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534297 Los(e)/Seite
Los 2031
Dinky 582 Bedford Pullmore Car Transporter - light blue cab and trailer with fawn beds, mid-blue ridged and Supertoy hubs with smooth tyres, twin rivet sides - Good Plus still a lovely bright example in a generally Good to Good Plus blue and white striped lift off lid box with inner packing pieces (some small pencil marks on lid) also comes with 994 Tinplate Loading Ramp - which is Near Mint in a Good Plus yellow and red carded box. (2)
Los 2622
Hot Wheels (Mattel) RRRumblers - a pair (1) Roamin Candle - yellow plastics, pinkish-red figure with white helmet and racing number 5 and (2) same as (1) but black plastics with light blue figure, white helmet and racing number 5 (without guide lines) - both are generally Good Plus to Excellent (slight surface corrosion to bare metal parts) still nice bright examples. (2)
Los 2270
Dinky 490 Electric Dairy Van "Express Dairy" - cream body, red base inner back & ridged hubs with treaded tyres, sliver front light - overall condition is Excellent Plus a lovely bright example in a generally Good to Good Plus yellow & red carded picture box with correct colour spot (slightly grubby & small price label attached to end flap) - see photo.
Los 2046
Dinky unboxed group to include 25w / 411 Bedford Open Back Truck - mid-green, light green ridged hubs; 25m / 410 Bedford End Tipper - green, black ridged hubs; 25v / 252 Bedford Refuse Wagon - light tan, green metal slides and opening rear door, red ridged hubs; 34b "Royal Mail" Delivery Van - red, black including ridged hubs; 25h / 250 Streamlined Fire Engine - red including ladder and ridged hubs, with bell and 25r / 410 Forward Control Lorry - burnt orange, black ridged hubs - conditions are generally Fair to Good Plus still nice bright examples. (6)
Los 2651
Majorette a pair of blister card issues to include; 216 "Police" Car - metallic blue, amber roof light, black plastic aerial, off-white interior & 221 Camargue - two-tone blue, yellow, amber windows - conditions appear to be generally Near Mint to Mint (couple of very minor factory assembly marks) on generally Good Plus to Excellent blister cards (one has mark on front where label has been removed at some time) - see photo. (2)
Los 2355
Dinky 104 Aston Martin DB3S - light blue, dark blue interior with figure driver, silver trim, mid-blue ridged hubs with smooth tyres - Excellent (does have some small chips to hubs) still a bright example in a Fair to Good (complete) yellow and red carded picture box with correct colour spot.
Los 2041
Dinky 27d / 340 Land Rover - green including ridged hubs with grey treaded tyres, light tan interior and figure driver, silver trim, black metal windscreen and tow hook with matching 27m / 341 Trailer; 27a / 300 Massey Harris Tractor - red, yellow metal wheels, light tan figure driver, black steering wheel, seat and tow hook with 27c / 321 Spreader - red, yellow metal wheels and another 27a / 300 Tractor with 27b / 322 Disc Harrow - conditions are generally Fair to Good Plus - see photo.
Los 2015
Dinky 27n (301) Field Marshall Tractor - burnt orange, silver trim, light tan figure driver, silver metal wheels, with tow hook - Good Plus still a lovely bright example that displays well in a generally Fair (complete) yellow and red carded picture box with harder to find (dual numbered end flaps) - also comes with correct inner packing piece.
Los 111
TABATIÈRE EN AGATE SCULPTÉEcole Officielle, 1780-1850AGATE 'CAMEO' SNUFF BOTTLEOfficial School, 1780-1850Of square form with a short straight collar, the stone a light translucent honey colour, carved one one side in high relief using the natural white vein in the stone with a horse tethered to a post, stopper. 5.7cm (2 1/4in) high. (2).Footnotes:PROPERTY FROM THE SMIT COLLECTION OF CHINESE SNUFF BOTTLES Smit家族舊藏中國鼻煙壺 1780-1850 瑪瑙巧雕立馬鼻煙壺Provenance:Fred and Elsje Smit Collection來源:Fred 和 Elsje Smit 舊藏For further information on this lot please visit Bonhams.com
Los 54p
A MAGNIFICENT AND VERY RARE LARGE WOOD FIGURE OF THE BODHISATTVA GUANYIN IN WATER MOON FORMJin dynastySeated in rajalitasana, with the right arm resting on his right raised knee and his left arm and hand resting on the ground and supporting the body, the bare torso dressed in a short cape with long ribbons falling over his arms, a narrow, scarf draped over the left shoulder, falling diagonally across his chest and tied on the left in a large limpid knot, the lower body covered with a full diaphanous wrap-around skirt falling in linear folds around his legs and ankles, tied around the waist with an elaborate bow, a bejeweled necklace with an ornate central pendant lies at this chest, bracelets at his wrists, his rounded face with a serene, meditative expression, with arched brows above downcast eyes inlaid with black glass, with high cheekbones, small, full pursed lips and rounded chin, the hair drawn up into a high curled chignon with tresses falling to each shoulder where they are bound, divided into three wavy strands falling over his shoulders and arms, traces of blue, red and green pigments, and traces of gilding.111cm (43 3/4in) high.Footnotes THE PROPERTY OF A DISTINGUISHED FRENCH FAMILY 法國顯赫家族藏品金 木雕水月觀音坐像Provenance:Ta-Kou-Tchai (Studio for Understanding Antiquity) of Paul Houo-Ming-Tse (Paul Hou Ming-Zhi, ca. 1880-1949), Beijing, before 1930Alphonse Bellier et Andre Portier, Collection Paul Houo-Ming-Tse de Pékin. Objets d'Art de la Chine de Époques Archaïques au XVIIIe Siècle., Vente aux Encheres publiques, Hôtel Drouot, 15, 16 et 17 Février 1932, lot 63Acquired in Paris by the grandfather of the present owners before 1935, and thence by descentPublished, Illustrated and ExhibitedPaul Huo-Ming-Tse, Preuves des Antiquités de Chine Pékin, 1930, p.297Alphonse Bellier et Andre Portier, Collection Paul Houo-Ming-Tse de Pékin. Objets d'Art de la Chine de Époques Archaïques au XVIIIe Siècle., Vente aux Enchères publiques, Hôtel Drouot, 15, 16 et 17 Février 1932, lot 63Gazette de L'Hôtel Drouot, Numéro 19, Mardi 16 Février 1932, cover pageCabinet Portier, 100 Ans 1909–2009, Paris, 2010, fig.100The result of Re.S. Artes Radiocarbon Dating test no. C 145020A (E1 and E2) (9 May 2023) is consistent with the dating of this lot.來源：霍明志（约1880-1949)，達古齋，北京，1930年以前入藏巴黎德魯奧拍卖會，1932年2月15-17日，霍明志藏品專場，編號63現任藏家祖父於1935年前於巴黎獲得，並由後人保存迄今出版：霍明志,《達古齋古證錄》，北京, 1930年, 頁297巴黎德魯奧，《霍明志藏品專場圖錄》，編號63《巴黎德魯奧公報》封面，第19期，1932年2月16日Cabinet Portier,《百年鑒藏1909-2009》，巴黎，2010年，圖100法國Re.S.Artes實驗室碳-14測定結果，測試編號 C 145020A (樣本E1和E2，2023年5月9日）顯示本拍品年份與斷代相符 Eyes of CompassionThis impressive sculpture seated in a contemplative pose is a religious sculpture that was made in the 11th/12th century under the Jin dynasty (1115-1234). It represents the Buddhist Bodhisattva Guanyin whose Sanskrit name is Avalokiteshvara, 'the Lord who looks down'. Known as Guanshiyin in Chinese, the Bodhisattva Guanyin is the one who is attuned to the sounds of the worlds and hears all the world's suffering. His inward-turning gaze expresses The Bodhisattva's powers as a comforter of humans suffering and hardship while his naturalistic image expresses proximity and approachability. This Bodhisattva is known as the Bodhisattva of infinite compassion, he who has attained enlightenment and the utter state of bliss but who has deferred entering Nirvana to ease the suffering of all humans. As such he is one of the most important deities in Mahayana Buddhism.This magnificent figure of the Bodhisattva Guanyin is seated in the pose of 'Royal Ease', with his right hand resting on his right bent knee, a posture that is known as the 'Water-Moon' form of the Bodhisattva Guanyin (Shuiyue Guanyin in Chinese). The iconography is based on important Buddhist scriptures referring to the Bodhisattva Guanyin, in particular the Avatamasaka Sutra from the Huayan Jing , the Sutra of Flower Adornment, and the Fahua Jing, the Lotus Sutra. They portray the Bodhisattva Guanyin as the universal saviour who can embody many different forms, male and female, young and old. The 'Water-Moon' iconography is based on passages from the Avatamsaka Sutra which describe the young prince Sudhana visiting the Bodhisattva Guanyin on Mount Potalaka to receive the teachings of the Dharma. It is here that the Bodhisattva Guanyin could be found in deep contemplation of the moon's reflection on the water of the surrounding sea. His Chinese name ' Shuiyue Guanyin' refers to this pose and to his nature attuned to the sounds of the world and able to hear all the world's suffering ( guanyin).This figure is sculpted as male deity for his defined torso is clearly visible beneath his diaphanous robes and bejewelled necklace. His garments reveal the strong Indian influence on sculpture of this period, almost a thousand years since Buddhism first reached China from India. He is dressed luxuriously with diaphanous scarves and skirt falling in ample folds around his body. An elaborate necklace suspending a large central pendant adorns his chest and we can assume that he was wearing bejewelled earrings. His costly attire and regal posture remind us that Bodhisattvas originally were aristocratic princes. His hair is carefully tied back in a high chignon. A depression on the front of the top know indicates that a small carved figure of the Buddha may originally have been placed here. Amitabha was similarly revered as the figure of compassion and the figure of Guanyin was to be born from a ray of light emanating from the right eye of the Buddha Amithaba.During the 10th to 13th centuries, painted wooden figures such as this magnificent figure of the Bodhisattva Guanyin in Water-Moon form were made for Buddhist temples in Northern China. At that time, the North of China was ruled by the Jurchen Jin dynasty (1115-1234), a nomadic people from the steppes of Central Asia that had defeated in war the two largest and most powerful nations in Asia, the Khitan Liao and the Han Chinese. Under the Jin, Buddhism flourished. The Jin rulers were highly conscious of the fact that Buddhism was not a native Chinese religion. Under their patronage Buddhism received the official support and veneration it lacked in other parts of the empire. Consequently, a plethora of Buddhist temples thrived in and around Buddhist centres of religious activity in Taiyuan and Mount Wutai in modern Shanxi province. The Jurchen Jin rulers gradually adopted Buddhism as the state religion, thus establishing a rich legacy of temples, tombs, and artefacts.Large sculptures such as this magnificent figure of the Bodhisattva Guanyin in Water-Moon form were originally made for important Buddhist temples. These were often large structures with several halls of worship connected by courtyards where groups of vibrantly painted wood sculptures would be positioned along walls and around central figures of devotion. Due to the large demand for religious sculpture for the furnishings of Buddhist temples, craftsmen soon moved from working in stone to sculpting in wood, a material that was less expensive and could be worked more easily. Traces of bright cobalt blue pigment and gilding can be found in the back of the folds of the skirt of this figure hinting at the colours that once made this figure come alive. The sheer size of the figure that is worked entirely in the round conveys an almost life-like impression. For further information on this lot please visit Bonhams.com
Los 55
GRAND PARAVENT EN LAQUE DE COROMANDEL À DOUZE FEUILLESÉpoque Kangxi (1662-1722), daté de l'année ren ying de Kangxi (1722)A TWELVE-PANEL COROMANDEL LACQUER SCREENdated to the ren ying year of the sixty-first year of the Kangxi reign (1722) and of the periodFinely carved on one side with the birthday celebrations for Guo Ziyi, a Tang dynasty hero, and depicting the arrival of guests crossing a footbridge to approach the central pavilion where the hero is entertained by dancers and musicians, with groups of military and civilian officials waiting in a courtyard to pay their respects, surrounded by noble families, and ladies tending to young children in secluded pavilions, all within a floral border and panels each featuring mythical animals, all in rich colors on a brown ground, the reverse with a long inscription across all twelve panels, dedicated to the an official on his birthday and dated to the cyclical year ren ying of the Kangxi reign (corresponding to 1722) Each panel 279 x 48cm (109 7/8 x 18 7/8in) (12).Footnotes:THE PROPERTY OF A DISTINGUISHED FRENCH FAMILY 法國顯赫家族藏品清康熙六十一年（1722年） 款彩郭子儀祝壽圖十二扇屏風Provenance:Acquired in Paris by the grandfather of the present owners before 1935, and thence by descent來源:現任藏家祖父於1935年前於巴黎獲得，並由後人保存迄今Coromandel lacquer, known in Chinese as kuancai, first appeared in China in the 16th century. Coromandel lacquer technique involved applying a layer of chalk mixed with clay to wooden panels which were then covered with a thin layer of black lacquer, the design was then carved into the chalk through the layer of lacquer. Then the carved areas of the light base layer, framed by narrow bands or larger areas of the black lacquer surface, were filled with coloured lacquer and partially gilded. A novel technique, coromandel lacquer pieces were first made for the domestic market but in the 17th and 18th century were made mainly for export to the West. The scene depicted in one side of this impressive twelve leaf screen depicts Guo Ziyi (697-781), a celebrated general who served under four emperors and is credited with saving the Tang dynasty by repressing the An Shi rebellion. The subject was a popular one the visual arts of the Ming and Qing dynasties and often depicted in paintings and other media.The lengthy inscription on the reverse of the screen states that the screen was made during the 61st year of the Kangxi reign (1722), a birthday present to a high official. A screen made in the 9th year of the Kangxi reign (1670), depicting a similar scene, is in the Asian Art Museum, San Francisco (accession no. B69M52). Compare also with another coromandel lacquer screen decorated with the same subject, sold Christie's New York, 24-25 March 2011, lot 1367.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Los 70
ROBE INFORMELLE EN SOIE VERTE CLAIR BRODÉE, CHANGYIFin du XIXe siècleAN EMBROIDERED PALE GREEN SILK SATIN MANCHU LADIES INFORMAL ROBE, CHANGYILate 19th centuryThe pale green silk satin finely embroidered in an even satin stitch on the front and back panels with sprigs of flowering prunus branches, with wide borders in black silk satin accentuating the sleeves, the neck, side, and hems similarly embroidered with flowering prunus branches in satin stitch, the pattern repeated on the cream silk satin cuffs, the interior lined with yellow silk. 150cm long x 135cm wide (59in long x 53 1/8in wide)Footnotes:THE PROPERTY OF A LADY 女士藏品十九世紀晚期 淺綠色緞綉花卉紋氅衣Provenance:Acquired by the family in China between 1895 and 1922, and thence by descent來源:1895年至1922年閒蒐集於中國，並由後人保存迄今Informal robes worn by Manchu women comprised two styles of long robes, the changyi with two side slits highlighted by decorative borders, and the chenyi with narrower sleeves and no side slit such as the present robe. Informal, colourful robes lavishly embroidered with designs carrying layers of symbolism, were not regulated by official codes and could therefore be styled in multiple colours, motifs and shapes. The finely embroidered sprays of prunus blossoms scattered across the light green background on this robe suggest that it was supposed to be worn in the spring.For further information on this lot please visit Bonhams.com
Los 127
12 BOTTLES WHITE RUMOnerum Iheya Island (50cl); Sechura Rum Peruvian Distilled (50cl); Monymusk Over Proof; Takamaka The Seychelles Series; Three Roll Estate Premium; Ron Pampero Blanco; Copal Tree Distillery 2 x Copalli; Denzien 3YO; Kuleana Hawaiian; Ron Santiago de Cuba Ron Carta Blanca; The Equiano Rum Co Equiano Light
Los 292
12 BOTTLES AUSTRALIAN RED WINEYering Station 2 x Village Shiraz 2017; Zonte's Footstep 2 x 1st Off The Rank Cabernet 2021; Pinnacle Drinks 2 x William Light Shiraz 2020; Barossa Valley Estate 2 x Cabernet Sauvignon 2020; Nugan Estate 2 x Single Vineyard Shiraz 2020; Mr Riggs 2 x Outpost Cabernet 2020
Los 37
STATUETTE DE BOUDDHA DIPANKARA EN ALLIAGE DE CUIVRE ET BOIS POLYCHROMENÉPAL, VERS XVIE SIÈCLEHimalayan Art Resources item no. 4819 39.7 cm (15 5/8) highFootnotes:A COPPER ALLOY AND POLYCHROMED WOOD FIGURE OF DIPANKARA BUDDHANEPAL, CIRCA 16TH CENTURY尼泊爾 約十六世紀 銅及木雕彩繪燃燈佛像Provenance:With Claude de Marteau, Brussels, by 1968Dipankara, the Buddha of the Past, is celebrated among Newar Buddhists as a protector of merchants. This most distinctive sculpture was made by combining a carved wood body with finely cast copper alloy feet, hands, and head. Although Dipankara's handsome face and clinging robe trace their stylistic origin to Gupta Indian sculpture of the 4th-to-6th century, its thinner lips and the curvaceous treatment of the waist suggest this figure is a c. 16th-century homage to the Newar's aesthetic heritage. The facial modelling of a large Nepalese bronze Buddha from the 10th century, in the Zhiguan Museum of Fine Art, also resembles that of the present work, further attesting to the Newar's conservative tradition and enduring standards of craftsmanship (The Light of the Buddha, 2019, pp. 236-41, no. 57; HAR 8082).Related wood sculpture include a Crowned Buddha in the Museum für Asiatische Kunst, Berlin (I 10069), and another mixed wood and bronze image of Dipankara from the late Malla period in the Virginia Museum of Fine Arts, Richmond (2018.97), to which the present sculpture's sensuous modelling compares favorably.For further information on this lot please visit Bonhams.com
Los 16
STATUETTE DU CINQUIÈME SAKYA TRIDZIN, JETSUN DRAGPA GYALTSEN, EN ALLIAGE DE CUIVRE DORÉATTRIBUÉ À TSUGTOR (A. XVE SIÈCLE), TIBET, VERS 1479A Tibetan inscription identifying the subject, front center on the top of the lotus base, translated, 'Homage to Jetsun Dragpa'.Himalayan Art Resources item no. 4811treasuryoflives.org no. P1614 31.7 cm (12 1/2 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF THE FIFTH SAKYA TRIDZIN, JETSUN DRAGPA GYALTSEN ATTRIBUTED TO TSUGTOR (A. 15TH CENTURY), TIBET, CIRCA 1479西藏 約1479年 銅鎏金五世薩迦法王扎巴堅贊像 應為珠多之作（活躍於十五世紀）Provenance:With Claude de Marteau, Brussels, by 1970sThis outstanding gilded bronze depicts Jetsun Dragpa Gyaltsen (1147-1216), the Fifth Tridzin (Throne Holder) of the Sakya order of Tibetan Buddhism. Its caster, almost certainly a master artist named Tsugtor (a. 15th century) working for a Tibetan royal patron, reflects Dragpa Gyaltsen's quintessential portrait, recognizable for the shorn cut, groomed facial hair, and full-sleeved layman's cloak emblazoned with the Eight Auspicious Symbols (ashtamangala). Also regarded as the third of the Five Founding Fathers of the Sakya tradition (Jetsun Gongma Nga), Dragpa Gyaltsen is revered as a peerless tantric master believed to have conversed at times directly with tantric deities while developing many of the Sakya's core teachings (Dinwiddie (ed.), Portraits of the Masters, 2003, p. 207). As his impact in the field of tantric theory and practice would never be surpassed in the Sakya tradition, he is often represented with the same attributes and pose—crossing the vajra and ghanta before his chest—as the Primordial Buddha Vajradhara, who is considered the divine progenitor of most tantric cycles. This magnificent portrait can be attributed to the Tsugtor, who is known to have created gilt bronzes around 1479 for Sakyong Ayi Sengge, a prince of Mustang, which at the time was a wealthy, semi-independent kingdom controlling an important trade route linking Tibet and India. This information came to light through inscriptions naming artist and patron on two bronzes studied by Amy Heller. Undoubtedly from the same workshop as the present sculpture, both bronzes depict the Fourth Abbot of Ngor monastery, Gyaltshap Kunga Wangchuk (1424-78), and were offered at Sotheby's, New York, 19 March 2008, lots 306 & 307 (HAR 12576 & 12577). Gyaltshap Kunga Wangchuk collectively spent over a decade in Mustang before passing away there in 1478. The inscriptions indicate the portraits were royally commissioned in memoriam the following year in 1479, which appears to coincide with an historical record of golden statues being made for the lama's memorial ceremonies (after Heller; see the Ngor Abbots Lineage biographies, Ngor gdan rabs nor bu phreng ba, composed c. 1700, and see also Jackson, 'Sources on the Chronology and Succession of the Abbots of Ngor E-vam chos-Idan', in Berliner Indologische Studien, 1989, vol. 4/5, pp. 49-94). The two commemorative portraits appeared at auction alongside two further bronzes (lots 304 & 305; HAR 12574 & 12575), depicting Shang Kongchog Pel (1250-1317) and Dragpugpa Sonam Pel (1277-1350), that are stylistically identical to the present lot and clearly belong to the same initial set representing the lamdre lineage masters of the Sakya order. Manifest in the present sculpture of Dragpa Gyaltsen, Tsugtor evidently drew from the Tibeto-Chinese stylistic tradition of the Yongle period (1403-24). For example, the robe's pleating over Dragpa Gyaltsen's legs, the heavy beading around the lotus base, the compact treatment of the petals with trifurcating tips, and the master's sweet, downcast expression all recall Yongle idioms, as exhibited by sculptures of Maitreya and Vajrapani in the Rietberg Museum, Zurich (Uhlig, On the Path to Enlightenment, 1995, pp. 87 & 107, nos. 42 & 59). The location of the Tibetan inscription on top of the base before the feet of Dragpa Gyaltsen also echoes the practice of engraving reign marks on imperial bronzes that are thought to have been dispatched as diplomatic gifts to prominent Tibetan monasteries. However, the chased motifs embellishing Dragpa Gyaltsen's cuffs and cloud collar, while redolent of luxurious Chinese silks, reflect a Tibetan taste for patterning the textiles in gilt bronze sculptures which was never used by early Ming imperial workshops. In both form and technique, these symbols correspond to similar patterning known definitively to have been practiced in Shigatse, Central Tibet, from the work of another identified master artist, named Sonam Gyaltsen, working for local royal patrons of the Sakya order earlier in c. 1430 (See Watt in Bonhams, New York, 19 March 2018, lot 3033). Mustang is generally not known for gilded bronzes, and both the inscriptional evidence within the Gyaltshap Kunga Wangchuk portraits and these stylistic and technical features might place Tsugtor at a workshop in Shitgatse, not Mustang, and where Ngor monastery commissioned its bronzes as well. The present Dragpa Gyaltsen, therefore, offers a rare and important ability to localize these inspired artistic exchanges between China and Tibet in the 15th century, in addition to being among the most substantial and exquisitely modelled gilt bronze portraits of a Tibetan hierarch to ever appear on the market.For further information on this lot please visit Bonhams.com
Los 29
STATUETTE DU BOUDDHA SHAKYAMUNI EN ALLIAGE DE CUIVRE DORÉTIBET OU NÉPAL, XIIIE/XIVE SIÈCLEHimalayan Art Resources item no. 4888 12.7 cm (5 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF SHAKYAMUNI BUDDHATIBET OR NEPAL, 13TH/14TH CENTURY西藏或尼泊爾 十三/十四世紀 銅鎏金釋迦牟尼像 Provenance:With Claude de Marteau, Brussels, by 1970sWith downward casting eyes in deep meditation and his right hand extended forward in the earth-witnessing gesture (bhumisparsha mudra), this gilt bronze of the Buddha Shakyamuni illustrates the seminal moment of his enlightenment and subsequent triumph over the demon king Mara at Bodh Gaya. In this unique sculpture, the artist cleverly alludes to Shakyamuni's immovable and unbreakable force of will by adding a cushion—or adamantine seat (vajrasana)—inset with semi-precious gemstones cut into the shape of diamonds. Decoration of this type comes from northeast Indian bronzes during the Pala period, with inset patterns comparable to a group of 10th century Tathagatas in the Beijing Palace Museum, published in The Light of the Buddha: Buddhist Sculptures of the Palace Museum and Zhiguan Museum of Fine Art, 2019, pp.168-185, nos. 35-39), as well as another set of four Tathagathas in the Potala Palace, published in von Schroeder, Buddhist Sculptures in Tibet, Vol. I, 2001, pp. 250-9, nos. 78-81). This decoration also appears on the crown band of the Nepalese Tara from the Zimmerman Family Collection, sold at Bonhams, New York, 21 March 2023, lot 513. This awareness of Indian motifs, in addition to the Buddha's wide forehead, broad upper torso, and a fitting to attach a prabhamandala behind the base reflects the skilled hand of a Newari craftsmen from the Early Malla period (1200-1482). However, the Buddha's relatively taller ushnisha topped by a wish-granting jewel (chintamani), the lack of wear to the gilding, and the preference for lapis lazuli and turquoise insets indicate that this bronze was made with a Tibetan patron in mind. As such, given the merging of Indian, Nepalese, and Tibetan styles, it is appropriate to assign this bronze to a Nepalese workshop in Tibet, considering the present lot's striking physique and physiognomy to that of a crowned Buddha image from the Philip Goldman Collection, sold at Sotheby's, New York, 21 March 2002, lot 50. Furthermore, the delicately incised treatment given to each individual lotus petal indicates a possible attribution to Densatil monastery, which was known for incorporating both Indian and Nepalese decorative elements into their lavishly inset gilt bronzes. If so, the figure's smaller scale suggests that it was placed within a private chapel and was made for a high-ranking lama as their personal image. See a Densatil image of Vajravidarana that shares this lotus petal type from the Claude de Marteau Collection, Part I, sold at Bonhams, Paris, 4 October 2022, lot 11.For further information on this lot please visit Bonhams.com
Los 9
STATUETTE D'HEVAJRA EN ALLIAGE DE CUIVRE AVEC INCRUSTATION D'ARGENTTIBET, PROVINCE DE TSANG, XVE SIÈCLEHimalayan Art Resources item no. 4871 25.4 cm (10 in.) highFootnotes:A SILVER INLAID COPPER ALLOY FIGURE OF HEVAJRATIBET, TSANG PROVINCE, 15TH CENTURY西藏 十五世紀 銅錯銀喜金剛像Provenance:With Claude de Marteau, Brussels, by 1970sThis sculpture of Hevajra trampling a quatrain of piled corpses while raising his two left legs in a passionate dance represents his form in the 'Oral Instruction' Lineage. Also known as the Lamdre (or Margapala) Instruction Lineage, this tradition is said to have been first revealed to Mahasiddha Virupa in a vision from Nairatmya, the consort of Hevajra. The Lamdre, or the 'Path with the Result', is a system of philosophical and meditation techniques based primarily on the Hevajra cycle of Tantras, which were orally passed down from teacher to student and eventually became incorporated into the Sakya school of Tibetan Buddhism as their most important practice. Expertly cast with intricate details, squarish features, and animated eyes inlaid with silver, this superb figure distinguishes itself as one of the most remarkable pieces to have been made in the non-gilding ateliers of Tsang. Luxurious engravings located at the back of the base, which were likely made to fit the tangs of a separately-cast prabhamandala, allude to the Chinese embroidered silks that were sent to monasteries in Tsang as gifts, reaffirming the political trade alliances that were being forged among the leaders of the Sakya and the imperial courts of the Yuan and early Ming dynasties. A Tsang portrait of the Sakya Ngor lama Sanggye Pel, which was sold at Bonhams, New York, 14 March 2017, lot 3273, shares similarly rendered floral decorations at the lower portions of his patchwork robe. The round, beaded rim of Hevajra's lotus base, in addition to Nairatmya's cross-hatched apron, by contrast, pay homage to the gilding workshops that were concurrently flourishing in Central Tibet, including a gilt bronze Hevajra following in the artistic traditions of Sonam Gyaltsen (c. 1430), sold at Bonhams, Hong Kong, 7 October 2019, lot 931. Also attesting to the rarity of Hevajra images from Tsang are two other images that are cast together with their bases, one sold at Christie's, London, 19 June 1973, lot 153, and another published in, The Light of the Buddha: Buddhist Sculptures of the Palace Museum and Zhiguan Museum of Fine Art, 2019, pp. 374-5, no. 101; HAR 8237.For further information on this lot please visit Bonhams.com
Los 562
A SHELLEY 'WILD FLOWERS' PATTERN FIFTEEN PIECE COFFEE SERVICE, comprising a coffee pot, cream jug and sugar bowl, six coffee cups and six saucers, bears pattern no.13668, printed marks (15) (Condition Report: coffee pot has very light staining to interior and lid inner edge, tiny chip to spout, the rest of the set appears to be in good condition)
Los 19
A 9CT GOLD POLISHED BAND RING AND A BELCHER CHAIN, the polished wide band, approximate band width 5.5mm, hallmarked 9ct Birmingham, ring size centre K, approximate gross weight 2.7 grams, together with a fine long belcher chain fitted with a spring clasp, stamped 9k, length 820mm, approximate gross weight 6.0 grams (condition report: general light wear, both would benefit from a gentle clean and polish)
Los 94
A GENTS 'GC SWISS MADE' WRISTWATCH, round white dial signed 'Gc', Arabic twelve numeral and baton markers, three subsidiary dials, date window at the four o'clock position, two pushers either side of the crown, stainless steel case back signed 'Gc Swiss Made, X76001G1S/04, sapphire crystal, approximate case width 46.5mm, fitted with a white ceramic bracelet with folding clasp, together with a fitted signed 'Gc' box (condition report: general light wear, not tested, ticking at time of cataloguing, extra link in box)
Los 416
A GROUP OF MINTON 'HADDON HALL' PATTERN TEAWARE, comprising an oval trinket dish (marked as second quality), oval covered tureen, two plates from a tiered cake stand, mustard pot, apple sauce pot, a boxed pair of candle holders, milk jug, sugar bowl, seven tea plates, one breakfast tea cup and saucer, four tea cups (one marked as second quality), nine saucers, one coffee cup and two saucers (35) (Condition Report: signs of light use, no obvious damage)
Los 11
A HALF SOVEREIGN PENDANT, a Queen Victoria, half sovereign coin dated 1893, in a collet mount with rope twist surround and scroll surmount hallmarked 9ct Birmingham, length including suspension ring 30mm, approximate gross weight 5.0 grams (condition report: general light wear, would benefit from a gentle clean and polish)
Los 93
A GENTS 'RADO DIASTAR' WRISTWATCH, round black dial signed 'Rado' gold detailed markers, date window at the four o'clock position, three subsidiary dials, gold tone hands, black ceramic case, case back signed 'Rado DiaStar Swiss Made 541.0814.3', two pushers either side of the crown, approximate case width 43.8mm, fitted with a black ceramic bracelet and folding Titanium clasp signed Rado high-tech ceramic, 04633' with fitted box and booklet and international warranty card (condition report: general light wear, not tested, overall condition good)
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534297 Los(e)/Seite