A few examples of appraisal values for
SILK ROAD

• COLLECTION OF ART REFERENCE BOOKS ON
  COLLECTION OF ART REFERENCE BOOKS ON ASIAN WORKS OF ART ????????????????????????????????????????including art reference books for jade, works or art, archaeology, musuem and exhibition catalogues, in total 46 publications.12th Annual New York Arts of Pacific Asia Show, New York, 2004Asian Art Museum: Selected articles from Orientations, Hong Kong: Orientations Magazine Ltd., 1999Bonhams: Fine Asian Art, London: Bonhams, 2005Chinese Buddhist Sculpture: from the collection of C.R. Moss O.B.E. and other properties (catalogue), Oriental Arts, 2000Chinese Jade Animals, Hong Kong: Urban Council of Hong Kong, 1997Chinese Jade: Selected articles from Orientations 1983-1996, Hong Kong: Orientations Magazine Ltd., 1997Christie's: Fine Chinese Ceramics and Works of Art Including Export Art, 2008Denwood, Philip (ed.), The Arts of the Eurasian Steppelands: a Colloquy held 27-29 June 1977 (Colloquies on Art & Archaeology in Asia No.7), London: School of Oriental and African Studies, 1977Fong, Wen and Watt, James C.Y., Possessing the Past: Treasures from the National Palace Museum, Taipei, New York: The Metropolitan Museum of Art, 1996Forsyth, Angus and McElney, Brian, Jades from China, Bath: The Museum of East Asian Art, 1994Hansford, S. Howard, Chinese Carved Jades, London: Faber and Faber Limited, 1968Howard, David S., A Tale of Three Cities: Canton, Shanghai & Hong Kong, London: Sotheby's, 1997Juliano, Annette L., Lerner, Judith A., Alram, Michael, Monks and Merchants: Silk Road Treasures from Northwest China, New York: Harry N. Abrams, 2001Kerr, Rose, Chinese Art and Design: The T.T. Tsui Gallery of Chinese Art, London: Victoria and Albert Museum, 1991Knapston Rasti catalogue Nov 05Knapston Rasti catalogue Nov 07Leiper, Susan, Precious Cargo: Scots and the China Trade, Edinburgh: National Museums of Scotland, 1997Lin, James C.S. (ed.), The Search for Immortality: Tomb Treasures of Han China, New Haven: Yale University Press, 2012Lu, Wenbao, Jades of the Liangzhu Culture, Hong Kong: The Chinese University of Hong Kong Art, 1998Michaelson, Carol, Gilded Dragons: Buried Treasures from China's Golden Ages, London: The British Museum, 1999Ming, Yu, Chinese Jade, Cambridge: Cambridge University Press, 2011Morgan, Michell (ed.), The Museum of East Asian Art Journal Volume V, Bath: The Museum of East Asian Art, 1999Morgan, Michelle, 100 Treasures: The Museum of East Asian Art, Bath: The Museum of East Asian Art, 2000National Museums of Scotland, Ming: The Golden Empire, Edinburgh: National Museums of Scotland, 2014Oriental Art Vol 44 No. 2 (1998)Oriental Art Vol 45 No. 1 (1999)Peterson, Harold (ed.), Chinese Jades: Archaic and Modern from the Minneapolis Institute of Arts, Rutland: Charles E. Tuttle Company, 1977Pirazzoli-t'Serstevens, Michele, The Han Dynasty, New York: Rizzoli International Publications, 1982Portal, Jane and Duan, Qingbo (ed.) The First Emperor: China's Terracotta Army, London: The British Museum, 2007Rawson, Jessica (ed.), Treasures from Shanghai: Ancient Chinese Bronzes and Jades, London: The British Museum, 2009Rawson, Jessica, Chinese Jade from the Neolithic to the Qing, London: The British Museum, 2002Rawson, Jessica, Chinese Ornament: The Lotus and the Dragon, London: The British Museum, 1984Schafer, Edward H., The Golden Peaches of Samarkand: A Study of Tang Exotics, Berkeley: The University of California Press, 1985Scott, Rosemary E., Chinese Jades (Colloquies on Art & Archaeology in Asia No.18), London: School of Oriental and African Studies, 1997Shanghai Museum Chinese Painting Gallery, Shanghai: Shanghai MuseumSickman, Laurence and Soper, Alexander, The Art and Architecture of China, New Haven: Yale University Press, 1992So, Jenny F. and Bunker, Emma C., Traders and Raiders on China's Northern Frontier, Washington: Smithsonian Institution, 1995The International Asian Art Fair, 2004Watson, William, The Arts of China to AD 900, New Haven: Yale University Press, 1995Watson, William, The Genius of China: An exhibition of archaeological finds of the People's Republic of China, London: Times Newspapers Ltd., 1973Watt, James C.Y. (et al.), China: Dawn of a Golden Age, 200-750 AD, New York: The Metropolitan Museum of Art, 2004Whitfield, Roderick (ed.), The Problem of Meaning in Early Chinese Ritual Bronzes (Colloquies on Art & Archaeology in Asia No.15), London: School of Oriental and African Studies, 1993Wilson, Ming, Chinese Jades (Victoria & Albert Museum Far Eastern Series), London: V&A Publications, 2004Yang, Xiaoneng (ed.), New Perspectives on China's Past: Chinese Archaeology in the Twentieth Century: Cultures and Civilizations Reconsidered (Vol 1), New Haven: Yale University Press, 2004Yang, Xiaoneng (ed.), New Perspectives on China's Past: Chinese Archaeology in the Twentieth Century: Major Archaeological Discoveries in Twentieth Century China (Vol 2), New Haven: Yale University Press, 2004Zhang, Hongxing, The Qianlong Emperor: Treasures from the Forbidden City, Edinburgh: National Museums of Scotland, 2002(qty)Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.Please note this lot will be offered with no reserve. ???????
• FORTUNY SAMARKANDA GLASS APPLIQUE LAMP
  FORTUNY SAMARKANDA GLASS APPLIQUE LAMP Fortuny "Samarkanda" flush mount lamp, the shade with unique shape and gold-tone decoration in the quintessential Fortuny pattern that evokes the mystique of the ancient trade journeys across the Silk Road, signed "FORTVNY" to hardware. 10.5? H x 16? diameter.
• FRANK W. BENSON (1862-1951)The Alarm,
  FRANK W. BENSON (1862-1951)The Alarm, 1917 signed "Frank W. Benson" lower left etching, 7 3/4 by 9 3/4 in. Paff #111, edition 13 of 150 inscribed "To Langdon Warren" lower left Langdon Warren (1881-1955) was an archaeologist and art historian at Harvard who studied the Silk Road, and is thought to be a model for Indiana Jones. Provenance: Private Collection, Middleburg, Virginia
• BENCE BAKONYI "NO. 13" (2013/15 LAMBDA
  BENCE BAKONYI "NO. 13" (2013/15 LAMBDA COLOR PRINT)Bence Bakonyi (Hungarian, b. 1991) Cognition No. 13 , image 2013/ impression 2015 Lambda color print (archival giclee) on dibond mount 31 1/2" x 39 1/2" Edition size of 7 Signed, titled, dated, and numbered on a certificate of authenticity in a pocket to the reverse. Though the COA lists this impression as #7 in an edition of 100, the artist's website confirms the sold-out edition size to be only 7 in total. The artist's statement for the series is as follows: "The Cognition series was made in Dunhuang, on the border of the Gobi Desert, China. The city was an important checkpoint for the commercial caravans of the ancient Silk Road. I had scheduled my journey for the time of a one-week Chinese holiday, where I followed and observed the attending tourists for a week. I examine from the position of a distant, outside spectator the kind of comprehension which is possible only through considerable withdrawal. Through the photographs' particular viewpoint, I attempt to represent the spirit of the group. Therefore my focus is not on the individual, but on the community: we see it moving in unity, the trace of its path, and thus the process through which this unified mass of people discovers the unknown. As the protagonists of the photographs taken in Dunhuang are tourists, the landscape was just as alien and fascinating for them as it was for me when I documented it." Condition Very good condition.
• MUHAMMAD ALI SIGNED HAND PRINT SILK
  MUHAMMAD ALI SIGNED HAND PRINT SILK ROAD GIFTSAuthentic Muhammad Ali signed Hand print by Silk Road Gifts. New condition. Measures approx. 16 1/4" height x 11 1/4" width x 2 1/8" depth (41.3cm x 5.4cm). Condition: All lots are sold as is and where is. Elite Auctioneers, LLC provides condition reports upon request to aide in your bidding decision. No statement regarding age, condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalog or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. All sales are final, Elite Auctioneers, LLC does not give refunds based on condition. Elite Auctioneers, LLC does not perform any shipping or packing services. We do have a list of suggested shippers who gladly provide quotes prior to your bidding. Please visit our webpage for a list of recommended shippers.
• CLOISONNé ENAMEL CANE-Ca. 1900 -A superior
  CLOISONNé ENAMEL CANE-Ca. 1900 -A superior Shippo enamel handle fashioned in the stylized shape of a crozier pastoral staff with an integral, cylindrical and long stem entirely decorated with repeating, bright blooms on a royal blue background. A strong contrast is achieved by underlying the petals with silver foil and the most unusual use of transparent and crazed enamel. -Tentatively recognized as a depiction of the celebrated “Sakura” or ornamental cherry blossom, the enduring metaphor for the ephemeral nature of life, this handle stands apart of the classic Shippo production with its stylish shape as well as striking opalescent and translucent color combination and achieves the standards of a possibly singular masterpiece of Japanese enameling art. -It comes on a slender rosewood shaft with natural brown-red hues and a horn ferrule. -H. 7 ¾” x 2 ¾”, O.L. 38 ¼” -$800-$1,200 -Cloisonné enamel ware is a metal working technique where a multi-colored glassy glaze is baked onto a metal surface and is similar to works developed before the ancient Mesopotamia and Egyptian cultures. It is said to have traveled from Southeast Europe, to China via the Silk Road, and eventually to Japan. -Japanese cloisonné enamelware first became internationally recognized in 1867 at the Paris International exposition. It reached culmination during the last century, when splendid examples of refined and delicate enamels were produced.
• 13TH C. NISHAPUR GLAZED POTTERY BOWLNear
  13TH C. NISHAPUR GLAZED POTTERY BOWLNear East, Persia (Iran), Nishapur area, ca. late 10th century to early 13th century CE. A stunning ceramic bowl presenting with a discoid base and impressively thin walls that dramatically flare outward to a swollen rounded body above two embossed rings and then inward and upward to the circular rim. Boasting a lustrous glaze of a rich turquoise blue hue and black vertical striations forming a radiating pattern around the interior and exterior of the rim, the vessel is additionally adorned with a black dash of glaze surrounded by 3 small raised embellishments in the center of its interior. A gorgeous example from medieval Persian culture. Size: 6.75" in diameter x 3.75" H (17.1 cm x 9.5 cm) Nishapur was a center of politics and culture in medieval Persia, and their pottery is some of the most unique and beautiful in history. These turquoise items are the result of technological innovation at the end of the 10th century. The body of this bowl and others of its style is made of finely ground quartz mixed with clay; this created a white surface on which the artists could paint designs directly. The glaze is alkaline, with a copper base to give it its color, and would be poured over the clay. Manganese was used to create the underglaze design. These pieces may have been inspired by the blue and white glazed pottery that travelled the Silk Road from Tang Dynasty, China, but the end result here is clearly not just an imitation, but an entirely different, radical style developed in Nishapur. Provenance: private southern California, USA collection, acquired before 2000 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #159748 Condition: Repaired from 3 pieces with cracks and adhesive residue visible and some minor apertures along crack lines. A few expected stable hairline fissures with nicks to base and rim commensurate with age. Otherwise, very nice with excellently preserved pigment, amazing iridescence on interior, and great craquelure on the glazed areas.
• CHINESE TANG DYNASTY POLYCHROME HORSE
  CHINESE TANG DYNASTY POLYCHROME HORSE W/ TLEast Asia, China, Tang Dynasty, ca. 618 to 906 CE. A lovely mold-made pottery horse shown in stride atop an integral plinth. Painted in hues of apricot, peach, and chocolate brown, the noble steed displays a naturalistic head with a bulbous snout, incised nostrils, and almond-shaped eyes, all capped by a pair of perky ears. His thick body bears an elaborate saddle featuring lengthy polka-dot-incised saddle flaps beneath a striped sash. A slender tapered tail extends downwards from the ancient horse's posterior and an ovoid vent is featured on the animal's underside. Size: 8.75" L x 5" W x 7.5" H (22.2 cm x 12.7 cm x 19 cm); 7.75" H (19.7 cm) on included custom stand. According to Zhixin Jason Sun, Curator of the Department of Asian Art at the Metropolitan Museum of Art, "The importance of horses rose to new heights in the Tang dynasty (618–907) when, as emblems of imperial power, they marched in state processions, galloped through royal hunting parks, raced across polo fields, and even danced before the emperor. Their portraits were painted by leading court artists, and their majestic form was modeled in brightly glazed pottery as tomb figurines and sculpted on marble plaques to adorn emperors' tombs as symbols of dynastic vitality." Beyond this, the horse played a significant role in the unification of the Chinese Empire, as the ancients could communicate to parties near and far due to the great speed of these noble steeds. The horse also assisted the military to conquer distant lands and grow the empire. As the desire for stronger, faster breeds grew, the ancients imported horses from Central Asia, leading to the creation of the famous Silk Road. We see evidence of the reverence for the horse in the visual culture of ancient China. Imagery of horses abound in painting, literature, and sculpture. During the Tang dynasty, artists created burial art representing these revered animals. This particular piece depicts a large charger; this type of horse served as both a symbol of imperial stability that engendered bountiful trade and prosperity for the expanding empire and the reward of military exploits to the west. The most cherished horses were raised in the western kingdom of Ferghana and known as "blood-sweating horses." These were delivered as tribute to the reigning emperor. In general, for the ancient Chinese, horses were a sign of wealth. This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full report will accompany purchase. Provenance: private Reno, Nevada, USA collection, acquired through descent, originally purchased in San Francisco, California, USA in the 1960s to 1970s All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #163709 Condition: TL holes on bottom of saddle, under lower jaw, and between front legs. Repaired from several pieces with restoration to front of base and restoration over break lines. Break line visible on proper right ear. Chip to proper left ear. Expected surface wear with nick, abrasions, and some chipping to paint as shown, all commensurate with age. Otherwise, very good with nice remaining pigments
• 17TH C. CHINESE MING DYNASTY GILT BRONZE
  17TH C. CHINESE MING DYNASTY GILT BRONZE SEATED GUANYIN...East Asia, China, Ming Dynasty, ca. 17th century CE. A wonderful bronze statue rich with iconography of a Bodhisattva known as Avalokiteshwara (also Guanyin, Guan Yin, Kuanyin in Chinese), the goddess of kindness, compassion, and mercy, boasting a lustrous gilded visage. Seated in lotus position on an integral plinth, the tranquil deity is heavily adorned with a plumed crown and several lengthy strands of Japamala (prayer beads) that cascades down her chest, wraps around her waist, and lays in her lap. Many eye-shaped pendants are featured across the strands, possibly referencing her title as "The One with a Thousand Arms and Thousand eyes." Her right hand rests in her lap in the Abhayamudra, or gesture of fearlessness, as her left hand is raised in the Varadamudra, which is the "generosity gesture." A translucent robe flows down her body, displaying a decorative hem at her shoulders, opening at her chest, and then falling into a puddle of fabric below her, as a slender ribbon winds around her arms. Size: 6.875" W x 11.5" H (17.5 cm x 29.2 cm) Flanked by sizable ears, her serene visage displays downcast eyes beneath a sweeping brow, a naturalistic nose, and bowed lips held in a gentle smile. Sinuous branches seemingly rise from her arms displaying two objects of her iconography: a parrot, symbolic of a faithful disciple, on her left and a vase, one of the eight symbols of good fortune, on her right. A lovely abstract relief decorates the periphery of her corseted pedestal. Bodhisattvas are among the most compassionate beings in the universe, devoting themselves to saving the suffering and helping others achieve enlightenment and Buddhahood. Traditionally depicted as less austere than Buddhas with graceful postures and elegant garments, a nod to the riches of the Northwestern Chinese Silk Road, this piece is no exception. Guanyin is associated with compassion and mercy - her long ears significant, because they rescue all human beings by hearing their cries for help and the sounds of suffering. Provenance: private Englewood, Colorado, USA collection; ex-M. Komor Gallery, New York, New York USA, acquired in 1965 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #163621 Condition: Missing proper right middle finger. Minor repairs to ears. Nicks to periphery of base. Expected surface wear with a few small nicks and abrasions, as well as light softening of detail, all commensurate with age. Otherwise, excellent with impressive remaining gilding and nice patina. Rich encrustations on interior and light earthen deposits in recessed areas.
• CHINESE QI LIMESTONE STELA W/ BUDDHA
  CHINESE QI LIMESTONE STELA W/ BUDDHA & BODHISATTVASEast Asia, China, Six Dynasties Period, Northern Qi Dynasty, ca. 550 to 577 CE. A gorgeous carved-limestone stela featuring a seated Buddha flanked by two bodhisattvas before an intricate backdrop that gently tapers and curves outward at the top, all painted in lovely hues of salmon pink, sky blue, and black. Sitting cross-legged in padmasana (lotus posture) on an integral plinth, the divine figure is draped in a loose robe that falls down his tranquil figure in pleated folds, leaving his right chest and arm partially exposed. His serene countenance projects exaggeratedly forward presenting a petite, close-mouthed grin, a noble nose, and two slanted, squinting eyes under an arched brow. Two long ears, referencing the wealth of Prince Siddhartha before he became enlightened, flank his peaceful visage and an ushnisha caps his head. His hands rest calmly in his lap, held open in abhaya (absence of fear) mudra. Depicted smaller in scale than the Buddha, the bald bodhisattvas stand behind their master, also wearing robes and holding their hands together. Size: 7.25" W x 14.25" H (18.4 cm x 36.2 cm) Ovoid embellishments are carved in relief behind their heads, while a much larger oval filled with a lotus flower crowns the head of the Buddha and a skillfully incised design of undulating striations resembling flames decorates the background. The rectangular base is supported by two feet and is adorned with an ornate relief featuring a central, muscular figure positioned as though he is holding up the stela flanked by two sizable dogs. Each side of the base is incised with a lovely wavy motif. Bodhisattvas are among the most compassionate beings in the universe, devoting themselves to saving the suffering and helping others achieve enlightenment and Buddhahood. Traditionally depicted as less austere than Buddhas with graceful postures and elegant garments, a nod to the riches of the Northwestern Chinese Silk Road, this piece is no exception. Bodhisattvas or Guanyin are associated with compassion and mercy - their long ears significant, because they rescues all human beings by hearing their cries for help and the sounds of suffering. Around the 1st century CE, Buddhism came to China along the Silk Road from India; it brought with it an entirely new visual and artistic iconography. The northern rulers of China in the mid-1st millennium CE sponsored the creation of much beautiful and artistically distinct Buddhist artwork. This example is characteristic of the sculpture produced in Shandong province, northeastern China. The discovery in 1996 of over 400 Buddhist sculptures - broken heads and hands, and hundreds of intact torsos, many with gilding and paint still in good condition - in a field that was once the site of a Buddhist monastery in Qingzhou has allowed archaeologists to understand the artwork of this time period much better. The Qingzhou discovery was the largest known group of such sculptures, but other small caches have been found since the 1970s elsewhere in northeastern China. Fascinatingly, most of these sculptures were made during the Northern Qi period, but were buried - based on coins found alongside them - in the 12th century CE, six hundred years later. This seems to have been done to protect the beautiful artwork from the Qi period from anti-Buddhist sentiment. Provenance: private New York, New York, USA collection, acquired 1980s to 2000s All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #162155 Condition: Missing foot and part of plinth of attendant on left side. Expected surface wear as shown with nicks/chips, abrasions, and softening of details commensurate with age. Four small felt pads on bottom of base. Otherwise, excellent and intact with nice remaining pigments and light earthen deposits in recessed areas.
• CHINESE QI DYNASTY STONE SEATED BUDDHA**Originally
  CHINESE QI DYNASTY STONE SEATED BUDDHA**Originally Listed At $4500** East Asia, China, Six Dynasties Period, Northern Qi Dynasty, ca. 550 to 577 CE. A remarkable hand-carved stone sculpture of Buddha shown seated in lotus position. Capped by tightly curled hair in a conical shape, symbolizing his nobility, his round visage epitomizes tranquility via his bowed lips, closed in silent contemplation, his austere straight nasal bridge leading to a wide nose, and his downcast almond-shaped eyes framed by sweeping arched eyebrows. His serene face is flanked by a pair of elongated ears, displaying pendulous lobes, evocative of the time before he renounced all worldly possessions and hung lavish jewels from them. A clear urna - a dot symbolizing enlightenment - is on the forehead. His slender body is draped in a thin robe, which is suspended by his left shoulder and cascades down his chest. The verso is incised with 3 lines of Chinese script. Size: 16.75" W x 25" H (42.5 cm x 63.5 cm) Around the 1st century CE, Buddhism came to China along the Silk Road from India; it brought with it an entirely new visual and artistic iconography. The northern rulers of China in the mid-1st millennium CE sponsored the creation of much beautiful and artistically distinct Buddhist artwork. This example is characteristic of the sculpture produced in Shandong province, northeastern China. The discovery in 1996 of over 400 Buddhist sculptures - broken heads and hands, and hundreds of intact torsos, many with gilding and paint still in good condition - in a field that was once the site of a Buddhist monastery in Qingzhou has allowed archaeologists to understand the artwork of this time period much better. The Qingzhou discovery was the largest known group of such sculptures, but other small caches have been found since the 1970s elsewhere in northeastern China. Fascinatingly, most of these sculptures were made during the Northern Qi period, but were buried - based on coins found alongside them - in the 12th century CE, six hundred years later. This seems to have been done to protect the beautiful artwork from the Qi period from anti-Buddhist sentiment. This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world’s largest database of stolen art, collectibles, and antiques. Provenance: private Hawaii, USA collection; ex-M. Kobiashi collection, Hawaii, USA, 1960 to 2000 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #164884 Condition: Missing arms. Stable fissure on verso of base. Expected nicks and abrasions, commensurate with age. Some softening of incised detail. Otherwise, excellent with nice remaining detail.
• 5 CHINESE MING POTTERY JARLETS, BIN
  5 CHINESE MING POTTERY JARLETS, BIN THUAN SHIPWRECKEast Asia, China, late Ming Dynasty, ca. 17th century CE. A wonderful ensemble of 5 pottery jarlets, each presenting an apple-form body, a flat shoulder, and a narrow, raised rim, all sitting upon a ring-shaped foot. All enveloped in white glaze, the exterior of each vessel boasts blue decoration, skillfully hand-painted with flower petals encompassing the rim and floral, vegetal, and avian motifs embellishing the walls. Size of largest: 2.2" in diameter x 2.3" H (5.6 cm x 5.8 cm) During this time period, China was the great naval power of the East, with technology that surpassed anything that Europe had yet developed; this was the time of Zheng He and China's role as an international trader from the Mediterranean to the south Pacific. As the Ming period progressed, and the political conditions that had held the overland Silk Route together deteriorated, a Maritime Silk Road became more important to Chinese trade. These cups were likely from South China near Fujian and were headed to Malaysia to trade with the Dutch East India Company, when the ship sank off the coast of Binh Thuan Thailand in 1608 CE. Provenance: private Lumberton, Texas, USA collection, acquired before 2010 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #169337 Condition: Two have chipping to rims. All have expected nicks and abrasions, commensurate with age. Otherwise, all are intact and excellent with impressive remaining pigments. Largest has nice marine deposits.
• 5 CHINESE MING POTTERY BOWLS W/ MARINE
  5 CHINESE MING POTTERY BOWLS W/ MARINE ENCRUSTATIONSEast Asia, China, late Ming Dynasty, ca. 17th century CE. A lovely collection of 5 pottery bowls, each presenting ring-form feet and impressively thin walls that rise to gently flared rims, all enveloped in white glaze. A pair of the bowls each feature a bare, unglazed ring at the bottom of the basin, as well as a rectangular symbol on the underside of the base. Alternatively, the remaining 3 boast rich marine encrustations of salt, shells, and barnacles formed from centuries spent on the ocean floor. Size of largest: 3.2" L x 2.9" W x 1.4" H (8.1 cm x 7.4 cm x 3.6 cm) During this time period, China was the great naval power of the East, with technology that surpassed anything that Europe had yet developed; this was the time of Zheng He and China's role as an international trader from the Mediterranean to the south Pacific. As the Ming period progressed, and the political conditions that had held the overland Silk Route together deteriorated, a Maritime Silk Road became more important to Chinese trade. These cups were likely from South China near Fujian and were headed to Malaysia to trade with the Dutch East India Company, when the ship sank off the coast of Binh Thuan Thailand in 1608 CE. Provenance: private Lumberton, Texas, USA collection, acquired before 2010 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #169335 Condition: All have expected nicks and abrasions. Otherwise, all are intact and excellent. Three have heavy marine encrustations.
• 6 CHINESE MING POTTERY VESSELS BINH
  6 CHINESE MING POTTERY VESSELS BINH THUAN SHIPWRECKEast Asia, China, late Ming Dynasty, ca. 17th century CE. A remarkable ensemble of 6 Chinese pottery vessels: 4 jars and 2 bowls. Enveloped in a pale gray-green glaze, the first jar exhibits a narrow base, a wide hip, curved shoulders, and a raised rim flanked by a pair of petite loop-form handles. Next, the second jar presents a spherical body with a concave base, a brief neck, and an undulating rim, all coated in a light sage-hued glaze. The third jar displays an apple-form body, a flat shoulder, a short neck, and a circular base. Its exterior is adorned with intricately painted, blue-on-white decoration of striated, fish scale, and floral motifs. The last of the jars features a squat form with a broad hip, an attenuated neck, and a ring-form base, all coated in white glaze with abstract blue designs. Similarly, the 2 bowls also showcase blue-on-white patterns along their exterior, as well as similar bodies, each with a ring-shaped foot and slender walls that spread outwards to a circular rim. Size of largest: 2.9" Diameter x 1.8" H (7.4 cm x 4.6 cm) The more petite bowl has a gently flared rim, while the larger displays a brief flat shoulder before its wide, raised rim. During this time period, China was the great naval power of the East, with technology that surpassed anything that Europe had yet developed; this was the time of Zheng He and China's role as an international trader from the Mediterranean to the south Pacific. As the Ming period progressed, and the political conditions that had held the overland Silk Route together deteriorated, a Maritime Silk Road became more important to Chinese trade. These cups were likely from South China near Fujian and were headed to Malaysia to trade with the Dutch East India Company, when the ship sank off the coast of Binh Thuan Thailand in 1608 CE. Provenance: private Lumberton, Texas, USA collection, acquired before 2010 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #169340 Condition: All have expected nicks, chips, and abrasions commensurate with age. Otherwise, all are very nice with impressive remaining pigments and lovely craquelure.
• KUSHAN SCHIST RELIEF FRIEZE OF MAN W/
  KUSHAN SCHIST RELIEF FRIEZE OF MAN W/ LION HEADCentral Asia, Pakistan & Northwestern India, Kushan Empire, ca. 1st to 4th century CE. A hand-carved gray schist frieze depicting an elite man dressed in a tunic and pleated pants, sitting. He squats, perhaps on a chair or throne - note the fine attention to drapery - with a lion's head under one arm and an implement raised in the other hand. His head is modeled in the traditional Graeco-Buddhist tradition with a full face, fine almond eyes, nose and sensitive mouth, and a large ornate headdress, similar to a turban, atop the head. The lion has always been symbolic of strength and royalty, but this feline's use became more pronounced in Indian art during the Gandharan period, influenced by iconography inherited from Alexander the Great's conquest of Gandhara in 330 BCE. Size: 4.25" L x 1" W x 8.5" H (10.8 cm x 2.5 cm x 21.6 cm) The Kushan Empire controlled part of the Silk Road between China and the Mediterranean, and its position as a crossroads led to the creation of a dynamic fusion culture. Sculptures like this one give us a hint to the elaborate clothing and personal ornamentation that elite people wore during this period. Most articles of Kushan clothing were heavily decorated with metal plaques and beads. Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. b>PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship b>PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #166073 Condition: Repaired, head reattached to neck, repair is well done and not discernable from the front, visible break line and adhesive on verso. Loss and abrasion headdress and chips to high pointed areas. Some softening to finer details, but overall sharp and clear. Light mineral and earthen encrustations in recessed areas.
• CHINESE MING DYNASTY SWATOW WARE BOWL
  CHINESE MING DYNASTY SWATOW WARE BOWL (SHIPWRECK)East Asia, China, late Ming Dynasty, ca. 17th century CE. A lovely pottery bowl, known as Swatow ware and presenting impressively thin walls that flare out to a broad rim, all sitting atop a ring-form foot. Boasting blue on white decoration, the ancient bowl is hand-painted with an abstract vegetal motif on its interior, while the exterior features a stylized floral pattern. As evident from the thick marine encrustations throughout, this dish was likely from South China near Fujian and was headed to Malaysia for trade with the Dutch East India Company, when the ship sank off the coast of Binh Thuan Thailand in 1608 CE. The name "Swatow" or Zhangzhou most probably derives from Shantou in China, an old junk port along the southeastern coast of Guangdong near Fujian and these ceramics were often destined for export. Size: 9.6" Diameter x 1.9" H (24.4 cm x 4.8 cm) During this time period, China was the great naval power of the East, with technology that surpassed anything that Europe had yet developed; this was the time of Zheng He and China's role as an international trader from the Mediterranean to the south Pacific. As the Ming period progressed, and the political conditions that had held the overland Silk Route together deteriorated, a Maritime Silk Road became more important to Chinese trade. These cups were likely from South China near Fujian and were headed to Malaysia to trade with the Dutch East India Company, when the ship sank off the coast of Binh Thuan Thailand in 1608 CE. Provenance: private Lumberton, Texas, USA collection, acquired before 2010 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #169332 Condition: Expected nicks, abrasions, and indentations, commensurate with age. Otherwise, intact and excellent with nice remaining pigments and rich marine deposits. Collection label on base.
• CHINESE MING DYNASTY SWATOW WARE BOWL
  CHINESE MING DYNASTY SWATOW WARE BOWL W/ PHOENIXEast Asia, China, late Ming Dynasty, ca. 17th century CE. A sizable and stunning pottery bowl, known as Swatow ware and presenting impressively thin walls that flare out to a broad rim, all sitting atop a ring-form foot. Boasting blue on white decoration, the remarkable bowl is meticulously glazed with a central tondo of a phoenix amongst meandering vines and floral motifs surrounded by an outer border of abstract geometric and floral patterns. Alternatively, the exterior is embellished by a stylized avian decoration. This dish was likely from South China near Fujian and was headed to Malaysia for trade with the Dutch East India Company, when the ship sank off the coast of Binh Thuan, Thailand in 1608 CE. The name "Swatow" or Zhangzhou most probably derives from Shantou in China, an old junk port along the southeastern coast of Guangdong near Fujian and these ceramics were often destined for export. Size: 14.6" Diameter x 4" H (37.1 cm x 10.2 cm) According to legend, the phoenix is the most beautiful of all birds, called the feng huang, and the etymology of the name is derived from "emperor." The phoenix will only appear in times of prosperity and peace, second only in the supernatural creatures of the Chinese pantheon to the dragon. During this time period, China was the great naval power of the East, with technology that surpassed anything that Europe had yet developed; this was the time of Zheng He and China's role as an international trader from the Mediterranean to the south Pacific. As the Ming period progressed, and the political conditions that had held the overland Silk Route together deteriorated, a Maritime Silk Road became more important to Chinese trade. These cups were likely from South China near Fujian and were headed to Malaysia to trade with the Dutch East India Company, when the ship sank off the coast of Binh Thuan Thailand in 1608 CE. Provenance: private Lumberton, Texas, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #169334 Condition: Expected nick and abrasion in some small areas. Fading to glaze. Otherwise, intact and excellent with impressively preserved decorative program and nice marine deposits on base.
• 4 CHINESE MING SWATOW WARE CUPS, BINH
  4 CHINESE MING SWATOW WARE CUPS, BINH THUAN SHIPWRECKEast Asia, China, late Ming Dynasty, ca. 17th century CE. This is a fabulous group of four petite Swatow porcelain cups all from a shipwreck near the Binh Thuan province off the southern coast of Vietnam. The cups are each ivory white with cobalt blue patterns, 3 with stylized floral and linear motifs on the inner rim and a flower shape on the center basin, and one with a landscape depicting a seated man. The name "Swatow" or Zhangzhou most probably derives from Shantou in China, an old junk port along the southeastern coast of Guangdong near Fujian, and these ceramics were often destined for export. Size (largest): 2.75" Diameter x 1.5" H (7 cm x 3.8 cm); (smallest): 2.5" Diameter x 1.45" H (6.4 cm x 3.7 cm) During this time period, China's was the great naval power of the East, with technology that surpassed anything that Europe had yet developed; this was the time of Zheng He and China's role as an international trader from the Mediterranean to the south Pacific. As the Ming period progressed, and the political conditions that had held the overland Silk Route together deteriorated, a Maritime Silk Road became more important to Chinese trade. These cups were likely from South China near Fujian and were headed to Malaysia to trade with the Dutch East India Company, when the ship sank off the coast of Binh Thuan Thailand in 1608 CE. Provenance: private Lumberton, Texas, USA collection, acquired before 2010 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #169336 Condition: Minor chips to the rims of all cups. Stable hairline fissures radiating from rim to base on the cup with landscape, otherwise all are intact and very good. White marine encrustations on the largest bowl.
• PUBLISHED / HUGE GANDHARAN STUCCO BUDDHA
  PUBLISHED / HUGE GANDHARAN STUCCO BUDDHA HEADCentral Asia, Pakistan and Afghanistan, Gandharan Empire, ca. 4th to mid-5th century CE. A larger-than-life stucco head of the enlightened Buddha, modeled in the traditional Greco-Buddhist manner with a full face, fine, heavy-lidded downcast almond eyes, a naturalistic nose, a sensitive mouth, a strong brow line, and a distinctive chin. The ears are long, their lobes stretched, signifying the former wealth of Prince Siddhartha. A deep, round urna is in the center of the forehead, which was likely once inlaid with a precious stone. Some traces of pigment remain on the face, notably on the brow line and on the cheeks. Perhaps the most incredible part of this sculpture is its ornate coiffure and huge ushnisha. The hair is composed of layer upon layer of half-circles of stucco, giving it the appearance of tight curls, and these continue over the ushnisha, the visible sign of Buddha's enlightenment. Size: 12.25" L x 12" W x 19" H (31.1 cm x 30.5 cm x 48.3 cm); 25" H (63.5 cm) on included custom stand. Alexander the Great conquered Gandhara in 330 BCE and with the help of Indo-Greek kings introduced classical traditions that would influence Gandharan art for the following seven centuries. The stylized curly Mediterranean hair and top knot derive from classical sculptures such as the Apollo Belvedere (330 BCE), but the Gandharans took that influence and made a complete style of their own, often focused on portrayals of the Buddha, as is so beautifully exemplified here. Gandharans are famous for schist and stucco carvings, with stucco replacing schist as the dominant material around the 3rd century CE. Vast monastic institutions like those at Takht-i-Bahi, Sahri-Bahlol, Jamal Garhi, Ranigat, and Thareli were decorated by skilled artisans with stucco representations of important figures, religious scenes, and artistic dedications. Stucco allowed artists more freedom in portraying lifelike features, as shown in the shape of the chin here. During this time, Gandhara was exceptionally wealthy, profiting from trade along the Silk Road; patrons had resources to spend on the arts, creating a flowering of stucco artwork. Some monumental statues had stucco hands, feet, and heads alongside clay torsos - the size of these figures was such that clay was needed to maintain their form. Published in "The Muse's Song: Selections of Ancient Art." Fortuna Fine Arts, Ltd., New York, 2008, fig. 55. This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010; ex-Alexandre A du M collection, Maryland, USA, acquired in the 1980s All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #142458 Condition: Small losses on surface, notably on the side of the ushnisha and one earlobe. Back of the head is partially lost as is part of the neck, and these areas are fragile and may lose some material if not handled with care. Traces of pigment on face with nice deposits. Face and front of hair are beautifully preserved.
• CHINESE TANG DYNASTY SEATED CAMEL WEARING
  CHINESE TANG DYNASTY SEATED CAMEL WEARING SADDLE, TL'DEast Asia, China, Tang Dynasty, ca. 618 to 906 CE. A handsome terracotta statue of a camel, shown seated with legs bent beneath him and head tilted skyward as a removable saddle is draped across its double-humped back. The lengthy neck swoops upward to support the naturalistic head, featuring a bulbous snout, a closed mouth, sizeable, delineated nostrils, and a pair of pointed ears. Fluffy tufts of hair adorn his front legs, humps, neck, and the top of the head, adding texture and realism to the animal, while a slender tail extends from its posterior. The belly of the camel has a large opening that acts as a vent hole. Note the chalky remains of tan, black, white, and brown paints that further enhance the creature's appearance. Size: 16.2" L x 7.7" W x 6.8" H (41.1 cm x 19.6 cm x 17.3 cm) Camels symbolized wealth and commerce in early Chinese culture. The Silk Road was established during the Han Dynasty, and connected China to central Asia, India, Persia, Africa, and southeastern Asia; creating vast trade networks and ushering China into a golden age. The Bactrian camel carried most of the trade goods and came to represent this age of prosperity. To reach these far destinations, merchants traveled through the harsh Taklamakan Desert, and the Bactrian camel was vital to this transport because of its abilities to go without water for a week, to travel 30 miles a day, and to withstand very hot and very cold temperatures, all while carrying hundreds of pounds on its back! This piece has been tested at ASA Laboratory in Paris, France using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full printed and bound report is available to the buyer upon request. Provenance: ex-Brunk Auctions, Asheville, North Carolina, USA; ex-private Georgia, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #172634 Condition: Repair to front hump with light restoration over break lines. Small area of restoration on edge of saddle. Minor chip to tip of left ear, and some additional light chipping to peripheral edges of saddle and base. TL holes behind right ear, under left back thigh, and on periphery of saddle.
• 19TH C. JAPANESE EDO / MEIJI WOOD SHO
  19TH C. JAPANESE EDO / MEIJI WOOD SHO KANNON BODHISATTV...East Asia, Japan, Edo to Meiji Period, ca. mid to late 19th century CE. A beautiful wood carving of Sho Kannon the Japanese version of Guanyin or Avalokiteshvara, the sacred Bodhisattva of compassion. Sho Kannon is depicted as either male or female, here, the man version stands barefoot on a three-tiered lotus pedestal. The figure and upper half of the lotus petals are carved separately, and tenoned into the discoidal base via a peg. Lengthy robes cascade in folds down his slender figure and his arms are draped with sashes and the raised hand may have once held a lotus flower, while the other hand forms a mudra gesture. His serene visage displays elegantly arched brows, down-turned eyes beneath heavy lids, a petite nose, pursed lips, and rounded chin. His hair is piled into an ushnisha atop his head, and long ears frame either side of his head, representing his rejection of the material life and earthly pleasures. The surface is lacquered in a dark brown with some wear to pigment that creates a lovely, weathered appearance throughout. Size: 8.5" W x 25" H (21.6 cm x 63.5 cm) Bodhisattvas are among the most compassionate beings in the universe, devoting themselves to saving the suffering and helping others achieve enlightenment and Buddhahood. Traditionally depicted as less austere than Buddhas with graceful postures and elegant garments, a nod to the riches of the Northwestern Chinese Silk Road, this piece is no exception. Bodhisattvas or Guanyin are associated with compassion and mercy - their long ears significant, because they rescue all human beings by hearing their cries for help and the sounds of suffering. Provenance: private New York, New York, USA collection; ex-private Massachusetts, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #169720 Condition: Abrasions and chips to surface throughout the figure and pedestal, but otherwise intact. Chipping and losses to lacquered surface that. Figure and upper half of pedestal are detachable from base. Overall excellent condition!
• 4TH C. GANDHARAN STUCCO HEAD ENLIGHTENED
  4TH C. GANDHARAN STUCCO HEAD ENLIGHTENED BUDDHACentral Asia, Pakistan and Afghanistan, Gandharan Empire, ca. 4th to mid-5th century CE. A larger-than-life stucco head of the enlightened Buddha, modeled in the traditional Greco-Buddhist manner with a full face, fine, heavy-lidded downcast almond eyes, a naturalistic nose, a sensitive mouth, a strong brow line, and a distinctive chin. The ears are long, their lobes stretched, signifying the former wealth of Prince Siddhartha. A deep, round urna is in the center of the forehead, which was likely once inlaid with a precious stone. Some traces of pigment remain on the face, notably on the brow line and on the cheeks. Perhaps the most incredible part of this sculpture is its ornate coiffure and huge ushnisha. The hair is composed of layer upon layer of half-circles of stucco, giving it the appearance of tight curls, and these continue over the ushnisha, the visible sign of Buddha's enlightenment. Size: 12.25" L x 12" W x 19" H (31.1 cm x 30.5 cm x 48.3 cm); 25" H (63.5 cm) on included custom stand. Alexander the Great conquered Gandhara in 330 BCE and with the help of Indo-Greek kings introduced classical traditions that would influence Gandharan art for the following seven centuries. The stylized curly Mediterranean hair and top knot derive from classical sculptures such as the Apollo Belvedere (330 BCE), but the Gandharans took that influence and made a complete style of their own, often focused on portrayals of the Buddha, as is so beautifully exemplified here. Gandharans are famous for schist and stucco carvings, with stucco replacing schist as the dominant material around the 3rd century CE. Vast monastic institutions like those at Takht-i-Bahi, Sahri-Bahlol, Jamal Garhi, Ranigat, and Thareli were decorated by skilled artisans with stucco representations of important figures, religious scenes, and artistic dedications. Stucco allowed artists more freedom in portraying lifelike features, as shown in the shape of the chin here. During this time, Gandhara was exceptionally wealthy, profiting from trade along the Silk Road; patrons had resources to spend on the arts, creating a flowering of stucco artwork. Some monumental statues had stucco hands, feet, and heads alongside clay torsos - the size of these figures was such that clay was needed to maintain their form. Published in "The Muse's Song: Selections of Ancient Art." Fortuna Fine Arts, Ltd., New York, 2008, fig. 55. Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010; ex-Alexandre A du M collection, Maryland, USA, acquired in the 1980s All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #142458 Condition: Small losses on surface, notably on the side of the ushnisha and one earlobe. Back of the head is partially lost as is part of the neck, and these areas are fragile and may lose some material if not handled with care. Traces of pigment on face with nice deposits. Face and front of hair are beautifully preserved.
• CHINESE SONG DYNASTY STONE BUDDHA HEAD**First
  CHINESE SONG DYNASTY STONE BUDDHA HEAD**First Time At Auction** East Asia, China, Song Dynasty, ca. 960 to 1270 CE. A sensitively hand-carved stone Buddha head, a piece from a larger sculpture that perhaps resided in a shrine or temple, enveloped in nice remains of green and red pigments. The visage is serene, the eyes cast downwards nearly closed, and the fleshy lips with slightly upturned edges. The coiffure is arranged in dozens of nodules, each craved with four lines to add swirling texture and indicate the upwards path towards the sun. His long ears droop downwards, having previously been stretched by heavy earrings and indicating his divinity and enlightenment. Size: 5.7" W x 9.5" H (14.5 cm x 24.1 cm); 12.8" H (32.5 cm) on included custom stand. Social life during the Song period was vibrant. Citizens gathered to view and trade precious artwork, the populace intermingled at public festivals and private clubs, and cities had lively entertainment quarters. The spread of literature and knowledge was enhanced by the rapid expansion of woodblock printing and the 11th-century invention of movable-type printing. Technology, science, philosophy, mathematics, and engineering flourished over the course of the Song. Philosophers such as Cheng Yi and Zhu Xi reinvigorated Confucianism with new commentary, infused with Buddhist ideals, and emphasized a new organization of classic texts that brought out the core doctrine of Neo-Confucianism. Although the institution of the civil service examinations had existed since the Sui dynasty, it became much more prominent in the Song period. The officials who gained power by succeeding in the exams became a leading factor in the shift from a military-aristocratic elite to a bureaucratic elite. During the Song Dynasty, China expanded its trade along the Silk Road and South and Central Asian Buddhist proselytizers brought many sculptures and paintings of the Buddha into the country. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Provenance: private Hawaii, USA collection; ex-M. Kobiashi collection, Hawaii, USA, 1960-2000 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #177594 Condition: Fragment of a larger piece. Professional repairs and restoration to ears with areas of chipping and minor losses. Expected surface wear commensurate with age. Otherwise, excellent with nice remains of pigments and detail.
• CHINESE TANG DYNASTY CAMEL (TOMB FIGURE)**Originally
  CHINESE TANG DYNASTY CAMEL (TOMB FIGURE)**Originally Listed At $3500** East Asia, China, Tang Dynasty, ca. 618 to 907 CE. A charming, hollow, mold-made ceramic camel, standing proud with a long curved neck and a pair of pointed humps. Head thrust back in a noble yet realistic stance, the ancient animal presents large eyes and an elongated shout with delineated nostrils and a straight mouth. His naturalistic body features knobby legs, a swollen belly, and a sinuous tail that sways to one side as thought swatting away a fly. The surface is adorned in vibrant hues of tan and sienna, while the integral plinth remains white. This camel was made to be a tomb figure, known as mingqi. Tang dynasty elites had underground tombs full of pottery figures that were made to care for their every need in the afterlife. Size: 12.3" L x 5.6" W x 17.5" H (31.2 cm x 14.2 cm x 44.4 cm) The art of the Tang Dynasty is truly international, reflecting a world in which the Chinese court spread its influence through military conquest and trade to Central Asia, India, Persia, Africa, and southeastern Asia. In this prosperous period, Tang elites imitated the style of the Persians, wearing high boots, short tunics, and leopard skin hats. Music, sport, and dance all emulated Central Asian styles and made them their own. Nothing is more representative of this cultural milieu than the figure of the Bactrian camel who, with his saddle bags, carried so many of these goods and, by extension, practices east and west along the Silk Road. Travelling west from the Tang capital, Chang'an, the Silk Road passed through Taklamakan Desert. The Bactrian camel was vital to this transport because of its abilities -- to go without water for a week, to travel 30 miles a day, and to carry hundreds of pounds, as well as to withstand very hot and very cold temperatures. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Provenance: private Vero Beach, Florida, USA collection, acquired in the 1970s; ex-old English collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #177327 Condition: Professionally repaired and restored with some areas of painting over break lines. Expected light surface wear as shown, all commensurate with age. Otherwise, piece has an excellent presentation and impressive remaining pigments.
• SUPERB FRANKISH MEROVINGIAN GOLD & GARNET
  SUPERB FRANKISH MEROVINGIAN GOLD & GARNET RING**First Time At Auction** Central Europe, Frankish, Merovingian Dynasty, Migration Period, ca. 6th to 7th century CE. A beautiful gold and garnet ring, with a thick hexagonal band embellished with granulation. The bezel contains 4 garnet cabochons, one of the most popular stones used during this time period. The garnets are a deep red hue that appears black but glimmers a wine red in direct light. This exceptional piece is in a near perfect state of preservation and wearable! Size of bezel face: 0.9" Diameter (2.3 cm); band opening: 0.81" Diameter (2.1 cm); US ring size: 8.75; gold quality: 91% to 92.6% (equivalent to: 21k+); weight: 13.4 grams Merovingian and other cultural styles from the period after the fall of the Roman Empire - variously referred to as the Dark Ages, the Migration Period, or, more archaically, the Period of Barbarian Invasions - appeal to us not only because of their extraordinary beauty, but because they are rarely seen today. The Merovingians were a Frankish dynasty who ruled a large portion of western and central Europe for approximately three hundred years. During that time, they practiced a pagan religion in which people were buried with vast wealth. For example, gold items like this one have been found in the tombs of warriors such as one in Vermand, France. Precious metal and red stones were often used in Migration period jewelry to denote the most elite individuals, inspired by contact with Greek colonies along the Black Sea, who in turn began to cater to pagan clients. The garnets themselves probably originated in Burma and traveled to European shores via India and the Silk Road. Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #178209 Condition: One garnet has been replaced in recent times and is a darker coloration with light remains of adhesive to gold setting.
• 4 CHINESE MING POTTERY BOWLS, MARINE
  4 CHINESE MING POTTERY BOWLS, MARINE ENCRUSTATIONSEast Asia, China, late Ming Dynasty, ca. 17th century CE. A beautiful ensemble of 4 bowls, each presenting a ring-form base and flared walls that rise to a wide, annular rim, all enveloped in a lovely, celadon-hued glaze. The interior walls of each vessel is incised with an abstract, swirling motif. Note the rich marine encrustations of salt, barnacle, and shell deposits that naturally embellish their surfaces - wonderful souvenirs from centuries spent on the ocean floor! Size of largest: 10" Diameter x 2.9" H (25.4 cm x 7.4 cm) During this time period, China was the great naval power of the East, with technology that surpassed anything that Europe had yet developed; this was the time of Zheng He and China's role as an international trader from the Mediterranean to the south Pacific. As the Ming period progressed, and the political conditions that had held the overland Silk Route together deteriorated, a Maritime Silk Road became more important to Chinese trade. These cups were likely from South China near Fujian and were headed to Malaysia to trade with the Dutch East India Company, when the ship sank off the coast of Binh Thuan Thailand in 1608 CE. Provenance: private Lumberton, Texas, USA collection, acquired before 2010 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #170300 Condition: Largest is repaired with break lines visible. The other 3 have chips and minor losses to rims. All have expected nicks, abrasions, and softening of detail, as shown. Otherwise, the 3 more petite bowls are intact, and all are excellent with rich marine deposits. Heavy sea encrustations to 1 of the petite vessels inhibit it from sitting flatly on foot.
• 15TH C. CHINESE MING BRONZE SITTING
  15TH C. CHINESE MING BRONZE SITTING GUANYIN BODHISATTVA...East Asia, China, Ming Dynasty, ca. 15th to 17th century CE. A beautiful cast bronze statue of the Bodhisattva Guanyin, also known as Avalokiteshwara, seated in a lotus position, her hands form the karana mudra. Traditionally depicted as less austere than Buddhas with graceful postures and elegant garments, a nod to the riches of the Northwestern Chinese Silk Road, this piece is no exception. Guanyin is heavily adorned with a plumed crown and strands of Japamala (prayer beads) that cascade down her chest, her robes incised with floral motifs, perhaps to symbolize brocade and other precious textiles. This is a large and stunning example, hollow cast, then painted and gilt- she perhaps was part of a temple or shrine, Guanyin was associated with compassion and mercy. Size: 8.5" L x 15" W x 22.75" H (21.6 cm x 38.1 cm x 57.8 cm) Provenance: private Hawaii collection, acquired 2000 to 2010 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #179863 Condition: Flaking and losses to painted pigments. Areas of dark patina and toning. Surface wear commensurate with age, otherwise intact and excellent.
• [A PRIVATE SCOTTISH COLLECTION, EDINBURGH]
  [A PRIVATE SCOTTISH COLLECTION, EDINBURGH] COLLECTION OF ART REFERENCE BOOKS ON JAPANESE, KOREAN, AND SOUTHEAST ASIAN ART ??????????????????????Including:Brown, Roxanna M. The Ceramics of South-East Asia: their dating and identification. Oxford: Oxford University Press, 1977.Chewon, Kim and Gompertz, G. St. G. M. (Eds.) The Ceramic Art of Korea. London: Faber and Faber Limited, 1961.Classical Style in Japanese Arts. 1978.Fitzwilliam Museum, Cambridge. Korean and Chinese Ceramics. Cambridge: Fitzwilliam Museums, 1975.Fitzwilliam Museum, Cambridge. The Lost Century: Japanese Arita Porcelain 1720 - 1820 in Britain: Selective Catalogue. Cambridge: Fitzwilliam Museum, 1998.Fontein, Jan, Soekmono, R., and Suleiman, Satyawati. Ancient Indonesian Art of the Central and Eastern Javanese Periods. New York: Asia Society Inc., 1974.Frasche, Dean F. Southeast Asian Ceramics: Ninth Through Seventeenth Centuries. New York: Asia Society Inc., 1977.Goepper, Roger and Whitfield, Roderick. Treasures from Korea. London: British Museum Publications Ltd., 1984.Gompertz, G. St. G. M. Korean Celadon and Other Wares of the Koryo Period. London: Faber and Faber Limited, 1963.Gompertz, G. St. G. M. Korean Pottery & Porcelain of the Yi Period. London: Faber and Faber Limited, 1968.Götz, Alexander. The Ancient Art of South East Asia. London: Shirley Day Ltd., 1992.Hayashi, Ryoichi. The Silk Road and the Shoso-in. New York: John Weatherhill Inc., 1975.Heineken, Kiyoko and Heineken, Ty. Tansu: Traditional Japanese Cabinetry. New York: John Weatherhill Inc., 1984.McKillop, Beth. Korean Art and Design. London: Victoria & Albert Museum, 1992.Shoten, Kadokawa (Ed.). A Pictorial Encyclopedia of the Oriental Arts: Korea. New York: Crown Publishers, 1969.Smith, Lawrence and Harris, Victor. Japanese decorative arts from the 17th to the 19th centuries. London: British Museum Publications Ltd., 1982.Stevenson, John, Guy, John, and Cort, Louise Allison. Vietnamese Ceramics: A Separate Tradition. Chicago: Art Media Resources with Avery Press, 1997.Swann, Peter. Art of China, Korea and Japan. London: Thames and Hudson Ltd., 1963.Treasures of the Shosoin. Tokyo: Asahi Shimbun Publishing Company, 1965.Watson, William, Beasley, William Gerand, and Bito, Masahide. The Great Japan Exhibition. Art of the Edo Period 1600-1868. London: Royal Academy of Arts, 1981.Weeder, Erica H. (Ed.). The Rise of a Great Tradition: Japanese Archaeological Ceramics from the Jomon Through Heian Periods, 10,500 B.C.-A.D. 1185. New York: Japan Society, 1990.Yi Silla, Koryo. The Art of the Korean Potter. New York: The Asia Society, 1968.(22)Provenance: Private Scottish collection, EdinburghNote: Please note this lot will be offered with no reserve. ???????
• [A PRIVATE SCOTTISH COLLECTION, EDINBURGH]
  [A PRIVATE SCOTTISH COLLECTION, EDINBURGH] COLLECTION OF ART REFERENCE BOOKS ON CHINESE ART: MUSEUM COLLECTIONS AND EXHIBITIONS ?????????????????????Including but not limited to:Art Chinois: Musée Cernuschi acquisitions 1993-2004. Paris: Paris-Musées, 2005.Asiatic art in the Seattle Art Museum: a selection and catalogue. Seattle: Seattle Art Museum, 1973.Bruckner, Christopher. Chinese Imperial Patronage: Treasures from Temples and Palaces. London: Asian Art Gallery, 1998.Catalogue of the International Exhibition of Chinese Art: 1935-6. London: Royal Academy of Arts, 1935.Chinese Art from the Cloud Wampler and Other Collections in the Everson Museum. New York: Frederick A. Praeger, 1968.Chinese Art in the Royal Ontario Museum. Toronto: Royal Ontario Museum, 1972.Christie, Anthony. Chinese Mythology. Feltham: The Hamlyn Publishing Group Limited, 1968.City of Edinburgh Arts Centre. Gateway to the Silk Road: Relics from the Han to the Tang dynasties from Xi'an, China. Edinburgh: City of Edinburgh Museums and Galleries, 1996.Clunas, Craig and Harrison-Hall, Jessica et al. Ming: 50 Years That Changed China. London: British Museum Press, 2014.Clunas, Craig. Superfluous Things: Material Culture and Social Status in Early Modern China. Chicago: University of Illinois Press, 1991.Cook, Brian. Chinese Art. London: B. T. Batsford Ltd, 1935.Crawford, John M. The Crawford Bequest: Chinese Objects in the Collection of the Museum of Art, Rhode Island School of Design. Rhode Island: Brown University, 1993.Edmunds, Will H. Pointers and Clues to the Subjects of Chinese and Japanese Art. London: Sampson Low, Marston & Co., Ltd.Fang, Jing Pei. Symbols and Rebuses in Chinese Art: Figures, Bugs, Beasts, and Flowers. Berkeley: Ten Speed Press, 2004.Feng shui: gli oggetti dell'equilibrio. Milan: La Galliavola, 1998.Fong, Wen C. and Watt, C. Y. Possessing the past: treasures from the National Palace Museum, Taipei. New York: Metropolitan Museum of Art, 1996.Gombrich, Richard and Bechert, Heinz. The World of Buddhism. London: Thames and Hudson Ltd, 1991.Hay, Jonathan. Sensuous Surfaces: The Decorative Object in Early Modern China. London: Reaktion Books, 2010.Lawton, Thomas. Asian Art in the Arthur M. Sackler Gallery: The Inaugural Gift. Washington: Arthur M. Sackler Gallery, 1987.Ledderose, Lothar. Ten Thousand Things – Module and Mass Production in Chinese Art (The A. W. Mellon Lectures in the Fine Arts). Princeton: Princeton University Press, 2000.Lee, Sherman E. A History of Far Eastern Art. New York: Harry N. Abrams, 1982.Lee, Sherman E. et al. Eight Dynasties of Chinese Painting: Collections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art. Cleveland: Cleveland Museum of Art, 1980.Lin, James C. S. (Ed.). The Search for Immortality: Tomb Treasures of Han China. New Haven: Yale University Press, 2012.Ma, Baojie (Ed.). The Liaoning Museum. Hong Kong: London Editions, 2008.Michaelson, Carol. Gilded Dragons: Buried Treasures from China's Golden Ages. London: British Museum Press, 1999.Musée Cernuschi. Promenade Dans Les Collections Chinoises. Paris: Musée Cernuschi, 1983.Musée du Petit Palais. La Cité Interdite: Vie publique et privée des empereurs de Chine 1644-1911. Paris: Paris-Musées, 1996.National Museums of Scotland. Ming: The Golden Empire. Edinburgh: NMS Enterprises Limited, 2014.Rawson, Jessica and Rawski, Sakakida. China - the Three Emperors 1662 – 1795. London: Royal Academy of Arts, 2005.Rawson, Jessica (Ed.). Mysteries of Ancient China: New Discoveries from the Early Dynasties. London: British Museum Press, 1996.Rawson, Jessica (Ed.). The British Museum Book of Chinese Art. London: British Museum Press, 1992.Rawson, Jessica. Chinese Ornament: The Lotus and the Dragon. London: British Museum Publications Ltd., 1984.Rawson, Jessica. Ancient China: Art and Archaeology. London: British Museum Publications, 1980.Selected Masterpieces of Asian Art: Museum of Fine Arts Boston. Boston: Museum of Fine Arts Boston, 1992.Scott, Hugh. The Golden Age of Chinese Art: The Lovely T'ang Dynasty. Rutland: Charles E. Tuttle Company, Inc., 1966.Schloss, Ezekiel. Foreigners in Ancient Chinese Art; From Private and Museum Collections. New York: China House Gallery, 1969.Smith, Lawrence and Hulton, Paul. Flowers in Art from East and West. London: British Museum Publications Ltd., 1979.Splendeurs des Han: Essor de l'empire celeste. Paris: Flammarion, 2014.The Charles B. Hoyt Collection: Memorial Exhibition February 13 - March 30, 1952. Boston: Museum of Fine Arts.The Mount Trust Collection of Chinese Art. London: Victoria and Albert Museum, 1970.The Schiller Collection: illustrated catalogue. City Art Gallery Bristol, 1948.Thorp, Robert L. and Blower, Virgina. Spirit and Ritual: The Morse Collection of Ancient Chinese Art. New York: Metropolitan Museum of Art, 1982.Treistman, Judith. Pre-History of China: An Archaeological Exploration. Exeter: David & Charles, 1972.Watson, William. The Genius of China: An Exhibition of Archaeological Finds of the People's Republic of China. London: Times Newspapers Ltd, 1973.Watt, James C. Y. and Patry Leidy, Denise. Defining Yongle: Imperial Art in Early Fifteenth-Century China. New York: Metropolitan Museum of Art, 2005.Watt, James C. Y. (Ed.). Exhibition of Paintings, Calligraphy and Porcelain of the Ming Period, 1368-1644. Min Chiu Society. Hong Kong: City Hall Museum and Art Gallery, 1966.Watt, James C. Y. The Arts of Ancient China. New York: Metropolitan Museum of Art, 1990.White, Julia M. and Otsuka, Ronald Y. Pathways to the Afterlife: Early Chinese Art from the Sze Hong Collection. Honolulu: University of Hawaii Press, 1993.Whitfield, Susan. The Silk Road: Trade, Travel, War and Faith. London: The British Library Publishing Division, 2004.Yang, Xiaoneng (Ed.). The Golden Age of Chinese Archaeology – Celebrated Discoveries From the Peoples Republic of China. New Haven: Yale University Press, 1999.Zhang, Wenjun (Ed.). Henan Museum. Hong Kong: London Editions, 2009.??????. Taipei: The Globe International Corporation, 1977.Zwalf, W. Buddhism: Art and Faith. London: British Museum Publications Ltd, 1985(qty)Provenance: Private Scottish collection, EdinburghNote: Please note this lot will be offered with no reserve. ???????
• EIGHT BOOKS ON ASIAN DECORATIVE ARTS
  EIGHT BOOKS ON ASIAN DECORATIVE ARTS AND DESIGN Assortment of eight books on Asian decorative arts and design comprising: "The Freer Gallery Of Art: I China", John A. Pope, "Monks And Merchants: Silk Road Treasures From Northwest China", Annette L. Juliano and Judith A. Lerner, "The Choice Of The Private Trader: The Private Market In The Chinese Export Porcelain Illustrated From The Hodroff Collection", David S. Howard, "Japanese Art After 1945: Scream Against The Sky", Alexandra Munroe, "Japanese Porcelain", Nancy Schiffer, "Satsuma: Masterpieces From The World's Important Collections", Louis Lawrence, "Katachi: Classic Japanese Design", Takeji Iwamiya and Kazuya Takaoka, and "The Meeting Of Eastern And Western Art", Michael Sullivan. Most with dust jackets. Dimensions: Approx. of the largest, h. 1.75", w. 10.5", d. 1".
• SIX BOOKS PERTAINING TO ASIAN ARTSIX
  SIX BOOKS PERTAINING TO ASIAN ARTSIX BOOKS PERTAINING TO ASIAN ART, 1) The Collector's Book of Snuff Bottles, by Bob C. Stevens. Weatherhill Press, 1976. Slipcase. 2-3) Japanese Coloured Porcelain,. Kyoto: Kyoto-Shoin Co., Ltd. Portfolios with hardcover wraps. 4) The Silk Road, Fabrics from the Han to the T'ang Dynasty,. Slipcase. 5) The Art of the T'ang Potter, by Mario Prodan. N.Y.: Viking Press, 1960. 6) Meurto Por Las Rosas,, photographed by Eikoh Hosoe. Barcelona: Editorial Lumen, 1963.
• [CHINESE CULTURE] A group of reference
  [CHINESE CULTURE] A group of reference works about Chinese Art, comprising: — ZHANG, Daoyi. Zhongguo gudai tuan xuan. Nanjing: Jiangsu meishu chubanshe, 1991. — YANG, Hong. Weapons in Ancient China. New York: Science Press, 1992. — Gems of China’s Cultural Relics. Beijing: Cultural Relics Publishing House, 1992. — Gems of China’s Cultural Relics. Beijing: Cultural Relics Publishing House, 1993. — Gems of China’s Cultural Relics. Beijing: Cultural Relics Publishing House, 1997. — AKIYAMA, Terukazu and MATSUBARA, Saburo. Arts of China: Buddhist Cave Temples New Researches. Tokyo: Kodansha International Ltd., 1969. — AKIYAMA, Terukazu, ANDO, Kosei, MATSUBARA, Saburo, OKAZAKI, Takashi, and SEKINO, Takeshi. Arts of China: Neolithic Cultures to the Tang Dynasty Recent Discoveries. Tokyo: Kodansha International Ltd., 1968. — CHINA CULTURAL RELICS PROMOTION CENTER, Treasures: 300 Best Excavated Antiques from China. Beijing: New World Press, 1992. — The Rise of the Ancient Chinese Kingdoms: The Great Legacy of the Xia, Yin and Zhou Dynasties. Tokyo: Yomiuri Shimbun, 1993. — WANG, Renbo, LIAO, Cailiang and LUO, Zhongming. The Sui-Tang Culture. Shanghai: Xuelin chubanshe, 1990. — SO, Jenny F. and BUNKER, Emma C. Traders and Raiders on China’s Northern Frontier. Seattle: University of Washington Press, 1995. — JENYNS, R. Soame & Watson, William. Chinese Art II. New York: Rizzoli International Publications, 1980. — JENYNS, R. Soame & Watson, William. Chinese Art III. New York: Rizzoli International Publications, 1982. — GOLDSCHMIDT, Daisy L. & Gobard, Jean-Claude M.. Chinese Art. New York: Rizzoli International Publications, 1980. — HONG KONG MUSEUM OF ART. Treasures of Chang'an - Capital of the Silk Road. Hong Kong Urban Council, 1993. — NAGOYA CITY MUSEUM. Yellow River Civilization Exhibition. Central Japan News, 1986. — THE ART INSTITUTE OF CHICAGO. Deft Hands Discerning Eyes: Chinese and Korean Ceramics from the Harry B. and Bessie K. Braude Memorial Collection. Oct 24, 2007 - Jan 17, 2010. — ZHOU, Xun et al. 5000 Years of Chinese Costumes. Hong Kong: China Books & Periodicals, 1988. — ARGENCÉ, René. Treasures from the Shanghai Museum: 6,000 Years of Chinese Art. Shanghai Museum and the Asian Art Museum of San Francisco, 1983. — NHK. Chinese Civilization. NHK Promotions, 2000. — COOKE, Bill et al. Imperial China: The Art of the Horse in Chinese History. Kentucky Horse Park, 2000. — CHINA ACADEMY OF BUILDING RESEARCH. History of Ancient Chinese Architecture. China Architecture & Building Press, 1980. — THE STATE ADMINISTRATION OF CULTURAL HERITAGE et al. Heavenly Horse: The Horse in Chinese Art and Culture. 16 July - 13 October 2008. Together 23 volumes. ???????23???? — ???????????????????????1991? — ????????????1992? —?????????????????????1992?1993?1997? — ??????????????????????1990? — ?????????????????????????????1969? — ????????????????? ??????????????????????????????1968? —?????????????????????1992? — ??????????????????????????????????????????1993? — ??????·??????????????1995? — R·??????·????????II????Rizzoli????1980? — R·??????·????????III????Rizzoli????1982? — ??·????????·???????????????Rizzoli????1980? — ???????????????????????????1993? — ???????????????????????1986? — ???????????·B???·??????????????2007?10?24??2010?1?17? — ????????????????????????1988? — ??·????????????????????????????????????1983? — NHK???????????????????NHK?2000? — ??·???????????????????????2000? — ?????????????????????????????????????1980? — ?????????????????????????2008?7?16??10?13?
• A JAPANESE BRONZE CENSERA Japanese bronze
  A JAPANESE BRONZE CENSERA Japanese bronze censer, 20th Century A lobbed lidded bronze censer with applied floral and foliate decoration and grasshopper fasteners 8" H x 10" W x 9" D Provenance: Silk Road Gallery, Kamuela, HI Notes: This lot is accompanied by an undated receipt of sale from Silk Road Gallery. Dimensions: 8" H x 10" W x 9" D Provenance: Silk Road Gallery, Kamuela, HI
• ZOYA FROLOVA (B. 1953): THE SILK ROAD
  ZOYA FROLOVA (B. 1953): THE SILK ROAD IOil on silk, 1997, signed 'Zoya Frolova', titled and dated on the reverse. 34 x 34 in., 37 1/2 x 37 1/2 in. (frame). Property from the Patricia E. Saigo Collection Condition In excellent condition. Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• Persian School 20th Century/On the Silk
  Persian School 20th Century/On the Silk Road/watercolour, 27cm x 58cm/and an Egyptian papyrus watercolour of Birds in a Tree
• COPPER ALLOY FIGURE OF SHAKYAMUNI SWAT
  COPPER ALLOY FIGURE OF SHAKYAMUNI SWAT VALLEY, 8TH CENTURY ??? ??? ?????????cast seated in padmasana on a slightly waisted podium supported on a single lotus throne further raised on a stepped plinth, holding the hem of his robe in his left hand, missing right hand half raised, he wears a ripple-effect robe covering both shoulders draped on the seat, his face well defined with downcast eyes, prominent lips and nose flanked by a pair of large pendulous ears, the head and domed ushnishacovered with tight curls(1)15.5cm high; 896gProvenance: Private European collectionNote:By the fifth century, Buddhism had been thriving in Gandhara and the Swat Valley in Northern Pakistan for six hundred years. Strategically located on the ancient Silk Road, the Swat Valley was once a vibrant centre of Buddhism with flowing artistic traditions financed by the extensive trade that flowed through the Khyber and Karakorum passes. The ancient Swat Valley Buddhist art was predominantly in sculptural form and the term 'Swat Valley sculpture' refers to a region and a time period, which covers the far Western Himalayan regions inclusive of the Swat Valley, Gilgit and Baltistan from the 6th to the 9th centuries. The Swat Valley iconographic subjects were not extensive but had included important primarily buddha, peaceful deity, and complex deity figures.Offered here is a seated Buddha cast in copper alloy, the usual material for Swat Valley sculptures, covered in dark brown and a touch of forest-green patina. This finely modelled figure is a classic rendition of Buddha Shakyamuni. The Buddha is shown seated on a throne supported on a single lotus base and the large lotus petals are bulbous, polished and smooth, contrasting with the robe he wears with rippling folds. He holds the hem of his robe with his left hand. This gesture is widely employed in seated Swat Buddhas, extending the style from earlier Gandharan stone images. His face peacefully rendered, the cavity in his eyes suggests that they might have been inlaid with silver, a common finish to celebrate Buddha's enlightened nature in Swat figures.Comparable to a Swat Valley copper alloy seated Shakyamuni, 8th-9th century, which was sold at Bonham's Hong Kong, 2 Dec 2021, lot 1007; another silver-inlaid bronze figure of Buddha Shakyamuni, 7th century, was sold at Christie's New York, 15 Mar 2016, lot 44. See gilded, partial gilded and copper alloy Swat Valley figures of seated Shakyamuni in Himalayan Art Resources, item no. 1636, 9342, and 20105.