seated in vajraparyankasana on a double-lotus base with a beaded upper edge, both hands resting on the knees, with downcast eyes and a subtle smile, flanked by large ears and fleshy earlobes, wearing the Karmapa crown adorned with a diamond shape, a sun and crescent moon, clad in robes with richly detailed borders and cascading in folds on the base

Himalayan Art Resources item no. 68309

Ashmolean Museum, Oxford, 2002-2005, on loan.
Arte Buddhista Tibetana: Dei e Demoni dell' Himalaya, Palazzo Bricherasio, Turin, June-September 2004.
Rubin Museum of Art, New York, 2005-2017, on loan.
Casting the Divine: Sculptures of the Nyingjei Lam Collection, Rubin Museum of Art, New York, 2012-2013.

Good overall condition, with wear and minor accretion throughout. Baseplate not intact.
"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."

The richly embellished present lot depicts one of the Gyalwa Karmapas, recognisable by the characteristic double-pointed crown adorned with a sun and moon; the depiction with both hands resting on the knees; and the robe depicted at the reverse of the sculpture with tight vertical folds, all common stylistic conventions of the Karma Kagyu lineages. This particular hand gesture is known as the 'mind refreshing' gesture (Tibetan: sems nyid ngal gso); see Marylin Rhie and Robert Thurman, Wisdom and Compassion: The Sacred Art of Tibet, London, 1996, p. 441.

The tulkus of the Shamarpa and Karmapa lineages have had a historical relationship of spiritual mentorship and reciprocity since the late thirteenth century. One of the earliest images of a Karmapa wearing the characteristic black abbot's hat can be found on an early thirteenth century thangka in the collection of the State Hermitage in St. Petersburg, see ibid., cat. no. 133. 

It is possible that this may depict the fi𒀰rst Karmapa, Dusum Khyenpa, who was known for his large ears and fleshy earlobes, amongst other distinguishing physical characteristics. Compare the tight, stocky build of the present work wit𝄹h a fifteenth century bronze figure depicting the second Karmapa, Karma Pakshi, sold at Christie's New York, 17th October 2001, lot 99.