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'TWO GALLOPING HORSES', BY XU BEIHONG (1895-1953), DATED 1948China. Masterfully painted in a highly expressive manner with bold and vivid brushstrokes, characteristic for the artist, using exclusively black ink against a pure white background. Note the scattered remnants of preliminary sketch work below the final painting, and the distinct horizontal imprints from the edges of the supporting board - both peculiarities occasionally found on works from this artist.Inscriptions: on the upper left, “in the 37th year” (of the Republic of China, corresponding to 1948), and signed “Beihong”.Provenance: From the collection of Dr. Ivan Vodopija, acquired in China during a work trip for the WHO, according to a source familiar with the collection, and thence by descent to the last owner. Dr. Ivan Janko Vodopija (1925-2021) was a noted Croatian physician and expert in tropical medicine and vaccines. He worked for the World Health Organization (WHO) and conducted ground-breaking clinical research on vaccines in many countries. From 1995 to 2002, he was the President of the National Health Council of Croatia and in 2004, he was credited by the WHO for his significant contribution to eradicating polio. Dr. Vodopija was a passionate and eclectic collector of fine art, particularly paintings, and would frequently acquire works during his lengthy stays in foreign countries. Condition: Very good condition with minor wear, minimal soiling, little creasing. The silk brocade mounting with significant losses, possibly due to insect activity.Dimensions: Image size 109 x 40.5 cm, Size incl. mounting 165 x 51.5 cmWith a silk brocade frame and mounted as a hanging scroll with wooden handles.Xu Beihong (1895-1953) was a Chinese painter, born in rural Yixing during the late Qing dynasty. He began studying classic Chinese works and calligraphy at the age of six, with his father Xu Dazhang, a private school teacher, and Chinese painting at the age of nine. Beihong started from very humble beginnings to become one of the most sought-after, admired and influential painters of China. One of his well-known works, the “Cultivation of the peaceful Land”, sold for 27.4 million euro in 2011 and therefore ranks among the most expensive paintings in the world. After the founding of the People's Republic of China in 1949, Xu became President of the Central Academy of Fine Arts and chairman of the China Artists Association. Xu Beihong, together with Zhang Shuqi and Liu Zigu, were called the "Three Masters of Jinling (Nanjing)." Xu Beihong was a master of both oil and ink paintings. Most of his works, however, were in the Chinese traditional style. In his efforts to create a new form of national art, he combined Chinese brush and ink techniques with Western perspective and methods of composition. He integrated firm and bold brush strokes with the precise delineation of form. As an art teacher, he advocated the subordination of technique to artistic conception and emphasized the importance of the artist's experiences in life. Of all the painters of the modern era, it can be safely said that Xu is the one most responsible for the direction taken in the modern Chinese Art World.During his career Xu Beihong painted many pictures of horses in various postures. During the Sino-Japanese War (1937-1945) these images became particularly important, both as symbolic representations of China's strength and perseverance as well as for fund raising to support the war effort. While Xu's equines are characteristically powerful, vibrant, and rendered with anatomical precision, only his best examples have such detailed musculature and brushstrokes that suggest a play of light across the horse's torso, as seen on the anterior horse of the present work. It is quite exceptional to find an example where Xu took the time to paint two galloping horses in a rather small format as opposed to just a single horse. The close attention to modeling that is particularly visible in the heads reveals Xu's skill as a draughtsman and his interest in using Western techniques to enhance Chinese traditional paintings.Auction result comparison: Type: Related Auction: Sotheby's New York, 22 March 2019, lot 1136 Price: USD 375,000 or approx. EUR 421,000 converted and adjusted for inflation at the time of writing Description: Xu Beihong 1895-1953, Galloping Horse Expert remark: Note the significantly larger size (93.7 x 152.7 cm) and that the painting depicts a single horseAuction result comparison: Type: Related Auction: Sotheby's New York, 17 March 2016, lot 1187Price: USD 47,500 or approx. EUR 57,500 converted and adjusted for inflation at the time of writing Description: Xu Beihong, Galloping Horse Expert remark: Note the significantly smaller size (25.5 x 45.5 cm) and that the painting depicts a single horse徐悲鴻款《奔馬圖》，1948年中國，紙本水墨，掛軸。 款識：三十七年始寒，悲鴻 來源：Dr. Ivan Vodopija收藏，被世衛組織派去中國公務之時購買，據熟悉該系列的消息人士稱，此畫一直被保存至最後一位繼承人。Dr. Ivan Janko Vodopija (1925-2021年) 是克羅地亞著名的醫生，也是熱帶醫學和疫苗方面的專家。他曾在世界衛生組織 (WHO) 工作，並在多個國家開展了開創性的疫苗臨床研究。從 1995 年到 2002 年，他擔任克羅地亞國家衛生委員會主席，並於 2004年因在根除脊髓灰質炎方面做出的重大貢獻而被世界衛生組織稱讚。Vodopija 醫生是一位美術收藏家，尤其是繪畫，他在國外逗留期間經常會收藏作品。品相：狀況極好，小磨損，輕微污漬和摺痕。錦地裝幀上有大損失，可能是蟲咬所致。 尺寸：畫面109 x 40.5 厘米，總165 x 51.5 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

Mekong 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: For 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, please see the lot description on www.zacke.at. 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 Musée 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 Musée 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: RelatedAuction: Christie’s New York, 20 March 2012, lot 151Price: USD 338,500 or approx. EUR 423,500 converted and adjusted for inflation at the time of writingDescription: A sandstone figure of Buddha Shakyamuni, Khmer, Angkor Borei, 9th centuryExpert remark: Note that this figure is slightly later and considerably smaller (82.6 cm) than the present lot.Auction result comparison:Type: RelatedAuction: Christie’s New York, 17 March 2015, lot 35Price: USD 413,000 or approx. EUR 500,000 converted and adjusted for inflation at the time of writingDescription: An important stone figure of Buddha, Thailand, Dvaravati period, 8th centuryExpert 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).

A RUBY-RED GLASS BOTTLE VASE, QIANLONG MARK AND PERIODChina, 1736-1795. The thick-walled, globular body supported on a spreading foot and rising to a tall cylindrical neck. The transparent glass is of a rich ruby-red color. The recessed circular base with a wheel-cut four-character mark Qianlong nianzhi within a double square and of the period.Provenance: Property from a Colorado private collection. Bonhams San Francisco, 23 June 2015, lot 7136, sold for USD 5,000 or approx. EUR 5,700 (converted and adjusted for inflation at the time of writing). A noted private collector, acquired from the above.Condition: Excellent condition with some old wear, minor surface scratches, microscopic nicks and expected manufacturing irregularities, including swirls and bubbles.Weight: 749.5 gDimensions: Height 23.8 cmLiterature comparison: Compare a related translucent ruby-red bottle vase with a Qianlong mark in the Andrew K. F. Lee Collection, illustrated in Elegance and Radiance: Grandeur in Qing Glass, The Art Museum, The Chinese University of Hong Kong, 2000, pp. 104-5, no. 11.Auction result comparison: Type: Related Auction: Christie's New York, 25 September 2020, lot 1797 Price: USD 56,250 or approx. EUR 58,500 converted and adjusted for inflation at the time of writing Description: A translucent garnet-red glass bottle vase, Qianlong four-character wheel-cut mark within a double square and of the period (1736-1795)Expert remark: Compare form and color, as well as the near-identical wheel-cut four-character Qianlong mark within a double square. Note that the size is also near-identical (22 cm).乾隆款及年代寶石紅琉璃瓶中國，1736-1795年。厚壁，頸部長且直，圓腹，圈足稍外撇。料器透明，呈濃鬱的寶石紅色。圈足内雙圈“乾隆年製“四字款。 來源：科羅拉多私人收藏，舊金山邦翰思，2015年6月23日，售價 USD 5,000 ，約相當於現在的 EUR 5,700 ；知名私人收藏家，購於上述收藏。 品相：品相極好，一些磨損，輕微的表面劃痕和預期的製造不規則性，包括漩渦和氣泡。 重量：749.5 克 尺寸：高23.8 厘米 文獻比較： 比較相相近的乾隆款透明寶石紅色瓶，見李景勳藏清代玻璃，《虹影瑤輝》，藝術博物館，香港中文大學，2000年，頁104-5，編號11。拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2020年9月25日, lot 1797 價格：USD 56,250（相當於今日EUR 58,500） 描述：乾隆(1736-1795)雙圈款及年代透明寶石紅瓶 專家評論：比較外型、顏色，以及相近的圈足内雙圈“乾隆年製“四字款。請注意尺寸亦相近 (22 厘米)。

A CARVED CELADON-GLAZED 'LOTUS' VASE, QIANLONG MARK AND PERIODChina, 1736-1795. Finely carved in high relief around the body with stylized lotus flowerheads borne on scrolling leafy vines, overall incised with minute details, above a lappet border and below a band of ruyi heads. The shoulder similarly decorated with foliate scroll below a distinct leiwen border, the neck with overlapping palm blades above pendent trefoils, with further ruyi bands at the foot and below the rim. The base incised with a six-character seal mark da Qing Qianlong nianzhi in intaglio within a slightly recessed square and of the period.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Excellent condition with minor old wear and firing flaws, tiny surface scratches. Weight: 3,097 g Dimensions: Height 38.3 cmThe rounded sides supported on a spreading foot and sweeping up to an angular shoulder and waisted neck. Covered overall in a lustrous sea-green glaze pooling to a rich and deep celadon tone within the carved recesses. The base and inside glazed as well, leaving only the foot rim unglazed, revealing the white biscuit.From its fine potting, translucent pale green celadon glaze, crisp lotus scroll and supporting designs, this vase reveals the technical and artistic virtuosity of craftsmen active at the Imperial kilns in Jingdezhen during the 18th century. The form evokes a sense of effortless elegance, despite its design being meticulously executed and conceived in advance. The decoration and glaze both draw from the celebrated ceramic tradition of Longquan in Zhejiang province and reinterpret it to suit the eclectic taste of the 18th century and growing interest in timeless elegance, literally overarching millennia. Celadon-glazed wares are perhaps the type of ceramics most intimately associated with China. Their origins can be traced back to the Bronze Age, and since then they continued to be popular throughout the Chinese empire. The brilliant bluish-celadon glazes created at the Longquan kilns had provided much inspiration to the potters of the Jingdezhen imperial kilns since the early Ming dynasty. By lessening the amount of iron in the glaze, the potters were able to create a cool and delicate celadon glaze that, when applied on a white porcelain body, resembled the translucency and texture of pale celadon jade. A wide range of exquisite celadon tones was created in the early Qing dynasty, as a result of the Yongzheng and Qianlong Emperors' appreciation of Song dynasty porcelain. Much admired by contemporary connoisseurs was the douqing (bean-green), a bright sea-green color, and the present fenqing (soft green), a pale celadon-green glaze. When applied to finely carved pieces as on the present vase, the thinning and pooling of the glaze on the raised lines and the recesses create a delicate shaded effect, thus accentuating the crispness of the design. The present vase belongs to a group of monochrome wares where, by using a multi-level carving technique, the craftsmen have created a contrast in the color tone, as if two shades of the same color were used. The motif is elaborate and complex, displaying a level of porcelain carving and incision quality only achieved in the Imperial kilns of the 18th century, yet without any cluttering or overload whatsoever. The elegant silhouette of this vase, its restrained decoration, subtle glaze, and intaglio mark suggest that it was made in the early to middle years of the Qianlong reign, some time before designs slowly started to become overtly elaborate. Expert's note: The luxuriant lotus scroll on the present vase, which is particularly crisp in its rendering, was adapted from the somewhat rough and rustic designs on Longquan celadons of the Yuan and Ming dynasties. By adding tall palm blades to the neck, precise ruyi borders to the edges, multi-layer lappets to the lower body, and a hyper-accurate leiwen band to the shoulder, the artist has sensibly transitioned original Longquan designs into the highly formal decor language of the Imperial court. Later copies of these designs always lack such sophisticated semantics, for they not only demand complete submission to simplicity, but also scrupulously precise execution. Literature comparison: Compare a related Imperial celadon-glazed globular jar, also with a six-character incised seal mark of Qianlong in intaglio within a slightly recessed square and of the period, illustrated by Marchant, Recent Acquisitions 2012, Important Chinese Porcelain from Private Collections, London, page 94, no. 41. Compare a related celadon-glazed vase in the Qing Court collection, also with a Qianlong mark and of the period, with similarly carved ruyi heads, illustrated in Monochrome Porcelain: The Complete Collection of the Treasures of the Palace Museum, 1999, pages 152-153, no. 138. Compare a related celadon-glazed vase with carved lotus scrolls, with a similar incised Qianlong seal mark and of the period, illustrated in Shanghai Museum, Beijing Museum, Art Museum, The Chinese University of Hong Kong, Qing Imperial Monochromes. The Zande Lou Collection, Shanghai, Beijing, Hong Kong, 2005, p. 120, no. 43. Compare a closely related celadon-glazed bottle vase, 37.5 cm high, also with a Qianlong mark and of the period, with similarly carved palm blades, at Sotheby's Hong Kong, 8 April 2011, lot 3018. Compare a related celadon-glazed fanghu, 34.9 cm high, also with a Qianlong mark and of the period, with similarly carved lotus scroll, at Sotheby's New York, 16 September 2014, lot 158. Finally, compare also a closely related pear-shaped vase, Jiaqing mark and period, at Christie's Hong Kong, 29 and 30 April 2001, lot 554. Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3018Price: HKD 20,000.000 or approx. EUR 2,935.000 converted and adjusted for inflation at the time of writingDescription: A Fine and Extremely Rare Carved Celadon-Glazed Bottle Vase, Seal Mark and Period of QianlongExpert remark: Compare the closely related celadon glaze, form, and characteristic carving techniques including high reliefs and remarkably fine incision work with corresponding glaze poolings.Auction result comparison: Type: Related Auction: Sotheby's London, 6 November 2019, lot 17 Price: GBP 375,000 or approx. EUR 492,500 converted and adjusted for inflation at the time of writingDescription: A superb and rare carved celadon-glazed 'peony' vase, Qianlong incised seal mark and periodExpert remark: Compare the related celadon glaze, carved decoration, and incised seal mark, and particularly the near-identical lappet border above the foot, perfectly encapsulating the skill required to make this vase. Note the slightly smaller size (32.4 cm).

'ADMIRING THE WATERFALL' FU BAOSHI, DATED 1963China. Black ink and watercolors on paper. Depicting a scholar with a cane standing below a monumental waterfall, his head raised in awe towards the cliff. Silk brocade frame and mounted as a hanging scroll.Expert's note: Fu Baoshi reached his first artistic peak during his stay in Chongqing. Inspired by the geographical eccentricity of the location, he painted a series of landscapes and waterfalls which later became known as the “Landscapes of Jingangpo” - the mountain suburb of his residence. During his later years, he kept painting variations of these landscapes, including the present work, further improving the emotional density of the scenes. As Fu recalled, “There is a myriad of breath-taking scenery surrounding Jingangpo. Everywhere you look, fenben [artist's sketch books and preparatory drawings] exist in abundance. Those who live in the Southeast [Chongqing is located in the Southwest] cannot and dare not embrace this realm made possible only by the local misty atmosphere and the majestic peaks.”The composition of the present work emphasizes grandeur and monumentality. Technically, Fu Baoshi mostly eschews outlines and utilizes dappling of the brush and ink washes. In spite of the first impression, each element is rendered meticulously and with distinctive purpose. The distant rocks with atmospheric effect on the very top of the work contrast with the near and clear ones on the bottom. The seeming disorder of the falling waters, upon closer examination, is consisted of logically cascading waterflows seeking ways between protruding rock spires. A giant tree is rising above the cliff on the left. Near the bottom stands a lofty scholar, halting to admire the wonders of nature that take his breath away. Fu Baoshi uses flesh color to accent the head of the minuscule figure and razor sharp minuscule brushstrokes for the staff and the outlines of the robe, which do not shy a tenfold magnifying, adding vitality and a point of entry for the viewers to experience this pictorial world vicariously. The minuscule figure further highlights the colossal towering peaks and waterfalls.Fu Baoshi's family later reminisced about their time there: “Jingangpo, where we lived, was a typical mountain district of Sichuan province. Villages are scattered in layers of mountains and hills, where streams, bamboo groves, thickets, and forests are ubiquitous. And in the mountains there are the secluded ancient temples. In the summer, fog and mist frequently permeates the air, causing one to lose one's direction. However, this type of scenery was beloved by father [Fu Baoshi] the most.” The present work, in every way, exemplifies the finest of Fu Baoshi's waterfalls.Inscriptions: Upper right 'Fu Baoshi in Nanjing, May 1963', one seal 'Baoshi zhi yin'. Lower left, one collector's seal 'Yang Qilin suocang shuhua'.Provenance: From the collection of Yang Qilin, Singapore. Collector's seal 'Yang Qilin suocang shuhua' to lower left of painting. Thence by descent to the auction market, a noted private collector acquired from the above. Yang Qilin (1917-1998), was born in Chao'an, Guangdong Province, and later lived in Singapore. During his lifetime he collected more than 1,000 calligraphies and paintings, among them many highly important works. Together with Huang Manshi, Liu Zuochu and Chen Chuchu, he was known as the "Four Great Collectors of Paintings and Calligraphy in Singapore". Condition: Excellent condition with minor wear and traces of age, and few small creases to the mounting.Dimensions: Image size 51.5 x 28.5 cm, Size incl. mounting 201.5 x 46.7 cmThe finely polished hardwood scroll handles are probably carved from ebony. Fu Baoshi (1904-1965) was a Chinese painter from Xinyu, Jiangxi Province. Credited with revolutionizing Chinese ink painting, Fu is perhaps the most original figure painter and landscapist of China's modern period, and one of the most important artists of the 20th century overall. In 1933, Fu went to Japan to study the History of Oriental Art at the Tokyo School of Fine Arts. After returning to China, he taught in the Art Department of Central University (today Nanjing University). At this time, Fu developed a new style, smoothly incorporating foreign ideas and techniques, and began creating boldly individualistic yet sometimes strongly nationalistic work. He also sought to revive early schools of realist depiction that made greater use of color and ink wash. His most important and acclaimed works of landscape painting employed skillful use of inking methods, such as washing, rubbing or dotting, creating a distinct style that encompasses a sheerly enormous range of varieties, but all within strict traditional rules. His detailed paintings of miniature figures remain unmatched to this day, due to his remarkably delicate and thus inimitable brushstrokes.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 1 October 2018, lot 1319Price: HKD 3,240,000 or approx. EUR 438,500 converted and adjusted for inflation at the time of writingDescription: Fu Baoshi, Expedition to the WaterfallExpert remark: Note the size (96.5 x 37 cm)Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 8 July 2020, lot 1074Price: HKD 812,500 or approx. EUR 104,500 converted and adjusted for inflation at the time of writingDescription: Fu Baoshi (1904-1965), Viewing WaterfallExpert remark: Note the size (69 x 33 cm)傅抱石款《觀瀑圖》，1963年中國，紙本設色，掛軸。散鋒皴擦水口的山石，透過其佈局襯托出流水的質感和動勢，構圖滿密，瀑布飛泉依山勢曲折而下，水勢湍急。一人立于石台之上，沉浸在震耳欲聾的水聲中，暢然忘返。由於字數限制，完整中文敘述請至www.zacke.at查看。

A COPPER-RED-GLAZED BEEHIVE WATERPOT, TAIBO ZUN, 18TH CENTURYChina. The domed body is covered with a rich glaze transmuting from a dark liver-red tone below the rim to crushed-raspberry above the foot. The interior and base glazed white. The recessed base with an underglaze-blue double-circle.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: Perfect condition with only minor wear and firing irregularities.Weight: 442.4 g Dimensions: Diameter 12.7 cmThe taibo zun is of a classic dome shape typical of the Kangxi reign, originally inspired by the wine pot of the legendary Tang dynasty poet, Li Bai (AD 701-762). The poet, notorious for his drinking, is often depicted leaning against a wine jar of this form. The shape is sometimes also referred to as a jizhao zun, as it resembles a chicken coop. In its exquisite copper-red glaze, exhibiting the highest level of control in its transmutation from a dark liver-red to an attractive crushed-raspberry tone, the scholar's vessel has transcended its modest form, strictly limited to function, transformed into a jewel-like object, to be admired and prized.Auction result comparison: Type: Related Auction: Christie's London, 15 May 2015, lot 558 Price: GBP 10,625 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A celadon-glazed beehive water pot, 18th century Expert remark: Compare the closely related form, monochrome glaze, and non-reign mark, three features common to both this and the present lot. Note the smaller size (5.7 cm)Auction result comparison: Type: Remotely related Auction: Bonhams Hong Kong, 3 December 2015, lot 4 Price: HKD 1,600,000 or approx. EUR 230,500 converted and adjusted for inflation at the time of writing Description: A small rare copper-red-glazed waterpot, taibo zun, Yongzheng six-character mark and of the period Expert remark: Compare the similar form and related copper-red glaze. Note the smaller size (5.2 cm) and particularly the Yongzheng mark.十八世紀銅紅釉太白尊中國。半球狀腹，通體施銅紅釉，從太白尊邊緣紅褐色至足部鮮亮紅色。尊內和圈足内白色釉，足内青花雙圈。 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：狀況極好，輕微的磨損和燒製瑕疵。 重量：442.4 克 尺寸：直徑12.7 厘米 太白尊為康熙時期的經典造型，因摹仿詩人、酒仙李太白的酒壇而得名，又因形似圈雞用的罩，還有"雞罩尊"之稱。高溫銅釉，溫度極難掌握，釉色如紅寶石般優美，非常名貴。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2015年5月15日，lot 558 價格：GBP 10,625（相當於今日EUR 15,500） 描述：十八世紀青釉太白尊 專家評論：比較非常相近的外型、單色釉，以及沒有底部款識，此三個特點和現拍品相同。請注意尺寸較小 (5.7 厘米)。 拍賣結果比較： 形制：稍微相近 拍賣：香港邦瀚斯，2015年12月3日，lot 4 價格：HKD 1,600,000（相當於今日EUR 230,500） 描述：清雍正霽紅釉水丞，青花「大清雍正年製」楷書款 專家評論：比較相似的外型和相近的釉色。請注意尺寸較小 (5.2 厘米) ，且有雍正款識。

A LARGE AND MASSIVE SPINACH-GREEN KHOTAN JADE FIGURE OF GUANYIN, PROBABLY TAKEN FROM THE OLD SUMMER PALACE IN BEIJING IN 1861China, ca. mid-18th to mid-19th century. Finely carved standing, cradling a lingzhi sprig and ruyi scepter in her delicate hands, wearing a long flowing robe cascading in voluminous folds, her serene face with heavy-lidded eyes, the neatly incised hair tied up into a high chignon secured by a ruyi-head hairpin. The stone of a deep spinach-green tone with creamy, russet, and cloudy inclusions.Provenance: Eugenie de Montijo (1826-1920), Empress of the French from her marriage to Emperor Napoleon III, and thence by descent in the family. Christie's London, 12 October 1950, lot 121. The Graham Collection, London, acquired from the above and thence by descent in the 1970s to a private English collector. A copy of the lot entry in the Christie's London auction catalog from 12 October 1950, stating the present lot was “Formerly the Property of the Empress Eugenie” and with handwritten notes by a previous owner, accompanies this lot.It is probable that the present statue was originally located at the Old Summer Palace, Yuanmingyuan, in Beijing and subsequently part of the loot of several hundred pieces sent to Empress Eugenie directly by General Charles Cousin-Montauban (1796-1878).In the morning of 21 September 1860 General Cousin-Montauban was the commanding officer of the Anglo-French troops, fighting the battle at the bridge of Palikao against the Qing Imperial forces, a decisive event of the Second Opium War. Their victory allowed the Western forces to take the Chinese capital Beijing and eventually defeat the Qing Empire. On 6 October 1860, French and British troops captured the Old Summer Palace, looting the Imperial collections over the next few days, again under the command of General Cousin-Montauban.In 1861, General Charles Cousin-Montauban sent numerous crates of the enormous French loot of the Summer Palace to Empress Eugenie in France as a personal gift to the Imperial French household, with the first shipment arriving in February 1861. The inventory of this shipment numbers some 800 objects, with over 300 coming directly from the sack of the Summer Palace. As a reward, the general eventually received the title of Comte de Palikao by Emperor Napoleon III in 1862.In 1863, the Empress established a museum of Chinese art called the Musee Chinois (Chinese Museum) at the Palace of Fontainebleau. She carefully curated the collections and displays of this museum, at the time almost exclusively consisting of the objects taken from the Old Summer Palace in 1860. In later years, Eugenie combined the Chinese collection with gifts originating from the French embassies in Siam, Cambodia, Japan, Korea, and Tibet to collectively form the core of the Asian art collection in Fontainebleau, which she later complemented with objects confiscated by the state during the French Revolution and kept since then at the National Library, some diplomatic and non-diplomatic gifts, and acquisitions she made on the French art market using the Imperial household's personal budget. The museum has been preserved in a layout largely similar to that of the 1860s and is one of the world's oldest museums specifically dedicated to Asian art. It is unknown which and how many of the pieces from the museum went with Empress Eugenie to England after her husband was overthrown in 1870, but there are speculations that the amount was quite substantial.Empress Eugenie of France was born María Eugenia Ignacia Agustina de Palafox y Kirkpatrick, 19th Countess of Teba, 16th Marchioness of Ardales, in Granada, Spain. She was Empress of the French from her marriage to Emperor Napoleon III on 30 January 1853 until the Emperor was overthrown on 4 September 1870. Napoleon and Eugenie had one child together, Napoleon, Prince Imperial (1856-79). After the fall of the Empire, the three lived in exile in England. Eugenie outlived both her husband and son and spent the remainder of her life working to commemorate the Second French Empire. After World War I, Eugenie lived long enough to see the collapse of other European monarchies, such as those of Russia, Germany and Austria-Hungary. She left her house in Farnborough with all her collections to the heir of her son, Prince Victor Bonaparte.Published: The Times, London, 13 October 1950, a column in the paper relating to various jades in the Christie's sale including this figure of Guanyin from Princess Eugenie which sold at 250 Guineas (at the time, the cost of house in London averaged at ca. 1.500 Guineas). A copy of a newspaper clipping with this column accompanies this lot.Condition: Very good condition with some old wear, natural inclusions and imperfections of the stone, few minuscule nicks here and there, light scratches. The wood base with minor losses, natural age cracks and a fine naturally grown patina.Weight: c. 24 kg (without the base) Dimensions: Height 75 cmWith a matching wood base dating from the same period, finely carved with lotus petals. (2)Literature comparison: Compare the movement of the robes, expression, high chignon with hairpin, and wood stand on a closely related jade figure of Guanyin, dated 19th century, 72.4 cm high, in the collection of the Metropolitan Museum of Art, accession number 39.65.24a, b.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2011, lot 1515 Price: USD 290,500 or approx. EUR 378,000 converted and adjusted for inflation at the time of writing Description: A large mottled jadeite figure of Guanyin Expert remark: Note the much smaller size (39.4 cm) 大型和田碧玉觀音立像，可能來自1861年圓明園之劫中國，約十八世紀中期至十九世紀中期。 來源：Eugenie de Montijo歐珍妮·德·蒙提荷(1826-1920)，是法蘭西第二帝國皇帝拿破崙三世的妻子和法國最後一位皇后，保存在同一家族；倫敦佳士得，1950年10月12日，lot 121；倫敦 Graham Collection，購於拍賣，一直保存至上世紀七十年代被一英國私人收藏家收藏。隨附倫敦佳士得拍賣目錄文字副本，上描述 “Formerly the Property of the Empress Eugenie” （歐珍妮皇后財產）與上任藏家手寫注釋。 由於字數限制，完整中文敘述請至www.zacke.at查看。

AN EXTRAORDINARILY RARE AND SPECTACULAR TERRACOTTA RELIEF OF A THINKING PRINCE SIDDHARTA UNDER THE BODHI TREE, ANCIENT REGION OF GANDHARAScientific Analysis Report: A thermoluminescence sample analysis has been conducted by Arcadia, Tecnologie Per I Beni Culturali, Milan, dated 4 February 2019, reference no. 116L, 117L. The result is consistent with the suggested period of manufacture. A copy of the thermoluminescence analysis report accompanies this lot.Expert's note: The frescoes painted to the two columns on the present sculpture display a decidedly Chinese influence. Numerous such mural paintings have been found in Imperial tombs in China dating to the Northern Qi period (550-577), but the paintings on the present sculpture are among the oldest Buddhist frescoes in the history of mankind. They are also closely related to the paintings on the ceilings and walls of the Ajanta Caves, which were painted between 200 BC and 600 AD, and are the oldest known frescoes in India. They depict the Jataka tales, stories of Buddha's life in former existences as a Bodhisattva. The narrative episodes are shown one after another although not in a linear order. Their identification has been a core area of research on the subject since the time of the site's rediscovery in 1819.Kushan period, 4th-6th century. Superbly modeled, Prince Siddharta is standing in contrapposto, his feet resting on two small lotus pedestals, a prostrate caparisoned elephant at his feet. One hand resting on his waist and the other raised with one finger placed on his forehead in a deeply pensive expression. He is wearing loose-fitting robes cascading in voluminous folds and richly adorned with fine jewelry and billowing scarves. His serene face with heavy-lidded almond-shaped eyes and slender lips forming a calm smile. The hair arranged in wavy locks secured by an elaborate floral headdress. All below a canopy representing the legendary bodhi tree.Provenance: A private collection in Venice, Italy, acquired in the Italian antiques trade between 1985 and 1992. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Superb condition, commensurate with age and presenting magnificently overall. Some wear and weathering, firing flaws as expected, some nicks and cracks, losses to exposed areas, remnants of old varnish. The ancient pigments are remarkably well-preserved. Overall, fully consistent with the high age of this sculpture and with no visible signs of repairs or touchups worth mentioning. Drilled holes from sample-taking. Dimensions: Size 59 x 81 cm (excl. stand), Height 63 cm (incl. stand)Mounted on an associated stand. (2)Prince Siddharta is flanked by two flying apsaras as well as Maitreya to his right and Padmapani to his left, the bodhisattvas each standing on lotus pedestals and similarly dressed, Padmapani holding a lotus flower in his hand, both backed by halos and standing below similar leafy canopies, all framed by two massive columns, each with a superbly painted fresco, depicting a bodhisattva with a halo.This sculpture is a perfect example of the rich cultural interplay and hybrid art styles of the Gandharan empire in the first centuries CE. It represents the bodhisattva who will be born as the historic founder of Buddhism, Prince Siddhartha, sitting in a celestial abode called the Tushita heaven, where he teaches the gods and meditates on his future birth. Like other Gandharan bodhisattvas, he looks like an earthly prince, richly dressed and bejeweled.The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influences. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the 1st century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired earthenware instead of stone such as schist, marble or sandstone became popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such a large and expensive sculpture would have been a highly meritorious Buddhist offering. Only a few terracotta statues from this period and of this spectacular size have ever been recorded.Literature comparison: Compare a related terracotta sculpture of a pensive Prince Siddharta, dated 4th-6th century, in the collection of the Dallas Museum of Art, object number 2010.17. Note the similar pose with one finger placed on his forehead and one foot resting on a separate lotus pedestal.犍陀羅罕見紅陶浮雕悉達多菩提樹下證道圖貴霜王朝，四至六世紀。科學檢測報告：米蘭Arcadia，Tecnologie Per I Beni Culturali 研究所2019年2月4日出具的熱釋光檢測報告，編號116L，117L。結果表明年代與上述建議相符。隨附檢測報告複印件。 品相：狀況極佳，與年齡相稱。一些磨損和風化、燒製缺陷，一些刻痕和裂縫，有清漆的殘留。彩繪保存極好。總體而言，與這座雕塑的年代相符，沒有明顯的維修或修飾，有取樣鑽孔。 尺寸：59 x 81 厘米 (不含底座)，高63 厘米 (含底座)有底座。由於字數限制，完整中文敘述請至www.zacke.at查看。

A CELADON JADE 'TURTLEDOVE' FINIAL, JIU, HAN DYNASTYChina, 206 BC to 220 AD. Finely carved, the bird facing forward, well detailed with round eyes, distinct elegantly curved brows, an inward-curved beak holding a small ball, and a feather issuing from the head, the wings tucked against its sides, the plumage finely defined with incised lines and carved grooves, the underside with a circular recess for attachment to a staff. Opinion: The present lot is an exceptional example of an early jade carving representing the pinnacle of Han dynasty jade craftsmanship. This superbly carved bird is remarkable in two aspects: the dynamic design combined with the attention to naturalistic details.Provenance: From the private collection of Professor Filippo Salviati, Rome, Italy. A professor of archeology and art history at the Italian Institute of Oriental Studies at the Sapienza University of Rome, Prof. Salviati has researched and published extensively on Chinese archaic art.Condition: Very good condition with some old wear and weathering, few minuscule nicks, microscopic encrustations and surface alterations. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 90.3 g Dimensions: Length 9 cmIn Chinese legend, Liu Bang (c. 256-195 BC), Emperor Gaozu of the Han dynasty, was once assisted by a divine turtledove to escape from his arch-rival Xiang Yu (232-202 BC), and became a symbol of benevolent rule and heavenly protection. Staffs or swords with mythical bird finials made from jade were also recorded in Han dynasty literature as special gifts given to the elders of the aristocracy to manifest benevolent rule and heavenly protection.Literature comparison: See a white jade sword pommel in the form of a mythical eagle, Western Han dynasty, excavated from a tomb at Longgangsi, Shaanxi Province, illustrated by Gu Fang, The Complete Collection of Jades Unearthed in China, vol. 14, Shaanxi, Beijing, 2005, page 149. Note the closely related head with similar round eyes below distinct curved brows and inward-curved beak, as well as the underside with a circular recess for attachment to a staff. Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 5 April 2016, lot 29 Price: HKD 1,720,000 or approx. EUR 244,500 converted and adjusted for inflation at the time of writing Description: A pale green jade turtledove, Western Han dynastyExpert remark: Compare the feather issuing from the head. Note the size (6 cm) and the similarities in the material.漢代青玉雕臥鳩中國，公元前206 年至公元 220 年。青玉質地溫潤，雕斑鳩作蹲伏狀，頭部突出，鳥翎自鳥首向背部延伸，身上琢出勾轉的平行線紋以示其翅膀，身下有收縮的足部，鳥尾刻出下垂的尾羽，工藝精巧。此類臥鳩流行於漢代中期至東漢，用途為鳩杖的杖首。 來源：義大利羅馬Filippo Salviati教授私人收藏，Filippo Salviati教授是羅馬大學東亞研究所考古系及藝術史系教授。他對中國古代文物以及玉器進行了廣泛研究並出版了很多專著。 品相：狀況極好，有一些磨損和風化，少量微小的刻痕、輕微結殼。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：90.3 克 尺寸：長9 厘米 傳説漢高祖劉邦 (公元前約 256-195 年)，還沒有統一天下時，有一次和項羽 (公元前232-202 年) 作戰，受一隻斑鳩庇佑得以逃脫。劉邦很感激斑鳩，即位為皇帝之後，就做鳩杖，賜給老人。 文獻比較： 見一件西漢鷹形玉劍首，出土於陝西省龍岡寺遺址，見古方編，《中國出土玉器全集》，卷14，陝西，北京， 2005年，頁149。請注意非常相近頭部有類似的圓眼，下面有明顯的彎曲的眉毛和向內彎曲的喙，底部一個圓形的凹槽，用以安裝劍筒並固定劍莖。 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2016年4月5日，lot 29 價格：HKD 1,720,000（相當於今日EUR 244,500） 描述：西漢青玉雕臥鳩 專家評論：比較頭部特色。請注意尺寸(6 厘米) ，以及相似的材質。

A LARGE AND HIGHLY IMPORTANT WHITE MARBLE TORSO OF BUDDHA, NOTHERN QI DYNASTYChina, 6th century. Depicting a standing Buddha, dressed in loose robes draped over both shoulders and elegantly falling in stepped folds flaring at the hems in stylized pleats, the robe open at the chest to reveal the tied underskirt. The overall simple and naturalistic style clearly dates it to the later sixth century. Clinging tightly, the diaphanous drapery reveals the elegant body's form, characteristically indicated by incised lines and relief ridges.Provenance: Old Italian private collection, acquired 1971 from Wing Tat Hong Gallery, Hong Kong. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, losses, nicks and surface scratches, minor cracks. Remnants of ancient pigment. Displaying supremely. Dimensions: Height 92 cm (excl. base) and 101.5 cm (incl. base)Mounted to a modern metal base. (2)Expert's note: This magnificent sculpture embodies a profound spirituality achieved through the remarkable plasticity of drapery and form. The figure represents a standing Buddha and the monk's robes, which he wears, are arrayed to cover both shoulders. The size, sensitivity of carving, crisp treatment of the gracefully draped folds, both those falling in parallel curved lines down the front of the subtly indicated body and those of the hem, closely relate this figure to other imposing white marble statues of a similar date.Only occasionally encountered among Chinese Buddhist sculptures, white marble first rose to popularity during the Northern Qi period, when sculptors occasionally carved Buddhist images in beautiful white marble from Dingzhou, in southwest Hebei province. Although a quarry site can never be taken as the probable site at which a particular image was sculpted, the use of white marble nevertheless suggests that this extraordinary sculpture might have been carved in the vicinity of Dingzhou, likely in Hebei or Shanxi province.Faint traces of polychromy, evident on the shoulders, suggest that the sculpture was once entirely painted, as were virtually all early Indian and Chinese Buddhist sculptures in wood and stone. The brilliant pigments of the sculptures and wall paintings at Dunhuang, in Gansu province, suggest that the original colors of this Buddha would have been stunning.If the missing right arm was raised in the abhayamudra, then the left might have shown a variation of the varadamudra, the gift-giving gesture, also associated with preaching. Moreover, if the right arm displayed the abhayamudra then the present sculpture likely represented either the Historical Buddha Shakyamuni or Amitabha, the Buddha of Boundless Light, in a preaching mode. Because the sculpture lacks an identifying inscription, not to mention its right arm and any distinguishing iconographic attributes, the exact identity of this Buddha likely will remain an enigma.Literature comparison:Compare a related figure of Amitabha Buddha in the Royal Ontario Museum, illustrated in Homage to Heaven, Homage to Earth, 1992, p. 163, pl. 92. Compare a related figure illustrated in Chinese Marble Sculptures of the Transition Period, B.M.F.E.A., no. 12, Stockholm, 1940, pl. II (b). Compare a related sculpture in the Eskenazi exhibition Sculpture and ornament in early Chinese art, London, 11 June to 13 July 1996, no. 31.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 203Price: EUR 101,575 or approx. EUR 143,500 adjusted for inflation at the time of writingDescription: A Chinese stone torso of Buddha, Northern Qi dynasty Expert remark: Compare the closely related pose and manner of carving with similar diagonal pleats. Note the size (148 cm).北齊大型漢白玉立佛殘件中國，六世紀。立佛左右臂貼身，從肘部起殘缺，低開領的通肩袈裟，袈裟顯得輕薄而貼身，順著身體結構起伏，雙腿輪廓隱約可見。 來源：義大利私人舊藏，1971年購於香港Wing Tat Hong 藝廊；貝加莫Leonardo Vigorelli收藏，購於上述收藏。Leonardo Vigorelli Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度教佛教藝術。在學習人類學和數十年的旅行以及在印度、喜馬拉雅地區、東南亞和非洲的廣泛實地研究之後，他在義大利米蘭創立了 Dalton Somare 藝術畫廊，如今由他的兩個兒子經營。品相：狀況良好，與年齡相稱。大面積磨損、風化和侵蝕跡象、結殼、缺損、刻痕和表面劃痕、輕微裂縫。顏料殘餘。 尺寸：高92 厘米 (不含底座)，總101.5 厘米 現代金屬底座。由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE AND MASSIVE MOTTLED JADE CONG, LIANGZHU CULTUREChina, late Neolithic period, c. 3300-2200 BC. The thick-walled cong is of short square section with rounded sides and a cylindrical interior, each corner carved with a stylized human and animal mask design. The eyes and noses as well as the raised bands above the human mask and recesses in between are finely incised with line and scroll designs. The faces are divided with a gently recessed vertical band to the center of each side.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades.Condition: Good condition, commensurate with age. Some wear, weathering, and minor alterations, as well as small nicks and nibbling to edges, the stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 1,349 g Dimensions: Diameter 10 cmThe partly translucent stone is of an olive-green and russet-brown tone with russet veins and inclusions as well as patches of cream tone and areas of opaque ivory-white calcification.The present cong displays the distinctive characteristic of Liangzhu culture cong vessels, with a square outer section around a circular inner part and decorated with stylized masks neatly arranged on each of the four corners. The exceptional craftsmanship is particularly notable in the very delicate and precise quality of the carving and incised decoration, enhanced by the lustrous patina formed on the surface over time.Literature comparison: Compare a similar jade cong, Liangzhu culture, also carved with two registers of stylized human and animal masks excavated in 1984 from Fuquanshan in Qingpu County, Shanghai, now in the Shanghai Administrative Committee of Culture Heritage, illustrated in Liangzhu wenhua yuqi, Hong Kong, 1989, p. 17, pl. 19. See another related example of a jade cong, included in the Min Chiu Society Thirtieth Anniversary Exhibition: Selected Treasures of Chinese Art, Hong Kong, 1990, no. 195. For several other examples of two-tiered cong, see F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, nos. 51, 53, and 54.Auction result comparison: Type: Closely related Auction: Christie's New York, 19 March 2015, lot 470 Price: USD 60,000 or approx. EUR 75,500 converted and adjusted for inflation at the time of writing Description: A mottled olive-green, russet-brown and ivory-colored opaque jade cong, China, Neolithic period, Liangzhu culture, 3rd millennium BC Expert remark: Compare the closely related two-tiered form, animal masks, and olive-green and russet-brown color of the jade with similar opaque ivory-white calcification. Note the thinner walls and smaller size (6.5 cm).Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 5 April 2016, lot 1 Price: HKD 375,000 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: A mottled green jade vessel, cong, Neolithic period, Liangzhu culture Expert remark: Compare the closely related two-tiered form, animal masks, and olive-green and russet-brown color of the jade with similar opaque ivory-white calcification. Note the thinner walls and smaller size (7.5 cm).良渚文化玉琮中國 ，新石器時代末期，公元前約3300-2200年。器呈外方內圓的筒形，兩端琢成圓口，上下穿透，四角各有不同人面紋。 來源：Irene與 Wolfgang Zacke (1942-2022)。自1968 年起，這對夫婦活躍在藝術貿易界，並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980年代後期，他們一直在收集中國古代玉器，幾十年來建立了極富多樣性的收藏。 品相：品相良好，一些磨損、風化、細微變化、刻痕，邊緣有一些小磕損，玉料帶有天然的內沁和裂縫，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：1,349 克 尺寸：直徑10 厘米這件玉琮展現了良渚文化的鮮明特色，外方內圓，均以四角為中軸線，雕琢神人獸面紋，雕琢精細。玉質精良，玉色深綠，局部得見黃白沁斑，不透明的象牙白色鈣化區域。表面包漿細膩。由於字數限制，完整中文敘述請至www.zacke.at查看。

A SMALL WHITE MARBLE FIGURE OF A LION, TANG DYNASTYPublished: Religion and Ritual, Michael B. Weisbrod, Inc., 1987, no. 19.China, 618-907. Finely carved, the beast seated on its haunches atop a rectangular plinth and facing forward with the mouth wide open in a ferocious roar, the fierce expression further marked by large bulging eyes. Three long strands of a split beard are smoothly carved on the chest below the chin in rounded relief. The pointed ears are laid back above the thick, subtly carved curls of the mane. Its tail curls around the figure's right side with the end lying over the back paw and below the chest.Provenance: Michael B. Weisbrod, Inc., New York, USA, acquired 1985 in the Hong Kong market. The collection of J. Abraham Cohen, New York, USA, acquired from the above. Michael B. Weisbrod, Inc., New York, USA, 2010, acquired from the above. A notable Canadian private collection, 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: Superb condition, commensurate with age. Small losses and nicks, light scratches, old wear and weathering, some imperfections to the stone. Fine, naturally grown patina with an unctuous feel and a magnificent ivory color overall.Weight: 1,837 g Dimensions: Height 16.2 cmThe lion is well represented in Buddhist art of the Tang dynasty. Its roar was said to represent the dissemination of the Buddhist scriptures. In their role as guardian figures, lions can be found not only lining spirit roads which lead to imperial tombs, but also in pairs in tombs, such as the pair of small marble lions found guarding the front room of the underground hoard of Buddhist relics at the Famen Temple. See Famen Temple, Shanxi, 1990, pp. 164-167. This figure is stylistically related to other marble lions of Tang date that are also seated on a plinth, some facing forward, some with the mouth open.Literature comparison: The present marble lion bears a strong resemblance to one of the large stone guardian lions along the spirit path of the Qian Ling mausoleum, the tomb of Emperor Gao Zong and Empress Wu Zetian near Xi'an, illustrated by Qian, Out of China's Earth, page 156, and also by Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, volume 4, pl. 431A. Allowing the difference in size and material, there is a marked similarity in the shape of the muzzle, the split beard and the collar of flesh between the shoulders and legs. The large stone lion is probably no later than AD 683, the year of Gao Zong's death.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2020, lot 908 Price: USD 475,000 or approx. EUR 533,500 converted and adjusted for inflation at the time of writing Description: A small white marble figure of a seated lion, China, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (18.2 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 25 March 2022, lot 742 Price: USD 75,600 or approx. EUR 74,000 converted at the time of writing Description: A superb carved white marble figure of a lion, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (17 cm).13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.唐代小漢白玉獅中國，618-907年。雕工精巧，石獅呈現蹲坐式樣，前肢斜伸，胸部挺起，獅頭昂揚，雙目圓睜，頭頸處鬃毛分成數縷垂捲，細膩逼真，體格雄健。它的尾巴捲曲在右側，末端位於後爪上方和胸部下方。出版：Michael B. Weisbrod，Inc.，《Religion and Ritual》，1987年，編號19。 來源：美國Michael B. Weisbrod藝廊，1985年購於香港；美國紐約J. Abraham Cohen收藏；B. Weisbrod藝廊2010年購於上述收藏。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。 品相：狀態極好，小缺損和刻痕，輕微的劃痕，磨損和風化，石質有些不完美之美。自然包漿，瑩潤細膩。 重量：1,837 克 尺寸：高16.2 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

AN ARCHAIC BRONZE RITUAL FOOD VESSEL, GUI, WESTERN ZHOU DYNASTYChina, 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。由於字數限制，完整中文敘述請至www.zacke.at查看。

A CARVED CELADON AND RUSSET JADE SNUFF BOTTLE, MASTER OF THE ROCKS SCHOOL, 1740-1850Published:Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1976, pp. 118-119, no. 407.Sotheby's Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part III, New York, 1982, no. 156.China. Of rounded rectangular form, finely carved through the russet-brown skin on one side with a scene of pine, lingzhi, rocks and a brick wall, the reverse with a pavilion encircled by swirling clouds which rise from the waves extending around the base. Superb manual polish with an unctuous feel overall.Provenance: From the collection of Bob C. Stevens, California. Sotheby's New York, 25 June 1982, lot 156. Rachelle R. Holden, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '78' to the base. Bob C. Stevens was an enthusiastic collector of Chinese snuff bottles who published an important book on the subject, The Collector's Book of Snuff Bottles, in 1976. In 1978, a part of his collection was exhibited in Tokyo at Mikimoto Hall. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Very good condition with minor old wear, a minuscule chip to the rim.Stopper: Jadeite stopperWeight: 70.6 g Dimensions: Height including stopper 66 mm. Diameter neck 16 mm and mouth 5 mm.The Master of the Rocks School seems to have specialized in carvings from two-colored hardstones, such as agate, crystal, chalcedony and jade. The school's main output was bottles carved with landscape designs, but many other subjects are recorded, which may have been partly produced for the Imperial Court. The quality of carving and the use of material in the present bottle are typical of this school.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 March 2012, lot 1563Price: USD 30,000 or approx. EUR 36,500 converted and adjusted for inflation at the time of writingDescription: A well-carved greenish-yellow and brown jade snuff bottle, Master of the Rocks School, 1740-1850Expert remark: Compare the closely related carving style, carving and incising of the russet skin while leaving the celadon areas plain.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2002, lot 258Price: USD 22,325 or approx. EUR 34,500 converted and adjusted for inflation at the time of writingDescription: A rare and fine carved yellowish-green and russet jade bottle, Master of the Rocks School, 1740-1850Expert remark: Compare the closely related carving style, carving and incising of the russet skin while leaving the celadon areas plain.1740-1850年青玉留皮雕鼻烟壺中國。扁平長方削肩，一面棕褐色留皮精雕細刻松樹、靈芝和假山，另一面有一個亭台樓閣，周圍祥雲環繞。精湛的工藝，整體瑩潤。 出版：Bob C. Stevens，The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》），紐約，1976年，頁118-119，編號407。 蘇富比Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens，Part III，紐約，1982年，編號156。 來源：Bob C. Stevens舊藏，加利福尼亞；紐約蘇富比1982年6月25日 lot 156；紐約Rachelle R. Holden 舊藏，購於上述拍賣。底部可見Rachelle Holden 收藏標籤“78“。Bob C. Stevens 曾是一位中國鼻烟壺知名收藏家，曾出版過一本書The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》），1976年以及1978年。書裏曾記錄過這件拍品。他的藏品的一部分曾在東京Mikimoto Hall（御本廳）展出過。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。 她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：品相極好，有輕微磨損，邊緣有微小的磕損。 壺蓋：翡翠 重量：70.6 克 尺寸：高 （含蓋）66 毫米，頸部直徑16 毫米及壺口直徑5 毫米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 1563 價格：USD 30,000（相當於今日EUR 36,500） 描述：1740-1850年青玉留皮雕鼻烟壺 專家評論：比較非常相近的雕刻風格，棕褐色留皮精雕細刻，並將青玉部分留白。由於字數限制，完整中文敘述請至www.zacke.at查看。

A FAMILLE ROSE 'HUNDRED DEER' HU-FORM VASE, GUANGXU MARK AND PERIODOpinion: While hu-form vases with the 'hundred deer' motif that date from the 19th century frequently appear on the market, they almost always have apocryphal Qianlong reign marks. The present lot, however, with its fine enameling and large deer-head handles, belongs to the extremely rare group of Guangxu mark and period vases with this motif.China, 1875-1908. The vase of pear shape is finely decorated with a continuous scene of the 'hundred deer' motif depicting a gathering of deer amidst various trees including pine and peach, in a landscape of blue-green rocks and mountains, and a river fed by a waterfall on one side. The neck is flanked by a pair of handles in the form of deer heads with black antlers. The base with a neatly painted iron-red six-character mark da Qing Guangxu nianzhi and of the period.Provenance: From an old European private collection, assembled before 1965. Thence by descent to the last owner.Condition: Very good condition with minor old wear, glaze flaking, shallow surface scratches and firing irregularities, a single hairline (approx. 14 cm long) above the foot, possibly original to the firing process.Weight: 10.3 kg Dimensions: Height 45.3 cmThe 'hundred deer' motif was very popular, as the landscape depicted contains important symbolic references. The subject of deer has a long history in Chinese art, as it refers to the rebus where the Chinese word for 'deer' is a homophone for 'emolument' or 'civil service salary'. The 'hundred deer' motif therefore represents the ultimate success, a career in government service in Imperial China.Literature comparison: A Qianlong-marked vase of closely related size (45 cm) in the Beijing Palace Museum is illustrated in The Complete Collection of Treasures of the Palace Museum - 39 - Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 85. Other examples include a pair in the Shanghai Museum, illustrated in Selected Ceramics from the Collection of Mr. and Mrs. J. M. Hu, Shanghai, 1989, pl. 67; one in the Nanjing Museum, included in the joint exhibition with The Chinese University of Hong Kong, Qing Imperial Porcelain, 1995, no. 86; and another from the Grandidier Collection in the Musee Guimet, Paris, illustrated in Oriental Ceramics, The World's Great Collections, Tokyo, 1981, vol. 7, pl. 190.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2018, lot 834 Price: USD 47,500 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: An unusual famille rose 'hundred deer' hu-form vase, Guangxu six-character mark in iron-red and of the periodExpert remark: Compare the near identical form and decoration. Note the similar size (37.4 cm) and that this example also bears the rare Guangxu mark. 光緒款及年代粉彩百鹿尊中國，1875-1908年。圓口，垂腹，圈足。通體施白釉，肩部飾鹿首耳。器身繪粉彩山水苑百鹿圖。畫面中山石、樹葉多以綠彩繪成，施彩濃厚;群鹿、枝幹以赭、黑等彩作畫，群鹿活現，枝幹蒼勁，筆繪生動細膩。底書“大清光緒年製”六字篆書款。專家注釋：十九世紀的粉彩百鹿尊雖然經常出現，但大多都是杜撰乾隆款。此拍品琺瑯精美，鹿首耳，極爲稀有。 來源：歐洲私人舊藏，購於1965年，保存到現任藏家。 品相：品相極好，有輕微磨損、釉料剝落、表面淺劃痕和燒製不規則，足部上方有一條冲線（約 14 厘米長），可能是燒製過程中產生的。 重量：10.3 公斤 尺寸：高45.3 厘米 以鹿為紋飾在中國藝術中有著悠久的歷史，鹿是長壽的仙獸，自然也受到歷代帝王的青睞，這在皇宮常見的百鹿尊上可見一斑。 文獻比較： 一件尺寸非常相近乾隆時期的花瓶(45 厘米)，收藏於北京故宮博物院，見《故宮博物院藏文物珍品全集‧琺瑯彩‧粉彩》，香港，1999年，圖85。其他例子包括上海博物館的一對花瓶，見《胡惠春先生,王華雲女士捐贈瓷器精品選》，上海，1989年，頁67；另一件收藏於南京博物院，見香港中文大學的聯合展覽《淸瓷萃珍 : 淸代康雍乾官窯瓷器》，1995年，編號86；還有一件來自吉美國立亞洲藝術博物館的Grandidier收藏，見《Oriental Ceramics, The World's Great Collections》，東京，1981，卷7，頁190。由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE AND SIGNED GILT-SPLASHED ARCHAISTIC WINE VESSEL, JUE, LATE MING TO EARLY QING DYNASTYChina, 17th-18th century. Superbly cast, with a characteristic pair of short posts on the mouth rim dividing the elongated pouring mouth and an exaggerated lip, decorated around the exterior of the cylindrical receptacle with taotie-masks against leiwen-ground and divided by vertical flanges, one side with a loop-handle emerging from an animal-head, all raised on three long tapered legs, decorated overall with characteristic gilt splashes. The base carved with a six-character seal script mark.Inscriptions: To base, 'Boshen zuo Baoyi' (Boshen made this precious yi).Provenance: The Property of a Gentleman. Christie's Hong Kong, 30 April 2001, lot 771. The Collection of Hedda and Lutz Franz, Hong Kong, acquired from the above. The silk box with an old label from the Christie's sale. Hedda and Lutz Franz, who met in Hong Kong in 1979, have spent over forty years assembling a spectacular collection of Chinese art, at first focusing on snuff bottles and eventually branching out into scholar's objects and paintings, as well as Japanese inro and Kilim carpets. The couple has worked closely together with their friend and advisor, Hugh Moss, and have published five books on their collection, entitled Franz Art, with one book, Franz Art Jade, winning a Silver award at the 2011 Gold Ink Awards in Chicago.Condition: Excellent condition with minor old wear and casting irregularities, few minuscule nicks, occasional light scratches. Fine natural patina overall.Weight: 948.7 g Dimensions: Height 21.5 cmWith a fine velvet-padded silk storage box. (2)The base is inscribed in archaic script with Boshen zuo Baoyi, 'Boshen made this precious yi'. Yi may be translated as a cup or libation vessel. It is interesting to note that not only the form and decoration were copied in reverence to archaism, but the inscription had been taken directly from characters inscribed on late Shang/early Zhou dynasty vessels. The name Boshen appears to be unrecorded.Bronze vessels of this type were valued by the literati class in China for their reverence to archaism, and those bearing an epigraphic inscription were considered even more precious. Gerard Tsang and Hugh Moss in Arts from the Scholar's Studio, Hong Kong, 1986, page 184, quote Ulrich Hausmann saying, “Archaic bronzes and their inscriptions, the subject of centuries of epigraphic and stylistic studies by literary men and artists, became inseparable; so much so that since that time scholars writing characters have seen at the back of their minds the image of ancient bronze vessels whose rubbings they had carefully studied. ...what could be more fitting than to embellish one's studio with subtle allusions to the magnificent past, or to furnish the ancestral altar with vessels expressing the continuation of their inheritance.”Literature comparison: Compare a near identical gold-splashed censer, bearing the same five-character archaic inscription, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, cat. no. 161. A further gold-splashed jue is illustrated in Egan Mews, 'Gold-splashed Bronzes in the collection of Mr. Randolph Berens', Connoisseur, November, 1915, p. 144, and a pair, bearing the same inscription as the present example, was included in the exhibition The Minor Arts of China, Spink & Son, London, 1987, cat. no. 77.Auction result comparison: Type: Near identical Auction: Sotheby's Hong Kong, 4 April 2012, lot 139 Price: HKD 524,000 or approx. EUR 85,500 converted and adjusted for inflation at the time of writing Description: A gilt-splashed bronze censer, jue, signed Boshen, Qing dynasty, 18th centuryExpert remark: Note that this jue bears the same mark as the present lot and is of similar size (21 cm). This jue is also the one illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, cat. no. 161Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 27 November 2013, lot 3591 Price: HKD 600,000 or approx. EUR 94,000 converted and adjusted for inflation at the time of writing Description: A rare gilt-splashed archaistic wine vessel, jue, late Ming dynasty, 17th centuryExpert remark: Note that this jue bears the same mark as the present lot and is of similar size (22 cm).明末清初罕見灑金饕餮紋銅爵中國，十七至十八世紀。灑金地，爵杯仿先秦禮器爵所製，作圜底杯式，流部扁寬，角略長而尖，流角相對，處於同一高度；口沿設一對扁柱狀帽頭，腹中部弦紋圍成的帶狀開光內，以雲雷紋為地，飾饕餮紋，器物雄渾莊重。底承三棱狀足，踞地沉穩。整器包漿均潤厚潤。 由於字數限制，完整中文敘述請至www.zacke.at查看。

A RED-GROUND AND GILT THANGKA OF AMITAYUS, WULIANG SHOUFOTibetan-Chinese, late 17th to 18th century. Gold and distemper on cloth, with a silk brocade frame and mounted as a hanging scroll. Finely painted in gilt above with the red ground with a magnificent depiction of Amitayus seated in dhyanasana on a lotus throne, supported on an elaborate stepped base decorated with auspicious symbols, holding a vessel in front of him, backed by a flaming halo, wearing long flowing robes and billowing scarves, richly adorned with fine jewelry, all below an inscription identifying the deity.Inscriptions: To the top, 'Wuliang Shoufo' (Chinese name for Buddha Amitabha).Provenance: The fine Japanese silk brocade mounting indicates that this thangka must have been in an old Japanese private collection at least 100 years ago. From there it went, most likely across several stations, into the French trade. Condition: Good original condition with some old wear, creasing, small losses here and there.Dimensions: Image size 118 x 63 cm, Size incl. mounting 166.5 x 80.3 cmLiterature comparison: Compare a closely related Tibetan red-ground thangka of Amitayus, also painted mostly in gold, dated circa 1800 and attributed to Central or Eastern Tibet, in the collection of the Los Angeles County Museum of Art, accession number M.83.253.Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 19 March 2012, lot 1106Price: USD 16,250 or approx. EUR 20,500 converted and adjusted for inflation at the time of writing Description: A red-ground thangka of Shakyamuni Buddha, Tibet, 17th century Expert remark: Compare the closely related manner of painting with similar red ground and extensive use of gold. Note the smaller size (66 x 44.4 cm).紅地描金無量壽佛唐卡漢藏，十七世紀末至十八世紀，布面膠彩描金，掛軸。阿彌陀佛結禪定坐坐於蓮座上，雙手捧著甘露瓶，置於身前，佩戴著華美的珠寶，面容沉穩，五葉冠後高髻，身後有光背。 款識：無量壽佛 來源：精美的日本絲錦裝裱表明這幅唐卡至少在 100 年前就已被日本私人收藏，之後輾轉進入法國的古玩交易。 品相：原始狀態良好，有一些磨損，摺痕，到處都有小缺損。 尺寸：畫面118 x 63厘米，總166.5 x 80.3 厘米 文獻比較： 比較一件非常相近的大約1800年西藏紅地描金阿彌陀佛唐卡，來自於西藏中部或東部，收藏於洛杉磯郡立美術館，編號M.83.253。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2012年3月19日，lot 1106 價格：USD 16,250（相當於今日EUR 20,500） 描述：十七世紀紅地描金釋迦摩尼唐卡 專家評論：比較非常相近的紅地描金。請注意尺寸較小(66 x 44.4厘米)。

A FALANGCAI 'PEONIES AND WUFU' CORAL-GROUND DISH, QIANLONG MARK AND PERIODThe falangcai color palette of the present dish first appeared on Kangxi period yuzhi bowls, such as an example in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, page 4, number 2.China, 1736-1795. Delicately potted, the shallow sides supported on a short tapered foot and rising to an everted rim. The exterior finely painted against a coral ground in rich and vibrant enamels to depict four different peony blossoms interlinked by leafy scrolls and divided by dots and flowerheads. The interior glazed white and neatly decorated in shades of iron-red above the glaze with five bats (wufu), each painted in a slightly different manner and position. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From the collection of Captain Charles Oswald Liddell, acquired in China before 1914 and thence by descent. Born in Edinburgh, Scotland, Captain Charles Oswald Liddell (1854-1941) worked in China from 1877 to 1913. He married Elizabeth Birt in 1880 in Shanghai and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin, and Harbin. Liddell collaborated with A. W. Bahr in an exhibition in Shanghai in 1908, as Chairman of the North China branch of the Royal Asiatic Society and in writing descriptions for it, which were printed by A. W. Bahr in “Old Chinese Porcelain and Works of Art in China” in 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: Prince Chun, the last Regent of the Qing Dynasty, and the private secretary and adviser to Li Hong Zhang. In May 1929, Bluett offered a part of the collection, publishing a catalog of “The Liddell Collection of Old Chinese Porcelain” with 229 entries. One of two Guyuexuan bowls in this exhibition was sold to the Hon. Mountstuart Elphinstone for GBP 150 and was part of the Elphinstone gift to the Percival David Foundation. The second of the two bowls was acquired by Charles Russell, and was subsequently in the collections of Barbara Hutton and Robert Chang, eventually selling in Hong Kong in 2006 for GBP 10,000,000. Condition: Good condition with minor old wear and minimal firing irregularities, the exterior rim with four small and shallow glaze chips and associated touchups. No hidden damages whatsoever (inspected under strong blue light). For a detailed video of the dish taken under blue light, please refer department.Weight: 161.9 g Dimensions: Diameter 15.9 cmAuction result comparison: Type: Related Auction: Christie's Hong Kong, 1 June 2011, lot 4014 Price: HKD 400,000 or approx. EUR 68,500 converted and adjusted for inflation at the time of writing Description: A rare famille rose ruby-ground 'bats' dish, Qianlong iron-red six-character seal mark and of the period Expert remark: Compare the similar bat decoration to the interior of the dish, also painted in iron-red, the five bats however more formalized than on the present dish and encircling a shou character. Note the ruby ground, iron-red mark, and smaller size (10.6 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 May 2022, lot 2727 Price: HKD 2,016,000 or approx. EUR 252,500 converted at the time of writing Description: A fine and very rare enameled coral-ground famille rose 'peony' bowl, Qianlong six-character seal mark in underglaze blue and of the period Expert remark: Compare the closely related coral ground and falangcai enamels, more specifically the near-identical leaves, also neatly painted in two distinct shades of green. Compare also the related peony blossoms and the underglaze-blue six-character seal mark. Note the different form and smaller size (11.1 cm).乾隆款與年代珊瑚紅地粉彩牡丹五福紋盤中國，1736-1795年。盤敞口，弧壁，淺腹，圈足。盤內施白釉。外壁珊瑚紅地，粉彩描繪纏枝盛開的牡丹四朵，色澤不一。盤内珊瑚紅色釉蝙蝠五隻。足內施白釉，青花書“大清乾隆年製”篆書款。 本盤的琺瑯彩最早運用在康熙時期的御製碗上，如北京故宮博物院收藏的一個例子，《故宮博物院藏文物珍品全集‧琺瑯彩‧粉彩》，香港，1999年，頁4，編號2。由於字數限制，完整中文敘述請至www.zacke.at查看。

A YELLOW-GROUND GREEN-ENAMELED 'DRAGON' BOWL, KANGXI MARK AND PERIODChina, 1662-1722. The exterior is masterfully incised and decorated in green enamel with two dragons in pursuit of flaming pearls amidst wispy clouds and flames, below a scrolling foliate band around the rim. The interior shows a central shou character within a double circle, all reserved on an opaque lemon-yellow ground. The recessed base with an underglaze-blue six-character mark da Qing Kangxi nianzhi within a double circle and of the period.Provenance: From the collection of Captain Charles Oswald Liddell, acquired in China before 1914 and thence by descent. Born in Edinburgh, Scotland, Captain Charles Oswald Liddell (1854-1941) worked in China from 1877 to 1913. He married Elizabeth Birt in 1880 in Shanghai and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin, and Harbin. Liddell collaborated with A. W. Bahr in an exhibition in Shanghai in 1908, as Chairman of the North China branch of the Royal Asiatic Society and in writing descriptions for it, which were printed by A. W. Bahr in “Old Chinese Porcelain and Works of Art in China” in 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: Prince Chun, the last Regent of the Qing Dynasty, and the private secretary and adviser to Li Hong Zhang. In May 1929, Bluett offered a part of the collection, publishing a catalog of “The Liddell Collection of Old Chinese Porcelain” with 229 entries. One of two Guyuexuan bowls in this exhibition was sold to the Hon. Mountstuart Elphinstone for GBP 150 and was part of the Elphinstone gift to the Percival David Foundation. The second of the two bowls was acquired by Charles Russell, and was subsequently in the collections of Barbara Hutton and Robert Chang, eventually selling in Hong Kong in 2006 for GBP 10,000,000.Condition: Remarkably good condition commensurate with age, with only minor wear and firing irregularities such as dark spots and uncontrolled glaze pooling, one faint hairline to the rim, near-invisible to the naked eye, and two short glaze lines near the rim.Weight: 80.0 gDimensions: Diameter 10.2 cmLiterature comparison: Compare a near-identical Kangxi mark and period yellow-ground green-enameled bowl illustrated in The Complete Collection of Treasures of the Palace Museum: Miscellaneous Enameled Porcelains Plain Tricolored Porcelains, Shanghai, 2009, page 107, no. 88.Auction result comparison: Type: Near-identical Auction: Christie's New York, 23 March 2018, lot 779Price: USD 30,000 or approx. EUR 35,000 converted and adjusted for inflation at the time of writingDescription: A yellow-ground green-enameled 'dragon' bowl, Kangxi six-character mark in underglaze blue within a double circle and of the period Expert remark: Compare the near identical form and size (10.2 cm) as well as the similar enamels, incised decoration, and mark. 康熙款及年代黃地綠彩龍紋碗中國，1662-1722年。碗撇口，深弧壁，圈足，內外均施黃釉為地其上用綠彩繪製紋樣，外壁口沿飾纏枝紋，腹部為雙龍戲珠紋飾。兩條五爪行龍蜿蜒於碗壁之上，身形矯健，龍口大張，雙目圓睜，尖牙外露，鋒利的龍爪游動，如在雲火之間遊走，威猛異常。近足處繪一周如意紋。碗心綠釉圈內配有壽字。器底青花書“大清康熙年製”六字雙行楷書款。來源：Charles Oswald Liddell爵士於1914年之前購於中國，保存至今。。 品相：品相極好，與年齡相符，只有輕微的磨損和燒製瑕疵，如黑斑和釉池，邊緣有一條微弱的冲線，肉眼幾乎看不出，邊緣附近有兩條短的釉線。 重量：80.0 克 尺寸：直徑10.2 厘米文獻比較：比較一件幾乎相同的康熙款及年代黃地綠彩碗，見《故宮博物院藏文物珍品全集‧顏色釉》，上海， 2009年，頁107，編號88。 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2018年3月23日，lot 779 價格：USD 30,000（相當於今日EUR 35,000） 描述：康熙款及年代黃地綠彩龍紋碗 專家評論：比較幾乎相同的外型和尺寸 (10.2 厘米) ，以及釉色、裝飾和底部款識。由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE CELADON JADE 'DRAGON' PENDANT, EASTERN ZHOU DYNASTYChina, 5th-3rd century BC. The flat stone carved as a sinuous dragon, the long body forming a slender S-curve and detailed on both sides with neatly arranged scrollwork, the head with a slit mouth, upwards-curled snout, and a pointed laid-back ear, the furcated tail curling inwards above the body, the lower body issuing a pair of legs further carved with parallel grooves. The translucent stone of a celadon tone with creamy-white patches and black specks.Provenance: From the private collection of Professor Filippo Salviati, Rome, Italy. A professor of archeology and art history at the Italian Institute of Oriental Studies at the Sapienza University of Rome, Prof. Salviati has researched and published extensively on Chinese archaic art.Condition: Excellent condition, commensurate with age. Some wear, encrustations, minor signs of erosion, few minuscule nicks, remnants of pigment. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Fine, naturally grown patina overall.Weight: 117.0 gDimensions: Length 23 cmWith a padded silk storage box. (2)Literature comparison: Compare a related jade dragon of similar form but lacking the appendix at the bottom, from the A. W. Bahr Collection, illustrated by Alfred Salmony, Carved Jade of Ancient China, 1938, pl. XLI, no. 5. Compare two jade dragon plaques from the collection of Dr. T. K. Cheng, Cambridge, illustrated by S. H. Hansford, Chinese Carved Jades, London, 1968, pl. 46.Auction result comparison: Type: Related Auction: Sotheby's New York, 10 September 2019, lot 39 Price: USD 18,750 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing Description: A black and beige jade 'dragon' pendant, Eastern Zhou dynasty Expert remark: Compare the closely related sinuous form, slit mouth, and scrollwork. Note the smaller size (11.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 18 March 2009, lot 302 Price: USD 30,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writing Description: An altered greyish-green jade dragon pendant, late Eastern Zhou dynasty, 5th-4th century BCExpert remark: Compare the closely related head with similar slit mouth and pointed laid-back ear and legs with similar parallel grooves. Note the smaller size (10.2 cm).東周大型青玉龍形佩中國，公元前五至三世紀。龍回首，長鼻與弓起的龍身連接，尖尾上揚翻捲，龍體呈S形，生翼顯爪。雙面單陰線刻卷雲紋。腿上還刻有平行的凹槽。青色的半透明玉石，帶有乳白色和黑色的斑紋。 來源：義大利羅馬Filippo Salviati教授私人收藏，Filippo Salviati教授是羅馬大學東亞研究所考古系及藝術史系教授。他對中國古代文物以及玉器進行了廣泛研究並出版了很多專著。 品相：狀況極佳，與年齡相稱。一些磨損、結殼、輕微的侵蝕跡象、微小刻痕、色素殘留。有天然裂縫的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。整體上包漿細膩。 重量：117.0 克 尺寸：長23 厘米 相配的有襯絲盒子。 文獻比較： 比較一件相近的玉雕龍形佩，但底部沒有附加物，見A. W. Bahr收藏，Alfred Salmony，《Carved Jade of Ancient China》，1938年，編號 XLI，圖5。比較兩件玉雕龍形佩， 劍橋Dr. T. K. Cheng收藏，見S. H. Hansford，《Chinese Carved Jades》，倫敦，1968年，編號46。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2019年9月10日，lot 39 價格：USD 18,750（相當於今日EUR 21,500） 描述：東周玉雕龍紋珮 專家評論：比較非常相近蜿蜒外型、長鼻和卷雲紋。請注意尺寸較小(11.2 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2009年3月18日，lot 302 價格：USD 30,000（相當於今日EUR 40,500） 描述：公元前五至四世紀東周晚期 龍形玉佩 專家評論：比較非常相近頭型、長鼻、收耳，以及腿上的平行的凹槽。請注意尺寸較小(10.2 厘米)。

A YUE CELADON-GLAZED FIGURE OF A RAM, WESTERN JIN DYNASTYChina, 265-317. The recumbent animal resting upon its tucked-in hind legs and kneeling forelegs, with a robust rump, the voluminous body incised with wings, a curvaceous spine and short tail, its raised head pierced with a circular aperture on top, detailed with bulging eyes and lop ears encircled by distinct horns. Provenance: Canadian trade. Condition: Very good condition commensurate with age, extensive old wear, shallow surface scratches and other traces of use, manufacturing flaws such as pitting, brown spots and glaze recesses, the glaze crackling is intentional, one ear is reattached, with an associated small chip. Weight: 892 g Dimensions: Length 19.8 cmApplied overall with an olive-green glaze suffused by a dense network of crackles, except for the bottom of the four feet where the naked ware is revealed, partially burnt to a dark orange tone in the firing.Expert's note: This charming piece belongs to a group of playful vessels made for the scholar's desk that was produced in kilns in northern Zhejiang and southern Jiangsu province. Vessels of this form have been unearthed from Three Kingdoms (220-265) and Jin (265-420) dynasty tombs, suggesting that they were highly treasured by their owners.Literature comparison: Compare two related rams in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures in the Palace Museum. Porcelain of the Jin and Tang Dynasties, Hong Kong, 1996, pls. 30 and 31. Compare one in The Tsui Museum of Art, Hong Kong, published in Chinese Ceramics I, Neolithic to Liao, Hong Kong, 1991, pl. 58, and another in the Ashmolean Museum, Oxford, illustrated in Michael Sullivan, Chinese Ceramics, Bronzes and Jades in the collection of Sir Alan and Lady Barlow, London, 1963, pl. 71a. A similar ram is also illustrated in The Complete Works of Chinese Ceramics, volume 4, Shanghai, 2000, pl. 163, together with an example without incised lines on the body, excavated from Shaoxing, Zhejiang province, pl. 164. Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 25 November 2014, lot 1025Price: HKD 1,360,000 or approx. EUR 194,000 adjusted for inflation at the time of writingDescription: A 'yue' celadon-glazed ram, Western Jin dynastyExpert remark: Compare the closely related form and glaze, including the crackles. Note the slightly smaller size (15 cm), the lack of incisions to mark the fur, and the more elaborate depiction of the head and legs.Auction result comparison:Type: Closely relatedAuction: Sotheby's London, 16 May 2018, lot 68Price: GBP 50,000 or approx. EUR 64,000 adjusted for inflation at the time of writingDescription: A 'yue' celadon-glazed ram, Western Jin dynastyExpert remark: Compare the closely related form and glaze as well as the related size (18 cm). Note that the incision work to mark the fur is slightly more elaborate, as well as the horns and hoofs.西晉越窯青釉臥羊中國，265-317年。羊臥伏狀，昂首平視，耳下可見彎曲的圓角。體態肥碩可愛。背部飾對稱的線條紋。腹部淺刻戳點和條紋，似羽翼張揚。線條流暢，造型優美。羊首上端開一圓洞。此器釉色青綠，晶瑩潤澤。釉厚處色調較深，釉薄處則淺淡，整體效果晶瑩明澈，四足底部露胎，呈深橙色。 來源：加拿大古玩交易市場。 品相：品相非常好，與年齡相稱，表面有大量劃痕、磨損和使用痕跡，製造缺陷如褐色斑點、釉面開片，一耳重新銜接過，帶有小磕損。 重量：892 克 尺寸：長19.8 厘米 專家注釋：這件擺件屬於浙江北部和江蘇南部越窯生產的器皿。 三國（220-265）和晉（265-420）代的墓葬出土了這種形式的器皿，表明它們受到主人的高度重視。 文獻比較：比較兩件相近的臥羊，見北京故宮博物館編，《故宮博物院藏文物珍品全集·晉唐瓷器》，香港，1996年，頁30-31。比較另一件臥羊，見香港藝術館編，Chinese Ceramics I, Neolithic to Liao, Hong Kong，1991年，頁58。另一件收藏於牛津的Ashmolean Museum，見Michael Sullivan編，Chinese Ceramics, Bronzes and Jades in the collection of Sir Alan and Lady Barlow，倫敦，1963年，頁71a。一件相似的臥羊，見《中國陶瓷全集》，輯四，上海，2000年，頁163。同本書另一件沒有刻紋的臥羊，出土於浙江江蘇，頁164。由於字數限制，完整中文敘述請至www.zacke.at查看。

'MONKEY REACHING FOR THE MOON'S REFLECTION', AN IMPORTANT CAMEO AGATE SNUFF BOTTLE, SUZHOU SCHOOLPublished: Journal of The International Chinese Snuff Bottle Society, June 1975, illustrated on the cover, discussed on page 6, dated 1780-1850Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 160-161, no. 67, dated 1750-1850China, 1750-1850. Superbly well hollowed, of globular shape and waisted neck, resting on a minuscule recessed foot. Finely carved utilizing the opaque white, beige, golden-brown and dark natural layers in the stone to create a three-dimensional scene of exceptional quality, to one side with a monkey in high relief, surrounded by lingzhi and pine cut from the darker areas, reaching for the moon's reflection below him. The reverse with a neatly incised poem in high relief. The translucent stone of a pale gray with inclusions of ochre, white, brown, and greenish-gray.Expert's note: In this bottle, the master carver draws on a common theme in Chan Buddhism: A monkey trying to capture the moon's reflection in water. This image derives from an early Buddhist story in which five hundred monkeys hold onto each other's tails and attempt to seize the reflection of a moon in a well. They fail when the branch from which they are hanging suddenly breaks. The monkeys in this story stand for unenlightened people who cannot distinguish between reality and illusion. On the other side the monkey, hou, is a homonym for the word marquis, the second highest grade among the nobility, and represents the aspiration for a corresponding rise in rank. For this reason, it may be assumed that the present bottle was intended both as a good luck charm and a cautionary tale.Inscription: Top right 'cai zhi xian cao ying chang chun' (everlasting spring is reflected in the celestial herb of immortality).Provenance: Janos Szekeres, Connecticut, USA. Sotheby's New York, 27 October 1986, lot 174 (dated 1800-1880). Christie's New York, 27 November 1991, lot 123. Rachelle R. Holden, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '212' to the base. Janos Szekeres (1914-1998) was a scientist, inventor, and businessman. Born in Hungary, he later attended the University of Vienna where he graduated in chemistry. In 1941 he enlisted in the US Army Air Force and was sent to Asia, where he spent his free time visiting antique shops and became a collector of Chinese art. Szekeres served on the Board of Directors of the International Chinese Snuff Bottle Society and of the Chinese Art Committee of the Harvard University Art Museums. Rachelle Holden (1934-2020) was a famous collector of snuff bottles. She purchased her first snuff bottle in 1974, finding the art form fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Excellent condition with minor old wear, minuscule nibbling to rim, mouth, and exposed areas. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: White and russet hardstone stopperWeight: 44.7 g Dimensions: Height including stopper 55 mm. Diameter neck 16 mm and mouth 5 mm.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 28 November 2005, lot 1525Price: HKD 420,000 or approx. EUR 78,000 converted and adjusted for inflation at the time of writingDescription: A finely carved Suzhou agate snuff bottleExpert remark: Compare the closely related form, the singular appearance and utilization of the opaque white layer in the stone, the color of the agate, the fine incision work, as well as the closely related size (55 mm).Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 28 May 2010, lot 55Price: HKD 360,000 or approx. EUR 61,000 converted and adjusted for inflation at the time of writingDescription: An agate 'Liu hai' snuff bottle, Zhiting School, Suzhou, 1730-1850Expert remark: Compare the closely related form, the singular appearance and utilization of the opaque white layer in the stone, the color of the agate, the fine incision work, as well as the related size (44.1 mm).蘇作瑪瑙巧雕 “猴子撈月”鼻烟壺中國，1750-1850年。掏膛極好，弦唇，束頸，豐胸，收腹，平底。淺灰色半透明石料，夾雜著赭色、白色、棕色和灰綠色。 出版：《中國鼻烟壺學會期刊》，1975年6月，封面圖片，文字見第6頁，斷代1780-1850年間。 Rachelle Holden，Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary，New York，1994年，頁160-161，編號67，斷代1750-1850 間。 專家注釋:《群猴撈月》原是一則流傳於古印度的寓言故事，後經佛教徒附加上宗教的涵義收入佛典，隨著佛典漢澤傳入中國。這則寓言提示人們看問題一定要看清它的本質，不要為表面現象所迷惑，草率行事而造成白費力氣的結果。 款識：採芝仙草映長春 來源：美國康乃狄克州Janos Szekeres收藏；1986年10月27日紐約蘇富比 lot 174 (斷代為1800-1880)；1991年11月27日紐約蘇富比 lot 123；紐約Rachelle R. Holden購於上述拍賣。底部可見Rachelle Holden 的收藏標籤號 “21”。由於字數限制，完整中文敘述請至www.zacke.at查看。

A TIGER-FORM JADE PENDANT, LATE SHANG DYNASTYChina, 13th-11th century BC. The crouching tiger carved in profile, the body well detailed and decorated with double-line grooves, the mouth pierced for suspension. The translucent stone of a celadon tone with extensive russet shading, some black patches, and small areas of alteration.Provenance: A Western private collection. Roger Keverne Ltd., London, United Kingdom, December 2007. A distinguished English private collection, acquired from the above. Roger Keverne served as the Chairman of Asian Art in London and as the President of BADA. He began his 50-year career with Spink & Son, rising to head the Asian department by the age of only 28. He left Spink in 1992 to start his own gallery together with Miranda Clarke, his wife and business partner, in Mayfair, London, which eventually closed its doors in June 2020. Published: Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics Summer Exhibition, London, 2007, page 101, no. 84.Condition: Very good condition overall with some old wear, traces of use and shallow surface scratches, an area of calcification to the tip of the tail with an associated minuscule loss. Fine, naturally grown patina. The jade with natural inclusions and fissures.Weight: 11.3 g Dimensions: Length 6.5 cmAn important stylistic feature of the present pendant is the use of the so-called double-line grooves. On first inspection, it appears that these rise in low relief. But in fact this is an optical illusion, or trompe-l'œil effect, as those slender “relief lines” are actually flush with the object's surface and seem to rise in relief only because of the intaglio lines, or grooves, that flank them. Such trompe-l'œil lines are a rare feature, and found on the very finest Shang jades only.The tiger, called hu or laohu in Chinese, is among the most recognizable of the world's charismatic megafauna. Originating in China and northern Central Asia, the tiger was known to the earliest Chinese, who likely feared, admired, and respected it for its strength, ferocity, and regal bearing. Though its precise symbolism in Shang times (c. 1600-1046 BC) remains unknown, the tiger doubtless played a totemic, tutelary, or talismanic role. By the Western Han period (206 BC-AD 9)—a thousand years after this pendant was made—the tiger was regarded as the “king of the hundred beasts”, or baishou zhi wang, due to its power and ferocity and especially to the markings on its forehead which typically resemble the character wang, or “king”. In addition, not only did the tiger figure among the twelve animals of the Chinese zodiac, but it gained a place among the auspicious animals that symbolize the four cardinal directions—the white tiger, or baihu, of the west, the azure dragon of the east, the vermillion bird of the south, and the black tortoise of the north.Literature comparison: Compare a related jade tiger plaque, also dated to the Shang dynasty, in the collection of the Asian Art Museum in San Francisco, object number B60J538. Compare a related jade tiger plaque, also dated to the Shang dynasty, circa 1200-1050 BC, in the collection of the British Museum, museum number 1935,0115.19.Auction result comparison: Type: Closely related Auction: Bonhams, 30 May 2017, lot 20 Price: HKD 562,500 or approx. EUR 84,000 converted and adjusted for inflation at the time of writing Description: A jade tiger and a jade bird, the tiger Shang dynasty, the bird Western Zhou dynastyExpert remark: Compare the closely related pose and manner of carving, also employing double-line grooves, the mouth similarly pierced for suspension, the eyes and mouth near-identical. Note the smaller size (3.9 cm) and that the lot also comprises a small jade bird (2.5 cm) from a later period.Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 15 December 2016, lot 9 Price: EUR 20,000 or approx. EUR 23,500 adjusted for inflation at the time of writingDescription: Pendentif en jade Dynastie Shang, ca. 1200-1100 avant J.-C.Expert remark: Compare the closely related pose and manner of carving, with similar double-line grooves. Note the slightly larger size (8.2 cm).商末虎形青玉珮中國，公元前十三至十一世紀。珮呈扁片狀，以陰刻雙線技法雕琢半蹲老虎的側身形，虎口處，琢一小穿。局部淺褐色沁。 來源：西方私人收藏 ；英國倫敦Roger Keverne Ltd.藝廊，2007年12月；一個傑出的英國私人收藏，購於上述藝廊。Roger Keverne曾任倫敦亞洲藝術主席和BADA總裁。他在 Spink & Son 開始了 50 年的職業生涯，年僅 28 歲就升任亞洲部負責人。他於 1992 年離開 Spink，與他的妻子兼商業夥伴 Miranda Clarke 一起在倫敦梅菲爾開設了自己的畫廊 ，最終於 2020年 6 月關門。 出版：Roger Keverne，《Fine and Rare Chinese Works of Art and Ceramics Summer Exhibition》，2007年，倫敦，頁101，編號84. 品相：整體狀況極好，有一些磨損、使用痕跡和表面淺劃痕、尾部尖端有鈣化區域以及相應的微小缺損。細膩的包漿，有天然內沁和裂縫的玉料。 重量：11.3 克 尺寸：長 6.5 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A SUBLIME SANDSTONE TORSO OF UMA, ANGKOR PERIOD, BAPHUON STYLEKhmer Empire, 11th century. Standing in samabhanga, her young unadorned body with prominent breasts and her belly beautifully rounded, wearing a long, pleated sarong tied at the front, the long central fold elegantly culminating in a 'fishtail' shape at the hem, secured by a belt with beaded festoons.Provenance: Funan Selected Works of Art, Singapore, 27 September 1983. From the collection of the late Michael Sherrard CBE, QC, acquired from the above and thence by descent. A copy of the original invoice from Funan Selected Works of Art, addressed to Michael Sherrard, dated 27 September 1983, confirming the dating above, and stating a purchase price of USD 15,000 or approx. EUR 43,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. 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: Good condition, commensurate with age, expected weathering, wear and losses, minor nicks, few structural cracks. Some signs of erosion. Fine naturally grown patina overall.Weight: 3,885 g (excl. stand) Dimensions: Height 34.5 cm (excl. stand) and 40 cm (incl. stand)Fitted to an associated metal stand.(2)This piece exemplifies the style of Baphuon female figures with the frontal stance, the ovoid skirt wide at the hips and narrowing around the knees, the sarong in an elevated position at the back and curving down to below the navel and the elegant central pleat. According to Boisselier, the highly decorative style of Banteay Srei inspired the development of Baphuon period sculpture, a manner which became more embellished with decorative elements as it reached a zenith during the Angkor Wat period a century later, see Helen Ibbitson Jessup and Thierry Zephir, editors, Sculpture of Angkor and Ancient Cambodia - Millennium of Glory, Washington 1997, page 255.The modeling of the torso, the curled end of the sarong above the belt and a long central fold certainly recalls Banteay Srei sculpture, see Emma C. Bunker and Douglas Latchford, Adoration and Glory, The Golden Age of Khmer Art, Chicago, 2004, page 175, fig. 8.6.Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 10 June 2021, lot 236 Price: EUR 18,900 or approx. EUR 20,500 adjusted for inflation at the time of writing Description: A grey sandstone torso of a female divinity, Khmer art, Baphuon style, circa 11th century Expert remark: Compare the closely related pleated sampot with similar fishtail hem. Note the size (47 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2010, lot 274 Price: USD 37,500 or approx. EUR 50,000 converted and adjusted for inflation at the time of writing Description: A sandstone torso of Uma, Khmer, Angkor period, Baphuon style, 11th century Expert remark: Compare the related belt with similar beaded festoons. Note that the figure was originally of larger size but is overall smaller than the present lot (28 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2007, lot 279 Price: USD 31,200 or approx. EUR 43,500 converted and adjusted for inflation at the time of writing Description: A small sandstone torso of a goddess, Khmer, Angkor period, Baphuon style, 11th century Expert remark: Note the related size (35.5 cm) and that the sampot is not pleated as in the present lot.

AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH - MID-13TH CENTURYExpert's note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th - mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance. 大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE AND IMPORTANT BUDDHIST VOTIVE PLAQUE, GILT COPPER REPOUSSE, EARLY TANG DYNASTYExpert's note: This seems to be by far the largest and most detailed of all early Tang dynasty gilt repousse votive plaques that have been on the market in a long time. The extent to which this magnificent work of art was cherished by Hisazo Nagatani becomes best perceptible when one looks at the Japanese storage box in which this jewel was kept, with its outer casing, neatly inscribed and made from light wood and elegant red lacquer, the inner storage box with its abundant padding, tightly fitted to the exact dimensions of the plaque itself.China, 618-907, circa 7th century. The thin plaque finely decorated with the central figure of Buddha seated in dhyanasana atop an elaborate lotus throne growing from neatly incised waves flanked by two lions, his right hand raised in abhaya mudra and his left lowered in varada mudra, wearing loose-fitting robes cascading in voluminous folds, a flaming halo behind him and the bodhi tree towering above, flanked by two acolytes and surrounded by groups of worshipping monks and attendant bodhisattvas, all below swirling clouds and two flying apsaras.Provenance: From the collection of Hisazo Nagatani, and thence by descent within the family. The lacquered and padded wood box with an old label, 'Gilt Bronze Slab'. Hisazo Nagatani (1905-1994) was a Japanese-American collector, scholar, and noted dealer of Asian art. Growing up near his birthplace Osaka, he developed a passion for Asian art early on and joined Yamanaka & Co. in 1922, at the age of only 17. He soon moved to Beijing, traveling throughout China, and handling bronzes, porcelains, jades, and other works of art, before relocating to the United States. He eventually became the manager of the Yamanaka gallery on the Magnificent Mile in Chicago until the firm had to cease operations in the United States. In 1944, he opened his own gallery, Nagatani & Co., which flourished for many decades, selling to such important collectors as Robert Mayer, Stephen Junkunc, Avery Brundage, and the Alsdorfs. Nagatani later donated many of his works of art and his important library to museums.Condition: Good and original condition, commensurate with age, displaying simply spectacularly. Extensive wear, tears and losses, minor dents, small nicks, light scratches. Fine, naturally grown patina with malachite encrustations to the front, the back with extensive malachite, cuprite, and azurite encrustations. The gilt remarkably well preserved overall.Weight: 303.2 gDimensions: Height 24.4 cm (the plaque), Size 7 x 38.4 x 29.2 cm (the padded storage box) and 11 x 40.6 x 31.3 cm (the lacquered box)With a Japanese wood storage box, the inner silk padding fitted specifically for the present plaque, and an old Japanese lacquered wood box. (3)Literature comparison: Similar images of the Buddha seated under a roofed structure flanked by numerous bodhisattvas can be found in paintings from the Dunhuang caves, dated to the early 8th century, as evidenced by the fragment in the British Museum, illustrated by A. Farrer and R. Whitfield, Caves of the Thousand Buddhas: Chinese Art from the Silk Route, New York, 1990, page 24, no. 1 and cover. Compare, also, the gilt-bronze plaque in the Hakutsuru Fine Art Museum, Kobe, dated to the Sui dynasty of significantly smaller size (15.4 cm. high) with similar imagery, but lacking the Bodhi tree, illustrated by S. Mizuno, Bronze and Stone Sculpture of China from the Yin to the T'ang Dynasty, Tokyo, 1960, fig. 123.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2004, lot 74 Price: USD 17,925 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A small gilt-metal Buddhist plaque, Tang dynasty Expert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers, as well as the similar tear line at the top. Note the much smaller size (9.2 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 October 2001, lot 507 Price: HKD 1,035,000 or approx. EUR 183,000 converted and adjusted for inflation at the time of writing Description: A very rare repousse gilt-copper Buddhist votive plaque, early Tang dynasty, 7th centuryExpert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers. Note the smaller size (19.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 30 March 2005, lot 237 Price: USD 102,000 or approx. EUR 150,000 converted and adjusted for inflation at the time of writing Description: A rare gilt-copper Buddhist plaque, early Tang dynasty, 7th century Expert remark: Note the significantly smaller size (11.4 cm).唐初大型重要許願錘鍱鎏金銅牌中國，618-907年，約七世紀。薄薄的銅牌上精美錘鍱佛陀坐禪坐於蓮座上，蓮座從波浪中升起，兩側是兩隻獅子，右手上舉施無畏印，左手下垂施與願印，身著長袍，衣褶條紋流暢，身後有光背。菩提樹高高聳立，兩側有僧眾、侍從菩薩，兩飛天。由於字數限制，完整中文敘述請至www.zacke.at查看。

A MOLDED AND INCISED YAOZHOU CELADON 'TWO BOYS' CONICAL BOWL, NORTHERN SONG DYNASTYChina, 960-1127. Crisply and delicately potted with steep rounded sides rising to an everted rim, the interior neatly incised to depict a pair of boys holding scrolling leafy stems with large flower heads, covered overall in a deep and unctuous olive-green glaze.Provenance: Jung's, Inc., Wilmington, Delaware, USA, 6 May 1995. Lawrence H. Dunbar, Jr. (d. 2008), Chadds Ford, Pennsylvania, USA, acquired from the above and thence by descent within the family. With an old label inscribed '11-12 C. Yaozhou Celadon […] 95-54'. A copy of the original invoice from Jung's, Inc., dated 6 May 1995, stating a purchase price of USD 795 for the present lot, accompanies this lot. Jung's, Inc. was an art and antiques dealership founded by Shee Lup Jung (1922-2015). Mr. Jung received his PhD in Chemistry from the University of Pennsylvania in 1951, when he was employed as a research chemist for DuPont. Inspired by his wife Mary's passion for the arts, Mr. Jung slowly and methodically studied ancient glazes and ceramics, including their chemical and mineral aspects, acquiring a multitude of study pieces for the family's collection. In 1975, he started Jung's, Inc. in a historic location in central Wilmington, Delaware, as a museum-like gallery with an impressive selection of ceramics, open by appointment only and selling mostly to knowledgeable and scholarly collectors much like Jung himself.Condition: Excellent condition with only minor old wear and scattered firing flaws.Weight: 154.2 gDimensions: Diameter 12.8 cmWith an old wooden storage box, probably dating to the late Qing dynasty. (2)Literature comparison: Examples of similarly decorated bowls with two boys holding floral scrolls include: one in the British Museum, museum number 1997,0130.1, another in the Metropolitan Museum of Art, New York, illustrated by Jan Wirgin, Sung Ceramic Designs, London, 1970, pl. 6b, another illustrated in Yaozhou Kiln, Shaanxi, 1992, and a similar bowl illustrated by Regina Krahl, Chinese Ceramics from the Meiyintang Collection, Vol. I, London, 1994, p. 238, no. 428.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 9 October 2014, lot 101 Price: HKD 81,250 or approx. EUR 12,000 converted and adjusted for inflation at the time of writing Description: A small Yaozhou celadon 'two boys' molded conical bowl, Northern Song DynastyExpert remark: Compare the near identical design and glaze as well as the closely related form and size (13 cm).北宋耀州窯青釉印花雙嬰攀枝紋碗中國，960-1127年。碗撇口，腹壁斜收，矮圈足，足底沾窯渣。通體施青釉。碗內印卷草花紋和兩個童子。兩個童子分別手持花枝，身體呈不同的姿勢作嬉戲狀。碗通體施墨綠色釉。 來源：美國特拉華州威爾明頓Jung藝廊，1995年5月6日；美國賓夕法尼亞查兹福特Lawrence H. Dunbar (逝世於 2008年)，購於上述藝廊，在同一家族保存至今。隨附一份1995年5月6日出具的藝廊發票複印件。Jung藝廊是由Shee Lup Jung（1922-2015）成立的藝術古董店。 Jung先生於 1951 年獲得賓夕法尼亞大學化學博士學位，當時他受聘為杜邦公司化學研究員。受妻子 Mary 對藝術的熱情啟發，Jung 先生開始緩慢但系統地研究古代釉料和陶瓷，包括它們的化學和礦物結構，為家族收藏提供大量的研究藏品。1975 年，他在特拉華州威爾明頓市中心的一個歷史悠久的地方成立了 Jung藝廊，這是一家博物館式的藝廊，收藏了令人印象深刻的陶瓷，只接受預約參觀，主要出售給與 Jung 本人一樣的知識淵博和學術收藏家。 品相：品相極佳，只有輕微的磨損和零星的燒製缺陷。 重量：154.2 克 尺寸：直徑12.8 厘米 清末小木盒子。(2) 文獻比較： 同樣以雙嬰攀枝圖裝飾的耀州窯例子，見大英博物館藏一件耀州窯盌，博物館編號1997,0130.1。另見紐約大都會博物館所藏一例，著錄於Jan Wirgin，《Sung Ceramic Designs》，倫敦，1970年，圖6b。另一個例子，可見陝西耀州窯遺址出土的一例，刊登於《耀州窯》，陝西，1992年。還有一件碗，見於Regina Krahl，《Chinese Ceramics from the Meiyintang Collection》，卷一，倫敦，1994年，頁238，圖428。由於字數限制，完整中文敘述請至www.zacke.at查看。

A SANDSTONE 'BUDDHIST TRIAD' STELE, TANG DYNASTY, DATED 717China. Well carved in deep relief, the arched niche centered by a figure of Buddha standing on a double lotus dais with his right hand raised in abhaya mudra and his left lowered in varada mudra, wearing loose-fitting robes cascading in voluminous folds, his serene face with heavy-lidded eyes, plump cheeks, and full lips, the hair surmounted by an ushnisha, backed by a neatly incised halo. Flanked by two similarly carved bodhisattvas with their hair pulled up into high chignons, all above a rectangular panel with a neatly incised inscription.Inscriptions: Below the figures, 'On the eighth day of the third month of the fifth year of the Kaiyuan era of the Tang dynasty, Jia had this stele made for his parents'.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. The back with an old label, '717 AD'. 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: Excellent condition, commensurate with age. Extensive wear, shallow surface scratches, signs of weathering and erosion. Small losses, nicks and cracks, some encrustations.Weight: 3,357 gDimensions: Height 23.3 cmLiterature comparison: Compare the stone stele of this shape that is similarly carved in high relief with a seated figure of Buddha flanked by two bodhisattvas standing on waisted lotus plinths, that bears a dedicatory inscription dated to the second year of Jingyun (AD 711), illustrated by Li JIngjie in Shifo Xuancui (Essence of Buddhistic Statues), Beijing, 1995, p. 73, no. 53. The inscription states that the stele was donated by Lu Zhaoshun.Auction result comparison: Type: Closely related Auction: Christie's New York, 15 September 2017, lot 918 Price: USD 11,250 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A grey limestone Buddhist stele, Tang dynasty Expert remark: Compare the closely related form of the arched niche, deep relief carving of the figures, and inscription with dating below the figures. Note the larger size (34.6 cm) and the more advanced weathering and erosion of the stone. Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 1 April 2019, lot 3015 Estimate: HKD 500,000 or approx. EUR 65,500 converted and adjusted for inflation at the time of writing Description: A rare limestone 'Buddhist triad' stele, Tang dynasty Expert remark: Compare the related form of the arched niche and deep relief carving of the figures. Note the similar size (26.4 cm).唐代砂岩三聖造像碑，717年中國。此尊龕式造像碑，裝飾精美。高浮雕佛陀立蓮像，右手施無畏印，左手與願印，身穿寬鬆袈裟，面容安詳。雙眼微垂，面容豐滿，頭上結螺髻，後有光背。兩側是菩薩，同樣高髻。 款識：大唐開元五年三月八日賈氏爲父母敬造 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：品相極佳，與年代相符。大面積磨損、表面淺劃痕、風化和侵蝕跡象。小缺損，刻痕和裂縫，一些結殼。 重量：3,357 克 尺寸：高23.3 厘米 文獻比較： 比較一尊高浮雕坐佛像，兩邊是站在腰部蓮花座上的兩位菩薩，有景雲二年（西元711年）的銘文，見李靜杰编著，《石佛選粹》，北京，1995年，頁73，編號53。由於字數限制，完整中文敘述請至www.zacke.at查看。

A CLOISONNE ENAMEL RUYI SCEPTER, EARLY QING DYNASTYOpinion: Cloisonne ruyi scepters from the 17th century are rare. But finding one that presents so nicely after more than 350 years, and coming from one of the finest art collections in the world, is a truly nice surprise!China, second half of the 17th century. The ruyi head is decorated with a pair of blue dragons confronted on a shou medallion. The handle has two sections of archaistic hooked scrolls. One section incorporates the head of a dragon, the other the head of a phoenix, all above a rocky outcrop emerging from crashing waves at the pointed tip. The reverse of both the head and the handle is decorated with lotus scroll.Provenance: The Bernheimer Collection, no. 3/55554 (according to label). A noted South German private collection, built during the 1970s and 1980s, probably acquired from the above. The Bernheimer business was started by Lehmann Bernheimer (1841-1918) in 1864 with a tiny market stall in Munich, Germany, and swiftly grew into the most illustrious antique and interior decoration emporium in the world. Lehmann's son Otto (1877-1960) took over after his father's death in 1918. With his two brothers, Max and Ernst, Otto traveled to many European countries in search of fine art. Bernheimer's customers were European aristocrats, financiers, diplomats, and artists. They included the Krupp family and William Randolph Hearst. During the Nazi regime, the Bernheimer family emigrated across the whole world. In 1945, Otto Bernheimer returned to Munich, rebuilt his company and fought for the restitution of the family property. Konrad Bernheimer took over in 1977, aged 26, and has moved the business to Old Master Paintings. The Bernheimer Collection counts among the finest art collections in the world, reflecting the erudite quest of four generations to discover the very best of ancient art. Condition: Old wear, traces of use and manufacturing flaws. Expected pitting and losses to enamel overall with associated old fills and touchups. Please request a video shot under strong blue light for further details on the condition. The colors are still very strong and the gilt is nicely preserved. The scepter presents remarkably well overall, and the condition must be regarded as exceptionally good, commensurate with age, especially when compared with other large cloisonne scepters from the period that this author has handled over the past decades.Weight: 678.8 gDimensions: Length 38.6 cmLiterature comparison: Compare a similar scepter illustrated by H. Brinker and A. Lutz, in Chinese Cloisonne: The Pierre Uldry Collection, The Asia Society Galleries, New York, 1989, no. 163, which is also dated to the second half of the 17th century.Auction result comparison:Type: Closely related Auction: Christie's New York, 21 March 2014, lot 2328Price: USD 43,750 or approx. EUR 51,000 converted and adjusted for inflation at the time of writing Description: A cloisonne enamel ruyi scepter, second half 17th centuryExpert remark: Compare the near identical form and decoration. Note the similar size (37.4 cm). 清初掐絲琺瑯“雙龍捧壽”如意中國，十七世紀下半葉。孔雀藍色地，如意頭部可見雙龍捧壽紋。手柄有仿古夔龍紋，底部五彩祥雲江崖紋。如意背面纏枝蓮紋。專家注釋：十七世紀掐絲琺瑯如意十分珍貴。在 350 多年後找到一件呈現如此精美的珍品，並且來自世界上最好的藝術收藏之一，真是一個驚喜！ 來源：Bernheimer 收藏，編號 3/55554 (根據標籤)；德國南部私人收藏，建立於上世紀七十至八十年代，可能購於上述收藏。 品相：磨損、使用痕跡和製造缺陷。預期的點蝕和琺瑯缺損以及相關的填充和修飾。請聯繫藝廊獲得在強藍光下拍攝的視頻，以了解有關情況的更多詳細信息。琺瑯色彩仍然艷麗，鎏金保存完好。如意整體狀況極好，與年代相符。重量：678.8 克 尺寸：長38.6 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

AN INSIDE-PAINTED ROCK CRYSTAL 'TROMPE L'OEIL' SNUFF BOTTLE, BY MA SHAOXUAN (1867-1939), DATED 1898Published:Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 314-315, no. 139 (erroneously stating the bottle was once in the Mary and George Bloch Collection)China. Of flattened form, with slightly concave top, finely painted on the interior on one main side with a collection of old, tattered and inscribed paper items, including envelopes, books and rubbings, the reverse painted with an excerpt from a Tang dynasty historical chronicle.Inscriptions: Signed 'Ma Shaoxuan', one seal, and dated to the third month of the Wuxu year (corresponding to 1898) Provenance: Robert Kleiner, London, 1992. Rachelle R. Holden Collection, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '244' to the base. Robert Kleiner (1948-2014) was an important expert on Chinese snuff bottles, beginning his long career at Sotheby's Chinese Art department in London. Along with Hugh Moss and Bob Hall, Robert Kleiner became a key advisor to the Mary and George Bloch collection, and it was Robert who wrote and produced the very first catalog of their bottles. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Excellent condition with only minor old wear. A few small scattered inclusions in the crystal.Stopper: Pink tourmaline stopper, black plateletWeight: 66.6 g Dimensions: Height including stopper 75 mm. Diameter neck 19 mm and mouth 6 mm.The calligraphy on the reverse side of this bottle is transcribed from the famous Tang stele by Ouyang Xun called Jiu Cheng Gong li quan ming (The Sweet Spring of Jiucheng Palace). Ouyang Xun (AD 557-641) was one of the four masters of the early Tang. The paintings on the other side include burnt and torn examples of the Jin Hui Dui and a fan-shaped painting by Yun Shouping, calligraphy from the book entitled Zuo Zhong Tang (a famous general), a torn book entitled Si Shu (essential reading for scholars), and an envelope inscribed You Shanghai Ji (posted from Shanghai).Ma Shaoxuan (1867-1939) was one of the most technically accomplished artists of the Beijing school of painting, which was first started by Zhou Leyuan and included other leading artists such as Ding Erzhong, Ye Zhongsan and Ziyizi. Ma's famous monochromatic portrait bottles of leading Qing officials and personalities were highly sought after among the influential minority of his day and continue to be among the most coveted of all inside-painted bottles. Executed only in black ink, with the use of vermillion solely for seals, each portrait is a technically impeccable, photographic likeness of the sitter. Ma's extraordinary renown led to his being commissioned in 1911 to paint two portraits of the young Xuantong Emperor.Literature comparison:Compare a closely related rock crystal snuff bottle by Ma Shaoxuan, illustrated by Nancy Berliner, The 'Eight Brokens'. Chinese Trompe-l'oeil Painting, Orientations, February 1992, p. 70.Auction result comparison:Type: Near identicalAuction: Christie's New York, 24 March 2011, lot 1578Price: USD 20,000 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: An inside-painted glass snuff bottle, signed Ma Shaoxuan, dated start of the hot season in the jihai year, corresponding to 1899Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2013, lot 1088Price: USD 40,000 or approx. EUR 48,000 converted and adjusted for inflation at the time of writingDescription: A rare inside-painted rock crystal snuff bottle, Ma Shaoxuan (1867-1939), Beijing, probably 1905 1898年馬少宣款水晶内畫鼻烟壺中國。壺直口，豐肩，長方扁圓腹，橢圓形圈足。壺體為無色透明水晶為材，施以內繪技法，一面內畫彩色字畫殘片 。另一面楷書節錄唐歐陽詢書《九成宮醴泉銘》：“維貞觀六年孟夏之月，皇帝避暑乎九成之宮，此則隨之仁壽宮也，冠山抗殿，絕壑為池。節錄”。書法字體挺拔剛健，工整俊秀。 出版：Holden，《Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary》，紐約，1994年，頁314-315，編號139 (錯誤認爲瓶子曾經在瑪麗和喬治布洛赫收藏中) 。 款識：馬少宣作；鈴印「少宣」 來源：1992年紐約 R. Holden 收藏購於購於倫敦Robert Kleiner & Co. Ltd.藝廊。底部可見Rachelle Holden 收藏標籤，上有編號 '244'。英國私人收藏，購於倫敦Robert Kleiner & Co. Ltd.藝廊。隨附一份2000年11月20日開具的發票副本，確認了相關描述和斷代。由於字數限制，完整中文敘述請至www.zacke.at查看。

A SONGHUA INK STONE, BOX AND COVER, QIANLONG MARK AND PERIODChina, 1736-1795. The soft grayish-green ink stone is of magnificent quality with distinct striations and deeply carved with a lingzhi-shaped well. The outline conforms with the highest possible precision to that of the shallow box and cover, which in turn is finely carved on the top through the grayish-green outer layer to the purplish-brown under layer with two crested cranes perched on the trunk of a gnarled pine tree, the burls in the wood superbly sculpted, the pine leaves and the cranes' plumages neatly incised.The base of the inkstone incised in a line with a four-character seal mark Qianlong nianzhi and of the period.Provenance: Mrs. Walter Sedgwick, collection no. 307, as per old label to base, and thence by descent. Probably Sotheby's London after 1968 and from there into a French collection. Parisian trade, acquired from the above. Mrs. Walter Sedgwick (1883-1967) was an English collector of Chinese art who came from a family of architects. Quite unusually at the time, she collected independently of her husband who was a barrister with little interest in Chinese art. She lent many pieces to the 1935-36 Chinese exhibition at the Royal Academy. Soame Jenyns described her as a collector of impeccable taste and in 1953 dedicated his book 'Ming Pottery and Porcelain' to her. She donated and bequeathed Chinese objects to the British Museum from 1933 to 1968 and was a generous benefactor to the British Museum, the Fitzwilliam in Cambridge, and the Victoria & Albert Museum. After her death, her collection was sold off by Sotheby's London beginning in 1968. Mrs. Sedgwick was the aunt of Professor Jessica Rawson.Condition: Excellent condition with only minor wear and traces of use.Weight: 243.6 gDimensions: Length 9 cmExpert's note: The present lot was no doubt made during the Qianlong period, a fact illuminated by a Songhua ink stone, box, and cover dated to the Republic period at Christie's Hong Kong, 9 October 2019, lot 270. Although this later example appears quite similar to the present lot at first glance, it quickly becomes evident that it does not even remotely show the same exceptional skill and attention to detail. Closer study reveals a vast number of small yet striking differences, including the two cranes, which lack the crests and open beaks, as well as the pine leaves, which lack the raised edges of their central circles, and last but not least the Imperial mark itself, which is by far not as neatly incised.Songhua stone, for its color, quality and ease of grinding the ink, was one of the preferred materials for making inkstones for the scholar's table during the Qing dynasty. Chi Jo-hsin in 'A study of the Sunghua Inkstone Tradition', Special Exhibition of Sunghua Inkstone, National Palace Museum, Taipei, 1993, page 38, notes that 'during the Qianlong period, an inventory of inkstones in the Imperial Household was compiled. Of the more than two hundred entries, six sunghua inkstones with imperial reign marks of the K'ang-hsi, Yung-cheng and Ch'ien-lung periods are recorded, five of which are in the collection of the National Palace Museum.'Design on inkstones often imitated fine paintings and it is known that the Qianlong emperor commissioned his court painters to design the lids of many of his inkstones. Shapes of the ink pool and cover also became more varied during the Qianlong emperor's reign, when new shapes in the form of peaches, crescent-moons and flowers were introduced alongside the traditional circular, octagonal and oblong shapes.In Qianlong's poetry collection 'Shengjing tuchan zoayang shier shou' (Twelve Miscellaneous Poems on the Native Products of Shengjing), the emperor praises the stone as 'Songhua yu' (Songhua jade) and mentions that it is the product of the Yuantong River in Jilin province in northeast China and can be used for making inkstones.Zhou Nanquan notes in 'Songhuashi yan' (Songhua Inkstone), Wenwu, 1980, no. 1, pages 86-87, that Songhua stone was used for the production of imperial inkstones from the early to mid-Qing dynasty. Zhou further notes that in the 39th year of Qianlong's reign (corresponding to 1774), official records mention a total of 120 Songhua stone pieces, whether worked or as raw material, in the Palace collection.Records from the fourth day of the twelfth month of the 39th year of Qianlong's reign note that on three occasions, raw material amounting to 38 pieces from Jilin province, was sent to the palace and, out of five stone pieces, eight inkstones and their boxes were made. It was customary with Songhua stone from the palace to have the inkstones in original boxes of the same material, usually using the different stratified colors. Currently there are eighty Songhua inkstones in the Palace Museum collection, of which ten are attributed to Kangxi, sixteen to Yongzheng, thirteen to Qianlong, nine to Jiaqing, one to Daoguang and five to Guangxu's reigns.Literature comparison: A related ink stone, box, and cover was included in Selected Treasures of Chinese Art, Hong Kong, 1990, cat. no. 238. A related Qianlong inkstone and cover of rectangular shape, also carved with pine trees and cranes, was included in the Special Exhibition of Songhua Inkstone, National Palace Museum, Taipei, 1993, cat. no. 57.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 November 2017, lot 2931 Price: HKD 562,500 or approx. EUR 76,000 converted and adjusted for inflation at the time of writing Description: A Songhua ink stone, box and cover, Qianlong incised four-character seal mark and of the period Expert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, gnarled pine tree, and incised leaves, and four-character seal mark incised in a line. Note the similar size (9.6 cm). Further note that this example arguably does not show the same exceptional skill and attention to detail as the present inkstone.Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 23 October 2005, lot 23 Price: HKD 2,696,000 or approx. EUR 517,500 converted and adjusted for inflation at the time of writing Description: A fine Songhua inkstone, box and cover, carved mark and period of QianlongExpert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, gnarled pine tree, and incised leaves, and incised four-character seal mark. Note the similar size (10 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 23 October 2005, lot 149 Price: HKD 1,912,000 or approx. EUR 367,500 converted and adjusted for inflation at the time of writing Description: A fine Songhua inkstone, box and cover, carved mark and period of Qianlong Expert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, cranes, gnarled pine tree, and incised leaves, and incised four-character seal mark. Note the similar size (9.5 cm).乾隆款及年代松花硯中國，1736-1795年。由於字數限制，完整中文敘述請至www.zacke.at查看。

A WUCAI 'DRAGON AND PHOENIX' BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. With deep rounded sides rising to an everted rim, the exterior is painted with two phoenixes descending between green and iron-red dragons pursuing 'flaming pearls' amidst flower sprigs, below a band of the Eight Buddhist Emblems alternating with ruyi heads joined by a blue line. The interior with a medallion enclosing five iron-red bats (rare) as well as a double line border below the rim. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.C.186. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Good condition with only minor wear and minimal firing irregularities. The rim with a minuscule filled chip and associated hairline.Weight: 270.0 g Dimensions: Diameter 15.4 cmLiterature comparison: The decorative format of the present bowl is inspired by Kangxi prototypes. Compare two Kangxi-marked examples of different sizes illustrated in Porcelains in Polychrome and Contrasting Colors, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, nos. 135-136. A Qianlong-marked example of similar size to the present example is also illustrated, ibidem, no. 158. Another Qianlong example is in the Nanjing Museum, illustrated in Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, page 282.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 May 2013, lot 1923 Price: HKD 870,000 or approx. EUR 133,000 converted and adjusted for inflation at the time of writingDescription: A fine wucai 'dragon and phoenix' bowl, Qianlong six-character seal mark and of the period Expert remark: Note the similar size (15 cm) and the dragon motif inside the bowl, compared to the five iron-red bats design of the present bowl.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 11 September 2019, lot 928 Price: USD 68,750 or approx. EUR 74,500 converted and adjusted for inflation at the time of writingDescription: A wucai 'dragon and phoenix' bowl, Qianlong seal mark and periodExpert remark: Note the smaller size (13 cm) and the interior centering a roundel with an iron-red dragon, compared to the five iron-red bats design of the present bowl.乾隆款及年代五彩龍鳳呈祥碗中國，1736-1795年。敞口，弧壁，圈足，碗形周正。如意雲頭紋與佛教八寶紋作邊飾。腹部繪龍鳳穿花紋兩組，龍一紅一綠，其旁襯以菊花、芙蓉花。碗心青花雙圈内繪製五隻紅色蝙蝠。底書“大清乾隆年製”三行六字篆書款，展示 “龍鳳呈祥”之意。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 Q.C.186。品相：狀況良好，只有輕微磨損和輕微燒製瑕疵，碗沿有微小的磕損修飾和相關冲線。 重量：270.0 克 尺寸：直徑 15.4 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE AND COMPLETE SET OF FOUR JADE OPENWORK SWORD FITTINGS, WESTERN HAN DYNASTYChina, 206 BC to 8 AD.Comprising:1) A pommel (shou) of circular form, the domed center carved as a dragon, encircled by alternating taotie masks and archaic scroll,2) A sword guard (ge) carved with central taotie masks to each side, the nose extending to the pointed lower end, flanked by phoenixes and archaic scroll,3) A scabbard chape (bi) of trapezoidal form carved with sinuously coiled dragons,4) A scabbard slide (zhi) carved with a central bi disc flanked by two confronting dragons with tails terminating in phoenix heads.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades.Condition: Excellent condition, commensurate with age. Expected wear, alterations and weathering, minuscule nibbling and losses, soil and iron rust encrustations. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time. Weight: 113.6 g (total) Dimensions: Length 14 cm (the scabbard slide), 7 cm (the scabbard chape), and 6.8 cm (the sword guard), Diameter 6.7 cm (the pommel)The translucent jades are of a fine, greenish-yellow tone with cloudy inclusions, and scattered black speckles. The distinct iron rust encrustation indicates that the jades were buried with a source of iron, doubtlessly the decomposed blade.Expert's note: Xi'an City was the capital of China during the Western Han (202 BC-8 AD) period. According to metallographic studies of iron swords excavated in this region, all known examples were found in a severely decomposed condition. Consequently, they presented a wide range of damage such as fractures, incompleteness, and thick layers of corrosion. Such corrosion leaves notable decaying marks on their corresponding jade fittings, which take centuries to develop into the russet 'spiderweb' crackle found on the present lot. These alteration marks are inimitable, not only because they leave behind irreversible scars on the jade itself, but also because their metallurgic composition is quite unique.In ancient China, there were two pathways known for soft iron making: One was the so-called “direct process” in which bloomery iron, with a low-carbon content, was smelted in a furnace and then directly used for smithing larger numbers of lower quality blades. The second, so-called “indirect process” was more complex: After smelting from a blast furnace, cast iron was decarburized through a liquid-state procedure called Chaogang. This produced still-malleable iron with a significantly higher carbon content of up to 1%, or - in other words - steel of the best possible quality for the manufacture of high-end blades. Needless to say, jade was used primarily for fittings of blades from this group, a sign of almost exuberant luxury, marking its owner as a person of nobility. Similar fittings were also found on bronze swords, but only the ones discovered near the remnants of iron blades are encrusted with distinct rust patterns such as the present lot.This exceptional set of sword fittings exemplifies the best jade carving of the early Western Han period. Note the extreme thinness of the jades in several areas, with some parts of the guard and the chape measuring an incredible 1 mm in thickness.Literature comparison: Compare a closely related set of sword fittings once belonging to the King of Nanyue, illustrated in Zhongguo Yuqi Quanji 4 - Qin, Han, Nanbeichao, Hebei, 1993, pp. 60-61, nos. 79-82. Compare four sword fittings from the Myers collection, dated to the Western Han period, published in Fillippo Salviati, Radiant Stones: Archaic Chinese Jades, 2004, Hong Kong, nos. 130-133.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2017, lot 2711 Price: HKD 8,460,000 or approx. EUR 1,148,000 converted and adjusted for inflation at the time of writing Description: An important set of three jade 'chilong' sword fittings and a jade sword guard, Western Han dynasty Expert remark: Note the smaller size (the largest 8.8 cm)西漢罕見一套四件玉劍飾中國，公元前206年至公元8 年。一套四件 來源：Irene與 Wolfgang Zacke (1942-2022)。自1968 年起，這對夫婦活躍在藝術貿易界，並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980 年代後期，他們一直在收集中國古代玉器，幾十年來建立了極富多樣性的收藏。 品相：狀況極佳，有磨損、風化、磕損、缺損、土壤結殼與鏽斑。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：總113.6克 尺寸：劍璏長 14 厘米，劍珌7 厘米，劍格6.8 厘米，劍首直徑 6.7 厘米 玉質細膩，有綠色、赭色斑，瑩潤有澤。玉石上明顯的鐵鏽斑。由於字數限制，完整中文敘述請至www.zacke.at查看。

A GRAY AND BLACK NEPHRITE JADE FIGURE OF A HORSE, MING DYNASTYChina, 17th century. Well carved as a recumbent horse with the legs tucked in. The head is turned backwards with the mane falling on either side of the arched neck, and the tail is flicked onto the left rear haunch. The semi-translucent stone is of a pale gray tone with cloudy inclusions, dark veins, and black patches and shadings.Provenance: S. Bernstein & Co., Jade & Oriental Art, San Francisco, 23 August 2004. A private collection in Bethesda, Maryland, USA, acquired from the above. A copy of a description document from S. Bernstein & Co., signed and sealed by Sam Bernstein and confirming the dating above, as well as a copy of the original invoice, dated 23 August 2004 and stating a purchase price of USD 14,000 or approx. EUR 20,500 (converted and adjusted for inflation at the time of writing), accompany this lot. Sam Bernstein is an internationally recognized specialist dealer in Chinese antiquities. He has authored thirteen volumes on Chinese art including The Emperor's Jade Suit and Chinese Jade: The Immortal Stone. Over the past twenty-five years, Mr. Bernstein has gained experience in forming some of the greatest collections of Asian art in the world. Both of his parents were passionate collectors of Asian art and traveled extensively throughout Europe and the Far East. In 1991, Mr. Bernstein founded S. Bernstein & Co., Jade and Oriental Art, a gallery in San Francisco located in the historic Fairmont Hotel, which specializes in museum quality Chinese jade and related arts.Condition: Very good condition with minor old wear, few light surface scratches and minuscule nicks, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 197.2 g (excl. base) and 245.7 g (incl. base)Dimensions: Length 8.5 cm (the jade) and 9.1 cm (the base)With a fitted wood base and a padded box. (3)The horse has a long history as a symbol of power, energy, and prestige in China. Jade carvings of horses are thought to originate in the Tang dynasty, reflecting the powerful stone sculptures of horses found on Spirit Roads and the pottery horses found in tombs.Auction result comparison:Type: Related Auction: Christie's New York, 20 September 2013, lot 1683 Price: USD 56,250 or approx. EUR 67,000 converted and adjusted for inflation at the time of writing Description: A well-carved grey-green jade figure of a recumbent horse, 17th/18th century Expert remark: Compare the closely related pose and incision work. Note the different color and larger size (15.2 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 November 2017, lot 3056 Price: HKD 500,000 or approx. EUR 66,000 converted and adjusted for inflation at the time of writing Description: A jade recumbent horse, Ming dynasty Expert remark: Compare the closely related eyes, mane, tail, and ears, as well as the similar size (9.4 cm). Note the slightly different pose and mostly russet color.明代灰黑玉臥馬中國，十七世紀。臥馬表滿佈絲霧狀黑褐色沁，玉質溫潤，觸手細膩，包漿潤潤。玉馬倒地嬉戲，臥馬兩耳圓潤，肢體健碩，骨肉豐滿，回首向背。 來源：2004年8月23日舊金山S. Bernstein & Co.玉器與東亞藝術藝廊；美國馬里蘭州貝塞斯達私人收藏，購於上述藝廊。隨附一份藝廊Sam Bernstein親筆簽署並蓋章的描述文件，以及一份原始發票複印件，時間爲2004年8月23日，價格爲USD 14,000，相當於現在的EUR 20,500。Sam Bernstein是國際公認的中國古物專業經銷商。他撰寫了十三卷有關中國藝術的著作，包括《The Emperor's Jade Suit》和《Chinese Jade: The Immortal Stone》。在過去的二十五年裡，Bernstein先生積累了豐富的亞洲藝術收藏的經驗。他的父母都是亞洲藝術的熱情收藏家，並在歐洲和遠東多次旅行。1991 年，Bernstein先生在舊金山歷史悠久的Fairmont酒店創立了 S. Bernstein & Co., 玉器與東亞藝術藝廊，專門研究博物館品質的中國玉器及相關藝術品。 品相：狀況非常好，有輕微的磨損，輕微的表面劃痕和刻痕，有天然裂縫的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。 重量：197.2 克 (不含底座) 與245.7 克(含底座) 尺寸：長 8.5 厘米 (玉) 與9.1 厘米 (底座) 配有合身的木質底座和帶襯墊的盒子。(3)由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE ARCHAIC BRONZE RITUAL WINE VESSEL, HU, MIDDLE WESTERN ZHOU DYNASTYExpert'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.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.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 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A HU WENMING PARCEL-GILT CENSER, GUI, MING DYNASTYChina, 16th-17th century. The rare copper-alloy and gilt-bronze incense burner is decorated on each side with a central band of various mythical sea creatures including winged dragons and horses rising from waves and chasing flaming pearls, all finely chased and incised in relief, between bands of neatly silver-inlaid key-fret around the neck and foot, flanked on either side by imposing dragon-head loop handles. Cast with a rectangular gilt panel on the base bearing the incised Hu Wenming mark.Inscriptions: To base, 'Yunjian Hu Wenming zhi' ('made by Hu Wenming of Yunjian [modern Songjiang, near Shanghai]).Provenance: United Kingdom trade. Condition: Good condition with extensive wear to gilt, minor casting flaws, few small dents, nicks, and shallow surface scratches. Fine naturally grown patina overall with scattered encrustations.Weight: 696.6 gDimensions: Width 19.7 cm (across handles)Hu Wenming is one of the most renowned metalworkers in Chinese history and one of the few whose name and style are discussed in Chinese art-historical writing. Most of the works attributed to Hu Wenming are scholarly objects, such as incense burners and brush pots, characterized by densely worked backgrounds covered with naturalistic and other motifs cast in high relief.Literature comparison: The same mark can be found on a slightly smaller censer with similar decoration in the main band and with similar handles, in the Palace Museum Collection and listed as a 'national first-grade cultural relic', illustrated in Illustrated Important Chinese Cultural Relics Ranking Standard- Bronze, Beijing, 2006, pl. 143. For other related censers with the same primary decoration and mark, but with variations to the decorative bands, see one illustrated in The Literati Mode, Sydney L. Moss, Ltd., London, 1986, pp. 291-2, no. 145, and another illustrated in Sotheby's Hong Kong Twenty Years, Hong Kong, 1993, no. 402.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 27 November 2017, lot 8117 Price: HKD 562,500 or approx. EUR 76,000 converted and adjusted for inflation at the time of writing Description: A rare parcel-gilt bronze censer, gui, Ming dynasty, Yunjian Hu Wenming zhi seal markExpert remark: Compare the closely related gui form and decoration with similar copper-alloy reliefs, silver inlays, and dragon handles. Note that the censer bears the same mark as the present lot and is of similar size (26.7 cm), but that the gilt to the central band and handles is well-preserved.Auction result comparison: Type: Closely related Auction: Christie's London, 13 May 2011, lot 1039Price: GBP 30,000 or approx. EUR 45,000 converted and adjusted for inflation at the time of writing Description: A fine parcel-gilt bronze censer, late Ming dynasty, 16th/17th century, Hu Wenming Expert remark: Compare the closely related gui form and decoration with similar copper-alloy reliefs, silver inlays, and dragon handles. Note that the censer bears the same mark as the present lot, is of smaller size (17 cm), and shows similarly extensive wear to the gilt.明代胡文明款鎏金簋形爐中國，十六至十七世紀。罕見的鎏金銅簋形爐，束頸處飾錯銀雷紋帶；圓腹，浮雕瑞獸；圈足處飾錯銀雷紋帶。圈足内有胡文明款。 款識：雲間胡文明製 來源：英國古玩市場。 品相：狀況良好，鍍金磨損嚴重，輕微鑄造缺陷，小凹痕、刻痕和表面輕微淺劃痕。自然包漿。 重量：696.6 克 尺寸：寬 19.7 厘米 (雙耳之間) 文獻比較：同樣的款識可見於一件稍小的香爐，有相同的紋帶和和把手，收藏於北京故宮博物院，列為「國家一級文物」，見《文物藏品定級標準圖例‧青銅卷》，北京，2006年，編號143。一件相近的相同款識和裝飾的香爐，但有多種紋帶，見Sydney L. Moss，Ltd. ，《The Literati Mode》，倫敦，1986年，頁291-2，編號145，另一件見香港蘇富比《 Twenty Years》，香港，1993年，編號402。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年11月27日，lot 8117 價格：HKD 562,500（相當於今日EUR 76,000 ） 描述：明代胡文明款鎏金簋形爐 專家評論：比較非常相近的簋形外型和銅合金浮雕、嵌銀和龍形把手。請注意款識相同，且尺寸相似(26.7 厘米)，但紋飾和把手上的鎏金保留完好。由於字數限制，完整中文敘述請至www.zacke.at查看。

A SOAPSTONE FIGURE OF A LUOHAN WITH A BUDDHIST LION, 18TH CENTURYChina. Seated with his right knee raised, wearing long flowing robes with finely incised hems, holding a flywhisk (fuchen) in his right hand, beside him a majestic lion, his left hand holding one strand of the lion's mane. The facial features, beard, and hair finely incised and picked out in black pigment, the hems painted in gilt and deep green. The base fitted and carved as a craggy rock with pierced holes. The figure of an attractive honey-brown tone, the stand of elegant burgundy red color with white and gray veining.Provenance: From the collection of Gerard Hawthorn, London, United Kingdom. In 1963, Gerard Hawthorn joined Sydney L. Moss Ltd. He later became an independent art dealer, assisting the world's leading collectors and museums in acquiring rare Chinese antiques. Additionally, he formed his own collection of Chinese art, especially bamboo and Yixing wares. Gerard Hawthorn is also the author of the catalog series 'Oriental Works of Art', which features fine works of art from China, Japan, and Korea. Condition: Very good condition with some old wear, mostly to gilt and pigment, few light surface scratches and minor nicks here and there. The left hand of the luohan and the head of the lion with minuscule old fills. Fine naturally grown patina with an unctuous feel overall.Weight: 418.2 g Dimensions: Height 9.1 cmLiterature comparison:Compare the related soapstone figure of a luohan seated beside a similarly carved lion in the collection of the Palace Museum, Beijing, illustrated in Zhongguo meishu quanji, diaosu bian - 6 - Yuan Ming Qing diaosu, Beijing, 1988, page 145, pl. 157. Compare also a related soapstone figure of luohan with mythical beast, dated to the 17th century, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, p. 161, cat. no. 135.Auction result comparison:Type: Closely relatedAuction: Christie's London, 8 June 2021, lot 290Price: GBP 16,250 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A Chinese soapstone figure of a luohan, 18th centuryExpert remark: Compare the pose of the luohan, the detail work of the hem, and the rocky base. Note the larger size (16 cm).Auction result comparison:Type: RelatedAuction: Christie's London, 10 May 2011, lot 45Price: GBP 10,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A small carved soapstone figure of a luohan, 18th centuryExpert remark: Compare the closely related posture of the luohan, the detail work of the hem, as well as the honey color of the stone. Note the smaller size (4 cm) and lack of a base.十八世紀笑獅羅漢皂石擺件中國。羅漢身體魁梧健壯，儀容莊嚴凜然，手持拂塵，身著僧袍。身側臥著一隻獅子。獅子的鬃毛用黑色顏料刻畫，下半身描金以及深綠色顔料。底座為鏤空雕刻的岩石，蜜褐色包漿，優雅的紅色與白色和灰色紋理。 來源：英國倫敦Gerard Hawthorn收藏；1963年他加入悉尼L. Moss Ltd藝廊，成為一名獨立的藝術品經銷商，協助世界重要收藏家和博物館購買稀有的中國古董。此外，他還見了了自己的中國藝術品收藏，尤其是竹子和宜興瓷器。Hawthorn 也是“Oriental Works of Art”系列畫冊的作者，該畫冊收錄了來自中國、日本和韓國的精美藝術作品。 品相：狀況極好，有一些磨損，主要是描金和顏料部分，表面有輕微的劃痕。羅漢的左手和獅子的頭上有微小的填充物。細膩的包漿，整體感覺光滑瑩潤。 重量：418.2 克 尺寸：高9.1 厘米 文獻比較： 比較一件非常相近的笑獅羅漢皂石擺件，收藏於北京故宮博物院，見《中國美術全集‧雕塑篇‧6元明清雕塑》，北京，1988年，頁145，圖157。比較一件相近的十七世紀羅漢神獸皂石擺件，見Gerard Tsang and Hugh Moss，《Arts from the Scholar's Studio》，香港大學美術館，香港，1986年，頁161，圖錄編號135。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2021年6月8日，lot 290 價格：GBP 16,250（相當於今日EUR 16,500） 描述：十八世紀皂石羅漢擺件 專家評論：比較羅漢的姿勢，衣袍下擺的細節雕刻，以及岩石底座。注意尺寸較大(16 厘米)。由於字數限制，完整中文敘述請至www.zacke.at查看。

AN ARCHAIC BRONZE RITUAL WINE VESSEL, ZHI, LATE SHANG TO EARLY WESTERN ZHOU DYNASTYChina, ca. 1050 BC. Of elongated pear shape with a waisted neck and flared rim, cast below the neck with a single border of leiwen in deep relief, the splayed hollow foot encircled by two bow-string bands. The bronze skin with a magnificent, naturally grown patina showing a multitude of deep-green malachite and cuprite encrustations. Provenance: Christie's South Kensington, London, 28 July 1994. Catherine Farrell, London, acquired from the above. A copy of the provenance statement, written and signed by Catherine Farrell, dated 8 July 2022, attesting to her purchase of the present lot at Christie's South Kensington on 28 July 1994 as well as it being authenticated by Dr. Jessica Rawson in 1990, whose appraisal mentioned in the letter confirms the dating above, accompanies this lot. Dame Jessica Mary Rawson (b. 1943) is an English art historian, curator, and sinologist. She is also an academic administrator, specializing in Chinese art. Between 1976 and 1994, she served as Deputy Keeper and then Keeper of the Department of Oriental Antiquities at the British Museum in London and from 2006 to 2011 as pro-vice-chancellor of Oxford University. She has been involved in a number of high-profile exhibitions such as the Mysteries of Ancient China.Condition: Superb condition, commensurate with age, and absolutely original with no repairs or touchups whatsoever. Old wear, signs of weathering and erosion, minor nicks here and there. Solid, naturally grown patina with extensive malachite and cuprite encrustation.X-Ray: Images 18-22 confirm the excellent original condition of this lot.Weight: 317.8 g Dimensions: Height 13.4 cmZhi goblets such as the present example served as drinking vessels. They were employed in important ritual performances aimed at paying homage to the ancestors. According to Chinese beliefs, the ancestors were deemed active participants in the life of their offspring, which they could positively influence if provided with the correct necessities for their own afterlife, see Jessica Rawson, 'The Power of Images: The Model Universe of the First Emperor and its Legacy', in Historical Research, no.75, 2002, pp. 123-154.Expert's note: The Qianlong emperor's great love of jade combined with his passion for antiques resulted in his commissioning significant numbers of archaistic jade items for his court. The form of the present zhi vessel has served as the inspiration for a number of jade zhi now in private and public collections, including no. 40 in this catalog (please see the lot entry for further examples). This clearly shows that bronze zhi such as the present lot were already highly valued 300 years ago.Literature comparison: Compare a closely related zhi, of similar form and also with a leiwen band below the neck and two bow-string bands around the foot, dated to the early Western Zhou period, mid-11th to early 10th century BC, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1981.106. Compare a related zhi, also decorated with leiwen and bow-string bands, dated Shang dynasty to Western Zhou period, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1956.87.Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2014, lot 10 Price: USD 30,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: The Fu Xin Zhi, a bronze ritual wine vessel, late Shang dynasty, 13th-11th century BC Expert remark: Compare the related form and manner of casting with similar leiwen and bow-string bands, additionally with taotie mask and flanges. Note the larger size (15.2 cm) and that the zhi has a three-character inscription.Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2018, lot 1103 Price: USD 37,500 or approx. EUR 40,000 converted and adjusted for inflation at the time of writing Description: A rare small bronze ritual wine vessel, zhi, late Shang-early Western Zhou dynasty, 11th century BC Expert remark: Compare the similar form and manner of casting with leiwen and bow-string bands, additionally with taotie mask and flanges. Note the smaller size (11.4 cm) and that the zhi has a two-character inscription.商末至西周青銅觶中國，約公元前1050 年。器身細高，敞口，直唇，體呈橢圓形，下腹外鼓，喇叭形高圈足，頸部雷紋帶，圈足上兩道弦紋。該器壁勻薄，造型挺拔優美。青銅表皮自然生長的包漿，呈現出大面積深綠色的銅鏽。 來源：1994年7月28日倫敦南肯辛頓佳士得；倫敦Catherine Farrell購於佳士得。隨附一份Catherine Farrell寫的關於來源説明的複本，日期爲2022年7月8日由於字數限制，完整中文敘述請至www.zacke.at查看。

A COPPER-RED GLAZED TAZZA, YONGZHENG MARK AND PERIODOpinion: Copper-red wares were a fixture of the Imperial household during the Yongzheng era, with dishes, bowls and cups of various sizes appearing much more frequently than stem cups let alone tazzas. On top of that, the present lot comes in pristine condition and with immaculate provenance, making it even rarer, and a notable highlight in even the most advanced collection of monochrome wares. Dating from the early heyday of Imperial production, around the time of Tang Ying's arrival at Jingdezhen in 1728, where he was appointed by the Yongzheng Emperor to supervise the porcelain manufacture, the present lot is a powerful testimonial as to why monochrome wares became so popular among the most sophisticated scholars of modern day China.China, 1723-1735. Superbly potted, the shallow rounded sides rising from a splayed hollow foot encircled by a molded bamboo node. The exterior glazed in a rich and warm red, the interior and base glazed white. The base with an underglaze-blue six-character mark da Qing Yongzheng nianzhi and of the period.Provenance: Sotheby's London, 25 May 1965, lot 168. Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum (1968-2022), collection number Q.8.08. A copy of the sale result list for the Sotheby's auction on 25 May 1965, stating the buyer as 'Wou', accompanies this lot. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Some old wear and firing irregularities, such as dark spots, a glaze bubble to the well, small firing cracks, and minimal fritting. A minuscule chip to the rim with associated fill and hairline. The glaze with a splendid, unctuous feel. Refer department for or a video shot under strong blue light, confirming the overall fine condition.Weight: 752.8 gDimensions: Diameter 20.9 cmAuction result comparison: Type: Closely relatedAuction: Sotheby's New York, 11 September 2019, lot 635Price: USD 40,000 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: A copper-red glazed stembowl, Yongzheng seal mark and periodAuction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2013, lot 1554 Price: USD 30,000 or approx. EUR 36,000 converted and adjusted for inflation at the time of writing Description: A copper-red-glazed stem bowl, Yongzheng six-character mark in underglaze blue in a line and of the periodAuction result comparison: Type: Closely related Auction: Christie's Hong Kong, 28 May 2021, lot 2991 Price: HKD 500,000 or approx. EUR 62,000 converted and adjusted for inflation at the time of writingDescription: A sacrificial-red glazed stem bowl, Yongzheng six-character mark in a line in underglaze blue and of the period雍正款及年代霽紅釉高足碗中國，1723-1735年。碗敞口，淺弧腹，下承中空高足，圈足外撇，圈足外壁起凸棱一道，形似竹節。碗內與圈足內部施白釉，色澤瑩潤，光亮潔淨；外施紅釉，釉面均勻。高圈足內近底處用青花“大清雍正年製”六字款。 專家注釋：雍正年間，霽紅器多為皇室用品，各種大小的盤、碗、杯比高腳杯出現的頻率要高得多，更不用說高足碗。 最重要的是，本拍品完好無損，來源可循，因此顯得更加稀有，同時也是單色釉器皿收藏中的一個亮點。 此拍品應該是1728年唐瑛到景德鎮受雍正皇帝之命督製瓷器之時的產品，那時為御制瓷器盛世之初，這件拍品有力地證明了單色瓷器為何如此盛行。 來源：1965年5月25日倫敦蘇富比，lot 165。吳權博士收藏；吳蓮伯美術館，館藏編號 Q.C.186。由於字數限制，完整中文敘述請至www.zacke.at查看。

'BANANA LEAVES AND LOQUATS', BY QI BAISHI (1864-1957)China, ca. 1930. Ink and watercolors on paper. Superbly painted with two large banana leaves executed with bold and vivid brushstrokes, a bunch of ripening loquats, their orange-yellow color reminiscent of a sunset, lying on the lower leaf, a few scattered fruits having dropped from the bunch.Inscriptions: Signed Baishi, one seal 'Baishi'.Provenance: Mi Chou Gallery, after 1957, New York, USA. A private collector, acquired from the above (invoice lost), possibly at the exhibition “3 Masters of Contemporary Chinese Painting” which took place at the gallery from September 9-27, 1958. Thence by descent in the family. The back with an old label (7.5 x 10.2 cm) from “Mi Chou Gallery, 801 Madison Avenue, New York 21, NY”. The label bears typewritten information about the present lot including the title, the artist “Ch'i Pai-shih (1864-1957)”, the medium “Ink & colors on paper” and the dating “ca. 1930”, all confirming the above, and a smaller label, “13. Banana Leaves and Loquats”. Michael Sullivan notes in Art and Artists of Twentieth-Century China, Berkeley, 1996, pages 208-9, that Mi Chou Gallery, founded by Frank Cho in 1954, was the first Chinese contemporary art gallery in the United States and broke ground with exhibitions of renowned artists like Qi Baishi and Zhang Daqian. Sullivan further notes that initially, the gallery was established in the home of famed Chinese paintings collector and scholar, C.C. Wang. Having their works exhibited in New York for the first time was an immense opportunity for Chinese artists, and so Mi Chou Gallery had access to the finest works by the greatest painters of the era.Condition: Excellent condition with minor wear and minimal soiling.Dimensions: Image size 130 x 33.5 cm, Size incl. frame 163.2 x 52.8 cmMatted and framed behind glass.Qi Baishi (1864-1957) is one of the most important Chinese artists of the 20th century and has received countless honors and awards like no other painter in the People's Republic of China. He began a career as a carpenter, though he taught himself to paint using a manual from the Qing dynasty period. His style, which Qi Baishi developed in the second half of his life, is characterized by a powerful, spontaneous brushstroke. He expanded his subject matter to figures, animals, vegetation, and landscape and began to incorporate rich color into his compositions, painting in an ever-freer style. His works are focused on the spiritual, ephemeral, and mystical qualities of the human condition. In 1953, he was elected president of the China Artists Association, and one year later he was elected to the National People's Congress.Auction result comparison: Type: Related Auction: Sotheby's Paris, 23 June 2016, lot 172 Price: EUR 75,000 or approx. EUR 88,000 adjusted for inflation at the time of writing Description: Qi Baishi (1864-1957), Loquats Expert remark: Compare the loquats of similar dark yellow color. Note the much smaller size (33.5 x 33.3 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 October 2012, lot 1192 Price: HKD 2,060,000 or approx. EUR 334,500 converted and adjusted for inflation at the time of writing Description: Qi Baishi (1864-1957), Loquats Expert remark: Compare the loquats, most of which are of similar dark yellow color. Note the smaller size (92.5 x 33.5 cm).Auction result comparison: Type: Related Auction: Poly International, Beijing, 2 December 2010, lot 2174 Price: CNY 1,736,000 or approx. EUR 332,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi, Banana Tree Leaf Expert remark: Compare the banana leaves. Note the similar size (136 x 34 cm). 齊白石款《芭蕉與琵琶》中國，約 1930，紙本水墨設色。兩片大芭蕉葉，近景簡筆構圖，筆墨大膽而生動；一束成熟的枇杷，金黃誘人。 款識：隔麤塵輕，碧玉鋪滿地黃金，白石；鈴印：白石 來源：紐約米舟畫廊，1957年後；私人收藏，購於米舟畫廊 (發票遺失)，可能購於1958年9月9-27日舉辦的 “三位中國當代繪畫大師” 畫展展覽期間，一直保存在同一家族。背面有米舟畫廊舊標籤 (7.5 x 10.2厘米) “Mi Chou Gallery，801 Madison Avenue，New York 21，NY”。Michael Sullivan 在Art and Artists of Twentieth-世紀 China （Berkeley 1996，第208-9頁）注釋，米舟畫廊由Frank Cho 於1954年創立，是美國第一家中國當代藝術畫廊，由齊白石、張大千等著名藝術家的展覽而出名。Sullivan進一步指出，最初，畫廊深受著名的中國畫收藏家和學者 C.C. 王推崇。第一次在紐約展出作品對中國藝術家來說是一個巨大的機會，因此米舟畫廊可以接觸到那個時代最偉大的畫家最優秀的作品。品相：狀況極佳，輕微磨損與污漬。 尺寸：畫面130 x 33.5厘米，總 163.2 x 52.8 厘米 鏡片裝框。由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE AND LARGE CLOISONNE ENAMEL 'BAJIXIANG' VASE, GU, QIANLONG PERIODChina, 1736-1795. The vase is well cast of archaic gu form, superbly decorated around the rounded mid-section with lotus sprays and bats enclosed by linked fret scrolls. The trumpet neck and spreading foot are enameled with hanging plantain leaves enclosing lotus blossoms and scrollwork, dividing further lotus sprays borne on tendrils. The flared mouth rim is embellished around the exterior with the Bajixiang, the Eight Buddhist Emblems, and four Shou medallions amidst lotus blooms on the interior.Provenance: A highly important Austrian private collection, acquired during the first half of the 20th century, and thence by descent within the same family. Dorotheum, Vienna, 9 December 1992, lot 229. A Viennese private collection, acquired from the above. Old inventory label from Dorotheum to base.Condition: Superb condition with minor traces of use and manufacturing irregularities, including expected pitting, minuscule losses to enamels with associated old fills, few microscopic nicks, expected wear to gilt, light scratches to base. Please request a video, shot under strong blue light, to see the magnificent condition of this lot for yourself. Overall, such a large cloisonne vessel, dating from the 18th century, that comes in such a pristine state of preservation must be considered extremely rare. Weight: 2,931 g Dimensions: Height 44 cmExpert's note: It is rare to find a cloisonne enamel gu vase decorated with the bajixiang motif, and the current vessel is likely to have been part of a set placed in a Buddhist temple within an important palace, possibly the Forbidden City. The matching pair to the present vase, most probably coming from the same altar set, was sold at Christie's in 2016 (see auction result comparison), and it is our sincere hope that the winning bidder of the present lot will be able to reunite the pair.Literature comparison: A number of cloisonne vessels of other forms with this Buddhist decoration have been published, including the alms bowls and plates illustrated in Compendium of Collections in the Palace Museum - Enamels (2) - Cloisonne in the Qing Dynasty (1644-1911), Beijing, 2011, pls. 260-261, 287-289. Compare also a censer, similarly decorated with the bajixiang borne on lotus blooms and archaic scrolls as on the present vase, dated to the early 18th century and illustrated by C. Brown in Chinese Cloisonne - The Clague Collection, Phoenix Art Museum, 1980, pl. 43.Auction result comparison: Type: Matching pair Auction: Christie's Hong Kong, 1 June 2016, lot 3402 Price: HKD 1,840,000 or approx. EUR 247,000 converted and adjusted for inflation at the time of writing Description: A rare large cloisonne enamel 'bajixiang' vase, gu, Qianlong period Expert remark: Note that this vase and the present lot most likely once were part of the very same altar set.乾隆罕見掐絲琺瑯八吉祥花觚中國，1736-1795年。花觚喇叭口，細長頸，鼓腹，束腰，足外撇。松石綠色地上琺瑯彩繪，觚外壁口下與高圈足上，均繪纏枝蓮托八寶紋。頸部下方有蕉葉紋，腹部纏枝蓮紋，口沿與足牆處一周迴紋。觚内壁纏枝蝙蝠壽字紋。花觚造型優雅，結構紋飾富麗堂皇。 來源：奧地利重要私人收藏，二十世紀上半葉進入收藏，在同一家族保存至今。1992年12月9日維也納Dorotheum, lot 229；維也納私人收藏購於上述拍賣。底部可見Dorotheum 編號標籤。 品相：狀況極佳，有輕微的使用痕跡和製造瑕疵，包括預期的點蝕、與舊填充物相應的琺瑯缺損、輕微刻痕、鎏金磨損，底座上有輕微劃痕。請聯繫藝廊獲取藍光下拍攝的視頻。總體而言，如此原始的保存狀態的十八世紀景泰藍大型容器極為罕見。 重量：2,931 克 尺寸：高44 厘米 專家注釋：以八吉祥為裝飾的掐絲琺瑯觚瓶十分少見，而這件觚瓶很可能曾放置在重要宮殿（可能是紫禁城）內的一座佛堂中。 此瓶曾爲一對，另一個於 2016年 年在佳士得拍賣（見拍賣結果比較），我們真誠地希望本拍品有朝一日能重聚。文獻比較：一些具有佛教裝飾的景泰藍器皿已經出版，包括《故宮博物院藏品大系—琺瑯彩2—清掐絲琺瑯（1644-1911）》中的碗和盤，北京，2011年，圖260-261和287-289。與此相比，還有一件18世紀初香爐也有類似的裝飾，飾有蓮花和古卷，見C. Brown，《Chinese Cloisonne - The Clague Collection》，Phoenix Art Museum，1980年，圖43。由於字數限制，完整中文敘述請至www.zacke.at查看。

AN INSCRIBED BAMBOO BRUSHPOT, BITONG, BY WANG LUYI, 18TH CENTURYChina. Of cylindrical form, supported on three short feet, finely carved in relief and undercut with three men in a sampan fishing boat under swirling clouds and a willow growing from rockwork with bamboo and a crane. The reverse with a poetic inscription as well as a cyclical date and the artist signature.Inscription: To reverse, 'Wang Luyi' (name of artist), 'Youzhu' (artist sobriquet), dated to spring of Dingxu year (corresponding to 1706 or 1766). The poem:“Returning home, the charcoal smoke is rising;A single boat approaches the willow's shade.”Provenance: Ralph M. Chait Galleries, New York, USA (according to label on base). The collection of Dr. Thomas Navratil, Zurich, Switzerland. Sydney L. Moss Ltd., London, United Kingdom, 22 November 1999. The collection of Teddy Hahn (1933-2012), acquired from the above, and thence by descent to the present owner. A copy of the original stamped and signed invoice, dated 22 November 1999, stating a purchase price of GBP 4,000 or approx. EUR 7,700 (converted and adjusted for inflation at the time of writing), accompanies this lot. The base with an old inventory label, inscribed '89', and further inscribed '[…] 1080'. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking, “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.”Published: Sydney L. Moss Ltd, Escape from the Dusty World: Chinese Paintings and Literati Works of Art”, London, 1999, no. 19.Condition: Good condition with old wear, light scratches, few minuscule nicks, natural age cracks with associated small losses and old fills. Elegant naturally grown patina overall.Weight: 477.4 gDimensions: Height 14.9 cm, Diameter 14 cmAuction result comparison: Type: Related Auction: Sotheby's New York, 10 September 2019, lot 54 Price: USD 15,000 or approx. EUR 16,000 converted and adjusted for inflation at the time of writing Description: A bamboo 'scholars' brushpot, Qing dynasty, 18th centuryExpert remark: Compare the related manner of carving, also with a sampan under clouds and trees. Note that the composition is denser while the brushpot is narrower and lacks any inscriptions or signatures. 十八世紀竹雕人物筆筒，王魯一款中國。圓柱體，筆筒外壁浮雕人物場景，漁船上三個人物，一個在撐船，一個似乎是婦人正在吹火。柳樹下立著一隻仙鶴。另有詩文。底部三短足。 題詩: 載歸煤烟生，？船就柳蔭 丙戌仲春友竹居士王魯一製 來源：美國紐約Ralph M. Chait Galleries藝廊 (根據底部標籤)；蘇黎世Dr. Thomas Navratil收藏；英國倫敦Sydney L. Moss Ltd.藝廊，1999年11月22日；Teddy Hahn (1933-2012)收藏，購於上述藝廊，保存直徑。隨附1999年11月22日出具的蓋章並簽名的發票複印件，顯示當年價格：：為 GBP 4,000 ，相當於如今的 EUR 7,700 。底部有收藏標籤顯示 '89'以及'[…] 1080'字樣。Theodor “Teddy” Hahn 曾是知名的根付和亞洲藝術收藏家。他參觀了很多博物館，研究世界早期文化，對造像產生了特別的興趣，他開始收藏，他說：“我不知何故知道它會對我的生活產生深遠的影響。 我是多麼正確。 以及我有多開心。” 出版：Sydney L. Moss Ltd, Escape from the Dusty World: Chinese Paintings and Literati Works of Art”, 倫敦, 1999年，編號19。 品相：品相良好，有磨損、輕微劃痕、少量細小的刻痕、自然老化裂縫以及相應的缺損和填充。整體包漿優雅自然。 重量：477.4 克 尺寸：高14.9 厘米, 直徑 14 厘米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比, 2019年9月10日, lot 54 價格：USD 15,000 （相當於今日EUR 16,000） 描述：十八世紀清代竹雕人物筆筒 專家評論：比較相近的雕刻，例如雲與樹下的小舟。請注意，此筆筒構圖比較密集，而筆筒比較窄，沒有任何銘文或簽名。

AN IMPORTANT AND RARE UDAYANA-STYLE FIGURE OF MAITREYA, LATE YUAN DYNASTY - HONGWU PERIODOpinion: The present statue is stylistically very similar to an important gilt-bronze figure of Maitreya, which can be pinpointed by radiocarbon dating of organic material in its core to a quite narrow timeframe from the late Yuan dynasty to the Hongwu period. The distinct U-shaped folds, elongated undulating sleeves, and flared hems, as well as the characteristic hairstyle, all indicate that the two figures were made at more or less exactly the same time, around the years 1350-1380. The image is superbly carved standing with his right hand raised in abhaya mudra, the deity portrayed with a serene and meditative countenance below an urna, framed by a pair of long pendulous earlobes and hair neatly swept over the ushnisha, clad in a long robe with elongated sleeve openings and accentuated overall with pronounced folds and undulations, the garment loosely clinging to the gently rounded outlines of his stomach and legs and ending in a flaring hem above the bare feet. Provenance: A Belgian private collection. Condition: Good condition, commensurate with age and presenting remarkably well, especially when considering the high age of this statue. Extensive wear and expected natural age cracks. Minor flaking and crackling to lacquer. Light surface scratches, minuscule nicks, some losses. Possibly few minor old touchups here and there.Weight: 787.9 g Dimensions: Height 31.2 cmMaitreya, Buddha of the Future Age, governs two perfected worlds: Tusita Heaven, which he currently inhabits, and Ketumati, an ideal realm conducive to the pursuit of enlightenment where he will serve as the teaching Buddha. The Maitreya's hands are held in abhaya and varada mudras, embodying a message of the coming salvation of all sentient beings.As the Yuan dynasty crumbled amidst famine, floods and general unrest, the anti-Mongol slogan of Han Shantong, Grand Patriarch of the White Lotus sect, was a call to arms and rebellion. Central to Han's belief structure was the idea that Buddha Maitreya had finally manifested in the world as the successor to Buddha Shakyamuni. Shortly after Han's demise in 1351, Zhu Yuanzhang, also a member of the White Lotus sect, emerged as the leader of the ethnic Han Chinese rebelling against the Mongol-led Yuan dynasty. In 1368, he eventually proclaimed himself as the Hongwu Emperor of the newly established Ming dynasty. It was during this period that images of Buddha Maitreya, such as the present lot, were depicted almost exclusively in the distinct Udayana style which gained increased popularity.The formulaic rendering of the U-shaped folds of the robe is one of the most interesting iconographic features of the present figure. This is known as Udayana, an ancient name for the early Gandharan region now in the present-day Swat Valley, Pakistan, from which similarly robed images of Maitreya first originated. This distinctive style of dress had transmitted along the Silk Road all the way to China and appeared there as early as the fourth century, as exemplified by the gilt-bronze seated Buddha Shakyamuni illustrated by H. Munsterberg, in Chinese Buddhist Bronzes, New York, 1988, page 37, fig. 1, which bears an inscription dated to 338 AD.Literature comparison:Compare a closely related wood figure, dated to the Ming dynasty, in the collection of the Metropolitan Museum of Art, accession number 41.115.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 2 October 2017, lot 3135 Price: HKD 24,100,000 or approx. EUR 3,263,000 converted and adjusted for inflation at the time of writing Description: A magnificent and monumental gilt-bronze standing figure of Maitreya, Yuan dynasty - Hongwu periodExpert remark: Compare the closely related U-shaped folds, elongated undulating sleeves, and flared hems as well as the distinct hairstyle. Note that this lot came with a Carbon-14 test of the core which was consistent with the dating above. Note the much larger size (116.8 cm) and the fact that this statue is made from bronze, not wood.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2010, lot 1959 Price: HKD 3,020,000 or approx. EUR 526,500 converted and adjusted for inflation at the time of writing Description: A very rare early Ming gilt-bronze standing figure of Maitreya, Yongle incised six-character mark and of the period Expert remark: Compare the closely related U-shaped folds and elongated undulating sleeves. Note that this lot is made from gilt-bronze, not wood, and that it bears a Yongle mark and dates from the period. Also note the smaller size (16.5 cm). Eventually note that the image lacks the distinct Udayana hairstyle, probably because it was made a few decades later than the present lot.元末至洪武朝重要烏仗那式彌勒佛木雕像 造像身軀豐滿，姿態高貴，右手施無畏印，佛面微笑頭髮整齊地披在烏尼沙上，佛像通肩式之外袍，自肩膀垂直而下，佛像身形高挑，裙褶疊曲有序，氣韻生動，神彩宛如書法揮毫。由於字數限制，完整中文敘述請至www.zacke.at查看。

A MAGNIFICENT POWDER-BLUE AND GILT-DECORATED ROULEAU VASE, KANGXI PERIODChina, 1662-1722. Of cylindrical form, the neck with a galleried rim, gilt-decorated with two larger rectangular panels depicting pheasants perched on a rock and surrounded by chrysanthemums, prunus, and peonies, further with four smaller panels of square and circular shape, each with auspicious flowers, all above a dense floral diaper pattern. The upper rim with a key-fret border, and a lappet band above the foot. The interior covered in white.Provenance: From a private collection on the East Coast, North America. A notable private collector in Kensington, London, United Kingdom, acquired from the above. Sotheby's London, Important Chinese Art, 3 November 2021, lot 170, bought in at a net reserve of GBP 30,000 or EUR 37,500 converted and adjusted for inflation at the time of writing. Condition: Excellent condition with minor old wear and some firing irregularities, light surface scratches, minuscule fritting to the rim. The gilt is particularly well preserved.Weight: 4,626 g Dimensions: Height 47.8 cmBlue monochromatic wares with gilt decoration first appeared in the Yuan dynasty. During the Kangxi period it was the custom to spray the cobalt oxide onto the porcelain which gave an attractive, mottled quality to the wares. More often than not, the powder blue was further ornamented with gilt-painted decoration, the cool metallic tones contrasting effectively with the rich mottled blue as witnessed on this vase.Literature comparison: Compare a closely related powder blue rouleau vase with gilt decorations, with a Kangxi mark and of the period, in the collection of the Metropolitan Museum of Art, accession number 79.2.153.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 March 2015, lot 457Price: USD 125,000 or approx. EUR 153,500 converted and adjusted for inflation at the time of writingDescription: A gilt-decorated powder-blue-ground rouleau vase, China, Qing dynasty, Kangxi period (1662-1722)Expert remark: Compare the near identical form and decoration as well as the similar size (46.5 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.康熙霽藍釉描金棒槌瓶中國，1662-1722年。盤口，短直頸，圓折肩，圓筒狀長腹，圈足。通體施霽藍釉，描金錦地。腹部開光，描金繪製了牡丹、梅花與菊花等富貴花卉，雉鷄栖息在樹下。畫面富貴華麗，細節生動。 來源：北美東海岸私人收藏；英國倫敦肯辛頓知名私人收藏，購於上述收藏；2021年11月3日倫敦蘇富比Important Chinese Art, lot 170, 底價GBP 30,000 ，相當於現在的EUR 37,500。 品相：狀況極佳，有輕微磨損和一些燒製不規則、表面淺劃痕、邊緣有微小熔塊。描金保存得極好。 重量：4,626克 尺寸：高47.8厘米 霽藍釉描金紋瓷器最早出現於元代。康熙年間，有將氧化鈷噴在瓷器上的工藝，使瓷器具有誘人的斑駁質感。更多時候，霽藍釉被描金進一步裝飾，金色與這個花瓶上豐富的斑駁藍色形成鮮明對比。 文獻比較： 比較一件非常相近的康熙款及年代霽藍釉描金棒槌瓶，收藏於大都會藝術博物館，編號79.2.153。 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 457 價格：USD 125,000（相當於今日EUR 146,500） 描述：清代康熙霽藍釉描金棒槌瓶 專家評論：比較幾乎相同的外型、描金和尺寸 (46.5厘米)。

A LAPIS LAZULI FIGURE OF BUDDHA, QING DYNASTYChina, mid-18th to 19th century. Superbly carved, seated in dhyanasana with the hands lowered in dhyana mudra, supporting a globular jewel, wearing a loose-fitting robe falling down the body in naturalistic folds, the wide face bearing a contemplative and serene expression marked by heavy-lidded downcast eyes and framed by long pendulous earlobes and sharply carved curls of hair surrounding a small ushnisha. The stone of an intense, striking blue hue amid veins in various shades of gray beneath glimmering mica flecks.Provenance: A private collection in New England, USA. A notable private collector in Kensington, London, United Kingdom, acquired from the above.Condition: Excellent condition with minor old wear and possibly microscopic nicks here and there. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Weight: 301.5 g Dimensions: Height 10 cmWith a velvet-padded silk storage box. (2)Lapis lazuli was highly prized during the Qianlong period, as evidenced by a pair of Qianlong period stone lions dyed to imitate the stone, included in the exhibition Tributes from Guangdong to the Qing Court, Hong Kong, 1987, cat. Nos. 71 and 72, and a Qianlong period lapis lazuli mountain in the Asian Art Museum of San Francisco, illustrated in Michael Knight, He Li and Terese Tse Bartholomew, Chinese Jades, San Francisco, 2007, plate 354. The stone was mostly imported from Afghanistan, and was used principally for carving vessels, figures in relatively small sizes and boulder or grotto carvings, often with solitary luohans. Little Buddha figures, such as the present lot, were often made for smaller Imperial altars during the late 18th century and onwards.Literature comparison: Examples of lapis lazuli figures of Buddha are illustrated in Buddhist Art from Rehol, Tibetan Buddhist Images and Ritual Objects from the Qing Dynasty Summer Palace at Chengde, Taipei, 1999, no.81; and by M. Knight, He Li and T. Tse Bartholomew, Chinese Jades, San Francisco, 2007, no. 327, dated to the 18th century. Compare a closely related lapis lazuli figure of Buddha, dated 18th century, exhibited by the Oriental Ceramic Society at Bonhams London, Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October 2021. Compare a closely related lapis lazuli figure of Buddha, 18th century, in the Metropolitan Museum of Art, accession number 30.95.324. Compare a closely related ivory figure of Buddha, dated late Ming to early Qing dynasty, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, p. 143, cat. no. 113.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 25 June 2013, lot 8009 Price: USD 52,500 or approx. EUR 65,500 converted and adjusted for inflation at the time of writing Description: A carved lapis lazuli figure of the BuddhaExpert remark: Compare the related carving style and the similarities of the stone. Note the larger size (18cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.清代青金石佛像中國，十八世紀中期至十九世紀。精雕細琢，阿彌陀佛結珈趺坐，雙手結印，托寳珠，身穿寬鬆長袍，紋理流暢，面容慈祥，雙眼微垂，長耳垂，螺髻。青金石閃爍的雲母斑點，深淺不一的灰色紋理，醒目的藍色。 來源：美國新英格蘭私人收藏；英國倫敦肯辛頓知名私人收藏，購於上述收藏。 品相：狀況極好，有輕微磨損，大面積微小劃痕。具有天然紋理和裂縫的石料，其中一些可能隨著時間的推移發展成細小的裂縫。 重量：301.5 克 尺寸：高10 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE GUAN-TYPE VASE, HU, QIANLONG MARK AND PERIODChina, 1736-1795. The ovoid body supported on a thick spreading foot and tapering to a waisted flared neck, set to either side with a lion-head-form loop handle over a molded mock ring handle at the shoulder, applied overall in a thick bluish-gray glaze suffused with a bold network of steel gray and pale gold crackles stopping at the unglazed foot ring dressed in a dark brown wash in imitation of Song dynasty guan ware. The recessed base with an underglaze-blue six-character mark da Qing Qianlong nianzhi and of the period.Provenance: Swiss trade. Condition: Fine condition overall with wear and firing irregularities, shallow surface scratches, the rim with a small chip and associated minor old repair. Please request further detail images as well as a video, shot under strong blue light, for accurate documentation of the condition of the present lot.Weight: 6,002 gDimensions: Height 37 cmThe crisply molded lion-form loop handles on the present piece are striking, varying from the usual shallow applied lion-mask handles with pendent rings or the rarer elephant-head loop handles. The bold feature is a charming 18th-century innovation on a vase that in both form and glaze references two well-known early accomplishments of Chinese art: the iconic hu form derived from the great bronzes of the Shang dynasty and the rich crackled glaze of the famed Guan wares of the Southern Song dynasty. The official or Guan ware was produced for the court in the capital, Hangzhou, in Zhejiang province. Laohudong in southern Hangzhou appears to have been the most important Guan kiln creating wares with an attractive crackled glaze, a version of which is seen on the present piece. The crackle was purposefully made utilizing refined technical skill to calibrate a cooling rate for the wares that would produce the different layers of fissures and allow them to be filled with two to three different colors. The present piece with its two tones references the jinsi tiexian (gold thread and iron wire).Such a pointed allusion to the past served to both pay homage to the past while simultaneously noting the technical achievements of the present. Archaism enjoyed a major revival during the height of the Qing dynasty under the Yongzheng and Qianlong emperors. The combination of a precious glaze and ancient form suggests a deep appreciation and respect for the past, together with the want for its preservation.Auction result comparison: Type: Near-identical Auction: Sotheby's New York, 17 March 2015, lot 287 Price: USD 87,500 or approx. EUR 107,500 converted and adjusted for inflation at the time of writing Description: A rare Guan-type vase, Hu, Qianlong seal mark and period Expert remark: Compare the identical form, two-tone crackled glaze, and extremely rare lion-form loop handles. Note the smaller size (30 cm).乾隆款及年代仿官釉雙耳壺中國，1736-1795年。仿漢壺尊形制，鼓腹，外撇圈足。頸部兩側有獅首耳，通體及足內均施仿官釉，釉面開片紋。胎體優美，造型素雅，猶可辨趙宋遺韻。圈足内六字篆書款“大清乾隆年製”。 來源：瑞士古玩交易。 品相：整體狀況良好，磨損和燒製不規則，表面淺劃痕，邊緣有小磕損和相應小修。請聯繫部門詢問更多細節圖片以及在強藍光下拍攝的視頻，以準確查看當前拍品的狀況。 重量：6,002 克 尺寸：高37 厘米 這件作品上造型清晰的獅首耳特別引人注目，與通常帶有活環的獅首或較罕見的象首耳不同。此器的造型、釉色都極似宋代的作品，是仿古之作。清雍正時期對宋代五大名窯的仿製取得了空前的成就，摹古水平極高。此時所仿製的宋代官窯釉面或有冰裂紋或無片紋，其紋呈白色或鐵色。胎色黑，頗能體現宋代官窯 “紫口鐵足”的特色，在清代文獻中被稱為“鐵骨大觀”。拍賣結果比較： 形制：幾乎相同 拍賣：紐約蘇富比，2015年3月17日，lot 287 價格：USD 87,500（相當於今日EUR 107,500） 描述：清乾隆官式瑞獸耳壺 《大清乾隆年製》款 專家評論：比較幾乎相同的外型、雙色調的釉面開片，以及罕見的獅首耳。請注意尺寸較小 (30 厘米)。

'A SPRING OFFERING WITH AN ANCIENT GUI AND A STONE RUBBING OF A MYTHICAL BEAST', BY WU CHANGSHUO (1844-1927) AND ZHU CHENG (1826-1900)China. Ink and watercolors on paper, mounted as a hanging scroll. Superbly painted with a vibrantly colored flower growing from a leafy stem inside an ancient gui bronze vessel above a stone rubbing depicting a legendary bovine animal surrounded by astrological symbols, below a lengthy inscription.Inscriptions: Center right, 'Qingshan Qiaosu Cheng', and one seal, 'Zhu Cheng Zhi Yin'. Upper left, a text about the rubbing and the legendary animal it depicts, signed 'Changshuo Wu Junqin', and two seals, 'Wu Jun Zhi Yin' and 'Cang Shi'.Provenance: From a noted private collector. Condition: Excellent condition with only minor wear and minimal soiling to mounting.Dimensions: Image size 99.7 x 32.5 cm, Size incl. mounting 181 x 47 cm Wu Changshuo (1844-1927) was a prominent Chinese painter, calligrapher, and seal artist of the late Qing Period. Initially, he devoted himself to poetry and calligraphy with a strong interest in early scripts. He also led the Xiling Seal Art Society, an academic organization for Hangzhou-based seal artists. Only later did he consider himself a painter associated with the 'Shanghai School'. As a painter, he was noted for helping to rejuvenate the art of painting flowers and birds.Expert's note: The calligraphy, the gui and the stone rubbing are by Wu Changshuo, whereas the flower is by Zhu Cheng. Artprice, the world-leading art database, has recorded a total of eight other noted artists from the period with whom Zhu Cheng (aka Zhu Menglu) had similar collaborations during his accomplished career. Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 27 November 2012, lot 1259Price: HKD 500,000 or approx. EUR 79,000 converted and adjusted for inflation at the time of writingDescription: Wu Changshuo (1844-1927), Bamboo and BronzeExpert remark: Compare the closely related motif. Note the smaller size (68.5 x 33.8 cm)吳昌碩與朱偁款《土缶富貴花圖》中國，紙本設色，掛軸。牡丹綻放盛開，花朵艷麗，在枝壯葉茂的映襯下顯得風姿綽約。牡丹栽种在一土缶里，下方为缶之拓片。 款識：左上：土缶雖無字，是漢是晉莫能必，然出土與黃龍磚同穴，其古可知。先師藐公嘗顔予齋曰缶廬。予亦珍若璆琳，不肯輕示人，而富貴人皆不以缶為室寳。翔兄命工拓出，補以富貴花，深恐遽有豪攫者，茲特其先兆耳。昌碩吳俊卿。鈴印：吳俊之印；蒼石右上：青山樵叟偁；鈴印：朱偁之印 來源：知名私人收藏。 品相：品相良好，只有輕微的磨損和裝幀處小污漬。 尺寸：畫面99.7 x 32.5 厘米, 總181 x 47 厘米 專家注釋：書法、缶、拓片以及牡丹花為朱偁合作完成，兩位同爲晚清海派花鳥畫大師。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2012年11月27日，lot 1259 價格：HKD 500,000（相當於今日EUR 79,000） 描述：吳昌碩 (1844-1927)《竹與青銅器》 專家評論：比較非常相近的主題。請注意尺寸較小 (68.5 x 33.8 厘米)。

A RARE TIANBAI ANHUA-DECORATED 'DRAGON' BOWL, KANGXI PERIODChina, 1662-1722. Delicately potted, the deep conical sides supported on a short straight foot and rising to a gently everted rim. Finely carved in anhua with two scaly sinuous dragons in pursuit of flaming pearls amid clouds and flames, encircling a central anhua-carved four-character apocryphal mark Yongle nianzhi. Provenance: Cecilia Lindqvist (1932-2021), and thence by descent within the family. Cecilia Lindqvist (Chinese name: Lin Xili) was a Swedish sinologist, university professor and author of several books on China, including Kingdom of Characters in 1989 and Qin, about the seven-stringed zither, in 2006. She first visited China in 1960 with a letter of recommendation by the King of Sweden and went on to study the country extensively. Lindqvist is one of the very few authors to receive the August Prize, a notable Swedish literary award, twice.Condition: Excellent condition with minor wear and minimal firing irregularities.Weight: 78.8 gDimensions: Diameter 13.3 cmLiterature comparison: Dishes of this decoration and quality in the Kangxi Period are rare and based upon early 15th-century prototypes. A Yongle prototype of the current bowl is in National Palace Museum, Taipei, accession no. Gu ci 017642, and was exhibited in The International Exhibition of Chinese Art, Royal Academy of Arts, London, 1935‑36, cat. no. 213.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 9 October 2020, lot 3641Price: HKD 302,400 or approx. EUR 38,500 converted and adjusted for inflation at the time of writing Description: A fine and rare tianbai anhua-decorated 'dragon' bowl, Qing dynasty, Kangxi periodExpert remark: Compare the closely related anhua-carved dragon and the apocryphal Yongle mark, which on this piece is carved to the underside, and not the interior as on the present lot. Note the different form and similar size (12.5 cm).康熙甜白釉暗花龍紋碗中國，1662-1722年。敞口斜壁，形如斗笠，形制周正簡約。胎體盈薄，質地細膩，壁可透光，通體罩施純淨白釉。外壁光素，碗暗刻雲龍紋，強光下才能看見，一對神龍穿梭于如意祥雲之間，追逐火珠。釉色溫柔恬靜肖似永樂甜白。碗内偽款“永樂年製”。 來源：Cecilia Lindqvist (1932-2021年)，保存在同一家族。Cecilia Lindqvist (中文名: 林西莉) 曾是一位瑞典漢學家、大學教授和關於中國的多本書籍的作者，其中包括1989年的《漢字王國》與2006年《林西莉古琴的故事》。1960年，她帶著瑞典國王的推薦信首次訪華，之後一直持續研究中國及其文化。林西莉是為數不多的兩次獲得奧古斯特獎的作家。 品相：狀況極佳，輕微磨損，少量燒製不規則。 重量：78.8 克 尺寸：直徑 13.3 厘米 文獻比較： 康熙時期這種以十五世紀初原型為基礎的裝飾和品質的盤子很罕見。此碗的永樂原型收藏於臺北故宮博物院，藏品號Gu ci 017642；並曾於1935‑36年在倫敦皇家藝術學院《The International Exhibition of Chinese Art》展出，圖錄編號213。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2020年10月9日，lot 3641 價格：HKD 302,400（相當於今日EUR 38,500） 描述：清康熙甜白釉暗刻雲龍戲珠紋盌 《永樂年製》仿款 專家評論：比較非常相近的永樂款暗花龍紋，但此碗款識刻於圈足，而非碗內。請注意不同的外型和相似的尺寸(12.5厘米)。

A BLUE AND WHITE 'DRAGON' DISH, JIAQING MARK AND PERIODChina, 1796-1820. The shallow rounded sides rising from a short tapered foot to an everted rim, vividly painted to the interior in inky tones of cobalt-blue with a central medallion enclosing a five-clawed dragon writhing among flames and reaching for a flaming pearl, within a double-line border repeated at the rim, the reverse with two dragons striding in the same pursuit, enclosed by double-line borders below the rim and above the foot. The recessed base with an underglaze-blue six-character seal mark da Qing Jiaqing nianzhi and of the period.Provenance: From the collection of Seymour Stein, New York. Seymour Stein (b. 1942) is an American entrepreneur and music executive. He co-founded Sire Records and signed bands that became central to the new wave era of the 1970s and 80s, including the Talking Heads, the Ramones, and The Pretenders. His most famous discovery was Madonna, whom he signed in 1982. Ice-T wrote about Stein in his autobiography, stating: “He's cut from that cloth of the old-time music executives like Clive Davis, but he's way more eccentric... Just a little more bizarre, a bit more avant-garde, more of an edgy cat.” Seymour Stein started collecting art in his early twenties, when he worked for Polydor records. During his breaks, he started to explore Sotheby's nearby showroom on London's New Bond Street and occasionally bought Chinese porcelain. “Antiques seemed like a natural partner for records,” he wrote. “You had to learn genres, meet dealers, spot details, figure out value, and above all, find the treasures.” Speaking of Mr. Stein, Madonna noted, “In art, as well as music, Seymour has always been ahead of the trends.”Condition: Good condition with only minor wear and minimal firing irregularities, the rim with three near-invisible and very short hairlines. Please request a detailed condition report video, shot under strong blue light, for further documentation of the condition of this lot.Weight: 317.0 g Dimensions: Diameter 19.5 cmAuction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 26 May 2014, lot 642 Price: HKD 100,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A fine blue and white 'dragon' dish, seal mark and period of Jiaqing Expert remark: Note the smaller size (16.5 cm)嘉慶款與年代青花開光龍紋盤中國，1796-1820年。敞口弧壁，圈足，胎質堅致白皙，釉汁瑩潤如玉。盤心開光立龍戲珠圖，外壁對稱飾趕珠龍紋，雲龍蒼健兇猛。畫面極為疏朗，筆觸細膩，青花髮色淡雅明快。圈足底青花篆書“大清嘉慶年製”款。 來源：紐約 Seymour Stein收藏。Seymour Stein (生於1942年) 是一位美國企業家和音樂主管。他與人共同創立了 Sire 唱片，並簽約了1970 年代和 80 年代新浪潮時代重要樂隊，包括 Talking Heads、Ramones 和 The Pretenders。他旗下最著名藝人是麥當娜，他與其1982 年簽約。Ice-T 在自傳中寫到了Stein，稱：“他脫離了像克萊夫戴維斯這樣的舊時代音樂高管，但他更加古怪......只是更奇異一點，更前衛一點，更像一隻前衛的貓。”Seymour Stein 在 20 歲時收集藝術品，當時他為 Polydor 唱片公司工作。休息期間，他頻繁拜訪位於倫敦新邦德街附近的蘇富比陳列室，偶爾購買中國瓷器。“古董似乎是記錄的天然夥伴，”他寫道。“你必須學習流派、會見經銷商、發現細節、找出價值，最重要的是，找到寶藏。” 談到Stein先生，麥當娜指出：“在藝術和音樂方面，Seymour 一直走在潮流的前面。”品相：狀況良好，只有輕微磨損和極少的燒製不規則，邊緣有三個幾乎看不見的非常短冲綫。請索取詳細的在強藍光下拍攝的狀況報告視頻，以進一步瞭解拍品詳細情況。 重量：317.0 克 尺寸：直徑19.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2014年5月26日，lot 642 價格：HKD 100,000（相當於今日EUR 15,000） 描述：清嘉慶青花「趕珠雲龍」圖盤，《大清嘉慶年製》款 專家評論：請注意尺寸較小(16.5 厘米)。

A LARGE AND MASSIVE BRONZE 'CHILONG' ARROW VASE, TOUHU, YUAN TO EARLY MING DYNASTYChina, 13th-15th century. Heavily cast, the compressed globular body rising from a splayed foot and surmounted by a tall cylindrical neck. The body decorated in relief with archaistic motifs on a key-fret diapered ground at the foot and the four tubular 'target' lugs, further molded with four beast-mask handles suspending loose rings, and four chilong sinuously wrapping around the shoulder and elongated neck.Provenance: From the collection of Dr. Walter Rieder (1890-1986), and thence by descent in the same family. Dr. Walter Rieder served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialized in educational, literary, and philanthropic work and Dr. Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics, and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr. Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr. Rieder forged with local artists, some of whom he knew from his teaching activities. Dr. Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr. Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.Condition: Very good condition with extensive old wear, few casting irregularities, small losses, nicks and dents, a small hole to the shoulder, possibly inherent to the manufacture. The base plate shows some soldering, but is original to the vase. Dark, naturally grown patina, exactly as expected from this type of bronze.Weight: 6,448 g Dimensions: Height 47.8 cmThe form of this vase is inspired by archaic bronze vessels used for touhu (lit. 'pitch-pot'), a traditional East Asian game that requires players to throw arrows or sticks from a set distance into a large, sometimes ornate, vessel. The game had originated by the Warring States period, probably invented by archers or soldiers as a pastime during idle periods. It began as a game of skill or a drinking game at parties, but by the time it was described in a chapter of the Chinese Classic Book of Rites, it had acquired Confucian moral overtones. Initially popular among elites, it spread to other classes and remained popular in China until the end of the Qing Dynasty. Touhu was usually a contest between players, who had to throw arrows into the mouth or tubular lugs located at the top of the vase, which was placed at an equal distance between two mats on which the players knelt. Touhu vases continued to be produced in the Song dynasty and later, made in various materials including bronze, cloisonne, and ceramic.Literature comparison: See a related bronze arrow vase, dated as first half 17th century, illustrated in The Chinese Scholar's Studio: Artistic Life in the Late Ming Period, New York, 1987, no. 63. Auction result comparison:Type: Closely relatedAuction: Christie's London, 11 Nov 2011, lot 1411Price: GBP 11,250 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A large bronze 'eight immortals' arrow vase, Ming dynasty (1368-1644)Expert remark: Compare the closely related form, the four beast-mask handles at the body, and the archaistic design to the foot and upper neck. Note the size (57 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 7 October 2014, lot 3331Price: HKD 175,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A large bronze arrow-handled vase, Ming dynasty, 16th centuryExpert remark: Compare the closely related design with dragons at the neck and archaistic design to foot and neck.Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 29 May 2022, lot 23Price: HKD 242,250 or approx. EUR 30,500 converted at the time of writingDescription: A Very Rare Bronze Arrow Vase, Touhu, Yuan DynastyExpert remark: Compare the closely related form, the sinuous chilong, and the archaistic design overall. Note the size (35.5 cm).元至明初大型螭龍紋輔首啣環投壺中國，十三至十五世紀。該件瓶為銅質。唇口，口沿兩側附雙貫耳，形成三個並列的口部，貫耳下端亦為唇口，雷紋地龍紋。細長頸，圓雕兩螭龍攀附。平肩，肩部攀附一對螭龍。鼓腹，四輔首啣環。高圈足。壺整器規矩，錯落有致。 來源：Dr. Walter Rieder (1890-1986)舊藏，在同一家族保存至今。 品相：品相極好，大面積磨損，輕微鑄造瑕疵，小缺損、小刻痕和凹痕，肩部有一個小孔，可能是製造時出現的。底板看上去有過焊接。深色的包漿，與這種青銅器皿的預期完全一樣。 重量：6,448 克 尺寸：高47.8 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE AQUAMARINE BLUE GLASS BOTTLE VASE, QIANLONG MARK AND PERIODChina, 1736-1795. The remarkably thick-walled, globular body is raised on a short tapered foot and surmounted by a tall cylindrical neck. The transparent glass is of an attractive aquamarine-blue tone. The recessed base with an incised four-character mark Qianlong nianzhi and of the period.Provenance: From the collection of Ina and Sandford Gadient. Old collector's label inscribed 'Ina & Sandford Gadient No. 23'. Ina and Sandford Gadient were collectors of Chinese glass and long-time supporters of the Lowe Art Museum at the University of Miami in Florida. In 1999, the Museum, an important art institution in the US, hosted an exhibition of over 120 pieces from the Gadient collection including the present lot, titled “Treasures of Chinese Glass Workshops”. The collection has also been exhibited at several other museums across the US (see exhibition section below).Published: Treasures of Chinese Glass Workshops. A Selection from the Ina and Sandford Gadient Collection, Lowe Art Museum, University of Miami, 1999, Number 24.Exhibited: The Norton Museum of Art, West Palm Beach, October 2011. The New Orleans Art Museum, May 2004. The Lowe Art Museum, December 1999. The Corning Museum of Glass, September 1996. The Lentz Center of Asian Culture, October 1994. The Honolulu Academy of Art, Hawaii, June 1992.Condition: Excellent condition with some old wear, minor surface scratches, microscopic nicks and expected manufacturing irregularities, including swirls and bubbles.Weight: 1,500 g Dimensions: Height 25 cmExpert's note: The overall thickness of the glass, becoming most visible at the massive foot and neck, along with the exceedingly rare color variant of transparent aquamarine blue, indicates that this vase was made rather early during the Qianlong period.Literature comparison: A related bottle vase of comparable size, also with a Qianlong mark and of the period, is illustrated by Simon Kwan in Early Chinese Glass, Art Museum, The Chinese University of Hong Kong, 2001, pp. 422-3, no. 218.Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1215 Price: USD 16,380 or EUR 15,500 converted at the time of writing Description: A large blue glass bottle vase, Qianlong four-character incised mark and of the period (1736-1795) Expert remark: Compare the closely related thick-walled glass. Note the darker sapphire-blue color and larger size (33.7 cm).乾隆款與年代罕見寶石藍琉璃瓶中國，1736-1795年。不透明的寶石藍玻璃，直口，長頸，鼓腹，底足厚壁，造型秀巧。圈足内“乾隆年製“四字款。 來源： Ina 與Sandford Gadient收藏。收藏標籤上注明”Ina & Sandford Gadient No. 23”。Ina 與Sandford Gadient是中國琉璃器皿收藏家，長期資助佛羅里達州邁阿密大學洛威藝術博物館。1999年，美國重要的一個藝術機構博物館舉辦了一場展覽，展出了包括本拍品在內的Gadient收藏的120多件作品，名為“Treasures of Chinese Glass Workshops”。 該系列還曾在美國其他幾家博物館展出（見下面的展覽部分）。 出版：Treasures of Chinese Glass Workshops. A Selection from the Ina and Sandford Gadient Collection, Lowe Art Museum, University of Miami, 1999年，編號24. 展覽：The Norton Museum of Art, West Palm Beach, 2011年10月；The New Orleans Art Museum, 2004年5月；The Lowe Art Museum, 1999年12月；The Corning Museum of Glass, 1996年9月；The Lentz Center of Asian Culture, 1994年10月；The Honolulu Academy of Art, Hawaii, 1992年6月。 品相：品相極好，一些磨損、輕微的表面劃痕、微小的刻痕和預期的製造不規則性，包括漩渦和氣泡。 重量：1,500 克 尺寸：高25 厘米專家注釋：玻璃的整體厚度，在足部和頸部最為明顯，以及極為罕見的透明海藍寶石顏色變化，表明此瓶製作於乾隆早期。 文獻比較：一件尺寸相近的乾隆款及年代玻璃瓶，見Simon Kwan，《中國古代玻璃》，藝術博物館，香港中文大學， 2001年，頁422-3，編號218。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得, 25 March 2022, lot 1215 價格：USD 16,380（相當於今日EUR 15,500） 描述：乾隆款與年代(1736-1795) 大型寶石藍琉璃瓶 專家評論：比較相近的厚實寶石藍玻璃材質。請注意較深的藍寶石色，尺寸較大(33.7 厘米)。

A CAMEO AGATE SNUFF BOTTLE, OFFICIAL SCHOOL, 1740-1840Published:Hugh Moss, Chinese Snuff Bottles of the Silica or Quartz Group, London, 1971, p. 58, no. 149Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 148-149, no. 61China. Well hollowed, of flattened form, rising from an ovoid foot to a straight cylindrical neck, the pale gray stone cleverly carved utilizing the brown and light gray markings to depict a sage and his attendant under a pine tree with a ruyi shaped cloud floating at the top left, the reverse with a horse tethered to a post and a sun drifting amid clouds, incised with a ri character (for 'sun'). The rockwork extending from above the base around the bottle. The work finely detailed and incised. The translucent stone of a pale gray color with brownish black and gray inclusions. Provenance: Squadron Leader S. B. Johnston. Hugh M. Moss, Hong Kong, acquired from the above. Gerd Lester, New York, acquired from the above. Rachelle R. Holden, New York, acquired from the above in 1981. A collector's label from Rachelle Holden with inventory number '48' to the base. S. B. Johnston was an English pilot for the Royal Air Force, who was promoted from Flight Lieutenant to Squadron Leader in 1968. Gerd Lester was a passionate collector of snuff bottles who wrote many articles for Arts of Asia. Hugh Moss (b. 1943) is an author, dealer, artist, lifelong collector, and enthusiast of Chinese art, and foremost authority on Chinese snuff bottles. Rachelle Holden (1934-2020) was a famous collector of snuff bottles. She purchased her first bottle in 1974, finding the art form fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Excellent condition with minor old wear and possibly microscopic nibbles.Stopper: CoralWeight: 57.2 g Dimensions: Height including stopper 67 mm. Diameter neck 16 mm and mouth 6 mm.A tethered horse forms the rebus 'Can catch the wind', indicating that this would be an encouraging and complimentary gift for someone of still undiscovered talent.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 March 2012, lot 1560Price: USD 25,000 or approx. EUR 32,000 converted and adjusted for inflation at the time of writingDescription: A finely carved cameo agate snuff bottle, official school, 1740-1840Expert remark: Compare the closely related form and utilization of the dark markings, the color of the agate and the fine incision work, as well as the size (60 mm). 1740-1840年瑪瑙巧雕人物鼻烟壺中國。掏糖良好，寬肩微削，橢圓形圈足，圓柱形短頸，平唇。褐色半透明石頭，利用焦糖色斑紋，巧妙雕刻，一面描繪松樹下的聖賢和他的侍從，左上角飄浮如意祥雲；反面是拴在柱子上的馬和祥雲，雲中刻有“日”字。雕刻細緻入微，淺灰色半透明瑪瑙，帶有棕黑色和灰色內含物。出版：Hugh Moss，《Chinese Snuff Bottles of the Silica or Quartz Group》，倫敦，1971年，頁58，編號149。 Rachelle Holden，《Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary》，紐約，1994年，頁148-149，編號61。 來源：S. B. Johnston少校舊藏；香港Hugh M. Moss購於上述收藏；紐約Gerd Lester購於上述收藏；紐約Rachelle R. Holden1981年購於上述收藏。底部可見Rachelle Holden收藏編號“48”。S. B. Johnston是英國皇家空軍的一名飛行員，1968 年從飛行中尉晉升為少校。Gerd Lester 是一位熱情的鼻烟壺收藏家，為亞洲藝術雜誌撰寫了許多文章。Hugh Moss (出生於1943) 是一位中國藝術方面的作家、經銷商、藝術家、收藏家，也是中國鼻烟壺界的權威。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：極好的品相，有輕微磨損，有細微磕損。 壺蓋：珊瑚 重量：57.2 克 尺寸：高 （含蓋）67 毫米，頸部直徑16 毫米及壺口直徑6 毫米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 1560 價格：USD 25,000（相當於今日EUR 32,000） 描述：1740-1840年造辦處作瑪瑙巧雕鼻烟壺 專家評論：比較非常相近的外型和利用深色斑紋雕刻，瑪瑙的顏色和巧雕，以及尺寸(60 毫米)。

A PAIR OF LARGE 'FAUX-BOIS' JARDINIERES, IMITATING HUANGHUALI, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795)Opinion: This pair of jardinières, made in imitation of Huanghuali wood, was purchased by the current owner at Sotheby's New York in March 2015 for a final price of USD 181,250 against a pre-sale estimate of USD 25,000-35,000. One reason for the intensive competition at this auction may have been that while Sotheby's dated the jardinières to the 19th century, bidders seem to have had a slightly divergent perception of the actual age of this lot. And indeed, there are two very recent scientific findings that speak clearly for a time of origin in the Qianlong period instead of the 19th century:Firstly, Trompe l'Oeil porcelains were primarily produced in the Qianlong reign period, and not in the 19th century. For a detailed scientific consideration of this fact, including respective data analysis, see the webinar by Chih-En Chen, Lecturer of Chinese and East Asian art history at the University of Toronto, held in December 2021 for members of the Oriental Ceramic Society, titled “Feminine Space and Playthings: Recontextualization of Trompe l'Oeil Porcelain in High Qing China”. The corresponding section of the video starts at minute 16:00.Secondly, the strictly realistic and nature-oriented manner of imitating the Huanghuali wood with enamels on porcelain, particularly visible in the characteristic 'ghost eyes' found on the present jardinières, is untypical of the 19th century. As Chih-En Chen explains in detail, starting in minute 19:00 of the video, 'realistic' imitations of wood in Faux Bois porcelains were predominantly made during the 18th century, while 'unrealistic' or abstracted designs of wood emerged only in the 19th century. As we know, during the 18th century artists often imitated one material using another, but were always looking for rather subtle and inconspicuous ways to do so. Likewise, the ostentatious creations from the 19th century constitute a stark contrast to the humble, nature-oriented mindset of the 18th century.These aforementioned two facts lead this author to the conclusion that the present jardinières are in fact older than previously stated by Sotheby's, and without much - if any - doubt were made during the 18th century.Link for the video:https://www.orientalceramicsociety.org.uk/feminine-space-and-playthings-recontextualization-of-trompe-loeil-porcelain-in-high-qing-china-ca-1683-1839-ce (available to OCS members only)Finally, please note that Mr. Chih-En Chen has invested a sheer unfathomable amount of time into the research of Trompe l'Oeil decor in High Qing China - and especially Faux Bois - an effort for which we do not only have the deepest respect but also will remain eternally grateful to Mr. Chih-En Chen. For this reason, we highly recommend watching the video of Chih-En Chen's seminar, it is worth the while. At the time of the Sotheby's sale in 2015, however, none of the substantial scientific findings shown in the video by Mr. Chih-En Chen were available to the public, a fact that explains why Sotheby's experts had to be more cautious in dating the present jardinières. Superbly potted, the tapering sides of each of the two jardinières are finely and boldly enameled to resemble wooden planks, including many details and aspects of the grain such as the characteristic knotholes, with the two raised bands encircling the body neatly painted to mimic the look of rope.The recessed circle in the center of the base is set between two drainage holes and glazed white, each with a very large underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period. Also note the finely modeled and ruyi-shaped feet of each jardinière.The neatly executed painting of the wood imitation, including distinct peaks and ghost eyes, is inspired by the pronounced grain of huanghuali wood, which was highly prized as a material for furniture in the late Ming and early Qing dynasties, including brush pots or tubs similar to the present jardinières.Provenance: Sotheby's New York, 21 March 2015, lot 684, sold for USD 181,250 or approx. EUR 221,500 converted and adjusted for inflation at the time of writing. A copy of the invoice from Sotheby's New York, dated 21 March 2015, is accompanies this lot. A notable private collector in Kensington, London, United Kingdom, acquired from the above.Condition: Very good condition, especially when considering the size and age of these jardinières, with minor old wear and some firing irregularities, shallow surface scratches, the feet with small chips and minor losses to enamels, one jardinière with small chips to one section of the base. Dimensions: Diameter 45.7 cm(2)Literature comparison: Compare a closely related unmarked faux-bois jardinière dated to the Yongzheng or Qianlong periods, in the collection of the Palace Museum, Beijing, accession number Gu154796, and published in Evelyn S. Rawski and Jessica Rawson, China: The Three Emperors 1662-1795, 2006, no. 235. Two similar Yongzheng faux-bois tubs, raised on four feet, in the Palace Museum, Beijing, and the National Palace Museum, Taiwan, are illustrated in Kangxi, Yongzheng, Qianlong - Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, page 317, pl. 146, and Gugong Qing ci tulu - Kangxi yao, Yongzheng yao - Illustrated Catalogue of Ch'ing Dynasty Porcelain in the National Palace Museum, Republic of China: K'ang-hsi Ware and Yung-cheng Ware, Tokyo, 1980, pl. 97, respectively.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 4 October 2011, lot 17Price: HKD 8,000,000 or approx. EUR 1,365,000 converted and adjusted for inflation at the time of writing Description: A rare faux-bois jardiniere, seal mark and period of Yongzheng Expert remark: Compare the closely related form and decoration, though the wood is treated more naturalistically than on the present lot and the interior shows yellow enamel in imitation of an oilcloth lining. Note the Yongzheng mark found on this lot instead of the Qianlong mark on the present jardinières.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.一對乾隆款大型仿木紋釉花盆由於字數限制，完整中文敘述請至www.zacke.at查看。

* VIOLET MCNEISH KAY RSW (SCOTTISH 1914 - 1971),STILL LIFE WITH CHINESE VASEoil on board, signed image size 44cm x 34cm, overall size 59cm x 49cmFramed.Note: Violet Kay was a painter in oil and watercolour; she was a teacher of art and crafts. Born in Glasgow the daughter of the artist James Kay, she studied at Glasgow School of Art from 1931–3 under William Somerville Shanks and W O Hutchison. Kay Exhibited at the RSW, RSA, Paisley Institute, and Glasgow Lady Artists’ Club. She joined in 1935 and won its Lauder Award in 1948. The Pilgrim Trust and Paisley Corporation bought her work. Lived at Garelochhead, Dunbartonshire, but died in Helensburgh.

Pair of Japanese Meiji period mixed metal vases, with applied decoration depicting graceful flowering vines. Each marked along the underside. From the collection of Katherine Walker Griffith, a descendant of T.B. Walker, founder of The Walker Art Center (Minneapolis, Minnesota) and a renowned collector of Chinese porcelain.Height: 10 in x diameter: 3 1/4 in.

Chao Chung-Hsiang (Zhao Chunxiang) (Chinese, 1910-1991). Ink and color on paper depicting two birds perched atop an abstract swirl. Signed along the lower right, and inscribed "to dear Kathreyn [sic] Cozene: for your birth all best wishes for today, March 24, 1973. Chung-Hsiang Chao, NYC."Chao Chung-Hsiang was born in Henan, China, in 1910. He began his artistic training under Lin Fengmian at the Hangzhou Academy of Fine Art, which provided him with both a strong basis in classical Chinese painting and in the growing movements of modern art. He left China in 1948, initially traveling through Taiwan and then Europe, before settling in New York City. There, he threw himself into the burgeoning Abstract Expressionist movement, creating bright, abstract canvases with oil and acrylic. In the early 1960s, he made a return to painting with the traditional Chinese media of ink and wash on rice paper. While he returned in many ways to traditional artistic practices, he retained many aspects of Abstract Expressionism, such as his vivid colors and gestural brushstrokes.This artwork shows Chung-Hsiang’s mastery of traditional painting techniques blending with a modernist sensibility. His manipulation of the ink and wash are expert and clearly display his classical training; at the same time, the colors are energetic, almost fluorescent, and the strong shape and form of the abstract lines lend a strong sense of the modern to the composition. The birds speak to the emotional state of Chung-Hsiang’s time in New York. Chung-Hsiang left his wife and son behind in China when he went off traveling, and during his time in New York, he took to keeping birds as pets to assuage the loneliness. The birds featured often in his works as a representation of family and longing. While there is a tinge of sadness to the artwork, its original purpose is a reminder that Chung-Hsiang’s life was still far from bleak: this painting was created as a birthday gift for a friend, a member of the family he found for himself in his new home.Sight; Height: 22 1/2 in x width: 22 in. Framed; Height: 29 1/2 in x width: 29 1/2 in.

Tiefeng Jiang (Chinese, b. 1938). Serigraph on paper titled "Freedom Suite," depicting a blue woman on horseback. Signed and numbered 146/300 along the lower right. With an article titled "The Contemporary Art of Jiang Tiefeng" by Richard A. Schindler of Regency Fine Art affixed along the verso.Sight; height: 24 in x width: 24 in. Framed; height: 37 in x width: 37 in.

18th century Chinese Kangxi famille verte porcelain plate depicting a bird perching on a blossoming tree. Marked along the underside with a double circle with a pictorial Fangding ritual censer in underglaze blue. From the collection of Katherine Walker Griffith, a descendant of T.B. Walker, founder of The Walker Art Center (Minneapolis, Minnesota) and a renowned collector of Chinese porcelain.Height: 1 in x diameter: 8 1/4 in.

19th-century Chinese famille verte vase depicting bouquets of flowers, drilled as a lamp. With a Kangxi style mark along the underside. From the collection of Katherine Walker Griffith, a descendant of T.B. Walker, founder of The Walker Art Center (Minneapolis, Minnesota) and a renowned collector of Chinese porcelain.Height: 23 1/2 in x diameter: 8 3/4 in.

Chinese 19th/20th century Guangxu period porcelain peach bloom vase with incised decoration, drilled as a lamp. From the collection of Katherine Walker Griffith, a descendant of T.B. Walker, founder of The Walker Art Center (Minneapolis, Minnesota) and a renowned collector of Chinese porcelain.Height: 19 in x diameter: 12 1/2 in.