A GILT-BRONZE ALTAR STAND TANG DYNASTY |

the rectangular pedestal supported on high corner legs joined by struts with barbed aprons, the front corners with balustrades set with lotus-bud finials, enclosing two muscular lokapalas flanking a central figure of an acolyte or Buddhist monk standing atop a lotus to the center, a fragment of a figure, possibly an apsara, to the central front face, three rectangular apertures that would have originally supported a trinity of principal figures behind, the reverse with later-inscribed dedicatory inscription translating to 'respectfully made by Lin Shide for parents on the 8th day in the 10th month of the 1st year of Xiping during Northern Wei'

Collection of Stephen Junkunc, III (d. 1978). 

The pedestal has two breaks to the lower border (each painted red) and a hole at the back proper right corner. The apsara has been off and re-stuck and there are losses to the apsara's sashes. There are scattered minor nicks, dents, scratches, and oxidation throughout (particularly to the apsara and the floral base beneath the monk) (all as illustrated). The principal figures in the triad have been lost, as noted in the lot description.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This impressive altar stand would have originally supported a Buddhist trinity, flanked by the remaining subsidiary figures. The denticulated cusped platform, muscular rendering of the lokapalas and inclusion of the open balustrades to the corners all suggest a mid to late Tang dynasty attribution.  A number of extant Tang dynasty altar groups are known, many of which have been subjected to some degree of alteration or replacement to the figures. Two mid-Tang period examples in the Asian Art Museum of San Francisco are illustrated in René-Yvon Lefebvre d'Argencé, Chinese, Korean and Japanese Sculpture in The Avery Brundage Collection, Tokyo, 1974, pls 92-93. Compare another altar in the Seattle Asian Art Museum, illustrated in Hugo Munsterberg, Chinese Buddhist Bronzes, Tokyo, 1967, pl. 119, which the author suggests is assembled.