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Lot 819
Silver jewelry with gemstones, 925/000, with an anchor necklace with a pendant with 3 colors of zirconia. 20x30mm. A pear-shaped pendant with a moonstone. 32x18mm. A rosette ring with an edge with colored gemstones and an oval mother-of-pearl stone in the middle. ø 66. ø head 22x19mm. And a ring with a rectangular curved head set with various gemstones in various shapes. width 19 mm. ø 66. Total approx. 44.1 grams. In good condition.
Lot 307
Full title: An Indian red sandstone stele of Lakshmi, probably Rajasthan, 12th C.Description:H.: 67 cm (the sculpture)H.: 76 cm (incl. the stand) Provenance:- The collection of Mr. and Mrs. S., Ghent, Belgium.- Acquired in February 2010 from Het Magazijn, Ghent, Belgium, with their certificate of authenticity. Ref.:- For a similar green stone exemple. Christie's, New York, Mar. 20, 2009, lot 1276. (sold USD 30.000)(direct link available on rm-auctions.com)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 228
Full title: A rare Chinese semi-eggshell famille rose 'rooster' tea cup and saucer, Baiyun Shanren 白雲山人 seal mark, YongzhengDescription:Dia.: 11,5 cm (the saucer)Dia.: 7 cm - H.: 4 cm (the cup) A composite motif of a cockerel and peony represents wealth and success. The first character of the term cockerel in Chinese gong ji is a homophone of the first character of gong ming (official position), and the peony has long been associated with nobleness since the Tang dynasty. Provenance:- An important American private collection. Ref.: - The British Museum, inv. no. PDF A.835, for a set of twelve tea cups and saucers of the same design and measurements and with the same seals, where they are on display. (direct link available on rm-auctions.com) - The Victoria & Albert Museum, accession no. C.1071 & A-1917, for a set which also bears a cyclical date Jiazhen corresponding to 1724, where it is on display. (direct link available on rm-auctions.com) The artist name 'Baiyun Shanren' (Hermit of the White Cloud Mountain) was however mistaken by both museums as 'Baishi Shanren' (Hermit of the White Stone Mountain). Although the aliases 'Baishi' and 'Baiyun Jushi' are both related to one of the earliest and most famous Cantonese enamellers, Tang Jintang (active in the first half of the 18th C.), they can also have been produced by Tang Jintang's studio. For more about the career and style of Tang Jintang, see Gao Yang: 'A Pair of Canton Enamel Porcelain Masterpieces in the Rijksmuseum,' in Aziatische Kunst, October 2018, Vol. 48, No. 2, pp. 54-59. - A. Varela Santos, Uma Coleccao Particular, Yongzheng, A Private Collection, Estoril, Portugal, 2005, pp.16-17, no. 2, for an example which was formerly in the W. Martin-Hurst Collection.- Honey, A Guide to the Pottery and Porcelain of the Far East, Oxford, 1924, p. 90, fig. 128, illustrates a ruby-back saucer painted with a basket of flowers and fruit also in the British Museum. It is signed by the same artist and inscribed 'a Canton picture', indicating that indeed he was working in Guangzhou (Canton).Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 40
Star Wars signed collection. 14 10 x 8-inch photos including C Andrew Nelson Darth Vadar, Gloria Garcia, Richard Oldfield, Terry Madden, Issac C Singleton, Paul Jerico, Jack McKenzie, Eilleen Roberts, Kamay Lau, David Stone, Elizabeth Ansar. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Lot 418
* ANGUS MCEWAN PRWS RGI RSW (SCOTTISH b. 1963), ANCIENT STANDING STONE watercolour on paper, initialled and dated '96mounted, framed and under glass.image size 25cm x 18cm, overall size 48cm x 39cmNote: in 2022 Angus McEwan was elected President The Royal Scottish Society of Painters in Watercolours (RSW).Note 2: Angus McEwan was born in 1963 in Dundee, Scotland. Angus studied at the Duncan of Jordanstone College Art in Dundee, graduating in Fine Art and a Post Graduate Diploma in the same discipline. Angus was elected to the Royal Scottish Society of Painters in Watercolours (1995) and in 2012 the Royal Watercolour Society. In 2005 he was recognized as an Associate of the International Guild of Realism USA. He is also an associate member of the AWS and NWS in the USA. Angus has been Finalist three times of the ''International Artist Magazine'' and won first place in the John Blockley Prize in the RI open exhibition. Angus has also won second prize in the Sunday Times Watercolour Competition (2007) in London and the International Prize ''Marche d'Acqua'' Fabriano, Italy in 2012. In 2013 Angus won Bronze Award, at the Shenzhen International Watercolour Biennial, in China. He was recently awarded the May Marshall Brown Award at the Royal Scottish Society of Painters in Watercolours (RSW), Edinburgh, 2015 and was elected RGI in May 2016. Many galleries display McEwan's works, including Ok Harris Gallery in New York and Quanhua Gallery, in Shanghai. Recently highlighted in Shenzhen Biennale and the Qingdao Hall of Watercolor. He has exhibited in Fabriano, Italy in the ''Marche d'Acqua'' International Award, as a special guest and in Vicenza, Italy, where he had a solo show in the ''Artbox''. McEwan was one of the 23 finalists in Narbonne, France at the Concours Mondial de l'Aquarelle 2014 1st World Watercolour Competition. Angus also exhibited at the World Watermedia Exposition, Thailand and Myro Gallery, Greece. He also participated in the Second International Watercolour Exhibit in Thessaloniki, Greece. In the UK McEwan exhibits with Thompson's Gallery (London) and The Open Eye Gallery (Edinburgh). Notable collectors include: Dundee Art Galleries and Museums; The Qatar Royal Family; the Royal Scottish Academy Collection; Ernst & Young, Glasgow; Scottish Enterprise; Scottish Equitable; Historic Scotland; Perth Royal Infirmary.
Lot 302
PETER WATTS FRBS (BRITISH 1916-2002) MOTHER AND SONsigned with the initials and dated 49 on the back of the base Caen stoneheight: 41.5cm; 16 1/4inProvenancePurchased by the father of the present owner in April 1982Thence by descentProperty from a London Private Collection*offered for sale without reserveARR may apply
Lot 362
JOHN PIPER (BRITISH 1903-1992) CAREW CASTLEsigned John Piper to lower right margin; numbered 96/100 to lower left margin colour lithograph43.5 x 64cm/ 17 x 24 1/4in 67.5 x 87cm/ 26 1/2 x 34 1/4in (framed)Property of a LadyPiper discovered the beauty of Wales in the 1930s through his wife Myfanwy, who came from a Welsh family living in London. They bought a traditional Welsh cottage on Garn Fawr, near Tresinwen, Pembrokeshire – a squat, stone-built structure that they used as a retreat and studio. Here Piper made prints and paintings inspired by the surrounding scenery, including the present view of Carew Castle near Tenby.*offered for sale without reserve
Lot 291
CECIL ALDIN (BRITISH 1870-1935) HUNTING APPOINTMENTSsigned and dated Cecil / Aldin / 98 lower right; titled Hunting Appointments lower centre on the stonelithograph printed in colours43.5 x 35cm/ 17 1/4 x 13 3/4in 58 x 49.5cm/ 22 3/4 x 19 1/2in (framed)Property of a Lady*offered for sale without reserve
Lot 253
ROBERT G.D. ALEXANDER (BRITISH 1875-1945) SHENFIELD CHURCH; THREE TREES; OFF STONE POINT NEAR WALTONone signed R Alexander lower rightwatercolourlargest: 24 x 34.5cm; 9 1/2 x 13 1/2inlargest: 44 x 54cm; 17 1/4 x 21 1/4in (framed)together with: British School (20th Century), Farmland with figures (recto); Landscape with river (verso) and Charles Bone (b.1926), Henley Regatta(5) Property of a Lady*offered for sale without reserve
Lot 127
Sir Robin Philipson RA PRSA FRSA RSW RGI DLitt LLD (British, 1916-1992)Seated Figure oil on board25 x 33cm (9 13/16 x 13in).Footnotes:ProvenanceWith The Stone Gallery, Newcastle, 1962.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 126
Sir Robin Philipson RA PRSA FRSA RSW RGI DLitt LLD (British, 1916-1992)Fighting Cocks - The Kill signed 'R.Philipson' (lower right), signed, inscribed with artist's address and titled (on label, verso)oil on board30 x 40cm (11 13/16 x 15 3/4in).Footnotes:ProvenanceWith The Stone Gallery, Newcastle.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 140
David McLeod Martin RSW RGI SSA (British, 1922-2018)Field and Village signed 'David M Martin' (lower left)oil on board44 x 54cm (17 5/16 x 21 1/4in).Footnotes:ProvenanceWith The Stone Gallery, Newcastle, no. D.M.14.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 132
Sir William MacTaggart PPRSA RA FRSE HonRSW LLD (British, 1903-1981)Humbie, East Lothian; Dirleton two worksboth signed 'WMacTaggart' (one lower left, the other lower right)watercolour and ink, the larger also with chalks47 x 62cm (18 1/2 x 24 7/16in); and 28 x 41cm (11 x 16 1/8in). (2)Footnotes:ProvenanceBoth with The Stone Gallery, Newcastle.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 160
Barbara Rae CBE RA RSA FRSE (British, born 1943)Standing Stone signed and dated 'Rae 79' (lower right) collage and gouache15.5 x 19cm (6 1/8 x 7 1/2in).Footnotes:ProvenanceAitken Dott & Son, Edinburgh, 1979.ExhibitedEdinburgh, Aitken Dott & Son, October 1979, no. 52.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 167
Pierre Molinier (1900-1976)Bague de petit doigt. Jonc anglais en or 18 carats serti dans la masse d'une pierre fine rouge de 1,5 carat. Sur la face interne deux prénoms gravés : « Marayat-Pierre ».English 18-carat gold bangle set in the mass of a 1.5-carat fine red stone. On the inner side two engraved first names: 'Marayat-Pierre'.Footnotes:ProvenanceCollection particulière, FranceThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 953
VELVET UNDERGROUND - CONCERT POSTER, JULY 12-13 1968, SHRINE EXPOSITION HALL, LOS ANGELES WITH BUTTERFIELD BLUES BAND, SLY & FAMILY STONE, ROCKETS art by Neon Park, framed and behind perspexvisible poster 65.5cm x 39.7cmThere are creases and some surface imprints, please note these are difficult to capture in images, some either surface scuffs or printing inconsistencies, this includes some spitting and inclusions, some light surface scratches also, paper slightly wavy, images available
Lot 232
DIAMOND THREE-STONE RINGBrilliant-cut diamonds, diamonds approx. 1.65cts total, ring size approx. M½ Footnotes:Please note this lot has VAT at the prevailing rate on the Hammer Price and Buyer's Premium.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 212
COLOURED DIAMOND AND DIAMOND THREE-STONE RINGA brilliant-cut diamond of brown tint and old-cut diamonds, brown diamond untested for natural colour, brown diamond approx. 0.70ct, remaining diamonds approx. 1.20cts total, ring size approx. M½For further information on this lot please visit Bonhams.com
Lot 287
BOODLES & DUNTHORNE: DIAMOND SINGLE-STONE RING, 1998Old brilliant-cut diamond, mounted in 18 carat gold, diamond very approx. 2.10cts, maker's mark for Boodles & Dunthorne, London hallmark, ring size approx. LFootnotes:Please note this lot has VAT at the prevailing rate on the hammer price and buyer's premium.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 103
SAPPHIRE AND DIAMOND THREE-STONE RINGCircular-cut sapphire and old brilliant-cut diamonds, sapphire approx. 1.10cts, diamonds approx. 1.15cts total, ring size approx. M½ Footnotes:Please note this lot has VAT at the prevailing rate on the Hammer Price and Buyer's Premium.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 490
Japanese Lacquered Helmet Kabuto, 19th Century, hachi of peach stone form composed of leather, red lacquered exterior (some crazing/cracking overall), pierced with heart-shaped tehen kanemono at rear, black lacquered interior and 4 lame shikaro, soft metal mounts to peak and fukigayeshi retaining some gilding, brass datemono (well replaced, helmet lining as found); black lacquered mempo with red lacquered interior, detachable nose, 4 lame throat guard, on black lacquered stand, some relacquering overall. Good condition.
Lot 12
A MONUMENTAL AND HIGHLY IMPRESSIVE LINGBI SCHOLAR'S ROCK, QING DYNASTYExpert's note: Ranked first among the four types of the famous Chinese Scholar's Rocks, Lingbi are mostly carved from calcite and other ancient types of limestone. They originate from Lingbi county in Anhui Province and are fine-grained and delicately textured, found lying deep in the red mud of the Qingshi mountains. Naturally shaped, they need almost no cutting or carving. Depleted after generations of mining, large high-quality Lingbi such as the present lot are now exceedingly rare. Their mineral composition is such that they produce a metallic, distinct sound when tapped. Hence, they are also called 'resonant rocks' (bayinshi). Combining masculine beauty with antique simplicity, Lingbi have been admired by connoisseurs for centuries. In the Northern Song dynasty, Emperor Huizong wrote about a Lingbi in his collection: “The mountain is high while the moon looks small, the water ebbs and the rock juts forth."China, 1644-1912. The perforated vertical rock is evocative of a sinuous human figure in profile, with protrusions, stalactite-like extensions, deep crevices, and cavities. The porous stone is of a distinctly black tone suffused by distinct gray veins.Provenance: New York trade. Acquired from a private estate. Condition: The stone with minor dents, small losses and associated old repairs, few nicks, and natural inclusions and fissures, some of which have developed into small cracks over time. Signs of extensive weathering, erosion and wear, naturally grown patina overall. The wood base with expected minor age cracks and light surface scratches. Overall displaying magnificently!Weight: 46 kg (excl. stand) and 48 kg (incl. stand) Dimensions: Height 82 cm (excl. stand) and 96 cm (incl. stand) With a modern wood stand. (2)Traditionally, scholars collected two types of rocks for their studies: vertical peaks and horizontal mountain ranges. The present piece has primarily vertical peaks with cavities resembling cave topography. Hence, one can appreciate its inner and outer form. In texture and color, the stone is like black lacquer and is quite lustrous. Connoisseurs of scholar's rocks throughout the ages have boiled down their criteria for evaluating stones into twelve terms: thin, wrinkled, porous, permeable, clear, ugly, obtuse, clumsy, teal, powerful, beautiful, deep. Stones that have half of these features are considered rare and superior.Literature comparison:Compare a related black scholar's rock, 46.7 cm high, dated to the Qing dynasty, in the Metropolitan Museum of Art, accession number 2009512.1a, b, exhibited in the 'The World of Scholars' Rocks: Gardens, Studios, and Paintings,' February 1-August 20, 2000 and in the 'Noble Virtues: Nature as Symbol in Chinese Art,' September 10, 2022-January 29, 2023.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2021, lot 1007 Price: USD 62,500 or approx. EUR 66,000 converted and adjusted for inflation at the time of writing Description: A lingbi scholar's rock Expert remark: Compare the closely related form and similar stand. Note the much smaller size (44.5 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3302 Price: HKD 2,660,00 or approx. EUR 430,000 converted and adjusted for inflation at the time of writing Description: A black 'lingbi' scholar's rock, Qing dynasty, 18th century Expert remark: Note the similar reticulations and veins of the rock. Also note the similar stand. 清代靈璧石供石中國，1644-1912年。依靈璧石的天然造型而成，造型奇巧，體態夭矯，肖形狀物，妙趣天成。深灰色紋理，帶有黑色的斑塊。專家注釋：靈璧石位居中國四大名岩之首，原產於安徽省靈璧縣，質地細膩，自然成型。歷經幾代開採，優質靈璧已稀少。有的靈璧石在敲擊時會產生金屬的、獨特的聲音。因此，它們也被稱為“八音石"。靈璧兼具陽剛之美和古樸質感，幾個世紀以來一直為鑑賞家所推崇。北宋徽宗在《靈璧》中寫道：“山高月小，水落石出"。 來源：紐約古玩交易，購於一個私人舊藏。 品相：石頭上有輕微凹痕、小缺損和修復、少量刻痕以及天然內沁和裂縫，大面積風化、侵蝕和磨損，整體自然包漿良好。木質底座具有輕微老化裂紋和表面劃痕。 重量：46 公斤 (不含底座) 與48 公斤(含底座) 尺寸：高82 釐米 (不含底座) 與 96 釐米 (含底座) 現代木製底座 (2)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
Lot 167
A WHITE MARBLE FIGURE OF BUDDHA, NORTHERN QI DYNASTY, CHINA, 550-577Finely carved, standing with the left hand lowered in abhaya mudra, dressed in a long flowing monastic robe draped over both shoulders and rendered simply in descending rows of graceful U-shaped folds above the cascading hem. His serene face with heavy-lidded eyes and full lips forming a calm smile. The hair arranged in tight curls over the domed ushnisha.Provenance: From a noted private collection in New York, USA, and thence by descent in the family. New York trade, by repute acquired from the above. Condition: Good condition, commensurate with age. Extensive ancient wear, obvious losses, nicks, scratches, signs of natural weathering and erosion, encrustations, cracks, old repairs. Naturally grown patina overall, the originally white marble has acquired a fine ivory tone over the course of the centuries.Weight: 14.3 kg (incl. stand) Dimensions: Height 62.4 cm (excl. stand) and 68.5 cm (incl. stand) With a fitted metal stand. (2)Literature comparison:Compare a related marble figure of Buddha, dated to the late 6th century, 110 cm high, in the Minneapolis Institute of Arts, accession number 2000.207.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 19 December 2016, lot 8198 Price: USD 47,500 or approx. EUR 55,500 converted and adjusted for inflation at the time of writingDescription: A rare carved stone figure of the Buddha, Northern Qi Period (550-577) CEExpert remark: Compare the closely related subject, style, applied carving technique and form. Note the near-identical size (63.5 cm). 550-577年北齊漢白玉佛像佛陀立像雕刻精美，螺髮刻畫清晰，面容圓潤飽滿，雙眼微閉，神態沉靜而優雅。敞胸披袈裟。左臂置於胸前，左手丟失，右手自然下垂結與願印，儀態端莊肅穆。此造像工藝考究，袈裟衣褶的處理尤為精彩，如行雲流水一般。 來源：紐約知名私人收藏，在同一家族保存至今；紐約古玩交易，據説購於上述收藏。 品相：品相良好，大面積磨損、明顯的缺損、刻痕、劃痕、自然風化和侵蝕的跡象、結殼、裂縫、微小的修復。白色大理石整體自然包漿，經過幾個世紀的發展，逐漸呈現出精美的象牙色色調。 重量：14.3 公斤 (含底座) 尺寸：高 62.4 釐米 (不含底座) 及68.5 釐米 (含底座) 金屬支架 (2) 文獻比較： 比較一件相近的六世紀末期漢白玉佛像，高110 釐米，收藏於明尼亞波利斯藝術館，館藏編號2000.207。 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦瀚斯，2016年12月19日，lot 8198 價格：USD 47,500（相當於今日EUR 55,500） 描述：A rare carved stone figure of the Buddha，Northern Qi Period (550-577) CE 專家評論：比較非常相近的主題、風格和雕刻技巧，以及外形。請注意幾乎相同的尺寸(63.5 釐米)。
Lot 168
A MONUMENTAL HEAD OF VAIROCANA, THE PRIMORDIAL BUDDHA, CIRCA 500-800 ADExpert's note: The present head is extraordinarily rare due to its exceptional size and history as part of a towering statue, likely standing around four meters tall, once gracing the exterior of a significant temple or cave shrine. It portrays a most important solely Buddhist subject, showcases a clear Gupta influence not seen in later Chinese sculpture, and was carved from red sandstone, a direct tribute to the art of Mathura. It therefore dates back to the Tang dynasty, if not considerably earlier, with a vanishingly small possibility of originating at the beginning of the Song dynasty. Powerfully yet sensitively sculpted, the full rounded face is carved with soft bow-shaped lips, the elongated eyes elegantly delineated beneath gracefully arched brows, the hair in crisply carved curls. Surmounted by a tall crown with three figures in high relief representing the Buddhas of the past, present, and future, each seated in dhyanasana on a lotus throne.Provenance: From the personal collection of J. J. Lally, New York, USA. With two labels from J. J. Lally, each inscribed with the number '4154'. James J. Lally was a renowned antique dealer and connoisseur, recognized as one of the greatest scholar-dealers of Chinese art, who has been a leader in the field for more than 40 years. After graduating from Harvard College and Columbia University, Lally joined Sotheby's where he held many positions within the Chinese art department. In 1970, he served as the director of Chinese works of art at Sotheby's in New York and Hong Kong, and by 1983 was named president of Sotheby's in North America. In 1986 he founded his namesake gallery, J. J. Lally & Co., at 41 East 57th Street in New York - just a few blocks away from the MoMA, to provide advisory services for keen collectors. Lally fondly recalls the moment, not long after he opened his gallery, when a young man walked through the door with a Shang Dynasty gong-a bronze vessel shaped like a gravy boat-decorated with a dragon and tiger and in beautiful condition. It was, Lally described, “one of the most important objects I ever had in my hands." The young man said he had inherited it from his father and was not really interested in Chinese art himself. He wanted to buy a sailboat and wondered if the gong was valuable enough to pay for that. “I was very happy to tell him that it was valuable enough to buy two sailboats," Lally noted. The gallery helped to establish New York as a major center of commerce for Chinese art and allowed Lally to concentrate on his own specific interests, particularly early ceramics, ritual bronze vessels, archaic jade carvings and sculpture. Lally brought a learned approach to his work, publishing detailed, scholarly catalogs that have remained important reference guides within the field. This meticulous approach continued when he produced his own exhibitions and catalogs. Giuseppe Eskenazi, dubbed the “Godfather of Chinese Antiques," and one of the world's most esteemed Chinese art dealers, also spoke highly of Lally for his achievements in the industry, alongside William Chak from Hong Kong, and the Marchant family from London. In the spring of 2023, Christie's and Bonhams conducted single owner sales of Lally's collection which broke several auction records. Condition: Excellent condition, commensurate with age. Old wear, encrustations, and erosion. Obvious losses, minor nicks and scratches. The originally rather porous sedimentary rock now almost completely smoothed out by more than a millennia of weathering and worship. Magnificent naturally grown patina overall, giving the stone a deep auburn color.Weight: 120 kg (incl. stand) Dimensions: Height 60.1 (excl. stand) and 95 cm (incl. stand)With a fitted stand. (2)Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.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
Lot 170
AN INSCRIBED BUDDHIST LIMESTONE STELE, TANG DYNASTYChina, 618-907. The arched stele deeply carved with a central Buddha seated in dhyanasana on a throne, with robes cascading in voluminous folds, flanked by two disciples as well as two bodhisattvas standing on lotus pedestals, all above a central stupa flanked by two Buddhist lions and below a canopy finely incised with foliate designs, all supported on a rectangular base neatly incised with an inscription as well as figures of monks.Inscription: The bottom right corner of the base reads 'Bhikkhuni Zhen […] commissioned the creation of the Buddhist triad for the sick.'Provenance: From an old private estate near Copenhagen, Denmark, by repute acquired before the Second World War. Danish trade, acquired from the above.Condition: Good condition, commensurate with age. Extensive wear, scratches, nicks, chips, minor losses, signs of weathering and erosion, the stone with natural fissures.Weight: 17.8 kgDimensions: Height 37 cm Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 1 April 2019, lot 3015 Estimate: 500,000 HKD or approx. EUR 63,000 converted and adjusted for inflation at the time of writing Description: A rare limestone 'Buddhist triad' stele, Tang dynasty, 618-907 Expert remark: Note the smaller size (26.4 cm) and the arched form of the stele.Auction result comparison: Type: Related Auction: Christie's New York, 15 September 2017, lot 918 Price: USD 11,250 or approx. EUR 13,000 converted and adjusted for inflation at the time of writing Description: Grey limestone Buddhist stele, Tang Dynasty, 618-907 Expert remark: Note the related size (34.6 cm), compare the dedicatory inscription written along the rectangular base of the stele. 唐代石灰石佛碑中國，618-907年。此尊龕式造像碑，裝飾精美。高浮雕佛陀立蓮像，右手施無畏印，左手與願印，身穿寬鬆袈裟，面容安詳。雙眼微垂，面容豐滿，頭上結螺髻。兩側為二位弟子與二位立於蓮花座上的菩薩。蓮座下方兩隻面對面的獅子。矩形底座。 款識：比丘尼貞□為身患得恙敬造阿彌陀石像一舖供養時佛 來源：丹麥哥本哈根附近一個私人舊藏，據説購於二戰前；丹麥古玩交易，購於上述舊藏。 品相：狀況良好，大面積磨損、劃痕、刻痕、缺口、輕微缺損、風化和侵蝕跡象，石料帶有天然裂縫。 重量：17.8 公斤 尺寸：高 37 釐米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2019年4月1日，lot 3015 估價：HKD 500,000（相當於今日EUR 63,000） 描述：唐石灰石浮雕一佛二菩薩龕 專家評論：請注意尺寸較小(26.4 釐米)，以及石碑的拱形形狀。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2017年9月15日，lot 918 價格：USD 11,250（相當於今日EUR 13,000） 描述： 618-907年唐代灰色石灰石佛碑 專家評論：請注意相近 尺寸(34.6 釐米)。
Lot 171
A LIMESTONE TORSO OF A BODHISATTVA, TANG DYNASTYChina, early 8th century. The slender, elegant figure well carved standing in a subtle tribhanga pose, wearing a clinging diaphanous skirt falling in graceful folds, with scarves tied diagonally around the torso and draped from the shoulders, richly adorned with elaborate jewelry including beaded and foliate necklaces as well as pendent ornaments of floral design. The gray limestone with hues of maroon and a superb, naturally grown patina overall.Provenance: From the personal collection of Ed Hardy, who is an American artist known for his strong influence on the development of modern tattoo styles, and his eponymous apparel and accessories brand. He became recognized for being the main driver in incorporating ancient Asian tattoo aesthetics and techniques into Western styles of work, taking tattoos from a fringe culture into the mainstream. Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, a minor structural crack with an associated old fill (only visible under strong blue light), signs of weathering and erosion, encrustations. Overall displaying exceptionally well.Weight: 39.9 kg (incl. stand) Dimensions: Height 58.5 cm (excl. stand) and 67.4 cm (incl. stand) With a modern metal stand. (2) Expert's note: The 5th-century Gupta influence on Tang Buddhist sculpture is manifest in the sensuously rounded body of the present lot, together with the diaphanous robes and jewelry. Two related Tang Dynasty bodhisattvas, standing in contrapposto and currently residing in the Zhengzhou Museum, published in Annette Juliano's Treasures of Ancient China in 1981 (see image section), were unearthed at the site of the Dahai Monastery in Xingyang County, Henan Province. The folds to the robes, the simplified jewelry over the outlined pectorals, and the slightly forward abdominal bulge are all similar to the current lot, which may originate from the same region.Literature comparison: Stylistically, the present figure relates most closely to some of the Tianlongshan figures. Compare a related sandstone figure from Tianlongshan, Shanxi Province, 101.6 cm high, dated approx. 700-750, in the Asian Art Museum of San Francisco, object number B60S6+. The present figure is also related to some of the larger figures from Longmen, such as the standing bodhisattva in a similar pose, with U-shaped drapery folds and roll of material at the waist, illustrated in Longmen Liusan Diaoxiang Ji (The Lost Statues of the Longmen Caves), Shanghai, 1993, p. 71, no. 78. Compare a similar stone figure of a bodhisattva illustrated by O. Siren, Kinas Kunst Under Tre Artusenden, vol. 2, Stockholm, 1943, fig. 73A. For a related figure in white marble with more elaborate realization of the drapery and with one foot placed slightly forward, see the figure from Longyenshan, Hebei, illustrated by W. Willetts, Foundations of Chinese Art, London, 1965, p. 222, fig. 139.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 1999, lot 162 Price: USD 134,500 or approx. EUR 218,000 converted and adjusted for inflation at the time of writing Description: A rare well-carved gray stone torso of a bodhisattva, Tang dynasty, early 8th century Expert remark: Compare the closely related pose, drapery, and folds. Note the related size (63.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 唐代石灰石菩薩殘軀優雅身姿，三曲式，外衣輕薄而貼身，飾有精美的珠寶，如串珠和葉狀項鍊以及花卉紋的吊飾。順著身體結構起伏，雙腿輪廓隱約可見，褶皺線條流暢。灰色石灰石，自然包漿光滑。 來源：美國藝術家 Ed Hardy 私人收藏，Ed Hardy 因其對現代紋身風格發展的強大影響而聞名，以及他的同名服裝和配飾品牌。他可以説是將古代亞洲紋身美學和技術融入西方工作風格的主要推動者，將紋身從邊緣文化帶入主流。 品相：狀態良好，大面積磨損、缺損、刻痕、劃痕、與舊填充物相關的輕微結構裂縫（僅在強藍光下可見）、風化和侵蝕的跡象、結殼。 重量：39.9 公斤 (含底座) 尺寸：高 58.5 厘米 (不含底座) 及67.4 厘米 (含底座) 現代金屬支架 (2) 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，1999年3月22日，lot 162 價格：USD 134,500（相當於今日EUR 218,000） 描述：八世紀初期唐代菩薩殘軀 專家評論：比較非常相近的姿勢、罩衫和皺褶。請注意相近 尺寸 (63.5 釐米)。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
Lot 183
A LIMESTONE STELE OF VISHNU, LATE MALLA, THREE KINGDOMS PERIODNepal, 1520-1768. Finely carved as Vishnu standing in samabhanga atop a lotus base, holding a conch shell, battle club, lotus bud and war discus in his four hands, wearing a richly incised dhoti pleated to the front. The body adorned with elaborate jewelry, including armlets, wristbands, and foliate earrings. His face with heavy-lidded eyes below gently arched brows and slender lips forming a calm smile, backed by a halo. Embellished with a vanamala (long floral garland) reaching his knees, the relief is set within a foliate arch.Provenance: Belgian trade, by repute acquired from a local collection in Ghent.Condition: Very good condition, commensurate with age. Extensive wear, shallow surface scratches, signs of weathering and erosion. Small losses, nicks and cracks, some encrustations. Remnants of red pigment.Weight: 2,287 gDimensions: Height 22.8 cm (excl. stand), 26.5 cm (incl. stand) Mounted to an associated oakwood stand. (2)Vishnu's four hands hold objects that are symbols of his divine qualities and martial kingly attributes: a chakra or war-disk (representing the mind), a conch shell (the four elements), a lotus flower (the moving universe) and the club (primeval knowledge).Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 10 June 2014, lot 333Estimate: EUR 8,000 or approx. EUR 9,500 adjusted for inflation at the time of writingDescription: Sandstone stele representing Vishnu Nepal, Malla period, 18th centuryAuction result comparison:Type: RelatedAuction: Christie's Paris, 20 June 2017, lot 160Price: EUR 7,500 or approx. EUR 8,700 adjusted for inflation at the time of writingDescription: Stone stele representing Vishnu, Nepal, 17thcenturyExpert remark: Note the size (42 cm). 馬拉王朝末期三國時代石灰石毗濕奴碑尼泊爾，1520-1768 年。 毗濕奴立於蓮座上，四手持著海螺、蓮花、金剛杵和法輪，衣紋流暢，佩戴精緻的珠寶，如臂環、腕帶和葉形耳環。雙眼微閉，眉毛輕彎，笑容安詳，背後有光背。來源：比利時古玩交易，據說是從根特當地收購。 品相：狀況極好，大面積磨損、淺表面劃痕、風化和侵蝕跡象，小缺損、刻痕和裂縫、一些結殼，紅色素殘留。 重量：2,287 克 尺寸：高 22.8 厘米 (不含底座)，總高 26.5 厘米 木底座 (2) 毗濕奴四個法器分別為海螺、蓮花、金剛杵和法輪，象徵著四種元素、宇宙、知識和心靈。拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2014年6月10日，lot 333 估價：EUR 8,000（相當於今日EUR 9,500） 描述：尼泊爾、十八世紀石雕毘濕奴立像碑 拍賣結果比較： 形制：相近 拍賣：巴黎蘇富比，2017年6月20日，lot 160 價格：EUR 7,500（相當於今日EUR 8,700） 描述：十七世紀尼泊爾石雕毘濕奴立像碑 專家評論：請注意尺寸 (42 釐米)。
Lot 213
AN IMPORTANT OVER-LIFESIZE ANDESITE HEAD OF BUDDHA, CENTRAL JAVANESE PERIOD, INDONESIA, 9TH CENTURYExpert's note: The current lot exhibits compelling similarities to the renowned group of Buddha statues from Borobudur and can in particular be compared to several examples found at the Rupadhatu level. While appearing similar, each Buddha statue within this group actually possesses subtle variations, encompassing varying hand positions (mudras) and distinct facial features. These nuances symbolize distinct facets of enlightenment, from compassion and wisdom to spiritual power. For a closely related statue from the same period, see an andesite statue of Buddha which remains in situ at Borobudur (fig. 1). This particular statue exhibits several shared facial characteristics with the current lot, including outlined lips and crescent-shaped eyes, which become particularly apparent when viewed side by side (fig. 2) or superimposed over each other (fig. 3).Superbly carved, the serene face with sinuously lidded downcast eyes below gently arched brows centered by a raised circular urna, above a broad nose and full bow-shaped lips with a raised lower edge forming a benevolent smile, flanked by long pendulous earlobes with pointed helices. The hair arranged in neatly incised snail-shell curls over the high ushnisha.Provenance: From a European private collection, acquired before 2007, and thence by descent.Condition: Superb condition, commensurate with age. Extensive wear, expected losses, signs of weathering and erosion, minor nicks. The stone with a superb, naturally grown, dark patina overall.Weight: 25.2 kg (incl. stand)Dimensions: Height 42 cm (excl. stand) and 58.5 cm (incl. stand) With an associated stand. (2)The present andesite head epitomizes the ingenuity of the Central Javanese stone carvers of the time, with distinct characteristics such as the incised pupils, large and elongated ears, and masterful snail-shell curls, arguably the best-designed facial features across all Buddhist art. Furthermore, the present sculpture bears the telltale signs of smoothened areas where beholders were gripped with the overt temptation to caress the head, which combined with the porous nature of the stone give it a unique yet unmistakable and, without a doubt, inimitable appearance.A Buddha image of ineffable quiet and stillness has been carved from rough volcanic rock. The profile and dome of the head are broad, allowing for a round tapering of the forehead, cheeks, and chin that, once finished with a polish, produce an overall impression of smoothness, belying the porous nature of the stone, which has resisted over a millennium of weather exposure with stunning ease. The sculptors working on the great stone monuments of 9th century Central Java produced some of the most beautifully proportioned Buddhist sculptures of any period or medium.The present statue is almost certainly from Borobudur or a related temple site, such as Sewu or Ngawen in Central Java. Built by the Shailendra dynasty around 825 CE, Borobudur is one of the greatest Buddhist monuments of all time, having one of the largest and most complete ensembles of Buddhist narrative relief panels in the world. Structured as a mandala of stacked platforms representing the three planes of existence in Mahayana cosmology (the world of desire, the world of forms, and the world of formlessness), Borobodur invites pilgrims circumambulating its didactic panels and sculpture to shuck the trappings of their perceived reality and realize their true inherent formlessness.Literature comparison: Compare a related andesite head of Buddha, 36 cm high, dated c. 800, originally part of a sculpture at Candi Sewu, Java, now in the Museum of Fine Arts, Boston, accession number 43.6, illustrated by Ananda K. Coomaraswamy, “A Buddha Head from Java", Bulletin of the Museum of Fine Arts, Vol. 41, No. 244 (June 1943), pp. 33-34. Three examples in the British Museum collected by Sir Thomas Stamford Raffles in the early 19th century demonstrate that not all Borobudur Buddha heads were created equal (1859,1228.175, 1859,1228.176, 1859,1228.177). Some have softer, more delicate brows while others show harder features and more pronounced monobrows. Some have spire-like ushnishas, while others are broader and more pleasing. Of the three British Museum heads, it is the most celebrated and widely exhibited one (1859,1228.176) that bears the closest resemblance to the present lot, illuminating its quality.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 March 2016, lot 23Price: USD 509,000 or approx. EUR 596,000 converted and adjusted for inflation at the time of writingDescription: An important stone head of Buddha, Indonesia, Central Java, 9th centuryExpert remark: Compare the closely related stone, manner of carving, and expression. While the Christie's example hails from a well-known collection, the current lot bears greater resemblance to pieces found in prominent museum collections. Both examples share similar features and size, but the current lot stands out as aesthetically superior. Note the related size (39.9 cm)Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2012, lot 143Price: USD 170,500 or approx. EUR 207,000 converted and adjusted for inflation at the time of writingDescription: An andesite head of Buddha, Indonesia, central Java, 9th centuryExpert remark: Compare the closely related stone, manner of carving, and expression. Note the much smaller size (36.8 cm).
Lot 218
A BRONZE FIGURE OF BUDDHA MUCHALINDA, KHMER EMPIRE, ANGKOR PERIODKhmer Empire, 12th-13th century. Cast seated in meditation on a coiled snake, his hands held in his lap in dhyanamudra, wearing a dhoti secured at the waist, a thick torque around his neck, the face with a benign expression flanked by pendulous earlobes, the hair pulled into a conical chignon surmounted by an ushnisha and secured with a wide tiara.The seven-headed serpent rising above his head to form a hood sheltering the figure. The faces of the nagas remarkably well-defined and with neatly incised scales.Provenance: From a noted private collection in Belgium. Condition: Very good condition with old wear and some minor casting flaws, small nicks and losses, and tiny scratches. A naturally grown, fine deep brown and dark green patina overall. Ancient soil encrustations and remnants of pigment.Weight: 1,851 g (incl. stand) Dimensions: Height 23.6 cm (excl. stand) and 25.5 cm (incl. stand) Mounted on an associated wood base.This iconic image of Siddartha Gautama's pursuit of enlightenment shows the scene when torrential rain threatened to drown him. The king of the nagas, Muchalinda, rose from the earth, coiling his body to form a seat swelling his great hood to shelter Buddha beneath his seven-headed canopy. Only few early examples of this type have been recorded. The well-modeled naga hood in later stylistic development dissolves into greater ornamentation; compare to an in situ example of a stone sculpture of Buddha Muchalinda, illustrated in M. Freeman and R. Warner, Angkor, The Hidden Glories, 1990, page 128.Literature comparison:Compare a related bronze figure of Buddha Muchalinda, 16 cm high, dated to the Angkor period, 12th century, in the National Museum in Phnom Penh, inventory number NMC.419. Compare a related bronze figure of Buddha Muchalinda, 14.2 cm high, dated to the Angkor period, 12th century, in the National Museum in Phnom Penh, inventory number NMC.414. Compare a related bronze figure of Buddha Muchalinda, 11.4 cm high, dated to the Angkor period, 12th-13th century, in the Brooklyn Museum, accession number 83.237.4.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2002, lot 11Price: USD 94,000 or approx. EUR 149,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Buddha Muchalinda, Khmer, Bayon style, late 12th/13th centuryExpert remark: Note the larger size (29.1 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2009, lot 1433Price: USD 15,000 or approx. EUR 20,000 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha Muchalinda, Thailand, Lobpuri period, 13th centuryExpert remark: Note the smaller size (19.5 cm).
Lot 219
A LARGE AND IMPORTANT BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEKhmer Empire, 12th-13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity clad in a short sampot with fishtail pleat and jeweled sash, incised finely with foliate decorations. His hands depicted holding his attributes. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, aquiline nose, an urna, full lips and ears with pendulous earrings.Provenance: Old Spanish private collection, acquired in the 1960s. Old French private collection, acquired from the above in 1998. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 30 September 2005, confirming the dating and provenance above, accompanies this lot. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Good condition commensurate with age. As expected, there is extensive wear, some casting flaws, losses, signs of weathering and erosion, few nicks and shallow surface scratches, fatigue cracks with associate losses and old fills, all as expected from a Khmer bronze of nearly 1,000 years of age. Superb, naturally grown, rich patina with extensive malachite encrustation and faint hues of cuprite.Weight: 3,077 g cm (excl. stand), 3,372 g (including base)Dimensions: Height 40.6 cm (excl. stand), 46 cm (including base) With a modern wood base. (2)Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms, varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. And also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 September 2000, lot 157Price: USD 138,000 or approx. EUR 225,000 converted and adjusted for inflation at the time of writingDescription: An Important Bronze Figure of Avalokiteshvara, Khmer, Koh Ker Style, 10th CenturyExpert remark: Note the similar size (44 cm). Bronze figures from the Khmer empire with a size exceeding 40 cm are extremely rare, which is why this comparison was chosen, although this statue is from Koh Ker and dates to the 10th century.
Lot 22
AN EXCEPTIONAL YELLOW JADE FIGURE OF A BEAR, HUANGXIONG, HAN DYNASTY, CHINA, 202 BC - 220 ADExpert's note: At peace with itself and the world, the bear appears to be enjoying the moment and is wholly lacking the ferocity that typifies most Han-dynasty representations of bears, tigers, and other wild beasts, marking this as an astonishingly rare and naturalistic sculpture. The stone is calcified throughout, but a single patch of the original jade fades from a fine yellow tone through a deep orange into a remarkable cinnabar red, exemplifying the fact that jade can have almost any color.Special care seems to have been given to this jade bear after its rediscovery. Not only has the stone been finely polished by a dedicated craftsman after it's retrieval from the earth - extensive soil encrustations remain visible all over the exterior - but it was also repaired with a neatly lacquered replacement piece meticulously inserted to the lower jaw. This lacquer repair, likely Japanese in origin, interplays nicely with the red shades on the left hind leg of the bear. The conclusion of this author is that the present lot was probably found at some point around the 18th century, where it was treated as described above, and eventually brought to Japan, where the red lacquer repair has been carried out. From there it made its way to Europe, probably at some point in the earlier part of the 20th century. Also note that until 1945, the German Reich and the Japanese Empire were close allies, exchanging on many different levels of culture.The small yet compelling sculpture represents a plump bear seated on its haunches in a moment of repose. The round eyes gazing forward and flanking the nose, the forehead with a central line below the attentively raised ears, the spine extending to the short, peach-form tail with very fine incised lines on either side, the haunches well rounded and extending to the muscular legs and clawed paws, with one tucked underneath. The opaque jade is of a deep yellow hue with orange, red and russet shades, covered almost entirely in ancient calcification.Provenance: From a German private estate, by repute acquired by an unknown ancestor long time ago and in the family ever since. Condition: Good condition, commensurate with age, displaying exceptionally well. Signs of wear and weathering, losses, nicks, calcification and encrustation as a result of an extended period of burial. An ancient red lacquer 'Kintsugi' style repair to the lower jaw, most likely applied in Japan a long time ago. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. The calcification also covers most of the incision work, which becomes apparent from looking at the tail which is not completely calcified.Weight: 212 g Dimensions: Height 6.6 cmAuction result comparison: Type: Related Auction: Bonhams Hong Kong, 27 November 2018, lot 108 Price: HKD 6,700,000 or approx. EUR 859,000 converted and adjusted for inflation at the time of writing Description: An exceedingly rare and important white and russet jade carving of a bear, Western Han dynasty Expert remark: Note the related facial features of this jade bear. Note the size (5.7 cm).Auction result comparison: Type: Related Auction: Sotheby's Paris, 13 May 2014, lot 20 Price: EUR 247,500 or approx. EUR 283,000 adjusted for inflation at the time of writing Description: A rare celadon-yellow jade bear, Song dynasty or earlier Expert remark: Compare the closely related subject. Compare also the fine detailing and incision work. Note the slightly smaller size (5.1 cm) and celadon-yellow color.Auction result comparison: Type: Related Auction: Sotheby's Paris, 13 May 2014, lot 18 Price: EUR 4,207,500 or approx. EUR 4,818,000 adjusted for inflation at the time of writing Description: A rare yellow jade mythical animal, Song dynasty or earlier Expert remark: Compare the closely related pose. Compare also the related carving with similar drooping chest and rotund belly as well as the fine detailing and incision work. The mythical animal has a bear-like appearance with the addition of wings and horns. Note the slightly smaller size (5 cm) and yellow color. Note also that this jade was previously published and exhibited by J. J. Lally & Co., Chinese Archaic Jades and Bronzes from the Estate of Professor Max Loehr and Others, New York, 1993, cat. no. 85.Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.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
Lot 220
A LARGE BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEExhibited: Los Angeles County Museum of Art, USA, according to the expertise from Jacques Barrere Art D'Extrême Orient, dated 9 July 2001.Khmer Empire, late 12th to early 13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity is clad in a short sampot with fishtail pleat and jeweled sash, to the back a flared tang. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, an aquiline nose, an urna, and full lips.Provenance: Former Pan Asian Collection. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 9 July 2001, confirming the dating and provenance above, accompanies this lot. The expertise also states a 'replacement value' of 170,000 FF or EUR 37,500, converted and adjusted for inflation. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Excellent condition, commensurate with age. There is extensive wear, some casting flaws, minor losses, signs of weathering and erosion, small nicks and shallow surface scratches, all as expected from a Khmer bronze of nearly 1,000 years of age. Faint remnants of gilt.Weight: 3,557 gDimensions: Height 38.8 cm Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. Also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 8 June 2004, lot 437Estimate: GBP 18,000 or approx. EUR 42,500 adjusted for inflation at the time of writingDescription: A large and important bronze figure of a five headed ten-armed deity, probably Sadasiva, Khmer, Angkor Period, Angkor Wat style, 12th CenturyExpert remark: Note the smaller size (32 cm).Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 10 December 2002, lot 114Price: EUR 33,460 or approx. EUR 52,500 adjusted for inflation at the time of writingDescription: A Khmer, Angkor Vat style, bronze figure of PrajnaparamitaExpert remark: Note the larger size (46 cm).
Lot 228
A GRAY SCHIST FRIEZE DEPICTING BUDDHA'S PARINIRVANA, ANCIENT REGION OF GANDHARA, KUSHAN PERIOD2nd-4th century. Finely carved with the dying Buddha lying on his right side on a raised bed, resting his head on a round cushion, surrounded by his mourning disciples. Behind him, three mourners raise their hands above their heads in lament with distraught facial expressions. Haloed mourners standing on each side rest their hands on the bed, flanked by tall columns. Below the bed sit three mourners, two facing out while the third, the monk Subhadra, is reassured in his knowledge of Buddha's achievement of nirvana.Provenance: From a private collection in Germany. Condition: Good condition, commensurate with age. Old wear, signs of weathering and erosion, losses, nicks, scratches, soil encrustations.Weight: 15.1 kg Dimensions: Length 48.2 cm Mounted on a metal stand. (2)According to the Buddhist chronicles, when Buddha died near the city of Kushinagara, in northern India, he broke free from the cycle of rebirths and attained nirvana, absolute release from karmic rebirth. This panel shows the Buddha surrounded by lay and monastic mourners expressing their grief. These reactions are contrasted with the calm of the monk Subhadra, seated facing Buddha's corpse raising his hands, who alone comprehends the true meaning of the Buddha's death. Images of Buddha's Parinirvana from Gandhara became important icons for veneration across the Buddhist world in the following centuries.Literature comparison:Compare a related schist frieze depicting the death of the Buddha (Parinirvana), 41.1 cm wide, dated 2nd-3rd century BC, in the Metropolitan Museum of Art, accession number 67.43.13.Auction result comparison: Type: Related Auction: Christie's New York, 23 September 2020, lot 627 Price: USD 35,000 or approx. EUR 37,500 converted and adjusted for inflation at the time of writing Description: A green schist relief depicting the Parinirvana, ancient region of Gandhara, probably Swat Valley, 2nd-4th century. Expert remark: Compare the related stone, subject, and manner of carving. Note the smaller size (34 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2011, lot 239 Price: USD 40,000 or approx. EUR 50,500 converted and adjusted for inflation at the time of writing Description: A gray schist stupa base with scenes from Buddha's life, Gandhara, 2nd/3rd century Expert remark: Compare the related stone, subject, and manner of carving. Note the size (34.3 cm) and that this is a stupa base carved with further scenes from Buddha's life. 健陀羅灰色片岩佛陀涅槃像貴霜帝國，二至四世紀。這件作品中畫面正中為右脅在下獅子臥的釋迦，右手枕在鋪著床上，雙足交疊。釋迦左側床頭站立一人，曲發、鬍髭，著希臘式服裝，神情悲切，手中可能拿著金剛杵，應是執金剛。釋迦床前坐三名弟子，左起第一位掩面而泣，神情悲慟。中間一人垂頭而坐。釋迦腳下所坐僧人可能是禮拜佛足的摩訶迦葉。釋迦身後站有四名世俗人物，格外悲傷，應是拘尸那揭羅的王公貴族。整件作品線條細膩，眾人各異的神情生動地表現了佛陀涅槃時的悲痛氛圍，是一件典型的犍陀羅風格的佛陀涅槃作品。 來源：德國私人收藏。 品相：狀態良好，有磨損、風化和侵蝕跡象、損失、刻痕、劃痕、土壤結殼。 重量：15.1 公斤 尺寸：長 48.2 厘米 金屬底座固定 (2) 文獻比較: 比較一件相近的二至三世紀灰色片岩佛陀涅槃像，寬41.1 厘米，收藏於大都會藝術博物館，館藏編號67.43.13。 拍賣比較： 形制：相近 拍賣：紐約佳士得，2020年9月23日，lot 627 價格：USD 35,000（相當今日EUR 37,500） 描述：二至四世紀健陀羅綠色片岩斯瓦特谷佛陀涅槃像 專家註釋：比較相近的岩石、主題和雕刻風格。請注意尺寸較小 (34 厘米)。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2011年3月22日，lot 239 價格：USD 40,000（相當今日EUR 50,500） 描述：二至三世紀健陀羅灰色片岩佛陀人生像 專家註釋：比較相近的岩石、主題和雕刻風格。請注意 尺寸 (34.3 厘米) ，這是一座佛塔底座，上面描述佛陀的一生。
Lot 231
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
Lot 234
A LIMESTONE FIGURE OF THE THREE-HEADED VAIKUNTHA VISHNU, HINDU SHAHINorthwestern India, 8th century. Gracefully modeled, the deity standing in slight tribhanga, holding a conch in his left hand and a lotus blossom in his right. Three-headed, his main head flanked by that of a lion to his right and that of a boar to his left. He is wearing a short pleated dhoti tied at the waist and adorned with a lotus garland and fine jewelry. His serene face with almond-shaped eyes below gently arched brows centered by a raised circular urna, above a wavy mustache, bow-shaped lips, and prominent chin. His hair arranged in curly locks beneath the elaborate tiara.Provenance: Italian private collection. Leonardo Vigorelli, Bergamo, Italy, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is run by his two sons.Condition: Good condition, commensurate with age. Wear, signs of weathering and erosion, minor structural cracks, losses, few minor old fills, nicks, scratches, encrustations. The stone with a fine, naturally grown patina overall.Weight: 63 kg (incl. stand)Dimensions: Height 103.4 cm (incl. stand) and 85.4 cm (excl. stand) With an associated stand. (2)This complex form of Vishnu is identifiable by the epithet Para-Vasudeva, “the highest god." The lion and boar represent Vishnu's Varaha and Narasimha avatars. Similar carvings include a fourth face on the back, a demonic, grimacing representation with fangs and a vertical third eye on the forehead. The small attendant on Vishnu's right is Chakra purusha, the personification of his war disk, on which the gods left hand rests. The earth goddess Prithvi stands between Vishnu's legs.Under the Hindu Shahi rulers in the 8th-13th century, a unique style of sculpture and architecture developed that departed from the Kushan and Gupta style of the central plains. It is evident that the distinctive facial features and hair styles reflect the earlier Gandharan style to a certain degree.Literature comparison:For related Shahi sculptures, see Donald M. Stadtner, 'Shahi Sculpture Revisited,' Orientations, October 1999, p. 68-73.Auction result comparison: Type: Related Auction: Christie's Amsterdam, 18 October 2005, lot 14 Price: EUR 11,950 or approx. EUR 17,500 adjusted for inflation at the time of writing Description: A Hindu Shahi marble bust of Vaikuntavishnu, circa 8th century Expert remark: Compare the related modeling and iconography. Note the much smaller size (28 cm).
Lot 237
A GRANITE STELE OF SHIVA ARDHANARISHVARA AND NANDI, CHOLA PERIOD, SOUTH INDIA, TAMIL NADU, 11TH-12TH CENTURYExpert's note: This inspiring statue was originally carved to depict Ardhanarishvara, Shiva's half-male and half-female form, as indicated by the earring on the left ear, and especially the left half of the chest with an area of loss where a female breast once was, a crucial detail not mentioned by Christie's Amsterdam when they sold this figure in 2007. Ardhanarishvara (lit. 'The half-female Lord'), is a form of the Hindu deity Shiva combined with his consort Parvati, depicted as half-male and half-female, equally split down the middle. The right half is usually the male Shiva, illustrating his traditional attributes, including his abode Nandi, such as in the present lot.Superbly and deeply carved standing in tribhanga and leaning against Nandi, his four arms holding attributes including a trishula, and wearing a dhoti. The deity adorned with beaded jewelry, the face with a serene expression, the hair crowned with a high chignon.Provenance: Werner Coninx, Zurich, Switzerland, and thence by descent within the same family. Christie's Amsterdam, 21 November, 2007, lot 569, sold for EUR 7,450 or approx. EUR 11,000 (adjusted for inflation at the time of writing), by repute acquired from the above. A noted European private collection, acquired from the above. Werner Coninx (1911-1980) was one of the world's most voracious art collectors. The son of a prominent Swiss publisher, and a friend of the important Swiss novelist Max Frisch, who mentioned Coninx in his novel Montauk, he amassed some 14,000 paintings, drawings, and sculptures during his lifetime. In terms of sheer size, his art collection was probably the largest in Switzerland. Broadly based, ranging from Swiss art to German Expressionism and French Impressionism to East Asian art, ancient Greece, and Africa, it remains unforgotten to this day.Condition: Condition commensurate with age. Extensive wear, losses, cracks, nicks, and signs of weathering and erosion, natural encrustations, all as expected from a granite figure with almost an entire millennium of age. The stone with a beautiful and smooth surface, nicely worn down from centuries of rain and devoted worship within the culture, resulting in a remarkably unctuous feel overall.Weight: 151.4 kg (excl. stand) Dimensions: Height 100 cm (excl. stand) and 101 cm (incl. stand) With an associated metal stand. (2)The earliest Ardhanarishvara images are dated to the Kushan period, starting from the first century CE. Its iconography evolved and was perfected in the Gupta era. The Puranas and various iconographic treatises write about the mythology and iconography of Ardhanarishvara, which remains a popular iconographic form found in most Shiva temples throughout India today, though very few temples are dedicated to this deity.Ardhanarishvara represents the synthesis of masculine and feminine energies of the universe (Purusha and Prakriti) and illustrates how Shakti, the female principle of God, is inseparable from (or the same as, according to some interpretations) Shiva, the male principle of God, and vice versa. The union of these principles is exalted as the root and womb of all creation. Another view is that Ardhanarishvara is a symbol of Shiva's all-pervasive nature.Auction result comparison:Type: Closely related Auction: Christie's New York, 21 March 2008, lot 758 Price: USD 51,400 or approx. EUR 68,500 converted and adjusted for inflation at the time of writing Description: A granite figure of Vishnu, South India, Chola period, 12th/13th centuryExpert remark: Note the slightly larger size (113.7 cm).
Lot 240
A BLACK STONE STELE OF PADMAPANI, PALA PERIOD, NORTHEASTERN INDIA, 10TH-12TH CENTURYSeated in lalitasana on a double lotus throne with a pendent leg resting on a separate padma, his primary right hand lowered in varada mudra and his primary left resting on the base holding a lotus coming to full bloom at his shoulder. His secondary hands holding a mala (rosary) and an amrita vase. He is wearing a sheer dhoti tied at the waist and his body is richly adorned with beaded jewelry and upavita (sacred thread). His serene face with almond-shaped eyes below gently arched eyebrows centered by a drop-shaped urna, above his full lips forming a calm smile, flanked by long pendulous earlobes.Provenance: Collection of Giovanni Paltenghi, Italy, by the early 1990s. Leonardo Vigorelli, Bergamo, Italy, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is run by his two sons.Condition: Excellent condition, commensurate with age. Ancient wear from within the culture, signs of weathering and erosion, minor losses, small nicks, light scratches, and minute encrustations. The stone with a fine, naturally grown, smooth patina overall.Weight: 50.8 kg Dimensions: Height 56 cm His tall jatamukata is secured by a studded diadem centered with a diminutive image of the Buddha Amitabha, backed by a flaming mandorla and flanked by two flying apsaras carrying lotus garlands. The base is carved with a worshiper kneeling at an altar.Avalokiteshvara (The Allseeing Lord), known variously as Lokeshvara (Lord of the World), Lokanatha (Savior of the World), and Padmapani (The Lotus-bearer), is the pre-eminent bodhisattva of Mahayana Buddhism, which developed in India during the early centuries of the Common Era, and has remained an inspiration to its followers to this day. As a result, he has a wide variety of iconographic forms in both India and all other countries of Asia where his cult spread, as is clear from the surviving archaeological and literary evidence. He was especially venerated in the region of present-day Bihar, West Bengal, and Bangladesh in the Indian subcontinent between the 8th and 12th centuries.The present sculpture is carved from the familiar black stone that occurs in the region of both Bihar and old Bengal (now West Bengal in India and Bangladesh). The material is identified in literature generically as schist but is also known as phylite. The hardness of the stone allows it to be carved confidently into rich surfaces with both exuberant designs and fine details, as becomes abundantly evident in the present work.Literature comparison:Compare a related stele with a seated Avalokiteshvara, 50.2 cm high, dated 11th-12th century, in the Brooklyn Museum, accession number 1994.199.4.Auction result comparison: Type: Closely related Auction: Christie's New York, 18 September 2013, lot 233 Price: USD 111,750 or approx. EUR 123,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of Padmapani, Northeastern India, Pala period, 10th century Expert remark: Compare the related modeling and iconography. Note the much smaller size (28 cm).Compare the related modeling and iconography. Note the much smaller size (28 cm).Compare the related modeling and iconography. Note the much smaller size (28 cm).ompare the closely related modeling with the primary hands in the same poses, his secondary right also holding a mala, also seated in lalitasana with a pendent foot resting on a lotus, and further with similar expression, beaded jewelry, and jatamukata fronted by an image of Amitabha. Note the arched back carved with the Buddhist creed. Note the slightly smaller size (46.3 cm).Auction result comparison: Type: Related Auction: Bonhams New York, 16 March 2015, lot 58 Price: USD 68,750 or approx. EUR 81,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of Avalokiteshvara Shadakshari, Bihar, Pala period, 11th/12th century Expert remark: Compare the related stone and manner of carving. Note the smaller size (30.5 cm).Auction result comparison: Type: Related Auction: Christie's Paris, 6 July 2022, lot 235 Price: EUR 47,880 or approx. EUR 50,500 adjusted for inflation at the time of writing Description: A black stone stele of Avalokiteshvara Northern India, Pala period, 11th century Expert remark: Compare the related stone and manner of carving. Note the size (51 cm).
Lot 242
A JAIN WHITE MARBLE FIGURE OF A TIRTHANKARA, WESTERN INDIA, 17TH-18TH CENTURYSeated in padmasana on a cushioned throne, the figure wearing a diaphanous lower garment, the sash projecting in relief in front of the legs, his hands folded in dhyana mudra, his chest with a srivatsa mark. His face with downcast eyes and serene expression, flanked by elongated earlobes, the hair arranged in tight curls and surmounted by a cranial protrusion. The stone with a good polish, resulting in a smooth, unctuous feel overall.Provenance: From a private estate in the United Kingdom.Condition: Small chips and minor losses, the stone with natural inclusions, irregularities and fissures. Some cracks and breaks with old repairs and associated fills. Magnificent naturally grown patina overall, with a fine pale ivory tone.Weight: 13.8 kgDimensions: Height 38.5 cm 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 AD, extensively recorded in literature, about what constitutes total renunciation. At the time, Jain monks separated into rival factions, the Digambaras ('clothed with the sky'), who were nude, and the Svetambaras ('clothed with white'), who wore white cloths. 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.Literature comparison: Compare a closely related marble tirthankara from Gujrat, Western India, dated c. 1612, in the Los Angeles County Museum of Art, accession number AC1998.256.2.Auction result comparison: Type: Closely related Auction: Christie's London, 18 October 2002, lot 122 Price: GBP 4,465 or approx. EUR 11,000 converted and adjusted for inflation at the time of writing Description: An Indian marble deity Jain, probably 12th/13th century Expert remark: Compare the closely related material, manner of carving, pose, and expression. Note the size (56 cm) and the somewhat spurious dating of “probably 12th/13th century".
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