A LARGE AND IMPORTANT BRONZE FIGURE OF AVALOKITESHVARA, ANGKOR WAT PERIODKhmer Empire, 12th century. Standing in samapada, holding a lotus bud and a book in his hands, wearing a short pleated sampot, tucked around the belt, the end forming a 'fishtail' at the hem, the serene face with urna, almond-shaped eyes, and full lips, the hair surmounted by a stupa-like ushnisha.Provenance: From an old French-Cambodian collection, acquired in the 1990s.Condition: Areas of minor losses with old fillings, extensive patina with malachite-green encrustations, overall superb condition with wear and casting flaws.Weight: 2,756 g (the figure only)Dimensions: Height 40.5 cm (excl. base and foot pegs) and 43.5 cm (excl. base)The figure is richly adorned in jewelry, including a large circular diadem, a necklace with a central floral motif, armbands, bracelets, anklets, and earrings in the form of lotus buds.With a modern base. (2)Auction result comparison: Compare with a related but smaller figure of a four-armed Avalokiteshvara at Sotheby’s New York in Indian and Southeast Asian Works of Art on 19 March 2008, lot 243, sold for USD 73,000.
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A CHAMPLEVE ENAMEL ‘BUDDHA’S HAND’ RUYI SCEPTER, QING DYNASTYChina, 18th century. Cast in openwork with an arched gilt-bronze shaft resembling a gnarled leafy branch and a head in the form of two finger citrons, known as ‘Buddha’s hand’ in Chinese, decorated in champleve enamels graduating from lime-green to yellow next to gilt bronze leaves.Provenance: Property from a Private Collection. Sotheby’s Hong Kong, Fine Chinese Ceramics and Works of Art, 8th April 2014, lot 3099 (one in a lot of two), bought in at an estimate of HKD 1,200,000 — 1,800,000. A noted private collector, acquired from Sotheby’s at a later time.Condition: Excellent condition with minor wear, minuscule dents, light wear to the enamels and gilt.Weight: 584.7 gDimensions: Length 30.9 cmThe shaft bearing two small corresponding fruits in champleve enamels and gilt-bronze leaves, the openwork terminal suspending a tasseled endless knot.Literature comparison: For a gilt bronze scepter of this type, but cast with all three fruit of the sanduo, in the National Palace Museum, Taipei, see one illustrated in Masterpieces of Chinese Ju-i Sceptres in the National Palace Museum, Taipei, 1974, pl. 29; and a zitan version inlaid with jade and various hardstones to depict a finger-citron, in the Palace Museum, Beijing, included in the exhibition China. The Three Emperors, Royal Academy of Arts, London, 2005, cat. no. 277, and another gilt bronze scepter embellished with pomegranates, in the Österreichisches Museum für Angewandte Kunst collection, included in the exhibition Die Ware aus dem Teufelsland, Museum für Kunsthandwerk, Frankfurt am Main, 1981, cat. no. 12.Auction result comparison: Compare with a related gilt bronze scepter, inlaid with glass and decorated with enamels, at Christie’s New York in Auspicious Treasures for Scholars and Emperors: Selections from the Robert H. Blumenfield Collection on 22 March 2012, lot 1228, sold for USD 86,500.清代鏨胎琺瑯多子多福如意 中國，十八世紀。如意以銅胎鎏金飾琺瑯工藝精心而制，雕成老幹樹枝狀折枝，佛手瓜左右雙佛手瓜造型，蒂梗繞於兩果實間，長柄彎曲，柄體呈蒼虯蜿蜓枝幹，彎曲有度，翻轉有致，葉盛開舒展，上掛兩小瓜，生氣盎然。枝葉飾以鎏金，佛手飾以掐絲琺瑯，風格寫實，色彩逼真，琺琅色從青檸色到淡黃色漸變。造型優美流暢，纖細靈秀，盡顯華貴富麗之感。佛手音與“福”字諧音，除表徵多“福“之意，更喻“多福多壽多子孫”的吉祥表徵。 來源： 私人收藏，見香港蘇富比Fine Chinese Ceramics and Works of Art拍場, 2014年4月8日，lot 3099 (一對如意中的一件), 估價HKD 1,200,000 — 1,800,000。藏家説明：購於蘇富比此拍賣之後。 品相：狀況極佳，輕微磨損，微小凹痕，琺琅和鎏金部位輕微磨損。 重量： 584.7 克 尺寸： 長30.9 厘米 軸上有兩個小巧的相應水果，分別是琺瑯彩釉和鎏金銅的葉子，如意終端鏤空的懸掛著流甦的結佩。 文獻比較: 一件此類鎏金銅三鑲式如意，可見在台北故宮博物院中，請參見1974年出版的關於台北故宮博物院中的如意畫冊，圖29; 在中國故宮博物院內，還有一個鑲有玉石和各種硬石的紫檀佛手瓜。 Three Emperors, Royal Academy of Arts, London, 2005, cat. 圖277；另一件來自奧地利應用藝術博物館的銅鎏金石榴如意參加了1981年在美因河畔法蘭克福的應用藝術博物館“來自東方的琺琅製品”的展覽，見“Die Ware aus dem Teufelsland”，Museum für Kunsthandwerk, Frankfurt am Main, 1981, cat. no. 12. 拍賣結果比較：一件相近銅鎏金如意鑲嵌玻璃和琺琅，售于紐約佳士得Auspicious Treasures for Scholars and Emperors: Selections from the Robert H. Blumenfield Collection拍場，2012年3月22日，lot 1228, 售價 USD 86,500。
AN IMPORTANT SANDSTONE HEAD OF SHIVA, ANGKOR WAT STYLEKhmer Empire, 12th century. The magnificent face showing a serene expression with ridged eyebrows and almond-shaped eyes below the third eye, full lips forming a subtle smile, and long pendulous earlobes. The hair is arranged in a cylindrical chignon carved with a flower at the top and fronted by a foliate tiara.Provenance: From an old French private collection.Condition: Very good condition commensurate with age, extensive weathering, wear, some losses and fine natural patina.French Export License: French certificat d’exportation pour un bien culturel, no. 210828, dated 22 August 2019, has been granted and is accompanying this lot.Weight: 3,659 g (incl. stand)Dimensions: Height 29.5 cm (incl. stand) and 21 cm (excl. stand)Mounted on an associated metal stand. (2)This piece dates from the Angkor Wat period, in the twelfth century, when the Khmer Empire was at its territorial zenith. This starts with the reign of Suryavarman II (1113-1145), who ordered the construction of Angkor Wat, the largest temple of the Angkor period, dedicated to Vishnu. The third eye on this sandstone head, however, clearly indicates that it depicts Lord Shiva.Stylistically, the sculpture of the Angkor Wat period is marked by a return to the somewhat angular and upright modeling of the periods preceding the Baphuon style of the eleventh century. The size of sculpture from the Angkor Wat period, however, is generally in line with the more diminutive Baphuon period works, in contrast to the monumental sculpture of the tenth century and earlier.Auction result comparison: Compare with a slightly later and larger head of Shiva or Avalokiteshvara, Bayon style, at Bonhams Sydney in Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE on 22 September 2019, lot 68, sold for AUD 231,800, as well as a figure of a male deity in the Angkor Wat style at Christie’s New York in Lacquer, Jade, Bronze, Ink: The Irving Collection Day Sale on 21 March 2019, lot 1107, sold for USD 212,500.
A MASSIVE AND RARE EAST JAVANESE TERRACOTTA FIGURE OF A BOAR, MAJAPAHITEast Java, 15th-16th century. Standing foursquare and wearing a collar incised with geometric motifs and suspending a large spherical bell, the face with a wrinkled snout, upward curving tusks, bushy eyebrows, and large bulging eyes, the spiral tail in relief over the right rear haunch.Provenance: Sotheby’s New York, Indian and Southeast Asian Art, 20 March 1997, lot 139. Estates of William R. Appleby (1915-2007) and Elinor Appleby (1920-2020), longtime donors to the Metropolitan Museum of Art in New York. Mrs. Appleby had a particular interest in Asian art, and she and her husband supported the Department of Asian Art as well as the Fund for The Met, providing for important acquisitions and institutional initiatives. The original Sotheby’s receipt, the catalog page, and a large photograph of the boar on Kodak paper, originally sent by Sotheby’s to the Applebys, accompany this lot.Condition: Superb condition with old wear, minimal structural cracks, some chipping to the hoofs, light scratches.Weight: 14.9 kgDimensions: Length 53.5 cmLiterature comparison: Compare with a related but smaller boar in bronze in the collection of the Metropolitan Museum of Art, accession number 1987.142.259.
A JAVANESE BRONZE FIGURE OF AVALOKITESHVARA, 9TH-10TH CENTURYJava. Cast standing on a circular lotus base, the left hand held in karanamudra and the right holding a lotus stem extending along the arm and terminating in a bud to the shoulder. Wearing a dhoti and richly adorned in beaded jewelry, the hair with a stupa-like headdress behind the five-leaf crown. The serene face with an urna, downcast eyes below gently arched brows, and full lips forming a subtle smile.Provenance: The private collection of Haji Daeng Iskandar. A New York, USA, private collection, acquired from the above. Haji Daeng Iskandar was a notable art dealer in Bali, Indonesia, specializing in Indonesian primitive and tribal art.Condition: Very good condition commensurate with age. Extensive old wear, traces of gilt, encrustations, small losses, dents and nicks here and there. Overall with a fine, malachite-green patina.Weight: 1,392 gDimensions: Height 28.5 cmLiterature comparison: Compare with two closely related examples in the Metropolitan Museum of Art including a Vishnu that shares the same iconographic program and a Garuda projecting from the base, accession number 1987.142.15, see Lener and Kossak, The Lotus Transcendent, New York, p.188, no.146, and a standing Manjushri, accession number 2001.758.2, in a flexed pose.Auction result comparison: Compare with a related figure of Vishnu at Bonhams Hong Kong, in Fine Southeast Asian Arts, 29 March 2018, lot 11, sold for HKD 375,000.
A HEAVY GILT BRONZE ‘KASHMIR REVIVAL’ FIGURE OF BUDDHA SHAKYAMUNI, LATER 18TH- EARLIER 20TH CENTURYKashmir. Seated in dhyanasana on a rectangular tiered throne supported by two Buddhist lions above a geometric design, the right hand lowered in abhaya mudra and the left holding the long flowing robe, the drapery cast in a slender column of u-shaped folds at the chest and diagonal folds at the arms and legs, the serene face with urna, almond-shaped eyes, and slender lips forming a subtle smile.Provenance: Ex-collection of the Dhakhwa family, by repute in the family since 1900. Belgian private collection, acquired from the above. The Dhakhwa family is one of the most renowned noble families who have been dwelling in Nagbahal, a community at the heart of Lalitpur (Patan) in the Kathmandu Valley, since ancient times.Condition: Good condition with extensive wear and firing flaws, minor structural cracks, some abrasions to gilt and traces of pigment, light scratches, minuscule nicks here and there. Overall commensurate with age, possibly even indicating an earlier date.Weight: 3,731 gDimensions: Height 23.2 cm十八世紀晚期至二十世紀初期克什米爾復興運動時期銅鎏金釋迦牟尼克什米爾。釋迦牟尼結跏趺坐坐在矩形階梯狀寶座上，兩隻佛獅背負著寶座。釋迦牟尼右手施無畏印，左手握住長袍，面部表情寧靜，杏仁形的眼睛和細長的嘴唇形成微妙的微笑。來源：原Dhakhwa family家族收藏, 據説于1900年起就在家族中了。比利時私人收藏，購於上述收藏。Dhakhwa 家族是自古以來就一直居住在加德滿都谷地拉利特布爾（Patan）心臟地帶的納格巴哈爾（Nagbahal）的最著名的貴族家庭之一。圖片：Padma Dhakhwa 和他的女兒Namrata 品相：狀況良好，大面積磨損和鑄造缺陷，較小的結構裂紋，鎏金擦傷和色素痕跡，輕微的划痕，到處都有微小的刻痕。 總體上與年齡相稱，甚至可能更早。重量： 3,731 克尺寸：高23.2 厘米
A BRONZE FIGURE OF UMA, LOPBURI STYLE, 13TH-15TH CENTURYThailand. Cast standing in samabhanga, holding a lotus bud in her right hand, wearing a checkered dhoti with an elaborate fishtail hem, multiple armlets, a torque and earrings. The braided hair drawn up into a conical chignon and secured with a tiara.Provenance: From an American private estate. By repute acquired in Asia c. 1965-1970 and thence by descent within the same family.Condition: Very good condition with minor wear and casting irregularities, minuscule nicks here and there, and occasional light scratches. Fine, naturally grown patina.Weight: 658.7 g (incl. base)Dimensions: Height 23.2 cmMounted on an associated wood base. (2)Auction result comparison: Compare with a closely related bronze at Christie’s New York in Indian and Southeast Asian Art on 19 March 2014, lot 1129, sold for USD 10,000.
A KHMER BRONZE FIGURE OF AVALOKITESHVARA, ANGKOR PERIODKhmer Empire, 12th century. The bodhisattva standing in samapada on a square base, four-armed, holding a lotus bud, a water vessel, a scroll, and a rosary. Wearing a short pleated sampot, tucked around the striated belt, which is decorated with pendants. Richly adorned in jewelry, the hair arranged in a high topknot with a small Buddha Amitabha behind the circular diadem.Provenance: Art of the Past, New York, 3 December 2002, old label with number to base. Collection Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above. A copy of the original invoice, stating the land of origin as Cambodia and dating the piece to the 12th century, accompanies this lot.Condition: Excellent condition commensurate with age, old wear, minuscule nicks here and there. Fine malachite-green patina.Weight: 297.8 gDimensions: Height 15 cmAuction result comparison: Compare with a closely related copper alloy figure of Avalokiteshvara (height 34 cm) at Sotheby’s New York, in Indian and Southeast Asian Works of Art, 19 March 2008, lot 243, sold for USD 73,000.
A KHMER BRONZE FIGURE OF VISHNU STANDING ON GARUDA, ANGKOR PERIODKhmer Empire, 12th century. The four-armed deity standing on Garuda's shoulders and holding the disk and conch in his uppermost hands, wearing a sampot and richly adorned in jewelry. The mythical bird standing on a square base with arms and wings outstretched as if flying through the air. Both with benign expressions.Provenance: Art of the Past, New York, 21 May 2003, old label with serial number to base. Collection Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above. A copy of the original invoice, at a price of USD 7,500, stating the land of origin as Cambodia and dating the piece to the 12th century, as well as a description of the piece attached to the invoice, accompany this lot. The letter states, “This particular example of this motif is superbly conceived. Every detail is finely articulated. The dark patina of the bronze is also smooth and without flaw. It is possibly one of the finer examples of its type.”Condition: Excellent condition commensurate with age, old wear, minuscule nicks here and there, fine natural patina with malachite-green encrustations.Weight: 649.0 gDimensions: Height 20.7 cmLiterature comparison: Compare to a similar figure published Emma C. Bunker and Douglas Latchford, Adoration and Glory, The Golden Age of Khmer Art, Thailand, 2004, pp. 350-351, fig. 125. Compare also with a near-identical bronze at Christie’s Amsterdam in Indian Himalayan and Southeast Asian Art on 16 December 2003.
A BRONZE FIGURE OF BUDDHA, MON-DVARAVATIThailand, 9th century. Seated in dhyanasana with the hands lowered in dhyanamudra, the sanghati loosely draped across the broad shoulders, the serene face with downcast eyes and broad mouth, the hair arranged in tight curls surmounted by a domed ushnisha.Provenance: Old German private collection. Condition: Superb condition with old wear, small nicks here and there. Fine natural patina.Weight: 341.4 gDimensions: Height 10.9 cmAuction result comparison: Compare with a near-identical bronze at Christie’s New York in Indian and Southeast Asian Art on 17 September 1999, lot 243, sold for USD 6,900.
A KHMER BRONZE FIGURE OF BUDDHA MUCHALINDA, LATE ANGKOR PERIODKhmer Empire, Bayon style, late 12th to early 13th century. Seated in dhyanamudra on the coils of Muchalinda, beneath the seven-headed canopy of the serpent king, wearing a short loincloth around his waist, adorned with elaborate jewelry, a crown surrounding his hair piled high and surmounted by a conical ushnisha, his face with a serene expression, downcast eyes and hands held in his lap holding a stupa.Provenance: Old German private collection.Condition: Some minor fills to the back, otherwise in good condition with wear, some nicks here and there, light scratches, and losses. Fine natural patina with malachite-green and copper-red encrustations.Weight: 703.8 g (the bronze only)Dimensions: Height 19.5 cm (excl. base) and 26.5 cm (excl. base)Mounted on a modern metal base. (2)When a storm raged and torrential rain poured for a whole week, the king of the nagas, Muchalinda, rose from the earth, coiling its body to form a seat and swelling its great hood to shelter Buddha.Expert’s note: Few early examples of this type appear to be recorded. The well-modeled naga hood in later stylistic development dissolves into greater ornamentation. The present piece can therefore be considered as rare.Literature comparison: Compare to an in-situ example of a stone sculpture of Buddha Muchalinda, in M. Freeman and R. Warner, Angkor, The Hidden Glories, 1990, ill. p. 128. Compare also with two other examples in G. Coed/ges, Bronzes Khmers, 1923, plate XXI, figs 1 and 2.Auction result comparison: Compare with a closely related but smaller bronze at Christie’s New York in Indian and Southeast Asian Art including 20th Century Indian on 19 September 2002, lot 193, sold for USD 26,290, and another, though of larger size, at Christie’s New York in Indian and Southeast Asian Art on 20 March 2002, lot 11, sold for USD 94,000.
A BRONZE HEAD OF BUDDHA, AYUTTHAYA KINGDOMThailand, 17th century. Wearing an elaborate headdress in front of a tiered ushnisha, the serene face with heavy-lidded almond-shaped eyes under gently arched eyebrows, a broad symmetrical nose, and full lips forming a subtle smile, flanked by distinct ears with elongated lobes.Provenance: German private collection.Condition: Remnants of lacquer coating and gilt, natural malachite-green encrustations, fine patina, losses as seen on images, old wear and weathering, some dents and nicks, several losses with old fillings.Weight: 5.1 kg (total)Height: Height 30 cm (excl. base) and 44 cm (incl. base)Mounted on an associated stand. (2)Auction result comparison: Compare with a closely related bronze head at Christie’s London, 13 September 2018, lot 57, sold for GBP 3,750.
A LARGE THAI BRONZE FIGURE OF BUDDHA, AYUTTHAYA KINGDOMThailand, 17th century. Cast standing in samabhanga with both hands held in abhayamudra, wearing uttarasangha and samghati secured by a belt, the serene face with downcast eyes, elegantly arched eyebrows, full lips forming a subtle smile, flanked by long earlobes, the hair arranged in spiky curls surmounted by a flaming ushnisha.Provenance: From the private collection of Paul Sochor, Austria.Condition: Very good condition with minor wear, light scratches, some minuscule dents and nicks, remnants of ancient gilding. Fine, naturally grown patina of dark-brown, almost black color.Weight: 9.0 kg (incl. base)Dimensions: Height 66.4 cm (excl. base)Mounted on a modern base. (2)Auction result comparison: Compare with a closely related bronze at Christie’s London in The Dani & Anna Ghigo Collection: Part II on 12 May 2016, lot 213, sold for GBP 7,500.
A THAI BRONZE FIGURE OF BUDDHA, AYUTTHAYA KINGDOMThailand, 17th century. Cast standing in samabhanga, the right hand raised in abhaya mudra and the left hand lowered at this side, wearing a long cloak and richly adorned in finely incised jewelry, the face showing a serene expression with downcast eyes under arched eyebrows, flanked by elongated earlobes with earrings. With a modern associated wood base. (2)Provenance: Estate of Joachim Hinz, a collector from Hamburg, Germany.Condition: Overall good condition commensurate with age, extensive wear, small nicks and losses here and there, the feet with old repairs (inspected under strong blue light). Fine malachite-green and copper-red patina.Weight: 1,893 g (the bronze only)Dimensions: Height 43.5 cm (incl. base) and 34.6 cm (excl. base)Auction result comparison: A related bronze of larger size was sold in these rooms in Fine Chinese Works of Art and Buddhist Sculptures on 16 June 2018, lot 113, for EUR 5,688.
A BRONZE HEAD OF BUDDHA, SUKHOTHAI KINGDOM, CHIEN SEN STYLEThailand, 14th-15th century. The serene face with arched eyebrows above heavy-lidded downcast eyes, a broad nose with incised nostrils, full lips forming a benevolent smile, the chin heightened with incision work as well, flanked by long pendulous earlobes, the hair in tight curled spikes with a raised ushnisha.Provenance: Austrian private collection. Condition: Good condition commensurate with age, old wear, small nicks here and there, losses.Weight: 8,848 g (total)Dimensions: Height 26 cm (excl. base)Mounted to an associated wood base. (2)Expert’s note: Over the centuries, the bronze has naturally patinated into a dark green, almost black tone with an unctuous feel to the surface, creating an overall not only elegant, but also meditative appearance.
A BRONZE BUDDHA SHAKYAMUNI, CHIENG RAI, 15TH-16TH CENTURYNorthern region of ancient Siam. Seated in dhyanasana on a plain stepped base, his right hand lowered in bhumisparsa mudra and the left resting on his lap with the palm facing upwards, wearing a sanghati draped over the left shoulder. The face with a meditative expression, heavy-lidded downcast eyes below arched eyebrows, full lips forming a smile, flanked by elongated earlobes, the hair and ushnisha in tight spikes surmounted by a flame-shaped cintamani.Provenance: Collection Philippe Wancoompf. Jacques Lebrap, Paris, acquired from the above. LP Collection, Paris, acquired from the above.Condition: Good condition with old wear, remnants of gilt, minor losses, minuscule nicks, light scratches, a small loss to the left shoulder with associated old filling.Weight: 7,410 gDimensions: Height 47 cmLiterature comparison: A near-identical Buddha, dated to 1504, from the Wat Phra Singh temple, is illustrated in Carol Stratton, Buddhist Sculpure of Northern Thailand, p. 238, fig. 8.1.3.2.
A LARGE GILT BRONZE STATUE OF MAHAKATYAYANA, RATTANAKOSIN KINGDOMThailand, late 18th to mid-19th century. Seated in dhyanasana on a stepped two-tiered base, the hands supporting his huge belly, wearing a dhoti with a finely incised shawl draped over the left shoulder, the face with a meditative yet slightly humorous expression, flanked by pendulous ears, the hair in tight curls.Provenance: From an Austrian private collector.Condition: Fine and original condition with old wear and minor losses to the gilding and lacquer. Some minor fatigue fractures. Few tiny dents and nicks here and there. Some losses.Weight: 27 kgDimensions: Height 46 cmMahakatyayana (or Katyayana) was a disciple of Gautama Buddha, listed among one of the ten principal disciples and renowned for his ability to elaborate on the Shakyamuni's terse instructions. His fat appearance is almost certainly co-opted from Chinese images of Budai. However, according to Thai folklore, Mahakatyayana (Thai: Sangkajai) was extremely sought after for his looks, so he transformed himself into a fat monk to avoid distraction from the arhat path. Greatly revered in Thailand, a similar, monumental sculpture of Mahakatyayana is built in Wat Bang Nam Phueng Nok, in Samut Prakan province (see fig. 1).Auction result comparison: Compare with a related but slightly larger copper alloy figure of Mahakatyayana (Himalayan Art Resources item no. 61649) at Bonhams Hong Kong in The Presencer Collection of Buddhist Art on 2 October 2018, lot 138, bought-in at an estimate of HKD 160,000-240,000.
A JAPANESE BRONZE FIGURE OF KANNON, EDO PERIODJapan, 17th-18th century. Cast standing with the right hand in kichijo-in, the left in an-i-seppo-in, the serene face with downcast eyes under a rock crystal urna and flanked by long earlobes, wearing a long flowing robe tied at the waist, the chest adorned with a beaded necklace, the hair arranged in a high topknot under the characteristic cowl.Provenance: French private collection.Condition: Good condition with old wear and some casting irregularities, remnants of ancient gilt, minuscule nicks here and there, and occasional light scratches.Weight: 2,142 gDimensions: Height 36.5 cmAuction result comparison: Compare with a related but later bronze at Bonhams San Francisco in Asian Decorative Art on 3 March 2008, lot 6015, sold for USD 3,000.
A HEAVILY CAST, GILT-LACQUERED BRONZE OF BUDDHA, 17TH-18TH CENTURYBurma. Seated in dhyanasana, his right hand lowered in bhumisparsamudra and the left resting on his lap, wearing a monastic robe draped over the left shoulder, the benign face with large almond-shaped eyes, full lips, and a broad nose, flanked by large ears with elongated lobes, the hair arranged in tight spikes.Provenance: From the private collection of a noted Austrian connoisseur of Buddhist art. Austrian private collection, acquired from the above. Condition: Very good condition with minor wear and casting flaws, expected wear to gilt, light scratches, minuscule nicks here and there, an attribute likely once held in the left hand is lost.Weight: 6.6 kgDimensions: Height 27.5 cmLiterature comparison: Compare with a related bronze, with very similar arched eyebrows, elongated lobes and fingers, and plain appearance, but supported on a base, with an ushnisha, and dated to the 16th century, in the collection of the British Museum, museum number 1992,0207.1.
A CELADON AND RUSSET JADE ‘DRAGON’ RHYTON, 17TH CENTURYChina. Of oval section with deep U-shaped sides bending slightly to imitate the natural curvature of a horn, one side carved in high relief with a dragon, its head issuing from the side with a ruyi-shaped nose and finely incised mane, its feet forming the base of the vessel, the wings rendered in low relief wrapping around each side of the rhyton with archaistic flourishes.Provenance: British private collection. Condition: Excellent condition with old wear. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 378.5 gDimensions: Height 12 cmAbove the dragon with stylized archaistic scrolls as well as a key-fret band below the rim. The translucent stone of a pale celadon tone with gray and russet shadings. Two horizontal piercings for suspension, one at the mouth and the other below the beard of the dragon.Rhyton cups in the form of an animal or an animal’s head appeared in China as early as the Western Han dynasty. There was a resurgence of interest in this form in the Song dynasty, and the enthusiasm was sustained through the subsequent Yuan, Ming, and Qing periods. Later jade rhytons, including the present example, are typically decorated with archaistic motifs including mythical creatures and ground patterns derived from ancient bronze vessels.Literature comparison: Compare a Ming dynasty gray jade rhyton with chilong in high relief and openwork in the collection of the Asian Art Museum of San Francisco, illustrated in Michael Knight et al., Later Chinese Jades: Ming Dynasty to Early Twentieth Century from the Asian Art Museum of San Francisco, San Francisco, 2007, pl. 151; another with chilong attributed to the latter half of the Ming dynasty in the collection of the Musee Guimet, Paris, exhibited in Jade: From Emperors to Art Deco, Musee Guimet, Paris, 2018, cat. no. 97.Auction result comparison: Compare with a related rhyton, of slightly smaller size and carved with a heavenly bird, at Sotheby’s New York in Chinese Art from The Metropolitan Museum of Art: The Florence and Herbert Irving Gift on 10 September 2019, lot 71, sold for USD 17,500.十七世紀青玉雕仿古神獸紋觥形杯 中國，十七世紀。這青玉觥則是神獸負皿形狀。青玉觥以神獸形設計，揹馱酒杯，兩側浮雕雙翼。橢圓形截面，側面略微彎曲以模仿角的自然曲率，一側雕刻有龍形浮雕，其頭部從側面鉆出，如意形的鼻子和雕刻精細的鬃毛。整器古風盎然。 來源：英國私人收藏 品相：狀況良好，有舊磨損。 具有天然裂縫的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量： 378.5 克 尺寸： 高 12 厘米 玉觥杯上螭龍紋，青色調的半透明玉石，帶有灰色和赤褐色陰影。兩個水平的穿孔用於懸掛，一個在嘴上，另一個在龍鬚下方。 玉觥仿祭祀用青銅觥。觥形杯是盛酒器，外形多以一或數種動物姿態，配合酒器形狀設計。部分款式只有頭蓋是獸形，亦有整尊皆為獸形。動物或動物頭部形式的觥形杯最早出現在西漢時期。在宋朝，人們對這種形式的興趣再次興起，這種熱情在隨後的元、明、清時期得到了延續。 後來的玉觥杯，包括本例，通常都裝飾有古風圖案，包括神話人物和源自古代青銅器皿的圖案。 文獻比較: 在舊金山亞洲藝術博物館的收藏了一件明代灰玉鏤空雕刻螭龍觥形杯，見Michael Knight等人所著的《亞洲玉器：明朝至二十世紀初》（Later Chinese Jades: Ming Dynasty to Early Twentieth Century from the Asian Art Museum of San Francisco），San Francisco, 2007, 圖151; 另一個明代中期后的螭龍觥形杯展出于巴黎吉梅博物館Jade: From Emperors to Art Deco, Musee Guimet, Paris, 2018, cat. 圖 97。 拍賣結果比較：一件尺寸較小的鳥形玉玉觥杯售于紐約蘇富比Chinese Art from The Metropolitan Museum of Art: The Florence and Herbert Irving Gift 拍場，2019年9月10日，lot 71, 售價 USD 17,500。
AN INDIAN BRONZE FIGURE OF RATNASAMBHAVA, PALA PERIODEastern India, Bihar, 9th century. Finely cast with Buddha seated in dhyanasana on a double-lotus base over a raised plinth, backed by a round nimbus with bead and flame border surmounted by a parasol, the stylized leaves of the Bodhi tree emerging from behind his head.Provenance: Dr. Phil Michael Henss, Zurich, Switzerland. A private collector, acquired from the above on 13 April 2018. A copy of the original invoice, dating the present lot to the 9th century and describing it as Buddha Ratnasambhava, accompanies this lot. Michael Henss is a Swiss art historian, scholar and writer focusing on Asian art - with a focus on Tibet and East Asia. He contributed articles for Asian art journals, seminars and books. Currently, Henss lives in Zürich, Switzerland, where he also runs a bookstore specializing in Asia and the Near East. In 2004-2005 he was a co-curator of the exhibition "The Dalai Lamas" at the University of Zürich Ethnography Museum.Condition: Very good condition with old wear, traces of use, minor nicks and dents here and there, light scratches, areas of fine copper-brown patina.Weight: 445.8 gDimensions: Height 15 cmDuring the Pala period, there was an increase of Buddhist patronage in Northeastern India, resulting in the production of a vast number of highly refined artworks that participated in the development of esoteric forms of Buddhism. Known as Vajrayana, the “diamond path,” this new iteration of Buddhism greatly expanded the pantheon of Buddhist deities. A large number of tantric texts were produced in Northeastern India and circulated throughout the Himalayas, where the esoteric knowledge they contained continued to flourish. Bronze sculptures played a crucial role in these lines of transmission. As portable objects, they could easily be carried across vast distances by the groups of monks and pilgrims who traveled by land and sea.Situated at the heart of Pala territory, less than twenty miles from Bodh Gaya and close to the renowned Buddhist monastery and educational establishment at Nalanda, Kurkihar became a sophisticated international center of artistic production at the end of the first millennium AD. Inscriptions found at Kurkihar document the arrival of monks and pilgrims from regions abroad, including distant places in India such as Kanchipuram in the South and also foreign lands such as maritime Southeast Asia. These visitors commissioned bronzes like the present example to donate to local temples and monasteries or to carry home.The bronzes produced by the expert artisans in Kurkihar contribute to the overarching Pala style while revealing their own local idiom particular to the Kurkihar workshops. Figures are characterized by slender proportions, delicately tapering torsos, and chests that swell with the intake of prana, the sacred life-breath. This present figure of Ratnasambhava, the “jewel-born” Buddha, is a seminal example of Kurkihar craftsmanship that gives expression to the donor’s pious devotion.Literature comparison: Compare with two early to mid-9th century bronzes of Avalokiteshvara and Tara from Nalanda, published in Roy, Eastern Indian Bronzes, New Delhi, 1986, nos. 110a & 124.Auction result comparison: Compare with a related bronze, but with the Buddhist creed inscribed to the reverse, at Christie’s New York in The Collection of Robert Hatfield Ellsworth Part I, on 17 March 2015, lot 12, sold for USD 269,000.
A JAIN COPPER- AND SILVER-INLAID BRONZE ALLOY ALTAR SHRINEWestern India, Rajasthan, 13th-16th century. The pierced altar shrine cast with a Jina seated in meditation on a throne supported by lions, surrounded by two elephants as well as seated and standing figures of tirthankaras. His eyes and other details neatly picked out in silver and copper. On an openwork plinth with inscriptions in Devanagari on the backside.Provenance: From an old British private collection. Condition: Good condition with old wear, small dents, minuscule nicks, occasional light scratches. Fine natural patina.Weight: 440.4 gDimensions: Height 13.5 cmAuction result comparison: A closely related Jain altar shrine, dated 1322, was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 25 April 2020, lot 453, for EUR 4,298.
A JAIN BRONZE ALLOY ALTAR SHRINE, GUJARAT, 11TH - 12TH CENTURYCast in openwork with the principal image of a Tirthankara seated in dhyanasana on a throne supported by various animals, framed by apsaras and with a tiered conical parasol above, the outer border with numerous seated and standing Jinas in architectural niches, the rectangular pedestal stepped, all with a rich brown patina.Provenance: German private collection. Condition: Good condition with old wear, small dents, minuscule nicks, occasional light scratches. Fine natural patina.Weight: 938.3 gDimensions: Height 17.8 cmThis bronze shrine is remarkable for the complex openwork casting and vivid detail. It is cast in two pieces, with the large surrounding arch separately cast and adjoined.Auction result comparison. Compare with a related shrine of 30 cm at Christies New York, in Indian And Southeast Asian Art, 21 September 2007, lot 94, sold for USD 67,000.
A BRONZE TRIAD OF VISHNU, SHRIDEVI AND BHUDEVI ON A GARUDA SHRINE, VIJAYANAGAR PERIODSouth India, 16th-17th century. The figures of Vishnu and his consorts separately cast standing on lotus pedestals. Vishnu holding a disk in one of his back hands and wearing a dhoti, necklace, and pendant sashes, flanked by Shridevi and Bhudevi in mirrored poses holding a lotus bud and with one arm extended. (4)Provenance: British private collection.Condition: Old repair to the right back column of the base, traces of pigment, extensive wear, minor losses, minuscule nicks, and light scratches.Weight: 1,462 gDimensions: Height 21.5 cmEach figure sliding onto the rectangular tiered base fronted by Garuda seated on a stepped square pedestal, all beneath a five-headed naga protruding from a separately cast openwork torana with elephants, conch, and disk, centered by a Bhairava mask.Auction result comparison: Compare with a related bronze triad of Vishnu and his consorts, however of much larger size, at Christie’s New York in Indian and Southeast Asian Art on 19 March 2014, lot 1091, sold for USD 47,500.
AN INDIAN BRONZE FIGURE OF GANESHA, 17TH-18TH CENTURYSouth India, Maharashtra. The four-armed deity seated in lalitasana on a circular lotus throne raised on a flat square base, holding in his hands an axe, trident, broken tusk, and a bowl of sweets which he samples with his trunk, wearing a short striated dhoti, sacred thread around his portly waist, adorned with ornaments, and wearing a conical tiered head dress.Provenance: Art of the Past, New York. Collection Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above in 2001. A copy of an original letter, stating the land of origin as South India and dating the piece to the 18th century, with a description containing the story about Ganesha’s broken tusk, accompanies this lot.Condition: Excellent condition with minor wear, minuscule nicks, occasional light scratches, the base with dents.Weight: 1,701 gDimensions: Height 16 cmIn Puranic literature, there is an amusing story about Ganesha’s broken tusk: After feasting on sweets one day, Ganesha was returning home on his mount, a mouse. The poor mouse, unable to bear Ganesha’s weight, dropped the deity and as a result, Ganesha’s stomach burst open spilling sweets. The moon witnessed this scene from the sky and burst into laughter. Ganesha reacted by breaking off one of his tusks and angrily thrusting it at the moon, which is why we see dark spots on the surface of the moon.Auction result comparison: Compare with a bronze of a standing Ganesha from the 16th century, 24 cm, at Christie’s New York, in Indian Southeast Asian Art on 30 March 2006, lot 72, sold for USD 84,000.
AN INDIAN STONE BRAHMANDA, ‘COSMIC EGG’, AND MATCHING BRONZE TRIPOD STANDIndia, 19th century. The stone of ovoid form and finely polished with natural markings and grain. The stand with three rearing mythical animals forming the supports, and with a sun-shaped open ring to the top where the stone rests. (2)Provenance: Collection of Alain Presencer. Over the past 50 years, Alain Presencer has devoted his life to the study and promotion of Tibetan Buddhism and culture. His contributions to the field resulted in numerous recognitions, including his appointment as a Fellow of the Royal Asiatic Society. Alain also brought to the West his knowledge of the extraordinary and mystical religious music of the region. As a result, he produced a popular recording of his own performances, introducing this musical genre to a global audience with his album 'The Singing Bowls of Tibet', which has sold over a million copies to date.Condition: Excellent condition with old wear, the stand with few minuscule nicks and occasional light scratches.Weight: 9.7 kg (total)Dimensions: Height 46 cm (incl. stand) and 23 cm (the brahmanda)The natural markings on the egg-shaped form symbolize the male and female principles in a single unit, a realization of the wholeness of the entire universe.Literature comparison: For a related brahmanda, see A. Mookerjee, Yoga Art, 1975, pl 39, p.71.Auction result comparison: Compare with two related brahmanda, one of slightly larger and the other of considerably larger size, at Christie’s New York in Indian And Southeast Asian Art Including Property From The Collections Of Ariane Dandois And Robert H. Ellsworth on 21 September 2007, lot 298, sold for USD 6,000.
AN INDIAN GILT BRONZE HEAD OF DURGAIndia, 17th century or earlier. Massively cast, the face showing a fierce expression with furrowed brows above almond-shaped eyes, a hooked nose, and full lips, flanked by large ears, the hair arranged in a flat circular topknot. Mounted to a modern wood base.Provenance: Peter Sloane Early and Eastern Art, 18 May 2012. The late Richard Nathanson, acquired from the above. Richard Nathanson began his career as a porter at Sotheby's in 1966 and subsequently joined the Impressionist department. He left in 1970 to set up as an independent art advisor and had a particular involvement with Sisley, Modigliani, Rouault, Renoir and Bonnard. He produced BBC documentaries and publications on several of these artists.Condition: Good original condition commensurate with age. Extensive wear, dents, cracks, small losses, traces of pigment, wear to gilt.Weight: 1,432 g (incl. base) Dimensions: Height 18.5 cm (incl. base) and 9.5 cm (excl. base)
A BRONZE FIGURE OF RAMA, VIJAYANAGAR PERIODSouth India, 16th-17th century. Cast standing in tribhanga on a circular double-lotus base supported on a stepped square plinth, the hands in katakamudra, dressed in a short dhoti secured with a beaded belt and richly adorned in jewelry and the sacred thread, the face with elongated eyes flanked by pendulous earlobes, surmounted by a conical headdress, and backed by a shirashchakra.Provenance: French private collection. Condition: Excellent condition with minor wear, traces of use, malachite encrustations, minuscule nicks, dents and light scratches here and there.Weight: 398.4 gDimensions: Height 16 cmRama is a major deity of Hinduism and the seventh avatar of the god Vishnu, one of his most popular incarnations along with Krishna, Parshurama, and Gautama Buddha. He is the central figure of the ancient Hindu epic Ramayana, a text historically popular in the South Asian and Southeast Asian cultures. Rama is especially important to Vaishnavism, and ancient Jain Texts also mention Rama as the eighth balabhadra among the 63 salakapurusas. In Rama-centric traditions of Hinduism, he is considered the Supreme Being.The Vijayanagara Empire was based in the Deccan Plateau region in South India. It was established in 1336 by the brothers Harihara I and Bukka Raya I of the Sangama dynasty, members of a pastoralist cowherd community that claimed Yadava lineage. The empire rose to prominence as a culmination of attempts by the southern powers to ward off Islamic invasions by the end of the 13th century. At its peak it had subjugated almost all of South India’s ruling families and the Sultans of the Deccan region, thus becoming a notable power. It lasted until 1646, although its power declined after a major military defeat in the Battle of Talikota in 1565 by the combined armies of the Deccan sultanates. The empire is named after its capital city of Vijayanagara, whose ruins surround present day Hampi, now a World Heritage Site in Karnataka, India. The writings of medieval European travelers such as Domingo Paes, Fernao Nunes, and Niccolo Da Conti, and the literature in local languages provide crucial information about its history. More recent archaeological excavations at Vijayanagara have revealed the empire's power and wealth.Auction result comparison: Compare with a related but slightly larger bronze of Rama at Sotheby’s New York in Indian, Himalayan & Southeast Asian Works of Art on 22 March 2018, lot 1019, sold for USD 13,750.
A MASSIVE BRONZE RAIN DRUM, 19TH CENTURY OR EARLIERSoutheast Asia. The heavy, round drum with a waisted base, the top and side finely cast in relief with concentric bands of decoration, the top with a star symbol in the center and groups of stylized frogs applied at the rim, the sides with pairs of loop handles.Provenance: French private collection. Condition: Good condition with minor dents, losses and bruises, some warping, natural malachite-green and copper-red encrustations, all commensurate with age and size.Weight: 14.6 kgDimensions: Height 47.5 cm, Diameter 61.5This bronze rain drum is based on the drums created by the Dong Son culture in the Red River Delta of northern Vietnam. These drums were produced from about 600 BC or earlier until the third century AD and are one of the culture's most astounding examples of metalworking. The discovery of Dong Son drums in New Guinea is seen as proof of trade connections – spanning at least the past thousand years – between this region and the technologically advanced societies of Java and China.Bronze drums are still being used ceremoniously in Southeast Asia by the Yi people, Zhuang people, Miao people and Qabiao people in northern Vietnam and southern China. They are generally struck in the center with a soft mallet, and on the side with a wood or bamboo stick. Among the ethnic Vietnamese, they are still used in some rituals, such as those to the Hung kings, but are rarely used as a musical instrument anymore. In Thailand, the Dong Son drum is also used in some ceremonies, where it is called the Mahorathuek.Auction result comparison: Compare with a related bronze rain drum at Christie’s New York in The Collection of Robert Hatfield Ellsworth Part V - European Decorative Arts, Carpets, Old Master Paintings and Asian Works of Art on 21 March 2015, lot 1011, sold for USD 32,500.
Human shaped bronze pitcher with gilt residue. German. Possibly 19th century. In "Romanische Leuchter und Gefässe Giessgefässe del Gotik" (Romanesque candlesticks and Gothic cast vessels) by Otto v. Valke and Erich Meyer, 1935, with reference number 311, there is a reproduction of a water ewer from the 13th – 14th century, which is kept in the parish church of Oberwesel-am-Rhein, Lower Saxony. A stucco mould of it was made in the 19th century and many copies were made in patinated bronze. The British Museum in London, among others, keeps one of the 19th century copies in its collections. This example might possibly be one of these ewers. 22 x 12 x 14 cm.
Unusual early 20th C brass ink stand with glass well , and with golf club letter rack and two ball finials, W4.5cm H11cm, a 19th C bronze model of a bull on a marble base, a bronze paperknife with rams head handle and a 19th century Canadian plaque relief decorated with a study of a Moose (4)
Barocke Reliquienkapsel mit Authentik sowie Reliquienkreuz 18. und 19. Jh. Versilberte Kapsel mit Verglasung und intaktem Siegel, innen Stoff, Papier, Drahtarbeit, Reliquie und Cedula; gedruckte Authentik mit Handschrift und Siegel. Kreuz: Nussbaum massiv, Bronze, verglast Reliquien. Kapsel 3,5 x 3 cm, Kreuz 26 x 12,5 cm. Kapsel mit Filigranrand; innen Reliquie von St. Barnabas sowie gesiegelte Authentik von Nicolaus Angelus Maria Landini von 1772. / Holzkreuz mit Corpus Christi aus Bronze und 15 Reliquien Alters-/Gebrauchsspuren. St. Barnabas ist der Nationalheilige von Zypern.
3 Medaillen Um 1910/16. Bayern. Erinnerungskreuz "zum 40jährigen Gedächtnis der Siege um Metz 1870-1910", Geschützbronze, an schwarz-weiß-roter Bandschleife mit Nadel. / König-Ludwig-Kreuz, Bayern 1916, Bronze geschwärzt, am trapezförmigen blau-weißen Band. / Landwirtschaftliche Jubiläumsmedaille, Bronze, Porträt Prinzregent Luitpold und Zweckinschrift „Der Protektor...1810-1910“, Bayern, am grün-roten Band in Trapezform
Russische Eisenschatulle Im Deckel kyrillische Beschriftung "Ausgabe der Basilika Liskowsk 1914". Eisenblech schwarz lackiert und farbig ornamentiert, Bronze-Appliken. 23 x 44 x 30 cm. Quaderschatulle allseits und auf dem Scharnierdeckel mit Überfallbügel ornamentiert; Appliken mit Engelsflüchten und Blattmasken Starke Alters-/Gebrauchsspuren.
Jugendstil-Registrierkasse "National". Mehrfach beschriftet. Um 1900. Bronze. 60 x 49 x 38 cm. Allseits reich mit Jugendstil-Ornament reliefierte Kasse mit Stellhebeln, Kurbel und beidseitigen Anzeigen unter Verglasung sowie Geldschubfach Schwergängig, Oberfläche überarbeitet, Sockelleiste jünger rot bemalt, Alters-/Gebrauchsspuren. Versand: Nicht verfügbar.
Tischlampe Schneider. Verreries Charles Schneider, Epinay-sur-Seine, Ätzsignatur, um 1925, Fuß signiert "C. Ranc" (= Charles Ranc). Frankreich. Farbloses, mattiertes Glas mit opalweißen, violetten und blauen Pulvereinschmelzungen; Bronze. H 37 cm. Gehängter Glockenschirm mit floraler Einfassung (H 12,5 cm). An gebogenem Schwanenschaft mit rautenförmigem Fuß. Elektrifiziert (Funktion nicht geprüft)
Prunkschatulle mit Bronzemontierung KPM Berlin. Zeptermarke Segerporzellan, um 1890. Ohne Malereimarke. Porzellan, polychrom bemalt und goldstaffiert, Bronze. 27 x 27 x 17,5 cm. Porzellandose und -deckel mit Rocaillerelief und kleinen Watteauszenen, eingefasst von einer schwungvoll gearbeiteten Bronzemontierung mit teils durchbrochenen Rocaillen, Kronenknauf und vier Engelsköpfen 1 Engelskopf locker, Bronzemontierung partiell leicht restauriert.
Figürlicher Deckenleuchter 20. Jh. Bronze, Glas. L ca. 44 cm. Zierliche, 2-flammige Hängelampe in Form eines schwebenden Puttos, der 2 blütenförmige Lampenfassungen mit irisierenden Tulpenschirmen hält; an Kettenaufhängung und Blüten-Baldachin Minimale Alters-/Gebrauchsspuren. Elektrifiziert, Funktion nicht geprüft.
Jugendstil-Deckenampel Muller Frères. Ätzmarke "Muller Fre. Luneville". Um 1920. Frankreich. Bronze, Glas. L ca. 33 cm. 1-flammige Deckenlampe mit Palmetten-Baldachin und eiförmigem Lampenschim mit blauen und gelben Pulvereinschmelzungen Minimale Alters-/Gebrauchsspuren. Elektrifiziert, französische Bajonettfassung, Funktion nicht geprüft.
Jugendstil-Deckenlampe Daum. Ätzmarke "Daum Nancy". Um 1920. Frankreich. Bronze, Glas. L ca. 62 cm, Ø ca. 35 cm. 3-flammige Hängelampe an 3-facher Kettenaufhängung mit Blumenbouquet-Zierde und Palmetten-Baldachin, Glasschale mit gelben und pinkfarbenen Pulvereinschmelzungen Minimale Alters-/Gebrauchsspuren. Elektrifiziert, französische Bajonettfassungen, Funktion nicht geprüft.
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