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Click here to subscribe1st-2nd century AD. A perfume container formed as a miniature amphora with rock crystal body held by silver wires to a flared base; domed shoulder and broad neck with scrolled lateral wire handles. 67 grams, 65mm (2 1/4"). Property of a London gentleman; acquired on the UK art market before 2000. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
4th-6th century AD. A large irregular reconstituted mosaic panel set into a matrix within a rectangular frame; mosaic of stone tesserae mostly of 8mm-11mm size depicting a cream field with a lioness pouncing on two fleeing chamois mountain goats, with vegetation and leaves in the field. Cf. mosaic panel depicting a running goat in the museum of Sousse, Tunisia. 58 kg, 131 x 91cm (51 1/2 x 35 3/4"). Acquired by the current owner in 2000; formerly in the collection of an important French gentleman, collection formed since early 1960s.; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163724-10072. Fine condition, some restoration.
10th-11th century AD. A substantial gold pectoral cross pendant with ribbed and hinged loop, applied granule bands to the rim; obverse with enamelled Corpus Christi image beneath a cross with crystal panel above; reverse with inset crystal panel; Byzantine workmanship or Slavonic copy. 86.07 grams, 98mm (4"). Ex central London gallery; acquired on the European art market; accompanied by an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no.163745/1/9/2020. Fine condition, crystals cracked. ( A video of this lot can be viewed on Timeline Auctions website.)
7th-9th century AD. A bifacial gold expanding-arm cross pendant with applied barrel-shaped suspension loop; reverse with domed medallion to each arm with applied filigree collar and cross and inset amethyst to centre; obverse with an inset emerald cabochon to the centre, emerald cabochon set to the lower arm, the upper arm with inset almandine cabochon and the side arms with inset with amethyst cabochons; some stones replaced. See Wamser, L., Die Welt von Byzanz - Europas Östliches Erbe, München, 2004, items 525 and 526, for type; see also Ross M.C., Catalogue of the Byzantine and Early Mediaeval Antiquities in the Dumbarton Oaks Collection, Volume 2: Jewelry, Enamels and Art of the Migration Period, Washington, 2005, pl.XCVII, no.179 H, for type. 14.42 grams, 55mm (2 1/4"). Property of a London lady, part of her family's Swiss collection; formerly acquired in the 1980s; accompanied by an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no.160614/1/9/2020. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
11th-12th century AD. A Byzantine or possibly Fatimid gold armlet with ribbed hollow-form D-section shank tapering towards the discoid bezel, triangular collars with filigree granulation to the finials; the bezel a sheet gold disc with granulated chevron border, above a hollow medallion with ribbed outer edge, each rib interspersed with a single granule to the upper face; two crescentic mother of pearl inserts flanking the central band set with two teardrop-shaped garnets and a central iridescent glass insert, each with a granulated border. See National Museum of Asian Art, accession no.F1948.25, for a similar type; see also The Metropolitan Museum of Art, accession no.58.37, for type; see also Price, J., Masterpieces of Ancient Jewelry. Exquisite Objects from the Cradle of Civilization, Philadelphia, 2008, p.107, for type. 27.28 grams, 91mm (3 1/2"). Property of a London lady, part of her family's Swiss collection; formerly acquired in the 1980s; accompanied by an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no.160611/01/09/2020. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
14th century AD. A gold finger ring with granulation to the hoop, three radiating cells each with an turquoise cabochon, quatrefoil bezel with four openwork domes, lateral cells with inset turquoise, pearl and glass cabochons around a central cabochon garnet. 7.37 grams, 28.06mm overall, 20.38mm internal diameter (approximate size British R, USA 8 1/2, Europe 19.38, Japan 18) (1"). Property of a London gentleman; acquired on the London art market in 2009; previously in an old English collection; accompanied by an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no.163720/1/9/2020. Fine condition. A large wearable size. ( A video of this lot can be viewed on Timeline Auctions website.)
10th-12th century AD. A large bronze enkolpion reliquary cross pendant comprising two hinged plates and an articulated suspension loop with vertical rib; obverse with circular central recess for a jewel(?), robed, winged and nimbate figure in orans pose, legend '???????' (Saint Gabriel) above, banner to left with legend '??HOC' in two lines, plaque to right with legend 'A? A? ?? CA ?H' over five lines; reverse with legend '?ANA?IA' (Panagia) above, 'HC' and 'XC' under lines below, facing robed and nimbate Mary Panagia and infant Jesus flanked by smaller robed female figures, to left 'CA?OMH' (Salome) legend, to right 'HM?AX' legend. Cf. Wamser, L., Die Welt von Byzanz - Europas Östliches Erbe, München, 2004, item 269, for type; cf. Pitarakis, B., Les Croix-Reliquaires Pectorales Byzantines En Bronze, France, 2006, for similar examples. 124 grams, 12cm (4 3/4"). Property of a London gentleman; acquired on the UK art market since 2011; previously in English collections prior to 2000. Very fine condition.
10th-12th century AD. A bronze enkolpion reliquary cross pendant comprising two hinged plates and a hinged loop above; obverse with robed and nimbate Corpus Christi bust surrounded by busts of the evangelists with Greek legends; reverse with a robed figure in orans pose, legend above '? ????C / ???????c' (St. Theodore"). 96 grams, 11.4cm (4 1/2"). Property of a London gentleman; acquired on the UK art market since 2011; previously in English collections prior to 2000. Very fine condition.
10th-12th century AD. A bronze padlock with trident hasp formed as two opposed felines(?), block with chamfered sides and pierced lobes, slot to accept the prongs of the hasp; ring-and-dot ornament. 61 grams total, 44-66mm (1 3/4 - 2 1/2"). Property of a London gentleman; acquired on the UK art market since 2011; previously in English collections prior to 2000. [2] Very fine condition.
Late New Kingdom, 1550-1070 BC. A steatite finger ring with papyrus stalk detailing to the shoulders, plaque with a pair of crocodiles placed tête-bêche. 9.33 grams, 29.04mm overall, 17.32mm internal diameter (approximate size British M 1/2, USA 6 1/4, Europe 13.09, Japan 12) (1 1/4"). Property of a London gentleman; acquired on the London art market in the 1980s. Very fine condition.
2nd millennium BC. A glazed composition seal, biconvex in section with intaglio scene of a bull with legs folded beneath the body over tufts of grass; above the bull's back a female(?) figure vaults with hair flying, one leg bent and the other extended. See Preziosi, D.& Hitchcock, L.A., Aegean Art and Architecture, Oxford, 1999. 25.4 grams, 39mm (1 1/2"). Property of a London gentleman; previously acquired at a London auction; formerly in the Johnston family collection; formed in the 1930s. The practice of bull-leaping is found across the eastern Mediterranean world from Bronze Age Mycenae onwards. The practice probably had a religious meaning as well as providing spectacle. Fine condition.
Ptolemaic Period, 332-30 BC. A painted cartonnage mummy panel, rectangular with curved sides, a vertical central column of hieroglyphs with a prayer of invocation to Osiris, god of the dead, flanked by six painted panels, three each side, bearing human and deity figures including a mummiform swathed male figure followed by the god Nefertum with lotus headdress holding a tall was sceptre and the lioness-headed goddess Maahes; a mummiform swathed figure of hawk-headed Horus followed by jackal-headed Anubis; a male figure holding a tall stemmed lotus flower preceded by a feline-headed swathed deity; a similar feline deity followed by the goddess Isis or Nephthys her hieroglyph indistinct on her head and holding a tall sceptre; a kneeling female professional mourner casting dirt on her head and a kilted male figure holding an incense burner on a tray above a water jar on a stand; the five mummiform swathed figures hold the looped sa sign of protection; mounted on a custom-made display stand. See Corbelli, J.A., The Art of Death in Graeco-Roman Egypt, Shire Publications Ltd, 2006, for discussion; see Fluck, C. et al., Egypt faith after the Pharaohs, The British Museum, London, 2015, for discussion of late funerary practices; see Walker, S, and Higgs, P., Cleopatra of Egypt: from History To Myth, The British Museum Press, London, 2001, for general discussion; see Walker, S. and Bierbrier, M., Ancient Faces: Mummy Portraits from Roman Egypt, The British Museum Press, London, 1997, for discussion of Ptolemaic burial practices. 1.8 kg total, 56cm including stand (22"). Property of a Middlesex lady; acquired on the London art market in 2007; formerly in a 1970s private collection. The Ptolemaic dynasty was the last to rule over ancient Egypt. The ruling family were of Macedonian Greek origin and the ?????????? ???????? (Ptolemaic kingdom) was founded in 305 BC by Ptolemy I Soter, a companion of Alexander the Great. The kingdom endured until the death of the last monarch, Cleopatra, in 30 BC. The dynasty ruled Egypt for longer than any predecessor. The ancient Egyptians preserved their bodies intact in preparation for the afterlife, a practice which was continued by the Ptolemies, and afterwards by the Romans who ruled Egypt after the death of Cleopatra. While standards of mummification declined during this period, the outer coverings used to contain the corpse were often elaborately constructed and decorated. Cartonnage was usually manufactured by fusing layers of papyrus and/or linen together using gesso as an adhesive. The medium could be modelled according to the artist's wishes and once dry it could be painted or gilded. Fine condition, professionally conserved.
Late New Kingdom, 1550-1070 BC and later. A restrung necklace composed of oblate lapis lazuli beads interspersed with small fluted gold beads, nine bifacial lotus flower pendants and two later discoid gold beads with chequerboard design; modern clasp. 16.82 grams, 57cm (22 1/2"). Property of a London gentleman; acquired on the London art market in the 2000s; previously in a 1980s collection. Fine condition.
3rd-1st millennium BC. A group of ten seals, including five accompanied by typed and signed notes by the late W.G.Lambert, Professor of Assyriology at the University of Birmingham, 1970-1993, which state: (U-46) 'This is a round disc with flat face, slightly convex back, and scalloped outer edge. There is a handle, apparently reattached, of one piece on the back, pierced for suspension. The design shows within a circle a prancing quadruped, apparently a horse, with short tail up and three filling shapes around. Outside the circle is a band of 23 'petals'. This comes from west central Asia and dates to c. 2300-1800 B.C. It is exceptionally large and in very good state of preservation. Slight damage to the back is the only imperfection. The modelling of the animal is finely done, bringing out the shapes of the body and head in true proportions with only careful modelling and no linear aids. lines trace the outlines of all the hollowed out parts, but they do not contribute to the success of the piece. This is an important work of art from west central Asia, of great rarity'; (T-705) 'Stamp Seal of Green/Black Stone, 24 x 23 x 12mm. this has a flat round face, and back which rises and flares inwards to a pierced lug in the centre. The design on the face is a rosette with four petals and triangles filling the spaces so created. This comes from west central Asia and dates to c. 2000-1000 B.C. It has an attractive design and is in good condition save for wear and a little damage to the edges.'; (Q-50) 'Stamp Seal of White Stone or Fired Kaolin, 16 x 15 x 9mm. This has a flat round face with notched edge. The back is also flat and has in its centre a pierced loop like an arch. The design consists of a simple cross with arms thinning at their ends, and the quarters so created are filled with triangles. This seal comes from west central Asia and dates to c. 2200-1700 B.C. The loop is chipped and the object is worn, but the condition is generally almost good.'; (Q-46) 'Stamp Seal of Soft White Stone or Fired Kaolin, 25.5. x 25 x 12mm. This has a flat, round face with notched edge, and the back is also flat, with a loop in the middle like an arch. The design is drilled and consists of a central rosette of five dots, surrounded by eight triangles composed of three dots each. This seal comes from west central Asia and dates to c. 2000-1500 B.C. This seal is in very good condition.'; (Q-48) 'Stamp Seal of White Stone or Fired Kaolin, 25 x 25.5 x 13mm. This has a flat round face with notched edge. The back is also flat and in the middle there is a pierced loop like an arch. The design is composed entirely of drill holes: a single one in the middle, and around it six triangles composed of three holes each. This seal comes from west central Asia and dates to c. 2000-1500 B.C. It is in good state of preservation.' 183 grams total, 16-71mm (1/2-2 3/4"). The Signo collection, the property of a West London businessman, formed in the late 1980s-early 1990s; collection numbers Q-46, Q-48, Q-50, R-651, R-800, T-705, U-46, V-425, W-376, academically researched and catalogued by the late Professor Lambert in the early 1990s. Dr. Bonewitz notes: 'The seals are made from serpentine (3), composition (5), and limestone (2).' [10] Fine condition.
4th century BC. A matched pair of gold penannular bracelets, each a round-section shank with median carinated bulb, the separate finials a pair of opposed rams' heads each with textured fur, segmented horns, pellet eyes. See Curtiss, J. & Tallis, N., Forgotten Empire. The World of Ancient Persia, London, 2005, item 164, for similar type from the Oxus treasure hoard; and Simpson, S. & Pankova, S. Scythians: Warriors of Ancient Siberia, London, 2017, p.13, for a similar later Scythian gold bracelet type. 147 grams total, 88-89mm (3 1/2"). From the family collection of a Hampstead gentleman; formerly acquired in the 1980s.; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.161801-10074. [2] Very fine condition, cleaned. ( A video of this lot can be viewed on Timeline Auctions website.)
6th-7th century AD. A silver boat-shaped bowl, elliptical in plan with rounded underside, thickened rim, hammered texture; to the centre a profile advancing lion with pointillé fur detailing, herringbone border. See Harper, P.O. & Meyers, P. Silver Vessels of the Sasanian Period, New York, 1981 for discussion; Muscarella, O.W. Bronze and Iron. Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, item 428, for type; also Godard, A. The Art of Iran, London, 1965, p.214-215, ill.120 and 121, for a bottle with repoussé decoration now in the National Museum, Tehran, depicting a similar mythical animal at the base. 259 grams, 20.5cm (8"). Property of a London gentleman; acquired London art market, 1970-1980; accompanied by a metallurgic analytical report, written by metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, report number 621/134652. Fine condition.
6th-5th century BC. A substantial sheet-silver bowl with central discoid omphalos, three tiers of intersecting raised lotus petals, chamfered rim. Cf. Mahboubian, Art of Ancient Iran: Copper and Bronze, London, 1997, no.321, p.246; also the type is found in Greek phialai such as the example from Asia Minor, now in Berlin, cf. Strong, D. E., Greek and Roman Silver Plate, New York, 1966, pl.9A. 765 grams, 28cm (11"). Property of a North London lady; gifted from her father's collection; formerly with Bonhams, London, 15 October 2008, lot 165; previously with a Mayfair gallery, London, UK; previously in a late 1970s-early 1980s collection; accompanied by a copy of the relevant Bonhams catalogue pages; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.159304-10076. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
13th-6th century BC. A terracotta vessel comprising a trumpet-shaped foot rising to a bulb with four curved arms extending to support a broad bowl with tapering sidewall and rim. 2.3 kg, 27cm height (10 1/2"). Property of a North London gentleman; acquired on the UK art market before 2000. Fine condition, minor chips to rim.
4th millennium BC. A restrung string of irregular rock crystal beads with a large central tabular bead drilled from both directions and polished; old collector's label '98.1.5' to one side of the disc. 88 grams, 38cm (15"). Ex Mayfair gallery; previously with Robin Symes Ancient Art before 1999; stock number 98.1.5. [No Reserve] Fine condition, the disc repaired.
5th-4th century BC. A spectacular pale-green aqua glass lion-headed beaker or rhyton of exceptional quality, with chamfered rim and conical body with eighteen graduated circumferential ribs, thickened collar with notches indicating the mane and incised ears, lion-head finial with gaping mouth; eyes, teeth, nose and muzzle with wheel-cut detailing. See von Saldern, A. Glasrhyta Festschrift für Waldemar Haberey, Mainz, 1976 for discussion; Trowbridge, M.L. Philological Studies in Ancient Glass, Urbana, 1930; Barag, D. Western Asiatic Glass in the British Museum, London, 1985; a comparable piece is found in the Miho Museum, Shiga 529-1814, Japan, known as the 'Shumei beaker'. 257 grams, 16cm (6 1/4"). Previously the property of a Surrey gentleman; acquired 2010 from a private European collector living in South Kensington, London, UK; previously acquired in 1991; accompanied by a positive five page scientific report written by glass specialist Professor Julian Henderson, B.A., M.A., Ph.D., F.S.A., dated 26 June 2019; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.159507-10077. The luxury glass items produced in the Achaemenid Empire were of exceptional quality, made in the royal workshops at Persepolis, Susa and Ecbatana, possibly utilising the skills of Assyrian workmen. The peak of craftsmanship is associated with the 5th century BC in the city of Persepolis under Darius and his successors Xerxes and Artaxerxes I. The glass is transparent and clear with a slight green tinge (described as 'aqua' in the literature), a technique which began in Assyria in the 8th century BC replacing the earlier highly coloured opaque forms of glass which were intended to imitate gemstones and faience. These were produced using the core-form process which appears at around the same time in Egypt and Mesopotamia, mainly in connection with polychrome mosaic glass pieces. The intention with aqua glass was to imitate rock crystal and to enable engraving. There are several known examples in Europe dating to the 7th century of glass vessels with deliberate colour-reduction and rather thick walls, which are probably of Assyrian origin, and which are direct precursors of the Iranian material which in turn inspired Aegean and other craftsmen. The prototypes for the design are all found in precious metal (mainly silver) beakers and other vessels. In the play Acharnians by Aristophanes (first performed in Athens in 425 BC) it is reported that Athenian ambassadors to the Persian court at Ecbatana 'drank sweet wine from vessels of gold and glass' (Trowbridge, 1930, 134"). Persepolis's treasury revealed, during excavations in the 1930s, a wealth of clear or aqua glass vessels, many with cut decoration and made in moulds. The decorative device of fluting or grooving was applied to a variety of artefact types, typified in the lotus bowls of Achaemenid Persia and its successors which are mainly of silver although glass examples are known (mainly aqua or pale blue in colour"). These items form a cohesive group (of which the present piece is an example) of highly accomplished vessels and other items which emanate from the workshops established beside royal residences in Achaemenid Iran. Very fine condition. An excessively rare museum piece similar to the famous 'Shumei beaker'. ( A video of this lot can be viewed on Timeline Auctions website.)
6th-7th century AD. A substantial cut aqua glass bowl with ring of seven large disc studs below the rim and seven smaller beneath, disc base. Cf. similar item in the Corning Museum of Glass, New York, under accession number 61.1.11. 779 grams, 14.2cm (5 1/2"). From an important London collection; previously in a private UK collection, formed 1983; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163492-10078. Fine condition, repaired.
New Kingdom, 1550-1070 BC. A gold amulet of a leaping gazelle with extended forelegs and prominent curved horns. See the Baron Empain collection, Christies, 14 April 2011, for similar. 0.84 grams, 14mm (1/2"). From the property of a London gentleman; previously in a private Belgian collection; formerly on the French art market in the 1920s. Fine condition.
Northern Qi Dynasty, 5th-6th century AD. An imposing carved fossiliferous limestone stele surmounted by four entwined grimacing dragons, their bodies curled around a canopy with standing Buddha in the act of blessing; a central large figure of Buddha in shallow canopied niche below, seated on a lotus throne, his right hand raised to his chin and left hand resting on his knee with palm facing down; surrounded by ten bodhisattvas or disciples, each seated in a niche, four at the front of the stele and three to each narrow side, each with individual facial features, dressed in long robes with hands tucked inside the sleeves; two further bodhisattvas flanking the Buddha's head with their hands in vajrapradama mudra and in a greeting pose; below the Buddha two guardian lions flanking a censer; the reverse with a shallow niche with two monks; the lower section dived in two parts: the top with engraved image of two entwined dragons, each with a mythical bird on its back, the lower half with devotional inscription 'Emperor Wenxuan of Northern Qi, 559 years...This stone is made in the hope that all from emperor to commoner will be one with Buddha'; the stele resting on a rectangular base with a seated bodhisattva to each short edge, the front with low relief scene of two monks before a large censer, a regardant guardian lion to each side. See Musée Cernuschi, Paris, France, for a votive stele with six dragons; see also Sotheby's New York, 18 March 2014, Lot 169, for a less elaborate example. 190.6 kg, 1.1m (43 1/4"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; much of the collection was displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and a scholarly note TL 5284 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163522-10079. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Eastern Wei, 6th century AD. A carved sandstone architectural panel comprising an aureole with flying deva figures to the upper edge, central standing robed Buddha with hands raised in the gesture of reassurance; flanked by two smaller bodhisattva figures in similar pose; mounted on an orb attached to a rectangular base with (later?) inscription to the reverse reading "Made by Xing Changzhen in memory of his two sisters deceased, Eastern Wei Dynasty, (April 22nd 536)". 67 kg total, 87cm including stand (34 1/4"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; much of the collection was displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and a scholarly note TL 5284 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163523-10080. Fine condition.
Tang Dynasty, 618-906 AD. A carved marble head of Buddha with hair composed of tight coils, finely carved facial details, serene expression; mounted on a custom-made stand. 28.2 kg total, 56cm including stand (22"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; much of the collection was displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News. and a scholarly note TL 5296 by Dr Ronald Bonewitz. Fine condition.
Eastern Wei, early 5th century AD. A bronze figure, likely in the style of the Gandharan or Uddiyana regions, of Shakyamuni Buddha in loose robes seated on a throne flanked by elephants.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. 101 grams, 80mm (3"). Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB003, p.58 & 159; accompanied by copies of the relevant exhibition catalogue pages.Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions. Fair condition; ritually rubbed by generations of devotees.
Northern Wei Dynasty, 386-534 AD. A gilt bronze figure, after the statuary of Gandhara or neighbouring region of Uddiyana, of Shakyamuni Buddha modelled with his hands clasped together in dhyana mudra and seated in the dhyanasana posture on a throne flanked by two roaring lions; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB005, p.58 & 160; accompanied by copies of the relevant exhibition catalogue pages.86 grams, 70mm (2 3/4").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure after the Gandharan style, or that of the neighbouring Uddiyana region, of Shakyamuni Buddha modelled with his hands clasped together in dhyana mudra and seated in the dhyanasana posture on a throne flanked by two roaring lions; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB006, p.160; accompanied by copies of the relevant exhibition catalogue pages.95 grams, 70mm (2 3/4").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure, influenced by the Gandharan style or that of the neighbouring region of Uddiyana, of Shakyamuni Buddha modelled with hands clasped together in dhyana mudra and seated in dhyanasana posture on a throne flanked by two roaring lions; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha, incised inscription to the reverse in four columns, translating approximately as: a 'dedication by Kang Shen requesting a peaceful life for his family', with Sutra on front legs of four-legged podium.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB007, p.59 & 160; accompanied by copies of the relevant exhibition catalogue pages.211 grams, 14cm (5 1/2").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Later Yan Dynasty, 384-407 AD. A gilt-bronze statuette, with Gandharan stylistic influence, featuring Buddha standing against an aureole and lotus-flower nimbus, on a lotus podium with flared legs, flanked by attendants or donors; hatched ornament to the podium, incised text here and to the reverse of the aureole which translates approximately as: 'A disciple of Buddha had this made to keep his family safe', and the 'Buddha Disciple' with the years for Later Yan (384-407 [389]) to the right.235 grams, 13.4cm (5 1/4").Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB011, p.161; accompanied by copies of the relevant exhibition catalogue pages.Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a more precise date range of 384-407 (389), Later Yan era.Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure, influenced by the Gandharan style or that of the neighbouring Uddiyana region, of Shakyamuni Buddha kneeling on a tiered base with flaming aureole behind, engraved image of Buddha to the rear.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB009, p.57 & 161; accompanied by copies of the relevant exhibition catalogue pages; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163202-10081.474 grams,17.5cm (7").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Western Qin Dynasty, 385-431 AD. A gilt-bronze statuette, influenced by the Gandharan style or that of the neighbouring Uddiyana region, of Shakyamuni Buddha kneeling on a tiered podium, aureole to the rear; inscribed legend to the reverse of the aureole, the inscription mentions the 'Tripitaka Master', the 'Buddha Disciple' and to 'arouse the vow' and asks 'to improve human welfare, and to save all beings from the sea of suffering and erase calamity', and dates to the Western Qin (385-431 AD), donors to the legs of the podium.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB008, p.59 & 160; accompanied by copies of the relevant exhibition catalogue pages.355 grams, 14.1cm (5 1/2").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages, which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a more precise date range of 385-431 AD, Western Qin era.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Eastern Wei, early 5th century AD. A gilt-bronze figure, composition originating in the Gandharan style and displaying Central Asian features, of Buddha kneeling on a throne, flanked by lions, flames radiating from the upper arms, pleated robe, hands clasped in the samadhi mudra.406 grams, 13cm (5").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; much of the collection displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece.Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Tang Dynasty, 829 AD. A gilt-bronze figure, influenced by the Gandharan style, of Buddha sitting on raised rectangular podium resting on a four-legged base, with separate flaming aureole to attach to a peg on the reverse; legs with engraved images of the donors; reverse of aureole with incised inscription, translating approximately as: a 'dedication by Zhang Hai requesting that his family remain safe' and 'offering Buddha forever', dated to '829 AD during the reign of Emperor Wenzong of Tang'.293 grams, 13.5cm (5 1/4").Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB010, p.161; accompanied by copies of the relevant exhibition catalogue pages.Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages, which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a later date of 829 AD, a discrepancy which likely arose due to stylistic similarities between those dates.Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece.Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Eastern Wei, early 5th century AD. A hollow-formed bronze statuette, likely after the Gandharan or Uddiyana style, of Shakyamuni Buddha sitting in meditation on throne with guardian lions, prominent ushnisha and loose robe, mounting peg to the reverse for an aureole.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford.Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB004, p.56 & 159; accompanied by copies of the relevant exhibition catalogue pages.535 grams, 12.5cm (5").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.Fair condition.
Tang Dynasty, 618-906 AD. A substantial pair of ceramic figurines each depicting a female polo player with piled hairstyle, tight-fitting knee-length robe, saddle with ends of the extended blanket flung back in violent motion, each horse with head lowered and legs extended in a leaping movement; painted detailing to horses and riders; with custom-made display stands. 17 kg total, 63-65cm (24 3/4 - 25 1/2"). Property of a North London gentleman; previously in a private collection formed in the 1990s; accompanied by copies of two positive thermoluminescence reports issued by Laboratory Kotalla, nos. 24CM110520 and 25CM110520; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.161991-10083.. [2] Finely modelled, one with replacement hand.
Ptolemaic Period, 332-30 BC. A substantial bronze statue of Osiris standing wearing Atef crown of Upper Egypt with lateral ostrich feathers, frontal uraeus, false beard, crossed hands holding crook and flail, standing on a square base; mounted on a marble stand. Cf. Thomas, A.P., Egyptian Gods and Myths, Aylesbury, 1986, plate 1, a triad of gods from Saqqara. 2.4 kg total, 33.5cm including stand (13 1/4"). Property of a central London gentleman; previously the property of a private UK collector, acquired 2018; from the estate of the late Mr Robert Wilson, a collector and architect from Houston, Texas, reputed to have been in the collection since the 1960s; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163505-10054. Osiris was the greatest of the Egyptian gods and the particular ruler of the Underworld after his murder by his brother, Set. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
26th Dynasty, 664-525 BC. A substantial bronze figure of the ram-headed god Khnum advancing, wearing a pleated kilt, with an Atef crown with horizontal ram's horns surmounted by rearing ureai crowned with sun discs, a flail in his raised right hand, feet absent; mounted on a custom-made stand. Cf. Thomas, A.P., Egyptian Gods and Myths,Aylesbury, 1986, plate 12. 1.1 kg total, 28cm including stand (11"). Property of a central London gentleman; formerly in the collection of Major J. Findley [1915-1990], Scotland, acquired in the 1950s-1960s; thence by descent; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163506-10055. The god Khnum (or Khnemu) the 'Moulder' was one of the earliest gods of Egypt, worshipped especially at Philae and Elephantine, both in Nubia. He was thought to have made mankind of out of clay on a potter's wheel. It was Khnum who helped Isis to gather the severed fragments of the body of the god Osiris and re-made them. He was considered the father of the gods, along with Amun-Ra and Ptah. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Majiayao Culture, 3300-2000 BC. A ceramic jar with flaring rim and short neck, globular body with painted decoration of roundels to the shoulder with net pattern separated into zones by chevrons; two loop handles to the equator. 2.8 kg, 32cm (12 1/2"). Property of a Cambridgeshire gentleman; acquired on the UK art market before 2000. Fine condition.
New Kingdom, 18th Dynasty, 1550-1292 BC. A glazed composition dish with lotus flower and central disc decoration, bright blue with dark purple detailing. 140 grams, 13cm (5 1/4"). Ex private collection, UCP, with Bader Ancient Art, Switzerland, and in the Barbier Muller collection (now the Musée Barbier - Mueller Genève), previously in the collection of Rudolph Schmidt; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163248-10051. Very fine condition, repaired. ( A video of this lot can be viewed on Timeline Auctions website.)
1st century AD. A hollow-formed bronze vessel support formed as a lion's claw beneath the nude bust of a female sphinx with nemes headdress with royal uraeus and flanking curled wings; ledge to the reverse; mounted on a custom-made stand. Cf. similar item in the Metropolitan Museum of Art, New York, under accession number 2000.660; Archaic Greek period. 594 grams total, 21cm including stand (8 1/4"). From a private New York collection; on the London art market prior to 2012; formerly in a private UK collection since the late 1970s.; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163225-10056. According to the Greeks, the sphinx was a vengeful and treacherous creature with the head of a woman, the haunches of a lion, and the wings of a large bird. These elements in combination proved very attractive for the creation of bronze furniture fittings and other items where the spread wings could be extended around a curved or angled surface. The present example dates from the Romano-Egyptian period (30 BC-323 AD), with antecedents in the art of the Ptolemaic Dynasty (332-30 BC) Very fine condition.
Tang Dynasty, 618-907 AD. A bronze octofoil mirror with lotus flowers, tendrils, phoenixes and other details to the scooped upper face. 1.2 kg, 21cm (8 1/4"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s. Fine condition.
11th-13th century AD. A carved sandstone guardian figure (yaksha) standing, wearing a belted sampot and conical makuta headdress; four arms springing from the shoulders, stern facial features; mounted on a custom-made stand. See Chugh, L., Karnataka's Rich Heritage - Art and Architecture: From Prehistoric Times to the Hoysala Period, Chennai, 2016. 35.4 kg total, 1.09m including stand (43"). Property of an East Sussex gentleman; from his private collection formed between 1983 and 1990; formerly in a South East London collection formed in the 1970s; accompanied by a scholarly note TL 5276 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163473-10084. The yakshas are a class of nature-spirits, usually benevolent, but sometimes mischievous or capricious. They are mainly connected with water and fertility, trees and woodland, treasure and the wilderness.They appear in Hindu, Jain and Buddhist texts, and are carved onto the architecture of ancient and medieval temples of South Asia and Southeast Asia where they perform the role of guardian deities. Fine condition.
9th-11th century AD. A substantial sandstone carved statue of Lakshmi wearing a sampot with flounced hem and sash tied at the hips; the four arms raised holding fruit, a shell(?) and other items; standing barefoot on a rectangular base; mounted on a custom-made stand. See Dupont, P., La Statuaire Pré-Angkorienne, Ascona, 1955, for discussion. 100.2 kg total, 1.62m including stand (63 3/4"). Property of a Cambridgeshire gentleman since 1990; previously in a private collection formed in the 1980s; accompanied by a scholarly note TL 5281 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163484-10085. The goddess Lakshmi appeared fully-formed from the ocean, rather like Greek Aphrodite. The holy texts (Vedas) mention Lakshmi, the wife of Vishnu, who incarnates and becomes queen to each of Vishnu's incarnations as a mortal king Rama or Krishna. Lakshmi is associated with beauty and good fortune. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
9th-11th century AD. A carved black limestone statue of Vishnu in belted sampot with kirita-mukuta headdress, four arms springing from the shoulders; mounted on a custom-made stand. Cf. similar statue in the National Museum of Cambodia, reference (Vishnu) CNM_Ka.882. 30.7 kg total, 1.04m including stand (41"). Property of an East Sussex gentleman; from his private collection formed between 1983 and 1990; formerly in a South East London collection formed in the 1970s; accompanied by a scholarly note TL 5278 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163472-10086. Fine condition.
10th-13th century AD. A polished limestone figure of a Brahmin, finely carved hair tied in top knot, four-petalled flower decorating the ushnisha, moustache indicated by two shallow lines between nose and top lip and between bottom lip and chin, long earlobes, detailing on cloth around waist continues around the body and includes a decorative knot at the rear; mounted on a custom-made stand. Cf. Jessup, H.I. and Zéphir, T., Sculpture of Angkor and Ancient Cambodia: Millennium of Glory, Washington, 1997, p.305. 52.8 kg total, 1.29m including stand (50 3/4"). Property of an East Sussex gentleman; from his private collection formed between 1983 and 1990; formerly in a South East London collection formed in the 1970s; accompanied by a scholarly note TL 5277 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163475-10088. The hair is piled and secured with a rudraksha necklace and strand of pearls, identifying the figure as a Brahmin ascetic. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
10th-12th century AD. A carved basalt statue of Vishnu in vigilant pose with pleated sampot and ornamental knotted cord, flounces to the edges, conical makuta headdress with broad vertical brim, cymbal held in one of the four hands (three absent); mounted on a custom-made stand. Cf. Jessup, H.I. and Zéphir, T., Sculpture of Angkor and Ancient Cambodia: Millennium of Glory, Washington, 1997, p. 200. 48.5 kg total, 1.13m including stand (44 1/2"). Property of an East Sussex gentleman; from his private collection formed between 1983 and 1990; formerly in a South East London collection formed in the 1970s; accompanied by a scholarly note TL 5275 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163476-10089. Vishnu appears as a deity in the Rig Veda, the Vedic Sanskrit hymnal, but is less prominent there than Indra, Agni and others. Later, his importance increases and he eventually becomes identified as a divinity of the highest order. His evolution from a relatively minor figure to Supreme Being is encapsulated in the Trivikrama or 'Three Strides' whereby his true nature is made manifest. Fine condition, repaired.
7th-10th century AD. A carved stone statue of Avalokite?vara in male form, nimbate, wearing a tight-fitting dhoti and decorated sash; ornate lunate collar with rosette detailing, rings in the vertically-slit elongated ears, braided hairstyle with headdress featuring rosette discs and miniature figure of Buddha on a lotus-flower dais; mounted on a custom-made display stand. Cf. Auboyer, J., Beurdeley, M., Boisselier, J., Massonaud, C., and Rousset, H., Forms and Styles - Asia, Fribourg, Switzerland, 1978, p.253, nos.86, 87; accompanied by copies of the relevant book pages; cf. Van Beek, S., Tettoni, L., The Arts of Thailand, 1986, pp. 77-78. 117 kg, 1.62m including stand (63 3/4"). Property of a Cambridgeshire gentleman since 1990; previously in a private collection formed in the 1980s.; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.149940-10090. Avalokite?vara, a name translating as 'Lord of Compassionate Sight' or 'Lord Who Looks From On High', is the bodhisattva embodying the compassion of all Buddhas, assisting all who ask for his assistance. This bodhisattva, an enlightened being destined to become a buddha, is the most popular of the bodhisattvas and is depicted across cultures as either male or female, (a female form first originating in c.10th century China), remaining in this state in order to help humanity. Avalokite?vara is more usually presented in male form with several heads and arms; according to myth, Avalokite?vara's head burst open in pain when he looked on all the suffering in the world, with nine new heads being formed from the pieces. He then grew 1000 arms out of a desire to aid humanity, with an eye in the palm of each hand. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
10th-12th century AD. A carved sandstone statue of Lakshmi in samabhanga pose with sampot and ornate collar, hair gathered in a chignon and secured with a band; mounted on a custom-made stand. See Baptiste, P. and Zéphir, T., L’Art Khmer dans les Collections du Musée Guimet, Paris, 2008. 61.1 kg total, 1.35m including stand (53 1/4"). Property of a Cambridgeshire gentleman since 1990; previously in a private collection formed in the 1980s; accompanied by a scholarly note TL 5280 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163485-10091. The deities Parvati, Saraswati and Lakshmi comprise the Tridevi, the holy trinity of goddesses in Hindu tradition. Lakshmi is a goddess of abundance and good fortune for Hindus, Buddhists and Jainists. Her broad array of associations made her one of the most important deities and in the guise of Shri, she is considered a goddess personifying a diverse range of talents and powers. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
2nd-4th century AD. A schist statue fragment with bust of Buddha with large aureole behind the head, emaciated face with hollow cheeks and sunken eye sockets, ushishna covered by wavy hair, urna flanked by raised veins; mounted on a custom-made stand. 8.4 kg total, 37cm including stand (14 1/2"). Douglas, Nik., Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit BG010, p.94; accompanied by copies of the relevant exhibition catalogue pages. Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and a copy of the relevant exhibition catalogue pages. Asian art expert Nik Douglas wrote: 'The portrayal is intense; the Buddha has a small beard, the eyes are just sockets, the cheeks sunken, veins mark the forehead above the urna. The hair is pulled back from the brow, forming rivulet-like waves, piled onto the top of the head and forming a bun which covers the ushnisha (cranial sign of spirituality). A large circular aureole behind the Buddha's head... NOTE: Very few heads of Fasting Buddhas have survived to such a fine and complete degree. Several, in museum collections, are without an attached aureole. This is a particularly fine and important example of the moving subject.' Fine condition.
2nd-3rd century AD. A carved schist head of a bodhisattva with elaborate knotted hairstyle, beaded band to the brow and urna below, fine facial features with small mouth and neat moustache. 13.3 kg, 31cm (12 1/4"). Property of a Middlesex collector; acquired on the London art market before 2000; formerly in an old English collection; accompanied by a scholarly note TL 5300 by Dr Ronald Bonewitz. Fine condition.
3rd-4th century AD. A carved porphyritic basalt head of a bodhisattva with neat moustache and elaborate turban ornamented with beads, rosette and image of Buddha. 28.7 kg, 40cm (15 3/4"). Property of a Middlesex collector; acquired on the London art market before 2000; formerly in an old English collection; accompanied by a scholarly note TL 5299 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163459-10093.. Fine condition.
2nd-3rd century AD. A carved schist head of Buddha with ushnisha and urna to the brow. 19.4 kg, 33cm (13"). Property of a Middlesex collector; acquired on the London art market before 2000; formerly in an old English collection; accompanied by a scholarly note TL 5301 by Dr Ronald Bonewitz. Fine condition; old repair.
2nd-3rd century AD. A carved schist head of Buddha in three-quarter view with crested turban and socket to the brow to accept a gemstone urna. 4.7 kg, 28cm (11"). Property of a Middlesex collector; acquired on the London art market before 2000; formerly in an old English collection. Fine condition.
2nd-3rd century AD. A carved schist bust of Buddha with detailed wavy hair, ushnisha, long earlobes, hooded eyes and urna to the brow; mounted on a custom-made stand. See Jongeward, D., Buddhist Art of Gandhara in the Ashmolean Museum, Oxford, 2018. 3.4 kg total, 32cm including stand (12 1/2"). From a West London collection; previously acquired in the 1980s. Fine condition.
3rd-5th century AD. A carved schist statue of Buddha standing with loosely draped robes (sanghati) on a dais with four figures to the forward edge, aureole behind; left hand holding a symbol, right hand raised. 86 kg, 1.11m (43 3/4"). Property of a Middlesex collector; acquired on the London art market before 2000; formerly in an old English collection; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163465-10094.formerly in an old English collection. Fine condition.
3rd-4th century AD. A carved schist statue of bodhisattva Maitreya standing with loosely draped clothing and swags of beads, turban with rosette crest, square base with rosettes flanking and seated Buddha with worshippers. 99.4 kg, 1.15m (45 1/4"). Property of a Middlesex collector; acquired on the London art market before 2000; formerly in an old English collection; accompanied by a scholarly note TL 5288 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163466-10095. Fine condition.
4th-5th century AD. A large carved schist figure of Buddha sitting cross-legged on a dais, hands raised to the chest in the dharmachakra mudra and hair drawn up in the ushnisha, aureole to the rear; the dais with draped veil and lions to the corners. Cf. Jongeward, D., Buddhist Art of Gandhara in the Ashmolean Museum, Oxford, 2018, item 63. 72.1 kg total, 79cm including stand (31"). Ex North London gentleman; formerly in a private collection formed between 1990 and 2000. The dharmachakra mudra is associated with the occasion of the first sermon delivered at Sarnath, which set in motion the wheel of dharma. Fine condition.
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