Wave Bracelet.  Probably Ostertag. Circa 1935. Photo courtesy Peter Edwards Jewels

A truly superb bracelet inspired by the ocean. Rolling waves of brilliant and baguette cut diamonds set to the top and sides, est. total weight 50-55carats. Mounted in platinum. French assay marks and house mark. Price on Application. http://www.peteredwardsjewels.com 

Boucheron, Paris. 1975. Photo courtesy Peter Edwards Jewels

A magnificent necklace of cultured pearls, "Sugar Loaf" chrysoprase and fluted onyx with 18ct gold mounts. Signed and with Boucheron workshop mark.. £26,000 - http://www.peteredwardsjewels.com 

A Grey Schist Standing Bodhisattva, Height: 57 3/4  in. (148 cm). Ancient region of Gandhara, Kushan period, 3rd-4th century. Photo: Sotheby's.

PROVENANCE: Acquired in Turin, Italy in 1977
Private Italian Collection

This exquisitely carved standing bodhisattva is a superlative example of the Gandharan style of monumental sculpture that flourished in the northwestern part of the Indian subcontinent from the 1st–5th centuries CE.

NOTE: Standing erect with serene expression, his powerful torso enrobed in an elegantly draped sanghati or mantle, the bodhisattva manifests a regal countenance. The abundance of highly elaborate jewelry, representing the spiritual riches of thebodhisattva, is extraordinary in its minute details: the crown element with removable dovetail mortise and tenon; the cascading  tresses of hair; the large urna cavity which once would have held a precious stone; the highly decorative lion earring in the left ear; the female deity emerging as the central jewel in the upper  necklace; the lower necklace with foliate designs and cherubim holding the central jewel; the strings of amulets strung across the chest; the fine armbands, bracelets and rings; the intricacy of the jeweled sandals. Standing thus, the bodhisattva embodies the Mahayana ideal of spiritual abundance directed exclusively toward the benefit of others.

Spanning the distance across the Khyber from modern day Afghanistan in the east and Pakistan in the north, the Gandharan cultural region served as the central passageway between Persia, Central Asia and the Indian subcontinent. The ancient kingdom of Gandhara was a center of significant military and commercial importance, which absorbed and reflected the dynamic multicultural, artistic and religious influence of its numerous conquerors and inhabitants. Situated between the Indus and Kabul Rivers in the fertile Peshawar valley, this region was also for many centuries a main corridor of invasion from within and without.

By the 1st and 2nd century BCE, after the capture of the Gandharan region by the Greek and Persian armies of Alexander and the decline of the Mauryan Empire of Chandragupta and his heirs, an era of Graeco-Bactrian rule began, thus giving rise to this unique synthesis of Hellenistic and Indic artistic traditions.

Buddhism flourished in the Gandharan region from the 1st century BCE, reaching its apogee under the mighty Kushan emperors. The Kushan period, during which the present work was created, is considered a golden age of Gandharan Buddhist art, during which the construction of stupas or reliquary mounds, temples, monasteries and sculpture dominated the Gandharan cultural sphere.

The development of Gandharan sculpture mirrored the development and rise of Mahayana Buddhism, a distinct philosophical and artistic departure from the aniconism of early Buddhism. Whereas the presence and teachings of the Buddha had historically been demarcated through symbolism–a wheel representing thedharma or teachings of Buddhism; an empty throne; a set of footprints; a stupa or reliquary mound–the emergence of Mahayana cult statuary found expression through the idealization of bodhisattvas. It is likely that the shift from the aniconic phase of early Buddhism into the multiplicity of imagery of the Mahayana was partially negotiated by the prevalence of Graeco-Roman imagery and icon worship found along the Silk Road.

Bodhisattva figures such as this provided the template for the exportation of Buddhist imagery across South and Southeast Asia, and throughout the Buddhist diaspora. Compare the powerful facial modeling, elaborate jewelry and aureole to the well-known Bodhisattva Debout (no. d’inventaire AO2907) at the Musée Guimet in Paris. Also compare a bust of the Bodhisattva Shakyamuni at The Metropolitan Museum in New York, acc. 1987.218.10.

 It is very rare to find examples of complete turbans, such as in the present work. For examples of the interior of the type of removable dovetail mortise and tenon in the crown element, see W. Zwalf, A Catalogue of the Gandhara Sculpture in the British Museum, Vol. II, London, 1996, p. 53, pl. 76 and 81.

Sotheby's. Footsteps of the Buddha: Masterworks from Across the Buddhist World. New York | 03 sept. 2013 - http://www.sothebys.com

A gold and diamond ring, Cartier, Paris, Circa 1985. Photo courtesy Peter Edwards Jewels

An 18ct gold ring with fluted shank and shoulders and set with brilliant cut diamonds within a ropework border. Cartier, Paris. Signed and numbered with house mark. £11,500 - http://www.peteredwardsjewels.com 

A grey schist relief depicting the Parinirvana of Buddha, 15 1/2  by 22 1/2  in. (39.4 by 57.2 cm), Ancient region of Gandhara, Kushan period, 2nd century. Photo: Sotheby's.

PROVENANCE: The George and Frida Thomas Collection, 1963 

NOTE: The present relief depicts the Buddha’s followers grieving at their Master’s passing. The Buddha lies on his right side, his haloed head resting on his hand propped by a pillow, his feet resting one on top of the other. Subhadra, the Buddha’s last convert, sits in front of the bed, in deep meditation. On the far left is Vajrapani, holding his head to his hand, overcome by grief. To the right, at the foot of the bed is Kashyapa, the elder monk and Buddha’s faithful disciple reverently touching the Buddha’s feet. Included in the scene are other mourners gesticulating in grief, their downcast faces expressing their bereavement. Yakshis look down at the scene from leafy bowers on either side as they cast petals upon the supine figure of the Buddha. The somber scene is imbued with pathos, a testament to the sculptor’s exceptional abilities.

The Buddha’s passing is related in detail in Buddhist chronicles, particularly the scripture Mahaparinirvana sutra. On his last journey the Buddha stopped at Kushinagara to rest amidst a grove of sala trees. They are said to have burst into bloom out of season. Here the Buddha lay down peacefully, bade a final farewell to his followers and entered nirvana. The extreme grief of the mourners–disheveling their hair, weeping copiously and lamenting with outstretched arms–is described in detail in the text, as is the calm and self-possessed comport of the Buddha’s disciples who were mindful of his teachings. The artist of the present relief seems to have been well-versed with this textual reference as he has represented the scene faithfully.

The present sculpture bears several interesting characteristics. The dress, gestures, and facial features of each mourner are distinctive. The richly-garbed, turbaned figures represent the Malla notables of Kushinagara who, according to legend, rushed to the scene to pay their respects to the Buddha upon receiving the news of his passing. The two flowering sala trees, signifying the cardinal directions of North and South, are artfully represented in the relief. The deep carving and attention to detail exemplify the extraordinary craftsmanship of the Gandharan period.

A cast bronze figure of Ekadashalokeshvara, Japan, 14th century. Photo: Sotheby's.

22 1/2  in. (57cm high)

PROVENANCE: Acquired privately in London, early 1980s

NOTE: Ekadashalokeshvara which literally means eleven-headed Avalokiteshvara, referred to as Juichimen Kannon in Japan, originated from Brahmanism and was believed to  control the weather.  Because weather was so important to livelihood in an agrarian society, this led to the bodhisattvabeing regarded as the highest form of compassion, and by extension, the savior of humanity. 

The present example is cast from bronze with a good brown patina. The head and body are hollow with separate arms and separate front lower body construction. The right arm and front section are missing and the figure holds a water jar in his left hand.  The ten or eleven heads that sat on top of this figure’s head, are now lost . 

In India, there are not many examples of eleven-headed Avalokiteshvara figures. In China this iconography emerged during the late 6th century and references to such manifestations are known to have been  written in the 7th century. In Japan, this iconography appeared during the Nara period (710-794) and in 733, priest Genjo translated such texts which later gained popularity among the populace during the Heian period (794-1185).  See N. Kyotaro and E. Sano, The Great Age of Japanese Buddhist Sculpture: AD600-1300, Kimbell Art Museum/ Japan Society, New York, 1983.

The eleven-headed Avalokiteshvara and the thousand-armed manifestation, are considered esoteric forms of the bodhisattva, believed to have overcome eleven hardships in order to attain Buddhahood, which is why the head at the top is one of a Buddha. In another explanation of the iconography, Avalokiteshvara fails to fulfill his vow of saving all sentient souls from hell.  Each time he saved one soul, ten more would take its place. Eventually he was overcome and his head split into one hundred pieces. Amitabha Buddha gathered up the pieces and consolidated them into ten heads which he placed on Avalokiteshvara's shoulders, crowning the ten heads with one of his own, to let Avalokiteshvara know that Amitabha is always there to aid him in his goal of universal salvation. Such figures also often carry a rosary or a staff in its right hand, and a vase in its left hand.

In Japan, the earliest example of Ekadashalokeshvara is in a mural painting from the 7th century in Horyuji Temple Golden Hall, illustrated in T. Sawa, Art in Japanese Esoteric Buddhism, New York, 1972, p. 50, no. 45. Other examples from the Nara period includes one in the Shorinji in Nara, which is a national treasure, illustrated in T. Sawa, ibid., p. 53, no 52; and one in Kannonji in Kyoto, also illustrated in T. Sawa,ibid., p. 35, no. 29.  In the Hasedera temple in Nara, there are two statues of this kind.  One is a seated example and the other is standing, holding a staff on a rock.  Another figure in the Todaiji Nigatsudo is alledged to be of Ekadashalokeshvara but as it has never been unveiled, that cannot be confirmed.

Sotheby's. Footsteps of the Buddha: Masterworks from Across the Buddhist World. New York | 03 sept. 2013 - http://www.sothebys.com

Mimi So “Jackson” 20k Rose Gold & Diamond Necklace. Photo courtesy of Betteridge

A large gilt-lacquered wood seated figure of Shakyamuni Buddha, China, Qing Dynasty, Kangxi period. Photo: Sotheby's.

HEIGHT: 24 1/2  in. (62.2 cm)

PROVENANCE: Collection of Victor Oppenheim (1906-2005), acquired prior to 1990s

NOTE: This figure portrays Shakymuni Buddha at the moment of his enlightment, with right hand in bhumisparsamudra, the gesture of touching the earth, and the left in dhyanamudra, the posture of meditation.

While meditating under the Bodhi tree at Bodhgaya, the demon Mara attacked the Buddha with armies of distractions and temptations in order to lure him from his path towards enlightenment. However, the Buddha was unshakable. Mara then claimed his own spiritual accomplishments were greater than Buddha's, and Mara's monstrous armies falsely bore witness to this assertion. Mara then challenged Buddha, wanting to know who would bear witness for him. At that moment Buddha touched the ground with his right hand, summoning the earth to be his witness. The earth touching mudra now symbolizes steadfastness, recalling Buddha's rejection of all temptations and delusions and achievement of supreme enlightenment.

The quiet way in which Buddha attains enlightenment points to early Buddhism's purity and simplicity. There were no deities, no forces of nature, no fanfare present to witness this momentous event, when effectively, Buddhism as a religion was born. The Buddha quietly attained enlightenment though his own efforts, with only the earth beneath him.

The technique of coating carved wooden figures with gilt-lacquer appears to have emerged in the early Ming dynasty and continued into the Qing, when this figure was made. The physical characteristics and facial features of this figure echo those of Tibetan gilt-bronze images and reflects the influence of Tibetan Buddhism on Chinese art, which began during the Yuan dynasty (1279-1368) and reached its peak during the reign of the Qianlong emperor.

It is indisputable that the Qing emperors were patrons of Tibetan Buddhism, whether out of personal devotion or political expediency, they had temples built and filled with Tibetan-style Buddhist figures and ritual implements. In 1683, the Kangxi emperor made two separate trips to Wutai Shan, one of the main centers of Tibetan Buddhism in the Chinese interior, and in 1713, the Puren and Pushan Temples were built to the east and north respectively, of the Imperial palace in Rehol. It is possible that the present figure was an imperial commission for one of the many imperially sponsored lamaseries.

A similar gilt-lacquered wood figure with its original double lotus pedestal was sold in our Hong Kong rooms, October 8, 2010, lot 2795, and two smaller gilt-lacquered wood examples are in the collection of the Palace Museum and illustrated inCompendium of Collections in the Palace Museum: Sculpture Series, vol. 9, Beijing, 2011, nos. 141 and 143.

Sotheby's. Footsteps of the Buddha: Masterworks from Across the Buddhist World. New York | 03 sept. 2013 - http://www.sothebys.com

A retro pink gold and diamond bangle, by Cartier. Photo courtesy of Christie’s 

A parcel gilt copper alloy figure depicting an Arha, Tibeto-Chinese, Qing Dynasty, Qianlong period. Photo: Sotheby's.

Height: 7 1/2  in. (19.1 cm)

PROVENANCE: Private Missouri Collection

NOTE: The finely cast and gilded figure represents one of the Sixteen Great Arhats, considered to be the Elders of Buddhism and students of the historical Buddha Shakyamuni. The bronze is likely to depict either Kanakabharadhvaja or Chudapanthaka, both figures often shown seated in the diamond posture with hands folded in meditation; there is no inscription to aid the identification. The bronze bears close resemblance to a particularly fine and expressive Qianlong series of arhats, of which four are now in the Philadelphia Museum of Art, gifted by Natasha Rambova, 1963-155-7, 1963-155-8, 1963-155-9, 1963-155-10, and four sold by Sotheby’s New York, September 21, 2007, lots 48, 49, also previously in the Rambova collection, and March 24, 2011, lots 74, 75 (previously sold September 22, 2000, lot 23, sometime collection of Alfred Gwynne Vanderbilt II).

A series depicting the arhats would often comprise twenty-five bronzes altogether in keeping with post-16th century Sino-Tibetan tradition, with the Sixteen Great Arhats together with Dharmatala and Hvashang, Buddha Shakyamuni and his principal disciples Maudgalyayana and Shariputra, and the Four Guardians of the Directions, Vaishravana, Virupaksha, Virudhaka and Dhritarashtra.

The sculpture is distinguished by exquisite quality, poise and freedom of expression in common with the Rambova and Vanderbilt sculptures, with related cushion design and idiosyncratic rendering of the robes with deep folds and a loose collar. Typical of bronzes from the Qianlong period the face and hands are not fire-gilded but painted with matte gold to create a naturalistic effect in contrast with the burnished mercury gilding of the robes and throne cushions.

Sotheby's. Footsteps of the Buddha: Masterworks from Across the Buddhist World. New York | 03 sept. 2013 - http://www.sothebys.com

A Retro Rose and Yellow Gold Machine Age Wide Bracelet. Photo courtesy of A La Vieille Russie

Cai Xiaosong (B. 1964), Buddha. Photo: Sotheby's.

Signed and dated 'Xiaosong/ 2013.1' with three seals of the artist. Ink on silk; 82 by 70 5/8  in. (200.3 by 179.4 cm).

NOTE: The present work ink on silk work by Chinese contemporary artist Cai Xiaosong is based upon a 10th century Japanese wood sculpture depicting Sogyo Hachimanat the Art Institute of Chicago (acc. no. 1960.755). The Shinto Buddhist deity Hachimon, shown here taking the appearance of a monk, is venerated as a source of blessing and sovereignty throughout Japan. Hachimangu shrines and depictions originated in the early Buddhist centers of northeast Japan as early as the 6th century, and spread to the significant political centers of Kamakura, Kyoto and Nara as Buddhism assimilated into the local culture through shogunate support. As such, Hachimon was then and is today a powerful and ubiquitous symbol of Buddhism in Japan.

Born in Shanghai in 1964, Cai Xiaosong graduated from the Arts Academy of Shanghai University. Trained in traditional Chinese ink painting, Cai experimented with Western media and art forms before returning to ink, brush, rice paper and silk.  Since 2002, Cai has focused on large format rock paintings as single images and large-scale installations. His works are in major international museums and private collections worldwide, and he has had solo and group exhibitions at the Valencia Museum of Modern Art; National Museum of Fine Arts, Havana; Duolun MOMA, Shanghai; the 54th Venice Biennial; Wereldmuseum, Rotterdam, the National Taiwan Museum of Fine Arts, Taichung; and the Today Art Museum, Beijing, as well as various galleries in Asia and Europe.

The artist explains: “It took me almost six months to paint this—a difficult task, as I stopped frequently to listen for the repeating voice of the Buddha. This was a blessed journey for me, as it brought calmness to my soul which I tried to capture and share.” 

Sotheby's. Footsteps of the Buddha: Masterworks from Across the Buddhist World. New York | 03 sept. 2013 - http://www.sothebys.com

An architectural Retro two-color gold bracelet with three-dimensional hexagonal links separated by rounded bar links, in 18k. Photo courtesy of Kentshire

A very rare painting of a Buddha, China, Ming dynasty, 15th century. Photo: Sotheby's.

56 3/4  by 32 1/4  in.  (144.1 by 81.9 cm)

PROVENANCE: Sotheby's Hong Kong, October 8, 2008, lot 2623

NOTE: This very fine and detailed painting depicts a Buddha with hands held together in his lap in dhyanamudra and seated in dhyanasana on a low waisted lotus petal base supported on an elaborate multi-tiered Sumeru throne.

The Buddha portrayed is likely to be Amitabha, who is usually depicted with his hands in dhyanamudra. In this elaborate painting, he wears long flowing robes and fine scarves with hems delicately detailed with gold-painted lotus scrolls, gathering gracefully around his shoulders and revealing bejewelled necklaces across his bare chest. He has a serene expression below the spiral-curled hair that covers his ushnisha fronted by a tall five-leafed jewelled tiara. Amitabha reigns over the pure land of Sukhavati, where devotees of Mahayana Pure Land Buddhism aspire to be reborn. This aspiration is the central tenet of Pure Land Buddhism.

The throne that supports the Buddha represents Mount Sumeru, the mountain at the center of the universe in Buddhist cosomology.  Mount Sumeru is said to have a square base and an hour-glass shape. The mandorla that forms the back of the throne incorporates the Five Dhyani Buddhas. This arrangement, with a central figure and smaller figures suspended above, is evocative of Tibetan thangkas, which often depict Buddhas, bodhisattvas and lamas surrounded by their emanations. In this case, the Five Dhyani Buddhas each represent one of the five skandhas, cumulations or mental and physical aggregates, which make up the whole of existence, both cosmic and physical. 

The Five Dhyani Buddhas are surrounded by the Eight Auspicious Symbols - the pair of fish, lotus, canopy, wheel, conch, parasol, vase and endless knot. These eight symbols harken back to an early Indian investiture offering made to kings during their enthronement, and pre-date Buddhism.  In the Buddhist tradition, these symbols represent offerings made by the Vedic gods to Shakyamuni upon his enlightenment. In the midst of the Five Dhyani Buddhas is an image of Garuda. According to Hindu legend, Garuda emerged fully-grown after five hundred years enclosed in an egg. This full-grown emergence represents a second life, and in the context of Pure Land Buddhism, points to a rebirth in the Pure Land. The outer border of the mandorla is formed from scrolling flames.

The central figure is framed by jewel-decked wish-granting trees, precious offerings including a scholar's rock, an elaborate three-tiered bejeweled canopy, and a pair of apsaras riding phoenix. The meticulous way the painting is rendered is typical of Ming dynasty Buddhist paintings.

This type of arrangement, with a figure seated on a lotus base supported on a Sumeru throne and backed by an elaborate mandorla, can be found in many examples of early Ming dynasty Buddhist art. For a silk brocade Ming dynasty example depicting Padmapani from the 14th / 15th century see A & J Speelman, Chinese Works of Art 2008, Catalogue, London, 2008, p. 137, no. 68. A Yongle period gilt-bronze Buddha complete with its base and mandorla, which is stylistically similar to the present painting, is in the collection of the British Museum and illustrated in W. Zwalf (ed.),Buddhism Art and Faith, London, 1985, p. 210, no. 305 and frontispiece. Another Yongle period gilt-bronze Buddha from the Speelman Collection was sold in our Hong Kong rooms October 7, 2006, lot 808. A painting of the same Buddha, with similiar layout, dating to the Yuan dynasty is in the collection of the National Palace Museum in Taipei and formed part of their exhibition The Buddha Light Illuminating All: Treasured Buddhist Scriptures and Paintings from the Museum Collection, October 7, 2005 - January 26,  2006.

The lower part of the mandorla with a pair of elephants, lions and winged goat-like creatures flanking the Buddha also echo the iconography used in the door frame of the pagoda at the Baoan Temple built during the Yongle reign, a partial reconstruction is illustrated in J. C. Y. Watt and D. P. Leidy, Defining Yongle: Imperial Art in Early Fifteenth-Century China, New York, 2005 p.19, fig. 4.

In addition, a scientific analysis, reference number AAR000270.A, done by Art Access & Research (UK) Ltd., on the pigments used in the painting supports a 14th to 15th century date.

Sotheby's. Footsteps of the Buddha: Masterworks from Across the Buddhist World. New York | 03 sept. 2013 - http://www.sothebys.com

CARTIER, Paris. Retro circa 1950s. 18ct yellow gold and diamond fringe necklace. Photo courtesy of Hancock’s

Saint Jerome Extracting a Thorn from a Lion's Paw, cutting from Master of the Murano Gradual, northern Italy, about 1425-50 . The J. Paul Getty Museum, Los Angeles, Ms. 106, recto.

LOS ANGELES, CA.- Venerated for their willingness to suffer torture and death, their ability to perform miracles, and their privileged place in heaven, saints were vital to medieval Christianity. These holy men and women attempted to follow Christ’s example of piety and endurance in the face of persecution, and served as models of behavior and goodness. 

Featuring objects from the Getty Museum’s renowned manuscripts collection, Miracles and Martyrs: Saints in the Middle Ages, on view September 3, 2013–March 2, 2014 at the Getty Center, includes works that present the remarkable and astonishing stories associated with saints. Inspired by images of both great beauty and incredible horror, faithful Christians were eager to celebrate those who were thought to provide comfort in times of need and to reveal the presence of the divine in the earthly realm. 

"Devotion to the saints was an integral aspect of medieval Christianity," explains Timothy Potts, director of the J. Paul Getty Museum. "This exhibition highlights a variety of types of books from the Museum’s rich manuscripts collection, including private prayer books, devotional tracts, and biographies that relate to the worship of saints, illustrating through these beautiful images the widespread appeal and influence the cult of saints had in art and society during the period." 

One of the most popular stories about a saint is illustrated in Saint Jerome Extracting a Thorn from a Lion’s Paw (early 15th century) by the Master of the Murano Gradual. The compassionate Saint Jerome (about 345–420) uses golden tweezers to carefully remove a thorn from the paw of a lion that wandered into his monastery seeking care for its wound. A fearful monk in the background, cowering and holding a jar of ointment and a bandage, serves as a contrast to the monumental figure of Saint Jerome, whose voluminous robe occupies much of the image. As he tends to the lion’s injury, the remarkably calm animal looks out boldly at the viewer. Understood to be sent by God, the lion became Saint Jerome’s faithful companion and an honorary member of the monastic community. 

The Author Hears the Story of Gillion de Trazegnies (detail), Romance of Gillion de Trazegnies, Antwerp, Lieven van Lathem, after 1464. The J. Paul Getty Museum, Los Angeles

Miraculous Interventions

It was believed that during their lives, saints experienced spectacular visions, performed miracles on behalf of the faithful, and were blessed by divine intervention in their lives. The extraordinary feats they performed and the heavenly revelations they witnessed helped to confirm the power of sainthood. Death was not a barrier to these holy men and women. In fact, after passing, saints were thought to intercede and protect devotees from harm and offer aid in difficult situations. Artists depicted these miracles in stunning images that made the mystical legends surrounding saints come to life for medieval readers. 

Saint Catherine, Gualenghi d'Este Hours, Ferrara, Taddeo Crivelli, about 1469. The J. Paul Getty Museum, Los Angeles

One example of this kind of imagery can be found in a 1469 illumination of Saint Catherine by Taddeo Crivelli. With her right hand, Saint Catherine keeps her place in a book, while her left gently touches a spiked wheel. The scene highlights two of the best known aspects of this fourth-century saint’s life story: the book before her symbolizes the great intelligence and learning that allowed her to confound pagan philosophers, and the wheel references God’s miraculous destruction of the tortuous instrument with which she was threatened before her martyrdom. 

The Martyrdom of Saint Agatha; Saint Agnes; Saint Cecilia; Saint Lucy; Saint Catherine (detail), Ruskin Hours, French, northeastern France, about 1300. The J. Paul Getty Museum, Los Angeles

Divine Sacrifice

Martyrs were greatly admired for braving intense persecution and their willingness to die for their faith. They refused to abandon their beliefs despite being threatened with such horrific violence as beheading or being slain with multiple arrows. In some instances, artists produced arresting scenes of martyrs at the moment of suffering. In others, the saints hold the instruments of their torture, serene in the knowledge that salvation awaits. These weapons, or sometimes other symbols associated with their legends, became the saints’ standard visual attributes, allowing viewers to easily identify figures. Most martyrs died in the first few centuries after Christ’s life, yet written accounts of their torments inspired striking visual responses well into the Middle Ages and beyond. 

In a second illustration by Taddeo Crivelli, Saint Peter Martyr seems remarkably unperturbed by the great axe embedded in his head and the knife sticking out of his chest. The thirteenth-century saint was assassinated by those threatened by his remarkable ability to convert heretics.

“According to legend, Peter continued to pray even after the attack left him missing part of his skull,” explains Elizabeth Morrison, senior curator of manuscripts at the J. Paul Getty Museum. “Despite this horrific injury, he is still seen in concentrated prayer, further reinforcing the steadfastness of his piety.”

Peter Martyr was a beloved Italian saint, famous for his ability to intercede with Christ on behalf of those who prayed for his favor. He and other popular local saints were often featured in private prayer books such as the one in the exhibition, where the images would inspire readers in their prayers for aid, comfort, and redemption. 

Aimo and Vermondo Holding up the Church of Saint Victor (detail), Legend of the Venerable Men Aimo and Vermondo, Milan, attributed to Anovelo da Imbonate, about 1400. The J. Paul Getty Museum, Los Angeles

Piety and Practice

Fervent devotion, extreme humility, and selfless charity were characteristics of saints admired and imitated by medieval Christians. Particular saints were often chosen as special guardians by individuals, groups, and even specific professions. The faithful prayed to these “patron” saints because they were thought to represent certain traits shared with or desired by the devotee. 

In Saint Luke Painting an Image of the Virgin (about 1440–1450) by the workshop of the Bedford Master, Saint Luke leans over a desk, adding the finishing touches to a portrait of the Virgin Mary dressed in blue set against a pure gold background. According to legend, the first-century saint painted Mary from life more than once, creating a series of miraculous icons. Due to the fame of these portraits, in the Middle Ages most artist guilds were called the Guild of Saint Luke, and he still serves as the patron saint of artists today. In private prayer books, such as the one on view in the exhibition, the saint is often pictured diligently set at his task so that patrons could make a connection between his efforts to faithfully capture the features of the Virgin and the beautiful craftsmanship of the inspiring artwork before them. 

Miracles and Martyrs: Saints in the Middle Ages, is on view September 3, 2013– March 2, 2014 and is co-curated by Elizabeth Morrison, senior curator of manuscripts at the J. Paul Getty Museum, and Melanie Sympson, former intern in the Department of Manuscripts. Because these materials are light sensitive, this exhibition is presented at low light levels and in two different installations (September 3 December 2, 2013, and December 4, 2013–March 2, 2014). The exhibition runs concurrently with Canterbury and St. Albans: Treasures from Church and Cloister, on view September 20, 2013–February 2, 2014, an exhibition showcasing twelfth-century stained glass from Canterbury Cathedral and an extraordinary manuscript made in the same period at St. Albans Abbey, and featuring a section focused on the holy individuals associated with each of these two English institutions: Saint Thomas Becket of Canterbury and Christina of Markyate at St. Albans.

Master of Jacques de Besançon (French, active about 1480 - 1500), Mass of St Gregory, about 1500. Tempera colors, ink and gold on parchment. Leaf: 13.3 x 8.7 cm (5 1/4 x 3 7/16 in.). The J. Paul Getty Museum, Los Angeles, Ms. 109, fol. 55v.

Su Shi, Gong Fu Tie Calligraphy. Ink on paper, hanging scroll. Estimate upon request. Photo: Sotheby's.

NEW YORK - On 19th September 2013 Sotheby’s will present a once in a generation opportunity to acquire a work by one of the towering figures of early Chinese history when The Gong Fu Tie Calligraphy by the Song Dynasty poet Su Shi (1037-1101) is offered in the Fine Classical Chinese Paintings and Calligraphy auction. Su Shi is known as an author, politician, calligrapher, gastronome, pharmacologist as well as artist. His position in Chinese culture is comparable to that of the European Renaissance masters such as Leonardo da Vinci. His writings and teachings have been hugely influential, his poem ‘Ode to the Red Cliffs’ is considered to be one of the most magisterial texts in Chinese literature. The appearance of a piece by Su Shi at auction is a practically unheard of event; of the approximately 50 known pieces by the artist, almost all are in private hands. The current lot is estimated to fetch in excess of $300,000.

Su Shi
Su Shi, who is also sometimes known as Dongpo, was born in Sichuan province to a family of preeminent literatis. As a young prodigy he came to the attention of Emperor Renzong (1010-1063), and achieved celebrity status when he provided perfect responses in ancient prose for his civil service exams. For the next twenty years he held a variety of government posts, and was particularly known for his economic policies and construction of many public projects, including the “Su’di”, the pedestrian causeway cross the West Lake that’s been romanticized by poets and painters for centuries.

However, political changes meant he fell out of favour from time to time and was banished repeatedly for his open criticism of the dominant “New Policy Group”. During his long exiles to the lush and remote Hubei province and Hainan Island Su Shi committed to Buddhist meditation and produced some of the most wellknown poems and calligraphy ever published in the Chinese language. While living on a farm, he adopted his literati name, “Dong’po”, meaning “eastern slope”.

His popularity surged after his death in 1101 as he became the revered and mythical namesake for numerous landmarks and the subject of countless paintings and poems. Manuscripts by Su Shi are among the most sought-after objects in Chinese history.

The Gongfu Calligraphy
Although just nine characters long The Gong Fu Tie Calligraphy has resonated with scholars for centuries who have recognized its technical sophistication as well as the Su Shi’s humanism it so beautifully embodies.
The piece has been recorded in many of the most authoritative books on Chinese art and been lavished with praise, with the well-known author Weng Fanggang describing it as ‘a divine piece of calligraphy.’ This work was completed mid-way through the artists career in his mature period and is a goodbye letter to Su Shi’s fellow artist Guo Gufu (1035-1113) a close friend despite differing political views.

Two diamond tree brooches by Hemmerle, circa 1965. Photo: Sotheby’s.

The larger tree decorated with 18 round and fancy-shaped diamonds, several stones of yellow and brown hue, weighing a total of 16.24 carats, the branches and trunk pavé-set with 83 round brown diamonds weighing a total of 4.20 carats, the smaller tree decorated with 15 round and fancy-shaped diamonds weighing 9.23 carats, the trunk pavé-set with 91 small round gray diamonds weighing 2.15 carats, both mounted in 18 karat white gold, signed Hemmerle. 

The branches of the present tree brooches were originally created by Hemmerle to accomodate a collection of colored diamonds; the current stones were not part of the original design. 

Sotheby's. Magnificent Jewels. New York | 04 Dec 2007. http://www.sothebys.com

Coral, diamond and yellow sapphire 'Marco Polo' brooch, Nardi, Italy. Photo: Sotheby's.

Wearing a wide brimmed hat decorated with a fringe of briolette yellow sapphire drops and a jacket of carved coral, the hat and jacket sash embellished with numerous reversely-set round diamonds of golden brown hue, the total diamond weight approximately 3.10 carats, mounted in 18 karat gold and silver, signed Nardi, numbered M007045. 

Sotheby's. Magnificent Jewels. New York | 04 Dec 2007. http://www.sothebys.com

Carved emerald and diamond ring, Sifen Chang. Photo: Sotheby's.

The rectangular emerald of domed form carved in a floral motif and weighing approximately 29.75 carats, within a tiered frame of open oval links set with small round diamonds weighing approximately 1.95 carats, mounted in 18 karat white gold, size 6, signed with Chinese characters for Sifen. With signed box. Lot Sold: 11,250 USD

Sotheby's. Magnificent Jewels. New York | 04 Dec 2007. http://www.sothebys.com