Fine Asian Art - Galerie Zacke

Transcription

Fine Asian
Art
AUCTION
May 14
2015
English Version
IN THE GRIENSTEIDL VIENNA 1
MICHAELERPLATZ
Entrance Schauflerg. 2
zacke
kohlmarkt vienna
Please find additional images at www.zacke.at
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1
ARCHAIC AXE BLADE YUE
Bronze. China, presumably late Shang-dynasty, approx.
12th to 11th cent. BC
A rare small yue blade with strong green patina. The
sides of the blade obtusely angle outwards, the upper
edge is cornered, a flat protrusion above. In the upper
part of the blade, two sided relief decor offering multiple
abstract archaic dragons* with spirals and check marks
within a rectangular reserve. An elevated point (eye?)
holds a small gold inlay – a clue to the item’s function as
a burial object. Presumably from the Anyang area (last
capital of the Shang), good condition consistent with
age. HEIGHT 11,4 CM, WIDTH 7,7 CM
* A ge blade with an equal decorative reserve (although
with openwork elements) and matching time of origin is
published in „Chinesische Bronzen“ by Deydier, Nr. 71
From a South German private collection, acquired
approx. 40 to 50 years ago in Asia
Rufpreis / Starting price EUR 600,(Schätzpreis / Estimate EUR 1.200,-)
5
VESSEL IN HU-FORM
Glazed Ceramic. China, Han-Dynasty (206 BC - 220 AD)
Extraordinarily well-preserved black-brown glaze! Tall,
elongated form with a high conical foot, a tall neck
with a vaguely flared, wide mouth. Numerous ribs on
the body as well as two taotie masks featuring rings.
Beautiful deep colour tone of the glaze with faint traces
of weathering, but very clear on the unglazed bottom
with large indentations from firing stilts. These vessels
functioned as burial objects. HEIGHT 42 CM
From an Austrian private collection
6
2
ARCHAIC TRIPOD VESSEL WITH HANDLES
Bronze. China, early Western Zhou dynasty, approx. 10th
to 9th cent. BC
Rare small tripod vessel of the type ding, on slightly
curved legs which are hollow on the back. These are
interconnected by pronounced arched lines on the
bottom of the vessel. This triangle encloses another
smaller triangle, composed of lines arched in the
opposite direction. The dense bulging body holds two
delicate ribs and has a gently flared mouth, with two flat
handles projecting vertically from it. In part strong deepgreen patina as well as encrustations. Very expressive of
its age and craftsmanship at the time! HEIGHT 14 CM,
DIAMETER 13,7 CM
3
ROUND MIRROR
Bronze. China, possibly Eastern Han dynasty (25 - 220)
An interesting bronze mirror with a decorative relief in
several circling fields emerging from a central knob with
a loophole. Around these, circular heaven-symbols, then
stylized characters circling throughout, as well as ribbed
borders. The broadest field thereafter with four flowershaped direction symbols, floral patterns and various
animals such as turtle/snake (= deity of the north), tiger,
phoenixes etc… Following that are ribbed and jagged
borders. Strong, primarily green patina-formation with
encrustations; on the mirror side, due to special alloying
and former polish, also extensive clear areas. Typical
style for the specified time. DIAMETER 21,5 CM, EDGE
THICKNESS UP TO 5,7 MM
From a Hungarian private collection
Rufpreis / Starting price EUR 400,(Schätzpreis / Estimate EUR 800,-)
4
All items starting above 1300 EUR are checked by the Art Loss Register
is a modern museum on site, which exhibits the most
significant objects from this 4th Han-emperor’s tomb –
among others, also a few “Stickwomen”
Rufpreis / Starting price EUR 1.000 ,(Schätzpreis / Estimate EUR 2.000,-)
FEMALE „STICKMAN“-FIGURE
Painted terracotta. China, Western Han dynasty, 2. cent. BC
Highly rare female figurine corresponding to the socalled “stickman” from the area Yangling, grave tumulus
of emperor Jingdi (157 – 141) in Xi’an. In its shafts,
these pole-shaped human sculptures formed the army
and court. The male “stickmen” are consistently found
on the art market, however, female figures unalike, are
rarer. They were originally clothed; the arms are missing,
as they were movable elements made out of wood and
decayed over time. The sexual characteristics of this
female figure are depicted precisely, the breasts small.
The grey terracotta was painted in flesh colour, the hair –
here with knots – black. HEIGHT 53,7 CM
Note: The 7 to 8 meter deep shafts intended for the
“armies” were secured with wood-constructions and
roofed. From this point onward, the burial site was left
unattended and not maintained anymore. Consequently,
everything began to rot away, caved in and over
millennia completely filled with earth (loess). Today there
HORSE
Terracotta with paint. China, Han dynasty, approx. 2nd
cent. BC
A well over 2000 year old horse from a burial site,
originally crafted with wooden legs (decomposed).
Good expressive head with large dark eyes, ears sharply
pointed towards the back (tufts of hair missing). The
colour paint on top of the white base surface is wellpreserved in many places and shows a horse tack and
tassels, as well as partly unrestrained and dynamic
decorative details. Restored and gracefully mounted on
a well-fitted acrylic glass base. HEIGHT (WITHOUT BASE)
23,3 CM, LENGTH 30,3 CM
Rufpreis / Starting price EUR 1.000,(Schätzpreis / Estimate EUR 2.000,-)
7
CANINE
Terracotta with old paint. China, Eastern Han, 25 to 220
Very rare specimen of an approximately 1800 year old
dog! He is standing on four legs and ducking down
slightly, with pointed ears and a raised back. The tail
curls forward, has volutes at the end and forms a handle.
Volutes also form the motifs in the old paint, rendered
in black and red colour on a formerly white base. The
dog carries a sort of harness, hence the belt with eyelet
on the neck, by which he could be walked. Considering
its age, the paint is remarkably well-preserved. Very vivid
face! An opening remaining from the firing process on
the bottom. HEIGHT 28,3 CM, LENGTH 36 CM
From a North German private collection
8
THREE HORNED MYTHOLOGICAL BULL
Terracotta. China, Han dynasty (206 BC – 220 AD) or
after
A rare and powerful mythological creature resembling a
short-legged bull. The head with large eyes hangs low
and three prominent horns protrude from between the
forehead and neck. Three button-shaped ornaments on
the back, the tail curled up in the air. Three legs stand
flat on the ground, while the forth on the back appears
to be in a forward-stepping motion. The legs show skilful
modelling by knife. Remnants of former paint coating, a
firing hole on the abdomen. LENGTH 44,4 CM
From a North German private collection
9
HEAD OF A BODHISATTVA
Yellow-grey stone. China, Northern Wei dynasty (386 –
534)
Despite the stone’s exposure to weathering, the fine
facial features remain entirely preserved and allow us
to recognize the distinctive elements of the Wei style,
precursor to the Sui dynasty (followed by the Tang).
The full round face reflects the inner withdrawal and
projects the positive disposition of a bodhisattva. No
further nominal attribution can be made here, as the
head is the only surviving component. The bodhisattva
wears a crown-like diadem with floral elements, a large
decorative element to the effect of an emblem at the
front, presumably a stylised flaming pearl in front of a
sun disc. HEIGHT 18,3 CM
From an Austrian private collection, acquired around
1970 from the collection of Beowulf Klebert
10
STELE WITH BODHISATTVA AND COMPANIONS
White marble. China, presumably Northern Wei dynasty
(385 – 535)
A group standing on a rectangular base in front of a
nimbus with finely rendered details. A larger figure
in the center presenting the Buddhist bodhisattva
Avalokiteshvara, known as Guanyin Pusa in China,
flanked by small acolytes, all with a halo and flaming
background. A vase and lions on the front of the
base, both indications of the named bodhisattva. An
inscription on the back. Remnants of red colour as well
as earth. HEIGHT 26,8 CM
From a German private collection
11
TWO HEAVENLY MUSICIANS
Grey stone. China, presumably Northern Wei dynasty
(385 – 535)
Two flying apsaras, female half-goddesses regarded to
be the wives of Gandharva, who also resides in heaven.
They dance, play music and are considered “angels”
in Buddhism. Delicately formed and smiling faces. One
apsara is playing on a lute, the other holding a vessel
with both hands. The long robes waft in the wind. Signs
of age, bruises on exposed areas. One of the apsaras
retains a beautiful polish in some of the intact areas.
Both angels are mounted on fine black metal bases.
LENGTHS 15,8 (HEIGHT 18,1) AND 19,6 CM
From a Canadian private collection
12
TRIPOD COSMETICS BOX WITH
ELEPHANT FEET AND COVER
Bronze, wood, lacquer technique.
China, Eastern Han dynasty (25 – 220)
An exquisite specimen showcasing meticulous
craftsmanship, a rare find in good condition. The
cylindrical vessel has a domed cover and stands on
three zoomorphic legs portraying elephant feet, each
embellished with an elephant head at the top. They
are mounted to a bronze ring running along the entire
bottom edge of the vessel. Another ring reinforces the
vessel’s mouth and two taotie masks featuring movable
rings flank the sides. The lacquer work demonstrates the
unmistakable Han style, executed in deep-black, cinnabar
and a damp-yellow. The primarily linear, although at
the same time abstract motifs – spirals, horns, eyes and
animals – parallel a combination of bird and snake. The
inside of the vessel and its cover offers comparatively
naturalistic birds in elegant poses, partly inter-linked
with creative line decorations. The stepped cover holds
exclusively geometric patterns on the outside and also a
metal openwork mounting with an attached ring on top.
The bronze elements again show the distinct style of
the Han period and are coated (partly corroded in some
places) by a green patina consistent with their age. Both
taotie masks are elegantly detailed and mirror the style
of the Zhanguo period (approx. 3rd cent. BC). The lacquer
work is remarkably well-preserved, coheres stylistically to
its time of origin and presents masterful workmanship.
The painting is largely rendered in lines applied by hand
with sovereign precision. Other lacquer work finds
from the Han dynasty we have obtained in the past
also displayed this quality, which never ceases to amaze
us and certainly correlates to the pinnacle of lacquer
painting at the time.
Concerning the condition: Depending on the
circumstances at the burial sites (humidity, soil acidity,
etc…), the state of the excavated material can vary
greatly. Lacquer is generally more resistant than a lot of
other materials (excluding glazed ceramic fired at a high
temperature). Lacquer derived from trees fundamentally
behaves similar to artificial synthetics or plastic. If an
object such as this remained in a relatively dry tomb
(areas of loess soil receiving little precipitation), then its
good condition following two thousand years beneath
the surface may be rare, but nonetheless explainable. In
contrast, the bronze elements of the vessel clearly reflect
the prolonged exposure to earth. HEIGHT 16,8 CM,
DIAMETER 21,5 CM
This item was obtained from a German collection and
previously acquired from an investment firm situated in
Hong Kong
13
BODHISATTVA STANDING LOTUS
(385 – 535)
A stepped, round and elegant lotus pedestal. A
bodhisattva standing bare-footed on top, in a heavily
creased robe. He is wearing a crown with ribbons falling
down to the shoulders and metal gear on the chest. A
lotus bud in the elevated hand and a disc in the lower.
These attributes are an indication of the bodhisattva
Avalokiteshvara (Guanyin in China). Remnants of red
paint (primer) as well as earth encrustations. Light
weathering and bruises on exposed areas, otherwise
good condition and complete. HEIGHT 40,9 CM
14
BUDDHA STANDING ON LOTUS
(385 – 535)
Buddha Shakyamuni (Shijiamouni Fo in China) standing
upright on a neat round lotus pedestal. The long robe is
elegantly rendered with gentle flowing creases. Also of
special note is the “spherical” relief of locks in the hair or
on top of the ushnisha. Very mild, finely executed facial
expression. Overall, the spiritual appearance is effectively
conveyed by the white marble. Remnants of red paint
(primer) as well as earth encrustations. The hands and
partly also lower arms are missing, otherwise good
condition and complete. HEIGHT 41,3 CM
15
STANDING HORSE WITH SADDLE
Painted terracotta. China, Tang dynasty (618 – 907)
A stately and tall standing horse with a characterful
head, on a large red platform. Vivid and realistic
depiction, rarely displayed by Tang horses at this level of
quality. The large legs stand slightly slanted, almost as
if the animal is about to leap into the air. A tall curved
neck, mane forming a ridge, ears pointed towards the
front, typical Tang period head in very realistic and
expressive style with large eyes and an elongated form
with an open mouth. The saddle sits on a colourful
saddlecloth with a floral design. The horse is mostly
red, the shackles and forehead were originally white.
Complete aside from the tail and a queue of hair
on the forehead. Firing hole on the abdomen, earth
encrustations. HEIGHT 52,6 CM
16
RUNNING MYTHICAL ANIMAL QILIN
Gold and gilding. China, presumably Tang to Liao
dynasty (until 12th cent.) or later
A supremely fine rendition of a vivid miniature work
crafted entirely using gold plating and wires. The whole
body is composed of fine braided wires allowing just
enough space to see through the structure – fascinating
workmanship! The back is jagged, the tail with a flaming
pearl tassel. The head is movable, resembles a ferocious
dragon and is comprised of numerous parts. The qilin,
the Chinese „unicorn“, has nothing in common with our
unicorn and symbolizes universal benevolence as well as
peace. LENGTH APPROX. 4,5 CM
17
SMALL FOOTED BOWL WITH COVER
Gold. China, presumably Tang to Liao-dynasty (until 12th
cent.)
Round, almost globular bowl with lid and flared foot.
The very fine décor is on the applied gold wire and
shows wide-arched, curved vines with flowers. Within
the flat areas are fine covered with applied gold grains,
the flower contours are unconfined. On the uppermost
point of the domed cover is a flying semi-plastic bird.
HEIGHT 5,1 CM, DIAMETER 6,3 CM
21
PAIR OF SILVER BEAKERS WITH HUNTING SCENES
Silver and gilding. China, presumably Tang dynasty
(618 – 907)
A pair of very finely worked beakers on wide flared feet,
with a flared mouth respectively and bodies divided
into sections by circulating bands. Animated hunting
scenes in the main sections – figures riding on horses
drawing their bows and wild animals fleeing away. Decor
with vines in the narrow sections and on the foot. All
depictions are gilded, the fill-pattern finely chased. One
beaker slightly slanted, very good condition for their age
and complete, patina. HEIGHTS 7,3 CM, DIAMETER 6,6
CM
A similar example can be found in the Museum of
Shaanxi Xi’an, also with hunting scenes and almost equal
in size, excavated at Hejiacun near Xi’an.
goods of a noticeably wealthy family. These figures
formed entire rows, each with an object in its hands.
They are shown here standing on high hexagonal bases
with six stepped and lobed legs in openwork. Above
them respectively, a sturdy lotus pedestal. The lady has
a floor-length robe and a black skirt over it, holding
a deep bowl with both hands in front the chest. On
the detachable head is a round hat with a decorative
accessory. The man wearing a tall official’s hat also has a
floor length robe, although it is primarily black and also
shows the shoes. He is carrying a board or book in front
of his chest with both hands. Also his head is attached
and can be spun.
The condition of both figures is consistent with their age,
original and complies with that of items from old burial
sites, therefore mild weathering as well as remnants of
soil or encrustations are present. However, the overall
condition is impressive. Both figures are in separate
large, well cushioned, fabric covered boxes, each head in
a separate compartment. HEIGHTS CA.57 CM
33
29
VESSEL WITH LANDSCAPE,
SCHOLARS AND PAVILLONS
Porcelain with underglaze blue. China, 17th cent.
An attractive blue-white vase from the late Ming dynasty,
richly painted with varied depictions. A six-faceted body
encompassed by a landscape painting with high rocks,
streaming waters and trees. Servants, two humorous
horses as well as a group of scholars – or wise men – in
long robes, closing in on a pavilion. Atmospheric and
vivid depiction, lapped reserves on the shoulder with
lotus flowers between vines. Floral decoration on the
level hexagonal neck. Signs of age on the lip, small
encrustations on the glazed bottom. HEIGHT 24,4 CM
30
18
RARE SPHERICAL CENSER XUNQIO
(618 – 907) or after
A sphere entirely in openwork, can be flipped open
and suspended. Functioning hinge and clasp. Movable
spherical rings on the interior, as well as a gilded and
likewise movable but gimballed bowl (always stays
level) for incense. The motifs on the exterior consist of
dense compositions of tendrils, grapes and birds, all
with spread wings. A central stylized flower on top and
bottom respectively. The décor motifs are gilded. These
special censer spheres, which were evidently very popular
during the Tang period, are known as Xunqiu 啘䎫 and
were used to scent garments. They could be suspended
in a room or worn. DIAMETER 6,1 CM
A similar but marginally smaller example is published in
the exhibition catalogue “Chinas goldenes Zeitalter”, cat.
no. 52, Dortmund 1993. Or in the Rietberg Museum,
catalogue “Chinesisches Gold und Silber”, Uldry
collection, Zurich 1994. Another similar example is in
the historical Museum of Shaanxi in Xi’an, also slightly
smaller and excavated at Hejiacun near Xi’an.
19
RARE SILVER FROG
(618 – 907)
An extraordinarily rare, elaborately crafted and wellpreserved specimen of a humorous three-dimensional
frog! A body with an ovoid form, large button eyes,
slightly open mouth. The front legs are stretching out
forward, the hind legs firmly on the ground, ready to
jump. The outstanding chased decor is fine and offers
gilded grapes, as well as leaves and vines. LENGTH 8,1
CM
20
HEAD OF THE GODDESS GUANYIN
Stone with colour coating. China, Liao dynasty (912 – 1125)
A very rare and appealing example of a well-preserved
head in the unmistakable Liao style* and also from the
period. The oval concave facial plane offers narrow,
curved and slanted eyes, a notably small nose and
mouth, the latter embedded between cheeks and chin.
A very dominant hairstyle with a rather vaguely rendered
diadem. Enthroned on top of it – directly above the
frontal red ribbon in the hair – the Buddha Amitabha
(Amituofo in China), with a pittance bowl in both hands
above his lap. He is the “spiritual father” of Guanyin,
the bodhisattva Avalokiteshvara. The hair on the back is
bound up into a spiral chignon. Partly preserved colour
coating with red and green tones. Mounted on a black
wooden base. HEIGHT 23 CM
22
LIFE-SIZED HEAD OF A GUARDIAN DEITY
Stucco with glass and colour coating.
China, Song dynasty, approx. 12th to 13th cent.
Very refined, effective, expressive and vivified depiction!
The helmet suggests that this head could have belonged
to a lokapala, one of the “Guardians of Directions”,
known in China as Hushizhe or Tianwang (lit. “Heavenly
King”). They are usually shown in a group of four
and often appear in China as temple guardians who
represent the seasons of the year. No further associations
can be made based on the head alone, although other
attributes were quite certainly present. The white facial
complexion emphasizes the wakeful and discerning
eyes, which gaze upward, as common in depictions of
Virupaksha, known as “Guangmu” (lit. “he who sees
all”) in China, the symbol of winter. The form of the face
as well as the inlaid glass eyes bestow the head with a
sublime liveliness. It shows distinct human characteristics
and its not at all fierce, but rather mild yet pronounced
earnestness, makes a very distinct impression. This quirky
wakeful gaze can unquestionably be interpreted as
“demonic”, since it would most likely be accompanied
by a horrendous and unrestrained gesture. Although
the curly moustache is quite coltish, the eyebrows are
arched high and contoured to the concentrated eyes.
The helmet, which curls into a volute on the back, covers
the ears and bears five flower motifs in the section above
the forehead and a pearl under a seam in their center.
Old paint and remnants of gilding. Restored. HEIGHT
(WITHOUT STAND) 30,7 CM, WITH 38,7 CM
From the private collection of Robert W., acquired during
the 1960’s (?) – 1980’s
25
COURT SERVANT IN CEREMONY OF OFFERING
Terracotta with paint. China, Tang (618-907)
The slender figure is standing upright with legs closely
together, its feet in V-shape and on a square plate. She is
wearing boots, the dark red robe has a strict and simple
design. The hands are hidden under the sleeves and hold
an object in front of the chest, presumably a container.
Very good condition, beautiful old colours.
HEIGHT 34 CM
23
24
LADY AND LORD FROM A LARGE ARRAY
Turquoise and black glazed ceramic.
China, Ming dynasty, approx. 16th cent.
A pair of rare, tall character figures with black and
turquoise glaze as well as cold paint. Both are burial
34
SEATED BUDDHA SHAKYAMUNI
Bronze with gilding. China, Ming Dynasty (1368 – 1644)
A neat small bronze sculpture with a unique expression.
The historical Buddha is seated in padmasana, holding
one hand on his lap, the other hints the bhumisparsa
mudra (calling the earth to be his witness). Both
shoulders are covered and a counter clockwise orientated
manji (swastika) is situated on the bear chest. Almost
quadratic facial contour with a broad, smiling pensive
face and an urna above the nose bone. Fire gilt face,
ears and breast. Spiked locks of hair, representing the
“spiritual radiation”, no ushnisha. Remnants of a former
lacquer coating and –gilding. Small spots with corrosion
due to age, patina, partly due to exposure to smoke.
HEIGHT 17,3 CM
From an old German private collection
26
CHILD BRINGING GODDESS GUANYIN
Bronze with gilding. China, Ming, approx. 17th cent.
China’s popular mother goddess, equivalent to the
Avalokiteshvara in Buddhism, sitting cross-legged on a
lotus pedestal embellished with strongly cusped leaves.
Jewellery on the breast, a head scarf budged by the
topknot underneath and a boy on her lap holding his
hands in adoration. The raised hand held a lotus flower
(missing). Many rests of former lacquer gilding. Patina,
good condition. HEIGHT 14,3 CM
27
A RARE SONG-AGE DIGNITARY
Terracotta and painting. China, Song Dynasty
(960 – 1279)
A rare and finely executed terracotta statuette of a
courtly dignitary showing intricately worked facial
features. The terracotta presumably dates to the early
Song dynasty, as it shows distinct stylistic influences of
the preceding Tang (until 906). The dignitary is seated
on a throne and clothed in a floor-length, richly pleated
robe. Both hands rest in front of his chest (gui scepter
missing). The head covered by a typical tall hat. Unique
and delicately crafted slanted eyes showing an ethereal
expression. The Song-Era is designed as the peak of
officialdom in China. HEIGHT 38,3 CM
Rufpreis / Starting price EUR 2.000,(Schätzpreis / Estimate EUR 4.000,-
BROOCH WITH PHOENIXES AND BATS
Gold. China, presumably Tang to Liao dynasty or later
Impressively elaborate, multi-layered and unbelievably
detailed work! This ornament is to be worn vertically,
the two phoenixes standing opposite each other are
at the very top. Continuing beneath them, an almost
perplexing composition with floral elements and a basket
with a spiral-garland rising from it in the middle. The
structure consists of multiple parts, is partially movable
and overlies several layers. The lower border is formed
by flowers, clouds and several barely noticeable bats,
which symbolize “longevity” and have distinctly formed
wings. On the back is a type of framework with floral
formations and an oval border. LENGTH 10,2 CM
BUDDHA DISPLAYING THE
RARE ANOINTING GESTURE
Bronze with gilding. China, approx. 17th cent.
Buddha Shakyamuni (Shijiamouni Fo) on lotus
throne in half-lotus position with the rare gesture of
„anointment“, abhiseka mudra in Sanskrit and Guanding
Yin in Chinese. The palms of the hands rest on top of
each other and the index fingers against each other, held
vertically. A downcast anointing facial expression, leading
into the ushnisha and a jewel in the hair. Lacquer coating
with gilding, good patina. HEIGHT 24,3 CM
Sandstone. China, presumably Ming dynasty
(1368 – 1644)
Possibly the head of a Guanyin, hinted by the very mild
and rather feminine expression, for she is not only a
bodhisattva, but also a mother-goddess. A round face,
bejewelled ears and above all, her characteristic chignon
which bloats upwards in three wide arches. Signs of
age and patina, hardly noticeable small bruises, overall
good condition. Mounted on a black metal base. HEIGHT
(WITHOUT BASE) 30 CM
28
STANDING FIGURE OF A COURT OFFICIAL
Cold-painted ceramic and glaze.
China, Ming dynasty (1368 – 1644)
A court official standing upright on a hexagonal base in
a long robe, bulky shoes and very tall, black quadratic
headgear. The long robe as well as partly also the
stepped base, are coated by a green glaze, the base with
interesting applications on sancai glaze. Finely painted
features with facial hair, hand on the chest, the belt tied
in a bow. The head is detachable. Signs of age and mild
weathering. HEIGHT 53,5 CM
31
THE GODDESS GUANYIN IN
PURE MOUNTAIN CRYSTAL
Mountain crystal and ivory. China, Qing (1644–1912)
A splendorous, astonishingly pure mountain crystal
with a carved depiction of the popular Chinese mothergoddess, or Buddhist bodhisattva of compassion
Avalokiteshvara. She is holding her hands and breasts
tightly together under her robe. Her chignon, as usual,
is covered by a head scarf. A large face with an urna
on the forehead. The round, stepped ivory lotus base is
comprised of two parts, carefully carved and fitted to the
figure. Padded box included. HEIGHT 11,8 CM, WITH
BASE 16,5 CM
Note: Includes an expertise by the company A. Förster,
former court- and chamber supplier, Kohlmarkt 7, from
December 1965, with a very detailed description. At
that time, Förster was an expert in the Dorotheum and
his firm (“Luxuswaren, Antiquitäten und Alt-China”)
was highly regarded and even awarded gold medals at
several international exhibitions. This Guanyin sculpture
was acquired in 1966 by Prof. Dr. H. Siegmund, Vienna,
for his private collection
35
THE BODHISATTVA OF
TRANSCENDENT WISDOM
Copper repousse and fire-gilded bronze.
Tibet, 18th to early 19th cent.
The bodhisattva and also deity Prajnaparamita
(„perfected (transcendent) wisdom“) seated in
padmasana (lotus seat) on a lotus pedestal, just as
distinctive in form as the entire depiction is in quality
and appearance. The position of the hands shows the
„mudra of discussion“, while fingers on the upper hand
also show the gesture expelling demons. The hands
are separately cast and applied. Gilded necklace across
the chest, decorative bands and a large ornament, also
around the arms. Long bundles of hair flow down from
the head surmounted by a markedly large chignon that
is bound together by two gilded rings. The face bears
a very individual radiance, particularly the charismatic
eyes. This bodhisattva, whose depiction is rather rare,
has a very discretely formed feminine breast. The figure
itself is composed of two parts adjoining at the waist.
One attribute as well as parts of the heavenly garland
are missing, dented on the back of the head, seal on
the bottom (not original to the statue). Otherwise good
condition and above all, an outstanding overall effect.
HEIGHT 35,2 CM
From an old Polish collection
32
THE GODDESS GUANYIN
Bronze with gilding. China, Ming dynasty,
approx. 17th cent.
Possibly the most adored Chinese goddess, reaching
beyond her Buddhist personification – the bodhisattva
Avalokiteshvara – as an ancient mother-goddess. The
bronze offers her in padmasana (lotus seat) and with
rich adornments as well as a tall crown with a chignon
protruding from behind it. She is holding a vessel in
one hand, a sprout symbolising child bearing (sons) in
the other. The crown holds a small image of Buddha
Amitabha, Amituo Fo in China, at the front. Largely
preserved lacquer gilding, smoke patina. On a fitted
wooden base. HEIGHT (WITHOUT BASE) 22 CM
36
THE GOD OF LONGEVITY
Porcelain with enamel. China, Qing, approx. Jiaqing
(1796 – 1820)
An appealing porcelain figurine depicting the god
of longevity Shoulao, richly adorned with colourful
enamel painting. He is holding the peach of longevity
in his hand. In addition, the character shou is present a
number of times in stylized form on his robe. HEIGHT
23 CM
restored, small retouches to colors. HEIGHT 70 CM
37
THE DEITY GUANDI
Bronze. China, Ming dynasty, approx. 17th cent.
Guandi is China’s famous god of war, first awarded
this position during the Ming dynasty. His characteristic
features are his armour and long black beard, which he
is caressing. He was initially a merchant of bean-mousse
named Guanyu, but soon after became the warrior
companion of Luibei and Zhangfei, together forming the
„Three Heroes of the (late) Han“. The bronze shows him
in the well-known pose with a martial facial expression
sitting wide-legged on a carved wooden base resembling
rocks. HEIGHT 24,7 CM
Note: Old label „Confuzius“ is not correct, neither is
„Kuon Ti“ (the former transcription of Guandi
is Kwanti)
Rufpreis / Starting price EUR 700 ,(Schätzpreis / Estimate EUR 1.400,-)
42
38
THE BODHISATTVA MANJUSHRI
Fire-gilded bronze. China, Qing dynasty
(1644 – 1912)
Attractively large and meticulously worked depiction
of the transcendent bodhisattva, a guardian patron of
wisdom whose name can be translated to „wondrous
auspiciousness“. Unfortunately the khadga sword is
missing here and was previously held in the raised
hand (two fingers signal the demon defence) and used
to cut down ignorance. It is also his typical attribute.
The Wenshu Pusa (Manjushri bodhisattva) is seated in
padmasana on an elaborately detailed throne, wearing
plenty of jewellery, a heavenly garland, a multi-jagged
crown on his head and also a pointed chignon. Vibrant
facial features, likewise the vividly modelled fingers.
Sporadic patina; the bronze has presumably been
cleaned. A clasp with Yinyang symbol on the bottom
within a floral vishvavajra. HEIGHT 33,7 CM
From the Swiss collection of Jürgen L. Fischer, Ascona
39
WIDE PANELS WITH MULTI-FIGURAL
SCENES AND FLOWERS
Wood and gilding. China, late Qing, ca. 19th cent.
This wide bed panel is comprised of several smaller
panels. Some only have floral carvings with birds, most,
however, are dense figural scenes, but with smaller
figures than in no. 40. Again, pavilions, bridges, pine
trees etc. All panels are deep openwork and carved
with vivid scenes. Frame with floral decorative bars and
mythical animals with trunks in two corners.
Gilding over red-lacquer coating.
SIZE 53,5 x 198 CM
40
41
OLD CHINESE „COLD STORAGE BOX“
Wood and metal. China, Qing dynasty (1644 – 1912)
A very rare item consisting of four parts, including the
base frame, basin and a heavy two-part cover. The
base frame is curved on all sides, has four curved legs
standing on a curved rectangular frame on the ground.
The basin is enclosed by numerous narrow vertical
planks, varying between light and dark tones, bound by
two bronze hoops. Heavy movable handles. The mouth
and interior are reinforced with sheet metal. The heavy
lid precisely fits the form of the container and bears two
decoratively carved openings on one half. SIZE 68 x 51,5
x 51,5 (HWD)
Acquired from the collection of Robert W. during 1950
- 1970
MULTI-FIGURED VERTICAL
DECORATIVE PANELS
Wood and gilding.
China, Qing, 19th cent.
Two plates in a vertical composition with decorative wall
mounting. Both are multi-figured openwork carvings
with entirely gilded depictions. On various levels they
present immortals, deities, dignitaries as well as rocks,
pavilions, trees and plants, gates and bridges – among
these also the Baxian, the eight immortals, the Queen
Mother of the West Xiwangmu, whose garden sees the
peaches of longevity ripen every 3000 years, riding on a
dragon below a phoenix while servants bring the massive
peach. Or Liuhai with coins on a rope, Shoulao, the god
of longevity, Laozi on an ox and also depictions of feasts,
etc. Framed and with an ornamental wall mounting.
SIZES 23,6 x 168 CM
MARBLE PAINTING
Marble. China, Qing dynasty (1644 – 1912)
The rectangular painting framed in dark wood offers two
round plates with spherical landscape depictions and
two rectangular depictions with calligraphy. The sparse
representation on the marble makes use of the stone’s
grain and unfolds a pronounced contrast effect. A steep
and rocky mountain depicted in the upper half of the
painting and three mountains as well as black forests and
storm clouds on the (smaller) lower half. Both paintings
bear the same signature (in very small script) and a red
seal. The script on the vertical rectangular plates refers to
the atmosphere in the depiction. Good condition. With
stand. PAINTING SIZE (WITHOUT STAND) 85 x 52 CM
43
CENSER BOWL WITH DRAGONS
Bronze. China, Qing-Dynasty (1644 – 1912),
approx. 18th cent.
Unusually large circular bowl crafted after the archaic
ding form, standing on three zoomorphic legs. Both
dragons are meticulously scaled renditions, the bodies
shaped as snakes with split tails at their ends. They form
large arched handles that protrude upwards. Expressive
heads with horns and vigorously flaming manes. On the
vessel’s bulged walls, an engraved design with clouds,
bodies of water, pine trees and figures. Wise men, saints
and guardian deities below. Rendered in eloquent script
on the bottom side, a large six character mark Da Ming
Xuande nian zhi – a tribute to the pinnacle of bronze
production during the Ming dynasty. HEIGHT 19,4 CM,
DIAM. (ALONG THE DRAGON HEADS) 29,8 CM
44
LARGE, VERY ATTRACTIVE FAMILLE-ROSE
STYLE VASE WITH COVER
Porcelain with enamel and gold as well as bisque
porcelain. China, Qing dynasty, Yongzheng 18th cent.
A rare vase with cover, impressive both qualitatively
and in size, densely decorated in the famille-rose style,
with painting of very good quality. Of octagonal form
with flared foot, straight neck and flat, flared lip. Eight
tall, slightly incused pictorial reserves, cusped at the
top and bottom. The depictions vary and show flowers
and birds as well as ladies in a garden, partly with their
sons with toys, but also many items including furniture,
a folding screen, flower pots, porcelain decor, as well
as trees, rocks, colourful chickens etc. The fill patterns
around the reserves are floral, with flowers and birds
on a golden base pattern. Medallions with flowers and
landscape depictions around the cornered neck. Around
the lip, foot and lip’s rim, a painted red leiwen meander
respectively. The domed cover again varying between
flowers and noble dames, partly with boys. Topped by a
gilded lion dog shizhi in the round. Cover and lion dog
45
WU CHANGSHUO (ascribed): EIGHT ALBUM PAGES
WITH FLOWERS AND FRUITS
Ink and colours on paper. China, 1844 to 1927
Eight large pages in powerful and dynamic style, painted
on yellow-toned paper. Various flowers or fruits with
tendrils, peonies, lilies, camellia, pomegranate, lychee
etc. Each page bears a calligraphic inscription and one
to three red seals, almost all are signed Wu Changshuo
⏛ 㖴䡑.
Wu Changshuo lived from 1844 to 1927. He was a
poet, calligrapher, painter and seal carver born into
a family of scholars and later served as an imperial
official in Liaoning. All eight pages are in passe-partouts
covered with linen on the back. A fold-out box padded
with textile, within a dark-blue box also padded with
textile, bearing a large script that reads Wu Changshuo
Zhuanguohua, “Book with a series of paintings by…”.
All pages with a central fold, one with a water stains
(possibly applied by the artist himself).SIZE OF PAGES
APPROX. 41 x 23 CM; PASSEPARTOUTS 53,5 x 36,5 CM;
BOX PERIMETER 57 x 39,7 x 7,8 CM (HWD)
characters on the positive (relief) seal are 㜿 ⇯⼸ ⌘ ,
Lin Zexu Yin, “Seal of Lin Zexu”. The other script also
bears the name Zexu, however, the two other characters
cannot be deciphered. This name is also historically
significant – it was the name of a high ranking official
and historian who lived 1785 – 1850, responsible
for bringing opium trade to a stop in 1839 and
confiscating 20.000 crates of opium in Kanton, which
triggered Britain’s military involvement („opium war“).
Hypothetically, the seals could originate from this time.
HEIGHT 9,2 CM
From the collection Marakovic (see also nos. 137 and
138)
49
STANDING LUCKY GOD BUDAI
Yellow bronze. China around 1900
The large-bellied lucky god in a flowing robe that is open
at the front, with his smiling head directed upwards
and one finger pointing towards the sky. Budai, who
was supposedly a clairvoyant monk in the 10th cent., is
generally worshipped as Buddha in China – particularly
in the form of Milo Fo (Maitreya) or the future Buddha
– where he is also considered to be his incarnation.
Beautiful dark-brown patina. With wooden base.
HEIGHT (WITHOUT BASE) 12 CM
Note: In Japan he is known as Hotei, one of the 7
lucky gods. He is featured in several Japanese netsuke
depictions in this catalogue.
46
WU CHANGSHUO ⏛㖴䡑 (1844-1927):
BRANCH OF A PLUM TREE IN BLOSSOM
Hanging scroll, ink and colour on paper. China, dated
1919
A powerful composition with rising trunks and
contrasting vertical branches in black-brown colour, only
some of them achieving the bright heights. Vivid red
and luscious blossom create a lively impression of the
blooming nature. The inscription says: “Attractive like
a solitary mountain, the plum twig is beautiful; clinging
shadow of the evening sun, lingers in loneliness. In the
year yiwei [1919] during the severe frost, (painted by)
Wu Changshuo in his 76th year.” 桄刚⬌Ⱉ㠭⣒⤥, ⢽
旛㈞⼙冒墝⚆. ⶚㛒⣏⭺⏛㖴䡑㗪⸜ᶫ⋩⍰ℕ. Two
red author’s seals. Wu Changshuo is among the most
significant painters in China. It has been for long that
his work is presented even in the important western
museums like Ashmolean Museum Oxford or the
Museum of Fine Art, Boston. PICTURE SIZE 151 x 41 CM,
SIZE SCROLL 237, 5 CM x 61,5 CM
From an old German private collection (acquired at the
auction house Lempertz in 2011, number 78)
50
LARGE CLOTH WITH FLOWERS,
VEGETATION AND ANIMALS
Silk. China, approx. early 20th cent.
A very effective and masterfully composed embroidery
in colourful silk on a black silk background. Blossoming
vegetation including a peony tree, peaches, Buddha’s
hand fruit etc. The rendition with the branches is very
lively and offers a number of amusing animal depictions,
particularly of mythological animals. A scaled qilin
(Chinese „squirrel“, but with two horns) with a fluttering
tail and beard, a hose, a humorous shizhi (palace lion) in
the middle, also a tiger and stag. At the very top in the
middle the bat fu, lefts of it a red-crowned crane, both
of the symbols of luck and long life. The phoenix feng,
a heavenly animal, naturally cannot be omitted. Right
below is a lingzhi longevity peach. With black tassels
on seams at both ends. SIZE APPROX. 190 x 73 CM
(WITHOUT TASSELS)
51
47
GOD OF PROSPERITY CAI SHEN
Wood. China, 18th – 19th cent.
Cai Shen is one of the gods adored in house altars, or
a lucky charm, responsible for prosperity (= Cai 屉 ).
The character cai is engraved frontally below his hands.
The long-bearded deity holds a bowl in front of him
containing another object, usually gold or a pure gold
longevity-peach. HEIGHT 18,5 CM
48
PAIR OF SEALS FEATURING MYTHICAL CREATURES
Soapstone. Chine, Qing, 19th cent.
Both seals display beautiful colour tones and have
quadratic bases, seal-incision on the bottom and grips
modelled as mythical creatures on top. The bulky
animals are bixie and have dragon head with horns
and beard, are scaled and wear tortoise shell armour.
„Bixie“ lit. translates to „avoid evil“. The seal-incisions
include different characters, whereby one is carved out
to produce a positive and the other a negative. The
EIGHT IMMORTALS
Porcelain with enamel. China, Qing, approx. Jiaqing
(1796 – 1820)
A group comprised of eight figures, the so-called Baxian
(Eight Immortals). All are decorated with colourful
enamels and holding their respective attributes – among
the immortals are most commonly Li Tieguai, who
rests one leg on his crutch and holds a double-gourd
containing the elixir of life in the other hand. This
humorously depicted Xian strived to leave his body and
rise up to the heavens to speak with the philosopher
Laozi. The names of the others are Zhong Liquan (fan),
Zhang Guolao (fish drum), Lu Dongbin (sword and
frond), Cai Guojiu (cepter), Han Xiangzi (flute), Lan Caihe
(flower pot, flowers missing) and He Xiengu (lotus, looks
like a scoop). Flowers, dragons, ruyi etc. in the garment
patterns. HEIGHTS 22 – 23,5 CM
52
BOWL SET IN A BOX
Wood and porcelain. China, Qing, approx. 1840
The colours of the family terra verte are very lovely and
spirited in this decorative bowl set in original wooden
box. SIZE 5,8 x 29 x 29 CM (HWD)
From the private collection of Robert W., acquired in
1950´s - 1970´s
house“ or one with Epidendrum (a type of orchid).
SIZE 53,8 x 52 x 38,5 CM (HWD)
57
53
VASE WITH ENAMEL CLOISONNÉ DECORATION
Metal, enamel colour and gold. China, Qing, 18th cent.
Very well-crafted mid-size vase with colourful enamel,
particularly the blue in a very beautiful tone. All ridges
of the cloisonné are gilded, the motifs in part are archaic
style. Diagonally flared foot with white, big-eyed heads
possibly of bats, surrounded by archaic C and ruyi
symbols. Distinctive large cricket wings on the body
with Taoist masks as well as C forms and abstract bat
silhouettes, field design is floral geometric. Again on the
throat are taotie as well as meander and cloud borders.
Foot and mouth are gilded. Small partial restored areas.
HEIGHT 23 CM
From a North German collection
54
LOVELY SCREEN WITH EMBROIDERY
Wood and textile. China, late Qing, 19th cent.
One-piece standing screen on elegantly shaped V-formed
legs arched to the floor. The whole is more of a large
ornamental picture which one can place according to
wish. The gable and field below are intricately pierced
and carved. Lovely colours, embroidered, mainly floral
composition offers throughout the picture a branch full
of lavish blossoms. On it sits an exotic long-tailed bird
with curved beak and elegant feather cap. Mannerist
inspiration of the depiction in picturesque style. Silver
shimmering pond with many stones as well as plants
composes the lower image zone. The ground tone of
the entire picture is calm and attractively shaded and fits
quite well to the colour of wood. This is red-brown, dark
and well-polished, presum. Huanghuali wood. HEIGHT
164 CM
TWO-LEVEL MONASTERY CABINET WITH PAINTING
Wood and paint. Tibet, 18th to19th cent.
Interesting about this cabinet from a monastery, is
that it can only be accessed from the back and served
as a storage for scrolls. The front side offers a tasteful
composition of two larger rectangular fields and three
smaller above. Their fillings are deep and embellished
with bars, the inner-most with recessed edges. Fillings
also on the sides. Below the over-hanging shelf on
top, a key-meander carved in relief. This cabinet is
entirely painted in red and decorated with a lacquertechnique relief. The patterns are geometric to floral,
also recognizable are meanders and spirals. An open
compartment on the back, another with two doors
above. Old patina, signs of wear, overall a curious work.
SIZE 60,5 x 81 x 38,3 CM (HWD)
58
TWO-LEVEL CABINET WITH PAINTING
Wood and paint. Sino-Tibetan, Qing, 18th to 19th cent.
Tall form on four legs, very deep, the pivoting
doors painted with separate colourful scenes. The
encompassing frame is embellished with flowers and
vines. The smooth surface of the doors shows figural
scenes, the depicted characters often gesturing
„fearlessness“, another person, a hermit, in the
mountains and surrounded by plump peaches (long
life symbol). The fourth depiction is with two boys,
presumably the lucky boys hehe. Buildings, mountains,
vegetation with fruits, a large bird. SIZE 80 x 42 x 42 CM
(HWD)
59
55
PHARMACEUTICAL CABINET
Wood with metal fittings. China to Korea, 19th cent.
Compact cabinet with 17 drawers and a large
compartment with two doors. Beautiful wood grain,
each side of the bottom section between the feet is
carved differently, the shelf on top elegantly curves
upwards on the sides. Openwork metal fittings
with decorative designs on the doors of the main
compartment, the largest in the center with bat-symbols.
Two wide drawers above with handles formed as bats
(symbol of luck), then three rows with five drawers each,
all pulls shaped as teardrops. All drawers are painted
with white Chinese characters, the wide drawers as well
as the entire back of the cabinet are labelled with old
printed characters (Korean and Chinese) on adhesive
paper. SIZE 64 x 64 x 23,6 CM (HWD)
PORCELAIN PICTURE WITH
MOUNTAIN LANDSCAPE
Porcelain with blue underglaze.
China, late Qing, 19th cent.
The picture is massively framed and rests on a stand
with legs. Cobalt blue painting under the glaze offers
a romantic landscape with rocks, trees, waterfall and a
rocky path leading to a many-levelled pavilion. Fog and
high mountain peaks in background. The dark frame
presents decorative relief on the front and back sides in
floral tendril design. Meander are depicted, as well as
flowers and fruit, including peaches as long life symbols.
Aside the horizontal feet are decorative curved flange.
The framed picture can be removed from the stand.
PICTURE 48,5 x 33,5 CM, FRAME HEIGHT 74,7 CM
60
56
CABINET WITH „ENDLESS LUCK“-SYMBOLS
Wood. China, Shanxi, Qing, 18th to 19th cent.
Small but with plenty of character, a cabinet from
Shanxi with three drawers as well as a two-level primary
compartment with an attachable door. The quadratic
front particularly comes to effect due to the carved
symbols and characters. Four variations of the word
„luck“ with the characters zhen 䤶 (upper left), xiang
䤍 (bottom), fu 墼(upper right) und lu 䤧 (bottom).
wan-symbols (swastikas) left and right, in context
meaning „endless luck“. Openwork shou „long life“
symbols in the middle respectively, however, with four
C-shaped abstract bats. Between the swastikas, the three
characters zhi lan shi 剅嗕 ⭌, suggesting „an elegant
VASE WITH SIX DRAGONS
Porcelain with underglaze-blue, China,
presumably 1st half 20th cent.
Four-character-mark Chenghua nian zhi.
With lively decoration of six fiery dragons; raised on a
foot decorated all around with tendrils of xiangcao; the
body divided by ridges into six sections merging to a
curved neck with a flared mouth rim; the dragons are
vertically ascending in pairs from billowing waves; they
are painted in alternating dark hues and present five
claws, wrathful heads and waving barbells. The vaseneck shows a floral pattern. The bottom with Ming age
four-character-mark Chenghua nian zhi.
HEIGHT 26,7 CM
61
DOCTOR´S LADY
Ivory. China, Qing dynasty to Republic, 19th – 1st third of
20th cent.
The so-called “Doctor´s Lady“ is typical for figures
supposedly kept by a Chinese doctor for female patients.
Because he was not allowed to touch their bodies, they
could show the painful zones on the figure. This is the
usual explanation, while it seems more plausible that
these “Doctor´s Ladies“ were actually erotic depictions.
This piece is a good example for fine, sensual and also
very aesthetic eroticism of the lady naked except for her
shoes. Full facial features, gentle flowing body contours,
the feet are bound and extremely tiny. LENGTH 17,7 CM
62
CENSER WITH LARGE DRAGON HEADS
Rutilated quartz. China, late Qing Dynasty, approx. 19th
cent.
Complexly crafted vessel is also striking due to the
exceptionally lovely effective structure of this mineral
in light, almost like a glass. Beautiful as well is the fine
light greenish hue. The form is influenced by the archaic
tripod ding vessel, while here the execution is according
to the era. Especially distinguishing are the powerfully
expressive dragon heads, which form the handles. On
their beards, which are grommets, large moveable
rings are hanging. The ornamental design on the round
vessel and begin of the three stout legs is composed of
spirals, meander and borders with triangle rows. The tall
arched lid has the same décor, openings as well as a very
a´musing spirited lion dog shizi on the top. HEIGHT 14,8
CM, DIAM. 15,7 CM
63
YIXING TEAPOT WITH PLUM BLOSSOMS
Ceramic. China, Qing, approx. 18th to 19th cent.
Typical ceramic of the Yixing ⭄冰 type from Jiangsu, the
most meaningful old center for tea ceramic. Very fine
red fired clay with blackish patina. Purposefully irregular,
lightly hexagonal edged form with distinctive spout and
handle, both designed as
branches – with exceptionally modelled, partly threedimensional, plum blossoms. The branch serves as
handle on the flat lid. Underneath a beautifully done
seal mark, a very little one can also be read on bottom of
lid, yixing zisha (violet tone). Minor bruises on lid edge.
HEIGHT 9,4 CM, DIAM. 18,6 CM
64
PLATE WITH BLOSSOMS AND BIRDS
Porcelain with blue underglaze. China, Kangxi Period
(1662-1722)
This lively decorated plate with deep cobalt blue from
the time indicated offers a compact composition of
diverse blossoms and birds, either in flight or perched
on branches. The back is encircled by a spiky border and
depiction on the rim with six vertical ornamental stripes.
Three floral groups under the rim, an empty double ring
typical for the Kangxi Period on bottom. DIAM. 21,2 CM
65
LARGE BOWL FOR GOLDFISH
Porcelain with enamel colour. China, late Qing Dynasty,
approx. 19th cent.
A real vat of finest porcelain, which served as an
aquarium, according to old Chines. tradition, to keep
goldfish. Globular body with an even foot, the upper
lip flared. The rich figurative painting all around is very
spirited in harmonious watercolour-like hues. Depicted
are many wise scholars with servants and boys. Some
are drinking and chatting around a big rectangular table,
sitting on porcelain chairs. At another table in front of a
wall, a prince is surrounded by female servants and his
armed entourage. Rocks, trees, bananas, lotus, bamboo,
fences, etc. decorate the scene. Borders are geometric
with lotus blossoms or blossoms within a floral reserve,
respec. densely placed all around. Blossoms and vines on
the flat orifice. Especially distinctive is the fine painting of
faces. HEIGHT 32,8 CM, DIAM. 42 CM
66
ZHAN GUSHENG: MINIATURE BOAT WITH
PASSENGERS AND A LONG POEM
Olive pit. China, Guangdong, Qing Dynasty, around mid
19th cent.
This piece is not the same object offered in our last year
November and May auctions – it was coincidentally
consigned to us from a totally new collection, although
it is very similar. This artist was famous for his extreme
miniature works and lived from 1802 to 1876 in the
Southern province Guangdong in Zengcheng. The
incredible thing about this work – next to the intricacy
of the miniature carving in a natural hard olive stone – is
the ability to carve calligraphy script in such abnormal
minuteness! See the poem on the bottom! The ship
has a curved body and round roof with many windows,
some are open, some have sashes which can be opened.
Passengers are scattered, their heads peeking out from
all possible places. Ornamental design on all places
in between.The long inscription in six vertical lines
originates from the classical poem Qian Qibi Fu ⇵ 崌
⡩ 岎 by Su Shi 喯度 (11th cent.), also called Dongpo, a
highly respected poet and official. The “Red Rock” (Qibi)
became famous through the Battle of 208, lost by Cao
Cao, who struggled to attain power, and thus opened
the way to the division of China in three parts, in Sanguo
(Three Kingdoms). This idiosyncratic singular miniature
carving is signed after the poetry lines on the bottom
ZHAN GU-SHENG zuo 㸃察䓇 ἄ (made by ...). Included
is a very rare origial miniature wooden base with wave
design and blossoms. LENGTH 4,25 CM, HEIGHT (WITH
BASE) 3,6 CM
From an Australian private collection
67
FINE BENCH WITH TWO CHAIRS
Noble wood and mother-of-pearl. China, approx. late
Qing to Republic
Rare, elaborately carved and decorated bench with
curved legs, armrests and backrest. The level seating
surface is decorated with mother-of-pearl inlays
starting at the edges, with patterns forming floral
compositions, similar to the openwork feature on
the curved front contour. The backrest is particularly
striking in terms of form and complexity, presenting a
strongly curved, in part openwork crest rail with floral
ornaments. The surface of the backrest is richly inlaid
with mother-of-pearl decorations – a dense composition
of chrysanthemum flowers, peonies, roses, as well as
butterflies and two long-tailed birds. Similar decoration
on the backside, with a depiction again offering flowers
and butterflies, but also bodies of water, swimming
ducks as well as birds with long beaks in the water.
Both chairs have armrests and a backrest with matching
style and patterns, the backrest again decorated with
similar mother-of-pearl inlays, also on the backside,
likewise offering flowers and water birds. WIDTH OF
BENCH 120 CM, HEIGHT 104 CM; CHAIR WIDTH 62
CM, HEIGHT 102 CM
From a renowned Indian private collection
She is sitting on a lotus and holding flowers in front
of her with both hands, encompassed by floral friezes.
The base frame holds with lobed face plates, again
carved with floral décor. A second jagged-edged shelf
at the bottom of the four foot pillars. The four foot
pillars continue into zoomorphic legs, each forming a
bird’s head at the top and a lion’s head at the bottom.
Remnants of red colour in the grooves and traces of
wear. HEIGHT 75 CM, WIDTH 91 CM
From a renowned Indian private collection
Porcelain and proto-porcelain
from the Song dynasty
From the collection of Jürgen L. Fischer and an exclusive
North German private collection
Most of the following Chinese porcelain items (up to
no. 127) were part of the important collection of Jürgen
L. Fischer from Ascona. Ascona is located in the Swiss
Kanton Tessin at Lago Maggiore. The extensive size of the
collection is largely owed to the family’s fortune, secured
by pharmacist August Fischer and his revolutionary
invention – the world’s first adhesive made from synthetic
resin, the famous “Uhu Alleskleber”, developed in
1932. Jürgen L. Fischer lived until 2013 and was an avid
collector of Chinese porcelain whose astonishing taste
encompassed a broad spectrum of types, of all sizes and
with origins spanning across millennia. Jürgen Fischer
passed on his comprehensive knowledge in numerous
text books – among others, his large and very instructive
book about the art of Chinese snuffbottles and also an
antiquarian’s guide to Chinese art.
The porcelain items included in number 84 were acquired
from Dr. Stephan Fitz, former curator of the Deutsches
Museum in Munich, who obtained them directly from
Fischer’s collection. Fischer placed them at the disposal
of the Deutsches Museum for scientific investigation.
Curious of their chemical composition, Dr. Stephan Fritz
analysed the different glazes using emission spectroscopy,
further allowing him to make accurate conclusions about
their age. This intriguing scientific report is included in
number 84, which comprises an entire group.
69
VASE WITH LOBED MOUTH
Glazed ceramic. China, Song, approx. 12 to 13th cent.
An appealing vase in both form and glaze, of a typical
Song period type. A stepped and flared foot as well as
a funnelled, five-faceted and lobed mouth which flares
outwards. Warm beige tone of the glaze with dense
craquele, the interior and recessed bottom are not
glazed. Floral relief decor covering the walls of the body
varying between leaf-crest borders, various flowers and
foliage. HEIGHT 15,8 CM
Aus der Sammlung Jürgen L. Fischer, Ascona
70
RARE WINE JUG
Changsha ceramic. China, Tang dynasty, approx. 9th to
10th cent.
An especially attractive large jug. Although 1000 years
old, the glaze is still beautifully preserved. A tall neck
above the round shoulder, a very wide mouth opening
and a curved, flared lip. The short and stubby spout is
hexagonal and protrudes from the shoulder, the handle
on the opposite side forms a sharp arch. Below the spout
is a decorative depiction with painted lines in green and
red-brown colours, motifs ranging from leaves to clouds
as well as spirals and outward-trailing ribbons. Greenblue celadon glaze with fine craquele. HEIGHT 22,5 CM
From the collection of Jürgen L. Fischer, Ascona
two small drainage openings. The vase is divided into
eight facets, also the flared foot and mouth. Clear palegreen qingbai glaze (lit. blue-green), unglazed white
porcelain on the bottom. HEIGHT 15 CM
From a South German collection
72
DEEP JUNYAO BOWL WITH PURPLE BLOTCH
Glazed stoneware. China, Northern Song,
approx. 12th cent.
A form widely known as Jun-ware, originating from
Henan. Distinctive opaque and relatively thick glaze
with transitions from yellow-green to grey-blue, then
a luminous turquoise shimmering in the well – simply
sublime colours! This colour tone is somewhat of an
anomaly for ceramics of the time and from the 11th
century onwards, was commonly complemented by the
purple blotch design. These were unconstrained and
inspired by the flow of the colour, produced in varying
abstract shapes and hues with inimitable character,
as this magnificent example shows just too well. Tall,
gently curving walls and a small unglazed foot with drop
formations in the glaze around it. Box included. HEIGHT
9,6 CM, DIAMETER 18 CM
From an exclusive North German private collection
73
BOWL AND COVER WITH FLORAL RELIEF
Proto-porcelain. China, Song- to Yuan dynasty,
approx. 13th cent.
A distinctive bowl and cover with chrysanthemum decor.
Vertical wall, lightly domed cover, the entire exterior
densely ribbed depicting a chrysanthemum flower.
On the upper side of the cover, a pronounced relief
of a flower with a sun-symbol in the center. Only the
bowl’s interior is glazed. Light-grey unglazed bottom.
DIAMETER 11 CM, HEIGHT 6,3 CM
74
SMALL BOWL AND COVER
Glazed ceramic. China, Song dynasty, 12th to 13th cent.
An eminently rare vase-type from the Song dynasty.
Dark-brown glaze with drop formations near the
unglazed foot. The wide mouth is flat and also without
glaze. A rather unusual „temple roof“ cover with corners
and support beam ending in curved horns. Dark-grey
bottom, some encrustations. HEIGHT 13,6 CM
Similar example seen in fig. 252 Treager, Mary, Song
Ceramics
75
BOWL
Proto porcelain. China, Song, approx. 12th to 13th cent.
Wide, open and footed bowl with gently curved walls,
abstract floral decor and a flared lip. Typical Song period
type glaze qingbai („blue-green“), with a strong colour
tone in the recesses. These encircle the well of the base
and also form combed decor on the interior. The latter
includes gentle arched and wavy lines resembled tracks
made by a comb, six in parallel at the most. HEIGHT 6,7
CM, DIAMETER UP TO 17,2 CM
68
TABLE WITH RICH CARVED DECOR
Rosewood. India, 19th cent.
Oval round surface with a wide rim decorated all around
with floral motifs and vines, two animals on opposite
sides, possibly lions. The rim is further embellished with
notched and jagged seams, complemented by another
seam consisting of rowed leaves. A central oval surface
framed in a jagged border, holding a depiction of
Gajalakshmi, the goddess Lakshmi, flanked by elephants.
71
SMALL VASE ON PLINTH
Proto-porcelain. China, Song- to Yuan, approx. 12h to
13th cent.
This interesting vessel has an eye-catching form and
comprises one entity along with the chalice-shaped
pedestal. The foot of the pedestal is flared and ribbed
quite densely, likewise the bowl on top, which also has
76
POT WITH A CURVED SPOUT
Qingbai porcelain. China, Northern Song dynasty,
approx. 11th to 12th cent.
Elegant and defined form. Body lobed with eight facets
and a ribbed shoulder section. A tall, curved neck and
flared mouth. Graceful and elegantly curved spout
adjoining to a relief of fur or leaves. A delicate handle
in the form of a ribbon, forming a loop at the top. The
alluring qingbai glaze („green-blue“) is magnificently
clear, the fine craquele varying in density and vivid. This
pot may have been manufactured in Jingdezhen or Ding
(today Chuyangxian in Hebei) – see note.
HEIGHT 21,2 CM
Note: A similar example from Jingdezhen, almost equal
in size and form but with a visibly rougher complexion,
can be found in the Tokyo National Museum. The EastAsian museum exhibits another distinctly finer vase
from Ding (Hebei) that matches this example. Both are
published in M. Tregear, Song Ceramics.
77
CERAMIC PILLOW IN THE FORM OF A BOY
Glazed stoneware. China, Northern Song to Jin,
12th – 13th cent.
Cizhou ceramic depicting a boy reclining cross-armed
on his knees and elbows. The entire body thus forms a
slightly concave horizontal support, the back and the
large head protrude further sideways. He is half-naked,
his genitals also shown. A bib around his neck with a
lingzhi symbol hanging from it. Some wear, particularly
on the knees and elbows touching the ground. LENGTH
37,7 CM
78
DEEP JUNYAO BOWL WITH THREE PRUPLE
BLOTCHES
Glazed stoneware. China, Song to Yuan,
An evenly formed and deep bowl with a curved wall and
a small unglazed foot. The striking glaze has a faintly
blue, grey-green tone and fine dense craquele. An area
with slightly swollen glaze and another more strongly
budged – but very sturdy – on the other side. The bowl is
interestingly embellished with three purple iron-blotches,
in a light-grey tone. The blotch on the exterior is running
straight down the wall, the two on the interior are
larger, one similar in form to a shoe. HEIGHT 9,8 CM,
DIAMETER 21 CM
79
YAOZHOU MEIPING VASE
Glazed stoneware. China, presumably Jin dynasty,
12th to 13th cent.
The extraordinarily elegant vase covered in a beautiful
celadon tone shows a form typically known from the
Song period, with broad rounded shoulders, a small
neck and mouth and a markedly sharp-edged lip. A
pleasant brown-green colour tone. The incised relief
offers pointed leaf-shapes on the foot and peony flowers
or similar with winding vines between around the body.
A similar composition on the shoulder, but respectively
narrower. Some craquele. HEIGHT 18,4 CM
80
TEA BOWL WITH HARE’S FUR GLAZE
Glazed stoneware. China, Southern Song,
Typical Jian ware from Fujian, highly popular in Japan
where it acquired the name Temmoku (coined after the
Tianmu mountains), as it is commonly referred to by
Westerners. Characteristic in part chocolate-brown glaze,
here flowing down into an almost black lower area in
streaks resembling „hare’s fur“. Large unglazed and
flat section around the small foot, bulges in the glaze,
a violet-brown bottom side. Stepped and flared lip.
HEIGHT 6 CM, DIAMETER 12,6 CM
81
BOWL AND COVER WITH RELIEF DECOR
This elaborate box has a strongly domed cover and bears
a dense composition with xiangcao vines in raised relief
on the exterior of both the bowl and cover. Three subtle
lines circulating around the narrow foot. The interior
is smooth, glazed and with fine delicate craquele,
in virtually unscathed condition! It is a light-green
qingbai glaze with an uneven gradient on the interior
of the cover, showing a spiral arising from the potter’s
extraction of excess material. White unglazed porcelain
on the bottom. DIAM. 14,5, HEIGHT 8,2 CM
82
SMALL POT IN THE FORM OF A GOURD
Very neatly arranged form with a high-arched handle
and spout. The body of the pot is in the form of a
double-gourd. Tapering mouth and concise lip. Clear,
blue-greenish qingbai glaze (lit blue-green) with an
uneven glaze finish and mild drop formations around the
foot, white unglazed porcelain on the bottom. HEIGHT
11 CM
83
TEA BOWL
Glazed stoneware. China, Southern Song,
Jizhou-ware bowl in a delicately balanced, perfected
form. Black-brown glaze, the lip and three ornamental
patterns show a lighter brown tone. The latter offer
flowers within circular, partly open borders. The radiant
yellow-red foot is unglazed and barely visible. Fine
craquele, light grain in some areas. HEIGHT 6,8 CM,
DIAMETER 13,7 CM
84
GROUP OF 23 DIFFERENT
PORCELAIN ITEMS
This lot includes a detailed scientific report investigating
the chemical properties of monochrome colours on the
basis of this collection, commissioned by the Deutsches
Museum in Munich. Porcelain. China, Qing to Republic
This assortment of porcelain ware in various sizes
and colours – bowls, cups, plates and vases – is
being presented as one unit due to a very particular
and noteworthy appendage. They were previously
in the extensive Swiss collection of Jürgen L. Fischer
in Ascona, who placed them at the disposal of the
Deutsches Museum in Munich for an exhibition. With
the owner’s approval, the different glazes were analysed
in the museum’s laboratory in 1985 using emission
spectroscopy, focused on ingredients which produce
variations in colour tones. This scientific investigation,
multiple pages long and with a record of the results,
provides important clues to the dating of monochrome
porcelain and is highly captivating to any Chinese
porcelain aficionado. The collection was later acquired by
Dr. Stephan Fritz.
A collection of this kind with corresponding research
results certainly has immense value to any dedicated
collector or museum and is rarely offered as a complete
group.
The sizes and form vary greatly. Small damages are
present, but will not be described for each piece
separately. Several pieces have an oxblood-red glaze,
others are white or green, one small celadon bowl with
craquele, a vase with a striking turquoise-blue tone (with
craquele). The largest item – a beautifully formed vase
– almost black with light red-brown hues – with the six
character mark Kangxi and possibly of the period (Qing,
18th cent, Height 18,8 cm). Another vase has a very
distinguished form, taking after a quadratic-rectangular
cong. Its walls are rendered with the Bagua from the
„Book of Changes“, the Yijing (I-Ging). The vase has a
qingbai glaze and bears the six character mark Guangxu
on the bottom and is of the period (Height 18,8 cm).
A number of these porcelain items have marks on the
bottom including Kangxi, Qianlong, Daoguang (possibly
of the period) and Tangzhi (of the period). HEIGHTS
FROM 3,7 (DIAMETER 6,75) TO 25,7 CM
From the collections of Jürgen L. Fischer, Ascona, then
Dr. Stephan Fitz, Wien. J. L. Fischer authored several
books on the areas of Chinese art
85
SMALL SEAL PASTE BOWL AND COVER
Porcelain. China, late Qing, 19th cent up to 1900
Six character mark Da Qing Kangxi nian zhi.
A very fine container with a vibrant mottled glaze – small
green spots (a large one on the lid) on top of an olivegreen background transitioning to a mildly red tone
along the edges. Craquele, light green-white interior. A
red lacquer tax-seal in the bowl and the retrospective six
character mark Da Qing Kangxi nian zhi on the white
bottomside. HEIGHT 4,4 CM, DIAMETER 7 CM
86
ELEGANTLY FORMED VASE
Porcelain with green glaze. China, Qing, 19th cent.
Dazzling glaze colour and an elegant long neck. The
body is centered low and wide, effectively contrasted by
the narrow tubular neck. Moss-green glaze dotted with
small black spots and with craquele, continuing with
more brown and yellow coloured areas on the neck.
Small firing faults or bruises on the foot. With sublime
glistening glaze. HEIGHT 11,4 CM
89
CUP WITH GOLDEN RIM
Blanc de Chine porcelain. China, Qing, Tongzhi
Four character mark TONGZHI nian zhi and of the period
(1862 – 74)
Of especially fine form and flawless white colour,
a porcelain cup with curved walls transitioning to
an upright foot. The gilded lip has a gently lobed
circumference and the thin walls bestow this cup a
compelling translucency. A red painted four character
mark on the bottom, TONGZHI nian zhi, and of the
period (1862 – 74). HEIGHT 6,1 CM, DIAMETER 10,2 CM
90
CUP WITH VARIOUS ANIMALS
Unglazed porcelain. China, Qing (1644 – 1912)
A rare collector’s item for those interested in Chinese
porcelain. Fascinatingly, the raised relief appears much
more defined without glaze, than on other similar but
glazed examples. A stag, a crane nose diving with his
legs stretching upwards and two large expressive dragon
heads. HEIGHT 7,2 CM, DIAMETER 13,5 CM
91
BOWL AND COVER FOR SEAL PASTE
Porcelain. China, Qing (1644 – 1912)
Six character mark Da Qing Kangxi nian zhi
Container with beautiful glaze in a „liver“-colour tone
and finely spotted, gradually more sparse and light
towards the foot until almost white. Very even form,
neatly domed cover, white glaze on the interior and on
the six character mark Da Qing Kangxi nian zhi on the
bottom. Minor encrustations on the foot. HEIGHT 5,7
CM, DIAMETER 7 CM
87
RECUMBENT LION
Glazed stoneware. China (?), late Qing,
approx. 19th cent.
Humorous abstract depiction – a paper weight or similar
in „oxblood“-colour, but with all features – fur, eyes,
ribs, back – in raised relief pronounced with white, thus
creating a vivid effect. The shizi’s head is facing upwards.
Could possibly originate from Korea. LENGTH 8,8 CM
88
GUANYIN STANDING ON WAVES
Blanc de Chine porcelain. China, Qing, ca. 18th/19th cent.
Four character mark He Chaozong yin and double-gourd
Dehua
A very elegant and elaborate work presenting a beautiful
Guanyin depiction, in a long robe and with a tall
chignon on her head. Fascinatingly, her individual facial
expression harmoniously comes to effect through its
fine, sensitive eyes, nose and mouth, bestowed with the
beauty of the white porcelain itself. Guanyin corresponds
to the bodhisattva Avalokiteshvara (sanskrit) who in
Chinese culture, is closely tied to an ancient mothergoddess. Guanyin wears a necklace on the breast, her
face serene and dignified, and bears a small scroll in one
of her hands and the other on the back, under a sleeve.
The wafting robe is rendered with vivid flowing creases.
The depiction of Guanyin standing on waves is known as
Fuhai Guanyin. The wave form large and smaller spirals,
some facing up, some down and one – on the back
– protruding especially far. Curving down amidst the
splashing water are sharp lotus buds with thorns on their
stems. HEIGHT 36,2 CM
a bowl in his hands. The bodhisattva wears a tall chignon
on top of her head, partly covered by the veil continuing
down the back of her neck. HEIGHT 22 CM
94
VASE WITH HANDLES
Porcelain. China, ca. 19th cent.
An interesting vessel strikingly tall and tubular in form,
narrowing slightly towards the top and with an only
barely flared lip. The glaze is red with strong visual
texture, partly dispersed and partly flowing. Two handles
that curved on the inside but cornered on the outside,
with the same glaze. HEIGHT 23,8 CM
93
GODDESS GUANYIN WITH BOYS
Blanc de Chine porcelain. China, late Qing, 19th cent.
Guanyin is the Buddhist bodhisattva of compassion,
Avalokiteshvara, however, some belief considers her to
be the same entity as an ancient mother-goddess. This
porcelain sculpture particularly shows her as such – with
a boy on the lap and two larger boys standing in front.
Guanyin is seated in lilasana on a throne flanked by two
pedestals, one holding the book and scroll attribute.
A scaled, hissing and reclining dragon in front of the
Guanyin. One boy standing in adoration, the other with
100
SMALL PALACE LION PAIR ON PEDESTALS
Blanc de Chine porcelain. China, Qing 18th to 19th cent.
The markedly large heads cause both animals to appear
somewhat larger than they actually are. Powerful locks,
decorative bands with tassels, tails with spirals and
flames as well as one front paw gracefully securing a ball
– it makes for a brilliant impression. A hole on the side
of the rectangular base where a stick of incense can be
placed. HEIGHT 12 CM
Rufpreis / Starting price EUR 400,(Schätzpreis / Estimate EUR 800,-
95
SMALL VASE
A rather compact hu vase with a beautiful, cool applegreen glaze and a fine dark texture, partly dotted,
but primarily formed by craquele. The mouth opening
vigorously flares outwards, the glaze on the lip and the
interior of the vase is white, also on the bottom. HEIGHT
13,4 CM
96
BRUSH STAND
A rare and charming small ornament for the desk of
a literati, used to hold their brush. Arched rendition
with three animals staring with large eyes, climbing on
branches in openwork. They could possibly be mice and
their eyes are embellished with black glaze. HEIGHT 5
CM, WIDTH 11,4 CM
92
GODDESS GUANYIN ON THRONE
Blanc de Chine porcelain. China, late Qing dynasty to
approx. 1st third of 20th cent.
Dehua mark in gourd shape and „Da Ming Wanli nian
zhi“ on the back
Very fine Dehua porcelain rendition depicting a sitting
crowned Guanyin. Already at first glance, the delicately
modelled face enchants with its fine eyes and an
exquisitely tantalising mouth. Guanyin sits cross-legged
on a high pedestal composed of two parts. The lower
is hexagonal and openwork, the upper with a double
lotus crest. Guanyin, which corresponds to the Buddhist
bodhisattva Avalokiteshvara, wears rich decorations
over the entire chest-abdomen side. The chest itself is
gender neutral, the finely formed facial features on the
other hand, project a distinct noble femininity. Above the
diadem decorated with cloud spirals, her usual chignon.
Two marks on the back – one barely recognisable
within the pumpkin shape typical for Dehua, below it a
retrospective Da Ming Wanli nian zhi. HEIGHT 34,6 CM
them. The rabbit is ducking down, attentively scanning
the environment with its ears – even its eyes seem
very tense. Beautifully shine of the glaze, a Chinese
inscription written in ink which has faded over time.
LENGTH 15,8 CM
97
A SMALL VASE IN THE FORM OF A GOURD
Glazed ceramic. China, late Qing, 19th cent.
A charismatic small vessel with brown glaze and a
bellied lower body. The upper section including the
neck resembles a blossom. The decorative relief offers
elongated spirals (clouds and dragons) over a lotus leaf
crest, leiwen meander on the shoulder and upright
Artemisia-leaves aiye in the upper section. HEIGHT 13,3
CM
98
SMALL VASE IN ARCHAIC STYLE
Smooth form with an accentuated, wide and tall neck.
Flared foot and mouth. All three sections of the vase are
flanked by flanges similar to those seen in archaic art.
HEIGHT 10,8 CM
99
RECUMBENT RABBIT
Glazed stoneware. China, late Qing to Republic, around
1900
Vivid colours, mostly brown-yellow tones to blackbrown – grey, grey-green and black tones between
101
A PAIR OF APPLE-GREEN VASES
Porcelain. China, late Qing to Republic, around 1900 to
1st half of 20th cent.
Four character mark JINGDEZHEN zhi
Two tall-necked vases in very attractive colour, with
bellied bodies and flared lips. The beautiful apple-green
glaze offers an eloquent mottled visual texture. The
lip, interior and bottom have a cream-white glaze and
craquele. On the bottom of each vase in underglaze
blue, the four character mark JINGDEZHEN zhi (made in
year). HEIGHTS APPROX. 22 CM
102
BALUSTER VASE
Porcelain. China, late Qing, approx. 19th cent.
This vase has a captivating form and also presents
very effective contrasts in colour – „oxblood“-red and
contoured brown-black areas with light (white to bluegreen) borders between. Vibrantly mottled and some
mild craquele. Foot and mouth are curved and flared,
the mouth more accentuated. The lip has somewhat of a
white rim and the glaze on the bottom is white. HEIGHT
19,5 CM
Rufpreis / Starting price EUR 350,(Schätzpreis / Estimate EUR 700 ,-)
103
ELEGANT SMALL VASE
Porcelain. China, Qing dynasty (1644 – 1912)
Six character mark Da Qing Kangxi nian zhi
Ovoid body with a tall, narrow neck and a wide flared
mouth. The glaze on the exterior of this charming small
ornamental vase has a very even pink tone, white on
the lip, interior and bottom. A precisely painted blue six
character mark Da Qing Kangxi nian zhi. HEIGHT 13,8
CM
a vivid transitions of colours – the base tone is a light
yellow-brown sprinkled over with green and red, the
latter dense enough around the neck to cover the entire
base tone. A retrospective six character mark Da Qing
Kangxi nian zhi on the white bottom side. HEIGHT 20,2
CM
105
A PAIR OF PALACE LIONS ON PEDESTALS
Blanc de Chine porcelain made in Dehua and wood.
China, Qing 18th cent.
Two outstanding mirrored renditions of shizi lion dogs
in finest white porcelain, each with an offspring and on
a porcelain pedestal surmounting another elaborately
carved wooden pedestal that is also antique. Very
expressive fierce heads which prevail in the overall
appearance, mellowed by the wide blazing tails and
the offspring. There are two young on the left lion, one
playfully climbing on its back, the other secured under
the raised front paw. The partner lion only has one
offspring below his paw, here also with a slightly less
fierce expression. A brocade ball behind the offspring on
the ground respectively. The tightly adjoining porcelain
pedestal is smooth on the sides, with the exception of an
ornamental spiral- and ribbon motif on the front.
The black wooden pedestals are deep openwork and
offer rocky terrace platforms, stylized flowers as well
as lingzhi, which are considered the mushroom of
immortality in Daoism. HEIGHT (WITHOUT BASE) 21 CM,
WITH 26,5 CM
106
LIGHT BLUE VASE
Porcelain. China, Qing dynasty (1644 – 1912)
Six-character mark Da Qing Yongzheng nian zhi.
This small, very elegant vase enchants us with a soft
light-blue glaze and very harmonic Hu-form, composed
of a slightly bellied upright body and a tall neck ending
in a flared lip. A high reaching relief with leaves of a
chrysanthemum blossom emerges from the flared foot.
They are white, much like the lip. The six-character mark
Da Qing Yongzheng nian zhi on the bottom. HEIGHT
13,6 CM
107
ARCHAIC-STYLE CENSER
A rectangular vessel after the archaic fangding, the
rectangular variation of the otherwise round tripod ding.
The four legs on this piece are particularly tall and curve
outwards. The wider walls offer horned taotie masks
in relief, the narrow sides show abstract dragons. The
handles are cornered and stand upright along the sides.
The budged openwork cover is topped by a small lion
dog shizi holding a ball. An old hand-written collector’s
label with an article number on the bottom. HEIGHT
15,6 CM, WIDTH 10,3 CM
108
104
GUANYIN VASE WITH RIBBED NECK
Porcelain. China, Qing, 19th cent. up to 1900
This small shoulder vase originating from the Guangxu
period (1874 – 1908), also known as the „Guanyin
vase“, offers a beautiful and interesting glaze. The
narrow neck bears two ribs above the shoulder,
emphasized with white colour. The mouth flares
outwards and the lip is also white. The glaze presents
MINIATURE VESSEL WITH
PRUNUS BLOSSOMS
Porcelain. China, late Qing, 19th cent.
A charmingly decorated vessel of bellied form with a
large mouth and two-fold lip. Light-green glaze on
the exterior complemented by a raised relief showing
branches and meihua (plum) blossoms almost around the
entire wall. A butterfly
in-between. HEIGHT 4,8 CM, DIAMETER 7,7 CM
109
STANDING FEMALE ARCHER
Blanc de Chine porcelain. China, late Qing to Republic,
19th / 1st half of 20th cent.
A finely worked depiction of a young lady in combat
clothes, wearing a large hat, a shoulder scarf and heavy
footwear, standing on a rock pedestal. She is carrying
a quiver with arrows and sword, holding a large bow
with one hand. It could be the daughter of the chief
of „godly archers“ Yang Youji, whose name is Jie Wa.
She is considered a type of heroic fairy. Very delicate
facial features, many decorative details on the hat and
clothing. HEIGHT 17 CM
110
A PAIR OF CHRYSANTHEMUM BOWLS
Blanc de Chine porcelain. China, late Qing,
19th cent.
The walls and mouth here are charmingly lobed very
densely. The chrysanthemum ju is a symbol of autumn
and longevity. Glaze with light qingbai-effect.
111
A CALLIGRAPHER’S BRUSH WASHER
Porcelain. China, Qing dynasty (1644–1912)
Very typical form with no neck, a round shoulder and
a large opening with a lip that only barely protrudes. A
cloudy „oxblood“ glaze on the exterior, white glaze on
the lip, interior and bottom marked by the six character
mark Da Qing Kangxi nian zhi. HEIGHT 6,8 CM,
DIAMETER 9,9 CM
112
SITTING DOG
Porcelain. China, Qing, late 19th cent. to 1st third
20th cent.
The dog sits on an oval base composed of bamboo sticks
and is not glazed in the lowermost area. The dog’s large
head is looking down in contemplation, slack suspended
ears, a curled up tail and a collar with a bell around the
neck. The colour of the glaze is very dramatic, with tones
ranging from „ox blood“-red to a fine
grey. HEIGHT 12 CM
113
VASE WITH A PLUM TREE
AND A PAIR OF BIRDS
Blanc de Chine porcelain. China, Qing 18th to
19th cent.
A strikingly unique and elaborate vase, one that truly
appeases the collector’s appetite! Its walls are nearly
covered in depictions of peaches, one next to the
other – all grow on one tree, its knobby branch likewise
rendered in raised relief. Standing on it are two peculiar
tall-legged birds, rather decorative and humorous than
realistic, they are conversing with each other and their
bodies resemble corn cobs. The peaches are a symbol
of longevity, complemented by the mouth opening also
inspired by concept of infinity – it an endlessly twining
chord. All depictions are in raised relief over a dense,
textured base surface. Some craquele, remnants of an
old tax seal and a peach on the deep, recessed bottom.
HEIGHT 20,2 CM
114
ORNAMENTAL VASE WITH ELEPHANT HEADS
Blanc de Chine porcelain. China, Qing, 18th to 19th
cent.
A vase with an oval horizontal section throughout,
standing on a closely adjoining pedestal with eight legs
formed by lingzhi symbols (long life). A floral border,
then continuing into the primary section, reserves – each
holding a bird and flowers in relief. On the neck are floral
formations as well as elephant heads with looped trunks
and rings suspended from them. These rings are worked
very open, but not
movable. HEIGHT 18,2 CM
115
DEEP BOWL
Six character mark Da Qing Qinglong nianzhi
Porcelain with underglaze blue. China, Qing dynasty
(1644 – 1912)
A bowl in flawless and elegant form, meticulously
painted in cobalt-blue. Four lotus flowers within an
animated and stylised composition of vines on the
exterior of the curved walls. The borders below the lip
offer rowed ruyi symbols, a symbol of „long-life“. The
interior of the bowl offers a painting constricted to the
well, again lotus flowers and vines encircled by two
parallel lines. The six character mark Da Qing Qianlong
nianzhi on the recessed bottom encircled by a doublering. Flawless condition. HEIGHT 9,3 CM, DIAMETER
19,2 CM
116
VASE WITH FLORAL DECOR
Interesting form presenting an abstract geometric
depiction of three large flowers in raised relief with
strong emphasis on the center of the body. The pearshaped vessel has a flat unglazed bottom and an uneven
mouth (restored area). A red stamp and „20“ on the
bottom. HEIGHT 16 CM
117
VASE IN THE SHAPE OF A GOURD
A vase standing on a raised foot and in double-gourd
form implied by the discrete contour, with an only
marginally narrower upper section. Enchanting colour
of the light-green glaze. Mimicking a spider web, the
clear and pronounced craquele envelops not only the
entire exterior, but also the interior, which offers a warm
creamy tone and the bottom alike. A short neck, large
flared mouth opening and white lip. HEIGHT 19,6 CM
118
VASE WITH DRAGON
Blanc de Chine porcelain. China, late Qing,
19th cent.
A charismatic small vase with a tall neck and a bulbshaped mouth. The neck has a concave contour and a
dragon in the round winding around it, its head shaped
humorously and its tail reaching down to the middle of
the body. Very fine
craquele. HEIGHT 15,5 CM
119
SITTING HORNED CREATURE
Porcelain. China, Qing 18th cent.
This porcelain sculpture of a seated mythological creature
(known as qilin and considered to a good omen), is
very much marked by its turquoise glaze and expressive
head. The qilin has one horn that curves forwards,
long fluttering ears, eyebrows with volutes and staring,
spirited eyes. The creature’s mouth is clenching a branch
that leads up to a large lingzhi, the magic longevity
mushroom, forming a large flat bowl with an opening at
the center on the qilin’s back. The hole serves as a holder
for incense sticks. Further lingzhi are growing on the
branch. The mane on the back has many small spiralling
locks. Restored areas and bruises.
The wooden base is fitted precisely and elaborately
carved. The motifs are floral (prunus blossoms), spirals,
borders with leiwen meanders, as well as spirals and
lingzhi in a decorative design on top. HEIGHT (WITHOUT
BASE) 22,5 CM
Note: A similar example is published in the book „QING
PORCELAIN“ by Beurdeley/Raindre on page 144, no. 209
120
A (PRESUMABLY) MODERN ARTIST’S BRUSH
WASHER
Porcelain. China, 20th cent.
Especially beautiful form and glaze – delicately balanced!
This well-known calligrapher’s brush washer form, which
is usually completely flat on the bottom, is here curved
and appended with a stand. The semi-spherical form of
the vessel almost resembles a basket and gently flares
towards the bottom. The mouth is markedly small and
protrudes upwards. The entire form bears similarities
with a young female breast. The brownish glaze with
exquisitely balanced tones and red areas, partially fine
mottled red patterns as well as craquele, is evidently
the work of a skilled artist. A seal and the number 18
(presumably a limited edition) on the bottom. HEIGHT
9,2 CM, DIAMETER 12,2 CM
121
VASE WITH DRAGONS
Hu form with a wide and flared mouth and a raised relief
on the shoulder and neck. Two elongated zoomorphic
heads flank the vessel, adjoining at the neck as grips.
Four vivid and smooth chilong dragons on the shoulder,
shown in their typical vibrant pose. HEIGHT 20,2 CM
An elegant vase in balanced, tantalising form. Bellied
body with steep shoulders forming a perfect contour
continuing into the tall, narrow neck topped by a
bulge around the rim and then another bulb-shaped
appendage. The concise lip particularly comes to notice
due to its contrasting white glaze. The colour on the
exterior is a mellow and damp „oxblood“-red, with a
mild sprinkle or cloud pattern. White glaze on the interior
a recessed bottom, the latter bears the six character mark
Da Qing Xianfeng nian zhi consistent with the item’s time
of origin (1850 – 61). HEIGHT 27 CM
shows a scaled dragon long with a very well-rendered
head, faced by a long-tailed phoenix feng, also depicted
precisely. Both animals are surrounded by clouds, the
characters long feng chengxiang, „dragon and phoenix
bringing prosperity“. On the back is a zuyin hallmark,
„pure silver“. The piece was presumably used as a
weight or worn as a good luck charm (suspension hole).
SIZE 5,6 x 10 CM, STRENGTH 3 MM
129
124
SITTING GUANYIN WITH SCEPTRE
An unusual rendition, particularly the visage. Guanyin,
derived from the Buddhist bodhisattva Avalokiteshvara,
seated in the „relaxed“ pose known as lilasana. A
complex system of creases, pearled ornaments on the
chest, hair forming a chignon at the top, queues of hair
flowing down to the shoulders. The face is delicately
formed, showing a sensitive introverted expression.
The fingers are likewise very fine, vivid and modelled
individually. A ruyi sceptre with pearl decorations, ending
in a lingzhi or peach of longevity, rests horizontally on
her lower arm. An arm support on one side, formed with
the head of a mythological animal and a leg with three
claws emanating from its mouth. HEIGHT 20 CM
125
TRIPOD VESSEL IN ARCHAIC STYLE
Blanc de Chine porcelain. China, Qing (1644 – 1912)
This vessel’s form is rare and interestingly inspired by the
archaic ding type. Hexagonal shape on three flared legs,
formed by elephant heads and their trunks. The edged
and inclined walls produce a good stylistic contrast and
the likewise inclined handles are shaped as arrows. Some
craquele. HEIGHT 13,5 CM, DIAMETER 15,2 CM
126
VASE
Porcelain. China, late Qing, 19th cent.
Tall-shouldered and bellied vessel with a short neck.
Apple-green glaze with craquele on the exterior, beigewhite glaze with craquele on the bottom. HEIGHT 13,4
CM
OPENWORK BASKET
Silver and enamel. China, late Qing, 19th cent.
Extraordinarily fine filigree openwork! The decor motifs
are largely floral with the exception of two stylized
characters and two zoomorphic guardian masks with
rings in their mouths. The characters read shou, meaning
long life. On the openwork bottom are four lingzhi
bearing the same meaning. They are rendered in blue
enamel, the contours meticulously twined.
Rufpreis / Starting price EUR 250,(Schätzpreis / Estimate EUR 500,-
130
CUP WITH HANDLE AND DRAGON MOTIFS
Silver. China, late Qing, 19th cent.
Double-walled cylindrical vessel with detailed raised
relief, offering two dragons and the flaming cosmic pearl
between them. The scaled mythical beings have fierce
heads and blazing tails. Picturesque dragon offspring
(need to be looked for closely) and also carps. The upper
border is decorated with flowers and various swords. The
handle is formed by a dragon in the round. The marks
Sanhe and Wenliang on the bottom. HEIGHT 7 CM,
WIDTH 12,1 CM
131
POT
Silver. Persia (?) 19th cent.
Very neat, elaborate miniature work in repousse
technique, the handle and spout cast and engraved.
On the globular body is a figural relief with animals and
persons – tributes are being presented, a horseman as
well as a servant etc. A curved spout and looped handle
with floral decor, also present on the lightly domed cover
topped by a knob. HEIGHT 6,5 CM, WIDTH 11,2 CM
132
122
VASE-SHAPED TEA VESSEL
Stoneware. China, late Qing, approx. 1900
Elegant, balanced form and beautiful glaze. This small
vessel used in tea ceremonies has the form of a supply
jar – tall, evenly curved walls with a concise shoulder
topped by a wide open neck and a flared lip. Interesting
steel-colour on the exterior and blue-silver glaze. The
glaze on the interior is coffee-brown and spotted around
the inner mouth opening. HEIGHT 12,3 CM
123
VASE WITH VERY ELEGANT FORM
Porcelain. China, Qing, mid 19th cent.
Six character mark Da Qing Xianfeng nian zhi and
of the period
127
VASE WITH FLOWERS ON A BRANCH
Blanc de Chine porcelain. China, Qing, 18th to 19th
cent.
The largely flat, bottle-shaped vase offers an elegant
transition flowing from the body to the neck, the mouth
is only vaguely pronounced. Suspended from it on one
side is a branch with leaves, buds and two flowers
continuing downwards. The raised relief is smooth and
partly merges with the ground. Small faults from firing
near the foot, which were smoothened. A mark on the
bottom. HEIGHT 17,8 CM
128
DRAGON AND PHOENIX
Silver. China, Qing Dynasty (1644-1912)
A plate of pure silver, finely chased decoration on the
front and drawn-in edges. The outstanding low relief
COLOURFUL, PATCHED MINIATURE BOTTLE
Glass. China, Qing, approx. 19th cent.
Very small bottle with a bright and spirited pattern.
Mustard-yellow base, many red-brown and green
sprinkles. Beautiful polish, the well-fitting cap is a
mineral, small spoon. HEIGHT 5,1 CM
From the collection of Krassilnikov von Gerzoff
133
SMALL BOTTLE
Iron. Tibet, 19th cent.
This snuffbottle is embellished with fine relief decor on
a round body cusped towards the neck. In the center
on both sides, the stylised Chinese character shou,
„longevity“, surrounded by floral borders. The bottle is
assembled from two halves and has a tall neck with a
horizontally flared lip. HEIGHT 7,7 CM
134
SNUFFBOTTLE IN TOAD FORM
Lapis lazuli. China, Qing, approx. 19th cent,
A toad in motion, appears quite corpulent – after all, it
has just swallowed a fish. Its tail is still protruding from
the toad’s mouth and also forms the cap. Warty structure
on the body. Fish and toad are symbols of prosperity
and long life. Beautiful deep-blue colour tone with small
dispersed gold applications. Spoon. LENGTH 9 CM
Rufpreis / Starting price EUR 250 ,(Schätzpreis / Estimate EUR 500,-)
135
SNUFFBOTTLE WITH CRYSANTHEMUMS
Copper, enamel and gilding. China, Qing, approx. 19th
cent. to 1900
The four-character mark Qianlong nianzhi on the bottom
Well-worked bottle with enamel cloisonné and gilded
bars and edges. Upright walls, the lower part and
the shoulders slanted. The decor is floral with large
chrysanthemum flowers juhua in the center on both
sides, as well as ruyi – both symbols of longevity –
beneath the mouth. Floral and domed cap, the lower
side gilded, on the gilded bottom the four-character
mark Qianlong nianzhi. Spoon. Good condition. HEIGHT
6,95 CM
136
SNUFFBOTTLE WITH DRAGON AND LION
Soapstone. China, Qing, approx. 19th cent.
Light-grey colour with a lively red grain and dark-grey
areas. A mountain lion between steep rocks and dense
clouds rendered in low relief. The head of a scaled and
horned dragon emerging from the clouds, hissing in the
direction of the flaming pearl. A domed, red cap (coral or
glass) on a green platform. With carved fine
wood base. HEIGHT (WITHOUT BASE) 5,9 CM
137
SNUFFBOTTLE WITH CRYSANTHEMUMS AND POEM
Glass. China, Qing-Dynasty (1644 – 1912) or later
An emerald-green bianhu snuffbottle. One side formed
with chrysanthemums and foliage, on the outer right of
the other side is a retrospective date Qianlong Guizhou,
1753. In the middle section, a poem in somewhat larger
characters. A script on the outer left, Zhongyang Yuti,
approximately translates to „distinguished imperial
quality“. The motifs on the narrow sides are quite
extraordinary, formed here as frogs on lotus leaves rather
than mythical animal masks with rings. The domed cap
is of dark-green material, spoon. In padded brocade box.
HEIGHT 6,3 CM
From the well-known snuff-bottle collection Marakovic,
purchased at Chait in Beverly Hills, California (see Hugh
Moss and Stuart Sargent. The Marakovic Collection)
138
SNUFFBOTTLE WITH LONG LIFE SYMBOLS
Red noble wood. China, Qing to Republic, presumably
19th to 1st half 20th cent.
This markedly flat snuffbottle with tall shoulders and a
rectangular mouth opening is carved extraordinarily fine
and comes from a prominent collection. The narrow
sides are flat, the large sides embellished with straight
horizontal rows of very stylized and simplified characters
shou or „long life“, in precise raised relief. The closure
is edged and domed with a button, the spoon is
coloured ivory and well-fitting. In padded brocade box,
also decorated with the highly stylized character shou.
HEIGHT 6,7 CM
From the well-known snuff-bottle collection Marakovic,
purchased at Chait in Beverly Hills, California (see Hugh
Moss and Stuart Sargent. The Marakovic Collection)
139
SNUFFBOTTLE WITH PALACE SCENES
Ivory. China, Qing, approx. 19th cent.
A finely carved snuffbottle in circular round form above
an oval base, the decorative pictorial reserves are also
circular. On one side, figures depicted playing the
game Qi similar to chess, surrounded by pine trees,
rocks and a pavilion. At its entrance is a bearded „wise
man“. Similar rendition on the back, but two boys with
longevity peaches instead of the players. On the narrow
sides ruyi (congruent), mythical animal heads and the
life-awakening fan leaf, very good condition. HEIGHT
5,9 CM
140
SNUFFBOTTLE WITH TWO DRAGONS
Amber. China, Qing, approx. 19th cent.
A fine small bottle with two semi in the round dragons.
They are smooth chilong with long parted tails and
volutes at the ends. Between them is the flaming peal. In
China, the „night-shinning pearl“ known as yemingzhu,
also „pearl of wonders“ ruyizhu. The beautiful honeybrown tone of the amber comes through when held
against a light. Domed cap and also a spoon. HEIGHT
5 CM
141
SNUFFBOTTLE WITH BIRDS, PLUM AND PINE TREES
Aquamarine. China, Qing, approx. 19th cent.
A partly fully in the round, openwork rendition, depicting
pines, blossoming plums, rocks as well as birds. One
with a short curved beak, one mostly concealed behind
a rock, the third on a branch on the domed cover.
A butterfly also appears. A beautiful light blue-grey,
partially also a honey-yellow, tone comes through when
backed by a light source. Cap crafted from the same
material, long spoon. HEIGHT 7,4 CM
142
SNUFFBOTTLE WITH BIRDS AND FAIRY
Amethyst. China, Qing, approx. 19th cent.
A sizable biyanhu bottle for snuff tobacco, elaborately
carved out of violet amethyst. The completely- to semi
in the round relief offers a fairy with fluttering garland
on one side, several birds on branches and flowers on
the other, partly as high relief and partly in the round
depictions, also the bird on the domed cover. Very fine,
more recently applied spoon. An original crack in the
mineral on the bottom, very beautiful translucency.
HEIGHT 9,7 CM
143
SNUFFBOTTLE WITH DARK PLAY ON COLOURS
Glass. China, Qing, approx. 19th – 20th cent.
Very harmonic ovoid form, with perfect polish. The
mystical dark glass offers diverse soft, cloudy nuances
with yellow, red, brown and yellow-green tones. The
yellow cap topped by a flower effectively contrasts the
dominant dark, grey-green ground tone. In is mounted
with silver with a jagged and ribbed seam, faults. Metal
spoon not entirely preserved. HEIGHT 7,2 CM
144
SNUFFBOTTLE WITH LOTUS AND DUCKS
Turquoise. China, Qing, approx. 19th cent.
The mineral here shows an especially beautiful grain. The
almost entirely in the round depiction on only present
on one side and offers lotus leaves and a flower as well
as Mandarin ducks yuanyang, symbols of harmony in
marriage. Together with the lotus, it conveys the wish
for a son. The backside offers characterful, well-polished
grain, also present on the domed cap. Spoon. HEIGHT
5,8 CM
145
SNUFFBOTTLE WITH WISE MEN
AND MOUNTAINS
Amethyst and silver. China, Wing, approx. 19th cent.
Literati or „wise men“ in mountainous landscape
with their servants. Pine trees and rocks as symbols
of long life. Dense rendition, beautiful violet areas in
translucency. Domed orange cap in silver, lightly gilded
mounting (also spoon), and finely drilled edge. HEIGHT
6,3 CM
146
BEAD IN THE SHAPE OF A CONG
Jade. China, Late Neolithic period, Liangzhu culture,
ca.3300-2200 B.C.
Despite the small size, this bead is finely worked and
presents all the elements that can be seen on larger
cong. It looks like a hollowed cylinder with an external,
squared profile which is conferred to it by the projections
onto which the two types of Liangzhu jade masks are
minutely incised. It is decorated with two registers
carved with the anthropomorphic mask alternating with
the one with animal features. The round eye of this
human-like mask is set at the centre and on the sides
of the small cong so that it is shared by both masks
carved at the corners. The parallel, striated bands on the
top border of the bead form a continuous band. The
zoomorphic masks are instead fully detailed: there are
only two of them since each one occupies two of the
four sides of the small cong. Another interesting feature
of this miniature cong is the strong discolouration of
the stone, which has turned to an almost opaque,
white colour, while the surface of the jade is covered
by reddish lines signalling the presence of oxidised iron
content in the stone. It is likely that this alteration was
artificially induced through ritual burning of the jades at
the time of burial, as seen on excavated artefacts from
Liangzhu culture sites such as the two elite cemeteries
of Fanshan and Yaoshan in Yuhan County, Zhejiang.
Though this bead may have been strung together with
several others to compose elaborate necklaces reserved
for the members of the Liangzhu elite, archaeological
evidence indicates that these small jades might also have
been used to ornate ritual jade weapons such as yuetype axes: the beads were probably hung by small ropes
passing through the wooden shaft of the weapon, as
their position in the tombs and association with yue axes
seem to suggest. This miniature cong can be compared
to similar ones excavated from Liangzhu culture sites,
such as those reproduced in Liangzhu wenhua yuqi,
nos.70 and 175-177, and in Huang Xuanpei, Gems of
the Liangzhu culture, no.69.
HEIGHT 4,9 CM, DIAMETER 2,3 CM x 2,3 CM
䌱䌠朊䲳䏖⼊⡄ -列㷂㔯⊾, ℔⃫⇵33ᶾ䲨-⇵22ᶾ䲨檀
4,9 ⍀䰛
From an Austro-Hungarian collection.
147
SMALL ‘DRAGON’-SHAPED PENDANT
Jade. China, Late Neolithic, Hongshan culture, c. 3500
– 3000 BC
One of the most typical categories of Hongshan
ornaments is definitively represented by pendants carved
in the shape of coiled ‘dragons’ or mythical creatures,
such as those illustrated here and in the following lot.
The overall shape of the ornament recalls the original
rounded shape of the pebble out of which the ornament
was carved. With the exception of the animal’s head
which protrudes from the contour of the stone, the
pendant is plain and smoothed down, providing a warm
feeling when the jade is handled and worn. The head
of the animal, separated from the rest of the body by a
deep cut in the stone, terminates just before the inner
central perforation which is drilled from both sides of the
stone and finely polished. The cut stands for the mouth
of the animal, whereas the lines carved just above the
incision suggest the snout. The round, bulging eyes are
highlighted and encircled by a large groove, while the
ears of the mythical creature emerge slightly from the
jade: a small ridge between the ears marks the animal’s
forehead. An additional conical perforation on the back,
just below the head, serves as the suspension hole. The
jade, which is highly polished and smooth, is light green
and translucent, with brownish patches generated by
the iron inclusions. Pendants worked in the shape of
coiled dragons are attested in several Hongshan sites: see
those reproduced in Liaoning Archaeological Institute,
Niuheliang Hongshan wenhua yizhi yu yuqi jingcui (A
short presentation of the Niuheliang archaeological site,
Hongshan culture and its jades), Beijing 1997, nos. 1, 2
and 5. HEIGHT 5,4 CM, WIDTH 4,2 CM
䌠⼊䌱䍎 - 䲭Ⱉ㔯⊾, ℔⃫⇵35ᶾ䲨-⇵30ᶾ䲨檀 4,2 ⍀
䰛; ⮔ 3,2 ⍀䰛
From an Austro-Hungarian collection.
The following jades (until lot 158) originate from the
Qijia Culture, which existed from approximately 2400
to 1900 BC and was one of China’s earliest Bronze Age
civilisations. Geographically, they inhabited an area
at the top of the Yellow River, part of the Gansu and
Eastern Qinghai provinces today. Its predecessor was the
Majiayao Culture, better known due to the extensive
finds of Neolithic ceramic.
148
AXE BEN
Jade. China, Late Neolithic Qijia Culture, approx. 2400
to 1900 BC
An axe, flat on both sides, whose form extends from
5 to 7,4 cm to the blade. The axe Axt ben, also called
yue, can be followed back to the battle axe and counts
among the most common burial objects. The colour
of the jade is grey-green to blackish. Transmitted light
shows light green to yellow-red areas. A pure apple
green area also appears. The darker particles do not
run in one direction, but are scattered. Surfaces are
moderately weathered, the polishing must have once
been magnificent. The edges are still sharp. Small drilling
is lightly conical and very well
ground. LENGTH 17,3 CM, DRILLING 1,8 CM,
THICKNESS 7 MM
From an Italian private collection
149
AXE BEN
Jade. China, Late Neolithic Qijia Culture, approx. 2400
to 1900 BC
Smaller form of an axe ben with a little opening
(symbolic) for the stick. Fine white-green jade with iron,
effecting a yellow-brown hue already seen with normal
backlighting. In sharper transmitted light, beautiful
powerful honey yellow appears. Moderate compact fine
grain runs from cloudy to vertical. The axe extends from
4,6 to 5,5 cm. The upper edge is diagonally ground on
one side. All edges are rounded, the circular opening is
strongly conical on this hatchet and very smoothly
ground. Some weathering on edges.
LENGTH 15,3 CM, DRILLING 1,3 CM, THICKNESS 7 MM
150
LARGE BI DISK
Jade. China, Late Neolithic Qijia Culture,
approx. 2400 to 1900 BC
Large smooth bi with definite larger inner opening, thus
already rather a huan. Very beautiful milky grey to light
greenish tone, with more white areas, which appear to
be light reflexes within the dense “cloudiness”. Fullness
of darker particles lends both sides of disk a dynamic
image, as if a storm wind would blow a flock of birds
or raised dust through the air. In transmitted light the
green-grey is definitely more yellow, with almost a honey
coloured tone. Light conical inner opening with polishing
traces, outer edge is smooth and light rounded. The
condition – especially the perfectly crafted old polish
- is astounding, only on outer edge is a bigger area of
weathering. DIAM. 20 CM, INNER PERFORATION 7,5
CM, THICKNESS 7 MM
151
BI DISK
Green jade with dark, almost black areas, which however
appear entirely yellow-red in transmitted light. The inner
diameter is so long, that the disk can be delegated to
the type of a huan. The grain is cloudy, nevertheless
not turbulent, light stripes on some places. The surface
shows light age weathering, typical light conical drilling
on inner opening with polishing traces. Der outer edge
is smooth, with a light larger weathering area. DIAM. 12
CM, INNER 5,1 CM, THICKNESS 8 MM
152
BI DISK
Smooth Neolithic bi disk with light larger inner opening.
Particularly well-defined o this example is the colour due
to storage in the earth over thousands of years, effecting
partial white colour with ocher-yellow nuances. The
original green-grey colour has only persisted in places,
in transmitted light strongly yellowish. White areas are
also white in transmitted light. Small darker particles
lend both sides of the disk a dynamic appearance of
movement. the inner opening presents typical polishing
traces are well as conical bevelling. Bi-disks had a special
cosmic other worldly meaning in the burial cult. DIAM.
12,8 CM, INNER 3,5 CM, THICKNESS 6,7 MM
153
RITUAL OBJECT CONG
Jade. China, Neolithic Liangzhu Culture,
Rare beautifully matured cong, which four thousand
years of storage under the earth has lent this piece an
unusual noble violet-grey tone. Additionally, a very finely
grained white veining is also at play here - it appears on
one side in more dense compactness. The cong is threeleveled. This ritual object from the burial cult offers the
“face of god” in relief on outer side: Large rimmed eyes
as oval areas, nose and mouth (creased forehead is same
shape as mouth). One must see the face over the edges,
not only at one side – thus 12 faces are visible! Large
inner drilling (at that time extremely time consuming)
with the usual step. Some weathering on ends.
Note: The huge area of the Liangzhu Culture with many
burial places is situated between Daihu (Big Lake, not far
from Shanghai) and the port city of Hangzhou.
In the book Liangzhu Wenhua Yuqi (Shanghai 1989; Nrn.
44 to 54) are many congs, also this size, as well as similar
mineral colour and such minor degree of weathering.
The publication shows how extremely different this long
term weathering can affect jade! In Orientations (Chinese
Jade, 1983 - 1996) is „An Essay on Cong“ by K. C.
Chang recommended reading (burial site view on page
73).HEIGHT 18 CM, DIAM. 6,7 CM, DRILLING 5,2 CM
154
JEWELRY PENDANT WITH DRAGON,
TIGER AND PHOENIX
Jade. China, Qing Dynasty (1644- 1912), approx. 19th
cent.
This many-pierced and magnificent complexly crafted
pendant is a variation of the she type, originally a thumb
protector for archers. This she is surrounded by two
phoenix birds, a twisted chilong dragon and – above – a
tiger. In a certain way, this is also a searching game.
The shield-shaped thumb protector, tapering to a point
upwards, is smooth on one side, the other presents a
horned taotie mask. Almost white Fast jade with light
reddish nuance from old colour, very good
translucence. HEIGHT 6,8 CM
From an old Austrian-Hungarian collection
155
HUANG (PENDANT) IN FORM OF A TIGERS (HU)
Jade. China, Song Dynasty (960-1279) to Ming
(from 1368)
Splendid example in powerfully curved composition,
compactly carved white opaque jade (Baiyu)! This
pendant is thus so interesting because it presents an
archaic work from one of the richest cultural eras in
China – and especially demanding aesthetic quality. The
almost already baroque-like stylistic appearance is very
typical for mid- to later period of the prototype epoch
(Zhou), as is the thickness of the jade (about 8 mm). The
decorative execution is definitely dominant, even the
tiger head must be submissive to it, also he is mainly
composed of spirals. While the difference between
tiger and dragon is often not clear, here the tiger claws
are nicely carved while anatomically freely situated.
Somehow this fantastic composition of spirals and de
facto submissive tiger similarities reminds us– naturally
distantly – of the faces of Arcimboldo. The spirals would
be themselves (as they principally stand for clouds) the
element of dragon, however some of the spiral forms
definitely flow into claws. Even hints of flaming fur
markings can be discovered, but also a finely incised
scale pattern! The tail ends energetically in a curl with
hooks and claws (!). On this side of the huang are darker
areas as well as defined weathering corresponding to
age. Decor is indeed on both sides, however not identical
but rather freely designed. WIDTH 9,9 CM
*All jades in this catalogue were examined by Univ. Prof.
Filippo Salviati, declared to be authentic, furthermore
carefully and critically judged according to their time of
origin. Salviati teaches Chinese art in the department of
Orientalism at the University of “La Sapienza“ in Rome
and is one of the most renowned jade experts.
From the collection Krassilnikov von Gerzoff
156
JEWELRY PENDANT WITH DRAGON
Jade. China, Qing Dynasty(1644- 1912), approx. 19th
cent.
A very fine and delicately executed little work. The tightly
twisted scaled dragon is within a outward rounded ring
presenting a grid pattern and loops. The grommet is
delicately curved. Light milky-greenish colour of jade (in
transmitted light almost white) with yellow-brown zones,
mainly on the ring. This jade is worked the same on both
sides. HEIGHT 4,6 CM
157
JEWELRY PENDANT WITH DRAGONS
Jade. China, Qing Dynasty(1644- 1912), approx. 19th cent.
The inner part of this fascinating circular flat, precise
and exactly executed jade amulet is a bi disc. Around
it, two dragons in archaic style, so-called kuilong, are
stored. And they are indeed composed in the art of
archaic huang, curved pendants with dragon heads on
both ends. The heads are brawny and fierce, between
the heads in seal script are the characters Chang 攟 and
Le 㦪 with the meaning “long-lasting luck”. Incised relief
is also – with C and curls – kept in archaic style. Same
execution on both sides, almost white jade with light
reddish toning due to old colour, very good translucence.
HEIGHT 5,3 CM
158
JEWELRY PENDANT WITH FOUR DRAGONS
Jade. China, Qing Dynasty (1644- 1912), approx. 19th cent.
The inner ring of this exceptionally fine crafted pendant
encloses two very small dragons, done in the form of
one-legged archaic kuilong. The stronger outer ring is
consistently a dragon head crossing itself and ending
above in two dragon heads. These are facing each other
without space between. The grommet below the heads
is in the form of a she (archer´s thumb protector), similar
to our coat-of-arms. Light reddish toning due to old
colour, a deep black zone on one edge. HEIGHT 6,4 CM
Samantabhadra (“rich in blessings”), which is a symbolic
portrayal of active compassion, characterized here by
vajra, lotus and one hand in the “gesture of exorcism”
(spread index and little fingers), although there are
exceptions. The Bodhisattva Vajrapani (“vajra holder”)
could also be considered. In any case, the craftsmanship
is ornate with gilded face and high chignon bun, lotus
blossoms (on one vajra) as well as fluttering heavenly
garlands. Floral decoration on clothing, harmonious
facial features, patina. HEIGHT 21,4 CM
From an old German Tibet collection
162
THE GOD OF WEALTH JAMBHALA
Fire gilded bronze. Tibet, 18th cent.
Jambhala, less known under the name Kubera, sits on
a lotus base, one leg propped on its own small pedestal
in front. His most important characteristic – the pearl
spitting Nakula (Mungo) – is held in his left hand,
jambhara fruit in the right. Kubera is guardian of the god
of treasures and wealth. Under the name Vaishravana,
he is one of the four world guardians. Many necklaces,
earrings and a high bun ending in flames. HEIGHT 15
CM
159
SET OF 10 SMALL JADE DISKS
Jade. China to Vietnam, poss. as of 5 BC
All these little jades are from one collection and were
acquired 25 years ago in Vietnam (see also note below).
All objects have the form of a slitted bi disk, called jue,
are smooth and have different sizes and colours. Most
are greenish-white, some with more yellowish tone,
one little one is entirely white, two little ones are green.
One displays lovely apple green in transmitted light. Five
pieces are fully flat, the others have at least one bevelled
edge. The largest carries four grommets, was worn as
amulet and is restored. The pieces were hardly used as
ear ornaments (the slits were mostly too tight), thus they
could be burial objects. DIAM. 2,35 TO 5,2 CM
Note: These 20 miniature disks were acquired 1990
from the collection of Vu Kim Luc, author of the book
“Ancient Artefacts of Champa” (National Publishing
House Saigon).
Northern Vietnam stood from 2nd cent. BC. more than
thousand years under Chinese rule and accordingly
influenced by Chineses culture.
160
SET OF 20 SMALL JADE DISKS
Jade. China to Vietnam, poss. as of from 5 BC
Also these jades are from one collection and were
acquired 25 years ago in Vietnam (see also note below).
Mostly they are little to very little discs in the form of a
slitted bi, called jue. The largest piece is composed of
two halves and thus not a real jue. Colours vary from
deep green to pure white, in between more grey, yellow
and also marbled tones or mote iron content with
ensuing red-brown nuances. The pieces were hardly used
as ear ornaments (the slits were mostly too tight), thus
they could be burial objects. DIAM. 1,8 TO 5,1 CM
Note: These 20 miniature disks were acquired 1990
from the collection of Vu Kim Luc, author of the book
“Ancient Artefacts of Champa” (National Publishing
House Saigon).
Northern Vietnam stood from 2nd cent. BC. more than
thousand years under Chinese rule and accordingly
influenced by Chinese culture.
161
BODHISATTVA WITH LOTUS AND VAJRA
Bronze with fire gilding. Tibet, 19th cent.
This Bodhisattva is seated in padmasana lotus pose on
a powerfully crafted lotus throne. Possibly depicting
163
TSONGKHAPA, RELIGIOUS
ORDER FOUNDER
Bronze with enamel gilding. Tibet / Mongolia, approx.
15th to 16th cent.
Tsongkhapa lived until 1419 and is considered to be
an important reformer and founder of the Gelugpa
Order (wearing golden caps). As he is worshipped as
incarnation of the Bodhisattva of Wisdom, he shows the
same attributes – namely the sword and book of wisdom
(both small on the lotus). He forms the teaching gesture
with both hands, the dharmacakra mudra. Tsongkhapa,
whose head is emphasized, displays expressively crafted
facial features and wears a pointed cap with side laps
over his shoulders. He is seated in padmasana (lotus
pose) on a lotus base. HEIGHT 17,8 CM
164
BELL SHAPED STUPA
Yellow bronze. Tibet, approx. 16th to 17th cent.
Formally quite similar to a ghanta (bell) is the lower
tiered with lotus bordered decorative segment. Over the
plate, which depicts a geometric stylized lotus flower, is
a many-ribbed cone shaped part and a larger ascending
lotus blossom to conclude. These stupas (Tib. choerten)
were worn as protective amulets.
Rich patina. HEIGHT 17,4 CM
165
LAMA
A lama sitting in padmasana (lotus pose) with a pustaka
(book) in one hand, which means erudition. The
other forms the gesture of teaching and intellectual
discussion, the vitarka mudra. This would align with
the iconography of the Dalai Lama in 15th cent., Gedun
Dub, although he does not wear the typical pointed
golden cap in this depiction. Powerful and spirited
facial expression. All seams of his robe are decoratively
bordered. Smoke patina and rest of cultic cinnabar
colour. HEIGHT 17 CM
166
THE BODHISATTVA OF WISDOM MANJUSHRI
Yellow bronze. Nepal, approx. 16th to 17th cent.
Manjushri, guardian patron of science, is seated in
padmasana (lotus pose) on a lotus base and symbolizes
“turning of the learning wheel”, the gesture of
dharmacakra, with his hands. The typical for Manjushri
attributes of sword khadga and book of wisdom
pustaka are small and located on the lotus blossoms.
Well-executed introverted facial features with “flaming”
curved eyebrows, on the head a five-pointed crown and
bun. Manjushri, whose name means “gentle beauty”,
is wearing elaborate jewellery as well as flaming halo.
HEIGHT 17,3 CM
170
BUDDHA SHAKYAMUNI ON LOTUS THRONE
Fire gilded repoussé. Sino-Tibetan, 19th cent.
Rare repoussé sculpture with very beautiful brilliant
partial gilding. Not gilded are only the naked body
parts, including head, which carries an urna, a very tall
almost globular ushnisha with small conic ending. The
lively facial features, featuring fine sensual eyes, are
still completely in the style of the 18th cent. Buddha
sits in padmasana, one hand touches the earth, in
the bhumisparsha gesture. A little plug opening in his
other hand suggests a former alms bowl, identifying
the Buddha as spiritual head of the order. Beautifully
designed lotus base, gilding also on
back. HEIGHT 18,2 CM
From an old German collection
167
FIVE-PIECE RITUAL CROWN WITH
TRANSCENDENT BUDDHA
Color, maché and leather. Tibet, 19th cent.
On the five connected pieces are the five transcendent
Buddhas in finely executed painting; the Jina, also called
Tathagata (“perfect”), are portrayed. All wear fivepointed crowns, necklaces and are seated in padmasana
(lotus pose). No attributes are depicted, their names have
been erased due to body colours and hand positions.
From left are Ratnasambhava (yellow), Akshobhya (blue),
Vairocana (white) sits in the center, then Amitabha (red)
and Amoghasiddhi (green), surrounded by decorative
lotus blossoms, flaming pearls and holy water vessels. On
the back are magic words, age characteristics, evidence
of use and patina. HEIGHTS AROUND 18 CM, TOTAL
WIDTH approx. 50 CM
171
THE BODHISATTVA OF WISDOM MANJUSHRI
Fire gilded bronze. Tibet, 18th to 19th cent.
Manjushri, one of the most popular bodhisattvas in
Buddhism, is guardian patron of scholars. His defining
attributes are thus the sword khadga, with which he cuts
through ignorance, and book pustaka. In this bronze, he
rests on a lotus blossom and the book is “Transcendent
Wisdom”. The sword is flaming, with it this bodhisattva
can chase away the demons of darkness. Manjushri is
wearing lots of jewellery, five-pointed bodhisattva crown
and a hair bun, his knees show expressively depicted
dragons. On back landscape, trees and various animals,
including bird-like creatures and an elephant. Age
characteristics and patina. HEIGHT 21,8 CM
168
FIVE-SEGMENT CROWN WITH TATHAGATA
Papier-mache, fabric, colours and gilding. Tibet, 19th
cent.
The five leaf-shaped crown segments, fastened together
with a band of fabric and movable, are openwork
executed wtih decorative relief and show one of the
Thanthagata („accomplished“), also known as Jina,
respectively. They are the Five Wisdom Buddhas,
which among other things also symbolise the wordly
directions. The central Buddha in this concept is
Vairocana and therefore seated in the middle. Left of
him are Amithabha and Akshobya, Ratnasambhava and
Amoghasiddhi to the right. Each of them is in front of a
shining nimbus and within a pearled border. The outer
relief primarily consist of cloud paterns. Good condition
for its age, some bruises, wear and smoke patina. WIDTH
(WITHOUT BAND) APPROX. 50 CM
169
THE PREACHING BUDDHA
SHAKYAMUNI
Fire-gilded bronze. Sino-Tibetan, Qing Dynasty, early
19th century
Very good rendition and a richly gilded sculpture of
Buddha. He is sitting in padmasana (lotus seat) on a
lotus pedestal and forming the dharmacakra mudra with
both hands, the gesture symbolising the “turning of the
wheel of dharma”, or preaching. This, however, did not
occur in front of a large audience, but rather by Buddha
revealing the “four truths” to his four companions,
therewith establishing the Buddhist monastic order.
Buddha’s facial expression is hence content, which is
strongly emphasised. Fine floral pattern on the clothing
seams, high ushnisha with lotus bud. The entirely cast
parts (hands, one arm, the head) are original and as
commonly found, applied. Bottom plate with vishvavajra
and yinyang
symbol. HEIGHT 18,7 CM
172
FOUR-HEADED CAKRASAMVARA WITH YOGINI
Yellow bronze with enamel gilding. Nepal, approx. 17th
to 18th cent.
Cakrasamvara sits with legs crossed on a lotus base and
has four heads, also twelve arms. His most important
characteristic is the crossed position of his main
hands which hold vajra (diamond club) and ghanta
(bell). He is also embracing his yogini Vajravarahi in
sexual union. Attributes in his other hands are manyfaceted - sandglass, axe, cleaver, magic stick etc. the
head of Brahma at the lower right. The four heads of
Cakrasamvara and yogini are gilded. Age or respectively
smoke patina. HEIGHT 12,4 CM
173
PRAYER WHEEL
Yellow bronze and hammered copper. Tibet, 19th to 1st
half 20th cent.
Cylindrical form, the foot flared, cover partly domed,
with spiky lotus bud. Depicted in three friezes are
the script characters OM MANI PADME HUM (literally
between magic syllables “om” and “hum” “jewel in
lotus”). In the middle frieze are ashtamangala, the Eight
Treasures, parasol, holy water vessel, conch, lotus, fish
and crossed whips over a lotus. Inside the three-part
table prayer wheel is a sutra roll wrapped in red silk.
HEIGHT 22,8 CM
174
EARLY AMULET CONTAINER GAU
Silver and turquoise. Tibet, 18th to 19th cent.
As jewellery – as women used such gaus – a delicately
crafted amulet container in rectangular shape with
triangular surfaces applied on each side. The entire front
side is decorated with ribbed and beaded bars as well
as with many turquoise inlays. On top is a pipe-formed
grommet to hold the neck chain, below a vajra. On the
side (cover missing) are rows of vajra motif. SIZE 9,8 x
10,6 CM
175
VAJRAKILA + CLEAVER
Fire-gilded bronze. Tibet, presumably 19th cent.
A piece with great character – a very effective
combination of the „vajra dagger“ vajrakila (Tibet.
phurbu) and the cleaver kartr. Both are cultural tools.
The vajrakilla, also „ghost dagger“, served to impale
demons, and the cleaver symbolizes the positive powers
of teaching. The ghost dagger bears the heads of three
fierce Krodha deities, or Dharmapalas, with skull crown
and horse head. The triple blade protrudes from a
Makara head. The cleaver with curved blade and as usual
with vajra, with four bars emenating from Makara heads.
Slightly worn gilding. HEIGHT 41 CM
From an Austrian collection
176
PADMASAMBHAVA THE GREAT TANTRA
PRACTITIONER
Copper repoussé and cast bronze. Tibet, 18th to early
19th cent.
The attractive depiction composed of multiple parts
shows Padmasambhava (“the lotus born”) with a tall
upright upper body, sitting cross-legged in padmasana
(lotus seat) on a high throne. Padamasambhava is a
historical figure that possibly lived in the 8th century. He
was invited by the king of Tibet to subdue the demonic
forces in his empire and was since considered the great
“dispeller of demon spirits”. Holding up a vajra in one
hand as well as a kapala with an amrta-vessel containing
the elixir of life. Ornamental seams on the clothing,
jewellery on the ears and his typical mitra – pointed hat
of the Nyingmapa – on the head. This depiction is partly
worked in repousse as usual, hands and attributes are
applied casts, likewise the head with its expressive face.
Nimbus and khatvanga are missing. HEIGHT 33,2 CM
From an old Bavarian private collection
177
LITTLE HOLY WATER PITCHER
Silver. Tibet, 19th cent.
The widely flared foot, umbrella shaped mouth and
begin of its spout are decorated with dense relief. The
hammered design is composed of cloud spirals, triratna
symbols, magic syllables and lotus leave crown. The
container body is smooth. The vertical standing small
spout originates in a makara head. On its mouth, a little
red decorative stone. HEIGHT 14,7 CM
cast separately and also holds a vishvavajra.HEIGHT
(WITHOUT POLE) 30,5 CM
179
THE FEMALE GUARDIAN SHYAMATARA
Rock crystal. Tibet, 19th cent.
Very rare depiction of the beloved “Protector against all
Dangers “, the goddess “Green Tara” in rock crystal. She
is presented here in typical pose with one leg on a little
lotus pedestal and hand positions of fulfilling wishes and
offering help. In her shoulder area are lotus blossoms,
she wears the crown of a bodhisattva, behind her head a
round halo with flaming wreath. On back the rock crystal
is unworked. HEIGHT 11 CM
180
AMULET CONTAINER GAU WITH KUBERA
On the front, a depiction in semi three-dimensional relief
of the world guardian Kubera, also called Jambhala and
Vaishravana. He is the Guardian of Treasures and a god
of wealth. He holds in one hand a dhvaja, in the other
a nakula (pearl spitting mungo, only head is visiblen).
Gau in lapped form with pointed tapering end, is filled
and displays a vishvavajra symbol on the back. Floral
engraved designs on the sides. HEIGHT 6,4 CM
181
COVERED JAR FOR TSAMPA
Silver and rootwood. Tibet, 19th cent.
Shapely round ornate covered jar with silver repoussé.
This kind of jar as daily object of use is very rare. All
seams around the foot and edges are beaded, the
decorative borders with lotus leaves. The light silver
composes a good contrast to dark rootwood. Tsampa
was roasted barley which was enjoyed with tea, but
could also be kneaded with butter and cheese. HEIGHT
8,5 CM, DIAM. 12,2 CM
182
THE GREAT ABBOT TSONGKHAPA
Fire-gilded copper-repousse. Tibet, 19th cent.
A high quality depiction with lustrous gilding! Quite
certainty the great reformer Tsongkhapa who lived until
1419, although his characteristic attributes are missing.
Nevertheless, the head-dress and hand position with
the dharmacakra mudra are very typical for him. The
beautiful and detailed position of each finger showcases
fine craftsmanship. The gesture of teaching, or „turning
the wheel of dharma“ is indicative of him, as he did
not only advocate monastic discipline, but rather the
teachings of Buddha himself – until the end of his life.
HEIGHT 19,8 CM
From a Hungarian collection
178
THE DAKINI VAJRAVARAHI
Fire-gilded bronze. Tibet, presumably 18th / 19th cent.
Very well-worked bronze sculpture of a Dakini in motion,
with very effectively painted facial features and a third
eye. Dakini are exclusively female, almost or entirely
naked and are goddesses who play a role in the healing
process. This vajravahari stands in capasthana on one
leg on top of a laying human body. She is wearing a
rich and bejwelled skull chain, a crown likewise with
skulls and various decorative chains. In one hand she is
holding a kartr hack knife and the raktakapala skull up
in the other. A swine’s head protrudes from her blazing
hair. The upper end of the khatvanga rod is missing.
The oval lotus pedestal is sturdy, like the laying body
other hand suggests a former alms bowl, identifying
the Buddha as spiritual head of the order. Beautifully
designed lotus base, gilding also on back. HEIGHT 18,2
CM
183
BUDDHA SHAKYAMUNI ON LOTUS THRONE
Fire gilded repoussé. Sino-Tibetan, 19th cent.
Rare repoussé sculpture with very beautiful brilliant
partial gilding. Not gilded are only the naked body
parts, including head, which carries an urna, a very tall
almost globular ushnisha with small conic ending. The
lively facial features, featuring fine sensual eyes, are
still completely in the style of the 18th cent. Buddha
sits in padmasana, one hand touches the earth, in
the bhumisparsha gesture. A little plug opening in his
184
ELABORATELY DECORATED
HOLY WATER PITCHER
Silver. Sino-Tibetan, 19th cent.
Exterior completely decorated with hammered relief.
Roundish body, strongly arched lid with lotus bud,
grommet handle and curved spout. Decor is composed
of lotus leaves, flowers and tendrils, also on corpus with
figurative depiction showing scholars with servant boys,
pavilions and a monkey riding an elephant (symbol for
career). As well, the leiwen meander around the mouth
and lid edge is typical for the Chinese influence. ONE
large lotus blossom on the flat bottom. HEIGHT 12,4 CM
185
THE GODDESS OF PROSPERITY KUBERA –
JAMBHALA
Fire-gilded bronze. Tibet, presumably 18th to 19th cent.
Fantastic and elaborately sculptured bronze depicting the
„guardian of treaures“ who is also a guardian goddess,
Kubera, also named Jambhala and Vaishravana. The
appropriate name here would be Jambhala, as he is
holding up the lemon jambhara with one hand. He is
sitting relaxed on top of a lion, which appears more as
a fantastic hybrid creature with the curved horns of a
mountain goat and the beak of a Garuda. Jambhala is
wearing a tiger fur apron, plenty of jewellery, a crown
with skulls as well as the heavenly girland, and has
a third eye in the expressive face. On the wide lotus
pedestal is a symbolic animal, the pearl-spitting nakula
(a mongoose). A vishvavajra on the closure platform.
HEIGHT 28 CM, WIDTH BASE 22 CM
jewellery adornments, tsatsa, bells, rings, mani stones,
miniature vessels, etc.
Harrer, a mountaineer, adventurous explorer and writer,
gained worldwide prominence for his ground-breaking
ascent up the Eiger’s north face in 1938 and later for
his book “7 Years in Tibet” (1952, translated into 53
languages). In the course of his escape from a British
prisoner-of-war camp in India, Harrer, together with
Aufschnaiter, was the first ever European to reach Lhasa,
where he stayed until 1951. During his stay he became
the teacher of the Dalai Lhama, with whom he fled
to India during the Sino-Tibetan conflict in 1950/51,
sharing a lasting friendship together until the end of his
days. The book, which tells of this adventurous escape
and his time in Tibet, was made into a blockbuster film
in 1997, starring Brad Pitt in the lead role. Harrer, who
lived in Hüttenberg (Carinthia) until 2006, was personally
acquainted with us and regularly contributed important
objects from his collection – most of which was
obtained by the Rietberg Museum in Zurich – to earlier
exhibitions in our gallery, which was located in Vienna’s
Schulerstraße at the time.
188
DANCE MASK OF A
KRODHA DEITY
Wood with black coating. Tibet, 19th cent.
Large ritual cham dance mask, depicting a Krodha deity
with fangs and large, staring demonic eyes. Presumably
a Mahakala, as it is painted black. A third eye on the
forehead, the diadem with skulls. Certain parts were
effectively gilded (remnants). Minor bruises on exposed
parts due to age, otherwise well-preserved, lacquer seal
on the inside. HEIGHT 27,5 CM
From the former collection of Heinrich Harrer
189
TWO ADORMENTS
Bronze, silver, turquoise. Tibet, old
The smaller piece is openwork with decorative bands
and a protrusion with an eyelet. Ornamental line-pattern
with volutes on the bottom side. The other item could
be an earring and has a ribbed ring open on one side,
a turquoise gem in drop form on a mounting seamed
with pearls, an application with pearls at the sharp end.
WIDTH 4,15, HEIGHT 4,8 CM
186
TALL THREE-PART OIL LAMP
Iron and yellow bronze. Nepal, 18th to 19th cent.
The column-like with ribs segmented part rises from a
many-tiered pedestal. Above is a plate with a removable
pot. This has a curved spout and handle as well as an
arched lid topped with a lotus bud. This shapely little
pitcher was filled with oil, the flame at the spout. Rare
due to its completeness. Use and age patina. HEIGHT
31,2 CM
187
HOLY WATER PITCHER
Elaborate hammered crafted relief decor on all segments.
Lotus leaf wreath on flared foot, four horned kirttimukha
heads with eye teeth on corpus, again lotus on the flat
shoulder and throat. Around the mouth of shield chatra,
lotus as well as ashtamangala, the Eight Treasures, below
are endless knots, conch shell, eight-spoked wheel of
teaching, etc. The nozzle in the spout features spiral
tendril design thick with flowers set with turquoise.
HEIGHT 22,6 CM
From the collection of Heinrich Harrer
The following assortment of smaller ethnological
antiquities (aside from the somewhat larger dance mask
and a bowl with cover) presents items from the former
collection of HEINRICH HARRER (1912 – 2006), including
190
TWO TSATSA, ONE WITH
ELEVEN-HEADED LOKESHVARA
Fired clay, paint. Tibet, presumably 17th – 18th cent. or
earlier
The larger, colour painted tsatsa – religious votive
offerings, also amulets – with semi in the round relief,
depicts the eight-armed and eleven-headed bodhisattva
Avalokiteshvara, standing on a lotus base and in front of
a high nimbus with spiked arches. The uppermost head
is that of Buddha Amithabha. With patina.
The smaller tsatsa is a strikingly fine work, showing the
transcendent Buddha Akshobhya, on hand in „earth
witness“gesture and the other holding a vajra.
Lotus pedstal and flaming nimbus. HEIGHT 3,45 CM
AND 7,7 CM
191
TWO RINGS
Ivory and seashell. Tibet, presumably
17th/18th cent.
The larger ring with a slightly uneven surface is cut on
one side, leaving approximately three quarters of the
cirlce. The gradient, size and colour of various channels
offer a lively pattern, good authentic patina.
The smaller ring has a conical shape with bulged sides,
could possibly be made of very white and hard shell
(snail shell) and has several circulating channels, which
are pronounced by applied blackening. DIAMETER 3,95
AND 4,9 CM
197
192
COLLECTION OF 19 RINGS
Messing, bronze, silver, gilding, iron, stone. Tibet,
approx. 17th – 19th cent.
Of various sizes and forms. The smallest pieces intended
for kids, one of them is the only included iron ring and
somehow very touching. In contrast to the simplicity of
many of the pieces, some rings are considerably more
elaborate and flamboyant – with filigree, engravings,
gilding or inlaid stones. A ring with a demon mask
application, with a spiral and a thunderbolt. The largest
example is a ring-shaped decorative item with abstract
zoomorphic heads and a stupa at the tip. Of various
ages. HEIGHTS FROM 1,7 TO 5,2 CM
193
DECORATIVE COMPACT BOTTLE
Silver, coral, some gilding. Tibet, 19th cent.
Elaborately decorated, partly with chased silver and
adorned with red coral. Circular round form with a
narrow, onion-shaped spout with lid. The body is of
polished wood with dynamic grain, reinforced with silver
along the contour and chased silver lotus emblems on
both sides in the center. The spout above a leaf-shaped
and florally decorated cuff. Eyelet and leather band,
signs of use and patina. HEIGHT 12,8 CM
COLLECTION OF NINE MINIATURE VESSELS
Ceramic and metal. Tibet, approx. 17th – 19th cent.
Nine small vessels in various forms, the majority
presumably used for cosmetics. The smallest is a bellied
pot with grained mouth, one is an amphora with
handles, several resemble a chalice, including one with
remnants of red colour on the inside and presumably
utilized accordingly. Two vessels are footed vases with
stepped bodies and narrow openings. By far the largest
piece has four eyelets around its middle, a wide body
and a short neck seamed with minute lumps. Of various
ages. HEIGHTS FROM 1,5 TO 4,6 CM (AMPHORA);
DIAMETER OF LARGEST ITEM 7 CM
198
SEVEN VARIOUS MINIATURE OBJECTS
Messing, bronze, silver, gilding etc. Tibet, China,
approx. 17th – 19th cent.
The smallest object is a round Chinese coin with a
quadratic opening and the inscription Mingming
Tongbao 㖶␥ 忂⮞. Next, a black pearl-chain pendant
(lacquer?) with a figural depiction seamed with pearls,
followed by a silver chain element in the form of a drop
with ruby-red applications and an eyelet. A vajra pendant
with finely worked bronze claws and a red-brown middle
section. Another pendant is bulged, seamed with pearls
and continues into a sharp end at the bottom. On it is
an emblem, a crossbar on the back. A larger object is a
wide grinning skull, gilding, hollow on the back and with
patina and an eyelet. A mystical and curios pendant,
depicting a demon mask in openwork and producing an
emblematic effect – the largest piece. Of different ages.
HEIGHTS FROM 2 TO 7,8 CM
194
THREE SMALL TOOLS ON A CORD
Iron and messing. Tibet, old
Particularly interesting due to its authenticity, just
picturing how it was worn on the belt or in a bag. The
largest tool is a pair of pliers for plucking facial hair,
operated by pushing a slider with floral decorations. The
second largest is a key with peculiar edges and pliers at
the front, with decor and a small section that is possibly
gilded. The third item is a small seal with the Tibetan
charcter sun, the messing handle is openwork. LENGTH
FROM 2,85 TO 7,1 CM
195
THREE BELLS
Three bells of different sizes, all with an eyelet.
Amusingly, two of the bells resemble pufferfish with
wide mouths but also feet that become eyes when the
bell is upturned. Stylized Chinese characters shou, or
„longevity“, on the larger bell. The third bell is very
small, with concentric circles forming the pattern. SIZE
FROM 2,7 TO 6,4 CM
196
TWO DECORATIVE ARM RINGS
Silver and messing. Tibet, 19th cent.
The smaller arm ring is made of silver and offers relief
decoration that is partly floral, continuing into dragon
heads towards the open section. A few original openings
on the inner side. The large piece with a very short open
section is ribbed and grained throughout, the ends
somewhat reinforced and partly grained. A recess along
the inside. Both rings with patina. DIAMETER 8,1 AND
9,2 CM
199
TRIANGULAR STONE WITH SIDDHA
Stone. Tibet, old
A slightly elongated triangular form, with frontal
figural relief, presumably showing a naked siddha,
seated with open legs and standing hair. An approx.
1,5 cm deep triangular opening on his breast. Siddha
are beings which attained supernatural abilities. The
item could perhaps be a ritual object or a decorations
related to rituals. The thinner areas produce a yellowred translucency when placed against a strong focussed
light, similar to nephrite. Black coating and patina. SIZE
8,1 x 7,5 x 4 CM (HWD)
200
MANI STONE AND HEAD
Schistose and serpentine. Tibet, old
Engraved in the grey schistose piece is the popular
mantra OM MANI PADME HUM, in simplified script. It
symbolises the absolute of spiritual energy.
The second piece is smaller, but offers a vivid rendition
of a male head, wearing a hat and holding his hanging
mouth slightly open. Greenish colour with dark grain,
lightly polished. WIDTH 8,5 CM, HEIGHT (HEAD) 6 CM
cover has a horizontally flared edge and a flat, round
plateau with a cosmic swirl-symbol. Very good age-effect
with corresponding features (bruises, wrinkles), patina.
HEIGHT 14 CM, DIAMETER 19,8 CM
202
COVERED VESSEL WITH LADIES, BOYS AND LION
DANCE
Porcelain with lacquer colour. China, Qing Dynasty
(1644 – 1912), approx. 18. Jh.
Very good quality of painting and drawing.
Comprehensive depiction of rocks, pines, bananas and
bamboo. In a palace park, mostly shrouded in fog, some
ladies sojourn with several funny boys. The faces are
fine and painted with confident lively brushstrokes. Two
boys perform the “lion dance”, one under the fierce
lion mask, the other under a scarf, to suggest the body.
A few boys make rhythmic noise with pots and drums.
Behind the ladies is a table with a qin, a covered string
instrument. On the shoulder border with ice-crack
design. On the arched lid are rocks, pines, bamboo and
boys – One performs the “Dance with Long Sleeves”,
Changxiuwu. Light blue knob in form of a lotus bud.
HEIGHT 43,8 CM
From an Irish-Czech private collection
206
HEAD OF A BUDDHA
Fired clay. Gandhara, approx. 2nd to 3rd cent.
Very rare piece, portraying Buddha Shakyamuni with
an exceptionally spirited, strongly messianic expression,
not immersed in meditation as in a later period. The
eyes are wide open, the gaze lightly raised. Sensitive
harmony of eyelids, brows and nose. The very thick curly
hair is not generalized, but rather youthful and natural.
Accordingly, ushnisha formed as a hair bun. Original
cold painting over the primer is still partly preserved, the
skin is brownish, lips red, pupils and hair intense black.
Condition correspondent to age. On a discreet black
metal base. HEIGHT (WITHOUT BASE) 19,7 CM, (WITH)
25,6 CM
207
203
LARGE MONOCHROME VASE
Porcelain. China, Qing, Guangxu (1874 - 1908)
Very characteristic harmonious form with large globular,
lightly ovoid pressed corpus, throat is tall and pipe-like.
Monochrome glaze in an especially lovely noble colour
tone, in the art of celadon or reminiscent of jade, in a
light yellowish grey-green. The lip is flush, the foot ring
dark brown. Within a rectangular, lightly recessed area
on the bottom is the perfectly carved six character mark
Da Qing Guangxu nian zhi from this period. HEIGHT 35
CM
204
VESSEL WITH LANDSCAPE PAINTING AND LARGE
INSCRIPTION
Porcelain. China, Qing Dynasty (1644 – 1912)
Powerful body, painting on one side in beautiful cobalt
blue tone. Light inward curved cylindrical shape in the
art of “brush pots”. Painting shows a boat, which –
according to inscription – due to the battle in year 208,
drifts by the famous “Red Rocks”, situated on the course
of the Yangzi in Hubei. The view into the boat reveals
man and woman as well as servants respect. servant
boys. Further depicted are several longevity symbols
like pines, crane in flight, bamboo and the rock itself.
The long text is carefully written and, according to
inscription, he tells in verse the story of the “Red Rocks”,
Qian Chibi fu ⇵崌⡩岎 . Also noted: he „wrote in a
summer month“, Xiayue shu yu ⢷㚰㚠㕤. And that „it is
heavenly to live with costly porcelain“, Qingyun ju zhenci
曺暚⯭䍵䒟 . But Qingyun (literally “blue cloud”) means
also “career of a public official”, with it “ascend and live
with costly porcelain”, the depiction of the man in the
boat portrays a high official. With seal. HEIGHT 15,5 CM,
DIAM. 19,5 CM
Pages 99 – 108 offer a rare choice of early stone
sculptures and fragments from private collections.
201
COLOURFUL BOWL WITH COVER
Wood, lacquer and gilding. Tibet, 19th cent.
A rustic effect with colourful painting. Lathed wood, a
slanted flared foot and bellied compressed walls. Floral
decor within oval bordered reserves, four respectively.
The fill patterns are red, clockwise-spinning, painted
swastikas on a golden base. The equally decorated
straight line from forehead over the nose, with jutting
chin. Small urna between eyebrows. Ear jewellery, hair
tied with beaded decorative bands with flowers. A
jewel over mid forehead and a large circular flower-like
ornament above. HEIGHT 15 CM
205
Schist. Gandhara, approx. 2nd to 3rd cent.
A very finely executed eye-emphasized head with soft
enlightened features. Hellenistic profile with completely
LARGE, STANDING BUDDHA SHAKYAMUNI
Grey schist. Gandhara, approx. 2nd to 3rd cent.
This important early grey schist sculpture from Gandhara
presents Shakyamuni standing and in a long and
creased robe similar to a Roman toga. A hem overhangs
both shoulders and elaborately runs around the neck.
Curiously, the bare feet are standing on lotus flowers,
one knee bent slightly forward and suggesting a walking
motion. As typical for this style influenced by Hellenism,
Buddha does not wear stylized spiral or conical hair
locks, and the spiritual protuberance on his head is still
rather similar to a topknot. Very captivating enlightened
and content facial expression with strong features, large
eyes, an almost horizontal eyebrow-line and a small
urna mark above the nose bridge. A round halo with a
strong jagged contour behind the head. The lowered
hand is holding the lappet of his clothing. Judging by the
fracture, the other hand was almost certainly in abhaya
mudra, gesturing „protection“ (holding the palm of
the hand forward, similar to a greeting gesture). Good
condition for its age with some missing parts. Overall,
this sculpture predominantly impresses with its slightly
stocky, almost dreamy-mild, yet sturdy expression. The
sculpture is mounted on a black base with a rail along
the back. The first images of Buddha worldwide – after
initial aniconic Buddhist depictions – originate from
Gandhara (same period as Mathura). HEIGHT (WITHOUT
BASE) 74 CM
208
HEAD OF BUDDHA
Stucco. Gandhara, approx. 3rd to 4th cent.
Impressive and rare example of a large half-head of
Buddha Shakyamuni, the historical Buddha. Its size is
larger than that of an average natural head, the eyes
are large and pronounced as typical for Gandhara
works, but offer a beautiful immersed meditative gaze.
The nose is large and shaped like a wedge, the mouth
beneath mildly curved with deepened corners. The
sculptural art of Gandhara is split into the stucco- and
slate-methods. Stucco renditions are much rarer, as
they are more subjected to weathering. The “locks” so
typical for Buddha depictions are already present on this
head, or at least implied. The first images of Buddha and
bodhisattvas originate from Gandhara (ancient WestIndia), where Greek influences in style were adopted due
to the campaigns of Alexander the Great. This half-head
is gracefully mounted on a fine wood plate that is arched
at the top. Signs of prolonged weathering, overall an
interesting and unified effect! HEIGHT 30 CM, PLATE 37
x 22,7 CM (WITH WALL MOUNTING)
From the Swiss collection Zuberbühler
209
Schist. Gandhara, approx. 2nd to 3rd cent.
Very good animated depiction with typical stylistic
characteristics of the culture and period. Masculine
face with gentle enlightened gaze, moustache
flared to the side, urna (lost) between the eyebrows.
Straight nose and strongly jutting chin, identifying the
Hellenistic influence. Jewelry on the ears, thick curly hair,
noteworthy is the hair braid rising like a fountain to give
the head a special appearance. HEIGHT 18,5 CM
210
STELE WITH GOD OF WEALTH KUBERA
Red stone. India, Madhya Pradesh, approx. 6th to 7th cent.
A very rare early stone stele of Kubera, also a god of
abundance, guardian of earthly treasures and master
of the deep earth spirits. Here he is seated with lightly
bent leg on a pedestal, holds a drinking cup with money
bag in flower-like shaped fingers – two of his typical
attributes. He wears a tall coiffeur as well as beaded
jewelry on one ear and neck. Truly fascinating face with
magical expression. The appearance mainly impresses
by his big belly, symbolizing lucky well-being. Damage
due to age and characteristics, except one finger, in very
good complete condition. HEIGHT 36,8 CM
From the Swiss collection Jack Zuberbuehler
of the fifth incarnation of the high god Vishnu, known
as Vamanavatara (Vamana = dwarf). Vishnu appeared
in this form to defeat the demon king Bali, who had
become so mighty that he banished the other gods
from paradise. Vishnu appeared as a „dwarf“ (boy) in
front of the king, but then transformed into the giant
Trivikrama. The stele shows Vishnu less as a boy, but
rather as a markedly bulky figure as he is commonly
portrayed. Vishnu’s attributes include the wheel at the
top right, the conch shankha below, the gesture varada
(wish-fulfillment) on the bottom left. The hand holding
the club gada is missing. Two female accompanying
figures in pronounced tribhanga at the bottom. HEIGHT
46,8 CM
214
STANDING VISHNU
WITH LION
Black stone. India, Rajasthan, Gahadavala,
12th cent.
Very rare small stone stele, showing especially fine
craftsmanship. The high god Vishnu stands between
round pillars under a blazing gate arch. The four armed
god is holding the attributes shanka (conch) and cakra
(disc) in his upper hands. A tall royal crown on the
head, chains on the naked upper body - this is rendered
extraordinarily fine, particularly the light tribhanga
stance, also the facial features are delicate. Left and
right of the gate arch are fierce guardian lions. Good
condition considering the age, naturally with some faults
(the lower arms), but well-kept and mounted on a base.
HEIGHT (WITHOUT BASE) APPROX. 27 CM, BASE 5 x
19 CM
From an old Viennese collection of a former diplomat
211
STELE WITH A YAKSHINI
Red stone. India, Mathura, approx. 2nd to 3rd cent.
A very early stele from Mathura, as seldom to be found
in the art market. The nearly nude figure of a dancing
yakshini is under a tiered protruding epistyle. Yakshini are
fertility spirits and were very popular in depictions. The
masculine form, yakshas, composed the circle around
the fold of wealth Kubera, guardian of treasures. Left
from yakshini´s head is presumably a lotus blossom,
necklace around her throat and round breasts. This rare
portrayal shows flaws due to age, spots on stone due
to weathering, as characteristic for the stone sculptures
from Mathura. Black wooden base.
HEIGHT (WITHOUT BASE) 40 CM
From the Swiss collection Jack Zuberbuehler
212
BUDDHA SHAKYAMUNI BETWEEN STUPAS
Dark grey schist. India, Pala, approx. 9th to 10th cent.
A rare old and artistically impressive fragment of a stele
depicting the historical Buddha below a parasol and
between two stupas. The fragment offers an almost
entirely preserved head, the breast and an arched
background relief. Buddha shows sovereign features, has
slightly downcast eyes, spiral hair locks and an ushnisha.
Behind the head a flaming halo encloses Sanskrit script.
Both stupas are ribbed, have a lotus base and lotus bud
finish, are rendered almost completely in the round and
hence very pronounced. The once intact pillars below
them are still recognizable. Two ratna stylised as flaming
triangles between the stupas and halo. Good condition
for its age, mounted on a black base. HEIGHT (WITHOUT
BASE) 38,8 x 35,5 CM
213
VISHNU AS THE FOUR-ARMED DWARF VAMANA
Sandstone stele. India, Chandella dynasty, approx.
9th to 10th cent.
A very unusual and rare, powerful and quaint depiction
215
STANDING GODDESS SHIVA
Red sandstone. India, Madhyapradesh or Rajasthan,
A large and impressive sculpture of four-armed god
Shiva, standing in slight tribhanga, one foot facing
outwards. The iconography is not entirely clear, as several
parts of the depiction are missing. The rod held frontally
was quite certainly a trident and the water vessel held in
the hand below suggest that this was once a portrayal of
Shiva with the river goddess Ganga (who could possibly
have been present as a small depiction on the upper
left). Shiva prevented a flood, but at the same time
became subdued by the erotic emanation of Ganga and
compelled his consort Parvati to jealousy. The sculpture
shows Shiva with fine facial features, a tall crown
(holding a symbolic third-eye), bejewelled with chains
and clad in a fine silk dhoti. On the bottom right an
animal (gazelle?) is licking a water container. Mounted
on a wooden base. HEIGHT (WITHOUT BASE)
65,3 CM
216
STELE WITH THE GOD
VISHNU AND FIGURES
Red sandstone. North India, approx. 12th cent.
Elaborate and detailed rendition in a small stone frieze.
The four-armed high god Vishnu standing large in the
center and holding his known attributes gada (club) and
shankha (conch). The hands directed at the ground show
the wish-fulfillung gesture varada and the cakra (wheel)
attribute. A tall royal crown on the head, bejewelled
ears and chest. Four figures in the lower section, two
in adoration pose, the far right is one of his consorts,
presumably Lakshmi. Male figures are seated on top of
both pillar in the uppermost section respectively.
HEIGHT 27 CM
From a Geman private collection
217
THE GODDESS TARA
Sandstone. North India, approx. 10th to 11th cent.
An expressive stone fragment of Tara – she is often
considered a protector spirit and a bodhisattva in
Buddhism. Her name translates to „the star“. In this
sculptural fragment, which has preserved its torso, arm
and coroneted head, it is the lotus attribute and the
protruding round breasts that suggest a Tara – for all
other boddhisattvas are gender neutral. Large jewellery
on the ears, jewellery on the chest, the refined facial
features are of a very firm, almost governing character.
The hair forms a high chignon and in front of it a section
pointed towards the top shows a small image of Buddha
Amithabha in a niche. Minor remnants of a former
colour coating. HEIGHT 31,4 CM
218
FRAGMENT OF A DEITY WITH
A COMPLETE HEAD
Red sandstone. Central India, approx. 12th cent.
A necklaced deity wearing a flaring tiger-fur apron
holding a sword blade in front of her chest. The wellpreserved and very finely worked face with a determined
expression offers youthful facial features, on account
of the rich adorments likely a prince and presumably
Rama, an incarnation of the high god Vishnu – the
seventh before Krishna and along with the latter, one
of the two most popular. The whole story of Rama who
resided in Ramayana is broad, captivating and fruitful. It
is presumably the „Hero Rama“ in this depiction, known
as Ramavatara. Large spiral rings on the ears, dense,
flowing and wavy hair with decorations to the front.
Strong upper budy, likewise the hand on the sword
handle. HEIGHT 23 CM
219
THE JINA PARSHVANATHA
Colour painting on fabric. India, Rajasthan,
18th cent.
Especially rare and early depiction from the Jain religion
with many figures, in form of a cosmological diagram
focussed on the 23rd tirthankara named Parshvanatha
on his throne in the centre. He is sitting cross-legged
and wearing jewellery. The seven-headed naga king
Dharanendra is above him, offering protection against
the rainstorm. Around him, borders holding depictions
of trees, flowers, palace components as well as various
animals – cows, horses, fish, turtles, etc... In the large
section all around are palaces and a depiction of
another tirthankara with ladies blowing wind at him
with fans, as well as various animals and also demons.
Furthermore, a sitting or standing female deity in each
of the four directions respectively, also derived from
Hinduism, possibly Parvati or Radha (a reference to the
Krishna-Radha-gopis motif can generally be recognized
here). Early pichway such as this are exceptionally rare!
Somewhat faded colors. SIZE 113 x 82 CM
220
ELEPHANT HEADED GANESHA
Bronze. India, 19th cent. to around 1900
The popular wisdom deity Ganesha, who also enjoys
eating sweets. In this depiction he is shown with four
arms holding the attributes (from top left) noose, goad,
uneaten sweets as well as the wish-fulfilling gesture.
He wears a crown with peacock feathers and sits on his
mount, the rat. The rat is an amusing rendition with no
tail and a large head, rather similar to a dog. Ganesha
and the rat both stand on a lotus pedestal. Patina.
HEIGHT 13,3 CM
221
THE LIGHT BRINGING DIPALAKSHMI
Bronze. India, 18th to 19th cent.
Lakshmi, goddess of beauty and fortune, Vishnu’s
consort, shown here in a rare depiction as the “bringer
of light”, Dipalakshmi. The bronze shows her standing
on a strikingly artistic lotus pedestal. It offers a sturdy
figure in slight tribhanga, sparsely clothed, wearing
jewellery and decorative ribbons, while a chain hangs
between her breasts. In one hand she is holding a chalice
shaped lamp and an oil container in the other. Vivid and
graceful face with a fine pointy nose, a long heavy queue
of hair on the back. Patina, remnants of red ritual paint.
HEIGHT 22,5 CM
with plenty of figures and in good condition. The centre
focusses on a blue, richly adorned Krishna standing on
a large lotus flower and wearing a crown, as well as a
halo decorated with pearls. Krishna is also an incarnation
of the god Vishnu and in his youth, spent time living
with the shepherd girls, the Gopis. He often liked to
tease them, for example stealing their clothes as they
bathed, etc… He is shown here playing his flute to the
autumn dances of the girls, who are rather ladylike and
have rigorously arranged themselves into two groups,
all attentively gazing towards Krishna. Their heads are
rowed tightly next to each other – there are around 600
in total! A girl is also present in front of each leaf of the
lotus flower Krishna is standing on. A white palace wall
in the foreground, bodies of water with lotus flowers in
front of it and a herd of cattle as well as persons (some
dressed luxuriously) behind it. A dark green forest with
a multitude of colourful birds in the distant background,
aircraft with godly characters above, as well as Krishna
and Radha below. The border is painted with white, redspotted bulls – around 80 in total. SIZE 122 x 198 CM
226
222
THE SNAKE NAGA
Yellow bronze. India, Maharashtra, 18th to 19th cent.
Cobras are semi-godly creatures in India, they are said to
possess inteligence and wisdom as well as supernatural
powers and were worshipped accordingly, especially
in South India. In this messing bronze, part of the
scaled body forms a wide ring as the base, from which
the typical cobra plate – vaulted and scaled on the
front – projects upright. The head is small, the tongue
protruding forwards, an elevation in the neck area
resembles a conical stylized lotus bud. Remnants from
cult paintings. HEIGHT 26 CM
Rufpreis / Starting price EUR 700,-)
(Schätzpreis / Estimate EUR 1.400,-)
A VESSEL AND AN OIL LAMP
Yellow bronze. India, 18th to 19th cent.
Cylindrical vessel with a flat bottom and slightly inclined,
flared lip. The wall is decorated with bizzare fields
containing either ribbed or floral patterns. A narrow
jagged border at the top and bottom and similarly on
the lip.
The oil lamp in cylindrical form with a cusped protrusion
at the front side of the basin. The arched back wall is
jagged with flames and holds a relief on both sides.
The goddess Lakshmi in the center, with a tall crown
and large breasts, surrounded by detailed patterns, a
baldachin above her, two to three additional heads (one
spiritual protector) are also implied. Patina. HEIGHT 7,6
CM, DIAMETER 9 CM; OIL LAMP: HEIGHT 13,4 CM,
DIAMETER 9,7 CM
223
GOD VISHNU
Bronze. India, approx. 18th to 19th cent.
Small cult bronze, neatly affixed within a frame. Vishnu
is four-armed and holds the attributes (from upper left)
disc, conch, vessel with armta and a club, here more
as a rod. Vishnu has spread legs, the head is large and
surmounted by a crown, and the facial features are wellmodelled and confident. Border with beige fabric and
carved wooden frame. HEIGHT VISHNU 8,8 CM, FRAME
17 x 14,4 CM
224
KRISHA PLAYING THE FLUTE
Dark-grey stone. India, Orissa, 18th cent.
Rare stone sculpture with remnants of a former colour
coating. Krishna, the eighth incarnation of the high god
Vishnu, standing on a round lotus base. He is naked and
offers the well-known pose “flute playing shepherd”,
vividly depicted and named venugopala. The legs stand
crossed in padasvastika, the beast strongly bulged. The
body position a pronounced feminine tribhanga, the
hip and lower back are markedly feminine. In the largeeyed face is a small pointy nose, the mouth is smiling.
Also pointy are his manly genitals and the hair knot
protruding to the front. Krishna plays a flute, as a boy
visiting the shepherd maidens during the autumn nights
when the round dances took place. HEIGHT 34,8 CM
230
GAURI – AN ASPECT OF
THE GODDESS PARVATI
Yellow bronze. India, Maharashtra, 18th cent.
Gauri is the „fair one“ and represents a mild aspect of
the great Parvati. Gauri is a goddess associated with
fertilitycults. The head expresses this beautifully – plump
and fertile, very large eyes, a fine thin mouth – overall
a sensual, warm expression. Large jewellery on the ears
and a decorative chain around the hair, very good patina.
HEIGHT 11,8 CM
231
HIGH GOD VISHNU WITH
HIS CONSORTS
Three bronzes. India, 19th cent.
A complete trinity, not easy to find at this niveau of
quality. The larger bronze in the middle depicts Vishnu
standing on a round lotus pedestal surmounting a
stepped quadratic base. He is wearing a crown and the
typical attributes wheel and clam, projecting the “wish
fulfilling” gesture with his hand. His consorts Lakshmi
and Bhumidevi standing left and right of him, both on
round lotus pedestals above quadratic bases. Likewise,
they also wear crowns as well as chains, have bulged
breasts, stand in tribhanga and hold a lotus attribute
respectively (one is missing). HEIGHTS 12,8 TO 15,2 CM
From a private collection in Berlin
227
ELEPHANT HEADED GANESHA
Bronze. India, 18th cent.
An appealing small figure of a half-kneeling Ganesha,
the popular god of wisdom, on a quadratic base. He has
the body of a human, wears an apron with a floral bow
at the back, jewellery on the chest and arms as well as a
crown with a ribbed cone protruding upwards. He only
has one tusk and holds the other (missing) in his hand.
In the other hand possibly a noose (not identifiable),
which he uses to capture and set aside obstacles in one’s
path. Very strong, partly green and old patina, the base
partially in openwork. HEIGHT 10,8 CM
228
FINELY SHAPED WATER PITCHER
Silver. India, 19th cent.
Delicate shapely design with many decorative segments.
Flared pierced foot, round sides with eight curved
areas, each with leaf ribs and beak. Several areas, partly
closely ribbed or bulging, above is the conical, up to
four millimeter, renewed throat and exactly crafted
three-dimensional flower-like spout. Embossed script
characters on two positions. Very good condition.
HEIGHT 23,4 CM
225
KRISNA PLAYING THE FLUTE
AMIDST A CROWD OF GOPIS
Large colour painting on fabric. India, 1st half of last
century
Unusually large and decorative wall ornament, painted
interestingly depicted here sitting on a throne that has
human legs. He himself has one leg tucked up on the
pedestal, a protruding belly and decorative chains as well
as several attributes, including a noose and a sweet he
is savouring. He is the patron of science, son of Shiva
and Parvati and widely worshipped as the „remover of
obstacles“. Blackening and patina. HEIGHT 10,8 CM
229
THE DEITY GANESHA ON A THRONE
Yellow bronze. India, 18th to 19th cent.
The four armed, elephant-headed god Ganesha,
232
STANDING GODDESS LAKSHMI
Bronze. India, 18th to 19th cent.
Very detailed bronze figurine of Lakshmi.
She is standing with crossed legs (padasvastika) on a
lotus plinth surmounting a quadratic plate. Lakshmi is
the consort of Vishnu, although her embodiment as “the
great mother-goddess” Mahalakshmi reaches beyond
this role and can even incorporate other goddesses
such as Parvati, Druga, Bhumidevi, etc… Her attribute
in this bronze is a lotus flower, in the other hand is an
eyelet where another object could have formerly been
present (a lamp? In this case, it would be a Dipalakshmi
depiction). Clothing with creases as well as jewellery
and decorative bands and chains protruding outwards.
Budged breasts, vivid facial features, and a long queue of
hair with floral decorations on the back.
HEIGHT 20,3 CM
From a Berlin private collection
234
RAJA ON AN ELEPHANT
Wood. Southern India, Tamilnadu, Tanjore District, 19th
cent.
This three-dimensional carving offers a costumed
striding elephant on a tiered base. It carries a tall roofed
throne similar to real pavilion architecture. Seated is
the raja (prince), the mahavat (driver) right behind the
elephant´s head with ankusa (goad) in one hand. Base,
harness, head scarf of elephant, throne columns etc.
are decoratively carved in relief. Age characteristics,
weathering and patina. HEIGHT 51,2 CM
235
HANUMAN WITH MOUNTAIN MAHODAYA
cent.
Deeply carved relief of a processional cart. The standing
figure possibly shows the monkey god Hanuman.
Indications could be the head from and tiered pyramidlike object he is holding. This is an attribute of the
mountain Mahodaya, although it could also be a club.
Particularly idiosyncratic: the apron under which the
testicles are protruding is clearly connected to a fertility
cult. Decorative garlands, flaming halo and lion mask
kirttimukha. Age characteristics, flaws. HEIGHT 36,5 CM
236
FOUR-ARMED GOD VISHNU
cent.
Popular almost three-dimensional carved relief of a
processional cart. It depicts four-armed Vishnu seated
on a throne with his most essential attribute, the conch
shankha, which he is holding in two of his arms. Vishnu
used it as a weapon against demons, although it can also
be connected to the fertility cult. The god wears a tall
crown mukuta and sits in front of a flaming arch under a
kirttimukha (lion mask). HEIGHT 34,4 CM
237
BALAKRISHNA IN DANCING POSE
Bronze. India, approx. 17th to 18th century
Particularly appealing and qualitatively refined bronze in
the round, depicting the balakrishna (the boy Krishna).
His face with large eyes are slightly more feminine,
likewise the hair with a long queue at the back. Krishna
is naked, however, wearing plenty jewellery on the
upper body and a globe-flower which he has taken from
the shepherd girls. Krishna, an incarnation of the god
Vishnu, stands on a lotus flower. On a round wooden
base.HEIGHT (WITHOUT BASE) 17 CM
From a Berlin private collection
Good wear of bronze due to age, remnants of cultic
paint. Inserted nimbus with flaming arch, naga screen
and mythical animal head. HEIGHT 23,4 CM
From the old Viennese collection of a former diplomat
Rufpreis / Starting price EUR 500,(Schätzpreis / Estimate EUR 1.000,-
239
THE SACRED „WISH FULFILLING“ COW SURABHI
Yellow bronze. India, Maharashtra, early 19th cent.
An extraordinarily rare depiction! The sacred wish
fulfilling cow Surabhi, also known as Kamadhenu, with
her calf on a four-wheeled vehicle. Surabhi, lit. the
„fragrant“ one, according to some belief, emerged from
the churning of the cosmic ocean. She is traditionally
depicted as a cow with the head of a woman, in this
bronze also with three horns, several adorning chains
and a peacock’s tail. Her calf is accompanying her as a
seperately cast smaller bronze that is still included (often
missing). Alluringly smooth modelling, particularly the
prevalent ritualistic design of Surabhi’s large-eyed head.
Her other name, Kamadhenu, means „wish fulfilling
cow“ and can be applied as a nominal adjective to her
dominant form Sarasvati. Surabhi is able to heal, turn
the foolish into wise, but primarily bestows hapiness on
every person. The wagon she is standing on has floral
decor, the four-spoked wheels are movable. HEIGHT 21
CM, LENGTH 15,3 CM
240
PAIR OF TWO-WHEELED CHARIOTS DRAWN BY
BULL AND TIGER
Yellow bronze. India, Rajasthan, late 19th cent. to 20th
cent.
The canopies resemble pavillions – domes in decorative
openwork with a lotus bud apex, arched on every
side. The drawbars are very long, with 2 or altogether
8 suspended rings. Also the monobloc wheels are
decorative openwork and large on the carriage, but
much smaller on the draught animals. One animal is a
bull embellished with decorative patterns over the entire
body, the other a partially decorated tiger, recognizable
by his feline head and long tail that curles back to the
neck. The chariots, often described as „god’s toys“, can
be moved along the ground, producing a light rattling
noise (bells).
HEIGHTS 15,4 AND 17,4, LENGTHS 22,7 AND 26,7 CM
241
GODDESS DEVI STANDING UNDER A TREE
Bronze. Nepal, approx. 17th to 18th cent.
Attractive depiction of a devi, half nude and adorned
with decorative chains, on a lotus base under a tree. One
hand reaches up to a branch, the other in vitarka mudra,
gesture of discussion. Bare breasts, crowned head, much
jewelry, tight groincloth and fluttering garlands. The
erotic appearance indicates a fertility goddess, while also
the idea of a Buddhist bodhisattva (crown, hand pose) is
valid. HEIGHT 26,7 CM
233
YAKSHA WITH BATON ZITHER
Wood. Southern India, Tamilnadu,
Tanjore District, 19th cent.
This very expressive three-dimensional carved relief
presents a yaksha, while appearing as Shiva Vinyadhara
(carrying a zither). As the yaksha are from Shivas
entourage and accompany Kubera, there can be a
connection to this big-bellied wealth deity. The ornately
decorated round-bellied figure with beard and third eye
(Shiva) and fluttering hair stands under a kirttimukha
(lion mask). Includes mounting bracket. HEIGHT 37 CM
242
238
FOUR-ARMED GODDESS DURGA
Yellow bronze. India, Maharashtra, 18th to 19th cent.
Beautiful depiction complete with nimbus and attributes.
The deity worshipped as a guardian, Durga, stands
on a stepped quadratic base, is four-armed and holds
attributes in all hands. They are sword and trident, disc
and presumably noose in the hind hands. Protruding
breasts, a necklace and jewellery on the ears. Durga has
one leg resting on a small lion, which is also its mount.
Large, expressive eyes and a tall crown on the head.
RAMA, SITA AND HANUMAN
Repousse. India, approx. 19th to 20th cent.
Depiction of four mythological figures, all standing on a
wide base and each on their own round pedestal, except
for the ape god Hanuman. He is kneeling in adoration
of Rama. Rama, an incarnation of Vishnu, is holding
one hand on Hanuman’s crown as a sign of gratitude
for helping his army to rescue his consort Sita. She is
standing next to Rama, the figure on the outer left with
the gesture of procreation could perhaps be Sugriva,
who is often identified with Hanuman. Decorative
accessary elements, framed behind glass.
HIGHT REPOUSSE APPROX. 21 CM, FRAME 36,8
x 31,5 CM
243
FEMALE DEITY
Yellow bronze. India, Orissa, 17th to 18th cent.
The relaxed four-armed goddess Lilasana sits on a
tiered square throne with one leg resting on an animal.
Presumably a goat, which may be an indication of
Ishana, an aspect of ein shiva, here rather manifested in
form of the goddess Parvati. Jewelry on ears and breast,
tall royal crown with lotus bud on the head. An attribute
might be a lotus bud, the other is presumably only saved
in part. Damage on base plate, deep age patina. HEIGHT
13 CM
244
FOUR-ARMED FERTILITY GODDESS
Yellow bronze. India, Orissa, 18th to 19th cent.
In some ways an unusual depiction of a fruitful
appearing goddess, sitting in crossed lotus-seat on a
stepped circular lotus throne. Decorative cuffs around
the wrists, necklace over the especially powerfully crafted
bare breast, pointy crown with cupola-like ending.
Both hands behind are symmetrically raised to possibly
indicate “that which holds everything”, which the name
Prthivi would mean – an old fertility goddess. One hand
displays the gesture of wish-fulfillment, the other holds
an object. A bowl and dog-like animal are in front of the
goddess. HEIGHT 13,3 CM
245
STANDING GODDESS PARVATI
Bronze. Southern India, 19th cent.
A very fine rendition depicting the compassionate
image of goddess Parvati, the consort of Shiva. Graceful
bhanga pose with naked upper body, plenty of jewellery,
one chain reaching across the breasts. The long, skintight
silk skirt is flared at the bottom and chased with
decorative patterns. The elevated hand holds the stem of
a lotus flower (missing), the other hanging down relaxed.
Parvati stands on a lotus pedestal and wears a crown.
Beautiful dark-brown patina. HEIGHT 26,3 CM
246
GOLD EARINGS
Gold with fillings. Vietnam, old Champa, presumably 9th
to 10th cent.
Both earrings are round and bulky with correspondingly
large, conical tapering apertures. Fine beaded seams
forming waved lines along the ridges, 6 ribbed thorns
protruding between them, separated by small round
protuberances. These gold cast adornments are
assembled from parts and possibly filled out. See note.
DIAMETER APPROX. 3,4 CM
Note: These ear decorations were acquired from the
collection of Vu Kum Luc, author of „Ancient Artefacts
of Champa“ (National Publishing House Saigon), in 1990.
Linyi, later known by its Indian name Champa, was
a Hindunized empire on the southeastern coast of
Vietnam, which flourished during the 9th and 10th
centuries.
247
FLUTE PLAYING KRISHNA AND RADHA
Miniature painting with colours and some gold. India,
Kotah style, late 19th cent. to 20th cent.
A noticeably large page with a centred blue Krishna in
royal attire. He is standing on a lotus, wearing a crown
with lotus flowers and a shinning halo and playing the
flute. He is staring at Radha, who is also wearing rich
clothing, with large eyes and an obvious longing for her.
On the outer right is a cow as a symbol of the mothergoddesses. A lotus pond in front, the flowers and trees
in the background are especially delicate and maniristic.
SIZE 28 x 39,5 CM
as well as an extremely long tail with decor. Flaws due
to age, mainly in the lower area and frame. Faces and
center are generally well-preserved.
LARGE PICTURE 48 x 41 cm, TOTAL 61 x 51 CM
Lit.: A similar picture was loaned by Harvard University to
Victoria & Albert Museeum in the exhibition: “Maharaja:
The Splendor of India’s Royal Courts “(Okt 2009–Jan
2010), see exhibition catalogue.
From a German private collection, acquired by the
collector 1971 in Bangalore.
one hand, wearing rich adorments and showing a bare
breast. The standing girl who is holding up the mirror
is likewise dressed luxuriously. Delicate flow of the long
garment creases as well as fine detailed patterns. A view
of the green lawn and small pavillon through the lobed
gate arches. Floral border with gold. In passepartout.
PICTURE SIZE 19,5 x 14,5 CM, SHEET 35 x 26,5 CM
257
248
NOBLE DAME AND MAHARAJA
Two framed miniature paintings. India, 19th cent.
Exquisitely fine oval portrait of a richly adorned dame,
inscribed Nur Jehan on the back. Frame decorated with
floral relief and with a support for upright mounting.
Good original condition.
Very finely painted oval portrait depicting a ruler,
inscribed Akbar on the back. Frame decorated with floral
relief and a support leg for upright mounting. A fracture
in the glass, otherwise good original condition. HEIGHT
PICTURES 5 CM, FRAME 12,4 CM
252
MAHARAJA ON A TERRACE
Kotah style, late 19th cent, to last cent.
Maharaja seated on a carpet, leaning against a large
cylindrical cushion with floral decorations. He is holding a
sword and shield and has a dagger holstered on his belt.
Various jewellery and a halo. A white terrace wall in the
background. Finely painted details. SIZE 29 x 22,7 CM
THE DEITY SHIVA AND A FOUR-ARMED DEVI
Miniature painting with colours. India, Pahari style, 19th
cent.
An interesting small painting with a rare motif. The
naked blue skinned deity Shiva on a long hexagonal
pedestal. She is wearing jewellery, a white snake around
the neck, has long golden hair and a third eye. Devi is
sitting on Shiva’s lower abdomen, luxuriously clothed
with a crown, halo and attributes. Shiva embodies
calmness and permanence and the female Devi (form
of a mother-goddess and can also be Shiva’s consort),
which can also be described as Shakti, a minifestation
of primordial female energy required to unfold the male
creative potential. Very fine details. SIZE 16 x 21,5 CM
253
249
OFFERING WORSHIP TO A ROYAL RAJA
Cloth painting with gold on fabric. India, in the Mogul
style, 1st half of 20th cent.
A particularly large painting with gold on fabric and
charming colours. The architecture of a palace is
depicted in beautiful soft colours within the floral border
in portrait format. The lavishly clad Raja is sitting on a
roofed terrace and leaning against a large cushion. A
shinning halo encircles his head. He is surrounded by a
servant, people paying tribute to him and presumably
merchants trying to convince him of the quality of their
goods (silk cloth), or presenting gifts. Precisely painted
faces, garments as well as various objects. Landscape
background and a high palace wall in front with the
typical delicate towers. Mildly rubbed on some spots,
otherwise good condition throughout. SIZE 124,5 x 95,5
CM
250
DAME WITH DAUGHTER AND PALACE
Mogul style, 19th cent.
A very fine Mogul style painting, focussing on a rather
European (perhaps British) dame. She is seated on a
European chair with her small daughter, who is also
already showing a very feminine form, standing between
her legs. The subtly painted head of the dame makes
the impression resembling a Madonna, the fine garment
patterns done in gold. Also the meticulously detailed
buildings indicate the Western influence. A creek is seen
flowing along the foreground, and an attractive large
floral border. SIZE 32,5 x 21,7 CM
251
THE MAHARAJA WODEYAR WITH FAMILY
Color painting on paper. India, Mysore, 19th cent.
Fine large format painting with very detailed depicition
of the individuals. In the center, Maharaja, who lived
until 1894, under a royal umbrella and decor with his
wife and two sons. Other family members surround him.
On outer left, a full-bearded guru with turban sits on his
own throne and holds a scripture. Maharaja stands on a
lion-shaped foot pillow, next to a lion-like animal (dog?).
Left in front is a big painted kneeling monkey in prayer.
His fur is finely wavy and green. He is wearing an apron,
a crown similar to that of Maharaja, earrings with pearls
KRISHNA WITH RADHA
Gouache on paper, India, 19th/20th cent.
Blue Krishna is standing alone next to lovely Radha with
whom he has just fallen in love – not as usual depicted
playing the flute. Precise care in execution of tiniest
foliage, monkeys and birds in trees. Also sensitive fine
area with lotus blossoms and fish in foreground. 32,4 x
21,2 CM, PICTURE 18,6 x 12,3 CM
From the private collection Robert W., acquired 1950´s
- 1970´s
254
RAJA WITH DAME
Miniature painting. India, 19th cent.
A fine painting in Mogul style, granting a view into
a palace chamber. Sitting on a wide pedestal in front
of large round cushions, a prince dressed in white
and a dame across from him, both wearing jewellery.
Decorative rendition of all elements, from the facade to
the clothing. Devanagari script in the uppermost section.
PICTURE 18 x 10,2 CM, PAGE 23,5 x 16 CM
255
NOBLE DAME BEHOLDING HERSELF IN THE MIRROR
Miniature painting with colour. India, Sirohi school, 1st
half of 18th cent.
Rare and early work from the Sirohi school, centrally
portraying a dame beholding herself in a mirror held up
by her female servant. Both are seated, another servant
is standing and blowing cool wind towards them with
a fan. Jewellery and clothing decorations are painted
fastidiously fine. In the foreground a pot and beaker, wall
and fish pond, in the background trees, a white pavillon
and clouds. Devangari script on the back.
SIZE 25 x 14,5 CM
256
NOBLE DAME BEHOLDING HERSELF IN THE MIRROR
Miniature painting with colours and some gold.
India,19th cent.
Enchantingly fine miniature in the Mogul style, depicting
three dames, one seated on a red chair and observing
her reflection in the mirror which a servant is holding up
for her. A dark-skinned lady is holding a pearl chain in
258
RULER AND MUSICIANS
Miniature painting with colors and some gold. India,
Mewar school, 17th cent.
In this very delicately painted depiction, Maharaja is
sitting together with his consort under a Baldachin and
on a throne, leaning against a large round cushion.
Behind them, a female servant holding a frond, and
sitting in front of them on white blanket, two musicians
whose sounds they are listening to. The one at the
front is playing a zither, the one behind him has the
head of an animal (fox?) and is playing bells or small
cymbals. Trees and birds in the background, two rows of
Devangari script above it. SIZE 25,5 x 21,5 CM
259
GOD SHIVA AND HIS CONSORT PARVATI
Miniature painting with colours. India, Jodhpur, approx.
late 18th cent.
Small depiction with high painting quality, showing the
blue deity Shiva on a red carpet, leaning against a rolled
cushion, bejewelled and with a third-eye. Next to him is
Parvati with enchantingly fine facial features. Even the
smallest details are meticulously painted. Floral decor,
leaves of trees or the baldachin under which they are
both seated. A hexagram below, Shivas and the bull
nandi beside. In passepartout. PICTURE SIZE APPROX. 14
x 11,5 CM
From an Indian private collection
260
PAVILLONS AND NOBLE DAMES
Miniature painting with colours and gold. India, around
1800
An especially rare and relatively large page for a
miniature painting, acquired from the family of Maharaja
(royals) from Sailana (Southern Rajasthan). All six
different pictures hold a black text written in Devangari.
Each picture depicts a white building with woman sitting
in front and several more standing in front of her. The
pictures show varying groups of them, from two to
five in total, all dressed in a similar luxurious fashion
and wearing plenty jewellery. The ground is covered
throughout by a carpet and embelished with decorative
patterns. In one of the pictures, a tiger is painted behind
the sitting dame. A Devangari script as well as a note in
Englisch on the back. SIZE 43 x 30,5 CM
From an Italian private collection, prior to that in an
Indian collection of a Maharaja
crown, adorning chains, elephants on the throne as well
as a blazing double nimbus. Smoke patina. HEIGHT 11,4
CM
261
GODDESS MAHALAKSHMI WITH BRAHMA, VISHNU
AND SHIVA
Miniature painting with colours. India, Kashmir, around
1800
Mahalakshmi, the great goddess and primordial mother
of all life seated leaning against a large cushion on an
elevated throne and underneath a baldachin. In this very
finely painted depiction she is brought offerings by the
three main gods of Hinduism – the four-headed Brahma,
Vishnu and finally, Shiva. She can be the consort of each
of these gods. A female servant on the outer left, floral
border and an inscription in Devanagari. In passepartout.
PICTURE SIZE APPROX. 12 x 15 CM
From an Indian private collection
262
THE “GHOST DAGGER” VAJRAKILA
Mountain crystal, iron, bronze, gilding and gemstones.
Nepal
Effective, ornamental rendition of the ritual dagger
Phurbu, known as the “Vajra-dagger” Vajkrila, used to
impale demons. It has a three-edged iron blade emerging
from the mouth of a Makara. On the blade itsself are
two snakes. The middle piece forms a Vajra, essentially
a diamond-club, a symbol of the absolut. The finial
shows three Dharmapala (protective deities) in various
colours and each with a third eye. The endpiece forms a
semi-vajra. Many small coral and turquoise gemstones.
LENGTH 36 CM
263
BODHISATTVA AVALOKITESHVARA WITH NECTAR
VASE
Bronze. Nepal, 19th to 20th cent.
A bodhisattva Avalokiteshvara with a tall crown, standing
on a round lotus pedestal. The elegant tribhanga pose
with exposed hip is striking, while the chest offers
more manly features. One hand in teaching gesture, an
amrta-kalasha in the other, containing the elixier of life.
Jewellery on the ears and chest, patina. The bronze is
rendered in two parts adjoining at the waist. HEIGHT
33,8 CM
264
DEITIY (BODHISATTVA) AND SWORD ON LION
Yellow bronze. Nepal, 19th to 20th cent.
Fine statue of a four-armed bodhisattva shown seated on
a lion’s back and upholding a sword with one hand while
the other hand presents flowering lotus (and attribute
lost, possibly), one of the principal hands in the abhaya
mudra; head with five-pointed crown, garland and
adornments. HEIGHT 15 CM
265
BUDDHA AKSHOBYA, LORD OF THE EAST
Fired clay. Tibetan, presumably 17th – 18th cent.
Finely crafted small thsathsa votiv figure, completely
intact. Seated on a red rectangular throne and lotus
pedestal in padmasana (lotus seat), the transcendent
Buddha and „Lord of the East“ Akshobhya, whose name
bears the meaning „immovable one“, which he also
symbolizes by touching the earth with one hand and
holding the vajra (ritual tool) in the other. Five-jagged
266
UNUSUAL FORM OF GODDESS KALI
Paubha painting. Nepal, 19th cent. or possibly earlier
A very rare and exceptional painting of a thousandarmed and many-headed goddess Kali. A very similar
painted example, in National Museum Kathmandu
(see note), is called Mahakali. In Nepal she is known as
Guhyakali, the “mysterious (or inscrutable) Kali”. On
first glance, one thinks first about the housand-armed
Avalokiteshvara, the famous Buddh. bodhisattva. Kali is
in Hinduism a most contradictory god, from her gentle
motherly appearance to the terrible witch, from sensual
erotic femininity to ugly cruel demon. In this painting,
the many faces emanate rather gentle features, all with
third eye, however holding an entire arsenal of weapons
in her countless arms or hands. Impressive flaming
nimbus and Mahakali stand on a blue-green corpus,
reclining on a lotus base. Shiva is manifested as Bhairava
(eye teeth). A further, although white and many-headed,
deity right below, flanked by mythical creatures. In the
lowest area, gods carry the throne and there is also a
row of heads. Uppermost left and right, are floating
heavenly creatures holding garlands.
This painting is from the former collecting of Beowulf
Klebert, acquired in the 1980’s. The mentioned example
in the Museum of Kathmandu is dated to the 20th
century and supposedly a copy of an old Paubha
painting. The Paubha painting (corresponding to the
Tibetan word Thangka) at hand, however, shows distinct
signs of age. LARGE PAINTING 65,5 x 58 CM, WITH
FRAME 86 x 68,5 CM
The above mentioned illus. is found in the book “2500
Years Nepalese Art” from Lain Bangdel on page 329.
From a purely iconographic view, this complex form
of Kali is hardly completely comprehensible. There are
almost similar portrayals, which however differ in details.
Like in the book “Himalayas” from Pratapaditya Pal in Nr.
45, also thousand-armed, although more with animal
heads (2nd half 17th cent., private collection). Art Loss
Register No. S00099269
From a private collection
267
DECORATIVE AMULET-CONTAINER GAU
WITH DEITIES
Gold and gilding, turquoises, coral, inlays. Nepal, ca. 1st
half 20th cent.
A truly elaborate Gau depicting two deities set in an
almost high relief. The Gau is of pointed form and crosslobed and with bordered pearled rims. The view side
offers multiple inlays and filigree. The center presents the
multiple-handed Bodhisattva Prajnaparamita (symbolizing
‘’the transcendental wisdom“). His raised hands hold
a book and a clove (Vajra), the fore hands are in the
Dharmacakra Mudra. The interior bears rich decoration
showing the transcendental Buddha Akshobhya
seated in Lotus, with almsbowl and the hands in the
Bhumisparsa Mudra. The obverse side bearing a stylized
ornamental Om a hum; the exterior top with a significant
Vajra. HEIGHT 8,4 CM
268
DECORATIVE AMULET-CONTAINER GAU
WITH DEITIES
Gold and gilding, turquoises, coral, inlays. Nepal, ca. 1st
half 20th cent.
Another very elaborate example, showing multiple
inlays and filigree; of slightly lobed oval form; the view
side presents a crowned Bodhisattva Prajnaparamita
(symbolizing ‘’the transcendental wisdom“) in his fourarmed manifestation, and holding a book and a clove.
The interior offers a two-armed Bodhisattva Padmapani
seated on a lotus-pedestal, and adorned with flowering
lotus and five-pointed crown. The interior cover shows a
Lanza script of a sacred OM, representing the mantra of
the Padmasambhava; the exterior top with a significant
Vajra. HEIGHT 7,5 CM
269
BUDDHA MARAVIJAYA
Bronze. Ceylon, Kandyan, approx. 18th to 19th cent.
The historical Buddha Guatama Shakymuni seated
in half-crossed paryankasana on a base fitted to his
contour. One hand shows the “earth witness” gesture,
sign of his victory over the tempter Mara. Strong
emphasis on the spiritual flow: a tall, very upright body
and the stylized ketumala flame, typical for Ceylon.
Feet and hands are much smaller in relation and partly
embelished with lotus flowers. The monk’s robe shows a
very dense relief of creases and the samghati overhangs
one shoulder. Pronounced stoic facial expression, a
spiral on his forehead. Dark patina, remnants of gilding.
HEIGHT 22,5 CM
270
BALI-KRIS WITH POMPOUS MOUNTING
Pamor, silver and ornamental glass. Indonesia, late 19th
cent. – 1st half 20th cent.
Effectively decorated item in courtly or ceremonial
style and with a large figural grip. Wavy parmor blade
with eight luk and an elephant tusk. The scabbard
is decorated on both sides with dense chased relief,
the patterns are primarily floral and framed in pearled
borders. A geometric motif on the back with the
„infinite knot“, as well as a larger, smoother area. The
large grip offers an in the round rendition of Balakrishna,
the boy Krishna, an incarnation of the god Vishnu.
The Garuda Munkur motif on the back of his head.
Any further design in mostly decorative, a markedly
expressive base with pearls, the sendak below with red
gemstones. LENGTH BLADE 45,8 CM, TOTAL LENGTH
64,2 CM
271
BUDDHA MUCHALINDA
Bronze. Ceylon, Kandyan, approx. 19th cent.
Buddha sits in paryankasana on a triple coiled naga,
sheltering Buddha curved above his head. The King of
Naga, Muchalinda, shelters Guatama from a storm.
A split tongue is darting out of the cobra’s mouth.
Buddha’s hem chased with a dense relief of creases,
a small spiral on the forehead, pronounced stoic
expression. The flame above the ushnisha has a similar
relief as the hem. The bronze consists of four parts. Dark
patina. HEIGHT 31,5 CM
272
TIGER IN THE MOUNTAINS
Ink on silk.Korea, 19th cent.
An extraordinary and exciting painting showing a tiger
at the border of a rocky deep hollow. The beholder gets
the impression as if the animal was gazing straightly
into his eyes. Very good composition of the clouds
above an estival mountainous landscape. A fantastic
and exaggerated depiction. Tigers have been always
associated with Korean people and culture. It appears
in the Korean mythology and is a favorite subject of
Korean art such as painting and sculpture. The painting
is signed, two red seals, hanging scroll, old brocade
mounting, the dark bar strokes slightly washed out,
scrolls with refined lacquer technique. SIZE PAINTING 115
x 50, 3 CM, SIZE SCROLL 184 x 63, 7 CM
The painting originates from an old Viennese private
collection and was acquired approx. 25 years ago from
the New York art trade.
273
IMD SURU: HARVEST SEASON
Painting on fabric. Indonesia, Bali, 20th cent.
A dynamic scene with very damp, earthy colours and a
view of distant volcanoes. Dense depiction with many
figures, full of plants, trees, huts and many half-naked
girls. Young men, a boy and a cow also appear in it. The
crop is being harvested using sickles, bound and stored
in baskets. Varied patterns on the skirts, aprons and
scarfs. Signed Imd Suru Ubud Bali on the bottom right.
SIZE 67 x 97 CM
274
FIGURE IN COURTLY ATTIRE
Wood and colour coating. Indonesia, Bali, approx. 1st
half of last cent.
A figure kneeling on a lotus pedestal, wearing courtly
clothes and a tall crown on the head. He has a mark on
his forehead, a moustache and is presumably holding a
fruit in one hands. The head of Garuda on the back of
the crown. Due to the forward-leaning pose, it can be
assumed he is keeling in adoration of a royal or deity.
Colour coating well-preserved. HEIGHT 23,6 CM
From the private collection of Robert W., acquired in the
1960s (?) – 1980s
275
HAN SNEL: MAIDEN WITH HEADSCARF
Drawing on paper. Indonesia, Bali, 1967
The large and vivid drawing by a steady-handed artist,
with marks of opaque white in some areas, shows a
dreamy large-eyed girl with full lips and finely conveys a
sensual, erotic tone. The upper body is naked, one breast
only gently implied. Wavy hair and a delicate headscarf.
On the bottom right the signature Han Snel, Bali ‚67.
Snel was a well-known painter from Netherlands who
moved to Bali in 1940, became an Indonesian citizen and
lived until 1998. In original wooden frame with wellfitting decrative motives carved in relief. PICTURE 52,3 x
39,5 CM, FRAME 64,5 x 52,3 CM
276
MULTI-FIGURED ASTROLOGICAL KEY
A painting divided into 42 reserves, each with a short
script in Bali. Largely painted with figures, but also
a boat, wagon, hut and tools appear. The human
depictions are demonic, divine, or princes, women
also, but prevalent are animals, cows, lobsters, a crab,
elephant, and also mythical creatures. Red and yellow
paint on a white base. A black border painted around
with patterns. SIZE 69 x 86 CM
but powerful dangerous wings, tail feathers as well as a
crown on
his head. HEIGHT 62,3 CM
From the private collection of Robert W., acquired 1970´s
– 1980´s
278
FIGURAL THEATRE SCENE
A rich figural theatre scene from the Wayang beber.
The actions suggest a battle, some figures appear more
princely or godlike, but most of them wild, demonic,
fierce, half or completely naked. Some demons are
wearing theatrical costumes. Flames and arrows fly
across the sky. A black painted border with patterns. SIZE
46,5 x 84 CM
279
ANTIQUE IKAT
Cotton. Indonesia, 1st half 20th cent.
Ikat is a reservation technique where the warp and weft
threads are dyed before weaving.
LENGTH 180 CM, WIDTH 113 CM
gilded ormolu mounting is especially elaborate and offers
four elephant head supports and two winged dragons
as handles. The rim is rendered with rowed flowers and
a wavy margin. Repairs on the plate, which due to the
rich detail in the painting, the dominant colours and the
exquisite mounting hardly come to notice. The painted
red mark Dai Nihon Kutani zo, as well as the pressed in
mark Kutani of the famous manufactory in Kaga. The
bronze mounting is in very good condition. HEIGHT 20,5
CM, DIAMETER 55 CM
283
BOX WITH PHOENIX AND PAULOWNIA
Maki-e lacquer technique. Japan, 18th to 19th cent.
Delicate and masterful takamaki-e decoration with a
noble and elegant effect. Quadratic form with a cover
lapping over the container surrmounted by a flying
phoenix with wavy plumage. Apart from the faint
mountain cliffs and two mon, the other depictions are
exclusively kiri (paulownie), flowers, leaves and branches.
The phoenix is striving to take off from the paulownie
and make an appearance later on earth. Some of
the flowers, which are also the empirial emblem, are
rendered in silver, others in gold. All depictions are on a
dense gold-sprinkled background which almost has no
gaps, also on the interior and on the flat bottom. The
two mon (emblems) are myoga, ginger. This emblem was
very popular in aristocratic circles due to its symbolism,
„divine protection“. SIZE 6,6 x 7,1 x 7,1 CM (HWD)
280
LARGE KUMME WITH FUJISAN
Glazed ceramic. Japan, 19th/20th cent.
A large and strikingly effective, unique item! A free and
unrestrained concept with only implied depictions, but
very inspiring! Creamy glaze with deliberate breakages,
especially in the well, which appears more as a landscape
depiction due to its rough grey colour. The contour of
the national mountain Fujisan, painted with ingenius
brushstrokes. A small floral element as well as dots
above it, partly paralleling the contour of Fuji. Repairs on
the rim with silver that has turned dark-grey. Wave and
flowing glaze patterns on the outside and a deep brickred bottom.
DIAMETER 51 CM, HEIGHT 17,8 CM
1970s (?) – 1980s
281
LACQUER BOX WITH FIVE DRAWERS
Wood, lacquer technique and metal. Japan, Meiji to
Taisho, 19th to 1st third of 20th cent.
Very finely worked with geometric stylized flower
decorations around, partly rendered in gold lacquer. A
large drawer on the bottom, two doors above, both with
locks and a small key. The doors behind which there are
additional drawers, hold inserted panels with fine bothsided Chinese style paintings depicting landscape, as well
as bamboo on the backside respectively. Each drawer
has a curved handle and a black lacquer interior. Several
metal fittings as ornaments or reinforcement SIZE 20,3 x
25 x 16,3 CM (HWD)
284
BOX WITH FLOWERS AND LANDSCAPE
Maki-e lacquer technique, metal. Japan, 18th to 19th
cent.
Another example of masterful craftsmanship and quality,
in strong takamaki-e relief. Rectangular form with
rounded edges, a buldged cover and edges reinforced
with metal. The depiction offers a rocky landscape with
waters, pine trees, blossoming plum, bamboo (the
„three friends of winter“ symbolizing longevity) etc. Five
full-circles forming reserves, each containing one of these
blossoms or plants. Again, very dense gold sprinkled
texture, kirigane in silver and gold, flowers and striped
clouds also in silver - the metal rim presumably shibuichi
alloy. The bottom and interior also with a dense gold
sprinkled pattern, chrysanthemums in takamaki-e on the
inside of the cover. SIZE 5,4 x 8,8 x 7,6 CM (HWD)
285
TWO LEVEL BOX WITH FLORAL DECOR
Charming and exquisite box with strong geometric
stylized flowers (over 270 in total) in a grid formed
by borders. The box has recessed edges, including
the cover, which bears additional lapped and arched
recesses on the longer sides. The quadratic kiku
flowers (crysanthemums) are sprinkled with silver and
surrounded by miniscule painted vines. The gold border
lines form hash-key junctions. Strong gold nashiji on the
interior and flat bottom. SIZE 5 x 8,3 x 7,2 CM (HWD)
of the wild water, and have golden spokes. HEIGHT 9,2
CM, DIAMETER 9 CM
287
LARGE PLATE
Porcelain. Japan, 20th cent.
Shapely elegant plate with very shiny green-blue
shimmery glaze. The edge area is lightly lower and flatter
so that the glaze seems lighter – a very beautiful effect.
Small foot. DIAM 40 CM, HEIGHT 6 CM
– 1980´s
288
LARGE LACQUER BASIN
Wood and lacquer.Japan, 1st half 20th cent.
Very attractive large black lacquer basin with golden mon
(coat of arms) on three feet. Rare in this format. HEIGHT
23,7 CM / DM 52 CM
From the private collection Robert W., acquired in the
1950´s-1980´s
289
JUGYOKU: THE 7 LUCKY GODS UNDER 7 PINE TREES
Okimono, ivory. Japan, Meiji-period (1868 – 1912)
Scenically vivid and unusually elaborate work with many
figures, which also offers a lot in terms of landscapes.
Underneath the canopies of a pine forest and before a
bridge, are seven lucky gods, the Shichi Fukujin. In the
boat starting from the left is the female Benten with a
lute, next to her Bishamon, then Ebisu, patron saint of
the fishermen, who is punting the boat. Right beside in
the water Daikoku and the large-bellied Hotei. At the
very left, standing on the rock, is Jurojin (or Fukurokuju).
The further figures could possibly be servants. Also on
the backside, figures and a board with the inscription
Shichi Fukusho, “seven lucky pine trees” (it is hard
to count them, but there actually are seven). The red
inlaid signature JU-GYOKU koku (... carved by) on the
underside. LENGTH 16 CM
290
PAIR OF IMARI-PLATES WITH BROCADE ORNAMENT
Painted porcelain, Japan, 19th cent.
Very attractive impressively colorful pair of plates! In
back of each is a Ho (phoenix), noteably reduced to a
circular surface, with flaming tail and bushes from throat.
Delicately painted tendril with kiku blossoms all around.
The major pictoral area is many-faceted – bamboo
framed fields, also kiku (chrysanthemum) with vines and
picture window with view of trees etc. On bottom are
blue painted vines in the manner of Chines. Xiangcao.
The painting technique differs – blue underglaze,
enamel color, rich iron oxide red and much gold! Sign
of Nianhao from China (here Ming/Chenghua) on the
bottom of each. DM 40,8 CM
From the private collection Robert W., acquired in the
1950´s-1980´s
rod (missing). Next to him, the only goddess, Benten,
playing her lute. Finally, Jurojin, god of wisdom. Below
the stretched sail, Takaramono, the treasures of the lucky
gods. The ship is called Takarabune (treasure ship). A
signature in ivory at the bottom, KO-ICHI. HEIGHT 15,2
CM
292
STANDING KANNON ON LOTUS BASE
Bronze with gilding. Japan, Meiji period (1868 – 1912)
This Kannon, which must have been gilded very
effectively when made, stands on a spendorous and
distinctly rendered, partly gold-leafed lotus pedestal
with seed capsules. Kannon, corresponding to the
Buddhist bodhisattva Avalokiteshvara, is represented by
the same characters as the Chinese Guanyin. In China
she is largely seen as a mother-goddess, in Japan on
the other hand, much more a Bosatsu (bodhisattva).
Her form is youthfully slender and tall, she is wearing
rich adorments and a wavy „heavenly girland“. IN one
hand she is holding the bottle containing amrta elixier.
Finely rendered facial features, urna, diadem with the
jewel of long life, as well as chignon with flaming ratna.
Somewhat restored (the hand, the outwardly swung
girland). The rich original gilding is for the most part
covered by old smoke patina. HEIGHT 36,5 CM
293
HOZAN: IMMORTAL CHOKARO
Okimono, ivory and inlay. Japan, late Meiji Period (1868
– 1912)
Okimono sculpture depicting the immortal Chokaro,
from the group of Taoist Eight Immortal Chinas, Baxian.
In Japan a sennin, his characteristic is the double squash
hyotan out of which he can charm his mule, which is
exactly going on in this Okimono. The animal is jumping
happily as he emerges while Chokaro tries to keep out
of his way. The gourd is bound to a long forked stick.
The fine thick clothing displays many colorful floral
inlays. On back is typical leafy robe of the Sennin and his
giant round hat. On finger replaced, this hand holds the
closure of hyotan. Oval base plate, below is the signature
HO-ZAN on red lacquer inlay. HEIGHT 32,4 CM
From an old Rheinland private collection
294
HEAD OF RAKKAN
Wood, Japan, late 19th cent. to Taisho
Rakkan are Buddha students, called in Sanskrit Arhat
and in China Luohan. The only obvious feature are the
long ears in the art of Buddha as well as the mostly bald
head, in this sculpture framed by curls. Eyebrows, lips
and chin-beard are carved curly. Artistically the carving
technique is here applied in a free manner, even if the
facial expression, especially through the eyes, is rather
precise. Patina as well as presum. painting with black
India ink. Tall square conical base with veneer. HEIGHT
24,4 CM (with base 36,4 CM)
282
277
MYTHOLOGICAL BIRD GARUDA
Wood, Indonesia, 1st half 20th cent.
Very expressively carved sculpture with fantastic effect.
The style is of Gusti Mado Gedob around 1930. Garuda
is the mythic eagle, a divine bird and Vishnu´s personal
totem animal, known also (and worshipped) as the snake
killer. Here the bird is portrayed as defensive, dramatically
convincing in its artistic execution – sharp open beak,
predator´s teeth, gesture of demon protection with two
wide-spread fingers. Garuda has indeed a human body
GORGEOUS LARGE PLATE WITH
THE 100 RAKAN AND DRAGONS
Kutani porcelain and gilded ormolu mounting. Japan and
France, 19th cent.
Very elaborately painted and large plate with a depiction
of the Rakan, who are also depicted in numbers of five
hundred or one thousand. Around 50 are shown here.
Rakan are followers of Buddha referred to as arhats in
Sanskrit. They are painted along the inner wall of the
plate in standing position, in iron-red and black on a gold
background. They are standing tightly next to each other
and debating, some holding scrolls or other objects. The
laregly iron-red well is rendered with a golden flower and
vines, meander and a stylized floral border. The gorgeous
291
286
BOX WITH WATER WHEELS
Round form with tall lid. Roironuri black lacquer on
the interior, golden maki-e in light relief on the outside
presenting only one motif – shuisha (water wheels).
The composition is dense and the artist successfully
produced the very dynamic water background, which
also foams and forms vortexes. The water wheels – 30
in total – are densely lapped, with only the top halves
or sometimes even less of them shown protruding out
KOICHI: SHIP WITH ALL LUCKY GODS
Boxwood. Japan, Meiji period
An okimono depicting a boat on a large wave with a full
sail. The boat has a fierce dragon head at the prow and
is densely occupied by the Shichi Fukujin, Japan’s seven
lucky gods. Bishamon is standing at the front with a
pagoda in one hand, left of him the god of longevity and
prosperity Fukurokuju with an elongated head, rod and
beard. Right of him, another god of prosperity Daikoku
with his mallet. Continuing around, the well-known,
large-bellied and always smiling Hotei. Kneeling at the
rear, Ebisu, patron of fishermen, who held a fishing
295
PAIR OF PLATES DECORATED
WITH BLOSSOMS
Porcelain with blue-white painting, Japan, 19th cent.
Very effective composition from Arita! On back of each
is the large central motif of a peony blossom (Botan),
considered to be the queen of all flowers. Stylized
flowers are painted in fourteen fields all around,
surrounded by more or less symmetrically ordered
generous foliage. The small fields between are each
adorned with abstract floral design. On the bottom a
similar floral order is demonstrated, although reduced, a
seal mark on both. DIAMETER 47,5 CM
– 1980´s
meditative order in China in 6th cent. Das The okimono
offers a wild rock formation on which the standing
Daruma is leaning. His clothing is billowing and gilded.
HEIGHT 4,9 CM (DARUMA approx. 3,1 CM)
From an old Munich private collection
296
PAIR OF DECORATIVE VASES WITH DRAGONS
Bronze with partial lacquer gilding. Japan, Meiji period
A pair of vases composed of several parts (base, inserts)
embelished with effective decorations. The vases
each stand on a lobed base with four curved legs and
protruding heads of mythical animals. Around the walls
of the vessel is an almost completely in-the-round,
scaled, three-clawed dragon with a wild looking head
and clouds amidst his winding body. Borders with clouds
and spirals in openwork around the mouth of the vessel.
The rather short insert can easily be detached. The vase
can be screwed onto the base. Dark-brown patina,
perhaps parly lacquer gilding. HEIGHT 26 CM
297
THE MONKEY TAMER SARUMAWASHI
Netsuke, ivory. Japan, 18th cent.
An old netsuke portraying the walking sarumawashi
(monkey tamer). The little partly clothed monkey sits
on a sack he has tied around his shoulders, nestled on
his head. In one hand the man holds a stick, in front of
his belly hangs a basket. Strong age characteristics with
patina, himotoshi on the back “supple” – like the figure
itself – through use. HEIGHT 7,2 CM
298
THE DEMON HUNTER SHOKI WITH ONI
A fine as well as funny work! The motif of Shoki is
very popular and often depicted while this variation is
one-of-a-kind. Here he is playing the flute to which oni
(devil) performs his acrobatic ability. Head and hands of
the horned demon are tight together on the ground,
his hairy legs bent over so that the soles of his feet are
on the back of the head. Well-executed details like robe
pattern and folds. On back, large straight-bladed sword
ken of Shoki and himotoshi.HEIGHT 4 CM
299
THE GAMA SENNIN ON A ROCK
Netsuke-Okimono, maritime ivory. Japan, approx. mid
19th cent.
An unusual expressive work depicting Gama Sennin, an
immortal mountain hermit, whose companion is a toad
(gama). Here it is climbing up the rock where sennin is
sitting, and it has three legs. This is an innuendo to Liu
Hai, a Chinese immortal, symbolically meaning “wealth”.
Thus this piece signalizes longevity and well-being. The
head of Gama Sennin is individually and expressively
crafted, the immortal is wearing a yomogi leaf robe and
holds a stick in one hand. HEIGHT 6,35 CM
300
PATRIARCH DARUMA IN MOUNTAINS
Okimono, horn, bronze and gilding. Japan, 19th cent.
Very effective composition presenting the famous first
patriarch of Zen Buddhism on a bizarre cliff. Daruma
(short for Bodaidaruma resp. in Sanskrit Bodhidharma)
was from an Indian royal family and founded this special
301
KISEI: BOY WITH TEMARI
Netsuke, ivory. Japan, 1st half 20th century
The netsuke crisply carved with a kneeling boy, the
head with tufts hanging over the ears, clad with an obi
secured with an enormous knot, holding temari (toy
ball, not to be confounded with kemari – football),
meticulously cut folds to sleeves, features, hands,
delicate feet can be seen on the bottom, minutely signed
KI-SEI, and red kao (signet). The signature and kao are
illustrated in the large Lazarnick. Himotoshi naturally
formed. HEIGHT 3,4 CM
302
GOD OF LUCK FUKUROKUJU WITH GONG
Netsuke, ivory. Japan, Meiji Period, 19th century
Bearded Fuku-roku-ju (luck-wealth-long life), one of the
Seven Lucky Gods in Japan, has an overtall head and sits
in front of a mokugyo, a temple gong with broad sound
opening which he beats with his hands. Very compact
work with patina, below are bordered himotoshi and
remains of an old collection number. WIDTH 4,3 CM
303
LION DOG SHISHI WITH BALL
Powerful, very good compact piece, expressively
depicting a lion dog. The ball is smooth and wellpolished, head of shishi is massive and spirited like a lion.
The mouth is open revealing a moveable little ball inside
which he holds with his forepaws. Mane and tail are
thick and curly. Himotoshi under ball. HEIGHT 3,4 CM
306
MITSUYUKI: GOD OF LUCK DAIKOKU
Netsuke, ivory. Japan, Meiji or later
The God of Wealth Daikoku, one of the Seven Lucky
Gods in Japan, sits in in front of a sack which a rat (his
animal symbol) is climbing. One hand is held to his ear
in order to hear better. The punch-line of this piece:
Daikoku´s eyes leap out as soon as you tilt him – they are
long sticks and one asks himself, what was done so they
do not fall out. Himotoshi on reverse, signature MITSUYUKI on bottom. HEIGHT 3,8 CM
307
FAIRY SEIOBO WITH THE PEACH OF LONG LIFE
Seiobo is here depicted as slender tall lady and appears
as sennin, recognizable by the yomogi-leaf robe. Her
hair is amusing in the form of little balls around her
shoulder – which looks like a strange fur collar. She holds
a small basket and the Peach of Long Life. Seiobo is, to
be exact, the “Royal Mother of the West“ (identical with
Xiwangmu in China), in whose palace garden of the
Kunlun mountains these peaches ripen every 3000 years.
The sennin variation (immortal mountain hermit) is purely
Japanese. Well-crafted depiction, smiling Chines. facial
features, Himotoshi in back. HEIGHT 8 CM
From an old Munich collection
308
ZEN PATRIARCH DARUMA
Netsuke, ivory. Japan, Meiji Period
Humorous work depiciting the great patriarch, founder
of Zen Buddhism, cutting his toenails! He is sitting on the
ground and does it with rough plyers, while grimacing
in pain. After nine years meditation in front of a wall,
they must have been quite long ... Daruma (in Sanskrit
Bodhidharma) carries his frond hossu, hier crafted in
mother-of-pearl. Very good polishing and compactness,
both himotoshi below are rosetted. LENGTH 3,4 CM
The point of this finely crafted netsuke is the size of
the helmet – for a giant! The man kneeling next to it
wielding a tool is only a bit taller. His son is with him
and could take a bath in the helmet if it was turned
over, according to his size. Utmost exact execution of
details, helmet is on a tree trunk standing on a woven
mat. Himotoshi on the flat bottom, where there are also
screw points from past mounting and a flaw on a hand.
LENGTH 3,8 CM
311
DORAKU: SAMURAI AND FARMER
Especially exactly crafted details point to the masterful
carver - Doraku from Osaka, successor of Anraku.
Subtleties – like facial features of Samurai, his posture
with standing spread legs (on back!) or outstretched
index finger! Samurai wears eboshi on his head and
complete armour as well as daisho (sword pair), he grips
the katana on the handle. In front of him, an empty
turned-over basket on the ground and a kneeling farmer
with a funny bashful face and pointing with a finger.
Precisely carved tiny details, also stylistically confident,
e.g. clothing decor, straw apron of the farmer, sandels
etc. Large Himotoshi on back, signature in irregular
reserve DO-RAKU on the lower leg of the barefoot
farmer. HEIGHT 4,45 CM
312
HOSHUNSAI: HANASAKA JIJI
Very good fine work showing the Hanasaka Jiji in front
of a dead tree stem, which he brings to flourishment.
He has the ghost of his dog to thank, who was killed
by his greedy neighbor (as he sniffed out a treasure). Jiji
became wealthy – a long and very famous fairytake. He
is holding the tool he used to dig it out in one hand. The
eyelet is on the bottom, partially through the tree stem.
The three character signature HO-SHUN-SAI in an oval
reserve beside, tipical for the artist Masayuki who lived in
Edo/Tokyo.WIDTH 3,4 CM
MAN WITH RAKE AND PINE
Netsuke – Sagemono. Marine ivory. Japan, 19th century
An almost rectangular plate that serves as a netsuke
shows above a temple servant in relief. He has eboshi
on his head and is holding a broom or rake. On the flat
reverse side is a pine trunk with stylized tortoise design
(kikko) on the bark. The pine - long-life symbol - and
the man with the rake associate with Jo, Uba´s husband,
both very very old and closely connected to pine trees.
Himotoshi on the bottom. A softly rounded often
arressed netsuke with old patina. SIZE 5 x 4,7 CM
305
MITSUHIRO: THREE DRUNKS
Netsuke-Okimono, ivory. Japan, late 19th cent. to Meiji
Witty and spirited to humorous piece presenting three
long-haired guys – called the “Three Drunks “, Sannin
Jogo. They were supposed to have been carriers on
the Tokaido who drank their wages as soon as they
received it. One is shown with ladle and fan, the other
with a drinking bowl, the seated one with an angle iron
(?) in his hands, an empty barrel in front of him. Funny
animated faces, on the base signature MITSU-HIRO (not
the famous one from Osaka), himotoshi on back, one
with rosette. HEIGHT 5,1 CM
309
THE SENNIN TEKKAI
Characterful old tall netsuke with very nice patina.
Sennin Tekkai is on crutches and one knows that he is
looking to the heavens. He is an old magician who can
breathe out his soul. So he enjoyed flying to with the
philosopher Laozi (Laotse) to the Other World for some
extensive conversation. Once he returned, he saw that
his body had in the meantime been buried because they
thought he was dead. As Tekkai looked for a substitute,
he found the fresh corpse of a dead beggar with
crutches and occupied his body. The netsuke shows the
sennin, who belongs to the Eight Immortals of China (Ba
Xian, Xian is same in Japanese sennin) with expressive
bearded head searching the heavens in longing. Tekkai lit. “iron crutch” – is holding one with braid-like segment
in one hand, in the other a frond. Yomogi leaf robe is
also powerfully carved. Due to age, good “suppleness”
through use, minor bruised places (hardly noticeable),
Himotoshi on back.HEIGHT 9,8 CM
310
HELMET AS A MAN`S PLACE OF WORK
Netsuke, ivory. Japan, late 19th cent. to Meiji
321
316
KOZAN: BOY WITH BASKET
A fine, skillful, vivid and dense rendition! The small
netsuke offers a boy kneeling on the ground and holding
a round basket in front. The “crop hairstyle” and basket
correspond. The facial features are lively, also the bow
on the boy’s back. He has a slightly appauled expression
because a cricket (or similar) landed on his side – this was
visibly crafted after the famous rat-catcher motif. The
boy wanted to catch the insect in his basket, which he
did not manage… Himotoshi partly through the basket,
the signature KO-ZAN within it. LENGTH 2,85 CM
RESTING BOY
Wood and lacquer technique with gold and inlays.
Japan, 19th cent.
Qualitatively very good and subtle work in maki-e
technique on carved wood. The boy is vividly depicted;
his posture, legs, the smiling face and creases in his
clothing. The carving is entirely coated with black lacquer
embellished in maki-e technique with gold kirikane (cut
gold leaf applications) as well as applied miniature pearl
elements. The vaulted bottom side executed with rebate
holds a gold nashiji as well as a long red collector’s
artikelnumber (a long articlenumber such as this is typical
for museums, rather than private collectors). This work
was originally the cover of a vessel. Small bruises, one
leg missing. With fitted four-legged base with irregular
countour. LENGTH (WITHOUT BASE) 4,6 CM
317
EIRAKU: ONI ON A LOTUS LEAF
Netsuke, ivory. Japan, 1st half of 19th cent.
Very good old work, from finest ivory and – although
a detailed scene – well rounded and compact. An oni
(devil) is creeping up a domed lotus leaf with realistically
rendered stem and veins, for a small namazu (catfish)
is located underneath. It is actually the “earthquake
fish”, but the oni – who already has him on a hook – is
presumably more interested in comsuming it. The small,
lively depiction of the three-clawed demon with horns,
loin cloth and grimaced face is amusing. Himotoshi and
the signature EI-RAKU on the bottom. WIDTH 3,8 CM
322
APE AND PEACH
MONKEY SONGOKU WITH PEACH
Netsuke, wood. Japan, 18th century
An interesting depiction of the monkey Songoku
carved in the Chinese ‘’toggles“ style, with very good
age patina, wearing a floor-length Chinese robe with
characteristic wide sleeves. It looks to the sky and holds
a peach, a symbol of longevity, in both hands. Large
himotoshi, very compact, good dark patina. Songoku
was one of the three companions of the Buddhist priest
Xuanzang (Japan: Gensho) on his historic travels through
India. HEIGHT 7,3 CM
318
313
304
315
TOAD CLIMBING HIGH SANDAL
Netsuke, ivroy. Japan, late 19th to Meiji
A geta sandal with elevated base, allowing one to walk
through the wet mud on the road without getting dirty.
A gama (toad) is about to climb on top of it, standing
vertically and gazing towards the sky. Powerful rendition
with simple cuts, staining, himotoshi between the base
supports. Signature … GETSU on one support. WIDTH
4,2 CM
Vivid depiction of full faced Shinto goddess Okame (also
Uzume) known for her nacked dances in primeval times.
She is crouching on the ground while an Oni beside
her plucks her clothing. He has horns and a lecherous
facial expression, without a doubt a reference to the
mentioned dance with which the naked Okame lured
the sun goddess Amaterasu out of her cave. Plenty of
garment decoration, small himotoshi on the bottom and
also a signature, possibly read GETSU-GETSU (the second
is a repetition character), presumably a carver from the
Tokyo circle of Shugetsu. WIDTH 3,8 CM
KARAKO BOY WITH MASK
A karako (boy in Chinese garment) seated on the
ground, his hair also consistent with this interpretation.
Very finely executed and vivid facial features in the style
of scholars from old China, here in a juvenile version.
The flat mask which he proudly holds in front of him
bears a smiling expression, however, is feminine. Precisely
worked details on the garment, stylistically corresponds
to the Osaka masters’. Qualitatively very fine vory,
himotoshi in the back, formerly mounted. HEIGHT 3,9
CM
314
CAT SLEEPING ON FAN
Netsuke, wood. Japan, early 19th cent.
A very good old depiction with fine rounded form. The
well fed cat curled up in sleeping position rests with
crossed front paws. The leaf fan bears a radially ribbed
structure and a real stem forming an eyelet – a witty
embellishment by the artist. The lop-eared cat neko and
collar. Finely painted fur and spots, very good age patina
and large himotoshi on the bottom. Cats were imported
to Japan through Korea and kept only in empirial courts
in the old times. LENGTH 5 CM
A FATHER WITH TWO SONS
Netsuke okimono, ivory. Japan, late 19th cent. to Meiji
The sits on the ground with one leg bent, carrying the
smaller son on his side with one hand. The other boy is
half-kneeling and handing a stick with tassels hanging
from it to his brother. On his belt, the man wears a
round menju-netsuke, a tobacco or money bag. A vivid
scenic-figural depiction with many details, no himotoshi,
overall a well rounded composition. HEIGHT 3,75 CM
323
MAN IN A BOAT AND WILLOW
Netsuke, marine ivory. Japan, 19th century
Contrary to the other plate-formed netsuke, this piece
has a central drilled opening with a loop. The depiction
on the front between two incised lines shows a man
with eboshi on his head sitting on a cushion in a boat.
A willow is hanging into the picture. Presumably the
Tang poet Li Taibe (in Japan Rihaku) is portrayed. Various
designs on the reverse. SIZE 4,5 x 4,1 CM
319
FISCHER GIRL WITH OCTOPUS
Nestuke, ivory. Japan, late 19th cent. to Meiji
An ama-girl, completely naked except for a short skirt,
with long hair and large breasts. There is a basket next
to her and within it a tako (octopus), reaching for (or
under) the skirt with his tentacles. The girl is laughing
pleasurably. Rosetted himotoshi in her lower back,
signed on the bottom. HEIGHT 6,6 CM
320
GETSUGETSU (?): OKAME WITH ONI (DEVIL)
Netsuke, ivory. Japan, late 19th cent.
324
NORISHIGE: TWO PLAYERS
SEATED AT GO-BOARD
Nestuke, ivory. Japan, 19th cent.
Two go-players and the goban board, the game similar
to chess but even more intricate and complex. “Literati”
or “wise men” invariably accompany this motif, as is
the case here. Both are bearded and sit cross-legged
opposite each other, each with a bowl of gaming pieces
beside. Especially fine work, precise facial features,
décor, garment folds and miniature inlaid stones. Central
himotoshi through the base, the signature NORI-SHIGE
beside. WIDTH 3,2 CM
325
RYUGYOKU: MAN UNDER LION MASK
Netsuke, ivory. Japan, ca. 1800
A particularly powerful, quite solid rendition – not easily
damaged. The mask from the lion dance shishimai,
which is performed on New Year, here shows a primal
expression. The man underneath (who could also be a
boy) is holding it up with effort. Very effective contrast
between vivid facial features and the shishi-monster with
an enormous bite! Himotoshi on the back, the signature
RYU-GYOKU (or “dragon pearl” in English) on the base.
HEIGHT 5,3 CM
330
GYOKUSHU: LUCKY GOD HOTEI WITH BOY
Nestuke, ivory. Japan, Meiji-Period
Neat small and compact work offering the potbellied
lucky god Hotei with a boy hanging on to his back with
both hands. Between the boy and Hotei’s bald head is
the sack which he typically always carries with him. The
“lucky god ears” in this netsuke are particularly fine and
his belly is almost spherical. Stained, small himotoshi
in the lower back, the signature GYOKU-SHU beneath.
HEIGHT 4,1 CM
331
326
SKULL WITH TOAD
Netsuke, ivory. Japan, 19th cent. to Meiji
Fine and dense depiction in very fine ivory (from
Southeast Asia or Ceylon). The toad gama is as large as
the skull it surmounts. The skull – from a battlefield or
place of execution – grins, while the contentedly gazing
toad holds its mouth wide open. Its skin structure is
rendered diligently, as is the entire vivid and splendidly
polished design. Himotoshi through the base and
between the hind legs of the gama.HEIGHT 3,1 CM
GYOKUYUKI: SNAKE
ON BRITTLE WOOD
The snake hebi, also found in the zodiac, resting coiled
on a strong structured, irregular rectangular plate
representing a brittled log of wood from a tree stem.
Also shown are the junctions of once attached branches.
Colouring, the signature GYOKU-YUIKI and rossetted
himotoshi underneath. The artist could have been a
follower of Gyokkei (late 18th cent.), who marked similar
motifs (such as a snail on rotten wood). LENGTH 5,5 CM
332
327
MASAKUNI: SAIGYO HOSHI WITH A KITTEN
Netsuke, wood. Japan, 19th century
Finely executed work of Saigyo Hoshi, whose civil name
was Norikiyo and belonged to the palace guard under
the Emperor Toba (12th C.). Later when the emperor
became a priest, Norikiyo followed him. After Toba´s
death he began a restless nomadic life and wrote poetry.
During his visit at the court of Shogun Yoritomo (a
political enemy), he received the gift of a silver kitten....
Signature MASA-KUNI (right to left when seen from the
front) on the foot soles, himotoshi run through the hat
and buttocks. HEIGHT 6 CM
328
LUCKY GOD HOTEI WITH HIS SACK
Hotei, one of the Shichi Fukujin – the seven lucky
gods – amusingly seated within his sack, which he
normally always carries with him, containing takaramono
(“treasures”). He is bald, has typical lucky god ears
with fine lobes and displays the well-known bekkanko
gesture, pulling down his lower eylids. His leaf fan
attribute on the back beside the himotoshi, very well
rounded, age lines. HEIGHT 3,6 CM
THE COTORTIONIST
Netsuke, wood. Japan 19th cent.
An unquestionably rare Artist’s rendition! Aside from
a lion cloth, naked, but wearing a cap. He is sitting on
the ground with one leg stretched vertically and tucked
behind his head, holding his foot with one hand. Good
anatomical details, vivid facial expression, perhaps slightly
pained, which commonly always impresses an audience.
The yellow tsuge wood (boxwood) with blackening, the
himotoshi in the back. HEIGHT 4,3 CM
333
SHUZAN: THE LUCKY GOD FUKUROKUJU
Nestuke okimono, painted wood.
Japan, 19th cent.
Stylistically very typical work for the Shuzan Nagamachi
or one of his followers. Fuku-roku-ju, whose name
already aforementions the work’s symbolism (luckprosperity-longevity), is depicted with his characteristic
overly elongated head and a large leaf fan that has a
“life-awakening” function. The Fukujin (lucky god) wears
noble Chinese attire, is bearded and has long ears with
thick earlobes. The painting is ornamental and partly
executed with applications and gilding. The signature
SHU-ZAN on the back is coloured red. HEIGHT 5,3 CM
335
TWO MEN, ONE WITH FOX MASK
Both seated on the ground, one holding a kitsune (fox)
mask in front of his face. They possibly had some drinks,
suggested by the man with the mask reaching for the
other’s neck, or perhaps are only playing around as the
man without a mask is making a fairly amused facial
expression. A basket in front of the fox, a relatively large
large himotoshi on the bottom. HEIGHT 2 CM, WIDTH
3,75 CM
336
AN ONI MOVING MILLSTONES
The base immediately indicates that this is a surreal
depiction – for it is composed only of clouds. It is
surmounted by two heavy round millstone disks, which
the small devil is moving with a strained expression on
his face. He is pushing with all his power, against a pole
used to move the upper millstone. The oni wears a lion
cloth, ragged hair and small horns. Himotoshi throught
the lower millstone and clouds. WIDTH 3,4 CM
337
TADAKAZU: WOMAN WITH FAN AND SWORD
Nestuke, ivory. Japan, Meiji
Kneeling female wearing a kimono and holding a fan.
Somewhat rare is the short wakizashi sword attached
to her garment. Small himotoshi in her lower back,
decorative textures on her clothing and stained. The
bottom holds the signature TADA-KAZU to (carved by;
the name could also be read CHU-ICHI, but not the
Chuichi from Osaka known for his toad motifs. HEIGHT
3,8 CM
334
329
GROUP WITH EIGHT MASKS
Very dense and due to the many facial expressions, a
very lively composition with masks from the No-theather
and Kyogen. The Okina-mask (old man) on top, the
jester Hyottoko with headscarf and large bow on the
bottom. Continuous around - the fox kitsune, lucky
god Daikoku, Shinto goddess Okame, devil Oni, jester
and Shiwajo with a bow on his head. Dense, compact
rendition, some patina and “natural” himotoshi. WIDTH
4,9 CM
341
LARGE REPRESENTATIVE PICTORIAL SCREEN
Wood, brocade, color painting on wood,
Japan, 19th cent.
Unusual, impressive and attractive composition – a large
picture with bright white chrysanthemums (kiku) in front
of a gold-brown background, very noble with frame
in black lacquer. The color effects are noteworthy –the
juicy green of leaves, snow-white blossoms, gold dust
partially scattered over a large rust-brown area. Also
worth mentioning is the under ground of the painting –
it is composed of a fine vertically ribbed veneer! In front
of the lush kiku is a fence not defining a clear border
above, but artistically flowing into the heaven-bound
flourishing floristic. A bird flutters by in the rather empty
picture segment on the right, blue with a white breast,
feathers executed in great detail. The brocade-like
field all around is warm yellow-brown with fine golden
vines. The lowest small field over the entire width is also
painting on wood with the depiction of a row of trees
with thick green crowns. The solid framing is rounded
on the upper corners and retracted, the two legs even
on the lower corners are massively crafted, curved-tiered
and placed across the picture direction. On back brocade
with abstract floral design. TOTAL HEIGHT 152,3 CM,
WIDTH 192,5 CM
- 1970´s
338
CIRCLE OF SHIGEMASA:
SNAKE, TURLE AND PUMPKIN
Netsuke okimono, ivory. Japan, 19th cent.
Very good dramatic but also amusing work in the
Shigemasa style. The snake winiding around the ribbed
pumpkin is effectively rendered with a wide open
hissing dragon mouth. Not only is the snake winding
itself around, but also the vines of the pumkin around
the reptile. Within the pumkin is a toad, gazing out as
if from a theather lodge. Fastidious, detailed and vivid
depiction with light staining. HEIGHT 3,6 CM
342
FOUR-PART TABLE SCREEN
Painting on paper. Japan, 19th/20th cent.
Completely gilded paper ground, on which blue
blossoms, branches with berries and reeds, leaves that
look like scythes are painted. In the center a bird is
hanging on to a blade of grass. Atmospheric painting,
damage to mounting and lacquer.WIDTH 93 CM,
HEIGHT 44,2 CM
- 1970´s
344
CHIKUSEN: HIGH-REACHING BRANCHES
Kakemono, ink on paper, Japan, 19th cent.
On of the branches runs vertically almost through the
whole picture height and points in a striking way a
definite direction of content - - the heliotrope, also with
its spiritual and symbolic connotation. The painting
of the interlaced, yet more or less straight branches is
masterfully confident, the strokes never waver and are
convincing. It is amazing how much spirit is incorporated
in barrenness. At the bottom is gnarled rootage or a
rock in which roots, some with thorns, are entwined.
The lightly washed pen drawing conveys misty dreary
weather. Right above is a text in seal script, next to
the signature Chikusen (second character shows the
meaning “Zen“). Two red seals below, the lowest also
Chikusen. In right bottom corner, another red seal. The
former kakemono painting is mounted and framed
Japanese. SIZE 136,5 x 52,5 cm, picture 118 x 38,5 cm
- 1970´s
TOMOYUKI: FARMER ON MASSIVE
BAMBOO SHOOTS
A depiction spiced with satire, powerful and unified
rendition. A farmer holding an axe crawls along a
massive bamboo shoots. It is a reference to the moso
theme, a symbol of unconditional nurturing love towards
parents. Moso was a high ranked Chinese official
whose mother asked him to bring her fresh bamboo
sprouts during the harshest winter. Moso did not find
any as it was too cold, then shed tears from which the
shoots sprouted on the ground … Very good patina
or colouring, hoímotoshi on the bottom, the signature
TOMO-YUKI on the smooth end. The artist is from the
Tomochika School. LENGTH 5,2 CM
343
TALL PICTURE PAIR:
TIGER UNDER BAMBOO AND PINE
Ink on paper, Japan, 17th cent.
Large format painting, in the manner of screen fields,
however not connected but to hang individually. A tiger
is in the center of both pictures, but in very different
ways. The animal under the bamboo moves sinuously
and silently, his long tail snaps high like a whip and his
eyes are riveted upwards. Bamboo and tiger (take ni tora)
are a classical subject and tight symbolic partners, as
both possess the nature of tenacity and elastic flexibility,
also through supremacy due to its elemental power.
Take ni tora thus also stands in ideal liaison to Japanese
warriors, Bushido. The other painting presents the big
cat brawny and sitting in the foreground, somewhat
crouched down, as if it would prepare to attack. Over
the animal is a hanging pine branch with sharp thick
needle clusters, behind it the vertical falling branch
347
TANOMURA CHIKUDEN (1777-1835): MOUNTAIN
LANDSCAPE IN AUTUMN
India ink and color on paper. Japan, late Edo Period,
about 1900
Very vertical composition with rocky islands and steep
jutting mountain with fog banks. In foreground, various
trees, partially in fall colors. Romantically situated estate
with a man on the veranda. He looks to a canoe with
two people getting ready to embark. The artist comes
form a doctor´s family from Chikuden. Like his father,
he also worked for the feudal clan, then became later
a writer, art collector, scholar and calligrapher. The
long inscription at top left shows his eruditeness, the
signature at end is CHIKUDEN sei sha hei dai 䪡䓘䓇⮓
Ἕ柴, the red seals KEN IN ㅚ⌘ and CHIKUDEN 䪡䓘.
Brocade mounting, wooden rollers. PICTURE SIZE 128,7 x
32,5 CM, SCROLL 200,6 x 43,7 CM
- 1970´s
348
LOTUS – HASU
Kakemono, ink on paper. Japan, approx.19th cent.
Lotus blossoms are generally admired because of their
beauty. In Buddhism the lotus takes a special place and
stands for pureness as it grows from the mud to the
light, which is also shown in this truly charming ink
painting. The stem with the seed pot on its ending is
rising and forms a slightly arched bow; few delicate grass
grows aside. Strong black strokes for the lotus leafs to
create an expressive contrast. In Buddhism in the Amida
cult the lotus symbolizes “the pure country”. With some
red seals.
KAKEMONO 164 X 49,5 CM; IMAGE 102 X 37,5 CM
1950s – 1970s
Rufpreis / Starting price EUR 800,(Schätzpreis / Esitmate 1.600,-)
345
CALLIGRAPHY AND A WISE ONE
Painting on paper with ink, Japan, 19th cent.
A laughing bald-headed, full-bearded wise man,
presumably an “immortal“ Chinese Xian. He wears a
long Chinese robe and is leaning on a black stick. The
little black cap on his head typical of the Chinese Taoists.
The calligraphic script block left above was written by
an expert hand, outer left presum. Signature, below two
red seals. Two further seals on outer right, the upper one
“Shi“, the lower “Ku“, last sign meaning “emptiness“,
both signs would mean “the emptiness“. The question
is still open if this only indicates a name or the picture
content in a philosophical context. Old mounting.
KAKEMONO 176,5 x 41 CM, PICTURE 116 x 28 CM
- 1970´s
346
339
TOMOCHIKA SCHOOL: TWO BOYS
WITH LION MASK AND DRUM
Netsuke, ivory. Japan, late 19h cent.
Fine, lively and humorous work, stylistically similar to
works of the Tomochika School. Two boys alongside
each other, one standing and working on a drum
positioned in front. The other wearing a lion mask and
seated, holding a high a suzu with several small bells in
one hand. Amused by the noise, the boy with the drum
has a wide smile reaching across his entire face. The
mask and drum are used in the Shishimai or lion dance
at New Year. Small himotoshi on the back near the base.
WIDTH 3,9 CM
340
TOBACCO VESSEL AND PIPE QUIVER
Netsuke, silver, bamboo, horn, bone, wood, lacquer.
Japan, 19th century
A truly unusual and refined group comprising a tobacco
vessel and kiseruzutsu (pipe quiver), further comprising
a characteristic Japanese pipe kiseru and one ojime, the
quiver possibly carved from one trunk and bearing one
open side formed as a fish mouth, the irregular vessel cut
from massive bone and presents rustic shaded structure
that is decoratively contrasting the even bottom and the
lid rendered with black urushi, the horn ojime formed
as a temple bell, kiseru cut from red brown bamboo,
silver crafted arched endings, very tiny pipe bowl, good
condition. LENGTH PIPE AND QUIVER 20 CM, HEIGHT
VESSEL 6,2 CM
of a willow. Depictions of tigers have been a theme
in Japanese painting since old times, known are, for
example, the tiger Kao (14th cent.) in a Kyoto Monastery
or later from Rosetsu (18th cent.), who placed the tiger
in frontal dramatic foreground scene. Here both works
are oriented toward the older tradition. The mounting
is respect. the same, both sumi-e are framed by gilded
paper moulding, an effect that strengthens the secretive
excitement of both depictions (the brown tone due to
age also plays a role). The brocade frame offers goldcolored peonies on a blue ground. Minor damage due
to age, frame is from a younger period. Picture HEIGHT
167,5 cm, WIDTH 91,7 cm
- 1970´s
GNARLED PINE,
BLOSSOMS AND BIRDS
Kakemono, India ink and color on paper.
Japan, approx. 18th-19th cent.
More executed in Chinese style, this horizontal format
painting is masterfully done. Several lively red blossom
accents punctuate the black to grey ink painting. The
painting technique is accomplished – pine trunk and
needles with confident power, very well shaded in the
grey values, also washed hint of red. Three birds sit
together and chirp in excitement, a virtuoso spirited
depiction, such delicate little legs! The red blossoms
are from the convolvulaceae family. In Japan asagao,
as they wind through the pine needles. A red seal. The
brocade hyoso is very elegant and presents cloud and
wave designs.KAKEMONO 127 x 68,3 CM, PICTURE 60
x 24,3 CM
- 1970´s
349
EAGLE - WASHI
Kakemono, ink on paper, Japan, 19th to 20th cent.
Especially effective depiction of this winged predator
sitting on a cliff , with his head riveted straight ahead
with his body curved in the other direction. The beak is
open showing the tongue, the eye is relentlessly sharp.
Also sharp are claws, the precisely executed feathers
are partly painted. Gripping imagery and workmanship
within a harmoniously chosen brocade hyoso. According
to information on attached paper strips on the top
end of scroll, this eagle would have been done after
a painting of the 15th cent. in Daitokuji (temple).
KAKEMONO 201,5 x 68 CM, PICTURE113 x 54 CM
- 1970´s
350
UTAGAWA KUNIYOSHI (1798 – 1861)
ASCRIBED
PAIR OF HEAD STUDIES IN INK
Ink-drawing on paper. Japan, 1st half 19th cent.
This kind of studies and sketches are truly very rare to
find. They provide a very interesting and deep insight
into the artist’s innermost mind and nature of his
creativity. In the field of the Japanese color woodblock
prints the tendency towards reality grew more and more
livelier in the first half of the 19th century. The most
appreciated and innovating artists withdrew from the
frozen and rather unrealistic portrait-style of the Ukiyoe.
As shown in multiple sketch-books and drawings, the
artists started to free the rather static portrayals from
their stiff attitudes by bringing the characters to life. Now
in their works, Hokusai, Kuniyoshi and their fellow artists
strove to depict human characters from the real life,living beings with broad faces, bulgy noses - extending,
stretching and moving to all sides; characters of the “low
city” (shitamachi) - laughing, crying, wheezing, sweating
and swearing; unrestrained gazing females displaying
obvious gestures; half-naked kulis and jugglers and many
more. By their brush-strokes even the creatures out of
legends and poems experienced a colourful revival – new
and far different from the former
Ukiyoe. SIZE 19,5 X 26,5 CM
351
KITAGAWA UTAMARO (1750 - 1806):
TWO SKETCHES
Ink on paper. Japan, 2nd half 18th cent.
Two rare drafts of woodblock prints from the wellknown series Ehon shiki no hana, “The Flowers of the
Four Seasons”. A very delicate and finely executed ink
brushwork showing the artist’s impressing mastery in
creating features, hair and pleats of the long robes by
fluent fine strokes. No wash. One sheet offers the aspect
of two Bijin (beautiful courtesans), one is seated on a
bamboo-bench and holding a fan, the other is carrying
a child on her back. One Kamuro is seen standing next
to them. The scene is set under a willow-tree, signifying
sensuality. Further, there is seen a servant.
The second sheet offers the view into a cabinet with
many young maidens; their hair partly embellished
with flowers. A Bijin is seen standing at the entrance,
and a man is placed behind, holding a small drum
(Ko-tsuzumi). Two Tancho (cranes, long-life symbol)
are hovering in the air above a pine-tree. Further there
is offered a screen depicting a rock overgrown with
blooming peonies. SIZES CA. 19 x 27 AND 20 x 25 CM
352
STANDING FOUR-ARMED
BODHISATTVA MAITREYA
Bronze. Thailand, Khmer, Pre-Angkor style, presumably
around 9th to 10th cent.
Very rare, old and almost completely intact bronze
sculpture depicting a very youthful appearing bodhisattva
Maitreya (Sanskrit, lit. „the benevolent one“, in Pali
Metteya). He is merely clothed in a sambat with a belt
and holding up his four hands. The important features,
the head and especially the elegant face, are remarkably
well preserved. The eyes are open, gazing directly ahead.
He is sporting a very thin-lined moustache above his
slightly rubbery lips. The jatamukuta is divided into rows
and wears a stupa symbol at the front, the essential clue
which indicates this particular bodhisattva. Maitreya is
the „future Buddha“. Bronzes of this type and of various
sizes (up to one meter) have been found in the Nakhon
Ratchasima province and in Prakonchai, Buriram*. The
sculpture at hand bears a very convincing old appearance
due to the strong, well-marked patina. An original pin on
the feet, standing on a wooden base. HEIGHT (WITHOUT
BASE) 25,6 CM
* A larger example (69 cm, without arms) is illustrated
on page 121 of „Das Heilige Biildnis“, Museum for East
Asian Art, Köln 1979
on the back of the base notes the period Ratanakosin
(not „kokin“), which began in 1767. Stylistically, this
rare and sculpturally refined bronze offers distinct Khmer
features and could originate from an area close to or in
Cambodia. HEIGHT (WITHOUT BASE) 45,2 CM,
BASE 12 CM
354
STANDING CROWNED BUDDHA
Red sandstone. Thailand, rustic Khmer style, presumably
Bayon period. 12th to 13th cent.
Standing Buddha, directed straight ahead with open eyes
and typical Khmer features. The crowned Buddha image
is believed to have first appeared at the beginning of
the 12th century. It is uncommon and rare that Buddha
is wearing nothing except for a sambat. Both lower
arms are held level to the front and the hands (missing)
almost certainly showed the abhaya mudra (gesture
granting protection). Buddha wears a crown that is
bound together on the back, heavy jewellery on the
ears, as well as around the chest and arms. The creased
sambat holds a belt and the typical Khmer fish-tail motif
and a decorative emblem on the back. Very beautiful
craftsmanship on the frontal section overlapping the
belt, with almost a baroque appearence. Tall conical
ushnisha decorated in relief on top of the head. The
feet are missing, the legs and one lower arm have been
reapplied. Mounted on a wooden base (teak) with fine
grain. HEIGHT (WITHOUT BASE) 56 CM, WITH 72,3 CM
355
FOUR-ARMED GOD VISHNU
Sandstone. Old Khmer Empire, Bayon, approx. 12th cent.
A meaningful Khmer sculpture from the zenith of the
classical art period in Bayon. High quality compact
sandstone with fine surface, very well-worked and
beautiful aged color. The depiction presents the
straight standing four-armed sculpture of the high
god Vishnu, carrying a folded sambat. These are called
the “Sustainer”, a manifestation of benevolent grace.
In the old Khmer Empire (and also many other lands),
rulers like to identify themselves with this god of the
trinity Brahma-Vishnu-Shiva. The upper torso is bare
and youthful, right the two upper arms are preserved,
left only the begin of arm, thus no attribute. The face
is strictly frontal and offers clear masculine dominant
features. The work on hair in temple area is very fine.
The crown with relief decor is according to the Bayon
time stylistically typical, on head is a cone-shaped
elevation with relief. Sambat displays typical traits with
fishtail quills centered over the belt forwards hanging
piece. On back, a decorative swinging ornament. Feet
missing, some damage to edges, such as earlobes, crown
etc., the original head was broken off and replaced,
absolute fitting. Mounted on a tiered black base.
HEIGHT (WITHOUT BASE) 102 CM, (WITH) 123,3 CM
From an old Belgian private collection acquired before
1970
356
353
RARE DEPICTION OF THE
ANDROGENOUS SHIVA
Dark bronze. East Thailand to Cambodia, approx. 18th
to 19th cent.
This rare sculpture with particularly interesting
iconography shows the high god Shiva half male and
half female. The difference can only be recognized by the
breasts (and the attribute). This androgenous depiction is
known as ardhanarishvara, the composite form of Shiva
and Parvati. Very finely rendered and mildly wise facial
features, jewellery on the head and ears. The sambat
lioncloth is decorated and has the typical Khmer fishtail
fold. The attribute of Shiva is missing, goddess Parvati’s
is partly still intact and could possibly have been a lotus
bud or blossom. Very good patina. The collector’s label
BUDDHA SHAKYAMUNI
SITTING IN NICHE
Grey schist. India, Pala-Dynasty, approx. 10th to 12th
cent.
Rare and very fine temple architecture relief depicting
the historical Buddha seated on a lotus pedestal
between pillars and underneath an arch. He is seated
in padmasana (lotus seat) holding the right hand in
bhumisparsha, signalising his victory over Mara. Detailed
and powerful rendition for its time, even the decorative
elements. Minor faults on the edges, very good patina,
elaborate stained wood frame replicating the niche
architecture. HEIGHT RELIEF 23,6 CM,
MOUNTING 33,2 CM
357
BOTTLE SHAPED VESSEL WITH HEAD
Glazed ceramic. Khmer, 11th to 12th century
Raised on an unglazed flaring foot, the body formed
as a shoulder jar; viewed from the front the shoulder
runs into a section formed as a round male head with
arched eyebrows and with lips slightly opened, set above
a pointed beard and hands resting on each other, arms
partly rendered as a relief and partly incised, the shoulder
further decorated with a frieze with incised arched
pattern, waisted even neck, even lip, fine black-brown
matt glaze, minor chips. HEIGHT 37,2 CM
358
FOUR-ARMED GOD VISHNU AS A GUARDIAN
Bronze. Khmer Kingdom, Angkor period, Bayon, 12th to
13th cent.
A very powerful depiction of Vishnu, completly intact. He
is four-armed, wearing a tall royal crown and standing on
a quadratic base. The attributes are rendered at a small
scale on this bronze and due to the strong patina, are
only barely recognizable. They could perhaps be a disc
(wheel), conch or lotus, on the hand facing the ground
a disc of earth, in the other a rod, which, however, is
a club – Vishnu appears here as the „Guardian of the
World“. Strong facial features, decorative chains around
the chest and the famous sambat with fish-tail fold (also
on the back), a prominent feature of Khmer art. Green
patina with encrustations, mounted on an elegant tall
and stepped metal base. HEIGHT (WITHOUT BASE) 23,8
CM, WITH 32 CM
From a Belgian private collection
359
SEATED GOD OF WISDOM GANESHA
Sandstone. Old Khmer Empire, Baphuon to Bayon,
A very succinct embodiment, as the “Eliminator of all
Obstacles” and god of wisdom with elephant head
and crossed legs shown sitting. His fat belly stands for
“prosperity”, a tusk is missing (was broken during an
argument), hands holding sweets. He is fanning with
his ears to separate the chaff (temptation) from grain
(valuable). Age weathering. On a black base.
HEIGHT (WITHOUT BASE) 15,8 CM
360
STANDING GOD GANESHA
Sandstone. Old Khmer Empire, Bayon, approx. 12th to
13th cent.
Rare depiction of the god of wisdom Ganesha in human
form and with a finely executed elephant head. He is
standing with massive legs on a rectangular base and offers
his typical characteristics: Big belly, symbolizing prosperity,
ears, in life. to separate temptation from valuable things.
His trunk dips into a dish of sweets, the other hand holds
a sweet fruit. Ganesha is the “Eliminator” of all obstacles
in life. Mounted on a black base.
HEIGHT (WITHOUT BASE) 35,4 CM
361
THE GODDESS UMA, SHIVA’S CONSORT
Bronze. Khmer Kingdom, Lopburi, 12th to 13th cent.
A fine bronze figure from Lopburi, an area that is part of
Thailand today and served as an outpost of the Khmer
kingdom. It won its independence for a short time in
the late 13th century. Uma is one of Shiva’s consorts
and broadly identical to Parvati and also to Druga – she
is regarded a “mother-goddess”. The bronze shows her
standing, wearing typical Khmer sarong clothing and
with fish-tail fold with decorative relief. A chain above
the bare breasts and a cone-shaped crown. Only one
upper arm survived, otherwise it is complete and with
notably deep patina as well as signs of age. Mounted on
a cubical base. HEIGHT (WITHOUT BASE) 19,2 CM
362
BUDDHA MARAVIJAYA
Bronze. Lan Na Empire, approx. 16th cent.
Over a stepped base with turned-up ends is the lotus
pedestal with wide leaves and stamen, characteristic
for Lan Na depictions. Buddha sits in paryankasana,
one hand offers the “earth touching” bhumisparsha,
symbolic for a triumph over the tempter Mara
(Maravijaya), the other hand rests in his lap. Stylistically
typical are the facial features with strong curved higharched brows and downcast gaze, ketumala (flame)
on the head. Flaw in lower base area, overall especially
lovely dark green patina. HEIGHT 27 CM
363
BUDDHA “TOUCHING THE EARTH”
Bronze. Ayutthya Empire, approx. 16th to 17th cent.
In this artistically excellent and early bronze sculpture,
the historical Buddha Shakyamuni sits in austere frontal
pose on a base, below decoratively carved and with
strongly rounded corners. Powerfully emphasized
breast, small samghati to the navel. One hand indicates
“earth touching” bhumisparsha, as Buddha calls the
earth goddess Bhumi to procreate and shows a sign of
victory over the tempter Mara. The egg-shaped head is
drawn in the vertical and shows clearly his heritage from
Sukhothai. Lowered gaze, angled nose, high arched
brows. Ketumala (flame) over the round ushnisha as
closure. Strong, partially green age patina, scattered rest
of former lacquer with gilding, flaws on two fingers of
one hand. HEIGHT 46,3 CM
364
TWO ANIMAL-HEADED CREATURES
FROM A JATAKA
Glazed ceramic. Burma, Bagan Period, approx. 12th to
13th cent.
Very rare, up to three-fourths highly plastic ceramic panel
with two figures. Noticeable here is the especially wellpreserved glaze, as seldom to be found in early ceramic
works! The piece comes presumably from one of the
terraces of the main stupa in Bagan. Certainly one of the
many depictions from the rich Jataka scenes (stories from
Buddha´s early life, of which there were supposedly over
500, also births in animal form exist). Both creatures are
glazed green, somewhat pot-bellied and carry animal
heads, presum. of dogs. Above all, they are laughing
merrily and look very alive, which is very well-crafted.
The arms are raised over their heads, palms clapping.
Their position is dance-like in movement, except for the
apron they are naked, in one figure the breasts are at
least suggested. Elegant mounting on acrylic glass. SIZE
48 x 33,5 CM, MOUNTING 60,5 x 42 CM
365
FOUR-PART ORNAMENTAL VESSEL
Chased silver. Burma, 19th to first half of 20th cent.
Very densely embossed figural as well as floral, gracefully
executed décor. The vessel with cover stands on a base
with five legs in drop-form, topped by a depiction
of a wheel-turning peacock, the symbolic animal of
Burma. The relief further offers flowers and densely
composed vines. Pairs of figures shown executing various
movements on the cylindrical vessel, presumably scenes
of a court performance. Rich floral ornaments in the
areas in between. A smooth insert. Eight similar figures
on the domed cover with precisely rendered minute
details. At the very top on an openwork appendage,
in the round renditions of birds and a dancer with a
fluttering bird tail on her robe and bird wings on one
wrist, partly in openwork. HEIGHT 34,6 CM
366
BOX IN THE FORM OF A RECUMBENT STAG
Silver repoussè. Thailand, 1st half 20th cent.
Elaborately embossed sheet silver box in the form of a
recumbent stag. The in the round head with antlers and
large attentive ears rises from the topside of the lid. A
thoroughly worked deep relief with flowers and tendrils
in spirals. A pronounced flaming ridge along the back of
the stag and a stylised flower on its forehead. The eyes
of the animal are inlaid with faceted glass. HEIGHT 17
CM, LENGTH 21,7 CM
367
BUDDHA SEATED ON HIGH THRONE
Wood with gilding, colours and inlays. Burma, Shan,
approx. 19th cent. to 1st half 20th cent.
Buddha Guatama Shakyamuni seated in paryankasana
on a high stepped throne with rectangular glass inlays on
the frontal bars. The upper body is completely upright,
a large head with tall ushnisha as well as a pentagonal
spike pronouncing the spiritual flow. The hand
position is the “earth witness”, symbol of veracity and
enlightenment. Fine juvenile facial expression. A nimbus
with cloud boarder behind the gold Buddha as well as a
Burmese inscription on the back. HEIGHT 37,7 CM
368
BUDDHA WITH A ROYAL CROWN
Bronze. Burma, courtly style, Kongbaung, 19th cent.
A rare depiction of a crowned Buddha in Kongbaung
dynasty style attire, even wearing rings on his fingers.
The “earth-witness” gesture, curiously executed here
with both hands, symbolising the victory over Mara, the
embodiment of evil in Buddhism. A conical protrusion
on the head topped by a spiked lotus blossom. The
facial features are distinctly influenced by the Siamese
Ayutthya style, the eyes inlaid. A red glass jewel on the
chest, five standing worshippers within arched reserves.
Damages on the lowermost section of the base. HEIGHT
42 CM
370
LARGE HEAD OF BUDDHA
SHAKYAMUNI
Bronze. Ayutthya (Siam) presumably 15th – 16th cent.
A very rare superhuman sized head of an important
museum quality Buddha, with distinct Sukhothai stylistic
characteristics. The artistic heritage of the Sukhothai
is graciously respresented here. According to historical
records, the small kingdom existed from around 1250,
after merely one century of independence became a
vassal of Ayutthya, until fully annexed in 1438. Notable
about this head is the increadible mildness arising from
the inner piece of mind, which is touchingly conveyed
here. A similar head, although slightly larger and dated
Sukhothai 14th to early 15th cent., is in the Bangkok
National Museum*. The typical aquiline nose, the soft
eyebrow arches running into it or the contoured mouth
with raised corners. The contour of the eyebrows is
rather mild on this head and also the chin has a less
pronounced contour. The curved eyelids are remarkably
sensitive and showcase impressive craftsmanship.
Typical for the Sukhothai is the ovoid elongation, which
widens to the top. The tall clear forehead continues into
a sizable part of the head which is covered by hair. The
many locks are clockwise spinning spirals, the ushnisha
is of medium size and the ketumala on top broken off.
Judging by the damage, it must have been a hefty break.
A short part of the right ear is also missing. The common
breakage around the lower neck has been straightend
– the trivali are still intact. Overall good condition, the
face and scalp with locks enterily preserved. Brown and
red patina with numerous green areas. Traces show that
it was once gilded, mainly around the left eye. Mounted
on a black veneered
wooden base. HEIGHT HEAD 43 CM,
TOTAL HEIGHT 54 CM
* Illustrated on page 169 of „Das Heilige Bildnis“,
Museum for East Asian Art, Cologne 1979
371
COSMETIC BOW DECORATED
WITH LIVELY FIGURAL PAINTING
Lacquer technique with color and gold.
Burma, 19th – 20th cent.
Very richly decorated Bi-it in gold all over with figural
scenes on a red ground with delicate black patterns, and
with palace architecture, and dancing scenes; further
offering men on horseback, butterflies, mythological
creatures, phoenix and blossoms; the scenery is
resembling the Venice Carnival. The bottom presents a
large depiction of a Kinnara. The Shwe zawa technique
is sublimely painted in leaf-gold. The borders offers
encircling lines in gilt. A truly appealing and refined
composition. With elastic walls. HEIGHT 17 CM,
DIAMETER 21,8 CM
372
369
BUDDHA SHAKYAMUNI ON ROCK THRONE
AS WELL AS ELEPHANT AND APE
Bronze with gilding and lacquer technique. Thailand,
Ratanakosin, 19th cent.
A striking and rare depiction of Guatama Buddha seated
on a rock, his bare feet on a round lotus pedestal. Very
lean figure, the clothing with relief in lacquer technique
is richly decorated, overall very fine workmanship.
One hand rests on the lap, the other offers the varada
mudra, the wish-fulfilling gesture. Two animals in front
of Buddha, a kneeling elephant with his trunk holding a
vase shaped object with animal head design (?) towards
Budda. The other animal is an ape holding an object
with a long rod and a rag hanging on it towards the
enlightened one. HEIGHT 26 CM, LENGTH 21,2 CM
PROTECTOR DEITY „NAT“ ON GARUDA
Hardwood. Lacquer technique, gilding and inlays.
Burma, Mandalay, 19th cent. to after 1900
Similar and fitting to kat. no. 274. Garuda is the half
human bird god and the carrier animal of Vishnu in
Buddhism. As there are several Burmese nat which are
Hindu gods, the depiction here is of Gawyamanda nat,
another image of Vishnu. The Garuda is in kneeling
position and the nat is seated on top on a conical
pedestal. The richly decorated form shows the typical
style of the Mandalay period and was rendered in the
thayo technique, partly with gilding (the nat’s face
is entirely gilded) and with many small glass inlay
decorations. Sharp tall shoulder pads and high stepped
crown with lotus bud finish. The elevated hand could
possibly have previously held a weapon (club). HEIGHT
74,4 CM, PLATE 22,7 x 33 CM
*See note lot 274
373
RICHLY DECORATED COSMETIC BOX
Lacquer technique, gold, inlays. Burma, 19th cent.
A magnificently decorated and appealing cosmetic box
Bi-it; of cylindrical form, with a
lengthy overlapping cover. The exterior wall is elaborate
with mainly floral decoration in
gold and inlays, and all set within pearled and silver
inlaid borders; red and green inlays for the flower
decoration. This relief-technique is called Thayo. The
uncovered vessel shows a courtly dancing-scene in colorpaint. The recessed base is bearing concentric lines and
an inscription. HEIGHT 15,7 CM, DIAMETER 16 CM
374
PROTECTOR DEITY „NAT“ ON LION
Hardwood, lacquer, gilding and inlays.
Burma, Mandalay, 19th to 1st half of 20th cent.
Very powerful rendition – particularly effective around
the head area – of a chinthe lion standing on all fours
with an open mouth. The mane and flaming crest are
formed in the typical decorative style of the Mandalay
period. Seated on the ornamental saddle cloth is a
nat (see note), whose gilded face bears a fine spiritual
expression. His clothing with high shoulder spikes is
typical for its time of origin, the form of the hair with a
lotus bud finish reminds of Buddhas from the Mandalay
period. The hand he is holding up could possibly
have held a lance. The decor is rendered in the thayo
technique, partly gilded and decorated with glas inlays.
A component of the base between the lion and nat is
presumably missing. HEIGHT 61,3 CM, PLATE 21,5 x
37 CM
Note: The Burmese nat are spirits of historical beings that
were viewed as protectors. There are 37 official nat in
Burma, while considerably more appear in folklore. The
center of the nat is the well known vulcan on the rich
Popa mountain.
375
CROWNED BUDDHA MARAVIJAYA
Yellow bronze. Burma, Shan, approx. 17th cent.
In this rare, early and exceptionally preserved Shanbronze, Buddha is seated in padmasana (lotus seat) on
a round and flared pedestal, symbolically touching the
ground to signalise his victory over Mara (Maravijaya)
shortly before his enlightenment. High arched eyebrows
and downcast meditative gaze. The eight-jagged crown
suggest the “universal ruler”, the spiritual concept of the
eightfold path to enlightenment of Buddhist teachings.
Firm elongated lotus bud as well as decorative flanges on
the sides, typical for the Shan style. Strong patina due to
age. HEIGHT 20,8 CM
376
HEAD OF BUDDHA SHAKYAMUNI
Alabaster, lacquer and gilding. Burma, Shan, approx.
18th to 19th cent.
Due to this especially beautiful Buddha head’s fine facial
features, primarily his small, sensual mouth, but also the
extremely high running eyebrow arches, his radiance
reflects a peculiar extra-terrestrial, an ageless but young
being. The smooth hair with the lotus bud finish has the
form of a stupa (which symbolizes Buddha) and is gilded.
The white, translucent alabastar hightens the sense of
„spirit“ or spiritiual glory. This type of alabaster is mined
in the Burmese Mandalay-Sagaing region. Mounted on a
black base. HEAD HEIGHT 25,7 CM
From a Belgian private collection
377
STANDING MANDALAY STYLE BUDDHA
Wood with lacquer coating and gilding, inlays. Burma,
Mandalay, late Konbaung 19th / 20th cent.
Complete gilding and glistening inlays on a very effective
sculpture of around 65% life-size. As notable for the
Mandalay style, Buddha Guatama is depicted as a kingly
prince with juvinile appearance. The facial features are
male and confident, the eyes inlaid. One hand is holding
the creased hem by its edge, the other holds a small
object, symbol of „grasping a grain of truth“, known as
cincihna mudra. The bare feet stand on a small round
lotus pedestal with inlaid decorations. A samghati with
pleated ends, tall ushnisha, however, as characteristic
for this style – not topped by a lotus bud or flame. Many
small inlays on the samghati, seams and diadem. A
prominent red lotus flower in its center.HEIGHT 136 CM
378
BUDDHA MARAVIJAYA SITTING ON THRONE
Bronze with gilding and inlays. Thailand, Ratanakosin,
approx. 19th cent.
Buddha Shakyamuni sitting in paryankasana on a tall
stepped throne, clad festive clothes, perhaps those of
a Siamese prince. Large jewellery on the breasts and
especially characteristic for this style, the flame-like
applications on the knees, shoulders and ears. One hand
showing the „earth-witness“ gesture, a markedly large
spike above the ushnisha. Rich lacquer gilding with
patina, on a wooden base. HEIGHT (WITHOUT BASE)
20,2 CM
From the collection of a former German diplomat
379
FEMALE NAT ON SACRED GOOSE
Wood, lacquer, gilding. Burma, approx. 1st half of 20th
cent.
The sacred goose hamsa (hntha in Burmese) stands on
an oval lotus pedestal. It has a wavy tuft and a large
openwork tail. Goddess Sarasvati is sitting casually on
her back. She is know in Burma as a nat by the name
Thayethadi. She is bare-footed, wears a richly decorated
long skirt and a cap as well as an object in her hand. In
India, Sarasvati is the goddess of knowledge, arts and
music. Gorgeously glistening Burmese gilding! HEIGHT
21 CM
face is shown in a resting expression with lowered eyes;
further with a dome shaped Ushnisha that is topped with
a lotus bud. With stron patina. HEIGHT 139 CM
Rufpreis / Starting price EUR 4.000,(Schätzpreis / Estimate 8.000,-)
382
SELADON BOWL
Glazed earthenware. Kingdom of Sukhothai (Siam), 14th
– 15th cent.
A large interesting bowl from a shipwreck find. The outer
wall with ribs all around and slanted rim; the well of the
inner side presents concentrical lines with lotus flower;
further presenting a border of rippled and herringbone
structures below the rim. Faded celadon glaze due to
the long storage in water, corrosion to lip; unglazed base
with coil.HEIGHT 8,2 CM, DIAMETER 24 CM
381
LARGE STANDING BRONZE BUDDHA
Bronze. Burma, 19th cent. or possibly earlier
An expressive and elaborate sculpture in frontal aspect,
strongly defining the spiritual harmony. Buddha
Shakyamuni is standing on a simply crafted, round
lotus plinth, which is decorated with broad lotus leafs
arranged in a row. The hand are in the Dharmacakra
Mudra. Buddha stand on bare feet in an upright
position. The coat-like Uttarasanga is wide swinging. The
390
BUDDHA UNDER PROTECTION
OF NAGA KING
Bronze and gilding. Thailand, Ratanakosin, 19th cent.
An impressive large bronze statue of Buddha
Shakyamuni seated in meditation on a lotus pedestal
that is set on a high throne. The throne is threefold
entwined of a snake body that is ascending at the back
ending in seven protective Naga heads above Buddha’s
head. The expressive heads are characteristic for the
Ratanakosin style and contrast the tranquil harmony of
the statue. Buddha is seated in Paryankasana, the hands
rest in his lap; Buddha with rich attire. Inserted Ketumala
(flame) and Naga head. HEIGHT 105,5 CM
Rufpreis / Starting price EUR 8.000,(Schätzpreis / Esitmate 16.000,-)
387
383
SITTING BUDDHA MARAVIJAYA
Bronze. Late Ayutthya (Siam), approx. 18th cent.
This smooth bronze presents Buddha sitting in halfcrossed paryankasana on a base fitted to his contour.
One hand resting on the lap, the other showing the
„earth witness“ bhumisisparsha mudra, proclaiming
the victory over the tempter Mara by calling the earth
goddess Bhumidevi to witness. Tall upright upper body,
downcast eyes, head form and facial features with
Sukhothai characteristics. Almost black patina,
or patination. HEIGHT 16,2 CM
384
Yellow bronze. Ayutthya Kingdom, Siam,
approx. 17th cent.
A particularly fine rendition, very „royal“ themed
depiction. Buddha wears a wide uttarasanga that almost
reaches down to his feet, one hand rests against the
hem and the other shows the abhaya mudra, „offering
protection“. Typical for the style of the period, the
delicate, elongated and finely curved fingers. Fair facial
features with a downcast gaze. Large adorments on the
chest, arm rings and crown on the head with a stuparesembling ushnisha. Dark patina, mounted on a cubical
wooden base*. HEIGHT (WITHOUT BASE) 32,3 CM
* Caution, fragile mounting due to the frail feet
From a South German private collection
380
BLACK LIDDED BOX AND INSET
Red and black lacquer. Burma, 19th – 1st half 20th cent.
A Kun-it vessel, used for the chewing of betel nuts, of
cylindrical form and almost like a
cosmetic box, but with an inset; with attractive interior in
red in contrast to the black
exterior side; patterned with encircling vertical ribs; on
stepped foot, the bottom recessed to the red center;
with stepped lid. HEIGHT 10,5 CM, DIAMETER 20,6 CM
From the collection of a former German diplomat
running closely along the skin. One hand is raised in the
gesture of protection abhaya mudra, the other following
down the curvature of the body. Youthful body with
markedly large feet, athletic chest and shoulders, a
strikingly ovoid elongated head conveying spirituality
and royality. A tall ushnisha topped by a ketumala. Very
beautiful form of the typical elegantly bent fingers on
both hands. Narrow samghati with the usual cusped
ends. The „striding Buddha“ originates from the
Sukhothai Kingdom period, which prevailed for almost
two centuries until it was annexed by Ayutthya in 1438.
This bronze shows the Sukhothai style, but also Ayutthya
characteristics and could possibly be a late Ayutthya
(until 1767) or later work. Dark old patina with multiple
green areas. Mounted on a round, multi-stepped
wooden base. HEIGHT (WITHOUT BASE) 55,4 CM, WITH
70,5 CM
STELE WITH BUDDHA
UNDER BODHI TREE
Stone. Burma, Ava Age, approx.17th cent.
An oval stele depicting a truly rare motif and shows
“Buddha Shakyamuni’s first teaching, held to his disciples
under a Bodhi tree after e experienced enlightenment at
the gazelle’s grove of Benares. Buddha had broken his
silence, what is depicted by the Dharmacakra Mudra.
Further Buddha is seated in Padmasana and displays a
fine delicate expression hinting the termination of the
meditation. A very interesting depiction as Buddha is
seated on a lotus pedestal that is carried by two disciples
in approximate shoulder-height. Above, there is seen a
fine composition including the twigs and foliage of the
Bodhi tree. HEIGHT 91 CM
388
HEAD OF BUDDHA
SHAKYAMUNI
Red sandstone. Ayutthya Kingdom (Siam),
Important, overall well-preserved and rather large head
with the typical stylistic character of the Ayutthya period
(until 1767), but also the influence of its classic precursor,
the Sukhothai. The curved eye contours, also the fine
nose and lips with accentuated corners in addition to the
entire head form, which highlights the spiritual appeal
by widening at the top. Strong high-arched eyebrows
and a corresponding hairline. Domed ushnisha with a
large flame on top (fragment). The ears are intact for
the most part. Remnants of a former lacquer coating
that quite certainly carried a layer of gilding over it.
Gracefully mounted on a quadratic red marble base with
black sprinkles. HEIGHT (WITHOUT BASE) 30,5 CM, BASE
HEIGHT 10,2 CM
385
CROWNED BUDDHA WITH PITTANCE BOWL
Bronze. Northern Thailand, approx. 18th to 19th cent.
Unusual and interesting depiction of a Buddha sitting
in distinct padmasana (lotus seat) on a lotus pedestal.
Particularly striking are the flaming wings, which directly
continue into the ears and are primarily known from the
Shan region (Northeast Burma – North Thailand). Buddha
is wearing a crown and adornments and holding a small
patra in one hand and reaching into it with the other.
An ushnisha topped by a lotus bud. Dark patina. HEIGHT
27,4 CM
386
WALKING BUDDHA
Bronze. Thailand, late Ayutthya to 19th cent.
This impressive bronze sculpture presents the rare
depiction of a striding Buddha in a thin flowing robe,
389
BUDDHA MARAVIJAYA
Bronze. Kingdom of Ayutthya, approx..
17th – 18th cent.
An unusual designed depiction of Buddha Shakyamuni
seated in the Paryankasana
on a boat-shaped base with bent up endings, which
is mounted on a hexagonal plinth. The base offers on
either side an open worked section set within pearled
borders and floral tendrils. Buddha is presenting the
“earth-touching” gesture symbolizing his victory over
Mara (Maravijaya), the other hand rests in his lap. The
hands present long and elegantly arched fingers, the
foot-soles show engraved volutes. The breast is juvenile
and athletic, and the head is widens to the top, and
presents Ushnisha and Ketumala (flame) to accentuate
the spiritual energy. With arched eye brows above a pair
of inlaid eyes. Dark patina. HEIGHT 42,3 CM
391
Bronze with gilding. Thailand, Ratanakosin, 19th cent.
Finely executed altar figure of Buddha Shakyamuni
as a richly adorned kingly Cakravatin in the typical
Ratanakosin style. Nimbus and lotus bud are missing,
largely covered in remnants of gilding, patina. HEIGHT
26,2 CM
392
FINELY DECORATED BOX WITH COVER
AND THE COMPLETE ZODIAC
Silver-repousse. Burma, 19th cent.
Very precise decor and figural depictions - intricate work!
The cover reaches down low, the lower part bears less
decor, the foot is flared diagonally and on the underside
is a winged mythical being with an elephant head and
two riders. On the sides of the cover are twelve zodiacanimals, each in a decorative cartridge. On the domed
top, the symbols of the planets (the elephant twice once with tusks, once without). In the central field is a
mythical animal. All depictions are rendered semi-plastic
and surrounded by dense floral decor. HEIGHT 8 CM,
DIAMETER 11 CM
393
BUDDHA SHAKYAMUNI
SEATED IN MEDITATION
Gilded bronze. Thailand, Ratanakosin, 19th cent.
A very expressive large figure in characteristic style
of Ratanakosin. Buddha Shakyamuni is seated in the
Paryankasana with his hands resting in his lap, on a
representative and four-stepped royal base; the upmost
step of the base shows lotus and decorative hangings
on the view side. Buddha has broad shoulders, a juvenile
body and a maidenly facial expression with lowered eyes
below arched eyebrows. The Ushnisha presents a flame.
Comletely gilt in lacquer, and traces of age. HEIGHT 50,3
CM
394
GROUP OF FIVE SMALL LIDDED BOXES
Silver. Thailand and China, 19th – 1st half 20th cent.
Five different boxes: one of elephant shape, one of
irregular shape with cover in half-relief depicting
a mythological creature with fish-body (with Thai
inscription on the underside); further including rounded
boxes and one box of octagonal form, the latter with
Chinese designation Rongcheng (name or studio) on the
underside. All boxes bearing embossed and punched
floral decoration. HEIGHTS 3 – 5,2 CM, ELEPHANT
LENGTH 7,5 CM
395
HEAD OF BUDDHA
Stucco. Dvaravati empires, Siam, approx. 10th cent.
Very rare and early Buddha Guatama head executed in
the stucco technique. A historically interesting example
with notably dense facial features. Downcast gaze,
the corners of the mouth are strongly indented and
curved upwards, the eyes slightly protruding and the fair
eyebrow line is continuous, characteristic for late Mon
art. The ushnisha is conical, the hair knots buldges, the
urna on the forehead is painted on (quite certainly a later
appendment). Remnants of an old colour coating. Wall
mounting on the back. HEIGHT 21 CM
Note: The art of the Dvaravati empires, which were
located in Northern-Central Thailand from the 6th
century onwards, is also known as „Mon art“. The final
highpoint of this culture occured in Haripunjaya (near
Chiang Mai), when large parts of their territory were
already under Khmer control.
396
THE FUTURE BUDDHA MAITREYA
Hardwood, lacquer coating and gilding. Burma, 19th
cent. until after 1900
A very expressive and stylistically unusual sculptural
rendition depicting the Buddha of future ages, referred
to as Maitreya in Sanskrit and Metteya in Pali (Burma).
He is the last of the five earthly Buddhas and his name
translates to „Maitri“ or „benevolence“. Characteristic
for him is his bear footed sitting position on a lotus
pedestal, known has bhadrasana. Different variations of
the hand position are common for this depiction, often
the „turning the wheel of Dharma“. This sculpture,
however, offers the abhaya mudra, the gesture of divine
reassurance and protection, while the hand facing
downwards shows the varada mudra, the wish fulfilling
gesture. The facial expression is particularly striking. It
complies with the Ava style, marked by high arched
eyebrows which flow into an unusually narrow nose
bridge. The wide and curved eyes on the other hand, are
large and prominent inlays. The area roofing the head
is almost flat, with an ushnisha and a (detachable) lotus
bud resembling a stupa. The entirely leaf-gilded sculpture
(Burmese gold is known for its beautiful and powerful
tone) shows distinct signs of age, but the lotus pedestal
may have been repainted. HEIGHT 118,2 CM
397
TOYOHARA CHIKANOBU 豊原周延 (1838 – 1912)
Original color woodblock print from the series Azuma
nishiki chuya kurabe - 東錦晝夜竸 (‘’Comparing
Edo Brocades of Day and Night”). Signature: Yoshu
Chikanobu hitsu. Publisher: Kobayashi Tetsujiro. Issued
about 1886. OBAN 36 x 26 CM
398
TOYOHARA CHIKANOBU 豊原周延 (1838 - 1912)
nishiki chuya kurabe - 東錦晝夜竸
(‘’Comparing Edo Brocades of Day and Night”).
Signature: Yoshu Chikanobu hitsu. Publisher: Kobayashi
Tetsujiro. Issued about 1886. OBAN 36 x 26 CM 1886
atmosphere, hear the soft movements of the water and
watch the two cranes.SIZE CA. 20 x 18,2 CM
399
TOYOHARA CHIKANOBU 豊原周延 (1838 - 1912)
nishiki chuya kurabe - 東錦晝夜竸
(‘’Comparing Edo Brocades of Day and Night”).
Signature: Yoshu Chikanobu hitsu. Publisher: Kobayashi
Tetsujiro. Issued about 1886. OBAN 36 x 26 CM
405
OHARA KOSON 小原古邨 (1877 - 1945)
Lotus and Rail. Original color woodblock print (Kacho-e).
Signature: Koson. Seal: Koson. Publisher: Daikokuya.
Issued about 1910. SMALL TANZAKU 25,4 x 13 CM
400
UTAGAWA KUNISADA I 歌川国貞 (1786 - 1865)
Miya no zu, Nissaka no zu and Seki no zu. Three
original woodblock prints from the series Tokaido
gojusan tsugi no uchi (‚‘The 53 Stations of Tokaido”).
Signature: Gototei Kunisada ga. Publisher: Moriya Jihei.
Censor seal: Kiwame. Issued about 1834/35.CHUBAN
24,7 x 17,8 CM
401
UTAGAWA HIROSHIGE 歌川広重 (1797 - 1858)
Akasaka - 赤坂, Nihonbashi - 日本橋, Kameyama - 亀山
and Goyu – 御油. Four original color woodblock prints
from the series okaido gojusan tsugi no uchi (東海道 -五
十三次の内. Signature: Hiroshige ga. Publisher: Tsutaya
Kichizo. Censor seal: Nanushi-seal Mera and Murata.
Issued about 1849/50. CHUBAN 16,3 x 22 CM
406
ITO SOZAN 伊藤総山 (1884 - ?)
Peacock Perching on Blooming Prune Branch. Original
color woodblock print (Kacho-e). Signature: Sozan. Seal:
So & Zan. Issued about 1910.TANZAKU 38,3 x 16,9 CM
407
YOSHIDA HIROSHI (1876-1950)
Yomei-mon (陽明門). Original color woodblock print.
Signature: Yoshida. Seal: Hiroshi (both integrated in
the depiction). Handwritten signature Hiroshi Yoshida
to lower margin. Authenticity-mark Jizuri. Issued about
1937. OBAN 37,9 x 24,8 CM
402
403
TOYOHARU KUNICHIKA 豊原國周 (1835 - 1900)
Matsuura no Sayohime (松浦佐用姫). Original color
woodblock print from the series Zen-aku sanjuroku
bijin -’’36 Good and Evil Beauties“ (善悪三拾六美人).
Signature: Toyohara Kunichika hitsu. Seal: Toshidama.
Publisher: Takegawa Seikichi. Engraver: hori Gin. Issued
1876, 3rd month, 3rd day. OBAN 36,5 x 24,5 CM
THREE WOOD ENGRAVINGS
From an Album 桂處縮莫 - „Keisho (Copies of
Masterpieces)“ Editor: Nambara Keisho (南原桂処), Meiji
22/23 (1889/90).
1. Monkeys on Pine-Tree. 大阪 - Osaka) 山中氏蔵 –
Yamanaka- from a family property. 2. Puppies Playing. 西
京 - Saikyo – Western Capital – Kyoto - 某氏蔵 – from
the property of an anonymous family. 3. ‘‘The Three
Brothers in Arms“. 大阪 - Osaka 礒野氏蔵 – from the
property of the Isono-Family. EACH 30 X 15 CM
original printing blocks. First edition 1936.DAI-OBAN 41
x 27,5 CM
UTAGAWA KUNISADA I 歌川国貞 (1786 - 1865)
Fudesuteyama among Seki and Sakanoshita (Seki
Sakanoshita kan Fudesuteyama - 関坂の下間筆捨山)
and Morishita among Shono and Kameyama (Shono
Kameyama kan Morishita - 庄野亀山間森下). Two
original color woodblock prints from the series okaido
gojusan tsugi no uchi – ‚‘The 53 Stations of Tokaido” (
東海道五十三次之内). Signature: Toyokuniga set within
Toshidama-cartouche. Publisher: Sumiyoshiya Masagoro.
Censor seal: Nanushi-seal Fuku and Muramatsu, and
seal of date.1852, 10th month.OBAN 35,4 x 24,7 CM
412
TSUKIOKA YOSHITOSHI 月岡芳年 (1839 - 1892)
Kawanaka-jima Daikassen - 川中島大合戦 – ‘‘The Great
Battle of Kawanaka-jima“. Triptych. Original color
woodblock print. Signature: Ikkaisai Yoshitoshi ga set
within gourd-shaped cartouche. Publisher: Moriya Jihei.
Censor seal: Aratame, combined with seal of date 1866,
2nd month. EACH PRINT OBAN 35,5 x 24,5 CM
OGATA GEKKO (1859 - 1920) /
TERAZAKI KOGYO - 寺崎広業 (1866 - 1919) /
TAKEUCHI KEISHU - 武内桂舟 (1861 - 1943) /
KIMURA BUZAN - 木村武山 (1876 – 1942)
Seven Kuchi-e. Original color woodblock prints. Each
sheet with signature and seal, issued about 1900.
The Kuchi-e presented a new stylistic direction of
Japanese color woodblock prints, which came into
fashion about 1900. By offering mainly depictions
of romantic novels as published in block-books or
magazines they differ from the previous Ukiyo-e
woodblock prints in terms of topic. Generally hardly
known they present a vast new field of collection.
EACH PRINT CA. 30 x 23 CM
TSUCHIYA KOITSU 土屋光逸 (1870-1949)
Ame no Miyajima - ‘’Miyajima in the Rain“ (雨の宮
島). Original color woodblock print. Signature: Koitsu.
Seal: Shin. Publisher: Uchida. Ato-zuri, later copy of the
original printing blocks. First edition 1941. DAI-OBAN 41
x 27,5 CM.
417
Fukuroi (袋井) – Aspect of a Tea Stall (出茶屋ノ圖 Dechaya no zu). Original color woodblock print from the
series Tokaido gojusan tsugi no uchi – ‘’The 53 Stations
of the Tokaido“ (東海道五十三次の内). Signature:
Hiroshige ga. Publisher: Senkakudo & Hoeido. Issued
about 1833/34. OBAN 24,5 x 36,2 CM
418
Okitsu (奥津) - Okitsugawa (興津川 – The River Okitsu).
Original color woodblock print from the series Tokaido
gojusan tsugi no uchi – ‘’The 53 Stations of the Tokaido“
(東海道五十三次の内). Signature: Hiroshige ga.
Publisher: Verlag: Kaku Ki & Take Mago. Issued about
1833/34. OBAN 22 x 34,5 CM
414
JACOULET PAUL (1896 - 1960)
La Maitre Portier „Corée“ - Korean Master Potter.
Original color woodblock print. Signature: single-handed
with pencil Paul Jacoulet. Seal: Butterfly. Engraver:
Maeda Kentaro. Printer: Honda Tetsonosuke. Watermark:
JP, monogram in Romanji, and below Kanji Wakamaru
- 若礼, name of paper-company. Issued about 1910.
DAI-OBAN 47 x 36 CM
419
UTAGAWA HIROSHIGE 歌川広重 (1797 – 1858)
Iwami - Takatsuyama Shiohama (石見高津山汐濱).
Original color woodblock print from the series Rokujuyoshu meisho zue 六十余州名所図会 – ‘’Famous Sights
of the more than 60 Provinces“. Signature: Hiroshige
ga. Publisher: Koshi-Hei. Engraver: hori Soji. Censor seal:
Aratame. Seal of date: 1853, 12th month. OBAN 36 x
25,5
420
Shima Hiyoriyama Toba minato - 志摩日和山鳥羽
港 (Toba Harbour and Hiyoriyama Mountain in the
province of Shima). Original color woodblock print from
the series Rokuju-yoshu meisho zue 六十余州名所図
会 – ‘’Famous Sights of the more than 60 Provinces“.
Signature: Hiroshige ga. Publisher: Koshi-Hei. Censor
seal: Nanushi-seal Watanabe & Mera. Seal of Date: 1853,
7th month. OBAN 36,6 x 23,4 cm
404
MEIJI-MASTER ABOUT 1900
Kacho-e. Original woodblock print.
A tranquil scene grasped from nature of two whitenaped cranes at the snowy shore of a lake. The viewer
is confronted with the empty space symbolizing the true
essence of all things. Here, the unpainted space puts
our focus only on the pure nature. We feel the wintery
410
UTAGAWA TOYOKUNI II 歌川豊国二代 (1777 – 1835)
The actor Bando Mitsugoro 坂東三津五郎 as a watercarrier in an allegory on the moon, snow and flowers.
Original color woodblock print. Signature: Toyokuni ga.
415
TSUCHIYA KOITSU 土屋光逸 (1870-1949)
Nikko Futaarasan (日光二荒山). Original color
woodblock print. Signature: Koitsu. Seal: Shin.
Publisher:Hamamatsu. Ato-zuri, later edition of the
422
SHIBATA ZESHIN 柴田是真 (1807 – 1891)
Shichifukujin - „The Seven Luck Deities“. Three original
color woodblock prints. Signature: Zeshin. Seal: Shin.
Issued in the 1880s. EACH SHEET 22 x 28,2 CM
423
Kawasaki - 川崎, Kuwana - 桑, Okabe - 岡部, Miya - 宮
and Seki. - Five original color woodblock prints from
the series Tokaido gojusan tsugi no uchi (東海道五十三
次の内) ‘’The 53 Stations of the Tokaido“. Signature:
Hiroshige ga. Publisher: Arataya Seiemon. Censor seal:
Nanushi-seal Hama. Issued about 1844/45. KOBAN
EACH SHEET 10,2 x 15,5 CM
424
409
TSUKIOKA YOSHITOSHI 月岡芳年 (1839 - 1892)
Hingayosaso kyowa nenkan kanjo no fuzoku –
Sophisticated! Aspect of a courtly lady of the Kyowa
era. Original color woodblock print from the series
Fuzoku sanjuniso - 風俗三十二相 (‘‘32 Depictions of
Manners and Habits of Women“). Signature: Yoshitoshi
ga. Seal: Taiso. Publisher: Tsunashima Kamekichi.
Engraver: hori Yu. Early edition, issued about 1888.
OBAN 36,8 x 25,3 CM
Onnagata role. Original color woodblock print (part
of a multiple sheet). Signature: Gototei Kunisada ga.
Publisher: Iwatoya Kisaburo. Censor seal: Kiwame. Issued
about 1825/28. Framed.OBAN 37,5 X 23 CM; FRAME
47,5 X 34,5 CM
416
411
413
408
TOYOHARU KUNICHIKA 豊原國周 (1835 – 1900)
Ichikawa Danjuro (市川團十郎) as the spirit of the
pirate Shichizo Kantei. Original color woodblock print.
Signature: Toyohara Kunichika hitsu. Seal: Toshidama.
Publisher: Kobayashi Tetsujiro. Engraver: Watanabe hori
Ei. Issued about 1879. OBAN 34,7 x 23,2 CM
Publisher: Matsumura Tatsuemon. Censor seal: Kiwame.
Issued about 1826. Framed.OBAN 37,5 X 24 CM; FRAME
53 X 38,5
421
UTAGAWA KUNISADA I 歌川国貞 (1786 – 1865).
The actor Iwai Kumesaburo (岩井粂三郎) shown in an
KIKUKAWA EIZAN 菊川英山 (1787 - 1867).
The courtesan Hanamurasaki from the house of Tamaya. Original color woodblock print. Signature: Kikugawa
Eizan hitsu. Publisher: Ezakiya Kichibei. Censor seal:
Kiwame. Seal of date: Year of the Snake, 8th month
(1809). OBAN 37,9 x 25,4 CM
425
KITAGAWA UTAMARO II 喜多川歌麿二代 (active ca. 1800 - 1830)
The courtesan Takimoto from the house of Wakamatsuya (若松屋). Original color woodblock print from the
series Meikun rakuya sugata (君樂屋姿) – ‘’Famous
Women Characters in their Budoir“ Signature: Utamaro
hitsu. Publisher: Maruya Jimpachi. Censor seal: Kiwame.
Issued about 1810. Framed. OBAN 38 x 26 CM
426
KEISAI EISEN 溪斎英泉 (1790 - 1848).
Shinobugaoka no bosetsu – ‘’Nightly Snow over
Shinobugaoka“ (忍が岡の暮雪). Original color
woodblock print from the series Edo hakkei - ‘’Eight
Aspects of Edo“(江戸八景). Signature: Keisei Eisen
ga. Seal: Keisai & Eisen. Publisher: Yamamoto Heikichi
(Eikyudo). Censor seal: Nanushi-seal Watari. Issued about
1843/45. OBAN 36,6 x 25,2 CM
427
JOI (SCHOOL):
LARGE TSUBA WITH LUCK-DEITIES
Brass, bronze, gold. Japan, Meiji Period, 19th cent.
A truly elaborate large Tsuba, of square form, with
recessed edges and rim in high relief. The view side
presents Fukurokuju, god of the long-evity, showing
his typical high head. Opposed to him there is set
Bishamonten, the god of luck, in full armour and
wearing a (almost Roman-style) helmet on the head.
Both are shown engaged in a Kubikiri-fight by pulling
a cord that is laid around the necks of the competitors.
Here, Fukurokuju seems to be the winner. The depictions
are done in Iroe-Takazogan with Shakudo, Sentoku,
gold, etc. Symbols of “The Eight Treasures” are engraved
on an Ishimeji ground. The obverse side is presenting
two long-evity symbols – turtle and herons with scrolls,
further including a retrospective dating “Horeki Ganrei
(1758) Mid Spring”, signed ISSANDO JOI, who was one
of the most famous Tsuba artists from Nara. Very good
condition. HEIGHT 10,3 CM
428
TOSHINAGA (SCHOOL):
LARGE TSUBA WITH NIO
Brass, bronze. Japan, Meiji Period, 19th cent.
Another example of a technically masterfully executed
Tsuba of the Meiji period, and rarely to be found on
today’s art market!
Of large Mokkogata form without Hitsu, the view side
is offering in a Sentoku alloy an elaborate bust of a
Nio (athletic temple guardian) with expressive head,
and done as a sculpture. A bird with young is perched
in the mouth of the sculpture, whereas another bird
is approaching from above. The obverse side presents
temple servants holding a rake and a stone lantern
Ishidori. Signed TOSHINAGA, and Kao, and retrospective
dating Hoei 1705. Possibly a later Toshinaga deriving
from this line of the Nara school. Very good condition.
HEIGHT 10,3 CM
Rufpreis / Starting price EUR 1.400,(Schätzpreis / Estimate EUR 2.800 ,-)
429
NARO (?):
TSUBA WITH SAGI
UNDER WILLOW
Iron, silver, some gilding. Japan, late 18th
to 19th century
Of circular form, evenly rimmed and bearing one hitsu;
pierced with yanagi (willow) with an arched trunk
and two sagi (herons) perched atop; they are threedimensionally worked and highlighted in silver to create
an effective contrast to the dark iron.Inscribed on the
seppadai, right BU-SHU E-DO ju (lives in Edo, B.), and
left NA-RO saku (made by).The characters “Naro” (also
Naryo or Dairo) are identical to Nara (renowned town
near Kyoto and Osaka).
As the artist is not in the records it could also mean
“made in Nara”(however the quality of the tsuba implies
that the artist’s name should be found in the records).
HEIGHT 7,15 CM
From the collection of Dr. Karl Florenz (1865-1939)
430
SIGNED TSUBA
WITH LANDSCAPE
Iron and gilding. Japan, 18th century
Of oval form, evenly rimmed, with ryohitsu; crisply
pierced with a landscape in the Literati style, showed
with mountains, pavilion, bridge and pagoda, pines and
waterfall, details highlighted in gilt nunome, seppadai
with faded signature. HEIGHT 7 CM
431
KANEIE: TSUBA WITH LANDSCAPE
Iron, shakudo and gilding. Japan, possibly 17th century
Sparingly decorated marugata tsuba with ryohitsu, one
of rectangular for and plugged; with even and rounded
rim; bearing an ishime ground decorated in a relief
with mountains and plants growing at water, the stalks
highlighted wires in gilt zogan; the obverse inscribed and
signed, right: YAMA-SHIRO kuni FUSHI-MI ju (lives in ….,
Yamashiro, today Kyoto fu), left: KANE-IE.
The first of the Kaneie is one of the most important
tsuba-masters in Japan. Hara Shinkichi describes him
as “the greatest…., who lived around or after 1600”,
whereas as he also writes that it was highly doubtful
that Kaneie had lived in Fushimi as this place only
became famous in 1597 for the castle that was built by
Hideyoshi. It is most probable that one of his sucessors
in the family bearing the same name had crated the
present example of a tsuba. The style of the tsuba
(circular form, thinness, spare decoration) indicates to an
ancient piece. HEIGHT 7,9 CM THICKNESS 3 MM
hanging on a long cord with an iris with long foliage is
growing from it, the other side is of copper shade and
bearing an uchu engraving. LENGTH 9,65 CM
436
CRICKET KOROGI BEARING LONG FEELERS
IRON, silver and some gilding. Japan, 18th to 19th
century
Iron kozuka rounded to one edge and bearing an ishime
ground decorated in iro-e takazogan with a korogi
(cricket) with arched hind legs and enormous feelers,
highlighted in silver tenzogan. The cricket represents the
approaching fall. In Eastern Asia.
the animals are commonly kept in cages LENGTH 9,7
CM
437
432
SIGNED AND SMALL MOKKOGATA TSUBA
WITH DRAGON
Iron and gilding. Japan, 18th century
Small mokkogata tsuba with ryohitsu and even rim,
decorated in gilt nunome with a geometrically arranged
pattern (rows of triangles and volutes) and spirited
dragons, faded signature (CHO... or NAGA...), and seal.
HEIGHT 5,2 CM
INLAID SHIBUIUCHI KOZUKA
WITH THE LUCK DEITY JUROJIN
Shibuichi, gilding. Japan, 19th century
A silver grey shaded shibuichi kozuka carved in a low
relief in gilt zogan with the luck Deity Jurojin holding
a scroll, his head is characteristically domed. Jurojin
symbolizes educational success and literacy. LENGTH 9,7
CM
438
433
PAIR OF INLAID SHAKUDO MENUKI
FORMED AS FLYING PHOENIXES
Shakudo and gilt. Japan, 18th to 19th century
The phoenix is a mythical creature. In Japan it is named
ho-o, which designates the male and the female animal.
Both creatures are shown flying, minutely rendered,
details gilt.LENGTH EACH 3,5 CM
INLAID SHIBUICHI KOZUKA
WITH THE IMMORTAL CHOKARO
Shibuichi, some copper, silver, gilding. Japan, 19th
century
Chokaro (in China among the Eight Immortals – Baixan)
shown standing under a high pine and upholding his
hyotan (gourd) while his horse is depicted on the reverse
ready to carry Chokaro a thousand miles a day.
Very fine craftsmanship with a pinch of humor inlaid in
iroe takazogan, tenzogan and engraving. LENGTH 9,6
CM
434
SHAKUDO MENUKI SET WITH HORSES
Shakudo, some silver and gilding. Japan, 18th to 19th
century
Each in the form of a galloping horse very spirited and
with a waving tail, one animal with the neck stretched
foreward while the other has turned it tailward. Details
highlighted with siver and gilt sprays. LENGTHS 3,3 AND
2,4 CM
439
IRON KOZUKA WITH
CHRYSANTHEMUM AND REDDISH
Iron, silver, gilding. Japan, 18th century
Kozuka with one rounded edge carved with a
herringbone pattern over the entire length and with
appealing decoration inlaid in iroe takazogan. Daikon
(radish) center with chrysanthemum, foliage and grasses,
one edge in gilt nunome creating an effective contrast
of the rough iron and the delicate gilding and silver.
LENGTH 9,8 CM
435
440
FLOWER IN A HANGING VASE
Shakudo, copper and gilding. Japan, 19th century
One side decorated on elaborate nanako ground in
iroe takazogan with a minute depiction of a gourd vase
SWORD WAKIZASHI WITH COMPLETE MOUNTING
UND DRAGON MOTIFS
Japan, late 18th to (mounting) 19th cent.
Galerie Zacke Vienna
1010 Vienna, Kohlmarkt 7
Opening hours: Monday - Friday 1.00pm - 6.00pm,
Saturday 10.00am - 6.00pm
Tel: 0043-1-5320452
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www.zacke.at
The blade: A Shinogizukuri with Iorimune, the tip
ko-gissaki, the Hada masame, the Hamon suguha with
light Notare. The Angel ubu and Mumei (not signed), a
Mekugi-ana, the Yasurime (sales mark) kiri, the end Iriyamagata. From the time a typical work of the later Edo
Period, but also still Shinto.
Mounting: Time different, 19th cent. to Meiji.
Particularly beautifully crafted tsuba in Goto style
with Ryohitsu and very fine Nanakoji (roe ground).
A Marumimi, around which two dragons in gold are
entwining. They are not looking at us but chasing each
other. Gilded Seppa and also gilded are the Nekogaki of
the Habaki.
The sheath Saya, fine black lacquer work with horizontal
striped flame design using finest mother-of-pearl!
Kozuka (blade with signature), complex work with fierce
tatsu (dragon), tossing waves and clouds. The handle,
Tsuka with same, golden Menuki also displaying dragons,
Fuchi and Kashira (both only with Ishimeji) as well as
the Tsuka-ito could be younger (presum. Meiji). Blade
incutting area with traces. NAGASA 44,2 CM; TOTAL
LENGTH 66 CM
From a German collection
Note: Habaki is not detachable, neither is the Angel on
handle (likewise the companion knife from saya) only
difficult and with care!
441
SHORT SWORD WAKIZASHI WITH
COMPLETE MOUNTING
Japan, blade 15th to 16th cent., mounting later
The blade: Yamato School, the form of a shinogizukuri
with iorimune, the hamon suguha, the Kitaehada itame,
the blade tip with yakizumi boshi. The Angel ubu with a
mekugi-ana, the end ha-agari kurijiri, the yasurime (sales
mark) kiri to (hard to recognize) sujikai.
NAGASA 38 CM
The mounting: The saya (sheath) with black roironuri,
in area of the kozuka brown ribbing, below exceptionally
fine craftsmanship of motif with matt lacquer and
mother-of-pearl particles, depiction of fog or cloud banks
with mountains emerging (resp. the Mountain Fujisan).
The cap is ornamental with iron mounting, the kurigata
(with sageo) also iron with depiction of a grasshopper.
The handle of the companion knife shows a boat with
fishers and wild geese in flight.
The small oval iron sword guard with two hitsu and floral
ornament is in golden hirazogan. Fuchi and kashira
are very fine works with Iroe-takazogan with gold,
copper and shakudo, the motifs are beetles and foliage.
Menuki between the lacing and well-formed same
offer a composition with sakura, cherry blossoms. With
complete mounting. TOTAL LENGTH 57 CM
From a North German collection
442
SA: TANTO WITH COMPLETE MOUNTING
Japan, blade approx. 15th to 16th cent.,
mounting later
The blade: The form hirazukuri with iorimune and bohi
(we call it “blood trough”) on both sides with resp.
round ends. Well-moveable hamon offers notare with
choji and nie, the finely drawn kitaehada masame.
The Angel ubu with a nakago-ana, directly under the
signature with a sign SA ⶎ. No sales mark, end kurijiri. A
sign signature is indeed rare, there were more “Sa”; this
blade might have been from a smith from Chikugo.
NAGASA 28 CM
The mounting: In all aspects noble and finely crafted.
The sheath presents ishime structure in black lacquer.
The metal decor parts of copper alloy are gilded and
with silver. The end kojiri is cut out and displays a Same.
Kurigata with beaded pattern, small oval tsuba is similar
with outward open hitsu. Fuchi and cut out kashira with
structure like berries and silver bamboo stick. Tightly
laced tsukaito over same, the silver menuki show
butterflies. With complete mounting. TOTAL LENGTH
45 CM
From a German collection
© GALERIE ZACKE
Managing director: Irene M. Zacke
UID ATU 10560604
Any unauthorized reproduction is prohibited. Errors excepted.

Fine Asian Art - Galerie Zacke

Transcription

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