Fine Chinese Art, Buddhism and Hinduism by zacke1664

auction Saturday, May 11th 2019

中國藝術集珍 Buddhism and Hinduism

Provenances

The Doris Duke Collection, New York, USA The Estate of William Lipton, New York, USA The Collection of Ambassador Maurice Chayet, France Xu Shichang (1855-1939), President of the Republic of China A British Private Collector and Member of the Oriental Ceramic Society (OCS) The Estate of Robert Täubler, Vienna, Austria Yamanaka & Co, Kyoto, Japan Mr. A. Spoerry, France The Collections of Gustav Detring (1842-1913) and Constantin von Hanneken (1854-1925) Anton Exner, Vienna, Austria (1882 – 1952) and Walter Exner, Bad Wildungen, Germany (1911–2003) Edgar Gutmann, Berlin, Germany The Collection of Friedrich Otto Hasse (1886-1964), Bremen, Germany The Collection of Ambassador Dr. Francesco Rausi, Rome, Italy Bluett & Sons, London, UK Spink & Son, London, UK The collection of Susanna Deistler, Vienna, Austria A Reputed British collection, Valued by Neil K. Davey of Sotheby’s London in 1974 and 1984 Nicholas Pitcher, London, UK The Collection of the Brooklyn Museum, New York, USA The Collection of Architect Nick Troubetzkoy, USA The Collection of John Ault, UK Freddy Hansen, Copenhagen, Denmark The Alain Presencer Collection, London, UK Peter Fussel, London, UK Robert Bouatta, London, UK The Doris Wiener Collection, New York, USA The Oliver Robert Coales Collection, UK The Collection of Thomas Chen, Taiwan The Collection of Sir Oliver Crosthwaite-Eyre, Warrens in Bramshaw, The New Forest, UK Matthew Barton, London, UK Jonathan Tucker and Antonia Tozer, London, UK The private collection of Irene and Wolfgang Zacke M. Serge Blazy, Paris, France The Dashwood Family, West Wycombe Park, Buckinghamshire, UK The Collection of August Flick (1905-2012), Cologne, Germany An Italian Private Collection, Authenticated by Christies in 1983 Artefacts Recovered from the Wreck of the S.S. Medina The Jack Zuberbühler Collection, Switzerland Lot 235 Cover lots 8, 130 and 103

AUCTION

Fine Chinese Art,

Buddhism and Hinduism Saturday, May 11th 2019, at 11:00am CET CATALOG CA0519

VIEWING

Lots 112, 60, 76 and 111

Lots 173 and 57

www.zacke.at

In our gallery Preview: 02.05.-11.05.2019 Monday - Friday 10am - 6pm Day of the sale: 8am - 11am and by appointment

GALERIE ZACKE Mariahilferstrasse 112 1070 Vienna Austria Tel +43 1 532 04 52 Fax +20 E-mail office@zacke.at

Back Cover Lot 262

IMPORTANT INFORMATION

According to the general terms and conditions of business of Galerie Zacke Vienna, Founded 1968, SZA Versteigerungs & Vertriebs GmbH, 1070 Wien, online at www.zacke.at Absentee Bidding Absentee bids are carried out under the regulations of the terms of business of Galerie Zacke, SZA Versteigerungs & Vertriebs GmbH, which requires written submission of your purchase limit. Orders without purchase limits cannot be processed. Only the submitted lot number of the auction lot is binding for the processing of the absentee bid. The place of jurisdiction is Vienna, Austrian Law and Austrian jurisdiction are exclusively applicable for all legal questions arising from the business relationship. Absentee bids for this auction will be accepted until the day of auction by 10:00 a.m. We regret that absentee bids received after the time stated above will not be processed until after the auction. Please send absentee bids for this auction to: Fax: +43 1 532 04 52 20 or Email: office@zacke.at or Mail: Galerie Zacke, Mariahilferstrasse 112, Stiege 1, 2. Stock, 1070 Wien, Austria, Europe We accept the following methods of payments: • Cash • Certified or personal check • Bank transfer (please inquire to receive our bank account information) • Credit card (Visa, MasterCard, Amex, Diners Club) Telephone Bidding It is generally possible to bid by telephone during the auction. Please fill out the absentee bidding from enclosed in this catalogue and include your telephone number at which you can be reached during the auction. In the “bid in euro” column please write “TEL” and then send us the completed absentee bidding form. We will contact you by telephone during the auction, whereby you will be able to bid directly. Please keep in mind that such telephone bids are always classified as a bid equivalent to the estimate. Should no other person bid for the specified lot, you will automatically win the bidding and the respective lot will be knocked down at the estimate price. Estimates and Starting Prices The auction will begin with the starting price and written bids will be accepted only with a minimum amount equivalent to the starting price. Shipping and Transport Insurance For domestic shipping Galerie Zacke (hereinafter called “the company”) charges in average EUR 15,- to EUR 50,- per item, depending on size and weight. These fees cover the costs of packing and shipping. Fees for bulky or fragile items, or international shipping will be quoted upon request. The purchased goods are transported at the risk of the customer following handover of the packaged item to the post office or another carrier which the customer agrees to through his/her submission of the purchase order. According to the specific wish of the customer, the auctioned goods may be insured for the value of the purchase price (highest bid and all surcharges). This insurance fee is 3% of the purchase price. For any lots with purchase prices exceeding EUR

350,- the transport insurance will be automatically arranged by the company if it does not expressively receive the purchaser´s written denial of this service. Payments due to the company under the insurance contract will be charged to the customer. The company is also entitled to assign claims under the insurance contract to the customer providing the terms of the insurance contract do not prevent this. In any case, the company is only required to make payment to the customer specifically if payment has effectively been received from the insurance company. Color and Condition Auction lots will be exhibited for viewing prior to the auction, thus offering all interested customers the opportunity to examine the quality and condition of the works exhibited. The catalogue illustrations are intended to assist customers during such preview. In illustrations, printed colors do not correspond exactly to the originals. The printed catalogue images are not representative for the condition of the illustrated pieces. Flaws and damages are therefore always indicated in the catalogue. The illustrations in the online catalogue can be strongly magnified, so that damages and restorations are usually well recognizable. Endangered Species / CITES Information Some items in this catalogue may consist of material such as for example ivory, rhinoceros-horn, tortoise shell, coral or any rare types of tropical wood, and are therefore subject to the Convention on International Trade in Endangered Species of Wild Fauna and Flora [CITES]. Such items may only be exported outside the European Union after an export permit in accordance with CITES has been granted by the Austrian authorities. Zacke Gallery cannot and does not guarantee that such export permit may or will be obtained, but will by order of the winning bidder, once and exclusively after the item in question has been pain in full, apply to obtain such a permit at a fixed administrative fee of euro 500,- per application. Complaints At its auctions, Galerie Zacke sells consigned lots on behalf of thirdparty consignors. For this reason, any complaints related to purchased lots must be reported to Galerie Zacke within 6 weeks after the receipt of such lot. Our complete general terms and conditions of business can be found on our website www.zacke.at THE ART LOSS REGISTER All items starting above 2.000,- EUR have been checked by the Art Loss Register. Further Images More images of all lots can be found at: www.zacke.at

ABSENTEE BIDDING FORM FOR THE AUCTION Fine Chinese Art, Buddhism and Hinduism CA0519 ON DATE May 11th, 2019, at 11:00am CET

LOT NR.

PLEASE RAISE MY BID BY ONE BIDDING INCREMENT (ca. 10%) IF NECESSARY

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IMPORTANT NOTICE: Bids do not include buyer´s premium and/or VAT.

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TELEPHONE BIDS: If you like to bid by telephone, please state ‘TEL’ in the ‘BID IN EURO’ column instead of a Euro amount. A bid by telephone shall automatically represent a bid for the estimate of this lot in Euro. If Galerie Zacke cannot reach the Client during the auction, Galerie Zacke will bid up to the estimate for the client. If no one else bids on the lot, the Client shall automatically win the bidding at the Euro estimate. TERMS OF PAYMENT, SHIPPING AND COLLECTION: NAME

ADRESS CITY, COUNTRY POSTCODE

With the signature on this form, the client instructs the auctioneer to bid on his behalf. The Euro amount up to which the auctioneer shall bid on behalf of the client is either stated in this form or will be communicated to the auctioneer via telephone during the auction. All absentee bidding shall be governed by the terms and conditions [AGB] of Galerie Zacke. The client agrees with his signature that he has read, understood and fully accepted the AGB of Galerie Zacke. Galerie Zacke, founded 1968, is a registered brand of SZA Versteigerungen & Vertriebs GmbH, Vienna, Austria.

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SHIPPING INSURANCE REQUIRED (ACCORDING TO TERMS AND CONDITIONS OF GALERIE ZACKE) Galerie Zacke Mariahilferstrasse 112, 1070 Vienna, Austria Email: office@zacke.at Tel: +43-1-532 04 52 Fax: +43-1-532 04 52 20

IMPORTANT NOTICE: At its auctions, Galerie Zacke sells consigned lots on behalf of third-party consignors. For this reason, any complaints related to purchased lots must be reported to Galerie Zacke within 6 weeks after the receipt of such lot.

ABSENTEE BIDDING FORM FOR THE AUCTION Fine Chinese Art, Buddhism and Hinduism CA0519 ON DATE May 11th, 2019, at 11:00am CET

LOT NR.

LOT TITLE

BID IN EURO

50 YEARS Gallery ZACKE

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asse

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raße Kaiserst

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fgasse Schmalzho

asse

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hil

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tel

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By public transport: 2-3 minutes from the U3 station ZIEGLERGASSE 3-5 minutes from the U3/U6 station WESTBAHNHOF By car: Best route: take the Gürtel to the Westbahnhof and turn onto Mariahilferstraße; house number 112 is just after the Kaiserstraße. Access is possible by car, with loading and unloading all day as well as short term parking. Multiple garages directly nearby AdDress: Mariahilferstr. 112 1070 Vienna STAIRCASE 1, 2nd FLOOR (ELEVATOR)

Further images of all lots at: www.zacke.at

TERMS OF AUCTION

§ 1) The auction shall be carried out in accordance with the provisions of the rules of procedure of GALERIE ZACKE ©, SZA VERSTEIGERUNGS UND VERTRIEBS GMBH, MARIAHILFERSTRASSE 112, 1070 WIEN (hereinafter referred to as the company) as well as in accordance with sections 244-246 of the GEWERBEORDNUNG [Industrial Code] of 1994. The auction shall be carried out on commission. The auctioneer shall be entitled to withdraw lots exceptionally, to conduct the auction deviating from the order of the catalogue numbers and to offer lots jointly. In the event of any dispute concerning a double bid or if the auctioneer has missed a bid, the auctioneer shall be entitled to revoke acceptance of a bid and to continue auctioning the item. The figures stated in the catalogue shall be the highest bid in Euro (€) expected by the respective expert. As a rule, the bid shall be increased by 10% of the last bid. (See table of the bidding increments). § 2) The acceptance of a bid shall be granted to the highest bidder unless a hidden reserve has been agreed upon with the consignor of the item in question. Such a hidden reserve (also called limit or just reserve) shall be the minimum price under which the item will not be sold during the auction. This reserve will be disclosed upon request only and may exceed the estimate. The auctioneer will in this case bid on behalf of the seller against all other bidders until the reserve has been reached. If a reserve is not reached during the auction, the auctioneer will knock down the item to the highest bidder at the final bid, but the sale will be conditional of the acceptance of this final bid by the seller. In this case the highest bidder shall be bound to his/her last bid for a term of 8 days starting with the day of the knockdown. If the winning bidder does not receive a written cancellation notice within this term of 8 days, the knockdown becomes unconditional and the sale is final. Typically, only a minority of all items in an auction have a hidden reserve. § 3) All items shall be subject to differential taxation. A uniform surcharge of 22% plus the value added tax applicable to the surcharge to the amount of 20% shall be added to the achieved highest bid (final and highest bid). Thus, the surcharge shall be 26.4% of the final and highest bid in total. § 4) In the event of sales abroad, the value added tax will be repaid if the item is sold to a country which is not a member country of the European Union (third country), the legal requirements are met, and the proof of exportation is provided. The value added tax shall not be shown separately on the invoice. § 5) The auction buyer must pay the purchase price immediately upon acceptance of the bid (final and highest bid plus 22% surcharge, plus the value added tax applicable to the surcharge to the amount of 20%). However, the company may grant the auction buyer a respite for the payment of the purchase price in whole or in part in individual cases. If a respite is refused, the acceptance of the bid may be revoked, and the item may be reoffered. In the event of revocation of the acceptance of the bid, the company shall be entitled to accept the last bid from the underbidder. § 6) In the event of respite in whole or in part, the company shall be entitled to charge default interest (12% p.a.) as well as storage charges (2.4% pf the final and highest bid per month commenced) after 14 days upon acceptance of the bid. The item purchased at auction shall be handed over exclusively upon full payment of the purchase price including all costs and charges accrued since the acceptance of the bid. § 7) The buyer can take acquired items in possession, as far as possible, immediately or after the end of the auction. Items which have been fully paid for shall be handed over in our show rooms in GALERIE ZACKE, MAIAHILFERSTRASSE 112, 1070 VIENNA. If a deferred purchase price is not paid within the set period, the company shall be entitled to auction the item again in order to recoup its claim from the defaulting auction buyer. In this case, the defaulting auction buyer shall be liable to the company for the total loss of commission incurred by the company due to the re-auctioning as well as for any default interest and storage charges. § 8) The company shall be entitled to a lien on all items of the buyer irrespective of whether the buyer bought them within the scope of an auction or in free sale or the company secured ownership of these items otherwise. This lien shall serve to secure all current and future, qualified, limited and unmatured claims to which the company is entitled and which result from all legal transactions concluded with the buyer. § 9) The items received for auction will be exhibited and may be viewed prior to the auction. In doing so, the company shall give everyone the opportunity to check the nature and the condition of the exhibited items to the extent deemed possible within the scope of the exhibition. Every bidder shall be deemed to act on its own behalf uncles it provides a written confirmation saying that it acts as a representative of a well-known principal. The company may refuse bids; this shall particularly apply if a bidder who is unknown to the company or with whom the company has no business connections yet does not provide security by the beginning of the auction at the latest. However, in principle there shall be no claim to accept a bid. If a bid has been refused, the previous bid shall remain effective. § 10) The company’s experts evaluate and describe the items received for auction and determine the starting prices uncles otherwise stated in the catalogue or expert opinion. The information concerning production technique or material, state of preservation, origin, design and age3 of an item is based on published or otherwise generally accessible (scientific) findings concluded by the company’s expert with the necessary care and accuracy. The company shall warrant to the buyer according to §22 of the AGB (General Terms and Conditions) that properties are correct provided that any possible complaints referring to this are made within four weeks upon their taking into possession. Subsequent complaints shall be excluded in principle. The company shall not be liable for any further information in the catalogue and expert opinion as well. This shall also apply to illustrations in the catalogue. The purpose of these illustrations is to guide the potential buyer during the preview. They shall not be authoritative for the condition or the characteristics of the pictured item. The catalogue and the expert opinions shall only mention defects and damage affecting the artistic or commercial value significantly. Complaints concerning the price shall be excluded upon acceptance of the bid. The company reserves the right to amend catalogue information prior to the auction. These amendments shall be made either by a written notice at the place of auction or orally by the auctioneer immediately prior to offering of the respective item. In this case, the company shall be liable for the amendment only. All items offered may be checked prior to the auction. These items are used. Any claims for damages exceeding the liability named above and resulting from other material defects or other defects of the item shall be excluded. When making the bid, the bidder confirms that it has seen the item prior to the auction and has made sure that the item corresponds to the description.

§ 11) If a customer is not able to participate in an auction personally, the company shall accept purchase orders. These orders may be placed in writing, via email or fax. In the case of a purchase order placed by phone or orally, the company shall reserve the right to make the performance dependent on a confirmation from the principal communicated in writing, via email or fax. Furthermore, the company shall not be liable for the performance of purchase orders. Purchase orders with equal top bid limits will be considered in the order of their receipt. Bids which are only one increment above the starting price shall be exhausted totally. Bids which do not correspond to the increments determined by the company (see bidding increment) in tabular form will be rounded up to the next higher increment. The table of these increments can be sent upon request. In the case of lots auctioned “without any limits”, bids below the estimated price shall be exhausted totally. The written bid (purchase order) must include the item stating the catalogue number and the offered top bid limit which is quoted as the amount of the acceptance of the bid without buyer´s commission and without value added tax. Ambiguities shall be carried by the bidder. A purchase order which has already been placed may only be cancelled if the written withdrawal is received by the company at least 72 hours prior to the beginning of the auction. § 12) The company may refuse to process a purchase order without explanation until offering or make this dependent on payment of a deposit. In the event of an unsuccessful order, such a deposit will be reimbursed by the company within 5 working days. Processing of purchase orders is free of charge. § 13) Every contributor shall in principle be entitled to withdraw the items offered for auction until the start of the auction. Therefore, it is impossible to assume liability or to give warranty for the actual offering. § 14) Items paid must be collected within 30 days of payment. Items which have not been collected may be delivered without further communication at a starting price from the recent auction reduced by 50% after 30 days from the respective auction date. Items which have not been collected within 3 (three) working days after the auction or for which the company does not receive any proper shipping instructions stating the type of shipping and the address of dispatch (independent of a possibly placed purchase order) within 3 (three) working days after the auction shall be stored at the owner´s risk. Furthermore, the company shell be entitled to store item which have been purchased at auction and paid but not collected at the buyer´s risk and expense, including the costs for an insurance, with a forwarding agency. It shall be understood that the provision concerning the re-auctioning of unpaid and paid but not collected items must also apply to items not exhibited or stored on the premises of the company. The ownership shall be transferred the buyer at the time of handing over the delivery note. § 15) In the case of mixed lots with a starting price of less than EUR 350.00, the company shall not warrant for the completeness or correctness of the individual items within a mixed lot. § 16) A registration for a bid by telephone for one or several items shall automatically represent a bid at the starting prices for these items. If the company cannot reach the bidder by telephone, it will bid on behalf of the bidder by phone up to the starting price when the respective auction lot is called. § 17) Payments made to the company by mistake (through the payer´s fault) (e.g. due to miscalculation of the exchange rate by the payer) or payments made to the company for the same invoice several times shall be compensated in form of a credit note for goods for an indefinite period of time. The repayment of such payments in cash shall be excluded. § 18) In the case of individual auction lots, it may happen that they are delivered several times. In such a case, the auctioneer may accept a second or third etc. bid from the underbidder(s) In this case, the text om the catalogue and not the illustration in the catalogue shall also be exclusively binding with regard to the warranty (relating to these auction lots). § 19) When making a bid, whether personally, in writing or by telephone, the bidder shall acknowledge these terms of auction, the AGB (General Terms and Conditions) as well as the rules of procedure and the schedule of fees (as amended) of the company. § 20) The place of performance of the contract brought about between the company on the one hand and the seller as well as the buyer on the other hand shall be the place of business of the company. The legal relationships and contracts existing between the company, the sellers and the buyers shall be subject to the Austrian substantive law. The company, the sellers and the buyers shall agree to settle all disputes resulting from, concerning and in connection with this contract before the territorially competent court of Vienna. § 21) The export of art objects from Austria, when indicated, shall require a permit from the Bundesdenkmalamt [Federal Monuments Office]. In any event, the company shall orally provide information about art objects for which an export permit will probably not be granted at the beginning of the auction. § 22) The company reserves the right to assign to the customer all rights and obligations resulting from the contractual relationship between the company and the contributor by a way of a respective declaration, as well to assign to the contributor all rights and obligations resulting from the contractual relationship between the company and the customer by way of a respective declaration, in each case in terms of a complete assignment of contract with the result that the contractual relationship-following the submission of the aforementioned declarations by the company – shall exclusively be between the contributor and the customer, which is in accordance with the basic model of the commission agreement. Customers and contributors shall already now give their explicit consent to this contract assignment.

content

Porcelain and Ceramic Lots 1 to 52. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Jade and Hardstone Lots 53 to 89 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Enamel, Glass, Silver, Lacquer and Organic Material Lots 91 to 124. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Snuff Bottles Lots 125 to 162. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Censers, Vases and Vessels Lots 163 to 189. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Thangkas, Paintings and Textiles Lots 190 to 223. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Sculptures Lots 224 to 272. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Buddhism and Hinduism Lots 273 to 317. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Porcelain and Ceramic

Lots 1 to 52

A JUNYAO MEIPING, JIN/YUAN DYNASTY China, 1115-1368. The tapering vessel with a short waisted neck and galleried rim. Covered in milky, lavender-blue glaze, a prominent purple splash in the center, stopping above the foot to reveal the buffcolored body. Provenance: Bluett & Sons, London, according to label on base. Sotheby’s London, ‘Important Chinese Art’, May 13th, 2015, lot 265, and May 11th, 2016, lot 228. Condition: Good condition with only a small 3mm by 3mm shallow chip to the foot and intentional crackle throughout. There are also some minor glaze pits from firing and of course there is some old wear.

Weight: 1334.5 grams. Dimensions: Height 26.5 cm.

金元時期鈞窯梅瓶中國，金元時期（1115-1368）。梅瓶短頸厚底。瓶身施月白色青釉，中間一塊丁香紅色釉塊。來源：底部標簽上注有倫敦Bluett & Sons。倫敦蘇富比2015年5月13日 Sotheby’s “Important Chinese Art”，拍號 265及2016年5月11日拍號228 。品相：品相良好，足部僅有一處三毫米的開片以及爆裂処。釉面有些爆裂的氣泡坑及一些老磨損。重量：1334.5 克尺寸：高26.5 厘米

Estimate EUR 3.000,Starting price EUR 1.500,-

The industrialist Friedrich Otto Hasse was considered a knowledgeable art collector in his time. He owned paintings by artists of his generation such as Kokoschka, Braque, Ensor, Vlaminck and others. He also participated in the 1920s trend of collecting Chinese art. A photograph from around 1980 shows a part of his collection, approximately 50 ceramics and bronzes in a glass cabinet (fig. 2). One of the main subjects of the collection was Chinese ceramics from the Song to Ming dynasties. He acquired these pieces, as documented by extant invoices, at Hugo Meyl in 1924 and at the Cassirer & Helbing auctions in Berlin. The documents suggest that his main period of collecting was between 1924 and 1929.

A JUNYAO DISH, SONG DYNASTY China, 12th-13th century. Finely potted with shallow sides and a carefully cut foot, with a pale bluish-lavender glaze draining to a mushroom tone around the extremities, the well with a purple splash. Provenance: Collection Friedrich Otto Hasse (1886-1964), Bremen, Germany. Thence by decent. See image of the collector’s cabinet below, on the right side of the top shelf. Condition: Superb condition with some wear overall, and a bit more to the well, in general as expected on a piece of this age. The crackles of the glaze are from firing. Not even the tiniest chip or any other damage whatsoever!

Weight: 195.7 grams. Dimensions: Diameter 12.4 cm. Compare with a similar but a bit smaller dish, sold by Sotheby’s Hong Kong, in ‘Contemporary Literati: Curiosity’ on April 5th, 2015, lot 2833. A similar dish is also illustrated in Robert Schmidt, Chinesische Keramik von der Han-Zeit bis zum XIX. Jahrhundert, Frankfurt am. Main, 1924, pl. 47f, and a slightly larger dish is included in Mayuyama, Seventy Years, vol. I, Mayuyama & Co., Ltd., Tokyo, 1976, pl. 403.

宋代鈞窯小碟中國，十二至十三世紀。胎體細膩，淺凹，足部切割細緻，通體月白色釉，碟中一片蘑菇狀丁香紫色釉塊。來源：德國不來梅Friedrich Otto Hasse （1886-1964）收藏至今。見藏家展櫃圖片右上角。品相：保存極好，整體有一些磨損，碟内磨損更明顯，整體狀況符合此年代器具。釉面開片是由燒製時產生。沒有裂口或其他損壞。重量：195.7 克尺寸：直徑12.4 厘米

Friedrich Otto Hasse (1886-1964)

The collectors’s cabinet, with the present Lonquan vase (lot 4) located in the lower right corner, the Cizhou bowl (lot 3) to its left, the Yunyao dish (lot 2) on the right side of the top shelf

Estimate EUR 3.000,Starting price EUR 1.500,-

A PAINTED CIZHOU BOWL, SONG DYNASTY China, Song dynasty (960-1279). The creamy-white glaze painted in dark brown to depict abstracted flowers within a spiral medallion. The outside covered almost entirely with a dark brown glaze. Provenance: Collection Friedrich Otto Hasse (1886-1964), Bremen, Germany. Thence by decent. See image of the collector’s cabinet (page 12) in the center of the lower shelf. Old collector label to underside with inscription “Sung 960-1279”. Condition: One short hairline, one minuscule chip. A three-cm-chip with an old restoration (well visible on our detail images at www.zacke.at). Old wear and some kiln grit. Given the high age of this piece, and it’s absolutely doubtless authenticity, the condition is still very, very good.

Weight: 450.5 grams. Dimensions: Diameter 18.7 cm.

宋代磁州窯碗中國，宋代（960-1279）。碗中央白地褐色花。外壁整體施褐色釉。來源：德國不來梅Friedrich Otto Hasse （1886-1964）收藏至今。見藏家展櫃圖片下方中間。底部有老收藏標簽 “Sung 960-1279“。品相：一條短髮絲綫，一處微不足道小開片。一條三厘米長已修復的裂紋（可參見www.zacke.at上的细节图）。舊磨損及一些窯砂。其斷代不可置疑，對於其年代來説已經是保存極好了。重量：450.5 克尺寸：直徑18.7 厘米

Estimate EUR 800,Starting price EUR 400,-

A LONQUAN CELADON VASE, MING China, 15th-16th century. The massively potted vessel with a vitreous, thick glaze, showing a fine web of crackles. Subtly molded and carved with leafy peonies and vines. The base of dark brown color. Provenance: Edgar Gutmann, Berlin. Sold at Cassirer und Helbing, Berlin, March 29th, 1928, lot 62. Collection Friedrich Otto Hasse (1886-1964), Bremen, Germany. Thence by decent. See image of the collector’s cabinet (page 12) at the lower right corner. Condition: Excellent original condition with old wear and many firing flaws, some glaze pitting including a few open bubbles, but no actual damage.

Weight: 1846.5 grams. Dimensions: Height 27.8 cm.

明代暗花龍泉青釉瓶中國，十五至十六世紀。大型花瓶，厚釉，有细小的裂缝。暗花雕刻纏枝牡丹。瓶底深棕色。來源：柏林Edgar Gutmann收藏。于1928年3月29日在柏林Cassirer und Helbing藝廊賣出，編號62。德國不來梅Friedrich Otto Hasse （1886-1964 ）收藏至今。見藏家展櫃圖片右下角。品相：原始品相極好，老磨損，一些燒製缺陷與氣泡，但沒有其他現實損坏。重量：1846.5 克尺寸：高27.8 厘米

Estimate EUR 700,Starting price EUR 350,-

A SMALL CARVED CIZHOU JAR, JIN China, Jin dynasty (1115–1234). Freely carved through the brown slip to the ivory-white layer beneath to depict three large peony blooms. The sturdy, bulbous body rising to a lipped rim. Provenance: From the collection Dr. Francesco Rausi, the Italian Ambassador to South Korea. Acquired 1989 during the ambassador’s visit to Beijing. Dr. Rausi was an avid collector of European and Korean ceramics, with a few early Chinese pieces completing his collection. A provenance letter is accompanying this lot, as well as the original TL Test from ARCADIA, TECNOLOGIE PER I BENI CULTURALI, Milan, Italy, dated 3/4/2008, which confirms the dating of this lot. Condition: The glaze shows some calcification from burial, especially the ivory-white layer is affected. Also, the band circling the foot bears massive earthen encrustations which cannot be removed. Accordingly, the neatly carved foot shows clear traces of erosion. Besides these natural signs of age, there are no noteworthy damages.

Weight: 1788,7 grams. Dimensions: Height 16.8 cm. This jar is impressive despite its small size due to its bold and vigorous floral scroll which has been endowed with an added sense of three-dimensionality through its carving and neatly incised lines. Vases decorated with in sgraffiato technique with large peony blooms, in which the design is carved through the dark slip covering a white slip beneath, were produced primarily at Cizhou kilns in the Guantai area, Cixian, Henan province, during the Northern Song dynasty, where fragments of similarly decorated vessels have been recovered, illustrated in The Cizhou Kiln Site at Guantai, Beijing, 1997, plate 21, no. 2. Jars decorated with similar peony motifs are more commonly known of larger size, such as one included in the exhibition Song Ceramics, Tobu Museum of Art, Tokyo, 1999, cat. no. 93, and a meiping vase, from the collection of Margaret C. Osgood, now in the Worcester Art Museum, included in the exhibition ‘Freedom of Clay and Brush through Seven Centuries in Northern China’.

金代磁州窯小型剔花罐中國，金代（1115–1234）。灰白地褐色釉剔花牡丹紋。胎體堅固，削肩鼓腹。來源：意大利駐韓國大使 Francesco Rausi博士收藏。1989年訪問北京時購買。Rausi博士是歐洲及韓國陶瓷收藏家，也收藏了幾件中國早期陶瓷器具。意大利米蘭ARCADIA, TECNOLOGIE PER I BENI CULTURALI 研究所2008年3月4日出具的熱釋光檢測結果原件證實了斷代。品相：釉面显示因爲埋藏而產生的钙化，特别是象牙白色釉层受到影响。此外，圈足部位有土质结壳，无法将其除去，明显的侵蚀痕迹。除了这些由年代產生的自然迹象，没有明顯损害。重量：1788,7 克尺寸：高16.8 厘米

Estimate EUR 3.000,Starting price EUR 1.500,-

Ambassador Dr. Francesco Rausi

A WANLI MARK & PERIOD WUCAI JAR China, 1572-1620. The barrel-shaped jar with three mythical beasts above cresting waves. The six-character mark is horizontally painted in cobalt blue under the glaze, located just below the lip. Provenance: From an Austrian private collection. Acquired from the heirs of an important German collector who acquired most of his collection in China between 1910 and 1930. Condition: Significant wear and scratches to glaze. Several star-shaped cracks. Still in presentable original condition, especially given the age of this piece.

Weight: 565.5 grams. Dimensions: Diameter 13 cm. The vessel is decorated in iron red and green enamels above the glaze and deep cobaltblue thereunder. It rests on three mythical heads covered in iron red. The base is slightly recessed.

萬曆款與時期五彩罐中國，1572-1620。桶形罐上繪有波浪紋，上有三只神兽。唇部下水平邊緣可見青花釉下彩六字款。來源：奧地利私人收藏，源自一個重要的德國私人收藏，其藏品主要于1910至1930年在中國購得。品相：釉面有明顯的磨損和劃痕。一些放射狀裂紋。仍為原始狀況，更加體現了這件五彩罐的年代。重量：565.5 克尺寸：直徑13 厘米

Estimate EUR 1.500,Starting price EUR 700,-

A LIDDED WUCAI VASE, MING DYNASTY China, 16th – 17th century. Freely painted in underglaze blue, iron-red as well as yellow, aubergine and green enamels to depict three horses and eight Buddhist treasures. Seal mark ‘FU’ to base. Provenance: Anton Exner, Vienna (1882 – 1952). Walter Exner, Germany (1911–2003). The Asia Museum, Bad Wildungen. Galerie Zacke, 1991. Private collection Vienna. Published: Galerie Zacke, Keramik, Skulpturen, Porzellan, Malerei, April 9th – May 4th, 1991, lot 41. Condition: One single hairline extends through about half of the vase, but the vessel was not broken. Besides the hairline we see the usual firing imperfections and wear. The lid has some chipping, one with an old repair, and extensive wear. Given its high age, this piece still comes in a fine and well presentable condition.

Weight: 4.3 kilograms. Dimensions: Height 41 cm.

明代五彩將軍罐中國，十六至十七世紀。青花釉下彩、礬紅彩、茄皮紫以及綠色琺琅彩繪製了三匹馬與佛教八寶。底足可見”福”字款。來源：維也納Anton Exner（1882 – 1952）；德國 Walter Exner（1911–2003）；Bad Wildungen 亞洲美術館；1991 Zacke 藝廊；維也納私人收藏。品相：一條唯一的髮絲綫貫穿半個罐身，但是罐子并未斷裂。除此之外可見通常的燒製缺陷與磨損。罐蓋有些裂紋，其中一條經過修復，大面積磨損。儘管已有年代，但此罐仍然極具觀賞性。重量：4.3 公斤尺寸：高41 厘米

Estimate EUR 800,Starting price EUR 400,-

A JIAJING MARK & PERIOD ‘REBUS’ BOWL China, 1522-1566. Freely painted in shaded tones of cobalt with mullet, sole, bream and perch, meaning ‘of good descent, modest and honorable’. Six-character reign mark within double circles. Provenance: Yamanaka & Co, Kyoto, May 15th, 1920. The original sales invoice is accompanying this lot. The invoice is made out to Mr. A. Spoerry, France. Listed in the Spoerry inventory as number 1002 and described as “Coupe Chinoise bleu et blanche, Date Chia Ching 1522-1566” (Chinese bowl, blue and white, date Chia Ching 1522-1566). A copy from the respective page of the inventory book handwritten by Mr. Spoerry is accompanying this lot. The base of the bowl still bears the original number 1002. Thence by descent within the Spoerry family. Condition: Superb condition with only one 3 mm flake to the inner of the foot rim. Most likely this is only a manufacturing flaw. No hairlines, no chips, no cracks and no restoration! Some wear and minor surface scratches mostly to the well. A few tiny firing imperfections. Very good sound lasting for ca. 5 seconds.

Weight: 217.7 grams. Dimensions: Diameter 15 cm. Neatly potted with deep rounded sides rising from a slightly tapered foot to a gently lipped rim, the interior with a central medallion enclosing an en face five-clawed dragon writhing among foliate lotus within a double line-border, below a band enclosing a dragon and a phoenix alternating with lotus sprays on the interior rim, the exterior delicately painted to depict a mullet, a sole, a bream and a perch leaping or swimming among pondweed and lotus. Fish have been a favorite motif for Chinese ceramic decorators for centuries because the word for fish (yu) is a homonym for the word for abundance or plenty. The particular design on this bowl, however, provides an additional, more complex rebus since the Chinese names for the four depicted fish are pronounced qing, bai, lian and gui, which combine to sound like the phrase qingbai lianjie, meaning ‘of good descent, modest and honorable’. Thus, if presented as a gift, such a bowl would pay a most gracious compliment to the recipient. While numerous dishes with this design are known, porcelain vessels from this reign period are very rare. The ‘fish in water pond theme’ appears to have been a popular motif in underglaze blue during the Jiajing reign as can be seen from two examples of dishes in the Palace Museum, Beijing, illustrated in Blue and White Porcelain with Underglaze Red (II), The Complete Collection of Treasures of the Palace Museum, Commercial Press Hong Kong, 2000, pages 138-9,

numbers 127 and 128, which in turn copied dishes of the Xuande reign, like the example in the Palace Museum, Beijing, illustrated in volume (I) of the same series, page 144, number 136. Fish motifs were also popular among jars of the Jiajing period, such as the magnificent blue and white example sold at Christie’s London, 11 July 2006, lot 1111. The founder of Yamanaka & Co was born Adachi Sadajiro in 1866 in Sakai and started working for his father who was an antique dealer. At the age of thirteen, he was sent to work as a live-in apprentice with Yamanaka Kichibei, a well-known antique dealer in Osaka. Sadajiro eventually married Yamanaka’s eldest daughter and took the Yamanaka family name, a widespread practice among families without male heirs. Having observed westerners in newly opened Japan frequenting antique shops, Sadajiro began to think about opening a Japanese art shop in the United States. In 1894 at the age of 28, Yamanaka sent Sadajiro and his brother-in-law to New York to open a shop near Madison Square. It was an immediate success. In the early 20th century, Yamanaka & Co. began to sell more Chinese than Japanese art. During the Meiji period, the government imposed restrictions on the export of artwork. In addition, the escalating price of Japanese artwork made it difficult to gain profit abroad. In contrast, Chinese artwork flowed in large quantities to American and European art markets. The collapse of the Qing Dynasty and the ensuing civil war caused wealthy Chinese families to sell their collections. Moreover, looting by soldiers and antique thieves who excavated graves and temples led to a rampant black market.

嘉靖款與時期青花龍鳳魚藻紋碗中國，1522-1566。利用青花不同色調生動繪製了鯔魚、鰨魚和魴鱼，意味着“ 良好的血统、谦虚和光荣”。碗底雙圈六字款。來源：根據原始拍賣發票顯示1920年5月15日京都Yamanaka & Co，買家為法國 A. Spoerry先生。Spoerry 收藏編號為 1002 ，描述“Coupe Chinoise bleu et blanche, Date Chia Ching 1522-1566“。附帶Spoerry先生收藏目錄頁拷貝。碗底可見 1002字樣。至今一直保留在Spoerry 家族中。國 A. Spoerry 先生。Spoerry 收藏編號為 1002 ，描述“Coupe Chinoise bleu et blanche, Date Chia Ching 1522-1566“。附帶Spoerry先生收藏目錄頁拷貝。碗底可見 1002字樣。至今一直保留在Spoerry 家族中。品相：保存記號，僅在圈足内沿有3毫米開片，上去是一個製作缺陷。無髮絲裂縫，無磕損，劃痕和修復。局部有磨損，表面有些劃痕。些微燒製時的缺陷。敲擊時聲音可綿延5秒鐘。重量：217.7 克尺寸：直徑15 厘米

Estimate EUR 8.000,Starting price EUR 4.000,-

The Qingbai Lianjie Rebus Fish have been a favorite motif for Chinese ceramic decorators for centuries because the word for fish (yu) is a homonym for the word for abundance or plenty. The particular design on this bowl, however, provides an additional, more complex rebus since the Chinese names for the four depicted fish are pronounced qing, bai, lian and gui, which combine to sound like the phrase qingbai lianjie, meaning ‘of good descent, modest and honorable’. Thus, if presented as a gift, such a bowl would pay a most gracious compliment to the recipient. While numerous dishes with this design are known, porcelain vessels from this reign period are very rare.

Another vessel bearing the Qingbai Lianjie Rebus sold at auction more recently is a brush washer, 16 cm wide, from the Falk Collection, previously Bluett & Sons, at Christies Hong Kong ‘The Imperial Sale, Important Chinese Ceramics and Works of Art’ on May 28th, 2014, lot 3312, sold for HKD 7,240,000

The fish rebus on the present bowl, lot 8

The original invoice from Yamanaka & Co, dated May 15th, 1920, where Mr. A. Spoerry bought the present bowl

The present bowl with the invoice from Yamanaka & Co and a photocopy of the collection inventory handwritten by Mr. A. Spoerry

The Yamanaka Art Gallery, Kyoto

A CARVED LONQUAN LOTUS BOWL, MING China, 16th/17th century. Covered overall (except the foot rim) with a lustrous olive-green glaze. The carving is simple yet detailed and shows light relief. Neatly potted with a flaring lip and straight foot. Provenance: Hungarian private collection. Condition: Superb condition with old wear, few manufacturing flaws and minimal fritting to foot rim.

Weight: 444.2 grams. Dimensions: Diameter 18.4 cm. Carved to the interior with a stylized leafy lotus blossom, surrounded by dense meandering lotus scrolls around the cavetto, all below a band of classic scrolls at the outer rim, the exterior with an array of lotus petals.

明代龍泉窯刻花西番蓮碗中國，十六至十七世紀。除圈足外，整體滿刻施橄欖綠釉。雕刻簡潔但非常細膩，輕微浮雕。形制標準，唇外撇，直圈足。來源：匈牙利私人收藏品相：品相優良，舊磨損，輕微製作缺陷，圈足輕微燒結。重量：444.2 克尺寸：直徑18.4 厘米

Estimate EUR 700,Starting price EUR 350,-

China, 618–907. The pottery statue neatly modelled with the unicorn earth spirit seated on its haunches, a furtive expression to his face. Some accentuated cold painting above the ivory glaze.

China, 18th – early 19th century. The corrugated vessel with a stepped lip and broad, rounded foot. Covered overall (except the foot rim) with a vitreous, thick olivegreen glaze.

A GLAZED CERAMIC UNICORN, TANG

Provenance: British private collection. Condition: Stunning original and absolutely unrestored condition with only one tiny chip. The ivory glaze is oxidized due to burial. The primer to which the cold painting had originally been applied is mostly lost.

Weight: 980.5 grams. Dimensions: Height 27.5 cm.

唐代釉陶獸中國，唐代（618–907）。陶像塑造了独角兽坐像，表情生動。象牙色釉上面有一些突出的低溫色彩画。來源：英國私人收藏品相：令人驚嘆的原始狀態，未經過修復，只有一処小開片。象牙色釉由于埋于地下而被氧化。低溫燒製而成的色彩層大部分已消失。重量：980.5 克尺寸：高27.5 厘米

A MASSIVE CELADON CHARGER, QING

Provenance: Hungarian private collection. Condition: Excellent condition with old wear, some firing flaws and surface scratching to glaze, hardly visible to the naked eye.

Weight: 2932 grams. Dimensions: Diameter 33 cm.

清代大型印花青瓷盤中國，十八至十九世紀初。波纹状的折沿大盤，圈足寬闊。整器覆盖（除了圈足边缘）厚重橄欖綠色釉。來源：匈牙利私人收藏品相：品相極好，舊磨損，一些燒製缺陷，釉面有不明顯劃痕。重量：2932 克尺寸：直徑33 厘米

Estimate EUR 500,Starting price EUR 250,-

Estimate EUR 700,Starting price EUR 350,-

A TRANSITIONAL BLUE & WHITE BITONG China, mid 17th century. The massively potted brush pot delicately painted in deep cobalt-blue to depict two birds, one sitting on the gnarled branch of a blooming cherry tree. Round recessed base. Provenance: The estate of William Lipton, New York. Old label with inventory number 6195. Over the past 25 years, Lipton owned one of the most recognizable Manhattan art galleries. He was also a seasoned art collector with a deep passion for Chinese porcelain. Condition: Good condition with some wear, fritting to lip and several manufacturing imperfections.

Weight: 994.6 grams. Dimensions: Height 15.8 cm.

過渡時期青花筆筒中國，十七世紀中期。筆筒胎體厚重，以青花生動描繪兩隻鳥，其中一隻立於櫻花枝頭。圓形凹底。來源：紐約William Lipton遺產。舊標簽上有收藏編號 6195。二十五年前Lipton曾擁有曼哈頓一家著名的藝廊。他也是忠實的中國瓷器收藏家。品相：品相良好，一些磨損，唇部有些磕損，筒身有些製作缺陷。重量：994.6 克尺寸：高15.8 厘米

Estimate EUR 1.200,Starting price EUR 600,-

TWO KANGXI PARROTS, MINT CONDITION China, 1662-1722. The pair of biscuit birds painted in vivid yellow, green and aubergine enamels with each carefully modeled and looking slightly to the left. The base with elaborate openwork design. Provenance: From a Canadian private collection. Acquired in China before 1940 (by repute) and thence by descent. Condition: Absolutely perfect condition.

Weight: 689.3 and 678.8 grams. Dimensions: 22 cm each. Compare with a pair of related parrots illustrated by C. Jörg, Chinese Ceramics in the Rijksmuseum, Amsterdam, London, 1997, no. 218, page 193, and another pair from the Johanneum Palace, Dresden, illustrated by W. Bondy, Kang-Hsi, Munich, 1923, plate 184, and a pair sold by Christies London on 8th November 2005 in ‘Chinese Ceramics and Works of Art’ lot 80.

一對簇新康熙時期三彩鸚鵡中國，1662-1722。一對黃綠紫三彩鸚鵡，造型生動，眼神微微向左。底座鏤空。來源：加拿大私人收藏，1940年前購於中國，收藏至今。品相：完美重量：分別為689.3 與 678.8 克尺寸：每隻 22厘米

Estimate EUR 1.200,Starting price EUR 600,-

A KANGXI IMMORTALS BOWL China, 1662-1722. The eight-lobed vessel neatly painted in cobalt blue under the glaze to depict one of the Eight Daoist Immortals on each section. Provenance: From a reputed Dutch private collection of Chinese porcelain, originally located in Friesland. Old collector label to base bearing the acquisition date ‘93’, the inscription ‘Kang Shi, Chenghua’ and an inventory number. Condition: One small chip to lip with a tiny hairline extending inside the well where it emerges into a small star. Otherwise excellent condition. Minor firing faults and old wear.

Weight: 206.9 grams. Dimensions: Diameter 15.5 cm. The well with one additional immortal. The inside rim with a cherryblossom border. The base bearing a six-character Chenghua mark in a double circle. Compare with an unmarked and related Kangxi immortals bowl from the Geoffrey Waters collection, in ‘Transitional Wares and their Forerunners’ by The Oriental Ceramic Society of Hong Kong, Hong Kong Museum of Art, 1981, cat. no. 96, and subsequently sold via Sotheby’s New York, in ‘KANGXI: The Jie Rui Tang Collection’, 20 March 2018, lot 327.

康熙花口八仙碗中國，1662-1722。青花花口八瓣碗，每瓣上都繪有一位八仙人物。來源：荷蘭中國陶瓷私人收藏，原位於弗里西亞地區。底足上可見老藏家購買年份“93”并有描述“Kang Shi Chenghua”，以及一個收藏編號。品相：唇部有一細小磕碰，碗内部有一髮絲裂縫，延伸形成放射狀裂紋。其餘部位品相極好，一些燒製缺陷及老磨損。重量：206.9 克尺寸：直徑15.5 厘米

Estimate EUR 300,Starting price EUR 150,-

A KANGXI BLUE & WHITE KLAPMUTS BOWL China, 1662-1722. Delicately painted with scenes from ‘Romance of the Western Chamber’. The rim depicting the Eight Buddhist Treasures. The base with a four-character mark in a double circle. Provenance: From a reputed Dutch private collection of Chinese porcelain, originally located in Friesland. Old collector label to base bearing the acquisition date ‘96’, the inscription ‘Kang SHI, Klapmuts’ and an inventory number. Condition: One tiny hairline extending from the lip to the well. One minuscule nibble to the foot rim, hardly visible. Otherwise excellent condition. Some firing imperfections and minor wear.

Weight: 220 grams. Dimensions: 16 cm.

康熙青花克拉穆茨碗中國，1662-1722。生動描繪了《西廂記》情景。碗沿上可見佛教八寶。碗底有雙圈四字款。來源：荷蘭中國陶瓷私人收藏，原位於弗里西亞地區。底足上可見老藏家購買年份“96”并有描述“Kang Shi Klapmuts”，以及一個收藏編號。品相：一條髮絲細縫由唇部延伸至碗中。圈足部有一個微不足道的磕碰。其他部分品相極好，一些燒製缺陷及舊磨損。重量：220 克尺寸：16 厘米

Estimate EUR 400,Starting price EUR 200,-

A KANGXI PERIOD WEIQI PLAYER BOWL China, 1662-1722. Skillfully painted in striking cobalt-blue with scholars shown in various scenes. The elaborate form of the vessel adds well to its overall appearance. Chenghua mark to base. Provenance: From a reputed Dutch private collection of Chinese porcelain, originally located in Friesland. Old collector label to base bearing the acquisition date ‘90’, the inscription ‘Kang Shi’ and an inventory number. Condition: One single hairline extends from lip to well. The sound of the bowl is still good. Two small chips to lip. See detail images on www.zacke.at. Few firing imperfections and old wear. Overall still superb appearance!

Weight: 441.9 grams. Dimensions: Diameter 19.8 cm. Go or Weiqi is an abstract strategy board game for two players, in which the aim is to surround more territory than the opponent. The game was invented in China more than 2,500 years ago and is believed to be the oldest board game continuously played to the present day.

康熙青花文人弈棋圖碗中國，1662-1722。青花巧繪文人相聚場景。碗形高雅精緻，外觀完美。碗底成化款。來源：荷蘭中國陶瓷私人收藏，原位於弗里西亞地區。底足上可見老藏家購買年份“90”并有描述“Kang Shi”以及一個收藏編號。品相：唯一的一條髮絲綫從唇部延伸至碗中。碗仍可發出很好的聲音。唇部兩處小磕損，可參見www.zacke.at上的细节图。些微燒製缺陷與舊磨損。總體狀況仍然良好。重量：441.9 克尺寸：直徑19.8 厘米

Scholars playing Weiqi, by Fu Baoshi (1904-1965)

Estimate EUR 800,Starting price EUR 400,-

A YUHUCHUN PING, 18TH CENTURY China, 1700-1800. The pear-shaped vase is covered by an elegant, green variation of the classic Robins Egg glaze, rising from a neat foot rim to a bulbous body, tapering neck, and flaring mouth rim. Provenance: From a British private collector and member of the Oriental Ceramic Society (OCS), the leading international society for the study and appreciation of Asian ceramics. In 2009 the vase was exhibited in “The World in Monochromes: An exhibition of singlecolored ceramics from members of the Oriental Ceramic Society” as lot 242 (15 April - 20 June 2009). Condition: Excellent condition with only minor wear. One minuscule glaze-flake.

Weight: 575 grams. Dimensions: Height 19 cm.

十八世紀玉壺春瓶中國，1700-1800。梨形瓶身施高雅均釉，頸較細，頸部中央微微收束，頸部向下逐漸加寬過渡為杏圓狀下垂腹，圈足內斂。來源：英國私人收藏家，東方陶瓷協會（OCS）會員，該協會引導國際亞洲陶瓷研究與欣賞。2009年4月15日至6月20日，此瓶曾在該協會 “The World in Monochromes: An exhibition of single-colored ceramics from members of the Oriental Ceramic Society” 作爲242號展品展出。品相：品相優良，輕微磨損。有一處微不足道的釉裂。重量：575 克尺寸：高19 厘米

Estimate EUR 1.200,Starting price EUR 600,-

A LARGE KANGXI PERIOD SQUARE VASE China, 1662-1722, Famille Verte. The base with a leaf mark in a recessed reserve. Provenance: Old German private collection, originally located in Baden-Baden. Acquired by a German private collector from this source and kept for many years. Condition: Good condition with some firing flaws, old wear and minor restoration to the lip. This does not extend into the neck or décor, it is restricted to the lip only.

Weight: 4.9 kilograms. Dimensions: Height 48.7 cm. All four sides delicately painted in vivid enamels with a continuous scene of fighting warlords and soldiers, surrounded by gnarled pine trees and craggy rocks, the trumpet neck depicting Shoulao.

康熙時期大型方棒槌瓶中國，1662-1722。硬彩，底足上有草葉款。來源：德國私人老收藏，原位於巴登巴登州。一位德國私人收藏家于此処購得並多年收藏。品相：品相良好，局部有燒製缺陷，老磨損，瓶唇部有些許修復，但并未延伸至頸部或瓶體。重量：4.9 公斤尺寸：高48.7 厘米

Estimate EUR 2.500,Starting price EUR 1.200,-

China, 1662-1722. The small vessel sturdily potted and supported by a shallow tapered foot, the sides with a deep powder-blue glaze, the white-glazed base with double rings in underglaze blue.

China, 1723-1735. The base with the six-character mark painted in cobalt-blue within a double circle. The outside of the conical porcelain bowl covered with a rich and unctuous jilan sacrificial blue glaze.

Provenance: From a private Edinburgh, Scotland, collection. Inventory number “ACD.2106.TF35.20” painted with black ink in small characters to base, most likely from a previous museum deaccession. Condition: Perfect condition. Some kiln grit in the well. Few minuscule firing flaws and old wear.

Provenance: Private collection. Acquired at Christies, The Doris Duke Collection, New York, 3 June 2004, lot 421 (this lot originally contained two bowls). Christies auction label inside the bowl, reading “03 JUN 04, Sale 1455, Lot 421” and a second Christies label to base. Condition: Broken into several pieces and professionally restored. No spraying, just minor touch-ups, so that the hairlines remain visible. Still in presentable condition.

A KANGXI PERIOD BRUSH WASHER

Weight: 50.7 grams. Dimensions: Diameter 84 mm.

康熙筆洗中國，1662-1722。筆洗胎體穩重，淺錐型底足支撐，粉藍色釉，底足白釉施青花雙圈款。來源：蘇格蘭愛丁堡私人收藏，底部可見收藏編號“ACD.2106.TF35.20”，看上去像是某博物館收藏編號。品相：品相完美。筆洗内可見一些窯砂。些微燒製缺陷和老磨損。重量：50.7 克尺寸：直徑84 毫米

Estimate EUR 500,Starting price EUR 250,-

A YONGZHENG MARK & PERIOD BOWL

Weight: 488.7 grams. Dimensions: Diameter 22.5 cm.

雍正款及時期斗笠碗中國，1723-1735。底部青花雙圈六字款。碗外全施霽藍釉。來源：私人收藏，購於紐約佳士得2004年6月3日The Doris Duke Collection拍賣場，拍品號 421。原始標簽在碗底。品相：曾碎成幾片，經過專業修復。沒有塗層，只是粘合，所以可見髮絲綫裂紋。品相可觀。重量：488.7 克尺寸：直徑22.5 厘米

Estimate EUR 300,Starting price EUR 150,-

A YONGZHENG MARK & PERIOD BOWL China, 1723-1735. The deep rounded sides rising from a short foot, covered overall with a rich jilan sacrificial blue glaze thinning to white at rim and foot, the base with the mark in underglaze blue. Provenance: French private collection. Old label with inscription “7 2 /59” possibly referring to the original acquisition date. A second label bears the inscription “Lille, France”. A third paper label bears an illegible inventory number. Condition: Superb condition. Some glaze scratches especially to the inside of the bowl. Very minor firing imperfections.

Weight: 303 grams. Dimensions: Diameter 16.2 cm. Among the imperial altars at which the emperors personally made sacrifices was the Tiantan (Altar of Heaven), which would have blue vessels - hence jilan or ‘sacrificial blue’ glaze.

雍正款及時期霽藍碗中國，1723-1735。圓腹，深碗，短足，施濃重霽藍釉，碗沿及足底留白，碗底青花六字款。來源：法國私人收藏，老標簽 “7 2 /59”，可能是原先的購買日期標注。第二個標簽 “Lille, France”，第三個標簽上有難以辨認的藏品編號。品相：保存極好。釉面有一些刮痕，特別是在碗内。機輕微的燒製缺陷。重量：303 克尺寸：直徑16.2 厘米

Estimate EUR 1.500,Starting price EUR 700,-

A QIANLONG MARK & PERIOD TIANQIUPING China, 1736-1795. The monochrome vase completely covered by an intense sapphire-blue glaze. The base bearing the six-character seal mark painted in underglaze-blue. Provenance: From a French private estate. Condition: One 8mm-hole drilled near base. The glaze with a minor hit and three associated glaze-hairlines. The lip possibly a bit shortened. Some firing imperfections and old wear.

Weight: 2677 grams. Dimensions: Height 30.5 cm. Compare with a larger blue-glazed vase, also dating to the Qianlong period, which was included in the exhibition ‘The Wonders of the Potter’s Palette’, Hong Kong Museum of Art, 1984, no. 85.

乾隆款及時期天球瓶中國，1736-1795。瓶身施單色霽藍釉。底足青花六字款。來源：法國私人遺產品相：近底足有一個8毫米鑽孔。釉面有一処磕損以及三條挂釉細綫。瓶唇可能被縮短，一些燒製缺陷及舊磨損。重量：2677 克尺寸：高30.5 厘米

Estimate EUR 2.000,Starting price EUR 1.000,-

A FLAMBE-GLAZED VASE, 18TH CENTURY China, late 18th – early 19th century. The tianqiuping with a globular body rising from a short foot to a tall waisted neck, covered overall with a rich purplish-raspberry glaze. Provenance: From a Hungarian private collection. Condition: Excellent condition with minor wear. The glaze circling the foot with abrasions typical for these wares and some minor firing imperfections. The inner foot rim with two old chips not visible from the outside.

Weight: 3.9 kilograms. Dimensions: Height 36 cm. The glaze draining from the rim leaving a buffcolored band circling the lip. The inside of the neck with several beautiful ‘tears’ of glaze. Compare with a flambé-glazed tianqiuping of similar size, sold at Sotheby’s London ‘Chinese Art’ sale on 10th November 2017, lot 518.

十八世紀窯變釉天球瓶中國，十八世紀晚期至十九世紀早期。天球瓶造型敦厚，短足，長頸，通體施厚重紫藍色釉。來源：匈牙利私人收藏品相：品相極好，稍有磨損。釉面直至圈足，稍有燒製缺陷。圈足内有兩処舊磕損，不影響外觀。重量：3.9 公斤尺寸：高36 厘米

Estimate EUR 1.200,Starting price EUR 600,-

A QIANLONG MARK & PERIOD BOWL China, 1736-1795. The deep rounded sides rising from a short foot, covered overall with a rich jihong copper-red glaze thinning to white at rim and foot, the base with the seal mark in underglaze blue. Provenance: This bowl comes from a collection formed by two of the most influential Germans living and working in Tianjin in the late 19th century: Gustav Detring (1842-1913) and his son-inlaw Constantin von Hanneken (1854-1925). Individually both men operated at the highest levels of the Qing bureaucracy and played historically significant roles in the politics, diplomacy and military of the tumultuous late Qing period. Whilst Detring and von Hanneken’s professional endeavors in China are well documented, their collecting activities are less known. Collecting Chinese art appears to have been something for a hobby for both men — no doubt facilitated through their close working relationships with Li Hongzhang as well as their access to the Qing court, including to the Dowager Empress Cixi and to the Guangxu emperor. Certain works from the collection were likely personally gifted to them by the Qing court, but collecting may well have also been a means of decorating their palatial Tianjin homes. In 1919, the family left Tianjin for good, settling first in Hannover but, against the backdrop of the post-war economic depression in Germany, some of the family emigrated to the United States in the 1920s and 1930s. Parts of the collection remained in Germany through the first half of the 20th century, and a small number of works (including this bowl) were lent to the groundbreaking ‘Ausstellung Chinesischer Kunst’ exhibition in Berlin in 1929, before also making their journey to America in the 1950s where they have remained with Detring and von Hanneken’s descendants to this day. Condition: Excellent condition. Only three tiny glaze flakes to lip. Some minor wear and smaller firing imperfections. No cracks, hairlines or the like and a nice, lasting sound.

Weight: 523.9 grams. Dimensions: Diameter 18.4 cm.

It is also noteworthy that following the Hongwu Emperors edict of 1369, requiring that porcelain vessels should be used on the Imperial Altars, red-glazed porcelains came to be used on the Chaoritan, the Altar of the Sun, and hence the glaze on some of these copper-red vessels is called jihong, sacrificial red. 乾隆款及時期霽紅碗中國，1736-1795。圓腹，深碗，短足，施濃重霽紅釉，碗沿及足底留白，碗底青花六字款。來源：此碗來自德國私人收藏，其創始人為兩位曾于十九世紀在天津工作生活過的影響力極大的德國人：Gustav Detring (1842-1913) 與其女婿Constantin von Hanneken (1854-1925)。他們在晚清政治外交史留下很重要的影響。因爲他們與李鴻章及清廷關係密切，收藏中國藝術品成爲他們的興趣。他們離開中國回到德國漢諾威，部分家人去了美國。收藏中的部分藏品曾參加了1929年在柏林舉辦的“亞洲藝術展“，之後于1950年前后去了美國，一直保留至今。品相：保存極好。唇部有三條機細微的釉面開片。一些磨損及小型燒製缺陷。沒有裂縫，髮絲細縫，敲擊聲悠揚。重量：523.9 克尺寸：直徑18.4 厘米

Estimate EUR 1.500,Starting price EUR 700,-

GUSTAV DETRING AND CONSTANTIN VON HANNEKEN PHOTOGRAPHED WITH LI HONGZHANG, BERLIN, 1896.

A KANGXI FAMILLE VERTE BISCUIT DISH China, 1662-1722. Painted in green, yellow and aubergine enamels with peonies in a lobed medallion growing from a daihu rock and several butterflies. The back with Buddhist treasures and leaf mark. Provenance: Dutch private collection. Condition: Some fritting to rim as typical for wares from this period. Otherwise excellent condition with some wear especially to the well. Good, deep sound.

Weight: 472.6 grams. Dimensions: Diameter 24.8 cm. Interestingly, the enameled leaf mark is painted above a blue four- or sic-character script mark, possibly an apocryphal Chenghua mark.

康熙硬彩花卉盤中國，1662-1722。盤中開光，以黃綠紫三色琺琅繪製假山牡丹蝴蝶。背面佛教至寶及草葉紋。

A FAMILLE VERTE VASE, QING DYNASTY China, 18th-19th century. The bangchuiping with a bamboo-shaped neck. Neatly painted in vivid enamels with a circumferential depiction of two noble ladies playing with a boy in a court garden. Provenance: From a Hungarian collection. Condition: Excellent condition. Some firing imperfections and old wear.

Weight: 795.7 grams. Dimensions: Height 23.2 cm.

清代硬彩棒槌瓶中國，十八至十九世紀。棒槌瓶頸部如竹筒型。瓶身以琺琅彩生動繪製了園中貴婦兒童嬉戲情景。

來源：荷蘭私人收藏品相：邊緣有該時期普遍存在的燒製痕跡。其他部分保存極好，些微磨損。敲打時聲音深厚。重量：472.6 克尺寸：直徑24.8 厘米

來源：匈牙利收藏品相：品相優秀。一些燒製缺陷及舊磨損。重量：795.7 克尺寸：高23.2 厘米

Estimate EUR 300,Starting price EUR 150,-

Estimate EUR 400,Starting price EUR 200,-

A FAMILLE NOIRE SQUARE VASE, QING China, 19th century. Bright yellow, aubergine and green enamels on an iridescent black ground. Neatly applied iron-red highlights. The recessed base with a ‘scroll and leaf’ mark in cobalt-blue. Provenance: Hungarian private collection. Condition: One 16 mm chip to rim with a short hairline extending ca. 5 cm inside the vase. Some firing imperfections especially to the black sections.

Weight: 4.3 kilograms. Dimensions: Height 50 cm.

清代黑釉方瓶中國，十九世紀。黑底上明亮的黃紫綠琺琅釉，礬紅釉牡丹更是亮點。瓶底有青花畫卷草葉款。來源：匈牙利私人收藏品相：邊緣出有一條16毫米的裂口形成髮絲縫，約5厘米延伸至瓶内。有此類器型特別的燒製缺陷。重量：4.3 公斤尺寸：高50 厘米

Estimate EUR 600,Starting price EUR 300,-

A DEHUA LUOHAN BY CHEN WEI, QING China, 18th – 19th century. A characterful depiction of Arhat, with a serene yet confident expression. Good detail work to beard, moustache and eyebrows. Chen Wei zhi yin seal mark impressed to back. Provenance: British private collection. Old collector label to base, the inscription reading: ‘Blanc de Chine, ci 1750-1820, seal reads: Chen Wei Chih Yin, meaning seal of Chen Wei.’ Condition: Superb condition. Only minor firing imperfections.

Weight: 2310 grams. Dimensions: Height 24.5 cm. Compare with a Dehua Guanyin by the same artist, height 39 cm, sold at Sotheby’s Paris ‘Art d’Asie’ sale on June 22nd, 2017, lot 264.

清代陳偉德化羅漢中國，十八至十九世紀。陶瓷羅漢坐像，細節入微，面目表情寧靜，怒目圓睜，直視前方。底部有“陳偉之印”。來源：英國私人收藏，底部有老收藏標簽，可見“Blanc de Chine, ci 1750-1820, seal reads: Chen Wei Chih Yin, meaning seal of Chen Wei“字樣。品相：品相極好，僅有輕微燒製缺。重量：2310 克尺寸：高24.5 厘米

Estimate EUR 1.500,Starting price EUR 700,-

A QING CERAMIC SCHOLARS ROCK China, 18th-19th century. Impressed Kangxi seal mark to base. The ‘rock’ overall with a thick and creamy celadon glaze crackled throughout. Attached to a brown-glazed matching ceramic base. Provenance: British private collection. Condition: The tip at the very top was broken off and has been reattached. Otherwise perfect condition with some old wear, many firing imperfections and a good patina.

Weight: 1183.5 grams. Dimensions: Height 25.5 cm.

清代陶器假山中國，十八至十九世紀。底座可見康熙款。假山通身施厚重的乳白色青釉。接近底部為褐色釉。來源：英國私人收藏品相：顶部的尖端被折断并重新连接。除此之外品相完美，一些老磨损，多処燒製瑕疵和包漿良好。重量：1183.5 克尺寸：高25.5 厘米

Estimate EUR 500,Starting price EUR 250,-

A GE TIANQIUPING, QING DYNASTY China, 19th century. The heavy vase covered with a grayish white stoneware glaze intentionally showing a closely crackled pattern, with mottled ochre inclusions, the recessed base also glazed. Provenance: Austrian private collection. Acquired before 1980. Condition: Excellent condition with only minor wear and firing imperfections. Some kiln grit to base.

Weight: 1901.4 grams. Dimensions: Height 26 cm.

清代哥釉青天球瓶中國，十九世紀。瓶胎厚重，瓶身施青色哥釉開片。

A GE WARE BRUSH WASHER, QING DYNASTY China, 19th century. The heavy vessel covered with a grayish white stoneware glaze intentionally showing a closely crackled pattern, the slightly recessed base unglazed. Some glaze drops under the lip. Provenance: Austrian private collection. Acquired before 1980. Condition: Excellent condition with only minor wear and firing imperfections.

Weight: 1329.2 grams. Dimensions: Diameter 21 cm.

清代哥窯筆洗中國，十九世紀。筆洗胎體厚重，全身施灰白色哥青釉，開片，底座露胎。唇沿下有幾滴挂釉。

來源：奧地利私人收藏，購於1980年前品相：品相優良，只有些微磨損及燒製缺陷。底部可見窯砂附著。重量：1901.4 克尺寸：高26 厘米

來源：奧地利私人收藏，購於1980年前品相：保存極好，些微磨損及燒製缺陷。重量：1329.2 克尺寸：直徑21 厘米

Estimate EUR 200,Starting price EUR 100,-

A LANGYAO CERAMIC BOWL, QING DYNASTY China, 18th – 19th century. Vitreous deep-red glaze, featuring thick drops around the three ruyishaped feet. The draining glaze leaving a buff-colored band circling the lip. Provenance: From the estate of Robert Täubler, Vienna. Acquired at a local auction in 2014. Previously German private collection. Condition: Very good condition with some burst bubbles near the feet as expected on this kind of ware. Minor manufacturing flaws, wear and glaze scratches.

Weight: 626.3 grams. Dimensions: Diameter 18.5 cm.

清代郎窯陶碗中國，十八至十九世紀。深紅色釉，三隻如意足上有挂釉。唇沿有一圈淺黃色釉。來源：維也納Robert Täubler遺產。2014年購於當地拍賣行。先前為德國私人收藏。品相：保存極好，足部有一些此器型普通的氣泡。輕微製作缺陷、磨損及劃痕。重量：626.3 克尺寸：直徑18.5 厘米

Estimate EUR 200,Starting price EUR 100,-

TWO LARGE WATER MARGIN VASES, 1850s China, mid-19th century. Painted in bright enamels from the Famille Verte palette to depict various scenes from the famous Water Margin novel. Gilt openwork Chilong to shoulders and neck. Provenance: Private collection from Berlin, Germany, acquired before 1930. Thence by descent. A private photo taken during the 1930s shows one of the vases next to its original owner. Condition: Excellent condition with no cracks or hairlines whatsoever. The dragons with minor chipping and losses. No restoration anywhere! Minor wear and firing flaws.

Weight: 18.5 kilograms each, total 37 kilograms. Dimensions: Height 84 cm each. Water Margin, also translated as Outlaws of the Marsh, is a Chinese novel attributed to Shi Nai’an. Considered one of the Four Great Classical Novels of Chinese literature, the novel is written in vernacular Chinese. The story, set in the Song dynasty, tells of how a group of 108 outlaws gather at Mount Liang to form a sizable army before they are eventually granted amnesty by the government and sent on campaigns to resist foreign invaders and suppress rebel forces. It has introduced to readers many of the best-known characters in Chinese literature, such as Wu Song, Lin Chong and Lu Zhishen.

一對十九世紀中葉大型《水滸傳》場景花瓶中國，十九世紀中葉。明亮的硬彩琺琅繪製《水滸傳》不同重要場景。螭龍型雙耳及肩部雕塑鎏金。來源：柏林私人收藏，1930年前購置，至今保留在收藏中。1930年前後的一張私人照片展現了原主人與一隻花瓶。品相：保存極好，沒有開裂或髮絲綫。螭龍局部有磕損。沒有修復過的痕跡。輕微磨損與燒製缺陷。重量：每件18.5 公斤，縂 37 公斤尺寸：每件高84 厘米

Estimate EUR 3.000,Starting price EUR 1.500,-

The previous owner with one of the vases, photo taken in Berlin ca. 1930

China, cyclical dating guimao (1903). Painted in vivid Famille Rose enamels with peonies, the symbol for spring, and a pair of sparrows on a branch. Three-line poem in black ink and one seal.

China, cyclical dating guimao (1903). Painted in vivid Famille Rose enamels with lotus, the symbol for summer, and a pair of herons. Three-line poem in black ink and one seal.

A SPRING PLAQUE, PORCELAIN, 1903

Provenance: A German private collection. Acquired between 1960 and 1970 in China. Thence by descent. Remainders of old paper label to lower left corner. Condition: Good condition with some wear and minimal firing flaws.

A SUMMER PLAQUE, PORCELAIN, 1903

Provenance: A German private collection. Acquired between 1960 and 1970 in China. Thence by descent. Remainders of old paper label to lower right corner. Condition: Good condition with some wear and minimal firing flaws.

Weight: 1493 grams. Dimensions: 38 x 25 cm.

Weight: 1496 grams. Dimensions: 38 x 25 cm.

Peony (mudan) is known as the ‘king of the flowers’, a symbol for spring, royalty and virtue. It is also called the ‘flower of wealth and honor’ (fuguihua) and is widely used to represent wealth and honor.

Lotus (he, lian) is the flower of the sixth month and summer. It is a symbol of purity because it rises out of the mud to bloom. Lotus blossoms are often depicted as a throne for the Buddha, and the lotus is also one of the Eight Auspicious Symbols of Buddhism (ba jixiang).

1903年粉彩牡丹瓷板畫中國，癸卯年（1903）。粉彩繪春之象徵牡丹以及一對枝頭麻雀。左上角題詩落款。

1903年粉彩荷花瓷板畫中國，癸卯年（1903）。粉彩繪夏之象徵荷花以及一對鷺鳥。左上角題詩落款。

來源：德國私人收藏，于1960至1970年購於中國，一直保存於收藏至今。左下角有紙質老標簽。品相：保存良好，一些磨損及輕微燒製缺陷。重量：1493 克尺寸：38 x 25 厘米

來源：德國私人收藏，于1960至1970年購於中國，一直保存於收藏至今。品相：保存良好，一些磨損及輕微燒製缺陷。重量：1496 克尺寸： 38 x 25 厘米

Estimate EUR 500,Starting price EUR 250,-

China, cyclical dating guimao (1903). Painted in vivid Famille Rose enamels with chrysanthemum, the symbol for autumn, and a pair of redbreasts on a branch. Three-line poem in black ink and one seal.

China, cyclical dating guimao (1903). Painted in vivid Famille Rose enamels with plum blossoms, the symbol for winter, and a pair of swallows on a branch. Threeline poem in black ink and one seal.

Provenance: A German private collection. Acquired between 1960 and 1970 in China. Thence by descent. Condition: Good condition with some wear and minimal firing flaws.

Provenance: A German private collection. Acquired between 1960 and 1970 in China. Thence by descent. Impressed seal to backside. Condition: Good condition with some wear and minimal firing flaws.

AN AUTUMN PLAQUE, PORCELAIN, 1903

A WINTER PLAQUE, PORCELAIN, 1903

Weight: 1570 grams. Dimensions: 38 x 25 cm.

Weight: 1500 grams. Dimensions: 38 x 25 cm.

Chrysanthemum (juhua) is a symbol of autumn and the flower of the ninth moon. It is a symbol of longevity because of its health-giving properties. During the Han dynasty (206 BC- AD 220), people drank chrysanthemum wine on the ninth day of the ninth lunar month in order to prolong their lives. Nowadays, the Chinese continue to drink chrysanthemum petal tea for its health-giving qualities.

Plum blossom (meihua), as the first flower to bloom each year, stands for renewal and is emblematic of perseverance and purity. Its appearance, while the weather is still cold, makes it the flower of winter. The five petals of the plum blossom are auspicious since the number five is sacred in China.

1903年粉彩菊花瓷板畫中國，癸卯年（1903）。粉彩繪秋之象徵菊花以及一對知更鳥。左上角題詩落款。

1903年粉彩梅花瓷板畫中國，癸卯年（1903）。粉彩繪冬之象徵梅花以及一對枝頭燕子。左上角題詩落款。

來源：德國私人收藏，于1960至1970年購於中國，一直保存於收藏至今。品相：保存良好，一些磨損及輕微燒製缺陷。重量：1570 克尺寸：38 x 25 厘米

來源：德國私人收藏，于1960至1970年購於中國，一直保存於收藏至今。背面有章。品相：保存良好，一些磨損及輕微燒製缺陷。重量：1500 克尺寸： 38 x 25 厘米

Estimate EUR 500,Starting price EUR 250,-

Five Porcelain Plaques by Wang Qi (1884-1937) Wang Qi (1884-1937) was the most outstanding porcelain painter of his day. The five present plaques are a fine example of his use of rapid and expressionistic brush strokes, as illustrated for example by the intense concentration on the faces of the immortals on the plaques dated 1931. After the fall of the Qing dynasty, imperial orders for porcelain dwindled at Jingdezhen, the main porcelain production center of China. Porcelain artists, released from Imperial restraints, developed their own styles based upon famous scroll painters of earlier periods. Eight of the leading artists formed a group, which although calling it ‘The Full Moon Society’, came to be known as the ‘Eight Friends of Zushan’. The development of Wang Qi’s mature style can be traced to a trip he made to 38

A PORCELAIN PLAQUE BY WANG QI, 1931 China, signed Xichang Taomi daoren Wang Qi and dated 1931. Two seals. Depiction of Zhongli Quan with his fan and possibly Cao Guoju. Painted in very fine polychrome enamels. One poem in black ink. Provenance: A German private collection. Acquired between 1960 and 1970 in China. Thence by descent. Old inventory number ‘11’ inscribed to back. Old paper label with illegible Chinese inscription to back. Condition: Superb condition with only minor wear and some minimal firing flaws.

Weight: 1735 grams. Dimensions: 38.5 x 25.5 cm. Compare with a related plaque, sold at Sotheby’s London in their ‘Fine Chinese Ceramics and Works of Art’ sale on November 7th, 2007, lot 483.

1931年王琦瓷板畫中國，“西昌陶迷道人王琦“款，應爲1931年制。兩個印章。持扇漢鍾離與曹國舅。淺絳彩，背面有詩文。來源：德國私人收藏，1960-1970閒購於中國，之後一直保存在收藏中。背面有老收藏編號 ‘11’ 以及紙質標簽上有中文字樣。品相：品相極好，輕微磨損及極少燒製缺陷。重量：1735 克尺寸：38.5 x 25.5 厘米

Estimate EUR 1.500,Starting price EUR 700,-

Shanghai in 1916 to see an exhibition of works by a group of painters called Yangzhou Baguai (the Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang’s style. This influence can still be seen one some of the present lots with their whimsical, sometimes exaggerated figures with sparse backgrounds juxtaposed with long calligraphic inscriptions in running script, similar to examples of Huang’s works illustrated in Yangzhou Bajia Huaji, Tianjin, 1995, nos. 75, 59, 64, 71-76 and 78. Not content to just emulate Huang’s style, Wang created his own by incrementally incorporating Western techniques in his work. This is also seen in the use of light and shading on faces and clothing of the immortals in the plaques dated 1931 where realism and impressionism are harmoniously blended. 39

A PORCELAIN PLAQUE BY WANG QI, 1931 China, signed Xichang Taomi daoren Wang Qi and dated 1931. Two seals. Depiction of Han Xiangzi with his flute and possibly Lu Dongbin. Painted in very fine polychrome enamels. One poem in black ink. Provenance: A German private collection. Acquired between 1960 and 1970 in China. Thence by descent. Old inventory number ‘10’ inscribed to back. Old paper label with Chinese inscription to back. Condition: Superb condition with only minor wear and some minimal firing flaws. On tiny chip to lower edge.

Weight: 1713 grams. Dimensions: 38.5 x 25.5 cm. Compare with a related plaque, sold at Sotheby’s London in their ‘Fine Chinese Ceramics and Works of Art’ sale on November 7th, 2007, lot 483.

1931年王琦瓷板畫中國，“西昌陶迷道人王琦“款，應爲1931年制。兩個印章。持笛韓湘子與呂洞賓。淺絳彩，背面有詩文。來源：德國私人收藏，1960-1970閒購於中國，之後一直保存在收藏中。背面有老收藏編號 ”10“ 以及紙質標簽上有中文字樣。品相：品相極好，輕微磨損及極少燒製缺陷。瓷板下方有極小裂口。重量：1713 克尺寸：38.5 x 25.5 厘米

Estimate EUR 1.500,Starting price EUR 700,-

A PORCELAIN PLAQUE BY WANG QI, 1932 China, signed Taomi sanren Wang Qi and dated 1932. Seal Tao Zhai. Depiction of Su Shi (Dongpo) showing his inkstone to a pupil. Painted in fine polychrome enamels. One poem in black ink. Provenance: A German private collection. Acquired between 1960 and 1970 in China. Thence by descent. Old inventory number ‘709’ inscribed to back. Condition: Superb condition with minor wear and some minimal firing flaws.

Weight: 1278 grams. Dimensions: 37.5 x 24.5 cm. Su Shi (8 January 1037 – 24 August 1101), art name Dongpo, was a Chinese writer, poet, painter, calligrapher, pharmacologist, gastronome, and a statesman of the Song dynasty. A major personality of the Song era, Su was an important figure in politics, aligning himself with Sima Guang and others. Su Shi is widely regarded as one of the most accomplished figures in classical Chinese literature, having produced some of the most well-known poems, lyrics, prose, and essays.

1932年王琦瓷板畫中國，“陶迷散人王琦“款，應爲 1932年制。”陶齋“章。蘇軾持墨。淺絳彩，背面有詩文。來源：德國私人收藏，1960-1970閒購於中國，之後一直保存在收藏中。背面有老收藏編號 ”709“ 以及紙質標簽上有中文字樣。品相：品相極好，輕微磨損及極少燒製缺陷。重量：1278 克尺寸： 37.5 x 24.5 厘米

Estimate EUR 1.000,Starting price EUR 500,-

Su Shi (1037–1101), art name Dongpo

A PORCELAIN PLAQUE BY WANG QI, 1932 China, signed Taomi sanren Wang Qi and dated 1932. Seal Tao Zhai. Depiction of Lin Bu with plum blossoms attached to his bamboo cane. Painted in fine polychrome enamels. One poem in black ink. Provenance: A German private collection. Acquired between 1960 and 1970 in China. Thence by descent. Chinese two-character inscription, old paper label with inventory number and stamped seal to backside. Condition: Superb condition with minor wear and some minimal firing flaws. Minor fritting to upper edge.

Weight: 1488 grams. Dimensions: 38 x 25 cm. Lin Bu (967–1028), art name Hejing, was a Chinese poet during the Northern Song dynasty. One of the most famous verse masters of his time. His works and theatrical solitude won him nationwide fame, and he was offered prestigious government posts, although he refused all civic duties in pursuit of his poetry. Long after he died, Lin’s eccentric attitude and his works retained a vivid place in Song cultural imagination and later works. He wrote countless poems on the plum blossom. Among the most famous is ‘Shanyuan Xiaomei’. It reads ‘Among withered flowers plum trees brightly bloom, dominating garden with beauty unsurpassed.’

1932年王琦瓷板畫中國，“陶迷散人王琦“款，應爲 1932年制。”陶齋“章。淺絳彩描繪林逋手持梅花，背面有詩文。來源：德國私人收藏，1960-1970閒購於中國，之後一直保存在收藏中。背面有老收藏編號 ”10“ 以及紙質標簽上有中文字樣。品相：品相極好，輕微磨損及極少燒製缺陷。瓷板下方有極小裂口。重量：1488 克尺寸： 38 x 25 厘米

Estimate EUR 1.000,Starting price EUR 500,-

Lin Bu (967–1028), art name Hejing

A PORCELAIN PLAQUE BY WANG QI, 1932 China, signed Taomi sanren Wang Qi and dated 1932. Seal Tao Zhai. Depiction of Wang Xizhi with two geese and a pupil. Painted in fine polychrome enamels. One poem in black ink. Provenance: A German private collection. Acquired between 1960 and 1970 in China. Thence by descent. Inventory number ‘709’ to backside. Condition: Good condition with some wear and minimal firing flaws. One chip to lower right corner.

Weight: 1382 grams. Dimensions: 38 x 25 cm. Wang Xizhi (303–361) was a Chinese writer and official who lived during the Jin Dynasty, best known for his mastery of Chinese calligraphy. Wang is generally regarded as the greatest Chinese calligrapher in history and was a master of all forms of Chinese calligraphy, especially the running script. Emperor Taizong of Tang admired his works so much that the original Preface to the Poems Composed at the Orchid Pavilion (Lanting Xu) is said to have been buried with the emperor in his mausoleum. Wang Xizhi was said to derive inspiration from natural forms such as the graceful neck movements of geese.

1932年王琦瓷板畫中國，“陶迷散人王琦“款，應爲 1932年制。”陶迷“章。淺絳彩繪王羲之，背面有詩文。來源：德國私人收藏，1960-1970閒購於中國，之後一直保存在收藏中。背面有老收藏編號 ”10“ 以及紙質標簽上有中文字樣。品相：品相極好，輕微磨損及極少燒製缺陷。瓷板右下角有極小裂口。重量：1382 克尺寸： 38 x 25 厘米

Estimate EUR 1.000,Starting price EUR 500,-

Wang Xizhi (303–361) watching geese (Metropolitan Museum, New York)

A DAOGUANG MARK & PERIOD DRAGON DISH China, 1821-1850. Porcelain painted in iron red and underglaze-blue. The base bearing the sixcharacter seal mark. Provenance: From a reputed Dutch private collection of Chinese porcelain, originally located in Friesland. Condition: One tiny chip to rim, see detail image on www.zacke.at. Otherwise perfect condition with no cracks and no restoration. A few hardly visible firing flaws, some old wear.

Weight: 275.2 grams Dimensions: 17.7 cm diameter. The shallow rounded sides supported on a tapered foot, decorated on the interior with a central medallion enclosing a five-clawed dragon writhing against a ground of swirling waves, the underside similarly decorated with nine dragons above waves.

道光款與時期青花矾紅彩海水龍紋盤中國，1821-1850。瓷盤上繪矾紅彩與青花釉下彩。底足上可見六字款。來源：荷蘭中國陶瓷私人收藏，原位於弗里西亞地區。品相：邊緣有一個小磕損，可參見 www.zacke.at上的细节图。此外品相完美，沒有裂縫及修復。有一些几不可見的燒製瑕疵與使用磨損。重量：275.2 克尺寸：直徑 17.7 厘米

Estimate EUR 3.000,Starting price EUR 1.500,-

A DAOGUANG MARK & PERIOD PORCELAIN EWER China, 1821-1850. Boldly painted in graduated tones of cobalt-blue on both sides of the broad body. The base bears the Daoguang seal mark. Still retaining its matching lid. Provenance: Acquired by Maurice Chayet, during his tenure as first secretary of the French embassy Beijing, China, from 1920 to 1930. Thence by descent in the Chayet family. A picture of Chayet’s residence in Beijing shows the present ewer. During his stay in China, Chayet built a significant collection of Chinese porcelain, extending from the early Ming to the mid Qing dynasties. Two original images of Chayet’s residence, dating from ca. 1920-1925 and displaying parts of his vast collection, including the image with the present ewer, will be handed to the winning bidder. Chayet later became the French Ambassador to Haiti (1945-1950) and to Paraguay (1953-1957), where expanded his collection, again completely focusing on local works of art. By repute, the Chayet family has donated extensively to Museums both in France and abroad. Condition: Superb condition with a small glaze abrasion only to the knob of the lid and some minor fritting to edge of lid. The ewer itself is in perfect condition with only two small firing cracks to base and one to the handle. Some kiln grit to the sprout. Minuscule firing imperfections.

Weight: 2013.8 grams. Dimensions: Height 29 cm. Depicting a lobed quatrefoil panel, one containing two peaches, the other a berried branch, all divided by upright sprays of tree peony, the lower part of the trumpet neck with a wide band of scrolling lotus beneath overlapping petals. The lid with lingzhi, peony and peaches.

道光款與時期青花執壺中國，1821-1850。壺身大膽使用钴蓝色渐变色调。底足有道光款。仍然保留其匹配的壺盖。來源：Maurice Chayet在1920至1930年期間在北京作爲法國駐中國大使館第一秘書時期購買，至今爲止一直保存在Chayet家族裏。在一張他在北京時的照片上還可見到此壺。在中國逗留期間，Chayet建立了一個意義重大的中國陶瓷收藏，藏品從明早期至清中期。兩張1920至1925年期間拍攝的Chayet住址照片展示了他的局部收藏，包括這件執壺。這兩張照片也將贈與此拍品獲得者。Chayet後來成爲法國駐海地大使（1945-1950）以及巴拉圭大使（19531957），他的收藏一直在壯大，并且以當地藝術爲主。據稱，Chayet家族已將藏品廣汎捐贈給法國及海外博物館。品相：品相極好，蓋鈕釉面稍有磨損，蓋子邊緣有一些輕微釉滴。壺身品相完美，只有兩個微小放射型裂縫延伸至底部與執柄。局部可見窑砂粒。微小的燒製瑕疵。重量：2013.8 克尺寸：高29 厘米

Estimate EUR 8.000,Starting price EUR 4.000,-

A DAOGUANG MARK AND PERIOD BOWL China, 1821-1850. Depiction of the Eight Daoist Immortals. The base bearing the six-character seal mark. Provenance: Originally from an English private collection and sold via a leading UK auction house. The previous owner will provide a copy of the auction invoice to the winning bidder after payment has been made. Condition: One tiny chip to rim, see detail image on www.zacke.at. Otherwise perfect condition with no cracks and no restoration. A few hardly visible firing flaws, some old wear.

Weight: 92.5 grams. Dimensions: Diameter 10.8 cm. Delicately painted to the exterior with intense cobalt blue under the glaze above a white ground to depict the immortals riding clouds and holding their various attributes. The interior with the Three Star Gods conversing under a pine tree.

道光款及時期八仙人物青花碗中國，1821-1850。底足上有青花六字款。來源：源自英國私人收藏，由一個英國拍賣行拍賣。原藏家持有拍賣明細收據，買家將在此拍賣結束付清費用之後收到複印件。品相：邊緣處有小磕損，可參見www.zacke.at上的细节图。此外品相完美，沒有裂縫及修復。些微几不可見的燒製缺陷，一些老磨損。重量：92.5 克尺寸：直徑10.8 厘米

Estimate EUR 3.000,Starting price EUR 1.500,-

TWO BARAGON TUMED BOWLS, DAOGUANG China, 1821-1850. The base inscribed in iron-red with a two-character mark in Mongolian script within a doublesquare. Provenance: From a French private estate. Condition: Perfect condition with only minor wear and few firing imperfections.

Weight: 131 and 138.5 grams. Dimensions: Diameters 12.5 and 12.8 cm. (2) Each with rounded sides rising from a straight foot, the exterior painted in bright enamels and gilt with qizheng (Seven Royal Treasures) set on floral supports and leaf-shaped mandorla above cresting waves, the rim and foot encircled with a band of babao (Eight Auspicious Treasures) alternating with stylised shou characters, painted to the interior with a lotus medallion enclosing a double vajra.

Compare with a related pair of Baragon Tumed bowls, sold at Sotheby’s London in ‘Fine Chinese Ceramics and Works of Art’, 15 May 2013, lot 326. Also compare with Jennings, Later Chinese Porcelain, plate CXII for another bowl from the same service. The service was made for the daughter of the Daoguang Emperor, who married a Mongolian prince of the Tumed banner.

兩隻道光粉彩開光七政寳紋碗中國，1821-1850。碗底礬紅蒙古花押。來源：法國私人遺產品相：品相優秀。一些燒製缺陷及舊磨損。重量：分別為131 及138.5 克尺寸：直徑分別為12.5 與12.8 厘米

Estimate EUR 1.500,Starting price EUR 700,-

A REPUBLIC PERIOD VASE, JINGYUANTANG China, early Republican period, around 1920. Painted in bright Famille Rose enamels to depict seven immortals in a magnificent mountainous landscape. The base bearing the Jingyuantang seal mark. Provenance: Xu Shichang (1855-1939), President of the Republic of China, in Beijing, from 10th October 1918 to 2nd June 1922. Xu commissioned porcelains at Jingdezhen bearing his hall mark Jingyuantang. The only permanent president of the Beiyang government to be a civilian, his presidency was also the longest of the warlord era. Hungarian private collection. Condition: Perfect condition with only very minor wear.

Weight: 1038.6 grams. Dimensions: Height 19.5 cm.

民國靜遠堂粉彩瓶中國，民國早期，1920年前後。明亮的粉彩琺琅釉生動描繪了一幅山中仙人圖。底足有靜遠堂款。來源：徐世昌（1855-1939），中國民國北洋時期總統（1918年10月10日-1922年6月2日）。據稱，徐世昌曾在景德鎮使用“靜遠堂”定制陶瓷。匈牙利私人收藏。品相：品相完美，僅有些微磨損重量：1038.6 克尺寸：高19.5 厘米

Estimate EUR 2.000,Starting price EUR 1.000,-

Xu Shichang (1855-1939), President of the Republic of China

A VASE BY WANG BINGRONG (1840-1900) China. The lidded vessel with a striking lime-green glaze. Molded depiction of an eagle attacking a fleeing hare below a pine tree. The back with a poem, the seal mark Wang Bingrong zuo at the base. Provenance: A British private collection. Condition: Excellent condition. Only one tiny loss a small branch of the pine tree and one of the leaves. Original matching lid. Very few tiny firing imperfections. Some old wear.

Weight: 3266.7 grams including the lid. Dimensions: Height 39 cm. Height 46 cm including the stand. (2) Wang Bing Rong (1840-1900), a notable potter and porcelain carver, successfully transformed the technique of carved bamboo to porcelains and specialized in porcelain with carved decoration, some like ivory carvings. Active in Tongzhi to Guangxu period (1862-1908). The matching stand is elegantly carved of dark hardwood. Compare with a yellow-glazed brush pot, offered by Sotheby’s New York, in their ‘Important Chinese Art’ sale on March 20th, 2019, lot 780. Note the resemblance of the minute details in the treatment of the gnarly trees on both subjects.

王炳榮（1840 - 1900）黃釉雕瓷將軍罐中國。罐身施檸檬黃釉，雕松上飛鷹，背面有詩文，罐底有王炳榮款。來源：英國私人收藏品相：品相優秀，只有在松樹上一處樹枝及葉面有掉釉。原裝蓋。些微燒製缺陷及一些老磨損。重量：3266.7 克含蓋尺寸：高39 厘米高46 厘米含底座

Estimate EUR 1.500,Starting price EUR 700,-

A CHILONG VASE, EARLY 18TH CENTURY China, 1700-1750. The aubergine-glazed sinuous dragon finely modeled in openwork above a band of chrysanthemum petals. The turquoise glaze suffused with a faint crackle, the biscuit base unglazed. Provenance: From a Montreal, Canada, private estate. Sold by the heirs via a local agent. Condition: One minor loss to rear of dragon, see detail image on www.zacke.at. Otherwise perfect condition with no cracks and no restoration. Few hardly visible firing flaws, some old wear.

Weight: 185.1 grams. Dimensions: 12.7 cm height. Compare with a nearly identical vase, 13.7 cm high, in Important Chinese Art, 12th September 2018, Sotheby’s New York, lot 364.

十八世紀早期螭龍瓶中國，1700-1750。雕塑螭龍著茄皮紫釉臥于瓶肩部，瓶頸部飾一圈菊花紋。松綠釉可見開片，底足露胎。來源：來自加拿大蒙特利爾私人遺產。繼承人委托當地代理出售。品相：龍的局部有小磕損，可參見www.zacke.at上的细节图。此外品相完美，沒有裂縫及修復。有一些几不可見的燒製瑕疵與使用磨損。重量：185.1 克尺寸：高12.7 厘米

Estimate EUR 400,Starting price EUR 200,-

A PHOENIX MEIPING, REPUBLICAN PERIOD China, first half of 20th century. Neatly painted in vivid enamels to depict numerous phoenixes amid clouds and between ruyi and key-fret borders. Apocryphal Qianlong seal mark to base. Gilding to lip. Provenance: From the private collection of an Austrian restorer. Acquired pre-1980. Condition: Broken into pieces and professionally reassembled. No spraying, only touch-ups, the original condition is therefore still well visible. Nevertheless, a highly presentable artwork.

Weight: 2539 grams. Dimensions: 35.5 cm.

民國飛鳳梅瓶中國，二十世紀上半葉。瓶身琺琅釉生動繪製了如意祥雲中飛鳳情景。底足有杜撰的乾隆款。唇沿鎏金。來源：奧地利修復師私人收藏，購於1980年前品相：有破損痕跡，曾被專業修復過。無塗層，可見粘連留下的裂縫，原始狀態可見。即使如此，此瓶仍然是一件可觀的藝術品。重量：2539 克尺寸：35.5 厘米

Estimate EUR 200,Starting price EUR 100,-

A PORCELAIN BOWL, REPUBLIC PERIOD China, 1900-1940. Painted in multi-colored enamels and gold lining with ‘Zhang Daoling finding the White Tiger’. Jiaqing seal mark painted in iron-red to the base. Provenance: Hungarian Private Collection. Condition: Very good condition with some wear to the gold lining.

Weight: 397.6 grams. Dimensions: Diameter 17.2 cm. This bowl features the vivid scenery of a famous yet rarely depicted Chinese legend. We see the Taoist sage, Zhang Daoling, seated in a palanquin and accompanied by a group of soldiers. A general on horseback is pointing in the direction of a farmer who has bound a tamed, white tiger to a fence. Zhang Daoling is famed for missing the first potion of immortality after uniting the blue dragon with the white tiger. This took place at the ‘Dragon and Tiger Mountain’, which we see in the picturesque landscape on the present bowl.

民國陶瓷碗中國，1900-1940。多彩琺琅金綫描繪張道陵尋找白虎。底足礬紅釉嘉慶款。來源：匈牙利私人收藏品相：極好，金邊処有些磨損。重量：397.6 克尺寸：直徑17.2 厘米

Estimate EUR 200,Starting price EUR 100,-

A FAHUA STATUE OF GUANDI, QING China, 17th-19th century. The neatly modelled figure glazed in sections of turquoise, black, ivory, ochre and purple. The warlord stands in full armor in front of four banners. Provenance: From the private collection of an Austrian restorer. Acquired pre-1980. Condition: Although there are so many exposed areas, there is only one finger restored. Otherwise this piece is in superb original condition. The glaze is intentionally crackled throughout and there are some firing imperfections. The slot on the backside has been filled with concrete, which cannot be removed.

Weight: 1620.5 grams. Dimensions: Height 32.5 cm.

清代琺華關帝立像中國，十七至十九世紀。關帝通身以绿松石色、黑色、象牙色、赭色和紫色釉描繪。背面四支靠旗。來源：奧地利修復師私人收藏，購於1980年前品相：只有一根手指被修復過。除此之外此像处于极好的原始状态。釉料開芝麻紋片，存在一些烧制缺陷。背面的槽口填充了混凝土，不能拆除。重量：1620.5 克尺寸：高32.5 厘米

Estimate EUR 200,Starting price EUR 100,-

Jade and Hardstone

Lots 53 to 89

A LIANGZHU JADE CONG China, Neolithic Culture of Liangzhu, 3300-2200 BC. Provenance: From an old Austrian-Czech private collection. Authenticated by Filippo Salviati, Professor of Chinese art in the department of Orientalism at the University of La Sapienza in Rome, Italy. Thereafter in the possession of a notable private collector from Brussels, Belgium. Condition: Superb condition with extensive weathering, old wear, a nicely developed natural patina, a few tiny nicks here and there and three larger chips to edges.

Weight: 1023 grams. Dimensions: Height 18 cm, diameter 6.7 cm, drilling 5.2 cm. A beautifully matured Cong, carved of opaque nephrite, to which 4000 years of burial have lent an unusual violet-grey color with distinctive russet spotting. A finely grained white veining is visible with its highest density at of the four corners. Meticulous precision of the incised hairfine decoration. The three-leveled Cong of tubular form, the exterior superbly and subtly angled with four projecting corners, each worked with three stylized monster faces accentuated with well-defined eyes widening towards the temples and enclosing piercing circular pupils, above a narrow horizontal ridge indicating the mouth, and two horizontally engraved bands with two neatly incised circles. The four groups of three monster faces each divided with a gently recessed vertical band in the center of each side. Wide inner drilling (at that time extremely time consuming) showing the usual step at the center. The large area of the Liangzhu Culture with its many burial places is situated between Daihu (Big Lake, not far from Shanghai) and the port city of Hangzhou. Compare with several related Congs in Liangzhu Wenhua Yuqi (Shanghai 1989, lots 44 to 54), some of similar size as the present example, as well as resembling colors and degrees of weathering.

良渚文化玉琮中國，新石器時代良渚文化，公元前3300-2200 來源：一個奧地利-捷克私人收藏；由意大利羅馬大學東亞係中國藝術部Filippo Salviati教授鑒定；之後由一個比利時布魯塞爾私人藏家收藏品相：極好，嚴重風化，舊時磨損，天然發展而成的包漿，一些劃痕以及邊緣三處大裂縫重量：1023克尺寸：高18厘米，直徑6.7厘米，孔5.2厘米

Estimate EUR 7.000,Starting price EUR 3.500,-

A SOAPSTONE LIBATION CUP, QING China, late 18th- mid-19th century. With matching carved hardwood base. Carved in the shape of a large lotus leave serving as cup, on a leafy stem with smaller blossoms on the side. Openwork carving. (2) Provenance: A British private collection. Condition: The cup with some wear and a good, natural patina. No damage at all. The hardwood base with a good, grown patina too, and some losses and extensive wear.

Weight: 237.8 without base and 286 grams including base. Dimensions: Height 11.8 cm including the base and 10.6 cm without the base.

清皂石雕荷葉杯中國，十八世紀末至十九世紀中葉。硬木底座。荷葉形杯子，一側可見一個花苞，局部鏤空雕。來源：英國私人收藏品相：一些磨損，天然細膩包漿。總體沒有損壞。底座也有天然而成的包漿，些微缺損以及磨損。重量：237.8 克不含底座；286 克含底座尺寸：高 11.8 厘米含底座；10.6 厘米不含底座

Estimate EUR 400,Starting price EUR 200,-

A CARNELIAN AGATE DRAGON BOULDER QING China, 1750-1850. Carved from blueish-ochre agate with a single carnelian layer standing out and carved as a coiled dragon. A bat in high relief carved to the agate section. Carved wooden base from the period. (2) Provenance: An American private collection. Condition: Excellent with good patina and minor wear. The with a few old age cracks and a soild patina as well.

Weight: 69.2 grams (the boulder) and 43 grams (the base). Dimensions: Height 4.9 cm (the boulder) 9.6 cm (the ensemble). The blueish tone of the stone is best visible under natural light.

清瑪瑙雕龍形山子中國，1750-1850。瑪瑙巧雕盤繞翔龍，一只高浮雕蝙蝠。同期木底座。來源：美國私人收藏品相：保存良好，包漿細膩，輕微磨損。一些與年代相符的開裂與包漿。重量： 69.2 克 (山子) ；43 克 (底座) 尺寸：高 4.9 厘米 (山子) ；9.6 厘米 (整體)

Estimate EUR 300,Starting price EUR 150,-

A SET OF SOAPSTONE CUPS, QING China, late 18th – mid-19th century. The main vessel contains five more cups which smoothly fit into another. The lid serves as a tray when turned upside down. Ruyishaped handles with rings. Rare! Provenance: A British private collection. Condition: Very good except for some natural wear, patina and a few microscopic nibbles. Tray and rim with remainders of old ink indicating previous use as a brush washer.

Weight: The smallest cup weighs only 12 grams, the largest 29 grams. The complete set weighs 330.4 grams. Dimensions: Diameter of the smallest cup 3.8 cm, the largest 5 cm, the set from handle to handle 9.2 cm, height 7 cm.

清一套皂石雕杯子中國，十八世紀末至十九世紀中葉。一套包含大小五個杯子，小杯子可以順利地裝入另一個大杯子。翻轉時，蓋子用作托盤。如意形狀的手柄帶環。罕見！來源：英國私人收藏品相：除一些天然磨損，整體保存很好，有包漿，一些極細微磕損。托盤與邊緣處有墨跡，以前也許是作爲筆洗。重量：最小的杯子僅12 克, 最大的29 克，總重330.4 克尺寸：最小的杯子直徑3.8 厘米, 最大的 5 厘米, 一套從一邊執柄到另一執柄 9.2 厘米，高 7 厘米

Estimate EUR 400,Starting price EUR 200,-

A SOAPSTONE CHILONG MOUNTAIN, QING China, 1750-1850. An inspiring work depicting four Chilong gathering on a mountain, carved in high relief, cleverly making usage of the natural shades and inclusions in the stone. Smooth, natural patina. Provenance: British private collection. Condition: Excellent condition with only minor wear. The base with traces of use, very few tiny nibbles, hardly visible to the naked eye.

Weight: 670.4 grams. Dimensions: Height 10.8 cm.

清皂石雕螭龍山子中國，1750-1850。巧雕四螭龍山子，高浮雕，巧妙利用山子脈理和沁色。天然包漿溫潤。來源：英國私人收藏品相：保存極好，些微磨損。底座有使用痕跡，輕微磕損，及不可見。重量：670.4 克尺寸：高 10.8 厘米

Estimate EUR 700,Starting price EUR 350,-

China. Signed Guanshan, artist name of Wang Daxin (1869-1924). Openwork carving with a standing Buddhist lion. Note the beautifully curled tail. The seven-character seal in deep relief. Good patina.

China, 1780-1860. Openwork carving with a Buddhist lion sitting on a square base. Beautiful natural rubyand iron-red veins in the mineral. Fine natural patina.

A SOAPSTONE SEAL BY WANG DAXIN

Provenance: A Hong Kong private collection. Acquired from Nicholas Pitcher, London, on September 11th, 2008. Condition: Very good condition with wear as expected, small chip to one corner smoothened.

Weight: 263.5 grams. Dimensions: Height 8.5 cm. Wang Daxin (1869-1924) was a native of Jiangsu province, known as a painter and seal engraver. He found fame with Wu Changshuo and Qian Ya, and because they each had the character for ‘tie’ (= iron) in their sobriquets, they were known as the ‘Three Irons of South China’.

王大炘雕刻皂石印章中國，款識“冠山”，王大炘 (1869-1924)字冠山。鏤空雕佛獅。印章上十七字。包漿良好。來源：香港私人收藏，2008年9月11日購於倫敦Nicholas Pitcher。品相：保存極好，一角有輕微裂口。重量：263.5 克尺寸：高 8.5 厘米

A LARGE SOAPSTONE SEAL, QING

Provenance: British private collection. Condition: Fine condition with few tiny nibbles along the edges of the seal and the tail of the lion. The base with extensive wear.

Weight: 462 grams. Dimensions: 9.8 cm.

清皂石雕大印中國，1780-1860。鏤空雕坐於方型底座上佛獅。天然寶石紅礬紅色天然肌理。天然包漿細膩。來源：英國私人收藏品相：保存良好，印章邊緣及獅尾。底座有大面積磨損。重量：462 克尺寸：9.8 克

Estimate EUR 300,Starting price EUR 150,-

A DREAMSTONE ‘WU GORGE’ SCREEN, 18TH China, 18th century. Inscribed ‘Wu Xia Gorge clearing up in the evening’ and signed Shi Sheng. Depiction of the legendary Goddess Peak. Original carved hardwood frame, possibly Huanghuali. Provenance: British private collection. Condition: Excellent condition with wear and natural patina as expected. The stand with very minor, irrelevant losses.

Weight: 4.9 kilograms. Dimensions: 46 x 43 x 18 cm. The Wu Gorge is known as a fairyland of clouds and mist. The high mountains and deep valleys of the gorge maintain the moisture in the air, hence forming the most beautiful and mysterious pictures rendering a perfect subject for dream stone screens. The famous twelve peaks reveal and hide themselves among the mist and, looking down the Yangtze River, are described by legend as being twelve fairy spirits. Among them, the Goddess Peak is the highest and most notable. It is topped by a large rock that resembles a girl looking down at the river. According to legend, this rock is the embodiment of Yao Ji, the youngest daughter of the Heavenly Mother. Compare with a related screen, sold by Sotheby’s Hong Kong, in their ‘Water, Pine and Stone Retreat Collection, Scholarly Art II’ sale on April 4th, 2012, lot 148.

十八世紀大理石“巫峽晚晴”座屏中國，十八世紀。提款“巫峽晚晴”，落款“石生”。原裝硬木框，也許為黃花梨。來源：英國私人收藏品相：保存極好，輕微磨損，天然包漿。座框有些微材料缺失。重量： 4.9 公斤尺寸： 46 x 43 x 18 厘米

Estimate EUR 1.200,Starting price EUR 600,-

A CARNELIAN AGATE BRUSH WASHER, QING China, late 18th- 19th century. Cleverly carved as a single lotus leave as the washer, the stems serving as the base and several smaller lotus blossoms on the sides as brush rests. Smooth, elegant patina. Provenance: British private collection. Condition: Two areas at three and nine o’clock with chipping and minor losses, one small piece reattached. A good stonecutter can repair this almost to perfection. Overall still nice and well-presentable.

Weight: 437.9 grams. Dimensions: Length 21 cm.

清瑪瑙雕筆洗中國，十八世紀末至十九世紀。巧雕荷葉作爲筆洗，作爲底座的莖部，側面幾朵小花作爲筆擱処，包漿溫潤高雅。來源：英國私人收藏品相：三點與九點処有磕損，些微瑕疵，有一處細微出粘連過。整體保存良好。重量：437.9 克尺寸：長 21 厘米

Estimate EUR 200,Starting price EUR 100,-

A CELADON JADE CATFISH WASHER, QING China, 1780-1880. The vessel carved in openwork as a single lotus leaf surrounded by further leaves, stems, a lotus bud and flower. A pair of catfish in light relief adorns the well. The stone of even color. Provenance: From a British private collection. Condition: Outstanding condition with only few microscopic nibbles to exposed areas. Old wear.

Weight: 98.9 grams. Dimensions: Length 15 cm.

The warped areas of the main leaf cleverly carved to serve as brush rests of various sizes. The jade is translucent and when held against the light, the vessel looks like a pond with two fish swimming in it: A rare, almost magical effect! Compare with an earlier version of the same subject, sold at Sotheby’s Hong Kong, in their ‘Selected Works of Art from the T.Y. Chao Family Collection’ sale on November 30th, 2017, lot 339.

清青玉雕鯰魚筆洗中國，1780-1880。整器呈單枝荷葉狀，四周零星小葉、根莖、荷花苞與荷花。一對鯰魚游弋于荷葉筆洗中央。來源：英國私人收藏品相：整體狀況良好，稍有輕微磕損。舊磨損。重量：98.9 克尺寸：長 15 厘米

Estimate EUR 500,Starting price EUR 250,-

A SPINACH JADE ‘LOTUS’ WASHER, QING China, 19th century. The translucent stone of dark green color with a few dispersed grey inclusions. Carved in openwork as a large lotus leaf sided by a smaller leaf, a blossom, a pod, stems and a climbing chilong. Provenance: Hungarian private collection. Condition: Good condition with some microscopic nibbles to the edges, few natural flaws to the mineral and old wear.

Weight: 158.2 grams. Dimensions: Diameter 14 cm.

清碧玉雕荷花筆洗中國，十九世紀。半透明暗綠色玉，局部灰色肌理。大荷葉，一側小葉、荷花、花苞、莖與螭龍。來源：匈牙利私人收藏品相：品相良好，邊沿有細微磨損，輕微天然肌理，舊磨損。重量：158.2 克尺寸：直徑14 厘米

Estimate EUR 300,Starting price EUR 150,-

A SMALL MOTTLED JADE WASHER, QING China, 1780-1860. Carved as a single lotus leaf on its stem, a small lotus flower and bud on the side. Due to its clever design it can serve both as washer and brush rest. Note the inclination towards the frontside. Provenance: From a Hungarian private collection. Condition: Fine condition with some wear and natural flaws to the mineral but no actual damage.

Weight: 101 grams. Dimensions: Length 11 cm.

清褐青玉雕筆洗中國，1780-1860。一片荷葉，一小朵荷花，一側有一個花苞。因爲構思巧妙，筆洗同時又可以作爲筆擱。前側有一定的傾斜度。來源：匈牙利私人收藏品相：品相良好，一些磨損，玉料天然肌理，沒有新損壞。重量：101 克尺寸：長 11 厘米

Estimate EUR 300,Starting price EUR 150,-

A JADE BRUSH WASHER, 18TH CENTURY China. The stone is of opaque creamy-white color with a russet skin. Fine patina. Provenance: From the private collection of architect Nick Troubetzkoy, founder of the Jade Mountain resorts, and descendant of the Troubetzkoy noble family from Ruthenia, which like many other princely houses of the Grand Duchy of Lithuania were prominent in Russian history, science and arts. They descend from Demetrius Starshy I (1327 – 1399). Condition: Excellent condition with minor old wear and few natural flaws in the mineral.

Weight: 495.6 grams. Dimensions: Length is 14.5 cm. The deep washer is carved as a single lotus leaf borne on a massive stem that issues at the base. It is sided by further stems that bear smaller lotus flowers and grasses, which extend around the sides and up towards the rim, cleverly serving there as the brush rests. Inside the vessel sits a lurking frog with bulging eyes. Compare with a related washer at Christie’s New York ‘Fine Chinese Ceramics and Works of Art’ sale on March 22nd-23rd, 2012, lot 1947, and another related washer at Sotheby’s London ‘IMPORTANT CHINESE ART’ sale, November 11th, 2015, lot 50.

十八世紀玉雕筆洗中國。不透明乳白色玉，帶褐色皮。包漿良好。來源：建築師 Nick Troubetzkoy私人收藏，他是 Jade Mountain resorts豪華賓館的創始人，來自魯塞尼亞Troubetzkoy 家族的後裔，就像很多立陶宛大公國裏很多王室後裔一般重要。是Demetrius Starshy I (1327 – 1399)的後代。品相：品相極好，輕微舊磨損和些微天然肌理裂縫。重量：495.6 克尺寸：長 14.5 厘米

Estimate EUR 800,Starting price EUR 400,-

A JADE MANDARIN DUCK, LATE QING China, late 19th – earlier 20th century. The jade of opaque white color with russet veins and clouds. Openwork carving with the duck holding a lotus flower in its beak. Note the fine work to the feathers. Provenance: British private collection. Condition: Excellent condition with very minor wear. Silk mat polish.

Weight: 262.1 grams. Dimensions: Length 8 cm.

晚清玉雕鴛鴦中國，十九世紀末至二十世紀初。不透明白玉帶色沁。雕鴛鴦戯荷圖，細節生動。來源：英國私人收藏品相：品相極好，輕微磨損，絲質啞抛光。重量：262.1 克尺寸：長 8 厘米

Estimate EUR 400,Starting price EUR 200,-

A CAT & SPIDER JADE PENDANT, QING China, 1780-1880. Unusual openwork carving depicting a lurking cat on a huge leaf, the spider hiding on the underside. Note the fine detail incisions especially to the leaves, also on the reverse. Provenance: The collection of Susanna Deistler, Vienna, Austria. Thence by descent. Acquired from Galerie Zacke before 1990. Condition: Very good condition. Minor natural flaws to the stone, good patina.

Weight: 47.7 grams. Dimensions: Length 7.3 cm. The translucent stone of pale celadon color with few dispersed russet veins and spots.

清玉雕貓與蜘蛛中國，1780-1880。不同尋常的構圖，一張大葉子上俯臥這一只貓，一隻蜘蛛藏在葉下。葉子細節雕刻入微。來源：奧地利維也納Susanna Deistler收藏， 1990年前購于Zacke藝廊，之後一直藏於收藏中。品相：品相極好。輕微天然肌理，包漿良好。重量： 47.7 克尺寸：長 7.3 厘米

Estimate EUR 400,Starting price EUR 200,-

A QING WHITE JADE STATUE OF KUIXING China, 1750-1850. The stone of superb white color with only very few grey and russet veins. Provenance: From the private collection of architect Nick Troubetzkoy, founder of the Jade Mountain resorts, and descendant of the Troubetzkoy noble family from Ruthenia, which like many other princely houses of the Grand Duchy of Lithuania were prominent in Russian history, science and arts. They descend from Demetrius Starshy I (1327 – 1399). Condition: Excellent condition with minor old wear.

Weight: 345 grams. Dimensions: Height is 16.5 cm. This expressive jade carving shows a rare portrayal of the god of literature, Kuixing, in his classical pose, standing on a dragon fish and holding a pen in his raised hand. Compare with a related figure of Kuixing at Sotheby’s Hong Kong ‘A PRIVATE COLLECTION OF SCHOLARLY AND IMPERIAL WORKS OF ART’, April 4th, 2012, lot 3042.

清白玉魁星像中國，1750-1850。玉色極其潤白，僅有極少灰褐色紋理。來源：建築師 Nick Troubetzkoy私人收藏，他是 Jade Mountain resorts豪華賓館的創始人，來自魯塞尼亞Troubetzkoy 家族的後裔，就像很多立陶宛大公國裏很多王室後裔一般重要。是Demetrius Starshy I (1327 – 1399)的後代。品相：品相極好，些微舊磨損。重量：345 克尺寸：高16.5 厘米

Estimate EUR 800,Starting price EUR 400,-

A CELADON JADE GUANYIN, QING China, 19th century. The stone of an even pale tone. The goddess seated on a double-lotus base, wearing long flowing robes and high headdress, holding a vase in the left hand, the breast bejeweled. Provenance: French private collection. Condition: Excellent condition with minor wear and a good, natural patina.

Weight: 132.8 grams. Dimensions: Height 7.5 cm (the statue) and 11.5 cm (the ensemble).

Matching wooden base with fine openwork carving, of the period. (2) Compare with a similar statue, sold at Christies London, in their ‘A Private English Collection of White Jade Carvings & Fine Chinese Ceramics and Works of Art’ sale on November 4th, 2008, lot 88.

清青玉雕觀音坐像中國，十九世紀。青白色。觀音坐於雙層蓮座上，長袍飄逸，頭飾高聳，左手持净水瓶，胸前寶石裝飾。來源：法國私人收藏品相：品相極好，輕微磨損，天然包漿良好重量：132.8 克尺寸：像高 7.5 厘米；縂11.5 厘米

Estimate EUR 400,Starting price EUR 200,-

China, 19th century. Neatly carved to depict a boy holding a peony. The stone of even celadon color with few small inclusions. Note the detail work to the flower, leaves and stem.

China, 19th century. The translucent stone is of very pale celadon color, picked out with a few light grey veins on the reverse.

A JADE PENDANT, QING

Provenance: British private collection. Condition: Good condition with some old wear.

Weight: 27.6 grams. Dimensions: Height 5.9 cm.

清玉雕童子挂件中國，十九世紀。童子手持牡丹。青白色玉有天然色沁，花葉莖処細節入微。來源：英國私人收藏品相：品相良好，輕微舊磨損重量： 27.6 克尺寸：高 5.9 厘米

Estimate EUR 200,Starting price EUR 100,-

A JADE GUANYIN, QING DYNASTY

Provenance: British private collection. Condition: Excellent condition. Only minor wear.

Weight: 111.4 grams. Dimensions: Height 10.5 cm. Standing gracefully on a square base and dressed in a long flowing robe, holding a ruyi scepter and a pearl, her face detailed with fine features and downcast eyes set in a benevolent expression, her hair tied up in a high chignon.

清玉雕觀音立像中國，十九世紀。半透明青白玉，背面幾條青灰色肌理紋。來源：英國私人收藏品相：品相極好，輕微磨損重量：111.4 克尺寸：高 10.5 厘米

Estimate EUR 500,Starting price EUR 250,-

A JADE PHURBA, 18TH-19TH CENTURY Tibetan-Chinese. The mottled mineral carved in high relief with flaming demon heads, skulls and snakes. Note the fine detail work particularly to the ruyi and chrysanthemum lappet borders. Provenance: French private collection. Condition: The edges of the blade show some erosion, likely due to extensive usage. Good patina, some wear.

Weight: 138.2 grams. Dimensions: Length 15.8 cm. The kila or phurba is a three-sided peg, stake, knife, or nail-like ritual implement traditionally associated with Indo-Tibetan Buddhism. One of the principal methods of working with the phurba and to actualize its essence-quality is to pierce the earth with it.

十八至十九世紀玉雕普巴漢藏。高浮雕火焰魔王頭、頭骨與蛇。精細入微，局部可見如意菊花紋。來源：法國私人收藏品相：刀片邊緣有一些被侵蝕，可能是由於經常使用。包漿良好磨損。重量：138.2 克尺寸：長 15.8 厘米

Estimate EUR 800,Starting price EUR 400,-

A HUANGHUALI BOX & JADE PLAQUE, QING China, the box 1880-1940. The pierced celadon jade pendant is significantly earlier and carved in shallow relief to depict a standing crane amid leaves and vines, with three peaches and a single lingzhi. Provenance: British private collection. Condition: Excellent condition. The wood below the inlaid jade was once covered with gold foil, part of which is now lost. Some wear to box.

Weight: 275 grams. Dimensions: Height of jade pendant 9 cm. Size of box 11 x 9 x 5 cm.

清黃花梨嵌白玉牌木盒中國，盒子1880-1940。青玉雕仙鶴芭蕉葉仙桃靈芝牌明顯更早。來源：英國私人收藏品相：品相極好。玉牌之下木底原先有一層金箔，現在局部已流失。盒子局部有磨損。重量：275 克尺寸：玉牌高9 厘米；盒子11 x 9 x 5 厘米

Estimate EUR 300,Starting price EUR 150,-

A LOTUS JADE BOX, QING DYNASTY China, late 18th - 19th century. Extremely thin and translucent ‘chicken bone’ jade. Very fine carving on the lid in shallow relief with a central lotus flower, amid leaves and vines in a double-circle medallion. Provenance: British private collection. Condition: Good condition with only one minuscule chip to lower rim. Remainders of black ink to the inside and rims. Fine patina.

Weight: 97.6 grams. Dimensions: Diameter 7 cm. Note the short circle foot rim, executed in classic 18th century manner.

清西番蓮玉盒中國，十八世紀晚期至十九世紀初。極其薄且半透明“雞骨白玉”。浮雕細膩，中央開光雕纏枝西番蓮。來源：英國私人收藏品相：品相良好，底足邊緣有几不可見的小開口。盒内與邊緣有黑墨餘跡。包漿細膩。重量： 97.6 克尺寸：直徑7 厘米

Estimate EUR 400,Starting price EUR 200,-

A SMALL JADE CHILONG BOX, QING China, late 19th – early 20th century. The stone of opaque, creamy-white color with a few russet spots. Carved in high relief with a coiled Chilong. Provenance: British private collection. Condition: Two chips to foot have been polished. Otherwise good condition with minor wear.

Weight: 121.5 grams. Dimensions: Length 5.5 cm.

清玉雕螭龍小盒中國，十九世紀晚期至二十世紀初。不透明玉，乳白色，輕微色沁點。高浮雕螭龍。來源：英國私人收藏品相：底足兩道小開裂已經磨平，品相良好，輕微磨損。重量：121.5 克尺寸：長 5.5 厘米

Estimate EUR 200,Starting price EUR 100,-

A SPINACH JADE TABLE SCREEN JIAQING China, 1796-1820. The spinach-green panel crisply carved in varying levels of relief with a riverscape enclosing a scholar travelling in a raft with his attendant amidst crested waves. Provenance: A private collector, resident of Hong Kong and London. Bonham’s Hong Kong, Fine Chinese Ceramics and Works of Art, May 29th, 2018, lot 28 (dated to Qing dynasty, estimated at €9,000 - €13,000). Condition: Superb condition. Some wear to the stand.

Weight: 2588.4 grams. Dimensions: The panel 17.9cm x 14.1cm. The ensemble 22 x 20 x 11 cm. The two men in the raft are surrounded by gnarled pine trees issuing from jagged mountains and swirling clouds, the reverse plain, within a fire-gilt bronze frame and raised on a matching and heavy, fire-gilt bronze stand enriched with neatly engraved floral designs. This table screen would have formed part of the paraphernalia on a scholar’s desk, with the multi-layered idyllic mountainous landscape alluding to the idealized scholar’s retreat.

嘉慶碧玉插屏中國，1796-1820。碧玉浮雕文人行舟圖。來源：住于香港與倫敦的私人藏家。2018年5月29日香港 Bonham’s，Fine Chinese Ceramics and Works of Art, 拍號28 (清代，估價 €9,000 - €13,000) 。品相：品相極好，底座上有些磨損。重量：2588.4 克尺寸：碧玉插屏17.9 x 14.1厘米，縂 22 x 20 x 11 厘米

Estimate EUR 2.000,Starting price EUR 1.000,-

A SPINACH GREEN JADE STAND, QING China, 18th – 19th century. The opaque green jade with dispersed black specks. Openwork carving with leafy borders. The three feet in the shape of ruyi. Note the fine incisions. Provenance: A Czech private collection. Condition: Superb condition with hardly any wear.

Weight: 196.2 grams. Dimensions: Diameter 8 cm, height 5.5 cm. Typically, such stands are found accompanying white jade bowls or vases of Imperial origin, because their intricate carving and intense spinachgreen color cleverly contrasts the luminous white and non-decorated Imperial jade vessels.

清碧玉雕座中國，十八至十九世紀。不透明碧玉帶著分散的黑色斑點，鏤空雕卷葉草紋。三足成如意形，雕工精細。來源：捷克私人收藏品相：品相極好，及不可見小磨損重量：196.2 克尺寸：直徑8 厘米，高 5.5 厘米

Estimate EUR 500,Starting price EUR 250,-

An Imperial white jade bowl, Qianlong, with a spinach green stand. Compare with an Imperial white jade bowl, Qianlong, also with a spinach green stand, in Sotheby’s Hong Kong auction ‘Important Chinese Works of Art’ on April 7th, 2015, lot 3603.

A JADE DRAGON BRUSH REST, QING China, 1760-1860. The stone of natural pale celadon color. Provenance: From the private collection of architect Nick Troubetzkoy, founder of the Jade Mountain resorts, and descendant of the Troubetzkoy noble family from Ruthenia, which like many other princely houses of the Grand Duchy of Lithuania were prominent in Russian history, science and arts. They descend from Demetrius Starshy I (1327 – 1399). Condition: Excellent condition with little old wear and only very few natural flaws in the mineral.

Weight: 176.7 grams. Dimensions: Length 12 cm. Carved in the form of a mountain with several peaks and curly waves crashing against the formation. In the center two confronting dragons, their sinuous tails meandering around the rocks on the backside. The carving exemplifies the literati taste of the mid-Qing period, when multifunctional objects, such as brush rests that could also be used as scroll weights, were highly appreciated.

Compare with two related models in the Palace Museum, Beijing, illustrated in ‘The Compendium of Collections in the Palace Museum’, Volume 9, Qing Dynasty Jade, Beijing, 2011, plates 64 and 66.

清玉雕翔龍山子筆擱中國，1760-1860。天然青白色玉。來源：建築師 Nick Troubetzkoy私人收藏，他是 Jade Mountain resorts豪華賓館的創始人，來自魯塞尼亞Troubetzkoy 家族的後裔，就像很多立陶宛大公國裏很多王室後裔一般重要。是Demetrius Starshy I (1327 – 1399)的後代。品相：品相極好，輕微舊磨損和些微天然肌理裂縫。重量：176.7 克尺寸：長 12 厘米

Estimate EUR 700,Starting price EUR 350,-

A JADE LION, MING DYNASTY China, 16th – 17th century. The grey jade with streaks of russet and dark brown. Carved with a recumbent Buddhist lion. Fine detail to fur, tail, and eyebrows. The nostrils designed as a ruyi. Provenance: French private collection. Condition: Superb condition with old wear and natural patina.

Weight: 220.6 grams. Dimensions: Length 8.5 cm.

明代玉獅中國，十六至十七世紀。灰色玉帶褐色與深褐色肌理。細緻入微雕刻了佛獅及其捲毛、尾巴以及睫毛，鼻孔張開成如意狀。來源：法國私人收藏品相：品相極好，輕微舊磨損，天然包漿重量：220.6 克尺寸：8.5 厘米

Estimate EUR 700,Starting price EUR 350,-

A JADE BI & CHILONG PENDANT, QING China, 18th – earlier 19th century. The stone of pale celadon color with several shades of intense russet and a few black spots. Openwork carving with two sinuous Chilong climbing onto a Bi disc. Nice silk mat polish. Provenance: The collection of Susanna Deistler, Vienna, Austria. Thence by descent. Acquired from Galerie Zacke before 1990. Old collector label with inventory number ‘995A77’. Condition: Excellent condition with minor wear. Few natural flaws to mineral.

Weight: 103.6 grams. Dimensions: Height 8.3 cm.

清玉雕螭龍玉璧挂件中國，十八至十九世紀初。青白色玉，幾種濃鬱的赤褐色夾雜著一些黑點。鏤空雕刻兩隻螭龍攀延于玉璧上。漂亮的絲質光澤。來源：奧地利維也納Susanna Deistler收藏，1990年前購于Zacke藝廊，之後一直藏於收藏中。收藏老標簽上有“995A77”字樣。品相：品相極好，輕微磨損。天然肌理裂紋。重量： 103.6 克尺寸：高 8.3 厘米

Estimate EUR 400,Starting price EUR 200,-

A WHITE JADE QILIN, QIANLONG China, 1740-1800. The stone of flawless white color. Openwork carving depicting a standing Qilin with its tail curled between its legs. Note the finely incised detail to the paws, fur, beard and flames. Provenance: The collection of Susanna Deistler, Vienna, Austria. Thence by descent. Acquired from Galerie Zacke before 1990. Old collector label with inventory number ‘J32’. Condition: Perfect condition with only minimal wear.

Weight: 33.7 grams. Dimensions: Height 5.2 cm.

乾隆白玉麒麟中國，1740-1800。完美無瑕的白色玉石雕刻站立麒麟與其捲曲的尾巴。爪子、身軀、鬍鬚及火焰表現細緻入微。來源：奧地利維也納Susanna Deistler收藏，1990年前購于Zacke藝廊，之後一直藏於收藏中。收藏老標簽上有“J32”字樣。品相：品相極好，輕微磨損重量： 33.7 克尺寸：高 5.2 厘米

Estimate EUR 400,Starting price EUR 200,-

A JADE WATER BUFFALO 18TH CENTURY China. Nephrite of pale celadon color, several russet veins and some white clouds, fine patina. Provenance: American private collection. Condition: Perfect condition. Several natural veins in the mineral, as visible on the photos.

Weight: 376 grams. Dimensions: Length 12.8 cm.

The water buffalo is naturalistically shown in a recumbent position, with its head slightly raised. A finely incised rope is threaded through its welldetailed small nostrils and draped over its pronounced spine. A Chinese douli bamboo hat has been left to rest on the buffalo’s back. The carving shows the legs tucked beneath the full, rounded body with the tail flicked to one side, large eyes, the ears well hollowed beneath the pair of massive, ridged horns curved back onto the neck. While the subject of ‘water buffalo and boy’ is quite common among 18th century jade carvings, the present witty variation with only the farm boy’s douli remaining on the buffalos back seems to be rarer. Compare with ‘Chinese Jades from Han to Qing’, Asia House Gallery, New York, 1980, lots 46, 47 and 48 for various jade models of water buffalos and ‘Fine Chinese Ceramics and Works of Art’, Christies, London, 13 May 2014, lot 149 for a similar, slightly larger water buffalo.

十八世紀玉雕水牛中國。青白玉，局部褐色紋理與白色絮狀，包漿細膩。來源：美國私人收藏品相：品相完美，玉石内有幾處天然肌理裂縫。重量： 376 克尺寸：長 12.8 厘米

Estimate EUR 700,Starting price EUR 350,-

A JADE CRAB & MILLET, QIANLONG China, 1736-1795. The stone of pale celadon color with a russet hue cleverly accentuating the crab’s thorax. Provenance: Hungarian private collection. Collector inventory number ‘325’ to base. Condition: Good condition with a small repair to the tip of the millet stem. Beautiful patina with some old wear. The stand with old weathering.

Weight: 99.8 grams (the crab) and 141.7 grams (the ensemble). Dimensions: Length 9.6 cm.

Finely carved in the round as a realistically rendered crab with eight limbs and two large pinchers, wreathed by a long slender stem bearing an ear of millet. Note the delicate openwork. Bamboo stand. (2) Compare with a related crab formerly in the Edward T. Chow collection, sold at Sotheby’s New York in their ‘Fine Chinese Ceramics & Works of Art’ sale on 16th September 2009, lot 250. Note the resemblance in the manner the thorax is carved on both crabs.

乾隆玉雕河蟹中國，1736-1795。青白玉雕河蟹，褐色沁巧妙表現蟹殼。來源：匈牙利私人收藏，底部有收藏編號“325“字樣。品相：品相良好，稻黍頂端有一處小型損壞已修復。包漿美麗，舊磨損，局部風化。重量：河蟹99.8 克；縂141.7 克尺寸：長 9.6 厘米

Estimate EUR 1.200,Starting price EUR 600,-

China, 18th – 19th century. Light celadon color jade with russet inclusions, the back of the cat with a milky white hue, smooth surface polish. Neatly incised detail work.

China, 18th- early 19th century. The stone of even, pale celadon color. Openwork carving with three coiled cats. Good natural patina.

A JADE CAT & BUTTERFLY GROUP QING

Provenance: American Private collection. Condition: Excellent condition with only minor wear.

Weight: 52 grams. Dimensions: 5 cm (height), 4.5 cm (length), 2.3 cm (width). Small jade pebbles showing the “cat and butterfly” motif were popular during the Qing Dynasty and a symbol for reaching an old age. This carving could either be used as a small paperweight or, more likely, worn as a pendant. Compare with a related carving sold at Sotheby’s Hong Kong in the ’THE MUWEN TANG COLLECTION OF CHINESE JADES’ on December 1st, 2016, lot 125.

清玉雕貓蝶戯中國，十八至十九世紀。淺青色玉，褐色沁，貓背上呈乳白色，光滑。細節入微。來源：美國私人收藏品相：品相極好，輕微磨損重量： 52 克尺寸： 5 厘米 (高), 4.5 厘米 (長), 2.3 厘米 (寬).

Estimate EUR 300,Starting price EUR 150,-

A JADE GROUP OF THREE CATS, QING

Provenance: British private collection. Condition: Excellent condition with minor wear.

Weight: 73.5 grams. Dimensions: Length 6.5 cm.

清玉雕小貓中國，十八至十九世紀初。青白玉雕三隻小貓，天然包漿細膩。來源：英國私人收藏品相：品相極好，輕微磨損重量：73.5 克尺寸：長 6.5 厘米

Estimate EUR 400,Starting price EUR 200,-

A BRONZE BELT HOOK WARRING STATES 86

A JADE TURTLE-DRAGON, MING China, 16th-17th century. Deftly carved with a recumbent mythical beast with a dragon’s head and a turtle’s body, the ridged neck of the dragon and the upper shell of the body detailed with fine incision. Provenance: The collection of Susanna Deistler, Vienna, Austria. Thence by descent. Acquired from Galerie Zacke before 1990. Condition: Good condition with some old wear, solid natural patina.

Weight: 65.6 grams. Dimensions: Length 5 cm. The stone of a pale beige tone mottled with brown, almost black inclusions. Good patina. Compare with a closely related carving at Sotheby’s Hong Kong in their ‘Playthings From The Collection of Edward T. Chow’ sale on May 27th, 2014, lot 763.

China, 475-221 BC. A bronze garment hook in the form of a dragon’s head with a superb, naturally grown jadegreen patina. Provenance: American private collection. Acquired in Hong Kong in the early 1990’s. Condition: Excellent.

Weight: 47.6 grams. Dimensions: Length 9.5 cm.

戰國青銅帶鈎中國，公元前475-221。龍首形青銅帶鈎，天然生成的美麗的碧玉色包漿。來源：美國私人收藏。上世紀九十年代初購於香港品相：優秀重量：47,6克尺寸：成9,5厘米

Estimate EUR 300,Starting price EUR 150,-

明代玉雕龍龜中國，十六至十七世紀。一只神話中的神獸，龍頭龜身，龍頸和身體的上半身細節雕刻細緻。來源：奧地利維也納Susanna Deistler收藏， 1990年前購于Zacke藝廊，之後一直藏於收藏中。品相：品相良好，輕微舊磨損，包漿細膩重量：65.6 克尺寸：長 5 厘米

Estimate EUR 400,Starting price EUR 200,-

A JADEITE VASE & COVER, QING China, 1860-1930. The mineral with beautiful streaks of emerald green. Carved in minimal relief with peonies, leaves and vines. The handles on the shoulders carved in openwork as stylized lingzhi. Key-fret borders. Provenance: Previously in the collection of the Brooklyn Museum, New York. Deaccessioned and sold via Christies, New York, September 30th, 2010, lot 381. Condition: Natural flaws and veins to the mineral. One small break to lid repaired almost to invisibility. The knob possibly smoothened. Good patina and some wear.

Weight: 380.6 grams. Dimensions: Height 15.5 cm without base and 16.5 cm with base. Wooden base. (2)

清翡翠蓋瓶中國，1860-1930。翡翠瓶有著美麗的翠綠色條紋，浮雕牡丹纏枝，肩部雙耳鏤空雕靈芝狀，風格靈動。來源：曾是紐約布魯克林Brooklyn Museum美術館藏品。2010年9月30日于紐約Christies拍賣，拍號lot 381 品相：石料天然紋理，唇沿小裂口已被修補，几不可見。蓋鈕有些變得平滑。包漿良好，有些磨損。重量：380.6 克尺寸：高15.5 厘米（不含底座）；縂16.5 厘米

Estimate EUR 1.000,Starting price EUR 500,-

A PAIR OF JADE EARRINGS, 1920s China. The jadeite of natural emerald green color. The tone is deep and intense! Each pendant earring is delicately carved in the shape of a peapod. Provenance: German private collection. Acquired in Taiwan between 1950 and 1960. Thence by descent. At the time these were purchased as ‘Art Deco, ca. 1920’. Condition: Superb condition with hardly any wear.

Weight: 9 grams total. Dimensions: Length 5.5 cm each. Each eardrop is mounted in 14 carat yellow gold with one small diamond and one emerald green jade teardrop. Marked ‘14k’ and ‘585’. Signed ‘T.Y.L.’.

Literature: Appreciation and Collection of Jewelry and Jade, Zhihua Liu, Tsai Fong Books Inc., China, 2013.

1920年前後一對玉耳環中國，天然祖母綠色翡翠。色調深沉凝重。耳環雕工精細，成豆莢狀。來源：德國私人收藏，1950至1960年間購於臺灣，之後一直在收藏中。彼時，它們是作爲 “Art Deco, ca. 1920”購入。品相：品相極好，及不可見的小磨損重量：縂9 克尺寸：分別長 5.5 厘米

Estimate EUR 1.500,Starting price EUR 700,-

Enamel, Glass, Silver, Lacquer and Organic Material

Lots 91 to 124

A PAINTED SILK MIRROR, QING DYNASTY China, 19th century. Neatly executed painting on silk with a standing peacock surrounded by various flowers. Various textile pendants. Provenance: British private collection. Condition: The painting on silk is in perfect condition. The textile frame has minor losses. The mirror is partially blind. The textile pendants are slightly faded but overall in very good condition. All parts are original, there are no replacements whatsoever.

Weight: 57.4 grams. Dimensions: 8.5 x 6 cm (the mirror): Length 47 cm including textiles.

清絲面彩繪鏡子中國，十九世紀。花叢錦簇中一隻孔雀。編制挂墜。來源：英國私人收藏品相：彩繪部位品相完美。絲質包框局部缺失。鏡子局部不清。挂墜絲質有損，整體保存良好。所有部分都是原裝，沒有經過更新。重量：57.4 克尺寸：鏡子8.5 x 6 厘米；長 47 厘米含挂墜

Estimate EUR 200,Starting price EUR 100,-

A EUROPEAN SUBJECT TRAY, QIANLONG China, late 18th century. Enamel on copper. Neatly painted with a couple observing a butterfly in a landscape. Note the skillfully executed dresses, floral borders and especially the superb design on the back. Provenance: A private collection from Belgium. Condition: Absolutely perfect condition with only minor wear and weathering. The exposed copper areas with good a good natural patina.

Weight: 140.2 grams. Dimensions: 12 x 11 cm.

乾隆時期粉彩西方人物盤中國，十八世紀晚期。銅胎琺琅彩。中央部位開光繪製人物休憩圖。服飾細節精緻，邊緣處開光花卉紋。來源：比利時私人收藏品相：品相完美，僅有輕微磨損及風化。銅胎裸露処天然包漿。重量：140.2 克尺寸： 12 x 11 厘米

Estimate EUR 500,Starting price EUR 250,-

AN ENAMELED COPPER PLAQUE, QIANLONG China, 1736-1795. A virtuoso painting with a fierce Buddhist lion under a gnarly pine tree, near a creek, and amid clouds of fog. Incredible detail to the curly fur, stemming lingzhi and various plants overall. Provenance: A European private collection. Condition: Perfect condition with only little wear. The black painting, which is not fired, is minimally faded in some areas. The gilt wooden frame is modern.

Weight: 893.7 grams including the frame. Dimensions: 22.3 x 19.3 cm without frame and 31.5 x 28.5 including the frame. The technique of enameling on metal was introduced to artists in Guangzhou by Jesuit missionaries around 1684. Their location allowed these artists immediate exposure to wares from Europe and they soon mastered the technical skills of enamel painting on metal, even earlier than those working in the Palace Workshop in Beijing. From a court memorial endorsed by the Kangxi Emperor and dated to the 55th year of his reign (1716) it is known that the Viceroy of Guangdong and Guangxi sent two artisans from Guangzhou to Beijing at that time to serve in the Palace Enamel Workshop (see Yang Boda, Tributes from Guangdong to the Qing Court, Hong Kong, 1987, p. 63). Kangxi’s grandson, the Qianlong Emperor, was also known to recruit enamel artists from Guangzhou. The manufacturing process of painting with enamels on metal begins with coating the metal object with a white ‘glaze’ similar to that used on porcelain. This is fired at low temperature, which helps to secure the enamel to the metal body. Decorators would apply the design in colored enamels, which was then fired again at low temperature after which black enamel, which did not require firing, was applied. The enamel palette used was called yangcai or ‘foreign enamel’ as it was initially imported from Europe. Domestic production of yangcai started from around 1728, after the creation of the most important color, opaque white enamel. White was essential for the artist to create pastel shades necessary for painting, especially landscapes, flora and fauna, and for achieving successful shading. By the Qianlong Emperor’s reign, the craft of enameling on metal reached perfection with forms and designs often reflecting the Emperor’s extravagant and lavish taste.

乾隆琺琅釉銅板畫中國，1736-1795。以琺琅彩精緻描繪了一隻佛獅，四周五色祥雲密佈，松下靈芝。來源：歐洲私人收藏品相：品相完美，些微磨損。黑色畫沒有經過燒製，輕微褪色。鎏金木框為現代。重量：893.7 克，包括框架尺寸： 22.3 x 19.3 厘米不含框，31.5 x 28.5 厘米含框

Estimate EUR 2.000,Starting price EUR 1.000,-

A CLOISONNÉ BIANHU, JIAQING China, 1800-1820. The moon-flask bronze body with its gilt rims is neatly decorated in polychrome cloisonné enamels to each side with a majestic Phoenix amidst peony blossoms and foliage. Provenance: From a British estate. Condition: Old wax fill to two small chips at the bottom, each with ca. 0.5 cm in diameter. Some shallow enamel loss to lower edge, the area about 10x10 mm in size and hardly visible. Some manufacturing flaws and pinholes as typical for these wares. The Chilongs with old wear and some minor nicks here and there. Good Patina and old wear. Generally, in very good condition!

Weight: 3.6 kilograms. Dimensions: Height 38 cm. With a well-cast and finely incised bronze handle in the shape of sinuous Chilong to each side of the garlic-shaped neck. A key fret band to the foot and a Da Ming nian zao mark in a square reserve on the base.

嘉慶掐絲琺琅抱月扁壺中國，1800-1820。扁壺銅胎，足部鎏金，整體掐絲琺琅，兩面可見鳳紋、牡丹和葉子。來源：英國私人遺產品相：底部兩處小孔已由舊蠟填充，每個空直徑分別爲0.5厘米。下邊緣有些釉面缺損，面積大約10x10毫米，幾乎看不見。一些此類物件通常所有的製作缺陷和針孔；螭龍処有磨損和一些小刻痕。包漿良好，舊磨損。總體上品相極好。

Estimate EUR 800,Starting price EUR 400,-

102

A BEIJING OVERLAY GLASS JAR, QIANLONG China, 1736-1795. The bubble-suffused body with a thick layer of translucent ruby-red overlay, neatly carved and incised in very high relief. Depiction of peonies, three bats and a phoenix. Matching lid! Provenance: British private collection. Condition: The jar in absolutely mint condition, only minor old wear! The lid with two small chips inside, not really relevant.

Weight: 1263.6 grams including the lid. Dimensions: Height 23.4 cm including the lid.

Compare with a related jar, also dated to Qianlong, in ‘Chinese Sculpture and Works of Art’, A&J Speelman, London 2002, lot 56. Note the resemblance of the carving techniques, colors and thickness of glass.

乾隆北京套色料器罐中國，1736-1795。罐體白色氣泡，寶石紅色半透明套料高浮雕，呈現牡丹、三隻蝙蝠。配蓋子。來源：英國私人收藏品相：品相完美，僅有些微舊磨損。蓋子裏面有兩個小開裂，不明顯。重量：1263.6 克含蓋尺寸：高23.4厘米含蓋

Estimate EUR 1.200,Starting price EUR 600,-

103

A SMALL PINK GLASS WASHER, QIANLONG China, neatly incised Qianlong four-character mark in a square reserve and of the period. The translucent and slightly bubble-suffused vessel with a sprawling lip, flat base and flaring bulbous form. Provenance: A British private collection. Condition: Excellent condition with natural wear only.

Weight: 56.9 grams. Dimensions: Diameter 5 cm.

乾隆粉色玻璃筆洗中國，方框内乾隆四字款。半透明帶氣泡，唇外撇，平底，圓球狀。來源：英國私人收藏品相：品相優秀，僅有細微自然磨損重量：56.9 克尺寸：直徑5 厘米

Estimate EUR 600,Starting price EUR 300,-

A CITRINE-GLASS WASHER, QIANLONG China, neatly incised Qianlong fourcharacter mark in a square reserve and of the period. The small, translucent and slightly bubble-suffused vessel with a sprawling lip, flat base and bulbous form. Provenance: A British private collection. Condition: Excellent condition with natural wear only.

Weight: 57.2 grams. Dimensions: Diameter 5 cm.

乾隆檸檬黃玻璃筆洗中國，方框内乾隆四字款。半透明帶氣泡，唇外撇，平底，圓球狀。來源：英國私人收藏品相：品相優秀，僅有細微自然磨損重量：57.2 克尺寸：直徑5 厘米

Estimate EUR 600,Starting price EUR 300,-

AN AMBER-GLASS WASHER, QIANLONG China, neatly incised Qianlong fourcharacter mark in a square reserve on of the period. The small, translucent and slightly bubble-suffused vessel is of six-foil-form with sharply cut edges and raised lip. Provenance: A British private collection. Condition: Excellent condition with natural wear only.

Weight: 58.1 grams. Dimensions: Diameter 5 cm.

乾隆琥珀色玻璃筆洗中國，方框内乾隆四字款。半透明帶氣泡，唇外撇，平底，六邊形。來源：英國私人收藏品相：品相優秀，僅有細微自然磨損重量：58.1 克尺寸：直徑5 厘米

Estimate EUR 600,Starting price EUR 300,-

104

105

100

China, 19th century. Carved in very high relief to depict two fierce dragons chasing two pearls, amid clouds, with two more dragons on the sides. Extremely fine incising work. Hall mark to base.

China, 19th century. Carved in very high relief to depict leafy peonies and a single butterfly. The same motif is found on the base. The sides with various Chinese characters. Extremely fine incising work.

A SILVER ‘DRAGON’ BOX, QING DYNASTY

Provenance: French private collection. Condition: Perfect condition with only minor wear.

A SILVER ‘PEONY’ BOX, QING DYNASTY

Provenance: French private collection. Condition: Perfect condition with only minor wear.

Weight: 215.8 grams. Dimensions: Diameter 8.5 cm.

Weight: 231.2 grams. Dimensions: Diameter 9 cm.

清代云龍紋銀盒中國，十九世紀。高浮雕雙龍戲珠，四周祥雲，邊緣部另有兩條龍。做工極其精緻。底部有款。

清代牡丹銀盒中國，十九世紀。高浮雕牡丹蝴蝶。底部同樣花紋。四周中文字樣。做工極其精緻。

來源：法國私人收藏品相：品相完美，僅有細微磨損重量：215.8 克尺寸：直徑8.5 厘米

來源：法國私人收藏品相：品相完美，僅有細微磨損重量：231.2 克尺寸：直徑9 厘米

Estimate EUR 400,Starting price EUR 200,-

Estimate EUR 300,Starting price EUR 150,-

106

101

102

China, 19th century. Carved in light relief to depict peonies, chrysanthemum, plum and lotus, the four together representing spring, summer, autumn and winter. The bottom of the box in openwork.

A SILVER ‘PEONY’ BOX, QING DYNASTY

Provenance: French private collection. Condition: Perfect condition with only minor wear.

Weight: 223 grams. Dimensions: Diameter 8.5 cm.

清代牡丹銀盒中國，十九世紀。高浮雕牡丹枝葉以及一隻蝴蝶。底部相同花紋。四周不同中國字樣。做工極其精緻。來源：法國私人收藏品相：品相完美，僅有細微磨損重量：223 克尺寸：直徑8.5 厘米

Estimate EUR 300,Starting price EUR 150,-

A SILVER ‘BASKET’ BOX, QING DYNASTY

Provenance: French private collection. Condition: Good condition with minor wear, one hardly visible tear to openwork.

Weight: 35,9 grams. Dimensions: Diameter 6 cm.

清代花籃紋銀盒中國，十九世紀。開光高浮雕牡丹、荷花、菊花及梅花，分別代表了春夏秋冬四季。盒子底部鏤空。來源：法國私人收藏品相：品相良好，些微磨損，鏤空処有明顯裂紋。重量：35,9 克尺寸：直徑6 厘米

Estimate EUR 200,Starting price EUR 100,-

107

103

A QIANLONG WALL CLOCK, IMPERIAL China, 1736-1795. Imperial Canton Tribute. Fire gilt copper with inlaid lapis, carnelian, rock crystal, turquoise, tourmaline and others. The matching flowers made of enameled porcelain. Provenance: From a French private estate. Condition: Fantastic original condition. Definitely the best that came to the market in decades. The stand, the handles at the shoulders, the back plate for the movement and most important, the porcelain flowers with their fire gilt bronze leaves are almost always missing. Here, everything is still in place. The reason is that this clock was in the same family for almost 150 years! The movement is in fine and complete condition, there are no replacements, but it needs a service by a professional watchmaker in case you want it to run normally. The enameled bezel is in superb condition with only minor wear, the hands are original. The porcelain flowers have some minor chipping. The clock has overall some wear and a good natural patina but no damage whatsoever and no losses at all, except two of over two hundred (200) inlaid ruby glass cabochons. Some of the original stones were loose and have been reset.

Weight: 554.5 grams. Dimensions: Height 32 cm with the flowers and 21 cm without. The French watch has a white enamel dial, Roman numerals for the hours and Arabic numerals for the seconds, surrounded by a facetted bezel. The back and sides of the clock with fine incising work. Two bats serve as handles on the shoulder. Matching bronze stand. There are several holes where the flowers are placed, so that their position can be changed, which makes it look quite different whenever this is done. The front of the clock shows inlaid peaches, pumpkins, double gourds, plums, pomegranates, always in pairs. They are surrounded by leaves and vines in high relief. The frame of the clock is completely inlaid with square ruby glass cabochons. Compare with related clocks sold at Christies: Fine Chinese Ceramics and Works of Art, London, 6 November 2007, lot 105 (sold for GBP 29,300 in 2007!). Fine Chinese Ceramics & Works of Art, London, 10 November 2015, lot 75 (sold for GBP 56,250), Art d’Asie, Paris, 21 - 22 June 2016, lot 306 (sold for EUR 44,700).

乾隆御制挂鐘中國，1736-1795。廣州御制貢品。銅鎏金鑲青金石、瑪瑙、水晶、綠松石、電氣石及其他寶石。四周花飾由琺琅彩陶瓷製成。來源：法國私人遺產品相：非常好的原始狀態。絕對是近畿十年來進入流通市場保存最好的同時期挂鐘。絕大多數同時期挂鐘的底座、肩部執柄、機芯底盤以及重要的陶瓷花飾以及鎏金葉子經常已經丟失。而此鍾的各個部件都毫無缺損。究其原因是此鈡在過去 150年裏都一直在家族收藏中。機芯處於良好和完整的狀態，沒有替代品，但爲了它能正常運轉，還需要專業製表師調試。琺瑯表圈處於極好的狀態，只有輕微的磨損，指針是原裝的。瓷器花有一些小的碎片。時鐘總體上有一些磨損和良好的自然光澤，但沒有任何損害，也沒有任何損失，除了200多個紅寶石玻璃鑲嵌中缺了兩個。一些原裝寶石丟失部位已補充完整。重量： 554.5 克尺寸：高 32 厘米含花；21 厘米不含花

Estimate EUR 10.000,Starting price EUR 5.000,-

108

109

The back of the present clock with the lid removed to reveal the clocks original movement

A detail view of the present clock displaying the various inlaid stones and the incision work to the bronze

Compare with related clocks sold at Christies

Fine Chinese Ceramics & Works of Art, London, 10 November 2015, lot 75, sold for GBP 56,250.

110

Art dâ&#x20AC;&#x2122;Asie, Paris, 21 - 22 June 2016, lot 306, sold for EUR 44,700.

104

A BAMBOO ROOT ORCHID SCEPTER, 18TH China, 18th century. The shaft naturalistically carved in the form of a gnarled stem, issuing an elongated leaf on the side, the terminal in the form of a large orchid blossom. Beautiful patina! Provenance: A German private collection. Condition: Excellent condition. Some old wear.

Weight: 23.1 grams. Dimensions: Length 20 cm. Compare with a related, slightly larger bamboo root scepter, sold at Sotheby’s Hong Kong, in their ‘Important Chinese Art’ sale on April 5th, 2017, lot 3651.

十八世紀竹雕蘭花釵中國，十八世紀。利用天然長勢及形狀雕刻蘭花，側面可見葉子。包漿美麗。來源：德國私人收藏品相：品相極好，一些舊磨損。重量：23.1 克尺寸：長 20 厘米

Estimate EUR 600,Starting price EUR 300,-

111

105

A NATURAL DOUBLE GOURD, QING China, 18th – 19th century. This gourd has not been treated or embellished in any way, hence it serves purely as an item of inspiration. Most likely its original purpose was a scholars or literati desk object. Provenance: British private collection. Condition: Excellent original condition with old wear and a warm, naturally grown patina. Possibly some very minor losses to tip of stem.

Weight: 216.3 grams. Dimensions: 42.5 cm. In terms of history, gourds (hu lu) were dried and used for keeping or transporting water, wine, medicines and magic potions. However, as with many other objects and symbols in Chinese beliefs, they also had a homophonic relationship with another “hu”, signifying protection and blessing. Thus, gourds in China were used as charms for scaring away malefic spirits and diseases.

清代天然葫蘆中國，十八至十九世紀。這個葫蘆沒有經過任何處理或裝飾，因此它完全是一種來自自然的靈感。有可能起初是學者或文人用來放在書桌上的裝飾品。來源：英國私人收藏品相：原始狀況保存極好，舊的磨損，天然而成的包漿。莖頂有些缺失。重量： 216.3 克尺寸： 42.5 厘米

Estimate EUR 300,Starting price EUR 150,-

112

106

A BAMBOO WRIST REST, QING China, 19th – early 20th century. Expressive depiction of Zhong Kui in light relief. Artist seal ‘Xu’. Fine patina. Provenance: Hungarian private collection. Condition: Very good condition with only minor nicks to edges and some old wear, minor scratches to backside.

Weight: 212.1 grams. Dimensions: 30 x 9.7 cm. Zhong Kui was a popular subject on carved bamboo statues of the 17th and 18th centuries, but is almost never seen on wrist rests.

清竹雕臂擱中國，十九至二十世紀初。淺浮雕鍾馗。款識“徐”。包漿細膩。來源：匈牙利私人收藏品相：保存良好，只有邊沿処些微磕碰，一些老磨損，背面有些微劃痕。重量：212.1 克尺寸：30 x 9.7 厘米

Estimate EUR 300,Starting price EUR 150,-

107

A BAMBOO BRUSH WASHER, EARLY QING China, 17th – 18th century. Carved as a single lotus leaf with a small blossom on its side and a crab sitting in its center. Fine, naturalistic detail work and beautiful old patina. Provenance: German private collection. Condition: Excellent condition with some natural flaws and hairlines to the material and old wear. One tiny chip to backside, almost invisible to the naked eye, otherwise no damages at all. The inner edges with a thick layer of old soiling, remainders of usage centuries ago.

Weight: 61.8 grams. Dimensions: Diagonal diameter 14 cm. Compare with a related brush washer, also dated to 17th/18th century, in ‘Chinese Works of Art’, A&J Speelman, London 2006, page 122, and another in ‘Uncanny Ingenuity and Celestial Feats, The Carvings of Ming an Qing Dynasties’, the National Palace Museum Taipei, pages 53-57, dated to 17th – early 18th century.

清初竹雕筆洗中國，十七至十八世紀。荷葉形，一邊可見一朵荷花花苞，荷葉上有一隻小河蟹。巧奪天工，老包漿溫和美麗。來源：德國私人收藏品相：品相極好，一些天然缺陷及材料内髮絲綫裂縫與舊磨損。背面一條細小裂縫，肉眼几不可見。沒有其他損壞。筆洗内有一層厚厚的污垢，可能是幾個世紀前使用后留下的。重量：61.8 克尺寸：對角綫14 厘米

Estimate EUR 300,Starting price EUR 150,-

113

108

109

China, 18th – 19th century. Good carving in light relief with a mountainous landscape, willow and pine trees, and a river with a sleeping scholar and his attendant in a small boat. Signed Cai Zhao.

China, 19th century. Fine carving in deep relief. Depiction of three men under a magnificent pine tree, one playing the pipa, standing near of a gate that leads to a compound of houses. A four-line poem at the back.

A SIGNED BAMBOO BRUSHPOT, QING

Provenance: British private collection. Condition: Superb condition with only a few tiny nicks to lip. Very fine natural patina.

A SMALL BAMBOO BRUSHPOT, QING

Provenance: British private collection. Condition: Superb condition with only a few natural and very thin hairlines. Beautiful patina.

Weight: 264.5 grams. Dimensions: Height 15.5 cm.

Weight: 180.2 grams. Dimensions: Height 13 cm.

清竹雕筆筒中國，十八至十九世紀。淺雕山林景觀中文人舟中淺眠。落款為“蔡照”。

清竹雕小筆筒中國，十九世紀。深浮雕。蒼天巨松下三位文人，一位抱著琵琶，他們立於門前。背面刻詩。

來源：英國私人收藏品相：品相極好，邊沿稍有小裂口。天然包漿細膩。重量：264.5 克尺寸：高 15.5 厘米

Estimate EUR 500,Starting price EUR 250,-

114

來源：英國私人收藏品相：品相記號，有些天然的髮絲裂縫。包漿細膩。重量： 180.2 克尺寸：高 13 厘米

Estimate EUR 400,Starting price EUR 200,-

110

A CARVED ZITAN TRUNK BRUSHPOT, 18TH China, 18th century. The massive piece of wood carved in the form of a hollowed-out tree trunk with a knotty surface accentuated with burls, the wood patinated to a warm reddish-brown color. Provenance: British private collection. Condition: Very good condition with several natural age cracks and old wear.

Weight: 1334.6 grams. Dimensions: Height 14 cm. Compare the natural brush pots of this type included in the exhibition, The Beauty of Huanghuali, p. 87, fig. 45 and illustrated by Ellsworth, Grindley and Christy, Chinese Furniture, One Hundred Examples from the Mimi and Raymond Hung Collection, p. 235, no. 96. Also compare with a very similar brush pot, sold by Christies Hong Kong, in their ‘Important Chinese Ceramics and Works of Art’ sale on May 30th, 2006, lot 1510.

十八世紀紫檀雕樹根筆筒中國，十八世紀。筆筒成樹根狀，表面有數瘤，包漿成紅棕色。來源：英國私人收藏品相：品相極好，有些天然的因爲年代所形成的裂縫與舊磨損。重量：1334.6 克尺寸：高 14 厘米

Estimate EUR 1.000,Starting price EUR 500,-

115

111

A ZITAN TABLE SCREEN, QIANLONG China, 1750-1780. Superb carving in relief with two scholars under a gnarly wutong tree, one playing the pipa, set amid craggy rocks. The stand with two archaic chilong. The wood of warm reddish-brown color. Provenance: Czech private collection. Acquired long time ago in the local auction market. Condition: Very good condition with some wear. The stand with two very minor losses to the framework, which is also minimally warped.

Weight: 810 grams. Dimensions: Height 30.5 cm.

乾隆紫檀插屏中國，1750-1780。雕刻細緻，梧桐樹下兩位文人相對而坐，一位在彈琵琶，四周山岩圍繞。座框部雕刻兩隻螭龍。插屏成紅棕色。來源：捷克私人收藏，很久以前在當地拍賣行購得。品相：保存極好，有些磨損。座框部位有輕微缺損。重量：810 克尺寸：高 30.5 厘米

Estimate EUR 600,Starting price EUR 300,-

116

112

AN IVORY TABLE SCREEN, KANGXI China, the double-sided screen Kangxi, around 1700, the stand Qing Dynasty. Artist signature on the stand. Engraved and carved in low relief. Good patina. Provenance: French private collection. Condition: Good condition. Some age cracks. One of the four supporters that connect the screen with the stand is missing. Otherwise only very minor losses to stand.

Weight: 379.2 grams Dimensions: Height 26 cm The rectangular plaque carved with a villa scene, with two scholars conversing and practicing calligraphy surrounded by servants, the reverse with a calligraphic inscription and a scene with birds and flowers, mounted in a partially reticulated stand with archaistic carving and two Buddhist lions guarding the screen. Literature: Chinese Ivories from the Kwan Collection. December 1990. By Simon Kwan, Peter Y. K. Lam and Yang Boda. (for a comprehensive overview of Chinese ivories and many interesting examples from the Kangxi period) Auction result comparison: CHINESE ART. Sotheby’s, 3 DECEMBER 2015, HONG KONG, lot 445. (for a related table screen)

康熙象牙插屏中國，康熙年代雙面插屏，約1700 年。底座可見藝術家款識。淺浮雕，包漿細膩。來源：法國私人收藏品相：品相良好，一些年代裂縫。一足遺失。底座上有些微磨損。重量： 379.2 克尺寸：高 26 厘米

Estimate EUR 600,Starting price EUR 300,-

117

114

AN IVORY FIGURE OF A QILIN EARLY QING China, late 17th – early 18th century. Expressive carving with very fine detail, depicting the majestic unicorn sitting on a base of curly waves. Beautiful ambercolored natural patina. Provenance: From a well-known and reputed British collection. Old collector’s labels to base, one stating ‘early 18th century’. Stored in a bank vault since 1974. Valued by Neil K. Davey of Sotheby’s London in 1974 and 1984. The value in 1974 was 150 Pounds Sterling. A copy of the appraisal list entry comes with this lot. Condition: Excellent condition. Some old age cracks but absolutely no actual damage.

113

A HORN STATUE OF SHOULAO, QING China, early 19th century. Neatly carved to depict the god with his long, gnarly walking staff. The various natural color shades of the horn have cleverly been used to highlight certain areas of the depiction. Provenance: Austrian private collection. Condition: Excellent condition with fine, natural patina.

Weight: 14.3 grams. Dimensions: Height 8 cm.

清角雕壽老立像中國，十九世紀初。細雕壽老與其木杖。巧妙利用天然角色。來源：奧地利私人收藏品相：品相極好，包漿天然細膩。重量：14.3 克尺寸：高 8 厘米

Estimate EUR 300,Starting price EUR 150,-

118

Weight: 23.9 grams. Dimensions: Height 5.3 cm. High quality ivory carvings, such as the present piece, are likely to have been products of the Ivory Workshop belonging to the Imperial Palace Workshops (Zaobanchu) located in the Forbidden City. The strength of the carving is shown by the toned musculature and expressiveness of the qilin, and the soft, dynamic flow of its posture which masterly captures the spirit of the animal. Depictions of qilin are a rare subject matter on works of art created in the late Ming and early Qing dynasties, in contrast to the more commonly found Buddhist lion.

清初象牙雕麒麟中國，十七世紀晚期至十八世紀初。雕工細緻入微，神獸坐於浪上岩石之上。包漿天然琥珀色。來源：英國知名收藏。底部可見老收藏標簽，上可見 “early 18th century” 字樣。至1974年一直存於銀行金庫。倫敦蘇富比Neil K. Davey 曾在1974 與 1984做過價值評估，其中1974為 150英鎊。附評估單附件。品相：保存極好。一些年代裂縫，但絕對沒有新的損壞。重量：23.9 克尺寸：高 5.3 厘米

Estimate EUR 300,Starting price EUR 150,-

115

AN IVORY SEAL, QING DYNASTY China, 18th century. Depiction of caparisoned elephant on a rectangular base. Fine details. Good natural patina. Expressively carved seal face. Provenance: From a well-known and reputed British collection. Old collector’s label with inventory number ‘113’. Stored in a bank vault since 1974. Valued by Neil K. Davey of Sotheby’s London in 1974 and 1984. The value in 1974 was 100 Pounds Sterling. A copy of the appraisal list entry comes with this lot. Condition: Three small chips to seal frame and several old age cracks.

Weight: 54.8 grams. Dimensions: Length 4.7 cm.

清象牙雕印中國，十八世紀。四方形底座上雕刻一頭大象。細節精緻。天然包漿良好。來源：英國知名收藏。底部可見老收藏標簽，上可見 “113”字樣。至1974年一直存於銀行金庫。倫敦蘇富比Neil K. Davey 曾在1974 與1984做過價值評估，其中1974為 100英鎊。附評估單附件。品相：印章四邊有三處小磕碰，一些年代裂縫。重量：54.8 克尺寸：長 4.7 厘米

Estimate EUR 300,Starting price EUR 150,-

116

AN IVORY FIGURE OF A SCHOLAR, KANGXI China, ca. 1700. Superb carving depicting a seated scholar holding a pile of books with both hands. His coiffure typical of the period. Possibly the statuette was originally intended to serve as a seal. Provenance: From a well-known and reputed British collection. Stored in a bank vault since 1974. Old collector’s labels with inventory number ‘133’ and ‘14083’. Condition: Later piercing just above the base to enable usage as a pendant. Magnificent natural patina. Some old age cracks, but no actual damage.

Weight: 51.3 grams. Dimensions: Height 5.7 cm.

康熙象牙雕文人像中國，約1700。細膩雕刻文人雙手捧書。他的髮飾是該時期典型。也許這曾經是作爲印章。來源：英國知名收藏。底部可見老收藏標簽，上可見 “133”與“14083”字樣。至1974年一直存於銀行金庫。品相：後期穿孔可作爲挂件。天然包漿細膩。一些老的年代裂縫，但沒有新的損壞。重量：51.3 克尺寸：高 5.7 厘米

Estimate EUR 300,Starting price EUR 150,-

119

117

A SUPERB IVORY GUANYIN, QING China, 1750-1850. Beautifully carved to depict Guanyin holding a child in her arm. Masterful execution of her facial features as well as her garment. The boy is holding a peach. Guanyin is wearing a lingzhi tiara. Provenance: Private collection from Nice, France. Condition: Excellent condition only one small crack to the tiara and some old age cracks.

Weight: 401 grams including the base (the carved hardwood base cannot be removed) Dimensions: Height 24.5 cm including base and 22.5 cm without the base.

清象牙雕觀音立像中國，1750-1850。雕工細膩的觀音手抱童子立像。熟練刻畫觀音面部特徵及其服飾。童子手中正拿著一個桃子。觀音佩戴靈芝頭飾。來源：法國尼斯私人收藏品相：品相極好，僅在頭飾處有一小裂縫和一些年代乾裂。重量：401 克含底座（硬木雕底座不可取下）尺寸：高 24.5 厘米含底座，22.5 厘米不含底座

Estimate EUR 800,Starting price EUR 400,-

120

118

A CARVED IVORY WRIST REST, QING China, 19th century. Canton school. Outstanding openwork carving with a monumental fighting scene. Very fine detail work. The back with a depiction of Shoulao in high relief. Provenance: French private collection. Condition: Almost perfect condition. Only one minor age crack to bottom (see detail image on www.zacke.at) and two minuscule losses. Good patina, especially to backside.

Weight: 227.7 grams. Dimensions: Height 26 cm.

清象牙雕刻臂擱中國，十九世紀。廣東流派。鏤空雕戰爭場景，細節入微。背面高浮雕壽老。來源：法國私人收藏品相：品相幾乎完美。僅在底部有一處因年代所產生的開裂（見www. zacke.at細節圖）以及兩條几不可見的缺損。包漿良好，特別是背面。重量： 227.7 克尺寸：高 26 厘米

Estimate EUR 600,Starting price EUR 300,-

121

119

A CINNABAR LACQUER PANEL, QIANLONG China, 1736-1795. Fine and deep carving with a seated noble lady painting a scroll in a fenced courtyard, accompanied by a female attendant, several boys bringing gifts. Provenance: Spink & Son, London. Original lacquered and faceted Spink & Son LTD label to backside. British private collection. Condition: Sublime condition with only one tiny loss and one minuscule chip, absolutely no restoration. One corner of the frame with a loss and crack. Good patina. Wear to backside.

Weight: 300 grams. Dimensions: 19.2 x 19.2 cm. The background with a mountainous landscape, craggy rocks and two magnificent pine trees, all against various neatly incised diaper and keyfret patterns. The picture is enclosed by a border with rounded corners and numerous carved shou characters in round medallions. Set within an original hardwood frame, possibly Zitan. The backside with original black lacquer coating. Original bronze suspension.

乾隆剔紅漆雕飾板中國，1736-1795。漆雕細膩深刻，一宮裝貴婦與園林中坐於桌前作畫，身後侍女，幾個童子端著禮物。來源：倫敦Spink & Son，背面可見老標簽。英國私人收藏。品相：品相極好，僅有一處細微缺失和微不足道的磕損，絕對沒有經過修復。木框一角有些缺失和裂縫。包漿良好，背面有磨損。重量： 300 克尺寸： 19.2 x 19.2 厘米

Estimate EUR 2.000,Starting price EUR 1.000,-

122

Spink & Son LTD, London

123

120

A CINNABAR LACQUER BOX, QIANLONG China, 1736-1795. Extraordinary carving of very deep relief with three scholars playing weiqi in a rocky landscape under a group of three pine trees. The background and sides with a multitude of neatly incised patterns. Provenance: The collection of Susanna Deistler, Vienna, Austria. Acquired at Galerie Zacke in 1990. Published: ‘Feine dekorative Kunst aus China und Japan’, Exhibition from October 24th – November 30th, 1990, lot 17. Original exhibition label with inventory number ‘286’ to base. Condition: Outstanding condition with only four minor nicks to inner lips, three of them with old touchups. No damage or restorations whatsoever to the lacquer carving! The black lacquer base with scratching and wear.

Weight: 749.8 grams. Dimensions: Diameter 17.2 cm. Five-lobed boxes of this type are extremely rare, especially with such a magnificent three-dimensional carving. Compare with a brush pot showing similarly deep carving in ‘Carving the Subtle Radiance of Colors, Treasured Lacquerware in the National Palace Museum Taipei’, lot 149.

乾隆剔紅漆雕捧盒中國，1736-1795。山林景觀中三位學者松下弈棋，背景為天地錦紋。來源：奧地利維也納Susanna Deistler收藏，于1990年購於Zacke 藝廊。品相：整體保存良好，盡在内沿処有四條輕微磕損，其中三條曾經修復。漆雕処沒有損壞或修復。髹黑漆底部有劃痕與磨損。重量： 749.8 克尺寸：直徑17.2 厘米

Estimate EUR 3.000,Starting price EUR 1.500,-

124

125

121

AN AMBER SCHOLARS MOUNTAIN, QING China, 18th – 19th century. The Baltic amber of superb even color, mostly opaque with few translucent areas. Carved with a scholar playing the pipa in a mountainous landscape with a waterfall and a crane. Provenance: From a British private collection of fine amber carvings, built over several decades. Condition: Excellent condition with fine patina, few organic flaws, but no chipping although parts of the carving are done in openwork technique. Old wear.

Weight: 100.3 grams. Dimensions: Height 9 cm.

清琥珀文人賞石中國，十八至十九世紀。波羅的海琥珀，色彩均勻，多為不透明，幾乎沒有半透明區域。雕刻著一個學者在瀑布旁演奏琵琶，仙鶴相伴。來源：英國琥珀雕刻私人收藏，已有幾十年歷史品相：品相極好，偶有天然缺陷，鏤空雕刻処沒有損壞。舊磨損。重量：100.3 克尺寸：高 9 厘米

Estimate EUR 500,Starting price EUR 250,-

122

A CANTON SCHOOL HORN BOX, QING China, 1820-1880. Fine carving in high relief with many incised details. Depiction of a magnificent willow tree in a fenced garden. Mountains in the background. Blank nameplate. Bamboo borders. Provenance: Austrian private collection. Condition: Excellent condition with hardly any wear.

Weight: 90.1 grams. Dimensions: Diameter 9 cm.

清廣州角雕小捧盒中國，1820-1880。高浮雕山林小院景觀。來源：奧地利私人收藏品相：保存極好，幾乎沒有磨損。重量： 90.1 克尺寸：直徑9 厘米

Estimate EUR 300,Starting price EUR 150,-

126

124

A DAOGUANG COURT OFFICIAL DOLL China, 1821-1850. The face painted in fine lacquer. Hand and feet are carved of wood. The robe with a rank badge and a lishui border, the seams with fur linings. The hat made of woven linen. Provenance: An Austrian private collection. Acquired from Galerie Zacke, Vienna, in 1978. Correspondence related to the purchase is available in copy. Thence by descent in the same family. Condition: Superb original condition with only minor wear.

Weight: 110.3 grams. Dimensions: Height ca. 27 cm. Modern stand and showcase. (3)

道光司法官員人偶中國，1821-1850.人偶面部上漆，非常精細。手和脚是木質雕刻。官袍上可見官階補子與麗水紋，邊緣有毛皮襯裏。官帽為亞麻編織。來源：奧地利私人收藏，1978年購於Zacke藝廊。品相：原始品相極好，些微磨損。重量：110.3克尺寸：高約27厘米現代底座與包裝外盒

Estimate EUR 200,Starting price EUR 100,-

123

A CORAL CARVING, 20TH CENTURY China. Carved to depict an old man and a boy with a large basket of fish, both on a bamboo raft amid curly waves. Wood stand. The eyes of the fish pointed out in black lacquer. Provenance: French private collection. Condition: One old crack repaired, some minor chipping. Good patina. Some natural flaws to the material.

Weight: 247 grams (without stand) Dimensions: Length 15 cm.

二十世紀珊瑚雕擺件中國。珊瑚雕刻舟上老人童子與一簍魚。木底座。魚眼上黑漆。來源：法國私人收藏品相：一道開裂已修復，一些輕微磕損。包漿良好。珊瑚上有一些天然瑕疵。重量： 247 克（不含底座）尺寸：長 15 厘米

Estimate EUR 200,Starting price EUR 100,-

127

Snuff Bottles

Lots 125 to 162

126

A GLASS OVERLAY SNUFF BOTTLE 1800s Yangzhou School. 1820-1880. Cinnabar-red overlay on opaque turquoise-blue glass, carved in light relief, with neatly incised details. Provenance: American private collection. Condition: Perfect.

125

A GLASS SNUFF BOTTLE 1770-1830 Transparent glass body with flowing hues of bright carmine red. Translucent olive-green overlay carved to depict a pocket watch. Wide mouth, convex top, slanted lip. Oval raised foot rim. Heart shape. Provenance: A Hungarian private collection. Condition: One minuscule nibble to one of the lion masks, otherwise absolutely perfect condition.

Stopper: Hardstone stopper with spoon. Weight: 28.9 grams. Dimensions: Height including stopper 48 mm. Diameter neck 15 mm and mouth 7 mm. This particular copy of a European watch is rather unique in the snuffbottle world. It may be surprising, given imperial interest in watches and clocks from the Kangxi period onwards, that there are not more imperial snuff bottles of this design from the earlier eighteenth century, but as a general rule, snuff bottles copying watches were made only from the late-Qianlong period onwards, becoming particularly popular during the nineteenth century. Perhaps with the court awash with the real thing, there was little incentive to create exact copies of them on snuff bottles. The unusual palette of bright carmine red and olive-green gives the decoration a distinct appearance. The numbers shown on the dial are roman and range from I – XII, while the hands show three o’clock sharp on both sides. The shoulders are decorated with neatly carved archaistic lion masks. While it is a remote possibility that the present bottle might have been a direct response from the imperial glassworks to a particular European watch, intended to be presented to the court at some point, it could also very well have been a simple yet clever novelty object for a private audience. An imperial connection is possible, because a small series of watchform bottles produced in the late Qianlong period bearing reign marks proves the existence of an imperial interest in the design. A splendid example from the Robert and Molly Hsieh Collection is illustrated in ‘The Blair Bequest: Chinese Snuff Bottles from the Princeton University Art Museum’ by Michael Hughes, Baltimore, International Chinese Snuff Bottle Society, 2002, no. 282.

1770-1830料器鼻烟壺壺身透明玻璃亮紅色，套半透明橄欖綠色料雕成懷錶狀。款嘴，頂部凸起，嘴外撇。來源：匈牙利私人收藏品相：一面獅面上有微不可見的磕損，其他部位完美瓶蓋：硬石，小勺重量：28.9 克尺寸：含蓋總高48 毫米；頸部直徑15 毫米；嘴 7 毫米

Estimate EUR 400,Starting price EUR 200,-

130

Stopper: Agate cabochon on black platelet. Weight: 25.6 grams. Dimensions: Height including stopper 66 mm. Diameter neck 12 mm and mouth 7 mm. The composition is well balanced and powerful, with confident use of a strong contrast in colors. Both sides show five bats surrounding the shou sign in the center. A fairly good sign of the quality of this bottle is the reasonable control of the overlay color on the foot rim, which, while appearing almost faultless on the outside, ‘bleeds’ into the foot inside. Compare with a bottle from the same group, showing a ‘Zhong Kui’ motif, in SNUFF BOTTLES FROM THE MARY AND GEORGE BLOCH COLLECTION, Part V, Bonham’s, 27 May 2012, Hong Kong, lot 59.

十八世紀料器玻璃鼻烟壺揚州料器，1820-1880。朱紅色淺雕五隻蝙蝠，不透明綠松石料器，極其生動。來源：美國私人收藏品相：完美瓶蓋：瑪瑙頂，黑蓋片重量：25.6 克尺寸：含蓋總高66 毫米；頸部直徑12 毫米；嘴 7 毫米

Estimate EUR 300,Starting price EUR 150,-

127

A GLASS SNUFF BOTTLE, 1740-1800 Imperial glass workshops Beijing. Slightly translucent body of rich egg-yolk color. Short wheel-cut foot rim with recessed oval base. Elongated, strictly cylindric neck with wide mouth. Provenance: A Hungarian private collection. Condition: Excellent condition with only minor wear.

Stopper: Glass cabochon in imitation of coral. Fine old spoon. Weight: 81.7 grams. Dimensions: Height including stopper 73 mm. Diameter neck 18 mm and mouth 8 mm. Yellow was generally reserved for Imperial use, although a variety of different yellow tones were produced at the Imperial glassworks throughout the Qing dynasty ranging from a relatively pale color to this much richer, egg-yolk color.

1740-1800料器鼻烟壺北京御用料器作坊。半透明，濃鬱的蛋黃色。圈足短，橢圓形底，直頸，寬嘴。來源：匈牙利私人收藏品相：優秀，輕微磨損瓶蓋：仿珊瑚玻璃，老杓精緻重量：81.7 克尺寸：含蓋總高73 毫米；頸部直徑18 毫米；嘴 8 毫米

Estimate EUR 600,Starting price EUR 300,-

128

A YIXING STONEWARE SNUFF BOTTLE, QING 1770-1850. The body of bulbous oval shape with faceted shoulders. The elongated cylindric neck with a wide mouth. Thin foot rim to an oval recessed base with a crackled white glaze. Provenance: Hungarian private collection. Condition: Good condition with a few small chips to foot rim and minuscule nibbles to lip.

Stopper: Carnelian cabochon on black platelet, fine old spoon. Weight: 32.7 grams. Dimensions: Height including stopper 71 mm. Diameter neck 11 mm and mouth 7 mm. Undecorated Yixing bottles are rare and tend to be quite early, so it is indeed a possibility that this fine example dates to last third of the Qianlong period. Another highly unusual aspect is that someone went the extra mile to decorate the area inside the foot rim with a beautiful white crackled glaze. This extra glaze needed a separate firing in addition to the firing of the bottle itself.

清宜興紫砂鼻烟壺 1770-1850。壺身橢圓形，兩側棱面。長頸，寬嘴。高圈足，橢圓形内凹，白釉開片。來源：匈牙利私人收藏品相：良好，圈足有些小磕損，唇部微不可見磕損瓶蓋：紅玉髓，黑色蓋片，老杓精緻重量：32.7 克尺寸：含蓋總高71 毫米；頸部直徑11 毫米；嘴 7 毫米

Estimate EUR 400,Starting price EUR 200,-

131

129

A WHITE JADE SNUFF BOTTLE 18TH CENTURY The stone of good white color with a faint touch of russet at the center. Superb polish and hollowing. Oval recessed base, faceted oval shape, short cylindric neck with very small mouth and convex top. Provenance: Hungarian private collection. Condition: Good condition with a few microscopic nibbles to lip.

Stopper: Rock crystal cabochon on a black platelet. Weight: 44 grams. Dimensions: Height including stopper 58 mm. Diameter neck 14 mm and mouth 4 mm.

十八世紀白玉鼻烟壺白玉上有些微沁色。抛光與掏膛極好。橢圓形底足，橢圓形壺身，短頸，小嘴，頂部凸起。來源：匈牙利私人收品相：良好，唇部一些輕微磕損瓶蓋：水晶，黑色蓋片重量：44 克尺寸：含蓋總高58 毫米；頸部直徑14 毫米；嘴 4 毫米

130 Estimate EUR 500,Starting price EUR 250,-

AN AMETHYST SNUFF BOTTLE 18TH CENTURY The transparent stone of pale purple color. Carved in high relief and neatly incised with a spiritual scene of a monumental landscape in which a comparatively minuscule scholar strides with dignity across a bridge. Provenance: A Hungarian private collection. Condition: Perfect condition. The mineral with natural flaws as expected.

Stopper: Glass in imitation of jadeite, stepped bronze mounting, very nice old spoon. Weight: 95.7 grams. Dimensions: Height including stopper 72 mm. Diameter neck 13 mm and mouth 8 mm. Very well hollowed, of rounded square form below a cylindrical neck, resting on a neatly finished oval foot, polished inside. Compare with another transparent pale purple amethyst bottle most likely from the same carver, sold at Sotheby’s in ‘The Joe Grimberg Collection of Chinese Snuff Bottles’ on September 14th, 2010, lot 160.

十八世紀紫水晶鼻烟壺淺紫色透明水晶，高浮雕山林場景，可見一文人正柱杖過橋。來源：匈牙利私人收藏品相：完美，天然礦石肌理裂紋瓶蓋：仿翡翠玻璃蓋，青銅鑲嵌，老杓非常精緻重量：95.7 克尺寸：含蓋總高52 毫米；頸部直徑13 毫米；嘴 8 毫米

Estimate EUR 1.000,Starting price EUR 500,-

132

131

A WHITE JADE SNUFF BOTTLE, 1750-1850 Rectangular form raised on a foot of conforming outline, carved on the front and back in relief with four large xi characters, the two sides with a double fish motif, the stone of even white with some light gray inclusions. Provenance: Hungarian private collection. Condition: Perfect condition.

Stopper: Amber cabochon. Weight: 78.9 grams. Dimensions: Height including stopper 73 mm. Diameter neck 16 mm and mouth 6 mm. Superbly hollowed. Very small mouth. Compare with a very similar bottle, likely from the same workshop if not the same lapidary, sold at Sotheby’s New York in their ‘Fine Chinese Ceramics & Works of Art’ sale on September 16th, 2014, lot 243.

1750-1850白玉鼻烟壺矩形壺，長方形圈足，壺身兩面各雕一個雙喜，兩側各雕刻吉祥魚紋。白玉有一些淺灰色肌理。來源：匈牙利私人收藏品相：品相完美瓶蓋：琥珀重量：78.9 克尺寸：含蓋總高73 毫米；頸部直徑16 毫米；嘴 6 毫米

Estimate EUR 600,Starting price EUR 300,-

132

A GLASS OVERYLAY SNUFF BOTTLE, QING 1780-1860. Finely carved and incised through the emerald green, translucent overlay to the opaque white body to depict Nantimitolo with a fierce, four clawed dragon, both chasing the flaming pearl. Provenance: Hungarian private collection. Condition: Perfect condition with minor wear and some open air bubbles.

Stopper: Green glass stopper with a miniature coral bead on top and old horn spoon. Weight: 40.8 grams. Dimensions: Height including stopper 91 mm. Diameter neck 15 mm and mouth 5 mm. The human figure is shown in chase of the flaming pearl with a fierce dragon amid swirling clouds. This identifies him as Nantimitolo, known in Chinese as the ‘Dragon Subduing Luohan’. A Luohan is a perfected being, a disciple of Buddha who has attained enlightenment, but chooses to remain engaged in the world, postponing nirvana, in order to aid all sentient beings. The Luohan achieves enlightenment through instruction rather than through insight and meditation, and as a result, ranks just below the bodhisattva. In this figure of Nantimitolo, the expressive face with protruding chin, large eyes and prominent nose, unlike Chinese physiognomy, points to his foreign origins. The facial expression on the present figure has parallels in iron figures dating from the Song dynasty such as in the guardian from Jinci Temple in Taiyuan, Shanxi illustrated in A. Paludan, Chinese Sculpture: A Great Tradition, Chicago, 2006, p. 388, fig. 258. Rouleau shape with raised round foot carved of green overlay. The sprawling neck with a key-fret border.

清套料鼻烟壺 1780-1860。祖母綠色半透明套料精細浮雕降龍羅漢慶友尊者及四爪龍與火珠，底料不透明白色壺身。來源：匈牙利私人收藏品相：完美，輕微磨損，一些小氣泡瓶蓋：綠玻璃，微型珊瑚頂珠，老角杓重量：40.8 克尺寸：含蓋總高91 毫米；頸部直徑15 毫米；嘴 5 毫米

Estimate EUR 500,Starting price EUR 250,-

134

A GLASS OVERLAY SNUFF BOTTLE QING 1800-1860. The transparent olive-green overlay carved through to the café-au-lait opaque body to depict nine ding tripod vessels, two of which are found on the shoulders. Note the fine incision work. Provenance: Hungarian private collection. Condition: Perfect condition with minor wear.

Stopper: Rose quartz stopper with a miniature green glass bead on top and old spoon. Weight: 43.2 grams. Dimensions: Height including stopper 70 mm. Diameter neck 15 mm and mouth 6 mm. The Nine Tripods appear in two early Chinese classics. Tradition has it that the legendary Emperor Yu received tribute of metal from the Nine Provinces of his Kingdom and had them cast into nine bronze vessels. According to the Zuo Zhuan, the bronze vessels were decorated with all the objects of nature so that people might know the gods and evil spirits. The Shi Ji, however, says that they were decorated with maps of the Nine Provinces with records of population and property. They were said to have been made in 2202 BC and were carried off to the new capital, Le, in 1122 by the founder of the Zhou dynasty (see The Encyclopaedia Sinica). They symbolize legitimacy of rule.

133

AN OVERLAY SNUFF BOTTLE, 1820-1860 The translucent spinach-green overlay carved away on a toffee-brown opaque ground with birds amid pine tree, bamboo and plum blossoms springing from craggy rocks. Sprawling neck and raised oval foot rim. Provenance: Hungarian private collection. Condition: Perfect condition.

Stopper: Serpentine cabochon. Small spoon. Weight: 62.5 grams. Dimensions: Height including stopper 73 mm. Diameter neck 16 mm and mouth 7 mm. The Three Friends of Winter, Suihan Sanyou, is a motif that comprises the pine, bamboo, and plum. The Chinese observed that these three do not wither as the cold days deepen into the winter season unlike many other plants. Known by them as the Three Friends of Winter, they entered the conventions of East Asian culture. Together they symbolize steadfastness, perseverance, and resilience. They are highly regarded in Confucianism and as such represent the scholar-gentleman’s ideal.

1820-1860套料鼻烟壺半透明菠菜綠色料套在焦糖棕色不透明底料上，鳥、松樹、竹子還有山石旁的梅花。頸部粗大，高圈足呈橢圓形。來源：匈牙利私人收藏品相：品相完美瓶蓋：蛇紋石，小杓重量：62.5 克尺寸：含蓋總高73 毫米；頸部直徑16 毫米；嘴 7 毫米

Estimate EUR 400,Starting price EUR 200,-

134

清套料鼻烟壺 1800-1860。透明橄欖綠套料浮雕九座鼎，其中兩座在肩部，非常精緻。底料紅棕色不透明。來源：匈牙利私人收藏品相：完美輕微磨損瓶蓋：玫瑰石英蓋上綠玻璃頂珠，老杓重量：43.2 克尺寸：含蓋總高70 毫米；頸部直徑15 毫米；嘴 6 毫米

Estimate EUR 300,Starting price EUR 150,-

136

A GLASS SNUFF BOTTLE 1740-1780 Ruby-red overlay carved in high relief on a bubblesuffused ground. Very fine incised detail. Circumferential depiction of lotus, plum, chrysanthemum and peonies springing from craggy rocks. Provenance: Hungarian private collection. Condition: One microscopic nibble. Otherwise absolutely perfect.

Stopper: Jadeite cabochon with splashes of emerald green. Metal collar and spoon. Weight: 58.7 grams. Dimensions: Height including stopper 83 mm. Diameter neck 15 mm and mouth 7 mm. Flattened pear shape with elongated, flaring neck and raised, oval foot rim. The depiction of all four seasons symbolic flowers in one and the same bottle is very rare. This bottle represents an evolution of the style of carving that originally developed at the Palace Glassworks between 1700-1730. It is influenced by other glass bottles with a similarly wider range of subjects dating from the earliest Qianlong period. However, on closer inspection, this bottle has a more schematic approach to the carved decoration, and the carving is crisper and less sculptural, hence the dating to 17401780.

1740-1780料器鼻烟壺寶石紅色料套半透明充滿氣泡的壺身，細節入微，可見荷花、梅花、菊花與假山旁的牡丹。來源：匈牙利私人收藏品相：一処微不可見的磕損，其他絕對完美瓶蓋：翡翠，金屬杓重量：58.7 克尺寸：含蓋總高83 毫米；頸部直徑15 毫米；嘴 7 毫米

135

AN OVERLAY GLASS SNUFF BOTTLE, QING

Estimate EUR 500,Starting price EUR 250,-

The transparent olive-green overlay carved through to the café-au-lait opaque body to depict a scholar under a pine tree and a fisherman on the reverse, both standing on large craggy rocks. Provenance: Hungarian private collection. Condition: Very good condition with one tiny chip to fishing rod smoothened.

Stopper: Spinach green jade cabochon with good old spoon. Weight: 40.1 grams. Dimensions: Height including stopper 73 mm. Diameter neck 13 mm and mouth 7 mm.

清套料玻璃鼻烟壺透明橄欖綠色套咖啡色不透明壺身，高浮雕松下文人圖與漁夫圖。兩人各自站在山石上。來源：匈牙利私人收藏品相：極好，漁夫魚竿処有一細微裂縫。瓶蓋：碧玉，老杓精緻重量：40.1 克尺寸：含蓋總高73 毫米；頸部直徑13 毫米；嘴 7 毫米

Estimate EUR 400,Starting price EUR 200,-

135

137

A REALGAR GLASS SNUFF BOTTLE 1750s 1750-1820. Glass in imitation of realgar carved in high relief with four intertwined, sinuous Chilong. Baluster form with sprawling neck, convex mouth and round foot. Note the fine incisions. Provenance: Hungarian private collection. Condition: Perfect.

Stopper: Serpentine cabochon on blue glass platelet. Weight: 90.4 grams. Dimensions: Height including stopper 83 mm. Diameter neck 13 mm and mouth 7 mm. Plain realgar glass snuff bottles were made in large numbers throughout the eighteenth century, a large proportion of which were apparently produced at the court to be distributed as gifts. By the mid-Qing period, there must have been many in circulation, and it began to occur to carvers to decorate them, since in most cases they were uncarved overlays, often with a surface layer of brighter color. For other examples of carved realgar-glass snuff bottles, see M. Hughes, The Blair Bequest, Chinese Snuff Bottles from the Princeton University Art Museum, no. 185 (carved with chrysanthemums and prunus) and Robert Kleiner, Chinese Snuff Bottles from the Collection of Mary and George Bloch, no. 109 (carved with pomegranate and melons). The subject on this bottle was a popular Court motif.

1750-1820仿雄黃玻璃鼻烟壺 1750-1820。仿雄黃，高浮雕四隻艷紅色螭龍。削肩縮腹，頸部寬闊，突嘴，圓底。切口精細。來源：匈牙利私人收藏品相：完美瓶蓋：蛇紋石，藍色玻璃蓋片重量：90.4 克尺寸：含蓋總高83 毫米；頸部直徑13 毫米；嘴 7 毫米

Estimate EUR 1.000,Starting price EUR 500,-

136

139

A JASPER SNUFF BOTTLE, 1740-1860 The miniature bottle comes with a flat oval base, a short cylindric neck, a wide mouth and a very good hollowing. The opaque stone is of intense green color with streak of blood-red. Very fine polish. Provenance: A Hungarian private collection. Condition: Perfect.

Stopper: Pink tourmaline on a black platelet. Small spoon. Weight: 30.3 grams. Dimensions: Height including stopper 43 mm. Diameter neck 13 mm and mouth 6 mm. Compare with another miniature jasper bottle sold at Sotheby’s Hong Kong on May 27th, 2013, lot 177.

138

A CLOISONNE SNUFF BOTTLE 19TH CENTURY The fire-gilt bronze bottle with fine floral décor to all four sides, the neck and both shoulders. The recessed base with Jingtailan three-character mark. The top and lip of the sprawling neck also fire-gilt.

1740-1860鐵石英鼻烟壺微小鼻烟壺，橢圓形扁平底，短頸，寬嘴，掏膛極好。不透明石材很濃艷的綠色帶著一抹艷紅色。抛光細膩。來源：匈牙利私人收藏品相：完美瓶蓋：粉紅碧璽，黑色蓋片，小杓重量：30.3 克尺寸：含蓋總高43 毫米；頸部直徑13 毫米；嘴 6 毫米

Estimate EUR 500,Starting price EUR 250,-

Provenance: A British private collection. Condition: Excellent condition. Minimal wear only.

Stopper: Rose quartz Cabochon. Weight: 60.2 grams. Dimensions: Height including stopper 67 mm. Diameter neck 21 mm and mouth 6 mm.

十九世紀景泰藍鼻烟壺鎏金銅瓶，四面、頸部以及肩部都為不同纏枝花卉紋。壺底可見“景泰藍”三字。頂部、唇部、肩部及四邊緣都爲鎏金。來源：英國私人收藏品相：優秀，輕微磨損瓶蓋：玫瑰石英重量：60.2 克尺寸：含蓋總高67 毫米；頸部直徑21 毫米；嘴 6 毫米

Estimate EUR 500,Starting price EUR 250,-

137

140

141

Of flattened pear shape, with a wide mouth, the sides carved with sinuous chilong dragons, their feline tails curling together to form the foot rim. Their fur neatly incised. Good color in imitation of citrine.

1800-1860. Transparent pink overlay on translucent bubble-suffused ‘snowflake’ ground, depicting a boy in a tiny boat rowing through a lotus pond. Two cranes on the backside. Lion masks with elongated handles.

A GLASS SNUFF BOTTLE, 1750-1820

Provenance: A Hungarian private collection. Condition: Perfect.

Stopper: Pink tourmaline on a black platelet. Very fine old spoon. Weight: 33.4 grams. Dimensions: Height including stopper 68 mm. Diameter neck 11 mm and mouth 7 mm. Compare with a bottle from the same group at Bonham’s San Francisco, June 22nd, 2010, lot 2055.

1750-1820料器鼻烟壺扁平梨形，寬嘴，兩側浮雕螭龍，他們的尾巴一直伸向圈足。顔色模仿黃水晶。來源：匈牙利私人收藏品相：完美瓶蓋：粉紅碧璽，黑色蓋片，老杓精緻重量：33.4 克尺寸：含蓋總高68 毫米；頸部直徑11 毫米；嘴 7 毫米

Estimate EUR 1.000,Starting price EUR 500,-

138

A PINK OVERLAY SNUFF BOTTLE, QING

Provenance: Hungarian private collection. Condition: Superb condition.

Stopper: Matching stopper carved of glass with a circular row of leaves and a blossom. Black platelet and fine old spoon. Weight: 32.4 grams. Dimensions: Height including stopper 68 mm. Diameter neck 11 mm and mouth 6 mm. Flattened rectangular shape with flaring neck, wide mouth, convex top, oval foot and recessed base. The overlay with very fine incisions which become only visible in full extent under a magnifying glass.

清粉紅套料鼻烟壺 1800-1860。透明粉紅色套料，底料半透明充滿雪花氣泡，可見小舟上坐一小童手持荷花。另一面有兩只仙鶴。側面獅面雙耳。來源：匈牙利私人收藏品相：優秀瓶蓋：玻璃雕刻成葉子與花形，黑色蓋片，老杓精緻重量：32.4 克尺寸：含蓋總高68 毫米；頸部直徑11 毫米；嘴 6 毫米

Estimate EUR 600,Starting price EUR 300,-

142

AN OVERLAY SNUFF BOTTLE 1740-1800 Four different colors of overlay in high relief with neatly incised details. The extremely wide opening suggests a dating to the first half of the 18th century. Flattened pear-shape. Provenance: Hungarian private collection. Old collector label ‘88’ to base. Condition: Perfect condition.

Stopper: Glass in imitation of tourmaline. Green glass collar. Small spoon. Weight: 64.3 grams. Dimensions: Height including stopper 83 mm. Diameter neck 14 mm and mouth 10 mm. The bottle is carved through the opaque black and lemon-yellow overlay as well as the transparent amber and ruby-red overlay to the translucent bubble-suffused ground with four sinuous chilong, their heads turned back to form an oval shape with their bodies and tails. The green chilong have black streaks running through the head and the body. The foot is formed indepently of amber-colored overlay.

1740-1800套料鼻烟壺四種不同色套料，高浮雕，細節精緻。機寬的開口可推測為十八世紀前半葉。扁平梨形。來源：匈牙利私人收藏，底部老收藏標簽“88” 品相：品相完美瓶蓋：仿碧璽玻璃，綠玻璃片，小杓重量：64.3 克尺寸：含蓋總高83 毫米；頸部直徑14 毫米；嘴 10 毫米

Estimate EUR 800,Starting price EUR 400,-

139

143

A JADE SNUFF BOTTLE, QIANLONG 1750-1800. Possibly Imperial. The stone of pale celadon color. Carved as an eggplant with leaves, vines, a smaller eggplant and two majestic butterflies, all in high relief and with fine incision work. Provenance: A British private collection. Condition: Perfect.

Stopper: Carved green jade branch. Weight: 82.2 grams excluding stopper. Dimensions: Height not including stopper 63 mm. Diameter of mouth 4 mm. A series of fruit-, flower-, and vegetable-form snuff bottles, mostly of white or greenish-white nephrite and sometimes with areas of brown skin, form a large and well-known group. A left-over prejudice from the days when snuff bottles were judged to a large extent by their appeal standing in a cabinet has left them generally somewhat unpopular, along with other bottles that will not stand unsupported. These are irrational prejudices, since snuff bottles were made to be viewed primarily in the hand, in use rather than standing on a flat surface, and certainly not behind glass in a cabinet. Many of the most intriguing bottles are those that only come to life in the hand, and any functional snuff bottle is better viewed this way.

Two features support the possibility of an imperial-workshop origin for this bottle. The nephrite here, despite its lovely color, is not flawless. It has distinctive chalky-white inclusions in the greener white material that is found on other pieces more firmly attributed to the palace workshops. The painstaking hollowing (achieved through a tiny mouth for a normalsized bottle) also leaves a relatively thick lower section, not as thick as on some, but sufficient, particularly in relation to the superb hollowing of the upper area, to suggest a deliberate preference for a heavy base, which has been have established as a likely characteristic of the palace workshops. The likely period for this bottle is from the second half of the Qianlong reign. The massive supplies of nephrite that flooded into the court after the military occupation of Turkestan in 1759 resulted in an increase in the number of workshops producing for the court and almost certainly prompted renewed imperial interest, keeping the standards of workmanship and artistry at a peak well into the early nineteenth century. The present bottle stuns even the seasoned collector by the sheer quality of carving and the fluency of depiction. Other pieces may be as good, but nothing that this author has ever seen is better controlled technically or more lifelike in its detail. The subject comes in a miraculously realistic way that is rarely achieved in lapidary work.

乾隆青白玉鼻烟壺 1750-1800。可能御製。青白色，茄子形，浮雕葉子、籐枝、小茄子以及兩隻蝴蝶。雕刻細膩生動活潑。來源：英國私人收藏. 品相：完美瓶蓋：碧玉雕樹枝形重量：82.2 克不含蓋尺寸：高不含蓋 63 毫米；嘴直徑4 毫米

Estimate EUR 1.000,Starting price EUR 500,-

140

144

A LIMESTONE SNUFF BOTTLE 18TH CENTURY The fossiliferous olive-green stone with natural ochreand ivory-colored bands. Superbly carved on both sides with three Chilong forming the character long, the shoulders with lion masks and handles in high relief. Provenance: From a British private estate. Condition: Perfect condition with only minor wear.

Stopper: Horn cabochon with good old spoon. Weight: 42.9 grams. Dimensions: Height including stopper 52 mm. Diameter neck 13 mm and mouth 8 mm. The small bottle of bulbous square from with cylindric neck and very large mouth. The oval foot rim with a recessed base. Fine natural patina.

十八世紀石灰石鼻烟壺橄欖綠色石料，天然紅褐色肌理。兩面分別雕三隻螭龍形成“龍”字。肩部高浮雕獅面雙耳。來源：英國私人收藏品相：完美，輕微磨損瓶蓋：角質，老杓良好重量：42.9 克尺寸：含蓋總高52 毫米；頸部直徑13 毫米；嘴 8 毫米

Estimate EUR 800,Starting price EUR 400,-

141

145

A LIMESTONE SNUFF BOTTLE, 1800-1860 The miniature egg-shaped bottle carved of a striated fossiliferous pebble, which has a acquired a beautiful natural patina over time. Succinct mouth and small recessed base. Very well hollowed. Provenance: British private collection. Old label stating ‘Sent by Frances Haube 1976’. Condition: Good condition with natural flaws to mineral as expected and minor nibbling to lip.

Stopper: Coral carved in the shape of a branch, likely a matching stopper. Old miniature spoon. Weight: 32.1 grams. Dimensions: Height including stopper 48 mm. Diameter mouth 4 mm.

1800-1860石灰石鼻烟壺微小蛋形山子鼻烟壺，美麗的天然包漿。嘴部簡潔，小平底内凹。掏膛極好。來源：英國私人收藏，老收藏標簽“Sent by Frances Haube 1976”字樣品相：良好，礦石天然肌理裂紋，唇部有輕微磕損瓶蓋：珊瑚雕刻樹枝狀，應該是相配瓶蓋。老微型杓重量：32.1 克尺寸：含蓋總高48 毫米；嘴直徑4 毫米

Estimate EUR 300,Starting price EUR 150,-

146

A GREY & WHITE JADE SNUFF BOTTLE 18th century. Very well hollowed through a tiny mouth. The pebble with a good naturally grown patina and a smooth surface with natural wear. Pure pale celadon color with clouds of variegating tones of grey. Provenance: British private collection. Condition: Perfect.

Stopper: Carved green jade branch. Weight: 135 grams excluding stopper. Dimensions: Height not including stopper 68 mm. Diameter of mouth 5 mm.

灰白山子鼻烟壺十八世紀。小嘴，掏空極好。山子有天然生成的包漿與潤滑的表面，天然磨損。純净的青白色雲紋肌理。來源：英國私人收藏品相：完美瓶蓋：碧玉雕樹枝形重量： 135 克不含蓋尺寸：不含蓋高68 毫米；嘴直徑 5 毫米

Estimate EUR 500,Starting price EUR 250,-

142

147

A REALGAR GLASS SNUFF BOTTLE QING 1730-1800. Imperial. Attributed to the palace workshops Beijing. The ‘sandwiched’ vessel of flattened circular form and bright orange color, boldly splashed with patches of very dark red-amber. Provenance: British private collection. Condition: Perfect condition with some old wear.

Stopper: Glass in imitation of Baltic amber with a silver-plated metal collar and old spoon. Weight: 78.8 grams. Dimensions: Height including stopper 77 mm. Diameter neck 18 mm and mouth 7 mm. The color of the splashes, although revealed to be amber under strong light, is black in appearance, making this one of the most dramatic bottles of this type. A glass bottle vase with very similar coloring, bearing a Qianlong mark and attributed to the period, was sold at Christie’s New York, 20th September 2005, lot 52. Compare with a related bottle, sold at Sotheby’s in ‘The Joe Grimberg Collection of Chinese Snuff Bottles’, September 10th, 2010, lot 12.

清玻璃仿雄黃鼻烟壺 1730-1800。御製，北京宮廷作坊。壺身呈扁圓形，亮橘色、棕紅琥珀色混合深棕色水滴狀色塊。

148

來源：英國私人收藏品相：完美，些微老磨損瓶蓋：仿琥珀玻璃，銀鑲片，老杓重量：78.8 克尺寸：含蓋總高77 毫米；頸部直徑18 毫米；嘴 7 毫米

The stone is nicely banded in crystalline streaks varying from dark brown to ochre and almost white. Although this is not a very old bottle, the material is so beautiful, that we still felt it worthwhile to include in this sale.

Estimate EUR 600,Starting price EUR 300,-

A BANDED AGATE SNUFF BOTTLE, MODERN

Provenance: A British private collection Condition: Good condition with minor nibbling to neck and few natural flaws to mineral. Well hollowed. Oval foot rim with recessed base. Flattened shape.

Stopper: Agate stopper on black platelet, spoon. Weight: 42.6 grams. Dimensions: Height including stopper 65 mm. Diameter neck 15 mm and mouth 7 mm.

帶狀紋瑪瑙鼻烟壺瑪瑙帶狀紋理，天然深棕色至紅棕及白色。雖然鼻烟壺不是很老，但材質極美。來源：英國私人收藏品相：良好，頸部輕微磕損，天然肌理裂紋。挖膛良好，橢圓形圈足，凹底；瓶身扁平瓶蓋：瑪瑙瓶蓋，黑色蓋片，小杓重量：42.6 克尺寸：含蓋總高65 毫米；頸部直徑15 毫米；嘴 7 毫米

Estimate EUR 200,Starting price EUR 100,-

143

150

AN AMBER SNUFF BOTTLE 1760-1840 Carved of transparent honey-brown amber with dramatic lion masks in high relief to the shoulders. Flat oval foot with small recessed base. Provenance: British private collection. Two old labels to base: One with inventory number ‘108’ and the other with a Chinese fourcharacter inscription. Condition: One minuscule nibbling to lip and one small natural pit with old wax fill. Natural fissures and irregularities.

Stopper: Beautiful natural jadeite cabochon with splashes of emerald green and silver-plated, stepped metal collar and old metal spoon. Weight: 40.5 grams. Dimensions: Height including stopper 79 mm. Diameter neck 18 mm and mouth 5 mm.

1760-1840琥珀鼻烟壺透明蜜棕色琥珀，肩部兩側高浮雕獅面雙耳。扁橢圓形圈足，底足内凹。

149

A CARNELIAN SNUFF BOTTLE, 1740-1840 The well-hollowed bottle ingeniously carved and incised utilizing the translucent slate, orange, vermillion and purple markings in the stone with two intertwined celestial eye fish and a dragon. Provenance: A Hong Kong private collection. Sold at Wooley & Wallis, Salisbury, May 21st, 2008, lot 157. Austrian private collection. Condition: Perfect.

Stopper: Jadeite cabochon with splashes of emerald green. Tiny old spoon. Weight: 36.8 grams. Dimensions: Height including stopper 62 mm. Diameter neck 11 mm and mouth 6 mm. Flattened spade shape, recessed oval base, small mouth. This bottle belongs to an interesting range of bottles mostly in agate or jade which are all inspired by the same idea of intertwined fish, using the natural markings in the material to considerable and inventive advantage. The group is discussed under no. 158 in Moss et. al., The Art of the Chinese Snuff Bottle, and in Hugh Moss, Chinese Snuff Bottles of the Silica or Quartz Group, nos. 214 and 215. Many of the bottles appear to be from the same lapidary. The present bottle is one of the more spectacular examples because of the ideal use of the lovely natural material with its variegated coloring.

1740-1840紅玉髓鼻烟壺壺身掏膛極好。巧妙利用玉髓本身半透明質感與天然且深淺不一的肌理展現了一對大眼睛金魚與一隻龍。來源：香港私人收藏；2008年5月21日賣于Wooley & Wallis, Salisbury, 編號 157；奧地利私人收藏品相：完美瓶蓋：翡翠，老杓重量：36.8 克尺寸：含蓋總高62 毫米；頸部直徑11 毫米；嘴 6 毫米

Estimate EUR 500,Starting price EUR 250,-

144

來源：英國私人收藏，底部兩個老標簽：一個上有收藏編號“108”，另一個上有四個中文字樣品相：唇部有個小磕損，一個天然小坑已被舊蠟填充。天然裂縫及不規則。瓶蓋：美麗的天然翡翠，銀質蓋片，金屬包片，金屬老杓重量：40.5 克尺寸：含蓋總高79 毫米；頸部直徑18 毫米；嘴 5 毫米

Estimate EUR 500,Starting price EUR 250,-

151

A CINNABAR LACQUER SNUFF BOTTLE, QING Qianlong period, ca. 1740-1780. The seven peaches of immortality from Queen Mother of the West, carved in high relief amid blossoms, leaves and vines, all against a neatly incised meander pattern. Provenance: An old British private collection of Chinese Snuff Bottles. Thence by descent. Two old collector labels to base, one with an inventory number, the other with the purchase date “1981”. Condition: Superb condition with only minimal wear and one minuscule nibble to one of the vines.

Stopper: Matching stopper carved with the seventh peach. Beautiful old spoon. Weight: 16.2 grams Dimensions: Height including stopper 60 mm. Diameter neck 16 mm and mouth 7 mm. The unusually light weight makes it very clear that this bottle, unlike later ones, has no metal body and is made of lacquer only. As legend tells, Emperor Wu of the Han dynasty and the Queen Mother of the West, Xiwangmu, met during the height of Wu’s reign, when she visited him during Qixi festival, the night for encounters between mortal men and divine women, bringing with her seven of the peaches of immortality from her orchard, which according to legend was located near her palace in the Kunlun mountains.

清剔紅鼻烟壺乾隆年間，約1740-1780。高浮雕七只西王母的仙桃，花朵、葉子以及籐枝。來源：一個英國中國鼻烟壺私人老收藏，保存至今；底部兩個老收藏標簽，一個上面有收藏編號，另一個上有購買日期 “1981”字樣品相：優秀，只有些微磨損，桃枝上微不可見的磕損瓶蓋：匹配蓋，雕刻成桃型；老杓美麗重量：16.2 克尺寸：含蓋總高60 毫米；頸部直徑16 毫米；嘴 7 毫米

Estimate EUR 600,Starting price EUR 300,-

The stopper of the present bottle depicting the seventh peach

145

152

153

Signed Shui Qing. First half of 20th century. Fine painting with two doves sitting on craggy rocks. The back with two pheasants. Three-line inscriptions with two red seals to each side.

Carved in high relief on both sides with cranes in a landscape. Rectangular foot with recessed base. Flattened rectangular form. Wide mouth and very short neck. Good hollowing.

AN INSIDE PAINTED SNUFF BOTTLE

Provenance: The collection of Susanna Deistler, Vienna, Austria. Acquired at Galerie Zacke around 1990. Old label “Galerie Zacke Wien 1” label to base with inventory number SN33. Condition: Excellent condition.

Stopper: Green glass. Weight: 43.9 grams. Dimensions: Height including stopper 78 mm. Diameter neck 16 mm and mouth 7 mm.

A HORNBILL SNUFF BOTTLE 1800-1880

Provenance: The collection of Susanna Deistler, Vienna, Austria. Acquired at Galerie Zacke around 1990. Condition: Strong wear from extensive usage, some natural age cracks and minor organic flaws to material.

Stopper: Matching stopper. The spoon broken off and remaining inside the bottle. Weight: 20 grams. Dimensions: Height including stopper 44 mm. Diameter neck 11 mm and mouth 6 mm.

内畫鼻烟壺水青款，二十世紀上半葉。内畫精緻，分別繪製一對和平鴿和一對竹雀以及三行文字。

1800-1880鶴頂紅鼻烟壺兩邊分別高浮雕林中仙鶴圖。長方形底，寬嘴，短頸，掏膛好。

來源：奧地利維也納Susanna Deistler收藏，于1990年購於Zacke 藝廊。瓶底有老標簽“Galerie Zacke Wien 1” 及編號SN33字樣品相：優秀瓶蓋：綠玻璃重量：43.9 克尺寸：含蓋總高78 毫米；頸部直徑16 毫米；嘴 7 毫米

來源：奧地利維也納Susanna Deistler收藏，于1990年購於Zacke 藝廊品相：因爲經常被使用，所以磨損嚴重，一些天然的年代乾裂，輕微有機物缺陷瓶蓋：相配，杓子斷裂在瓶中重量：20 克尺寸：含蓋總高44 毫米；頸部直徑11 毫米；嘴 6 毫米

Estimate EUR 200,Starting price EUR 100,-

Estimate EUR 300,Starting price EUR 150,-

146

154

A MOLDED GOURD SNUFF BOTTLE KANGXI Kangxi nianzhi four-character seal mark to base and of the period (1662-1722). Extremely fine décor in light relief with Peonies and Chrysanthemum springing from rockwork. The shoulders with lotus scrolls. Provenance: German private collection. Condition: Absolutely perfect condition with minor wear. Naturally patinated to a rich reddish-brown color.

Stopper: Glass cabochon in imitation of agate with later collar and spoon. Weight: 11 grams. Dimensions: Height including stopper 90 mm. Diameter neck 18 mm and mouth 6 mm.

Elongated cylindric neck with original fitted ivory top, as frequently found within this family of snuff bottles. The neck with a ruyi border in light relief. The oval foot with a recessed base. The vessel of bulbous round shape with a very high filling capacity, especially compared to the minimal weight of the bottle. Compare with a larger Kangxi prototype illustrated in Wang Shixiang, The Charms of Chinese Gourd, Hong Kong, 1993, plate 9.

康熙匏製鼻煙壺底部可見“康熙年制”四字款，1662-1722。極其精細的浮雕山石邊牡丹與菊花。肩部西番蓮紋。來源：德國私人收藏品相：完美，輕微磨損；紅棕色包漿自然瓶蓋：仿瑪瑙玻璃，蓋片與小杓為後期加上重量：11 克尺寸：含蓋總高90 毫米；頸部直徑18 毫米；嘴 6 毫米

Estimate EUR 1.500,Starting price EUR 700,-

Mark on the present snuff bottle

Compare with a related molded gourd bottle, Qianlong mark and period, where the mark shows exactly the same natural flaw as in the present bottle, at Sotheby’s London ‘Chinese Art’ sale on May 18th, 2018, lot 311.

147

155

156

The grey nephrite with dark brown and black veining. Well carved lion mask with handles to shoulders. Pear shape with raised oval foot rim. Superb hollowing and very small mouth.

Delicately carved as a single lotus plant with three rows of overlapping leaves. Naturally grown patina. Raised foot rim with oval, recessed base and cylindric neck. Well hollowed. Flattened oval body.

Provenance: The collection of Susanna Deistler, Vienna, Austria. Acquired at Galerie Zacke around 1990. Old label “Galerie Zacke Wien 1” label to base with inventory number SN13. Condition: Excellent condition with minor wear and minuscule flaws to mineral. Good patina.

Provenance: The collection of Susanna Deistler, Vienna, Austria. Acquired at Galerie Zacke around 1990. Old label “Galerie Zacke Wien 1” label to base with inventory number 419. Condition: Excellent condition with minor wear and abrasions from longtime usage.

A JADE SNUFF BOTTLE, 18TH CENTURY

AN IVORY SNUFF BOTTLE, 1780-1820

Stopper: Green glass. Weight: 97 grams. Dimensions: Height including stopper 66 mm. Diameter neck 16 mm and mouth 5 mm.

Stopper: Carved agate stopper with old ivory spoon. Weight: 44.7 grams. Dimensions: Height including stopper 73 mm. Diameter neck 14 mm and mouth 6 mm.

玉鼻烟壺, 十八世紀灰色玉帶深棕色黑色肌理。肩部獅首雙耳，梨形，橢圓形圈足。掏空極好，小嘴。

1780-1820象牙鼻烟壺象牙雕刻單支蓮花三層蓮瓣。自然生成包漿。底足向上成橢圓形收肩直頸。掏膛良好，扁平花骨朵形。

來源：奧地利維也納Susanna Deistler收藏，于1990年購於Zacke 藝廊。瓶底有老標簽“Galerie Zacke Wien 1” 及編號SN13字樣品相：品相完美，些微磨損，玉石裏有微不足道的瑕疵，包漿良好瓶蓋：綠玻璃重量：97 克尺寸：含蓋總高66 毫米，頸部直徑16 毫米，嘴 5 毫米.

來源：奧地利維也納Susanna Deistler收藏，于1990年購於Zacke 藝廊。瓶底有老標簽“Galerie Zacke Wien 1” 及編號419字樣品相：品相完美，些微磨損及長久使用產生的擦傷瓶蓋：瑪瑙雕刻，老象牙小杓重量：44.7 克尺寸：含蓋總高73 毫米，頸部直徑14 毫米；嘴 6 毫米

Estimate EUR 500,Starting price EUR 250,-

Estimate EUR 400,Starting price EUR 200,-

148

157

AN OPAL SNUFF BOTTLE, 1880-1940 Carved as two three-legged toads, mother and baby. Matching opal stopper carved as the mother’s tongue. The stone of superb iridescent color. Well hollowed, small mouth and superb detail work. Provenance: The collection of Susanna Deistler, Vienna, Austria. Acquired at Galerie Zacke around 1990. Condition: Excellent condition with only one minuscule chip to one of mother toad’s toes.

Weight: 32.4 grams. Dimensions: Length including stopper 83 mm. Diameter mouth 4 mm.

蛋白石鼻烟壺, 1880-1940 兩隻三足蟾蜍，一大一小。相配的蛋白石蓋子雕成母蟾蜍舌頭。精湛的彩虹色。掏膛良好，小嘴，細節精緻。來源：奧地利維也納Susanna Deistler收藏，于1990年購於Zacke 藝廊品相：品相極好，僅在母蟾蜍一個脚趾上有几不可見的小磕損。重量：32.4 克尺寸：含蓋總高83 毫米；嘴直徑 4 毫米.

Estimate EUR 500,Starting price EUR 250,-

158

A MOSS AGATE SNUFF BOTTLE, 1750-1850 The stone of opaque amber color with translucent moss-green streaks. Very well hollowed. Oval foot rim, cylindric neck and convex top. Smooth surface polish. Provenance: The collection of John Ault, thereafter a in French private collection. Condition: Perfect condition.

Stopper: Coral cabochon on turquoise platelet, old spoon. Weight: 69.8 grams. Dimensions: Height including stopper 78 mm. Diameter neck 21 mm and mouth 8 mm.

水草瑪瑙鼻烟壺, 1750-1850 不透明琥珀色，半透明水草狀肌理。掏膛極好。橢圓形圈足，直頸，頂部凸起。表面抛光光滑。來源：John Ault收藏，之後後法國私人收藏品相：品相完美瓶蓋：珊瑚頂，綠松石蓋片，老杓重量： 69.8 克尺寸：含蓋總高78 毫米. 頸部直徑21 毫米；嘴直徑 8 毫米.

Estimate EUR 400,Starting price EUR 200,-

149

159

160

The absolutely flawless stone of pure white color. Superb polish and hollowing. Oval recessed base, flattened heart shape, flaring neck with very small mouth and convex top, slanted lip. Rare!

Masterfully made in imitation of an agate pebble, mottled in brown and gray on a black grund. Recessed oval base and succinct, slanted mouth. A successful coup, as it is almost impossible to identify as glass.

A WHITE JADE SNUFF BOTTLE 18TH CENTURY

Provenance: The collection of John Ault, thereafter a in French private collection. Condition: Perfect condition.

Stopper: Coral with old, stepped and gilt bronze mounting. Old spoon. Weight: 57.4 grams. Dimensions: Height including stopper 61 mm. Diameter neck 17 mm and mouth 5 mm.

十八世紀白玉鼻烟壺絕對潔白無暇的白玉。抛光及掏膛極好。橢圓形底，扁平心型，頸部上下外撇，唇部傾斜。極少見。來源：John Ault收藏，之後後法國私人收藏品相：品相完美瓶蓋：珊瑚，包鎏金銅片；老杓重量：57.4 克尺寸：含蓋總高61 毫米；頸部直徑17 毫米；嘴 5 毫米

Estimate EUR 600,Starting price EUR 300,-

150

A RARE GLASS SNUFF BOTTLE 1750-1850

Provenance: The collection of John Ault, thereafter a in French private collection. Condition: Almost perfect condition, with only one minuscule nibble to mouth.

Stopper: Coral with old, stepped bronze mounting. Old metal spoon. Weight: 45.2 grams. Dimensions: Height including stopper 58 mm. Diameter of mouth 6 mm.

1750-1850稀有料器鼻烟壺傑出的仿瑪瑙山子作品，黑地間灰棕色。橢圓形底内凹，嘴唇部簡潔微斜，幾乎難以確認它為玻璃製品。來源：John Ault收藏，之後後法國私人收藏品相：幾乎完美，只有嘴部邊緣有微不可見的小磕損瓶蓋：珊瑚包老青銅，老金屬杓重量：45.2 克尺寸：含蓋總高58 毫米；嘴直徑6 毫米

Estimate EUR 300,Starting price EUR 150,-

161

AN AGATE SNUFF BOTTLE, 1760-1860 The opaque stone of caramel color with shades of black. Two circular medallions bordered by a carved bamboo design. Recessed oval base, the flaring neck with a convex top and small mouth. Provenance: The collection of John Ault, thereafter a in French private collection. Condition: Perfect condition. Some minor natural flaws in the mineral.

Stopper: Carnelian cabochon with black platelet and old spoon. Weight: 70 grams. Dimensions: Height including stopper 66 mm. Diameter neck 17 mm and mouth 6 mm.

1760-1860瑪瑙鼻烟壺不透明焦糖色帶黑色陰影。中間雙圈開光，四周成竹節狀。橢圓底，頸部上下外撇，小嘴。來源：John Ault收藏，之後後法國私人收藏品相：品相完美，些微天然肌理裂縫瓶蓋：紅玉髓頂，黑蓋片，老杓重量：70 克尺寸：含蓋總高66 毫米；頸部直徑17 毫米；嘴 6 毫米

Estimate EUR 400,Starting price EUR 200,-

162

A CHALCEDONY SNUFF BOTTLE, 1760-1860 The dendritic sand-colored stone with natural grain and few dark brown inclusions. Very well hollowed. Impressive lion mask ring handles to shoulders. Raised oval foot rim and sprawling neck. Provenance: The collection of John Ault, thereafter a in French private collection. Condition: Perfect condition. Some minor natural flaws in the mineral, especially a star-shaped fissure at the base.

Stopper: Bloodstone cabochon with incised bronze mounting. Weight: 116.1 grams with stopper and 87.7 grams without. Dimensions: Height including stopper 85 mm. Diameter neck 22 mm and mouth 9 mm.

1760-1860玉髓鼻烟壺沙色玉髓，天然紋理，些微深棕沁色。掏膛極好。肩部獅首雙耳。橢圓形圈足，頸部上下外撇。來源：John Ault收藏，之後後法國私人收藏品相：品相完美，些微天然肌理裂縫，尤其是底部星狀裂縫瓶蓋：鷄血石頂，包青銅重量：含蓋116.1 克；不含蓋87.7 克尺寸：含蓋總高85 毫米；頸部直徑22 毫米；嘴 9 毫米.

Estimate EUR 300,Starting price EUR 150,-

151

Censers, Vases and Vessels

Lots 163 to 189

163

AN ARCHAISTIC BRONZE VESSEL, MING China, 17th century or earlier. The bulbous vessel with three horizontal leiwen bands in light relief. Four handles cast as taotie masks, two in loop shape and two with added bronze rings. Provenance: British private collection. Condition: Extensive corrosion throughout with a few small perforations and losses.

Weight: 4.1 kilograms Dimensions: Diameter 38 cm.

明代仿古饕餮銅壺中國，十七世紀或更早。球型壺身雕有三條水平雷紋。四把手帶有饕餮紋，其中兩個為環狀，另外兩個附加銅環。來源：英國私人收藏品相：在整個過程中形成的侵蝕，有少量小孔和缺損重量：4.1 公斤尺寸：直徑 38 厘米

Estimate EUR 600,Starting price EUR 300,-

154

165

A BRONZE DRAGON HANDWARMER MING China, 17th century. The top of the cover cast with a four-clawed dragon amid swirling ruyi-shaped clouds: The base incised with a seal mark. Provenance: From a British private collection. Condition: Good condition with old wear, fine patina, some soiling inside, minor nicks and dents here and there, the lid with a one section slightly warped.

Weight: 620.8 grams. Dimensions: Diameter 16 cm. With rounded shoulders and a lobed body, set with two hinged semicircular handles folding to either side of a short and raised mouth rim fitted with a pierced cover.

明代青銅龍紋手爐中國，十七世紀。爐蓋鏤空成四爪龍紋，四周如意祥雲；底部有款來源：英國私人收藏品相：良好，老磨損，包漿細膩，内裏有舊時污跡，輕微刻痕，局部有凹陷；蓋子有一部分翹起重量：620.8 克尺寸：直徑 16 厘米

Estimate EUR 400,Starting price EUR 200,-

164

A COPPER HANDWARMER, MING China, late Ming dynasty, 16th-17th century. Of rounded rectangular from, the matching cover pierced with floral diaper patterns. One heavily cast, original handle. Provenance: From a British private collection. Condition: Very good condition with old wear, good patina, some soiling inside, minor nicks and dents here and there.

Weight: 438.6 grams. Dimensions: Length 15 cm.

明代銅手爐中國，晚明，十六至十七世紀。圓角方爐，爐蓋鏤空花紋。爐身厚重，原裝提柄。來源：英國私人收藏品相：非常好，老磨損，包漿良好，内裏有舊時污跡，輕微刻痕，局部有凹陷重量：438.6 克尺寸：長 15 厘米

Estimate EUR 300,Starting price EUR 150,-

155

166

167

China, 16th-17th century or even earlier. The vessel standing on three feet, each with a lion mask. The body with six swirling cloud medallions in high relief. Two large looped handles. Fine natural patina.

China, 17th century. The vessel with a short sprawling foot, the body with three bands of horizontal, raised lines and a scroll of taotie masks above a leiwen background around the neck. Two lion head handles.

A TRIPOD BRONZE CENSER, MING

Provenance: From a Hungarian private collection. Condition: Good condition with weathering, extensive soiling residue, wear and some minor nicks here and there.

Weight: 2023.5 grams. Dimensions: Height 19.5 cm.

明代三足銅爐中國，十六至十七世紀或更早。銅爐立於三足之上，每足上都有一個獅面紋。爐身開光高浮雕祥雲紋。雙耳高聳。天然包漿細膩。來源：匈牙利私人收藏. 品相：良好，風化，明顯餘留污跡，有磨損和一些輕微劃痕重量：2023.5 克尺寸：高 19.5 厘米

Estimate EUR 400,Starting price EUR 200,-

156

A SMALL ARCHAISTIC BRONZE HU, MING

Provenance: German private collection from Nordrhein-Westfalen. Kept in the same family for the past 40 years. Condition: Fine condition with old wear and only a few tiny nicks. Beautiful patina.

Weight: 327.5 grams. Dimensions: Height 12.5 cm.

明饕餮紋雙耳銅壺中國，十七世紀。短足外撇，壺身三道橫紋，頸部饕餮紋，雷紋為底。獅首雙耳。來源：德國北威州私人收藏，已在家族收藏中四十多年品相：良好，老磨損，一些輕微刻痕；包漿美麗重量：327.5 克尺寸：高12.5 厘米

Estimate EUR 300,Starting price EUR 150,-

168

A PARCEL-GILT BRONZE BOX KANGXI China, 1662-1722. The lid with a neatly incused and partially fire-gilt depiction of a pagoda amid craggy rocks, blooming trees and flying birds, all within a leafy border and a medallion in a double-circle. Provenance: British private collection. Condition: Very good condition with some wear especially to base. Good natural patina. Old residue inside.

Weight: 348.5 grams. Dimensions: Diameter 8.5 cm.

康熙鍍金銅蓋盒中國，1662-1722。盒蓋上雙圈開光並鍍金，可見園林、塔、假山、樹以及飛鳥。來源：英國私人收藏品相：非常好，一些磨損，特別是底部；天然包漿，舊時污跡餘留重量：348.5 克尺寸：直徑 8.5 厘米

Estimate EUR 700,Starting price EUR 350,-

157

169

A SILVER WIRE CENSER, 17TH CENTURY China. The base inlaid with two-character Shisou mark. The Bombé-form vessel inlaid with silver wire to depict a circumferential scroll of stylized bats and swirling clouds, the sides with inlaid archaistic loop handles. Provenance: Hungarian private collection. Condition: Superb condition with old wear and only a few tiny nicks.

Weight: 456.8 grams. Dimensions: Diameter 14 cm.

十七世紀銅錯銀雙耳爐中國。底部有錯銀“石叟”二字款。爐身可見祥雲蝙蝠紋，兩側獸首形雙耳。來源：匈牙利私人收藏品相：極好，老磨損和些微刻痕重量：456.8 克尺寸：直徑 14 厘米

Estimate EUR 400,Starting price EUR 200,-

170

A SILVER WIRE CENSER, 17TH CENTURY China. The base inlaid with two-character Shisou mark. The Bombé-form vessel inlaid with silver wire to form a design of taotie masks, the sides with opposing inlaid loop handles, supported on a lipped foot. Provenance: Hungarian private collection. Condition: Superb condition with old wear and only a few tiny nicks.

Weight: 845.8 grams not including the wooden lid. Dimensions: Diameter 16.5 cm. Old wooden lid. (2) Compare with an identical censer at Sotheby’s New York, in ‘Fine Chinese Ceramics & Works of Art’, September 16th, 2014, lot 586. A 17th century censer with similar decoration but an apocryphal Xuande mark is illustrated in Robert D. Mowry, China’s Renaissance in Bronze: The Robert H. Clague Collection of Later Chinese Bronzes 1100-1900, Phoenix, 1993, no. 15.

十七世紀銅錯銀蓋爐中國。底部有錯銀“石叟”二字款。爐身可見饕餮紋，兩側獸首形雙耳，圈足外撇。來源：匈牙利私人收藏品相：極好，老磨損和些微刻痕重量：845.8 克不含木蓋尺寸：直徑 16.5 厘米.

Estimate EUR 600,Starting price EUR 300,-

158

171

TWO SILVER WIRE BRONZE DING KANGXI China, 1662-1722. Shisou two-character mark to underside. Both tripods with finely inlaid silver wire depicting a circumferential lotus band below a key-fret border, the feet with archaistic scrolls, the handles with leiwen. Provenance: A British private collection. By repute kept in the same family for over 100 years. Condition: Excellent condition with fine patina. One of the handles slightly bent, very minor associated hairlines. Old wear to both.

Weight: 623 and 555 grams. Dimensions: Height 13 cm each. (2)

一對康熙銅錯銀鼎中國，1662-1722。底部“石叟”二字款；錯銀西番蓮紋與如意紋，足部仿古紋，雙耳有雷紋。來源：英國私人收藏，據説已在同一家族中收藏超過100年品相：極好，包漿細膩；其中一耳稍有彎曲，非常輕微的髮絲裂縫，老磨損重量：623 及 555 克尺寸：分別高13 厘米

Estimate EUR 500,Starting price EUR 250,-

159

172

A BRONZE CHILONG BOTTLE VASE, KANGXI China, 1662-1722. The pear-shaped vase with a bulbous neck and lipped rim, cast in openwork with a Chilong clambering around the shoulder. Two Buddhist emblems in high relief. Neatly incised details. Provenance: British private collection. Condition: Fine condition with old wear and only a few tiny nicks. Beautiful, rich patina.

Weight: 2469 grams. Dimensions: Height 30 cm. Compare with a closely related but smaller Chilong vase, sold at Sotheby’s Hong Kong, in ‘Chinese Art’ on December 2nd, 2016, lot 639.

康熙青銅螭龍長頸瓶中國，1662-1722。梨形瓶，長頸，唇外撇，頸部纏繞螭龍紋至肩部，兩個佛教吉祥物，細節精緻。來源：英國私人收藏品相：良好，老磨損和些微刻痕；美麗潤厚的包漿重量：2469 克尺寸：高30 厘米

Estimate EUR 800,Starting price EUR 400,-

160

173

A CHILONG BRONZE YUHUCHUNPING, 17TH China, 17th-18th century. The pear-shaped body rising from a spreading foot to a waisted neck flaring at the rim, the shoulder set with a pair of gilt-bronze chilong with bifurcated tails, the body patinated to a chocolate- brown tone and decorated in irregular splashes of gold. Provenance: From a French private collection. Reputedly acquired by a family member in Beijing around 1900. Condition: Superb condition with good natural patina and old wear.

Weight: 313.9 grams. Dimensions: Height 9 cm.

Compare with an identical vase, sold at Sotheby’s London in ‘Fine Chinese Ceramics & Works of Art’ on May 14th, 2014, lot 260, and another, sold at Christies Hong Kong, in ‘Important Chinese Works of Art’ on November 29th, 2005, lot 1577.

十七世紀灑金銅螭龍紋玉壺春瓶中國，十七至十八世紀。梨形瓶，足外撇，唇外翻，肩部一對鎏金螭龍，尾部分叉，身體上棕褐色包漿，瓶面灑金。來源：法國私人收藏，據説是一位家族成員1900年前后在北京購得品相：極好，天然包漿，老磨損重量：313.9 克尺寸：高9 厘米

Estimate EUR 2.000,Starting price EUR 1.000,-

161

174

A VERY LARGE BRONZE CENSER, QIANLONG China, 18th century. The compressed globular body raised on three conical feet, the everted rim set with two loop handles, the base cast with an apocryphal six-character Xuande mark. Provenance: From a British private collection. Condition: Good condition with natural patina and old wear, some verdigris. Remainders of old soiling inside. The base with extensive traces of use and some old wax fill to natural flaws.

Weight: 8.1 kilograms not including the base. Dimensions: Diameter 35 cm. Old hardwood stand, carved as a lotus leaf. (2) Compare with a closely related censer, of 42 cm diameter, also with a similar old wood stand, sold at Christies New York, in ‘Fine Chinese Ceramics and Works of Art’ on March 15th, 2015, lot 3300.

乾隆大型銅香爐中國，十八世紀。鼓腹，三足直挺，雙耳，底部宣德六字款。來源：英國私人收藏品相：良好，天然包漿，老磨損，一些銅綠；内裏有舊時污跡餘留；底座年代與使用痕跡明顯，一些小洞已被蠟封重量：8.1 公斤不含底座尺寸：直徑 35 厘米

Estimate EUR 1.500,Starting price EUR 700,-

A portrait of Emperor Qianlong in his study, with the present censer seen on the lower left

162

163

175

A LARGE BRONZE CENSER, QIANLONG China, 18th century. The compressed globular body raised on three thinning conical feet, the everted rim set with two loop handles, the base cast with an inserted apocryphal six-character Xuande mark. Provenance: From a French private collection. Condition: Good condition with natural, partially copper-red patina and old wear. Remainders of old soiling inside.

Weight: 3.1 kilograms. Dimensions: Diameter 22.5 cm.

乾隆大型鳳眼雙耳銅爐中國，十八世紀。鼓腹，矮足，雙耳，底部宣德六字款。來源：法國私人收藏品相：良好，局部天然銅紅色包漿，老磨損；内裏有舊時餘留污跡重量：3.1 公斤尺寸：直徑 22.5 厘米

Estimate EUR 400,Starting price EUR 200,-

164

176

A SMALL BRONZE CENSER, QIANLONG China, 18th century. The compressed globular body raised on three conical feet, the everted rim set with two loop handles, the base cast with a sixteen-character inscription in a rectangular reserve. Provenance: From a French private collection. Condition: Good condition with natural, partially patina and old wear. Some tiny nicks and traces of use. Remainders of old soiling inside.

Weight: 1076 grams. Dimensions: Diameter 14.3 cm. The apocryphal inscription reading Daming Xuande wunian jiandu gongbu guanchen Wu Bangzuo zao (Made for the Board of Works under the Supervision of Wu Bangzuo in the Fifth Year of Xuande).

乾隆鳳眼雙耳小銅爐中國，十八世紀。鼓腹，錐形腿，唇沿兩側雙耳，底部十六字款。來源：法國私人收藏品相：良好，局部有天然包漿，老磨損；一些細微刻痕和使用痕跡；内裏有舊時餘留污跡重量：1076 克尺寸：直徑 14.3 厘米

Estimate EUR 300,Starting price EUR 150,-

165

177

A LARGE 17TH CENTURY BRONZE CENSER China. Octolobed bombé censer with superbly cast and finely incised lion masks to both shoulders. Stepped rims at the neck and the foot. Provenance: American private collection. Condition: Good condition with rich natural patina. Mounted to a wooden base which cannot be removed.

Weight: 3.9 kilograms including the wooden base. Dimensions: 20,5 cm (height including base), 23 cm (diameter at the upper rim) Literature comparison: For two 17th century censers showing very similar lion mask handles, see Sotheby’s New York ‘Chinese Art’, March 21st, 2015, lot 769 and ‘Important Chinese Art’, September 15th, 2015, lot 246.

十七世紀大型銅爐中國。爐身成八瓣，鑄造精良，綫條簡潔，獅首雙耳。頸部和足部各自分層。來源：美國私人收藏品相：良好，濃厚的天然包漿，木質底座不能分開。重量： 3.9 公斤含木底座尺寸：高20,5 厘米cm 含底座；直徑23 厘米上邊沿

Estimate EUR 500,Starting price EUR 250,-

Lots 177, 178 and 179

166

167

178

A RARE BRONZE CENSER 17TH CENTURY China. Finely cast with a compressed globular body rising to a flared rim from a short foot, flanked by two impressive lion-head handles, the patina of a golden caramelbrown color. Provenance: British private collection. Kept in same family for over 50 years (by repute). Condition: Excellent condition with wear and some very tiny nicks here and there.

Weight: 1128.6 grams. Dimensions: Diameter 19.5 cm.

The base with an apocryphal inscription reading Daming Xuande wunian jiandu gongbu guanchen Wu Bangzuo zao (Made for the Board of Works under the Supervision of Wu Bangzuo in the Fifth Year of Xuande). Compare with an identical censer, at Sotheby’s London ‘Chinese Art’ sale on November 10th, 2017, lot 357.

十七世紀銅獅首耳簋式爐中國。鑄造精良，鼓腹，圈足短，一對獅手耳，金棕色包漿。來源：英國私人收藏，據説已在同一家族中收藏超過五十年品相：極好，磨損和局部一些刻痕重量：1128.6 克尺寸：直徑 19.5 厘米

Estimate EUR 400,Starting price EUR 200,-

168

179

A DEHUA CENSER 17TH/18TH CENTURY Neatly potted in imitation of bronze. Compressed spherical form, the rounded sides rising from a spreading foot to an everted rim, with two applied and incised lion-mask handles. Provenance: From an old French private collection. Condition: Good condition with old wear. Minor firing flaws especially to the masks. Microscopic nibbling and two small chips to lip.

Weight: 657.7 grams. Dimensions: Diameter 16 cm.

Four spur marks inside the well. Entirely covered in an even ivory-colored glaze. Compare with a closely related Dehua censer, of similar size and with similar masks, sold at Sotheby’s London in ‘Important Chinese Art’ on May 16th, 2018, lot 22.

十七至十八世紀德化香爐德化白瓷仿青銅香爐，球形鼓腹，高圈足，兩側獅面雙耳。來源：法國老私人收藏品相：良好，老磨損，輕微燒製缺陷，特別是落款処。輕微劃痕與唇部兩道小裂縫重量： 657.7 克尺寸：直徑16 厘米

Estimate EUR 300,Starting price EUR 150,-

169

180

A LUDUAN BRONZE CENSER, QING China, 18th-earlier 19th century. The massively cast auspicious creature stands on a serpent. Its upturned head is framed by a thick, curly mane and forms the lid, which is attached by a solid hinge. Provenance: British private collection. Condition: Very good condition. Some wear and minor traces of use, a few minuscule nicks and casting irregularities here and there.

Weight: 2130 grams. Dimensions: Height 15.5 cm. The snake is reaching its head and tail up the creature’s hind legs. Swirls of qi are covering the beast’s bulbous body. A tasseled collar with a bell is hanging down its front chest. Luduan is a legendary Chinese auspicious creature. It can travel 18,000 li (9000 km) in a single day and speaks all world languages. A legend says a luduan once appeared to Genghis Khan and convinced him to abandon his efforts to conquer India. The throne of the Emperor in the Hall of Supreme Harmony has two incense burners shaped like the luduan as an auspicious symbol.

清青銅甪端爐中國，十八世紀至十九世紀初。大型吉祥神獸立於蛇身上，上翹的頭部鬃毛捲曲，形成一個蓋子，通過一條堅固的鏈子連接。來源：英國私人收藏. 品相：非常好。一些磨損和輕微使用痕跡，一些輕微劃痕和鑄造缺陷。重量：2130 克尺寸：高 15.5 厘米

Estimate EUR 1.200,Starting price EUR 600,-

170

181

A GILT SPLASHED BRONZE VASE, QING China, 1780-1912. The heavily cast vessel bears a deep brown patina and is covered with irregular splashes of gold. Qianlong four-character seal mark to base and possibly of the period. Provenance: A private collection in Nice, France. Published: La Gazette Drouot. Article ‘De La Chine Impériale à l’Afrique Ancestrale’. Condition: Very good condition with soiling residue inside, old wear, and some minor nicks and casting flaws here and there.

Weight: 4.9 kilograms. Dimensions: Height 42 cm. The tall neck with three raised filets rising to a widely flared rim and set to either side with sinuous chilong-form handles. The circular recessed base with two raised filets and supported by three qilinformed feet. The shoulders with four lion mask handles. A few of the splashes still show remainders of the minuscule gold nuggets used for their creation. This type of gilt splashed zun vessel originally goes back to the later 17th century. Common examples from this period typically bear Xuande marks and do not have supporting figural feet. The present vessel therefore is a later example, a conclusion supported by its technically sophisticated execution, a stylistically rather opulent appearance and the unusual Qianlong mark on its base. However, there is a distant chance that this vase might still date to the late 18th century, hence be of the period, but a conservative dating would be to the second half of the 19th century

清代灑金雙耳銅瓶中國， 1780-1912。瓶身鑄造厚重，深褐色包漿，灑金。底部乾隆四字款，可能為此時期。來源：法國私人收藏. 品相：非常好，内有舊時污跡，舊磨損，一些輕微劃痕，局部有鑄造缺陷。重量： 4.9 公斤尺寸：高 42 厘米

Estimate EUR 3.000,Starting price EUR 1.500,-

171

182

AN ELEPHANT BRONZE CENSER, QING China, 1820-1880. The vessel with an apocryphal Xuande mark to the base, standing on three elephant feet, the pierced lid with lotus scrolls and a fourth, recumbent elephant carrying a fruit bowl. Provenance: British private collection. Condition: Good condition with few small nicks here and there, patina and wear. The looped handles on the shoulders slightly warped. The tip of one elephant tusk is a bit bent, the tip of another is lost.

Weight: 958.5 grams. Dimensions: Height 19.5 cm.

清代大象銅香爐中國，1820-1880。底部一個宣德款，香爐立於三個象鼻之上，爐蓋上鏤空蓮花紋，一隻大象臥于其上，背部一個花籃。來源：英國私人收藏品相：良好，局部輕微刻痕，包漿和磨損；肩部的環狀手柄略微翹曲。一隻象牙的尖端有點彎曲，另一隻大象象牙丟失重量：958.5 克尺寸：高19.5 厘米.

Estimate EUR 200,Starting price EUR 100,-

183

A BRONZE DRAGON BELL, QING China, 1780-1880. The lobed bell with an apocryphal six-character Xuande mark. Finely engraved with horizontal scrolls of five-clawed dragons above lishui, all below a key-fret border. The handle made of two Chilong. Provenance: French private collection. Condition: Very good condition with tiny nicks here and there, patina and wear.

Weight: 1243.6 grams. Dimensions: Height 18 cm. The front bearing the inscription Wangu liufang (will be remembered throughout the ages).

清龍紋銅鈴中國，1780-1880。鈴鐺上有宣德六字款，麗水波浪紋上五爪雲龍，頂部執柄為兩隻螭龍。來源：法國私人收藏品相：很好，局部輕微刻痕，有包漿和磨損重量：1243.6 克尺寸：高18 厘米.

Estimate EUR 400,Starting price EUR 200,-

172

184

A RARE TRIPOD CENSER EARLY QING China, late 17th-earlier 18th century. The large vessel of simple yet elegant globular shape, raised on three ungulate feet, the base with a six-character apocryphal Xuande mark. Provenance: American private collection. Condition: Excellent condition with fine patina. Old wear and little verdigris. Old soiling residues inside.

Weight: 2132.6 grams. Dimensions: Diameter 20 cm.

清初稀有三足爐中國，十七末至十八世紀初。大型香爐形體高雅，三足為獸足形。底部杜撰六字宣德款。來源：美國私人收藏品相：優秀，包漿細膩；老磨損和些微銅綠；舊時污跡餘留重量：2132.6 克尺寸：直徑 20 厘米.

Estimate EUR 400,Starting price EUR 200,-

173

185

A MASSIVE BRONZE CENSER, 1908 The body in classic bombéshape with superbly cast and incised lion masks to both shoulders. Inscribed Xuantong Yuan Nian. Provenance: From a British estate. By repute acquired in China during the late 1930s. Condition: Excellent condition with wear, traces of use and one hole drilled to base.

Weight: 10.6 kilograms. Dimensions: Diameter 30 cm.

宣統元年獅首耳銅香爐, 1908年經典曲型爐身帶有細緻雕刻獅首雙耳。爐身雕有宣統元年字樣。來源：英國私人遺產，據説上世紀三十年代購於中國品相：優秀，有磨損和使用痕跡，底部一個小穿孔重量：10.6 公斤尺寸：直徑 30 厘米

Estimate EUR 500,Starting price EUR 250,-

174

186

A LARGE BRONZE CENSER, 1837 The vessel in bombé-shape with well-cast phoenix masks to the shoulders. Inscribed Daoguang Ding You. The body with an incised archaistic scroll bearing taotie and stylized phoenixes above leiwen and a key-fret border. Provenance: From a British estate. By repute acquired in China during the late 1930s. Condition: Excellent condition with wear, traces of use and one hole drilled to base.

Weight: 9.9 kilograms. Dimensions: Diameter 30 cm.

道光年間鳳首雙耳銅香爐, 1837年曲型壺身。鳳首雙耳。刻有道光丁酉。壺身雕有仿古紋，雷紋上中帶饕餮，兩側各帶一鳳凰。來源：英國私人遺產，據説上世紀三十年代購於中國品相：優秀，有磨損和使用痕跡，底部一個小穿孔重量：9.9 公斤尺寸：直徑30 厘米

Estimate EUR 600,Starting price EUR 300,-

175

187

A BRONZE DRAGON EWER, QING China, 18th – 19th century. The lidded tripod vessel with a dragon head as spout, two catfish serving as handles, the sides with archaistic horizontal scrolls in high relief, the u-shaped main handle with a smaller dragon head. Provenance: British private collection. Condition: Excellent condition with some wear and fine, even patina. Minor dents here and there.

Weight: 1718 grams. Dimensions: Length 25 cm.

清代青銅龍紋提罐中國，十八至十九世紀。三足蓋罐，龍頭為口，一條鯰魚為蓋鈕，一條為執柄，罐身兩條高浮雕仿古紋，提手為一隻龍。來源：英國私人收藏品相：極好，一些磨損，包漿細膩；幾處凹陷重量：1718 克尺寸：長 25 厘米

Estimate EUR 400,Starting price EUR 200,-

188

A CHILONG BRONZE CENSER, QING China, 1750-1850. The vessel of traditional form with flaring lip and sprawling round base. The sides with two neatly incised sinuous Chilong in high relief. The shoulders with two dramatic lion masks. Provenance: British private collection. Condition: Excellent condition with fine patina. Old wear. Old soiling residues inside. Minor nicks here and there.

Weight: 747.4 grams. Dimensions: Diameter 15.5 cm.

清螭龍銅爐中國，1750-1850。傳統撇唇圓底形；螭龍龍，兩側獅首雙耳。來源：英國私人收藏品相：極好，包漿細膩；老磨損，爐内有舊時污跡餘留；有些刻痕重量：747.4 克尺寸：直徑 15.5 厘米.

Estimate EUR 400,Starting price EUR 200,-

176

189

A LARGE CHILONG BRONZE CENSER, QING China, 1780-1880. The massive vessel raised from a sprawling foot with a recessed base bearing a six-character Xuande mark inside a dragon medallion. Two Chilong serve as handles, their tails sinuously curling along the walls. Provenance: Canadian private collection. By repute in the same family since the 1970s. Condition: Good condition with soiling residue inside, minor nicks and dents here and there, old wear. The wooden base with extensive wear and minor losses.

Weight: 2038 grams. Dimensions: Diameter 24.5 cm. Old wooden base with marble plate. (2)

清代大型螭龍雙耳銅爐中國，1780-1880。高圈足，爐身厚重，底足内凹雙龍戲珠紋宣德六字款。雙耳為螭龍，尾部纏繞于爐身。來源：加拿大私人收藏，據説從上世紀七十年代一直保存在同一家族中品相：良好，内力有污跡餘留；輕微刻痕和局部凹陷，老磨損；木底座有磨損和輕微裂縫重量：2038 克尺寸：直徑 24.5 克

Estimate EUR 400,Starting price EUR 200,-

177

Thangkas, Paintings and Textiles

Lots 190 to 223

190

AN EMBROIDERED THANGKA, YONGLE China 1402-1424. Avalokiteshvara Lokeshvara seated in padmasana in front of a two-tiered mandorla, holding lotus flowers in his hands, sided by two depictions of Buddha Shakyamuni. Provenance: An important German private collection. Acquired in China between 1910 and 1930. Thence by descent. A detailed provenance letter will be handed to the winning bidder. Condition: Minor tears and losses to the background only, partially with visibly stitched repairs, some staining and soiling. Absolutely no repairs or losses to the depiction. Given its high age this is still in good condition. The border with extensive damage, possibly a later addition.

Dimensions: 117 x 88 cm. The background neatly woven with double gourds, floral sprays, endless knots and medallion-shaped characters. This sumptuous thangka illustrates the Emperor Yongle’s devoted patronage of Tibetan Buddhism and the extraordinary ritual objects that were produced as a result. It retains its brilliant surface which has been created using a special and particularly laborious satin stitch technique with single thread silk floss. An imperial quality is created through the extravagant use of yellow in the background, a color that possesses the highest symbolic meaning as it signifies both the emperor, as well as renunciation and humility. Thangkas of this type were produced and presented by the imperial court as gifts for Tibetan religious officials. Official accounts, in particular the court record of daily events, Xizang shiliao, document numerous imperial gifts to Tibetan lamas, and to their temples and monasteries in the Chinese capital and Tibet. According to Michael Henss, these early ‘pictorial embroideries, tapestries, and brocades fall in between established art historical domains in two ways: they cannot be classified as paintings, nor are they textiles in the usual sense. Chinese by technique and origin, but Tibetan by subject and composition’. See ‘The Woven Image: Tibeto-Chinese Textile Thangkas of the Yuan and Early Ming Dynasties’, Orientations, November 1997, p. 26.

永樂刺綉唐卡中國，1402-1424。觀音菩薩蓮花坐姿，背後雙圈光背，手持蓮花，左右各坐一位釋迦牟尼。來源：一個重要德國私人收藏。于1910-1930年間購於中國，至此保存至今。一封詳細的收藏信件會交給拍賣獲勝者。品相：背景処些微水跡和開綫，局部可見黏貼修補，一些染色和污跡。正圖部位絕對沒有修復或開綫。雖然年代已久但品相仍是不錯。底部襯托有些損坏，應該是後加。尺寸：117x88厘米

Estimate EUR 15.000,Starting price EUR 7.500,-

180

Note the remarkable resemblance between the face of Avalokiteshvara on the present work (see image above) and the face of a Vajrasattva on an embroidered Thangka also from the Yongle period (1403-1424), sold by Sotheby’s New York in their sale ‘Ming: Luminous Dawn of Empire’ on March 20th, 2018, lot 106 (see image below).The physiognomy of the figures, with their round faces and broad forehead, along with the richness of the diadem and jewels, the flamboyant flowing scarf and the ornate lotus-petal throne are described in this catalogue as ‘characteristic of the Yongle period’.

181

191

A LARGE AMITAYUS THANGKA 18TH CENTURY Tibet. A very large Thangka in Chinese brocade mounting. Painted in tempera on linen. The mounting most likely original and of the period. Provenance: From an important Hungarian private collection. Condition: Good condition with creases, minor soiling, few small touchups and losses.

Dimensions: The picture 103 x 82 cm. The mounting 154 x 147 cm.

The four siding figures are Manjusri, Sitasamvara, Ushnishavijaya and Sitatara. The red Amitayus is seated on a lotus throne in dhyanasana with hands held in dhyanamudra holding a kalahsa, wearing a billowing green shawl around his shoulders, clad in elaborate gold jewelry around the arms, neck and ears, a finial crown cresting the forehead, surrounded by a mandorla with a rainbow border and decorated with foliage and fruit.

十八世紀大型阿彌陀佛唐卡西藏。巨型唐卡，中國絲綢裝裱。唐卡亞麻蛋彩，拓裱看上去是原裝並來自那個年代。來源：匈牙利重要私人收藏品相：品相良好，有摺痕，輕微污垢，少量小修補和缺損。尺寸：畫面103 x 82 厘米；縂154 x 147 厘米

Estimate EUR 2.000,Starting price EUR 1.000,-

182

183

192

A TEMPLE BANNER, NEPAL 17TH CENTURY This early horizontal tantric scroll (bilampo) features six depictions of Tara in various emanations, all with a different skin tone. Pigment and black ink on cloth. Mounted on paper. Provenance: Important Austrian Private collection, acquired in China between 1930 and 1950. Thence by descent in the family. Condition: Good condition with minor creases and tears, hardly recognizable. Some wear and rubbing.

Dimensions: 340 x 74 cm (painting size), 382 x 76 cm (including the mount). Twice the goddess is depicted as the white Tara. Twice as the red-skinned Kurukulla. Once as Ekajata, the blue Tara. And once she is shown with a dark brown skin tone. All figures are in a dancing pose, standing on one leg atop a lotus pedestal. They have a mandorla and an aureole each. In their raised right hand, they all show different attributes such as a vessel with flowers or a white conch. To the left of the Tara row is a vase of immortality and a large lotus seed capsule from which a leaf scroll emerges, framing each of the deity images. A row of horned and bejeweled demon masks with three eyes completes the picture. This type of banner was displayed outdoors, often on the walls of a temple, during festivals.

十七世紀泥泊爾寺廟挂幅六幅度母心咒，每次不同膚色。衣物上顔料與黑色墨。紙本裝裱。來源：重要奧地利私人收藏，1930年至1950年間購於中國，在家族中收藏至今。品相：品相良好，輕微的摺痕和水跡，難以辨認。一些磨損。尺寸：畫面 340 x 74 厘米；縂 382 x 76 厘米

Estimate EUR 2.000,Starting price EUR 1.000,-

Compare with a related banner in the Art Institute of Chicago, inventory Nr. 1984.1503: ‘Nepalese Tantric Temple Banner of a Dancing Goddess Flanked by Dakinis, 17th century’ from the collection of James W. and Marilynn Alsdorf.

193

AN 18 ARHATS MANDALA 19TH CENTURY Himalayan. The Mandala with Chakrasamvara in the center is surrounded by eighteen Arhats, four heavenly guards and Bodhidharma in the upper left corner. Extremely fine painting in tempera on linen. Provenance: A Hungarian private collection. Condition: Superb original condition with hardly any wear.

Dimensions: The painting 62 x 47 cm. The frame 72 x 58 cm.

186

十九世紀十八羅漢曼陀羅喜馬拉雅。曼陀羅中央是勝樂金剛，四周十八羅漢，四大守護，左下角可見達摩。描繪極其精細，亞麻面蛋彩。來源：匈牙利私人收藏品相：原始狀態極好，几乎沒有磨損尺寸：畫面 62 x 47 厘米；縂 72 x 58 厘米

Estimate EUR 1.200,Starting price EUR 600,-

194

A LARGE SITATARA THANGKA 19TH CENTURY Himalayan. Depiction of the white seven-eyed tara seated on a lotus throne in front of a flaming mandorla, holding two lotus stems. Sided by a red and a golden Buddha Amithaba. Tempera on linen. Provenance: An American private collection. Condition: Original condition with rubbings, soiling and creases as visible on the photos. The mounting is modern.

十九世紀大型白度母唐卡喜馬拉雅。七眼白度母坐在蓮花座上，火焰光背，手持兩根蓮花根莖。左右兩側各坐一位金色阿彌陀佛。亞麻面蛋彩畫。來源：美國私人收藏品相：原始狀態，有磨損、污跡及摺痕。裝框為現代。尺寸：112 x 95 厘米

Estimate EUR 800,Starting price EUR 400,-

Dimensions: 112 x 95 cm.

187

195

A GREEN TARA THANGKA 19TH CENTURY Tibet. The bodhisattva in lalitasana, wearing elegant jewelry, the right hand extended in varada mudra, holding stems of lotus flowers, framed by a total of 109 small Tara depictions. Tempera on linen. Provenance: A Hungarian private collection. Condition: Very good original condition with some wear and rubbing, few pinholes.

Dimensions: 66 x 45 cm.

188

十九世紀綠度母唐卡西藏。綠度母戴精緻珠寶，休閑坐，右手施與願印，持蓮花根莖，四周總共109 座小度母。亞麻面蛋彩畫。來源：匈牙利私人收藏品相：原始狀態極好，一些磨損和針孔。尺寸： 66 x 45 厘米

Estimate EUR 400,Starting price EUR 200,-

196

A PADMASAMBHAVA THANGKA EARLY 1800s Tibet, circa 1800. Seated on a throne, his hands in varada- and dhyanamudra, dressed in diaphanous orange, white, blue, and red robes, his face with a benevolent expression surmounted by a lotus cap. Provenance: British private collection. Condition: Very good and original condition with only minor soiling and creases. The brocade mounting most likely of the period and in good condition with minor soiling and discolorations.

十八世紀初蓮花生唐卡西藏，約1800。坐於寶座上，手施與愿印與禪定印，身著精美衣袍，臉部面容莊重，頭戴蓮花冠。來源：英國私人收藏品相：原始狀況極好，些微污漬與摺痕。裝裱應爲那個年代，保存同樣極好，輕微污漬與褪色。尺寸：畫面65 x 48 厘米；含框 105 x 63 厘米

Estimate EUR 400,Starting price EUR 200,-

Dimensions: The picture 65 x 48 cm. The mounting 105 x 63 cm.

189

197

198

China. Black ink and Watercolors on paper. Depiction of Avalokiteshvara standing on two lotus flowers and holding an alms bowl. Wearing a long, flowing robe and a Buddhist tiara.

China. Black ink and Watercolors on paper. Depiction of Akashagarbha Bodhisattva holding a lotus flower and seated on a craggy rock amid bamboo leaves. Wearing a long, flowing robe and a Buddhist tiara.

Provenance: An Austrian private collection, acquired ca. 1980 from an important German collection. Condition: Excellent condition with very few, almost invisible creases. Striking colors.

Provenance: An Austrian private collection, acquired ca. 1980 from an important German collection. Condition: Excellent condition with very few, almost invisible spots. Striking colors.

ZHOU PEICHUN (ACTIVE 1880-1910)

Dimensions: The painting 23 x 17 cm. The frame 37 x 30 cm.

Signed ‘Painted by Zhou Peichun in Beijing’.

周培春（活躍於 1880-1910）中國。紙本水墨設色。觀音持缽與蓮花，著長袍飛揚，頭戴化佛。左下角印章“北京周培春畫”

周培春（活躍於 1880-1910）中國。紙本水墨設色。虛空菩薩手持蓮花，坐於石邊，四周竹葉。著長袍飛揚，頭戴化佛。左下角印章“北京周培春畫”

來源：奧地利私人收藏，約于1980年從一個重要德國私人收藏購買品相：品相極好，些微几不可見摺痕，顔色鮮艷尺寸：畫面23 x 17 厘米；含框 37 x 30 厘米

Estimate EUR 300,Starting price EUR 150,-

190

199

ZHOU PEICHUN (ACTIVE 1880-1910) China. Black ink and Watercolors on paper. Depiction of Guanyin standing on two lotus flowers, holding a vase, dressed in long flowing robes, her eyes set in a benevolent expression, the hair tied up in a chignon. Provenance: An Austrian private collection, acquired ca. 1980 from an important German collection. Condition: Excellent condition with very few, almost invisible spots. Striking colors.

Dimensions: The painting 23 x 17 cm. The frame 37 x 30 cm. Signed ‘Painted by Zhou Peichun in Beijing’.

周培春（活躍於 1880-1910）中國。紙本水墨設色。觀音脚踏兩朵蓮花，手持净水瓶，著長袍飛揚，眼神慈祥，頭戴瓔珞發披。左下角印章“北京周培春畫” 來源：奧地利私人收藏，約于1980年從一個重要德國私人收藏購買品相：品相極好，些微几不可見摺痕，顔色鮮艷尺寸：畫面23 x 17 厘米；含框 37 x 30 厘米

Estimate EUR 300,Starting price EUR 150,-

191

200

A QING DYNASTY PAINTING OF BUDDHA China, 19th century. Colors and gilding on paper. Imposing depiction of Buddha Avalokiteshvara seated in dhyanasana on a lotus throne, wearing a magnificent jifu dragon robe. Mounted as a scroll. Provenance: An Austrian private collection, acquired ca. 1980 from an important German collection. Old collector labels to scroll ends. Condition: Superb colors. Some losses to paper, creasing. Very minor repairs to background as visible on the photos.

Dimensions: The painting 160 x 80 cm. Inscriptions: ‘The spirit tablet of the believer Li Hekai’ and ‘All living beings are sublime’

清佛陀坐蓮像中國，十九世紀。紙本設色與金彩。佛陀施禪定印作於蓮花座上，著吉服龍袍。裝裱成挂軸。畫面左右上面寫“信士李河開長生祿位”與“信士來氏唐妹長生祿位”。來源：奧地利私人收藏，約于1980年從一個重要德國私人收藏購買。挂軸底端有老收藏標簽。品相：色彩鮮艷，紙面有些缺失，摺痕，背景部位有些微修補。尺寸：畫面160 x 80 厘米

Estimate EUR 1.500,Starting price EUR 700,-

192

193

In the diary of a Jesuit priest, Father Gerbillon, it is recorded that the Kangxi Emperor visited Ningxia in 1697 and was presented with several locally made carpets which he took back with him to the Empress. With Imperial interest in the Ningxia carpets and their designs being closely related to court styles of the Ming period, their appeal increased throughout the 18th and 19th century. Ancestor portraits are significant in contributing dates to styles of carpets. In these portraits, the carpets are often visible at the edges of the thrones. The Chinese production of wool carpets and rugs spanned over several centuries and they do not appear to have been exported to Europe in the first quarter of the eighteenth century which was the height of the Chinoiserie fashion. It was only at the beginning of the twentieth century that the West became aware of Chinese carpets, largely through the dealers at the time which included Larkin & Kemp in London, and Yamanaka, Tiffany, Dilley and others in New York. Their interest to the present market is their understated elegance and balanced composition with their reduced and subtle range of colors.

194

201

A NINGXIA MEDITATION CARPET, QING China, 19th century. Finely woven wool rug with a palace still life showing books, a bowl with peonies and a scholars rock set on a large low table, encircled by stylized lotus scrolls within a key-fret border. Provenance: From a polish private collection, where it has been since ca. 1940. Condition: Excellent condition with wear and soiling as expected on an original rug from this period.

Dimensions: 197 x 127 cm.

清寧夏博古紋冥想坐毯中國，十九世紀。羊毛制博古紋坐毯，可見牡丹、假山、書、文房用品等圖案。來源：來自波蘭私人收藏，至1940年前後進入收藏。品相：品相極好，磨損，如預期來自這個年代的使用痕跡相符。尺寸：197 x 127 厘米

Estimate EUR 500,Starting price EUR 250,-

202

203

China, 19th century. Finely woven wool carpet with two phoenixes surrounded by peonies, standing on a large scholar’s rock.

China, 19th century. Finely woven wool rug with a palace still life showing books, scrolls, a bronze censer, vases with various flowers, a brush pot and a scholar’s rock, all set on and around a square Kang table.

A SMALL NINGXIA RUG, QING

Provenance: From a polish private collection, where it has been since ca. 1940. Condition: Excellent condition with wear and soiling as expected on an original rug from this period.

A SMALL NINGXIA RUG, QING

Provenance: From a polish private collection, where it has been since ca. 1940. Condition: Excellent condition with wear and soiling as expected on an original rug from this period.

Dimensions: 127 x 67 cm. Dimensions: 137 x 67 cm. 清寧夏小卦毯中國，十九世紀。羊毛制雙鳳牡丹富貴紋。來源：波蘭私人收藏，1940年前後建立。品相：品相極好，磨損，如預期來自這個年代的使用痕跡相符。尺寸：127 x 67 厘米

Estimate EUR 300,Starting price EUR 150,-

清寧夏小挂毯中國，十九世紀。羊毛制宮廷博古紋靜物挂毯。來源：波蘭私人收藏，1940年前後建立。品相：品相極好，磨損，如預期來自這個年代的使用痕跡相符。尺寸：137 x 67 厘米

Estimate EUR 300,Starting price EUR 150,-

195

204

AN EIGHT IMMORTALS CARPET, QING China, 1800-1880. A finely woven wool rug with a scene of the Eight Immortals partaking in a game of weiqi below a towering pine tree, encircled by stylized lotus scrolls, all within a border of bats in flight. Provenance: This rug comes from a collection formed by two of the most influential Germans living and working in Tianjin in the late 19th century: Gustav Detring (1842-1913) and his son-in-law Constantin von Hanneken (1854-1925). Individually both men operated at the highest levels of the Qing bureaucracy and played historically significant roles in the politics, diplomacy and military of the tumultuous late Qing period. Whilst Detring and von Hanneken’s professional endeavors in China are well documented, their collecting activities are less known. Collecting Chinese art appears to have been something for a hobby for both men — no doubt facilitated through their close working relationships with Li Hongzhang as well as their access to the Qing court, including to the Dowager Empress Cixi and to the Guangxu emperor. Certain works from the collection were likely personally gifted to them by the Qing court, but collecting may well have also been a means of decorating their palatial Tianjin homes. In 1919, the family left Tianjin for good, settling first in Hannover but, against the backdrop of the post-war economic depression in Germany, some of the family emigrated to the United States in the 1920s and 1930s. Parts of the collection remained in Germany through the first half of the 20th century, before also making their journey to America in the 1950s where they have remained with Detring and von Hanneken’s descendants to this day. Condition: Superb condition with wear and soiling as expected on an original rug from this period.

Dimensions: 240 x 155 cm.

清八仙壁毯中國，1800-1880。羊毛制樹下八仙圖案壁毯，四邊蝙蝠祥雲紋。來源：來自德國私人收藏，其創始人為兩位曾于十九世紀在天津工作生活過的影響力極大的德國人：Gustav Detring (1842-1913) 與其女婿Constantin von Hanneken (1854-1925)。他們在晚清政治外交史留下很重要的影響。因爲他們與李鴻章及清廷關係密切，收藏中國藝術品成爲他們的興趣。他們離開中國回到德國漢諾威，部分家人去了美國。收藏中的部分藏品曾參加了1929年在柏林舉辦的“亞洲藝術展“，之後于1950年前后去了美國，一直保留至今。品相：品相極好，磨損，如預期來自這個年代的使用痕跡相符。尺寸： 240 x 155 厘米

Estimate EUR 1.500,Starting price EUR 700,-

196

The present Rug hanging in the magnificent entrance hall of the villa of Detring and von Hanneken, Tianjin, ca. 1910

197

205

A JIFU DRAGON ROBE, DATED 1828 China, the inner linen feeding with inscription ‘Respectfully presented by Du Guan Xian to Chen Hou Wang’ and dating 1828. Embroidered with ten golden five-clawed dragons. Provenance: French private collection. Condition: Some loose threads, few small holes, minor discolorations, seams at the edges partially loose, some wear and stains. Overall well preserved.

Dimensions: circa 238 x 130 cm. The dragons confronting flaming pearls against a turquoise ground accentuated with ruyi-shaped clouds, bats, bajixiang emblems, lotus and peony blooms, all above crashing waves and a lishui border.

1828龍紋吉服中國，衣服内亞麻襯布贈品”陳侯王道光戊子年十月吉旦後郭弟子杜冠賢敬獻”。衣服上綉著十隻五爪金龍。來源：法國私人收藏品相：一些掉綫，少量小洞。輕微變色，邊緣處接縫部鬆動，一些磨損和污漬。整體保存完好。尺寸：約238 x 130 厘米

Daoguang Court Officials, wearing Jifu Robes, ca. 1830

198

Estimate EUR 800,Starting price EUR 400,-

206

A COLLAR & TWO ORNAMENTS, QING China, 19th century. The four-foiled, ruyi-shaped silk collar with embroideries in satin stitch on a red ground. The silk ornaments each with two tassels and satin stich décor as well. Provenance: A British private collection. Condition: Some wear and soiling, the colors slightly faded. Overall fine condition.

Dimensions: Diameter of the collar 28 cm. Length of the ornaments 78 cm each. (3)

清雲肩片及兩件挂飾中國，十九世紀。一件四瓣如意紅底絲綉雲肩。兩條刺綉挂飾。來源：英國私人收藏品相：一些磨損及污跡、褪色。整體狀況良好。尺寸：雲肩直徑28 厘米；挂飾每件長78 厘米

Estimate EUR 300,Starting price EUR 150,-

207

A BEIJING STITCH COLLAR, QING China, 18th – 19th century. The circular twelve-lappet ruyi silk collar with five tassels remaining, neatly embroidered with various subjects on white, blue, green and red grounds. Provenance: A British private collection. Condition: Some wear and soiling, the colors slightly faded. Overall fine condition.

Dimensions: Diameter ca. 32 cm.

清京綉如意雲肩片中國，十八至十九世紀。十二片如意雲肩片，剩餘五個絲絛，在白、藍、綠及紅底上綉不同物品。來源：英國私人收藏品相：一些磨損及污染，褪色。整體品相良好。尺寸：直徑約32 厘米

Estimate EUR 200,Starting price EUR 100,-

199

Chinese Musical Demigods The present three frescoes depicting Chinese Musical Demigods are inspired by earlier depictions of Buddhist deities, like the ones seen in the Mogao grottoes at Dunhuang. Ming painters of Buddhist subjects sought to mimic the style of the Tang dynasty artist Wu Daozi, considered a master of Buddhist mural paintings. Examples of Ming paintings executed in the tradition of Wu are discussed in ‘Latter Days of the Law: Images of Chinese Buddhism 850-1850’ by Helen Foresman, Spencer Museum of Art, Kansas, 1995, pages 55 and 446. Followers also studied and adhered to Wu’s Eight Classes of Supernatural Beings (Tian Long Ba Bu Zhen Ji), whose classification included ‘celestial beings, musical demigods, and mythical bird-gods’. Compare the present frescoes with the murals in the Mogao grottoes at Dunhuang, Cave 57, illustrated in Roderick Whitfield ‘Cave Temples of Mogao, Art and History on the Silk Road’, Los Angeles, 2000, page 37, and the Bodhisattva murals in caves 172 and 199, illustrated in Chang Shuhong ’The Art Treasures of Dunhuang’, Hong Kong and New York, 1981, which pay specifically close attention to the garments and ornamentation of the figures.

200

208

A STUCCO FRESCO, YUAN-MING China, 13th-16th century. Polychrome fresco painting with a celestial deity playing the Paixiao, an ancient Chinese Pan flute, with textural details picked out in gesso relief. Provenance: A French private collection. Old inventory number 29.6 painted to frame. By repute, this is referring to an original acquisition date of June 1929. Condition: Outstanding condition with minor rubbing and soiling. Minimal crackling and losses. Absolutely original, no restoration whatsoever. Possibly a few minuscule touchups to the background, but this is impossible to confirm, because nothing shows under even the strongest ultraviolet light.

Weight: 9.8 kilograms. Dimensions: 110 x 83 cm including the frame, 102 x 76 cm without the frame. Attired in a flowing robe with sashes and ornaments, the demigoddess is shown with a saintly round face, painted with delicate features and crowned by an elaborate phoenix headdress. The composition is set against a heavenly sky of billowing clouds. Old hardwood frame with heavy bronze fitting. The frame is coffered on the backside and can be opened by activating an integrated mechanism. Compare with two related polychrome stucco frescos, sold at Sotheby’s New York ‘Important Chinese Art’ sale on September 12th, 2018, lot 200.

元明灰泥彩繪壁畫殘部中國，十三至十六世紀。灰泥彩繪仙女吹排簫，石膏浮雕可見衣物紋理。來源：法國私人收藏，畫框上老標簽 29.6，傳聞原始購買日期為1929年6月品相：總體品相良好，輕微磨損和污跡，輕微裂縫和缺失。絕對原始狀態，沒有修復。背景可能有一些微小的修飾，但這無法確認，因為即使是最強的紫外線也沒有任何顯示。重量：9.8 公斤尺寸：縂 110 x 83 厘米；畫面 102 x 76 厘米

Estimate EUR 4.000,Starting price EUR 2.000,-

201

202

209

A STUCCO FRESCO, YUAN-MING China, 13th-16th century. Polychrome fresco painting with a celestial deity wielding a Buddhist banner, with textural details richly picked out in gesso relief. Provenance: A French private collection. Old inventory number 29.6 painted to frame. By repute, this is referring to an original acquisition date of June 1929. Condition: Very good condition with minor rubbing and soiling. Minimal crackling, abrasions and few losses and pinholes. Absolutely original, no restoration whatsoever. Possibly a few minuscule touchups to the background, but this is impossible to confirm, because nothing shows under even the strongest ultraviolet light.

Weight: 9.8 kilograms. Dimensions: 110 x 83 cm including the frame, 102 x 76 cm without the frame. Attired in a flowing robe with sashes and ornaments, the demigoddess is shown with a saintly round face, painted with delicate features and crowned by an elaborate phoenix headdress and palatial decorations to the robe. The composition is set against a heavenly sky of billowing clouds. Old hardwood frame with heavy bronze fitting. The frame is coffered on the backside and can be opened by activating an integrated mechanism. Compare with two related polychrome stucco frescos, sold at Sotheby’s New York ‘Important Chinese Art’ sale on September 12th, 2018, lot 200.

元明灰泥彩繪壁畫殘部中國，十三至十六世紀。灰泥彩繪仙女手持儀仗旗幟，石膏浮雕可見衣物紋理。來源：法國私人收藏，畫框上老標簽 29.6，傳聞原始購買日期為1929年6月品相：總體品相良好，輕微磨損和污跡，輕微裂縫和缺失。絕對原始狀態，沒有修復。背景可能有一些微小的修飾，但這無法確認，因為即使是最強的紫外線也沒有任何顯示。重量：9.8 公斤尺寸：縂110 x 83 厘米，畫面 102 x 76 厘米

Estimate EUR 4.000,Starting price EUR 2.000,-

210

A STUCCO FRESCO, YUAN-MING China, 13th-16th century. Polychrome fresco painting with a celestial deity playing the Chinese cymbals, with textural details picked out in gesso relief. The cymbals embellished with gold foil. Provenance: A French private collection. Old inventory number 29.6 painted to frame. By repute, this is referring to an original acquisition date of June 1929. Condition: Good condition with rubbing, soiling, crackling and losses. A few spots here and there. The colors possibly a bit faded in some areas. The gold foil partially lost. Absolutely original, no restoration whatsoever. Possibly a few minuscule touchups to the background, but this is impossible to confirm, because nothing shows under even the strongest ultraviolet light.

Weight: 9.8 kilograms. Dimensions: 110 x 83 cm including the frame, 102 x 76 cm without the frame. Attired in a flowing robe with sashes, the demigoddess is crowned by an elaborate headdress and shown standing on a terrace with vines and leaves hanging from above. Old hardwood frame with heavy bronze fitting. The frame is coffered on the backside and can be opened by activating an integrated mechanism.

元明灰泥彩繪壁畫殘部中國，十三至十六世紀。灰泥彩繪仙女手持鈸，石膏浮雕可見衣物紋理，鈸上金箔。來源：法國私人收藏，畫框上老標簽 29.6，傳聞原始購買日期為1929年6月品相：總體品相良好，輕微磨損和污跡，輕微裂縫和缺失。絕對原始狀態，沒有修復。背景可能有一些微小的修飾，但這無法確認，因為即使是最強的紫外線也沒有任何顯示。重量：9.8 公斤尺寸：縂 110 x 83 厘米；畫面 102 x 76 厘米

Estimate EUR 2.000,Starting price EUR 1.000,-

203

211

AFTER LIU SONGNIAN, LATE MING China, 17th-18th century or earlier. Signed Liu Songnian (1155-1218) on the right edge. Two collector seals in the lower right corner. Ink and watercolors on silk, mounted to a paper folder. Provenance: Important Austrian Private collection, acquired in China between 1930 and 1950. Thence by descent in the family. Condition: Excellent condition with minor wear, abrasions, losses and pinholes.

Dimensions: 21 x 24 cm (painting size), 45 x 34 cm (paper folder) Finely painted landscape scene depicting a riverbank with dominating wutong trees and craggy rocks. Two scholars are gathering in a pavilionboat, attended by various servants. From the right, a third scholar is approaching with a horse and his entourage. Note the extremely fine detail work to some of the figures. Liu Songnian was a Chinese figure and landscape painter during the early Southern Song Dynasty (1127–1279). He was active from about 11901230 and is considered one of the Four Masters of the Southern Song dynasty, which also included Li Tang, Ma Yuan and Xia Gui. He studied and worked at the Imperial Academy of Painting in Hangzhou, capital of the Southern Song dynasty.

204

晚明仿劉松年水墨中國，十七至十八世紀或更早。右邊緣劉松年（1155-1218）款。右下角兩枚藏家印鑒。絲面水墨設色，紙質裝裱。來源：重要奧地利私人收藏，1930年至1950年間購於中國，在家族中收藏至今。品相：品相極好，輕微磨損，針孔小洞。尺寸：畫面21 x 24 厘米；裝裱 45 x 34 厘米

Estimate EUR 500,Starting price EUR 250,-

Note the resemblance of the trees in the present work with the ones in ‘Trip to Xishan’, a work by Liu Songnian (11551218) himself, ink and watercolors on silk, size 23,5 x 24 cm, sold in Tokyo for €27.717,by All Japan Auction, February 25th, 2012, lot 101.

212

THE PIPA PLAYER, MING DYNASTY A fine Chinese 16th-17th century ink and watercolor painting on silk with a dainty portrait of young girl, playing the pipa. If you watch the painting long enough, you can literally hear the sound of her play. Provenance: An Austrian private collection, acquired ca. 1980 from an important German collection. Condition: Excellent condition with few but still striking colors. Few creases and stains, the background décor possibly a bit faded.

Dimensions: The painting 27 x 18 cm. The frame 50 x 40 cm.

明代琵琶女中國十六世紀至十七世紀，絲本水墨設色，描繪一位年輕琵琶女，神色專注，讓人恍如親身聆聽。來源：奧地利私人收藏，約于1980年從一個重要德國私人收藏購買品相：品相極好，剩下的顔色依舊鮮艷。幾乎沒有摺痕和污漬，背景有點褪色。尺寸：畫面27 x 18 厘米；含框 50 x 40 厘米

Estimate EUR 800,Starting price EUR 400,-

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WEN ZHENGMING (1470-1559) Signed by the artist: Zhengming. One seal of the artist: Wen Zheng Ming Yin. A folding fan, ink on gold paper, masterfully painted with a river landscape after Wu Zhen. Ivory and tortoiseshell mountings. Provenance: Christies Hong Kong, May 30th, 2005, lot 904. British private collection. Austrian private collection. Condition: Superb original condition with only little wear.

Weight: 63.3 grams. Dimensions: 16.5 x 44.5 cm. Old box. (2) Wen Zhengming (November 28, 1470–1559), born Wen Bi, was a leading Ming dynasty painter, calligrapher, poet, and scholar. He is regarded as one of the Four Masters of Ming painting. Wen revered the artists of the preceding Song and Yuan dynasties, though he rarely imitated them directly, such as in the present case a work by Wu Zhen (1280-1354). He painted in variety of styles and has been called a “chameleon” whose works could easily be misidentified. Wen’s paintings were highly sought after by wealthy collectors throughout the 16th century, and counterfeits of his works were common during the late Ming.

文徵明（1470-1559）落款：徵明。钤印：文徵明印。扇面，金紙水墨，仿吳鎮山水。象牙玳瑁扇骨。來源： 2005年5月30日香港佳士得，拍號904；英國私人收藏；奧地利私人收藏品相：品相極好，輕微磨損重量： 63.3 克尺寸： 16.5 x 44.5 厘米；老盒子

Estimate EUR 3.000,Starting price EUR 1.500,-

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A CHINESE 18TH CENTURY PAINTING Fulminant depiction of Zhong Kui attacked by a group of archers, who shot arrows at the vanquisher of ghosts and evil beings. Zhong, however, seems unimpressed and wields his giant sword, about to counterstrike. Provenance: An Austrian private collection, acquired ca. 1980 from an important German collection. Condition: Excellent condition with striking colors.

Dimensions: The painting 18 x 16 cm. The frame 36 x 36 cm.

Painted in polychrome watercolors and black ink on silk. 10-line inscription to backside.

十八世紀鍾馗圖絲面水墨設色，描繪鍾馗與一群弓箭手戰鬥，弓箭向鬼魂和邪惡的勝者飛去。然而，鍾馗對此似乎並不感興趣，揮舞著他的巨劍進行反擊。背部有十行描述文字。來源：奧地利私人收藏，約于1980年從一個重要德國私人收藏購買品相：品相極好，顔色鮮艷尺寸：畫面18 x 16 厘米；含框 36 x 36 厘米

Estimate EUR 600,Starting price EUR 300,-

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A CHINESE 18TH CENTURY PAINTING Scrupulously precise depiction of two scholars seated at a table with several fruit bowls, their three attendants standing besides, listening to a girl playing the dizi and another reciting a poem. Provenance: An Austrian private collection, acquired ca. 1980 from an important German collection. Condition: Excellent condition with striking colors.

Dimensions: The painting 18 x 16 cm. The frame 36 x 36 cm.

Painted in polychrome watercolors and black ink on silk. 10-line inscription to backside.

十八世紀水墨絲本水墨設色，描繪了兩位文人坐於桌旁，桌上擺著水果，面前女伶説書彈唱。來源：奧地利私人收藏，約于1980年從一個重要德國私人收藏購買品相：品相極好，顔色鮮艷尺寸：畫面18 x 16 厘米；含框 36 x 36 厘米

Estimate EUR 600,Starting price EUR 300,-

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AN 18TH CENTURY PAINTING OF A MEIREN China. A beautiful lady portrayed while she breastfeeds her child, reclining on a wooden Ming dynasty bench, wearing a long flowing robe with lavish floral décor. Mounted as a scroll. Provenance: A private collection in Paris, France. Condition: Very good colors. Some smaller losses touchedup primarily in the background. Old wear and minor spotting, few abrasions. Generally in good condition.

Dimensions: The painting 129 x 80 cm. The archaistic red ceramic vessel on the lower right enables a dating of this work to around 1730, because such vessels become only popular during the reign of the Yongzheng emperor.

十八世紀夫人哺乳圖中國。明代靠榻斜靠這一位夫人，夫人正在給孩子哺乳。夫人著富貴花紋長袍。裝裱成挂軸。來源：法國巴黎私人收藏品相：色彩保存極好，些微缺失，背景有些粘貼，老磨損與斑點、磨損。總體品相良好。尺寸：畫面129 x 80 厘米

Estimate EUR 800,Starting price EUR 400,-

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GAI Qi (1774-1829) China, earlier 1800s. Signed Gai Qi on the upper left. Two seals of the artist. Watercolors and black ink on paper. A palace garden scene with a noble man, two ladies and several attendants. Provenance: A French private collection. Condition: Fair condition with losses, abrasions, old touchups and creases.

Dimensions: The painting 72 x 72 cm. The frame 80 x 80 cm. Note the fine detail to some of the table décor such as scholar’s rocks, books, a white jade gong, a yunyao vase, a ding ware meiping and various plants in archaistic pots. Gai Qi was a poet and painter born in western China during the Qing dynasty. As an artist, he was active in Shanghai. His circle included prominent literati as well as many other artists. He organized both a literary society and a Buddhist lay society. He is known for frequently using the delicate baimiao (outline) style.

改琦 (1774-1829) 中國，十八世紀。左上角落款“改琦”，兩個印章。紙本水墨設色。宮廷園林景觀，一位貴族男士與兩位貴婦及僕人。來源：法國私人收藏品相：保存較好，有些缺損，舊的粘貼以及摺痕尺寸：畫面 72 x 72 厘米；含框 80 x 80 厘米

Estimate EUR 600,Starting price EUR 300,-

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Acupuncture is one of the oldest practices of traditional Chinese medicine. The first documentation of an “organized system of diagnosis and treatment” for acupuncture was in The Yellow Emperor’s Classic of Internal Medicine (Huangdi Neijing) from about 100 BC. Gold and silver needles found in the tomb of Liu Sheng from around 100 BC are believed to be the earliest archeological evidence of acupuncture. According to Plinio Prioreschi, the earliest known historical record of acupuncture is the Shih-Chi (Record of History), written by a historian around 100 BC. It’s believed that this text was documenting what was established practice at that time.

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A PAINTED ACUPUNCTURE CHART, QING China, 18th-19th century. Painted on paper in black and brown ink with watercolor highlights. Provenance: From a British private collection. Condition: Good condition with intensive colors, some soiling and rubbing, laid down, one small piece of tape to upper edge. Depiction of full body in front and rear view.

Dimensions: circa 59 x 39 cm.

清針灸挂圖中國，十八至十九世紀。紙版黑色棕色墨及水彩。來源：英國私人收藏品相：品相良好，顔色濃鬱，一些污跡，邊緣上有一塊膠帶。描繪人體前後穴道。尺寸：約 59 x 39 厘米

Estimate EUR 1.500,Starting price EUR 700,-

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A PAINTED ACUPUNCTURE CHART, QING China, 18th-19th century. Painted on paper in black and brown ink with watercolor highlights. Depiction of full body and thorax with visceral cross section. Provenance: From a British private collection. Condition: Good condition with intensive colors, some soiling and rubbing, laid down, one small piece of tape to upper edge.

Dimensions: circa 59 x 39 cm.

清針灸挂圖中國，十八至十九世紀。紙版黑色棕色墨及水彩。描繪人體側面穴道及臟腑。來源：英國私人收藏品相：品相良好，顔色濃鬱，一些污跡，邊緣上有一塊膠帶。尺寸：約 59 x 39 厘米

Estimate EUR 1.500,Starting price EUR 700,-

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Yoshio Chang spent twelve years in Japan, from 1928 to 1940, and was educated at some of the most esteemed institutions in Japan including the Musashino Univerity, Kansai Fine Arts College, Kawabata Panting lnstitute and the Tokyo Fine Arts lnstitute. Chang spent two years in Beijing after graduation before moving back to Taiwan in 1945. While in Taiwan, Chang taught at the National Taiwan Normal University and National Taiwan Academy

of Art. He has won First Prize three times for works included in Taiyang Fine Arts Exhibitions. 1n 1994, the Taipei Fine Art Museum organized an eight-year retrospective exhibition of Chang’s work. Chang moved to Japan in 1960 and subsequently to Paris in 1980 where he resided until his death. He has held several solo exhibitions in Paris and was a regular participant of the Paris Salons.

220

Dimensions: The painting 53 x 45 cm. The frame 72 x 65 cm.

CHANG, Yoshio, (1914-2016) Oil on canvas, signed Y.O. Chang to lower right corner. Several huts and trees on the coast with the ocean on the horizon. A man, a trailer and four geese in the foreground. Provenance: German private collection. Acquired in Taipei in 1955, see inscription to backside. Thence by descent. Condition: Superb original condition. The frame possibly of the period.

214

張義雄 (1914-2016) 布面油畫，右下角落款 Y.O. Chang。海邊幾個小屋幾棵樹以及海岸綫，小屋前一個男人，一架板車以及幾隻鵝。來源：德國私人收藏，1955年購於臺北，見背面描述。保存至今。品相：原始狀況極好，畫框應該是來自那個年代。尺寸：畫面53 x 45 厘米；帶框 72 x 65 厘米

Estimate EUR 1.500,Starting price EUR 700,-

221

CHANG, Yoshio, (1914-2016) Oil on canvas, signed Y.O. Chang and dated 1955.6 to lower right corner. Red houses on the coast, mother and two children in the foreground. Provenance: German private collection. Acquired in Taipei in 1956, see inscription to backside. Thence by descent. Condition: Superb original condition. The frame possibly of the period.

Dimensions: The painting 53 x 45 cm. The frame 72 x 65 cm.

張義雄 (1914-2016) 布面油畫，右下角落款 Y.O. Chang 及1955.6。海邊紅色房子，一位母親以及兩個孩子。來源：德國私人收藏，1956年購於臺北，見背面描述。保存至今。品相：原始狀況極好，畫框應該是來自那個年代。尺寸：畫面53 x 45 厘米；帶框 72 x 65 厘米

Estimate EUR 1.500,Starting price EUR 700,-

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QIAN SONGYAN (1899-1985) Titled ‘A small scene from Jiangnan’ (Jiangnan xiaojing). Watercolors and black ink on paper. Signed ‘Qian Songyan painted in Nanjing’ on left side in black ink. Red seal ‘Qian’. Provenance: Old German private collection. Sold via auction at Zacke Galleries in 2012. A Swedish private collection. Condition: Superb condition with one minor crease to upper left corner. Laid down on paper.

Dimensions: The mounting 45 x 57 cm, the image 25.7 x 39 cm. A rising black mountain with a pagoda at its peak and a temple at the bottom, in the background a lake with boats in an autumnal landscape. Drawn in red-brown, blue, celadon and black ink, we discover a vivid scenery, strongly impressive and in stark contrast to the background.

Qian Songyan was one of the most important painters in modern China. His works are found in collections of many western museums, for example the Museum of Fine Arts, Boston. In 2012, the Art Museum of Beijing’s Fine Art Academy presented a major solo exhibition with paintings by Qian.

錢松喦 (1899-1985)《江南小景》紙本水墨設色。落款“江南小景錢松喦于南京”，“鈐印“錢“。來源：老德國私人收藏，于2012年 Zacke 藝廊賣出；瑞典私人收藏品相：品相極好，左下角輕微摺痕。尺寸：縂45 x 57 厘米；畫面 25.7 x 39 厘米

Estimate EUR 600,Starting price EUR 300,-

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JEAN-MARC HUSS, INANA, 2003 Oil on canvas. Four-character artist seal painted in red on the lower right. The backside with handwritten titling ‘INANA’ and ‘Unity of Knowledge’, dating ‘M03’ (2003) and the artist’s signature. Provenance: Acquired directly from the artist in 2003 and kept in the family ever since. Condition: Excellent.

Dimensions: The frame 126 x 86 cm, the painting 119 x 78 cm. Jean-Marc Huss, born in France 1958, has been painting images of the Buddha for over three decades. Gently smiling and serene, often on a monumental scale, these peaceful, dignified faces are powerful representations of outward tranquility and inner reflection. The artist’s quest of the spiritual world of Asia began more than 30 years ago when he left France to travel through India, Nepal and Bali, finally settling on an island in southern Thailand. He was working in a coconut plantation when a Buddha statue given to him by a monk in a nearby monastery became his first model. It was a revelation that set the artist on a path of exploration of Buddhism and Buddhist images. He has never wanted to paint anything else ever since and has become devoted to evoking the aesthetic and symbolic powers of Buddha in his work. With an impeccable photo-realistic oil painting technique and a mastery of light and shade, Jean-Marc Huss depicts the particular quality of each Buddha image. Using oil paint, gold leaf and other secret ingredients, he depicts the ancient patina of stone statues, worn by thousands of years of monsoon rains, the warmth of gold leaf that flakes off in patches over time and the textures of verdigris on centuries-old bronzes. Jean-Marc Huss says, ‘When I paint, I pray with my brush’. Modestly, he sees himself as merely a channel between the model and the viewer. When he has finished painting, his majestic images of the Buddha take on a life of their own, seemingly three-dimensional and creating an atmosphere of awe-inspiring calm and serenity. His works have been shown on four continents and he has developed a loyal following throughout the world.

JEAN-MARC HUSS《伊南娜女神》2003 帆布面油畫，畫面右下角紅色藝術家印鑒。背面手書“INANA”和“Unity of Knowledge”，日期“M03”（2003）和藝術家簽名。來源：2003年直接在藝術家処購買，一直保存至今品相：優秀尺寸：含框126x86厘米，畫面119x78厘米

Estimate EUR 1.200,Starting price EUR 600,-

Sculptures

Lots 224 to 272

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A LARGE GANDHARA BUDDHA STATUE Ancient region of Gandhara, Kushan period, 2nd/3rd Century. Expressively carved of a single piece grey schist. Provenance: From the collection of Hungarian Gentleman. Condition: Losses as seen on the pictures. Some wear and strong weathering as expected on a schist statue of this age. Overall very attractive state of preservation.

Weight: 19.9 kilograms. Dimensions: Height 59 cm. Buddha Shakyamuni is seated cross-legged on a rectangular plinth, with peaked hairline in sharply carved tresses and high ushnisha, the arched eyebrows mirroring the hairline above gently lidded eyes, the aquiline noses over rosebud lips, the samghati robe draped in a U-shape triple cowl around the neck and covering both shoulders, both hands in dhyana mudra at the lap.

大型健陀羅佛像健陀羅地區，昆山時期，二至三世紀，精心雕刻的單層灰色片岩來源：匈牙利紳士收藏品相：佛像局部有些，一些磨損和年代留下的風化。整體品相不錯。重量： 19.9 公斤尺寸：高59 厘米

Estimate EUR 4.000,Starting price EUR 2.000,-

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The following three Gandhara statues are from the collection of Sir Oliver Crosthwaite-Eyre (14th October 1913 – 3rd February 1978). The have remained in the same family until recently, when they were removed from the family home, Warrens House, in Bramshaw, the New Forest, England. Sir Oliver Crosthwaite-Eyre was a British Conservative Party politician. The elder son of Major John Symons Crosthwaite (later Crosthwaite-Eyre) of Glaschville, Knoydart, Inverness-shire by his wife Dorothy Muriel, the daughter and heiress of George Edward Briscoe Eyre, of Warrens House, Wiltshire, he was granted his 225

A RARE GANDHARA STATUE OF BUDDHA Ancient region of Gandhara, Kushan period, 2nd/3rd Century. Elaborately carved of a single piece grey schist. Provenance: From the collection of Sir Oliver Crosthwaite-Eyre (14th October 1913 – 3rd February 1978). The have remained in the family until recently, when they were removed from the family home, Warrens House, in Bramshaw, the New Forest, England. Condition: Excellent condition as seen on the pictures. Some wear and weathering as expected on a schist statue of this age.

Weight: 3.2 kilograms. Dimensions: Height 28.5 cm. A figure of the Buddha, leaning forwards, in front of a circular halo, seated on a beaded cushion set onto a throne with fierce lion legs flanking a bas-relief with the depiction of a worshipper, his hands forming the preaching gesture (dharmachakra mudra), wearing monastic robes covering one shoulder and draped in a semi-circle over his legs revealing the soles of his feet. His face is shown in serious thought, the almondshaped eyes half-closed and the square jaw set firmly. He has the mark of nobility and illumination (urna) carved in relief on his forehead, which is still visible although worn off almost completely.

健陀羅佛像健陀羅地區，昆山時期，二至三世紀，精心雕刻的單層灰色片岩來源：Oliver Crosthwaite-Eyre 爵士（1913年10月14日 – 1978年2月3日）私人收藏；當他們從英格蘭新福斯特的佈蘭斯家中搬走直到現在，一直保存在家族中。品相：極好，與其年代有關的一些磨損和風化重量：3.2 公斤尺寸：高28.5 厘米

Estimate EUR 1.500,Starting price EUR 700,-

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maternal grandfather’s estate by his mother in 1947. Educated at Downside School and Trinity College, Cambridge, he attained the rank of Colonel in the Royal Marines in 1945, following which he embarked upon a political career. At the 1945 general election he was elected as Member of Parliament for the New Forest and Christchurch constituency, and was re-elected in 1950 for the new New Forest constituency. He held the seat until his resignation from the House of Commons in 1968. Following a longstanding family tradition, Sir Oliver spent much of his time involving himself with the New Forest.

Warrens House, Bramshaw, the New Forest, England.

226

A GANDHARA STATUE OF BUDDHA Ancient region of Gandhara, Kushan period, 2nd/3rd Century. Elaborately carved of a single piece grey schist. Provenance: From the collection of Sir Oliver Crosthwaite-Eyre (14th October 1913 – 3rd February 1978). The have remained in the family until recently, when they were removed from the family home, Warrens House, in Bramshaw, the New Forest, England. Condition: Excellent condition as seen on the pictures. Some wear and weathering as expected on a schist statue of this age.

Weight: 3.2 kilograms. Dimensions: Height 29.5 cm. Buddha Shakyamuni is seated cross-legged on a rectangular plinth, with peaked hairline in stylized tresses and high ushnisha, the arched eyebrows mirroring the hairline above gently lidded eyes, the aquiline noses over rosebud lips, the samghati robe draped in a U-shape cowl around the neck and covering both shoulders, further stretched over the folded knees and pooled elegantly between the legs, both hands in dhyana mudra at the lap.

健陀羅佛像健陀羅地區，昆山時期，二至三世紀，精心雕刻的單層灰色片岩來源： Oliver Crosthwaite-Eyre 爵士（1913年10月14 日 – 1978年2月3日）私人收藏；當他們從英格蘭新福斯特的佈蘭斯家中搬走直到現在，一直保存在家族中。品相：極好，與其年代有關的一些磨損和風化重量：3.2 公斤尺寸：高29.5 厘米

Estimate EUR 1.500,Starting price EUR 700,-

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A LARGE GANDHARA BUDDHA STATUE Ancient region of Gandhara, Kushan period, 2nd/3rd Century. Elaborately carved of a single piece grey schist. Provenance: From the collection of Sir Oliver Crosthwaite-Eyre (14th October 1913 – 3rd February 1978). The have remained in the family until recently, when they were removed from the family home, Warrens House, in Bramshaw, the New Forest, England. Condition: Excellent condition as seen on the pictures. Some wear and weathering as expected on a schist statue of this age.

Weight: 9.1 kilograms. Dimensions: Height 47 cm. Buddha Shakyamuni is seated in front of a circular halo with a radiating border, cross-legged on a rectangular plinth, with peaked hairline in stylized tresses and high ushnisha, the arched eyebrows mirroring the hairline above gently lidded eyes, the aquiline noses over rosebud lips, the samghati robe draped in a U-shape cowl around the neck and covering both shoulders, further stretched over the folded knees and pooled elegantly between the legs, both hands in dhyana mudra at the lap.

健陀羅佛像健陀羅地區，昆山時期，二至三世紀，精心雕刻的單層灰色片岩來源：Oliver Crosthwaite-Eyre 爵士（1913年10 月14日 – 1978年2月3日）私人收藏；當他們從英格蘭新福斯特的佈蘭斯家中搬走直到現在，一直保存在家族中。品相：極好，與其年代有關的一些磨損和風化重量：9.1 公斤尺寸：高47 厘米

Estimate EUR 3.000,Starting price EUR 1.500,-

228

A GANDHARA STUCCO BODHISATTVA Ancient Kingdom of Gandhara, Kushan period, 4th – 5th century. Stucco with old polychrome painted details. The hair and headband mark this delicately modeled portrayal as a Bodhisattva. Provenance: The private collection of an American Gentleman. Acquired in the San Francisco trade during the earlier 1990s. Old museum or collection accession number to underside of chin. Condition: Losses, wear and weathering as visible on the images in the catalogue and at www.zacke.at online. Good and original condition with two small areas of minor touchups.

Weight: 1371 grams including the base. Dimensions: Height 18 cm only the head and 29 cm including the base. For a related Bodhisattva head see Christies New York in ‘Indian and South East Asian Art’, September 14th, 2010, lot 2.

健陀羅石灰粉刷菩薩像健陀羅，昆山王朝，四至五世紀。石灰粉刷塗料以及老色彩細緻入微。髮型和頭帶顯示這是一個菩薩像。來源：美國紳士私人收藏，1990年代初購於舊金山。底部可見博物館或收藏舊標簽。品相：缺失、磨損和風化細圖可見 www.zacke.at 。原始品相良好，兩條輕微粘連。重量：1371 克含底座尺寸：頭像高18 厘米；29 厘米含底座

Estimate EUR 1.000,Starting price EUR 500,-

225

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A BRONZE BUDDHA DATED 571 China, Northern Qi dynasty. Cast and incised bronze with a rich, malachitegreen patina. The backside with devotional inscription and dating Wuping er nian (second year of Wuping, e.g. 571). Provenance: The collection of a gentlemen from Berlin, built between 1960 and 1980. Thence by descent. Scientific authentication: Analysis report 15006 from the Archaeometry Institute REM in Mannheim, Germany, with the conclusion that there is ‘no evidence whatsoever that it was produced in modern times.’ Condition: Dents, nicks, minor losses and casting flaws as expected on a bronze of this age. Halo and base have been reattached to the statue long time ago.

Weight: 1181 grams. Dimensions: Height 23 cm. Depiction of Buddha Shakyamuni dressed in a flowing robe with many folds, standing on a lotus base in front of a flaming halo. His raised hand gives the gesture of fearlessness, Abhaya, with the lower hand held in Varadamudra, the gesture of wish granting. Siding the Buddha, we find two bodhisattvas, possibly Padmapani, standing on a lotus pedestal, each holding what appears to be a lotus blossom. Sitting on a lotus throne above the Buddha is a third small figure which, since it is in worship and has no cranial protrusion, might be an abbot. The expressively carved small tongues to the crown of flames symbolize the light rays of Buddha’s appearance and teachings. Compare with a Maitreya of related style, dated Northern Wei dynasty, second half of the 5th Century, in Sotheby’s New York, The Arts of the Buddha, September 21th, 2007, lot 5. Compare with an Avalokiteshvara of related style, dated 519, in Sotheby’s Hong Kong ‘Early Buddhist Bronzes’, October 5th, 2016, lot 3211S.

公元571年青銅佛像中國，北齊。造像孔雀石綠色包漿，背面有文字，可見“武平二年”字樣。來源：來自柏林一位紳士的收藏，1960年至1980年間建立收藏，保存至今。科學檢測: 來自德國曼海姆考古學研究所檢驗報告15006 認爲“沒有任何證據可以説明它是現代產物”。品相：凹陷、劃痕、輕微缺損，鑄造缺陷，符合該年代青銅器情況。很多年前底座經過重新連接。重量：1181 克尺寸：高 23 厘米

Estimate EUR 1.000,Starting price EUR 500,-

230

A ZHOU DYNASTY BRONZE JINGLE BELL China, Western Zhou dynasty (1045 – 771 BC). Very fine malachite patina. Cast in openwork as a circular sphere with a bronze ball inside. Surrounded by a halo sectioned into the four cardinal points. Provenance: Acquired from Bluett & Sons, London. Private collection. Condition: Excellent condition with some wear and few dents and nicks as expected on a bronze of this age.

Weight: 318.3 grams. Dimensions: Height 17.5 cm. Compare with an almost identical jingle bell published in J. Harrison-Hall ‘China, a History in Objects’, British Museum, London, page 47, lot 5, museum accession 1936, number 1118.70.

西周銅鈴中國，西周（1045 – 771 BC）。非常細膩的銅綠，鈴鐺部位球狀鏤空鑄造，内裏一個青銅球；鈴鐺四周四個基點，固定於一個圓環之上。來源：購於倫敦Bluett & Sons藝廊，私人收藏品相：極好，一些磨損、凹陷和刻痕，與其年代相符重量：318.3 克尺寸：高17.5 厘米.

Estimate EUR 500,Starting price EUR 250,-

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A LIMESTONE HEAD OF LUOHAN EARLY MING China, 14th- earlier 15th century. Expressively carved, the full rounded head with sharply articulated eyebrows beneath a receding forehead and an absolutely bald head, the deeply-lidded eyes peering out above a softly rounded nose and a prominent double chin, flanked by long pendulous earlobes, the mottled stone of a variegated brown, ochre and iron-red tone. Modern marble stand. Provenance: From an Italian private collection. Authenticated by Christies in 1983 and dated to ‘Ming Dynasty’. A copy of the Christies valuation list from 1983 including this head is accompanying this lot. In a later written statement, Christies Paris experts have narrowed their dating to ‘Beginning of the Ming Dynasty’. Condition: Superb condition with fine natural patina. Old wear and some minor dents here and there, as visible on the images in the catalogue and online on www.zacke.at.

Dimensions: Height 36 cm including the base and 25 cm excluding the base. Sensitively modeled with meticulous attention to detail which successfully captures the Luohan’s expressive countenance, this superbly carved head is striking for both its good size and vivid realism. By skillfully carving the head in the round, intricate and naturalistic detailing of the gentle curvature of the skull is captured, which is further articulated with fluid natural white lines in the limestone. The crisply delineated wrinkles on the cheeks and around the eyes and mouth, as well as the receding forehead and facial folds, not only indicate his old age and wisdom but also add a stunning layer of three-dimensionality. Furthermore, a powerful and meditative aura is imparted through the large, somewhat enraptured pupils within the deep-lidded eyes.

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Luohan, or arhats, were close personal disciples of Shakyamuni Buddha. Although they attained Buddhahood during the course of their lives, they delayed entering Nirvana and remained on earth to protect the Buddhist dharma and to aid others in seeking enlightenment according to the instruction of the Buddha. Invested with extraordinary spiritual power, they are believed to possess perfect wisdom and insight of all existence while being freed from the bonds of desires. Luohan figures became increasingly popular from the Song dynasty (960-1279). Li Song in ‘From the Northern Song to the Qing’, Chinese Sculpture, New Haven, 2006, pp. 389, suggests that during the Song dynasty, various Buddhist schools were eager to trace their lineages to Shakyamuni; thus Luohan, with their direct connections to the Historical Buddha, became the ultimate iconographic bridge to the Indian founders of Buddhism. Also, with the growing patronage of Buddhist iconography in exchange for spiritual merit, Luohan figures of imposing size and realistic physiognomy, such as the present example, were increasingly produced in various mediums, such as ceramic, stucco and stone. They would have been displayed in groups of sixteen, eighteen or even five hundred in temples and caves to encourage devotees to reach a state of deep meditation. Compare a related head of a Luohan, in the Museum Volkenkunde in Leiden, illustrated in Hai-wai yi-chen / Chinese Art in Overseas Collections: Buddhist Sculpture 1, Taipei, 1986, pl. 14 (fig. 2) and a head of a Luohan attributed to the Ming dynasty, in the Metropolitan Museum of Art, New York, accession number 60.74.

明初石灰石羅漢頭像中國，十四至十五世紀。精緻的雕刻，圓潤的頭部，眉毛清晰，眼睛深陷，圓形鼻子柔和，兩側是耳朵削長。石色斑駁，棕色、赭色和鐵紅色肌理相間。現代大理石底座。來源：意大利私人收藏，1983年經佳士得檢驗，斷為明代，隨附當年檢驗證書。在另一封文件裏，巴黎佳士得的一位專家後來有認爲此頭像為明代早期。品相：品相極好，天然包漿良好。舊磨損和輕微凹陷，細圖可見 www.zacke.at. 尺寸：高36 厘米含底座；25 厘米不含底座

Estimate EUR 5.000,Starting price EUR 2.500,-

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AN EXPRESSIVE WOOD BUDAI, MING China, 15th – 16th century. This earthy yet radiant sculpture of Budai shows the laughing Buddha leaning against his huge cloth sack counterbalancing his protuberant belly. Hardwood Budai statues from this period are EXTREMELY RARE. Provenance: From a British private collection. By repute in the same family since the late 1930s. Condition: The original lacquer coating is almost entirely worn off since a long time ago, revealing the beautiful grain of the wood. Budai may have held an attribute in his left hand which is now lost. The patina is naturally grown and, almost like a fingerprint, non-imitable, hence absolutely unique to this statue. The thickened lacquer coating circling the neck may look like a cover for a restoration at first sight but is determined as intentional after close inspection. The statue is therefore in an untouched original and therefore very rare condition.

Weight: 2036.2 grams. Dimensions: Height 25 cm.

Budai was a Chinese monk named Qieci who is said to have lived around the 10th century. He traveled from town to town, spreading laughter and joy wherever he went. He pulled sweets from his sack for children, food for the hungry, rice plants for the poor and medicine for the sick. He was a man of few words but plenty of smiles. He left a larger-than-life legacy and became a folklore deity of contentment and abundance. Chinese Buddhists consider Budai an incarnation of Maitreya, the future Buddha who is believed to eventually take Gautama’s place. For some, this belief stemmed from Qieci’s dying words, a Buddhist hymn attributed to Maitreya. For others, it was due to his nature of benevolence and devotion to helping others. His actions of selflessly taking on the burdens of the world were considered the ultimate path to Zen and enlightenment.

明代木雕布袋和尚中國，十五至十六世紀。布袋和尚笑嘻嘻的靠在他的大布袋上，頂著他的大肚子。來自這個年代的硬木雕像及其罕見。來源：英國私人收藏，據説1930年代后一直保存在同一家族中品相：原始漆層很久以前就已剝落，露出美麗的木紋。布袋的左手中原來可能有一物件，現在已丟失。包漿自然生成，如指紋一般不可模仿，更加體現雕像的獨特性。環繞頸部的增厚漆層看起來像是因爲修復而來的覆蓋物，但在仔細檢查後被確定為有意的。因此，雕像是原始的，非常罕見。重量：2036.2 克尺寸：高25 厘米

Estimate EUR 1.200,Starting price EUR 600,-

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A LACQUERED WOOD BUDDHA, MING China, 16th - 17th century. Elegantly carved sculpture with remnants of gilding and original lacquer coating. Buddha is seated in Dhyanasana atop a lotus pedestal, his hands folded in front of his chest, holding the invisible jewel. Provenance: From the collection of M. Serge Blazy, Paris. Old collector label to base. An export certificate from the French Ministry of Culture is accompanying this lot. Condition: Superb original and absolutely untouched condition with literally no losses at all, some natural age cracks, wear and weathering.

Weight: 827.6 grams. Dimensions: Height 30.5 cm. The serenity of the facial expression with its enlightened character is remarkable. The statue is carved from a single piece of wood.

明代木雕漆彩佛像中國，十六至十七世紀。高雅的雕像上還可見金彩與漆彩餘留。釋迦牟尼结跏趺坐在蓮座上，雙手似乎捧著一個無形的寶物。來源：巴黎M. Serge Blazy收藏。底部可見老收藏標簽。隨附法國文化部的出口證書。品相：原始品相極好，絕對沒有破壞過以及缺失，一些年代裂縫、磨損和風化。重量：827.6 克尺寸：高30.5 厘米

Estimate EUR 1.200,Starting price EUR 600,-

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A MING WOOD AND GESSO MAUDGALYAYANA China, Ming Dynasty (1368-1644). Masterly carved, highlighted with gesso and lacquer, this prominent wood statue depicts Maudgalyayana (Mulian in Chinese), one of Buddha’s two closest disciples. Provenance: From a French private estate. By repute, kept in the same family for half a century. An export certificate from the French Ministry of Culture is accompanying this lot. Condition: The right hand is lost. Natural age cracks, wear and weathering. The lacquer and the remainders of gesso are in absolutely original, untouched preservation. Overall superb condition, especially given the age of this statue.

Weight: 29 kilograms. Dimensions: Height 100 cm. Seated atop a rock, in royal ease with his left hand resting on his raised leg, his head slightly inclined towards the beholder, a slightly blueish skin tone and a truly spiritual facial expression. Maudgalyayana is considered, together with Sariputra, one of Buddha’s two foremost male disciples. Traditional accounts relate that Maudgalyayana and Sariputra became spiritual wanderers in their youth. After having searched for spiritual truth for a while, they eventually met Buddha himself and ordain as monks under his guidance. Maudgalyayana attains enlightenment shortly after that. In Buddhist art, Maudgalyayana’s face is often depicted with a darker, slightly blueish skin tone, exactly as in the present example. Compare with another wood and gesso statue of Maudgalyayana, dating to the Yuan Dynasty, at Sotheby’s New York in ‘Fine Chinese Ceramics and Works of Art’ on September 17th, 2013, lot 54. Compare with a Ming dynasty wood and gesso group of Arhats in the collection of the Metropolitan Museum of Art, New York, Accession Number: 1995.417.

明代木雕石膏目蓮像中國，明代（1368-1644）。雕刻精美，以石膏和漆彩提亮，更加突出展現了釋迦牟尼重要弟子目蓮。來源：法國私人收藏，據説在同一個家族中收藏近半個世紀。隨附法國文化部出口證書。品相：右手丟失。天然年代裂縫、磨損和風化。剩餘的漆彩與石膏完全是原狀，未經改變。整體品相相對其歷史算是非常好的。重量：29 公斤尺寸：高100 厘米

Estimate EUR 12.000,Starting price EUR 6.000,-

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A ZITAN STATUE OF DAMO 18TH CENTURY China, late 17th- mid 18th century. The large statue is superbly carved from one single piece of Zitan wood, bearing the typical crab-claw marks and a rich, dark red-brown patina with a subtle lustre. Possibly Imperial Workshops, Beijing. Provenance: From a French private collection. Condition: Superb condition with minor wear and natural age cracks as visible on the images in the catalogue and online at www.zacke.at.

Weight: 3 Kilograms. Dimensions: Height 44 cm. The figure is shown standing on a round base of cresting waves, wearing a monastic robe that falls in graceful folds around the body. His face has a contemplative expression, enhanced by the curly eyebrows, moustache and goatee beard. Bodhidharma was a Buddhist monk who lived during the 5th or 6th century. He is traditionally credited as the transmitter of Chan Buddhism to China and regarded as its first Chinese patriarch. According to Chinese legend, he also began the physical training of the monks of Shaolin Monastery that led to the creation of Shaolin Kungfu. In Japan, he is known as Daruma. Compare with a related Rhinoceros horn statue of Damo at the Metropolitan Museum, New York, Accession Number: 2011.344.

十八世紀紫檀達摩立像中國，十七世紀晚期至十八世紀中期。大型木雕利用一整塊紫檀，典型的蟹爪紋理，厚重的深紅棕色包漿汎著微微的光澤。可能是北京御制。來源：法國私人收藏品相：極好，輕微磨損，明顯的年代造成的裂縫，可見 www.zacke.at細圖重量：3 公斤尺寸：高44 厘米

Estimate EUR 4.000,Starting price EUR 2.000,-

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A BOXWOOD BUDDHIST LION QIANLONG China, 1736-1795. Superbly carved with extremely fine detail to depict a recumbent Buddhist lion with its cub climbing on its back. Note the reticulated brocade ball and the majestic, bushy tail. Provenance: The collection of Susanne Deistler, Vienna. Acquired at Zacke Gallery before 1990 and thence by descent. Condition: Very good condition with lovely natural patina. Minor flaws to material, two with minuscule old wax fill.

Weight: 65.7 grams. Dimensions: Length 8.7 cm.

乾隆黃楊木雕母子獅中國，1736-1795。雕刻精美、細節入微地展現了一對母子獅子戲珠的生動場景，小獅子趴在母獅的背上。錦緞球雕刻成網狀，尾巴濃密。來源：維也納Susanne Deistler收藏；1990年前購於Zacke藝廊，之後在家族中保存至今品相：非常好，很優美的天然包漿。木雕上有輕微小洞，其中兩個已經在舊時用蠟封閉。重量：65.7 克尺寸：長 8.7 厘米

Estimate EUR 400,Starting price EUR 200,-

236

A BRONZE TURTLE SCROLL WEIGHT, HAN China, Han Dynasty (206 BCE – 220 CE). Massively cast and fire-gilt bronze with fine incised detail work, especially to the tortoise-shell. Between the thin gilding and the bronze body lies a thin copper coating. Provenance: From a Hungarian private collection. Condition: Good condition with old wear and extensive, naturally grown patina and verdigris.

Weight: 189.6 grams. Dimensions: Length 7 cm. Scrolls originated in their earliest form from literature and other texts written on bamboo strips and silk banners across ancient China. The earliest hanging scrolls are related to and developed from these silk banners, which were long and hung vertically on walls. Such hanging scroll paintings were found at Mawangdui and date back to the earlier Han Dynasty (206 BCE – 220 CE). It is believed that scroll weights, being a necessity to any scroll painting lover or collector, were developed at the same time.

漢代銅龜鎮紙中國，漢代（公元前206 – 公元后220）。厚重的銅鎏金，龜殼尤其細緻。鎏金與青銅胎之間有一層薄薄的銅。來源：匈牙利私人收藏品相：良好，老磨損，天然包漿和銅綠重量：189.6 克尺寸：長 7 厘米

Estimate EUR 300,Starting price EUR 150,-

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A BUDDHIST LION BRONZE CENSER, 17TH China, 17th century. Cast seated, the raised head with large round eyes beneath thick curled eyebrows, the mouth opened revealing sharp fangs, grasping the ends of a rope leading to the brocade ball under its left front paw. Provenance: Hungarian private collection. Condition: Good condition with some wear and few dents and nicks as expected on a bronze of this age. The bush of the tail is lost.

Weight: 4.1 kilograms. Dimensions: Length 29 cm, height 25 cm, depth 20 cm.

The head can be opened and is sealed to the body with a hinge that still retains its original lock (rare). The body detailed with a combed mane showing fine incisions. Compare with a closely related bronze lion, sold at Sotheby’s London in ‘Fine Chinese Ceramics & Works of Art’ on May 14th, 2014, lot 305.

十七世紀佛獅香爐中國, 十七世紀。佛獅成坐姿，翹首、大圓眼睛、眉毛粗長，張嘴可見獠牙，左邊前爪下抓著一個小球。來源：匈牙利私人收藏品相：在這個年齡段的青銅器上應有的一些磨損和很少的凹痕及刻痕，品相良好狀態。尾部尖端已丟失。重量：4.1 公斤尺寸：長 29 厘米，高25 厘米，深 20 厘米

Estimate EUR 700,Starting price EUR 350,-

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A PAIR OF LARGE BRONZE LIONS, MING China, 17th century. This impressive and rare pair of Buddhist lions is massively cast of heavy bronze, with finely incised and punched detail work. Good natural patina. Provenance: American private collection, by repute acquired from a mid-20th century museum-deaccession. With old inventory numbers ‘BS 1109’ and ‘BS1110’ painted to their bottoms. Condition: Superb condition with old wear, some minor casting flaws and nicks here and there. The attachment of the tail to the body of one may have been reinforced long time ago.

Weight: 21.2 kilograms both together. Dimensions: Length 42 cm, height 32 cm.

The lions are seated, their raised head with large round eyes beneath thick curled eyebrows, the mouth opened revealing sharp fangs, each grasping a reticulated brocade ball under its front paw, the bodies detailed with a combed mane and upright bushy tail.

一對明代大型銅獅中國，十七世紀。這對佛獅極少見卻令人印象深刻，青銅鑄造厚重，綫條優美，細節入微。天然包漿良好。來源：美國私人收藏，據説購於二十世紀中期博物館館藏出售。底部可見館藏編號“BS 1109”與“BS1110”。品相：極好，舊磨損，一些輕微鑄造缺陷。一隻尾巴可能很久前被加固過。重量：兩件一起21.2 公斤尺寸：長42 厘米，高 32 厘米

Estimate EUR 1.500,Starting price EUR 700,-

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241

China 16th – 17th century. Depiction of a female Daoist immortal with downcast eyes and benevolent expression, wearing a phoenix headdress and a finely incised floating robe, standing on a lobed square base.

China 16th – 17th century. The bronze with a rich gold lacquer coating. Depicting is a bearded Daoist sage carrying a small bag and wearing a long robe and an elaborate headdress. In his right hand he holds a large pearl.

A MING BRONZE DAOIST IMMORTAL

Provenance: Austrian private collection. Condition: Excellent condition with old wear and superb natural patina. Minor loss to the tip of one of the heavenly scarfs.

Weight: 819.6 grams. Dimensions: 20.8 cm. Possibly depiction of Xi Wangmu. The wrapped offering in her hands may contain the peaches of immortality.

明代道教仙人銅像中國，十六至十七世紀。展現了一位女仙人雙目低垂，表情仁慈，頭戴鳳凰珠飾，身著精美飄動的長袍，站在一個葉紋裝飾的方形底座上。

A MING DAOIST IMMORTAL BRONZE

Provenance: A French private collection. Condition: Extensive wear and weathering. Some minor nicks here and there, as expected from a bronze of this age. Old Zitan four-feet square base. (2)

Weight: 247.5 grams. Dimensions: Height 13.5 cm.

明代道教仙人銅像中國，十六至十七世紀。銅像上施有厚厚的一層金漆。一位道人身背小包，著長袍，頭戴帽子，右手持一個巨大的珍珠。

來源：奧地利私人收藏品相：極好，舊磨損，自然包漿非常細膩，飄帶処有一些小磕損。重量：819.6 克尺寸：20.8 克

來源：法國私人收藏品相：磨損與風化嚴重，一些輕微的劃痕，正如來自這個年代的銅器一般。老紫檀四足底座。重量：247.5 克尺寸：高 13.5 厘米.

Estimate EUR 400,Starting price EUR 200,-

Estimate EUR 200,Starting price EUR 100,-

242

A LATE MING BRONZE GUANYIN China, 17th century. Fine bronze with good natural patina, incised details and remainders of old gilding. Provenance: From an Austrian private collection. By repute acquired in the local auction market before 1980 and in the same family ever since. Condition: Superb condition with old wear, traces of use and the tips of one finger and the scepter lost. Unsealed.

Weight: 1236.5 grams. Dimensions: Height 16.5 cm.

Guanyin is seated in Dhyanasana, the right hand raised in Harina mudra, holding a stem, the left in Avakasha mudra, holding a bowl. The eyes downcast with a serene expression beneath a hood adorned with Amithaba Buddha.

晚明觀音銅像中國，十七世紀。銅像有天然包漿，細節精緻，可見鎏金餘留來源：奧地利私人收藏，據説1980年前購於當地拍賣市場，在同一家族保存至今品相：極好，舊磨損，使用痕跡，一手指尖和拂塵丟失重量：1236.5 克尺寸：高16.5 厘米

Estimate EUR 600,Starting price EUR 300,-

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243

A MING BRONZE OF BODHISATTVA GUANYIN China, 17th century. Well cast bronze showing the Bodhisattva of mercy, Guanyin, seated in Dhyanasana atop a double lotus pedestal. Finely incised detail work, partially in high relief. Provenance: Hungarian private collection. Condition: Absolutely superb condition with naturally grown dark copper-red patina. Old wear and two small losses. Unsealed. The inner of the base reinforced with a steel traverse.

Weight: 2310 grams. Dimensions: Height 23 cm. In both hands Guanyin is holding the stems of the lotus flowers that grow towards her shoulders. Her hair is tied together in a chignon framed by a five-pointed crown bearing a minuscule Buddha Amitabha in each of its petals. She is wearing elaborate disc earrings and a large pearl necklace. Her gown has many drapes and is surrounded by celestial bands.

明代觀音銅像中國，十七世紀。銅像鑄造精良，展示大慈悲觀音坐於雙層蓮花寶座上。細節精緻，局部高浮雕。來源：匈牙利私人收藏品相：絕對極好，天然生成的深銅紅色包漿；老磨損和兩條小缺失；無封印，底座内部采用鋼質橫梁加固重量：2310 克尺寸：高23 厘米

Estimate EUR 1.500,Starting price EUR 700,-

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A VAJRAPANI BRONZE 14TH CENTURY Tibet, 14th – 15th century. Well cast copper bronze with sparse remnants of gilding. Fine detail work and incisions. Provenance: From the private collection of Thomas Chen, Taiwan. Thereafter German private collection. Thomas Chen (Chen Baizhong) has published, among others, the well-known reference book ‘Gods of Wealth in Tibetan Buddhism Art’. Condition: Remarkably good condition given its high age. Significant wear and some casting flaws. Well-developed natural patina.

Weight: 240.2 grams. Dimensions: Height 11 cm.

Striding in Alidhasana atop a lotus pedestal, holding a vajra aloft in his right hand and forming Kataka mudra with his left. The wrathful deity is clad in short tiger skin and adorned with celestial bands, the face with bulging eyes and snarling teeth, surmounted by a foliate tiara. Compare with another Vajrapani bronze of similar size and date at Christies New York, ‘Indian and South East Asian Art’, September 16th, 2014, lot 249. This example is also found in Himalayan Art Resources as item no. 23420.

十四世紀金剛手菩薩銅像西藏，十四至十五世紀。銅像鑄造精良，局部剩餘鎏金。細節精細。來源：臺灣Thomas Chen私人收藏；之後德國私人收藏。Thomas Chen (Chen Baizhong) 曾經出版過一本關於西藏佛教藝術中的財神的書。品相：出色，尤其銅像的年代如此久遠。明顯磨損，一些小孔；天然生成的包漿重量：240.2 克尺寸：高11 厘米

Estimate EUR 1.500,Starting price EUR 700,-

244

245

A MING BRONZE OF SHADBHUJA MAHAKALA Sino-Tibetan, 16th – 17th century. The massive and heavily cast bronze statue bears fine fire-gilding, superbly detailed incisions and original cold painting. Provenance: From a Hungarian private collection. Acquired in Asia between 1950 and 1960. The marble base was added by the previous owner around 1960. Condition: Substantial losses as visible on the picture. Wear, several dents and nicks.

Weight: 2355 grams. Dimensions: Height 20 cm. Height incl. base 31 cm. Mahakala, one of the primary protector deities in Himalayan and Tibetan Buddhism, is depicted with his six arms outstretched in the Shadbhuja form. The figure is dressed in a tiger skin with a garland of skulls hanging from the waist. His hair is in flames. Compare with a gilt bronze figure of Mahakala in the Prague National Gallery, which displays nearly identical modeling of the hair, face, jewelry and accoutrements (HAR item no. 57657). For other examples of Shadbhuja Mahakala, dating to the 18th century, see Christies New York in ‘Himalayan, Indian and South East Asian Art’ on March 15th, 2017, lot 203, and Sotheby’s New York in ‘Indian, Himalayan and South East Asian Works of Art’, March 22nd, 2018, lot 1053.

明代銅鎏金大黑天漢藏，十六至十七世紀。鑄造厚重，鎏金精良，綫條細膩，原始冷繪彩。來源：匈牙利私人收藏，1950年至 60年間購於亞洲。大理石座由前藏家 1960年加上品相：畫面部分大量缺失，磨損，一些凹陷與刻痕重量：2355 克尺寸：高20 厘米

Estimate EUR 2.500,Starting price EUR 1.200,-

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A CAKRASAMVARA BRONZE 17TH CENTURY Nepal. The four-headed and twelve-armed Cakrasamvara entangled by Vajravarahi in Yabyum. Both are standing on human corpses. The crossed main hands holding Vajra and Ghanta, symbolizing the absolute. Lotus base. Provenance: From an Austrian private collection. Acquired at Nagel Auctions, Stuttgart, Germany. Condition: Superb condition with only minor wear and a few small dents here and there. Good naturally grown patina. From a total of 14 attributes only two (!) are missing. Mandorla lost. Sealed. A hole at the backside reveals that the offerings inside the large base are still present.

Weight: 149.1 grams. Dimensions: Height 8.3 cm. Compare with a closely related Cakrasamvara bronze of similar size at Sotheby’s Hong Kong, in ‘Chinese Art, 3rd December 2015, lot 299.

十七世紀勝樂金剛銅像泥泊爾。四首十二臂勝樂金剛成站立姿勢，兩手同時抱明妃，立於一人身上，交叉雙手分別持金剛杵與金剛鈴，蓮花底座。來源：奧地利私人收藏，購於德國斯圖加特Nagel拍賣行品相：極好，輕微磨損和一些小凹陷。天然生成的包漿。14件法器丟失2件。光背丟失，封底。背面有一個洞，可看到内裏的祭祀聖物還在。重量：149.1 克尺寸：高 8.3 厘米

Estimate EUR 1.500,Starting price EUR 700,-

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A WRATHFUL TANTRIC DEITY 17TH CENTURY A remarkable Tibetan copper bronze of a wrathful deity holding Vajra and Ghanta in his hands, a sign of the Absolute. Provenance: From the estate of Robert Täubler, Vienna. Acquired from Zacke Gallery in 2010. Previously in an old German private collection. Condition: Extensive wear and some minor casting flaws and nicks here and there. Unsealed. Very fine natural copper-brown patina.

Weight: 400.8 grams. Dimensions: Height 10 cm. Note the elaborately worked crown with human skulls. The bell-shaped statue also had a ritual purpose, as its wide-open mouth hints to usage as a incense holder.

十七世紀忿怒尊銅像西藏忿怒尊手持金剛杵與金剛鈴，象徵了方便與智慧同在。來源：維也納Robert Täubler遺產，2010年購於Zacke藝廊；先前來自一個老德國私人收藏品相：磨損嚴重，一些輕微鑄造缺陷，局部有刻痕，未封底；包漿天然銅褐色重量：400.8 克尺寸：高10 厘米

Estimate EUR 300,Starting price EUR 150,-

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A TIBETAN BRONZE YAMA DHARMARAJA 18th century. Fire gilt and incised bronze statue with dramatic cold painted details. Depicting Yama, the wrathful emanation of Manjushri, standing in Pratyalidhasana, both hands in Karana mudra, warding off the evil. Provenance: A private collection in Riga, Latvia. Condition: Excellent condition with only minor wear. One attribute is lost. Good natural patina.

Weight: 412.5 grams. Dimensions: Height 12.5 cm.

Yama Dharmaraja is shown with a buffalo head and flaming red hair. Human heads are dangling from his rich chains of jewelry which are ending in a neatly incised and raised wheel of life ornament on outsized belly. The protector deity is shown nude with a large erected genital. For a related Yama bronze, dated to the 17th – 18th century, see Christies Paris in ‘Arts d’Asie’, June 11th, 2008, lot 5521.

西藏閻羅法王銅像十八世紀，銅鎏金造像，細節處使用冷繪彩，展示了文殊菩薩的化身閻羅法王立像，雙手施羯剌拏手印抵禦惡魔。來源：拉脫維亞里加私人收藏品相：優秀，僅有些微磨損，缺一法器。天然包漿良好。重量：412.5 克尺寸：高 12.5 厘米.

Estimate EUR 1.500,Starting price EUR 700,-

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A BEGTSE BRONZE 18TH CENTURY Mongolia. Masterfully cast and incised bronze with rare depiction of Begtse Chen, the main protector of the Geluk order, with a human heart in his raised right hand. Original cold painting. Provenance: A private collection in Riga, Latvia. Condition: Superb condition with good patina, some old wear, one attribute lost. The stand is a later yet antique addition.

Weight: 1235.1 grams. Dimensions: Height 17 cm.

The deity wears his typical, wrathful armor including a five-scull tiara, a human-head necklace, a pair of fish pendent, a heavenly scarf, and a halo of burning flames. Compare with a closely related Begtse bronze in the collection of the Jacques Marchais Museum of Tibetan Art, New York. For a related Begtse bronze, dating to the Qing Dynasty, also depicting the guardian with a human heart in his hand, compare with Sotheby’s New York ‘Asian Art’ sale, March 19th, 2016, lot 1351.

十八世紀青銅紅護法主像蒙古。精美的青銅造像展現了紅護法神，格魯派的重要護法，右手持人心。原始冷繪彩。來源：拉脫維亞里加私人收藏品相：極好，包漿良好，一些舊磨損，些微使用痕跡，輕微物件缺損，底座是後加但仍為古董。重量：1235.1 克尺寸：高 17 厘米

Estimate EUR 1.500,Starting price EUR 700,-

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A SITASAMVARA BRONZE 18TH CENTURY Seen from a purely technical standpoint, this is a typical Qianlong bronze of immaculate casting with meticulously incised details and a magnificent fire-gilding. The subject, however, is very rare. Provenance: Christies London, November 8th, 2016, lot 113. Austrian private collection. The Christies auction catalogue is accompanying this lot. Condition: Superb condition with hardly any wear. Original cold painting. The original base with old resin sealing. Remainder of old resin to where the two figures are connected.

Weight: 524.2 grams. Dimensions: Height 11.5 cm. The pair is depicted in yabyum. He is seated in dhyanasana upon a double lotus pedestal base with his hands supporting his separately cast consort, wearing a thin dhoti with floral borders and an elaborate jeweled necklace, celestial bands, disc earrings, his face with wrathful expression, the forehead with a third eye, framed by a high five-pointed crown. Both his hands hold vases with the nectar of immortality, while his consort holds two kapala filled with blood. As he supports his consort with his resolute, arched posture, he is also shown rooted in the meditation posture, his toes relaxed and curling upwards while pressing against the inside of his broad thighs. Her incised girdle deftly conceals her rear, clasped around her waist. Throughout, and despite their wrathful expressions, there is also some kind of stillness and serenity in their embrace. Their faces reflect the highest level of harmony and reunion as they are looking deeply into each other’s eyes.

十八世紀銅鎏金白勝樂金剛從純粹技術角度看，這是一座典型的乾隆時期完美的、細節精心打造的銅鎏金造像。非常罕見的主題。來源：2016年11月8日，拍號 113；奧地利私人收藏，隨附佳士得目錄。品相：極好，几乎沒有磨損。原始冷繪彩。原始底座經樹脂封印。神像之間有老樹脂相連固定。重量：524.2 克尺寸：高 11.5 厘米

Estimate EUR 3.500,Starting price EUR 1.700,-

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A PADMASAMBHAVA 18TH CENTURY Tibet. A rare, neatly cast and fire-gilt bronze with superb incision work depicting Padmasambhava, also known as Guru Rinpoche. Provenance: French private collection. Old collector’s label reading ‘Inventaire 22’ and ‘No. 2 Lama 18th.’ Condition: Significant wear and minor nicks here and there. The base slightly warped. Unsealed. One miniature attribute lost. Overall in still in very good condition.

Weight: 311.8 grams. Dimensions: Height 11.5 cm.

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Seated in Dhyanasana atop a double lotus pedestal with a double vajra held in the raised right hand. Remarkable is the stark contrast between his traditional Lama attire and his ferocious, nearly wrathful facial expression.

十八至十九世紀銅鎏金蓮花生西藏，罕見的銅鎏金造像，細節精緻，蓮花生又被稱爲蓮花生大士。來源：法國私人收藏，老收藏家標簽“Inventaire 22”與“No. 2 Lama 18th” 。品相：顯著磨損，輕微劃痕，底座略微扭曲，未封底。一個小型物件丟失，總體品相極好。重量：311.8 克尺寸：高 11.5 克

Estimate EUR 600,Starting price EUR 300,-

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A SILVER MAHAKALA 19TH CENTURY This rare Tibetan statue of Mahakala Kartaridhara is standing on a single lotus base. The deity is holding a Kartika and a Kapala in his hands and is wearing a tiger’s fur, heavenly bands, jewelry and a distinctive tiara. Provenance: Robert Bouatta, London. Thereafter in the Alain Presencer collection. Published: Himalayan Art Resources item no. 61652. Condition: Superb condition with original sealing. Very little wear only.

Weight: 194 grams. Dimensions: Height 8 cm.

The histories of many Buddhist nations involve the conversion of local deities into protectors of the dharma (dharmapalas). Vajrayana Buddhism defines two categories: Worldly protectors and otherworldly defenders. The latter are known as mahakalas and are thought to be emanations of buddhas and bodhisattvas, taking various forms. The present sculpture represents the Knife-holder Mahakala, or Mahakala Kartaridhara, and is thought to manifest from Vajradhara. He is cast with silver, which is often used as an inlay in Tibetan sculpture to convey a figure’s enlightened consciousness, or a potent symbol of the dharma, such as a sutra or lotus.

十九世紀大黑天銀像這座少有的西藏造像，大黑天立於單層蓮座之上，他手持嘎巴拉碗，身披虎袍，佩戴飄帶和珠寶，頭冠獨特。來源：倫敦Robert Bouatta；之後在Alain Presencer 收藏出版：Himalayan Art Resources item no. 61652 品相：極好，原始封底，極少磨損。重量：194 克尺寸：高 8 厘米

Estimate EUR 800,Starting price EUR 400,-

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A LARGE DOLONOR AVALOKITESHVARA Mongolia, Dolonor School, 18th century. Fire-gilt bronze with crowns, celestial bands and earrings executed in neatly incised and embossed copper repoussé, which is typical for this school. Some of the turquoise and coral inlays are still in place. Provenance: from an important Hungarian private collection. Acquired in Mongolia between 1950 and 1960. Thence by descent in the same family. Condition: Absolutely superb condition. The four crowns are all present although separately cast and therefore completely lost in most examples. All but two earrings are present as well. Three tips and two backside elements of the crowns and one attribute are lost. The base is also cast separately of bronze and still contains the original sacred offerings! The base plate is loose. The gold has some wear but is overall still well preserved. The repoussé adornments have developed some minor verdigris. Also, some of the original cold painting is still present as well.

Weight: 2327.7 grams. Dimensions: Height 31 cm. The present work depicts Bodhisattva Avalokiteshvara in Ekadashamukha with eleven heads for each of the cardinal and sub-cardinal directions (including zenith and nadir). This arresting iconographic form embodies Avalokiteshvara as a cosmic bodhisattva capable of universal compassion. The form rose to great prominence in the Qianlong period, with many,

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likely as the present example, being produced at the Dolonor ateliers to cater to the tremendous proliferation of Vajrayana temples. The ten lower heads represent the dasabhumi or ten stages of enlightenment, while the topmost head depicts the Buddha Amitabha. The Bodhisattva is portrayed standing with his principle hands in Anjali mudra. Amongst the attributes in his other hands are the Chintamani, bow and arrow, and a vessel with the elixir of immortality. The deity is dressed in a richly decorated gown with precious jewelry, wears ornate crowns and is framed by celestial bands. At the upper left shoulder is a deer fur. Compare with a closely related Dolonor-Scool Bodhisattva Avalokiteshvara in the Ekadashamukha form at Bonham’s New York, in ‘Chinese Works of Art’ September 12th, 2016, lot 8066.

大型多倫淖爾觀音蒙古，多倫淖爾派，十八世紀。銅鎏金造像頭上帶有冠、身披飃帶、耳環，綫條整齊，雕金，是多倫淖爾派的典型風格。一些綠松石和珊瑚鑲嵌仍然存在。來源：匈牙利私人收藏，1950至1960年購於蒙古，自此一直保存在一個家族中。品相：絕對優秀。四個王冠都還存在，雖然他們是分別鑄造，很多類似造像的王冠大多數丟失。除了兩個耳環外，其他所有耳環都還存在。皇冠的三個頂端與背面兩個部件以及一個飾品丟失。底座也是分開鑄造，仍然包含原始的神聖祭品！底板鬆動。鎏金有一些磨損但整體仍然保存完好。銅雕裝飾局部形成一些銅綠。此外，一些原始的冷繪彩仍然存在。重量：2327.7 克尺寸：高 31 厘米

Estimate EUR 6.000,Starting price EUR 3.000,-

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AN AVALOKITESHVARA BRONZE 18TH CENTURY China, Qianlong period. Fire-gilt, neatly incised and heavily cast bronze statue with the bodhisattva of compassion in its Ekadashamukha form with eleven faces and eight arms. Provenance: The collection of Susanna Deistler, Vienna, Austria. Acquired at Galerie Zacke before 1990. Modern brass base. Condition: Outstanding condition with minor wear and a few tiny casting imperfections, losses and nicks.

Ekadashamukha is standing in Samapada with his principle hands in Anjali mudra. Among the attributes in his other hands are a vajra, a lotus blossom and a vessel with the elixir of immortality. The deity is dressed in a richly decorated gown with precious jewelry, wears pointed leaf crowns and is surrounded by celestial bands. At the upper left shoulder, we find a deer fur. The first nine faces are peaceful, the tenth is wrathful and the top head shows the portrayal of Buddha Amitabha. Weight: 879.6 grams including base. Dimensions: Height 19.5 cm (21.5 cm including the base).

十八世紀青銅觀音像中國，乾隆時期。十一首觀音像十一隻手臂，銅鎏金，綫條簡潔，鑄造厚重。來源：奧地利維也納Susanna Deistler 私人收藏，1990年購於Zacke藝廊現代底座。品相：出色，些微磨損和一些鑄造缺陷，缺失和刻痕重量：879.6 克含底座尺寸：19.5 厘米；21.5 厘米含底座

Estimate EUR 1.500,Starting price EUR 700,-

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AN AVALOKITESHVARA BRONZE 17TH CENTURY The finely cast, elaborately incised and parcel-gilt Tibetan bronze depicts Avalokiteshvara, the bodhisattva of compassion, in its Ekadashamukha form with eleven faces and eight arms. Provenance: The collection of Susanna Deistler, Vienna, Austria. Acquired at Galerie Zacke before 1990. Modern base. Condition: Outstanding condition with minor wear and a few tiny casting imperfections, losses and nicks.

Weight: 602.7 grams including base. Dimensions: Height 23.5 cm (25 cm including the base). Ekadashamukha is portrayed standing with his principle hands in Anjali mudra, holding a conch in-between them. Amongst the attributes in his other hands is the dharmachakra, a mala, a lotus blossom and a vessel with the elixir of immortality. The deity is dressed in a richly decorated gown with precious jewelry, wears ornate crowns and is framed by celestial bands. At the upper left shoulder is a deer fur. The first nine faces are peaceful, the tenth is wrathful and the top head shows the portrayal of Buddha Amitabha.

十七世紀青銅觀音像十一首觀音銅像鑄造細膩，十一只手臂，包裹鍍金。來源：奧地利維也納Susanna Deistler 私人收藏，1990年購於Zacke藝廊品相：出色，些微磨損和一些鑄造缺陷，缺失和刻痕重量：602.7 克含底座尺寸：23.5 厘米；25 厘米含底座

Estimate EUR 1.500,Starting price EUR 700,-

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AN EKADASHAMUKHA BRONZE 18TH CENTURY Sino-Tibetan. Fire-gilt and finely incised bronze with Avalokiteshvara, the bodhisattva of compassion in its Ekadashamukha form with eleven faces and eight arms. Provenance: A private collection in Riga, Latvia. Condition: Excellent condition with old wear and good natural patina. Some minor traces of use and a few minuscule nicks here and there. Unsealed.

and the body into 1000. After continuously witnessing the misery of beings in various states of existence, discouraged, he gave rise to thoughts of seeking only his own happiness. At that very instant the head and body shattered. Calling out to Amitabha, the buddha came forth and spoke words of encouragement. Gathering up the 10 pieces of the head, Amitabha constructed 10 faces representing the 10 perfections. Gathering the 1000 pieces of the body, he constructed another with 1000 hands, each with an eye on the palm, representing the 1000 buddhas of the Golden Eon. Finally he placed a duplicate of his own head at the crown, illuminating the entire threefold universe. For a closely related yet significantly smaller Ekadashamukha bronze, also dating to the 18th century, compare with Christies New York in ‘Himalayan, Indian and South East Asian Art’, March 15th, 2017, lot 201, this sculpture also being listed in Himalayan Art Resources as item no. 24299.

Weight: 821.4 grams. Dimensions: Height 20 cm. Ekadashamukha is standing in Samapada with his principle hands in Anjali mudra, upper and lower left hands hold a lotus blossom and a ewer respectively. The deity is dressed in a richly decorated gown with precious jewelry, wears pointed leaf crowns and is framed by celestial bands. At the upper left shoulder is a deer fur. The first nine faces are peaceful, the tenth is wrathful and the top head shows the portrayal of Buddha Amitabha. At one time the bodhisattva Avalokiteshvara made a promise that should he give rise to thoughts of self-benefit may the head break into 10 pieces

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十八世紀十一首觀音銅像漢藏，銅鎏金造像展現了十一首十一臉八臂觀音。來源：拉脫維亞里加私人收藏品相：優秀，舊磨損，自然包漿，一些輕微的使用痕跡與劃痕，未封底。重量：821.4 克尺寸：高 20 厘米

Estimate EUR 1.500,Starting price EUR 700,-

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A QING ROBIN’S EGG GLAZED BODHISATTVA China, 18th – 19th century. The Robin’s Egg glazed and parcel gilt porcelain figure is finely molded with a good eye for detail and decorated with gold painting and polychrome enamels. Provenance: From an English private collection, Hampshire, acquired in the early 20th century, and thence by descent. Condition: Superb condition with only one near-invisible chip to jewelry.

Weight: 583.8 grams. Dimensions: Height 21 cm. The Bodhisattva is seated in Dhyanasana, wearing a long dhoti and a shawl draped around the shoulders with celestial ribbons as well as elaborate jewelry and hair ornaments to a tall chignon. The deity is holding a small bird in her right hand, the left pointing towards the ground. Compare with a related figure at Sotheby’s New York in ‘Important Chinese Works of Art’, March 17th, 2015, lot 362.

清代爐鈞釉銅鎏金菩薩坐像中國，十八至十九世紀。爐鈞釉鎏金銅像細節入微，琺琅色彩精美。來源：英國漢普郡私人收藏，購於二十世紀初，保存至今。品相：極好，只有一條在珠寶上微不可見的磕損重量：583.8 克尺寸：高21 厘米

Estimate EUR 2.500,Starting price EUR 1.200,-

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A GILT BRONZE TSONGKHAPA QIANLONG China, 1736-1795. Fine and heavy fire-gilt bronze with superb incision work. The sealing plate bears crossed vajras. Provenance: Private collection in Texas, USA. By repute acquired in China around 1900 and in the same family ever since. Condition: Magnificent condition with the gilding in almost perfect preservation, some minor wear and a few tiny nicks here and there, the sword slightly bent. Original sealing.

Weight: 1097.4 grams. Dimensions: Height 15.5 cm. The Lama is depicted in Vajrasana on a double lotus base, with both hands in dharmacakramudra. Lotuses are flowering along his upper arms supporting his traditional attributes, the manuscript and the sword. His face displays a serene expression with downcast eyes below arched eyebrows. His head is covered with the pointed bonnet decorated with long lappets falling over both shoulders. The garment hems are neatly decorated.

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Tsongkhapa (1357–1419) is a revered Tibetan religious philosopher, and a central of the Gelugpa sect that ruled Tibet until the middle of the 20th century. According to tradition, he is an emanation of the Bodhisattva Manjusri. Compare with a closely related statue, slightly smaller and with missing attributes, also dating to the Qianlong period, at Sotheby’s New York in ‘Fine Chinese Ceramics and Works of Art’, March 19th, 2013, lot 352. Both statue are most likely from the same workshop.

乾隆鎏金銅宗喀巴像中國，1736-1795。厚重的鎏金銅鑄造精良，封底上有十字金剛杵。來源：美國德克薩斯私人收藏。據説是1900年前後在中國購得，在同一家族中收藏至今品相：總體保存極好，一些輕微磨損和刻痕，劍微微彎曲。原始封底。重量：1097.4 克尺寸：高15.5 厘米

Estimate EUR 1.500,Starting price EUR 700,-

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A RARE BRONZE OF DRAGPA GYALTSEN Tibet, 18th century. Fire gilt and incised bronze with the Buddhist teacher wearing palatial attire and a distinctive Lama hat. Lotuses are flowering along his upper arms supporting manuscript and sword. His crossed hands hold vajra and ghanta, the signs of the Absolute. Provenance: Czech private collection. Condition: Massive wear with only little of the original gilding left. Strong patina with several dark spots. Remnants of old cold painting. Minor casting flaws, nicks and dents. The sealing plate has been trimmed and may possibly be a later addition but is certainly also of a high age. The original sacrifices inside are still in place.

Weight: 443.3 grams. Dimensions: Height 12.5 cm. Jetsun Dragpa Gyaltsen (1147-1216) of the aristocratic Khon family was the third Sakya Jetsun Gongma Nga, the men who were credited with founding the Sakya order. He was also the fifth Sakya Tridzin or throne holder for forty-three years and effectively headed the monastery for

fifty-seven years, from age thirteen until his death at nearly seventy. Despite the great wealth that passed through his hands as the Sakya throne holder, his biographers claim that he did not accumulate material wealth and when he passed away, he possessed only his robe and a meditation cushion. For another closely related sculpture of Dragpa Gyaltsen in similar pose see Himalayan Art Resources, item no. 16279.

稀有的杜固扎巴堅贊鎏金銅像西藏，十八世紀。這座藏傳佛教宗師鎏金銅像身披莊嚴袈裟，頭戴獨特的喇嘛帽。兩臂後側蓮花盛開，上有經書與劍，手持；雙手交叉，分別持有金剛杵與金剛鈴，方便與智慧二者不相離。來源：捷克私人收藏品相：磨損嚴重，只剩一點原始鎏金。厚實的包漿上有些深色斑點，仍可見彩繪，鑄造小缺陷，刻痕和凹陷。密封板已經修復，但可能是後來加的，應該也有一定年代，裏面原來的藏物還在。重量：443.3 克尺寸：高12.5 厘米

Estimate EUR 400,Starting price EUR 200,-

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A LARGE BRONZE TARA 18TH CENTURY Mongolia, 18th century. The well casted fire-gilt bronze depiction of Tara is resting on a fire-gilt copper repoussé double-lotus base. The complete statue shows finely executed incisions. Provenance: From a Hungarian private collection. Acquired in Asia between 1950 and 1960. Condition: Very good condition with substantial wear but no losses, only a few minor dents here and there. The base is unsealed and the mandorla is missing. The rivets that connect the statue with the base may have been renewed at some point but are definitely of high age as well.

Weight: 1372.5 grams. Dimensions: Height 21.5 cm. Tara is seated in dhyanasana on a double-lotus base, her hands are in varada and vitarka mudras, the left is holding a flower spray, and she wears a long flowing dhoti, precious jewelry and a sash wrapped around her shoulders. Her face bears a benign expression surmounted by an elaborate foliate tiara and framed by large double-disc earrings. Compare the similarities in style, richness of the jewelry and expression of the face with a Dollonor Tara sold at Bonham’s Hong Kong in ‘Images of Devotion’ on October 2nd, 2018, lot 89.

十八世紀大型銅鎏金度母像蒙古，十八世紀。鑄造精良的鎏金度母坐於雙層蓮花座。整座銅像綫條流暢。來源：匈牙利私人收藏，1950年至60 年間購於亞洲品相：非常好，有明顯磨損，但沒有缺失，僅局部有一些凹陷。底座沒有封印。將雕像與底座連接起來的鉚釘可能已經被更新過，但肯定也是有一定年代。重量：1372.5 克尺寸：高21.5 厘米.

Estimate EUR 2.000,Starting price EUR 1.000,-

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A SHADAKSHARI BRONZE 18TH CENTURY Tibet, 18th century. Well cast heavy bronze with polychrome cold paint and remnants of original lacquer gilding. Neatly incised details, partially in high relief, especially to the tiara, the earrings and other jewelry. Provenance: From a British estate. Condition: Excellent condition with absolutely zero losses and only minor wear and few small nicks here and there. Good dark patina.

Weight: 2630.7 grams. Dimensions: Height 23.5 cm. Depicting Avalokiteshvara in its four-armed Shadakshari form, seated in Dhyanasana atop a sprawling lotus pedestal. The primary hands are in Anjali mudra whilst the upper hands perform Kartari mudra. The base is sealed with a plate showing a finely incised double vajra. A minuscule head of Amithaba is raising from her chignon.

十八世紀青銅觀音像西藏，十八世紀。鑄造精良，多彩冷繪，可見剩餘原始鎏金漆彩。細節精緻，局部高浮雕，特別是頭冠、耳環和其他珠寶。來源：英國遺產品相：極好，絕對沒有任何缺失，進有些微磨損和局部小刻痕，深色包漿重量：2630.7 克尺寸：高23.5 厘米

Estimate EUR 1.000,Starting price EUR 500,-

263

Over the past 50 years, Alain Presencer has devoted his life to the study and promotion of Tibetan Buddhism and culture. His contributions to the field resulted in numerous recognitions, including his appointment as a Fellow of the Royal Asiatic Society. Alain also brought to the West his knowledge of the extraordinary and mystical religious music of the region. As a result, he produced a popular recording of his own performances, introducing this musical genre to a global audience with his album ‘The Singing Bowls of Tibet’, which has sold over a million copies to date.

262

A LARGE VAJRASANA BUDDHA 15TH CENTURY Tibet, 15th century. Fire-gilt bronze. This elegant figure of Buddha Vajrasana (thub pa rdo rje gdan) is cast in the traditional posture of meditation. A small vajra sits atop his lotus throne, identifying him as a particular form of Shakyamuni, the sage of the diamond throne. Provenance: Freddy Hansen, Copenhagen, 1970. Thereafter in the Alain Presencer collection. Published: Himalayan Art Resources item no. 61648. Condition: Superb condition with original sealing. Old wear, minuscule cracklings and a few small nicks here and there. Old cold painting.

Weight: 1905 grams. Dimensions: Height 23.5 cm. Finely modeled with long limbs and a slender body, this gilded figure demonstrates a Tibetan perception of the idealized body, much different from Indian models. For another example of this body perception, see von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pages 442-443, no. 119B. Seated atop a double-lotus base, Buddha displays the bhumisparshamudra, or earth-touching gesture, calling witness to his enlightenment. The aquiline nose and the incised hem of the figure’s robe, which wraps around the proper-left arm, also point to a distant Newar influence, especially with its full and round shoulders and the robe’s hem draped over the left shoulder, coming to an end in the shape of a swallow’s tail. Only very few examples share these significant stylistic details. A copper plate marked with a double vajra is evidence of this sculpture’s formal consecration and appears to be the original seal. The presence of the small vajra before Buddha’s ankles references Shakyamuni’s enlightenment at Bodh Gaya in India. Its appearance in this 15th-century Tibetan bronze distinguishes the subject from the Presiding Buddha, Akshobhya, who resides in a celestial abode, and is shown seated in the same posture.

十五世紀釋迦牟尼坐蓮像西藏，十五世紀。銅鎏金，精美的釋迦牟尼傳統坐蓮像，蓮座上橫放一個金剛杵，所以這是一個特殊的釋迦牟尼金剛寶座形式。來源：1970年哥本哈根Freddy Hansen。之後在Alain Presencer 收藏。出版：Himalayan Art Resources item no. 61648 品相：極好，原始封底，老磨損，輕微磕碰和一些小劃痕。舊的冷繪彩。重量：1905 克尺寸：高 23.5 厘米

Estimate EUR 8.000,Starting price EUR 4.000,-

264

265

Compare with a related Buddha Vajrasana, height 27 cm, Sotheby’s New York in ‘Indian, Himalayan and Southeast Asian Work of Art’, March 16th, 2016, lot 723. Sold for USD 100,000.

266

Compare with a related Buddha Vajrasana, height 24 cm, Christies New York in ‘Indian, Himalayan and Southeast Asian Works of Art’, September 12th, 2018, lot 373. Sold for USD 212,500.

263

A BRONZE AMITAYUS 18TH CENTURY China, Qianlong period. The statue seated on a double lotus throne in vajrasana, wearing elegantly swung garments with associated heavenly bands, large earrings, a distinctive tiara and holding a chakra in both hands. Provenance: Peter Fussel, London, late 1960s/70s. Thereafter in the Alain Presencer collection. Published: Himalayan Art Resources item no. 61645. Condition: Superb condition with wood sealing. Very little wear only. The chakra has been re-attached and may possibly be an addition from a later period.

Weight: 438.7 grams. Dimensions: Height 11 cm.

This fire-gilt bronze is a particularly refined casting of a style developed by Chinese workshops during the early Qianlong period. Amitayus represents the ‘apparitional, blissful form’ (sambhogakaya) of the Presiding Buddha Amitabha.

十八世紀阿彌陀佛銅像中國，乾隆時期。阿彌陀佛结跏趺坐于雙層莲台之上，袈裟精美，裝飾飄揚，大耳環，頭冠獨特，雙手各持一個法輪。來源：倫敦Peter Fussel，上世紀六十至七十年代。之後在Alain Presencer 收藏出版：Himalayan Art Resources item no. 61645. 品相：極好，木質封印。極少磨損，法輪被重新粘過，可能是後人所做重量：438.7 克尺寸：高 11 厘米

Estimate EUR 2.000,Starting price EUR 1.000,-

267

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A BUDDHA VAJRASANA 16TH CENTURY Tibet, 16th – 17th century. A superb fire-gilt bronze of Buddha Shakyamuni with a Vajra resting before him. Seated in vajrasana on a double lotus base with bhumisparshamudra, calling mother earth a witness to his enlightenment. Provenance: The collection of Susanna Deistler, Vienna, Austria. Acquired at Galerie Zacke before 1990. A copy of the original expertise by Galerie Zacke Vienna is accompanying this lot. Condition: Outstanding condition with minor wear and a few tiny casting imperfections and nicks.

Weight: 390.7 grams. Dimensions: Height 14.8 cm. Shakyamuni Buddha and the Vajra Seat refers visually in art and iconography to the vajra scepter located on the seat in front of Shakyamuni. Like in the present piece, it is always horizontal, lying flat, rather than upright and often appears as if partially sunk into the seat. The meaning of the vajra scepter in this specific configuration in front of Shakyamuni refers to the time and geographic location when and where the Buddha reached enlightenment at Bodhgaya (Vajrasana), India. There are actually three references to the term ‘vajra’ in the depiction of Buddha Vajrasana. First, the location of Bodhgaya, previously known as Vajrasana, is represented by the physical vajra scepter in front of the Buddha. Secondly, the Buddha is seated in the vajrasana posture, with the right leg folded over the left. Thirdly, and abstractly, the Buddha is believed to be mentally focused on the vajra samadhi meditation. These are the three references to the term ‘vajra’ in relation to the historic Buddha’s enlightenment. Compare with a related Vajrasana Buddha, dating to the 15th – 16th century, measuring 23 cm, at Christies New York, in ‘Indian, Himalayan and South East Asian Art’, March 21st, 2018, lot 302.

十六世紀鎏金銅佛坐蓮像西藏，十六至十七世紀。釋迦牟尼佛像周身鎏金，右手持觸地印，左手手心向上，結跏趺坐於二層蓮台之上，說“大地爲我作證”。來源：奧地利維也納Susanna Deistler私人收藏，1990年購於Zacke藝廊；隨附Zacke藝廊原始專業報告。品相：出色，些微磨損，一些鑄造缺陷和刻痕重量：390.7 克尺寸：14.8 厘米

Estimate EUR 2.000,Starting price EUR 1.000,-

268

265

A BRONZE AMITAYUS, QIANLONG China, 18th century. A finely cast and fire-gilt bronze with neatly incised detail work and inlaid turquoise gems. Good natural patina. Provenance: From a British private collection. Condition: Outstanding condition with very little wear, tiny casting flaws, some of the inlaid turquoises and the miniature vessel are lost, unsealed.

Weight: 653.2 grams. Dimensions: Height 14.5 cm. Amitayus, the Celestial Buddha of Infinite Life, is seated in dhyanasana with his hands held in dhyana mudra and in place to support a miniature vessel containing the elixir of longevity. Wearing turquoise inlaid jewelry. The hair is pulled up into a tall topknot behind a fivepointed crown and falls down along the shoulders. The finely incised garment is adorned by heavenly bands. Compare with a slightly larger Amitayus (17 cm), also dating to the 18th century, at Sotheby’s New York, in ‘Important Chinese Art’, March 21st, 2018, lot 575.

乾隆鎏金銅阿彌陀佛像中國，十八世紀。鎏金銅，細節精緻，鑲嵌綠松石，天然包漿細膩來源：英國私人收藏品相：出色，只有極少的磨損，些微鑄造缺陷，一些綠松石和小碗丟失，未封底重量：653.2 克尺寸：高14.5 厘米

Estimate EUR 2.000,Starting price EUR 1.000,-

269

266

AN 18TH CENTURY BRONZE MANJUSHRI Tibetan-Chinese. Inlaid with corals and turquoises. Heavily cast and neatly incised. Remnants of original cold painting. Provenance: From an old German private collection, acquired prior to 1990. Thereafter in a Hungarian private collection. Acquired from Nagel Auctions, Stuttgart, Germany. Condition: Excellent condition with wear to the gilding, few losses to inlaid stones, the sealing renewed some time ago, the contents likely still present according to the weight, the sword possibly a later addition.

Weight: 1287.7 grams. Dimensions: Height 18.2 cm.

270

Seated in vajraparyanakasana on a double lotus pedestal, Manjushri’s right hand is wielding the sword, his left is raised to the chest, and at his left upper arm is a curved stem of uptala lotuses supporting a book. His dhoti is falling into neat pleats and is incised with foliate scroll borders, the chest adorned with beaded necklaces and draped over with a billowing scarf around the shoulder and arms, the benevolent face surmounted by a diadem before a high chignon.

十八世紀文殊菩薩銅像漢藏。鑲嵌珊瑚和綠松石。造像厚重，綫條清晰簡潔。有原始冷繪彩餘留。來源：老德國私人收藏，1990年前購置。之後在一個匈牙利私人收藏中。購於德國斯圖加特那高拍賣行。品相：極好，鎏金層有磨損，鑲嵌的寶石有丟失，封底更新過，因重量可推測内部還有物件存在，劍可能是後來加上的。重量：1287.7 克尺寸：高 18.2 厘米

Estimate EUR 2.500,Starting price EUR 1.200,-

267

A GILT COPPER BUDDHA SHAKYAMUNI Tibet, 15th-16th century or earlier. The historical Buddha seated in Dhyanasana atop a double lotus pedestal. The right hand held in Bhumisparsha mudra and the left, resting in his lap, holding a bowl of alms. Provenance: From a British estate. Kept in the same family since 1911. Accompanied by a letter which dates to 1911. In this letter, the author writes that the present Buddha ‘is about 810 years old’ and was found at ‘the monastery of Jantzi’. Furthermore, the base bears an old note stating that ‘There is a wooden base to this God hidden in the hall desks, or amidst my underwear in my bedroom’ (needless to say, the wooden base was never found). Condition: Extensive wear, some minor dents here and there, the base slightly warped, the mandorla lost. The sealing plate is loose and the inner of the statue is empty. The gilding is still pretty well intact.

Weight: 926.1 grams. Dimensions: Height 18.5 cm.

While the figure itself is cast of a copper alloy, the lotus base is made of copper repoussé. The sculpture depicts the historical Buddha Shakyamuni reaching forward with his right hand calling the earth to witness his triumph over the assaults and temptations of the demon Mara. The Buddha is modelled in the classic early Tibetan style drawing on eastern Indian artistic traditions assimilated through close contact between lamas and pilgrims of Tibet’s central regions and the monasteries of Bengal and Bihar in the eleventh and twelfth centuries.

銅鎏金釋迦牟尼像西藏，十五至十六世紀或更早。過去佛結跏趺坐于二层莲台之上，左手持缽，右手結觸地印。來源：英國遺產。自1911年一直收藏在同一家族中。隨附一封落款為1911年的信，在這封信裏，寫信人寫道：這座佛像是“is about 810 years old”，在‘the monastery of Jantzi’被發現。另外，底座上可見“There is a wooden base to this God hidden in the hall desks, or amidst my underwear in my bedroom“。品相：明顯磨損，一些輕微凹陷，底座彎曲，光背丟失。封印丟失，内裏無物。鎏金仍然美麗牢固。重量：926.1 克尺寸：高 18.5 厘米

Estimate EUR 1.000,Starting price EUR 500,-

271

272

268

A QING DYNASTY MARBLE BUDDHA China, late 18th – 19th century. Subtle and refined carving of Buddha Shakyamuni seated in Dhyanasana atop a double lotus pedestal, one hand in Bhumisparsa mudra. Provenance: Property of a member of the Dashwood Family of West Wycombe Park, Buckinghamshire, United Kingdom. Photographed in situ at Albert Hall Mansions in 1974. Condition: Superb condition with small loss at the tip of the mandorla as visible on the photo, some minor chips and dents here and there, old wear, weathering and a good, slightly moss-green natural patina.

Weight: 38.3 kilograms. Dimensions: Height 51 cm. The happiness this Buddha portrayal radiates through the charming face and the chubby features of its protagonist is highly remarkable. The mandorla shows linear carving, the halo bears neatly incised flames. Even the cross-shaped base at the lower end is neatly incised with vajras amid cresting waves.

清代大理石佛像中國, 十八世紀晚期至十九世紀。精美的佛陀釋迦牟尼結跏趺坐在雙層蓮花寳座上，一隻手結觸地印。來源：可能是英國白金漢郡西維肯貝Dashwood 家族成員收藏。1974年在 Albert Hall Mansions現場拍攝。品相：極好，在照片上可看到曼陀羅尖端有些缺損，一些小磕損和凹痕，舊磨損、風化，良好的略帶苔綠色的天然銅綠。重量：38.3 公斤尺寸：高51 厘米

Estimate EUR 3.000,Starting price EUR 1.500,-

Photographed in situ at Albert Hall Mansions in 1974.

273

270

A SILVER BUDDHA, TIBET 19TH CENTURY The finely cast miniature statue of the historical Buddha Shakyamuni is seated in Dhyanasana on a double lotus pedestal. One hand is in Bhumisparsha mudra while the other, resting in his lap, holds an alms bowl. Provenance: Old Hungarian private collection. Condition: Old wear and a few minuscule nicks and casting flaws. Unsealed.

Weight: 117 grams. Dimensions: Height 7 cm.

西藏十九世紀銀佛像鑄造精美的過去佛釋迦牟尼結跏趺坐於雙層蓮花寶座上，一隻手施觸地印，左手持缽。來源：老匈牙利私人收藏品相：老磨損，一些几不可見的刻痕以及鑄造缺陷，未封底重量：117 克尺寸：高7 厘米

Estimate EUR 200,Starting price EUR 100,-

269

A SHAKYAMUNI BRONZE 17TH CENTURY Tibet, 17th – 18th century. The historical Buddha seated in Dhyanasana on a flat plinth holding a bowl of alms. His modesty is emphasized through his simplistic monk’s robe and his pious facial expression. Provenance: A Hungarian private collection. A small piece of paper with old collector’s notes is hidden inside the statue. Condition: Excellent condition with a fine natural copper-brown patina, some minor nicks and casting flaws, unsealed.

Weight: 433.2 grams. Dimensions: Height 10 cm. The copper bronze casting is quite heavy, especially when compared to its size. Fine incised detail to face, alms bowl and garment hem. Compare with a closely related Shakyamuni portrayal in Himalayan Art Resources, item no. 2354.

十七世紀釋迦牟尼銅像西藏，十七至十八世紀。過去佛釋迦牟尼結跏趺坐於蓮花寶座上，雙手施禪定印，手心一缽。簡潔的袈裟表現了他的謙虛，更加突出了他的虔誠。來源：匈牙利私人收藏，一張寫有老藏家注釋的紙條藏在銅像内部品相：極好，銅褐色天然包漿，一些輕微刻痕與鑄造缺陷，未封底重量：433.2 克尺寸：高10 厘米.

Estimate EUR 300,Starting price EUR 150,-

274

272

A TIBETAN BRONZE JAMBHALA QING 18th century. Gilt and finely incised fire-gilt bronze with remnants of cold paint. Depicting the deity of wealth in traditional Tibetan King Appearance. Holding a mongoose in his left hand and seated on an ornate pedestal in a relaxed posture. Provenance: A private collection in Riga, Latvia. Condition: Superb condition with good patina, some old wear, minor traces of use, one minuscule attribute lost, unsealed.

Weight: 195.1 grams. Dimensions: Height 7 cm. There are many more sculptural objects of Yellow Jambhala than there are paintings. The reason for this apparent imbalance between paintings and sculpture is because there is a special ritual practice involving Jambhala that requires a physical representation, a sculpture - generally small in size. The actual practice involves pouring 108 offerings of water over the head of Jambhala accompanied by a short mantra. The ritual is narrative based and originates with an event from the life of Shakyamuni Buddha. Compare with a closely related statue in Sotheby’s Paris ‘Arts d’Asie’, December 11th, 2014, lot 180.

清代西藏藏巴拉五姓財神十八世紀。鎏金銅上剩餘冷繪彩，展示了西藏傳統財神，左手持吐寳鼠，休閑式坐在寶座上。

271

A PARCEL GILT BUDDHA 17TH CENTURY Tibet, 17th – earlier 18th century. This rare incised copper bronze shows Buddha Amitabha in the pure land of Sukhavati, seated on a single lotus base and holding a vase with the nectar of immortality.

來源：拉脫維亞里加私人收藏品相：極好，包漿良好，一些舊磨損，些微使用痕跡。輕微物件缺損，未封底重量：195.1 克尺寸：高 7 厘米

Estimate EUR 500,Starting price EUR 250,-

Provenance: British private collection. Condition: Excellent condition with a fine natural patina, some minor nicks and casting flaws, unsealed. Old square hardwood base. (2)

Weight: 399.1 grams. Dimensions: 12 cm. The pure land or paradise of Sukhavati is expressed through the large lotus blossoms encircling the main image of Buddha and additionally through the parcel gilding of the figure, which emphasizes the enlightenment and joy of Shakyamuni, further accented by his happy smiling face. The unusual shape of this hollow bronze with its deep, oval opening at the bottom makes it possible that it was originally intended as a staff finial or an architectural adornment.

十七世紀鍍金銅佛像西藏，十七至十八世紀初。稀有銅像展現了阿彌陀佛身處净土，坐於單層蓮座上，手持净水瓶。來源：英國私人收藏品相：極好，天然包漿細膩，一些輕微刻痕、鑄造缺陷，未封底；舊方形木底座重量：399.1 克尺寸：12 厘米

Estimate EUR 300,Starting price EUR 150,-

275

Buddhism and Hinduism

Lots 273 to 317

273

A RARE RELIEF OF DRUKPA KUNLEY Tibet, late 15th - 16th century. Fire-gilt, embossed and incised copper repoussĂŠ with a scene in high relief and engraved Tibetan script. Depicted is the naked Yogi Drukpa Kunley, with erected genital, sided by two adorants. Four Citipati skulls at the left border.Â Provenance: From a British private estate. By repute acquired in Asia during the late 1890s and thence by descent in the same family. Condition: Losses as visible on the images. Extensive wear and some minor dings and dents here and there. Overall highly presentable and well-preserved condition.

Weight: 687.5 grams. Dimensions: 42 x 19 cm.

278

Drukpa Kunley, also known as ‘The Crazy Yogi of the Drukpa’ was born in 1455 at the Ralung Monastery complex in the Tibetan region of Kyisho, the traditional term for the region around Lhasa. He was known for his crazy methods of enlightening other beings, mostly women, which earned him the title ‘The Saint of 5,000 Women’. Among other things, women would seek his blessing in the form of sex. Drukpa Kunley’s intention was to demonstrate that it is possible to be enlightened, impart enlightenment, and still lead a very healthy sex life. Because of his power to awaken unenlightened beings, Kunley’s penis is referred to as the ‘Thunderbolt of Flaming Wisdom’ and he himself is known as the ‘fertility saint’.

罕見的大成就者浮雕西藏，十五世紀晚期至十六世紀。銅鎏金，下邊緣雕刻西藏經文，正中央可見赤裸的大成就者譯師貢嘎勒巴，左右分別一名伺奉人。左邊緣四個骷髏。來源：英國私人收藏，據説在1890年代購於亞洲，自此一直保存在一個家族中。品相：畫面局部缺失，嚴重磨損和一些輕微凹凸。整體保存良好。重量：687.5 克尺寸：42 x 19 厘米

Estimate EUR 3.000,Starting price EUR 1.500,-

279

274

A GILT REPOUSSE RELIEF OF A SHARABA Tibet, 16th - 17th century. Gilt copper openwork repoussé with high relief and fine incisions. Depicted is a mythical being, a horned griffin with a lion body and a bird’s beak. At the back of the creature is a diminutive figure in a dancing pose. Provenance: From a large UK private collection of Himalayan art. Jonathan Tucker and Antonia Tozer Asian Art, St. James, London. German private collection. Condition: Losses as visible on the images. Extensive wear and some minor dings and dents here and there. Overall highly presentable and well-preserved condition. Modern stand. (2)

Weight: 545.5 grams. Dimensions: 32 x 20 cm.

280

Reliefs such as the present are parts of a throne back, called Torana. Compare with a relief of comparable size and with a depiction of a Kinnari, dated to the 15th century, at Sotheby’s Paris ‘Arts d’Asie’ sale on December 12th, 2013, lot 215.

沙拉巴哈銅鎏金浮雕西藏，十六至十七世紀。銅鎏金高浮雕一個神話中存在的、有獅子身體和鳥喙的格里芬。在這個生物的背後是一個跳舞姿勢的小個子人物。來源：大型英國喜馬拉雅藝術收藏。倫敦Jonathan Tucker and Antonia Tozer 亞洲藝術。德國私人收藏品相：畫面有明顯缺失；磨損嚴重，一些輕微凹陷，整體保存較好，底座較新。重量：545.5 克尺寸：32 x 20 厘米

Estimate EUR 800,Starting price EUR 400,-

275

A RARE TERRACOTTA MAHASIDDHA Tibet, 18th century. Painted in polychrome colors on dark-brown ceramic. The tantric Jogi is seated in a relaxed posture on a cushion covered with a tiger’s fur. He holds a vessel In his right hand and his facial expression is joyous and inspired. Provenance: From a British private collection. Condition: Good condition with old wear, a good natural patina, a few tiny nicks here and there and a minor loss to the left hand.

Weight: 749.9 grams. Dimensions: Height 16.8 cm.

Mahasiddha translates to great (maha) and accomplished one (siddha). They are the principal Indian teachers of Hindu and Buddhist Tantra, or any great religious teacher that is credited with having special attainments and powers. Although most of the famous Mahasiddha are from India, there is also a number from bordering countries.

罕見的大成就者陶像西藏, 十八世紀。深褐色陶瓷上著色，坦特儸瑜伽士悠閑式坐在鋪著虎皮的底座上。他右手持瓶，面容表情歡快似乎得到靈感。來源：英國私人收藏品相：良好，有舊磨損，天然包漿良好，一些輕微劃痕，左手有輕微缺失。重量：749.9 克尺寸：高16.8 厘米

Estimate EUR 400,Starting price EUR 200,-

281

277

A 19TH CENTURY RELIQUARY STUPA South East Asia, 19th century. The bronze stupa with its originally sealed underside consists of two parts and can be opened when a secret mechanism is activated. The domed Bumpa is supported by circular terraces and bears four Bodhi leaves. Provenance: British private collection. Condition: Excellent condition with minor nicks here and there, some wear, one of seven adornment chains and tips of two Bodhi leaves lost. Fine natural patina.

Weight: 486.5 grams. Dimensions: Height 17.5 cm.

276

AN IRON STUPA 11TH CENTURY Tibet or India. Massively cast-iron reliquary stupa with a distinctive sun-and-moon finial on top. A fine and early example of this fundamental form of ‘aniconic’ Buddha representation. Provenance: The Alain Presencer collection. Published: Himalayan Art Resources item no. 61674. Condition: Superb condition with original sealing. Extensive wear and a few small nicks here and there. Fine patina.

Weight: 505.3 grams. Dimensions: Height 16 cm. For the first five centuries, Buddha’s followers did not represent him in human form. Rather they emphasized his supramundane nature and celebrated its lingering presence in the world. Stupas are among the most important and lasting of these ‘aniconic’ representations. They can be small reliquaries, like the present, charged with sacred contents, or large monuments for pilgrimage believed to house important relics - in some cases still-vivified elements of Shakyamuni’s mortal body. Precedent for its sun-and-moon finial can be found in the earliest Indian stupas, as seen in a famous 8th-century Gilgit shrine of Crowned Buddha in the Rockefeller Collection at Asia Society (1979.044).

十一世紀舍利鐵塔西藏或印度。厚重的鑄鐵舍利塔，獨特的日月狀頂部。這是無偶像論佛像表現形式立一個很好的早期例子。來源：Alain Presencer 收藏出版：Himalayan Art Resources item no. 61674 品相：極好，原始封底。明顯磨損和小刻痕。包漿良好。重量：505.3 克尺寸：高 16 厘米

Estimate EUR 600,Starting price EUR 300,-

282

The square harmika is the base for 13 discs which represent the 13 powers of Buddha. The jewel at the very top sits above a parasol which is a symbol for compassion.

十九世紀舍利塔東南亞，十九世紀。銅塔原始封底為兩部分，觸動機關可以打開。圓頂裝飾菩提葉。來源：英國私人收藏品相：有些，局部輕微刻痕，一些磨損，七個裝飾鏈中的一個和兩枚菩提葉丟失重量：486.5 克尺寸：高17.5 厘米

Estimate EUR 300,Starting price EUR 150,-

278

A REPOUSSE STUPA 18TH CENTURY Tibet, 18TH to earlier 19TH century. A fire-gilt copper model of a stupa with fine decoration of hanging, beaded jewelry with inset turquoise, coral, lapis lazuli and other semi-precious stones. Provenance: Oliver Robert Coales Collection, acquired by Mr Coales when working and travelling in Eastern Tibet in 1916-17, and thence by descent. Condition: Fine condition with the gilding almost entirely intact. The top finial and few of the inlaid stones are lost. Minor traces of use, wear, nicks and warping. Originally sealed, the plated with neatly incised crossed vajras.

Weight: 382.7 grams. Dimensions: Height 18.5 cm. In the round bumpa we find a very fine miniature statue of a seated Amitayus on a lotus throne, wearing a five-tiered tiara, jewelry, celestial bands and holding a vase with the nectar of immortality. Square stepped throne with a Tibetan inscription in high relief reading ‘Im mani Pedme him’ (the worst word is a sacred syllable, the second means ‘jewel’, the third ‘lotus’ and the fourth ‘spirit of enlightenment’).

十八世紀舍利塔西藏，十八至十九世紀初。鎏金銅塔，精美裝飾，鑲嵌綠松石、珊瑚、青金石以及其他礦石。來源：Oliver Robert Coales 收藏，Coales先生于1916-17在西藏東部工作及旅行時購買，之後一直收藏在家族中至今品相：良好，鎏金幾乎完好無損；頂部尖端和少數鑲嵌的寶石丟失；些微使用痕跡、磨損、刻痕和翹曲；最初是密封的，整齊切割的十字金剛杵。重量：382.7 克尺寸：高18.5 厘米.

Estimate EUR 700,Starting price EUR 350,-

283

279

A TIBETAN DUOMU, 19TH CENTURY Brass and copper. The body with stylized foliage engraved to several neatly applied brass reliefs. Spout and handle are made of cast brass and bear related décor. Provenance: From an Austrian private collection. Condition: Fair condition with extensive wear, some dings and nicks here and there, soiling and small losses.

Weight: 2336 grams. Dimensions: Height 33.5 cm. The original meaning of the Tibetan duomu is ‘bucket for butter’. Ewers in this shape were used for serving yak butter tea. They also came to be used to hold wine and milk.

十九世紀西藏多穆壺黃銅與銅，身體採用開光卷葉紋，獸形壺嘴和手柄。來源：奧地利私人收藏品相：良好，磨損嚴重，一些劃痕、污跡與缺失。重量：2336 克尺寸：高33.5 厘米

Estimate EUR 300,Starting price EUR 150,-

280

A LARGE TSA-TSA OF MAHAKALA Tibet 18th -19th century. Neatly molded of clay with cold painted depiction of the protector deity standing on a two-tiered lotus base in high relief. Tibetan script is surrounding the image. Provenance: Austrian private collection. Condition: Excellent condition with old wear and patina.

Weight: 457.5 grams. Dimensions: Height 13.8 cm. One of Mahakala’s key roles in Tibetan Buddhism is to overcome any obstacles to enlightenment. This is visually manifested in this sculpture as he is trampling on an elephant-headed god, who represents such obstacles.

大型大黑天擦擦像西藏，十八世紀至十九世紀。泥擦上施彩，深刻塑造了立於雙層蓮座上的護法神形象。神像四周可見藏文。來源：奧地利私人收藏品相：優秀，老磨損和包漿重量：457.5 克尺寸：高13.8 厘米

Estimate EUR 200,Starting price EUR 100,-

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281

A RARE MANUSCRIPT COVER 17TH CENTURY Tibet, 17th- earlier 18th century. The finely carved and gilded upper manuscript cover depicting Bhaishajyaguru seated in vajraparyankasana on a lion throne, backed with a prabhamandala, set in a foliate background, within borders of petals and foliage. Provenance: The private collection of August Flick (1905-2012), Cologne, Germany. Sold at Zemanek-Münster, September 11th, 2004, lot 453. Bavarian private collection. Condition: Good condition with fine, honey-brown patina and a nice lustre. Natural age cracks as visible on the photo. Some wear and abrasions especially near the border. Some minor dents. The original gilding with significant wear.

Weight: 4.9 kilograms. Dimensions: 28.5 x 71.4 x 4 cm.

罕見的十七世紀手稿本封面西藏，十七世紀至十八世紀早期。精美雕刻並鍍金的手稿封面展現了藥師佛坐在獅子寶座上結跏趺坐，背面有一個光背，周圍卷葉紋，周邊花瓣和樹葉紋。來源：德國科隆August Flick (1905-2012)私人收藏。于2004年9月11日在 Zemanek-Münster售出，拍號453。巴伐利亞私人收藏。品相：良好，包漿細膩，蜜褐色，天然年代裂紋。一些磨損，特別在周邊。一些輕微凹陷，原始金彩磨損嚴重。重量：4.9 公斤尺寸：28.5 x 71.4 x 4 厘米

Estimate EUR 800,Starting price EUR 400,-

285

The following fifteen Phurbus are from a British collection and were originally acquired in 1968. They have remained in the same family ever since. Wooden phurbus were commonly used in accordance with HimalayanÂ shamanicÂ traditions to penetrate vertically, point down into a basket, a bowl or a cache of rice (or any other soft grain).

283

FOUR NEPALESE CARVED WOOD PHURBUS Nepal, 17th-19th century. This lot comprises four phurbus, each with a handle showing multiple abstracted human faces. Geometrical decoration adorns the entire surfaces and include tridents or endless knots. (4) Provenance: A British private collection. Acquired in 1968. Thence by descent. Condition: Extensive old wear, some minor losses and dents here and there. Overall fine condition. Good naturally grown patina with an elegant lustre.

Weight: 218 grams in total. Dimensions: Length 23 cm (the longest). Estimate EUR 200,Starting price EUR 100,-

282

FOUR NEPALESE CARVED WOOD PHURBUS Nepal, 17th-19th century. This lot comprises four phurbus, each with an animal finial atop a handle with abstracted human faces. Geometrical decoration adorns the entire surface of each phurba, whilst three have another human head above the actual peg. (4) Provenance: A British private collection. Acquired in 1968. Thence by descent. Condition: Extensive old wear, some minor losses and dents here and there. Overall fine condition. Good naturally grown patina with an elegant lustre.

Weight: 267.4 grams in total. Dimensions: Length 26 cm (the longest). Estimate EUR 200,Starting price EUR 100,-

286

285

THREE NEPALESE CARVED WOOD PHURBUS Nepal, 17th-19th century. This lot comprises three phurbus, two with an animal finial. Geometrical decoration adorns the entire surfaces and include tridents, intertwined snakes or endless knots. (3) Provenance: A British private collection. Acquired in 1968. Thence by descent. Condition: Extensive old wear, some minor losses and dents here and there. Overall fine condition. Good naturally grown patina with an elegant lustre.

Weight: 147.1 grams in total. Dimensions: Length 24 cm (the longest). Estimate EUR 200,Starting price EUR 100,-

286

A NEPALESE CARVED WOOD PHURBA Nepal, 17th-19th century. This expressively carved phurba shows an ornate finial and a handle with abstract human masks. Endless knot and intertwined snakes round off the earthy appearance of this ritual dagger. Provenance: A British private collection. Acquired in 1968. Thence by descent. Condition: Extensive old wear, some minor losses and dents here and there. Overall fine condition. Good naturally grown patina with an elegant lustre.

284

THREE NEPALESE CARVED WOOD PHURBUS Nepal, 17th-19th century. This lot comprises three phurbus, each with a handle showing multiple abstracted human faces. Geometrical decoration, mainly in shape of endless knots, adorns the entire surfaces. (3)

Weight: 136.6 grams. Dimensions: Length 29 cm. Estimate EUR 200,Starting price EUR 100,-

Provenance: A British private collection. Acquired in 1968. Thence by descent. Condition: Extensive old wear, some minor losses and dents here and there. Overall fine condition. Good naturally grown patina with an elegant lustre.

Weight: 316.7 grams in total. Dimensions: Length 33.5 cm (the longest). Estimate EUR 200,Starting price EUR 100,-

287

A TIBETAN YAK BONE SHAMAN MASK Tibet, 18th-19th century. Vigorously carved openwork mask with eyes, nostrils and mouth in high relief. The face with a wrathful expression, enhanced by bulging eyes, prominent urna and slanting, irregular teeth. Small drillings for string suspension. Provenance: A French collector. Condition: Superb condition with old wear, soma natural flaws and a fine patina. Remainder of ritual painting.

Weight: 266.7 grams. Dimensions: Height 20.7 cm.

西藏犛牛骨薩滿面具西藏，十八至十九世紀。鏤空面具，高浮雕眼睛、鼻孔和嘴巴。臉上帶著憤怒的表情，眼睛凸出，眉間慧眼突出，牙齒不規則。小型鑽孔用於懸掛。來源：法國收藏傢品相：極好，老磨損，一些天然缺陷和細膩包漿，可見預留的儀式彩繪重量：266.7 克尺寸：高20.7 克

Estimate EUR 400,Starting price EUR 200,-

288

A COPPER REPOUSSE MASK OF BHAIRAVA Nepal, 17th century. The expressive copper mask with well-executed incision and embossing work. Modern stand. (2) Provenance: A German collector. Condition: Fine old patina and wear. Losses as visible on images. Traces of use. Overall excellent condition.

Weight: 122.5 grams. Dimensions: Height 17.5 cm. Depicted is the wrathful manifestation of Shiva, Bhairava, with bulging eyes and a prominent urna. Wearing precious jewelry, the deity is shown with a stern manifestation. During Nepal’s largest street festival, the Indrajata (or Yenya), masks of Bhairava are either worn or carried along – depending on their sizes.

銅浮雕陪臚面具尼泊爾，十七世紀。銅面具極富表現力，綫條雕刻精細。現代底座。來源：德國私人收藏品相：老包漿細膩，有磨損，面具上可見明顯的缺失，有使用痕跡。整體品相極好。重量：122.5 克尺寸：高17.5 厘米

Estimate EUR 300,Starting price EUR 150,-

288

289

A STONE RELIEF OF GANESHA Nepal, 17th century. Black fossiliferous limestone with remnants of original cold paint. The four-armed elephant deity is seated in a relaxed posture atop a lotus throne and holds various attributes such as a conch or a mala. Provenance: The collection of Susanna Deistler, Vienna, Austria. Acquired at Galerie Zacke before 1990. Condition: Extensive wear and natural patina, some minor nicks here and there, as expected on a statue of this age. Modern base. (2)

Weight: 1062 grams including the base. Dimensions: Height 13 cm (15.5 cm including base). Compare with a closely related Nepalese stone Ganesha, also dating to the 17th century, at Sotheby’s New York ‘Indian & Southeast Asian Works of Art’ on March 21st, 2012, lot 306.

象頭神尼泊爾，十七世紀。黑色石灰石上還可見原始彩繪遺留。四臂象頭神以悠閑姿態坐於蓮座上，手中持有不同法器，如貝殼或禱告手鏈。來源：維也納Susanne Deistler收藏；1990年前購於Zacke藝廊品相：明顯磨損和自然包漿，一些輕微劃痕，現代底座。重量：1062 克含底座尺寸：高13 厘米；15.5 厘米含底座

Estimate EUR 400,Starting price EUR 200,-

290

A NEPALESE STELE OF VISHNU, MALLA 16th century. Newar, Kathmandu Valley, Malla period. Black fossiliferous limestone with remnants of old cold painting. Carved and incised in fine detail, the face with a serene, benevolent expression. Provenance: German private collection. Condition: Extensive wear and weathering. Some minor nicks here and there, as expected from a statue of this age. The stake at the bottom has been removed.

Weight: 470.2 grams. Dimensions: 13.5 cm height. The four-armed god is standing atop a lotus pedestal and framed by an ornate mandorla. In his hands we find his classical attributes: the conch, the disk, the lotus blossom and the mace. Compare with a related, but significantly larger Nepalese stone stele of Vishnu, dating to the 18th century, at Sotheby’s Paris in ‘Arts d’Asie’, June 10th, 2014, lot 333.

尼泊爾瑪拉王朝溼奴石碑十六世紀，加德滿都峽谷内瓦爾，瑪拉王朝。黑色石灰石上有彩繪遺留。雕刻精美，面部表情寧靜仁慈。來源：德國私人收藏品相：明顯磨損與風化。一些輕微劃痕，底部標注被清除。重量：470.2 克尺寸：高13.5 厘米

Estimate EUR 500,Starting price EUR 250,-

289

291

A LARGE LACQUER HSUN-OK 19TH CENTURY Myanmar, 1850-1930. The food offering vessel built of four sections in Yun-de technique. Fine gold décor applied in Shwezawa technique to the black ground with horizontal scrolls of gods, Chinthe lions and pagodas. Provenance: From an Austrian private collection. Acquired in Southeast Asia before 1990 and kept in the family ever since. Condition: Superb condition with only few tiny losses and old wear. Fine patina. The cinnabar coating of the inner vessel is original.

Dimensions: Height 85 cm, diameter 46 cm.

十九世紀緬甸大型祭祀器皿緬甸，1850-1930.祭祀食具使用髹黑金漆技巧描繪神、獅子以及塔。來源：來自奧地利私人收藏。1990年前購於東南亞，之後在家族中收藏至今。品相：極好，稍有輕微缺損和舊磨損。包漿細膩，器具内朱紅塗層為原始塗層。尺寸：高85厘米，直徑46厘米

Yun-de is a fine type of traditional Burmese lacquerware. The lacquer is made from the sap tapped from the varnish tree Melanorrhoea Usitata that grows wild in the forests of Myanmar. It is straw-colored but turns black after exposure to air. When brushed in or coated on, it forms a hard, glossy and smooth surface resistant to the effects of exposure to moisture or heat. It is thought that Yun-de was introduced in the region during the 16th century by imported artisans belonging to the Yun or Laos Shan tribes of the Chiang Mai region. Large vessels designed in Zedi (pagoda) shape, such as this one, are difficult to build in Yun-de technique and therefore considered to be rare, especially in good condition.

Estimate EUR 800,Starting price EUR 400,-

290

292

A WOOD & LACQUER SCROLL BOX, QING China, 19th century. Fine painting with a confronting fiveclawed dragon amid clouds and above a wavy ground, holding the magic pearl in one of his claws. Iron hinges. Provenance: Collection from Paris, France. Condition: Good condition, the lacquer has darkened over time, there is a good age patina overall, some wear and traces of use as expected on and old and authentic piece of furniture. No restorations. One small area on one of the sides shows crackling due to heat exposure. Minor warping to wood due to aging process.

Weight: 9.9 kilograms Dimensions: Height 67 cm, width 57 cm, depth 29 cm.

清漆繪木箱中國，十九世紀。彩漆繪雲中五爪祥龍戲珠。鉄鎖扣。來源：法國巴黎私人收藏品相：保存良好，漆彩因爲時間已經發黑，整體包漿良好，一些因爲使用而出現的磨損。沒有修復，一側有一小処因爲溫度而開裂。木箱上有些微年代損壞。重量： 9.9 公斤尺寸：高 67 厘米，寬57 厘米，深29 厘米

Estimate EUR 800,Starting price EUR 400,-

291

293

A BUST OF DURGA, 8TH CENTURY Extremely rare post Gupta steatite bust, eastern India, 8th-9th century. The sedimentary stone with a superb, natural grown patina of even ochre tone with incredibly fine detail carving. Provenance: A British private estate. Sold via Matthew Barton LTD, London, and thereafter in a Hungarian private collection. Condition: Losses as seen on the picture. Very tiny nicks here and there, extensive wear. Overall beautiful and well-presentable condition, especially given the high age and the softness of the material. Only few steatite statues from this period are remaining in existence in a comparable condition.

Weight: 66.3 grams. Dimensions: Height 8.2 cm. The smooth steatite from Eastern India and Burma was a favored medium for some of the most exquisite small-scale sculptures ever seen in the region. The rounded features and voluptuous treatment of the female form are typical of the post-Gupta style, predating the Pala period. Compare with a steatite Buddha relief of related size, but from the Pala period, at Sotheby’s New York in ‘Indian, Himalayan and Southeast Asian Work of Art’, March 16th, 2016, lot 701. Estimate EUR 2.000,Starting price EUR 1.000,-

292

293

294

AN IMPORTANT PAGAN STELE 12TH CENTURY A small carved steatite Pagan andagu stele with scenes of the Eight Great Events in Buddha’s life. Burma, 12th-13th century. Provenance: From an important Hungarian private collection. Lempertz Auction 1080, Asian Art, Cologne, December 9th, 2016, lot 648. Thereafter in an Austrian private collection. Condition: Stunning condition especially given the high age of the statue. Some natural flaws and a few red veins run through the material. Extensive wear and a few microscopic nicks. The left miniature Bodhisattva is possibly a later replacement, but certainly has significant age. Beautiful natural patina and lustre, which can only be acquired through centuries of handling.

Weight: 138.5 grams. Dimensions: Height 8.8 cm. At the center in full round, the Buddha seated in meditation on a double lotus supported by ‚running’ naga, the right hand in bhumisparsha mudra, showing the moment when he conquered Mara at Bodhgaya, with standing bodhisattva to both sides. The back slab is carved with small scenes of Buddha’s life, starting from the lower left: nativity in Lumbini, the first sermon at Sarnath, the taming of the Nalagari elephant, the mahaparinirvana, the miracle at Sravasti, the decent from Tavatimsha heaven and the presentation of honey in the Parileyyaka forest in Vashali. The base shows elephants, lions and atlases in the upper register, and in the lower register the Seven Jewels of a chakravartin: chakra, elephant, horse, jewel, queen, father, and general. Literature: John Lowry, Burmese Art, Victoria and Albert Museum, London 1974, no. 7 (height 8,5 cm); Susan L. Huntington and John C. Huntington, Leaves from the Bodhi Tree, Seattle/London 1990, no. 62, p. 217-222 (Arthur M. Sackler Museum, Cambridge); Claudine Bautze-Picron, Between India and Burma: The „Andagu“ Stelae, in: Donald M. Stadtner (ed.), The Art of Burma, New Studies, Marg Publications, Mumbai 1999, p. 37-52; the same, New Documents of Burmese Sculpture: Unpublished ‚Andagu’ Images, in: Indo-Asiatische Zeitschrift, no. 10 (2006), p. 32-47; the same, The Bejeweled Buddha from India to Burma, New Considerations, New Delhi/Kolkata 2010 (Sixth Kumar Sarat Kumar Roy Memorial Lecture) and Ulrich von Schroeder, Buddhist Sculpture in Tibet, vol. 1, India & Nepal, Hong Kong 2001, p. 371 (369-405). Estimate EUR 4.000,Starting price EUR 2.000,-

294

295

A BURMESE PAGAN SANDSTONE BUST Myanmar, 13th â&#x20AC;&#x201C; 14th century. A large and finely carved bust of a Buddhist monk with a round face in classic Pagan style and elongated earlobes. The eyes are cast down and a gentle smile plays around his lips.Â Provenance: From a French private collection. Condition: Old repair to tip of nose. Losses as seen on the images. Extensive wear and weathering, fine patina. Overall good and attractive preservation, especially when considering that this bust has an age of more than half a millennium. Modern base.

Weight: 3.1 kilograms including the base. Dimensions: Height 27 cm with base and 22 cm without. Estimate EUR 500,Starting price EUR 250,-

296

A SANDSTONE HEAD OF A TIRTHANKARA Central India, 11th â&#x20AC;&#x201C; 13th century. A large and finely carved head of a Jain Tirthankara presenting a tranquil expression comprised of almond shaped eyes with incised irises, curvilinear brows, a straight nose, full lips set in a gentle smile, and smooth facial contours. Provenance: From an Austrian private collection. Acquired from an important German private collection prior to 1990. Condition: Losses as seen on the images. Some wear and weathering, beautiful patina. Overall good and attractive preservation, especially when considering that this statue is almost 1000 years old. Modern base.

Weight: 4.5 kilograms including the base. Dimensions: Height 27 cm with base and 21 cm without. Compare with a closely related head in the collection of the Ashmolean Museum, Oxford, Accession no. EAX.245. Estimate EUR 1.000,Starting price EUR 500,-

297

A SANDSTONE STELE OF TIRTHANKARA Central India, 13th – 15th century. Deep relief with tirthankara seated in vajrasana, naked, his hands in dhyanamudra. The Jain deity flanked by four adorned columns with an elaborately carved roof. Provenance: The collection of Susanna Deistler, Vienna, Austria. Acquired at Galerie Zacke in 1995. Published: Asian Art, Galerie Zacke Vienna, 1995, lot 43-1. Condition: Superb condition with wear, weathering, losses and minor nicks as expected on a piece of this age. Modern base.

Weight: 3.6 kilograms including base. Dimensions: 21 x 20.5 cm (height with base 25.5 cm). For a related larger sandstone stele depicting tirthankara, dated 11th – 12th century, see Christies Amsterdam in ‘Indian, Himalayan and South East Asian Art’ on April 18th, 2005, lot 38. Estimate EUR 700,Starting price EUR 350,-

298

A PALA-SENA BRONZE VISHNU TRIAD Bangladesh, 11th – 12th century. Neatly cast and incised copper alloy statue with rich dark patina. Provenance: From the private collection of Thomas Chen, Taiwan. Thereafter German private collection. Thomas Chen (Chen Baizhong) has published, among others, the well-known reference book ‘Gods of Wealth in Tibetan Buddhism Art’. Condition: Outstanding condition, especially given the high age of the statue. Deeply grown natural patina, some minor nicks here and there.

Weight: 179.8 grams. Dimensions: Height 7.7 cm. The four-armed Vishnu is seated in Dhyanasana atop a round lotus pedestal holding his classical attributes, the conch, the disk, a lotus flower and a mace. He is flanked by two attendants. Compare with three very similar Pala-Sena bronzes in the collection of the Freer Sackler Galleries, Washington, USA, sharing the same beaded round bases and pointed facial features. Estimate EUR 1.500,Starting price EUR 700,-

299

A VISHNU TRIAD PALA 12TH CENTURY Northeastern India. Neatly cast and incised openwork bronze stele depicting Vishnu and his two consorts. Two miniature worshippers are kneeling at the multi-stepped throne. The backside with an eight-character inscription. Provenance: European private collection. Koller Auctions, Zurich, Switzerland, December 4th, 2017, lot 402. Condition: Considering its high age, this statue is extremely well preserved. A segment of about one fifth of the outer rim of the flaming aureole is lost. Besides this every little detail of the work is still intact. There are even some remainders of cold painting. Fine old patina and some wear.

Weight: 349.6 grams. Dimensions: Height 13 cm. The stele modeled in deep relief with Vishnu standing on a lotus pericarp, his principle hands in varadamudra and holding sankha, the upper ones gada and cakra, wearing dhoti, bejeweled, his face with almond-shaped eyes, elongated earlobes with ear rings, high kiritamakuta, flanked by Lakshmi with camara and Sarasvati with vina. Estimate EUR 3.000,Starting price EUR 1.500,-

300

301

300

A SANDSTONE YAKSHINI 10th CENTURY Central India, 10th – 11th century. The pillar fragment carved in deep relief with a Yakshini in an expressive pose holding a fly whisk over her head. The facial features show distinct Jain influence. Provenance: A French private estate. Condition: Losses, wear and weathering as seen on the images in the catalogue and online at www.zacke.at. Overall good state of preservation, especially given the high age of the statue. Beautiful, naturally grown patina.

Weight: 23.1 kilograms. Dimensions: Height 59 cm (65 cm including the base). Yakshini or Yakshi are mythical beings of Hindu, Buddhist, and Jain mythology and the female counterpart of the male Yaksha. Being attendants of Kubera, the Hindu god of wealth, Yakshi are often depicted as beautiful and voluptuous, with a chauri (fly-whisk) in right hand, fleshy cheeks, with wide hips, narrow waists, broad shoulders, knotted hair and exaggerated, spherical breasts. Compare with a related sandstone Torso fragment of a Yakshi, also dating to the 10th – 11th century, at Sotheby’s New York in ‘Indian, Himalayan and South East Asian Art’, March 17th, 2015, lot 1080. Estimate EUR 3.000,Starting price EUR 1.500,-

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301

A RARE PILLAR WITH VISHNU AND LAKSHMI India, Rajasthan or Madhya Pradesh, 11th-12th century. The carved red sandstone with full figural depictions of Vishnu and his consort Lakshmi, holding their typical attributes such as the disc, the whisk or the conch. Provenance: The Jack Zuberbühler Collection, Switzerland. Thereafter Austrian private collection. Condition: Fair condition with some wear and extensive weathering as well as losses as visible on the photos in the catalogue and online at www.zacke.at. Beautiful, naturally grown patina. Modern base.

Weight: 34.6 kilograms. Dimensions: Height 79 cm including the base and 60 cm without the base. Sculptures depicting the intimacy of Vishnu and Lakshmi were popular iconographic devices and usually ornamented large projecting niches on the exterior walls of medieval Indian temples. For a related sandstone stele, depicting two female figures, see Christies New York in ‘Indian, Himalayan and South East Asian Art’ on September 13th, 2017, lot 618. Estimate EUR 2.000,Starting price EUR 1.000,-

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A RARE HINDU BRONZE DEITY India, 17th – 18th century. Finely cast bronze with neatly incised details. The four-armed deity holds a sword, a bowl, a fly-wheel and a whisk as attributes and sits in front of a leaf-bordered halo. Provenance: Sotheby’s, ‘Artefacts recovered from the Wreck of the S.S. Medina’, Sussex, May 26th, 1988, lot 54. A copy of a written expertise by Graham Turner, author of ‘The Fishing Tackle, the Ultimate Collectors Guide’, is accompanying this lot. Condition: Good condition with fine patina, some old wear and a few tiny dents and nicks here and there.

Weight: 1277.5 cm. Dimensions: Height 19 cm.

304

RMS Medina was an ocean liner built by Caird and Company, Greenock, Scotland, in 1911, for the Peninsular and Oriental Steam Navigation Company. During building it was decided that Medina would take King George V and Queen Mary to India for the Delhi Durbar. Medina was, therefore, initially commissioned into the Royal Navy as the Royal Yacht and her crew were mainly naval personnel. Various large rooms intended for public use were redecorated as Royal apartments. Eventually, German SM UB-31 torpedoed her off Start Point, Devon, on 28 April 1917. Today Medina’s wreck is upright with a 15-degree list to port. She is reasonably intact despite salvage of copper and passengers’ baggage from forward holds. Estimate EUR 1.500,Starting price EUR 700,-

303

A KURKIHAR CROWNED BUDDHA BRONZE India, Bihar, Pala Period, 11th - 12th century. Heavily cast and displaying a warm authentic patina, this bronze depicts Buddha in a standing pose atop a small plinth. The fine incision work is still partially visible despite the massive wear. Provenance: From a French private collection. Condition: Fine preservation with only minor losses but strong wear and weathering. Dense, naturally grown patina.

Weight: 1236.7 grams. Dimensions: Height 21 cm. Buddha is wearing a diaphanous cape with sampot and is adorned by a sumptuous belt with pendant leaves and a necklace of continuous design, large earrings and a tall pointed crown, surmounted by the conical ushnisha with a globular ketumala. Oval flat plinth. Estimate EUR 1.000,Starting price EUR 500,-

305

A TRIBANGHA KRISHNA BRONZE 16TH Southern India, Tamil Nadu, 16th-17th century. The masterfully cast copper bronze depicts the youthful Lord Krishna in an expressive dancing pose. He wears jewelry to chest, arms and ears and stands on a lotus base raised from a stepped square pedestal.

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A HANUMAN BRONZE 17TH CENTURY India, 17th-18th century. This miniature bronze depicts Hanuman in a standing position of worshipping on a small square base. His tail is ending in a bow behind his head thus building the halo. Provenance: From the estate of Robert Täubler, Vienna. Acquired from Zacke Gallery in 2015. Previously from a German private collection. Condition: Very good condition with extensive old wear and a darkbrown natural patina.

Weight: 110.3 grams. Dimensions: 8.3 cm. Hanuman is viewed as the ideal combination of strength, heroic initiative and assertive excellence and in loving, emotional devotion to his personal god Rama. In later literature, he has been the patron god of martial arts such as wrestling, acrobatics, as well as meditation and diligent scholarship. He symbolizes the human excellences of inner self-control, faith and service to a cause, hidden behind the first impressions of a being who looks like an Ape-Man. Estimate EUR 200,Starting price EUR 100,-

306

Provenance: Austrian private collection. Acquired from Galerie Zacke in 1985 and thence by descent. Old collector labels to base reading ‘Krishna 16. Jh.’ And ‚81‘. Published: Galerie Zacke, Skulpturen des Buddhismus und Hinduismus, Wien 1985, lot 5. Condition: Superb condition with wear and naturally grown patina. Very minor traces of use.

Weight: 691.7 grams. Dimensions: Height 18 cm. Estimate EUR 800,Starting price EUR 400,-

307

306

A LARGE KHMER STATUE OF VISHNU 11th – 12th century. Carved sandstone. Vishnu stands in samabhanga with his legs slightly apart. He is wearing a vertically-striated sampot secured by a belt with double fish-tail textile sections falling to the front. His face displays an enigmatic expression of calm determination showing almond-shaped eyes below ridged eyebrows and a moustache and beard framing his lips. His hair is coiffed in a chignon and secured by a tiara carved with stylized flower-heads. Provenance: From an old private collection, Belgium, acquired in Asia before 1970. Thereafter Austrian private collection. Condition: Well-preserved and fully original condition with some wear and weathering as well as losses visible on the photos in the catalogue and online at www.zacke.at. The head and one leg reattached. Modern base.

Weight: 141.8 kilograms inclduing the base. Dimensions: 190 cm including the base and 147 cm without the base. Vishnu is one of the most important divine forms of Hinduism and shows himself in a variety of manifestations. His avatars include Rama and Krishna. In addition, Vishnu is part of the Trimurti, a union of the three cosmic functions of creation, maintenance and destruction, which is illustrated by Vishnu (maintenance), Brahma (creation) and Shiva (destruction). The Kingdom of Khmer, also called Angkor Empire, is now known as Cambodia and was one of the major empires in Southeast Asia. The greatest legacy of the Empire is Angkor, which was then the capital, with its majestic sights. It illustrates the immense power and wealth at that time and still impresses by its art, culture and architecture. The beginning of the Khmer Empire dates back to around 802 AD under the ruler Jayavarman II and ended with the fall of Angkor in the 15th century. Compare with a related statue of Vishnu at Christies Paris in ‘Arts d’Asie’ on December 11th, 2013, lot 342, and another December 10th, 2014, lot 353. Estimate EUR 12.000,Starting price EUR 6.000,-

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309

Various detail images depicting the fine carving and incision work of lot 306.

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307

A SANDSTONE NANDI 15TH CENTURY India, Uttar Pradesh, 15th-16th century. The divine bull and companion of Shiva in recumbent position on a flat plinth. He is adorned with an ornate saddle and harness, the face with a calm expression, large almondshaped eyes, surmounted by a headdress. Provenance: The collection of Susanna Deistler, Vienna, Austria. Acquired at Galerie Zacke before 1990. Condition: Extensive wear and weathering. Some minor nicks and losses here and there, as expected from a statue of this age.

Weight: 8.7 kilograms. Dimensions: Length 30 cm. Compare with another sandstone figure of Nandi, of larger size and dating to the 12th – 13th century, at Christies New York in ‘Indian and Southeast Asian Art’, September 16th, 2008, lot 425. Estimate EUR 800,Starting price EUR 400,-

308

A BRASS NANDI 15TH CENTURY India, Himachal Pradesh. The divine cow reclining on a rectangular, tapered base with one foreleg lifted, wearing beaded jewelry and a bell around the neck. Provenance: The Doris Wiener Collection. Christies, New York, March 20th, 2012, lot 68. Thereafter Austrian private collection. Condition: Good condition with wear, weathering, losses and minor piercings as expected on a statue of this age.

Weight: 953 grams. Dimensions: Length 16.5 cm. Estimate EUR 400,Starting price EUR 200,-

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AN IMPORTANT VERY LARGE BUDDHA HEAD Thailand, Ayutthaya, 15th century. Masterly carved sandstone with a gentle expression, the heavy-lidded eyes framed by curved brows meeting at center, straight nose, and contoured lips with a hinted at mustache, prominent chin and the hair arranged in neat rows of curls rising to the ushnisha. Provenance: From an old Austrian private collection of Buddhist art. Acquired from Galerie Zacke, Vienna, ca. 1985. Thence by descent. Condition: Spectacular condition with some wear and weathering as well as minor losses visible on the photos in the catalogue and online at www.zacke.at. Remainders of old lacquer and gilding within the curly hair. Modern base.

Weight: 86 kilograms including the base. Dimensions: Height 65 cm (not including the base) and 74 cm including the base. For a closely related Buddha head, yet of smaller size, see Christies New York in â&#x20AC;&#x2DC;Indian and Southeast Asian Artâ&#x20AC;&#x2122;, March 22nd, 2011, lot 251. Estimate EUR 7.000,Starting price EUR 3.500,-

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A KHMER BRONZE BUDDHA MUCHALINDA Cambodia, Angkor period, 12th century. Finely cast and incised bronze with Buddha seated crosslegged in Dhyanasana on the coils of Muchalinda, beneath the seven-headed canopy of the serpent king. Provenance: From an important collection of Buddhist art. Old collectorâ&#x20AC;&#x2122;s label on underside of base, see detail image of label with inscription at www.zacke.at. Condition: Superb condition with naturally grown malachitegreen patina, old wear, some corrosion but hardly any losses whatsoever.

Weight: 821.9 grams. Dimensions: Height 25 cm including the pole at the lower end. 21 cm without the pole. This sculpture depicts the serpent king Muchilinda protecting the Buddha Shakyamuni from heavy rains. There are numerous extant Cambodian images of this configuration because it was the focus of a cult during the reign of the Cambodian King Jayavarman VII, who ruled the Khmer empire from 1181 to 1218. Although this scene had been depicted even earlier in Southeast Asia, it was the Khmer who popularized it. The reasons why Jayavarman chose to stress the Muchilinda Buddha, remain the subject of intense scientific discussion and speculation. Snakes were associated with healing, and perhaps because Jayavarman may have been disabled, he emphasized healing, as indicated by his construction of hospitals throughout his reign. The present Buddha is wearing a short loincloth around his waist, adorned with elaborate jewelry, a crown surrounding his hair piled high and surmounted by a conical ushnisha and hands held in his lap holding a small stupa. Compare with a related statue in the collection of the Metropolitan Museum of Art, New York, under Accession Number: 1987.424.19a, b. Estimate EUR 1.500,Starting price EUR 700,-

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A PRE-KHMER BUDDHA ANGKOR BOREI Cambodia, Angkor Borei, 7th century. The raw material of this sculpture is copper ore with iron oxide veins, which has developed an extensive Malachite and Azurite patina during the past 1400 years. Originally found in the Ta Keo region of the Mekong delta. Provenance: From the private collection of an American gentleman. A closely related piece from the same collection was tested at the Ciram Laboratory in France to establish the material. A copy of this test will be handed to the new owner of this statue. Condition: Extensive wear, losses and traces of use. Very good condition considering the age of this statue. Modern base.

Weight: 520.7 grams. Dimensions: Height 17 cm including the base pole and 14 cm without. Portrayed is Buddha seated in Dhyanasana on a rectangular plinth with his hands folded in his lap. The curled hair and the ushnisha are well visible. Estimate EUR 1.500,Starting price EUR 700,-

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A LARGE SUKHOTHAI BUDDHA SHAKYAMUNI Thailand, Sukhothai period, 15th-16th century. Cast bronze with striking influence of the Kamphaeng Phet style. The historical Buddha is portrayed seated in half-lotus Padmasana position on a double-arched platform, his right hand in Bhumisparsha mudra, bearing inlaid eyes and a flame ushnisha. Provenance: From the collection of a French family. By repute, acquired in Asia prior to 1970. Condition: Excellent condition with rich, naturally grown patina. Some wear and weathering, a few casting flaws and some tiny dents and nicks here and there.

Weight: The statue 15.4 kilograms. The base 15.9 kilograms. Total 31.3 kilograms. Dimensions: Height of the statue alone 53 cm. Height of the statue with the base 83 cm. This elegant bronze is cast with well-balanced proportions and crisp lines for its robe and facial features. It is rendered in the Kamphaeng Phet style, which echoes that of neighboring Sukhothai, but with subtle differences, such as overall sharper facial features, the aquiline nose, the distinct eyebrows that form a continuous line above the bridge of the nose. In this example, superior quality is evidenced by the meticulous execution of the flame finial, the small hair curls, the elegant fingers, and the swallowtail hem above the navel. The double arched cast bronze openwork base dates to the later 19th century. Compare with a closely related Kamphaeng Phet Buddha at Bonham’s New York, in ‘Indian, Himalayan and Southeast Asian Art’ on March 14th, 2016, lot 80. Estimate EUR 5.000,Starting price EUR 2.500,-

The double arched cast bronze openwork base dates to the later 19th century

316

317

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A KHMER LOPBURI BRONZE BUDDHA Thailand, 13th century. The neatly cast figure with fine incisions and a rich, naturally grown patina. Provenance: French private collection. Reputedly in the same family since the 1930s. Condition: Minor losses as visible on the images. Some casting flaws and corrosion. Overall outstanding condition, especially when considering the age of this statue.

Weight: 357.5 grams. Dimensions: Height 17.5 cm. Buddha is displaying Vitarka mudra with both hands, high relief lotus blossoms in each palm, wearing a diaphanous cape and sampot, and adorned with a sumptuous belt with pendant leaves and a central roundel, a necklace of continuous design, large earrings and tall diadem surmounted by the conical ushnisha. Compare with a similar piece in the Victoria & Albert Museum (S.34-1988). Also compare with a closely related bronze at Bonham’s New York in ‘Indian, Himalayan and Southeast Asian Art’ on March 17th, 2014, lot 93. Estimate EUR 800,Starting price EUR 400,-

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BUDDHA SHAKYAMUNI 17TH CENTURY Thailand, Ayutthaya period. The bronze statue with rich gold-lacquer coating. Buddha in a standing posture, wearing a Samghati monastic robe and showing the Abbaya mudra, the gesture of fearlessness. Provenance: The collection of Susanna Deistler, Vienna, Austria. Acquired at Galerie Zacke in 1991. Published: Galerie Zacke, Keramik, Skulpturen, Porzellan, Malerei, April 9th â&#x20AC;&#x201C; May 4th, 1991, lot 17. Condition: Superb condition with wear, weathering and minor nicks as expected on a piece of this age. Modern base.

Weight: 1773 grams including the base. Dimensions: Height 31 cm (34 cm including base). Estimate EUR 600,Starting price EUR 300,-

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AN EARLY BURMESE MARBLE BUDDHA Myanmar, 17th â&#x20AC;&#x201C; early 18th century. Shan style. Serene portrayal of Buddha Shakyamuni, seated in Dhyanasana atop a stepped lotus throne, with his right hand resting in his lap and the left raised to his chest. Gracious facial features, incised urna and elongated earlobes. Original lacquer gilding. Provenance: From a British private estate. Condition: Generally, in very good condition. Loss to right hand as visible on the photo. The original lacquer coating darkened and partially worn off. Superb, naturally grown patina.

Weight: 39 kilograms. Dimensions: Height 49 cm. Estimate EUR 2.500,Starting price EUR 1.200,-

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A PAIR OF BURMESE TEMPLE DOORS Burma / Myanmar, 18th â&#x20AC;&#x201C; 19th century. Carved teak wood. Each with the high relief depiction of an Apsara, standing atop Garuda (first door) and Hanuman (second door). Floral decoration and various smaller figures in openwork at the upper section of each door. Provenance: From an Austrian private collection. By repute, collected in Myanmar during the 1980s. Condition: Fine condition with some wear and extensive weathering as well as minor losses and natural age cracks as visible on the photos in the catalogue and online at www. zacke.at.

Weight: 46 kilograms (both doors together). Dimensions: 180 x 44 cm each. (2) Estimate EUR 1.500,Starting price EUR 700,-

The temple doors of the Shwenandaw Monastery in Mandalay

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A RARE LARGE ALABASTER BUDDHA Burma, later 19th – earlier 20th century. Carved from a single piece of alabaster with finely incised details, Buddha is standing on a double Lotus base, with his gown and tiara inöaid with small polychrome glass plaques within a gilt bronze framework. Provenance: From the estate of Robert Täubler, Vienna. Acquired from Zacke Gallery on November 27th, 2010, 26th Asian Art Auction. Condition: Excellent condition with few minor losses, some natural fissures to stone, old wear and traces of use, a few tiny dents here and there. Modern base. (2)

Weight: 50 Kilograms excluding the base. Dimensions: Height including base 136 cm and 111 cm excluding base. Estimate EUR 3.000,Starting price EUR 1.500,-

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Provenances

IMPRINT

The Doris Duke Collection, New York, USA

The Estate of William Lipton, New York, USA Publisher

1070 Wien President of the Republic of China Xu Shichang (1855-1939), Mariahilferstraße 112, Stiege 1, 2. Stock

Europe A British PrivateAustria, Collector and Member of the Oriental Ceramic Society (OCS)

Tel (0043-1) 532Vienna, 04 52 Austria The Estate of Robert Täubler, Email: office@zacke.at

Yamanaka & Co, Kyoto, Japan Editor

Susanne Zacke Mr. A. Spoerry, France

The Collections Expert of Gustav Detring (1842-1913) and Constantin von Hanneken (1854-1925) Alexander Zacke

Anton Exner, Vienna, Austria (1882 – 1952) and Walter Exner, Bad Wildungen, Germany (1911–2003) Assistance Pin Lin Lai Zhang Jue

Edgar Gutmann, Berlin, Germany

The Collection ofPhotography Friedrich Otto Hasse (1886-1964), Bremen, Germany Georg Bodenstein

The Collection of Ambassador Dr. Francesco Rausi, Rome, Italy Design

Bluett & Sons, London, HermannUK Kienesberger

Spink & Son, London, UK Printing

Gröbner Druck, Oberwart

The collection of Susanna Deistler, Vienna, Austria Website

A Reputed British collection, Valued by Neil K. Davey of Sotheby’s London in 1974 and 1984 www.zacke.at

Reproduction forbidden

The Collection of the Brooklyn Museum, New York, USA

The Collection of Architect Nick Troubetzkoy, USA

The Collection of John Ault, UK

Freddy Hansen, Copenhagen, Denmark

The Alain Presencer Collection, London, UK

Peter Fussel, London, UK

Robert Bouatta, London, UK

The Doris Wiener Collection, New York, USA

The Oliver Robert Coales Collection, UK

The Collection of Thomas Chen, Taiwan

The Collection of Sir Oliver Crosthwaite-Eyre, Warrens in Bramshaw, The New Forest, UK

Matthew Barton, London, UK

Jonathan Tucker and Antonia Tozer, London, UK

The private collection of Irene and Wolfgang Zacke

M. Serge Blazy, Paris, France

The Dashwood Family, West Wycombe Park, Buckinghamshire, UK

The Collection of August Flick (1905-2012), Cologne, Germany

An Italian Private Collection, Authenticated by Christies in 1983

Artefacts Recovered from the Wreck of the S.S. Medina

The Jack Zuberbühler Collection, Switzerland Lot 235 Cover lots 8, 130 and 103

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Lots 112, 60, 76 and 111

Lots 173 and 57

Back Cover Lot 262

1070 VIENNA AUSTRIA . MARIAHILFERSTRASSE 112 Tel +43 1 532 04 52 . Fax +20 . E-mail office@zacke.at