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Lot 1082
Brett Murray (b.1961) South African ''Africa Maquette'' Initialled and numbered 15/15 bronze and yellow paint, on plinth, 36cm high (including base) Literature: Brett Murray (2013) Brett Murray, Johannesburg: Jacana Media. Page 274, and illustrated in a photograph of the artist's Cape Town studio, page 35. Brett Murray is a South African artist mostly known for his steel and mixed media wall sculptures. Called ''the dark prince of South Africa's pop art'' by the art critic Brenda Atkinson, Murray's work addresses the wars of the cultures, the clash between Afrocentrism and Eurocentrism, the old and the new South Africa's. The present lot is a maquette from an edition of 15 for his large scale piece titled ''Africa'', which is in Cape Town's pedestrian zone. ''With my work I hope to critically entertain. Through satirical and tragic reflections on South Africa, I hope to shift people's perspectives and change people's minds, indulgent, arrogant, and pretentious as this might sound,'' Brett Murray. See illustration
Lot 321
A mid-19th century longcase clock, signed Edward & Sons, Glasgow, the 13" silvered Roman dial with subsidiary seconds dial and twin-train movement striking on five gongs, enclosed by a moulded hood with pointed arch pediment above a trunk door, box base and plinth, includes an adjustable pendulum with brass case and wooden shaft and a pair of weights 220cm
Lot 328
A 1930's oak bookcase cabinet by Robert John Anderson of Edinburgh, the rectangular top over two open shelves and a pair of cupobards, raised on a plinth base. 111cm by 91cm by 29cm Note: Robert John Anderson studied at the Edinburgh College of Art. After graduating in the 1920s he set up a bespoke furniture making business, before training as a school teacher. His designs reflect an interest in the early Modern Movement and the work of Betty Joel, while interesting features, such as the light box in the secretaire, convey the bespoke nature of his output.
Lot 483
Sarah Bernhardt, Figure of Shylock, carved alabaster, on red marble plinth base, signed and monogrammed, 42.5cm high Note: although best known as an actress, Bernhardt was also an accomplished sculptor, exhibiting widely including at the Exposition Universelle, Paris 1900 and Columbia Exposition, Chicago
Lot 502
Christopher Dresser for Coalbrookdale or Kenrick and Sons, an Aesthetic Movement cast iron door stop, circa 1865, the chamfered plinth base below an open and incised ogee scroll and foliate paisley drop and stylised acanthus moulded handle, cast number 43, 28cm high Note: see the John Scott collection, Fine Art Society 2014, for similar examples of iron doorstops by Dresser
Lot 3088
AN EARLY 20TH CENTURY GILT-METAL FIGURE OF A DANCER, IN THE ART DECO TASTE, modelled with arms outstretched, raised on a wooden plinth. 35.5cm highThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Losses to finger tips of her left hand and the thumb. Wear to gilded surface. Split to base.
Lot 3089
AN ART DECO STYLE BRONZE MODEL OF A PANTHER, cast in a running pose, to a square marble plinth base, foundry mark for Fonderie Bords de Seine, numbered 'A6206'. 19.5cm by 32cm by 7.5cmThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Good overall condition, some surface scratching and a small chip to one top corner of the marble plinth. Condition report made 200121.
Lot 163
Edwardian satin walnut two-piece bedroom suite, comprising a single wardrobe, shaped pediment, mirror panelled door, two short and a single long drawer under, plinth base, width 126cm, height 218cm; and a dressing table, triple mirror back, two banks of two trinket drawers, the base with two short and two long drawers, width 107cm.
Lot 34
A ROCK CRYSTAL SPHERE WITH A GILT BRONZE LOTUS BASE, QING DYNASTYChina, 1644-1912. The rock crystal of near perfect spherical form and good clarity, fitting perfectly into the Chinese or Tibetan gilt bronze base, finely crafted in the form of overlapping lotus leaves on a stepped square plinth cast with lotus lappets and Buddhist lions.Provenance: The present sphere is from the Josette and Theo Schulmann Collection, Paris, France. Acquired c. 1960-1970. Josette and Theo Schulmann were passionate dealers of Asian Art and have donated several important works to the Cernuschi Museum.Condition: The sphere is in good condition with light scratches, few minor nicks, as well as natural inclusions and fissures, some of which may have developed into small hairline cracks over time. The base is in excellent condition with old wear, small nicks and dents, some wear to gilt and a fine, naturally grown patina.Weight: 1,494 g (the sphere) and 636.4 g (the base)Dimensions: Diameter 10 cm (the sphere), Height 10.5 cm (the base) and 16.5 cm (the sphere and base)A near identical, but larger rock crystal sphere is in the University of Pennsylvania Museum of Archaeology and Anthropology (Penn Museum), object number C681A. It was purchased in 1927 from the Far East Shop of John Wanamaker's famous department store in Philadelphia in memory of George Byron Gordon, the recently deceased Director of the Penn Museum. In the booklet that accompanied its sale, the department store advanced an exciting tale of the sphere’s exotic origins, implying that it had once belonged to the Empress Dowager Cixi (1836-1908 AD) of China. No evidence has ever come to light that supports this or any other account of the sphere's origins. It is believed to be the third largest crystal sphere in the world, with a diameter of 25.4 cm.Empress Cixi (1835-1908) was a Chinese empress dowager and regent who was the de facto supreme ruler of China in the late Qing dynasty for 47 years, from 1861 until her death in 1908. Selected as a concubine of the Xianfeng Emperor in her adolescence, she gave birth to a son, Zaichun, in 1856. After the Xianfeng Emperor's death in 1861, the young boy became the Tongzhi Emperor, and she became the Empress Dowager. In 1872, the Tongzhi Emperor turned 17 and was married to the Jiashun Empress. The empress's grandfather, Prince Zheng, was one of the eight regents ousted from power in the Xinyou Coup of 1861 and was ordered to commit suicide after Cixi's victory. As a consequence, there were tensions between Cixi and the empress, and this was often a source of irritation for Cixi. Moreover, the empress's zodiac symbol of a tiger was perceived as life-threatening by the highly superstitious Cixi, whose own zodiac symbol was a goat. According to Cixi's belief, which she reputedly formed while looking into her crystal sphere, it was a warning from the gods that she would eventually fall prey to the empress.Auction result comparison: Compare with a related rock crystal sphere of slightly larger size (12.8 cm in diameter), together with a wood stand, at Sotheby’s New York in Fine Chinese Ceramics and Works of Art on 23 March 2011, lot 617, sold for USD 21,250.清代水晶球及銅鎏金蓮座 中國，1644-1912年。接近於完美球形的水晶，具有良好的清晰度，完美地與中國或西藏的鎏金銅蓮座融合。蓮座基底為方形，上面可見蓮蓬與佛獅。 來源： 法國巴黎Josette and Theo Schulmann 收藏。大約購於 1960-1970年間。Josette and Theo Schulmann 曾是熱情的亞洲藝術商與Cernuschi Museum 衆多重要藝術品的捐助者。 圖片：Josette Schulmann, Theo Schulmann 品相：該球體狀況良好，有輕度的划痕，極少的划痕以及自然的夾雜物和裂縫，隨著時間的推移，其中一些可能會發展成細小的裂縫。 底座狀況良好，有舊磨損，小刻痕和凹痕，有些鎏金磨損，還有自然生長的包漿。 重量：水晶球1,494 克，底座636.4 克 尺寸：水晶球直徑10 厘米, 底座高10.5 厘米，水晶球與底座一起16.5 厘米 拍賣結果比較：一件相似但尺寸較大水晶球及木製底座，售于紐約蘇富比Fine Chinese Ceramics and Works of Art 拍場2011年3月 23日，lot 617, 售價USD 21,250。
Lot 493
A STONE STELE OF BUDDHA SHAKYAMUNI, NORTHERN QIChina, 550-577. Depicted with an alluringly peaceful countenance, downcast eyes and a benevolent smile. The figure outstretches now-lost hands over which drape the billowing sleeves of his monastic robes, covering both shoulders and rendered simply in descending rows of graceful W-shaped folds. Surrounded by a radiating aureole formed of gently curving vertical lines and surmounted by a halo of lotus petals.Provenance: From a French private estate. Condition: Extensive weathering, erosion, losses including both hands, pitting, remnants of polychrome pigments and ancient gilt, small old fills. Two sections of the lower border of the stele have been re-attached a long time ago. Good natural grown patina.Dimensions: Height 78 cm (incl. base) and 67 cm (excl. base)Mounted on a modern base. (2)The iconography of this stele was quite prevalent during the Northern Dynasties period and can be seen in a number of comparable stele including one in the Detroit Institute of Arts, illustrated in Chinese Art in Overseas Collections: Buddhist Sculpture, National Palace Museum, Taipei, 1990, p. 67, no. 62, where it is dated Sui dynasty; and two others dated Eastern Wei, illustrated by S. Matsubara, Chugoku bukkyo chokokushi ron (The Path of Buddhist Sculpture), vol. 1, Early Six Dynasties, Tokyo, 1995, pl. 286 a and b. The sculptures discovered in a large cache at the Longxing Temple, Qingzhou, Shandong, in 1996, also included stele of Northern Wei to Northern Qi date that have the same iconography. See, Masterpieces of Buddhist Statuary from Qingzhou City, The National Museum of Chinese History, Qingzhou Municipal Museum, Beijing, 1999, pp. 56-73. In all of these, Buddha Shakyamuni is shown standing on a small plinth flanked by two bodhisattvas, most likely Avalokitesvara and Samantabhadra, the two most closely associated with Shakyamuni.The present figure shows the more rounded face and the simply defined, light, clinging robe of the Northern Qi style, which was influenced by Gupta sculpture. For a detailed discussion of the drastic change in artistic style between the preceding Northern Wei dynasty (386-535CE) and the Northern Qi characteristics of the present lot, see Angela Falco Howard et al., Chinese Sculpture (New York: Yale University Press and Foreign Languages Press, 2006), 274: “Under the influence of the Gupta style (300-600) of India ... lotus-like eyes and voluptuous lips gracing elegant, sensitively modeled torsos became an alternative to the prevailing aesthetic... [exhibiting] more naturalistic and fuller body forms, embellished with unobtrusive and elegant surface patterns.”Literature comparison: Other examples which share these characteristically Northern Qi rounded and full features and the very simply rendered, water-like flowing attire of the present lot are published in Matsubara Saburo, Chugoku Bukkyo Chokoku Shiron (Tokyo: Yoshikawa Kobunkan, 1995); specifically: the figure of an arhat in the collection of the Cleveland Museum, 450; the figure of a standing Buddha in the Nezu Museum, 493; and the figure of the seated Buddha in the Victoria and Albert Museum, 490. For a closely related stone stele of Buddha Shakyamuni, see Imperial China - The living past, p.95, no. 72.Auction result comparison: Compare with a related but larger figure at Bonhams San Francisco in Fine Asian Works of Art and Paintings on 19 December 2016, lot 8198, sold for USD 47,500. Compare also with a related stele, of smaller size but with the flanking bodhisattvas still preserved, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 13-14 September 2018, lot 1133, sold for USD 62,500.北齊釋迦牟尼石碑 中國，550-577年。釋迦面相豐潤，雙眼低斂，稍稍內收的唇角，蘊含著親切的笑意。石像圓肩寬胸，雙手丟失，衣裙覆蓋雙肩，刻劃洗鍊流暢。背光的雕飾富麗精美，疏朗的火焰紋和花瓣紋相結合，由柔和的垂直線彎曲而成，極具裝飾之美。 來源：法國私人收藏 品相：大面積風化、侵蝕，包括雙手的損失，多色顏料和古代金彩的殘物，小的舊時填料。石碑下邊界的兩個部分很久以前已經重新安裝。 良好的自然生長的包漿。 尺寸：含底座高78 厘米，不含底座厘米 現代底座。 拍賣結果比較：一件相似但更大的石像見舊金山邦瀚斯Fine Asian Works of Art and Paintings 拍場2016年12月19日lot 8198, 售價USD 47,500； 另一尊稍小但菩薩相伴的石像見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2018年9月13-14日，lot 1133, 售價USD 62,500。
Lot 5
A GILT-BRONZE AND CLOISONNE ENAMEL STUPA, QIANLONGChina, 1736-1795. The domed cloisonne section bears a miniature door surrounded by flames and a stepped finial surmounted by sun and moon symbols. All supported by a waisted pedestal with a band of Buddhist lion masks in relief and a votive plaque with a neatly incised depiction of Buddha.Provenance: The James and Marilynn Alsdorf Collection, Chicago, USA. Over four decades, the renowned couple assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miró and Jean Dubuffet, as well as a significant number of highly important Chinese works of art. Married in 1952, James and Marilynn built a life centered on art, philanthropy and family. ‘My grandparents were the picture of elegance, and they had impeccable taste, but to their family they were known for their warmth, wit, and humor,’ recalls Bridget Alsdorf, the couple’s granddaughter. Condition: Excellent condition. The base plate is original with minimal remnants of old glue visible at the edges. Minuscule chip to the enamel near the mandorla and some firing flaws. The gilding on plinth and base is extensively worn. Expected minor dents and nicks.Weight: 409 g Dimensions: Height 13.5 cmThe stupa is raised on two stepped square bases with incised lappet bands and cloud scrolls, separated by a group of rectangular reliefs with gilt Buddhist lions.A stupa is a hemispherical structure containing relics such as sarira, the remains of Buddhist monks or nuns, that is used as a place of meditation. Note that when shaken, a sound from loose objects hidden inside the present stupa is clearly audible. A related architectural term is a chaitya, which is a prayer hall or temple containing a stupa. In Buddhism, circumambulation or pradakhshina has been an important ritual and devotional practice since the earliest times, and stupas always have a pradakhshina path around them. Auction result comparison: Compare with a closely related cloisonne stupa from the same period at Sotheby's Paris in Arts d'Asie, 18 December 2012, lot 45, sold for EUR 15,000.乾隆鎏金銅掐絲琺琅佛塔 中國，1736-1795。塔身施藍色琺琅釉地，一側有火焰包圍的歡門，十三相輪有太陽和月亮符號。塔座呈四方形，上有浮雕佛獅和帶有雕刻精美的佛像刻畫的奉獻牌匾。 來源：美國芝加哥James and Marilynn Alsdorf 收藏。在過去的40年中，這對著名的夫婦收集了一系列非凡的藏品，其中包括一些現代藝術名人的作品，如Rene Magritte，Frida Kahlo，Joan Miró 和Jean Dubuffet，以及大量非常重要的中國藝術品。 詹姆斯和瑪麗琳於1952年結婚，創造了以藝術、慈善事業和家庭為中心的生活。 他們的孫女布里奇特·阿爾斯多夫（Bridget Alsdorf）回憶說：“我的祖父母是優雅的體現，他們的品位無可挑剔，但對他們的家人而言，他們以熱情、機智和幽默而著稱。”圖片：James and Marilynn Alsdorf, 1950年在邁阿密 品相：良好狀況，底板是原始的，在邊緣可見少量舊膠。 曼陀羅附近的釉面有微細磕損。底座上的鎏金已廣泛磨損。小凹痕和刻痕。 重量：409克 尺寸：高13.5 厘米 此塔屬供養塔，一般置於佛前供案上，以示觀想。該塔製作為分段燒製，後粘合而成。 拍賣結果比較：一件來自同一時期的相似景泰藍佛塔售于巴黎佳士得Arts d'Asie，2012年12月18日，lot 45，售價EUR 15,000.
Lot 505
A RARE GILT-COPPER FIGURE OF PADMAPANI, NEPAL, LICCHAVI OR TRANSITIONAL PERIODNepal, 9th-12th century. Seated in royal ease on a tall rectangular throne supported by two elaborate Buddhist lions on a lotus base, all on an unsealed rectangular plinth, richly adorned in beaded jewelry, holding a lotus stem in the right hand with the blossom leaning towards the shoulder.Provenance: From a North American private collection. A Hungarian Collector, acquired from the above.Condition: Fine condition with areas of abrasion to the surface, some casting irregularities, smaller nicks and dents here and there, light scratches, extensive wear to the gilding, which was already partially renewed at some point in time. One larger loss to front of plinth. Verdigris inside the base.Weight: 1,456 gDimensions: Height 17.8 cmThe face showing a serene expression with almond-shaped eyes under gently arched eyebrows, a broad nose, and slender lips, flanked by curved earlobes with floral earrings, the hair arranged in a high crescent-shaped coiffure behind the diadem with flowers and centered by a small figure of the Buddha Amithaba.This fine image of the Avalokitesvara-Padmapani epitomizes the sensitivity of modeling and graceful beauty of Licchavi and Transitional period sculpture. Originating in Northern Bihar, the Licchavi aesthetic was deeply rooted in North Indian artistic traditions. Characterized by soft rounded modeling and languid forms, the Sarnath style of sculpture from the Gupta period had an immense influence on Nepalese art.Literature comparison: Compare with a related but larger depiction of Padmapani at the Metropolitan Museum, New York, accession number 1981.59.Auction result comparison: Compare with a related statue of Buddha at Christies Paris in Art d’Asie, 12 December 2019, lot 229, sold for EUR 43,750.尼泊爾利察維王朝或過渡時期罕見銅鎏金蓮華手菩薩尼泊爾，九至十二世紀。菩薩以休閑姿坐於蓮花座上，蓮花坐下承兩隻佛獅。長方形底座未密封，上面飾有珠鏈，右手握著一個蓮花莖，花朵向肩膀傾斜。來源：北美私人收藏。一位匈牙利藏家購於上述收藏。 品相：狀況良好，表面有磨損區域，一些鑄件不規則，到處有小刻痕和凹痕，輕微划痕，鎏金大面積磨損，已局部經過恢復。 底座前面有更大的缺損。 底座內有銅綠。重量：1,456 克 尺寸：高17.8 厘米菩薩面部表情柔和，柔和的弓形眉毛下杏仁狀的眼睛，寬鼻，細長的嘴唇，彎曲的耳垂，配以花卉耳環，頭髮在寳冠后狀排列成高月牙形，中央為阿彌陀佛像。這張蓮華手觀音菩薩精美造像體現了利察維和過渡時期雕塑的優美。 利察維美學起源於比哈爾北部，其根源于北印度的藝術傳統。 古普塔時期的鹿野苑風格雕塑以柔和圓形造型和悠閑的形式為特徵，對尼泊爾藝術產生了巨大影響。文獻比較：一件相近但更大的蓮華手觀音可見於紐約大都會博物館，編號1981.59。 拍賣結果比較：一件相近佛陀像售于巴黎佳士得Art d’Asie拍場, 2019年12月12日，lot 229, 售價EUR 43,750。
Lot 696
A POLYCHROME ENAMELED BRONZE FIGURE OF KANNON BOSATSU, LATE EDO PERIODJapan, 18th to early 19th century. Cast standing on a separate circular double-lotus base supported on a hexagonal tiered plinth, the right hand in kichijo-in, the left in an-i-seppo-in, wearing a long flowing robe opening at the chest, a garland around the arms, and a crown, the serene face with a rock crystal urna and downcast eyes, the hair pulled up in a high top knot, a separately cast mandorla with scrolling clouds towering behind.Provenance: Hungarian private collection. Condition: Good condition with extensive wear to enamels, minor nicks here and there, casting flaws, light scratches, some losses to extremities.Weight: 3,444 gDimensions: Height 39.8 cm
Lot 743
AN INDIAN BRONZE FIGURE OF RATNASAMBHAVA, PALA PERIODEastern India, Bihar, 9th century. Finely cast with Buddha seated in dhyanasana on a double-lotus base over a raised plinth, backed by a round nimbus with bead and flame border surmounted by a parasol, the stylized leaves of the Bodhi tree emerging from behind his head.Provenance: Dr. Phil Michael Henss, Zurich, Switzerland. A private collector, acquired from the above on 13 April 2018. A copy of the original invoice, dating the present lot to the 9th century and describing it as Buddha Ratnasambhava, accompanies this lot. Michael Henss is a Swiss art historian, scholar and writer focusing on Asian art - with a focus on Tibet and East Asia. He contributed articles for Asian art journals, seminars and books. Currently, Henss lives in Zürich, Switzerland, where he also runs a bookstore specializing in Asia and the Near East. In 2004-2005 he was a co-curator of the exhibition "The Dalai Lamas" at the University of Zürich Ethnography Museum.Condition: Very good condition with old wear, traces of use, minor nicks and dents here and there, light scratches, areas of fine copper-brown patina.Weight: 445.8 gDimensions: Height 15 cmDuring the Pala period, there was an increase of Buddhist patronage in Northeastern India, resulting in the production of a vast number of highly refined artworks that participated in the development of esoteric forms of Buddhism. Known as Vajrayana, the “diamond path,” this new iteration of Buddhism greatly expanded the pantheon of Buddhist deities. A large number of tantric texts were produced in Northeastern India and circulated throughout the Himalayas, where the esoteric knowledge they contained continued to flourish. Bronze sculptures played a crucial role in these lines of transmission. As portable objects, they could easily be carried across vast distances by the groups of monks and pilgrims who traveled by land and sea.Situated at the heart of Pala territory, less than twenty miles from Bodh Gaya and close to the renowned Buddhist monastery and educational establishment at Nalanda, Kurkihar became a sophisticated international center of artistic production at the end of the first millennium AD. Inscriptions found at Kurkihar document the arrival of monks and pilgrims from regions abroad, including distant places in India such as Kanchipuram in the South and also foreign lands such as maritime Southeast Asia. These visitors commissioned bronzes like the present example to donate to local temples and monasteries or to carry home.The bronzes produced by the expert artisans in Kurkihar contribute to the overarching Pala style while revealing their own local idiom particular to the Kurkihar workshops. Figures are characterized by slender proportions, delicately tapering torsos, and chests that swell with the intake of prana, the sacred life-breath. This present figure of Ratnasambhava, the “jewel-born” Buddha, is a seminal example of Kurkihar craftsmanship that gives expression to the donor’s pious devotion.Literature comparison: Compare with two early to mid-9th century bronzes of Avalokiteshvara and Tara from Nalanda, published in Roy, Eastern Indian Bronzes, New Delhi, 1986, nos. 110a & 124.Auction result comparison: Compare with a related bronze, but with the Buddhist creed inscribed to the reverse, at Christie’s New York in The Collection of Robert Hatfield Ellsworth Part I, on 17 March 2015, lot 12, sold for USD 269,000.
Lot 744
A JAIN COPPER- AND SILVER-INLAID BRONZE ALLOY ALTAR SHRINEWestern India, Rajasthan, 13th-16th century. The pierced altar shrine cast with a Jina seated in meditation on a throne supported by lions, surrounded by two elephants as well as seated and standing figures of tirthankaras. His eyes and other details neatly picked out in silver and copper. On an openwork plinth with inscriptions in Devanagari on the backside.Provenance: From an old British private collection. Condition: Good condition with old wear, small dents, minuscule nicks, occasional light scratches. Fine natural patina.Weight: 440.4 gDimensions: Height 13.5 cmAuction result comparison: A closely related Jain altar shrine, dated 1322, was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 25 April 2020, lot 453, for EUR 4,298.
Lot 753
A BRONZE FIGURE OF RAMA, VIJAYANAGAR PERIODSouth India, 16th-17th century. Cast standing in tribhanga on a circular double-lotus base supported on a stepped square plinth, the hands in katakamudra, dressed in a short dhoti secured with a beaded belt and richly adorned in jewelry and the sacred thread, the face with elongated eyes flanked by pendulous earlobes, surmounted by a conical headdress, and backed by a shirashchakra.Provenance: French private collection. Condition: Excellent condition with minor wear, traces of use, malachite encrustations, minuscule nicks, dents and light scratches here and there.Weight: 398.4 gDimensions: Height 16 cmRama is a major deity of Hinduism and the seventh avatar of the god Vishnu, one of his most popular incarnations along with Krishna, Parshurama, and Gautama Buddha. He is the central figure of the ancient Hindu epic Ramayana, a text historically popular in the South Asian and Southeast Asian cultures. Rama is especially important to Vaishnavism, and ancient Jain Texts also mention Rama as the eighth balabhadra among the 63 salakapurusas. In Rama-centric traditions of Hinduism, he is considered the Supreme Being.The Vijayanagara Empire was based in the Deccan Plateau region in South India. It was established in 1336 by the brothers Harihara I and Bukka Raya I of the Sangama dynasty, members of a pastoralist cowherd community that claimed Yadava lineage. The empire rose to prominence as a culmination of attempts by the southern powers to ward off Islamic invasions by the end of the 13th century. At its peak it had subjugated almost all of South India’s ruling families and the Sultans of the Deccan region, thus becoming a notable power. It lasted until 1646, although its power declined after a major military defeat in the Battle of Talikota in 1565 by the combined armies of the Deccan sultanates. The empire is named after its capital city of Vijayanagara, whose ruins surround present day Hampi, now a World Heritage Site in Karnataka, India. The writings of medieval European travelers such as Domingo Paes, Fernao Nunes, and Niccolo Da Conti, and the literature in local languages provide crucial information about its history. More recent archaeological excavations at Vijayanagara have revealed the empire's power and wealth.Auction result comparison: Compare with a related but slightly larger bronze of Rama at Sotheby’s New York in Indian, Himalayan & Southeast Asian Works of Art on 22 March 2018, lot 1019, sold for USD 13,750.
Lot 755
AN IMPORTANT SANDSTONE FIGURE OF GANESHAIndia, Madhya Pradesh, 10th century. The six-armed elephant-headed god dancing with two legs bent on a rectangular plinth, wearing anklets, arm bangles and a tiara with strands of pearls. His expressive face with gentle eyes and ears fanning open, flanked by musicians, dancers, and animals inside niches, with four vidyadharas bearing garlands above, the torana centered by a lotus finial.Provenance: Arnold H. Lieberman Buddhist & Hindu Antiquities, New York, 4 April 2006. Peter Hardt, Germany, acquired from the above. Arnold Lieberman, known as ‘The Grumpy Connoisseur’, has been a fine art and antique dealer since the early 1970s and was on the board of directors of The Art and Antique Dealers League of America for ten years. A copy of the original invoice, at a price of USD 38,000 and describing the piece as “One Stone Dancing Ganesh” and “India, Madhya Pradesh, c. 10th century” accompanies this lot.Condition: Superb condition commensurate with age, extensive wear and losses, signs of weathering and associated erosion.Dimensions: Height 81.5 cm (excl. base)This masterfully carved Ganesha embodies the energy of present devotion imbued with the authority of the past. His supple body, slender waistline, delicate jewelry, graceful face, and ten arms, together with the elongated proportions and lyrical bends of the accompanying figures, situates the sculpture firmly in the tenth century, when stone carving had reached a superb level of mastery in northern and central India. During this period, artists made use of the soft local sandstone to create agile figures that belie the heaviness of the material.Working from single blocks of stone, they realized glorious deities surrounded by mythical animals and members of the celestial supporting cast, all carved in deep relief with portions of the stone pierced entirely through, adding negative space to enhance the form. The liveliness of Ganesha's dance similarly belies not only the material but also his corpulent stature. His dance connects him with Shiva, who dances the universe into oblivion, yet Ganesha's dance has a childlike quality that lightens Shiva's cosmic load. Energetically dancing to the classical rhythms of drums and cymbals and the melody of flutes resounding from the gracious musicians at his feet, he carries away all obstacles and grants those who behold him the ability to achieve success.Ganesha, the beloved elephant-headed god of prosperity and remover of obstacles, is worshipped throughout India at the beginning of journeys or undertaking of new endeavors. As such, he is often placed at thresholds or entries in private homes, and he is the first deity encountered even in massive, multi-sanctum temple complexes, where he is worshipped with offerings of sweets, fruits, coins, flowers, and freshly cut grass. He is a symbol of abundance, and he is also a paragon of wisdom, having broken off his own tusk and recorded the Mahabharata at the time of its recitation by the great sage Vyasa. Although he is the son of Shiva and Parvati, Ganesha is honored by all devotees and is the most popular god in modern India.Mounted on a modern metal base. (2)Literature comparison: Compare with a related sandstone figure from the 10th century in the Boston Museum of Fine Arts, published in Darielle Mason, Gods, Guardians, and Lovers, New York, 1993, p. 168, cat. no. 17.Auction result comparison: Compare with a closely related sandstone figure of Ganesha, 111 cm high, at Christie’s in The India Sale on 15 December 2015, lot 119, sold for EUR 98,010 (INR 8,625.000).
Lot 778
A VIETNAMESE GILT-LACQUERED WOOD STATUE OF BUDDHAVietnam, 17th-18th century. The facial features emphasize reclusiveness while the sharp curls on his head symbolize spirituality. Carved seated in dhyanasana, the right hand lowered in dhyanamudra on his lap and the left raised in mutrashay mudra.Provenance: Hungarian private collection.Condition: Weathering, age cracks, some of which show old fillings and touchups, minor losses, and extensive wear to lacquer, the underside with several drilled holes and related fills, where the statue was once attached to a base.Weight: 7.9 kgDimensions: Height 51 cmFinely crafted red lacquer plinth. The base is sealed and hollow, possibly still bearing original offerings inside. Buddha is wearing long flowing robes, the serene face with heavy-lidded eyes and full lips forming a benevolent smile, flanked by long earlobes, the hair arranged in tight curls surmounted by an ushnisha.Literature comparison: Compare with a related Buddha, Vietnam, c. 1600, in the collection of The Pacific Asia Museum, accession number 1996.28.3.Auction result comparison: A closely related Buddha was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 25 April 2020, lot 456, for EUR 15,168.越南鎏金漆木雕佛像越南，十七至十八世紀。面部表情強調隱逸，頭上捲髮像徵著靈性。 結迦趺座，右手施禪定印。 來源：匈牙利私人收藏 品相：有風化年齡裂縫，舊的填充物和補漆，輕微的損失，以及漆面的大量磨損，下側有幾個鑽孔和填充物，雕像曾經被固定在底座上。 重量：7.9 公斤 尺寸：高51厘米 拍賣結果比較：一尊相似的佛像，於本拍行2020年4月25日 Fine Chinese Art, Buddhism and Hinduism拍場售出，lot 456, 售價EUR 15,168。
Lot 782
A MASSIVE GILT-LACQUERED WOOD FIGURE OF BUDDHA, 17TH-18TH CENTURYVietnam. Seated in dhyanasana on a red lacquered plinth, the hands lowered in dhyanamudra, wearing loose voluminous robes opening at the chest, the serene face with heavy-lidded eyes and full lips forming a benevolent smile, flanked by long earlobes, the hair in tight curls surmounted by a domed ushnisha.Provenance: From a Dutch private collection. Condition: Weathering, age cracks and losses, some of which show minor old fills and touchups, and extensive wear to lacquer, the underside with drilled holes, where the statue was once attached to a base.Weight: 7.0 kg Dimensions: Height 48 cmLiterature comparison: Compare with a related Buddha, Vietnam, c. 1600, in the collection of The Pacific Asia Museum, accession no. 1996.28.3.十七至十八世紀鎏金木雕佛陀坐像越南。佛陀結跏趺坐坐在紅漆蒲團上，雙手施禪定印，敞胸著寬鬆長袍，寧靜的臉龐，低垂的雙眼和豐滿的嘴唇形成仁慈的笑容，兩側是長長的耳垂，頭上螺髻。 來源：荷蘭私人收藏 品相：風化，年代裂縫和缺損，舊時小修和修飾，以及漆面的大量磨損，下側有鑽孔，雕像曾經固定在底座上。 重量：7.0 公斤 尺寸：高48 厘米
Lot 12
Master Ferrand González (Activo en Toledo entre 1383 - 1410) "Madonna and Child" Polychromed and gilded alabaster sculpture. Incised and gilded signature in gothic letters on the front of the plinth “Maesttro Fernan: Entallador”. Marvellous sculpture in which the Madonna is represented in a standing position, holding the Christ Child in her left arm. She wears a gorgeous brocade tunic with red and gilded motifs, cinched beneath the breast with a band which we can only see as it hangs down at one side, showing elaborate work of sculpted square shapes with alternate red and gold decoration, the last of these is topped with a four-petalled flower. This decorated band is almost identical to that employed by the sculptor on the dress on Elvira Álvarez de Ceballos’ tomb, which is located at the Quejame Monastery in Álava. A cloak rests delicately on Mary’s shoulders, blue on the inside and decorated with large gilded stars on the exterior. The clothing rests on her feet forming gothic folds, beneath which the tips of her shoes stick out delicately. The Child wears a tunic and cloak that match those of the Madonna. Both have a sweet smile and exchange gestures of affection, the Child raising His little hand towards Mary’s face, who rests her right hand on the Child’s chest with a maternal gesture. Elegant and delicate to the smallest detail, as we can see in the minute buttons which are on the sleeve of the tunic. María Teresa Pérez Higuera, in “Ferrand González y los sepulcros del taller toledano (1385 -1410)” (Ferrand González and the tombs of the Toledo workshop) indicates that at the end of the 14th century they were doing a great deal of work at Toledo Cathedral, which is decorated in such a way that it required the employment of sculptors or “entalladores” (carvers), who, of course, also worked outside the Cathedral. The existence of a workshop that made tombs in the city of Toledo in the late 14th century has been established without doubt. It was run by Ferrand González, who by that time was a well-known name in Castilian gothic sculpture. Pérez Higuera also mentions in her publication that: “There is a reference to a Ferrand Gonçales in the book of Works and Manufacturing of Toledo Cathedral, 1383, with delivery notes by the sculptor on different capitels, which were used in the choir screen that was made around that time. This Ferrand Gozález can be identified with the sculptor who made the tomb for Archbishop Don Pedro Tenorio at the Saint Blaise Chapel in Toledo Cathedral in 1399, and so it can be argued that his activity between these two dates can be proven completely, also by another series of tombs which are attributed to him as well as other work that he sculpted in the Cathedral.” González is also the sculptor of the tomb of the Bishop of Plasencia, D. Vicente Arias de Balboa, which is located in the same Saint Blaise chapel. The account book of the same chapel shows payments to the sculptor for the sculptures of the Annunciation on the façade and the polychroming of the same sculpture. Another series of sculptures was made by him and his team and these are: The tomb of Juan Serrano in Guadalupe as can be seen in the note by P. Germán Rubio: “…The famous Toledan stoneworkers, Pedro Sánchez and Ferrant Gonzalez, who worked on D. Juan Serrano’s tomb from 1403-1407, the last secular prior of Guadalupe..”. Also, Diego de las Roelas’ tomb at the Cathedral of Ávila, the Ayalas’ tombs in their funerary chapel at the Quejana Monastery, Álava, that of Juan Alfonso de Ajofrin in the Monastery of Saint Dominic of Silos in Toledo, that of the Figueroa family in the Church of Saint Mary in Écija (Seville), and that of the Pérez Guzmán family in Saint Andrew’s Chapel in the Cathedral of Seville, among others. Height: 53 cm.
Lot 80
Group of medals relating to Alan Booth comprising of court mounted civil MBE and Military General Service medal with Malaya clasp awarded to 2466073 L.A.C A. Booth RAF, A cased MBE loose miniature and court mounted miniature MBE and GSM with associated MBE certificate issue medal slip for GSM 1953 associated and mounted 925 Birmingham silver hallmark Freedom of the Borough of Scarborough A.Booth esq. 1999 holder and scroll mounted on wooden plinth with plaque presented at a special meeting of Scarborough Borough Council 28th September 1999 (Alan Booth was awarded the role of Scarborough?s Town Crier only having auditioned for the role initially to make up the numbers. He was also elected Honorary Freeman of Scarborough in recognition of his work in raising the profile of the town as far away as Australia and Canada. Alan was Scarborough?s town crier for 31 years, a record for the Yorkshire coast and was awarded his MBE in 2005.)
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