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Click here to subscribeA Derby porcelain figure of William Shakespeare, c.1770-5, after Peter Scheemakers, with a scroll inscribed in gilt with verses from The Tempest, leaning on books on a pillar, wearing a turquoise cloak, with gilt highlights, on a scrolled base, 30cm highProvenance: The collection of John Savident (1938-2024) Condition ReportMissing fingers, chips to the scroll and pedestal.
▲ Eugenio Pattarino (Italian, 1885-1971), an Art Deco porcelain Venetian masked lady, modelled wearing a hat, a cloak and a mask, inscribed to the reverse and labelled 'Casa Del Regalo Bortoli Venezia', 21.5cm wide 31.5cm highCondition ReportCrazing and rubbing. Minor chips to the fringing and cloak and hat.
A Pirkenhammer porcelain figure 20th century, of an exotic dancer, wearing a gilt crown and patterned cloak, printed Pirken-Hammer mark, 38cm highand a porcelain figure, of a girl holding her hat in the wind, a hat box beside her, unmarked, 24cm high (2)Condition ReportRubbing to the gilt crown and the other with rubbing to the hat.
Hand painted figure of a beautiful 18th century lady in a pink gown, purple cloak, and white ruffled linen cap with a blue ribbon bow. Royal Doulton backstamp. Artist: Leslie HarradineIssued: c. 1947-1950Dimensions: 4.75"L x 4"W x 7.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
AFTER FRANCOIS GIRARDON (1628-1715), AN EQUESTRIAN BRONZE OF LOUIS XIV ON HORSEBACK FRENCH, 19TH CENTURY On a variegated green marble plinth of arched rectangular form bronze 41.5cm high, overall height 56cm high, 41cm wide, 20.5cm deep Provenance: Purchased Christie's London (5191), 1994, Lot 19 (£7,058) Private Collection, London This bronze is a reduction of the monumental equestrian statue of Louis XVI which was cast by Balthasar Keller in 1692 and installed in the Place Louis-le-Grand (Place Vendome) in Paris in 1699. The bronze was destroyed in 1792 during the post-revolution years. Designed by the sculptor Francois Girardon, the statue was conceived as the centrepiece to the square created by the architect Jules Hardouin-Mansart. Girardon depicted Louis XIV as a Roman emperor in the manner of antique classical statues. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole- slightly dirty- some build up of dirt to recessed areas- such as back of cloak. Paler patination form handling/age/dusting notably to- face, tops of horse's head and neck, mixed speckled patination, Front right leg with holes and repairs to fracture Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Kenner Star Wars Vintage Sandpeople 12 Back-B AFA graded C75 B80 F85 (graded in 2006). Note that the figure is graded C85 (in 2006). However there is noticeable plastic degradation to the cloak. Which is likely this occurred after the grading process.The card also has a faint ink line across the middle.
Attributed to Sir William Segar (fl.1588-1633) Portrait of Gilbert Talbot, 7th Earl of Shrewsbury, three-quarter-length, in a grey and white striped doublet with white ruff, and a black cape and black hatinscribed 'ANNO:1596:/AETAT:SUAE/:43:', oil on panel112 x 77cmProvenance: Sotheby's London, 'British Paintings,1500-1850', 9 April 1997, lot 6.Condition ReportOverall: 132 x 98cmThe painting is executed in oil on a panel support. The panel appears to be formed from four boards of varying width in a vertical orientation. The vertical panel joins have been reinforced from the reverse with wooden battens and the reverse of the panel has been smoothed down during this process. There is evidence of movement in the panel joins although they currently appear stable.The paint layers are stable overall but have suffered from loss and damage in the past which has been restored. There are localised areas of paint which have a raised craquelure pattern and the cracks have darkened with age - one notable area of this is visible in the sitter's face. The brush marks of the priming are visible in thinner paint passages including the face and cream doublet, possibly exacerbated through abrasion. The black areas of paint appear well preserved for a painting of this date, but in localised areas the surface texture shows there has been large losses in the sitter's cloak which have been filled and retouched. Other large areas of overpaint include the end of the sitter's left hand sleeve. There appear to be two campaigns of overpaint, one below the varnish layer and one below. On the sitter's face, overpaint can be seen to partially cover some of the dark age cracks. Some of the overpaint is slightly crude but the overall appearance of the painting is good from a normal viewing distance. The varnish layer is clear, semi-matte and even. There are a few scuffs to the varnish and abrasion caused by framing around the edges.
ALT ROCK/ WAVE/ PROG - LP/ 12" COLLECTION. A quality collection of 38 LPs/ 12". Artists/ titles include Pigface - Welcome To Mexico (DVN3, Records VG+/ sleeve VG+), King Crimson - In The Court Of The Crimson King (ILPS 9111 pink-rim label), Kevin Ayres-John Cale-Brian Eno - June 1974, Rage Against The Machine - Bullet In The Head, The Crazy World Of Arthur Brown - Strange Lands, The Prunes - Lite Fantastik, Gavin Friday And The Man Seezer - Each Man Kills The Thing He Loves. Beers Steers & Queers - The Album. Virgin Prunes, Therapy, Wall Of Voodoo, Wiseblood, Visage, The Human League, MESH, Devo, Psychedelic Furs, Gaye Bykers On Acid, Cloak And Dagger. Condition is generally VG to Ex.
Figure of a young girl seated on a bench. Burgundy cloak and black bonnet with lavender ribbon colorway.Royal Doulton backstamp. Artist: Leslie HarradineIssued: Circa 1953-1976Dimensions: 3" L x 3.75" W x 4.75" HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Very rare prototype colorway figure of a jester deep in thought. Dark navy blue leggings and tunic with gilt accents. Wrapped in a green and red cloak with golden-colored bells. Resting on a cream-color pillar in a marble appearance. Marked Royal Doulton Pre Production. Dimensions: 4.75"L x 4"W x 9.75"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
A mixed group of antique jewellery, four items of hair set mourning jewellery including a pin, brooch with black enamelling and two pendants; two cloak pins with chain link and faceted red beads; a brooch set with clear paste stones (one stone missing);, a mourning brooch with glass missing; a stick pin with three old-cut diamonds; a curved brooch, pin missing; all items unmarked & untested, total gross weight 36.1grams, (10).
Durotriges stater, circa 1st century BCE. Cranborne Chase type. Wreath, cloak and crescents. R. Dis-jointed horse left, twelve pellets above. Ref: Durotriges stater, circa 1st century BCE. Cranborne Chase type. Wreath, cloak and crescents. R. Dis-jointed horse left, twelve pellets above. 19mm, 5.16g. Ref:Â ABC 2157, S.365.
* Greenaway (Kate, 1846-1901). Little Red Riding Hood, watercolour on paper, depicting a young girl wearing a short red cloak, a basket over her right arm, initialled lower left, 22 x 16 cm mount aperture, framed and glazed (38 x 34 cm)QTY: (1)NOTE:Provenance: Christopher Foyle, Beeleigh Abbey.
* Greenaway (Kate, 1846-1901). Little Red Riding Hood and the Wolf, watercolour on paper, depicting a young girl wearing a long red cloak, standing next to a large wolf, initialled lower right, thin surface scratch across young girl's dress, 21.5 x 19 cm mount aperture, framed and glazed (38 x 34 cm)QTY: (1)NOTE:Provenance: Christopher Foyle, Beeleigh Abbey.
Edward Burra (British, 1905-1976)Dr Fu Manchu signed 'Burra' (lower right)pencil and watercolour61 x 48.9 cm. (24 x 19 1/4 in.)Executed in 1931Footnotes:ProvenanceWith The Lefevre Gallery, London, where acquired by the family of the present ownerThence by descentPrivate Collection, U.K.LiteratureAndrew Causey, Edward Burra: Complete Catalogue, Phaidon, Oxford, 1985, cat.no.80 (ill.b&w)A fictional character from a series of novels by English author Sax Rohmer, Dr. Fu Manchu is characterized by his goal to conquer the Western world using his hordes of henchmen and collection of mysterious tools. First appearing in The Insidious Dr Fu-Manchu in 1912, he was featured in cinema, television, radio, comic strips and books for over 90 years, becoming an archetype of the evil, criminal genius. A number of novels were produced until 1917 when the character took a fourteen-year absence before re-emerging with a vengeance in The Daughter of Fu-Manchu in 1931, the same year the present work was painted.As a voracious enthusiast of popular culture, Burra would have been very familiar with the character of Fu Manchu and it is likely the figure portrayed here depicts (or rather, in Burra's inimitable manner, partly suggests) one of his female conspirators. The original story details how Fu Manchu sent a woman to check if his target had been successfully murdered and she is described as 'A girl wrapped in a hooded opera-cloak stood at my elbow, and, as she glanced up at me, I thought that I never had seen a face so seductively lovely nor of so unusual a type. With the skin of a perfect blonde, she had eyes and lashes as black as a Creole's, which, together with her full red lips, told me that this beautiful stranger, whose touch had so startled me, was not a child of our northern shores.' The author further recounts her 'slim hand with jewelled fingers', 'big questioning eyes' and the 'bloom of her red lips, due to art not to nature'. Burra, perhaps more so than any other artist, is a master of the strange and the sinister and here is our accomplice, complete with the aforementioned wide eyes and ruby red painted mouth set against lurid green skin in the artist's typically grotesque fashion. Surrounding her is the evidence of her labour – a bloodied knife and even severed body parts such as eyes and ears can be located nestling amongst cheering imagery such as fruit, bright blooms and even pastoral animals. This combination of the malignant with the benign is signature Burra and leads to an overall strangeness in keeping with Surrealist affinities. Painted in the early 1930s during the artist's most critically successful period, a Surrealist influence is clear to see in Dr Fu Manchu through the skewed perspective, heightened palette and unnerving portraits (both recto and verso) and it is easy to understand how, with Burra's love of theatre and the macabre, the subject appealed.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lynn Chadwick R.A. (British, 1914-2003)Pair of Sitting Figures VIII signed, numbered and dated 'CHADWICK 75/695B 2/8' and further signed with initial (on the back of each figure's cloak)bronze with a black patina30.5 cm. (12 in.) high (female figure); 28.7 cm. (11 1/4 in.) high (male figure)Conceived in 1975, and cast in 1975 by Lypiatt Foundry(2)Footnotes:ProvenanceAcquired by the mother of the present owner in the 1980s, thence by descentPrivate Collection, U.S.AExhibitedCopenhagen, Court Gallery, Lynn Chadwick, December 1975-January 1976 (another cast, catalogue untraced)LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, pp.296-7, cat.no.695B (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, pp.304-5, cat.no.695B (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.310, cat.no.695B (ill.b&w, another cast)We are grateful to the Artist's Estate for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
dating: Second half of the 19th Century provenance: France, A bronze sculpture depicting Napoleon during the Egyptian Campaign, mounted on a dromedary, with his cloak, saber, and bicorne hat. A beautiful sculptural group, the animal's tail was likely restored. Set on a later wooden base. height total 42 cm.
Clement Oswald Skilbeck (1865-1954)Justice, 1914a cast silver cloak claspsigned C O Skilbeck, 1914 in the case11.5cm. diam. Catalogue notesClement Skilbeck exhibited at the fifth, sixth, seventh and eighth Arts and Crafts Exhibition Society exhibitions , between 1896 and 1906. He was considered one of the last Pre-Raphaelite artists and was friends with William Morris and Edward Coley Burne-Jones.
A Chelsea figure of Mercury, circa 1756-58Modelled amongst puce clouds, wearing a winged black helmet, his cloak draped over his right shoulder tied by a green cord painted in light yellow and puce, 19.5cm high, red anchor markFootnotes:ProvenanceBonhams, 2 November 2011, lot 53A Gold Anchor group of Mercury and Venus is illustrated by F Severne Mackenna, Chelsea Porcelain: The Gold Anchor Wares, pl.50, fig.97.For further information on this lot please visit Bonhams.com
with pressed felt head, painted narrow brown side glancing eyes, two-tone pink painted pursed lips, felt ears, swivel head, jointed elongated cloth body with felt hands with three fingers together, original white, black and green costume with cloak and black oil-cloth shoes —22in. (56cm.) high (moth damage, mainly to cloak and trousers and ageing)
the poured wax shoulder-head with head turned to the right, wrinkled face with wide toothy grin, brown hair wig, well sculpted hands and barefoot, papier-mâché body, original clothes including red felt cloak, basket of wares around neck and further basket and wares at her feet, under glass dome on wooden base —15in. (38cm.) height of dome
1904 Grand Prize Medal of the Louisiana Purchase Exposition by Weinberg, triangular, bronze, 70mm., the obverse depicting Columbia with her arms spread wide holding the US flag with youthful maiden at her side, representing the Louisiana Territory is divesting herself of the cloak of France, the reverse depicting an Eagle with outspread wings on panel and inscribed GOLD MEDAL LOUISIANA PURCHASE EXPOSITION, the 1904 Olympic Games in St. Louis were held in conjunction with a World's Fair
Attributed to Edward Norgate (British, 1581-1650) Portrait miniature of John Harrison Senior (1552-1628)watercolour on vellumwearing black cloak, white pleated ruff, white cuffs, gold and ruby ring, his right hand raised to his chest, against blue background5.7 x 4cm. John Harrison was High Master of St. Paul's School and served the young Prince Henry before entering the ministry. A noted antiquary, the jewelled ring in the present miniature alluding to this interest, his collection was acquired after his death by Sir Simonds D'Ewes. The present lot is based on a large scale composition in the City Art Gallery, York.Provenance; Bonham's sale Lot 26, November 24, 2010 & Sotheby's, 10 July 1990, lot 8 ***CONDITION REPORT***A few tiny dirt flecks but essentially very good condition, part-gilt turned wood frame with Bonham's barcode label verso. PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Y English School circa 1720 Portrait miniature of a gentlemanoil on ivorywearing a blue cloak, lace cravat and long flowing wig5.3 x 4.1cm. CITES Submission reference VNHAAGRT CITES is a multilateral treaty to protect endangered plants and animals. CITES is a multilateral treaty to protect endangered plants and animals. ***CONDITION REPORT***Possibly some retouching to the blue at the edge otherwise a few small dirt spots. gilt locket frame dented at the back. PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A collection of fourteen original Star Wars figurines including Han Solo in trench coat, Hoth Rebel Commander, Hoth Snow Tropper, Luke Skywalker Bespin, two Yoda's (one in cloak), Han Solo Bespin, Hano Solo Hoth, two AT-AT Driver's, AT-AT Commander, Denger (all dated 1980), Bounty Hunter and Bespin Twin Pod Cloud Pilot (both dated 1981)
A group of Parian busts and figures of writers and philosophers, to include a standing figure of John Milton, busts of Charles Dickens (lacking socle base), Lord Byron, Percy Bysshe Shelley, William Shakespeare, Sir Walter Scott, Sir Isaac Newton, Robert Burns and Johann Wolfgang von Goethe, largest measuring 35cms (9)11Milton - surface stains and dirt, possible firing crack to column, staining to plinth base, hole to back of head approx 1mm, surface re touching to the knee and back of the cloak visible to the eye and under UVDickens - surface stains and dirt, firing crack to underside of base, Byron - surface stains and dirt, small hole 1mm back of head, black stain in hairShelley - large chip to base of plinth (sharp to touch) surface staining and dirtShakespeare - surface staining and dirt Scott - surface staining and dirt. Newton - socle base loose, hole to back of head, possible small surface retouching to hair. Surface stains and dirt.Burns - surface staining and dirt Goethe - Filthy dirty with surface staining, abrasion to the end of the shoulders
Barocke Maria ImmaculataHolz polychrom gefasst, teils vergoldet, Glasaugen, rotblonde Echthaarperücke, Bronzekrone mit Resten einer Vergoldung. Frühes 18. Jh. H 57 cm. 1,9 kg. Mit raumgreifender Geste ergriffen aufblickende Jungfrau Maria im sehr bewegt gestalteten blauen Mantel. Auf dem Wolkenberg mit Mond stehend, tritt sie gleichzeitig auf die Schlange. Jünger überfasst, einige wenige Anobienspuren. Aufrufzeit 13. | Juni 2024 | voraussichtlich 15:08 Uhr (CET) Baroque Maria ImmaculataWood polychrome painted, partly gilded, glass eyes, reddish-blonde human hair wig, bronze crown with remnants of gilding. Early 18th century. H 57 cm. 1.9 kg. With an expansive gesture, the Virgin Mary gazes up in a very animated blue cloak. Standing on the mountain of clouds with moon, she simultaneously steps on the snake. Disciples embraced, a few traces of anobia. Aufrufzeit 13. | June 2024 | probably 15:08 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
LÜDICKE, Marianne(1919 Frankfurt/M - 2012 Marquartstein) Sitzender KnabeBronze patiniert. Mit Monogramm bezeichnet. H 12 cm. Im Schneidersitz auf der Erde sitzendes Kind, das unter einem Umhang geborgen ist. Bildhauerin in Weisham, studierte an der Akademie München bei Maxon, Meisterschülerin von Knecht. Literatur : Vollmer. Aufrufzeit 13. | Juni 2024 | voraussichtlich 15:43 Uhr (CET) LÜDICKE, Marianne(1919 Frankfurt/M - 2012 Marquartstein) Sitting boyBronze patinated. Inscribed with monogram. H 12 cm. Child sitting cross-legged on the ground, covered by a cloak. Sculptor in Weisham, studied at the Munich Academy under Maxon, master student of Knecht. Literature : Vollmer. Aufrufzeit 13. | June 2024 | probably 15:43 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
STATUETTE DU SEPTIÈME KARMAPA, CHODRAG GYATSO, EN ALLIAGE DE CUIVRE DORÉTIBET, XVIE/DÉBUT XVIIE SIÈCLEA Tibetan inscription at the back of the base: རྟོག་གེའི་ཀླད་འགེམས་ཆོས་གྲགས་རྒྱ་མཚོའི་ཞབས། Translated: 'Through reasoning confounding [others], to Chodrag Gyastso, I bow!' Himalayan Art Resources item no. 1824 16.8 cm (6 5/8 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF THE SEVENTH KARMAPA, CHODRAG GYATSO TIBET, 16TH/EARLY 17TH CENTURY Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 474, no. 210. Exhibited Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017. Provenance Private European Collection Representing the Seventh Karmapa, Chodrag Gyatso (1454–1506), this figure holds the mudra indicative of one's bodhisattva commitment. The Karmapa wears the black hat emblematic of his office as the leader of the Karma Kagyu order. A great deal of attention has been given to Chodrag Gyatso's robes, which are embellished with incised floral and cloud patterns, and an impressively weighted outer cloak which hangs off the back of the lama's shoulders, illuminating a thick hem with circular medallions and vertical pleats. By the 13th century, religious communities in Tibet sought to create patterns of succession whereby charismatic leaders would transfer their office and wealth to the next generation, thus maintaining firm economic, social, and political foundations for their institutions. The Karma Kagyu may have been the first to initiate a mode of institutional succession based on reincarnation. This ensured political continuity and eliminated the debilitating sibling rivalry that inevitably plagued biological succession. Ultimately, this facilitated a, 'transition from charisma of person to a charisma of office' (T.V. Wylie, 'Reincarnation: A Political Innovation in Tibetan Buddhism', Proceedings of the Coma de Koros Memorial Symposium, ed. Louis Ligeti, Budapest, 1978: 579-86, p. 584). The figure's softly portrayed facial features parallel others from the Kagyu tradition of the same period including examples of the First and Sixth Shamarpa (Bonhams, Hong Kong, 5 October 2020, lots 15 and 18), the Fourth Shamarpa from the Claude de Marteau Collection (Bonhams, Paris, 12 June 2023, lot 35), and one of an identified Karmapa (Bonhams, Hong Kong, 30 November 2022, lot 1029).銅鎏金七世噶瑪巴確札嘉措像西藏 十六世紀/十七世紀早期著錄Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁474，編號210展覽「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日來源歐洲私人珍藏此尊莊嚴而寧靜的造像呈現七世噶瑪巴確札嘉措（1454–1506），其手印獨特，表徵菩薩之發願。噶瑪巴戴黑帽，象徵其為噶瑪噶舉內之領袖地位。確札嘉措之袍服在此得到極為細緻呈現，刻以精巧花樣以及雲紋。而自其背後可見一件頗為厚重之垂落於肩下，寬大衣領上刻團紋，並表現以垂直褶皺，十分富麗。至十三世紀，西藏的宗教社群尋求創建一種繼承模式，使得卓有聲望之領袖得以將其職位與財富交予下一代，從而穩固其體系之堅實的經濟、社會與政治基礎。噶瑪噶舉或許是第一個以轉世為基礎而建立傳承模式之派系。此舉確保了政治之連續性，並消除了血緣繼承所不可避免的手足相憎、相殘。最終，這促成了一種「將人之個體魅力轉化為一個傳承所固有之魅力」（見T.V. Wylie，〈Reincarnation：A Political Innovation in Tibetan Buddhism〉，《Proceedings of the Coma de Koros Memorial Symposium》，Louis Ligeti 編，布達佩斯，1978年，頁584）。造像所呈現的柔和的面部特徵，與同一時期噶舉傳承中的其他造像十分相似，例如一世及六世夏瑪巴像（邦瀚斯，香港，2020年10月5日，拍品15及18），來自克勞德 · 德 · 馬圖收藏之四世夏瑪巴像（邦瀚斯，巴黎，2023年6月12日，拍品35），以及另一尊身份未定之噶瑪巴像（邦瀚斯，香港，2022年11月30日，拍品1029）。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
STATUETTE DU QUATRIÈME SAKYA TRIDZIN, SONAM TSEMO, EN ALLIAGE DE CUIVRE DORÉTIBET, XVIE SIÈCLE Himalayan Art Resources item no. 1825 13 cm (5 1/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF THE FOURTH SAKYA TRIDZIN, SONAM TSEMO TIBET, 16TH CENTURY Provenance Sotheby's, New York, before 1976 Sonam Tsemo (1142-82) held office as Sakya monastery's 'throne-holder' (Sakya Tridzin) for only three short years before passing it to his younger brother so that he could devote his life to unencumbered study. He never married or fathered children, preferring the life of a retreatant, yet Sonam Tsemo remained a lay practitioner, indicated by his long-sleeved cloak. Revered for his scholasticism as the Sakya's Second Founding Patriarch (Jetsun Gongma Nga), his foundational texts include a commentary on the Bodhicharyavatara by Shantideva, explanations on the final two chapters of the Hevajra root tantra, instructions for reading Sanskrit, and Door to the Dharma, a text giving an overview of all of the Buddha's teachings. Portraits of Sonam Tsemo, like the present lot, often show him wearing finely ornamented robes, with curled locks and a gentle countenance. Two further bronzes, and a painting of the master with his younger brother, Dragpa Gyaltsen, depict him similarly (HAR 7835; Bonhams, New York, 21 March 2023, lot 521; and Museum of Fine Arts Boston, 67.831, respectively). In all three sculptural examples, his cloak features a cloud-collar, a Chinese motif with connotations of heavenly authority. The cloud-collar was adopted by the Sakya, who enjoyed administrative rule of Tibet under Mongol hegemony during the Yuan dynasty (1279-1368). The imperial support of Sonam Tsemo's noble line shows further articulation in the engraved saptaratna ('seven jewels'), the insignia of a chakravartin, or divine ruler. The intricately chased robe and the inscribed visvavajra on the sculpture's consecration plate underneath pay homage to the dynamic Yuan-Sakya alliance, which at its peak fostered an environment of cultural and artistic syncretism that would precipitate the creation of such jewel-like expressions of this figure's esteem.銅鎏金四世薩迦法王索南孜摩像西藏 十六世紀 來源 蘇富比，紐約，1976年前索南孜摩（1142-82）僅僅擔任薩迦寺之座主（薩迦法王）三年 ，便傳位予弟弟，此後得以無所掛慮、潛心修習。 其一生從未結婚、生子，傾心於避世的生活，但從其衣袍之長袖可以看出，索南孜摩始終為一名在家修行者，而非出家僧人。其以學術成就聞名於世，為薩迦五祖之第二祖師，其核心著作包括對寂天菩薩《入菩薩行論》之詮釋、對喜金剛根本續最後兩章之闡述、梵文閱讀指引，以及概述佛陀所有教義的《佛法入門》。 如本拍品一樣，索南孜摩肖像大多顯示其身穿精美長袍，頭髮鬈曲，面容溫和。另見兩尊銅像（分別見喜馬拉雅藝術資源網7835號以及邦瀚斯，紐約，2023年3月21日，拍品521）以及一幅其與弟弟扎巴堅贊之畫像（波士頓美術館，67.831），刻畫皆近似。本拍品與前述兩尊造像中，祖師皆穿着雲肩，此符號成為於中國文化中天人權威之象徵。在蒙古人所治之元朝時期（1279-1368），薩迦派享有對西藏的行政統治權，並將雲肩納入其著裝範疇。當時蒙古宮廷對索南孜摩所代表的薩迦傳承之支持，更體現在長袍的精心設計的雕刻圖案上，例如所刻「七寶」象徵神聖統治者「轉輪聖王」。雕刻精美的長袍，以及封底所刻十字金剛杵，皆向元代宮廷與薩迦派之結盟致敬，這段聯盟的鼎盛時期孕育了文化與藝術的交融，催生出如此造像般熠熠閃光的、對偉大人物的尊崇的表現方式。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
STATUETTE DU CINQUIÈME SAKYA TRIDZIN, JETSUN DRAGPA GYALTSEN, EN ALLIAGE DE CUIVRE DORÉTIBET, XVE/XVIE SIÈCLE A Tibetan inscription around the rim of the base: རྗེ་བཙུན་གྲགས་རྒྱལ་ལ་ན་མ། Translated: 'Homage to Jetsun Dragpa Gyaltsen!' Himalayan Art Resources item no. 1815 18.1 cm (7 1/8 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF THE FIFTH SAKYA TRIDZIN, JETSUN DRAGPA GYALTSEN TIBET, 15TH/16TH CENTURY Provenance Sotheby's, New York, before 1976 This gilt bronze represents Jetsun Dragpa Gyaltsen (1147-1216), the Fifth Tridzin, or Throne Holder, of the Sakya order of Tibetan Buddhism. Dragpa Gyaltsen is quintessentially recognized by his shorn cut, groomed facial hair, and a full-sleeved layman's cloak. Like his father and older brother, Dragpa Gyaltsen was not a monk, though he spent most of his life in meditation, study, and teaching. Consequently, he is shown wearing a layman's long-sleeved garment underneath the meditation cloak draped over his shoulders. Regarded as the third of the Five Founding Fathers of the Sakya tradition (Jetsun Gongma Nga), Dragpa Gyaltsen is revered as a peerless tantric master, believed to have conversed directly with tantric deities while developing many of the Sakya's core teachings (Dinwiddie (ed.), Portraits of the Masters, 2003, p. 207). As his impact in the field of tantric theory and practice would never be surpassed in the Sakya tradition, he is often represented with the same attributes and pose—crossing the vajra and ghanta before his chest—as the Primordial Buddha Vajradhara, who is considered the divine progenitor of most tantric cycles. This splendid portrayal of Dragpa Gyaltsen comes from a set depicting the historical and legendary teachers of the Lamdre tradition. Also known as the Margapala Instruction Lineage and the 'Path within the Result', Lamdre is a system of tantric meditation, teachings, and rituals that became the Sakya order's foundational practice. Numerous portraits from this set are preserved in museum and private collections, including a figure of Virupa (Heller, Tibetan Art, 1999, p. 164, no. 89); Mahasiddha Avadhutipa (Zhang (ed.), Dependent Arising: Himalayan Art, 2017, pp. 124 & 260, no. 22); Drogmi Lotsawa Shakya Yeshe (fig. 1; Museum Rietberg, Zurich BA 226; Sachen Kunga Nyingpo (Arts of Asia, May - June 1998, advertisement); Sonam Tsemo (Huang, Studies on the History of gDan-sa-mthil Monastery of Tibet, 2016, p. 5); Sakya Pandita (Rubin Museum of Art, New York; HAR 65460); and Chogyal Phagpa (Christie's, New York, 15 September 2015, lot 91). Much like the following work, each of these bronzes is seated atop a circular base with wide, unfurling lotus petals and an inscription hammered in pointillé along the lower rim. Also noteworthy are the similar floral embellishments and piled folds of his clothes to that of the Sachen Kunga Nyingpo and Sonam Tsemo within this set.For the figures listed in this essay, please refer to our printed or digital catalogue.銅鎏金五世薩迦法王扎巴堅贊像西藏 十五/十六世紀來源蘇富比，紐約，1976年前此尊鎏金銅像呈現傑尊 · 扎巴堅贊（1147-1216），為第五世薩迦法王，又稱座主。扎巴堅贊因其極為經典的整齊短髮、延伸至面部之髮鬚，以及俗家弟子之長袖衣袍而得以清晰辨認。如同他的父親和哥哥一樣，扎巴堅贊並非出家僧人，儘管他曾將一生中大部分時光用於冥想、學習和教學。因此，其觀想所披之外衣下見一件長袖俗家服裝。作為薩迦五祖之第三祖，扎巴堅贊被尊崇為無與倫比的密宗大師，據信他能夠直接與密宗神明交談，並發展了許多薩迦派之核心教義（見Dinwiddie編, 《大師肖像》，2003年，頁207）。由於扎巴堅贊於密宗理論和實踐領域之影響力在薩迦派中無人能及，他時常被呈現於原初佛金剛總持之姿態與法器——手中交叉金剛杵及金剛鈴。金剛總持被視為大多數密宗教法之神聖始祖，故可見扎巴堅贊之崇高地位。這尊華美的扎巴堅贊像出自一套呈現「道果」法脈歷史上及傳說中之偉大上師之造像組。「道果」法脈為一套包含密宗之觀想、教義和儀式之體系，為薩迦派之根本性實踐基礎。造像組之多尊現保存於博物館以及私人收藏之中，包括毘魯巴像（見Heller，《Tibetan Art》，1999年，頁164，編號89），大成就者阿瓦度帝巴像（《緣起——喜馬拉雅藝術》，2017年，頁124及260，編號22，卓彌釋迦益西像（圖1，蘇黎世瑞特堡博物館藏，編號BA 226），薩欽貢嘎寧波像（《Arts of Asia》，1998年5-6月刊，推廣頁），索南孜摩像（黃，《Studies on the History of gDan-sa-mthil Monastery of Tibet》，2016年，頁5)，薩迦班智達像（紐約魯賓藝術博物館，喜馬拉雅藝術資源網65460號），以及八思巴像（佳士得，紐約，2015年9月15日，拍品91）。正如此尊造像，上述造像每一尊皆安坐於一圓形、帶有舒展花瓣之底座，且其底緣帶有細點構成之銘文。此外，值得關注的是上述薩欽貢嘎寧波像以及索南孜摩像衣物上所刻花紋以及衣褶垂落而形成的褶皺，此尊扎巴堅贊像亦然。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
English School, early 19th c - Portrait Miniature of a Young Woman, possibly an actress, in brown dress and red cloak, ivory, 95 x 71mm Provenance: anon sale, Christie's, Edinburgh, 12 July 1995, lot 237 Please note Mellors & Kirk have applied for an exemption licence for the ivory in this lot. Ref: 9VSQ6CF8 Slight scratches and loss of medium
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