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Lot 1668
An elegant old Oak framed open armed Elbow Chair having carved and fretworked detail depicting fruiting vines with twist supports and stretchers, the arms with scroll terminals, upholstered in relief striped rust coloured fabric to the seat, backrest (one finial to back a/f), 25 1/4'' wide x 26'' deep x 48'' high approx.
Lot 387
PIERRE JEANNERET (1896-1967) FOR CHANDIGARH: A PAIR OF TEAK ARMCHAIRS PJ-010104T Known as 'cane and teak wood armchair' with solid teak frames, the seats and backrests in braided canework, 'compass' type double side leg assembly, with the legs connected by two crosspieces and supporting the armrests, slanted, slightly curved backrest, attached to the seat by two supports at the bottom, both chairs with white painted identification code 'A.I.I.M.S. ST. HOSTEL' , one numbered "80", the other "24", each 66cm high x 51.5cm wide x 76cm deepThe lettering on the chair 'A.I.I.M.S.' relates to the All India Institute of Medical SciencesProvenance: Part of an Important Private Collection of Furniture by Pierre Jeanneret for Chandigarh
Lot 388
PIERRE JEANNERET (1896-1967) FOR CHANDIGARH: A PAIR OF TEAK ARMCHAIRS PJ-010705 Solid teak and braided canework armchairs, the seat bottom and back tilting slightly rearward, double lateral of 'compass' type forming a support for the flat armrests and connected by a low rail at the front, 78.5cm high x 59.5cm wide x 68cm deepExamples of chairs of this type can be found in the Chandigarh MuseumProvenance: Part of an Important Private Collection of Furniture by Pierre Jeanneret for Chandigarh
Lot 393
PIERRE JEANNERET (1896-1967) FOR CHANDIGARH: A SET OF EIGHT TEAK CHAIRS PJ-010501 solid teak and braided canework, flat leg assembly, slightly profiled at the bottom and connected by three crosspiece bars under the caned seat, the backrest gently curved, each 44cm wide x 85cm high x 50cm deep (8)Examples of chairs of this type can be found in private residences in ChandigarhProvenance: Part of an Important Private Collection of Furniture by Pierre Jeanneret for Chandigarh
Lot 659
A LARGE SANDSTONE FIGURE OF BUDDHA MUCHALINDA, ANGKOR PERIODKhmer Empire, 12th-13th century. Seated on the scaled coils of Muchalinda, his hands in dhyanamudra, richly adorned with jewelry. The face with downcast eyes in a benevolent expression, flanked by long earlobes with pendant earrings. The hair pulled into a conical chignon and secured with a wide tiara, backed by the seven-headed naga hood, their bodies decorated with sun wheels. The jewelry, scales, and head of the snake with delicate and remarkably well-preserved incision work.Provenance: From the private collection of Jean Dumoulin, Belgium, by repute acquired in April 1987 in the Bangkok trade. Condition: Good condition, commensurate with age, showing extensive wear, minor losses, the left knee partially broken off, some nicks and shallow surface scratches, signs of weathering and erosion, cracks, remnants of old pigment. Overall with a consistent natural patina and presenting exceptionally well.Weight: 44 kg Dimensions: Height 81.7 cmMuchalinda is the name of a naga sheltering the Buddha from the elements after his enlightenment. When a storm raged and torrential rain fell for a whole week, the king of the nagas, Muchalinda, rose from the earth, coiling its body to form a seat and swelled its great hood to shelter Buddha. When the great storm had cleared, the serpent king assumed his human form, bowed before the Buddha, and returned to his palace. Seven-headed nagas are often depicted as guardian statues, carved as balustrades on causeways leading to main Cambodian temples, such as those found in Angkor Wat.Literature comparison:Compare with a similar piece in the collection of RMN Grand Palais in Paris, inventory number Ka985. Auction result comparison:Type: RelatedAuction: Galerie Zacke Vienna, 11 March 2022, lot 568Price: EUR 63,200Description: A monumental sandstone figure of Buddha Muchalinda, Angkor periodExpert remark: Compare the closely related subject. Note the large size (121 cm).
Lot 1
With original drawing.- Repton (Humphry) Sketches and Hints on Landscape Gardening, first edition, half-title, 16 fine aquatint plates (10 hand-coloured and with overslips, including 4 double-page and 6 uncoloured, all but 2 with overslips), woodcut illustrations and vignette tail-piece, one plate with marginal tear, with an original pen and brush drawing with monochrome wash mounted on front pastedown, some foxing, light browning to edges, uncut in old marbled boards, rebacked, rubbed and soiled, extremities worn, preserved in modern silk-lined brown half morocco drop-back box, [Abbey, Scenery 388; Tooley 400], oblong folio, Printed by W. Bulmer and Co., [1795].⁂ An exceptional copy of the rarest of Repton's landscape books. Only 250 copies were printed and Repton refused to issue a second edition although some of the chapters were re-used in 'Observations' and 'Fragments'. This copy enhanced by the inclusion of the original drawing, signed lower right "H. Repton" and within the original wash border, of plate VIII showing "the effect of cutting down some chestnut trees in the avenue at Langley [Langley Park, Kent, the seat of Sir Peter Burrell, Bart, M.P.], to let in the hill, richly covered with oaks, and that majestic tree, which steps out before its brethren like the leader of an host..."Another original drawing for plate 2 from this work (Rivenhall Place) was sold by Christies NY in 2004 for $16,000.Repton (1752-1818) was the first person to use the term 'Landscape Gardening', explaining in the introduction to this highly important and influential work that "the art can only be advanced and perfected by the united powers of the landscape painter and the practical gardener."
Lot 236
Churchill (Sir Winston Spencer) Lord Randolph Churchill, 2 vol., first edition, signed presentation inscription from the author to Frederick Smith, 1st Baron Colwyn dated 13 Jan. 1906 to vol. 1 endpaper, plates, foxing, note on Chancellor of the Exchequer letterhead loosely inserted, Colwyn bookplate to front pastedown, original red cloth, spines faded, spines a little frayed at head, some bumping to foot of spines and corners, light rubbing, uncut, [Woods A8a], 8vo, 1906.⁂ An excellent association copy, inscribed by Churchill in the final days of the 1906 election. Frederick Smith (1859-1946) was a banker, industrialist and influential Liberal figure in Manchester politics. The 1906 elections was Churchill's first as a Liberal and saw him successfully contest the Manchester North West seat. As a significant player in the local political arena, it seems likely that Smith would have assisted Churchill in his campaigning and that the present work was a gift of thanks from the author.
Lot 161
A COPPER-INLAID BRASS FIGURE OF BUDDHA VAJRASANA, 12TH-13TH CENTURYTibet, circa 1100-1250. Superbly cast, seated in vajraparyankasana on a double lotus throne with remarkably thick-beaded rims, the right hand extended in bhumisparsha mudra and the left in dhyana mudra, the fingernails conspicuously inlaid with copper, his left palm and right sole incised with a floral design. Wearing a sanghati gathered on one shoulder, with distinct wavelike folds hidden in the gap between the body and the left arm, the robe gathering in elegant pleats just below his feet and above a vajra finely incised to the base.Provenance: Old Austrian private collection.Condition: Superb condition, commensurate with age. Some wear, casting irregularities, minor dents, few tiny losses, minuscule nicks, light scratches, remnants of ancient pigment and gilding to face, the eyebrows and other areas possibly inlaid with silver wire, which has over the centuries turned completely black and cannot be clearly identified. The base unsealed. Rich, naturally grown patina with an unctuous feel overall, showing signs of extensive worship and caress across the centuries.Weight: 1,249 gDimensions: Height 26 cmThe gilt face is sensitively modeled with a serene expression, the downcast eyes and arched brows seem to be inlaid with metal (possibly silver), the lips with faint remnants of copper inlay, flanked by long pierced pendulous earlobes, the blue hair arranged in tight curls surmounted by a tall ushnisha topped by a bud-shaped jewel.The bronze depicts Shakyamuni Buddha at the very moment of Enlightenment at Bodh Gaya. Touching the goddess, Earth, with his right hand, he called her to witness his imperturbability in front of the assault of the demon Mara. It is with reference to this condition of serene beatitude that Shakyamuni's epiphany was called Akshobhya, meaning 'Imperturbable'. The episode took place at the Vajrasana seat at Bodh Gaya, which by tradition was specially empowered to expedite his enlightenment. Later, the followers of Buddhist esoteric schools represented the epiphany with their most important emblem, the vajra, which they interpreted as a symbol of the adamantine purity, indestructibility, and perfection of the Buddhist doctrine. In the present bronze, the vajra is incised into the upper surface of the lotus base.This sculpture represents the early phase of Tibetan Buddhist art during the Chidar, the Later Diffusion of Faith, that took inspiration from eleventh and twelfth-century Pala-period sculptural traditions of eastern India. Various elements reflect Indian prototypes, including the tall ushnisha and particularly the base's lower rim, distinctively decorated with a single row of large beads. Meanwhile, the base's high-relief lotus petals with their characteristically incised design are an early Tibetan feature. This combination of stylistic elements exemplifies Tibetan artists' close apprenticeship of Pala art during and shortly after the Chidar.Literature comparison: Compare a closely related brass figure of Buddha Shakyamuni, dated 13th-14th century, supported on an altar of probably a later date, the base similarly cast with Pala-influenced beaded rims and Tibetan flattened lotus petals, illustrated in the Complete Collection of the Treasures of the Palace Museum, 60 Buddhist Statues of Tibet, Hong Kong, 1998, pages 160-161, no. 153. This type of base is also seen in three closely related brass figures dated circa 13th century, illustrated by von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, Volume II, pp. 1173, pls. 313C-E. For the Pala prototype depicting Buddha Vajrasana, dated 11th-12th century, see von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, Volume I, pp. 269, pl. 86C. Note also the elongated figure, narrow waist and tubular limbs, the distinctive double-tipped petal motif of each bulbous petal on the lotus throne, and the curled double-edges of the sanghati thrown over the proper left shoulder in the figure of Shakyamuni (313D), as well as the gently sloping hairline, ovoid facial shape, raised urna, and the upward-curving eyes inlaid with silver on the figure of Vajrasattva (313C).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 2 October 2017, lot 3131Estimate: HKD 1,500,000 or approx. EUR 203,000 converted and adjusted for inflation at the time of writing Description: An inscribed early copper-inlaid bronze figure of Shakyamuni Buddha, Tibet, 12th-13th centuryExpert remark: Compare the alloy and patina, the pose, robe and hems, the face, and the tall ushnisha with the similarly bud-shaped jewel on top. Note the slightly larger size (29.8 cm).Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 2 December 2020, lot 1009Price: HKD 752,500 or approx. EUR 95,500 converted and adjusted for inflation at the time of writing Description: A silver and copper inlaid copper alloy figure of Buddha Shakyamuni, Tibet, 13th centuryExpert remark: Compare the alloy and patina, the pose, robe and hems, the face, and the tall ushnisha with the similarly bud-shaped jewel on top. Note the larger size (31.8 cm).十二至十三世紀錯紅銅金剛座佛陀銅像西藏，約 1100-1250年。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 197
A SPECTACULAR PORTRAIT OF A SECOND-RANK CIVIL OFFICIAL, IMPERIAL SCHOOL, YONGZHENG, PRE-1730Expert's note: Before the Yongzheng Emperor's new regulations for hat finials in 1730, first-rank officials used a ruby bead and small white pearl, while second-rank officials wore a ruby bead and a small red gemstone. Afterwards, first-rank officials' finials were set with translucent red glass or ruby beads, while those of second-rank officials held coral beads or red glass in imitation of coral, with both using small white pearls. The hat finial of the present official is clearly set with a ruby and not a coral bead, which is evidenced by the paler color of his coral necklace, as well as a smaller red stone. Therefore, this portrait must have been painted before the 1730 regulations were put in place. For more information on Qing-dynasty hat finial regulations before and after 1730, see Gary Dickinson & Linda Wrigglesworth, Imperial Wardrobe, London, 1990, page 106.China, before 1730. Ink, gilt, and watercolors on silk, with a silk brocade frame and laid down on paper. The elderly aristocrat wearing a red official hat (chao guan) with a gold finial holding a large ruby and a smaller red gemstone. Note the exceptional quality of the painting and remarkable attention to detail - as found for example on the silk rug with its distinct forbidden stitch, the gilt-outlined swirling clouds on the rank badge, and the robe hems, which all appear strikingly lifelike.Provenance: Chicago trade, USA, sold for the benefit of a noted cultural nonprofit organization. European trade, acquired from the above.Condition: Very good condition with only minor wear, some soiling, little creasing, small losses, few minor touchups. Dimensions: Image size 155.6 x 77 cm, Size incl. mounting 175 x 80.8 cmSeated on a fine wooden yokeback chair with a tiger skin seat cover, wearing a midnight blue surcoat (pu fu) over a blue silk formal court robe (chao fu), the collar of the surcoat and hems of the robe decorated with sinuous dragons amid colorful clouds, matching the golden pheasant rank badge, his left hand holding a white pearl from his coral court necklace between two fingers, the realistically treated face marked by heavy-lidded eyes, deep wrinkles, and a gray mustache and beard. Note the texture of the soft fur of the tiger's pelt and coat edges, as well as the rough quality of the embroidered cloud-scroll bands of the coat cuffs.At the beginning of the Qing dynasty, the chao guan was worn on semi-formal occasions without its usual ornate spike. The Yongzheng Emperor appears to have felt that this was unsatisfactory. Easily identified hat finials were introduced in 1727 by the Yongzheng Emperor and were worn on all official and public occasions. The new insignia was a large round bead of material of the appropriate color, along with a smaller pearl or stone of the same color as the bead, mounted on a gilt base. The highest-ranking officials wore plain opaque red beads, while the lowest wore silver. In 1730, regulations were introduced to allow the use of colored glass instead of precious stones.Literature comparison: Compare a related portrait of Lirongbao, the father-in-law of Emperor Qianlong, painted posthumously during the 18th or 19th century and now in the collection of the Arthur M. Sackler Gallery of the National Museum of Asian Art, Smithsonian Institute, accession number S1991.130, illustrated in J. Stuart and E. S. Rawski, Worshiping the Ancestors: Chinese Commemorative Portraits, Washington, D.C., 2001, p. 161, fig. 6.8. Note the ruby bead and small white pearl on the finial, indicating that this painting was made after 1730.Auction result comparison: Type: Closely related Auction: 17 September 2010, lot 1060 Price: USD 74,500 or approx. EUR 98,000 converted and adjusted for inflation at the time of writing Description: Anonymous (18th/19th century), Portrait of a Civil Official Expert remark: Note that the coral bead and white pearl of the hat finial worn by this official were only used after the 1730 regulations (see Expert's note), which clearly indicates this portrait was painted after 1730 and thus after the present lot, although both works share the same level of artistic skill. Note the size (156.2 x 76.2 cm).雍正時期二品官員肖像畫中國，1730年前。絹本設色描金。br />專家注釋：1730年雍正皇帝頒布帽飾新規之前，一品官佩戴紅寶石珠和小白珠，二品官佩戴紅寶石珠和小紅寶石。之後，一品官的頭飾上鑲有半透明的紅玻璃或紅寶石珠，二品官員則戴珊瑚珠或仿珊瑚的紅玻璃，均用白色的小珍珠。拍品上的官員的朝冠上顯然鑲有紅寶石，而不是珊瑚珠，這從他的珊瑚項鍊的顏色較淡，以及一顆較小的紅色石頭就可以看出這一點。 因此，這幅肖像一定是在 1730 年的法規實施之前繪製的。有關 1730 年前後清朝帽飾規定的更多信息，參見 Gary Dickinson 和 Linda Wrigglesworth，Imperial Wardrobe，倫敦，1990年，頁106。 來源：美國芝加哥古玩交易，為資助一個知名的非盈利文化組織；歐洲古玩交易。 品相：狀況極好，只有輕微磨損、一些污漬、少量摺痕、缺損和修補。 尺寸：畫面155.6 x 77 厘米，總175 x 80.8 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 169
A SILVER AND COPPER-INLAID GILT BRASS FIGURE OF BUDDHA VAJRASANA, TIBET, 15TH - 16TH CENTURYSeated in vajrasana on a double lotus base with beaded edges, a vajra before him, his right hand lowered in bhumisparsa mudra and the left in avakasha mudra, wearing a loose-fitting monastic robe opening at the chest, the beaded hems neatly incised with foliate scroll. The serene face with heavy-lidded almond-shaped eyes finely inlaid with silver and copper below arched eyebrows centered by a turquoise-inlaid urna. The sealed base incised with a double vajra.Provenance: From a noted English private collection. Condition: Good condition with some old wear and traces of use, minor casting flaws, minuscule nicks, light scratches and dents, small losses, extensive wear to gilt. Warm, smooth patina. Sealed.Weight: 915.7 g Dimensions: Height 18.5 cmExpert's note: This cheerful bronze recalls the moment of Buddha's enlightenment at Bodh Gaya. Gazing at the viewer, he has a particularly amiable countenance. His slender eyes, often seen in art of the Guge Kingdom in Western Tibet, are made more captivating by the use of silver and copper inlay. A bronze Akshobhya from Guge in the Museum Rietberg has similar facial features and rippled pleats above the base (Uhlig, On the Path to Enlightenment, Zurich, 1995, pp. 70-1, no. 29). Yet, similar lotus petals and the exact shape of the mouth are also represented on a standing Avalokiteshvara, suggesting Tsang in Central Tibet as an alternative place of production (see von Schroeder, Buddhist Sculptures in Tibet, Vol. II, Hong Kong, 2001, p. 1192, no. 323A).Most important of the Buddhist pilgrimage sites is the location of Shakyamuni's enlightenment at the Mahabodhi Temple in Bodh Gaya. Here, it is believed a descendant of the bodhi tree, which Shakyamuni sat under, still stands. His enshrined seat at the Mahabodhi Temple, known as the vajrasana ('vajra seat'), is referenced in this bronze's small vajra placed on top of the lotus pedestal. Unlike many other Buddha images, these 'Buddha Vajrasana' emphasize Shakyamuni's historicity. Recalling a specific spiritual achievement associated with a specific site, its mnemonic vajra no doubt promoted pilgrimage to Bodh Gaya as well.Auction result comparison:Type: Near-identicalAuction: Bonhams Hong Kong, 7 October 2019, lot 934Price: HKD 425,625 or approx. EUR 56,500 converted and adjusted for inflation at the time of writingDescription: A Silver and Copper Inlaid Brass Figure of Buddha Vajrasana, Tibet, 15th/16th CenturyExpert remark: Compare the near-identical subject, pose, robe, vajra, and inlaid eyes. Note the identical size (18.5 cm).十五至十六世紀西藏錯銀錯紅銅金剛座佛陀銅像佛陀成金剛座坐於雙層蓮座上，面前有一個金剛杵。右手施觸地印，左手禪定印，身著長袍，袒露右肩，面容歡愉，再現佛陀於菩提伽耶悟道之瞬間。雙目含笑，以和藹可親之態凝視觀者，眼睛細長，與紅銅的鑲嵌令其眼目更富神采。雙眉之間綠松石鑲嵌白毫。底部雙金剛杵印封印。 來源：英國知名私人收藏。 品相：品相良好，有一些磨損和使用痕跡，輕微的鑄造缺陷、微小的刻痕、劃痕和凹痕，少量缺損，鎏金廣泛磨損。包漿細膩光滑。底部密封。 重量：915.7 克 尺寸：高18.5 厘米 專家注釋：這尊面容歡愉的佛像再現佛陀於菩提伽耶悟道之瞬間，其細長的眼睛時常可見於藏西古格王朝的造像或壁畫中。瑞特堡博物館現藏一尊古格阿閦佛銅像則帶有相似面部特徵以及蓮花座上橫向堆疊的衣褶（Uhlig，《On the Path to Enlightenment》，蘇黎世，1995年，頁70-1，編號29）。然而，另一尊觀音菩薩立像帶有與其十分類似的蓮花瓣與完全一致的嘴形，或許本拍品可能來自藏中地區（馮·施羅德，《西藏佛教造像》，卷二，香港，2001年，頁1192，編號323A）。釋迦牟尼在菩提伽耶摩訶菩提寺開悟之處是最重要的佛教朝聖地。據說，釋迦牟尼所坐的菩提樹的後裔仍然屹立於此。他在摩訶菩提寺供奉的座位，被稱為金剛座，這個放置在蓮花座頂部的銅小金剛杵是其象徵。與許多其他佛像不同，“金剛座佛陀” 強調釋迦牟尼的歷史性。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 4
WILLIAM SIMPSON (1823-1899) 'Sentinel of the Zouaves, before Sevastopol' a soldier standing guard at a French battery with snow-covered cannons and Zouaves carrying bundles of wood to a camp in the background, signed and dated 1855 lower right, watercolour over pencil, 23cm x 33.5cmThis work is the original study for the lithograph reproduced in Simpson's important work on the Crimean War 'The Seat of War in the East' (2 volumes, Colnaghi, 1855-6).Provenance: P & D Colnaghi The Maas GalleryPrivate Collection During the Crimean War, William Simpson became a pioneer war artist. Commissioned by the printsellers P & D Colnaghi, he recorded the naval battles in the Baltic Sea and then went on to Balaklava in November 1854 to make accurate sketches on the spot. The drawings which he made during that terrible winter were submitted to Lord Raglan, sent home to England, and shown to Queen Victoria by the Minister of War, the Duke of Newcastle. After the fall of Sevastopol he was attached to the Duke's party of exploration in Circassia. On his return to England, Simpson, complete with a brown beard long enough to button into his waistcoat, had an audience with the Queen, during which he showed her his sketches and was much impressed by her grasp of every detail of the war. Eighty of his Crimean drawings, including the lot offered here, were lithographed in 'The Seat of War in the East' which was dedicated with permission to Queen Victoria, whose patronage he enjoyed for the rest of his life. When the original watercolours were exhibited at Colnaghi's gallery, Lord Elcho and other MPs called for them to be bought by the nation as an historic record of the war. On the advice of Sir Charles Eastlake, this proposal was rejected and the watercolours were sold off separately.
Lot 80
A SET OF EIGHT EARLY VICTORIAN MAHOGANY DINING CHAIRS BY GILLOWS Mid-19th century, comprising two armchairs and six side chairs, each with a curved tablet toprail above a horizontal splat and a red leather padded seat with brass close-nailing, on reeded tapering legs, the front legs with brass caps and castors stamped 'Cope & Collinson Patent', the front seat rail stamped 'GILLOW', 36cm high x 55cm deep x 47cm wide
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