STATUETTE DE VAJRAVIDARANA EN ALLIAGE DE CUIVRE DORÉDENSATIL, TIBET CENTRAL, XIVE SIÈCLEHimalayan Art Resources item no. 4609 26.8 cm (10 1/2 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF VAJRAVIDARANADENSATIL, CENTRAL TIBET, 14TH CENTURY 丹薩替 藏中 十四世紀 銅鎏金摧破金剛像 Provenance:With Claude de Marteau, Brussels, by 1970sThis imposing figure represents the Green aspect of Vajravidarana, one of the five Cleansing Deities invoked for their ability to purify practitioners of their inner misdeeds and rid them of any diseases. In addition to his semi-wrathful form, he is identified by the ritual bell (ghanta) resting at his hip, and more specifically, the double vajra (vishvavajra) held up to his chest. Apart from being one of the rarest subjects portrayed in Tibetan Buddhist sculpture, Vajravidarana's rich gilding and lavish composition illustrate the unique style of bronzes originating from the Densatil monastery in Central Tibet. The mountain hermitage where Densatil was built was founded by the Kagyu teacher Dorje Gyalpo (1110-1170), whose nickname, Phagmo Drupa (meaning the one from the sow's ferry crossing), references his place of meditation overlooking the Tsangpo River Valley. Born in poverty, Dorje Gyalpo's captivating personality and rejection of personal indulgences attracted a large congregation of followers. Eight of his disciples, who branched off to establish lineage schools of their own after his death, reconvened years later to construct a monastery in the original location of their late master's straw hut. The design for Densatil's famed tashi gomang stupas, which were tall structures covered in gilt bronze sculptures like the present lot, was initially conceived to house Dorje Gyalpo's consecrated remains on top. Sculptures attributed to Densatil are generally characterized by vast arrays of encrusted semi-precious stones and sensuous features created by Newari craftsmen. In accordance with the latter preference, the artist achieves a powerful yet sensitive modelling of Vajravidarana, conveyed through furrowed eyebrows juxtaposed with a gentle sway of the hips. The intense glare expressed by his bulging eyes is similar to an image of Mahasiddha Jalandhara in the Ford Collection (Linrothe, Holy Madness, 2006, p. 333, no. 67), as well as a semi-wrathful image of Vasudhara sold at Christie's, New York, 21 March 2008, lot 621. Much like the present work, each sculpture comprises a figure sporting a sumptuous lower garment incised with floral patterns divided by raised beaded lines. Furthermore, the particular treatment of the plump lotus petals with frayed tips, rendered here as narrowly incised notches, is not only congruent with both comparisons, but also an image of Vairocana sold at Bonhams, Hong Kong, 7 October 2019, lot 933. The symmetrically looped scarf snaking around Vajravidarana's arms also compares with a four-armed goddess from the Tibet Museum in Lhasa (identified as Prajnaparamita), published in Henss, The Cultural Monuments of Tibet vol. 1, 2014, p. 415, no. 633).For further information on this lot please visit Bonhams.com
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STATUETTE DE VAJRADHARA EN ALLIAGE DE CUIVRE DORÉTIBET, XVIE SIÈCLEHimalayan Art Resources item no. 4627 21 cm (8 1/4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF VAJRADHARATIBET, 16TH CENTURY西藏 十六世紀 銅鎏金金剛總持像 ProvenanceWith Claude de Marteau, Brussels, by 1970sVajradhara crosses his arms in vajrahumkara mudra, symbolizing the union of female wisdom and male compassion necessary for the dissolution of the self into the emptiness that is Vajrayana Buddhism's ultimate reality. Because such a state of existence is beyond description and therefore, imperceptible to the naked eye, Vajradhara is shown here in his, 'enjoyment form' (sambhogakaya), replete with sumptuous clothing and elaborate gemstone garlands. A lavish scarf hangs over the Adi Buddha's forearms, which cleverly transitions into a pair of jeweled flowers rising up to his shoulders and a vajra finial surmounting his hair enclosed by a halo of flames. Also distinctive is a net-woven apron with floral embellishments gently falling over Vajradhara's feet and lower garment, relating to two other Vajradhara images with similarly modelled flora, crowns, and peaceful appearance (HAR 204088 & 11507).For further information on this lot please visit Bonhams.com
STATUETTE DE BODHISATTVA EN ALLIAGE DE CUIVRE DORÉTIBET, XVIE/XVIIE SIÈCLEHimalayan Art Resources item no. 4618 18 cm (7 1/8 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF A BODHISATTVATIBET, 16TH/17TH CENTURY西藏 十六/十七世紀 銅鎏金菩薩像Provenance:With Claude de Marteau, Brussels, by 1970sSeated in vajrasana, this bodhisattva pinches his thumb and finger in the gesture of teaching while holding a lidded bowl in his left hand. Although his identity for now is uncertain, an inscription in the interior of the base bears the Tibetan letter 'kha' which possibly suggests its placement as a retinue figure of the Medicine Buddha. Compare with an image of Amitayus with similar ribbon ties, scarf, and lower garment (HAR 70680).For further information on this lot please visit Bonhams.com
STATUETTE DE MANJUSHRI EN ALLIAGE DE CUIVRE DORÉDYNASTIE QING, XVIIE SIÈCLEHimalayan Art Resources item no. 4616 24 cm (9 1/2 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF MANJUSHRIQING DYNASTY, 17TH CENTURY清 十七世紀 銅鎏金文殊菩薩像Provenance:With Claude de Marteau, Brussels, by 1970sThis elegant and serene figure portrays Manjushri, the Bodhisattva of 'Transcendental Wisdom'. He is seated in dhyanasana, with his raised right hand brandishing a sword, and his left hand in vitarka mudra. Early Qing emperors enthusiastically patronized Tibetan Buddhism as had the preceding Ming rulers, in an effort to extend Manchu rulership over Tibet and reorient the Mongols towards China. The Qing court favored Manjushri amongst other deities in the Buddhist pantheon, and as did other emperors of that dynasty, the Kangxi Emperor regarded himself as his emanation. He supported the building of temples and paid obeisance to the sacred mountain of Wutai, considered to be the mythical home of the deity. Manjushri's torso naturally sways to one side, reminiscent of renowned Yongle-Xuande bronzes of the same subject. The scarf drops down with a loop below his raised arm, balancing the empty space below the elbow. While reflecting certain styles of Ming tradition, his face, regalia and base are more consistent with early Qing bronzes. His dhoti is plain and tight in contrast to the draping folds frequently seen on Ming bronzes. The pleats here are contained, fanning out neatly over the crossed ankles of the deity. His high crown consists of five elaborate plaques, each decorated with foliate designs and a vertical band of stacked beads. Two figures of White Tara from Qing's Chengde Palace are adorned with similar crown types; see Chang and Hsu (eds.), Buddhist Art from Rehol: Tibetan Buddhist Images and Ritual Objects from the Qing dynasty Summer Palace at Chengde, 1999, pp. 84-5 & 90-1, fig. 22 & 25. Compared with the two Taras dated to late 17th/early 18th century, the current lot's overall contour is more natural, especially in the subtle treatment of the muscles along his torso and waist. The lotus base is comprised of three layers of thin, flat petals with prominently pointed tips, a style more concurrent with earlier Qing casts. The special treatment of the base is shared by another sculpture of Manjushri (Burrows, Tibetan Lamist Art, 1970, no. 43) which also corresponds to the figural modelling and regalia.For further information on this lot please visit Bonhams.com
STATUETTE DE VAJRAPANI EN ALLIAGE DE CUIVRE DORÉMONGOLIE, STYLE DE ZANABAZAR, XIXE SIÈCLEHimalayan Art Resources item no. 4623 22 cm (8 5/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF VAJRAPANIMONGOLIA, ZANABAZAR STYLE, 19TH CENTURY蒙古 札那巴札爾風格 十九世紀 銅鎏金金剛手菩薩像Provenance:With Claude de Marteau, Brussels, by 1970sDistinguished by rich gilding, smooth contours, and simplified decorative design, this wrathful Canda Vajrapani is characteristic of the Zanabazar atelier in Mongolia. Zanabazar (1635-1723), a Gelug hierarch, had strong social and political influence during the 17th century. His penchant for artistry and design led him to employ master Newari craftsmen to develop his burgeoning style. The ornamentation of jewelry, crown, and attire is restrained and executed using geometrical forms. The long scarf hangs vertically like a waterfall, with the two ends cast in a fishtail swirl of thick folds inset with turquoise and shares similar treatment with another Vajrapani from the Rossi collection (HAR 68856). The lotus base is a hallmark of Zanabazar style and is characterized by wide and flat lotus petals with delicately curled tips. For close comparisons, see Chen, Sattva and Rajas, 2004, pp. 271 & 458-9, nos. 174 & 293, and Christie's, New York, 21 March 2007, lot 333.For further information on this lot please visit Bonhams.com
STATUETTE DE PANJARANATA MAHAKALA EN ALLIAGE DE CUIVRE DORÉTIBET, XIVE SIÈCLEHimalayan Art Resources item no. 4605 16 cm (6 1/4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF PANJARANATA MAHAKALATIBET, 14TH CENTURY西藏 十四世紀 銅鎏金寶帳大黑天像 Provenance:With Claude de Marteau, Brussels, by 1970s Holding a flaying knife, skull cup, and club used to annihilate karmic defilements, Panjaranata Mahakala is the fierce guardian of the Hevajra Tantra and the chief protector of the Sakya school of Tibetan Buddhism. Despite his violent iconography, the artist refrains from depicting Panjaranata Mahakala with gruesome features, instead casting an approachable dwarf-like figure with a handsome face and a subdued grimace, understanding the deity's formidable, but ultimately protective, demeanor. Such an exceptional gilded bronze would have required an experienced and dexterous hand, evinced by Mahakala's stocky yet balanced proportions, the snakes coiled around his earrings, the irregular rippling of his scarf, and a corpse whose hair hangs over the side. Moreover, the thickly-beaded lower rim of Mahakala's lotus base is a distinct feature of Pala-period bronzes, comparable to several examples published in von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pp. 290-1, nos. 73A, B, G, & H). This familiarity with Northeast Indian decoration, combined with the chased striped fur of Mahakala's tiger pelt, suggests that this image was created by a Nepalese artist on behalf of a Tibetan patron during the 14th century. Compare with an image of Takkiraja, whose apron and scarf ends are subtly decorated with small chased lines, published in Grewenig & Rist, Buddha: 2000 Years of Buddhist Art, 2016, p. 396, no. 171. And more importantly, compare the similar jolly countenance and swirling striped pattern of a tiger skin worn by a 14th-century Panjaranata in parcel-gilt, published in Rhie, Wisdom and Compassion, 2000, p. 444, no. 198 (67C). The focus of a state cult as the Mongol Empire's tutelary deity, Mahakala was credited with their defeat of the Southern Song dynasty (1127–79), solidifying Khubilai Khan's legitimacy as the first emperor of the Yuan dynasty (1271–1368). Images like the present lot, which were likely made at the height of Sakya authority in Tibet, later informed the art of the early Ming dynasty, whose emperors sought to harness this esoteric power for themselves. For example, compare the present lot's densely-packed lotus petal base to a gilt-bronze from the Yongle period (1403–24), published in von Schroeder, Buddhist Sculptures in Tibet, Vol. 2, Hong Kong, 2001, p. 1239, nos. 348A-B.For further information on this lot please visit Bonhams.com
Patrick Heron (1920-1999)St Ives silk scarfdesigned in 1948 for his father, Tom Heron of Cresta silks, printed for the Tate Gallery, 'St Ives 1939-1964: Twenty-five years of Painting, Sculpture and Pottery' exhibition in 1985. 81.5 x 73cm, folded in original box with printed note from the artist.'It shows St Ives, the harbour and the bay, roughly as seen from the balcony window of the studio-cottage on the sea wall, which I and my family occupied every year, for some months, from 1947 to 1955.' Patrick Heron, 1985.
An early Victorian patchwork quilt, comprising printed square and triangular blocks arranged in a geometric design, framed by a printed cotton border, in tones of cobalt blue, pink, caramel, and purple, 220 x 220cms; together with a silk scarf with needlework decoration (in a state of disrepair).
Steiff College Bear 1996 Exclusive Harrods Limited Edition of 2,000 pieces - A 44cm tall fully jointed mohair bear. Fitted with a Swiss musical movement playing Josef Haydn's "Toy Symphony". Wearing a wool scarf in Harrods Green and wire spectacles. The bear has suede paws, stitched nose and white ear tag. Still fastened into the original box the bear comes with a ribboned scroll of authenticity (number 00087 of 2,000) and is signed on the bottom right foot by Steiff at a Harrods signing event. The bear and original box appear in mint condition and come in an outer shipping container showing a Harrods price label of £199.00. (This does not constitute a guarantee).
Palitoy, Action Man - A vintage Palitoy Action Man Talking Commander figure. The eagle -eye, blond flock haired, ''muscle' body figure with gripping hands in blue molded trunks, is marked '© 1975 Hasbro Pat. Pend. Pawt.R Made in Japan' to rear of torso and appears to be in Very Good condition. The figure when tested talks. The figure comes with camouflaged combat trousers, green nylon type jumper, scarf, black boots, belt, gun, holster, and 17th/21st Lancers Officers cap - outfit and accessories appear to Very Good - Excellent. The figure is housed in a Poor - Fair outer box which has been reinforced with a new inner. (This does not constitute a guarantee)
Palitoy, Action Man - A vintage Palitoy Action Man brown painted head figure in American Green Beret outfit. The hard hand figure, marked 'Made in England by Palitoy Under License From Hasbro © 1964' appears to be in Excellent condition. The figure comes with jacket, trousers, camo scarf, tall brown boots, green beret, M16 rifle with elastic strap, camo radio, camo bazooka two shells, .45 pistol in holster and belt with three grenades - outfit and accessories appear to Very Good - Excellent. The figure is housed in an unassociated display box. (This does not constitute a guarantee)
THREE 9CT GOLD RINGS, to include a polished rose gold wide band, approximate band width 8.3mm, hallmarked 9ct Birmingham, ring size leading edge Z, a polished yellow gold band, approximate band width 3.8mm, hallmarked 9ct Birmingham, ring size O 1/2, the third ring a cluster ring centring on an oval opal cabochon, claw set in a rope twist surround, within a further surround of circular cut garnets, scroll detail to the shoulders, leading onto a polished band, hallmarked 9ct London, ring size N 1/2, approximate gross weight 13.3 grams, together with a costume scarf clip (condition report: general light wear, would benefit from a gentle clean)
*ARTHUR HENRY ANDREWS (1906-1966) 'Miss Sushila Singh' The wife of the Artist, depicted bust-length, her left hand raised to her collar, wearing a red hat and matching scarf, signed lower right, oil on canvas, 53cm x 47cm; together with another portrait of the Artist's wife 'Sushila, 1930' depicted half-length seated in profile before a plain background, signed lower right, oil on canvas, 51cm x 41cm (unframed on stretcher) (2)Provenance: The Collection of Bournemouth & Poole College.Arthur Henry Andrews was a painter, print maker and teacher who was born in London in 1906. After graduating Andrews held a number of teaching posts in Sheffield and Derby Colleges of Art and Batley School of Art, eventually becoming Principal of Poole College of Further Education and Art Advisor to Dorset Education Committee. He showed at Foyles Gallery and at public galleries in Bradford and Leeds, where he had one-man shows, also in group exhibitions at the Royal Academy, Grabowski and Redfern Galleries. He was made a member of the Design and Industries Association in 1934, SWE in 1935. Sir Edward Marsh held his work, as did the Victoria and Albert Museum and public galleries in Leeds, Bournemouth and Southport. Arthur Andrews and Sushila Singh met whilst students at Hornsey School of Art and latterly Royal College of Art under William Rothenstein, where they graduated in 1929. The pair were married in 1930. Works by Andrews and Singh are held in public collections such as Atkinson Art Gallery, Russell-Cotes Art Gallery and the Paintings in Hospitals Scheme, as well as private collections around the world.
'MAGU' BY XIE ZHIGUANG, DATED 1943China. Ink and watercolors on paper. Depicting Magu holding a ruyi scepter in her hands, dressed in flowing robes with a billowing scarf, the hair tied in the back and decorated with a peony and chrysanthemums, further with a poetic inscription.Inscriptions: Upper right, a poem by the Qing dynasty poet Gong Zizhen, signed 'Xie Zhiguang from Yuyao', dated 'two days after the flower festival in the year of Guiwei' (corresponding to 1943), two seals, 'Xie' and 'Zhiguang'Provenance: British trade. Condition: Very good condition with minor wear and only little creasing.Dimensions: Size 33 x 14.5 cmXie Zhiguang (1900-1976) was one of the most accomplished painters of Shanghai in the early 20th century. Aside from creating images of beauties, flowers, and landscapes for the theater, Xie also painted in the classical manner and taught at the Shanghai Painting Academy. Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 26 November 2013, lot 1295Price: HKD 112,500 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: Xie Zhiguang (1900-1976), Lady Playing QinExpert remark: Note the size (87.5 x 32 cm)Auction result comparison:Type: Closely relatedAuction: Bonhams San Francisco, 28 June 2016, lot 8279Price: USD 6,000 or approx. EUR 7,200 converted and adjusted for inflation at the time of writingDescription: Attributed to Xie Zhiguang (1899-1976), Magu with CraneExpert remark: Note the size (109.2 x 39.4cm) 謝之光款《美人圖》，1943年中國，紙本設色。工筆描繪美人手持如意，身著飄逸的衣裙，身披飄帶，頭髮高束成髻，飾以牡丹和菊花。 款識：美人清妙遺九州，獨居雲外之高樓。春來不學空房怨，但折梨花照暮愁。癸未二月花朝後二日餘姚謝之光畫。 鈴印：謝，之光 來源：英國古玩交易。 品相：狀況極好，磨損很小，輕微摺痕。 尺寸：33 x 14.5 厘米 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2013年11月26日，lot 1295 價格：HKD 112,500（相當於今日EUR 17,500） 描述：謝之光《美人彈琵琶圖》 專家評論：請注意尺寸(87.5 x 32 厘米) 。 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦瀚斯， 2016年6月28日，lot 8279 價格：USD 6,000（相當於今日EUR 7,200） 描述：謝之光款《麻姑仙鶴圖》 專家評論：請注意尺寸(109.2 x 39.4厘米)。
A LARGE COPPER ALLOY FIGURE OF A SEATED BUDDHA, RATTANAKOSIN PERIODThailand, 19th century. Cast as Buddha seated on a tapered, stepped base in virasana, the left hand rests gently on his lap whilst the elongated fingers of his right hand are outstretched in bhumisparsa mudra, dressed in a monk's garb, with his feet, right shoulder and full arm exposed, wearing a long scarf that falls diagonally from the left shoulder above the navel, culminating in cascading folds.Provenance: A German private collection. A notable private collector in Kensington, London, United Kingdom, acquired from the above. Bonhams Hong Kong, Fine Southeast Asian Arts, 29 March 2016, lot 54, bought in at an estimate of HKD 150,000 or approx. EUR 20,500 (converted and adjusted for inflation at the time of writing). Condition: Good condition with extensive old wear, remnants of gilt and red lacquer, losses to inlays, few nicks, dents and light surface scratches, small losses, and malachite encrustations. Elegant dark patina overall. Dimensions: Height 86 cmThe face with full lips delineated in a serene half smile, heavy-lidded eyes finely inlaid with shell and glass, and the elongated earlobes frame his face, the hair outlined with a narrow band and tied in tight, spiky curls that encompass the head and ushnisha. The backside with two loops for mounting.The bhumisparsa mudra is a gesture that echoes the Buddha's call of the Earth to witness and attest to his achievement of maravijaya or enlightenment, thus taking this throne and vanquishing Mara's demonic retinue.Auction result comparison:Type: Closely relatedAuction: Christie's Amsterdam, 10 May 2000, lot 449Price: NLG 14,042 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: A Thai, Rattanakosin style, gilt-bronze figure of buddha Sakyamuni, late 18th centuryExpert remark: Compare the pose, pedestal, and size (78 cm)13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
A CAST AND REPOUSSE GILT COPPER ALLOY FIGURE OF AMITAYUS, QIANLONG PERIODChina, 1736-1795. The figure is shown seated in dhyanasana on a double-lotus base, the hands lowered in dhyana mudra, wearing loose-fitting robes decorated with foliate scroll at the hems, richly adorned with beaded, floral, and inlaid jewelry. The hair is pulled up into a tall double-topknot, falling elegantly in long segments down the sides of the shoulders, and surmounted by a jewel.Provenance: A private collector in New York, USA.Condition: Excellent condition with minor old wear, occasional light scratches, tiny nicks, few small dents. The base sealed. Some losses to inlays, some other inlays may be later replacements. Well-preserved ancient pigments. The amrita vase held in the figure's hands is lost.Weight: 4,077 gDimensions: Height 38.5 cmThe statue is made from solid and massively gilt copper alloy, as clearly evidenced by the lack of any dings or bent areas to body and base. Only the earrings, scarf, and strands of hair are executed in copper repousse.The serene face shows heavy-lidded eyes, gently arched brows centered by an urna, and full lips forming a calm smile, flanked by long pendulous earlobes.The present work exhibits many characteristics common to the Buddhist workshops of the Qianlong period, such as the combination of cast and repousse parts, the languid and slightly effeminate treatment of the face and body, and the tightly waisted double-lotus base with broad petals. The Qing court patronage of Buddhism that began under the Kangxi Emperor reached epic proportions under his grandson, the Qianlong Emperor. The Buddhist centers of Beijing, Rehol, and Dolonnor produced thousands upon thousands of images to keep up with the demand of the numerous temples in and outside the capital.Auction result comparison:Type: RelatedAuction: Christie's New York, 16 September 2016, lot 1231Price: USD 35,000 or approx. EUR 43,500 converted and adjusted for inflation at the time of writingDescription: A cast and repousse gilt-bronze figure of a Bodhisattva, Qianlong period (1736-1795)Expert remark: Compare the related pose, jewelry, and size (37.1 cm)13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.乾隆時期鎏金銅錘鍱觀音坐蓮像中國，1736-1795年。髮髻高聳，耳垂花璫，髮綹層疊垂落披肩。細眉長目微閉，鼻樑挺秀，雙眉間有白毫，雙唇微抿，神情柔和。上身坦露，飾項圈和長鏈，雙肩披帔帛，飾瓔珞，臂釧、手臅等，下身著貼體薄裙，腰纖細，繫有寶帶，結跏趺坐坐於蓮座上，姿態優美。蓮座上飾一道連珠紋，蓮瓣橢圓修長，富有層次。 來源：紐約私人收藏。 品相：狀況極佳，有輕微磨損，局部有輕微劃痕與微小的刻痕，少量小凹痕。 底座密封。損失一些鑲嵌物，一些鑲嵌可能曾後期更換過。顔料保存完好。觀音手中的淨瓶丟失。 重量：4,077 克 尺寸：高38.5 厘米 造像鎏金厚重，身體和底座沒有任何凹痕或彎曲區域清楚地證明了這一點。只有耳環與帔帛及一縷頭髮是用錘鍱而成。 此造像呈現出乾隆時期銅鎏金造像的許多特點，如鑄件與錘鍱工藝的結合，面部和身體的慵懶和略顯柔美的處理，以及寬瓣束腰雙層蓮座。康熙帝在位時期對佛教的推廣在他的孫子乾隆帝時期達到了鼎盛。北京、瑞荷、多隆諾等佛教中心為了滿足眾多寺廟的需求，製作了成千上萬的佛教造像。 拍賣結果比較：形制：相近拍賣：紐約佳士得，2016年9月16日，lot 1231價格：USD 35,000（相當於今日EUR 43,500）描述：清乾隆鎏金銅菩薩坐像專家評論：比較相近的姿勢、珠寶和尺寸(37.1厘米)。
A BRONZE FIGURE OF AVALOKITESHVARA, MING DYNASTYChina, 1368-1644. Seated in dhyanasana atop a double lotus base with beaded edges. The divinity is richly adorned in pendent beaded jewelry, a shawl draped around the shoulders and billowing around the arms with the scarf ends falling across the base, the hands holding lotus stems coming to full bloom at the shoulder. The face with a serene expression marked by heavy-lidded eyes and full lips forming a subtle smile, flanked by long pendulous lobes with floral earrings.Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family.Condition: Wear and casting flaws, losses to crown and lotus blooms, smaller losses to lower body and base, signs of heat exposure, ancient fills, minor dents, nicks, and scratches.Weight: 3,662 g Dimensions: Height 31 cmThe neatly incised hair elegantly falling in strands over the shoulders and pulled up into a high chignon behind the foliate tiara.Auction result comparison: Type: Closely relatedAuction: Sotheby's Paris, 10 June 2021, lot 1Price: EUR 35,280 or approx. EUR 37,900 adjusted for inflation at the time of writingDescription: A bronze figure of Avalokiteshvara Bodhisattva, Ming dynasty, 16th centuryExpert remarks: Note the closely related size (31.2 cm) and appearance of the figure, whereas the bronze is in better condition, but lacks some of the detailed incision work of the present lotAuction result comparison:Type: Closely relatedAuction: Sotheby's London, 14 May 2014, lot 145Price: GBP 37,500 or approx. EUR 52,300 converted and adjusted for inflation at the time of writingDescription: A large bronze figure of Avalokiteshvara, Ming dynasty, 16th-17th centuryExpert remarks: Note the closely related incision work and appearance of the figure, whereas the bronze is in better condition and lacks a base, thus is slightly larger than the present figure (32.5 cm). 明代青銅觀音坐蓮像中國，1368-1644年。觀音菩薩頭戴寶冠，兩耳下垂，雙目閉合，修眉朗目，面貌寧靜慈詳，結跏趺坐在蓮花座上，右手置於右膝之上，左手下臂自然上舉，中指與拇指輕拈，雙手臂上纏繞著蓮花莖，花朵靠在肩部，身形刻劃自然寫實。袒上身，瓔珞、臂釧雕飾精美。腰束長裙，衣褶折疊流暢。覆蓮瓣，蓮座高大華麗。 來源：維也納私人老收藏，在1910 年與1975年期間，經過幾代人的共同努力建立，在同一家族保存至今。 品相：磨損和鑄造缺陷、冠部和蓮花部位有缺損，下部和底部缺損較小，熱暴露的跡象，舊時填充物、輕微的凹痕、刻痕和劃痕。 重量：3,662 克 尺寸：高31 厘米 頭髮線條流暢，優雅地披散在肩上，在葉狀冠後面拉成一個高髻。 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2021年6月10日, lot 1 價格：EUR 35,280（相當於今日EUR 37,900） 描述：明十六世紀銅觀世音菩薩坐像 專家評論：比較相近的尺寸 (31.2 厘米) 和外觀，品相較好，但雕刻較不精緻。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比, 14 May 2014, lot 145 價格：GBP 37,500 （相當於今日EUR 52,300） 描述：十六至十七世紀明代觀音銅像 專家評論：相近的雕刻和外型，品相較好，沒有底座，以及尺寸稍大 (32.5 厘米)。
A FINE GILT BRONZE FIGURE OF JAMBHALA, QIANLONG PERIODChina, 1736-1795. Seated in lalitasana on a lotus base with a beaded rim, his right foot resting on a conch supported by a vessel, his right hand offering a bijapuraka fruit, in his left a mongoose, the pot-bellied figure wearing a dhoti finely incised with foliate decorations, a billowing scarf around his arms, adorned in elaborate jewelry, his head surmounted by a five-leaf crown set in front of a high chignon, his wrathful face with protruding eyes, framed by a beard, and flanked by elongated earlobes. Provenance: From an old Croatian private collection and thence by descent. Condition: Very good condition with minor wear, few nicks, and light scratches. The base sealed.Weight: 562.8 g Dimensions: Height 11 cmPrimarily known as the God of Wealth, Jambhala is one of the most popularly worshipped deities in Tibetan Buddhism, propitiated in order to avoid the mundane distractions of ensuring sustenance so that practitioners can focus on their spiritual training. Here, a skilled craftsman has represented the deity in his full, corpulent glory, symbolic of the abundance Jambhala is able to grant. Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 19 March 2016, lot 1344Price: USD 8,750 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A gilt-bronze figure depicting Jambhala, Tibeto-Chinese, 18th centuryExpert remark: Compare the closely related pose, decorations, and incision work to the base. Note the size (9.8 cm).乾隆鎏金黃財神銅像中國，1736-1795年。頭戴五葉寶冠，矮小凸腹，雙臂勁力，右手持布拉噶如意寶，左手握著吐寶鼬，周身珠寶飾品，多處嵌各色寶石。左足屈盤，右足下伸，踏海螺寶，以如意姿安座於蓮花月輪之上。來源：克羅地亞私人收藏，保存至今。 品相：狀況極好，輕微磨損、刻痕和劃痕。底座密封。 重量：562.8 克 尺寸：高11 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2016年3月19日，lot 1344 價格：USD 8,750（相當於今日EUR 11,000） 描述：十八世紀銅鎏金財寶天王坐像 專家評論：比較非常相近的姿勢、裝飾和底座雕刻。請注意尺寸(9.8 厘米)。
AN IVORY FIGURE OF KRISHNA VENUGOPALA, PLAYING THE FLUTEIndia, 16th-17th century. Carved standing, his arms raised to the side to play the flute, the wavy hair cascading down the back and surmounted by a high chignon, adorned with beaded jewelry, a scarf wrapped around his arms, the face with a calm expression marked by almond-shaped eyes and full lips.Provenance: French trade. By repute from an old private estate in Paris. Condition: Extensive natural wear. Some losses, expected minor age cracks, small chips, minuscule nicks. Remarkably beautiful honey-brown patina, grown naturally through centuries of worship and handling.Weight: 25.2 g Dimensions: Height 7.8 cmTrade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0437). Literature comparison:Compare a related ivory figure depicting Krishna as butter thief, dated to 16th century, India, Karnataka, Mysore, in the collection of the Los Angeles County Museum of Art (LACMA), accession number M.84.34.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 24 March 2011, lot 101Price: USD 60,000 or approx. EUR 77,000 converted and adjusted for inflation at the time of writingDescription: Krishna Venugopala, ivory, South IndiaExpert remark: Compare the closely related pose and similar decorations. Note the considerably larger size (20 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
A CAST AND REPOUSSE GILT COPPER ALLOY FIGURE OF GREEN TARA, QIANLONG PERIODTibetan-Chinese, 1736-1795. Seated in lalitasana atop a double-lotus base with beaded edges, her raised left hand held in vitarka mudra and holding a lotus stem, her left lowered in prithvi mudra. Wearing a fine dhoti cascading in voluminous folds and neatly incised with foliate and diapered designs at the hems. Richly adorned with beaded, floral, and inlaid jewelry. The finely incised hair pulled up into a tall double-topknot falling elegantly in long segments down the sides of the shoulders and surmounted by a jewel.Provenance: From the collection of Gustave Fayet (1865-1925), thence by descent in the family. Gustave Fayet was a French painter and art collector, who owned works by Degas, Manet, Pissarro and above all Paul Gauguin. Fayet was a man with a universal curiosity, an eminent patron of the arts, and a discerning collector in all fields.Condition: Overall fine condition commensurate with age and presenting remarkably well and attractive. With old wear, traces of use and some minor casting flaws, occasional light scratches, tiny nicks, few small dents. Losses to inlays, some of the remaining inlays may be later replacements. Well-preserved ancient pigments. The separately cast lotus flowers at the shoulders are missing. The lacquer gilt sections with scattered stains. The fire gilt sections with minor areas of malachite encrustation. The base lid is bent and indented.Weight: 3,166 gDimensions: Height 37.7 cmThe serene face with heavy-lidded eyes, gently arched brows centered by an urna, and full lips forming a benevolent smile, flanked by long pendulous earlobes.The impressive statue is made from a solid cast of copper alloy, as clearly evidenced by the lack of any dings or bent areas to body and base. Only the earrings, scarf, strands of hair, and the lotus foot support are executed in copper repousse. The statue is gilt overall, partially in lacquer and partially with a superb fire-gilt, exactly as expected from a statue of the Qianlong period.The present work exhibits many characteristics common to the Buddhist workshops of the Qianlong period, such as the combination of cast and repousse parts, the languid and feminine treatment of the face and body, and the tightly waisted double-lotus base with broad petals. The Qing court patronage of Buddhism that began under the Kangxi Emperor reached epic proportions under his grandson, the Qianlong Emperor. The Buddhist centers of Beijing, Rehol, and Dolonnor produced thousands upon thousands of images to keep up with the demand of the numerous temples in and outside the capital.Auction result comparison: Type: Closely related Auction: Christie's New York, 16 September 2016, lot 1231 Price: USD 35,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writingDescription: A cast and repousse gilt-bronze figure of a bodhisattva, Qianlong period Expert remark: The bronze belongs to the same group as the present lot, combining repousse elements with a cast figure. The bronze is of near-identical size (37.1 cm) and also dated to the Qianlong period.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2019, lot 674 Price: USD 112,500 or approx. EUR 122,500 converted and adjusted for inflation at the time of writingDescription: A large cast and repousse gilt-bronze figure of Green Tara, Inner Mongolia, Dolonnor style, late 18th century Expert remark: The bronze also depicts Green Tara and belongs to the same group as the present lot, combining repousse elements with a cast figure. The bronze is of considerably larger size (58.1 cm high) and dated to the late 18th century.乾隆銅鎏金錘鍱綠度母漢藏, 1736-1795年。本尊綠度母坐像，通身以錘鍱工藝製作，半跏趺舒坐於蓮花寶座上，為典型的三折姿勢。葫蘆形髮髻高聳，雙耳垂肩，耳懸花鐺，披肩長辮優美。面容飽滿，嘴角上揚微笑，雙眉之間有白毫，端莊靜穆，給人以悲憫之感。上軀袒露，佩掛項圈及連珠長鏈，手、臂、踝均飾有釧環。左腿橫盤，右腳下應踏小蓮台，左手於胸前施三寶印，右手置膝前作予願印。其下蓮座為雙層束腰仰覆式，台座規矩，蓮瓣舒展精細。 來源：Gustave Fayet (1865-1925) 收藏，保存在同一家族至今。Gustave Fayet 曾是一位法國畫家和藝術收藏家。他的收藏中可見德加、莫奈、畢加索和高更。Fayet是一個特別有好奇心的傑出的藝術贊助人，也是一個在各個領域都獨具慧眼的收藏家。 品相：整體狀況良好，與年齡相稱。有磨損，使用痕跡和一些輕微的鑄造缺陷，局部輕微的劃痕和刻痕，少量小凹痕。鑲嵌物的遺失，一些剩餘的鑲嵌物可能在後期更換過。顏料保存完好。肩部分鑄的蓮花遺失。漆面鎏金部分有散落的污漬，少量綠色結殼。底蓋彎曲。由於字數限制，完整中文敘述請至www.zacke.at查看。
A SANDSTONE FIGURE OF A DVARAPALA, KOH KER STYLE, ANGKOR PERIODKhmer Empire, early 10th century. Superbly carved, standing in a wide-legged dancing stance, his back slightly arched and his legs strong and taut. His chest is full, his right shoulder is slightly raised and in keeping with the preferred style of the period, he is stoutly built with a rounded stomach. The position of the upper arms suggests that his hands were placed in namaskara mudra (respectfully greeting) in front of his body and the disc shape on the chest marks an area originally covered by the two thumbs. His head is tilted slightly to the left side, his expression is serene and distinctly confident, given further emphasis by his full lips and broad smile, the hair drawn into a conical chignon secured with a foliate tiara.Provenance: From a notable collector in London, United Kingdom.Condition: Excellent condition, commensurate with age. Extensive wear, some nicks, losses, minor signs of weathering and erosion, few structural cracks. Dimensions: Height 72 cm (excl. stand) and 78 cm (incl. stand)The dvarapala wears a short garment with a curving upper edge that adds emphasis to the massive strength of his body. The fine pleats and delicate curve at the edge of the fabric seem to defy the nature of the stone. A long scarf falls between the legs and would originally have extended to the ankles. Its sway further indicates the sense of movement contained within the figure.Mounted on an associated metal stand. (2)A dvarapala is a temple guardian. In India, where the concept originated, two giant figures, sculpted in high relief, are often found flanking the principal temple entrance. One is formidable, to scare away those of ill intent while the other is seductively handsome, in order to lure the faithful past the portal. In Cambodia the form evolved separately because the temples were built to different plans. There, a succession of courtyards contained secondary buildings and the principal one was only accessible to a limited number of ritual participants. In the 10th century dvarapala were freestanding statues, still sculpted in pairs but resting within the precinct. Although they observed approaching visitors, their essential role was that of bodyguards, protecting the deity lodged within the temple.This latter role appears to have become increasingly dominant in the Koh Ker period when the supremacy of the kings of Angkor was challenged by a powerful royal claimant who established another court to the north of the Kulen mountains, from where he imposed martial rule on much of the kingdom. The achievement of this alternative court is reflected in some of the finest works of art to emanate from Cambodia during the Angkor period. The sculptures are notable for their spontaneous appearance, strong personalities and sense of inner, spiritual energy. Even when the subject is not a recognizable deity, the suggestion of individual personality is always present. This image of a dvarapala exemplifies the style of the period, full of confident swagger but maintaining a deeply serious purpose in his guardian role.Benign dvarapalas can often be found flanking doorways or protruding from corner brackets, while apsaras are ubiquitous to the temples of Angkor. Dvarapalas became integral to temple sculpture in India as early as the 5th century and appear in Cambodia in the earliest of the Angkor Empire's temples, the Roulos group, constructed around the turn of the 10th century. The Shaivite temples at Koh Ker are similar to these in their iconographical programs and architectural structures.Koh Ker, which lies 50 miles (80 km) northeast of Angkor, was the capital of the Khmer Empire from 928-944. Koh Ker's sculptural style is thus distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form.Expert's note: For a detailed commentary on the present lot, elaborating on the history and architecture of the Khmer Empire, the Koh Ker style, and the sculpture itself and showing many further comparisons to examples in both public and private collections, please see the lot description on www.zacke.at. To receive a PDF of this academic dossier, please refer to the department.Literature comparison: Compare two closely related larger Koh Ker sandstone figures, 236 cm and 234 cm high, in the collection of the National Museum of Cambodia, inventory numbers NMC.149 and NMC.150. Compare a related Koh Ker sandstone figure of a female dancing deity in the Musee Guimet, illustrated by Helen Jessup and Thierry Zephir in Sculpture of Angkor and Ancient Cambodia: Millennium of Glory, Paris, 1997, cat. no. 43.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2009, lot 1428 Price: USD 146,500 or approx. EUR 198,000 converted and adjusted for inflation at the time of writing Description: A monumental gray sandstone figure of a Dvarapala, Khmer, Koh Ker Style, 10th century Expert remark: Note the significantly larger size (129.5 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A collection of vintage 1960s and 50s dresses and blouses along with a faux mink jacket, a pinafore style St Michaël apron, a 60s/70s fringed suede bag and a long knitted scarf.9 dresses, 7 tops including a 1950s short sleeved sweater.(qty)most are in good condition, a couple of pieces have marks, 50s sweater has a few small nibbles
Three 20s/30s dresses to include an orange 1920s dress by Bonwitt Teller, complete with its slip. The dress is trimmed with colobus fur and has an integral scarf hanging from one shoulder, an orange chiffon 1930s dress with floral print and neckerchief collar, and a C1929/30 satin dress in sherbet orange (3)satin dress has some minor colour variation, tiny marks, scuffs and pulls. It presents really well, there is nothing obvious.The chiffon dress is generally strong and has no conspicuous damage, there is a small hole on the upper back, and the skirt has scattered small holes plus one slightly larger. The 20s dress is generally strong. there are some small marks and an area of pin head sized holes by the armhole at the front and some small holes on the bottom of the drape.*******Please note, there are export restrictions on this lot outside of the UK.*********
a collection of mostly late 19th and early 20th century lace plus an 18th century Indian block printed cotton panel made from two pieces hand stitched together with linen thread (s/d). pieces to include a length of black Chantilly style lace, a needle run lace with raised grape motifs, a Brussels lace handkerchief, tambour lace handkerchief, a black machine lace scarf or stole, a machine embroidered white lace shawl (a/f) and others (one box)
Antique clothing and accessories to include a c1914 dress with wired collar(a/f), an Edwardian/10s faux fur muff purse, a silk evening scarf, deco blouse in a black and white stripe and a silk pyjama case (one box)scarf has foxing on white sidepin hole in blouse and perished elastic, grubbydress stained, outer fabric torn down back shoulders, generally badly aged
A BOX OF MILITARY ITEMS WITH IRISH/UDR INTEREST, as follows, large camo painted metal Ammo box, British 80s period Army Kevlar? helmet with attached Riot see through face protector, complete with Camo cover etc, Army style green 'shemagh' RAF Beanie hat, black scarf, a 14th Btn Royal Irish Regiment bullion blazer badge, framed, a 11th (Craigavon Btn) UDR Wall plaque, a further 11th Btn wall plaque and three small arm patches, crossed rifles and 11 UDR
MIXED COLLECTABLES GROUP - to include a set of six silver handled knives, 1929 EPNS presentation trowel, commemorative brass bookmark, copper and brass snuff boxes, ammonite fossils, Ede & Ravenscroft Ltd graduation cap, gown and sash along with a further sash/scarf for Aberconwy and various other collectable bits and pieces
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