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Click here to subscribeKl. Buddha, wohl Tibet 19. Jh.Bronze, partiell geschwärzt. Im Lotossitz, einen Hand auf d. Knie angelegt, in d. anderen in d. Mitte d. Schoßes einen Räucherschale haltend. Blick gesenkt. Auf gerundetem Lotos-Sockel (verso geglättet). Boden verschlossen. Oberfläche teils leicht berieben. H 13,8 cm Prov.: Slg. Kohlmann in der Villa Kolbe/ Kohlmann, Radebeul bei Dresden; Privat- sammlung HessenBronze, Lotos
Tibet.- Sutra of Properly Arranged Establishment in Buddhahood or Confession Sutra, manuscript in Tibetan, on paper, 97 leaves, stained black and varnished, text in silver-coloured ink to recto and verso, in 6 lines except on opening leaves, which have text in one, two, three, four and five lines, some leaves frayed and chipped at edges, some portions of loss, mainly affecting peripheral leaves, occasional worming, dust-soiling (affecting legibility at points), leaves loose, housed in a modern cloth drop-back box, each leaf c.130 x 550mm., [Western Tibet, Ladakh], [c.14th-15th century]. *** A beautifully calligraphed and complete Buddhist Sutra manuscript from Tibet, dealing with the confession of moral downfalls. Provenance: Library of the Philosophical Research Society (founded 1934); Christie's New York, 18-19 September 2002, lot 215, purchased by a private UK collector.
Tibet.- Perfection of Wisdom in a Hundred Thousand Lines, manuscript in Tibetan, on paper, c.209 leaves, lacks 7 leaves (1-3, 84-87), text in silver-coloured ink to recto and verso, on a black background, border treated with arsenic solution to prevent insect damage, text area polished with rice powder to stabilise ink, paper quite fragile with occasional chipping or fraying to edges, one leaf with more substantial loss (half remaining), occasional small insect damage or loss, leaves loose, housed in a modern cloth drop-back box, each leaf c.150 x 495mm., [Western Tibet, Ladakh], [15th-16th century]. *** Contains four chapters (62-64) of the multi-volume Satasahasrika Prainaparamita, belonging to the genre of Perfection of Wisdom texts composed sometime between 100 and 300 AD. Central to Mahayana Buddhist philosophy, the text was routinely broken up into smaller, more manageable parts for travel and in-depth study. Paper-flaws imply that the manuscript was prepared in a local setting, with high-quality paper in limited supply.
Tibet.- Perfection of Wisdom in Eight Thousand Verses, manuscript in Tibetan, on white paper, over 400 leaves in 32 chapters, text in black ink to recto and verso, mostly in 8 lines, opening leaves with 4, 5, 6 and 7 lines, coloured miniatures to title and final leaf, small chip affecting title, title and final leaf reinforced through several leaves stitched together, some creasing, soiling and light staining, edges chipped and frayed, particularly at beginning and end, leaves loose between 2 wooden covers, upper cover with remains of painted decoration in black, red and green, upper cover with decorative carving to right fore-edge, lower cover plain, rubbed and scuffed, each leaf c.215 x 630mm., covers 230 x 695mm., [Tibet], [c.18th or 19th century]. *** A canonical text that occupies an entire volume of the Tibetan tripitaka, said to be the words of the Buddha as taught to a gathering of 1,250 arhats on the mountain called Vulture's Peak, near Rajagriha in Nothern India. The title is flanked by a pair of miniatures identified by inscriptions below: "homage to the supreme teacher" (i.e. Buddha Sakyamuni, the Buddha of the present) on the left and "homage to the venerable Maitreya" (i.e. the Buddha of the future) on the right. The final leaf bears miniatures of Manjughosa (Manjusri, patron deity of wisdom) on the left and "the great mother" (Prajnaparamita, the perfection of wisdom) on the right. Two groups of devotees honouring an unidentified buddha/bodhisattva figure occupy the lower register in the centre of the page.
Tibet.- Confession sutra manuscript, title with overlay flap that covers two illustrations of Buddhist deities, another leaf with two illustrations of praying Buddhist monks, with over 200 leaves of manuscript text, each leaf approx. 175 x 520 mm (6 7/8 x 20 1/2 in), some surface dirt and rough edges throughout, heavy signs of use, cloth stitched backstrip detached and with losses, wrapped in linen and presented in decorative wooden sutra box, with metal tooled and painted cover, 145 x 220 x 570 mm (5 3/4 x 8 5/8 x 22 1/2 in), [probably 18th century]
Tibet.- Charm scroll with an apocryphal Buddhist text, manuscript in Tibetan, on paper scroll, text in red and black ink, coloured illustrations, some chips and fraying to edges, some scattered small wormholes or traces, a few tape repairs, browned, c.90 x 5660mm., [Tibet], [17th century]. *** A remarkable manuscript that claims to be terma, a hidden source of true Buddhist doctrine. The text begins with invocations to the deities of the ten directions and pays them homage. Intriguingly neither the names of the deities nor their sacred realms are familiar from Buddhist or Bonpo sources. The next section claims to be translated from the Sanskrit, containing a long litany of unfavourable circumstances (astrological, demonic, natural &tc) with a prayer that they may be removed. After this come mantra and further spells for warding off evil. The other side of the scroll contains a long chain of talismanic charms, all in roundel form. Most of these consist of some kind of seed syllable encircled with a prayer, each bearing the name of some specific type of demonic injury.
Tibet.- Ritual of the Fierce Aspect of Buddhahood, manuscript in Tibetan, on simple native paper, complete in 42 numbered leaves, black ink on 5 ruled lines of 215mm. consisting of c.38 syllables, first and last leaf chipped and frayed at edges, browning, some generally light soiling and staining, occasional very small marginal worming, affecting a few letters to final few leaves, leaves loose, wrapped in dark pink cotton and housed in modern card folder, each leaf c.66 x 267mm., [Tibet], [18th century]. *** A central text of Tibetan Buddhism in which the Nying-ma-pa school exalt their guru to cosmic heights, defending their practices and beliefs against the criticisms of the ‘reformed’ schools. A partially illegible title-page identifies the text as a ritual manual, centred on the fierce aspect of the guru (Padmasambhava) as the embodiment of Buddhahood. The guru is invoked to grant the meditator a number of worldly and religious benefits, such as the overthrow of the eight classes of arrogant spirits, pestilence, fatal diseases, hysteria, the bestowal of empowerments and so on.
A collection of campaign medals to Indian recipients, comprising: Afghanistan 1878-80, no clasp, naming lost to edge bruising, fine; Tibet 1903-04, bronze, no clasp (Cooly Nach Bir Limbu S & T. Corps), good very fine or better; General Service 1918-62, George V, 2 clasps: Kurdistan, Iraq (1657A. L. D. KEHAR SINGH. 11 - LANCERS), very fine; India General Service 1908-35, Edward VII, clasp: North West Frontier 1908 (9662 Sepoy Gobindar 57th Rifles F.F.), near very fine; India General Service 1908-35, George V (Kaisar-I-Hind), 3 clasps: Waziristan 1919-21, Waziristan 1921-24, Burma 1930-32 (2288 HAVR. DULO RAM, 1-26 PJBIS.), sooty patination, near very fine; India General Service 1908-35, George V (Indiae Imp), clasp: North West Frontier 1930-31 (9047 SEP. FAUJA SINGH. 2-12 F.F.R.), uneven patination, near very fine. [6]Not scale
Fourteen British Quad and One Sheet film posters, includes, We Bought a Zoo, One Sheet, rolled, 27 x 40 inches; Quads include, Falling Down; Playing for Keeps; The Rescue; See No Evil, Do No Evil; Broken Arrow; The Bounty Hunter Advance; The Pagemaster; Dragonball Evolution; Glitter; Rush Hour 3; One For the Money; The Parole Officer Advance; Never Let Me Go; Seven Years in Tibet; rolled, 30 x 40 inches. (14)Condition Report: overall rippling, and a few slightly faded, otherwise generally good conditions. Rush Hour 3 small tear centre right edge; Falling Down tears to lower edge;
Fifteen British Quad film posters, includes, Awake; Evan Almighty; Argo; Rush Hour 3; Legends of the Fall; How I Live Now; Mr. Turner;Memphis Belle; The Interview; Seven Years in Tibet; High Heel and Low Lifes Advance; This is 40 Advance; The Saint; Mr Deeds;; Hope Springs Advance; rolled, 30 x 40 inches. (15) Condition Report: overall rippling. Memphis Belle tear l.h. edge; Mr Deeds tears r.h. edge;
Fifteen British Quad film posters, includes, Broken Arrow; Legends on the Fall; Never Been Kissed; Dave; Awkenings; Argo; Seven Years in Tibet; How I live Now; Evan Almighty; Return to Neverland; Rush Hour 3; Mr. Turner; Cop and a Half; Awake; Storm Breaking; rolled, 30 x 40 inches. £50-80CR: Broken Arrow tear lower centre; Legends of the Fall tear top left edge; Evan Almighty some tears to top and lower edges; Cop and a Half tear r.h. edge; Condition Report: overall light rippling. Broken Arrow tear lower centre; Legends of the Fall tear top left edge; Evan Almighty some tears to top and lower edges; Cop and a Half tear r.h. edge;
* Five: A good 'Tibet' medal group to Major E. Clarke, M.I.D., Royal FusiliersTibet Medal 1903-04, 1 clasp, Gyantse (2580 Sergt Major E. Clarke 1st Bn Ryl: Fuslrs:), 1914-15 Star (Q.M.& Lieut,. E. Clarke. R. Fus.), British War and Victory Medals (Q.M. & Lieut. E. Clarke.), Army Long Service Medal, E.VII.R. (2580 Serjt: -Maj: E. Clarke. Rl: Fus:), good very fine or better, swing mounted QTY: (5)NOTE:Edward Clarke was born in Norfolk in 1868 and served with the Royal Fusiliers and was promoted to Sergeant Major in 1899, he was mentioned in General McDonalds despatches for the for the Tibet Campaign and in 1909 promoted to Lieutenant and Quartermaster. Clarke served on the Western Front with the regiment from 1915 and was severely wounded in action. An original newspaper article included with the lot details that his wife went to France to stay with him in the hospital run by the Duchess of Westminster. It also stated that Clarke at the time of the article, was the only surviving member of the Younghusband exhibition and that he introduced shorts to the British Army.
A Tibetan incised red lacquer wood book cover, Tibet, Qing Dynasty, of rectangular form, the outer side incised with Buddhist emblems, 23cm x 80cmCompare with a similar one at the Palace Musem, Yongle period (museum accession number 新0020233)清 西藏紅漆戧金八寶經文夾板 Condition Report: loss to gilding and knocks to the raised ribs and edgesCondition Report Disclaimer
A Ritual Dagger (phurbu) and Thunderbolt (dorje), Tibet, circa 19th century, bronze, the former with triple head of Mahakala wearing skull crown, the three sided blade festooned with snakes, the latter with bulb-shaped openwork terminals issuing from the loti form grip with central sphere, 21cm and 19cm long (2) 西藏十九世紀 銅金剛杵等兩件 Condition Report: some wear and polishing Condition Report Disclaimer
A Thang-ka depicting an Arhat, Tibet, 19th century, pigment with gold on cloth, seated in a verdant landscape, wearing billowing orange robes and pointed red hat, a serpent wrapped around his body, various figures below including the dharmapala Mahakala, the blue figure standing within an aureole of flames, a lama and a dakini above, a line of Tibetan script along the bottom edge, image size 68cm x 40cm, framed 西藏十九世紀 彩繪布面羅漢唐卡 Condition Report: as seen in images and unexamined out of the frame Condition Report Disclaimer
A small Thang-ka depicting Avalokitesvara, Tibet, 18th century, pigment with gold on cloth, the four-armed Buddhist deity seated in padmasana within a scrolling golden aureole on a lotus throne in a hilly landscape, his primary hands clasped over the wish-fulfilling jewel, his upper hands holding mala and padma, wearing elaborate jewellery, large earrings and tall crown, silk mount with geometric design, image size, 41cm x 28cm, framed 西藏十八世紀 彩繪布面觀自在菩薩唐卡 Condition Report: as seen in images unexamined out of fame Condition Report Disclaimer
A Tibetan painted wood book cover, Tibet, 15th-17th century, of rectangular form, the outer side painted in gold on red ground within twin concentric frames, depicting skulls and human entrails amidst flames, with vultures amidst stylised Chinese clouds, 27.5cm x 67.5cm 十五-十七世紀 西藏紅漆描金經文夾板 Condition Report: in presentable condition but with some wear Condition Report Disclaimer
Tibet / Nepal Drachenteppich. Antik.123 cm x 72 cm. Handgeknüpft. Wolle auf Baumwolle. Wohl Naturfarben. Circa 70 - 100 Jahre alt. Zustand siehe Fotos. Versand kann organisiert werden.Tibet / Nepal Dragon Rug. Antique.123 cm x 72 cm. Hand-knotted. Wool on cotton. Presumably natural pigments. Arund 70 - 100 years old. See photos for condition. Shipping can be organised.
Tibet Bildteppich. Drachen. Antik.197 cm x 119 cm. Handgeknüpft. Wolle auf Baumwolle. 2 Drachen im Querformat. Naturfarben. Circa 90 - 130 Jahre alt. Provenienz: Umkreis Mauch. Harrer. Ford. Sammlerstück. Museal. Zustand siehe Fotos. Versand kann organisiert werden.Tibetan tapestry. Dragon. Antique. 197 cm x 119 cm. Hand-knotted. Wool on cotton. 2 dragons in horizontal format. Natural colours. Approximately 90 - 130 years old. Provenance: Mauch. Harrer. Ford circle. Collector's item. Museal. See photos for condition. Shipping can be organised.
BRONZE 'DRAGON' BOTTLE VASE QING DYNASTY, 18TH-19TH CENTURY 清 銅蟠龍紋瓶sturdily cast with slightly compressed globular body on splayed foot, raised to cylindrical long neck, a dynamic sinuous dragon coiled on the neck in high relief, the face, mane, spine, muscles rendered in detail, all elevated on an integrated openwork square base 33cm high; 3655g From the collection of George Forrest (13 March 1873 - 5 January 1932). George Forrest was an important Scottish botanist born in Falkirk. In 1904, he was sponsored by a horticulturist and cotton broker- Arthur Kilpin Bulley (1861-1942), to embark on an expedition to China's then-remote southwestern province of Yunnan, in search of plants new to horticulture in Europe, particularly species of rhododendron. Altogether, Forrest made seven trips to the region, ranging as far afield as upper Burma, eastern Tibet and Sichuan province. In 1932, he passed away just outside of the town of Tengchong, previously known as Tengyue or Tengyueh.His Asian Art collection was partially donated to the National Museum of Scotland in Edinburgh. This vase was on loan for decades, loan number ‘A.L.331.6’, with an associated museum label tied on the base inscribed ‘Loan 331/6’, deaccessioned in 2023, thence by direct descent. The old photograph of the vase (see illustration 1) was possibly taken next to the China Inland Mission Moongate in Dali, and another photograph shows Mr Forrest outside the same moon gate around 1905 (see illustration 2).We would like to express our gratitude to 'George Forrest / Royal Botanic Garden Edinburgh’ for providing the old photographs and their information. See two related bronze vases with dragons on the neck, one dated to the late Ming dynasty, 17th century, sold at Christie's New York, 25 Sep 2020, lot 1606; and one dated Qing dynasty, 18th century, sold at Christie's Hong Kong, 6 Apr 2015, lot 164.
(From the collection of George Forrest, lots 37-41)RARE INSCRIBED AND DATED ARCHAISTIC BRONZE VESSEL, FU YUAN DYNASTY, DATED TO THE XINYOU YEAR OF THE ZHIZHI REIGN, 1321AD 元 1321年 銅簠款識: 至治辛酉中慶路文廟禮器教敦趙善坤正錄孫彬杜餘慶記of rectangular form, with wide flared sides raised on a high gently splayed foot with cut-out aprons, both narrower sides set with a pair of loop handles issuing from mythical animal heads, decorated around the sides with bands of geometric motifs, wider sides with two small applied animal-mask plaques, the base with a panel reading Zhizhi xinyou Zhongqinglu wenmiao liqi jiaodun Zhao Shankun zhenglu Sun Bin Du Yuqing ji 35.5cm wide; 3278g From the collection of George Forrest (13 March 1873 - 5 January 1932). George Forrest was an important Scottish botanist born in Falkirk. In 1904, he was sponsored by a horticulturist and cotton broker- Arthur Kilpin Bulley (1861-1942), to embark on an expedition to China's then-remote southwestern province of Yunnan, in search of plants new to horticulture in Europe, particularly species of rhododendron. Altogether, Forrest made seven trips to the region, ranging as far afield as upper Burma, eastern Tibet and Sichuan province. In 1932, he passed away just outside of the town of Tengchong, previously known as Tengyue or Tengyueh.His Asian Art collection was partially donated to the National Museum of Scotland in Edinburgh. This item was on loan for decades, loan number A.L.331.4, with an associated museum label tied to one handle inscribed ‘Loan 331/4’, further with a museum paperboard label with the information of the item, stated as an incense burner, obtained at Talifu, Yunnan, ‘Lent by Mr. George Forrest, Edinburgh, 1929. Loan 331.4’, deaccessioned in 2023, thence by direct descent. The old photograph shows Mr Forrest outside the China Inland Mission Moongate in Dali, taken around 1905.We would like to express our gratitude to 'George Forrest / Royal Botanic Garden Edinburgh’ for providing the old photograph and its information. The inscriptions on the base record that this vessel was made in the year of Xinyou of the Zhizhi reign, corresponding to 1321AD during the Yuan dynasty. It was dedicated to the Confucious Temple located at Zhongqing Street, traceable to the still-standing Confucious Temple built in 1302AD in Anning county, Kunming city, Yunnan. While archaistic bronze ritual vessels are not uncommon, bronze ritual vessels documented to have been made for use in local academies and temples such as the present example are extremely rare. Compare to a highly similar rare inscribed and dated archaistic bronze vessel, fu, Yuan dynasty, dated to the Bingzi year of the Zhiyuan reign (1276 or 1336), formerly in the collection of Dr David Ho, sold at Sotheby's London, 3 November 2021, lot 121. Also see two documented bronze ritual vessels, fu, both dated to the Yuan dynasty, in the collection of Shanghai Museum.
(From the collection of George Forrest, lots 37-41) LARGE BRONZE 'CHI DRAGON' TRIPOD CENSER QIANQING GONG MARK, QING DYNASTY, 18TH-19TH CENTURY 清 乾清宮款 銅螭龍耳三足大爐impressively cast with wide rounded body raising to a ridge underneath waisted neck and everted flattened mouth, all on three cabriole feet, both sides with theatrically arched chi-dragons clinging to the mouth and body as handles in high relief, the base cast with recessed medallion centred with a three-character ‘Qian Qing Gong’ mark enclosed by a band of dragon amongst crashing waves 34cm wide across handles; 5.56kg From the collection of George Forrest (13 March 1873 - 5 January 1932). George Forrest was an important Scottish botanist born in Falkirk. In 1904, he was sponsored by a horticulturist and cotton broker- Arthur Kilpin Bulley (1861-1942), to embark on an expedition to China's then-remote southwestern province of Yunnan, in search of plants new to horticulture in Europe, particularly species of rhododendron. Altogether, Forrest made seven trips to the region, ranging as far afield as upper Burma, eastern Tibet and Sichuan province. In 1932, he passed away just outside of the town of Tengchong, previously known as Tengyue or Tengyueh.His Asian Art collection was partially donated to the National Museum of Scotland in Edinburgh. This censer was on loan for decades, loan number ‘A.L.331.3’, with an associated museum tag label tied on one foot inscribed ‘Loan 331/3’, further with two associated museum cardboard labels with item details, loan number ‘L.331.3’ and ‘Lent by Mr. George Forrest, Edinburgh, 1929’, deaccessioned in 2023, thence by direct descent. The old photograph shows Mr Forrest outside the China Inland Mission Moongate in Dali, taken around 1905.We would like to express our gratitude to 'George Forrest / Royal Botanic Garden Edinburgh’ for providing the old photograph and its information. Qianqing Gong, The Palace of Heavenly Purity, or Qianqing Palace (乾清宫) is a palace in the Forbidden City in Beijing, China. It is the largest of the three halls of the Inner Court, located at the northern end of the Forbidden City. During the Qing dynasty, the palace often served as the Emperor's audience hall, where he held council with the Grand Council. Objects, especially censers, bearing Qianqing Gong mark are deemed similar to ‘Neitan Jiaoshe’ mark (內壇郊社, refers to the altar to Heaven and Earth within the inner walls of the Temple of Heaven) as Imperial wares adorning or used in their specific rooms. Compare to an example of a bronze tripod censer with chilong handles, Qing dynasty Qianlong period, with a different treatment of the ‘Qian Qing Gong’ mark, sold at China's Guardian, 19 May 2021, lot 4634. Stylistically, a comparable large bronze tripod censer with chilong handles, dated to the late Ming dynasty, note the similar treatment of the waisted band with ridge on the mouth, sold at Sotheby's London, 22 February 2022, lot 50; Two other censers with similar design on the mouth, dated to Ming and late Ming dynasty, were sold at Christie's London, 18 Mar 2015, lot 686 and Sotheby's London, 10 November 2017, lot 366.
NINGXIA RUG QING DYNASTY, 19TH CENTURY 清 寧夏團花紋毯an arrangement of eight floral roundels intermittent with butterflies, flowers, pomegranate and buddha-hand citrus sprays against a burnt orange field, enclosed by a beaded border further with a larger floral border 184.5cm x 124.5cm From the collection of George Forrest (13 March 1873 - 5 January 1932), Edinburgh. George Forrest was an important Scottish botanist born in Falkirk. In 1904, he was sponsored by a horticulturist and cotton broker- Arthur Kilpin Bulley (1861-1942), to embark on an expedition to China's then-remote southwestern province of Yunnan, in search of plants new to horticulture in Europe, particularly species of rhododendron. Altogether, Forrest made seven trips to the region, ranging as far afield as upper Burma, eastern Tibet and Sichuan province. In 1932, he passed away just outside of the town of Tengchong, previously known as Tengyue or Tengyueh.His Asian Art collection was partially donated to the National Museum of Scotland in Edinburgh. This rug was on loan for decades, loan number A.L.331.1, with an associated museum tag label inscribed ‘L331.1’, deaccessioned in 2023, thence by direct descent. The old photograph shows Mr Forrest outside the China Inland Mission Moongate in Dali, taken around 1905.We would like to express our gratitude to 'George Forrest / Royal Botanic Garden Edinburgh’ for providing the old photograph and its information. Two comparable Ningxia rugs, similar in design, were in the collection of Arthur M. Sackler, sold at Sotheby's New York, 16 September 2009, lot 68 & 70
Teapot crafted in the traditional style with repousse work, originally used in Tibet for serving Yak tea. It showcases an elegant handle shaped like a Chinese Qilin, with intricate detailing including repeating floral designs and a lotus petal pattern on the base. Dimensions: 6.5"L x 3.75"W x 7"HCondition: Age related wear.
FÜNF REISESCHREINE, SOG. GA'US. Herkunft: Tibet. Technik: Silber, Repoussé. Textilfragmente. Steinbesatz. Beschreibung: Fünf zweiteilige Amulettbehälter. Vier davon in Lotosblattform sowie ein runder. Die Frontseiten aus Silber in Treibarbeit dekoriert mit Gottheiten bzw. geometrischen Mustern und Rankenwerk, teilweise partiell vergoldet sowie mit Steinbesatz. Die Rückseiten aus Kupferblech, eine graviert mit dem mystischen Monogramm Namchu Wangden. Maße: Höhe 7-17,5cm. Tibetische Gaus (ga'u) sind aus Metall gefertigte, kleine Altarschreine, tragbare Reliquienbehälter oder kleine dosenähnliche Objekte für Reliquien oder Amulette, welche an einer Kette am Hals oder mithilfe einer Spange am Haar befestigt werden. Sie können kleine Statuen von tibetischen Gottheiten oder Buddhas als Miniaturgemälde enthalten - die sogenannten 'Tsakli'. Voraussichtliche Versandkosten für dieses Los: Deutschland: 52,00 Euro inkl. 8,30 Euro MwSt EU: 70,00 Euro inkl. 11,18 Euro MwSt Weltweit: 140,00 Euro inkl. 22,35 Euro MwSt zzgl. Versandversicherung
ZWEI TEETASSENSTÄNDER UND VIER TEESCHALEN (PHORBA). Herkunft: Tibet. Datierung: Anfang 20.Jh. Technik: Silber-Repoussé, teilweise vergoldet. Wurzelholz. Beschreibung: Die Gefäße bzw. Tassenständer geschmückt mit buddhistischen Symbolen, floralem Dekor und Schmuckbändern. Die Schalen aus Holz an den Rändern bzw. im Inneren mit Silber gefasst und verziert mit Bändern aus Lotosblütenblättern in Treibarbeit. Maße: Höhe 7/ 6/ 8/ 4,5/ 6/ 4,5cm. Provenienz:Privatsammlung Rheinland-Pfalz. Voraussichtliche Versandkosten für dieses Los: Deutschland: 52,00 Euro inkl. 8,30 Euro MwSt EU: 70,00 Euro inkl. 11,18 Euro MwSt Weltweit: 140,00 Euro inkl. 22,35 Euro MwSt zzgl. VersandversicherungErläuterungen zum Katalog Asiatika - Buddistische Kunst
SARVABUDDHA-DAKINI. Herkunft: Tibet. Datierung: 18./19.Jh. Technik: Bronze, feuervergoldet. Steinbesatz. Beschreibung: Die Initationsgöttin von Naropa steht nackt in alidhasana auf einem ovalen Lotosthron, die am Boden liegenden Feinde der Lehre niedertretend. In der Rechten, nach unten gestreckten Hand ein Kultmesser, in der Linken, Erhobenen eine mit Blut gefüllte Schädelschale, die sie zum Munde führt. Sie trägt Schädelkrone und Schädelkette sowie Kettenschmuck. Steinbesatz. Reste von blauer Kultfarbe in den Haaren. Sockel geöffnet und mit einer schwarzen Masse verfüllt. Maße: Höhe 17,5cm. Provenienz:Privatsammlung Sachsen. Voraussichtliche Versandkosten für dieses Los: Deutschland: 24,00 Euro inkl. 3,83 Euro MwSt EU: 40,00 Euro inkl. 6,39 Euro MwSt Weltweit: 75,00 Euro inkl. 11,97 Euro MwSt zzgl. VersandversicherungErläuterungen zum Katalog Asiatika - Buddistische Kunst
TEIL EINES BUCHDECKELS MIT FARBIGEN DARSTELLUNGEN DREIER GOTTHEITEN. Herkunft: Tibet. Datierung: Frühes 19.Jh. Technik: Holz, farbig bemalt. Beschreibung: Die Frontseite in Relief beschnitzt mit kassettenförmigem Profilfeld, dieses zusätzlich dekoriert mit einem Swatiska-Muster in Goldlack. Auf der Rückseite in Gouache auf Leinwand. Die Darstellung einer Trias tibetanischer Gottheiten, im Zentrum Shadakshari-Lokesvara, zu ihrer rechten Buddha Shakyamuni und zu ihrer linken Manjushri. Maße: 34,5x10cm. Voraussichtliche Versandkosten für dieses Los: Deutschland: 52,00 Euro inkl. 8,30 Euro MwSt EU: 70,00 Euro inkl. 11,18 Euro MwSt Weltweit: 140,00 Euro inkl. 22,35 Euro MwSt zzgl. VersandversicherungErläuterungen zum Katalog Asiatika - Buddistische Kunst Glocke Tibet
STAB- ODER KRONENAUFSATZ MIT SCHÄDEL UND FLAMMEN. Herkunft: Ost-Tibet. Datierung: 19./20.Jh. Technik: Feuervergoldetes Kupfer-Repoussé, Reste farbiger Bemalung. Beschreibung: In Form eines von Flammen umgebenen Schädels der Beschützergottheiten der Citipati. Maße: 21x22x9cm. Voraussichtliche Versandkosten für dieses Los: Deutschland: 36,00 Euro inkl. 5,75 Euro MwSt EU: 55,00 Euro inkl. 8,78 Euro MwSt Weltweit: 110,00 Euro inkl. 17,56 Euro MwSt zzgl. VersandversicherungErläuterungen zum Katalog Asiatika - Buddistische Kunst
FRAGMENT EINER AUREOLE ODER EINES SCHMUCKBANDES MIT ACHT KÖPFEN. Herkunft: Tibet. Datierung: 18./19.Jh. Technik: Feuervergoldetes Kupfer-Repoussé. In modernem Rahmen auf Unterlage montiert. Beschreibung: Längliches Fragment mit Köpfen und Schädeln in abwechselnder Reihung. Die Gesichter mit unterschiedlichem Gesichtsausdruck, zornvoll und grinsend dargestellt. Maße: 35x5cm. Voraussichtliche Versandkosten für dieses Los: Deutschland: 36,00 Euro inkl. 5,75 Euro MwSt EU: 55,00 Euro inkl. 8,78 Euro MwSt Weltweit: 110,00 Euro inkl. 17,56 Euro MwSt zzgl. VersandversicherungErläuterungen zum Katalog Asiatika - Buddistische Kunst
ZEREMONIALKRONE EINES LAMAS. Herkunft: Ost-Tibet. Datierung: 19./20.Jh. Technik: Kupfer und Silber-Repoussé, Totenköpfe vergoldet, Steinbesatz, Stoff. Beschreibung: Auf einem u-förmigen, mit Ranken und Lotosknospen in vergoldetem Kupfer-Repoussé dekorierten Reif mit Korallen- und Türkisbesatz fünf plastisch gearbeitete Aufsätze aus Silber-Repoussé in Form von Flammen speienden Schädeln, welche die fünf Dyani Buddhas repräsentierend. Im Inneren textile Polsterung. Maße: Höhe 22cm, Breite ca. 30cm. Provenienz:Privatsammlung Rheinland-Pfalz. Bitte beachten Sie, dass dieses Objekt aus Materialien besteht, für deren Export in Länder außerhalb des EU-Vertragsgebiets eine Genehmigung aufgrund der Cites-Bestimmungen erforderlich ist. Wir weisen darauf hin, dass eine solche Erlaubnis normalerweise nicht erteilt wird. Voraussichtliche Versandkosten für dieses Los: Deutschland: 52,00 Euro inkl. 8,30 Euro MwSt EU: 70,00 Euro inkl. 11,18 Euro MwSt Weltweit: 140,00 Euro inkl. 22,35 Euro MwSt zzgl. VersandversicherungErläuterungen zum Katalog Asiatika - Buddistische Kunst
Prunkgürtel, Tibet, 19. Jhdt. Dreiteiliger Lederriemen, durch drei jeweils lederunterlegte und versilberte eiserne Scheiben mit Scharnieren (teilw. repariert) verbunden und mit viereckigen bzw. rosettenförmigen und ebenfalls versilberten Eisenplatten besetzt, anhängend ein Feuerstahl sowie mehrere Riemen zur Befestigung eines Schwertes bzw. anderer Ausrüstungsgegenstände. Alle Schmuckplatten mit Korallen besetzt sowie mit feinem Niellodekor. Länge 109 cm. Dazu ein eiserner Griff für einen Tulwar. A magnificent Tibetan belt, 19th century A magnificent Tibetan belt, 19th centuryDreiteiliger Lederriemen, durch drei jeweils lederunterlegte und versilberte eiserne Scheiben mit Scharnieren (teilw. repariert) verbunden und mit viereckigen bzw. rosettenförmigen und ebenfalls versilberten Eisenplatten besetzt, anhängend ein Feuerstahl sowie mehrere Riemen zur Befestigung eines Schwertes bzw. anderer Ausrüstungsgegenstände. Alle Schmuckplatten mit Korallen besetzt sowie mit feinem Niellodekor. Länge 109 cm. Dazu ein eiserner Griff für einen Tulwar.Condition: III
Kurzschwert und Dolch (Dughti), Tibet, um 1900 Gerade Rückenklingen mit jeweils zwei feinen Zügen auf beiden Seiten. Griffe mit eisernen Zwingen, kannelierten Eisendrahtwicklungen und geschnittenen Knäufen mit Floraldekor. Schwere eiserne Scheiden, vs. mit geschnittenem und durchbrochen gearbeitetem Dekor aus Glücksknoten, Drachen, Wolken und Blüten, rs. gravierter Rankendekor. Länge 35 und 63 cm. Fein gearbeitetes, zusammengehöriges Set. A Tibetan short sword and dagger (dughti), circa 1900 A Tibetan short sword and dagger (dughti), circa 1900Gerade Rückenklingen mit jeweils zwei feinen Zügen auf beiden Seiten. Griffe mit eisernen Zwingen, kannelierten Eisendrahtwicklungen und geschnittenen Knäufen mit Floraldekor. Schwere eiserne Scheiden, vs. mit geschnittenem und durchbrochen gearbeitetem Dekor aus Glücksknoten, Drachen, Wolken und Blüten, rs. gravierter Rankendekor. Länge 35 und 63 cm. Fein gearbeitetes, zusammengehöriges Set.Condition: II
A set of twenty-five Chinese bisque porcelain busts of Mao Zedongcirca 1966-67Each inscribed 'Long Live Chairman Mao' in cursive script,18cm high, in pack-horse basket (25)Provenance: Peter WainCf. A set from the same hoard was exhibited: Mao: Art For The Masses, Revolutionary Art of the Mao Zedong Era, 1950-1976, National Museum of Scotland, Edinburgh, May 2003 - March 2004, cat. no. 32.A hoard of 400 bisque porcelain busts of Chairman Mao were discovered on the Sino-Tibetan border in an area regarded as the inspiration for Shangri-La.Originally intended for distribution throughout the South Eastern corner of Tibet, they were packed into baskets and transported by horse to Zhong Dian on the Yunnan Tibet border. The baskets were stored awaiting distribution in a police station but never made it any further, languishing forgotten until 1998 when the building was destroyed by an earthquake. The busts miraculously survived, protected by their transit baskets and straw wadding.The design of the bust was officially sanctioned, being the only sculptural image of Mao made for distribution to official buildings in China. The majority of the hoard was bought by the late Peter Wain, before being shipped to the UK.二十世紀中期 毛主席瓷塑半身像一組二十五尊類似一組瓷塑像展覽於：大眾藝術：毛澤東期間的革命藝術"，蘇格蘭博物館，愛丁堡，2003年5月至2004年3月，圖錄編號32。來源：彼得·韋恩先生私人收藏
A set of twenty-five Chinese bisque porcelain busts of Mao Zedongcirca 1966-67Each inscribed 'Long Live Chairman Mao' in cursive script,18cm high, in pack-horse basket (25)Provenance: Peter WainCf. A set from the same hoard was exhibited: Mao: Art For The Masses, Revolutionary Art of the Mao Zedong Era, 1950-1976, National Museum of Scotland, Edinburgh, May 2003 - March 2004, cat. no. 32.A hoard of 400 bisque porcelain busts of Chairman Mao were discovered on the Sino-Tibetan border in an area regarded as the inspiration for Shangri-La.Originally intended for distribution throughout the South Eastern corner of Tibet, they were packed into baskets and transported by horse to Zhong Dian on the Yunnan Tibet border. The baskets were stored awaiting distribution in a police station but never made it any further, languishing forgotten until 1998 when the building was destroyed by an earthquake. The busts miraculously survived, protected by their transit baskets and straw wadding.The design of the bust was officially sanctioned, being the only sculptural image of Mao made for distribution to official buildings in China. The majority of the hoard was bought by the late Peter Wain, before being shipped to the UK.二十世紀中期 毛主席瓷塑半身像一組二十五尊類似一組瓷塑像展覽於：大眾藝術：毛澤東期間的革命藝術"，蘇格蘭博物館，愛丁堡，2003年5月至2004年3月，圖錄編號32。來源：彼得·韋恩先生私人收藏
A set of twenty-five Chinese bisque porcelain busts of Mao Zedongcirca 1966-67Each inscribed 'Long Live Chairman Mao' in cursive script, in pack-horse basket,18cm high (25)Provenance: Peter WainCf. A set from the same hoard was exhibited: Mao: Art For The Masses, Revolutionary Art of the Mao Zedong Era, 1950-1976, National Museum of Scotland, Edinburgh, May 2003 - March 2004, cat. no. 32.A hoard of 400 bisque porcelain busts of Chairman Mao were discovered on the Sino-Tibetan border in an area regarded as the inspiration for Shangri-La.Originally intended for distribution throughout the South Eastern corner of Tibet, they were packed into baskets and transported by horse to Zhong Dian on the Yunnan Tibet border. The baskets were stored awaiting distribution in a police station but never made it any further, languishing forgotten until 1998 when the building was destroyed by an earthquake. The busts miraculously survived, protected by their transit baskets and straw wadding.The design of the bust was officially sanctioned, being the only sculptural image of Mao made for distribution to official buildings in China. The majority of the hoard was bought by the late Peter Wain, before being shipped to the UK.二十世紀中期 毛主席瓷塑半身像一組二十五尊類似一組瓷塑像展覽於：大眾藝術：毛澤東期間的革命藝術"，蘇格蘭博物館，愛丁堡，2003年5月至2004年3月，圖錄編號32。來源：彼得·韋恩先生私人收藏。
A Nepalese/Tibetan copper-alloy figure of Jalamanusha16th/17th centuryThe chimera typically depicted with human head and torso, wearing a five-pointed diadem, their neck, chest and arms bedecked in beaded jewellery, both hands holding an implement before their torso, all above a bird lower body with feathered wings curling into clouds, a long tail, and the talons of a bird of prey, standing on a stepped circular base, with traces of gilt overall, 10.7cm high.尼泊爾/西藏十六/十七世紀 銅嘉拉滿努沙像Cf. Jalamanusha (aquatic being), later known in India as Kinnara and in Tibet as Miamchi, is an originally Nepalese aquatic deity, or 'rain child', connected to the ancient concept of 'weather gestation' that is ubiquitous in South Asian art. In his article 'Does Art Imitate Life or Life Imitate Art? Nepal has a unique answer', in Orientations, March/April 2017, pp. 118-127, Gautama V. Vajracharya explains how the fundamental importance of monsoons to the economy of the region means that all the local deities, before they became associated with Buddhist or Hinduism, were originally related to atmospheric events.Vajracharya also points out that the cloud-motif carved around the false entrances of ancient monolithic stupas in Nepal is known to Newari craftsmen as lahpvah, a classical Newari word for amniotic fluid; he links this to the pre-Hindu and pre-Buddhist concept of atmospheric gestation, where not only the terrestrial waters (rivers), but also the celestial ones (rain clouds) were seen as mother goddesses; ideally the cloud-mothers would conceive in autumn to then give birth to their rain-children at the very beginning of the monsoon. Such atmospheric gestation is the subject of the ceiling painting at Cave no. 1 in Ajanta, India, where, among other representations, there are images of human babies whose limbs gradually turn into clouds. This is the most likely origin of the Newari name for the cloud-foliage motif in Vajracharya's view, as well as one of the first representations of Jalamanusha.Prior to taking the current form of half-human, half-bird creature, the author explains how originally Jalamanusha was depicted as a fetus visualised in the cloudscape, originally with the lower body turning into amniotic fluid or foliage, like in the Ajanta paintings. It is via Gupta depictions, where the cloud scrolls are interpreted as feathers, that Jalamanusha is then identified with the pre-existing depiction of a half-human, half-bird chimera. The iconography of the present lot, with its feathers curling into a cloud-foliage shape, perfectly resonates with this view of the aquatic deity and indicates a strong Whilst relatively common in Southeast Asian iconography, Tibetan or Nepalese depictions of Miamchi, or Jalamanusha, are much rarer. See Bonhams, New York, 19 March 2018 for a Nepalese covered box in the form of Jalamanusha; and two more in the Dallas Museum of Art (acc. #PG.2012.6) and another in the Nalin collection published in Vajracharya, Nepalese Seasons, Rain and Ritual, New York, 2016, p.45, no.5.Condition Report: Generally in good condition. Indentation, tarnish to metal, and scattered verdigris commensurate with age. Some expected casting flaws.
Markham (Clements R., editor). Narratives of the Mission of George Bogle to Tibet, and of the Journey of Thomas Manning to Lhasa, 1st edition, Trübner & Co., 1876, engraved portrait frontispiece, four folding maps, 2 lightly foxed (mainly to margins and folds): one with a long split and a short split to one fold, and a second with a short closed tear adjacent to one fold, folding facsimile letter (small loss to blank margin), 6 plates, lightly toned throughout, scarce minor foxing, bookseller's ticket (E. & F.N. Spon) at rear, contemporary maroon half morocco, spine with recent gilt-lettered label, spine and tops of boards a little faded, extremities lightly rubbed, 8voQTY: (1)NOTE:George Bogle led the first British mission to Tibet in 1774, and Manning was the first Englishman to visit Lhasa in 1811.
Luxuriöses Paar silbermontierter Ritualgefäße (Bumpa), Tibet, 19. Jhdt. Zwei en suite gearbeitete, vollflächig mit durchbrochener und fein ausgearbeiteter Silbermontierung ummantelte Gefäße aus Kupferblech. Der gekehlte hohe Fuß in bauchigen Körper mit sich verjüngendem Hals übergehend. Dieser mit vorspringendem, umlaufend mit Ashtamangala-Symbolen reliefiertem Nodus bekrönt. Am Gefäß laufen vom Nodus vier durchbrochene, in korallen- und türkisbesetzte Maskaronen auslaufende Bände hinunter (durch rs. Streben am Korpus befestigt). Der nach Elefantenkopf stilisierte Ausguss der Kanne ebenfalls mit einem Türkis besetzt. Jeweils ohne Deckel. Stellenweise leicht verbeult, die Silberauflage mit kleinen Fehlstellen und Restaurierungen. Höhe je ca. 22 cm. A pair of luxurious Tibetan silver-mounted ritual vessels (bumpa), 19th century A pair of luxurious Tibetan silver-mounted ritual vessels (bumpa), 19th centuryZwei en suite gearbeitete, vollflächig mit durchbrochener und fein ausgearbeiteter Silbermontierung ummantelte Gefäße aus Kupferblech. Der gekehlte hohe Fuß in bauchigen Körper mit sich verjüngendem Hals übergehend. Dieser mit vorspringendem, umlaufend mit Ashtamangala-Symbolen reliefiertem Nodus bekrönt. Am Gefäß laufen vom Nodus vier durchbrochene, in korallen- und türkisbesetzte Maskaronen auslaufende Bände hinunter (durch rs. Streben am Korpus befestigt). Der nach Elefantenkopf stilisierte Ausguss der Kanne ebenfalls mit einem Türkis besetzt. Jeweils ohne Deckel. Stellenweise leicht verbeult, die Silberauflage mit kleinen Fehlstellen und Restaurierungen. Höhe je ca. 22 cm.Condition: II -
Varaha und Bhudevi aus Bronze, Tibet/Nepal, 18./19. Jhdt. Feuervergoldete Bronze, zweiteilig gearbeitet. Vollplastische und sehr fein gravierte Figurengruppe mit vierarmigem Varaha (Inkarnation Vishnus), seine Gefährtin Bhudevi (die Erde) hoch haltend. Zu seinen Füßen zwei Dämonen bzw. Diener in Schlangengestalt. Eines der Attribute fehlt. Unten mit einer Kupferplatte verschlossen. Höhe 17,5 cm. A gilded Tibetan/Nepalese figurine of Varaha and Bhudevi, 18th/19th century A gilded Tibetan/Nepalese figurine of Varaha and Bhudevi, 18th/19th centuryFeuervergoldete Bronze, zweiteilig gearbeitet. Vollplastische und sehr fein gravierte Figurengruppe mit vierarmigem Varaha (Inkarnation Vishnus), seine Gefährtin Bhudevi (die Erde) hoch haltend. Zu seinen Füßen zwei Dämonen bzw. Diener in Schlangengestalt. Eines der Attribute fehlt. Unten mit einer Kupferplatte verschlossen. Höhe 17,5 cm.Condition: II
TRAVEL. FUCHS, Vivian, and HILLARY, Edmund. The Crossing of Antarctica, London: Cassell & Co., 1958, pale blue cloth, dj, 4to.; CHAPMAN, Spencer. Lhasa, The Holy City, London: Chatto & Windus, 1940, 4to, with another copy of the same; together with 23 other volumes on travel including Tibet, Antarctica, China and other regions (26)
Collection of reference books and catalogues to include Chinese, Tibetan and Japaneseto include 'Hiroshige Birds and Flowers', introduction by Cynthea J. Bogel, commentaries on plates by Israel Goldman, poetry translated from the Japanese by Alfred H. Marks, George Braziller, Inc., New York in association with The Rhode Island School of Design, USA, 1988,'Highly Important Japanese Prints from the Henri Vever Collection: Final Part', London, Thursday 30 October 1997, Sotheby's, Sale LN7648 "Vever",'The Essence of Chinese Paintings', Roger Goepper, translated by Michael Bullock, Boston Book and Art Shop, Boston, Massachusetts, Library of Congress Catalogue No. 63-17534, Percy Lund, Humphries & Co Ltd, 1963 and'Wisdom and Compassion The Sacred Art of Tibet', Marylin M. Rhie, Robert A. F. Thurman, photographs by John Bigelow Taylor, published on the occassion of Wisdom and Compassion: The Sacred Art of Tibet, an exhibition organised by the Asian Art Museum of San Francisco in conjunction with Tibet House, New York, Thames and Hudson, London, 1991 (13) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Large folder of 19th and 20th-century coins and tokens in base metal and silver. Includes coins from Australia, Bahamas, Barbados, Belgium, Borneo, Ceylon, China, Colombia, East Africa, Egypt, France, Finland, Germany, Ghana, Gibraltar, Greece, Guatemala, Guernsey, Guiana, Hungary, India, Iran, Ireland, Israel, Isle of Man, Italy, Jamaica, Malaysia, Netherlands, New Guinea, Peru, Russia, South Africa, Spain, Straights Settlements, Switzerland, Tibet and others. The majority of the coins are presented in individual labelled paper envelopes. Ideal for collectors, coin hunters or eBay sellers.
Large album of silver, copper and bronze coins from the 19th and 20th centuries. Includes historic coins from Argentina, Bolivia, Burma, Chile, Czechoslovakia, Germany, Hong Kong, Hungary, Italy, Lithuania, Mexico, Norway, Oman, Panama, Paraguay, Persia, Peru, Russia, Saudi Arabia, Straights Settlements, Syria, Thailand, Tibet, Tunisia, Turkey, Uruguay, Vietnam, Yugoslavia. Each piece is offered in an annotated paper envelope. Ideal for collectors, coin hunters or eBay sellers.
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