, Angkor Way [sic] style, 12th century Expert remark: Note the near-identical size (18.5 cm)

A BRONZE TRIPOD RITUAL VESSEL AND COVER, HE, LATE WARRING STATES TO WESTERN HAN PERIOD 戰國晚期至西漢三足蓋爐China, 3rd-2nd century BC. Finely cast, the globular body raised on three tall cabriole legs and surmounted by a tall and gently flaring rim with a domed cover topped by a loop finial in the form of a bird's head. The spout is cast as a phoenix with wings spread out and beak agape, the high arch handle in the form of a winged feline beast, all with neatly incised details.Provenance: Michael Goedhuis, September 1997. A French private collection, acquired from the above. A copy of the original invoice, dated 22 September 1997, confirming the dating above, and stating a purchase price for the present lot of USD 25,000 or approx. EUR 43,500 (converted and adjusted for inflation at the time of writing) accompanies this lot. Michael Goedhuis trained as an economist, graduating with an MBA from the Courtauld Institute in Art History. He started a successful career in investment banking in New York and London, only to leave it in 1975 to pursue his passion for art. He joined Jacob Rothschild's Colnaghi Oriental Gallery specializing in Persian, Mughal, and Islamic art. It was here that he published a catalog focused entirely on the subject of post-archaic East Asian bronzes, a first in the field, authored by Ulrich Hausmann in 1989. Major collections were curated and sold by Mr. Goedhuis to numerous institutions including The Rothschild Collection to the Shahbanu of Iran, and the Vever Collection to the Smithsonian Institution. He subsequently expanded his activities to India, Japan, and China, concentrating on important antiquities. Today, Mr. Goedhuis continues to exhibit around the world, including in New York and Maastricht. Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, casting flaws, tiny losses, minor dents, light scratches. The bronze is covered in a rich, naturally grown patina with malachite encrustations.Weight: 3,579 g Dimensions: Height 26.4 cm, Diameter 25.5 cm Literature comparison:Compare a related earlier bronze he with a similar high arch handle in the form of a winged feline beast, dated to the Spring and Autumn period, at Sotheby's New York, 31 March-5 April 2005, lot 154A.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 7 July 2003, lot 626 Price: HKD 113,525 or approx. EUR 20,000 converted and adjusted for inflation at the time of writing Description: A bronze wine ewer and cover, he, Warring States period Expert remark: Compare the related form with similar cabriole legs and the phoenix spout. Note the smaller size (22.8 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 9 October 2022, lot 189 Price: HKD 189,000 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual pouring vessel, he, Eastern Zhou dynasty Expert remark: Compare the related form with similar cabriole legs and the phoenix spout. Note the smaller size (23.3 cm).Literature comparison:Compare a related ritual vessel, he, 35.5 cm in diameter, dated to the 5th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.31a-b. Compare a related bronze ewer, he, 21 cm in diameter, dated to the 4th century BC, in the Art Institute of Chicago, accession number 1930.366. Compare a related ritual vessel with lid, he, 24.1 cm in diameter, dated late 5th to 4th century BC, in the Asian Art Museum of San Francisco, accession number B60B103. 戰國晚期至西漢三足蓋爐中國，公元前三至二世紀。爐身成球體，三只獸腿足，圓頂蓋，鳥頭形鈕。壺嘴為展翅張嘴的鳳凰，高執柄為帶翼神獸造型，細節生動。 來源：英國倫敦Michael Goedhuis，1998 年；法國私人收藏，購自上述機構。隨附原始發票副本，日期為 1997 年 9 月 22 日，確認上述日期，並註明當前拍品的“特別價格”為 25,000美金或約 43,500 歐元（根據撰寫本文時的通貨膨脹情況進行換算和調整）。Michael Goedhuis 接受過經濟學培訓，畢業於考陶爾德藝術史學院，獲得 MBA 學位。他在紐約和倫敦的投資銀行開始職業生涯，但於 1975 年離開該行業去追求他對藝術的熱情。他加入了Jacob Rothschild 的Colnaghi Oriental Gallery藝廊，專門研究波斯、莫臥兒和伊斯蘭藝術。正是在這裡，他出版了一本完全關注後古代東亞青銅器主題的畫冊，這是該領域的第一本畫冊，由Ulrich Hausmann 於1989 年撰寫。Goedhuis 先生策劃並出售了主要藏品給包括Rothschild家族在內的眾多機構，以及伊朗 Shahbanu 收藏，史密森學會 Vever 收藏。 隨後，他將活動範圍擴大到印度、日本和中國，重點關注重要文物。如今，Goedhuis 先生繼續在世界各地舉辦展覽，包括紐約和馬斯特里赫特。 品相：狀況非常好，大面積磨損、風化和侵蝕跡象、結殼、鑄造缺陷、微小缺損、輕微凹痕、輕微劃痕。青銅器表面覆蓋著自然包漿，上面有綠色結殼。 重量：3,579 克 尺寸：高 26.4 厘米, 直徑25.5 厘米文獻比較： 比較一件相近的春秋時代青銅盉，見紐約蘇富比，2005年3月31日-4月5日，lot 154A。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2003年7月7日，lot 626 價格：HKD 113,525（相當於今日EUR 20,000） 描述：戰國時期青銅盉 專家評論：比較相近的外形，具有類似的足外撇和鳳凰口。請注意尺寸較小(22.8厘米)。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2022年10月9日，lot 189 價格：HKD 189,000（相當於今日EUR 22,500） 描述：東周青銅鳥首盉 專家評論：比較相近的外形，具有類似的足外撇和鳳凰口。請注意尺寸較小(23.3厘米)。 文獻比較： 比較一件相近的西元前五世紀青銅盉，直徑35.5厘米，收藏於史密森學會國立藝術博物館，館藏編號S1987.31a-b。比較一件相近的西元前四世紀青銅盉，直徑21厘米，收藏於芝加哥藝術機構，館藏編號1930.366。比較一件相近的西元前五世紀末四世紀青銅盉，直徑24.1厘米，收藏於舊金山亞洲藝術博物館，館藏編號B60B103。

AN AGATE BOWL, SONG DYNASTY, CHINA, 960-1279 宋代瑪瑙碗Finely carved, the shallow rounded sides raised on a thick foot and rising to an everted rim, the luminous translucent stone is superbly polished and shows natural swirls and ripples of pale grey to deep honey tones with scattered dark inclusions. With a magnificent surface polish, rendering an unctuous feel to the surface overall.Provenance: From the personal collection of J. J. Lally, New York, USA. With two labels from J. J. Lally, each inscribed with the number '4154'. James J. Lally is a renowned antique dealer and expert, recognized as one of the greatest scholar-dealers of Chinese art, who has been a leader in the field for more than 40 years. After graduating from Harvard College and Columbia University, Lally joined Sotheby's where he held many positions within the Chinese art department. In 1970 he served as the director of Chinese works of art at Sotheby's in New York and Hong Kong, and by 1983 was named president of Sotheby's in North America. In 1986 he founded his namesake gallery, J. J. Lally & Co., at 41 East 57th Street in New York - just a few blocks away from the MoMA, to provide advisory services for keen collectors. Lally fondly recalls the moment, not long after he opened his gallery, when a young man walked through the door with a Shang Dynasty gong—a bronze vessel shaped like a gravy boat—decorated with a dragon and tiger and in beautiful condition. It was, Lally described, “one of the most important objects I ever had in my hands.” The young man said he had inherited it from his father and was not really interested in Chinese art himself. He wanted to buy a sailboat and wondered if the gong was valuable enough to pay for that. “I was very happy to tell him that it was valuable enough to buy two sailboats,” Lally noted. The gallery helped to establish New York as a major center of commerce for Chinese art and allowed Lally to concentrate on his own specific interests, particularly early ceramics, ritual bronze vessels, archaic jade carvings and sculpture. Lally brought a learned approach to his work, publishing detailed, scholarly catalogs that have remained important reference guides within the field. This meticulous approach continued when he produced his own exhibitions and catalogs. Giuseppe Eskenazi, dubbed the “Godfather of Chinese Antiques,” and one of the world's most esteemed Chinese art dealers, also spoke highly of Lally for his achievements in the industry, alongside William Chak from Hong Kong, and the Marchant family from London. In the spring of 2023, Christie's and Bonhams conducted single owner sales of Lally's collection which broke several auction records.Condition: Superb condition with expected old wear, few small areas with inclusions along the foot and rim which have been slightly smoothened.Weight: 127.3 gDimensions: Diameter 9.8 cm With a padded silk box and cover. (2)Literature comparison:Compare a closely related bowl of similar color, dated to the Southern Song period, 9.5 cm diameter, in the collection of the Asian Art Museum of San Francisco, object number B60J6. Compare a related bowl of similar form, dated to the Song dynasty (960-1279), 17.8 cm diameter, in the collection of the Asian Art Museum of San Francisco, object number B60J159.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 19 March 2015, lot 597Price: GBP 13,750 or approx. EUR 15,500 adjusted for inflation at the time of writing Description: A Pale Grey Agate Flower-Form Bowl, China, Possibly Southern Song DynastyExpert remark: Note the size (12 cm diameter).Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 31 May 2017, lot 3141Price: HKD 150,000 or approx. EUR 21,000 adjusted for inflation at the time of writing Description: An Agate Oval Stem Dish, Song Dynasty (960-1279) Expert remark: Note the size (15.7 cm). 宋代瑪瑙碗天然瑪瑙製成，盞身光素，敞口 ，直圈足，乳白色的底色。半透明瑪瑙經過拋光精良，呈現出淺灰色至深蜜色調的自然漩渦和波紋，深色內沁，表面光滑瑩潤。 來源：紐約 J. J. Lally私人收藏，J. J. Lally留下兩個標籤，上面都寫著 '4154'。James J. Lally是一位著名的古董商和專家，被公認為中國藝術最偉大的儒商之一。四十多年來，他一直是該領域的領導者。從哈佛大學和哥倫比亞大學畢業後，Lally加入蘇富比中國藝術部門並擔任多個職位。1970年，他擔任紐約和香港蘇富比中國藝術品總監，並於1983年被任命為蘇富比北美區總裁。1986 年，他在紐約東 57 街 41 號（距現代藝術博物館僅幾個街區）創立了同名畫廊 J. J. Lally & Co.，為收藏家提供諮詢服務。Lally深情地回憶起藝廊開張不久，一位年輕人拿著商代銅器（刻有龍虎圖案的青銅器皿，狀態良好）走進門的那一刻。“這是我手中最重要的物品之一。” 這位年輕人說，他是從父親那裡繼承的，他自己對中國藝術並不真正感興趣。 他想買一艘帆船，不知道這銅器是否值錢。”我很高興告訴他，它的價值足以購買兩艘帆船，” Lally告訴他。該藝廊幫助紐約成為中國藝術的主要商業中心，並使Lally能夠專注於自己的興趣，特別是早期陶瓷、青銅禮器、古代玉雕和造像。Lally為出版了詳細的學術目錄，這些目錄至今仍然是該領域的重要參考，他被譽為“中國古董教父”。全球最受尊敬的中國藝術品經銷商之一的Giuseppe Eskenazi 與香港的 William Chak 和倫敦的 3月ant 家族一樣，也高度評價了 Lally的成就。2023年春季，佳士得和邦瀚斯對拉利的藏品進行了拍賣，打破了多項拍賣記錄。品相：狀況極好，有磨損，足部和邊緣有一些小區域有內沁，已稍微平滑。 重量：127.3 克 尺寸：直徑 9.8 釐米 內襯絲綢蓋盒 (2) 文獻比較： 比較一件非常相近的南宋瑪瑙碗，直徑9.5 釐米，收藏於舊金山亞洲藝術博物館，館藏編號B60J6。比較一件相近的宋代瑪瑙碗有相似的外形，直徑17.8 釐米，收藏於舊金山亞洲藝術博物館，館藏編號B60J159。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年3月19日，lot 597 價格：GBP 13,750（相當於今日EUR 15,500） 描述：可能為南宋瑪瑙花口盌 專家評論：請注意尺寸 (12 釐米 直徑)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年5月31日，lot 3141 價格：HKD 150,000（相當於今日EUR 21,000） 描述：宋瑪瑙橢圓形高足盤 專家評論：請注意尺寸 (15.7 釐米)。

A FRAGMENTARY BRONZE BUST OF BUDDHA, INDONESIA, 16TH-17TH CENTURYFinely cast dressed in a monastic robe covering both shoulders and falling gracefully in neatly carved U-shaped folds. His serene face with heavy-lidded eyes below elegantly arched brows centered by a raised circular urna, his full lips forming a calm smile, flanked by long pendulous earlobes. The hair arranged in tight curls over the high ushnisha.Provenance: Galleria Nuria Palacios, Madrid. Paolo Bertuzzi, acquired from the above. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out together with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Extensive wear, losses, signs of weathering and erosion, the bronze with malachite encrustation, generally presenting well.Scientific Analysis Report: An alloy analysis via atomic emission spectrometry conducted by Antiques Analytics finds a zinc content of 5% indicating an origin no sooner than 16th century, as well as a low tin content also in favor of a production period between the 16th and 17th century. A copy of the Expert Report from Antiques Analytics, test report number AA 23-04041, dated 19 May 2023, accompanies this lot.Weight: 1535.1 g (excl. stand) and 2,146 g (incl. stand)Dimensions: Height 31 cm (excl. stand) and 45.5 g (incl. stand)With an associated metal stand. (2)

A RARE SCHIST FRIEZE WITH THE SCENE OF THE ENTREATY TO PREACH, ANCIENT REGION OF GANDHARA 健陀羅片岩佛祖講道場景Kushan period, 2nd - 4th century AD. Finely carved with Buddha seated in dhyanasana on a pedestal beneath a canopy of leafy branches from an ashoka tree, his right hand raised in abhaya mudra, wearing a voluminous robe with elegantly carved folds. He is flanked by Brahma and Indra who are kneeling and backed by halos. His serene face with heavy-lidded eyes below gently arched brows, his full lips forming a subtle smile, his neatly incised wavy hair with a high ushnisha.Provenance: From the private collection of a former British diplomat, and thence by descent in the same family. Condition: Very good condition, commensurate with age. Wear, signs of weathering and erosion, small losses, nicks, scratches, and encrustations, all as expected for a schist frieze of nearly two thousand years of age.Weight: 9.8 kg Dimensions: Width 33 cm With Brahma dressed as a sage positioned to his right and Indra with a tall crown to his left, the scene depicts an important moment in the life of Buddha. As described in the Mahavastu, after gaining enlightenment, Buddha was reluctant to teach what was revealed to him, concerned that his insights would be rejected by the world. Observing Buddha's thoughts, Brahma rallied Indra and other gods to implore Buddha to preach and "set rolling the wheel of the dharma" (see Jones, The Mahavastu, Vol. 3., London, 1956, pp. 302-309).The scene is an vital moment in a larger narrative, foreshadowing the creation of the sangha and the wider spread of Buddhism. Within its historic context, this figure speaks to the growth of Buddhism in the ancient region of Gandhara, didactically raising the Buddhist doctrine over Vedic thought and practice, the latter being referenced in the two gods' entreaty to Buddha.Literature comparison:Compare a related schist relief of the seated Buddha, 45.7 cm wide, dated 2nd-4th century, in the National Museum of Asian Art, Smithsonian Institution, accession number S2000.15. Compare a related schist carving of the seated Buddha with worshipers, 34 cm wide, dated 2nd-4th century, in the Victoria & Albert Museum, accession number IM.70-1939.Auction result comparison: Type: Closely related Auction: Bonhams New York, 17 September 2014, lot 82 Price: USD 43,750 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: A schist relief panel of the Entreaty to Preach, ancient region of Gandhara, 2nd/3rd century Expert remark: Compare the closely related scene with the Entreaty to Preach showing Brahma and Indra on the seated Buddha's right and left. Note the slightly larger size (44.4 cm).Auction result comparison: Type: Related Auction: Christie's New York, 21 March 2008, lot 562 Price: USD 29,800 or approx. EUR 39,000 converted and adjusted for inflation at the time of writing Description: A large gray schist relief of Buddha with attendants, Gandhara, 2nd/3rd century Expert remark: Compare the related subject and manner of carving. Note the larger size (50 cm) and that this is a fragment only, with obvious condition issues. 健陀羅片岩佛祖講道場景貴霜時期，二至四世紀。阿育王樹枝繁葉茂的樹冠下，佛陀在以禪坐姿勢端坐於底座上，右手施無畏印，身披天衣，衣紋流畅，如行雲流水。 他的兩側是跪著梵天和因陀羅。佛陀面容平靜，雙眼微閉，面露微笑，頭上有螺髻。 來源：前英國外交官私人收藏，並且在同一家族傳承。 品相：狀況極好，有磨損、風化和侵蝕的跡象、小缺損、刻痕、劃痕和結殼。 重量：9.8 公斤 尺寸：寬 33 厘米文獻比較： 比較一件相近的西元二至四世紀坐佛浮雕片岩，寬45.7厘米，收藏於史密森學會國立藝術博物館，館藏編號S2000.15。比較一件相近的西元二至四世紀坐佛浮雕片岩，34厘米寬，收藏於維多利亞和亞伯特博物館，館藏編號IM.70-1939。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2014年9月17日，lot 82 價格：USD 43,750（相當於今日EUR 52,000） 描述：二至三世紀犍陀羅佛陀講道浮雕片岩 專家評論：比較非常相近的講道場景，梵天和因陀羅分別坐在佛陀的左右兩側。請注意尺寸較大 (44.4厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2008年3月21日，lot 562 價格：USD 29,800（相當於今日EUR 39,000） 描述：二至三世紀犍陀羅佛陀講道浮雕片岩 專家評論：比較相近的主題和雕刻風格。請注意尺寸較大 (50厘米) ，這只是一件殘片，有明顯的品相問題。

A BACTRIAN MARBLE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central Asia, page 50, fig. 46.Oxus Civilization. The column of waisted form flaring towards the ends, the top and base with a crescent-shaped central groove. The stone of dark brown marble with white veins, and stress lines filled with calcite.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2003. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 28 February 2003, and stating a purchase price of EUR 4,100 or approx. EUR 6,500 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Very good condition commensurate with age showing expected old wear and traces of use, some obvious losses, chips, and natural fissures.Weight: 5,320 gDimensions: Height 25.5 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 22 October 2003, lot 464Price: USD 6,600 or approx. EUR 9,900 converted and adjusted for inflation at the time of writingDescription: A Bactrian marble ritual object, 3rd millennium BCExpert remark: Compare the closely related form and color of the stone. Note the larger size (38.1 cm).

A GILT-LACQUERED WOOD FIGURE OF BUDDHA SHAKYAMUNI, SHAN STATE, BURMA, LATE 18TH TO EARLY 19TH CENTURYFinely carved, seated in dhyanasana on a double lotus pedestal, holding his right hand in bhumisparsha mudra and his left in dhyana mudra, wearing tight-fitting robes with upturned epaulettes and a sash tied at the waist, richly adorned with ornate jewelry decorated with white and green glass inlays. His serene face with downcast eyes and full lips, the tiered headdress surmounted by a pointed ketumala, flanked by foliate panels decorated with leaves, scrolling vines, and floral medallions.Provenance: From a Danish private collection.Condition: Good condition with wear, expected age cracks, rubbing and light flaking to the lacquer, few inlays lost, small chips, minor losses, and a repair to one of the foliate panels.Weight: 2,714 gDimensions: Height 56.6 cmMuseum comparison:Compare a related Burmese dry lacquer figure of Buddha similar posed and elaborately adorned, 139.7 cm high, dated ca. 1895, in the Asian Art Museum of San Francisco, accession number 2006.27.27.a-.b.

AN ARCHAIC BRONZE RITUAL FOOD VESSEL, GUI, WESTERN ZHOU DYNASTY 西周青銅夔紋簋China, 11th-10th century BC. Well cast with the compressed body resting on a tall splayed foot, decorated below the gently everted rim with a band of stylized mythical birds, the two pairs on the main sides centered by an animal mask cast in high relief, the other two centered on the horned animal heads that surmount the handles, all above a bowstring band, the foot with a geometric band. The beast handles are neatly incised and set with pendent tabs.Provenance: The MacLean Collection of Asian Art Museum, acquired 1996 in Hong Kong and deaccessioned in 2022. The MacLean Collection has been formed over the last fifty years by Barry MacLean, a businessman from Chicago, who began to collect in the early 1970s. Over time, he made many trips to Asia for business, and began to narrow his focus to ancient bronzes from China and their archaistic counterparts from later dynasties. The MacLean Collection of Asian Art is housed in a museum which was designed by Larry Booth and completed in 2003. Since 2004, the museum has published seven books, held thirteen exhibitions, lent objects to many other museums, and awarded a dozen fellowships to train future specialists and enthusiasts.Published: Richard A. Pegg and Zhang Lidong, The MacLean Collection: Chinese Ritual Bronzes, Chicago, 2010, pl. 19.Condition: Very good condition, commensurate with age. The vessel is slightly leaning and has some old wear as well as minor casting flaws, minuscule nicks, and small dents. The lower body has two small fills, invisible to the naked eye, but precisely detected on the five X-ray images provided (available in the online catalog at www.zacke.at or via e-mail upon request). Spectacular, naturally grown patina overall with several layers of malachite encrustation and small areas of azurite and cuprite. The crisply cast decorations are extremely well-preserved, which makes this one of the most attractive examples of its kind. In such pristine condition, it must be considered exceedingly rare.Weight: 2,878 gDimensions: Width 28 cm (across handles)Gui were used during ritual ceremonies for storing cooked rice or millet. While this vessel shape first appeared in the Erligang phase, they were not widely produced and examples from this period are rare. The form increased in popularity from the early Western Zhou dynasty onwards, and numerous variations of the original shape also began to appear. The present vessel, with its rounded body, everted rim and animal-head handles represents the most popular form.Literature comparison: A related gui unearthed from Xi'an, Shaanxi province, now in the National Museum of China, Beijing, is illustrated in Zhongguo qingtongqi quanji [Complete collection of Chinese archaic bronzes], vol. 5, Beijing, 1996, pl. 61. Another from the collection of T. Yamamoto is published in Sueji Umehara, Nihon Schūcho Shina kodō Seikwa/ Selected Relics of Ancient Chinese Bronzes from Collections in Japan, vol. 2, Osaka, 1960, pl. 107. Jessica Rawson notes in Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington D.C., 1990, p. 415, that these types of gui vessels are more common in early Western Zhou, and lists five other examples, including one from Liaoning Kezuo Shanwanzi illustrated in Wenwu, 1977.12, p. 23-33, fig. 55. Compare also a related bronze gui, dated to the Western Zhou dynasty, in the collection of the British Museum, museum number 1955,0519.2. Finally compare a related bronze gui, dated to the Western Zhou dynasty, late 11th to early 10th century, in the collection of the Freer Gallery of Art at the National Museum of Asian Art, Smithsonian Institution, accession number F1924.14a-b.Auction result comparison: Type: RelatedAuction: Sotheby's New York, 23 September 2020, lot 570Price: USD 478,800 or approx. EUR 540,500 converted and adjusted for inflation at the time of writingDescription: An important archaic bronze ritual food vessel (gui), Western Zhou dynasty Expert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized birds. Note the similar size (29.5 cm) and that this gui has a six-character inscription.Auction result comparison: Type: Related Auction: Sotheby's New York, 17 September 2013, lot 15Price: USD 125,000 or approx. EUR 157,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel (gui), early Western Zhou dynasty, 11th-10th century BCExpert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized kui dragons. Note the similar size (29.5 cm) and that the gui has a three-character inscription.Auction result comparison: Type: Related Auction: Christie's New York, 16 March 2015, lot 3181 Price: USD 149,000 or approx. EUR 184,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel, gui, the gui early Western Zhou dynasty, 11th century BC, the inscription laterExpert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized taotie designs. Note the similar size (29.2 cm) and that this gui has a later-added inscription.西周青銅夔紋簋中國，公元前十一至十世紀。圓簋，折沿，雙耳，圓腹，圈足，耳做獸首形，下有附珥，圈足外有外凸的圈足座。口沿下有一圈有夔紋與獸面紋飾帶，器腹素面，足部飾橫條紋。 來源：亞洲藝術博物館MacLean 收藏，1996年購於香港，2022年撤出收藏。MacLean 收藏由來自芝加哥的商人 Barry MacLean 在50 年前創立，他於 1970 年代初開始收藏。他曾多次前往亞洲從商，並開始將注意力集中在來自中國的古代青銅器和後世的仿古青銅器上。The MacLean Collection由Larry Booth設計並於 2003 年完工。自 2004年以來，該博物館已出版了七本書，舉辦了十三次展覽，將藏品借給許多其他博物館，並用十幾個獎學金來培訓未來的專家和愛好者。 出版：Richard A. Pegg 與張立東，The MacLean Collection: Chinese Ritual Bronzes，芝加哥，2010年，圖19。 品相：狀況極好，容器略微傾斜，有一些磨損以及輕微的鑄造缺陷、微小的刻痕和小凹痕。簋下半部分有兩個肉眼看不見的小填充物，但在所提供的五張 X 射線圖像上可以精確檢測到（可在www.zacke.at的在線目錄中找到或通過電子郵件索取）。自然生長的銅綠包漿整體帶有幾層孔雀石綠色結殼和小面積的紅藍斑。清晰明快的鑄造裝飾保存得非常好，這使它極具吸引力。如此原始的狀態，是極其罕見的。 重量：2,878 克 尺寸：兩耳之間寬28 厘米 簋相當於今天的碗，是商周時期的盛飯工具。文獻中説是用來盛黍稷稻粱的器皿。這種器型曾出現在二里崗文化中。青銅簋出現在商代早期，但數量較少，商晚期逐漸增加。商周時期，簋是重要的禮器。 文獻比較： 一件相近的青銅簋，出土於陝西西安，現藏於北京中國國家博物館，見《中國青銅器全集》，卷五，北京，1996年，編號61。另一件收藏於T. Yamamoto，見歐米蒐儲，《支那古銅精華》，卷二，大阪，1960年，編號107。Jessica Rawson在 《Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，華盛頓D.C.，1990年，頁415，寫道「此種類型的簋較常見於西周早期」，她也列出了五個例子，包含一件出土於遼寧喀左山灣子的簋，見《文物》，1977年12月，頁23-33，圖55。 比較一件相近的西周青銅簋，收藏於大英博物館，編號1955,0519.2。最後比較一件相近的西周公元前十一世紀晚期至十世紀早期青銅簋 ，收藏於亞瑟·M·賽克勒美術館Freer Gallery of Art，史密森尼學會，編號F1924.14a-b。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2020年9月23日，lot 570 價格：USD 478,800（相當於今日EUR 540,500） 描述：西周侁簋 專家評論：比較非常相近外型、獸面紋和獸輔首，以及相近的鳥紋。請注意相似的尺寸(29.5厘米)，以及此簋有六字款識。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2013年9月17日，lot 15 價格：USD 125,000（相當於今日EUR 157,000） 描述：西周早期公元前十世紀青銅夔龍紋簋 專家評論：比較非常相近外型、獸面紋和獸輔首，以及相近的夔紋。請注意相似的尺寸(29.5厘米) ，以及此簋有三字款識。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年3月16日，lot 3181 價格：USD 149,000（相當於今日EUR 184,000） 描述：西周早期青銅饕餮紋簋，後刻銘文 專家評論：比較非常相近外型、獸面紋和獸輔首，以及相近的饕餮紋。請注意相似的尺寸(29.2厘米)， 以及此簋有後刻的款識。

A BACTRIAN LIMESTONE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central Asia, page 49, fig. 45.Oxus Civilization. The column of waisted form flaring towards the ends, the top and base with a crescent-shaped central groove. The stone of light brown hue with deep red veins.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2004. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 30 June 2004, and stating a purchase price of EUR 4,800 or approx. EUR 7,500 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, chips, and natural fissures.Weight: 9,304 gDimensions: Height 29 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 187Price: EUR 8,963 or approx. EUR 14,000 adjusted for inflation at the time of writingDescription: A Bactrian marble column idol, 2nd millennium BCExpert remark: Compare the related form and color of the stone. Note the size (29.5 cm).Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 186Price: EUR 6,573 or approx. EUR 10,500 adjusted for inflation at the time of writingDescription: A Bactrian alabaster column idol, 2nd millennium BCExpert remark: Compare the related form and color of the stone. Note the size (36 cm).

A RARE BRONZE FIGURE OF MAITREYA, PRE-KHMER PERIODThailand or Western Cambodia, 7th-9th century. The Future Buddha standing on a flat base in a slight tribhanga. The slender body clothed only in a short sarong tied simply with a cord, his serene face with almond-shaped eyes and full lips flanked by elongated earlobes, the hair arranged in a jatamukuta with finely incised, towering locks centered by a small stupa.Provenance: From the private collection of Darwin Freeman, collected between the 1968-1971, and thence by descent within the same family. Born 1946 in Idaho, USA, Darwin Freeman was a member of the armed forces and later became an avid collector. He met his wife in the mid-1960s, and the pair later relocated to her hometown of Innsbruck, Austria. In 1967, Freeman was drafted into the U.S. Army and served in Germany and Thailand. While he was stationed at the Embassy in Bangkok, between 1969 and 1971, he actively began engaging in the exploration and collection of ancient bronzes and other works of art. Upon completing his duty, Freeman arranged for his collection to be shipped to Austria, where it remained in storage until this day.Condition: Good condition with some wear and casting flaws, minor losses, one arm with two small fatigue cracks, the attributes held in his hands lost. The bronze with a rich, mottled, naturally grown patina with vibrant malachite encrustations.Weight: 1295.8 g (excl. stand) and 2839.7 g (incl. stand)Dimensions: Height 36 cm (excl. stand) and 43.2 cm (incl. stand)With a modern stand. (2)Literature comparison: Compare a closely related bronze figure of Avalokiteshvara, dated to the 8th-9th century, 38.1 cm tall, in the Walters Art Museum, Baltimore, accession number 54.2963. Compare a closely related bronze figure of Avaolkiteshvara, dated to the second half of the 7th-8th century, 34.9 cm tall, in the Metropolitan Museum of Art, accession number 1987.145. Compare a related four armed Maitreya, much larger in size (122.5 cm), dated to the late 8th century, in the Kimbell Art Museum, accession number AP 1965.01.Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 19 September 2008, lot 291Price: USD 92,500 or approx. EUR 123,000 converted and adjusted for inflation at the time of writingDescription: Maitreya, Eastern Thailand, Buriram Province, Prakhon ChaiExpert remark: Compare the closely related casting and the similar arrangement of hair, short saronh, and pendulous earlobes. Note the size (32.4 cm). Note that this lot is now in the collection of the National Museum of Asian Art, Smithsonian Institution, accession number S2015.24.Auction result comparison: Type: Closely relatedAuction: Lempertz Cologne, 9 December 2016, lot 633Price: EUR 74,400 or approx. EUR 92,500 adjusted for inflation at the time of writingDescription: A fine and rare Buriram bronze figure of Avalokiteshvara. Thailand, Khorat plateau. Early 8th centuryExpert remark: Compare the closely related casting and the similar arrangement of hair, short saronh, and pendulous earlobes. Note the size (53.5 cm).

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 GOLD REPOUSSE 'LION' PENDANT, WITH AN AGATE INTAGLIO OF A HINDU GODDESS, CHAM PERIODVietnam, former kingdoms of Champa, circa 10th century. The rounded pendant is finely chased, embossed, and incised to depict two anthropomorphized lions flanking a central lotus flower and an agate intaglio depicting a female Hindu deity surrounded by foliate designs, all below two inlaid amethyst cabochons, all enclosed by a scroll border. The reverse with two flattened gold wire loops for suspension. Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Very good condition, commensurate with age, with some wear, small manufacturing irregularities, light tarnishing, and encrustations, all as to be expected for a gold object more than a thousand years old.Weight: 21.2 g Dimensions: Length 9.8 cm

A GRAY SCHIST FIGURE OF MAITREYA, ANCIENT REGION OF GANDHARACirca 5th-7th century. Well carved standing, dressed in a finely pleated robe draped elegantly over his left shoulder, richly bejeweled wearing a foliate collar and beaded necklaces. His face bears a serene, introspective expression, marked by almond-shaped eyes, gently arched brows, full lips, and wavy mustache, the face flanked by elongated earlobes suspending large earrings. His wavy hair is gathered in a high chignon secured by a band, backed by a nimbus.Provenance: The Phillips Family Collection, Lawrence and Shirley Phillips, and thence by descent to Michael Phillips (born 1943), who is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Condition commensurate with age. Some old fills. Extensive wear, obvious losses, nicks, significant signs of weathering and erosion, expected encrustations, few structural cracks. Weight: 70.6 kgDimensions: Height 84 cm (excl. stand), 117 cm (incl. stand)Mounted on an associated metal stand. (2)Maitreya is one of the most popular bodhisattvas depicted in Gandharan sculpture. Also known as the Loving One, he is identified by the kundika, or sacred water flask, held in his lowered left hand. His rise in popularity coincided with the tenants of Mahayana Buddhism, for which the role of the bodhisattva, and his ability to transfer his own merit to others became paramount. In his preordained role as the Buddha of the Future, Maitreya promises redemption and salvation for devoted practitioners of the faith.Images of bodhisattvas reveal the syncretism of Indic and Hellenistic styles, as Maitreya is depicted as an Indian noble bedecked with a jeweled crown and necklace. The almond-shaped eyes, sandals, and naturalistic modeling of the body nevertheless underscore the influences of the Classical traditions of art.Literature comparison: Compare a related figure of a bodhisattva, 102 cm high, dated 2nd-3rd century, in the Museum fuer Indische Kunst, Berlin-Dahlem.Auction result comparison: Type: Related Auction: Sotheby's New York, 19 September 2008, lot 261 Price: USD 37,500 or approx. EUR 49,000 converted and adjusted for inflation at the time of writing Description: Bodhisattva, probably Maitreya, gray schist, ancient region of Gandhara, Kushan period Expert remark: Compare the related manner of carving and modeling. Note the size (70 cm). 13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A BLACK STONE FIGURE OF DURGA MAHISHASURAMARDINI, PRE-ANGKOR PERIOD, KHMER, 7TH CENTURYOpinion: Looking at Phnom Da style sculptures, one can see a great degree of cross-cultural influence. While one could argue that this sculptural style is distinctly of Khmer origin, with such early sites present in Vietnam, we are more likely seeing the spread of sources of foreign cultural influence, bringing things like Hinduism, coming from outside the region and merging with local cultures. Certain attributes of this sculpture in particular can be seen in early Gupta sculpture, such as the 4th century Harihara in the National Museum of New Delhi. It is also interesting to note that the earliest known written texts in Southeast Asia are from Vietnam, written during the 4th century, predating the first Khmer texts by hundreds of years.Finely carved in relief with four arms holding symbols of power, positioned above the severed head of a buffalo, with a tall crown and pendulous earlobes, backed by a striated nimbus.Provenance: Spink & Son, London, by 2 November 1999 (according to Christie's record). Christie's New York, 20 September 2000, lot 154 (according to Christie's record). Property from a West Coast collection, acquired from the above (according to Christie's record). Christie's New York, 13 September 2016, lot 245, estimate of USD 30,000 or approx. EUR 34,000 (converted and adjusted for inflation at the time of writing). Michael Phillips, acquired from the above in an after-sale transaction. A copy of a Christie's record, accessed on 1 October 2018, confirming the provenance above, and stating an after-sale purchase price for the present lot of USD 18,750 or approx. EUR 21,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, structural cracks, old fills.Dimensions: Height 89 cm (excl. stand) and 97 cm (incl. stand)Mounted on an associated stand. (2)Mahishasura was a shape-shifting king who was granted the power of immortality by Lord Brahma. After years of tormenting his people, he was vanquished by a manifestation of the demon-fighting form of Parvati known as Durga. Durga fought Mahishasura over a period of fifteen days during which he kept changing his shape into different animals. She finally vanquished him when he took the form of a buffalo, slaying him with her trident. It is just after this victorious moment that we see Durga depicted here, with the severed head of Mahishasura laying at Durga's feet and her four arms holding the conch shell, the wheel, the ball, and the club, symbolizing the powers given to her by Vishnu. It is an ancient story of good versus evil.Literature comparison:Compare with a stone image of a female deity from the Da Nang Museum of Cham Sculpture, exhibited in Arts of Ancient Viet Nam: From River Plain to Open Sea at the Houston Museum of Fine Arts, both statues showing an unusual and rare striated nimbus. Also, compare with a stone image of a reclining figure of Vishnu in the Da Nang Museum of Cham Sculpture, both statues showing very similar facial characteristics.Auction result comparison:Type: Closely RelatedAuction: Christie's New York, 13 September 2016, lot 249Price: USD 21,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A gray sandstone figure of Durga Mahishasuramardini, Khmer, pre-Angkor period, Phnom Da style, 6th centuryExpert remark: This is an important comparable of Durga from an early period in Southeast Asian history, not only because it is “rare to find a sculpture of the demon-slaying goddess from the pre-Angkor period” (as noted in the catalog description for the lot), but also because it was in the same Christie's sale. Note the much smaller size (51.5 cm).

A RARE GILT COPPER ALLOY FIGURE OF VISHNU, JAVA, 14TH-15TH CENTURY OR EARLIERFinely cast standing in samapada atop a circular lotus base with beaded edge, his main left hand resting on the handle of his mace, his main right holding a lotus stem, his secondary hands raised and holding the conch and disk. He is wearing a long diaphanous dhoti and the upavita (sacred thread) across his left shoulder, his body richly adorned with floral jewelry, his face bearing a serene expression, his hair pulled up into a high chignon secured by a band and topped by a jewel, behind the foliate tiara. Provenance: From the collection of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Very good condition with expected wear and manufacturing irregularities, minute nicks and small dents here and there, the gilding possibly later. The bronze with a fine, naturally grown patina with malachite encrustations. Weight: 105.6 gDimensions: Height 10 cmVishnu is the preserver and protector of the universe, called upon to save it from great calamity. In the current attitude, he is a martial deity, holding the mace and discus, and a conch to call troops to arms.Literature comparison: Compare a related earlier bronze of Vishnu, 13.8 cm high, dated late 9th to first half of the 10th century, in the Metropolitan Museum of Art, accession number 1987.142.15. Compare a gilt bronze figure of Shiva, 27.9 cm, dated 8th-9th century, in the Metropolitan Museum of Art, accession number 2004.556.Auction result comparison: Type: RelatedAuction: Christie's New York, 21 March 2018, lot 327Price: USD 5,000 or approx. EUR 5,700 converted and adjusted for inflation at the time of writingDescription: A gilt silver figure of Jambhala, Indonesia, Java, 14th/15th centuryExpert remark: Compare the related modeling, with similar floral jewelry and expression, and manner of casting and gilding, with a similar patina to the gilded figure. Note the smaller size (5.2 cm). Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 29 March 2018, lot 11 Price: HKD 375,000 or approx. EUR 49,000 converted and adjusted for inflation at the time of writing Description: A copper alloy figure of Vishnu, Java, 9th/10th century Expert remark: Note the larger size (29 cm).

A LARGE AND IMPORTANT BRONZE OF SHIVA NATARAJA AND PARVATI, CHOLA PERIODSouth India, 9th-13th century. Superbly cast as a dancing Shiva and Parvati, each atop a double lotus base supported on a rectangular plinth with circular and rectangular apertures. The Lord of Dance performing Ananda Tandava, balancing atop of a dwarflike figure, his consort, Parvati, performing Lasya, joyously dancing and balancing on one leg with one arm outstretched.Provenance: SS Raghavachari, Vepay (Vepery), Madras, India, 29 March 1954. Mary Mark Merrill, acquired from the above (purchased for USD 2,000 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing). Taj (nee Merrill) Gilligan, acquired from the above in the early 1980s. The present lot is accompanies by a copy of the original agreement of sale between SS Raghavachari, resident of Sambanda Vilas, Vepay Madras, South India, and Mary Mark Merrill, Washington, United Kingdom, dated 29 March 1954, with a photograph of the present lot; a copy of the correspondence between Leslie Olmstead Merrill and his mother, dated 12 April 1954, detailing his travels in South India with his wife Mary and their purchase of the present lot; a copy of an appraisal from Wallace Thompson, noted patron of the Asian Art Museum, San Francisco, dated 20 October 1974, stating the value of the present lot as USD 20,000 or approx. EUR 113,000 (converted and adjusted for inflation at the time of writing); and a copy of a provenance statement written and signed by Taj Gilligan, dated 15 July 2023. Mary Mark Merrill was the daughter of real estate and broadcasting tycoon LeRoy Mark, who established the American Broadcasting Corporation (ABC). She married Leslie Olmstead Merrill, professor of Fine Arts at the University of Colorado, in March of 1953. The pair decided to travel the world in 1954, starting in Japan and eventually finding their way to India. Patrons of Asian arts, their love of India never waned, to the extent that they named their daughter Taj. Condition: Good condition with extensive natural wear, both from weathering and centuries of worship. Expected casting irregularities. Losses, cracks, nicks, scratches, all commensurate with age. The base somewhat warped in areas. Obvious heat damage, probably from a temple fire that happened long time ago. Overall displaying exceptionally well.Weight: 135.5 kgDimensions: Height 114 cm, Width 91 cmAnanda Tandava (masculine) dance to express happiness and joy is performed by Lord Shiva, while goddess Parvati is performing Lasya (soft/ feminine) offering a balance of cosmic energies — the male and the female. Together they symbolize the harmonious union of energies without which the universe would be in a state of flux.As a symbol, Shiva Nataraja is a brilliant invention. It combines in a single image Shiva's role as creator, preserver, and destroyer of the universe and conveys the Indian conception of the never-ending cycle of time. Although it appeared in sculpture as early as the fifth century, its present, world-famous form evolved under the rule of the Cholas. Shiva holds in his upper right hand the damaru (hand drum that made the first sounds of creation). His upper left hand holds agni (the fire that will destroy the universe). With his lower right hand, he makes abhayamudra (the gesture that allays fear). The dwarflike figure being trampled by his right foot represents apasmara purusha (illusion, which leads mankind astray). Shiva's front left hand, pointing to his raised left foot, signifies refuge for the troubled soul. These symbols imply that, through belief in Shiva, his devotees can achieve salvation.Literature comparison:Compare a related bronze group of Shiva and Parvati, dated c. 950-960, in the Cleveland Museum of Art, accession number 1961.94. Compare a related bronze group of Shiva, Uma, and Skanda (Somaskandamurti), 53 cm high, dated to the early 11th century, in the Metropolitan Museum of Art, accession number 1982.220.10.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A BRONZE FIGURE OF AVALOKITESHVARA SADAKSARI, JAVA9th-10th century. The four-armed deity seated in dhyanasana atop a lotus throne on a pierced and tiered square base, his primary hands forming the dharmachakra mudra, the upper left holding a fly-whisk and the upper right hand a conch, adorned with beaded jewelry, the face with downcast eyes and surmounted by a high tiara. The throne with a backrest flanked by two foliate protrusions. Provenance: Galleria La Balaustra, Archeologia Classica Orientale e Precolombiana, Bologna, Italy. Paolo Bertuzzi, acquired from the above (invoice lost). Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Condition commensurate with age. Extensive wear, losses, signs of weathering and erosion, corrosion. Minor casting flaws. Naturally grown malachite-green patina with brown encrustations overall.Weight: 644.3 g Dimensions: Height 12.4 cmAuction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 17 December 2021, lot 3019Price: HKD 30,240 or approx. EUR 3,800 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha, Java, circa 10th centuryExpert remark: Note the smaller size (11.2 cm)Auction result comparison:Type: RelatedAuction: Christie's New York, 25 March 2004, lot 152Price: USD 28,680 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: An important bronze figure of Avalokiteshvara, Indonesia, Central Java, 9th centuryExpert remark: Note the larger size (20.2 cm)

A JIZHOU PAPERCUT RESIST-DECORATED 'PRUNUS' BOWL, SOUTHERN SONG DYNASTY 南宋吉州貼花碗China, 1127-1279. The rounded conical body detailed to the interior with twelve prunus blossoms arranged in two tiers around a single blossom in the center, all reserved in dark brown on the finely mottled buff and dark-brown ground, the exterior covered with a dark brown glaze that falls irregularly to the foot.Provenance: Yue Gu Zhai Antique Co., Hong Kong, 2001. A private collector in North Berwick, Scotland, who has been collecting Asian ceramics for 25 years, acquired from the above. Copies of the original receipt and a signed and sealed Certificate of Authenticity, both from Yue Gu Zhai Antique Co., dated 19 September 2001, and confirming the dating above, accompany this lot.Condition: Very good condition with expected old wear, weathering, and firing irregularities, small chips to the foot, minor fritting to the rim.Weight: 147.9 gDimensions: Diameter 10.2 cm Among the daring and innovative techniques the Jizhou kilns in Jiangxi province are most famous for is the technique of using paper cut-outs as stencils to create resist designs. Not only did the use of the papercut stencil facilitate the replication of individual motifs, it also permitted considerable variation in the interpretation of the standard design.Almost always arranged in two tiers, stylized plum blossoms appear as decoration both on conical bowls and yankou wan type bowls. Conical bowls generally support seventeen blossoms, including the one on the floor, however, numbers vary from bowl to bowl as do flower types.Literature comparison:Compare a related bowl from the Charles B. Hoyt Collection in the Museum of Fine Arts, Boston, illustrated in Oriental Ceramics, The World's Great Collections, Tokyo, 1980, vol. 10, no. 171, and another related bowl from the Avery Brundage Collection in the Asian Art Museum of San Francisco, illustrated by R. Mowry, Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown and Black-Glazed Ceramics, 400-1400, Cambridge, Massachusetts, 1996, pp. 250, no. 101. Also compare another related Jizhou paper-cut 'prunus' bowl, Southern Song dynasty, illustrated in Song Ceramics from the Kwan Collection, Hong Kong, 1994, p. 382, no. 173.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 14 September 2018, lot 1304Price: USD 11,250 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A Jizhou paper cut resist-decorated tea bowl, Southern Song dynasty, late 12th-13th centuryExpert remark: Compare the closely related form, decoration, and glaze. Note the size (12.1 cm).Auction result comparison: Type: Closely relatedAuction: Bonhams London, 9 November 2017, lot 30Price: GBP 10,625 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A fine and rare Jizhou paper-cut-out 'prunus-blossoms' bowl, Southern Song DynastyExpert remark: Compare the closely related form, decoration, and glaze. Note the size (12.3 cm).Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 3 December 2015, lot 205Price: HKD 118,750 or approx. EUR 16,000 converted and adjusted for inflation at the time of writingDescription: A Jizhou 'papercut' 'prunus' bowl, Southern Song DynastyExpert remark: Compare the closely related form, decoration, and glaze. 南宋吉州貼花碗中國，1127-1279年。此碗外壁敷黑釉，足部露胎。碗內部窯變花斑釉色，其上以剪紙貼花技法燒製出花紋，花朵小巧可愛，上下兩圈，相互錯落排開，中央一朵。其釉色均勻，紋飾巧俊，渾樸天然。 來源：香港悅古齋，2001年；蘇格蘭北伯利克私人收藏，25年來，他一直在收集亞洲陶瓷，這些陶瓷都是從上述古玩店購得的。此拍品附有悅古齋古董有限公司出具的原始收據副本，以及簽名蓋章的真品證書副本，日期為 2001 年 9 月 19 日，並確認了上述日期。 品相：狀況極好，有磨損、風化和燒製不規則，足部有小缺口，邊緣有輕微磨損。 重量：147.9 克 尺寸：直徑 10.2 厘米 文獻比較： 比較一件相近的吉州花碗，收藏於Charles B. Hoyt Collection in the Museum of Fine Arts，波士頓，見Oriental Ceramics，《The World's Great Collections》，東京，1980年，卷10，編號171。另一件相近的吉州花碗 ，見Avery Brundage收藏於舊金山亞洲藝術博物館，見R. Mowry，《Hare's Fur，Tortoiseshell，and Partridge Feathers: Chinese Brown and Black-Glazed Ceramics，400-1400》，劍橋，麻塞諸塞州，1996年，頁250，編號101。另一件相近的南宋吉州梅花紋碗，見《Song Ceramics from the Kwan Collection》，香港，1994，頁382，編號173。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2018年9月14日，lot 1304 價格：USD 11,250（相當於今日EUR 12,500） 描述：南宋吉州窯剪紙貼花盌 專家評論：比較非常相近外形，裝飾和釉面。請注意尺寸 (12.1厘米)。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦翰斯，2017年11月9日，lot 30 價格：GBP 10,625（相當於今日EUR 17,000） 描述：南宋吉州窯剪紙貼梅花紋盌 專家評論：比較非常相近外形，裝飾和釉面。請注意尺寸 (12.3厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2015年12月3日，lot 205 價格：HKD 118,750（相當於今日EUR 16,000） 描述：南宋吉州窰剪紙貼花梅花盌 專家評論：比較非常相近外形，裝飾和釉面。

A RARE WHITE MARBLE CARVING OF A PHALLUS, WESTERN HAN DYNASTY 西漢漢白玉玉勢China, 206 BC-8 AD. The realistically carved elongated phallus is decorated with rings along the shaft and with a cross-hatched decorative band at the base. The base has a domed recess inside that is pierced horizontally for suspension. This recess has a second aperture that extends to the tip of the phallus.Provenance: Bonhams, Hong Kong, December 16th, 2022, lot 351. Note that Bonham's experts originally dated this lot to the Tang dynasty.Condition: Good condition commensurate with age. Signs of wear, weathering, and erosion. Minor nicks and losses. Soil encrustations overall, issuing from an extended period of burial. These encrustations cannot be easily removed, and they have left distinct marks to the mineral. The stone with natural inclusions and fissures, some of which have developed into hairline cracks. Fine, naturally grown golden-brown patina overall.Weight: 431.7 g Dimensions: Length 18.9 cm Expert's note: Similar to the few known phallus sculptures from ancient China, the heavy encrustation from extensive burial is evidence of its (eventual) use as a grave good. The elaborate carving with great attention to detail and the two apertures, one for suspension and one for added realism, suggest the elite status of the person with which this was buried. Phallic objects carved from stone, or cast from metal or terracotta, are common subjects of any major ancient culture. Throughout time, the phallus was seen as an emblem of life and procreation. Not only did it have the power to induce fertility, but it also had an equally important role as an auspicious emblem which would ward off diseases. The practice of castration and the employment of court eunuchs, likely established in China during the Sui dynasty, added a secondary role of model phalli: the restoration of manhood after death (court eunuchs would be buried with their detached genitalia). However, this multifaceted subject remains somewhat of a taboo, which has contributed to relatively scarce publications about ancient Chinese erotic sculpture.Phalluses of various materials, believed to be associated with fertility rites, have been made in various prehistoric cultures in the Yellow River basin. Later in the Shang dynasty, when pictographic language emerged, the character zu (ancestor) closely resembled the male sexual organ, indicating the significance of the male role in ancient Chinese ancestry.Literature comparison: Compare two similar bronze phallus excavated from a tomb in the Dayun Mountain, Xuyi, Jiangsu, dated to the Western Han dynasty, in the Nanjin Museum, included in the exhibition Tomb Treasures: New Discoveries from China's Han Dynasty, Asian Art Museum, San Francisco, 17 February-28 May 2017. Compare two bronze V-shaped double-phalli, excavated in the tomb of Prince Zhongshan (Liu Sheng), dated to the Han dynasty, published in Mancheng Han mu Fajue Baogao (Excavation Report of the Han Dynasty tomb at Mancheng), Beijing, 1980, vol. 1, pp. 100. The former was unearthed together with a pair of matching stone pebbles, illustrated ibid., vol. 2, pl. LXI, fig. 2.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 29 April 2022, lot 3670 Estimate: HKD 140,000 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: A bronze phallus, Han dynasty Expert remark: Note the similar wrinkle-like rings at the top of the shaft. Note the size (17.2 cm). 西漢漢白玉玉勢中國，公元前206年至公元八年。雕刻逼真的細長陽具，底部飾有交叉紋飾帶。底座內部有一個圓頂凹槽，水平穿孔用於懸掛。凹出有延伸至陰莖尖端的第二個孔。 來源：香港邦翰思，2022年12月16日。請注意邦翰思專家認爲這件拍品來自唐代。 品相：狀況良好，有磨損、風化和侵蝕的跡象，輕微劃痕和缺損。總體而言，土壤結殼是由於長期在地下而產生的。這些結殼不容易去除，並且在大理石上留下了明顯的痕跡。石料具有天然内沁和裂隙，有的已發展成裂紋。整體呈精美的金棕色包漿。 重量：431.7 克 尺寸：長18.9 厘米 文獻比較： 比較兩件戰國時期青銅勢，出土於江蘇大雲山江都王陵，收藏於南京博物館，展覽於《Tomb Treasures: New Discoveries from China's Han Dynasty，Asian Art Museum》，舊金山，2017年2月17日 -5月28。比較兩件漢代V形雙陽具，出土於中山王墓，出土於《滿城漢墓發掘報告》，北京，1980年，卷1，頁100。其中一件與一對相配的鵝卵石一起出土，見上書，卷2，圖LXI，圖2。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2022年4月29日，lot 3670 估價：HKD 140,000（相當於今日EUR 16,500） 描述：漢青銅祖 專家評論：請注意相似的環。請注意尺寸(17.2 厘米)。

A BACTRIAN STONE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central Asia, page 48, fig. 44.Oxus Civilization. The column of cylindrical form flaring to the foot, the top and base with a deep central groove which runs down the sides of the body. The stone of a red and orange hue with yellow and reddish-yellow bands.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2005. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 28 February 2005, and stating a purchase price of EUR 5,200 or approx. EUR 7,900 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, chips, and natural fissures.Weight: 14.4 kgDimensions: Height 28.2 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 183Price: EUR 7,170 or approx. EUR 11,200 adjusted for inflation at the time of writingDescription: A Bactrian marble column idol, 2nd millennium BCExpert remark: Compare the related form and color of the stone. Note groves to the side and the size (29.5 cm).

A RARE BRONZE HORSE-FORM VESSEL, DONG SON CULTURENorthern Vietnam, 2nd century BC to 2nd century AD. Well cast standing on all fours with its head raised, ears pricked, and tail tucked between its legs. A single aperture to the back. The body is incised with numerous spiral designs characteristic of Dong Sun material culture.Provenance: From the private collection of Darwin Freeman, collected between 1968-1971, and thence by descent within the same family. Born 1946 in Idaho, USA, Darwin Freeman was a member of the armed forces and later became an avid collector. He met his wife in the mid-1960s, and the pair later relocated to her hometown of Innsbruck, Austria. In 1967, Freeman was drafted into the U.S. Army and served in Germany and Thailand. While he was stationed at the Embassy in Bangkok, between 1969 and 1971, he actively began engaging in the exploration and collection of ancient bronzes and other works of art. Upon completing his duty, Freeman arranged for his collection to be shipped to Austria, where it remained in storage until this day.Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, casting flaws, losses, one ear with an old repair. The bronze is covered in a rich, mottled, naturally grown patina with vibrant malachite and azurite encrustations.Weight: 515 g Dimensions: Length 13.2 cmDong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Văn Lang and Âu Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Literature comparison:Compare a related elephant-shaped vessel with similar spiral designs, 16 cm long, dated 2nd century BC to 2nd century AD, in the Asian Civilizations Museum, Singapore, accession number 2007-56439.

• LINCOLN SELIGMAN (BRITISH B.1950) INDIAN TURBANSsigned LINCOLN SELIGMAN lower rightacrylic on canvas293 x 218cm; 115 1/2 x 86inProperty from the Estate of Sir John CravenProvenanceSir John Craven, London (commissioned from the artist). Sir John Craven (1940-2022), founded Phoenix Securities in 1981 and quickly became one of the most successful bankers in the glory days of the City following de-regulation. One of the early boutique investment banks in the Square Mile, Phoenix profited enormously from mergers and acquisitions at the time of the 1986 stockmarket big bang. Craven was subsequently courted by Morgan Grenfell, becoming their CEO. And when it in turn was acquired by Deutsche Bank Craven became the German bank's first non-German board member. Deutsche's fabled corporate art collection awakened Craven's interest in art, but it was via his connection with another significant corporate collection - that of Flemings Bank - he began collecting. His taste in art was eclectic and wide ranging, his particular interest in Asian culture influenced by his third wife Ning Chang - Lady Ning - who predeceased him in 2009.

IMPORTANTE ET RARE STATUETTE DE PARVATI EN ALLIAGE DE CUIVREInde du Sud, période Cola, vers XIIe siècle A RARE LARGE COPPER ALLOY FIGURE OF PARVATISouth India, Cola Period, ca. 12th centuryThe goddess is portrayed here standing in an elegant tribhanga pose. Her graceful figure is of slender yet voluptuous modelling with high rounded breasts, a pinched waist, and a supple belly. Her beguiling gaze, through long half-moon eyes, set within her gentle oval face. Her left arm lingers seductively in lolahasta mudra, mimicking the tail of a cow. Her right is bent, raising her hand in katakamukha mudra, once holding a separately cast flower. She wears a tall crown, called a karanda mukata, of piled rings diminishing in size and culminating in a lotus bud. The concentric patterns within her crown are repeated throughout her necklaces, armbands, girdle, and garment, embellishing the bronze's texture. 60cm (23 5/8in.) highFootnotes:南印度 朱羅王朝 約十二世紀 銅雪山女神立像While the subject is modelled in the classic Chola idiom, this particular figure distinguishes itself by the lifelike fluidity of its stance, its amiable countenance, and the attention to detail its creator has lavished on the goddess's ornamentation. Bijoux cup the back of her ears. Luxurious locks of hair brush against her shoulders. Her tresses direct our gaze down towards the auspicious marriage string (mangalasutra) tied around her neck. A fine garment is tied with a fan-shaped splay above the small of her back, and decorative ribbons swirl across the front of her thighs. Uma—whose suprasensuous form embodies shakti, the primordial cosmic energy—is portrayed here in a sensitive and intimate interpretation of divine femininity. The sculpture is a testament to the technical genius of the artist, epitomizing the confident and time-honored aesthetic canon of the Chola empire.Following Sivaramamurti's stylistic chronology, the figure exemplifies the mature Chola style of the 12th century. Her elongated makara earrings and shoulder tassels that no longer terminate in the shape of a pipal leaf are generally indicative of the 11th century or later (Sivaramamurti, South Indian Bronzes, New Delhi, 1963, pp.29-31). The lines accentuating her solar plexus and the relatively simple treatment of her bangles and necklaces are customary in the 12th and 13th centuries. A good, close stylistic comparison for this bronze is a 12th-century seated Uma which is part of a Somaskanda ensemble, published in Vidya Dehejia, The Sensuous and the Sacred: Chola Bronzes from South India,, New York, 2002, p.131, no.16.Provenance:John & Berthe Ford Collection, Baltimore, by 1970Robert Bigler, Zurich, 2008Published:Diran Dohanian, The Art of India: Sculpture, 1st century B. C. to 18th century A.D., Rochester, 1961, no. 56.Pratapaditya Pal, Indo-Asian Art: The John Gilmore Ford Collection, Baltimore, 1971, no.19.Exhibited:The Art of India, The Memorial Art Gallery of the University of Rochester, 1961.來源：福特伉儷（John and Berthe Ford）珍藏，巴爾的摩，1970年Robert Bigler，蘇黎世，2008年出版：Diran Dohanian，《The Art of India: Sculpture, 1st century B. C. to 18th century A.D.》，羅徹斯特，1961年，編號56帕爾博士（Pratapaditya Pal），《Indo-Asian Art: The John Gilmore Ford Collection》，巴爾的摩，1971年，編號19展覽：《The Art of India》，羅徹斯特大學紀念美術館，1961年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

Various oddments, including an unmarked cylindrical purse scent-flask by Sampson Mordan & Co, George III silver 'Port' decanter label, Samuel Knight, London 1816, silver & tortoiseshell penknife, Art Deco part manicure set on stand with glass base, Sanders & Mackenzie, Birmingham 1940, pickle fork with mother of pearl handle, Birmingham 1916, Asian white metal purse inkwell with retracting pen, in leather binding with floral-engraved interior to lid and a Burmese low-grade matchbox-holder (7)

Lee Ufan 1936 Haman-gun (heute Südkorea) - lebt und arbeitet in Japan und Paris Untitled. 2016. Gouache. Rechts unten signiert und datiert. Auf strukturiertem Karton. 27,2 x 31,8 cm (10,7 x 12,5 in), Blattgröße. [CH]. • In seiner minimalistischen Ästhetik verbindet Lee asiatische und europäische Bezüge. • Zu den wichtigsten Elementen seines Kunstschaffens gehört es, während des Malens nicht zu atmen, das Werk im Raum und in der Zeit wirken zu lassen und nicht die gesamte Oberfläche zu 'kolonisieren'. • Lee zählt zu den wichtigsten Vertretern der Mono-ha-Schule in Japan, einer der wichtigsten Strömungen innerhalb der japanischen Nachkriegskunst. • Ab den 1970er Jahren steht sein Schaffen in enger Beziehung zur Dansaekhwa-Bewegung in Korea, in der sich die Künstler:innen insbesondere in monochromer Malerei mit Abstraktion und Materialität auseinandersetzen. • 1977 stellt Lee Ufan auf der documenta 6 in Kassel aus, 2011 und 2015 auf der Biennale von Venedig. • Bis zum 28. April 2024 zeigt der Hamburger Bahnhof, Nationalgalerie der Gegenwart, die erste Retrospektive des Malers und Bildhauers in Deutschland. PROVENIENZ: SmithDavidson Gallery, Amsterdam. Privatsammlung Süddeutschland (2017 vom Vorgenannten erworben). Aufrufzeit: 08.12.2023 - ca. 16.05 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONLee Ufan 1936 Haman-gun (heute Südkorea) - lebt und arbeitet in Japan und Paris Untitled. 2016. Gouache. Lower right signed and dated. On structured cardboard. 27.2 x 31.8 cm (10.7 x 12.5 in), size of sheet. [CH]. • Lee combines Asian and European references in his minimalist aesthetics. • One of the most important elements of his artistic work is not to breathe while painting, to allow the work to take effect in space and time and not to 'colonize' the entire surface. • Lee is one of the most important representatives of the Mono-ha school in Japan, a key movement in Japanese post-war art. • From the 1970s onward, his work was closely related to the Dansaekhwa movement in Korea, in which artists explored abstraction and materiality, particularly in monochrome painting. • Lee Ufan exhibited at documenta 6 in Kassel in 1977 and at the Venice Biennale in 2011 and 2015. • Until April 28, 2024, the Hamburger Bahnhof, Nationalgalerie der Gegenwart, shows the first retrospective of the painter and sculptor in Germany. PROVENANCE: SmithDavidson Gallery, Amsterdam. Private collection Southern Germany (acquired from the above in 2017). Called up: December 8, 2023 - ca. 16.05 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Hans Thoma 1839 Bernau - 1924 Karlsruhe Wundervögel. 1917. Öl auf Leinwand. Rechts unten monogrammiert und datiert. Verso auf dem Keilrahmen handschriftlich und typografisch nummeriert. 80,5 x 95,5 cm (31,6 x 37,5 in). PROVENIENZ: Paul und Beth von Bleichert, Leipzig (wohl 1917 erworben). Paul und Beth von Bleichert, Zürich (1920er Jahre, bis 2014 in Familienbesitz). Jack Kilgore & Co. Gallery, New York. Daxer & Marschall, München. Privatsammlung Baden-Württemberg. LITERATUR: Vgl. Henry Thode, Hans Thoma, Stuttgart/Leipzig 1909, S. 355, 421. Joseph August Beringer, Der Malerpoet, München 1917, o.S., Abb. Taf. 17. Die menschliche Sehnsucht, die erdhafte Gebundenheit im schwerelosen Flug zu überwinden, hat Hans Thoma vor allem in den Gemälden seiner sogenannten „Wundervögel“ zum Ausdruck gebracht. Bereits 1876 taucht im Gemälde „Paradies“ (Thode S. 89) ein solcher fantastischer Vogel auf. Ein weiteres Gemälde mit dem Titel „Sehnsucht“ (Thode S. 427) von 1900 zeigt einen Jüngling in einer weiten Flusslandschaft, der den am Himmel ziehenden Vögeln nachblickt. Besonders faszinieren allerdings die Gemälde, in denen die Betrachtenden gewissermaßen mit den Vögeln fliegen, weit über der sanften Landschaft in einem von irrealem, hellen Licht durchdrungenen Raum. Thoma vereint in ihnen die aus der ostasiatischen Kunst zu der Zeit bekannten Kraniche mit den weiten Schwingen mit den langen Feder des Paradiesvogels, teilweise auch der Pfauen. Das Motiv der Vögel führt er auch in der grafischen Technik der Radierung aus und gestaltet sich selbst damit ein Exlibris, in denen die Ornamentalität der Vogelgestalten besonders zur Geltung kommt. Den Vogelbildern scheint er auch einigen persönlichen Charakter beizumessen und als Freundschaftsbilder zu fungieren, widmet er doch seinem Freund Philipp Röth zum 60. Geburtstag solch eine Zeichnung und auch Henry Thode ist im Besitz eines der Gemälde. Der Wundervogel steht aber auch für das Reich der Fantasie und der Kunst, die sich nicht der Realität verpflichtet fühlt. In unterschiedlichen Flughaltungen schweben die großen Tiere mit den geschwungenen Hälsen und Federn über den Himmel, riesig über Landschaft, und erlauben den Betrachtenden eine neue Perspektive. Das traumhafte Gefühl des Schwebens hat für Thoma essentielle Bedeutung: „In meinen Bildern und ihrem Raum soll man Fliegen können“ (J.A. Beringer, Vollständiges Verzeichnis der radierten Platten und ihrer Zustände, München 1923, S. XIV). Der Kunsthistoriker Joseph August Beringer wies auch darauf hin, dass das Phänomen des Fliegens gerade in der Zeit der beginnenden Luftfahrttechnik einen besonderen Reiz auf Thoma ausgeübt haben könnte. Greifbar wird das Gefühl der Irrealität, das in so vielen von Thomas Bildern spürbar ist. Das Schweben im Raum, das Gefühl der Freiheit und die Sehnsucht nach ihr werden von Thoma in Gestalt der Wundervögel immer wieder thematisiert. In den geschwungenen Linien der Tiere lassen sich zudem Anklänge an die Kunst des Jugendstils sowie japanische Holzschnitte erkennen, wie sie um die Jahrhundertwende Konjunktur hatten. [KT] Aufrufzeit: 09.12.2023 - ca. 13.42 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONHans Thoma 1839 Bernau - 1924 Karlsruhe Wundervögel. 1917. Oil on canvas. Lower right monogrammed and dated. With written and typogr. numbers on the reverse of the stretcher. 80.5 x 95.5 cm (31.6 x 37.5 in). PROVENANCE: Paul und Beth von Bleichert, Leipzig (presumably acquired in 1917). Paul und Beth von Bleichert, Zürich (1920s, family-owned until 2014). Jack Kilgore & Co. Gallery, New York. Daxer & Marschall, Munich. Private collection Baden-Württemberg. LITERATURE: Cf. Henry Thode, Hans Thoma, Stuttgart/Leipzig 1909, pp. 355, 421. Joseph August Beringer, Der Malerpoet, Munich 1917, no p., fig. plate 17. Hans Thoma expressed the human longing to overcome gravity in weightless flight in paintings of his so-called 'miracle birds'. Such a fantastic bird appeared for the first time in the painting 'Paradise' from 1876 (Thode p. 89). Another painting entitled 'Sehnsucht' (Thode p. 427) from 1900 shows a young man in a wide river landscape gazing at migrating birds in the sky. Particularly fascinating, however, are the paintings in which the viewer flies with the birds, as it were, far above the gentle landscape in a space permeated by unreal, bright light. In them, Thoma combines the wide-winged cranes familiar from East Asian art with the long feathers of the bird of paradise, and in some cases peacocks. He also made etchings of the motif he then used as his own bookplate, in which he particularly emphasized the ornamentality of the birds. He also seems to have attached a personal character to the bird pictures, as he dedicated such a drawing to his friend Philipp Röth for his 60th birthday and Henry Thode also owned one of the paintings. However, the miracle bird also stands for the realm of fantasy and art that does not feel bound to reality. In various flying postures, the large animals with their curved necks and feathers float above the landscape, allowing the viewer a new perspective. The dreamlike feeling of floating is of essential importance to Thoma: 'In my pictures and their space, one should be able to fly' (J.A. Beringer, Vollständiges Verzeichnis der radierten Platten und ihrer Zustände, Munich 1923, p. XIV). The art historian Joseph August Beringer also pointed out that the phenomenon of flying could have exerted a particular attraction on Thoma, especially at the time when aviation technology was just beginning. The unreal feeling is palpable in so many of Thoma's paintings. Floating in space, the feeling of freedom and the longing for it were repeatedly addressed by Thoma in the form of the miracle birds. The curved lines of the animals are also reminiscent of Art Nouveau and Japanese woodcuts, which were popular at the turn of the century. [KT] Called up: December 9, 2023 - ca. 13.42 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.