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'LION AT REST', MUGHAL EMPIRE1526-1857. Watercolors on paper. The resting lion reclining in a bamboo grove within a rocky landscape under dark wispy clouds, raising his hind legs while lightly crossing the fore paws in one of his natural poses. The beast's face shows a fierce expression with wild eyes and pricked ears, the mouth agape revealing sharp teeth and a long tongue. The fur, mane, and bushy end of the tail finely executed with meticulous linework. Provenance: English trade, acquired by the last owner at auction in the United Kingdom within the last ten years. Old label 'CA b' to lower left corner. Condition: Good condition with some wear, minor soiling, creasing, few small losses, one repaired tear (approx. 8 cm long) to left edge, further minor tears to edges, the upper margin with old masking tape.Dimensions: Size 47 x 69 cmThe Mughal Empire was an early-modern empire that controlled much of South Asia between the 16th and 19th centuries. For some two hundred years, the empire stretched from the outer fringes of the Indus river basin in the west, northern Afghanistan in the northwest, and Kashmir in the north, to the highlands of present-day Assam and Bangladesh in the east, and the uplands of the Deccan plateau in south India.The Mughal artistic tradition, mainly expressed in painted miniatures, as well as small luxury objects, was eclectic, borrowing from Iranian, Indian, Chinese and Renaissance European stylistic and thematic elements. Mughal emperors often took in Iranian bookbinders, illustrators, painters and calligraphers from the Safavid court due to the commonalities of their Timurid styles, and due to the Mughal affinity for Iranian art and calligraphy. Miniatures commissioned by the Mughal emperors initially focused on large projects illustrating books with eventful historical scenes and court life, but later included more single images for albums, with portraits and animal paintings displaying a profound appreciation for the serenity and beauty of the natural world. For example, Emperor Jahangir (reigned 1605-1627) commissioned brilliant artists such as Ustad Mansur (active 1590-1624) to realistically portray unusual flora and fauna throughout the empire.Literature comparison: Compare a closely related miniature painting of a lion at rest, dated ca. 1585 and attributed as “one of the early works of Mansur”, 20.3 x 15.2 cm, in the Metropolitan Museum of Art, accession number 1985.221.

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).

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 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 BRONZE FIGURE OF BUDDHA, PRE-ANGKOR PERIODStyle of Angkor Borei, Ta Keo region of the Mekong Delta, 7th century. Seated in dhyanasana on a rectangular plinth, the hands in dhyanamudra, the face with downcast eyes below gently arched eyebrows, flanked by two elongated ears, the hair in tight curls, surmounted by an ushnisha.Provenance: From the collection of an American gentleman. Galerie Zacke, 11 May 2019, lot 311, sold for EUR 8,216 or EUR 8,700 adjusted for inflation at the time of writing. Michael Phillips, acquired from the above. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme D'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Extensive wear, some losses and cracks, traces of erosion, minor nicks. Very good condition considering the high age of this statue. Fine naturally grown patina.Weight: 521.9 g Dimensions: Height 17.4 cm (excl. base), 18.5 cm (incl. base)With a fitted modern wood base. (2)Angkor Borei was an important early center of Buddhism and Buddhist temple construction before the establishment of the Khmer Empire. The present figure is characteristic of Angkor Borei sculpture, as seen in the subtle protuberance of the ushnisha and the large snail-shell curls. Sculpture from this early period exhibits the naturalism and grace that echoes the treatment of the body in Gupta-period India, where ornamentation is minimized to emphasize the smooth volume of the form.Expert's note: The raw material of this sculpture is copper ore with iron oxide veins, which has developed an extensive malachite and azurite patina over the past 1400 years. A closely related piece from the same group was tested at the Ciram Laboratory in France in 2018 to confirm the material. According to the previous owner, the piece was originally found in the Ta Keo region of the Mekong Delta.Literature comparison:Compare a related bronze figure of Buddha, dated 7th-8th century, in the collection of the Metropolitan Museum of Art, accession number 1981.462.2.Auction result comparison:Type: Remotely relatedAuction: Christie's New York, 13 September 2016, lot 265Price: USD 37,500 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: A Sandstone Figure of a Seated Buddha, Pre-Angkor period, Angkor Borei style, 7th centuryExpert remark: Compare the closely related pose and facial features. Note the different material and significantly larger size (48.2 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A SANDSTONE GUARDIAN FIGURE DEPICTING HANUMAN, KOH KER STYLEKhmer Empire, 10th century. Finely carved seated on a rectangular base with one knee raised, his right hand holding a vajra and his left resting on his thigh, wearing a short pleated sampot with fine incision work. The face well detailed, the large bulging eyes with neatly incised pupils, the mouth agape revealing sharp teeth and a wrathful expression, flanked by elongated lobes with large earrings, the head surmounted by an elaborate foliate crown. Provenance: From a distinguished Italian private collection, acquired between the late 1960s and early 1970s. 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: Excellent condition, commensurate with age. Extensive wear, small losses, minor nicks and surface scratches, signs of weathering and erosion, structural cracks, encrustations. Fine, natural patina overall.Dimensions: Height 62.8 cmGuardian figures such as the present lot were placed aside of gateways, steps, and entrances of sacred areas like temples.Koh Ker, which lies 50 miles (80 km) northeast of Angkor, was the capital of the Khmer Empire from 928-944. Koh Ker's sculptural style is thus distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form. The Koh Ker rulers adhered to the Hindu religion, especially the Shaiva sect.Hanuman is most prominently featured in the Indian epic Ramayana, which had gained popularity in Cambodia by the 600s. As a divine being, Hanuman has the power to augment or diminish his size at will, and so he grows to such a stature that he can span the ocean with a single stride.Literature comparison: Compare a closely related Koh Ker sandstone figure of Hanuman, 177.8 cm high, in the collection of the National Museum of Cambodia, inventory number NMC.259. Compare a related Koh Ker bronze figure of Hanuman, 15.2 cm high, in the collection of the Cleveland Museum of Art, accession number 1987.43.Auction result comparison: Type: Related Auction: Christie's Paris, 7 June 2011, lot 381 Price: EUR 97,000 or approx. EUR 119,000 adjusted for inflation at the time of writing Description: An important sandstone figure of a lion-headed guardian, Cambodia, Khmer, Koh Ker Style, mid-10th century Expert remark: Compare the closely related pose and manner of carving, the guardian also holding a vajra in his hand. Note the size (84 cm).

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 BUFF SANDSTONE FIGURE OF DANCING GANESHA, MAHAGANAPATI, 10TH CENTURYCentral India. Carved as a dancing Ganesha with his right leg raised, the trunk curling playfully to his left, holding a battle ax and prayer beads in his right hands, and a flower with leaves in his upper left hand, a bowl filled with sweets next to his foot, a naga wrapped around his belly.Published: Kitty Higgins Far Eastern Art, Indian Stone Sculpture, Washington, 1989, no. 13. Provenance: Kitty Higgins Far Eastern Art, Inc., Washington, D.C., USA, 1994. A copy of the receipt from Kitty Higgins, dated 11 February 1994, and stating a purchase price of USD 6,400 or approx. EUR 12,500 (converted and adjusted for inflation at the time of writing), and a copy of a letter of appraisal signed by Kitty Higgins and dated 29 October 1994, accompany this lot. Kitty Higgins is a Far Eastern Art expert and owner of a notable gallery in Washington, D.C. She also curated and lectured many exhibitions, and is an avid collector. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, minor losses, encrustations, nicks, scratches, few structural cracks. Dimensions: Size 58.5 x 36 cmGanesha, the son of Shiva and Parvati, is known as the giver of counsel and remover of obstacles for humans and deities alike. Although his elephant-headed form lends a playful quality, Ganesha's significance is profound. As overseer of the relationship between past, present, and future, Ganesha maintains balance in the universe. He is typically worshipped at the beginning of rituals. Known in India for his youthful cleverness and predilection for pranks, Ganesha is frequently depicted dancing or standing in tribhanga.The figure here is represented as Mahaganapati, or the dancing Ganesha. With his hips swayed and his right foot slightly raised, his pose echoes that of his father's dancing form, Shiva Nataraja. Ganesha's dance, however, has a childlike quality that contrasts with the cosmic destruction of Shiva's Nataraja form. With his dance, Ganesha carries away all obstacles, his rotund belly reinforces his powers to shower his devotees with abundance.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2019, lot 645Price: USD 50,000 or approx. EUR 57,500 converted and adjusted for inflation at the time of writingDescription: A red sandstone stele of dancing Ganesha, Central India, 10th-11th centuryExpert remark: Compare the closely related pose, implements, and color of the stone, as well as the similar size (62.2 cm)

JOHANN ZOFFANY (1733-1810) Edward Townsend Singing 'The Beggar' painted in 1796, oil on mahogany panel, 76.2 x 63.5 cm; 30 x 25 inches, in its original eighteenth-century carved frame.Provenance: Johann Zoffany;Zoffany sale, Robins, 9th May 1811, lot.89;Henry Harris;Harris sale, Robins, 12th July 1819, lot.6;Thomas Wilkinson (1762-1837);Jane Anne Brymer (1804-1870), daughter of the above;William Ernest Brymer (1840-1909) of Ilsington House;Wilfred John Brymer (1883-1957); son of the aboveConstance Mary Brymer (1885-1963), sister of the above;John Hanway Parr Brymer (1913-2005); nephew of the above;Maureen Brymer (1924-2021) by inheritanceExhibited: London, Royal Academy, 1796, no.85 (‘Mr Townsend as the beggar in the pantomime of Merry Sherwood’);London, Royal Academy, Exhibition of Works by the Old Masters, 1893, no.44 (‘An Actor’)Literature: Victoria Manners and George Charles Williamson, John Zoffany RA: His Life and Works 1735-1810, London, 1920, p.276; Mary Webster, Johann Zoffany, New Haven and London, 2011, p.585 Martin Postle, Johann Zoffany RA: Society Observed, exh. cat., New Haven (Yale Center for British Art), pp.44-45, reproducedThis little-known theatrical portrait is one of the finest works by Johann Zoffany from the end of his career. Depicting the comic actor Edward Townsend singing ‘The Beggar’, a song by the playwright John O’Keeffe written and set to music by William Reeve for Merry Sherwood, or Harlequin Forester by William Pearce, an entertainment on the theme of Robin Hood. Zoffany captures Townsend with his mouth open wide in the midst of the song. This unusually animated portrait is rendered with Zoffany’s characteristic attention to the minute details of costume and physiognomy. Zoffany was a pioneer of theatrical portraiture, where individual actors are portrayed in the roles for which they were most celebrated, it is a genre which was uniquely developed in Britain in the eighteenth century. Here the comic singer Edward Townsend is shown on stage singing in the midst of William Pearce’s popular pantomime Merry Sherwood. But rather than merely being an illustration of the entertainment, Zoffany paints a portrait of Townsend en role, exploiting a complex layer of relationships between audience and actor, viewer and painting. Zoffany’s theatrical portraits are regarded as some of his most innovative and beguiling works and only a handful remain in private collections, of which this is one of the finest. Preserved in outstanding condition and painted on a mahogany panel, this portrait has not been on the open market since the early nineteenth century and has not been exhibited in public since 1893.By 1796 Johann Zoffany was at the height of his powers as a portrait painter, particularly paintings of complex conversation groups and interiors scenes, rich with domestic and decorative details. Recently returned from a period spent in India, where he had completed a series of remarkable images of European and Indian sitters, including Colonel Maudaunt’s Cock Match now in the Tate, London. Zoffany re-established himself as one of London’s leading portrait painters. Zoffany had found success in London in the 1760s producing a series of remarkable and hugely popular portraits of famous actors. Zoffany worked particularly closely with David Garrick, commemorating his most celebrated theatrical roles in a series of largely comic portraits.The comic singer Edward Townsend sang The Beggar at the first performance of Pearce’s popular pantomime Merry Sherwood at Covent Garden on 21 December 1795. Townsend made the song popular and it became a favourite peace in his repertoire: he sang it at his benefit on 20 May 1796, and was still rendering it at Covent Garden in June 1800. The entertainment, and Townsend’s performance, were an immediate sensation. The success of the pantomime may well have prompted Zoffany to paint Townsend and to submit the painting for the annual exhibition at the Royal Academy in 1796, where the painting is described in the exhibition catalogue as: ‘Mr Townsend in the Beggar, full of expression and character, and a striking resemblance.’ The painting was hugely admired by contemporaries at the annual exhibition. The critic Anthony Pasquin noted: ‘Mr Townsend, the Comedian in the Character of a Beggar. Zoffany. This portrait is eminently characteristic, with a strict adherence to the minutiae of the stage dress. The countenance partakes of all the muscular whim of the original contour and expression of this supplicating visage.’Robin Simon has noted that in his theatrical portraits, such as this, Zoffany’s: ‘nuanced approach enabled him to create a distinctive effect: that of depicting the actors both in and out of character at the same time. This duality lies at the heart of his achievement; but it also reflects the contemporary practice of a number of leading comic actors who, in a tradition that survives in the British pantomime, would interact, sometimes even verbally, with the audience during performance.’[1] There is a sense that in the present portrait Zoffany has caught Townsend totally absorbed in his performance. It is this duality which made Zoffany’s theatrical portraits so publicly successful.The present painting has not been publicly exhibited since 1893, when it was lent to the Royal Academy’s annual exhibition of old master paintings, as a consequence it has remained largely unknown to scholars. Mary Webster, in her authoritative 2011 monograph on Zoffany, assumed the painting was missing. The present portrait remained in Zoffany’s collection and was included in his posthumous auction in 1811. It was acquired in 1820 by Thomas Wilkinson the son of Jacob Wilkinson who was one of Zoffany’s most important supporters. A Director of the East India Company, Wilkinson acquired The Watercress Girl by Zoffany in 1780 and its pendant, The Flower Girl. Zoffany also painted his portrait in 1782 (The Chequers Trust) and Wilkinson, in turn, was one of those who supported Zoffany’s petition to travel to India. The painting passed to Thomas Wilkinson’s daughter Jane Anne, who married the Reverend William Thomas Parr Brymer, the painting has remained by descent in the Brymer family ever since.

Basil Ivan Rákóczi (1908-1979)Faces I (Study for Three)Indian ink and watercolour, 25 x 35.5cm (9¾ x 14")SignedProvenance: With Charles Gilmore Fine Art, HolywoodExhibited: Holywood, Co. Down, Charles Gilmore Fine Art - White Stag Paintings, 15th November 2003

Kenneth Hall (1913-1946)Man in RoomIndian Ink and colour wash, 20 x 26cm (8 x 10¼")SignedProvenance: With Charles Gilmore Fine Art, Holywood, Co. Down

Kenneth Hall (1913-1946)Naked by MoonlightIndian ink and watercolour, 27.4 x 25.5cm (10¾ x 10")SignedProvenance: With Charles Gilmore Fine Art, Holywood, Co. Down

Henry Moore (1898-1986). Working Model for Figure: Arms Outstretched (1960). Conceived in 1960 and cast by the Fiorini Foundry, London in 1984 in a numbered edition of 9 plus 1 artist's proof Cast numbered 6/9 Casts: Cast 0/9 Henry Moore Foundation Cast 4/9 Montréal Museum of Fine Arts: David R. Morrice bequest 1981 Bronze Provenance: Private Collection, London.  Property of a Distinguished Gentleman of Title. Dimensions:  Height (including base): 62cm. Lot Essay:  The human figure was Henry Moore’s abiding passion and the primary subject of his art. Working Model for Seated Figure: Arms Outstretched, conceived in 1960, belongs to a series of sculptures that Moore created in the 1960s that occupies a key position in his oeuvre. Paul Cézanne, Bather With Outstretched Arms, 1878, Oil on Canvas, Private Collection. The influence of Cézanne on Moore’s work is particularly apparent in the present sculpture. Reflecting on his lifelong passion for Cézanne’s work and its importance to him, Moore wrote with particular reference to Les Grandes baigneuses: “Cézanne’s figures had a monumentality about them that I liked. In his Bathers, the figures were very sculptural in the sense of being big blocks and not a lot of surface detail about them. They are indeed monumental but this doesn’t mean fat. It is difficult to explain this difference but you can recognise a kind of strength. This is a quality which you see only if you are sensitive to it. It’s to do with the full realisation of the three-dimensional form; colour change comes into that too, but not so importantly as human perspective. Bathers is an emotional painting but not in a sentimental way. Cézanne had an enormous influence on everyone in that period, there was a change in attitudes to art. People found him disturbing because they didn’t like their existing ideas being challenged and overturned. Cézanne was probably the key figure in my lifetime†(quoted in Alan Wilkinson, ed., Henry Moore, Writings and Conversations, Lund Humphries, 2002, pp. 150–51). In 1959, a year before the conception of the present work, Moore managed to acquire for himself one of Cézanne’s paintings of bathers, later declaring, "It's the only picture I ever wanted to own. It's...the joy of my life. I saw it [in 1959] in an exhibition and was stunned by it. I didn't sleep for two or three nights trying to decide whether to [buy it]...To me it's marvellous. Monumental." (quoted in Monitor, first broadcast in 1960). The figures in Moore's sculptures rarely engage in gestures of extrovert display. Mothers may embrace or cradle their children, but Moore's single figures, in their typically seated or reclining positions, usually hold their arms close to their sides, or angle them to support their bodies. This lack of gesture does not necessarily imply an emotional aloofness on the part of the sculptor, rather it relates to the significant structural difficulties in carving or casting a fully extended or raised arm as part of a sizeable sculpture--the arms, together with the ankles, are often the most fragile parts of a standing figure. Given the large, block-like mass of most Moore sculptures, which the sculptor related to landscape forms, a raised or extended arm should be a rarity, and so it is in Moore's oeuvre--the present Working Model for Seated Figure: Arms Outstretched is the only major Moore sculpture that exhibits this gesture. Without hands, the emotional context of the woman's gesticulation is ambiguous, and probably intentionally so. She may be engaged in an act of lamentation, or quite the opposite: she may be prepared to warmly greet and even embrace the approaching viewer, eager to engage in a spirited conversation while gesturing with her arms. Moore is known to have admired an Arawak Indian bird man from Jamaica in the collection of the British Museum, a figure with the body of a man and the head and beak of a bird, with outstretched arm that act as wings (fig. 1). "What I liked about this," he wrote, "is the way the sculpture was built up in divisions, lump upon lump, as though it were breathing in matter, up from the toes, along the arms from the fingers, into the great swelling chest" (quoted in D. Finn, Henry Moore at the British Museum, New York, 1981, p. 117). Although Seated Figure: Arms Outstretched does not actually exhibit the same "lump by lump" manner of construction, the alternate swellings and constrictions of form along the course of the figure generate a similarly powerful effect. The truncated legs take on more mass at the hips, then grow narrower at the waist, and finally expand most broadly at the upper body and arms to make them the most salient features of the sculpture. Moore extended the central horizontal axis of the arms across the ledge-like overhang of her breasts, more pronounced in this working model than in the smaller maquette done in 1960, which emphasises the rising gesture that characterises this sculpture, in contrast to the earthbound weightiness one ordinarily associates with Moore's figures. No less striking and unusual than the outstretched arms in this Seated Figure is the large hole in her head. Moore frequently defined the faces of his figures with a pair of small, shallow holes for eyes, or with a single sizeable concavity, as if the face were simply a mouth only. There is an opening under the beak of the Arawak Birdman. To pierce the head of the woman with such a large, gaping hole, making it like the huge eye of a needle, is an extreme but effective measure that opens up the sculpture, while adding a further note of uncertainty concerning the woman's emotional state and the nature of her expression. Moore wrote, "For me the hole is not just a round hole. It is the penetration though the front of the block to the back. This was for me a great revelation, a great mental effort... The hole as form--there is as much shape in a hole as in a lump...There's no doubt a deep psychological explanation of the fascination of the hole" (quoted in A. Wilkinson, ed., Henry Moore: Writings and Conversations, Berkeley 2002, pp. 206 and 207). Literature:  Alan Bowness, ed., Henry Moore, Sculpture and Drawings, 1955-1964, vol. 3, London, 1986, no. 463a, illustration of another cast pp. 98-99 David Mitchinson, ed., Celebrating Henry Moore, Works from the Collection of the Henry Moore Foundation, London, 1998, no. 192, illustration of another cast n.p.

Astley David Middleton Cooper (1856-1924) "Landscape at Eagle Peak, Montana, with meeting of Lakota, Sioux, and Cheyenne Warriors," O.O.C., signed and dated 1920, 243cms x 181cms (96” x 71”). (1) Provenance :  Mallow Castle, Mallow, Co. Cork.  In 1876, an alliance of Native American forces, led by the Lakota Sioux leader Sitting Bull, defeated the US 7th cavalry regiment under General Custer, at the Battle of Little Big Horn in Montana. The battle took place eight years after the signing of the Fort Laramie Treaty, which guaranteed the Black Hills of Dakota remaining the property of the Lakota Sioux. The Treaty was not honoured, and so an alliance was formed between Lakota Sioux, Cheyenne and Arapaho, to defend their lands against incursions by settlers and goldminers. This painting by Astley David Middleton Cooper is traditionally held to represent the formation of this alliance, in Montana, with Eagle Peak mountain in the distance. On the left is Sitting Bull, wearing a headdress arrayed with upright golden eagle tail feathers. To the right is the Cheyenne chief  Two Moons, wearing a buffalo war bonnet. The third figure seated on the far side probably represents Chief Gall. In the background, across a ravine, can be seen the assembled Lakota warriors. Over the course of a life that spanned the second half of the nineteenth century and the first quarter of the twentieth, Astley David Middleton Cooper produced many evocative paintings, depicting Native American peoples and the magnificent landscapes of North America. His paintings, of warriors on horseback, tipi villages and herds of buffalo, charted the decline of Native American culture as tribal lands were encroached upon by European settlers, and did much to popularise the image of heroic Native Americans, struggling to maintain their way of life. However, Cooper was also sympathetic to settlers and the hardships they endured. One canvas depicts an abandoned covered wagon, surrounded by grazing buffalo, while a narrative series illustrates a settler and his daughter, held captive by a hostile tribe, and the ensuing hostage negotiations. Several poignant paintings include Lakota Sioux warriors – models in the artist’s studio - looking at canvases that portray their disappearing way of life. Cooper’s paintings are characterised by close attention to detail, such as clothing, beadwork, eagle feathers and brightly-coloured woven blankets. He also produced landscapes featuring rivers and forests—including Californian giant redwoods—as well as decorative works depicting cherubs, models and classical figures. Born in St. Louis, Missouri, Cooper’s father David Middleton Cooper was a leading Irish-born surgeon, while his mother, Fannie Clark O’Fallon was a grand-niece of William Clark, the explorer who took part in the famous trans-continental expedition of 1804. The artist George Catlin, who painted scenes of  Plains Indian life, was a family friend. Having studied art at Washington University, Cooper travelled widely, living with Native American peoples and recording their culture in paintings and drawings. He spent two years in Boulder, Colorado, producing drawings for Frank Leslie’s Illustrated Newspaper, before settling in San Francisco, where he built up a successful practice as a genre and portrait painter. Among his sitters was General Ulysses S. Grant.  In 1883 Cooper established himself at San Jose, building a large studio in an ornate Egyptian style. A sociable and popular figure in San Jose, Cooper often paid his bills at bars with paintings. He married late in life, in 1919, just five years before his death. His works can be found in many museums, particularly in the American West. In his Artists in California 1786-1940, the art historian Edan Hughes notes there are works by Cooper in the San Jose Historical Museum, Stanford Museum and the Oakland Museum. Relics of the Past, The Buffalo Head, a still life by Cooper in the Buffalo Bill Center of the West (Whitney Western Art Museum, Cody, Wyoming), includes portraits of Sitting Bull, Two Moons, Red Cloud and Chief Gall. Dr. Peter Murray   2022   

Brassware - Victorian horse brasses, Art Nouveau sunflower design letter rack, early 20th century brass Indian tankards, horse spurs, lighter, animal models, etc

A Child Jesus bed, sissoo, carved ivory plaques with darkened black backgrounds, silver finials, stras bottom, Anglo-Indian, 18th/19th C., missing tops of headboards, glueing, other minor faults, unmarked silver, pursuant to Decreto-Lei 120/2017, of 15 September - art. 2, paragraph 2, letter c),. Notes: This lot is subject to CITES export/import restrictions and is duly certified. Prospective purchasers are advised by Cabral Moncada Leilões that several countries prohibit the importation of property containing materials from endangered species, including but not limited to ivory, coral and tortoiseshell. Accordingly, prospective purchasers should get information concerning relevant customs regulations prior to bidding if they intend to import this lot into another country., Dim. - 13,5 x 35 x 19 cmThis lot is subject to CITES export/import restrictions and is duly certified. Prospective purchasers are advised by Cabral Moncada Leilões that several countries prohibit the importation of property containing materials from endangered species, including but not limited to ivory, coral and tortoiseshell. Accordingly, prospective purchasers should get information concerning relevant customs regulations prior to bidding if they intend to import this lot into another country.

4 x Silver Metal Asian Art items. Chinese Spoon likely Silver with Character marks. White Metal circular Cricket Cage, likely Indian. Silver Metal Matchbox Holder possibly Sino-Tibetan or Arabic. Chinese white metal Vesta type Case with applied Dragon and a broken hinge. Spoon is 13cm long.4 x 银色金属亚洲艺术品。中国勺子可能是带有字符标记的银色。白色金属圆形蟋蟀笼，可能是印度人。银色金属火柴盒座，可能是汉藏或阿拉伯文。中国白色金属灶神星型表壳，带有应用的龙和破损的铰链。勺子长 13 厘米。

CARTIER: ART DECO DIAMOND CLIP, CIRCA 1930The stylised fountain motif of Persian inspiration, with pierced detail, pavé-set with brilliant and single-cut diamonds, accented by baguette and step-cut diamonds to the centre, mounted in platinum, diamonds approximately 7.00 carats total, signed Cartier Paris, rubbed number L 2942, maker's mark, partially struck French assay marks, length 3.0cmFootnotes:ProvenanceMrs Robert Emmet (1875-1947)Descent to the current ownerMrs Robert Emmet (1875-1947), born Louise Garland, was the daughter of James Garland, co-founder and Vice President of the First National Bank of the City of New York and organiser and builder of the Northern Pacific Railway. In 1896, she married Robert Emmet and the New York Times described their wedding as 'one of the prettiest house weddings of the season'. The service was performed by Archbishop Corrigan under a canopy of red roses in the home of the bride's parents on Madison Avenue, New York, and the entire choir of St. Patrick's Cathedral provided the vocal music accompanied by the organ and Lander's Orchestra. The couple moved to England and settled in Warwickshire buying 500 acres of land and building a manor house in Elizabethan style called Moreton Paddox. During World War One, Moreton Paddox was converted into a 50-bed convalescent hospital for which Louise received a citation from the War Office expressing the highest commendation and most appreciative thanks. A noted collector like her father, Louise was a valued client of Cartier and purchased superlative jewels when visiting their stores in Paris, London and New York. The two lots offered here are from her exquisite personal collection and have been enjoyed by four generations of her family. Significant archaeological discoveries during the second half of the 19th century led to a rediscovery of civilisations beyond Europe's borders. By the turn of the 20th century, Islamic art had become a field of study and inspiration for museums, artists, musicians, dancers, such as the Ballet Russes, and jewellers, such as Cartier. Louis Cartier was influenced by the Exposition des Arts Musulmans at the Musée des Arts Décoratifs in 1903 and the museum's 'Oriental Rooms', which opened in 1905, while Jacques Cartier travelled extensively around India and the Persian Gulf. The resulting relationship between Cartier and the East was long and fruitful, with Persian and Indian-inspired motifs appearing in their jewels from the dawn of the 1900s to the 1930s. Comparable diamond-set 'cloud' and 'fountain' motifs can be found on a variety of jewels by Cartier (see Eds. Ecker, H. et al, 'Cartier and Islamic Art: In Search of Modernity', London, 2021, pp.178-179 for a sautoir pendant and cigarette case of Persian inspiration from 1928-29 and p.275 for an emerald and diamond necklace from 1932, also see lot 148, 'Fine Jewellery', sold Bonhams, 25th April 2018, for a circa 1930 emerald and diamond bracelet). It is also interesting to note the study of Islamic architectural motifs in the design drawings of Charles Jacqueau (Eds. Ecker, H. et al, ill.p.272).The Persian inspired form of this clip also incorporates baguette-cut diamonds - one of notably large size - and this was one of Cartier's innovations. The baguette-cut is believed to have developed from the 16th century 'hogback' used for the setting of monograms and jewelled initials. Cartier reintroduced this cutting style in 1912 and its popularity increased throughout the Art Deco period due to its bold clean lines and geometric form. Here, the baguette-cut has been combined with the brilliant and the square-cut – the deceptively simple geometric lines of the jewel are in fact a foil for its technical artistry.For further information on this lot please visit Bonhams.com

HENRI PICQ: MULTI GEM-SET AND DIAMOND TUTTI FRUTTI DOUBLE-CLIP/BROOCH, CIRCA 1930Each openwork shield-shaped clip composed of twisting vines issuing from a central ogee motif, set throughout with brilliant, old brilliant, single and baguette-cut diamonds, leaf-shaped carved rubies and sapphires and fluted emerald beads studded with diamonds, with further black enamel detail, one clip with maker's mark HP, both clips with French assay marks, length 6.2cmFootnotes:Provenance: A Private Collection of 20th Century Jewels (Lots 206 - 216)This double-clip/brooch displays the maker's mark of Henri Picq (1861-1941) whose workshop was favoured by Cartier as their principal Parisian supplier for gem-set platinum jewellery between 1900-1918. The Henri Picq workshop was renowned for their high-quality platinum jewels and later produced many of Cartier's 'Tutti Frutti' creations. Cartier 'was said to use the best platinum in Paris. It was renowned for its white, shimmering surface, an alloy of which the Picq workshop was especially proud' (see Nadelhoffer, H., 'Cartier', Thames and Hudson, 1984, p.59).Cartier's Indian-inspired 'Tutti Frutti' jewels are some of the firm's most celebrated and recognisable designs. Cartier first began experimenting with Indian-inspired jewels as early as 1901 when the firm produced a necklace for Queen Alexandra. In 1911, Jacques Cartier first visited India for the Delhi Durbar, a two-week mass event celebrating the coronation of George V, a dazzling scene where the giving and receiving of jewels played an important role in the ceremony. This was the beginning of a long and fruitful relationship between Cartier and the East, resulting in numerous purchases of rare, historic Indian jewels in Delhi, Calcutta and Bombay. The ancestral carved gems that Jacques Cartier first brought back to Paris inspired the creative genius of Louis Cartier and their designer, Charles Jacqueau, who created light, airy platinum frames that were strong enough to hold them in a variety of geometric arrangements, producing a riot of colour. During the 1920s, Indian princes went to Cartier to have their family jewels and ancestral gems redesigned into modern European jewels. American and European clients simultaneously fell in love with Cartier's Indian-inspired creations that were rooted in antiquity while looking refreshingly modern, capturing the spirit and exuberance of the Jazz Age. The first 'Tutti Frutti' jewel to be shown publicly was a bracelet at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in 1925 and the firm's 'Tutti Frutti' creations continued to flourish throughout the 1930s. During this next decade, Cartier began to move away from the austere geometry of the early Art Deco period towards more sinuous motifs with vibrant combinations of colour and texture.For further information on this lot please visit Bonhams.com

A Maya cylindrical vessel Lake Lojoa Region, Santa Barbara, Honduras, circa 250 - 900 AD pottery with a slightly flared rim, decorated with six pairs of embracing figures and with glyphs, 20cm high. Provenance Christie's, London, 11 October 1991, lot 297. Ian Auld Collection, London. Estate Collection of Ian Auld, 12 September 2019. Romy Rey Collection, London. cf. An identical vessel in the Middle America Research Institute, no.35.6981, from the Lake Lojoa region, Santa Barbara, Honduras, illustrated in Ferdinand Anton, Indian Art in Middle America, Greenwich, 1964, pl.137.

Asian Art - a plated metal rose water sprinkler, possibly Burmese, 27.5cm high; a turned wooden and metal mounted prayer wheel holder, 17cm high; a bronzed tea kettle; a Japanese bronze figure, Fukurokuju; an Indian bronze Naga sun mask, 9.5cm high; etc

A tray containing antique metalware including a pair of brass pigeons, Indian brass vases, horn, weight, Art Nouveau tray, Tibetan incense box etc.

Three Swansea soup plates c.1815-20, one from the Marino Ballroom service and decorated with colourful flower sprays in a naive style, another of lobed form and painted with flower sprays in pink, grey and green, the last with scattered pink roses, the rim applied with white beading, impressed marks to two, 25.3cm max. (3) Provenance: the Lady Rothes Collection. The largest formerly in the Sir Leslie Joseph Collection and exhibited in 1969 at the Glynn Vivian Art Gallery in Swansea. The Marino Ballroom Service contained over 200 pieces and was ordered from the Swansea factory by Mr J H Vivian of Marino, Swansea. The pattern is reminiscent of Indian flowers on contemporary chintz wallpapers and textiles.

Art Deco-style Phoenix china part tea service to include teapot, creamer, cups and saucers, two Woods pottery 'Indian Tree' pattern teapots, a Bohemia crystal cut glass decanter, a Sadler 'Championships the Tennis Match' novelty teapot and assorted china and glassware (2 boxes) 

Set of 8 original vintage art posters of various artists. 1. Abstract Composition by an Indian painter and sculptor Shanti Dave (b.1931) from the Air-India's Collection of Contemporary Indian Art, the poster features an abstract art example in yellow, green, blue, white, brown and black colours. Printed by the Eagle Lithographing Co LTD India. Very good condition, creasing. Country of issue: India, designer: Shanti Dave, size (cm): 101x76, year of printing: 1970s; 2. Orange Flowers by an Indian atist Narayan Shridhar Bendre (1910-1992) from the Air-India's Collection of Contemporary Indian Art, the poster features two people in white clothing, a tree, and orange flower background. Printed by the Eagle Lithographing Co LTD India. Good condition, creasing, tears, staining. Country of issue: India, designer: N.S. Bendre, size (cm): 102x77, year of printing: 1970s; 3. The Flower Seller - Artwork by Pablo Picasso (1881-1973) features a street scene includng people sitting on benches, children playing, a horse dawn cariage and a lady selling flowers. Printed and published in England by Ganymed Press London. Horizontal. Good condition, staining, creasing, pencil mark in margin. Country of issue: UK, designer: Pablo Picasso , size (cm): 46x63, year of printing: 1960s; 4. Le Jardin De Daubigny / Daubigny's Garden - Artwork by Vincent van Gogh (1853-1990) features a luscious green garden with a cat in the foreground and large houses in the background. Horizontal. Fair condition, staining, creasing, tears, paper loss in bottom right corner, printed text on reverse. Country of issue: France, designer: Vincent Van Gogh, size (cm): 56x83, year of printing: 1960s; 5. Place Clichy - Artwork by Pierre-Auguste Renoir (1841-1919) features a lady in a warm coat and hat looking back at busy street scene with smartly dressed people and a horse drawn carriage. Printed and published in England by Ganymed Press London. Good condition, creasing, staining. Country of issue: UK, designer: Auguste Renoir , size (cm): 74x60, year of printing: 1960s; 6. Portrait of the Artist - Artwork by Rembrandt van Rijn (1609-1669) features a self portrait of the artist holding a pait pallet. Printed and published in England by Ganymed Press London. Good condition, creasing, tears, staining, foxing, Country of issue: UK, designer: Rembrandt Van Rijn, size (cm): 79x60, year of printing: 1960s; 7. La Seine A Courbevoie - Artwork by Georges Seurat (1859 - 1891) features boats on the river Seine using his famous pointillism painting technique. Printed in Switzerland. Horizontal. Good condition, pinholes, tears, staining. Country of issue: Switzerland, designer: Georges Seurat, size (cm): 48x60, year of printing: 1960s; 8. Flower Piece by Jan Breughel the Elder from the collection Rijksmuseum Amsterdam, The Netherlands, featuring a colourful image of peonies, lilies, tulips, roses, and wildflowers in a vase. Jan Brueghel the Elder (1568-1625) was a Flemish painter, son of a Flemish Renaissance painter Pieter Bruegel the Elder, known for flower still lifes, allegorical and mythological scenes, landscapes and seascapes, hunting, village, battle scenes, the painting from the poster Flowers in a Wooden Vessel was painted in 1603. Published by Prints for Pleasure Ltd. Printed in Holland. Good condition, creasing, tears. Country of issue: Holland, designer: Jan Breughel the Elder, size (cm): 77x60, year of printing: 1970s.

Assorted Jewellery - Two Indian silver hinged bangles with embossed decoration, diameter 8.6cm, together with three brooches, to include a Victorian seed pearl and yellow metal brooch, an Art Deco paste twin clip brooch and a bar brooch set a blue stone surrounded by white stones.

Mexican school of the 17th century."Virgin of Guadalupe".Oil on canvas.Measurements: 173 x 83 cm.The iconography of the Virgin of Guadalupe acquired great richness and variety especially from the 17th century onwards. The Virgin of Guadalupe is the most important and most worshipped Virgin in Mexico and other Latin American countries. Since the time of the viceroyalty, a complex iconography has developed around her cult, and a great artistic production that is characterised by the conjunction of local art with the European artistic tradition brought from Spain. The origin of the Virgin of Guadalupe is from Extremadura, but the Mexican version has its own origins. An ancient legend tells that in 1531, she appeared to a recently baptised Indian named Juan Diego. He asked him to ask the bishop to build a chapel in his honour, leaving his image imprinted on the Indian's tunic. This event became known as the Miracle of the Roses, and was recorded in the "Nican Mopohua", a text presumably written by the Indian Antonio Valeriano. The Novo-Hispanic image of the Virgin of Guadalupe always appears surrounded by rays of sunlight, an iconographic feature that comes from the apocalyptic and sibylline Virgins, both celestial apparitions. Her iconography was also completed by partially assimilating the immaculist iconography, whose symbolism was established in Spain during the 16th century. It is worth mentioning that, during Spanish colonial rule, a mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and the political opening up of some of the colonies, several artists began to represent a new model of painting with its own identity.

FIVE BOXES OF METALWARE, FRAMED PRINTS AND ORNAMENTS, to include a hand beaten stainless steel dish from the L.R.I school of industrial art Borrowdale, diameter 13cm, a set of Piquot ware, stainless steel teapot, coffee pot, milk jug, sugar bowl, a set of carved oak bellows, length 14cm (working), a mantle clock, height 30cm (no key), a copper quart jug, a pair of brass candle sticks, a set of 1940s brass Post Office scales (with weights), twelve framed pictures, a leather cased set of backgammon, playing cards, a large Indian design brass dish, tray and coffee pot, a modern graduation cap and gown with a pale blue hood, a pair of Mirador binoculars 10 x 42, a full Motor Fuel Ration book, a pack of twelve pictorial postcards of the Royal Mint, four picture postcards of Sark, a cloisonne covered pot, pewter tankard, etc (s.d) (4 boxes + loose)

Five various silver rings. Includes art deco design ring, silver and enamel floral ring, Indian swivel ring and enamel clan style ring. [Will post]

Ɏ KOSAI MORITOSHI: A SUPERB IVORY MANJU NETSUKE DEPICTING THE TALE OF PRINCE HANZOKU AND THE NINE-TAILED FOXBy Kosai Moritoshi (1854-1911), signed Kosai Moritoshi 孝齋 守壽 with kakihanJapan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)Of circular form, the two-part manju finely carved to one side in shishiaibori (sunken relief) with Prince Hanzoku standing in a dynamic pose with all limbs spread out, wearing a pleated sarong and billowing scarves, adorned with a beaded necklace, his face with a grim expression, his curled hair neatly incised. The other side similarly carved with a nine-tailed fox, the true form of Hanzoku’s consort Lady Kayo, the beast with a fierce expression, the long body elegantly curved and still covered in the fine robes of her previous guise. Signed to the back KOSAI MORITOSHI with the characteristic ‘flying crane’ kakihan.DIAMETER 5.3 cmCondition: Very good condition with minor surface wear. Fine honey-yellow patina.The present netsuke depicts the Indian prince Hanzoku and his consort Lady Kayo, who reveals herself as a nine-tailed fox, and is based on a print by Utagawa Kuniyoshi (1798-1861) from 1849.Kosai Moritoshi (1854-1911) was the founder of a school of Manju netsuke carvers. Ueda Reikichi describes this carver’s work as having “a beautiful style”, see Bushell, Raymond (1961) The Netsuke Handbook by Ueda Reikichi, p. 543.Literature comparison: Compare a related ivory manju netsuke by Kosai Moritoshi, similarly carved in shishiaibori, formerly in the collection of Raymond Bushell and now in the Los Angeles County Museum of Art, accession number M.87.263.25. Compare a closely related ivory manju netsuke, the subject described as “the story of Abe no Seimei and the nine-tailed fox”, signed Shunkosai Moritoshi and also with a ‘flying crane’ kakihan, dated c. 1870, illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 581.Auction comparison: Compare a related ivory manju netsuke by Moritoshi, similarly carved in shishiaibori and also with a ‘flying crane’ kakihan, at Bonhams, Asian Decorative Arts, 24 June 2015, San Francisco, lot 8007 (sold for 3,750 USD). Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0229).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

Collection of (5) Sotheby's Catalog Books: "Indian & Southeast Asian Art" (2) "Fine Chinese Ceramics & Works of Art" "Fine Chinese Ceramics & Works of Art" (2). Size: 10 3/4 x 8 1/4 in.

Collection of Sotheby's Catalogs & Book. - "Sotheby's The Arts of the Buddha" - "Sotheby's Indian & Southwest Asian Art" - "Sotheby's The Jucker Collection of Himalayan Paintings" - "Sotheby's Thirty Years in Hong Kong"-"The Art of Japan"-"One Hundred Famous Views of Edo"-"Crosscurrents: Masterpieces of East Asian Art from New York Private Collections."-"Blinding Beauty: Hooks and Belt Plaques from Wellington Wang Collection."Size: 12 x 8 1/2 in.

Collection of (6) Christie's Catalog Books: "Imperial Chinese Porcelain Treasures from a Distinguished American Collection" "For the Employment of Scholars Selections from Robert H Blumenfield Collection" "The Scholar's Vision The Pal Family Collection" "The Ideal Image: Eight Masterpieces of Indian and Southeast Asian Art" "Indian and Southeast Asian Art" and "The Sublime and the Beautiful." Size: 11 3/4 x 9 in.

Collection of (7) Christie's NY Catalog Books: "Indian and Southeast Asian Art Including Highlights from the Star Collection" "Masterpieces from the Zimmerman Family Collection" "Fine Chinese Ceramics and Works of Art" "Fine Chinese Ceramics and Works of Art Including Jades from the Fine Arts Museums of San Francisco" "Important Rhinoceros Horn and Jade Carvings" "Fine Chinese Ceramics and Works of Art" "Important Chinese Snuff Bottles from the J&J Collection, Part V." Size: 10 3/4 x 8 1/2 in.

Collection of (5) Christie's NY Catalog Books: "Fine Chinese Ceramics and Works of Art" "Important Chinese Snuff Bottles From the J&J Collection, Part III" "Indian & Southeast Asian Art" "Indian and Southeast Art Including Modern and Contemporary Indian Art" "Modern and Contemporary Indian Art." Size: 10 1/2 x 8 1/4 in.

After John William Waterhouse (English, 1849-1917). Pre-Raphaelite oil painting on canvas titled "Hylas and the Nymphs," depicting a scene from Greco-Roman myth where the youth Hylas is abducted by Naiads. The original artwork is housed at the Manchester Art Gallery.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Unframed; height: 36 in x width: 48 in. Framed; height: 42 in x width: 55 in.

South American polychromed and carved wooden santos sculpture of an angel. Retaining some of the blue polychrome decoration along the robes of the angel and square base.Keywords: Primitive, folk art, naiveProvenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Height: 24 in x width: 10 in x depth: 7 in.

Art Deco style painting triptych titled "Bacchanalia," depicting a vibrantly colored scene of a wild Bacchanal, the figures interspersed with bright flowers. Oil on canvas, mounted on plywood.Provenance: Tajan, Paris, France, June 29, 2006, lot 8; From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.(Large panel) Sight; height: 46 3/4 in x width: 73 3/4 in. Framed; height: 48 1/2 in x width: 75 1/2 in. (Three figures) Sight; height: 46 3/4 in x width: 42 3/4 in. Framed; height: 48 1/2 in x width: 44 1/2 in. (Five figures) Sight; height: 42 3/4 in x width: 46 3/4 in. Framed; height: 44 1/2 in x width: 48 1/2 in.

Salvador Dali (Spanish, 1904-1989). Bronze sculpture titled "The Twisted Christ." Signed and numbered 223/400 along the cross. With a foundry mark reading "Fonderia Art F.LLI Bonvicini Sommacampagna Italia."Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Height: 26 3/4 in x width: 12 3/4 in x depth: 4 3/4 in.

Erte (Romain de Tirtoff) (Russian-French, 1892-1990). Signed and numbered bronze equestrian figurine sculpture that is titled "Amazon" and dated 1985. Signed Erte to base and impressed to rear (C) 1985 FINE ART ACQUISITIONS 186/375 with additional foundry stamp with additional etched markings along the underside that read "meno."Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Height: 17 in x width: 14 in x depth: 5 3/4 in.

Pair of triangular Art Deco style lamps featuring brass birds resting on a nest along the face. With frosted glass impressed with geometric repeating motifs.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Each; height: 14 1/2 in x width: 23 in x depth: 3 1/4 in.

German Art Deco table clock, ca. 1930-1940. Round amber segmented dial resting on a similar rectangular base. Nickel-plated hands, hour indicators, and connecting piece between the dial and the base. The later movement marked Junghans Germany along the clear case.Provenance: Dorotheum, Vienna, May 17, 2006, lot 136; From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Height: 9 1/4 in x width: 8 in x depth: 4 in.

New Haven Clock Co., United States. Art Nouveau gilt bronze mantel clock. With lovely symmetrical form. A painted enamel dial decorated with musical instruments and Roman numerals; marked along the dial.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Height: 18 in x width: 10 1/2 in x depth: 7 1/2 in.

Louis Octave Maxime "Max" Le Verrier (French,1891-1973). Art deco spelter patinated lamp in the form of a chimpanzee warming its hands by a brazier. Signed along the base of the oval lamp. The lamp rests atop a veined marble base.Provenance: Tajan, Paris, March 22, 2012, lot 170; From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Height: 6 in x width: 5 3/4 in x depth: 3 1/4 in.

Art deco four piece vanity set of yellow enameled glass with painted black garlands and stripes. The set includes one perfume atomizer, one perfume bottle, one ring tray, and one long ovoid tray. Marked along the underside.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Height ranges from 1 1/4 in to 5 3/4 in; width ranges from 2 1/4 in to 9 1/4 in; depth ranges from 2 1/4 in to 3 1/2 in.

Group of 27 art glass vases. With colorful mottled and striped decoration. Most incised "Czechslovakia" along the underside.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Height ranges from 5 1/4 in to 12 in; width ranges from 2 3/4 in to 9 1/4 in; depth ranges from 2 3/4 in to 9 1/4 in.

Folk art wood carving of a woman, possibly to hold and display a necklace.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Height: 16 in x width: 3 1/4 in x depth: 3 1/4 in.

Willey Rigney (American, 20th/21st c). Art dagger / knife with a double-edged mirror polished blade and ricasso and a blue mild steel guard and finial. The handle with carved fluted composite plastic. Marked along the ricasso. With a brown leather sheath.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Blade length: 7 3/4 in; Overall length: 14 in.

Art Deco zebrawood dining set or ship's captain's table. The round pedestal table with a lovely zebrawood top, with six matching upholstered armchairs.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.(Table) Height: 30 in x width: 55 in x depth: 55 in. (Chairs, each) Height: 31 in x width: 23 1/5 in x depth: 21 in.

Art deco bar cart featuring a mahogany veneer frame with a foldable top. The exterior automatically raises when the top is opened and lowers when closed. With decorative brass mounts and a key to lock the top. Likely produced in Vienna.Provenance: Dorotheum, Vienna, Austria, November 25, 2003, lot 182; From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.(Closed) height: 30 in x width: 21 3/4 in x depth: 19 3/4 in.

Large Art Deco wooden dining set with inlaid bronze bands along the edge of both the table and chairs. The table with marquetry decoration along the central support. With a group of six chairs, five matching. With upholstered seats and back rests.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.(Table) Height: 32 in x width: 82 in x depth: 43 1/4 in. (Chairs, each) Height: 42 1/2 in x width: 18 in x depth: 17 in.

Art Nouveau ash wood two tier sellette stand. The square top rests on a quadripod base with four grooved volute legs. A circular lower shelf is nestled between the legs.Provenance: Tajan, Paris, September 23, 2010, lot 59; From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Height: 45 1/2 in x width: 12 1/2 in x depth: 12 1/2 in.

Art Nouveau two tier pedestal stand or sellette side table featuring inset bronze bosses depicting profiles of women in low relief. A circular lower shelf is held aloft by four curving arms attached to the legs.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Height: 43 1/2 in x width: 16 in x depth: 15 1/4 in.

Attributed Thonet, Austria. Art deco bentwood plant stand with a lower shelf resting on angled arms attached to gently angled legs. Kohn would later merge with Thonet to become one of the largest furniture manufacturer's in the world.Literature: A similar example can be found in style number 1109: Jacob and Josef Kohn, "Bentwood Furniture: The 1916 Catalog." Munich: Dry, 1980. Page 100.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Height: 43 1/2 in x width: 13 in x depth: 13 in.

Large Art Deco burlwood and zebrawood credenza or sideboard. The front panel carved in low relief depicting a woman surrounded by two deer or ibex with spiral antlers or horns. The credenza with four drawers and two cabinets as well as a larger central cabinet. The burlwood body rests on a zebrawood base. With a key to lock the cabinets.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Height: 43 in x width: 70 in x depth: 21 1/2 in.

TWO BOXES OF CERAMICS, BREWERIANA AND HOUSEHOLD ORNAMENTS, to include a cast iron sculpture of a mare and foal, height 30cm, made in Russia, foundry mark and date 1972 on base, an Art Deco style figure of a woman, decorated in gold, height 46cm, four chrome 'Bass' beer bar sign holders, two ceramic beer pump handles decorated with a hunting scene (ceramic part only), one blue 'Ben Truman' pub ashtray (T.G Green), one large 'Flowers Fine Ales' pub ashtray (Carlton Ware), a Sylvac planter Seaweed-2249, a Sylvac jug Scallop Shell-511, two More Than Words 'Arora Designs' figurines, a small Caithness 'Pixie' paperweight, a musical 'Peter Rabbit' A26023 (plays Rock-a-bye-baby), a Willow Tree figurine 'Around You', an Aynsley 'Cottage Garden', a large Adams 'Indian Tree' design meat plate, a small glass cased Chinese cork carving Temple scene, height 11cm x length 24cm, an art glass vase of Jack-in-the-Pulpit design, height 32cm (chipped under rim) (s.d) (2 boxes + loose)

Art Deco style bronze model of an Indian elephant and rider with goad, unsigned, raised on marbled base, 21cm tall.  Few light scratches. Chips to the marble base. 23cm wide and approximately 3.5kg.Tusks appear composition

Kipling (Rudyard). The Irish Guards In The Great War, edited and compiled from their diaries and papers, 2 volumes, 1st edition, London: Macmillan and Co., 1923, 2 maps, previous owner inscriptions to the front endpapers, some light toning, original uniform gilt decorated red cloth, boards & spines lightly rubbed & marked, 8vo, together with Khosla (K. R. & R. P. Chatterjee). His Imperial Majesty King George V and the Princes of India and the Indian Empire, edited by R.P. Chatterjee. Lahore: printed by Sh. Mohammad Sharif at the Calcutta Art Printing Works for the Imperial Publishing Co., [1937], numerous colour & monochrome illustrations, front gutter cracked at the preface, some light toning & spotting, original silver cloth, boards & spine rubbed and marked with slight loss, front hinge split & spine partially detached, folio, plus Brayley (E. W.), Ancient Castles of England And Wales, 2 volumes, London: Longman, Hurst, and Co., 1825, monochrome engraved plates by W. Woolnorth, bookplates to the front pastedowns, some light spotting & toning, contemporary uniform green half morocco, boards & spines slightly rubbed, 8vo, and Queen Victoria. Leaves From The Journal of Our Life In The Highlands, from 1848 to 1861..., illustrated edition, London: Smith, Elder, and Co., 1868, numerous monochrome illustrations, front & rear gutters cracked, some light toning throughout, all edges gilt, original gilt decorated red cloth, boards & spine rubbed & marked with some minor loss, folio, plus other 19th & early 20th-century literature & plate books, including The Looking Glass, or Caricature Annual 1835, Vol.6, London: Thomas McLean, 1835, folio, The Communists of Paris 1871, Types, Physiognomies, Characters, by Bertall, London: Buckingham & Co., 1871, Impressions Lithographiques de Voyage par M. M. Trottman & Cham, Paris: Chez Aubert & Cie, circa 1880, folio, some leather bindings, but mostly original cloth, overall condition generally fair/good, 8vo/folioQTY: (3 cartons)

Jaffer (Amin[editor]). Beyond Extravagance A royal Collection Of Gems And Jewels, 1st edition, New York: Assouline, 2013, numerous colour illustrations, original gilt decorated blue cloth with slipcase, 4to, together with;Rafif (Ahmed-Chaouki[editor]), The Shafik Gabr Collection, ACR edition, Paris; ACR, 2008, numerous colour illustrations, original cloth in dust jacket and slipcase, 4to, plus Diba (Layla S.), Royal Persian paintings The Qajar Epoch 1785-1925, 1st edition, London: I.B.Tauris Publishers, 1999, numerous colour illustrations, some minor marginal toning, original cloth in dust jacket, 4to, and 28 other Indian & Islamic art reference including publications by Tate and V & A, some original cloth in dust jackets most original wrappers QTY: (30)

A COLLECTION OF ASSORTED SILVERWARE, comprising silver part dressing table set, a silver Victorian Art Nouveau tray, a matching jewellery box, a silver and wooden bowl, trumpet vase, white metal Indian bowl, enamelled pill boxes, etc (one box).