Having been a dealer all his life, Jules Speelman has devoted himself to Asian art for the past sixty years. With an exceptional eye for quality and rarity, he has become a name synonymous with excellence, and his personal collection is often highly coveted at auctions.
On 11 June, Bonhams Cornette de Saint Cyr, Paris brought to the market 28 pieces of Tibetan, Nepalese, and Chinese bronze Buddhist figures and vessels from his collection in a single-owner sale. Reaffirming his exquisite taste, the auction saw multiple lots attract eager bidding and achieve prices far surpassing their estimates, resulting in a sale total of €15.2 million (US$16.2 million), three times its pre-sale estimated total. All but two lots in the auction failed to find new homes, with a remarkable sell-through rate of 93%.
The top lot was a 14th-century gilt copper alloy figure of the Vajradhara from Nepal, dating back to the early Malla Period, which sold for around €4.2 million (around US$4.5 million) against an estimate of €600,000. The cover lot of the auction, a 17th-century central Tibetan parcel-gilt silver and gilt copper alloy figure of Ushnishavijaya, hammered 5.3 times its estimates for €3.2 million, selling with fees for €3.92 million (around US$4.2 million).
Such exceptional results undoubtedly bring optimism to the Asian art market, which has faced challenges in recent years.
Jules Speelman has been collecting Himalayan art for more than half a decade
In 1964, the 18-year-old Jules Speelman joined his late father, Alfred, in a family antiques business that stretches back three generations to 19th-century Holland. Originally, A & J Speelman dealt with general antiquities produced over a brief 150-year period, from European ceramics, silver, tapestries, and furniture to Chinese porcelain, and works of art.
Together with his father, Jules gradually turned the gallery eastwards, shifting the focus to Chinese artworks and Himalayan sculptures, which have a long history spanning thousands of years. Under Jules Speelman's skilled direction, A & J Speelman has developed into one of the foremost dealers in Asian antiques.
He himself is also a seasoned collector of Asian art, having started collecting Himalayan art at the age of 20, and has been doing so for an impressive sixty years. With an eclectic but exquisite taste, he prizes quality, style, and rarity over any particular field or medium.
For Buddhist statues, for instance, Speelman's primary concern is not the rituals or religious symbolism behind the Buddhist statues, but rather the craftsmanship and aesthetic value – an approach in line with those of many contemporary collectors today.
"One thing I didn’t realise when I was buying these pieces was how they would go up in value. I bought what I really liked and by comparison with other art fields they seemed comparatively inexpensive," he said. "It has been my good fortune to be able to sense if something is absolutely top and therefore I have to have it."
Lot 12 | A gilt copper alloy figure of Vajradhara
Nepal, Early Malla Period, 14th century
Height: 42.5 cm
Provenance:
- Private German Collection
- Christie's, New York, 22 March 2000, lot 73
Estimate: €600,000 - 800,000
Hammer Price: €3,400,000
Sold: €4,162,400
Since the time of Gautama Buddha's teachings, Buddhism has spread to different regions and evolved into various distinct schools of thought. In a simplified binary distinction, there are the Exoteric and Esoteric schools. The Esoteric school, known as Tantra or Vajrayana, involves secret transmissions between teacher and disciple, with teachings and practices kept highly confidential, hence the name "Esoteric."
Within the realm of Esoteric Buddhism, Vajradhara, also known as the Vajra Holder, is considered the supreme figure. Vajradhara is regarded as the primordial Buddha, the embodiment of the Dharmakaya, which represents the most original and fundamental essence of Buddhahood.
But here comes the question: Isn't the Gautama Buddha himself the Buddha?
From a doctrinal perspective, Gautama Buddha and Vajradhara can be seen as two aspects of the same reality. The former is the Nirmanakaya, the manifested Buddha who appeared in the world with a physical form to deliver teachings to sentient beings. The latter, on the other hand, is the Sambhogakaya, the Buddha in the form of the Dharmakaya, without form or colour, representing the ultimate nature of fully awakened awareness.
In the four major Tibetan Buddhist traditions, the Kagyu school traces all its lineages back to Vajradhara, considering him as their ultimate progenitor. Thangka paintings associated with this tradition often depict Vajradhara in the central upper position, emphasizing his supreme status.
The back of the present lot
This particular statue of Vajradhara represents the pinnacle of sculptural artistry during the golden period of the Malla dynasty, which spanned three centuries and ruled extended over the Kathmandu Valley, where the Newar people reside.
The abundance of copper minerals along the Kathmandu Valley has for centuries fostered the development of a diversified metalcraft industry. And in the history of Buddhist sculpture, the craftsmanship and renowned skills of the Newar artisans are second to none. They are considered among the most extraordinary bronze artists in Asia and have been commissioned to cast Buddhist statues by dignitaries from Tibet, Mongolia, and mainland China.
Their works emphasize intricate ornamentation, musculature, and dynamic body movement, and their body usually well-rounded with defined muscles. These artistic advancements injected vitality into the earlier foundations, resulting in statues that were more realistic, vibrant, and faithful to human forms.
One distinctive feature in this statue, as well as others from the same period, is the elaborate earrings that extend from the ears, creating an illusion of floating in the air.
Especially stunning in the sculpture is the floret tiara, with two ascending floral peduncles surrounding the centre and a chepu beast mask on the base. Commonly seen in the iconography of Newar art, the chepu is a mythical creature comparable to China's taotie or India's kīrtimukha ("glorious face"), which is a guardian that has only a head but no body.
Seated in the vajra posture with crossed legs, Vajradhara holds the ghanta (bell) in the left hand and the vajra (thunderbolt-diamond) in the right. Both principal ritual tools of Esoteric Buddhism, the ghanta represents wisdom, while the vajra symbolizes method. Together, they embodied the union of all dualities, including male and female, and bliss and emptiness.
In a serene countenance, his facial features reflect the distinctive Nepalese style, characterized by a low, broad forehead, elongated eyebrows and eyes, a straight nose, and slightly pursed lips with a gentle smile. The proportions of the body are well-balanced, conveying a sense of strength.
Standing at an impressive height of 42.5 cm, this figure of Vajradhara is likely being venerated in a chapel. In the Kathmandu Valley, chapels are small rooms situated at the end of the courtyard in monasteries. Now seven centuries later, the gilding of the statue still remains impeccable – one may imagine how they glowed beneath the scintillating luminosity of butter lamps in temples and chapels, enhancing the sanctity of these spaces.
A gilt bronze figure of Vajradhara | 14th century, Malla dynasty | The Museum Rietberg, Zürich, Switzerland
A gilt bronze figure of Manjushri | 14th century, Malla dynasty | Sold: RMB 57.5 million, Poly Auction Beijing, 2021
In 2021, a gilt bronze figure of Manjushri, dating back to the same period of the present lot and standing at the same height, sold for RMB 57.5 million at Poly Auction Bejing.
As for public collections, the Museum Rietberg in Zürich houses a seated figure of Vajradhara, also from the 14th-century Malla dynasty; however, it is smaller in size, measuring only 21.9 cm in height.
Lot 8 | A parcel gilt silver and gilt copper alloy figure of Ushnishavijaya
Central Tibet, circa 17th century
Height: 17.2 cm
Estimate: €600,000 - 800,000
Hammer Price: €3,200,000
Sold: €3,920,400 (around US$4.2 million)
The cover lot, a parcel-gilt silver and gilt copper alloy figure of Ushnishavijaya, dates back to 17th-century central Tibet. Upon first glance, one of the most captivating features of the sculpture is the silver main body, which not only represents its high value but also ingeniously integrates aesthetic concepts.
In the case of bronze Buddhist statues, the more precious ones are often adorned with gold or silver gilding – and the present sculpture is made of both. In ancient times, silver was highly valued, particularly in Tibet, where it was exceptionally rare.
Here, the cool-toned nature of silver creates a vivid contrast with the warm-toned gold gilding on the garments, base, and halo, as well as with the turquoise inlaid decorations. This contrast in colours adds depth and a three-dimensional quality to the sculpture, resulting in a stunning aesthetic effect.
Of particular note is that traditional iconographic texts describe Ushnishavijaya's central face as pure and white as an autumn moon, like her body. By casting her with a silver body, this sculpture effectively captures the essence of her image through the thoughtful use of materials.
In Tibetan Buddhism, Ushnishavijaya occupies a highly revered position. A Buddha of longevity often accompanied by the deities Amitayus and White Tara, she is believed to manifest from Buddha's ushnisha, or the crown, the symbol of his Enlightenment and Enthronement. As such, Ushnishavijaya represents the Intelligence of the most splendid Perfect One and is also known as the Victorious goddess of the Usnisa.
In her manifestation, she appears with three faces and eight arms, adorned with celestial garments and a five-leafed crown. She casts her central gaze downward to meet that of her devotees. Her right countenance is serene and similarly downward-cast. The left is fierce and powerful, with fangs exposed and eyes wide and unflinching.
In some Tibetan Buddhist traditions, they signify the integration of three deities. The central face represents Ushnishavijaya, the right face embodies Avalokiteshvara Bodhisattva, and the left face embodies Vajrapani Bodhisattva in their wrathful form. This indicates that Ushnishavijaya possesses the compassionate qualities of Avalokiteshvara and the subjugating attributes of Vajrapani.
The eight arms of the Ushnishavijaya each hold a dharma implement or a different mudra. Following traditional iconography for her representation, her upper right-hand holds an image of Amitabha Buddha, while the one below wields an arrow. Close to her chest, she holds a double vajra (vishvavajra), and the lowest hand presents the gesture of generosity, or varada mudra.
The upper left-hand displays a gesture of protection, or abhaya mudra, while the hand below wields a bow. The left hand near her chest once held the sacred cord (pasha); the upward-turned hand in her lap a vase of immortal elixir.
Each of these implements carries profound meanings. The bow and arrow, for instance, represent wisdom and method, respectively. The double vajra symbolizes unwavering concentration, while the sacred cord represents binding wisdom or consciousness within the practitioner's mind.
Over the centuries, it is not uncommon for the hands of such sculptures to be missing some of the implements. However, in this particular sculpture, apart from the sacred cord and the vase, the rest of the implements remain intact, making it an exceptionally rare and precious artefact.
A gilt copper alloy figure of Chakrasamvara | Tibet, 17th century | Sold: €491,775, Bonhams Cornette de Saint Cyr, 2022
A gilt brass figure of Ushnishavijaya | China, late 17th–18th century, Qing dynasty (1644–1911) | The Metropolitan Museum of Art
Left: the present lot | Right: the one in the Metropolitan Museum of Art
Since 2022, Bonhams has staged three single-owner sales in Paris for the esteemed Belgian collector Claude de Marteau. Boasting exceptional provenance and quality, many Buddhist sculptures in these auctions sparked spirited competition across the globe and rose well above their pre-sale estimates.
One of the notable treasures from Claude de Marteau's collection is a 17th-century Vajradhara sculpture. This sculpture bears an inscription that confirms its connection to the Tashi Lhunpo workshop and features a flaming halo and a lotus base which closely resemble those found in the present lot.
Interestingly, The Metropolitan Museum of Art in New York also houses a 17th-century Vajravarahi sculpture that bears a striking resemblance to the present lot, which suggests a potential historical connection between the two sculpures.
Lot 14 | A gilt copper alloy figure of Virupa
Attributed to Sonam Gyaltsen (a. 15th century), Central Tibet, circa 1430-1450
Height: 14.6 cm
Estimate: €150,000 - 200,000
Hammer Price: €1,000,000
Sold: €1,258,400 (around US$1.3 million)
In the history of Buddhism, alongside numerous guardian deities and esteemed monks, there have been individuals who gained fame through their unconventional behaviour and teachings, deviating from the orthodox path. Mahasiddha Virupa, the Lord of all yogis, is one such "madman".
Active in the 9th century, Virupa was formerly an abbot of the prestigious Nalanda, one of the greatest centres of learning in the ancient world. However, he was later banished from Nalanda for his use of meat and alcohol. Legend has it that when accused of killing and eating pigeons, Virupa simply snapped his fingers, and all the pigeons came back to life. He then left there and wandered as a yogin performing a number of miracles.
One of the most well-known stories involves him stopping the sun. When Virupa first came to Varanasi to preach, he tried to catch people's attention by going on a drinking spree at a local tavern. While he said that he would pay the bill by sunset, he used his magic to make the sun hang in the sky, and the heat became so unbearable that the local king had to personally intervene.
This story is often depicted in artworks portraying Virupa, with him holding a skull bowl in one hand and pointing to the sky with the other.
This 15th-century sculpture of Virupa, however, presents the legendary yogi with a relatively rare image. He is depicted with both hands in the teaching gesture, a mimetic mudra about the Buddha's first teaching at Deer Park. He sits on a lotus seat covered with an antelope skin, customary in portraits of the great Siddhas.
Full-bodied, with a gana-like effect, his figure and wide-eyed wrathful gaze are closely similar to two other sculptures, one featured in Tibetan Art by Heller and another sold at Bonhams Paris last June for €952,000.
All three are lavishly gilded with turquoise insets and corresponding floral decorations and incised details. All wear a garland around their necks, though this example depicts it draped in a bias across his body.
Rich chasing of Ming-inspired floral patterns along the lower garment, here and in the lot sold at Bonhams Paris, pay tribute to artistic exchanges between China's Imperial court and Tibetan sects. Crisp lotus roundels in the rear, for instance, faithfully reproduce the motif found in embroidered Chinese silks, such as a textile preserved in the Metropolitan Museum of Art, New York
Embroidered Patchwork Panel | China, circa 14th century | The Metropolitan Museum of Art
A gilt copper alloy figure of Virupa | Tibet, 15th/16th century | Sold: €952,900, Bonhams Cornette de Saint Cyr, 2023
Other Highlight Lots:
Lot 23 | A gilt copper alloy figure of Shri Devi
By 'Sogyal', probably Sonam Gyaltsen (a. 15th century)
Central Tibet, Densatil Monastery, circa 1431-35
Provenance:
- Spink & Son Ltd., London, 1979
Estimate: €600,000 - 800,000
Hammer Price: €850,000
Sold: €1,076,900
Lot 16 | A silver inlaid brass figure of Vajrapani
Central Tibet, 11th/12th century
Height: 68.8 cm
Provenance:
- Spink & Son Ltd., London, by 1980's
Estimate: €600,000 - 800,000
Hammer Price: €600,000
Sold: €762,400
Lot 19 | A copper alloy figure of Tsangnyon Heruka
Central Tibet, Tsang Province, late 15th/16th century
Height: 41 cm
Estimate: €300,000 - 500,000
Hammer Price: €540,000
Sold: €686,200
Lot 26 | A gilt copper alloy figure of Green Tara
Ming Dynasty, Yongle six-character mark and of the period
Height: 15 cm
Provenance:
- An Important Private European Collection
Estimate: €150,000 - 200,000
Hammer Price: €450,000
Sold: €571,900
Lot 2 | A gilt copper alloy figure of Vasudhara
Nepal, early Malla period, 14th century
Height: 17.8 cm
Provenance:
- Private Missouri Collector
- Sotheby's, New York, 18 December 1981, lot 21
- Sotheby's, New York, 6 October 1990, lot 313
Estimate: €100,000 - 150,000
Hammer Price: €260,000
Sold: €330,600
Lot 10 | A silver inlaid gilt copper alloy enshrined figure of the founder of the Drigung Kagyu order, Jigten Sumgon Rinchen Pel
Central Tibet, Densatil Monastery, 13th/14th century
Height: 18.1 cm
Provenance:
- Private European Collection
Estimate: €100,000 - 150,000
Hammer Price: €250,000
Sold: €317,900
Lot 1 | A gilt copper alloy figure of Vajrabhairava
Nepal, 15th century
Height: 14 cm
Provenance:
- Christie's, London, 10 November 1976, lot 164
- Philip Goldman, London
- Sotheby's, New York, 21 March 2002, lot 61
Estimate: €40,000 - 60,000
Hammer Price: €220,000
Sold: €279,800
Lot 24 | A gilt copper alloy shrine to Green Tara
Northeastern India, Kurhikar, Pala Period, 11th century
Height: 13 cm
Estimate: €100,000 - 150,000
Hammer Price: €220,000
Sold: €279,800
Lot 18 | A gilt copper alloy figure of the Fiifth Sakya Tridzin, Jetsun Dragpa Gyaltsen
Tibet, 15th/16th century
Height: 18.1 cm
Provenance:
- Sotheby's, New York, before 1976
Estimate: €40,000 - 60,000 (No reserve)
Hammer Price: €200,000
Sold: €254,400
Auction Details:
Auction House: Bonhams Cornette de Saint Cyr, Paris
Sale: Jules Speelman: Completing a Cycle - 60 Years of Devotion
Date: 11 June 2024
Number of Lots: 28
Sold: 26
Unsold: 2
Sale Rate: 93%
Sale Total: Around €15.2 million