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A JADE CARVING OF A CHILONG AND LION, HAN - SIX DYNASTIESChina, Han dynasty (206 BC-220 AD) to Six Dynasties (220-589). The chilong carved in the round around a circular base, to its back a crouching lion turns its head sharply to look below, the flowing mane of the two beasts carved with scrolling motifs. The pale brown stone with inclusions of russet and dark gray, as well as calcification. Condition: Very good condition with wear and tiny nibbles.Provenance: Estate of Wolfgang Zacke (1942-2022), co-founder of Galerie Zacke, thence by descent. Weight: 99 gDimensions: Length 5.8 cm

A JADE CARVING OF A DOG, 18TH CENTURYChina, Qing dynasty (1644-1912), 18th century. Depicted resting its head on its outstretched forelegs, the tail swept to the back, with a well-defined ridged spine. The translucent stone is of a pale celadon tone with icy-white inclusions.Condition: Very good condition with minor wear and minuscule nibbling. The stone with natural fissures, some of which may have developed into small hairline cracks.Provenance: Estate of Wolfgang Zacke (1942-2022), co-founder of Galerie Zacke, thence by descent.Weight: 15 gDimensions: Length 6.5 cm

A CELADON JADE CARVING OF A FOREIGNER WITH A BUDDHIST LION, QING DYNASTYChina, Qing Dynasty (1644-1912). Finely carved, the foreigner dressed in loose robes and wearing a hat, both arms raised and concealed within long billowing sleeves, the round face with round eyes and lips forming a subtle smile, framed by a neatly incised beard. Seated atop a Buddhist lion playing with a brocade ball, its mane and tail finely incised. The translucent celadon stone with some russet streaks.Condition: Excellent condition with minor wear. The stone with natural inclusions and fissures.Provenance: Robert C. Eldred Co., 1985. Collection of Stephen Poulin, Toronto, acquired from the above. Eldred's is the oldest continuously operating auction house in New England, founded in 1947 by Robert C. Eldred, Sr. In 1978, his son Robert C. Eldred, Jr. became President of the company, leading it for over three decades until his retirement in 2014. Mr. Poulin is a renowned professional in the art conservation industry who has been an avid collector of archaic jades for over 40 years. Weight: 158.4 g Dimensions: Height 7 cm13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A PALE CELADON AND RUSSET JADE 'PRAYING MANTIS ON LEAF' PENDANT, c. 1920sChina, late Qing dynasty (1644-1912) to Republic period (1912-1949). Deftly carved in openwork with a praying mantis atop a large leaf on a gnarled branch. The attractive russet inclusions in the translucent pale yellowish-celadon stone have been skillfully utilized to accentuate the carving of the leaf on the underside.Condition: Excellent condition with minor wear. The stone with natural inclusions and fissures.Provenance: Collection of Stephen Poulin, Toronto, acquired 1997 from The Jade Collection, Hong Kong. Mr. Poulin is a renowned professional in the art conservation industry who has been an avid collector of archaic jades for over 40 years.Weight: 67 gDimensions: Length 8.5 cm13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A Chinese jade coloured hard stone carving of three birds sat on branches, well detailed with hanging leaves and fruit, with wooden base, height 28cm

AGATE FISH ETC. A polished agate carving of a fish, length 6.5cm, fitted onto a hardwood stand. Also, two small models of immortals, one carved in stone, the other in resin.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.

TWO CHINESE PORCELAIN FRAGMENT BOXES 15cm and 18cm (larger cracked further), a stone carving of a deity 15cm high, a blue and white dish, and other items

Janet Lewis -Jones. 'Oh What the hell...'. Stone carving. From the collection of Barbara Nancy Hosking (1926–2021) a British broadcaster and civil servant. Lewis-Jones has scratched 'For Barbara with Love' on the reverse with a date in Roman numerals. H.7 W.38.5 D.8cm.

A vintage late 20th century African stone soap carving of a male bust. 'Uncle Tom' purchased in Zululand KwaZulu-Natal.  15cm tall. 

A WHITE JADE CARVING OF A QILIN清代 白玉麒麟The mythical beast is intricately carved and with the head facing forwards and the legs neatly tucked under the body. The bushy tail is detailed with incisions. The stone is white and pale, lightly russet on its left front foot.4.3 x 7.5 x 3cmCondition Report:- Good condition - Natural cracks on the jade

A stone carving on square plinth, 'The stare', height 76cm

Ca. AD 100-200.A schist stone carving of a standing Buddha performing Twin Miracles. The figure stands upright, radiating an aura of serenity and spiritual power. The figure's head with carefully arranged hair is backed by a halo with the flames miraculously emerging from his shoulders and water from his feet. The head is carved with naturalistic features, including deep-cast, almond-shaped eyes, a broad nose, arched eyebrows, small, smiling lips, round cheeks, chin, and elongated earlobes. Between his eyebrows, he has an urna, which represents the third eye of wisdom. The figure wears a full-length sanghati, which covers his entire body. The sanghati is nicely accentuated with folds, giving the figure a sense of movement and dynamism. The details of the sanghati, including the hemline, pleats, and folds, are rendered with great skill, creating a sense of realism and depth. Buddha stands atop a plinth decorated with a relief scene of two kneeling worshipper figures facing an altar. The scene is framed by two columns. According to Buddhist tradition, the twin miracles of Buddha refer to two supernatural events that occurred during his life. The first miracle happened when flames emerged from his shoulders, symbolizing the purification of his mind, body, and speech. The second miracle occurred when water emerged from his feet, symbolizing the calming of his emotions and the peacefulness of his mind. For a similar, see Christie's, Live Auction 2551, Indian and Southeast Asian, 21 March 2012, Lot 720.Size: L:630mm / W:210mm ; 20.04kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection. Size: 610mm x 210mm; Weight: 20kg Provenance: From the collection of a London gentleman; formerly acquired in the early 2000s in France; previously in 1970s European collection.

A CHINESE BOWENITE CARVING, WOOD STAND AND FITTED BOX, THE TRANSLUCENT GREEN STONE CARVED AS A LADY WITH TWO FISH ON HER ROD STANDING BY A VASE OF LOTUS. H 15.5cms.

A CHINESE JADEITE CARVING OF BUDAI SEATED AMONGST LINGZHI FUNGUS, THE STONE GREY THROUGH PURPLE AND EMERALD GREEN. H 11cms.

* SCOTT IRVINE (SCOTTISH b. 1970), Burr Elm sculpture with fused glass inset, signed55cm highNote: Born in Edinburgh in 1970, throughout his childhood Scott could always be found in the garden shed with some blocks of wood and constructing his early creations. He left school at the age of 16 with good qualifications and advice to follow a different career to the one he had already set his heart on. However, he decided to fulfil his passion of working with wood and trained as a carpenter in a local firm in Balerno. In 1993, following a paralysing illness (Guillain Barre Syndrome) which unfortunately left him with some residual weakness and pain in his feet, he was unable to return to carpentry as his fulltime profession. Having a great devotion to working with wood, he was determined to carry it on, which led him into the art of woodturning and carving which has been entirely self-taught. After a few years of selling his work through a small number of galleries, he decided to set up his own business 'Harmonies in Wood' in 1998. Although Scott enjoyed working with wood, he wanted to develop his work in a different direction, so he started incorporating metals and stone into his sculptures. However, in 2002, he still wasn't satisfied, so with a longstanding interest and desire to incorporate glass into his sculptures, he decided to buy himself a kiln and started experimenting with fusing glass. His joinery and glazing skills came in handy in terms of cutting glass and his technical knowledge of glazing was put to the test. After much trial and error, he developed the desired fused glass disc which he was able to incorporate into his wooden sculptures. Even though the wood that he uses is kiln dried, being a natural product, it is unpredictable and prone to movement over time, therefore Scott created a specialised glazing system for incorporating the fused glass element to allow for any expansion and contraction between the wood and glass components. The designs of his fused glass are inspired from the natural landscape of the Pentland hills near to his Balerno home. He has no fear in using a very varied colour palette but likes to complement his designs by incorporating iridescent and dichroic glass to create a dramatic fusion of effects. The continual and expanding interest in his unique designs and craftsmanship has resulted in Scott's work being exhibited in numerous galleries throughout Scotland and the UK with some European and American exhibitions too. He has been fortunate to exhibit his work in several solo shows in some of Scotland's finest galleries. The freshness of his designs continues to surprise and delight an ever-growing number of private and corporate collectors of his work. He has recently worked on some very exciting projects including the production of awards for The Jolomo Lloyds TSB Scotland Awards in 2007 and was commissioned to make the Jolomo Awards for 2009. The 2009 Awards were presented at the Kelvingrove Art Gallery & Museum, Glasgow on 12th June. He has made awards for Vision in Business for the Environment of Scotland (VIBES) 2007 and 2008 and the Robert Burns Humanitarian award 2008 and many other awards and sculptures for other corporate events and buildings.

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

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

A BASALT RELIEF DEPICTING GANESHA AND THE NINE PLANETS (NAVAGRAHA), 10TH-11TH CENTURYNorthern India, c. 950-1000 AD. Finely carved in high relief with ten figures standing on a ledge carved with their respective mounts, depicting (from left to right) Ganesha, Surya (Sun), Chandra (Moon), Mangala (Mars), Budha (Mercury), Brihaspati (Jupiter), Shukra (Venus), Shani (Saturn), Rahu (ascending node of the Moon), and Ketu (ascending node of the Sun). Each figure except the large Rahu wears a thin dhoti tied with a belt and a tall kiritamakuta, and each is backed by a halo.Provenance: From a noted private collection in Germany. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, soil encrustations, obvious losses, nicks, scratches. The stone with a fine, naturally grown, dark patina.Weight: 14.4 kg Dimensions: Length 56.5 cm The Navagraha continue to be worshipped in modern times and are given special enclaves within Hindu temples. They also appear on the door lintels of many temples in northern India as a means of protecting the shrine and its visitors from maleficent portents and beings.The role and importance of the Navagraha developed over time with various influences. Deifying planetary bodies and their astrological significance occurred as early as the Vedic period and was recorded in the Vedas. The earliest work of astrology recorded in India is the Vedanga Jyotisha which began to be compiled in the 14th century BCE. It was possibly based on works from the Indus Valley Civilization as well as various foreign influences. Babylonian astrology was the first astrology and calendar to develop and was adopted by multiple civilizations including India.Literature comparison:Compare the closely related Navagraha relief from Bihar in the same style, dated ca. 950-1000 AD, in the San Diego Museum of Art, accession number 2007.173. Compare a closely related sandstone frieze depicting the nine celestial bodies, 158.6 cm long, dated to the 8th century, in the Cleveland Museum of Art, accession number 1971.61.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 September 2021, lot 366 Price: USD 20,160 or approx. EUR 22,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of Navagraha, the planetary deities, India, Pala period, 11th-12th century Expert remark: Compare the closely related subject and manner of carving. Note the size (65 cm).

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

A CELADON AND RUSSET JADE OF AN ELEPHANT LADEN WITH AUSPICIOUS FRUIT, LATE MING TO MID-QING DYNASTY 明末至清朝中期青玉留皮臥象China, 17th-18th century. Well carved with the pachyderm turning its head sharply to the left and its tail flicking towards its right as the tassels of its caparison reach the ground. The elephant is finely detailed, emphasizing the wrinkly texture of its skin and paying close attention to the vessel filled with auspicious fruit, which is pierced through the center for suspension. The partly translucent stone is of a pale grayish-green tone with distinct russet and dark-gray shadings as well as cloudy inclusions and dark veins. Good polish.Provenance: Jade House, Hong Kong, 8 October 1996. Collection of T. Eugene Worrell, acquired from the above and thence by descent in the same family. Thomas 'Gene' Worrell (1919-2006) was a newspaper owner and art collector based in Charlottesville, Virginia. During his youth, Worrell attended college, completing a degree at the George Washington School of Law, and worked for the FBI during World War II as a special agent. In 1949, he began a career as a newspaperman and, with his wife, founded The Virginia Tennessean in Bristol. This marked the beginning of Worrell Newspapers, Inc., which became one of the largest chains of small dailies in the United States. The office of the Worrell Investment Company was home to The Worrell Collection, where the present lot was exhibited until 2022. The only collection of its magnitude in the country, it included sculpture, paintings, and antique Chinese jades. Parts of the jade collection were published by John Ayers in 'A Jade Menagerie: Creatures Real and Imaginary from the Worrell Collection', London, 1993.Condition: Very good condition with some old wear, minor signs of weathering and erosion, and small nibbles to edges. The stone with natural fissures, some of which may have developed into small hairline cracks.Weight: 71.5 gDimensions: Height 4.9 cm Auction result comparison: Type: Closely relatedAuction: Christie's New York, 23 March 2012, lot 1815Price: USD 21,250 or approx. EUR 26,000 converted and adjusted for inflation at the time of writingDescription: A small greenish-yellow and russet jade carving of an elephant, 17th centuryExpert remark: Compare the related motif, color, and manner of carving. Note the near-identical size (5 cm). 明末至清朝中期青玉留皮臥象中國，十七至十八世紀。雕刻精美，大象向右回首，呈半臥姿，長鼻翻捲，體態肥碩，雙耳如扇，四肢如柱，背上背著一筐水果，刻飾嫻熟流暢。穿孔，中心懸掛。青玉留皮，巧妙利用皮色，使大象更顯憨厚生動。局部半透明的玉石呈淡灰綠色調，具有赤褐色和深灰色陰影以及絮狀物和深色紋理。 來源：香港Jade House藝廊，1996年10 月8日；T. Eugene Worrell收藏，購於上述藝廊，在同一家族傳承。Thomas 'Gene' Worrell（1919-2006年 年）是弗吉尼亞州夏洛茨維爾的一名報紙老闆和藝術品收藏家。 Worrell年輕時就讀大學，在喬治華盛頓法學院獲得學位，並在第二次世界大戰期間作為特工為聯邦調查局工作。1949 年，他開始了新聞記者的職業生涯，並與妻子在布里斯托爾創辦了《弗吉尼亞田納西報》。 這標誌著沃雷爾報業公司 (Worrell Newspapers，Inc.) 的誕生，該公司成為美國最大的小型日報連鎖店之一。 Worrell投資公司的辦公室是Worrell收藏的所在地，目前的拍品一直展出到2022年。這是該地區唯一的此類規模的收藏，其中包括雕塑、繪畫和中國古董玉器。 John Ayers 在《A Jade Menagerie: Creatures Real and Imaginary from the Worrell Collection》一書中出版了部分玉石藏品，倫敦，1993 年。 品相：狀況極好，有一些磨損，輕微的風化和侵蝕跡象，邊緣有小磕損。玉石上有天然裂縫，有的可能發展成細小裂縫。 重量：71.5 克 尺寸：高4.9 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 1815 價格：USD 21,250（相當於今日EUR 26,000） 描述：明末/清初青玉雕象馱如意把件 專家評論：比較相近主題、顏色和雕刻風格。請注意幾乎相同的尺寸(5 厘米)。

A LARGE AND HIGHLY IMPORTANT WHITE MARBLE TORSO OF BUDDHA, NOTHERN QI DYNASTY 北齊大型漢白玉立佛殘件China, 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。 低開領的通肩袈裟，此尊像背面袈裟表面以彩繪方式，繪出袈裟的框格裝飾，表現福田相。遒勁流暢的陰刻衣紋，這種「薄衣貼體」的造像風格，是北齊時期造像的一大特色。造像肩上明顯的多色痕跡表明該雕塑曾經完全上色，幾乎所有早期的印度和中國佛教木石造像都是如此。甘肅敦煌的雕塑和壁畫色彩絢麗。漢白玉在中國佛教雕塑中并不常見，在北齊時期開始流行，當時河北省西南部定州的偶爾使用漢白玉製作佛像。漢白玉造像可能是在定州附近雕刻的，可能在河北或山西省。 文獻比較： 比較一件相近阿彌陀佛像，收藏於Royal Ontario博物館，見《Homage to Heaven，Homage to Earth》，1992年，頁163，編號92。比較一件相近的雕像《Chinese Marble Sculptures of the Transition Period》，B.M.F.E.A.，編號12，斯德哥爾摩，1940年，編號II (b)。比較一件相近雕像，展覽於Eskenazi，《Sculpture and ornament in early Chinese art》，倫敦，1996年6月11日至7月13日，編號31。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2004年5月12日，lot 203 價格：EUR 101,575（相當於今日EUR 143,500） 描述：北齊立佛石雕殘件 專家評論：比較非常相近的姿勢、衣袍的類似於對角線的摺痕。請注意尺寸(148 厘米)。

A MUGHAL PINK SANDSTONE CHINI KANA PANEL WITH PEACOCKSExpert's note: This type of decoration was referred to as Chini Kana, a term meaning 'China room', and applied to wall niches in temples and other structures into which bottles, vases and various vessels were placed. Motifs such as this one may originally have had a connection with the 'waters of fertility' and hence with good fortune and abundance, but it seems likely that by the seventeenth century they were appreciated more for their elegance and sophisticated design. The present panel displays the Mughal fascination with naturalistic renditions of flora and fauna. Equally, the fluidity of the work demonstrates the strength of the Indian stone carving tradition.North India, 17th-18th century. Depicting a pair of peacocks facing a vessel issuing floral sprays, carved in high relief within a rectangular reserve, to the right flanked by a smaller reserve with a meandering vine and a finely carved column decorated with a foliate design.Provenance: From an English private collection, by repute purchased from Christie's in London during the 1980s or 1990s. Condition: Excellent condition, commensurate with age. Some wear, weathering and erosion, encrustations, minor losses. Few smaller cracks, nicks and surface scratches, remnants of ancient pigment and varnish. Dimensions: Size 89.6 x 60.2 cmLiterature comparison: Compare a related Mughal red sandstone panel with floral design, dated to the late 17th century, in the collection of the Asian Civilizations Museum, Singapore, accession number 1993-01751.Auction result comparison:Type: RelatedAuction: Christie's London, 23 September 2005, lot 81Price: GBP 8,400 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A fine Mughal red sandstone Chini Kana panel, North India, 17th century

AN EXTREMELY RARE AND MONUMENTAL SANDSTONE STATUE OF VISHNU, ANGKOR PERIODKhmer Empire, 10th-12th century. The Preserver of the Universe standing in samapada on a rectangular base, holding the conch in his one remaining hand, wearing a short pleated sampot, tied at the front below the navel with the folds splayed across the left thigh and secured with a butterfly sash at the back, the extra material folding over at the waist. The serene face sensitively modeled with neatly incised details, such as the almond-shaped eyes, full lips, and wavy mustache. The hair piled up into an elaborate conical chignon secured by a foliate tiara. Provenance: The collection of Beowulf Klebert. An Austrian private collection, acquired from the above circa 1980 and thence by descent in the same family. Beowulf K. Klebert (1948-2008) was a noted Austrian collector of Asian sculpture and works of art as well a respected contributor to Arts of Asia magazine. He was known for his scholarly expertise and extensive travels through all of Asia.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, losses, nicks, scratches, structural cracks, expected old repairs. The stone with a fine, naturally grown, smooth patina overall. Scientific Analysis Report: An Expert Report from Antiques Analytics - Institute of Scientific Authenticity Testing, test report number AA 21-03064, dated 5 May 2022, written and signed by Dr. R. Neunteufel, analyzing the surface alterations after examination by scanning electron microscopy (SEM) and element analysis with attached energy-dispersed X-ray micro element analyzer (EDX), concludes that the observed surface alterations are not in contradiction with the dating above. A copy of the report accompanies this lot.Dimensions: Height 207 cm (incl. base)With an associated wood base. (2)Literature comparison: Compare a closely related sandstone figure of Vishnu, dated to the 12th century, in the Tokyo National Museum, collection reference no. TC-382. Compare a related sandstone figure of Vishnu, dated c. 1050, 105.4 cm high, in the Norton Simon Museum, accession number M.2004.1.S. Compare a related sandstone figure of Vishnu, dated to the 11th century, 104.1 cm high, formerly in the collection of John D. Rockefeller and now in the Asia Society Museum, New York, object number 1979.064.Auction result comparison: Type: Related Auction: Christie's Paris, 11 December 2013, lot 342 Price: EUR 121,500 or approx. EUR 144,000 converted and adjusted for inflation at the time of writing Description: A rare and important sandstone figure of Vishnu, Cambodia, Khmer, Pre-Rup style, mid-10th century Expert remark: Compare the related modeling and manner of carving. Note the much smaller size (121 cm).Auction result comparison: Type: Related Auction: Christie's Paris, 7 June 2011, lot 385 Price: EUR 145,000 or approx. EUR 178,000 converted and adjusted for inflation at the time of writing Description: An important sandstone torso of a male deity, Cambodia, Khmer, Baphuon style, 11th century Expert remark: Compare the related modeling and manner of carving. Note the much smaller size (130 cm).

A LIMESTONE HEAD OF BUDDHA, TANG DYNASTY, CHINA, 7TH - EARLY 8TH CENTURY 唐代七至八世紀初石灰石佛頭Expert's note: The present monumental Buddha head, carved from the hard, dark gray limestone generally found in Henan province and associated with Buddhist carvings from the Longmen caves, is a superb example of the High Tang style of the late 7th to early 8th century.Finely carved, the serene face with a pair of heavy-lidded downcast eyes with sinuous lids, below gently arched brows, above pursed bow-shaped lips with a pronounced philtrum, the hair arranged in tight curls, the head surmounted by a domed ushnisha.Provenance: An old Danish private collection. Bruun Rasmussen, Copenhagen, 9 December 2015. A Danish private collector, acquired from the above. A copy of a provenance statement from Bruun Rasmussen, dated 9 December 2015, written and signed by Ralph Lexner, Head of the Asian & Islamic Department, confirming that the present lot came from an old Danish private collection, accompanies this lot. Condition: Good condition, commensurate with age. Extensive wear, predominantly from centuries of worship within the culture. Signs of weathering and erosion, encrustations, shallow surface scratches, nicks, losses, remnants of ancient pigment. Fine, naturally grown patina overall, thus displaying remarkably well.Weight: 15.4 kg (incl. stand) Dimensions: Height 41.7 cm (incl. stand) and 28.5 cm (excl. stand) Mounted on a massive white marble base, dating from the 20th century. (2)Literature comparison:Compare a related limestone head of the Buddha, 43.1 cm high, dated to the Tang dynasty, illustrated by Osvald Siren, Chinese Sculpture: From the Fifth to the Fourteenth Century, 1925, pl. 466A, and sold by Sotheby's New York, 3 September 2013, lot 8. Compare a related Buddha head in the collection of the Museum fuer Ostasiatische Kunst, Cologne, illustrated by Gunhild Gabbert, Buddhistische Plastik aus China und Japan, Wiesbaden, 1972, pl. 89; two published in R. L. d'Argence, Chinese, Korean and Japanese Sculpture in the Avery Brundage Collection, San Francisco, 1974, pls. 104 and 106; and a further example depicted in situ published in Longmen liusan diaoxiang ji, Shanghai, 1993, p.104, pl. 41, the main Buddha in the Santa Dong (Three Tower Cave) complex.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2004, lot 115 Price: USD 95,600 or approx. EUR 140,000 converted and adjusted for inflation at the time of writing Description: A gray stone head of Buddha, Tang dynasty, circa 700, Longmen Caves Expert remark: Compare the related manner of carving with a similar roughly hewn surface. Note the size of the head (34.3 cm). 唐代七至八世紀初石灰石佛頭佛頭頭頂飾有小螺髮，肉髻平緩，面部豐滿而圓潤，頭額寬平，兩眼細長，唇部飽滿，嘴角上揚，笑意盈然，神情恬靜親切。 來源：丹麥私人舊藏；哥本哈根Bruun Rasmussen，2015 年 12 月 9 日；丹麥私人收藏。家，購自上述。隨附一份由亞洲與伊斯蘭部門負責人Ralph Lexner 於2015 年12 月9 日撰寫並簽署的Bruun Rasmussen 出處聲明副本，確認本拍品來自丹麥私人舊藏。 品相：品相良好，大面積磨損，風化和侵蝕、結殼、淺表面劃痕、刻痕、缺損、顏料殘留。整體細膩包漿。 重量：15.4 公斤 (含底座) 尺寸：高41.7 厘米 (含底座) 與 28.5 厘米 (不含底座) 安裝在巨大的白色大理石底座上，其歷史可追溯至二十世紀。 (2) 文獻比較： 比較一件相近的唐代石灰石佛頭，高43.1 厘米，見Osvald Siren，《Chinese Sculpture: From the Fifth to the Fourteenth Century》，1925年，圖466A，以及售於紐約蘇富比，2013年9月3日，lot 8。比較一件相近的佛頭，見科隆東亞藝術博物館，見Gunhild Gabbert，《Buddhistische Plastik aus China und Japan》，Wiesbaden，1972年，圖89。兩件見R. L. d'Argence，《Chinese，Korean and Japanese Sculpture in the Avery Brundage Collection》，舊金山，1974年，圖104和106。另一件例子發表於《龍門流散雕像集》，上海，1993年，頁104，圖41，主佛在三塔洞（三塔洞）建築群中。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2004年3月24日，lot 115 價格：USD 95,600（相當於今日EUR 140,000） 描述：約700年龍門唐代灰石佛頭 專家評論：比較相近的雕刻風格，以及相似的切割技巧。請注意佛頭尺寸 (34.3 厘米)。

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

A SANDSTONE HEAD OF AN OFFICIAL, MING DYNASTYChina, 13th to 15th century. Finely carved wearing an official's cap detailed with a floral tiara below a backwards curled section, surmounted by a flat top, the face with almond shaped eyes beneath arched brows, an elegant nose above a gently smiling mouth, full cheeks, the mouth is encircled by three grooves carved to insert beard-hair, the face framed by two elongated ears.Provenance: Danish private collection, acquired at Lauritz, Herlev, Denmark, 25 November 2011.Condition: Good condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, encrustations, minor nicks and scratches.Weight: 20.2 kgDimensions: Height 39 cm (excl. stand) and 47 cm (incl. stand)Mounted to a wood stand. (2)Auction result comparison: Type: Closely relatedAuction: Bonhams London, 7 June 2021, lot 520Price: GBP 2,400 or approx. EUR 3,500 converted and adjusted for inflation at the time of writingDescription: A rare stone head of an official, Yuan to Ming dynastyExpert remark: Compare the closely related modeling and manner of carving with similar facial features, cap, and recesses for facial hair. Note the smaller size (29 cm).Auction result comparison: Type: RelatedAuction: Sotheby's New York, 23 March 2022, lot 290Estimate: USD 10,000 or approx. EUR 10,000 converted and adjusted for inflation at the time of writingDescription: A large stone head of an official, Ming dynastyExpert remark: Compare the closely related modeling and manner of carving with similar facial features and official's cap. Note the larger size (54 cm).

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

DAIM EN JADE CÉLADON PÂLE SCULPTÉÉpoque Qianlong (1736-1795)A PALE CELADON JADE CARVING OF A RECUMBENT DEERQianlong periodResting with its legs tucked under, head looking forward, ears and antlers turned back, holding a spray of lingzhi in its mouth, the stone an even pale celadon tone. 8cm (3 1/8in) wide.Footnotes:清乾隆 青白玉臥鹿把件Provenance:Collection of Lucie Jeanne de Gunzburg (1888-1988) and Robert Joseph de Gunzburg (1878-1943), Paris By descent to Baron Guy Georges de Gunzburg (1911-2006), and thence by descent in the family to the present owner來源：巴黎Lucie Jeanne de Gunzburg（1888-1988）及Robert Joseph de Gunzburg（1878-1943）珍藏Guy Georges de Gunzburg（1911-2006）男爵珍藏後經家族流傳至現藏家This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

CHEVAL DRAGON EN JADE CÉLADON PÂLE SCULPTÉ, LONGMAXVIIIe siècleA PALE CELADON JADE CARVING OF A MYTHICAL HORSE, LONGMA18th centuryCarved in a recumbent position on a bed of swirling waves and rockwork, with its head turned back grasping in its mouth the ends of a sash tied around a bundle of books on his back, the head finely detailed with a neatly combed mane, the haunches with patches of scales, the stone of a very pale celadon tone with milky-white inclusions. 11.7cm (4 5/8in) wide.Footnotes:十八世紀 青白玉龍馬擺件Provenance:Collection of Lucie Jeanne de Gunzburg (1888-1988) and Robert Joseph de Gunzburg (1878-1943), Paris By descent to Baron Guy Georges de Gunzburg (1911-2006), and thence by descent in the family to the present owner來源：巴黎Lucie Jeanne de Gunzburg（1888-1988）及Robert Joseph de Gunzburg（1878-1943）珍藏Guy Georges de Gunzburg（1911-2006）男爵珍藏後經家族流傳至現藏家This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

LION BOUDDHISTE EN JADE BLANC SCULPTÉXVIIIe siècleA SMALL WHITE JADE CARVING OF A BUDDHIST LION18th centuryNaturalistically carved in the round slightly curled up, tail against the left leg, head turned to one side, the stone an even pale celadon tone. 6.2cm (7/16in) wide.Footnotes:十八世紀 白玉佛獅把件Provenance:Collection of Lucie Jeanne de Gunzburg (1888-1988) and Robert Joseph de Gunzburg (1878-1943), Paris By descent to Baron Guy Georges de Gunzburg (1911-2006), and thence by descent in the family to the present owner來源：巴黎Lucie Jeanne de Gunzburg（1888-1988）及Robert Joseph de Gunzburg（1878-1943）珍藏Guy Georges de Gunzburg（1911-2006）男爵珍藏後經家族流傳至現藏家This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

GROUPE EN JADE CÉLADON PÂLE REPRÉSENTANT UN SINGE SUR UN CHEVALXVIIe/XVIIIe siècleA PALE CELADON JADE HORSE AND MONKEY GROUP17th/18th centuryThe horse standing four square on a craggy base, with its head bent down and grazing, a small monkey riding on its back mischievously bending over one side and teasing a small bee, the stone an even pale celadon-green tone, some accidents. 14.3cm (5 5/8in) long.Footnotes:十七/十八世紀 青白玉馬上封侯擺件ProvenanceCollection of Lucie Jeanne de Gunzburg (1888-1988) and Robert Joseph de Gunzburg (1878-1943), Paris By descent to Baron Guy Georges de Gunzburg (1911-2006), and thence by descent in the family to the present owner來源：巴黎Lucie Jeanne de Gunzburg（1888-1988）及Robert Joseph de Gunzburg（1878-1943）珍藏Guy Georges de Gunzburg（1911-2006）男爵珍藏後經家族流傳至現藏家The combination of a bee or wasp (feng 蜂), a monkey (hou 猴), and a horse (ma 馬) is a rebus for the blessing 'May you immediately be conferred a high-ranking position (mashang fenghou 馬上封侯). Compare with a related jade carving of 18th century date and similar form and motif, sold in Christie's London, 17 May 2013, lot 1390.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

* A Chinese pale celadon jade carving of the He He Erxian twins, 18th/19th century, one boy holding a sprig of lotus, the other lingzhi fungus, the stone with some paler inclusions and a small russet inclusion beneath one of the figures, 5cmPlease note this lot attracts an additional import tax of 5% on the hammer price***CONDITION REPORT***Natural flaws within the jade otherwise good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Chinese pale celadon and russet jade carving of peaches and two bats, 17th century, the stone with pale russet and brown inclusions, 5.9cm***CONDITION REPORT***Natural discolouration and flaws within the jade but otherwise good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

* * A Chinese pale celadon jade carving of a fruit, 18th century, with stalks and leaves, a flower to one side, an insect to the reverse, the stone of good even tone, some leaves, the stalk and the insect with a russet skin, 9.5cm wide, on a carved hardwood standProvenance: Spink & Son Ltd, London, 7th January, 1987Please note this lot attracts an additional import tax of 5% on the hammer price***CONDITION REPORT***Natural flaws within the jade but essentially good condition, stand in good order.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A CHINESE DECORATIVE STONE CARVING OF HORSES Modelled as three galloping horses on naturalistic base 22.5cm high Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Caroline Shea, Contemporary, “Head of the Buddha, Sarnath, India (from 6th Century original stone carving) oil on board, 36cm x 26cm;  and “Homage to an unknown artist” Head of the Buddha, oil on board, 36cm x 26cm, both signed LL: Shea (a pair)

A soap stone carving of a pelican, 26cm high

A Chinese Glass Scent Bottle reverse painted with figures and with agate stopper together with various other scent bottles and a Chinese soap stone carving with hardwood stand

A stone carving of a mother and child, second half 20th century, unsigned, 55cm high Provenance: The Property of the Late Reverend John Watson.      

An Egyptian limestone statue of Sekhemankhptah Old Kingdom, 5th Dynasty, circa 2389-2255 B.C.Statue: 121cm high x 51cm wide x 40cm deep; plinth: 91cm x 71cm x 61cmFootnotes:Provenance:Tomb G7152 at Giza, excavated by George A. Reisner and the Harvard University-Boston Museum of Fine Arts Expedition, during the digging season of 1926-1927.This statue is referenced in Reisner's diary entry of 29 January 1927 (vol. 20, p. 667): 'uncovered the two seated statues at door of G 7152, and a broken standing statue at north side of door, fallen in several pieces'.Vincent (1886-1967) and Olga (1906-2000) Diniacopoulos collection, Canada, acquired from the Khawam Brothers, Cairo and likely brought to Canada in 1951.Property from a Canadian Private Collection, a portion of the proceeds intended for the benefit of Concordia University, Montreal; Sotheby's, New York, 5 June 1999, lot 25.Private collection, New York, acquired at the above sale, until 2018.Published: La Presse, Montreal, 15 May 1954 (illus.).V. and O. Diniacopoulos, Collection Monsieur et Madame D., Vincent et Fils, Valleyfield, 1954, p. 5, no. 6.R. Belle-Isle, Exposition d'art antique, Chambly, Quebec, 1965, p.5.J.E. Francis and G.W.M. Harrison, Life and Death in Ancient Egypt, The Diniacopoulos Collection, Montreal, 2004, p.59, fig. 5.6.J.M. Fossey and J.E. Francis, The Diniacopoulos Collection in Quebec: Greek and Roman Antiquities, Montreal, 2004, p. 22, fig. 1.4 for a photograph of Vincent and Olga unboxing pieces including Sekhemankhptah at the Séminaire de Valleyfield in 1955.Exhibited: Séminaire de Valleyfield, Quebec, Diniacopoulos Collection, from 1954. Ecole Gérard Filion, Chambly, Exposition d'art antique, 1965.The tomb of Sekhemankhptah is dicussed in the following publications:G.A. Reisner, A History of the Giza Necropolis I, Cambridge, 1942, pp. 210, 312. W.H. Smith, A History of Egyptian Sculpture and Painting in the Old Kingdom, London, 1946, p.200 (recording the decoration of the interior of the offering-room of the tomb: 'The east wall retains a fragment of an agricultural scene, and the north wall is decorated with scenes showing the care of cattle. The west wall has a presentation of animals').B. Porter & R.L.B. Moss, Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings 3: Memphis, 1974, p. 191.A. Bedawy, The Tombs of Iteti, Sekhem'ankh-Ptah and Kaemnofret at Giza, Berkeley, 1976, pp.15-24, figs. 18-24, pls. 14-23, including detailed description of the decoration of the tomb and drawings of such. Sekhemankhptah's titles are listed on p.22.N. Strudwick, The Administration of Egypt in the Old Kingdom: The Highest Titles and Their Holders, London, 1985, pp.134-5. V.G. Callender, 'A Contribution to the Burial of Women in the Old Kingdom', in F. Coppens (ed.), Abusir and Saqqara in the year 2001. Proceedings of the Symposium, Prague, September 2001, Archiv Orientálni 70, no. 3, 2002, p. 303, no. 15.Sekhemankhptah was a highly important Egyptian official during the 5th Dynasty of the Old Kingdom. His mastaba tomb is located southeast of Khufu's pyramid in Giza, one of 'the most important necropolises for Egyptian royalty and the upper echelons of officialdom during the Old Kingdom' (P. Der Manuelian, 'Excavating the Old Kingdom, the Giza Necropolis and Other Mastaba Fields', in Egyptian Art in the Age of the Pyramids, New York, 1999, p. 139). It was excavated in 1926 by George Reisner, and the hieroglyphic texts on the interior demonstrate the pre-eminent role Sekhemankhptah played in the royal court. Sekhemankhptah is named as 'Count; Sole companion of Pharaoh; Chief judge, vizier; Staff of the people; Mouth of all the people of Pe; Royal chamberlain; Privy to the secret; Overseer of the scribes of the documents of the king; Scribe of the documents of the king; Overseer of all the works of the king; Overseer of the embalming house of Pharaoh; Overseer of the embalming house'. These titles suggest that Sekhemankhptah was second only to the king himself. His wife, Bwnefer, is named as 'Real royal daughter', suggesting she was the daughter of a Pharaoh (Reisner refers to Sekhemankptah as 'husband of a princess'). They had two children, a son named Seshemnefer and a daughter named Meritites.The extraordinary, monumental, size of this statue, highly unusual for a non-royal sculpture, is further testament to Sekhemankhptah's high status. It is also an exceedingly rare example of an unfinished Old Kingdom sculpture of a non-royal personage, which offers a fascinating insight to the technique and skill of the earliest sculptors of Pharaonic Egypt. Sekhemankhptah retains original chisel marks, and the carving of the wig and kilt are clearly unfinished. The surface has also not been polished to the typical degree. It has been suggested that the figure was coated in plaster, with the finer details rendered in paint, though it seems more likely that the statue was placed in front of the tomb prior to being finished (as no traces of plaster or pigment remain). The group of statuettes of King Menkaura of the 4th Dynasty at the Museum of Fine Arts, Boston (acc. no. 11.732), each in varying degrees of completion, further elucidate how these figures were finished after being installed in their final locations. Artists began by hammering out the approximate shape of the statue from a large block of stone, before refining details of the head and limbs with chisels in a series of stages of increasing refinement. After this carving and refining, rubbing stones and powdered abrasive were used to polish the surface, before an inscription was added to identify the owner. These last stages had not been completed before work on this statue of Sekhemankhptah seems to have ceased.The Diniacopoulos Collection of Ancient ArtVincent and Olga Diniacopoulos amassed one of the largest and most impressive private collections of antiquities in Canada during the 20th Century, of almost unparalleled breadth and quality. Vincent Diniacopoulos (1886-1967) was born in Constantinople to a Greek family, and was enamoured by the ancient world from childhood. From the 1920s he was participating in archaeological digs across the Middle East and undertaking art restoration, living between Paris and Cairo. His wife Hélène Olga Nicholas (1906-2000), was also Greek, and was born in Cairo. After moving to Paris in 1923 she studied archaeology at the Louvre and Sorbonne and met and married Vincent. In the late 1920s and 1930s the couple travelled extensively throughout the Middle East and Egypt, building their collection of antiquities as well as acquiring objects for major institutions including the British Museum, Louvre and Metropolitan Museum. During these formative years, they built up an extensive collection including ancient Egyptian, Babylonian, Assyrian, Hittite, Cypriot, Greek and Roman objects, ranging from sculpture and coins to ceramics, glassware and bronzes.For further information on this lot please visit Bonhams.com

A PAIR OF BLACKWOOD CARVINGS OF DUCKS, AN ORIENTAL PUDDING STONE CARVING

Two modern contemporary carved stone figures, one of a kneeling nude, height 16cm, length 25cm, the other depicting three similar faces, height 27cm, length 18cm, both unsigned (2).Condition Report: - Because they are rough cut, there is no obvious damage. There are some chips in places, and scratches, but this might be part of the carving.

A FINE AND LARGE WOOD OKIMONO OF ONO NO KOMACHIJapan, 19th centuryOno no Komachi, one of the great six poets of the 9th century, once a beautiful and vibrant woman is depicted here as an old woman seated on a grave marker (sotoba), her beauty faded and wearing tattered clothes. Forgotten by the courtly world in which she once shone, she is reduced to beg and starve on the side of the road. The carving is well-detailed, her face enhanced by particularly expressive features: squinted eyes, wrinkles, and a sharp chin. Her loose robe opening at the chest revealing her emaciated body, an old, tattered straw hat rests on a stone next to the poetess. LENGTH 18.8 cmCondition: Few repairs to the area connecting the boulders and hat, otherwise in good condition and presenting very well.Ono no Komachi was a Japanese waka poet, one of the Rokkasen (six best waka poets of the early Heian period) and was renowned for her extraordinary beauty. Several legends tell of her mistreatment of her many lovers. In the arts, she is often depicted as an old, withered hag and has thus become a symbol of the impermanence of beauty.

Darren Yeadon (b. 1970)  White Marble Octopus Sculpture  Signed  13 x 28cm ( 5" x 11")  Darren Yeadon was born in 1970 and brought up by the sea in Whitby. Yeadon began his work as a quarryman and stonemason. During his beginnings in geology, he learnt how to extract materials from the earth, then to split huge pieces up, shape them and finally carve stones to fit to arches, church windows and architectural applications. He developed a real flair and interest in carving stone and three-dimensional forms. His works has been actively sought at auction due to his popularity.  This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

An oriental stone carving

British Medieval A stone carving of a Green Man Property of a Gentleman Dimensions:  9 in. (H) x 9 in. (W) x 7 in. (D)

Three Chinese wooden root carvings of deities, a Japanese wood carving of a tiger with inset glass eyes, and a Chinese stone model of an elephant on a wooden carved base Location:

Central Bank of Ceylon, an uncut sheet of four proofs from the 1979 Issue including the 10 Rupees, showing only the top layer of engraving, the hornbill, bank title and denomination, the 20 Rupees, showing the under print and top layer of engraving and the 100 Rupees, showing the top layer of engraving featuring the stone carving and bank title, extremely fine to about uncirculated, extremely beautiful designs (3 sheets) BNB B339p, B340p, B347p, Pick 85, 86, 95 £400-£600

Inuit stone carving of a polar bear and a resin beaver

English School. Midlands. Nottingham. Gothic. Circa 1350 - 1375."Mary Magdalene"Alabaster sculpture with remnants of polychrome and gilding.Measurements without plinth: 46.5 x 14.5 x 13.5 cm.Height with plinth: 57 cm.From the mid-14th century until the iconoclastic crisis, which occurred with the Anglican Reformation in the 16th century, alabaster sculpture workshops flourished in central England, especially around Nottingham. There was a great boom in monumental and funerary sculptures, as well as in reliefs or altarpieces intended for the local market and for export.Alabaster carving, mainly extracted from the quarries of Tutbury and Chellaston near Nottingham, took on industrial proportions in England between the mid-14th and early 16th centuries. The market for altarpieces and small devotional images was very extensive. It included not only religious foundations but also bourgeois classes. Hundreds of English alabaster sculptures were exported, some as far as Iceland and Santiago de Compostela.Similar examples to this one, representing saints in sculpture rather than the more usual reliefs, include, for example, the wonderful Virgin and Child, which is part of the collection of the British Museum in London, inventory number 2016,8041.1 (https://www.britishmuseum.org/collection/object/H_2016-8041-1) with a face very similar to that of this Mary Magdalene.As indicated in the Museum's description of the sculpture we are comparing, regarding dating: "This places the statue at the very beginning of the period when alabaster began being used as a luxury material for sculptural compositions. The raw material was quarried in Derbyshire and Staffordshire and there is sufficient evidence to suggest that many of the early workers of the stone were based in the Midlands. The condition and technical finesse of this figure represents the highest levels of English sculpture in alabaster.The early artists who worked alabaster in the Midlands attracted the attention of King Edward III who in 1363 ordered a carved alabaster altarpiece from Peter the Maceon of Nottingham. These sculptures from the King’s chapel at Windsor, along with the majority of comparable pieces in situ were destroyed during the English Reformation.."Another sculpture from the mid-14th century, The Virgin and Child, is preserved in the collections of the Victoria & Albert Museum in London, with inventory number A.140-1946. (https://collections.vam.ac.uk/item/O70632/standing-virgin-and-child-statuette-unknown/)Other comparable pieces, although from the 15th century and already characteristic of Nottingham production, would be, for example: the mid-15th-century Saint Fiacre, which is part of the collections of the Metropolitan Museum of Art in New York, inventory number: 25.120.227. (https://www.metmuseum.org/art/collection/search/472307) or Saint Jude, which is kept in the Victoria & Albert Museum in London, inventory number A.60-1946 (https://collections.vam.ac.uk/item/O70146/st-jude-statuette-unknown/) Bibliography:Cheetham, Francis. English Medieval Alabasters. Oxford: Phaidon-Christie's Limited, 1984. p. 191 (cat. 118) 

A Victorian gilt metal finely carved lava stone brooch, oval form depicting a mythical scene of a cherub, snake and bird, within a gilt metal decorative surround tin and C clasp, length approx 35 x 57mm, in a Sinclaire antique Gallery Belfast case  Further details: Good carving intact, slight plate wear and tear commensurate with age, missing bead to mount

Dame Barbara Hepworth (British, 1903-1975)Intersection signed and dated 'Barbara Hepworth 1946' (lower right)pencil and gouache on gesso-prepared board26 x 37.7 cm. (10 1/4 x 14 3/4 in.)Footnotes:ProvenanceThe Artist, from whom acquired bySerge and Barbara Chermayeff, thence by family descent to the present ownersPrivate Collection, U.S.A.ExhibitedLondon, The Lefevre Gallery, Barbara Hepworth: Sculpture and Drawings, October 1946, cat.no.23To escape the onset of war Hepworth and Ben Nicholson left London for Cornwall with their three young children in late 1939. They initially stayed with the painter Adrian Stokes but by the end of the year had moved into their own house in Carbis Bay near St Ives. The house was small and the lack of space, combined with the wartime scarcity of raw materials and family demands, meant that Hepworth produced no sculpture between 1940 and 1942. Instead, she turned her attentions to drawing.Remembering the early 1940s, Hepworth would describe: 'In the late evenings, and during the night I did innumerable drawings in gouache and pencil – all of them abstract, and all of them my own way of exploring the particular tension and relationship of form and colour which were to occupy me in sculpture the later years of the war' (quoted in Herbert Read, (ed.), Barbara Hepworth: Carvings and Drawings, London, 1952). In 1943, Hepworth started carving again, exploring in sculpture what she had studied in her 1940-42 drawings. Works such as Intersection, executed in 1946, provided further means of exploring new sculptural forms and expanding the research begun at the outbreak of the war. Instead of being self-contained, the forms explored in this later group of drawings expand to the exterior, perusing the boundaries between space and object, surface and surroundings. In their pure geometry and dynamism, they pay homage to Hepworth's friend and artist Naum Gabo, who had also lived in St Ives in the 1940s. Meanwhile her use of colour recalls Piet Mondrian's gridded compositions, with whom Hepworth again enjoyed an engaging discourse.Speaking of the drawings executed after the Second World War, Hepworth explained:'Abstract drawing has always been for me a particularly exciting adventure. First there is only one's mood; then the surface takes one's mood in colour and texture; then a line or curve which, made with a pencil on the hard surface of many coats of oil or gouache, has a particular kind of 'bite' rather like incising on slate; then one is lost in a new world of a thousand possibilities because the next line in association with the first will have a compulsion about it which will carry one forward into completely unknown territory. [...] Suddenly before one's eyes is a new form which, from the sculptor's point of view, free as it is from the problems of solid material, can be deepened or extended, twisted or flattened, tightened and hardened according to one's will, as one imbues it with its own special life'. (Ibid).Intersection appears as a play of equilibrium between overlapping lines and curved arcs. The forms, which develop in a space that is abstract and purely geometrical, seem to be fixed in a precarious state of balance, ready to swing back into movement. Executed in pencil and gouache on gesso prepared board, Intersection is sparsely coloured with sections of sky blue and yellow, echoing in its restraint Hepworth's approach to colour in her sculpture whilst the two central fanned sections of lines also bring to mind her stringed works in the round.The present work enjoys distinguished provenance, having been acquired directly from the artist (a close friend) by Serge and Barbara Chermayeff. Serge Ivan Chermayeff (1900 – 1996) was a Russian-born architect, industrial designer, writer, and co-founder of several architectural societies, including the American Society of Planners and Architects. In 1928 he took British citizenship and with Paul Follot headed the Modern Art Studio at Waring and Gillow department store in central London, where he ensured that Ben Nicholson and Christopher Wood were given prominence in their exhibition rooms. Sculpture mattered greatly to him and figured in buildings he designed and lived in – indeed he commissioned the 1938 Recumbent Figure in green Hornton stone (now Tate Collection) by Henry Moore for his own 1935—38 house overlooking the South Downs (Bentley Wood, near Halland, East Sussex). Serge opened an architectural practice in 1930 and three years later, arguably one of Germany's most famous Modernist architects, Erich Mendelsohn, arrived in London fleeing racism. Chermayeff recognised the power of the moment and went into partnership with him and their projects together were De La Warr Pavilion, Cohen House and Shrubs Wood. He is also credited with the design of Shann House and the headquarters and factory complex of Gilbeys Gin in Camden, London. In 1940 Serge moved to the United States where he worked briefly as an architect before becoming an academic, first as the Chairman of the Art Department of Brooklyn College and then teaching at the California School of Fine Arts. In 1946 upon the recommendation of Walter Gropius, he became President of the Institute of Design in Chicago. In 1953 he moved to Massachusetts where he opened a practice with Haywood Cutting in tandem, he also took up the role of Professor of the Architecture Department at Harvard School of Design until 1962 when he moved to Yale (where Sir Norman Foster was one of his students), retiring in 1971.It is easy to see how the sculptural qualities of the present work would have appealed to him and given the date of execution (1946), it was painted after Serge and Barbara had left England for the US, therefore likely acquired on a return visit to England. A testament to their enduring friendship.We are grateful to Jenna Lundin Aral and Sophie Bowness for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

ARR Dave Johnson (Contemporary) a carving of a couple, on a rectangular stone base, signed25cm high x 31cm wide

Two soap stone carving sculptures. One signed R.C.M WADINI. [20.5CM HIGH]

An antique stone carving of a face [43x39x14cm]

China, stone 'animal' carving, carved with large ears and looking over its back (stone mottled and worn) l. 6 cm [1]

China, stone carving, of a stylised animal (stone mottled, wear) l. 8,7 cm [1]

China, brown stone carving, depicting an elephant (stone mottled, wear) l. 6,5 cm [1]

Bronze Byzantine Figure of a Emperor on a seat, solid-cast with Suspension loop, 10.8cm; Virgin Mary Small Spelter cast figure; Early Bronze Prosperity Goddess Replica; Two lions stone carving; Small stone bowl.

A CHINESE JADE CARVING OF A BOY QING DYNASTY OR LATER The stone with light brown inclusions and carved as a boy holding a peach and playing with a dog, 5.5cm.