Formerly in the collection of the late Sir William Earnshaw-Cooper (1843-1924); thence by descent.

With scattered areas of accretion, losses and chipping throughout as viewed in catalogue illustration. Some losses to curls, some losses to fingertips and toes, loss to back of upper proper left arm and elbow. With further areas of chipping at the back of head and back.
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 elegant and highly polished black stone figure depicting a jina, possibly Mahavira (circa 480-408 BCE), is a superlative example of 11th century Jain sculpture. Sensuously modeled, the broad shoulders, short neck and narrow waist of the seated jina demonstrate the powerful the meditative equipoise of the subject. Also note the fine carving and rendering of the iconographical details, including the delicately incised individual curls; the tufted whorls at the nipples; the stylized srivatsa at the center of the chest; and the foliate motif at the palms of the hands and soles of the feet. This foliate motif is continued at the base cushion, which also depicts a playful leogryph at center.    

The inscription on t♔he base of the sculpture﷽ reads:

On the eleventh day of the waning moon of Jyeshtha, samvat 1153, Pandi Ganpat Senacharya caused this figure to be made as a meritorious deed by Jina ——, the son of Madhava. 

Jain figures depicting jinas are typically recognizable by their attributes or identifying characteristics. It is possible that the current work depicts Mahavira, the twenty-fourth and last tirthankara, due to the lack of identifying features and as he is the most commonly🍸 depicted.

Compare the rounded, carved base cushion and dedicatory inscription on the current work with a contemporaneous marble sculpture of a Jain Svetambara Tirthankara in meditation in the Metropolitan Museum of Art, acc. no. 1992.131; and a 12th Century polished sandstone sculpture of a Jina in the collection of Dr. David R. Nalin, see Pratapaditya Pal, Peaceful Liberators: Jain Art from India, Los Angeles, 1994, p. 140, cat. no. 27.

The current work was acquired by the late Sir William Earnshaw Cooper (1843-1924), Companion of the Order of the Indian Empire (C.I.E). Sir William was stationed in Northwest India for much of his career, and served as the head of the Cawnpore firm of Cooper, Allen and Co. He was also honorable Colonel꧑ of the Cawnpore Volunteer Rifles; a member of the Legislative Council of the Northwest provinces and Oudh from 1893-1900; and served as the President of the Upper India Chamber of Commerce from 1889-1900. 

Sir William received the C.I.E in 1897 and was knighted in 1906. He was the author of The Murder of Agriculture; Socialism and its Perils; Britain for the Briton; and England's Need, among others. Sir William resided at Castle Carey, Guernsey, in the British Channel Islands, where the current sculpture had been kept in situ in his family collection until hi🔜s death in 19🃏24.