We found 9689 price guide item(s) matching your search

A PYU GILT BRONZE HEAD OF BUDDHA, BURMA (NOW MYANMAR), 8TH / 9TH CENTURY, with elongated earlobes, the tightly curled hair with domed usnisa, mounted 9cm high Provenance: Collection of a deceased diplomat, thence by descent. For a more complete, but ungilded, closely related Pyu figure of Buddha in the Metropolitan Museum of Art, New York, see inv. no. 2006.53. The Pyu kingdoms flourished in Northern and Central Burma for about 1000 years until their primary capital, Halin, was sacked by the Chinese in 832.

Robert Taylor - Canberras Over Cambridgeshire/Assault on the Capital/Winter Homecoming - two limited edition prints signed by the artist, and various other framed prints (6)

A cast stone figure of a water carrier, 42" high, on capital stand

Two-hundred collector's shotgun cartridges comprising 14, 16 and 12 bore Eley Gastight, Challenge, John Abbot Guns Ltd and Ridgebard Fieldsports both of Princes Risborough Aylesbury and John Dickson & Son The Capital, all in original boxes. PLEASE NOTE THAT A VALID RELEVANT FIREARMS/SHOTGUN CERTIFICATE IS REQUIRED TO HANDLE/PURCHASE THIS ITEM.

Andalusian school, late 19th century."Selling the turkey. After Juan Bautista Guzmán (Granada, c.1850 - Barcelona, 1898).Oil on panel.Signed "R. de Guzmán" and dated in the lower right corner.Measurements: 30 x 17 cm; 50,5 x 37 cm (frame).This Andalusian genre painting is based on a painting by the Granada painter Juan Bautista de Guzmán, entitled "El recovero" (1883), although it also appears under the title "Vendiendo el pavo" ("Selling the turkey"). If the signature of this new version is anything to go by, the author could be related to Bautista de Guzmán. Produced fifteen years later, it remains faithful to the original and is a tribute to his mentor. In a rustic corner of an Andalusian courtyard, under a staircase, a salesman displays the bird to a woman, who in turn adopts an amused and flirtatious attitude.Juan Bautista de Guzmán y Orantes (Granada, c 1850 - Barcelona, 1898) grew up in Malaga, where he began working as a printer's clerk and later as a civil servant in the city council. The Malaga painter Leoncio Talavera (1851-1878) passed on his love of painting to him. At first, without much knowledge, he produced his first painting, which was a copy of a painting by his friend Talavera, which he sold for 125 pesetas. After making rapid progress, the Malaga provincial council wanted to grant him a pension but was prevented from doing so as the painter was not a native of that province. He then decided to go to Granada, where he devoted himself entirely to painting. He won his first prize at his first exhibition in Granada in 1876. In 1879 he took part in the Cadiz Exhibition, winning a silver medal, and in 1881 he exhibited his works at the National Exhibition in Madrid. After settling in Barcelona, he took part with two paintings in the Fine Arts Exhibition of the Catalan capital in 1888 and 1891 with Garden, A Wrong Way (or the Open-Air Library), A Hungarian Family Begging for Charity, A Dead Donkey's Barley at the Tail and Sensibility, as well as in the 1896 edition. The subject matter of his paintings is reminiscent of the typical Andalusian style, taking place in taverns and courtyards of Granada, with peasants, bullfighters and manolas. When the critic García Llansó visited his studio in Barcelona's Calle Balmes in 1891, he noted that the artist was always in the habit of painting several at a time.

JOAQUÍN MIR TRINXET (Barcelona, 1873 - 1940)."Tapia y callejuela a las afueras de Vilanova", 1936-1939.Oil on cardboard.Unsigned.Attached certificate issued in 2020 by Joan Campamà Tubau, graduate in Fine Arts San Jordi and Doctorate in Humanities from the International University of Catalonia with the thesis "Joaquin Mir. Colour and landscape painting".Size: 22 x 18 cm; 45 x 40,5 cm (frame).In this work Mir demonstrates his absolute mastery of the technique and the capturing of the landscape, in an image in which he manages to synthesise the naturalistic representation, the personal expression and the pictorial order. It corresponds to the period when he lived in Vilanova i la Geltrú. The frame is located on the outskirts of Vilanova, near the painter's house, in one of the narrow streets leading to the orchards (sinies) that surrounded Vilanova. The mountains that can be seen in the distance correspond to the profile of the "Puig de l'Aliga i les Costes", adjacent to the Atalaya mountain range of the coastal-littoral chain. We see a sensitive brushstroke, which explores the space and gives it form and entity, creating volumes, lights and shadows, defining an atmosphere captured with great sensitivity. Through a purely personal language, Mir synthesises the basic elements of representation and expressiveness of painting, as can be seen in the intensity of his colours and the rigour of his compositional structure.Joaquín Mir studied at the San Jordi School of Fine Arts in Barcelona and in the studio of the painter Luis Graner. His style was also influenced by the School of Olot, his father's home town. In 1893 he formed the "Colla del Safrà" together with artists such as Isidro Nonell, Ricard Canals and Ramon Pichot, and in the last years of the century he was associated with the artistic environment of "Els Quatre Gats". He completed his training in 1895, when he spent some time in Madrid copying works by Velázquez. During these years he took part in the Fine Arts Exhibitions in Barcelona in 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital with the aim of applying for a scholarship in Rome. When he was unsuccessful, he went with Santiago Rusiñol to Mallorca, a trip that was to be a definitive turning point in his career. Mir was dazzled by the Mallorcan landscape, particularly that of Sa Calobra, which was an inexhaustible source of inspiration for him. In 1901 he held a solo exhibition of the fruit of this first Mallorcan period at the Sala Parés in Barcelona, and once again won a second medal at the National Exhibition. After a period of illness that forced him to move to Reus, in 1907 he won the first medal at the International Exhibition of Fine Arts in Barcelona. Already established as a leading figure on the Catalan scene, he gained definitive national recognition in 1917, when he was awarded the National Prize for Fine Arts. Four years later he married and settled permanently in Vilanova i la Geltrú. His successes followed one after the other, and in 1929 he won the first medal at the International Exhibition in Barcelona. The following year he won the medal of honour at the National Exhibition in Madrid, a prize he had been after since 1922. Although he was mainly a native painter, he held solo and group exhibitions in Washington, Paris, Pittsburgh, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is today considered the foremost representative of Spanish Post-Impressionist landscape painting. His work can be found in the Museo Nacional de Arte de Cataluña, the Museo del Prado, the Museo Thyssen-Bornemisza and the Museo Reina Sofía in Madrid, among many others.

RAMON MARTÍ ALSINA (Barcelona, 1826 - 1894)."Landscape with figures".Oil on canvas.Signed in the lower left corner.Very slight damage to the frame.Size: 24 x 34 cm; 52 x 62 cm (frame).As usual in his work, Martí Alsina achieves in this landscape an impression of a calm and moving horizon. Nature is imbued with a romantic mood, the sublimity of which dwarfs the figures, resolved with a few intuitively applied brushstrokes. Considered one of the most important figures of Spanish realism, Martí Alsina was part of the European avant-garde of the time. He revolutionised the Spanish artistic panorama of the 19th century, was a pioneer of the study of life and the creator of the modern Catalan school, as well as the master of a whole generation, with disciples of the importance of Vayreda, Urgell and Torrescassana. He began his studies in philosophy and literature, alternating them with evening classes at the Barcelona School of Fine Arts until 1848. After completing this first apprenticeship and deciding to take up painting, he took his first steps in the Maresme region, where he began to earn his living by painting portraits in a naturalistic style and landscapes "à plen air". In 1852 he became a teacher of line drawing at the Escuela de la Lonja in Barcelona, and two years later he began to teach figure drawing, a post he held until the accession of Amadeo of Savoy to the throne. In 1853 he travelled to Paris, where he visited the Louvre and became familiar with the work of Horace Vernet, Eugène Delacroix and French Romanticism. Later he became acquainted with the work of Gustave Courbet, the greatest exponent of realism. In 1859 he was appointed a corresponding member of the Sant Jordi Academy of Fine Arts in Barcelona. His first important exhibition was the General Exhibition of Fine Arts in Barcelona in 1851. From then on he exhibited regularly in Barcelona, Madrid and Paris, and was invited to the Universal Exhibition in the French capital in 1889. His prizes included medals at the National Exhibitions in Madrid, third in 1858 for his work Last Day of Numancia and second in 1860 for his landscape. In his last years he lived in seclusion, focusing his efforts on the search for new forms of expression, with an undone brushstroke close to Impressionism. His subjects include numerous landscapes and seascapes, urban views (especially of Barcelona), portraits and human figures, genre scenes, temperamental female nudes, history painting and biblical scenes. He rarely devoted himself to still lifes, although he also painted some still lifes. Works by Martí Alsina are kept in the Prado Museum, the Thyssen-Bornemisza Museum, the National Art Museum of Catalonia, the Barcelona Museum of Contemporary Art, the Museum of the Abbey of Montserrat and the Museum of l'Empordà in Figueras.

A large Chinese Zhangzhou slip-decorated blue-ground bowl, Late Ming dynasty, decorated all in white slip to the centre of the interior with a flowering stalk bearing three blossoms amidst feathery leaves, below alternating foliate sprays in the cavetto and a decorative border on the everted rim, on a soft blue ground which continues onto the exterior, 39.2cm diam.Provenance: Acquired in Hong Kong in 1964 by the grandfather of the present ownerCf. Similar examples were sold by Christie's, Chinese Art from the Art Institute of Chicago Online, 2019, Lot 177; Christie's, Fine Chinese Ceramics and Works of Art, 2008, Lot 589.Compare the very similar bowl from the collection of Jacques Graeffe, illustrated by D. Lion-Goldsmith, Ming Porcelain, New York, 1978, p. 261, pl. 281.Another similar example was lent by Zhangzhou Museum to Capital Museum China to exhibit in Sailing Far and Wide on the Sea, Exhibition of Treasures from the Maritime Silk Road, 2014.明晚期 漳州窯藍地飾堆白大盤來源：現藏家祖父於1964年購於香港。Please refer to department for condition report

MONTEGRAPPA FOUNTAIN PEN "KAZAN SUYUMBIKE TOWER".Green resin barrel, silver engraved and embossed.Limited edition. Exemplary 219/300.Two-tone 18 kts gold nib. F point.Screw cap. Piston loading.No box.Measures: 14,50 cm length, 20,50 mm. diameter.Montegrappa produced 300 fountain pens to celebrate the 1000th anniversary of the founding of the city of Kazan, the capital of Tartarstan (the land of the Tartars), one of the republics that make up the Russian Federation.The crown of the cap is designed to represent the dome of the Qol?ärif or Kul Sharif Mosque (the oldest mosque in the city). The coat of arms of the city is engraved with a diamond point at the base of the cap.Other symbols of Kazan are outlined by a bas-relief engraving on the surface of the 925 sterling silver barrel: in particular, the Suyumbeki Rower, the most important building in the Kremlin, and an Arabic inscription taken from the Koran. The cap is made of embossed silver with ornamentation in the Kazan style. The undecorated parts are made of precious green resin, the colour of Islam.

An abstract Pop Art print, an abstract watercolour and a Climate Change Capital 5th Anniversary poster. The former 62 x 82.5 cm overall.

Schreibmaschine "Sholes & Glidden" (schwarz) mit Tisch, um 1876E. Remington & Sons, Ilion, New York. Serien-Nr. 4329, frühe amerikanische Unteranschlagmaschine, die als erste erfolgreiche Schreibmaschine der Welt Geschichte schrieb. Vorgestellt auf der Centennial International Exhibition von 1876 in Philadelphia. Nur Großbuchstaben, Tastenhebel aus Holz, Tastenauflagen aus Glas. - Literatur: Martin, 1949, S. 67. - Mechanik hakt teilweise, ohne Holzwalze, auf Schreibmaschinen-Tisch, Gestell aus Gußmetall. - Historisch bedeutsames Sammlungsstück, ein ideales Restaurierungsobjekt. Start Price: EUR 2800 Zustand: (3-4/4)Sholes & Glidden Typewriter (Black) with Table, c. 1876E. Remington & Sons, Ilion, New York, serial no. 4329, early American upstroke machine, with capital keys (no lower case), glass keytops and wood key levers, mechanism sticks partly, missing wood paper-roll, on typewriter table with cast-metal base, worthy of restoration. - Literature: Martin, 1949, p. 67. - Introduced at the Philadelphia Centennial of 1876, the Sholes & Glidden was the first commercially successful typewriter. It was produced in a number of different finishes, both decorative and functional. A milestone in the history of office communication. Start Price: EUR 2800 Condition: (3-4/4)

Sholes & Glidden, 1873E. Remington & Sons, Ilion, New York. Serien-Nr. 2326. Die erste wirklich erfolgreiche Schreibmaschine der Welt und damit ein Meilenstein in der Geschichte der Büromaschinen-Industrie. Handbemaltes Gehäuse rundum mit reichem Blumen- und Goldranken-Dekor. Mit seitlichem Wagenrückzughebel, nur Großbuchstaben, Tastenhebel aus Holz, Tastenauflagen aus Glas, ohne Holzwalze, Wagenzug müßte repariert werden. - Literatur: Martin, 1949, S. 61. - Eine Riesen-Rarität und Kostbarkeit für jede anspruchsvolle Sammlung und ein echtes Museumsstück! Start Price: EUR 8000 Zustand: (3-4/3-4)Sholes & Glidden, 1873E. Remington & Sons, Ilion, New York, serial no. 2326, with detailed painted floral decoration and right-hand carriage-return lever, capital keys (no lower case), glass keytops and wood keys levers, missing wood paper-roller, carriage escapement in need of repair. - Note: The Sholes & Glidden was the first commercially successful typewriter, a milestone in the history of office equipment. - Literature: Martin, 1949, p. 61 Start Price: EUR 8000 Condition: (3-4/3-4)

MASANAO: A SUPERB WOOD NETSUKE OF BENKEI INSIDE HORAGAIBy Masanao, signed Masanao 正直 Shinto ju 神都住Japan, Ise-Yamada, early 19th century, Edo period (1615-1868)The hero wearing the typical garment of a yamabushi warrior priest, with tokin cap, nestled inside a large conch shell and energetically blowing into a small conch horn (horagai), some details finely inlaid in dark wood. The conch shell naturalistically carved with elaborate details. The himotoshi are cleverly incorporated into the composition and are found through the tip and backside of the shell. Signed to the side MASANAO Shinto (no) ju [Masanao, a resident at the Capital of (Shinto) Gods].An early work by the Masanao family, the subject likely being unique. The inscription is interesting as well, with respect offered to the religious subject depicted and also identifying the workplace of Masanao, as the word Shinto 神都 (capital of the gods) references Ise, where the Grand Ise Shrine 伊勢神宮 is located.LENGTH 5.4 cmCondition: Very good condition, minor wear, minuscule nibbling to exposed areas. Beautiful patina.Provenance: British private collection, purchased from Christie's, Japanese and Korean Art, 16 September 2003, New York, lot 241 (sold for 4,183 USD). The yamabushi were renegade mountain priests of the Shingon Tantric Buddhist sect, who used the conch to communicate their movements in the mountain wilderness.

ZITAN FIGURE OF SEATED BODHISATTVA MING TO QING DYNASTY, 17TH-18TH CENTURY 明末清初 紫檀雕菩薩座像 carved seated in dhyanasana, two hands raised in karana mudra, the deity wears a voluminous robe with chest exposed, the downcast eyes and serene face below a cap secured by hoop with ruyi and jewelDimensions:18cm highNote: Note: Lacking attributes and his vahana, the identity of this Buddhist figure is unclear. Note the hairstyle tied above the shoulders separated into slender bundles, high-waisted robe underneath plain chest, the jewelled ruyi headband, and two hands raised in karana mudra, these features are comparable to the gilt bronze figures of Samantabhadra and Manjusri, both marked 'Chen Zuo', dated to the eleventh year of Jiajing period, 1532AD, now in the collection of the Capital Museum and the Palace Museum, Beijing. A related gilt bronze figure of Manjusri, dated to Ming Dynasty, is in the collection of The Palace Museum Taipei, museum number '購銅000132N000000000'

Late C19th oil lamp, cranberry coloured shade, faceted clear glass reservoir on sienna marble corinthian column with brass capital and foot on stepped square base, H85cm

A late 19thC red marble column or pilaster, with floral Corinthian capital, 76cm high, and a further three similar columns (AF).

An Empire style Table Lamp with brass capital, ebonised reeded column and square base, 17in H

A FINE ARCHIVE OF ORIGINAL TURN OF THE CENTURY ERA NAVAL PHOTOGRAPHS comprising approximately 150 large format b/w or sepia tone photographs in five assorted albums (one with Royal cypher for Windsor Castle library), many mounted and mostly annotated with names, dates and places and including a mix of mainly capital ships and early destroyers, some at speed, including H.M.S. Viper (1901) shortly before her wrecking, crew and officer groups including the Victoria & Albert III with Edward VIII & Alexandra, the 1902 Spithead Review illuminated, the launch of H.M.S. Dreadnought and many others with interesting content, the largest album -- 19½ x 16in.(49.5 x 40.5cm.)(5)Generally very good, card pages time stained in some albums.

FLOOR LAMP, 134cm H, gilt metal, Corinthian capital, reeded column.

Pair of Capital Transport books by Ken Blacker: 'RT' (1979 1st edition) and 'LT' (2010). Both are in excellent, unmarked condition. [2]

THE LONDON POLICE,BOND AT SEA,2 colour screenprint on Hahnemuhle 300 gsm paper, signed and marked AP,60cm x 60cm,Signed and marked Artists proofThe London Police is an art collective started in 1998 when two English geezers headed to Amsterdam to rejuvenate the visually disappointing streets of Hollands capital. They were part of a small group of artists at the end of the last century that helped pioneer the street art movement. After a few years of mixing traveling and making art in the street TLP began to receive worldwide recognition for their contribution to the graffiti/street art movement. The London Police are Chaz Barrisson who draws the iconic ‘LADS’ character and Bob Gibson whose tight portrait and architectural illustrations help marry the two styles to create an endearing, exciting fantasy world...

§ William Gear R.A., F.R.S.A., R.B.S.A. (British 1915-1997) Still Life with Bottle, 1955 signed and dated (lower right), signed, titled and dated 'Aug. '55' (to reverse), oil on canvasDimensions:49cm x 59.5cm (19 1/4in x 23 3/8in)Provenance:Provenance:Private Collection, London, acquired directly from the artist circa 1985.Note: William Gear was relatively rare amongst British artists of the 1950s in his being a fully paid-up member of a European avant-garde movement: in his case, CoBrA, named after the three key sites of affiliation: Copenhagen, Brussels and Amsterdam.Gear had spent the years immediately after the war in Paris, still just about the centre of the art world (before New York began to draw artists across the Atlantic) and had become entwined in what was known as the Ecole de Paris, where European painting started its own journey towards abstraction. In the French capital, he became friends with Nicholas de Staël and there is a definite confluence between the two artists' work in the early 1950s, as can be seen in Still Life with Bottle. An image that is nominally figurative (depicting objects in a three-dimensional space) but which is really about abstract values – the interplay of colour and form, creating a procession for the eye to travel around the painting, which in turn asserts its own flatness – its artificiality – in the heavy slabs of colour applied with a palette knife. The abstract nature of the work is further enhanced by its loose orthogonal structure, a Giorgio Morandi distilled through Piet Mondrian, so it could – if one wanted – be read as entirely abstract, the direction of travel for Gear himself and his work of the 1960s.Gear’s palette in the mid-50s is often dominated by these steely blues, flat greys and blacks – close harmonies of tone through which Gear creates subtle shifts of mood. Here his work comes close to another friend from the Ecole de Paris, Pierre Soulages, himself a master of the emotive oscillation between black and blue.

An album of calligraphic excercises (Wasli), signed Mehmet-i-Shehri (d. 1740), Ottoman Turkey, 18th century, Arabic manuscript on buff paper, 16 calligraphies comprising exercises based on letters of the alphabet, each with 2 lines of bold black naskh and gold floral detail, divided by a narrow panel of smaller naskh, mounted as an album on green folios, brown morocco binding with gilt decoration, each panel 15 x 25.8cm. Provenance: The Private collection of Michel Abemayor (1912-1975)Mehmed-i Shehrī’ means Mehmed of Istanbul, the nisba al-shahrī/shehrī was used by artists from Istanbul to indicate they were born in the Ottoman capital. He studied thuluth and naskh scripts under the supervision of master Mehmed Giridi and was a follower of the famous Hafiz Osman Efendi (d. 1698). Please refer to department for condition report

James Bowler, Stourbridge (1772 according to G H BAILLIE). Eight day silvered square dial mahogany long case clock with 27.5cm dial, moustache date aperture at 6, 5 min Arab numerals to chapter ring, oak hood with Greek key border, turned columns to sides, long shaped trunk door with plinth base. 191cm high. Some cross banding missing, lower capital on left side with former woodworm, suspension on pendulum broken and missing. some losses to the veneer at the base

PABLO PICASSO (Malaga, 1881- Mougins, 1973)."Pichet Poule", 1954, Vallauris.Glazed and painted ceramic.Print run of 500 copies.With Madoura and D'Apres Picasso stamp on the base.Size: 12 x 18 x 9 cm.Since Pablo Picasso discovered ceramics with his brilliant style in Vallauris (the town where the Madoura workshop was located), this town became the great town of ceramics in France. The artist had already known the town in 1936, but it was after the Second World War, in July 1946, that he became infatuated with ceramics. He was spending a holiday in Golfe Juan-les Pins, a nearby town, and after discovering the Madoura workshop, heir to a long family tradition of ceramic work, the artist began a frenetic production that gave birth to more than two thousand pieces in one year.Pablo Ruiz Picasso is the great genius of contemporary painting. Pablo Ruiz Picasso is the great genius of contemporary painting. The creator of cubism together with Braque, his capacity for invention and creation places him at the top of world painting. He was born in Malaga, where his father was a drawing teacher and director of the Municipal Museum. The Ruiz Picasso family soon moved to La Coruña, and from there to Barcelona, where the young Pablo began his artistic studies at the Provincial School of Fine Arts (1895). Although the school's style was entirely academic, the painter soon came into contact with modernist groups which changed his form of expression. Only two years later, in 1897, Picasso held his first solo exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. The painting of these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange forms.

OSWALDO GUAYASAMÍN (Quito, Ecuador, 1919 - Baltimore, USA, 1999)."Bull and condor".Mixed media on paper.Signed in the lower right corner.Size: 20 x 12 cm; 32 x 24 cm (frame). One of the greatest names in Ecuadorian painting, Oswaldo Guayasamín showed artistic talent even in his childhood, and even sold some paintings in the Plaza de la Independencia in his native Quito in his early years. Despite his father's opposition, he enrolled at the School of Fine Arts in the Ecuadorian capital to study painting and sculpture at the height of the so-called Four Days' War. In 1941 he was awarded a degree and first prize at the Mariano Aguilera Salon in Quito, and the following year he held his first solo exhibition at the age of twenty-three. Between the end of 1942 and the beginning of 1943 Guayasamín was in the United States, and later travelled to Mexico, where he began to work as Orozco's assistant. He then made a series of trips around Latin America, always finding the same situation of oppression of the indigenous society, to which he himself belonged. From then on this would be a constant theme in his work. In his youth Guayasamín won all the National Prizes in his country, and at the age of thirty-six he won the Grand Prize at the III Bienal Hispanoamericana de Arte, held in 1955 in Barcelona. Later he also won the same award at the São Paulo Biennial (1957). Throughout his career, this master exhibited his work individually not only in various Latin American countries, but also in many European countries, the Soviet Union, China and the United States. In addition to easel painting, he painted murals, sculptures and monuments, which are now present in Latin America and Europe. In 1971 Guayasamín was appointed president of the Casa de la Cultura Ecuatoriana, in 1978 a member of the Real Academia de Bellas Artes de San Fernando in Madrid, and a year later an honorary member of the Italian Academy of Arts. His work is now widely represented in the Foundation he created in Quito, as well as in leading international art galleries and private collections.

Attributed to Shapland & Petter of Barnstaple, an Arts & Crafts oak piano stool, circa 1900, the sides pierced with organic bud motifs, on tapering supports with overhanging disc finials, the hinged seat with compartment within54 x 53 x 35cmGeneral scuffs and wear commensurate with age and use, upholstery is stained and border detached, a slight crack appearing in one leg along the vertical, disc capital to legs are slightly wobbly.

George III mahogany torchere, circa 1795 with later reeded top on a reeded column with brass capital and upon a downswept tripod base, converted to a lamp, approx 97 cms h. 

Collection of Antique Documents & Ephemera comprising: Court Summons, Manchester, dated 1886; Loan application original Bank Book The Capital & Counties Bank Ltd., in original case, dated 1915; Impressive indenture written on parchment, dated 1893; Legal letter handwritten on parchment 'Mr Bailey's Opinion', sent to Tregurrian, Cornwall, dated 1907, detailed note inside references Temple & Lincoln's Inn; Mortgage document x 3 properties, Henry Porter, Preston, Lancs 1873; Original Great Western Railway Exchange of Devon & Somerset Stock, blank certificates dated 1901; Collection of documents pre 1900 - 1956 and paper ephemera, includes UK maps, copies of Churchill photos/newspaper cuttings; BBC Concert programmes and tickets/adverts; King's Victory Letter 1946/notice letter re visit of the Queen 1953; Edinburgh book of upholstery,old mounted photo, Royal Tournament booklet 1956.

27" Raleigh Capital ladies grey bicycle with mudguards

Follower of VICENTE MARIANI I TODOLÍ (Valencia, 1765 - Madrid, 1819)."Ponte Veccio, Florence.Oil on copper.Size: 29,5 x 46 cm; 134 x 71 cm (frame).Vicente Mariani y Todolí (Valencia, 1765 - Madrid, 1819) was a Spanish intaglio engraver.Descended from an Italian family who settled in Spain, it seems likely that he began his studies at the Royal Academy of San Carlos in Valencia, although he soon moved on to the Academy of San Fernando in Madrid, where he was already enrolled in 1784. Under the protection of the Count of Fernán Núñez, Spain's ambassador in Paris, who made him his draughtsman and amanuensis, he was able to travel to the French capital in 1787, where he continued his studies with Jean Pillement. Some of the original landscape drawings in the Biblioteca Nacional de España and the Museo del Prado bear witness to this influence.On returning to Spain with the appointment of academician of merit he was involved in some of the projects promoted by the Royal Printing Works and the National Chalcography, such as the collection of Portraits of Illustrious Spaniards, in which he painted the portrait of Andrés Laguna, based on a drawing by José Maea, and the unfinished Views of Spanish Ports, for which he signed the views of the ports of Seville and Luarca (1795-1796). In December 1797 he joined the large group of engravers responsible for translating into print the drawings and observations of the flora of Peru and Chile obtained by the botanical expedition led by Hipólito Ruiz and José Pavón, a costly publishing project of which three volumes were published between 1798 and 1802 under the title Flora Peruviana et Chilensis, sive descriptiones et icones plantarum Peruvianarum, et Chilensium.... although his contribution to the project was reduced to one plate.He engraved a complete Apostolate on a drawing by Raphael Sanzio consisting of fourteen plates (the twelve apostles, the Saviour of the World and Saint Paul) for which he received 2,800 reals from the Royal Chalcography, which acquired the plates in 1799, and on behalf of the Company for the Engraving of the Paintings of the Royal Collections set up in 1789, he engraved a Virgin and Child by Murillo on a drawing by José Beratón. In 1818 the Royal Chalcography also bought two plates of Saint Michael and the Holy Cross from him for 1500 reales each.A member of the Academy of San Carlos in 1806 and chamber engraver, from July 1818 until his death the following year he held the post of caretaker of the Royal Gallery of Paintings, the origin of what would later become the Museo Nacional del Prado.

Circle of ANTON RAPHAEL MENGS (Aussig, Ústi nad Labem, Czech Republic, 1728-Rome, 1779)"Immaculate Conception.Oil on canvas.Presents the original frame. Re-framed.Size: 135 x 96 cm; 158 x 117 cm (frame).This work closely follows the aesthetic precepts developed by Mengs, Charles III's first chamber painter, whose art was very popular at court. Thus, we find ourselves in front of an Immaculate Conception, the Virgin shows a moving and agitated attitude, especially through the control that undulates in space, corresponding to one of the concepts most promoted in the painting of Anton Raphael Mengs. The chromaticism of the painting shows the usual contrast between the white of the tunic, symbol of purity, and the blue of the cloak (symbol of truth and eternity), colours given to the Immaculate Conception on the basis of the vision that Blessed Beatriz de Silva had of her in the 16th century, who wrote about these tones.We see Mary with the classical iconography, surrounded by angels and cherubs, and with the crescent moon on her feet, treading on the serpent which is an allegory of the devil, thus showing the artist's interest in sticking to a specific space and adapting the figures to it as much as possible.A painter and theorist of Neoclassicism, Anton Raphael Mengs trained in both the practical aspects of painting and the theory of art under the influence of Winckelmann, whose friend and outstanding pupil he was. He trained in Dresden under his father, Ismael Mengs, a court painter. Later, between 7141 and 1744, he travelled to Rome to further his training with Marco Benefial, studying in particular ancient sculpture and the paintings of Raphael and the 17th-century classicists. In 1744 he returned to Dresden and was appointed court painter, where he devoted himself chiefly to portraiture. In 1746 he was appointed painter to King Augustus III of Poland and subsequently undertook a tour of Italy, ending in Rome, where he settled permanently. In the Italian capital he executed important religious and mythological works in fresco, displaying a mature, clearly neoclassical style influenced by the Renaissance and, more specifically, by the work of Raphael. In 1761 he was recalled to Spain, where he remained until 1769 as the first painter to King Charles III. For him he painted works to decorate the Royal Palace and the Aranjuez Palace, as well as important portraits. His presence in Madrid definitively pushed Tiepolo into a corner, as Mengs represented a new taste that was widely accepted at court. Although he later returned to Rome, he visited the Spanish court again between 1774 and 1776, shortly before contracting the illness that led to his death in Italy in 1779. Works by Mengs are now in the Museo del Prado, the Louvre in Paris, the Hermitage in Saint Petersburg, the Metropolitan in New York, the National Gallery and the Royal Collection in London, the Art Institute of Chicago, the Albertina in Vienna and other leading art galleries in Europe and the United States.

Historically Important Indian Mutiny Medal Awarded to a Captain in the Bengal Engineers who Served Under General Havelock During the First Relief and Second Defence of Lucknow, Was Wounded on the Day the Residency was Finally Relieved by Sir Colin Campbell and was Twice Mentioned in Despatches for his Services and was One of the Personalities of the Defence of Lucknow, medal with clasp Defence of Lucknow, “2ND CAPT. L. RUSSELL, EXEC. ENGR.”, remains in generally good condition. Lindsay Russell entered the Bengal Engineers in December 1847 and served as Brigade Major of Engineers during the Great Sepoy Mutiny. He is listed on the Roll of Officers and Staff of the Shahjehanpore Brigade as having been present at ‘all the actions leading to the reoccupation of Cawnpore and in the advance to Lucknow with General Havelock. Present at the Defence of Lucknow. Disabled by wound.’ The Siege of Lucknow, by Rutz Rees, gives the following account: ‘The Chief Engineer, Crommelin, meanwhile superintended the defensive works of the new palaces. With the miners placed at his disposal, he soon foiled most of the enemy’s mining operations, and sank shafts and began galleries in every direction. In carrying out these labours he owed much to the energy and courage of Lieutenant RusseII, his Major of Brigade. The enemy however could not be driven out of a portion of the palaces, which they had maintained possession of, after having exploded a mine. Colonel Napier, accompanied by Colonel Purnell and Moorsome, however reconnoitred the enemy’s position one dark night with perfect success, and Lieutenant Russell of the Engineers, was then directed to attempt to blow up the Mosque which the enemy had maintained. He was perfectly successful; a great number of the insurgents were blown into the air and we maintained a capital point from which to command the Khaz Bazaar.’ Wounded in action, Kaye and Malleson, in their History of the Indian Mutiny, state: ‘An open space, nearly half a mile in width, still intervened between the assailants and the advanced positions of Outram and Havelock. This space was exposed to a heavy musketry fire from the Kaisarbagh and could not be crossed without imminent risk. But the risk did not prevent the two gallant generals and their staff from crossing the space to meet the Commander-in-Chief. They started eight officers and one civilian. They were Outram, Havelock, Napier (now Lord Napier of Magdala), Vincent Eyre, young Havelock (now Sir Henry Havelock), Dodgson, the deputy Adjutant General, the aide-de-camp Sitwell, the engineer Russell, and the gallant Kavanagh. They had not gone many paces before they were seen by the enemy, and the musketry fire from the Kaiserbagh redoubled. Napier was struck down, young Havelock was struck down, Sitwell and Russell were struck down. Outram, Havelock, Eyre, Dodgson and Kavanagh alone reached the Moti Mahal uninjured. Then to borrow the appropriate language of Sir Colin Campbell, “The Relief of the Lucknow Garrison has been accomplished”.’ For his gallantry, Russell was twice Mentioned in Despatches by Sir Henry Havelock, firstly for his actions at the Battle of Futtehpore: ‘My orders were conveyed in the field boldly, actively and intelligently by my aide-de camp, Lieutenant Havelock, 10th Foot, and the following officers: Lieutenant Moreland, 1st Fusiliers; Lieutenant Moorsome, H.M.’s 52nd Light Infantry; Captain Sheehy, H.M.’s 81st Regiment; Captain Russell, Engineers; and Captain McBean’; and secondly for his gallantry during the Relief of Lucknow, in the last despatch written by Havelock prior to his death: ‘I must commend all the officers in charge of detachments, but most prominently Colonel Purnell, 90th Light Infantry, whose conduct throughout the affair evinced the most distinguished gallantry, united to imperturbable coolness and the soundest of judgement; as well as Lieutenants Russell, Hutchinson and Limond of the Engineers, and Captain Oakes (attached), who showed the way to several points of attack.’ Russell became one of the personalities of the second Defence of Lucknow and was wounded on the day that the Residency was finally relieved by Sir Colin Campbell. He features in the famous painting The Relief of Lucknow by Thomas Barker. Advanced to Colonel in March 1878, he retired on 11 May 1881, and was granted the honorary rank of Major-General. He died at his home in Folkestone, Kent, on 9 May 1904, aged 74.

A Neoclassical gilt metal mounted Nero Marquina marble statuary pedestal, incurve plateau, spirally fluted column with Corinthian capital, circular base, 90cm high, the top 42cm x 43cm

An Arts & Crafts oak sideboard, outswept cornice with dentil capital above an apron carved with leafy C-scrolls, the superstructure with an arched bevelled mirror flanked by half-fluted Ionic columns, the projecting base with three drawers, a pair of panel doors and a fall front door, 201cm high, 212.5cm wide, 61cm deep, c.1900

A pair of modern silver three-light candelabra, by Nat Leslie Ltd., London 1965, knopped baluster stems, on raised circular bases, with three scroll arms each supporting a spool shaped capital, on raised filled circular bases, height 34cm, approx. weight of branches 31.5oz. (2) Provenance: The Power Collection.

An Elizabeth I silver Maidenhead spoon, marked with a pellet mark to the bowl, possibly with a capital I or anchor mark between the pellets, possibly for John Ivie, Salisbury, circa 1600, fig-shaped bowl, the reverse with a rudimentary rat-tail, faceted tapering stem with a gilded maidenhead finial, length 15.8cm, approx. weight 1.1oz. Provenance: The David Constable Collection. Anderson and Garland, Newcastle 15 June 2001, lot 1657. A private deceased estate. Illustrated and written up in Constable, D., Silver Spoons of Britain 1200-1710, Constables Publishing, 2016, Volume 1, pages 320-322 , entry number 51. For a similar John Ivie mark see Kent, T., West Country Silver Spoons and their makers, 1550-1750, J.H. Bourdon-Smith Ltd., 1992, page 103, entry M.75.

A matched set of four silver two-light wall sconces, by Robert Pringle and Sons, London 1936, and Elkington and Co., Birmingham 1919, the back plates of shaped rectangular form, embossed ad chased foliate scroll decoration with a central mask, with two scroll arms, each supporting a capital, converted for electricity, lacquered, with four shades, length 40.8cm, approx. weight 160oz. (4)

RARE FIBULE EN BRONZE DORÉDynastie des Han orientaux, datée de l'an 76 ap. J.-C et d'époqueA RARE GILT-BRONZE DOCUMENTARY BELT-HOOKEastern Han Dynasty, dated 76 AD and of the periodThe arched shaft shaped as the sinuous body of a dragon, finely inlaid in gold with swirling clouds and waves, the hook formed by a small dragon head with large snout and bulging eyes, the reverse inscribed in gold with a calligraphic inscription and set with a circular button decorated with geometric designs. 14cm (5 1/2in) long.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Belt hooks with dated inscriptions, such as the present lot, are extremely rare. The inscription on the reverse of the belt hook dates the piece to the Fifth Month of the First Year of Jianchu, corresponding to 76 AD.Only approximately 50 years before this belt hook was made, the Han dynasty re-established itself after Wang Mang's short-lived Xin dynasty ended in 23 AD. The Han dynasty in this period, known to historians as the later Han dynasty or the Eastern Han dynasty (because the capital had been moved from Chang'an in the west to Luoyang in the east) was still in a relatively vulnerable position. During Wang Mang's reign, the Xin dynasty lost control over the Tarim Basin in the west. A year before the present lot was made, the new Protector General of the Western Regions Chen Mu was killed by allies of the Xiongnu, and the garrison at Hami retreated. It was not until 91 AD, that the famous general and historian Ban Chao reasserted Han control of the Western Regions after crushing rebellions in Kashgar (80 AD) and Yarkand (88 AD). Just twenty years after the present lot was made, in 97 AD, Ban Chao was able to send Gan Ying as an envoy, who reached the Black Sea and left the first recorded Chinese account of Europe.東漢 公元七六年 鎏金銅龍首帶鉤來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏建初元年五月五日丙午造辟兵保身鉤For further information on this lot please visit Bonhams.com

D'APRÈS SONG HUIZONG (1082-1135)FauconAFTER SONG HUIZONG (1082-1135 AD)FalconInk and pigment on silk, inscription, apocryphal Yushu seal and signature of the artist, glazed and framed. 146cm (57 1/2in) high x 70cm (27 1/2in) wide.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935; the painting is shown in a photograph at Robert Rousset's Paris apartment, circa 1950sJean-Pierre Rousset, Paris (1936-2021) The most artistically talented emperor in Chinese history, Emperor Huizong of the Song dynasty (1082-1135), had the great misfortune to be ruling at a time of great turmoil and decline – much of it due to forces beyond his control. In 1126 the Jurchen-led Jin dynasty invaded the Song realm and captured the capital Kaifeng, marking the end of the Northern Song dynasty. Huizong and his Court were taken captive and sent north to Manchuria. He was further humiliated by the Jurchen who gave the former emperor a new title - Duke Hunde (literally 'Besotted Duke'). He died a broken man after nine years in captivity at the age of 52. His sad life is held as a warning to the dangers of neglecting government at the cost of art, and even the thin, spidery form of calligraphy he invented - 'slender gold' calligraphy – is seen as superfluous and decedent, unsuitable for upright leaders to emulate. His contribution to the arts, however, is unparalleled: he established a painting academy, created a huge collection of art, and invested much time and money into gardens, tea ceremony, poetry, painting, calligraphy and music. In Emperor Huizong's second year on the throne (1101), the censor Jiang Gongwang submitted a memorial saying he had heard a rumour that someone had entered the Rear Garden of the palace with a falcon:'The other day I, your subject, heard a rumour on the street that some high-ranking men including one named Jia entered the Rear Garden with falcons on their shoulders to hunt birds. This I could not believe... How could a ruler who is benevolent busy himself with going hunting? How could anyone devoted to the dynastic ancestors have the leisure to pursue the pleasure of hunting'.The censor claimed not to believe the rumour, but he still went on at length on the reasons Emperor Huizong should not involve himself with anything as cruel and dangerous as hunting. If the emperor did ever go hunting, no record of it has been preserved; see P.Ebrey, Emperor Huizong, London, 2014, p.301.宋徽宗（款）鷹 設色絹本 鏡框來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏；約二十世紀五十年代攝於其公寓照片中可見巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

TÊTE DE VISHNU EN GRÈSCambodge, époque pré-angkorienne, style du Phnom Da, vers VIe siècleTHE SANDSTONE HEAD OF VISHNUCambodia, Pre-Angkor Period, Phnom Da style, circa 6th centuryWearing a cylindrical mitre that is slightly conical and rounded on top with a row of curls protruding along the sides of the forehead and at the back, stand. 14cm (5 1/2in) high.Footnotes:Provenance:Mr Dalet's collection, Peyrehorade, FranceRobert Rousset, Paris (1901-1981), acquired from the above, 3 July 1954Jean-Pierre Rousset, Paris (1936-2021)Phnom Da is the first art style in pre-Angkorian period, and together with the nearby Angkor Borei, were the capital of the so-called Funan empire in the 6th century. Sculptures of this period are characterised by smooth surfaces and distinctive cylindrical mitres and naturalistic treatment of the garments.柬埔寨 前吳哥時期 達山寺風格 約六世紀 砂岩毘濕奴首來源：Dalet先生舊藏，佩爾奧拉德，法國巴黎Robert Rousset（1901-1981）舊藏，於1954年7月3日得自上述收藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

STATUETTE DE VISHNU EN GRÈSCambodge, époque Transition, style du Kulen, milieu du IXe siècleA SANDSTONE FIGURE OF VISHNUCambodia, Transitional Period, Kulen style, mid 9th centuryStanding in the prescribed hieratic pose with his arms high and fanned out from the body. The remains of the supporting structure are seen as posts rising from the base, stand. 28cm (11in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired in the 1950's-1970'sJean-Pierre Rousset, Paris (1936-2021)The Khmer king Jayavarman II, moved his capital from Vyadhpura to Hariharalaya in the late eighth century. A small corpus of important sculptures, including this Vishnu are associated with the small temples built during this period under his reign. The more elaborate treatment of the sampot and more powerful physique marks the transition to the Angkorian period.柬埔寨 庫楞風格 九世紀中 砂岩毘濕奴立像來源：巴黎Robert Rousset（1901-1981）舊藏，得自二十世紀五十至七十年代巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

STATUETTE DE DIVINITÉ FÉMININE EN GRÈSCambodge, époque angkorienne, style du Bakheng, fin du IXe/début du Xe siècleA SANDSTONE FIGURE OF A FEMALE DEITY Cambodia, Angkor Period, Bakheng style, late 9th/early 10th centuryStanding in samabhanga wearing sampot secured by a belt with flap falling over a broadly pleated flared material. Her face with serene expression, almond-shaped eyes, broad nose, smiling lips, broken elongated earlobes, floral-engraved tiara in front of her conical-shaped chignon, stand. 30cm (11 3/4in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Capital Antique, Bangkok, 30 August 1967Jean-Pierre Rousset, Paris (1936-2021)An unusually small representation of a female deity from this period and curious surface of the stone has inclusion across the chest and face. Also notable is the wide pleat of her sampot that flares to each side beneath a large overhanging flap. The wide pleat is shared by a torso from the Natasha Eilenberg Collection (sold at Bonhams New York, 11 September 2012, lot 8) and another male torso of the same style in Christie's New York, 20 March 2012, lot 172.柬埔寨 吳哥時期 巴肯寺風格 九世紀末/十世紀初 砂岩女神立像來源：巴黎Robert Rousset（1901-1981）舊藏，於1967年8月30日得自曼谷Capital古董店巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

TÊTE D'AVALOKESHVARA EN GRÈSThaïlande, époque pré-angkorienne, style de Prakhon Chai, Buriram, VIIIe siècleA SANDSTONE HEAD OF AVALOKESHVARAThailand, Pre-Angkor Period, style of Prakhon Chai, Buriram, 8th centuryFinely carved with tall jata circled by a double cord at the base and a diminutive figure of Amitabha at the front and a flower on the top. The prominent eyebrows and well-defined eyelids with cavities for inset pupils over a thin nose and a narrow undulating moustache, separate it from the lip, stand. 20cm (7 7/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Capital Antiques, Bangkok, 2 March 1966Jean-Pierre Rousset, Paris (1936-2021)This rare representation in stone of Avalokiteshvara, is identified by the Buddha Amitabha placed at the front of the headdress, for complete figure of Avalokiteshvara from Battambang area see Garnier and Nafilyan L'art khmer en situation de reserve, Paris, 1997, no. 89. The treatment of the face and the moustache follow the more common representations in bronze attributed to Prakonchai, notably the example from the Rousset Collection now in the Musée Guimet (MA4985), see Baptise and Zephir L'Art khmer dans les collections du musée Guimet, Paris, 2008, p. 39, no. 8 and another in Chutiwongs Leidy, Buddha of the Future: An Early Maitreya from Thailand, 1994, p.34, fig.14.泰國 前吳哥時期 巴坤猜風格 武里南 八世紀 砂岩觀音首來源：巴黎Robert Rousset（1901-1981）舊藏，於1966年3月2日得自曼谷Capital古董店巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

STATUETTE D'UNE DAKINI DANSANTE À QUATRE BRAS EN ALLIAGE DE CUIVRECambodge, style d'Angkor Vat, XIIe siècleA COPPER ALLOY FIGURE OF A DANCING FOUR-ARM DAKINICambodia, Angkor Wat style, 12th centuryThe celestial attendant is captured in an ecstatic dance wearing a short sampot that sways between her legs and her remaining right arms are raised and offering a boon. The arrangement of the hairstyle and sampot follows the convention popular during the Baphuon period, stand. 18cm (7 1/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Capital Antique, Bangkok, 30 August 1967Jean-Pierre Rousset, Paris (1936-2021)Compare with a closely related example in the National Museum, Phnom-Penh (see M.Giteau, Khmer Sculpture and the Angkor Civilization, Fribourg, 1965, pl.79. Also see another later example set within a larger superstructure defined as a yogini in the Fine Arts Museum, Boston (22.686). For a bas relief figure with an identical headdress see G.de Coral-Remusat, L'Art Khmer: Les Grandes Etapes de son Evolution, Paris, 1951, pl.XXXIV, no.117.柬埔寨 吳哥窟風格 十二世紀 銅四臂空行母像來源：巴黎Robert Rousset（1901-1981）舊藏，於1967年8月30日得自曼谷Capital古董店巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

RARE PLAQUE CARRÉE EN BRONZE À DÉCOR DE BOUDDHA ET BODHISATTVASXIIe-XIVe siècleA RARE BRONZE SQUARE 'BUDDHA AND BODHISATTVAS' DECORATED PLAQUE12th-14th centuryThe surface incised on one side with three large figures, the central Buddha figure flanked by two Bodhisattvas, one holding a lotus bloom extending over the right shoulder, wearing crowns and voluminous flowing robes, tied with sashes and cascading in elaborate folds, each standing upon a lotus petal base, the reverse plain. 17.8cm (7in) x 16cm (6 1/4in).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) The present engraved bronze plaque is exceptionally rare in its decoration and function. The finely incised decoration depicts the Three Sages of the Western Pure Land: Amitābha stands between Avalokiteshvara and Mahāsthāma on an array of lotus blossoms. Circular halos encircle each head signifying divinity and glory. The question of the function of this plaque is intriguing and presents two likely possibilities. The first is that the rectangular plaque, decorated on one side and plain on the other, was used as a mirror. Supporting this option are a small number of known engraved mirrors decorated on one side with Buddhist figures, two of which were uncovered from the Yunju Temple, Beijing, dating to the Liao dynasty, and now in the Capital Museum, Beijing; and another example, dated Song dynasty, is in the collection of the in the Hunan Provincial Museum. However, all three examples are circular in form, with an aperture for hanging, whereas the Rousset 'mirror' does not have an aperture. Yet, there might be an explanation for this – the Rousset mirror may have been used as mirror on a pagoda to reflect the sunlight – this possibility is supported by the over a thousand bronze mirrors adorning the Shijiafoshelita Pagoda (the 'White Pagoda'), Liao dynasty, dated 1049, in Inner Mongolia, some of which are incised with Buddhist figures on the reflective side; see Hsueh-Man Shen, Proceedings of the British Academy, 2012, 'Between One and Many: Multiples, Multiplication and the Huayan Metaphysics, 2011, pp. 205–258, pp.229-231, and 254-256. As noted by Hsueh-Man Shen, ibid., pp.254-256, mirrors with incised Buddhist images are literally associated with the Buddhist metaphor 'image [reflected] in a mirror'. The reflection of images in a mirror represents a Buddhist analogy with the transient and is related to the notion of emptiness. In various Buddhist texts, the multitudes were instructed to view the phenomenal world as an image in a mirror and emptiness as the mirror itself. Similarly, while the reflected image in a mirror changes as the object moves, the substance of the mirror remains unchanged. Hence seeing a Buddha image in a mirror is analogous to discerning the Buddha. Therefore, a mirror incised with a Buddha image on the reflective side can be viewed as an embodiment of this idea: the bronze mirror stands for the Buddha's eternal dharmakaya (a body or collection of all of Buddha's qualities), whereas the incised Buddha image on the mirror represents the Buddha's nirmanakaya (physical manifestation), revealing itself only in response to believers. By extension, the mirror refers to the ultimate Buddha nature, while the incised image corresponds to the mind of all creatures. Therefore, incision of Buddhist images on a mirror symbolises the unification of Buddha nature and the nature of all creatures.The second possibility is that the Rousset plaque is not a mirror, but rather a side panel of a Buddhist lidded reliquary box, such as two found in Famen Temple, and illustrated in the Report of Archaeological Excavation at Famen Temple, 法⾨寺考古發掘報告, vol.2, Beijing, 2007, pp.97 and 103.The representation of Three Sages of the Western Pure Land was one of the most popular subjects in paintings of Pure Land, as demonstrated in the frescoes in Dunhuang as illustrated in Aurel Stein's The Thousand Buddhas: Ancient Buddhist Paintings from the Cave-temples of Tunhuang on the Western Frontier of China, London, 1921, pl.10. However, according to He Maoping and Ning Qiang, the 12th century was a turning point in the composition of Three Sages of the Western Pure Land, with the posture changing from sitting to standing. This, in turn, provides a strong indication that the Rousset plaque decorated with the standing figures is not earlier than 12th century; see He Maoping and Ning Qiang, 'From Rebirth to Welcoming: The Reconstruction of the Notion and Image of the Three Sages of the West in the Pure Land Belief of the Western Xia Period', 從往⽣到來 迎：西夏淨⼟信仰對西⽅三聖德觀念與圖像重構, Journal of Dunhuang Studies, 2019, no.3, pp.104-120.Cette plaque en bronze gravée est extrêmement rare par sa décoration et sa fonction. Le décor finement incisé montre les Trois Sages du Paradis de l'Ouest : Amitabha debout entre Avalokiteshvara et Mahāsthāma sur un tapis de fleurs de lotus. Les auréoles circulaires derrière chacune de leur tête manifestent leur divinité et leur gloire.La fonction de cette plaque est intrigante et deux possibilités se présentent. La première est que cette plaque rectangulaire, décorée d'un côté et non de l'autre, était utilisée comme miroir. Cette option est appuyée par un petit nombre de miroirs connus incisés d'un côté de divinités bouddhistes, dont deux découvert au temple Yunju à Pékin et datant de la dynastie Liao, aujourd'hui conservés au Capital Museum de Pékin. Et un autre exemple, daté de la dynastie Song, est dans la collection du Musée de la Province du Hunan. Cependant, ces exemples sont de forme circulaire, avec un orifice pour être suspendu, alors que le « miroir » Rousset n'a pas d'orifice. Mais il pourrait y avoir une explication à cela : le miroir Rousset pourrait avoir été utilisé comme miroir sur une pagode pour réfléchir la lumière du soleil. Cette possibilité est appuyée par plus d'un millier de miroirs en bronze décorant la pagode Shijiashifohelita (la « Pagode Blanche »), de la dynastie des Liao, datée de 1049, en Mongolie Intérieure, dont certains sont incisés de divinités bouddhiques du côté réfléchissant ; voir Hsueh-Man Shen, Proceedings of the British Academy, 2012, « Between One and Many : Multiples, Multiplication and the Huayan Metaphysics », 2011, pp. 205–258, pp.229-231, and 254-256.Comme le note Hsueh-Man Shen, ibid., pp254-25, les miroirs comportant des images bouddhiques incisées sont littéralement associés à la métaphore bouddhique de l'« image (réfléchie) dans un miroir ». La réflexion d'images dans un miroir représente une analogie bouddhique avec le transitoire et est lié à la notion de vide. Dans différents textes bouddhiques, on enseignait au peuple à voir le monde sensible comme une image dans un miroir et le vide comme le miroir lui-même. De la même façon, alors que l'image reflétée dans un miroir change en même temps que l'objet bouge, la substance du miroir reste inchangée. Ainsi voir une image du Bouddha dans un miroir est similaire à discerner le Bouddha. Et donc, un miroir incisé de l'image du Bouddha du côté réfléchissant peut être considéré ... For further information on this lot please visit Bonhams.com

BUSTE DE DIVINITÉ FÉMININE EN GRÈSCambodge, style de Prei Kmeng, VIIIe siècleA SANDSTONE BUST OF A FEMALE DIVINITYCambodia, Prei Kmeng style, 8th centuryThe torso reflects a representation of a mature woman, shoulders are broad and reflect her power as a principle goddess. Her full breasts are close together are underlined by a line engraving giving them relief, stand. 23.5cm (9 1/4in) (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Capital Antique, Bangkok, 30 August 1967Jean-Pierre Rousset, Paris (1936-2021)This very important small torso of female deity is likely a representation of Hindu deity, Devî. Characteristic of the style, with a revival of Indian influence, it is possible to relate this work to the reign of Içanavarman I, given one of his daughters married the Hindu Brahmin Durgâvamin.Images of pre-Angkorian female deities carved in the round are rare, and the lack of comparison makes it difficult to establish a safe chronological basis. However, it could be compared to the female deity of Prasat Thleay (Ta Kev) at the National Museum in Phnom Penh, see M.Giteau, L'Art Khmer - Reflet des Civilisations d'Angkor, Paris, 1997, p.206, no.23.Entirely lacquered in red, the sculpture bears traces of gilding which is a convention followed by all periods of Cambodian sculpture but seldom preserved, even from the later period. Compare with similar from the Halphen Collection in S.E.Lee, Ancient Cambodian Sculpture, Asia House Gallery, New York, 1969, p.41, no.5.柬埔寨 波利敏風格 八世紀 砂岩女神像來源：巴黎Robert Rousset（1901-1981）舊藏，於1967年8月30日得自曼谷Capital古董店巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

TRÈS RARE ET IMPORTANTE TABLE EN HUANGHUALI SURMONTÉE D'UN PLATEAU EN PIERRE PORTANT UNE INSCRIPTIONFin de la dynastie Ming (XVIe/XVIIe siècle) AN IMPORTANT AND VERY RARE HUANGHUALI INSCRIBED STONE-TOP TABLE Late Ming Dynasty (16th/17th century)Of rectangular form with a single floating purplish-grey and green stone panel, likely duan stone, inscbied with a calligraphic inscription, set in a mitred frame of mortise and tenon construction with moulded edges, above straight waist and a plain apron, supported on four legs of slender square section terminating in hoof feet and joined by humpback stretchers, the well-grained lustrous wood of warm amber-honey tone. 89cm (35in) high x 150cm (59in) wide x 58.7cm (23in) deep. The stone 98.2cm (38 5/8in) wide x 42.5cm (16 5/8in) long.Footnotes:Provenance:Jean-Pierre Rousset, Paris (1936-2021), acquired in the 1980'sTables with a stone top such as the present lot were particularly useful when playing the guqin – a seven stringed zither – with sound boxes underneath. The stone surface allowed the sounds to bounce off and reverberate more loudly. The inscription at the right corner of the stone top highlights its dual use of supporting the musical instrument as well as for reading. Following is the inscription:質賦衡峰，貞似玉溫，而理瑩，而穆二，奏虞弦，熏風處，續人對，明光佇，瞻補牘，朝文Which may be translated as:Its quality is harder than Hengshan mountain,The texture as smooth and gentle as jade.Playing qin solemnly on the lustrous marble top,And feeling the gentle breeze.Reading under the bright light,Dedicated to the Court: duty, loyalty and diligence.Seal: Zhao Wen (朝文)As the poetic inscription suggests, the present table would have been suitable for playing the qin, or for reading, aiding in study and serving the Court. A very similar table of more narrow form and without stone top, late 16th/early 17th century, is illustrated by Grace Wu Bruce, Living with Ming: the Lu Ming Shi Collection, Paris, 2000, p.110, no.23. The author notes on that tables with stone tops are quite rare, 'presumably because they break and perish at a higher rate compared to their wooden counterparts', see ibid., p.12. See also another related huanghuali table of similar form, but without a stone top, circa 1550-1650, illustrated by C.Clunas, Chinese Furniture, London, 1997, p.49. The author notes that according to the Classic of Lu Ban, this is a xiao qin zhuo shi, 'small qin table type'. That the present table is also inscribed with a poem, perhaps signifies its importance to literati gatherings where the qin was played, poetry recited, paintings and calligraphy written and exchanged. It is more likely that such a table with a poetic inscription and imbued with cultural capital would be more suitable for playing the qin, one of the Four Arts of the Scholar along with qi (chess), shu (calligraphy), and hua (painting).See a huanghuali incense table with stone top, inscribed with various collectors seals, Ming dynasty, including that of Xiang Yuanbian, which was sold at Poly Beijing, on 28 July 2022, lot 5563.Les tables similaires à celle-ci étaient particulièrement utiles pour jouer du guqin - une cithare à sept cordes- le plateau en pierre formant une caisse de résonance. En effet, la surface en pierre permettait aux sons de rebondir et de se réverbérer plus fort. L'inscription au coin droit de la pierre souligne son usage double : celui de support pour l'instrument de musique ou pour la lecture:質賦衡峰，貞似玉溫，而理瑩，而穆二，奏虞弦，熏風處，續人對，明光佇，瞻補牘，朝文 Que l'on pourrait traduire ainsi:D'une qualité plus dure que le Mont Heng,Son grain aussi doux que le jade,Jouer du qin avec solennité sur la pierre brillante,Et sentir la brise tièdeLire sous la lumière vive,Dédié à la Cour : devoir, loyauté et diligenceSceau: Zhao Wen 朝文 Comme le suggère l'inscription poétique, cette table aurait convenu pour jouer du qin, ou pour lire, utile dans le cabinet du lettré et pour servir la Cour. Une table très semblable, mais plus étroite et sans plateau en pierre, fin du XVIe ou début du XVIIe siècle, est illustrée dans Grace Wu Bruce, Living with Ming: the Lu Ming Shi Collection, Paris, 2000, p.110, n°23. L'auteur note que les tables à plateau en pierre sont assez rares, « probablement parce qu'elles se cassent et disparaissent davantage que celles en bois. », Ibid. p.112.Voir également une autre table en huanghuali de forme similaire mais sans plateau en pierre, vers 1550-1650, illustrée dans C.Clunas, Chinese Furniture, London, 1997, p.49. L'auteur écrit que d'après le Classique de Lu Ban, il s'agit d'une xiao qin zhuo shi, un type de petite table à qin. Le fait que cette table soit gravée d'un poème est peut-être une indication de son importance lors de réunion de lettrés où l'on jouait du qin, récitait de la poésie ou réalisait et échangeait des poèmes et calligraphies. Cette table, dotée d'une inscription poétique, était particulièrement appropriée pour jouer du qin, un des Quatre Arts du Lettré avec les échecs (qi), la calligraphie (shu) et la peinture (hua).Voir une table à encens en huanghuali avec un plateau en pierre, inscrite de plusieurs sceaux de collectionneurs, dont celui de Xiang Yuanbian, dynastie Ming, vendue chez Poly à Pékin le 28 juillet 2022, lot 5563.明晚期 黃花梨四面平式嵌石面詩文條桌來源：巴黎Jean-Pierre Rousset（1936-2021）舊藏，於二十世紀八十年代前入藏因石質空隙易與聲響產生共鳴，可作為音響加強音色，如本拍品般之嵌石面條桌尤宜作為琴桌使用。刻於該桌桌面右側的詩文亦引證其曾為士人琴桌及書桌的角色：質賦衡峰，貞似玉溫而理瑩，而穆二，奏虞弦，熏風處，續人對，明光佇，瞻補牘，朝文。與本拍品相類但稍窄且無石桌面之十六/十七世紀早期琴桌 可見於伍嘉恩（Grace Wu Bruce）著，Living with Ming: the Lu... This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

TÊTE DE DIVINITÉ MASCULINE EN GRÈSCambodge, époque angkorienne, style de Pré Rup, Xe siècleA SANDSTONE HEAD OF MALE DEITYCambodia, Angkor Period, style of Pre Rup, 10th centuryThe eyebrow arches come together in a single soft line, the nostrils slightly flared, eyes defined with a delicate line and fleshy mouth with a very slight smile and faint suggestion of a moustache. Two bands of hair protrude from the diadem descending on the temples to continue with a beard defined as a dotted line, finishing in a point at the centre of the chin. The elongated earlobes are pierced and may have been adorned with cast metal pendants. The head is adorned with a royal diadem carved to imitate a real gold example that was attached at the back by ribbons tied in a square knot, stand. 36.5cm (14 3/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Capital Antique, Bangkok, 13 January 1966Jean-Pierre Rousset, Paris (1936-2021)This larger-than-life head has a softer, more naturalistic and serene face than that of the earlier style of the Koh Kher. Pre Rup is a Hindu temple at Angkor, Cambodia, built for the Khmer king Rajendravarman (reigned 944-968) and dedicated in 961 or early 962. This powerfully carved head reflects the concept of the God-King (Deva-Raja), a system of statecraft that originated in India but was taken to new heights during the Khmer Empire (802–1437 CE). Despite being consecrated under the protection of the Hindu deity Shiva, the Khmer identified most closely with Vishnu, preserver of universal order. In fact, the deity often took on the likeness of individual Khmer rulers.Compare with the facial features on standing Vishnu in the Los Angeles County Museum of Art (M.76.19). Also compare with a closely related head in the Minneapolis Institute of Art (69.86.1) and another in the Museum of Fine Arts, Boston (26.13). A head of similar scale with a variant to the diadem was sold at Sotheby's New York, 24 March 2011, lot 28.Cette tête plus grande que nature présente un visage plus doux, plus naturaliste et plus serein que celui du style antérieur du Koh Kher. Le Pre Rup est un temple hindou à Angkor au Cambodge, construit pour le roi khmer Rajendravarman (règne 944-968) et consacré en 961 ou début 962. Cette tête puissamment sculptée reflète le concept du Roi-Dieu (Deva-Raja), un système de gouvernement originaire de l'Inde qui a atteint des sommets sous l'Empire khmer (802-1437 de notre ère). Bien qu'ils aient été consacrés sous la protection de la divinité hindoue Shiva, les Khmers s'identifiaient plus étroitement à Vishnu, protecteur de l'ordre universel. En effet, la divinité prenait souvent l'apparence de certains souverains khmers.Comparer aux traits du visage de Vishnu debout du Los Angeles County Museum of Art (M.76.19). Comparé également avec une tête stylistiquement proche conservée au Minneapolis Institute of Art (69.86.1) et une autre au Musée des beaux-arts, Boston (26.13). Une tête de taille similaire avec une variante du diadème a été vendue chez Sotheby's New York, 24 mars 2011, lot 28.柬埔寨 吳哥時期 比粒寺風格 十世紀 砂岩像首來源：巴黎Robert Rousset（1901-1981）舊藏, 於1966年1月13日得自曼谷Capital古董店巴黎Jean-Pierre Rousset（1936-2021）舊藏與科克早期風格相比，此像首比例比真人稍大，神態更顯柔和、自然及安詳。比粒寺是位於柬埔寨吳哥的一座印度教寺廟，為高棉國王拉金陀羅跋摩（944-968 在位）建造，並於961年或962年初祝獻。這尊有力度的雕刻像首體現了「神聖統治者」（德瓦拉哈）的天神概念，起源於印度的一種治國之道，至高棉帝國時期（802至1437年間）發展至更高峰。雖受印度教神濕婆護蔭，高棉人更推崇負責維繫宇宙秩序者毘濕奴。實際上，該神祇造像常參照高棉統治者的形象而製。 比較一例毘濕奴立像的面部特徵，藏於洛杉磯縣藝術博物館 (M.76.19) 。比較另一例與本尊緊密相關的像首，藏於明尼阿波利斯藝術學院（69.86.1），及另一例藏於波士頓美術館（26.13）。又見一例比例相約，皇冠稍有變化，售於紐約蘇富比，2011年3月24日，編號28。For further information on this lot please visit Bonhams.com

BUSTE DE DIVINITÉ FÉMININE EN GRÈSCambodge, époque angkorienne, style de Pré Rup, Xe siècleA SANDSTONE BUST OF A FEMALE DIVINITYCambodia, Angkor Period, style of Pre Rup, 10th centuryThis is a very rare and early representation of a female deity with superb purity of form. The top of the sarong is draped across the plain belt and the hemline is flared towards the top. She is carved with delicate folds at the neck (trivali) and faint wavy lines are incised beneath the breasts and navel enhance her plump features, stand. 62cm (24 3/8in) high. (2).Footnotes:Provenance: Robert Rousset, Paris (1901-1981), Paris, acquired from Capital Antique, Bangkok, 12 January 1969Jean-Pierre Rousset, Paris (1936-2021)The goddess represents one of the principal Hindu female deities, most likely Uma or Lakshmi. In the absence of arms and attributes, the designation of this sculpture cannot be confirmed. However, the conical mukuta in the form of a lotus crown that covers her chignon, is decorated with motifs openwork lanceolate florals, and terminated by an ovoid bud is a key distinguishing feature of Pre Rup milieu.Despite the limited documentation and the lack of originality shown by the statuary of the Râjendravarman period, many particular elements support the attribution of this deity to the style of Pre Rup. Generally speaking, the deity is reminiscent of the style of Koh Ker, but its size is much smaller and returns to hieraticism. She wears the same sarong as at Koh Ker, narrow pleat-lines with a large characteristic flap, but on the other hand, the pleated fabric is much broader with an archaic tendency. Compare with a Shiva in the Musée Guimet (MA 3431) that shares a similar treatment of the sampot and crown, see A.Le Bonheur Rarities of the Musee Guimet, Paris, 1975, pls.3 and 4. Also see J.Boisselier Asie du Sud-Est, Tome I – Le Cambodge, 1966, p.247, fig.58fn. and R.Goepper, ed., Skulpturen der Khmer und Thai, Stuttgart, 1989, p.80-81.La déesse représente l'une des principales divinités féminines hindoues, très probablement Uma ou Lakshmi. En l'absence d'armes et d'attributs, l'identité de cette sculpture ne peut être confirmée. Cependant, la mukuta conique en forme de couronne de lotus qui recouvre son chignon, est décorée de motifs floraux lancéolés ajourés et terminée par un bourgeon ovoïde est un élément distinctif essentiel du style de Pre Rup.Malgré la documentation limitée et le manque d'originalité de la statuaire de la période de Râjendravarman, de nombreux éléments particuliers soutiennent l'attribution de cette divinité au style de Pre Rup. D'une manière générale, la divinité rappelle le style de Koh Ker, mais sa taille est beaucoup plus petite et revient au hiératisme. Elle porte le même sarong qu'à Koh Ker, des plis étroits avec un grand rabat caractéristique, en revanche, le tissu plissé est beaucoup plus large avec une tendance archaïque.Comparer avec un Shiva du Musée Guimet (MA 3431) qui partage un traitement similaire du sampot et de la couronne, voir A.Le Bonheur Raretés du Musée Guimet, Paris, 1975, pls.3 et 4. Voir aussi J.Boisselier Asie du Sud-Est, Tome I – Le Cambodge, 1966, p.247, fig.58fn. et R.Goepper, ed., Skulpturen der Khmer und Thai, Stuttgart, 1989, p.80-81.柬埔寨 吳哥時期 比粒寺風格 十世紀 砂岩女神像來源：巴黎Robert Rousset（1901-1981）舊藏，於1969年1月12日得自曼谷Capital古董店巴黎Jean-Pierre Rousset（1936-2021）舊藏此女神代表印度教其中一位女性主神，應爲烏瑪或吉祥天女。惟雕像手臂與法器均已缺失，故無法確定其身份。然而，覆蓋錐形髮髻的蓮花式冠飾，飾以鏤空披針形花卉紋，髻頂末端呈卵形，此乃比粒寺一帶雕塑風格之關鍵特徵。 儘管文獻資料有限，且羅貞陀羅跋摩時期雕像缺乏原創性，但許多特殊的因素足以支持此像屬比粒寺風格。廣而言之，此像今人想起科克風格，但其體型較小，並符合其宗教常規。神像穿著的紗籠裙與科克寺風格相同，摺襉偏窄帶獨特的外翻上擺，褶裙更為寬闊，帶古風。 比較一例藏於吉美博物館的濕婆像（MA 3431），其紗籠裙與冠飾處理手法與此尊雕像相近，見A.Le Bonheur，《Rarities of the Musee Guimet》，巴黎，1975，圖版3及4。另見J.Boisselier，《Asie du Sud-Est, tome I – Le Cambodge》，1966，頁247，圖58fn，及R.Goepper編，《Skulpturen der Khmer und Thai》，斯圖加特，1989，頁80至81。For further information on this lot please visit Bonhams.com

STATUE DE DIVINITÉ FÉMININE EN GRÈS, POSSIBLEMENT DURGACambodge, époque angkorienne, style du Koh Ker, Xe siècleA SANDSTONE FIGURE OF A FEMALE DEITY, POSSIBLY DURGACambodia, Angkor Period, Koh Ker style, 10th centuryThe robust figure stands in samabhanga, elegantly carved with hour-glass form torso, with full breast above delicately incised lines to indicate slight rolls of skin and sumptuous wide hips. She wears a long straight garment (sampot) flaring slightly at the bottom, with a large curling flap and incised vertical lines to indicate the fine pleats, stand. 90cm (35 1/2in) high. (2).Footnotes:Provenance: Robert Rousset, Paris (1901-1981), acquired from Smit Gallery, Bangkok, 19 April 1965Jean-Pierre Rousset, Paris (1936-2021)Published, Illustrated and Exhibited:Sherman Lee, Ancient Cambodian Sculpture, Asia House Gallery, New York, October 1969, p.50, no.12The Koh Ker temple complex, approximately 80km northeast of Angkor, was the capital of the Khmer Empire from 928-944 under the kings Jayavarman IV and Harshavarman II. Koh Ker's sculptural style is distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form. The broad flap of pleated fabric that hangs over the sash at the waist, a fashion which first appeared in the last quarter of the ninth century, then became the convention in the tenth century during the Koh Ker period and can also be seen on the male figure from Banteay Srei.Given the dominance of the Shaivite cult throughout the Koh Ker temple complex, it is most likely that this four-armed figure would have been Durga – the wrathful female aspect of Shiva. Compare with the complete cast bronze figure of Durga in the Cleveland Museum of Art (1996.27), and another fragmentary figure described as Durga in the Metropolitan Museum of Art, New York (2003.605). Also compare with another female deity in the Linden-Museum, Stuttgart. The hieratic monumentality of this rare female deity is balanced against the soft fleshy skin and flair of the curling flap that Jean Boisselier, in his review of Koh Ker sculptural style (Asie du Sud-Est, 1966, p.248) characterised as 'dynamic equilibrium'.Le complexe de temples de Koh Ker, situé à environ 80 km au nord-est d'Angkor, a été la capitale de l'empire khmer de 928 à 944 sous les rois Jayavarman IV et Harshavarman II. Le style sculptural de Koh Ker est distinct de ceux développés dans le voisinage immédiat d'Angkor. La sculpture en pierre, souvent de taille monumentale, est imprégnée d'un sens aigu du mouvement et d'une souplesse des formes. Le large pan d'étoffe plissée qui pend sur la ceinture à la taille, une mode apparue dans le dernier quart du IXe siècle, puis devenue la convention au Xe siècle pendant la période Koh Ker, est également visible sur la statue masculine de Bantreay Srei. Compte tenu de la prédominance du culte shivaïte dans l'ensemble du complexe de temples de Koh Ker, il est fort probable que cette statue à quatre bras soit Durga, l'aspect féminin courroucé de Shiva. Comparée avec la fonte complète de Durga en bronze du Musée d'art de Cleveland (1996.27), et avec une autre statue fragmentaire décrite comme étant Durga au Metropolitan Museum of Art, New York (2003.605). Comparée également avec une autre divinité féminine au Musée Linden, Stuttgart.La monumentalité hiératique de cette rare divinité féminine est contrebalancée par la douceur de la peau charnue et l'élasticité du rabat enroulé que Jean Boisselier, dans son analyse du style sculptural de Koh Ker (Asie du Sud-Est, 1966, p.248), qualifie d'« équilibre dynamique ».柬埔寨 吳哥時期 科克風格 十世紀 砂岩或杜爾加立像來源：巴黎Robert Rousset（1901-1981）舊藏，於1965年4月19日得自曼谷Smit藝廊巴黎Jean-Pierre Rousset（1936-2021）舊藏展覽著錄：Sherman Lee, 《Ancient Cambodian Sculpture》，Asia House畫廊，紐約，1969年10月，頁50，編號12科克寺廟建築群位於吳哥東北約八十公里，928至944年間為闍耶跋摩四世與哈沙跋摩二世統治下高棉帝國之首府。科克雕塑風格與吳哥鄰近地區截然不同，常見砂岩雕像尺寸較大，造型靈活並充滿強烈動感。褶襉圍裙寛闊的上擺向外翻出垂在腰間，此服飾最早出現於九世紀下半葉，至十世紀科克時期已成慣例，於女王宮內神像上亦可見。 鑑於崇拜濕婆之風主導科克寺廟群，故此四臂像應為杜爾迦—濕婆女神憤怒相。比較一例完整的杜爾加銅像，藏於克利夫蘭藝術博物館（1996.27）、另見一例杜爾加像殘件，藏於紐約大都會藝術博物館 （2003.605）。再比較一例女神像，藏於斯圖加特林登博物館。 此尊罕見女神像極具宗教藝術的神聖宏偉，與其柔順飽滿的肌膚及摺裙的捲邊上擺互起平衡作用，Jean Boisselier在《Asie du Sud-Est》，1966年，頁248的科克寺雕塑風格評論中稱之為「動態平衡」。For further information on this lot please visit Bonhams.com

STATUE DE DIVINITÉ FÉMININE EN GRÈSCambodge, style du Baphuon, XIe siècleA SANDSTONE FIGURE OF A FEMALE DEITYCambodia, Baphuon style, 11th centuryShe stands in samabhanga wearing striated sampot secured by a pattered belt knotted at the front while a fish-tail section falls downwards, naked upper body with well-defined breasts and incised bellybutton, stand. 90cm (35 1/2in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Capital Antique, Bangkok, 7 July 1966Jean-Pierre Rousset, Paris (1936-2021)The designation of the female figure could be a representation of Prajnâpâramitâ embodying perfection of wisdom, mother of all Buddhas, entity of very high rank in the pantheon of the Mahayana Buddhism; or that of an attendant of the bodhisattva Avalokitesvara. The effaced section at the front of her hair bun suggests the presence of a small deity representing Amitabha is now missing, would suggest a designation of Prajnaparamita and repurposed to a Hindu deity.Compare two related stone figures of a female deity, one in the National Museum, Phnom Penh, illustrated by N.Dalsheimer, L'art du Cambodge ancien, 2001, p.132, no.56 and the other in the collection of the Metropolitan Museum of Art, see M.Lerner and S.Kossak, 'The Arts of South and Southeast Asia', The Metropolitan of Art Bulletin, vol.LI, no.4, 1994, fig.88, p.83.La désignation de la figure féminine pourrait être une représentation de Prajnâpâramitâ incarnant la perfection de la sagesse, mère de tous les bouddhas, entité de très haut rang dans le panthéon du bouddhisme Mahayana ; ou celle d'une accompagnatrice du bodhisattva Avalokitesvara. La section effacée à l'avant de son chignon suggère la présence d'une petite divinité représentant Amitabha, maintenant manquante, suggérerait une désignation de Prajnaparamita et une réaffectation à une divinité hindoue.Comparé deux figures en pierre apparentées d'une divinité féminine, l'une au Musée national de Phnom Penh, illustrée par N.Dalsheimer, L'art du Cambodge ancien, 2001, p.132, no.56 et l'autre dans la collection du Metropolitan Museum of Art, voir M.Lerner et S.Kossak, 'The Arts of South and Southeast Asia'. The Metropolitan of Art Bulletin, vol.LI, no.4, 1994, fig.88, p.83.柬埔寨 巴普昂寺風格 十一世紀 砂岩女神立像來源：巴黎Robert Rousset（1901-1981）舊藏，於1966年7月7日得自曼谷Capital古董店巴黎Jean-Pierre Rousset（1936-2021）舊藏此神像應為諸佛之智母、體現圓滿智慧的般若佛母, 在大乘佛教萬神殿中地位崇高；或可視為觀世音菩薩的侍者。 其髮髻前方磨損的部分原應帶一小型阿彌陀佛像，現已缺失，意味著此尊般若佛母像後經改造成印度教神祇。 比較兩例相關女神祇雕像，其一藏於金邊國家博物館，圖載於N.Dalsheimer，《L'art du Cambodge ancien》，2001 年，頁132 ，編號 56，及另一例藏於大都會藝術博物館，見M.Lerner及S.Kossak，大都會藝術博物館公報《大都會藝術博物館公報 》The Arts of South and Southeast Asia一文，卷 LI，編號 4，1994年，圖88，頁83。For further information on this lot please visit Bonhams.com

TÊTE DE BOUDDHA EN ALLIAGE DE CUIVREThaïlande, École de Sukhothaï, Kamphèng Phet, XIVe siècleA COPPER ALLOY HEAD OF BUDDHAThailand, Sukhothai school, Kamphèng Phet, 14th centuryCast with a sublime meditative expression with heavy lidded eyes. His elongated face with a prominent long curled nose sinuous eyebrows, coiffure of thick curls, and distended earlobes, stand. 43cm (17in) high. (2).Footnotes:Provenance:Mr. Pila, Plenipotentiary Minister of France to the Kingdom of SiamRobert Rousset, Paris (1901-1981), acquired from the above on 5 July 1925Jean-Pierre Rousset, Paris (1936-2021)This large and imposing head of Buddha is rendered in the Kamphaeng Phet style, which echoes that of neighbouring Sukhothai, but with subtle differences, such as sharper overall facial features and eyebrows that form a continuous line above the bridge of the nose. In this example, superior quality is evinced in the meticulous execution of the curving lines of the barely-parted eyelids and thin but fleshy lips. It compares favourably to another example sold at Bonhams New York, 14 March 2016, lot 80. Also see another published in S.Lopetcharat, Thailand, A History in Buddha Image, vol.1, Bangkok, 2006, p.364.Literally meaning, 'diamond wall', Kamphaeng Phet was a walled city of pivotal economic and military importance. Founded by the Sukhothai King Li Thai (c.1346-1374) in the mid-14th century, it was ideally situated for river trade with Southern Burma, the Lan Na kingdom, and the Chao Phraya basin of Central Thailand. Later absorbed into the Ayutthaya Kingdom it served as a crucial fortress and strategic buffer in stymieing Burmese advances on the Ayutthayan capital during the Burmese-Siamese wars (16th-19th centuries). For further examples see J.Boisselier, Sculpture of Thailand, 1974, p.31, no.12. Also compare with a Buddha from Wat Phra That in the Kamphaeng Phet National Museum (D.F.Rooney, Ancient Sukhothai: Thailand's cultural heritage, Bangkok, 2008, p.211; and another head, ibid, p.51).Cette grande et imposante tête de Bouddha est exécutée dans le style de Kamphaeng Phet, qui fait écho à celui de la ville voisine de Sukhothai, mais avec des différences subtiles, comme des traits du visage plus nets et des sourcils qui forment une ligne continue au-dessus de l'arête du nez. Dans cet exemple, la qualité supérieure se manifeste dans l'exécution méticuleuse des lignes courbes des paupières à peine entaillées et des lèvres fines mais charnues. Il peut être comparé favorablement à un autre exemple vendu chez Bonhams New York, 14 mars 2016, lot 80. Voir également une autre pièce publiée dans S.Lopetcharat, Thailand, A History in Buddha Image, vol.1, Bangkok, 2006, p.364.Kamphaeng Phet, qui signifie littéralement « mur de diamant », était une ville fortifiée d'une importance économique et militaire capitale. Fondée par le roi de Sukhothai Li Thai (vers 1346-74) au milieu du XIVe siècle, elle était idéalement située pour le commerce fluvial avec le sud de la Birmanie, le royaume de Lan Na et le bassin du Chao Phraya en Thaïlande centrale. Prise plus tard par le royaume d'Ayutthaya, elle a servi de forteresse et de zone tampon stratégique pour contrecarrer les avancées birmanes sur la capitale ayutthayenne pendant les guerres birmanes et siamoises (XVIe-XIXe siècles).Pour d'autres exemples, voir J. Boisselier, Sculpture de Thaïlande, 1974, p. 31, n° 12. Comparée également avec un bouddha du Wat Phra That du Musée national de Kamphaeng Phet (D.F.Rooney, Ancient Sukhothai : Thailand's cultural heritage, Bangkok, 2008, p.211 ; et une autre tête, ibid, p.51).泰國 泰可泰學派 甘烹碧 十四世紀 銅佛首來源：巴黎Robert Rousset（1901-1981）舊藏，於1925年7月5日得自法國駐暹羅全權公使Pila先生巴黎Jean-Pierre Rousset（1936-2021）舊藏此尊宏大而有氣勢的佛首呈現甘烹碧風格，與鄰近的素可泰風格相呼應，卻略有差異，如整體面部特徵更為清晰，眉毛接鼻樑連成一線。從微閉微張的眼瞼及薄而豐盈的唇部可見此例工藝上乘、一絲不苟。比較一例售於紐約邦瀚斯，2016年3月14日，編號80，此尊毫不遜色 。另見一例，載於S.Lopetcharat，《Thailand, A History in Buddha Image》，卷1，曼谷，2006年，頁364。 甘烹碧泰文原意為「如鑽石般的城牆」，甘烹碧曾是具備關鍵的經濟與軍事重要性之圍城。於十四世紀中葉由素可泰國王李泰（約1346至1374年）建立，地處與緬甸南部、蘭納王國及泰國中部湄南河盆地作河上貿易的理想地理位置。隨後被大城府吞併，在暹緬戰爭期間（16至19世紀），淪爲抵抗緬甸軍進攻大城府首都的軍事要塞及戰略緩衝區。 見一例載於J.Boisselier，《Sculpture of Thailand》，1974年，頁31，編號12 。另比較一例甘烹碧國家博物館藏玉佛寺佛像，載於D.F.Rooney，《Ancient Sukhothai: Thailand's cultural heritage》，曼谷，2008年，頁211；及另一例載於同一書，頁51。For further information on this lot please visit Bonhams.com

Bachmann OO gauge Capital Commuter Network South East 30th Anniversary Set 30-430 boxed

Banknoten Deutschland, 1.Hälfte 20.Jh. - Deutsches Kaiserreich, Notgeld wie z.B. 1 x Stadt Hanau - Gutschein Nr. 139447 über 25 Pfennig, 12.8.1920, Erhalt II. Weimarer Republik, Inflationgeld wie z.B. 1 x Württembergische Landeshauptstadt Stuttgart - Stadtkassenschein 5 Millionen Mark, 1.8.1923, Erhalt II-III oder 1 x Stadtgemeinde Ludwigsburg - Gutschein über 100 Millionen Mark, 1.10.1923, Erhalt II-III. 3 x Protektorat Böhmen und Mähren. Erhalt stets verschieden. Am besten eingehend begutachten.| Banknotes Germany, 1st half 20th century - German Empire, emergency money such as 1 x City of Hanau - voucher no. 139447 for 25 Pfennig, 12.8.1920, receipt II. Weimar Republic, inflation money like e.g. 1 x Wuerttemberg state capital Stuttgart - city treasury note 5 million Marks, 1.8.1923, receipt II-III or 1 x municipality Ludwigsburg - voucher over 100 million Marks, 1.10.1923, receipt II-III. 3 x Protectorate of Bohemia and Moravia. Condition always different. Best to examine in detail.

Großes Marmorkapitell, Italien, 13./14. Jhdt. Einteilig gearbeitetes Kapitell aus weißem Marmor. Leicht konische Form mit umlaufend stilisiertem Akanthuslaubdekor. Am oberen Rand umlaufende Wulst. Stark bestoßen, das Innere im 19. Jhdt. als Pflanzschale ausgehöhlt. Höhe 52 cm. A large Italian marble column capital, 13th/14th century Einteilig gearbeitetes Kapitell aus weißem Marmor. Leicht konische Form mit umlaufend stilisiertem Akanthuslaubdekor. Am oberen Rand umlaufende Wulst. Stark bestoßen, das Innere im 19. Jhdt. als Pflanzschale ausgehöhlt. Höhe 52 cm.

Shingai Shoniwa / AmechiA Stage Worn Black and Red Sequin Ensemblecomprising a sequined cape top and a pair of hot pants applied with silk roses featuring, as worn on stage by Shingai in The Noisettes at Le Trabendo, Paris, 2009, and Capital FM Jingle Bell Ball at O2 Arena, London Hips 22'/56cm (2)Footnotes:ProvenanceOffered by singer, songwriter and musician, Shingai Shoniwa.This ensemble can be seen being worn here: https://www.youtube.com/watch?v=DzHDWI_ERgsAbout the outfit Shingai says: 'I first met Amechi Ihenacho when I was living in a warehouse flat in pre-gentrified Dalston when it was a vibrant, super diverse and affordable artistic area. Amechi had a vintage shop which doubled up as his atelier and occasional bar, frequently visited by Pam Hogg, Florence Welch & Paloma Faith. I told him I wanted a cape and high-waisted shorts for an upcoming tour and when he showed me the fabric he had in mind (black sequins with giant crimson roses), I almost fainted. I first debuted the outfit at the Trabendo in Paris, it was the last night of what had been a gruelling but unforgettable and exciting European Tour with Muse. When I arrived a thousand and one red roses had been sent to me by an Italian super fan and millionaire. After the show I asked him why a thousand and one roses, he replied that the most fresh roses ever sent to a singer was a thousand to JLo, however, he felt that my talent eclipsed any singer that he had witnessed. The thousand and one roses would provide the stage decoration for our final tour that year.'For further information on this lot please visit Bonhams.com

A pair of George III Paktong candlesticksunmarked Of typical column form, cast, topped with Corinthian capital and removable shaped-square drip-pan, fluted pillar on a stepped square base with gadroon borders, the monogram 'AC' inscribed to one side, height 28cm. (2)Footnotes:Property of a private collector.A similar pair is illustrated in Keith Pinn, Paktong: The Chinese Alloy in Europe 1680-1820, (Suffolk: Antique Collectors Club, 1999), p.99, plate 59.Paktong is an alloy that can trace its roots in China to the 4th century AD, created by the process of combining copper, nickel and zinc. The name is derived from the Chinese 'baitong', meaning 'white copper'. In Ming-Qing China, it was widely used for making every day domestic items such as water pipes for smoking, bowls, dishes, ink boxes, and so on. In the late 17th century, it was frequently exported to Europe where it became fashionable for decorative domestic wares. English makers, such as Matthew Boulton, saw the potential for making candlesticks and other goods from paktong as the metal could be cast, took a high polish and was slow to tarnish. The imported alloy was therefore used by silversmiths and by Birmingham brass manufacturers to imitate silverware. A page from one of Boulton's books from the Soho factory in 1769 lists twenty-two 'subjects into which it (paktong) may be manufactured'. Once called 'Tutenag' or 'Chinese white copper' it is believed that English and European makers were experimenting with the alloy as early as the opening decades of the eighteenth century. However most surviving paktong is from the 1760-1780 period. Candlesticks are often found in paktong, but other items were also created from the versatile alloy. Robert Adam designed paktong fire grates for Syon House and a 1782 inventory of Osterley Park House records the fire grate, fender and fire irons as paktong. Paktong died out as a product for high fashion candlesticks and other objects in the late 18th Century, when Sheffield plate emerged as a cheaper alternative.Also refer to Chao Huang, Metallurgical knowledge transfer from Asia to Europe: Retrospect of Chinese paktong and its influence on Sweden and Austria, accessed via https://doi.org/10.4000/artefact.1996For further information on this lot please visit Bonhams.com

Francis Picabia (1879-1953), Jeudi (Thursday), signed and dated 'Francis Picabia 1951' (lower right), oil on canvas, 46x38,5 cm, The elusive and mercurial Francis Picabia (1879-1953) dedicated his life escaping any and every label that couldpossibly be put on him, whether it regarded his personal life or his artistic endeavours.In 1912 a New York Times critic called him the “Cuban who out-cubed the Cubists”, much to Picabia’s pleasure,as he loved to provoke and to play up his “exotic” background. Born in Paris to a wealthy Cuban father and aFrench mother with her own fortune, Picabia actually never fitted in any specific culture or art scene, nor couldhe or would he play the ‘poor Romantic painter’ card.After studying at the École des Arts Décoratifs in Paris, Picabia tries his hand at Impressionism, but whereasMonet and his colleagues work en plein air, Picabia uses postcards as inspiration. This approach is key tohis art: he is playing with the assumptions and structures of a certain style, translating these into a ready-madestyle, and thus questioning the whole movement altogether. The next typical Picabia move is to then make aclean break and jump to a completely different style, while vehemently condemning the previous one. Thisprocedure would become Picabia’s very trademark.Picabia’s career is one that covers most art movements of the first half of the 20th century. After a brief periodof experimenting with Impressionism and Fauvism, he transitions to Cubism, only to denounce the latteragain at the onset of World War I. During WWI Picabia spends quite some time in New York, then a haven forEuropean artists escaping the war. Here he plays a catalytic role in bringing modern art to America. He diveshead over heels into Dadaism together with his Dada friends Marcel Duchamp, Man Ray and the photographerAlfred Stieglitz. His Portraits Mécaniques, in which bodies morph into pistons and pumps, were exhibited atAlfred Stieglitz’s gallery 291 while Stieglitz’s journal of the same name carries numerous other Picabia’s Dadacontributions. Travelling between New York, Zürich and Barcelona, Picabia picks up new artistic ideas and artfriends as new toys to play with, ever ready to let go of them as soon as he becomes captivated by new ones.By 1920 Dada slowly sizzles out and we see Picabia denounce the movement in his typical way with the crypticstatement: “I separated from Dada because I believe in happiness and I loathe vomiting; the smells of cookingmake a rather unpleasant impression on me.”Dadaism is followed by a short fling with Surrealism while the frenzied mood of the 1920s and 1930s is reflectedin Picabia’s skipping between abstraction, figuration and optical illusion on an almost daily basis. Time andtime again he is playing with the fictional idea of originality and the boundaries of good taste. Materials likehousehold paint, feathers and pasta are put to good use in his everlasting attempt to deliberately mock theholiness of a certain style.In 1937, Picabia’s work takes yet another surprising turn as he starts to produce realistic nude portraits. Subjectsfrom soft-core pornographic magazines are worked over with smooth, fluid brushwork to imitate the sheen ofphotographic paper. Initially, their garish appearance was much frowned upon, decennia later to be connectedwith the work of Rauschenberg, Warhol and Koons and considered a tongue-in-cheek attack on mass media.After WWII Picabia leaves Southern France to return to Paris and although plagued by ill health during his finalyears, he keeps on working tirelessly. True to his fierceful dislike of consistency he creates hybrid works thatmerge the very disciplines he had previously helped shape. See the present lot (Jeudi/Thursday, no. 31) on sale,showing one of his latest works of 1951 and in itself reminiscent of a work by him of 1949, titled ‘Colloquium’.“Notre tête est ronde pour permettre à la pensée de changer de direction: Our heads are round so ourthoughts can change direction”, is another famous quote by Picabia. In 2016 the Museum of Modern Art in NewYork took this citation as the title for its extensive exhibition of Picabia’s work. (MoMa, 2016-17). After havingconsidered his manifold and capricious career we can see why. Impressionism, Cubism, Dadaism, Surrealism,Realism: Picabia has been there and done that. As his friend Marcel Duchamp once said, his oeuvre was a ‘akaleidoscopic series of art experiences’.Consistent in being inconsistent is one thing, but the true genius of Picabia does reveal itself if you try to lookpast Style with a capital S. With wispy watercolours on the one hand and kitschy photo-realism on the other,often in one and the same year, he is the first to push the boundaries between high art and low art, betweendelicate good taste and downright kitsch.Especially in this era where the premises of high art and low art are continuously being questioned, Picabia canbe looked upon as a refreshing example who knew how to scramble elements of good and bad taste. Or, in hisown words: “If you want to have clean ideas, change them like shirts.”-Francis Picabia: ‘the grasshopper of contemporary art’ in: Christies, stories, 18-02-2022, Francis Picabia: ‘the grasshopper of contemporary art’ | Christie’s(christies.com)-Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction / by Anne Umland et al. (Catalogue accompanying the major 2016 exhibitionon the artist, jointly organized by The Museum of Modern Art, New York, and the Kunsthaus Zürich. NY : MoMa, 2016-Francis Picabia: the art ‘loser’ who ended up winning it all : an extravagant new retrospective of the avant-garde French-Cuban artist highlights oftentroubling yet always distinctive work / by Jason Farago, in: The Guardian 23-11-2016.-Dada and beyond: The many Artistic lives of Francis Picabia / by Albert Mobilio, in: New York Times 02-12-2016.-Francis Picabia, 1879-1953, MoMa, Art and artists, Francis Picabia | MoMA-Francis Picabia, awful artist and provocatuer of genius / by Michael Gibson, in: New York Times 21-12-2002-Picabia / by W.A. Camfield, NY : Guggenheim Foundation, 1970, Provenance:-Anon. sale, Loudmer Paris, 23 March 1992, cat. no. 175.-Collection Galerie Beaubourg, Marianne and Pierre Nahon, Ventes.-Galerie Lasés, Amsterdam, where acquired by the present owner.Literature: M.L. Borràs, 'Picabia', London 1985, p. 500, cat. no. 1149, illustrated.'Francis Picabia Anthology', p. 195, cat. no. 124, illustrated in colour.Exhibited:-Paris, Palais des Congrès, 'Picabia: dandy et héraut de l'art du XXe siècle', 1980-81, cat. no. 79.-Milan, Studio Marconi, 'Picabia, Opere 1898-1951', February - March 1986, cat. no. 48, illustrated in colour.-Florence, Galleria Vivita 1, 'Francis Picabia', 14 October - 10 December 1988, p. 47, illustrated in colour.-Montrouge, 39ème Salon de Montrouge, 'Picabia et Montrouge-Barcelone', April - May 1994, p. 56, illustrated in colour.-Lisbon, Centro Cultural de Belém, 'Francis Picabia antologia/anthology', 1997, p. 195, cat. no. 36, illustrated in colour.-Vence, Galerie Beaubourg, 'Picabia', July - October 1998.

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Seated Woman", ca.1920-25.Terracotta sculpture.Signed at the bottom.Wooden base.Measurements: 19 x 9 x 9 x 9 cm.The serene energy, the invisible force that palpitates in nature and in the individuals most deeply rooted to it (peasants, farmers...) emerged from the figures ennobled by Manolo Hugué. The work in question was probably made in Ceret, an artistic enclave in which synergies with other sculptors, such as Aristides Maillol, were a constant feature. The slight turn of the head imprints a subtle movement that runs from the nape of the neck to the right foot of the essential balanced figure, a solid and at the same time ductile volume. Hugué was a great scholar of femininity.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.