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Tue 11 Jun

Robert Adams, British 1917-1984 - Ovoid Variation No.1, 1980; bronze, signed, dated and numbered to the underside of the base 'Adams 1980 2/6', H47.7 x W48.5 x D8.7 cm (including base) (ARR) Provenance: the Estate of the Artist; private collection, purchased from the above Exhibited: Gimpel Fils, London, 'Robert Adams (1917-1984)', 15th September-15th October 1988, cat. no.27 (another cast illus.); Gimpel Fils, London, ‘Robert Adams Late Bronzes’, 26th April-9th June 2012 (another cast) Literature: A. Grieve, 'The Sculpture of Robert Adams', London, 1992, p.224, no.666 (another cast illus.) Note: this is a brilliant example of the artist's later work, demonstrating his total command of shape and balance. The artist created a series of these 'Ovoid Variations', each a celebration of organic abstract form, suggesting growth and the beginnings of life through the oval form. This was a hugely successful period for the artist, with solo exhibitions in Australia, the US and Zurich, as well as his work featuring in the exhibitions 'British Sculpture in the Twentieth Century' Part I and II at the Whitechapel Art Gallery, London in 1981, organised by Nicholas Serota and Sandy Nairn. Adams was one of the most innovative and important artists working in Post-War Britain, developing a distinct abstract language alongside his contemporaries Kenneth Martin and Victor Pasmore. His work was included in the celebrated British Pavilion at the Venice Biennale 1952, alongside Kenneth Armitage, Reg Butler, Lynn Chadwick, Geoffrey Clarke, Bernard Meadows, Eduardo Paolozzi and William Turnbull, after which critic Herbert Read dubbed the young group's shared aesthetic the 'Geometry of Fear'. Adams's works are now in public collections internationally including the Arts Council Collection, the Tate Gallery, London, the Museum of Modern Art, New York and the Smithsonian Institute, Washington, D.C.

Estim. 8 000 - 12 000 GBP

Tue 11 Jun

VAJRABHAIRAVA STATUETTE IN GILDED COPPER ALLOY NEPAL, 15TH CENTURY Himalayan Art Resources item no. 1823 14 cm (5 1/2 in.) high Footnotes: A GILT COPPER ALLOY FIGURE OF VAJRABHAIRAVA NEPAL, 15TH CENTURY Published Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p. 381, no. 102D. Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 338, no. 142. Exhibited Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 -19 February 2017. Provenance Christie's, London, 10 November 1976, lot 164 Philip Goldman, London Sotheby's, New York, 21 March 2002, lot 61 Vajrabhairava arises as a tantric emanation of the Bodhisattva of Wisdom, Manjushri. Of Indic origin, his fearsome form derives from one of the avatars of Lord Shiva. He is represented with nine heads in three stacked tiers of which the main face features the head of a buffalo. His primary hands carry a skullcup and hooked knife in front of his chest. Thirty other hands encircle his torso, each holding an implement as well. Described as an archetype of fear itself, though an image of enlightened awareness, successful tantric meditation on Vajrabhairava promises to absorb and transmute one's understanding and experience of death (Henry Rice & Durham, Awaken, 2019, p. 116-9). The small portable size of this figure limits no elaboration of its detail. Typical of Newari craftsmen, who served as itinerant artisans throughout Tibet, careful modelling illuminates the decadence of tightly-fitted details, as coincides with another of the subject (Christie's, New York, 20 March 2012, lot 112). Constructed in three parts - the lotus base, the intermediary tier of trampled gods, and the main figure - each component is rendered with minute and exacting detail. A slightly larger mirror example of the composition is held in the Victoria & Albert Museum, London (fig. 1; IM.173-1920). The extended platform of the lotus base lined with flame-like patterns references the Sun God Surya's charioteer drawn by seven horses on the left. Chandra, the Moon God, is depicted surrounded by animal representations of the other planetary deities on the right. The surmounting tier features Hindu gods with bodies, cast in full, awaiting to be crushed as Vajrabhairava spreads his weight across his floating stage overhead. The workmanship of the main figure, replete with deific ornamentation, including the beaded swags, severed-headed garland, and individualized implements, captures the deliberation of each detail. Given its diminutive size, this vividly cast portrayal of the tantric form reflects the legacy and technical precision for which metalworkers of the Kathmandu Valley are celebrated. For the figures listed in this essay, please refer to our printed or digital catalog. 銅鎏金大威德金剛像 尼泊爾 十五世紀 著錄 Ulrich von Schroeder，《Indo-Tibetan Bronzes》，1981年，頁381，編號102D Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁338，編號142 展覽 「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日 來源 佳士得，倫敦，1976年11月10日，拍品164 Philip Goldman，倫敦 蘇富比，紐約，2002年3月21日，拍品61 大威德金剛為象徵智慧之文殊菩薩忿怒相。其駭人形象源自印度偉大濕婆神之化身之一。大威德金剛具有九面，列為三層，主面為牛。其主臂當胸，一手持嘎巴拉碗，一手持鉞刀。另三十手臂則各持法器，如光環繞其身軀。大威德金剛被描述為「怖畏」本身之象徵，然而亦是已開悟正覺之神祇，修行大威德金剛之秘法，成就修行者對死亡體悟之轉化、勝伏死主。 該像之尺寸小巧易攜，然而卻毫不影響其細節之精美，呈現紐瓦爾造像之典型風格。紐瓦爾人受藏人委託造像，成為流動的工坊，其活動遍布西藏各地。銅像精心鑄造之造型，體現出緊實的裝飾風格的衰退，與另一尊大威德金剛像（佳士得，紐約，2012年3月20日，拍品112）不謀而合。本尊造像由三個獨立部分構成：蓮花座、中層被踐踏之外神，以及主尊本身，而每部分皆被賦予細微而精準的細節。倫敦維多利亞與艾爾伯特博物館有一尊尺寸稍大、構造類似之造像（圖1，IM.173-1920）。蓮座向上延伸，托舉一排火焰，左側由七馬所拉之太陽神蘇利耶之戰車，右邊則為象徵其他行星神明之動物所簇擁之月亮神錢德拉。底座最上層為印度教諸神，鑄造以完整身形，即將遭受大威德金剛踩其頭頂浮台之重壓。大威德金剛周身滿綴昭示其神祇屬性之裝飾元素，如其層層珠串、頭顱長鍊以及屬其所

Estim. 40 000 - 60 000 EUR

Tue 11 Jun

STATUETTE OF THE FOURTH SAKYA TRIDZIN, SONAM TSEMO, IN GILDED COPPER ALLOY TIBET, 16TH CENTURY Himalayan Art Resources item no. 1825 13 cm (5 1/8 in.) high Footnotes: A GILT COPPER ALLOY FIGURE OF THE FOURTH SAKYA TRIDZIN, SONAM TSEMO TIBET, 16TH CENTURY Provenance Sotheby's, New York, before 1976 Sonam Tsemo (1142-82) held office as Sakya monastery's 'throne-holder' (Sakya Tridzin) for only three short years before passing it to his younger brother so that he could devote his life to unencumbered study. He never married or fathered children, preferring the life of a retreatant, yet Sonam Tsemo remained a lay practitioner, indicated by his long-sleeved cloak. Revered for his scholasticism as the Sakya's Second Founding Patriarch (Jetsun Gongma Nga), his foundational texts include a commentary on the Bodhicharyavatara by Shantideva, explanations on the final two chapters of the Hevajra root tantra, instructions for reading Sanskrit, and Door to the Dharma, a text giving an overview of all of the Buddha's teachings. Portraits of Sonam Tsemo, like the present lot, often show him wearing finely ornamented robes, with curled locks and a gentle countenance. Two further bronzes, and a painting of the master with his younger brother, Dragpa Gyaltsen, depict him similarly (HAR 7835; Bonhams, New York, March 21, 2023, lot 521; and Museum of Fine Arts Boston, 67.831, respectively). In all three sculptural examples, his cloak features a cloud-collar, a Chinese motif with connotations of heavenly authority. The cloud-collar was adopted by the Sakya, who enjoyed administrative rule of Tibet under Mongol hegemony during the Yuan dynasty (1279-1368). The imperial support of Sonam Tsemo's noble line shows further articulation in the engraved saptaratna ('seven jewels'), the insignia of a chakravartin, or divine ruler. The intricately chased robe and the inscribed visvavajra on the sculpture's consecration plate underneath pay homage to the dynamic Yuan-Sakya alliance, which at its peak fostered an environment of cultural and artistic syncretism that would precipitate the creation of such jewel-like expressions of this figure's esteem. 銅鎏金四世薩迦法王索南孜摩像 西藏 十六世紀 來源 蘇富比，紐約，1976年前 索南孜摩（1142-82）僅僅擔任薩迦寺之座主（薩迦法王）三年 ，便傳位予弟弟，此後得以無所掛慮、潛心修習。 其一生從未結婚、生子，傾心於避世的生活，但從其衣袍之長袖可以看出，索南孜摩始終為一名在家修行者，而非出家僧人。其以學術成就聞名於世，其核心著作包括對寂天菩薩《入菩薩行論》之詮釋、對喜金剛根本續最後兩章之闡述、梵文閱讀指引，以及概述佛陀所有教義的《佛法入門》。 如本拍品一樣，索南孜摩肖像大多顯示其身穿精美長袍，頭髮鬈曲，面容溫和。另見兩尊銅像（分別見喜馬拉雅藝術資源網7835號以及邦瀚斯，紐約，2023年3月21日，拍品521）以及一幅其與弟弟扎巴堅贊之畫像（波士頓美術館，67.831），刻畫皆近似。本拍品與前述兩尊造像中，祖師皆穿着雲肩，此符號成為於中國文化中天人權威之象徵。在蒙古人所治之元朝時期（1279-1368），薩迦派享有對西藏的行政統治權，並將雲肩納入其著裝範疇。當時蒙古宮廷對索南孜摩所代表的薩迦傳承之支持，更體現在長袍的精心設計的雕刻圖案上，例如所刻「七寶」象徵神聖統治者「轉輪聖王」。雕刻精美的長袍，以及封底所刻十字金剛杵，皆向元代宮廷與薩迦派之結盟致敬，這段聯盟的鼎盛時期孕育了文化與藝術的交融，催生出如此造像般熠熠閃光的、對偉大人物的尊崇的表現方式。 Lot to be sold without reserve. This lot is subject to the following lot symbols: * * VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. For further information on this lot please visit Bonhams.com

Estim. 30 000 - 50 000 EUR

Tue 11 Jun

GILDED COPPER ALLOY STATUETTE OF AVALOKITESHVARA SAHASRABHUJA EKADASAMUKHA CENTRAL TIBET, CIRCA 15TH CENTURY Himalayan Art Resources item no. 1813 44 cm (17 1/4 in.) high Footnotes: A GILT COPPER ALLOY FIGURE OF AVALOKITESHVARA SAHASRABHUJA EKADASAMUKHA CENTRAL TIBET, CIRCA 15TH CENTURY Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 423, no. 184. Exhibited Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 -19 February 2017. This tall gilt bronze represents Avalokiteshvara Sahasrabhuja Ekadasamukha-the All Seeing, All Encompassing Lord with One Thousand Hands and Eleven Faces-whose compassionate gaze extends to every corner of the world. The figure's iconography traces as far back as to an Indian stone relief carved in the 5th or 6th century at the rock-cut Buddhist caves of Kanheri, India. Iconographic treatises translated from Sanskrit to Chinese around the 6th century indicate the early dissemination of this form into Kashmir, Central Asia, Tang China, and the Tibetan Empire. Since the reign of the first Dharma King of the Yarlung Dynasty, Songtsen Gampo (604-50), Avalokiteshvara has been the primary tutelary deity of Tibet. Drawing on an iconographic vocabulary of many heads and arms to confer cosmic supremacy on the Great Bodhisattva, this form of Avalokiteshvara was widely revered and further developed by the Palmo and Jowo traditions, modeling the deity with benign features except for the penultimate wrathful head. Retaining its original, gilded base plate, this image of Avalokiteshvara is executed in a refined 15th-century style emerging from a renaissance of Tibetan art, religion, and culture. Its facial modeling, together with the thin, incised lines of floral decoration with blackened silhouettes, nod to the work of Sonam Gyaltsen, a master artist active in Shigatse, c.1430, who contributed to, or perhaps created, one of Tibet's finest traditions in gilded sculpture. Also, the flowers gracing the lower garment, particularly the floral sprays gently floating in place, are nearly identical to the Chinese silk damasks gifted to Tibet during the early Ming dynasty. Rare examples include a Yongle period (1403-24) temple hanging of Shadakshari Lokeshvara in yellow silk that was sold at Bonhams, Hong Kong, 30 November 2022, lot 42, and another in red that was gifted by Sir Joseph Hotung to the Metropolitan Museum of Art, New York (fig.1; 2002.271). For examples of Tibetan gilt bronzes of similar quality depicting Avalokiteshvara with eleven faces, see a smaller figure published in, The Light of the Buddha: Buddhist Sculptures of the Palace Museum and Zhiguan Museum of Fine Art, 2019, pp. 402-3, no. 110. Also compare the Avalokiteshvara identified by inscription to have been made by Sonam Gyaltsen, sold at Bonhams, New York, 19 March 2018, lot 3033. For the figures listed in this essay, please refer to our printed or digital catalog. 銅鎏金十一面千手觀音像 藏中 約十五世紀 著錄 Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha: 2000 Years of Buddhist Art, 232 Masterpieces》，弗爾克林根，2016年，第423頁，編號184 展覽 「Buddha：2000 Years of Buddhist Art, 232 Masterpieces 」, 弗爾克林根，2016年6月24日至2017年2月19日 這尊頎長的銅鎏金造像呈現十一面千手觀音--梵文意為「十一面千手、全知全能的救主」，其慈悲目光視及世間每一角落。這一形象最早可追溯到印度甘赫裡岩窟之公元五或六世紀所刻石浮雕。圖像學文本於六世紀時期自梵文翻譯成中文，證明這種形象於喀什米爾、中亞、唐代漢地和西藏王朝的早期傳播。自雅礱王朝第一位法王松贊幹布（604-50年）統治以來，觀音一直是藏地主要的守護神。以多面以及多臂之形象彰顯此菩薩遍及宇宙之至高地位，十一面觀音之形象在帕爾莫和覺沃傳統中廣受敬拜，並進一步發展，塑造了這位神祇的慈愛特徵，唯有上數第二層之忿怒面表現其作為至高神明的無盡神通。 此尊觀音像仍保留鎏金封底原作，以十五世紀西藏藝術、宗教以及文化之文藝復興時期間形成之精緻風格而造。其面部塑造，以及花卉裝飾的纖細雕刻線條和填黑處理，折射出索南堅贊之傳統。索南堅贊為一位約1430年前後活躍於日喀則地區的工匠大師，西藏最精美的鎏金造像傳統之一，便由其創立或推動。同樣，點綴衣物下擺的花卉，尤其是輕柔飄動的飛花，與明初賞賜藏地的漢地絲綢織錦幾乎完全相同。稀有珍品包括一幅永樂年間（1403-24年）黃底暗花緞織四臂觀音寺廟掛畫（邦瀚斯，香港，2022年11月30日，拍品42），以及由何鴻卿爵士贈予紐約大都會藝術博物館之

Estim. 100 000 - 150 000 EUR

Tue 11 Jun

STATUETTE OF THE FOUNDER OF THE DRIGUNG KAGYU ORDER, JIGTEN SUMGON RINCHEN PEL, ON HIS THRONE, IN GILDED COPPER ALLOY WITH SILVER INLAY CENTRAL TIBET, DENSATIL MONASTERY, XIII/XVIE CENTURY Himalayan Art Resources item no. 1821 18.1 cm (7 1/8 in.) high Footnotes: A SILVER INLAID GILT COPPER ALLOY ENSHRINED FIGURE OF THE FOUNDER OF THE DRIGUNG KAGYU ORDER, JIGTEN SUMGON RINCHEN PEL CENTRAL TIBET, DENSATIL MONASTERY, 13TH/14TH CENTURY Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 392, no. 169. Exhibited Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 -19 February 2017. Provenance Private European Collection Seated on an ornate throne is Jigten Sumgon Rinchen Pel (1143-1217), whose honorific appellation means, 'Precious One, The Protector of the Three Worlds'. He sits emulating the Buddha, as he holds the gesture referencing the proclamation of Gautama's enlightenment. Hearing the Kagyu master's name, Phagmodrupa (1110-70), Jigten Sumgon sought his dharmic teachings in the remote mountainous region, later to be known as Densatil. He became one of the earliest and most renowned practitioners under this guidance, extending the Kagyu lineage throughout Tibet. Donning a patchwork robe, Jigten Sumgon poignantly sits on a raised pedestal, in a double-entendre evoking Mt. Meru, the mountain at the center of Buddhist cosmology, and his own temporal seat of power as the founder of Drigung monastery and the Drigung Kagyu order in 1179. His order dominated the political landscape of Tibet in the late 12th and 13th centuries, enjoying great wealth and patronage. Through Jigten Sumgon's fame, the Drigung Kagyu's presence extended from a rocky mountainside in Central Tibet to eastern Tibet and as far west as India. According to his biography, images in Jigten Sumgon's likeness were produced in the thousands for disciples to carry with them as they traveled. In the early 13th century, his portrait appears as far west as Alchi (Jackson, Painting Traditions of the Drigung Kagyu School, 2015, p. 11, fig. 1.25). In many instances, painting and sculpture, he is immediately recognizable by his upright posture, athletic build, form-fitting monastic vest, tall forehead, and receding hairline (e.g., ibid., pp. 86 & 90, figs. 5.9 & 5.13A). This gilded portrait is among very few examples of Jigten Sumgon to be preserved with the original stepped-throne and decorative back-plate inlaid with semi-precious stones. Two other examples are located in Musée Guimet, Paris (fig. 1; MA 6032) and the Potala Palace, Lhasa (Jackson, 2015, p. 89, fig. 5.12). All three sculptures likely survive from Densatil rather than Drigung, which was razed to the ground in 1297. Lama portraits were part of the iconographic program of Densatil's famed tashi gomang stupas, on which several seated on similar thrones were photographed in 1948 (Czaja & Proser, Golden Visions of Densatil, 2014, p. 39, fig. 15). Portrait bronzes were also placed on shelves in front of a stupa erected for Jigten Sumgon at Densatil after his death in 1217 (ibid., p. 34, fig. 14). As one of Phagmodrupa's two principal adherents, Jigten Sumgon, was instrumental in Densatil's founding. He served as the monastery's second abbot and for much of the late 12th and 13th centuries, Densatil and Drigung were considered 'correlated sees' (Henss, Cultural Monuments in Tibet, vol. I, p. 621). For the figures listed in this essay, please refer to our printed or digital catalog. 銅錯銀鎏金直貢噶舉初祖吉天頌恭仁欽貝像 藏中 丹薩替 十三/十四世紀 著錄 Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁392，編號 169 展覽 「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日 來源 歐洲私人珍藏 端坐於華麗寶座之上的是吉天頌恭仁欽貝（1143-1217年），意名為「珍寶者、三界怙主」。如其手印所示，其姿態效仿佛陀宣告成道時的坐姿。仁欽貝在聽聞噶舉派大師帕摩竹巴（1110-1170年）盛名後，前往偏遠山區希求妙法，此地後稱丹薩替。他後來成為最早且最著名的帕摩竹巴座下修行者之一，並將噶舉派傳遍藏地。仁欽貝身著樸素福田衣，暗示其為佛陀的虔敬弟子；其身下高臺既象徵佛教早期宇宙觀中的須彌山，又暗指這位1179年直貢噶舉派創始人的威嚴法座。 其教派在十二世紀末至十三世紀主導藏地的政治格局，享有巨大的財富和供養。直貢噶舉憑藉仁欽貝的聲望，自藏中之山區向東擴展至藏區東部，西則至印度。根據其傳記記載，人們製作了數以千計之仁欽貝像，以便弟子遊歷修行時隨身攜帶。十三世紀初，遙遠至西面的阿

Estim. 100 000 - 150 000 EUR

Tue 11 Jun

GILDED COPPER ALLOY VIRUPA STATUETTE ATTRIBUTED TO SONAM GYALTSEN (A. XVE CENTURY), CENTRAL TIBET, CIRCA 1430-50 A Tibetan inscription around the rim of the base: ན་མ་ཤྲི་བིརྦ་པ་ཡ། Translated: 'Homage to Sri Virupaya!' Himalayan Art Resources item no. 1819 14.6 cm (5 3/4 in.) high Footnotes: A GILT COPPER ALLOY FIGURE OF VIRUPA ATTRIBUTED TO SONAM GYALTSEN (A. 15TH CENTURY), CENTRAL TIBET, CIRCA 1430-50 Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 426, no. 186. Exhibited Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 -19 February 2017. This Tibetan sculpture pays homage to one of the great luminaries of Indian Buddhism, the 9th-century Buddhist master, Virupa. Like other mahasiddhas (great adepts) of the medieval period, Virupa spent years in formal Buddhist training before withdrawing from monastic life to follow his own path. He is credited with a hyper-efficient meditative practice known aslamdre('the Path with the Result'), which was later introduced to Tibet by the Indian teacher Gayadhara (d. 1103) and became a central tantric tradition within the Sakya school. Formerly an abbot of Nalanda, Virupa received the 'Path', which is based mainly on theHevajra Tantra, from the deity Vajra Nairatmya after giving up on decades of unsuccessful attempts at the Chakrasamvara Tantra. His subsequent rituals cost him his affiliation, as other members of the monastic hierarchy frowned upon his use of meat and alcohol. Banished from Nalanda, he wandered as a yogin performing a number of miracles. No other mahasiddha is so well-developed in terms of varied appearance. In this 15th-century work, the saint holds his hands in the 'teaching gesture', a mimetic mudra in reference to the Buddha's first teaching at Deer Park. He sits on a lotus seat covered with an antelope skin, customary in portraits of the great siddhas. Full bodied, with a gana-like affect, his figure and wide-eyed gaze relates to two other portraits, one published in Heller, Tibetan Art, 1999, p. 164, no. 89 and another sold at Bonhams, Paris, 12 June 2023, lot 10. All three are richly gilded with turquoise insets and corresponding floral decorations and incised details. All wear a garland around their necks, though this example depicts it draped in a bias across his body. Rich chasing of Ming-inspired floral patterns along the lower garment, here and in the lot sold at Bonhams Paris, pay tribute to artistic exchanges between China's Imperial court and Tibetan sects. Crisp lotus roundels in the rear, for instance, faithfully reproduce the motif found in embroidered Chinese silks, such as a textile preserved in the Metropolitan Museum of Art, New York (fig. 1; 1997.380). Exemplifying a period of marked refinement in Tibetan art history, this gilt bronze sculpture of Virupa bears the hallmarks of the master sculptor, Sonam Gyaltsen, active in the second quarter of the 15th century. The artist's hand is evident, with interchangeable aspects of style and technique to that of a gilt-bronze figure of Avalokiteshvara Sahasrabhuja Ekadasamukha, circa 1430, identified by inscription to have been made by Sonam Gyaltsen, which was sold at Bonhams, New York, 19 March 2018, lot 3033. Such identical features manifest in the turquoise-insets and the incised decoration, particularly the hatch marks within floral motifs. Furthermore, the treatment of the lotus base, with plump petals terminating in curlicue tips at the front, and simplified flattened petals at the back, is consistent with the inscribed Avalokiteshvara. The present bronze's base plate is gilded which is also a feature of Sonam Gyaltsen's work. As noted in the inscription of the Sonam Gyaltsen Avalokiteshvara, the master craftsman had the patronage of the Rinpung dynasty, specifically the third monarch, Norbu Zangpo (1403-66) who ruled between 1435-66. The dynasty's seat of power was in Shigatse, Tsang Province in Central Tibet, and its rulers mostly patronized the Sakya order, for whom Virupa is a root guru. For the figures listed in this essay, please refer to our printed or digital catalog. 銅鎏金毘魯巴像 應為索南堅贊（活躍於十五世紀）之作 藏中 約1430至50年 著錄 Meinrad Maria Grewenig 及 Eberhard Rist 編,《Buddha：2000 Years of Buddhist Art，232 Masterpieces》， 弗爾克林根，2016年，頁426，編號186 展覽 「Buddha：2000 Years of Buddhist Art，232 Masterpieces」， 弗爾克林根，2016年6月24日至2017年2月19日 這尊西藏造像致敬了印度佛教一位傑出人物--公元九世紀的佛教大師毘魯巴。與中古時期其他大成就者一樣，毘魯巴歷經數年正統佛教訓練之後，選擇退出寺院生活，遵循個人的修道之路。他聞名於一種被稱為「道果法」的高效冥想修行法，此法後

Estim. 150 000 - 200 000 EUR

Tue 11 Jun

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. 600 000 - 800 000 EUR

Tue 11 Jun

AKSHOBHYA STATUETTE IN BRASS WITH COPPER INLAY CENTRAL TIBET, CIRCA XIII CENTURY Himalayan Art Resources item no. 1809 40 cm (15 3/4 in.) high Footnotes: A COPPER INLAID BRASS FIGURE OF AKSHOBHYA CENTRAL TIBET, CIRCA 13TH CENTURY Published Marcel Nies, Window of the Sacred World: Art of India, the Himalayan regions and Southeast Asia, Antwerp, 2002, no. 24. Jan van Alphen, Cast for Eternity: Bronze Masterworks from India and the Himalayas in Belgian and Dutch Collections, Antwerp, 2005, p. 163, no. 49. Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 409, no. 177. Exhibited Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 -19 February 2017. Provenance Marcel Nies Oriental Art, Belgium Cast with a sweet and serene expression, this handsome figure represents the crowned emanation of Akshobya, the Immovable One, as one of the Five Tathagatas. Known as the Cosmic Buddhas, these deities belong to a preeminent subset of the yoga tantras. To the Sarma, or new schools of Tibetan Buddhism, they represent the belief that the world is composed of five elements, with each Buddha embodying an aspect of wisdom with a corresponding color, Buddha family, cardinal direction, and hand gesture.Blue in complexion and motioning his right hand forward in the earth-witnessing gesture (bhumisparsha mudra), Akshobya presides over the Vajra family of Buddhas within the eastern quadrant of a mandala. His invocation serves as an antidote to anger and hatred, with his mirror-like wisdom reflecting a world free of illusory distortions warped by the human ego.Since his true existence is empty and therefore ineffable to the unenlightened mind, Akshobya is depicted here in a blissful, 'reward body' (sambhogakaya) at the threshold of dissolving into his dharmakaya form.The artist has imbued his creation with an arresting calm, drawing the viewer closer to inspect the copper inlays applied to the fingernails of the right hand, the band of the crown, and the figure's ample lips. This bronze ranks among finer examples of early non-gilt sculpture in Tibet from the 13th and 14th centuries. Stylistically, it pays homage to the two Indian aesthetic traditions of the preceding centuries that had greatest influence on Tibetan Buddhist art in the formative period. The first being that of Kashmir, wherefrom works were transmitted to West Tibet, echoed in the sculpture's wide lotus petals and the technique of using casting struts to bridge the figure's crown and scarf.The second being that of Pala northeastern India, wherefrom sculptures were brought to Central Tibet. Pala borrowings include the figure's lozenge-shaped jewellery, tall chignon, and gentle dip to the eyelids.Differences in figural modelling, however, indicate the bronze's creation in Tibet, paralleling the casting quality and facial type of a seated Buddha published in von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, p. 1173, no. 313D, and a figure of Ratnasambhava in the Tibet Museum, Gruyères (ABS 032; HAR 200457). 錯紅銅阿閦佛銅像 藏中 約十三世紀 著錄 Marcel Nies，《Window of the Sacred World: Art of India, the Himalayan regions and Southeast Asia》，安特衛普，2002年，編號24 Jan van Alphen，《Cast for Eternity: Bronze Masterworks from India and the Himalayas in Belgian and Dutch Collections》，安特衛普，2005年，頁163，編號49 Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁409，編號177 展覽 「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日 來源 Marcel Nies Oriental Art，比利時 此尊造像英俊非凡，神情恬靜安詳，為阿閦佛之寶冠形象，即不動尊，為五方如來之一。五方如來又稱五方佛，屬瑜伽密續最重要一組神明。對藏傳佛教新派來而言，五佛即代表世界由五大元素構成這一信仰，由每位佛陀象徵五種智慧之一，並各有不同顏色、佛部、方位以及手印。阿閦佛膚藍，右手向前伸出結觸地印，掌管曼荼羅東方之金剛界。祈求大日如來以抵抗怒與憎，其大圓鏡智不妄不愚，展現出一個沒有人性曲解幻想之世界。由於其真實存在為空，無法言說於未開悟的心智，故此處阿閦佛呈現圓滿色身的「報身」，處於解脫為「法身」之邊緣。藝術家賦予造象引人入勝的平靜，引導觀者細細查看其微妙細節，如其右手指甲、冠冕帶及豐滿唇上所錯紅銅。 此尊銅像堪稱為十三及十四世紀西藏早期非鎏金銅像中的傑作。其風格上向對後來西藏佛教藝術形成影響巨大的兩個早期印度藝術傳統

Estim. 60 000 - 80 000 EUR

Tue 11 Jun

STATUETTE OF THE FIFTH SAKYA TRIDZIN, JETSUN DRAGPA GYALTSEN, IN GILDED COPPER ALLOY TIBET, XVE/XVIE CENTURY A Tibetan inscription around the rim of the base: རྗེ་བཙུན་གྲགས་རྒྱལ་ལ་ན་མ། Translated: 'Homage to Jetsun Dragpa Gyaltsen!' Himalayan Art Resources item no. 1815 18.1 cm (7 1/8 in.) high Footnotes: A GILT COPPER ALLOY FIGURE OF THE FIFTH SAKYA TRIDZIN, JETSUN DRAGPA GYALTSEN TIBET, 15TH/16TH CENTURY Provenance Sotheby's, New York, before 1976 This gilt bronze represents Jetsun Dragpa Gyaltsen (1147-1216), the Fifth Tridzin, or Throne Holder, of the Sakya order of Tibetan Buddhism.Dragpa Gyaltsen is quintessentially recognized by his shorn cut, groomed facial hair, and a full-sleeved layman's cloak.Like his father and older brother, Dragpa Gyaltsen was not a monk, though he spent most of his life in meditation, study, and teaching. Consequently, he is shown wearing a layman's long-sleeved garment underneath the meditation cloak draped over his shoulders. Regarded as the third of the Five Founding Fathers of the Sakya tradition (Jetsun Gongma Nga), Dragpa Gyaltsen is revered as a peerless tantric master, believed to have conversed directly with tantric deities while developing many of the Sakya's core teachings (Dinwiddie (ed.), Portraits of the Masters, 2003, p. 207). As his impact in the field of tantric theory and practice would never be surpassed in the Sakya tradition, he is often represented with the same attributes and pose-crossing the vajra and ghanta before his chest-as the Primordial Buddha Vajradhara, who is considered the divine progenitor of most tantric cycles. This splendid portrayal of Dragpa Gyaltsen comes from a set depicting the historical and legendary teachers of the Lamdre tradition. Also known as the Margapala Instruction Lineage and the 'Path within the Result', Lamdre is a system of tantric meditation, teachings, and rituals that became the Sakya order's foundational practice.Numerous portraits from this set are preserved in museum and private collections, including a figure of Virupa (Heller, Tibetan Art, 1999, p. 164, no. 89); Mahasiddha Avadhutipa (Zhang (ed.), Dependent Arising: Himalayan Art, 2017, pp. 124 & 260, no. 22); Drogmi Lotsawa Shakya Yeshe (fig. 1; Museum Rietberg, Zurich BA 226; Sachen Kunga Nyingpo (Arts of Asia, May - June 1998, advertisement); Sonam Tsemo (Huang, Studies on the History of gDan-sa-mthil Monastery of Tibet, 2016, p. 5); Sakya Pandita (Rubin Museum of Art, New York; HAR 65460); and Chogyal Phagpa (Christie's, New York, 15 September 2015, lot 91).Much like the following work, each of these bronzes is seated atop a circular base with wide, unfurling lotus petals and an inscription hammered in pointillé along the lower rim.Also noteworthy are the similar floral embellishments and piled folds of his clothes to that of the Sachen Kunga Nyingpo and Sonam Tsemo within this set. For the figures listed in this essay, please refer to our printed or digital catalog. 銅鎏金五世薩迦法王扎巴堅贊像 西藏 十五/十六世紀 來源 蘇富比，紐約，1976年前 此尊鎏金銅像呈現傑尊 - 扎巴堅贊（1147-1216），為第五世薩迦法王，又稱座主。扎巴堅贊因其極為經典的整齊短髮、延伸至面部之髮鬚，以及俗家弟子之長袖衣袍而得以清晰辨認。如同他的父親和哥哥一樣，扎巴堅贊並非出家僧人，儘管他曾將一生中大部分時光用於冥想、學習和教學。因此，其觀想所披之外衣下見一件長袖俗家服裝。作為薩迦五祖之第三祖，扎巴堅贊被尊崇為無與倫比的密宗大師，據信他能夠直接與密宗神明交談，並發展了許多薩迦派之核心教義（見Dinwiddie編, 《大師肖像》，2003年，頁207）。由於扎巴堅贊於密宗理論和實踐領域之影響力在薩迦派中無人能及，他時常被呈現於原初佛金剛總持之姿態與法器--手中交叉金剛杵及金剛鈴。金剛總持被視為大多數密宗教法之神聖始祖，故可見扎巴堅贊之崇高地位。 這尊華美的扎巴堅贊像出自一套呈現「道果」法脈歷史上及傳說中之偉大上師之造像組。「道果」法脈為一套包含密宗之觀想、教義和儀式之體系，為薩迦派之根本性實踐基礎。造像組之多尊現保存於博物館以及私人收藏之中，包括毘魯巴像（見Heller，《Tibetan Art》，1999年，頁164，編號89），大成就者阿瓦度帝巴像（《緣起--喜馬拉雅藝術》，2017年，頁124及260，編號22，卓彌釋迦益西像（圖1，蘇黎世瑞特堡博物館藏，編號BA 226），薩欽貢嘎寧波像（《Arts of Asia》，1998年5-6月刊，推廣頁），索南孜摩像（黃，《Studies on the History of gDan-sa-mthil Monastery of Tibet》，2016年，頁

Estim. 40 000 - 60 000 EUR

Tue 11 Jun

TSANGNYON HERUKA STATUETTE IN COPPER ALLOY CENTRAL TIBET, TSANG PROVINCE, LATE XVE/XVIE CENTURY Himalayan Art Resources item no. 31441 41 cm (16 1/8 in.) high Footnotes: A COPPER ALLOY FIGURE OF TSANGNYON HERUKA CENTRAL TIBET, TSANG PROVINCE, LATE 15TH/16TH CENTURY Published Marylin Rhie & Robert Thurman, Wisdom and Compassion: The Sacred Art of Tibet, Expanded Edition, 2000, New York, p. 443, no. 196 (67a). Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 451, no. 198. Exhibited Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 -19 February 2017. This is one of the largest bronze sculptures by Tsangnyon Heruka (1452-1507), perhaps second only to a repoussé figure in the Pritzker Collection (HAR 58303). Guised as a mahasiddha, the 'Madman of Tsang' wears a tiger-skin apron and a cross-belt fashioned from bones. Notably, he resembles the preeminent mahasiddha, Virupa (8th-9th century), who is often shown with an elaborate topknot, a skull cup, and a raised right arm. Present iconography that distinguishes Tsangnyon Heruka from Virupa here include a Buddha within the central leaf of his crown, a corpulent deity located at the center of his cross-belt, a vajra formerly held in his right hand, and the absence of a flower sash or a sutra wedged in his hair. To the lower edge of this sculpture's base is added a vajra with fluttering ribbons and a pair crouching snow lions. Originally an ordained follower of the Kagyu tradition, Tsangnyon Heruka abandoned monasticism to pursue the tantric life, garnering the epithet, the 'Madman of Tsang'. Inspired by early Indian texts and the mahasiddhas, he inhabited burial grounds, wearing and even eating what he found there. Despite his unusual behavior, Tsangnyon Heruka attracted numerous disciples as he travelled through Tibet and Nepal in the poet-saint Milarepa's (1052-1135) footsteps. He is one of Tibet's most celebrated authors, being among the first to have his works printed with woodblocks, funding and developing the technology which would have a profound effect on Tibetan culture. Tsangnyon Heruka's most famous writings include the biographies of Milarepa and Marpa (1012-97). He inspired a rich biographical tradition within the Kagyu, to which his pupils added those of Tilopa (988-1069), Naropa (956-1040) and Rechungpa (1084-1161). Cast with piercing eyes and an immense stomach, this powerful sculpture was crafted in the non-gilt workshops of Tsang, the same province in Central Tibet where Tsangnyon Heruka was from. The style of the necklace and densely packed lotus pedestal are reminiscent of imperial Chinese bronzes gifted to prominent Tsang monasteries, such as a large Yongle Virupa now in the Cleveland Museum of Art (fig. 1; 1972.96). A similar sized Tibetan gilt bronze of Naropa from the 15th/16th century is in the Los Angeles County Museum of Art (M.2001.45). Lastly, compare two smaller Tsang examples, one of Virupa in the Rubin Museum of Art, New York (HAR 65219) and another of Tsangnyon Heruka in private hands (HAR 12755). For the figures listed in this essay, please refer to our printed or digital catalog. 藏紐赫魯加銅像 藏中 十五世紀晚期/十六世紀 著錄 Marylin M. Rhie 及 Robert A. F. Thurman，《Wisdom and Compassion：The Sacred Art of Tibet》，2000年，紐約，頁480，編號196（67a） Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁451，編號198 展覽 「Buddha：2000 years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日 此尊威武的藏紐赫魯加（1452-1507）銅像為此題材目前已知最為龐大的銅像之一，或許僅次於普利茲克收藏中的一尊錘揲像（喜馬拉雅藝術資源網58303號）。這位「藏地狂人」身著虎皮裙，系骨製交叉飾帶，現身為大成就者之形象。值得注意的是，其貌酷似傑出的成就者毘魯巴（八至九世紀）。毘魯巴常梳精致發髻，手持嘎巴拉碗，右臂上舉。此尊藏紐赫魯加像區別於毘魯巴的特征則包括：寶冠中央葉飾上見化佛、交叉飾帶中央亦有一尊富態的小型神像、右手原應所持一金剛杵，以及頭髮中無花飾或經書。其底座下緣增加一把飾以飄帶的金剛杵，以及一對蹲伏的雪獅。 藏紐赫魯加本是噶舉派的受戒弟子，後因追求密宗生活而放棄修道，被稱為「藏地狂人」。受早期印度典籍與大成就者的啟發，他居於墓地，穿戴甚至食用他於此處所覓得之物。盡管行為瘋癲異常，藏紐赫魯加追隨詩歌聖人密勒日巴（1040-1123）的腳步遊歷西藏與尼泊爾，仍然吸引著無數信徒。他是西藏最負盛名的寫作者之一

Estim. 300 000 - 500 000 EUR

Tue 11 Jun

VAJRAYOGINI STATUETTE IN BRASS WITH SILVER AND COPPER INLAY TIBET, 17TH CENTURY Himalayan Art Resources item no. 1820 11.4 cm (4 1/2 in.) high Footnotes: A SILVER AND COPPER INLAID BRASS FIGURE OF VAJRAYOGINI TIBET, 17TH CENTURY Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 472, no. 209. Exhibited Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 -19 February 2017. Provenance Private American Collection, since 1980s Vajrayogini is the principal female deity of the Chakrasamvara Tantra, enjoying widespread worship in all Tibetan Buddhist schools.She is the most importantdakiniin Tibetan Buddhism, which is a class of female celestial being that takes form in this world to train tantric masters in secret doctrines. Here, encircled by a flaming mandorla, the dakini dances on a prostrate figure on a lotus base. She is adorned with a garland of severed heads and holds the attributes of kartrika (hooked knife), kapala (skullcup), and khatvanga (ritual staff). Inspired by Pala bronzes from Buddhism's ancient heartland in northeastern India, this figure exemplifies an archaistic aesthetic popular in Tibet and at the Qing court in the 17th-19th centuries. Pala bronzes of the 8th-12th centuries spread to Tibet in vast numbers during a period known as Buddhism's Second Diffusion (10th-12th centuries) and were subsequently introduced to China in early exchanges between Tibetan monasteries and the Yuan court (1279-1368). Their sustained popularity is owed, in part, to the continued Qing support of Lamaism and assemblage of the Palace Collection, used as models in later bronze production. A Pala figure of Vajrayogini within a flaming halo in the Palace Collection is illustrated in The Complete Treasures of the Palace Museum: Buddhist Statues of Tibet, Hong Kong, 2003, p. 256, fig. 245. A Qing example of a dakini, related to the present bronze, shows similar modelling on a large lotus base (Precious Deposits, Vol. 5, 2000, p. 73, no. 26). 錯銀錯紅銅金剛瑜伽母銅像 西藏 十七世紀 著錄 Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha: 2000 Years of Buddhist Art, 232 Masterpieces》，弗爾克林根，2016年，頁472，編號209 展覽 「Buddha: 2000 Years of Buddhist Art, 232 Masterpieces 」，弗爾克林根，2016 年 6 月 24 日至 2017 年 2 月 19 日 來源 美國私人珍藏，二十世紀八十年代 金剛瑜伽母為勝樂金剛密續中主要女性本尊之一，在所有藏傳佛教派中受到共同尊崇。金剛瑜伽母亦為藏傳佛教中最為重要的空行母--一眾天界女性生靈，進入凡塵以祕法傳授密宗教義。此尊造像背後環繞火焰光環，一足於蓮花座的屍骸上起舞。頭上戴著頭骨串成的花冠，攔喀章嘎天杖，一手持嘎巴拉碗，另一手則提彎刀「卡提月」。 借鋻源自古老的佛教中心、印度東北部的帕拉銅像，此金剛瑜伽母像代表著十七至十九世紀間流行於西藏及清宮的摹古風潮。誕生於八至十二世紀間帕拉銅像在藏傳佛教後弘期（十至十二世紀）大量傳入西藏，並通過隨後西藏寺院與元朝廷之間的交流（1279年至1368年，帕拉銅像進入中原地區。其長久盛行，部分歸功於清朝對喇嘛教持續的支持，以及故宮藏品的蒐集與形成，帕拉藏品成為後造銅像之範例。《故宮博物院藏文物珍品全集--藏傳佛教造像》中著錄一尊帕拉金剛瑜伽母像（2003年，頁256，圖245），同樣置於火焰背光之下。另有一尊清代所造空行母像，其身形以及大蓮花座皆與此拍品相似，見《Precious Deposits》，卷5，2000年，頁73，編號26。 Lot to be sold without reserve. This lot is subject to the following lot symbols: * * VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. For further information on this lot please visit Bonhams.com

Estim. 15 000 - 20 000 EUR

Tue 11 Jun

VAJRABHAIRAVA STATUETTE IN COPPER ALLOY TIBET, PALA RENAISSANCE STYLE, XVIIE/XVIIIE SIÈCLE Himalayan Art Resources item no. 34327 25.4 cm (10 in.) high Footnotes: A COPPER ALLOY FIGURE OF VAJRABHAIRAVA TIBET, PALA REVIVAL STYLE, 17TH/18TH CENTURY Published Deborah Ashencaen & Gennady Leonov, Visions of Perfect Worlds: Buddhist Art from the Himalayas, Spink & Son Ltd., London, 1999, pp. 28-9, no. 14. Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 489, no. 217. Exhibited Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 -19 February 2017. Provenance Truffier Estate, France Sotheby's, New York, 26 March 1998, lot 122 Spink & Son Ltd, London, 1999 The Great Bodhisattva of Wisdom, Manjushri, transformed into this wrathful manifestation of Vajrabhairava to confront and convert the buffalo-headed god of death, Yama, to Buddhism. In each of his thirty-four arms, he brandishes ritual weapons and attributes in a fan-like arrangement around his female consort, Vajravetali, who flings her leg around his waist. His sixteen legs trample a retinue of prostrate animals and Hindu gods, conveying the primacy of Buddhist truth over all realms of existence. Vajrabhairava features prominently in the Buddhist art history of Tibet and China. He is revered in all major schools of Tibetan Buddhism, serving as a key meditational deity (yidam) within the Sakya, Kagyu, and Gelug traditions. Yuan, Ming, and Qing emperors alike keenly adopted his practice, which eventually enabled a line of spiritual succession transcending dynastic divisions. Through forming a priest-patron relationship with the Gelug order, the Kangxi (r. 1662-1722) and Qianlong (r. 1736-95) emperors became regarded as living incarnations of Manjushri, and images of the bodhisattva in his many forms served, to some extent, to enforce the imperial mandate. This impressive Tibetan casting is styled after 11th/12th-century Pala bronzes from northeastern India. True medieval examples, which were brought to Tibet in antiquity and preserved in monasteries or transferred to imperial collections, served as models for such emulations produced in Beijing and Lhasa. Key patrons of an archaistic milieu among Buddhist art ateliers in the 17th and 18th centuries included the luminary historian and Indophile, Taranatha (1575-1634), and the Qianlong emperor himself. A closely related Tibetan example of Vajrabhairava in the Pala Revival style was sold at Christie's, New York, 18 March 2015, lot 4023. See another published in von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, p. 1117, nos. 293E-F.Also compare the matching curly hair of a Mahakala published in Neven, Art Lamaïque, 1978, no. 65. 大威德金剛銅像 西藏 帕拉復興風格 十七/十八世紀 著錄 Deborah Ashencaen 及 Gennady Leonov，《Visions of Perfect Worlds：Buddhist Art from the Himalayas》，Spink & Son Ltd，倫敦，1999年，頁28-9，編號 14 Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha: 2000 Years of Buddhist Art, 232 Masterpieces》，弗爾克林根，2016年，頁489，編號217 展覽 「Buddha: 2000 Years of Buddhist Art, 232 Masterpieces 」，弗爾克林根，2016 年 6 月 24 日至 2017 年 2 月 19 日 來源 Truffier Estate，法國 蘇富比，紐約，1998年3月26日，拍品122 Spink & Son Ltd，倫敦，1999年 象徵智慧之文殊菩薩化身為此令人生畏的大威德金剛形象，以降伏並轉化牛頭死神閻摩入佛門。其三十四臂各揮舞不同法器，如扇面般懷抱其明妃金剛露漩佛母，佛母則以腿環繞其腰。與此同時，其十六足鎮壓一群俯臥的動物和印度教神祇，象徵佛教真言於各層界皆至高無上。 大威德金剛於西藏和中原歷代王朝皆盛行。其於藏傳佛教所有主要教派中皆倍受尊崇，薩迦派、噶舉派和格魯派傳統皆奉其為重要觀想本尊。元、明、清三朝皆熱衷修行其法，最終形成了超越朝代分野的精神傳承。清康熙（1662-1722）及乾隆（1736-95）兩帝也是如此，他們與格魯派建立了宗教修行與世俗供養之雙重關係。而二位皇帝被視為文殊菩薩之轉世，故文殊之多重化身與形象皆十分多見，某種程度上以強化皇權神聖。 這尊複雜而精細的西藏銅像遵循印度東北部之十一至十二世紀間之帕拉王朝風格。真正鑄造於其時之中世紀銅像作為古代珍品被帶入西藏，供奉於寺廟或轉入皇家收藏，成為後世北京以及拉薩等地造像之模板。十七、十八世紀間，佛教藝術工坊中重要的摹古風潮倡導者包括權威歷史學家、無比熱愛印度文化之多羅那他（1575-1634），以及乾隆皇帝本人。 一尊相關的帕拉復興風格之西藏大威德金剛銅像曾於2015年3

Estim. 150 000 - 200 000 EUR

Tue 11 Jun

AMITAYUS STATUETTE IN PARCEL-GILT LACQUERED COPPER ALLOY QING DYNASTY, SEVEN-CHARACTER MARK AND QIANLONG PERIOD (1736-95) An inscription in Chinese around the front rim of the base, translated: 'The Buddha of Infinite Life.'; An inscription in Chinese at the reverse of the base, translated: 'Practice and Conduct are Foundational.' Himalayan Art Resources item no. 1812 16.5 cm (6 1/2 in.) high Footnotes: A PARCEL GILT LACQUER COPPER ALLOY FIGURE OF AMITAYUS QING DYNASTY, QIANLONG SEVEN-CHARACTER MARK AND OF THE PERIOD (1736-95) Provenance American Private Collection, acquired in China prior to 1940, and thence by descent. Seated with the elixir of long life in his lap is Amitayus, the Buddha of Infinite Life, whose gentle countenance reflects his compassion and desire to save all sentient beings. Invoked for his ability to prolong the lifespan of devotees, Amitayus was an especially popular subject of worship for the Manchu rulers of China. Depictions of this deity were often made in groups as celebratory birthday gifts whenever an emperor or a member of the royal family reached a milestone in age. This practice first began with the Kangxi emperor (1662-1722) and continued under the reign of his equally famous grandson, the Qianlong emperor (1736-95), who presented thousands of Buddhist images to his mother on the occasion of her 60th, 70th, and 80th birthday. As indicated by the seven-character reign mark, 'Made with reverence in the Qianlong era of the Great Qing', this parcel-gilt bronze belongs to an incredible group of works located in one of eight Buddhist halls within various palaces of the empire. Only two of these halls have been documented, both of which are located in the Forbidden City: the Tower of Precious Forms, or Baoxianglou (published in Clark, Two Lamaistic Pantheons, 1937), and the Hall of Buddhist Efflorescence, or Fanhualou (published in, Fanhualou - Statues in the Sanctuary of Buddhist Essence, Vols. I-II, 2013). Each hall originally contained a configuration of 787 sculptures for private imperial use, with the Baoxianglou pantheon completed in 1771, honoring the Empress Dowager's 80th birthday and the Fanhualou pantheon in 1774 which would later become Qianlong's retirement palace. Both iconographic programmes were conceived by Rolpai Dorje (1717-86), the highest-ranking Gelugpa lama in the Qing court as well as Qianlong's personal teacher and childhood friend.Due to the sheer number of images that were required for each location, these bronzes convey differences in artistic training and preference. Some emulated the rounder features of early Ming statuary, whereas in the case of this figure, the beak-like nose and pointed chin draw a connection to Mongolian artists following in the style of Zanabazar (1635-1723). For examples of Qianlong bronzes bearing a seven-character reign mark in past auctions, see two sold at Sotheby's, New York, 17 March 2015, lot 376; and 16 March 2016, lot 371; as well as a third sold at Christie's, New York, 22 March 2007, lot 215. 局部漆金無量壽佛銅像 清 乾隆（1736-95年） 「大清乾隆年敬造」款 蓮座正面下沿刻「無量壽佛」；背面刻「功行根本」 來源 美國私人收藏，1940年前得於中國，後由家族傳承 此尊雙手持寶瓶之造像為無量壽佛，其溫和面容展現慈悲與拯救一切眾生之大願。由於其延年益壽的能力，無量壽佛在中國滿清統治者中乃是廣為流行的崇拜對象。無量壽佛像通常是在慶祝皇帝或皇室成員大壽時，作為賀禮而成組製作的。這一做法始於康熙皇帝（1662-1722年），並在他同樣著名的孫子--乾隆皇帝（1736-95年）統治時期得以延續，後者為其母六十、七十、八十大壽獻上了數以千計的佛教作品。 正如其七字款識「大清乾隆年敬造」所示，這尊局部漆金銅像屬於一組令人驚嘆的作品，它們被供奉於皇宮內的八間佛樓之一。八間中僅有兩間佛樓被記錄成書，二者均位於紫禁城內：寶相樓（見Clark著，《Two Lamaistic Pantheons》，1937年）與梵華樓（見王家鵬主編，《梵華樓藏寶 ‧ 佛像》，全二冊，2013年）。每間佛樓最初都供奉了787尊皇家私用造像。寶相樓眾佛像於1771年完工，以賀太后八十大壽；而梵華樓之神佛殿堂則於1774年完工，後成為乾隆退位寢宮的一部分。此二次造像工程皆由若必多傑（1717-86年）設計，其為清廷最高階格魯派喇嘛、乾隆的私人上師兼童年好友。由於每間佛樓所需作品數量龐大，這些銅像因諸多藝術家們所受訓練或個人偏好不同而呈現不同風格。有些作品效仿明初造像的面目圓潤的特徵，而這尊佛像的尖狀鼻子和下巴則與承襲扎納巴扎

Estim. 30 000 - 50 000 EUR

Tue 11 Jun

GREEN TARA STATUETTE IN GILDED COPPER ALLOY MING DYNASTY, SIX-CHARACTER MARK AND YONGLE PERIOD Himalayan Art Resources item no. 1830 15 cm (5 7/8 in.) high Footnotes: A GILT COPPER ALLOY FIGURE OF GREEN TARA MING DYNASTY, YONGLE SIX-CHARACTER MARK AND OF THE PERIOD Provenance An Important Private European Collection This exquisite, finely cast gilt-bronze sculpture, created in the imperial workshops during the Yongle reign (1403-24) of the Ming dynasty (1368-44), represents Tara, 'Mother of all Buddhas' or 'Mother of all Victorious Ones', a goddess of compassion and action, an important protector, savior, and liberator from the earthly realm of birth and rebirth. Following Nepalese and Tibetan convention, Tara has the status and ranking of an enlightened buddha yet appearing in the guise of a female bodhisattva, embodied as a graceful, beautiful young woman. Here, Tara is depicted in her principal and minor form with one face, two arms and hands. She is peaceful in appearance, seated in a relaxed pose, her slender body gently swaying to one side, her right leg extended and resting on a lotus cushion, her left leg drawn up against her body. Her right arm reaching across her knee with the palm of her hand open and facing upwards in the gesture of supreme generosity holding the stem of a lotus blossoming next to the right ear. Her left arm is drawn up against her body as she holds an utpala between the thumb and ring finger to her heart, blossoming next to her left ear, both emblematic mudras expressing her compassionate virtues. The eye at the center of the forehead in the form of a raised cabochon between her eyebrows shows her active awareness and compassionate engagement with the suffering of all sentient beings in the universe. Tara is seated on a throne made of two layers of finely curled lotus petals, alluding to the belief that the goddess emerged from a lotus bud rising from a lake of tears shed for the suffering of sentient beings by the bodhisattva Avalokiteshvara, her face embodying the delicacy of a million lotus blossoms, see Glenn Mullin, Mystical Verses of a Dalai Lama, New Delhi, 2003, p. 57. Serene, with a hint of a smile, Tara is dressed in fine diaphanous robes and shawls, richly adorned in bejeweled necklaces, bangles, anklets, long chains of beads and large circular earrings, all reflecting her celestial status. Her tiara features eight bejeweled upright lappets alluding to the Buddha's noble eightfold path to enlightenment whose status and rank Tara shares. Tara is rendered in a graceful way displaying a great sense of ease in her posture. The soft, gently rounded contours of her body and the full face with its delicate features are unlike sculpture made under the Song and Jin dynasties. Stylistically, this Tara has its roots in the long artistic tradition that can be traced to northeastern India in the eleventh and twelfth centuries from where it spread to Nepal and Tibet. Her wide shoulders, smooth torso and long legs originally derive from Indian traditions while her high cheekbones, full cheeks and elegantly curved eyebrows are rooted in Nepali and Tibetan traditions. Tibetan Buddhism or Lamaism saw a considerable surge in popularity in China under the Mongols, who had adopted it as their national religion even before their conquest of China. Because of political and religious ties between the imperial court and the dominant Tibetan religious orders, and the exchange of gifts between the court and Tibetan hierarchs, the influence of Himalayan sculptural styles began to make an impact on Buddhist imagery during the Yuan and in the early Ming dynasty. Early fourteenth century woodblock prints made for the monastery of Yangshen Yuan, Hangzhou, are evidence of a new style appearing in Chinese Buddhist art, see Heather Karmay, Early Sino-Tibetan Art, Warminster, 1975, pp. 47-50. The gently smiling faces, fully rounded figures and tiered thrones in these woodblock prints reflect the Newar styles favoured in Tibet and introduced to China by Nepalese artists working at the Ming court after the arrival of Anige (1245-1306), a young Nepali artist known for his mastery in casting bronze sculptures, who was brought to Beijing in 1262 by Drogön Chogyal Phagpa (1235-80), an influential Tibetan monk of the Sakya sect. Anige became an important figure at the Mongol court and served as the director of all artisan classes and controller of the Imperial Manufactories Commission, see Denise Leidy, 'Buddhist Art', in James C.Y. Watt and Denise Patry Leidy, Defining Yongle. Imperial Art in Early Fifteenth Century China, New York, 2005, pp. 61-101. While Tibetan Buddhist imagery first appeared in the repertory of Chinese art in the Yuan dynasty, Tibetan influence on Chinese Buddhist art became far more pronounced in the Ming dynasty (1368-1644), particularly under Zhu Di (1360-1424), who ruled as Chengzu, the Yongle emperor between 1403-24. The emperor's attachment to Tib

Estim. 150 000 - 200 000 EUR

Tue 11 Jun

HEVAJRA STATUETTE IN GILDED COPPER ALLOY CENTRAL TIBET, XVE/XVIE CENTURY Himalayan Art Resources item no. 1822 23.8 cm (9 3/8 in.) high Footnotes: A GILT COPPER ALLOY FIGURE OF HEVAJRA CENTRAL TIBET, 15TH/16TH CENTURY Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 454, no. 200. Exhibited Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 -19 February 2017. Provenance Private European Collection This bold casting of one of Tantric Buddhism's foremost meditative deities (yidams) depicts the 'Mother-Father' (yab-yum) union of Hevajra and Nairatmya, embracing in an interpenetrative cosmic dance. This sixteen-armed form known as Kapaladhara Hevajra, shows Hevajra holding an array of skull cups, with eight containing animals representing the Eight Diseases, and the other eight containing deities representing the corresponding cures. His consort, Nairatmya, is a tantric manifestation of Prajnaparamita, the mother of all Buddhas. Among the animals representing diseases modeled in the skull cups is a bad-tempered cat (liver disease), asharabha(disease of the spleen), a man (smallpox), a camel (leprosy), a bull (brain hemorrhage), a horse (insanity), and an elephant (lung disease). As Hevajra and Nairatmya represent the chrysalis through which to transcend these diseases, the animals turn inwards towards the divine couple, while the deities turn outwards, bestowing health and good fortune on the viewer. The youthful cosmic couple is beautifully adorned with opulent gilding, detailed jewelry, and red pigment, reinforcing the perfection of their bodies and minds. Their physiognomy, consisting of widened eyes and furrowed brows, together with the slender modeling of limbs standing over ovoid bases are characteristic of gilt bronzes dated to the 15th and 16th centuries, a high point of Tibetan art history. Compare these features to another multi-armed tantric form of Chakrasamvara (Bonhams, Hong Kong, December 1 2023, lot 1820) and to another of the same subject in Fondation Alain Bordier, at the Tibet Museum in Gruyères (ABS 179). 銅鎏金喜金剛像 藏中 十五/十六世紀 著錄 Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁454，編號 200 展覽 「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日 來源 歐洲私人珍藏 此尊風格鮮明之造像呈現密宗中最重要的觀想本尊之一，為喜金剛與無我佛母「陰陽雙運」交融於靈性之舞。此十六臂形態之形象被稱為持嘎巴拉喜金剛，呈現喜金剛手臂依次展開，各持骨碗，其中八隻盛裝八獸，象征八疾；另八隻碗中則有八尊神祇，象征對治相應疾苦。其明妃為無我佛母，乃眾佛之母般若波羅蜜多佛母之密宗化現。 骨碗中代表疾病的動物則包括怒貓（肝病）、八足獸（脾病）、男人（天花）、駱駝（麻風）、公牛（腦溢血）、馬（癔癥）以及象（肺病。喜金剛與無我佛母則象征消除疾病之轉化途徑，因此諸獸朝向雙身佛，而諸神朝外，將健康與好運賜予觀者。 這尊年輕的雙身神祇像飾以華麗鎏金與精緻珠寶，髮上則施赤色顏料，更顯其身心已圓滿具足。其面容突出，蹙眉怒目、肢體纖長，立於橢圓底座之上，屬十五至十六世紀這段西藏藝術史鼎盛時期之銅鎏金造像特徵。可參考另一密宗形象之多臂勝樂金剛像（邦瀚斯，香港，2023年12月1日，拍品1820）以及瑞士格呂耶爾Alain Bordier 基金會之西藏博物館所藏同題材造像（館藏編號 ABS 179）。 This lot is subject to the following lot symbols: * * VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. For further information on this lot please visit Bonhams.com

Estim. 80 000 - 120 000 EUR

Tue 11 Jun

VAIROCANA STATUETTE IN GILDED COPPER ALLOY TIBET, 17TH CENTURY A Sanskrit inscription in Tibetan lhantsa script at the back of the base, translated: 'Homage to Tathagatha Vairocana'. Himalayan Art Resources item no. 1814 14.3 cm (5 5/8 in.) high Footnotes: A GILT COPPER ALLOY FIGURE OF VAIROCANA TIBET, 17TH CENTURY Provenance Sotheby's, New York, before 1976 In this 17th-century Vairocana sculpture, the artist drew upon northeastern Indian Pala models from the 10th and 11th century, many of which were brought to Tibet in antiquity, such as a closely related example published in von Schroeder, Buddhist Sculpture in Tibet, Vol. I, 2001, p. 266, no. 85A. The lotus petals and stepped breakfront plinth populated with snow lions, elephants, and a central crouching gana figure emulate these earlier sculptures. The bronze caster has even gone so far as to mimic the worn hemlines frequently seen across the torsos of these medieval bronzes handled over the centuries. A small separately cast dharma-wheel is applied to the front of the base serving to identify the figure as Vairocana, who presides over the chakra family of buddhas and bodhisattvas. The lithe body and oval face with high forehead are common traits among these archaistic works, while the remains of stained cold gold and blue pigment in the hair attest to the sculpture's prolonged worship in Tibet. A Shakyamuni Buddha, attributed 14th/15th century, in the Museum Rietberg, Zurich, shows a similar simplified treatment of the monastic robe, but a less ambitious rendering of the animals in the lower platform (Uhlig, On the Path to Enlightenment, 1995, p. 54, no. 15). Also in the Rietberg, a portrait of Palden Lodro, Abbot of Margom monastery, dated 1597, with lhantsa inscription and similar acute lotus petals supports a roughly contemporaneous attribution for the present sculpture. 銅鎏金大日如來像 西藏，十七世紀 來源 蘇富比，紐約，1976年前 在此尊十七世紀的大日如來造像中，藝術家借鑑了來自十世紀及十一世紀東北印度之帕拉時期的範例，其諸多造像於古代被帶至西藏，其中一十分近似之例著錄於von Schroeder，《Buddhist Sculpture in Tibet》，卷一，頁266，編號85A。其蓮花瓣造型，以及飾有雪獅、大象以及一蹲坐其中之伽那像，皆模仿了這些早期作品。此拍品之鑄造者甚至模仿中世紀銅像因數世紀摩挲而常見之磨損，如軀幹上的衣領。一分開鑄造的法輪被安於台座前側，用以標示此像為大日如來，統領眾佛及菩薩，位於曼荼羅之中央。纖細的身體、橢圓形的臉龐以及高前額，皆為彼時仿古作品之特徵。而存留的冷金和頭髮中殘留的藍色顏料證明這尊雕像曾長期在西藏受到敬拜。 蘇黎世瑞特堡博物館收藏的一尊釋迦牟尼像，被定為十四或十五世紀之作，展示出對僧袍相似的簡化處理，而台座上之動物之塑造則未如此精細（見Uhlig，《On the Path to Enlightenment》，1995年，頁54，編號15）。瑞特堡博物館另有一幅1597年之巴登羅卓畫像，其為瑪貢寺住持，畫像帶有西藏題記(以lhantsa寫)，以及相似的尖形蓮花瓣，為此尊銅造像之年代應大致與其同時期提供了支持。 Lot to be sold without reserve. This lot is subject to the following lot symbols: * * VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. For further information on this lot please visit Bonhams.com

Estim. 60 000 - 80 000 EUR

Tue 11 Jun

JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "The Slave", 1926. Patinated bronze sculpture, copy 2/8. Signed and numbered. Edition limited to 8. A copy of the same model is in the Carmen Thyssen-Bornemisza collection. Exhibitions: "A la recerca de la llibertat: Barcelona-Paris 1900-1960". Dau Al Set Gallery, Barcelona. Measurements: 82 cm. height. With this work, Josep Clarà took the postulates of Noucentisme to his personal terrain, achieving a timeless and modern image at the same time. The young woman shows herself without modesty, but preserves an invisible veil of mystery. Her gesture is sensual and yet lacks the slightest mannerism. Her curves are restrained, far from excessive voluptuousness, and at the same time they refer us to classical typologies, of Greek origin. Noucentisme, an ideological-aesthetic movement that arose in Catalonia at the beginning of the 20th century as a reaction to "fin de siècle" modernism, opposed the Eighteenth-century mentality with a desire for rigor and a classicism that looked to the past for its models to imitate. Thus, its essential values will be order, clarity and moderation. Contrary to the naturalism, psychologism and sentimentalism of the 19th century, he sought the lucid creation of a Mediterranean spirit, as opposed to fin-de-siècle decadentism. Clará brought to its peak the materialization of the longed-for Mediterranean typology. Josep Clarà began his training at the School of Drawing in Olot, with Josep Berga i Boix, and later studied sculpture at the School of Fine Arts in Toulouse, France. After finishing his studies, he went to Paris in 1890, where he worked in the workshop of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, the advice of the latter helped him to overcome the modernist influences of his early works. In 1907 he presented at the Salon des Artistes Français the work "Torment", a work that denotes a Rodinian influence that in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favor of a greater clarity and serenity. The following year he presented what would be the first of his goddesses, a work that finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan allowed him to create his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and brought him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the ruins of life" (San Isidro cemetery, Madrid) and "Monument to the Catalan volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the grand prize in Paris in 1925. At the end of that same year he was appointed member of the Academy of Fine Arts of San Fernando in Madrid. Clarà also made heads and portraits, where he showed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself from all sentiment, as can be seen in his first "Static", from 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honor at the International Exhibition of Barcelona (1929). In 1930 Clarà traveled to Greece; two years later he left his residence in Paris and settled permanently in Barcelona. In 1934 he was awarded the Damià Campeny prize for "Desnudo de muchacha". In 1936 he created one of his best works, for the synthesis of simplicity, light and serenity: "Pujanza". He is also the author of the "Monumento a los caídos" (1952) in Barcelona. With the nude "Pomona" (Museum of Havana) he won the grand prize at the 1954 Hispano-American Biennial. In 1946 he made a "San Benito" (Montserrat) that oriented him towards the study of the seated figure. Thus, his last works will be mainly seated maternities and lying figures. In 1969 was inaugurated in Barcelona the museum that bears his name, where a large part of his work is preserved. His work is also present in the Museo Comarcal de la Garrotxa in Olot and in the MNAC.

Estim. 14 000 - 18 000 EUR

Tue 11 Jun

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Bullfighter. Sculpture in patinated bronze. Signed on the base. Marble base, with slight flaking. With label of the gallery Dau Al Set on the back. Measurements: 30 x 10 x 9,5 cm.; 20 cm. height pedestal. Manuel Martínez Hugué, Manolo Hugué, was formed in the School of the Fish market of Barcelona. Regular participant of the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other theorists of the avant-garde such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are preserved in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.

Estim. 2 400 - 3 000 EUR

Tue 11 Jun

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen".1917. Ceiling in terracotta. Signed and dated in the lower right corner. Work catalogued in: Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, p. 62, nº93 (stone copy). Measurements: 38 x 38 x 5 cm. In the catalogue raisonné on Manolo Hugué written by Montserrat Blanch, several works are reproduced (preparatory drawings, bas-reliefs in terracotta, but also in stone) whose subject matter are oxen (generally represented in pairs), of which the piece in question forms part. It was produced between 1917 and 1923, a period in which the sculptor gave new thematic and formal suggestions to terracotta. On his return to Ceret, after his Parisian period, he devoted himself to the study of cadences, rhythms, archaic-inspired essentialism... a series of strategies to escape from all stagnation and to renew the language of sculpture while continuing to dialogue with the classics. In this relief, a serene energy pulsates like an invisible force through the bodies, through the rounded profiles and alternating with geometric incisions. The front legs of the recumbent ox are bent to adapt to the angle, seeking a certain conceptual tension between the volumes and their confinement within a precise quadrangular limit. In doing so, he emulated the Greek art developed in the metopes. The spatial indication is brief and synthetic: a few schematic elements outline the idea of a stable. Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are housed in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.

Estim. 4 000 - 5 000 EUR

Tue 11 Jun

APEL.LES FENOSA FLORENSA (Barcelona, 1899 - Paris, 1988). "Statuette, 1933. Patinated terracotta. Signed at the lower right. Work included in the catalogue raisonné "Apel.les Fenosa", by Raymond Cogniat (ed. Polígrafa, 1966), ref. 94. Measurements: 30 x 9 x 7 cm. We recognise in this "Figurilla" the classical theme of Aphrodite coming out of the bath, reinterpreted with great freedom and creative commitment by Apel.les Fenosa. This is a work from the sculptor's youth, when he was seeking new forms that were nevertheless rooted in the artistic dawn of the Mediterranean. Trained with Enric Casanovas, Fenosa travelled to Paris for the first time in 1921. There he held a solo exhibition in 1925, which was presented by Max Jacob. Returning to Barcelona in 1929, he held exhibitions at the Sala Parés in 1930, 1933 and 1936. At the end of the Civil War he moved back to Paris in 1939, where he definitively integrated into his artistic life. There he met great intellectuals of the time such as Theóphile Briand, Cocteau, Paul Éluard, Colette, Henri Michaux, Supervielle, Genet and Tzara, and even had a notorious romance with Coco Chanel. During these years his art discovered a vegetal world, populated by flaming female figures, which retain the fresh imprint of the artist's fingers. His works are daughters of the earth, from which they emerge, the fruit of imagination, with all their wild and natural character. He had repeated solo exhibitions at the Parisian galleries Zborowsky and Jacques Dubourg, as well as at the Hanover Gallery in London (1954), the Paul Rosenberg Gallery in New York (1960 and 1961), in Tokyo (1966 and 1981) and Madrid (1967 and 1976), among other cities. He also took part in major group exhibitions such as the Salons de Mai and de Jeune Sculpture in Paris, the Antwerp Biennale, the International Exhibition of the Musée Rodin, the Carrara Biennale, the Contemporary French Sculpture Exhibition of the Ecole de Paris, the Petit Bronze, etc. In 1980 the Musée Rodin devoted an anthological exhibition to him. He also worked in portraiture, depicting friends and colleagues. In France he made several monuments, such as the Oradour-sur-Glane monument and the sphinx emblem of the Conseil Constitutionnel in Paris. He is currently represented in the foundation that bears his name in El Vendrell (Tarragona), the Patio Herreriano Museum in Valladolid, the National Library in Madrid, the Rodin Museum in Paris and the Palau de la Virreina in Barcelona, among others.

Estim. 3 000 - 4 000 EUR

Tue 11 Jun

BONONI CARLO (1569 - 1632) - BONONI CARLO (1569 - 1632) Resurrezione di Cristo. Olio su tela. Cm 117x96,50. L'opera è accompagnata dalla scheda a cura di Enrico Ghetti, di cui si riporta di seguito un estratto.Bibliografia di riferimento: G. Baruffaldi, Vite de' pittori e scultori ferraresi (1697-1730), Ferrara, 1844-1846, II, 1846; N. Artioli e E. Monducci, Dipinti "reggiani" del Bonone e del Guercino, catalogo della mostra di Reggio Emilia (30 gennaio-28 febbraio 1982), Reggio Emilia 1982;C. Brisighella, Descrizione delle pitture e sculture della città di Ferrara (secolo XVIII), ed. Novelli, Ferrara, 1991;G. Sassu e F. Cappelletti, Carlo Bononi, l'ultimo sognatore dell'Officina Ferrarese, catalogo della mostra, Ferrara, 2017;E. Ghetti, Per Carlo Bononi. Indagini sul territorio, la prima pala e qualche inedito, Paragone. Arte, 139-140 (819-821), pp. 1-25;E. Ghetti, Carlo Bononi, Parma e un anonimo allievo, in Parma per l'arte, Nuova serie, 25, 2019, pp. 177-203."L'esplosiva forza centrifuga irradiata dal dipinto in esame è, in un certo senso, conseguenza del soggetto raffigurato: risorgendo, Cristo ha scoperchiato imprevedibilmente il sarcofago mettendo in fuga, terrorizzati, i soldati posti a guardia del sepolcro. Allo stesso tempo, però, la grande energia che caratterizza la composizione dichiara la primigena formazione tardomanierista del suo autore, il ferrarese Carlo Bononi, che qui sembra ispirarsi a modelli celebri del tardo Cinquecento romano ma anche alla più vicina Resurrezione di Domenico Mona, il chè significa, poi, a quella di Giulio Clovio resa celebre da un'incisione di Cornelis Cort, dalla quale la pala di Mona dipende. Allo stesso tempo, però, non sono lontani i ricordi delle tumultuose composizioni di Jacopo Robusti, il Tintoretto, che confermano a Ferrara il ruolo di "membrana traspirante" tra due mondi in apparenza lontani: Venezia e Roma. È verso il 1614 che andrà datata la Resurrezione, il forte scurimento che ottundeva la superficie, appiattendone i volumi e semplificandone le anatomie, aveva indotto in un primo tempo a declassare il dipinto a copia, opinione completamente ribaltata a seguito del restauro recentemente condotto, che ha liberato la tela dagli appesantimenti di sporco e ridipinture e ha restituito alla vista cromatismi inaspettatamente vivaci e la perfetta volumetria delle figure, assolutamente degne del pennello di Bononi. A definitiva conferma dell'autografia concorre l'identificazione, ancora grazie all'intervento di restauro, di numerosi pentimenti, che escludono categoricamente la possibilità di trovarsi davanti a una copia.". Cornice presente

Estim. 8 000 - 12 000 EUR
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