Amida Buddha in Gold Lacquered Wood, Edo Period, 19th Century

Alexander Kosolapov (Russian/American, b. 1943) "Mickey Lenin Malevich" Bronze sculpture and wood base ( inspired by Malevich Arkhitektons) Provenance : Galerie Vallois Expo sept/oct. 2010 Model Presented at the exhibition 'Alexander Kosolapov: Lenin and Coca-Cola' at the Moscow Museum of Modern Art. (29 Nov 2017?—?11 Feb 2018 Bronze with a golden brown patina, height 39 cm,H with “Malevich base” 132 cm Signed "A. KOSOLAPOV" and numbered ? on the bronze base on the reverse, title provided by the artist Condition: Bronze perfect, small dirt on the base (certificate of authenticity provided) N.B. Alexander Kosolapov's sculptures, paintings, and prints provoke harsh criticism, sometimes censorship, and often humor. His jokes are not partisan—they poke at both Russia and the United States. He appropriates imagery from Soviet history, pop culture, religion, and art history that he combines in often subversive ways. Taking a cue from Andy Warhol, Kosolapov delights in iconic symbols of American consumerist culture. For Kosolapov, these include Mickey Mouse, Marlboro, and Coca-Cola, images of which he links with political and religious figures central to Russian culture, including Stalin, Lenin, and Christ. He never forgets his place in the continuum of art history, often including some nod to artists who preceded him. In Mickey-Lenin, the major players are obvious: Mickey Mouse and Vladimir Lenin, and the connotations come easily: East-West, Russia-United States, communism-capitalism, good-evil, and high-low. Kosolapov modeled the figure's body after statues of Lenin by the Soviet sculptor Nikolai Tomsky, and its pose is that of a classical Roman figure sculpted in the traditional medium of bronze. Kosolapov developed the idea for Mickey-Lenin shortly after immigrating to the United States in 1975. He found the discarded plastic head of a Mickey Mouse toy, took it home, and placed it atop a small sculpture of Lenin that he kept on his desk. Kosolapov identifies with a movement known as Sots Art. Developed in Moscow in the 1970s by the art duo Komar and Melamid, Sots Art (an abbreviation of "socialist pop art") reacted against the conformist...

Chest of drawers in white lacquered wood, circa 1970, with 3 drawers with shelves on each side.

Henri Georges Adam, 1904-1967. Unique piece, stamped 0/0, signed Adam, foundry signature: Susses Frères Paris, circa 1950-1960.

Bronze couple, with original antique green patina by Germaine Nordmann, Ecole de Paris, Susse Fondeur, circa 1940. Signed and numbered. Measurements...

Francisco Xavier de Viveiros Costa (1914 / 1997) Low relief in plaster depicting an African scene, in a woodframe Signed and dated 1941 161,5x215,5 cm supplied with wall hanging brackets , Native of São Miguel...

Fantastic hand blown Murano glass fish by alberto Dona, signed.

An unusual Japanese carved wood, lacquer, and gilt decorated portrait sculpture of a shogun, Edo Period, early 19th century, Japan. The unidentified shogun (possibly Tokugawa Iey...

A lacquered and gilded 19th century Edo period Amida Buddha deity. Shown standing with hands in the Amida mudra , the robes draped in folds across the tor...

A rare and exquisite 18th century Ava period Shan Burmese figure of the Buddha. Carved from a single block of wood, lacquered and gilt, the immensely s...

A lovely Thai lacquered and gilt cast bronze figure of the historical Buddha, Shakyamuni, portrayed in Maravijaya, Rattanakosin Period, early to mid 19th century, Thailand. The B...

18th/19th century Buddha Statue carved of Alabaster. Burmese Shan Buddha Statue 1800ca, collected in Myanmar Shan State 1998. Legs crossed, the left hand in the lap, and the right ha...

A large and magnificent near life-sized Chinese carved and lacquered wood figure of a Buddha, Qing Dynasty, 19th century or earlier, southern China. The figure likely represents one of the Five Tathagatas, also known as Dhyani Buddhas or Wisdom Buddhas. More specifically, either Amitabha or Amoghasiddhi. Amitabha is the Buddha of infinite light, and represents the wisdom of observation and recognition. Amoghasiddhi is the Buddha of accomplishment, and represents the wisdom of perfected practices. The size and scale of the Buddha indicates it was made for temple worship. The large Buddha is portrayed seated in vajrasana, or full lotus position, with the soles of both feet facing up. His elegant hands, with impossibly long and slender fingers, perform shuni mudra, the gesture of bestowing patience. His right arm is bent at the elbow, the right hand raised to heart level. The left arm resting gently in his lap, the left hand at navel level. The Buddha is dressed in voluminous robes that wrap around his shoulders and body, and tied at the waist. The heavy fabric draping and pooling elegantly all around his robust body. His broad chest and right arm exposed. The Buddha's face is both solemn and beatific - his expression seeming to change depending on the angle of view. The most notable feature of his face is the large urna to the center of his forehead, set between a pair of painted, high arching brows over heavily lidded almond shaped eyes. A strong nose is set above a small mouth pursed in an ever so slight smile. Long pendulous earlobes touch his shoulders. The Buddha's hair arranged in the typical fashion, with "spikes" representing tight curls. A prominent ushnisha rises from the crown of his head, covered by more hair, and topped with a rounded protuberance. The Buddha is constructed from several blocks of wood, joined, carved and lacquered a deep red-brown with gold flecks...