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Six Asian bronzes, 19th-20th century, comprising a Chinese gilt four arm bodhisattva, a miniature Tibetan Manjusri statue, a Chinese Buddhist lion dog, a Japanese cockerel, an Indian bronze of Parvati, and a Thai gilt bronze Thai lion dog, 32cm high. (6) 十九至二十世紀 亞洲銅器一組 品項報告 Condition report All with surface wear. Loss of gilt to the Thai lion dog and the Chinese four-arm bodhisattva. Dents and nicks apparent on the lower part of the Japanese cockerel and the Thai lion dog.

Wood statue of Guanyin, the Chinese goddess of compassion. Multicoloured. China, 18th or 19th century. Some loose elements. Hoogte 158 cm.

RARE STATUETTE DE BODHISTTAVA EN PIERRE SCULPTÉEDynastie des Zhou du Nord/dynastie Sui (557-581/589-618)AN EXCEPTIONALLY RARE STONE FIGURE OF A BODHISATTVANorthern Zhou/Sui Dynasty (557-581 AD/589-618 AD)The deity, probably representing Avalokiteshvara, standing with its body naturalistically slightly swayed to the front and right, holding a vase in its left hand containing the nectar of Immortality, wearing flowing robes naturalistically draped in folds around its shoulders and arms, folded over its waist and reaching its bare feet, adorned with beaded bejewelled and tasselled necklaces with a central lotus pendant, the right arm raised, the serene face gazing forward with well detailed features flanked by pendulous ears with adorned with earrings, below the high beaded and bejewelled tiara with ribbons set around the coiffure, the back displaying the robe with its folds and overlapping pleats, tied below the neck and folded over the waist, with a bracket section on the back of the head, with red, green and black pigments and gilding, supported on an inverted circular base, stand. 54.3cm (21 1/2in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), according to a family note, acquired from Tchou Teh Hoo, Beijing, 10 January 1925Jean-Pierre Rousset, Paris (1936-2021) Characterised by regal countenance and adornment, the present figure bridges the aesthetic style of the Northern Zhou and Sui dynasties. The Sui dynasty utilised the patronism of Buddhism to unify China in 589, with craftsmen merging the artistic achievements of the preceding quarter century of the Northern Qi and Northern Zhou styles.See a stone figure of Guanyin, Northern Zhou dynasty (550-581), with similar proportions of large head atop narrow shoulders, illustrated by O.Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, vol.I, Bangkok, 1998, pl.266A (reprinted from the Ernest Benn 1925 edition). Sculptures from this period are rare and the closest example to the present lot may be a pair of standing bodhisattvas, Northern Zhou dynasty, discovered in 1992 in Xi'an, Shaanxi Province, illustrated in China: Dawn of a Golden Age, 200-750 AD, New York, 2004, no.170. The present exceptional figure with its opulent decoration and rich jewels was thus clearly influenced by the Northern Zhou style.The bodhisattva most likely represents Avalokiteshvara, known as Guanyin in China. Characteristically, the deity carries in her left hand a vase, a 'pure water bottle', one of the eight symbols of good fortune. The vase was believed to contain pure water capable of relieving suffering. The right hand probably once held a willow branch used to sprinkle the divine water. Compare with a related stone figure of Guanyin similarly holding a bottle vase and draped with long necklace, Sui dynasty, and another related stone figure of Guanyin, Sui dynasty, illustrated by O.Siren, ibid., pls.311 and 316. See also two limestone figures of a bodhisattva, Sui dynasty, from the Avery Brundage collection, in the Asian Art Museum San Francisco (acc.nos.B60S37 and B60S423). Compare also two stone figures of Bodhisattva Avalokiteshvara (Guanyin), in the Freer Gallery of Art, Washington DC, the first dated by inscription to 592 AD, (acc.no.FSC-S-52), and the second to the Sui dynasty (acc.no.S2012.9.4531).Caractérisé par une attitude majestueuse et sa parure, cette statue fait le lien entre le style esthétique des Zhou du Nord et celui des Sui. La dynastie des Sui fit de son patronage du bouddhisme un outil de l'unification de la Chine en 589, ses artisans mêlant les styles développés durant le quart de siècle précédent par les Qi du Nord et des Zhou du Nord.Voir une statue de Guanyin en pierre, dynastie des Zhou du Nord (550-581), aux proportions similaires, une large tête et des épaules étroites, illustrée dans O. Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, vol. I, Bangkok, 1998, ill. .266A (réédition de l'original 1925 chez Ernest Benn). Les sculptures de cette époque sont rares et l'exemple le plus proche de ce lot pourrait être une paire de bodhisattvas debouts, dynastie des Zhou du Nord, découvert en 1992 à Xi'an, au Shaanxi, illustrée dans China : Dawn of a Golden Age, 200-750 AD, New-York, 2004, n°170. L'exceptionnelle statue présentée ici, avec ses riches ornements et joyaux, est ainsi clairement influencée par le style des Zhou du Nord.Le bodhisattva représente probablement Avalokiteshvara, appelé Guanyin en Chine. Il porte de façon caractéristique dans sa main gauche un vase, « bouteille à eau lustrale », un des huit symboles auspicieux. Ce vase était censé contenir une eau pure pouvant soulager les souffrances. La main droite tenait probablement une branche de saule, utilisée pour asperger cette eau sacrée.A comparer avec une sculpture de Guanyin tenant de la même manière un vase et portant de longs colliers, dynastie Sui, et une sculpture comparable de Guanyin, dynastie Sui, illustré dans O. Siren, Ibid., ill. 311 et 316. Voir aussi deux statues en calcaire de bodhisattva, dynastie Sui, dans l'Avery Brundage Collection, à l'Asian Art Museum de San Francisco (inv. n° B60S37 et B60S423). Comparer encore avec deux statues de bodhisattva Avalokiteshvara (Guanyin) à la Freer Gallery of Art, Washington DC, la première datée par une inscription de l'an 592 (inv. n° FSC-S-52), la seconde de la dynastie Sui (inv. n° S2012.9.4531).北周/隋 石雕菩薩立像來源：巴黎Robert Rousset（1901-1981）舊藏據家族記錄，於1925年1月10日購自北京Tchou Teh Hoo巴黎Jean-Pierre Rousset（1936-2021）舊藏該立像寶相莊嚴，衣飾華麗，集北周與隋之韻致於一身。隋代在589年重新統一中國，其帝王皆護持佛法，並以佛教作為鞏固統治手段之一。因此隋代二帝時全國建立經像，盛極一時。此時佛教造像發展及技藝亦臻於完善，上承北齊、北周之大成，下啟盛唐風氣。與本像頭闊肩窄之比例相似者，可參見一例北周石雕觀音像 ，收錄於喜仁龍（O. Siren），Chinese Sculpture from the Fifth to the Fourteenth Century（五至十四世紀之中國雕塑），卷一，曼谷，1998年，圖版266A（重印自1925年Ernest Benn版）。本拍品應為觀音造像。其左手所持'淨瓶'為八吉祥之一。右手或曾持楊柳枝，&#... For further information on this lot please visit Bonhams.com

RARE TÊTE DE GUANYIN EN PIERRE SCULPTÉEDynastie des Qi du Nord (550-577)A RARE STONE HEAD OF GUANYIN Northern Qi Dynasty (550-577 AD)Exquisitely carved with eyes downcast in a serene expression, with high arched brown, raised angular eyes and straight nose above the sensuous bud mouth and well-defined chin, the rounded forehead below the raised centrally parted hair flanked by the pair of pendulous ears, crowned with a high tiara with a central figure of a seated Buddha before a lotus petal and within an arch, flanked by a pair of coiled dragon-like beasts, triple-tassels and a flower with two angular terminals, with traces of black, red and copper-green pigments, stand. 25cm (10in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) This serene head represents the bodhisattva Avalokiteshvara also known as Guanyin. The sublimely carved oval face is counterbalanced by a tall crown richly carved with palmettes and foliate motifs, centred by a figure of Amitabha Buddha. The political and social turmoil that accompanied dynastic changes in the 6th century significantly impacted Chinese Buddhist practice in several ways which are reflected in Buddhist art of the period. In their search for refuge beyond the chaos of the material world, a variant form of Pure Land Buddhism, in which devotion to Amitabha (or a bodhisattva such as Avalokiteshvara) allowed adherents to be reborn in Sukhavati (the Western Paradise of the Buddha Amitabha), grew in popularity. Consequently, images of bodhisattvas proliferated in the third quarter of the 6th century, as demonstrated by the present lot.Compare with the face on a related statue of a bodhisattva standing on a lotus pedestal, dated to 576, illustrated by O.Siren, Chinese Sculpture: From the Fifth to the Fourteenth Century, vol.1, Bangkok, 1998, pl.230 (reprinted from the 1925 edition). See also similarly arched brows and squarish face on a statue of a seated bodhisattva, Northern Qi dynasty, illustrated in Compassion and Fascination, Beijing, 2003, p.42.A related sandstone head of Guanyin, Northern Qi/Sui dynasty, was sold at Sotheby's Hong Kong, 1 April 2019, lot 3055.北齊 約六世紀 石雕觀音首來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

TRÈS RARE ET IMPORTANTE TÊTE DE BODHISATTVA EN PIERREDynastie des Qi du Nord (550 – 577 ap. J.-C)AN IMPORTANT AND EXTREMELY RARE LARGE STONE HEAD OF A BODHISATTVA Northern Qi Dynasty (550-577 AD)The serene face with full lidded eyes downcast below high arched brows set with a central urna, with well-defined nose, sensuous bud mouth and set chin, with full rounded cheeks, flanked by the pendulous ears, below the arched centrally-parted black-pigmented hair, surmounted by a tall tri-foliate bejewelled crown, with traces of black, copper-green and azurite pigments, stand. 43.5cm (17in) high. (2).Footnotes:Provenance:Loo & Cie, Art Ancien de Chine, ParisRobert Rousset, Paris (1901-1981); acquired from the above on 21 February 1924Jean-Pierre Rousset, Paris (1936-2021) The wood stand by Kichizo Inagaki (1876-1951; active in Paris from 1906)Elegantly proportioned and superbly carved, the present head is a remarkable testament to the high standards achieved in Buddhist portraiture during the Northern Qi period, one of the most vibrant periods in the history of Chinese art. At this time, Buddhism flourished in China, with several shrines being constructed under the emperor's personal auspices and eminent monks were appointed as state preceptors. Buddhist art experienced a glorious moment following the dissemination of foreign ideas and styles and copious financial resources were devoted to the construction of Buddhist caves whose marvellous sculptures combined powerful and sensuous modelling with subtlety of expression. These features were likely to have derived from the contemporary Indian style of the Gupta period, which was highly regarded by the Qi aristocracy for its exotic traits. The benevolent expression, conveyed by gently downcast eyes and gentle smile of this majestic head, indicate that it represents Avalokiteshvara, also known as Guanyin, the benevolent Bodhisattva of Mercy. In Buddhist faith, images of deities served as important foci of worship and promoted significant devotional acts, which contributed to the devotee's personal growth towards spiritual liberation.Venerated in Indian Buddhism as the embodiment of the Compassion of the Buddha, Avalokiteshvara (known as Guanyin in China) is described in the 'Lotus Sutra', as capable of hearing all mankind, striving endlessly to help those offering prayers, transforming at will and appearing in more than thirty human guises to expound Buddhist teaching to devotees.Compare with a related limestone head of a bodhisattva, Northern Qi dynasty, from the Nelson Atkins Museum, Kansas City (acc.no.F99-1). See also a limestone head of a bodhisattva, Northern Qi dynasty, from the Museum of Art, San Diego, illustrated by K.Tsiang, Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan, Chicago, 2010, p.230, fig.32. See also a related monumental sandstone standing figure of Guanyin, Northern Qi dynasty, in the Metropolitan Museum of Art, New York, illustrated by A.F.Howard, et al, Chinese Sculpture, New Haven, 2006, p.288, fig.3.92.See a smaller white marble head of Mahasthamaprapta, Northern Qi dynasty (34cm high), which was sold at Bonhams London, The Ollivier Collection of Early Chinese Art, 8 November 2018, lot 31.Socle en bois de Kichizo Inagaki (1876-1951; actif à Paris à partir de 1906)Elégamment proportionnée et délicatement sculptée, cette tête est un remarquable témoignage du raffinement atteint dans l'art du portrait bouddhique à l'époque des Qi du Nord, une des périodes les plus dynamiques de l'histoire de l'art chinois. Le bouddhisme était alors florissant en Chine, avec plusieurs sanctuaires en construction sous le patronage personnel de l'empereur, et d'éminents moines nommés précepteurs à la Cour.Avec la diffusion d'idées et de styles étrangers, l'art bouddhique connut une période brillante, et d'abondantes ressources financières furent allouées à la construction de grottes bouddhiques, dont les magnifiques sculptures combinaient modelé puissant et sensuel et subtilité de l'expression. Ces particularités étaient probablement dérivées du style indien contemporain de l'époque Gupta, lequel était très admiré par l'aristocratie des Qi pour ses traits exotiques.L'expression bienveillante, donnée par les yeux délicatement baissés et le doux sourire de cette tête majestueuse, indique qu'elle représente Avalokiteshvara, aussi appelé Guanyin, le bienveillant boddhisattva de la compassion. Dans la foi bouddhiste, les images des divinités étaient d'importants foyers pour le culte, et encourageaient d'importants actes de dévotion, qui contribuaient à la progression personnelle du fidèle vers la libération spirituelle.Avalokiteshvara (appelé Guanyin en Chine), vénéré dans le bouddhisme indien comme l'incarnation de la compassion du Bouddha, est décrit dans le Sutra du Lotus comme capable d'entendre toute l'humanité, s'efforçant indéfiniment d'aider ceux qui l'invoquent dans leurs prières, se transformant à volonté et apparaissant sous plus de trente aspects humains pour exposer l'enseignement bouddhique aux fidèles.A comparer avec une tête de bodhisattva en calcaire similaire, dynastie des Qi du Nord, au Nelson Atkins Museum, Kansas City (acc.no.F99-1). Voir aussi une tête de bodhisattva en calcaire, dynastie des Qi du Nord, au Musée d'Art de San Diego, illustré dans K. Tsiang, Echoes of the Past : The Buddhist Cave Temples of Xiangtangshan, Chicago, 2010, p.230, fig.32. Et voir une statue monumentale de Guanyin debout en grès, dynastie des Qi du Nord, au Metropolitan Museum of Art, New York, illustré par A.F. Howard et autres, Chinese Sculpture, New Haven, 2006, p.288, Fig. 3.92. Voir enfin une plus petite tête de Mahasthamaprapta en marbre blanc, dynastie des Qi du Nord (H. 34 cm), vendu chez Bonhams à Londres, The Ollivier Collection of Early Chinese Art, le 8 novembre 2018, lot 31.北齊 石雕菩薩首來源：巴黎古董商盧芹齋巴黎Robert Rousset（1901-1981）舊藏，於1924年2月21日購自上述巴黎Jean-Pierre Rousset（1936-2021）舊藏木座為稲垣吉蔵（1876-1951，自1906年後活躍於巴黎）所製。北齊帝皇尊崇佛法，屢屢敕建佛寺佛窟，並徵召高僧如僧稠等入朝為師。此佛教隆盛之世，亦為中國佛教藝術高峰之一。本尊首像容貌安恬，冠飾華麗，比例勻稱，雕工審慎，乃北齊佛教造像藝術之代表。融合了豐富多彩的外來文化及藝術風格，兼有皇權護持，佛教藝術在北朝蓬勃發展。在皇室斥巨資並主ý... For further information on this lot please visit Bonhams.com

Ein paar Jade-Statuetten (Wengzong), China, 20. Jhdt. Vollplastisch geschnitzte Jadeit-Figuren. Höhe 14 cm. A pair of Chinese jade Wengzhong figures, 20th century Two jadeits carved as necklace statue Wengzhong. Height 13.5 cm.

Bronzene Buddha-Statue, China, späte Ming-Dynastie Bronze mit Resten von Lackvergoldung. In dhyanasana auf einem Lotusthron in Meditation versunkener Buddha, die Hände in bhumisparsa mudra haltend (der Zeigefinger nach unten umgeknickt). Die Schultern umrahmt drapiertes sanghati, unter der Brust gebundenes antarvasaka. Höhe 32 cm, Gewicht ca. 5,8 kg. A Chinese bronze Buddha statue, late Ming Dynasty Bronze mit Resten von Lackvergoldung. In dhyanasana auf einem Lotusthron in Meditation versunkener Buddha, die Hände in bhumisparsa mudra haltend (der Zeigefinger nach unten umgeknickt). Die Schultern umrahmt drapiertes sanghati, unter der Brust gebundenes antarvasaka. Höhe 32 cm, Gewicht ca. 5,8 kg.

20th century Chinese Bronze green patina Buddha statue. [22cm high]

ANTIQUE CHINESE FIGURE FOO DOG STATUE, CHERRYWOOD

Chinese bronze warrior statue of Guan Gong Yu standing holding a weapon, approx 27cm high

A SANDSTONE DOOR CASING PANEL OF A DEVATA, BAYON STYLEKhmer Empire, late 12th to 13th century. Carved as a standing devata, wearing a sampot, the right hand held to the chest, the faces with almond shaped eyes, the pendulous ears with round earrings, flanked by two pillars and a flaming arch. The right side with an ornamental band.Provenance: Santi's Art & Antiques, Bangkok, Thailand, 1987. A noted English private collection, by repute acquired from the above and thence by descent in the same family. Santi's Antiques was established in 1958 by Santi Sivakua in Bangkok, Thailand. Santi Sivakua became one of Thailand's most reputable dealers and an acclaimed expert in Chinese porcelain and Southeast Asian artifacts, serving as a consultant for several reference publications. In 1990, Santi's son Suk took over the business. Condition: Good condition, commensurate with age and as expected for a statue with an age of 800 years or more. Extensive wear, signs of centuries-old weathering and associated erosion, fills to backside, losses, few nicks, cracks and surface scratches. Displaying remarkably well overall. Dimensions: Height 76 cm (excl. base) and 82.8 cm (incl. base)Mounted to a modern wood base. (2)Devata are smaller and more focused Devas (Deities) in Indian religions, such as Hinduism and Buddhism. The term 'devata' itself can also mean deva and they can be either male or female. Every human activity has its devata, its spiritual counterpart or aspect.Literature comparison:Compare a related sandstone panel, dated to the 12th century, in the collection of the British Museum, accession number 2002,0330.1.Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 31 October 2006, lot 561Price: EUR 11,400 or approx. EUR 15,500 adjusted for inflation at the time of writingDescription: A Khmer, Bayon style, sandstone panel, 13th centuryExpert remark: Compare the figural element, the arch-shaped frame, and the ornamental decorations. Note the size (105 cm).

A LARGE GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, LATE QING TO REPUBLIC PERIODTibetan-Chinese, c. 1800-1950 or earlier. Massively cast seated in vajraparyankasana on a double lotus throne, the right hand extended in bhumisparsha mudra and the left held in samadhi mudra, the face with a meditative expression, crowned by a beaded tiara around the domed ushnisha with tightly coiled curls. The sanghati with borders of delicate beading, enclosing finely incised foliate scrolls along the hems, which gather in a fan shape between the feet, the front of the pedestal with a double vajra.Provenance: British trade. Condition: Overall in good condition commensurate with age. Few minor nicks, dents, losses, light scratches, and significant wear to gilt. Some casting irregularities, signs of corrosion, dark spots, remnants of old varnish and pigment. The seal plate lost, the interior was professionally cleaned some time ago. One finger lost. Naturally grown patina.Weight: 5,386 g Dimensions: Height 30.9 cmSeated in classic diamond posture, recalling the seminal moment when he attained enlightenment under the bodhi tree in Bodhgaya, Buddha embodies virtuosity and inner energy. Touching the ground with his right hand, he asks the earth to witness the truth of his teachings. The elongated earlobes represent his rejection of worldly goods and the robes, worn in a way to leave the right shoulder bare, recall the custom adopted by Buddhist monks in Southeast Asia when paying respect to a holy site.Auction result comparison:Type: Near identicalAuction: Bonhams London, 17 May 2018, lot 106Price: GBP 15,000 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: A very rare and large gilt-copper figure of the Buddha Shakyamuni, Tibet, 14th/15th centuryExpert remark: Compare the near identical pose, decoration, and closely related size (31.3 cm). Note that this statue most likely also dates from the Qing or Republic period.清末民初大型釋迦牟尼鎏金銅漢藏，約1800-1950年或更早。釋迦牟尼結金剛坐坐在雙層蓮花座上，右手施觸地印，左手為三摩地手印，面帶沉思，頭上有螺髻，佩戴連珠發帶。袈裟上飾以精美珠飾，沿裙擺附有精美紋飾，鋪在足間。蓮花座上有雙金剛杵。 來源：英國古玩交易。 品相：總體狀況良好，輕微的刻痕、凹痕、缺損、輕微劃痕和嚴重的鎏金磨損。一些鑄件不規則，腐蝕跡象，黑點，舊清漆和顏料的殘留物。封印板丟失，內部曾被專業清洗過。一根手指掉了。自然包漿。 重量：5,386 克 尺寸：高30.9 厘米 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦邦瀚斯，2018年5月17日，lot 106 價格：GBP 15,000 （相當於今日EUR 20,500） 描述：西藏十四至十五世紀銅鎏金釋迦牟尼佛坐像 專家評論：比較幾乎相同的姿勢、裝飾和非常相近的尺寸(31.3 厘米)。請注意此像很有可能斷為清末民初。

A GILT COPPER ALLOY FIGURE OF INDRA, NEPAL, 15TH-17TH CENTURYSeated in rajalilasana, leaning on his left hand, the left shoulder flanked by the stem of a lotus supporting the vajra, the right hand in vitarkamudra before his chest. The face with a serene expression, downcast eyes centered by the third eye, flanked by pendulous earlobes suspending circular earrings. Finely inlaid with glass, garnet, and possibly semi-precious stones. The base neatly sealed with a copper repousse plaque. Remarkably solid and heavy cast.Provenance: A noted Hungarian private collection. Condition: Good condition with some old wear and minor casting flaws, small losses, slight bending of few exposed areas, minuscule nicks and dents, remnants of pigment. Some inlays possibly renewed.Weight: 583.7 g Dimensions: Height 13.1 cmIndra, the Lord of the Gods, plays a central role in the legends, life, and art of Nepal. This elegantly and intricately modeled bronze is characteristic of the Nepali representation of Indra, seated in the graceful pose of 'Royal Ease' with the thunderbolt, his principal attribute, supported by a lotus flower, bearing a crescent-shaped crown, and with the horizontal 'third eye' incised on the forehead. This relaxed posture is similarly reflected in Chinese Song sculptures of Guanyin (Avalokiteshvara). Developed locally, depictions of Indra in rajalilasana have become one of the most recognizable images in Nepalese art history.Literature comparison: Compare the posture, hand gestures, jewelry and flower design with a fifteenth-century Nepalese gilt copper Indra formerly in the Nasli and Alice Heeramaneck Collection and now in the Los Angeles County Museum of Art, see Pratapaditya Pal, Art of Nepal, Los Angeles, 1985, page 119, cat. S42, illustrated page 50.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 22 September 2020, lot 321Price: USD 52,920 or approx. EUR 61,000 converted and adjusted for inflation at the time of writingDescription: A gilt copper figure of Indra, Nepal, 15th centuryExpert remark: Compare the closely related pose, fine incision work, inlays, and size of 13.5 cm. Note that this statue is possibly a bit earlier than the present lot.十五至十七世紀尼泊爾因陀羅（帝釋天）鎏金銅像左手撐座，右手自然優雅的放置在屈起的右膝之上，施安慰印；左腿盤起，右腿彎曲斜放，身體呈三折姿而坐，這種坐姿是古代帝王放鬆隨意的坐姿；寬闊的前額中央有一橫為第三眼，杏仁狀的眼睛，鼻子高挺，淡淡的微笑，洋溢著快樂安詳的感覺。主尊頭戴裝飾華麗的新月形王冠，這是尼泊爾形象的特色；佩有耳璫、項圈瓔珞、臂釧、腰鏈、掛鏈、手鐲及足釧等鑲嵌寶石的飾品；左肩有蓮花；光圓寬厚的臂膀、堅實的細腰、柔和的長臂，整尊造型優雅健美。 來源：匈牙利知名私人收藏。 品相：狀況良好，有磨損和輕微的鑄造缺陷，小缺損，局部輕微彎曲，微小的刻痕和凹痕，顏料殘留物。一些嵌體可能已更新。 重量：583.7 克 尺寸：高13.1 厘米 文獻比較：比較一件十五世紀尼泊爾鎏金銅因陀羅，有相似的姿勢、手勢、首飾和珠寶花飾，先前收藏於 Nasli and Alice Heeramaneck Collection ，現藏於洛杉磯郡藝術博物館，見Pratapaditya Pal，《Art of Nepal》，洛杉磯，1985年，頁119，圖錄S42，插圖見50。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2020年9月22日，lot 321 價格：USD 52,920（相當於今日EUR 61,000） 描述：十五世紀尼泊爾尼泊爾因陀羅鎏金銅像 專家評論：比較非常相近的姿勢、精緻雕刻、鑲嵌和尺寸(13.5 厘米)。請注意此像年代較現拍品早。

A CAST AND REPOUSSE GILT COPPER ALLOY FIGURE OF GREEN TARA, QIANLONG PERIODTibetan-Chinese, 1736-1795. Seated in lalitasana atop a double-lotus base with beaded edges, her raised left hand held in vitarka mudra and holding a lotus stem, her left lowered in prithvi mudra. Wearing a fine dhoti cascading in voluminous folds and neatly incised with foliate and diapered designs at the hems. Richly adorned with beaded, floral, and inlaid jewelry. The finely incised hair pulled up into a tall double-topknot falling elegantly in long segments down the sides of the shoulders and surmounted by a jewel.Provenance: From the collection of Gustave Fayet (1865-1925), thence by descent in the family. Gustave Fayet was a French painter and art collector, who owned works by Degas, Manet, Pissarro and above all Paul Gauguin. Fayet was a man with a universal curiosity, an eminent patron of the arts, and a discerning collector in all fields.Condition: Overall fine condition commensurate with age and presenting remarkably well and attractive. With old wear, traces of use and some minor casting flaws, occasional light scratches, tiny nicks, few small dents. Losses to inlays, some of the remaining inlays may be later replacements. Well-preserved ancient pigments. The separately cast lotus flowers at the shoulders are missing. The lacquer gilt sections with scattered stains. The fire gilt sections with minor areas of malachite encrustation. The base lid is bent and indented.Weight: 3,166 gDimensions: Height 37.7 cmThe serene face with heavy-lidded eyes, gently arched brows centered by an urna, and full lips forming a benevolent smile, flanked by long pendulous earlobes.The impressive statue is made from a solid cast of copper alloy, as clearly evidenced by the lack of any dings or bent areas to body and base. Only the earrings, scarf, strands of hair, and the lotus foot support are executed in copper repousse. The statue is gilt overall, partially in lacquer and partially with a superb fire-gilt, exactly as expected from a statue of the Qianlong period.The present work exhibits many characteristics common to the Buddhist workshops of the Qianlong period, such as the combination of cast and repousse parts, the languid and feminine treatment of the face and body, and the tightly waisted double-lotus base with broad petals. The Qing court patronage of Buddhism that began under the Kangxi Emperor reached epic proportions under his grandson, the Qianlong Emperor. The Buddhist centers of Beijing, Rehol, and Dolonnor produced thousands upon thousands of images to keep up with the demand of the numerous temples in and outside the capital.Auction result comparison: Type: Closely related Auction: Christie's New York, 16 September 2016, lot 1231 Price: USD 35,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writingDescription: A cast and repousse gilt-bronze figure of a bodhisattva, Qianlong period Expert remark: The bronze belongs to the same group as the present lot, combining repousse elements with a cast figure. The bronze is of near-identical size (37.1 cm) and also dated to the Qianlong period.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2019, lot 674 Price: USD 112,500 or approx. EUR 122,500 converted and adjusted for inflation at the time of writingDescription: A large cast and repousse gilt-bronze figure of Green Tara, Inner Mongolia, Dolonnor style, late 18th century Expert remark: The bronze also depicts Green Tara and belongs to the same group as the present lot, combining repousse elements with a cast figure. The bronze is of considerably larger size (58.1 cm high) and dated to the late 18th century.乾隆銅鎏金錘鍱綠度母漢藏, 1736-1795年。本尊綠度母坐像，通身以錘鍱工藝製作，半跏趺舒坐於蓮花寶座上，為典型的三折姿勢。葫蘆形髮髻高聳，雙耳垂肩，耳懸花鐺，披肩長辮優美。面容飽滿，嘴角上揚微笑，雙眉之間有白毫，端莊靜穆，給人以悲憫之感。上軀袒露，佩掛項圈及連珠長鏈，手、臂、踝均飾有釧環。左腿橫盤，右腳下應踏小蓮台，左手於胸前施三寶印，右手置膝前作予願印。其下蓮座為雙層束腰仰覆式，台座規矩，蓮瓣舒展精細。 來源：Gustave Fayet (1865-1925) 收藏，保存在同一家族至今。Gustave Fayet 曾是一位法國畫家和藝術收藏家。他的收藏中可見德加、莫奈、畢加索和高更。Fayet是一個特別有好奇心的傑出的藝術贊助人，也是一個在各個領域都獨具慧眼的收藏家。 品相：整體狀況良好，與年齡相稱。有磨損，使用痕跡和一些輕微的鑄造缺陷，局部輕微的劃痕和刻痕，少量小凹痕。鑲嵌物的遺失，一些剩餘的鑲嵌物可能在後期更換過。顏料保存完好。肩部分鑄的蓮花遺失。漆面鎏金部分有散落的污漬，少量綠色結殼。底蓋彎曲。由於字數限制，完整中文敘述請至www.zacke.at查看。

A GILT COPPER REPOUSSE FIGURE OF GREEN TARA, 17TH-18TH CENTURYTibetan-Chinese. Well modeled seated in lalitasana, the right hand in varada mudra and the left in vitarka mudra, holding a lotus stem coming to full bloom at the shoulder, wearing elaborate jewelry and an incised robe falling in drapes, the face with a benevolent expression flanked by pendulous earlobes, crowned with a five-leaf tiara enclosing the hair coiled into an elaborate chignon. The seal plate with a punched double vajra.Provenance: From an old British private collection, acquired in the 1970s. A Belgian private collection, acquired from the above. Old label to base with manual inscription: “Nepal Tibet - Bronze dore - Acquis dans les annees 1970 Coll. A + JP de (…) Mc DONALD GB” (Nepal Tibet, gilt bronze, acquired in the 1970ies, collection of A + JP Mc Donald, UK) Condition: Good condition commensurate with age and still presenting remarkably well. Some wear and manufacturing flaws, minor dings and dents, small tears and losses, light scratches, minuscule old repairs. The base sealed and possibly still filled with sacred contents. Good, naturally grown patina overall.Weight: 1,055 gDimensions: Height 27 cmThis elegant seated figure of Tara exhibits many characteristics common to Buddhist imagery from the Qianlong period (1736-1795), made in the lamaist workshops in and around Beijing. In the latter half of Qianlong's reign, when the construction of Buddhist temples and the associated Buddhist images reached its apogee, the use of repousse, where thin metals are beaten rather than cast, became more prevalent in an effort to save materials and time. The artisans of the period quickly mastered the process, and details such as the ornately worked crown and flowers at the shoulders in the present figure demonstrate the mastery of the technique.Green Tara, also known as Shyamatara, is venerated as a savior and liberator from samsara, the earthly realm of birth and rebirth. According to Buddhist mythology, Green Tara emerged from a lotus bud rising from a lake of the tears of Avalokiteshvara, shed for the suffering of all sentient beings. She embodies compassion in a dynamic form, hence the usual depiction of the goddess with right leg outstretched, ready to leap out to ease suffering. Her right hand is always held out in varada mudra, a gesture of compassion and charity, and the left hand in vitarka mudra, a gesture of teaching.Auction result comparison: Type: Closely related Auction: Galerie Zacke, 27 September 2019, lot 68 Price: EUR 10,744 or approx. EUR 12,000 adjusted for inflation at the time of writing Description: A gilt copper statue of Manjusri, Tibetan-Chinese, 17th-18th century Expert remark: Compare the closely related repousse work, gilding, incision work, inlays, and double lotus base with similar petals and beaded edge. Note the related size (29.8 cm)Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2019, lot 673 Price: USD 21,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A repousse gilt-bronze figure of Tara, Inner Mongolia or China, late 18th century Expert remark: Compare the closely related repousse work and lotus base with similar petals and beaded edge. Note the size (39.4 cm).Auction result comparison: Type: Related Auction: Bonhams London, 16 May 2019, lot 171Price: GBP 15,062 or approx. EUR 19,500 converted and adjusted for inflation at the time of writing Description: A large gilt-copper repousse figure of Green Tara, Tibet, 16th centuryExpert remark: Compare the closely related expression, pose, and jewelry. Note the size (40.4 cm) and that this statue is of an earlier date. 十七至十八世紀銅鎏金錘鍱綠度母坐蓮像漢藏。綠度母頭戴花冠，面相方圓，慈眉善目，神態沉靜。耳垂花璫，胸戴瓔珞，袒露上身，下著錦褲，雙肩豎出蓮花法器，單腿伸出自然坐於單層覆蓮座上。底座密封雙金剛杵印。 來源：英國私人舊藏，購於上世紀七十年代；一個比利時私人收藏，購於上述收藏。底部有舊標籤 “Nepal Tibet - Bronze dore - Acquis dans les annees 1970 Coll. A + JP de (…) Mc DONALD GB” (尼泊爾或西藏，銅鎏金，購於1970年代，英國 A + JP Mc Donald收藏) 品相：品相良好，與年齡相稱。一些磨損和製造缺陷、輕微的凹痕、小撕裂和缺損、輕微的劃痕與維修。底座密封，造像内可能還裝了聖物。 整體良好，自然包漿。 重量：1,055 克 尺寸：高 27 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。

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 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。

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 LARGE GILT BRONZE 'WILLOW LEAF' GUANYIN, BHAISAJYARAJA AVALOKITESHVARA, MING DYNASTYChina, 16th century. Finely cast seated in dhyanasana, the hands held in karana mudra, her left holding a bowl of elixir. She is wearing long flowing robes with well carved folds and neatly incised floral hems, and is richly adorned with fine jewelry. Her serene face with heavy-lidded downcast eyes and full lips forming a subtle smile, flanked by long pendulous earlobes suspending elaborate earrings.Provenance: From an old private collection in Paris, France, and thence by descent. French trade, acquired from the above. Condition: Superb condition. Some old wear, minor casting flaws, few minuscule nicks and light scratches. The gilt is well-preserved overall. The separately cast willow twig in her right is lost. Note that all exposed areas, and particularly the delicate crown, show no losses or signs of repair whatsoever. Fine, naturally grown patina. A 16th-century gilt-bronze figure in such magnificent condition is extremely rare.Weight: 6,729 g (excl. stand)Dimensions: Height 36 cm (excl. stand) and 41 cm (incl. base)The neatly incised hair falling elegantly in strands over the shoulders and tied up into a high chignon behind the open worked foliate crown centered by a small image of the Buddha Amitabha.With an old fitted wood base dating from the Qing dynasty. (2)According to the Lotus Sutra, Avalokiteshvara can take any form necessary to save sentient beings. Thirty-three manifestations of Avalokiteshvara are mentioned and are known to have been very popular in Chinese Buddhism as early as the Sui and Tang Dynasties. The present lot depicts the bodhisattva in a manifestation known as Bhaisajyaraja Avalokiteshvara, or the 'Willow Leaf' Guanyin in Chinese. In this form, the bodhisattva holds a vial or bowl of elixir in the left and a stalk of willow leaves in the right, which was cast separately for the present statue and is now lost. The willow has evil dispelling properties and is used to sprinkle the elixir over devotees, which is believed to cure all physical and spiritual illnesses. This iconographic form was popular among devotees wishing for good health.Buddhist gilt-bronze figures were produced almost from the beginning when Buddhism was embraced by various courts of China's division after the Han dynasty. Until the Tang dynasty, however, they remained very small. One of the earliest developments away from small votive images took place in the Khitan Liao dynasty, when statues not only became bigger but also developed stylistically towards a more sculptural aesthetic. During the early Ming period the court took complete control of their production, and a distinct classic style was devised that would determine the design of all future Buddhist gilt-bronze images, including the present lot.Auction result comparison:Type: Closely related Auction: Sotheby's Paris, 11 December 2018, lot 81 Price: EUR 50,000 or approx. EUR 57,000 adjusted for inflation at the time of writing Description: Statuette de Guanyin en bronze dore, dynastie Ming Expert remark: Compare the closely related pose, expression, robes, jewelry, hair, and crown. Note the smaller size (32 cm).Auction result comparison: Type: Related Auction: Sotheby's London, 7 November 2018, lot 66 Price: GBP 100,000 or approx. EUR 135,500 converted and adjusted for inflation at the time of writing Description: A lacquered parcel-gilt bronze figure of Guanyin, Ming dynasty, 16th century Expert remark: Compare the related pose, expression, robes, jewelry, hair, and crown. Note the larger size (47 cm) and that the statue has only partial gilding. 明代大型楊柳觀音鎏金銅像中國，十六世紀。觀音結跏趺坐，左手托淨瓶，右手當胸持楊柳枝作拋灑甘露的手勢。面相豐頤，曲眉似彎月與鼻樑相連，眼瞼較寬，神態慈和寧靜；雙眼微合，俯視前方；頭戴花冠，冠葉雕刻精細，冠正面有化佛阿彌陀佛。身軀雄健，體態優美，整體莊嚴神聖而又慈祥親切。胸前飾瓔珞，下身著高束腰及胸長裙，衣紋厚重，自然流暢，衣緣鏨刻大朵花紋飾樣，雕刻精細，紋飾清晰，鮮明的漢地造像裝飾風格。整體形態端莊。 來源：法國私人舊藏；法國古玩交易，購於上述收藏。品相：狀況極好，一些磨損，輕微的鑄造缺陷，一些微小的刻痕和輕微的劃痕，鎏金整體保存極好，右手中原先拿的柳枝遺失。請注意，造像沒有任何修復跡象。細膩自然的包漿。如此精美的明末鎏金造像極為罕見。由於字數限制，完整中文敘述請至www.zacke.at查看。

A Chinese statue of a terracotta warrior, 25cmH

A large reconstituted stone Chinese 'terracotta army' statue

Chinese bronze statue of the seated Buddha, traces of gilding, Qianling mark, 28cm high.

Small metal statue, Chinese censor and lidded pot

A Chinese bornite sculpture of Buddhi, 13cm h, wood stand and two other items (3)  The large statue with chips and losses to stomach and toes. Both of the smaller items in good condition

CHINESE WARRIOR - GARDEN STATUE

A collectors' lot to include a pair of Chinese-style ceramic models of koi carp, together with a carved and painted Thai mask, a bronzed model of a Greek-style statue, a ceramic model of a bull with pierced holes, and various other carved wooden items.

2 boxes of Chinese and Japanese porcelain and earthenware, soapstone objects, carvings and bronze Buddha statue, 19th/20th C.

Box Asian Wed. Blanc de Chine sculpture, cloisonne vases, bronze statue, 2 bone figures, glass snuff bottle, and Japanese and Chinese porcelain, among others. 19th century

Bronze statue of a Chinese warrior with sword, Yongle marked, but of a later period, 40 cm high

A SUPERB LARGE CHINESE CARVED WOOD STATUE of a seated dignitary, mounted to a wooden base, the figure carved with ceremonial garments, his feet rested upon a foot stool, the arms of the chair carved with dragon heads, 80cm high, 40.5cm wide, 37.5cm deep.

Gray stone garden statue of a Chinese chainmail warrior, China 19th/20th CTuinbeeld in grijze steen van een Chinese krijger in maliënkolder, China 19e/20e eeuwH 110 cm

A rare Beilby enamelled opaque twist wine glass, circa 1765-70The slender round funnel bowl painted in opaque white with a neoclassical temple or folly, four columns supporting a domed roof adorned by a statue of a man holding a staff, in a landscape of trees and shrubs, the rim with faint traces of gilding, the double-series stem with a pair of eight-ply spiral bands around a pair of gauze corkscrews, over a conical foot, 15.5cm highFootnotes:ProvenanceDarell Thompson-Schwab CollectionPavilions in neoclassical style are very rare on Beilby glasses but relate to a series of glasses painted in a similar style with classical ruins, see for example the previous lot in this sale. A handful of examples painted with Chinese pavilions incorporate similar statues holding staffs, see the example illustrated by James Rush, A Beilby Odyssey (1987), p.66, no.25 which was sold by Bonhams as part of the A C Hubbard Jr Collection on 30 November 2011, lot 144 and that illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1987), p.337, no.1100 which was sold in the same sale, lot 139.For further information on this lot please visit Bonhams.com

A Victorian leaf pattern dish, resin statue, pair of miniature Chinese style bowls and covers and other ceramics etc.

STATUE DE VAJRADHARA EN LAITON INCRUSTÉ D'ARGENTTSANG, TIBET CENTRAL, XVE SIÈCLEHimalayan Art Resources item no. 4840 24 cm (9 1/2 in.) high Footnotes:A SILVER-INLAID BRASS FIGURE OF VAJRADHARA TSANG, CENTRAL TIBET, 15TH CENTURY 藏中 十五世紀 銅錯銀金剛總持像 Provenance:With Claude de Marteau, Brussels, by 1970s The primordial Buddha, Vajradhara, crosses a vajra and bell before his chest (vajrahumkara mudra), symbolizing the perfected union of wisdom and compassion that is Buddha-consciousness, and into which the human ego can blissfully evaporate. His sublime body is clad in a lower garment with patterned floral hems, and a scarf that drapes over his shoulders before sweeping around the elbows and falling to his sides. His crown consists of five tall leaves, representing each of the Five Presiding Buddhas. The sculpture is a superior example of the non-gilded, brassy, and frequently inlaid style favored in Tsang province of Central Tibet. This alloy can be brought to a high polish, achieving an attractive buttery patina, as seen on the figure's back. Vajradhara's squarish countenance and accentuated smile are also characteristic of Tsang style. A 15th-century date is supported by the particular rippling of the lower garment around the shins, and the long, densely packed lotus petals around the base, which Tibetan craftsmen adopted from imperial Chinese Buddhist bronzes that were sent to powerful Tsang monasteries by the Yongle emperor (1403-24). Similar Tsang bronzes of Vajradhara are kept in the Johkang, Lhasa; the Rubin Museum of Art, New York (C.2005.37.1); and a private collection (see von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, p. 1193, no. 323B; HAR 90823; and HAR 30586, respectively).For further information on this lot please visit Bonhams.com

A Chinese carved rootwood statue, depicting a dragon chasing the sacred pearl, 35cm

A Chinese bronze three sided god statue.

Wooden Chinese statue of an immortal Houten Chinees beeld van een ontsterfelijke H 91.5 cm

Glazed ceramic statue of a Chinese sage Geglazuurd keramieken beeld van een Chinse wijze H 65 cm

Chinese statue of an immortal in mammoth ivory, marked Chinees beeld van een onsterfelijke in mammoetivoor, gemerkt H 31.5 cm

A carved Chinese root wood statue, Shou Lao, god of Longevity. 53cm high; Chinese brass chargers etc

Signed bronze statue of Chinese lady and child - Approx H: 29cm

Garden statuary; a reconstituted stone statue of a Chinese pagoda, H 79cm, together with another similar (2)

A selection of garden ornaments to include a Buddha statue, Chinese pagoda, marble effect stand, lions and hand ornaments

Earthenware and porcelainHappy Buddha, 21 cm high, earthenware glazed statue of a Chinese lady with child, Blanc de Chine porcelain sculpture group and porcelain Famille Rose statue of a child with floral decoration (all damaged)

Lladro porcelain statue no. 2056, Tall Chinese, Chino Alto, design Jose Roig, period 1974-2017, 20.5 cm high

Circa 386-534 ADA well defined Chinese Northern Wei Terracotta Attendant Statue. The Figure is depicted standing with his hands along the body, wearing mid-length, red robe with wide sleeves and voluminous trousers. Well detailed face, modelled with calm expression, elongated ears.Attendant figures such as this item were important to a variety of cultures with afterlife beliefs which involved trials, travels, or an afterlife similar to that which was lived on earth, as well as acting as representations of the ancestors. Popular iconographic choices included warriors, dancers, male and female courtly figures, and animals.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:260mm / W:70mm; 570g Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.

CHINESE IVORY AND BONE BUDDHIST TEMPLE ALTAR,late 19th century, carved in low relief with lotus blooms and dragons, the twin doors enclosing Buddha statue, 24.3cm highCondition report: Small chip to base of the finial, small chips to several of the roof panels, further small chips and nibbles to the exposed edges and corners of the different platforms, some hairlines and fissures, small crack and glue repair to base, the lower section not assembled at perfect right angles and balustrade somewhat misshapen, further illustrative images available

'CHILDREN AT PLAY', INSCRIBED DING GUANPENG (ACTIVE 1708-1771)China, Qing Dynasty, mid-18th – early 19th century. Ink and watercolors on silk. The work either from the hand of Ding Guanpeng himself, or one of his disciples at the palace painting academy, or a combination of both. Superbly painted with four children in a noble garden mimicking the Full Moon Ritual (manyue) by 'washing' a statue of the infant Buddha.Inscriptions: Lower right, 'Ding Guanpeng'. Dated to the 4th month of the 26th year of the Qianlong reign (corresponding to 1761). One seal of the artist.Provenance: UK trade, by repute acquired from a British private estate.Condition: Very good condition with minor wear, soiling, creasing, few minuscule losses. Mounted as a hanging scroll.Dimensions: Image size 115.5 x 48 cm, Size incl. mounting 213.5 x 63 cmOne child is kneeling on an oval rug with hands folded in prayer, one holds a bowl of peony blossom offerings, one is pouring water from a kundika to 'wash' a statue of the infant Buddha, supported on an elaborate lotus base, held by another child, next to a small vase with lingzhi fungi, and all below a gnarled tree, large lingbi stones, peonies, and bamboo.The scene and specifically the objects are painstakingly detailed, and upon closer inspection, one can discover such interesting things as a crackled turquoise glaze on the vase or a fine gilding on the infant Buddha statue. The fence in the background also shows numerous ornaments, and the various rocks and plants surrounding the children have meticulously executed minutia. One can understand the children's excitement, as we can all look in fascination at the intensity of the mimicked ceremony.The rich details of the playthings are matched by the carefully rendered clothing and delicately drawn faces of the children. The children's finely woven silk brocades reveal their noble, if not Imperial upbringing, and their enjoyment of the event is patent in their expressions of glee and wonderment as they play with the ceremonial objects. The elaborate rock and flowering plants indicate this is a garden setting. Likely within the walls of a family compound, the location of the painting is another indication of the wealth and prestigious status to which the children belong.Ding Guanpeng (active 1708-1771) was a Chinese painter who lived during the Qing dynasty. A native of Beijing, he was active from the later part of the Kangxi period to the mid-Qianlong period. At one point he studied oil painting under Giuseppe Castiglione. He was noted for painting people and landscapes, both in his distinct own style and by precisely copying the work of important masters such as - in the present lot - Su Hanchen. He spent about 50 years in the Palace Painting Academy and painted at least 200 major works with his own hand.Expert's note: The present lot is an exact copy after a work by the Song Dynasty artist Su Hanchen (active 1130s–1160s), which is currently in the National Palace Museum in Taipei. It is known that during the reign of Emperor Qianlong (1736-1795) masters from the Palace Painting Academy, such as Ding Guanpeng, were commissioned to copy a significant number of ancient works from the Imperial palace collection, predominantly for conservatory purposes, but also for a number of other reasons. Occasionally, some of the more prominent artists involved in this undertaking were allowed to sign these copies with their own names.Auction result comparison: Compare a related painting by Ding Guanpeng at Poly International, 3 December 2014, lot 3213, bought-in at an estimate of CNY 300,000-500,000 (approx. EUR 40,000-65,000). Compare another copy of a work by Su Hanchen at Bonhams, in Chinese Paintings and Calligraphy, 20 March 2013, New York, lot 3009, sold for USD 86,500.《童子浴佛圖》丁觀鵬（活躍於1708-1771）款中國，清代，十八世紀中葉至十九世紀。紙本設色。這幅作品可能出自丁觀鵬本人之手，也有可能出自其他宮廷畫師之手，或是兩者合作皆可能。這幅作品畫工精細，四個孩子在貴族花園裡模仿滿月儀式，以淨瓶清洗一尊嬰兒佛像。款識：乾隆二十六年四月臣丁觀鵬敬繪鈐印：觀鵬來源：英國古玩市集，據說購於英國老收藏。品相：狀況極好，輕微磨損、汙跡、皺褶，一些微小缺損。裝裱為掛軸。尺寸：畫面115.5 x 48 厘米，總213.5 x 63厘米。一個孩子跪在橢圓形的地毯上，雙手合十祈禱；一個孩子拿著一碗牡丹花供品，一個孩子正從淨瓶中倒水 "清洗 "一尊嬰兒佛像。佛像立於蓮花底座上，由另一個孩子拿著，旁邊的地上立著一個裝靈芝的小花瓶。周圍有一棵參天大樹、大靈璧石、牡丹花和竹子。此場景和周圍物件都是精心設計的，諸如花瓶上綠松石釉面開片，以及嬰兒佛像上精細的鎏金等。背景中的圍欄也有許多裝飾物，孩子們周圍的各種岩石和植物都有細緻的描繪。觀畫者可以感受孩子們的興奮，猶如身歷其境地看著這場模仿儀式。這些道具的豐富細節與孩子們精心繪製的服裝和精緻的面孔相匹配。孩子們身著的絲綢錦緞顯示了他們高貴的地位、甚至皇室的教養。由他們在玩弄儀式物品時歡快和驚奇的表情，可看出對這件事的享受。花園中精心設計的岩石和盛開的花朵，可知這花園可能是在一個大宅邸的牆內，它的位置也表明了孩子們的出身。丁觀鵬（活躍於1708-1771年）為清朝畫家，北京人，活躍於康熙後期至乾隆中期，他曾向郎世寧學習油畫。他以人物和風景畫聞名，既有自己獨特的風格，也能精確地模仿大師的作品，如本拍品即為仿蘇漢臣的畫作。他任職於宮廷畫院約50年，至少親手畫了200幅作品。專家註釋：本拍品是根據宋代藝術家蘇漢臣（活躍於1130-1160年）的作品精確複製的，該作品現藏於臺北故宮博物院。乾隆時期（1736-1795）為了保存的目的和其他原因，宮廷畫院的大師們，如丁觀鵬，被委託臨摹大量皇宮收藏的古代作品。一些參與這項工作的著名藝術家，偶爾被允許在這些副本上題上自己的名字。拍賣結果比較：比較一幅相關的丁觀鵬的畫作，見北京保利2014年12月3日「藝林藻鑒—中國古代書畫」，拍品編號3213，估價CNY 300,000-500,000 (大約為EUR 40,000-65,000)。比較一件蘇漢臣的作品，見紐約邦翰斯2013年3月20日lot 3009，售價 USD 86,500。

A MAGNIFICENT AND RARE GILT-BRONZE FIGURE OF BUDDHA, TANG DYNASTYChina, 618-907. Superbly cast seated in dhyanasana with his right hand raised in shuni mudra and the left resting on his knee, his robe falling in crisply incised, draped folds in front. The serene face with heavy-lidded almond-shaped eyes below gently arched eyebrows, a broad nose, and full lips, flanked by long pendulous earlobes. The head surmounted by a domed ushnisha. The figure has two attachment tabs (tang), one projecting from the back of the head, the other located at the upper backside of the interior. Provenance: United Kingdom trade, by repute from an old private estate. Condition: Excellent condition, commensurate with age and overall as expected for a gilt bronze from this well-documented group. Old wear, minor casting flaws, few small losses and dents, occasional scratches. Flaking and microscopic warts to gilt in some areas. Some verdigris here and there, ancient corrosion. Old traces of soldering to the tang at the back of the head. The second tang mostly lost. Remnants of old varnish. Despite the wear and corrosion, the gilding still presents quite well overall. The inside of the statue contains deteriorated remnants of fabric, which may at some point have contained an ancient sutra scroll.Weight: 254.8 g (excl. stand)Dimensions: Height 12.4 cm (excl. stand)Gilt-bronzes of the Teaching Buddha, with his right hand raised in variants of vitarka mudra, and the left resting on the knee, became extremely popular from the turn of the eighth century, the delicately draped base demonstrating the classic style of the period.Literature comparison: See a closely related figure in comparable style in the National Palace Museum, Taipei, illustrated in The Crucible of Compassion and Wisdom: Special Exhibition Catalogue of the Buddhist Bronzes from the Nitta Group Collection at the National Palace Museum, Taipei, 1987, p. 173, no 76. Two similar gilt-bronze figures in the collection of the Shanghai Museum are illustrated in S. Matsubara, Chugoku bukkyo chokokushi ron (The Path of Chinese Buddhist Sculpture), vol. 3, Tang, Five Dynasties, Sung and Taoism Sculpture, Tokyo, 1995, pl. 720 A and B. Compare a closely related gilt bronze of Buddha flanked by two bodhisattvas and attendants in the collection of the Asian Art Museum of San Francisco, object number B60B1038. Compare a related but slightly larger gilt bronze figure of Buddha (18 cm high), also with a draped base and dated to the Tang dynasty, at Christie's New York in Fine Chinese Ceramics and Works of Art on 23 March 2012, lot 1765.Auction result comparison: Compare a closely related gilt bronze figure of Buddha (14.6 cm high), also with two attachment tabs, draped base, and dated to the Tang dynasty, at Christie's Hong Kong in Contemplating The Divine – Fine Buddhist Art on 30 May 2018, lot 2856, sold for HKD 2,375,000. Compare a closely related but smaller gilt bronze figure of Buddha (8 cm high), also with attachment tabs projecting from the back, draped base, and dated to the Tang dynasty, at Christie's New York in The Collection of Robert Hatfield Ellsworth Part IV on 20 March 2015, lot 759, sold for USD 161,000. 唐代罕見銅鎏金佛陀坐像中國， 618-907年。佛陀結跏趺坐，右手施耐心之印，左手放在膝蓋上，天衣袒右肩，褶皺清晰流暢。面容安詳，眼睛微微下垂，眉毛微微拱起，寬鼻，豐滿的嘴唇，兩側是長長的耳垂。頭頂上呈螺髻。兩處附接片（柄腳），一個從頭部後部突出，另一個位於內部的上方。 來源：英國拍賣市場，據説購於私人老收藏。 品相：品相極佳，與年齡相稱，整體上符合這一時期鎏金銅造像的預期。舊磨損、輕微鑄造瑕疵、少量小缺損和凹痕、局部劃痕。局部鎏金磨損，到處都是綠色鏽斑。 頭後部的柄腳上有舊的焊接痕跡，內部柄腳有大部分缺損。舊漆的殘留。儘管有磨損和腐蝕，但整體上鎏金仍然良好。雕像的內部有織物殘餘物，可能在之前密封了古老的經卷。 重量: 254.8 克 (不含底座) 尺寸：高 12.4 厘米 (不含底座)拍賣結果比較：比較一件相似的鎏金銅佛陀 (高14.6 厘米), 同樣有兩個附接片，唐代, 見香港佳士得Contemplating The Divine – Fine Buddhist Art 2018年5月30日 lot 2856, 售價HKD 2,375,000；比較一件相似的但稍小的鎏金銅佛陀 (高8 厘米)，背部同樣有兩個附接片，唐代，見紐約佳士得The Collection of Robert Hatfield Ellsworth Part IV 2015年3月 20日 lot 759, 售價USD 161,000。

A CAST AND REPOUSSE GILT COPPER ALLOY FIGURE OF AMITAYUS, QIANLONG PERIODChina, 1736-1795. The figure is shown seated in dhyanasana on a double-lotus base, the hands lowered in dhyana mudra, wearing loose-fitting robes decorated with foliate scroll at the hems, richly adorned with beaded, floral, and inlaid jewelry. The hair is pulled up into a tall double-topknot, falling elegantly in long segments down the sides of the shoulders, and surmounted by a jewel.Provenance: A private collector in New York, USA.Condition: Excellent condition with minor old wear, occasional light scratches, tiny nicks, few small dents. The base sealed. Some losses to inlays, some other inlays may be later replacements. Well-preserved ancient pigments. The amrita vase held in the figure's hands is lost.Weight: 4,077 gDimensions: Height 38.5 cmThe statue is made from solid and massively gilt copper alloy, as clearly evidenced by the lack of any dings or bent areas to body and base. Only the earrings, scarf, and strands of hair are executed in copper repousse.The serene face shows heavy-lidded eyes, gently arched brows centered by an urna, and full lips forming a calm smile, flanked by long pendulous earlobes.The present work exhibits many characteristics common to the Buddhist workshops of the Qianlong period, such as the combination of cast and repousse parts, the languid and slightly effeminate treatment of the face and body, and the tightly waisted double-lotus base with broad petals. The Qing court patronage of Buddhism that began under the Kangxi Emperor reached epic proportions under his grandson, the Qianlong Emperor. The Buddhist centers of Beijing, Rehol, and Dolonnor produced thousands upon thousands of images to keep up with the demand of the numerous temples in and outside the capital.Auction result comparison: Compare a related cast and repousse figure of a bodhisattva, belonging to the same group as the present lot, 37.1 cm high, also dated to the Qianlong period, at Christie's New York in Fine Chinese Ceramics and Works of Art on 16 September 2016, lot 1231, sold for USD 35,000.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.乾隆時期鎏金銅錘揲觀音坐蓮像中國，1736-1795年。髮髻高聳，耳垂花璫，髮綹層疊垂落披肩。細眉長目微閉，鼻樑挺秀，雙眉間有白毫，雙唇微抿，神情柔和。上身坦露，飾項圈和長鏈，雙肩披帔帛，飾瓔珞，臂釧、手臅等，下身著貼體薄裙，腰纖細，繫有寶帶，結跏趺坐坐於蓮座上，姿態優美。蓮座上飾一道連珠紋，蓮瓣橢圓修長，富有層次。 來源：紐約私人收藏。 品相：狀況極佳，有輕微磨損，局部有輕微劃痕與微小的刻痕，少量小凹痕。 底座密封。損失一些鑲嵌物，一些鑲嵌可能曾後期更換過。顔料保存完好。觀音手中的淨瓶丟失。 重量：4,077 克 尺寸：高38.5 厘米 造像鎏金厚重，身體和底座沒有任何凹痕或彎曲區域清楚地證明了這一點。只有耳環與帔帛及一縷頭髮是用錘鍱而成。 此造像呈現出乾隆時期銅鎏金造像的許多特點，如鑄件與錘鍱工藝的結合，面部和身體的慵懶和略顯柔美的處理，以及寬瓣束腰雙層蓮座。康熙帝在位時期對佛教的推廣在他的孫子乾隆帝時期達到了鼎盛。北京、瑞荷、多隆諾等佛教中心為了滿足眾多寺廟的需求，製作了成千上萬的佛教造像。 拍賣結果比較：比較一件銅鑄並錘鍱菩薩造像，與此拍品為同一組，高37.1 厘米，同爲乾隆時期，見紐約佳士得 Fine Chinese Ceramics and Works of Art 2016年9月16日 lot 1231, 售價USD 35,000。

A GILT BRONZE FIGURE OF MANJUSHRI, QIANLONGChina, 18th century. Finely cast seated in dhyanasana atop a double lotus base with beaded edges, holding aloft a flaming sword in his raised right hand and a lotus stem in his left, coming to full bloom at his shoulder and supporting a sutra, the blossom and book separately cast and inset beside his left elbow. He is clad in a voluminous dhoti and adorned with sashes and jewelry. The face is serene in expression and surmounted by a foliate tiara in front of the braided chignon topped by a lotus finial.Provenance: From a private collection in Texas, USA.Condition: Overall fine condition and presenting well with old wear, particularly to gilt, and minimal casting irregularities, one of the sashes with a small split at his left arm, the sword with an old repair. Few small nicks, minor dents, and light scratches. Small areas of verdigris here and there. The sealplate is most likely original but can be removed and the statue is empty.Weight: 1,140 gDimensions: Height 17.2 cmThis impressive and dynamic gilt-bronze figure of Manjushri is rare for the virtuosity of the casting technique and the expressive vitality of the figure itself. Displaying fine attention to detail in the treatment of the robes and jewelry, the figure is also depicted with supple proportions that characterize the finest 18th-century Chinese figures.The scripture supported by the padma (lotus) held in his left hand is a Prajnaparamita sutra, representing his attainment of ultimate realization from the blossoming of wisdom, while the flaming sword symbolizes the realization of transcendent wisdom which cuts down ignorance and duality.Auction result comparison: Compare a related gilt bronze figure of Manjushri, also dated to the 18th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 15 September 2017, lot 926, sold for USD 10,000, and a related Tibetan-Chinese gilt bronze figure of Manjushri, also dated to the 18th century, in Indian and Southeast Asian Art on 21 September 2007, lot 132, sold for USD 15,000.乾隆銅鎏金文殊菩薩坐蓮像 中國，十八世紀。鎏金文殊菩薩銅像結跏趺坐於雙層蓮座上。左手當胸，結轉法輪印，持蓮莖；左肩靠蓮瓣，上放經函。右手高舉火劍。身上裝飾華麗纓絡珠寶。面容平靜，頭戴蓮冠。 來源：美國德克薩斯私人收藏。 品相：整體狀況良好，舊磨損情況良好，尤其是鍍金，輕微鑄造不規則，其中一個腰帶在左臂有一個小裂口，劍有舊時修復。 輕微劃痕和凹痕，局部包漿。封印板很可能是原始的，但可以移除並且雕像是空的。 重量：1,140 克 尺寸：高17.2 厘米 拍賣結果比較：比較一件相近銅鎏金文殊菩薩像，十八世紀，見紐約佳士得Fine Chinese Ceramics and Works of Art 2017年9月15日 lot 926, 售價USD 10,000 ；一件漢藏銅鎏金文殊菩薩，十八世紀，見佳士得Indian and Southeast Asian Art 2007年9月21日 lot 132, 售價USD 15,000。

A LARGE GILT-BRONZE FIGURE OF PADMASAMBHAVA, LATE QING TO REPUBLICTibet, ca. 1850-1950. Heavily cast, seated in dhyanasana atop a double lotus base with beaded upper edge, holding in his right hand a vajra and in his left a skullcup. He is wearing voluminous robes finely incised with cloud designs, the hems with foliate scroll and floral diaper, and richly adorned with jewelry, inlaid with coral and turquoises. The hair in fine strands falling elegantly over the shoulders, surmounted by a peaked Tantric cap with upturned sides topped with a feather and centered by a crescent moon surmounted by a sun.Provenance: UK trade.Condition: Overall in good condition commensurate with age. Few minor nicks, dents, losses, light scratches, and wear to gilt. Some casting irregularities, signs of corrosion, dark spots, remnants of old varnish and pigment, some inlays are lost while others might be later replacements, the trident (which was attached using the tang below his proper left shoulder) is lost. The base retains its original sealplate and, considering the heavy weight of the statue, it can be assumed that the contents of the statue are still present.Weight: 4,944 gDimensions: Height 33.8 cmHis expressive face is marked by remarkably intense eyes, furrowed brows, a fine mustache, and full lips, flanked by long pendulous earlobes. The base sealed and incised with a double vajra.Padmasambhava (literally 'lotus-born' in Sanskrit), also known as Guru Rinpoche among Tibetans, is believed to be one of the principal masters to bring Buddhism to Tibet and to teach the tantras in the 8th century. He is depicted in numerous forms with different names representing outer, inner and secret aspects of his spiritual being, with the change of names following the chronology of his life story. In the 5th century BC, Buddha Shakyamuni arrived as the founder of Buddhism. His teachings were subsumed by the Sutrayana and the Tantryana. In the 8th century, Padmasambhava personified the guru principle, the ritualistic path of Buddhism and the heart of Vajrayana Buddhism. They are exemplified in its flourishing after it was introduced into Tibet and the Himalayas between the 7th and 11th centuries. Because of Padmasambhava's teachings and contribution, he is known as the 'Second Buddha'.Literature comparison: Compare a closely related gilt bronze figure of Padmasambhava, dated to the 17th century, in the collection of the Museum Rietberg in Zurich, inventory number BA 120. Compare a related gilt bronze figure of Padmasambhava, dated 16th-17th century, in the collection of the British Museum, museum number 1992,1214.49.Auction result comparison: Compare a related gilt bronze figure of Padmasambhava, 25.5 cm high, dated 16th-17th century, at Christie's Paris in Art d'Asie on 8 June 2010, lot 355, sold for EUR 46,600. Compare a related gilt bronze figure of Padmasambhava, 26 cm high, dated circa 15th century, at Bonhams London in Fine Chinese Art on 12 November 2015, lot 74, sold for GBP 50,000. 清末至民初大型銅鎏金蓮花生像西藏，約1850-1950年。蓮花生大士結禪定座坐於雙層蓮座上，右手執金剛杵，左手執頭骨杯。他身著交領式僧衣，層層套迭，衣紋自然流暢，繁複華美，帽簷以日月為中心，耳環上鑲嵌綠松石。來源：英國古玩市場。品相：總體狀況良好，與年齡相稱。少量輕微的劃痕、凹痕、缺損和鎏金磨損。一些鑄件不規則，有腐蝕跡象、黑點、舊清漆和顏料的殘留物，一些鑲嵌物丟失，一些可能是後來更換的，三叉戟（左肩下方的柄腳連接）丟失了。底座保留了原來的封印板。考慮到雕像的重量，雕像內部的內容可能仍然存在。重量：4,944 克尺寸：高 33.8 厘米拍賣結果比較：比較一件銅鎏金蓮花生大士像，高25.5釐米，為十六至十七世紀，見巴黎佳士得Art d'Asie 2010年6月8日 lot 355, 售價EUR 46,600。比較一件相似的銅鎏金蓮花生大士像，高26釐米，約十五世紀，見倫敦邦翰思Fine Chinese Art 2015年11月12日 lot 74, 售價GBP 50,000。

A GILT BRONZE FIGURE OF AMITAYUS, MID-QINGChina, 18th century. Finely and heavily cast seated in dhyanasana on a double-tiered lotus pedestal with beaded rim, wearing long flowing robes incised with detailed floral scroll borders, beaded necklaces, armlets and bracelets. The serene face with heavy-lidded downcast eyes below gently arched eyebrows, a broad nose, and slender lips, flanked by long pendulous earlobes with lotus earrings, the hair arranged in a high chignon behind the elaborate crown.Provenance: Antiquitaeten Gabriele Ruef, Munich, Germany, 30 May 1967. Collection of Leopold Strasser (1919-2010), acquired from the above and thence by descent within the same family. Old collector's number '0324' written in white to the interior of the base. Copies of the original invoice, dated 30 May 1967, signed by Gabriele Ruef and stating a purchase price of DM 390, as well as an attached expertise, erroneously describing the statue as Tibetan, and with a hand-drawn image of the bronze, accompany this lot. Condition: Good condition with some casting irregularities, the base unsealed, the interior with encrustations, the inlays and kalasha lost, small nicks and dents, extensive wear to gilt.Weight: 882.1 gDimensions: Height 16.8 cmAuction result comparison: Compare a related gilt bronze figure of Amitayus, also dated to the 18th century and of closely related size, at Christie's New York in Exquisite Splendor: Chinese Ceramics and Works of Art on 1-15 December 2015, lot 44, sold for USD 15,000. Compare also a related but larger (33 cm high) gilt bronze Amitayus at Christie's London in Fine Chinese Ceramics and Works of Art on 10 May 2011, lot 78, sold for GBP 61,250. 清代中期銅鎏金無量壽佛坐蓮像中國，十八世紀。精美製作的無量壽佛手結禪定印，結跏趺坐坐於雙層蓮座上，蓮座周邊寶珠裝飾。無量壽佛身著飄逸長袍，長袍上有著精緻的花卉紋，佩戴著串珠項鍊，臂環和手鐲。 無量壽佛平靜的面容，眼瞼下垂，眉毛微微拱起，寬鼻，嘴唇微抿，臉部兩側是長長的耳垂，耳垂上佩戴著蓮花耳環，頭髮高聳，佩戴著精緻的皇冠。 來源：德國慕尼黑Antiquitaeten Gabriele Ruef古玩藝廊，1967年5月30日。Leopold Strasser (1919-2010)收藏，購於上述收藏，保存在同一家族至今。底座内用白色寫著舊時藏家編號'0324'。隨附一份原始單據的複件，可見藝廊主簽名和當時的售價390馬克, 以及鑒定（不過錯誤描述爲西藏造像）與手繪造像。 品相： 品相良好，鑄造不規則，底座未密封，內部有結殼，遺失了鑲嵌寶石，局部小刻痕和凹痕，鍍金層磨損嚴重。 重量：882.1 克 尺寸：高16.8 厘米 拍賣結果比較：一件相近無量壽佛銅鎏金造像，尺寸相近，十八世紀，于紐約佳士得Exquisite Splendor: Chinese Ceramics and Works of Art2015年12月1-15日 lot 44, 售價USD 15,000。 一件相近但更大 (高33 厘米) 的銅鎏金無量壽佛于倫敦佳士得Fine Chinese Ceramics and Works of Art 2011年5月10日 lot 78, 售價GBP 61,250。

A MONUMENTAL WOOD STATUE OF GUANYIN, QING DYNASTYChina, 1644-1912. Finely carved standing, wearing a loose flowing robe falling in graceful folds to just above the bare feet, open at the chest to reveal a floral necklace, the eyes with black glass inlays, the hair swept up into a high chignon and centered with a figure of Amitabha seated on a lotus-form base. Traces of red, white and black pigments.Scientific Analysis Report: A 14C measurement report was completed by Antiques Analytics Laboratory, Germany, Dr. R. Neunteufel, on 14 December 2020, number AA 21-06102. The report states a date of 1687 - 1730 (24% probability) or 1806 - 1925 (71,4% probability). A copy of the report accompanies the lot. Provenance: From a noted private collection in Poland. Acquired ca. 1990 in the local market. Condition: The statue with losses, worm holes, remnants of pigments, natural age cracks, all as expected and commensurate with age.Dimensions: Height 158 cm (excluding the plexiglass base) Mounted to a fitted plexiglass base (2).This finely carved figure retains all of the robust power and majesty seen in figures of Tang, Song and Jin dynasty date. The folds of the drapery in the shawl, scarves and dhoti worn by this figure are reminiscent of that seen in painted wood figures of Song date, but the small, pursed mouth, the slender nose and oblique eyes, combined with the crown are more similar to those found in Ming painted sculpture.Literature comparison: Another figure of this type, dated Song dynasty, is in The National Gallery, Prague and is illustrated in Lubor Hajek and Werner Forman, A Book of Chinese Art, plate XIII. The long scarf draping over the shoulders and trailing to the base appears to be a characteristic of sculpture of the Yuan to Ming dynasty. See, for example, two large painted wood figures of bodhisattvas, each measuring 220 cm., from the Liang-sheng T'ang Collection, illustrated in Ancient Chinese Sculpture II, Kaohsiung Museum of Fine Arts, Taiwan, 2000, pp. 94-7, nos. 37 and 38. Similar treatment of the drapery can be found on a smaller figure (measuring 166 cm. high) from the same collection, illustrated ibid., p. 102-3, no. 41.Auction result comparison: Compare a related wood figure of Guanyin, at Sotheby's New York in Fine Chinese Ceramics & Works Of Art on 16 September 2014, lot 503, bough in at an estimate of USD 30,000 to 50,000. Compare also a related wood figure of Guanyin, dated 17th-18th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 29 March 2006, sold for USD 66,000. 清代木雕觀音立像中國，1644-1912年。木雕觀音菩薩跣足立於石座上，菩薩面頰飽滿，眼睛鑲嵌著黑色玻璃，雙唇微啟，頭戴高冠，上原有化佛阿彌陀佛坐像。束髮高髻，餘發自兩側垂落。左右手前肢遺失。菩薩肩覆披帛，頸飾精緻華美佩飾。雕像表面依然多處可見白色、紅色以及黑色殘彩。科學檢測報告: 一份碳14定年檢測，2020年12月14日，德國古玩檢測實驗室Dr. R. Neunteufel，編號 AA 21-06102. 檢測結果認爲時間約爲 1687 - 1730 (24% 可能性) 或1806 - 1925 (71,4% 可能性)，隨附檢測報告副本。來源：波蘭知名私人收藏，約於1990年購於當地市場。 品相：雕像有缺損、蟲洞、顏料殘留和自然年代裂縫，與年齡相稱。 尺寸： 高158 厘米 (不含底座) 有機玻璃底座 (2) 拍賣結果比較：比較相近的木雕觀音，見紐約蘇富比Fine Chinese Ceramics & Works Of Art2014年9月16日 lot 503, 估價USD 30,000 to 50,000；另一件十七至十八世紀的木雕觀音，見紐約佳士得Fine Chinese Ceramics and Works of Art 2006年3月29日 售價USD 66,000。

Monumental Chinese relief, rectangular shape showing children carrying a statue and dressed with masks, in landscape, partly gilded on dark ground; script signs; possibly plaster, rubber and synthetic materials; in wooden frame. 360X135cm

Chinese boxwood carved happy old fisherman hold fish figures statue. H:8in(20.2cm) W:6in(15.2cm)

A collection of Chinese plates and statue in soapstone Een verzameling van Chinese bordjes en een beeldje in zeepsteen. Dia 18 - 22 & H 24 cm

Chinese Qing Dynasty porcelain jar of globular form decorated in the Famille Verte palette with figure of a sage, a warrior, statue of a kylin, on plinth base with calligraphic inscriptions and bundle of two crates again with calligraphic inscription, the white ground with further character marks to shoulders with double blue rings to base, 15.5cm high, with replacement hardwood domed finialled cover on carved hardwood stand, 27.5cm high overall.Condition:As images.Worn enamels, scratches and glaze impurities to body. Long very fine vertical scratch, possibly a haircrack but not visible internally, approx. 4" to left side of bench. Small knock to edge of glaze on foot rim. firing cracks to interior base.hardwood cover with loose metal finial. Water staining and slight damage to hardwood stand. 

A traditional, Chinese, hand carved, amber resin, statue of a lady holding an oversized flower, on a custom made base. Statue hight: 25.5 cm, base hight: 4.5 cm.

A collection of vintage 20th century Chinese Oriental and other curios comprising of a resin statue of a woman, stone parakeet bookends, Chinese Yi Xing style teapot, temple foo dog on stand and more. Largest measures 34cm.