A SANDSTONE HEAD OF BUDDHA, NORTHERN WEI DYNASTYChina, 386-534. Well carved with a slightly elongated face rendered with a beatific expression, with downcast eyes below gracefully arched brows, with a gently curved mouth breaking into a smile and a pronounced long nose, framed by a pair of pendulous earlobes, his hair swept up into a domed ushnisha.Provenance: A noted private collection in the United Kingdom.Condition: Good condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, encrustations, small nicks, light scratches. The stone with a rich, naturally grown patina with extensive pinkish-red encrustations.Weight: 1,946 g (incl. stand), 1,633 g (excl. stand) Dimensions: Height 23.6 cm (incl. stand), 16.2 cm (excl. stand)With a wood stand. (2)Several cave complexes, commonly referred to as Buddhist grottoes, were constructed during the Northern Wei dynasty. The Longmen, Gongxian, and Yungang cave grottoes in the Henan and Shanxi provinces are the largest and most famous grottoes from this period. They consist of thousands of sculptures including stupas, stele, and figural sculptures, some with extensive inscriptions. The largest complex, the Longmen grottoes, consists of 110,000 Buddhist stone statues, more than 60 stupas, and 2,800 inscriptions carved on steles. The present lot is an example of a grotto sculpture from this period and is comparable to a sandstone head of the Buddha from the Yungang grottoes (see below).Auction result comparison: Type: Related Auction: Bonhams Paris, 13 June 2023, lot 50 Price: EUR 19,200Description: A small sandstone head of buddha, Northern Wei dynasty Expert remark: Compare the related serene expression, downcast eyes, and domed ushnisha. Note the similar size (19.2 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
534325 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534325 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
534325 Los(e)/Seite
A TIANQI AND QIANGJIN LACQUER CABINET, QIANLONG TO JIAQING PERIOD 乾隆至嘉慶時期戧金填漆開光櫃China, 1736-1821. The rectangular cabinet supported on a waisted foot raised and rectangular stand with two scroll-form feet, with two doors opening to reveal two shelves, below canted shoulders containing two drawers, all surmounted by a smaller two-door rectangular cabinet.The front is finely lacquered in red, brown, green, and black with a hilly river landscape lined with trees including pine and willow, houses, and bridges, the sides similarly decorated with foliate and angular scroll enclosing flower baskets, bats, and lotus, all framed by key-fret borders.Provenance: From a London dealer-collector, acquired from a car boot sale in Cambridge, United Kingdom. Condition: Good condition, commensurate with age, showing expected old wear, small losses, minor old repairs, light scratches, nicks and chips. Overall with a naturally grown patina and displaying remarkably well.Weight: 3,660 g Dimensions: Height 51.5 cm, Width 46.6 cm, Depth 12.9 cm The metal hinges and fittings are finely chased with leafy vines against a ring-punched ground and the pulls are shaped like pomegranates.Expert's note: The present lot is remarkable not only for its unusual shape, but also for the quality of carving, rendering a complex design of various motifs with meticulous attention to detail. The contrasting high and low reliefs through layers of rich Tianqi and Qiangjin lacquers accentuate the three-dimensionality of the decoration, revealing the opulent taste of the Qianlong emperor whose influence was still felt well into the Jiaqing reign.Auction result comparison: Type: Related Auction: Bonhams London, 3 November 2022, lot 138 Price: GBP 10,200 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing Description: A rare carved cinnabar lacquer cabinet, Qianlong/Jiaqing period Expert remark: Compare the closely related form, albeit with a different material, and the identical pomegranate pulls and engraved metal fittings. Note also the related size (50 cm high). 乾隆至嘉慶時期戧金填漆開光櫃中國，1736-1821 年。木櫃上下兩部分，上部分是一個可以對開的小櫃子，下部分為一層抽屜、對開櫃子、一層抽屜以及雙足。第一層抽屜為左右兩個抽屜，斜角。對開櫃子打開後上下兩層，左右開間，共四個小方間。最下面的抽屜只有一層。雙足直角外翻上再内卷。通體填漆戧金、描金裝飾，畫面富麗。第二層門芯板飾山水圖，奇岩矗立，蒼樹繁茂，岸邊數間屋舍叢聚，畫面佈局富有層次，情懷雅緻。側面同樣飾有葉角捲軸，內有花籃、蝙蝠、蓮花，雷紋邊框。 來源：倫敦經銷商收藏家，從英國劍橋的一個汽車後備箱拍賣中購得。 品相：狀況良好，磨損、小缺損、輕微小修、輕微劃痕、刻痕和缺口，自然包漿。 重量：3,660 克 尺寸：高 51.5 厘米，寬 46.6 厘米，深 12.9 厘米 拍賣結果比較: 形制：相近 拍賣：倫敦邦翰斯，2022年11月3日，lot 138 價格：GBP 10,200（相當於今日EUR 14,000） 描繪：清乾隆/嘉慶剔紅亭台人物圖小櫃 專家評論：比較非常相近的外型，但不同的材質，相同的石榴拉環和雕刻金屬配件。請注意相近的尺寸(高50 厘米)。
A RARE ARCHAIC BRONZE RITUAL WINE VESSEL, HU, MIDDLE WESTERN ZHOU DYNASTY 西周中期罕見青銅壺 Expert's note: This vessel comes in a 100% untreated, original, as-excavated condition unlike most of the large Shang and Zhou Dynasty bronzes in circulation, which typically have undergone substantial restoration and patina treatment/enhancement. The X-Ray (images 3 and 4) reveals that the meticulously incised design is in a magnificent state of preservation just below the patina. The X-Ray (images 20, 21, 22 and 23) further reveals that there is no repair work whatsoever, and that deep surface corrosion is minimal. Overall, it must be said that such a large vessel, which such fine designs, and in such a good condition must be regarded as very rare. (more x-ray images available upon request) China, 10th-9th century BC. The sides flat-cast with four rows of large fish scale patterns with combed borders, below two pairs of long-tailed birds confronted on a leiwen band between a pair of lug handles flanking the base of the neck, the whole raised on a spreading pedestal foot pierced on two sides with a circular aperture. The bronze is covered overall in a magnificent, naturally grown patina with extensive malachite, cuprite, and azurite encrustation.Provenance: A Far Eastern collector in Queens, New York, USA. Originally, one of a pair. The other sold from his collection at Christie's New York, 26 March 2003, lot 155, and is now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Michael B. Weisbrod, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Excellent condition, commensurate with age. Extensive wear, minor losses and small nicks, light scratches, encrustations. Natural patina overall with extensive malachite, cuprite, and azurite encrustations. The patina further with scattered cloth imprints from ancient linen into which the vessel was shrouded before being buried, now long gone. X-ray images proving the excellent condition are available upon request.Weight: 5,480 gDimensions: Height 40.5 cmLiterature comparison: Compare the counterpart to this jar, once in the same collection as the present lot, at Christie's New York, 26 March 2003, lot 155, and now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Compare also a similar bronze hu, with cover, found in Baijia, Fufeng, Shaanxi province, 1975, and now in the Fufeng County Museum, illustrated in Zhonguo meishu quanji, gongyi meishu, bian 4, qingtongqi (1), (The Great Treasury of Chinese Fine Arts, Arts and Crafts, volume 4, Bronzes (1)), Beijing, 1987, page 192, no. 213, where the pattern on the body is described as fish scales. It is possible, however, that this may be feathers, which would relate to the birds on the neck. Either way, the patterns on the present vessel and the published example are identical. Compare also a related hu, of more slender form with a band of confronted birds on the neck between the lug handles, and rows of overlapping feathers or fish scale patterns of smaller size covering the body, in the collection of the Shanghai Museum, included in the exhibition, Ancient Chinese Bronzes, Hong Kong Museum of Art, 1 February-3 April 1983, no. 28. Like the present hu, this example is dated to the middle Western Zhou period.西周中期罕見青銅壺中國，公元前十至九世紀。兩側平鑄，浮雕四排魚紋，下面兩對長尾鳥紋，雷紋帶，頸部兩側分別有一貫耳。圈足外撇，有一個孔。青銅壺整體美麗的綠色皮殼，并有綠色、藍紅色鏽斑。 來源：紐約皇后區遠東收藏家，原本是一對。另一個於2003年3月26日紐約佳士得售出，Lot 155，目前在英國沃克郡 Compton Verney 美術館，編號CVCSC 0303.A；Michael B. Weisbrod購於上述藏家處。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。品相：狀況極佳，與年齡相稱。大面積磨損、輕微損失和小劃痕、結殼。整體天然皮殼，帶有大量綠色、紅色以及藍色鏽斑。可根據要求提供證明狀況良好的 X 射線圖像。 重量：5,480 克 尺寸：高40.5 厘米 文獻比較： 比較一件來自同樣收藏的青銅壺，見紐約佳士得，2003年3月26日，lot 155，現藏英國瓦立克郡Compton Verney Art Gallery，編號CVCSC 0303.A。比較一件類似的帶蓋青銅壺，1975年出土於陝西扶風白家，現藏於扶風縣博物館，圖見《中國美術全集》，卷四，〈青銅器1〉(The Great Treasury of Chinese Fine Arts，Arts and Crafts，volume 4，Bronzes (1))，北京，1987年，頁192，編號213；此青銅器器身的花紋被描述為魚鱗。不過，這有可能是羽毛，這與青銅器頸部上的鳥紋有關。不管怎麼說，現拍品的圖案和已發表的例子是一樣的。比較一件相近的西周中期青銅壺，它的形狀更細長，頸部有一圈對峙的鳥紋，身體上有一排重疊的羽毛或小尺寸的魚鱗紋，收藏於上海博物館，曾展覽於1983年2月1日至4月3日香港藝術館，《中國古代青銅器》，編號28。13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A THANGKA DEPICTING SHADBHUJA MAHAKALATibet, 19th to mid-20th century. Distemper and gold on cloth. Finely painted, the six-armed deity depicted in a striding pose, trampling upon Ganapati, surrounded by a mass of blazing flames. He holds various attributes in his hands, including a vajra, a skull cup, a damaru, and an outstretched elephant skin. He bears a fearsome expression on his face, and he wears a garland of skulls and a tiger skin around his waist. Provenance: From an Austrian private collection.Condition: Very good condition with minor wear, light fading, minimal soiling, and minor fraying to edges.Dimensions: 62 x 86.5 cmThe upper and lower registers with wrathful deities including Mahakala and Palden Lhamo, centered at the top by the Mahasiddha Saraha holding an arrow. All within a verdant landscape with colorful swirling clouds. Auction result comparison: Type: Related Auction: Christie's London, 12 May 2015, lot 126 Price: GBP 11,250 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A thangka depicting Shadbhuja Mahakala, 18th-19th century Expert remark: Compare the closely related subject with similar pose and attributes. Note the size (64 x 95 cm).
A COPPER ALLOY FIGURE OF GANESHA, SOUTH INDIA, 18TH CENTURYThe potbellied deity seated in lalitasana on a petal-form pedestal atop a square base, clad in a finely incised dhoti and adorned with upavita (sacred thread), his face with lozenge-shaped eyes below neatly incised arched brows, his long trunk coiled, the head surmounted by a tiered crown topped by a bud finial.Provenance: From the private collection of Naval Captain Schuez, Germany, acquired in the early 20th century, and thence by descent within the same family.Condition: Very good condition with expected old wear and casting irregularities, tiny nicks, and light scratches, possibly once with attributes now lost. Remnants of ancient pigment. The bronze with a rich, naturally grown, smooth patina.Weight: 198.1 gDimensions: Height 7 cm Literature comparisons:Compare a related copper alloy figure of Ganesha, 12 cm tall, dated 1775-1820, in the Victoria and Albert Museum, accession number 907(IS). Compare a related brass figure of Ganesha, 14 cm tall, dated 19th century, in the Victoria and Albert Museum, accession number IM.77A-1930.Auction result comparison: Type: RelatedAuction: Christie's New York, 20 March 2019, lot 635Price: USD 6,875 or approx. EUR 7,500 converted and adjusted for inflation at the time of writingDescription: A small bronze figure of Ganesha, South India, 17th-18th centuryExpert remark: Note the size (9.2 cm).
A RARE THANGKA DEPICTING THE BUDDHA'S PARINIRVANA, TIBET, 18TH - 19TH CENTURY 十八至十九世紀西藏釋迦牟尼涅槃圖唐卡At the center, Buddha reclines on a bed surrounded by a crowd of mourners lamenting his death. The Buddha's expression is peaceful and serene, lying on his right side with his hand propping up his head, exposing the wheel of dharma engraved on his palm. Below the Buddha are two scenes depicting the arrival of the aged Buddha in Kushinagara, where he died. The upper right corner depicts the cremation of the deceased Buddha, and the upper left scene depicts the veneration of his ashes.Provenance: From an old private collection in Germany, where it was displayed as the centerpiece of the collection.Condition: Very good condition with little wear, light creasing, and minor soiling. The brocade mounting with minor discoloration and small tears.Dimensions: Image size 70 x 44 cm, Size incl. brocade mounting 134.5 x 73.5 cm Distemper and gold on cloth, with a silk brocade frame and mounted as a hanging scroll with metal openwork fittings.The death of the Buddha, also known as the Buddha's Parinirvana referring to the Buddha's enlightenment after death, has been depicted widely in Buddhist iconography and is accounted in the Mahaparinirvana sutra. According to Buddhist tradition, the Buddha died in Kushinagara, Northern India, with the traditional dates of Buddha's life from 566-486 BC. After his death, the Buddha's body was cremated and distributed among his followers. The stupas that guarded his remains became important pilgrimage sites for Buddhists.The Mahaparinirvaṇa sutra is one of the most important Buddhist scriptures in China and Tibet, and it relates the events surrounding the Buddha's death. The precise date of origin of this text is uncertain, but its early form may have developed in or by the second century CE. The original Sanskrit text is not extant except for a small number of fragments, but it survives in Chinese and Tibetan translation. Literature comparison:Compare a related Tibetan thangka depicting the death of Buddha, 67 x 49 cm, dated to the late 18th century, in the Museum of Fine Arts, Boston, accession number 48.274. Compare a related thangka depicting the death of Buddha, in the Santa Barbara Museum of Art, illustrated on Himalayan Art Resources, item no. 88902. Compare a related Tibetan thangka depicting the death of the Buddha, dated 19th-20th century, in the Oriental Museum, Durham University. 十八至十九世紀西藏釋迦牟尼涅槃圖唐卡布面膠畫描金，錦緞裝幀，掛軸。釋迦牟尼八十歲時，自知陽壽將盡，便離開說法的王舍城，來到拘尸那城娑羅雙樹間，頭部向北，佛陀躺下，向右側偃臥，弟子們都守候在身邊，聆聽佛陀的最後教誨。世尊如是慈悲咐囑，而後寂然於娑羅雙樹下涅槃入滅。畫面中心，佛陀斜躺在床上，周圍是一群哀悼他去世的哀悼者。 佛陀面色平和安詳，右側臥，手托頭，露出掌心刻的法輪。 佛陀下方有兩幅場景，右上角描繪了佛陀火化的場景，左上角描繪了佛陀骨灰的供奉場景。 來源：德國私人舊藏，是收藏中的重要藏品。品相：狀況極好，輕微磨損、摺痕和污垢。錦緞鑲邊有輕微變色和小撕裂。 尺寸：畫面70 x 44 厘米，總134.5 x 73.5 厘米 文獻比較: 比較一件相近的十八世紀末西藏佛陀涅槃圖唐卡，67 x 49 厘米，波士頓藝術博物館，館藏編號48.274。比較一件相近的西藏佛陀涅槃圖唐卡，收藏於聖塔芭芭拉藝術博物館，見Himalayan Art Resources，編號88902。比較一件相近的西藏十九至二十世紀西藏佛陀涅槃圖唐卡，收藏於杜倫大學東方博物館。
A DEHUA FIGURE OF DAMO (BODHIDHARMA), CHINA, 17TH-18TH CENTURY 十七至十八世紀德化窯白釉達摩像Finely modeled standing barefoot, shrouded in a heavy robe cascading in voluminous folds, holding a fly-whisk elegantly draping over his right arm. His bearded face with a stern expression and his mouth slightly agape showing his teeth. The figure is covered in a finely crackled, ivory-tinged white glaze.Provenance: From a private collection in North London, United Kingdom, and thence by descent in the same family. Condition: Good condition with minor wear and firing irregularities, such as small glaze recesses, and minuscule dark spots. Small losses and light chips to edges.Weight: 272.2 g Dimensions: Height 17.4 cm Bodhidharma is regarded as the first Chinese patriarch of Chan Buddhism who lived between the 5th and 6th century. Despite the lack of robust biographical information, early Chinese texts such as the Luoyang Qielan Ji, 'Record of the Buddhist Temples of Luoyang', written around 547 by Yang Xuanzhi, recorded Bodhidharma as a monk who traveled from central Asia to China. Daoxuan described Bodhidharma in Xu Gaoseng Zhuan, the 'Continuation of The Biographies of Eminent Monks', in the mid-seventh century, as a monk from southern India who arrived at the Kingdom of Nanyue during the Song period and then turned north to the Kingdom of Wei. Legend says that the sage once crossed the Yangtze by riding reeds across the river to transmit the Mahayana teachings to the north. It is also being said that he was so dedicated to attaining enlightenment, that he cut off his own eyelids to prevent himself from falling asleep during meditation. He is thus always depicted with a stern expression of intense concentration.Auction result comparison: Type: Closely related Auction: Sotheby's London, 9 November 2011, lot 116 Estimate: GBP 8,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A 'blanc-de-chine' figure of Damo (Bodhidharma), 17th centuryExpert remark: Compare the closely related subject as well as the related modeling, similar pose, expression, and glaze. 十七至十八世紀德化窯白釉達摩像達摩身披袈裟，前額寬大，鬢髮捲曲，雙眉緊鎖，二目俯視，雙手合抱於袖中，握拂塵，衣袂飄蕩。通體施象牙白釉，釉質肥厚滋潤。 來源：英國倫敦北部私人收藏，在同一家族傳承。 品相：品相良好，有輕微磨損和燒製不規則，例如小釉面凹陷和微小黑點，小缺損，邊緣小磕損。 重量：272.2 克 尺寸：高 17.4 厘米拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2011年11月9日，lot 116 估價：GBP 8,000（相當於今日EUR 15,000） 描述：十七世紀德化達摩羅漢像 專家評論：比較非常相近的主題、相近的模型、姿勢表情和釉面。
A GILT AND TURQUOISE-INLAID COPPER ALLOY FIGURE OF GREEN TARA, DENSATIL STYLE, TIBET, 14TH CENTURY 十四世紀西藏銅鎏金嵌綠松石綠度母，丹薩替風格Elegantly cast, seated in lalitasana on a double-lotus base with beaded edges, her pendent right leg supported by a separate lotus blossom stemming from the base. Her right hand held in in varadamudra extending down her leg and her raised left holding a lotus stem which curls around her hand and arm coming to full bloom at the shoulder. Provenance: From an old German private collection.Condition: Remarkably well-preserved condition. Old wear, predominantly from centuries of worship within the culture, with some rubbing and minor losses to gilt. Minimal casting flaws, nicks and dents, occasional light scratches. Losses and possible replacements to inlays. Warping and dents to seal plate. The bronze with a fine, naturally grown, smooth patina overall.Weight: 908.1 g Dimensions: Height 16.2 cm She is clad in a dhoti neatly incised with rows of floral designs and a finely beaded hem, and richly adorned with a foliate crown, beaded necklace, belt, armlets and bracelets, and pendent earrings, all with fine turquoise inlays. Her serene face with sinuously-lidded downcast eyes below elegantly arched brows, her full lips forming a calm smile, her hair pulled up into a high chignon and falling elegantly in a twisted strand over her right shoulder and back. Heavily cast gilt copper alloy figures of this type are characteristic of the Densatil style, a Kagyu monastic complex in central Tibet, southeast of Lhasa, which has long been considered one of the great treasures of Tibet. Founded in the late 12th century, it enjoyed generous patronage and was lavishly decorated during a period of expansion from circa 1360 until the early 16th century. The monastery was known for eight extraordinary memorial stupas symbolizing Buddha's first teaching in Benares. These stupas were called tashi gomang, meaning 'many doors of auspiciousness,' and were multi-tiered copper-alloy structures filled with deities such as the present example, standing more than ten feet tall and resplendent with inlays of semiprecious stones. Prior to the destruction of Densatil during China's Cultural Revolution (1966-1978), eight of them dating between 1208 and 1432 stood in the monastery's main hall.Expert's note: Close stylistic parallels can be drawn between the present work and a number of gilt bronze sculptures produced by Newari craftsmen for the Densatil Monastery. Chief among the diagnostic traits that can identify a work from Densatil are the convexly stepped eyebrows and the precisely incised double-lined eyelids and lips. For example, compare a gilt bronze Padmapani figure, Densatil, 14th century, at Bonhams Paris, 14 June 2022, lot 44, from the Claude de Marteau collection.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 21 April 2021, lot 12 Price: HKD 4,002,500 or approx. EUR 483,000 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Tara, Tibet, Densatil style, circa 14th century Expert remark: Compare the related style, subject, manner of casting, and modeling with similar pose and hand gestures, and adornments with similar turquoise inlays and fine beading. Note the similar size (17 cm). 十四世紀西藏銅鎏金嵌綠松石綠度母，丹薩替風格綠度母頭戴花冠，面相方圓，慈眉善目，神態沉靜。耳垂花璫，胸戴瓔珞，袒露上身，下著錦褲，雙肩豎出蓮花法器，單腿伸出自然坐於單層覆蓮座上。底座密封雙金剛杵印。 來源：德國私人收藏。 品相：保存狀況極好，經過數世紀的膜拜，有磨損、鎏金缺損。鑄造缺陷、刻痕和凹痕、輕微劃痕、鑲嵌物損失和更換，密封板翹曲和凹痕，自然細膩的包漿。 重量：908.1 克 尺寸：高 16.2 厘米 此類型的重鑄鎏金銅合金造像是丹薩蒂爾風格的特徵，它是位於中國西藏自治區山南地區桑日縣的一座藏傳佛教帕竹噶舉派寺院，是帕竹噶舉派的第一座寺院。丹薩蒂爾寺的各類佛教造像數量很多，十分珍貴。它始建於十二世紀末，獲得了慷慨的讚助，並在大約1360年至十六世紀初的擴建。該寺院以八座非凡的佛塔而聞名，這些佛塔象徵著佛陀在貝拿勒斯的第一次教導。這些佛塔被稱為扎西五芒，意思是“許多吉祥之門”，是多層銅合金結構，裡面裝滿了如此拍品一般的造像，高十多英尺，鑲嵌著寶石，金碧輝煌。在中國文化大革命（1966-1978年）期間，丹薩蒂爾寺被毀之前，有8座1208年至1432年的作品矗立在寺院的大殿裡。 專家注釋：這件拍品與尼瓦里匠人為丹薩提爾寺製作的衆多銅鎏金造像在風格上有相似之處。 能夠識別丹薩蒂爾寺造像的主要特徵是凸出的眉毛以及雙眼瞼和嘴唇。 例如，比較一下 Claude de Marteau 收藏的十四世紀的丹薩提爾銅鎏金蓮花手菩薩造像，巴黎邦瀚斯拍賣行，2022 年 6 月 14 日，拍品 44。拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2021年4月21日，lot 12 價格：HKD 4,002,500（相當於今日EUR 483,000） 描述：西藏丹薩替風格約十四世紀銅鎏金度母像 專家評論：比較相近的主題 、鑄造風格、相近的姿勢、手勢，以及類似綠松石鑲嵌和精美串珠的裝飾品。請注意相似的尺寸 (17 釐米)
A BRONZE 'GOAT' CENSER, YUAN TO EARLY MING DYNASTYChina, circa 13th-15th century. Finely cast as a striding goat atop an openworked rectangular base decorated with a bat to each side. The animal's head turned towards the right, its mouth agape revealing a set of sharp teeth, further detailed with flaring nostrils, bulging eyes, and a neatly incised beard, its back with a large aperture.Provenance: Peter Sloane, London, 2018. A Portuguese private collection, acquired from the above. Condition: Very good condition with some old wear and expected casting irregularities. Traces of use, light scratches, minor losses, small dents, few small structural cracks, and old repairs. The cover lost. The bronze with a dark patina. Weight: 3,4 kgDimensions: Height 26.7 cm The character for sheep or goat, yang, appeared as early as the Han dynasty as a pun for the character xiang, meaning auspicious or lucky. By the Ming period, the image of sheep had become heavily associated with yang, another homophone but signifying the sun or warm, positive, masculine force in Chinese cosmology.Auction result comparison: Type: RelatedAuction: Bonhams London, 17 May 2023, lot 335Price: GBP 85,980 or approx. EUR 100,000 converted and adjusted for inflation at the time of writingDescription: A rare bronze goat-form reticulated incense burner and cover, Ming dynastyExpert remark: Note the fine decoration and size (23 cm).
A LARGE CAST AND REPOUSSE COPPER FIGURE OF BUDDHA SHAKYAMUNI, QING DYNASTY 清代大型錘鍱釋迦牟尼銅像China, late 18th to early 19th century. Constructed from several sheets with cast, hammered, chased, and embossed elements. Seated in dhyanasana on a lotus base with his left hand resting on his lap and his right lowered in bhumisparsha mudra, wearing loose-fitting monastic robes with neatly incised foliate hems and shou character decoration. His serene face with heavy-lidded downcast eyes below gently arched brows centered by a coral-inlaid urna, flanked by long pendulous earlobes, the hair in tight spiral curls with a domed ushnisha. The sealplate incised with a double vajra design.Provenance: English trade. Condition: Good condition with old wear and some manufacturing irregularities, minor dents, small nicks, light scratches, the seal plate somewhat loose.Weight: ca. 18 kg Dimensions: Height 71.5 cmAuction result comparison: Type: Related Auction: Christie's London, 7 November 2014, lot 515 Price: GBP 17,500 or approx. EUR 25,500 converted and adjusted for inflation at the time of writing Description: A bronze repousse figure of Buddha, Qianlong seven-character mark and of the periodExpert remark: Compare the related pose, dress, base, and coppery bronze. Note the smaller size (30.5 cm) and the Qianlong mark.清代大型錘鍱釋迦牟尼銅像中國，十八世紀末至十九世紀初。釋尊正心端坐，結全跏趺坐於蓮花座之上，施觸地印，頭頂高肉髻，螺髮密集；眉彎眼長，雙目低垂，雙眉之間白毫鑲嵌珊瑚，鼻秀唇薄，呈微笑童子相，慈悲和善之態。雙耳垂肩，身著漢式雙肩袈裟，袒露前胸，衣紋俐落流暢。底座面板刻有雙金剛杵。 來源：英國古玩交易。 品相：狀況良好，有磨損和一些製造不規則、輕微凹痕、小刻痕、輕微劃痕，密封板有些鬆動。 重量：約18 公斤 尺寸：高71.5 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2014年11月7日，lot 515 價格：GBP 17,500（相當於今日EUR 25,500） 描述：乾隆七字款及年代錘鍱銅佛像 專家評論：比較相近的姿勢、袈裟、底座和銅合金。請注意尺寸較小(30.5 厘米) 和乾隆款。
A FINE THANGKA OF AKSHOBHYATibet, 18th-19th century. Distemper and gold on cloth, with a brocade frzaame and mounted as a hanging scroll. The blue-skinned deity seated in dhyanasana on a lotus throne with offerings before him, his right hand lowered in bhumisparsha mudra and his left holding a vajra, wearing monastic robes draped over his left shoulder, backed by a green and red aureole, a small figure of his consort Lochana seated beside him, all below Buddha Amitabha flanked by White Tara and Manjusri, the lower register painted with a small image of a devotee flanked by Vajrapani and Mahakala, all within a verdant mountainous landscape.Provenance: From the collection of Indrani and Yogaraj Yogasundram. Yogaraj Yogasundram (1927-2011) was a native Sri Lankan who served as ambassador of Sri Lanka in New York, and deputy permanent representative of Sri Lanka to the UN in the 1970s and 80s. His wife Indrani (nee Coomaraswamy) was an avid collector of Asian art, amassing a large collection during her time in China, Sri Lanka, and Iraq during her husband's assignments in the 1960s and in New York thereafter.Condition: Good condition with minor wear, light soiling, minor creasing, minimal staining, and light fading. The brocade frame in similar condition with minor wear, some loose threads, and small tears.Dimensions: Image size 54.9 x 74.3 cm, Size incl. frame 81 x 129.5 cmAkshobhya's name literally means 'Immovable One'. As each Transcendental Buddha adopts one of the canonical hand gestures (mudras) referring to a key moment in Shakyamuni's life, it is apt that Akshobhya should recall Shakyamuni's unshakeable determination against the armies and temptations of Mara. In mandalas relating to his 'vajra' clan, and the Unexcelled Yoga tantras (Anuttarayoga), he occupies the center, but in the earliest tantric mandalas where the Five Transcendental Buddhas first appear, he is the Lord of the eastern quadrant, and represents the transmutation of anger into wisdom.
A COMPLETE SET OF TWELVE PAINTED POTTERY 'ZODIAC ANIMALS', SONG TO YUAN DYNASTY 宋至明一套彩繪十二生肖陶俑China, 960-1368. Comprising the twelve zodiac animals of the Chinese horoscope, each modeled recumbent with raised head, detailed with fur, plumage, and scales, and accentuated with black, white, and red pigments. (12)The Chinese zodiac, or Sheng Xiao, is a repeating 12-year cycle of animal signs and their ascribed attributes based on the lunar calendar. In order, the zodiac animals are the rat, ox, tiger, rabbit, dragon, snake, horse, goat, monkey, rooster, dog, and pig.Provenance: P.C. Lu Works of Art Ltd, Hong Kong. From a private collection in the northeastern United States, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum. Some pieces with old labels.Condition: Good condition, commensurate with age, with extensive wear and weathering, small chips, losses, few nicks here and there, light scratches, and soil encrustations. Possibly minor old repairs.Weight: 4,583 g (total) Dimensions: 20 cm (longest) Auction result comparison: Type: Closely related Auction: Sotheby's New York, 14 September 2019, lot 1678 Price: USD 20,000 or approx. EUR 21,000 converted and adjusted for inflation at the time of writing Description: A set of twelve painted pottery 'zodiac animal' figures, Song/Yuan dynasty Expert remark: Compare the closely related subject, pottery, cold painting, poses, furs, and sizes (18.5 cm the longest)Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 10 March 2023, lot 358 Price: EUR 4,940 Description: A complete set of twelve painted pottery 'zodiac animals,' Song to Yuan dynasty Expert remark: Compare the closely related subject, pottery, cold painting, poses, furs, and sizes (16.5 cm the longest) 宋至明一套彩繪十二生肖陶俑中國，960-1368年。由中國十二生肖組成，每隻動物均呈臥姿，細節清晰生動，皮毛、羽毛和鱗片，並以黑色、白色和紅色顏料進行突出。(12) 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。如今，他的許多精美收藏品都收藏在大英博物館中。 品相：狀況良好，與年齡相符，有大面積磨損和風化，有小缺口、損失、局部少量刻痕、輕微劃痕和土壤結殼，小修。 重量：總4,583 克 尺寸：最長處20 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年9月14日，lot 1678 價格：USD 20,000（相當於今日EUR 21,000） 描述：宋 / 元陶加彩生肖俑一套十二件 專家評論：比較非常相近的主題、陶、冷色調彩繪、姿勢、毛皮和尺寸(長18.5 厘米) 。 拍賣結果比較： 形制：非常相近 拍賣：Galerie Zacke，維也納，2023年3月10日，lot 358 價格：EUR 4,940 描述：宋至元十二生肖彩繪陶俑 專家評論：比較非常相近的主題、陶、冷色調彩繪、姿勢、毛皮和尺寸(長16.5 厘米)。
A BRONZE TRIPOD RITUAL VESSEL AND COVER, HE, LATE WARRING STATES TO WESTERN HAN PERIOD 戰國晚期至西漢三足蓋爐China, 3rd-2nd century BC. Finely cast, the globular body raised on three tall cabriole legs and surmounted by a tall and gently flaring rim with a domed cover topped by a loop finial in the form of a bird's head. The spout is cast as a phoenix with wings spread out and beak agape, the high arch handle in the form of a winged feline beast, all with neatly incised details.Provenance: Michael Goedhuis, September 1997. A French private collection, acquired from the above. A copy of the original invoice, dated 22 September 1997, confirming the dating above, and stating a purchase price for the present lot of USD 25,000 or approx. EUR 43,500 (converted and adjusted for inflation at the time of writing) accompanies this lot. Michael Goedhuis trained as an economist, graduating with an MBA from the Courtauld Institute in Art History. He started a successful career in investment banking in New York and London, only to leave it in 1975 to pursue his passion for art. He joined Jacob Rothschild's Colnaghi Oriental Gallery specializing in Persian, Mughal, and Islamic art. It was here that he published a catalog focused entirely on the subject of post-archaic East Asian bronzes, a first in the field, authored by Ulrich Hausmann in 1989. Major collections were curated and sold by Mr. Goedhuis to numerous institutions including The Rothschild Collection to the Shahbanu of Iran, and the Vever Collection to the Smithsonian Institution. He subsequently expanded his activities to India, Japan, and China, concentrating on important antiquities. Today, Mr. Goedhuis continues to exhibit around the world, including in New York and Maastricht. Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, casting flaws, tiny losses, minor dents, light scratches. The bronze is covered in a rich, naturally grown patina with malachite encrustations.Weight: 3,579 g Dimensions: Height 26.4 cm, Diameter 25.5 cm Literature comparison:Compare a related earlier bronze he with a similar high arch handle in the form of a winged feline beast, dated to the Spring and Autumn period, at Sotheby's New York, 31 March-5 April 2005, lot 154A.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 7 July 2003, lot 626 Price: HKD 113,525 or approx. EUR 20,000 converted and adjusted for inflation at the time of writing Description: A bronze wine ewer and cover, he, Warring States period Expert remark: Compare the related form with similar cabriole legs and the phoenix spout. Note the smaller size (22.8 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 9 October 2022, lot 189 Price: HKD 189,000 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual pouring vessel, he, Eastern Zhou dynasty Expert remark: Compare the related form with similar cabriole legs and the phoenix spout. Note the smaller size (23.3 cm).Literature comparison:Compare a related ritual vessel, he, 35.5 cm in diameter, dated to the 5th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.31a-b. Compare a related bronze ewer, he, 21 cm in diameter, dated to the 4th century BC, in the Art Institute of Chicago, accession number 1930.366. Compare a related ritual vessel with lid, he, 24.1 cm in diameter, dated late 5th to 4th century BC, in the Asian Art Museum of San Francisco, accession number B60B103. 戰國晚期至西漢三足蓋爐中國，公元前三至二世紀。爐身成球體，三只獸腿足，圓頂蓋，鳥頭形鈕。壺嘴為展翅張嘴的鳳凰，高執柄為帶翼神獸造型，細節生動。 來源：英國倫敦Michael Goedhuis，1998 年；法國私人收藏，購自上述機構。隨附原始發票副本，日期為 1997 年 9 月 22 日，確認上述日期，並註明當前拍品的“特別價格”為 25,000美金或約 43,500 歐元（根據撰寫本文時的通貨膨脹情況進行換算和調整）。Michael Goedhuis 接受過經濟學培訓，畢業於考陶爾德藝術史學院，獲得 MBA 學位。他在紐約和倫敦的投資銀行開始職業生涯，但於 1975 年離開該行業去追求他對藝術的熱情。他加入了Jacob Rothschild 的Colnaghi Oriental Gallery藝廊，專門研究波斯、莫臥兒和伊斯蘭藝術。正是在這裡，他出版了一本完全關注後古代東亞青銅器主題的畫冊，這是該領域的第一本畫冊，由Ulrich Hausmann 於1989 年撰寫。Goedhuis 先生策劃並出售了主要藏品給包括Rothschild家族在內的眾多機構，以及伊朗 Shahbanu 收藏，史密森學會 Vever 收藏。 隨後，他將活動範圍擴大到印度、日本和中國，重點關注重要文物。如今，Goedhuis 先生繼續在世界各地舉辦展覽，包括紐約和馬斯特里赫特。 品相：狀況非常好，大面積磨損、風化和侵蝕跡象、結殼、鑄造缺陷、微小缺損、輕微凹痕、輕微劃痕。青銅器表面覆蓋著自然包漿，上面有綠色結殼。 重量：3,579 克 尺寸：高 26.4 厘米, 直徑25.5 厘米文獻比較： 比較一件相近的春秋時代青銅盉，見紐約蘇富比，2005年3月31日-4月5日，lot 154A。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2003年7月7日，lot 626 價格：HKD 113,525（相當於今日EUR 20,000） 描述：戰國時期青銅盉 專家評論：比較相近的外形，具有類似的足外撇和鳳凰口。請注意尺寸較小(22.8厘米)。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2022年10月9日，lot 189 價格：HKD 189,000（相當於今日EUR 22,500） 描述：東周青銅鳥首盉 專家評論：比較相近的外形，具有類似的足外撇和鳳凰口。請注意尺寸較小(23.3厘米)。 文獻比較： 比較一件相近的西元前五世紀青銅盉，直徑35.5厘米，收藏於史密森學會國立藝術博物館，館藏編號S1987.31a-b。比較一件相近的西元前四世紀青銅盉，直徑21厘米，收藏於芝加哥藝術機構，館藏編號1930.366。比較一件相近的西元前五世紀末四世紀青銅盉，直徑24.1厘米，收藏於舊金山亞洲藝術博物館，館藏編號B60B103。
A GILT BRONZE FIGURE OF GUANYIN, PROBABLY TANG DYNASTYChina, 618-907 or later. The deity seated in rajalilasana, one hand resting on her leg while the other is raised to her shoulder, her head leaning slightly to the side in a pensive expression. Dressed in pleated long flowing robes pooling voluminously at her feet and adorned with fine jewelry. Her serene face with heavy-lidded downcast eyes and bow-shaped lips, all below thick locks pulled into a high chignon centered by a diminutive Buddha Amitabha.Provenance: Swiss private collection. A private collection in New York, USA, acquired from the above.Condition: Good condition, commensurate with age. Wear and casting flaws. Signs of weathering and erosion, minor losses, small nicks and dents, and light scratches. Extensive wear to gilt.Weight: 776.5 gDimensions: Height 15.8 cmExpert's note: The present figure exhibits clear characteristics and stylistic features of the Tang dynasty but cannot be firmly dated to the period for lack of closely comparable sculptures. The bronze does however show unmistakable signs of age, with distinctive wear and casting flaws as well as an inimitable patina indicating it was made at least five hundred years ago.Literature comparison: Compare a related gilt bronze figure of Guanyin dated to the Tang dynasty, 8th century, 27.3 cm high, in the St. Louis Art Museum, object number 36:1933.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A BRONZE FIGURE OF AN IMMORTAL, LATE MING DYNASTY 明末仙人銅像China, 16th-17th century. Well modeled standing on a naturalistically cast rocky base, made in openwork, wearing loose-fitting robes revealing his emaciated chest. His right hand is raised with the index finger pointing upward and his left hangs at his side, enveloped in the voluminous sleeve. His serene face with heavy-lidded eyes and bow-shaped lips forming a calm smile. His hair is tied with a ribbon falling elegantly over his shoulders.Provenance: Bluett & Sons, London, United Kingdom, 1942. Collection of Major Edward C. Radcliffe, acquired from the above and thence by decent in the same family. Listed in the family archive as 'J3.' The back with an old collector's label, 'Radcliffe Collection, J3', and an old label, 'The British Antiques Dealers Association, certified for customs purposes only, over 100 years old.' Copies of an old photo of the present lot and handwritten notes from the Radcliffe family archives, reading 'J3. Bronze figure of a man meditating, one arm uplifted. Bluett 1942. My husband loved this. He thought it so peaceful (…)' accompany this lot. Major Edward Copleston Radcliffe (1898-1967) served as a company commander with the British Expeditionary Force in France. He was wounded during the withdrawal at Dunkirk while holding the line at Calais. In 1948, he emigrated to South Africa for retirement as a successful artist. His collection became renowned only after his death, when several Imperial Chinese works of art were found in his house. Condition: Very good condition with expected old wear and casting flaws, few small structural cracks probably inherent to the manufacture, occasional light scratches, few small dents. The bronze with a fine, naturally grown, dark patina.Weight: 862.7 g Dimensions: Height 25.5 cm Literature comparison:Compare a related bronze figure of Li Tieguai, 22.5 cm high, dated 1550-1640, in the Victoria & Albert Museum, accession number 68-1889, illustrated in Rose Kerr, Later Chinese Bronzes, London, 1990 pp. 84, no. 66.Auction result comparison: Type: Closely related Auction: Christie's 6 April 2015, lot 157 Price: HKD 62,500 or approx. EUR 8,600 converted and adjusted for inflation at the time of writing Description: A bronze figure of a Daoist Immortal, late Ming dynasty Expert remark: Compare the related pose and voluminous robes. Note the facial differences. Note the size (28.5 cm) and the lack of a base.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 2 December 2015, lot 26 Price: HKD 68,750 or approx. EUR 9,400 converted and adjusted for inflation at the time of writing Description: A large bronze figure of an ascetic Luohan, Ming dynasty, 16th/17th century Expert remark: Compare the related rock pedestal. Note the different style of robes and the boldly cast head. 明末仙人銅像中國，十六至十七世紀。仙人站在鏤空岩石底座上，身穿寬鬆長袍，露出瘦弱的胸部。他的右手舉起，食指向上，左手垂在身側，包在寬大的袖子裡，衣紋流暢。現任面容平靜，雙眼微閉，露出平靜的微笑，頭髮用發帶繫起來，優雅地披在肩上。形象生動。 來源：英國倫敦Bluett & Sons藝廊，1942 年；Edward C. Radcliffe 少校收藏，由同一家族成員從上述人士處獲得，在家族檔案中編號為“J3”。背面帶有藏家標籤“Radcliffe Collection，J3”和標籤“The British Antiques Dealers Association，certified for customs pur姿勢s only，over 100 years old（英國古董交易商協會，僅用於海關目的認證，已有 100 多年曆史）。”目前拍品的一張照片和Radcliffe家族檔案中的手寫筆記，上面寫著“J3. Bronze figure of a man meditating，one arm uplifted. Bluett 1942. My husband loved this. He thought it so peaceful (…)（J3。 青銅人像正在沉思，一隻手臂舉起。 Bluett 1942。我丈夫喜歡這個。 他認為陪伴這群人是如此平靜（……）”。Edward Copleston Radcliffe（1898-1967 年）曾擔任駐法英國遠征軍連長。 他在敦刻爾克撤退時在加萊堅守陣地時受傷。 1948年，他作為一名成功的藝術家移民到南非退休。 直到他死後，他的收藏才開始聞名，當時在他的家裡發現了幾件中國御製藝術品。 品相：狀況極好，有磨損和鑄造缺陷，結構裂紋，輕微劃痕，小凹痕。銅像具有細膩的深色包漿。 重量：862.7 克 尺寸：高 25.5 厘米 文獻比較： 比較一件相近的1550-1640年鐵拐李銅像，高22.5 厘米，收藏於維多利亞和亞伯特博物館，館藏編號68-1889，見Rose Kerr，《Later Chinese Bronzes》，倫敦，1990 年，頁84，編號66。 拍賣結果比較： 形制：非常相近 拍賣：佳士得，2015年4月6日，lot 157 價格：HKD 62,500（相當於今日EUR 8,600） 描述：晚明銅仙人立像 專家評論：比較相近的姿勢、寬大的長袍。請注意棉布不同和尺寸 (28.5 厘米) ，以及沒有底座。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2015年12月2日，lot 26 價格：HKD 68,750（相當於今日EUR 9,400） 描述：明十六 / 十七世紀銅苦行羅漢立像 專家評論：比較相近的岩石底座。請注意不同的長袍和光頭。
A LARGE GILT-LACQUERED WOOD FIGURE OF BUDDHA SHAKYAMUNIBurma, 19th century. Seated in dhyanasana on a pedestal neatly incised with diapered lozenges, his right hand lowered in bhumisparsha mudra, the left held in dhyana mudra above his lap, dressed in tight-fitting robes elaborately and finely carved with geometric designs. The serene face with heavy-lidded eyes, gracefully arched brows, and slender lips forming a benevolent smile, flanked by elongated earlobes, the hair arranged in tight spikes over the ushnisha topped by a tall ketumala. Provenance: From the collection of Godfried Wauters, who has been active in the Belgian trade for over 40 years. He has built a substantial art collection including Chinese and Buddhist sculptures, significantly expanding on the collection already built by his late father Gustaaf Wauters (1905-1992).Condition: Superb condition with minor wear, expected age cracks, minuscule losses to base, tiny nicks and light scratches, minor rubbing and flaking to gilt. Weight: 35.5 kgDimensions: Height 165 cm
A GILT-LACQUERED WOOD FIGURE OF BUDDHA SHAKYAMUNI, SHAN STATE, BURMA, LATE 18TH TO EARLY 19TH CENTURYFinely carved, seated in dhyanasana on a double lotus pedestal, holding his right hand in bhumisparsha mudra and his left in dhyana mudra, wearing tight-fitting robes with upturned epaulettes and a sash tied at the waist, richly adorned with ornate jewelry decorated with white and green glass inlays. His serene face with downcast eyes and full lips, the tiered headdress surmounted by a pointed ketumala, flanked by foliate panels decorated with leaves, scrolling vines, and floral medallions.Provenance: From a Danish private collection.Condition: Good condition with wear, expected age cracks, rubbing and light flaking to the lacquer, few inlays lost, small chips, minor losses, and a repair to one of the foliate panels.Weight: 2,714 gDimensions: Height 56.6 cmMuseum comparison:Compare a related Burmese dry lacquer figure of Buddha similar posed and elaborately adorned, 139.7 cm high, dated ca. 1895, in the Asian Art Museum of San Francisco, accession number 2006.27.27.a-.b.
A PARCEL-GILT SILVER REPOUSSE RITUAL EWERTibet, 19th century. Finely chased and incised, the round body supported on a petal-lobed spreading foot, a spout emerging from the mouth of a makara with a dragon headed tip and the handle shaped in the form of a dragon. The body with two gilt foliate-shaped panels decorated in relief with Jambhala holding a mongoose in one hand and a jewel in the other, the ground neatly incised with leafy peony. The shoulder with smaller gilt panels, each with one of the eight Buddhist symbols. The neck is incised with band of foliate lappets. The similarly decorated cover with a gilt bronze bud finial rising from lotus petals.Provenance: From a private estate in Dublin, Ireland. The base incised with a collector's number, '63.' Condition: Very good condition with minor wear, minor casting irregularities, light tarnishing, minor dents, and light scratches.Weight: 818 g Dimensions: Height 20.1 cmAuction result comparison: Type: Related Auction: Christie's Amsterdam, 23 March 2011, lot 159 Price: EUR 6,000 or approx. EUR 8,100 adjusted for inflation at the time of writing Description: A Tibetan silver and gilt copper tea vessel, 19th century Expert remark: Compare the related form and spout. Note the larger size (36.5 cm).Auction result comparison: Type: Related Auction: Bonhams Paris, 10 June 2021, lot 73 Price: EUR 3,825 or approx. EUR 4,300 adjusted for inflation at the time of writing Description: A parcel-gilt silver repousse ritual ewer, Tibet, 19th century Expert remark: Compare the related style with panels on either side of the main body and a mahakala handle and spout. Note the size (25 cm).
A BACTRIAN LIMESTONE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central Asia, page 49, fig. 45.Oxus Civilization. The column of waisted form flaring towards the ends, the top and base with a crescent-shaped central groove. The stone of light brown hue with deep red veins.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2004. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 30 June 2004, and stating a purchase price of EUR 4,800 or approx. EUR 7,500 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, chips, and natural fissures.Weight: 9,304 gDimensions: Height 29 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 187Price: EUR 8,963 or approx. EUR 14,000 adjusted for inflation at the time of writingDescription: A Bactrian marble column idol, 2nd millennium BCExpert remark: Compare the related form and color of the stone. Note the size (29.5 cm).Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 186Price: EUR 6,573 or approx. EUR 10,500 adjusted for inflation at the time of writingDescription: A Bactrian alabaster column idol, 2nd millennium BCExpert remark: Compare the related form and color of the stone. Note the size (36 cm).
A GILT BRONZE FIGURE OF PALDEN LHAMO, 17TH-18TH CENTURYTibet. Finely cast, the four-armed deity holding a kila, kartrika, lasso, and drum. Her fierce face with full red lips, baring her teeth, full brows and a large urna, her flaming hair secured by a skull tiara. She wears elaborate jewelry with a garland of heads slung around her waist. Provenance: From a private collection in the Czech Republic.Condition: Good condition with minor wear, casting flaws, small cracks, small nicks, light scratches, rubbing, and minor losses.Weight: 1,080 g Dimensions: Height 16 cm Auction result comparison: Type: Related Auction: Christie's New York, 15 September 2015, lot 23 Price: USD 27,500 or approx. EUR 34,000 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of Palden Lhamo, Tibet, 17th century Expert remark: Compare the closely related modeling and manner of casting with similar pose, wrathful expression, and flaming hair. Note the size (16.5 cm).Auction result comparison: Type: Related Auction: Christie's New York, 17 October 2001, lot 102 Price: USD 7,050 or approx. EUR 11,500 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of Palden Lhamo, Tibet, 17th century Expert remark: Compare the closely related modeling and manner of casting, the figure similarly with four arms and seated in the same pose. Note the smaller size (9.5 cm).
A LARGE GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI, KANGXI TO YONGZHENG PERIOD 康熙至雍正時期銅鎏金釋迦牟尼像China, 1662-1735. Superbly cast, seated in dhyanasana atop a double-lotus base finely detailed with scrolls to the petals and beaded edges. His right hand is lowered in bhumisparsha mudra and his left held above his lap in dhyana mudra. He is wearing a monastic robe neatly incised with foliate hems over an undergarment secured above the waist. His serene face with heavy-lidded eyes above gently arched brows centered by a raised circular urna, above bow-shaped lips forming a calm smile, flanked by pendulous slitted earlobes. His hair is arranged in tight curls over the high ushnisha topped by a jewel. Note the extremely fine beading to the edges, typical for Imperial Buddhist bronzes from the period.Provenance: Dutch trade. By repute from a private estate in Amsterdam.Condition: Good condition with expected old wear and minor casting irregularities, light surface scratches, and tiny nicks. The hollow interior with distinct red pigment. The hair with remnants of blue pigment. The seal plate and contents lost. The cavities with remnants of ancient varnish overall. Fine, naturally grown patina.Weight: 8,390 g Dimensions: Height 34.3 cm Displaying tremendous power and presence, this impressive figure of Buddha Shakyamuni is notable for the crisp casting and the meticulous attention to detail which is echoed in the gentle folds of the elegant monastic robes, finely embellished with foliate scroll.The figure of Shakyamuni is one of the most widely represented subjects in Buddhist art. Modeled in the earth-touching gesture or bhumisparsha mudra, the Buddha recalls the moment of his Enlightenment, in which he called upon the earth as his witness of his battle against the temptations and attacks of Mara and his demons. The serene countenance conveyed by the gentle facial features, with the eyes depicted half closed in meditation and the elongated earlobes symbolizing long life, follows the standard rules for the depiction of Buddha to ensure the deity was shown embodying maximum power.Literature comparison: Compare a related gilt-bronze figure of Bhaisajyaguru Buddha dated by inscription to the 21st year of Kangxi (1682), but with more elaborately decorated robes, illustrated in Gems of Beijing Cultural Relics Series, Buddhist Statues I, Beijing, 2001, pp. 212-13, no. 180 and 181. A related gilt-bronze figure of Buddha Shakyamuni, wearing similar robes, of smaller size (20.2 cm), dated to the 18th century, is illustrated in Buddhist Images in Gilt Metal, Chang Foundation, Taipei, 1993, p. 45, no. 15.Auction result comparison: Type: Closely related Auction: Christie's New York, 17 March 2017, lot 1030 Price: USD 211,500 or approx. EUR 243,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Buddha, Kangxi-Yongzheng period Expert remark: Compare the closely related manner of casting, modeling with remarkably similar base, and near-identical gilding. Also note the identical size (34.3 cm). Note the somewhat different face, with slightly wider features and a gentle widow's peak, and that the robe is draped over only one shoulder. 康熙至雍正時期銅鎏金釋迦牟尼像中國，1662-1735 年。鑄造精美，釋迦牟尼結跏趺坐坐於雙層蓮座上，蓮座蓮辦厚實，邊緣有精美串珠紋。他的右手垂下結觸地印，左手放在膝蓋上方結“禪定印”。他身著一件袈裟，衣紋流暢。釋迦牟尼面容平靜安詳，雙眼低垂，雙眉之間有白毫，面帶微笑，兩側是長耳垂。他的頭髮成螺髻寶珠頂，這是該時期皇家佛教銅器造像的典型特徵。 來源：荷蘭古玩交易，阿姆斯特丹知名私人莊園。 品相：狀況良好，有磨損和輕微的鑄造不規則、輕微的表面劃痕和微小的刻痕，中空的內部帶有明顯的紅色顏料。頭髮上殘留著藍色。密封板和內容丟失。腔内整體上殘留著古代清漆的痕跡。精美、自然的包漿。 重量：8,390 克 尺寸：高 34.3 厘米 文獻比較: 比較一件的相近的康熙二十一年(1682年)鎏金銅藥師佛像，但有更精緻裝飾的長袍，見《Gems of Beijing Cultural Relics Series，Buddhist Statues I》，北京，2001年，頁212-13，編號180和181。一件相近的十八世紀鎏金銅釋迦牟尼，有類似的長袍，尺寸較小 (20.2 厘米)，見《Buddhist Images in Gilt Metal》，Chang Foundation，台北，1993年，頁45，編號15。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2017年3月17日，lot 1030 價錢：USD 211,500（相當今日EUR 243,000） 描述：清康熙/雍正銅鎏金佛坐像 專家註釋：比較非常相近的鑄造風格、蓮坐 ，以及幾乎相同的鎏金。請注意幾乎相同尺寸 (34.3 厘米)。請注意臉型有些不同，五官稍寬，峰峰柔和，長袍只披在一個肩膀上。
AN EXCEPTIONALLY FINE THANGKA OF BUDDHA SHAKYAMUNI AND CLASSIC BUDDHIST TEACHING STORIES, NEW MENRI STYLE, TIBET, 18TH CENTURY 十八世紀西藏釋迦牟尼源流唐卡Expert's note: This painting belongs to a set of thirty-nine paintings depicting all one-hundred-and-eight classic teaching stories (known as rtogs brjod in Tibetan or avadana in Sanskrit). An inscription translating to 'fourteen, right' on the verso of the top dowel, indicates this painting's orientation within the set of thirty-nine.Finely painted with Buddha seated in dhyanasana atop a lotus cushion, his hands held in the teaching gesture known as dharmachakra mudra, backed by a shimmering mandorla and circular halo, surrounded by three scenes illustrating classic Buddhist stories from the Avadana compendium. Smaller figures of Buddha are surrounded by monks and teachers within temple compounds, along with further scenes depicting Buddhist deities, lamas and monks, animals, and mythical beasts, all within a verdant landscape. Three red trilobed vignettes are inscribed in Tibetan with gold letters, with a further inscription on one of the temple walls.Inscriptions: To the top dowel on the reverse, 'fourteen, right'.Provenance: From the collection of Ethelbert Tryba, acquired in Kathmandu, Nepal in 1966, and thence by descent. A copy of a personal letter from Tryba, written from Peshawar to his wife during his travels, in which he describes a recent purchase of a Gandharan statue in Peshawar as well as his impending trip to Kathmandu, accompanies this lot. Ethelbert Tryba (1928-1995) was born in Chicago, Illinois. During his life, he traveled throughout Central and Southeast Asia establishing trade ties for his company. During one particularly trying trip described in a personal letter, Tryba began collecting objects from antique shops in Pakistan, Northern India, and Nepal.Condition: Good original condition with some wear, slight creasing, soiling, light abrasions, few tiny losses. The brocade mounting with minor tears and losses. Dimensions: Image size 85.8 x 53.2 cm, Size incl. brocade mounting 164 x 94 cmDistemper and gold on cloth, with a silk brocade frame and mounted as a hanging scroll.Striking in its clarity and vibrancy, this thangka is an outstanding example of the New Menri style of Tsang which originated at Tashi Lhunpo Monastery (founded in 1447 by the first Dalai Lama and the traditional monastic seat of the Panchen Lama) in the 17th century by the hand of Choying Gyatso. The naturalistic clouds, rendered in blue and green, are hallmarks of this tradition, as is the placement of these clouds along the architectural elements that cover the landscape. Despite this painting's age, the gold inscriptions identifying each scene are only lightly abraded.Literature comparison: Compare a Tibetan-Chinese thangka depicting Buddha Shakyamuni with scenes from his life, dated to the 18th century, in the Nelson-Atkins Museum, object number 35-230/1.Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2018, lot 310 Price: USD 47,500 or approx. EUR 53,500 converted and adjusted for inflation at the time of writing Description: A large and very fine Thangka depicting Shakyamuni Buddha and two classic Buddhist teaching stories, Avadana, Tibet, 18th century Expert remark: This lot is a part of the same thirty-nine-painting set and is number 19 in the set. Compare the similar central Buddha in the same pose surrounded by life narratives. Note the size (101.9 x 59.6 cm). 十八世紀西藏釋迦牟尼源流唐卡布面膠畫，錦緞裝幀，掛軸。精美描繪了佛陀結跏趺坐坐在蓮座上，雙手結説法印，以釋迦牟尼佛為中心，佛身被光環圍繞，外緣飾有華麗的六靈捧座的唐卡，在由金翅鳥、龍女、摩羯巨鰲、孩童、祥麟、巨象組成，講述藏傳佛教的修行故事。三個紅色三葉小圖案，用藏文刻有金色字母。這幅畫屬於一組三十九幅畫，描繪了所有一百零八個經典修行故事（藏語稱為“rtogs brjod”，梵語稱為“avadana”）。 款識：反面頂部銘文翻譯為“十四，右”，表明這幅畫在三十九組中的方向。來源：Ethelbert Tryba收藏，1966 年在尼泊爾加德滿都購得，傳承至今。該拍品還附有Tryba在旅行期間從白沙瓦寫給妻子的一封私人信件副本，其中描述了他在白沙瓦購買的犍陀羅雕像以及他即將前往加德滿都的行程。Ethelbert Tryba （1928-1995）出生於伊利諾伊州芝加哥。 一生中他走遍了中亞和東南亞，為他的公司建立了貿易聯繫。在一封私人信件中描述的一次特別艱難的旅行中，Tryba開始從巴基斯坦、印度北部和尼泊爾的古董店收集物品。 品相：原始狀況良好，有一些磨損、輕微摺痕、污垢、擦傷、微小缺損。錦緞上有輕微的撕裂和缺損。 尺寸：畫面85.8 x 53.2 厘米，總164 x 94 厘米 文獻比較: 比較一件十八世紀漢藏釋迦牟尼唐卡，收藏於Nelson-Atkins博物館，館藏編號35-230/1。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2018年3月21日，lot 310 價格：USD 47,500（相當今日EUR 53,500） 描述：西藏十八世紀釋迦牟尼佛教譬喻兩故事唐卡 專家註釋：此唐卡為一組39張唐卡的編號19號。比較相似的佛坐中央被生活敘事所包圍。請注意尺寸 (101.9 x 59.6 厘米)。
A RARE AND IMPORTANT LIMESTONE FIGURE OF A BODHISATTVA, LONGMEN GROTTOES, NORTHERN WEI DYNASTY 北魏罕見石灰石菩薩立像，龍門石窟 China, 386-534. Finely carved standing on a circular lotus dais, the right hand held in front of the chest and the left lowered at his side, the head slightly tilted to his right. Wearing long flowing robes secured at the waist and billowing scarves falling loosely over the body. The face sensitively carved with a serene expression marked by heavy-lidded eyes, gently arched brows, and full lips, flanked by long pendulous earlobes. A simple tiara with a central flower separates the braids of hair pulled up in front of the head, and equally serves as the base for a hairdo that forms an almost crown-like design on top.Provenance: A private collection in Cleveland, Ohio, USA, pre-1983. Anunt Hengtrakul, New York, USA, acquired from the above c. 1984. Michael B. Weisbrod, Inc., New York, USA, acquired from the above, c. 1992. The collection of J. Abraham Cohen, New York, USA, acquired from the above. Anunt Hengtrakul was a collector of fine Chinese works of art, active in the US and Canada during the 1980s and 1990s. In the early 2000s, he began to gift objects to museums, including the Joslyn Art Museum in Omaha, Nebraska, and the Middlebury College Museum of Art in Middlebury, Vermont. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Published: Michael B. Weisbrod, Inc., Brochure, New York, 1992.Condition: Excellent condition, commensurate with age, and presenting remarkably well. Extensive wear, minor losses and cracks, small nicks, light scratches, signs of weathering and erosion, some encrustations. Fine, naturally grown patina with a subtle luster overall, worn from centuries of exposure to the natural elements.Weight: 5,796 g (excl. stand)Dimensions: Height 53.5 cm (excl. stand) and 59 cm (incl. stand)Sculptures of this type are known to be from the Longmen Grottoes in Luoyang, Henan, China. They are all fragmentary, and of a dark and mottled color, alternating from gray to black, as seen on the back of the present statue where the raw stone becomes visible. Occasionally, a light brown color appears on the carved surface in the front. All figures were cut from the caves in a particular manner, leaving the present statue with a V-shaped cross-section.Of all the caves in the Longmen Grottoes, those completed during the Northern Wei and Tang dynasties make up around 30 % and 60 %, respectively. Naturally, these two dynasties show widely different styles of carving. Those of the Northern Wei are vivacious, slim, and sensitively carved, while the Tang figures are more plump. The Wei figures are some of the finest examples of Chinese Buddhist art.Literature comparison: Several illustrated examples, found in different collections and museums around the world, have been published in The Lost Statues of Longmen Cave, Longmen Grottoes Research Institute, by C. K. Chan, Wen Yucheng, and Wang Zhenguo, numbers 6, 9, 11, and 22, all of which have characteristics similar to the present lot including the long upper torso, low waist, S-shaped folds on the robes or sleeves, and the shallow but confident carving of the details, as well as a similar patina and encrustation. Compare two closely related limestone figures of attendant bodhisattvas, dated to the Northern Wei dynasty, early 6th century, in the Metropolitan Museum of Art, accession numbers 48.176 and 48.182.4. Compare a related limestone figure of a seated Buddha, dated to the Northern Wei dynasty, in the Asian Art Museum of San Francisco, object number B60S40. Compare a related sandstone figure probably depicting Avalokiteshvara, dated Six Dynasties period, middle Northern Wei dynasty, about 470-480, in the Los Angeles County Museum of Art, accession number 47.37. Compare two related limestone bodhisattvas, each 88.9 cm high, with similarly carved lotus daises, previously attributed to the Northern Wei dynasty but now thought to be from the Northern Qi dynasty, in the Victoria & Albert Museum, accession numbers A7-1913 and A.8-1913.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 北魏罕見石灰石菩薩立像，龍門石窟中國，386-534年。菩薩立於圓形蓮台上，右手抱於胸前，左低垂於身側，頭略偏右。表情平靜，雙眼低垂，豐滿的嘴唇，平靜恬雅；兩側是長長的下垂耳垂，髮髻華麗，頭戴花飾。本像身軀婀娜，線條柔雅，身體重心置於一側，腹腰豐滿細緻，衣袍纖薄貼身，隱露雙腿。 來源：1983年前美國俄亥俄克利夫蘭私人收藏；紐約Anunt Hengtrakul約在1984年購於上述收藏。紐約Michael B. Weisbrod藝廊1992年購於上述收藏； 紐約J. Abraham Cohen收藏，購於上述收藏。Anunt Hengtrakul 1980 年代和 1990 年代活躍於美國和加拿大的中國藝術品收藏家。 在 2000 年代初，他開始向博物館贈送物品，包括內布拉斯加州奧馬哈的喬斯林藝術博物館和佛蒙特州米德爾伯里學院藝術博物館。美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 出版：Michael B. Weisbrod，Inc.，《Brochure》，1992年，紐約。 品相：狀況極佳，大面積磨損、輕微缺損和裂縫、刻痕、小劃痕、風化和侵蝕跡象、一些結殼。細膩的包漿。 重量：5,796 g (不含底座) 尺寸：高53.5 厘米(不含底座) ，59 厘米(含底座) 這種類型的石雕造像風格來自中國河南洛陽的龍門石窟。石像表面顏色呈暗色和斑駁，從灰色到黑色交替變化，從現在的雕像背面可以看到原石。偶爾，正面的雕刻表面會出現淺棕色。在龍門石窟的全部洞窟中，北魏和唐代建成的洞窟分別佔30%和60%左右。自然，這兩個朝代表現出截然不同的雕刻風格。北魏人物活潑、苗條、雕琢細膩，而唐人人物則較為豐滿。 文獻比較： 在世界各地不同的收藏品和博物館中發現的幾個圖例，見龍門石窟研究所編，《龍門流散雕像集》中發表，編號6、9、11和22，它們都具有與現拍品相似的特徵，包括長上身、低腰、長袍或袖子上的S形褶皺，以及淺而自信的細節雕刻，還有類似的銅銹和包漿。比較兩件非常相近的六世紀初北魏時期石灰石菩薩像，收藏於大都會藝術博物館，收藏編號為48.176和48.182.4。比較一件相近的北魏時期石灰岩坐佛像，收藏於三藩市亞洲藝術博物館，文物編號B60S40。比較一件相近的約470-480年六朝時期北魏中期可能描繪觀音菩薩的砂岩造像，收藏於洛杉磯縣藝術博物館，收藏編號為47.37。比較兩尊相近的石灰岩菩薩，每尊高88.9釐米，雕刻有類似的蓮台，以前認為是北魏時期的，但現在被斷為是北齊時期的，收藏於維多利亞和亞伯特博物館，收藏編號為A7-1913和A.8-1913。
A GOLD REPOUSSE 'LION' PENDANT, WITH AN AGATE INTAGLIO OF A HINDU GODDESS, CHAM PERIODVietnam, former kingdoms of Champa, circa 10th century. The rounded pendant is finely chased, embossed, and incised to depict two anthropomorphized lions flanking a central lotus flower and an agate intaglio depicting a female Hindu deity surrounded by foliate designs, all below two inlaid amethyst cabochons, all enclosed by a scroll border. The reverse with two flattened gold wire loops for suspension. Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Very good condition, commensurate with age, with some wear, small manufacturing irregularities, light tarnishing, and encrustations, all as to be expected for a gold object more than a thousand years old.Weight: 21.2 g Dimensions: Length 9.8 cm
A THANGKA OF AVALOKITESHVARA SAHASRABHUJA Tibet, 18th century. Distemper and gold on cloth. Standing atop a cushion resting on a large lotus flower, richly adorned with beaded jewelry and voluminous robes, his principal hands in anjali mudra at the chest, five of his secondary hands holding a lotus, rosary, dharmachakra, bow and a vase, the remaining 993 hands radiating around him. The central figure is surrounded by several attendant bodhisattvas, and deities at the bottom, the upper register with buddhas and the sun and moon.Provenance: From a noted private collection. The back inscribed at the top, 'Tibetan eleven-headed Avalokitesvara' and with an inventory number '37' and a copy of a publication of the related thangka in the Victoria & Albert Museum, where it is dated to the 18th century. Condition: Very good condition with minor wear, little creasing, and light soiling.Dimensions: Image size 59.8 x 39.5 cm, Size incl. frame 75.4 x 55 cmMounted in a gold-lacquered wood frame. Literature comparison: Compare a related thangka depicting Thousand-Armed Avalokiteshvara, dated to the 19th century, in the Vicotria & Albert Museum, accession number IM.412-1914. Compare with an example in the National Palace Museum, Beijing with similar treatments of the floral forms and the overall composition, published in Gu gong bo wu yuan cang wen wu zhen pin quan ji; 59: Zang chuan fo jiao tang ka, Hong Kong, 2003, p. 134, no. 123.Auction result comparison: Type: RelatedAuction: Bonhams New York, 17 September 2014, lot 43Price: USD 37,500 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: A thangka of Avalokiteshvara Sahasrabhuja, Tibet, 18th centuryExpert remark: Compare the related motif and size (63.5 x 40.6 cm).
A PAINTED POTTERY JAR, NEOLITHIC PERIODChina, Majiayao culture, 3rd-2nd millennium BC. The compressed body surmounted by a waisted neck set with two loop handles, decorated to the exterior in black pigment with angular scroll and geometric designs, the interior of the mouth with bands and hooks.Provenance: P.C. Lu Works of Art Ltd, Hong Kong. A private collection in New York, USA, acquired from the above.Condition: Good condition, commensurate with age. Some old wear, traces of weathering and aging, encrustations, small nicks, few minor chips, light scratches, and few minuscule losses. The handles with old repairs.Weight: 254 gDimensions: Height 10 cmLiterature comparison:Compare a related two-handled Majiayao jar, dated to 2300 to 2000 BC, 10 cm high, in the Metropolitan Museum of Art, accession number 50.61.4.Auction result comparison: Type: RelatedAuction: Christie's New York, 27 March 2018, lot 4Price: USD 16,250 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: Two painted pottery jars, Neolithic period, Majiayao culture, Banshan type, 3rd millennium BC.Expert remark: Compare the related form, decoration, and size (9.8 and 11.1 cm). Note that the lot comprises two jars.
AN INDIAN MINIATURE PAINTING OF KRISHNA PAINTING RADHA'S FEETIndia, 19th century. Gilt, watercolors, and ink on paper. Depicting a palace terrasse with Krishna kneeling at Radha's feet as she rests on a cushioned pedestal, with a gopi standing behind her. Krishna lifts Radha's foot from the footstool and holds it in his hand. With a brush, he applies a golden dye to her foot.Provenance: From a private collection in southern Germany, acquired before 2007. The back inscribed '8.14 2024-1', '520,-', '4262', and 'An E'.Condition: Good condition, the lower left corner with a small tear and associated old repair, some wear to the gilt, little soiling, few creases, and light scratches.Dimensions: Image size 25.2 x 19.5 cmLiterature comparison:Compare a related miniature painting of Krishna placing an anklet on Radha, 1775-1780, size 24.7 x 14.6 cm, in the Harvard Art Museums, object number 1991.178. Compare a related miniature painting of Krishna and Radha, circa 1820-1825, in the Victoria and Albert Museum, accession number IS.50-1949.
A SMALL BRONZE FIGURE OF PARVATISouth India, 18th-19th century. Seated with a pendant leg in lalitasana on a beaded lotus base raised on a stepped plinth, the goddess holding a lotus bud in one hand while the other rests on a protruding platform, her body adorned with ornate jewelry and the head surmounted with a conical crown, backed by a shirashchakra.Provenance: Galerie Artheme (Roger Anger), 2 July 1979. Collection Particuliere Française, acquired from the above.Condition: Good condition with casting flaws and extensive wear, predominantly from centuries of worship. Tiny nicks, small dents, light scratches, minor losses. The bronze with a rich, naturally grown patina with encrustations and small areas of verdigris.Weight: 53.7 gDimensions: Height 5.2 cm
A MEDICAL THANGKA WITH THE TREE OF DIAGNOSISTibet, 19th to early 20th century. Distemper and gold on cloth. Well painted in bright polychrome pigments, the central register with a large medical tree with four main stalks representing the four roots of treatment (diet, behavior, medication, and external therapy), with the blue-skinned Bhaisajyaguru (Medicine Buddha) seated in dhyanasana on a lotus pillow surrounded by a double aureole and peony blossoms to the right of the tree.Provenance: From an Austrian private collection.Condition: Very good condition with minor wear, minimal fading, light soiling, some staining, and minor fraying to edges.Dimensions: Size 70 x 88.9 cmThe upper register is painted with twelve figures, consisting of both monks and deities, each flanked by a bright nimbus and halo. The lower register contains three lines of medical text.This painting depicts the methods of treatment used in the Tibetan system of medicine. The first stem stands for diet treatment, which has six branches. The first two branches with ten and four blue leaves, respectively, show the diet and the drink best suited to treat lung disorders. The third and fourth branches with seven and five yellow leaves, respectively, stand for the diet and drink suitable for mkhris-pa disorders and the fifth and sixth branches with six and three white leaves, respectively, stand for the diet and drink recommended for bad-kan disorders.The second stem illustrates behavioral treatment. It has three branches with two leaves each representing the behaviors beneficial for the three humors.The third stem depicts the different medications. It has a total of 15 branches and 50 leaves. The first six branches each bear three leaves. These refer to the tastes and medicinal qualities favorable for treating rlung, mkhris-pa and bad-kan disorders, which are shown as blue, yellow, and white leaves. The seventh to the twelfth branches bear a total of 23 leaves representing different medicinal preparations: broth and medicinal butter, decoctions and powders, pills and specific medicinal powders.The fourth stem stands for external therapies, which are generally used as a last resort after all other treatments fail. It consists of three branches. The two blue leaves on the first branch portray the external therapy used to treat rlung disorders. The three yellow leaves on the second branch stand for external therapies used to fight mkhris-pa disorders and the two white leaves on the third branch signify external therapies used on bad-kan disorders.Literature comparison:Compare a related 'Tree of Diagnosis' thangka in the American Museum of Natural History, New York, included in the exhibition Body and Spirit: Tibetan Medical Paintings, 25 January-17 July 2011. Compare three further related thangkas in the Rubin Museum of Art, illustrated on Himalayan Art Resources, item nos. 1131-1133.
A ROBIN'S-EGG GLAZED VASE, CHINA, 18TH - 19TH CENTURY 十八至十九世紀爐鈞釉長頸瓶Well potted with a pear-shaped body raised on a rather broad foot and surmounted by a long slender neck. Covered overall in a fine turquoise-speckled purplish-blue glaze. The base recessed and glazed as well. The bare foot reveals the silky white ware.Provenance: From a noted private collection in Geneva, Switzerland, assembled since the 1960s, and thence by descent. An important part of this collection was on permanent loan and was exhibited over several decades at the Asia-Africa Museum in Geneva. An old label on the base shows an original purchase price of CHF 7,500. Another old collection label reads, 'Art Ancien de Chine & Extrême-Orient Geneve. XVIIIe-XIXe' Condition: Very good condition with minor old wear and expected firing irregularities, light scratches, and a small chip to the foot naturally smoothened over time.Weight: 393.8 g Dimensions: Height 19.9 cm Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 27 November 2020, lot 461 Price: HKD 107,100 or approx. EUR 13,000 converted and adjusted for inflation at the time of writing Description: A Robin's-egg glazed bottle vase, Qing dynasty, 18th-19th century Expert remark: Compare the closely related form and related glaze. Note the size (16.8 cm).Auction result comparison: Type: Closely related Auction: Christie's London, 14 May 2014, lot 726 Price: GBP 3,750 or approx. EUR 6,500 converted and adjusted for inflation at the time of writing Description: A small robin's egg bottle vase, 18th/19th century Expert remark: Compare the closely related form and related glaze. Note the related size (18 cm). 十八至十九世紀爐鈞釉長頸瓶壺身呈梨形，長頸，鼓腹，圈足寬大。通體施斑點紫藍色爐鈞釉。底足露胎。 來源：瑞士日內瓦的著名私人收藏，自二十世紀六十年代起收集，並傳承至今。 該收藏的重要部分被永久借出，並在日內瓦亞非博物館展出了數十年。 底座上的舊標籤顯示原始購買價格為 7,500 瑞士法郎。 另一個收藏標籤上寫著：'Art Ancien de Chine & Extrême-Orient Geneve. XVIIIe-XIXe' 品相：狀況非常好，有輕微磨損和燒製不規則、輕微劃痕、刻痕，以及足部的小缺口。 重量：393.8 克 尺寸：高 19.9 厘米拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2020年11月27日，lot 461 價格：HKD 107,100（相當於今日EUR 13,000） 描述：清十八至十九世紀爐鈞釉膽瓶 專家評論：比較非常相近的外形和相近釉面。請注意尺寸(16.8厘米)。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2014年5月14日，lot 726 價格：GBP 3,750（相當於今日EUR 6,500） 描述：十八至十九世紀爐鈞釉膽瓶 專家評論：比較非常相近的外形和相近釉面。請注意相近尺寸(18厘米)。
A GILT-BRONZE STANDING FIGURE OF BUDDHA SHAKYAMUNI, KANDYAN PERIODSri Lanka, 18th to early 19th century. Finely cast standing in samabhanga on a stepped waisted base with his right hand raised in abhaya mudra. His face is finely decorated with intricate incision work detailing Buddha's arched brows, prominent chin, full lips, and downcast eyes with a spiral urna. The hair rendered in small circular curls, cut nicely around his ears with their elongated lobes. Wrapped in a tight-fitting robe that drapes from one shoulder with wavy grooves.Provenance: An old private collection in Germany. Galerie Zacke, Vienna, 14 November 2015, lot 178. A private collection in Hungary, acquired from the above.Condition: Good condition with minor wear and casting flaws, the sirispata lost, light rubbing, traces of pigment, small nicks, light scratches, few tiny losses.Weight: 1,119 g Dimensions: Height 19.8 cmThe figure's palm, embellished with finely incised spirals, bears this Buddhist symbol for every being's ability to rise above the 'muddy waters' of their birth and free themselves from the cycle of rebirth and inherent suffering. Along with this symbolism, the monastic robes of the Buddha are unique to Sri Lanka, rendered with wavy grooves which shimmer and mimic the wrinkling of a fine gossamer under Sri Lanka's tropical climate.Auction result comparison:Type: Related Auction: Christie's New York, 23 March 1999, lot 193 Price: USD 34,500 or approx. EUR 61,000 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of Buddha, Sri Lanka, 17th/18th century Expert remark: Compare the related gossamer draping from one shoulder with wavy grooves. Note the size (36 cm).
A LARGE THANGKA DEPICTING DORJE DROLO, TIBET, 19TH-20TH CENTURYDistemper and gold on cloth. The fierce deity engulfed in flames and riding a large tiger, holding a vajra-handled phurbu in his right hand, wearing voluminous robes, a figure of Buddha Shakyamuni placed at the center of his chest, and a garland of severed heads slung around his neck. The upper register centered by Garuda flanked by Mahakala Kartaridhara and Yellow Kambhala, the lower register with Tsongkhapa and a Mahasiddha.Inscriptions: To the back, 'Om Ah Hum'. Provenance: Acquired by the father of the present owner in Tibet around 1970 and thence by descent. Dr. David Templeman, a scholar of Tibetan Buddhism and Adjunct Research Fellow at Monash Asia Institute, Monash University in Melbourne, Australia, has previously appraised the present lot.Condition: Wear, light fading, creases, folds, fraying to edges, minor losses to pigments, soiling, and stains, presenting well.Dimensions: 118 x 152 cmDorje Drolo is a wrathful emanation of Padmasambhava, most often associated with the set of eight main manifestations and the life story of Guru Rinpoche. He also functions as a guruyoga meditational deity with at least fourteen different 'terma' traditions.Literature comparison: Compare a related thangka depicting Dorje Drolo atop his tiger, 54.6 x 78.7 cm, dated to the early 20th century, at the Rubin Museum of Art, accession number P1998.22.4, illustrated on Himalayan Art Resources, item no. 731.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A SANCAI-GLAZED 'ELEPHANT' CANDLEHOLDER, MING DYNASTY 明代三彩太平有象燭臺China 15th-17th century. Standing foursquare on a rectangular base, the pachyderms trunk swung to one side, a flowing saddle blanket draping downward, its back supporting a central cylindrical candleholder extending as part of the caparison. The animal detailed with almond-shaped eyes, large ears, curved tusks, a long tail, and subtly carved wrinkles. The elephant's skin is glazed in a creamy gray with hues of pale green, its inner ears in amber, while its caparison, decorated with flanking lappets, is glazed emerald-green and amber.Provenance: From the private estate of Roland de la Moussaye, Paris, France. An old label to the base. Roland de la Moussaye (1932-2022) was a French scholar with broad interests and vast expertise. He studied ornithology and lepidopterology, writing several books on the subjects, and worked as a professor of French literature in Japan. He studied Chinese, Indonesian, and Malay, receiving a degree in Chinese from the Ecole des langues orientales, and was an avid collector of Chinese art. Condition: Good condition with old wear, weathering and expected firing irregularities, minor glaze flaking, small chips, tiny nicks, and light scratches.Weight: 7 kg Dimensions: Length 39 cm Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2006, lot 249 Price: USD 11,400 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A pair of green and amber-glazed figures of elephants, Ming dynasty, 15th-17th century Expert remark: Compare the closely related glazes and modeling, with similar pose, caparison, base and near identical size (38.7 cm). Note this lot comprises a pair of elephants. 明代三彩太平有象燭臺中國，十五至十七世紀。太平有像燭台，造型秀美大方。主體為像形，背馱造型別緻精美的燭台，下置長方形底座。大象體態渾圓，大耳朵、彎曲的獠牙、長尾巴。神色平和寧靜，身配瓔珞、綰具，背上搭一錦袱。大象的皮膚呈乳灰色，帶有淡綠色的光澤，內耳呈琥珀色，而其衣著的側面裝飾著翠綠色和琥珀色的垂飾。來源：法國巴黎 Roland de la Moussaye 的私人莊園。底座上有舊標籤。Roland de la Moussaye（1932-2022年）是一位興趣廣泛、專業知識豐富的法國學者。他研究鳥類學和鱗翅目學，寫了幾本相關的書，並在日本擔任法國文學教授。 他學習了中文、印度尼西亞語和馬來語，並獲得了東方語言學院的中文學位，是一位熱心的中國藝術品收藏家。 品相：狀況良好，有磨損、風化、輕微的釉料剝落、小缺口和輕微的劃痕。 重量：7 公斤 尺寸：長39 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2006年9月19日，lot 249 價格：USD 11,400（相當於今日EUR 15,500） 描述：十五至十七世紀明代綠和琥珀象燭台 專家評論：比較非常相近的釉面、模板、相似的姿勢、底座，以及幾乎相同尺寸(38.7 厘米)。請注意此為一對。
A STONE FIGURE OF PADMAPANINepal, 19th century or earlier. Standing in tribhanga on a short rectangular base, the right hand in varadamudra and the left holding a lotus stem blossoming at the shoulder, clad in a short dhoti and adorned with a sash and beaded jewelry, the serene face with heavy-lidded downcast eyes and the hair tied neatly into an elaborate chignon secured with a foliate tiara centered by a figure of the Buddha Amitabha.Provenance: From a German private collection.Condition: Very good condition with minor wear, tiny nicks, light scratches. The stone with a fine, smooth, naturally grown patina.Weight: 650.6 gDimensions: Height 25.5 cm
A MASSIVE BRONZE 'MANDARIN DUCK' CENSER AND COVER, MING DYNASTY 明代鴛鴦銅蓋爐China, 1368-1644. Finely worked, the duck with the head turned to the right, lotus stems in its mouth bearing blossoms and leaves cast in high relief on its body, the legs with webbed feet tucked up under the body, incised with richly detailed plumage, wings, and tail. The open worked cover on the back of the duck in the form of lotus pods, leaves, and flowers borne on twisting stems. The back of the tail cut with a cash-patterned opening.Provenance: From a private collection in the Cotswolds, United Kingdom. Condition: Good condition with expected ancient wear and some casting flaws, a few tiny losses, small nicks and dents, light scratches. The bronze is covered overall in a rich, naturally grown, dark patina.Weight: 3,256 g Dimensions: Length 22.8 cm Auction result comparison: Type: Related Auction: Christie's Hong Kong, 26 November 2014, lot 2946 Price: HKD 375,000 or approx. EUR 54,500 converted and adjusted for inflation at the time of writing Description: A bronze mandarin duck-form censer, Ming dynasty Expert remark: Compare the closely related subject, manner of casting, and modeling with similar ducks also holding lotus stems in their beaks. Note that the censer is cast as a pair of ducks and the size (19.2 cm).Auction result comparison:Type: Closely relatedAuction: Bonhams London, 7 November 2013, lot 241Estimate: GBP 10,000 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: A pair of bronze 'mandarin duck' incense burners and covers, Ming dynastyExpert remark: Compare the closely related form, posture, and patina. Note the size (28 cm) and that the lot comprises a pair. 明代鴛鴦銅蓋爐中國，1368-1644 年。 做工精細，鴛鴦頭向右轉，嘴含蓮莖，身上高浮雕花葉，蹼足收於身下，細節生動，栩栩如生。鴛鴦背上的蓋子鏤空，有蓮蓬、蓮葉和蓮花的形狀。 尾部背面有鏤空錢幣狀開口。 來源：英國科茨沃爾德私人收藏。 品相：狀況良好，有磨損和一些鑄造缺陷。小缺損和凹痕，輕微的劃痕。自然深色包漿。 重量：3,256 克 尺寸：長 22.8 厘米拍賣結果比較： 形制：相近 拍賣：香港佳士得，2014年11月26日，lot 2946 價格：HKD 375,000 （相當於今日EUR 54,500） 描述：明銅鴛鴦式香爐 專家評論：比較相似的鴨嘴銜蓮莖，主題、鑄造風格、造型。請注意此爐為一對鴨子，尺寸為（19.2厘米）。 拍賣比較： 形制：非常相近 拍賣：倫敦邦翰斯，2013年11月7日，lot 241 估價：GBP 10,000（相當今日EUR 18,000） 描述：明銅鴛鴦式蓋爐一對 專家註釋：比較非常相近的外形、姿勢和包漿。請注意尺寸 (28 厘米)，此為一對。
A LACQUERED WOOD FIGURE OF A RAKAN (ARHAT)Japan, c. 1700, Edo period (1615-1868)The rakan seated in dhyanasana on a rectangular base, which is lacquered with an inscription to the interior. His left hand is lowered above his lap and holding a large leaf with incised veins. He is dressed in loose-fitting robes falling in graceful folds below the legs as if draped over an edge and finely decorated with dragons, a phoenix, and a butterfly as well as foliate designs, and gold-lacquered inscription of a Buddhist votive mantra. His face with a serene expression marked by heavy-lidded eyes inlaid with reverse-painted crystal, thick arched brows, full lips forming a subtle smile, and long pendulous earlobes.HEIGHT 33 cmCondition: Good condition with some wear, flaking and minor losses to lacquer, expected age cracks, minor losses, small nicks, light surface scratches.Provenance: From an old French private estate, found in an apartment in Paris' sixteenth arrondissement.According to Buddhist scripture, arhats (rakan) are protectors of the Dharma who also use assorted magical powers to assist the faithful. They were frequently depicted in groups of eight, sixteen, eighteen, twenty-eight, or five hundred.As Buddha's apostles, arhats were first mentioned as sixteen in the Mahayanavataraka which was translated into Chinese in AD 437 and later also into Japanese. A full transcript of these sixteen names was given in AD 653 by the pilgrim monk Xuan Zang with the additional two that were probably adopted by the end of the 10th century, these being the Arhats who tamed the Dragon and the Tiger representing Eastern and Western directions respectively.Auction comparison:Compare a related, yet larger, lacquered wood figure of a rakan at Zacke, Fine Japanese Art, 4 June 2021, Vienna, lot 126 (sold for 101,120 EUR).
A TIBETAN PAINTING ILLLUSTRATING THE MEDICAL TREATISE THE BLUE BERYL, CHAPTERS 23-2819th century. Distemper on cloth. Well painted with eleven horizontal frames, each depicting prophylactic and pharmaceutical herbs, examination scenes, treatments, and therapies. Each figure is painted with explanatory subtitles, and the scenes contain both natural and supernatural beings. The lowest register contains a two-line inscription underlining the general principles painted above.Provenance: From an Austrian private collection. Condition: Good condition with minor wear, light soiling, small stains, light creasing, minimal fading to pigments, minor losses, and light fraying to edges.Dimensions: Size 71.9 x 90.1 cmThe present medical thangka is an illustration to the medical treatise The Blue Beryl, written by Sanggye Gyatsho (1653-1705) between 1687 and 1703. Sanggye Gyatsho was the sixth regent (desi) of the 5th Dalai Lama (1617-1682) in the Ganden Phodrang government. He founded the School of Medicine and Astrology called Men-Tsee-Khang on Chagpori ('Iron Mountain') in 1694. The college was designed for monastic scholars who would, after learning esoteric arts of medicine and tantrism, mostly remain in the monastery, serving the public as would other monk scholars and lamas. An important part of Sangye Gyatso's contribution to medicine was his composition of the Blue Beryl Treatise and the preparation of a series of nearly 100 medical paintings illustrating medical theory and practice. These paintings were copied and distributed to several other monasteries.Literature comparison:Compare a closely related medical thangka dated to the 19th century in the Rubin Museum of Art, accession number C2006.66.514.
A LACQUERED WOOD PHURBU, MONGOLIA, 19TH CENTURYFinely carved from a single piece of wood and covered with a rich varnish, the tripartite ritual blade of triangular form issuing from an aproned bolster. The handle with the head of a wrathful deity, baring its teeth and furrowing its brow, wearing a vajra topped crown. The handle is tied with numerous colorful silk ribbons.Provenance: The Triay Collection of Himalayan Art. Ian Triay is a Spanish banking executive and the Honorary Consul in Spain for the Kingdom of Bhutan. He actively participated in the establishment of diplomatic relations between Spain and Bhutan and in projects of mutual interest to both countries. Assembled over a period of 40 years with an eye for the unusual and esoteric, the Triay Collection was a unique assemblage of Himalayan art. With many works featured in the landmark exhibitions in the Fundación “La Caixa”, Madrid in 2000, Musee Guimet, Paris in 2002, Los Angeles County Museum of Art in 2003, and the Rubin Museum of Art in New York in 2010, this collection shines a fascinating light on Buddhist ritual art.Condition: Very good condition with minor wear, few small nicks, light rubbing and little flaking to lacquer, expected losses and fraying to the ribbons.Weight: 145.3 gDimensions: Length 36.5 cm (excl. stand)With an associated stand. (2)A phurbu is a three-bladed ceremonial stake used to anchor, neutralize, and transmute negative phenomena in Vajrayana Buddhist rituals. The phurbu's magical effects cover a variety of domains, from exorcism and consecration to weather-making and the curing of diseases.
A FINE THANGKA DEPICTING USHNISHAVIJAYA, TIBET, 18TH-19TH CENTURYDistemper and gold on cloth. The three-headed and eight-armed goddess bearing a fierce expression, seated in dhyanasana on a lotus cushion, holding a four-pronged vajra before her, above a water vessel held in her lap, while lifting up a small image of the Buddha Amitabha, two other hands holding a bow and arrow. She is robed in voluminous silks and backed by a large nimbus and green halo. The central figure is surrounded by images of several buddhas, bodhisattvas, and wrathful deities, centered at the top by Tsongkhapa.Provenance: Acquired by the father of the present owner in Tibet around 1970 and thence by descent. Dr. David Templeman, a scholar of Tibetan Buddhism and Adjunct Research Fellow at Monash Asia Institute, Monash University in Melbourne, Australia, has previously appraised the present lot.Condition: Wear, light fading, creases, folds, fraying to edges, minor losses to pigments, soiling, and stains, presenting very well.Dimensions: Size 154 x 123.5 cmUshnishavijaya is one of the most beloved deities in Tibetan Buddhism and is often seen together with the other two long-life deities, Amitayus and White Tara. This group is known as the Three Long Life Deities or tse lha nam sum. There are other deities associated with long life and healing but these three are commonly referred to as the principal deities and form their own group.Auction result comparison: Type: Related Auction: Christie's New York, 15 March 2016, lot 212 Price: USD 20,000 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A painting of Ushnishavijaya, Tibet, 18th century Expert remark: Compare the closely related subject and related manner of painting. Note the smaller size (49.3 x 31.1 cm). 13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
• RICHARD LONG RA (BRITISH B.1945) Property sold to Benefit Turner's House, Twickenham (lots 36-42)Sandycombe Lodge, Turner’s House in Twickenham, offers a unique insight into the life and works of Britain’s greatest landscape painter, JMW Turner. Completed in 1813, Turner intended it as a quiet retreat, away from the pressures of the London art world; a place to which he would invite friends and indulge in his passion for fishing.Some of the house's features reflect the influence of Turner's great friend and fellow fisherman Sir John Soane, who had built his own country property near by - Pitzhanger Manor in Ealing - just a few years earlier and was architect of the Bank of England and Dulwich Picture Gallery. But Turner was very much his own designer, his construction of Sandycombe Lodge revealing a lot about his ideal for living and, true to character, is typically idiosyncratic. A private residence since Turner sold the house in 1826, its last owner, Professor Harold Livermore, lived there since 1947. Professor Livermore died in 2010, and in his will left the house in Trust, now Turner's House Trust. The Trust has since overseen its complete restoration, returning the property to how Turner had intended it, and recreating the quiet, domestic interiors that Turner would have known. Since opening to the public in 2017, the house has hosted a series of critically acclaimed exhibitions that have shone new light on Turner’s life and art. The Trust also works closely with community organisations, offering programmes to alleviate mental and physical ill health.Much of the funding for the house is from private donations, and the following seven lots by Richard Long and Peter Blake have been generously donated by the artists to raise funds to maintain the property and secure its future. To find out more about the house and how you can help support it visit www.turnershouse.org.uk. RICHARD LONG RA (BRITISH B.1945)RIVER AVON MUD FINGERPRINTS signed and dated Richard Long 2014 on the reversemud finger prints on painted cupboard door73 x 59cm; 28 3/4 x 23 1/4in(unframed)ProvenanceA gift from the artist to Turner's House, TwickenhamIn the present work, Long uses his index finger dipped in mud from the River Avon to make marks in lines which radiate from the centre. He says of his art: 'All my work is simple. I like the primal energy of just handprints or fingerprints. It's like cave painting.' Born in Bristol, where he still lives, Long's work is based around walking and the direct experience of nature. While still a student at St Martin's School of Art in the mid-'60s he began making walks, photographing the traces he had made (the flattened grass, stones displaced, paths formed), or marking the course of the walk on a map. Long first used mud as a medium in 1969, describing it as 'a simple, direct natural material'. Later he began laying rocks or twigs in straight lines or circles, and then started reconstructing these works in interior settings, although the walk remained the basis for collecting the natural material.Long represented Britain at the 37th Venice Biennale in 1976, and won the Turner Prize in 1989. He received the Chevalier de l'Ordre des Arts et des Lettres from the French Ministry of Culture in 1990, was elected a Royal Academician in 2001, and in 2009 was the recipient of the Praemium Imperiale for sculpture from Japan. He was awarded a Knighthood in 2018.
Matchbox models, four including 69 Hatra tractor shovel; 10 pipe truck; 48 Dodge dumper truck; 70 Grit-spreading truck, all boxed.Qty: 4Condition report:10, pipe lorry: small paint chips to rear of model48, dumper truck: two large scratches in top of tipper, pait damage to front right light, other minor chips69, Hatra tractor: missing paint around arm joint70, Grit-spreading truck: minor chips to front of cabAdditional photos have been added
Corgi Toys model 231 Triumph Herald Coupe, gold and white two-tone body, boxed with Corgi Model Club insert.Condition report:There is a chip to the left edge of the bonnet, otherwise just light rubbing to the edges. The flaps are complete with no tears to the edges, no other tears to the box.
Matchbox series die-cast model vehicles, six including model 7 Ford Anglia, light blue body, boxed; model 30 Ford Prefect, fawn body, boxed; model 44 Rolls-Royce Silver Cloud, grey body, boxed; model 66 Citroen D.S.19, yellow body; boxed; model 65 Jaguar 3.4 litre, blue body; model 22 1958 Vauxhall Cresta, pink body, boxed.Qty: 6
Dinky Toys model 187 Volkswagen Karmann Ghia Coupe, red body, black roof, boxed.Condition report:There are some very light rubbing to the edges of bumpers, but no chips to the paint, the tires are a bit black on the edges. The box has no tear to the flaps, just light rubbing to the edges, there are a few light creases on the corners of the boxes.
An album of 200 approx photos of various sizes (largest 20x28) offering a snapshot of colonial/military life in India in the twilight years of the British Raj. Photos include group shots of officers and their wives (probably Surma Valley Light Horse), military parades, photos of Polo players and gymkhana events, Colonial style bungalow, photo of reception including British and local dignitaries and photos of British officials with their local staff. Together with a small collection of loose photos with similar themesphotos generally good with some staining/spotting to backing boards
Hunting interest: 4 volumes: PLAIN OR RINGLETS, ILLUSTRATED BY JOHN LEECH, light blue buckram with gilt pictorial cover and spine; HILLINGTON HALL OR THE COCKNEY SQUIRE, ILLUSTRATED BY WILDRAKE, HEATH AND JELLICOE, olive green buckram with gilt pictorial cover and spine; MR SPONGE'S SPORTING TOUR, ILLUSTRATED BY JOHN LEECH, red cloth binding with gilt pictorial cover and spine; ROMFORD'S HOUNDS, ILLUSTRATED BY, ILLUSTRATED BY JOHN LEECH AND H K BROWNE, dark green cloth with gilt pictorial cover and spine (4)
Loading...-
534325 Los(e)/Seite