Last year, Bonhams Paris hosted a landmark single-owner sale for leading dealer-collector Jules Speelman, featuring over twenty exceptional works of Himalayan art. The results were nothing short of extraordinary: a 93% sell-through rate and nearly €15.2 million in sales – more than triple the pre-sale estimate.
Now, in celebration of Speelman’s 80th birthday, Bonhams Hong Kong is honoring his lifelong dedication to the field with two special sales on 5 May: 8 at 80, a tightly curated selection of seven bronze sculptures and one thangka; and Monks & Mahasiddhas: Living the Teachings of Buddha, a fascinating collection of portrait bronzes of revered teachers.
During the preview tour, the collection drew widespread attention, with a Yuan-dynasty sculpture of Shakyamuni as an Ascetic generating particular buzz. But how did Bonhams’ long-standing relationship with Jules Speelman come about? Beyond the ascetic Shakyamuni, what other treasures await collectors this season? And what role do portrait bronzes play in the broader art-historical narrative, especially given their growing appeal in recent years?
To explore these questions, we spoke with two of the key figures behind the scenes: Asaph Hyman, Global Head, Chinese Ceramics & Works of Art, and Dora Tan, Head of Sale, Specialist, Indian, Himalayan & Southeast Asian Arts.
Jules Speelman and his wife Adele Speelman
How did Jules Speelman first connect with Bonhams? What sparked the idea for the "60 Years of Devotion" auction?
A & J Speelman, led by Jules Speelman’s father, Alfred, and later by Jules, is a worldwide leading Chinese and Asian Art dealer, with Jules Speelman himself also collecting in some categories, including Buddhist art, over many decades. As a seminal dealer and collector, Jules Speelman is well known to all museum curators, collectors, and international auction house specialists involved in the category of Chinese and Asian art. Therefore, Bonhams' connection with Jules Speelman is one of many years, and we are very grateful for his trust.
As Jules Speelman said in his own words prior to the Jules Speelman: 60 Years of Devotion. Completing a Cycle Paris June 2024 sale: “I feel bringing this collection to the market, mixed emotions for sure, but also intrigued to see what the market perceives of what I’ve put together over these years. Whether people definitely appreciate the level of this particular collection, which I believe is very high. Can they see that extra mileage has been put into it? That I don’t know, but that’s what I’m intrigued to see.”
The exceptional results of the Bonhams Paris June 2024 sale, achieving over €15.2 million, delivered a clear answer. Yes! The collectors worldwide, greatly admired the masterpieces collected by Speelman over many years, and were delighted with the opportunity to add them to their collections.
Asaph Hyman | Global Head, Chinese Ceramics & Works of Art, Bonhams
Why is this auction divided into two sessions? How does this approach reflect Speelman’s philosophy and aesthetic as a collector?
This year marks Jules Speelman’s 80th birthday. This is an important milestone in most cultures, and one to celebrate. Jules Speelman has decided to do so in a special sale which includes eight masterpieces across the range of Buddhist art – thus “8 at 80”!
Alongside this important sale, Bonhams is privileged to offer a special sale singularly devoted to the theme of Buddhist monks and mahasiddhas, aptly titled: “Monks and Mahasiddhas: Living the Teachings of Buddha”.
The two exceptional sales display the breadth and depth of Speelman’s collecting and knowledge. His consummate love and admiration for this subject over many decades, and his superb eye for the rarest pieces of the highest artistic quality.
Dora Tan | Head of Sale, Specialist, Indian, Himalayan & Southeast Asian Arts, Bonhams
Lot 2 | A gilt copper alloy figure of Shakyamuni Buddha as an ascetic
China, Yuan Dynasty (1279–1368)
Height: 28 cm
Provenance:
- Eskenazi Ltd., London, 1980s
Sale: 8 at 80
Estimate: HK$8,000,000 - 10,000,000 (US$1.1 - 1.3 million)
Shakyamuni is a common subject in Buddhist sculpture, as are depictions of ascetics. Compared to these, what sets this particular image of Shakyamuni in his ascetic form apart – in terms of both form and aesthetic? What kind of spiritual ethos does it convey?
This sculpture is a rare gem – not just for collectors of Himalayan art, but especially because it reflects such a distinctly Han aesthetic sensibility. Within the visual tradition of Han Buddhism, ascetic figures rendered with this level of expressive nuance, anatomical precision, and ornamental refinement are exceptionally rare. In fact, the only other widely recognized example of comparable quality is held by the Cleveland Museum of Art in the United States.
The Buddha’s face is contemplative, his emaciated hands folded gently before him. His body is stripped down to skin and bone, yet there’s a profound serenity in his expression and posture – neither sorrowful nor tormented. The fallen leaves scattered at his feet subtly evoke the moment of enlightenment beneath the Bodhi tree. Though the robe is depicted as a single, whisper-thin layer, its finely incised patterns lend the figure an unexpected opulence – creating a striking contrast between material richness and spiritual austerity. It’s a powerful juxtaposition: splendor underscoring self-denial.
What I find especially compelling is the sculpture’s refined, almost minimalist silhouette and its sculptural poise. Seen from behind, the gentle curve of the spine suggests a timeless stillness – as if the figure has occupied this meditative state for a thousand years. While perfectly still, it radiates an almost palpable sense of inner force. One edge of the robe falls in a graceful arc, subtly breaking the symmetry and introducing a touch of dynamism that enlivens the entire composition.
Lot 4 | A gilt copper alloy figure of Maitreya
Central Tibet, 11th/12th century
Height: 49.3 cm
Provenance:
- Acquired in New York, 2007
Sale: 8 at 80
Estimate: HK$4,000,000 - 6,000,000 (US$530,000 - 800,000)
The Maitreya most people are familiar with is the laughing, pot-bellied figure. Yet this sculpture from the “Second Diffusion” period of Buddhism in Tibet shows Maitreya as a refined, princely figure. Why the difference?
That’s right – Maitreya is the Buddha of the Future, destined to return and spread the Dharma. But for many, the name conjures up the “Laughing Buddha” – a cheerful, rotund figure. That image, while widely recognized today, is actually a regional interpretation that gained popularity in the Chinese cultural sphere. It’s commonly believed that this depiction originated from a particular monk, later venerated in some traditions as an incarnation of Maitreya, which led to the conflated figure we often see in popular culture.
In the context of Himalayan art history, however, Maitreya has always been portrayed quite differently. As early as the Gandhara period, Maitreya was depicted in stone steles as a handsome youth with Greco-Roman features – either seated or standing, typically holding a kundika (water pot), a key attribute identifying him. Standing images of Maitreya frequently appear in classic triadic compositions, flanking a central Buddha figure alongside another bodhisattva. This iconography remained consistent across later Indian, Nepalese, and Tibetan traditions.
Monumental Maitreya statues in Ladakh, early Nepalese stone carvings, and gilt-bronze sculptures all preserve this princely, idealized visual image. Even the famous cross-legged Bodhisattva frescoes at Dunhuang represent a localized Silk Road adaptation of the same tradition.
After Buddhism was suppressed under King Langdarma in the 9th century, Tibet entered a so-called dark age. When the Dharma was revived during the “Second Diffusion,” how did sculptural styles evolve? What lasting influence did this revival have on later Tibetan art?
The “Second Diffusion” was a period of revival – it marked the founding of major monastic centers like Drathang, a resurgence in the translation and transmission of Buddhist texts, and the emergence of a hybrid visual language in both sculpture and mural painting.
Tibetan sculpture from this era often blends Indian and local Tibetan elements within a single work. This stylistic fusion reflects the deep engagement Tibetan artists had with Pala-period art from India, when Buddhism was reintroduced during the “Second Diffusion”.
At the same time, influences from Central Asia began to make their mark. In works from Shalu Monastery, for instance, one can see stylistic echoes that may trace back to Khotan or even the Yuan imperial court. These cross-cultural borrowings – from India, Kashmir, and Nepal – led to a time of great growth and stylistic prominence in local Tibetan art beginning around the fifteenth century.
Lot 5 | A gilt copper alloy figure of Padmapani Lokeshvara and Hayagriva
Central Tibet, Densatil Monastery, circa 1267
Height: 27 cm
Provenance:
- Bodhicitta Inc., New York, 2007
Sale: 8 at 80
Estimate: HK$3,000,000 - 5,000,000 (US$400,000 - 670,000)
This sculpture is notably unique in its form. How rare is the pairing of Avalokiteshvara and Hayagriva? Do we know where in Densatil Monastery it would have originally been placed?
The pairing of a standing bodhisattva flanked by attendant deities points to a specific iconographic scheme unique to the Tashi Gomang Stupa. While Hayagriva has long been venerated as an independent deity, a 13th-century textual account about the Tashi Gomang Stupas at Drigung and Densatil offers important clues about both the subject matter and the sculpture’s original location.
That archival source describes Avalokiteshvara holding a pure lotus, while Hayagriva wields a phurba (Czaja, Medieval Rule in Tibet, 2013, Vol. 1, p. 527). Based on this record, the sculpture would have been originally placed on the west-facing side of the fourth tier of a Tashi Gomang Stupa, flanking the central Buddha figure from the left. This tier was dedicated to depictions of the Eight Great Bodhisattvas, each accompanied by attendants on both sides, arranged around the directional Buddhas at the cardinal points.
Densatil Monastery flourished for nearly 200 years, and its sculptures reflect a range of cultural and artistic influences across different periods. For instance, a sculpture of Virupaksha that sold at Bonhams in 2023 for nearly HK$38 million exudes a strong Chinese aesthetic. In terms of style and iconography, how would you characterize this depiction of Avalokiteshvara and Hayagriva?
The Virupaksha figure indeed emerged during a time when Tibetan art was becoming increasingly syncretic. Chinese influences were beginning to shape local Tibetan aesthetics, and the result was a striking image of Virupaksha that closely resembles a Chinese military general.
In contrast, the Avalokiteshvara and Hayagriva sculpture clearly belongs to an earlier phase of Densatil’s artistic legacy, when many of the founding craftsmen hailed from Nepal. These early works are marked by a quintessentially Newar aesthetic – figures with sinuous, graceful bodies, lavish ornamentation, and a visual rhythm defined more by flowing curves than rigid lines.
Here, Avalokiteshvara stands with tall, elegant proportions, his expression serene and compassionate. He wears intricate, gem-studded jewelry, while the luminous halo behind him – encircled by diamond-shaped stones – is a brilliant showcase of Newar craftsmanship sculpting a youth-like bodhisattva. Hayagriva, meanwhile, is especially captivating: animated, expressive, and full of life; his rounded, energetic form injects a playful dynamism into the composition.
A gilt copper alloy figure of Virupaksha | Central Tibet, Densatil Monastery, early 15th century | Sold: HK$37,964,000, Bonhams Hong Kong, 2023
While Buddhist sculptures most commonly depict bodhisattvas and deities, portraits of revered teachers are also highly prized by collectors. How significant are these teacher images in the history of Buddhist art and sculpture, and what sets them apart aesthetically?
Sculptures of revered teachers represent a uniquely Tibetan tradition within Buddhist art. In Tibetan Buddhism, the spiritual master is venerated with such profound devotion that the same level of artistry, reverence, and iconographic precision typically reserved for Buddhas and bodhisattvas is applied to the making of guru and Mahasiddha figures. As such, these portraits have become iconic expressions of local Tibetan aesthetics.
As works of portraiture, each teacher’s image is deeply individualized, capturing not just their physical likeness – whether aged or youthful, solemn or unrestrained, powerful or refined – but also their inner presence and spiritual charisma. These figures are often strikingly lifelike, offering a remarkable range of human character. In that sense, each piece can be appreciated as a sculptural work of art in its own right, where the subject’s spiritual force resonates with the sensibilities of modern art.
Many of these figures also bear inscriptions that provide invaluable historical context for the teacher, the temple, and the earliest or latest date of the artistic style. As research into these inscriptions continues, we gain a more nuanced understanding of the lives and legacies of these teachers and the monastic communities that commemorated them.
Highlights of Portraits of Revered Teachers:
Lot 102 | A gilt copper alloy figure of Avadhutipa
Tibet, 15th/16th century
Height: 17.5 cm
Provenance:
- Sotheby's, New York, 26 March 1998, lot 157
A Tibetan inscription along the foot of the base, translated:
- Diligently in the profound path, / Having obtained the accomplishment, / Practicing the non-duality with the method of immature ones; / I pay homage to Avadhuti[pa]
Sale: Monks and Mahasiddhas: Living the Teachings of Buddha
Estimate: HK$800,000 - 1,200,000 (US$110,000 - 160,000)
Lot 111 | A silver figure of a Kagyu hierarch
Central Tibet, late 16th/early 17th century
Height: 16.5 cm
Provenance:
- Acquired in Hong Kong, 2008
Sale: Monks and Mahasiddhas: Living the Teachings of Buddha
Estimate: HK$1,000,000 - 1,500,000 (US$130,000 - 200,000)
Lot 118 | A gilt copper alloy figure of a lama, probably Buton Rinchen Drub
Central Tibet, Shalu Monastery, 14th century
Height: 20 cm
Provenance:
- Acquired in France, 2019
Sale: Monks and Mahasiddhas: Living the Teachings of Buddha
Estimate: HK$1,500,000 - 2,000,000 (US$200,000 - 260,000)
Lot 115 | A gilt copper alloy figure of Sakya Pandita (left)
Tibet, circa 1480-90
Height: 33.7 cm
A Tibetan inscription around the foot of the base, translated:
- I prostrate myself at the lotus feet of the excellent Great Paṇḍita, / Who is proficient in all objects of knowledge, / Who delights only in the benefit of others and / Who is adorned with the glory of the characteristic marks of a bodhisattva. / To fulfill the intentions of Gyeltsap Künga Wangchuk, / The statue of the Great Paṇḍita [commissioned] / As excellently ordered by Sakyong Ayi Sengge / Is the pinnacle of craftsmanship. / Maṅgalaṃ.
Sale: Monks and Mahasiddhas: Living the Teachings of Buddha
Estimate: HK$4,000,000 - 6,000,000 (US$530,000 - 790,000)
Lot 116 | A gilt copper alloy figure of Ngorchen Kunga Zangpo (right)
Tibet, circa 1480-90
Height: 32.4 cm
A Tibetan inscription around the foot of the base, translated:
- I bow respectfully to the supreme guide of all beings, / Whose omniscient Dharma eye illuminates everything, / Who lovingly hosts the joyous celebration of the holy Dharma and / Whose activities are excellent. / To fulfill the intentions of Gyeltsap Künga Wangchuk, / The statue of the Lord [commissioned] / As excellently ordered by Sakyong Ayi Sengge / Is the pinnacle of craftsmanship. / Maṅgalaṃ.
Sale: Monks and Mahasiddhas: Living the Teachings of Buddha
Estimate: HK$4,000,000 - 6,000,000 (US$530,000 - 790,000)
Auction Details:
Auction House: Bonhams Hong Kong
Sale: 8 at 80
Date and Time: 5 May 2025 | 7 pm (Hong Kong local time)
Sale: Monks and Mahasiddhas: Living the Teachings of Buddha
Date and Time: 5 May 2025 | 7:30 pm (Hong Kong local time)
Preview Date and Time: 1 - 5 May 2025 | 10 am - 6 pm
Auction and Preview Venue: 10/F, Six Pacific Place, 50 Queen's Road East, Hong Kong