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Ian HARROLD (XX-XXI) Four prints Each a digital edition from the exhibition 'St Ives - The New Pier', printed with archival pigment inks of museum quality fine art paper, each 41cm x 49cm mounted.

limited edition digital print on paper, signed in silver ink and numbered 64/100, from the Revelations : A Portrait of Magic Series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

* RUTH MULVIE (BRITISH b. 1979), HANDS FULL oil on canvas, signed, titled versounframedoverall size 80cm x 100cmNote: Ruth Mulvie is a contemporary fine artist, known for her vivid palette and for the delightfully unexpected detail in her paintings. She graduated from the Glasgow School of Art and over the years comparisons have been made with Hockney. She cherishes that visceral connection that Kodachrome™ gives us with our past. That single moment frozen in time that one can look at forever. Old photographs are her initial inspiration for each new piece; a digital springboard atop which she dives into her latest delicious fantasy landscape. "Mulvie’s colour choices yell and fizz. They quicken the heartbeat. Sherbet yellow next to candy pink or lime green besides turquoise, they all elevate the mood. In her paintings we are invited to join the most wonderful party or shared experience. Mulvie’s realms surprise and delight. Hers are playful, glamorous worlds with pure glee for oxygen. And in each we are granted a day in happy valley. At the heart of Mulvie’s pieces is the palpable joyfulness in her response to colour. She is at her happiest when mixing and combining paint, waiting for the thrill of the perfect shade. For her, colour is emotion, colour is memory, colour is her favourite place to be. And we are all invited. There’s no place like it." Julie Tellouche

* RUTH MULVIE (BRITISH b. 1979), BROWN BASKET oil on canvas, signed, titled versounframedoverall size 70cm x 100cm Note: Ruth Mulvie is a contemporary fine artist, known for her vivid palette and for the delightfully unexpected detail in her paintings. She graduated from the Glasgow School of Art and over the years comparisons have been made with Hockney. She cherishes that visceral connection that Kodachrome™ gives us with our past. That single moment frozen in time that one can look at forever. Old photographs are her initial inspiration for each new piece; a digital springboard atop which she dives into her latest delicious fantasy landscape. "Mulvie’s colour choices yell and fizz. They quicken the heartbeat. Sherbet yellow next to candy pink or lime green besides turquoise, they all elevate the mood. In her paintings we are invited to join the most wonderful party or shared experience. Mulvie’s realms surprise and delight. Hers are playful, glamorous worlds with pure glee for oxygen. And in each we are granted a day in happy valley. At the heart of Mulvie’s pieces is the palpable joyfulness in her response to colour. She is at her happiest when mixing and combining paint, waiting for the thrill of the perfect shade. For her, colour is emotion, colour is memory, colour is her favourite place to be. And we are all invited. There’s no place like it." Julie Tellouche

* STUART MCALPINE MILLER (SCOTTISH b. 1964), SPELLBOUND IN MOTION limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

* STUART MCALPINE MILLER (SCOTTISH b. 1964), A COMPLEX NATURE limited edition digital print on paper, signed in silver ink and numbered 64/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

* STUART MCALPINE MILLER (SCOTTISH b. 1964), HYPNOTIC REVEAL limited edition digital print on paper, signed in silver ink and numbered 58/100, from the Revelations : A Portrait of Magic seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

* STUART MCALPINE MILLER (SCOTTISH b. 1964), FROM THE EVIL WITHIN limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

* STUART MCALPINE MILLER (SCOTTISH b. 1964), SPLIT PERSONALITY limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glassimage size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

Titles include: I will survive: Physical and Virtual Spaces by Hito Steyerl (2021); Critical Laboratory: The writings of Thomas Hirschhorn edited by Lisa Lee and Hal Foster (2013). A duo that explores how art engages with political, social, and technological issues in contemporary society, covering topics such as: Art as a tool for political and social critique, public spaces and accessibility, digital and physical realms in contemporary art, and the role of art in contemporary society. The lot measures: 8''L x 3''W x 11.25''H. Issued: 21st centuryDimensions: See DescriptionCondition: Very good condition.

Yngve Holen(Geb. 1982 Braunschweig; lebt und arbeiten in Berlin)"Window Seat Y". OriginaltitelMundgeblasenes Uran-Glas, pulverbeschichteter Stahl und Silikon, 2019. Aus der Serie "Window Seats", die Holen u. a. in der Kunsthalle Basel und der 9. Berlin Biennale 2016 zeigte. In seinen Installationen, skulpturalen und architektonischen Arbeiten, beschäftigt sich der Künstler mit dem Konzept des Posthumanen, insbesondere in Bezug auf die ständigen technologischen Fortschritte auf den menschlichen Körper und verändert den Blickwinkel auf unsere alltägliche Umgebung. Holen, der Meisterschüler der Bildhauerei an der HfBK Städelschule in Frankfurt a. M. war und an der Universität für angewandte Kunst in Wien studierte, gehört zu den wichtigsten Vertretern der sog. Digital Art Generation, die seit Beginn der 2010er Jahre im internationalen Fokus der Kunstwelt steht. 65 cm x 55 cm x 25 cm. Provenienz: Aus dem Atelier des Künstlers; Schleswig-Holsteinische Stiftung.Mouth-blown uranium glass, powder-coated steel and silicone, 2019.

Bob Dylan (b.1941) The Asia Series (Hunan Province, Opium, Shanghai & The Bridge)The set of four digital pigment prints in colours, 2021, each signed in pencil. numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, co-published by Washington Green Fine Art, Birmingham, and Black Buffalo Artworks, with their accompanying certificates of authenticity, on 350gsm Hahnemühle Museum Etching wove paper, with full margins, each sheet 762 x 672mm (30 x 26 1/2in)

The BMW Art Car project is a unique fusion of art and automotive engineering, where prominent artists re-imagine BMW vehicles as striking works of art. Since the project's inception in 1975, BMW has collaborated with world-renowned artists, including Andy Warhol, Roy Lichtenstein and Jeff Koons, who have transformed models across the BMW line-up into vibrant canvases. Each car combines aesthetic creativity with BMW’s renowned engineering, resulting in a captivating collection that’s both a celebration of art and a homage to automotive performance. The idea for the first BMW Art Car originated with French race driver and art enthusiast Hervé Poulain, who wanted to blend his passion for racing with contemporary art. Poulain enlisted American artist Alexander Calder to paint a BMW 3.0 CSL, creating a piece that combined Calder’s bold colours and geometric forms with BMW’s sleek racing lines. This car debuted at the 1975 24 Hours of Le Mans race, setting the tone for an iconic tradition that would continue for decades. BMW’s Art Car collection spans a variety of models, from the 635 CSi and M1 to the Z1 and i8, each interpreted through the unique vision of its artist. Roy Lichtenstein’s 1977 320i, for example, featured his signature comic-book style with bold dots and lines that gave the car a sense of speed and movement. Andy Warhol’s 1979 M1 Art Car, perhaps the most famous, was hand-painted by the artist in just 28 minutes. Warhol’s expressive brushstrokes gave the car an almost kinetic energy, as if it were already in motion. Over the years, the project has evolved, welcoming artists from diverse backgrounds, styles, and global regions. In 2010, Jeff Koons created a BMW M3 GT2 Art Car, featuring an explosion of colours and energy that echoed the power of the race car. Recently, artists like Cao Fei and John Baldessari have explored digital themes and minimalist forms, using the cars as platforms to comment on technology, speed and culture. Today, BMW Art Cars are exhibited in museums and galleries worldwide, embodying the intersection of creativity and engineering. Each Art Car tells a story of collaboration and innovation, making this series a cultural legacy for both art and automotive enthusiasts.Here we have what we believe to be a full collection of 16 BMW Art Car models. All are boxed and in their display cases, it is thought only two of them have been on display and the rest have remained in their original boxes. The detail of these exquisite 1/18 scale models is exceptional. The quality has to be seen to be appreciated. Offered for sale from a private collector. Consigned by Stewart Banks.Guide £6,000-£8,000 A FULL COLLECTION OF 16 BMW ART PROJECT CARS. ALL ARE BOXED AND ONLY TWO HAVE BEEN ON DISPLAY AT THE VENDORS HOUSE.THESE ARE 1/18th SCALE MODELS WITH SUPERB DETAIL

PAN'S LABYRINTH (2006) - Faun (Doug Jones) Face Appliance - A Faun (Doug Jones) face appliance from Guillermo del Toro's fantasy film Pan's Labyrinth. Upon arriving at the Labyrinth, Ofelia (Ivana Baquero) met the fantastical Faun, with whom she interacted throughout the film, as he entrusted her with three tasks. Pan's Labyrinth was both a commercial and critical success, winning three Academy Awards in 2007 for Best Cinematography, Best Art Direction and Best Make-up. The Faun was brought to life using a combination of prosthetics created by DDT (founded by Academy Award-winners David Marti and Montse Ribe) and CGI, with Del Toro keen to avoid the complete use of digital effects to make the character more tangible. The face appliance is made of latex, hand-painted green with faux hair attached at the chin and along each jawline. It is displayed on a stand comprising a wooden base and a fibreglass facial frame. Dimensions: 20 cm x 24 cm x 49 cm (7.75" x 9.5" x 19.25")Estimate: £7,500 - 15,000 † ΔBidding for this lot will end on Thursday, November 14th. The auction will begin at 3:00 PM GMT 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, November 15th, Saturday, November 16th or Sunday, November 17th.

A vintage Elsi Quartz digital watch necklace, together with assorted boxed jewellery, including an Ingersoll nurse's fob watch and an Art Deco silver stamped bow brooch

A large model motor launch "The Christian Henderson" prison Art of matchstick construction with digital radio controlled system

Klaus Jörres, "Bluhm für Goslar", 6 signierte Farblithographien von 2004Klaus Jörres, *1973, lebt und arbeitet in Berlin. Hier: "Bluhm für Goslar", 6 Farblithographien/Karton, 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.

THE ELDERSsigned and dated GWOKTCHO S. / 7/09/02 lower rightacrylic on bark cloth50 x 72.5cm; 19 3/4 x 28 1/2in62.5 x 85.5cm; 24 1/2 x 33 3/4in (framed)Property of a Private Collector, LondonGwoktcho studied Fine Arts at Makerere University, Kampala and has been a senior lecturer at the School of Industrial and Fine Arts since 2018. As a teacher he sees his role as to 'equip the next generation with professional skills making them relevant in a digital and multimedia visual and competitive world'. He draws most of his images from the African lifestyles including wildlife and figurative scenes. Gwoktcho's work has featured in a number of AFRIKart exhibitions. His drawings, paintings and sculptures are to be found at the State House (Uganda) and held by a number of collectors worldwide. Previously he exhibited in the USA, Europe, Asia and widely in Africa. He portrays Africa as a land of life, encompassing rich and diverse cultures, and it is his ability to harness these ancient African art forms with modern expressive aesthetic that defines his work from a generation of contemporary artists.

Ridolfino Venuti. Accurata e succinta descrizione topografica delle antichità di Roma... Edizione seconda, accresciuta delle nuove scoperte e di molte osservazioni riguardanti particolarmente le arti. 2 Bde. Mit wdh. gestochener Titelvignette, 2 gestochenen Vignetten, einer großen gefalteten Kupferkarte, einem gestochenen Porträt und 62 gestochenen Tafeln. Rom, Montagnani-Mirabili, 1803. 1 Bl., XXIV, XXVI, 190 S. 1 Bl., VIII, 222 S. 4°. HLdr. d. Zt. mit reicher RVergoldung und goldgepr. RSchild, Marmorvorsätze (etwas berieben und bestoßen, ein Rücken leicht beschabt). Aus der Bibliothek von Röttger Graf von Veltheim (1781-1848), Titelblätter verso mit seinem Stempel. - Zweite Ausgabe (EA 1763). - Cicognara 3906 ("le tavole sono disegnate e intagliate con gusto da buoni artisti"). Univ. Cat. Books on Art II, 2048. Brunet V, 1126. - Kollation der Tafeln deckungsgleich mit den Digitalisaten der Universität Heidelberg und der Österreichischen Nationalbibliothek. Andere Exemplare wohl mit 63 Tafeln. - Seltene zweite erweiterte Ausgabe über die Denkmäler des alten Rom von Venuti (1705-1763), Etruskologe und einer der wichtigsten Archäologen des 18. Jahrhunderts. Die Tafeln u.a. von Piranesi. - Papierbedingt leicht gebräunt und etwas braunfleckig. Insgesamt wohlerhalten. - Dabei: Ders. Accurata, e succinta descrizione topografica e istorica di Roma moderna. Opera postuma. Bd. 1 (v. 2) Mit gestochener Titelvignette und 36 gestochenen Tafeln. Rom, Barbiellini, 1766. VIII, 288 S. 4°. Ldr. im Stil d. Zt. mit goldgepr. RSchild und reicher RVergoldung. Architecture - 2 vols. With a repeated engraved title vignette, 2 engraved vignettes, a large folded copper map, an engraved portrait and 62 engraved plates. Cont. half leather with gilt spine label and gilt on spine, marbled endpapers (somewhat rubbed and bumped, one spine slightly scuffed). - From the library of Röttger Graf von Veltheim (1781-1848), title pages verso with his stamp. - Second edition (first publ. 1763). - Collation of plates congruent with the digital copies of the University of Heidelberg and the Austrian National Library. Other copies supposedly with 63 plates. - Rare second expanded edition on the monuments of ancient Rome by Venuti (1705-1763), Etruscologist and one of the most important archaeologists of the 18th century. The plates by Piranesi and others. - Paper slightly browned and somewhat brownstained. Overall well preserved. - Including: see above.

King of Clubs. Katie Ponder, digital artwork print on paper, signed to the front, unframed. Artwork size: 29.7cm x 21cm, paper size: 40cm x 29.5cm. Katie Ponder is a multi-award winning artist. She graduated in 2014 from Falmouth University receiving a 1st class BA with honors in illustration. She studied at foundation level at Camberwell University of the arts in 2011. Katie was the winner the AOI Book Award for new talent in 2014 and in 2017 she was shortlisted for the Folio Society Award, and winner of the House of Illustration People's Choice Award. In October 2017 Kate was the winner of the Glyndebourne Art Award and her work was used as the cover of the Glyndebourne 2017 On your programme. Her work has been featured in Witches & Pagans magazine, VAROOM, Amelia's Magazine, Firewords, SOFFA, Communication Arts, DPI Magazine and exhibited at Somerset House, The Lyric Theatre and Glyndebourne. Here is the King of Clubs in all his glory... Inspired by male vulnerability being so important in leading the way... Or maybe an illustration of "the emperor's new clothes". Please note that Ewbank's are charging no buyers premium for any lots sold in this auction.

Jenny Saville (b.1970)Red StareDigital print in colours, 2012, signed and dated in pencil, numbered from the edition of 50, on Somerset photo paper, with full margins, sheet 594 x 420mm (23 3/8 x 16 1/2 in)Note: This edition was not released to the public and was gifted to the Modern Art Oxford staff on the occasion of the artist's exhibition Jenny Saville, 23 June - 16 Sept 2012.

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​​.

FIVE BOXES AND LOOSE MISCELLANEOUS ITEMS, to include books on the subjects of music, religion, places, etc. DVDs and CDs, an AGFA compact digital camera DC5500 24 megapixel, boxed with lead and instructions, gift bags for Christmas and birthday, 1000 piece jigsaw of Torquay harbour, boxed Maxwell Williams 'rose bud' cup, saucer, plate set, new ladies' and men's mini shower gel sets from Next and M&S, padded lap trays, vintage doll, Puzzle & Roll Jigroll, art deco style stainless steel teapot, a retro cutlery set with wooden handles in a wooden presentation box, loose cutlery etc. (5 boxes + loose)

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

PIERRE-AUGUSTE RENOIR (1841-1919)Baigneuse signed 'Renoir' (lower right)oil on canvas27.7 x 23cm (10 7/8 x 9 1/16in).Painted in 1916Footnotes:This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.ProvenanceGalerie Durand-Ruel, Paris.Paul Vallotton, Lausanne, no. 7754.Galerie Tanner, Zurich.Private collection, Switzerland (acquired from the above); their sale, Sotheby's, London, 27 June 1990, lot 103.Anon. sale, Sotheby's, London, 4 December 1996, lot 119.Private collection, Europe (acquired at the above sale); their sale, Christie's, London, 21 June 2006, lot 222.Private collection, UK (acquired at the above sale).LiteratureA. Vollard, Pierre-Auguste Renoir, Tableaux, Pastels et Dessins, San Francisco, 1989, no. 1373 (illustrated p. 287).G-P. & M. Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, Vol. V, 1911-1919 & 1er Supplément, Paris, 2014, no. 4373 (illustrated p. 445).Baigneuse was painted around 1916, at a time when Pierre-Auguste Renoir was deeply invested in exploring the theme of the female nude within a natural environment. The artist sought inspiration from the French and Italian Masters, such as Jean-Auguste-Dominique Ingres (1780-1867) and Raphael (1483-1520), whose paintings captivated him during his 1881 tour of Italy. Renoir's motivation stemmed not only from a desire to cement his legacy in art history alongside his heroes, but also to offer a more expressive alternative to the polished, idealised nudes of academic painters such William-Adolphe Bouguereau (1825-1905). Renoir's devotion to the subject was remarked upon by Berthe Morisot (1841-1895), who wrote in her journal in 1886: '[Renoir] is a draftsman of the first rank [...] He tells me that the nude is absolutely indispensable as an art form' (G. Muehsam (ed.), French Painters and Paintings from the Fourteenth Century to Post-Impressionism: A Library of Art Criticism, New York, 1970, p. 513).Baigneuse depicts a nude woman stepping into an inviting blue stream, her back turned toward the viewer, her arms raised delicately to balance her passage through the reeds. While her posture grants fluidity and movement to the composition, the soft transitions of light and shadow across her skin give it a lifelike texture. The rouge of her left cheek is echoed within the delicate pink accents that appear across her figure, sensuously evoking her youthful vitality and perhaps her reaction to the coolness of the water. These honest and tender details generate a wonderful fusion of spontaneity and intimacy – an evocative framework by which to celebrate the sensuality and grace of the female form. Typical of his mature style, Renoir employs softer, more fluid brushstrokes and a warm, luminous colour palette. The play of light across the bather's skin conjures a golden radiance, while the more loosely worked water and vegetation, with their cooler tones, swathe her within an atmospheric veil. Nude women being enveloped by nature was a key artistic motif for Renoir, who was fascinated with the harmonious relationship between humanity and nature. He took his cue from his more classical forbears, such as Titian (c. 1488-1576) and Peter Paul Rubens (1577-1640), who frequently portrayed nudes within mythological or pastoral contexts. For Renoir, this trope was key to achieving his certain sense of joie de vivre – inviting the viewer into idyllic and pleasurable scenes that offer a retreat from the rapidly industrialising world outside.'Hymns to light and colour, to youth and life', Renoir's female nudes stand among the most celebrated works of Impressionist art (G. Muehsam, op. cit., p. 516). Indeed, the present work boasts an important early pedigree, with its first documented owner being Galerie Durand-Ruel, an institution that played a pivotal role in the promotion and success of Impressionist artists. Paul Durand-Ruel (1831-1922) was a visionary art dealer who recognised the potential of Renoir and his contemporaries at a time when their work was often met with scepticism from critics. His early support and international promotion of the Impressionists was critical in securing their enduring recognition. Baigneuse was subsequently owned by the esteemed Lausanne gallerist, Paul Vallotton (1864-1936). Like Durand-Ruel, his discerning taste and critical influence played a key role in the circulation and appreciation of Impressionist and Modern Art. More recently, the present work has remained in the same private UK collection for almost two decades. As a tender and luminous evocation of Renoir's devotion to nature and the female form, Baigneuse represents a remarkable example of the most pure and expressive work of his mature period.For further information on this lot please visit Bonhams.com

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