Chinese Bronze Tomb Vessel

Hollow-formed, sitting cross-legged flanked by uptala flowers, hands held in the mudra of instruction; black pigment to the hair and inset ruby-coloured gemstones to the headdress. 1.29 kg, 22 cm high



Acquired 1980-2015. Ex Abelita family collection.

Modelled in the round with a double hump, neck gracefully resting against the back, and legs folded beneath the body. 164 grams, 56 mm



Acquired in the 1960s. From the collection of Mr Jay Gluck (1927-2000) & Mrs Sumi Hiramoto Gluck. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12063-214191.

Camel-shaped water droppers would have been perfect not only for dispensing water onto the inkstone, but also because the humps could form as a brush rest too. The form of our artefact showcases the rapid cultural interaction and integration between China and Central Asia during the early dynasties of China. By the Tang Dynasty, China was one of the most cosmopolitan empires on earth with traders and missionaries from across Asia, Europe and Africa in the capital Chang'an. Depictions of two-humped Bactrian camels in pottery symbolised wealth, trade and international networks. The famous calligrapher and painter Qi Gong (1912-2005) owned a similar gilt-bronze camel paperweight, who according to his records purchased it in an antique shop in Japan. Qi Gong even renamed his studio 'The Little Bronze Camel Studio' (xiao tong luo guan’).

A hare's fur tea bowl of conical form, with everted rim and discoid foot, the interior decorated with a lustrous blackish glaze shot through with streaks of blue-silver 'hare's fur' markings, the exterior displaying russet and silver markings, the brown ware visible towards the foot. 302 grams, 12.9 cm



UK gallery, early 2000s.