We found 173487 price guide item(s) matching your search

A Maisto 1/12 scale Jaguar XJ220 diecast car mounted on a plinth, boxed.

A reproduction George III style chest of drawers of two short and three graduated long drawers, on a plinth base, 60cms wide.

A Victorian mahogany sideboard with two frieze drawers above three arched panelled doors enclosing a shelved interior, on a plinth base, 164cms wide.

A 19th century stripped pine linen press, the moulded cornice above two panelled doors enclosing a shelved interior, on a base of two short and one long drawer, on a plinth base, 123cms wide, 233cms high.Condition ReportThe linen press is 233cms high and has a depth of 62cms. The cornice is detachable and the doors are straight and not warped. All the locks are present just no keys, overall in good clean condition.

A pine chest of drawers with four graduated long drawers, on a plinth base, 90cms wide.Condition ReportThe chest of drawers is 102cms high and 49cms deep.

A modern pyramid shaped chest of drawers with an arrangement of nine graduated drawers, on a plinth base, 62cms wide.

A pine cupboard, the twin panelled doors enclosing a shelved interior, on a plinth base, 67cms wide.

A Victorian mahogany open bookcase with two adjustable shelves, on a plinth base, 136cms wide.

A Porsche Boxter 180/18 scale metal diecast model mounted on a plinth, boxed.

London & South Western Railway Locomotive Whistle complete with mounting flange and valve. Stands 12.5in tall and has been lightly cleaned. Ex Drummond 700 class Black Motor 0-6-0 number 30339 or 30698. Nicely mounted on a mahogany plinth.

A 19th Century oak longcase clock, the arched hood above a shaped door and plinth base, the painted dial inscribed M Ambrose Bingham with two train movement, 209cms tall

An oak longcase clock, the shaped hood with brass finials above a rectangular door and confirming plinth base, the brass dial inscribed Phillip Avenell Farnham, with two train movement, subsidiary seconds dial and date aperture

A late 19th Century French kingwood and gilt metal mounted narrow bookcase, the pierced gallery back above three shelves metal mounted with bows and swags raised upon a shaped plinth base, 90cm by 20cm by 100cm

A Victorian oak narrow bookcase, the moulded top above shelves raised upon a plinth base, 122cm wide by 33cm deep and 110cm high

A pine chest of drawers, the moulded top above three long drawers with knob handles upon a plinth base, 96cm wide, 54cm deep and 76cm high

A Regency mahogany secretaire bookcase, the moulded cornice above two astragal glazed doors, the lower section with a fitted secretaire drawer and two cupboard doors all raised upon a plinth, 112cms wide, 58cms deep and 228cms tall

An antique mahogany cylindrical pot cupboard, with marble inset top, 72cm high, (plinth base detached). 

A William IV specimen cabinet, with upper shelf over thumbead top, the doors opening to reveal three banks of eleven short drawers over four long drawers, raised on a plinth. H 141, D 41, W 106cm.

A Chinese Porcelain Jar and Cover, 19th century, painted in famille rose enamels, with a red bird and peonies, caligraphy inscription to the reverse on a hardwood plinth; together with a pair of similar small balluster vases, with flowers and butterflies on turquoise grounds, Qianlong mark but not of the period and a 20th century earthern wear stool, as three elephants

After Giambologna (1529-1608), pattinated bronze figure of mercury on cylindrical plinth, 30.5cm high

A Pair of Large Chinese Earthernware Turquoise Glazed Lion Dogs, in 18th century style, on shaped rectangular plinth bases, overall height 89cm

Bronze Bust of Elizabeth II on a Plinth Stand, signed Kaya

Royal Copenhagen figure 'Faun with Squirrel' no. 456, designed by Christian Thomsen H21cmCondition Report:Small chip to back right hand corner of the plinth

After Jules Moigniez (1835-1894) Large bronze sculpture of an Owl with talons outstretched, raised on circular plinth, signed to base, H86cm x W59cm

French - 8-day late 19th-century mantle clock in a Belgium slate case, with a flat top, rouge marble relief and incised chasing on a stepped plinth, two-part enamel dial with a visible dead-beat brocot escapement, Roman numerals, minute track and steel spade hands, two train movement striking the hours and half-hours on a bell. With pendulum.Dimensions: Height: 28cm  Length/Width: 26cm  Depth/Diameter: 17cm

French - late 19th century 8-day marble and Belgium slate mantle clock, with a flat top, break front case on a broad plinth with contrasting variegated sienna marble panels, enamel dial with Roman numerals, minute track and steel spade hands, striking movement with a recoil anchor escapement, striking the hours and half hours on a bell. No pendulum.Dimensions: Height: 23cm  Length/Width: 22cm  Depth/Diameter: 13cm

English oak cased bracket clock - in a late 19th-century case with a brass dial inscribed Thwaites, London, with a flat-topped stepped pediment and silk backed brass sound frets to the sides, standing on a conforming stepped plinth, silvered chapter ring with Roman numerals and minute track, pierced steel hands and engraved dial centre, with cast spandrels and pendulum regulation dial to the break arch, 8-day three train chain fusee movement chiming the quarters and striking the hours on a nest of 8 bells plus one, with a recoil anchor escapement and a London regulation pendulum. With key.Dimensions: Height: 66cm  Length/Width: 43cm  Depth/Diameter: 28cmCondition Report:The movement would benefit from attention and servicing.

A RARE, LARGE AND VERY HEAVY BRONZE FIGURE OF VISHNU, VIJAYANAGARA EMPIRE, 1336-1646, OR EARLIERSouth India. Heavily cast, standing in samabhanga atop a circular plinth, clad in a loincloth, his four arms held around him, the face with large and neatly incised almond-shaped eyes, pierced ears, full lips, and a prominent chin, the head surmounted by a conical headdress topped with a bud-form finial, a small lotus halo on the back, the bronze with a rich deep brown patina overall.Provenance: Property from an Asian collection, acquired in the 1990s. Christie's Amsterdam, 21 November 2001, lot 41 (described as Vijayanagar, 14th/15th century, probably Rama). Christie's New York, 21 March 2008, lot 761 (described as a four-armed deity, South India, 16th century), sold for USD 39,400 or approx. EUR 52,000 (converted and adjusted for inflation at the time of writing).Condition: Very good condition with expected old wear, small nicks and light scratches, minor losses. Superb, naturally grown patina with areas of malachite encrustation overall. Displaying remarkably well.Weight: 8,195 gDimensions: Height 42.5 cmThis is a remarkable bronze for which there is no direct comparison. The arms and hands combine to form a striking sense of movement, cleverly balanced against the high cylindrical headdress pronouncing the vertical axis.

A WHITE MARBLE HEAD OF A BODHISATTVA, NORTHERN QI DYNASTYOpinion: Northern Qi sculptures of this size are exceedingly rare, as the art from this period was fashioned during a short twenty-five-year span and relatively confined to the northern provinces of Shandong, Hebei, Henan, Shanxi, and Anhui.China, 550-577. Exquisitely carved, the face with a serene expression, an entrancing gaze from deep-set eyes above an aquiline nose and pursed lips, with hair combed into a chignon held together by a crown having both sides tied with ribbons trailing from floral medallions.Provenance: Christie's Amsterdam, 30 October 2000, lot 83, sold for NLG 17,553 or approx. EUR 13,500 (converted and adjusted for inflation at the time of writing). Roger Hollander, acquired from the above. Roger Hollander (1934-2018) was a graduate of Yale and a true American businessman, having turned a small family operation into a globally recognized industry. He was known for his expertise in Indian and Chinese textiles, and for his sprawling country estate on the edge of Yellowstone National Park that housed a vast wine cellar, research library, and many thousands of ethnographic artifacts. The estate, known as Irma Lake Lodge, once belonged to 'Buffalo' Bill Cody and was eventually sold by Hollander to Bill Gates for USD 9,000,000.Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks, scratches, structural cracks, minor old repairs and fills, signs of weathering and erosion, and encrustations.Weight: 11.8 kg (incl. stand)Dimensions: Height 28 cm (excl. stand) and 38 cm (incl. stand)The Northern Qi dynasty was one of the most vibrant periods in the history of Chinese art, both religious and secular, as its openness towards foreigners, their ideas, beliefs, and goods immensely enriched the local cultural climate. It was within this cosmopolitan climate that Buddhist sculpture experienced perhaps its most glorious moment. The present head aligns with a simplified style of white marble carvings from this period found in Quyang of Hebei province. The complete figure would have been an exceptionally large standing polychromed bodhisattva, a type depicted with the left arm bent at the side while holding an attribute, wearing simplified jewelry and robes, and standing above a double-lotus petal base on a plinth.Expert's note: According to Osvald Siren, marble figures modeled in gently rounded forms, such as the present example, were typically produced during the second half of the 6th century. See Osvald Siren, Chinese Marble Sculptures of the Transition Period, Bulletin of the Museum of Far Eastern Antiquities, no. 12, Stockholm, 1940, pp. 473-496. Also compare a closely related, very rare and important painted white marble Buddhist votive stele, Northern Qi dynasty, at Christie's New York, 17 March 2009, lot 357. Christie's notes the “massive size” of this important stele at 170 cm, but one must consider that the scale of our head suggests it is from a figure over twice as large. This comparison gives an invaluable picture of a complete bodhisattva from the Northern Qi period, and no doubt with numerous similarities, but leaves one wondering about the importance of the complete work that our head must have once been a part of.Literature comparison: Compare a closely related marble figure of Buddha, with near identical facial features, in the Royal Ontario Museum, object number 921.31.21, illustrated in Angela F. Howard, Buddhist Cave Sculpture of the Northern Qi Dynasty: Shaping a New Style, Formulating New Iconographies, Archives of Asian Art, vol. 49, 1996, pp. 6-25, fig. 19.  Compare a closely related head in Imprints of Buddhas, Buddhist Art in the National Palace Museum Collection, page 119, number 47.Auction result comparison: Type: Closely related Auction: Bonhams New York, 19 September 2022, lot 265 Price: USD 94,875 or approx. EUR 85,000 converted and adjusted for inflation at the time of writing Description: A Rare White Marble Head of a Bearded Sage, Laozi, Northern Qi-Sui Dynasty, 6th Century Expert remark: Compare the material, manner of carving and style. Note the similar size (32 cm).北齊漢白玉菩薩頭像中國，550-577年。雕刻精美，表情安詳，彎眉連著鼻頸，眼睛微閉，嘴唇微噘，頭髮梳成髮髻，由一頂王冠固定在一起，兩邊都繫著從花卉絲帶。如此規模的北齊雕塑極為罕見，因為這一時期的藝術特徵在短短的二十五年內形成，並且相對局限於山東、河北、河南、山西和安徽等北方省份。 來源：阿姆斯特丹佳士得，2000年10月30日，lot 83，售價 NLG 17,553 或相當於 EUR 13,500 (根據通貨膨脹率)；Roger Hollander購於上述拍賣。Roger Hollander (1934-2018年) 畢業於耶魯大學，是一位真正的美國商人，將一家小型家族企業發展成為全球知名的行業。他以在印度和中國紡織品方面的專業知識，以及在黃石國家公園邊緣的廣闊鄉村莊園而聞名，莊園內有一個巨大的酒窖、研究圖書館和數以千計的民族志文物。這座被稱為伊爾瑪湖旅館的莊園曾經屬於“布法羅”比爾科迪，最終被Hollander以 900 萬美元的價格賣給了比爾蓋茨。品相：狀態極好，大量磨損、缺損、刻痕、劃痕、結構裂縫、小修補和填充、風化和結殼。 重量：11.8 公斤 (含底座) 尺寸：高28 厘米 (不含底座) 與38 厘米 (含底座)

A PINK SANDSTONE STELE OF BUDDHA SHAKYAMUNI, KUSHAN PERIOD, MATHURA, LATE 1ST TO EARLY 2ND CENTURYOf rectangular form with an arched top, finely and deeply carved in high relief, depicting Buddha seated in dhyanasana atop a tiered square plinth with three lions, flanked by chauri bearers below flying apsaras. He is wearing a heavily pleated robe draped over his left shoulder. His serene face with heavy-lidded almond-shaped eyes below thick, elegantly arched brows centered by a circular urna, the hair surmounted by a whorled ushnisha, backed by a sun-form halo.Provenance: From the collection of Jean-Marc Andral, acquired between 1996 and 2005 at Galerie Carre des Antiquaires in Versailles, France. A copy of a provenance statement, written and signed by Jean-Marc Andral, dated 31 July 2022, accompanies this lot. Jean-Marc Andral is a Belgian manager based in Brussels and active in the healthcare industry for over 25 years.Condition: Very good condition, commensurate with age. Some wear, minor losses, few structural cracks, small nicks, light scratches, signs of weathering and erosion, encrustations. Dimensions: Height 52 cm (excl. stand) and 54 cm (incl. stand)With a modern metal stand. (2)Literature comparison: Compare the closely related pink sandstone stele of Buddha, known as the “Katra stele”, dated end of 1st century AD, in the Government Museum, Mathura, illustrated in James C. Harle, The Art and Architecture of the Indian Subcontinent, Yale University Press, 1994, p. 63, no. 43 (where it is dated to the early 2nd century). Compare a closely related sandstone stele of Buddha, dated 110 AD, in the National Museum, New Delhi, object number L.55.25. Compare a related pink sandstone stele of Buddha, 93 cm high, dated c. 131 AD, in the Kimbell Art Museum, accession number AP 1986.06.

A PAIR OF PAINTED POTTERY FEMALE MUSICIANS, SUI TO EARLY TANG DYNASTYChina, 7th century. Each finely modeled as a lady seated on a short square plinth, one playing an oboe (haidi) and the other a pan flute (paixiao), each with finely painted faces and elaborate double topknots.Provenance: From the collection of Captain Walter Herbert Adgey-Edgar. Sotheby's London, 13 May 1969, lot 51. A private collection based in the United Kingdom and the United States, acquired from the above, and thence by descent. A copy of the original invoice from Sotheby's, dated 15 May 1969, signed by Graham D. Llewellyn, the later chief executive, dating the pair to the Tang dynasty, and stating a purchase price for the present lot of GBP 1,700 or approx. EUR 24,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. Captain Walter Herbert Adgey-Edgar (1887-1977) was a well-known philatelist and writer on China and studied both Japanese and Chinese Stamps. In 1947, he self-published a book entitled 'A Catalogue of Imperial Japanese Overprints and Issues in Occupied British Territories'. He also wrote for stamp journals using the by-line 'London Chat'. In 1955 he wrote a paper that was widely published by the philatelic press entitled 'The Postal and Airmail Routes of Manchuria'. Condition: Condition commensurate with age. Extensive wear, losses, firing flaws, chips, old repairs and fills, and encrustations, all exactly as expected from authentic Tang dynasty excavations.Weight: 832.1 g and 876.9 g (excl. bases) Dimensions: Height 19.7 cm and 20 cmEach figure with a fabric base of rounded square form, dating from around 1900. (4)Literature comparison: These two figures are similar to a group of ten seated female court musicians in the Shoso-in, Japan, illustrated by Ryoichi Hayashi in The Silk Road and the Shoso-in, New York/Tokyo, 1975, p. 96, fig. 103. Three similar painted pottery figures of seated female court musicians illustrated by J. Baker in Appeasing the Spirits: Sui and Tang Dynasty Tomb Sculpture from the Schloss Collection, Hofstra Museum, Hofstra University, 1993, p. 18, no. 9, are described as wearing Kuchean fashions, and representing the Kuchean modes of music and entertainment that were popular during the Sui and early Tang periods. The same costume and Kuchean hairstyle can also be seen on a group of standing figures illustrated on p. 17, nos. 6 and 7. In discussing a group of nine similarly attired and coiffed standing figures of female musicians illustrated in China: A History in Art, New York, 1979, p. 132 (top), the authors, B. Smith and Wango Weng, note that female musicians from Chinese Turkestan played for the court, and that “musicians from Kucha in Central Asia probably exerted the most influence” at court.Auction result comparison: Type: Closely related Auction: Christie's New York, 18 March 2016, lot 1479 Price: USD 27,500 or approx. EUR 32,000 converted and adjusted for inflation at the time of writing Description: A pair of painted pottery figures of seated female musicians, Sui-early Tang dynasty, 7th centuryExpert remark: Note the smaller size (15.2 cm)隋至唐初一對彩繪陶樂俑中國，七世紀。樂俑跪坐姿，一個正在演奏海笛，一個在演奏排簫，面部表情生動，傳統髮髻。 來源： Walter Herbert Adgey-Edgar收藏；倫敦蘇富比，1969年5月13日，lot 51；英美兩地生活的一位私人藏家，購於上述拍賣。隨附一份1969年5月15日蘇富比出具的發票複印本，Graham D. Llewellyn簽名，他時候來的首席執行官，發票上可見對這一對樂俑為唐代，當時售價 GBP 1,700 或相當於 EUR 24,500 (根據通貨膨脹率)。Walter Herbert Adgey-Edgar (1887-1977) 是著名的集郵家和中國問題作家，研究過日本和中國的郵票。1947年，他自行出版了一本名為《A Catalogue of Imperial Japanese Overprints 和Issues in Occupied British Territories》的書。 他還使用署名“London Chat”為郵票期刊撰稿。1955 年，他寫了一篇題為“The Postal 和Airmail Routes of Manchuria”的論文，被集郵出版社廣泛發表。品相：大面積磨損、缺損、燒製缺陷、刻痕、修補和填充物、結殼。 重量：分別爲832.1克與876.9克 (不含底座) 尺寸：分別高19.7 厘米與20 厘米 每個樂俑都有圓角方形織物底座，可追溯至 1900 年左右。 (4)

A BRONZE FIGURE OF THE GODDESS UMA, KHMER, ANGKOR WAT STYLE, 12TH - 13TH CENTURYUma is standing upon a simple square plinth with her hands extended, dressed in a pleated sampot suspended from a charm-embellished belt and a central sash tapering off in a fishtail shape. Her body is ornamented in fine jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The face finely cast with almond shaped eyes and wide mouth. Provenance: Sotheby's New York, 22 March 1989, lot 438. A Swiss private collection, acquired from the above. The base with an old label, 'Soth. NY 22.3.1989 Lot 438'. Note that on the image in the Sotheby's catalogue, the present statue shows an inappropriate modern gilding which was since then professionally removed. Condition: Good condition commensurate with age, with extensive wear, some weathering, a few small nicks and dents, expected casting flaws. The feet re-attached to the base with old soldering marks.Weight: 1,106 g Dimensions: Height 26.8 cmExpert's note: The details of the face, clothing, and jewelry of the present lot are all indicative of the Angkor period. Uma was a favored goddess in Khmer Angkor, and while sandstone representations of the goddess abound, devotional bronze figures of Uma are considerably rarer.Literature comparison:Compare a related bronze figure of Uma, dated 11th-12th century, in the Victoria & Albert Museum, accession number IS.62-1993.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 July 2020, lot 36Price: USD 8,125 or approx. EUR 9,000 converted and adjusted for inflation at the time of writingDescription: A rare bronze figure of Uma, Khmer, Angkor period, 12th centuryExpert remark: Compare the closely related pose and dress. Note the much smaller size (18.5 cm).

A GREEN, YELLOW AND AUBERGINE-GLAZED BISCUIT FIGURE OF A DAOIST IMMORTAL, KANGXI PERIODChina, 1662-1722. Molded as Lue Dongbin, standing on an egg-and-spinach-splashed rectangular plinth, dressed in an elegant, green-glazed robe and wearing an aubergine scholar's hat, holding a fly whisk in his right hand, a sword tucked into his belt. The ovoid face with heavy-lidded eyes, a long mustache and chin beard framing the mouth, and side whiskers below the ears. Provenance: From the estate of David Dunham, United States. The base with an old label, 'came from China in 1937 - valuable - 1 of the 8 immortals', and a lacquered inventory number '5636'. Condition: Very good condition with minor wear, few minuscule chips to the feet, and manufacturing flaws including firing cracks and glaze imperfections.Weight: 830.7 g Dimensions: Height 31.1 cmLiterature comparison: Compare a related porcelain figure of a Daoist immortal, 15 cm high, also dated to the Kangxi period, in the British Museum, registration number Franks.826.Auction result comparison:Type: Closely relatedAuction: Christie's London, 7 November 2017, lot 138Price: GBP 8,125 or approx. EUR 11,500 converted and adjusted for inflation at the time of writingDescription: A green, yellow and aubergine-glazed biscuit figure of guan ping, Kangxi periodExpert remark: Compare the closely related motif, pose, and glazes. Note the smaller size (20 cm).康熙時期五彩呂洞賓立像中國，1662-1722年。堆塑呂洞賓立於長方形底座上，身著長袍，頭戴紫紅色文人帽，右手持拂塵，腰間別劍。面容安詳，雙眼平視前方，長鬚，開臉生動，用彩純正。來源：美國David Dunham私人收藏。底部有老標籤 'came from China in 1937 - valuable - 1 of the 8 immortals' 以及一個收藏編號 '5636'。 品相：品相極佳，輕微磨損，足部輕微磕損，製造缺陷包括燒製裂紋和釉面瑕疵。 重量：830.7 克 尺寸：高 31.1 厘米 文獻比較： 比較一件相近的康熙陶瓷道人像，15 厘米高，收藏於大英博物館，收藏編號Franks.826。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2017年11月 7日 ，lot 138價格：GBP 8,125（相當於今日EUR 11,500）描述：清康熙素三彩關平立像專家評論：比較非常相近的主題、姿勢和釉面。請注意尺寸較小(20 厘米)。

A BRONZE FIGURE OF A STANDING BUDDHA, POST-GUPTA PERIOD, INDIA, C. 7TH CENTURYFinely cast standing in contrapposto on an integral lotus-petal base upon a square plinth, the right arm extended to the earth, the open palm exaggerated, the left hand grasping the hem of the robe.Provenance: Steven Finkelman, The Buddha Gallery, California, USA, 2014. Michael Phillips, acquired from the above. Steven Finkelman is a retired social work service director with over 30 years of experience in collecting and selling Buddhist and Hindu sculpture. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Very good condition, commensurate with age. Wear, minor dents, small nicks, light scratches, casting flaws, signs of weathering and erosion, losses.Weight: 189.7 g Dimensions: Height 11 cmThe present lot is characteristic of Indian art from the post-Gupta period. This small type of portable figure is thought to be one of the earliest kinds of Buddhist images to have been produced by local craftsmen, reflecting the spread of Buddhism throughout India and the rest of Asia after the 3rd century. We see this type of figure replicated in regional styles all the way out to Myanmar. It was even reported by the Chinese scholar Xuanzang (602-664), who traveled to India in the 7th century, that the monks of India had small icons of Buddha in their quarters that they venerated with chanting, ritual bathing, and small offerings of incense and food. He identified these as a small group of metal standing Buddha figures. The Ajanta Caves are approximately thirty Buddhist cave monuments dating from the second century BC to about 480 AD in the Aurangabad district of Maharashtra state in India. Textual records suggest that these caves served as a monsoon retreat for monks, as well as a resting site for merchants and pilgrims in ancient India. The caves include paintings and rock-cut sculptures described as among the finest surviving examples of ancient Indian art, particularly expressive works that present emotions through gesture, pose and form. They are universally regarded as masterpieces of Buddhist religious art. The caves were built in two phases, the first starting around the second century BC and the second occurring from 400 to 650 AD. They constitute ancient monasteries (Chaityas) and worship-halls (Viharas) of different Buddhist traditions carved into a 75-meter (246 ft) wall of rock. The caves also present paintings depicting the past lives and rebirths of the Buddha, pictorial tales from Aryasura's Jatakamala, and rock-cut sculptures of Buddhist deities. The patron and bronze founder of the present lot were clearly intimately familiar with the Ajanta site. In cave 4 for example, see a standing Buddha closely related to the present lot.Literature comparison: Compare a related carved relief of a standing Buddha in Cave 19 at the Ajanta complex, taken by Henry Cousens around 1880, from the Archaeological Survey of India Collections. See Sarita Khettry, 'Portable' Images (Buddhist) from Gandhara, Proceedings of the Indian History Congress, vol. 72, 2011, pp. 204-11. Compare also a related pillar painting in Cave 10. Compare a closely related figure, 11 cm high, dated 7th-8th century, at Galerie Hioco, June 24, 2019.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A GILT BRONZE OF TSONGKHAPA, TIBETAN-CHINESE, 18TH CENTURYWell cast, seated in dhyanasana on a double-lotus plinth with beaded edge, the hands held in dharmachakra mudra, his arms flanked by long lotus stems that come to full bloom at the shoulders, crowned with a peaked hat, and dressed in elaborately chased robes with floral hems.Provenance: From the collection of an artist and university professor in Vienna. Condition: Good condition with old wear and casting flaws as expected, light scratches, few minor nicks. Scattered ancient metal fills, probably inherent to manufacturing. The small attribute on the right lotus is lost.Weight: 1,059 g Dimensions: Height 16.2 cmTsongkhapa (1357-1419) is widely regarded in Tibet as a second Buddha and the main teacher of the first Dalai Lama, Gendun Drub (1391-1474). An eminent scholar, he reformed the old Kadampa sect, creating the new Gelugpa sect (Yellow Hat), and is the founder of the monasteries Ganden, Drepung, and Sera. He is revered as an emanation of the Buddhist god of wisdom, Manjushri. Although the present bronze has lost one of his attributes, the sword, he is clearly recognizable by the pronounced facial features, for which Tsongkhapa was known, and the remaining attribute, the book.Auction result comparison:Type: Closely relatedAuction: Christie's London, 9 May 2017, lot 46Price: GBP 8,750 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A parcel gilt-bronze figure of Tsongkhapa, 18th centuryExpert remark: Compare the closely related pose, fine incision work, and size (16.5 cm)Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2012, lot 766Price: USD 8,125 or approx. EUR 10,000 converted and adjusted for inflation at the time of writingDescription: A gilt bronze figure of Tsongkhapa, Tibeto-Chinese, 18th centuryExpert remark: Compare the closely related pose, fine incision work, and size (17.2 cm)十八世紀漢藏銅鎏金宗喀巴坐像上師結跏趺座坐在蓮座上，雙手當胸結說法印，左右肩上有蓮花。上師面容慈祥，著僧袍。 來源：維也納一位藝術家及大學教授收藏。 品相：狀況良好，有磨損和鑄造缺陷，輕微劃痕，些微刻痕、局部金屬填充物。右邊蓮花上的小法器丟失。 重量：1,059 克 尺寸：高 16.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2017年5月9日，lot 46 價格：GBP 8,750（相當於今日EUR 12,500） 描述：十八世紀宗喀巴鎏金銅像 專家評論：比較非常相近的姿勢、精美雕刻和尺寸 (16.5 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月21日，lot 766 價格：USD 8,125（相當於今日EUR 10,000） 描述：十八世紀漢藏宗喀巴鎏金銅像 專家評論：比較非常相近的姿勢、精美雕刻和尺寸 (17.2 厘米)。

A VERY LARGE 'ROBIN'S EGG' ENAMELED AND GILT PORCELAIN FIGURE OF AMITAYUS, QIANLONG TO JIAQING PERIODChina, 1736-1820. Heavily potted, seated in dhyanasana on a cloth draped over a rectangular plinth with a shaped recessed gilt panel above a dragon emerging from crashing waves. His hands are lowered in dhyana mudra and holding an alms bowl. He is wearing long flowing robes opening at the chest adorned with a beaded jeweled necklace. His serene face with heavy-lidded eyes, gently arched brows, a circular urna, and bow-shaped lips. His hair elegantly falling in tresses over the shoulders and piled up into a topknot surmounted by a jewel behind the foliate tiara. The cloth, base, robe, hair, and jewels enameled in robin's egg with details picked out in turquoise and blue. The face, torso, hands, feet, tiara, and dragon gilt. Provenance: From an old German private collection, acquired in the 1970s and 80s. Thence by descent. Condition: As expected, the tips of the tiara, topknot, fingers, earrings and dragon's horns are restored to perfection. Further with glaze recesses, flaking and abrasions. Microscopic remnants of pigment which indicate that the figure was painted at some stage. Gilt porcelain figures of such a large size are usually restored to a much wider extent, due to their fragility, and it is therefore exceedingly rare to find one in such a well-preserved state overall.Weight: 5,156 g Dimensions: Height 43.5 cmExpert's note: Gilt porcelain figures of bodhisattva were produced from the Qianlong period onwards. The inspiration for such figures may have come from Ming dynasty bronze prototypes, such as the Xuande period gilt-bronze figure currently in the Berti Aschmann Foundation, Museum Rietberg, illustrated in On the Path to Enlightenment, Zurich, 1995, no. 72. An unmarked example, dated to the Xuande period, is in the V&A collection, no. 275&A-1898.Literature comparison: For a related example from the Malcolm MacDonald collection, no. DUROM.1969.358, and now in the Oriental Museum, University of Durham, United Kingdom, see Ireneus Legeza, A Descriptive and Illustrated Catalogue of the Malcolm MacDonald Collection of Chinese Ceramics, London, 1972, p. 122, no. 72. Another enameled porcelain figure of a bodhisattva is illustrated by Lou Pin-heng, Precious Treasures of My Humble House, Taipei, 1988, pg. 54, no. 12Auction result comparison: Type: Related Auction: Sotheby's New York, 17 September 2013, lot 52 Price: USD 68,750 or approx. EUR 80,000 converted and adjusted for inflation at the time of writing Description: An unusual enameled and gilt-decorated figure of a bodhisattva, Qing dynasty, 18th / 19th centuryExpert remark: Compare the closely related robin's egg enamels, gilt decoration, and face. Note the related size (40 cm). Note the different pose and base. Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 29 May 2008, lot 578 Price: HKD 960,000 or approx. EUR 169,000 converted and adjusted for inflation at the time of writing Description: A rare enameled figure of a kneeling bodhisattva, QianlongExpert remark: Compare the closely related robin's egg enamels, gilt decoration, and face. Note the much smaller size (29 cm) as well as the different pose and base.乾隆至嘉慶時期爐鈞釉描金無量壽佛坐蓮像中國，1736-1820年。此尊無量壽佛結跏趺坐穩坐於波濤之上，一條金龍從水中探出；雙手施禪定印，托缽；高螺發，面龐圓潤，耳大垂肩，額際寬廣，慈眉善目，表情溫和慈祥；頭戴五葉佛冠，項配瓔珞，更顯法相尊嚴。其面部及身體露膚處均施金釉，佛冠、瓔珞及綬帶等則以金釉和爐鈞釉搭配裝飾，瓔珞處採用爐鈞釉以仿松石、青金石的效果，絢爛多姿，富麗堂皇。 來源：德國私人舊藏，購於上世紀七十至八十年代，保存至今。 品相：頭飾、高髻、手指、耳環和龍角的尖端都已恢復。有釉面凹陷、剝落和擦傷。輕微的顏料殘留表明該造像曾經經過彩繪。如此巨型的鎏金瓷像，由於其易碎性，修復範圍通常要大得多，因此，整體保存如此好的造像極為罕見。 重量：5,156 克 尺寸：高43.5 厘米

A BRONZE FIGURE OF BUDDHA SHAKYAMUNI, SWAT VALLEY, 8TH-9TH CENTURYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 31 March 2021, based on sample number N121c25, sets the firing date of one sample taken at between 800 and 1200 years ago, consistent with the suggested period of manufacture (8th-9th century). A copy of the report, signed by Helen Mason and Doreen Stoneham for Oxford Authentication, accompanies this lot.Seated on a cushion over an elaborate lotus throne with lions on either side and supported on a rectangular plinth, his right hand lowered in abhaya mudra and his left holding the hem of his sanghati falling over the chest in finely incised rhythmic folds. His serene face with silver-inlaid eyes and urna, deeply incised brows, and full lips forming a calm smile, flanked by long pendulous earlobes, the hair in tight curls over the ushnisha.Provenance: A private collection in Hong Kong. German trade, acquired from the above.Condition: Very good condition, commensurate with age. Extensive wear, some losses, obvious signs of weathering and erosion, soil encrustations, small nicks and dents, light scratches. Superb, naturally grown malachite and cuprite patina overall.Weight: 1,894 g (incl. backplate) and 1,280 g (excl. backplate) Dimensions: Height 25 cm (incl. backplate) and 22 cm (excl. backplate)Few Swat bronzes are known that retain a complete backplate as in the present example. It is separately cast and inserted into a loop on the throne and a tang issuing from Buddha's back. The flaming mandala is topped with a stupa and flanked by female bodhisattvas standing on lotus bases below seated male bodhisattvas.According to Pal, placing Buddha on a throne like on the present lot associates him with royal imagery and emphasizes his spiritual sovereignty, while the lotus base symbolizes his divine quality (see Pal, Indian Sculpture, Vol.2, 1988, pp.68-9). His enlightened nature is further signaled by the silver-inlaid eyes and urna. Gently looking down with a compassionate expression, he extends his right hand in the gesture of charity. With his left, he holds the hem of his robe. The iconography of Shakyamuni holding his garment is widely employed in seated Swat figures, extending the idiom from earlier Gandharan stone images.The Swat Valley is located along the upper stream of the Indus in the heartland of the Gandhara region. It was a melting pot of various people and arts and served as a link between India and Central Asia and further eastwards for a constant flow of Buddhist pilgrims. The earlier Gandhara style is still echoed in the art of many icons of the Swat Valley, as visible in the present example. The Buddha's parallel folds as well as the protuberance on top of his head, can be traced back to Gandhara Buddha figures. However, the V-shaped pleats around his neck are associated with Kashmiri prototypes, as is the use of silver inlay. His face reflects a Gupta idiom, with its small mouth and incised eyebrows. The lotus base on which he sits is typical for Swat Valley images. Thus, this fine bronze Buddha figure perfectly embodies the aforementioned melting pot of various styles.Literature comparison: Compare a closely related Swat Valley bronze Buddha, with a similar base and hand gesture, dated 625-1003, in the National Museum of Pakistan, Karachi, recorded in the Huntington Archive, scan number 9602. Compare a related Swat Valley bronze Buddha, dated circa 7th-8th century, in the National Museum of Pakistan, Karachi, recorded in the Huntington Archive, scan number 9600. Compare the throne, gestures, and the robe's evenly arranged narrow folds with that of a closely related example published in von Schroeder, Buddhist Sculptures in Tibet, Vol. I, 2001, pp. 40-1, figs. 6A-C. Also see Pal, Bronzes of Kashmir, 1975, pp. 194-5, no. 73. For a fragment of a backplate from the Eilenberg Collection, see M. Lerner and S. Kossak, The Lotus Transcendent, 1991, cat. no. 86, p. 116. Furthermore, compare with lots 29 and 78 in Imprints of Buddhas, Buddhist Art in the National Palace Museum Collection. Auction result comparison: Type: Closely related Auction: Christie's New York, 21 September 2007, lot 230 Price: USD 115,000 or approx. EUR 160,000 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Buddha Shakyamuni with backplate, Swat Valley, 7th/8th century Expert remark: Compare the closely related pose, expression, patina, the abhaya mudra of the lowered right hand, the elaborate throne and base, and the backplate with attendant figures and central stupa. Note the smaller size (20.3 cm).Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 2 December 2021, lot 1007 Price: HKD 377,500 or approx. EUR 47,500 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of Shakyamuni, Swat Valley, 8th/9th century Expert remark: Compare the related pose, expression, silver inlaid eyes and urna, hand gestures, and throne. Note the smaller size (18 cm).Auction result comparison: Type: Closely Related Auction: Bonhams Paris, 14 June 2022, lot 18 Price: EUR 75,975 Description: Statuette de Bouddha en Alliage de Cuivre Incruste D'argent, Vallee De Swat, VII Siecle Expert remark: Compare the related pose, expression, and silver inlays. Note the significantly smaller size (10.5 cm).Auction result comparison: Type: Related Auction: Christies New York, 15 March 2016, lot 44 Price: USD 173,000 or approx. EUR 201,500 converted and adjusted for inflation at the time of writing Description: A Silver-Inlaid Bronze Figure of Buddha Shakyamuni, Swat Valley, 7th Century Expert remark: Compare the related pose, expression, and silver inlays. Note the significantly smaller size (13.5 cm).Auction result comparison:Type: RelatedAuction: Christie's New York, 19 March 2014, lot 1040Price: USD 209,000 or approx. EUR 246,500 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha, Kashmir, 7th CenturyExpert remark: Compare the closely related cast, posture, throne, and silver inlaid eyes八至九世紀斯瓦特谷釋迦牟尼銅像科學檢測報告：隨附牛津檢測所2021年3月31日由Doreen Stoneham出具的熱釋光檢測報告複印本，樣本號N121c25，結果為該造像為800至1200年前製作，符合推測的八至九世紀。 品相：狀態極好，大量磨損，一些缺損，明顯的風化和侵蝕跡象，土壤結垢，小刻痕和凹痕，輕微劃痕。包漿自然。

A BRONZE FIGURE OF HANUMAN, INDIA, 17TH CENTURYFinely cast standing on a circular base above a square plinth, his hands clasped together in anjali mudra, dressed in a short dhoti, embellished with a necklace, bangles, earrings, and a sash, his tail turned upward curling on top of his head, the face with almond shaped eyes, a subtle smile, and surmounted by a floral headdress. Provenance: From the collection of the late Joost Slingerland, Yorkshire, United Kingdom, and thence by descent. Joost Slingerland was a Dutch collector of Hindu and Buddhist bronzes from India, Southeast Asia, and the Himalayas, based in Driffield, Yorkshire. He assembled his collection between 1995 and 2005 and regularly came to London to acquire pieces. Condition: Very good condition with expected old wear, small nicks, light scratches, casting flaws, and few malachite encrustations. Good patina.Weight: 499.5 g Dimensions: Height 14.5 cm Auction result comparison:Type: RelatedAuction: Christie's New York, 23 September 2004, lot 53Price: USD 8,963 or approx. EUR 13,500 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Hanuman, India, 17th centuryExpert remark: Compare the related motif, pose, plinth, and curled tail. Note the significantly larger size (40 cm).十七世紀印度哈努曼銅像哈努曼站在方形底座的蓮座上，雙手合十，腰間圍裙，飾有項鍊、手鐲、耳環和腰帶，尾巴向上捲曲在頭頂，臉部帶著微笑，頭上戴著花卉頭飾。 來源：英國約克郡Joost Slingerland收藏，保存至今。底部内部有一個標籤 '2'。Joost Slingerland是一位荷蘭收藏家，專注收集來自印度、東南亞和喜馬拉雅山的印度教和佛教青銅造像，常年生活在約克郡德里菲爾德。他在 1995 年至 2005 年期間開始收藏，並定期去倫敦尋找藏品。 品相：狀況極好，有磨損、小刻痕、輕微劃痕、鑄造缺陷和少量綠色結殼。良好的包漿。 重量：499.5 克 尺寸：高 14.5 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2004年9月23日，lot 53 價格：USD 8,963（相當於今日EUR 13,500） 描述：十七世紀印度哈努曼銅像 專家評論：比較相近的主題、姿勢、底座和捲曲的尾巴。請注意尺寸較大(40 厘米)。

A FAHUA GLAZED FIGURE OF GUANYIN, LATE MING DYNASTYChina, 16th-17th century. Heavily potted, seated in rajalilasana on a square plinth, with her right hand resting on her raised knee, her left on her lap, dressed in fine robes opening at the chest adorned with pendent jewelry, covered in aubergine, turquoise and green glazes.Provenance: French trade. An old collector's number 'C 128' inscribed to the base. Condition: Presents very well overall. The head reattached. Some obvious losses and chips to exposed areas, some of which have been smoothened over time. The color of the glaze quite crisp and vibrant.Weight: 1,868 g Dimensions: Height 25.7 cmLiterature comparison:Compare a related Fahua Guanyin in the British Museum, registration number 1943,0215.24, illustrated by Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, p. 429, col. pl. 13:41.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 10 November 2011, lot 623Estimate: GBP 6,000 or approx. EUR 9,800 converted and adjusted for inflation at the time of writingDescription: A rare Fahua group of a seated Buddha, 16th/17th centuryExpert remark: Compare the closely related pose, glaze, and decorations. Note the related size (30 cm).明末法華彩觀音像中國，十六至十七世紀。觀音坐像，髮髻高聳，頭戴髮巾，半跏趺坐於蓮臺之上。著坦胸式寬袖大衣，頸戴瓔珞，雙手置於雙膝。長眉細眼，面龐圓潤，神色沉靜肅穆。衣飾上以素三彩裝飾。整尊塑像設色沉靜，造型沉穩。 來源：法國古玩交易，底部有前收藏編號 'C 128'。 品相：整體表現非常好。頭部重新接過。局部有一些明顯的缺損和嗑損，其中一些已經隨著時間的推移而平滑。 重量：1,868 克 尺寸：高 25.7 厘米 文獻比較： 比較一件法華彩觀音，收藏於大英博物館，編號 1943,0215.24，見Jessica Harrison-Hall，《Ming Ceramics in the British Museum》，倫敦，2001年，頁429，彩圖13:41。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2011年11月10日，lot 623 估價：GBP 6,000（相當於今日EUR 9,800） 描述：十六/十七世紀法華彩觀音座像 專家評論：比較非常相近的姿勢、釉面和裝飾。請注意相近尺寸 (30 厘米)。

A MARBLE FIGURE OF RADHA, WESTERN INDIA, GUJARAT, 13TH-15TH CENTURYStanding in samabhanga on a rectangular plinth, wearing a dhoti and a long scarf draped over her voluptuous breasts, richly adorned with fine jewelry, her face with large almond-shaped eyes below thick arched brows, full lips forming a subtle smile, the hair arranged in an elaborate coiffure and elegantly falling down the neck.Provenance: From an old Swiss private collection. Condition: Condition commensurate with age, displaying remarkably well. Some wear, light scratches, signs of weathering and erosion, and remnants of ancient pigment. Obvious losses, nicks, and structural cracks with associated old fills. Fine, naturally grown patina overall with a subtle luster and unctuous feel.Weight: 5,760 g Dimensions: Height 43.5 cmRadha, whose name means 'prosperity', was chief among the gopis (milkmaids) and the favorite consort of Krishna. According to popular legends, she was not officially married to Krishna but rather to a cowherd.Literature comparison: Compare a related marble sculpture of Prahlada, 27.9 cm high, also from Gujarat, dated c. 12th century, in the Philadelphia Museum of Art, accession number 1994-148-24.Auction result comparison:Type: Related Auction: Christie's New York, 19 March 2014, lot 1087 Price: USD 11,875 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing Description: A black marble figure of Krishna Venugopala, India, Gujarat, circa 15th centuryExpert remark: Compare the related facial features, hairstyle, and jewelry. Note the different color of the marble and the size (66 cm).

A BRONZE FIGURE OF THE ASCETIC BUDDHA, THAILAND, 19TH CENTURYThe emaciated figure comprising four detachable parts, including the plinth, buddha, mandorla, and chignon. Shakyamuni is seated in meditation on a raised plinth decorated to the front with six acolytes, his shoulders enveloped in a folded shawl, the face with downcast eyes, flanked by elongated earlobes, the hair tied in a high chignon, and backed by a mandorla.Provenance: Copenhagen trade, Denmark. Condition: Very good condition with minor wear, few nicks, small dents, and expected casting flaws. Good, solid patina overall.Weight: 9.6 kg Dimensions: Height 53.8 cmThis figure depicts Shakyamuni practicing extreme asceticism in the wilderness during his search for enlightenment. During this time, he realized that such self-punishment was ultimately futile, and he eventually attained enlightenment through meditation and the Middle Path of balance and moderation. Auction result comparison:Type: RelatedAuction: Bonhams London, 5 November 2018, lot 250Price: GBP 4,750 or approx. EUR 6,700 converted and adjusted for inflation at the time of writingDescription: A gilt-lacquered copper-alloy figure of the ascetic buddha, Thailand, Bangkok, Rattanakosin period 19th/20th centuryExpert remark: Compare the related pose, motif and material. Note the size (108 cm) and the later dating.

A RARE BRONZE FIGURE OF UMA, ANGKOR WAT STYLE, KHMER EMPIRE, 12TH CENTURYExpert's note: The finely cast details of the face, clothing and jewelry are all indicative of the Angkor period. Uma was a favored goddess in Khmer Angkor, and while sandstone representations of the goddess abound, bronze devotional figures of Uma are considerably rarer.Well cast standing upon a simple square plinth with her hands extended. Her pleated sampot is suspended from a charm-embellished belt and a central sash that tapers off in a distinct fishtail shape. She is ornamented in fine jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem.Provenance: The personal collection of Robert Rousset, acquired in the 1950s-1970s. Thence by descent to Jean-Pierre Rousset (1936-2021). The underside with an old label, 'C. 1085'. Robert Rousset (1901-1982) was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks, scratches, dents, a crack to the lower sampot, signs of weathering and erosion, and encrustations. No hidden damages. Magnificent malachite green patina, naturally grown overall.Weight: 547 g (incl. base) Dimensions: Height 17.8 cm (excl. base) and 20.5 cm (incl. base)Mounted on an associated modern base. (2) Auction result comparison: Type: Closely related Auction: Christie's New York, 23 July 2020, lot 36 Price: USD 8,125 or approx. EUR 8,500 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Uma, Khmer, Angkor period, Angkor Way [sic] style, 12th century Expert remark: Note the near-identical size (18.5 cm)

A VERY LARGE BRONZE OF SHIVA NATARAJA, SOUTH INDIA, 18TH - 19TH CENTURYFinely cast, the eight-armed deity gracefully presented with a raised leg, dancing on a lotus pedestal atop a rectangular plinth, within a flaming aureole, his right foot resting upon the demon Apasmarapurusha, his hands holding various implements including a drum, flame, dagger, disk, and trident. His face neatly incised with almond-shaped eyes, gently arched brows, an urna, and full lips, his hair radiating in serpentine tresses, the head surmounted by a naga headdress.Provenance: From an Austrian private collection. Old trade label to backside.Condition: Very good condition with expected old wear and casting irregularities, small nicks, light scratches, minor dents. Beautiful, naturally grown chocolate-brown patina overall.Dimensions: Height 91 cmShiva Nataraja, Shiva as Lord of the Dance, is considered the creator of the universe and dances the world into existence. At the same time, he is also its destroyer. Much symbolism is attached to this specific form of Shiva. His drum stands for the creation of the world. His open palm protects human beings while his downward stretched hand symbolizes the solace of the world. His other hand holds the fire standing for the dissolution of the world. The dwarf on whom he tramples represents ignorance and the large flaming aureole the cosmos. The goddess Ganga represented in his hair fell from heaven to earth through his hair.Literature comparison:Compare a closely related bronze figure of Shiva Nataraja, 76.2 cm high, dated to the 18th century, in the Brooklyn Museum, accession number 27.959.Auction result comparison: Type: Related Auction: Christie's Paris, 14 December 2016, lot 5 Price: EUR 92,500 or approx. EUR 113,000 adjusted for inflation at the time of writing Description: An important bronze figure of Shiva Nataraja, South India, Nayak period, late 18th century Expert remark: Compare the closely related pose, manner of casting, serpentine hair and naga headdress, flaming aureole, and lotus pedestal. Note the size (106 cm).

A MONUMENTAL SANDSTONE FIGURE OF NARASIMHA, KHMER EMPIRE, 10TH-12TH CENTURYFinely carved to depict an imposing anthropomorphic guardian with a fierce gaze, displaying the head of a lion and body of a man, kneeling on a square plinth, wearing a pleated sampot, holding a vajra in his right hand. Note the unusually elaborate coiffure, especially at the backside of the head.Provenance: An old collection in the United States, formed between the 1970s and 1990s, by repute acquired as part of a deaccession from an American museum. A private collection in California, United States, acquired from the above.Condition: Overall good condition, commensurate with age. Extensive wear, some losses, dents, structural cracks with associated old fills, signs of weathering and erosion, drilled to underside of platform. Fine, naturally grown patina.Dimensions: Height 84 cmSuch imposing figures, a symbol of both caution and importance, once served as guardians at the gates and entrances of sacred temple sites throughout Southeast Asia. The mythical composition of the figure, in addition to the presence of a celestial weapon, alludes to this being a divine being with powers far greater than that of any mortal. The iconography, an evolutionary mix of lion imagery with fierce deities, is one repeated throughout the ancient world, from the Gates of Ishtar to the Temple of Todaiji.Expert's note: The figure compares well against closely related examples that have come on the market in the last century, however also exhibits subtle stylistic differences from each that make connecting it to any specific temple site or region difficult. This is further confounded by the fact that many known sites are in varied states of disarray and near complete ruin. For example, if compared with the Banteay Srei guardians, we see that the vajra is proportionally much larger, and the style of the face is much more rectangular. The two are clearly from different areas. In addition to the old restorations, the figure exhibits other attractive signs of weathering, including complex organic growth in the form of black algae (upper torso) and crustose lichens (left knee), and is decidedly ancient. We must conclude that the figure is from a yet unknown site somewhere else in the vast ancient Khmer empire, an empire that at its peak was larger than the Byzantine Empire.Literature comparison: Compare a closely related sandstone figure of Narasimha, 82.5 cm high, Banteay Srei style, dated to the late 10th century, in the CB National Museum, inventory number Ka.786. Note the difference in gaze, being downward facing versus straight-on, the noticeably smaller vajra, and the thicker platform. Interestingly, note the very similar damage to the right arm and right thigh, damage that is also shared to some extent with a comparison from Christie's below. The figure in the CB National Museum appears to exhibit fewer characteristic signs of surface weathering than the present lot and in comparison has the feeling of being a younger figure.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 6 June 2011, lot 381Price: EUR 97,000 or approx. EUR 115,000 adjusted for inflation at the time of writingDescription: An important sandstone figure of a lion-headed guardian, Khmer, Koh Ker style, mid-10th centuryExpert remark: The figures share several characteristics. The Christie's example, however, attributed to Koh Ker, has a style that is somewhat fleshier and more playful. It also has a platform adorned with lotus petals. Note the identical size (84 cm) and similar areas of damage to the right arm and thigh.Auction result comparison:Type: Closely RelatedAuction: Christie's Amsterdam, 20 November 2001, lot 215.Price: EUR 19,975 or approx. EUR 31,500 adjusted for inflation at the time of writingDescription: A Khmer, Angkor Vat style, sandstone figure of a lion-headed guardianExpert remark: Stylistically, the body is similar at first appearance, but the Christie's figure has significantly less detail. The lack of finer carving work is most notable on the face, with less teeth, larger swirls on the muzzle, and plain convex eyes. It is also significantly smaller (55 cm).

A RARE AND IMPORTANT STUCCO FIGURE OF BUDDHA, ANCIENT REGION OF GANDHARA3rd-4th century. Superbly modeled standing on a square plinth and holding the folds of his sanghati in his left hand, the robe finely detailed with voluminous folds, the serene face with bow-shaped mouth, aquiline nose, and heavy-lidded eyes flanked by pendulous earlobes, the hair in thick locks over the ushnisha.Provenance: An old private collection in Paris, France. Indian Heritage, Paris, France, acquired from the above. LP Collection Paris, France, acquired from the above. An expertise signed by Frederic Rond, owner of Indian Heritage, dated 27 August 2015, addressed to the present owner, and dating the present lot circa 3rd century, accompanies this lot. Established in 2006 by Frederic Rond, Indian Heritage is a gallery specializing in Indian and Himalayan art. Located in St Germain des Pres, Paris, it offers a large selection of primitive and classical pieces. Condition: Good condition, commensurate with age. Restoration to where the feet connect with the base. Several smaller breakages and losses with associated minor repairs and old fills. Nicks and light scratches. Signs of weathering and erosion, encrustations. Good patina.Dimensions: Height 87 cm (excl. base) and ca. 110 cm (incl. base)In addition to schist, stucco was a popular medium for sculpture in the ancient Gandhara region. A lightweight, malleable ware, stucco readily lends itself to delicate detailing and sensitive modeling, conveying a sense of emotional presence exemplified in this large-scale figure of Buddha. With idealized proportions, beatific expression, and flowing robes, the serene figure is the embodiment of compassion.Literature comparison: Compare two related Gandharan stucco figures of standing Buddhas in the National Museum, New Delhi, dated 2nd-3rd century, illustrated by Giovanni Verri, et al., Investigations of a Gandharan stucco head of the Buddha at the Victoria and Albert Museum (IM.3-1931), Techne, issue 48, 2019, fig. 13. Compare a related example illustrated in Kurita, Gandharan Art, Vol. II, Tokyo, 1990, no. 305.Auction result comparison: Type: Closely related Auction: Christie's New York, 20 March 2012, lot 16 Price: USD 98,500 or approx. EUR 116,000 converted and adjusted for inflation at the time of writing Description: An important polychromed stucco figure of Buddha, Gandhara, 3rd/4th centuryExpert remark: Note the similar size (80 cm) and faint remnants of polychrome pigments.犍陀羅罕見灰泥佛陀立像三至四世紀。佛陀立於方座上，佛像面容呈橢圓形﹐眉目端莊﹐鼻樑高而長﹐雙眼微垂，雙眉之間有白毫，頭髮呈波浪形並有頂髻﹐身披希臘式大褂﹐衣褶多線條流暢。 來源：法國巴黎私人舊藏；法國巴黎Indian Heritage藝廊，購於上述收藏；法國巴黎LP Collection收藏，購於上述遺產。隨附一份由Frederic Rond，Indian Heritage藝廊擁有者，於2015年8月27日出具的文書，收件人為現在的持有者，指出此拍品為三世紀產物。Indian Heritage 由 Frederic Rond 於 2006 年創立，是一家專門從事印度和喜馬拉雅藝術的藝廊。它位於巴黎聖日爾曼德佩區，提供大量原始和古典作品。 品相：品相良好，腳與底座連接的位置有修補。一些較小的破損和缺損以及相關的小修和舊填充物，刻痕、劃痕和輕微風化和侵蝕，結殼。包漿良好。 尺寸：高 87 厘米 (不含底座)，約110 厘米 (含底座) 除了片岩，灰泥也是古代犍陀羅地區流行的造像材料。灰泥是一種輕質、可塑的材料，很容易通過細節和造型傳遞出這種大型佛像所體現的情感存在感。理想化的比例、祥和的表情和飄逸的長袍也象徵著慈悲。 文獻比較： 比較兩件相近的公元二至三世紀犍陀羅灰泥佛陀立像，收藏於新德里，見Giovanni Verri編，〈Investigations of a Gandharan stucco head of the Buddha at the Victoria and Albert Museum (IM.3-1931)〉，《Techne》，卷48，2019年，圖13。比較一件相近的例子，見Kurita，《Gandharan Art》，卷II，東京，1990年，編號305。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月20日，lot 16 價格：USD 98,500（相當於今日EUR 116,000） 描述：公元三至四世紀犍陀羅灰泥佛陀立像 專家評論：請注意相似的尺寸(80 厘米) 和些微地顏料殘留。

A RARE BLACK STONE STELE OF PARVATI, PALA EMPIRENortheastern India, 10th-12th century. Well carved, standing on a lotus dais raised on a plinth, her four hands holding a sword, lotus, disc, and small child. Her serene face with almond-shaped eyes below gently arched brows and full lips forming a calm smile, backed by a halo. The figure flanked by two chauri-bearing attendants standing in tribhanga.Provenance: Christie's Amsterdam, 24 May 2006, lot 661, sold for EUR 4,560 or approx. EUR 6,700 (adjusted for inflation at the time of writing). A noted collector from Belgium, acquired from the above. Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, and encrustations.Dimensions: Height 49 cm (excl. stand) and 54 cm (incl. stand)Mounted on a modern metal stand. (2)Parvati is the Hindu goddess of power, energy, nourishment, harmony, love, beauty, devotion, and motherhood. She is one of the central deities of the goddess-oriented sect called Shaktism and the chief goddess in Shaivism. Along with Lakshmi and Saraswati, she forms the Tridevi. Literature comparison: Compare a related stone stele, described as depicting a “deity, perhaps Ambika”, 71.1 cm high, dated approx. 900-1000, in the Asian Art Museum of San Francisco, object number B60S124+.

A LARGE AND HEAVY GILT-LACQUERED WOOD FIGURE OF BUDDHAInscribed to base: 'Wan'an Temple, first year of Gia Long, April 5th' - corresponding to 1802 Vietnam, dated 1802. Seated in dhyanasana on a rounded plinth atop a separately carved lotus base. His raised right hand holding a lotus stem and his lowered left resting on his lap and holding a jewel, wearing long flowing robes with voluminous folds. His serene face with heavy-lidded eyes, finely textured beard, and full lips, flanked by long pendulous earlobes, the hair arranged in strikingly modeled snail-shell curls. The figure finely lacquered in reddish-brown and gilt, the plinth and lotus base lacquered red with gilt accents. (2) Provenance: From the private estate of Maj and Carl-Axel Persson, antique dealers in Malmoe, Sweden.Condition: Good condition commensurate with age. Old wear and weathering, flaking to lacquer, expected age cracks and splits, some losses, the underside with two drilled holes. Good ancient patina overall. Weight: 11.3 kg (excl. base) and 16.3 kg (incl. base)Dimensions: Height 60 cm (excl. base) and 70.5 cm (incl. base)The Wan'an temple was built in 1279 under the orders of Emperor Kublai Khan and was originally named Dashengshou Wan'an Temple. The White Pagoda is the oldest and largest Buddhist pagoda in China. There were temples built on the site since the Liao dynasty. However, the present building dates to the Ming dynasty as well as its given name, "Miaoying Si", meaning "Temple of Marvellous Response".Literature comparison: Compare with two related gilt-lacquered wood figures of Buddha from Vietnam, dated c. 1600, in the Pacific Asia Museum, accession numbers 1996.28.2 and 1996.28.3.Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 25 April 2020, lot 456 Price: EUR 15,168 or approx. EUR 17,500 adjusted for inflation at the time of writing Description: A gilt-lacquered wood statue of Buddha, Vietnam, 17th-18th century Expert remark: Note the size (51 cm) and lacking lotus base.大型鎏金漆佛陀坐蓮木像越南，1802年。佛陀結跏趺座坐在蓮座上。右手高舉，持蓮花莖；左手低垂，擱在膝上，持寶珠；身著飄逸僧袍，線條流暢；面容安詳，雙眼微垂，嘴唇豐滿，頭髮呈螺髻。造像上紅棕色漆並美漆，底座和蓮花底座漆成紅色並帶有鎏金點綴。蓮座與佛像分開雕刻。(2)款識：萬安寺；嘉隆源年肆月拾五日造 來源：Maj 與 Carl-Axel Persson私人收藏，瑞典馬爾默古玩經銷商。 品相：狀態良好，有磨損和風化，漆面剝落，年代裂縫，一些缺損，底面有兩個鑽孔。整體包漿。 重量：11.3 公斤 (不含底座) ，16.3 公斤 (含底座) 尺寸：高 60 厘米 (不含底座) ，70.5 厘米 (含底座) 文獻比較： 比較兩件相近的約1600年越南鎏金漆木佛像 ，收藏於Pacific Asia Museum，館藏編號1996.28.2和1996.28.3。 拍賣結果比較： 形制：非常相近 拍賣：維也納Galerie Zacke，2020年4月25日，lot 456 價格：EUR 15,168（相當於今日EUR 17,500） 描述：十七世紀至十八越南鎏金漆木佛像 專家評論：請注意尺寸(51 厘米) ，以及沒有蓮座。

A JAIN SANDSTONE STELE OF THREE JINAS, WESTERN INDIA, RAJASTHAN OR GUJARAT, 10TH-12TH CENTURYFinely carved in high relief with three nude Jinas standing side by side in kayostarga, each on a rectangular plinth with small figures of worshippers and vyalas, the central Jina flanked by two small figures, the top carved with a seated deity flanked by elephants. Provenance: From the collection of Jean-Marc Andral, acquired 1990 in Belgium. A copy of a provenance statement, written and signed by Jean-Marc Andral, dated 10 December 2022, accompanies this lot. Jean-Marc Andral is a Belgian manager based in Brussels and active in the healthcare industry for over 25 years.Condition: Very good condition, commensurate with age. Extensive wear, minor losses, nicks and scratches, signs of weathering and erosion, structural cracks, encrustations.Dimensions: Height 51 cm (excl. stand) and 52 cm (incl. stand)With a modern metal stand.Jinas are depicted in only two poses: Kayostarga, standing, or dhyani, seated in meditation, and due to the identical poses and expressions they are distinguished mainly by their vahanas, or vehicles, appearing at the feet of the figures or carved on to the pedestals. In the present example, an exact identification of the Jina is not possible. However, Mahavira is the most commonly represented of the tirthankaras in the kayostarga attitude, and therefore an attribution seems appropriate. Another reasonable attribution would be the second tirthankara, Ajitanatha, whose emblem is the elephant, two of which are carved at the top of this stele. The earliest extant Jain images date to the first century C.E. and were created in the area around Mathura, the center of much religious activity. Jainism is India's third great ancient religion and was founded contemporaneously with Buddhism, from which it differed by its advocating the attainment of a spiritual life through asceticism. This may account for the conventional depiction of tirthankaras in a rigid frontal pose. The term Jina, meaning “Conqueror” or “Victor of over Life” is applied to one who, like the Buddha, has attained perfect knowledge. Tirthankara meaning “He who has crossed the Ford” of rebirth and attained perfect freedom, is equivalent to Jina. In many respects, and more particularly in the seated poses, the Jina figure has many parallels to the Buddha image with the exception that, among the Digambara sect of Jains, the figure is always nude and the chest bears the srivasta.The nudity of Jain saints was a practice of both asceticism and their belief in non-possession, dating back to the days of Mahavira. However, a schism arose in around 79 C.E., extensively recorded in literature, about what constitutes total renunciation. At the time, Jain monks separated into rival factions, the Digambaras “clothed with the sky” or nude and the Svetambaras, “clothed with white”, who partially clad themselves with white cloth. According to inscriptions the Svetambaras worshipped the nude image without objection and for both sects the Jinas and the saint Bahubali are represented naked while all other deities are clothed and even ornamented.The present sculpture symbolizes mankind disregarding the material world and his animal nature. The figure is a human being transformed into a god-like state and the worship of it is not a two-way interaction but a meditation, where the deity is not expected to grant favors but rather to exemplify a state of being attainable by all.Literature comparison: Compare a related marble stele of Ajitanatha and his divine assembly, dated 1062, 149.9 cm high, in the Norton Simon Museum, accession number M.1998.1.S.Auction result comparison: Type: Related Auction: Christie's Paris, 7 June 2011, lot 353 Price: EUR 46,600 or approx. EUR 55,500 adjusted for inflation at the time of writing Description: A fine sandstone figure of a Jain tirthankara, India, Rajasthan or Gujarat, 11th centuryExpert remark: Note the significantly larger size (100 cm)

A BRONZED GROUP OF PAN AND A CHREUB on a turned plinth base, 46cm high

A MID VICTORIAN GLASS CLARET JUG the spherical body engraved with sphinx, Greek Key and leaf scroll ornament, together with armorial, 22cm high, together with a selection of decorative glassware including a Queen Elizabeth The Queen Mother cut glass vase with matching silver mounted plinth (a lot)

A MARBLE COLUMNAR PLINTH 20th century, the top has a small metal rod protruding from the centre, designed to fix a bust, 97cm high

TWO STONE GARDEN SCULPTURES including a modernist example on a shaped plinth, 62cm high, and a carved and pierced relief in the form of a tree, 51cm high (2)

A LARGE OTTOMAN BRASS CANDLESTICK IN 18TH CENTURY STYLE 19th century, on stepped plinth base, 49cm highProvenance: The Christopher Hodsoll Collection.

TWO BRASS TABLE LAMPS including a regency style example, 20th century, with a broken foot, 58cm high, and another similar on a stepped plinth base, 55cm high (2)Provenance: The Christopher Hodsoll Collection.

Late 19th Century French rosewood, gilt metal and porcelain mounted writing slope and stationery box, the cylinder top inset with porcelain panel painted with scenes after Watteau, hinged to reveal stationery compartments, over conforming hinged lower cover enclosing writing slope with hinged gilt tooled leather skiver with storage compartment beneath, on shallow plinth base with gilt metal mount, 39cm x 35cm x 24cm high

Taxidermy - Late 19th or early 20th Century diorama of two Indian Rollers mounted amidst tall grasses on a naturalistic base on turned ebonised plinth base under glass dome, 25cm x 62cm high

Fine walnut and floral marquetry-cased 8-day longcase clock George Murgatroyd, London, circa 1700, the 12-inch square brass dial having silvered Roman chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and inner quarter hour track, additionally signed Geo: Murgatroyd, London framing a matted centre with ringed winding arbors, silvered subsidiary seconds ring and calendar aperture within engraved scroll border, within crown and twin cherub supporters to spandrels, engraved signature 'George Murgatroyd London' to lower edge,the four (formerly five) finned pillar movement with anchor escapement, inside countwheel striking on a bell, regulated by seconds pendulum, the case with floral marquetry-inlaid caddy top, hood door, throat moulding, long trunk door (with oval lenticle) and base, the trunk door incorporating an urn, birds, tulips and other flowers, scrollwork etc, the plain hood sides with rectangular windows and quarter columns applied to bargeboards at the rear, the trunk sides with two line-edged panels within crossbanded borders, on conforming panel outline marquetry fronted plinth base with moulded skirt, 227cm high (sold with two weights plus pendulum and winder)George Murgatroyd is recorded in Britten, F. J., 'Old Clocks and Watches and their Makers' as working in London circa 1710 - however, features such as the convex throat moulding to the case, and ringed winding holes coupled with stylised sword-hilt half hour markers to the dial, would suggest a date just prior to this for the current lot.Dial - general tarnishing to silvered chapter ring. Discolouration to edges of brass dial. Movement - one hole to front plate is unused (so something has been removed). There is packing to upstands beneath seatboard.Case - damage and depletions commensurate with age, including (but not limited to):Superstructure (over caddy) may be an old replacement, and has been reattached. Front corners of caddy surmount appear to be separate sections, of slightly different colourGlazed side panels of hood are replacedSime cracking to moulding beneath hood door.Losses and fading to vertical edges of hood door- mainly from handling.Veneer and carcase losses to one front corner of throat moulding.Losses to inlay at top of trunk doorSome wrinkling to veneer surrounding trunk door.Lock is later and applied (originally did not have a lock)Base has moulding loss to back edge at one side.Horizontal cracks to sides of base.Later plinth cuts through base of inlaid panel.Small losses to crossbanded border.Some old drill holes to backing.

Late 19th Century giltwood and gesso overmantel, the acanthus scroll shaped frame with ovolo cartouche crest, raised on inverted breakfront plinth base, 185cm x 94cm high

Late Victorian Gothic revival oak hallstand, circa 1890, the chamfered frame with shaped cresting over arrangement of gilt metal pegs surrounding central rectangular mirror, over zinc lined trough with projecting stickstand compartments, raised on pierced end supports, united by plain stretcher and zinc tray, on plinth base, 105cm x 34cm x 205cm high

Victorian rosewood piano-top Davenport, the three-quarter galleried top lifting to reveal pigeon holes over two birds eye maple veneered drawers and two faux drawers above writing slope with tooled green leather skiver, sliding to reveal compartment under, the sides with four drawers and opposing faux drawers with turned handles and carved C-scroll supports raised on plinth base and castors, 59cm x 62cm x 87cm high (113cm risen)