IMPORTANT, SET OF 3 GILT BRONZE SHAKYAMUNI BUDDHA'S
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IMPORTANT, SET OF 3 GILT BRONZE SHAKYAMUNI BUDDHA'S figures.
Ming Dynasty Period and of the period (1368-1644).
Cast in formal in appearance are seated in 'dhyanasana' on a double-pedestal base. Decorated in front with a gilded demi-florette. Dressed in robes, fall in curved diagonal folds. The Buddha gazes forward, Athe eyes and lips are painted naturalistically beneath the blue-black hair on the head is piled in a tuft on top with a single gold ornament adorning the crown. Between the eyebrows is a white dot (urna) and adorning the neck are two curved horizontal lines. The earlobes are long and pierced. A similar lower garment is tied at the waist with a cloth belt. The legs are folded in vajra posture, right over left. The upper pedestal decorated with numerous Buddha figures in various gestures in relief.
The under base covered with lettering sutra. There is extensive gilding remaining.
One Buddha with both hands on chest level performs a graceful variation of the dharma chakra mudra or hand gesture indicating teaching (literally, turning or setting in motion the Wheel of Buddhist law).
The second Buddha with the right arm bare the right hand is extended across the knee and the palm of the hand facing outward (varada). The left performs the gesture (dhyanasana-mudra) of meditation - palm upward in the lap.
The third Buddha with the right arm raised toward chest level, in Karana Mudra, gesture which demons are expelled. The left performs the gesture (dhyanasana-mudra) of meditation - palm upward in the lap.
All three Buddha having extensive trace of gilt remain on surface, with dark-blue pigment on the ushnisha, with appearance of a body radiant like a mountain of gold. Both sits on a cushion embroidered with a floral design and the face of a lion at the center. The pedestal throne are supported by two lions and two elephants. The small figure between them with a vase is the Earth goddess. The figures similar to collection at Sacred Indian icon held at Bodh Gaya. They depict the Buddha about to reach enlightenment.
This sculpture appears to be the perfect example, by any artistic tradition, both for technical precision and exquisite form. The proportions of the body are exact and the overall presence and beauty make this sculpture a precious artistic treasure.
Dimension: 13"H
PROVENANCE:
Relating to the arts and crafts firm of F. B. Goodyer of 55 New Bond Street (The Aesthetic Gallery) of London.
Some of the articles are corresponding under the three headings 'Chinese Embroideries', 'Silk Exhibition May 1890' (at which, according to one cutting, Goodyer had 'a great and well-deserved honor bestowed upon him by the Princess of Wales', who asked for him to be presented to her, 'when she spoke to him most kindly and cordially about his beautiful fabrics'), 'Silk Exhibition Nov. 1890'.
F. B. GOODYER (late partner in the firm of Messrs. Liberty and Co.) has long been recognized as a significant figure in the arts and crafts movement. He founded his Aesthetic Gallery at 55 Bond Street in 1889, for the sale of Artistic Fabrics and Eastern Curios. Recognizing their importance, a number of European museums formed collection of Liberty fabric at this time. Liberty’s shop, founded in Regent Street, London in 1875, was an influential and necessary outlet for English goods as well as imported Asian commodities.
F. B. GOODYER Whose excellent taste in window display of colored fabrics for furnishing and decorative purposes has long made this among the more attractive shops of this thoroughfare, for what might very well be known as 'Goodyer wares'. The gallery combines have as varied a collection of pretty, artistic, and original design in cretonnes, muslins, printed velvets, tapestries, silks, etc., adapted of all kind of interior decoration; and also of quaint and original furniture, chairs, screens, tables, over mantels, books-cases, bedsteads (in wood-work), and the like, as gallery has to show.
In making reference here to Mr Goodyer places, we commend to the attention of any who may be interested in the gold, gem, enamel, and silver jewelry, the interesting and beautiful collection of such work which he exhibit, which we believe, are unique of their kind.
Literature:
Brenda M. King, Title Silk and Empire: Studies in imperialism; Publisher: Manchester University Press, 2005
Henry Blackburn, Academy Notes: Issues 15-18; Publisher: Chatto and Windus., 1889, the New York Public Library, Aug 6, 2008
Charles Eyre Pascoe, London of To-day: An Illustrated Handbook for the Season 1892; Publisher: Roberts Brothers, 1892
Society of Arts (Great Britain), Journal of the Society of Arts, Volume 43; Publisher: Society of Arts, 1895, Princeton University.
The London Gazette, Part 4; Publisher: T. Neuman, 1895, University of Iowa
Ming Dynasty Period and of the period (1368-1644).
Cast in formal in appearance are seated in 'dhyanasana' on a double-pedestal base. Decorated in front with a gilded demi-florette. Dressed in robes, fall in curved diagonal folds. The Buddha gazes forward, Athe eyes and lips are painted naturalistically beneath the blue-black hair on the head is piled in a tuft on top with a single gold ornament adorning the crown. Between the eyebrows is a white dot (urna) and adorning the neck are two curved horizontal lines. The earlobes are long and pierced. A similar lower garment is tied at the waist with a cloth belt. The legs are folded in vajra posture, right over left. The upper pedestal decorated with numerous Buddha figures in various gestures in relief.
The under base covered with lettering sutra. There is extensive gilding remaining.
One Buddha with both hands on chest level performs a graceful variation of the dharma chakra mudra or hand gesture indicating teaching (literally, turning or setting in motion the Wheel of Buddhist law).
The second Buddha with the right arm bare the right hand is extended across the knee and the palm of the hand facing outward (varada). The left performs the gesture (dhyanasana-mudra) of meditation - palm upward in the lap.
The third Buddha with the right arm raised toward chest level, in Karana Mudra, gesture which demons are expelled. The left performs the gesture (dhyanasana-mudra) of meditation - palm upward in the lap.
All three Buddha having extensive trace of gilt remain on surface, with dark-blue pigment on the ushnisha, with appearance of a body radiant like a mountain of gold. Both sits on a cushion embroidered with a floral design and the face of a lion at the center. The pedestal throne are supported by two lions and two elephants. The small figure between them with a vase is the Earth goddess. The figures similar to collection at Sacred Indian icon held at Bodh Gaya. They depict the Buddha about to reach enlightenment.
This sculpture appears to be the perfect example, by any artistic tradition, both for technical precision and exquisite form. The proportions of the body are exact and the overall presence and beauty make this sculpture a precious artistic treasure.
Dimension: 13"H
PROVENANCE:
Relating to the arts and crafts firm of F. B. Goodyer of 55 New Bond Street (The Aesthetic Gallery) of London.
Some of the articles are corresponding under the three headings 'Chinese Embroideries', 'Silk Exhibition May 1890' (at which, according to one cutting, Goodyer had 'a great and well-deserved honor bestowed upon him by the Princess of Wales', who asked for him to be presented to her, 'when she spoke to him most kindly and cordially about his beautiful fabrics'), 'Silk Exhibition Nov. 1890'.
F. B. GOODYER (late partner in the firm of Messrs. Liberty and Co.) has long been recognized as a significant figure in the arts and crafts movement. He founded his Aesthetic Gallery at 55 Bond Street in 1889, for the sale of Artistic Fabrics and Eastern Curios. Recognizing their importance, a number of European museums formed collection of Liberty fabric at this time. Liberty’s shop, founded in Regent Street, London in 1875, was an influential and necessary outlet for English goods as well as imported Asian commodities.
F. B. GOODYER Whose excellent taste in window display of colored fabrics for furnishing and decorative purposes has long made this among the more attractive shops of this thoroughfare, for what might very well be known as 'Goodyer wares'. The gallery combines have as varied a collection of pretty, artistic, and original design in cretonnes, muslins, printed velvets, tapestries, silks, etc., adapted of all kind of interior decoration; and also of quaint and original furniture, chairs, screens, tables, over mantels, books-cases, bedsteads (in wood-work), and the like, as gallery has to show.
In making reference here to Mr Goodyer places, we commend to the attention of any who may be interested in the gold, gem, enamel, and silver jewelry, the interesting and beautiful collection of such work which he exhibit, which we believe, are unique of their kind.
Literature:
Brenda M. King, Title Silk and Empire: Studies in imperialism; Publisher: Manchester University Press, 2005
Henry Blackburn, Academy Notes: Issues 15-18; Publisher: Chatto and Windus., 1889, the New York Public Library, Aug 6, 2008
Charles Eyre Pascoe, London of To-day: An Illustrated Handbook for the Season 1892; Publisher: Roberts Brothers, 1892
Society of Arts (Great Britain), Journal of the Society of Arts, Volume 43; Publisher: Society of Arts, 1895, Princeton University.
The London Gazette, Part 4; Publisher: T. Neuman, 1895, University of Iowa
Condition
Please Note: EDEN Fine Antiques Galleries provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.
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IMPORTANT, SET OF 3 GILT BRONZE SHAKYAMUNI BUDDHA'S
Estimate $7,500 - $9,000
Nov 11, 2016
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0091: IMPORTANT, SET OF 3 GILT BRONZE SHAKYAMUNI BUDDHA'S
Sold for $70,000
•14 BidsEst. $7,500 - $9,000•Starting Price $4,500
DAY-1 2016 AUTUMN ASIAN & EUROPEAN ANTIQUES Nov 11, 2016 10:30 AM ESTBuyer's Premium 21%
Lot 0091 Details
Description
...
IMPORTANT, SET OF 3 GILT BRONZE SHAKYAMUNI BUDDHA'S figures.
Ming Dynasty Period and of the period (1368-1644).
Cast in formal in appearance are seated in 'dhyanasana' on a double-pedestal base. Decorated in front with a gilded demi-florette. Dressed in robes, fall in curved diagonal folds. The Buddha gazes forward, Athe eyes and lips are painted naturalistically beneath the blue-black hair on the head is piled in a tuft on top with a single gold ornament adorning the crown. Between the eyebrows is a white dot (urna) and adorning the neck are two curved horizontal lines. The earlobes are long and pierced. A similar lower garment is tied at the waist with a cloth belt. The legs are folded in vajra posture, right over left. The upper pedestal decorated with numerous Buddha figures in various gestures in relief.
The under base covered with lettering sutra. There is extensive gilding remaining.
One Buddha with both hands on chest level performs a graceful variation of the dharma chakra mudra or hand gesture indicating teaching (literally, turning or setting in motion the Wheel of Buddhist law).
The second Buddha with the right arm bare the right hand is extended across the knee and the palm of the hand facing outward (varada). The left performs the gesture (dhyanasana-mudra) of meditation - palm upward in the lap.
The third Buddha with the right arm raised toward chest level, in Karana Mudra, gesture which demons are expelled. The left performs the gesture (dhyanasana-mudra) of meditation - palm upward in the lap.
All three Buddha having extensive trace of gilt remain on surface, with dark-blue pigment on the ushnisha, with appearance of a body radiant like a mountain of gold. Both sits on a cushion embroidered with a floral design and the face of a lion at the center. The pedestal throne are supported by two lions and two elephants. The small figure between them with a vase is the Earth goddess. The figures similar to collection at Sacred Indian icon held at Bodh Gaya. They depict the Buddha about to reach enlightenment.
This sculpture appears to be the perfect example, by any artistic tradition, both for technical precision and exquisite form. The proportions of the body are exact and the overall presence and beauty make this sculpture a precious artistic treasure.
Dimension: 13"H
PROVENANCE:
Relating to the arts and crafts firm of F. B. Goodyer of 55 New Bond Street (The Aesthetic Gallery) of London.
Some of the articles are corresponding under the three headings 'Chinese Embroideries', 'Silk Exhibition May 1890' (at which, according to one cutting, Goodyer had 'a great and well-deserved honor bestowed upon him by the Princess of Wales', who asked for him to be presented to her, 'when she spoke to him most kindly and cordially about his beautiful fabrics'), 'Silk Exhibition Nov. 1890'.
F. B. GOODYER (late partner in the firm of Messrs. Liberty and Co.) has long been recognized as a significant figure in the arts and crafts movement. He founded his Aesthetic Gallery at 55 Bond Street in 1889, for the sale of Artistic Fabrics and Eastern Curios. Recognizing their importance, a number of European museums formed collection of Liberty fabric at this time. Liberty’s shop, founded in Regent Street, London in 1875, was an influential and necessary outlet for English goods as well as imported Asian commodities.
F. B. GOODYER Whose excellent taste in window display of colored fabrics for furnishing and decorative purposes has long made this among the more attractive shops of this thoroughfare, for what might very well be known as 'Goodyer wares'. The gallery combines have as varied a collection of pretty, artistic, and original design in cretonnes, muslins, printed velvets, tapestries, silks, etc., adapted of all kind of interior decoration; and also of quaint and original furniture, chairs, screens, tables, over mantels, books-cases, bedsteads (in wood-work), and the like, as gallery has to show.
In making reference here to Mr Goodyer places, we commend to the attention of any who may be interested in the gold, gem, enamel, and silver jewelry, the interesting and beautiful collection of such work which he exhibit, which we believe, are unique of their kind.
Literature:
Brenda M. King, Title Silk and Empire: Studies in imperialism; Publisher: Manchester University Press, 2005
Henry Blackburn, Academy Notes: Issues 15-18; Publisher: Chatto and Windus., 1889, the New York Public Library, Aug 6, 2008
Charles Eyre Pascoe, London of To-day: An Illustrated Handbook for the Season 1892; Publisher: Roberts Brothers, 1892
Society of Arts (Great Britain), Journal of the Society of Arts, Volume 43; Publisher: Society of Arts, 1895, Princeton University.
The London Gazette, Part 4; Publisher: T. Neuman, 1895, University of Iowa
Ming Dynasty Period and of the period (1368-1644).
Cast in formal in appearance are seated in 'dhyanasana' on a double-pedestal base. Decorated in front with a gilded demi-florette. Dressed in robes, fall in curved diagonal folds. The Buddha gazes forward, Athe eyes and lips are painted naturalistically beneath the blue-black hair on the head is piled in a tuft on top with a single gold ornament adorning the crown. Between the eyebrows is a white dot (urna) and adorning the neck are two curved horizontal lines. The earlobes are long and pierced. A similar lower garment is tied at the waist with a cloth belt. The legs are folded in vajra posture, right over left. The upper pedestal decorated with numerous Buddha figures in various gestures in relief.
The under base covered with lettering sutra. There is extensive gilding remaining.
One Buddha with both hands on chest level performs a graceful variation of the dharma chakra mudra or hand gesture indicating teaching (literally, turning or setting in motion the Wheel of Buddhist law).
The second Buddha with the right arm bare the right hand is extended across the knee and the palm of the hand facing outward (varada). The left performs the gesture (dhyanasana-mudra) of meditation - palm upward in the lap.
The third Buddha with the right arm raised toward chest level, in Karana Mudra, gesture which demons are expelled. The left performs the gesture (dhyanasana-mudra) of meditation - palm upward in the lap.
All three Buddha having extensive trace of gilt remain on surface, with dark-blue pigment on the ushnisha, with appearance of a body radiant like a mountain of gold. Both sits on a cushion embroidered with a floral design and the face of a lion at the center. The pedestal throne are supported by two lions and two elephants. The small figure between them with a vase is the Earth goddess. The figures similar to collection at Sacred Indian icon held at Bodh Gaya. They depict the Buddha about to reach enlightenment.
This sculpture appears to be the perfect example, by any artistic tradition, both for technical precision and exquisite form. The proportions of the body are exact and the overall presence and beauty make this sculpture a precious artistic treasure.
Dimension: 13"H
PROVENANCE:
Relating to the arts and crafts firm of F. B. Goodyer of 55 New Bond Street (The Aesthetic Gallery) of London.
Some of the articles are corresponding under the three headings 'Chinese Embroideries', 'Silk Exhibition May 1890' (at which, according to one cutting, Goodyer had 'a great and well-deserved honor bestowed upon him by the Princess of Wales', who asked for him to be presented to her, 'when she spoke to him most kindly and cordially about his beautiful fabrics'), 'Silk Exhibition Nov. 1890'.
F. B. GOODYER (late partner in the firm of Messrs. Liberty and Co.) has long been recognized as a significant figure in the arts and crafts movement. He founded his Aesthetic Gallery at 55 Bond Street in 1889, for the sale of Artistic Fabrics and Eastern Curios. Recognizing their importance, a number of European museums formed collection of Liberty fabric at this time. Liberty’s shop, founded in Regent Street, London in 1875, was an influential and necessary outlet for English goods as well as imported Asian commodities.
F. B. GOODYER Whose excellent taste in window display of colored fabrics for furnishing and decorative purposes has long made this among the more attractive shops of this thoroughfare, for what might very well be known as 'Goodyer wares'. The gallery combines have as varied a collection of pretty, artistic, and original design in cretonnes, muslins, printed velvets, tapestries, silks, etc., adapted of all kind of interior decoration; and also of quaint and original furniture, chairs, screens, tables, over mantels, books-cases, bedsteads (in wood-work), and the like, as gallery has to show.
In making reference here to Mr Goodyer places, we commend to the attention of any who may be interested in the gold, gem, enamel, and silver jewelry, the interesting and beautiful collection of such work which he exhibit, which we believe, are unique of their kind.
Literature:
Brenda M. King, Title Silk and Empire: Studies in imperialism; Publisher: Manchester University Press, 2005
Henry Blackburn, Academy Notes: Issues 15-18; Publisher: Chatto and Windus., 1889, the New York Public Library, Aug 6, 2008
Charles Eyre Pascoe, London of To-day: An Illustrated Handbook for the Season 1892; Publisher: Roberts Brothers, 1892
Society of Arts (Great Britain), Journal of the Society of Arts, Volume 43; Publisher: Society of Arts, 1895, Princeton University.
The London Gazette, Part 4; Publisher: T. Neuman, 1895, University of Iowa
Condition
...
Please Note: EDEN Fine Antiques Galleries provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.
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