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C. 3rd millennium BC. Ancient Central Asia, Indus Valley. A fine example of an Indus Valley civilisation painted bowl with a hemispherical body and a ring foot. The interior features aa repeating brown painted ibex motif, which can be distinguished by its magnificent curved horns, framed by concentric circular registers and chevrons. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd Millennium BC. The ibex is an important motif in Indus valley art because of the animal’s reputation as a hardy survivor and fierce fighter. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition.Size: L:90mm / W:212mm ; 540g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 3rd millennium BC. Ancient Central Asia, Indus Valley. A fine example of an polychrome Indus Valley civilisation pot, with globular body a flat, round ring base and a short, and a flat rim. This ochre-coloured vessel is decorated with a band of polychrome, curved vertical lines. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Superb condition. Size: L:100mm / W:160mm ; 750g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

C. 3rd millennium BC. Ancient Central Asia, Indus Valley. A fine example of an Indus Valley civilisation pot, with globular body a flat, round base and a short, slightly outward flaring rim. This ochre-coloured vessel is decorated with a series of black, stylised vertical and horizontal lines in a repeating pattern. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Superb condition.Size: L:75mm / W:120mm ; 590g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

André Masson (French, 1896-1987)Visages dans la nuit des fleurs, 1959 signed André Masson (lower right); signed and dated André Masson 1959 (on the reverse)oil and sand on canvas40 x 79.8 cm.15 3/4 x 31 7/16 in.Footnotes:The authenticity of this work has kindly been confirmed by the Comité Masson.ProvenanceGalerie Louise Leiris, ParisPrivate Collection, EuropeSale: Kunsthaus Lempertz, Cologne, Moderne Kunst, 29 May 2003, lot 791Collection Armin Hundertmark, CologneSale: Artcurial, Paris, Art Moderne II, 8 June 2006, lot 175Acquired directly from the above by the present owner'[Masson] remained an unusual element, unclassifiable, a type of quiver which traversed through the entire painting... Masson's world is not a world of shapes, like that of the Cubists, but a world of forces.'- Daniel-Henry Kahnweiler(Typescript slipped into a letter from Daniel-Henry Kahnweiler to Curt Valentin, 10 December 1941, Paris, Archives Masson. Quoted in C. Morando, André Masson Biography 1896-1941, 2010, p. 39). André Masson was an artist who defied categorisation. His technical versatility, experimental spirit and lifelong preoccupation with metamorphosis engendered a long and storied career, spanning Cubism, Surrealism and Abstract Expressionism. By the age of 11, he was a student at the Académie Royale des Beaux-Arts et l'Ecole des Arts Décoratifs in Brussels. At 16, he was awarded the Grand Prix de l'Académie for painting, and commenced his training at the École Nationale Supérieure des Beaux-Arts in Paris. His experiments with automatic drawing – the process of freely moving materials without planning or conscious thought – attracted the attention of André Breton, Surrealism's principal theorist, in mid-1920s Paris. After he relocated to New York City in the early 1940s to escape the Nazi occupation of Paris, Masson's spontaneous and emotive approach to painting influenced Jackson Pollock's development of his quintessential action paintings. A hallucinatory vision of cosmic clusters and fantastical syllabary, Visages dans la nuit des fleurs, 1959, synthesises Masson's Surrealist roots and his later Abstract Expressionism. Using his characteristic colle ensable ('sandy glue') technique, Masson threw an admixture of sand and glue onto the stretched canvas, then formed his painterly composition around the resulting three-dimensional islands. Writing to his friend and art dealer Daniel-Henry Kahnweiler at this time, Masson exulted in this 'extreme spontaneity... having only rhythm and the fire of inspiration as my starting point.' (Letter from Masson to Kahnweiler, 15 July 1955, quoted in Donation Louise et Michel Leiris: Collection Kahnweiler-Leiris, exh. cat., Paris, 1984, p. 144). Incorporating natural phenomena into his work, in imagery and in technique, was a constant motive. During his time in the United States, Masson became fascinated with the indigenous Iroquois culture, for whom the natural world is sacred and the night sky is rich in stories and deities. In Visages dans la nuit des fleurs, abstracted, face-like symbols appear to dance across the celestial scenery like omnipotent beings. The ebb and flow of sandy rivulets forms a rhythmic backdrop, punctuated by short, staccato strokes resembling comets. The resulting effect is a transcendental crescendo, a frenzied ritual of light, colour and dance. Visages dans la nuit des fleurs was produced during Masson's 1950s période asiatique, within which he incorporated the philosophies and calligraphic forms of Zen Buddhism. Masson was first introduced to the school of thought by the Japanese writer Kino Matsuo in Paris in 1930. After studying the East Asian collections of the Museum of Modern Art and the Boston Museum of Fine Arts in the 1940s, he began experimenting with ideograms – characters encapsulating the idea of a thing, without indicating the sounds used to say it. In Visages dans la nuit des fleurs, Masson morphs these characters into a nebulous syllabary. As explained by Carolyn Lanchner, 'a great attraction of Zen for Masson was its emphasis on the immediate mystical experience as the way to ultimate truth... In practice, conjuring the void brought forth in his painting a spontaneous effusion of his own past art whose tides were stemmed or redirected by the formal concerns of the sophisticated European artist.' (Carolyn Lanchner, 'André Masson: Origins and Development,' in André Masson, exh. cat., New York, 1976, p. 186). The explosions of bold colour across a starry sky also allude to Masson's personal traumas, which ignited his long-running fixation with destiny and the ambiguity of the human condition. After suffering a grave chest wound as a French infantry soldier in World War I, Masson was confined to a series of hospitals and one psychiatric ward. Recalling the battle of Chemin des Dames in April of 1917, during which he was immobilised and left lying helpless throughout the tumult of battle, Masson recalled, 'The indescribable night of the battlefield, streaked in every direction by bright red and green rockets, striped by the wake and the flashes of the projectiles and rockets – all this fairytale-like enchantment was orchestrated by the explosions of shells which literally encircled me and sprinkled me with earth and shrapnel' (Masson, quoted in exh. cat., W. Rubin & C. Lanchner, André Masson, New York, 1976, p. 30).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Paar Buchdeckel fein bemalte Ober- und Unterplatte TIBET, ca. 15.Jh. B. 46,6 cm Im Mittelfeld ist das Fragment eines Buddha zu erkennen. Die Außenkanten beider Platten weisen noch Reste von Vergoldung auf und die Titelseiten beider Platten sin mit Lantsha-Silben in Gold verziert. Der Unterdeckel an der Außenfläche hat keinerlei Bearbeitung. Die Innenseiten der beiden Platten sind bemalt (möglicherweise in einem späteren Stil?). Die obere Platte zeigt den historischen Buddha Shakyamuni, flankiert von seinen beiden Schülern Shariputra und Moghallana. Links und rechts thronen auf goldenen Teppichen, und ihren traditionellen Sitzpolstern, zwei Patriarchen der Sakya-Schule. Weitere Patriarchen der selben Tradition sind in den beiden weißen Wolken und den beiden Ecken links und rechts zu erkennen. Alle drei Erscheinungen werden von voll erblühten Päonien umrahmt. Die untere Platte (b) zeigt unterschiedliche Gottheiten und Schützer der Sakya-Schule. Ganz links ist der "Buddha des Langen Lebens" - Amitayus - dargestellt. Danach folgt in nackter Erscheinung der Bodhisattva Padmapani mit einem Wasserfläschchen (kamanmdalu) in seiner linken Hand und die Ikone des Buddha Amitabha im Haar. Nach rechts erscheint, umgeben von einer mächtigen Feuerlohe, der sechsarmige Mahakala, mit seiner ausgespannten weißen Elefantenhaut hinter seinem Rücken. Er steht über dem geistigen Hindernis - Ganesha. Rechts, ebenfalls von einem Feuer umlodert ein weiterer Mahakala in Yab-.yum. Er sitzt in gelöster Haltung über einem Hindergeist in menschlicher Gestalt. Zwei Geistliche schweben in einer roten und in einer weisen Wolke. Die Gruppe befindet sich auf einer grünen Wiese, flankiert von einem mit Pflanzen bewachsenen Felsen (l) und einem Bäumchen mit reichlich tragenden Früchten (r). Reste von Ornamenten und Vergoldung am Oberdeckel noch vorhanden. Tempera und Gold auf hartem Holz. Provenienz: Aus einer alten süddeutschen Privatsammlung, vor 1980 bei Schoettle Ostasiatica in Stuttgart gesammelt - Berieben, part. rest. A FINE PAIR OF PAINTED WOODEN BOOKCOVERS, Tibet, ca. 15th ct. - Property from an old German private collection, assembled from Schoettle East Asian Art prior 1980 - Wear, minor rest.

Großes Thangka mit Tsongkhapa und Buddha Shakyamuni in Montierung TIBET, 19.Jh. 75 x 129 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Etwas berieben, Altersspuren, Montierung mit kleinen Altersschäden A FINE AND LARGE THANGKA DEPICTING TSONGKHAPA, TIBET, 19th ct., the centre of the painting depicting Tsongkhapa seated in vajrasana on a lotus base placed on a throne, both hands in dharmacakramudra holding stems of lotus flowers supporting the sword and manuscript, wearing a monastic garb and specific bonnet, flanked to his right by Buddha Shakyamuni showing the bhumisparshamudra with his right hand while the left is supporting the alms-bowl and to his left a lama seated astride the white elephant holding lotus stems in his hands supporting a sword and manuscript, all three surrounded by various Buddhas, bodhisattvas, tutelary and protective gods, the upper section with mahasiddhas flanking a pavilion and the lower border with various protective deities - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Minor wear, traces of age, mounting with minor damages

Feine feuervergoldete Bronze des Weito auf einem Holzsockel CHINA, Ming-Dynastie H. 32,2 cm o. S. Provenienz: Aus der Sammlung von Prof. Dr. med., Dr. phil. Hermann Schroeder (1902-1991) und seiner Familie - Vergoldung mit kleineren Abrieben, wenige sehr kleine Bestoßungen A FINE GILT-BRONZE FIGURE OF WEITO, China, Ming dynasty, on wood stand. Standing in a martial posture, his right hand supporting a lance while the right is showing the abhayamudra, wearing armour, tunic with flaring sleeves, scarf floating around his shoulders, his face displaying a severe expression with slit eyes below arched eyebrows running into his nose-bridge and his head topped with a helmet decorated with a bird-head to the front - Property from the collection of Prof. Dr med., Dr phil. Hermann Schroeder (1902-1991) and his family - Compare to a similarly cast gilt-bronze guardian figure of Vaisravana, identified by the tower held in his left hand, in the Nelson-Atkins Museum of Art, purchased by the Asian Art Acquisition Fund in memory of Laurence Sickman and illustrated in Masterworks of Chinese Art, pp. 86-7, where it is dated Yuan dynasty - Minor wear to gilding, very slightly chipped

Feines Appliqué-Thangka aus Seiden- und Brokatstoffen mit großer Yama-Darstellung TIBET, ca. 19.Jh. 200 x 143 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Kleinere Altersspuren A FINE APPLIQUE THANGKA DEPICTING YAMA, TIBET, ca. 19th ct., standing in pratyalidhasana on the bull reclining on a figure lying on a lotus base, his right hand is brandishing the khadga while the left the noose, ithyphallic, naked apart from a channavira and garland of severed heads, his bull-face displaying a wrathful expression with protruding snout, open eyes and a pair of horns, his flaming hair is secured with a tiara consisting of five skulls, flanked by his sister Yami who is offering him a skull nap filled with blood and holding a trishula, flaming halo behind, the lower section with three offerings in the form of skull naps filled with blood and the central one with various human organs - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Very minor traces of age

Cambodia or Laos, 10th-12th century. The gold plaque with fine repoussé and neatly incised details depicting three Buddhas, one in the center seated in dhyanasana, showing the bhumisparsa mudra, and wearing a samghati draped over the left shoulder, flanked by two smaller Buddhas, each kneeling on a raised pedestal with their hands clasped together, all with calm expressions and subtle smiles, the figures within a shrine surmounted by a stupa and surrounded by foliate branches.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with few miniscule losses, minor traces of age and wear, as well as soil encrustations.Weight: 4.5 gDimensions: Size 8 x 5.7 cm 

Pyu city-states, 10th century. The small coins of circular shape and crafted from solid gold with fine repoussé showing Vedic symbols, including one with a dharmachakra and another with a mythical being, all with hooks on the reverse, likely added later, for use as buttons.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with expected minor traces of age and wear. Fine copper red patina.Weight: 3.4 g (total)Dimensions: Diameter 1.2 cm (the largest) and 0.9 cm (the smallest)Literature comparison: Silver pyu coins are in the collections of the Metropolitan Museum of Art in New York, exhibited in Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century from 14 April 2014 to 27 July 2014, cat. 36A and 36B, as well as the British Museum, museum numbers 1983,0118.10 and 1884,0510.1. 

Champa, 10th-13th century. The richly decorated ring set with an oval garnet at the top and two small amethysts flanking the central stone, the ring band with fine repoussé showing recumbent elephants on the shoulder and scrolling designs as well as small gold beads at the top. Not only is the elephant the mount of the Hindu god Indra – elephant heads were also a very common architectural ornament in Cham architecture and consequently a beloved design motif in Cham jewelry.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with expected traces of age and wear as well as soil encrustations, the central stone with some natural inclusions.Weight: 10.1 gDimensions: Size 3.1 x 3.1 cm, Inner Diameter 2.5 cmPublished: Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik Volume 2, no. 32 (page 107), Budapest 2008.Assay data: Gold 67-68 %, Silver 30-31 % (traces of copper and zinc).Literature comparison: A similar piece is published in The Zelnik István Southeast Asian Gold Museum, page 59, Budapest 2013. 

Champa, 10th-12th century. The pectoral of rectangular form, with fine repoussé depicting Ganesha seated in dhyanasana, his long trunk reaching his protruding belly, and wearing a sash around his torso, surrounded by scrolling cloud designs, and set with many gemstones, one above Ganesha’s head and three in each corner. Two gold hooks allow the pectoral to be worn as a necklace.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as some verdigris and extensive soil encrustations.Weight: 32.0 gDimensions: Size 9.1 x 7.8 cmAlloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %. 

Pyu city-states, 10th century. The small coins of circular shape and crafted from solid gold with fine repoussé showing Vedic symbols, including one with a dharmachakra and two with conches, all with hooks on the reverse, likely added later, for use as buttons.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with expected minor traces of age and wear. Fine copper red patina.Weight: 4.0 g (total)Dimensions: Diameter 1.1 cm (the largest) and 0.9 cm (the smallest)Literature comparison: Silver pyu coins are in the collections of the Metropolitan Museum of Art, exhibited in Lost Kingdoms: Hindu- Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century from 14 April 2014 to 27 July 2014, cat. 36A and 36B, as well as the British Museum, museum numbers 1983,0118.10 and 1884,0510.1. 

Ava Kingdom, Upper Burma, 15th-16th century. The gold plaque with fine repoussé depicting Buddha seated in dhyanasana with the hands forming the dhyana mudra, the gesture of meditation, wearing a samghati around his left shoulder, the face with a meditative expression, long earlobes, and urna, the hair in tight curls surmounted by an ushnisha, a halo behind the head.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with expected minor traces of age and wear as well as soil encrustations.Weight: 9.6 gDimensions: Size 7.9 x 7 cm 

Champa, 10th-14th century. Shaped as a tropical fruit with many spikes all around as well as scrolling waves and other geometric patterns, all executed in fine repoussé with good incision work, with an old inscription incised in old Cham characters to the slightly recessed circular base.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Collector’s label to base.Condition: Very good condition with minor traces of age and wear, with some verdigris to the interior.Weight: 176.1 gDimensions: Height 10 cm 

Óc Eo Culture, 1st millennium AD. The coins of circular shape and each with fine repoussé showing a dharmachakra on one side and a Vedic symbol on the other.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations.Weight: 88.8 g (total)Dimensions: Diameter ca. 1.9 cm (each) 

Pyu city-states, 2nd-5th century. The gold plaque with fine repoussé depicting Buddha standing in samapada on a lotus base, his right hand raised in vitarka mudra and his left lowered in varada mudra, wearing a long flaring robe, the face showing a benevolent expression with a gentle smile, the hair in tight curls surmounted by a flaming ushnisha.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with some small tears and miniscule losses, minor traces of age and wear.Weight: 9.8 gDimensions: Size 11 x 6.2 cmAlloy composition range: Gold between 17-22 karat, the remainder consisting of various metals commensurate with the period. 

Cambodia, 18th-19th century. The silver coins of circular shape and with fine repoussé showing roosters with long feathers. Prior to 1875, the tical was the currency of Cambodia.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations, some with verdigris and signs of erosion.Weight: 16.2 g (total)Dimensions: Diameter 1.8 cm (the largest) and 1.2 cm (the smallest)

Cambodia, 17th-18th century. The silver coins of circular shape and with fine repoussé showing roosters with long feathers. Prior to 1875, the tical was the currency of Cambodia.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations, minor signs of erosion, and fine malachite-green patina on most coins.Weight: 35.4 g (total)Dimensions: Diameter 2 cm (the largest) and 1.2 cm (the smallest) 

Champa, 10th-12th century or later. One box shaped as a cup with fine geometric decorations, the other box with similar decorations with fine incision work and the cover with spikes as you would find them on a tropical fruit, all skillfully executed in repoussé. The larger box with an old inscription in old Cham characters to the flat circular base.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition commensurate with age, with traces of age and wear, some verdigris, and soil encrustations. The cover of the smaller box is lost.Weight: 206.6 g (total)Dimensions: Height 9.5 cm and 6.5 cm 

Champa, 10th-13th century. The richly decorated crown with fine repoussé depicting three Garudas, only the central bird with wings but all three exhibiting both bird and human features, such as a beak as well as arms, set with gemstones above each bird, five above the central Garuda and three above the other two. Garuda is a legendary bird of Hindu, Buddhist and Jain mythology, a divine eagle-like sun bird and the king of birds as well as the mount of Vishnu.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Condition: Very good condition with minor traces of age and wear, some minor bending, and soil encrustations.Weight: 81.3 gDimensions: Height 7.9 cm, Width 14.5 cmPublished: Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik Volume 2, no. 3 (pages 55, 56 and 97), Budapest 2008. Art of Champa, Arts of Southeast Asia, pages 68 and 94, Issue 4, 2020.Assay data: Gold 68 %, Silver 30 %, Copper 1 %. 

Pyu city-states, 2nd-10th century. The oval gold plaque with fine repoussé depicting Buddha seated in dhyanasana on a double lotus throne and forming the bhumisparsa mudra with his hands while wearing a samghati over his left shoulder, the face with a meditative expression, long earlobes, and ushnisha, within a shrine surmounted by five stupas.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition, some minor bending, several small losses, and minor traces of age and wear.Weight: 15.4 gDimensions: 11.6 x 8 cmAlloy composition range: Gold between 17-22 karat, the remainder consisting of various metals commensurate with the period. 

Khmer Empire, late Angkor period, 14th-15th century. The box and cover crafted from silver and of octagonal shape with a splayed foot, finely executed in repoussé with foliate and floral designs, the base with a mark in the form of a flower within a shrivatsa (endless knot), the cover topped by a gold element with fine repoussé decorations in a floral composition bordered by scroll designs.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear, the gold top attached to the cover with black wax.Weight: 29.4 gDimensions: Height 4.3 cm 

Champa, 10th-14th century. Shaped as a tropical fruit with many spikes all around as well as scrolling waves and other geometric patterns, all executed in fine repoussé with good incision work.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Collector’s label to base.Condition: Very good condition with minor traces of age and wear, with little verdigris and copper-red patina to the interior.Weight: 165.0 gDimensions: Height 11 cm 

Indonesia, Java, 19th century. The large silver crown consisting of many separately crafted pieces riveted together, impressively executed in fine repoussé with minute floral and geometric patterns all around, with the frontal element showing an imposing bird of prey with large wings.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 1,048 gDimensions: Height 23.8 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, pages 200/201, Budapest 2013. 

Indonesia, Tanimbar, 19th century or earlier. The richly decorated dish executed in fine repoussé, showing four phoenixes arranged in a stylized swastika in the center of the well surrounded by scroll borders, with a geometric border around the interior sides and another scroll border around the rim.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with minor traces of wear, few miniscule losses around the rim.Weight: 103.6 gDimensions: Diameter 27 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 220, Budapest 2013. 

Champa, 10th-12th century. The head displaying the classic iconography of Shiva, the central deity of the Cham people, with long earlobes and piled up locks of hair. The face showing a fine, calm expression with almondshaped eyes, one uninterrupted bow-shaped eyebrow below the third eye, a broad nose, an elegantly curved mustache, and thick lips forming a subtle smile. Gold and silver Shiva heads such as this one once belonged to mukhalingas but were often separated due to the weak riveting used to fix the heads to the linga bodies.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 260.2 gDimensions: Height 17.2 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 174, Budapest 2013. 

Pyu city-states, 2nd-10th century. The semi-translucent stone of a black color with white bands and natural dark-brown inclusions, skillfully carved and incised as a dog with a bushy bifurcated tail obscuring its hind legs. Pierced through the dog’s neck and tail to allow for suspension as a pendant.This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is a very rare, beautiful, and natural banded black agate with natural white stripes and the talisman is original, ancient, cut by hand with carving, boring and grinding. The color is original and natural, with no trace of dying in the material and microcracks. The stone has been cleaned by hand using organic oil and its surface is smooth and polished, while the fine ancient patina has been preserved. The marks of primitive tools are clearly visible on the surface. The holes are ancient, handmade, irregular, funnel-shaped, executed from both sides using iron needles. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear, one tiny natural fissure to the tail.Weight: 15.4 gDimensions: Length 4.3 cmLiterature comparison: A very similar dog talisman is published in Burmese Gemstone Amulets and Talismans Volume 1 (part of the series From the Collection of Dr. Zelnik), page 168, Budapest 2016. 

Champa, 10th-13th century. The richly decorated ring set with an oval amethyst at the top flanked by two smaller gemstones (zircon and aventurine), the ring band with fine repoussé showing stylized tiger heads on the shoulder and scrolling cloud designs at the top.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with expected traces of age and wear as well as soil encrustations, the central stone with some natural inclusions.Weight: 12.5 gDimensions: Size 3.6 x 3.5 cm, Inner Diameter 2.5 cmPublished: Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik Volume 2, no. 24 (page 104), Budapest 2008.Assay data: Gold 67-68 %, Silver 20-30 %, Copper 1-2 % (traces of iron and zinc).  

Champa, 10th-12th century. The richly decorated pendant with fine repoussé depicting Ganesha dancing surrounded by scrolling cloud designs and set with five gemstones above the Hindu deity’s head and three gemstones below his feet.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations.Weight: 32.6 gDimensions: Size 9.2 x 7.7 cmAlloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %.

Cambodia or Laos, 10th-12th century. The gold plaque with fine repoussé and neatly incised details depicting Buddha standing in samapada on a double lotus dais, his right hand raised in abhaya mudra, wearing a samghati draped over the left shoulder, showing a calm expression with almond eyes, long earlobes, a broad nose, and a benevolent smile, the hair in tight curls surmounted by an ushnisha.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with some minor bending, traces of age and wear, as well as soil encrustations.Weight: 3.5 gDimensions: Size 8.4 x 3.9 cm 

Burma, 15th-17th century. The gold plaque with fine repoussé depicting Buddha standing with the right hand raised in abhaya mudra and the left hand lowered in vitarka mudra, wearing a samghati around his left shoulder, the face with a meditative expression, long earlobes, and urna, the hair in tight curls surmounted by an ushnisha, a halo behind the head. The edges of the plaque are pierced with several small holes for attachment.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with one miniscule tear around a piercing to the lower edge, expected minor traces of age and wear as well as soil encrustations.Weight: 5.5 gDimensions: Size 8.9 x 5.1 cm 

Southeast Asia, 1st millennium AD. The coins were excavated in Myanmar, in what was formerly the territory of Champa, most of circular form and a few coins of rectangular or irregular shape, all of varying size and thickness, and with fine repoussé showing Vedic symbols, sun, star, and floral designs, Sanskrit characters, conches, bulls, mythical beasts, and deities.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations, some coins with verdigris.Weight: 612.0 gDimensions: Diameter 3.8 cm (the largest) and 0.9 cm (the smallest) 

Pyu city-states, 2nd-10th century. The opaque stone of a black tone, finely carved to represent a leopard seated upright with all four paws on the ground, the tail only indicated by fine incision work. Pierced through the sides to allow suspension as a pendant.This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is a black agate (onyx) and the talisman is original, ancient, cut by hand with carving, chiseling, boring and grinding. The color is natural. The stone has been cleaned by hand. There are sandy deposits in the recesses of the surface. There are no traces of dye on the surface of the stone. The marks of authentic ancient craftsmanship are clearly visible. The holes are ancient, handmade, irregular, funnel-shaped, with no trace of intervention at a later period. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 60.4 gDimensions: Height 6.2 cm 

Champa, 10th-12th century. The richly decorated silver pendant of rhombic shape, with fine repoussé depicting Ganesha dancing, surrounded by scrolling cloud designs, and set with two gemstones to either side and three gemstones at the bottom.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with expected minor traces of age and wear, some verdigris here and there, some tarnishing and golden-brown patina in some areas.Weight: 29.9 gDimensions: Size 11.5 x 8.9 cm. 

Burma, 6th-10th century. The bangle with one end molded as a very expressive dragon head with the open mouth revealing its teeth, the dragon’s scales covering the entire bangle save for the other end of globular shape.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition commensurate with age, with traces of age and wear, and a fine malachite-green patina.Weight: 157.2 gDimensions: Outer Diameter 10.1 cm, Inner Diameter 7.6 cm 

Champa, 10th-12th century. The richly decorated pectoral with fine repoussé depicting Nandi, the holy white bull of Hindu mythology and mount of Shiva, the top section of the pectoral representing nagas but reminiscent of bull horns in their shape, surrounded by scrolling cloud designs, set with four gemstones (zircon and amethyst) above the bull. Two gold hooks allow the pectoral to be worn as a necklace.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as little verdigris and soil encrustations.Weight: 21.2 gDimensions: Size 5.7 x 8.8 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 140, Budapest 2013.Alloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %. 

Pyu city-states, 2nd-10th century. The mostly opaque stone of a mottled spinach-green tone with natural dark inclusions, finely carved as a tiger carrying a cub in its mouth with only the four small legs showing, a very rare depiction. Pierced through the tiger’s neck and tail to allow suspension as a pendant. This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is an aventurine and the talisman is original, ancient, cut by hand with carving, boring and grinding. The color is natural. There are no traces of dye in the recesses or on the surface of the stone. There are clearly visible traces of authentic ancient craftsmanship on the surface. The stone has been cleaned by hand; the fine ancient patina has been preserved. The holes are ancient, handmade, irregular, and funnel-shaped. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations.Weight: 66.2 gDimensions: Length 9.9 cmLiterature comparison: Similar tiger talismans are published in Burmese Gemstone Amulets and Talismans Volume 1 (part of the series From the Collection of Dr. Zelnik), pages 94/95 and 142/143, Budapest 2016. 

Cambodia or Laos, 10th-12th century. The gold plaque with fine repoussé and neatly incised details depicting three Buddhas, one in the center seated in dhyanasana on a lotus throne, showing the bhumisparsa mudra, and wearing a samghati draped over the left shoulder, flanked by two smaller Buddhas, each kneeling on a lotus pedestal with their hands clasped together, all with calm expressions and subtle smiles, the central figure with an ushnisha, all within a shrine surmounted by seven stupas.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations.Weight: 5.9 gDimensions: Size 8 x 6.7 cm 

Champa, 14th-17th century (the larger box) and 19th century (the smaller box). Both of globular form and shaped as tropical fruit with stems at the top, executed in fine repoussé with geometric patterns throughout, the larger box with silver wire petals below the stem, the smaller box with a neatly incised leaf next to the stem.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition commensurate with age, with traces of age and wear, some verdigris, and soil encrustations. The cover of the smaller box is lost.Weight: 137.8 g (total)Dimensions: Height 6 cm and 5 cmLiterature comparison: A similar piece is in the National Museum of Cambodia, inventory number Ga.4826. 

Cambodia, pre-Angkor period, 6th-9th century. The lingam of oblong shape in a stepped circular yoni, a symbol of fertility and creation representing Lord Shiva.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition commensurate with age, with extensive traces of age and wear, fine-malachite green patina throughout the exterior.Weight: 120.2 gDimensions: Height 6.6 cm, Diameter 11 cm 

Pyu city-states, 2nd-10th century. The translucent stone of a light to brownish cream tone with bands of yellow, brown, and grey as well as natural white inclusions, skillfully carved and neatly incised to depict a tiger with the back arched and the front paws extended forwards as if preparing to pounce at its prey. Pierced through the tiger’s mouth and tail to allow suspension as a pendant.This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is a natural banded ‘honey’ agate and the talisman is original, ancient, cut by hand with carving, chiseling, boring and grinding. The color is rare, original, and natural. The stone has been cleaned in a tumbler and re-polished by hand to a smooth and shiny surface while preserving the fine ancient patina. There are no traces of later dying in the recesses of the stone. The marks of authentic ancient craftsmanship are still visible. The holes are ancient, handmade, irregular, and funnel-shaped. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 56.9 gDimensions: Length 7.9 cmLiterature comparison: Similar tiger talismans are published throughout Burmese Gemstone Amulets and Talismans Volume 1 (part of the series From the Collection of Dr. Zelnik), Budapest 2016, a closely related tiger is illustrated on page 99. 

Champa, Tra Kieu style, 10th-12th century. The richly decorated pectoral of an elegantly curved three-pronged shape, with fine repoussé depicting Ganesha dancing surrounded by scrolling cloud designs, and set with many different gemstones, seven gemstones above Ganesha’s head forming a flower. Two gold hooks allow the pectoral to be worn as a necklace.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as some verdigris and soil encrustations.Weight: 46.5 gDimensions: Size 10 x 13.8 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 151, Budapest 2013. Art of Champa, Arts of Southeast Asia, page 73, Issue 4, 2020.Alloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %. 

Khmer Empire, Angkor period, 10th-13th century. The plaques with fine repoussé depicting a dancing deity wearing a crown, flanked by two mythical beasts, and surrounded by leafy vines.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with few small losses, minor expected traces of age and wear, and soil encrustations.Weight: 93.6 gDimensions: Size 16.8 x 13.6 cm 

Champa, 10th-14th century. One box of globular shape and two of octagonal form, each executed in fine repoussé with floral and geometric designs, two with skillfully executed repoussé floral marks to the base.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition commensurate with age, with extensive traces of age and wear, few small losses, two boxes with areas of verdigris.Weight: 72.0 g (total)Dimensions: Height 2.5 cm (the shortest), 6 cm (the tallest)Published: The Zelnik Istvan Southeast Asian Gold Museum, page 197, Budapest 2013 (the mid-sized box, erroneously described as from Cambodia, Angkor period).Literature comparison: A similar octagonal medicine box is in the National Museum of Cambodia, inventory number Ga.5732. 

Champa, 10th-12th century. The box of square form with a square pyramidshaped cover surmounted by a round stepped finial. Finely executed in repoussé with male deities under arches on the box and Nandi bulls on the cover, all surrounded by scrolling cloud designs, and set with multiple gemstones (spinel, amethyst, zircon, and almandine), one on each side of the box and four on the finial as well as a pierced gemstone bead at the top.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with minor traces of age and wear, some small dents and minor bending, soil encrustations, and a fine malachite-green patina in some areas, particularly to the interior.Weight: 164.1 gDimensions: Size 11.5 x 9 x 9 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 145, Budapest 2013. This piece will also be featured in the upcoming book Gold and Silver Masterpieces from the Collection of Dr. Zelnik, to be published in 2021.Alloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %.Literature Comparison: A similar piece is published in Gold Treasures of the Cham kingdoms from the Collection of Dr. Zelnik Volume 2, no. 108 (pages 90-92), Budapest 2008, which is also published in Art of Champa, Arts of Southeast Asia, pages 72 and 117/118, Issue 4, 2020. 

Burma, 19th century. The ring top set with a large oval ruby, the shoulder set with two smaller round rubies surrounded by fine gold thread decorations, each small ruby appearing as a rose with the gold thread forming the stalk and leaves. Hallmarked at the bottom of the ring band.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Excellent condition with few minor traces of age and wear.Weight: 10.8 gDimensions: Size 2.6 x 2.6 cm, Inner Diameter 2.1 cm 

Champa, 10th century. The crown with fine repoussé depicting the head of Shiva flanked by two dancing apsaras and further decorated with foliate, geometric, and scrolling designs.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Condition: Very good condition with minor traces of age and wear, some minor bending, and soil encrustations.Weight: 35.9 gDimensions: Height 7.7 cm, Length 16 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, pages 110/111, Budapest 2013, and Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik Volume 1, no. 1 (pages 38/39 and 86), Budapest 2007. Art of Champa, Arts of Southeast Asia, page 51, Issue 4, 2020.Assay data: 66-67 % Gold, 29-30 % Silver, 2% Copper, traces of iron and zinc. 

Pyu city-states, 2nd-10th century. The opaque stone of a mottled spinach-green tone with natural white and dark inclusions, skillfully carved as a seated monkey looking sideways with its hands clasped together behind its head, as if trying to hide a piece of food or precious object it has found. Pierced through the monkey’s hands and legs to allow suspension as a pendant.This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is a green aventurine and the talisman is original, ancient, cut by hand with carving, boring and grinding. The color is original and natural. The stone has been cleaned by hand while preserving the fine ancient patina. There are no traces of dying in the recesses of the stone. The marks of authentic ancient craftsmanship are clearly visible. The holes are ancient, handmade, irregular, funnel-shaped, with no signs of modern intervention. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 24.1 gDimensions: Height 5.5 cm 

Champa, 10th-12th century. The head displaying the classic iconography of Shiva, the central deity of the Cham people, with long earlobes and piled up locks of hair. The face showing a fine, calm expression with almond-shaped eyes, one uninterrupted bow-shaped eyebrow below the third eye, a broad nose, an elegantly curved mustache, and thick lips forming a subtle smile. Gold and silver Shiva heads such as this one once belonged to mukhalingas but were often separated due to the weak riveting used to fix the heads to the linga bodies.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with minor traces of age and wear, little verdigris here and there, some discoloration, and a fine iron-red patina.Weight: 146.6 gDimensions: Height 12.3 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 174, Budapest 2013. Jean-François Hubert, The Art of Champa, page 98, New York 2015. 

Cambodia or Laos, 10th-12th century. The gold plaque with fine repoussé and neatly incised details depicting Buddha standing on a lotus dais, his right hand raised in abhaya mudra, wearing a samghati draped over the left shoulder, showing a calm expression with downcast eyes, long earlobes, a broad nose, and a subtle smile, and wearing a crown.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with some minor bending, traces of age and wear, as well as soil encrustations.Weight: 3.0 gDimensions: Size 8.5 x 3.7 cm 

Burma, 18th-19th century. The small yet impressively crafted box and cover of compressed globular form with a splayed foot, the cover with a conical protuberance reminiscent of a stupa around which eight oval rubies are set in a floral composition, the settings with fine gold wire decorations in the form of flower petals, the box and cover finely executed in repoussé with floral and foliate designs.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear, some small dents.Weight: 28.6 gDimensions: Height 6.7 cm 

Champa, 10th-14th century. The box of compressed globular form, executed in fine repoussé with overlapping lotus leaves, the cover with a finial in the form of a closed lotus bud.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as few soil encrustations to the interior.Weight: 104.0 gDimensions: Height 7 cm, Diameter 7.7 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 72, Budapest 2013 (erroneously described as Ayutthaya, 14th-15th century).Alloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %. 

Champa, 12th-14th century. The dish executed in fine repoussé, showing four monkeys in the center of the well surrounded by a geometric border, with a scrolling tendril border around the rim.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with minor traces of wear, some tears and associated losses to the well, a tear to the rim as well.Weight: 93.7 gDimensions: Diameter 19.4 cmAlloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %. 

Champa, 10th-12th century. The hairpin with a finial in fine repoussé showing the head of Ganesha on all four sides, crowned by two small balls, the lower one set with four gemstones and the upper one set with a gemstone at the top, all richly decorated with gold thread and small gold beads.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with expected minor traces of age and wear as wellas few soil encrustations.Weight: 24.4 gDimensions: Length 18 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 68, Budapest 2013.Alloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %. 

Champa, 10th-12th century. The pectoral of rectangular form, with fine repoussé depicting Ganesha seated in dhyanasana, his long trunk reaching his protruding belly, and wearing a sash around his torso, surrounded by scrolling cloud designs, and set with six gemstones, three above Ganesha’s head and three below him. Two gold hooks allow the pectoral to be worn as a necklace.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations.Weight: 17.7 gDimensions: Size 6.3 x 9.1 cmAlloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %. 

Champa, 10th-15th century. The betel holder of cylindrical shape tapering upwards to a stepped conical finial. The slightly recessed circular base executed in fine repoussé showing a tiger, indicating this piece was crafted by a Chamking’s personal goldsmith or workshop. This fine gold betel nut container was likely once a gift to a Vietnamese emperor from a Cham king.Provenance: Ex-collection of Bao Dai, last emperor of the Nguyen dynasty (a letter of provenance signed by Dr. Zelnik will be handed out to the winning bidder upon request). Ex-Collection of The Zelnik István Southeast Asian Gold Museum, acquired from the above. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear, some soil encrustations, as well as white betel residue to the interior.Weight: 44.4 gDimensions: Height 9.5 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 195, Budapest 2013.Alloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %.Literature comparison: A very similiar gold betel nut container is published in Art of Champa, Arts of Southeast Asia, page 47, Issue 4, 2020. 

Samon Valley culture or early Pyu city-states, 800 BC-5th century AD. The ancient necklace consisting of 31 amethyst beads of oval and round shapes, pale to deep lavender color, and varying translucency, held together by a modern plastic string.This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stones are rare pink-colored amethysts, original, ancient, cut, carved, chiseled, bored, and ground. The beads are of different sizes and all made by hand using primitive tools. The color is original and natural. The stone has been cleaned by hand while preserving the fine ancient patina. There are no traces of later dying in the recesses of the stone. The beads have been cleaned by hand while preserving the fine ancient patina. The holes are ancient, handmade, and irregular. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear, some natural fissures to the stones, and surface scratches. Weight: 62.3 gDimensions: Length 49 cmPublished: Burmese Gemstone Beads From The Collection of Dr. Zelnik, no. BR. 856 (page 375), Budapest 2019. 

Champa, 8th-10th century. The gold plaques of rectangular form, each executed in fine repoussé depicting a standing elephant with distinctive features, such as the large ears, long trunk, and curved tusks, and with the tail raised high, as well as embossed with Sanskrit or old Cham characters. Each plaque pierced with small holes in all four corners for attachment.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations.Weight: 5.0 gDimensions: Size 5.2 x 4.1 cm and 5 x 3.7 cmAlloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %.Literature comparison: A similar piece is published in The Zelnik István Southeast Asian Gold Museum, page 184, Budapest 2013. Two related plaques are also in the National Museum of Cambodia, inventory numbers NMC.325 and NMC.323. 

Champa, 15th-16th century. The plaque finely executed in repoussé depicting Vishnu, one of the principle deities of Hinduism, four-armed and holding the Sudarshana Chakra (war disk), a conch, a mace, and a divine jewel in his hands, wearing a high crown, richly adorned in jewelry, the face with a fine expression with arched brows, almond-shaped eyes, a broad nose, and slender lips, a halo behind his head, the attendant child to Vishnu’s side holding a lotus flower high above his head.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with some minor bending and tears, some small losses, and minor traces of age and wear.Weight: 98.0 gDimensions: Size 33.9 x 19 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 40, Budapest 2013.