Null AUGUST (27 BC - 14 AD)
As. Lyon (16 BC).
His head laurel on the right.
R/ A…

Description

AUGUST (27 BC - 14 AD) As. Lyon (16 BC). His head laurel on the right. R/ Altar between two columns. C. 240. R.I.C. 230. TTB.

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AUGUST (27 BC - 14 AD) As. Lyon (16 BC). His head laurel on the right. R/ Altar between two columns. C. 240. R.I.C. 230. TTB.

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Estim. 600 000 - 800 000 EUR

VAJRAPANI STATUTE IN BRASS WITH SILVERTIBET CENTRAL INLAY, XIE/XI CENTURYHimalayan Art Resources item no. 1831 68.6 cm (27 in.) high Footnotes: A SILVER INLAID BRASS FIGURE OF VAJRAPANI CENTRAL TIBET, 11TH/12TH CENTURY Published Marylin M. Rhie & Robert A. F. Thurman, Wisdom and Compassion: The Sacred Art of Tibet, (Expanded Edition), New York, 1996, p. 464, no. 219 (130a). Chandra Reedy, Himalayan Bronzes: Technology, Style and Choices, Los Angeles, 1997, no. W135. Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 357, no. 151. Exhibited Wisdom and Compassion: The Sacred Art of Tibet: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, 9 May - 25 August 1996; Fundacio 'la Caixa', Barcelona, 1 October 1996 - 14 January 1997; Tobu Museum of Art, Tokyo, February - April 1997; The Yamaguchi Prefectural Museum of Art, May - July 1997; Chiba City Museum of Art, August - September 1997; Sun Yat-sen Memorial Hall, Taipei, January - March 1998. Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 -19 February 2017. Provenance Spink & Son Ltd, London, by 1980's The Speelman Vajrapani This statue, one of the finest early Tibetan images of Vajrasattva [sic], is in the standing position commonly seen in early examples of this deity (Essen and Thingo, 1989, fig. II-44; Béguin, 1977, fig. 40). Holding vajra and bell, the figure is a complex and charming mixture of elements. [...] The face, made larger by the mass of stacked hair, has a benign, gentle expression, its large, soft features somewhat reminiscent of the faces in the early wall paintings at Shalu of ca. 1045 (Vitali 1990, pl. 50). Garments and jewels create a gorgeous, though somewhat unexpected, richness in the figure, and one is captivated by the unnatural yet restrained movements of the hems, sashes, belts, and ribbons. Somewhat heavy chasing for the textile designs adds to the linear complexity of the lower garment (dhoti), which has a series of U-shaped, narrow, raised pleats, known in Indian art but perhaps more typical of Chinese and Central Asian styles. The tight, curling hems are a feature notable in many figures of 11th-12th-century thangkas from the central regions.' -Rhie & Thurman, Wisdom and Compassion, 2000, p. 464. In the authors' seminal exhibition catalog, Marylin Rhie and Robert Thurman make several astute observations about this sculpture's aesthetic appeal, but misidentify its subject matter. The elegant bronze can indeed be confidently attributed to the 11th/12th century. As Rhie and Thurman touch on, it shares numerous characteristics with painting and sculptural programs at a series of monuments in Central Tibet. These monumental projects, namely Shalu, Nyethang, Yemar, Kyangpu, and Drathang (hereafter, the 'Shalu-Drathang group') were undertaken in the 11th century, at the onset of the Second Diffusion of Buddhism in Tibet. The floral patterns chased into Vajrapani's pleated robe are the first elements associating the present bronze with the Shalu-Drathang group. Derived from Indian textile designs, the same type appears on the lower garment of a c. 12th-century Pala bronze of Maitreya at a temple in Nyethang (Henss, The Cultural Monuments of Tibet, Vol. I, 2014, p. 265, no. 395). Nyethang served as the first sanctuary for the relics of Atisha (982-1054), a pandit from Northeastern India who was one of the greatest masters of Indo-Tibetan Buddhism and the foremost representative of the Second Diffusion in Tibet. The Nyethang Maitreya is thought to have either been brought from India or made by an Indian artist working in situ (ibid., p. 266). The daisy-like flower motif represented in its lower garment also decorates the present Vajrapani and is found elsewhere across the Shalu-Drathang group. For instance, the motif is repeated on the wall behind a no-longer-extant monumental sculpture of Maitreya at Yemar (photographed in 1947; ibid., Vol.II, p. 564, no. 804), and covers the princely garb of a bodhisattva at Drathang (fig. 1). The host of bodhisattvas painted at Drathang between 1081-93 also share crown types, tall chignons, and stylized facial features congruent with the Speelman Vajrapani, affirming its attribution to Central Tibet in the 11th/12th century. As for the sculpture's subject, Vajrapani (Tibetan: chag na dor je; English: the Vajra Holder) is an important male character from the Sutra literature of Mahayana Buddhism. He is featured prominently in a number of important dialogues with Shakyamuni Buddha and other characters such as Manjushri. Vajrapani is also regarded as one of the Eight Heart-sons of Shakyamuni. With reference to his appearance, there is a very distinct difference between how figures are depicted between the Sutra and Tantra traditions. Sutra tradition figures, male and female, are all narrative based with a tremendous degree of free

Estim. 3 000 - 4 000 EUR

AVIATION Important collection of letters and manuscripts on aviation, its pioneers and aces, airplanes, airlines, etc. Abel Hureau de Villeneuve (5, 1881-1890, about the founding of a practical aerostation school, the 1883 Aeronautical Exhibition, the Nadar collection, etc., to Gaston Tissandier, and to Professor Garcel, plus 2 leaflets). Project for an airplane with drawing, addressed to Gaston Tissandier (1882). General Pierre-Georges Laurent (certificate, and authorization for Captain Duchêne to conduct free balloon ascents, 1900). Ferdinand Ferber (1907). Commandant Gency to Duchêne (1907). E. Lallemand (Lunéville aeronautical park, 1908). Louis Chevalier (on the back of a postcard showing an aircraft in the workshop, 1911). Prince de Nissole (to Gaston Tissandier, inviting him to check his Paris-Pau departure, 1911). Adolphe Messimy (congratulations to Louis-Auguste Duchêne on his Aéroplane étudié et calculé..., 1911). Charles Maurain (Institut aérotechnique de l'Université de Paris 1912, about Wright, plus a prospectus printed by the Institut). Robert Baudouin-Rollane (interesting letter to J. Mortane on "our setbacks in military aviation", 1913). E. Desfontaine (Construction d'appareils aériens, invoice, 1913). Émile Paumier (6, including 5 long technical letters to Louis Chevalier, one with sketches and schematics, plus a set of construction plans on paper, 1913-1916). Jacques Hébert (3 to Louis Chevalier, 1914, one with photo). Marcel Merat, Souvenir de mon premier vol en aéroplane, a marvelous account of his outing with Captain Leclerc in a Farman (March 29, 1914), and Mon troisième vol en aéroplane exécuté à Villacoublay à bord du biplan Dorand piloted by the famous aviator Brindejonc des Moulinais (May 28, 1914). Commandant André-Casimir Biard (forbidding Louis Chevalier to carry out aeroplane flights, Le Havre 1915). Louis-Auguste Duchêne (minute d'un rapport après une visite au Creusot, au colonel Pénelon, avec réponses d'Albert Thomas, ministre de la Guerre et de Pénelon, 1915). Hubert Lyautey (congratulations to Duchêne, also signed by General Gossot, 1917). Georges Ravaine (to a balloonist, 1926). Julien Mamet (about an aviation meeting, Escadrille Mamet. Escadrille de propagande aéronautique 1927). Charles Froissart (2, exhibiting meeting programs, Ligue internationale des aviateurs 1927). Louis Bréguet (subscription bulletin for the Comptoir des approvisionnements de l'aviation et de l'aérostation, 1926, plus a typed text, "Quel fut mon vol le plus émouvant", headed Ateliers d'aviation Louis Bréguet). Louis Blériot (2 bulletins de souscription au Comptoir, 1926-1931; other bulletins by Henry Potez, Gabriel Arnaud); and some twenty proxies given to Farman, Caudron, Granet, J. Bréguet, etc., for general meetings of the Comptoir des Approvisionnements de l'aviation et de l'aérostation, 1920-1935, signed by Gabriel Arnaud, René Caudron, Léon Clément, Dick Farman, Henry Kapferer, etc.). Robert Esnault-Pelterie (brochure of his lecture on L'Exploration par fusées de la très haute atmosphère et la possibilité des voyages interplanétaires (1928), with a.s. dispatch). Léon Bathiat (2 to Alphonse Malfanti, 1933-1962, Les Vieilles Tiges). Joseph Sadi-Lecointe (to Malfanti, Association des Professionnels navigants de l'aviation 1933). Charles Belhague (to Duchêne, regarding an offer for the 81 empenné projectile, 1935). Gabriel Voisin (5, mostly to his "old brother" Malfanti, 1938-1963). Henri Molla (3, to Malfanti, 1957-1961). Joseph Frantz (beautiful letter about his former mechanic and machine-gunner Louis Quenault, 1958). Maurice Allard (14, including 2 on the back of old postcards, in Malfanti, 1961-1963). Willy Coppens de Houthulst (25, often long, to Dr. Fernand Fossier, evoking the beginnings of aviation, his pride and disappointment as a military pilot, Bellonte, Lindbergh, Costes, Weiss, Olieslagers and other Belgian aviators, 1970-1975)... Others from Robert Grandseigne (4), Santos-Dumont (dedication to H. de Parville), etc.

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