A Copper Alloy Figure of Parvati

Dr. J.R. Belmont Collection
Sotheby's London, February 27 and 28, 1967, lot 124
Pan Asian Collection
Robert H. Ellsworth Collection
Sotheby's New York, October 5, 1990, lot 85 

"Indische Kunst," Württembergischer Kunstverein, Stuttgart, January 20 — March 13, 1966, and Museum für Kunst under Gewerbe, Hamburg, May 18 — July 31, 1966

Formerly on loan to the Denver Art Museum, 1977 — 1982

Indische Kunst, catalogue of the exhibition held by the Württembergischer Kunstverein, Stuttgart, January 20 through March 13, 1966, and Museum für Kunst under Gewerbe, Hamburg, May 18 through July 31, 1966, no. 107 and 108

Wear, encrustation and patination overall. Chakra at back of head now missing. Holes at front and reverse original to work, as evidenced by the sculpture’s mate, Shiva Nataraja at the Metropolitan Museum of Art, New York (Acc. No. 1987.80.1). Loss and accretions at proper base and left foot.
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.

The present sculpture of the goddess Parvati carries a storied provenance, having been a part of world-famous collections of Indian and Southeast Asian Art in the 20th century. It was first acquired by the late Dr. J. R. Belmont, a visionary collector who amassed one of the pre-eminent collections of Indian sculpture and miniature paintings in Europe in the 1950s. From 1960-70, part of the Belmont collection, including the present work, passed into the care of the Pan Asian Collection formed by the late Christian Humann. Humann assembled one of the largest and finest holdings of South and Southeast Asian art in the world. In 1982 part of the Pan Asian Collection was acquired by Robert H. Ellsworth, another legendary connoisseur who incorporated the works into his expansive collection of Chinese, Indian, Himalayan and Southeast Asian Art. In 1990, the sculpture was acquired by its present owner and has graced his collection for over two decades.

The current work was originally part of a pair, together with its companion figure of Shiva Nataraja, or King of Dancers. This figure of Shiva Nataraja was gifted to The Metropolitan Museum of Art in New York in 1987 (accession no. 1987.80.1, see image right) by Mr. Ellsworth, and is currently on view in Gallery 240.

Bronze images created between the 9th through the 13th centuries in South India are widely hailed as iconic masterpieces throughout the world. During this period most of the South Indian peninsula was under the rule of the Chola dynasty. At the height of their power, the Cholas controlled a vast swathe of territory that included not only southern India but also extended to Sri Lanka and the Maldive Islands. The Chola period is notable for its unparalleled cultural and artistic achievements and is widely considered to be a 'golden age' in Indian history. Indeed the standards set in bronze casting, sculpture, painting and architecture continue to define these traditions in South India to this day. Besides the skill required in casting, Chola craftsman perfected the harmony of line and form in these images creating some of the finest free-standing sculptures in existence.

Chola monarchs were active patrons of the arts, building numerous temples and commissioning thousands of sculptures in stone and bronze for the purpose of worship in these edifices. It was during this era of powerful patronage buoyed by unfettered economic prosperity that some of the finest Indian stone and bronze sculpture was produced.

Parvati is revered as the essential companion to the omniscient, all powerful Shiva. Not only is she the epitome of benevolence, beauty and grace, it is through her that Shiva’s obdurate divinity can be comprehended.

The elegant modeling, flowing lines, restrained posture and specific elements such as the conical crown and simple jewelry indicate a circa 11^th century date for the sculpture. Compare the conical crown with its plain headband to a 10^th century sculpture of the Goddess illustrated in V. Dehejia, The Sensuous and the Sacred: Chola Bronzes from South India, New York, Seattle and London, 2003, cat. 13, p. 124. The goddess’ long dhoti with its pattern of circular motifs is similar to that of the Cleveland Uma, see ibid., cat. 12, p. 123.

This image of Parvati together with that of her Lord Shiva would have been carried in processional worship around the temple and town in which they were housed so that all worshippers had the opportunity to view the icons and partake of their grace.