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This lot includes two ceramic figurines: a black and white panda marked "Made in the USSR" and a seated Laughing Buddha holding a large peach. The panda figurine is finished in a high-gloss glaze, reflecting mid-20th-century Soviet ceramic craftsmanship. The Laughing Buddha features intricate details, including a decorated robe with stylized motifs and an expressive joyful expression, suggesting East Asian folk art influence. Both pieces are molded with smooth contours and present well as collectible decorative figures.Dimensions: Largest item measures 5.25"HCondition: Age related wear.

A Collection of Asian Art, including; a Chinese archaic style gu shaped beaker vase, Chenghua reign mark, Swatow tea canister and assorted blue and white (one tray)gu vase - metal heavily oxidised with water damageswatow - numerous dentskettle - the body badly crackedwaste bowl - multipl rim cracksone dish - numeous chips to the rimKangxi small cover - heavy losses

87 MODERN & CONTEMPORARY SOUTH ASIAN, MIDDLE EASTERN & WORLD ART PUBLICATIONS Various publishers, 21st centuryA group of 87 publications focusing on Modern and Contemporary art from South Asia and the Middle East, including important auction catalogues from Sotheby’s, Christie’s, and Bonhams. The lot also features select issues of Arts of Asia, The World of Interiors, and The Burlington Magazine, covering international art, design, and cultural history. A valuable reference group for scholars, curators, collectors, and dealers with interests in non-Western contemporary art and global collecting trends. Qty: 87

TWO BURMESE SILVER REPOUSSÉ BOXES WITH DRAGON AND FIGURAL MOTIFS Burma (Myanmar), South East Asia, late 19th - 20th centuryComprising a rectangular Burmese colonial silver box, worked in high relief using repoussé and chased techniques, the lid and sides decorated with lively dragon motifs, scrolling foliage, and floral borders, the central medallion featuring a leaping deer, dragons and scrolling floral designs continuing around the body, all classic features of collectible Burmese silver, the underside engraved in both Burmese and Roman script “K.K. Marque déposée” together with further Burmese characters, a mark commonly seen on presentation boxes and collectible silver from Burma (Myanmar), the interior decorated with similar dragon motifs, this form often described as a betel box or trinket box and highly prized by collectors of Asian silver and colonial silverware; together with an octagonal silver box, the lid cast in high relief with a figural scene, possibly from a local lore or Buddhist Jataka tales, the sides with panels of seated deities in arched reserves, and the base with repoussé mythological animals, reflecting the strong influence of Hindu and Buddhist iconography in Burmese silverwork of the colonial and post-colonial period, both boxes entirely hand-crafted using traditional chasing and repoussé techniques on high purity silver.The rectangular box 12cm x 7cm x 3.5cm, approx. 219.2gr.The octagonal box 8.5cm x 6.5cm x 7cm, approx. 187.9gr. Silver boxes of this type, marked “K.K. Marque déposée,” were produced for both local and export markets throughout the 20th century, combining local craftsmanship, colonial silver traditions, and the appeal of decorative Asian silver, they were often used for betel, jewellery, or as presentation boxes and are much sought after at auction by collectors of Burmese silver, colonial silver, Hindu art, and Asian export silver. Qty: 2

209 ISLAMIC, INDIAN AND SOUTHEAST ASIAN ART AUCTION CATALOGUES Reference libraryAn extensive and valuable reference library of approximately 209 auction catalogues from Christie’s, Sotheby’s, and Bonhams, covering a wide range of Islamic, Indian, Himalayan, and Southeast Asian art. Includes important single-owner sales, themed collections, and major annual auctions from London and New York. Subjects include manuscripts, miniature painting, sculpture, jewellery, ceramics, textiles, and ethnographic objects. An indispensable resource for scholars, dealers, collectors, and specialists in non-Western art.

237 ISLAMIC, INDIAN, SOUTHEAST ASIAN, EAST ASIAN ART & RUG CATALOGUES Reference libraryAn extensive and scholarly group of approximately 237 auction catalogues and gallery publications relating to Islamic, Indian, Himalayan, Southeast Asian, and East Asian art. Includes a complete or near-complete run of Simon Ray and Finch & Co. publications, as well as important rug and carpet sales from Sotheby’s, Christie’s, and Bonhams. Subjects covered include sculpture, ceramics, manuscripts, textiles, and ethnographic objects, offering invaluable reference for collectors, curators, and researchers. Qty: 237

Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"Casta"Oil on canvas. 82 x 72 cm. The casta painting theme was developed in New Spain in the 18th century and was intended to publicise and classify the diversity that originated from the mixture of races. It was a complex task, as reported by the Museo Nacional del Prado in the catalogue published for the exhibition "Tornaviaje. Ibero-American Art in Spain", since "natives from the West Indies, Spaniards and Europeans, African slaves and a small amount of Asian emigration ... gave rise to a stratified society, but with lines of communication", a diverse society that nurtured caste painting.Even so, the value of this pictorial genre does not correspond exclusively to "the classifying tendency typical of the 18th century" or even to "European concepts of the exotic", but studies such as that of Ilona Katzew make us aware of the value of the genre for "the construction of their own, differentiated image" of New Spanish society. In fact, Katzew continues, casta painting "is a unique pictorial genre that has no equivalent in European art", indeed, "it is fundamentally limited to the viceroyalty of New Spain", although miscegenation occurred in all the Spanish colonies.In this sense, the Director and Curator of Latin American Art at the Los Angeles County Museum of Art, concludes in her study that "casta painting is not a monolithic genre, but one that contains multiple simultaneous meanings" and that, furthermore, "it offers a clear example of how New Spain could be a generative centre and not just a place that remained on the periphery of artistic events", as has traditionally been considered.Reference bibliography:- Álvarez Argüelles, Deva. (2019). "El mobiliario del siglo XVIII a través de la pintura de castas". Res Mobilis, Vol. 7, nº 9, pp. 16-34.- Katzew, Ilona. (2004). "Casta Painting: Images of Race in Eighteenth-Century Mexico". Yale University Press.- Katzew, Ilona. (2004). "La pintura de castas: Representaciones raciales en el México del siglo XVIII". Turner Publicaciones S.L.- López Guzmán, Rafael (Ed.). (2021). "Tornaviaje. Arte iberoamericano en España." Museo Nacional del Prado. (pp. 165-181).

Asian Art Auction Catalogues - Sotheby’s, To include Parts I & II of the Meiyintang Collection, Chinese Art Through the Eye of Sakamoto Goro, Portraits of Valour - Imperial Bannermen Portraits, Yellow Ground Wares from the Collection of Maureen Pilkington, Chinese and Korean Ceramics from the Toguri Collection, Playthings from the Collection of Edward T Chow etc… (37)

A pair of platinum earrings by Catherine Martin, 1999, the meshwork leaves of bicolour design and with scrolling tendril surmounts, maker’s mark, UK hallmark, length 37mm. £400-£600 --- A designer goldsmith and professional musician and singer, Catherine Martin was the first westerner to graduate in Kumihimo, the traditional Japanese art of braiding. She incorporates this ancient Asian art into her jewellery designs, her work incorporating the painstaking weaving of fine gold wire by hand, producing jewels of great intricacy and fluidity. Catherine is London based, and has pieces in the V & A Collections, Royal Museum of Scotland, Birmingham Museum, Museum of Art and Design in New York, and Boston and other private and public collections. Condition Report In very good condition, minimal wear. Gross weight 5.3gm.

A collection of books on ceramics, glass, Asian art and jewellery, to include Dr J Kroes, 'Chinese Armorial Porcelain for the Dutch Market,' T B Schroeder, 'The Gilbert Collection of Gold and Silver,' A Dorigato, 'Murano: Island of Glass', and A Jackson and A Jaffer (ed.), 'Encounters: The Meeting of Asia and Europe, 1500-1800' (1 large box)Provenance: A private collection, Upper East Side, New York, and a London apartment.Condition ReportThe large cardboard box measures approx. 70 x 70 x 65cm. Given its size and contents, it is incredibly heavy and difficult to move. We strongly advise the purchaser to arrange to have the lot transferred into several smaller boxes for collection. General wear, some knocks, marks and tears to the covers consistent with age and use. For further detail of some of the books included in this lot, please see additional photographs.

A GROUP OF PLANTERS, VASES, MIRRORS ETC to include two Mexican repousse metal mirrors comprising a wall hanging rectangular mirror (height 43cm x width 29cm) and a rotating table mirror (height 38cm x width 26cm), a West German handled vase with a conical neck, a Belgian planter (diameter 12cm), a French studio art vase marked 'Grottes d'Arcy Sur Cure,' a green Dartmouth urn shaped vase (height 23.5cm), two frog 'verdigris effect' ornaments, a large east Asian style planter and plate (qty) (Condition Report: some crazing to some items, knocks and lifting to metal mirrors, etc)

TWO BOXES OF VINTAGE WOODEN AND ADVERTISING TOYS ETC to include a Bavarian wooden bar utensil set comprising a bottle opener and corkscrew in a block, a group of German and East Asian hand-carved and hand-turned miniature folk art figures, a box of vintage marbles of assorted style and size (many well-worn, some with chips or losses), a group of NSPCC Bisto kids, two Homepride Fred sifters, a tub of wind-up figures (2 boxes) (s.d)

This collection includes a diverse selection of books focused on Asian art, history, and culture. The Mongol Warlords explores the legacy of Genghis Khan and his successors with richly detailed illustrations, while East Asian Lacquer from the Metropolitan Museum of Art presents an in-depth study of lacquerware from China, Japan, and Korea. The Arts of South and Southeast Asia and Orientations magazine highlight significant sculptures and artistic traditions from the region, offering insights into religious and cultural influences. History of Art by H. W. Janson provides a comprehensive overview of global art movements, placing Asian and European masterpieces in historical context. Together, these volumes offer valuable scholarly perspectives on the artistic and historical achievements of various civilizations. Largest item measures: 9"L x 2"W x 11.75"H.Dimensions: See DescriptionCondition: Age related wear.

Framed mixed media print titled Japanese Cranes I by Naomi McCavitt, featuring a stylized white crane in mid-flight against a textured, abstract background with a mosaic-like lower section in neutral tones of cream, sienna, and gold. The composition incorporates mixed media with both painterly and raised relief textures and features East Asian calligraphy and a red seal stamp, enhancing the traditional aesthetic. The crane, often a symbol of longevity and grace in East Asian art, is rendered with expressive brushwork. Displayed in an ornate carved frame with a mottled green mat and triple-layered border accent.Issued: 20th centuryDimensions: 26"L x 29"HCondition: Age related wear.

AN ILLUSTRATION FROM A RAGAMALA SERIES: TODI RAGINI INDIA, RAJASTHAN, PROBABLY AMBER, CIRCA 1750 gouache on paper heightened in gold, blue striped border, a richly detailed image depicting an exotic forest landscape with bountiful flora and fauna and monkeys, in the foreground near the water's edge, the main female figure is seated on a pink lotus throne holding a vina in her left hand and holding her right hand over a tame gazelle, flanked by a further gazelle and a female musician playing a tambour kneeling to the left, monkeys running through trees and along a palace roof in the background against a yellow sky, lotus flowers alongside a brook in the foreground, a blank yellow panel above the painting probably intended for text 26.3cm x 19.7cm Formerly, private French collection. For an illustration from the same series, entitled Gaudi Ragini, in the Cleveland Museum of Art, see L. Y. Leach, Indian Miniature Paintings and Drawings, Ohio, 1986, Fig. 61 and for an almost identical painting sold at Bonhams, see, Indian, Himalayan & Southeast Asian Art, 18 September 2013, lot 132. These two pages and ours share the same blue-striped borders and green luscious landscape with monkeys.  Three pages from this series are in the San Diego Museum of Art (nos. 1990.8.851, 855, 856). Another page is in the Los Angeles County Museum of Art (M.71.1.42), see Rosenfield, The Arts of India and Nepal, Boston, 1966, p. 173.

AN ILLUSTRATION FROM A RAGAMALA SERIES: MADHUMADHAVI RAGINI INDIA, RAJASTHAN, AMBER, CIRCA 1700 gouache on paper heightened in gold, gold and red border, two lines of nagari text above in a yellow panel, depicting a nayika holding a cup of water out to the peacocks resting in the tree, and holding a surahi in her left hand, a female attendant waits on her with a tray with more cups, to the right a maid servant is freshening up her bed inside a palace pavilion   31cm x 23.5cm Formerly, Private Collection, London. For illustrations from the same series, see Christie's, The Doris Wiener Collection, 30 March 2012, lots 283 and 285, and; Bonhams, Indian, Himalayan & Southeast Asian Art, 11 September 2012, lot 60. These paintings along with our painting are characterised by their diminutive female figures contrasting with bold background colours, two lines of nagari text against a yellow background above, a pink layered brick wall below with a side shadow, and lastly the red and gold border. Two slightly earlier paintings in the Victoria and Albert Museum attributed to Amber share a similar composition (IS.78-1952; IS.82-1952).

AN INDIAN VULTURE INDIA, COMPANY SCHOOL, CALCUTTA OR BARRACKPORE, CIRCA 1803 gouache on paper, inscribed in ink to the top of the sheet in Persian: vibyati kwik, which translates as “Foreign vulture or provincial vulture”, mounted, glazed and framed 47cm x 29.5cm  George Annesley, 9th Viscount Valentia (1769-1844).Collection of Stuart Cary Welch, New England, 1994. A mysterious and macabre creature, the vulture has long been a point of interest for bird enthusiasts, as well as art enthusiasts. With the vulture’s association with death and their presence in multiple continents, they are an interesting subject matter that can be found in the art of many cultures. The birds whose features have led us to classify them as vultures, inhabit Asia, Africa, Europe, North and South America. New World and Old World vultures have slight differences including wing length, the length of the hind claws and the structure of the nostrils but were nevertheless assumed to be related. Today, New World vultures are currently considered to be a sister-group to the large family which includes hawks, eagles and Old-World vultures. It is an important reminder that, just because different animal groups are adapted to the same ecological niche and therefore look the same, it does not mean that they are necessarily related; this is called convergent evolution. The vulture pictured here is something of an enigma. The large wings with relatively short primary flight feathers which do not extend beyond the tip of the tail, and its relatively long hind toe suggests that it should be an Old-World vulture. The fact that it is the subject of an Indian painting one would expect it to be an Asian species. But it is not. The closest Old-World species is the African Hooded Vulture Necrosyrtes monachus, but their “hood” consists of pale brown down and not black feathers. The black colouration and red head are reminiscent of an American Turkey Vulture or another of the genus Cathartes, but the nostril shape and wing markings do not fit these either. The bill is unhooked, the fleshy cere on the bill is behind, and not surrounding the nostril, and, although the head is coloured red, it gives every indication of being covered in feathers which surround the bill and eye and completely mask the ear opening. Neither are there any slender-billed vulture species with anything resembling a wing bar, though it is possible that this marking is intended to represent a line of shiny iridescence. This is a bird which does not exist, possibly painted from a description or recollection of a vulture once seen. It is an amalgamation of different species, possibly inspired by famous paintings of vultures, such as those of the Mughal artist Mansur in the celebrated Kevorkian Album. It was not drawn from direct observation of a vulture but is, nevertheless, a beautiful and interesting painting. This painting comes from an important series of natural history studies made for George Annesley, 2nd Earl of Mountnorris and Viscount Valentina, when he made a private tour of India from 1802-1806. He was a keen amateur natural historian and visited many botanists and zoologists during his trip, chronicling his travels in three volumes published in 1809 entitled Voyages and Travels to India, Ceylon and the Red Sea, Abyssinia and Egypt in 1802-06. In Calcutta there were a number of English residents who shared his passion in natural history, and Annesley’s visits to local aviaries and menageries inspired him to commission many natural history drawings, mostly of birds, several of which have subsequently found their way into other collections. Annesley gifted two paintings to Lord Wellesley when he stayed with him in 1803 and saw the menagerie in Barrackpore. These are now in the British Library in London and published in Mildred Archer, Natural History Drawings in the India Office Library, 1962, p. 96. There is another painting in the Chester Beaty Library published by Linda York Leach, Mughal and other Indian Paintings from the Chester Beaty Library, 1995, vol. ii, pp. 761-762.

Thomas Buford Meteyard (American, 1865-1928)A view of the coast at Scituate, Massachusetts, 'Les Brissants' signed lower left, oil on canvas, 38cm x 56cm Provenance: With The Redfern Gallery, Mayfair, London, no. 379 Purchased from the above by Mrs Geoffery HowardThomas Buford Meteyard was an American painter and graphic artist, who worked at the crossroads of some of the most important art movements of his day. After growing up in Rock Island, Illinois, and studying at Harvard (1885-87), Meteyard went to England where he encountered members of the Aesthetic Movement, notably designer Walter Crane and painter and illustrator Edward Burne-Jones. He then travelled to Paris, where Meteyard entered the atelier of Léon Bonnat, while also studying with Alfred Phillippe Roll andAuguste-Joseph Delecluse.Meteyard continued to travel, and in the early 1890s, joined the international artists’ colonyat Giverny, just north of Paris. Like so many other artists, including the Americans Robert Vonnoh, Lilla Cabot Perry, and John Leslie Breck, Meteyard was attracted to Giverny by its natural beauty and by the presence there of Claude Monet. Predictably, Meteyard was influenced by the Impressionists and, like them, took a keen interest in the aesthetics of Asian art. Meteyard flourished in Europe’s bohemian milieu and was one of the first Americans to have his work included in the early Post-Impressionist exhibitions.Meteyard moved to England once again in 1906, and after marrying British-born Isabel Barber in 1910, became a permanent resident. He continued to work as a landscape painter until his death. 

Thomas Buford Meteyard American (1865-1928) 'La vallee, Giverny' haystacks in a landscape, circa 1889, signed lower right, oil on canvas, 38cm x 56cm Provenance: With The Redfern Gallery, Mayfair, London Purchased from the above by Mrs Lees-Milne, 13th July 1956 Thomas Buford Meteyard was an American painter and graphic artist, who worked at the crossroads of some of the most important art movements of his day. After growing up in Rock Island, Illinois, and studying at Harvard (1885-87), Meteyard went to England where he encountered members of the Aesthetic Movement, notably designer Walter Crane and painter and illustrator Edward Burne-Jones. He then travelled to Paris, where Meteyard entered the atelier of Léon Bonnat, while also studying with Alfred Phillippe Roll andAuguste-Joseph Delecluse.Meteyard continued to travel, and in the early 1890s, joined the international artists’ colonyat Giverny, just north of Paris. Like so many other artists, including the Americans Robert Vonnoh, Lilla Cabot Perry, and John Leslie Breck, Meteyard was attracted to Giverny by its natural beauty and by the presence there of Claude Monet. Predictably, Meteyard was influenced by the Impressionists and, like them, took a keen interest in the aesthetics of Asian art. Meteyard flourished in Europe’s bohemian milieu and was one of the first Americans to have his work included in the early Post-Impressionist exhibitions.Meteyard moved to England once again in 1906, and after marrying British-born Isabel Barber in 1910, became a permanent resident. He continued to work as a landscape painter until his death. 

Miscellaneous South East Asian and other bygones and works of art, including a pair of white metal ceremonial elephants, a Thai traditional dancer, wooden carvings, etc

Ca. AD 200 - 300.A grey schist statue of Buddha standing atop an integral rectangular pedestal. The figure's left leg is slightly extended with a bent knee, and he is draped in a kasaya robe rendered with finely sculpted waves and folds. The serene face features downcast eyes, arched brows, generous eyelids, an aquiline nose, and full lips, framed by a nimbus behind the head. A circular topknot rests above the tightly-bound coiffure, with a small urna positioned below.For similar see: Christie's, Indian and southeastern Asian Art, Live Auction 2578, Lot. 520. Size: 1250mm x 440mm; Weight: +50kg.Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 200 - 300.A grey schist statue of Buddha standing with his left leg slightly extended and a bent knee, adorned in a kasaya robe that cascades with finely sculpted waves and folds. The serene countenance features downcast eyes, arched brows, generous eyelids, an aquiline nose, and full lips, radiating a sense of calm. Above, a circular topknot rests atop his tightly bound coiffure, while below is a small urna.For similar see: Christie's, Indian and southeastern Asian Art, Live Auction 2578, Lots 520, 507. Size: 1100mm x 420mm; Weight: +50kg.Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ai Weiwei 1957 Peking (China) - lebt und arbeitet in Berlin After Les Nuages. 2024. Relief-Druck auf Alu-Dibond (3-teilig). Auf Panel C verso signiert und datiert. Panel A-C jeweils verso nummeriert und der Reihenfolge entsprechend bezeichnet. Aus einer Auflage von 14 Exemplaren. Jeweils 107 x 203 cm (42,1 x 79,9 in). Gesamtmaß: 107 x 609 cm (42,1 x 239,8 in). Herausgegeben von Weng Contemporary, Zug/Schweiz. [KA]. • Ai Weiwei interpretiert Claude Monets ikonische 'Nymphéas' (1914–1926) in glänzender, farbintensiver LEGO-Optik neu. • Pixelhafte Dekonstruktion von Geschichte und Erinnerung: Das dunkle Portal rechts durchbricht die idyllische Schönheit und verweist auf Ai Weiweis persönliches Trauma. • Das monumentale Triptychon des Künstlers basiert auf seinem Werk 'Water Lilies #1' (2022), das derzeit im Seattle Asian Art Museum zu sehen ist (bis März 2026). • Seit den 1990er-Jahren zählt Ai Weiwei zu den einflussreichsten Stimmen der internationalen Gegenwartskunst. • Weitere Werke Ai Weiweis befinden sich in renommierten internationalen Museumssammlungen, darunter das Metropolitan Museum of Art, New York, das Museum of Modern Art, New York, die Fondation Louis Vuitton, Paris, sowie das Solomon R. Guggenheim Museum, New York. 'In Water Lilies #1, I integrate Monet's Impressionist painting, reminiscent of Zenism in the East, and concrete experiences of my father and me into a digitised and pixelated language.' Ai Weiwei, zit. nach: The Guardian, Art & Design, 20.3.2023. Aufrufzeit: 07.06.2025 - ca. 16.22 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R), Folgerechtsvergütung fällt an.ENGLISH VERSIONAi Weiwei 1957 Peking (China) - lebt und arbeitet in Berlin After Les Nuages. 2024. Relief-print on aluminum dibond (3 parts). Signed and dated on the reverse of panel C. Panels A-C numbered on the reverse and inscribed “Panel A-C.”. From an edition of 14 copies. Each 107 x 203 cm (42.1 x 79.9 in). Published by Weng Contemporary, Switzerland. [KA]. • Ai Weiwei reinterprets Claude Monet's iconic “Nymphéas” (1914–1926) in vibrant LEGO. • A pixelated deconstruction of history and memory: the dark portal on the right breaks through the idyllic beauty and refers to Ai Weiwei's trauma. • The artist's monumental triptych is based on his work “Water Lilies #1” (2022), currently on display at the Seattle Asian Art Museum (until March 2026). • Since the 1990s, Ai Weiwei has been one of the most influential voices in international contemporary art. • Other works by Ai Weiwei are in renowned international museum collections, including the Metropolitan Museum of Art, New York, the Museum of Modern Art, New York, the Fondation Louis Vuitton, Paris, and the Solomon R. Guggenheim Museum, New York. PROVENANCE: From a Swiss collection. 'In Water Lilies #1, I integrate Monet's Impressionist painting, reminiscent of Zenism in the East, and concrete experiences of my father and me into a digitised and pixelated language.' - Ai Weiwei, quoted from: The Guardian, Art & Design, March 20, 2023 Called up: June 7, 2025 - ca. 16.22 h +/- 20 min. This lot can only be purchased subject to regular taxation (R), artist´s resale right compensation is due.

Edo Period, Ca. AD 1603 - 1868. An iron tsuba of squared form, intricately pierced with a grid pattern. The central area is decorated in gold with a geometric key-fret (sayagata) motif. Size: 80mm x 80mm; Weight: 100g. Provenance: Prince collection, 1990s-2014; Ex Piasa Sale 1201, Asian Art, 14 June 2012.

A Chinese scroll painting; together with three pieces of Asian artEach scroll painting 82.5 x 53cm.

THE ROTATION OF THE WHEEL OF THE LAW, ANDHRA PRADESH, 1ST-2ND CENTURY A.D. yellow-green limestone carved in relief, a queen at the centre with her hand on the wheel in order to turn it, flanked by chauri-bearers, with two male companions behind, a parasol above the wheel, vestiges of a further scene above, perhaps depicting the Great Departure of the Buddha, mounted, 33 x 31 x 4cmExhibited and Published: John Siudmak Asian Art at C. J. Boerner Gallery, New York, 16-24 March 2012, cat. 21. Fragmentary condition, repaired breaks on upper left corner

A FRAGMENTARY JAVANESE BRONZE FIGURE OF PARVATI OR BHU-DEVII, INDONESIA, 9TH CENTURY standing erect, wearing earrings, crown and tall headdress, multiple belts and sarong around her waist, mounted, 24cm highProvenance: Property of Geoffrey Saba, London. Acquired Spink and Son, London, 1978Published and Exhibited: Indian and South-East Asian Art, Spink and Son, London, 24 May-7 June 1978, p.66-67, pl.161; offered Sotheby's New York, 21 March 2012, lot 247. Feet and lower arms missing, surface slightly pitted in places, general wear and weathering, loop attachment for aureole at the back

A SMALL BRONZE FIGURE OF A KINNARA, JAVA, INDONESIA, 9TH-10TH CENTURY probably from a hanging lamp, the half human-half bird figure standing on a domed base, wearing elaborate crown and headdress and large earrings, his hands at his chest, a fold of his tunic in his left hand, his cockerel tail raised at the back, mounted, 11cm highKinnaras are celestial deities, part human, part bird, particularly popular in Buddhist South-East Asian art. Along with their female equivalents, kinnaris, they are particularly associated with music. For a similar bronze depicting the female type from the Samuel Eilenberg collection, see Lerner and Kossak 1991, no.149, p.190. Areas of corrosion with patches of verdigris, especially on base,

A KUSHAN PANEL DEPICTING A TRITON WITH A PAIR OF MAKARAS, MATHURA, INDIA, 1ST-2ND CENTURY buff sandstone relief, the figure with protruding fangs, holding the tails of the makaras in his arms, mounted, 27.5 x 29cmProvenance: London Art Market, 1986Exhibited and Published: John Siudmak Asian Art at C.G. Boerner Gallery, New York, 10-19 March 2016, cat.27 Weathered with various chips and areas of flaking, possible repaired break on lower left edge.

A FRAGMENTARY TERRACOTTA PLAQUE DEPICTING A YAKSHI, BENGAL, 1ST CENTURY B.C.-1ST CENTURY A.D. with elaborate headdress and jewellery, mounted, 6.5cmPublished: John Siudmak Asian Art 2019, online catalogue Fragmentary condition, with damaged edges, drilled for mounting

20th century A.D. Comprising bulbous head and body, low-relief facial features, arms forming a horizontal band; traces of pigment. See the Gloman Meritt private collection of ancient artefacts from the Philippines for similar. 752 grams, 86 mm (3 3/8 in.). [No Reserve] Acquired on the Asian art market before 2000. Ex property of a UK gallery. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Pleistocene Period, 2.6 million-11,700 years B.P. Restrung using recently polished Mammuthus primigenius bone beads. See Guide to the Elephants (Recent and Fossil) in the British Museum (Natural History), BM, 1922, pp.35-47, for discussion. 155 grams, 60 cm (23 5/8 in.). [No Reserve] Acquired on the UK art market before 2000. Property of an Essex, UK, gentleman.The mammoth lineage branched from the Asian elephant around 6 million years ago, and later on the Woolly Mammoth, Mammuthus primigenius, evolved in eastern Siberia. Woolly mammoths, being slightly smaller than living African elephants, were foragers and ate grass, as well as small, nutritious flowering plants that flourished in the environment where they lived. They may also have used their curved tusks to dig through snow and eat plants that other foragers couldn't get to.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Uncertain Asian mint; struck 25 BC. 27 BC-AD 14. [AVGVSTVS], bare head to right / C A within laurel wreath. RIC I 501 (Pergamum); BMCRE 713 (Pergamum); CBN 956 (Pergamum); RPC I 2233 (Asia). 23.17gr, 35mm, 12h. Near Very Fine.From the collection of a gentleman, acquired on the London art market in the 1990s.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists.

4th-3rd century B.C. or later Slightly curved trapezoid shape with scooped panel and two eye-holes, incised stylised facial details; pierced at the outer edges for attachment. 155 grams, 14 cm (5 1/2 in.). [No Reserve] Acquired on the Asian art market before 2000. Ex property of a UK gallery. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

20th century A.D. Hollow-formed and sitting cross-legged on a lotus-flower dais with left hand resting palm-upward in the lap to support a bumpa vessel, right hand touching the earth in the Bhumisparsa Mudra gesture. Cf. similar in the collection of the Asian Art Museum under accession no.1994.131. 1.18 kg, 21 cm (8 1/4 in.). From a London, UK, collection, 1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

15th century A.D. Comprising: a bulbous vase with painted floral decoration and loop handles above the shoulder; a small shallow vessel with painted linear decoration to the body, decorative border beneath the rim; a small bulbous vessel with painted flowers and tendrils. Cf. similar vessels in Asian Art Museum, inv.no.2000.31, from the Hoi An Cargo 376 grams total, 72-91 mm (2 7/8 - 3 5/8 in.). [3, No Reserve] Ex Butterfield and Butterfield auction with official Hoi An Hoard labels. Accompanied by an illustrated information sheet about the Hoi An shipwreck. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.In the mid 15th century a freighting junk loaded with fine Vietnamese pottery sank in an area of the South China Sea called the 'Dragon’s Embrace.' This vessel is part of the shipwreck cargo recovered off the coast of Vietnam at Hoi An. The ceramics themselves were probably made in the area of Chu Dau.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

15th century A.D. Comprising three shallow dishes with rolled rims, two with painted petal decoration. Cf. similar vessels in Asian Art Museum, inv.no.2000.31, from the Hoi An Cargo. 448 grams total, 93-96 mm (3 5/8 - 3 3/4 in.). [3, No Reserve] Ex Butterfield and Butterfield auction with official Hoi An Hoard labels. Accompanied by an illustrated information sheet about the Hoi An shipwreck. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.In the mid 15th century a freighting junk loaded with fine Vietnamese pottery sank in an area of the South China Sea called the 'Dragon’s Embrace.' This vessel is part of the shipwreck cargo recovered off the coast of Vietnam at Hoi An. The ceramics themselves were probably made in the area of Chu Dau.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

15th century A.D. Comprising three vessels with remains of loop handles above the shoulder, each with painted floral decoration. Cf. similar vessels in Asian Art Museum, inv.no.2000.31, from the Hoi An Cargo. 490 grams total, 82-90 mm (3 1/4 - 3 1/2 in.). [3, No Reserve] Ex Butterfield and Butterfield auction with official Hoi An Hoard labels. Accompanied by an illustrated information sheet about the Hoi An shipwreck. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.In the mid 15th century a freighting junk loaded with fine Vietnamese pottery sank in an area of the South China Sea called the 'Dragon’s Embrace.' This vessel is part of the shipwreck cargo recovered off the coast of Vietnam at Hoi An. The ceramics themselves were probably made in the area of Chu Dau.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

A large black basalt Wedgwood Urn with shell handles 25cm maker mark to base 'Wedgwood 6F64' along with 3 x Art Deco Asian wooden trays with bamboo and bird design, largest 50cm x 35cm. (4).

Vibrant framed print by Page Wood, marked 1975, depicting a serene Japanese interior scene with three geisha musicians in colorful kimono attire. Rich in detail and stylistically influenced by traditional Japanese art, this print is framed with a black mat featuring gold-tone Asian motif corners and a gilt edge.Artist: Page Wood (unknown)Issued: 1975Dimensions: 20.25"L x 16.25"HCondition: Age related wear.

TWO CHINESE BLUE AND WHITE BOWLS, MING DYNASTY each of tapered form, one decorated continuously with flowers, along with a blue and white saucer, also Ming dynasty, as well as a pair of Chinese style lily pad shaped dishes and a pot, each decorated with frogs in relief, these 20th centuryProvenance: From the estate of an Edinburgh-based Asian art collector. A collection curated over a lifetime of travel and study. largest bowl 15.5cm wide Qty: 6 Condition overall is fair, with age associated surface wear and crazing present throughout, damage in areas also, additional images are now available.

GROUP OF AUCTION CATALOGUES, mostly relating to Asian Works of ArtQty: 30

CHINESE PORCELAIN DRAINER, LATE 19TH/EARLY 20TH CENTURY of circular form, twin handled, decorated continuously with flowers, foliage, birds and butterfliesProvenance: From the estate of an Edinburgh-based Asian art collector. A collection curated over a lifetime of travel and study. 25cm wide In overall fair condition. Some hairline cracks, staining and age related wear. Would benefit from a clean. Chips to rim. Signs of possible restoration. Additional images now available.

CHINESE PADOUK TABLE, 20TH CENTURY the circular top above a floral and fruit decorated apron, the cabriole legs surrounding a rectangular shelf stretcher with a reticulated gallery stylised ruyi pendants 72cm high, 96cm wide Provenance: From the estate of an Edinburgh-based Asian art collector. A collection curated over a lifetime of travel and study. Stains, scratches, general surfaceware, discolouration to the wood, additional images added to the website

TWO CHINESE TEAPOTS, LATE 19TH/EARLY 20TH CENTURY each decorated with a garden setting showing children playing with a lady looking on, each bearing red seal mark to baseProvenance: From the estate of an Edinburgh-based Asian art collector. A collection curated over a lifetime of travel and study. largest 11cm high Qty: 2 Condition overall is fair/poor, each lacking lid, with damage present to both, additional images are now available

HARDWOOD CORN, GRAIN OR MALT SHOVEL, LATE 19TH/EARLY 20TH CENTURY on a tapering turned shaftProvenance: From the estate of an Edinburgh-based Asian art collector. A collection curated over a lifetime of travel and study. 182cm long

A CHINESE COPPER RED GLAZED VASE, 18TH/19TH CENTURYProvenance: Bonhams, Asian Art, November 4th, 2024.35cm H

A collection of auction catalogues, covering Asian & Tribal Art, etc.

A Collection of Modern Decorative Asian Art, including a brass-mounted table cabinet with jade panels, 25cm high, a hardwood netsuke display stand, a lacquered rectangular box and cover, a carved hardstone hand seal, various carved buddha, a pressed tea block (qty)

A Collection of Mainly Modern Decorative Asian Art, including a pair of novelty figural monkey candlesticks, gilt wood sculpture of a bird, bronze Thai Buddha head, carved hardwood sage, two soapstone lion dogs, carved and pierced hardwood mandala, folding devotional shrine, statue of Lord Ganesh, pierced wooden panel, jade carving of Guanyin, an Egyptian shabti and scarab beetle etc. (qty)

A gold bangle composed of kirtimukha faces, South Indian, 19th century, culminating in two facing makara heads, the eyes inlaid with rubies, holding a round ball in their mouths with a motif of two entwined birds on both sides and a flower on the top inlaid with a ruby, 8.6cm diameter (max), 87 gramsProvenance:Private Collection Sotheby's, Indian & Southeast Asian Works of Art, 19th September 2008, New York, lot 260 Acquired New York, February 1988 Condition Report: Some colour on the gold, possibly from pigments and tiny cracks in the gold on the makara heads and the stones possibly replacementsuntested but likely to be 18ct gold Condition Report Disclaimer

Ɵ A large quantity of Chinese reference books, to include, The British Museum Book of Chinese Art, Jessica Rawson, 1992; Hidden Meanings in Chinese Art Paperback, 2012, by Terese Tse Bartholomew; The Golden Age of Archaeology-Celebrated Archaeological Finds From the Peoples Republic of China, 1999; Chinese Art - The Minor Arts, R. Soame Jenyns and William Watson, 1963; Asian ceramics in the Hallwyl Collection, Rose Kerr, 2015; The Art of East Asia, Box set, 1999, Gabriele Fahr-Becker; The Land Within the Passes: A History of Xi'an, 1991, by Zou Zongxu, and other books relating to paintings, Chinese silk, Tibetan Art, exhibitions etc (approximately 100) Please note this lot to be sold without reserve. 中國藝術品參考書一組約100本* 請注意本拍品不設底價 Condition Report: some with wear and damagesold as view and subject to non returnCondition Report Disclaimer

A gold coloured bangle formed from a series of articulated kirtimukha faces, South India, 19th century, culminating in two facing makara heads, the eyes inlaid with rubies, holding a round ball in their mouths with a motif of facing birds on both sides and a flower on the top inlaid with a ruby, 7.6cm diameter (max), 59 gramsProvenance:Private Collection Sotheby's, Indian & Southeast Asian Works of Art, 19th September 2008, New York, lot 259 Acquired New York, February 1988   Condition Report: Some black discoloration to the gold in places and general surface wear and the rubies possibly replacements and repair to inside of one link but unlikely to be filled as links are hollow although one cannot be certain regarding the heads untested but likely to be 18ct gold Condition Report Disclaimer

Group of assorted books on the topic of Asian art including the art from Japan, Tibet, China, Persia, and more.Provenance: From the Distinguished Personal Collection of Dr. Robert Jacobsen.(Shipping dimensions) height: 16 in x width: 32 in x depth: 16 1/2 in.Condition: Wear throughout as expected from age and use. Books not checked for notes, soiling, or losses. Books are sold as-is.

Group of rare Asian art auction catalogs from Sotheby's. Including:Sotheby & Co., "Catalogue of Important Chinese Ceramics: The Property of Mrs. Alfred Clark," March 25, 1975, London.Sotheby's, "The Edward T. Chow Collection: Part Two," December 16, 1980, New York.Sotheby Parke Bernet, "The Edward T. Chow Collection: Part Three," May 19, 1981, Hong Kong.Sotheby's, "The C.C. Wang Family Collection of Important Early Chinese Works of Art," November 27, 1990, New York, Sale 6106.Sotheby's, "Important Chinese Ceramics from the J.M. Hu Family Collection," June 4, 1985, New York, Sale 5339.Also included is one catalog from The Chinese Porcelain Company "The Age of Gallantry: Fine and Decorative Arts of the Netherlands, 1672-1800" catalog 17, 1995.Provenance: From the Distinguished Personal Collection of Dr. Robert Jacobsen.(Shipping dimensions) Height: 12 1/2 in x width: 12 1/2 in x depth: 12 in.Condition: Wear throughout as expected from age and use. Catalogs not checked for notes, soiling, or losses. Catalogs are sold as-is.

Group of auction catalogs from Roger Keverne, London and Nagel Auktionen, Stuttgart. Also included is: Christopher Bruckner, "Chinese Imperial Patronage: Treasures from Temples and Palaces," Asian Art Gallery, London, vols I & II, 1998 & 2005.Provenance: From the Distinguished Personal Collection of Dr. Robert Jacobsen.(Shipping dimensions) height: 12 1/2 in x width: 12 1/2 in x depth: 16 in.Condition: Wear throughout as expected from age and use. Catalogs not checked for notes, soiling, or losses. Catalogs are sold as-is.

Group of Southeast Asian art books including topics such as: kendis, lacquerware, Indonesia, Thailand, Vietnam, Khmer, Pagan, and many more.(Shipping dimensions) Height: 12 1/2 in x width: 25 in x depth: 12 in.Condition: Wear throughout as expected from age and use. Books not checked for notes, soiling, or losses. Books are sold as-is.

Large group of assorted miscellaneous Asian art books covering various arts and culture topics.Provenance: From the Distinguished Personal Collection of Dr. Robert Jacobsen.(Shipping dimensions, approximately) height: 14 in x width: 16 in x depth: 13 in.Condition: Wear throughout as expected from age and use. Books not checked for notes, soiling, or losses. Books are sold as-is.

Group of various assorted Asian art auction catalogs including: Bonhams, Butterfield & Butterfield, and Doyle.Provenance: From the Distinguished Personal Collection of Dr. Robert Jacobsen.(Shipping dimensions) Height: 12 1/2 in x width: 12 1/2 in x depth: 16 in.Condition: Wear throughout as expected from age and use. Catalogs not checked for notes, soiling, or losses. Catalogs are sold as-is.

Group of assorted Asian art gallery catalogs including: Jacques Barrere, Michael C. Hughes LLC., Gisele Croes, Christian Deydier, and Tucker & Tozer.Provenance: From the Distinguished Personal Collection of Dr. Robert Jacobsen.(Shipping dimensions) Height: 12 1/2 in x width: 12 1/2 in x depth: 12 in.Condition: Wear throughout as expected from age and use. Catalogs not checked for notes, soiling, or losses. Catalogs are sold as-is.