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Preisdatenbank abonnierenP A CRIPPS "Crowded street" oil on board in the manner of Laurence Stephen Lowry, signed and dated '77 lower left 30.5 cm x 47 cm together with a collection of various mainly student type artworks including two portrait studies of ladies, oil, monogrammed TM lower left, portrait head study in blue, monogrammed GH and dated '01, another by the same hand of a dog climbing a pole, monogrammed and dated '01 and others various (20 total)
A collection of various embroideries and prints including JAPANESE SCHOOL "Young girl playing flute" silk needlework, unsigned 70 cm 60 cm, two batique works, double portrait study engraving AFTER VILLIERS, three coloured engravings AFTER SEYMOUR "Childers the fleetest horse that ever run at New Market" engraved by Houston and two others "The portraiture of the famous horse Old Partner" and "The portraiture of Crab ...", AFTER G B CIPRIANI "Jane Shore introduced to King Edward IV" sepia engraving by F. Bartolozzi published 1803 and another "Oliver Cromwell discovering Mr. Jeremiah White, his Chaplain, on his knees before Lady Frances, his daughter ...", a Chinese silkwork study of a dragon vase and a modern oil miniature portrait study of a lady in 16th Century dress
B WILLEMS (British, 20th century); oil on canvas, a portrait of the artist's wife, modelled seated on a bergère chair, wearing a blue dress, signed and dated '61, 60 x 49cm, together with another oil on canvas by the same artist, portrait of the artist's mother, modelled sitting on a chair, wearing a burgundy dress with lace collar, signed and dated 1950, 79 x 58cm, both framed (2). † CONDITION REPORT: This lot may qualify for Artist Resale Rights. For further information, please visit
PHILIP NAVIASKY (1894-1984); a double-sided oil on board, still life of Summer flowers in vase, signed top right and portrait of a young girl verso, with old information labels detailing the artist's life and stating that examples of his work can be found in the permanent collections of the following galleries; Leeds, Bradford, Preston, Newcastle, Harrogate, Stoke-on-Trent, Wakefield, Bootle, Southport, Salford, etc, 62 x 52cm, framed. † CONDITION REPORT: This lot may qualify for Artist Resale Rights. For further information, please visit
RACHEL MERRIMAN (born 1971); mixed media on paper '3 Weird Sisters', initialled 'RM' and dated 1994 lower right, approx 20.8 x 15cm and a portrait of two ladies, approx 17.2 x 17cm, initialled 'RM' and dated 1998 lower right, both framed and glazed (2). † CONDITION REPORT: This lot may qualify for Artist Resale Rights. For further information, please visit
JOHN LENNON; a small quantity of ephemera relating to the star, comprising a reproduction black and white full school photograph titled 'Quarry Bank High School for Boys, Calderstones, Liverpool', dated May 1957, a small sterling silver Tiffany & Co heart-shaped photograph frame containing a black and white portrait of the star, with Tiffany cloth bag and box, a black leather picture wallet with picture of the star, in a red Asprey box, an advertising slip inscribed verso 'With the compliments of Eskimo Foods', with autopen signature of John Lennon, a newspaper cutting from the Daily Mail dated Wednesday August 25th 1999, regarding John Lennon's guitar selling for £100,000 and a copy of 'Off the Beatle Track' issue 26.
A small group of jewellery, including a 9ct gold multiple link neckchain on a boltring clasp, weight 7.9g, length 63cm, a gold and enamelled oval pendant locket, unmarked, weight 7.8g, length 4cm, an oval lava cameo, carved as a portrait of a bacchante, and a Venetian bead necklace.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 9ct gold, diamond and aquamarine oval cluster ring, ring size approx N, a 9ct gold and shell cameo ring, designed as a portrait of a lady, a 9ct gold, ruby and colourless gem cluster ring and a 9ct gold, emerald and colourless gem set cluster ring, total weight 6.2g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A pair of gold and citrine single stone earrings, each spectacle set with an oval cut citrine, detailed '9ct', length 2.3cm, and a pair of 9ct gold curved rectangular earrings with post and butterfly fittings, Birmingham 1997, total weight 4.6g, together with a gilt metal circular pendant locket, 1830s, the front glazed with a photographic portrait.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
C20th, English School Oil on canvas, A large Three quarter length portrait of a gentleman, in gilt glazed frame; bears note from the family to the base of the painting, "Frank Copnall b.1870 Liverpool, exhibited 51 pictures in the Royal Academy from 1905 - 1945 " and verso note George E Godwin by Frank T Copnall, exhibited RA 1910 picture no 468, GEG was DGRs great uncle", - (of the late local vendor). 129 x 100cm
C19th oil on canvas, half portrait, label verso bears writing "William Page of Worcester C.1670 Father of Anne Page who married Thomas Western of Tamworth (D.1796) and Elizabeth Page in Killieneley, This picture is a circa 1900 copy of a 1730 original?" William page great x 5 grandfather (presumably of our vendor) 73.5cm X 59.5cm, much wear to surface, in gilt frame
A Mid to Late C19th Oil on canvas, Portrait of a seated Scottish Gentleman, 125.5 101 cm, in gilt frame (Condition, the frame has much wear and losses, the canvas has some marks and wear; Provenance, local vendor ancestor. The Portrait is probably of a resident of Strathmore, Fife, Probably George or Robert Prentice
Suffolk interest, a collection of volumes mostly relating to Suffolk and it's environs to include Allan, Victor: East Anglian Enchantment, Jennings, Celia: The Identity Of Suffolk, Jobson, Allan: Portrait Of Suffolk, Tennyson, Julian: Suffolk Scene, Houghton, Bryan: Saint Edmund King And Martyr and Arnott, W.G.: Suffolk Estuary etc. (two boxes)
STATUETTE DE TSONGKHAPA EN ALLIAGE DE CUIVRE DORÉTIBET CENTRAL, XVE SIÈCLEHimalayan Art Resources item no. 4604 18.8 cm (7 3/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF TSONGKHAPACENTRAL TIBET, 15TH CENTURY藏中 十五世紀 銅鎏金宗喀巴像Provenance:With Claude de Marteau, Brussels, by 1970sJe Tsongkhapa (1357-1419), the revered founder of the Gelug school of Tibetan Buddhism is presented here with great esteem, exemplified through characteristic features associated with other enlightened teachers, bodhisattvas and buddhas. Seated on a wide double lotus throne, he wears traditional garments of an esteemed master including a dhonka and patchwork robe incised with scrolling vines interspersed with floral buds and blossoms. Flanking either side of the lama on lotus flowers are the manuscript and sword, attributes of the Great Bodhisattva of Wisdom, Manjushri, who has conferred wisdom and skillful means on the master. The portrait merges with images of the Buddha, as the elongated earlobes and alms bowl pay tribute to the greatest of all Buddhist teachers. Tsongkhapa's portrayal is in visual union with all the great enlightened beings. The formality of the lama is at clear play with his more candid portrayal. The countenance of the face is charming, expressed in the laugh lines, plump cheeks, rounded nose and pointed chin having an impression of approachability and friendliness. The toes that peek from below the lama's robe relax any sense of stiffness of the body. This is similarly illustrated by another 15th-century bronze from Central Tibet sold in the Claude de Marteau Collection at Bonhams, Paris, 14 June 2022, lot 41. There is an overall enchanting quality and human tenor, which without these elements, may reduce this portrait to a generic type. As founder of the Gelug order, particular reverence through repetition can be seen in the proliferation of Tsongkhapa's portrayal, and yet this example shows a more sensitive modelling of the face and hands, offering a counterpoint between the realistic and idealized features of this lama.The idealized portrayal of Tsongkhapa and the stylistic variations can make it difficult to identify the master with certainty. Other examples of the lama include HAR 12476, which share similarities in the facial features, the modeling of the lotus petals, and the exposed toe, but are set apart with the inclusion of the alms bowl in this caste. As these are idealized images, without an inscription the identity can remain vague, and yet with certainty, it can be understood that lama portraiture, especially in consideration of the notoriety of Tsongkhapa, was an essential aspect of tantric visual tradition. The stylistic elements are consistent with 15th-century castings from Central Tibet. The lotus petals and base's tall foot specifically reference a mode coming from the atelier of Sonam Gyaltsen which flourished in Tsang province during the early-mid 15th century and can be compared to another lama portrait on HAR 11028. Moreover, Tsongkhapa's legacy, both historically and visually, was established during the 15th century in central U-Tsang region, making memorials of his likeness a testament to his amassed following which culminated in the founding of the Gelug order.For further information on this lot please visit Bonhams.com
STATUETTE D'UN LAMA EN LAITON INCRUSTÉ D'ARGENTTIBET, XVIE SIÈCLEHimalayan Art Resources item no. 4613 17 cm (6 3/4 in.) highFootnotes:A SILVER INLAID BRASS ALLOY FIGURE OF A LAMATIBET, 16TH CENTURY西藏 十六世紀 銅錯銀喇嘛像ProvenanceWith Claude de Marteau, Brussels, by 1970sLikely representing either Sachen Kunga Nyingpo or Jetsun Dragpa Gyaltsen from the Sakya Order of Tibetan Buddhism, the style and execution bear similarity to other portraits of this tradition from the 15th/16th century. As often depicted in portraits of Sakya Masters, the lama is flanked by the manuscript and sword, alluding to his attained wisdom and association with the bodhisattva Manjushri. He holds the implements of the vajra and ghanta in the position linked to the purification deity Vajrasattva, signifying his accomplished role as a tantric master. The monastic garment with an engraved hem and cord tied around the ribcage are common features of this portrait type. Rarely featured in other portrayals, however, is a vertical pleating of the robe that is shared with a portrait of Sachen Kunga Nyinpo sold at Bonhams, New York, 14 March, 2017, lot 3259. The tall base with abstracted square lotus leaves appears as a unique stylistic element in several bronzes of this kind as seen in a portrait of Lowo Kenchen Sonam Lhundrup also sold at Bonhams, New York, 14 March 2017, lot 3277.For further information on this lot please visit Bonhams.com
STATUETTE DE TILOPA EN ALLIAGE DE CUIVRETIBET, XVIIE/XVIIIE SIÈCLEHimalayan Art Resources item no. 4644 11 cm (4 2/8 in.) highFootnotes:A COPPER ALLOY FIGURE OF TILOPATIBET, 17TH/18TH CENTURY西藏 十七/十八世紀 帝洛巴銅像Provenance:With Claude de Marteau, Brussels, by 1970sThe life of Mahasiddha Tilopa (928-1009) is cloaked by mythical interpretation, characterized, like many of the lives of mahasiddhas of Tantric Buddhism, by his eccentric behavior. He is recognized in the Kagyu lineages for synthesizing core Buddhist teachings into pith instructions.Compare the unusually upturned lotus base on which Tilopa sits upon to a Kagyu portrait published in Hollywood Galleries, Hong Kong, May 2019, no. 7, possibly indicating that the present lot was affixed to a larger support.For further information on this lot please visit Bonhams.com
STATUETTE D'AMITAYUS EN ALLIAGE DE CUIVRE DORÉTIBET, XVIIIE SIÈCLETibetan number inscribed on reverse '37'.Himalayan Art Resources item no. 4619 13.4 cm (5 1/4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF AMITAYUSTIBET, 18TH CENTURY西藏 十八世紀 銅鎏金無量壽佛像Provenance:With Claude de Marteau, Brussels, by 1970sThis serene portrait depicts Amitayus, the Buddha of Infinite Life, carrying the elixir of immortality in his palms. Located behind the cushion is a Tibetan inscription, denoting that this image was made for a larger sculptural mandala of Buddhas and bodhisattvas, possibly in the workshops of Tashi Lhunpo in Shigatse, Central Tibet. Compare the style of the present lot to an image in the Santa Barbara Museum of Art (1991.148.74), another sold at Christie's, New York, 19 March 2013, lot 411, and lastly, a larger example sold at Bonhams, Hong Kong 29 November 2019, lot 21.For further information on this lot please visit Bonhams.com
STATUETTE DE BOUDDHA EN ALLIAGE DE CUIVRE DORÉDYNASTIE YUAN, XIVE SIÈCLEHimalayan Art Resources item no. 4626 17 cm (6 3/4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF BUDDHAYUAN DYNASTY, 14TH CENTURY元 十四世紀 銅鎏金佛陀像 Provenance:With Claude de Marteau, Brussels, by 1970s Many images of the Buddha exist memorializing the moment of his enlightenment. Iconic in form, the portrait is at once recognizable in the gesture, contemplative gaze, and perfected meditative posture. Yet, every iteration carries unique features and motifs tracing both tradition and change, telling a story of both time and place. This bronze tells of the Yuan dynasty's eager patronage of Tibetan Buddhism and its summoning of master Newari artisans from Nepal to establish the dynasty's own practice of image making. Yuan court annals and a reign-marked gilt copper alloy sculpture of Manjushri in the Palace Museum, Beijing, attest to this narrative (see Bigler, Before Yongle, 2013, p. 11, fig. 3). Like the present sculpture, the Manjushri, dated to the 9th year of the Dade reign (1305 CE), emphasizes its subject's sublime nature through a lightly clad idealized body characteristic of Newari aesthetics; less focus is placed conversely on heavily patterned garments and intricate jewelry. The sentiment is carried by the present bronze's restraint of ornamentation in the sheer monastic robe, which hugs a sensuous, monumental frame. Both figure's broad foreheads and square jaws share an affinity with buddha images from Nepal's Early Malla period (13th/14th century). So do the wide, beaded hemlines within their garments. However, the sculptures have almost identical beaded lotus pedestals completed in the round displaying tear-shaped inner petals with curled tips surrounded by a flatter second layer with ridged tips. Such bases and a particular technique of engraving, comprised of small punch marks yielding scrollwork, are idiomatic of bronzes produced for the Yuan dynasty. Additionally, the most prominent engraved detail embellishing the present Buddha is found over his left shoulder, showing a square panel with a visvavajra surmounted by a lotus flower. This motif and the other Yuan elements are all represented by a bronze buddha sold at Bonhams, Hong Kong, 2 December 2021, lot 1011 and two other published examples (ibid., pp. 92-5 & 112-3, nos. 21 & 26).For further information on this lot please visit Bonhams.com
STATUETTE DE TARA VERTE EN ALLIAGE DE CUIVRE DORÉKHASA MALLA, XIVE SIÈCLEHimalayan Art Resources item no. 4612 18.8 cm (7 3/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF GREEN TARAKHASA MALLA, 14TH CENTURY卡薩馬拉 十四世紀 銅鎏金綠度母像 Provenance:With Claude de Marteau, Brussels, by 1970s Her eyes and lips accentuated with the application of cold gold, red, and white pigments, Green Tara casts a warm and empathic smile toward the viewer. The lotus and blue lily blossoming over her shoulders reflect her pure nature as the mother of all Buddhas. Likewise, as the female bodhisattva of compassion, she waits attentively with one hand outstretched in the gesture of wish-granting and one leg pendant, ready to rise to the aid of her devotees. The delineation of the joints of Tara's fingers, in addition to the application of red lacquer to the flattened back of her lotus base, are stylistic features associated with the Khasa Mallas, a Buddhist kingdom in Western Tibet and Nepal whose artists produced paintings and sculptures infused with the styles of neighboring artistic centers (see Alsop, 'The Metal Sculpture of the Khasa Malla Kingdom', in Singer & Denwood (eds.), Tibetan Art: Towards a Definition of Style, 1997, pp. 68-79). For instance, the present figure's hooked nose and rounded jawline bear a strong similarity to two images: a gilt bronze of Green Tara sold at Bonhams, Hong Kong, 2 October 2018, lot 154; and a portrait of a Khasa Malla Queen, now in the National Museum of Asian Art, Washington, D.C. (F1986.23).For further information on this lot please visit Bonhams.com
AFTER SIR PETER PAUL RUBENS SELF PORTRAIT Oil on board 17 x 13cm (6½ x 5 in.) In an elaborate ebonised frame with inset 'hardstone' ovals and pierced gilt metal 'spandrels' (one missing). This 19th century work is based on the 1623 self portrait in the Royal Collection, Picture Gallery, Buckingham Palace, London. Condition Report: Some discolouration of the varnish. Paint loss around the edges from contact with the frame. A restoration in the sitter's forehead which is visible with the naked eye. UV reveals more retouching above his right eye and in the decoration on his hat. Areas of craquelure, particularly in the sitter's hair. Condition Report Disclaimer
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