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The Todd Barlin Collection (Part Two) — Theodore Bruce Auctioneers & Valuers

Auction House:Theodore Bruce Auctioneers & ValuersNumber of lots recorded:326
Sale Title:The Todd Barlin Collection (Part Two)Lots with images:325
Auction Location:SydneyPrices available:244
Date:8-May-2016
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Four Japanese Inro & netsuke, [4], 1] Japanese INRO with NETSTUKE, Edo period, c. 1750-1850, lacquer relief decoration with flowers and leaves on the black lacquered wooden ground the old wooden NETSUKE 18th century carved as SHISHI lion on a ball. Small bone OJIME, 2] Japanese Wakamatu Sukashi INRO with NETSTUKE, Edo period, c. 1750-1850, black lacquer body with red lacquer 3 case body inside, Technique: Kurourushinuri Mori-makie, NETSUKE: wood MANJU style, OJIME: metal, 3] Japanese INRO with NETSTUKE,…
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Two Japanese Inro & netsuke, [2], 1] Edo Tsukiyo ni Oke zu Makie signed INRO & NETSUKE, Edo to early Meiji period, c. 1830-1880, signature: usetsu, font: Tsukiyo ni Oke zu (moon night with bucket), back: Iko zu (rack for hanging Kimono), Technique: Kuro urushinuri Togidashi makie Kinnashiji (inside), NETSUKE: deer horn in the form of Tera zu (temple) - Sukibori, OJIME: red coral, 2] Edo gold MAKIE Chrysanthemum on black lacquer ground with bone umbrella shape NETSUKE, Edo period, c. 1750-1850, Technique:…
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Two Japanese Inro, [2], 1] Shu Urushinuri Bonji INRO and Mokugyo NETSUKE, Meiji period, c. 1868-1912, Shu Urushinuri Bonji INRO Sanskrit characters design, NETSUKE: (wood) MOKUGYO (temple block, wooden fish), OJIME: wood Makie decoration: Bonji (Sanskrit characters), 2] Japanese gold FUNDAME INRO with birds and foliage design, Edo period, c. 1750-1850, birds flying over the landscape, NETSUKE: (bone) in the shape of chrysanthemum, OJIME: glass, Japanese traditional robes lacked pockets, objects were often…
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Three Japanese Inro and netsuke, [3], 1] Japanese gold and black MAKIE INRO with MANJU style wood and lacquer NETSUKE, Edo period, c. 1750-1850, a UME (plum) and birds design with landscape, NETSUKE: wood with floral lacquer painted design, OJIME: Nashi lacquer, 2] Japanese gold MAKIE INRO with TORA (tiger) and TAKE (bamboo) design. Edo period, c. 1750-1850, gold MAKIE INRO with TORA (tiger) and TAKE, Technique: a NASHIJI ground, finely and low relief with additions in KIRIKANE, filling almost the whole…
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Three Japanese Inro and netsuke, [3], 1] Japanese INRO with flying Stork design and NETSTUKE, Edo period, c. 1750-1850, black lacquered and gold MAKIE with a flying stork on the red lacquered wooden ground the reverse has a pine tree, bone NETSUKE in the form of a woman with basket, OJIME: stone, 2] Edo gold MAKIE foliage with small figure carrying a lantern made with mother of pearl shell inlay on a GURI MAKI ground, Edo period, c. 1750-1850, small figure carrying a lantern on a bamboo pole and foliage,…
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Two Japanese brass Inro, [2], 1] Inro with dragon emblem on top (Ryu zu Kinko) & a wood netsuke, Meiji period 1868-1912, Technique: Kebori Suemon, netsuke: round wood netsuke with painted Usagi zu (rabbit), Ojime: cast metal, 2] a four case brass Inro with darker metal cut out design in the form of a family crest, Meiji period (1868-1912). Provenance: Todd Barlin collection. 9 x 7 cm, 12 cm x 7 cm
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Three Japanese tobacco sets, Sagemono, 19th century, [3], 1] natural form bamboo tobacco pouch with tight fitting round lid, natural seed Ojime & bone netsuke in the form of a semi (Cicada), Edo period, c. 1750-1850, 2] Inro shaped wood tobacco pouch with natural burl wood form netsuke & bone Ojime, Edo to early Meiji period, c. 1830-1880, 3] wood case with metal embossed design, netsuke: Manju style, Ojime: amber or glass, Meiji period, c. 1868-1912. Provenance: Todd Barlin collection. Sagemono only 6 x 7…
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A Japanese Inro, together with a Japanese woven basket Inro, together with an eggplant shaped lacquer ware Inro, 19th century, [3], 1] gold & red Makie on a black background, depicting two flying swallows on the front & elaborate foliage on reverse, netsuke: (bone) in the form of a pillow with the design of the Hotei Buddha face, Ojime: wood with carved floral design, Edo period, c. 1750-1850, 2] a finely woven split bamboo pouch with metal fastener & amber Ojime, old wood netsuke in the form of a…
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A Japanese Mingei red cloth ornament in the form of a monkey (Migawari-Zaru), together with an ornament, [2], hung outside homes for protection, early 20th century, together with an ornament in the form of a good Luck bronze Hammer with a Mouse. Provenance: Todd Barlin collection. 9 x 10 cm, 5 x 11 cm
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Two finely painted Japanese hanging scroll paintings, [2], two birds on pine trees, unsigned, c. 1900 - 1940, two hawks, signed by Seigai, dated 1860. Provenance: Todd Barlin collection. 59 x 176 cm, 185 x 65 cm
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Two Japanese hanging scroll paintings, [2], Daruma by Toshu, late 19th century, peonie flowers & a dove, signed Suiko. Provenance: Todd Barlin collection. 195 x 70 cm, 61 x 217 cm
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Two Japanese hanging scroll paintings, [2], two crows, late 19th century, signed Bunrin, Buddhist deities, late 19th century. Provenance: Todd Barlin collection. 191 x 51 cm, 144 x 44 cm
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A pair of two Japanese hanging scroll paintings, [2], two painted raccoons, signed by artist, early 20th century. Provenance: Todd Barlin collection. 56 x 169 cm
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A finely painted Japanese hanging scroll, Nyoi-Hoju Cintamai, by Kayo. Provenance: Todd Barlin collection. 203 x 77 cm
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A Japanese hanging scroll by the 16th century artist Kano Tanyu, of a Rakan / Arahat Buddhist Saint, Kano Tanyu (1602 -1674) was one of the foremost Japanese painters of the Kano school. Tanyu's most famous works are probably those he produced for these large-scale commissions. They are screens & panels, prime examples of the Momoyama style. Depicting natural subjects such as tigers, birds & plants, in bright colours, with extensive use of gold leaf. Provenance: Todd Barlin collection. 91 x 34 cm
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Japanese folding screen, depicting a young woman in a kimono with a Ikebana flower display, Taisho period (1912 - 1926), Japanese screens, known as by?bu in Japanese, as by?bu literally means 'wind wall,' the original purpose of the screen was to block drafts in traditional open-layout Japanese homes but more importantly to bring beauty into often dark interiors. Provenance: Todd Barlin collection. 145.5 x 154.5 cm
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A Japanese folding screen, Edo period (1603 - 1868), depicting two hawks used for sport hunting by Samurai, many Japanese artists of the Edo period created their works for powerful men, the wealthy and mighty nobility & warriors who ruled Japan. These men saw themselves in the hawk's ruthless strength. Some warriors trained falcons as hunting birds or kept them as symbols of military might. Japanese screens, known as by?bu in Japanese, as by?bu literally means 'wind wall,' the original purpose of the…
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Two Tibetan clay Votives (Tsa Tsa), [2], an early Avalokiteshvara, a Tsa Tsa of the deity Yamantaka (the Buddha Manjushri in wrathful form). Clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These clay Votives known as Tsa Tsa in Tibet…
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Three Tibetan or Nepalese repousse copper & gilded heads, [3], two Citipati heads & another of a human suffering. Provenance: Todd Barlin collection. 7 cm, 8 cm, 7 cm
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A pair of Tibetan ritual cabinet doors, depicting offerings of a dismembered corpse to the deity Mahakala, late 19th century. Provenance: Todd Barlin collection. 35 x 27 cm
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Six fine & early Tibetan clay Votives (Tsa Tsa), [6], clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These clay Votives known as Tsa Tsa in Tibet were also used in funerary practices for the deceased. Provenance: Todd Barlin…
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Eight fine & early Tibetan clay Votives (Tsa Tsa), [8], clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These clay Votives known as Tsa Tsa in Tibet were also used in funerary practices for the deceased. Provenance: Todd Barlin…
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Four fine & early Tibetan clay Votives (Tsa Tsa), [4], clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These clay Votives known as Tsa Tsa in Tibet were also used in funerary practices for the deceased. Provenance: Todd Barlin…
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Three fine & early Tibetan clay Votives (Tsa Tsa), 15/16th century, [3], one with Tibetan script visible, clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These clay Votives known as Tsa Tsa in Tibet were also used in funerary…
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Four fine & early Tibetan clay Votives, [4], three depict mountain goddesses riding a deer, a lion, a dragon, painted in silver, 18th century or earlier, clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These clay Votives known as Tsa…
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A Tibetan gilt bronze figure, together with two Mongolian clay Votives, [3], including a figure of a Bodhisattva, 17th century, clay Votives 18/19th century. Provenance: of Tibetan figure: Marie-Francoise Fatton / Au lion Des Neiges gallery Sydney, clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when…
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A gilt bronze Tibetan deity Samvara with consort, together with an early Tibetan clay Votive figure of Buddha, 17/18th century, [2]. Provenance: Todd Barlin collection. 11.5 cm, 9 cm
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Four Tibetan & Mongolian Votives, 19th century, [4], a clay Votive, a small bronze of Jambhala riding a lion, a Tibetan silver faced Gua with clay Tsa Tsa of Buddha inside, a Mongolian clay Tsa Tsa of Yamantaka, clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa…
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A set of five finely painted Tibetan Tsakli paintings depicting Bardo deities, [5]. Provenance: Suzy Lebasi / Soo Tze Oriental Antiques, Tsakali cards were used by travelling Buddhist teachers moving from one monastery to another in order to teach & initiate others in Vajrayana Buddhist teachings. When laid on the ground in the form of a mandala, they functioned to create a fixed sacred space like that of a temple. The deities shown on these initiation cards can include the Tathagata Buddha's, various…
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A set of five finely painted Tibetan Tsakli paintings depicting Bardo deities, 19th century, [5]. Provenance: Suzy Lebasi / Soo Tze Oriental Antiques, Tsakali cards were used by travelling Buddhist teachers moving from one monastery to another in order to teach & initiate others in Vajrayana Buddhist teachings. When laid on the ground in the form of a mandala, they functioned to create a fixed sacred space like that of a temple. The deities shown on these initiation cards can include the Tathagata Buddha's…
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A set of five finely painted Tibetan Tsakli paintings depicting Bardo deities, 19th century, [5]. Provenance: Suzy Lebasi / Soo Tze Oriental Antiques, Tsakali cards were used by travelling Buddhist teachers moving from one monastery to another in order to teach & initiate others in Vajrayana Buddhist teachings. When laid on the ground in the form of a mandala, they functioned to create a fixed sacred space like that of a temple. The deities shown on these initiation cards can include the Tathagata Buddha's…
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A set of eight finely painted Tibetan Tsakli paintings, 19th century, [8], depicting wrathful Bardo deities. Provenance: Suzy Lebasi / Soo Tze Oriental Antiques, Tsakali cards were used by travelling Buddhist teachers moving from one monastery to another in order to teach & initiate others in Vajrayana Buddhist teachings. When laid on the ground in the form of a mandala, they functioned to create a fixed sacred space like that of a temple. The deities shown on these initiation cards can include the…
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A painted Tibetan ritual cabinet door, early 20th century, depicting black Mahakala standing on a recumbent Ganesh. Provenance: Marie-Françoise Fatton / Au lion Des Neiges gallery Sydney / Provenance: Todd Barlin collection. 58 x 89 cm
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Nine painted cotton panels from a Stupa, Tibet, mid 20th century, [9]. Provenance: Todd Barlin collection. 61 x 18 cm
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A collection of eleven early clay Buddhist Votives from Tibet & Mongolia, 18/19th century, [11], in the forms of Buddha's, Bodhisattvas, Padmasambhava and Protector deities, Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made in bronze moulds & after being stamped were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These Votives known as Tsa Tsa…
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A fine Mongolian clay Buddha, painted blue & red, sitting on a rounded lotus base, early 20th century. Provenance: Todd Barlin collection. 25 cm
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A Mongolian bronze figure of Vajarapani, 19th century, bronze, painted, base sealed. Provenance: Todd Barlin collection. 20 x 15 cm
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A Mongolian wood carving of a deity riding a goat, together with a Mongolian wood carving of the goddess Tara, early 20th century, [2], both finely carved & painted. Provenance: Todd Barlin collection. 12.5 cm, 9 cm
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A Mongolian figure of the Buddhist Saint Padmasambhava, together with a Japanese figure of a Buddhist Saint, 19th century, [2], the figure of Padmasambhava is made from clay && finely painted, the Japanese Saint is finely carved from wood & delicately painted. Provenance: Todd Barlin collection. 16 cm, 22 cm
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Two Mongolian metal Gua (travelling Alter shrine boxes), 18/19th century, [2], a clay figure of the deity Yamantaka in a fine copper repousse Gua with Tibetan character on the front, a polychrome painted Buddha or deity with consort in a fine copper repousse Gua with Tibetan character on the front, clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand…
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A finely carved Mongolian wood & polychrome painted figure of Vajrakiliya, terminating into a Vajra & piecing a recumbent human figure laying on a lotus shaped base. Vajrakilaya is a wrathful form of Vajrasattva, the pure vajra nature of Enlightenment. In this imagery, the compassion of the Buddhas is expressed forcefully, to eradicate in a powerful way the entrenched ignorance and emotional afflictions which cause obstacles, interfering with auspicious circumstances and preventing the dawning of…
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A fine Mongolian Sutra prayer book, late 19th century, made with black pages painted in gold Tibetan script & four small illustrations of Buddha, green Tara & two Stupas. Provenance: Todd Barlin collection. 22 x 19 cm
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A large & fine Mongolian illustrated Sutra prayer book, with multiple pages of Tibetan script & three pages of illustrations depicting the Buddha's, lamas, wrathful & peaceful deities, with original wood cover, late 19th century. Provenance: Todd Barlin collection. 59 x 14 x 7 cm
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A set of five fine Mongolian miniature thangka paintings, [5], five paintings of auspicious symbols & a protector guardian, early 20th century, miniature thangka paintings are used for personal spiritual practices when travelling. They are often kept in a bronze or wood Gua, a type of locket that houses the painting. It is then worn around the neck for devotional practices & protection when travelling. The Mongolian painters in this miniature form are said to be the finest artists in Vajrayana Buddhist…
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A set of six finely painted Mongolian Tsakli paintings depicting six Visages & Singavatra Dakini, early 20th century, [6]. Provenance: Marie-Françoise Fatton / Au lion Des Neiges gallery, Sydney, Tsakali cards were used by travelling Buddhist teachers moving from one monastery to another in order to teach & initiate others in Vajrayana Buddhist teachings. When laid on the ground in the form of a mandala, they functioned to create a fixed sacred space like that of a temple. The deities shown on these…
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Nine fine Mongolian Buddhist Drawings, [9], four Mongolian drawings on paper depicting mountain goddesses, five Mongolian drawings on paper depicting scenes of hell, early 20th century, Tsakali cards were used by travelling Buddhist teachers moving from one monastery to another in order to teach & initiate others in Vajrayana Buddhist teachings. When laid on the ground in the form of a mandala, they functioned to create a fixed sacred space like that of a temple. The deities shown on these initiation cards…
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A set of thirty-three fine Mongolian Drawings (Tsakli), [33], on paper with cloth backing, depicting peaceful & wrathful deities & images of hell, early 20th century, Tsakali cards were used by travelling Buddhist teachers moving from one monastery to another in order to teach & initiate others in Vajrayana Buddhist teachings. When laid on the ground in the form of a mandala, they functioned to create a fixed sacred space like that of a temple. The deities shown on these initiation cards can include the…
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A set of twenty fine Mongolian Drawings on paper, early 20th century, [20], depicting peaceful & wrathful deities making offerings, Tsakali cards were used by travelling Buddhist teachers moving from one monastery to another in order to teach & initiate others in Vajrayana Buddhist teachings. When laid on the ground in the form of a mandala, they functioned to create a fixed sacred space like that of a temple. The deities shown on these initiation cards can include the Tathagata Buddha's, various…
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A set of eight fine Mongolian Drawings on paper, 20th century, [8], depicting peaceful deities, wrathful deities, men making offerings & an elephant, Tsakali cards were used by travelling Buddhist teachers moving from one monastery to another in order to teach & initiate others in Vajrayana Buddhist teachings. When laid on the ground in the form of a mandala, they functioned to create a fixed sacred space like that of a temple. The deities shown on these initiation cards can include the Tathagata Buddha's,…
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Nine finely painted Mongolian miniature thangka paintings, [9], depicting Buddha, Bodhisattvas & other deities, miniature thangka paintings are used for personal spiritual practices when traveling. They are often kept in a bronze or wood Gua, a type of locket that houses the painting. It is then worn around the neck for devotional practices & protection when travelling. The Mongolian painters in this miniature form are said to be the finest artists in Vajrayana Buddhist communities. Provenance: Todd Barlin…
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Four Mongolian Drawings on paper, together with one large thangka painting of the deity Begtse, [5], depicting wrathful deities, 19/20th century, miniature thangka paintings are used for personal spiritual practices when travelling. They are often kept in a bronze or wood Gua, a type of locket that houses the painting. It is then worn around the neck for devotional practices & protection when travelling. The Mongolian painters in this miniature form are said to be the finest artists in Vajrayana Buddhist…
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A set of twelve fine Mongolian Drawings on paper, early 20th century, [12], depicting wrathful & peaceful deities, Tsakali cards were used by travelling Buddhist teachers moving from one monastery to another in order to teach & initiate others in Vajrayana Buddhist teachings. When laid on the ground in the form of a mandala, they functioned to create a fixed sacred space like that of a temple. The deities shown on these initiation cards can include the Tathagata Buddha's, various bodhisattvas, fierce…
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Seven fine Mongolian drawings on paper, early 20th century, [7], depicting Buddha & other peaceful deities, Tsakali cards were used by travelling Buddhist teachers moving from one monastery to another in order to teach & initiate others in Vajrayana Buddhist teachings. When laid on the ground in the form of a mandala, they functioned to create a fixed sacred space like that of a temple. The deities shown on these initiation cards can include the Tathagata Buddha's, various bodhisattvas, fierce protectors,…
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Twelve fine Mongolian miniature thangka paintings on cloth, 19th century, [12], depicting, Buddha, Bodhisattvas, Padmasambhava & wrathful deities, miniature thangka paintings are used for personal spiritual practices when travelling. They are often kept in a bronze or wood Gua, a type of locket that houses the painting. It is then worn around the neck for devotional practices & protection when travelling. The Mongolian painters in this miniature form are said to be the finest artists in Vajrayana Buddhist…
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Ten fine Mongolian miniature thangka paintings, 19th century, [10], depicting, Buddha, Bodhisattvas, Padmasambhava & wrathful deities. Provenance: Suzy Lebasi / Soo Tze Oriental Antiques, miniature thangka paintings are used for personal spiritual practices when travelling. They are often kept in a bronze or wood Gua, a type of locket that houses the painting. It is then worn around the neck for devotional practices & protection when travelling. The Mongolian painters in this miniature form are said to be…
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A set of eight large size miniature Mongolian thangka paintings, 19/20th century, [8], depicting, Buddha, Bodhisattvas, Padmasambhava & wrathful deities, miniature thangka paintings are used for personal spiritual practices when travelling. They are often kept in a bronze or wood Gua, a type of locket that houses the painting. It is then worn around the neck for devotional practices & protection when travelling. The Mongolian painters in this miniature form are said to be the finest artists in Vajrayana…
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One fine Mongolian thangka painting, depicting Avalokiteshvara, together with another thangka of Yamantaka with Consort, [2], miniature thangka paintings are used for personal spiritual practices when travelling. They are often kept in a bronze or wood Gua, a type of locket that houses the painting. It is then worn around the neck for devotional practices & protection when travelling. The Mongolian painters in this miniature form are said to be the finest artists in Vajrayana Buddhist communities.…
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Seven finely painted Mongolian miniature thangka paintings, [7], depicting Maitreya Buddha & other wrathful deities, miniature thangka paintings are used for personal spiritual practices when travelling. They are often kept in a bronze or wood Gua, a type of locket that houses the painting. It is then worn around the neck for devotional practices & protection when travelling. The Mongolian painters in this miniature form are said to be the finest artists in Vajrayana Buddhist communities. Provenance: Todd…
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A large & finely painted Mongolian Tantric Buddhist painting on silk, late 19th century, depicting five wrathful deities & a Bodhisattva, Tibetan script on bottom edge, this painting is of rare tantric Iconography (Museum conservation framed). Provenance: Suzy Lebasi/ Soo Tze Oriental Antiques / Todd Barlin collection. 65 x 64 cm
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A set of eight fine Mongolian Drawings on paper, early 20th century, [8], depicting scenes of hell, Tsakali cards were used by travelling Buddhist teachers moving from one monastery to another in order to teach & initiate others in Vajrayana Buddhist teachings. When laid on the ground in the form of a mandala, they functioned to create a fixed sacred space like that of a temple. The deities shown on these initiation cards can include the Tathagata Buddha's, various bodhisattvas, fierce protectors, & the…
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Lama's Tantric Crown, Mongolia, late 19th century, painted with a single Buddha on each leaf of the Crown, this tantric Tibetan lama Crown was made of multi-ply, hand-painted paper during the late 19th or very early 20th century. Through a fabric ribbon, the Crown can be tied around the forehead & consists of five leaf-shaped segments, each segment shows a small hand painted image of one of the five Principle Buddha's. Deep embossed floral decorations surround each Buddha. The reverse has mantra's in…
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Four Mongolian clay Buddha heads on a stand, together with a Japanese Sake && Imari tea bowl, together with a water dropper, [7], Japanese water dropper is in the form of a sea shell, 19th century. Provenance: Todd Barlin collection. 6 cm, 5.5 cm, 5 cm, 8 cm
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A cloth applique thangka of Buddha sitting on a lotus flower, Mongolia, late 19th century, Applique thangka is a particularly Tibetan style. Fragments of colored cloth - most often silks, traditionally imported from china or India - are cut into desired shapes & arranged to form a kind of mosaic. The pieces are either sewn onto a background or to each other. Of Chinese origin, this technique is widely practiced in Tibet, Mongolia & other Himalayan countries. It is known that applique work was initiated by…
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Two old Bronzes, Mongolia, 18/19th century, [2], a skull shaped Kalapa ritual object, 19th century, a torso of an ancient Buddha figure. Provenance: Todd Barlin collection. 9.5 cm, 8 cm
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Three ceramic architectural tiles, [3], the red glazed angel is of the Thai Ayutthaya period, the round lion headed piece is of Mongolia & the third is most likely early Burmese, depicting a wrathful diety. Provenance: Todd Barlin collection. 15 x 12.5 cm, 9 x 10 cm, 14 x 12.5 cm
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Two early bronze & one wood Buddha figure, [3], Shan state, Burma, 18th century. Provenance: Todd Barlin collection. 14.5 cm, 11.5 cm, 16.5 cm
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Three early clay Buddhist Votives, Burma, 18/19th century, [3], story from Buddha's life, a Buddha with an alms bowl & two attendants praying, a crowned Buddha, clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These clay Votives known…
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Three clay Buddha Votives, Burma, 18th century, [3], two with gold paint & the third with silver painted decoration, clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These clay Votives known as Tsa Tsa in Tibet were also used in…
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Three early Buddha figures, [3], a reclining wood Buddha, Ayutthaya period, 17th century, two metal Buddha Votives, Shan state, Burma, 18th century. Provenance: Todd Barlin collection. 10 cm, 8.5 cm, 10 cm
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Four early bronze Buddha figures, Shan state, Burma, 18th century, [4]. Provenance: Todd Barlin collection. 8 cm to 18 cm
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Five early metal Buddha Votives, Burma, 18th century, [5], all of the same design, Buddha sitting under the Bohdi tree at the moment of enlightenment, votives were made & used in Buddhist Communities to show devotion & earn merit, they were made in bronze moulds & after being stamped were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These Votives known as Tsa Tsa in Tibet were also used…
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Seven gilt clay Votive Buddha figures, Burma, 18/19th century, [7], clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These clay Votives known as Tsa Tsa in Tibet were also used in funerary practices for the deceased. Provenance: Todd…
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Seven clay Votive Buddha figures, Burma, 18/19th century, [7], clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These clay Votives known as Tsa Tsa in Tibet were also used in funerary practices for the deceased. Provenance: Todd Barlin…
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Eight clay Votive Buddha figures, Burma, 18/19th century, [8], clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These clay Votives known as Tsa Tsa in Tibet were also used in funerary practices for the deceased. Provenance: Todd Barlin…
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Three crystal Lingga stones, Thailand or Burma, [3]. Provenance: Todd Barlin collection. 8 cm, 6.5 cm, 5.5 cm
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Seven gilt clay Votive Buddha figures, Burma, 18/19th century, [7], clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These clay Votives known as Tsa Tsa in Tibet were also used in funerary practices for the deceased. Provenance: Todd…
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Ten gilt clay Votive Buddha figures, Burma 18/19th century, [10], clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These clay Votives known as Tsa Tsa in Tibet were also used in funerary practices for the deceased. Provenance: Todd…
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Five gilt wood temple Offerings, Burma, 19th century, [5], in the form of a Buddha, three Monks & a Stupa, votives were made & used in Buddhist Communities to show devotion & earn merit, they were made in bronze moulds & after being stamped were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These Votives known as Tsa Tsa in Tibet were also used in funerary practices for the deceased.…
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Eleven gilt clay Votive Buddha figures, Burma, 18/19th century, [11], clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These clay Votives known as Tsa Tsa in Tibet were also used in funerary practices for the deceased. Provenance: Todd…
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A white marble Buddha head, Burma, 18th century, together with a small Chinese stone figure, [2]. Provenance: Todd Barlin collection. 8.5 cm, 4.5 cm
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Three ancient clay Votives, Pagan Burma, 10/12th century, [3], showing Buddha sitting in a field of Stupa, with fine detail Pali Script Sutra's visible, clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These clay Votives known as Tsa…
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A large wood & lacquer Buddha, Shan state, Burma, 18th century, seated in Vajrasana position on lotus pedestal. Buddha gesturing Bhumisparsa Mudra with fingertips touching the earth symbolizing the moment of enlightenment, carved from a single piece of teak wood, with remnants of original red lacquer & gold leaf decoration. Provenance: Todd Barlin collection. 101 x 38 cm
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Two fine Buddhist Zushi travelling Shrines, [2], a figure of Fudo-Myoo, lacquer & wood Zushi with metal filigree designs, Meiji period, a fine old wooden Buddha statue in wood & lacquer Zushi, Edo period. Provenance: Todd Barlin collection. 19 x 13 cm, 17 x 7.5 cm
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A contemporary ceramic sculpture by Somchai Charoen, Charoen, a well-known ceramic artist & teacher based in Sydney, was a former lecturer at Silpakorn University, Thailand (1994-2002). Provenance: Todd Barlin collection. 39 x 39 x 22 cm
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A Thai bronze figural group describing the story of the Buddhist monk Phra Malai, 19th century, legend has it that he was an arhat from Sri Lanka who achieved great supernatural powers through his own merit & meditation. He is also honoured as a successor to Maudgalyayana, the Buddha's foremost disciple, for his supernatural attainments. In the story, this pious & compassionate monk descends to hell to give teachings & comfort the suffering hell-beings there. Provenance: Todd Barlin collection. Height 46 cm
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Two Thai gilt clay Votives, [2], clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These clay Votives known as Tsa Tsa in Tibet were also used in funerary practices for the deceased. Provenance: Todd Barlin collection. 14.5 x 10.5 cm,…
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Three antique Thai bronze miniature Buddha figures, [3], finely cast with traces of gilt. Provenance: Todd Barlin collection. 3.5 cm to 5 cm
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Two small Thai Ayutthaya period clay Votives, 17th century, [2], in small casings for wearing as an amulet necklace, small old Thai Votives like these are highly important for wearing as they bestow protection on the wearer, clay Votives were made & used in Buddhist Communities to show devotion & earn merit, they were made from clay in bronze moulds & after being stamped they were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill…
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Three early Thai brown glazed pottery vessels, 12/13th century, [3]. Provenance: Todd Barlin collection. 7 x 14 cm, 11 x 12 cm, 11 x 6 cm
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A gilt-bronze Laos Buddha figure, 17th century, seated in the Vajrasana position on a lotus pedestal, gesturing Bhumisparsha Mudra with fingertips touching the earth symbolizing the moment of enlightenment. Provenance: Todd Barlin collection. 21 x 12 cm
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A carved wood & lacquer standing Laos Buddha, 17th century, together with another wood & gilt Laos Buddha, 19th century, [2], 17th century, 19th century. Provenance: Todd Barlin collection. 33 cm, 29 cm
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Two fine Korean bowls, [2], a classical blue glazed bowl with painted designs, Goreo Dynasty (918-1392), an early Joseon Dynasty (1392-1897) Buncheong bowl, with good glaze & painted designs. Provenance: Todd Barlin collection. 19.5 x 9 cm, 17 x 7 cm
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A wood & gilt Laos Alter piece of a Praying Angel, together with a Thai clay Votive in Sukhothai style, [2], the Praying Angel is surrounded by floral designs & remnants of a glass mosaic on base, 19th century. Provenance: Todd Barlin collection. 25 x 15 cm, 29 x 12 cm
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A Donsong bronze bell, Vietnam 1000 BCE - 300CE, in the form of a stylized figure with ancient green blue patina due to the copper content of the metal. Provenance: Parkham place gallery - Cito Cessna, Sydney, Australia / Todd Barlin collection. Height 13.5 cm
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A group of five Donsong bronze Bells, [5], Vietnam 1000 BCE - 300BCE, in the form of a Stylized water buffalo heads, with ancient green blue patina due to the copper content of the metal. Provenance: Parkham place gallery - Cito Cessna, Sydney, Australia / Todd Barlin collection. Height 13.5 cm
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Eight Chinese Ming export ware porcelain plates, [8], all are finely painted, fish illustrations in blue, Ming Era 1368-1644. Provenance: Todd Barlin collection, diameter 13.5 cm to 15 cm
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Five small bronze Buddha's on stand, together with six clay puppet heads, [11], Buddha's Shan state, Burma, 18th century, clay puppet heads, Burma, 19th century, votives were made & used in Buddhist Communities to show devotion & earn merit, they were made in bronze moulds & after being stamped were left to sun dry. When dry they were often hand painted with lacquer & gold or silver leaf, when finished they were used to fill up Stupa (sacred Buddhist monuments). These Votives known as Tsa Tsa in Tibet were…
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Two works on paper by the Munda people, tribal artists from the Bihar Plateau, India, [2], tree of life' by Jasodma Devi 1994, 'Cows in the field' by Kalvati Deva 1994. Exhibited at Djamu gallery at Customs house, circular Quay [Australian Museum]. Provenance: Todd Barlin collection. 71 x 55.5 cm, 71 x 55.5 cm
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A large strand of bone prayer beads, each finely shaped as a skull, Tibet or Nepal. Provenance: Todd Barlin collection. 76 cm
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A fine large Ming blue & white plate, of good form & decoration. Provenance: Todd Barlin collection, diameter 29 cm
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