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Lot 656
A BAPHUON STYLE GRAY SANDSTONE TORSO OF A MALE DEITY, ANGKOR PERIODKhmer Empire, 11th century. Finely carved standing in samabhanga, the sculpture sensitively modeled with a belly button, wearing a high-waisted sampot, secured by a belt, the back side with butterfly-shaped element.Provenance: Old French private collection, acquired during the 1990s. RD Collection Paris, acquired from the above. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, minor losses, encrustations, nicks, scratches, few structural cracks. The wood stand with a natural age crack.Weight: 7.6 kg (incl. stand) Dimensions: Height 41.7 cm (excl. stand), 51.8 cm (incl. stand)Mounted to a modern wood stand. (2)Auction result comparison:Type: Closely relatedAuction: Christie's New York, 25 March 2004, lot 155Price: USD 9,560 approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A sandstone male torso, Khmer, Angkor period, Baphuon style, late 11th centuryExpert remark: Compare the closely related dress, as well as the color of the sandstone and the similar size (40.5 cm)
Lot 677
A LARGE LACQUER-GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, RATTANAKOSIN KINGDOMThailand, 18th-19th century. Seated in virasana on a three-tiered base decorated with elaborate floral design, each tier with flame-shaped spikes. The right hand in bhumisparsha mudra, the left resting on his lap, wearing a samghati, his face with a meditative expression and with downcast eyes below arched eyebrows, aquiline nose, gentle smile, elongated earlobes, the hair in tight curls surmounted by a flame. Each tier painted in red lacquer on the upper side, the figure and sides of the base covered in gilt. The back with two loops.Inscriptions: The lowest tier of the base inscribed with what is most likely a donor dedication. Provenance: French trade. Condition: Fine condition overall, commensurate with age. Old wear, traces of use, shallow surface scratches, some casting flaws, flaking to gilt. Small nicks, cracks and dents. The flame slightly bent.Weight: 15.1 kg Dimensions: Height 49.6 cmThe Buddha is seated on an elaborate stepped base in virasana, the heroic posture. His left hand rests gently on his lap whilst the elongated fingers of his right hand are outstretched in bhumisparsa mudra. This gesture echoes his call of the Earth to witness and attest to his achievement of maravijaya: Enlightenment, thus taking this throne and vanquishing Mara's demonic retinue.Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 29 March 2019, lot 54Price: HKD 150,000 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A copper alloy figure of a seated buddha in maravijaya, Thailand, Bangkok/Rattanakosin period, 19th centuryExpert remark: Compare the closely related pose, dress, and form of the base. Note the larger size (86 cm) and that only the base is gilt.
Lot 629
AN INSCRIBED RUBY-RED GLASS SNUFF BOTTLE, 1750-1850Published: Robert Kleiner, 'The Tuyet Nguyet Collection of Snuff Bottles and Saucers', Arts of Asia, November-December 1998, pp. 53, no. 21.China. Of flattened rectangular form with rounded edges, the long sides each with a raised oval panel neatly incised with a poetic inscription, the short sides each with a raised oblong panel.Expert's note: Many monochrome glass snuff bottles were incised with poems and inscriptions, adding to their attraction for the literati class during the Qing dynasty. This is a good example, the raised panels providing an ideal platform for the incision work, which is of spectacular quality and shows fine gilding as well.Inscriptions: With a poem by Li Yifu, Tang Dynasty “She (the goddess of the Luo river) takes the moon as her fan and the clouds as her dress. She dances and looks at her image mirrored by the river.”Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member. Condition: Excellent condition with minor wear, few light surface scratches.Stopper: Glass in imitation of jadeiteWeight: 31.0 g Dimensions: Height including stopper 64 mm. Diameter neck 15 mm and mouth 8 mmAuction result comparison:Type: RelatedAuction: Christie's New York, 19 September 2007, lot 689Price: USD 21,250 or approx. EUR 25,900 converted and adjusted for inflation at the time of writingDescription: A Very Rare Ruyi Guan Inscribed Ruby-Red Glass Snuff BottleExpert remark: Compare the closely related color and calligraphy. Note the different form.1750-1850年寶石紅料詩文鼻烟壺中國。扁平長方形，溜肩，邊緣圓潤，兩面開光雕刻詩文。 出版：Robert Kleiner，〈The Tuyet Nguyet Collection of Snuff Bottles and Saucers〉，《Arts of Asia》，1998年11-12月，第53頁，編號21。 專家注釋：許多單色玻璃鼻烟壺上刻有詩句和款識，這就是清代一個很好的例子。 款識：鏤月成歌扇，裁雲作舞衣。自憐回雪影，孤到（應是“好取“）洛川歸。 來源：Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻烟壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：品相優良，小磨損，表面輕微劃痕。壺蓋：仿翡翠玻璃料 重量：31.0 克 尺寸：高 （含蓋）64 毫米；頸部直徑15 毫米 及瓶口直徑8 毫米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2007年9月19日，lot 689 價格：USD 21,250（相當於今日EUR 25,900） 描述：如意館造寶石紅料詩文鼻烟壺 專家評論：比較非常相近的顏色和書法。請注意外型不同。
Lot 593
A MANDARIN'S SUMMER HAT, JI GUAN, WITH A NINTH-RANK OFFICIAL'S FINIAL AND LEATHER TRAVELLING BOX, QING DYNASTYChina, 1644-1912. The hat of conical shape decorated with red tassels, surmounted by a gilt finial signifying an official of the ninth rank, the bamboo frame covered in a pale-yellow silk damask gauze with floral design, brocade rim, and blue ribbon. The interior covered in red silk with foliate design and with a blue ribbon. The original hat box made from wood, leather, textiles and further with metal handles and lock, designed to carry the Mandarin's robe, belt, boots, necklace etc. during travel.Inscriptions: To the interior of the hat box, 'Yue Dong' (East Canton), 'Shen Chen Gao Di Jie Dong Yue Yu He Zao' (made by Yue Yu He in East Gao Di Street of the provincial capital), and 'Guaranteed to be genuine and if you purchased a fake from us, we will give you an exchange'.Expert's note: A chop such as the one on the interior of the present hat case is not only quite rare to find, but it also indicates that already during the Qing dynasty many fake hats must have been in circulation. As a result, the shop had to provide a written guarantee to appease suspicious customers, an apparently timeless issue that most readers will be familiar with. Published: Linda Wrigglesworth, The Accessory, London, April 1991, page 3. Provenance: Linda Wrigglesworth, London, 1991. An English private collection, acquired from the above. Finding her passion for Chinese textiles in 1976, when encountering her first dragon robe, Linda Wrigglesworth opened her gallery in 1978, and over the following decades became one of the world's leading experts in antique Chinese costumes and textiles, helping to buy and sell pieces to private collections and public institutions worldwide. She has written countless articles and curated countless exhibitions. In 2008 she retired from her business and sold her private collection of Imperial textiles at Christie's New York. Condition: Overall good condition with natural wear, minor losses and traces of use, as expected from such a piece. The hat with small tears, few minor stains, and loose threads. The silk possibly faded and with some soiling. The box with minor scratches and losses, soiling, natural age cracks and associated old repairs. Displaying remarkably well throughout.Weight: 230 g (the hat), 4.5 kg (incl. the box) Dimensions: Diameter 32.5 cm (the hat), Length 56 cm (the box)With a matching hat box of the same period. (2)The present lot was intended for summer use, as indicated by the silk material over a lightweight bamboo frame. This semi-formal type of hat is referred to as ji guan or festive hat. Under Manchu formal dress regulations, the colors of hat finials were used to distinguish official ranks. In 1727 the Yongzheng Emperor introduced a new type of formal insignia, so-called 'mandarin hat buttons', a large round bead, which was mounted with a gilt base to the hat. These mandarin hat buttons signified a person's rank. Officials of higher rank were permitted to wear jewels, while lower ranks wore plain gilt jewels. Ninth-rank officials were allowed to use plain gilt beads as hat buttons.Auction result comparison:Type: RelatedAuction: Christie's New York, 24 March 2004, lot 34Price: USD 10,158 approx. EUR 15,500 converted and adjusted for inflation at the time of writingDescription: A group of three semi-formal court hats, jiguang, and a tiered hat box, 19th centuryExpert remark: Compare the related form and decorations, as well as the size (31.1 cm). Note this lot comprises three hats and a tiered box.清代九品官吉服冠中國，1644-1912年。無簷，喇叭式，圓錐形帽飾紅色流蘇，鎏金頂飾，用篾席外裹淡黃色綾羅，錦邊。內部覆蓋著帶有葉狀紋的紅色絲綢和一條藍色絲帶。帽盒由木頭、皮革、紡織品製成，並帶有金屬把手和鎖扣，旅行便携盒，可用來放置長袍、腰帶、靴子、項鍊等。 款識：帽盒内標籤”粵東，省城高第街，東約裕和造，如假包換” 專家注釋：像現在的帽盒內部的標籤，不僅非常罕見，而且說明在清代一定已經有很多假帽子在流通。這家商店不得不提供書面保證。 出版：Linda Wrigglesworth，《The Accessory》，倫敦，1991年4月，頁3。 來源：Linda Wrigglesworth，倫敦，1991年；一個英國私人收藏，購於上述收藏。 品相：整體狀況良好，自然磨損、小缺損，有使用痕跡。這頂帽子有小水漬和輕微的污漬，還有鬆散的線。絲綢有些褪色、污漬。盒子有輕微的劃痕和損失、污漬、自然老化和相應的維修。重量：帽230 克，總 4.5 公斤 尺寸：帽直徑 32.5 厘米，盒子長 56 厘米 來自同時期的相配帽盒。由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。
Lot 592
A MANDARIN'S SUMMER HAT, JI GUAN, WITH A SIXTH-RANK OFFICIAL'S FINIAL AND LEATHER BOX, QING DYNASTYChina, 1644-1912. The conical hat decorated with a red horsehair tassel, surmounted by an opaque white glass finial signifying an official of the sixth rank, the bamboo frame covered in bluish-white silk with foliate designs and brocade rim. The interior in red silk with foliate designs and a blue ribbon. The original leather hat box padded with blue silk on the interior, further with handles and a metal lock.Published: Gary Dickinson & Linda Wrigglesworth, Imperial Wardrobe, London, 1990, page 109, pl. 89.Provenance: Linda Wrigglesworth Ltd., London, 1982. An English private collection, acquired from the above.After finding her passion for Chinese textiles in 1976, when encountering her first dragon robe, Linda Wrigglesworth opened her gallery in 1978, and over the following decades became one of the world's leading experts in antique Chinese costumes and textiles, helping to buy and sell pieces to private collections and public institutions worldwide. She has written countless articles and curated countless exhibitions. In 2008 she retired from her business and sold her private collection of Imperial textiles at Christie's New York. Condition: Overall good condition with natural wear, minor losses and traces of use, as expected from such a piece. The silk faded and with some soiling. The box with wear, few small tears and losses, light scratches.Weight: 190 g (the hat) and 1.3 kg (incl. the box) Dimensions: Diameter 29 cm (the hat) and 36.7 cm (the box)With a matching hat box of the same period. (2)The present lot was intended for summer use, as indicated by the silk material over a lightweight bamboo frame. This semi-formal type of hat is referred to as ji guan or festive hat. Under Manchu formal dress regulations, the colors of hat finials were used to distinguish official ranks. In 1727 the Yongzheng Emperor introduced a new type of formal insignia, so-called 'mandarin hat buttons', a large round bead, which was mounted with a gilt base to the hat. These mandarin hat buttons signified a person's rank. Officials of higher rank were permitted to wear jewels, while lower ranks wore plain gilt buttons. After 1730 sixth-rank officials were allowed to use crystal jewels or opaque white glass buttons.Auction result comparison:Type: RelatedAuction: Christie's New York, 19 March 2008, lot 114Price: USD 13,125 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: A Mandarin's summer hat, black satin autumn hat and a hat box, 19th centuryExpert remark: Compare the closely related form and decorations, as well as size (29.5 cm). Note this lot comprises two hats, one of which is a closely related summer hat with a clear glass button signifying an official of the fifth rank, as well as a hat box.清代六品官員吉服冠中國，1644-1912年。無簷，喇叭式，圓錐形帽飾紅色馬毛流蘇，涅白琉璃頂珠，用篾席覆以青白色絲葉紋，錦邊。帽內用葉狀紋紅色絲綢，一條藍色絲帶。皮帽盒內襯藍色絲綢，配有提手和金屬鎖扣。出版：Gary Dickinson & Linda Wrigglesworth，《Imperial Wardrobe》，倫敦，1990年，頁109，圖 89。 來源：Linda Wrigglesworth，倫敦，1982年；一個英國私人收藏，購於上述收藏。1976 年，Linda Wrigglesworth 在遇到她的第一件龍袍時發現了她對中國紡織品的熱情，並於 1978 年創立了她的藝廊。在接下來的幾十年裡，她成為了中國古代服飾專家，並協助世界各地的私人收藏和公共機構購買藏品。她寫了無數的文章，策劃了無數的展覽。2008年，她退休后在紐約佳士得出售了她私人收藏的御製紡織品。 品相：整體狀況良好，自然磨損，輕微缺損和使用痕跡，正如這件作品所預期的那樣。絲綢褪色並帶有一些污漬。盒子有磨損，很少有小撕裂和損失，有輕微劃痕。 重量：帽190 克，總1.3 公斤 尺寸：帽直徑 29 厘米，盒36.7 厘米 來自同時期的相配帽盒。 本拍品為夏季使用，用篾席覆以青白色絲葉紋表明了這一點。 這種半正式的帽子被稱為吉服冠。 雍正五年（1727）頒佈了關於官帽的規定，即通過不同的頂珠來確定官銜級別，比如給上級官員如親王、郡王、入八分鎮國公俱用紅寶石頂；未入八分公、一品大臣等俱用珊瑚頂；二三品大臣俱用起花珊瑚頂；奉恩將軍、四品官員用青金石頂。九品官員使用鏤金帽頂。1730年之後，六品官員可以使用水晶頂。
Lot 176
A Highly Decorative Enamel Ladies Fob Watch, the gilt highlighted dial with blue Roman numerals, within floral bezel, hand painted in pinks and blues (damage), the pop off case back detailed in colours with courting couple in period dress, suspended from an stylised bow brooch, highlighted in blue and green.
Lot 205
A Hallmarked Silver Bangle, with part scroll engraving, to snap clasp (safety chain broken), a child's expanding bangle, stamped "Sterling Silver", two locket pendants, both stamped "Silver", a flat curb link chain stamped "925", other fine chains (knotted), a hallmarked silver enamel Yorkshire Rose style pendant, on fine chain, and four dress rings, including a hallmarked silver marcasite style cluster (finger size q), a cluster ring, stamped silver (finger size M), and two half eternity style rings one hallmarked silver, other gilt coloured, stamped "925" (finger sizes No O), (total weight 75 grams).
Lot 224
A Gilt Coloured Bangle, with part scroll engraving to snap clasp, stamped "9ct Gold Metal Cored", a gilt coloured curb link bracelet, of alternate textured design, and a rectangular multi coloured single stone dress ring, claw set, between Art Deco style shoulders, stamped "9ct RDG", (finger size O).
Lot 277
A Decorative Suite of Jewellery, comprising abstract openwork rose coloured pendant, with inset highlights, on a fancy link chain (stamped "750"); together with a dainty dress ring, of openwork design, stamped "ZM18K" 9finger size P) and a pair of stud earrings, with inset highlights, the butterfly backs stamped "21K", contained in a fitted case.
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.
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