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Lot 2
A pair of Art Nouveau French bronze and porcelain 'birds on branch' sculptures, with hand painted porcelain applied figures, unsigned, height 36cm, width 31cm1 flower has 2 tiny stamen chips, and 1 other large purple flower has a tiny edge chip, otherwise no damage or restoration and only light crazing
Lot 22
A 19th century Neo-Classical style silver plate on bronze tazza, pierced and moulded decoration with mythical sea creatures and trident, on claw and ball feet, diameter 29cm, height 20cmNo damage or repairs, high points are slightly worn and some of silver plating is wearing through to base metal
Lot 4
After Emile Guillemin, a pair of 19th century French silver plated bronze figural sculptures, depicting Renaissance cavaliers, with applied shield plaques engraved "Thames Sailing Club 3rd October 1879", signed, height 22cmNo damage or repair, high points of silver plating slightly worn through to base
Lot 33
A vintage early 20th Century believed WWI First World War period ship porthole window having a solid bronze outer rim with hinged edge and a twin thick glass inner. Measure approx; 32cm diameter. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
Lot 196
Villanis, Emmanuel (1858-1914) "L'Amour de L'Art", brown patinated bronze sculpture. Bronze sculpture of a young artist in a long tunic and standing on a stool. A brush in her right hand, a painter's palette in her left hand. Titled on the stool: 'L'AMOUR de L'ART' and signed on the base: 'E.Villanis'., h 68.5 cm (part of the brush is missing).
Lot 52
Sido and François TheveninImportant, monumental and unique 'Musique au Paradis' wall-mounted sculpture, 1974Bronze, brass, iron.Overall: 131 x 234 x 5.5 cm Tree root collar impressed SIDO AND FRANÇOIS/THEVENIN/GTS/FT/CANNES/1974.Together with a certificate of expertise from Nicolas Thevenin.Footnotes:ProvenanceGalerie Drouant, Paris, 1974Aga Khan IV, acquired from the aboveAndré Malizard, Villefranche-Sur-Mer, France, 1970sAcquired from the above, private collection, Villefranche-Sur-Mer, France, 2002Thence by descent to the present ownerExhibitedGalerie Drouant, Paris, 1974A FEW THINGS ABOUT SIDO AND FRANÇOIS THEVENIN. Nicolas Thevenin François Thevenin was born in Aix-en-Provence, France in 1931, and Sido (Gisèle Sidoti), Casablanca, Morocco in 1934. Sidoti was her maiden name, which led to her artist's pseudonym Sido and is the reason why some works are impressed GTS: Gisèle Thevenin Sidoti. Both artists' careers began from an early age. François achieved first place for modelling clay in year two, sculpting spontaneously and ambitiously the impressive 'Montagne Sainte-Victoire'. At age five, Sido made local news headlines for a sandcastle contest at the beach, having sculpted a shepherd and her sheep that measured a monumental four meters long, commenting 'It is fun shaping forms!' In 1952, François and Sido met at the Beaux-arts de Paris, where they studied under the direction of the sculptor and painter Louis Leygue. Following an un-official marriage celebrated with close friends, who described how, 'these two spend too much time together', François and Sido officially married in 1954. After welcoming their first child Dominique in 1955 in Paris, they settled in Cannes in the French Riviera between 1957-1958. In 1961, François and Sido worked with the artist Jean Cocteau on the sundial 'Les Lézards' for the village Coaraze in the Alpes-Maritimes above Nice. This commission comprised one of François and Sido's earliest artistic collaborations and works in metal. François and Sido had progressed toward working in metal following an overwhelming and precarious disappointment. For many months, they had shaped and sculpted hundreds of raw terracotta figures, a 'real pacific and sympathetic army'. When it came time to bring the works to be fired at a kiln in Vallauris, they carefully packed up every figure into the car and set off. Alas, a sneaky bump at the entrance of the facility reduced their fastidious three months of artistic production to utter dust and detritus. However, this unfortunate event led to a fortunate outcome, convincing François and Sido to turn towards the far more durable medium of metal. Another collaboration began after meeting Jacques Couëlle, acknowledged as 'the architect of billionaires', whose ideas and appreciation for execution appealed to François and Sido. In 1962, they began working with the architect on Castellaras Estate in Mouans-Sartoux, France, applying their artisanal skill within the space to create door furniture, lighting, among other interior fittings and fixtures. Whilst working with Couëlle, François and Sido became close friends with the actor Marcel Duhamel, who subsequently introduced them to the brothers Jacques and Pierre Prévert, Pablo Picasso (who often visited their workshop, commenting that it reminded him of Bateau-Lavoir, his workshop in Montparnasse), Yves Tanguy, Brassaï, and many others. In 1966, Sido gave birth to their second son Nicolas in Cannes. During this time, François and Sido worked on several international commissions, including work in Montreal, New York, and Santiago del Chile. François and Sido also collaborated with Couëlle's son Savin, the architect for Porto Cervo, Sardinia, which was initiated by the Aga Khan IV. The artists and architect worked together for decades, becoming a symbiotic alliance, that could be thought of as almost genetic, as Savin would incorporate François and Sido's sculpture and objects into his architecture, while the two artists would intricately form Couëlle's volumes into their sculpture. This close collaboration developed through many projects across several continents, resulting in sculptural pieces of furniture that includes tables, seating, lighting, doors, grills, and handrails, many of which were unique works of art. Together François and Sido created a vast collection of work and exhibited at prestigious galleries, including Drouant, Paris in 1972, and Cartier in 1980. Their work, which extends from furniture to sculpture, painting, drawing and etchings, was continually inventive and conveyed an organic, unexpected, and enchanting world for their viewers. In 1986 Sido passed away at age 52, followed by François in 2016 at age 85, both in their shared house-workshop in Cannes.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 57
Garouste and BonettiPair of 'Inspirale Espirale' andirons, designed 1988Bronze, nickel-plated steel, patinated steel.Each: 32 x 18 x 53 cmFootnotes:ProvenanceDavid Gill Gallery, LondonLiteratureStephen Calloway, François Baudot and Gerard-Georges Lemaire, Elizabeth Garouste et Mattia Bonetti, Marseilles, 1990, p. 88For further information on this lot please visit Bonhams.com
Lot 56
Meret Oppenheim'Table with Bird's Legs', designed 1939, produced 1983Gilded wood, bronze.63.5 x 67.5 x 53 cm Produced in conjunction with Thomas Levy, and tabletop executed by Helmut Sasse, Hamburg, Germany. Number 15 from the edition of 30 plus 2 artist's proofs and 2 prototypes. Underside incised Meret Oppenheim/1983 (1939)/15 / 30. Footnotes:ProvenanceRaab Boukamel Gallery, LondonAcquired from the above by the present owner, 1996LiteratureThomas Levy, Meret Oppenheim: From Breakfast in Fur and Back Again, Hamburg, 2003, pp. 120-121Ghislaine Wood, ed., Surreal Things: Surrealism and Design, exh. cat., Victoria & Albert Museum, London, 2014, pp. 270-271This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 23
Mark Brazier-JonesMantle clock, late 1990sBronze, brass-plated steel. 62 x 54.5 x 19 cm Interior incised Mark Brazier-Jones and reverse with plaque printed MARK BRAZIER-JONES/HERTS ENGLAND.Footnotes:ProvenancePrivate collection, The NetherlandsAcquired from the above by the present ownerBonhams wishes to thank Mark Brazier-Jones for his assistance cataloguing the present lot.This lot is subject to the following lot symbols: Ω AR TPΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 11
STATUETTE DE VAJRAVIDARANA EN ALLIAGE DE CUIVRE DORÉDENSATIL, TIBET CENTRAL, XIVE SIÈCLEHimalayan Art Resources item no. 4609 26.8 cm (10 1/2 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF VAJRAVIDARANADENSATIL, CENTRAL TIBET, 14TH CENTURY 丹薩替 藏中 十四世紀 銅鎏金摧破金剛像 Provenance:With Claude de Marteau, Brussels, by 1970sThis imposing figure represents the Green aspect of Vajravidarana, one of the five Cleansing Deities invoked for their ability to purify practitioners of their inner misdeeds and rid them of any diseases. In addition to his semi-wrathful form, he is identified by the ritual bell (ghanta) resting at his hip, and more specifically, the double vajra (vishvavajra) held up to his chest. Apart from being one of the rarest subjects portrayed in Tibetan Buddhist sculpture, Vajravidarana's rich gilding and lavish composition illustrate the unique style of bronzes originating from the Densatil monastery in Central Tibet. The mountain hermitage where Densatil was built was founded by the Kagyu teacher Dorje Gyalpo (1110-1170), whose nickname, Phagmo Drupa (meaning the one from the sow's ferry crossing), references his place of meditation overlooking the Tsangpo River Valley. Born in poverty, Dorje Gyalpo's captivating personality and rejection of personal indulgences attracted a large congregation of followers. Eight of his disciples, who branched off to establish lineage schools of their own after his death, reconvened years later to construct a monastery in the original location of their late master's straw hut. The design for Densatil's famed tashi gomang stupas, which were tall structures covered in gilt bronze sculptures like the present lot, was initially conceived to house Dorje Gyalpo's consecrated remains on top. Sculptures attributed to Densatil are generally characterized by vast arrays of encrusted semi-precious stones and sensuous features created by Newari craftsmen. In accordance with the latter preference, the artist achieves a powerful yet sensitive modelling of Vajravidarana, conveyed through furrowed eyebrows juxtaposed with a gentle sway of the hips. The intense glare expressed by his bulging eyes is similar to an image of Mahasiddha Jalandhara in the Ford Collection (Linrothe, Holy Madness, 2006, p. 333, no. 67), as well as a semi-wrathful image of Vasudhara sold at Christie's, New York, 21 March 2008, lot 621. Much like the present work, each sculpture comprises a figure sporting a sumptuous lower garment incised with floral patterns divided by raised beaded lines. Furthermore, the particular treatment of the plump lotus petals with frayed tips, rendered here as narrowly incised notches, is not only congruent with both comparisons, but also an image of Vairocana sold at Bonhams, Hong Kong, 7 October 2019, lot 933. The symmetrically looped scarf snaking around Vajravidarana's arms also compares with a four-armed goddess from the Tibet Museum in Lhasa (identified as Prajnaparamita), published in Henss, The Cultural Monuments of Tibet vol. 1, 2014, p. 415, no. 633).For further information on this lot please visit Bonhams.com
Lot 15
STATUETTE DE KALAJAMBHALA EN ALLIAGE DE CUIVRETIBET, VERS XVE SIÈCLEHimalayan Art Resources item no. 4650 5 cm (2 in.) highFootnotes:A COPPER ALLOY FIGURE OF KALAJAMBHALATIBET, CIRCA 15TH CENTURY西藏 約十五世紀 黑財神銅像Provenance:With Claude de Marteau, Brussels, by 1970sStanding in warrior stance is the black form of Jambhala, who was popularized in Tibet by Bari Lotsawa (b. 1040). The god of wealth is depicted here as a dwarf, holding a jewel-spitting mongoose in his left hand and a skull cup in the right hand. Compare with a similar bronze published in von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p. 172, no. 30B, and a similar image in black stone with similarly broad lotus petals dated to the 15th century (HAR 9004).For further information on this lot please visit Bonhams.com
Lot 17
STATUETTE DE KAPALADHARA HEVAJRA EN ALLIAGE DE CUIVRE DORÉDYNASTIE MING, XVE SIÈCLEHimalayan Art Resources item no. 4610 28 cm (11 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF KAPALADHARA HEVAJRAMING DYNASTY, 15TH CENTURY 明 十五世紀 銅鎏金喜金剛像 Published:Arman Neven, Le tantrisme dans l'art et la pensee, 1974, p. 76, no. 390.Exhibited:Le tantrisme dans l'art et la pensee, Palais de Beaux-Arts, Bruxelles, 7 March - 10 April 1974.Provenance:With Claude de Marteau, Brussels, by 1970sBelonging to the highest class of Tantra in Tibetan Buddhism, this sixteen-armed form of Hevajra known as Kapaladhara Hevajra holds in each of his hands a skull cup with eight animals representing the Eight Diseases on one side, and eight Buddha-like deities representing the corresponding cures on the other. He holds his consort Nairatmya in his principal pair of arms, while she flings her right leg around his waist as they embrace one another in a cosmic, synchronous dance. Apart from bestowing good health and fortune to practitioners, these meditational deities (yidams) quash ignorance, here manifested as four Hindu deities, two of which kneel behind the supreme couple. This powerfully rendered gilt bronze follows in the early Ming dynasty's imperial sponsorship of Tibetan Buddhism. Arguably the most generous Buddhist art patron among the Ming rulers was the Yongle emperor (1403-24), who sought to reestablish the priest-disciple relationship introduced by the Mongol khans of the Yuan dynasty, and in so doing, legitimize his rule as their spiritual heir. Part of this initiative involved the creation of small, portable bronzes in a codified yet accomplished Tibeto-Chinese style, which were either received by visiting religious envoys or sent to Tibetan monasteries as diplomatic gifts. On the other hand, the practice of exchanging images between Tibet and China was lessened considerably under the Xuande emperor (1426-1435), as the fewer number of bronzes produced during his reign were largely intended as objects of worship in Chinese temples. The lack of an imperial reign mark notwithstanding, the following work retains much of the sculptural qualities associated with Ming bronzes from the 15th century. For instance, the slightly thinner features within the entire composition bear slight resemblance to two Xuande-marked gilt bronzes, including one Manjushri published in Uhlig, On the Path to Enlightenment, 1995, p. 122, no. 72, and an esoteric form of Tara sold at Sotheby's, Hong Kong, 2 October 2017, lot 3124. Furthermore, while the divine couple's elongated proportions, imposing weight, and denser jewelry reflect the desire for bolder figures in the Xuande period, the brilliant gilding, unevenly sized tripartite swags, and compact arrangement of the lotus petals with trifurcating tips reveals the artist's reliance on Yongle archetypes. (For example, compare the pedestals and flaring, tripartite swags depicted on a Yongle Vajrabhairava and Hevajra, sold at Sotheby's, Hong Kong, 7 October 2006, lots 812 & 814.) This juxtaposition suggests that the present lot is likely from the Xuande period or soon after, as subsequent periods all but abandon the narrow petal design in favor of a wider type with foliated tips. Compare the present lot's crown type to a Ming dynasty Yama published in Beguin, Dieux du Tibet, 2018, p. 133, together with a 15th-century gilt bronze Hevajra with closely related proportions and lotus base, sold at Sotheby's, London, 11 May 2016, lot 65.For further information on this lot please visit Bonhams.com
Lot 19
STATUETTE DE TSONGKHAPA EN ALLIAGE DE CUIVRE DORÉTIBET CENTRAL, XVE SIÈCLEHimalayan Art Resources item no. 4604 18.8 cm (7 3/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF TSONGKHAPACENTRAL TIBET, 15TH CENTURY藏中 十五世紀 銅鎏金宗喀巴像Provenance:With Claude de Marteau, Brussels, by 1970sJe Tsongkhapa (1357-1419), the revered founder of the Gelug school of Tibetan Buddhism is presented here with great esteem, exemplified through characteristic features associated with other enlightened teachers, bodhisattvas and buddhas. Seated on a wide double lotus throne, he wears traditional garments of an esteemed master including a dhonka and patchwork robe incised with scrolling vines interspersed with floral buds and blossoms. Flanking either side of the lama on lotus flowers are the manuscript and sword, attributes of the Great Bodhisattva of Wisdom, Manjushri, who has conferred wisdom and skillful means on the master. The portrait merges with images of the Buddha, as the elongated earlobes and alms bowl pay tribute to the greatest of all Buddhist teachers. Tsongkhapa's portrayal is in visual union with all the great enlightened beings. The formality of the lama is at clear play with his more candid portrayal. The countenance of the face is charming, expressed in the laugh lines, plump cheeks, rounded nose and pointed chin having an impression of approachability and friendliness. The toes that peek from below the lama's robe relax any sense of stiffness of the body. This is similarly illustrated by another 15th-century bronze from Central Tibet sold in the Claude de Marteau Collection at Bonhams, Paris, 14 June 2022, lot 41. There is an overall enchanting quality and human tenor, which without these elements, may reduce this portrait to a generic type. As founder of the Gelug order, particular reverence through repetition can be seen in the proliferation of Tsongkhapa's portrayal, and yet this example shows a more sensitive modelling of the face and hands, offering a counterpoint between the realistic and idealized features of this lama.The idealized portrayal of Tsongkhapa and the stylistic variations can make it difficult to identify the master with certainty. Other examples of the lama include HAR 12476, which share similarities in the facial features, the modeling of the lotus petals, and the exposed toe, but are set apart with the inclusion of the alms bowl in this caste. As these are idealized images, without an inscription the identity can remain vague, and yet with certainty, it can be understood that lama portraiture, especially in consideration of the notoriety of Tsongkhapa, was an essential aspect of tantric visual tradition. The stylistic elements are consistent with 15th-century castings from Central Tibet. The lotus petals and base's tall foot specifically reference a mode coming from the atelier of Sonam Gyaltsen which flourished in Tsang province during the early-mid 15th century and can be compared to another lama portrait on HAR 11028. Moreover, Tsongkhapa's legacy, both historically and visually, was established during the 15th century in central U-Tsang region, making memorials of his likeness a testament to his amassed following which culminated in the founding of the Gelug order.For further information on this lot please visit Bonhams.com
Lot 24
STATUETTE DE BOUDDHA COURONNÉ EN ALLIAGE DE CUIVRE DORÉTIBET, XVE/XVIE SIÈCLEHimalayan Art Resources item no. 4629 25 cm (9 7/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF CROWNED BUDDHATIBET 15TH/16TH CENTURY西藏 十五/十六世紀 銅鎏金寶冠佛像Provenance:With Claude de Marteau, Brussels, by 1970sThe subject of the crowned Buddha depicted in this sculpture is one which remains part of a larger visual and historical dialogue. The posture with the right hand held in the earth touching gesture, the diaphanous robes with fishtail pleats that fall over the left shoulder and the vajra placed on top of the base are associations most typically made with the historical Buddha Shakyamuni at the moment he defeated Mara, the demon who sought to prevent him from attaining enlightenment. The historical Buddha in that archetypal iconographical form, is presented most typically without adornment, referencing that once a prince, he gave up his title and left the palace walls for spiritual pursuits. In some examples though, which have their visual origins in Eastern India like the Bihar inlaid bronze in the Metropolitan Museum of Art, New York (1993.311a, b), are representations of the Buddha wearing an ornamented crown, as seen in the sculpture here. In some instances, the crown iconography could be interpreted as representing a Buddha, of which there are many, featured in a celestial realm. Another explanation, based on early Vajrayana textual sources, is that the crown represents the moment after Shakyamuni's enlightenment whereby he left his physical body and was sent into a celestial realm to be coronated by other heavenly Buddhas. Further interpretations, consider this iconography as a dual expression of both the cosmic Buddha Vairocana and his earthly emanation, Shakyamuni Buddha. (Behrendt, 'Tibet and India: Buddhist Traditions and Transformations', The Metropolitan Museum of Art Bulletin, Vol. 71, No. 3, (WINTER 2014, p.18)More recent scholarship suggests that the crowned Buddha arose within Buddhist communities as a way to confront the growing political and religious power held by Hindus in India, beginning in the first millennium but especially evident in the late fifth century. By emphasizing the Buddha's spiritual authority, Buddhists could assert themselves within a growing context which gave favorable esteem to the Hindu pantheon of deities. (Bautze-Picron, The Bejewelled Buddha from India to Burma, 2010) Another example of this subject was featured in the first part of the Claude de Marteau sale at Bonhams, Paris, 14 June 2022, lot 50.For further information on this lot please visit Bonhams.com
Lot 25
STATUETTE DE BOUDDHA EN ALLIAGE DE CUIVRE DORÉTIBET, XVI/XVIIE SIÈCLETibetan number inscribed underneath '3'.Himalayan Art Resources item no. 4634 28.2 cm (11 1/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF BUDDHATIBET, 16TH/17TH CENTURY西藏 十六/十七世紀 銅鎏金佛陀像Provenance:With Claude de Marteau, Brussels, by 1970sThis confident portrayal of the Buddha raises his right palm in the gesture of reassurance (abhaya mudra) while his left hand rests on his lap in the gesture of meditation (dhyana mudra). Located underneath the core is an incised numeral, indicating that the figure was commissioned in Tibet and was once part of a large sculptural assembly depicting the Thirty-Five Buddhas of Confession. First introduced by the founder of the Gelug order, Je Tsongkhapa (1357-1419), this Mahayana ritual is described in the, 'Sutra of the Three Heaps' (Triskandhadharmasutra), where practitioners recite the names of all Thirty-Five Confession Buddhas and present each being with offerings as a means of atonement for past improprieties. Certain elements of this unique bronze, such as its sweet expression, pointed nose, and robust physique are similarly evoked in a 14th-century gilt bronze Avalokiteshvara with strong Nepalese features (published in Pal, Asian Art at the Norton Simon Museum vol. 2, 2003 p. 92, no. 57), attesting to the recruitment of Newari artists by Tibetan patrons during the 13th and 15th centuries. That being said, the loose piles of heavy fabric gathering at the Buddha's feet and left shoulder are more comparable to later styles, including a 16th/17th century image of Bhaisajyaguru located in the Tibet Museum, Gruyerès (ABS 183) and a smaller gilt-bronze Amitabha also in this sale (see lot 30).For further information on this lot please visit Bonhams.com
Lot 36
STATUETTE DE CHAKRASAMVARA EN ALLIAGE DE CUIVRE DORÉTIBET, XVIIE SIÈCLE Himalayan Art Resources item no. 4631 29 cm (11 3/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF CHAKRASAMVARA TIBET, 17TH CENTURY 西藏 十七世紀 銅鎏金勝樂金剛像 Provenance:With Claude de Marteau, Brussels, by 1970sThis exceptional gilt bronze depicts the meditational deity (yidam) Chakrasamvara (lit. 'Wheel of Bliss') comprised of male and female enlightened beings depicted in a sexual embrace, symbolic of the transcendent bliss that skilled Tantric practitioners experience on completion of the Chakrasamvara Tantra. Visualized as gendered embodiments of perfected wisdom (female) and compassion (male) merging into a perfected, interpenetrative union, youthful Vajravarahi leaps onto Samvara, wrapping her thighs around his waist in a 'suspended' (avalambitaka) maneuver described in the ancient writings of the Kama Sutra. He pulls her in close, returning her impassioned gaze. With the same primary arms he uses to cradle her, Samvara crosses the vajra and ghanta implements in his hands in the vajrahumkara gesture, signifying the frontally obscured successful integration of Buddhism's two highest qualities. The sophisticated quality of this sculptural ensemble betrays a Newari master artist in the service of Tibetan patrons. Painstaking care has been given to delineate each attribute held in Samvara's twelve hands, including a disembodied head with long strands of hair and a loosely gathered lasso. A criss-cross bone apron replete with inset turquoise covers Vajravarahi's rear, leading the eye below to the thickly-gilded garlands of expressive skulls and severed heads. A towering openwork mandorla emblazons the composition while a beaded lotus base with long, supple petals support the Hindu gods, Bhairava and Kalaratri, subdued underfoot by Chakrasamvara's awesome supremacy. The Tibetan inscription located at the back of the base, which translates to 'Tashilima', suggests this sculpture was commissioned for Tashi Lhunpo monastery in Shigatse, Central Tibet (see Luo, 'Tashi Lhunpo Statuary: Karma and Mt Meru', in Bonhams, Hong Kong, 26 November 2019). Tashi Lhunpo is the traditional monastic seat of the Panchen Lama, the Gelug order's second-in-command, and maintained a particularly close relationship with the Qing court during the reign of the Kangxi emperor (1662-1722). When the Fourth Panchen Lama, Lobsang Chökyi Gyaltsen (1567-1662), became the abbot of Tashi Lhunpo in 1607, he enlisted artisans to lay the foundations of a settlement nearby the monastery. Known as Tashikitsel, this village consisting of workshops dedicated to varying disciplines provided Tashi Lhunpo with a steady stream of building materials, textiles, paintings, and gilt bronzes for the greater part of the 17th and 18th centuries. Compare the similar treatment of the mandorla and garland interwoven with skulls and heads to closely related examples such as a Begtse Chen sold at Christie's, London, 12 April 1988, lot 139; a Hayagriva in the Musée Guimet (von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p. 455, no. 125F); and a Vajrabhairava sold at Bonhams, Hong Kong, 29 November 2016, lot 13. Lastly, compare the slender proportions of a parcel-gilt Chakrasamvara, published in Uhlig, On the Path to Enlightenment, Zurich, 1995, p. 168, no. 112.For further information on this lot please visit Bonhams.com
Lot 5
STATUETTE DE BOUDDHA EN ALLIAGE DE CUIVRE DORÉDYNASTIE YUAN, XIVE SIÈCLEHimalayan Art Resources item no. 4626 17 cm (6 3/4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF BUDDHAYUAN DYNASTY, 14TH CENTURY元 十四世紀 銅鎏金佛陀像 Provenance:With Claude de Marteau, Brussels, by 1970s Many images of the Buddha exist memorializing the moment of his enlightenment. Iconic in form, the portrait is at once recognizable in the gesture, contemplative gaze, and perfected meditative posture. Yet, every iteration carries unique features and motifs tracing both tradition and change, telling a story of both time and place. This bronze tells of the Yuan dynasty's eager patronage of Tibetan Buddhism and its summoning of master Newari artisans from Nepal to establish the dynasty's own practice of image making. Yuan court annals and a reign-marked gilt copper alloy sculpture of Manjushri in the Palace Museum, Beijing, attest to this narrative (see Bigler, Before Yongle, 2013, p. 11, fig. 3). Like the present sculpture, the Manjushri, dated to the 9th year of the Dade reign (1305 CE), emphasizes its subject's sublime nature through a lightly clad idealized body characteristic of Newari aesthetics; less focus is placed conversely on heavily patterned garments and intricate jewelry. The sentiment is carried by the present bronze's restraint of ornamentation in the sheer monastic robe, which hugs a sensuous, monumental frame. Both figure's broad foreheads and square jaws share an affinity with buddha images from Nepal's Early Malla period (13th/14th century). So do the wide, beaded hemlines within their garments. However, the sculptures have almost identical beaded lotus pedestals completed in the round displaying tear-shaped inner petals with curled tips surrounded by a flatter second layer with ridged tips. Such bases and a particular technique of engraving, comprised of small punch marks yielding scrollwork, are idiomatic of bronzes produced for the Yuan dynasty. Additionally, the most prominent engraved detail embellishing the present Buddha is found over his left shoulder, showing a square panel with a visvavajra surmounted by a lotus flower. This motif and the other Yuan elements are all represented by a bronze buddha sold at Bonhams, Hong Kong, 2 December 2021, lot 1011 and two other published examples (ibid., pp. 92-5 & 112-3, nos. 21 & 26).For further information on this lot please visit Bonhams.com
Lot 52
STATUETTE DE TARA VERTE EN ALLIAGE DE CUIVRE DORÉDYNASTIE QING, XVIIIE/XIXE SIÈCLEHimalayan Art Resources item no. 4602 18.5 cm (7 1/4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF GREEN TARAQING DYNASTY, 18TH/19TH CENTURY清 十八/十九世紀 銅鎏金綠度母像Provenance:With Claude de Marteau, Brussels, by 1970s This gilt bronze depicting the revered Buddhist savior Tara has the charming addition of two diminutive devotees positioned within the lotus pedestal. Another in the same style with an affixed dakini was sold at Bonhams, Hong Kong, 5 October 2020, lot 122. Classic features of sculptures produced by the Qing Dolonnor workshop of Inner Mongolia include the present bronze's oval facial type, prominent crown, and tall base, seen in another example sold at Bonhams, Hong Kong, 2 October 2018, lot 89.For further information on this lot please visit Bonhams.com
Lot 6
STATUETTE DE TARA VERTE EN ALLIAGE DE CUIVRE DORÉKHASA MALLA, XIVE SIÈCLEHimalayan Art Resources item no. 4612 18.8 cm (7 3/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF GREEN TARAKHASA MALLA, 14TH CENTURY卡薩馬拉 十四世紀 銅鎏金綠度母像 Provenance:With Claude de Marteau, Brussels, by 1970s Her eyes and lips accentuated with the application of cold gold, red, and white pigments, Green Tara casts a warm and empathic smile toward the viewer. The lotus and blue lily blossoming over her shoulders reflect her pure nature as the mother of all Buddhas. Likewise, as the female bodhisattva of compassion, she waits attentively with one hand outstretched in the gesture of wish-granting and one leg pendant, ready to rise to the aid of her devotees. The delineation of the joints of Tara's fingers, in addition to the application of red lacquer to the flattened back of her lotus base, are stylistic features associated with the Khasa Mallas, a Buddhist kingdom in Western Tibet and Nepal whose artists produced paintings and sculptures infused with the styles of neighboring artistic centers (see Alsop, 'The Metal Sculpture of the Khasa Malla Kingdom', in Singer & Denwood (eds.), Tibetan Art: Towards a Definition of Style, 1997, pp. 68-79). For instance, the present figure's hooked nose and rounded jawline bear a strong similarity to two images: a gilt bronze of Green Tara sold at Bonhams, Hong Kong, 2 October 2018, lot 154; and a portrait of a Khasa Malla Queen, now in the National Museum of Asian Art, Washington, D.C. (F1986.23).For further information on this lot please visit Bonhams.com
Lot 9
STATUETTE DE PANJARANATA MAHAKALA EN ALLIAGE DE CUIVRE DORÉTIBET, XIVE SIÈCLEHimalayan Art Resources item no. 4605 16 cm (6 1/4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF PANJARANATA MAHAKALATIBET, 14TH CENTURY西藏 十四世紀 銅鎏金寶帳大黑天像 Provenance:With Claude de Marteau, Brussels, by 1970s Holding a flaying knife, skull cup, and club used to annihilate karmic defilements, Panjaranata Mahakala is the fierce guardian of the Hevajra Tantra and the chief protector of the Sakya school of Tibetan Buddhism. Despite his violent iconography, the artist refrains from depicting Panjaranata Mahakala with gruesome features, instead casting an approachable dwarf-like figure with a handsome face and a subdued grimace, understanding the deity's formidable, but ultimately protective, demeanor. Such an exceptional gilded bronze would have required an experienced and dexterous hand, evinced by Mahakala's stocky yet balanced proportions, the snakes coiled around his earrings, the irregular rippling of his scarf, and a corpse whose hair hangs over the side. Moreover, the thickly-beaded lower rim of Mahakala's lotus base is a distinct feature of Pala-period bronzes, comparable to several examples published in von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pp. 290-1, nos. 73A, B, G, & H). This familiarity with Northeast Indian decoration, combined with the chased striped fur of Mahakala's tiger pelt, suggests that this image was created by a Nepalese artist on behalf of a Tibetan patron during the 14th century. Compare with an image of Takkiraja, whose apron and scarf ends are subtly decorated with small chased lines, published in Grewenig & Rist, Buddha: 2000 Years of Buddhist Art, 2016, p. 396, no. 171. And more importantly, compare the similar jolly countenance and swirling striped pattern of a tiger skin worn by a 14th-century Panjaranata in parcel-gilt, published in Rhie, Wisdom and Compassion, 2000, p. 444, no. 198 (67C). The focus of a state cult as the Mongol Empire's tutelary deity, Mahakala was credited with their defeat of the Southern Song dynasty (1127–79), solidifying Khubilai Khan's legitimacy as the first emperor of the Yuan dynasty (1271–1368). Images like the present lot, which were likely made at the height of Sakya authority in Tibet, later informed the art of the early Ming dynasty, whose emperors sought to harness this esoteric power for themselves. For example, compare the present lot's densely-packed lotus petal base to a gilt-bronze from the Yongle period (1403–24), published in von Schroeder, Buddhist Sculptures in Tibet, Vol. 2, Hong Kong, 2001, p. 1239, nos. 348A-B.For further information on this lot please visit Bonhams.com
Lot 410
A BRONZE FIGURE OF MERCURY BY G. HOPFGARTEN AFTER GIAMBOLOGNA the figure standing on a puff of wind on signed circular base 46cm high Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Lacks caduceus, 1 wing to helmet and element from left hand, right fingers with cracks- fairly heavy wear and scuffs to patination all over. visible cast joints, Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 343
DEVILLAINE, RUE NUEVE DES PETITS CHAMPS N.33 A PARIS: A French Empire bronze ormolu and brass mantel clock, circular white enamelled dial with Roman numeral hours and Arabic minutes and signed and inscribed, eight-day movement striking on a bell, the case surmounted by books titled 'Phys. Tom 3' and 'Astro Tom 1.', on a drape, the front with a cockerel flanked by flaming torches 37cm high DEVILLAINE is recorded by Tardy as working in the Rue Neuve des Petits Champs in 1800 Provenance: Christies, London, 14th April 2005, lot 279
Lot 154
▴ Bernard Meadows (1915-2005)'Relief (Opus 77)', 1952bronze, cast 1966, from an edition of 6mounted on metal and painted wood, overall 53cm wide, 63.5cm high, 13cm deepProvenance: With Gimpel Fils Ltd., London, 1968;the residual contents of Bixley Manor by instruction of the executors of Sir Timothy Colman KG.Condition ReportSome dirt and dust on bronze, would benefit from light cleaning. A few light abrasians to metal mount and some chips to paint work on woodedn board. A red mark on white paint of board. See detailed images.
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