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A Lalique Dampierre Glass Pedestal Vase, 12cm; together with a carved sculpture of Christ and a lamb, on stepped plinth, and another carved religious sculpture (3)

After Sirio Tofanari (Italian, 1886-1969). Large cast bronze panther sculpture. Depicting the snarling big cat sitting and looking downwards. Incised signature along the base. Brown and verdigris patination throughout.Provenance: Private Minnesota CollectionLot Essay:Sirio Tofanari was born into a family of sculptors and artists. He attended the Florence Academy of Art from 1902-1907. At the age of 18 he fell in love and eloped to Paris before moving to London. While there he devoted himself to the study of animals, visiting the zoo and Natural History Museum often. Throughout the first two decades of the 20th century he exhibited his work around Europe including the 1909 Venice Biennale.Sadly, his home, studio, and its contents in Milan were destroyed during an Allied bombing raid in 1942 during World War II. He spent much of the remainder of his life creating reliefs of religious scenes, but animals remained ever in his focus.Height: 24 in x width: 14 1/2 in x depth: 24 1/2 in.Condition:There are no major dents, breaks, losses, or restorations. Wear and weathering throughout and signs of exposure to the elements. Verdigris patination throughout. Some accretions along the lower areas of the sculpture. Some dirt/dust collected in the recessed areas of the work. Dirt/dust collected along the underside and interior of the work.

Rossigneux, Michel (French, 1930-2017); b. Autun FRANCE/MALI, Les Dogon, 1972, a bronze medal by M. Rossigneux, on an attic door with a carved pivot, between a double row of rafters evoking water, three ancestors protect the primordial ancestors of the Dogon people, rev. a traditional wooden mask stands proud against the woven pattern of a blanket of the dead, symbolic of the cultivated land, edge impressed 1972 cuivre and cornucopia, 77mm, 340.65g (Ruedas p.360, 55; CGMP p.1619). Very fine, dark patina £25-£35 --- Provenance: bt Simmons, January 2005 The Dogon are an ethnic group indigenous to the central plateau region of Mali, near the city of Bandiagara, and in neighbouring Burkina Faso. The population numbers in excess of 600,000 and Dogon languages, considered to constitute an independent branch of the Niger-Congo language family, are spoken. The Dogon are best known for their religious traditions, their mask dances, wooden sculpture which veers towards Cubism, and their architecture.

A box of religious items. Includes cast metal sculpture of Jesus, crucifixes, pictures etc.

A RED SANDSTONE FIGURE OF A JINA, 13TH-15TH CENTURY OR LATERWestern India, Rajasthan or Gujarat. Carved standing upright in kayotsarga and with his feet together atop a lotus base, the arms hanging to his knees, completely nude, the face with downcast eyes below gently arched eyebrows, the mouth with full lips, flanked by elongated earlobes, surmounted by a high headdress decorated with pearls, backed by a halo, with two female adorant figures to the top and two flanking his feet. Condition: Good condition, commensurate with age, extensive wear, signs of weathering and erosion, losses, encrustations, and small repairs to the left hand and toe.Provenance: Austrian private collection.Weight: 42.8 kgDimensions: Height 82.5 excl. base, 84 cm incl. baseMounted to a metal base.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 sandstone figure of a Digambara Jina, India, dating to the early 11th century, 134.6 cm high, in the Philadelphia Museum of Art, accession number 1935-39-2.

A RARE TERRACOTTA RELIEF DEPICTING AN ASURA, GUPTA PERIODEastern India, Bengal, 5th-6th century. Powerfully modeled, the asura standing in a dynamic pose with one leg crossed over the other, his face with a confident expression, perhaps mocking an unseen opponent, marked by his bulging wild eyes and the open mouth showing teeth, framed by a thick beard. He is wearing a short robe secured at the waist by a floral belt and adorned with jewelry. Provenance: From a notable collector in London, United Kingdom. Condition: Excellent condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, encrustations, few structural cracks.Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 14 September 2020, based on sample number C120e27, sets the firing date of one sample taken at between 900 and 1500 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Academic Dossier: A detailed academic commentary on the present lot, elaborating on the meaning of the Asuras as well as the history of the Gupta Empire in general, and showing many comparisons to examples in both public and private collections, is available upon request. For a PDF copy of this dossier, please refer to the department.Weight: 4,507 g (excl. stand) Dimensions: Height 43 cm (excl. stand)With an acrylic glass mounting at the back and an associated metal stand. (2)The lively figure depicted in this terracotta fragment is probably an Asura, one of a group of gods who opposed but were ultimately defeated by the Devas, the gods who are central to Hindu and earlier Vedic beliefs; it is quite likely that the myths relating to the Devas and Asuras evolved from a single belief system. The legendary conflict may be based on a factual clash between two sects that existed in the post-Harappan period, when beliefs surrounding the Vedic gods and their associated social structure were challenged by revised ideas emanating from Iran, which ultimately died out or were driven away by the existing mainstream hierarchy in western India.Terracotta was the traditional material for religious images in the Ganges Valley and in the Mauryan and Shunga periods (3rd-1st century BC). Bengal had been the source of some of the most sophisticated figures of gods and goddesses. In the Gupta period, several centers of terracotta sculpture emerged across the Empire, from Akhnur in Kashmir, down to Shravasti and Bitargaon in Uttar Pradesh, around the Gupta capital at Pataliputra (Patna), and down into the Ganges Delta where some of the richest red clays were available. The lack of stone in eastern Bihar and Bengal meant that clay had always been used for architectural purposes, brick adorned with terracotta or stucco being the most widely used material, and a number of archaeological sites in Bengal attest to the sophistication of the effects achieved.Literature comparison: Compare a related terracotta relief depicting Krishna killing the horse demon Keshi, dated to the 5th century, in the collection of the Metropolitan Museum of Art, accession number 1991.300. Compare a related terracotta torso of a nobleman, dated 5th century, in the collection of the Michael C. Carlos Museum, Emory University, object number 2001.001.011. Compare a related terracotta relief depicting the battle between Hanuman and Indrajit, dated 6th century, in the collection of the State Museum, Lucknow, illustrated by M. C. Joshi and J. F. Farrige, L'Âge d'or de l'Inde Classique, L'Empire des Gupta, Paris, 2007.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A BRONZE FIGURE OF THE JAIN HERO BAHUBALIIndia or Nepal, 18th - 19th century. Standing in kayotsarga atop a circular base with leafy vines wrapped around his arms and legs. The serene face with heavy-lidded almond-shaped eyes below curved brows as well as an aquiline nose and full lips forming a subtle smile, flanked by long pendulous earlobes, the hair arranged in tight curls.Provenance: Collection of Gerard Wahl-Boyer and thence by descent within the same family. French private collection, acquired from the above. Gerard Wahl-Boyer (d. 2014), better known to most as 'Bebe Rose', was an insatiable collector whose interests spanned a wide range of religious and tribal art from South and East Asia as well as Africa. He was a fixture in Parisian auction rooms, known as a great picker.Condition: Very good condition with old wear and minor casting flaws, few losses, dents, nicks, and scratches as well as signs of weathering and erosion. Remnants of pigment. Fine, naturally grown, dark patina with small areas of malachite encrustation.Weight: 2,440 gDimensions: Height 39 cmThe torso and lower body are cast separately, though not detachable, suggesting the possibility of relics contained within, indicated also by the circular aperture to the back of the head.Bahubali was the son of Rishabhanatha (the first tirthankara of Jainism) and the brother of Bharata Chakravartin. He is said to have meditated motionless for a year in a standing posture (kayotsarga) and that during this time, climbing plants grew around his legs. After his a year of meditation, Bahubali is said to have attained omniscience (Kevala Gyana).In 948 AD the Ganga general Chavundaraya commissioned a monumental sculpture of Bahubali at Shravanbelagola, Karnataka. The Gommateshwara statue is the tallest monolithic statue in the world today and was carved out of a single block of granite. It is 17 meters and can be seen from 30 kilometers away. This image inspired the production of smaller devotional images of Bahubali that became popular in southern India. Such images were for household use and were often bought back by pilgrims from one of the Jain tirthas (pilgrimage sites) or centers of Jainism.Literature comparison: Compare a closely related but smaller bronze figure of Bahubali, also dated 1500-1700, in the Victoria and Albert Museum, accession number IM.14-1922. Compare also a larger and older carved chlorite figure, dated to the 14th century, in the British Museum, museum number 1880.241, and a much earlier and smaller bronze figure, dated late 6th to 7th century, in the Metropolitan Museum of Art, accession number 1987.142.339.Auction result comparison: Compare a related but earlier figure of a Jina, dated 10th-11th century, at Christie's New York in Indian and Southeast Asian Art on 23 March 2010, lot 166, sold for USD 62,500.

A MONUMENTAL SCHIST FIGURE OF THE GODDESS HARITI, ANCIENT REGION OF GANDHARA 犍陀羅片岩浮雕鬼子母與般闍迦像Kushan empire, 2nd-3rd century AD. Wearing a long kaftan, trousers, and a heavily pleated shawl, Hariti's jewelry is comprised of anklets, rows of bracelets, earrings hanging from her elongated lobes, and necklaces with a large central torque decorated with rosettes. She wears a circular crown topped with a square structure carved with lotus-petal panels in relief above a foliate fillet on top of her finely incised waving hair, and in her two arms she holds four plump nude children, two beneath each breast with one breast covered and the other exposed.Provenance: Sotheby's London, 17 October, 1996, sale LN6645, lot 111. Kenneth P. Jackson, United Kingdom, acquired from at the above sale for a hammer price of GBP 50,000, equivalent to a purchase price of GBP 56,500 or EUR 163,000 (converted and adjusted for inflation at the time of writing). Condition: Condition commensurate with age and presenting remarkably well overall. Expected old wear, weathering and erosion as a result of extensive exposure to the elements across a time period of almost two millennia. Obvious losses, structural cracks, some of which show old fills, remnants of soil encrustations from burial.Weight: >250 kg Dimensions: Height 171 cm (excl. base) and 186 cm (incl. base) With a modern metal base. (2)This figure of Hariti, the Buddhist mother goddess, illustrates the unique amalgamation of cross-cultural influences present in ancient Gandhara. It also bears a distinct and early Hellenistic element almost never found in other sculptures from this period and region.Other figures of Hariti from the High Gandhara period are dressed in heavy robes in the classical manner, like the statue of the seated Hariti in the British Museum, registration number 1886,0611.1 (fig. 1). However, the present lot depicts Hariti in a kaftan, trousers, and a shawl, a concise style of clothing that exemplifies the Scythian influence on the Gandhara people during their rule of the neighboring region of eastern Iran in the 2nd and 3rd centuries AD. The Scythian style of clothing is known in detail from depictions along the palace walls of Apadana (fig. 2) from the Achaemenid period as well as from terracotta figures from the 2nd century AD.Even more remarkable is the flagrant early Hellenistic influence clearly visible in Hariti's headdress. The unusual yet characteristic iconography of it links Hariti directly to the Greek goddess Tyche, daughter of Zeus, and suggests she was a rare example of religious syncretism as a direct result of the Hellenistic period in the far east. The headdress of the present Hariti exemplifies this fact unlike most other depictions of the goddess.Tyche, the goddess of fate, became a prominent figure in the Greek pantheon under Alexander the Great. It was during Alexander's rule that Tyche came to embody the whims of fate. Her importance within the Greek pantheon is clear and can be seen in sculptures like the colossal head of Tyche next to Zeus and Apollo in Nemrut Dagi (fig. 3).Tyche's mural crown (fig. 4) identifies her as the protectorate of cities and links the founding of Sparta to the goddess's headdress according to S.B. Matheson (see The Goddess Tyche, Yale University Art Gallery Bulletin, 1994). Her iconography changed very little over the centuries during early Roman rule and even later depictions of the goddess in Constantinople's Hippodrome (fig. 5). The crown of the present Hariti with its two rows resembling lotus petals, is carved upright and straight, much like the walls of Tyche's fortress headdress. While much of it is worn away, Hariti's crown is topped by square carvings that closely resemble the crenelated battlement of Tyche's headdress.Historians have documented various examples of syncretism between Hellenistic cultures in the Far-East and Buddhism from the 5th century BC to the 4th century AD. This sculpture of Hariti, however, offers an even more unique example of not only cultural syncretism, but also religious syncretism as well. The story of Hariti itself involves the conversion of the goddess to Buddhism. One version of Hariti's story follows that Hariti had no children. Desperate to have children of her own, the goddess stole children from the locals and raised them as her own. The Buddha, aware of the suffering mothers of the lost children, took back one of the children from Hariti in secret. Amid her grief over the lost child, the Buddha came to her and taught the goddess empathy, showing her the sorrow of mothers from whom she took the children. Hariti subsequently converts to Buddhism, but her foreign origin and nature remains documented by the syncretism seen in the present sculpture.Literature comparison:Compare a related Gandharan relief of the goddess Hariti seated and holding a child, 61 cm high, dated 101-300 AD, in the Art Institute of Chicago, reference number 2016.58. Compare a related figure of Hariti with children, 132 cm high, dated to the 2nd century AD, in the Government Museum and Art Gallery, Chandigarh, accession number 1625. Compare a related large schist figure of Hariti with children from the Swat Valley in Gandhara, 125 cm high, dated 2nd-4th century, published by M Akira in Gandharan Art and Bamiyan Site, Tokyo, 2006, pp.114, nr. 86.Auction result comparison: Type: Related Auction: Bonhams London, 22 October 2019, lot 144 Price: GBP 187,562 or approx. EUR 282,000 converted and adjusted for inflation at the time of writing Description: A schist figure of Hariti, circa 2nd century Expert remark: Note the similar rosettes which appear on the face and headdress of this figure of Hariti and appear on the torque of the present lot. Note the size (95 cm). 犍陀羅片岩浮雕鬼子母與般闍迦像貴霜帝國，西元二至三世紀。鬼子母身著長袍、褲子和披著披肩；佩戴手鐲、耳環，飾有玫瑰花項鍊與叫連，她還戴著一頂圓形葉狀王冠，刻有蓮瓣，波浪捲髮。她雙手抱著四個孩童，胸前還有四個孩子。 來源：倫敦蘇富比1996 年10 月17 日，拍賣LN6645，拍品111；英國Kenneth P. Jackson在上述拍賣中以50,000 英鎊的落槌價購得，相當於購買價56,500 英鎊或163,000 歐元（換算後的價格，在撰寫本文時已根據通貨膨脹進行了調整）。 品相：狀況良好。有磨損、風化和侵蝕，明顯的缺損、結構裂縫，其中一些有填充物、埋藏時土壤結殼的殘留物。 重量：250 公斤 尺寸：高 171 厘米 (不含底座) 與 186 厘米 (含底座) 現代金屬支架. (2)文獻比較: 比較一件相近的西元101-300年犍陀羅鬼子母與般闍迦浮雕像，高61 厘米，收藏於芝加哥藝術博物館，館藏編號2016.58。比較一件相近的二世紀鬼子母與般闍迦像，132 厘米 高，收藏於昌迪加爾政府博物館和美術館，館藏編號1625。比較一件相近的二至四世紀犍陀羅斯瓦特谷鬼子母與般闍迦像，高125 厘米，出版於Akira，《Gandharan Art and Bamiyan Site》，東京，2006年，頁114，編號86。 拍賣比較： 形制：相近 拍賣：倫敦邦翰斯，2019年10月22日，lot 144 價格：GBP 187,562（相當今日EUR 282,000） 描述：約二世紀片岩浮雕鬼子母與般闍迦像 專家註釋：請注意類似的玫瑰花結出現在鬼子母的臉部和頭飾上。請注意 尺寸 (95 厘米)。

A MONUMENTAL AND HIGHLY IMPORTANT SANDSTONE FIGURE OF BUDDHA, PRE-ANGKOR PERIODMekong Delta, present-day Cambodia and Vietnam, 6th-7th century. Superbly carved standing with each foot on a separate lotus dais, wearing a diaphanous sanghati, the folds elegantly draped over his left shoulder and elbow, gathered at the ankles. The serene face sensitively drawn with heavy-lidded eyes, the sinuous lids and round pupils neatly incised, gently arched brows, and full lips, flanked by long pendulous earlobes, the hair arranged in snail-shell curls surmounted by a tall ushnisha. Provenance: From a notable collector in London, United Kingdom.Condition: Magnificent condition, commensurate with age. Extensive wear, encrustations, losses, signs of weathering and erosion, minor nicks, cracks and scratches. Fine, naturally grown patina overall. Dimensions: Height of figure excluding base and tang: 146.5 cm. Height of figure including tang, but excluding base: 190 cm. Height including base: 196 cm.The youthful-looking Buddha presents an elegant image that acts as a metaphor for his spiritual perfection. He stands on two lotus flowers, which probably identifies him as one of the esoteric Buddhas, depicted in Nirvana or another of the heavenly realms. This is the serene eternal state of one who is removed from the passage of time and the emotional issues of the human sphere. He has caused the lotuses to bloom and as they support his weightless form, they symbolize his purity of thought.The earliest stone sculptures of the region were created in the Mekong Delta, now shared by Cambodia and Vietnam, where Indian trading communities introduced their own Buddhist and Hindu beliefs. Contacts with regions to the north and China were also strengthened by trade. This Buddha retains elements of form that are associated with India while the two lotuses, rather than one, on which he stands indicate a Chinese influence. His appearance has been transformed by the introduction of a purely regional aesthetic, however. Separated from the South Asian sangha (religious establishment), local devotees came to see the Buddhist faith as their own and consequently endorsed their beliefs with images resembling themselves.Buddhism had reached Southeast Asia by the 1st century AD, largely thanks to its popularity amongst Indian merchants who established trading communities around the Mekong Delta. They initially sourced gold in the region but found other rare commodities such as ivory, gemstones, minerals and fine woods for markets both at home and further west. As a result, the Mekong Delta became part of a wider trading network linking the China Seas with the Roman Empire. There are epigraphical accounts describing the journeys on merchant ships of Buddhist missionaries from southern India and Sri Lanka, but the earliest visual record of stone sculptures indicates that evangelists from northern India and possibly Gandhara and China were also active in the region.International trading predated the establishment of diplomatic links between the rulers of the Mekong Delta with China in the 3rd century and various Indian kings in the 4th century. Indian and to a lesser extent Chinese culture gradually infiltrated the region's hierarchy and while the higher echelons were attracted to the Buddhist and Hindu faiths, the vast majority of the people maintained their traditional beliefs.A number of cities linked by canals existed in the Delta region, including the extensive sites of Oc Eo, Phnom Da, and Angkor Borei, which may have been autonomous principalities or part of a confederation. Along with the adjacent Phnom Da, Angkor Borei was a notable ritual center; its influence outlived the eclipse of Funan, perhaps through association with an ancestral cult. Buddhism and Hinduism had a unifying effect to some extent but within the region, devotees only adopted those aspects of the Indian faiths that were relevant to their needs; these probably varied from place to place. It is possible that the Buddha and Hindu gods were honored with temples and statues, emulating those of India, in order to bolster the political or social status of their Southeast Asian adherents.Expert's note: A detailed academic commentary on the present lot, elaborating on the history and art of Funan as well as the evolution of Buddhist images in the Mekong Delta, and showing many further comparisons to examples in private and public collections, is available upon request..To receive a PDF copy of this academic dossier, please refer to the department.Literature comparison: Compare a closely related sandstone figure of the Buddha preaching, attributed to Southern Cambodia and dated to the late 7th century, 94 cm high, in the collection of the Musee Guimet, reference number MG18891, and exhibited in the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, April 14, 2014-July 27, 2014, cat. no. 44. Compare a related sandstone figure of Avalokiteshvara, also standing on two lotus flowers, attributed to Southern Vietnam and dated second half of the 7th to early 8th century, 188 cm high, in the collection of the Musee Guimet, reference number MA5063, and illustrated ibid., cat. no. 137. Compare a closely related wood figure of Buddha, dated c. 6th century, in the Museum of Vietnamese History, Ho Chi Minh City, illustrated by Nancy Tingley, Arts of Ancient Viet Nam: From River Plain to Open Sea, Houston, 2009. Compare a closely related sandstone figure of Buddha, dated to the 7th century, 98.2 cm high, in the National Museum of Cambodia, inventory number Ka.1589.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2012, lot 151 Price: USD 338,500 or approx. EUR 423,500 converted and adjusted for inflation at the time of writing Description: A sandstone figure of Buddha Shakyamuni, Khmer, Angkor Borei, 9th century Expert remark: Note that this figure is slightly later and considerably smaller (82.6 cm) than the present lot.Auction result comparison: Type: Related Auction: Christie's New York, 17 March 2015, lot 35 Price: USD 413,000 or approx. EUR 500,000 converted and adjusted for inflation at the time of writing Description: An important stone figure of Buddha, Thailand, Dvaravati period, 8th century Expert remark: Note that this figure is attributed to Dvaravati, around 600 miles northwest of the Mekong Delta. While Buddhist sculpture of the pre-Angkor period sometimes shares characteristics with contemporaneous Dvaravati art, the present figure's slightly attenuated proportions mark a departure, imbuing the Buddha with a lithe, uplifted quality. Note the slightly smaller size (111.7 cm).Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.

A BRONZE FIGURE OF BUDDHA, MON DVARAVATI PERIODThailand, 8th-9th century. Finely cast standing with his left hand raised in abhaya mudra and his right lowered in varada mudra, draped in a loose-fitting dhoti and sanghati. His serene face with heavy-lidded eyes, elegantly arched joined brows, full lips, and a broad nose, flanked by pendulous earlobes, his hair in tight curls over a high ushnisha.Provenance: From a noted private collector in Paris, France. Condition: Good condition, commensurate with age. Expected wear, casting flaws, some losses, signs of weathering and erosion, minor nicks and scratches. Weight: 2,025.3 g (excl. stand), 2,467 gDimensions: Height 31.5 cm (excl. stand), 32 cm (incl. stand)With a modern stand. (2)The Mon polity of Dvaravati was one of the earliest and most important societies in mainland Southeast Asia. Based around the Chao Phraya and Mae Klang river basins of central Thailand, Dvaravati was known from early Chinese textual sources, as well as being mentioned in a single local inscription that dates to roughly 550-650 AD. Due to the large numbers of Buddhist sculptures associated with the culture, it is most likely that the rulers were patrons of the Buddhist faith. The images of Buddha were influenced by contemporary Indian sculptural works, including the Gupta style based around the site of Sarnath. The facial features of the Mon Dvaravati Buddhist images, however, display arched, joined eyebrows which are unlike those found in India, and are therefore characteristic of Mon Dvaravati. Compared to earlier and later Thai kingdoms, Dvaravati was geographically and economically isolated, which contributed to the distinct qualities of its sculpture. Their style was bold, self-assured, recognizable, and highly influential on subsequent Thai sculpture and artistic production throughout Southeast Asia.Within the context of the dominant Theravada school of Buddhism, which emphasized the singularity of the Buddha Shakyamuni, bronze sculptures from this area also demonstrate a remarkably cohesive design. As unifying features, the Buddha is clad in the humble dress of a religious renunciant, with the thin garment clinging closely to the body to reveal his delicate proportions and graceful contours that lie beneath. His face is characterized by high cheekbones, full lips, prominent eyes, and - as stated - the curved brows that form the characteristic V-shape at the bridge of the nose.As expressed by Jean Boisselier, "The school of Dvaravati may stand alongside the great Buddhist artistic traditions of India, so enduring were its innovations and so persuasive its influence on most of the art of Southeast Asia" (J. Boisselier, The Heritage of Thai Sculpture, 1975, page 73). Bronze sculptures of this type and large size are exceedingly rare.Further emphasizing the presence of Buddha in the world of the devotee, the figure is depicted as if in motion, with the hems of the robe gently swaying to the sides. This stance, which also draws upon the classic tribhanga posture of Indian sculpture, presages the famous “Walking Buddhas” of Thailand that would grow prominent many centuries later. The bronze caster has masterfully captured the youthful appearance of Buddha that gives the spiritual themes imported from India their highly unique and refined local expressivity.Auction result comparison:Type: RelatedAuction: Christie's New York, 17 March 2015, lot 29Price: USD 269,000 or approx. EUR 318,000 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha, Thailand, 8th centuryExpert remark: Compare the closely related modeling and manner of casting with similar pose, facial features, expression, and robe. Note the size (36.1 cm).

A LARGE WOOD FIGURE OF SONGZI GUANYIN AND CHILD, CHINA, EARLY MING DYNASTY, 14TH-15TH CENTURY 明初十四至十五世紀大型送子觀音木像Boldly carved as Guanyin with hair piled up into a high topknot beneath her flowing cowl, holding a child seated in her lap, both wearing voluminous robes with deeply carved folds, their faces with wide heavy-lidded eyes, broad noses, and full lips. The soft wood of an attractive grain with a rich, naturally grown patina overall.Provenance: From an old private collection on the Upper East Side of Manhattan, New York, and Bridgehampton, NY, acquired before 1979, and thence by descent in the family. A copy of a signed insurance declaration, on the letterhead of the Chubb Group, dated 25 August 1978, describing the present lot as an 'Unusual Large Wooden Figure of Kuan Yin', accompanies this lot. Condition: Extensive wear, weathering and erosion, worming, losses, chips, and natural imperfections including age cracks. The condition of this statue is commensurate with age and contributes to its unique beauty. The aged wood has seen extensive weathering, which displays exceptionally well.Weight: 13.8 kg (incl. stand) Dimensions: Height 92.5 cm (excl. stand) and 95.2 cm (incl. stand)With a fitted wood stand. (2) The Songzi representation of Guanyin, or the 'Bringer of Sons,' is identifiable by the boy seated on her knee. Male children were extremely important to Confucian family structure. They ensured not only the continuity of family and clan, but that there would be uninterrupted generations to carry on the rituals of ancestral worship. The Child-Giving Guanyin was prayed to by worshipers for healthy children and intelligent male heirs. Extant depictions of Songzi Guanyin from the later Ming dynasty are known in various materials, including bronze, wood, stone, and ivory, but such an early example must be considered extremely rare.Quoted from 'Compassion, Mercy, and Love: Guanyin and the Virgin Mary - How two independent cultures - feudal Europe and imperial China - depicted divine figures with incredible visual similarities.' By Kevin D. Pham, Metropolitan Museum of Art, New York, May 7, 2021:'During the Middle Ages - a period of over one thousand years - people of various cultures across the world practiced independent religious faiths, ranging from western feudal Europe to imperial China, while also maintaining cross-cultural exchange. Surprisingly, certain works of art in both western Christian and eastern Buddhist cultures seem to share visual similarities. Both contexts produced images of divine figures that represent concepts like compassion, mercy, and love: the Virgin Mary in medieval Europe, and Guanyin in imperial China.''These examples pose interesting questions about how pre-modern artists visualized different aspects of divinity in their respective cultural contexts. The Christian and Buddhist devout understood the Virgin Mary and Guanyin, respectively, in similar manners and archetypes of imagery, despite the fact that they did not directly influence one another until later periods of Imperialism and Colonialism in Asia. Centuries of shifts in these representations illustrate how people across the world have envisioned human compassion and mortal emotions.' (article continued below)'The Virgin Mary', Jesus Christ's mother, was a popular focus of personal devotion in western Christianity. She was often depicted with her infant child, emphasizing her role as a holy maternal figure and mediator between humanity and the divine. Through this easily understood archetype, she became a popular intercessor for devout Christians across Medieval Europe, where various types of 'Virgin and Child' works of art proliferated.Guanyin is the Chinese translation of Avalokiteshvara, the bodhisattva of compassion. Bodhisattvas are enlightened beings who chose to stay on earth as accessible examples for Buddhist faithful to follow. Originally depicted as a male or gender-neutral entity able to take on thirty-three manifestations, Avalokiteshvara is a compassionate savior who hears the woes of humankind, regardless of age, gender, or social class. However, in imperial China, Guanyin became increasingly cemented as a female figure. Similar to the Virgin Mary, Guanyin became a popular intercessor for humanity to understand divine salvation.Enthroned Virgin and Child (1150-1200), currently on display at The Met Cloisters, is a counterpart to a sculpture from about 1175 to 1200 included in the exhibition Crossroads: Power and Piety. In both sculptures, mother and child are rendered in a stiff and rigid form that typifies the theological concept Sedes Sapientiae or “Throne of Wisdom.” The infant Jesus, depicted as a diminutive mature figure rather than a child, represents divine wisdom and is seated upon the Virgin, who acts as his throne. Both the Virgin and Child's emotionless expressions, coupled with the strongly linear symmetry, suggest the timeless permanence of divine authority in the Christian context.The eleventh-century Bodhisattva Avalokiteshvara in Water Moon Form (Shuiyue Guanyin), currently on display in the Met Gallery 208, depicts Avalokiteshvara in a relaxed, leisurely pose, with one knee raised and the other crossed in front. This posture represents the “Water Moon” manifestation of the bodhisattva in his personal paradise. Avalokiteshvara is adorned within an ornate crown and necklace. Relaxed but strong and formative, Avalokiteshvara beckons the audience forward, ready to hear the cries of the world.Both of these sculptures would have been placed in public churches or temples. The Virgin and Child also might have been carried in religious processions outside the architectural setting of the church, while Avalokiteshvara would likely have been shown at a monastery altar. Despite their different poses, both figures convey a divinity distinctly removed from the real experiences of mortal humans.'Expert's note: This lot offers an astounding example of the symmetry between two separate worlds - Imperial China and medieval Europe, Western Christianity and Eastern Buddhism - with similar archetypes of imagery illustrating compassion and emotion. Compare the famous wood sculpture of the Enthroned Virgin and Child from the Cloisters Collection, 102.9 cm high, dated ca. 1130-1140, in the Metropolitan Museum of Art, accession number 47.101.15. Compare also two wood sculptures from 13th century France depicting the Virgin Mary and infant Jesus, 68.6 cm and 79.5 cm high, in the Metropolitan Museum of Art, accession numbers 67.153 and 16.32.194a, b. 明初大型送子觀音木像觀音，髮髻高束，膝上抱著一個孩子；兩人都穿著寬大的衣袍，衣紋流暢；眼睛微閉，表情安詳。柔軟的木材，紋理迷人，整體具有自然包漿。 來源：來自紐約曼哈頓上東區和紐約州布里奇漢普頓的私人舊收藏，於 1979 年之前購得，在同一家族保存。該拍品隨附一份帶有Chubb Group安達集團出具的的保險聲明副本，日期為 1978 年 8 月 25 日，將本拍品描述為“不尋常的大型木觀音像”。 品相：大面積磨損、風化和侵蝕、蠕蟲、損失、碎裂和自然缺陷，包括老化裂紋。重量：13.8 公斤 (含底座) 尺寸：高 92.5 厘米 (不含底座) 與95.2 厘米 含底座) 木底座 (2)

Colonial School. Neogranadine Workshop. Circle of Gonzalo de Carvallo. 17th century."Saint Nicholas of Tolentino"Magnificent sculpture of the friar, in carved, gilded, estofado, and polychromed wood. It is lavishly decorated with  marvellous estofado technique with star and vegetation motifs.168 x 62 x 57 cm.We would situate the carving in the important group of sculptors that has been generically termed as "Neogranadine," or from New Granada, which, as we read in the book by Adrián Contreras-Guerrero, serves to "refer to the art produced anywhere in the Royal Audience of Santafé (regarding the 16th and 17th centuries) or in the Viceroyalty of New Granada (if it is from 1717 onwards). The historian proposes replacing both denominations with the adjective "Cundiboyacense" since "it is in this geographical context that the majority of artworks were made. The Altiplano Cundiboyacense (a high plateau in the Colombian Andes), with its two capitals, Bogotá and Tunja, was the area with the highest population density, and therefore, the greatest artistic activity."This school is clearly of Spanish character and contrasts with the mestizo style and more indigenous influences of the sculptural schools of Mexico or Peru.In our opinion, the sculpture is a clear example of the great influence of the Mannerist School of Seville that permeated Neogranadine art. As Contreras-Guerrero again notes, "One of these peninsular artists active in Santafé at the dawn of the 17th century is Gonzalo de Carvallo, who is referred to in several documents as a painter and sculptor simultaneously. The first one dates from 1587 and places him in Tunja where, as a painter, he was receiving the apprentice Juan Recuero for a period of three years. Later, in 1600, he was in Bogotá acting as a guarantor for Juan de la Cerda for a loan of 500 ducats. The only sculpture known to be by him, although he undoubtedly made more, is in the Church of Saint Augustine and depicts Saint Nicholas of Tolentino." Precisely the same saint we have here.Another sculpture that bears similarities to this one is the Saint Anthony from the Neogranadine workshop of the 17th century, kept in the Archdiocesan Museum of Religious Art in Pamplona, Colombia. Nicholas of Tolentino was a 13th century friar, an Italian Catholic priest, mystic, and the first saint of the Order of Saint Augustine to be canonised. He is considered to be a protector of the souls in Purgatory and an intercessor for justice, motherhood, childhood, and health.Dressed in black, typical of the Order of Augustinian Hermits, with a star in the centre of his chest, or a sun, due to one of the events in the saint's life: it is said that a bright star continually followed him in his movements and illuminated his figure.In his left hand, partially broken, he carries a plate on which a partridge rests, reminiscent of one of his many miracles. "When they brought him a plate with cooked partridges, he raised his hand and after making the sign of the cross on the dish, the birds took their form, their feathers grew, and they were revived and stood up." Bibliography consulted: Adrián Contreras-Guerrero. “Escultura en Colombia. Focos productores y circulación de obras (Siglos XVI-XVII)” (Sculpture in Colombia. Production focuses and circulation of works (16th-17th centuries)) Granada, 2019.

Colonial School. Quito. Ecuador. Attributable to Manuel de Chili "Caspicara" (Quito, 1723 - 1796).Saint Teresa of Avila, as Doctor of the ChurchCarved and polychromed wooden sculpture.Height: 77 cm.Magnificent sculpture with candelieri decoration (to be dressed). Wearing a richly adorned brown Carmelite habit and a toasted chickpea-coloured cloak with flourishes and embroidery. She wears an academic birreta. Missing from her right hand is the "plume of inspiration," and from her left, the "resting dove," as she used to call the Holy Spirit. Adorning her chest is a jewel embroidered in silver thread, with the Infant Jesus inside, symbolising her fervent love for Him, which she followed and pursued throughout her life. This represents the famous engraving by Antonius Wierix (Antwerp, c. 1555/1559 - 1604) that was in her cell, and which provided her with so much peace and love when she contemplated it.Undoubtedly, the sculpture is a marvellous example of Quito imagery. It bears important similarities to the "Dressed Image of the Virgin of Mercy" or "Pilgrim of Quito," circa 1700-1750, kept in the LACMA, Los Angeles County Museum of Art.It retains its original clothing of embroidered silk, silver thread, gemstones, and thread. Adorning her chest is a silk embroidered heart with the inflamed heart of the Infant Jesus, made of painted glass, inside it. Manuel Chili, known by his artistic name, "Caspicara", was one of the most important indigenous sculptors of the so-called Quito School of the 18th century.His teachers were Diego de Robles and Bernardo de Legarda, with whom he collaborated as a young man in their workshops.In fact, he is considered the successor in the art of imagery to Bernardo de Legarda, who created magnificent sculptures, especially in wood or marble.Caspicara began his work making images at a very early age, according to the historian Jaime Aguilar de Paredes, until he achieved a mastery that placed him at the level of European artists.Specializing in religious motifs made of wood and marble, his work was made for the most important altars in churches and convents in the region, although his sculptures also reached Europe to form part of the collections of the nobility and monarchy.The Quito school, led by Caspicara, reached its maximum splendour in the 17th and 18th centuries, being of great prestige among the colonies as well as in the Spanish Court in Madrid.  Its production was one of the activities that contributed the most income to the Royal Court of Quito.The phrase attributed to King Charles III, referring to the Quito School, is well known: "I am not worried that Italy has Michaelangelo, in my American colonies I have the master Caspicara".His best-known works are in Quito Cathedral and in San Francisco Church in Quito, as well as in the Hispanic Society of America.Likewise, as the Cervantes Institute website indicates: “Due to the beauty of the way in which they were prepared, the Christ of Bethlehem is outstanding; also, the recumbent Christ and the Virgin of Light that watch over the Museum of the Central Bank of Ecuador; the Assumption of the Virgin that adorns the Church of San Francisco; the Impression of the Wounds, located in La Cantuña; and in particular, the Holy Shroud that visitors to the cathedral of Quito can admire.” Reference bibliography:- Aguilar Paredes, Jaime. "Grandes Personalidades de la Partria Ecuatoriana". Ed. Fray Judoco Ricke, p. 104.

Colonial School. Los Lugo Circle . New Granada. 17th century.'Saint Francis Borgia' Monumental and magnificent carved, gilded and polychromed wooden sculpture with 'estofado' decoration. 182 x 81 x 81 cm. A magnificent sculpture, highly comparable in anatomy and forms to the pair of Jesuit saints (Saint Francis Borgia and Saint Ignatius of Loyola) by Juan Martínez Montañés (1568-1649), created between 1624-1625 for the Church of the Annunciation in Seville, originally the Professed House of the Society of Jesus and currently used as a university chapel. It is evident that the model is that of the sculpture of Saint Francis Borgia, which is not surprising, as the influence of the Seville Master was decisive in the training of the sculptors of New Granada. The figures in the church in Seville wear black, Jesuit cassocks, but they are considered to require extra clothing. However, the cassock on this sculpture is richly decorated with golden scrolls, as befits the 17th century. Nevertheless, the faces and hands are very similar to the sculptures in Seville in their position, depth, anatomy, movements, and foreshortening. We base our attribution on the significant coincidence of artistic traits with the large-scale Saint Ignatius, located on the Altar of the Church of San Ignacio in Tunja, and catalogued as being made by the Los Lugo Circle. The position of the saint is identical, as is the habit. They have the same decoration and sculptural quality in faces and hands. Without a doubt, we can attribute its creation to an artist in Pedro de Lugo's workshop, who could well have been the master himself. In the aforementioned altarpiece, Saint Francis Xavier and Saint Aloysius Gonzaga flank Saint Ignatius of Loyola, who presides over them. As stated by Adrián Contreras-Guerrero, 'thanks to Father Mercado, we know that the three central images of said altarpiece [...], were commissioned in Santafé,' which reaffirms our attribution to the Los Lugo Circle. As indicated by Francisco J. Herrera and Lázaro Gila, 'referring to Pedro de Lugo Albarracín, implies delving into the little-known field of the Neogranadine sculptural workshops of the 17th century, which, judging by the remaining artworks, must have been intensely active artisically, supported by the growing demand of private individuals, clergy, religious orders, cathedrals, and parishes, both in the capital and in surrounding localities. Just as names such as Antonio Acero de la Cruz, Baltasar de Figueroa, and Gregorio Vázquez de Arce are mentioned that express the creative maturity of the Santafé workshop in painting, Pedro de Lugo Albarracín and some others with the same surname (Salvador or Lorenzo) are predominantly cited when referring to the progress that occurred in sculpture during that century in colonial Santafé and other cities such as Tunja.' Both scholars analyse Pedro de Lugo's preference for the figure of Christ at different moments of his Passion, but they also point out that he and his workshop created images of saints and some reliquaries, a fact that is closely related to our figure. They mention, for example, 'two sculptures of the Saint of Assisi, located in the church of the convent of the order in Tunja.' One of them 'has similarities to the homonymous Saint of the altarpiece of Saint Francis Borgia, in the Jesuit temple of Bogotá, also already related to Lugo.' Regarding the origin of the sculptor Pedro de Lugo, we read again in Herrera and Lázaro that, 'taking into account his Andalusian ancestry, his possible birth in Jerez, and the close relations that he and his ancestors would have had with Andalusia, the most suitable place to imagine he had his training is Seville. Well before going to Latin America for the first time, or in a youthful stay, Pedro de Lugo could have trained as a sculptor and caster in the Andalusian capital. Ig is worth noting that the city had an important establishment for the production of artillery, where he would have learnt the techniques of alloying iron, copper, and tin, and even lead and other soft metals.' Pedro and his brothers Alonso and Juan maintained an active workshop of sculpture and casting in different materials in Santafé in the central decades of the 17th century, whose influence extends beyond the capital, reaching various locations, especially Tunja. Regarding the depicted character, Javier Baladrón, Doctor in Art History, explains that 'Saint Francis Borgia (1510-1572) was a Valencian saint who became the third General of the Society of Jesus. One of the best-known episodes of his life, which would become vital in his iconography, is that of the death of Queen Isabel of Portugal, wife of Charles V, in 1539. She was considered to be one of the most beautiful women in the world. This death marked him so much that he always commented that it was the day of his conversion: 'For the empress who died on a day like today. For what the Lord did in me because of her death. For the years that mark my conversion today.' Subsequently, he organised the entourage that escorted the queen's body to the Royal Chapel of Granada. Before it was buried, he observed the disfigured face of the queen, which became one of his most recurring attributes, and he was asked if he swore that it was the queen, to which he replied, 'I have brought the body of Our Lady in strict custody from Toledo to Granada, but I dare not swear that it is herself, whose beauty I so admired.'' Baladrón continues to describe this Saint Francis Borgia: 'a still and meditative figure. He stands upright, with his right leg slightly forward, creating a contrapposto that gives the composition dynamism. This is also contributed to by the opening of the arms in different directions and the turning of the face to contemplate the cross. We do not know if originally the skull could have been in one of the two hands since it is currently held to the ground by a rod. He extends his left arm, making a declamatory gesture with his hand while pointing to the royal skull at his feet; at the same time, he flexes his right arm, bringing the crucifix that he holds in that hand closer to his face. The hands are very delicate, elegant, and realistically accentuated, so that the bones, joints, veins, lines, and even the nails are carefully defined. The head is the most impressive part of the whole, with each of the facial features and the locks that make up his sparse beard and hair perfectly and skilfully delineated. The sculptor has accurately captured the facial features of the saint, so he has managed to make a portrait, which was known through the death mask that was taken of him. He wears the typical Jesuit habit consisting of black cassock and cape, decorated with a dense network of delicate golden vegetation motifs that completely cover both garments, as if with horror vacui. Likewise, both garments are traversed by countless moving and dynamic folds, most of them soft and falling vertically, which break up the surfaces creating a succession of concave and convex surfaces. This is especially visible on the back where we find a succession of rigid tubular folds.' We would like to thank Javier Baladrón, Doctor in Art History, for the formal and iconographic description of the sculpture. Reference bibliography: - Contreras-Guerrero, Adrián. (2019) 'Escultura en Colombia. Focos productores y circulación de obras (siglos XVI-XVIII)”. Universidad de Granada. - Herrera, Francisco Javier y Gila Medina, Lázaro. (2018). “Pedro de Lugo Albarracín y el desarrollo del pleno barroco en la escultura neogranadina del siglo XVII”, capítulo IX en “El triunfo del barroco en la escultura andaluza e hispanoamericana”. (p. 305-365). Universidad de Granada. Spanish Americas.

Attributed to Manuel de Chili "Caspicara" (Quito, 1723 - 1796)"Christ tied to the Column"Carved, polychromed wooden sculpture with sculpted bone and glass eyes. Total measurements: 28 x 24 x 14 cm. Christ measurements: 26 x 19 x 12 cm.A magnificent example of Quito imagery, which in our opinion should be attributed to Caspicara, due to the undeniable similarities with other known sculptures by the master.The sculptor conveys to us with all harshness the terror that Jesus had to endure on his way to Calvary. The back is completely flayed, with raw flesh, revealing the sculpted spinal column of Jesus in sculpted bone. The face reflects acceptance and pain, the gaze is of abandonment, and the gesture of the slightly open mouth shows the intricately carved teeth. The body is tied to the column in a slight twist. Everything in this sculpture is of a fascinating quality and mastery.Manuel Chili, known by his artistic name, "Caspicara", was one of the most important indigenous sculptors of the so-called Quito School of the 18th century.His teachers were Diego de Robles and Bernardo de Legarda, with whom he collaborated as a young man in their workshops.In fact, he is considered the successor in the art of imagery to Bernardo de Legarda, who created magnificent sculptures, especially in wood or marble.Caspicara began his work making images at a very early age, according to the historian Jaime Aguilar de Paredes, until he achieved a mastery that placed him at the level of European artists.Specializing in religious motifs made of wood and marble, his work was made for the most important altars in churches and convents in the region, although his sculptures also reached Europe to form part of the collections of the nobility and monarchy.The Quito school, led by Caspicara, reached its maximum splendour in the 17th and 18th centuries, being of great prestige among the colonies as well as in the Spanish Court in Madrid.  Its production was one of the activities that contributed the most income to the Royal Court of Quito.The phrase attributed to King Charles III, referring to the Quito School, is well known: "I am not worried that Italy has Michaelangelo, in my American colonies I have the master Caspicara".His best-known works are in Quito Cathedral and in San Francisco Church in Quito, as well as in the Hispanic Society of America.Likewise, as the Cervantes Institute website indicates: “Due to the beauty of the way in which they were prepared, the Christ of Bethlehem is outstanding; also, the recumbent Christ and the Virgin of Light that watch over the Museum of the Central Bank of Ecuador; the Assumption of the Virgin that adorns the Church of San Francisco; the Impression of the Wounds, located in La Cantuña; and in particular, the Holy Shroud that visitors to the cathedral of Quito can admire.”Reference bibliography:- Aguilar Paredes, Jaime. "Grandes Personalidades de la Partria Ecuatoriana". Ed. Fray Judoco Ricke, p. 104.

English School. Midlands. Nottingham. Gothic. Circa 1350 - 1375."Mary Magdalene"Alabaster sculpture with remnants of polychrome and gilding.Measurements without plinth: 46.5 x 14.5 x 13.5 cm.Height with plinth: 57 cm.From the mid-14th century until the iconoclastic crisis, which occurred with the Anglican Reformation in the 16th century, alabaster sculpture workshops flourished in central England, especially around Nottingham. There was a great boom in monumental and funerary sculptures, as well as in reliefs or altarpieces intended for the local market and for export.Alabaster carving, mainly extracted from the quarries of Tutbury and Chellaston near Nottingham, took on industrial proportions in England between the mid-14th and early 16th centuries. The market for altarpieces and small devotional images was very extensive. It included not only religious foundations but also bourgeois classes. Hundreds of English alabaster sculptures were exported, some as far as Iceland and Santiago de Compostela.Similar examples to this one, representing saints in sculpture rather than the more usual reliefs, include, for example, the wonderful Virgin and Child, which is part of the collection of the British Museum in London, inventory number 2016,8041.1 (https://www.britishmuseum.org/collection/object/H_2016-8041-1) with a face very similar to that of this Mary Magdalene.As indicated in the Museum's description of the sculpture we are comparing, regarding dating: "This places the statue at the very beginning of the period when alabaster began being used as a luxury material for sculptural compositions. The raw material was quarried in Derbyshire and Staffordshire and there is sufficient evidence to suggest that many of the early workers of the stone were based in the Midlands. The condition and technical finesse of this figure represents the highest levels of English sculpture in alabaster.The early artists who worked alabaster in the Midlands attracted the attention of King Edward III who in 1363 ordered a carved alabaster altarpiece from Peter the Maceon of Nottingham. These sculptures from the King’s chapel at Windsor, along with the majority of comparable pieces in situ were destroyed during the English Reformation.."Another sculpture from the mid-14th century, The Virgin and Child, is preserved in the collections of the Victoria & Albert Museum in London, with inventory number A.140-1946. (https://collections.vam.ac.uk/item/O70632/standing-virgin-and-child-statuette-unknown/)Other comparable pieces, although from the 15th century and already characteristic of Nottingham production, would be, for example: the mid-15th-century Saint Fiacre, which is part of the collections of the Metropolitan Museum of Art in New York, inventory number: 25.120.227. (https://www.metmuseum.org/art/collection/search/472307) or Saint Jude, which is kept in the Victoria & Albert Museum in London, inventory number A.60-1946 (https://collections.vam.ac.uk/item/O70146/st-jude-statuette-unknown/) Bibliography:Cheetham, Francis. English Medieval Alabasters. Oxford: Phaidon-Christie's Limited, 1984. p. 191 (cat. 118) 

A collection of various ceramics and metalware to include a Regency christening jug dated '1825'; a silver backed dressing table mirror; a Victorian silver lustre jug decorated with religious figures; a bronzed metal sculpture of a daschund; and further itemsThe dressing table mirror with some dents. The ceramics with some minor marks and wear, otherwise in generally good condition. Te metalware oxidised. The sculpture in good condition.

OUR LADY OF MONTAIGU SCHERPENHEUVEL BELGIUM RELIGIOUS SCULPTURE. Gilt on spelter sculpture Jesus falls beneath cross signed by the artist Jos Ygan. The sculpture is on a wood base and is 16cm high and 14cm long.

Kadhim Hayder (Iraq, 1932-1985)The Martyr oil on wood panel, framedsigned 'Kadhim Hayder' and dated '69' (lower left), executed in 196991.5 x 63.3 cm (36 x 24 15/16in).Footnotes:Provenance:Property from the Artist's EstateExhibited: Kadhim Haidar, Solo Exhibition, Baghdad Museum of Modern Art, 18-28 Dec 1969 Published: Dia Azzawi, Makou Journal, Kadhim Hayder, 2022, illustrated p.235Shayma Khudhair, The Problem of Illusion in Painting: Kadhim Hayder as an Example, College of Fine Arts, Baghdad, 2005Entesar Munad Ali, The Psycho-Epistemological Variables in Works of Kadhim Hayder, College of Fine Arts, University of Baghdad, 2022 A Rare and Magnificent Painting by Kadhim Hayder'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiThis extraordinary painting by Kadhim Hayder, from the artists inimitable Martyrs series, is a powerful depiction of the aftermath of the cycle, it is an emotionally charged work that showcases the artist's masterful use of religious allegory and cultural mythology. The painting carries an impressive provenance, coming from the estate of the artist, and is being offered on the market for the first time. What makes this painting particularly special is that it was not originally part of the Martyrs Epic series, but was painted 4 years after the exhibition. It shows the artist's fondness for this particular moment in the epic cycles, and his desire to explore it further. The scene itself is rich with symbolism: the foreground is dominated by a large, rectangular white sheet, most likely the Islamic 'kafan' or burial shroud of Hussein himself, the white expanse on which rests Hussein's sword, becomes almost an abstract symbol of the Martyr expressed through colour and form alone. Above the white expanse, horses and soldiers mourn the death of their beloved commander while on the right, a maternal figure with arms upraised is depicted with a child suspended in her womb, most likely an allusion to the death of the infant Ali Asghar, Husseins youngest son, during the Battle. Below the scene a prostrate red figure is unmistakably Shimr, the prime antagonist of the Battle of Karbala and the soldier responsible for Hussiens death, always depicted in red or clothed in red during passion plays to contrast him from the pure white and green of the martyred Hussein and his soldiers.This remarkable painting is a testament to Kadhim Hayder's importance in the history of Iraqi art, and his enduring legacy as an artist who captured the essence of one of the most important events in Islamic history.Saleem Al Bahloly: The Epic of the Martyr'Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family.In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.The paintings in The Epic of the Martyr were different sizes [they] reflect, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions.This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.'Saleem Al-Bahloly received a PhD from the University of California, Berkeley, and has held fellowships at Johns Hopkins and the University of California, Santa Barbara. He is writing a book about an intellectual shift that occurred in Iraq during the 1960s in response to disillusionment with left-wing politics. The above text has been abridgedThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE AND LARGE CHINESE SPINACH-GREEN JADE FIGURE OF A LUOHAN 18TH CENTURY Carved seated in dhyanasana wearing a shawl and long robes, his garments held by a clasp at his left shoulder, he holds a stupa in his left hand whilst raising his right hand behind the precious object in a variation of abhaya mudra, his serene face detailed with a small finely incised moustache and beard, the green stone with brown flecks and inclusions, 23.5cm. Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. In prehistoric times, jade was carved into human form. Such pieces are usually identified as religious worshippers and priests, sometimes as Immortals. The mysterious quality of the jade itself lent a special meaning to the figure it represented. This particular figure is carved from a large boulder of spinach-green nephrite. He has been conventionally identified as a Chinese sage, but his long, flowing robe is closer to the attire of Buddhist monks. The name Luohan comes from the Sanskrit arhan or arhat, referring to the Buddhist ascetics. They are disciples of Sakyamuni Buddha, who have passed the eight-fold path (right belief, resolve, speech, work, livelihood, training, mindfulness, abstract, meditation), and reached Nirvana or Enlightenment. They are essentially associated with the Hinayana School of Buddhism, and each has the title Samantha prabhasa or general wisdom; they can teach or train others to attain perfection. Luohans are very popular in China, as it is believed they can protect patrons and believers by expelling ignorance and defeating robbers. In the Buddhist legend, there are normally 500 Luohans, but the most famous ones usually appear together in groups of 16 or 18. Luohans are represented in painted portraits as well as in sculpture. All have distinctive attributes: for instance, Pindola the Bharadvaja has elongated eyebrows, Vajraputra is lean, ribbed and hairy; Nakula is always shown with a mongoose. However, it is quite difficult to identify the present figure with a particular Luohan. Many Luohans have a book or staff in their hands, but in this case the figure holds a stupa, perhaps suggesting that he has entered Nirvana. Cf. Catalogue of the International Exhibition of Chinese Art, 1935-6, no.2860 for a similar figure lent to the exhibition by Mr and Mrs Edward Sonnenschein; see also G Wills, Jade of the East, p.104, nos.63-64 and N Zhou, Ancient Jades in Man, Immortal and Buddha, p.309, nos.360-361 for further related examples; see also Asian Art I, 17th November 2010, lot 337 for a comparable spinach-green jade figure of Buddha of the same size previously sold in these rooms. 十八世紀碧玉雕托塔羅漢來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

A CHINESE BROWN AND CELADON JADE CARVING OF A HORSE MING DYNASTY Depicted in a recumbent pose with its legs neatly tucked under its body, the horse turns its head back towards its tail which is flicked up over its haunches, its body rendered with details of its ribs and muscles, with finely incised hairs to its forelock, mane and tail, the mottled stone with inclusions, varying in tone from a pale greenish-grey to a dark brown, 7.8cm. Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Jade animal carvings have a long history in China. They are thought to have first appeared in prehistoric times when they were probably used for religious or ritual purposes. By the Tang dynasty, miniature jade animals were used as decorative objects and playthings, and they remained popular throughout the following dynasties. Of the twelve Chinese zodiac animals, the horse represents wealth and prosperity. This jade horse was probably made as a 'handling piece', but could also have been used as a paper weight. The mottled nephrite with dark brown inclusions gives this miniature sculpture an archaic feel. This aligns with tastes of the Song, Yuan and Ming dynasties when the archaic style was highly prized by the literati class and many jades were worked to simulate those of antiquity.明 褐玉臥馬來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

TAKAHASHI HOUN: AN IMPORTANT WOOD NETSUKE OF A MYTHICAL ELEPHANTBy Takahashi Houn (Hogen Houn, 1810-1854), signed Houn 鳳雲Japan, c. 1850, Edo period (1615-1868)Published:Joly, Henri L. (1912) The W. L. Behrens Collection, Part 1, Netsuke, no. 5327 and illustrated on pl. LXIX.Hurtig, Bernard (1973) Masterpieces of Netsuke Art: One Thousand Favorites of Leading Collectors, p. 211, no. 891.Bandini (1977) Values and Record prices, Part II in Journal of the International Netsuke Collectors' Society, 5 /3, p. 20, listed as joint 5th most expensive netsuke at auction in that year.Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 200.La Gazette Drouot, no. 21, 27 May 2011 p. 177.D. Wright's report of the Wrangham sale in International Netsuke Society Journal, 31/2, p. 35, discussed and illustrated.G. Wilhelm's report of the same in Bulletin Association Franco-Japonaise, no. 110, pages unnumbered, discussed and illustrated.Exhibited:Ashmolean Museum, Oxford, Inro. An exhibition of Japanese Inro from the collection of E.A. Wrangham, October-November 1972, no. 34.Finely carved, the elephant-like animal reclining with its head turned back, the movement producing folds throughout the body and neck, the mouth slightly opened smiling benevolently, with large wrinkly ears and trunk, the trunk curling around one of the long tusks which rest against the mythical animal's body, forming a compact composition. The underside with generously excavated himotoshi and the signature in Tensho characters HOUN.Takahashi Houn was a pupil of Kokei (lot no. 186) and worked in Edo (Tokyo), where he was awarded the title Hogen for his carving of Buddhist images. He was highly respected during his lifetime, carving the 500 Rakan (fig.1.) for the Kamakura temple. Furthermore, he was the master of Takamura Toun, a highly respected carver of Buddhist wood figures and master of the celebrated artist Takamura Koun (1852-1934), for an example of the latter's work see fig. 2.Only very few netsuke are recorded by Takahashi Houn and this is the only illustrated netsuke by the carver in literature. The reason is likely that he focused his attention on carving larger scale Buddhist images commissioned by various temples. The unique treatment of material and subject clearly show the roots of this celebrated carver, the present carving really being more a Buddhist sculpture rather than a netsuke, akin to the highest-level Kamakura carvings, though in miniature form.LENGTH 4.7 cmCondition: Very good condition, few light surface scratches.Provenance Ex-collection W. L. Behrens (1861-1913). Sold at Glendining's, London, 1-8 December 1913. Glendining's, London, November 1931. Anonymous sale, Sotheby's London, 11 January 1965, lot 93, purchased by Edward A. Wrangham. Sold at the latter's second sale, Bonhams London, 10 May 2011, lot 90 (sold for GBP 19,200). French private collection, acquired from the above reputedly in competition with Edward 'Ned' Johnson III.The elephant-like mythical being depicted in this netsuke is by no means an ordinary elephant, but rather a religious creature frequently depicted in early Buddhist art or a baku (nightmare-devouring creature). The wrinkly body and trunk, long tusks, and smiling attitude bear an uncanny resemblance to the famous imaginary elephants (sozo-no-zo) from the Nikko Tosho-gu. This type of elephant was also frequently depicted in Buddhist art as the familiar of Fugen Bosatsu or on various architectural elements depicting baku.Museum comparison:Compare a related wood figure of The Eleven-Headed Kannon, by Takahashi Houn, in the collection of the Ashmolean Museum.

MIMMO PALADINO (B. 1948)Untitled 1985 incised with the artist's signature, dated 1985, numbered 3/3 and stamped with the FONDERIA DI GIACOMO NAPOLI foundry mark bronze 152 by 173 by 82 cm. 59 13/16 by 68 1/8 by 32 5/16 in. This work is number 3 from an edition of 3. Footnotes:ProvenancePrivate Collection, UK Exhibited Monterrey, Museo de Arte Contemporaneo de Monterrey, Mimmo Paladino, 1994, pp. 173, 177, no. 16, another example exhibited and illustrated in black and whiteLiteratureEnzo Di Martino, Paladino-La Scultura 1980-2008, Milan 2009, pp. 55, 408, illustrated in black and whiteMimmo Paladino, a protagonist of the Italian Transavanguardia movement, dedicated the early years of his artistic career to exploring the religious themes and mythological interpretations present in the outstanding sculptural examples presented here.Despite the present works varying styles and dates, the pivotal role of the human figure becomes evident; with motifs clearly inspired by Classical mythology, Christianity, Egyptian and tribal art. Figura con Stella with its bowed head, facing the star displays an act of subordination, further highlighted by the star motif, which represents the heavens or home of the gods. Untitled, which has similar connotations, exhibits seemingly sacrificial objects lying on the table-top alluding to death and sacrifice. Paladino argues that while these themes inspire his work, they don't define it: 'The figures in my paintings, the animals, the masks, the theme of death – I do not want to explain or analyse them. They are the roots out of which the picture develops, but not its content.' (the artist in: Studio International, Mimmo Paladino: Black and White, studiointernational.com, 27 September 2023) Although unmistakably contemporary, Paladino collaborates with the past to make his sculptures timeless and universal. Mimmo Paladino was a key member of the Transavanguardia movement, which is considered one of the most influential movements of post-war Italian art. Coined by the critic Achille Bonito Oliva, Transavanguardia demonstrated an international revival of expressionist painting and sculpture in the late 1970s and 1980s. Directly translated as 'beyond the avant-garde', the movement reacted against the original avant-garde with an aim to return to the traditional act of painting, one that elicited emotion, especially joy, and provided meaning. The movement was marked by five prominent artists, including Paladino, whose artworks drew attention at the 1980 Venice Biennale for their diverse styles and common vision. According to Oliva, Transavanguardia relied heavily on the materialism of techniques and new materials, rejecting conceptual ideas and recuperating the intensity of the image and the narrative. The present works are clear examples of Paladino's take on the Transavanguardia movement, a movement which became an internationally recognised phenomenon and whose works are highly sought after by collectors today.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

MIMMO PALADINO (B. 1948)Figura con stella 2000 bronze 95 by 65 by 132 cm. 37 3/8 by 25 9/16 by 51 15/16 in. This work was executed in 2000. Footnotes:ProvenancePrivate Collection, UKMimmo Paladino, a protagonist of the Italian Transavanguardia movement, dedicated the early years of his artistic career to exploring the religious themes and mythological interpretations present in the outstanding sculptural examples presented here.Despite the present works varying styles and dates, the pivotal role of the human figure becomes evident; with motifs clearly inspired by Classical mythology, Christianity, Egyptian and tribal art.Figura con Stella with its bowed head, facing the star displays an act of subordination, further highlighted by the Stella, which represents the heavens or home of the gods. An earlier work, yet with similar connotations, Senza titolo with seemingly sacrificial objects lying on the table-top alluding to death and sacrifice. Paladino argues that while these themes inspire his work, they don't define it: 'The figures in my paintings, the animals, the masks, the theme of death – I do not want to explain or analyse them. They are the roots out of which the picture develops, but not its content.' (the artist in: Studio International, Mimmo Paladino: Black and White, studiointernational.com, 2006) Although unmistakably contemporary, Paladino collaborates with the past to make his sculptures timeless and universal. Mimmo Paladino was a key member of the Transavanguardia movement, which is considered one of the most influential movements of post-war Italian art. Coined by the critic Achille Bonito Oliva, Transavanguardia demonstrated an international revival of expressionist painting and sculpture in the late 1970s and 1980s. Directly translated as 'beyond the avant-garde', the movement reacted against the original avant-garde with an aim to return to the traditional act of painting, one that elicited emotion, especially joy, and provided meaning. The movement was marked by five prominent artists, including Paladino, whose artworks drew attention at the 1980 Venice Biennale for their diverse styles and common vision. According to Oliva, Transavanguardia relied heavily on the materialism of techniques and new materials, rejecting conceptual ideas and recuperating the intensity of the image and the narrative. The present works are clear examples of Paladino's take on the Transavanguardia movement, a movement which became an internationally recognised phenomenon and whose works are highly sought after by collectors today.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

AN IMPORTANT SILVER-INLAID GOLD REPOUSSE BOWL DEPICTING GARUDA, VIETNAM, FORMER KINGDOMS OF CHAMPA, CIRCA 10TH CENTURYSuperbly worked, the deep rounded sides supported on a tall faceted foot and flaring to a beaded rim, finely decorated to the exterior with overlapping trefoil-arched panels enclosing rosettes and scrolling foliage, below interlocking scrolling vines. The foot with square panels and indented corners enclosing rosettes, all against ring-punched grounds. The interior with a circular silver-inlaid base depicting a winged Garuda with human face, wearing a richly incised dhoti, foliate crown, and fine jewelry, his arms raised as if about to take flight, surrounded by leafy lotus blossoms, enclosed by a beaded border. Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Good condition, commensurate with age, with old wear and casting flaws, small losses, some tarnishing, and dents, all exactly as expected of a gold object more than a thousand years old.Weight: 243.9 g Dimensions: Diameter 18.8 cm Garuda is a half-bird, half-human creature that appears in both Hinduism and Buddhism. The mythological account of Garuda's birth in the Mahabharata identifies him as the younger brother of Aruna, the charioteer of the sun god, Surya. Garuda's mother, Vinata, mother of the birds, was tricked into becoming the slave of her sister and co-wife, Kadru, mother of the nagas (serpents). The lasting enmity between the birds, particularly Garuda, and the serpents is attributed to this. The nagas agreed to release Vinata if Garuda could obtain for them a drink of the elixir of immortality, the amrita or soma. Garuda performed the feat, thus giving the snakes the ability to slough off their old skins, and on his return Garuda met Vishnu, agreeing to serve him as his vehicle. Garuda is described in one text as emerald in color, with the beak of a hawk, roundish eyes, golden wings, and four arms and with a breast, knees, and legs like those of a hawk. He is also depicted anthropomorphically, with wings and hawk-like features. Sometimes images of Garuda are used by devotees of Vishnu to designate their affiliations; such images appear on coins throughout various periods and on jewelry and ritual vessels, like this lot. Garuda, also known as Garula, are golden-winged birds in Buddhist religious texts. Under the Buddhist concept of samsara, they are one of the Aṣṭagatyaḥ, the eight classes of inhuman beings.Expert's note: Depictions of Garuda with a human face like on the present lot are considerably rarer than their bird-faced counterparts, but are found across different cultures and materials. Compare an ivory relief depicting Garuda from Nepal, 10 cm high, dated to the 14th century, in the Victoria & Albert Museum, accession number IS.124-1999. Compare a bronze plaque depicting Garuda from East Java, 12.7 cm high, dated c. 1300, in the Norton Simon Museum, accession number P.2003.01.10. Compare a terracotta sculpture of Garuda from Western Thailand, 48 cm high, dated to the first half of the 7th century, excavated from site 40, Khu Bua, Ratchaburi Province, by the Fine Arts Department, Thailand, in 1962, and now in the National Museum, Bangkok, exhibited by the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, 14 April-27 July 2014. Compare a granite figure of Garuda from India, Tamil Nadu, 137.8 cm high, dated second half of the 8th to early 9th century, in the Metropolitan Museum of Art, accession number 1983.518. Compare a gray schist turban ornament with Garuda from Gandhara, 11.4 cm high, dated 2nd-3rd century, at Christie's New York, 18 March 2015, lot 4009.

A LARGE GRAY SCHIST RELIEF DEPICTING BUDDHA, A ROYAL DONOR AND SEVERAL ATTENDANTS, ANCIENT REGION OF GANDHARA, 2ND-3RD CENTURYSuperbly carved, standing in slight contrapposto and surrounded by royal donors and attendants, each with hands clasped in front of their chest with their gaze directed at his outstretched right arm holding an alms bowl. The Buddha is dressed in voluminous robes which fall gracefully in well detailed folds. The hems of his alluring robes are gathered in a soft roll clutched by his left hand to keep the garment taut and in place. The serene face with heavy-lidded downcast eyes below gently arched brows centered by a circular raised urna, above full bow-shaped lips forming a subtle smile, flanked by long pendulous earlobes. His hair is arranged in wavy locks over the domed ushnisha.Provenance: From an old Belgian private collection. Acquired before 1970 and thence by descent in the family.Condition: Good condition, commensurate with age. Extensive wear, obvious losses, nicks, scratches, small old repairs, signs of weathering and erosion, few structural cracks.Weight: 103.3 kg (incl. stand) Dimensions: Height 94.3 cm (incl. stand), 88.8 cm (excl. stand), Width 57.1 cm Note the hierarchical proportions used by the sculpture, with Buddha double the size of the donor and the attendant figures.The ancient region of Gandhara was once an important center for trade and religious activities. Carved stone monuments and iconic statuary were created for Buddhist patrons while drawing on Greco-Roman sculptural traditions. The present work is one such example, incorporating the emphasis on naturalism, seen in the treatment of the Buddha's heavy, monastic robe wrapping around his neck in thick layers and forming U-shaped folds on his legs with a convincing sense of gravity.This panel alludes to a delightful moment in the life of Buddha, which is retold by Harald Ingholt: “It was routine for the Buddha at a certain time of the day to wander around in quest of food. Once when he was doing this in Rajagriha, with his begging bowl held out before him, he met two small boys playing in the road. One of these moved as if to make an offering, but having nothing else at hand, he took a good fistful of dust and dropped it into the bowl saying that it was barely flour. The Buddha was much impressed by this childish act of piety and prophesied that the boy would become a mighty Buddhist monarch in some future life." (Gandharan Art in Pakistan, New York, 1959, pp. 80-81). This story was later interpreted to identify the child as the great Buddhist emperor Ashoka (304-232 BC) in a previous life. While the figure of the child, the object of the Buddha and his entourage's gaze, is now lost, the alms bowl remains partially preserved. Other depictions of this scene are found in ibid., nos. 110-111, and Kurita, Gandharan Art, Volume 1, Tokyo, 1988, pp. 178-181, nos. 351-358, and Sun and He, A History of Gandhara Civilization, Beijing, 2009, pp. 389, nos. 7, 128, 30.Auction result comparison: Type: Closely related Auction: Christie's New York, 13 March 2013, lot 209 Price: USD 183,750 or approx. EUR 224,000 converted and adjusted for inflation at the time of writing Description: A rare green schist relief of Buddha and a royal donor, 2nd/3rd century Expert remark: Compare the closely related manner of carving, with Buddha standing in similar pose and holding the hem of his garment beside a smaller donor figure. Note the size (106.8 cm). 陀羅二至三世紀灰色片岩佛像雕刻精美，以輕微的三曲式姿勢站立，周圍環繞著皇家供養人和侍從。每個人都雙手合十於胸前，目光注視著佛陀伸出的拿著缽的右臂。佛陀身著寬大的袈裟，袈裟優雅地垂落，衣紋流暢。他左手握著長袍的下擺。佛陀面容平靜安詳，雙眼微垂，眉毛微彎，雙眉之間有白毫，略帶微笑，兩側是長耳垂。他的頭髮在頭頂成螺髻。 來源：來自比利時私人舊藏，1970 年之前購得，此後由家族傳承。品相：狀況良好，大面積磨損、明顯的缺損、刻痕、劃痕、小修、風化和侵蝕，少量結構裂縫。 重量：103.3 公斤(含底座) 尺寸：高 94.3 厘米 (含底座)，88.8 厘米 (不含底座)，寬 57.1 厘米 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2013年3月13日，lot 209 價錢：USD 183,750（相當今日EUR 224,000） 描述：西元二至三世紀灰色片岩佛像 專家註釋：比較非常相近的雕刻風格、佛陀以類似的姿勢站立，並在一個較小的捐贈者雕像旁邊握住他的衣服下擺。請注意 尺寸 (106.8 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A SILVER-INLAID BRONZE FIGURE OF BUDDHA VAIROCANA, SWAT-VALLEY, 7TH-8TH CENTURYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 1 September 2020, based on sample number N120d91, confirms the object is “consistent with the suggested period of manufacture." A copy of the report, issued by Oxford Authentication, accompanies this lot.Depicted in the sambhogakaya form, Vairocana holds his hands in the bodhyagrimudra while sitting atop a pedestal supported by two anthropomorphic Buddhist lions. The lions have humanized faces, silver-inlaid eyes, snail-curled hair, and are standing atop a lotus base. The Vairocana wears an ornate crown, tied on both sides with ribbons which drape down around his arms and hang from the pedestal. His face is serene, set with almond-shaped eyes with silver inlays to the pupils and central urna. The back with a tang for attachment to a temple structure.Provenance: From the private collection of Michael Phillips. 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 art, 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. Expected signs of wear, corrosion and weathering with only small remnants of gilt remaining. The naturally grown patina has distinct malachite and cuprite encrustations and was at some point coated with a layer of varnish or wax for conservation purposes. Some losses, dents and scattered nicks.Weight: 3,090 g Dimensions: Height 26.3 cm 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.The iconography of the crowned Buddha Vairocana has been a subject of dispute amongst scholars due to the lack of clear lines of interpretation within the imagery. Many conclude the crown is intended to denote Sakyamuni as a cakravartin or universal Buddha while some suggest it represents a sambhogakaya Buddha in Mahayana Buddhism. In her 2018 article Images of the Crowned Buddha along the Silk Road, Rebecca Twist examines the iconography of Silk Road crowned Buddhas and concludes the recurring evidence points to the crowned Buddha as sambhogakaya as an early esoteric meditational construct. Many of the Buddha Vairocana that Twist examines are closely related to the present lot. According to Twist, these similar figures which appear from various locations along the Silk Road “demonstrate a systematic form of transmission and religious syncretism in both iconography and ideology." The present lot is a part of the clear pattern of deliberate core iconographic elements which recur in crowned Buddha Vairocana figures along the Silk Road. These elements included the sambhogakaya form, the embodiment of dharmakaya, the bodhyagrimudra, and the similarly styled crown.Auction result comparison: Type: Related Auction: Bonhams New York, 16 March 2021, lot 306 Price: USD 50,312 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of a Bodhisattva, Swat Valley, circa 8th century Expert remark: Note the similar patina, the roves with a single narrow sash across the chest, the silver inlaid eyes and urna, and the closely related crown. Note the much smaller size (13 cm).Auction result comparison: Type: Closely related Auction: Bonhams New York, 19 March 2018, lot 3009 Estimate: USD 450,000 or approx. EUR 495,000 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of Vairocana, Swat Valley, 8th/9th century Expert remark: Note the closely related pose, the similar crown and garments, the Buddhist lions which support the Vairocana atop the lotus pedestal, and the single ring molded to the back of the figure for mounting. Note the size (17.8 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 七至八世紀斯瓦特谷銅錯銀毘盧遮那佛毘盧佛施智拳印，全跏趺坐。半圓形台座正面有毘盧佛的坐騎--兩頭獅子（立姿）。毘盧佛頭戴華麗王冠，兩側飾有絲帶，從他的手臂上垂下，並懸掛在底座上。面容安詳，瞳孔鑲銀，雙眉之間有白毫。背面有支腳，用於固定到寺廟結構上。 科學檢測報告：牛津認證公司於 2020 年 9 月 1 日出具了一份基於樣品編號 N120d91 的熱釋光分析報告確認該造像“與建議的製作日期一致"。該拍品隨附一份報告副本。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A MARBLE STELE FRAGMENT OF THE BUDDHA, EASTERN WEI DYNASTYChina, 532-546 AD. The finely carved fragment depicts the Buddha, with his serene face, heavy lidded eyes, and calm smile, in repose backed by a tear-drop mandorla. His robes are smooth, draping off his shoulders to naturalistically expose his chest. His head with a round ushnisha, worn through centuries of worhip.Provenance: From a private collection in Brescia, Italy.Condition: Good condition, commensurate with age. The marble has been smoothened through extensive weathering and worship, with soil remnants likely from a prolonged period of burial, cracks and losses, all of which only add to the exceptionally breathtaking appearance of this little gem.Weight: 517.1 gDimensions: Height 11.5 cm With an associated metal stand. (2)Steles played an important role in the development of religious art in China. During the Northern Wei dynasty, state-sponsorship of Buddhism enabled the rapid spread of the religion throughout northern China. At this time, Buddhist voluntary groups affiliated to local temples and organized by laymen became the main patrons of Buddhist steles which commemorated the group's religious, social, and territorial identity. The relative ubiquity of the medium employed to manufacture steles, and their small size, prompted a multitude of regional workshops, many of which developed their own style using the monumental cave temple carvings as a basis.Literature comparison:Compare a related stele with the buddha, 3.2 m high, from the Shanxi province and dated to the Northern Wei dynasty, in the Metropolitan Museum of Art, accession number 65.29.3, published by Denise Leidy and Donna Strahan in Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in the Metropolitan Museum of Art, 2011. Compare a related head of the Buddha with a very similar style, 25.3 cm high, in the Museum for East Asian Art Cologne, accession number Bc 40,2. Compare a related sandstone stele which has the tear-drop mandorla enveloping the entire figure, 134 cm high, dated to the Eastern Wei Dynasty, in the Brooklyn Museum, accession number 2015.3. Compare a much later stele of the buddha with a similar tear-drop mandorla, 55.9 cm high, dated to the Tang dynasty, in the Minneapolis Institute of Art, accession number 2021.34. Compare a closely related stele, 174 cm high, from the Shaanxi province and dated 520 AD, in the Victoria & Albert Museum, accession number A.9-1935. Compare a closely related stele, 92.5 cm high, from the Shaanxi province and dated 544 AD, in the Victoria & Albert Museum, accession number FE.7-1971. Compare a related sandstone stele, 195.5 cm high, dated 515-525 AD, in the National Museum of Asian Art, Smithsonian Institution, accession number S1991.157.Auction result comparison: Type: Related Auction: Bonhams London, 8 November 2004, lot 77 Price: GBP 8,365 or approx. EUR 20,000 converted and adjusted for inflation at the time of writing Description: A limestone stele fragment, late Northern Wei/Eastern Wei dynasty Expert remark: Note the similar carving style used to craft this bodhisattva. Note the much larger size (41 cm).Auction result comparison: Type: Related Auction: Bonhams Paris, 26 October 2022, lot 231 Price: EUR 50,000 or approx. EUR 52,500 adjusted for inflation at the time of writing Description: A stone documentary stele of Buddha, Northern Wei Dynasty Expert remark: Note the related style of the Buddha and the tear-drop mandorla. Note the much larger size (36.8 cm). 東魏漢白玉佛頭殘片中國，532-546年。精美雕刻半身佛陀，面容平靜，雙眼微閉，笑容安詳，背靠水滴狀光背。他的長袍衣紋光滑，從肩膀上垂下來，自然地露出胸部。他的頭上有螺髻，經過幾個世紀的崇拜而磨損。 來源：義大利布雷西亞的私人收藏。 品相：品相良好，土壤殘留可能是長期埋藏所致，有裂縫和缺損。 重量：517.1 克 尺寸：高11.5 厘米 金屬支架 (2) 拍賣結果比較： 形制：相近 拍賣：倫敦邦翰斯，2004年11月8日，lot 77 價格：GBP 8,365（相當於今日EUR 20,000） 描述：北魏末至東魏石灰岩石像 專家評論：請注意相似的雕刻風格。請注意尺寸較大 (41 厘米)。 拍賣結果比較： 形制：相近 拍賣：巴黎邦翰斯，2022年10月26日，lot 231 價格：EUR 50,000（相當於EUR 52,500今日） 描述：北魏永平三年石雕佛龕 專家評論：請注意相近的雕刻風格和水滴狀光背。請注意尺寸較大 (36.8 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

Colonial school. Cuzco. Peru. Century XVIII."Our Lady of Pomata"Oil on canvas. 160 x 112 cm.In 1534, the Spanish foundation of Pomata was established on the Collao plateau in the Peruvian Altiplano by the Dominican friar Fray Tomás de San Martín, an important political figure and master of the Religious Order of Santo Domingo.The town was founded to encourage worship and conversion, so the first settlers were religious, to which the civilian population was gradually added. Under the rule of Kings and Viceroys, Pomata became an important centre of catechism for the religious congregation of Santo Domingo de Guzmán. The chapel of Santa Barbara, the temple of San Santiago, the temples of San Martin and San Miguel were built, thus initiating the evangelisation of the first inhabitants of Puma Uta, later called Pomata by the Spaniards.One of the most popular miraculous sculptures of the viceregal period, which became very popular around 1600, was the sculpture of Our Lady of the Rosary in the church of Santiago de Pomata, which competed in popularity with the Virgin of the Augustinian sanctuary of Copacabana. Professor Maya Stanfield-Mazzi in her interesting study on the Virgin of the Rosary of Pomata, "LA VIRGEN DEL ROSARIO DE POMATA, EN SU IGLESIA Y EN EL VIRREINATO", indicates among other things that: "The original image belongs to the church of Santiago de Pomata, a town on the south-western shore of Lake Titicaca which during colonial times was part of the bishopric of La Paz. Depictions of this sculpture were disseminated throughout the viceroyalty. A large number of the paintings come from the Cuzco school of the 17th and 18th centuries, and many are today in churches and museums in the department of Cuzco, such as the one in the Museo Histórico Regional Casa Garcilaso, an anonymous Cuzco artist, in which the Virgin is accompanied by Saint Rose of Lima and Saint Dominic".Professor Stanfield-Mazzi continues: "We do not know with certainty in what year the image of the Virgin of Pomata was created, nor when it arrived at the church of that town; nor do we know the name of the sculptor who created it (anonymous around 1570) In his work published in Rome in 1681, fray Juan Meléndez maintains that the parish of Pomata was returned to the Dominicans because the bishop de la Cerda knew the devotion that the friars had for the Virgin Mary "in her prodigious image, under the invocation of her Rosary" (Meléndez, 1681-82: I, 446).

A «Mwana Pwo» Mask, wood, fibers and metal, it has copper rings in both ears, with a religious medal on the left one, a mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, minor defects, 20th C. (3rd quarter). Sculpted by Samuentacuta Utende, Lóvua post, Chitato municipality, Lunda-Norte province, in 1963. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 6 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work entitled "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of the Huambo Town Hall (former Nova Lisboa) - Angola, p. 13. Original work available at https://memoria-africa.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, accessed March 16, 2023 at 11:16. Item number 2, mentioned in the collector's notebook «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Puo (Jovem)»:"Tattoos: - on the forehead: «Txíngelengele» or «Samanana», a cruciform sign that must be or was a symbol of the Tshokwe people, who still bear it in all manifestations of art; - on the nose: «Cangongo» (small bush mouse, with thin fur, considered a delicacy) - this tattoo serves, in part, to differentiate the Tshokwe from the other peoples of Lunda; - on the chin, cheeks and corners of the eyes: «Mipila» which means traces [...]. Copper rings on the ears («Txijingu»), with a religious aluminum medal on the left one. [...] The masked man's suit is made of mesh and has fake breasts, usually made from gourds. Over the costume they wear a kind of skirt in fabrics of feminine taste and a thick dance belt (muia) applied over the hips, decorated with beads and bells, a belt that is exclusive to women, with the purpose of highlighting the lively movement. from the hips. The choreography of the masked man, who is a professional dancer, is characterized by mime, gestures and woman's steps, in which the voluptuous movement of the hips predominates. In addition to representing Woman, the feminine genius of dance, grace and beauty, it can also represent a spell (Wanga) «Kaponya Ka Pwó» [...] of terrible effects. When a «Mukixi Wa Pwó» dancer dies, the mask should normally disappear with him. Therefore, the heir by matrilineal descent, the nephew, the eldest son of the eldest sister residing in the village (here the avunculocal rule is observed), must take the mask and the garment, wrap them in cloth and leaves, take them to a secluded spot in the forest, usually close to a river bank, dig a deep hole and bury them carefully. When he deposits the mask at the bottom of the hole and starts to pour earth over it to cover it, he utters the following words: “Go and stay with my uncle, whose companion you are. He was a great dancer thanks to you and that's why you should accompany him. I'm going to make another mask to continue my uncle's work, which will certainly help me to be as good as he was»). [...] Mask sculpted by Samuentacuta Utende, relative of Soba Tchissessengue, Posto de Lóvua, municipality of Chitato, Lunda, in 1963. Purchased on the advice of its sculptor, an artist of great fame, who also worked for commissions for the Museum of Dundo, in June 1965, when I visited this Museum [...]." Cf. bibliography referred to by the collector: LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, p. 150; and LIMA, Mesquitela de - "Tatuagens da Lunda". S/L: Museu de Angola, 1956, (possibly) pp. 40 and 42-43, figs. 42 and 45. A «muia» is essentially an exterior belt - cf. SANTOS, Eduardo dos - "Sobre a «Medicina» e a Magia dos Quiocos". In "Estudos, Ensaios e Documentos nº 80". Lisboa: Junta de Investigações do Ultramar, 1960, p. 68. For the same type of mask vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (as "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (as "Masque Pwo"/"Pwo"); The catalog "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nº 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 and 153, nºs 11-15 (as "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; and https://www.metmuseum.org/art/ collection/search/319264?ft=Pwo&offset=0& ;rpp=40&pos=1, consulted on March 14, 2023 at 15:37, Dim. - 22 cm

A «Txihongo» mask, wood, fibers, metal, resins and pigments, has a religious medal on its right ear, a mask representing the male ancestor, used by professional dancers in various types of ceremonies., Angolan - Luando region (North of Cuemba), 20th C. (1st half), minor faults and defects, traces of wood insects, possibly from the Luando region, Cuemba municipality, Bié province. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 47, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified therein as «Máscara Txihongo»: "It represents the male ancestor and, so to speak, is in opposition to Muana Pwó. This masked man's choreography is characterized by a series of hip movements that demonstrate hardness and firmness; all of it is masculinity. He is a professional dancer who goes through the villages dancing and receives money and gifts for his performance, just like Muana Pwó. The main characteristic of this type of mask is the protrusion in the chin area, which symbolizes the beard, a male attribute. The face, which is very expressive, has a prominent, pointed forehead. [...] Decoration: on the forehead: a yellow stud under a «Mupila» tattoo. Other tattoos: under the eyes - «Masoji»; on the chin: «Mipila»; on each face a semicircle ("Kakweji" = Moon). In its right ear, it has an earring (religious medal - Our Lady of Fátima and Sacred heart of Jesus) suspended by a wire; the left earlobe has two holes. Gift from Padre Gabriel [...] of the Mission of the Benedictines of Cuemba, in 1966. It had been obtained by Padre Gabriel in the Luando region (North of Cuemba) in 1959 [...]". Cf. bibliography referred to by the collector - LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 166 and (possibly) 160. For the same type of mask vd. BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 12 and 95-98, nºs 34-37 (as "Masque Cihongo"); and LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, p. 67, nºs 28-30., Dim. - 21 cm

Ca. 1-200 AD.A bronze head of Mithras, a deity closely associated with the mystery religion known as Mithraism, captivates with its intricate craftsmanship and symbolic significance. Mithras, also known as Sol Invictus, was a prominent figure in the pantheon of Roman gods during the late Roman Republic and early Roman Empire. Depicted in this bronze sculpture, Mithras wears his distinctive Phrygian cap, a conical hat associated with the ancient Phrygians and symbolic of his Eastern origins. The sculptor skillfully captures Mithras' intense and penetrating gaze, which conveys a sense of power and authority. The prominent nose adds a touch of regality and strength to his visage, while the small lips lend an air of composure and contemplation. Notably, the head is hollow on the underside. Mithraism, an enigmatic mystery religion, held a significant place within the religious landscape of the Roman world. Its initiation rites, secret ceremonies, and hierarchical structure appealed to a diverse range of followers, including soldiers, merchants, and aristocrats. Mithraism focused on the worship of Mithras as the mediator between the human and divine realms, emphasizing themes of salvation, rebirth, and cosmic renewal. The cult of Mithras thrived particularly among Roman military communities and gained popularity during the 1st to 4th centuries AD. Its rituals often took place in underground temples known as Mithraea, which were adorned with symbolic iconography, including depictions of Mithras slaying a bull—an act central to the religion's mythology. Size: L:50mm / W:30mm ; 80g Provenance: Private London collection; formerly acquired in the US in the 1990s.

Ca. 200-300 AD.An arch-shaped schist frieze exhibiting unparalleled craftsmanship, with intricate carvings of Bodhi tree leaves adorning its surface. Each leaf is uniquely depicted with its characteristic shape with a pointed tip, creating a sense of naturalism. The reverse of the frieze is unworked, indicating that it was originally part of a larger sculpture setting. The Bodhi tree, under which the Buddha is said to have attained enlightenment, holds great significance in Buddhism, and as such, the frieze would have been a crucial element in a religious context. It is believed that the Buddha meditated under a Bodhi tree for 49 days before achieving enlightenment. Size: L:290mm / W:620mm ; 27.2kg Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection.

After Sirio Tofanari (Italian, 1886-1969). Large cast bronze panther sculpture. Depicting the snarling big cat sitting and looking downwards. Incised signature along the base. Brown and verdigris patination throughout.Sirio Tofanari was born into a family of sculptors and artists. He attended the Florence Academy of Art from 1902-1907. At the age of 18 he fell in love and eloped to Paris before moving to London. While there he devoted himself to the study of animals, visiting the zoo and Natural History Museum often. Throughout the first two decades of the 20th century he exhibited his work around Europe including the 1909 Venice Biennale.Sadly, his home, studio, and its contents in Milan were destroyed during an Allied bombing raid in 1942 during World War II. He spent much of the remainder of his life creating reliefs of religious scenes, but animals remained ever in his focus.Height: 24 in x width: 14 1/2 in x depth: 24 1/2 in.Condition: There are no major dents, breaks, losses, or restorations. Wear and weathering throughout and signs of exposure to the elements. Verdigris patination throughout. Some accretions along the lower areas of the sculpture. Some dirt/dust collected in the recessed areas of the work. Dirt/dust collected along the underside and interior of the work.

A LACQUER MINIATURE KODANSU (CABINET) WITH SCENES FROM SHITAKIRI SUZUME (THE TALE OF THE TONGUE-CUT SPARROW)Japan, 19th centuryOf rectangular form with recessed gold fundame edges, bearing a rogin-nuri ground finely decorated in iro-e togidashi-e and e-nashiji to depict scenes from Shitakiri Suzume, with elaborately dressed humanoid sparrows leading the elderly man into the bamboo grove to meet his sparrow friend, and others dancing and playing musical instruments to entertain the man while he enjoys a feast, the top of the box with a fan and a chest filled with treasure including jewels, coral, and shells. The top of the box with a silvered-metal handle and the hinged door with silvered-metal fittings chased and incised with foliate designs against a ring-punched ground. The door opening to three drawers decorated with clouds and mountain peaks designs on nashiji, the interior of the door decorated in gold and silver hiramaki-e and takamaki-e with mura-nashiji and hirame to depict the man's farmhouse.SIZE 10.6 x 8 x 11 cmCondition: Very good condition with minor wear, light surface scratches, minor age cracks.Provenance: Collection of Drs. Edmund and Julie Lewis, no. 98 (label to base). Bonhams, Property from the Collection of Drs. Edmund and Julie Lewis, Part I, 11 September 2019, lot 562. A private collection in New York, USA, acquired from the above. Drs. Edmund Jean and Julia Breyer Lewis are renowned experts in nephrology who met professionally and later married in 1997, and have since continued to collect Japanese art together, actively seeking the best they could find from the finest dealers in the field. Known for their keen scholarship and high aesthetic standards, for the past three decades Ed and Julie have focused on collecting lacquer art, painting, and Buddhist sculpture from Japan. As they traveled widely their desire to collect Buddhist art grew, and they have expanded their collection to include important Pan-religious sculptures from Greater Asia.Shitakiri Suzume, translated literally into 'Tongue-Cut Sparrow', is a traditional Japanese fable telling of a kind old man, his avaricious wife, and an injured sparrow. The story explores the effects of greed, friendship and jealousy on the characters.

Francesco Clemente is an Italian contemporary artist known for his eclectic and diverse body of work. Here are some key points about Francesco Clemente:1. Varied Styles and Subjects: Clemente's artwork encompasses a wide range of styles, including painting, drawing, printmaking, and sculpture. He often incorporates elements of surrealism, symbolism, and spiritualism into his works. His subject matter varies from portraits and self-portraits to mythological and religious themes, as well as explorations of the human body.2. Collaboration with Writers and Poets: Clemente has collaborated extensively with writers and poets, including Allen Ginsberg, Robert Creeley, and J.M. Coetzee. These collaborations often involve combining visual art with poetic texts, resulting in richly layered and interdisciplinary works.3. Influences from Eastern Philosophy and Mysticism: Clemente's interest in Eastern philosophy and mysticism is evident in his artwork. He has spent considerable time in India, which has deeply influenced his artistic practice. Concepts of spirituality, transcendence, and the exploration of the self are recurrent themes in his work.4. Symbolic and Dreamlike Imagery: Clemente's paintings often feature symbolic and dreamlike imagery. He incorporates elements such as animals, plants, religious iconography, and personal symbols into his compositions. These elements contribute to the enigmatic and poetic quality of his artworks.5. Use of Color and Texture: Clemente's use of color is vibrant and expressive. He employs a wide palette, ranging from rich and bold hues to delicate pastels. His artworks also exhibit a varied texture, combining areas of loose brushwork with finely detailed elements.6. International Recognition: Clemente's artwork has been exhibited in prestigious museums and galleries worldwide. He has participated in major international exhibitions, including the Venice Biennale, Documenta, and the Whitney Biennial. His works are held in significant collections, such as the Metropolitan Museum of Art in New York and the Tate Gallery in London.7. Blending of Cultures: Clemente's art reflects his interest in blending diverse cultural influences. He draws inspiration from both Western and Eastern artistic traditions, merging elements of Italian Renaissance art with Indian iconography and spirituality. This fusion of cultural references adds a unique dimension to his artwork.Francesco Clemente's multidisciplinary approach, exploration of spirituality, and incorporation of diverse cultural influences have made him a highly regarded and influential figure in contemporary art. His thought-provoking and visually captivating works continue to resonate with viewers around the world.Measures 10.25 x 10.25.Mounted to archival quality paper.

Ca. 100-300 AD.A bronze stag figurine. This captivating sculpture depicts the creature standing on all fours, capturing the vitality and grace of the stag in its lifelike pose. The body of the figurine is pierced transversely, suggesting the possibility of suspension, which may have allowed it to be displayed or worn as a personal adornment. The distinguishing feature of this bronze stag is its long, elegant neck, culminating in a head adorned with majestic antlers. The snout of the stag figurine exhibits meticulous attention to detail, with recessed nostrils, an open mouth, and expressive eyes, imbuing the sculpture with a sense of life and energy. Stags held a prominent place in Roman culture, where they were often associated with various deities, particularly those linked to wilderness, fertility, and hunting. Their representation in art and mythology underscored their symbolic significance, representing attributes such as courage, vitality, and the cycle of life. Stag imagery frequently appeared in religious iconography, decorative arts, and even military insignia, showcasing the enduring appeal and cultural importance of this noble creature. Size: L:48mm / W:55mm ; 50g Provenance: Private London collection; formerly acquired in the US in the 1990s.

Gandhara style (200 - 400 AD) but possibly later.A bronze figure depicts Akshobhya seated in a lotus pose upon a raised and intricately decorated throne, which is supported by two pairs of columns. Notably, from the base of the throne emerge two miniature worshippers, while another pair is positioned behind Akshobhya's back, underscoring the devotional context of the sculpture. Akshobhya, one of the five transcendent Buddhas in Mahayana Buddhism, is shown with bhumisparsha mudra, the gesture of touching the earth, represented by his right hand extending downward with the palm facing inward. Adorned in a voluminous robe with incised folds, Akshobhya's neck is adorned with a beaded necklace, and his ears are weighed down by heavy flower-shaped earrings. The artist has paid meticulous attention to detail, rendering the features of Akshobhya's head in a naturalistic manner, crowned with an elaborate headdress. Bronze figures of Akshobhya, similar to this one, held great significance within the religious and artistic traditions of the time. These sculptures served as objects of veneration and devotion, offering a visual representation of Akshobhya's enlightened qualities and providing a focal point for spiritual contemplation. The elaborate and refined craftsmanship displayed in these bronze figures aimed to inspire reverence and awe among worshippers, facilitating a connection between the material realm and the realm of the divine. Size: L:160mm / W:110mm ; 715g Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

CHROMA A.K.A. RICK WOLFRYD (AMERICAN 1953-) IN COLLABORATION WITH HUICHOL ARTISANS HANG ON - 2023 Applied glass beads on fibreglass form, A/P, signed, titled, dated and editioned to base Dimensions:101.5cm (40in) highNote: Note: This sculpture is from the 'Alterations' series. 'Alterations' is a collaboration between Rick Wolfryd and a group of Mexican Huichol artists. The series takes embellished or reconstructed versions of well-known pop culture icons and clothes them in the intricate beadwork of the Huichol people of Mexico. Historically associated with religious significance, the Huichol beading practice has in time become more commercial. The cultural commentary draws from television, movies and video games such as Star Wars and Pokemon as well as pop artists like KAWS and Jeff Koons.

A Religious print, and a Resin sculpture 3D picture.

Ca. 400-500 AD (or later).A bronze statue of Buddha is a remarkable representation of the enlightened figure in a solid metal form. Standing with his right hand raised in the abhayamudra, a gesture of fearlessness and protection, this statue exudes a sense of tranquility and compassion. The Buddha's attire includes the sanghati, a monastic robe that drapes gracefully around his body, revealing the soft contours and fleshy forms beneath. The intricate cascading drapery of his garment adds a sense of fluidity and movement to the sculpture, enhancing its visual appeal. The face of the Buddha is finely cast, capturing delicate features that convey a sense of serenity and wisdom. Full lips and heavy-lidded eyes, accentuated by gentle eyebrows, create an expression of calm and introspection. The pendulous earlobes, symbolic of the Buddha's renunciation of worldly attachments, are meticulously crafted, drawing attention to the spiritual significance of the figure. The hair, arranged in tight curls over the ushnisha, a cranial protuberance symbolizing enlightenment, further emphasizes the divine nature of the Buddha. An important aspect of the Buddha's appearance is the presence of a dot between the eyebrows, known as the urna. This auspicious mark signifies the Buddha's heightened perception and inner vision. It serves as a reminder of his deep spiritual insight and the ability to perceive truths beyond the ordinary realm. The Gandharan bronze statue of Buddha not only exemplifies the artistic skill of the Gandhara region but also reflects the religious and cultural significance of Buddhism during that period. These statues were revered as objects of devotion and used as focal points for meditation and contemplation. As physical representations of the enlightened one, they served as reminders of the path to enlightenment and sources of inspiration for practitioners. For a similar, see The British Museum, Registration number 1958,0714.1. This item comes with a custom-made stand. Size: L:310mm / W:120mm ; 2.27kg Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

* Finster (Howard, 1916-2001). Blow Fish, Oct-28-1998, 2-dimensional wooden model of a fish, painted pale blue, with eye, mouth, and fin details in black and red felt tip, artist’s signature and inscription in black felt tip on verso, attached by brass rivets to a wooden plinth, with printed paper label on upper face, 17.2 x 29 cm (6 3/4 x 11 1/2 ins) NOTE:American folk artist Howard Finster was a Baptist minister from Georgia, who started preaching when he was only 16, having become a Christian at the age of 13. His creations of outsider art were both naïve and visionary, and intended to help spread the Christian gospel. In the 1960s Finster transformed the swampy land behind his house into a sculpture park called Paradise Garden, containing thousands of works of art. His creations typically feature fantastical landscapes, historic figures such as George Washington and Elvis Presley, animals and celestial beings, adorned with handwritten Bible verses and religious exhortations. Finster’s renown spread further with the production of album cover designs for R.E.M. and Talking Heads in the 1980s.

Anousha Payne A Lucid State (brain squeeze) Study - right, 2023 Watercolour on Arches paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Anousha is interested in this combination of moral dilemmas and magic; spirituality and animism alongside characters with transformative qualities. A lot of these stories carry so much history with them; they've been passed down from generation to generation, through word of mouth and personal adaptations and flourishes that change the stories over time. Another element to her work is storytelling through simple gestures and expressions, reflecting on human interaction and communication. The deployment of bharathantyam hand gestures is used of a way of connecting with her cultural heritage, as well as being used for their known symbolic meaning. Alongside this, Anousha is interested in the human pursuit of spirituality in object form, as a form of cultural expression that is distinct from religious symbolism. Through the process of psychic automatism and free-association, she delves into whether it is possible to imbue spirituality into an object, and in the material qualities of religious or spiritual objects; how the material qualities of a work impact our experience of them, and the processes by which they are made inform them. Often deploying a reptile skin, her ceramics are intended as hybrid objects, a reminder of the fluidity and shared qualities between humans, animals, the natural world and inanimate objects, questioning material hierarchies and values. This process seeks to build an aesthetic dialogue and personal visual language as a meditative interaction. Education Camberwell School of Art, BA Sculpture, 2011-14 Select Exhibitions/Awards SOLOS Stellarhighway, New York, 18th September 2022 Indigo Plus Madder, London, June 2020 SELECTED GROUP SHOWS Romero Paprock, Paris December 2022 Arusha Gallery | High Line Nine, New York, 1st September 2022   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Anousha Payne A Temporary Shift (Self Portrait as a horse) Study 7, 2023 Watercolour on Arches paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Anousha is interested in this combination of moral dilemmas and magic; spirituality and animism alongside characters with transformative qualities. A lot of these stories carry so much history with them; they've been passed down from generation to generation, through word of mouth and personal adaptations and flourishes that change the stories over time. Another element to her work is storytelling through simple gestures and expressions, reflecting on human interaction and communication. The deployment of bharathantyam hand gestures is used of a way of connecting with her cultural heritage, as well as being used for their known symbolic meaning. Alongside this, Anousha is interested in the human pursuit of spirituality in object form, as a form of cultural expression that is distinct from religious symbolism. Through the process of psychic automatism and free-association, she delves into whether it is possible to imbue spirituality into an object, and in the material qualities of religious or spiritual objects; how the material qualities of a work impact our experience of them, and the processes by which they are made inform them. Often deploying a reptile skin, her ceramics are intended as hybrid objects, a reminder of the fluidity and shared qualities between humans, animals, the natural world and inanimate objects, questioning material hierarchies and values. This process seeks to build an aesthetic dialogue and personal visual language as a meditative interaction. Education Camberwell School of Art, BA Sculpture, 2011-14 Select Exhibitions/Awards SOLOS Stellarhighway, New York, 18th September 2022 Indigo Plus Madder, London, June 2020 SELECTED GROUP SHOWS Romero Paprock, Paris December 2022 Arusha Gallery | High Line Nine, New York, 1st September 2022   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Anousha Payne A Lucid State (brain squeeze) Study - left, 2023 Watercolour on Arches paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Anousha is interested in this combination of moral dilemmas and magic; spirituality and animism alongside characters with transformative qualities. A lot of these stories carry so much history with them; they've been passed down from generation to generation, through word of mouth and personal adaptations and flourishes that change the stories over time. Another element to her work is storytelling through simple gestures and expressions, reflecting on human interaction and communication. The deployment of bharathantyam hand gestures is used of a way of connecting with her cultural heritage, as well as being used for their known symbolic meaning. Alongside this, Anousha is interested in the human pursuit of spirituality in object form, as a form of cultural expression that is distinct from religious symbolism. Through the process of psychic automatism and free-association, she delves into whether it is possible to imbue spirituality into an object, and in the material qualities of religious or spiritual objects; how the material qualities of a work impact our experience of them, and the processes by which they are made inform them. Often deploying a reptile skin, her ceramics are intended as hybrid objects, a reminder of the fluidity and shared qualities between humans, animals, the natural world and inanimate objects, questioning material hierarchies and values. This process seeks to build an aesthetic dialogue and personal visual language as a meditative interaction. Education Camberwell School of Art, BA Sculpture, 2011-14 Select Exhibitions/Awards SOLOS Stellarhighway, New York, 18th September 2022 Indigo Plus Madder, London, June 2020 SELECTED GROUP SHOWS Romero Paprock, Paris December 2022 Arusha Gallery | High Line Nine, New York, 1st September 2022   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

An Egyptian limestone fragmentary royal shabti with cartouche for the Pharaoh Akhenaten New Kingdom, 18th Dynasty, reign of Akhenaten, circa 1352-1336 B.C.18cm high Footnotes:Provenance:Anonymous sale; Sotheby Parke Bernet, New York, 4th May 1974, lot 137.with Charles Ede Ltd., London (Small Sculpture from Ancient Egypt, July 1976, no. 4).Bodo Bleß (1940-2022) collection, Berlin, acquired from the above.Published:G.T. Martin, The Royal Tomb at el-Amarna II, Egypt Exploration Society, 1989, p.58 and pl.90, no.499; 'Presumably originally from the Royal Tomb or Royal Wady'.The reign of Akhenaten marked an important break in Egyptian history as the pharaoh introduced a radical programme of religious and artistic reformation. At the death of his father Amenhotep III, he changed his name to Akhenaten and moved the capital to the new city of Akhetaten, modern Tel el-Amarna. He ruled from there together with his wife, Queen Nefertiti. The aim of his reform was to substitute the traditional polytheism for a new monotheistic cult centred around the deified sun disc, Aten. For further discussion, see R. E. Freed, Y. J. Markowitz and S. H. D'Auria, Pharaohs of the Sun. Akhenaten, Nefertiti, Tutankhamen, London, 1999, pp.17-28.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

λ ROBERT BAIN (BRITISH/SOUTH AFRICAN 1911-1973)MADAME SOULLIER Bronze Signed, titled, inscribed and dated Aug 1969 (to base)57 x 21 x 16.5cm (22¼ x 8¼ x 6 1/5in.)Robert Bain rose to prominence in 1948 when he beat Pietro Annigoni to the Accademia di Belle Arti Firenze's gold medal for his interpretation of Michelangelo's David. The work was later exhibited in 1962 at the Association of Arts Gallery in Cape Town. Born in Edinburgh in 1911 Bain went on to marry Mary Lochiel in 1932 and after the birth of their son Robbie they moved to South Africa. On arrival Bain took up the post of senior lecturer at the Port Elizabeth School of Art. After further study and practice in Italy Bain returned to South Africa and started as head of the Johannesburg School of Art. Bain exhibited widely throughout his career across South Africa and completed important commissions including the bronze relief doors for the South African Reserve Bank in Port Elizabeth and a monumental sculpture of King George IV, for which preparatory studies were made during the royal tour of South Africa in 1947. Robert Bain worked with wood, bronze and marble frequently experimenting with forms in Gesso before producing finished carvings in marble. Bain drew on religious topics, figural depictions and members of his local community. The Immaculate Conception cast in bronze was cast in 1968 and larger version was carved in marble in 1971. These sculptures encapsulate purity, fertility and motherhood. Transcendental flight signifies strength and power. The form twists with smooth curves creating a tall, standing structure which reflects Bain's reoccurring exploration of African iconography through tribal totems and tablets. 

λ ROBERT BAIN (BRITISH/SOUTH AFRICAN 1911-1973)MISCHIEF, PORTRAIT OF A BOY Bronze Height 20cm (7¾in.)Robert Bain rose to prominence in 1948 when he beat Pietro Annigoni to the Accademia di Belle Arti Firenze's gold medal for his interpretation of Michelangelo's David. The work was later exhibited in 1962 at the Association of Arts Gallery in Cape Town. Born in Edinburgh in 1911 Bain went on to marry Mary Lochiel in 1932 and after the birth of their son Robbie they moved to South Africa. On arrival Bain took up the post of senior lecturer at the Port Elizabeth School of Art. After further study and practice in Italy Bain returned to South Africa and started as head of the Johannesburg School of Art. Bain exhibited widely throughout his career across South Africa and completed important commissions including the bronze relief doors for the South African Reserve Bank in Port Elizabeth and a monumental sculpture of King George IV, for which preparatory studies were made during the royal tour of South Africa in 1947. Robert Bain worked with wood, bronze and marble frequently experimenting with forms in Gesso before producing finished carvings in marble. Bain drew on religious topics, figural depictions and members of his local community. Condition Report: Light surface dirt throughout. White blemish to front of base of neck. Some scratches and knocks scattered across the surface with a larger area of imperfection to the base of back of neck. Likely caused at the casting stage. Overall in original condition. Condition Report Disclaimer

λ ROBERT BAIN (BRITISH/SOUTH AFRICAN 1911-1973)THE IMACULATE CONCEPTION , 1971Carrara marble Signed 45cm (17½in.) Height inc. base Provenance:Direct from the artist's family Robert Bain rose to prominence in 1948 when he beat Pietro Annigoni to the Accademia di Belle Arti Firenze's gold medal for his interpretation of Michelangelo's David. The work was later exhibited in 1962 at the Association of Arts Gallery in Cape Town. Born in Edinburgh in 1911 Bain went on to marry Mary Lochiel in 1932 and after the birth of their son Robbie they moved to South Africa. On arrival Bain took up the post of senior lecturer at the Port Elizabeth School of Art. After further study and practice in Italy Bain returned to South Africa and started as head of the Johannesburg School of Art. Bain exhibited widely throughout his career across South Africa and completed important commissions including the bronze relief doors for the South African Reserve Bank in Port Elizabeth and a monumental sculpture of King George IV, for which preparatory studies were made during the royal tour of South Africa in 1947. Robert Bain worked with wood, bronze and marble frequently experimenting with forms in Gesso before producing finished carvings in marble. Bain drew on religious topics, figural depictions and members of his local community. The Immaculate Conception cast in bronze was cast in 1968 and larger version was carved in marble in 1971. These sculptures encapsulate purity, fertility and motherhood. Transcendental flight signifies strength and power. The form twists with smooth curves creating a tall, standing structure which reflects Bain's reoccurring exploration of African iconography through tribal totems and tablets.Condition Report: Light surface dirt throughout. Glue residue visible to lower edges where the sculpture attaches to the platform. Some evidence of light staining and marks scattered across the surface. Please see additional images by contacting pictures@dreweatts.com Condition Report Disclaimer

Full title: An interesting collection of rare reference works, auction and dealer catalogues on Chinese and Asian artDescription:Various dimensions. A comprehensive collection of Chinese ceramics from all periods, Marc MichotChristophe Hioco (4 volumes), Christophe Hioco Gallery ParisHighlights in the collection of Chinese ceramics on the 32nd antiques fair of Belgium (26th January - 8th February 1987), Marc MichotIridescence from the East - an exhibition of mainly Buddhist art from Southeast Asia, India and China, Jonathan Tucker et al.A survey of Chinese Ceramics - Early Wares: Prehistoric to Tenth Century, Prof. Liu Liang-yuOut of China's Earth - Archeological Discoveries in the People's Republic of China, Qian Hao et al.Asiatic Arts in private collections of Holland and Belgium, H.F.E. VisserThe Golden age of Chinese Archaeology - Celebrated discoveries from the people's republic of China, Xiaoneng YangAsian Art - The second Hali annual, Jill Tilden et al.Wei Asian Arts - Oriental Art and Antiques (4 volumes), Paola d'Alatri et al.Buddhist art-private collection - 16 Centuries of Chinese, Khmer and South East Asian art, buddhist art teamIslamic and Indian Art - Oriental Manuscripts and Miniatures, Sotheby's London (October 10 and 11 1991)Chinese Ceramics and Chinese Export Ceramics and Works of Art, Christie's London (November 13 2001)Sculpture Bouddhique, Jacques Barrere S.A.Tajan - Arts du Japon, Hotel Drouot (7 Avril 2008)The ancestor transcends - Sculptural Arts from Asia and Oceania, K. GrusenmeyerIndian and Southeast Asian Antiquities, Nancy Wiener Gallery New YorkVisages du Champa - Bronzes du Vietnam, Galerie Christophe HiocoGalerie Christophe Hioco, Galerie Christophe HiocoEarly Chinese Stone Sculpture, Berwald Oriental Art New York (March 2005)Peace of Mind - Indian, Himalayan and Southeast Asian art, Marcel Nies (2000)Immortal Image - Art of India, the Himalayan regions, Indonesia and Southeast Asia, Marcel Nies (2001)Windows of the Sacred World - Arts of India, the Himalayan regions, Indonesia and Southeast Asia, Marcel Nies (2002)The Sacred Breath - the cultural heritage of India, the Himalayan mountains and Southeast Asia, Marcel Nies (2005)Body's Speech and Mind - Asian religious images, Marcel Nies (2006)Majesty of the Sacred - Art of India, the Himalayan regions and Southeast Asia, Marcel Nies (2007)Buddharaja, 'The King-Buddha' - Sculptures from India, the Himalayas and Southeast Asia, Marcel Nies (2008)The Future Buddha - the cultural heritage of Asia, Marcel Nies (2009)Nirvana, Sculpture from India, Himalayas and Southeast Asia, Marcel Nies (2010)Om Mani Padme Hum, Marcel Nies (2011)Dance of the Gods - Sculpture from India, the Himalayas and Southeast Asia, Marcel Nies (2012)The Path to Enlightenment - Marcel Nies (2013)Portrait of the Divine - Sacred sculpture of Asia's lost kingdoms, Marcel Nies (2014)Asiatische Kunst, Lempertz Auktion (12and13 Juni 2009)Indian, Himalayan and Southeast Asian Art, Sotheby's New York (October 28 1991)Ben Janssens Oriental Art (two volumes), Ben Janssens Oriental Art (2013-2014)Chinese art at Spink - Spring 1991, Spink and son Ltd. LondonFine Chinese ceramics and works of art, Sotheby's New York (September 21and22 2005)A book of Chinese art - Four thousand years of sculpture, painting, bronze, jade, lacquer and porcelain, L. Hajek et al.Chinese jade - from the Neolithic to the Qing, J. RawsonChinese Ivories - From the Shang to the Qing, Oriental Ceramics SocietyChinese Jade throughout the ages, Victoria and Albert museum (May 22nd - June 1975)Gems of China's cultural relics 1933, cultural relics publishing houseThe art of China to AD 900, W. WatsonAsian Art - India, China, Japan, B. Geoffroy-SchneiterOf Earth and Fire, M. Girard-GelsanImperial China - the art of the horse in Chinese history, B. CookeMagic, Art and Order - Jade in Chinese culture, Palm Springs Desert Museum (8th February - 29 April 1990)Reflections of the Orient, Duke's (September 23 2010)Traiders and Raiders - on China's Northern Frontier, J.F. So et al.Pathways to the Afterlife - Early Chinese Art from the Sze Hong Collection, J.M. White et al.Empires beyond the Great Wall - the heritage of Genghis Khan, A.T. KesslerAn album of Chinese art, M.A. Pang et al.Son of Heaven - Imperial arts of China, R.L. ThorpJades from China, A. Forsyth et al.The history of Asian Art - Architecture, Painting, Sculpture, B.S. Meyers et al.Jades Chinois, W. Chen-chiuThe path of beauty - a study of Chinese aesthetics, L. ZehouReflections of Early China - Decor, Pictographs, and Pictorial Inscriptions, X. YangThe Shaanxi Provincial Museum, The Shaanxi Provincial MuseumImages Bouddhiques en bronze dore, Galerie Jacques BarrereSculptures d'Asie (three volumes), Galerie Jacques BarrereAsian Art Portfolio - Masterpieces from the Asia Society, The Asia SocietyJade - A traditional Chinese symbol of nobility and character, National Museum of History Republic of ChinaPrinces of Jade, E. Capon et al.  "

19th Century Continental carved fruitwood religious sculpture raised on plinth base, 48cm high

A LACQUER MINIATURE KODANSU (CABINET) WITH SCENES FROM SHITAKIRI SUZUME (THE TALE OF THE TONGUE-CUT SPARROW)Japan, 19th centuryOf rectangular form with recessed gold fundame edges, bearing a rogin-nuri ground finely decorated in iro-e togidashi-e and e-nashiji to depict scenes from Shitakiri Suzume, with elaborately dressed humanoid sparrows leading the elderly man into the bamboo grove to meet his sparrow friend, and others dancing and playing musical instruments to entertain the man while he enjoys a feast, the top of the box with a fan and a chest filled with treasure including jewels, coral, and shells. The top of the box with a silvered-metal handle and the hinged door with silvered-metal fittings chased and incised with foliate designs against a ring-punched ground. The door opening to three drawers decorated with clouds and mountain peaks designs on nashiji, the interior of the door decorated in gold and silver hiramaki-e and takamaki-e with mura-nashiji and hirame to depict the man's farmhouse.SIZE 10.6 x 8 x 11 cmCondition: Very good condition with minor wear, light surface scratches, minor age cracks.Provenance: Collection of Drs. Edmund and Julie Lewis, no. 98 (label to base). Bonhams, Property from the Collection of Drs. Edmund and Julie Lewis, Part I, 11 September 2019, lot 562. A private collection in New York, USA, acquired from the above. Drs. Edmund Jean and Julia Breyer Lewis are renowned experts in nephrology who met professionally and later married in 1997, and have since continued to collect Japanese art together, actively seeking the best they could find from the finest dealers in the field. Known for their keen scholarship and high aesthetic standards, for the past three decades Ed and Julie have focused on collecting lacquer art, painting, and Buddhist sculpture from Japan. As they traveled widely their desire to collect Buddhist art grew, and they have expanded their collection to include important Pan-religious sculptures from Greater Asia.Shitakiri Suzume, translated literally into 'Tongue-Cut Sparrow', is a traditional Japanese fable telling of a kind old man, his avaricious wife, and an injured sparrow. The story explores the effects of greed, friendship and jealousy on the characters.

Jagannath Panda (Indian, b.1970)GoatSculptureCloth laid on fibreglass42 x 65 cmProvenance: Private UK CollectionFootnotes: Born in 1970 in Bhubaneshwar, Odisha, Jagannath Panda completed his BFA from the B.K. College of Arts & Crafts, Bhubaneshwar, in 1991 and an MFA from the Faculty of Fine Arts, M.S. University, Baroda, in 1994. He also completed an MFA in sculpture from the Royal College of Arts London in 2002. Panda’s oeuvre predominantly manifests the conflict between knowledge and faith. Engaging with diverse themes, concerns and emotions like the human and natural worlds, death and desire, social and economic inequalities, issues of urbanization and dislocation, and shifts in cultural and religious paradigms, he posits contradictory elements making visible the ruptures in our understanding of these elements.Panda has had significant solo shows since 1998; in Tokyo, Mumbai, New Delhi, London, Berlin and San Francisco, including the upcoming group show Visions from India hosted by the Pizzuti Collection, Columbus, Ohio (2020–21); Vadehra Art Gallery, New Delhi (2017); Halcyon Gallery, London (2015); Frey Norris Contemporary and Modern Gallery, San Francisco (2012); MSU Gallery, Baroda (2012); Nature Morte, Berlin (2011); Alexia Goethe Gallery, London (2009); Gallery Chemould, Mumbai (2009), among others. His most recent group shows include the Jeju World Natural Heritage Center, Korea (2019); Palette Art Gallery, New Delhi (2019); Mori Art Museum, Tokyo (2018); the Modern Art Museum, Shanghai (2016); the Museum of Modern and Contemporary Art, Seoul (2013), to name a few.Panda’s works are also in several collections such as the GVK Mumbai International Airport; Mori Art Museum, Fukuoka, Japan; Lalit Kala Akademi, New Delhi; the National Gallery of Modern Art, New Delhi; Hindustan Times, New Delhi; and the International Centre for Genetic Engineering and Biotechnology, New Delhi. He was a visiting researcher at Fukuoka University of Education, Fukuoka, Japan, in 1997 as well as a recipient of the Lalit Kala Akademi Research Fellowship, Orissa State Lalit Kala Akademi Scholarship, and Junior Research Fellowship, Government of India. He has received several awards such as the Centre Prize, C.I.I.C London; All India Fine Arts and Crafts Society Award, New Delhi; Alice Boner Memorial Award; and the All India Drawing Award from Punjab Lalit Kala Akademi and Orissa State Lalit Kala Akademi. He has participated in the Khoj International Residency, Delhi and International City des’Art, Paris.The artist lives and works in New Delhi.   

IMPORTANTE ET RARE STATUETTE DE TARA VERTE EN BRONZE DORÉXVe siècleA WELL-CAST RARE LARGE GILT-BRONZE FIGURE OF GREEN TARA15th century Seated in lalitasana on a double-lotus base, the right foot resting on an individual lotus issuing from the base, with hands held varada and vitarkamudra and holding long multi-stemmed lotus flowers blossoming at the shoulders, dressed in an fine dhoti tied below the waist and elegantly falling over legs and base, a fine shawl covering the shoulders, adorned with beaded necklaces, arm and ankle bracelets, the face rendered with a benevolent expression, with downcast eyes below arched brows and a gentle smile, framed by pendulous earlobes with large wheel-shaped earrings, an elaborate crown framing a high chignon. 39cm (15 3/8in) high.Footnotes:THE PROPERTY OF A DISTINGUISHED EUROPEAN FAMILY 歐洲顯赫家族藏品十五世紀 銅鎏金綠度母像Provenance:Acquired by the parents of the present owners, and thence by descent 來源:現任藏家父母獲得，並由後人保存迄今This exquisite, finely cast large gilt-bronze figure depicts Tara, the Mother of all Buddhas', a Bodhisattva of compassion and action, and important protector. Here she is shown seated in the posture posture of ease, with the left leg folded in the contemplative position and the right leg stretched out and ready to spring into action.Tara, Mother of the Victorious Ones, is worshipped by Buddhists as a saviour and liberator from the earthly realm of birth and rebirth. In Tibetan mythology the goddess is believed to have emerged from a lotus bud rising from a lake of tears shed for the suffering of sentient beings by the bodhisattva Avalokiteshvara, with a face 'embodying the delicacy of a million lotus blossoms', see G.Mullin, Mystical Verses of a Dalai Lama, New Delhi, 2003, p.57.Tibetan Buddhism or Lamaism saw a considerable increase in popularity in China under the Mongols, who had adopted it as their national religion even before their conquest of China. As a consequence of political and religious ties between the imperial court and the dominant Tibetan religious orders, and the exchange of gifts between the court and Tibetan hierarchs, during the Yuan and in the early Ming dynasty the influence of Himalayan sculptural styles began to make an impart on Buddhist imagery. Early fourteenth century woodblocks made for the monastery of Yangshen Yuan, Hangzhou, are evidence of a new style appearing in Chinese Buddhist art, see H.Karmay, Early Sino-Tibetan Art, Warminster, 1975, pp.47-50, pls.26, 29 and 30. The gently smiling faces, full rounded figures and tiered thrones in these woodblock prints reflect the Newar styles favoured in Tibet, and introduced into China by Nepalese artists working at the Ming court. Bronzes of the Yongle and Xuande period were now adorned with sumptuous crowns, earrings, bracelets, and strings of pearls, as seen in the present example whose broad shoulders, smooth torso, and long legs derive from earlier Indian traditions as do the diaphanous clothing and armbands. The opulent jewellery and elaborate crown that adorn this figure are majestic and reflect the 'glittering display of imperial splendour' of the Ming court, see H.Uhlig, On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art at the Museum Rietberg Zurich, 1995, p.18. Most surviving sculpture from the Yongle and Xuande periods bears imperial inscriptions and suggests that Tibetan-style Buddhism probably was little practiced outside the imperial court, and that so most images were made for the court. Although this figure is not inscribed with an imperial mark, the refined quality and large size place it alongside the finest examples of Buddhist sculpture made in the early to mid-Ming period. Stylistically it may be compared to two gilt-bronze figures formerly in the Beti Aschmann collection and now in the Rietberg Museum in Zurich, one a seated figure of Manjusri, the second a kneeling figure of a Bodhisattva both with Xuande bestowal marks, published in Helmut Uhlig, On the Path to Enlightenment. The Berti Aschmann Foundation of Tibetan Art at the Museum Rietberg Zurich, 1995, pp.118-9, no.68 (fig.1), and pp.122-3, no.72. Compare also with a gilt-bronze figure of Amitayus bearing a Xuande mark, sold Christie's Hong Kong, 31 May 2010, lot 1961, and another example from the Soame Jenyns collection, sold at Christie's London, 6 November 2018, lot 26.For further information on this lot please visit Bonhams.com

A MAGNIFICENT AND VERY RARE LARGE WOOD FIGURE OF THE BODHISATTVA GUANYIN IN WATER MOON FORMJin dynastySeated in rajalitasana, with the right arm resting on his right raised knee and his left arm and hand resting on the ground and supporting the body, the bare torso dressed in a short cape with long ribbons falling over his arms, a narrow, scarf draped over the left shoulder, falling diagonally across his chest and tied on the left in a large limpid knot, the lower body covered with a full diaphanous wrap-around skirt falling in linear folds around his legs and ankles, tied around the waist with an elaborate bow, a bejeweled necklace with an ornate central pendant lies at this chest, bracelets at his wrists, his rounded face with a serene, meditative expression, with arched brows above downcast eyes inlaid with black glass, with high cheekbones, small, full pursed lips and rounded chin, the hair drawn up into a high curled chignon with tresses falling to each shoulder where they are bound, divided into three wavy strands falling over his shoulders and arms, traces of blue, red and green pigments, and traces of gilding.111cm (43 3/4in) high.Footnotes THE PROPERTY OF A DISTINGUISHED FRENCH FAMILY 法國顯赫家族藏品金 木雕水月觀音坐像Provenance:Ta-Kou-Tchai (Studio for Understanding Antiquity) of Paul Houo-Ming-Tse (Paul Hou Ming-Zhi, ca. 1880-1949), Beijing, before 1930Alphonse Bellier et Andre Portier, Collection Paul Houo-Ming-Tse de Pékin. Objets d'Art de la Chine de Époques Archaïques au XVIIIe Siècle., Vente aux Encheres publiques, Hôtel Drouot, 15, 16 et 17 Février 1932, lot 63Acquired in Paris by the grandfather of the present owners before 1935, and thence by descentPublished, Illustrated and ExhibitedPaul Huo-Ming-Tse, Preuves des Antiquités de Chine Pékin, 1930, p.297Alphonse Bellier et Andre Portier, Collection Paul Houo-Ming-Tse de Pékin. Objets d'Art de la Chine de Époques Archaïques au XVIIIe Siècle., Vente aux Enchères publiques, Hôtel Drouot, 15, 16 et 17 Février 1932, lot 63Gazette de L'Hôtel Drouot, Numéro 19, Mardi 16 Février 1932, cover pageCabinet Portier, 100 Ans 1909–2009, Paris, 2010, fig.100The result of Re.S. Artes Radiocarbon Dating test no. C 145020A (E1 and E2) (9 May 2023) is consistent with the dating of this lot.來源：霍明志（约1880-1949)，達古齋，北京，1930年以前入藏巴黎德魯奧拍卖會，1932年2月15-17日，霍明志藏品專場，編號63現任藏家祖父於1935年前於巴黎獲得，並由後人保存迄今出版：霍明志,《達古齋古證錄》，北京, 1930年, 頁297巴黎德魯奧，《霍明志藏品專場圖錄》，編號63《巴黎德魯奧公報》封面，第19期，1932年2月16日Cabinet Portier,《百年鑒藏1909-2009》，巴黎，2010年，圖100法國Re.S.Artes實驗室碳-14測定結果，測試編號 C 145020A (樣本E1和E2，2023年5月9日）顯示本拍品年份與斷代相符 Eyes of CompassionThis impressive sculpture seated in a contemplative pose is a religious sculpture that was made in the 11th/12th century under the Jin dynasty (1115-1234). It represents the Buddhist Bodhisattva Guanyin whose Sanskrit name is Avalokiteshvara, 'the Lord who looks down'. Known as Guanshiyin in Chinese, the Bodhisattva Guanyin is the one who is attuned to the sounds of the worlds and hears all the world's suffering. His inward-turning gaze expresses The Bodhisattva's powers as a comforter of humans suffering and hardship while his naturalistic image expresses proximity and approachability. This Bodhisattva is known as the Bodhisattva of infinite compassion, he who has attained enlightenment and the utter state of bliss but who has deferred entering Nirvana to ease the suffering of all humans. As such he is one of the most important deities in Mahayana Buddhism.This magnificent figure of the Bodhisattva Guanyin is seated in the pose of 'Royal Ease', with his right hand resting on his right bent knee, a posture that is known as the 'Water-Moon' form of the Bodhisattva Guanyin (Shuiyue Guanyin in Chinese). The iconography is based on important Buddhist scriptures referring to the Bodhisattva Guanyin, in particular the Avatamasaka Sutra from the Huayan Jing , the Sutra of Flower Adornment, and the Fahua Jing, the Lotus Sutra. They portray the Bodhisattva Guanyin as the universal saviour who can embody many different forms, male and female, young and old. The 'Water-Moon' iconography is based on passages from the Avatamsaka Sutra which describe the young prince Sudhana visiting the Bodhisattva Guanyin on Mount Potalaka to receive the teachings of the Dharma. It is here that the Bodhisattva Guanyin could be found in deep contemplation of the moon's reflection on the water of the surrounding sea. His Chinese name ' Shuiyue Guanyin' refers to this pose and to his nature attuned to the sounds of the world and able to hear all the world's suffering ( guanyin).This figure is sculpted as male deity for his defined torso is clearly visible beneath his diaphanous robes and bejewelled necklace. His garments reveal the strong Indian influence on sculpture of this period, almost a thousand years since Buddhism first reached China from India. He is dressed luxuriously with diaphanous scarves and skirt falling in ample folds around his body. An elaborate necklace suspending a large central pendant adorns his chest and we can assume that he was wearing bejewelled earrings. His costly attire and regal posture remind us that Bodhisattvas originally were aristocratic princes. His hair is carefully tied back in a high chignon. A depression on the front of the top know indicates that a small carved figure of the Buddha may originally have been placed here. Amitabha was similarly revered as the figure of compassion and the figure of Guanyin was to be born from a ray of light emanating from the right eye of the Buddha Amithaba.During the 10th to 13th centuries, painted wooden figures such as this magnificent figure of the Bodhisattva Guanyin in Water-Moon form were made for Buddhist temples in Northern China. At that time, the North of China was ruled by the Jurchen Jin dynasty (1115-1234), a nomadic people from the steppes of Central Asia that had defeated in war the two largest and most powerful nations in Asia, the Khitan Liao and the Han Chinese. Under the Jin, Buddhism flourished. The Jin rulers were highly conscious of the fact that Buddhism was not a native Chinese religion. Under their patronage Buddhism received the official support and veneration it lacked in other parts of the empire. Consequently, a plethora of Buddhist temples thrived in and around Buddhist centres of religious activity in Taiyuan and Mount Wutai in modern Shanxi province. The Jurchen Jin rulers gradually adopted Buddhism as the state religion, thus establishing a rich legacy of temples, tombs, and artefacts.Large sculptures such as this magnificent figure of the Bodhisattva Guanyin in Water-Moon form were originally made for important Buddhist temples. These were often large structures with several halls of worship connected by courtyards where groups of vibrantly painted wood sculptures would be positioned along walls and around central figures of devotion. Due to the large demand for religious sculpture for the furnishings of Buddhist temples, craftsmen soon moved from working in stone to sculpting in wood, a material that was less expensive and could be worked more easily. Traces of bright cobalt blue pigment and gilding can be found in the back of the folds of the skirt of this figure hinting at the colours that once made this figure come alive. The sheer size of the figure that is worked entirely in the round conveys an almost life-like impression. For further information on this lot please visit Bonhams.com

STATUETTE D'AVALOKITESHVARA EN ALLIAGE DE CUIVREVALLÉE DE SWAT, VIIE/VIIIE SIÈCLE Himalayan Art Resources item no. 1446 10.5 cm (4 1/8 in.) high Footnotes:A COPPER ALLOY FIGURE OF AVALOKITESHVARA SWAT VALLEY, 7TH/8TH CENTURY斯瓦特 七/八世紀 觀音銅像 Located in the foothills of the Hindu Kush mountains in modern-day Pakistan, the Swat Valley became a haven for monastic communities fleeing from invading Huns and their persecution of Buddhism in ancient Gandhara during the 5th century. Buddhist bronzes from Swat therefore constitute an important artistic and religious link between the former Gandharan civilization, the Gupta period of Northern India, and the rising states of Kashmir, Gilgit, and Western Tibet. Although much of the Greco-Roman realism that informed Gandharan art is lost here, the confident posture, downcast expression, and pleated lower garment recall some of Gandharan art's key idioms, as well as those from the Gupta period of North India (4th-6th centuries). Several stylistic features of the present sculpture are consistent with other early Swat Valley images attributed to the 7th century. Two other Swat figures of similar quality depicting the same deity can be found in the Cleveland Museum of Art (1971.20), and in the Ashmolean Museum, Oxford (EA1997.250). Furthermore, Avalokiteshvara's tripartite crown and dark, lustrous patina with green and reddish hues are comparable in appearance to a bronze Maitreya from the Pan-Asian Collection, sold at Christie's, New York, 21 September 2007, lot 229.Published:John Siudmak, Indian and Himalayan Sculpture and Thangkas from the Late Simon Digby Collection, 2011, no. 24. Provenance:Sotheby's, London, 24 April 1990, lot 45 Simon Digby Collection John Siudmak, London, 2011 Private European CollectionFor further information on this lot please visit Bonhams.com

STATUE D'UN BODHISATTVA EN SCHISTE GRISANICENNE RÉGION DE GANDHARA, VERS IIIE SIÈCLE115 cm (45 1/4 in.) highFootnotes:A GREY SCHIST FIGURE OF A BODHISATTVA ANCIENT REGION OF GANDHARA, CIRCA 3RD CENTURY犍陀羅 約三世紀 片岩菩薩像Published:Isao Kurita, Gandharan Art, Vol. II, Tokyo, 1998 & 2003, p. 15, no. 17.Provenance:With Claude de Marteau, Brussels, by 1970sThis majestic figure of a standing bodhisattva evokes both strength and grace. He bears the qualities of a youthful prince, indicated by his jewelry and noble, smooth physiognomy. His pronounced musculature, circular nimbus, and lofty expression convey an idealized image of a divine and enlightened being. He likely represents Maitreya, who in Mahayana Buddhism is destined to succeed Shakyamuni as the next and final Buddha. Maitreya in Gandharan art is frequently depicted with a loosely folded topknot, a right hand raised in the gesture of reassurance (abhaya mudra), and a water flask that was presumably clutched by the lost lowered left hand. Reflecting the cosmopolitan attitude of Gandharan art, which fused Indic content with Iranian and Greco-Roman aesthetics, Maitreya is carved with long wavy locks, standing with a gentle contrapposto in the right knee. Located in what is today northwest Pakistan and southern Afghanistan, the ancient region of Gandhara was once a vibrant economic and cultural hub with an integral position within both overland and maritime silk routes around the 1st century BCE. The vast influx of wealth and commerce enabled Gandhara's urban centers to serve as the crossroads connecting China, Central Asia, the Indian peninsula, and the Mediterranean. However, Gandhara's advantageous geography meant the region fell repeatedly to invasion from powerful ancient empires. Alexander the Great conquered the ancient capital of Taxila in 326 BCE and the region was, for a brief time, absorbed into the Macedonian empire. After the death of Alexander, the Mauryans subsequently ruled for approximately one hundred and fifty years (c. 305-180 BCE). Greco-Bactrian invasions around 180 BCE then turned the region into an independent Indo-Greek kingdom (c. 185-97 BCE). One of its most famous rulers, King Menander I (r. 165/55-130 BCE), became a great patron of Buddhism and is still remembered for his dialogues with the Buddhist sage Nagasena, as recorded in the Milinda Panha, 'The Questions of Menander'. The Kushans, who were originally of Central Asian descent and adopted Greek and Iranian elements in their material culture, later established themselves in Gandhara in the early 1st century CE. The most accomplished of these kings was Kanishka I (r. 127-151 CE), who not only ruled a vast empire extending from Bactria to Pataliputra in Northeast India, but also followed the tradition of religious patronage set by the Indo-Greek kings and actively engaged in the creation and transmission of Buddhist literature, architecture, and art. It was during this cultural landscape of stone monuments and statuary, particularly once Mahayana Buddhism attained popularity in Gandhara by the late 2nd/early 3rd century CE, that images like the following sculpture were instrumental in the eastern transmission of early Buddhist art. Other standing images of Maitreya with similar attributes and stylistic features are found in several museum collections, published in Zwalf, A Catalogue of the Gandharan Sculpture in the British Museum, 1996, p. 38, nos. 51 & 52; Dye, The Arts of India: Virginia Museum of Fine Arts, 2001, p. 97, no.7; and Behrendt, The Art of Gandhara in the Metropolitan Museum of Art, 2007, p. 54, no. 42. For instance, the beaded jewelry adorning the present sculpture's hair and the floral medallions carved on the sides of the platform closely relate to the example in the Metropolitan Museum of Art, New York (13.96.17). Moreover, the acanthus leaves decorating the front of the present figure's platform, the large tassel hanging by the left arm, the sharp angular folds suspended over the left leg, and the deep ripples of the robe around the raised right forearm are striking in appearance to the example in Virginia. Also located beneath Maitreya's feet is an iconic trope illustrating a seated bodhisattva venerated by a congregation, as seen on two Gandharan statues of the Buddha, one sold at Bonham's, Hong Kong, 2 December 2021, lot 1036, and the other also from the Claude de Marteau Collection, Part 1, sold at Bonhams, Paris, 14 June 2022, lot 26.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

STÈLE DE SURYA EN GRÈS BEIGEINDE DU NORD, VERS XE SIÈCLE68.5 cm (27 in.) highFootnotes:A BUFF SANDSTONE STELE OF SURYANORTH INDIA, CIRCA 10TH CENTURY 印度北部 約十世紀 砂岩太陽神石碑Provenance:With Claude de Marteau, Brussels, by 1970sIdentified by his characteristic boots, breast plate, and tall cylindrical crown—as well as by the two disc lotuses he wields—this stele is devoted to the ancient Vedic sun god Surya, whose cult at one time rivaled that of Shiva and Vishnu. Surya became prominently incorporated into the Vaishnavite tradition in northern India. He is dressed according to traditional conventions that depict him as a king. His 'northern' garb is thought to resemble that of Central Asian Indo-Scythian tribesmen, such as the Kushans, who ruled northern India in the first centuries of the common era. It is also thought to reflect the influence of ancient Iranian religious ideas, where the worship of the sun occurs through a personified form (Rosenfield, The Arts of India and Nepal, 1966, p. 43). This near-complete composition includes Surya's wife, Ushas, the goddess of dawn, standing immediately before him as the herald of each new day. At either side of his feet are Surya's clerk and measurer, Pingala and Danda, carved in complementary tribhangha poses. Behind them are two further wives of Surya, possibly the shapelier Sarenu, daughter of heaven, on the right, and her shadow, Chaya, on the left (although his wives Rajni and Nikshubha are also possible). As Dye noted, in his discussion of a closely related example, Surya's bold lotus blossoms and crisp lotus halo, 'suggest both the sun itself and the boundless life it nurtures.' (Dye III, The Arts of India, Richmond, 2001, p.136). As with the present lot, the Virginia Surya has a prominent sash suspended from each elbow to form a broad flat arch across the shins which terminates with subtle pleats over the retinue figures on each side.The ornamentation of the miter follows the convention popular in the Central Indian in the 10th century as seen in a closely related head with a prominent triangular crown leaf and similar high-arching brows (Heeramaneck, Masterpieces of Indian Sculpture, 1979, no. 84. Also compare with a closely related Vishnu attributed to Uttar Pradesh in Desai & Mason (eds.), Gods, Guardians, and Lovers, 1993, p. 263, no. 70. Also see a Vamana in the Walters Art Gallery, Baltimore (25.260).This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

Ca. 200-300 AD. A carved torso of a bodhisattva, exuding an aura of serenity and divinity. This stunning masterpiece depicts a possible representation of Padmapani, the lotus-bearer, one of the most revered bodhisattvas in the Buddhist pantheon. With a halo encircling the head of the figure, this immaculate sculpture symbolizes the spiritual power and enlightenment of the bodhisattva, as well as the sacred nature of Buddhist art. The halo, a recurring motif in Buddhist art, represents the divine radiance emanating from the head of an enlightened being. The muscular torso of the bodhisattva, embellished with a pair of heavy necklaces, exudes an air of masculinity and strength, while the rounded face, with chubby cheeks, a broad nose, and attentive eyes, exudes an aura of compassion and wisdom. The long, curly hair gathered at the top of the head further emphasizes the serene countenance of the figure, while the closed lips imply inner peace and contemplation. This carved torso is a testament to the rich cultural and religious heritage of Gandharan Buddhism, which flourished in the ancient region of Gandhara from the 1st to the 5th century AD. Gandharan Buddhism was characterized by a unique blend of Hellenistic and Indian artistic styles, resulting in a distinctive form of Buddhist art that has captivated art lovers for centuries.Size: L:150mm / W:105mm ; 920gProvenance: Private London collection; acquired in Japan between 2000 - 2005; formerly in an old Japanese collection.

Qing Dynasty, Ca. 1644-1912 AD. A bronze sculpture of the divine and awe-inspiring goddess Tara, standing in all her regal glory. Tara, the embodiment of feminine energy and compassion, is depicted here with her left knee slightly flexed, exuding elegant femininity that speaks to her everlasting youthfulness. Her hands, gracefully held in the abhaya mudra, or the gesture of fearlessness, are a testament to her unwavering protection of her devotees. Lotuses, the symbol of purity and enlightenment, bloom from her broad shoulders, reminding us of her role in guiding us towards spiritual growth and awakening. The fine details on her face, from her downcast eyes and thin brows to her elaborate crown, draw our attention and admiration, but it is her enigmatic smile that truly holds the viewer's gaze, filling us with a sense of wonder and reverence. Standing on a lotus base, this bronze statue of Tara is a masterpiece of artistry and craftsmanship, capturing the essence of the goddess with unparalleled precision and skill. Bronze statues, like this one, have played a significant role in the cultural and religious practices of many civilizations throughout history, serving as a tangible representation of the divine. Size: L:285mm / W:105mm ; 1.1kg