IMPORTANTE STATUETTE DU BOUDDHA AMIDA NYORAI EN BOIS SCULPTÉ ET LAQUÉ D'OR JAPAN, EPQOUE KAMAKURA, PREMIERE MOITIÉ DU XIIIE SIÈCLE |

debout sur une socle amovible figurant une fleur de lotus reposant sur une terrasse hexagonale à balustrade, la main droite de la divinité levée en vitarka mudra et la main gauche en dhyana mudra, vêtue d'une fine robe décorée en léger relief de rinceaux de lotus et karakusa, ainsi que de lignes geometriques, ouverte sur le torse et retombant en fins plis, le visage à l'expression sereine, les yeux mi-clos incrustés des cristal peintes, le front et les chevaux sertis des petites perles de cristal, yakugō et nikkei-shu, les yeux mi-clos, les oreilles aux longs lobes retombants, les cheveux coiffés en petites boucles et retenus par un chignon (2)      

Formerly in the collection of Charles Gillot (1853-1903), Paris (according to labels on the feet and base).

The lotus base made separately and of later date. With overall losses and wear to the lacquer and gilding. The x-ray reveals that the figure is in good overall condition, with only the fingers restored. Therebis very light wear to the surface, a ca. 1x1 large shallow chip to the rim of the right fold at the back of the figure and a ca. 1cm long frit to the edge of a fold behind the figure's left arm. Some scattered losses to the raised parts of the carving. The details of the robe very finely executed. The figure is very light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Charles Firmin Gillot (1853-1903), was a French inventor and important collector of art. The son of Firmin Gillot who revolutionised publishing by devising a way of printing text and image simultaneously, he improved the process known as 'Gillotage' a kind of photoengraving process incorporating the photographic discoveries of Daguerre and Niepce. His work won awards at all the Great Exhibitions and earned him an appointment as a Knight of the Order of the French Legion of Honour in 1886. With his fortune, Charles Gillot began to assemble a vast and rather eclectic collection of art ranging from Egyptian antiquities, Islamic glass, to Medieval works of art and sculpture, Japanese and Chinese works of art, paintings, prints and sculpture. His passion for Japanese art he shared with contemporaries such as the brothers Goncourt, who likewise were seduced by what became known as Japonisme.

Among the over 3000 works of art from the Charles Gillot collection sold after his death in 1903 in a series of sales held from the 8th to 13th February 1904 in Paris, were numerous highly important pieces, such as early Buddhist paintings, lacquerware and sculpture. Gillot focused on woodblock prints, early Japanese wood sculpture, bronzes and lacquerware.

Two lacquered wood figures of a standing Amida Nyorai are listed in the catalogue of the 1904 Gillot sale under lots 18 and 19, compare Collection Ch. Gillot. Objets d'Art et Peintures d'Extreme-Orient, Paris, 1904, p. 18. While the size of the figures is given as about the same, the heights with stands differ. The description of the surface decoration on both Amida figures is similar, but both sculptures are described in the catalogue as being of dry lacquer not wood. The present figure was thus not included in the 1904 Gillot sale.

Please note that the dating of this lot is consistent with the results of a C14 test.