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THE VINYL FACTORY PRESENTS: 3D AND THE ART OF MASSIVE ATTACK, a visual history of a band who have sold over 11 million records worldwide, compiled and designed by 3D using images from a personal archive and original artefacts scanned by the artist for the recordNote: Robert Del Naja, also known as 3D, is a British artist and musician, best known as a founding member of trip hop collective Massive Attack. He began his visual art career as a graffiti artist in the 1980s while collaborating with the Wild Bunch collective in Bristol. Del Naja’s visual art is integral to Massive Attack’s identity, designing album covers and tour visuals that combine mixed media and digital elements​. His notable artworks include the “War Paint” series, consisting of paintings about global conflict and political themes, which were exhibited at Lazarides Gallery in London​. In 2021, Del Naja debuted Code Temporal, an audiovisual work created in collaboration with AI artist Mario Klingemann and fashion brand Valentino​​. Del Naja has also created limited-edition prints to raise funds for charities during the COVID-19 pandemic and for humanitarian efforts in Ukraine​​.

Allen Ruppersberg (American, b.1944) 'The Ten Historical...' Landfall Press Lithograph Portfolio 2012, each signed and editioned Roman numeral 'I', a complete portfolio of 'The Top Ten Historical Similarities (and differences) Between Prints and Photographs', (10) altered lithographs with digital elements, only two Roman numeral subscriber impressions made, in original fabric covered book with metallic lettering Property from: Collection of Dr. & Mrs. Christopher Graf, Woodlot Gallery, Sheboygan, Wisconsin Condition: no damage to art noted, portfolio having minor scuffs and stains Category: Fine Art > Prints & Multiples Estimated Sale Time: 10:53 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5

Continuous computer animation on an LCD screen, supplied in its original cardboard box with an instruction booklet. Signed in black ink on a label affixed to the reverse. 24.8 x 30.5 x 4.2 cm. Numbered from an edition of 300. Published by Alan Cristea Gallery, London, and produced by Torch Computers, Cambridge. In this work, Opie creates a continuous animation displayed on an LCD screen. Opie recreates a simulated view from his window, inviting the viewer to share their perspective. Through simple, stylised forms, the animation conveys movement and life, exploring the relationship between art and technology. The screen acts as an ever-evolving digital canvas, offering a dynamic and surprising experience. Provenance: Private English collection.

An Art Deco influenced digital jump-hour wristwatch, circa 1930s, (movement un-marked), 26 mm x 38 mm including lugs, (running when catalogued, accuracy and reliability not tested)

▲ Banksy (b.1974) 'Police Riot Van' (Dismaland Gift Print)digital print in colours, signed 'BANKSY' l.r., and inscribed 'Thanks Sarah'sheet 17.7 x 23.7cmOne of three Dismaland prints gifted to the members of Pussy Riot after they filmed a video at the site. In 2015, Banksy unveiled 'Dismaland' - a theme park in Weston-super-Mare built in a disused lido. Its rides and attractions satirised the commercialised fare of Disneyland and included exhibits from fifty-eight artists. One of Banksy’s contributions was the police van fountain, interpreted in this print as a site of reclamation. A rainbow frames the van, a symbol of state power and intervention, and children crawl around on the vehicle, playing amongst the vegetation which has overtaken it. Perhaps Banksy imagines the future of his own art object, or perhaps a more figurative future where violence is overcome by the force of peace. As the sapling and flowers have found a way to grow out of the metal car frame, so too will peace find a way.Condition ReportFramed: 24.5 x 33cmNot viewed out of frame but apppears to be in good condition.

After Yoko Ono(Japanese, b.1933)"Bottom" wallpaper, originally mounted on a plasterboard wall in the Baltic Centre for Contemporary Art, Newcastle, during Yoko Ono's solo exhibition there,digital print,49 x 39cms, in frame.

Lioness of Love Truth and Courage. Artist: Cora Studios.Artist Info: Rachael took the leap into self-employment founding Cora Studios in 2019 having worked in the education sector. She is now a full-time freelance illustrator and graphic artist. Supporting clients with a wide range of disciplines, including graphic art, digital marketing and communication, illustration, and website design, she is never ever bored! Rachael is an East Anglian through and through; born in Cambridge, raised in Suffolk, and now living on the Norfolk Broads.Artist website: www.corastudios.com Sponsor: Dream On.Dream on is a boutique in Eye that is so much more than a dress shop. A warm welcome and exceptional service are guaranteed whenever you call in.Sponsor website: https://dream-on.co.uk/Sponsor Facebook: https://www.facebook.com/DreamOnSuffolkSponsor Instagram: https://www.instagram.com/clothing_dream_on/ Approx animal weight (Kg): 7.8.Approx animal size (cm): 30 x 14 x 25.

CHRISTOPHER WOOL (AMERICAN B. 1955) FOUR SHORT STORIES Digital print Each signed in pencil, inscribed P.P. and dated 2003 Sheet: 48 x 33cm (18¾ x 12 in.) (4)Provenance: Camden Arts Centre, London Acquired from the aboveActive in New York City and Marfa, Texas, Christopher Wool is a renowned post-conceptual artist. Retrospectives of his work have been held at MOCA, the Guggenheim Museum, and MAM Paris; in 1989, Wool was appointed a Fellow of the American Academy in Rome, and in 2009 he was awarded the Wolfgang Hahn Prize. Having first established himself with word paintings such as Apocalypse Now in the 1980s, Wool has also produced entirely abstract canvases. Much of his work questions the place of 'high art' and tests the limits of his medium as a vehicle for meaning. A monochromatic series, Four Short Stories plays into the post-conceptual notion of dematerialising art, as the original painting has been computer processed. What remains are textureless prints with visible scan lines, acting both as a faithful record and a necessarily inadequate replication of the prototypical image. The force with which paint has been splattered across the surface like a spurt of blood speaks to Wool's bold disruption of his media. Condition Report: The prints present few undulations of the paper, most noticeable near the edges. One of the prints appears to be without glazing, hence more prone to damage. For the others, which have been unexamined out of glazed frame, the prints appear to be in good condition. Condition Report Disclaimer

ONE BOX AND LOOSE METALWARE AND MISCELLANOUS, to include a brass fire dogs, fire irons, a copper lidded pot etched with an oriental design, two stainless steel pots, a large brass oriental hinged lidded coffee pot, set of six shell bowl silver plated coffee bean spoons in a case, silver plated cake slice , wooden cutlery storage box, Kodak digital photo frame, two art deco photo albums, two vintage pearl coloured handled manicure/sewing sets in velvet cases, 4 x plastic storage boxes, etc (sd), (1 box and loose)

Albrecht Dürer (German, 1471-1528). Knight, Death and the Devil, [1513], engraving on laid paper, a rich impression with strong clarity and contrasts, signed & dated in the plate "S. 1513. AD.", measuring 245mm x 189mm. The presence of a very faint horizontal scratch across the head of the Knight's steed conforms to what Angela Campbell deems to be "printed sometime in the middle of the plate's life", i.e. not later (this horizontal scratch disappears almost entirely in later printings). In Remaking Dürer: Investigating the Master Engravings by Masterful Engraving, Angela Campbell and Andrew Raftery examine the same scratch in three examples held by The Metropolitan Museum of Art and the Frick Collection. The scratch in our example is similar to the Frick Collection's copy in Campbell & Raferty's fig. 1b, and not the later/weaker Met impression in their fig. 1c. [Art in Print, Vol. 2, No. 4, Nov-Dec 2012, pp. 15-21]. There is also a bold contrast between the Knight's face and the interior shadow of his helmet, which is lost in later printings: "What is notable is that the deeply engraved line outlining the horse’s underbelly maintains its strength even as the plate degrades. The lines forming the interior shadow of the knight’s helmet, however, are more lightly engraved, and as the plate wears, they lose their depth, resulting in a considerable loss of contrast between the knight’s face and the shadow." [Meticulous Matrices: Building a Chronology of Albrecht Dürer’s Meisterstiche Impressions through the Analysis and Documentation of Microscopic Scratches in His Engraved Plates, by Angela Campbell, Amsterdam University Press, 2023, pp. 100-101]. Some thread margins but trimmed closer in places, i.e. fractionally into engraved areas, slight loss with a depth of 1-2mm at top edge corners, four very short closed tears measuring 5mm to 20mm, slight surface wear at corners, creamy toning to paper, a few tiny marks, pasted onto mount c. 1900, lifting slightly at top edge. [1513]    We are grateful to the British Museum for allowing us to compare this engraving with three examples in their collections, and for assisting us with our research in their Prints & Drawings Study Room. ❧ One of Dürer's most famous engravings, Knight, Death and the Devil [1513] was one of his three Meisterstiche [Master Prints], the other two being Melencolia I [1514] and St. Jerome in His Study [1514]. "One of the most famous and influential of all Dürer's works." [British Museum, 1868,0822.198]    "The paper conservator Angela Campbell has recently suggested a new, more objective basis for the assessment of the quality of impressions. In her MA thesis for Buffalo State College, NY, she examined and documented microscopic scratches, evident in all of Dürer's Meisterstiche, that appeared and disappeared from the surfaces of the engraved copper plates over the course of printing. By assessing more than 140 impressions (initially sixteen of the Melencolia I, but later including the St Jerome in his Study and the Knight, Death and Devil) with a 'point-and-shoot' digital camera modified to capture high-resolution magnified images, Campbell was able to establish a relative chronology for them. Her surprising result is that earliest does not necessarily mean best, if the term is meant to describe the most aesthetically successful printed impressions. Indeed, one might reasonably question efforts to define the best impression and instead attempt to understand the differences and variety represented by different impressions. To quote Koehler: 'Even a 'smudged' impression, that is to say, one in which the tinting is still accidental, is not necessarily a bad one, more especially if considered a document in the history of printing'." [New (and some Missing) Perspectives on Dürer, by Armin Kunz, taken from Print Quarterly, March 2014, Vol. 31, No. 1, pp. 92-97]

Chris Levine (Canadian 1960-), 'Lightness Of Being (Freedom Edition)', 2021, giclee print in colours on composite panel, inscribed AP verso, an Artist Proof aside from the main edition of 1000, bearing the Artists digital signature verso, published by Dominic Guerrini Fine Art; panel: 90 x 71cmARR panel: 90 x 71cm

TWO BOXES AND LOOSE SAMPLER, CERAMICS, GLASS AND SUNDRY ITEMS, to include a sampler by Betsy Taylor aged 10 years in 1835, framed size 35cm x 31.5cm, a framed First World War mentioned in despatches certificate with a photograph and letter about the soldier written by the vendor, a boxed Fujifilm Fine Pix AV120 digital camera, a group of Buddha figures, novelty biscuit barrels including a McVities Penguin example, three wooden cat figures, tallest 106cm, an art glass flamingo paperweight, matryoshka dolls, etc (2 boxes + loose) (sd)

Sir Peter Blake CBE RDI RA, British b.1932-Cat and Dog; Brick Layne;two digital prints on wove, each from The Art Car Boot fair, each signed in pencil, the Cat and Dog numbered 119/250 and Brick Layne 101/200, each sheet: 29.5 x 21 cm, (unframed) (ARR) (2) 

Juno Calypso (b.1989)UntitledDigital print in colours, 2023, signed and dated in black ink, numbered from the edition of 100, published by the artist for Art Car Boot Fair, London, on photo paper, with the artist's accompanying paper bag, the full sheet printed to near the edges, sheet 220 x 314mm (8 5/8 x 12 3/8in) 

Watchmakers Items, Mini Projector, Portable Digital Microscope, Yaber Projector and Art Items

Dr. Joseph Scheer (German/American, B. 1958)"Tarache idella"Digital print on heavy watercolor paper.Pencil signed, dated (2005), titled and numbered (2/12) lower margin.Provenance: comes from the collection of Mr William Tippit, friend of Dr Scheer and owned the property that Dr Scheer would visit in Florida and where some of the images were taken for this series.Image Size: 30 x 40 in.Sheet Size: 34 x 46.5 in.Unframed.Joseph Scheer is a Professor of Print Media, and Co-Director/Founder of the Institute for Electronic Arts at the School of Art and Design, Alfred University. His current works, which span print media, video and web based projects, use technology to re-examine nature through interpretive collecting and visual recording. His most recent work has been exhibited at The Brooklyn Museum of Art, Brooklyn, New York and the National Museum of China, Beijing. The National Museum of Sweden, Stockholm and The Field Museum, Chicago, IL, He has published two books about his work; Night Visions, the Secret Designs of Moths, published by Prestel and Night Flyers, published by Nexus Press.To make his astounding prints, artist Joseph Scheer captures incredibly detailed images of moths with a scanner originally designed for film and transparencies. The tiny micro moths are as small as .25 inch and the giant Silkmoths have wings spans up to 5 in. Using a special scanner that has a programmable focus for different depths of field, he scans each specimen between 7 and 40 times using different points of focus. Then he painstakingly reassembles them choosing only parts from the files that are in focus. The scanner records so much information?67 million data points per square inch?that a single specimen may take a full day to scan. The data files generated are huge: some of his many layered images are up to 10 Gigabytes before processing. With resolution that high, scans can be enlarged 2,700 percent and still be perfectly clear.

Dr. Joseph Scheer (German/American, B. 1958)"Automeris Randa"Digital print on heavy watercolor paper.Pencil signed, dated (2005), titled and numbered (AP) lower margin.Provenance: comes from the collection of Mr William Tippit, friend of Dr Scheer and owned the property that Dr Scheer would visit in Florida and where some of the images were taken for this series.Image Size: 30 x 40 in.Sheet Size: 34 x 46.5 in.Unframed.Joseph Scheer is a Professor of Print Media, and Co-Director/Founder of the Institute for Electronic Arts at the School of Art and Design, Alfred University. His current works, which span print media, video and web based projects, use technology to re-examine nature through interpretive collecting and visual recording. His most recent work has been exhibited at The Brooklyn Museum of Art, Brooklyn, New York and the National Museum of China, Beijing. The National Museum of Sweden, Stockholm and The Field Museum, Chicago, IL, He has published two books about his work; Night Visions, the Secret Designs of Moths, published by Prestel and Night Flyers, published by Nexus Press.To make his astounding prints, artist Joseph Scheer captures incredibly detailed images of moths with a scanner originally designed for film and transparencies. The tiny micro moths are as small as .25 inch and the giant Silkmoths have wings spans up to 5 in. Using a special scanner that has a programmable focus for different depths of field, he scans each specimen between 7 and 40 times using different points of focus. Then he painstakingly reassembles them choosing only parts from the files that are in focus. The scanner records so much information?67 million data points per square inch?that a single specimen may take a full day to scan. The data files generated are huge: some of his many layered images are up to 10 Gigabytes before processing. With resolution that high, scans can be enlarged 2,700 percent and still be perfectly clear.

STAR TREK: THE NEXT GENERATION (T.V. SERIES, 1987-1994)/STAR TREK: DEEP SPACE NINE (T.V. SERIES, 1993-1999) - Michael and Denise Okuda Collection: Pair of Watch Crew Gifts - A pair of watches given to crew members as holiday gifts during the productions of television series Star Trek: The Next Generation and Star Trek: Deep Space Nine. This lot comes from the collection of celebrated Star Trek franchise artists and advisors Michael and Denise Okuda. These digital Casio Alarm-Chrono wristwatches with black rubber bands, module no. 879, and serial number "079767246280") both come with their original plastic boxes as well as cardboard sheaths hand-marked for scenic art supervisor and long-time Star Trek franchise artist Michael "Mike" Okuda in blue marker and branded for TNG and DS9, respectively. One watch features the logo for TNG and season number "7" printed above the face, while the other features "DSP Year 2."Also included are Casio instruction booklets. The watches' current functionalities remain untested, but they exhibit some wear to their bands from exposure. Dimensions: (largest) 4.25" x 5.5" x 2.5" (10.5 cm x 14 cm x 6.5 cm)Contains electronics; see electronics notice in the Buyer's Guide.Though their long and celebrated careers in the Star Trek world began in features, Michael and Denise Okuda established themselves as franchise legends while working on Star Trek: The Next Generation. Michael became art supervisor on TNG, while Denise came on as a scenic artist during Deep Space Nine, roles they would continue to perform through Voyager, Enterprise, and the Next Generation films. Married in 1993, the Okudas are known as the driving forces behind the development of many of the now-iconic 24th-century technologies seen throughout the series, including the famous "Okudagrams" they created for the LCARS (Library Computer Access and Retrieval System) interfaces . Propstore is proud to present a selection of key memorabilia from the personal collection of one of the franchise's most important creative teams to the public for the first time.Estimate: $500 - 1,000Bidding for this lot will end on Sunday, August 18th. The auction will begin at 9:30AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, August 15th, Friday, August 16th, or Saturday, August 17th.

STAR TREK: THE NEXT GENERATION (1987-1994) - Michael and Denise Okuda Collection: Set of Eight Season 4 On-Camera Title Card Elements - Eight on-camera title card elements from the production of Season 4 of the television series Star Trek: The Next Generation. These original pre-digital title cards were created using Crillee Italic rub-on letters, of which photostats were made, which were subsequently pasted onto art cards and used to create on-screen titles. This lot, which comes from the collection of celebrated Star Trek franchise artists and advisors Michael and Denise Okuda, consists of eight title cards made of cut-out photostat prints pasted onto black art cards. The feature credits for Patrick Stewart, Jonathan Frakes, LeVar Burton, Michael Dorn, Gates McFadden, Marina Sirtis, Brent Spiner, and Wil Wheaton. Also included is a cover with hand-written labeling including "Star Trek TNG Art Cards for Main Title Cast Credits (8)." The cards exhibit some small tears and fading from age, with edges lifting on the pasted titles. Dimensions: (each) 20.25" x 15" x 0.25" (51.5 cm x 38.25 cm x 1.5 cm)Though their long and celebrated careers in the Star Trek world began in features, Michael and Denise Okuda established themselves as franchise legends while working on Star Trek: The Next Generation. Michael became art supervisor on TNG, while Denise came on as a scenic artist during Deep Space Nine, roles they would continue to perform through Voyager, Enterprise, and the Next Generation films. Married in 1993, the Okudas are known as the driving forces behind the development of many of the now-iconic 24th-century technologies seen throughout the series, including the famous "Okudagrams" they created for the LCARS (Library Computer Access and Retrieval System) interfaces . Propstore is proud to present a selection of key memorabilia from the personal collection of one of the franchise's most important creative teams to the public for the first time.Estimate: $2,000 - 4,000Bidding for this lot will end on Thursday, August 15th. The auction will begin at 9:30AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Friday, August 16th, Saturday, August 17th or Sunday, August 18th.

▲ Tim Flach (b.1958) 'Baby Orang'archival digital print in colours on Hahnemühle Fine Art Photo Rag Satin, signed and dated 'Tim Flach 07' in pen l.r., numbered '7/25', also signed, inscribed with title and dated '2005' verso, complete with artist's Certificate of Authenticity image 43.5 x 38.5cm, unframedCondition ReportSheet: 61 x 50.5cmAppears to be in good condition.

Juno Calypso (b.1989) Untitled Digital print in colours, 2023, signed and dated in black ink, numbered from the edition of 100, published by the artist for Art Car Boot Fair, London, on photo paper, with the artist's accompanying paper bag, the full sheet printed to near the edges, sheet 220 x 314mm (8 5/8 x 12 3/8in)

An Accurist World Time Chronograph analogue and digital wristwatch, on stainless steel strap in box. Together with a silver ring and amount of Art Nouveau silver buttons. Not working.

Erin Case Digital Art Collage Erin Case is an award winning collage artist from Midland, Michigan, currently living in Milwaukee, Wisconsin. Her work has been exhibited for Art in Transit's International Collage Exhibition (Canada), Patchbox Project (Rome), Collagerie (Norwich), Paper Cuts (CA), Art-A-Porter (Montreal), and The Charles H. Wright Museum of African American History (Detroit), among others. Erin is also included in the Int'l Museum of Collage, Assemblage and Construction's permanent collection. She has been commissioned by the likes of Rebecca Wilson for Saatchi Gallery London, Aster Restaurant (London), Vegas/Rated Magazine, Gather Journal, and Stolen Body Records. Erin graduated university summa cum laude with focuses in English and psychology. She is a die-hard supporter of the arts, regularly organizing and hosting events throughout Michigan. She also serves as the chief curator for Counter Culture Arts Collective in Saginaw, MI. 64 x 90cm (Asset No: DD30)

Erin Case Digital Art Collage Ria 2012 Erin Case is an award winning collage artist from Midland, Michigan, currently living in Milwaukee, Wisconsin. Her work has been exhibited for Art in Transit's International Collage Exhibition (Canada), Patchbox Project (Rome), Collagerie (Norwich), Paper Cuts (CA), Art-A-Porter (Montreal), and The Charles H. Wright Museum of African American History (Detroit), among others. Erin is also included in the Int'l Museum of Collage, Assemblage and Construction's permanent collection. She has been commissioned by the likes of Rebecca Wilson for Saatchi Gallery London, Aster Restaurant (London), Vegas/Rated Magazine, Gather Journal, and Stolen Body Records. Erin graduated university summa cum laude with focuses in English and psychology. She is a die-hard supporter of the arts, regularly organizing and hosting events throughout Michigan. She also serves as the chief curator for Counter Culture Arts Collective in Saginaw, MI. 64 x 90cm (Asset No: DD29)

Erin Case (American) - Digital Collage Glazier Kiss Erin Case is an award winning collage artist from Midland, Michigan, currently living in Milwaukee, Wisconsin. Her work has been exhibited for Art in Transit's International Collage Exhibition (Canada), Patchbox Project (Rome), Collagerie (Norwich), Paper Cuts (CA), Art-A-Porter (Montreal), and The Charles H. Wright Museum of African American History (Detroit), among others. Erin is also included in the Int'l Museum of Collage, Assemblage and Construction's permanent collection. She has been commissioned by the likes of Rebecca Wilson for Saatchi Gallery London, Aster Restaurant (London), Vegas/Rated Magazine, Gather Journal, and Stolen Body Records. Erin graduated university summa cum laude with focuses in English and psychology. She is a die-hard supporter of the arts, regularly organizing and hosting events throughout Michigan. She also serves as the chief curator for Counter Culture Arts Collective in Saginaw, MI. 162 x 100cm (Asset No: DD38)

Erin Case (American) - Digital Collage Glazier Kiss Erin Case is an award winning collage artist from Midland, Michigan, currently living in Milwaukee, Wisconsin. Her work has been exhibited for Art in Transit's International Collage Exhibition (Canada), Patchbox Project (Rome), Collagerie (Norwich), Paper Cuts (CA), Art-A-Porter (Montreal), and The Charles H. Wright Museum of African American History (Detroit), among others. Erin is also included in the Int'l Museum of Collage, Assemblage and Construction's permanent collection. She has been commissioned by the likes of Rebecca Wilson for Saatchi Gallery London, Aster Restaurant (London), Vegas/Rated Magazine, Gather Journal, and Stolen Body Records. Erin graduated university summa cum laude with focuses in English and psychology. She is a die-hard supporter of the arts, regularly organizing and hosting events throughout Michigan. She also serves as the chief curator for Counter Culture Arts Collective in Saginaw, MI. 100 x 156cm (Asset No: DD39)

Corinna Rosteck, Diptychon " Halen 2" & "Surface" (Wellen & Wolken), 2 C-prints/Fotografien montiert auf Plexiglas, signiertCorinna Rosteck,* 1968 Detmold - lebt und arbeitet in Berlin, deutsche Künstlerin in den Bereichen Bildnerische Gestaltung, Künstlerische Fotografie, Video und Installation, hier: "Halen 2" und "Surface", fotografisches Diptychon "Wellen & Wolken", 2 C-prints (= Der chromogene Abzug ist ein fotografischer Abzug, der von einem Farbnegativ-, Dia- oder Digitalbild hergestellt und unter Verwendung eines chromogenen Verfahrens entwickelt wird), je 30 x 60 cm, aufgezogen auf Plexiglas mit rückseitigen Aluleisten, verso num. 1/3 und 2/3, sign. u. dat. 2007/8, entstanden in New York, wo sie am International Center of Photography (ICP) für Advanced Digital Imaging im Photography and Digital Department als Teaching Assistant unterrichteteZur Künstlerin: Von 1987 bis 1994 studierte Corinna Rosteck Malerei im Fachbereich Freie Kunst an der Universität der Künste Berlin mit Abschlussdiplom in der Klasse von Kuno Gonschior. Weitere Studien absolvierte sie von 1991 und 1992 am Londoner Central Saint Martins College of Art and Design, teilweise mit einem Erasmus-Auslandsstipendium, und belegte einen Advanced Higher Diploma Course mit Schwerpunkt Drucktechnik und Fotoradierung. Sie war anschließend Meisterschülerin von Katharina Sieverding an der Universität der Künste Berlin.

Klaus Jörres, "Bluhm für Goslar", 7 signierte Farboffsetlithographien von 2004Klaus Jörres, *1973, lebt und arbeitet in Berlin. Hier: "Bluhm für Goslar", 7 Farboffsetlithographien/Karton, je handsigniert, 84 x 59,5 cm, je handsigniert, im Druck unten links bezeichnet, Mönchehaus-Museum für moderne Kunst Goslar, o. RahmenZum Künstler: 1996-99 Studium der Malerei an der ABK Maastricht. Von 1999 bis 2002 setzte er sein Studium an der Hochschule der Künste Berlin fort und wurde 2001 als Meisterschüler von Katharina Sieverding ausgezeichnet. Seine Werke wurden in Institutionen wie der Mercedes-Benz Art Collection, Pace Gallery NY, dem Neuen Berliner Kunstverein ausgestellt; zudem auf internationalen Kunstplattformen wie der Armory Show oder der Art Cologne präsentiert. Er generiert seit 2000 hauptsächlich digital analoge Malerei auf der Basis einer Rasterstruktur.

Original vintage advertising poster The Hollywood Reporter salutes Hollywood's 100th Anniversary featuring a great Art Deco style illustration by Robert Hoppe (1943-1989) of elegant couples walking along vintage automobiles going up the stairs with dancers in the spotlight, Hollywood sign in the distance on the hills and city lights under shiny stars in the sky above. Founded in 1930, The Hollywood Reporter is an American digital and print magazine focusing on Hollywood film, television, and entertainment industries. Printed by Mirage Editions Inc. Good condition, creasing, small tears. Country of issue: USA, designer: Robert Hoppe, size (cm): 91x61, year of printing: 1987.

Zwei Herrenarmbanduhren: u. 1 Schreibset. - Jonquet Armbanduhr mit extra-hellen Leuchtziffern u. Datumsanzeige, Art.-Nr. 20370. Stahlgehäuse u. Lederarmband. Dm. 4 cm. In Orig.-Karton mit Bedienungsanleitung. Unbenutzt. - Fuel Armbanduhr Analog-Digital mit großen Ziffern. Art.-Nr. 39710. Stahlgehäuse u. Lederarmband. In Orig.-Karton mit Bedienungsanleitung. Unbenutzt. - Editions Atlas Schreibset mit 1 Kugelschreiber u. 1 Tintenroller, Nr. 0 106 990. In Orig.-Karton. D

MARCUS & CO: ENAMEL, PEARL, DIAMOND AND GEM-SET JEWEL, CIRCA 1895Of abstract foliate form, the iridescent enamel graduating from blue to green with burnt orange accents, applied with sinuous tendrils, millegrain-set with old-brilliant and rose-cut diamonds, accented by circular-cut emeralds, rubies and sapphires, the central 13.5mm bouton pearl of purple tint atop bicoloured enamel leaves, issuing an old brilliant-cut diamond quatrefoil, terminating with a later natural pearl drop weighing 13.25 carats, via a single-cut diamond surmount, the reverse decorated with finely engraved basket and fluted motifs, mounted in silver and gold, signed Marcus & Co., old brilliant-cut diamonds approximately 15.10 carats total, later clip fitting, length 10.2cmFootnotes:Accompanied by a report from The Gem and Pearl Laboratory stating that the 13.25 carat drop-shaped pearl is natural, saltwater. Report number 24506, dated 26th April 2024.Accompanied by a report from The Gem and Pearl Laboratory stating that the 13.15 carat bouton pearl is natural, freshwater. Report number 24507, dated 26th April 2024.Born in 1828, Herman Marcus began his career working for Ellemeyer, the Dresden court jewellers, until 1850, when he moved to New York to begin working with Tiffany and Co., before moving to Ball, Black & Co. In 1864, he formed Starr & Marcus with Theodore Starr, where they worked alongside each other until 1877, when Herman returned to Tiffany & Co., representing them at the Paris International Exposition of 1878. In 1884 he left Tiffany once more, joining his son, William, at Jacques & Marcus, which evolved to become Marcus & Co, after William's business partner, George Jaques retired in 1892. Shortly after, they were joined on the corner of 5th Avenue and 45th Street by Herman's son, George Elder.Marcus & Co. developed a bold, confident style of design, creating sculptural, colourful jewels, representative of the naturalistic joy of the Art Nouveau period. After Herman Marcus' death in 1899, the firm continued under the brothers' leadership, continuing to flourish into the 20th Century. The sinuous lines unfurling from the centre of the brooch reflect the Art Nouveau aesthetic prevalent during this period. The carefully rendered colourful enamel throughout this piece is very characteristic of the firm's work, with the graduation in colour pleasingly visible in the original design drawing.Also illustrated: The design drawing of this jewel in its original form as a pendant.'Jewelry Design Books of Jaques and Marcus, 1890 to 1910', Volume 4, 'Brooches, Pendants, No. 3', p.27.Reproduced with kind permission from Dartmouth Libraries Digital Archive.For further information on this lot please visit Bonhams.com

STATUETTE DE TSANGNYON HERUKA EN ALLIAGE DE CUIVRETIBET CENTRAL, PROVINCE DE TSANG, FIN DU XVE/XVIE SIÈCLE 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 of 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 catalogue.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，作爲第一批使用木版印刷術印其著作的人，其資助並發展這項技術，無疑對西藏文化產生了深遠影響。藏紐赫魯加的最著名之作包括為密勒日巴以及瑪爾巴（1012-97）所作之傳記。其引發了噶舉派內蓬勃而豐富的傳記傳統，其弟子又為帝洛巴（988-1069）、那洛巴（956-1040）以及熱瓊巴（1084-1161）立傳著書。此造像雙目犀利、大腹便便，由後藏採用非鎏金工藝之工坊所製，而位於西藏中部的這個地區正是藏紐赫魯加的故鄉。項鏈的風格和緊密排列的蓮花花瓣令人聯想到彼時中國朝廷贈送給西藏顯赫寺院的銅像，例如現藏於克利夫蘭藝術博物館的一件大型永樂毘魯巴像（圖1，1972.96）。洛杉磯郡立藝術博物館則收藏一尊十五或十六世紀之銅鎏金那洛巴像（M.2001.45）。最後，此拍品亦可與兩件較小的後藏作品進行比較，一件是紐約魯賓藝術博物館所藏毘魯巴像（喜馬拉雅藝術資源網65219號），另一件為私人收藏之藏紐赫魯加像（喜馬拉雅藝術資源網12755號）。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。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. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DE VAJRABHAIRAVA EN ALLIAGE DU CUIVRE DORÉNÉPAL, XVE SIÈCLE Himalayan Art Resources item no. 1823 14 cm (5 1/2 in.) high  Footnotes:A GILT COPPER ALLOY FIGURE OF VAJRABHAIRAVA   NEPAL, 15TH CENTURYPublished 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 catalogue. 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102DMeinrad 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用之法器，彰顯著工匠對每一細節的深思熟慮。體量如此之小像，卻栩栩如生地呈現此尊構造複雜之密宗神祇，展現出加德滿都河谷備受讚譽的金屬製造工匠的高超技藝與傳奇。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。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. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DE VASUDHARA EN ALLIAGE DE CUIVRE DORÉNÉPAL, DÉBUT DE L'ÉPOQUE MALLA, XIVE SIÈCLEHimalayan Art Resources item no. 1827 17.8 cm (7 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF VASUDHARANEPAL, EARLY MALLA PERIOD, 14TH CENTURY Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 322, no. 134.Exhibited  Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017.  Provenance  Private Missouri Collector  Sotheby's, New York, 18 December 1981, lot 21  Sotheby's, New York, 6 October 1990, lot 313  Greatly revered in the Nepalese Buddhist tradition, the goddess Vasudhara provides both spiritual and material prosperity. Boons of fertility, sustenance, wealth, and wisdom are represented in her hands with a water pot, sheaf of grain, strand of jewels, and the Prajnaparamita Sutra, respectively. Vasudhara's body, opulently adorned with jewelry, signifies her bodhisattva status – a conduit being traversing between her earthly existence and celestial body for the benefit of mankind. A principal deity that arose in tandem with the formation of Buddhist cults in Nepal, Vasudhara holds harmony in her aureole of arms and a warm expression of empathy and generosity.  Modeled with supple forms and flexible gestures, sculptural depictions of Vasudhara reached an artistic denouement during Nepal's Early Malla period (13th-14th century). This sculpture's sensuous contours, gentle quietude, and luxurious ornament exemplify the Early Malla style. In Nepal, almost all female goddesses were depicted with round breasts, youthful bodies, and benign faces, a continuation of Indian aesthetics which held a long tradition of intertwining divine and sensual forms as compatible attributes. Evident in other examples of the goddess Vasudhara, these ritualized conventions of posture and expression are rarely deviated from. One of a similar period sold at Christie's, Hong Kong, 30 November 2020, lot 3012, shares similarly taut yet fleshy figural characteristics. In another example, a Manjushri of the same period (Bonhams, New York, 20 March 2018, lot 3203) with thin arching eyebrows resting over wide lids, a rounded chin, and pursed lower lip under the tip of the nose mirrors this Vasudhara's facial features with a beautified expression of quiescence. A third closely related example is held in the Cleveland Museum of Art (fig. 1; 1947.493). Of equal importance to the figural form is the minutia of inlaid semi-precious stones on all the adorning jewelry and implements. The earrings, lobes, pendants, clasps, and bands each feature an arrangement of opaque and translucent gemstones in colors of blue, green, turquoise, purple, and maroon. The crown type too, with a period-specific gemmed-roundel encompassed in a crescent and flanked by two jewel-encrusted lobes, is reflected in the crown of a standing Maitreya formerly of the Maitri Collection (Bonhams, New York, 20 March 2018, lot 3205). Here, distinctively setting the present example apart from other castings of the same period, the water pot, or 'treasure vase', that contains empowerments of long-life in Vasudhara's lap is lavishly ornamented with turquoise, garnets, and lapis.For the figures listed in this essay, please refer to our printed or digital catalogue.銅鎏金財源天母像尼泊爾 馬拉王朝早期 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322，編號134 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日來源密蘇里州私人珍藏蘇富比，紐約，1981年12月18日，拍品21蘇富比，紐約，1990年10月6日，拍品313財源天母賜予著信眾精神層面之富足與世俗生活之安逸，於尼泊爾佛教之傳統中尤受尊崇。其所應承之豐富：繁衍、豐饒、財富與智慧，皆由手持之寶瓶、穀穗、珠串以及《般若波羅蜜多心經》經卷所一一象徵。其周身裝飾以華麗珠寶，彰顯其菩薩之神格——穿梭於塵世之體與天人之靈之間，以賜福凡人。隨著佛教敬拜於尼泊爾之興起，財源天母亦成為一尊重要神祇，在這鬱鬱蔥蔥的山谷之中備受珍愛。其手臂伸展，如舞姿般的光暈，映襯著慷慨而柔切的溫暖面容。財源天母之造像于尼泊爾馬拉王朝早期（十三至十四世紀）達致藝術極致，身形柔軟，姿態靈動。豐滿有致的身體輪廓、寧靜柔和的神色與奢華的裝飾皆體現了馬拉王朝早期風格。幾乎尼泊爾所造之所有女神像都如此尊一般，乳房圓潤、體態年輕、面目溫良，延續著使天人神性與悅目感性交織在一起的印度美學傳統。觀其他財源天母造像便可知，這些已被賦予儀式範例化的姿勢與表情甚少出現偏離。一件相近時期的拍品（佳士得，香港，2020年11月30日，拍品3012）便呼應了她緊致豐滿的身材。另一可比較之例為同一時期之文殊菩薩像（邦瀚斯，紐約，2018年3月20日，拍品3203），其細眉拱于寬闊的眼瞼上，下巴圓潤，下唇抿起、正近鼻尖，與此尊財源天母面部特徵如出一轍，呈現對靜態神情之美感化表達。第三件與之密切相關之作收藏於克利夫蘭藝術博物館（圖 1；1947.493）。與人物形像同等重要的，是所有珠寶飾物與法器所嵌各色半寶石所構成的精妙細節。耳鐺、吊墜、臂釧及各處葉形裝飾皆鑲有或透明，或不透明的藍、綠、青綠、紫和褐紅色寶石。寶冠同樣如此，月牙形中包圍著近似圓牌樣的寶石鑲嵌，其兩側為各鑲寶石的小葉，呈現出此時期的特徵，與之前邦瀚斯「Maitri」珍藏專拍一件彌勒立像（邦瀚斯，紐約，2018年3月20日，拍品3205）如出一轍。區別於同時期的其他銅像，此件財源天母像置於腿上的用于祈求長壽的寶瓶，飾有綠松石、石榴石及一排花瓣般的青金石，華麗非常。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。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.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DE VIRUPA EN ALLIAGE DE CUIVRE DORÉATTRIBUÉE À SONAM GYALTSEN (A. XVE SIÈCLE), TIBET CENTRAL, VERS 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.) highFootnotes:A GILT COPPER ALLOY FIGURE OF VIRUPAATTRIBUTED 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 catalogue.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，此法後來由印度班智達迦耶達羅（逝於1103年）引入西藏，並在薩迦派內部演變為核心密續傳承。毘魯巴曾擔任那爛陀寺住持，在放棄了修行數十年未果的《勝樂金剛密續》之後，從金剛無我佛母處獲得以《喜金剛密續》為基礎的「道」。然而毘魯巴後來飲酒啖肉的行為，觸犯寺院眾怒，遂被逐出那爛陀寺，其後便以瑜伽士外相雲遊四方，呈現諸多奇跡。在所有大成就者中，僅有毘魯巴展現出如此多樣化的外觀。這尊十五世紀的作品呈現聖人雙手持說法印，模仿佛陀在鹿野苑初次講法時所持手印。其安坐於鋪有羚羊皮的蓮花座上，為大成就者的造像之常見特徵。他身形飽滿、怒目圓睜，身與眼皆與另外兩尊造像十分相似，形成三聯群像式效果：其一收錄於Heller所著《Tibetan Art》（1999年，頁164，編號89） ，另一尊於2023年6月12日由巴黎邦瀚斯釋出（拍品10）。此三尊造像皆施以華美鎏金，並嵌綠松石，且見一致花卉圖案和裝飾細節。此外，三者皆頸戴花環，此尊造像更將花環斜戴於身上。巴黎邦瀚斯釋出之例以及此拍品腿部見美麗花卉紋樣，為明代風格啟發，展現出中原之宮廷與西藏教派之間的藝術交流。後側所見之清晰蓮花團樣，幾乎可視為中國絲繡品之復刻——例如一件大都會藝術博物館所藏的絲織品（圖1，1997.380）。此尊銅鎏金毘魯巴像所展示的是一段西藏藝術史上風格精緻化的時期特徵，具有活躍於十五世紀約三十至五十年代間的藝術大師索南堅贊手筆。另一尊銅鎏金十一面千手觀音像（約1430年）之銘文記載其為索南堅贊製作，由紐約邦瀚斯於2018年3月19日釋出（拍品3033）。此觀音像與毘魯巴像之風格與工藝如此一致，如綠松石鑲嵌和裝飾刻畫上，尤其是花瓣內的刻線。此外，二者蓮花座造型亦一致，即正面花瓣飽滿，末端呈捲曲狀，背面花瓣簡潔而平整。此尊毘魯巴像造像封底見鎏金，亦為索南堅贊造像特徵之一。據索南堅贊所作觀音像銘文記載，這位大師接受的是仁蚌巴王朝——具體而言即1435至1466年間執行統治的第三任君主諾布桑波（1403-1466年）之贊助。該王朝的權力中心位於西藏中部的日喀則，其統治者大多支持薩迦派傳承，此傳承正以毘魯巴為一根本上師。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。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. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

PLAQUE DE PANJARANATA MAHAKALA EN LAPIS LAZULI AVEC MONTURE EN ALLIAGE DE CUIVRE DORÉTIBET, LA PLAQUE, XIIIE/XIVE SIÈCLE ; LA MONTURE, VERS XIXE SIÈCLE An inscription in Tibetan on the reverse of the plaque:  'Om Mani Hum'. Himalayan Art Resources item no. 1811 11.8 cm (4 5/8 in.) high  Footnotes:A LAPIS LAZULI AND GILT COPPER ALLOY MOUNTED PLAQUE OF PANJARANATA MAHAKALA  TIBET, THE PLAQUE, 13TH/14TH CENTURY; THE MOUNT, CIRCA 19TH CENTURY  Provenance Private French Collection Holding a flaying knife and skull cup and nestling a club in the crook of his arms, Panjaranata Mahakala is the fierce guardian of the Hevajra tantra cycles within the Sakya school of Tibetan Buddhism. Despite Mahakala's violent iconography, symbolizing the annihilation of karmic defilements, the sculptor refrains from depicting him with gruesome features. Instead, the artist envisions an approachable dwarf-like figure with a subdued grimace, emphasizing the deity's ultimately protective nature.  As the chief protector deity of the Sakya order, the Mongol Empire, and Khubilai Khan's personal god of war, Panjaranata Mahakala was popularized during the Yuan dynasty (1279-1368). The Mongols attributed many military victories, including their defeat of the Southern Song dynasty (1127-79), to their summoning of Mahakala with the assistance of Sakya hierarchs. The present use of lapis lazuli reflects a shared Mongol and Tibetan penchant for carving in semi-precious materials, enabled by the Yuan's control of trade and territories where they could be sourced. In early Buddhist practice, lapis lazuli was regarded as one of the 'seven jewels' (saptaratna) believed to be the Historical Buddha's earthly remains transformed through the fires of cremation. Lapis continued to be a highly prized material throughout antiquity, as exemplified by the present work's later mounting and diligent preservation. Comparatively, the deity's squat figural treatment and more pleasant affect, here, reflect the manner in which Panjaranata Mahakala was represented in Yuan Tibet and China during the late 13th and early 14th centuries. This is demonstrated by a limestone relief carving of Krodha Vajrapani at the Feilai Feng grottoes in Hangzhou (HAR 73235), as well as two other Tibetan steles of Panjaranata Mahakala, one of which is dated 1292 in the Musée Guimet, Paris (see both in, Watt et al., The World of Khubilai Khan: Chinese Art in the Yuan dynasty, 2010, pp. 108-9, nos. 141-2). The lot's attribution to this formative period in Tibetan art history is further supported by the close borrowing of the lotus base from northeastern Indian precedents of the Pala period (8th-12th centuries), such as a stele of Jnana Mahakala in the Los Angeles County Museum of Art (fig. 1; M.71.110.3).For the figures listed in this essay, please refer to our printed or digital catalogue.青金石鑲銅鎏金座寶帳大黑天像 西藏 十三/十四世紀（鑲座約十九世紀）來源法國私人珍藏此尊手握鉞刀和嘎巴拉碗、臂彎處持梃杖的雕像為寶帳大黑天，乃藏傳佛教薩迦派喜金剛密續部的忿怒護法。儘管大黑天的兇猛肖像象征消除業障，藝術家卻避免以可怖的特征描繪寶帳大黑天，反而將他構想成一尊可親近的矮胖形象，以柔和的鬼臉展現神祇的終極護法本性。作為薩迦派的主要護法神和忽必烈個人的戰神，寶帳大黑天在元朝（1279-1368年）是廣為流行的藝術題材。原因則為蒙古人將諸多戰功歸於在薩迦派協助下頂禮大黑天，如認為大黑天促成其戰勝南宋（1127–79年）等。此尊雕像用青金石，反映出其時蒙古與西藏共同的、對用半寶石雕刻神像的熱衷，而元朝對這些石料產地與貿易之控制，令此偏好更加成為可能。在早期佛教修行中，青金石被視作「七寶」之一，被認為是歷史上佛陀火化後的舍利轉化而來。青金石在古代始終是一種昂貴材料，本尊造像後來鑲嵌以底座並得以精心保存即是證明。以藝術風格而言，此尊造像的矮胖化處理以及憨態喜人之感，正為十三世紀末至十四世紀初元代漢藏兩地佛教藝術風格之代表。此風格顯見於杭州飛來峰之石灰岩忿怒金剛手浮雕（喜馬拉雅藝術資源網 73235號 ），以及另外兩尊寶帳大黑天藏地石碑——其一藏於巴黎吉美博物館，造於1292年（二者皆著錄於Watt等著，《The World of Khubilai Khan: Chinese Art in the Yuan dynasty》，2010年，頁108-9，圖141-2）。此外，該造像蓮座設計與源自印度東北部之帕拉時期（八至十二世紀）極為相似，如洛杉磯郡立藝術博物館所藏大黑天石碑所示（圖1，編號M.71.110.3），進一步佐證其出自西藏藝術風格形成時期之判斷。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。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. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

PURBHA EN FER DAMASQUINÉ OR ET ARGENT AVEC SON ÉTUITIBET ORIENTAL, DERGE, XIVE SIÈCLE Himalayan Art Resources item no. 20590 22.2 cm (8 3/4 in.) long (2).Footnotes:A GOLD AND SILVER DAMASCENED IRON PURBHA WITH CASEEASTERN TIBET, DERGE, 14TH CENTURY    Published  A & J Speelman, Buddhist Works of Art, London, 1998, p. 74. no. 39.  Provenance  Christie's, New York, 20 September 2000, lot 131  The purbha, or kila, is a stake used to demarcate the sacred boundaries of a mandala in tantric rituals. In this instance, the implement's three faces and triple-sided blade personify the deity Vajrakila, whose power also enables practitioners to pin down external and internal hindrances within the ritual setting. Padmasambhava is said to have used the purbha, of Indic origin, to subdue evil spirits and convert the Himalayan region to Buddhism in the 8th century. The purbha's sculptural composition enlivened with gold and silver is laden with symbolism. Its triangular blade signifies the element of fire, or the wrathful energy required to pierce through the three poisons of ignorance, desire, and hatred. The blade protrudes from the mouth of a makara, which in turn reveals twisting nagas, or serpent deities, representing the water element and rituals for summoning rain. Above the makara's head is a lotus handle fashioned with endless knots, which alludes to the endless cycle of death and rebirth and is one of Buddhism's Eight Auspicious Emblems (ashtamangala). Surmounting the three heads of Vajrakila cast with wrathful expressions distinct from one another is a vajra-finial, serving to cap the implement's potent ritual energy.  Although historically purbhas were crafted in a variety of materials, the most powerful and efficacious were forged from meteoric iron, as seen in the following object. Also known as 'celestial iron', this metal was considered a superior medium for its apotropaic qualities in repelling demonic forces and maintaining a mandala's structural integrity. (Huntington & Bangdel, The Circle of Bliss, 2003, p. 506.) Certain technical aspects, such as the damascening and ring-punched decoration indicate its creation in Derge, eastern Tibet, which was famous for its ironwork foundries. Past scholarship has often attributed this type of work to the 15th century, as the Yongle emperor (1403-24) of the Ming dynasty commissioned sets of ritual implements on behalf of Tibetan monasteries (see a damascened iron club sold in Bonhams, Hong Kong, 5 October 2020, lot 102). However, the slimmer, elegant treatment of the following purbha—when compared to the broader faces, handle grips, and blades of Yongle works—suggests its earlier dating to the 14th century, instead relating more closely to a damascened iron scraper in the Metropolitan Museum of Art, New York (fig. 1; 1993.454). Also noteworthy are a small number of purbhas made from gold and silver damascened iron. One example is in private hands (HAR 58720) while another is published in Nathalie Bazin et al., Rituels tibétains: Visions secrètes du Vème Dalaï Lama (1617–82), 2002, p. 152, no. 115.For the figures listed in this essay, please refer to our printed or digital catalogue.鐵鋄金銀普巴杵 附銅盒藏東 德格 十四世紀 著錄 A & J Speelman，《Buddhist Works of Art》，倫敦，1998年，頁74，編號39 來源 佳士得，紐約，2000年9月20日，拍品131 普巴杵，梵文為kila，用於在密宗儀式中劃定曼荼羅神聖邊界。其三面三刃，為普巴金剛之化身，其法力能助修行者克服內外業障。根據傳說，八世紀時，蓮花生大士曾以起源於印度之普巴杵降魔伏妖，並將喜馬拉雅地區皈依於佛教。普巴杵以金銀表現之構造充滿象徵意義。三刃象徵火元素，乃刺穿貪、嗔、癡這三毒之忿怒能量。刀刃自摩伽羅口中深處，同時見蛇神那迦蜿蜒而出，代表水元素以及祈雨儀式。摩伽羅頭上有一蓮花柄，上飾有意為綿延不絕之盤長，為佛教「八寶」之一，暗示無盡的生死輪迴。頂部是普巴金剛三面，忿怒之相各不相同，再上見金剛杵，為這股無比強大的法力之頂。 歷史上，普巴杵可由許多不同材料製造，而最強大且有效的，莫過於隕鐵所製，正如此例所示。隕鐵又稱天鐵，被認為是具辟邪之特質以及保持曼荼羅結構的法力的最佳物質（Huntington 及  Bangdel，《The Circle of Bliss》，2003年, 頁506）。如鐵鋄和環形沖孔裝飾等此類工藝，表明其誕生於以鐵器作坊聞名的藏東德格。過去的學術研究經常將此類作品歸為十五世紀之作，因明朝永樂皇帝（1403-24）曾代西藏寺廟委託製作成套法器（可參考一件鐵鋄金銀骷髏杖，見邦瀚斯，香港，2020年10月5日，拍品102）。然而，與永樂作品的寬臉、握把和刀刃相比，此普巴杵之塑造更為纖細，亦更文雅，表明其或可追溯至更早的十四世紀，與紐約大都會藝術博物館一件鐵鋄刮刀（圖1；1993.454）較為相近。此外，鐵鋄金銀普巴杵亦值得關注，其中一例由私人收藏（喜馬拉雅藝術資源網59720號），另一例則著錄於Nathalie Bazin等所作《Rituels tibétains：Visions secrètes du Vème Dalaï Lama (1617–82)》，2002年，頁152，編號115。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。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. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STUPA EN ÉMAUX CLOISONNÉES ET ALLIAGE DE CUIVRE DORÉDYNASTIE QING, XVIIIE SIÈCLE64 cm (25 1/4 in.) high Footnotes:A CLOISONNÉ ENAMEL AND GILT COPPER ALLOY STUPAQING DYNASTY, 18TH CENTURY ProvenanceAn American CollectionChristie's, Paris, 13 June 2018, lot 209 This unusually large gilt-bronze and cloisonné enamel stupa follows the most ancient form of stupa replicating the monumental burial mounds of ancient India that were appropriated into Buddhism as depositories for Buddha's relics. The stupa is dominated at the centre by a large dome and aperture wreathed with gold, resting on a circular stepped base and surmounted by a tall spire consisting of thirteen stacked gold discs telescoping in size from large to small in an upward direction, representing the ten bodhisattva levels and the three stages of a buddha, tapering towards the top and crowned by an ornate parasol suspending strands of beads, and topped by a tapering flame diminishing into the state of luminosity-emptiness, all set on a gilt-metal tiered circular pedestal and entirely decorated with lotus scrolls on a vibrant turquoise ground. The elaborate shape of this stupa evolved over a long time. Originally, burial mounds were erected over the bodies of great teachers who were buried in a seated, meditative position. The basic form of the stupa was adopted by Buddhists who saw the dome of the stupa not just containing a great master seated in meditation, but Buddha seated in padmasana with his legs crossed in a meditative pose when he achieved enlightenment, his upright body represented by the tall spire of stacked discs, and the top of the spire representing his head. As Buddhist doctrine spread from India to Nepal, Tibet and China, the form of the stupa changed while their function remained the same. Stupa were made in large as well as smaller, scaled-down versions, and in many different materials, often containing small relics or a small image of Buddha. This large stupa would also have contained an image of the seated Buddha Amitayus, the Buddha of Infinite Life, within the cavity of the dome, the unmoving center, a space of stillness, peace, and enlightenment. The spire (yasti) symbolizing the axis mundi, centre of the cosmos bisecting sacred Mount Meru, centre of the Buddhist world, surrounded by a harmika and crowned by an umbrella (chattra). This impressive gilt-bronze and cloisonné enamel stupa was made in the 18th century, probably during the reign of the Qianlong emperor (1736-95), a devout practitioner of the Tibetan form of Buddhism. Its unusually large size, attention to detail including the multi-tiered base and stairs recall imperial architecture, suggesting that this stupa was commissioned by the Qing court. The strong imperial patronage of Tibetan Buddhism and the support of the Dalai and Panchen lamas of Tibet was an important point in pacifying the Tibetan-Mongolian subjects. Between the three Qing emperors Kangxi (1662-1722), Yongzheng (1723-35) and Qianlong (1736-95), twenty-five Tibetan Buddhist temples were founded, all three emperors being the dominant financial supporters. Under the Qianlong emperor, Beijing, Chengde and Mount Wutai in Shanxi were transformed into major Tibetan Buddhist centres, the emperor initiating and financing the construction of many monasteries of the dominant Gelugpa order. He similarly initiated the construction of Tibetan Buddhist shrines within his many palaces, dedicating the largest part of religious space within the Forbidden City to Tibetan Buddhist shrines with resident lama, see Chuimei Ho and Bennet Bronson, Splendors of China's Forbidden City. The Glorious Reign of Emperor Qianlong, New York, 2004, pp. 128-130. Six shrines dedicated to Tibetan Buddhism with a distinctive layout were constructed in the imperial residences for the emperor's personal use, three of them in the Forbidden City in Beijing. Each shrine consisted of six double-storied cells flanking a central hall, all furnished with large religious paintings, images, and ritual objects. In the Fanhua Lou, the Building of Buddhist Brilliance, located in the retirement compound of the Qianlong emperor in the Forbidden City, a monumental cloisonné enamel stupa is at the centre of each cell (Fig. 1), see The Complete Collection of Treasures of the Palace Museum, vol. 43, Metal-Bodied Enamel Ware, Hong Kong, 2002, pp. 148-149 and pl. 141; also Chuimei Ho and Bennet Bronson, op.cit., pp. 133-139. A pair of massive stupa can be seen flanking the main altar at the Pu-to-cong-cheng (Temple of the Potalaka Doctrine) at the Imperial Summer Retreat in Chengde, see A Special Exhibition of Buddhist Gilt Votive Object, Taipei, 1995, p. 20, fig. 5. As a sign of filial piety and devotion to Tibetan Buddhism, in 1777, the Qianlong emperor decreed a stupa be made of solid gold to store his mother's hair after her death together with an image of the Buddha Amitayus, see Chuimei Ho and Bennet Bronson, op.cit., pp. 152-153, fig. 181. Several cloisonné enamel stupa of 18th century date are known. Compare, for example, a cloisonné enamel stupa of the same size, also dated to the 18th century, in the collection of the National Museum of Art, Smithsonian Institution, Washington, DC, accession number F1991.6. A slightly smaller, gilt-bronze and cloisonné enamel stupa in the Palace Museum collection, Beijing, is published in The Complete Collection of Treasures of the Palace Museum, vol. 43, Metal-Bodied Enamel Ware, Hong Kong, 2002, pp. 150, p. 142. A smaller example formerly in the Ann and Gordon Getty collection, was sold in Christie's New York, 23 October 2022, lot 524.For the figures listed in this essay, please refer to our printed or digital catalogue.銅鎏金掐絲琺瑯佛塔清 十八世紀來源美國私人收藏佳士得，巴黎，2018年6月13日，拍品209這座構造龐大的銅鎏金掐絲琺琅佛塔，遵循了古印度存放佛陀舍利的墓丘佛塔的樣式。佛塔中央見大圓頂及開口，圓頂周圍鑲有金絲，底部是一個圓形階梯基座，上面是由十三個金盤組成的高塔尖，金盤由下至上尺寸遞減，代表十個菩薩層次和三個佛陀的階段，頂部是則為華蓋，懸掛串珠，並以逐漸變細的火焰作為頂飾，象徵光明空性的狀態。此構造安置於一個銅鎏金圓形底座上，整體裝飾有捲葉蓮紋，底色為鮮艷的綠松石色。大型佛塔內部成為一個靜止、安寧、和平與令人得開悟之空間，或曾供奉一尊無量壽佛像。尖塔（剎）象徵著世界的軸心，穿過須彌山正中，即佛教世界的中心。佛塔之鑄造工藝精湛，銅鎏金以及掐絲琺琅相映成輝，可能製作於十八世紀，或為乾隆皇帝（1736-95）在位期間。乾隆正是一位虔誠的藏傳佛教修行者。其不尋常的碩大尺寸，以及多層基座及階梯上的精緻細節，讓人聯想到皇家建築，表明這座佛塔可能是由清朝宮廷所委託而造。對藏傳佛教的鼎力資助，以及對西藏達賴和班禪喇嘛的支持，是清廷穩定藏蒙兩族人民的重要方式。在康熙（1662-1722）、雍正（1723-35）和乾隆（1736-95）三位皇帝在位年間，一共建立了二十五座藏傳佛教寺廟，而皇帝都是其主要的財政支持者。在乾隆皇帝統治下，北京承德以及山西五台山皆轉化為主要的藏傳佛教聖地，由皇帝發起並資助了許多當時極盛的格魯派的寺廟。同時，乾隆亦在其諸多宮殿內建立佛堂，將紫禁城內主要的宗教場所變為駐有喇嘛高僧之佛堂（見Chuimei Ho 及 Bennet Bronson，《Splendors of China's Forbidden City ——The Glorious Reign of Emperor Qianlong》，紐約，2004年，頁128-130。已知幾件亦為十八世紀之掐絲琺瑯佛塔可資比較。例如，一件同樣大小的掐絲琺瑯佛塔，收藏於華盛頓特史密森尼學會國家藝術博物館（編號F1991.6）。另一件略小的鎏金掐絲琺瑯佛塔著錄於《故宮博物院藏文物珍品大系43：金屬胎琺瑯器》，香港，2002年，頁150，圖版142。另一較小之例，曾屬於Ann 及 Gordon Getty 收藏，於2022年10月23日在紐約佳士得拍賣，拍品524。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。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. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DU FONDATEUR DE L'ORDRE DRIGUNG KAGYU, JIGTEN SUMGON RINCHEN PEL, SUR SON TRÔNE, EN ALLIAGE DE CUIVRE DORÉ AVEC INCRUSTATION D'ARGENTTIBET CENTRAL, MONASTÈRE DE DENSATIL, XIIIE/XVIE SIÈCLEHimalayan Art Resources item no. 1821 18.1 cm (7 1/8 in.) high Footnotes:A SILVER INLAID GILT COPPER ALLOY ENSHRINEDFIGURE OF THE FOUNDER OF THE DRIGUNG KAGYUORDER, JIGTEN SUMGON RINCHEN PEL CENTRAL TIBET, DENSATIL MONASTERY, 13TH/14TH CENTURY PublishedMeinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 392, no. 169. ExhibitedBuddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017. ProvenancePrivate European CollectionSeated 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 catalogue.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，遙遠至西面的阿爾奇寺亦見其像（Jackson著，《Painting Traditions of the Drigung Kagyu School》，紐約，2015年，頁11，圖1.25）。在諸多例證中，其畫像與造像一樣，上師之特徵清晰可辨：仁欽貝端直而坐、身形俊美、著合身喇嘛坎肩、額頭高企、髮際後移（同上，第86頁，圖5.9；第90頁，圖5.13A）。此尊鎏金造像為屈指可數的幾尊仍配有嵌半寶石之階梯式寶座以及華美背板的造像之一。另外兩尊相似造像一則收藏於吉美博物館（圖1，編號MA 6032），另一尊現存於布達拉宮（同上，頁89，圖5.12）。二例以及本拍品或皆出自丹薩替，而非毀於1297年之直貢梯寺。丹薩替寺最富盛名之吉祥多門塔興造，其中一項便為喇嘛肖像，而拍攝於1948年之照片則留下了幾尊安坐於相似寶座上之上師像（見Czaja 及 Proser，《Golden Visions of Densatil》， 2014，頁39，圖15）。隨著吉天頌恭於1217年圓寂，為其所修造之靈塔前架上亦曾安放上師像（同上，頁34，圖14）。作為帕木竹巴兩位座下大弟子之一，吉天頌恭於丹薩替之興建中舉足輕重。其曾擔任丹薩替第二任住持，而在十二世紀晚期到十三世紀大部分時間，丹薩替寺以及直貢梯寺始終被視為緊密相連的兩大法座（參閱Henss，《Cultural Monuments in Tibet》，卷一，頁621）。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。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.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STÈLE EN PIERRE NOIRE REPRÉSENTANT CHAKRASAMVARAINDE DU NORD-EST, ÉPOQUE PALA, VERS XIIE SIÈCLEHimalayan Art Resources item no. 1818 8 cm (3 1/8 in.) high  Footnotes:A BLACKSTONE STELE OF CHAKRASAMVARANORTHEASTERN INDIA, PALA PERIOD, CIRCA 12TH CENTURY  Published A & J Speelman, Oriental Sculpture and Works of Art, London, 1999, pp. 60-1, no. 28.  Provenance Private American Collection, since 1980s This miniature stone carving depicts Chakrasamvara in union with his consort Vajrayogini. Chakrasamvara, whose name means the 'Wheel of Bliss' in Sanskrit, is the meditational deity (yidam) at the heart of the Chakrasamvara Tantra–one of the most important wisdom traditions known as a 'Mother root' tantra. The goddess, Vajrayogini, embraces her consort, wrapping her leg around his waist and arm around his four faces, clutching her implements of skullcup and hooked knife. He engulfs her in an aureole of arms, his primary arms crossed around her body and holding a ghanta and vajra. The sexual embrace of these two deities (or yab yum) represents the attainment of the Highest Yoga Tantra tradition (Anuttarayoga Tantra) and Tibetan Buddhism's supreme ideal: the skilled union of perfect wisdom (Vajrayogini) and compassion (Samvara).  Such portable carvings, depicting the central figure standing on a lotus base encompassed in an arched nimbus with figures carved in the round, survive from the workshops of Pala India. Another example of the same subject is held in the Metropolitan Museum of Art (fig. 1 ; 1988.392). Numerous survive in Tibetan monastery collections, as illustrated in von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, p. 385, pl. 123C-D. Their presence in Tibet, made possible through thoughtful preservation, underscores not only a reverence for these objects, but also the impact of their regional dissemination. Carvings such as the present example would have served as models for depicting tantric deities in China and Tibet. For the figures listed in this essay, please refer to our printed or digital catalogue.黑石勝樂金剛像印度東北部 帕拉時期 約十二世紀 著錄 A & J Speelman，《Oriental Sculpture and Works of Art》，倫敦， 1999年， 頁60-1， 編號28 來源美國私人珍藏，二十世紀八十年代以來這尊精巧的小型石雕描繪勝樂金剛與其明妃金剛瑜伽母相擁起舞之雙身像。勝樂金剛梵文名意為「勝樂之輪」，為《勝樂金剛密續》之核心觀想本尊，該密續被視為最重要的智慧傳承「根本母續」之一。女神金剛瑜伽母擁抱父神，以腿纏繞其腰，雙臂環繞其四面，手握法器嘎巴拉碗與鉞刀。勝樂金剛則將其環繞於臂輪之中，主臂交抱其身，交持金剛鈴杵。兩尊神祇（或稱本尊）陰陽雙運，象徵成就無上瑜伽密續傳統及藏傳佛教至高理想：智慧（金剛瑜伽母）與慈悲（勝樂金剛）之巧妙結合。 此類便於攜帶的小型雕塑，圓雕中心人物立於蓮花座上，環繞以拱形背光，乃屬印度帕拉工坊之存世作品。紐約大都會藝術博物館亦藏有另一尊同主題造像（圖1，編號1988.392）。另有多尊此類造像現存於西藏各寺廟之收藏中，參見von Schroeder，《Buddhist Sculptures in Tibet》，香港，2001年，頁385，圖版123C-D。經過精心保存，這類雕塑作品得以傳世於西藏，顯示出人們對其之尊崇敬拜，以及其在區域間的流傳。如此黑石勝樂金剛之作，亦為隨後漢藏兩地表現此類密宗神祇提供藝術範本。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。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. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE D'ACHALA EN LAITONTIBET, XIIIE SIÈCLEHimalayan Art Resources item no. 1810 27.3 cm (10 3/4 in.) highFootnotes:A BRASS FIGURE OF ACHALA TIBET, 13TH CENTURY  Published  Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 379, no. 162.  Exhibited  Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017. Achala, 'the Immovable One', is a meditational deity (yidam) tasked with holding the sacred ground of a mandala and deterring negative phenomena as the 'Remover of Obstacles'. In Hinduism, this role is reserved for the elephant-headed god Ganesha, who is presently being depicted as the 'Creator of Obstacles' instead, subdued under Achala's feet. This form of Achala was popularized by Atisha (982-1054), the founder of the Kadampa school, and Sonam Tsemo (1142-82) of the Sakya order, as a central purification practice. In his right hand, Achala brandishes a sword above his head, poised to slash through the veil of ignorance shrouding the practitioner's mind. In his left, he points his index finger in the gesture of 'warning' (tarjani mudra) while holding a vajra lasso in order to ensnare corrupting forces. For further discussion of Achala within the Buddhist pantheon, see Linrothe, Ruthless Compassion, 1999, pp. 151-3.   Retaining a warm patina from centuries of devotion and handling, the crisp details of this sculpture adapt earlier Indian styles that influenced the nascent artistic traditions of Tibetan Buddhism. During the 10th-12th centuries, in a period known as the Chidar, generations of Tibetan monks gathered and translated Indian devotional texts and icons. They considered paintings and sculpture from Buddhism's homeland prized religious objects, purer and more potent. Numerous examples are preserved in temple collections in Lhasa, including two Achala figures of similar modeling, who analogously trample animated and full-bodied renderings of Ganesha underfoot (von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, p. 1113, nos. 291B & D-E). Another example worthy of comparison is published in Essen & Thingo, Die Gotter des Himalaya, 1989, p. 160, fig. I-98. Lastly is a brass figure of Jambhala from the Nyingjei Lam Collection, sold at Bonhams, Hong Kong, 7 October 2019, lot 806 (Fig. 1), whose patina and piercing gaze share a close resemblance with the present work.For the figures listed in this essay, please refer to our printed or digital catalogue.不動明王銅像西藏 十三世紀 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379，編號162 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 不動明王為一尊重要觀想本尊，使命為鎮守曼陀羅聖地，抵抗消極力量，為業障消除者。在印度教，此角色是由象神迦納什擔任。然而，在此佛教造像之中，象神被視為業障之創造者而被踏於不動明王腳下。此不動明王的特殊形象因噶當巴派創始人阿底峽（982-1054）和薩迦派的洛本索南孜摩（1142-82）之推崇而流行，其對事部修行至關重要。明王右手舉劍過頭，準備劃破籠罩修行者心靈的無知與幻覺的面紗。左手則豎起食指降魔，結期克印，同時手握金剛索，以誘捉邪惡力量。有關不動明王及其在佛教萬神殿中之角色，更多討論可參見 Lindrothe，《Ruthless Compassion》，1999年，頁151-3。數百年的虔誠供奉與傳承，給予了這尊雕像溫潤明亮的包漿。整體清晰的細節，向早期印度風格致敬，正是這些風格影響了萌芽時期的西藏藝術傳統。在十至十二世紀的這段又被稱為後弘期的年代裡，一代又一代的西藏僧侶收集並翻譯著印度宗教文字與典籍。他們視來自佛教發源地的印度繪畫以及雕塑為珍品、一種更純淨、更有效的宗教形式。拉薩寺廟收藏中保存諸多例證，例如另外兩尊造型相似的造像，同樣有力地踩踏栩栩如生的象神全身像（見von Schroeder，《Buddhist Sculptures in Tibet》，卷二，2001年，頁1113， 編號291B、D-E）。 另一值得比較的例子刊於Essen 及 Thingo 著之《Die Gotter des Himalaya》，1989年，頁160，圖I-98。菩薩道所藏一尊黃財神銅像之銅質以及銳利的眼神亦與本不動明王像極為相似，見邦瀚斯，香港，2019年10月7日，拍品806（圖1）。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。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. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE D'AVALOKITESHVARA SAHASRABHUJA EKADASAMUKHA EN ALLIAGE DE CUIVRE DORÉTIBET CENTRAL, VERS XVE SIÈCLE 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 catalogue.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紅暗花綾四臂觀音像（圖1；2002.271）。至於同樣品質的藏地十一面觀音鎏金銅像，請參見《佛陀之光：故宮博物院與止觀美術館佛教造像》，2019年，頁402-3，編號110。亦可參考另一尊銘文記載為索南堅贊製作的觀音造像，於2018年3月19日在紐約邦瀚斯售出，拍品3033。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。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. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DU CINQUIÈME SAKYA TRIDZIN, JETSUN DRAGPA GYALTSEN, EN ALLIAGE DE CUIVRE DORÉTIBET, XVE/XVIE SIÈCLE 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 catalogue.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5)，薩迦班智達像（紐約魯賓藝術博物館，喜馬拉雅藝術資源網65460號），以及八思巴像（佳士得，紐約，2015年9月15日，拍品91）。正如此尊造像，上述造像每一尊皆安坐於一圓形、帶有舒展花瓣之底座，且其底緣帶有細點構成之銘文。此外，值得關注的是上述薩欽貢嘎寧波像以及索南孜摩像衣物上所刻花紋以及衣褶垂落而形成的褶皺，此尊扎巴堅贊像亦然。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。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. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

A Group of Camera Technique Books, 1956, 57, 58 & 59 The British Journal Photographic Almanac, VG, Developing the Picture Queen Alexandra and the Art of Photography by Frances Dimond, Focal Press The Manual of Photography, The Handbook of Digital Photography by Geoffrey Hands and other publications

Farhat Ali (B.1988)Untitled (Beauty & the Beast) signed 'Farhat Ali 2015' lower rightgouache on paper, framed30 x 23.8cm (11 13/16 x 9 3/8in).Footnotes:ProvenanceProperty from a private collection, Pakistan.Published''Pop' goes my heart,' The Express Tribune, 28 August 2015, https://tribune.com.pk/story/946743/miniature-marvel-pop-goes-my-heart'The characters I used are from two seemingly different time periods...We have Mughal characters that are from our heritage and cartoons which belong to the digital era. Blending the two worlds together has helped me produce a narrative which is different and unique.' Farhat AliAli's practise focuses on the reinterpretation of history and popular imagery. He has created a distinct visual language by fusing two beloved art forms, miniatures and cartoons. Born in Badin, Sindh he started his career as a billboard painter and then enrolled at the Centre of Excellence in Art & Design, Jamshoro and the National College of Arts, Lahore from where he graduated in 2015.Reinterpreting the beloved miniature format, Ali brings together two seemingly different art forms and melds them together to question history and fiction. In Untitled (Beauty & the Beast) we see the couple in a loving embrace, a nayika and the Beast, from the 1991 Disney classic, Beauty & the Beast. 'Beyond the immediate element of humour the improbable encounters and liaisons between the protagonists spark debate on their implausibility. By 'disrupting' how we understand something, we are more likely to question its fundamental existence and Ali's cameos provoke enquiry on several issues. The most obvious inconsistency is the East West variance. His comic approach diffuses the inevitable clash of civilisations between a classical 15th century South Asian era and contemporary Western society. He creates interactive moments between his characters without either losing his or her cultural identity.' (S. Ali, 'Art Fiend: Getting There,' DAWN, 6 September 2015, https://www.dawn.com/news/1204489)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Timm Ulrichs, Bild mit MaßlinienDigital-Print auf Leinwand 100 x 100 cm. Rückseitig auf dem Editionsetikett signiert und nummeriert. Exemplar 6/6. Edition Brigitte March International Contemporary Art, Stuttgart (2013).

Circa 1400-1500 A.D. Flat-section straightened hoop with incised blackletter text 'le belle ie[u]' translating to 'the beautiful game' with interposed flowers and stalks. Cf. Hindman. S. et al., Toward an Art History of Medieval Rings: A Private Collection, London, 2007, item 26, for similar script on an English gold ring; see Jones, M., 'The Beautiful Game - Courtly Love posies in Anglo-Norman inscribed on jewellery and seals', in The Journal of the British Archaeological Society (forthcoming), for inscription. 1.68 grams, 16.92 mm overall, 15.39 mm internal diameter (approximate size British I 1/2, USA 4 1/2, Europe 8.07, Japan 7) (5/8 in.). Found whilst searching with a metal detector near Witham on the Hill, South Kesteven, Lincolnshire, UK, on Sunday 9th January 2022, by Mark Bowen. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.CAM-D675E8. Accompanied by a copy of the Department for Digital, Culture, Media and Sport Treasure receipt and and disclaimed with Treasure case tracking no.2022T153. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12139-214843.The final word of the inscription is ie for ie[u], an Anglo-Norman spelling of modern French jeu ‘game’. The game in question is, of course, love (not football!). The ‘game’ of love here is what we now refer to as Courtly Love (amour courtois, fin amor) and the phrase ‘beautiful game’ is also found on another ring recorded on the PAS database as YORYM-0A0FD2, the whole, a rhyming couplet, reading AMIE EN VV/ [E]ST MA VIE BELE GIEV [Beloved, in you my life is a beautiful game]. [A video of this lot is available to view on Timeline Auctions Website]

Zhang Zhoujie (Chinese, b.1985), a unique 'SQN5-T' coffee table, 2012, stainless steel, 130cm wide 75cm deep 36cm high Zhang Zhoujie grew up in rural China but went on to study Fine Art at the China Academy of Fine Art, the country’s leading specialised institution, before gaining an MA in Industrial Design at Central Saint Martin’s, London. In wanting to draw on these skills in a modern context, he explored the latest trends in parametric design - a digital scripting method which allows the user push the possibilities of man-made, fluid forms. He cites ‘wu wei’ which is a cornerstone of Taoism, as another guide in his work. ‘Wu Wei‘ means a lack of intervention and though his furniture is fully tuned to the logic of mathematics, he strives to blend traditional Chinese art perspectives with Western design methodology. His designs remain true to the materials he eventually chooses and he doesn’t embellish or disguise, preferring to exploit the relationships and interactions of faceted surfaces in the making of extraordinary but functional furniture.

Tokyo, the capital city of Japan, is a bustling metropolis known for its modernity, technology, rich cultural heritage, and vibrant urban life. Here are some key points about Tokyo:1. **Size and Population**: Tokyo is one of the world's most populous cities and covers a vast metropolitan area. It's part of the Greater Tokyo Area, which includes surrounding cities and is one of the most populous urban areas globally.2. **Economy**: Tokyo is a global financial and economic hub, housing the Tokyo Stock Exchange and numerous multinational corporations. It's known for its innovation and technological advancements.3. **Culture**: Tokyo offers a blend of traditional Japanese culture and cutting-edge modernity. You can experience traditional tea ceremonies, visit historic temples and shrines, and explore modern art galleries and digital entertainment centers.4. **Cuisine**: The city is a food lover's paradise, offering a wide range of culinary experiences. From sushi and ramen to tempura and kaiseki, Tokyo is known for its diverse and delectable cuisine.5. **Shopping**: Tokyo is a shopping haven, with districts like Ginza and Shibuya offering high-end boutiques and department stores. Akihabara is famous for electronics and anime, while Harajuku is known for its unique fashion boutiques.6. **Entertainment**: Tokyo's entertainment options are endless. You can catch a sumo wrestling match, attend a traditional kabuki performance, or enjoy the vibrant nightlife in areas like Roppongi and Shinjuku.7. **Green Spaces**: Despite its urban sprawl, Tokyo has beautiful green spaces, including Ueno Park, Shinjuku Gyoen National Garden, and the Imperial Palace East Gardens, providing a serene escape from the city's hustle and bustle.8. **Transportation**: Tokyo boasts an efficient and extensive public transportation system, including the famous Tokyo Metro and JR lines. The city's punctuality and cleanliness are well-known.9. **Landmarks**: Tokyo is home to iconic landmarks such as Tokyo Tower, Tokyo Skytree, and the Rainbow Bridge. The Asakusa district is known for its historic Senso-ji Temple and Nakamise Shopping Street.10. **Cherry Blossom Season**: Tokyo comes alive during the cherry blossom season (sakura), typically in late March to early April. Parks and streets are adorned with cherry blossoms, and hanami (cherry blossom viewing) parties are a cherished tradition.11. **Festivals**: Tokyo hosts numerous festivals throughout the year, including the Tokyo International Film Festival, Kanda Matsuri, and the Sumida River Fireworks Festival.12. **Education**: The city is home to prestigious universities and institutions, including the University of Tokyo and Waseda University.13. **Safety**: Tokyo is often considered one of the safest cities in the world, with low crime rates and a strong emphasis on security and public order.Tokyo's dynamic and multifaceted character makes it a captivating destination for travelers and a city that seamlessly combines traditional Japanese culture with the latest technological innovations. Whether you're interested in history, art, cuisine, or contemporary pop culture, Tokyo has something to offer everyone.Measures 33 x 24.Mounted to linen.

David Hockney, born in 1937 in Bradford, England, is a renowned British artist whose work spans various mediums, including painting, drawing, photography, and collage. He is considered one of the most influential artists of the 20th and 21st centuries, known for his vibrant use of color, innovative techniques, and exploration of space and perspective.Hockney rose to prominence in the 1960s as a leading figure in the Pop Art movement. He gained recognition for his iconic swimming pool paintings, which captured the California lifestyle and reflected his fascination with the interplay of water, light, and space. These works, characterized by their bold colors and clean lines, established Hockney as a master of depicting the modern urban environment.Beyond his exploration of the swimming pool motif, Hockney's diverse body of work encompasses a wide range of subjects and styles. He has painted landscapes, portraits, still lifes, and abstract compositions, continually experimenting with new techniques and approaches. Hockney's ability to capture the essence of his subjects and convey a sense of joy and vitality is a defining characteristic of his art.In addition to his paintings, Hockney has been at the forefront of using technology in art, particularly in his exploration of photography and digital media. He embraced the use of Polaroid cameras, creating innovative photo collages known as "joiners" that captured a scene from multiple perspectives. Later in his career, Hockney embraced iPad drawing, creating intricate and vibrant digital artworks that pushed the boundaries of traditional artistic practices.Hockney's contributions to the art world have been widely recognized and celebrated. He has been the subject of numerous major retrospectives and exhibitions around the world. In 2011, he was appointed a member of the Order of Merit, one of the highest honors bestowed on individuals who have made exceptional contributions in the fields of arts, science, literature, or other areas.David Hockney's artistic legacy is marked by his immense talent, versatility, and innovative spirit. His work continues to inspire and captivate audiences with its vibrant colors, meticulous craftsmanship, and unique perspectives. Hockney's ability to capture the beauty and essence of the world around him, combined with his constant exploration of new techniques and technologies, firmly places him among the most significant artists of our time.Measures 21 x 21.

A Yamaha P-515 digital piano.Condition Report: Powers on at this time and is in good over all condition however we do not guarantee full working order.The item or items in this lot are sold as decorative works of art only and would need to be rewired and tested on installation by a qualified electrician.

† RON WOOD; a collection of paintings including five watercolours, Cornish tin mine engine house scenes, waterside scene signed, largest 17 x 43cm, two framed, three unframed, oil on canvas, abstract Cornish tin mine engine house scene and another engine house scene verso, indistinct signature, 36 x 46cm, unframed, oil on board, Cornish beach scene, unframed, and watercolour, Cornish tin mine engine house, largest 34 x 24cm, framed with glass broken and a group of acrylic on paper images entitled 'Study 3', 21 x 36cm, and an abstract mixed media image of an engine house, 54 x 58cm. Provenance: Ron was born on the 22nd of March 1922 in the East end of London, lived there with his parents and brother. It was a happy childhood. They later moved to Kent. Ron was a very special talented person, who, when he died, was a much loved husband, bother-in-law, uncle and friend to countless people. After signing up to the Royal Navy, he became one of the crew for a frigate on the North Sea Convoy as an engineer. This was an awful experience and one that after the war inspired him to write a poem just to remind people how awful war was. After the NSC he then went to America as one of the crew tasked with bringing flat bottom boats back across the Atlantic to take their place in the Second World War.After the war he got a job as an engineer in several big companies and worked in London until a tradgedy shattered his life. This event caused him to make the decision to to pursue his great love of art in Cornwall. He bought a small cottage in Mount Hawke and started painting, doing commissions, having exhibitions with other people and then gradually on his own. He also made sculptures and wrote poetry, stories and music. Work was commissioned by all sorts of places in Cornwall including schools and a sculpture of John Opie which is in St Agnes Museum.One of his abstract works in Bronze won an open competition at the Penrith Gallery St Ives. He started working with fibre-glass and later, in his sixties he became fascinated the way the computer can be used to produce Art and created many beautiful digital pieces .As well as doing commissions he loved to teach, especially children, so he was a regular teacher in some schools and in others went to do projects. Any child we have spoken to that was taught by Ron, we have been told what an excellent teacher he was. By selling the paintings any proceeds that we make will go to help and encourage children with their future ideas of art.Some time after he came to Cornwall he met Dawn, both walking along the cliff path near Tubby's Head! His favourite fishing site!! She became his wife, his friend and constant companion, and in his later years when he got Parkinson's disease she did an amazing job of looking after him.Ron loved Cornwall and rarely left it, He died in 2009.

VUITTON, LOUISAmerica's Cup. Art der Uhr: Chronogaph. Herkunft: Schweiz, Genf. Datierung: 2013. Werk: Automatik. Gesamtgewicht: ca. 120 g. Größe: ø 43 mm, Länge 20 cm. Gehäuse-Nr.: 317/720. Referenz-Nr.: Q102H0. Beschreibung: 3-Zeiger-Chronograph mit dezentraler Sekunde bei "3" Uhr, 30-Minutenzähler bei "9" Uhr, Datumssanzeige bei "12" Uhr. Anbei Bedienungsanleitung, digital und analog. Box: NeinPapiere: JaAccessoires: Nein Voraussichtliche Versandkosten für dieses Los: Deutschland: 50,00 Euro inkl. 7,98 Euro MwSt EU: Absprache nach der Auktion. Weltweit: Absprache nach der Auktion. zzgl. VersandversicherungErläuterungen zum KatalogBewertungssytem Armband und Taschenuhren Louis Vuitton Armband- & Taschenuhren Automatik

VUITTON, LOUISTambour. Art der Uhr: Armbanduhr. Herkunft: Schweiz, Genf. Datierung: 2013. Werk: Automatik, Cal. 2895-2. Gehäuse/Armband: Stahl, Kautschukarmband mit Dornschließe, Zffbl. schwarz, Zeiger silbern und rot, Indizes weiß, Leuchtmasse. Gesamtgewicht: ca. 121,5 g. Größe: ø 43 mm, Länge 21 cm. Gehäuse-Nr.: SI 5042. Referenz-Nr.: Q103A0.Beschreibung: 3-Zeiger-Armbanduhr mit Datumsanzeige bei "3" Uhr und dezentraler Sekunde bei "6" Uhr. Tauchverlängerung, Reinigungstuch und Bedienungsanleitung, analog und digital, anbei.Box: JaPapiere: JaAccessoires: Ja Voraussichtliche Versandkosten für dieses Los: Deutschland: 24,00 Euro inkl. 3,83 Euro MwSt EU: 40,00 Euro inkl. 6,39 Euro MwSt Weltweit: 75,00 Euro inkl. 11,97 Euro MwSt zzgl. VersandversicherungErläuterungen zum KatalogBewertungssytem Armband und Taschenuhren Louis Vuitton Armband- & Taschenuhren Automatik, Cal. 2895-2

* SACHA JAFRI (BRITISH b. 1977), FIELD OF DREAMS gouache & ink on German-etched canvas paper, signed and dated '99, completed 2001framedimage size 51cm x 70cm, overall size 63cm x 83cm Provenance: digital certificate of authenticty issued by Studio Jafri, Dubai 2024.Note: Sacha Jafri (born January 3, 1977, in the United Kingdom) is a British artist known for creating the world's largest painting on canvas, Journey of Humanity (as recognised by Guinness World Records) over seven months in 2020 during the Covid-19 pandemic in Dubai. In 2021, it sold for US$62 million the third highest price ever paid for a work of art by a living artist. Sacha Jafri was born in England and is descended from the Royal lineage of the Nawab of Awadh. His grandfather Fareed S. Jafri was appointed editor of "Dawn" newspaper by Muhammad Ali Jinnah in the 1950s, and was later appointed Pakistan's High Commissioner to Nigeria in 1968. Jafri attended Eton College. In 2000 he obtained his master's degree in Fine Arts from Oxford University. Safri generally works outside the art gallery system, donates many of his works and or proceeds from them to charity efforts, and numbers among his collectors members of the British Royal family, Sir Richard Branson, Sir Paul McCartney, Leonardo DiCaprio, Bill Gates, Lady Gaga, Will Smith, Warren Buffet, Lionel Messi, Madonna, David Beckham, George Clooney, Eva Longoria and Barack Obama. Sacha’s first love, however, is cricket. No wonder, he enjoyed painting odes to Sachin Tendulkar and Virat Kohli—the latter portrait celebrating a decade of Kohli’s IPL journey was auctioned off at a charity dinner organised by the Virat Kohli Foundation in 2017 (the painting was later purchased for a whopping $4.5m at a charity ball in London).

Robert Rauschenberg (1925–2008) was an American artist who profoundly influenced the course of 20th-century art with his groundbreaking work in painting, sculpture, printmaking, photography, and performance. He is widely celebrated for his innovative approaches to materials, techniques, and concepts, as well as his pioneering role in bridging the gap between Abstract Expressionism and Pop Art.Born Milton Ernest Rauschenberg in Port Arthur, Texas, Rauschenberg studied at the Kansas City Art Institute and the Académie Julian in Paris before attending Black Mountain College in North Carolina, where he studied under renowned artists such as Josef Albers and John Cage. It was at Black Mountain College that Rauschenberg began to develop his interdisciplinary approach to art-making, which would become a hallmark of his career.Rauschenberg's early works challenged traditional notions of painting by incorporating found objects and unconventional materials into his compositions. He famously created his "Combines" series, which blurred the boundaries between painting and sculpture by combining painted canvases with everyday objects such as tires, stuffed animals, and household appliances.In the 1960s, Rauschenberg turned his attention to printmaking, collaborating with master printers to create innovative works that pushed the boundaries of the medium. He also experimented with performance art, collaborating with choreographer Merce Cunningham and composer John Cage to create groundbreaking works that combined dance, music, and visual art.Throughout his career, Rauschenberg continued to push the boundaries of artistic expression, exploring themes such as technology, politics, and the environment. He embraced new technologies and materials, incorporating elements such as photography, digital imaging, and industrial processes into his work.Rauschenberg's influence on contemporary art is immeasurable, and his work continues to be celebrated for its innovation, experimentation, and boundless creativity. He received numerous awards and honors throughout his lifetime, including the National Medal of Arts and the Golden Lion at the Venice Biennale.Today, Rauschenberg's work is held in major museum collections around the world, and his legacy lives on through the countless artists he inspired and the ongoing exploration of his revolutionary ideas and techniques in contemporary art.

NIKOS NIKOLAOU (1909-1986)Ma grenade signé en grec et daté '4/83' en bas à gaucheacrylique sur toile192 x 96 cm.Peint en 1983.signed in greek and dated '4/83' lower leftacrylic on canvasFootnotes:ExpositionsAthens, Zoumboulakis Gallery, Nikolaou, November 1984 (illustrated in the exhibition catalogue).Athens, National Gallery and Alexandros Soutzos Museum, N. Nikolaou, April 1991, no. 164 (listed in the exhibition catalogue, p. 59). LittératureEikastika magazine, no. 36, December 1984, p. 53 (discussed).The Athenian magazine, vol. IX, no. 134, December 1984, pp. 54-55 (discussed).Lexi magazine, no. 71, January 1988, p. 26 (illustrated).Sima magazine, no. 2, May-June 1991, p. 72 (illustrated).Sima magazine, no. 6, January-February 1992, p. 48 (illustrated).Indiktos magazine, no. 7, Winter 1997, p. 2 (illustrated).Nikolaou, Adam editions, Athens 1998, no. 220, p. 17 (shown in a photograph of the artist's studio on the island of Aegina), p. 206 (discussed), p. 223 (illustrated).Nikos Nikolaou: Hydra, exhibition catalogue, N.P. Goulandris Foundation - Museum of Cycladic Art, Athens 2000, p. 4 (shown in a photograph of the artist's studio).Eleftherotypia newspaper, June 15, 2000 (shown in a photograph of the artist's studio).C. Christou, Greek Painting in the Twentieth Century, Association for the Dissemination of Beneficial Books edition, vol. 1, Athens 2000, pp. 266-267 (discussed), p. 264 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Nikos Nikolaou Works, p. 4 (illustrated). This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

CHRYSSA VERGHI (born 1959)En regardant vers le haut signé en grec et daté '93' en bas à gauche huile sur toile 150 x 200 cm. (59 1/16 x 78 3/4in.) Peint en 1993. signed in Greek and dated '93' lower leftoil on canvasFootnotes:ExpositionsAthens, Zoumboulakis Galleries, Chryssa Verghi, January 13 - February 5, 1994 (illustrated in the exhibition catalogue). Athens, Zoumboulakis Galleries, Chryssa Verghi, April-May 2000 (illustrated in the exhibition catalogue).Ermoupolis, Syros, Cyclades Pinacothèque, Chryssa Verghi, The Soul of the Landscape, Retrospective 1985-2015, August 22 - September 13, 2015 (illustrated in the exhibition catalogue, pp. 36-37).Athens Euripides Gallery, Chryssa Verghi, The Soul of the Landscape, Retrospective 1985-2015, September 24 - October 17, 2015 (illustrated in the exhibition catalogue, pp. 36-37).LittératureDictionary of Greek Artists, Melissa editions, vol. 1, Athens 1997, p. 177 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Chryssa Verghi Works, p. 1 (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

After Keith Haring,  American 1958-1990,  Grace House Mural poster, 2021;  digital print poster in colours on wove,  published by The Museum of Contemporary Art Denver,  sheet: 61 x 46 cm,  (unframed)

† RON WOOD; a group of four oils on board, Cornish tin mine engine house scenes, apparently unsigned, largest 25 x 20cm, three framed. Provenance: Ron was born on the 22nd of March 1922 in the East end of London, lived there with his parents and brother. It was a happy childhood. They later moved to Kent. Ron was a very special talented person, who, when he died, was a much loved husband, bother-in-law, uncle and friend to countless people. After signing up to the Royal Navy, he became one of the crew for a frigate on the North Sea Convoy as an engineer. This was an awful experience and one that after the war inspired him to write a poem just to remind people how awful war was. After the NSC he then went to America as one of the crew tasked with bringing flat bottom boats back across the Atlantic to take their place in the Second World War.After the war he got a job as an engineer in several big companies and worked in London until a tradgedy shattered his life. This event caused him to make the decision to to pursue his great love of art in Cornwall. He bought a small cottage in Mount Hawke and started painting, doing commissions, having exhibitions with other people and then gradually on his own. He also made sculptures and wrote poetry, stories and music. Work was commissioned by all sorts of places in Cornwall including schools and a sculpture of John Opie which is in St Agnes Museum.One of his abstract works in Bronze won an open competition at the Penrith Gallery St Ives. He started working with fibre-glass and later, in his sixties he became fascinated the way the computer can be used to produce Art and created many beautiful digital pieces .As well as doing commissions he loved to teach, especially children, so he was a regular teacher in some schools and in others went to do projects. Any child we have spoken to that was taught by Ron, we have been told what an excellent teacher he was. By selling the paintings any proceeds that we make will go to help and encourage children with their future ideas of art.Some time after he came to Cornwall he met Dawn, both walking along the cliff path near Tubby's Head! His favourite fishing site!! She became his wife, his friend and constant companion, and in his later years when he got Parkinson's disease she did an amazing job of looking after him.Ron loved Cornwall and rarely left it, He died in 2009.