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283287 Los(e)/Seite
Los 48
A Howell & James Aesthetic Movement circular charger, painted by Mary Salisbury, signed and dated 1882, with portrait of an auburn-haired maiden posing before blossoming wild white roses, approx. 38cm diameter, printed mark Howell & James Special Make, circular red velvet frame, 47.5cm overall
![Terry Hirst (1922 - 2015)Portrait of a Kenyan Womansigned, inscribed Nairobi and dated [19]66, watercolour and ink wash, 35cm](https://cdn.globalauctionplatform.com/4c80be77-9152-490e-83a6-af9c00fbad3e/de4673e2-3f83-4752-aa94-b00701220ec4/468x382.jpg)
Los 1604
A 19th century gilt metal and porcelain mounted kingwood crossbanded amboyna and ebonised bonheur du jour, stepped superstructure with mirrored niche flanked by a pair of doors applied with oval portrait plaques painted in the manner of Sèvres, the projecting base with three frieze drawers, the central fitting with a sliding writing plateau with inset tooled and gilt surface, open undertiers, turned feet, 151cm high, 135.5cm wide, 56cm deep, c.1870
Los 55
A Minton's China shaped circular plate, the field painted in red sepia with the portrait of a young woman of fashion with moth in relief, enamelled in blue, moulded reticulated border, 23cm diameter, printed and incised marks; a circular plate, painted in red sepia with maiden beside a lake, 23cm diameter (2)
Los 57
A cased silver 1977 Jubilee commemorative plate, engraved with Annigoni portrait of HM Queen Elizabeth II, Roberts & Dore, London 1977, 23cm ltd. ed. 349/2000 c/w paperwork and cloth bag, t/w a cased silver 20.5cm plate etched by James Wyeth 'Riding to the Hunt', |London import 1973 and a 20.5cm plate decorated with niello Canada geese, after Sir Peter Scott, London 1974, in presentation display box (3), 23oz total weight
Los 1051
A group of seven medals to Lieutenant Reginald Finlow R.N.R. comprising 1914-15 Star; 1914-18 BWM; Victory Medal, M-I-D oakleaf (15 Sept. 1916); RN Naval Reserve Decoration; 1939-45 Star; Atlantic Star; 1939-45 War Medal to/w miniatures, M-I-D certificate, dress uniform photo portrait Notes - Captain of several Cunard liners including the Samaria, Aurania and Scythia, Staff Captain Queen Mary 1937, served HMS Birmingham during the Battle of Jutland
Los 133
JOEL-PETER WITKIN (born 1939)Portrait of Signoria de Nobili and the sorrows to come, Rome 1996Edition 2/12Signé, daté, titré, numéroté et situé 'Portrait of Signoria de Nobili and the sorrows to come, Rome 1996, 2/12, J. PW 1307 4' au dosTampon 'La Cadrifolie, Bruno Monnerais' au reversTirage argentiqueEditie 2/12Getekend, getiteld, gedateerd en genummerd 'Portrait of Signoria de Nobili and the sorrows to come, Rome 1996, 2/12, J. PW 1307 4' op de achterkantStempel 'La Cadrifolie, Bruno Monnerais' op de achterkantZilverdrukSigned, dated, titled, numbered and situated 'Portrait of Signoria de Nobili and the sorrows to come, Rome 1996, 2/12, J. PW 1307 4' on the backStamped 'La Cadrifolie, Bruno Monnerais » on the backSilver print 69.5 x 70.5cm (112.5 x 111cm avec cadre)Footnotes:Provenance/HerkomstGalerie Baudoin Lebon, ParisCollection privée / Privé collectie, Belgique.For further information on this lot please visit Bonhams.com
Los 23
AUGUSTE MAMBOUR (1896-1968)Portrait de femme au bouquet Circa 1920Signé en bas à gaucheHuile sur toileLinks onderaan getekendOlieverf op doekSigned lower leftOil on canvas74 x 61 cmFootnotes:Provenance/ HerkomstCollection privée / Privé collectie, NederlandThis lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com
Los 109
TANGKA REPRÉSENTANT LE PORTRAIT DE DAMARUPATIBET CENTRAL, MONASTÈRE DE NGOR, VERS 1600 Distemper on cloth; with original blue cloth mounts inscribed on the reverse along the top in Tibetan, identifying the painting's subject, and also with original red lacquered, gold painted dowel rod; verso inscribed in black ink with 'om, ah, hum' incantations behind each figure and many lines arranged into the form of a stupa, comprising Sanskritized and Tibetan prayers and mantras consistent with a formula repeated throughout the Ngor lamdre lineage set of paintings; the painted recto with Tibetan inscriptions in gold identifying the majority of figures, and two separate lines of inscription along the bottom red painted border, the second identifying the secondary 'Chandali Perfection Stage Lineage' sequence of figures within the painting, the first an homage to the central subject, translated:'Seeing the excellent meaning of reality,By releasing from worldly practiceAnd remaining in the conduct of accomplishment;To Damarupa, I bow.'Himalayan Art Resources item no. 88707 Image: 78.5 x 67 cm (30 7/8 x26 3/8 in.); With silks: 126 x 68 cm (49 5/8 x 26 3/4 in.)Footnotes:A PORTRAIT THANGKA OF DAMARUPACENTRAL TIBET, NGOR MONASTERY, CIRCA 1600藏中 俄爾寺 約1600年 達瑪如巴肖像唐卡 Published:Pratapaditya Pal, Tibetan Painting, Basel, 1984, pl. 40.Wisdom Calendar of Tibetan Art, Schneelowe Verlagsberatung und Verlag, Haldenwang, 1987 (October).Pratapaditya Pal, Himalayas: An Aesthetic Adventure, 2003, p. 262, no. 174.Rob Linrothe, Holy Madness: Portraits of Tantric Siddhas, New York, 2006, pp. 300-1, no. 51.David Jackson, The Nepalese Legacy in Tibetan Painting, New York, 2010, pp. 22 & 41, fig. 2.23. Exhibited:Himalayas: An Aesthetic Adventure, Art Institute of Chicago, 5 April – 17 August 2003; National Museum of Asian Art, Smithsonian Institution, Washington D.C., 18 October 2003 – 11 January 2004. Holy Madness: Portraits of Tantric Siddhas, Rubin Museum of Art, New York, 11 February – 3 September 2006.The Nepalese Legacy in Tibetan Painting, Rubin Museum of Art, New York, 3 September 2010 – 23 May 2011. Provenance:Schoettle Ostasiatica, Stuttgart, 1982Michael Henss Collection, ZurichOne of the best-preserved paintings from the famous Ngor lamdre lineage set, this near-pristine composition depicts Mahasiddha Damarupa, 'The Drummer'. According to traditional accounts, Damarupa trained under Kanha at every potent charnel ground and site of tantric power in India, prompting his zestful depiction. In addition to being the third mortal master of the lamdre tradition, Damarupa is a renowned adept of the important Chakrasamvara Tantra, which the composition alludes to through the pair of Chakrasamvara deities from differing teaching traditions in the corners at either side of his ornate throne-back. His eponymous damaru, a double-sided hand drum, embodies one of three principal ritual instruments of a tantric practitioner, alongside the vajra and ghanta (bell). Formed by attaching two craniums of enlightened masters, the drum, in the context of Chakrasamvara Tantra, is the Prajna (wisdom) to which the male applies his skillful means (i.e. compassion) activating the union of these two highest Buddhist principles (Huntington & Bangdel, The Circle of Bliss, 2003, no. 106). With modulations from soft to loud and slow to rapid beats, Damarupa, as the drum's archetypal practitioner, is able to produce a single tone that summons all Buddhas, inspiring them with supreme joy (Beer, The Encyclopedia of Tibetan Symbols and Motifs, 1999, p. 258).At the center of the painting, Damarupa whips the pair of golden clappers against the drum with a flick of his wrist. The drum's long tassel of jade beads, gems, gold fastenings, and tri-colored silk streamers trail in countermovement. The painter repeats its flurried arc with the extension of Damarupa's left leg, which, coupled with a half-cocked elbow gingerly cradling a skull cup full of nectar, deftly conveys the peripatetic drummer in a half-seated-half-dancing liminal posture. Airy crimson sashes twirl around his arms and knees, and spiral before his feet. Damarupa's piercing, bloodshot brown eyes and excited grin invite the viewer to hear the 'sound of great bliss' he has produced for all those that can perceive it. He wears a crown of five emblazoned gems borne alternately from Indian lotuses and Chinese peonies. The colored order of each gemstone correlates to the surrounding structure of green, red, and blue aureoles of perfect Newari scrollwork. Meanwhile, his black hair wrapped in an intricate bone lattice is pulled up into a trilobed bun that echoes the edge of the throne-back above him, further harmonizing with the mahasiddha's visage.Twenty-six vividly executed portraits comprising the 'Chandali Perfection Stage Lineage' surround Damarupa in formal rows along the top and side registers. This secondary lineage within the painting is one of over thirty traditional Sakya tantric lineages for which Ngor claimed to excel. Delightful details abound throughout the depicted succession of masters, including Vajra Ghantapa's mid-air tantric sexual congress with his consort (3), and the founder of the Sakya tradition, Sachen Kunga Nyingpo's, aqua cloak and strigine tufts of hair (12).
Los 110
TANGKA REPRÉSENTANT LE PORTRAIT DE KANHATIBET CENTRAL, MONASTÈRE DE NGOR, VERS 1600 Distemper on cloth; with original blue cloth mounts inscribed on the reverse along the top in Tibetan, identifying the painting's subject, and also with restored original red lacquered, gold painted dowel rod; verso inscribed in black ink with 'om, ah, hum' incantations behind each figure and many lines arranged into the form of a stupa, comprising Sanskritized and Tibetan prayers and mantras consistent with a formula repeated throughout the Ngor lamdre lineage set of paintings; recto with two separate lines of Tibetan inscription in gold along the bottom red painted border, the second identifying the secondary 'Crooked Made Straight Lineage' sequence of figures within the painting, the first an homage to the central subject, translated:'With the profound advice, release my mind,Performing the benefit of othersWith the practice of vows;To Kanha, I bow.'Himalayan Art Resources item no. 1443 Image: 74.5 x 62.8 cm (29 3/8 x 24 3/4 in.); With Silks: 124 x 66 cm (48 3/4 x 26 in.)Footnotes:A PORTRAIT THANGKA OF KANHACENTRAL TIBET, NGOR MONASTERY, CIRCA 1600藏中 俄爾寺 約 1600 年 坎哈巴肖像唐卡 Published:Marion Boyer, La peinture bouddhiste tibétaine, Paris, 2010, p. 132. Provenance:Private German Collection, acquired in Nepal, 1970sMichael Henss Collection, Zurich, acquired from the above in 2008 A frequent praise of the widely published Ngor lamdre lineage set of paintings that includes this portrait of Kanha is the insightful, nuanced capturing of each central subject's character and legacy. Here, the mahasiddha's soft wispy eyebrows and facial hair frame a calm, encouraging expression befitting Kanha's standing as the principal exponent of the lamdre tradition's 'gradual method'. He is one of the most popular of the 84 Indian tantric great adepts and his epithet (Tib. Nagpopa; 'The Black One') is ascribed to numerous tantric teachings. Kanha occupies a prominent role in the lamdre tradition as the primary disciple of the tradition's first mortal master, Virupa. Before meeting Virupa, Kanha was a Hindu Shaivite yogin and upon the completion of his training was dispatched to convert a lustful Hindu king and court.The artist portrays Kanha cradling a human skull-cup (kapala) before his chest, which is a fairly ubiquitous attribute used when depicting the early Indian masters of Buddhist tantra. Similar to Kanha's own story, the kapala is rooted in Buddhism's repudiation of the Hindu caste system, its Brahmanical hierarchy, and its seemingly inflexible doctrine of spiritual evolution. The punishment for inadvertently killing a brahmin in Kanha's time was a severe ostracism in which the penitent was banished for twelve years to a desolate crossroads (like a charnel ground) and forced to beg for food with a human skull as an alms bowl, as well as the skull of the brahmin they had slain mounted on a wood staff as a banner (Beer, The Encyclopedia of Tibetan Symbols and Motifs, 1999, p. 249). A profound expression of Tantric Buddhism's antinomian nature, in which things that would be regarded as polluting in Indian culture are put to use to overcome dualities and transcend the fetters of existence, the kapala serves as a seminal ritual implement in tantric practice. Painted in royal-yellow swells, the artist depicts the elixir of immortality that tantric treatises (sadhanas) often say is contained within the inverted cranium. Kanha balances the kapala with effortless poise while articulating his fingers in the dharmachakrapavartina mudra of 'progressing the Dharma', which is likely another allusion to his role as the principal exponent of the 'gradual' lamdre method.Unlike the depiction of his disciple, Damarupa, or any other mahasiddha in the Ngor lamdre lineage set of c. 1600, Kanha's matted locks are piled up in the form of an ushnisha surmounted by a lotus-borne, wish-fulfilling gem (cintamani). This feature likens Kanha to the peaceful supremely enlightened Amitabha and Amitayus Buddhas located over his shoulders. Similarly, the painter clads Kanha in fine garments and jewelry that are essential features in the depiction of a buddha's samboghakaya form, its celestial 'reward body' resulting from advanced spiritual attainment. The delicate gold floral sprays patterning the crimson lower garment are redolent of luxurious embroidered silks. Nonetheless, the archetypal tantric trainee, Kanha, having achieved Buddhahood through tantric means, is bedecked, not in gold, but intricate lattices of human bone and a crown of dried skulls.
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283287 Los(e)/Seite