Xu Beihong (1895-1953), Zhong Kui. Scroll, mounted for framing, ink and color on paper, 51 ½ x 27 in. Estimate: $180,000-250,000. Photo: Christie's Images Ltd 2013.

New York - On 18 September, Christie’s will present the sale of Fine Chinese Paintings,which will encompass over 160 works, with traditional paintings and calligraphy ranging from the Ming dynasty to the modern period and representing a wide variety of themes and styles.   Highlights include paintings and calligraphy by such classical masters as Shen Zhou, Dong Qichang, and Chen Chun, as well as modern works by such popular figures as Qi Baishi, Zhang Daqian, and Xu Beihong.

Painters of the Wu School in Suzhou during the Ming dynasty (1368-1644) created some of the most erudite, yet expressive works in Chinese paintings history.  Several important paintings in the sale embody the sophistication and elegance of the Wu School.  Important paintings in this selection include Mountains in Autumn, a landscape painting by Shen Zhou (1427-1509). Scroll, mounted and framed, ink and color on paper. Inscribed and signed by the artist, dated xinchou year of the Chenghua era (1481). Second inscription by the artist in which he commented:

It has been two decades since I first painted this. Twenty-two years have passed like a day. I do not recall for whom I painted this [picture]. My hair and teeth have fallen out; I no longer look young and happy like before. Everything is in decline. Someone bought back this painting on the market. As it cannot be sold for 700 wen, I returned it to him, with lamentations on how things wax and wane, and that life is so short.

Second inscription dated renxu year of the Hongzhi era (1502), at the age of 76 sui. One seal of the artist.Two collector's seals of Ding Nianxian (1906-1969). One illegible collector's seal; 58 x 22 5/8 in. (147.5 x 57 cm.)  (lot 904, estimate: $230,000-330,000). Photo Christie's Image Ltd 2013 (right). This painting comes from The Family of C.C. Wang, where it has remained in his family for several decades.  A fellow native of Suzhou, C.C. Wang acquired this painting by Shen Zhou in Hong Kong, and it has remained in his family for several decades. aHe gifted it to his eldest daughter, who is a painter, so that she could study it to understand and master Shen Zhou's style. In keeping with tradition, C.C. Wang emphasized the importance of brushwork and learned and taught by copying the works of ancient masters. The brushwork, as well as the composition and mood, in this painting typifies Shen Zhou's characteristic style of the period and compares well with Walking with a Staff, created around 1485, in the National Palace Museum in Taipei.. C.C. Wang (1907-2003) was an active artist, art teacher, and collector. He learned traditional Chinese painting techniques as a youth in China, but explored new ideas and styles when he arrived in New York. 

Maintaining, yet modernizing the tradition, are works by such modern masters as Qi Baishi (1863-1957) and Xu Beihong (1895-1953).  Both artists used traditional materials to depict well-known themes for their paintings such as Qi Baishi’s Chrysanthemum and Bees. Hanging scroll, ink and color on paper. Inscribed and signed by the artist, with two seals. Dated wuzi year (1948);39¾ x 13¾ in. (101 x 33.5 cm.) (lot 1030, estimate: $90,000-120,000) Photo Christie's Image Ltd 2013 (left). Qi Baishi captures the vibrancy of the chrysanthemum blossoms with his rapid and sure brushstokes, and his finely detailed strokes of the buzzing bees reveal his exceptional skill. 

Xu Beihong’s Zhong Kui. Scroll, mounted for framing, ink and color on paper
Inscribed and signed by the artist, with one seal. Dedicated to General Degong (General Li Zongren, 1890-1969). Dated spring,the thirty-second year [of the Republic] (1943). 51½ x 27 in. (130.8 x 68.8 cm.)  (lot 1008, estimate: $180,000-250,000) Photo Christie's Image Ltd 2013 (right) illustrates a powerful-looking image of Zhong Kui, the demon-queller, in contrast with the stooped and skinny blue demon who is comically reduced to carrying Zhong Kui’s snack on his head. 

This painting is dedicated to General Li Zongren (1890-1969), one of the most famous and successful generals in 20th century China. A native of a village near Guilin, he served as Military Governor of Guangxi from 1924 to 1925 and continued to influence the region until 1949. He played an important role in the Northern Expedition and held numerous key military posts. His success in the Battle of Taierzhuang in 1939 marked the first time that Chinese forces were able to defeat the Japanese during the Second Sino-Japanese War. In the 1940s General Li moved to the United States for medical treatment and remained until 1965. Then, with the support of Premier Zhou Enlai, he returned to China with great fanfare and eventually passed away in Beijing in 1969. 
This painting is reported to have been given by General Li to a close associate who immigrated to the United States with him. 

From the Ping Y. Tai Foundation is Lotus Picking, attributed to Qiu Ying (1495-1552). Handscroll, ink and color on paper. Signed by the artist. One seal of the artist. Two colophons, one by Yu Yunwen (1512-1579), dated first year of the Longqing era (1567) and with three seals and one by Zhang Fengyi (1527 - 1613), with two seals.Title slip by Zhang Daqian (1899-1983), signed with two seals, dated bingxu year (1946). Twenty-four collector's seals, including one of Zhang Chou (1577- 1643), nine of An Qi (1683-after 1742), six of Hong Li (Emperor Qianlong, 1771-1799, reigned 1736-1796) and eight others; 14¼ x 37½ in. (36.3 x 95.3 cm.)  (lot 905, estimate: $300,000-500,000).  Photo Christie's Image Ltd 2013 (below). This handscroll features a scholar at leisure, however, the true theme of this painting is the activity of the women.  Ping Y. Tai (1915-1998) was the wife of the legendary connoisseur, collector, and dealer Jun Tsei Tai (1911-1992), fondly known in international art circles as J.T. Tai.  These Chinese paintings were acquired by Mr. and Mrs. Tai were kept at home for their personal enjoyment.

From the Ping Y. Tai Foundation is Lotus Picking, attributed to Qiu Ying (1495-1552) (pictured above, lot 905, estimate: $300,000-500,000). This handscroll features a scholar at leisure, however, the true theme of this painting is the activity of the women. Ping Y. Tai (1915-1998) was the wife of the legendary connoisseur, collector, and dealer Jun Tsei Tai (1911-1992), fondly known in international art circles as J.T. Tai. Photo: Christie's Images Ltd 2013.

Ping Y. Tai (1915-1998) was the wife of the legendary connoisseur, collector, and dealer Jun Tsei Tai (1911-1992), fondly known in international art circles as J.T. Tai. These Chinese paintings were acquired by Mr. and Mrs. Tai without commercial intent and were kept at home for their personal enjoyment.

Mrs. Tai was born Chang Ping Ying in Suzhou in 1915. In 1932 in Shanghai, she married Jun Tsei Tai, who was already a highly respected connoisseur and dealer of Chinese ceramics, ancient bronze vessels and carved jades. Like many of their compatriots, Mr. and Mrs. Tai moved to Hong Kong in 1949, a year of great political and social upheaval in China. In 1950 Mr. Tai settled in New York and was joined by Mrs. Tai in 1953. Working first with the leading Paris-based dealer C.T. Loo, Mr. Tai soon established his own gallery, J.T. Tai and Co., on Madison Avenue in New York City's elite district of museums and galleries. Many masterpieces in major American museums and collections, such as the Metropolitan Museum of Art, the Freer Gallery of Art, the Avery Brundage collection and the Arthur M. Sackler collections were acquired from Mr. Tai. In this way, he was a primary force that profoundly influenced the appreciation of Chinese art in America and Europe.

Ping Y. and J.T. Tai were a central part of the cultural elite in New York's Chinese community, which included such renowned artistic and literary figures as C.C. Wang, Lin Yutang, Wan-go Weng, and Wang Fang-yu. In the time-honored tradition of Chinese collectors, they would study and enjoy each painting or object during private moment together or at gatherings with their connoisseur friends. In addition to good food and art, there were also frequent mah-jong games and Mrs. Tai was an especially enthusiastic participant.

Literature: Zhang Chou (1577-1643), Zhenji Renlu (Catalog of Genuine Works), see Zhong Guo Shu Hua Quan Shu(Collection of Chinese Paintings and Calligraphy), vol. IV, Shanghai Publication House, 1992, p.412
Wu Sheng (18th century), Da Guan Lu (General Catalog of Paintings), see Zhong Guo Shu Hua Quan Shu(Collection of Chinese Paintings and Calligraphy), vol. VIII, Shanghai Publication House, 1994, p.579 - 580
An Qi (1683-after 1742), Moyuan Hui Guan (A Compendium of Ink Paintings), see Zhong Guo Shu Hua Quan Shu (Collection of Chinese Paintings and Calligraphy), vol. X, Shanghai Publication House, 1996, p.416
Siren, Osvald, Chinese Painting: Leading Master and Principles, London, 1956-1958, vol. VII, p.174. 

Notes: This short handscroll features a scholar at leisure reclining with his robes open and his legs crossed in an open waterside pavilion. The true theme of this painting, however, is the activity of the women-the servant next to the scholar who holds a long pole and the three ladies in the small boat-who are all engaged in picking lotus seeds. As reflected in the transcriptions of ancient poems in this scroll's colophons, this task was conducted in the summer to gather the ingredients to make a cooling soup and has long been celebrated in literature as a topic associated with women, beauty and romance. 
Lotus Picking is followed by two colophons. Yu Yuwen (14th century) first copied in clerical script (li shu) two famous poems, primarily from the Liang and Tang dynasties, on the painting's theme. He then discussed the history of this subject, praised Qiu Ying for successfully capturing an "ancient feeling" (gu yi) and related that this painting was made for the high-ranking official Zhou Yuhuang, who then asked Yu to write out these ancient poems. The second colophon was written by Zhang Fengyi (1550-1636) and is a transcription of the Tang poet Wang Bo's (649-676) famous poem on this subject Cailian Qu. 

Further highlights include a table made by Maison Millet of Paris in the Louis XVI ‘goût Weisweiler’ style of the late 18th century, which was revived from the 1860s by Empress Eugénie (wife of Napoleon III) who was fascinated by Queen Marie Antoinette and an avid collector of Louis XVI items. Estimate: £40,000 – 60,000. Photo: Christie's Images Ltd 2013.

LONDON - Christie’s sale of The Opulent Eye, which will be held on 10 September 2013, offers furniture, sculpture, works of art and clocks from the 19th century. Held twice annually in London and New York The Opulent Eye is the only specialist sale in Europe devoted to 19thcentury decorative arts. The sale reflects the eclectic and opulent styles of the period from the regal grandeur of Napoleon’s Empire to the Art Nouveau of Belle époque Paris. The sale is best understood with reference to the world fairs of the 19th century, from London’s Crystal Palace in 1851 to the Paris Exposition universelle of 1900, which attracted fifty million visitors. These exhibitions were key in promoting excellence in art and creating the international Beaux-Arts style, which was pursued by both Royalty and a new class of global bankers, industrialists and entrepreneurs. Representing the best furniture makers and sculptors of the period, the lots are united by their use of luxurious materials, their rarity and exceptional craftsmanship. Offering 218 lots, with estimates ranging from £2,000 to £150,000, the sale is expected to realise in excess of £2 million.

Leading the sale are four Italian bronze-patinated carved wood figures of Apollo, Mercury, Pallas and Peace (estimate: £150,000 – 250,000). These four sculptures are copies of the bronze statues adorning The Loggetta in Piazza San Marco, Venice. The originals are considered among the most beautiful creations of sixteenth-century Italian sculpture and an extraordinarily example of Sansovino's response to Venice and to the medium of bronze. The importance of the 'Loggetta Gods' for Venetian sculpture cannot be over-emphasised. The present statues, faithfully rendered in wood, capture their vitality and would have been commissioned by a 19th century connoisseur perhaps frustrated at not being able to buy the priceless and unique originals.

A set of four Italian bronze-patinated carved wood figures of Apollo, Mercury, Pallas and Peace, after the models by Sansovino, 19th century. Photo: Christie's Images Ltd 2013.

Apollo scantily clad, holding an arrow in his left hand, a quiver in his right hand; Mercury wearing apetasus, holding a caduceus in his left hand, his right foot resting on Argus's head; Pallas, wearing armour and a helmet, holding a shield in her left hand, a spear in her right hand; and Peace, setting fire to a pile of weapons with a torch; each on a square stepped base with canted angles, the front centred by a mythological scene. Each figure approx. 60 in. (150 cm.) high; Each base: 24½ in. (62 cm.) high (4). Estimate: £150,000 – 250,000

Provenance: By repute, these four figures formed part of one of the Rothschild collections.
Christie's, London, 21 March 2002, lot 300 (£212,750). 

Notes: These four sculptures are the exact copy of the bronze statues adorning The Loggetta in Piazza San Marco, Venice.
The four bronze statues can be seen as an extraordinarily example of Sansovino's response to Venice and to the medium of bronze. The importance of the 'Loggetta Gods' for Venetian sculpture cannot be over-emphasized, and within Sansovino's oeuvre, they constitute one of his last, great artistic inventions.
Work on the Loggetta was certainly under way by February 1538 when a large payment was made for marble, columns, bricks and workmen. By 1540 the basic structure of the Loggetta was nearing completion. Little is known about the history of its sculptural complement, but the procurator's accounts show that Sansovino began working on the bronze figures by February 1541 and was actively engaged on them in the following year; by February 1546 the bronzes were installed and Sansovino received a settlement worth 600 ducats for them.
Each bay of the façade had a round-headed arch, the central one serving as entrance and the lateral ones as windows; the four bronze figures of Pallas, Apollo, Mercury and Peace stand in niches between the columns.
Small projects like the lost St. Catherine would have served as preparation for the demanding task of creating models for the Loggetta gods. The casting models for the Gods would have been made by Sansovino in his own workshop and then handed over to professional founders like Minio or Zoppo.
The four sculptures are among the most beautiful creations of sixteenth-century Italian sculpture, certainly the most striking expression of Sansovino's Venetian career.
The Loggetta bronzes remained a criterion for elegant and graceful figures in the eighteenth and nineteenth century, as exemplefied by these fine wooden exemples. 

A rare marble statue by Emmanuele Caroni is entitled Schiava alla Vendita (estimate: £60,000 – 100,000). Beautifully detailed in Carrera marble, the statue was shown at the 1861 Italian Exhibition in Florence and is a rediscovered masterpiece by Caroni. It was bought in 1910 by Sir James Liege Hulett of Durban, South Africa. Hulett pioneered the country's sugar industry when he founded the Hulett Company in 1892, which had extensive cane plantations and erected the first sugar mill in 1903. Today, the Hulett Sugar Company is called Tongaat-Hulett Sugar.

An Italian marble figure entitled Schiava alla Vendita, on plinth by Emmanuele Caroni, circa 1861. Photo: Christie's Images Ltd 2013.

unsigned, on a oak panelled plinth with 1861 Florence Exhibition plaque to the front titled 'Albanian Slave by E. CARONI Gold Medal Florence EXHn 1861'. The marble: 33½ in. (85 cm.) high; 42 in. (107 cm.) wide; 22½ in. (57 cm.) deep. The plinth: 30½ in. (77.5 cm.) high; 43½ in. (115.5 cm.) wide; 25¼ in. (64 cm.) deep (2). Estimate: £60,000 – 100,000

Provenance: Dr Theodore Thompson, London.
Sir James Liege Hulett, Durban (d. 1928).
Thence by descent until recently acquired by the present owner. 

Literature: A. Panzetta, Nuovo Dizionario Degli Scultori Italiani Dell'Ottocento e del Novecento, 2003, Vol. I, p. 79 andL'Africaine illustrated Vol II., p. 51, pl. 208. 

Exhibited: Esposizione Italiana, Florence, 1861. 

Notes: A popular subject in 19th century sculpture, Schiava alla vendita shows the influence of Hiram Power's pioneering statue The Greek Slave (1844), and is in itself an early working of the theme later popularised by Orientalist genre. Another contemporary influence might have been the Pas de trois des odalisques, from the ballet Les Corsaire (first presented in 1856). Caroni also found dramatic inspiration for L'Africaine, his most famous composition shown at the Philadelphia Exhibition in 1876, which shares a similar pose. Caroni's style is characterised by exceptionally fine detailing. The realism for which L'Africaine was praised, the feathered headdress and the hinged floorboards upon which she sits, are already evident in Schiava alla vendita, in the embroided arabesques to her turban and the frayed palm matting.

Caroni was born in Rancate in 1826, studied first in Milan under Vincenzo Vela, and then in Florence with Lorenzo Bartolini, where he eventually opened a studio. He received the Cavaliere della Corona d'Italia, and participated in a number of international exhibitions, most notably in the Paris exhibition of 1867 where he won a gold medal for Ofelia. In Philadelphia in 1876, he exhibited The Telegram of Love and L'Africaine (sold Sotheby's, New York, 18 March 1993, lot 179). The Monument to Columbus, erected in 1876 in Philadelphia's Marconi Plaza is attributed to Caroni, 1876.

The lot is accompanied by a letter dated 18 Februrary 1910 from the agent who agreed the sale from Dr. Theodore Thompson, London, to Sir James Liege Hulett, sugar magnate and philanthropist, of Durban, South Africa:
Dear Sir Liege, I enclose a photo of a marble statue which is one of the most notable in this country as you will judge from the understated particulars: "a beautifully sculpted life size statue in Carrera marble". The Albanian statue, a female figure reclining on a straw mat exquisitely. Prized and of charming model by E. Caroni. Width at least 3 ft 4 inches height 2 ft 10 inches. This statue obtained the gold medal at the Florence exhibition of 1861 and is guaranteed to be the genuine and original work. It is stated to have been purchased for one thousand guineas [...] The statue was purchased on the death of the former owner who lived at "Roseheath", Wrotham. It now belongs to a very distinguished physician - Dr. Theodore Thompson - who is a consulting specialist and physician at three of the largest London hospitals. He has moved his house from Haverstock Hill to Portland Place and so cannot find room for it [...]. I can obtain it for the very low sum of 80 guineas. Considering that it is said to have brought 1000 guineas and undoubtedly won the gold medal it is wonderfully cheap. Should you decide not to take it I will advise Dr. Thompson to offer it at Christie's when I am certain it will realise a high figure. Note please how exquisitely the hands are modeled and what grace and sinuosity is shown in the figure.

Further highlights include a table made by Maison Millet of Paris in the Louis XVI ‘goût Weisweiler’ style of the late 18th century, which was revived from the 1860s by Empress Eugénie (wife of Napoleon III) who was fascinated by Queen Marie-Antoinette and an avid collector of Louis XVI items (estimate: £40,000 – 60,000). In the 20th century this table belonged to John Mills, who entertained Hollywood stars and Royalty at his club Les Ambassadeurs, 5 Hamilton Place, Park Lane.

A French ormolu-mounted mahogany and amethyst quartz gueridon by Maison Millet, Paris, late 19th century. Photo Christie's Image Ltd 2013

In the Louis XVI 'goût Weisweiler' style, the circular radiating pattern veenered top above a panelled frieze mounted to four sides with trophies emblematic of the Seasons, one concealing a drawer stamped to the lockplate 'Millet à Paris', on four legs headed by basket-bearing herms running to hoof feet, joined by a raised 'X'-shaped stretcher centred by a neoclassical urn, various mounts stamped to the reverse 'MB';31 in. (79 cm.) high; 30¾ in. (78 cm.) diameter. Estimate: £40,000 – 60,000

Provenance: Bought in the early 1950s by John and Kitty Mills, owners of Les Ambassadeurs Club, 5 Hamilton Place, Park Lane, for their private apartment at the club, and by descent. 

Notes: The ormolu mounts to this table epitomize the 'style arabesque' developed by the celebrated Louis XVI maîtreAdam Weisweiler and his marchand-mercier, Dominique Daguerre. The caryatids heading the legs are copied from a table, now in the Louvre Museum, supplied in 1784 by Daguerre to the Queen Marie-Antoinette. Daguerre's bills record that the mounts were designed especially for the Queen.

Another example of this exact model by Millet is not known. However it should be compared to a model of table by Millet's contemporary, Henry Dasson, with herm legs and loop stretcher centred by an urn, of which an example sold Christie's, London, 15 March 2012, lot 135 (£115,250).

Established by Théodore Millet in 1853, the Maison Millet operated until 1902 from premises at 11, rue Jacques-Coeur, Paris, before relocating to 23, boulevard Beaumarchais. Specialising in 'meubles et bronzes d'art, genre ancien et moderne', with an accent on the Louis XV and XVI styles, Millet won awards in Paris and London including a gold medal at the 1889 Pairs Exposition Universelle, a Grand Prix in 1900 and three further diplomes d'honneur and four médailles d'or. In 1902 the firm was authorised by the director of the Palais de Versailles to replicate Marie-Antoinette's celebrated Grand cabinet à bijoux. An auction of the firm's inventory was held in 1906 and they finally ceased trading in 1918.

Elsewhere in the sale is a lifesize figural torchère which once belonged to the Bardou family of Perpignan, France who made the famous ‘JOB’ brand of cigarette papers (estimate: £50,000 – 80,000). The immensely wealthy Pierre Bardou commissioned the architect Viggo Theodor Dorph-Petersen (1851-1937) to build a magnificent château for each of his children. The present torchère was probably made for the most impressive Château d’Aubiry: raised on a marble terrace, it is in the tradition palatiale française combining neo-renaissance and neo-baroque elements to create a fairy tale castle.

A lifesize french ormolu, gilt and patinated bronze figural torchere of Diana, on marble pedestal, cast from the model by Albert Ernest Carrier-Belleuse, last quarter 19th century. Photo: Christie's Images Ltd 2013.

Modelled as a classically-robed maiden wearing a diadem holding aloft a candelabrum with central lamp above five 'S'-scrolled branches, on a Sarrancolin marble cylindrical pedestal with 'JOB' insignia beneath a crown applied in relief; 104½ in. (265.5 cm.) high, the torchère; 47 5/8 in. (121 cm.) high, the pedestal (2). Estimate: £50,000 – 80,000

Provenance: The Bardou family, probably Pierre Bardou (1826-1892) or Justin Bardou (1860-1930). 

Notes: Jean Bardou (1799-1852) was the founder of the 'JOB' brand of cigarette papers of Perpignan, France. The firm was expanded by his son Pierre Bardou (1826-1892) and grandson, Justin Bardou 'Job' (1860-1930).

Upon the death of his father, Pierre Bardou established his home and business at rue Saint-Sauveur (today rue Emile Zola) in Perpignan. In 1872 he bought the surrounding properties and built 'l'Hôtel de l'Industrie du Papier a Cigarette', which functioned as both a house and factory. In 1888 Pierre's daughter Jeanne Bardou married a young lawyer and amateur d'art called Jules Pams (1852-1930). He employed the architect Leopold Carlier to remodel the property after which known as the Hôtel Pams. The building is emblazoned with the distinctive emblem of 'JOB' on a shield beneath a crown. The same crest adorns the column and shades of this torchère.

The huge commercial success of papier à cigarettes Job under Pierre Bardou's tenure enabled him to commission the architect Viggo Theodor Dorph-Petersen (1851-1937) to build three magnificent Belle époque châteaux: one for each of his children. In addition to the remodelling of the Hôtel Pams, he built for his daughter Jeanne, the château de Valmy, for his daughter Camille, the château Ducup de St Paul, and for his son, and heir, Justin, the château d'Aubiry.

The château d'Aubiry is the most impressive: raised on a marble terrace, it is in the tradition palatiale française combining neo-renaissance and neo-baroque elements to create a fairy tale castle. It is possible that the present torchère once graced any of the Bardou châteaux, but given the prominence of the 'JOB' brand to the pedestal and shades, it is probable that it was either at the centre of the family business at the Hôtel Pams or belonged to Justin Bardou Job, as principal hier, at the château d'Aubiry.

This model of Diana was first exhibited at the London International Exhibition 1862 on the stand of thebronzier foundeur Denière. Intended to crown a mantelpiece, the 1862 version was presumably smaller than the present lifesize figure. Hargrove illustrates the model and describes: 'Diana twists sharply to the side; her mantle, attached to her tiara, is belted at her waist and again at her hips, baring her upper torso and legs. Well versed in the Renaissance [...] Carrier-Belleuse intentionally alluded to the sixteenth century, but he created a more individual personality here than in the silver fountain that he modelled several years later in the Renaissance style for the Hôtel de la Païva. Diana is fuller, her pose has more real force, and the drapery is more complex' (J. Hargrove, The Life and Work of Albert Carrier-Belleuse, New York, 1977, pp. 204-205, pl. 169). Many of Carrier-Belleuse's figural torchères were produced in editions later in the century by the principal French foundries. However Diana does not appear in the catalogues of Durenne or Val d'Osne. More usually such torchères were produced in cast-iron, whereas the present lot is in more costly bronze. It is possible therefore that the present torchère was a limited, or unique, edition made for the Bardou family.  

An Art Nouveau poster advertisement for ‘JOB’ cigarette papers dating from circa 1896, by Alphonse Mucha (1860-1939) will be offered at Christie’s South Kensington, in ‘Graphic Masterworks: A Century of Design’, on Wednesday, 2 October 2013, lot 3 (estimate: £8,000-10,000).

A Nuremberg engraved goblet, signed by Georg Schwanhardt the Elder, circa 1630, on a silver-gilt mount by Friedrich Hillenbrandt, Nuremberg, circa 1590. Photo Bonhams

In two sections, the conical bowl decorated with four circular line panels depicting a lady pouring wine, a gentleman offering wine to his lady, dancing before his lady and the couple embracing, between German and Latin inscriptions, enclosed by flowers, strapwork and insects, set on a triple annulated knop over a silver-gilt mount above foliage on a circular base fitted with Orpheus surrounded by animals and reptiles, fitted underneath with a detachable finely engraved lining depicting manly pursuits below inscriptions, with letters under the lining indicating the position of each applied figure or animal, OR Orpheus, H Hirsch etc., 29.5cm high overall, stem and foot lacking, later mounted (2). Sold for £133,250 (€156,039) inc. premium

Provenance: Sold at Sotheby's, Geneva, 18 May 1992, lot 84

Exhibited: The British Museum, London, 1992-2012, on long-term loan

Notes: The inscriptions on the bowl read:
Frotem Exporge utere amore sed ecce core recrea

Mit bscheidenheit erfrisch dein hertz lustig in freud auch freud auch freundlich schertz

On the mount: Requies his parta labore meritos suo inde triumphat Ali certamina rursos diem pugna verimus omnes

Die habn ihrn ehrn ein gnugen than drum tragens ehr und ruhm
Davon drauf hebens andre wider an biss mir endlich all kommen Dran

Towards the end of the 17th century the art of glass engraving was developed in response to the high cost of rock crystal. The Nuremberg engraver Georg Schwanhardt the Elder (1601-1667) ran the most important workshop of the second generation of glass engravers. He was the only recorded pupil of Caspar Lehmann, who is linked to the founding of the art (see the footnote to lot 71).

The many documented pieces by the Nuremberg goldsmith Friedrich Hillebrandt (master 1580, died 1608) are listed by Rosenberg and include examples in the Grünes Gewölbe, Dresden; The Germanisches Nationalmuseum, Nürnberg; the Hermitage, Leningrad; and the Hapsburg collections in the Kunsthistorisches Museum, Vienna.

See also Erich Meyer-Heisig, Der Nürnberger Glasschnitt des 17. Jahrhunderts (1963), p.32 and WT12.

Bonhams. 2 May 2013 10:30 BST London, New Bond Street. The Muhleib Collection of European Glass

19th century pearl and diamond brooch. photo courtesy Bonhams

Unusual Victorian Orientpearl diamond earrings. Photo courtesy Van Ham

950 / - platinum, pen and leverback from 750 / - yellow gold, weight: 14.7 g, 120 grains (natural pearls).4 Cushion Cut diamonds, 16 small old cut diamond and 24 rose cut diamonds together ca 4,948 ct Tchry-Chry (JL) VS-SI, 1 Naturperltropfen about 11.88 to 11.91 x 14.90 mm, body color: white, About color: iridescent pink-tinted white; 1 Naturperltropfen about 12.12 to 12, 47 x 13.40 mm, body color: light gray, About color: pale silvery gray with iridescent pink, Ca. 4.1 cm long. In the original form of case, gem inspection report DSEF Idar-Oberstein 2006, No. 17096th Condition: A. Result: € 91,000 (estimate: € 74,000)

Notes: The Pearl of the Orient fascinated mankind for centuries. Their rarity and their particular beauty provide a steadily increasing international demand.

Since ancient times, the Persian Gulf is the most important excavation site for beads and once dominated the world's trade. Together with the pearls from the Red Sea and the Strait of Manaar they found the so-called Pearl of the Orient market; probably came up in the 50s into about 70 to 80 percent of natural pearls from these areas. Countries in the Gulf look back on a thousand year old tradition of beads. During excavations in Dilmun settlement is a 4mm pearl was found in 1989 by archaeologists Arabic and English. Their age was estimated to be about 4,000 years, you is now the oldest preserved natural pearl from the Persian Gulf.

Through the emerging world economic crisis, the end of the 20s, learned the increasingly rare natural pearl becoming a more special appreciation. In the 50s to the 70s, it was in vogue, old and often inherited from pearls jewelery famous jewelry houses modified remodel.

Besides the known cultured pearls, which unlike oriental pearls have a core and its luster is not as deep, velvety and persistent, increasingly conquer new Australian natural pearls the market that are not nearly equal to the value of the old oriental pearls from the Persian Gulf. Here is keshi pearls without nucleus. Laboratory tests and special test methods provide information about the age and origin of natural pearls. Van Ham jewelry experts have a wealth of experience and work closely with all areas of the German Gemmological Society for gem research.  

Van Ham. 288th Auction "Ancient Art", 15 Mai 2010. http://www.van-ham.com

Two puppies, Japan, Arita, Edo period (1603 - 1868), 1670 - 1700. Porcelain, painted in overglaze black, iron red, aubergine and gold. H. 13.9 cm, 12.5 cm. PO 4813. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013

Two puppies, Japan, Arita, Edo period (1603 - 1868), 1670 - 1700. Porcelain, painted in overglaze black, iron red, aubergine and gold. H. 14.6 cm, L 14 cm. PO 4815. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013

The beautiful figures of the two spotted dogs (PO 4815, PO 4814) were purchased from August the Strong for three dollars. In the inventory of 1721 as "two-seated colorful dogs with red collars and cuffs" lists. The short stocky legs, the little ringed tail and the playful expression of the faces suggest that they are puppies. Contact with your head and look up to each other. Each of the two puppy wearing a red collar with gold bells. The fur of the animals is indicated by irregular patches of black, iron-red and gold. The figures of the puppies were probably made in three different modeling. Legs, head and smaller parts were made separately and applied. (From The Porcelain Collection in Dresden, China, Japan, Meissen, Dresden, 2006, p 56)

Dogs group, China, Dehua, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722), 1675 - 1725. Porcelain, without painting. H. 15.8 cm, L 12.4 cm, depth 6 cm, base 5.6 cm x 11 cm, 316 g of G. PO 8512. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013

Dogs group, China, Dehua, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722), 1675 - 1725. Porcelain, without painting. H. 15.8 cm, L 12.3 cm, depth 5.5 cm. PO 8514. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013

Dogs group, China, Dehua, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722), 1675 - 1725. Porcelain, without painting. H. 16,3 cm, L. 12,9 cm, T. 5,5 cm. PO 8515. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013

A pure white body with a transparent glaze is characteristic of the porcelain kilns of Dehua (Fujian Province), which is referred to in Europe as the Blanc de Chine. Originally included the collection of Augustus the Strong, more than 1200 Dehua porcelains, of which about 500 are received in the Dresden collection. Much of the "outstanding" as applicable Blanc de Chine pieces in many collections worldwide were imported by private traders to Europe. Since commissions were of higher quality than other mass-made goods, the British East India Company in 1615 already supported this business and put their employees place on ships available to drive yourself trade. Typical assignments for the European market were priests, women, dancers, lions, dogs, elephants, toys, small group presentations and Dutch families. Although there are also independent, small animal sculptures, but more often they act as a useful objects such as water dropper and incense holders on tables scholars. Despite the rarity of dogs in Blanc de Chine - porcelain, Augustus the Strong had gained 30 to 1723 pieces for his collection.Similar to the representations of Chinese lions, the male stands alone on a pedestal (PO 8515), while the female is accompanied by a boy.

Dog, China, Dehua, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722), 1675 - 1725. Porcelain, without painting. H. 15.7 cm, L 10.1 cm, depth 6.5 cm. PO 9168. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013

Sitting Dog, China, Dehua, Qing Dynasty (1644 - 1911), Kangxi era (1662 - 1722), 1662 - 1722. Porcelain, without painting. H. 7.6 cm, L. 5.4 cm, 4 cm, 59 g of G. PO 8500. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013

Pug with cub, Johann Joachim Kaendler (modeller),  Meissen, circa 1741. Porcelain, paint: enamel colors. H. 17.9 cm, W. 18.6 cm, D. 11.8 cm. PE 3894. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013

Pug, Johann Joachim Kaendler (modeller),  Meissen, circa 1741. Porcelain, paint: enamel colors. H. 17.3 cm, W. 19.2 cm, D. 11.1 cm. PE 3895. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013

Conceived as the counterpart sitting pugs with ringed tails that turn heads and look at each other from their large eyes forward at the viewer. The right copy is identified by the boy under his belly as a mother. Kaendler that has modeled the animals after life, proving its exact observation and reproduction of details. So the young pug still has his floppy ears that are cropped after the first weeks of life. The fine dashed Staffierung the fur and dark brown eyes give the dogs a very vivid expression."A sitting Mopß dog in life size" (Pietsch, 2002, p.86) is called by Kaendler in his work report in June 1741 which he in November and December of the same year, still "a mediocre Mopß dog as Compagnon" added (Pietsch 2002 p.87) According Kaendler entry in its list of the celebration evening work (taxa), he created both midsize models as pendants probably in August 1741 for King Augustus III. itself (Rafael, 2009, No. 95, 96). First the Möpsin originated with the boy whose ears are not cropped, with the model number 315, and then its counterpart with the number 315x. The pug was a symbol of the Freemasons animal whose Dresden lodge was in this year of Count Rutowski, the illegitimate son of Augustus the Strong and his mistress Fatima Turkish founded. The appointment of such figures by a Catholic king speaks for its membership and libertinism, as the same Pope Clement XII. Rome was going against the Freemasons. (Catalogue "The Triumph of the Blue Swords" 2010 Cat 327, Alfred digit)

Pug on Pillow, Johann Joachim Kaendler (modeller),  Meissen, circa 1750-60. Porcelain, paint: enamel colors and gold. H. 15.2 cm, W. 13.6 cm, D. 7.6 cm. PE 3892. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013

Pug on Pillow, Johann Joachim Kaendler (modeller),  Meissen, circa 1750-60. Porcelain, paint: enamel colors and gold. H. 15.2 cm, W. 12.7 cm, D. 7.9 cm. PE 3893. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013

The two standing against pugs, the male left and the female on the right, were certainly intended for Bronzemontierung to then be used as interior decoration on a mantel or a dresser. With its purple bows at the neck and with open mouths, from which hang out the tongue tips, the dogs look particularly droll and lifelike, which is further enhanced by the fine, the muzzle and the eye area from the fawn coat dark highlighting Staffierung. According to his work report Kaendler created the parade seated on cushions pugs in October 1747: "Zwey Mopß Hündgen after seeing nature on cushions poußiret sietzend against each other." (Pietsch, 2002, p.121; Pietsch 2006, p 197)

18 karat gold, diamond, colored diamond, onyx and emerald brooch, Van Cleef & Arpels. Photo courtesy Sotheby's

Designed as an owl perched atop a branch set with numerous round near colorless diamonds weighing approximately 4.50 carats, accented by round diamonds of yellow hue weighing approximately 2.05 carats, decorated with faceted and carved onyx spots and feathers, completed by two cabochon emerald eyes, signed Van Cleef & Arpels, numbered N.Y. 45241. Estimate 25,000 — 35,000 USD

Please note that the diamonds of yellow hue have not been tested for natural origin of color.

Sotheby's. Important Jewels. New York | 24 Sep 2013 - http://www.sothebys.com

Gold, sapphire and enamel brooch, Bulgari. Photo courtesy Sotheby's

Designed as a bird applied with pink enamel, the eye set with a pear-shaped sapphire and the feathers set with 34 round sapphires, gross weight approximately 21 dwts, signed Bulgari. Estimate 4,000 — 6,000 USD

Sotheby's. Important Jewels. New York | 24 Sep 2013 - http://www.sothebys.com

Herons, Johann Joachim Kaendler (modeller), Meissen, until December 1731. Porcelain, without painting. H. 74.5 cm. PE 136. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013

Herons, Johann Joachim Kaendler (modeller), Meissen, 1731. White china. H. 73.5 cm, L 40.5 cm. PE 684. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013

Herons preening, Johann Joachim Kaendler (modeller), Meissen, 1731. White china. H. 73.5 cm, L 43.5 cm, D. 27.5 cm. PE 137. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013

The second variant of the gray heron is the preening bird, which has put its beak into the feathers back, there to remove dirt or insects. Even wet and dry feathers on the tail end and the difference in plumage modeller by the stronger or weaker bonding the individual spring hair. As with the other model of the gray heron supported Kaendler here too thin legs by a bulky bundle of reeds and prevented down the long neck sagging during firing by leading it in the bow down. Thus he succeeded with the help of the natural, artistic brilliantly mastered the subject movement to cope with the technical problems.Here, too, experiences the scene for further recovery by the side jumping frog at the base. Traces of green paint on the reed leaves evidence of the former, holistic painting by Christian Hoflackierer Reinow, in the 19th Century has been removed from a few leftovers or has passed. (Pietsch 2006, p 128)

Barn Owl, Johann Joachim Kaendler (modeller), Meissen, 1731. Porcelain, enamel colors. H. 25.4 cm, W. 16.5 cm. PE 20. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013

Shortly after joining as a modeller in the Meissen porcelain factory in 1731, the sculptor Johann Joachim Kaendler created a number of animal sculptures for the Japanese Palace. Kaendler made in a very short time with the unfamiliar material so familiar that he could easily create a series of life-size porcelain animals. His models looked Kaendler either directly in nature in front of the live animals in the menagerie of the Moritzburg hunting lodge or in the royal chamber in front of the natural history specimens. Thus, the study of nature was one of the most important prerequisites for Kaendlersche animal sculpture, whose life-like appearance of the modeller understood to be converted into the late Baroque art form by the powerful dynamics of the characteristic motifs of movement. In these early animal figures, there was also the barn owl, which was created in 1731. The painting of the great animal figures in the early thirties of the 18th Century faced serious problems. Large format sculptures survived the glaze firing seldom without tears, so after re-firing the enamel colors, the risk of further cracks was given. The buyer wish coloring of animals for the Japanese Palace was therefore rarely realized. In the barn owl but this already succeeded just perfect because of the relatively small size by the large dark eyes and brown feathers of the wings are on the underside of the bird in nice contrast to the bright fuzz of fine feathers. From this model, it seems to have only been two forms. One of these is the war losses of the porcelain collection.

Round cup, Saracchi, workshop, Milan, 1575-1580. Rock crystal, gold, enamel. H 15.5 cm, 18.5 cm diam cuppa. V 344. Green Vault © Staatliche Kunstsammlungen Dresden 2013

The bottom of the crystal bowl filled a circular water zone, which is formed from a strip of ocean waves. At the edge appear loosely draped and arranged in pairs assigned mermaids and deities of the sea. Trees with wide flaring branches give mythological scene of a landscape background. The very thin-walled shell with the finest ausgeschliffene INTAGLI interface and precious gold setting can be attributed to the workshop of the brothers working in Milan Saracchi. Possibly supplied Annibale Fontana, who has worked repeatedly with the workshop together, the design.

High cover of rock crystal trophy, Saracchi, workshop, Milan, 1575-1580. Rock crystal, gold, enamel, garnets. H 48.1 cm, Dm lid 13.3 cm, 12.6 cm diam foot. V 217. Green Vault © Staatliche Kunstsammlungen Dresden 2013

Large quartz crystals were found in the central ranges of the Alps, were as rare and coveted as the magnificent decorative vessels that have been honed in the late Renaissance from this hard and brittle quartz. Especially the Milanese workshops and Miseroni Saracchi and Annibale Fontana created such exquisite works, for the acquisition of the princely buyers and collectors had to raise significant funds.The tall, decorated with shells ceremonial vessel was already in the inventory of the electoral treasury of 1586/87 in Dresden. The design of the upper zone vessel reminiscent of grotesque compositions by Étienne Delaune from around 1570th Ocean waves adorn the floor area in which cavort fantastic miracle beings. Sea scenes of this type were popular in the Milanese workshops and Saracchi Miseroni and were outstandingly suitable for decoration water bright rock crystal vessels.

A conch pearl and diamond pendant. Photo Christie's Image Ltd 2013

The pear-shaped openwork old brilliant-cut diamond pendant suspending a diamond capped conch pearl swing centre, to a diamond and conch pearl drop and surmount, suspended from a trace-link chain, pendant 5.7cm long. Estimate£1,600 – £2,000

Accompanied by report no. 05172 from The Gem & Pearl Laboratory, dated 31st January 2012, stating that the conch pearls were found to be natural. 

Christie's. JEWELLERY.4 September 2013. London, South Kensington

A Grey Schist Standing Bodhisattva, Ancient region of Gandhara, Kushan period, circa 3rd-4th century. Photo: Sotheby's.

NEW YORK, NY.- Coinciding with the auctions and events of Asia Week in September, Sotheby’s will present a selling exhibition, Footsteps of the Buddha: Masterworks from Across the Buddhist World, the first of its kind in more than a decade at Sotheby’s. Offering an extraordinary opportunity for collectors and connoisseurs, the selling exhibition traces the historical development and transformation of Buddhist art as it traveled throughout Asia from the 2nd century through the 21st century. This exhibition features pan-Asian Buddhist paintings and sculptures from the ancient regions of Gandhara, Nepal, Tibet, Korea, China and Japan. Organized jointly by Sotheby’s Asian art division, the exhibition aims to introduce important Buddhist artwork to a wider audience. The works will be on view in our New York galleries from 3 through 23 September. 

“With the success of SHUIMO/Water Ink in March we are delighted to be hosting the Footsteps of the Buddha selling exhibition during our Asian Art auctions in September. These exhibitions in our state-of-the-art second floor galleries allow us to showcase an area of Asian Art in depth and have been enthusiastically received by collectors both here and around the world,” says Henry Howard-Sneyd, Vice Chairman, Asian Art. 

Jacqueline Dennis, Specialist, Indian & Southeast Asian Art Department, notes, “This exhibition provides collectors and connoisseurs with a unique perspective on a variety of cultures through the prism of Buddhism. The 31 pieces in this exhibition display the distinct artistic heritages and aesthetics of their countries of origin, but at the same time, they share a common history and iconography. They express Buddhist philosophical concepts, show how Buddhism influenced the culture of the countries it penetrated, and how those countries made Buddhism their own. These timeless works of art also show how Buddhist art transformed through space and time, and continues to be a vital force in Asia today.” 

A major highlight of the exhibition is an extraordinary grey schist standing Bodhisattva, a superlative example of Gandharan style of sculpture. The region of Gandhara, located at the center of the Silk Routes, was particularly influenced by Hellenistic culture resulting from the travels and military campaign of Alexander the Great in the 4th century BC. The legacy of Hellenism that he left was integrated into local traditions, out of which was born the Gandharan School of art, a unique mix of East and West. This monumental work of art from circa 3rd/4th century is from a particularly unique period of Asian and Buddhist history. 

A Grey Schist Standing Bodhisattva, Height: 36 3/4  in. (93.4 cm), Ancient region of Gandhara, Kushan period, circa 3rd-4th century. Photo: Sotheby's.

PROVENANCE: Agnelli Collectino, Turin, circa 1960s 

NOTE: This well-proportioned and skillfully carved sculpture depicts a bodhisattva standing in elegant ease. His youthful face with downcast eyes and pursed lips bears a serene expression. His hair is arranged in an elaborate coiffure of curls and looped tresses terminating in a domed top knot above his head secured by a jeweled fillet, further adorned in a jeweled collar with matching armband and a looped chain necklace withmakara terminals centering a now-missing gem. His finely pleated robes offer a striking contrast to his bare muscular torso and typify the Gandharan style of drapery for which these sculptures are famous.

The bodhisattva, or enlightened being, was a central feature of Mahayana Buddhism which was popular in the Gandharan region during the early centuries of the Common Era. The Mahayana ideology advocated the importance of faith in the Buddha principle, expressed through love and devotion, as the most important element in the achievement of salvation. The means through which salvation could be attained was worship of the bodhisattva, who was also a model of benevolence and compassion, qualities exemplified in the present sculpture.

The bodhisattva’s rich accoutrements display the syncretic nature of jewelry traditions in vogue at the time. While the collar and matching armbands were staples in Indic representations of deities, the pendent necklace with figural terminals is completely Hellenistic in style and conception. The chains are in the loop-in-loop style which was widely prevalent in Greek jewelry. The makara terminals are obviously of Indic origin but it is interesting to note that the tradition of figural and animal-headed terminals was also a fixture of Scythian and Parthian ornamentation.

The present lot may be compared with two similar sculptures of youthfulbodhisattvas in the collection of the Royal Ontario Museum (acc. 939.18.1 & 940.18.1) see I. Kurita, Gandharan Art II: The World of the Buddha, Tokyo, 2003, pl.15 & 16. The comparable works cited above have been identified as Maitreya, the Buddha of the Future, based on their flowing tresses, a reference to the deity’s ascetic antecedents in Mahayanist theology. The sculpture’s refinement and elegant restraint place it in 2nd/3rd centuries CE, often considered the ‘high’ period of Gandharan art.

A magnificent 12th century West Tibetan bronze figure of Bodhisattva Manjushri is an early work influenced by Kashmiri and western Himalayan sculpture. This rare, elegant and proportioned work of art is quite large for a bronze of this time period. A further highlight of the selling exhibition is an Udayana Buddha from the Qianlong period (1735-1796) of China. This gilt copper alloy statue celebrates an ancient tradition associated with the introduction of Buddhism to China. This style of gilt bronze has become known in China as Udayana after legends surrounding an historical Indian ruler and a sandalwood statue brought to China in antiquity. 

A copper alloy depicting Bodhisattva Manjushri. Height: 18 in. (46 cm), West Tibet, circa 12th century. Photo: Sotheby's.

PROVENANCE: Vittorio Eskenazi, Milan, 1981

Litterature: Vittorio Eskenazi, Milan, 1981

An important painting of the Kalachakra mandala, an early 15th century work, depicts the mandala, or cosmos, of the Buddha Kalachakra, Wheel of Time. The predominant reds and blues of the painting together with the symmetry of design and geometric placement of the deities suggest a Nepalese artistic style in the central regions of Tibet. This painting is one of the earliest representations of Kalachakra in Tibetan art. Also included in the selling exhibition is a rare 15th century thangka depicting Tsongkhapa from Guge in West Tibet, rarely seen on the market. 

A thangka depicting Kalachakra , 36 by 26 in. (86.4 by 66 cm), Tibet, early 15th century. Photo: Sotheby's.

PROVENANCE: Private European collection, acquired 1970s/early 1980s

Litterature: M. Brauen, The Mandala: Sacred Circle in Tibetan Buddhism, London, 1997, p. 96, pl. 47

The painting depicts the mandala of the Buddha Kalachakra, Wheel of Time, with the multi-colored semi-wrathful god in union with his prajña Vishvamata, Mother of the Universe. The deities represent one of the most complex practices of the Unexcelled Yoga Tantras in Tibetan Vajrayana Buddhism. Kalachakra is depicted with four heads and twenty-four arms, with his principal head and upper body in blue symbolising great wisdom. His red face represents passion, the white purity, and the yellow head facing rearwards, single-mindedness in meditation. One leg is white and the other red, denoting two separate halves of the yearly cycle.

Description: In union with his golden eight-armed prajña with four heads in white, blue, red and gold, the couple represent the embodiment of wisdom and compassion, the goal of Tibetan meditational practise leading to enlightenment and salvation of sentient beings: for an exhaustive treatise on the Kalachakra Tantra see M. Brauen, The Mandala: Sacred Circle in Tibetan Buddhism, Serindia Publications, London, 1997.

The predominant reds and blues of the painting together with the symmetry of design and geometric placement of the deities suggest a Nepalese artistic style in the central regions of Tibet in the early fifteenth century. The rectangular central space reserved for the principal deity is seen in 14th and 15th century Tibetan paintings in the Nepalese style such as a Raktayamari in the Kronos Collections, a Chakrasmavara mandala in a private collection and a Mahavajrabhairava mandala in the Pritzker Collection, see S. Kossak and J. Singer, Sacred Visions: Early Paintings from Central Tibet, New York, 1999, cat. nos. 40, 43, 44. The crown type of the subsidiary deities is comparable to that of a Guhyasamaja illumination in an early 15th century Tibetan manuscript in the Nepalese style, possibly painted at the Sakya monastery of Shalu, see P. Pal, Art of Tibet: A Catalogue of the Los Angeles County Museum of Art Collection, Los Angeles, 1983, pp. 128-9, M4b.  

The painting is one of the earliest representations of Kalachakra in Tibetan art, together with a 14th or 15th century mandala now in the Museum of Fine Arts, Boston, see D. Leidy and R. Thurman, Mandala: the Architecture of Enlightenment,New York & Boston, 1997, p. 100, cat. no. 29, and the renowned 14th century gilt bronze Kalachakra and Vishvamata kept at Shalu monastery, see U. von Schroeder,Buddhist Bronzes in Tibet, Hong Kong, 2001, Vol. II, p. 965, pl. 232C.

A further highlight is The Parinirvana of Buddha, a painting from the 16th/17th century in Japan, which depicts parinirvana (the ultimate nirvana), which occurs with the death of the physical body of the enlightened Buddha. The commemoration of this occasion is one of the most important events in the Buddhist calendar, and paintings such as this appeared as the focus of these ceremonies during the Nara period (710 – 794). There are several examples of such paintings in temples and museums including an 11th century National Treasure housed in Kongobuji in Koyasan and a 12th century example in the Tokyo National Museum.

A painting depicting The Parinirvana of Buddha, Japan, 16th-17th century, ink and color on silk, mounted in brocade as a hanging scroll, 44 ¾ by 28 ½ in (43 by 72.3 cm.). Photo: Sotheby's.

PROVENANCE: Private Japanese Collection, 1970s

Description: The commemoration of Buddha's parinirvana is one of the most important events in the Buddhist calendar, marking the final of the eight major events in his life. Commemorated with special ceremonies on the 15th day of the second month, large painted images of the Buddha entering the 'ultimate' nirvana, death of the physical body and freedom from the cycle of birth and rebirth, appeared as the focus of such ceremonies from the Nara period (710-794) onwards. The present painting follows the standard stylistic and iconographic conventions of earlier paintings as can be seen from the earliest surviving examples dating to the Heian period.

In the present example, Buddha lies peacefully on a raised platform beneath flowering sala trees, surrounded by a large grieving crowd.  Some like the animals and oni are so overcome with grief that they roll around on the ground, their attachment to Buddha's physical body revealing their imperfect wisdom. Even Ananda lies passed out from grief, while the older, wiser Kasyapa tries to revive him. The enlightenedbodhisattvas on the other hand, depicted with golden bodies, stand serenely by, understanding that all beings eventually die, and that the ultimate goal is release fromsamsara, the bitter realm of existence.  Ksitigargha bodhisattva, however, known in Japanese as Jizo, is depicted as a monk, kneeling calmly by Buddha's side. In the upper right Buddha's mother Mahamaya hastens down from heaven accompanied by an entourage.

As mentioned, paranirvana is the ultimate nirvana which occurs with the death of the physical body of someone who has attained enlightenment. It implies a release from  all suffering, an end to future rebirths and the dissolution of the aggregates that make up existence. Shakyamuni Buddha’s parinirvana has been depicted in sculpture and paintings since very early on in India. The purpose of such depictions is to help devotees put things into perspective by reminding them that all beings die, and that nothing is permanent. Everything is subject to decay and final reunification with the cosmos.  

There are many extant examples of such paintings in temples and museums. The oldest known piece dating to the 11th century, is a national treasure housed in Kongobuji in Koyasan, while a 12th century example is in the Tokyo National Museum. There are 14th century examples in the Museum fur Ostasiatische Kunst, Koln and the Metropolitan Museum of Art, New York, illustrated in Zaigai Nihon no shino, I Bukkyo kaiga, Tokyo, 1980, nos. 8-10. The Museum of Fine Arts, Boston, has four such paintings, including a woodblock print on the subject.

Ambivalent Resolution, by Gonkar Gyatso, one of the most significant contemporary artists from Tibet today, features a seated Buddha and is a superb example of the artist’s pioneering modernism, juxtaposing traditional Buddhist imagery and symbols of pop culture. The surface of the sculpture is covered in the artist’s trademark stickers and rhinestones – a mixture of American, European, Tibetan and Chinese decals featuring images of newspaper headlines, manga characters and superheroes, corporate logos and excerpts from Tibetan texts, all engulfed in cartoon flames. Gyatso’s work is held in the permanent collections of the Rubin Museum in New York, and the Devi Art Foundation in Gurgaon, India, and will be featured in an upcoming exhibition of Tibetan contemporary art at the Metropolitan Museum in New York in 2014. 

Gonkar Gyatso (B.1961), Ambivalent Resolution. Executed in 2013. Stickers, paper collage, pencil, marker, polyurethane finish on resin sculpture. Height: 32 in. (81.3 cm). Photo: Sotheby's.

Description: One of the most important contemporary artists from Tibet working today, Gonkar Gyatso is renowned for his lyrical and ironic pop montaging in sculpture, printmaking, collage and painting. Executed in 2013, Ambivalent Resolution is a superb example of Gyatso’s pioneering modernism, negotiating the juxtaposition of traditional Buddhist imagery and poignant symbols of pop culture.

Gonkar Gyatso has appropriated the iconic Buddha figure as the seminal image of his oeuvre. Ambivalent Resolution features a seated Buddha figure, whose elegant limbs follow traditional 14th century Buddhist iconometrical standards of proportion. The sculpture is digitally scanned, digitally manipulated and then turned into a mould from which the resin sculpture is cast. Rather than the familiar, erect posture of meditation associated with imagery of the Buddha, Gyatso’s figure sits slouched, headless. The surface of the sculpture is covered in the artist’s trademark stickers—a mixture of American, European, Tibetan and Chinese decals featuring images of religious leaders, newspaper headlines, manga characters and superheroes, corporate logos and excerpts from Tibetan texts, all engulfed in cartoon flames. Gyatso’s hybrid aesthetic reveals a unique and deeply personal cross-fertilization of references, technique and experience as he seeks to reinvent the stereotypes concerning the visual culture of Tibetan Buddhism.

Born in Lhasa in 1961, Gonkar trained in traditional brush painting at the Central University for Nationalities in Beijing from 1980 to 1984 as well as traditional Tibetanthangka painting in Dharamsala; he later received his MA in Postmodern Art at the Chelsea College of Art and Design in London. In 2003, the artist founded the Sweet Tea House in London, dedicated to promoting contemporary Tibetan art and bringing together artists from inside Tibet and from abroad.

The artist’s mixed media works have been exhibited worldwide, and were featured in the Arsenale at the 53rd Venice Biennale in 2009 and the 17th Biennale of Sydney in 2010. Gyatso’s work is held in the permanent collections of the Rubin Museum in New York; the Newark Museum in New Jersey; the Pitt Rivers Museum in Oxford; and the Devi Art Foundation in Gurgaon, India, among others, and has been represented in major museum exhibitions including the Massachusetts Museum of Contemporary Art; the Boston Museum of Fine Arts; the Tel Aviv Museum of Art; the Institute of Modern Art in Australia; and the Chinese National Art Gallery in Beijing. Gyatso’s work will also be featured in an upcoming exhibition at the Metropolitan Museum in New York in 2014.

Art Deco bracelet, Mauboussin, Paris. 1927. Photo courtesy Peter Edwards Jewels

A platinum mounted bracelet. Set with jade, chalcedony, amethyst and diamonds. Highlighted with blue enamel. £45,000

http://www.peteredwardsjewels.com -