AUCTION SEPTEMBER, 29TH 2018

Fine Chinese Art ᷕ⚳喅埻普䍵 Japanese and 㙐㖍㛔⍲ἃ㔁喅 AUCTION Fine Chinese Artġ

FRONT COVER Lot 114 ᷕ⚳喅埻普䍵 A ZANABAZAR 18TH CENTURY GILT BRONZE FIGURE OF BUDDHA Japanese and Buddhist Art

BACK COVER 㙐㖍㛔⍲ἃ㔁喅埻⑩ Lot 167 A FINE AND RARE JAPANESE LACQUER TRAY SUPPORTED BY TWO KARAKO September, 29th 2018 at 2.30pm CET CATALOG CA0918

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GALERIE ZACKE MARIAHILFERSTRASSE 112 Lot 55 A SUPERB AND VERY LARGE CELADON AND RUSSET ‘SEVEN 1070 VIENNA AUSTRIA IMMORTALS’ JADE MOUNTAIN, 17 TH – 18TH CENTURY Tel +43 1 532 04 52 Fax +20 E-mail offi[email protected]

1 IMPORTANT INFORMATION ABSENTEE BIDDING FORM (According to the general terms and conditions of business Gallery Zacke Vienna) FOR THE AUCTION FINE CHINESE ART JAPANESE AND BUDDHIST ART CA0918 ON DATE September, 29th 2018 at 2.30pm CET

NO. TITLE BID IN EURO

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 paid in full, apply to obtain such a permit at a fixed administrative fee of euro 500, - per application.

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Galerie Zacke Mariahilferstr. 112, 1070 Vienna For your information: Email [email protected] At its auctions, the Galerie Zacke offers exclusively third-party contributions for sale on commission. We would like to draw your attention to the fact that, in case of any Tel +43-1-532 04 52 complaints arising from a purchase, these have to be reported to us within 6 weeks Fax +43-1-532 04 5220 after the receipt of the item.

2 3 ABSENTEE BIDDING FORM 49 YEARS ZACKE GALLERY FOR THE AUCTION FINE CHINESE ART JAPANESE AND BUDDHIST ART CA0918 ON DATE September, 29th 2018 at 2.30pm CET

NO. TITLE BID IN EURO

HOW TO FIND US ON MARIAHILFERSTRASSE:

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

4 5 Terms of Auction - www.zacke.at IMPRINT § 1) The auction shall be carried out in accordance with the provisions of the rules of procedure of checked prior to the auction. These items are used. Any claims for damages exceeding the liability GALLERY ZACKE, MARIAHILFERSTR. 112, 1070 VIENNA (hereinafter referred to as the company) as named above and resulting from other material defects or other defects of the item shall be Publisher well as in accordance with sections 244-246 of the Gewerbeordnung [Industrial Code] 1994. The excluded. When making the bid, the bidder confirms that it has seen the item prior to the auction GALERIE ZACKE auction shall be carried out on commission. The auctioneer shall be entitled to withdraw lots and has made sure that the item corresponds to the description. 1070 WIEN (VIENNA) exceptionally, to conduct out the auction deviating from the order of the catalogue numbers and to § 11) ) If a customer is not able to participate in an auction personally, the company shall accept offer lots jointly. In the event of any dispute concerning a double bid or if the auctioneer has missed purchase orders. These orders may be placed in writing, via email or fax. In the case of a purchase Mariahilferstraße 112 a bid, the auctioneer shall be entitled to revoke acceptance of a bid and to continue order placed by phone or orally, the company shall reserve the right to make the performance AUSTRIA auctioning off the item. The figures attached to the text shall be the expected last and highest bid dependent on a confirmation from the principal communicated in writing, via email or fax. in EURO (€) from the respective expert. As a rule, the bid shall be increased by 10% of the last bid. Furthermore, the company shall not be liable for the performance of purchase orders. Purchase Tel (0043-1) 532 04 52 Fax +20 (See list of the bidding increments). orders with equal top bid limits will be considered in the order of their receipt. Bids which are Email: offi[email protected] §§ 2) TheThe acceptanceacceptance of of a a bid bid shall shall be be granted granted to tothe the highest highest bidder bidder unless unless a hidden a seller’s reserve reserve has beenprice only one increment above the starting price shall be exhausted totally. Bids which do not hasagreed been upon agreed with with the consignor the consignor. of the Such item ain seller’s question. reservation Such a hidden (also reservereferred (also to as called limit) limit shall or be correspond to the increments determined by the company (see bidding increments) in tabular Editor thejust minimumreserve) shall price be limit the belowminimum which price particular under which lots theshall item not will be notsold be during sold during the auction. the auction. This limit form will be rounded up to the next higher increment. The table of these increments can be sent shaThisll reservebe disclosed will be upon disclosed request upon and request may not only exceed and may the exceed lower theestimated estimate. price. The Ifauctioneer a limit (seller’s will upon request. Irene M. Zacke in this case bid on behalf of the seller against all other bidders until the reserve has been reached. If reservea reserve price) is not is reached not achieved, during thethe bidauction, of the the highest auctioneer bidder will shall knock be downaccepted the itemsubject to theto highest In the case of lots auctioned“without any limits“, bids below the estimated price shall be reservationsbidder at the only. final Inbid, this but case, the salethe highestwill be conditional bidder shall of bethe bound acceptance to its ofhighest this final bid bidfor bya periodthe seller. of 8 exhausted totally. The written bid (purchase order) must include the item stating the catalogue Expert (eight)In this caseworking the highestdays. If bidderthe highest shall bebid bound from tothe his/her highest last bidder bid for is anot term finally of 8 daysaccepted starting within with this the number and the offered top bid limit which is quoted as the amount of the acceptance of the bid Alexander Zacke periodday of theof ti knockdown.me, its binding If the commitment winning bidder to this does bid not shall receive expire. a written In order cancellation for the final notice acceptance within of without buyer’s commission and without value added tax. Susanne Zacke thethis bidterm to of become 8 days, effective,the knockdown it is sufficient becomes to unconditional send a corresponding and the sale notification is final. Typically, to the address not more Ambiguities shall be carried by the bidder. A purchase order which has already been placed may than 15% of all items in an auction have a hidden reserve. Lukas Zacke named by the highest bidder within the stated period of 8 working days. only be cancelled if the written withdrawal is received by the company at least 72 hours prior to § 3) All items shall be subject to differential taxation. A uniform surcharge of 22% plus the value the beginning of the auction. added tax applicable to the surcharge to the amount of 20% shall be added to the achieved § 12) The company may refuse to process a purchase order without explanation until or Photography highest bid (final and highest bid). Thus the surcharge shall be 26.4% of the final and highest bid make this dependent on payment of a deposit. In the event of an unsuccessful order, such a Georg Bodenstein in total. deposit will be reimbursed by the company within 5 working days. Processing of purchase orders § 4) In the event of sales abroad, the value added tax will be repaid if the item is sold to a is free of charge. Design (graphics) country which is not a member country of the European Union (third country), the legal § 13) Every contributor shall in principle be entitled to withdraw the items offered for auction Gregor Zinggl requirements are met and the proof of exportation is provided. The value added tax shall not be until the start of the auction. Therefore, it is impossible to assume liability or to give warranty for shown separately on the invoice. the actual offering. Chinese Translation § 5) The auction buyer must pay the purchase price immediately upon acceptance of the bid (final § 14) Items paid must be collected within 30 days of payment. Items which have not been and highest bid plus 22% surcharge, plus the value added tax applicable to the surcharge to the collected may be delivered without further communication at a starting price from the recent Pin Lin Lai amount of 20%). However, the company may grant the auction buyer a respite for the payment of auction reduced by 50% after 30 days from the respective auction date. Items which have not the purchase price in whole or in part in individual cases. If a respite is refused, the acceptance of been collected within 3 (three) working days after the auction or for which the company does not Printing the bid may be revoked and the item may be reoffered . In the event of revocation of the receive any proper shipping instructions stating the type of shipping and the address of dispatch Gröbner Druck acceptance of the bid, the company shall be entitled to accept the last bid from the underbidder. (independent of a possibly placed purchase order) within 3 (three) working days after the auction § 6) In the event of respite in whole or in part, the company shall be entitled to charge default shall be stored at the owner’s risk. Oberwart interest (12% p.a.) as well as storage charges (2.4% of the final and highest bid per month Furthermore, the company shall be entitled to store items which have been purchased at auction commenced) after 14 days upon acceptance of the bid. The item purchased at auction shall be and paid but not collected at the buyer’s risk and expense, including the costs for an insurance, Website handed over exclusively upon full payment of the purchase price including all costs and charges with a forwarding agency. It shall be understood that the provisions concerning the re-auctioning www.zacke.at accrued since the acceptance of the bid. of unpaid and paid but not collected items must also apply to items not exhibited or stored on the § 7) The buyer can take acquired items in possession, as far as possible, immediately or after the premises of the company. The ownership shall be transferred the buyer at the time of handing © Copyright end of the auction. Items which have been fully paid for shall be handed over in our show rooms over the delivery note. GALERIE ZACKE in GALLERY ZACKE, MARIAHILFERSTR. 112, 1070 VIENNA. If a deferred purchase price is not paid § 15) In the case of mixed lots with a starting price of less than EUR 350.00, the company shall within the set period, the company shall be entitled to auction the item again in order to recoup not warrant for the completeness or correctness of the individual items within a mixed lot. Reproduction forbidden its claim from the defaulting auction buyer. In this case, the defaulting auction buyer shall be li- § 16) A registration for a bid by telephone for one or several items shall automatically represent Errors excepted able to the company for the total loss of commission incurred by the company due to the re-auc- a bid at the starting price for these items. If the company cannot reach the bidder by telephone, it tion as well as for any default interest and storage charges. will bid on behalf of the bidder by phone up to the starting price when the respective auction lot § 8) The company shall be entitled to a lien on all items of the buyer irrespective of whether the is called. buyer bought them within the scope of an auction or in free sale or the company secured § 17) Payments made to the company by mistake (through the payer’s fault) (e.g. due to ownership of these items otherwise. This lien shall serve to secure all current and future, qualified, miscalculation of the exchange rate by the payer) or payments made to the company for the same limited and unmatured claims to which the company is entitled and which result from all legal invoice several times shall be compensated in form of a credit note for goods for an indefinite transactions concluded with the buyer. period of time. The repayment of such payments in cash shall be excluded. § 9) The items received for auction will be exhibited and may be viewed prior to the auction. In § 18) In the case of individual auction lots, it may happen that they are delivered several times. doing so, the company shall give everyone the opportunity to check the nature and the condition In such a case, the auctioneer may accept a second or third etc. bid from the underbidder(s). of the exhibited items to the extent deemed possible within the scope of the exhibition. Every In this case, the text in the catalogue and not the illustration in the catalogue shall also be bidder shall be deemed to act on its own behalf unless it provides a written confirmation saying exclusively binding with regard to the warranty (relating to these auction lots). that it acts as a representative of a well-known principal. The company may refuse bids; this shall § 19) When making a bid, whether personally, in writing or by telephone, the bidder shall particularly apply if a bidder who is unknown to the company or with whom the company has no acknowledge these terms of auction, the AGB (General Terms and Conditions) as well as the rules business connections yet does not provide security by the beginning of the auction at the latest. of procedure and the schedule of fees (as amended) of the company. However, in principle there shall be no claim to accept a bid. If a bid has been refused, the § 20) The place of performance of the contract brought about between the company on the one previous bid shall remain effective. hand and the seller as well as the buyer on the other hand shall be the place of business of the § 10) The company’s experts evaluate and describe the items received for auction and determine company. The legal relationships and contracts existing between the company, the sellers and the the starting prices unless otherwise stated in the catalogue or expert opinion. The information buyers shall be subject to the Austrian substantive law. The company, the sellers and the buyers concerning production technique or material, state of preservation, origin, design and age of an shall agree to settle all disputes resulting from, concerning and in connection with this contract item is based on published or otherwise generally accessible (scientific) findings concluded by the before the territorially competent court of Vienna. company’s experts with the necessary care and accuracy. The company shall warrant to the buyer § 21) The export of art objects from Austria, when indicated, shall require a permit from the according to §22 of the AGB (General Terms and Conditions) that properties are correct provided Bundesdenkmalamt [Federal Monuments Office]. In any event, the company shall orally provide that any possible complaints referring to this are made within four weeks upon their taking into information about art objects for which an export permit will probably not be granted at the be- possession. Subsequent complaints shall be excluded in principle. The company shall not be liable ginning of the auction. for any further information in the catalogue and expert opinion as well. This shall also apply to § 22) Zacke reserves the right to assign to the customer all rights and obligations resulting from illustrations in the catalogue. The purpose of these illustrations is to guide the potential buyer the contractual relationship between Zacke and the contributor by a way of a respective during the preview. They shall not be authoritative for the condition or the characteristics of the declaration, as well to assign to the contributor all rights and obligations resulting from the pictured item. The catalogue and the expert opinions shall only mention defects and damage contractual relationship between Zacke and the customer by way of a respective declaration, in affecting the artistic or commercial value significantly. Complaints concerning the price shall be each case in terms of a complete assignment of contract with the result that the contractual excluded upon acceptance of the bid. The company reserves the right to amend catalogue relationship – following the submission of the aforementioned declarations by Zacke – shall information prior to the auction. These amendments shall be made either by a written notice at exclusively be between the contributor and the customer, which is in accordance with the basic the place of auction or orally by the auctioneer immediately prior to offering of the respective model of the commission agreement. Customers and contributors shall already now give their item. In this case, the company shall be liable for the amendment only. All items offered may be explicit consent to this contract assignment.

6 7 1 A CLOISONNE ENAMEL ‘LOTUS’ BOWL, MING DYNASTY, 16TH CENTURY The bronze bowl with gilt rims and cloisonné enamels in white, imperial-blue, lemon-yellow, iron-red, turquoise, purple and emerald-green , 16th century

The bowl with deep rounded sides rising from a slightly splayed foot to an thin rim, the exterior enameled with a 2 continuous lotus scroll, the blooms alternately enameled AN UNUSUAL CLOISONNÉ ENAMEL DOMED ‘LOTUS’ BOWL, MING DYNASTY, 16TH CENTURY in red, white, blue and yellow, all reserved against an The bronze bowl with gilt rims and cloisonné enamels in white, imperial-blue, lemon-yellow, iron-red, imperial-blue ground, below a border of ruyi-shaped turquoise and purple clouds, the foot circled by four wavy borders. The inside China, 16th century with a wavy pattern on white ground a large iron-red lotus flower in the center. Standing on a small, flat, circular foot, the semi-spherical vessel unusually designed with a sprawling mouth, decorated throughout with scrolling designs of lotus and flowers on an imperial-blue ground, Shape: Bowl below a border of ruyi-shaped clouds, the foot circled by a lappet border. The inside is enameled with Weight: 187 grams a wavy pattern on a white ground. The base is incised with a single character shou surrounded by Dimensions: 11,5 cm diameter flying bats. Condition: Very good original condition with no restorations whatsoever, small dents to the gilt foot rim, Shape: Domed vessel the enameling with a few open bubbles, some minor Weight: 154 grams manufacturing flaws including , one tiny chip, Dimensions: 11,5 cm diameter minuscule nibbling and old wear, overall as expected for Fair original condition with no restorations whatsoever, small dents to the gilt lip, the enameling with an authentic Ming cloisonné piece a few open bubbles, some manufacturing flaws including crazing, minor enamel loss and stress lines, Provenance: Unite Kingdom private collection old wear, overall still as expected for an authentic Ming cloisonné piece, the base possibly a later addition Auction result comparison: CHINESE ART FROM Provenance: United Kingdom private collection CARAMOOR CENTER FOR MUSIC AND THE ARTS. Sotheby’s, 15 MARCH 2016, NEW YORK, lot 144. (for a Auction result comparison: ASIAN ART. Bonham’s, 11 Sep 2014, LONDON, lot 155. (for another pair of similar bowls) domed Ming cloisonné vessel)

㖶ẋ㘗㲘啵咖剙䠿炻IJķᶾ䲨 䦨㚱㖶ẋ㘗㲘啵咖剙䠿炻16ᶾ䲨 戭偶㌸䴚䏢䐗炻䠿䶋挷慹 戭偶㌸䴚䏢䐗炻䠿䶋挷慹 ᷕ⚳炻IJķᶾ䲨 ᷕ⚳炻16ᶾ䲨 ⑩䚠列⤥炻冯⸜ẋ䚠䫎炻䃉ảỽᾖ⽑ ⑩䚠冯⸜ẋ䚠䫎炻䃉ᾖ墄炻⸽悐⎗傥䁢⼴Ṣ㶣≈ 劙⚳䥩Ṣ㓞啷 劙⚳䥩Ṣ㓞啷

EstimateġEUR 400,- EstimateġEUR 300,- Starting price EUR 200,- Starting price EUR 150,-

8 9 4 A RARE CARVED ARCHAISTIC ‘KUILONG’ TURQUOISE GLASS VASE, Shape: Sprawling cylindric form on a round, slanted, flat base MID Weight: 193,5 grams The translucent glass body of almost flawless turquoise color, carved in Dimensions: Height 11,2 cm high relief, with neatly incised details Condition: Excellent condition with only minor wear, two microscopic China, 18th – 19th century nicks to base Provenance: Old European private collection The deep, thin sides carved in relief with an archaistic design of two Literature comparison: Claudia Brown and David Rabiner in Clear as pair of intertwined kuilong, each forming a stylized long-character, Crystal, Red as Flame, China Institute in America, New York, 1987, page all between a lappet border below and an incised leave border above, 29. (for an archaistic ruby-red glass bowl, attributed to the glasshouses of the tapered neck and sprawling mouth rim plain, the glass of intense Guangzhou) turquoise color. Auction result comparison: SNUFF BOTTLES FROM THE MARY AND 3 Claudia Brown and David Rabiner in Clear as Crystal, Red as Flame, China GEORGE BLOCH COLLECTION: PART VI. Sotheby’s, 27 MAY 2013, HONG A CLOISONNÉ ENAMEL ‘LOTUS’ CUPSTAND, MING DYNASTY, 16TH Condition: Very good original condition with no restorations whatsoever, Institute in America, New York, 1987, page 29, note that the thinness KONG, lot 236. (for a glass snuff bottle, made from glass with the exact CENTURY the bare bronze on the bottom with extensive wear to the coating, small of the body and the “clarity and warmth” of a ruby-red bowl from the same color, attributed to the glass workshops) The bronze cup-stand with gilt rims and cloisonné enamels in white, dents to the gilt rims, the enameling with a few open bubbles, some Qianlong period set it apart from Imperial productions, and that it is imperial-blue, lemon-yellow, iron-red, turquoise, midnight-blue and minor manufacturing flaws including crazing, minuscule nibbling and old more likely to have been made in the glasshouses of Guangzhou. They 㶭ẋ份夳ầ⎌晽” ⢼漵”㜦䞛䵈刚㕁䒞 dark-brown wear, overall as expected for an authentic Ming cloisonné piece also note that the thinness and fragility of the glass from Guangzhou was ⋲德㖶㜦䞛䵈䍣䐫炻䳘兑檀㴖晽 China, 16th century Provenance: Unite Kingdom private collection remarked upon as early as the 18th century. The carving on the present ⑩䚠㤝Ἓ vase shows strict “clarity” combined with sophisticated craftsmen’s skills 㫸㳚䥩Ṣ侩㓞啷 The interior cast with a domed ring to the center with a flat well and Auction result comparison: FINE AND WORKS OF resulting in an overall “warm” appearance. It therefore does not seem everted rim. Brightly enameled against an intense imperial-blue ground ART. Sotheby’s, 15 MAY 2013, LONDON, lot 262. (for a similar cup stand) absolutely unreasonable to date this vase to the 18th century. EstimateġEUR 400,- with undulating lotus scrolls, the rim with leafy lingzhi bands on a white Starting price EUR 200,- ground. The underside with further leafy lingzhi and blossom bands. 㖶ẋ㘗㲘啵咖剙䙷㈀炻16 ᶾ䲨 戭偶㌸䴚䏢䐗炻⢾廒挷慹 Shape: Cup-stand ᷕ⚳炻16ᶾ䲨 Weight: 209 grams ⑩䚠冯⸜ẋ䚠䫎炻㔜橼列⤥炻䃉ảỽᾖ墄 Dimensions: 17 cm diameter 劙⚳䥩Ṣ㓞啷

EstimateġEUR 500,- Starting price EUR 250,-

10 11 CHINESE GLASS Lots 21, 5 and 4

12 13 etching techniques. While the designs themselves might look clumsy to the novice, they are unequivocally at their earliest stages of development, thus narrowing the possible dating of this piece to a period from 1696-1715. The intense sapphire-blue color of the cup, which is a typical color used in very early works of Imperial Glass Works of Beijing, only adds further to this assumption. For a comprehensive discussion on the Imperial glassworks, see E. Byrne Curtis, ‘Chinese Glass and the Vatican Records’, Transactions of the Oriental Ceramic Society, 1992-93, vol. 57, pp. 49-58.

Shape: Sprawling cup, the sides slightly convex, the lip slanted, the edges rounded Weight: 140,3 grams Dimensions: 6,3 x 6,3 x 5,8 cm Condition: Good condition with old wear, few small manufacturing flaws, one nick to lip polished, some very minor nibbling, some tiny air bubbles Provenance: United Kingdom private collection

Literature comparison: Compare with three clear vessels, all unmarked and dated to the Kangxi period: a dish from the collection of Walter and Phyllis Shorenstein; and a pair of cups in The Corning Museum of Glass, New York, included in the China Institute of America Exhibition catalogue Clear as Crystal, Red as Flame, New York, 1990, pls. 10 and 11. An etched bowl dated to the 6 late 17th century, formerly from the K.R. Malcolm, and A FIVE-COLOR OVERLAY ‘PEONY’ GLASS VASE, Professor and Mrs. Plesh collections, was sold at Christies, TONGZHI MARK AND OF THE PERIOD 16 November 1998, lot 291, and is illustrated in Elegance The translucent overlay carved in high relief above an and Radiance, Grandeur in Qing Glass, the Andrew K.F. opaque white ground Lee Collection, The University of Hong Kong, 2000, p. China, the base with an incised four-character Tongzhi 262, no. 96. seal-mark and of the period (1862-1873)

⹟䅁⸜攻溆搥⮞䞛啵䍣䐫㜗炻1696-1715⸜ The baluster-shaped vase is applied with overlays in 㕡⼊⮞䞛啵䍣䐫㜗炻ℏ⣿䵈㜦刚㕁炻⢾⚵䱦ⶏ溆搥姕妰 transparent sapphire-blue, emerald-green, dusky pink, ᷕ⚳炻⹟䅁㗪㛇炻1696-1715⸜ lemon-yellow and ruby-red as birds and butterflies in ⑩䚠列⤥ flight above leafy peonies springing from craggy layered 劙⚳䥩Ṣ㓞啷 rocks, all in stark contrast to the white ground. Raised and flattened round foot rim. Hongmu base. (2) 5 EstimateġEUR 400,- AN ETCHED AND DIAMOND-ENGRAVED SAPPHIRE-BLUE OVERLAY GLASS CUP, Starting price EUR 200,- Shape: Baluster KANGXI, 1696-1715 Weight: 1089 grams The square-shaped sweeping cup is made of sapphire-blue glass, with the inside Dimensions: Height 23 cm completely covered in a very thin, turquoise-blue overlay, and the outside with an etched Condition: Some open air-bubbles, several tiny nicks, one and neatly diamond-point engraved design chip to lip China, Kangxi period, 1696-1715 Provenance: French private collection

The four sides delicately etched and engraved to depict four square reserves, each with Literature comparison: S Marchant & Son, The Hope precious objects such as a double gourd, a gu vase with a ruyi scepter inside, a fang ding Danby Collection of Chinese Glass, London 1999. (for bronze, a ding vessel, a large basket and many more, all below an wheel-cut band of an interesting overview about glass vases from the Qing floral and foliage scrolls. dynasty)

Engraving of this type was introduced to the Imperial workshops by the German Jesuit Auction result comparison: FINE CHINESE CERAMICS missionary, Kilan Stumpf. In 1696, Emperor Kangxi appointed Stumpf to supervise the AND WORKS OF ART. Sotheby’s, 08 OCTOBER 2013, establishment of Imperial glass workshops with the help of craftsmen drafted from HONG KONG, lot 3306. (for comparison with a similarly glass-making centres in Yanshan and Guangzhou. Stumpf was renowned for his glass- incised mark) Important Chinese Ceramics and Works of making and enameling skills, and contributed to the Chinese glass-making tradition, the Art. Christies, Hong Kong, 26 November 2014, lot 3374. German technique of wheel-cutting and in particular diamond-point engraving. (for a pair of five-color overly vases from the 19th century) When studying this superb cup, it becomes evident that this was not only designed to ġ serve a later purpose as a cup, a washer or even a small brush pot, but in the first place ⎴㱣⸜墥Ḽ刚⣿㕁ȿ刵喍剙ȿ㡺㥴䒞 as training-object for the craftsmen working under the supervision of Kilian Stump Ḽ⼑⣿㕁㴖晽⛐䘥⸽䒞幓ᶲ炻⸽悐⌘㚱ȿ⎴㱣⸜墥ȿ during the early 1700s. The number of early European glass-making techniques applied ᷕ⚳炻⎴㱣⸜攻ġĩ1862-1874⸜Ī to this tiny masterpiece is so large, that is seems almost impossible that they all have ⑩䚠列⤥ been executed to perfection: The ingenious shape of the glass body with its slanted 㱽⚳䥩Ṣ㓞啷 lips, rounded edges, sprawling form, convex sides, slightly domed base and a an inside overlay of less than 1 millimeter (!!) thickness, applied with not the slightest default. EstimateġEUR 500,- On top of that comes the décor, skillfully created using diamond-point engraving and Starting price EUR 250,-

14 15 7 A QING DYNASTY AMBER CARVING OF BOY WITH BASKET Amber of bright orange color and of near translucent quality China, Qing Dynasty (1644-1912)

This amber miniature carving depicts a young boy presenting a basket. The figurine is a symbol for the three friends of winter as the basket is made of bamboo and in it we find a plum and a pine branch.

Shape: Figural shape Dimensions: 4 cm (height), 2,5 cm (length), 1,3 cm (width) Weight: 5,7 grams Condition: Excellent condition with fine hand patina Provenance: Austrian Private collection

㶭ẋ”䓟⁽”晽䏍䍨 役德㖶檀岒慷㶢㨁刚䏍䍨 ᷕ⚳炻㶭ẋ (1644-1912) ⑩䚠㤝Ἓ炻⊭㻧⬴┬ ⤏⛘⇑䥩Ṣ㓞啷

EstimateġEUR 200,- Starting price EUR 100,-

8 A CARVED CORAL ‘DOUBLE GOURD AND BAT’ PENDANT, QING DYNASTY The material of elegant light red color with shades of dusky-pink. Good surface polish and patina. A small drilling at the top for a cord China, 18th – 19th century

Cleverly carved using the various color shades in the material to depict a double-gourd surrounded by large wine leaves, its tendrils, and a bat as symbol of luck sitting on top.

Shape: Natural Weight: 29,3 grams Dimensions: Height 4,5 cm Condition: Excellent with two tiny chips and some natural flaws Provenance: Unite Kingdom private collection 9 AN IVORY CARVING OF A MYTHICAL BEAST, BIXIE, QING Provenance: French private collection Auction result comparison: ARTS D’ASIE. Sotheby’s, 11 DECEMBER DYNASTY 2014, PARIS, lot 43. (for a related coral pendant) The Pavilion Sale - Carved and incised elephant ivory with a rich, natural age patina, distinct Literature comparison: Chinese Ivories from the Kwan Collection, Art Chinese Ceramics & Works of Art. Christies, 6 October 2015, lot 59. natural grain and smooth surface polish Gallery, The Chinese University of Hong Kong, 1990, lot 195. (for an ivory (for another related coral pendant) China, Qing Dynasty (possibly as early as Kangxi) carving of Liu Hai, showing similar carving style and technique as well as some resemblance in the detail work and the type of ivory used for the 㶭ẋ”吓單冯圁圈”晽䍲䐂⡄梦 Finely carved in the form of a standing mythical beast, bixie, with its carving, dated 17th-18th century) ℠晭Ṗ䲭炻⃒晭䢐⃱炻⊭㻧列⤥ head proudly facing forwards. The four paws accented with sharp talons, ᷕ⚳炻18ᶾ䲨军19ᶾ䲨 the facial features well defined with bulging eyes, its mouth open in a Auction result comparison: FINE CHINESE ART, Bonham’s, 6 Nov 2014, ⑩䚠㤝⤥ snarl revealing fangs, below a single horn between pointed ears at the LONDON, lot 293. (for a carved jade showing a bixie with comparable 劙⚳䥩Ṣ㓞啷 forehead, the bifurcated tail curled alongside its haunch, the hair of its large and prominent wings, dated to the 16th/17th century) FINE CHINESE tail defined with fine incisions, the large scrolled wings precisely carved CERAMICS & WORKS OF ART, Sotheby’s, 08 APRIL 2010, HONG KONG, EstimateġEUR 300,- with fine details. lot 2059. (for a carved jade also showing a bixie with prominent wings, Starting price EUR 150,- dated to the Ming dynasty) Note that the single-horn variation of the Pixiu species is actually called Tian Lu and said to go out into the world in search of gold and other 㶭㛅尉䈁晽尼尭 forms of wealth and, bringing it home to its Master, the bixie female of 尉䈁䱦ⶍ晽⇞炻寸⭴䘬⣑䃞⊭㻧炻䌐䈡⣑䃞䲳嶗炻堐朊䳘䶣⃱㹹 the Pixiu species, is then said to hold onto it, guarding it within the home ᷕ⚳炻㶭ẋ (ㅱ䁢⹟䅁㗪㛇) of the Master. It is therefore regarded as symbol of wealth protection. ⑩䚠㤝⤥ 㱽⚳䥩Ṣ㓞啷 The large, scrolled wings are a typical feature of the most important Han Dynasty bixie examples carved of jade. They are rare on later examples, as EstimateġEUR 600,- they represent a significant challenge even to a master carver. Starting price EUR 300,-

Shape: Natural Weight: 221 grams Dimensions: Length 11,5 cm Condition: Excellent. A few natural age-hairlines

16 17 10 A RHINOCEROS HORN ‘HIBISCUS’ LIBATION CUP, MING DYNASTY, 16TH / 17th CENTURY The horn of rich and dark chestnut tone with a smooth patina China, Ming dynasty, 16th – 17th century

Crisply carved as a hibiscus flower with the furled petals forming the cup, the exterior detailed in high relief with flowers and buds entwined with the stems and star-shaped serrated leaves, all enveloping the sides and issuing from the openwork foot, the undercut handle consisting of further buds and stems, on one side with a sinuous chilong interweaving his body through the stems, the six flower petals on the interior sharply articulated and punctuated with a small stamen in the center. Interestingly, the chilong is grasping a lingzhi fungus in its mouth.

The natural shape of the horn used for the making of this fine cup lends itself particularly well to that of an open flower blossom, and the carver has transformed the lip end of his material into a complete hibiscus flower with one stamen in the well. The hibiscus is immediately recognizable by its stamens which extend far out of the flower. The carving is detailed and naturalistic, even the interior of the piece is finished to the highest level with the overlapping petals carved to display a strong three-dimensional quality. Nature was on the forefront of the carver’s mind when he rendered this subject matter. Another notable aspect to the piece is the openwork stand it sits on - shaped as the stem of the plant from which leaves and buds grow. The handle is also imaginatively fashioned in the form of a stem reaching up to the top of the petals.

Shape: Libation cup Weight: 167,8 grams 㖶ẋ䈨䈃奺晽坕漵俛”吝剙”㜗炻16-17ᶾ䲨 Dimensions: Length 13,7 cm 䈨䈃奺炻⊭㻧㤝⤥ Condition: Good original and unrestored condition with some wear, 䱦㸃䘬ⶍ㱽炻⇣䔓↢⬴㔜䘬吝剙炻⇑䓐㌚崟䘬剙彖㥳ㆸ㔜ᾳ㜗⫸ˤ⽆⸽悐䓇 two very small nicks to chilong’s tail, a microscopic hairline and several 攟䘬匾剥炻⊭墡叿㜗⫸䘬⢾⚵炻悐↮⟹✳䁢㜗䁛ˤ䦨㚱䘬䈨䈃奺岒㕁炻䳘兑 tiny nibbles. One small segment of the openwork stand is missing. It is 䘬檀㴖晽炻㏕惵ᶨ⎒冯匾⸡圵䁢ᶨ橼䘬坕漵炻坕漵◜⎤叿ᶨ㛝曰剅炻⯽䎦㬌 extremely rare to find a Ming cup of this size in such an untouched and ⑩䘬檀屜ᶵ὿ˤ intact condition! 㷦䃞⣑ㆸ䘬忈✳炻Ỹẍ厗渿䳘兑䘬㈨㱽炻㍉吝剙剙䒋㥳䭱ㆸ㜗⫸炻ᶵᾅ㚱 Provenance: United Kingdom private collection. ⍇㛔䘬㧋尴炻㚜冯䈨奺䌐䈡䘬岒⛘炻栗⼿冒䃞䃉忽␴ˤ ⼊䉨烉䤅⢥㜗⼊ Literature comparison: For examples of rhinoceros horn cups with 慵慷烉167.8⃳ hibiscus, see one in the Chester Beatty Library, Dublin, published in Jan ⯢⮠烉攟13.7⍀䰛 Chapman in The Art of Rhinoceros Horn Carving in China, London, 1999, ⑩䚠列⤥炻㛒䴻ảỽᾖ墄ˤ坕漵⯦悐㚱ℑᾳ朆ⷠ⮷䘬塪䕽炻ᶨ⮷悐↮䘬㴖 pl. 206; another, formerly owned by Tradescant the Elder and presented 晽㛸㕁仢⣙炻⯙㖶ẋ忁ᾳ⣏⮷䘬䈨奺㜗Ἦ婒炻傥⥍┬⬴㔜ᾅ⬀炻⮎⛐朆ⷠ to the University of Oxford by Elias Ashmole, now in the Ashmolean 暋⼿ˤ Museum, Oxford, included in Derek Gillman, ‘A Source of Rhinoceros 劙⚳䥩Ṣ㓞啷 Horn Cups in the Late Ming Dynasty’, Orientations, December 1984, 㔯䌣⍫侫烉⎎ᶨẞ吝剙䈨奺㜗炻⎗⍫侫ỵ㕤悥㝷㜿䘬↯㕗䈡Ƹ㭼㚧⚾㚠棐棐 p. 15, fig. 8; and a third, from the collection of Dr. Ip Yee illustrated 啷炻庱 㕤 Jan Chapman叿ἄ䘬˪ᷕ⚳晽䈨䈃奺喅埻普˫炻ΐ 㔎炻1999⸜炻⚾ in Dr. Ip Yee, ‘Chinese Rhinoceros Horn Carvings’, International Asian 䇰206ˤ⎎ᶨẞ℠啷㕤䈃㳍䘬旧Ṩ卓㜿⌂䈑棐炻㚦庱㕤Derek Gillman䘬叿 Antiques Fair, Hong Kong, 1982, p. 36, cat. no. 29; and another from the ἄ˪ 㘂 㖶 㗪 㛇 䘬 䈨 䈃 奺 喅 埻 ˫炻Orientations 炻1984⸜12㚰炻⚾ 嘇 8ˤ⎎ ᶨ ẞ Murray bequest and now in the Victoria and Albert Museum, London, is ⇯㗗叱佑慓䓇䘬䥩Ṣ㓞啷炻⎗⍫侫ṾᾳṢ叿ἄ˪Chinese Rhinoceros Horn illustrated in Craig Clunas, Chinese Carving, London, 1996, fig. 31, where Carvings˫炻International Asian Antiques Fair↢䇰炻楁㷗炻1982⸜炻䫔 36枩炻 two intertwining stems are used to form the base of the vessel. 䶐嘇29ˤ⎎ᶨẞ䎦啷㕤ΐ㔎䘬䵕⣂⇑Ṇ冯刦ỗ䈡⌂䈑棐炻庱㕤 Craig Clunas 叿ἄ˪ᷕ⚳晽⇣˫炻ΐ 㔎炻1996炻⚾ 嘇 31ˤ Auction result comparison: A cup where the stalks of a lotus plant were 栆Ụ㉵⑩烉喯⭴㭼˪Edward T. Chow and Franklin Chow䍵啷⑩˫炻楁 made into a ring-base for the vessel, from the collections of Edward 㷗炻2011⸜4㚰8㖍炻䈑 ⑩ 䶐 嘇 2715ˤ⎎ ⢾ 怬 㚱 喯 ⭴ 㭼˪ᷕ⚳ 䒟 ☐ ⍲喅 埻 䍵 T. Chow and Franklin Chow, was sold at Sotheby’s Hong Kong, 8th ⑩˫2013⸜10㚰8㖍炻楁 㷗炻㉵ ⑩ 3244嘇ˤ April 2011, lot 2715. FINE CHINESE CERAMICS AND WORKS OF ART. Sotheby’s, 08 OCTOBER 2013, HONG KONG, lot 3244. (for a similar EstimateġEUR 6.000,- hibiscus and chilong cup dated to the 16th century) Starting price EUR 3.000,-

18 19 CHINESE SCHOLAR DESK OBJECTS Lots 19, 20, 22, 16 and 18

20 21 11 AN IVORY DOUBLE-SIDED ‘IMMORTALS AND DRAGON BOAT’ TABLE SCREEN, KANGXI Ivory engraved and carved in low relief. Good patina China, the screen Kangxi, around 1700, the stand Qing Dynasty

The rectangular plaque carved with Immortals on a dragon boat sailing towards a villa enshrouded with mist, 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.

Shape: Table screen Weight: 405 grams Dimensions: Height 26,8 cm Condition: Some age cracks, the stand with minor losses. Generally in good condition Provenance: United Kingdom private collection.

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 12 DECEMBER 2015, HONG KONG, lot 445. (for a related AN IVORY DOUBLE-SIDED ‘NARRATIVE’ TABLE SCREEN, KANGXI Literature: Chinese Ivories from the Kwan Collection. December 1990. table screen) Artist signature on the stand. Ivory engraved and carved in low relief. By Simon Kwan, Peter Y. K. Lam and Yang Boda. (for a comprehensive Good patina overview of Chinese ivories and many interesting examples from the ⹟䅁⸜攻尉䈁晽”漵凇㷉㱛”䠗⯷ China, the screen Kangxi, around 1700, the stand Qing Dynasty Kangxi period) 㶢㴖晽尉䈁炻列⤥⃱㽌炻側悐 ᷕ⚳炻⯷ⷽ䁢⹟䅁⸜攻晽墥炻➢⹏䁢㶭㛅晽墥 The rectangular plaque carved with a narrative scene with two ladies in a Auction result comparison: CHINESE ART. Sotheby’s, 3 DECEMBER 2015, ⑩䚠列⤥ garden studio receiving a letter, the reverse with a calligraphic inscription HONG KONG, lot 445. (for a related table screen) 劙⚳䥩Ṣ㓞啷 and a scene with birds and flowers, mounted in a partially reticulated stand with archaistic carving and two Buddhist lions guarding the screen. ⹟䅁⸜攻尉䈁晽”䪍⫸䌣䈑”䠗⯷ EstimateġEUR 800,- 尉䈁㶢㴖晽炻側悐晽㚱叔㤂䘬˪Ḽ㖍奨⤻˫娑⎍炻➢⹏⇣㚱晽侭⎵炻刚㽌列 Starting price EUR 400,- Shape: Table screen ⤥ Weight: 438 grams ᷕ⚳炻⯷ⷽ䁢⹟䅁㗪㛇晽墥炻䲬1700⸜炻➢ ⹏ 䁢 㶭 㛅 墥 Dimensions: Height 24,6 cm ⑩䚠列⤥炻ṃ姙⸜ẋ忈ㆸ䘬塪䲳炻ᷕ攻㚱ᶨ庫⣏塪䕽 Condition: Some age cracks, one in the center a bit larger, the stand with 劙⚳䥩Ṣ㓞啷 minor losses. Generally in good condition Provenance: United Kingdom private collection EstimateġEUR 600,- Starting price EUR 300,-

22 23 14 AN IVORY DOUBLE-SIDED ‘ROMANCE OF THE WESTERN CHAMBER’ SCREEN PLAQUE, KANGXI Ivory engraved and carved in low relief. Good patina China, Kangxi, around 1700

The rectangular plaque carved with a scene from the Xi Xiangji, the reverse with a vase and fan and a short poetic inscription. The Story of the Western Wing (traditional Chinese: 大⹪姀; : X xi ng Jì), also translated as Romance of the Western Chamber, is one of the most famous Chinese dramatic works. It was written by the dynasty playwright Wang Shifu (䌳⮎䓓) and set during the Tang dynasty. Known as “China’s most popular love comedy,” it is the story of a young couple consummating their love without parental approval, and has been seen both as a “lover’s bible” and “potentially lethal,” as readers were in danger of pining away under its influence.

Shape: Table screen plaque 13 Weight: 149,7 grams AN IVORY DOUBLE-SIDED ‘PRACTICING Dimensions: Height 19,5 x 11 cm CALLIGRAPHY’ TABLE SCREEN, KANGXI Condition: Some age cracks, one chip to edge. Generally Artist signature on the stand. Ivory engraved and carved in very good condition in low relief. Good patina Provenance: United Kingdom private collection China, the screen Kangxi, around 1700, the stand Qing Dynasty Literature: Chinese Ivories from the Kwan Collection. December 1990. By Simon Kwan, Peter Y. K. Lam and The rectangular plaque carved with a villa scene, with Yang Boda. (for a comprehensive overview of Chinese two scholars conversing and practicing calligraphy ivories and many interesting examples from the Kangxi surrounded by servants, the reverse with a calligraphic period) inscription and a scene with birds and flowers, mounted in a partially reticulated stand with archaistic carving and Auction result comparison: CHINESE ART. Sotheby’s, 3 two Buddhist lions guarding the screen. DECEMBER 2015, HONG KONG, lot 445. (for a related table screen) Shape: Table screen Weight: 440 grams ⹟䅁⸜攻尉䈁晽”大⹪姀”䠗⯷ Dimensions: Height 27 cm 尉䈁㶢㴖晽炻刚㽌列⤥ Condition: Some age cracks, the stand with minor losses. ᷕ⚳炻⹟䅁炻䲬1700⸜ Generally in good condition 側朊⇣㚱䘥⯭㖻˪㜕ⶆ㗍㛃˫曺㕿㱥惺崩㡐剙 Provenance: United Kingdom private collection ⑩䚠⬴┬ 劙⚳䥩Ṣ㓞啷 Literature: Chinese Ivories from the Kwan Collection. December 1990. By Simon Kwan, Peter Y. K. Lam and EstimateġEUR 400,- Yang Boda. (for a comprehensive overview of Chinese Starting price EUR 200,- 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)

⹟䅁⸜攻尉䈁晽”㔯Ṣ佺㚠䔓”䠗⯷ 尉䈁㶢㴖晽炻➢⹏⇣㚱晽侭⎵炻列⤥⃱㽌 ᷕ⚳炻⯷ⷽ䁢⹟䅁⸜攻墥炻➢⹏䁢㶭㛅墥 ⑩䚠列⤥ 劙⚳䥩Ṣ㓞啷

EstimateġEUR 800,- Starting price EUR 400,-

24 25 15 AN IMPORTANT CANTON SCHOOL ‘21-LAYER’ MAGIC IVORY BALL ON A TALL STAND, QING DYNASTY Carved ivory with detailed openwork, reticulation and incising, partially inked. This set of carved openwork concentric ivory balls with cloud-and- dragon decoration consists of one larger set of concentric balls, a supporting plate, a stand, a smaller set of concentric balls, and a base. China, , mid- to late-Qing dynasty ca. 1840-1900

The larger set of concentric balls is carved with several entwined sinuous dragons amid clouds on the outside, revealing 20 (in words: twenty) smaller, nested openwork balls inside, each manually and differently carved, one inside the other from the largest to the smallest, ingenuously carved from one single piece of ivory. The stand shows several scenes including wandering scholars and attendants in a mountainous landscape, several pavilions, groups of weiqi 16 players. A SMALL ROCK CRYSTAL ‘CHILONG’ BRUSH The base shows further sinuous dragons in openwork carving. WASHER IN LIBATION CUP SHAPE, 18TH CENTURY The smaller set of concentric balls is carved with floral décor on the Transparent rock crystal with natural inclusions, carved in outside and a smaller set of 7 balls hidden inside. high relief and openwork, with nicely incised detail work This type of ivory balls was made in the Guangdong region during the mid- China, 18th century to late-Qing dynasty. The most puzzling thing about this amazing piece of craftsmanship is probably how these delicate balls were made one inside the This archaistic vessel is carved from rock crystal and other. This technique fascinated the Chinese as well as the Europeans in th shows an intricately incised geometrical pattern on the 19th century and its earliest nickname was the “demon’s balls.” The process outer body. The two handles are formed by chilong of making a demon’s ball usually consists of the following six stages: dragons, confronting each other, with their bifurcated tails circumventing the vessel in high relief. 1. Selection and cutting down of material Rock crystal objects were highly sought after by Qing 2. Using a lathe to turn the cylinder into a sphere Dynasty literati who referred to the material as ‘water 3. Boring holes turned to stone’. 4. Carving inner spheres using a curved cutting tool Shape: Rounded, libation cup shape with figural handles, 5. Decorative carving of outer layer raised oval foot rim 6. Decorative carving of inner layers Dimensions: 4,2 cm (height), 10,5 cm (length) Condition: Fantastic condition with fine patina, remainder Steps two to four consist of the intricate cutting necessary to produce of old stains, and two microscopic nibbles to lip, as well nested balls. These steps require the use of a lathe. Another important trick as some natural flaws to the mineral is the drilling of evenly spaced perpendicular holes into the outer surface. Provenance: Austrian Private collection In fact, this is based on an ingenious, secret geometrical concept which is believed to have been lost at some point history, making it impossible to Auction result comparison: A similar cup, sold in these ever reproduce these balls again. rooms on June 16th 2018, lot 69.

Shape: Ball on stand, which can be dismantled into 10 parts, which are 18ᶾ䲨㯜㘞”䤅⢥㜗”䫮㲿 17 being held together via original ivory screws 檀㴖晽德㖶㯜㘞炻晽ⶍ䱦䳘 A ROCK CRYSTAL ‘LINGZHI’ BRUSH Auction results comparison: Chinese Weight: 1119 grams ᷕ⚳炻18ᶾ䲨 WASHER, QING DYNASTY Ceramics, Works of Art and Textiles. Dimensions: Total height 57 cm ⑩䚠㤝Ἓ炻⊭㻧䳘兑 The crystal of good purity with few Christies, London, 14 May 2010, lot 319. Condition: Superb, complete and original condition with some losses to ⤏⛘⇑䥩Ṣ㓞啷 natural clouds. Good surface finish both (for a ‘bat’ brush washer of same material, inner balls, few age cracks and some chipping to exposed areas in- and outside. period and size) Provenance: French private collection EstimateġEUR 400,- China, 18th – 19th century Starting price EUR 200,- 㶭ẋ㯜㘞晽”曰剅”䫮㲿 Literature comparison: The National Palace Museum, Taipei, recently The washer vigorously carved to depict 䲼㶐㯜㘞炻ℏ⢾⸛㹹䢐⃱ produced an interesting video, explaining the concept and technique of lingzhi fungi growing from a gnarly stem. ᷕ⚳炻18-19ᶾ䲨 ancient demon balls: http://npm.nchc.org.tw/newest_en.aspx?vid=85 Wooden base. (2) ⑩䚠列⤥炻㚱ṃ姙䢐䕽 劙⚳䥩Ṣ㓞啷 㶭ẋ⺋ⶆ㳦”21Ⰼ”掌晽䈁⣿䎫 Shape: Sculptural vessel ⺋ⶆ㳦(⋿㳦)尉䈁晽炻21Ⰼ櫤ⶍ䎫炻䎫ℏ⣿䎫炻徸Ⰼ掌䨢炻㏕惵䳘兑晽⇣䘬䎫㞙 Dimensions: Length 7,5 cm EstimateġEUR 200,- ⍲⸽⹏炻厗渿℠晭ˤ Weight: 108, 5 grams Starting price EUR 100,- ᷕ⚳炻⺋㜙炻㶭ẋᷕ㛇军㘂㛇炻䲬1840⸜军1900⸜ Condition: The rim with one chip and ⑩䚠⬴伶 minor nibbling. The small lingzhi with a 㱽⚳䥩Ṣ㓞啷 second chip Provenance: United Kingdom private EstimateġEUR 1.000,- collection Starting price EUR 500,-

26 27 18. 19 A SQUARE QINGTIAN SEAL WITH MATCHING BOX, AN INSCRIBED BAMBOO BRUSHPOT WITH A POEM CARVED BY ZHAO , 1852 BY SU SHI, QING DYNASTY, 19TH CENTURY The stone mottled in hues of honey and mustard. Bamboo with good old patina and well visible natural Smooth surface polish and good patina. grain China, dated to “Spring of 1852” (renzi year) and signed China, 19th century “Zhao Zhiqian” The seal: “Buddhist Disciples” The cylindrical exterior of the bitong incised in xingshu, running script, with a short poem by Su Shi, followed by Of square shape, the seal face carved in relief with a the cyclical date, 1849, or, less likely, 1909, and ending four-character seal-script inscription. The top incised in with the inscription Yunxi (暚㹒Ī, which could either be xingshu, running script, with a nine-character inscription. the name of the place where this brush pot was carved or The lidded hongmu box standing on four carved feet the name of the carver. with good patina and grain. (3) Su Shi (8 January 1037 – 24 August 1101), also known Zhao Zhiqian (Chinese: 崝ᷳ寎; 1829–1884) was a as Su Dongpo, was a Chinese writer, poet, painter, renowned Chinese calligrapher, seal carver and painter calligrapher, pharmacologist, gastronome, and a in the late Qing Dynasty, “the leading scholar-artist of statesman of the . A major personality his day.” Zhao’s seal carving had profound influence on of the Song era, Su was an important figure in Song the later masters, such as Wu Changshuo and Qi Baishi. Dynasty politics, aligning himself with Sima Guang and He is also known under the courtesy name of Yifu (䙲 others, against the New Policy party led by Wang Anshi. 䓓) and his pseudonym (hào) of Lengjun (⅟⏃), which he Su Shi was famed as an essayist, and his prose writings changed to Huishu (㑅⍼) and Bei’an (ず䚎) respectively lucidly contribute to the understanding of topics such later in his life. as 11th-century Chinese travel literature or detailed information on the contemporary Chinese iron industry. Shape: Square His poetry has a long history of popularity and influence Dimensions: 3,9 x 3,9 x 3,2 cm The box height 5,2 cm in China, Japan, and other areas in the near vicinity and Weight: 135,5 grams. The box 102,5 grams is well known in the English-speaking parts of the world Condition: Some chipping edges. Some wear, as through the translations by Arthur Waley, among others. expected on an old piece In terms of the arts, Su Shi has some claim to being “the Provenance: Hungarian private collection; before: pre-eminent personality of the eleventh century.” Austrian private collection, acquired around 1985 (by repute) Shape: Natural bamboo cylinder Weight: 118 grams Auction results comparison: CHINESE WORKS OF ART Dimensions: Height 12,6 cm, diameter 6,2 cm AND PAINTINGS. Bonham’s, 19 March 2018, NEW YORK, Condition: Good condition with several natural hairlines lot 8143. (for a related tianhuang seal, with comparable as visible on the pictures mottled hues of honey and mustard) China Guardian Provenance: French private collection 2017 Spring Auctions, lot 4361. ( for a related Qingtian stone seal carved by Zhao Zhiqian) Literature comparison: Literature comparison: Uncanny Ingenuity and Celestial Feats, The Carvings of the Ming 㶭ẋ嵁ᷳ嫁”ἃ攨⻇⫸”曺䓘䞛㕡⌘⍲味䙺炻1852⸜ and Qing Dynasties. Bamboo, Wood and Fruit Stones. 囄刚曺䓘䞛炻堐朊⸛㹹䢐⃱炻⊭㻧列⤥ˤ The National Palace Museum of Taipei. Chi Jo-hsin. Page ᷕ⚳炻⌘ᶲ⇣㚱”⢔⫸㗍㖍嵁ᷳ嫁↲䞛”炻㍐ 㷔 䁢1852⸜㗍ˤ 36. (compare with an earlier inscribed bamboo brush pot ⌘烉“ἃ攨⻇⫸”⮷䭮橼 of similar dimensions) ἃ 攨 ⻇ ⫸㕡 ⌘炻⌘ ᶲ ⇣ 㚱 埴 㚠 句 㫦 ”⢔⫸㗍㖍嵁ᷳ嫁↲䞛”ˤ ⚃嵛䲭㛐味䙺⊭㻧⬴┬炻䲳䎮⣑䃞ˤ Auction result comparison: IMPORTANT CHINESE 嵁ᷳ嫁(1829-1884)炻⇅ ⫿ 䙲 䓓ˣ嘇 ⅟ ⏃炻⼴ 㓡 ⫿ 㑅 ⍼ˣ嘇 ず WORKS OF ART (PART I). Christies, Hong Kong, 28 ⹝炻䁢㶭ẋ䞍⎵㚠䔓⭞ˣ䭮⇣⭞ˤ℞䭮⇣ㆸ⯙ⶐ⣏炻⼙枧役 November 2005, lot 1479. (for a similar brush pot from ẋ⏛㖴䡑ˣ滲䘥䞛䫱⣏ⷓˤ the 19th century) WATER, PINE AND STONE RETREAT ⼊䉨烉㕡⼊ COLLECTION – PLAYTHINGS. Christies, 02 JUNE 2016, ⯢⮠烉㕡⌘ 3.9 x 3.9 x 3.2 (⍀䰛)炻味 䙺 檀 5.2⍀䰛 HONG KONG lot 47. (for another inscribed bamboo brush 慵慷烉⌘慵135.5⃳炻䙺 慵 102.5⃳ pot from the 19th century) ⑩䚠列⤥炻℟㚱冯⸜ẋ䚠䫎䘬䢐㎵䡽䡘ˤ ⊰䈁⇑䥩Ṣ㓞啷ˤ⇵䁢⤏⛘⇑䥩Ṣ㓞啷炻㕤1985⸜⍾⼿(䓙 㶭ẋ娑⎍晽䪡䫮䫺 ⎵倚ᾉ嬥) 䪡墥䫮䫺炻⊭㻧列⤥炻䲳䎮㶭㘘⣑䃞 栆Ụ㉵⑩烉ᶨẞ栆Ụ䘬囄刚䓘湫䞛⌘炻⍫侫恎㿂㕗˪ᷕ⚳㚠 ᷕ⚳炻19ᶾ䲨 䔓⍲喅埻⑩˫炻2018⸜3㚰19㖍炻䲸 䲬炻㉵ ⑩ 䶐 嘇 8143ˤ⎎ ᶨ 䫮䫺ᶲ晽叿⣏㔯尒喯度䘬ἄ⑩” ℵ␴㣲℔㾇㠭剙⋩䳽”. ẞ嵁ᷳ嫁⇣曺䓘䞛⌘炻⎗夳ᷕ⚳▱⽟2017㗍⬋㉵岋㚫炻㉵ ⑩䚠列⤥ ⑩嘇4361ˤ 㱽⚳䥩Ṣ㓞啷

EstimateġEUR 500,- EstimateġEUR 300,- Starting price EUR 250,- Starting price EUR 150,-

28 29 22 23 A CARVED OPENWORK BOXWOOD A FAMILLE VERTE ‘MOUNTAIN’ BRUSHREST, QING ENAMELED PORCELAIN DYNASTY BRUSHPOT, QING DYNASTY The wood well carved in high relief Of cylindrical form, painted in with reticulated areas. Good patina! vivid green, yellow, aubergine China, 19th century and blue enamels, as well as in iron-red, black and gold. The The gnarled wood carved as a craggy glaze is covering the interior mountain range dotted with pine and and exterior walls as well as wutong trees, the foreground with a the circular depression at the solitary bridge approached by three center of the concave base, small figures, fitted stand. (2) but not its outer edge China, 19th century 20 21 Shape: Natural A CARVED AGATE ‘LOTUS’ WASHER QING DYNASTY, 18TH CENTURY A ‘REALGAR’ IMITATION GLASS BRUSH POT, QING Weight: 137 grams Delicately and lively painted Translucent agate of golden-brown and amber tones, with shades of bluish white, DYNASTY Dimensions: Length 20 cm depiction of three playful and few scattered speckles of dark brown. Outstanding polish The tapered body rising from a flat base, the glass of rich fiery Condition: Excellent condition with Buddhist lions, all fighting China, 18th century orange-red tone. extensive wear as expected on an old for the possession of a large China, 18th – very early 19th century piece of boxwood brocade ball, surrounded The flattened vessel carved in the form of a curved lotus leaf, the rounded Provenance: French private collection by iron-red flames and a sides rising to a lobed rim gently curving inward, decorated in high relief on the ‘Realgar’ glass is assumed to have been developed at the gilt magic pearl. The upper exterior with a blooming lotus flower accompanied by its tendril and leaves, Imperial glassworks during the Kangxi period (1662-1722), Literature comparison: Uncanny and lower end of the scene the translucent stone of attractive variegated tones of golden amber and honey when production was under the directorship of Kilian Stumpf Ingenuity and Celestial Feats, The surrounded by a spiral- and a suffusing with vermillion-red and dark-brown patches and blueish-white mottling. and his fellow Jesuits, who set up the glassworks for the Carvings of the Ming and Qing triangle-border respectively. The inside neatly inside with lotus-flower details. Emperor in 1696. Plain realgar glass items such as the present Dynasties. Bamboo, Wood and Fruit brush pot were made in large numbers throughout the 18th Stones. The National Palace Museum Shape: Cylindric, with rounded Shape: Lotus leaf century and a large proportion of them were apparently of Taipei. Chi Jo-hsin. Pages 97-112. lip Weight: 62 grams produced at the court to be distributed as gifts. By the mid- Weight: 634 grams Dimensions: 8,2 x 4,2 cm Qing period, carved realgar, instead of plain realgar, began to 㶭ẋ湫㣲㛐晽䫮㒙 Dimensions: Height 13,4 cm, Condition: Absolutely perfect condition take fashion among the glassworks and many fine examples 䱦伶㴖晽炻⊭㻧⬴┬ diameter 11,9 cm Provenance: United Kingdom private collection were produced with this style of decoration. ᷕ⚳炻IJĺᶾ䲨 Condition: Excellent, with ⑩䚠㤝⤥ some wear as expected on an Auction result comparison: IMPORTANT CHINESE ART. Sotheby’s, 03 APRIL 2018, Shape: Tapered cylindric form 㱽⚳䥩Ṣ㓞啷 old and authentic piece HONG KONG, lot 3687. (for an agate ‘lotus’ washer of similar size and style) Weight: 352 grams Provenance: French private Dimensions: Height 11,3 cm EstimateġEUR 300,- collection IJĹᶾ䲨㶭ẋ”咖剙”晽䐒䐁䫮㲿 Condition: Perfect condition with only minimal wear, Starting price EUR 150,- 䏍䍨刚⋲德㖶䐒䐁炻堐朊⬴伶䢐⃱ especially to the foot 㶭ẋḼ⼑ᶱ䋭櫍三䎫䒟䫮䫺 ᷕ⚳炻IJĹᶾ䲨 Provenance: United Kingdom private collection Ḽ⼑䒟炻ℏ⢾⛯㚱ᶲ慱 ⑩䚠㤝Ἓ ᷕ⚳炻19ᶾ䲨 劙⚳䥩Ṣ㓞啷 Auction result comparison: COLLECTIONS. Sotheby’s, 02 MAY ⑩䚠㤝Ἓ 2017, LONDON, lot 74. (for a similar brush pot) 㱽⚳䥩Ṣ㓞啷 EstimateġEUR 300,- Starting price EUR 150,- 㶭ẋầ晬湫㕁䫮䫺 EstimateġEUR 400,- 抸⼊ầ晬湫䍣䐫偶 Starting price EUR 200,- ᷕ⚳炻IJĹᶾ䲨㛓㛇军IJĺᶾ䲨⇅㛇 ⑩岒⬴┬ 劙⚳䥩Ṣ㓞啷

EstimateġEUR 400,- Starting price EUR 200,-

30 31 24 25 A LIDDED QING DYNASTY FAMILLE VERTE A PAIR OF BLUE AND WHITE ‘DRAGON’ BOWLS, MARKS AND PERIOD OF BALUSTER JAR ‘EIGHT IMMORTALS’ GUANGXU Porcelain with iron red, underglaze blue and multi- Material, color, techniques, functions etc.: Painted in intense and vivid cobalt-blue und colored enamels in Famille Verte palette der the glaze China, Qing Dynasty (1644-1912, possibly as early as China, Guangxu six-character reign marks and of the period (1875-1908) Kangxi period ca. 1700) Description, school, inscriptions, marks, styles: Each with rounded sides rising from a This masterly hand painted porcelain jar and cover high tapering foot to a slightly flaring rim, the exterior finely painted with two striding shows iron red outlines and multi colored enamels five-clawed dragons amidst flame scrolls, above stylized sea waves, ocean spray and throughout, in high relief. Depicted is the group of the petals around the base. The interior with a confronting third dragon within a double- eight immortals, Baxian, in a picturesque landscape with circle medallion. The inner and outer lips and the foot rim each with a double-circle as geometrically rendered rocks and trees. The immortals well. (2) are playing with a kite. Seven of the lucky gods are at the outer body of the vessel, one is on the lid, next Shape: Bowl to a young servant. The kite motif is also seen at the Weight: 132,5 grams each decorative border at the shoulder of the vessel. Dimensions: Diameter 12 cm Condition: Perfect condition with only minimal traces of old wear The neck of the jar shows a floral motif as does the Provenance: Dutch private collection knob of the lid. The underside bears an underglaze blue double-circle. Auction result comparison: Chinese Ceramics, Works of Art and Textiles. Christies, London, 11 November 2011, lot 1268. (for a related pair of Guangxu dragon bowls) Shape: Baluster shape Dimensions: Height 45 cm ᶨ⮵㶭⃱䵺⸜攻曺剙漵䲳䠿 Weight: 6,4 kilograms 曺剙慱ᶳ⼑炻⸽悐㚱”⣏㶭⃱䵺⸜墥”⫿㧋. Condition: Overall very good condition, one firing fault ᷕ⚳炻⃱䵺⸜攻(1875-1908⸜) (not a crack) at the underside, resulting in a thin hairline ⑩䚠㤝⤥ at the lower part of the vessel 匟嗕䥩Ṣ㓞啷 Provenance: Hungarian private collection EstimateġEUR 500,- 㶭ẋ䱦伶”ℓẁ”䠔⼑仸 Starting price EUR 250,- 昞䒟炻⣂刚䠔⼑ ᷕ⚳炻㶭㛅ĩ1644-1912⸜炻ㅱ 䁢 ⹟ 䅁 ⸜ 攻 䲬 1700⸜) ⑩䚠列⤥ ⊰䈁⇑䥩Ṣ㓞啷

EstimateġEUR 600,- Starting price EUR 300,-

32 33 26 A VERY LARGE UNDERGLAZE COPPER-RED-DECORATED BOTTLE included in the exhibition The Wonders of the Potter’s Palette. Qing VASE, KANGXI PERIOD (1662-1722) Ceramics from the Collection of the Hong Kong Museum of Art, Hong Elegantly potted in one piece, with a smooth transparent glaze, the Kong Museum of Art, Hong Kong, 1984, catalogue number 9. unglazed base with concentric rings in slight relief, the inner of the neck unglazed as well Auction result comparison: IMPORTANT CHINESE ART. Sotheby’s, 09 China, Kangxi period (1662 – 1722) NOVEMBER 2016, LONDON, lot 144. Fine Chinese Ceramics and Works of Art. Christies, London, 11 May 2010, lot 245. (both for related vases) The pear-shaped body rising from a round convex base to a tall cylindric neck with a small opening, masterfully painted with three running ⹟䅁⸜攻慱墉䲭㍷慹䤆䌠攟柠䒞 mythical beasts, a bixie, a buddhist lion and a deer, implying power, 䒞幓檀屜℠晭炻慱㕁⃱㹹德㖶炻⸽悐⍲柠ℏ⛯䃉ᶲ慱ˤ avoidance of evil spirits and nobility, in soft copper-red silhouettes, their ᷕ⚳炻⹟䅁⸜攻 (1662-1722⸜) eyes dramatically picked out in underglaze blue. 㡐⼊攟柠䒞幓ᶲ⼑丒Ḯᶱ⎒䤆䌠炻尼尭ˣ晬渧ẍ⍲曺䋭炻䛤䜃塓慱ᶳ啵⼑䈡 ⇍溆䵜炻尉⽝屜㕷䘬㪲≃⍲䣰㯪怈暊ら曰䘬䳃㒦ˤ The use of copper-red at Jingdezhen was revived under the Kangxi ⋩Ḽᶾ䲨⼴炻戭䲭䲳梦ⶍ㱽ᶨ⹎㰺句炻䚜⇘⹟䅁⸜攻ℵ㫉⽑冰ˤ⹟䅁ⷅⶴ㛃 Emperor after the decline in its usage after the 15th century in his 慵䎦䴻℠㖶ẋ䒟☐桐炻㘗⽟捖⚈侴慵㕘攳⥳䅺墥䲭慱䒟☐ˤ㬌ⶍ喅天㯪墥 quest to reproduce classic Ming porcelain designs. The high level of 昞ⶍ⋈䱦㸾㌴㍏慱㕁冯䀓῁炻䅺墥䱦伶ㆸ⑩炻℞檀崭㈨喅⛐㬌橼䎦⼿㵳㺻 technical knowledge of the potters is evident in their ability to control 䚉农ˤ the temperamental copper-red pigment to produce finely painted and ⼊䉨烉攟柠䒞 fired wares. The present vase is an outstanding example for this ability as 慵慷烉2478⃳ the simple yet skillfully applied brush strokes, in which the three mythical ⯢⮠烉檀48.5⍀䰛 animals have been executed, are still clearly visible. ⑩䚠⬴伶 Shape: Bottle vase ⤏⛘⇑䥩Ṣ㓞啷 Weight: 2478 grams 㔯䌣⍫侫烉ᶨ㚱庫⮷䚠Ụ䒞炻㓞啷㕤ᶲ㴟⌂䈑棐炻庱㕤˪ᶲ㴟⌂䈑棐啷⹟䅁 Dimensions: Height 48,5 cm 䒟⚾抬˫炻楁 㷗炻1998⸜炻⚾ 䇰 79烊⎎ ᶨ ἳ㚦 㕤1984⸜⛐楁㷗喅埻棐⯽奥ˬ Condition: Perfect condition 㶭䒟唰拎烉楁㷗喅埻棐㶭ẋ昞䒟˭ᶲ⯽↢炻䶐嘇9 Provenance: Austrian private collection 栆Ụ㉵⑩烉喯⭴㭼˪慵天ᷕ⚳䍵⑩˫炻2016⸜11㚰9㖍炻ΐ 㔎炻䈑 ⑩ 䶐 嘇 144ˤ Ἓ⢓⼿˪ᷕ⚳䒟☐⍲ⶍ喅䱦⑩˫炻ΐ 㔎炻2010⸜5㚰11㖍炻䶐 嘇 245ˤ Literature comparison: See also smaller vases of this type, such as one in the Shanghai Museum, Shanghai, illustrated in Kangxi Porcelain Wares EstimateġEUR 2.000,- from the Shanghai Museum Collection, Hong Kong, 1998, pl. 79; another Starting price EUR 1.000,-

34 35 27 A VERY LARGE ‘CIZHOU’ SGRAFFIATO VASE WITH HANDLES, JIN DYNASTY, 1115–1234 Black-glazed stoneware with extensive patina China, 1115 –1234

The ovoid body swelling broadly at the shoulder and set with two tab handles before the short straight neck and wide everted mouth rim, applied overall with a lustrous black-glaze transmuting to russet- colored striations along the bow strings, boldly cut through with a broad band of four meandering blossoms borne on leafy stems enclosed within a two incised double line borders, the glaze falling short as a wavy line significantly above the base, revealing the buff-colored stoneware body, with a few tears of glaze trickling down to the foot rim.

Shape: Vase with handles Weight: 10,9 kilograms Dimensions: Height 50,5 cm Condition: Extensive wear and traces of use, as is typical for this type of early Jin cizhou wares, some minor flaws to lip and one handle, some glaze flakes, one manufacturing flaw to foot rim, overyall outstanding condition for an original ceramic of this age, no restoration whatsoever Provenance: Dutch private collection

Auction result comparison: FINE CHINESE CERAMICS & WORKS OF ART, 13 MAY 2009, LONDON, lot 73. (for a similar vase with handles, from the same period, but much smaller)

慹㛅⣏✳”䡩ⶆ䩗”⇼剙暁俛⢢ 湹慱⇼剙炻⊭㻧列⤥ ᷕ⚳炻慹㛅炻1115-1234 ⢢ᶲ幓ⷞ⮷暁俛炻⢢⎋䔍䁢⢾侣炻㔜橼⟿㚱湹慱炻䱦䳘 䘬⚃㛝⇼剙䑘丆㔜⢢ˤᶳ⋲曚↢㛒ᶲ慱䘬昞⢢幓炻Ṏ⎗ 夳湹慱冒䃞䘬㳩ᶳ军嵛悐ˤ ⼊䉨烉暁俛⢢ 慵慷烉10.9℔㕌 ⯢⮠烉檀50.5⍀䰛 㬌ẞ䡩ⶆ䩗⸜ẋ庫ᷭ炻㔜 橼 ⑩ 䚠 䚠 ⮵列 ⤥ˤ㚱 ⣏ 朊 䧵 䘬䢐㎵⌛ἧ䓐䕽嶉炻⢢⒯⍲ᶨ俛㚱⮷塪䕽炻ᶨṃ湹慱∅ 句ˤ㰺 㚱 ᾖ 墄ˤ 匟嗕䥩Ṣ㓞啷 栆Ụ㉵⑩烉ᶨẞ⸜ẋ⍲剙䲳䚠Ụ炻Ữ庫⮷䘬暁俛⢢炻夳 喯⭴㭼˪ᷕ⚳䒟☐⍲喅埻⑩˫炻ΐ 㔎炻2009⸜5㚰13㖍炻 ㉵⑩䶐嘇73ˤ

EstimateġEUR 2.000,- Starting price EUR 1.000,-

36 37 28 29 A PAIR OF FAMILLE ROSE ENAMELED PLANTERS, A FAMILLE ROSE ‘COCKEREL EATING FLY’ PORCELAIN BOWL, 18TH CENTURY HONGXIAN MARKS, REPUBLIC PERIOD Four-character Yongzheng mark painted in cobalt-blue under the glaze within a square reserve The massive porcelain vessels painted in vivid Famille Rose China, 18th century enamels in light relief. Five characteristic spur marks on the bottom of each planter The shallow bowl is raised on a high foot and decorated on the exterior in vivid famille rose China, four-character Hongxian marks enameled in blue in a enamels with a cockerel amidst peony, daihu rocks and various other flowers. The gist of this square reserve and possibly of the period (1915-1916), or earlier unusual scene, however, is that the cockerel has just caught a large fly in his beak. As we republic period (1916 - ca. 1920/25) know, the cockerel, or rooster, is a honored creature in China and one of the twelve animals forming the Chinese zodiac. However, the cockerel is not only regarded as a fierce-some, Each thickly molded, raised on four low feet and delicately wise, courageous and loyal animal in Chinese society, it also was highly valued by ancient painted with a depiction of Chrysanthemum amid their leaves entomologists for working hard to eat up insect pests. Interestingly, the Chinese were, as in so and tendrils on a turquoise ground. Each of the four corners with many things, the first to discover the use of natural enemies to control pests, for example ants a gilt shòu longevity-character. The Chinese character shòu (⮧) on citrus to reduce pest infestations, but also cockerels to combat fly pests. This movement is usually found on textiles, furniture, ceramics and jewelry, and started already around 300 b. c. and has a long tradition in agricultural China, because insect may appear alone or surrounded by flowers, bats, or other good pests have always been a significant issue, especially during the earlier Qing dynasty, where luck symbols, but will always hold a central position, such as in they resulted in extreme famines. Even during the devastating period of the Sino-Japanese War the present example. (2) (1937-1945), the Chinese governments made great efforts to mobilize applied entomologists to combat against agricultural insect-pests. Summarizing, it can be said that the present bowl Shape: Square is not only a solid piece of 18th century famille rose porcelain, but also a fascinating testimonial Weight: 727 grams each to an important aspect of Chinese history, and furthermore, an ingenious yet simple (and very Dimensions: Each 12,4 x 12,4 x 6,2 cm Chinese) solution for a crucial problem. Condition: Perfect condition with only minor traces of wear, as expected on an old piece. Few minor manufacturing flaws Shape: Bowl Provenance: American private collection Weight: 105,4 grams Dimensions: 11,3 cm diameter Literature comparison: Kuo T’ing-i et al. Historical Annals of the Condition: There are some expected light surface wear to the enamels. The foot rim has ROC (1911–1949). Vol 1. pp 207–41. possibly been lightly buffed. Otherwise absolutely perfect condition Provenance: American private collection, purchase at Christies. A photocopy of the Christies Auction result comparison: ASIAN DECORATIVE ARTS. invoice will be released to the new owner Bonham’s, 14 October 2014, SAN FRANCISCO, lot 6284. (for a related pair of Hongxian planters) Auction result comparison: Chinese Ceramics and Works of Art Including Export Art. Christies, London, 8 November 2005, lot 124. (for comparison with an 18th century famille rose ‘cockerel ᶨ⮵㳒ㅚ⸜㫦䏢䐗䰱⼑剙䙮 and insects’ dish) 䰱⼑↠䲳炻⸽悐㚱Ḽᾳ溆䉨⌘姀炻᷎⌘㚱”㳒ㅚ⸜墥” ᷕ⚳炻㳒ㅚ⸜墥 (1915-1916)炻ㆾ 㮹 ⚳ ⇅ 㛇 (1916军1920/25) 晵㬋㫦”慹暆⓬垚”䰱⼑䒟䠿炻18ᶾ䲨 ⑩䚠㤝Ἓ 晵㬋⸜墥⚃⫿㫦 伶⚳䥩Ṣ㓞啷 ᷕ⚳炻18ᶾ䲨 ⑩䚠㤝Ἓ EstimateġEUR 600,- 伶⚳䥩Ṣ㓞啷炻㕤Ἓ⢓⼿岤ℍ炻⎗㍸ὃ㕘屟ᷣ䤐㒂⼙㛔ˤ Starting price EUR 300,- EstimateġEUR 1.000,- Starting price EUR 500,-

38 39 30 A LARGE FAMILLE ROSE ‘FIVE BLESSINGS’ PORCELAIN BOWL, DAOGUANG DAOGUANG SIX-CHARACTER SEAL MARKS IN IRON RED AND OF THE PERIOD China, 1821-1850

The exteriors are each brightly enameled on a green ground with four shou characters between pink bats and endless knots, alternating with four lotus blossoms, all amidst foliate scrolls and between a band of ruyi- heads at the rim and a band of lappets above the foot. The interior is glazed in crisp turquoise and contains a gilt shou medallion, with two incorporated symbols, encircled by five pink bats, the symbol for the ‘five blessings’, namely longevity, wealth, health and composure, virtue, and the desire to die a natural death in old age. Old box. (2)

Shape: Porcelain bowl Weight: 1080 grams Dimensions: 26,4 cm diameter Condition: There is expected surface wear, minor scratches and minute nicks to the foot. Otherwise in absolutely perfect condition. Old Chinese paper label Provenance: George Pantages Page (1917-1988) Collection, Hayward, California. An American east coast private collection

Literature comparison: Compare with a related ‘marriage bowl’ in Liu Liang-yu, Ch’ing Official and Popular Wares: A Survey of Chinese Ceramics, Taipei, 1991, page 271, and in Xu Huping, Treasures in the Royalty: The Official Kiln porcelain of the Chinese Qing Dynasty, Shanghai, 2003, page 384.

Auction result comparison: FINE CHINESE ART. Bonham’s, 7 November 2013, LONDON, lot 185. (for a Daoguang ‘marriage bowl’ similar in execution and style)

㶭忻⃱䰱⼑”Ḽ䤷叔⢥”䒟䠿 “⣏㶭忻⃱⸜墥”ℕ⫿㫦 ᷕ⚳炻1821-1850⸜ ⢾⚵㖶Ṗ䘬䵈⸽䰱⼑炻⛐⚃晣䰱刚䘬圁圈ᶳ䘮⌘㚱”⢥” ⫿炻⚃㛝咖剙䨧㍺℞ᷕˤ䠿ℏἧ䓐Ṗ䛤䘬㜦䞛䵈刚炻䠿⽫㚱 挷慹叔⢥炻Ḽ圈䑘丆炻尉⽝”Ḽ䤷冐攨炻叔⢥䃉䔮”ˤ㬌 䠿 旬 㚱ᶨ冲䙺ˤ ⼊䉨烉䒟䠿 慵慷烉1080⃳ ⯢⮠烉䚜⼹26.4⍀䰛 ⑩䚠㤝Ἓ炻㚱ṃ姙堐朊䢐㎵炻䳘⽖䘬⇖䕽⍲炻䠿嵛㚱⽖⮷ 䘬⇣䕽ˤṵ湷㚱冲㧁䰌ˤ George Pantages Page (1917-1988) 㓞啷炻㴟㰫⽟炻伶⚳≈ ⶆˤ伶 ⚳ 㜙 Ⱡ 䥩 Ṣ㓞 啷ˤ 㔯䌣㭼庫烉ᶨᾳ䚠Ụ䘬”⨂䠿”炻夳 ∱ 列 ỹ 叿˪ ᷕ ⚳ 㬟 ẋ 昞 䒟 揹岆˫炻⎘ ⊿炻1991⸜炻䫔 271枩ˤ⎎ ᶨ ẞ ⎗ ⍫ 侫 ⼸ 㷾 ⸛ 叿˪ ᷕ⚳㶭ẋ⭀䨹䒟☐˫炻ᶲ㴟炻2003⸜炻䫔 384枩ˤ 栆Ụ㉵⑩烉ᶨẞ䚠Ụ姕妰䘬忻⃱⸜攻”⨂䠿”炻夳 恎 㿂 㕗˪ ᷕ ⚳喅埻⑩˫炻2013⸜11㚰7㖍炻ΐ 㔎炻䫔 185嘇ˤ

EstimateġEUR 1.000,- Starting price EUR 500,-

40 41 31 A RARE FAMILLE ROSE LIME-GROUND ‘MUDAN TING’ BOWL AND Literature comparison: A Daoguang-period dish (one of a pair) of this very COVER, DAOGUANG same design is illustrated by D. Nadler, China to Order, Paris, 2001, no. 129, DAOGUANG SIX-CHARACTER SEAL MARK IN IRON RED AND OF THE where it is cited that another dish of this design from the Alma Cleveland ‚Secret Rendezvous‘ scene from Mudan Ting (The peony Pavilion) PERIOD Porter Collection is in the Peabody-Essex Museum in Salem, Massachusetts. China, 1821-1850 忻⃱⸜㫦曺⛘䰱⼑ȿ䈉ᷡṕȿ䒟䠿味 The bowl is painted in crisp enamels on the exterior with two medallions “⣏㶭忻⃱⸜墥”ℕ⫿㫦 enclosing scenes from the Mudan ting ‘Peony Pavilion’ play, all surrounded ᷕ⚳炻1821-1850⸜ by butterflies, chrysanthemum, peonies and peaches on a lime-green 曺㩠刚䘬䠿炻䔓㚱姙⣂䈉ᷡˣ卲剙冯梃准䘬圞炻ℑ⚻ᷕ⏰䎦䈉ᷡṕ㘗䈑ˤ ground. The cover is similarly decorated below the circular knob. The rime of 䠿味㚱䚠Ụ䘬剙䲳⍲䔓ἄˤ䠿䶋挷慹炻味䶋⍲枪䪗䘬⚻ḇ悥挷慹姕妰ˤ䠿 the lobed bowl is gilt as well as the circles framing the medallions. The inside ℏ⍲味ℏ䘮䁢䵈㜦刚慱ˤ of the bowl, the cover, the knob and the foot rim bear a turquoise glaze. 䈉ᷡṕ炻⍰䧙怬櫪姀炻䁢㖶ẋ㸗栗䣾㕤1598⸜∝ἄˤ㍷⮓㜄渿⧀冯㞛⣊ 㠭䘬䓇㬣ᷳㆨ炻㬟䴻⋫彃叔劎⼴炻䳪ㆸ䛟὞ˤ冯䞕䭯⮷婒ᶵ⎴䘬⛘㕡炻 The Peony Pavilion (Chinese: 䈉ᷡṕ; pinyin: Mudan ting), also named ⛐㖶ẋ䘬㇚㚚ᷕ炻㓡䶐Ⓒẋ䘬⁛⣯ẍ層役䎦⮎ᷣ佑炻㏺㡬崭冒䃞䘬䤆娙 The Return of Soul at the Peony Pavilion, is a romantic tragicomedy 冯櫤⿒炻德忶㍷⮓⮵冒䓙ㆨッ䘬ᶵㅰ徥㯪炻⍵㗈䔞㗪⮩⺢ᷣ佑ᶳ䘬ᾅ⬰ play written by dramatist Tang Xianzu in 1598, and the plot was drawn 冯⡖句ˤ from the short story Du Liniang Revives for Love. It depicts a love 㒂㍐㕟炻㬌䠿㍷徘䘬䁢˪㊦䔓˫ẍ⍲˪⸥⩦˫ℑ⟜炻䁢㓭ḳᷕ慵天ᷳね story between Du Liniang and Liu Mengmei, overcomes all difficulties, 䭨ˤ㶭㛅ᷕ㛇炻˪䈉ᷡṕ˫㓭ḳ⭞╣㇞㙱ˤ transcending time and space, life and death, and finally get together. ⼊䉨烉䒟䠿ⷞ味 Different from the short story, in Tang’ s play, it is a dynamic integration 慵慷烉䷥慵650.3⃳炻䠿慵402.3⃳炻味慵248⃳ of the legendary and the reality in Ming Dynasty. Scenes of love in ⯢⮠烉䠿䚜⼹16.9⍀䰛炻味䚜⼹16⍀䰛 dreams, Du Liniang’s revival, or any supernatural element seem absurd in ⑩䚠㤝⤥ˤ挷慹怲䴻ᾖ墄炻䠿冯味ℏ悐㚱ṃ姙㐑㒎ˤ play, but it reflects the sprout of humanism, through protagonists’ strong 伶⚳䥩Ṣ㓞啷炻岤屟㕤Ἓ⢓⼿炻⎗㍸ὃ㕘屟⭞岤屟䤐㒂⼙㛔ˤ desire and unremitting pursuit of free love and uncovers the degeneracy 㔯䌣⍫侫烉ᶨᾳ忻⃱㗪㛇䚠Ụ䘬䒟䚌炻㓞抬㕤D. Nadler叿˪China to of the society under feudalism at that time. Order˫炻⶜湶炻2001⸜炻䶐嘇129ˤ⎴㗪㊯↢冯㬌䚌ㆸ⮵䘬⎎ᶨᾳ䒟䚌 Ἦ冒Alma Cleveland Porter㓞啷炻䎦⬀㕤伶⚳湣啑媠⠆ⶆ䘬䙖⌂徒❫⠆⃳ The scenes depicted on the present bowl are most likely ‘Discovering the 㕗⌂䈑棐ˤ Portrait’ and ‘Secret Rendezvous’, both of which belong to the small group of important scenes usually being adopted and performed onstage. It is EstimateġEUR 2.000,- known that this play was very popular during the mid-Qing period. (2) Starting price EUR 1.000,-

Shape: Porcelain bowl with cover Weight: 650,3 grams total, 402,3 grams the bowl, 248 grams the cover Dimensions: 16,9 cm diameter (the bowl) 16 cm diameter (the lid) Condition: The gilding on the rim of the know has been redone, covering a very tiny chip. The inside of both bowl and lid shows old wear. Otherwise absolutely perfect condition. Provenance: American private collection, purchase at Christies. A photocopy of the Christies invoice will be released to the new owner

‚Discovering the Portrait‘ scene from Mudan Ting (The peony Pavilion)

42 43 33 A BLANC-DE-CHINE PORCELAIN FIGURE OF , QING DYNASTY, DEHUA Molded white porcelain with carved details, impressed marks to backside China, 19th century

The goddess stands on a rounded base with an incised ocean-wave and -spray décor and holds a woven openwork basket containing a bunch of flowers in her right, and a spiky lotus stem and flower in her left, a billowing scarf trails down towards the base as she is wearing her hair pinned-up and bedecked with finely detailed tiara.

Shape: Sculptural Weight: 1001 grams Dimensions: Height 33,5 cm Condition: Absolutely perfect condition, which is rare on such a fragile piece! Provenance: Austrian private collection

㶭㛅⽟⊾䘥䒟奨枛䩳⁷ ⽟⊾䨹䘥䒟☐炻䒟偶农⭮炻晽ⶍ䳘兑炻側㚱⡻⌘ ᷕ⚳炻IJĺᶾ䲨 ⑩䚠⬴伶 ⤏⛘⇑䥩Ṣ㓞啷

EstimateġEUR 300,- Starting price EUR 150,-

32 A FINELY CARVED SQUARE WOODEN TWO-STOREY HIGH TABLE, QING DYNASTY Made of several jointed pieces of dark hardwood, possibly Hongmu, with a 35 good patina AN INDIGO BLUE SUMMER DRAGON ROBE, GUANGXU PERIOD China, late Qing Dynasty Silk gauze with multi-colored silk threads, with woven application borders and loops at the collar and front, five gilt copper buttons, inside lined with silk This appealing two-story high table China, Guangxu period (1874 – 1908) is standing on four legs that end in lion paws atop little spheres. Lion This delicate silk gauze summer robe shows counted stitch embroidery with with gold- heads are supporting the tabletop, 34 wrapped and bright silk threads with nine five-clawed dragons pursuing ‘flaming pearls’ with flowers carved underneath A SILVER ‘DRAGON’ WALKING CANE, QING DYNASTY amidst clouds, cranes, and auspicious emblems above crashing waves and lishui stripe. them. Intricate reticulated panels are The shaft is made of black hardwood (possibly zitan), the handle of silver, found on all four sides of both stories incised with fine openwork detail Shape: Robe incorporating various fruits and plants China, late 19th century, with faint silver- or manufacturer-marks on the mane Dimensions: Total width (measured with stretched out sleeves) 190 cm; maximum length such as bamboo or pomegranates. 134,5 cm The handle with a fierce dragon baring his menacing fangs, with good detail Condition: Excellent condition with only very few loose threads Shape: Square work to his mane, scales and nostrils. Three-character engraving in Chinese Provenance: Old German private collection Dimensions: 80 x 45 x 45 cm. and European monogram engraved to shaft of handle. The hardwood shaft Condition: Good condition with some looks a bit like Zitan with its characteristic crab-claw-markings, but cannot be Auction result comparison: Sotheby’s, SATURDAY AT SOTHEBY’S: ASIAN ART, 24 wear and minor nicks here and there, determined due to a later applied European shellac coating. MARCH 2018, New York, lot 1599 (for a near identical robe) some older scratches Provenance: Austrian private Shape: Walking cane in L-shape 㶭⃱䵺⸜攻啵䲿䲵暚漵䲳╖堵 collection Weight: 305 grams ㍸剙䵊䶆炻䴚䵊夗塷炻Ḽᾳ挷慹戭憎 Dimensions: Length 87 cm ᷕ⚳炻⃱䵺㗪㛇ĩIJĹĸĵĮIJĺıĹĪ 㶭ẋ䠔㛐晽梦暁Ⰼ檀儛㕡㟴 Condition: The cane with old wear, traces of use, minor dents and one small ⑩䚠㤝⤥ 䠔㛐㛸岒炻⎰䎮㍐㷔䁢䲭㛐炻⊭㻧 repair nostril, the hardwood shaft with shellac coating ⽟⚳䥩Ṣ侩㓞啷 列⤥ Provenance: Austrian private collection ᷕ⚳炻㘂㶭 EstimateġEUR 800,- ⑩䚠列⤥ 㶭ẋ戨㈲晽漵ㇳ㛾 Starting price EUR 400,- ⤏⛘⇑䥩Ṣ㓞啷 䠔㛐㛾幓(ㅱ䁢䳓㨨)炻戨⣿ㇳ㈲炻德晽漵椾 ᷕ⚳炻19ᶾ䲨㛓㛇炻戨㈲ᶲ⌘㚱”⣑㳍⹄”⫿㧋 EstimateġEUR 300,- ⑩䚠列⤥炻㚱ἧ䓐䕽嶉⍲ṃ姙䢐㎵ Starting price EUR 150,- ⤏⛘⇑䥩Ṣ㓞啷

EstimateġEUR 200,- Starting price EUR 100,-

44 45 36 A ‘PEONY AND ROCK’ PAINTING BY WU CHANGSHUO, DATED 1921 Ink and color on paper, mounted to a brocade coated paper scroll with wooden handles. Accompanied by an inscribed Japanese wood box, noting the painting was mounted in Showa 10 (1935), Japanese private collection China, dated 1921

This original artwork by Wu Changshuo is signed by the artist ‘Laofou Changshuo’, dated ‘at the age of seventy-eight’ (1921), and bears two artist’s seals ‘Wu Changshi’ and ‘Wu Jun zhi yin’. Depicted is one of the artist’s most well-known subjects ‘Peonies and rock’. With free brushstrokes the flowers show a vivid pink color and expressive leafage. They are growing from a blueish-grey rock formation.

Wu Changshuo (September 12, 1844 – November 29, 1927) was a prominent painter, calligrapher and seal artist. Initially, he devoted himself to poetry and calligraphy with a strong interest in early scripts. He also led the Xiling Society of the Seal Art, an academic organization for Hangzhou-based seal artists. Only later did he consider himself a painter associated with the “Shanghai School.” As a painter, he was noted for helping to rejuvenate the art of painting flowers and birds. He considered carving seals and doing paintings to be integrated to each other. His work was highly regarded in Japan.

Shape: Rectangular vertical shape Dimensions: 150,5 x 39,3 cm (painting size), 205 x 61 cm (mounting) Condition: The painting is in good condition. Slight traces of age and wear, in the form of creases and moldy spots, are discernible Provenance: Japanese private collection

Auction result comparison: Christie’s, Fine Chinese Modern Paintings, 25 - 26 November 2013, Hong Kong, lot 1361. (for a comparable, slightly smaller, Peony and rock painting by Wu Changshuo)

⏛㖴䡑ȿ䈉ᷡ曰䞛ȿ寶ⷭ炻IJĺijIJ⸜ 䳁㛔㯜⡐姕刚炻䳁㛔墅墙炻䩳庠 旬㖍⺷㛐晽䙺炻䙺ᶲ姣姀㬌䔓㕤㗕␴IJı⸜ĩIJĺĴĶĪ墅墙炻㬌㛐䙺䁢㖍㛔䥩Ṣ㓞啷ˤ

䔓ᶲ句㫦ȿ侩⣓㖴䡑炻⸜ᶫ⋩ℓȿ炻᷎ 㚱 ȿ⏛㖴䞛ȿ冯ȿ⏛ὲ⌧⌘ȿℑ⌘炻㍐㕟㬌寶ⷭ㕤IJĺijIJ⸜ ㇨䔓ˤ㬌寶ⷭᷣ柴䁢⏛㖴䡑叿⎵䘬ȿ䈉ᷡ曰䞛ȿ炻尒㓦䫮妠ᶳ䘬䈉ᷡ㚜℟䡭䣉ᷳ㯋⊊ˤ

⏛㖴䡑ĩIJĹĵĵ⸜ĺ㚰IJijġȸġIJĺijĸ⸜IJIJ㚰ijĺĪ㗗ᶨỵ‹↢䘬䔓⭞炻⎴㗪┬㕤㚠㱽ˣ䭮⇣ˤ㖑㛇Ṿ䅙ッ 㚠㱽∝ἄ炻⏇娑ἄ⮵ˤ㕤IJĺıĵ⸜∝彎Ḯȿ大㲈⌘䣦ȿˤ㘂 ⸜炻塓 娵 䁢 㗗ȿ㴟ᶲ䔓㳦ȿẋ堐Ṣ䈑 ᷳᶨˤ⎴㗪炻Ṿ䘬ἄ⑩⛐㖍㛔ḇ塓檀⹎㍐ⲯˤ

⼊䉨烉䩳庠 ⯢⮠烉IJĶıįĶġŹġĴĺįĺġ⍀䰛ġĩ䔓朊Ī炻ijıĶġŹġķIJġ⍀䰛ġĩ⏓墅墙Ī ⑩ 䚠列 ⤥炻㚱 庽 ⽖ 䘬 ⸜ ẋ ␴ 䢐 ㎵ 䕽 嶉炻㚱 ṃ 㐢 䕽 ⍲ 暱 㔹ˤ 㖍㛔䥩Ṣ㓞啷 栆Ụ㉵⑩烉⎎ᶨⷭ⏛㖴䡑䈉ᷡ曰䞛䔓ἄ炻 ⍫侫Ἓ⢓⼿˪ᷕ⚳役䎦ẋ䔓˫炻ij ı IJ Ĵ ⸜ IJ IJ㚰ij Ķ㖍 ⍲ ij ķ 㖍炻 楁㷗炻㉵⑩䶐嘇IJĴķIJˤ

EstimateġEUR 4.000,- Starting price EUR 2.000,-

‚Inscribed Japanese Box, noting the painting was mounted in 1935 (= Showa 10)’

46 47 37 A ‘BLOOMING PLUM BLOSSOM BRANCHES’ PAINTING BY WU CHANGSHUO, DATED 1919 Ink and color on paper, mounted to a brocade coated paper scroll with wooden handle(s) China, dated 1919

This original artwork by Wu Changshuo is signed and dated by the artist ‘Painted by Wu Changshuo in the year Jiwei (= 1919) during the severe frost in the age of 76 years’ and bears two artist’s seals.

Depicted is one of the artist’s most well-known subjects ‘Plum blossoms’. With free brushstrokes the flowers show a vivid pink color and are growing from expressively gnarled branches that are growing vertically.

Wu Changshuo (September 12, 1844 – November 29, 1927) was a prominent painter, calligrapher and seal artist. Initially, he devoted himself to poetry and calligraphy with a strong interest in early scripts. He also led the Xiling Society of the Seal Art, an academic organization for Hangzhou-based seal artists. Only later did he consider himself a painter associated with the “Shanghai School.” As a painter, he was noted for helping to rejuvenate the art of painting flowers and birds. He considered carving seals and doing paintings to be integrated to each other. His work was highly regarded in Japan.

Shape: Rectangular vertical shape Dimensions: 152 x 41,5 cm (painting size), 237 x 61 cm (mounting) Condition: The painting is in good condition. Slight traces of age and wear, in the form of creases, slight browning at the margins and moldy spots, are discernible. One small hole and few small tears are hardly noticeable due to the mounting. Provenance: From an old German Private collection, bought by an Austrian collector at Lempertz, 09 Dec 2011, Cologne, Germany, ASIATISCHE KUNST, Lot number 78

Auction result comparison: Christie’s, Fine Chinese Modern Paintings, 26 - 27 November 2011, Hong Kong, lot 1302. (for a comparable, slightly smaller, Plum blossoms painting by Wu Changshuo, also dating to 1919)

⏛㖴䡑ȿ㠭剙䵣㓦ȿ䩳庠炻IJĺIJĺ⸜ 䳁㛔㯜⡐姕刚炻䳁㛔墅墙炻䩳庠 ᷕ⚳炻䓙⶙㛒⸜㍐㕟䁢IJĺIJĺ⸜

忁ⷭ䔓䓙⏛㖴䡑句㫦味䪈炻⎗䓙ȿ⶙㛒⸜ȿ⍲ȿ⸜ᶫ⋩⍰ℕȿ㍐㕟↢娚䔓㕤IJĺIJĺ⸜∝ἄˤ䔓ᶲ 味㚱ℑᾳ䪈ˤ

⏛㖴䡑昌Ḯ䈉ᷡ⢾炻Ṏ┬㕤䔓㠭ˤ尒㓦䘬䫮妠ᶳ⯽䎦㠭剙㕤⭺⅔䘬䰿㝅ᷕ䵣㓦䘬杴⿏ˤ

⏛㖴䡑ĩIJĹĵĵ⸜ĺ㚰IJijġȸġIJĺijĸ⸜IJIJ㚰ijĺĪ㗗ᶨỵ‹↢䘬䔓⭞炻⎴㗪┬㕤㚠㱽ˣ䭮⇣ˤ㖑㛇Ṿ䅙ッ 㚠㱽∝ἄ炻⏇娑ἄ⮵ˤ㕤IJĺıĵ⸜∝彎Ḯȿ大㲈⌘䣦ȿˤ㘂 ⸜炻塓 娵 䁢 㗗ȿ㴟ᶲ䔓㳦ȿẋ堐Ṣ䈑 ᷳᶨˤ⎴㗪炻Ṿ䘬ἄ⑩⛐㖍㛔ḇ塓檀⹎㍐ⲯˤ

⼊䉨烉䩳庠 ⯢⮠烉IJĶijġŹġĵIJįĶġ⍀䰛ĩ䔓ἄ⣏⮷Ī炻ijĴĸġŹġķIJġ⍀䰛ġĩ墅墙⼴Ī ⑩䚠列⤥炻㚱ṃ姙䢐㎵⍲㐢䕽炻⎗夳䘬⽖⮷暱溆冯墸刚㔹ˤ墅墙忈ㆸ䘬㔠ᾳ㐽䕽⍲⸦᷶ᶵ ⎗ẞ䘬⮷㳆ˤᶨ庠怢⣙ˤ ⽟⚳䥩Ṣ侩㓞啷炻⤏⛘⇑㓞啷⭞⽆ōŦŮűŦųŵŻ㉵岋埴˪Ṇ㳚喅埻⑩˫岤ℍ炻ij ı IJ IJ ⸜ IJ ij 㚰 ĺ 㖍炻䥹 昮炻⽟⚳炻ġ㉵⑩䶐嘇ĸĹˤġ

栆Ụ㉵⑩烉ᶨⷭ庫⮷✳ˣ⎴䁢IJĺIJĺ⸜⏛㖴䡑∝ἄ䘬ȿ㠭剙䚃攳ȿ⚾炻夳 Ἓ ⢓ ⼿˪ᷕ ⚳ 役 䎦 ẋ 䔓˫炻ijıIJIJ⸜IJIJ㚰ijķĮijĸ㖍炻㉵⑩䶐嘇IJĴıijˤ

EstimateġEUR 3.000,- Starting price EUR 1.500,-ġ

48 49 38 39 A PAINTING DEPICTING A A VERY RARE SILK MEIREN WITH A DEHUA KESI WITH CUP, QING DYNASTY AVALOKITESHVARA, 18th Ink and color pigments on CENTURY paper Silk with Kesi weaving, silk and China, Qing dynasty, late gold threads, silk fringes 18th – early 19th century China, 18th century

Depiction of a Meiren This religious wall-hanging is in festive garment. The executed in Kesi technique and beautiful woman wears an shows the Buddha of compassion, intricate robe and precious Avalokiteshvara, in classical attire. jewelry, such as a white The is seated in jade and enameled silver lotus posture on a colorful lotus ‘lotus’ broach on her chest. pedestal. His jewelry and aureole Her hair is pinned-up with feature precious gold coated silk a white chrysanthemum threads and in his four hands he flower. A white dehua holds a precious wishing jewel at porcelain cup is located the heart as well as a lotus flower on a small table next to and a Mala. her. The figure stands out prominently against the Below is an worshipper figure ochre background. with a high chignon, seated on a prayer rug. The backdrop is Dimensions: 49 x 34 cm highlighted by stylized fog, clouds (painting), 107 x 54 cm and flowers. (frame) Condition: The painting is Shape: Rectangular vertical shape in good condition. Signs of Dimensions: 82 x 147 cm age and wear in the form Condition: Excellent condition of minor creases, small with only very few loose threads stains and abrasions. The and minor soiling. mount has traces of use, Provenance: British collection soiling and wear, and some discoloration. Framed. Auction result comparison: Koller Provenance: American International Auctions, ASIATICA, Private Collection. The 27 MARCH 2010, Zurich, lot 140 backside with a manual (for a comparable Kesi thangka inscription indicating that depicting a white ). the painting was ‘re-framed in October 1976’ 份夳䘬ȿ⚃兪奨枛ȿġ䶁䴚Ⓒ⌉ 䶁䴚ⶍ㱽炻慹䶂⇢䴱炻䴚䷼櫂怲 Auction result comparison: ᷕ⚳炻IJĹᶾ䲨 Sothebys, FINE CHINESE 忁ⷭ⡩㍃㍉䓐䶁䴚ⶍ㱽炻⯽䎦奨枛 CERAMICS & WORKS OF 厑啑⮵䛦䓇䘬ㄸㅓᷳ⽫ġ ART, 19 MARCH 2013 - 20 ⑩枭㤝⤥ MARCH 2013, NEW YORK, 劙⚳㓞啷 lot 469. (for a painting of Meiren, dating to the same EstimateġEUR 1.500,- period) Fine Chinese Art, Starting price EUR 750,- Zacke Auctions, September 30th, 2017, lot 120. (for a painting of Meiren, dating to the same period)

㶭ẋȿ伶Ṣȿ⚾ġ 䳁㛔姕刚炻墅㟮 ᷕ⚳炻㶭㛅炻IJĹᶾ䲨㛓⇘IJĺ ᶾ䲨⇅ ⑩䚠列⤥炻䔓㟮㚱ṃ⽖䢐㎵ ⍲壒刚ˤ 伶⚳䥩Ṣ㓞啷炻䔓㟮側⼴ 㚱句㫦炻栗䣢㬌䔓㕤IJĺĸķ⸜ 墅㟮ˤ

EstimateġEUR 800,- Starting price EUR 400,-

50 51 40 41 A RARE 19th CENTURY THANGKA A RARE 19th CENTURY ‘HVASHANG RETURNING TO CHINA THANGKA DEPICTING WITH THE 16 ’ PEHAR GYALPO Distemper and gold paint on cloth, Distemper and gold paint on framed in silk brocade mounting with cloth, framed in plain linen segmented inner rims mounting Sino-Tibetan, late 19th century Sino-Tibetan, 19th century

This thangka shows the rare motif of This thangka shows the rare Buddha Shakyamuni in union with motif of Pehar Gyalpo, the Tsongkhapa, throning above him, at worldly protector king, as the the center of the vivid scenery depicting central figure. The wrathful the legend of Hvashang returning to deity with blue skin is shown China with the 16 Arhats by crossing seated on a white elephant the ocean. The Arhats are accompanied and is holding a dagger and a by their attendant Dharmata and in the vajra string in his hands. The foreground we see the four heavenly flame back-drop adds to the kings of the cardinal directions guiding powerful appearance of the them. Next to the kings is a boat where portrayal. The central figure is inside Hvashang is seated with some surrounded by the five forms servants at his side. of Pehar Gyalpo, all riding a different beast. At the very top The painting is executed with much is a Buddha figure holding a attention for detail, at the wavy sea bowl and showing the gesture we find countless auspicious objects of granting wishes. and very fine gold paint inscription. Inscriptions to backside as well. Shape: Rectangular vertical shape According to legend within the Tibetan Dimensions: 70 x 43 cm book, Inviting the Arhats, Hvashang (painting size), 120 x 59 cm was sent to by a Chinese Tang (mounting) emperor to invite the sixteen great Condition: The painting is in arhats so that they may transmit overall good condition with Buddhism throughout China and . some stains and abrasions. The linen mount is soiled and Shape: Rectangular vertical shape shows several stitches and Dimensions: 62x 41 cm (painting size), loose threads 119 x 73 cm (mounting) Provenance: Hungarian Private Condition: The painting is in overall Collection good condition with some creases and abrasions. One small burn on the Auction result comparison: backside has resulted in a small tear Sotheby’s, THE RICHARD (hardly noticeable). The mount is in fine R. & MAGDALENA ERNST condition as well COLLECTION OF HIMALAYAN Provenance: Hungarian Private ART, 22 MARCH 2018, New Collection York, lot 964 (for a Thangka with the same motif) Literature comparison: Himalayan Art Resources online archive shows a series 份夳䘬IJĺᶾ䲨䘥⑰䇦䤆Ⓒ⌉ of works related to the subject in the 先⊾柷㕁冯慹⼑炻ⶫ朊炻Ṇ湣 article ‘Arhats: Travelling to China’ ⶫ墅ⷨ 㻊啷炻IJĺᶾ䲨 Auction result comparison: Bonham’s, ⑩䚠列⤥ INDIAN, HIMALAYAN & SOUTHEAST ⊰䈁⇑䥩Ṣ㓞啷 ASIAN ART 14 March 2016, NEW YORK, lot 40 (for EstimateġEUR 400,- an 18th century thangka with the same Starting price EUR 200,- motif).

䦨㚱䘬IJĺᶾ䲨ȿ␴⯂冯IJķ伭㻊⚆㬠ᷕ ⚳ȿⒸ⌉ 先⊾柷㕁冯慹⼑炻ⶫ朊炻↮㭝䴚䵊墅墙 㻊啷炻IJĺᶾ䲨㘂㛇 ⑩䚠列⤥ ⊰䈁⇑䥩Ṣ㓞啷ġ

EstimateġEUR 500,- Starting price EUR 250,-

52 53 42 43 A 19th CENTURY THANGKA A FINE 18TH CENTURY THANGKA DEPICTING AMITABHA IN DEPICTING AVALOKITESHVARA SUKHAVATI SHADAKSHARI Distemper on cloth, framed in Distemper and gold paint on cloth, plain linen mounting, with silk with brocade and velvet mounting; protection cover behind glass in modern frame Sino-Tibetan, 19th century Sino-Tibetan, 18th century

This thangka shows the rare This thangka shows the Buddha motif of the pure land of of compassion, Avalokiteshvara, Sukhavati with red Buddha in his four-armed Sadaksari form. Amitabha, the head of the The Bodhisattva is seated in lotus family, as the central vajraparyankasana and has his figure. Buddha is seated main hands folded at his heart. In on his lotus and peacock his raised hands he holds a lotus throne inside a wonderful flower and a Mala. The portrayal landscape with an Amitayus is set in a mesmerizing landscape temple complex. Various with detailed floral decoration and , deities, Panchen at the upper center is a precious and monks are filling canopy as well as a miniature the scenery, most prominently three-headed deity. In the four presented are Amitabha’s corners we find distinctive portraits principal attendants white of , Avalokiteshvara and and Vajrapani – clockwise blue staring in the upper left corner. (Vajrapani). Shape: Rectangular vertical shape Some of the smaller portrayals Dimensions: 50 x 33 cm (painting show finely executed size), 90 x 56 cm (frame) inscriptions below. Condition: The painting is in overall good age-related condition with Shape: Rectangular vertical some creases and abrasions. The shape brocade mount is very frail with Dimensions: 66 x 50 cm material loss and tears (painting size), 115 x 73 cm Provenance: Austrian Private (mounting) Collection Condition: shows staining, soiling, creases and some Auction result comparison: abrasions. The mount and Sotheby’s, CHINESE ART, 01 JUNE cover with stains and open 2015 - 02 JUNE 2015, HONG stitches. KONG, lot 627 (for a Thangka with Provenance: German Private the same motif, yet less refined – in Collection a lot of two)

Auction result comparison: 䱦伶IJĹᶾ䲨⚃兪奨枛Ⓒ⌉ Sotheby’s, THE RICHARD 先⊾柷㕁冯慹⼑炻ⶫ朊炻䴚䷼墅ⷨ炻 R. & MAGDALENA ERNST ⢾≈墙㟮 COLLECTION OF HIMALAYAN 㻊啷炻IJĹᶾ䲨 ART, 22 MARCH 2018, New ⚃ㇳ奨枛⛸⛐咖剙⹏ᶲ炻℞ᷕ暁ㇳ York, lot 972 (for an 18th / ⎰⋩⛐傠炻⎎ℑㇳ↮⇍㊩㚱咖剙⍲ 19th century Thangka with the ⾝䎈į same motif) ⑩䚠列⤥ ⤏⛘⇑䥩Ṣ㓞啷 IJĺᶾ䲨ȿ旧⻴旨ἃ㶐⛇ȿⒸ⌉ ⶫ朊丒䔓炻湣ⶫ墅ⷨ EstimateġEUR 800,- 㻊啷炻IJĺᶾ䲨 Starting price EUR 400,- ⑩䚠⯂⎗炻㚱ᶨṃ㰉㻔ˣ㐢䕽 ⍲䢐㎵ ⽟⚳䥩Ṣ㓞啷

EstimateġEUR 400,- Starting price EUR 200,-

54 55 44 A MAGNIFICENT THANGKA OF GURU IN ZANGDOK PALRI Distemper and gold paint on cloth, framed by segmented silk brocade mounting, metal handles, protective silk cover Sino-Tibetan, early 20th century

This thangka shows the detailed motif of Guru Rinpoche / Padmasambhava in his pureland, the so-called Zangdok Palri. A top a mountainous island with lush vegetation we see the central image of Guru Rinpoche with his classical attributes, a vajra and a , in his hands. The concept of heaven and hell are captured in this vivid painting with celestial beings at the upper part and wrathful deities at the lower end. The thangka bears an inscription and a symbol on the backside.

Zangdok Palri, known as the Glorious Copper-Colored Mountain, is the terrestrial Pure Land of Guru Padmasambhava (also known as Guru Rinpoche). Zangdok Palri is located on the southeastern subcontinent Chamara (sometimes identified with Sri Lanka), which was an untamed abode of demons until Guru Padmasambhava subdued them and transformed them into compassionate beings by means of his miraculous powers. It is believed that Guru Padmasambhava lives today, in an indestructible body, in his palace atop the Copper-Colored Mountain.

Shape: Rectangular vertical shape Dimensions: 72 x 53 cm (painting size), 139 x 100 cm (mounting) 45 Condition: The painting is in A FINE THANGKA WITH DEITIES IN LOTUS TREE Provenance: Austrian Private Collection overall good condition with Distemper and gold paint on cloth, framed by segmented some creases and abrasions. The silk brocade mounting, protective silk cover 咖剙㶐⛇Ⓒ⌉ mounting is in fine condition as Sino-Tibetan, around 1900 ⶫ朊慹⼑丒䔓炻䵝䶆墅墙炻央味䴚䵊ᾅ嬟 well 㻊啷炻䲬1900⸜ Provenance: Austrian Private This thangka shows the unusual motif of a tree seemingly ⑩䚠列⤥炻ṃ姙㐢䕽⍲㐑㒎炻䔓墙䉨㱩列⤥ Collection made from lotus petals with wrathful Vajrapani at the ⤏⛘⇑䥩Ṣ㓞啷 centre. At the very top we see Samanthabhadra with 戭刚⎱䤍Ⱉṩ㲊↯ᶲⷓⒸ⌉ his consort in Yab Yum or a green and a white tara. The EstimateġEUR 500,- ⶫ朊慹⼑丒䔓炻䵝䶆墅墙炻慹Ⱄ䩳 lower end bears a portrayal of Guru Rinpoche in the left Starting price EUR 250,- 庠炻央 味 䴚 䵊 ᾅ 嬟 and of wrathful deities in the right corner. The backside 㻊啷炻20ᶾ䲨㖑㛇 with inscription. ⑩䚠列⤥炻ᶨṃ㐢䕽⍲䢐㒎炻䔓墙 䉨㱩列⤥ Shape: Rectangular vertical shape ⤏⛘⇑䥩Ṣ㓞啷 Dimensions: 62 x 49 cm (painting size), 121 x 92 cm (mounting) EstimateġEUR 800,- Condition: The painting is in overall good condition with Starting price EUR 400,- some creases, stains and abrasions. The mounting is in fine condition as well

56 57 48 A MAKSHO TIBETAN SADDLE RUG WITH BUDDHIST LIONS, 19th CENTURY Wool and fabric Tibetan, 19th century

This Maksho saddle rug shows ornate decoration in form of clouds and other geometrical patterns standing out prominently against the orange colored backdrop. Confronting Buddhist lions are featured in pairs on either part of the rug. Framed by a fabric border and with fabric lining on backside.

Shape: Rectangular horizontal shape Dimensions: 96 x 69 cm Condition: the rug is lush yet the colors are somewhat faded Provenance: German Private Collection

大啷慹䋭㊪㮗 伲㮃䴚䷼ 46 大啷炻19ᶾ䲨 A 19TH CENTURY THANGKA ⑩䚠列⤥炻壒刚 Distemper, oil color and gold paint on cloth, with fabric and silk mount, ⽟⚳䥩Ṣ㓞啷 inscription on backside Sino-Tibetan, 19th century EstimateġEUR 300,- 47 Starting price EUR 150,- This well executed thangka features a detailed Mandala with the wheel A 19th CENTURY THANGKA DEPICTING BUDDHA AMITABHA of life at the center. In the four corners are four deities and at the top Distemper and gold paint on cloth we see Samanthabhadra with his consort in Yab Yum. The artwork Sino-Tibetan, 19th century 49 bears an inscription on the backside and is finely mounted by a broad A FIGURE FILLED MANDALA THANGKA WITH silk and fabric border. This thangka shows the rare motif of the pure land of Sukhavati with CHAKRASAMVARA IN YAB YUM Buddha Amitabha, the head of the lotus family, as the central figure. Distemper and gold paint on cloth, framed by Shape: Rectangular vertical shape Buddha is seated on his lotus throne inside a wonderful landscape. He is segmented silk brocade mounting Dimensions: 24 x 20 cm (painting size), 71 x 48 cm (including surrounded by various Buddha emanations showing different . At Sino-Tibetan, late 19th or early 20th century mounting) his throne we see two standing guards and at the lower part his principal Condition: Shows abrasions and surface scratches as well as slight attendants Avalokiteshvara, Guru Rinpoche and the wrathful Vajrapani. This thangka shows a central portrayal of soiling The backside bears several inscriptions. Chakrasamvara with his consort in Yab Yum. The Provenance: Hungarian Private Collection deity is framed by a colorful mandala which hovers Shape: Rectangular vertical shape in a picturesque landscape which is inhabited by 19ᶾ䲨㚤旨伭Ⓒ⌉ Dimensions: 75 x 50 cm deities, religious leaders and monks. 先⊾柷㕁ˣ慹⼑冯㱡䔓炻ⶫ朊炻䴚䷼墅ⷨ Condition: shows staining, soiling, creases and abrasions 㻊啷炻19ᶾ䲨 Provenance: German Private Collection Shape: Rectangular vertical shape ⑩䚠列⤥炻堐朊㚱ṃ䢐㎵ Dimensions: 68 x 54 cm (painting size), 130 x 86 ⊰䈁⇑䥩Ṣ㓞啷 19ᶾ䲨旧⻴旨ἃⒸ⌉ cm (mounting) ⶫ朊慹⼑丒䔓 Condition: The painting is in overall good condition EstimateġEUR 200,- 㻊啷炻19ᶾ䲨 with some creases and abrasions. The mounting is Starting price EUR 100,- ⑩䚠⯂⎗炻㚱㰁溆ˣ㐢䕽⍲䢐㎵ in fine condition as well ⽟⚳䥩Ṣ㓞啷 Provenance: German Private Collection

EstimateġEUR 300,- 暁幓ἃ朊⊅㦪慹∃Ⓒ⌉ Starting price EUR 150,- ⶫ朊慹⼑丒䔓炻䵝䶆墅墙 㻊啷炻19ᶾ䲨㘂㛇ㆾ20⇅㛇 ⑩䚠列⤥炻ṃ姙㐢䕽⍲㐑㒎炻䔓墙䉨㱩列⤥ ⽟⚳䥩Ṣ㓞啷

EstimateġEUR 400,- Starting price EUR 200,-

58 59 51 AN OTTOMAN DRAWING OF A PERI WITH SHURALE Ink and gold on very thin paper, laid down on cardboard, with painted cardboard frame, behind glass inside modern frame Ottoman Empire, 17th / 18th century or even earlier

This masterful Ottoman drawing shows the scenery of a Peri in the forest. An Infrit or Shurale is pouring liquid from a bottle into the bottle of the kneeling Peri. At the top another horned forest demon can be seen. The actual drawing is framed by a decorative border hand painted with flowers.

The peri represents the ‘idyllic tranquility of the enchanted forest’ and can be seen in the present example holding a bottle, with wings and a leafy hat, comparable to saz leaves. Shurale also live in the forest. They have horns and a woolly body. Legend says they lure victims to a thicket and can tickle them to death.

Shape: Rectangular vertical shape Dimensions: 20,5 x 15,5 cm (painting size), 26 x 19,5 cm (including floral cardboard mounting), 28 x 21,5 cm (size of frame) Condition: The drawing is in overall good condition with some minor creases and rubbings Provenance: German Private Collection

Literature comparison: A number of Ottoman drawings of peris exist as part of albums, including one in the Topkapi Saray Museum, two pages of which are published in ibid, pp.102-103, nos.48a & b. The present finely-executed example shares characteristics with both these drawings, in the treatment of both the face and hat of the former, and the wings and loose ribbons of the latter (attributed to the artist Velican). Other examples can be found in the Museé Jaquemart-André, Paris and the Freer Gallery of Art, Washington DC (see Petsopoulos1982, pp.196-7, nos.189-190), whilst a seated peri was in the collection of Edwin Binney III (published in E. Binney 50 III, Turkish Treasures from the Collection of AN INDIAN PICHVAI PAINTING WITH WORSHIP OF Shape: Rectangular vertical shape Edwin Binney III, Portland, 1979, pp.76-77, SHRINATHJI, 1900s Dimensions: 154 x 119 cm no.47). Body color on cloth Condition: The painting is in overall good condition with Nathdwara, Rajasthan, around 1900 some stains and abrasions. One tear has been closed off at Auction result comparison: Sotheby’s, AN the backside EYE FOR OPULENCE- ART OF THE OTTOMAN The painting depicts the worship of Shrinathji. At the top Provenance: German Private Collection EMPIRE, 24 APRIL 2012, London, lot 263 (for the temple can be seen and at the lower end is a lotus an Ottoman Peri drawing, dated to the 16th pond. Villagers and many manifestations of the royal couple EstimateġEUR 400,- century) embody the center part. The margins show a pretty painted Starting price EUR 200,- floral border. EstimateġEUR 1.000,- Starting price EUR 500,- A Pichvai is an Indian temple hanging consisting of cotton cloth painted with scenes from the life of the Hindu deity Lord Krishna and used as a backdrop for his idol, also used decoratively in homes.

60 61 CHINESE JADES Lots 53, 68, 67 and 65

62 63 52 53 A FINELY CARVED CELADON JADE MODEL OF ‘WATER BUFFALO A PALE CELADON JADE ‘BUFFALO AND QILIN’ GROUP, QIANLONG ȿ䈃䓇渺湇ȿ㶭䘥䌱炻Ḧ昮⸜攻ĩIJĸĴķĮIJĸĺĶ⸜Ī AND DOULI’ 18TH CENTURY PERIOD (1736-1795) 㶭䘥␴䓘䌱炻墸刚㰩炻堐朊㤝⹎⸛㹹䢐⃱ Nephrite of pale celadon color, several russet veins and some white The pale celadon nephrite with areas of russet inclusions. Excellent ᷕ⚳炻Ḧ昮㗪㛇ĩIJĸĴķĮIJĸĺĶ⸜Ī clouds, excellent surface polish surface finish. 櫤㕏䤆ⶍ䘬↨㱽⇣∫↢再⛸䘬慹䈃炻朊⮵叿⮷渺湇炻⎸↢暚曏凔䘬㯋〗ˤ䳘 China, 18th century China, Qianlong Period (1736-1795) 兑䘬晽㱽⮯䈃冯渺湇䘬Ḻ≽堐䎦䘬㟑㟑⤪䓇ˤ ℟㍐㕟炻再䈃䲣↿䌱☐⍿⇘⃫㗪㛇炻䚠䔞㳩埴䘬ȿ䈏䈃䪍⫸ȿ昞䒟⍲曺戭㯜 The beast is naturalistically shown in a recumbent position, with its head Masterfully carved in the round as a recumbent water buffalo, its head 㺜㇨⼙枧ˤ slightly raised. A finely incised rope is threaded through its well-detailed turned to the right to face a small cub-like qilin. The buffalo exhales a ⼊䉨烉㷦䃞⣑ㆸ small nostrils and draped over its pronounced spine. A Chinese doulì cloud of smoke supporting its front hoofs as well as the qilin. The details ⯢⮠烉攟⹎IJIJįij⍀䰛 bamboo hat has been left to rest on the buffalo’s back. The carving of both animals finely rendered, the buffalo is highly realistic with ridged 慵慷烉ĵĺĶ⃳ shows the legs tucked beneath the full, rounded body with the tail horns, incised facial features and bold ridges indicating the animal’s ribs. ⑩䚠⬴伶 flicked to one side, large eyes, the ears well hollowed beneath the pair It has been suggested that jade figures such as these were based on the ⊰䈁⇑䥩Ṣ㓞啷 of massive, ridged horns curved back onto the neck. While the subject ceramic and bronze water droppers in the shape of a buffalo with a boy 㔯䌣⍫侫烉夳ŋŦŴŴŪŤŢġœŢŸŴŰů叿˪⽆㕘䞛☐㗪ẋ⇘㶭ẋ䘬ᷕ⚳䌱☐普˫炻ΐ of ‘water buffalo and boy’ is quite common among 18th century jade seated on its back that were popular during the Yuan period. For this 㔎炻IJĺĺĶ⸜炻䫔ĴĸIJ枩 carvings, the present witty variation with only the farm boy’s doulì IJĹᶾ䲨䱦伶ȿ㯜䈃冯㔿䫈ȿ晽曺䌱 opinion, see literature comparison below. 栆Ụ㉵⑩烉夳Ἓ⢓⼿炻˪㓞啷⭞łŭŢů⍲ŔŪŮŰůŦġʼnŢųŵŮŢů䘬慵天ᷕ⚳䌱䞛˫炻楁 remaining on the buffalos back seems to be rather unique. ␴䓘曺䌱刚㰩炻㤝Ἓ⃱㹹堐朊 㷗炻ijııķ⸜IJIJ㚰ijĹ嘇炻IJĵijĹ嘇㉵⑩ˤ ᷕ⚳炻IJĹᶾ䲨 Shape: Natural Shape: Natural 㯜䈃冒䃞⛘再⛸炻柕悐ṃ姙ᶲ㎂ˤġ晽ⶍ䱦䳘䘬丑䳊䨧忶Ṿ䘬滣䑘炻⺞Ỡ军 Dimensions: Length 11,2 cm EstimateġEUR 1.500,- Dimensions: Length 12.8 cm 側傲ᶲˤᶨ枪䪡㔿䫈㓦伖⛐䈃側ᶲˤ⇵⼴儛⸛枮⛘㓞ℍ幓橼ᶳ炻䈃⯦冒䃞㒢 Weight: 495 grams Starting price EUR 750,- Weight: 376 grams ⎹ᶨ㕩ˤ晾䃞㶙怫䘬䛤䜃⍲℟⣏䘬䈃奺⏠⺽Ḯ䚖⃱炻ṵᶵ暋䘤䎦⛐䈃奺ᶳ䱦 Condition: Perfect condition Condition: Perfect condition. Several natural veins in the mineral, as ⽫⇣䔓䘬䈃俛ˤȿ䈏䈃䪍⫸ȿ㗗IJĹᶾ䲨⋩↮䚃埴䘬䌱晽柴㛸炻忁⮲ȿ㯜䈃冯㔿 Provenance: Hungarian private collection visible on the photos 䫈ȿ䚠栗庫䁢䌐䈡ˤ Provenance: American private collection ⼊䉨烉㯜䈃忈✳ Literature comparison: Jessica Rawson, Chinese Jade from the Neolithic ⯢⮠烉攟⹎IJijįĹ⍀䰛 to the Qing, London, 1995, page 371 Literature comparison: Chinese Jades from Han to Ch’ing, Asia House 慵慷烉Ĵĸķ⃳ Gallery, New York, 1980, cat. no. 46, 47, 48. (for various jade models of ⑩䚠⬴┬炻㔠㡅⣑䃞䣎䈑䲳䎮炻⤪⚾㇨䣢ˤ Auction results comparison: Important Chinese Jades from the Personal water buffalos) 伶⚳䥩Ṣ㓞啷 Collection of Alan and Simone Hartman. Christies, Hong Kong, 28 㔯䌣⍫侫烉⣂ẞ栆Ụ忈✳䌱䞛⎗⍫侫łŴŪŢġʼnŰŶŴŦġňŢŭŭŦųź↢䇰˪⽆㻊ẋ军㶭ẋ November 2006, lot 1428. (for a very similar piece) Auction results comparison: Fine Chinese Ceramics and Works of Art, ᷕ⚳䌱䞛普˫炻䲸 䲬炻IJ ĺ Ĺ ı ⸜炻䈑 ẞ 䶐 嘇 ĵ ķ ĭ ĵ ĸĭ ĵ Ĺ ġ ˤ Christies, London, 13 May 2014, lot 149. (for a similar, slightly larger 栆Ụ㉵⑩烉⎎ᶨ䚠ỤỮ⯢⮠䔍⣏ἄ⑩炻⍫夳Ἓ⢓⼿˪ᷕ⚳䒟☐⍲ⶍ喅䱦⑩˫ example) Chinese Ceramics, Works of Art and Textiles, Christies, London, 炻ijıIJĵ⸜Ķ㚰IJĴ㖍炻ΐ㔎炻IJĵĺ嘇㉵⑩ˤ 15 May 2015, lot 683. (for a similar, slightly smaller example) EstimateġEUR 1.500,- Starting price EUR 750,-

64 65 54 A RARE GREY JADE ‘LINGZHI AND BAMBOO’ RUYI SCEPTER, MING DYNASTY, MUSEUM PROVENANCE The nephrite is of greyish-white color with several black streaks. Smooth surface polish and good patina. China, Ming dynasty (1368-1644)

The handle is carved in high relief with several lingzhi as well as bamboo leaves on an elongated bamboo can, stemming from a craggy rock situated at the lower end of the handle. The head is carved with a group of two further lingzhi, one large and one small. The lingzhi is known as a symbol of Longevity and Happiness. Scepters of this form are auspicious objects which were given as birthday presents to emperors in conveying the wish for Prosperity.

Shape: Ruyi scepter Dimensions: Length 33 cm Weight: 261 grams Condition: There are four horizontal cracks going trough the handle, one associated small chip and minor nibbling. Otherwise good condition Provenance: Carl A. Rietz Collection, California. Oakland Museum of California, de-accessioned in 1959, accession number 59.19.290. Acquired by the past owner in the 1970s

Auction results comparison: ARTS D’ASIE, Christies, Paris, 15 June 2004, lot 71. (for a Ming jade ruyi scepter of comparable size, of yellow and russet colors)

䦨㚱㖶ẋ䀘䌱ȿ䪡䓇曰剅ȿ⤪シ炻⌂䈑棐啷 ␴䓘䀘䘥䌱ⷞṃ姙湹刚㰩炻堐朊䢐⃱列⤥炻⊭㻧⬴┬ ᷕ⚳炻㖶ẋĩIJĴķĹĮIJķĵĵĪ 䪡䫺⼊䘬⤪シ䁛ᶲ㍉䓐檀㴖晽ㇳ㱽晽↢⣂㛝⮷曰剅⍲䪡叱炻枪⣂⇯㚱ᶨ⣏ᶨ⮷ℑ㛝曰剅ˤ 䓙㕤曰剅䘬䦨㚱⿏炻塓娵䁢攟䓇ᶵ侩䘬ẁᷡˤ㬌曰剅⼊䘬䌱晽⤪シㅱ㗗䴎䘯ⷅ䓇㖍䘬ᶨᾳ⎱䤍䤅⢥ ⑩ˤ ⼊䉨烉⤪シ ⯢⮠烉攟ĴĴ⍀䰛 慵慷烉ijķIJ⃳ ⑩䚠列⤥炻㝬ᶲ㚱⚃ᾳ㯜⸛䘬⮷塪䕽炻忋㍍嗽㚱⮷䠶⯹炻庽⽖䡽䡘ˤ ńŢųŭġłįġœŪŦŵŻġ㓞啷炻伶⚳≈ⶆˤ≈ⶆ⤏⃳嗕⌂䈑棐棐啷炻䶐嘇ĶĺįIJĺįijĺı炻㕤IJĺĶĺ⸜徨↢棐啷ˤ冲㓞啷⭞ 㕤IJĺĸı⸜ẋ岤ℍˤ 栆Ụ㉵⑩烉ᶨᾳ栆Ụ⣏⮷䘬㖶ẋ䌱晽⤪シ炻湫刚ⷞ㰩炻Ἓ⢓⼿˪Ṇ㳚喅埻˫炻⶜湶炻ijııĵ⸜ķ㚰IJĶ㖍炻 ㉵⑩䶐嘇ĸIJˤ

EstimateġEUR 1.500,- Starting price EUR 750,-

66 67 55 A SUPERB AND VERY LARGE CELADON Literature comparison: A slightly smaller boulder AND RUSSET ‘SEVEN IMMORTALS’ JADE of similar shape and composition of three sages, MOUNTAIN, 17th – 18th CENTURY is illustrated by Roger Keverne (ed.), Jade, Nephrite of intense celadon color with several London, 1991, p. 174, fig. 117. Jade boulders areas of deep russet cleverly highlighting the of this type range considerably in size, with the carving as well as a few opaque sand-colored largest and most famous in the collection of the veins. Excellent patina and smooth surface polish, Palace Museum, Beijing, measuring over seven as expected on a late Ming / early Qing jade. feet tall and three feet wide; cf. Zhongguo Yuqi Exquisitely carved in high relief with several areas Quanji, vol. 6, no. 255; and nos. 252-256 for the of openwork and some reticulated sections. series of boulders in the Palace collection. Cf. China, 17th-18th century a boulder of similar shape and size, included in the exhibition The Refined Taste of the Emperor: Depiction of the seven immortals e. g. the Seven Special Exhibition of Archaic and Pictorial Jades True Daoists of the North, followed by two of the Ch’ing Court, National Palace Museum, assistants carrying a pile of books and a scroll, Taipei, 1997, illustrated in the Catalogue, no. climbing a mountain path towards a pavilion 47. An extensive range of large white, celadon near the summit, all within a craggy landscape of and spinach green jade boulders is illustrated layered rocks and crevices with scattered wutong in A Romance with Jade from the De An Tang and pine trees, a waterfall emerging beneath. Collection, Hong Kong, 2004, pls. 41-42, 47, Two of the scholars are taking a short break from 49-51, 55, 60-61, 66, and 69-70. Specifically the climb to play a game of weiqi inside a small compare this scene with one depicted on a grotto. massive jade mountain in the Palace Museum, The reverse with a pair of deer under a dominant Beijing, illustrated in Complete Treasures of the pine tree on a rocky outcrop, sided by several Palace Museum, Jadeware (III), Hong Kong, lingzhi fungi and a smaller wutong tree, and 1995, no. 77. two cranes, one standing on a rock and holding lingzhi in his beak, the other flying above the Auction results comparison: A number of scenery, the massive rockwork rendered in large boulders, sometimes even with imperial varying layers of relief. inscriptions, have been sold at auction. For Jade is a material that from ancient times has example: The Imperial Sale Important Chinese been associated with longevity and immortality. Ceramics and Works of Art. Christies, Hong It is therefore a particularly appropriate Kong, 31 May 2010, lot 1900. (for a large medium from which to carve representations jade mountain, showing a similar pattern of of the mountainous realm of the Daoist russet and celadon colors) Important Chinese immortals. During the Qianlong reign, the Jades from the Personal Collection of Alan and emperor requested that jade mountains, as Simone Hartman Part II. Christies, Hong Kong, well as plaques and panels with mountainous 27 November 2007, lot 1509. (for a comparably landscapes, should take their artistic influence large celadon jade mountain) from the work of famous painters. Carvings of mountains can be found in a number IJĸ军IJĹᶾ䲨曺䌱晽ȿℐ䛇ᶫ⫸ȿ䌱⫸ of different sizes and depicting varied scenes ␴䓘曺䌱炻墸刚㰩溆䵜㔜柮Ⱉ⫸炻⡆㶣⸦↮刚 representing idealized landscapes upon which ⼑ˤẍ㘂㖶İ㶭⇅䘬⸜ẋ侴妨炻㬌Ⱉ⫸℟㚱㤝Ἓ 㔯䌣㭼庫烉ᶨᾳ⮷✳Ữ䚠Ụ⼊䉨䘬Ⱉ⫸炻夳 the collector could contemplate. The virtuosity 䘬⊭㻧⍲⃱㹹䘬堐朊ˤ䱦䳘䘬檀㴖晽炻⍲悐↮ œŰŨŦųġŌŦŷŦųůŦġ叿˪䌱˫炻ΐ㔎炻IJĺĺIJ⸜炻䫔IJĸĵ of the carver is demonstrated here with the 掌晽ˤ 枩炻⚾IJIJĸˤᶨᾳ㚨⣏✳ᶼ䞍⎵䘬Ⱉ⫸㕤⊿Ṕ㓭 remarkable depth and use of the relief carving ᷕ⚳炻IJĸĮIJĹᶾ䲨 ⭖⌂䈑昊㇨啷炻夳˪ᷕ⚳䌱☐ℐ普˫炻⌟ķ炻䶐 to depict the layered mountain and three- ℐ䛇ᶫ⫸⛐ⲯⰙⲣⵢ䘬檀Ⱉᶲ炻䑘丆䘬㡏㟸㧡 嘇ijijĶ炻℞Ṿ⊿Ṕ㓭⭖⌂䈑昊啷Ⱉ⫸炻⎗夳䶐嘇 dimensional scenes, cleverly using the intense ᶳ炻⢗䡑䘬㾹ⶫ㕩炻岆㘗⏇娑ˤ忻昊⯙⛐ᶵ怈 ijĶij军ijĶķˤ⎎ᶨᾳ䚠Ụ忈✳冯⣏⮷䘬Ⱉ⫸炻⯽ russet inclusions to even enhance the latter. 嗽ˤℑỵ⻇⫸⇯⛐ᶨ㕩䘬ⶐ䞛ᶳ⮵⺰ˤ ↢㕤⎘⊿㓭⭖⌂䈑昊˪⭖⺟ᷳ晭烉㶭ẋầ⎌⍲ On the present boulder the theme of longevity 側朊⇯㗗ᶨ⮵ẁ渧⛐䡑⣏䘬㜦㧡ᶳẹㅑ炻⚃␐ 䔓シ䌱☐䈡⯽˫炻㓞抬㕤娚䚖抬炻䶐嘇ĵĸˤᶨ is clearly evident with the depiction of the 䑘丆叿曰剅⍲庫⮷䘬㡏㟸㧡炻ẍ⍲ℑ晣ẁ浜炻 ᾳ⣏朊䧵䘬䘥㶭䡏䌱Ⱉ⫸⇯塓㓞抬㕤˪䌱䶋烉 immortals on the main side and the deer under a ℞ᷕᶨ晣◜┋曰剅炻⎎ᶨ晣⇯⯽佭檀梃ˤⲘ⵺ ⽟⬱➪啷䌱˫炻楁㷗炻ijııĵ⸜炻⚾䇰ĵIJĮĵIJˣĵĸ pine tree on the reverse. The elongated form of 晬῱䘬佌Ⱉ炻Ⰼ㫉↮㖶炻慵⵺䔲⴪ˤ ˣĵĺĮĶIJˣĶĶˣķıĮķIJˣķķẍ⍲ķĺĮĸıˤ⎎ᶨᾳ㍷丒 the boulder and the skillful layering of rockwork 䌱㕁冒⎌ὧ㚱攟⢥冯㯠䓇䘬⭻シ炻朆ⷠ怑䓐㕤 䚠Ụ㘗刚䘬Ⱉ⫸炻㓞抬㕤⊿Ṕ㓭⭖⌂䈑昊˪䌱 help to create a magical atmosphere, thereby 晽⟹Ⱉ㯜冯忻㔁Ṣ䈑ˤḦ昮⛐ỵ㗪㛇炻朆ⷠ慵 ☐ĩᶳĪ˫炻楁㷗炻IJĺĺĶ⸜炻䶐嘇ĸĸˤ contributing to the Daoist themes of mysticism 夾䌱☐㔯⊾炻ᶵ㚱⣂椾娈䌱娑炻㚜奒冒㑘⮓ 栆Ụ㉵⑩烉ᶨᾳ⣏✳䌱Ⱉ⫸炻℟㚱栆Ụ䘬墸刚 and immortality. ˪㏊⛕婒˫ˣ˪⛕䏩婒˫炻⮵䌱ᷳ䅙ッ炻⎗夳 䲳䎮⍲曺刚⸽炻夳Ἓ⢓⼿˪慵天ᷕ⚳⽉墥䒟☐ ᶨ㔹ˤ 冯ⶍ喅䱦⑩˫炻楁㷗炻ijıIJı⸜Ķ㚰ĴIJ㖍炻㉵⑩䶐 Shape: Boulder 晽Ⱉ⫸㚱朆ⷠ⣂䧖⣏⮷⍲⣂⃫䘬柴㛸ˤ㬌Ⱉ⫸ 嘇IJĺııˤ⎎⢾ᶨᾳ⣏✳䌱Ⱉ⫸炻夳Ἓ⢓⼿˪łŭŢů Dimensions: Length 32 cm. Height 21 cm 䘬晽≇䱦㸃ˣⶍ㱽䳘兑炻忳䓐㴖晽⏰䎦佌Ⱉ䘬 冯ŔŪŮŰůŦġʼnŢųŵŮŢůᾳṢ㓞啷慵天ᷕ⚳䌱☐ĩḴĪ˫ Weight: 7700 grams Ⰼ㫉炻⻟⊾夾奢䩳橼デ炻᷎ⶏ⥁䘬⇑䓐墸刚㰩 炻楁㷗炻ijııĸ⸜炻㉵⑩䶐嘇IJĶıĺˤ Condition: Excellent condition. Several natural 溆䵜㔜ẞἄ⑩炻⣑䃞䌱䞛䲳䎮圵ℍ檀Ⱉ伶㘗炻 veins, which over time may have developed ⡆㶣⸦↮刚⼑ˤ EstimateġEUR 8.000,- into minor hairlines. A few of these show tiny ⼊䉨烉Ⱉ⫸ Starting price EUR 4.000,- remainders of old wax fill ⯢⮠烉攟Ĵij⍀䰛炻⮔ijIJ⍀䰛 Provenance: Property from an old Swiss private 慵慷烉ĸĸıı⃳ collection. Previously bought at Nagel auctions, ⑩䚠㤝Ἓ炻ṃ姙⣑䃞䴚䉨䲳䎮ˤ Stuttgart 䐆⢓䥩Ṣ㓞啷炻㕤⽟⚳⎠⼺≈䈡ŏŢŨŦŭ㉵岋埴 岤ℍˤ

68 69 Lot 55 – Side View 56 A SUPERB AND VERY LARGE A CELADON, GREY AND RUSSET CELADON AND RUSSET ‘SEVEN ‘CHILONG’ JADE BELT HOOK, MING IMMORTALS’ JADE MOUNTAIN, DYNASTY 17TH – 18TH CENTURY The celadon and grey nephrite retaining a richly colored russet skin across the sides, with beautiful clouds of intense iron-red. China, 16th – 17th century Published: The Property of Mr Philip Cardeiro, Carol Michaelson, Knapton Rasti Asian Art, London 2009, lot 33.

The twin horned dragon head hook depicted with a raised snout above the skillfully carved jaw, the line-incised eyelashes and long mane as it faces two young, entwined chilong deeply carved on top of the wide S-shaped spatulate handle, the large button on the reverse extending almost to the edges of the handle.

Shape: Belt hook Dimensions: Length 9 cm Weight: 83,1 grams Condition: Very good condition with two small old nicks (almost invisible to the naked eye). Some miniscule natural flaws in the mineral Provenance: The Philip Cardeiro collection of Chinese jade, built from 1968 until the early 1990s, one label to back

Auction results comparison: See the yellow jade dragon belt hook with wide, spade shaped body, ascribed to the 17th century, from the Gerald Godfrey Private Collection of Fine Chinese Jades, Christie’s, Hong Kong sale, 30 October 1995, lot 821. Also compare with the snout of the dragon head on a large greyish-white belt hook from the Lizzadro Collection, ascribed to the Late Ming Dynasty, 16th/17th century, in Christie’s, New York, sale 2803, 21 March 2013, lot 818. A third belt buckle of similar form, dated as Ming, was offered in the Beijing Hanhai sale, 2 July 2001, lot 1332. 57 A SMALL OPENWORK ’STAG AND LINGZHI’ JADE BELT HOOK, EARLIER QING DYNASTY 㖶ẋ坕漵曺䌱ⷞ戌 The nephrite varying from even celadon to dark-brown color. Good surface polish. 曺䌱⛇㰩炻㴖晽坕漵 China, late 17th – 18th century ᷕ⚳炻IJķĮIJĸᶾ䲨 ↢ 䇰 ⑩烉䶐 嘇 Ĵ Ĵ炻ő ũ Ū ŭ Ū ű ġ ń Ţ ų ť Ŧ Ū ų Ű ⃰ 䓇 䍵 啷 ⑩ Well carved to depict a stag’s head as the hook, with its typical bifurcated horns, well hollowed ears 普炻ńŢųŰŭġŎŪŤũŢŦŭŴŰů叿炻ŌůŢűŵŰůġœŢŴŵŪṆ㳚 and nostrils, the handle with reticulated lingzhi in high relief, showing some neatly incised detail work. 喅埻⑩℔⎠↢䇰炻ΐ㔎炻ijııĺ⸜ The button on the reverse of oval shape and extending almost to the edges of the handle. ⑩䚠列⤥ 伶⚳䞍⎵㓞啷⭞ńįőʼnŊōŊőġńłœŅņŊœŐ⃰䓇 Shape: Belt hook 䍵啷⑩炻Ṿ㕤IJĺķĹ⸜军IJĺĺı⸜ẋ⇅㛇⣏慷㓞 Dimensions: Length 8 cm. 啷ᷕ⚳喅埻⑩炻側朊⎗夳㓞啷⭞㧁䰌ˤ Weight: 34,7 grams Condition: Perfect condition EstimateġEUR 500,- Provenance: United Kingdom private collection Starting price EUR 250,- 㶭ẋ䌠椾晽曺䌱ⷞ戌 曺䌱⛇㰩炻堐朊䢐⃱列⤥ ᷕ⚳炻IJĸᶾ䲨㘂㛇军IJĹᶾ䲨 ⑩䚠⬴┬ 劙⚳䥩Ṣ㓞啷

EstimateġEUR 300,- Starting price EUR 150,-

70 71 58 59 A CHICKEN BONE ‘SAN YANG’ THREE RAMS JADE GROUP, 17TH CENTURY A WHITE JADE CARVING OF AN Literature comparison: For a The greyish-white nephrite suffused with streaks of dark-brown and black. Excellent APSARA, MING DYNASTY OR northern Song example, see Jades surface polish. Good patina. EARLIER from China, The Museum of China, 17th century The stone is of an even tone, with a East Asian Art, Bath, Forsyth and narrow russet vein running along to McElney, 1994, page 314, nr. 223. The reticulated carving depicts three intertwined, recumbent rams with their the edge, excellent surface finish. For a Tang Dynasty example, see characteristic large, curved horns grasping several lingzhi fungi in their mouths. At the China, 12th-16th century Treasures of the Imperial Palace, top of the group we find an auspicious yin yang pearl. Good detail work to the hoofs, Published: The Property of Mr Palace Museum Publications, horns and fungi in deep relief. Philip Cardeiro, Carol Michaelson, Beijing, 1995, page 16, nr. 9. Knapton Rasti Asian Art, London Shape: Sculptural 2009, lot 14. Auction results comparison: The Dimensions: Length 9,5 cm. C. Philip Cardeiro Collection of Weight: 210 grams Carved and pierced with the angelic Chinese Art. Christies, London, 13 Condition: Excellent figure floating elegantly whilst May 2014, lot 17. (for a second Provenance: United Kingdom private collection wearing long flowing robes, celestial white jade apsara from the Cardeiro scarf and headdress with finely collection) Auction results comparison: Fine Chinese Ceramics & Works of Art. Christies, London, incised detail, and an openwork 10 November 2015, lot 85. (for another white and grey jade three rams group, of similar cloud scroll at the lower end. 䘥䌱晽梃⣑⤛䤆⁷炻㖶ẋㆾ㚜㖑 size, dated to the 16th / 17th century) Apsaras are often depicted as flying ⛯⊣刚㽌炻怲䶋ṃ姙䴚䉨墸刚㰩炻 figures in the mural paintings and 㤝Ἓ䘬堐朊䢐⃱ IJĸᶾ䲨ȿᶱ伲攳㲘ȿġ暆橐䘥䌱 sculptures of Buddhist cave sites in ᷕ⚳炻IJij军IJķᶾ䲨 ␴䓘䌱⛇㰩炻堐朊⸛㹹䢐⃱炻⊭㻧列⤥ China such as in the Mogao and ↢䇰䈑烉䶐嘇IJĵ炻őũŪŭŪűġńŢųťŦŪųŰ ᷕ⚳炻IJĸᶾ䲨 Yulin Caves, and the Yungang and ⃰䓇䍵啷⑩普炻ńŢųŰŭġŎŪŤũŢŦŭŴŰů ⑩䚠㤝⤥ Longmen Grottoes, and may also be 叿炻ŌůŢűŵŰůġœŢŴŵŪṆ㳚喅埻⑩℔⎠↢ 劙⚳䥩Ṣ㓞啷 depicted as dancers or musicians. 䇰炻ΐ㔎炻ijııĺ⸜ˤ They are referred to as feitian (梆⣑) ⑩䚠㤝Ἓ EstimateġEUR 800,- in Chinese. 伶⚳䞍⎵㓞啷⭞ńįőʼnŊōŊőġ Starting price EUR 400,- ńłœŅņŊœŐ⃰䓇䍵啷⑩炻㕤IJĺķĹ⸜ Shape: Sculptural 军IJĺĺı⸜ẋ⣏慷㓞啷ᷕ⚳喅埻⑩ˤ Dimensions: Length 8.9 cm Weight: 93,5 grams EstimateġEUR 1.000,- Condition: Very good condition. Starting price EUR 500,- Some miniscule natural flaws in the mineral and a minor deterioration of the mineral along the russet vein Provenance: The Philip Cardeiro collection of Chinese jade, built from 1968 until the early 1990s

72 73 Lot 60 A SMALL CELADON AND RUSSET JADE CARVING OF A CROUCHING BEAR, XIONG, MING DYNASTY with Publication The Property of Mr Philip Cardeiro, Carol Michaelson, Knapton Rasti Asian Art, London 2009, lot 24, and on the inside front cover!

74 75 60 A SMALL CELADON AND RUSSET JADE CARVING OF A CROUCHING BEAR, XIONG, MING DYNASTY The mottled celadon jade with hues of russet and cream as well as few dark-brown streaks and veins. Smooth surface finish. The body with a pierced vertical hole. China, Ming Dynasty (1368-1644) Published: The Property of Mr Philip Cardeiro, Carol Michaelson, Knapton Rasti Asian Art, London 2009, lot 24, and on the inside front cover! Exhibited: Magic, Art and Order: Jade in Chinese culture. Palm Springs Museum. 8.2.-29.4.1990. Nr. 2. Page 15.

A small yet impressive model of a crouching bear, its head looking forward, the tail pendant, the fur to the neck, legs and even the tip of the tail intricately incised, the massive paws carved realistically, the S-shaped ears and V-shaped teal with a masterfully raised swing. The word bear xiong sounds the same as the word for brave and powerful. This may be one reason why in ancient times bears’ paws were eaten, to confer bravery, and they were certainly considered a culinary delicacy in Confucius’ days and beyond. For the very same reason, jade bears have served as fondling pieces or amulets for people who were about to perform something risky or dangerous.

Shape: Sculptural Dimensions: Length 5,7 cm Weight: 61,2 grams Condition: Absolutely perfect condition. Some miniscule natural flaws in the mineral 61 Provenance: The Philip Cardeiro collection of Chinese jade, built A CELADON AND RUSSET JADE ‘RECUMBENT CRANE AND PEACHES’ from 1968 until the early 1990s CARVING, MING DYNASTY The nephrite of celadon color mottled with black inclusion on the lower end, the Literature comparison: Gilded Dragons, Carol Michaelson, British back with an even and intense russet skin. Excellent surface polish. Good patina. Museum, 1999, page 52, nr. 22. Chinese Jade from the Neolithic to China, Ming dynasty (1368-1644) the Qing, Jessica Rawson, British Museum, 1995, page 351 (a). Published: The Property of Mr Philip Cardeiro, Carol Michaelson, Knapton Rasti Asian Art, London 2009, lot 64. Auction results comparison: Fine Chinese Ceramics and Works of Art. Christies, London, 13 May 2014, lot 1523. (for another Ming The crane is shown with legs tucked underneath the body and the head turned dynasty model of a bear, standing, a bit smaller) back to grasp a gnarled, leafy branch bearing two ripe peaches in its long, characteristic beak. The details of the wings and tail of the crane as well as the 㖶ẋ曺䌱䔁䙖晽再䄲 leaves of the peach branch are finely incised. 曺䌱炻ⷞ㚱墸刚㰩⍲ṃ姙䘬㶙㡽刚䲳䎮ˤ䢐⃱⃒列炻堐朊⃱㹹ˤᶳ 儡㚱ᶨ✪䚜䨧⫼ˤ Shape: Pebble ᷕ⚳炻㖶㛅ĩIJĴķĹĮIJķĵĵĪ Dimensions: Length 8,3 cm ↢䇰䈑烉䶐嘇ijĵ炻őũŪŭŪűġńŢųťŦŪųŰ⃰䓇䍵啷⑩普炻ńŢųŰŭġŎŪŤũŢŦŭŴŰů Weight: 155,5 grams 叿炻ŌůŢűŵŰůġœŢŴŵŪṆ㳚喅埻⑩℔⎠↢䇰炻ΐ㔎炻ijııĺ⸜炻⎴㗪ḇ㗗 Condition: Absolutely perfect condition. Some miniscule natural flaws in the mineral ℏ枩䫔ᶨ枩⮩朊ˤ Provenance: Nagatani, Chicago, USA. The Philip Cardeiro collection of Chinese ⯽奥烉˪櫼埻ˣ喅埻冯䦑⸷烉ᷕ⚳䌱䞛㔯⊾˫伶⚳≈ⶆ㡽㪂㱱伶 jade, built from 1968 until the early 1990s, one label to back 埻棐ĩőŢŭŮġŔűųŪůŨŴġŎŶŴŦŶŮĪ㕤IJĺĺı⸜ij㚰Ĺ㖍军ĵ㚰ijĺ㖍⯽↢炻䶐嘇ij 嘇炻䫔IJĶ枩ˤ Literature comparison: In Pursuit of Antiquities, 35th Anniversary Exhibition of the ᶨᾳẌṢ⌘尉㶙⇣䘬⮷再䄲炻柕⽖ᶲ㎂炻⯦冒䃞㓞崟炻㮃䙖䲳䎮⽆ Min Chiu Society, Hong Kong, 1995, page 211, nr. 169 柠悐ˣ儛㬍䓂军⯦䪗悥䱦䳘䘬⇣∫↢Ἦ炻᷎䛇⮎䘬⏰䎦扛⇑䘬䄲 䇒ˣ⻶㚚䘬䄲俛ˤ Auction results comparison: FINE CHINESE CERAMICS AND WORKS OF ART. Ⱦ䄲ȿ冯ȿ晬ȿ⫿⎴枛炻晙⏓叿≯㯋冯≃慷炻ḇ⚈㬌炻䌱晽䄲塓娵 Bonham’s, 24 Nov 2013, HONG KONG, lot 269. (for a carving with the same 䁢⎗ẍ⋼≑䨑⭂忳⊊炻ᾅ⸛⬱ˤ subject, also from the Ming dynasty) Fine Chinese Ceramics and Works of Art. ⼊䉨烉晽⟹ Christies, New York, 20 - 21 March 2014, lot 2489. (for a carving with the same ⯢⮠烉攟Ķįĸ⍀䰛 subject, dated to 17th – 18th century) 慵慷烉ķIJįij⃳ ⑩䚠㤝Ἓ炻朆ⷠ⽖⮷䘬⣑䃞䣎䈑䲳䎮 㖶ẋ曺䌱晽ȿẁ浜┋⢥㟫ȿ 伶⚳䞍⎵㓞啷⭞ńįőʼnŊōŊőġńłœŅņŊœŐ⃰䓇䍵啷⑩炻㕤IJĺķĹ⸜军IJĺĺı 曺䌱⯨悐刚㰩炻⇵曺䵈刚ⷞ⸽悐湹刚㔹炻側℟㽫䁰崌墸刚炻堐朊⃱㹹炻⊭㻧列⤥ ⸜ẋ⣏慷㓞啷ᷕ⚳喅埻⑩ˤ ᷕ⚳炻㖶ẋĩIJĴķĹĮIJķĵĵĪ 㔯䌣㭼庫烉⍫侫ńŢųŰŭġŎŪŤũŢŦŭŴŰů叿˪挷慹漵˫炻⣏劙⌂䈑棐炻IJĺĺĺ ↢䇰⑩烉䶐嘇ķĵ炻őũŪŭŪűġńŢųťŦŪųŰ⃰䓇䍵啷⑩普炻ńŢųŰŭġŎŪŤũŢŦŭŴŰů叿炻ŌůŢűŵŰůġœŢŴŵŪṆ ⸜炻Ķij枩炻䶐嘇ijijˤ⎎ᶨẞ⎗⍫侫ŋŦŴŴŪŤŢġœŢŸŴŰů叿˪⽆㕘䞛☐㗪ẋ 㳚喅埻⑩℔⎠↢䇰炻ΐ㔎炻ijııĺ⸜ ⇘㶭ẋ䘬ᷕ⚳䌱☐普˫炻⣏劙⌂䈑棐炻IJĺĺĶ⸜炻䫔ĴĶIJ枩ĩŢĪġ ⑩䚠⬴伶 栆Ụ㉵⑩烉Ἓ⢓⼿˪ᷕ⚳䒟☐⍲ⶍ喅䱦⑩˫炻ΐ㔎炻ijıIJĵ⸜Ķ㚰IJĴ ŏŢŨŢŵŢůŪĭġ剅≈⒍ĭġ伶⚳įġġ伶⚳䞍⎵㓞啷⭞ńįőʼnŊōŊőġńłœŅņŊœŐ⃰䓇䍵啷⑩炻Ṿ㕤 㖍炻IJĶijĴ嘇㉵⑩ĩ庫⮷䘬㖶ẋ䩳䄲Ī IJĺķĹ⸜军IJĺĺı⸜ẋ⇅㛇⣏慷㓞啷ᷕ⚳喅埻⑩炻側朊⎗夳㓞啷⭞㧁䰌ˤ

EstimateġEUR 1.500,- EstimateġEUR 1.000,- Starting price EUR 750,- Starting price EUR 500,-ġ

76 77 64 A WHITE JADE FIGURE OF AN IMMORTAL AND ATTENDANT, 18TH CENTURY White jade of almost absolute purity, with only one faint vein of russet. Very fine surface polish. China, Qing dynasty, 18th century Published: The Property of Mr Philip Cardeiro, Carol Michaelson, Knapton Rasti Asian Art, London 2009, lot 126.

A white jade group of a standing immortal, sporting a long moustache and finely incised beard, wearing flowing robes and a tall tabbed hat with a fixing pin and raised chrysanthemum flower on top, an attendant beside him holds a large ruyi spray with both hands, which extends over his head, the reverse with folds of clothes and a neatly carved shou sign on the back of the immortal’s head.

Shape: Statue Dimensions: Height 7,8 cm Weight: 99,6 grams Condition: Absolutely perfect condition Provenance: The Philip Cardeiro collection of Chinese jade, built from 1968 until the early 1990s, one label to back

Auction results comparison: Fine Chinese Ceramics and Works of Art. Christies, London, 13 May 2014, lot 224. (for an 18th century white jade figure of the same subject, but smaller) CHINESE ART. Sotheby’s, 01 JUNE 2015, HONG KONG, lot 686. (for a white and russet jade figure with the same subject)

㶭㛅䘥䌱ẁṢ䪍⫸㒢ẞ炻IJĹᶾ䲨 62 63 ⸦役䲼䘥䌱炻ᶨ䴚⽖⮷䘬刚㰩炻堐朊䢐⃱朆ⷠ列⤥ A PALE CELADON CARVING OF ‘LIU HAI AND ZHONGLI QUAN’, A SMALL ARCHAISTIC MOTTLED WHITE JADE VASE, EARLY QING ᷕ⚳炻㶭㛅炻IJĹᶾ䲨 QING DYNASTY DYNASTY, 17TH/18TH CENTURY ↢䇰䈑烉䶐嘇IJijķ炻őũŪŭŪűġńŢųťŦŪųŰ⃰䓇䍵啷⑩普炻ńŢųŰŭġ The jade of pale celadon tone, the backside with one larger cloud and The white stone with areas of opaque grey and celadon streaks as well as ŎŪŤũŢŦŭŴŰů叿炻ŌůŢűŵŰůġœŢŴŵŪṆ㳚喅埻⑩℔⎠↢䇰炻ΐ several smaller veins of russet. Good surface polish and fine patina. a few minuscule russet veins. Good surface finish 㔎炻ij ı ı ĺ ⸜ˤ China, Qing Dynasty, 19th century China, later 17th – 18th century 㬌䘥䌱㒢ẞ晽⇣ᶨỵ攟檵櫂䘬侩ẁṢ炻幓 叿 ⃒ 晭 攟 堵炻柕 枪 卲 剙 檀 ⷥ炻檀 ⷥ ⼴ ⇣ 㚱 ȿ⢥ȿ⫿ˤᶨ 㕩 䘬 䪍 ⫸ Description, school, inscriptions, marks: Liu Hai is shown with a lingzhi Of archaic bronze form with each of the flattened sides finely carved in ㇳ㊩⤪シ炻᷎偑滲埴ˤ in his hand, standing next to a tall Daoist immortal, most likely Zhongli shallow relief showing a taotie-mask in-between a band of confronted ⼊䉨烉Ṣ䈑⼊䉨 Quan, holding a gnarly hiking pole, to which a large coin is suspended. C-scrolls, the waisted neck flanked by a pair of S-shaped openwork ⯢⮠烉檀ĸįĹ⍀䰛 Fin details such as beards and robes show neatly incised detail work. handles, the mouth and foot rims slanted and tapered. 慵慷烉ĺĺįķ⃳ There is a famous story about how Liu Hai was converted to Daoism. One ⑩䚠㤝⤥ day, at the height of his glory, Liu met a Daoist monk who called himself Shape: Flattened baluster 伶⚳䞍⎵㓞啷⭞ńįőʼnŊōŊőġńłœŅņŊœŐ⃰䓇䍵啷⑩炻㕤 Zheng Yangzi “Master of Correct Yang” but was actually the renowned Dimensions: Height 11,4 cm IJĺķĹ⸜军IJĺĺı⸜ẋ⣏慷㓞啷ᷕ⚳喅埻⑩ˤ Immortal Zhongli Quan. He asked Liu to get ten eggs and ten gold cash Weight: 140,5 grams 栆Ụ㉵⑩烉ᶨẞ庫⮷䘬IJĹᶾ䲨䘥䌱ẁṢ䪍⫸炻⍫夳Ἓ coins (with a hole in the middle), and then placed a coin under each, and Condition: Good condition with tiny nibbling to lip and one small natural ⢓⼿˪ᷕ⚳䒟☐⍲ⶍ喅䱦⑩˫炻ΐ 㔎炻ij ı IJĵ ⸜ Ķ㚰IJ Ĵ㖍炻 piled them one on top of another. Liu yelled “How dangerous!” and the flaw to foot rim ㉵⑩䶐嘇ijijĵˤᶨẞ䘥䌱ⷞ䙖ẁṢ䪍⫸炻⍫夳喯⭴㭼˪ Daoist smilingly replied, “The position of a prime minister is much more Provenance: United Kingdom private collection ᷕ⚳喅埻䍵⑩˫炻ijıIJĶ⸜ķ㚰IJ㖍炻楁㷗炻㉵⑩䶐嘇ķĹķˤ dangerous!” Liu was suddenly awakened, resigned from his position, gave up his wealth, left home, and went wandering. Auction results comparison: THE MUWEN TANG COLLECTION OF EstimateġEUR 1.000,- CHINESE JADES. Sotheby’s, 01 DECEMBER 2016, HONG KONG, lot 139. Starting price EUR 500,- Shape: Figural (for a small white jade vase with carved taotie masks) Luminous Colors: Dimensions: Height 7,5 cm Treasures from the Shorenstein Collection. Christies, Hong Kong, 1 Weight: 83,5 cm December 2010, lot 2955. (for a small mottled jade vase with carved Condition: Excellent, with only very minor wear taotie masks) Provenance: German private collection 㶭ẋầ⎌曺䘥䌱暁俛䒞 㶭ẋ㶭䘥䌱晽ȿ∱㴟冯挦暊㪲ȿ 曺䘥䌱炻䀘⸽ⷞ曺䌱㡅䲳⍲崌刚䲳䎮炻堐朊䢐⃱列⤥ 曺䘥䌱刚婧炻側朊ᶨ䇯暚䉨⍲⸦䴚墸刚㰩炻堐朊⃱㹹炻⊭㻧䳘兑 ᷕ⚳炻IJĸᶾ䲨㘂㛇军IJĹᶾ䲨 ᷕ⚳炻㶭㛅炻IJĺᶾ䲨 䒞幓㴖晽䳘兑炻暁俛晽ⶍⶏ⥁ ⑩䚠㤝⤥ ⑩䚠列⤥ ⽟⚳䥩Ṣ㓞啷 劙⚳䥩Ṣ㓞啷

EstimateġEUR 300,- EstimateġEUR 500,- Starting price EUR 150,- Starting price EUR 250,-

78 79 66 A FINELY CARVED JADE BIXIE-FORM WATER DROPPER, MING DYNASTY, 16TH / 17TH CENTURY The gray stone suffused with brown and inky-black inclusions, superb surface polish and good patina. China, 16th – 17th century

Published: The Property of Mr Philip Cardeiro, Carol Michaelson, Knapton Rasti Asian Art, London 2009, lot 36. Portrayed in a crouching position, the beast’s giant head crowned with one massive, ridged horn above heavy eyebrows, bulging eyes, the closed mouth still revealing the menacing fangs, the conch-shaped ears grooved. Its back with a circular raised and slanted aperture leading into the hollowed body, which has been smoothly polished inside as well. Carefully incised details to the fur down its body leading to the large, bifurcated tail and small wings rising from each of its four legs, coiling towards the backbone. Each paw with three claws.

Shape: Sculptural water dropper Dimensions: Length 11 cm Weight: 239 grams Condition: Very good condition with one small old nick (almost invisible to the naked eye). Some miniscule natural 65 flaws in the mineral A CELADON AND RUSSET ‘MANDARIN DUCK RESTING IN LOTUS’ 㖶ẋ曺䌱ⷞ䙖晽ȿ泃泎㇚咖ȿ㒢ẞ Provenance: The Philip Cardeiro collection of Chinese jade, JADE PEBBLE, MING DYNASTY ␴䓘曺䌱炻ⷞ⛯⊣墸刚冯ṃ姙㶙㡽刚㰩炻⻟⊾㔜橼姕妰ˤ⬴┬⊭㻧冯列⤥䢐 built from 1968 until the early 1990s, one label to back A celadon nephrite pebble with suffused with hues of russet and some ⃱堐朊ˤ dark brown mottling, both highlighting the overall design. Nice patina ᷕ⚳炻㖶㛅炻IJķĮIJĸᶾ䲨 Literature comparison: For earlier examples, see Jessica and good surface finish ↢䇰䈑烉䶐嘇ĵĶ炻őũŪŭŪűġńŢųťŦŪųŰ⃰䓇䍵啷⑩普炻ńŢųŰŭġŎŪŤũŢŦŭŴŰů叿炻ŌůŢűŵŰůġ Rawson, Chinese Jade from the Neolithic to the Qing, China, Ming dynasty, 16th – 17th century œŢŴŵŪṆ㳚喅埻⑩℔⎠↢䇰炻ΐ㔎炻ijııĺ⸜ˤ London, 1995, page 363, nr. 26.7. and Jade, J.P. Palmer, Published: The Property of Mr Philip Cardeiro, Carol Michaelson, Knapton Spring Books, 1967, Page 41, nr. 12. For a Han Dynasty Rasti Asian Art, London 2009, lot 45. 晐⼊侴晽䘬姕妰ᾅ䔁Ḯ䌱䞛㚨⍇⥳䘬㧉㧋ˤ䱦⽫䘬⇣䔓↢ᶨ晣泃泎再⛸⛐ example, see Chinese Jade and Animals, Hong Kong 咖叱ᶲ炻⼴㕡䳘兑晽⇣䘬咖剙ⶏ⥁䘬央味ỷ泃泎䘬⯦悐炻佭儨⍲幓橼ᶲ䘬 Museum of Art, 1996, page 78, nr. 43. An exquisite natural pebble carving that fully retains its original shape! 佥侤⬴㔜⏰䎦炻╁ᷕ┋叿ᶨ䇯匟叱ˤ Finely carved in the round to depict a recumbent mandarin duck resting 䌱晽Ⱦ泃泎㇚匟ȿᶵ份夳炻㚜暋傥⎗屜䘬㗗㬌ἄ⑩㍉晐⼊侴晽炻ᾅ䔁⍇⥳ Auction results comparison: FINE CHINESE CERAMICS in a large upturned lotus leaf, a lotus flower depicted in high relief to 桐尴炻墸刚㰩䲳䎮ⶏ⥁墅梦泃泎䘬佥侤炻ℑ侭廒⹻圵䁢ᶨ橼ˤ㔜ẞἄ⑩ᶨ & WORKS OF ART. Sotheby’s, 19 MARCH 2013, NEW cover the duck’s tail feathers, the crest and wings neatly incised to detail 㯋␝ㆸ炻晽ἄ冯䌱䞛㖊↮暊⍰圵⎰炻㔜橼㮓䃉忽␴炻⎗夳ⶍ㱽ᷳ䳘兑ˣ≇≃ YORK, lot 431. (for bixie water dropper from the same plumage, a large spray of lotus foliage grasped in the bird’s beak. ᷳ㶙⍂ˤ group and similar stone, of 13 cm. length) The subject matter of the duck resting in a large lotus leaf is not only extraordinary and rare, it also lends itself perfectly to the contours of 泃泎炻⛐ᷕ⚳㔯⊾ᷕ尉⽝】ッ⣓⥣␴⾈屆ᶵ㷅䘬㯠⿮ッねˤ 㖶ẋ曺䌱晽尼尭⼊㯜㺜炻IJķİIJĸᶾ䲨 the pebble, with the plant forming the base and the bird clinging to the ⼊䉨烉Ⱉ⫸ 䀘刚䌱ⷞ墸刚冯⡐湹刚㰩炻堐朊㤝Ἓ䢐⃱炻⊭㻧⬴┬ surface, while the natural colors of the mineral reflect the plumage and ⯢⮠烉攟IJIJįĹ⍀䰛 ᷕ⚳炻IJķĮIJĸᶾ䲨 the veins of the subjects. The craftsman has skillfully utilized the stone to 慵慷烉ķĵijįĶ⃳ ↢䇰䈑烉䶐嘇Ĵķ炻őũŪŭŪűġńŢųťŦŪųŰ⃰䓇䍵啷⑩普炻ńŢųŰŭġ provide a sense of naturalistic interaction between the lotus plant and the ⑩䚠㤝⤥炻㚱ṃ姙冯⸜ẋ䚠䫎䘬䢐㎵ ŎŪŤũŢŦŭŴŰů叿炻ŌůŢűŵŰůġœŢŴŵŪṆ㳚喅埻⑩℔⎠↢䇰炻ΐ Mandarin duck. 伶⚳䞍⎵㓞啷⭞ńįőʼnŊōŊőġńłœŅņŊœŐ⃰䓇䍵啷⑩炻㕤IJĺķĹ⸜军IJĺĺı⸜ẋ⣏ 㔎炻ij ı ı ĺ ⸜ˤ Mandarin ducks (Latin: Aix galericulata), known as Yuan Yang in Chinese, 慷㓞啷ᷕ⚳喅埻⑩ˤ 尼尭㍉帚ặ䘬⦧⊊炻⻝⣏䛤䜃ˣ䵲攱䘬◜ṵ曚↢⮾䈁炻側悐 mate for life and are renowned for their attachment to each other. In 㚱ᶨᾳ⽖⽖⁦㕄䘬攳⎋炻幓幨ℏ悐ᷕ䨢ḇ⸛㹹䢐⃱ˤ㔜橼䱦 Chinese art mandarin ducks have been prolifically adopted to symbolize 㔯䌣㭼庫烉⎗⍫侫œŰţŦųŵġŌŭŦŪůŦų叿˪łŭŢů冯ŔŪŮŰůŦġʼnŢųŵŮŢů㓞啷ᷳᷕ⚳䌱☐ ⶍ晽⇣炻⎗夳忋㍍⚃嵛幓橼ᶲ⮷佥侤炻⚃嵛ᶲ䘮㚱ᶱ䇒炻幓 conjugal bliss and fidelity. 普˫炻楁㷗炻IJĺĺķ⸜炻䶐嘇ķIJˤ⎎⢾⎗⍫侫㖶⯤旧㲊⇑㕗冯⌘䫔⬱䲵㲊⇑㕗喅 ⼴㚱䳘攟↮ⰼ䘬⯦ˤ 埻⌂䈑棐↢䇰䘬˪䌱䞛晽⟹˫炻㖶 ⯤ Ṇ 㲊 ⇑ 㕗炻IJ ĺ ĸ ĵ ⸜炻䶐 嘇 Ĺˤ ⼊䉨烉⼊⟹㯜㺜 Shape: Pebble 栆Ụ㉵⑩烉Ἓ⢓⼿˪łŭŢů冯ŔŪŮŰůŦġʼnŢųŵŮŢů䥩Ṣ℠啷ᷳᷕ⚳䌱☐ĩḴĪ˫炻楁 ⯢⮠烉攟IJIJ℔↮ Dimensions: Length 11,8 cm 㷗炻ijııĸ⸜IJIJ㚰ijĸ㖍炻㉵⑩䶐嘇IJĶķķˤĩ⎴㗪㛇炻䚠⎴⣏⮷䘬ᶨ⮵泃泎Ī 慵慷烉ijĴĺ⃳ Weight: 642,5 grams ⑩䚠㤝Ἓ炻㚱ṃ姙倱䛤⸦᷶ᶵ⎗夳䘬⮷仢⎋炻ᶨṃ⽖⮷䘬 Condition: Excellent condition with old wear and microscopic old EstimateġEUR 1.200,- ⣑䃞䕽嶉ˤ nibbling, as expected on a Ming jade Starting price EUR 600,- 伶⚳䞍⎵㓞啷⭞ńįőʼnŊōŊőġńłœŅņŊœŐ⃰䓇䍵啷⑩炻㕤IJĺķĹ Provenance: The Philip Cardeiro collection of Chinese jade, built from ⸜军IJĺĺı⸜ẋ⣏慷㓞啷ᷕ⚳喅埻⑩炻⸽悐㚱㓞啷㧁䰌ˤ 1968 until the early 1990s, one label to bottom 㔯䌣㭼庫烉ᶨṃ⸜ẋ庫㖑䘬ἳ⫸炻夳ŋŦŴŴŪŤŢġœŢŸŴŰů叿˪⽆ 㕘䞛☐㗪ẋ⇘㶭ẋ䘬ᷕ⚳䌱☐普˫炻ΐ㔎炻IJĺĺĶ⸜炻䫔ĴķĴ Literature comparison: Compare with Robert Kleiner, Chinese Jades from 枩炻䶐嘇ijķįĸˤṎ⎗⍫侫ŋįőįġőŢŭŮŦų叿˪䌱˫炻ŔűųŪůŨġŃŰŰŬŴ↢ the Collection of Alan and Simone Hartman, Hong Kong, 1996, no. 䇰炻IJĺķĸ⸜炻䫔ĵIJ枩炻䶐嘇IJijˤ⎎ᶨᾳ㻊ẋ䘬ἳ⫸炻夳˪ᷕ⚳倾 61, and Jade as Sculpture, Minneapolis, Minneapolis and Indianapolis 䓇䌱晽˫炻楁㷗喅埻棐↢䇰炻IJĺĺķ⸜炻枩㔠ĸĹ炻䶐嘇ĵĴˤ Museum of Art, 1975, no. 8. 栆Ụ㉵⑩烉ᶨẞ䚠Ụ䌱䞛䘬晽尼尭⼊㯜㺜炻夳喯⭴㭼˪ᷕ⚳ 䒟☐⍲ⶍ喅⑩˫炻ijıIJĴ⸜Ĵ㚰IJĺ㖍炻䲸䲬炻㉵⑩䶐嘇ĵĴIJˤ Auction results comparison: Important Chinese Jades from the Personal Collection of Alan and Simone Hartman Part II. Christies, Hong Kong, 27 EstimateġEUR 1.500,- November 2007, lot 1566. (for a pair of Mandarin ducks from the same Starting price EUR 750,-ġ period and of similar size)

80 81 68 A GREY AND BROWN ‘CRANE DRINKING FROM WATERFALL’ JADE MOUNTAIN, 17TH CENTURY Grey nephrite with white mottling and hues of dark brown. Excellent surface polish and good patina. China, 17th century Published: The Property of Mr Philip Cardeiro, Carol Michaelson, Knapton Rasti Asian Art, London 2009, lot 66.

The mountain carved in deep relief and with neatly incised details to depict a crane drinking from a waterfall arising from craggy rocks. The crane is standing under a gnarled pine tree while a second one is flying on top of the scene, apparently preparing to land nearby. The backside shows further layered rockwork. Cranes are an important motif in Chinese mythology. There are various myths involving them, and they are in general symbolically connected with the idea of immortality.

Shape: Boulder Dimensions: Height 17,8 cm Weight: 1437 grams Condition: Tiny chip to foot, some natural hairlines, overall excellent condition Provenance: The Philip Cardeiro collection of Chinese jade, built from 1968 until the early 1990s, two labels to bottom

Auction results comparison: Chinese Ceramics, Works of Art and Textiles. Christies, London, 12 November 2010, lot 67 1177. (for a celadon jade version of the subject, dating from A RUSSET SKIN PALE CELADON JADE ‘SCHOLAR’ BOULDER, QING from the Qing Court Collection in the Palace Museum, Beijing, depicting the 18th century) IMPORTANT CHINESE ART. Sotheby’s, 10 DYNASTY the Yongzheng Emperor in various guises Yinzhen at Play: Attacking a MAY 2017, LONDON, lot 273. (for a quite similar white jade The nephrite of pale celadon color with some almost white areas. The Tiger with a Trident, illustrated in Harmony and Integrity: The Yongzheng version of the subject, here with both cranes drinking, from magnificent russet skin masterfully used by the carver to enhance the Emperor and His Times, Taipei, 2009, p.308, pl.II-111. See also the similar the Qianlong period) dramaturgy of the depiction. Good surface finish and patina style of carving of the wutong leaves on a white and russet jade boulder, China, 18th – 19th century Qing dynasty, imperially inscribed by the Qianlong Emperor, illustrated in IJĸᶾ䲨䀘䌱晽ȿẁ浜梚㱱ȿⰙ⫸ Compendium of Collections in the Palace Museum: Jade 8 Qing Dynasty, 䀘刚␴䓘䌱炻ⷞ⛯⊣墸刚㰩炻堐朊䢐⃱列⤥炻⊭㻧⣑䃞ˤ The boulder carved with a craggy mountain scape, the front depicting Beijing, 2010, no.120. ᷕ⚳炻IJĸᶾ䲨 a sage holding a staff crossing a stone bridge beneath an overhanging ↢䇰䈑烉䶐嘇ķķ炻őũŪŭŪűġńŢųťŦŪųŰ⃰䓇䍵啷⑩普炻ńŢųŰŭġ wutong tree, accompanied by an attendant grasping a large lingzhi Auction results comparison: Fine Chinese Ceramics and Works of Art. ŎŪŤũŢŦŭŴŰů叿炻ŌůŢűŵŰůġœŢŴŵŪṆ㳚喅埻⑩℔⎠↢䇰炻ΐ㔎炻ijııĺ stem, the reverse similarly carved with dominating rocky cliffs and a crane Christies, London, 6 November 2012, lot 4. (for a celadon jade boulder ⸜ˤ standing within the mountain crags. with a similar russet skin) Important Chinese Ceramics and Works of Art. 忁ᾳ㶙怫㴖晽䘬Ⱉ⫸炻䳘兑䘬⏰䎦ẁ浜⛐㾹ⶫ㕩ẘ柕梚㯜䘬 The present jade boulder is exquisitely carved enabling the beholder Christies, Hong Kong, 30 November 2011, lot 2963. (for an imperial 㧉㧋ˤᶨ晣ẁ浜䪁䩳叿炻侴⎎ᶨ晣梃佼ᾗ夾ˤ側朊⎗ẍ䚳⇘Ⰼ to first appreciate the luminous quality of the celadon and white jade celadon jade rhyton with a similar russet skin) ⵺䔲⴪䘬檀Ⱉˤ stone highlighted against the contrast of the russet-toned deftly carved ⛐ᷕ⚳䘬䤆娙ᷕ炻浜䓇攟㕤ẁ⠫Ȅ冯ẁṢ䁢⍳ˤ mountains. A second look observes the graduated mountains geometrically 㶭ẋ曺䘥䌱ȿ㔯Ṣἵ侭ȿⰙ⫸ ⼊䉨烉Ⱉ⫸ yet naturally carved. The eye is then free to roam the scene of the two ␴䓘曺䘥䌱炻墸刚㰩炻堐朊⸛㹹䢐⃱炻⊭㻧列⤥ ⯢⮠烉IJĸįĹ⍀䰛 wanderers, which seem so minuscule yet peaceful in the tranquil mountain ᷕ⚳炻IJĹ军IJĺᶾ䲨 慵慷烉IJĵĴĸ⃳ landscape. The crane represents longevity and a crane standing alone can 晽ⶍ䳘兑䘬Ⱉ⫸ˤ㡏㟸㧡ᶳ䪁叿㉬叿㉸㛾䘬㔯Ṣ⍲℞ἵ侭炻塓Ⲷ⴯䘬Ⱉ ⑩䚠㤝⤥炻㚱ṃ姙檖䴚䕽嶉 also represent success in becoming a high government official. ⡩㇨䑘丆ˤ 伶⚳䞍⎵㓞啷⭞ńįőʼnŊōŊőġńłœŅņŊœŐ⃰䓇䍵啷⑩炻㕤IJĺķĹ⸜ The quality, imaginative design and technical virtuosity achieved by the 忁ᾳ䱦伶䘬Ⱉ⫸⯽䎦曺䘥䌱䘬⍇刚炻冯⢾⚵䘬墸刚㰩⏰䎦⮵㭼ˤ㔯Ṣ⍲℞ 军IJĺĺı⸜ẋ⣏慷㓞啷ᷕ⚳喅埻⑩ˤ carver exemplifies the zenith of jade craftsmanship achieved by the jade ἵ侭檀晭⃒伶⛘㔋Ự⛐恋晐⼊侴晽䘬Ⱉ㜿ᷕˤ 栆Ụ㉵⑩烉ᶨẞ栆Ụ䘬曺䌱晽炻夳Ἓ⢓⼿˪ᷕ⚳䒟☐ˣⶍ喅⑩ ateliers during the 18th and earlier 19th century. This is made even more 䌱䞛䘬岒慷ˣ䓇≽䘬姕妰⍲䱦㸃䘬晽ⶍ䘮㚱㤝檀䘬㯜㸾炻⎗㍐㕟䁢IJĹᶾ䲨 ⍲䳉䷼⑩˫炻ΐ 㔎炻ij ı IJı ⸜IJIJ㚰IJ ij㖍炻㉵ ⑩ 䶐 嘇 IJIJĸ ĸˤ⎎ ᶨ ẞ 䚠 remarkable given the rarity of such extraordinary jade material, which only 军IJĺᶾ䲨⇅㛇䘬ἄ⑩ˤ忁柮Ⱉ⫸䘬⚈䁢℞䌱䞛㛸岒䌐䈡ˣⶍ㱽䲼䅇炻⎗㍐ Ụ䘬Ḧ昮㗪㛇䘥䌱晽暁浜梚㱱炻夳喯⭴㭼˪慵天ᷕ⚳喅埻䍵 became more available following the Qianlong Emperor’s conquest of the 㕟㗗䁢Ḯ慵天⟜⎰侴䈡⛘ㇻ忈䘬ˤ ⑩˫炻ΐ㔎炻ijıIJĸ⸜Ķ㚰IJı㖍炻㉵⑩䶐嘇ijĸĴˤ Dzungar Khanate, now known as Xinjiang, between 1755 and 1759. The ⼊䉨烉䌱䞛Ⱉ⫸ rarity and jewel-like quality of the present jade boulder indicates it may ⯢⮠烉檀IJIJįij⍀䰛 EstimateġEUR 2.000,- have been specially commissioned for an important occasion. 慵慷烉Ķĸı⃳ Starting price EUR 1.000,- ⑩䚠㤝Ἓ炻㚱冯⸜ẋ䚠䫎䘬ṃ姙䢐㒎 Shape: Boulder 劙⚳䥩Ṣ㓞啷 Dimensions: Height 11.2 cm 㔯䌣⍫侫烉ᶨẞ䚠Ụ晽Ⱉ⫸䘬ἄ⑩炻⎗⍫侫˪㓭⭓⌂䈑昊啷㔯䈑䍵⑩ℐ Weight: 570 grams 普烉䌱☐ĩᷕĪ˫炻ᶲ㴟炻ijııĹ⸜炻䶐嘇Ķijˤ⎎ᶨẞἄ⑩⎗⍫侫⎘⊿㓭⭖⌂ Condition: Excellent condition with some traces of wear as expected on a 䈑昊˪㶭ᶾ⬿晵㬋㔯䈑⣏⯽˫炻⎘⊿炻ijııĺ⸜炻䫔ĴıĹ枩炻⚾䇰IJIJIJˤ䚠Ụ jade of this age 䘬曺䘥䌱墸刚㰩Ⱉ⫸晽㡏㟸㧡⎗⍫侫˪㓭⭓⌂䈑昊啷⑩⣏䲣烉䌱☐ĩℓĪ㶭 Provenance: United Kingdom private collection ẋ˫炻⊿Ṕ炻ijıIJı⸜炻䶐嘇IJijıˤ 栆Ụ㉵⑩烉ᶨẞ曺䘥䌱墸刚㰩晽Ⱉ⫸炻⍫侫Ἓ⢓⼿˪ᷕ⚳䒟☐⍲ⶍ喅䱦 Literature comparison: Similar workmanship, particularly evident in the ⑩˫炻ΐ㔎炻ijıIJij⸜IJIJ㚰ķ㖍炻䈑⑩䶐嘇ĵˤ⎎ᶨẞ⽉墥曺䘥䌱Ⱉ⫸炻⍫侫 distinct sharp contours and manner of execution of the mountains, can Ἓ⢓⼿˪慵天ᷕ⚳䒟☐冯ⶍ喅䱦⑩˫炻楁㷗炻ijıIJIJ⸜IJIJ㚰Ĵı㖍炻䈑⑩䶐嘇 be seen on an Imperially-inscribed pale green and russet jade boulder, ijĺķĴˤ Qing dynasty, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware II, Shanghai, 2008, EstimateġEUR 1.500,- no.52; compare also the jagged rockwork on the Qing Court painting Starting price EUR 750,-

82 83 71 A LARGE SPINACH-GREEN JADE ‘DOUBLE CARP’ GROUP, QING DYNASTY Nephrite of a pure and deep spinach-green tone accentuated with intense russet inclusions on the head of the upper carp, and some white and russet streaks on the reverse. China, Qing Dynasty, late 18th – 19th century

Meticulously carved in the form of two carps, emerging from tempestuous waves in an upright manner, their undulating tails flattened, their bodies naturalistically carved to simulate an even scaly texture, their heads conjoined, the opaque stone of a deep spinach-green tone with attractive russet streaks. The present piece is notable for its dynamic and crisply carved depiction of two fish which skilfully capture a sense of movement and power while retaining the fine detail and finished surface that were appreciated by the jade connoisseurs of the Qing dynasty. The robust forms of the creatures and broadly formed waves of water draw attention to the spinach jade stone from which it has been fashioned, a material that was particularly treasured by the Qianlong Emperor.

Shape: Natural boulder form 69 Dimensions: Height 24,5 cm. A CARVED CELADON JADE ‘LOTUS AND CRANES’ symbol after the phoenix. Throughout the imperial times, 㶭㛅曺䌱晽ȿ暁浜㇚咖ȿ䒞 Weight: 4600 grams VASE, QING DYNASTY crane motifs were used on the robes of civil officials to 䲼㶐⋲德㖶曺䌱炻堐朊⸛ Condition: Excellent condition with some natural fissures Translucent celadon jade of pure color, smooth surface finish depict their ranks. Because of its ability to fly high and 㹹䢐⃱ Provenance: Christies, London, 15-16 June 1987, lot 331 China, 19th century over long distances, its wings were used as an amulet for ᷕ⚳炻IJĺᶾ䲨 protection against exhaustion. 䌱䞛晽↢ᶨ㛝塓咖叱丷丆 Literature comparison: Compare with a remarkable The body elegantly carved in form of a lotus flower, 叿炻尉⽝檀屜䘬咖剙炻ᶨ㕩 yellow jade vase with dragon-carps, the russet tones of surrounded by smaller lotus flowers, leaves and ears Shape: Lotus flower 䩳叿ᶨ晣⃒晭䘬ẁ浜炻◜ the stone cleverly incorporated into the composition, of corn, all carved in openwork and with finely incised Dimensions: Height 15 cm ┋匟叱炻⎎ᶨ晣⇯再⛐⎎ᶨ included in the exhibition Chinese Jade Throughout the details, the sides with a standing and a sitting crane, the Weight: 387 grams 㕩炻ẘ柕ↅ㛃ˤ晽ⶍ䳘兑炻 Ages, Victoria and Albert Museum, London, 1975, cat. plumage neatly engraved. Condition: Excellent, with some wear and traces of use 佥㮃䲳䎮㶭㘘⎗夳ˤ no. 421; and another of spinach-green jade, illustrated only ⑩䚠㤝Ἓ in The Complete Collection of Treasures of the Palace Cranes, or herons as they are also referred to as, play an Provenance: Dutch private collection 匟嗕䥩Ṣ㓞啷 Museum. Jadeware (III), Hong Kong, 1995, pl. 49. important role in Chinese mythology. In Chinese culture, the crane is venerated as the prince of all feathered Auction result comparison: FINE CHINESE CERAMICS AND EstimateġEUR 600,- 㶭ẋȿ暁歱帵漵攨ȿ䡏䌱 creatures and thus has a legendary status. Embodying WORKS OF ART. Christies, Hong Kong, 1 November 2004, Starting price EUR 300,- ⣏✳␴䓘䡏䌱炻⯨悐墸刚㰩 longevity and peace, it is the second most favored bird lot 1031. (for another, similar lotus vase) ᷕ⚳炻㶭ẋ炻IJĹᶾ䲨㘂㛇军IJĺᶾ䲨

䱦ⶍ晽⇣䘬暁歱炻⛐㳞㸏䘬㴒㾌ᶳᶨ滲帵⎹漵攨ˤⶍ㱽ᷳ䳘 70 Shape: Sculptural 兑炻⮯毿䇯䲳䎮徸ᶨ晽↢炻栗⼿㚜≈䓇≽ˤ A MASSIVE SPINACH Dimensions: Length 16 cm 忁ẞἄ⑩ㆸ≇㍷丒暁歱滲帵䘬≽デ⍲㯋⊊炻᷎㚱⬴㔜䘬䳘 GREEN JADE MODEL OF Weight: 1058 grams 䭨⍲⸛㹹䘬堐朊ˤḦ昮䍵ッ䘬␴䓘䡏䌱㛸岒炻≈ᶲ䌐䈡䘬忈 A RECUMBENT RAM, Condition: Excellent ✳⍲䡭䣉䘬㴟㴒炻嬻忁ẞἄ⑩㚜栗䌐䈡ˤ QING DYNASTY Provenance: American ⼊䉨烉⣑䃞Ⱉ⫸ The stone is of private collection ⯢⮠烉檀ijĵįĶ⍀䰛 characteristic and intense 慵慷烉ĵķıı⃳ spinach green tone mottled Auction results comparison: ⑩䚠㤝⤥ with black inclusions. Good In Pursuit of Refinement - A surface polish and fine Legacy of the YC Chen ↢嗽烉Ἓ⢓⼿炻ΐ㔎炻IJĺĹĸ⸜ķ㚰IJĶĮIJķ㖍炻ĴĴIJ嘇㉵⑩ patina Collection. Christies, Hong 㔯䌣⍫侫烉ỵ㕤ΐ㔎ŗŪŤŵŰųŪŢġŢůťġłŭţŦųŵġ⌂䈑棐䘬˪㬟ẋᷕ⚳ China, Qing Dynasty (1644- Kong, 29 May 2013, 䌱䞛⯽˫㚦㕤IJĺĸĶ⸜⯽↢䚠Ụ䘬湫䌱歱欂漵䲳剙䒞炻䫔ĵijIJ 1912) lot 1962. (for a pair of 嘇⯽⑩ˤ⎎ᶨẞ䚠Ụ䘬䡏䌱炻⎗夳˪㓭⭓⌂䈑昊啷㔯䈑䍵⑩ standing spinach green ℐ普烉䌱☐ĩᶳĪ˫炻楁 㷗炻IJ ĺ ĺ Ķ炻⚾ 䇰 ĵ ĺ 枩ˤ The peaceful recumbent rams) ram facing forward, EstimateġEUR 1.500,- realistically modelled with 㶭ẋ䡏䌱再伲 Starting price EUR 750,- a slightly alert expression, 䡏䌱炻ⷞ㶙䵈刚㔹炻⃒晭 framed by massive long 䢐⃱炻⊭㻧⬴┬ S-shaped horns detailed ᷕ⚳炻㶭ẋġĩIJķĵĵĮIJĺIJijĪ with carved parallel ⑩䚠㤝⤥ markings, a lengthy incised 伶⚳䥩Ṣ㓞啷 beard, his front right leg tucked up, the typical ears EstimateġEUR 400,- deeply hollowed. Starting price EUR 200,-

84 85 72 73 A YELLOW AND RUSSET JADE Literature comparison: Hugh Moss, A MOTTLED LAVENDER, WHITE AND EMERALD-GREEN JADEITE ‘BUDDHIST LION’ SNUFF BOTTLE, Victor Graham and Ka Bo Tsang, A SNUFF BOTTLE, 1780-1880 1750-1850 Treasury of Chinese Snuff Bottles: The stone of white, sage-green and lavender tone, with veins of emerald The pale-yellow stone with a thick The Mary and George Bloch green. Excellent finish. russet layer, carved and incised in Collection, vol. 1, Hong Kong, 1996, China, 1780-1880 high relief. Smooth surface finish. no. 140. China, Master of the Rocks School, The well-hollowed body of faceted rectangular form with a minimally flared 1780-1850 Auction result comparison: SNUFF neck, the translucent stone of pale and deep lavender-blue, white, and BOTTLES FROM THE MARY AND sage-green with one small emerald-green vein. Of rounded rectangular shape with GEORGE BLOCH COLLECTION: PART Blue, lavender- or lilac-colored jadeite probably became available to the an oval foot ring and short tubular VI. Sotheby’s, 27 MAY 2013, HONG Chinese at much the same time as the better-known and more plentiful neck, the stone of a pale-yellow KONG, lot 144. (for a bottle carved emerald-green jadeite. This leaves open the possibility that jadeite pieces of color with large patches of russet from similar pebble material) THE this more dramatic and exotic coloring could date from the late eighteenth skin, finely carved to form a pair of DR. SYLVAN AND FAITH GOLDER century, although it is known that many were made during the latter part buddhist lions, as always chasing the COLLECTION OF FINE CHINESE of the Qing dynasty and well into the Republican period. brocade ball, with incised clouds on SNUFF BOTTLES. Bonham’s, 11 Sep Although the present bottle may feel heavy in the hand, it is because of its the reverse. The material used for 2017, NEW YORK, lot 9108. (for a size rather than a lack of care in hollowing. Indeed, the interior is extremely the present bottle was preferred by similar bottle) carefully and evenly hollowed, through an extremely small mouth (only 5 the Master of the Rocks school and mm. wide) leaving a wall thickness of only about 2-3 mm. The spectacular was known in the late Qing period 湫䌱䔁䙖晽”暁䋭䌣䐆”滣䂇 material combines a dynamic natural pattern of the deepest lavender color as ‘yellow steamed-chestnut’, and ⢢炻1750-1850⸜ with a paler, icy-lavender color and a pale, sage-green. to modern collectors as Han jade. It 湫䌱ⷞ㽫⍂䘬墸刚㰩炻 檀㴖晽炻堐 was far from the only material used, 朊⸛㹹䢐⃱ Shape: Rectangular faceted but was sufficiently popular to have ᷕ⚳炻䔁䙖䌱晽㳦墥炻1750-1850 Hollowing: Very good become a characteristic trade-mark. ⸜ Mouth, neck and lip: Cylindric neck with slanted lip and flat top, very small A possibly significant feature of this mouth impressive example is also common ⚻奺䞑⼊䘬湫䌱⢢幓ⷞ㚱⣏朊䧵䘬 Base: Rectangular with raised foot rim to the school. It has a small mouth in 墸刚㰩炻䱦䳘䘬⇣∫↢ℑ柕曺䋭䌣 Stopper: Coral cabochon on a faceted turquoise platelet with good patina, relation to the lip, in this case almost 䐆䘬㧉㧋ˤ㬌滣䂇⢢ἧ䓐䘬㛸㕁䁢 possibly matching as small as any known jade snuff 㘂㶭㗪㛇塓䔁䙖䌱晽㳦嬥䁢”㞿⫸ Height of the bottle with stopper: 5,9 cm. bottle of normal size, and similar to 䱽”䘬湫䌱炻忁㧋䘬怠㛸⍲ㇳ㱽㗗娚 Width of the mouth: 5 mm. a bottle from the Bloch collection, 㳦⇍㚨⣏䈡刚ˤ Width of the neck: 16 mm. sold at Bonham’s Hong Kong, 䔁䙖䌱晽㳦䘬⎎ᶨ⣏䈡刚䁢攳搧䚠 Weight: 80,5 grams 28th May 2010, lot 45. This may ⮵䒞⒯庫⮷䘬䒞⎋炻侴㬌滣䂇℟㚱 Condition: Excellent not preclude wider mouths from 㬌䈡溆ˤ栆Ụ䘬㉵⑩⎗夳恎㿂㕗㕤 Provenance: American private collection, old collector’s number to bottom the school, but it is an indication 楁㷗2010⸜5㚰28㖍䘬45嘇㉵⑩ˤ of a typical mouth detail. Both 㬌⢾炻忁ℑᾳ滣䂇⢢䘮℟㚱晽ⶍ䳘 Auction result comparison: IMPORTANT CHINESE SNUFF BOTTLES FROM these bottles also have confidently 䶣ὸ句䘬嵛悐炻ᶼ堐朊㤝⹎㉳⃱ˤ THE J&J COLLECTION. Christies, Hong Kong, 25 April 2004, lot 870. (for a carved forms with neat, crisp and ⼊䉨烉⚻奺䞑⼊ jadeite bottle of similar color pattern) pronounced foot rims and are both ㌷元烉夷㔜 also superbly finished. 䒞⎋ˣ柠悐ˣ䒞⒯烉⚻㞙⼊柠ˣ⸛ ⚃⼑侉侈滣䂇⢢炻1780-1880⸜ 柕炻朆ⷠ⮷⎋ 䤷䤧⢥䥏侉侈炻⬴伶䢐⃱ Shape: Rounded rectangular shape 桐㟤烉䔁䙖䌱晽㳦墥炻1750-1850 ᷕ⚳炻1780-1880⸜ Hollowing: Superb ⸜ 攟㕡⼊䘬⢢幓忋㍍叿䔍䁢┯⎕⼊䘬⢢柠炻⋲德㖶䘬呤䞛ⷞ叿Ṗ䘥ˣ啘堋 Mouth, neck and lip: Cylindric neck, 味烉䲭䍲䐂⛐湹刚䇯ᶲ炻⎌晭晽⊢ 勱䳓啵⍲滈⯦勱䵈ᶱ刚炻℞ᷕ㚜⣦暄叿ᶨ䴚侉侈䵈 flat top, very small mouth 檀ĩⷞ味Ī烉ĸįij⍀䰛 ⑩䚠㤝Ἓ Base: Oval, with raised foot rim ⎋⼹烉ıįĶ⍀䰛 伶⚳䥩Ṣ㓞啷炻⸽悐ᾅ㚱冲㓞啷䶐嘇 Design, marks, school: Master of the 柠悐䚜⼹烉ijįIJ⍀䰛 Rocks School, 1780-1850 慵慷烉IJIJıįĶ⃳ EstimateġEUR 1.000,- Stopper: Red coral on black platelet, ⑩䚠⬴┬炻䒞⒯㚱⮷䳘䲳 Starting price EUR 500,- old spoon 伶⚳䥩Ṣ㓞啷 Height of the bottle with stopper: 㔯䌣⍫侫烉Hugh Moss, Victor 7,2 cm. Graham and Ka Bo Tsang叿˪䐒匱 Width of the mouth: 5 mm. 冯╔㱣ⶫ㳃崓䍵啷烉ᷕ⚳滣䂇⢢ Width of the neck: 21 mm. 普˫炻⌟1炻楁㷗炻1996⸜炻䶐嘇 Weight: 110,5 grams 140ˤ Condition: One minor flaw to lip, 䚠Ụ㉵⑩烉ᶨẞ栆Ụ⍇㕁䘬晽⇣滣 otherwise perfect condition 䂇⢢炻夳喯⭴㭼˪䐒匱冯╔㱣ⶫ㳃 Provenance: American private 崓㓞啷滣䂇⢢˫炻楁㷗炻2013⸜5 collection 㚰27㖍炻㉵⑩䶐嘇144ˤ⎎ᶨẞ栆 Ụ䘬ἄ⑩炻夳恎㿂㕗˪DR. SYLVAN AND FAITH GOLDER㓞啷滣䄁⢢˫ 炻2017⸜9㚰11㖍炻䲸䲬炻㉵⑩䶐 嘇9108ˤ

EstimateġEUR 1.000,- Starting price EUR 500,-

86 87 74 75 76 77 A WHITE JADE FACETED SNUFF BOTTLE, 1750-1850 A CARVED APPLE-GREEN AND RUSSET JADEITE ‘HORSES’ SNUFF AN APPLE GREEN JADEITE BOTTLE, QING DYNASTY A SPADE-SHAPED WHITE JADE SNUFF BOTTLE, 1750-1850 Nephrite of even white color with a smooth surface polish. BOTTLE, QING DYNASTY Intense apple green color with shades of crystalline white, some russet The softly polished stone is of very pale greenish-white color. China, 1750-1850 (tendentially rather 18th century) Apple-green jadeite with veins of russet, carved in relief with neatly incised inclusions near the neck, and a small russet vein near the foot. Good China, 1750-1850 detail work and a good surface polish. surface polish. The slightly tapering rectangular bottle is raised on a foot of conforming China, 19th century China, 1780-1880 The rounded, spade-shaped bottle is raised on a minimalistic flat foot and outline, and each side is framed by a narrow-grooved border. The softly has a deeply waisted neck. This is a rare type of bottle within the group of polished stone is semi-translucent with some faintly opaque markings Good depiction of two standing horses on a rocky ground, the backside Bottles from this group remain highly desirable, especially when the color plain white jades, because it poses a significant challenge to the carver to and has a luminous quality. with two auspicious deer and a ram. The natural inclusions in the stone is as even and striking as in the present example. create a thin yet heavy bottle in such balanced manner that it safely stands well used to enhance the three-dimensional character of the scene. upright. Shape: Rectangular Shape: Slightly bulbous oval shape. Hollowing: Excellent Shape: Flattened round shape. Hollowing: Excellent. Shape: Flat spade Mouth, neck and lip: Cylindric neck, very small mouth Hollowing: Excellent. Mouth, neck and lip: Sprawling neck with slated lip and flat top. Hollowing: Excellent Base: Rectangular with raised flat foot rim Mouth, neck and lip: Short sprawling neck with slightly convex top and Base: Flat oval. Mouth, neck and lip: Waisted neck with sprawling slanted lip, flat top and Stopper: Apple green jadeite on a black platelet small mouth. Stopper: Old porcelain stopper in imitation of coral on a gilt platelet. small mouth Height of the bottle with stopper: 6,7 cm. Base: Oval convex base with small flat rim. Height of the bottle with stopper: 6,4 cm. Base: Flat faceted foot Width of the mouth: 5 mm. Design, marks, school: Possibly master of the rocks. Width of the mouth: 6 mm. Stopper: Red coral carved with a coiled chilong, possibly matching Width of the neck: 17 mm. Stopper: Glass in imitation of coral on a carved turquoise platelet. Width of the neck: 19 mm. Height of the bottle with stopper: 7,1 cm. Weight: 82,7 grams Height of the bottle with stopper: 6 cm. Weight: 69 grams. Width of the mouth: 6 mm. Condition: Perfect Width of the mouth: 6 mm. Condition: Excellent condition with some surface wear. Width of the neck: 22 mm. Provenance: American private collection Width of the neck: 20 mm. Provenance: American private collection. Weight: 79,3 grams Weight: 97 grams. Condition: Perfect Auction result comparison: A Collecting Legacy: Fine Chinese Jade Condition: Perfect. Auction result comparison: THE DR SYLVAN AND FAITH GOLDER Provenance: American private collection Carvings and Works of Art from the Lizzadro Collection. Christies, New Provenance: Hungarian private collection COLLECTION OF FINE CHINESE SNUFF BOTTLES, PART II. Bonham’s, York, 21 March 2013 lot 898. (for a similar bottle) NEW YORK, 19 March 2018, lot 156. (for a related bottle) Fine Chinese Auction result comparison: A Collecting Legacy: Fine Chinese Jade 㶭ẋⷞ䙖侉侈晽⇣滣䂇⢢ Ceramics and Works of Art Part I and Part II Including Property from the Carvings and Works of Art From the Lizzadro Collection (Part II). Christies, IJĸĶı军IJĹĶı⸜攻䘥䌱滣䂇⢢ ⷞ䙖侉侈炻䳘䶣晽⇣炻䢐⃱列⤥ Arthur M. Sackler Collections. Christies, New York, 24 March 2011, lots New York, 19 September 2013, lot 1223. (for another spade-shaped white 䘥䌱炻堐朊⃱㹹䢐⃱ ᷕ⚳炻IJĺᶾ䲨 1567 and 1590. (both for related bottles) Fine Chinese Ceramics and jade bottle) ᷕ⚳炻1750军1850⸜(ㅱ䁢18ᶾ䲨) ⑩䚠⬴伶 Works of Art Part I. Christies, New York, 13 - 14 September 2012, lot 忁ᾳ䞑⼊䘬滣䂇⢢℟㚱㝼␴廒⹻䘬䩳橼⸽悐炻⎬怲䘮℟㚱䨬㦥怲㟮. 䢐⃱䘬 ⊰䈁⇑䥩Ṣ㓞啷 1126. (for a related bottle) 䘥䌱滣䂇⢢炻1750-1850⸜ 䞛柕⏰䎦⋲德㖶䘬䉨ン炻ⷞ㚱ṃ姙㛎㛏䘬⌘⫸⍲℟㚱䘤⃱䘬岒慷. 䘥䌱炻㝼␴䢐⃱炻ⷞṃ姙㶉䵈刚㽌 ⑩岒⬴┬ EstimateġEUR 600,- 㶭ẋ喳㝄䵈侉侈滣䂇⢢ ᷕ⚳炻1750-1850⸜ 伶⚳䥩Ṣ㓞啷 Starting price EUR 300,- 歖导䘬喳㝄䵈刚㽌ⷞ㚱⸦忻㯜㘞䘥⼙炻䒞⎋㚱ṃ墸刚⣦暄炻⃒伶䢐⃱ ⑩䚠⬴伶 ᷕ⚳炻1780-1880⸜ 伶⚳䥩Ṣ㓞啷 EstimateġEUR 600,- ⑩䚠㤝⤥ Starting price EUR 300,-ġ 伶⚳䥩Ṣ㓞啷 EstimateġEUR 500,- Starting price EUR 250,- EstimateġEUR 500,- Starting price EUR 250,-

88 89 78 79 A ROOT-AMBER SNUFF BOTTLE, 1770-1860 A LARGE GOLDEN AMBER SNUFF BOTTLE, ATTRIBUTED TO Root amber of intense honey-brown color with clouds of russet, good THE BEIJING PALACE WORKSHOPS, 1760-1820 surface finish and patina Golden root amber with superb age-patina. China, 1770-1860 China, 1760-1820

Of bulbous, ovoid form, the deep honey-brown transparent material Of sweeping form with a large oval foot and very finely carved with large opaque clouds of milky-russet color, the sides masterfully mask and ring handles at the shoulders, the bright golden carved with masks and fixed-ring handles. A particularly striking example yellow material suffused with deeper orange markings, diagonal from the mid-Qing group of plain amber bottles! striations and a faint overall. As yellow was a color reserved specifically for the Emperor, Shape: Bulbous ovoid form golden amber was a particularly prized material, and early Hollowing: Excellent products of the Imperial workshops are rare. The mask-and- Mouth, neck and lip: Cylindric neck with flat top and very small mouth ring handles on the present bottle are remarkably well carved Base: Oval with raised foot rim - the masks take on the pugnacious visage of Pekinese dogs, Stopper: Red coral cabochon with gilt bronze platelet, old spoon with deeply carved eyes and cheeks and delicately fluted ears - Height of the bottle with stopper: 6,3 cm. characteristic workmanship of the Palace workshops. Width of the mouth: 5 mm. Because golden amber was so rare and hard to get, flawed Width of the neck: 16 mm. material was often used by the palace workshops, such as in the Weight: 35,3 grams present bottle, we several of such flaws have meticulously been Condition: Excellent condition with minor natural flaws and some filled with smaller pieces of amber (see detail images). minuscule nibbling Provenance: Hungarian private collection Shape: Flattened sweeping form Hollowing: Outstanding Literature comparison: For a similar root-amber bottle still in the Imperial Mouth, neck and lip: Sweeping cylindric neck, slanted lip and Collection see Chang Lin-sheng, Snuff Bottles in the Collection of the minuscule opening National Palace Museum, Taipei, 1991, p. 252, no. 374. Base: Oval with broad, raised foot rim Design, marks, school: Attributed to the Beijing Palace Auction result comparison: THE BLANCHE B. EXSTEIN COLLECTION OF Workshops, 1760-1820 CHINESE SNUFF BOTTLES. Christies, New York, 21 March 2002, lot 105. Height of the bottle: 6,8 cm. (for a similar bottle) Width of the mouth: 5 mm. Width of the neck: 20 mm. 㟡䍨滣䂇⢢炻1770-1860⸜ Weight: 32,3 grams 囄㡽刚㟡䍨炻暚䉨㰩刚炻堐朊列⤥䢐⃱炻⊭㻧⬴┬ Condition: Old wear and traces of use, minor nibbling, a few ⑩䚠㤝Ἓ nicks and several larger natural flaws, especially around the neck ⊰䈁⇑䥩Ṣ㓞啷 Provenance: Hungarian private collection

EstimateġEUR 600,- Auction result comparison: FINE CHINESE CERAMICS & WORKS Starting price EUR 300,- OF ART. Sotheby’s, 31 MARCH 2005, NEW YORK, lot 411. (for another imperial golden amber bottle)

慹䏍䍨滣䂇⢢炻⊿Ṕ⭖⺟ἄ⛲墥炻1760-1820⸜ 慹刚㟡䏍䍨炻列⤥㬚㚰⊭㻧 ⑩䚠列⤥炻㚱ṃ姙䢐䕽⍲㖶栗⣑䃞塪䲳炻䈡⇍㗗⢢柠␐⚵ ⊰䈁⇑䥩Ṣ㓞啷

EstimateġEUR 800,- Starting price EUR 400,-

90 91 80 81 AN EMBELLISHED LACQUER ON METAL ‘TSUDA FAMILY’ SNUFF A LARGE CINNABAR LACQUER ‘SCHOLARS AND BOTTLE, 1890-1930 ATTENDANTS’ SNUFF BOTTLE, QING DYNASTY Masterfully carved soapstone and mother-of-pearl inlays delicately painted Strikingly detailed cinnabar lacquer carving in high relief in lacquer on a metal body. with extensive miniature incising. Good patina. Copper Kyoto, Japan, 1890-1930 body. The foot with black lacquer coating. China, 19th century. Of flattened spade form rising to a slightly everted rim, short rectangular foot rim, the recessed base marked with Qianlong nianzhi in iron-red, the Deeply carved with an intriguing continuous scene exterior walls decorated with three boys picking peaches from a tree that depicting several scholars with their attendants engaged springs from a daihu rock, the reverse with a noble lady under a wutong in various activities, set in an impressive moated palace tree, standing near a screen decorated with flowers and a dragonfly, compound nestled amongst lush wutong trees, massive the sides neatly painted in gold lacquer on black ground to depict a rive rocks, a grotto with a small entrance door, all above a landscape. band of vertical lappet petals, surrounding an oval foot ring, below a band of clouds, a key fret band, and a ruyi Shape: Flattened spade band surrounding the neck. Hollowing: Standard Mouth, neck and lip: Short cylindric neck with a slightly everted rim Shape: Slightly flattened globular shape. Base: Rectangular raised foot rim Hollowing: Standard. Design, marks, school: Tsuda Family, Kyoto, Japan, 1890-1930 Mouth, neck and lip: Cylindric neck with small mouth, the Stopper: Matching soapstone stopper with old spoon top made of a copper platelet. Height of the bottle with stopper: 8,6 cm. Base: Convex oval base with massive flat oval foot rim. Width of the mouth: 8 mm. Stopper: Matching cinnabar lacquer stopper with floral Width of the neck: 12 mm. décor in high relief, good old spoon. Weight: 75,5 grams Height of the bottle with stopper: 8.8 cm. Condition: Excellent condition with some wear Width of the mouth: 7 mm. Provenance: American private collection Width of the neck: 24 mm. Weight: 86 grams. Auction result comparison: CHINESE SNUFF BOTTLES. Bonham’s, 12 Condition: Two microscopic nicks, otherwise absolutely September 2016, NEW YORK, lot 9101. (for another metal and lacquer perfect condition. bottle by the Tsuda family, also with the flattened spade shape) Provenance: American private collection.

㺮⼑⢥Ⱉ䞛晽梦慹Ⱄ滣䂇⢢炻㖍㛔Ṕ悥㳍䓘⭞㕷炻1890-1930⸜ Literature comparison: Hugh Moss, Victor Graham and Ka 䱦伶晽⇣䘬⢥Ⱉ䞛␴䍵䎈㭵搚⳴⛐㺮梦䘬慹Ⱄ⢢幓ᶲ Bo Tsang, A Treasury of Chinese Snuff Bottles: The Mary Ṕ悥炻㖍㛔炻IJĹĺıĮIJĺĴı⸜ and George Bloch Collection, volume 7, part 1, Hong 䔍䁢挔✳䘬㇩⸛滣䂇⢢炻⸽悐䁢攟㕡⼊䘬嵛➢炻ᷕ攻↡㦥㚱Ḧ昮⸜⇞䘬 Kong, 2009, no. 1538-1544. (for a reference selection of 䲭刚⫿㧋į various cinnabar lacquer bottles) ⑩䚠㤝⤥ 伶⚳䥩Ṣ㓞啷 Auction result comparison: CHINESE SNUFF BOTTLES FROM THE COLLECTION OF BARBARA AND MARVIN EstimateġEUR 600,- DICKER. Bonham’s, 16 March 2015, NEW YORK, lot 1070. Starting price EUR 300,- (for a related, yet smaller bottle)

㶭ẋ⇼䲭晽㺮”㔯Ṣἵ侭”滣䂇⢢ 䳘䶣䘬⇼䲭㴖晽炻⊭㻧列⤥炻戭偶炻⸽悐ἧ䓐湹㺮 ᷕ⚳炻19ᶾ䲨 㶙怫䘬⇣䔓↢劍⸚㔯Ṣ冯ἵ侭Ᾱ⛐㡏㟸㧡冯ⶐ䞛攻⏇娑ἄ ⮵. ⢢味䁢剙䒋㧋⺷. ⑩䚠⬴┬ 伶⚳䥩Ṣ㓞啷

EstimateġEUR 800,- Starting price EUR 400,- ġ

92 93 82 83 A RED OVERLAY SNOWFLAKE GLASS ‘KUILONG’ SNUFF A RUBY-RED ‘CARP’ SNOWFLAKE-GLASS SNUFF BOTTLE, POSSIBLY IMPERIAL, BOTTLE, QIANLONG MARK AND OF THE PERIOD 18TH CENTURY Bubble-suffused transparent ‘snowflake’ glass with ruby-red Bubble-suffused transparent snowflake-glass with translucent ruby-red overlay overlay, carved in high relief and with neatly incised detail. carved and incised in high relief. China, incised vertical two-character Qianlong mark and of the China, 1750-1790 period (1736-1795) Of elongated teardrop form, finely carved through the ruby-red glass to the Of flattened ovoid shape, the bubble suffused ground with the bubble-suffused clear ground with a single large carp rising up from curling ocean ruby-red glass overlay carved as two pairs of kuilong forming waves and spray surrounding the oval foot towards the neck of the bottle. The fish a stylized shou-character as a symbol of longevity, each pair depicted with its typical, elongated barbels. holding one flaming pearl in their mouth. The bold conception of this overlay glass bottle is impressive and is a variation While this is clearly an 18th century bottle, it was not possible on the design of the ‘Carp leaping through Dragon Gate’, which alludes to the to find another ruby-red overlay bottle of this period bearing a attainment of rank and fulfilment of one’s ambitions, as when the carp transforms similar mark. Therefore, the possibility that the mark is a later into the dragon according to legend. addition cannot be excluded without any doubt. This, however, does not alter the fact that this bottle is indeed from the Shape: Bulbous tear drop form Qianlong period. Hollowing: Standard Mouth, neck and lip: Sprawling elongated neck with flat top and very large mouth, Shape: Ovoid typical for imperial bottles from this period Hollowing: Standard Base: Oval, spiral form base, carved from ocean waves Mouth, neck and lip: Sprawling neck with an overlay ring, flat Design, marks, school: Attributed to the Beijing Palace Workshops, 1750-1790 top and small mouth Stopper: Carnelian on a black platelet with good old spoon Base: Oval base with raised and flattened overlay foot rim Height of the bottle with stopper: 8,3 cm. Stopper: Red glass stopper in imitation of coral, on a yellow Width of the mouth: 9 mm. platelet, good old spoon Width of the neck: 15 mm. Height of the bottle with stopper: 7,1 cm. Weight: 43,5 grams Width of the mouth: 5 mm. Condition: Good condition with two tiny polished flaws, a few open bubbles and Width of the neck: 19 mm. part of one barbel replaced Weight: 57,5 grams Provenance: American private collection, old labels to top Condition: Excellent condition with natural old wear and some very tiny nibbling to inner foot rim Literature comparison: Compare a similar bottle in the Marian Meyer Collection Provenance: French private collection with the same type of elongated glass snuff bottle with a red overlay fish wrapped around the foot, with the only difference being that this one spouts a pavilion Literature comparison: The Blair Bequest. Chinese Snuff Bottles from its mouth on one side, illustrated in Hall, Chinese Snuff Bottles II, London, from Princeton University Art Museum. Michael C. Hughes. Lots 1989, no. 44. See also another bottle of similar shape and decoration but on clear 159-169. (for a comprehensive overview on 18th century ruby-red ground from the Eric Young Collection sold in Sotheby’s Hong Kong rooms, 28th overlay snuff bottles for comparison) October 1993, lot 1031.

Ḧ昮㫦暒暷⛘⮞䞛䲭⣿㕁”⢼漵”滣䂇⢢ Auction result comparison: FINE CHINESE CERAMICS & WORKS OF ART. Sotheby’s, 㯋㲉↮㔋炻暒暷⛘䍣䐫偶⣿䲭㕁炻晽ⶍ䱦䳘 31 MARCH - 01 APRIL 2005, NEW YORK, lot 359. (for a similar bottle) ᷕ⚳炻⸽悐⇣㚱Ḧ昮⫿㧋炻IJĸĴķĮIJĸĺĶ⸜ ⌝⼊䘬⸛朊ᶲ炻㯋㲉⛯⊣䘬㔋ⶫ炻⮞䞛䲭⣿㕁㶭㘘䘬⇣∫↢ℑ 18ᶾ䲨暒暷⛘⮞䞛䲭⣿㕁”歱欂”滣䂇⢢炻⎗傥䁢⽉墥 ⮵⢼漵炻◜扄漵䎈炻㌺↿↢ᶨᾳ尉⽝攟␥䘬⢥⫿ 德㖶暒暷⛘䍣䐫偶炻㯋㲉⛯⊣㔋ⶫ炻⋲德㖶⮞䞛䲭⣿㕁晽梦 ⑩䚠㤝⤥ ᷕ⚳炻1750-1790⸜ 㱽⚳䥩Ṣ㓞啷 ⑩䚠列⤥炻ᶨ㡅妠櫂䴻ᾖ墄 伶⚳䥩Ṣ㓞啷炻䒞⎋䔁㚱㧁姀 EstimateġEUR 800,- Starting price EUR 400,- EstimateġEUR 600,- Starting price EUR 300,-

94 95 84 85 A DOUBLE-OVERLAY WHITE GLASS ‘BRONZE CENSERS’ SNUFF A GOLDEN-BROWN OVERLAY YELLOW GLASS ‘CHILONG’ SNUFF BOTTLE, YANGZHOU SCHOOL BOTTLE, QING DYNASTY Deeply carved transparent emerald-green and opaque dark-brown overlay Of transparent golden-brown and semi-transparent yellow glass, the on opaque white ground, with neatly incised detail work. former with a few scattered air bubbles, the latter suffused with them. China, Qing Dynasty, 19th Century China, late 18th to earlier 19th century

Unusual depiction of seven different bronze incense burners on both main Carved as a single overlay with a chilong on each main side, one with sides. Two smaller censers are shown on the narrow sides. This is one of the a long, sinuous section from its tail held in its mouth. The medley of few designs featuring a grouping of traditional bronze censers to be found various tones of yellow on glassworks was apparently developed during among the multiple-overlay output of the Yangzhou. Stylistically, the vessels the Qianlong period, probably in the middle or second half of the reign. are distinctive and show various archaistic designs popular during the Qing Among them, the most common tonal combination was a range of period. Overall an interesting example of the rare double-overlay style of translucent yellow tones over a transparent ground that varies from the school, with a dynamic color combination, carved to high standards. a distinct golden yellow to the toffee brown as seen on the present example. Its visual similarity with some topaz, which is sometimes called Shape: Flattened rectangular huangyu (‘yellow jade’) in Chinese, suggests that it could have been Hollowing: Standard inspired by the translucent gemstone. Mouth, neck and lip: Sprawling neck, flat top and wide mouth Base: Oval base with raised green overlay foot rim Shape: Bulbous oval shape Design, marks, school: Yangzhou school Hollowing: Standard Stopper: Carnelian on a black platelet, good spoon Mouth, neck and lip: Short neck with very wide opening Height of the bottle with stopper: 7,2 cm. Base: Raised oval base in yellow overlay Width of the mouth: 7 mm. Stopper: Pink tourmaline on yellow platelet with good old spoon Width of the neck: 14 mm. Height of the bottle with stopper: 6,6 cm. Weight: 35,6 grams Width of the mouth: z mm. Condition: Perfect condition Width of the neck: 11 mm. Provenance: Hungarian private collection Weight: 26,1 grams Condition: Absolutely perfect. Some open air bubbles. Auction result comparison: SNUFF BOTTLES FROM THE MARY & GEORGE Provenance: Hungarian private collection BLOCH COLLECTION: PART VIII. Sotheby’s, 26 MAY 2014, HONG KONG, lot Literature comparison: Hugh Moss, Victor Graham and Ka Bo Tsang, 1027. (for another double overlay Yangzhou bottle from the 19th century) A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol. 5, Hong Kong, 2002, no. 952. 暁刚⣿㕁”戭楁䆸”滣䂇⢢炻㎂ⶆ㳩 䱦䶣晽⇣䘬暁刚⣿㕁炻䘥⸽䍣䐫偶 Auction result comparison: SNUFF BOTTLES FROM THE MARY AND ᷕ⚳炻㶭㛅炻19ᶾ䲨 GEORGE BLOCH COLLECTION: PART VI. Sotheby’s, 27 MAY 2013, HONG ⑩䚠㤝⤥ KONG, lot 263. (for a related bottle) ⊰䈁⇑䥩Ṣ㓞啷 㶭ẋ慹湫⣿㕁崌漵䲳滣䂇⢢ EstimateġEUR 400,- 慹湫⣿㕁冯湫刚⋲德㖶䍣䐫⢢幓 Starting price EUR 200,- ᷕ⚳炻18ᶾ䲨㘂㛇军19ᶾ䲨 ⑩䚠㤝⤥ ⊰䈁⇑䥩Ṣ㓞啷

EstimateġEUR 400,- Starting price EUR 200,-

96 97 88 A SANDWICHED REALGAR-SPLASHED GLASS BOTTLE, 18TH- early 19TH CENTURY Sandwich type glass bottle with scattered realgar inclusions. Some air bubbles. Intense colors. China, 18th – early 19th century

The bottle is of flattened, elongated ovoid form and of a greyish tone accented with brilliant splashes of ochre and orange. ‘Realgar’ glass is assumed to have been developed at the Imperial glassworks during the Kangxi period (1662-1722), when production was under the directorship of Kilian Stumpf and his fellow Jesuits, who set up the glassworks for the Emperor in 1696. Plain realgar glass snuff bottles were made in large numbers throughout the 18th century and a large proportion of them were apparently produced at the court to be distributed as gifts. By the mid-Qing period, carved realgar began to take fashion among the glassworks and many fine examples were produced with this style of decoration.

Shape: Elongated ovoid form. Hollowing: Standard. Mouth, neck and lip: Elongated neck with wide mouth. Base: Flat oval. Stopper: Glass in imitation of carnelian on a black platelet, 86 87 good old spoon. A RARE ENAMELED ‘LOTUS Width of the neck: 13 mm. A REALGAR-SPLASHED DOUBLE- Width of the neck: 14 mm. Height of the bottle with stopper: 6,8 cm. POND’ BLUE GLASS SNUFF Weight: 36 grams GOURD GLASS BOTTLE, 18TH- Weight: 66,5 grams. Width of the mouth: 7 mm. BOTTLE, 18TH CENTURY Condition: The glass is early 19TH CENTURY Condition: Excellent. Width of the neck: 15 mm. Faceted sapphire-blue glass painted excellent condition, with a tiny Transparent brown glass bottle with Provenance: Hungarian private Weight: 35,5 grams. in green and white enamels manufacturing flaw at the neck scattered realgar inclusions. Some collection. Condition: Excellent. Some microscopic open air-bubbles. China, 18th century and one or two microscopic open air bubbles. Intense colors. Provenance: Hungarian private collection. air bubbles. The enameling shows China, 18th – early 19th century Literature comparison: Moss, The transparent dark blue glass significant wear. Graham, Tsang, in A Treasury of Literature comparison: Moss, Graham, Tsang, in A Treasury of Chinese bottle, of compressed rounded Provenance: Hungarian private The bottle is of elegant double- Chinese Snuff Bottles, The Mary Snuff Bottles, The Mary and George Bloch Collection, Vol. 5, Part 1, form, is enameled on one side collection gourd form made of transparent and George Bloch Collection, Vol. Glass, Hong Kong, 2002, pp. 138-9, no. 703, refer to a set of ten’ with blossoming lotus plants, the deep amber-tone glass accented 5, Part 1, Glass, Hong Kong, 2002, realgar’ glass cups in Denmark that were purchased in Guangzhou and large leaves naturalistically detailed. Literature comparison: Other with brilliant splashes of ochre pp. 138-9, no. 703, refer to a set of brought back to Europe aboard the Kronprins Christian in 1732 (for an The reverse shows remainders of known examples of guyue xuan and orange. ‘Realgar’ glass is ten’ realgar’ glass cups in Denmark illustration of the cups see Ethnographic Objects in The Royal Danish enameling of what may once have bottles on colored glass with their assumed to have been developed that were purchased in Guangzhou Kunstkammer 1650-1800, Nationalmuseet, p. 218, nos. Ebc 71-82). been another lotus scene. marks intact include one on a at the Imperial glassworks during and brought back to Europe aboard Bottles from this group of enameled turquoise-blue ground (from the the Kangxi period (1662-1722), the Kronprins Christian in 1732 Auction result comparison: The Meriem Collection Important Chinese sapphire-blue glass are rare. There Dane Collection, in Bob Stevens, when production was under the (for an illustration of the cups see Snuff Bottles, Part II. Christies, New York, 19 March 2008, lot 203. (for are two possibilities regarding The Collector’s Book of Snuff directorship of Kilian Stumpf and Ethnographic Objects in The Royal a related bottle) THE BLANCHE B. EXSTEIN COLLECTION OF CHINESE the enameling: either the glass Bottles, no. 960) and a small his fellow Jesuits, who set up Danish Kunstkammer 1650-1800, SNUFF BOTTLES. Christies, New York, 21 March 2002, lot 18. (for a ground was originally intended to group on yellow grounds (see the glassworks for the Emperor Nationalmuseet, p. 218, nos. Ebc related bottle, also sandwiched and splashed-realgar, dated 1740-1820) be enameled, or the glass bottle, John Gilmore Ford, Chinese Snuff in 1696. Plain realgar glass snuff 71-82). which in both cases was probably Bottles. The Edward Choate O’Dell bottles were made in large IJĹᶾ䲨军IJĺᶾ䲨⇅ầ晬湫㕁㔹⢢ produced in the Palace workshops, Collection, no. 102; The Imperial numbers throughout the 18th Auction result comparison: The 䍣䐫偶⣦暄溆䉨晬湫䎕炻ⷞṃ⮷㯋㲉炻刚㽌歖刟 was originally intended to stand Connection. Court Related Chinese century and a large proportion of Meriem Collection Important ᷕ⚳炻IJĹᶾ䲨军IJĺᶾ䲨⇅㛇 alone, but was later enameled by Snuff Bottles, The Humphrey K. them were apparently produced at Chinese Snuff Bottles, Part II. ⑩䚠㤝⤥ the guyue xuan group of painters F. Hui Collection, no. 48; Zhao the court to be distributed as gifts. Christies, New York, 19 March ⊰䈁⇑䥩Ṣ㓞啷 (although the present bottle is Ruzheng, Jian Bian Bi Yan Hu, p. By the mid-Qing period, carved 2008, lot 203. (for a related unmarked, likely because the mark 56, no. 54) realgar began to take fashion bottle) THE BLANCHE B. EXSTEIN EstimateġEUR 500,- was worn off over time). among the glassworks and many COLLECTION OF CHINESE SNUFF Starting price EUR 250,-ġ Auction result comparison: Fine fine examples were produced with BOTTLES. Christies, New York, 21 Shape: Compressed rounded form Chinese Ceramics and Works of this style of decoration. March 2002, lot 18. (for a related Hollowing: Standard Art. Christies, New York, 19 - 20 bottle, also with splashed-realgar, Mouth, neck and lip: Sprawling September 2013, lot 1609. (for Shape: Double-gourd form. dated 1740-1820) short neck, convex top and large another enameled sapphire- Hollowing: Standard. mouth blue glass bottle, also showing Mouth, neck and lip: Short 18军19ᶾ䲨⇅ầ晬湫㕁吓單⢢ Base: Flat rectangular significant wear, but with the guyue sprawling neck with slanted lip and 德㖶䘬㡽刚䍣䐫⢢溆䵜歖导䘬晬 Design, marks, school: Imperial xuan mark still intact) flat top 湫㔹溆 glass workshops Beijing; possibly Base: Round convex base ᷕ⚳炻18ᶾ䲨军19ᶾ䲨⇅ later enameled by the guyue xuan ⮹夳䘬䏢䐗”咖剙”滣䂇⢢ Stopper: Incised metal on a black ⑩䚠㤝Ἓ group of painters, the mark likely ⮞䞛啵䍣䐫炻䵈䘥暁刚䏢䐗⼑丒 platelet, good old spoon. ⊰䈁⇑䥩Ṣ㓞啷 worn off over time ᷕ⚳炻IJĹᶾ䲨 Height of the bottle with stopper: Stopper: Tourmaline cabochon on a 䍣䐫䒞幓⑩䚠㤝⤥炻䏢䐗⚾㟰㚱 6,8 cm. EstimateġEUR 500,- white platelet, good spoon 䢐㎵ Width of the mouth: 6,4 mm. Starting price EUR 250,- Height of the bottle with stopper: ⊰䈁⇑䥩Ṣ㓞啷 6 cm. Width of the mouth: 7 mm. EstimateġEUR 800,- Starting price EUR 400,-

98 99 91 A CARVED TRANSLUCENT AMETHYST SNUFF BOTTLE, 1750-1850 Very rare, almost flawless amethyst of pale purple color, with a smooth surface polish. China, 1750-1850

Of rounded rectangular form with flat top and recessed oval foot surrounded by a foot rim, the narrow sides crisply carved with mask-and- ring handles, the translucent stone of pale purple color suffused with vapor-like inclusions.

Crystalline quartz, whether colorless or of this amethyst variety, is sometimes found with a delicate network of markings resembling cracked ice or sea-spray. These appear here and are found on other bottles of the same group. The Chinese, with their passion for natural materials would have seen these “flaws” as inspiration for design and once filled with snuff, the inclusions would become more distinct, creating an abstract work of art.

Shape: Rounded rectangular Hollowing: Excellent, in perfect symmetry with the outer shape Mouth, neck and lip: Tapered cylindric neck with flat top Base: Oval foot surrounded by a flat, broad foot rim Stopper: White jadeite with splashes of emerald green, spoon Height of the bottle with stopper: 7,3 cm. Width of the mouth: 7 mm. Width of the neck: 19 mm. 89 90 Weight: 63,5 grams A VERY RARE RED HAIR Width of the neck: 14 mm. A CARVED ‘QIAO SISTERS’ Width of the mouth: 5 mm. Condition: Good condition, neck and lip with some microscopic nibbling CRYSTAL SNUFF BOTTLE, Weight: 43 grams AQUAMARINE SNUFF BOTTLE, Width of the neck: 19 mm. and one tiny chip POSSIBLY IMPERIAL, 1760-1850 Condition: Perfect QING DYNASTY Weight: 75,3 grams Provenance: American private collection Transparent rock crystal with red Provenance: American private The transparent stone of even Condition: Excellent condition rutile needles. Good surface finish. collection, old labels to top aquamarine color, carved and with few microscopic nibbling to Literature comparison: See a slightly larger, but otherwise very similar China, 1760-1850 incised in relief, good surface finish foot rim bottle, Moss, Graham, Tsang, The Art of the Chinese Snuff Bottle. The J & Literature comparison: For another China, 1800-1890 Provenance: American private J Collection, no. 102. The flattened rectangular body version in red of the standard collection subtly maintaining its shape up to rounded-rectangular form, see The bottle carved in low relief with Auction result comparison: The Meriem Collection Important Chinese the rounded shoulders surmounted Moss, Graham, Tsang, A Treasury a scene of ‘The Two Qiao Sisters’, Literature comparison: For a Snuff Bottles. Christies, New York, 19 September 2007, lot 678. (for by a thick neck and flat top, the of Chinese Snuff Bottles, vol.2, no. one riding on a horse and carrying discussion of the Qiao Sisters, see another very similar bottle) well and symmetrically hollowed 194. This one has extraordinary a large banner, the other walking Ma Zengshan, Inside-Painted Snuff bottle with very fine red and pink markings combining the usual besides, all below a band of Bottle Artist Ma Shaoxuan (1867- 䱦晽䳓㘞滣䂇⢢炻1750-1850⸜ rutile hairs intersecting throughout. inclusions of needle-like form, with clouds. The scene continues to the 1939), Maryland, 1997, pp. 32-35. 䦨㚱䘬䃉㘯䲼刚⋲德㖶䳓㘞炻堐朊⃱㹹䢐⃱ The shoulders with carved lion ring a fine mass of tiny ‘hairs’ criss- reverse with a deer resting below a ⑩岒⬴┬ masks in high relief. Three different crossing to create dense patches, a gnarly pine tree. Auction result comparison: The 伶⚳䥩Ṣ㓞啷 varieties of so-called ‘hair-crystal’ bit similar to the present bottle. While the finest gemstones of Ruth and Carl Barron Collection of were used in China during the aquamarine are of flawless blue Fine Chinese Snuff Bottles: Part V. EstimateġEUR 500,- Qing Dynasty: The most common Auction result comparison: color, pieces large enough to be Christies, New York, 13 September Starting price EUR 250,- had inclusions of black, tourmaline CHINESE WORKS OF ART. fashioned into a snuff bottle are 2017, lot 272. (for an aquamarine crystals in a crystal matrix, but Sotheby’s, 23 MARCH 2004, NEW never flawless. As seen here, the bottle with a similar subject) much rarer are those with rutile YORK, lot 65. The Ruth and Carl material is permeated with natural (red) or actinolite (green) needle- Barron Collection of Fine Chinese flaws, which refract the light and 㶭ẋ㴟啵⮞䞛晽”⣏⮷Ḵ╔”滣䂇⢢ like crystals. Snuff Bottles: Part I. Christies, add a complementary shimmering 㘞䐑⇼德䘬㴟啵⮞䞛炻⛯⊣刚㽌炻 New York, 16 September 2015, lot effect to the material. 䳘兑檀㴖晽炻堐朊⃱㹹炻列⤥䢐⃱ Shape: Rounded and flattened 216. (for two other red hair crystal ᷕ⚳炻1800-1890⸜ rectangular bottles) Shape: Flattened spade shape ⑩䚠㤝Ἓ Hollowing: Good, symmetrical to Hollowing: Good, symmetrical to 伶⚳䥩Ṣ㓞啷 form 䦨㚱䲭檖㘞滣䂇⢢炻⎗傥䁢⽉ the outside shape Mouth, neck and lip: Short 墥炻IJĸķıĮIJĹĶı⸜ Mouth, neck and lip: Short EstimateġEUR 400,- cylindric neck with flat top and ⷞ䲭刚慹䲭䞛⮾德㖶檖㘞炻⃒晭 cylindric neck with very small Starting price EUR 200,- small mouth 䢐⃱ mouth, typical for the master of Base: Oval with raised foot rim ᷕ⚳炻1760-1850⸜ the rocks Design, marks, school: Possibly ⑩䚠⬴┬ Base: Rectangular base with imperial, see literature and auction 伶⚳䥩Ṣ㓞啷炻䒞⎋䔁㚱㧁䰌 rounded edges and raised foot rim results comparison Design, marks, school: Master of Stopper: Quartz on a black platelet EstimateġEUR 300,- the rocks school with old spoon Starting price EUR 150,- Stopper: Good tourmaline stopper Height of the bottle with stopper: on a black platelet, fine old spoon 6,3 cm. Height of the bottle with stopper: Width of the mouth: 6 mm. 7 cm.

100 101 92 93 A TURQUOISE MATRIX ‘PEA-POD’ SNUFF BOTTLE, QING DYNASTY A TURQUOISE ‘CARP’ SNUFF BOTTLE, REPUBLIC PERIOD Turquoise matrix with characteristic black veining and good yellowish Turquoise of even color and almost pure quality with only a few tiny black patina. inclusions. Good slightly yellowish patina. China, 19th century China, early 20th century

Reasonably well hollowed and carved in the form of two pea- or bean- Delicately carved to depict a carp emerging from a wavy pattern which pods growing from a severed branch with leaves and tendrils and two also forms the stand of this bottle. Neatly incised detail work. flying bats as symbols of luck in high relief. Shape: Natural Shape: Natural Hollowing: Fair Hollowing: Good Mouth, neck and lip: Flat top with small mouth Mouth, neck and lip: Mouth succinct to depiction Base: Succinct to depiction Base: None Stopper: Coral carved in the shape of a branch Stopper: Jadeite carved in the shape of a tendril Height of the bottle with stopper: 6 cm. Height of the bottle with stopper: 6,2 cm. Width of the mouth: 4 mm. Width of the mouth: 6 mm. Weight: 29 grams Weight: 124,6 grams Condition: Excellent, with one tiny chip to one of the carp’s fins Condition: Excellent condition with one tiny chip and a few microscopic Provenance: Hungarian private collection nibbles Provenance: Hungarian private collection 㮹⚳⸜攻䵈㜦䞛”歱欂”滣䂇⢢ 䵈㜦䞛炻刚㽌⛯⊣炻岒⛘役᷶䲼㶐炻ⷞ㚱ṃ姙湹刚⟲炻晽ⶍ䱦䳘炻⊭ Literature comparison: A bamboo bean-pod snuff bottle in the National 㻧列⤥ Palace Museum is dated by the museum to the 1780 – 1911 range. ᷕ⚳炻20ᶾ䲨⇅㛇 ⑩䚠㤝⤥ Auction result comparison: FINE CHINESE ART. Bonham’s, 25 May 2011, ⊰䈁⇑䥩Ṣ㓞啷 HONG KONG, lot 79. (for a related pea-pod bottle) EstimateġEUR 300,- 㶭ẋ寴寮半✳䵈㜦䞛滣䂇⢢ Starting price EUR 150,- 䵈㜦䞛冯㖶栗䘬揝䶂冯列⤥䘬㶉湫刚⊭㻧 ᷕ⚳炻IJĺᶾ䲨 ⑩䚠㤝⤥ ⊰䈁⇑䥩Ṣ㓞啷

EstimateġEUR 300,- Starting price EUR 150,-

102 103 94 95 A CARVED ‘BOYS AND BUFFALO’ LAPIS LAZULI SNUFF BOTTLE, A SMALL EMBELLISHED ‘POMEGRANATE’ CORAL SNUFF BOTTLE, QING DYNASTY 19TH CENTURY The stone of intense blue color with a cloud of light aquamarine blue and Coral with neatly incised inlays made from turquoise, amber and lapis small speckles of gold and silver. lazuli. China, 19th century The bottle: China, 19th century, possibly even a bit earlier.

Neatly incised and skillfully carved in light relief to depict two boys, one The embellishment: Japan, late 19th – early 20th century. holding a whip, and a water buffalo under a pine and wutong tree, both Of peach form with flat top and recessed foot surrounded by an oval foot emerging from craggy layered rocks. The bark of the pine tree and the rim, the embellishments carved in crisp relief with a pomegranate on a clothes of the boys rendered in full detail. stem with two slender leaves growing from an ornamental rock.

Shape: Bulbous ovoid form Coral is a symbol of longevity, due to its resemblance to a tree that seems Hollowing: Excellent to last forever. It was also a symbol of the first rank as civil officers of Mouth, neck and lip: Sprawling short neck, slanted lip and very small the first rank wore coral buttons on their hats. Coral was highly valued mouth at Court and was considered to be the third most valuable gem. In the Base: Round flat base with tiny, raised foot rim catalogue of the Exhibition of Ching Dynasty Costume Accessories, page Design, marks, school: Official school 31, the order of value is given as pearl, ruby, coral, sapphire, lapis lazuli, Stopper: Matching Beijing school stopper with good old spoon quartz, shell etc. Coral was also the material used for the Emperor’s Court Height of the bottle with stopper: 6,1 cm. necklace when worshipping at the Altar of the Sun, matched by a coral Width of the mouth: 4 mm. belt. Coral snuff bottles were produced for the Court throughout the early Width of the neck: 16 mm. to mid-Qing period, and apart from the Palace workshops, we are told in Weight: 68,3 grams Masterpieces of Snuff Bottles in the Palace Museum, page 29, that the Condition: Perfect records reveal that snuff bottles made of gems and gemstones (which Provenance: Hungarian private collection included coral) were mostly produced at Imperial lapidary workshops in Suzhou and Yangzhou by order of the Emperor. 㶭ẋ曺慹䞛”䪍⫸䈏䈃”滣䂇⢢ ⻟䁰䘬㶙啵刚ⷞ㚱ᶨ䇯暚䉨䘬Ṗ⮞䞛啵炻溆䵜叿⮷悐↮䘬慹⍲戨 The rarity of genuine early and mid-Qing coral snuff bottles is presumably ᷕ⚳炻IJĺᶾ䲨 due to the fact that only the occasional branch was large enough to make ⑩䚠㤝⤥ even a small snuff bottle. Several of the earliest known coral bottles were ⊰䈁⇑䥩Ṣ㓞啷 made in segments joined together, or when made from flawed material (which was all that was available), requiring either patches of coral inlaid EstimateġEUR 400,- to fill flaws, or wax inlays. Starting price EUR 200,- Shape: Pear Hollowing: Good Mouth, neck and lip: Flat top with tiny mouth Base: Oval with raised foot rim Stopper: Green nephrite Height of the bottle with stopper: 4,6 cm. Width of the mouth: 4 mm. Width of the neck: 12 mm. Weight: 24,3 grams Condition: Excellent. Remainders of old glue near the inlays. Provenance: Hungarian private collection

⮷䍲䐂ⶏ晽”䞛㥜剙”滣䂇⢢炻19ᶾ䲨 䍲䐂⢢幓炻ᶲ晽䵈㜦䞛ˣ䏍䍨⍲曺慹䞛 ⢢幓烉ᷕ⚳炻19ᶾ䲨ㆾ㚜㖑 晽梦烉㖍㛔炻19ᶾ䲨㘂㛇军20ᶾ䲨⇅㛇 ⑩䚠㤝⤥ ⊰䈁⇑䥩Ṣ㓞啷

EstimateġEUR 400,- Starting price EUR 200,-

104 105 96 97 98 99 A ‘FLOATER’ SILHOUETTE AGATE SNUFF BOTTLE, AN AGATE ‘DOUBLE-GOURD’ SNUFF BOTTLE, QING DYNASTY A ‘MACARONI’ AGATE SNUFF BOTTLE, QING DYNASTY A LARGE PUDDINGSTONE Width of the mouth: 9 mm. OFFICIAL SCHOOL, 1780-1880 Partially banded agate of even honey-color with hues of amber and dark- Agate of pale brown color with scattered opaque white tubular SNUFF BOTTLE, 1760-1850 Width of the neck: 25 mm. Agate, the colors varying from blueish-white to honey, amber and dark- brown. Excellent surface polish. striations and crystalline patterns. Good surface polish. The grey bottle exhibits an Weight: 140 grams brown. Smooth surface polish. China, 1780-1880. China, 1780-1880 attractive composition of medium- Condition: Good condition with China, 1780-1880 sized pebbles in colors of grey, two small nicks to the neck and The gourd is popular as a charm to ward off evil spirits and diseases, A good representative from this group, well carved and orange and cream. one to the foot rim. Extensive wear A nice example from this group of earlier agates, with inclusions that leave because its first character (hulu 吓剎) has the same pronunciation as the polished, of surprisingly balanced form. China, 1760-1850 and some light surface scratching, a lot of leeway for the interpretation-game, which was so popular among word to “protect” or “guard” (hu) and also the word for “blessing” (hu). Shape: Flattened heart from. as expected on old bottle from this court officials and collectors of the 18th and 19th century. The hollowing is Hollowing: Excellent. The sides of the bottle are material. so perfect that the bottle, although made of stone, is floating in the water! Shape: Double-gourd. Mouth, neck and lip: Elongated cylindric neck, slanted lip, carved with impressive and Provenance: American private Hollowing: Good. convex top and small mouth. dominant mask and ring handles. collection Shape: Globular. Mouth, neck and lip: Elongated neck with convex top. Small mouth. Base: Flat oval base. Puddingstone is the general term Hollowing: Outstanding! Base: Convex oval base with flat foot rim. Design, marks, school: Official school. for a conglomerate of sedimentary Literature comparison: For a range Mouth, neck and lip: Short sprawling neck with convex top and slanted lip. Stopper: Quartz stopper on black platelet with good spoon. Stopper: Jadeite with sparkles of emerald-green, original metal flint pebbles in a matrix of chert of bottles in this material, see B. Base: Oval base with raised, broad foot rim. Height of the bottle with stopper: 6.4 cm. mounting and spoon. - both part of the quartz family. Stevens, The Collector’s Book of Stopper: Good aventurine stopper with black platelet and fine spoon. Width of the mouth: 5 mm. Height of the bottle with stopper: 6.3 cm. Bottles carved from this striking Snuff Bottles, New York, 1976, nos. Height of the bottle with stopper: 7 cm. Width of the neck: 12 mm. Width of the mouth: 6 mm. material come in a wide variety of 609-17. Width of the mouth: 7 mm. Weight: 39,5 grams. Width of the neck: 19 mm. colors, textures, sizes and shapes. Width of the neck: 23 mm. Condition: Excellent. Some remainders of old snuff inside. Weight: 90 grams. The stone’s appearance is not Auction result comparison: The Weight: 71 grams. Provenance: American private collection. Condition: Excellent. dissimilar to plum pudding, from Ruth and Carl Barron Collection of Condition: One microscopic nick to foot, likely natural. Otherwise perfect Provenance: American private collection. which it derives its name. The Fine Chinese Snuff Bottles: Part V. condition. 㶭ẋ䐒䐁吓剎滣䂇⢢ variation in size of the pebbles sets Christies, New York, 13 September Provenance: United Kingdom private collection. ⛯⊣䘬囄刚䘬ⷞ䉨䐒䐁炻Ờ晐叿䏍䍨⍲㶙墸䘬刚㽌炻堐朊⃒䔘䢐⃱ Auction result comparison: Fine Chinese Ceramics and Works up an attractive counterpoint to the 2017, lot 235. (for another ᷕ⚳炻IJĸĹıĮIJĹĹı⸜ of Art. Christies, New York, 16 - 17 September 2010, lot 1175. beige matrix and the combination puddingstone bottle bearing large Auction result comparison: Fine Chinese Ceramics and Works of Art. ⑩䚠㤝Ἓ (for a related bottle) of shapes and sizes creates a strong mask and ring handles) Christies, New York, 16 - 17 September 2010, lot 1189. (for a related 伶⚳䥩Ṣ㓞啷 design that compliments the simple bottle) 㶭ẋ忂⽫䰱䲳䐒䐁滣䂇⢢ and tactile form. ⣏✳ⶫᶩ䞛滣䂇⢢炻1760军1850 EstimateġEUR 200,- 䐒䐁炻堐朊⸛㹹䢐⃱ ⸜ 1780军1880⸜攻⼙⫸䐒䐁”㯜ᶲ㺪”滣䂇⢢ Starting price EUR 100,- ᷕ⚳炻IJĸĹıĮIJĹĹı⸜ Shape: Bulbous globular form 㶙䀘刚䘬䒞幓ᶲ昛↿叿⺽Ṣ㲐䚖䘬 䐒䐁炻堐朊⸛㹹䢐⃱ ⑩䚠㤝⤥ Hollowing: Good to excellent ᷕ✳洅⌝䞛炻㚱㶉䀘炻㨀刚⍲䰛刚 ᷕ⚳炻1780-1880⸜ 伶⚳䥩Ṣ㓞啷 Mouth, neck and lip: Sprawling ᷕ⚳炻1760-1850⸜ ⑩䚠㤝⤥ short neck with slanted lip, flat top ⑩䚠列⤥ 劙⚳䥩Ṣ㓞啷 EstimateġEUR 300,- and large mouth 伶⚳䥩Ṣ㓞啷 Starting price EUR 600,- Base: Oval with raised foot rim EstimateġEUR 400,- Stopper: Old Beijing school EstimateġEUR 600,- Starting price EUR 200,- carnelian stopper Starting price EUR 300,- Height of the bottle with stopper: 7,6 cm.

106 107 100 101 102 A BURLWOOD SNUFF BOTTLE, QING Mouth, neck and lip: Short sprawling neck A SILVER INLAID HARDWOOD SNUFF A DUAN INKSTONE ‘DRAGON’ SNUFF Provenance: United Kingdom private DYNASTY with flat top and small mouth BOTTLE, QING DYNASTY BOTTLE, 1760-1820, POSSIBLY IMPERIAL collection Wood burl (possibly huamu, birch burl) Base: Tapered foot rim and flat oval base Carved hardwood with good patina and well The duan stone of pure quality and with with good patina and expressive grain. Stopper: Matching stopper and spoon visible grain, neatly inlaid with silver wire. a good patina, smooth surface polish and Literature comparison: For a bottle of slightly China, 19th century Height of the bottle with stopper: 6,5 cm. China, 19th century neatly carved and incised decor in light relief different shape but similarly carved, see Hugh Width of the mouth: 6 mm. China, 1760-1820 Moss, Victor Graham and Ka Bo Tsang, The During the mid- to late Qing dynasty, Width of the neck: 17 mm. Of elegant baluster form the bottle shows Art of the Chinese Snuff Bottle, The J & J burlwood snuff bottles seemed to have Weight: 23 grams two chrysanthemum flowers surrounded by Of flattened globular shape with tall neck, Collection, pp. 151-156, no. 84. For other become popular as relatively inexpensive Condition: Excellent with two tiny nicks their tendrils and leaves. carved in low relief to the main side with a examples, see Pamela Friedman, Chinese bottles for the growing private market as to foot coiling dragon in a medallion amidst cloud Snuff Bottles from the Pamela R. Lessing the habit of taking snuff spread throughout Provenance: United Kingdom private Shape: Baluster scrolls, the narrow sides with lion-mask fixed- Friedman Collection, Hong Kong, 1990, no. the empire. This example is related to that collection; old collector’s label to base Hollowing: Excellent ring handles, the backside left plain. 60, with ordinary and kui dragons; Hugh group of bottles by its material, but the indicates a purchase date of March 13th, Mouth, neck and lip: Short sprawling neck The shape and the distinctive mask and ring Moss, Chinese Snuff Bottles, London, 1976, shape is a rare one for a wooden bottle 1969 with slanted lip and very large mouth handles, as well as the subject and style, no. 175, with dragons and inscription; and and was presumably inspired by the spade Base: Round convex base with tapered foot identify it as one of a small group of bottles in Sotheby’s, London, 11 October 1974, lot shaped jade bottles so popular during the Literature comparison: For an impressive rim this material which presumably all come from 172, with dragons, an inscription and the second half of the Qing dynasty. example with an ivory neck and loop Stopper: Tourmaline stopper on green the same workshop. In fact, although this is a studio name Jingzhai (‘Studio of Veneration’); handles for a cord, see Au Hang 1993, no. platelet small group, it contains the majority of snuff Alexander Brody, Old Wine into Old Bottles, A It is often difficult to identify the species 238, where no. 239 is another, of the more Height of the bottle with stopper: 6,3 cm. bottles of Duan stone, which was not often Collector’s Commonplace Book, Hong Kong, of tree from which a burl has been taken, typical later-Qing type having prominent Width of the mouth: 9 mm. used outside of the production of inkstones. 1993, p. 104, with dragons and an unusual particularly in cut and polished examples, mask handles and a matching stopper. For Width of the neck: 13 mm. They are characterized by low-relief designs inscription in relief seal script: ‘Precious but this has the appearance of birch two other burl-wood snuff bottles, see Weight: 22,5 grams of distinctive dragons, the distinguishing treasure [from the] Duan Stream’; Zhongguo burl (huamu). Birch grew in Manchuria, Geng and Zhao, nos. 429 and 430. Condition: Excellent, with two tiny wire features of which are bulky haunches and Biyanhu Zhenshang, Hong Kong, 1992, no. homeland of the Qing rulers. Burl wood sections missing and dents to two further short, multiple-spiked tails, set amidst clouds; 327, with kui and inscription. was used frequently in China and was Auction result comparison: SNUFF BOTTLES wires or by kui dragons, often in the form of the also used for making the typical shallow FROM THE MARY AND GEORGE BLOCH Provenance: United Kingdom private character long (‘dragon’). Auction result comparison: Fine Chinese Snuff tea bowls used in Tibet and Mongolia. COLLECTION: PART VI. Sotheby’s, 27 MAY collection Bottles from the Holden Collection. Christies, The material would have been available to 2013, HONG KONG, lot 153. (for a dated Shape: Flattened globular New York, 21 March 2000, lot 178. (for a the Chinese throughout the Qing dynasty, example) SNUFF BOTTLES FROM THE 㶭ẋ䠔㛐⳴戨滣䂇⢢ Hollowing: Excellent related bottle) and it is difficult to date many surviving MARY AND GEORGE BLOCH COLLECTION 䠔㛐岒炻列⤥⊭㻧炻䲳䎮㶭㘘炻䱦伶⳴戨 Mouth, neck and lip: Elongated sprawling examples because they lack decoration, Part V. Bonham’s, 27 May 2012, HONG ᷕ⚳炻19ᶾ䲨 neck with convex top 1760军1820 ⸜攻䪗䠗滣䂇⢢炻⎗傥䁢⽉墥 dates, or inscriptions. The majority of burl- KONG, lot 92. (for a similar example, but ⑩䚠㤝Ἓ Base: Oval base with raised foot rim 䪗䠗䞛炻⊭㻧列⤥炻堐朊⸛㔜炻⃱㹹䴚䢐炻 wood snuff bottles were probably made lacking the matching stopper) 劙⚳䥩Ṣ㓞啷 Design, marks, school: ATTRIBUTED TO 晽ⶍ䳘䶣 from the mid-Qing dynasty onwards, and GUANGDONG PROVINCE AND PROBABLY ᷕ⚳炻1760-1820⸜ mainly for a non-Imperial market. A bottle 㶭ẋ䘕㛐滣䂇⢢ EstimateġEUR 200,- FROM A WORKSHOP IN GUANGZHOU ⑩䚠㤝⤥ such as this, however, could date from 㧡䗌ĩ⎗傥䁢䲭㛐ㆾ䘥㧢㛐Ī炻⊭㻧列⤥炻 Starting price EUR 100,- Height of the bottle: 5,7 cm. 劙⚳䥩Ṣ㓞啷 mid-Qing and have courtly connections. 䲳䎮㶭㘘 Width of the mouth: 6 mm. For that period, we cannot rule out an ᷕ⚳炻IJĺᶾ䲨 Width of the neck: 15 mm. EstimateġEUR 500,- Imperial product simply because of its ⑩䚠㤝Ἓ Weight: 44,5 grams Starting price EUR 250,- common material. 劙⚳䥩Ṣ㓞啷 Condition: Excellent with only one tiny nick to lip and some microscopic nibbles to the mask Shape: Spade EstimateġEUR 300,- handles Hollowing: Excellent Starting price EUR 150,-

108 109 105 A DONG SON CULTURE RITUAL BRONZE BLADE Shape: Blade with hilt Bronze with extensive natural patina and encrustation; comes with Dimensions: 29 cm (length), 9,5 cm (maximum width) modern metal stand Weight: 213 grams Dong Son Culture (700 BC – 500 BC), Northern Vietnam / South China Condition: Good, age-related condition with natural patina, minor material loss to margins 104 This ritual bronze blade originates from the Dong Son culture, a bronze Provenance: Collection of an American gentleman A DONG SON CULTURE SPEAR HEAD age culture that existed in ancient Vietnam and South China. The blade is Bronze with extensive natural patina and encrustation; of trapezoid shape with reticulated areas at the hilt. 㜙Ⱉ㔯⊾曺戭↨ comes with modern metal stand 曺戭炻⣏朊䧵⣑䃞戭䵈⊭㻧炻旬䎦ẋ慹Ⱄ⸽⹏ Dong Son Culture (700 BC – 500 BC), Northern Vietnam The Dong Son bronze industry started around 700-500 BC. At that time 㜙Ⱉ㔯⊾ĩ大⃫⇵ĸıı军ĶııĪ炻⊿崲İ厗⋿ / South China the main produce were bronze axes, spearheads and knives. This was ⑩䚠冯⸜ẋ䚠䫎炻列⤥ followed by daggers, swords, drums, and situla from 500-0 BC. Finally, 伶⚳䳛⢓㓞啷 This massive ancient bronze spear head originates from Chinese seals, coins, mirrors and halberds appeared in the first century AD. the Dong Son culture, a bronze age culture that existed EstimateġEUR 300,- in ancient Vietnam and South China. The weapon has Starting price EUR 150,- a cylindrical hilt, two reticulated openings at the lower end of the head and a slender spiked head with a central ridge.

The Dong Son bronze industry started around 700-500 BC. At that time the main produce were bronze axes, spearheads and knives. This was followed by daggers, swords, drums, and situla from 500-0 BC. Finally, Chinese seals, coins, mirrors and halberds appeared in the first century AD.

Shape: Spearhead with hilt Dimensions: 39 cm (length), 4 cm (maximum width) Weight: 287 grams Condition: Good, age-related condition with natural 103 patina, minor material loss to margins A FIRE-GILT BRONZE TAOTIE MASK with some touch-ups to gilding and Provenance: Collection of an American gentleman FITTING WITH RING HANDLE, HAN material loss to the loop that holds the DYNASTY ring 㜙Ⱉ㔯⊾曺戭䞃柕 Bronze with fire gilding, fine chase work, Provenance: Collection of an American 曺戭炻⣏朊䧵⣑䃞戭䵈⊭㻧炻旬䎦ẋ慹Ⱄ⸽⹏ extensive natural patina; on modern gentleman 㜙Ⱉ㔯⊾ĩ大⃫⇵ĸıı军ĶııĪ炻⊿崲İ厗⋿ 106 plexiglass stand ⑩䚠冯⸜ẋ䚠䫎炻列⤥ A DONG SON CULTURE GE DAGGER AXE Shape: Dagger axe China, Han Dynasty (206 BC – 220 AD) Auction result comparison: Christie’s, The 伶⚳䳛⢓㓞啷 Bronze with extensive natural patina and encrustation; comes with Dimensions: 22 cm (length), 12,5 cm (maximum width) Harris Collection: Important Early Chinese modern metal stand Weight: 287 grams The well-cast mask is finely detailed and Art, New York, 16 March 2017, lot 861. EstimateġEUR 300,- Dong Son Culture (700 BC – 500 BC), Northern Vietnam / South China Condition: Good, age-related condition with natural patina, minor bears bulging eyes and spiked. The down- (for a similar Hand Dynasty ring handle Starting price EUR 150,- material loss to margins with one small piece reattached at the front tip turned nose functions as the suspension Taotie fitting of comparable size) This ancient bronze Ge dagger axe originates from the Dong Son culture, Provenance: Collection of an American gentleman for the loose ring handle. The patina is a bronze age culture that existed in ancient Vietnam and South China. very appealing with a deep Malachite hue, 㻊ẋ戭挷慹棽棖䲳攨䑘 The weapon is of classic shape with reticulation at the nei. 㜙Ⱉ㔯⊾曺戭㇘ㆰ especially on the backside where we also 曺戭挷慹炻䱦ⶍ晽搧炻⣏朊䧵⣑䃞戭䵈⊭㻧 曺戭炻⣏䭬⚵⣑䃞戭䵈⊭㻧炻旬䎦ẋ慹Ⱄ⸽⹏ find two pegs for attachment. ᷕ⚳炻㻊㛅ĩ大⃫⇵ijıķ军大⃫ijijıĪ The Dong Son bronze industry started around 700-500 BC. At that time 㜙Ⱉ㔯⊾ĩ大⃫⇵700军500)炻⊿ 崲 İ 厗 ⋿ ⑩䚠冯⸜ẋ䚠䫎炻列⤥炻忋䳸䑘悐↮㛸㕁 the main produce were bronze axes, spearheads and knives. This was ⑩䚠冯⸜ẋ䚠䫎炻列⤥ Shape: Figural shape with ring handle 仢⣙ followed by daggers, swords, drums, and situla from 500-0 BC. Finally, 伶⚳䳛⢓㓞啷 Dimensions: 14,5 cm (total height), 9,2 cm 伶⚳䳛⢓㓞啷 Chinese seals, coins, mirrors and halberds appeared in the first century AD. (maximum width) EstimateġEUR 300,- Weight: 149 grams EstimateġEUR 400,- Starting price EUR 150,- Condition: Good, age-related condition Starting price EUR 200,-

110 111 107 OVER-LIFESIZE HEAD OF A TIANWANG GUARDIAN GOD, YUAN – EARLY MING DYNASTY Massive cast iron with remains of gold lacquer, good natural patina China, Yuan – Early Ming Dynasty

This head, very unusual in the power of its expression, is that of a Tianwang. These are the temple guardians who were originally demon kings that converted to Buddhism and were made guardians of holy sites. As this head alone makes impressively clear, their appearance is powerful and extremely athletic. The precise depiction of the facial expression in its complete concentration on the greatest possible vigilance is of great artistic quality and has been reproduced with a rare degree of intensity.

These Tianwang, literally “Heavenly Kings”, are a quartet referred to as the Sida Tianwang ⚃ ⣏ ⣑ 䌳, the “Four Great Heavenly Kings”, as well as the “Diamond Kings”, the Jingang, 慹 ∃, literally “precious and hard”. This means that while they themselves can wound others, they cannot be wounded. The Tianwang have bodies and faith “as strong as steel”, something which the present head makes convincingly clear. Because it lacks attributes it cannot be identified by name. While they are less ⃫/㖶⇅慹∃⣑䌳椾⁷ directly honored – compared to the Buddha, the bodhisattvas etc. – they 揝揬炻ᾅ㚱慹㺮炻⣑䃞⊭㻧 are still elementary figures, portrayed in Chinese mythology as guardians ᷕ⚳炻⃫军㖶⇅ located on the four corners of Mount Meru, the center of the cosmos, where all four have their palaces. 柕⁷⏰䎦⣑䌳冯䛦ᶵ↉䘬≃慷炻ⷞἮ㤝⣏䘬暯㑤ˤ⣑䌳㗗㶐⛇ἃ⮢䘬嬟㱽 䤆炻⍇䁢櫼⿒炻䴻デ⊾ㆾ旵ặ侴䘰ὅἃ攨炻ㆸ䁢⬰嬟䛦䓇䘬嬟㱽䤆ˤ㬌椾⁷ This head has a tall shock of hair which emerges like a waterfall and ⦩㬎䘬朊尴炻㶭㤂⛘堐忼↢⣑䌳䘬暯㓅≃炻䚉⾈借⬰䘬ン⹎炻嬻Ṣ⌘尉㶙 is held together by a prominent piece in shape of a mythical beast ⇣ˤ䦨㚱䘬㍷丒ㇳ㱽炻℟㚱㤝檀䘬喅埻㫋岆₡ῤˤ with a ruyi-form back. The interplay between the expressive shapes of the screaming, open mouth, the dynamically arched eyebrows (with ⚃⣏⣑䌳炻⍰䧙⚃⣏慹∃炻℟㚱⾈屆ᶵḴ䘬シ⽿⍲↨㥵ᶵℍ䘬幓幨ˤ晾⼙枧 small volutes in the region around the nose’s bridge) and the urna is ≃怈ᶵ⤪ἃ䣾ˣ厑啑炻Ữ┬䚉嬟㱽㛔↮炻ṵ⍿Ṣὃ⣱ˤ㟡㒂ἃ㔁䴻℠炻⚃⣏ dramatically executed. 嬟㱽⯭㕤枰⻴Ⱉ炻⎬嬟ᶨ⣑ᶳˤ

Shape: Sculptural 忁ᾳ柕⁷朊悐堐ね㤝℞䓇≽⼊尉炻柕檖㤝℟堅㑲≃炻⤪㾹ⶫᶨ㧋炻⸞檖䬵⚢ Weight: 35 kilograms ⭂⛐柕悐炻⊾ㆸᶨ䌠⼊炻䚱攻䘬䘥㮓㖶Ṗ炻暁䚖䁗䁗㚱䤆ˣ⻝◜㕍╅ˤ Dimensions: Height 56 cm Condition: While certain signs of its old age are, of course, present, ⼊䉨烉Ṣ䈑椾⁷ this head’s very complete preservation is impressive. One major dent to 慵慷烉35℔㕌 the backside. Minor chipping here and there, wear, some hardly visible ⯢⮠烉檀56⍀䰛 surface scratches. 㬌椾⁷⸜ẋᷭ怈炻Ữ⑩䚠ᾅ⬀⬴㔜炻嬻Ṣ樂导ˤ側悐㚱ᶨ㖶栗↡䕽炻ᶨṃ庽 Provenance: United Kingdom private collection ⽖䢐㎵⍲⸦᷶ᶵ⎗夳䘬堐朊⇖䕽ˤ 劙⚳䥩Ṣ㓞啷 Literature comparison: Comparable examples can be found in “Complete Works of Statues in Longmen Grottoes”, Beijing 2002, ill. 28 to 30; in 㔯䌣㭼庫烉ᶨṃ⎗㭼庫ᷳ䈑ẞ炻˪漵攨䞛䩇喅埻 ⡆妪㛔˫炻⊿ Ṕ 2002⸜炻28- “Ancient Chinese Buddhist Sculptures”, Taipei 1989, no. 9; or in “Chinese 30枩ˤ˪Ancient Chinese Buddhist Sculptures˫炻冢 ⊿炻1989⸜炻䫔 9嘇ˤ Buddhist Stone Sculptures – Veneration of the Sublime”, Osaka 1995, ˪Chinese Buddhist Stone Sculptures ȸ Veneration of the Sublime˫炻⣏ no. 59. Sothebys, Contemporary Literati: Curiosity, 05 APR 2015, HONG 旒炻1995⸜炻䫔 59嘇ˤ⎎ᶨᾳⒸẋ㚜⮷䘬䞛䀘ⱑ⣑䌳炻夳喯⭴㭼˪⣯-䔞ẋṢ KONG, lot 2843. (for another, yet smaller RARE LIMESTONE HEAD OF 㔯喅埻˫炻2015⸜4㚰5㖍炻楁 㷗炻2843嘇㉵⑩ˤ⎎ᶨẞ䚠Ụ䘬⃫㛅⬰攨⣑嬟 A GUARDIAN, TANG DYNASTY). Compare also with a related head 㱽椾⁷炻䎦啷㕤⣏劙⌂䈑棐炻啷⑩䶐嘇1960.0729.1ˤ of the guardian Dvarapala, , in the British Museum (acc. 栆Ụ㉵⑩烉ᶨᾳ⎴⸜ẋ揝墥嬟㱽椾⁷炻夳喯⭴㭼˪ᷕ⚳喅埻䍵⑩˫炻2017⸜3 no.1960,0729.1). 㚰15㖍炻㉵ ⑩ 䶐 嘇 547ˤ

Auction result comparison: Sotheby’s, IMPORTANT CHINESE ART, 15 March 2017, lot 547. (for a cast-iron head of a Guanyin, dating to the EstimateġEUR 3.000,- same period) Starting price EUR 1.500,-

112 113 108 A VERY LARGE AND IMPRESSIVE ARCHAISTIC BRONZE PEAR-SHAPED VASE, HU Massively cast bronze with décor in deep and high relief, movable bronze rings suspended on two looped handles, rich and dark patina China, Ming dynasty

Rising from a splayed foot to a globular lower body and a gently splayed, tall, wide mouth above the dramatic taotie mythical beast-and-loop handles at the shoulders, the pear-shaped vessel cast with multiple registers of decoration, including taotie and leiwen-filled lappet medallions at the lower body, two central bands of abstract sinuous motifs, taotie bands and bird motifs on leiwen ground. The leiwen still remarkably crisp!

The Song Dynasty saw a revival in the appreciation of the austere shapes and decorative motifs of ritual vessels of the Shang and Zhou periods. From the Song Dynasty onwards, bronze and ceramic vessels inspired by archaic bronzes, but sometimes enriched with contemporary decorative elements, were produced for ritual and domestic use alike. Several vases comparable in shape and decoration to the present lot are illustrated by R. Kerr, Later Chinese Bronzes, London, 1990, plates 31-38, where mostly dated to the Song or Yuan Dynasties. In the same volume, however, Kerr remarks that the decorative bands on bronze vessels would be applied separately to a core unit before casting, thus belonging to a repertory of standard patterns that could also be reproduced on later artefacts, such as the present lot. 109 110 AN ARCHAISTIC BRONZE VASE, GU, YUAN DYNASTY AN ARCHAISTIC BRONZE VASE, HU, QING DYNASTY Shape: Hu Massively cast bronze with décor in crisp relief, the surface patinated to a Massively cast, with gilded areas, good patina Weight: 10 kilograms warm variegated brown tone China, 18th-19th century Dimensions: Height 61,5 cm China, 13th-14th century Condition: Traces of wear and use as expected The hu shaped bronze vase with a central band of raised taotie on leiwen on a bronze of this age, two repairs to base Of archaistic gu form, the square body robustly cast with a short, tapered ground, interrupted by two vertical flanges, above which are two rings and neck, the base re-attached, overall still central section, widely flaring to a trumpet mouth, all supported on a suspended by handles with further taotie masks on top. All below a good condition an spectacular appearance splayed foot. The upper section bordered with four archaistic cicada band of confronted archaistic pairs of phoenixes on a leiwen ground, and Provenance: German diplomats private blades, below a key fret band, with a set of three massive flanges to above a border with six archaistic cicada blades. collection, acquired in China prior to 1970 each corner. The central section decorated with archaistic reliefs against a leiwen ground and set with a pair of flanges on each corner. The foot Shape: Hu Literature comparison: R. Kerr, Later Chinese cast in relief with two pairs of stylized, confronting kui dragons against a Weight: 3,1 kilograms Bronzes, London, 1990, plates 31-38. leiwen ground, interrupted by another trio of raised flanges. Dimensions: Height 29 cm Condition: The base is restored. Otherwise good condition with minor Auction result comparison: ASIAN ART. Shape: Gu wear and traces of use Bonham’s, London, 3 Nov 2014, lot 252. (for Weight: 2366 grams Provenance: The Eckhart Muthesius private collection, Berlin, 1904-1989 a similar Hu) Dimensions: Height 30,5 cm Condition: Superb condition with only minor traces of wear Auction result comparison: CHINESE ART, Sotheby’s, 10 NOVEMBER 㖶ẋ⣏✳ầ⎌戭揬暁俛⢢ Provenance: South German private collection, in the family since the 1950ies 2017, LONDON, lot 378. (for a related hu) ⣏✳戭揬炻⢢幓檀㴖晽炻⎗㳣≽䘬暁俛炻寸⭴䘬 㶙刚⊭㻧 Auction result comparison: LATER CHINESE BRONZES FROM THE 㶭ẋầ⎌暁俛戭⢢ ᷕ⚳炻㖶㛅 COLLECTION OF ULRICH HAUSMANN. Sotheby’s, 08 OCTOBER 2014, 戭炻⮷ 䭬 ⚵ 挷 慹炻⊭ 㻧 ⬴ ┬ ⑩䚠列⤥炻⸽悐⍲⢢柠ℑ嗽㚱ᾖ墄 HONG KONG, lot 3310. (for a related bronze from the same period) ᷕ⚳炻18军19ᶾ䲨 ⽟⚳⢾Ṍ⭀䥩Ṣ㓞啷炻㕤1970⸜⇵⛐ᷕ⚳⍾⼿ ⑩䚠⬴┬炻⸽悐䴻ᾖ⽑ˤ ⃫ẋầ⎌戭㕡如 ⽟⚳⺢䭱ⷓEckart Muthesius䥩Ṣ㓞啷炻㝷㜿炻1904-1989⸜ EstimateġEUR 1.200,- ⣏✳戭晽炻堐朊㹓㡽刚㺮 Starting price EUR 600,- ᷕ⚳炻IJĴĮIJĵᶾ䲨 EstimateġEUR 300,- ⑩䚠㤝⤥ Starting price EUR 150,- ⽟⚳䥩Ṣ㓞啷炻1950⸜ẋ⭞㕷⁛㈧

EstimateġEUR 400,- Starting price EUR 200,-

114 115 111 A PAIR OF BRONZE ‘BUDDHIST LION’ SCROLL WEIGHTS, MING DYNASTY Auction result comparison: Chinese Ceramics, Both massively cast and with a good, ancient patina. Works of Art and Textiles. Christies, London, 8 China, Ming dynasty (1368-1644) November 2013, lot 1434. (for a single Buddhist scroll weight of the same period and similar size) Each cast as a recumbent Buddhist lion with its head raised, vigilantly staring at the beholder. Their facial features, mane, backbone and bushy tail are all well detailed. (2) ᶨ⮵㖶ẋ戭䋭䳁捖 䱦ⶍ晽⇣炻列⤥⊭㻧 Shape: Sculptural scroll weights ᷕ⚳炻㖶ẋ (1368-1644) Weight: 410 grams together ⑩䚠冯⸜ẋ䚠䫎炻䉨㱩列⤥ Dimensions: Length 7,2 cm each 伶⚳䥩Ṣ㓞啷 Condition: Both in good condition with natural traces of use and wear, as expected on a bronze of this age EstimateġEUR 300,- Provenance: American private collectionġ Starting price EUR 150,-

113 A GILT-BRONZE FIGURE OF A minor wear. The undersides of the paws BUDDHIST LION, 17TH – 18TH show remainders of old mountings. The CENTURY original screw attaching the brocade ball The bronze statue is made of two parts, to the lion is lost the lion and the brocade ball, and shows Provenance: Property from the Wunsch massive fire-gilding, neatly incised collection, Mannheim, Germany, details to the fur and good patina assembled in China prior to 1905, and China, 17th – 18th century thence by descent

Cast with a bushy tail seated on its Auction result comparison: FINE 112 hindquarters with forelegs firmly CHINESE ART. Bonhams’s, 17 May 2018, A LARGE ARCHAISTIC BRONZE CENSER, QING DYNASTY, 18TH- 19TH Auction result comparison: CHINESE ART. Sotheby’s, 10 NOVEMBER placed in front, the right one resting LONDON, lot 211. (for another 17th CENTURY 2017, LONDON, lot 378. (for an archaistic bronze vase with comparable on the brocade ball, with a ferocious century gilt-bronze buddhist lion, but Cast and incised bronze with natural dark patina pendent lappets band décor, dated to Qing Dynasty, 18th- 19th century) expression detailed with bulging eyes, much smaller) China, Qing Dynasty, 18th - 19th century, likely dating to the earlier 18th FINE CHINESE CERAMICS & WORKS OF ART. Sotheby’s, 11 SEPTEMBER ruyi-shaped nostrils, the jaw opened to century 2012, New York, lot 185. (for an archaistic bronze tripod censer with reveal an immaculate row of teeth and 17-18ᶾ䲨曺戭挷慹准䋭⁷ comparable pendent lappets band décor, dated to the 17th - 18th century) four imposing fangs, its head turned to 曺戭挷慹炻↮ㆸ䋭幓⍲三䎫ℑ悐↮炻䱦ⶍ The cloud-shaped, lobed body rising from four ruyi-shaped feet to a the right and covered by furry manes 晽搧炻⊭㻧⬴┬ waisted and flaring rim, flanked by a pair of archaistic chilong handles 㶭㛅ầ⎌棽棖䲳暁漵俛戭楁䆸炻18-19ᶾ䲨 to the shoulder and all along its back. ᷕ⚳炻17-18ᶾ䲨 with incised detail work, the body cast with a raised spiral band, above 戭揬炻⣑䃞㶙刚⊭㻧 The brocade ball with an intricate curly- ⑩䚠⬴┬炻忋㍍三䎫冯䋭幓䘬坢䴚怢⣙ an archaistic a pendent lappets band on a leiwen ground. ᷕ⚳炻㶭㛅炻18-19ᶾ䲨炻㍐㕟䁢18ᶾ䲨㖑㛇 waves design in high relief, elegantly Ἦ冒⽟⚳㚤㴟⥮Wunsch㓞啷炻1905⸜岤 ⑩䚠㤝⤥炻列⤥⊭㻧 executed. ℍ炻⭞ 㕷 ⁛ ㈧ Shape: Cloud-shape 伶⚳䥩Ṣ㓞啷 栆 Ụ ㉵ ⑩烉⎎ ᶨ ẞ17ᶾ䲨曺戭挷慹准䋭炻 Weight: 2300 grams Shape: Sculptural ⍫侫恎㿂㕗˪ᷕ⚳ 喅埻䍵⑩˫炻2018⸜5 Dimensions: Length 39,5 cm EstimateġEUR 300,- Weight: 1089 grams (lion) and 71 grams 㚰17㖍炻䶐 嘇 211ˤ Condition: Excellent with minor wear. Good, old patina. The inside with Starting price EUR 150,- (brocade ball) some verdigris Dimensions: Length 18, 2 cm EstimateġEUR 600,- Provenance: American private collection Condition: Good condition with only Starting price EUR 300,-

116 117 114 A VERY LARGE AND IMPORTANT ZANABAZAR 18th CENTURY GILT IJĹᶾ䲨㛕恋⶜㛕䇦桐㟤曺戭挷慹慳徎䈇⯤ἃ⁷ BRONZE FIGURE OF BUDDHA Fire-gilt bronze, remains of original cold paint 曺戭挷慹炻ᾅ㚱⍇刚 Mongolia, Zanabazar School, early 18th century 呁⎌炻㛕恋⶜㛕䇦桐㟤炻IJĹᶾ䲨⇅㛇 ἃ䣾䚌⛸⛐搚䎈剙䲳䘬暁Ⰼ咖剙⹏ᶲ炻⎛ㇳ㍉妠⛘⌘炻ⶎㇳ㊩慹以ˤ幓䨧堰 Buddha is seated in dhyanasana on an elevated double-lotus base that is 墇炻䶂㡅㳩㙊炻䁗䁗㚱䤆䘬暁䛤ᷕ攻㚱叿㓦㚱⃱㖶䘬䘥㮓ˤ朊⭡ヰ䤍␴┬炻 adorned with bead borders as well as two neatly chased hems with floral ㌚檖⛯⊣䘬⊭央↠↢䘬倱檣ˤ⸽悐挷慹暁慹∃㜝ˤ decoration. His right hand is shown in bhumisparshamudra and the left holding a bowl in his lap. Buddha is clad in a closely-fitting sanghati with 㛕恋⶜㛕䇦(1635-1723)∝䩳Ḯ㛕恋⶜㛕䇦⬠昊炻Ṿᶵ㗗⬿㔁柀堾炻ḇ㗗 a floral and curlicue hem, the folds elegantly draped over the shoulder 喅埻⭞ˣ晽⇣⭞炻䔁ᶳḮ姙⣂䱦伶曺戭揬忈ἄ⑩ˤ叿⎵䘬䈡刚㚱烉寸⭴䘬挷 and fanning below the ankles. The face shows heavy-lidded fish-shaped 慹炻䱦伶䘬⼊ン⍲㳩㙊䘬廒⹻炻ㆾ䪁ㆾ⛸⛐暁咖剙⹏ᶲ炻㛒挷慹䘬⸽⹏㚱叿 eyes and is centered by a raised urna, the hair in very fine tight curls over 䀓拵䘬暁慹∃㜝⌘炻䓐㤝䯉䘬ㇳ㱽⌣ᶵ⣙㔜橼䨑⭂⹎ˤ㛕恋⶜㛕䇦桐㟤䘬曺 the prominent ushnisha and topped with a knob. The underside is sealed 戭晽⟹⯽䎦Ḯ忶⍣柀⮶侭䘬桐䭬炻㶙㶙⛘⼙枧㔜ᾳἃ㔁喅埻ˤ with a copper inset with a gilt double-vajra symbol. ⼊䉨烉Ṣ䈑晽⟹ The imperial art school founded by Zanabazar (1635-1723), religious ⯢⮠烉29.5⍀䰛(攟)炻21.5⍀䰛(⮔)炻13⍀䰛(檀) leader, artist, and master craftsman, produced some of the finest bronzes 慵慷烉6.9℔㕌 in the history of Mongolian art. Characterized by richly gilt surfaces overall, ⑩䚠列⤥炻ᾅ㚱⍇⥳⃱㹹⊭㻧炻悐↮挷慹僓句 finely modeled and smoothly sloping contours with embellishments limited 䥩Ṣ㓞啷炻㕤1990⸜ẋ㕤伶⚳冲慹Ⱉ䌚⼿ˤ⼴䓙⤏⛘⇑䥩Ṣ㕤ΐ㔎Ἓ⢓⼿ to borders, full figures standing or seated on an elevated double-lotus 岤ℍ㓞啷ˤ base, the un-gilt base sealed with a gilt double-vajra, and a minimalist aesthetic that endows the figures with a sense of stability, Zanabazar 㔯䌣㭼庫烉䚠Ụ䘬㛕恋⶜㛕䇦桐㟤ἃ⁷⎗⍫侫łůůŢġŎŢųŪŢ⍲ŇŢţŪŰġœŰŴŴŪ叿˪ bronze sculptures exhibit a cohesive style testament to the vision of the 呁⎌喅埻䍵⑩˫炻ijııĵ⸜炻䈑ẞij军ĵˤ䚠役䘬栆Ụ晽⁷⎗ẍ⍫侫ŔűŪůŬ⍲ŔŰů叿 great leader. Subjects span the full Buddhist pantheon. ˪幓⽫曰烉Ἦ冒大啷ˣ⯤㱲䇦ˣ呁⎌⍲ᷕ⚳䘬ἃ㔁喅埻˫炻IJ ĺ ĺ Ĺ ⸜炻䶐 嘇 IJ ĵˤ

Shape: Figural 䚠Ụ㉵⑩烉ᶨẞ⣏⮷䚠Ụ䘬㛕恋⶜㛕䇦桐㟤ἃ⁷炻⍫侫Ἓ⢓⼿˪⌘⹎冯⋿Ṇ Dimensions: 29,5 cm (height), 21,5 cm (width), 13 cm (depth) 喅埻䍵⑩˫炻ijıIJĴ⸜Ĵ㚰IJĺ㖍炻䲸䲬炻ġ㉵⑩䶐嘇ijIJĺġ Weight: 6,9 kilograms Condition: Good and original condition with smooth patina, abrasions to EstimateġEUR 12.000,- gilding Starting price EUR 6.000,- Provenance: Private collection, acquired in San Francisco, USA, in the 1990s. Thereafter private collection, Austria, acquired at Christies London.

Literature comparison: For closely related Zanabazar Buddha sculptures see Anna Maria and Fabio Rossi, Treasures from Mongolia, 2004 – objects 2 through 4. For a near identical sculpture see Spink and Son, Body, Speech, and Mind: Buddhist Art from Tibet, Nepal, Mongolia and China, 1998, cat. no. 14.

Auction result comparison: Christie’s, Indian and Southeast Asian Art, 19 March 2013, New York, lot 219. (for a near identical Zanabazar Buddha sculpture of comparable size)

118 119 115 116 A CAST AND REPOUSSÉ GILT-BRONZE FIGURE OF A SMALL GILT-COPPER ALLOY FIGURE OF SYAMATARA, DOLLONOR, QING DYNASTY, 18th SYAMATARA, TIBET, 15TH/16TH CENTURY CENTURY Cast and chased copper alloy with massive fire gilding Cast bronze statue with massive fire-gilding and neatly and remainders of old pigments. The base originally incised detail work. Several parts such as the bands, sealed earrings, lotus flower holders executed in copper repoussé. Tibet, 15th-16th century Remainder of old pigments. Inlaid turquoise and coral pearls. The base with old, most likely original sealing Elegantly seated in on a double-lotus pedestal, Dollonor, Qing Dynasty, 18th century the hands in varada and vitarka mudra, flanked by two lotuses rising to the shoulders, the serene face This beautiful sculpture depicts the young goddess framed by an elaborate tiara and earrings, wearing a Syamatara, who is venerated as a liberator, able to free dhoti delicately adorned with beaded necklaces, armlets devotees from the chain of birth and and all the and bracelets. suffering that ensues. In myth, she emerged from the tears of Avalokiteshvara as he wept for the suffering The present lot demonstrates an excellent craftsmanship of all sentient beings. It is a testament to her supreme of the 15th century by showing a well-proportioned compassion and agency. As such, she is depicted with body with an elegantly-curved torso and a delicate her right leg outstretched, ready to respond to one’s execution on the jewel adornments. Tara is represented suffering, and her right hand in the gesture of charity. here as an elegant and slender goddess, superbly cast The figure sits in dhyanasana on a double-lotus base with long graceful fingers, finely chased details and inset with both hands held in vitarkamudra. Clad in a flowing turquoise and coral jewelry. Her crown supports a single dhoti with hems neatly incised with a foliate pattern and strand of pearls that loops across her forehead. adorned with various jewelry. The face shows a serene expression and the hair is pulled into a tall chignon. The spiritual and compassionate Tara is highly The exquisitely worked, separate lotus stems, bands and revered in Tibet as a female Bodhisattva, considered earrings are hallmarks of the finest work from Dolonnor as the Goddess of Universal Compassion and the in Inner Mongolia, which catered to the rapid expansion manifestation of the actions of all Buddhas. There are of Tibetan Buddhist temples along the border regions of twenty-one forms of Tara and the two most popular the Qing empire, particularly under the Qianlong emperor ones are the Green Tara, or Syamatara, and the (1735-1795). However, there is flair and creativity about White Tara. Green Tara has the special power to help the present sculpture that may indicate it even slightly overcome dangers, fears and anxieties as well as grant predates his reign. wishes. It is venerated as a liberator from samsara, the chain of birth and rebirth in the illusory material Shape: Statue realm. According to myth, she emerged from the Weight: 302 grams tears of Avalokiteshvara as he wept for the suffering Dimensions: Height 20,5 cm of all sentient beings. It is a testament to the supreme Condition: Good original condition. Some inlaid coral and compassion and agency she embodies. As such she turquoise pearls as well as parts of the left band and the is depicted with her right leg outstretched, ready to lotus flowers missing respond to one’s suffering, and her right hand in the Provenance: Hungarian private collection. Old collector gesture of charity. label with description on the bottom Shape: Statue 15/16ᶾ䲨挷慹戭⎰慹䵈⹎㭵⁷ Literature comparison: The treatment of common stylistic Weight: 214 grams 戭⎰慹炻挷慹梥㺧炻⸽⹏⍇⮩ features, such as the large pendant earrings, long chain Dimensions: Height 11,2 cm 大啷炻15-16ᶾ䲨 necklace, and the broad, smooth lotus petals around the Condition: Outstanding condition with some wear and ⃒晭⛘⛸⛐暁咖剙⣑䌳⹏ᶲ炻ㇳ⏰咖剙㊯冯ⶫ㕥⌘炻ℑ㜇咖剙攟军偑㕩炻厗渿䘬柕梦⍲ base, compare favorably with a Manjushri in the Rietberg traces of age as expected on a piece from this period, 俛⡄ᶳ㚱叿⬱娛䘬朊⭡炻㏕惵⾝䎈枭拲ˣ兪䪈⍲ㇳ䑘ˤ Museum, and figures of Ushnishavijaya and some of the inlaid corals and turquoises missing. 忁⮲⹎㭵⁷䨈举⎰⹎䘬幓幨冯⃒晭⟹✳䘬⦧ン炻㏕惵䳘兑晽⇣䘬䎈⮞惵ẞ炻⬴伶䘬⯽䎦 in the Jacques Marchais Museum of Tibetan Art, New Remainders of old pigments 䘬15ᶾ䲨䘬晽⇣ⶍ喅ˤ⹎㭵䁢ᶨ檀屜⮲䇝䘬䤆䣯炻㚱叿ᾖ攟䘬ㇳ㊯炻䱦䶣晽⇣⍲搚⳴䘬 York (see Uhlig On the Path to Enlightenment, Zurich, Provenance: Hungarian private collection 䎈⮞惵ẞˤ⤡䘬柕ⅈᶲ㚱ᶨᷚ䑘⼊䘬䍵䎈ˤ 1990, p.114, no.65; and Lipton & Ragnubs, Treasures of ⛐大啷炻℟㚱ヰず⣏ッ䘬㜄㭵ḇ塓⮲䧙䁢⤛厑啑ˤ⹎㭵ℙ㚱21䧖㱽䚠炻℞ᷕ㚨䞍⎵䘬䁢 Tibetan Art, New York, 1996, pp.116 & 140, nos.51 & 68, Literature comparison: Casey Singer & Denwood, 䵈⹎㭵ẍ⍲䘥⹎㭵ˤ䵈⹎㭵傥妋㓹ℓ⣏劎暋炻㴰昌䛦䓇䄑゙炻㺧嵛栀㯪ˤ respectively). Further examples in the Kandell Collection Toward a Definition of Style, p. 74, no. 52. (for a ⼊䉨烉⹎㭵⁷ are published in Rhie & Thurman, A Shrine for Tibet, New held in The Los Angeles County Museum of Art 慵慷烉214⃳ York, 2010, pp.76-9, nos. I-14a, b & I-15a, b. (M85.221), showing a comparable treatment of the ⯢⮠烉檀11.2⍀䰛 base’s lotus petals) Uhlig, On the Path to Enlightenment, ⑩䚠⬴⤥炻冯⸜ẋ䚠䫎炻ᶨṃ搚⳴䘬䍲䐂⍲䵈⮞䞛仢⣙炻冲⍇㕁ˤ Auction result comparison: Fine Chinese Ceramics and p. 153, p. 98. (for a comparable base of a 14th century ⊰䈁⇑䥩Ṣ㓞啷 Works of Art. Christies, New York, 16 September 2016, lot figure of Ushnishavijaya in the Museum Rietberg) 㔯䌣⍫侫烉ᶨẞ⎗⍫侫䘬匤⎱⯤⁷夳Casey Singer & Denwood叿˪Toward a Definition 1231. (for another Qianlong cast and repoussé Syamatara) of Style˫炻䫔74枩炻䶐嘇52ˤ⎎ᶨẞ14ᶾ䲨䘬⮲⊅ἃ㭵⁷⍫夳Uhlig 叿˪On the Path to IMAGES OF DEVOTION. Bonham’s, 3 October 2017, Auction result comparison: ARTS D’ASIE. Sotheby’s, 23 Enlightenment˫炻䫔153枩炻䶐嘇98ˤ HONG KONG, lot 36. (for another Dollonor Syamatara) JUNE 2016, PARIS, lot 132. (for a comparable copper alloy statue dated to the 14th/15th century, with the EstimateġEUR 1.500,- 18ᶾ䲨㶭ẋ曺戭挷慹䵈⹎㭵 same size and motif) Starting price EUR 750,- 曺戭炻挷慹⍂⮎炻拦剙晽⇣炻䍲䐂⍲䵈㜦䞛䎈搚⳴炻⸽悐ㅱ 䁢⍇⮩ Dollonor㔯⊾炻㶭㛅炻18ᶾ䲨 ⑩䚠列⤥炻悐↮㛸㕁仢⣙ ⊰䈁⇑䥩Ṣ㓞啷

EstimateġEUR 1.000,- Starting price EUR 500,-

120 121 117 118 A MING DYNASTY COPPER BRONZE FIGURE OF A GILT BRONZE STATUE OF THE GREEN TARA, QIANLONG Copper bronze, mounted to modern wooden base Cast and fire-gilt bronze, sealed, good patina Sino-Tibetan, Ming Dynasty China, Qianlong period (1736-1795)

The ferocious deity is striding in alidhasana, his four arms holding attributes Elegantly seated in lalitasana on a double-lotus pedestal, the including a kapala and kartri on the primary hands, and a sword and shield in his hands in varada mudra and vitarka mudra, flanked by two raised hands. He is wearing a tiger skin loin cloth and a garland of decapitated lotuses rising to the shoulders, the serene face framed by an human heads around the neck and waist. elaborate tiara and earrings, wearing a dhoti delicately adorned with beaded necklaces, armlets and bracelets. The base with The protector deity Mahakala is a wrathful form of the primordial Vajradhara, original, incised copper plate sealing. the supreme essence of all Buddhas. He can be two-armed, four-armed (as in the present lot) or six-armed. Mahakala’s fearsome appearance and the terrifying Shape: Sculptural implements that he holds display his capability to cope with our persistent and Weight: 138,5 grams unwanted negativities. His most distinctive symbolic attributes are the chopper Dimensions: 8 cm (height) 119 (kartri) and the skull bowl (kapala) filled with blood, symbolizing the sharp edge of Condition: Excellent with minor wear A BRONZE FIGURE OF GUANYIN Condition: Good condition with old wisdom shredding all materialistic negative attitudes in the human-skull bowl of Provenance: German private collection HOLDING A RUYI SCEPTER, MING wear and evident patina, traces of us emptiness that holds the blood of defeated evil and demonic elements. DYNASTY as expected on a bronze of this age, Ḧ昮㗪㛇挷慹戭䵈⹎㭵 Cast bronze with incised detail work. unsealed Shape: Figural shape 戭揬䀓拵慹炻⮩⸽炻⊭㻧列⤥ Good patina Provenance: German private collection, Dimensions: 18,5 cm (height of sculpture alone) 14,5 cm (width) 7,5 cm (height ᷕ⚳炻Ḧ昮⸜攻(1736-1795⸜) China, Ming dynasty (1368-1644) assembled between 1960 and 2013 including base) ⑩䚠㤝⤥ Condition: Very good condition with age-related signs of wear and small nicks. ⽟⚳䥩Ṣ㓞啷 Seated in a pose of meditation vajrasana Auction result comparison: ASIAN ART. Impressive patina on an oval plinth with a ruyi scepter held Bonham’s, San Francisco, 21 June 2011, Provenance: Austrian private collection; bought in the 1990s by Sohel Chawla, New EstimateġEUR 400,- to the front in both hands, the brocade- lot 8186A. (for a gilt version of the same Delhi India for his private museum Starting price EUR 200,- patterned robe and cloak with incised subject, Guanyin also holding a ruyi flower-borders flaring out to the front and scepter, of comparable size) Auction result comparison: Bonham’s, FINE CHINESE CERAMICS AND WORKS OF covering both shoulders, an openwork ART, 26 May 2014, Hong Kong, Admiralty, lot 155 (for a Mahakala copper bronze crown, ornate earrings and multi-strand 㖶ẋ戭挷慹⤪シ奨枛⹏⁷ statue, dating to the same period). necklace framing the serene visage with 戭挷慹炻䱦ⶍ晽搧炻⊭㻧⬴┬ its downcast eyes, the hair combed to a ᷕ⚳炻㖶ẋ(1368-1644) 㖶ẋ⣏湹⣑戭⁷ chignon. ⑩䚠列⤥ 曺戭炻㛐岒⸽⹏ ⽟⚳䥩Ṣ㓞啷炻㕤1960军2013⸜攻岤ℍ 㻊啷炻㖶ẋ Shape: Sculptural ⑩䚠列⤥炻⊭㻧⬴┬ Weight: 1939 grams EstimateġEUR 500,- ⤏⛘⇑䥩Ṣ㓞啷 Dimensions: Height 24 cm Starting price EUR 250,-

EstimateġEUR 500,- Starting price EUR 250,-

122 123 122 A TIBETO-CHINESE GILT Shape: Sculptural BRONZE OF SAMVARA AND Weight: 132,5 grams CONSORT, 18TH CENTURY Dimensions: Height 7 cm Cast and gilt bronze in two pieces, Condition: Excellent condition with finely incised and chiseled with some wear and traces of use, detail work. Remainders of old unsealed pigments. Fine patina Provenance: Property from Tibet / China, 18th – earlier 19th an important German private century collection, assembled between 1980 and 2012 The two-armed Samvara seated in vajrasana on a lotus base, holding 18ᶾ䲨大啷揬戭挷慹㬉╄ἃ暁幓⁷ vajra and ghanta in his hands 挷慹揬戭炻暁幓↮暊炻䱦ⶍ晽揬炻冲 showing the karana mudra and 柷⼑炻⊭㻧⬴┬ embracing his two-armed consort, 大啷/ᷕ⚳炻18军19ᶾ䲨⇅ holding kapala and kartika, both ⑩䚠㤝⤥炻⸽㛒⮩ wearing elaborate jewelry and a ⽟⚳䥩Ṣ慵天㓞啷炻㕤1980⸜军 tiara, Samvara with a finely incised 2012⸜攻⍾⼿ dress and scarve. EstimateġEUR 300,- Starting price EUR 150,-

123 A SMALL COPPER-ALLOY Dimensions: 6 cm height. FIGURE OF VAJRAPANI, TIBET, Condition: Good condition with 15TH – 16TH CENTURY wear, traces of use and some Cast statue with rich age-patina minor dents, unsealed Tibet, 15th – 16th century Provenance: Property from a 120 121 Dutch private collection acquired A TIBETO-CHINESE BRONZE FIGURE OF BEGTSE, QING DYNASTY A GILT-BRONZE FIGURE OF WHITE JAMBHALA RIDING ON A Depiction of dharmapala Vajrapani pre-1990 Cast bronze with finely incised and chiseled detail work. Fine patina DRAGON, CHINA, 18TH CENTURY stepping to the right (alidhasana), Tibet / China, 18th – 19th century Cast, sculpted and gilt bronze with finely incised and chiseled detail a vajra in his uplifted right hand, 啷 ⁛ 戭 慹 ∃ ㇳ 厑 啑炻大 啷炻15-16 work. Remainders of old pigments. Fine patina the other to the front holding the ᶾ䲨 Begtse is portrayed standing in alidhasana with a horse and vanquished China, 18th century pasha, on an unsealed lotus base. 戭⁷炻寸⭴䘬㬚㚰⊭㻧 human underfoot, the left hand holding a human heart towards the Details such as jewelry, flaming 大啷炻15军16ᶾ䲨 growling mouth, the right holding a flaming sword with its handle Seated astride a striding dragon, with its scaly skin skillfully incised, hair, tiger’s fur, string of human ⑩䚠列⤥炻⸽㛒⮩ carved in the shape of a horse’s head, clad in armor with a string of Jambhala is shown with one hand in karana mudra, the other in tarjani skulls around the waist, skull-tiara 匟嗕䥩Ṣ㓞啷炻㕤1990⸜⇵⍾⼿ human heads worn as a tiara, the fearsome countenance with three mudra, wearing a fur skirt, with finely chased details, fluttering scarf etc. are well executed. protruding eyes, beneath flaming hair. The lotus base unsealed. and jewelry, the face with ferocious expression, framed by elongated EstimateġEUR 200,- One of the eight wrathful protectors of Buddhist doctrine, Begtse is an earlobes with chiseled disc-shaped earrings, and a tiara fronting the red Shape: Sculptural Starting price EUR 100,- important guardian of the Geluk order. curled hair. Weight: 103 grams White Jambhala is a manifestation of Avalokiteshvara, born from the Shape: Sculptural compassionate bodhisattva’s right eye. He can remove the suffering Weight: 105,5 grams of poverty and sickness, purify non-virtuous , remove karmic Dimensions: 7,5 cm height obstacles, and avert disaster. 124 Condition: Good condition with wear, traces of use and some minor A TIBETO-CHINESE MINIATURE Shape: Sculptural dents, unsealed Shape: Sculptural BRONZE OF SAMVARA AND Weight: 30 grams Provenance: Property from a Dutch private collection acquired pre-1990 Weight: 61 grams CONSORT, QING DYNASTY Dimensions: Height 4,7 cm Dimensions: 5,5 cm height Cast bronze-alloy with incised Condition: Excellent condition with Auction result comparison: ASIAN ART. Sotheby’s, 19 MARCH 2016, Condition: Excellent with only minor wear detail work. Good patina. some wear and traces of use, still NEW YORK, lot 1351. (for a gilt bronze with the same subject, but larger) Provenance: Property from an important German private collection, Tibet / China, 18th – 19th century sealed assembled between 1980 and 2012 Provenance: Property from 㶭ẋ戭⣏䲭⎠␥ᷣ䩳⁷ The four-armed Samvara standing an important German private 戭揬炻晽ⶍ䳘兑炻⊭㻧列⤥ Auction result comparison: IMAGES OF ENLIGHTENMENT: DEVOTIONAL in pratyalidhasana on an incised collection, assembled between 大啷İᷕ⚳炻IJĹ军IJĺᶾ䲨 WORKS OF ART & PAINTINGS. Sotheby’s, 16 SEPTEMBER 2015, NEW and fully sealed lotus base, wearing 1980 and 2012 ⑩䚠列⤥炻ṃ姙䡽䡘炻⸽悐㛒⮩ YORK, lot 476. (for a gilt bronze with the same subject, but larger) a tiara consisting of a string of 匟嗕䥩Ṣ㓞啷炻㕤1990⇵⍾⼿ human skulls, a tiger’s fur gown 㶭ẋ大啷揬戭挷慹㬉╄ἃ暁幓⁷ 18ᶾ䲨挷慹曺戭䘥屉䤆榶漵⁷炻ᷕ⚳ around the waist, a scarf and 揬曺戭炻晽ⶍ䱦䳘炻⊭㻧列⤥ EstimateġEUR 300,- 曺戭挷慹炻䱦ⶍ晽搧炻冲柷⼑炻⊭㻧⬴┬ elaborate jewelry, holding vajra and 大啷İᷕ⚳炻IJĹ军IJĺᶾ䲨 Starting price EUR 150,- ᷕ⚳炻18ᶾ䲨 ghanta in his principal two hands ⑩䚠㤝⤥炻⮩⸽ ⑩䚠㤝⤥ and embracing his two-armed ⽟⚳䥩Ṣ慵天㓞啷炻㕤IJĺĹı军ijıIJij ⽟⚳䥩Ṣ慵天㓞啷炻㕤1980军2012⸜攻⍾⼿ consort, and two further attributes ⸜攻岤ℍ in his third and fourth hand. EstimateġEUR 300,- Considering how small this statue EstimateġEUR 200,- Starting price EUR 150,- is, it surprises the beholder how Starting price EUR 100,- well the many details are executed, still without cluttering the serene depiction at all.

124 125 127 AN 18TH CENTURY BRONZE VAJRA WITH MAKARA HEADS Cast bronze, fine chiseling work Tibetan-Chinese, 18th century

This fine bronze Vajra has a spherical center with adjoining lotus petals. On each side are four figural prongs made in the shape of makara beasts. From the mouths of the makara come tongues which come together in a point. A fifth prong is running inside. The lotus motif is repeated at the underside of the mythical beings.

Shape: Figural thunderbolt shape Dimensions: 10 cm (length) 3,8 cm (width) Weight: 83 grams Condition: Very good condition with age-related signs of wear Provenance: Austrian private collection 125 A METAL-LINED AND TURQOISE INSET 18ᶾ䲨漵椾Ḽ懟慹∃㜝 RITUAL KAPALA SKULL CAP, 19th 曺戭揬炻䱦ⶍ晽搧 CENTURY 大啷炻18ᶾ䲨 Bone, metal and turquoise ⑩䚠列⤥ Tibet, 19th century ⤏⛘⇑䥩Ṣ㓞啷

The ritual skull is framed by a metal rim EstimateġEUR 300,- and bears metal lining at the interior. At 126 Starting price EUR 150,- 128 the inside center is an inset turquoise AN 18TH CENTURY BRONZE RITUAL GHANTA A BRONZE STUPA, TIBET, 18TH – 19TH stone. Believed to house mana, turquoise BELL WITH VAIROCANA CENTURY is highly prized in Tibet. The semiprecious Cast bronze, fine chiseling work Neatly incised cast bronze with good patina stone is often used to enhance Tibetan Tibetan-Chinese, 18th century Tibet, 18th – 19th century Buddhist images and rituals. As seen at the center of this kapala, the spider-web matrix The handle of this 18th century Ghanta bell is The bronze stupa elegantly modelled rising formed by inclusions in Tibetan turquoise is cast with the head of Vairocana supporting a from a stepped square plinth to a tiered unequaled by turquoise from any other part half, five-pronged vajra-shaped terminal. The base supporting the domed body, set on of the world. shoulder of the bell is cast with lanca characters the front with a framed and incised niche, within lappets, below is an intricate pattern with surmounted by a conical parasol flanked by Shape: Skull cap kirtimukha, garland and vajra motif. foliate scrolls below a finial. Dimensions: 18,5 cm (length) 14,5 cm (width) 7,5 cm (height) Inside where the tongue of the bell is suspended Shape: Stupa Weight: 372 grams we find a fine stylized double vajra symbol. Weight: 88 grams Condition: Very good condition with Dimensions: 7,5 cm height age-related signs of wear and small nicks. Shape: Bell shape Condition: Good condition with wear, traces Impressive patina Dimensions: 14,5 cm (height) 7,2 cm (bottom of use and some minor dents, unsealed Provenance: Austrian private collection diameter) Provenance: Property from a Dutch private Weight: 212 grams collection acquired pre-1990 Literature comparison: Himalayan Art Resources Condition: Very good condition with age-related online archive shows a near identical turquoise signs of wear and small nicks Literature comparison: Compare with a inset Kapala under item no. 41066. Provenance: Austrian private collection related gilt-bronze stupa raised on a square lion throne, 18th century, in the Museum Auction result comparison: Bonham’s, INDIAN, Auction result comparison: Sotheby’s, Rietberg Zurich, illustrated by H.Uhlig in HIMALAYAN & SOUTHEAST ASIAN ART IMPORTANT CHINESE ART, 09 NOVEMBER 2016, On the Path to Enlightenment: The Berti 17 Sep 2014, NEW YORK, lot 75 (for a near LONDON, lot 268 (for a near identical, larger Aschmann Foundation of Tibetan Art at identical, silver lined, Kapala) Ghanta bell) the Museum Rietberg Zurich, Zurich, 1995, Catalogue nr. 165. 19ᶾ䲨慹Ⱄ怲㟮ℏ⳴䵈㜦䞛▶⶜㉱䠿 18ᶾ䲨ἃ朊Ḽ懟慹∃懜 柕味橐炻慹Ⱄ怲㟮炻ℏ⳴䵈㜦䞛 曺戭揬炻䱦ⶍ晽搧 18军19ᶾ䲨啷⁛ἃ⟼ 大啷炻19ᶾ䲨 大啷 䱦ⶍ晽揬炻⊭㻧⬴┬ ⑩䚠㤝⤥ ⑩䚠列⤥ 大啷炻18军19ᶾ䲨 ⤏⛘⇑䥩Ṣ㓞啷 ⤏⛘⇑䥩Ṣ㓞啷 ⑩䚠列⤥

EstimateġEUR 300,- EstimateġEUR 300,- EstimateġEUR 200,- Starting price EUR 150,- Starting price EUR 150,- Starting price EUR 100,-

126 127 129 AN IMPORTANT TANG DYNASTY TERRACOTTA STATUE OF A ZHENMUSHOU Terracotta with remains of cold paint in red, white and black hues China Tang dynasty (618-907) TL Test confirms the dating (see further down below)

This powerful and impressively crafted sculpture depicts an animalistic tomb guardian known by the name Zhenmushou. The Chinese name Zhenmushou (捖 ⠻ 䌠) is composed of the characters Shou, which signifies a beast or magical creature, Mu, which signifies the grave and, Zhen, the guardian.

This sculpture portrays the guardian animal sitting with outspread claws on an angularly cut, rocky pedestal. A carnivorous set of teeth, bulging eyes which fixate its opponent and eyebrows that are wavy and with volutes at their ends, all enhance the ferocious appearance of the guardian. His perked ears are pointed as are the tips of his beard and his mane that is rendered in the form of large flanges to the sides of his head.

Rich remains of the original cold paint on top of an entirely white foundation are preserved; presumably the only colors were white, black and a bright red, with the colors intended to have an extremely bright effect, since it was completely dark inside the grave.

Shape: Figural Dimensions: 50 cm (height), 32 cm (maximum width) Weight: 15,7 kilograms Condition: Excellent optical appearance; as customary with Tang Dynasty terracotta excavations, this piece has been reassembled in some areas with slight traces such as hairlines remaining visible Provenance: From an old Austrian private collection

Scientific testing: The Institute for Preservation Sciences at the University for Applied Arts in Vienna has confirmed the guardian’s age, listed above, using thermoluminescence dating.

Auction result comparison: Christie’s, The Exceptional Sale, New York, 20 April 2018, lot 8. (for a magnificent pair of Zehmmushou, larger in size and entirely cold painted)

Ⓒẋ⼑丒昞䒟捖⠻䌠⁷ 䲭䘥湹ᶱ刚⼑丒昞䒟 ᷕ⚳炻Ⓒẋ(618-907) 䴻䅙慳⃱㷔⸜㱽 (娛夳㛓㭝妋慳) 捖⠻䌠炻栏⎵⿅佑炻䓐ẍ槭↞彇恒炻ẍỹ嬟䣾⃰ṉ櫪ᷳ⬱⮏炻㬌⢾炻⍰ 㚱㶣䤧䘬シ⿅炻㇨媪ˬ⣑ᷳ䤧䯵炻攟䳪㰅幓˭炻ⶴ 㛃 Ἦ ᶾ 两 临 ṓ⍿ ⭴ 屜㥖厗ˤ

忁⮲捖⠻䌠⛸⛐ⱑ䞛➢⹏ᶲ炻䡑⣏䘬暁儛ⷞ㚱扺⇑䘬䇒⫸炻↞䄆䘬⣏ 䛤㏕惵扛⇑䘬⮾䈁炻槭徸ᶵ忇ᷳ⭊炻⬰嬟ṉ櫪ᷳ⬱⮏ˤ

䘥刚➢⸽ᶲ䘬⅟刚ᾅ⬀䉨㱩列⤥炻⎰䎮㍐㕟⍇刚䁢䘥ˣ湹⍲Ṗ䲭炻⚈ 䁢㓦伖㕤⛐㺮湹䘬⠻ℏ炻ὧἧ䓐歖㖶刚⼑≈⻟Ṗ⹎ˤ

⼊䉨烉捖⠻䌠⼊ ⯢⮠烉50⍀䰛(檀)炻32⍀䰛(㚨⣏⮔⹎) 慵慷烉15.7℔㕌 ⑩䚠列⤥炻⯨悐ᾖ墄炻㚱⎗夳䳘⮷塪䲳ˤ ⤏⛘⇑䥩Ṣ侩㓞啷

䅙慳⃱㷔㩊⭂烉䵕ḇ䲵ⶍ喅伶埻⣏⬠㔯䈑ᾖ⽑⬠昊ἧ䓐䅙慳⃱㷔⸜ 㱽㩊㷔炻㍐㕟℞䁢⸜ẋ䁢Ⓒẋ㗪㛇ˤ 䚠 Ụ ㉵ ⑩烉⎎ ᶨ ⮵ 庫 ⣏ ✳ ᶼ厗 渿 晬 ῱ 䘬 捖 ⠻ 䌠炻夳 Ἓ ⢓ ⼿˪䈡 㬲 ⑩ ㉵ 岋˫炻䲸 䲬炻2018⸜4㚰20㖍炻䶐 嘇 8ˤ

EstimateġEUR 3.000,- Starting price EUR 1.500,-

128 129 132 A GANDHARA SCHIST FIGURE OF Literature comparison: A closely THE BODHISATTVA MAITREYA, comparable, yet larger, figure of 3rd – 4TH CENTURY Maitreya is in the collection of Grey schist; with modern metal base the Metropolitan Museum of Art Ancient region of Gandhara, 3rd – 4th (accession number: 13.96.17). century Auction result comparison: This masterful Schist sculpture of the Bonham’s, INDIAN, HIMALAYAN & Bodhisattva Maitreya originates from SOUTHEAST ASIAN ART 19 March the Ancient Kingdom of Gandhara. 2018, NEW YORK, lot 3066 (for a Maitreya is the Buddha of the Future comparable Bodhisattva sculpture, and as befits of his highest rebirth, only slightly taller). he wears the garment and jewelry of a prince. As visible in the present lot, ᶱ军⚃ᶾ䲨䈵旨伭䇯ⱑ厑啑䩳⁷ he can be identified by the sacred 䀘刚䇯ⱑ炻䎦ẋ慹Ⱄ⸽⹏ water flask in his left hand. Maitreya 䈵旨伭⛘⋨炻ᶱ军⚃ᶾ䲨 is standing on a pedestal with two large lotus blossoms. His nimbus and 忁⮲晬῱䘬⻴≺厑啑䇯ⱑ晽⁷㗗Ἦ urna are conveying his divine nature. 冒⎌ẋ䈵旨坢ⷅ⚳ˤ⻴≺厑啑㗗慳徎 His looped topknot with beaded 䈇⯤ἃ䘬两ả侭炻⮯⛐㛒Ἦ⦹⧮ᶾ䓴 ornament is a hairstyle common 两ảㆸἃ炻⚈㬌ḇ塓䧙䁢㛒Ἦἃˤ㬌 to images of Maitreya. Naturalism ⮲晽⁷ⶎㇳ㊩俾㯜⢢炻⎗庽㖻彐娵娚 pervades his bare musculature. The 䤆䣯䁢⻴≺厑啑ˤṾ䪁⛐暁咖⮞⹏ elegant folds of his robe reflect ᶲ炻⃱䑘冯䘥㮓⯽䎦Ṿ䤆俾䘬ᶨ朊ˤ the aesthetic influences of the Ṿ䎈⫸䑘丆䘬檖梦䁢⻴≺厑啑䘬䈡 Mediterranean. In contrast, the ⽝ˤ 檀屜䙢壞䘬堰墇㶙⍿⛘ᷕ㴟桐 articulation of his face deviates from 㟤䘬⼙枧ˤ䚠⮵䘬炻Ṿ䘬朊⭡⇯僓暊 this realism – his eyes and mouth Ḯ䎦⮎ᷣ佑炻䛤䜃␴◜ẍ䎮゛ᷣ佑⏰ are rendered in an idealistic manner, 䎦炻⻟ 婧 厑 啑 䘬 ヰ ず 冯 㘢 ㄏˤ emphasizing the transcendental and compassionate nature of the 䈵旨伭䌳㛅⽆大⃫⇵530军大⃫⼴ bodhisattva. 1021⸜炻㚨⼴ᶨả⚳䌳塓冒⶙䘬幵昲 塓⇌ˤ䌳㛅ỵ嗽䎦Ṳ䘬旧⭴㯿⍲⶜➢ The kingdom of Gandhara lasted 㕗✎⛘⋨ˤẍ℞䌐䈡䘬ἃ㔁喅埻桐 from 530 BC to 1021 AD, when its 㟤侴倆⎵炻娚喅埻䓙ⶴ冀炻㔀⇑Ṇ炻 last king was murdered by his own 㲊㕗␴⌘⹎䘬喅埻⼙枧≃⎰Ἕ侴ㆸˤ 130 131 troops. It stretched across parts ⽆䫔ᶨ军䫔Ḽᶾ䲨䘬屜曄㗪㛇炻䈵旨 A SONG - YUAN DYNASTY STONE HEAD OF A LUOHAN A MON-DVARAVATI STUCCO MASK OF A GROTESQUE MAN, of present-day Afghanistan and 伭桐㟤䚃埴᷎忼⇘溶䚃㗪㛇ˤ⛐℔⃫ Grey stone; comes with modern metal stand 8th / 9th CENTURY Pakistan. Gandhara is noted for ᶨᶾ䲨炻䈵旨伭㗗ᶨṃ㚨㖑䘬ἃ㔁⚾ China, Song / Yuan Dynasty, 12th - 14th century Stucco, firmly mounted to modern plexiglass stand its distinctive style in Buddhist art, ⁷䘬娽䓇⛘ˤ Thailand, Mon-Dvaravati period, 8th – 9th century which developed out of a merger This spirited portrayal of a Luohan was masterly carved from of Greek, Syrian, Persian and Indian ⼊䉨烉Ṣ䈑⼊䉨 greyish stone with white speckles and ochre encrustation. The This little stucco artwork shows a male head with grotesque facial features, bulging artistic influence. Gandharan style ⯢⮠烉檀51⍀䰛(ᶵ⏓⸽⹏)炻⮔ 18⍀ holy man shows an elongated forehead and chubby earlobes, eyes, curly hair and an outsized tongue. flourished and achieved its peak 䰛(㚨⣏⮔⹎)炻⏓⸽⹏檀57⍀䰛 typical for depictions of Luohan throughout the times. during the Kushan period, from ⑩䚠列⤥炻⬴ℐ䫎⎰䔞㗪䘬晽⟹㗪 Remarkable is the facial expression as in contrast to most The Dvaravati period lasted from around the 6th to the 11th century. Dvaravati the 1st to the 5th century. In the ẋ炻悐 ↮ 㛸 㕁 仢 ⣙ˤ Lohan sculptures who are rendered with a pious smile, the refers to a culture, an art style, and a disparate conglomerate of principalities. first century AD, Gandhara was the 伶⚳䳛⢓㓞啷 present portrait shows a grumpy If not to say disgusted mimic Dvaravati itself was heavily influenced by Indian culture and played an important birthplace of some of the earliest with arched eyebrows and closed eyes. role in introducing Buddhism and particularly Buddhist art to the region. Stucco Buddhist images. 㔯䌣㭼庫烉ᶨẞ栆ỤỮ庫⣏✳䘬晽 motifs on the religious monuments include garudas, makaras, and Nagas. ⁷炻℠啷㕤⣏悥㚫喅埻⌂䈑棐炻伶⚳ Shape: Figural head Additionally, groups of musicians have been portrayed with their instruments, Shape: Figural shape 䲸䲬炻䶐嘇13.96.17 Dimensions: 10 cm (height of head), 14,5 cm (height prisoners, females with their attendants, soldiers indicative of social life. Votive Dimensions: 51 cm (height of 栆Ụ㉵⑩烉ᶨᾳ䔍檀ᶨ溆䘬厑啑晽 including stand) tablets have also been found, also molds for tin amulets, pottery, terracotta trays, sculpture alone), 18 cm (maximum ⁷炻夳 恎 㿂 㕗˪ 㜙 ⋿ Ṇˣ⌘ ⹎ ␴ ╄ 楔 Condition: Good, age-related condition with natural patina and a bronze chandelier, earring, bells and cymbals. width), 57 cm (height with base) ㉱晭喅埻˫炻2018⸜3㚰19㖍炻䲸 䲬炻 and some notches here and there Condition: Good condition, fully ㉵⑩䶐嘇3066ˤ Provenance: Collection of an American gentleman Shape: Figural, flattened mask shape consistent with the age of the Dimensions: 5,5 cm (height), 8,5cm (length), sculpture, material loss to some EstimateġEUR 4.000,- ⬳⃫㗪㛇䞛晽伭㻊柕⁷ Condition: Age-related good condition with encrustation and material loss as seen exposed areas Starting price EUR 2.000,- 䀘䞛炻旬慹Ⱄ⸽⹏ on the pictures Provenance: Laurent Solomon ᷕ ⚳炻⬳ ⃫ 㗪 㛇炻IJ ij ᶾ 䲨 军 IJ ĵ ᶾ 䲨 Provenance: Chai Ma Collection, Bangkok - acquired 1988; collection of an Collection, Singapore. Acquired in ⑩䚠列⤥炻冯⸜ẋ䚠䫎炻⣑䃞⊭㻧 American gentleman France during the late 1990s – early 伶⚳䳛⢓㓞啷 2000s EstimateġEUR 300,- EstimateġEUR 500,- Starting price EUR 150,- Starting price EUR 250,-

130 131 133 ⚃军Ḽᶾ䲨䈵旨伭”⤛厑啑”昞⁷ A GANDHARA TERRACOTTA STATUE OF A BODHISATTVA WITH 䲭昞炻䎦ẋ慹Ⱄ⸽⹏ MAGINIFICENT CURLS, 4th – 5TH CENTURY 䈵旨伭⛘⋨炻屜曄ⷅ⚳炻⚃军Ḽᶾ䲨 Terracotta with white slip and remains of cold paint; with modern metal base 䅙慳⃱㷔娎嫱㖶 Ancient region of Gandhara, Kushan period – 4th – 5th century TL Test confirms the dating (see further down below) 忁㗗ᶨ⮲ẌṢ樂导䘬䈵旨伭晽⁷ˤ⤛厑啑䪁䩳炻ㇳ ᷕ䘬⢢䚃墅尉⽝㯠䓇䘬䦀㱱㯜ˤ⭡尴冯堋梦冯䈵 This impressive Kushan period Gandharan statue depicts a standing 旨伭⍿ⶴ冀⊾喅埻⼙枧䘬桐㟤䚠⎴ˤ㖶䛠⣏䛤冯⃭ Bodhisattva, holding a pouch which contains the amrita nectar of immortality. 㺧㘢ㄏ䘬䤆ね炻暁䚱攻䘬䘥㮓冯ヰず䘬䪹⭡炻ἧ忁 Facial features and clothing display Hellenistic style, which influenced the art ⮲⤛厑啑晽⁷㚜≈歖㖶ˤᶨ“䘬偑儨墠曚炻⎴㗪娚 of Gandhara. Large eyes with enlightened expression, urna over the bridge of “ㇳ兪㕟塪怢⣙ˤ厗渿䘬㳩䉨㌚㚚檖✳㗗䔞ẋ厑啑 the nose and a gentle smile, all enhance the spiritual radiance of this Buddhist ℠✳䘬桐㟤ˤ sculpture. One shoulder is bared, jewelry cuff around the upper arm, as well as on the wrist. Very fitting is the opulent, flowing hairstyle which is typical 䈵旨伭䌳㛅⽆大⃫⇵530军大⃫⼴1021⸜炻㚨 ⼴ ᶨ for Bodhisattva portrayals of the period. ả⚳䌳塓冒⶙䘬幵昲塓⇌ˤ䌳㛅ỵ嗽䎦Ṳ䘬旧⭴㯿 ⍲⶜➢㕗✎⛘⋨ˤẍ℞䌐䈡䘬ἃ㔁喅埻桐㟤侴倆 The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last ⎵炻娚喅埻䓙ⶴ冀炻㔀⇑Ṇ炻㲊㕗␴⌘⹎䘬喅埻⼙ king was murdered by his own troops. It stretched across parts of present- 枧≃ ⎰ Ἕ 侴ㆸˤ⽆ 䫔ᶨ军 䫔 Ḽᶾ 䲨 䘬 屜 曄 㗪 㛇炻䈵 day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in 旨伭桐㟤䚃埴᷎忼⇘溶䚃㗪㛇ˤ⛐℔⃫ᶨᶾ䲨炻䈵 Buddhist art, which developed out of a merger of Greek, Syrian, Persian and 旨伭㗗ᶨṃ㚨㖑䘬ἃ㔁⚾⁷䘬娽䓇⛘ˤ Indian artistic influence. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century ⛐䫔⚃ᶾ䲨⇘䫔ℕᶾ䲨⼴㛇炻䈵旨伭ἧ䓐䠔岒昞 AD, Gandhara was the birthplace of some of the earliest Buddhist images. 䒟ẋ㚧䞛㜧炷⤪䇯ⱑ炸炻⛐娚⛘⋨䅺墥䘬䱀⛇₡㟤 㖪屜炻⚈䁢䅺墥忶䦳㇨暨䘬㛐㛸䦨仢ˤ⚈㬌炻忁㧋 The use of hard-fired ceramic instead of stone such as schist was popular ᶨᾳ㖪屜䘬晽⟹⮯㗗ᶨᾳ朆ⷠ㚱₡ῤ䘬ἃ㔁䓊⑩ˤ during the later Gandharan period from the 4th to the 6th centuries C.E. ⽆忁ᾳ㗪㛇␴夷㧉Ἦ䚳炻⎒㚱⼰⮹䘬ℝ楔ό晽⁷㚦 Fired clay was expensive in the area, because the wood needed for the firing 䴻塓姀抬ᶳἮˤ process was scarce. Only very few terracotta statues from this period have ever been recorded. ⼊䉨烉Ṣ䈑⼊䉨 ⯢⮠烉68⍀䰛(昞⁷檀炻ᶵ⏓⸽⹏)炻28⍀䰛(㚨⣏⮔ Shape: Figural shape ⹎)炻79⍀䰛(⏓⸽⹏檀⹎) Dimensions: 68 cm (height of sculpture alone), 28 cm (maximum width), 79 ⑩䚠列⤥炻⬴ℐ䫎⎰䔞㗪䘬晽⟹㗪ẋ炻悐↮㛸㕁仢 cm (height with base) ⣙炻㚱 ⎗ 夳 䘬 塪 䕽ˤ Condition: Good condition, fully consistent with the age of the sculpture, material loss to some exposed areas, crazing and hairlines visible Ἦ冒㱽⚳䘬Ṇ䐇·傉⃳ (1854–1932)㓞啷ˤ忁ỵ啷⭞ Provenance: From the collection of Arthur Huc (1854–1932), France. The 䘬㓞啷嵛嶉⎗徥㹗⇘ Ṿ䘬䣾⃰⁛㔁⢓⎌ỗ⮇炷㱽 roots of this collection go back to Évariste Regis Huc (1813 – 1860), a French 婆⎵Évariste Regis Huc 1813 – 1860), Ṿ⛐Ṿ䘬㕭 missionary and discoverer who became known for his travels through 埴ᷕ䴻忶呁⎌炻大啷␴ᷕ⚳ˤṆ䐇·傉⃳⃰䓇1890⸜ Mongolia, Tibet and China. Mr. Arthur Huc became the editor-in-chief of 㚦㗗⎸欗㕗⟙䣦䷥䶐炻䚜⇘1932⸜⍣ᶾ炻Ṿᶨ䚜㗗 La Dépêche in Toulouse in 1890 and was a popular political journalist and a ᶨỵ⼰⍿㬉彶㓧㱣姀侭冯喅埻姽婾⭞ˤ1895⸜Ṿ reputed art critic until his death in 1932. In 1895 he married into the wealthy 倗⦣楔岥屜㕷⭞⹕䈡昮 Theron炻ἧṾ傥⣈两临㒜 and noble Theron family from Marseille, which enabled him to expand the ⣏Ṿ⽆⎌ỗ⮇两㈧侴Ἦ䘬㓞啷ˤṾ⍣ᶾ⼴炻Ṿ⥣⫸ collection inherited from Évariste Huc. After his death, his collection was ㍍㓞㓞啷炻⛐⤡ᷳ⼴炻㗗ṾᾹ䘬⬑⫸Ᾱ两㈧ˤ inherited by his wife, and, after her death, by their children. 䅙慳⃱㷔㩊⭂烉䵕ḇ䲵ⶍ喅伶埻⣏⬠㔯䈑ᾖ⽑⬠ Scientific testing: The Institute for Preservation Sciences at the University 昊ἧ䓐䅙慳⃱㷔⸜㱽㩊㷔炻㍐㕟℞䁢⸜ẋ䁢ᶲ㕡 for Applied Arts in Vienna has confirmed the dating of the sculpture, listed ㇨徘ˤ above, using thermoluminescence dating. 䚠Ụ㉵⑩烉䈵旨伭昞⁷㤝℞䦨㚱炻⛐ⶪ⟜ᶲ暋⼿ 䘤䎦屜曄㗪㛇䘬栆Ụἄ⑩炻䚖⇵怬㰺㚱䘤䎦䚠⎴ Auction result comparison: As Gandharan terracotta artworks are very 昞⁷ˤ夳Ἓ⢓⼿˪⌘䫔⬱冯㜙⋿Ṇ喅埻˫炻2013⸜ rare and hardly ever appear on the market the examples given here show 3㚰19㖍炻䲸 䲬炻212嘇㉵⑩炷ᶨᾳ厑啑柕⁷炸ㆾ喯 various examples from the Kushan period but not the same motif. See ⭴㭼˪ぇ䚠烉⬿㔁喅埻⮰㉵˫炻2014⸜9㚰17㖍炻䲸 Christie’s, Indian and Southeast Asian Art, 19 March 2013, NEW YORK, 䲬炻410嘇㉵⑩炷ᶨᾳ厑啑柕悐昞⁷炸ˤ lot 212 (for a terracotta head of a bodhisattva) or Sotheby’s, IMAGES OF ENLIGHTENMENT: DEVOTIONAL WORKS OF ART AND PAINTINGS, 17 EstimateġEUR 5.000,- SEPTEMBER 2014, NEW YORK, lot 410 (for a terracotta head of a Buddha) Starting price EUR 2.500,-

132 133 134 A LARGE GANDHARA SCHIST HEAD OF GODDESS , 2nd – 3rd CENTURY Grey schist with good age-patina, modern metal base Ancient region of Gandhara, 2nd – 3rd century

This rare Gandhara Schist head depicts Hariti, the goddess patron of children and one of the very few female deities portrayed during the Gandhara reign. She is shown with a serene smile, the head tilted to the side with a warm and loving facial expression. The aristocratic facial features, a precious earring and the braided headdress below the turban all attest to the divinity of the portrait.

The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influence. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images.

Shape: Figural shape Dimensions: 43 cm (height of head alone), 32 cm (maximum width), 56 cm (height with base) Condition: Good condition, fully consistent with the age of the sculpture, material loss to exposed areas Provenance: Collection of an American gentleman

Auction result comparison: Christie’s, INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART 21 November 2001, Amsterdam, lot 20 (for a comparable Gandhara Schist head, also attributed to Hariti).

Ḵ军ᶱᶾ䲨䈵旨伭䇯ⱑ櫤⫸㭵柕⁷ 䀘刚䇯ⱑ炻列⤥㬚㚰⊭㻧炻䎦ẋ慹Ⱄ⸽⹏ 䈵旨伭⛘⋨炻Ḵ军ᶱᶾ䲨

櫤⫸㭵炻⍰䧙ッ⫸㭵炻䁢⃺䪍䘬⬰嬟䤆炻㗗⮹㔠⸦ᾳ䈵旨伭⛘⋨ ὃ⣱䘬⤛䤆䣯ˤ㛔⮲柕⁷㚱叿ヰ䤍䘬⽖䪹⍲ヰず䘬朊⭡ˤ檀屜 䘬共悐䈡⽝炻䦨㚱䘬俛䑘⍲䶐䷼䘬檖檣炻⯽䎦Ḯ℞䤆俾䘬ᶨ朊ˤ

䈵旨伭䌳㛅⽆大⃫⇵530军大⃫⼴1021⸜炻㚨 ⼴ ᶨ ả ⚳ 䌳 塓 冒⶙ 䘬幵昲塓⇌ˤ䌳㛅ỵ嗽䎦Ṳ䘬旧⭴㯿⍲⶜➢㕗✎⛘⋨ˤẍ℞䌐 䈡䘬ἃ㔁喅埻桐㟤侴倆⎵炻娚喅埻䓙ⶴ冀炻㔀⇑Ṇ炻㲊㕗␴⌘⹎ 䘬 喅 埻 ⼙ 枧≃ ⎰ Ἕ 侴ㆸˤ⽆ 䫔ᶨ军 䫔 Ḽᶾ 䲨 䘬 屜 曄 㗪 㛇炻䈵 旨 伭桐㟤䚃埴᷎忼⇘溶䚃㗪㛇ˤ⛐℔⃫ᶨᶾ䲨炻䈵旨伭㗗ᶨṃ㚨 㖑䘬ἃ㔁⚾⁷䘬娽䓇⛘ˤ

⼊䉨烉Ṣ䈑⼊䉨 ⯢⮠烉檀43⍀䰛(ᶵ⏓⸽⹏)炻⮔ 32⍀䰛(㚨⣏⮔⹎)炻⏓⸽⹏檀57 ⍀䰛 ⑩䚠列⤥炻⬴ℐ䫎⎰䔞㗪䘬晽⟹㗪ẋ炻悐↮㛸㕁仢⣙ˤ 伶⚳䳛⢓㓞啷

栆Ụ㉵⑩烉ᶨẞ栆Ụ䘬䈵旨伭䇯ⱑ櫤⫸㭵柕⁷炻夳Ἓ⢓⼿˪⌘ ⹎ˣ╄ 䐒 ㉱ 晭 ⍲ 㜙 ⋿ Ṇ 喅 埻˫炻2001⸜11㚰21㖍炻旧 ⥮ 㕗 䈡 ᷡ炻 ㉵⑩䶐嘇20ˤ

EstimateġEUR 6.000,- Starting price EUR 3.000,-

134 135 135 A LARGE WOOD FIGURE OF A DAOIST IMMORTAL, LATER SONG – EARLIER MING DYNASTY Carved of a single piece of solid hardwood, with remainders of original lacquer and gesso painting in pigments of green, red and black China, 13th-16th century

The sage seated as a dignitary wearing an elaborately decorated, layered cap of office, the face with a benevolent expression with downcast eyes and a gentle smile. His beard is hanging down his chest, he is wearing a band around his waist holding his elegant, flowing robes falling into voluminous folds, the band is bound together by a bow, one hand is resting on the bow, the other on his left knee.

This statue is particularly attractive for the soft and expressive modelling of the figure’s facial features, which exudes a sense of serenity and confidence. The simple and low-relief folds of his robes, which fall in vertical parallel lines, are reminiscent of stone sculpture and further emphasize the majesty of the dignitary.

Shape: Sculptural Weight: 20,6 kilograms Dimensions: Height 93 cm Condition: Original unrestored condition. Age cracks, losses, deterioration to backside. Still quite impressive condition given the age of this statue Provenance: Austrian private collection

Literature comparison: Compare with a similarly carved sculpture of a female immortal with the hands concealed beneath a cloth, included in the exhibition of Cultural Artifacts of , National Museum of History, Taipei, 2006, p. 131. See also a wood figure of a standing deity, attributed to the Northern Song period, illustrated in Zhongguo meishu quanji. Diaosu bian [The complete series on Chinese art. Sculpture], vol. 5, Beijing, 1988, pl. 84, together with a much larger polychrome painted example, dressed in a similar robe, pl. 83. Another wood figure of a seated female Daoist immortal, but of larger size (152 cm. high) and dated to the Song dynasty, from the Liang- sheng T’ang Collection is illustrated in Ancient Chinese Sculpture II, Kaohsiung Museum of Fine Arts, , 2000, p. 90, no. 35. Another figure shown standing and dated to the Northern Song dynasty, is illustrated in Zhongguo meishu quanji; diaosu bian; Wudai Song diaosu, Beijing, 1988, vol. 5, p. 91, no. 84.

Auction result comparison: Fine Chinese Ceramics and Works of Art. Christies, New York, 17 September 2008, lot 383. (for another wooden Daoist immortal, dated to the song dynasty, height 89 cm.)

⣏✳㖶ẋ㖑㛇㛐晽忻⢓⁷ ⬴㔜䠔㛐晽⇣炻⍇㺮⼑⍲䞛儷⸽㕁䁢䵈ˣ䲭⍲湹刚 ᷕ⚳炻13军16ᶾ䲨 ⑩䚠列⤥炻䃉ᾖ墄 ⤏⛘⇑䥩Ṣ㓞啷

EstimateġEUR 4.000,- Starting price EUR 2.000,-

136 137 136 A RARE POLYCHROME CARVED WOOD FIGURE OF ‘GUANYIN OF THE LION ROAR’, MING DYNASTY Carved of several jointed pieces of hardwood, original polychrome lacquer painting China, Ming dynasty (1368-1644)

The Bodhisattva seated in a position of royal ease on a recumbent, roaring Buddhist lion with menacing fangs, wearing loosely draped robes and a long flowing scarf falling around her shoulders and arms, her face with meditative expression framed by long pendulous ears and hair piled high behind a tiara, she wears a floral necklace. The ‘third eye’ on the forehead possibly once inlaid with now lost gemstone. The statue set on an oval base.

Guanyin depicted in the posture known as the ‘royal ease’ became standard representation of the Bodhisattva of Compassion in paradise after the tenth century. This sculpture represents ‘Guanyin of the Lion Roar’ (Simhanada Avalokitesvara), with the roar symbolizing the moment of transcendent understanding and Guanyin’s supernatural wisdom.

The present figure is particularly fine in its modelling, with Guanyin conveying a sense of profound thought and wisdom while the lion with its mouth wide open showing ferocious strength. The two figures together represent an image of controlled power and stability.

Shape: Sculptural Weight: 10 kilograms Dimensions: Height 83 cm Condition: Original unrestored condition. Age cracks, losses, deteriorations. Very impressive condition given the age of this statue Provenance: The Reinhold Hofstätter collection, Vienna, and thence by decent. Acquired before 1980

Literature comparison: See a wood figure of Guanyin seated on a lion, attributed to the 13th and 14th centuries, in the exhibition Ancient Chinese Sculpture, Eskenazi, London, 1981, cat.no. 15.

Auction result comparison: FINE CHINESE CERAMICS AND WORKS OF ART. Sotheby’s, 12 JULY 2006, LONDON, lot 15. (for a statue with the same subject) Art d’Asie. Christies, Paris, 11 June 2008, lot 291. (for another statue with the same subject)

䦨㚱㖶ẋ⼑丒㛐晽”䋭⏤奨枛”⁷ 䠔㛐晽⇣炻⼑㺮 ᷕ⚳炻㖶ẋ (1368-1644) ⑩䚠列⤥炻䃉ᾖ墄 ⤏⛘⇑䵕ḇ䲵Reinhold Hofstätter㓞啷⑩炻⭞㕷⁛㈧炻㕤 1980⸜⇵⍾⼿

EstimateġEUR 3.000,- Starting price EUR 1.500,-

138 139 137 A LARGE AND IMPORTANT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, SUKHOTHAI STYLE, KAMPHAENG PHET, 14TH – 15TH CENTURY Massively cast bronze with elegant olive-brown patina Thailand, 14th – 15th century

Seated in vajrasana, the right hand in bhumisparsa mudra, the left in avakasha mudra, clad in an elegant yet simple uttarasangha covering the left shoulder. This large and well-cast sculpture exemplifies the Kamphaeng Phet style, with a particularly well-achieved philtrum that undulates and confidently defines the contours of his mild and approachable smile, a classic three-layered flame finial (as opposed to four, which is a signature detail in Kamphaeng Phet), abbreviated ‘fishtail’ lapel by the navel and planar feet. Old, tailored mahogany base. (2)

Shape: Sculptural Weight: 24,5 kilograms Dimensions: Height 71 cm Condition: Superb condition (given the age of this bronze) with some losses and cracks to base, minor deteriorations to upper arms and chest, with an associated minor repair to neck Provenance: The Estate of Mrs. Jane Rau, New York, acquired by 1971

Literature comparison: Compare with a Kamphaeng Phet Buddha from Phra That in the Kamphaeng Phet National Museum, illustrated in Rooney, Ancient Sukhothai, Bangkok, 2008, page 211, and a Kamphaeng Phet head in the same, page 51.

Auction result comparison: ARTS D’ASIE. Sotheby’s, Paris, 12 DECEMBER 2017, lot 203. (for a very similar statue)

EstimateġEUR 6.000,- Starting price EUR 3.000,-

140 141 138 139 A BLACK STONE FIGURE OF VISHNU, PALA PERIOD A SANDSTONE HEAD OF A DEITY, KHMER, The black phyllite stone skillfully carved and incised. PRE-ANGKOR PERIOD, 7TH – 8TH CENTURY Good patina Sculptured and chiseled sandstone of even Northeastern India, 11th – 12th century beige tone. Good patina Khmer, 7th- 8th century Standing in samapadasana and dressed in a short, striated dhoti and adorned with a pendant garland, Description, school, inscriptions, marks, styles: sacred thread, and various necklaces, the face with bow- A sandstone head of a deity sensitively modeled shaped mouth and elongated eyes surmounted by a tall with gently incised eyes beneath curved brows, conical headdress. full lips, and rounded face flanked by elongated Finely carved with extensive detail, this xqimpressive earlobes, beneath a tall mitre headdress. statue of Vishnu, the god of Preservation, demonstrates Modern metal base. the masterful craftsmanship of twelfth century artists working in Northeast India. The present figure of Vishnu Shape: Sculptural is shown in all his glory, with every single detail of the Weight: 3,9 kilograms including the base depiction carefully addressed by the carver. Dimensions: Height without the base 19 cm, with the base 30 cm Shape: Sculptural Condition: Extensive wear, some losses as Weight: 6,1 kilograms (including the base) visible on the pictures Dimensions: Height 48 cm (the statue) and 55 cm (the Provenance: American private collection statue including the base) Condition: Losses and damages as visible on the main Auction result comparison: Indian and picture as well as further images available online. Overall Southeast Asian Art. Christies, New York, 22 outstanding preservation give the age of this statue. March 2011, lot 474. (for a similar sandstone Remainders of old shellac coating head) Provenance: Austrian private collection EstimateġEUR 1.500,- Literature comparison: Pal, Pratapaditya 1988. Indian Starting price EUR 750,- Sculpture A Catalogue of the Los Angeles County Museum of Art, vol. 2. Los Angeles: LACMA and Berkeley. Los Angeles and London: University of California Press. Bautze-Picron, Claudine 1998. The Art of Eastern India in the Collection of the Museum für Indische Kunst, Berlin. Berlin: Dietrich Reimer Verlag.

EstimateġEUR 3.000,- Starting price EUR 1.500,-

142 143 140 A LARGE AND IMPORTANT SANDSTONE STELE OF MAHAVIRA, MADHYA PRADESH, 16TH- 18TH CENTURY Red sandstone, sculpted, carved and incised, well grown age-patina Central India, Madhya Pradesh, 16th – 18th century

Mahavira sits in Dhyana on a simple throne in front of a halo, encompassed by a semicircle of sun rays, which themselves are surrounded by a foliate lotus band. Jina’s hands show the gesture of Dhyana mudra.

Mahavira was the twenty-fourth Tirthankara (ford-maker) of Jainism which was revived and re-established by him. After getting enlightened, Mahavira synthesized and revived the philosophies and promulgations of the ancient rama ic traditions laid down by the first Jain tirthankara Rishabhdeva. In the Jain tradition, it is believed that Mahavira was born in the early part of the 6th century BC into a royal family in what is now Bihar, India. At the age of thirty, abandoning all worldly possessions, he left his home in pursuit of spiritual awakening and became an ascetic.

The wheel-shaped halo references his teachings which form the basis of the Jain philosophy: Ahimsa (non-violence), aparigraha (non- attachment), asteya (no theft), brahmacharya (chastisty), and (truthfulness). Behind his steadfast gaze, the nimbus holds several open lotus flowers, a symbol interchangeable with that of the sun, whose rays metaphorically radiate from his head.

Mahavira is usually depicted in a sitting or standing meditative posture with the symbol of a lion beneath him. Such a lion may have once been a separate component of an ensemble of which the present statue was the centerpiece. The earliest iconography for Mahavira is from archaeological sites in the north Indian city of Mathura. These are variously dated from the 1st century BC to the 2nd century AD. The day Mahavira was born is celebrated as Mahavir Janma-kalyanak (popularly known as Mahavir Jayanti), and the day of his liberation is celebrated by Jains as Diwali. In 1973, which was the 2,500th anniversary of the (or Moksha) of Mahavira, monks of the various sects of Jainism assembled to resolve their differences and arrive at some commons points of agreement about the history and philosophy of Jainism.

Shape: Sculpture on a stele Weight: 295 kilograms Dimensions: Height 95 cm, width 64 cm, depth 41 cm Condition: Excellent condition with losses, cracks and abrasions as well visible on the images in the catalogue and online Provenance: German private collection

Literature comparison: For a related image of Mahavira, see Granoff, Victorious Ones: Jain Images of Perfection, New York, 2009, pp. 166-7, no. S04.

Auction result comparison: INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART. Bonham’s, 14th March 2016, NEW YORK, lot 74. (for a related Mahavira sandstone stele, dated to the 10th century)

EstimateġEUR 6.000,- Starting price EUR 3.000,-

144 145 Lot 140 – Full View A LARGE AND IMPORTANT SANDSTONE STELE OF MA- HAVIRA, MADHYA PRADESH, 16TH- 18TH CENTURY

141 A BRONZE FIGURE OF BUDDHA almond-shaped eyes and raised urna, SHAKYAMUNI, KHMER, 12TH - 13TH the hair above in neat rows pulled into a CENTURY chignon and secured with a headband. Cast bronze with extensive dark green patina Shape: Sculptural Cambodia, Khmer, Angkor Vat period, Weight: 1191 grams 12th-13th century Dimensions: Height without base 28,2 cm, height with base 32,5 cm A rare bronze statue of a crowned Buddha Condition: Extensive wear and patina. Shakyamuni standing in samapada. The Losses to left hand. Minor damages characteristic rendition with distinct, through corrosion, mostly to the backside, meditative facial features, the head well visible on the pictures available crowned by a tiara, ear adornments, the online. Overall still excellent condition hands in vitarkamudra revealing given the age of this statue on the palms, dressed in a sheer robe that Provenance: German private collection hangs gracefully from his forearms, with a beaded pleat and tapering hems, crested EstimateġEUR 2.000,- with foliate belt and jewelry, the face with Starting price EUR 1.000,-

146 147 144 A 19TH CENTURY INDO-PERSIAN IVORY SCULPTURE OF A PRIEST Ivory, India, 19th century

This finely carved ivory sculpture depicts a priest or a dignitary with a scroll in his hands. His long garment is neatly incised with patterns at the hems and he wears a longish headdress with a leaf crown. At his earlobes we see spherical earrings and his facial features are naturalistically captured.

Shape: Figural Dimensions: 19 cm (height) Weight: 232 grams Condition: Good condition with appealing patina and several age hairlines Provenance: Austrian private collection

EstimateġEUR 300,- Starting price EUR 150,-

145 A WHIMSICAL KONDH TRIBAL BRONZE IN 142 SHAPE OF A FROG A BRONZE BUDDHA SHAKYAMUNI SEATED IN VIRASANA, Copper bronze, remains of 146 SUKHOTHAI, 15TH-16TH CENTURY cold paint A LARGE KONDH TRIBAL BRONZE OF A MOTHER WITH TWO CHILDREN Cast bronze with original lacquer gilding. Good patina Northern India, Kondh Copper bronze Sukhothai, 15th – 16th century Tribe, late 19th – early 20th Northern India, Kondh Tribe, late 19th – early 20th century century Seated in virasana on a massive stepped pedestal, both hands This expressive sculpture is a work by a member of the Kondh tribe in Northern in dhyanamudra, wearing samghati, his face with serene This little frog sculpture is India. Depicted is a mother holding her two twin babies close to her body. Her expression, arched eyebrows set above incised downcast eyes, 143 a work by a member of the Kondhs. Up to this day they hair is tied back and in her face we see typical Kondh tribe facial tattoos. She is aquiline nose, gracefully smiling lips, elongated earlobes, curled A BURMESE, PAGAN STYLE, GILT AND LACQUERED HEAD OF Kondh tribe in Northern maintain very strong animist beliefs wearing ornate jewelry, yet most remarkable are her tubular breasts. Clearly this hairdress and usnisha, the latter with flame. BUDDHA SHAKYAMUNI, 18TH – 19TH CENTURY India. The animal is made with different animals and birds sculpture symbolizes fertility and birth giving. Hollow wood composite with modelled lacquer-work and original gilding up of copper bronze having their own symbolism and Shape: Sculptural Burma, 18th – 19th century threads, has an almost role. Bronze figurines of peacocks, Kondhs or Kandhs, are one of the largest tribal groups in Odisha, inhabiting Weight: 2042 grams humanoid face, an opening chameleons, frogs, serpents, crabs, the entire area around Ganjam and Phulbani districts till the forested lands of Dimensions: Height 30,5 cm The face with a serene, meditative expression, arched eyebrows set above at the belly and reticulation horses, deer, tigers, elephants, Telangana. They are also found in the Koraput, Kalahandi and Belangir districts. Condition: Some losses to base, minor loss to upper left arm, downcast eyes, peacefully smiling lips, elongated earlobes, spiked hairdress at the lower back. human figures and musicians were Divided into many sub-groups, the prominent amongst them are the Kuttia small repair to neck. Still very good give the age of this statue and usnisha, the latter with a carved flame. Modern base. cast using the cire perdue (lost-wax Kondhs, Maliah Kondhs and Dongaria Kondhs. Up to this day they maintain Provenance: Austrian private collection Kondhs or Kandhs, are one technique) process to be used as very strong animist beliefs with different animals and birds having their own Shape: Sculptural of the largest tribal groups playthings as well as alter pieces. symbolism and role. Bronze figurines of peacocks, chameleons, frogs, serpents, Auction result comparison: ASIAN CERAMICS AND WORKS Weight: 905 grams (the head only) in Odisha, inhabiting the crabs, horses, deer, tigers, elephants, human figures and musicians were cast OF ART. Christies, Amsterdam, 8 May 2001, lot 551. (for Dimensions: Height 29 cm (head) and 41 cm (head with base) entire area around Ganjam Shape: Figural using the cire perdue (lost-wax technique) process to be used as playthings as comparison with a silver alloy statue from the same period, Condition: Good and fully original condition with some age cracks, extensive and Phulbani districts Dimensions: 6,5 cm (length), well as alter pieces. also in virasana and dhyanamudra) wear and patina, minor losses till the forested lands of 3,3 cm (height) Provenance: American Private collection; acquired 2009 from Stefaan Telangana. They are also Weight: 36,2 grams Shape: Figural EstimateġEUR 500,- Grusenmeyer, Belgium found in the Koraput, Condition: Very good condition Dimensions: 30 cm (height), 18 cm (length), Starting price EUR 250,- Kalahandi and Belangir with appealing patina Weight: 2,1 kilograms Literature comparison: Compare with a standing figure of Shakyamuni in districts. Divided into many Provenance: Austrian private Condition: Very good condition with appealing patina O. Karow, Burmese Buddhist Sculpture: The Johan Moger Collection, White sub-groups, the prominent collection Provenance: Austrian private collection Lotus, Bangkok 1991, pl. 41. amongst them are the Kuttia Kondhs, Maliah EstimateġEUR 200,- EstimateġEUR 400,- EstimateġEUR 1.000,- Kondhs and Dongaria Starting price EUR 100,- Starting price EUR 200,- Starting price EUR 500,-

148 149 149 A PAIR OF JAPANESE CLOISONNÉ ENAMEL IRIS VASES WITH GINBARI BLOSSOMS Japan, Meiji period (1868 - 1912) Cloisonné with colored enamels

Reserved on a light blue celadon ground are yellow and purple iris blossoms, the petals executed in ginbari. Marked on the base.

Shape: Ovoid shape with a very short neck and circular mouth Dimensions: 15.5 cm (height) Condition: Good general condition with expected wear; with small hairlines around the base of one and tiny fritting around the mouth of the other Provenance: Austrian private collection

EstimateġEUR 800,- Starting price EUR 400,- ġ

147 148 150 A LARGE JAPANESE CLOISONNÉ ENAMEL VASE WITH CHERRY A JAPANESE CLOISONNÉ LIDDED VASE WITH A DESIGN OF A JAPANESE CLOISONNÉ ENAMEL CIRCULAR BOX AND COVER BLOSSOMS AND SPARROWS PHOENIXES AND DRAGONS WITH IRIS BLOSSOMS Japan, Meiji period (1868 - 1912) Japan, Meiji period (1868 - 1912) Japan, Meiji period (1868 - 1912) Cloisonné with colored enamels Cloisonné with colored enamels Cloisonné with colored enamels

Reserved on a midnight blue, almost black ground is a branch of a The top section is decorated with scrolling vines and floral Depicted is one flowering and one closed blue iris blossom with green sakura tree with beautifully blossoming flowers. A sparrow is seated motifs in circular reserves. Below are shield-shaped reserves with enamel leaves all reserved on a rare bright lemon-yellow ground; the with its head turned backwards looking towards his companion in flight. alternating designs of stylized phoenixes and dragons. The rims inside yellow with silver rims. Underneath are orange and yellow kiku blossoms (chrysanthemum). with a brocade pattern, all against a beige-grey ground. The lid The reverse is decorated with a leafy stalk and a lonely chrysanthemum with the same scrolling vine décor and a pink knob. Shape: Circular box with cover flower. The rim and base with a floral brocade band. Dimensions: 8 cm (diameter), 5 cm (height) Shape: Baluster shaped vase with a slim body, circular base and Condition: Good and complete condition with one small crack on the Shape: Ovoid shape with a long and wide neck and outward flaring lid cover with emerging hairlines circular mouth Dimensions: 14 cm (height) Provenance: Austrian private collection Dimensions: 22.5 cm (height) Condition: Good condition with two small hairlines around the Condition: Excellent condition with minor scratches to enamel mouth EstimateġEUR 400,- Provenance: Austrian private collection Provenance: Austrian private collection Starting price EUR 200,- ġ EstimateġEUR 500,- EstimateġEUR 400,- Starting price EUR 250,- Starting price EUR 200,-

150 151 151 A ‘WINTER’ CLOISONNÉ PLATE, BY NAMIKAWA SOSUKE, SIGNED WATANABE SEITEI Japan, Meiji period (1868 - 1912) Cloisonné with colored enamels

Watanabe Shotei aka Watanabe Seitei (1851 in Edo – 1918) was a Nihonga painter and one of the first to visit Europe, attending the 1878 International Exhibition in Paris and being awarded a medal. His works have enjoyed great popularity in the West, and a large number are to be seen in both European and American collections. On his return from Europe, Seitei started to create designs for cloisonné, working closely with the accomplished cloisonné artist Namikawa Sosuke (1847–1910), this cooperation leading to further acclaim from ab- road. Sosuke’s perhaps greatest achievement was his development of a technique called musen-shippo, also known as wireless enameling. This enabled him and Seitei exclusively to recreate brush painting on paper or silk in cloisonné, a modus operandi completely unknown before and well visible on this plate, with the multicolored enamels in the snow-covered tree, and a little icicle dropping down like the picturesque stroke of a brush. Today, some collec- tors regard the output of the short yet fruitful cooperation between Seitei and Sosuke as the pinnacle of Sosuke’s cloisonné work.

Technically speaking, this work is a combination of inlaid wire and musenshippo, which marks the transition from one technique to the other. It can hence be dated to after 1879, because it must have been created shortly after Seitei’s return from Europe. The flat, four-lobed plate shows a brown sparrow, or suzume, sitting on the snow-covered branch of a pine tree on a light grey background. His wings are retracted as he is visibly freezing. The sparrow is a sym- bol of friendship and is also called ‘lucky sparrow’. Gilded rim, small bordure with very finely inlaid meander. Stylized cloisonné blossoms and many spirals on the black-grey underside.

Shape: Clover shaped plate Dimensions: 28.8 cm (diameter) Condition: Very good condition Provenance: Austrian private collection

Auction result comparison: For a similar plate by Namikawa Sosuke depicting a sparrow in the spring see Bonhams, Fine Japanese Art, 13 September 2017, lot 1020.

EstimateġEUR 5.000,- Starting price EUR 2.500,-

152 153 152 A FINE JAPANESE CLOISONNÉ ENAMEL VASE WITH PERSIMMONS BY ANDO JUBEI Japan, Meiji period (1868 - 1912) Cloisonné with colored enamels

Depicting beautiful bright orange and ripe persimmons on a leafy branch against a cream- colored ground. The persimmons become ripe in autumn as the leaves slowly disintegrate as is cleverly shown by use of grey enamels in the green leaves, making this a truly beautiful vase for the autumn season.

Ando company mark inlaid in silver wire on the base. The persimmon design by Ando Jubei is a highly sought after and rare design, sometimes even executed in moriage.

Shape: Ovoid body with short neck Dimensions: 19 cm (height) Condition: Mint condition Provenance: American private collection

Auction result comparison: For a similar cloisonné vase in moriage see Bonhams, Fine Japanese Works of Art, 20 March 2012, lot 2241.

EstimateġEUR 1.000,- Starting price EUR 500,-

153 A LARGE PAIR OF JAPANESE ENAMEL CLOISONNÉ VASES WITH YURI LILIES AND MANY SEASONAL FLOWERS Japan, Meiji period (1868 - 1912) Cloisonné with colored enamels

The scene is dominated by a tall stalk of yuri (lilies) with three yellow blossoms of which one is beautifully opened. Below is a dense arrangement of seasonal flowers including sprays of kiku blossoms (chrysanthemum), kikyo (Chinese bellflower) and mokuren (magnolia). The reverse is decorated with iris blossoms and beautiful fuyo flowers (rose mallow). All reserved on a cream-colored ground, the rim decorated with a floral brocade pattern.

Shape: Baluster shaped vases with a short neck and circular rim Dimensions: 24 cm (height) Condition: One vase with a small crack with emerging hairline, otherwise good condition; the other in excellent condition Provenance: Austrian private collection

EstimateġEUR 1.000,- Starting price EUR 500,-

154 155 156 A PAIR OF JAPANESE CLOISONNÉ VASES WITH RED CROWNED CRANES Japan, Meiji period (1868 - 1912) Cloisonné with colored enamels

Reserved on a dark grey ground and executed in various colored enamels are two red-crowned cranes tancho – a popular symbol of longevity.

Shape: Slender vase with long tapered neck and circular rim Dimensions: 18.5 cm (height) Condition: Mint condition Provenance: Austrian private collection

EstimateġEUR 800,- Starting price EUR 400,-

154 155 157 A JAPANESE CLOISONNÉ ENAMEL VASE WITH A JAPANESE CLOISONNÉ VASE WITH IRIS A JAPANESE CLOISONNÉ KIKU AND FUYO BLOSSOMS BLOSSOMS IN THE STYLE OF NAMIKAWA SOSUKE VASE WITH BUTTERFLIES Japan, Meiji period (1868 - 1912) Japan, Meiji period (1868 - 1912) Japan, Meiji period Cloisonné with colored enamels Cloisonné with colored enamels (1868 - 1912) Cloisonné with colored Reserved on a deep blue ground are beautiful pink Depicting many blue and purple flowering iris blossoms enamels fuyo (rose mallow) above a dense spray of variously worked in wireless musen-schippo against a dark colored kiku blossoms (chrysanthemum) and blue celadon blue ground. Stylistically, this would be Reserved against a midnight morning glories. The reverse with a minimalistic Namikawa Sosuke. blue ground are depictions short growth of morning glories and a budding iris. of four beautifully executed Shape: Slender body with a long-tapered neck butterflies in various colored Shape: Ovoid shape with a long thin neck and Dimensions: 15.5 cm (height) enamels. outward flaring circular rim Condition: Mint condition Dimensions: 15.5 cm (height) Provenance: Austrian private collection Shape: Ovoid body with a Condition: Excellent condition tapered mid-section and Provenance: Austrian private collection Auction result comparison: For a similar cloisonné vase in short neck the style of Namikawa Sosuke see Doyle’s, Asian Works Dimensions: 10.5 cm (height) EstimateġEUR 400,- of Art, 19 March 2018, lot 2. Condition: Mint condition Starting price EUR 200,- Provenance: German private EstimateġEUR 400,- collection Starting price EUR 200,- EstimateġEUR 600,- Starting price EUR 300,-

156 157 158 159 A FINE JAPANESE CLOISONNÉ ENAMEL TEAPOT ATTRIBUTED TO A RARE, FINE AND SMALL JAPANESE CLOISONNÉ MILK JUG NAMIKAWA YASUYUKI (1845 – 1927) ATTRIBUTED TO NAMIKAWA YASUYUKI (1845 – 1927) Japan, Meiji period (1868 - 1912) Japan, Meiji period (1868 - 1912) Cloisonné with colored enamels Cloisonné with colored enamels

A fine, rich and diversely crafted teapot with a tapered spout and mo- Shape: Teapot with looped handle and curved tapered spout Decorated in similar style and part of the same set of tea utensils attributed Namikawa Yasuyuki (1845-1927) was one of the most famous and brilli- vable looped handle, a lid and three legs. All worked in gold and silver Dimensions: 16 cm (width), 16 cm (height with handle upright) to Namikawa Yasuyuki as no. 158 - all worked in gold and silver wire in the ant Japanese cloisonné artists. 1886 he was awarded the honorary title wire, the top section shows a band of floral and geometrical motifs. The Condition: Excellent condition form of a small jug with curved handle and three feet. With a continuous of ‘Teishitsu Gigeiin’ (artist-craftsman to the imperial household). main section with a continuous design of golden scrolling foliage with Provenance: German private collection design of scrolling foliage in gold in-between irregular reserves with many differently shaped reserves containing various designs in differently depictions of rain dragons, phoenixes and floral compositions. The handle Shape: Jug with curved handle colored enamels including butterflies, rain dragons, phoenixes and floral Auction result comparison: For two similar cloisonné teapots attributed worked with a similar design of scrolling gold foliage. Dimensions: 6.5 cm (height) elements. The lid with silver chrysanthemum handle shows further fine to Namikawa Yasuyuki see Bonhams, Fine Japanese and Korean Art, 21 Condition: Good, complete condition with expected wear to enamel floral compositions as does the looped handle which is attached with March 2018, lot 2226 and Galerie Zacke, Fine Japanese Art, 2nd June There are several known examples of teapots decorated in this style which Provenance: German private collection four silver chrysanthemum screws. Gilt metal fittings. 2018, lot 17. are attributed to Namikawa Yasuyuki (as no. 158) – however almost no milk jugs have been preserved, making this example exceedingly rare and EstimateġEUR 1.500,- Namikawa Yasuyuki (1845-1927) was one of the most famous and brilli- EstimateġEUR 4.000,- of great demand for anyone with the matching teapot. Starting price EUR 750,- ant Japanese cloisonné artists. 1886 he was awarded the honorary title Starting price EUR 2.000,- of ‘Teishitsu Gigeiin’ (artist-craftsman to the imperial household).

158 159 160 161 A LARGE AND FINE JAPANESE A JAPANESE WOOD AND TUSK VASE DEPICTING IVORY INLAID LACQUER YAMABUSHI WARRIOR STANDING SCREEN BY PRIESTS BY KOZAN SHUNKO Japan, Meiji period (1868 - 1912) Japan, 19th century Ivory with wood base Wood, lacquer, ivory, gold

Finely carved in high relief are A small, decorative tsuitate, three yamabushi warrior priests inlaid with wood and ivory in a trekking through a mountainous semi-sculptural manner showing landscape with pine trees, bamboo grotesque scenes on both sides. and a waterfall. They have made a One side shows a man struck stop while one navigates pointing with horror by a small monster, upwards, another stands with a reminiscent of a mokugyo temple staff in one hand and a war fan in altar bell in its shape, but with the other and the last one is tying eyes and paws. The man’s apron his laces. Their robes are intricately features foliage decorations, his carved and adorned, the details are belly appears like a monster’s stained with ink. Signature on the head and he has dropped a hossu, base of the trunk of the prominent a Buddhist attribute. The other pine tree – KOZAN with a red kao. side shows a man and woman; the Inscription in ink on the inside; bearded man has a long, cane- with original base. like nose resembling a is wearing a tatty umbrella as a hat. Shape: Elongated tusk shape His companion, with apish fur-like Dimensions: 22 cm (height without skin, shows with animal heads and base), 23 cm (height with base) carrying a heavy sack, is appalled. Condition: Good condition with The details in this depiction are minor wear to staining and a finely crafted. This side also shows natural flaw to the rim of the base the red painted signature SHUNKO Provenance: Austrian private ὲ ⬅ with a seal KO. collection Shape: Square shaped screen on a Auction result comparison: For two footed pedestal a pair of tusk vases in the same Dimensions: 23.5 cm (height) style and quality see Bonhams, Condition: Some chips on the Fine Japanese Art, 12 May 2016, frame and few fine age-cracks; lot 637. the images in very good condition Provenance: Austrian private EstimateġEUR 1.000,- collection Starting price EUR 500,- EstimateġEUR 1.000,- Starting price EUR 500,-

160 161 164 AN INLAID AND LACQUERED JAPANESE SHIBAYAMA STYLE GROUP CONSISTING OF AN AIDE MEMOIRE, A PURSE AND A MATCHBOX Ivory, lacquer, horn, coral and mother of pearl inlays Japan, Meiji period (1868 – 1912) or later

The aide memoire or card case in the form of a multi-sectional case 162 showing images of flowers and AN JAPANESE IVORY TUSK fearfully, as a wasp is trying to land on birds, kacho-e, on both sides. One FUDETATE BRUSH POT WITH FOUR its head. side shows a gilt tancho tsuru, or MONKEYS red-crowned crane, a symbol of Japan, Meiji period (1868 - 1912) Shape: Circular base, tusk shape longevity, surrounded by blossoms. Ivory Dimensions: 13.2 cm (height) The other side shows a bird on a Condition: Good condition with one branch with blossoms, inlaid with Rounded shape with curvature tiny age crack to on the side near the horn, coral and mother-of-pearl. corresponding to the material. The base There are several very flat sheets lively saru monkeys show amusing Provenance: English private collection between the two outer covers that expressions, with dense, colored fur open like a fan. The purse with metal 165 and very expressive, semi-sculptural EstimateġEUR 800,- hinge, ivory clasp and silk lining on TWO INLAID JAPANESE IRON eyes. The largest monkey is screaming Starting price EUR 400,- the inside. The front is lacquered in CIGARETTE CASES BY THE gold with a leafy branch on which KOMAI COMPANY a beetle and a butterfly sit – inlaid Japan, Meiji period (1868 - 1912) in horn and mother of pearl. The Iron with gold 163 rectangular matchbox with openable A FINE JAPANESE IVORY CIGARETTE fabric. The abbreviated characters of ivory clasp is elegantly inlaid in The first depicting a leafy CASE WITH MONKEYS the signature probably read SENDO ⭋ mother of pearl with fuyo blossoms bamboo stalk, the reverse with Japan, Meiji period (1868 - 1912) ⎴ to ↨. With seal. (rose mallow) beneath a butterfly; bamboo leaves – all finely inlaid Ivory the reverse similarily decorated. (3) in gold. The inside is signed Shape: Rectangular hinged case with with a gold seal Nihonkoku A rectangular cigarette case with metal clasp on the inside Shape: Various; see description Kyoto no ju Komai sei beneath a depictions of monkeys on the front and Dimensions: 9.7 x 5.7 x 2.3 cm Dimensions: Card case 7,1 x 4,2 cm; dragonfly. The second with two back. One monkey has its young on Condition: Very good condition Purse 5,2 x 4,2 cm; Matchbox 4,6 x kneeling Bijin Shape: One hinged square case, openable on the side; the other of the shoulder and is screaming fearfully, Provenance: From an English private 2, 7 cm elongated rectangular shape, openable on the top as a hungry insect is approaching. The collection Condition: Good condition with inlaid in gold and silver – their other monkey is staring at a blossom very minor wear to lacquer on the robes beautifully adorned with wDimensions: 8.5 x 7.5 and 5.1 x 9.2 cm it is holding with a butterfly flittering EstimateġEUR 400,- card case geometrical patterns. The Condition: The ‘bamboo’ case in fine condition with a good patina. The above. The hinge is made from metal Starting price EUR 200,- Provenance: English private reverse is decorated with two second case in good condition with only minor discoloration to the iron and the two clasps on the inside of collection golden cranes beneath a silver Provenance: Austrian private collection inlaid ; signed with EstimateġEUR 1.000,- gold seal Nihonkoku Kyoto no ju EstimateġEUR 500,- Starting price EUR 500,- Komai sei in a square reserve. (2) Starting price EUR 250,-

162 163 166 AN IMPORTANT AND MASTERFULLY EXECUTED JAPANESE LACQUER TEBAKO WITH MOUNT FUJI, DRAGON AND SEASHELLS Japan, (1603 - 1868) Lacquered wood

Published and illustrated with both sides in Thomas E. Kirby, The Art collection formed by the late Heber R. Bishop, New York, 1906 – catalogue number 1546.

One side of the cover is decorated with a view of Mount Fuji in gold and silver hiramaki-e with swirling clouds and hirame. In the middle there is a sensu (fan) with dense nashiji and on the other side many pine groves in silver and gold. The sides are decorated with shells and seaweed in silver and gold takamaki-e on a beautifully polished togidashi-e ground revealing varying shades of gold, silver and red; furthermore, hirame flakes all around. The inside with swirling waves and clouds with an inset tray depicting a golden dragon amongst swirling clouds, grasping an inlaid gold pearl, the underside with dense nashiji. This rare double-fan shaped tebako is exemplary for its many lacquer techniques and the setup – all three plains are represented with the sea on the bottom, the celestial dragon in the middle and the great Mount Fuji with pine trees on the top.

Shape: Double-fan shaped tebako Dimensions: 13 cm (width), 4.1 cm (height) Condition: Excellent condition, one tiny nick on the cover – restored to invisibility. Three small hairlines on the edges Provenance: From the important collection of Heber R. Bishop

EstimateġEUR 3.000,- Starting price EUR 1.500,-

Heber Reginald Bishop (1840 – 1902) was a noted businessman, philanthropist and an influential trustee of the Metropolitan Museum of Art in its formative years. He is well known for his superior taste and important collections, especially his jade collection which is published in two volumes and exhibited in the Metropolitan Museum of Art in New York. The two Japanese lacquer objects in this catalogue (nos. 166 and 167 come from his extensive and important lacquer collection.

Thomas E. Kirby, The Art Collection formed by the Late Portrait in Jade of Heber R. Bishop, 1898 - Courtesy Heber R. Bishop, New York, 1906, (engravings by G. E. of the Metropolitan Museum of Art, New York Burr)

164 165 167 A FINE AND RARE JAPANESE LACQUER TRAY SUPPORTED BY TWO KARAKO Japan, Edo period (1603 - 1868), 18th century Lacquered wood Published and illustrated in Thomas E. Kirby, The Art collection formed by the late Heber R. Bishop, New York, 1906 – catalogue number 1559.

The tray is decorated in dense matt and sprinkled gold with gold and silver hiramaki-e painting of ferns on a hillside with hirame. The border with floral foliage and the base with dense nashiji. The tray is supported by two joyful karako facing each other. Their robes are elaborately adorned in gold, silver and red lacquer with floral and brocade patterns. The sleeves of one boy decorated in Thomas E. Kirby, gold and silver hiramaki-e depicting various takaromono, The Art Collection the treasures associated with the seven lucky gods. Rare formed by the Late and beautifully executed composition. Heber R. Bishop, New York, 1906, Shape: Figural shape; the tray of flat, lobed form (engravings by G. Dimensions: 22.8 cm (width), 12.5 cm (height) E. Burr) Condition: Outstanding and fully original condition with one chip on the foot of one boy and a small scrape to the edge of the robe Provenance: From the important collection of Heber R. Bishop with collection no. 4048 on the base

EstimateġEUR 2.000,- Starting price EUR 1.000,-

166 167 168 171 A FINE AND ELABORATELY INLAID AND A FINE AND RARE LACQUERED JAPANESE PANEL DEPICTING LACQUERED THIRTEEN FROLICKING FROGS BY RYOSAI STRING KOTO, EDO Japan, Edo period (1603 - 1868) – 19th century PERIOD Wood, lacquer, mother of pearl, ivory, silver, Japan, Edo period (1603 gold, copper and soapstone – 1868), around 1800 or earlier All set on a wood panel in the form of a slightly Wood, lacquer and bone crumpled lotus leaf with a beautiful grain, is a depiction reminiscent of the Choju-jinbutsu- A traditional Japanese giga scrolls from the 12th-13th century. Three musical instrument frolicking anthropomorphic frogs wearing lotus (Koto). The wood with leaf skirts are inlaid in copper, silver and gold. a beautiful, unusually Many bull rushes surrounded by leafy stalks and swirling grain. Thirteen lilies are lacquered and inlaid in ivory or mother strings screwed up across of pearl. Two natural holes in the corner cleverly five small, movable used to imitate the partially rotting lotus leaf. bridges. The sides and margins decorated in gold Signed in a square soapstone reserve with seal hiramaki-e with scrolling signature RYOSAI 列㔶ĭ who must have been vines and flowers. The an artist with a multitude of skills as the panel ends inlaid, the lower with would have required a high level of skill in geometrical designs in metalwork, lacquer, inlays and carving. bone and precious stones, the upper with inlays and Shape: Lobed panel in the form of a lotus leaf a golden hiramaki-e bird. Dimensions: 63 x 43.5 cm Condition: Good condition with only very minor The ancestor of the koto wear to lacquer was the Chinese guzheng, Provenance: Austrian private collection the parent instrument of the Asian zither family, EstimateġEUR 1.000,- which spread from China Starting price EUR 500,- to a number of adjacent countries, also giving birth to the Japanese Koto, first introduced to Japan in the 7th and 8th century. The 169 original known version of A RARE GOLD AND BLACK LAQUER JIKIRO the Koto had five strings, (CEREMONIAL FOOD CONTAINER) eventually increasing to Japan, Edo period (1603 - 1868) seven and even more Lacquered wood strings. The present 170 instrument is therefore The exterior lacquered in matt black and A RARE LACQUERED TSUBA WITH FULL MOON AND one of the later improved elegantly decorated in gold hiramaki-e with GEESE BY YAMADA TSUNEYOSHI versions, with thirteen scrolling vines and flowers. The interior Japan, Edo period (1603 - 1868) instead of five strings. lacquered in red. Large food containers like this Lacquered wood were presented at important ceremonies or Shape: Thirteen-chord weddings and would have contained sweets or The edge of this tsuba in mokkogata (lobed form) is slightly instrument other delicacies raised. The images in takamaki-e with sublime relief on both Dimensions: 48 cm sides are set against a black-brown seido-nuri background (length) Shape: Large ovoid container with lid and and show a body of water with reeds, low-hanging clouds, Condition: Signs of age raised on a high pedestal foot the dark, silver full moon and birds in flight. One the side with minor chips and Dimensions: 26 cm (height with lid), 36.5 cm featuring the artist’s signature are two geese on the shore as losses, the base with (diameter) well as two flying upwards. Even the smallest details are very wear, scratches and a Condition: Small chips along the borders and finely worked; impressive accents in golden kinzogan; the small break – overall surface, one chip in the interior, subtle scratches idyllic nature of the scene is expressively poetic. The signature still very good condition and a crack on the interior red lacquer reads YAMA-DA Ⱉ 䓘 TSUNE-YOSHI ⷗ ▱ with a kao. This Provenance: Austrian Provenance: From an old Austrian private 19th-century lacquer artist is also known by the name SHO- private collection collection acquired before 1930 - with old KOSAI. collection numbers at the base Literature: Hugo’s window Shape: Lacquered mokkogata tsuba on the world of Chinese Auction result comparison: For a similar jikiro Dimensions: 8.2 cm (height) zheng. Chime. Leiden: with a different design see Bonhams, Fine Condition: Good condition with very minor nicks to the ed- European Foundation for Japanese and Korean Art, 12 September 2012, ges, restored to invisibility Chinese Music Research. lot 3323. Provenance: German private collection 16–17: 242. 2005.

EstimateġEUR 400,- EstimateġEUR 400,- EstimateġEUR 600,- Starting price EUR 200,- Starting price EUR 200,- Starting price EUR 400,-

168 169 172 A VERY LARGE AND IMPRESSIVE JAPANESE BRONZE STATUE OF KANNON Japan, Meiji period (1868 - 1912) Bronze

The goddess of mercy is standing tall on a lotus pedestal, her hands held in anjali mudra with praying beads around 173 them. Her robes are beautifully incised with various A VERY LARGE ‘LOTUS AND ELEPHANTS’ FOUNTAIN floral elements and scrolling foliage and she bears an (133 CM) accomplished dignified expression. Japan, Meiji period (1868 – 1912) – late 19th century Bronze An exceedingly fine casting in which the carving is minutely executed, with a sense of delicacy and The fountain consists of three parts, massively cast in refinement that extends to the smallest detail. bronze with a dark, almost black patina The face of Kannon is superbly meditative. Her gesture that is said to provide connection with the divine in all Three conjoined elephants stand on a hexagonal plinth, things. Hence, performing anjali mudra is a honoring of which is decorated with finely carved dragons in reserves. both the self and the other as the gesture acknowledges The elephant’s tusks, legs and trunks all naturalistically mo- the divinity of both practitioner and recipient. The sign delled, with a good eye for the fine and important details, is used to invoke the deepest respect that an individual adding resilience to the imposing yet peaceful appearance may feel towards another entity that they may face, of this stunning piece of Japanese garden architecture. The irrespective of age, gender, race or religion. upper part of the fountain consists of a lobed, veiny lotus Around the face are incised locks of hair surmounted flower, with a capacity of at least 100 liters. by a crown of Hibiscus flowers, a homage to the Hindu goddess Kali, destroyer of all evil. Over this crown is Taking into account the salient provenance of this foun- a draped hood of her robes, which fall in perfect arcs tain, it is most likely that it was originally brought to and loops to the base of the stepped lotus throne with Austria as a key exhibition object for the Japanese garden gathers of fabric thinned at the edges to suggest silkiness at the Vienna World Fair from 1873. This open-air garden and transparency. was the most admired and prized part of the Japanese pavilion and consisted of artificial water courses, bridges, Shape: Figural shape with a square base and lotus bamboo groves, and shrines. It soon became a pedestal center of attraction at the world fair, because it was actu- Dimensions: 68 cm (height) ally the first time in history that Europeans were given the Condition: Excellent condition with beautiful patina opportunity to study Japanese garden architecture, with Provenance: French private collection all is elementary components, such as the ever obligatory stone lanterns and lotus fountains. EstimateġEUR 1.500,- Starting price EUR 750,- Shape: Hexagonal base with three elephants in the center and a large lobed lotus leaf on top Dimensions: 133 cm (height) Condition: Superb, fully original and complete condition – fine patina and natural wear, some traces of use Provenance: From an important Austrian private collection, acquired before 1930, in which several bronzes from the Vienna World Fair from 1873 have been both recorded and published

Literature: Jutta Pemsel, Die Wiener Weltausstellung von 1873, Chapter ‘Großereignis Weltausstellung’, Böhlau publishers, Vienna/Cologne 1989, page 41; Degree dissertation Anna Minichberger, University of Vienna.

EstimateġEUR 3.000,- Starting price EUR 1.500,-

A bronze lotus fountain, in situ in a typical An image from a section of the Japanese Japanese garden, Kyoto, this example lacking garden at the Vienna World Fair in 1873 the three elephants supporting the basin

170 171 JAPANESE MEIJI BRONZES Lots 172 and 175

172 173 174 A RARE AND COMPLETE JAPANESE TATAMI-DO GUSOKU ARMOR Japan, Edo period Iron, fabric, wood, leather and lacquer

An impressive and complete armor set – the iron kabuto with five lame shikoro held together by blue fabric laces. The maedate of gold lacquered wood in the shape of a crescent moon. The hanbo of black lacquered iron with the inside lacquered in red and four lame yodare-kake (throat guards). The chestpiece ‘do’ with kusari (mail) with several arranged rectangular brown lacquered iron plates. The shoulder pads sode, forearm-guards kote with handguards all similarily arranged in kusari with iron plates. The thigh-coverings haidate with kusari with an iron chrysanthemum by the end, and the shin guards sune-ate with four vertical iron bands above a blue fabric with beautifully woven brocade pattern.

Shape: Complete tatami-do gusoku armor Dimensions: 177 cm (height) Condition: Good and complete condition with wear consistent with age and use (wear to lacquer, leather and iron), some minor losses Provenance: Hungarian private collection

Auction result comparison: For a similar armor with red lacquered plates see Bonhams, Antique Arms and Armor, 11 May 2016, lot 2.

EstimateġEUR 2.000,- Starting price EUR 1.000,-

175 A FINE AND LARGE JAPANESE BRONZE OF A Shape: Figural shape, rectangular straw mat ZORI SANDAL MAKER TAKING A SMOKING Dimensions: 43 cm (height), 41.5 cm (width) BREAK BY TAKAHASHI RYOUN Condition: Good condition with expected wear Japan, Meiji period (1868 - 1912) and fine patina, the tip of the kiseru is lostand, a Bronze small section of one foot is worn off Provenance: Austrian private collection The old man is seated on a straw mat, pensively smoking his kiseru while holding his tobacco Auction result comparison: For a large bronze by pouch with ashtray netsuke in the other hand. the same artist see Bonhams, Fine Japanese Art The unfinished zori sandle is tied to his foot, a including two Masterpieces by Kitaoji Rosanjin finished sandal is next to him. Particularly the (1883 – 1959), 7 November 2013, lot 556. expressive facial features and his garments are finely cast. Signed with a seal in a square reserve EstimateġEUR 2.000,- on the base – TAKAHASHI RYOUN 檀㧳ⅴ暚 Starting price EUR 1.000,-

174 175 178 A TANTO BY KUNIYOSHI Japan, Edo period (1603 – 1868) (blade and koshirae)

Blade 176 177 Even shape with iori mune and bohi, nakago with two mekugi- A TANTO IN A LACQUERED SAYA DEPICTING A DRAGON AN AIKUCHI DAGGER ana, kiri jiri. Mei (signature) HO 寸 KUNIYOSHI ⚗ ⎱, Ho being an Japan, Edo period (1603 - 1868) (blade and koshirae) Japan, Edo period (1603 - 1868) (blade and koshirae) abbreviation for Bungo or Buzen province. Swordsmiths named Kuniyoshi worked in both of these provinces. Blade Blade Shobu tsukuri with quadruple hamon, very lively and approaching toran-ba. Nakago Straight shape with iori mune. With a laminated Japanese expertise. with one mekugi-ana, kiri yasurime and kuri jiri. Koshirae Koshirae Koshirae Saya and tsuka with green-grey and partly black The iron tsuba has an oval shape and is flat on both sides, with one Gilt habaki with neko-gaki and decorative carving. Black lacquer saya and tsuke with lacquer finish. Copper kojiri and fuchi-kashira with silver hitsu-ana and a wavy structure. Iron fuchi-kashira with landscape a dense, fine-grained structure and depictions in relief and partly with red lacquer. takazogan, showing clouds in different shapes, possibly motifs and some gold nunome and tenzogan. Both menuki with The saya shows a grim, scaled dragon surrounded by red flames. There is a signature depicting various animals. With mounting eyelet. gilt hoho (phoenix). Kuro-urushi finished saya. towards the end of the saya. The tsuka shows three figures, one with a peach on his head, presumably the “Peach Boy” Momotaro. Horn fuchi-kashira and koiguchi. Dimensions: 16.2 cm (nagasa), 28.7 cm (total length) Dimensions: 26.2 cm (nagasa), 44.5 cm (total length) Condition: The blade in very good condition with only Condition: The blade in good condition, with very minor blemishes Dimensions: 17.7 cm (nagasa), 29.2 cm (total length) minor surface scratches. Parts of the nakago are missing. and tiny nick to the blade edge. The koshirae in good condition Condition: The blade in very good condition with only very minor wear. The koshirae in complete condition, but with a worn with minor wear to lacquer. The kozuka is missing. The koshirae in excellent condition. lacquer surface. Provenance: Hungarian private collection Provenance: Hungarian private collection Provenance: Austrian private collection EstimateġEUR 1.500,- EstimateġEUR 600,- EstimateġEUR 400,- Starting price EUR 750,- Starting price EUR 300,- Starting price EUR 200,-

176 177 179 180 A WAKIZASHI BY YUKIMITSU A TACHI WITH LACQUER AND MOTHER OF Japan, Edo period (1603 - 1868), late 16th century (blade); PEARL SAYA Edo period (1603 – 1868) (koshirae) Japan, late Sengoku (1477 – 1573) to early Edo period (1603 - 1868) (blade); c. 18th century (koshirae) Blade Shinogi-tsukuri with iori mune, probably suguha hamon. Blade Nakago with one mekugi-ana, sujikai yasurime and ha- Shinogi tsukuri with iori mune, suguha hamon with agari kuri jiri. Signed Bishu Osafune YUKIMITSU ⸠ ⃱ , nie, possibly itame-masame hada. The nakago has Bishu Osafune referring to the place and province as well three mekugi-ana, two of which are closed. One of as Bizen Osafune, one of the top sword making schools the holes is very close to the kiri jiri end of the nakago, in Japan during the 14th and 15th centuries. suggesting it was shortened from tachi length to that of a katana. Koshirae Round, iron tsuba with two hitsu-ana, carved in relief Koshirae with crashing sea waves, dense clouds and the claws, Mokkogata tsuba with two hitsu-ana, one of tail and head of a dragon. Shakudo fuchi-kashira with them closed, carved in relief with a landscape fine nanakoji in takazogan with gold, showing a resting with mountains, waters, temples, pavilions and warrior in armor – judging from his facial expression, wanderers. Iron fuchi-kashira inlaid with gold and it could be benkei – and a floral composition with copper, showing a warrior and a horse. The menuki blossoms. Beautiful saya with very dense inlaid mosaic of shows dragons coiled around a ken sword. The saya mother-of-pearl shimmering in different colors. features mother-of-pearl in different colors, finished with kuro-urushi. Dimensions: 44.9 cm (nagasa), 80 cm (total length) Condition: The blade extensively worn. The koshirae in Dimensions: 67.5 cm (nagasa), 95.8 cm (total length) good condition with a larger crack through the saya. Condition: The blade shows several blackish kizu, Provenance: Austrian private collection possibly from the forging process or due to age, which appear like corrosion. The koshirae is in good condition. EstimateġEUR 1.500,- Provenance: Hungarian private collection Starting price EUR 750,- EstimateġEUR 1.800,- Starting price EUR 900,-

178 179 182 A TACHI WITH LACQUER `ICE CRACK´ SAYA Japan, early Edo period (1603 - 1868) (blade); late 17th to 18th century (koshirae)

Blade Shinogi tsukuri with iori mune, gunome hamon with nie, itame-masame hada. The nakago features two mekugi-ana and has an appealing structure due to aging. The barely visible yasurime are partly sujikai and partly kiri. The nakago jiri is kiri.

Koshirae Iron sukashi tsuba with wavy border and openwork, with both hitsu-ana and a motif of prunus flowers. The fuchiI and tsuka-gashira engraved with floral designs. The menuki shows a berry-like fruit with foliage. The saya is finely crafted lacquer with a dark brown color and a yellowish pattern with an ‘ice crack’ effect.

Dimensions: 65.7 cm (nagasa), 105.5 cm (total length) Condition: The blade shows several blackish kizu, possibly from forging. The koshirae in excellent condition with only minor fading to lacquer Provenance: Hungarian private collection

EstimateġEUR 1.800,- Starting price EUR 900,-

181 183 A WAKIZASHI BY KATSUYOSHI A WAKIZASHI Japan; c. 17th century (blade); Edo period (1603 – 1868) Japan, mid-Edo period (1603 - 1868) (blade); (koshirae) probably Muromachi period (1336 – 1573) , 15th-16th century (koshirae) Blade Shinogi tsukuri with iori mune, choji-midare hamon. The Blade nakago is ubu and features an ana, sujikai yasurime and Shinogi tsukuri with iori mune, der notare iriyamagate jiri. Signed on one side Yamamoto Musashi hamon with nie, itame hada. Nakago with large no Minamoto KATSUYOSHI ⊅ ⎱. Hawley lists three mekugi-ana, mumei, kuri jiri, no yasurime. swordsmiths who signed their work in this way, all of whom lived in the 17th century. This sword was probably Koshirae crafted by the swordsmith from Echizen. The round, iron ko-toshoi tsuba with sukashi and a hitsu-ana is flat on both sides and shows Koshirae an openwork ume blossom (prunus). Shakudo Square iron tsuba with rounded corners, a relief border fuchi-kashira with very fine nanakoji and a floral and two hitsu-ana, carved in relief with a large shishi, its depiction with gilt nunome. One menuki shows head on one side and a part of the back portion of its a male figure with a cow, while the other body on the other, below the signature UNZAN 暚 Ⱉ and shows a sage or immortal. Lacquer saya with Kao. Shakudo fuchi and tsuka-gashira with fine nanakoji fine-grained structure, the upper third with and gilt borders as well as metal parts on the saya. mother-of-pearl as well as a flat, black-lacquer The menuki show beetles. The kozuka handle shows a ribbing. blossom, foliage and a shishi. Dark grey lacquer saya with a fine-grained structure. Dimensions: 37.5 cm (nagasa), 56.3 cm (total Dimensions: 49.6 CM (nagasa), 76.5 CM (total length) length) Condition: The blade in very good condition with only Condition: The blade in good condition, with very minor surface wear. The koshirae is in overall good very minor blemishes and scratches to surface. condition. The koshirae in excellent condition, with minor Provenance: Hungarian private collection wear to lacquer. The kozuka is missing. Provenance: Hungarian private collection EstimateġEUR 1.500,- Starting price EUR 750,- EstimateġEUR 1.500,- Starting price EUR 750,-

180 181 184 A MINO WAKIZASHI ATTRIBUTED TO KANEMOTO Japan, 17th century (blade); Edo period (1603 – 1868) (koshirae)

Blade A magnificently crafted blade in shirasaya with a characterful o-kissaki! Shinogi tsukuri with mitsu mune, gunome-midare hamon with nie und in part sunagashi, distinct nokogiri on the kissaki. Nakago with two mekugi-ana, kiri jiri and mixed yarusime.

Includes expertise from the NBTHK from 2016, which attributes this blade to KANEMOTO ℤ ⃫, who worked in Mino during the 17th century.

Koshirae An iron sukashi tsuba with an abstract depiction of two rain dragons whose legs form the two hitsu-ana. Iron fuchi and kashira, decorated with gilt foliage. Both menuki show scaled dragons which presumably coil around the blade. Saya with elegantly gleaming kuro-urushi with smooth ribbing throughout. Brocade cover with gold and floral decorations.

Dimensions: 44,8 cm (nagasa), 69.5 CM (total length) Condition: The blade in excellent condition with only very minor wear, recently polished. The koshirae is in very good condition, apart from a minor chip on the saya. The kozuka is missing. Provenance: Hungarian private 185 186 collection A KATANA ATTRIBUTED TO A KATANA KANENOBU Japan, mid-Edo period (1603 - 1868) (blade); EstimateġEUR 4.000,- Japan, , c. 17th to first half of 18th c. 18th century (koshirae) Starting price EUR 2.000,- century (blade) Blade Blade Shinogi tsukuri with iori mune, the hamon is part Shinogi-tsukuri with iori mune, choji- suguha and possibly notare, but hard to clearly midare hamon and masame hada. identify. Ubu nakago, mumei, with a mekugi- Nakago with a large mekugi-ana, mumei, ana, yasurime kiri, kiri jiri. kuri jiri and o-sujikai yasurime. Koshirae Includes expertise from the NBTHK from An iron sukashi tsuba, flat on both sides and with 2013, which attributes this blade to two hitsu, showing an ornamental, abstract motif of KANENOBUġℤġᾉ, who worked during the longevity mushroom. Shakudo fuchi and kashira the Shinto period. with the finest nanakoji, the motifs in partly gilt takabori depict ten horses in a lively manner. Both Koshirae menuki show the longevity symbols tsuru (crane) and Silver habaki with neko-gaki, the entire minogame (turtle). The black lacquer saya has a fine sword in wood shirasaya, black horn mokume structure. koiguchi and fuchi. Dimensions: 62.2 cm (nagasa), 96.7 cm (total length) Dimensions: 52.3 cm (nagasa), 75.3 cm Condition: The blade in good general condition (total length) with expected wear – minor corrosion and surface Condition: The blade in very good scratches throughout. Minor blemishes and the hada condition with only minor expected wear difficult to recognize. The koshirae is in excellent Provenance: Hungarian private collection condition. Provenance: Hungarian private collection EstimateġEUR 1.000,- Starting price EUR 500,- EstimateġEUR 1.800,- Starting price EUR 900,-

182 183 187 A KATANA Japan, possibly Muromachi period (1336 – 1573), around 14th century (blade); c. 17th century (koshirae)

Blade Shinogi tsukuri with iori mune and a koshi-hi up to the nakago, gunome-midare hamon and masame hada. The nakago is suriage, with two mekugi-ana and kiri jiri.

Koshirae The oval iron namban tsuba with both hitsu-ana and openwork, showing a complex composition with two dragons chasing a flaming pearl. Iron fuchi and tsuki-gashira with gilt borders. Shakudo menuki with gold, showing foliage. Saya with black lacquer in a gilt leather cover. The handachi koshirae shows decorative, black-lacquered details.

Dimensions: 60.6 cm (nagasa), 89.6 cm (total length) Condition: The blade in good condition, considering the age – some blemishes and kizu. The koshirae shows signs of wear which are normal for its age. Provenance: Hungarian private collection

EstimateġEUR 1.800,- Starting price EUR 900,-

Lot 10 A RHINOCEROS HORN ‘HIBISCUS’ LIBATION CUP, MING DYNASTY, 16TH / 17TH CENTURY

184 1070 VIENNA AUSTRIA MARIAHILFERSTRASSE 112

Tel +43 1 532 04 52 Fax +20 E-mail offi[email protected] www.zacke.at