AFTER FRANCIS JOHN WILLIAMSON, A CARRARA MARBLE JUBILEE PORTRAIT BUST OF QUEEN VICTORIA DATED 1887 Wearing Garter sash, socle dated 1887 43.5cm high, base 13cm wide The Jubilee bust of Queen Victoria was made as an official commemoration of her 1887 golden jubilee by the sculptor Francis John Williamson. The original is held in the Kelvingrove Gallery, Glasgow. Condition Report: With some mild wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole is dirty- will greatly benefit from a clean, lacks section of finial to crown, natural inclusions, small edge nibbles to base Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
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A WWII trio including Defence Medal, War Medal 1939-45, 1939-45 Star, with ribbons, postal box and paperwork; a replica Air Force Cross; a Victorian belt/sash buckle cast with a crown; a Safe Driving Driving Competition 5 Years Drivers Award, ribbon and date bars 1956 to 60; another 10 Years Drivers Award, ribbon and date bars 1961 to 65; a silver pin terminating with a horseshoe and riding crop; another Boys Brigade; a Kings Road Miniature lead figure of William C.Hopson, etc.
Attributed to John Hayls (act. 1640-1679)Portrait of The Hon. Edward Russell (1625-1665)three-quarter lengthin a buff jacket with gold sleeves, breastplate and a red sash, with a helmet resting on a ledge and a castle in a landscape beyondoil on canvas136cm x 135.5cm Provenance: Ombersley Court, Worcestershire with identifying inscription 'The Hono.ble Edward Russell / 4.th Son to Francis Earle / of Bedford' (lower left).Edward Russell was the fourth son of Francis Russell, 4th Earl of Bedford and Catherine Brydges. Edward married Penelope Hill and they had four children, including Admiral Edward Russell, 1st Earl of Orford. The painting has been relined and restored. The picture surface is stable, with some craquelure. There is a prominent horizontal line to the lower section of the canvas. There is also a prominent oval indentation around the sitter's head and torso, as if it was the intention at some point to cut the painting down into an oval portrait.
World Orders & Decorations - Yugoslavia - an original 1930s Order of the Yugoslav Crown 1st Class breast star and sash badge. Gilt metal and enamel Royal crown centres, the reverse side of the insignia is engraved the date "3-X-1929 and the royal monogram "A" (for 3 October 1929 and Alexander). The Order of the Yugoslav Crown was instituted by King Alexander I of Yugoslavia on 5 April 1930, to commemorate his changing of the name of the Kingdom of the Serbs, Croats and Slovenes to the Kingdom of Yugoslavia
dating: 19th Century provenance: France, Fine, in-the-round, bronze depiction of King Louis Philippe in full uniform with sword, orders, sash and epaulettes; the forefinger of his right hand points to some scrolls placed on a column-shaped support. Rectangular pedestal tapering upwards, the rear surface decorated with a rhomboid chessboard featuring four dots inside each 'square'. With the monogram 'L F' inside a laurel wreath on the rear border of the base. height 53.5 cm.
dating: circa 1900 provenance: Austria, Stiff body covered with fine black cloth; peak, sash and visor made of black leather, gilded rank chevron for junior officer, a decoration of a double-headed eagle with the regimental number '13', gilded lions and chains. The visor edged with a gold-embroidery. Brown leather sweat-band and red silk cap inside. height 12 cm.
dating: circa 1900 provenance: Austria, Stiff body covered with fine red cloth, with oval-shaped peak made of black-painted leather, the visor and sash likewise. Gold galloon, and badge of rank for junior officers. A decoration featuring a golden, double-headed eagle. Missing tassel. Provided with the rare ornaments of the great uniform: the black-mottled, gold cords and the 'racquets' on which the brass imperial eagle is sewn. Red silk lining with the name of the court's supplier 'Franz Thill's Neffe', brown leather sweat-bands. height 13 cm.
A pair of 18th century portrait miniatures, of Military Gentlemen, one possibly Oliver Cromwell, dressed in Cromwellian style breast plate and armour, ringleted long hair, the other in red jacket, blue sash, long ringleted hair, oils on panel, 9.5cm x 7.5cm, gilt frames, 14.5cm x 13.2cm overall (2).
World. Imperial Federation - Map of the World showing the extent of the British Empire in 1886. Statistical Information published by Captain J. C. R. Colomb M. P. formerly R. M. A. British Territories Coloured Red, published as a supplement to The Graphic, London, Maclure & Co., 24 July 1886, decorative colour lithographic map, inset map of the world showing the extent of British Territories in 1786, old folds, 590 x 770 mmQTY: (1)NOTE:A very good example of Walter Crane's subversive map of the world, published to coincide with the Colonial and Indian Exhibition of 1886. Superficially, the map appears to be a standard piece of Imperialist propaganda but it is overlaid with Socialist motifs. These include Phyrgian, or liberty, caps on the heads of the figures of Freedom, Fraternity and Federation, and the words 'Human Labour' on the sash of Atlas at the foot.
A standing portrait of a maharajaJaipur, Rajasthan, Northern India, second half eighteenth century,Opaque pigments heightened with gold on paper, possibly jai Singh of Jaipur, facing right, in white garb tied, a katar tucked in an elegant embroidered gold sash, holding a lotus bud in his left hand, within thin black margins and rule, wide red borders, an inscription in loose black devanagari script above, numbered, the reverse with further numerals in black and red ink, mountedfolio 33.1 x 25cm., 56 x 40.6cm. mountedFootnotes: Provenance :Ex- Heil Collection
A standing portrait of a ruler, Jodhpur, Marwar, Rajasthan, early 19th century, opaque pigments heightened with gold on paper, depicted holding a tulwar, a katar tucked into his sash, a shield and another tulwar at his waist, depicted wearing white shirt and orange jama and purple slippers, on an ochre ground with sky above, within wide red border, the reverse with devanagari inscription, 30.2 x 25.6cm. Condition Report: The edges are in good condition. The corners are present but for the upper left one. The wide red borders show some light losses to their upper edge and further very minute losses scattered throughout. One droplet stain is visible near the upper left corner. The painting shows some minimal losses and rubbing to its very lower part, : the grassy area below the standing ruler. It is otherwise clean. The reverse plain, ink stained and pitted, inscribed in black ink and pencil.
A portrait of a standing ruler, Delhi, India, late 19th century Opaque pigments on paper heightened with gold, depicted facing left and holding a sarpech in his left hand and wearing emerald and pearl set necklace, bazuband, ring and turban ornament, wearing a striped and floral sash, a white tunic over purple jama and holding a sword with gold fittings, a dagger at his waist, in a landscape, with gold borderminiature 18.5 x 13cm, page 24 x 28.4cm
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Y Jean Baptiste Désiré Troivaux (French, 1788-1860) Portrait miniature of a lady, half length, wearing white with a blue sash and blue ribbon-trimmed bonnetwatercolour on ivorysigned and dated 18268.8 x 7.2cm. CITES Submission reference G8AYG45R Provenance; Woolley & Wallis sale Lot 40, 12 Sep 2017 CITES is a multilateral treaty to protect endangered plants and animals. CITES is a multilateral treaty to protect endangered plants and animals. ***CONDITION REPORT***Signed and dated at 8 o'clock. Overall good condition. Some very slight crazing in the paint at 3 o'clock and some light surface dirt. Ormolu mounted ebonised frame. Inscription on the card backing. PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Y Attributed to Frederick Buck of Cork (Irish, 1771-1833) Portrait miniatures of an army officer and his wife; Charity and rustic lovers versowatercolour on ivoryhe wearing a red coat with yellow collar and badged white sash, lovers beside a tree, in a landscape verso, she wearing a white dress with clouds beyond, Charity flanked by a cherub and putto verso6 x 4.75cm. CITES Submission reference 5NH5T3JW CITES is a multilateral treaty to protect endangered plants and animals. CITES is a multilateral treaty to protect endangered plants and animals. ***CONDITION REPORT***Light surface dirt specks. Colours strong. Image of lovers is slightly small for the aperture at the top and bottom. Matching gilt frames and a later leather case. PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Y Andrew Plimer (1763-1837) Portrait miniature of Lady Harriet Silvesterwatercolour on ivorya white sash in her hair, wearing a low cut white dress, clouds beyond7.3 x 6cm. CITES Submission reference YATL7XKD Wife of Sir John Silvester, 1st Baronet (1745-1822), FRS, FSA, DCL, an English lawyer and Common Serjeant of London from 1790 to 1803, and Recorder of London from 1803 until his death in 1822.She is most noted for her comments upon meeting in 1824 with the fossil finder Mary Anning - “The extraordinary thing in this young woman is that she had made herself so thoroughly acquainted with the science that the moment she finds any bones she knows to what tribe they belong… By reading and application she has arrived at that greater degree of knowledge to be in the habit of writing and talking with professors and other clever men on the subject, and they all acknowledge that she understands more of the science than anyone else in this kingdom.” - Lady Harriet Silvester’s diary, 1824. CITES is a multilateral treaty to protect endangered plants and animals. CITES is a multilateral treaty to protect endangered plants and animals. ***CONDITION REPORT***A few loose dirt specks but essentially good condition. Ebonised frame with title of the sitter inscribed verso and later addition '(Harriet) 1793'. PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A pair of Art Deco glazed ceramic semi-nude figures by Royal Dux, each modelled in outstretched standing pose holding a blue and gilt decorated robed sash, to stepped stylised base, typical impressed and pink raised triangular mark and further printed and impressed marks verso, h.23cmFirst example – with ‘flea bite’ loss to front lower left hand corner edge (only visible on close inspection).Second example – overall very good.Some losses and wear to gilt to each throughout,
A Cream Ostrich Feather Fan, with tortoiseshell sticks, two pairs of elbow length cream kid evening gloves, two short pairs, a circa 1920's beaded evening purse, a black velvet sash belt with metallic thread detail and ten vintage bronzed mother of pearl buttons with gilt animal/bird motifs.
Two 19th century oval portrait miniatures. Of ladies, one, with ringlets, wearing a peach coloured dress, 5.2X4.1cm, in a gilt metal frame, the other wearing a pink sash and bow (2).Exemption certificate for portrait with a pink bow and sash: TSTTA1HQExemption certificate for portrait with ringlets: WCRX2DG4
STATUETTE DE MANJUSHRI EN BRONZE DORÉDynastie Ming (1368-1644), XVIe siècleA GILT-BRONZE FIGURE OF MANJUSHRIMing Dynasty, 16th centuryCast in its two-armed form, seated in dhyanasana on a double-lotus pedestal, the right arm held in vitarka mudra, the left hand lowered in the gesture of contemplation, holding two stalks of uptala lotuses rising up from the elbows along the arms to the shoulders, each supporting a khadga and prajnaparamita, wearing a fine diaphanous dhoti falling in elegant folds around his legs, a thin sash wrapped around shoulders and arms, the chest and the waist adorned with bejewelled necklaces, the rounded face with a serene and benevolent expression, with almond-shaped eyes and a gentle smile, his pendulous earlobes suspending large, the hair in a high chignon hidden behind a five-leaf diadem. 33cm (13in) high.Footnotes:PROPERTY FROM AN ITALIAN PRIVATE COLLECTION意大利私人珍藏明 十六世紀 鎏金銅文殊菩薩坐像The current figure is closely related to a gilt-bronze figure of Avalokitesvara bearing a Zhengtong reign mark, in the Palace Museum Collection, Beijing, dated to 1441, illustrated in The Complete Collection of Treasures of the Palace Museum. Statues of Tibet, Hong Kong, 2008, p.232, pl.221. Compare also another rare example originally in the collection of Joseph Morak, dated 1447, sold in Sotheby's Hong Kong, 7 October 2015, lot 3113.For further information on this lot please visit Bonhams.com
STATUETTE DE TSANGNYON HERUKA EN ALLIAGE DE CUIVRETIBET CENTRAL, PROVINCE DE TSANG, FIN DU XVE/XVIE SIÈCLE Himalayan Art Resources item no. 31441 41 cm (16 1/8 in.) high Footnotes:A COPPER ALLOY FIGURE OF TSANGNYON HERUKA CENTRAL TIBET, TSANG PROVINCE, LATE 15TH/16TH CENTURY Published Marylin Rhie & Robert Thurman, Wisdom and Compassion: The Sacred Art of Tibet, Expanded Edition, 2000, New York, p. 443, no. 196 (67a). Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 451, no. 198. Exhibited Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017. This is one of the largest bronze sculptures of Tsangnyon Heruka (1452-1507), perhaps second only to a repoussé figure in the Pritzker Collection (HAR 58303). Guised as a mahasiddha, the 'Madman of Tsang' wears a tiger-skin apron and a cross-belt fashioned from bones. Notably, he resembles the preeminent mahasiddha, Virupa (8th-9th century), who is often shown with an elaborate topknot, a skull cup, and a raised right arm. Present iconography that distinguishes Tsangnyon Heruka from Virupa here include a Buddha within the central leaf of his crown, a corpulent deity located at the center of his cross-belt, a vajra formerly held in his right hand, and the absence of a flower sash or a sutra wedged in his hair. To the lower edge of this sculpture's base is added a vajra with fluttering ribbons and a pair crouching snow lions. Originally an ordained follower of the Kagyu tradition, Tsangnyon Heruka abandoned monasticism to pursue the tantric life, garnering the epithet, the 'Madman of Tsang'. Inspired by early Indian texts and the mahasiddhas, he inhabited burial grounds, wearing and even eating what he found there. Despite his unusual behavior, Tsangnyon Heruka attracted numerous disciples as he travelled through Tibet and Nepal in the poet-saint Milarepa's (1052-1135) footsteps. He is one of Tibet's most celebrated authors, being among the first to have his works printed with woodblocks, funding and developing the technology which would have a profound effect on Tibetan culture. Tsangnyon Heruka's most famous writings include the biographies of Milarepa and Marpa (1012-97). He inspired a rich biographical tradition within the Kagyu, to which his pupils added those of Tilopa (988-1069), Naropa (956-1040) and Rechungpa (1084-1161). Cast with piercing eyes and an immense stomach, this powerful sculpture was crafted in the non-gilt workshops of Tsang, the same province in Central Tibet where Tsangnyon Heruka was from. The style of the necklace and densely packed lotus pedestal are reminiscent of imperial Chinese bronzes gifted to prominent Tsang monasteries, such as a large Yongle Virupa now in the Cleveland Museum of Art (fig. 1; 1972.96). A similar sized Tibetan gilt bronze of Naropa from the 15th/16th century is in the Los Angeles County Museum of Art (M.2001.45). Lastly, compare two smaller Tsang examples, one of Virupa in the Rubin Museum of Art, New York (HAR 65219) and another of Tsangnyon Heruka in private hands (HAR 12755).For the figures listed in this essay, please refer to our printed or digital catalogue.藏紐赫魯加銅像藏中 十五世紀晚期/十六世紀著錄Marylin M. Rhie 及 Robert A. F. Thurman，《Wisdom and Compassion：The Sacred Art of Tibet》，2000年，紐約，頁480，編號196（67a）Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁451，編號198 展覽「Buddha：2000 years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日 此尊威武的藏紐赫魯加（1452-1507）銅像為此題材目前已知最為龐大的銅像之一，或許僅次於普利茲克收藏中的一尊錘揲像（喜馬拉雅藝術資源網58303號）。這位「藏地狂人」身著虎皮裙，系骨製交叉飾帶，現身為大成就者之形象。值得注意的是，其貌酷似傑出的成就者毘魯巴（八至九世紀）。毘魯巴常梳精致發髻，手持嘎巴拉碗，右臂上舉。此尊藏紐赫魯加像區別於毘魯巴的特征則包括：寶冠中央葉飾上見化佛、交叉飾帶中央亦有一尊富態的小型神像、右手原應所持一金剛杵，以及頭髮中無花飾或經書。其底座下緣增加一把飾以飄帶的金剛杵，以及一對蹲伏的雪獅。藏紐赫魯加本是噶舉派的受戒弟子，後因追求密宗生活而放棄修道，被稱為「藏地狂人」。受早期印度典籍與大成就者的啟發，他居於墓地，穿戴甚至食用他於此處所覓得之物。盡管行為瘋癲異常，藏紐赫魯加追隨詩歌聖人密勒日巴（1040-1123）的腳步遊歷西藏與尼泊爾，仍然吸引著無數信徒。他是西藏最負盛名的寫作者之一，作爲第一批使用木版印刷術印其著作的人，其資助並發展這項技術，無疑對西藏文化產生了深遠影響。藏紐赫魯加的最著名之作包括為密勒日巴以及瑪爾巴（1012-97）所作之傳記。其引發了噶舉派內蓬勃而豐富的傳記傳統，其弟子又為帝洛巴（988-1069）、那洛巴（956-1040）以及熱瓊巴（1084-1161）立傳著書。此造像雙目犀利、大腹便便，由後藏採用非鎏金工藝之工坊所製，而位於西藏中部的這個地區正是藏紐赫魯加的故鄉。項鏈的風格和緊密排列的蓮花花瓣令人聯想到彼時中國朝廷贈送給西藏顯赫寺院的銅像，例如現藏於克利夫蘭藝術博物館的一件大型永樂毘魯巴像（圖1，1972.96）。洛杉磯郡立藝術博物館則收藏一尊十五或十六世紀之銅鎏金那洛巴像（M.2001.45）。最後，此拍品亦可與兩件較小的後藏作品進行比較，一件是紐約魯賓藝術博物館所藏毘魯巴像（喜馬拉雅藝術資源網65219號），另一件為私人收藏之藏紐赫魯加像（喜馬拉雅藝術資源網12755號）。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
STATUETTE DE VAJRADHARA EN ALLIAGE DE CUIVRE DORÉNÉPAL, DÉBUT DE L'ÉPOQUE MALLA, XIVE SIÈCLEHimalayan Art Resources item no. 20418 42.5 cm (16 3/4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF VAJRADHARANEPAL, EARLY MALLA PERIOD, 14TH CENTURY PublishedMeinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 336, no. 141. ExhibitedBuddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017. ProvenancePrivate German CollectionChristie's, New York, 22 March 2000, lot 73 The Diamond Vehicle of Nepal Vajrayāna (the Diamond Vehicle), a practice developed during the later stages of Buddhism, sees the proliferation of deities subject to the religious school or, at times, even the monastery. In addition to a rich pantheon inherited from the Indian tradition are countless entities characterised by iconographies of varying complexity. These are evoked during rituals that are sometimes esoteric, carrying moral or philosophical significance. Although the relative importance as well as the hierarchy of these deities diverge from one religious order to another, above them is a supreme Buddha, whose essence embodies the essence of all buddhas. Depicted here is Vajradhara, who presides over the monks of the Sakya order, amongst others. With both palms crossed over the chest, he holds his two characteristic attributes, the vajra (thunderbolt-diamond) and the ghanta (bell). The shape of the vajra is reminiscent of a diamond sceptre. The purity, clarity, and indestructible nature of this gemstone demonstrate the reason it became an object of much fascination in tantric Buddhism. The deity's feet are tightly crossed, akin to a yoga pose. The immaculate craftmanship of the jewellery adorning the figure is borrowed from stylistic forms that were initially developed in Northern India. Notably, two ascending floral peduncles surround the centre of the floret tiara sitting above the forehead. This fashion of ornamentation is characteristic of Nepalese sculptures as well as those influenced by the Newar artistic tradition from around the 13th century onwards. On the base of the tiara is a sneering kīrtimukha mask. The knotted ribbons which snake around both sides of the head maintain the tiara in place. A pair of elegant armbands is illustrated on either arm with a large floret replicating those on the tiara. The deity wears three necklaces, each of varying shape and size. The length of the second necklace ends at the pectoral region and is largely hidden from view behind the vajra and the ghanta. A scarf, reduced to the form of a simple ribbon with intricate blossom motifs, encircles the arms, and billows around both shoulders in an elegant swirl, emphasised by a pair of turquoise gems. Small floral pendants hang from the sash around his waist. At the front, a fall of pleats interwoven around the crossed ankles opens out at calf level. The slight inclination of his head to the right suggests that the deity had once been accompanied by another statue, that of his consort, the goddess Vajradhātvīśvarī. His facial features are characteristic of Nepalese sculptures. As described in canonical texts, these youthful traits are those of an adolescent, including the 'beauty folds' marking the neck. A small dimple indents the chin and the lips curve up in a slight smile. Wide arched eyebrows frame his small almond-shaped eyes. On his forehead, the ūrṇā is represented by a rectangular turquoise, accentuating the precious value of the deity. The monumental size of the figure implies the likelihood of its veneration in a chapel. In the Kathmandu Valley, chapels are small rooms situated at the end of the courtyard in monasteries. The abundance of copper mineral along the Kathmandu Valley has for centuries fostered the development of a diversified metalcraft industry, including in the city of Patan. Despite being part of a Buddhist sub-caste, bronze artisans in Newar society accommodated the different religious and iconographic prescriptions of their clients. Their excellent craftmanship warrants the exceptional popularity and influence their works gained in Tibet or abroad–reaching Beijing from the 13th century onwards. The impeccable gilding that is achieved using an amalgam of mercury, as well as the frequent use of inlaid fine stones, gave the statues an esteemed presence. One may only imagine how they glowed beneath the scintillating luminosity of butter lamps in temples and chapels, enhancing the sanctity of these spaces. Gilles BéguinJanuary 2024銅鎏金金剛總持像尼泊爾 馬拉王朝早期 十四世紀著錄Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁336，編號 141展覽「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日來源德國私人珍藏佳士得，紐約，2000年3月22日，拍品73尼泊爾之金剛乘金剛乘（Vajrayāna）作為佛教發展的最終階段，根據不同的宗派，有時甚至根據不同的寺廟，創造了眾多神祇。在其所繼承之印度傳統之萬神殿外，亦有諸多神祇或其他形象為後加，標識以種種複雜而多變之圖像學特徵。這些形象出現於神秘儀式之中，並承載著道德或哲學意義。儘管神祇們之相對重要性與上下傳承之位階，時而因不同宗教派別而異，然而，在他們的頂端，有一位至高無上的佛，其本質為所有佛之本質。此處所呈現之形象為金剛總持，居薩迦以及諸派之眾僧侶之上。其雙手交叉於胸前，握持兩件此神祇之象徵性法器：金剛杵與金剛鈴。前者為形似金剛石般的權杖。此寶石具純淨、閃光與不可腐蝕之特質，密宗佛教對其之熱衷之原因不言而喻。神祇的雙腿緊密交叉，猶如瑜珈姿勢。此造像之珠寶設計細緻無瑕，借鑒自起源於印度北部之古老樣式。其華冠便引人注目，兩朵花莖向上延伸，烘托著中央盛開的優美花盤。此種裝飾風格為尼泊爾造像以及那些十三世紀以來受尼泊爾造像影響而出現之造像之標誌性特徵。寶冠下緣中央見一張齜牙咧嘴的怪獸面具，即「天福之面」。寶冠以繒帶固定，兩端盤結於頭部兩側，如風中飄揚。優雅的臂釧上見一碩大花朵，形制與寶冠中央一致。神祇配戴三串項鍊，大小不一、樣式各異。第二串項鍊長度及頸下，大部分被其手中所持鈴杵遮擋。圍巾之樣式則簡明為細帶，刻以細密相連之花紋圖案，自然纏繞雙臂，再於肘部向上翻飛，呈現出優美的弧度，突出末端所托舉的綠松石點綴。腰帶上則懸掛下一枚枚小巧的花朵墜飾。視線落至神祇身前，層層衣褶從交叉的腳踝間流出，於小腿處形成一簇扇形。神祇的頭部微微向其右傾斜，暗示著其身旁曾另有一尊其明妃金剛界自在母造像相伴。神祇的面部體現尼泊爾造像的特徵。正如經文所描述，其面部年輕俊美，特徵正為少年人，包括環繞其脖頸的幾道細線所表示的「美麗褶皺」。下巴中央見一道淺痕，嘴角微微上揚，蘊含笑意。雙眉為大弧線，流暢舒朗，下方為小巧的杏眼。前額之白毫為一塊長方形的綠松石，烘托神祇之尊貴。鑑於其碩大的體量，此像可能曾供奉於一座小型廟堂。在加德滿都河谷之中，這一類廟堂通常位於寺院庭院的盡頭。豐富的銅礦資源沿河谷蘊藏，數個世紀以來造就了多樣的金屬手工藝的發展，帕坦市幾包含其中。儘管屬於佛教這一次支，銅藝匠人們卻能夠滿足眾多供養人之不同宗教以及圖像要求。他們精湛非凡的技藝，造就了作品之風靡，其深遠影響遠至西藏，甚至自十三世紀起，達至北京。其無可挑剔的以水銀合金而鎏金的工藝、頻繁而熟練的寶石鑲嵌，給予其作品他們的作品壯觀而輝煌之觀感。今人則僅可遙想，這些造像如何置於寺廟與佛堂的酥油燈的閃爍光線下，熠熠生輝，莊嚴著彼時的空間。Gilles Béguin2024年1月This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Vintage fashion to include a green 1970s maxi dress by Gillian Paul, a late 60s/70s maxi dress by carnegie, a Parigi chiffon dress with quilted silk trim, a black suede cocktail dress with diamante studs, a jade green cotton dress with sash belt, a coral evening gown by Marjon Couture and a grey leather skirt, 70s/80s (7) Gold belt not included
Imperial German WW1 1917 Prussian Officer's Parade Belt & Sash. A fine example housed in the original Mohr & Speyer of Berlin card case with tailor's receipt dated 1917. The silver bullion belt strap with scarlet and grey lines terminate with bullion silver tassels over grey. Bullion remains in near parade condition. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER
19th-16th century B.C. Haematite with a standing naked female facing frontally, a male worshipper wearing long robes and cap, hands raised in prayer, facing a male figure wearing sash and kilt, round cap on head and dagger tied to waist; rectangular panel with three columns of cuneiform text. 7.6 grams, 19 mm (3/4 in.). From the Rihani family collection, formed 1970-1980s. From a collection acquired from various auction houses in the UK. From the estate of Mr R.W., a private Wiltshire, UK, collector; thence by descent. [No Reserve]
Qing Dynasty, 1644-1911 A.D. Hollow-formed ceramic figure of a lady holding a palmette fan to her head in her left hand, right hand inside the long sleeve of her chang'ao on her hip, buttoned at the front and worm with a sash below the bust; domed base. 445 grams, 22.5 cm high (8 7/8 in.). Ex Hong Kong collection, 1990s.
Tang Dynasty, 618-907 A.D. or later. Each in vigorous pose with sash draped from one shoulders, one arm raised and the other resting on the hip; painted detailing to face, hair and costume; hollow to the underside. 1.01 kg total, 24-24.5 cm (9 1/2 in.). From a North Yorkshire, UK, collection, 1990s. Accompanied by an inconclusive thermoluminescence analysis report from Oxford Authentication no.C124x99. [2, No Reserve]
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