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Lot 350
An 18ct Gold Dress Ring, claw set, of flower head design, between tapered shoulders (finger size N), an illusion set three stone ring , between textured shoulders, stamped "18ct & PT" (finger size M), another similar (stone missing), stamped "18ct & Plat", (finger size M) ((total weight 7 grams). (3).
Lot 160
A COPPER ALLOY FIGURE OF PADMAPANI, LICCHAVI PERIOD OR SLIGHTLY LATERNepal, 9th-11th century. Standing in tribhanga on a circular lotus base, his right hand lowered in varada mudra and the left holding a lotus stem coming to full bloom at the shoulder, wearing a long flowing dhoti secured with a billowing sash, sacred thread, and foliate tiara centered by a small image of the Amitabha Buddha, his serene face with almond-shaped eyes and full lips, with a smooth deep brown patina overall and traces of gilding.Provenance: From a Swiss private collection, acquired in Nepal from a Tibetan family. Condition: Very good condition, commensurate with age. Extensive wear, minor casting flaws, small losses, minuscule nicks, light scratches, dents. Fine, naturally grown patina.Weight: 452.1 gDimensions: Height 17.4 cmThe present lot is stylistically related to the copper alloy and bronze figures of the Licchavi period dating from the 9th century. Well cast, the figure displays the elegance of post-Gupta sculpture, the dhoti finely incised with textile patterns of the period. The rounded facial features still show a close relationship to the Sarnath style. The flaming halo is most effectively executed and the foliate crown displays a remarkable feature as it bears an image of a standing Amitabha, the spiritual father of Avalokiteshvara. As is typical for the period, the original fire gilding is relatively thin and now mostly worn off, yet the fluidity of form and the warm copper tone are thus even more enhanced.Literature comparison: This bronze favorably compares with the famous eighth-century figure of Vajrapani from the Nasli and Alice Heeramaneck Collection. The dhoti is similarly secured with a diagonally bound billowing sash and finely incised with linear bands, see P. Pal, Art of Nepal, 1985, fig. S6, p. 90. Compare also with a figure of Avalokiteshvara with a similarly integrated flaming halo, in P. Pal, The Arts of Nepal, 1974, fig. 190, and a further figure bearing a seated figure in the crown, fig. 295.Auction result comparison: Type: Related Auction: Christie's New York, 21 March 2008, lot 503 Price: USD 313,000 or approx. EUR 425,000 converted and adjusted for inflation at the time of writing Description: An important gilt copper figure of Avalokiteshvara, Nepal, Licchavi period, 8th/9th centuryExpert remark: Compare the closely related pose and dress, the related mandorla and copper patina with traces of gilding. Note that the figure is considerably larger (29.2 cm) and likely earlier than the present lot.Auction result comparison: Type: Related Auction: Christie's New York, 21 March 2008, lot 600 Price: USD 241,000 or approx. EUR 327,500 converted and adjusted for inflation at the time of writing Description: A rare gilt copper figure of Padmapani, Nepal, 10th century Expert remark: Compare the closely related pose, dress, lotus base, and copper patina with traces of gilding. Note that the figure is considerably larger (34.8 cm) and possibly earlier than the present lot 利察維王朝或之後罕見銅鎏金蓮華手菩薩尼泊爾，九至十一世紀。蓮華手菩薩呈三曲式站在蓮花座上，右手下垂，左手持蓮花莖，蓮花靠在肩上，身著百褶褲，佩戴五葉冠，中坐阿彌陀佛小像。面容平靜，杏仁狀的眼睛，豐滿的嘴唇。整體有光滑的深棕色包漿和鎏金痕跡。 來源：瑞士私人收藏，從尼泊爾一個藏人處購得。 品相：品相極好，大面積磨損、輕微的鑄造缺陷、小缺損、微小的刻痕、輕微的劃痕、凹痕。包漿細膩自然。 重量：452.1 克 尺寸：高 17.4 厘米 本拍品在風格上與九世紀的利察維時期的銅合金造像相似。鑄工精美，人物展示了後笈多雕塑的優雅，多褶褲上可見當時的紡織圖案。圓潤的五官與鹿野苑風格相似。五葉冠上特徵明顯，可見阿彌陀佛立像。與這一時期的典型情況一樣，原來的鎏金相對較薄，現在大部分已經磨損，更增强了其溫暖的銅色。 文獻比較：此金蓮華手菩薩像與一件收藏於Nasli and Alice Heeramaneck Collection的知名的八世紀金剛手菩薩像相比，更有優勢。斗篷也是用對角線捆綁的波浪形腰帶固定，並有精細的線狀刻痕，見P. Pal，《Art of Nepal》，1985年，圖S6，頁90。比較一件觀世音菩薩像，有相似的火焰光背，見P. Pal，《Art of Nepal》，1974年，圖190；另一件有王冠的觀音菩薩坐像，圖295。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 164
AN IMPORTANT AND RARE UDAYANA-STYLE FIGURE OF MAITREYA, LATE YUAN DYNASTY - HONGWU PERIODOpinion: The present statue is stylistically very similar to an important gilt-bronze figure of Maitreya, which can be pinpointed by radiocarbon dating of organic material in its core to a quite narrow timeframe from the late Yuan dynasty to the Hongwu period. The distinct U-shaped folds, elongated undulating sleeves, and flared hems, as well as the characteristic hairstyle, all indicate that the two figures were made at more or less exactly the same time, around the years 1350-1380. The image is superbly carved standing with his right hand raised in abhaya mudra, the deity portrayed with a serene and meditative countenance below an urna, framed by a pair of long pendulous earlobes and hair neatly swept over the ushnisha, clad in a long robe with elongated sleeve openings and accentuated overall with pronounced folds and undulations, the garment loosely clinging to the gently rounded outlines of his stomach and legs and ending in a flaring hem above the bare feet. Provenance: A Belgian private collection. Condition: Good condition, commensurate with age and presenting remarkably well, especially when considering the high age of this statue. Extensive wear and expected natural age cracks. Minor flaking and crackling to lacquer. Light surface scratches, minuscule nicks, some losses. Possibly few minor old touchups here and there.Weight: 787.9 g Dimensions: Height 31.2 cmMaitreya, Buddha of the Future Age, governs two perfected worlds: Tusita Heaven, which he currently inhabits, and Ketumati, an ideal realm conducive to the pursuit of enlightenment where he will serve as the teaching Buddha. The Maitreya's hands are held in abhaya and varada mudras, embodying a message of the coming salvation of all sentient beings.As the Yuan dynasty crumbled amidst famine, floods and general unrest, the anti-Mongol slogan of Han Shantong, Grand Patriarch of the White Lotus sect, was a call to arms and rebellion. Central to Han's belief structure was the idea that Buddha Maitreya had finally manifested in the world as the successor to Buddha Shakyamuni. Shortly after Han's demise in 1351, Zhu Yuanzhang, also a member of the White Lotus sect, emerged as the leader of the ethnic Han Chinese rebelling against the Mongol-led Yuan dynasty. In 1368, he eventually proclaimed himself as the Hongwu Emperor of the newly established Ming dynasty. It was during this period that images of Buddha Maitreya, such as the present lot, were depicted almost exclusively in the distinct Udayana style which gained increased popularity.The formulaic rendering of the U-shaped folds of the robe is one of the most interesting iconographic features of the present figure. This is known as Udayana, an ancient name for the early Gandharan region now in the present-day Swat Valley, Pakistan, from which similarly robed images of Maitreya first originated. This distinctive style of dress had transmitted along the Silk Road all the way to China and appeared there as early as the fourth century, as exemplified by the gilt-bronze seated Buddha Shakyamuni illustrated by H. Munsterberg, in Chinese Buddhist Bronzes, New York, 1988, page 37, fig. 1, which bears an inscription dated to 338 AD.Literature comparison:Compare a closely related wood figure, dated to the Ming dynasty, in the collection of the Metropolitan Museum of Art, accession number 41.115.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 2 October 2017, lot 3135 Price: HKD 24,100,000 or approx. EUR 3,263,000 converted and adjusted for inflation at the time of writing Description: A magnificent and monumental gilt-bronze standing figure of Maitreya, Yuan dynasty - Hongwu periodExpert remark: Compare the closely related U-shaped folds, elongated undulating sleeves, and flared hems as well as the distinct hairstyle. Note that this lot came with a Carbon-14 test of the core which was consistent with the dating above. Note the much larger size (116.8 cm) and the fact that this statue is made from bronze, not wood.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2010, lot 1959 Price: HKD 3,020,000 or approx. EUR 526,500 converted and adjusted for inflation at the time of writing Description: A very rare early Ming gilt-bronze standing figure of Maitreya, Yongle incised six-character mark and of the period Expert remark: Compare the closely related U-shaped folds and elongated undulating sleeves. Note that this lot is made from gilt-bronze, not wood, and that it bears a Yongle mark and dates from the period. Also note the smaller size (16.5 cm). Eventually note that the image lacks the distinct Udayana hairstyle, probably because it was made a few decades later than the present lot.元末至洪武朝重要烏仗那式彌勒佛木雕像 造像身軀豐滿，姿態高貴，右手施無畏印，佛面微笑頭髮整齊地披在烏尼沙上，佛像通肩式之外袍，自肩膀垂直而下，佛像身形高挑，裙褶疊曲有序，氣韻生動，神彩宛如書法揮毫。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 158
* LIN PATTULLO (SCOTTISH b. 1949),GIRL IN A PINK DRESSoil on canvas, signedimage size 15cm x 10.5cm, overall size 31cm x 26cm Framed and under glass.Note: Lin Pattullo is one of Scotland's most successful artists who exhibits her work regularly in numerous galleries throughout Scotland, in London and in the west of England. She is an elected member of the Glasgow Society of Women Artists (GSWA) and the Paisley Art Institute (PAI). She has exhibited many times at the Royal Glasgow of Fine Arts (RGI) and the Royal Scottish Academy. She holds the Lauder Award at the GSWA, the Neville Award at the PAI and the J Trevor & Webster Award at the RGI. Lin Pattullo's work is held in the collection of HRH Prince Charles and in numerous corporate and notable private collections throughout the UK and beyond.
Lot 11
JOHANN ZOFFANY (1733-1810) Edward Townsend Singing 'The Beggar' painted in 1796, oil on mahogany panel, 76.2 x 63.5 cm; 30 x 25 inches, in its original eighteenth-century carved frame.Provenance: Johann Zoffany;Zoffany sale, Robins, 9th May 1811, lot.89;Henry Harris;Harris sale, Robins, 12th July 1819, lot.6;Thomas Wilkinson (1762-1837);Jane Anne Brymer (1804-1870), daughter of the above;William Ernest Brymer (1840-1909) of Ilsington House;Wilfred John Brymer (1883-1957); son of the aboveConstance Mary Brymer (1885-1963), sister of the above;John Hanway Parr Brymer (1913-2005); nephew of the above;Maureen Brymer (1924-2021) by inheritanceExhibited: London, Royal Academy, 1796, no.85 (‘Mr Townsend as the beggar in the pantomime of Merry Sherwood’);London, Royal Academy, Exhibition of Works by the Old Masters, 1893, no.44 (‘An Actor’)Literature: Victoria Manners and George Charles Williamson, John Zoffany RA: His Life and Works 1735-1810, London, 1920, p.276; Mary Webster, Johann Zoffany, New Haven and London, 2011, p.585 Martin Postle, Johann Zoffany RA: Society Observed, exh. cat., New Haven (Yale Center for British Art), pp.44-45, reproducedThis little-known theatrical portrait is one of the finest works by Johann Zoffany from the end of his career. Depicting the comic actor Edward Townsend singing ‘The Beggar’, a song by the playwright John O’Keeffe written and set to music by William Reeve for Merry Sherwood, or Harlequin Forester by William Pearce, an entertainment on the theme of Robin Hood. Zoffany captures Townsend with his mouth open wide in the midst of the song. This unusually animated portrait is rendered with Zoffany’s characteristic attention to the minute details of costume and physiognomy. Zoffany was a pioneer of theatrical portraiture, where individual actors are portrayed in the roles for which they were most celebrated, it is a genre which was uniquely developed in Britain in the eighteenth century. Here the comic singer Edward Townsend is shown on stage singing in the midst of William Pearce’s popular pantomime Merry Sherwood. But rather than merely being an illustration of the entertainment, Zoffany paints a portrait of Townsend en role, exploiting a complex layer of relationships between audience and actor, viewer and painting. Zoffany’s theatrical portraits are regarded as some of his most innovative and beguiling works and only a handful remain in private collections, of which this is one of the finest. Preserved in outstanding condition and painted on a mahogany panel, this portrait has not been on the open market since the early nineteenth century and has not been exhibited in public since 1893.By 1796 Johann Zoffany was at the height of his powers as a portrait painter, particularly paintings of complex conversation groups and interiors scenes, rich with domestic and decorative details. Recently returned from a period spent in India, where he had completed a series of remarkable images of European and Indian sitters, including Colonel Maudaunt’s Cock Match now in the Tate, London. Zoffany re-established himself as one of London’s leading portrait painters. Zoffany had found success in London in the 1760s producing a series of remarkable and hugely popular portraits of famous actors. Zoffany worked particularly closely with David Garrick, commemorating his most celebrated theatrical roles in a series of largely comic portraits.The comic singer Edward Townsend sang The Beggar at the first performance of Pearce’s popular pantomime Merry Sherwood at Covent Garden on 21 December 1795. Townsend made the song popular and it became a favourite peace in his repertoire: he sang it at his benefit on 20 May 1796, and was still rendering it at Covent Garden in June 1800. The entertainment, and Townsend’s performance, were an immediate sensation. The success of the pantomime may well have prompted Zoffany to paint Townsend and to submit the painting for the annual exhibition at the Royal Academy in 1796, where the painting is described in the exhibition catalogue as: ‘Mr Townsend in the Beggar, full of expression and character, and a striking resemblance.’ The painting was hugely admired by contemporaries at the annual exhibition. The critic Anthony Pasquin noted: ‘Mr Townsend, the Comedian in the Character of a Beggar. Zoffany. This portrait is eminently characteristic, with a strict adherence to the minutiae of the stage dress. The countenance partakes of all the muscular whim of the original contour and expression of this supplicating visage.’Robin Simon has noted that in his theatrical portraits, such as this, Zoffany’s: ‘nuanced approach enabled him to create a distinctive effect: that of depicting the actors both in and out of character at the same time. This duality lies at the heart of his achievement; but it also reflects the contemporary practice of a number of leading comic actors who, in a tradition that survives in the British pantomime, would interact, sometimes even verbally, with the audience during performance.’[1] There is a sense that in the present portrait Zoffany has caught Townsend totally absorbed in his performance. It is this duality which made Zoffany’s theatrical portraits so publicly successful.The present painting has not been publicly exhibited since 1893, when it was lent to the Royal Academy’s annual exhibition of old master paintings, as a consequence it has remained largely unknown to scholars. Mary Webster, in her authoritative 2011 monograph on Zoffany, assumed the painting was missing. The present portrait remained in Zoffany’s collection and was included in his posthumous auction in 1811. It was acquired in 1820 by Thomas Wilkinson the son of Jacob Wilkinson who was one of Zoffany’s most important supporters. A Director of the East India Company, Wilkinson acquired The Watercress Girl by Zoffany in 1780 and its pendant, The Flower Girl. Zoffany also painted his portrait in 1782 (The Chequers Trust) and Wilkinson, in turn, was one of those who supported Zoffany’s petition to travel to India. The painting passed to Thomas Wilkinson’s daughter Jane Anne, who married the Reverend William Thomas Parr Brymer, the painting has remained by descent in the Brymer family ever since.
Lot 73
Ladies - Superb 18ct White Gold Diamond and Sapphire Set Dress Ring, Excellent Design. Marked 18ct to Interior of Shank. The Central Natural Cornflower Blue, Sapphire of Top Quality In Colour and Clarity, Est 0.75 pts. Surrounded by 16 Brilliant Cut White Diamonds, Est 0.60 pts. Ring Size I - J ( Small ) Expensive Shank / Setting. As New Condition.
Lot 16A
Art Deco Period 1930's - 18ct White Gold Superb Diamond Set Dress Ring. Marked 750 to Interior of Shank. The Central Boat Shaped Diamond of Superb Colour / Clarity. Surrounded by 10 Baguette Diamonds and 10 Brilliant Cut Diamonds, ,Also of Excellent Colour / Clarity. Est Diamond Weight 1.30 cts. Ring Size M.
Lot 255A
Platinum - Superb Split-Set Diamond Set Dress Ring. The Central Princes Cut Diamond Surrounded by White Diamonds Which Extend Down the Shoulders, The Central White Diamond Cal Weight 0.70 pts. The Further White Diamonds that Surround The Central Diamond and Extend Down the Shoulders. Diamond Weight 0.50 pts. Ring Size K. Weight of Shank 5.3 grams.
Lot 677
Ladies Omega 9ct gold cased hand wound dress watch, signed silvered frosted dial with applied hour markers, rectangular case on intergrated Milanese type mesh bracelet signed clasp hallmarked .375, signed snap on case back hallmarked and numbered 7115685, Omega 484 calibre movement no. 26785098 weight 31g, watch currently running with box and certificate
Lot 100
2 early Laura Ashley dresses, Dyers & Printers label. The first C1969 with Heraldic print in turquoise (marked 10, fits modern 6-8), the second c1970, made in the regency style with a blue and yellow print on a tomato red ground (marked 12 fits modern 8) (2)both dresses are in good condition. The turquoise dress has marks to the hemline where it has dragged whilst worn and some faint discolouration to the upper back. The red dress has overall fade from wash and wear.
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