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SALMAN TOOR (B. 1983)Pre-Drinks 2018 oil on panel45.7 by 45.7 cm.18 by 18 in.This work was executed in 2018.Footnotes:ProvenanceAcquired directly from the artist by the present ownerExhibitionLahore, Lahore Biennale, Are you Here?, 2018Recognised for his evocative compositions that combine the present with the art historical past, Salman Toor is considered one of the most exciting emerging artists in the world of figurative painting. Toor creates masterful canvases that depict the convergence of intimate everyday moments set against contemporary, domestic scenes that convey a feeling of warmth, nostalgia, but also that of alienation and contemplation. This present work, Pre-Drinks, was exhibited at the Lahore Biennale in 2018, the year it was executed. The composition wonderfully embodies the artist's fascination and focus on the human form, representations of male identity whilst revealing a sense of mystery and intimacy, to stunning effect. Here the viewer stumbles upon a quiet moment between two young men; it is a moment of contemplation; they are relaxed in their comfortable contemporary surrounding enjoying food and drinks amongst books and magazines. We are reminded that this is a painting of the modern day with the inclusion of a mobile phone or tablet that engages the figure on the right. Toor's works are often imbued with an air of the past mixed with modern life; indeed, upon moving to New York, Toor came into his stride as an artist who crafted hybrid tableaus that sought to marry East and West, perhaps a meditative contemplation on his past and present. He often acknowledges his childhood experiences in Pakistan, particularly in the influences of Pakistani advertisements and glamorous images from his mother's magazines, and here on the edge of the table is a magazine depicting a figure in Eastern attire. Toor's style of painting is easily discernible; his paintings employ a palette of bold colour applied in a painterly Mannerist style, layering the canvases with fluid brushstrokes. Toor incorporates his signature palette of emerald green in the clothing of his male figure; the artist once commented that the glamorous tones of emerald green evoked the nocturnal allure and fantasy of a freely queer life. There is a sense of ease between these two men, they are not actively engaging yet are present and content in one another's company, and as the title suggests this is perhaps just the beginning of their evening together. Toor has often described his figures as undernourished and hairy bodies of colour occupying familiar bourgeois urban spaces. He envisions them as educated and creative individuals perhaps navigating the artist's life in New York City amidst shifting ideas about race, immigration, foreignness, and American identity. These figures sometimes resemble lifestyle images, representing fantasies about himself and his community, he seeks to create imagined scenes in which he and his friends are totally free to be themselves.Born and raised in Lahore, Pakistan, Toor moved to Ohio to study painting before settling in New York. While in Ohio, he studied art history intently and focused on learning the techniques of artists like Caravaggio, Peter Paul Rubens, and the refined Rococo canvases of Jean-Antoine Watteau. 'Instead of moving with the times, I wanted an academic education in painting. I wanted to be as good as the white old masters. In fact, I was happy only when I could pretend that I was a 17th or 18th century painter living in Madrid, Venice or Holland' (the artist in: Ayla Angelos, 'I wanted to be as good as the white old masters': meet painter Salman Toor www.itsnicethat.com, 23 September 2023). Toor's widely acclaimed first solo museum exhibition, How Will I Know, was on view in 2020-21 at the Whitney Museum of American Art in New York City. In late 2022 a major retrospective titled No Ordinary Love, was held at the Baltimore Museum of Art in Maryland and later travelled to the Tampa Museum of Art in Florida, the Honolulu Museum of Art in Hawai'i, the Rose Art Museum at Brandeis University in Massachusetts before closing at M Woods in Beijing earlier this year. Today, Toor's works are held in the permanent collections of the Tate, London, the Whitney Museum of American Art, New York, the Walker Art Center, Minneapolis, M Woods, Beijing and the Museum of Contemporary Art Chicago among others.Throughout his current oeuvre, his compositions of the mundane and the memorable moments of his characters' lives, reveals a deeply relatable existence, ultimately creating an opportunity for empathy and private vulnerability through the language of painting which is beautifully evident in this present work.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Yusuf Adebayo Cameron Grillo (Nigerian, 1934-2021)Red Ayan signed and dated 'GRILLO/ 72' (lower right); titled 'RED AYAN' (verso)oil on board121 x 59.5cm (47 5/8 x 23 7/16in).(framed)Footnotes:ProvenanceA private collection, UK.According to Yusuf Grillo, his favourable thematic use of the drummer in his works originated from his childhood. While growing up in Lagos, Grillo and a group of his friends would often be exposed to many drum players at special occasions. As there was no television or radio during his adolescence, drummers became the main source of entertainment at family and celebratory functions. It is these events that prompted a sense of nostalgia for Grillo, and that he revisits in his works when depicting a drummer or in this case Ayan, the Yoruba title for a talking drum player or the action of drumming. Chika Okeke-Agulu argues that the prominence of drums within Grillo's work as 'of all the instruments in Yoruba music ensemble, the drum is arguably the most important because of its ability to produce sonic equivalences of the Yoruba speech'(Chika Okeke-Agulu, Yusuf Adebayo: Painting. Lagos. Life, (Italy: Skira Editore, 2020) p, 39). Grillo himself elaborates on his affinity for the drum: 'We call it 'talking drum' but in the hands of a Master drummer, it is a versatile as a pipe organ. The drum stick selectively hits not only points on the circular skin, its circumference but even outside it. The muscles around the armpit, the fingers on the other hand and at rare times the thigh and knee can produce CHORDS, TREMOLO, and STACCATO.' (Yusuf Grillo, in, IGI ARABA: An Exhibition and Retrospective of Works by Yusuf Grillo, (Art House Contemporary, The Space, 2015).The present work displays a drummer or Ayan in the act of creating music. The bold redness of the work is certainly rare in Grillo's oeuvre, and contributes to the vibrant mood of the work. Where Grillo is widely recognised for his blue and fluid tonal palettes, here he emphasises the main subject, isolating them from their surroundings through this contrasting red. However, the work remains rhythmic in terms of the meticulously geometrical composition, iconic of the artist.To be heavily influenced by his heritage and cultural history was not a peculiar tendency of Grillo. Given his prominent involvement with the Zaria Art Society formed in 1958 collaboratively with other dominant contemporary artists of Nigeria such as Uche Okeke and Demas Nwoko, Grillo's work may be read with a framework of the 'Natural Synthesis' ideology. This concept was rooted with the understanding that incorporating pre-colonial and colonial artistic concepts was to be informed of ones history and was to result in Modern West African Art. By acknowledging the colonial past of their country, the Zaria Art Society sought to regain ownership of their heritage and to not consciously limit their creative intuition. Grillo himself stated: 'This politically desirable aim often forms the philosophy of many a contemporary artist, with the sad result that sincere creative urges are replaced by over consciously chauvinistic syntheses.' (Yusuf A. Grillo,'Appreciations of Felix Idubor', African Arts 2:1 (autumn 1968), p. 33.)Indeed, the drum emulates a symbolic narrative for the cultural life of the people Grillo grew up surrounded by and is therefore befitting of a reoccurring subject in the artist's painting. What makes the present work a rare piece in his oeuvre, is the unusual (yet not abnormal) use of red in the palette and therefore distinguishing the work as rare in comparison to his wider body of work.For further information on this lot please visit Bonhams.com

Ibrahim El-Salahi (Sudan, born 1930)Untitled c.1964 signed 'Salahi' (lower right)ink on paper 24.5 x 21.7cm (9 5/8 x 8 9/16in).(framed)Footnotes:Provenance Collection of Mr and Mrs Oscar Edwards, Australia;A private collection.Ibrahim El-Salahi is perhaps Sudan's most celebrated living artist. A career spanning five decades, his work was brought to international attention when a major retrospective of his work was held at London's Tate Modern in 2013. The exhibition showcased the breadth of Salahi's oeuvre and explored his key themes: the legacy of colonialism, the creative influence of faith, and his own hybrid identity.Created at a time when El-Salahi was pronouncing himself as an artist, a concurrent stylistic theme can be seen in this work that emerged in the late 1950s and 60s. The inspiration of these figurative depictions can be concluded as stemming from different aspects of the artist's life. Intuitive in his artistic approach, El-Salahi's process in depicting these faces is a response to his inner self, isolated from the outside world. In his art human existence is linked to a world of dreams and mediations which bore a heavy and ever-present presence within his work. The dense imagery threatens to burst out from the confines of the page, the dynamic lines pulse with energy and life. As an older man, El-Salahi reflected on these early drawings:'It was almost like I had a fever and I had so many ideas coming through me and I had to put them through. So the picture plane was covered, with objects, with figures, with shapes, near and far, big and small, it was packed...there was no space - you cannot travel through it easily...' (El-Salahi, interview with Sarah Adams in April, 2002)Towards the top of the work emerges from the black ink, the word 'Lights' in Arabic. Mobilising text as an aesthetic tool, this word assists the nature of the present work given its black background for the fine illustrations to appear, creating a sense of light and dark. As calligraphy bore a strong position in many of the artist's most successful works, the present work can act as a striking example of El-Salahi's incorporation of his Sudanese heritage with his Western artistic training. The Oscar Edwards collection was significantly unusual given its location in Australia. Indeed Mr and Mrs Edwards typically collected non-Australian Art in the 1950s and 60s after selling their predominantly Australian art collection in the 1930s and 40s. This rejection of a parochialistic approach to collecting enabled the couple to enrich their collection, focussing their attention more towards smaller works by great artist's, finding them more aesthetically significant and appealing than a major work by a smaller artist. It was towards the end of the 1950s and early 60s that Ibrahim El-Salahi began to define his original style, a style that would harness his success. In 1962, El-Salahi received a UNESCO Fine Arts Fellowship to study abroad in the USA. In 1964 he would return to travel throughout the Americas and was exposed to influential members of the art world such as Alfred Baar Jr, director of the MOMA. By 1969, El-Salahi had acted as the chief Sudanese representative for the first World Festival of Black Arts in Dakar, was a member of the Committee at the UNESCO Paris headquarters for the study of Arab culture, participated in the Contemporary African Art exhibition at the Camden Arts Centre in London, and was a member of the Sudan Cultural delegation. Despite these monumental achievements, interestingly, the artist and activist noted of the Camden Arts Centre exhibition 'it was exciting, but also frustrating, because there was little response from the rest of the world, or even Africa itself.' (Ibrahim El-Salahi in Mark Hudson, 'Ibrahim El-Salahi: from Sudanese prison to Tate Modern show', The Guardian, (3 July 2013)). Therefore, given the provenance of the present work and indeed his far reach to international collectors, the present work is a colossal demonstration El-Salahi's global reception. BibliographyLena Fritsch, Ibrahim El-Salahi: A Sudanese Artist in Oxford (Oxford: Ashmolean Museum, 2018)For further information on this lot please visit Bonhams.com

Prof. Uche Okeke (Nigerian, 1933-2016)Primeval Forest signed and dated 'Uche Okeke/ 1965' (lower right), signed, dated and inscribed 'UCHE OKEKE/ ENUGU/ 1965/ 'Primeval Forest'' (verso) and '44' (verso of frame); further accompanied by a gallery label inscribed 'UCHE OKEKE/ PRIMEVAL FOREST/ 1965' (attached to verso)oil on board179.5 x 118.5cm (70 11/16 x 46 5/8in).(framed)Footnotes:ProvenanceA private collection.ExhibitedPendulum Art Gallery, Lagos,The Triumphs of Asele, works of Uche Okeke: an Exhibition Organized by Pendulum Art Gallery in Association with Art-in-Art Project in Conjunction with Professor Uche Okeke's 70th Anniversary at Pendulum Art Gallery (May 17 - 31, 2003).Uche Okeke (1933-2016), the Nigerian painter, poet, and scholar, was a leading figure in Nigerian and African postcolonial modernism. He is best remembered as the leader and founding member of the Zaria Society (1958-1961), formed by a group of art students at the Nigerian College Art, Science and Technology, in the northern Nigerian city of Zaria. The Art Society, inspired by the movement toward political decolonization in Nigeria and Africa had called for a new modernist art that was based on vigorous experimentation with specific art forms associated with Nigerian artistic heritage. For him this meant the close study of traditional Igbo Uli body drawing and mural decoration, as well as folktales, as sources of artistic inspiration.On graduation from Zaria, in the autumn of 1962, Okeke received a one-year scholarship to Munich, Germany, where he worked for nearly one year in a stained glass and mosaic studio. While in Lagos to process his travel papers, however, he began work on the Oja Suite drawings in which he translated key formal elements of Uli—the insistently lyrical, organic line; dynamic positive and negative space; and, primarily, the agwọlagwọ (spiral) and ọkala isi-nwaọji (concave three- or four-pointed star)—into a modernist pictorial language. He continued these experimental drawings in Munich. These he called the Munich Suite. The major difference between the two is that whereas the lines of pen-and-ink Oja Suite are clean and ascetic, the ink-and-brush Munich Suite avoid compositional details and thus more expressive. Both, without doubt represent Okeke's first successful invention of a personal visual language based on the organic lyricism of Igbo Uli body drawing.In 1965, the year Okeke painted this featured work, he effectively broke away from his fixation on ink drawing (and gouaches), which spanned his Nok Suite (1958-59) and the Oja and Munich suites, returning to oils as his primary medium for the first time since Zaria. But the solid forms and flat shapes of colour that define his Zaria-period style (as in Jumaa and Ana Mmuo, both 1961), gave way to fervid brushwork and loosely defined forms. In the work presented here, Primeval Forest, and in other similarly-scaled 1965 paintings, including his masterpiece, Women's War, as well as Oyoyo (in the collection of the Museum of Modern Art, New York), Okeke arguably achieved mastery of expressive painting. Given the elemental power and unprecedented scale of these 1965 paintings (in subsequent years he worked on a smaller scale), it is safe to conclude that he reached the height of his powers as a painter that year. Earlier in 1962, Okeke made several gouache paintings, including one titled Primeval Forest, in which we see a dramatic transformation of his painting, from the flat planes and solidly modelled forms of the Zaria-period to a new pictorial attitude dominated by deliberate swooshes of vigorous, lyrical brushwork. Whereas in the 1962 Primeval Forest the pictorial space is flat and the forms are completely abstract (despite that it clearly insinuates vegetal growth with floral elements), this substantially scaled up 1965 version is less flat and more descriptive, with the ground and tree trunks rendered in umbers, barely distinct from the rich blue-greens and hot cadmiums of leaves and flowers. The disciplined and assertive brushwork of the 1962 works, gave way to more fervid painterly gesture and modelled forms. Moreover, the Uli spiral motifs that dominated his earlier gouaches and drawings, are largely gone, transformed into inchoate brushwork; in a few of the 1965 paintings, such as the Princeton University Art Museum's Adam and Eve, these motifs occur only sparingly.While Okeke tempered the resolute flatness of space of his post-Oja Suite paintings of 1962, in this 1965 Primeval Forest, the forest scene, without any indication of perspectival space, is pictorially impenetrable. The tree forms stand like spiky sentinels and formless monstrosities. Here, Okeke is interested in the forest not so much as marker of the tropical, natural landscape, as a stage for the dramatic encounters with the metaphysical—of ancestral beings, deities and often-malevolent spirits and incarnate forces. This is the forest of folklore, that is the theatre of actions that shaped the world of the ancients, when the world was young, and a place where in lived memories only the strong dared enter, or where the luckless were banished. We are grateful to Professor Chika Okeke-Agulu for his assistance with the compilation of the above footnote.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Prof. Uche Okeke (Nigerian, 1933-2016)Onwa, Face of the Moon, 1983 signed 'UO/:3' (lower right)gouache on paper 45 x 30cm (17 11/16 x 11 13/16in).(framed)Footnotes:ExhibitedGoethe Institute Lagos, Uche Okeke, 60th Birthday Anniversary, Retrospective Exhibition, (1993). 32.LiteratureFrank Aig-Imoukhuede, Uche Okeke, 60th Birthday Anniversary, Retrospective Exhibition, Goethe Institute Lagos, (1993), p. 33. (illustrated)Though possessing human-like qualities, the features of the present figurative subject are so curved that they become distorted. The linear fluidity of Uli contributes to the richness of the present work. While holding an aesthetic purpose within the work, the Uli depiction is also used in the artist's response to the ideology of this folklore synthesising with artistic expression deriving from the Negritude ideology. The philosophical understanding of Natural Synthesis was enriched particularly by the Igbo indigenous art traditions, namely with Uli motifs. This concept of Natural Synthesis came to fruition during Okeke's time studying at the Nigerian College of Arts, Science and Technology from 1957-1961, during which he and his fellow students formed the Zaria Art Society. This society aimed to maintain the value of local tradition within modern art and not diminish it under colonial intervention. Furthermore, while championing their heritage, it was also key to the ideological concept of the society that they embrace the expressive direction of contemporary art, therefore fusing the old with the new to create culturally informed work. They were establishing traditional art as repackaged and accepting of change.The importance of Uche Okeke lies in his recognition of the possibilities of Uli as a design resource for enriching modern art and, together with Nigeria's other innovators, of providing us with real '20th Century African Art' different from the travesties now and again foisted on a gullible world as the 'true form of 20th century creativity in Africa,' (Frank Aig-Imoukhuede in the Foreword of the exhibition catalogue: Uche Okeke, 60th Birthday Anniversary, Retrospective Exhibition, Goethe Institute Lagos, 1993). BibliographyOnwuakpa, S. I. & Chukueggu C.C., 'Natural Synthesis and Contemporary Nigerian Visual Arts: An Exposition of Uche Okeke's Works', African Research Review: An International Multi-disciplinary Journal, Ethiopia, Vol. 10(4), Serial No. 43, September 2016For further information on this lot please visit Bonhams.com

Yusuf Adebayo Cameron Grillo (Nigerian, 1934-2021)Head signed and dated 'ADEBAYO GRILLO/ 1966' (verso), a label bears the inscription 'HEAD/ OIL ON BOARD/ Y. A. GRILLO/ LAGOS' (verso), further inscribed '16' (verso)oil on board90.5 x 60cm (35 5/8 x 23 5/8in).(framed)Footnotes:ProvenanceAcquired in Lagos in the 1960's;A private collection. Encapsulating the most dominant elements of arguably Yusuf Grillo's most successful works, Head presents us with an image of strength and emotion through palette, technique, and subject matter. The present work is a prominent painting in the artists oeuvre, an artist who equally dominated the post-colonial modern art movement in Nigeria and indeed set the philosophical tone for the future. With 'archenteric pictorial sensibility', as Chika Okeke-Agulu coins his approach, this was a concept that can be detected within this present work. (Chicka Okeke-Agulu, Yusuf Grillo, Painting. Lagos. Life., (Italy: Sikra Editore S.p.A., 2020), p. 15.)Philosophical manifestations of womanhood were a favoured thematic subject of Grillo's. The artist greatly admired women's wisdom and strength and saw them as the central pillars in society. Perhaps contributing to this outlook, Grillo's own cultural context provided him with this framework of appreciation. With demonstrations of honour bestowed onto women from the community in Yoruba celebrations such as the Gelede masquerade, older women are praised as metaphysically strong figures of society. The Gelede, as Art Historian Babatunde Lawal attests, is now only performed by men who do so under the influence of Lyalase, the highest ranking female in society to honour the aje, the 'powerful mothers of the night' (Babatunde Lawal, The Gẹ̀lẹ̀dé spectacle: Art, Gender, and Social Harmony in African Culture, (Seattle: University of Washington Press, 1996), p. 283). The mask constitutes of a gele (similarly worn by the subject of this painting), oja, and aro. Indeed, the female figure is widely celebrated in Yoruba culture in equal measure to Grillo's celebration of the conceptual relevance of women maintained in his work. An iconic element of the artist's oeuvre is his recurring blue palette. Perhaps underpinned by his formal artistic training at the Nigerian College of Arts, Science and Technology and then Cambridge university, Grillo embraced the impact of Western art into his own work innkeeping with the concept of 'Natural Synthesis'. It could be said that this use of a blue (and its derivatives) could have been informed by Pablo Picasso's blue period of the early 20th century. However, the colour blue also points to the adire dye commonly used in West Africa and Yoruba communities and supports the idea of the Yoruba influence in the artist's work. In working within this chromatic colour palette, light and depth of colour provide dimension to the work, enabling the painting itself, in technique and practise, to be at the forefront of the image. Grillo's exploration of this optical effect allows him to navigate an idea of the metaphysical world allowing both focus and detail amongst an algorithm of technique and palette. While the present work is indeed a display of Lagos life, it is additionally a masterful display of the artist's techniques and academic attribution. The relative anonymity of the subject, beyond being that of a woman, lays bare the quality of the work, open and philosophically conceptual in its subject. Sincere and indeed committed to his arguments of how one should paint, one may conclude that beyond contextual physical realities, the palette and form of the work is coherent in contributing to the metaphysical ideals Grillo synthesises his work upon. BibliographyChicka Okeke-Agulu, Yusuf Grillo, Painting. Lagos. Life., (Italy: Sikra Editore S.p.A., 2020)Babatunde Lawal, The Gẹ̀lẹ̀dé spectacle: Art, Gender, and Social Harmony in African Culture, (Seattle: University of Washington Press, 1996).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Yoruba Woman in Blue signed and dated 'BEN ENWONWU/1973' (lower right); numbered '31', '24', '47' (verso of original stretcher)oil on canvas81 x 53cm (31 7/8 x 20 7/8in).(framed)Footnotes:ProvenanceA private collection, Lagos;The collection of Andreas Vracas;By direct descent to the current owner;A private collection.ExhibitedLagos, US Embassy: United States Information Service, (April 14-20th 1973), no, 31. As a monumental work in the artist's oeuvre, Bonhams is thrilled to present Yoruba Woman in Blue by the exemplary African modernist artist, Ben Enwonwu. In subject to technique and composition, the present work can draw many parallels to some of the artist's most beautiful and successful works to sell at auction, namely the Tutu series. These parallels distinguish this iconic portrait as a work of art that should be held with the highest regard within the artist's highly distinguished career.Engaging the female subject and an exploration of femininity was a popular thematic practice for Enwonwu in the early 1970's that is also seen in the Tutu series whose subject has been precisely concluded as depicting Adetutu Ademiluyi. This is contextually significant for Enwonwu. Indeed, Enwonwu's Nigerian heritage remains ever present in works such as the present lot. The Igbo culture championed women in the community as pillars of society. Adorned in a Gele, possibly Adire dyed clothes, jewellery, and with the long neck that is synonymous with other depictions of women, it is indisputable that the subject of the present lot is a woman held in high esteem and regard. Enwonwu also believed in entering into a modern Nigerian aesthetic, incorporating his formal training in Western portraiture with his traditional Igbo philosophical tropes. He stated 'the tradition of African art has followed a line of non-representation [and] will change its course in accordance with the infiltration of western [sic] culture. Whatever the neo-African culture is today, art should express it and should employ all the native and acquired means that are possible.' (Enwonwu quoted in Ogbechie, 2008: p. 79). Leaving Nigeria for London in 1944 to pursue his artistic education, Enwonwu enrolled at the Slade School of Fine Art, before being admitted to Ruskin College at the University of Oxford upon the outbreak of the Second World War. During his time at university, Enwonwu wrote his intentions for his artistic style and career in August 1943:'I am keeping my art African – even if I stay in England for 60 years, I will still figure in my works, a plain blunt African. I believe very strongly in being myself and to be original and African.' In many ways, this work resonates with the pastel drawing by the artist; Portrait of a Yoruba lady sold by Bonhams in 2016. It could be concluded that, as both the drawing and present oil painting were completed in the same year of 1973, Portrait of a Yoruba lady was perhaps a preparatory drawing for this captivating painting. While slightly differing in the angle and adornments of the subject, both profiles present us with a Yoruba woman. Moreover, both portraits present an emphasis on the compositional technique that the artists employs, by which he illuminates the subjects from the left-hand side. Again, this element of the works strongly resonate with the paintings of the Tutu series.Resonating further with the Tutu series and due to the present work's exhibition records and numbers inscribed on the original pre-restorative stretcher (included with this lot), it is highly likely that this work preluded the Tutu series. In an exhibition record of April 1973, it could be concluded that, given these lot numbers, it is highly likely that this work was included. While two numbers on the stretcher, numbers 24 and 47, have a line drawn through them implying perhaps a mistaken numerical labelling, all three numbers insinuate works of a similar content to the present work. Decisively, number 31 remains uncrossed, thus concluding this title. Given the work's exhibition information and Yoruba Woman in Blue's visual similarities, it could furthermore be concluded, that the present work pre-empted the Tutu paintings, the first of which was painted in December 1973. Moreover, emphasising the striking qualities that Enwonwu incorporated in his works that carried through over the year. In sustaining elements of colour use, composition and light, we gain an understanding that the artist felt these elements held gravitas and importance within his portraits. However, the present work is not as contrasted in palette as the Tutu works, presenting itself more fluid in palette. The artist's use of teal blue, not only in the robes of the figure, but also as his base layer of the background before more yellow shades were applied, assists a glowing hue providing a mysticism to the work. This technique can also been seen in his work Isaiah the Driver(1968) completed some years before the present work. Interestingly, the yellow application on the background is rare within the artist's portraiture of women, where darker backgrounds seemed to be his preference with a Caravaggio essence, therefore contributing to the rarity of the present work.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester, NY: 2008)For further information on this lot please visit Bonhams.com

Wangechi Mutu (Kenyan, born 1972)Studies of Crystal Waters (i-iii): (i) watercolour on card30.5 x 22cm (12 x 8 11/16in).(ii) watercolour and foil on card29.5 x 22cm (11 5/8 x 8 11/16in).(iii) ink on card30.5 x 22.7cm (12 x 8 15/16in).(3)Footnotes:Born in Kenya yet cementing her career in New York, Wangechi Mutu is a renowned multi-disciplinary artist whose work is included in Museums such as the MoMA in New York, The Whitney, the Museum of Contemporary Art in both Chicago and Los Angeles, and the Tate Modern in London amongst many others. In 2010, Mutu was awarded the 'Artist of the Year' by Deutsche Bank, a prize which included a solo exhibition at the Deutsche Guggenheim in Berlin that would travel and finish at the Wiels Centre for Contemporary Art in Belgium.These drawings were executed by Mutu in 2001. They formed part of a commission to create watercolour storyboard illustrations and the styling for a photoshoot for a fashion lookbook featuring pioneer, innovator, and dance music legend Crystal Waters. Fashion photographer Jason Mickle interpreted the artist's watercolours through the lens of his camera creating the shots seen in the lookbook at the Giraffe Hotel in New York. Jason Mickle was also used by Crystal Waters for the cover shoot of her song Come on Down.For further information on this lot please visit Bonhams.com

Stanley Faraday Pinker (South African, 1924-2012)Referendum, 1992 signed 'S7Pinker' (centre left); bears a Michael Stevenson & Deon Viljoen label (verso)oil and mixed media on canvas, wood and hardboard142 x 99cm (55 7/8 x 39in).Footnotes:ProvenanceA private collection.LiteratureMichael Stevenson, Stanley Pinker, (Cape Town: Michael Stevenson, 2004), p. 90. (illustrated)Born in what was then known as South West Africa (modern-day Namibia) in 1924, Stanley Pinker's work strongly embodies the political climate of his cultural context. The artist tackles and confronts issues of socio-politics and its implications and consequences. In the 1950s and 1960s, Pinker travelled to England where the growth of his career would start to bloom. In execution, his works adopt the early 20th century modernism that was popular for the time. Spending a significant amount of time in London, Pinker became strongly influenced by the Cubist movement. The present work is a testament to this early exploration and embodies a study of form, colour, and structure. Referendum (1992) was made in response to a precise event in South African history which took place on the 17th March 1992. This was the day of a whites-only referendum by which 68.6% of voters chose to proceed with negotiations to reform the constitution and therefore lifting the apartheid restrictions. Two years prior to the referendum, the State President, Frederik Willem de Klerk, had first proposed the ending of the apartheid. Capturing the mood of the time, Pinker seizes the feelings of angst and chaos of both sides of the referendum to the top of the piece, external to what could be considered as the traditional main body of the work being the more symmetrical lower half of the work. When addressing his tendency to explore art creation beyond the generic space of a canvas, Pinker commented, 'I've always thought of space as something 'tangible' and have been drawn to artists who have used mural-like space rather than artists who create an illusion of space through perspective'. (Stanley Pinker in Michael Stevenson, Stanley Pinker, (Cape Town: Michael Stevenson, 2004), p. 19.) Beyond the geometrical lower half of the work, Pinker has imbedded relevant symbolism and metaphorical techniques to communicate the contrasting angst of the people. With a colour palette relevant to the symbolism of the event that it being recounted, the small signs reading Yes! bear the colours of the old South African flag, and No! display the colours of the opposition, the ANC (African National Congress). Between the raging white figure, mouth open and with flushed cheeks, and the more demure Black figure with eyes averted to the left, a traditional mask of the Bwa people champions a figure holding an ANC flag and gong baton. Representing a victory of the ANC, the party would go onto govern the country from 1994 under the Presidential direction of Nelson Mandela. The main panel to the lower end of the work situates a different mood; playfully blissful and vibrant in palette and concisely organised in execution. This area of the work bears the intention of representing politicians. Assisted by the more ordered structure of painting, they appear emotionally passive and harmonious in comparison to the chaotic energy of the work outside of this geometrically even board. It is this contrast in mood that evokes a sense of the grandiose ignorance of the three representational birds to the reality of the tumultuous lives of the people prior to the end of the apartheid. This animated and socio-politically conscious work can be concluded as one of Pinker's most striking, cementing itself in a prominent position in his oeuvre.BibliographyMichael Stevenson, Stanley Pinker, (Cape Town: Michael Stevenson, 2004)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Ibrahim El-Salahi (Sudan, born 1930)I walk in the night with sleepy eyes closed signed 'Salahi' (lower right); inscribed '27' (crossed out)/ 'No, 22'/ 'Series F'' (verso)Indian ink on paper 19.5 x 41cm (7 11/16 x 16 1/8in).Accompanied by an exhibition catalogue, 'Drawings: Ibrahim El Salahi', (Mbari Publications Ibadan, 1962)Footnotes:ProvenanceBought directly from the artist 1963;A private collection.Calligraphic modernism is thematically central to Ibrahim El-Salahi's oeuvre, and indeed to this work. The artist uses text to bridge together his desire to create modern works and his heritage to draw the attention of traditionalists into his work. In the present work, the beautifully fluid lines displaying an abstracted almost animalistic figure are symptomatic of El-Salahi's most iconic works. Paired here with the Arabic sentence to the top of the work, translating to 'I walk in the night with sleepy eyes closed', we see the artist has conflated two forms of aestheticism.'I said to myself, 'Man, let us for a time forget about those archaic concepts of art for art's sake, and that unreal nonsense of the muse and the ivory tower recluse that we read about, and get down to work that might solve our problem.'...I worked like mad, introduced Arabic writing and decorative patters in a corner of my works like a stamp on an envelope, and exhibited some of those works. People recognizing something that they were a bit familiar with, took note and came a bit closer. I gradually spread the lettering with symbols, words from the Qur'an and Sufi poetry over the surface of the picture, mixing it with figurative work. They came closer, showing a greater degree of interest.'El-Salahi was committed to the idea of a wider Muslim aesthetic, acquiring universalism through transnational modernism. During the era of decolonization, the introduction of Islamic discursive inclusion attempts to appeal to the wider community; endeavouring to formulate a sense of unification in modernity.BibliographySalah M. Hassan, 'Ibrahim El-Salahi, A Visionary Modernist', (New York: Museum of African Art, 2012), p. 49.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jasper Johns (b.1930)Target, from Technics and CreativityOffset lithograph in colours on illustration board with three collaged cakes of dry watercolour pigment and a paintbrush, 1970, signed in pencil, from the edition of 22500, published by Gemini G.E.L., Los Angeles, in conjunction with the Museum of Modern Art, New York, in plastic clamshell display case, overall 515 x 425mm (20 1/4 x 16 5/8in)

A modern white metal cocktail ring of Art Deco design, set with purple coloured stones. Ring size U.

Sporting illustration including angling BEAZLEY (David) Images of Angling, no. 38/50 de luxe copies, signed, Creel Press 2010, 4to, full blue morocco, slip case; LYNE (Michael) Horses Hounds and Country, 1938, 4to, no.13/25 special signed copies with a pencil remarque, quarter vellum; DERRICK (John) The Fox's Prophesy, no.26/150 deluxe copies, signed; SHAW SPARROW (W) Angling in British Art, 1923, 4to, no.10/125 copies, signed, with an original etching by Norman Wilkinson, uncut, cloth gilt; and others, mainly modern works (22)

ALEXANDER NASMYTH (SCOTTISH 1758 - 1840), ITALIAN LANDSCAPE AT DUSK oil on canvas, signedframedimage size 68cm x 96cm, overall size 92cm x 119cm Provenance: Private German Country House Collection. Christies, Glasgow stencil mark and label verso.Note: By the 1800s Alexander Nasmyth's skill as a landscape painter was such that he was confident working on an ambitious scale, yet due to the numerous demands on his time relatively few pictures survive from this period. Between 1790 and 1810 he was remarkably industrious: in addition to supporting his large young family, he was setting up an art school where he taught classes and was also working on an ever-expanding portfolio of theatrical, engineering and landscape design projects. Nasmyth came from a line of architect-builders, and as a youth had been trained to take over the family business by his father but opted to pursue painting instead. It was not until later in life that he began to take on architectural and landscape-design commissions, embodying the Italian ideal of the architetto-pittore. James Nasmyth wrote: ‘My father was much employed in assisting the noblemen and landed gentry in improving the landscape appearance of their estates, especially when seen from their mansion windows. His fine taste, and his love of natural scenery gave him great advantages in this respect… he designed alterations of the old buildings so as to preserve their romantic features, and at the same time to fit them for all the requirements of modern domestic life.’ (ed. S. Smiles James Nasmyth, Engineer: An Autobiography,London, 1883, pp.36-37)

Peter Howson OBE (British, born 1958)Totem signed 'HOWSON' (lower left), titled and signed 'HOWSON' (on stretcher)oil on canvas153 x 123cm (60 1/4 x 48 7/16in).painted in 1992Footnotes:ProvenanceWith Flowers Gallery, London.Private collection, UK (acquired from the above in 1992).ExhibitedGlasgow, McLellan Galleries, Peter Howson: A Retrospective, July - September 1993.The present lot is an important example of Peter Howson's work from this period in the early 90s. Painted a year before he took up the role of official war artist for the Bosnian War in 1993, the subject highlights his recurring theme of working class men. The men, wearing what look to be military khakis and armed with a baton, appear menacing and poised for a conflict despite the contrast of the white flag being held in the upper right of the composition. The title of the work, Totem, perhaps simultaneously acknowledges the upright composition of the group, but also the symbolism, incorrect or otherwise, assumed by the public perception of working class men. Executed on a large scale, he has applied the paint with impressively bold and direct brushwork - this handling helps to charge the work with a sense of vigorous movement and energy. Howson's tutor at the Glasgow School of Art, Sandy Moffat, described the qualities of his student's work best:'Peter Howson also identifies with the 'radical imagination', although his work has little to do with ideological concepts. He is pre-occupied with themes and motifs which reflect his perception of urban life, the kinds of people who live, work and play in the City... his touch remains powerful and dramatic; as in his low-life scenes of prostitutes, thieves and dance hall fights...''It is exactly his ability to capture the menacing tone, to penetrate the darker heart of urban humanity, which raises Howson's painting from the ordinary passionless naturalism of academic realists to an entirely different level of creative achievement.'(S. Moffat, New Image Glasgow, exhibition catalogue, Third Eye Centre, Glasgow, 1985)Presently, in 2023, Howson is the subject of a major retrospective at the Edinburgh City Art Centre titled When the Apple Ripens: Peter Howson at 65. Howson's work can be found in collections including the Metropolitan Museum of Art, New York; the Tate Gallery, London; the British Museum, London; the Victoria & Albert Museum, London; the Gallery of Modern Art, Glasgow; and the Scottish National Gallery of Modern Art, Edinburgh.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945) Sir William Rothenstein (lots 1-13) and Albert Rutherston (lots 14-23)IntroductionRaised in Bradford as two of six children of Jewish immigrants, William and Albert both achieved considerable influence at the very heart of the British art establishment. Amongst their many and remarkable strengths they were painters, printmakers, illustrators, teachers, administrators, gallerists and, in William’s case, an accomplished and prolific writer. William was the first to move south to study under Alphonse Legros at the Slade (1888-89) before attending the Académie Julian in Paris (1889-1893) (lots 1-8), where he was encouraged by Whistler, Degas and Toulouse-Lautrec and befriended Rodin. Albert followed him a decade later to the Slade, where by then Fred Brown was professor, assisted by Henry Tonks, Philip Wilson Steer and Walter Russell. The youngest student by far, Albert fell in with a gilded set of like-minded spirits, in particular Augustus John and William Orpen. The young trio was dubbed by William ‘The Three Musketeers’. Albert went on to win separate prizes for both drawing and painting and was awarded a Slade scholarship. On his return from France William established himself as a talented portraitist illustrating Oxford Characters in 1896 with twenty-four lithographs. It was one of several collections of portraits depicting men and women of distinction that William would produce. In 1900 William’s painting The Dolls House (after Ibsen’s eponymous play), won a silver medal at the Exposition Universelle in Paris, the same year as his book on Goya was published. Such foreboding influences, however, contrasted with the many happy and light-filled works he produced following his marriage to Alice Knewstub in 1899. (lots 9 & 10). For Albert and his fellow ‘Musketeers’ the new century heralded trips to France. There he met Walter Sickert and shared holidays with William, Spencer Gore and Slade teacher Walter Russell. In London Albert thrived on Fitzroy Street and exhibited with William, Sickert, Gore, Russell and Harold Gilman. Sickert recalled their efforts ‘to create a Salon d’automne milieu in London’. Towards the end of the 1910s Albert turned increasingly to decorative designs. In 1911 he collaborated with Roger Fry on large scale murals for Borough Polytechnic (lot 20) and worked on a number of designs for the ballet and theatre (lots 14-16). He changed his name to Rutherston in 1916. After the War he married Marjory Holman, taught at Camberwell School of Art, and the Oxford School of Drawing, Painting and Design, and was appointed Master of the Ruskin School of Art (1929-49). A late but important influence in his life was the young model Patricia Koring whom he met in 1938. From the First World War on William’s work revolved around painting, teaching and writing. During 1917-18 he spent six months as an official War artist at the Front (lot 12), and was briefly visiting Professor of Civic Art at Sheffield University. In 1920 he became Principal of the Royal College of Art in London and was knighted in 1931. As well as Goya, among William’s publications were three fascinating volumes of memoirs. William’s sons carved out their own influential paths in the Arts. John (1901-92) his eldest, became director of the Tate Gallery (1938-1964), wrote Modern British Painters (1956) and was knighted in 1952. Michael (1908-1993) became a highly accomplished painter and print maker (lots 24-30).SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945)PROFILE OF PAUL GERVAISinscribed P Gervais lower right charcoal with white chalk36.5 x 23cm; 14 1/4 x 9in41.5 x 34cm; 16 1/4 x 13 1/4in (framed)Executed in Paris circa 1890. The painter Paul Gervais (1859-1944) was a teacher at the Académie Julian where Rothenstein studied from 1889-1893. A pupil of Jean Léon Gérôme, Gervais was known, and occasionally rebuked, for his depictions of sensuous nudes. Prominent commissions included Les Graces Florentines for La Salle Blanche in the Casino de Monte-Carlo and the Salle Empire in the Hôtel de Paris, Monte-Carlo.

A WHITE-GLAZED PORCELAIN WATER DROPPER, JOSEON DYNASTYKorea, 18th-19th century century. Of compressed globular form descending to a short foot, a round tapered opening in the center and an S-shaped spout with a flush top, and a short, tapered foot. The clear glaze of bluish hue covering all surfaces. Provenance: Collection of Winslow Ames. Property of the Trustees of Phillips Academy, Andover, Massachusetts, USA, gifted from the above. The Phillips Academy was founded in 1778 during the American Revolution. The highly selective academy has among its alumni U.S. Presidents George H.W. Bush and George W. Bush, along with numerous notable politicians, Nobel laureates, and recipients of the Medal of Honor. Edward Winslow Ames Jr. (1907-1990) was a prominent American art historian, author, and museum director. He attended Phillips Academy as a child, and later studied art history at Harvard. He went on to become the founding director of Lyman Allyn Art Museum in New London, Connecticut, in 1930. After World War II, he was the first director of the Huntington Hartford's Gallery of Modern Art at Columbus Circle in Manhattan, working with the collection before the museum opened to the public. He started collecting drawings and furniture in the 1930s and eventually branched out into European and Asian works of art.Condition: Very good condition with old wear and firing irregularities, including kiln grit and glaze recesses. Weight: 223.8 gDimensions: Diameter 10.2 cmLiterature comparison:Compare a closely related glazed porcelain water dropper, 8 cm diameter, dated to the Joseon dynasty, 19th century, in the Brooklyn Museum, accession number 84.262.28. Compare a related glazed porcelain water dropper, 8.6 cm diameter, dated to the Joseon dynasty, 19th century, in the Brooklyn Museum, accession number 84.189.1.Auction result comparison: Type: RelatedAuction: Christie's New York, 20 March 2007, lot 506Price: USD 12,000 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A white porcelain domed water dropper, Joseon dynasty, 19th centuryExpert remark: Note the size (9.3 cm). 朝鮮王朝白釉硯滴韓國，十八至十九世紀。呈半球體狀，圈足，表面中心有圓形錐形開口，曲形滴口，短足為錐形。表面施青色透明釉。 來源： Winslow Ames收藏；美國馬賽諸塞州安多弗菲力浦斯學院受託人財產。菲力浦斯學院成立於 1778 年美國革命期間。 這所經過嚴格篩選的學院的校友中有美國總統喬治·H·W·布希和喬治·W·布希，以及眾多著名政治家、諾貝爾獎獲得者和榮譽勛章獲得者。Edward Winslow Ames Jr. (1907-1990) 是一位著名的美國藝術史學家、作家和博物館館長。 他小時候就讀於菲力浦斯學院，後來在哈佛大學學習藝術史。1930 年，他成為康涅狄格州新倫敦萊曼·艾林藝術博物館的創始館長。二戰後，他成為曼哈頓哥倫布圓環亨廷頓·哈特福德現代藝術畫廊的首任館長，博物館向公眾開放。他從二十世紀三十年代開始收集繪畫和傢俱，最終涉獵歐洲和亞洲的藝術作品。 品相：狀況非常好，有磨損和燒製缺陷，包括窯砂和釉料凹槽。 重量：223.8 克 尺寸：直徑10.2 厘米文獻比較：比較一個密切相關的釉面硯滴，直徑 8 厘米，可追溯至十九世紀朝鮮王朝，藏於布魯克林博物館，藏品號 84.262.28。 比較一件相關的釉面瓷硯滴，直徑 8.6 厘米，可追溯至十九世紀朝鮮王朝，藏於布魯克林博物館，藏品編號 84.189.1。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2007年3月20日，lot 506 價格：USD 12,000（相當於今日EUR 16,500） 描述：十九世紀白釉硯滴 專家評論：請注意尺寸(9.3 厘米)。

A TEADUST-GLAZED VASE, YONGZHENGChina, 1721-1735. The compressed globular body supported on a short tapered foot and rising to a slender waisted neck with flared mouth, the body encircled by two bowstrings. The magnificent tea dust glaze is applied evenly to the body and the inside of the vase, thinning distinctively to a dark red tone at the rim of the mouth and along the edges of the base.Provenance: The J. M. Hu, Zande Lou Collection. The padded silk box with an old note inscribed in Chinese, in parts referring to the present lot, described as 'Yongzheng Teadust-glazed Vase with peony [shape] and lines', confirming the dating above. Two old labels to the exterior of the box, 'M-132' and '128'. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art.Condition: Excellent condition with minor old wear and expected firing irregularities, including a small polished glaze flaw near the foot.Weight: 589.1 g Dimensions: Height 16.5 cm With a fitted padded silk storage box. (2)Auction result comparison: Type: Related Auction: Christie's Hong Kong, 8 October 2020, lot 357 Price: HKD 250,000 or approx. EUR 30,000 converted and adjusted for inflation at the time of writing Description: A fine large teadust-glazed latern vase, Qing dynasty, 18th-19th century Expert remark: Compare the related teadust glaze. Note the different form and larger size (46.5 cm). Also note that this lot is unmarked, exactly as the present lot.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 5 December 2019, lot 117 Price: USD 32,500 or approx. EUR 35,000 converted and adjusted for inflation at the time of writing Description: A Teadust-Glazed Double-Gourd Vase, 19th CenturyExpert remark: Compare the related teadust glaze. Note the different form and larger size (26 cm). Also note that this lot is unmarked, exactly as the present lot. 雍正茶葉末釉瓶中國, 1721-1735年。瓶口外撇、直頸長頎、溜肩、扁鼓腹，底承圈足。器形飽滿端正，重心下移，愈顯豐腴大方。整器通體施茶葉末釉，釉質潤澤，釉色勻凈而深沉。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A MONUMENTAL AND HIGHLY IMPRESSIVE LINGBI SCHOLAR'S ROCK, QING DYNASTYExpert's note: Ranked first among the four types of the famous Chinese Scholar's Rocks, Lingbi are mostly carved from calcite and other ancient types of limestone. They originate from Lingbi county in Anhui Province and are fine-grained and delicately textured, found lying deep in the red mud of the Qingshi mountains. Naturally shaped, they need almost no cutting or carving. Depleted after generations of mining, large high-quality Lingbi such as the present lot are now exceedingly rare. Their mineral composition is such that they produce a metallic, distinct sound when tapped. Hence, they are also called 'resonant rocks' (bayinshi). Combining masculine beauty with antique simplicity, Lingbi have been admired by connoisseurs for centuries. In the Northern Song dynasty, Emperor Huizong wrote about a Lingbi in his collection: “The mountain is high while the moon looks small, the water ebbs and the rock juts forth."China, 1644-1912. The perforated vertical rock is evocative of a sinuous human figure in profile, with protrusions, stalactite-like extensions, deep crevices, and cavities. The porous stone is of a distinctly black tone suffused by distinct gray veins.Provenance: New York trade. Acquired from a private estate. Condition: The stone with minor dents, small losses and associated old repairs, few nicks, and natural inclusions and fissures, some of which have developed into small cracks over time. Signs of extensive weathering, erosion and wear, naturally grown patina overall. The wood base with expected minor age cracks and light surface scratches. Overall displaying magnificently!Weight: 46 kg (excl. stand) and 48 kg (incl. stand) Dimensions: Height 82 cm (excl. stand) and 96 cm (incl. stand) With a modern wood stand. (2)Traditionally, scholars collected two types of rocks for their studies: vertical peaks and horizontal mountain ranges. The present piece has primarily vertical peaks with cavities resembling cave topography. Hence, one can appreciate its inner and outer form. In texture and color, the stone is like black lacquer and is quite lustrous. Connoisseurs of scholar's rocks throughout the ages have boiled down their criteria for evaluating stones into twelve terms: thin, wrinkled, porous, permeable, clear, ugly, obtuse, clumsy, teal, powerful, beautiful, deep. Stones that have half of these features are considered rare and superior.Literature comparison:Compare a related black scholar's rock, 46.7 cm high, dated to the Qing dynasty, in the Metropolitan Museum of Art, accession number 2009512.1a, b, exhibited in the 'The World of Scholars' Rocks: Gardens, Studios, and Paintings,' February 1-August 20, 2000 and in the 'Noble Virtues: Nature as Symbol in Chinese Art,' September 10, 2022-January 29, 2023.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2021, lot 1007 Price: USD 62,500 or approx. EUR 66,000 converted and adjusted for inflation at the time of writing Description: A lingbi scholar's rock Expert remark: Compare the closely related form and similar stand. Note the much smaller size (44.5 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3302 Price: HKD 2,660,00 or approx. EUR 430,000 converted and adjusted for inflation at the time of writing Description: A black 'lingbi' scholar's rock, Qing dynasty, 18th century Expert remark: Note the similar reticulations and veins of the rock. Also note the similar stand. 清代靈璧石供石中國，1644-1912年。依靈璧石的天然造型而成，造型奇巧，體態夭矯，肖形狀物，妙趣天成。深灰色紋理，帶有黑色的斑塊。專家注釋：靈璧石位居中國四大名岩之首，原產於安徽省靈璧縣，質地細膩，自然成型。歷經幾代開採，優質靈璧已稀少。有的靈璧石在敲擊時會產生金屬的、獨特的聲音。因此，它們也被稱為“八音石"。靈璧兼具陽剛之美和古樸質感，幾個世紀以來一直為鑑賞家所推崇。北宋徽宗在《靈璧》中寫道：“山高月小，水落石出"。 來源：紐約古玩交易，購於一個私人舊藏。 品相：石頭上有輕微凹痕、小缺損和修復、少量刻痕以及天然內沁和裂縫，大面積風化、侵蝕和磨損，整體自然包漿良好。木質底座具有輕微老化裂紋和表面劃痕。 重量：46 公斤 (不含底座) 與48 公斤(含底座) 尺寸：高82 釐米 (不含底座) 與 96 釐米 (含底座) 現代木製底座 (2)由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LIMESTONE TORSO OF A BODHISATTVA, TANG DYNASTYChina, early 8th century. The slender, elegant figure well carved standing in a subtle tribhanga pose, wearing a clinging diaphanous skirt falling in graceful folds, with scarves tied diagonally around the torso and draped from the shoulders, richly adorned with elaborate jewelry including beaded and foliate necklaces as well as pendent ornaments of floral design. The gray limestone with hues of maroon and a superb, naturally grown patina overall.Provenance: From the personal collection of Ed Hardy, who is an American artist known for his strong influence on the development of modern tattoo styles, and his eponymous apparel and accessories brand. He became recognized for being the main driver in incorporating ancient Asian tattoo aesthetics and techniques into Western styles of work, taking tattoos from a fringe culture into the mainstream. Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, a minor structural crack with an associated old fill (only visible under strong blue light), signs of weathering and erosion, encrustations. Overall displaying exceptionally well.Weight: 39.9 kg (incl. stand) Dimensions: Height 58.5 cm (excl. stand) and 67.4 cm (incl. stand) With a modern metal stand. (2) Expert's note: The 5th-century Gupta influence on Tang Buddhist sculpture is manifest in the sensuously rounded body of the present lot, together with the diaphanous robes and jewelry. Two related Tang Dynasty bodhisattvas, standing in contrapposto and currently residing in the Zhengzhou Museum, published in Annette Juliano's Treasures of Ancient China in 1981 (see image section), were unearthed at the site of the Dahai Monastery in Xingyang County, Henan Province. The folds to the robes, the simplified jewelry over the outlined pectorals, and the slightly forward abdominal bulge are all similar to the current lot, which may originate from the same region.Literature comparison: Stylistically, the present figure relates most closely to some of the Tianlongshan figures. Compare a related sandstone figure from Tianlongshan, Shanxi Province, 101.6 cm high, dated approx. 700-750, in the Asian Art Museum of San Francisco, object number B60S6+. The present figure is also related to some of the larger figures from Longmen, such as the standing bodhisattva in a similar pose, with U-shaped drapery folds and roll of material at the waist, illustrated in Longmen Liusan Diaoxiang Ji (The Lost Statues of the Longmen Caves), Shanghai, 1993, p. 71, no. 78. Compare a similar stone figure of a bodhisattva illustrated by O. Siren, Kinas Kunst Under Tre Artusenden, vol. 2, Stockholm, 1943, fig. 73A. For a related figure in white marble with more elaborate realization of the drapery and with one foot placed slightly forward, see the figure from Longyenshan, Hebei, illustrated by W. Willetts, Foundations of Chinese Art, London, 1965, p. 222, fig. 139.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 1999, lot 162 Price: USD 134,500 or approx. EUR 218,000 converted and adjusted for inflation at the time of writing Description: A rare well-carved gray stone torso of a bodhisattva, Tang dynasty, early 8th century Expert remark: Compare the closely related pose, drapery, and folds. Note the related size (63.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 唐代石灰石菩薩殘軀優雅身姿，三曲式，外衣輕薄而貼身，飾有精美的珠寶，如串珠和葉狀項鍊以及花卉紋的吊飾。順著身體結構起伏，雙腿輪廓隱約可見，褶皺線條流暢。灰色石灰石，自然包漿光滑。 來源：美國藝術家 Ed Hardy 私人收藏，Ed Hardy 因其對現代紋身風格發展的強大影響而聞名，以及他的同名服裝和配飾品牌。他可以説是將古代亞洲紋身美學和技術融入西方工作風格的主要推動者，將紋身從邊緣文化帶入主流。 品相：狀態良好，大面積磨損、缺損、刻痕、劃痕、與舊填充物相關的輕微結構裂縫（僅在強藍光下可見）、風化和侵蝕的跡象、結殼。 重量：39.9 公斤 (含底座) 尺寸：高 58.5 厘米 (不含底座) 及67.4 厘米 (含底座) 現代金屬支架 (2) 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，1999年3月22日，lot 162 價格：USD 134,500（相當於今日EUR 218,000） 描述：八世紀初期唐代菩薩殘軀 專家評論：比較非常相近的姿勢、罩衫和皺褶。請注意相近 尺寸 (63.5 釐米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A GILT-BRONZE FIGURE OF AVALOKITESHVARA, LIAO DYNASTY, CHINA, 907-1125Two Scientific Analysis Reports: A technical examination was conducted by Podany Conservation Services, LLC, Los Angeles. The report concludes: “The bronze casting (Figure 1) exhibits no clear evidence of modern origin/manufacture." A copy of the signed examination report, dated 4 March 2021, accompanies this lot. A metal alloy analysis was conducted by Antiques Analytics, Institute for Scientific Authenticity Testing, Dr. Robert Neunteufel, Germany. The report concludes: “The results of the metal analysis are not in contradiction to a manufacture within the Liao Dynasty." A copy of the signed examination report, dated 19 May 2023, accompanies this lot.Superbly cast, seated on a lotus pedestal atop a stepped lobed base, the right hand held in vitarka mudra and the left in avakasha mudra, the bodhisattva clad in cascading loose robes falling in voluminous folds. The serene face with heavy-lidded almond-shaped eyes and lips rendered in a gentle smile, flanked by a pair of pendulous earlobes, all below an elaborate headdress with an incised miniature Amitabha enclosing a high chignon with tresses falling on the shoulders.Provenance: From the collection of Michael Phillips (*1943), the Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine art, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition with expected wear to gilt and some casting irregularities as expected. Small dents and losses, shallow surface scratches, a very minor old repair to the back. Naturally grown patina overall, with some distinct and solid malachite encrustations. To the base, a small hole drilled for metal sampling.Weight: 744.1 gDimensions: 18.4 cm Avalokiteshvara is the successor of Buddha Amitabha and will continue to deliver living beings from sufferings when Amitabha attains nirvana. The crown with the miniature Amitabha, like the one shown here, is a key feature of Avalokiteshvara iconography.This free-seated image is an example of classic Liao style, and the modeling of the body is voluminous. The figure has an oval face, refined features, and a solemn expression. The hair, crown, and jewelry are rich with minute detailing. Sumptuous attire and a lotus throne with thick petals are often seen in Liao dynasty statutes. The torso is elongated, and the meandering design of the drapery forms linear patterns.Literature comparison:Compare a closely related smaller figure of Avalokiteshvara in the Museum of East Asian Art, Bath, dated to the Liao dynasty, accession no. BATEA: 277. Also compare a closely related Liao dynasty Avalokiteshvara illustrated in 'Imprints of Buddha: Buddhist Art in the National Palace Museum Collection', in the National Palace Museum Taipei, pp. 148-149, no. 62. Compare a related gilt-bronze figure of Liao dynasty Avalokiteshvara seated on a lotus pedestal, in the Palace Museum, Beijing, published in Classics of the Forbidden City: Guanyin in the Collection of The Palace Museum, Beijing, 2012, pl. 26. Also compare related Avalokiteshvara in the Rijksmuseum, Amsterdam, published in Hai-Wai Yi-Chen: Chinese Art in Overseas Collections, Buddhist Sculpture I, Taipei, 1998, pl. 146.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 1 April 2019, lot 3104Estimate: HKD 300,000 or approx. EUR 37,500 converted and adjusted for inflation at the time of writingDescription: A rare gilt-bronze figure of Avalokiteshvara Liao DynastyExpert remark: Compare the closely related form. Note the similar size (19 cm). Also note the almost complete loss of gilt.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 September 2008, lot 392Estimate: USD 74,500 or approx. EUR 97,000 converted and adjusted for inflation at the time of writingDescription: A Rare Small Gilt-Bronze Figure of Buddha, Liao Dynasty (907-1125)Expert remark: Compare the closely related form, casting, incision work, and the naturally grown patina overall. Note the smaller size (14 cm). Also note that the gilt is worn off, most similarly as on the present lot.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 18 March 2016, lot 1408Estimate: USD 81,250 or approx. EUR 86,000 converted and adjusted for inflation at the time of writingDescription: A Small Gilt-Bronze Figure of Buddha Vairochana, Liao Dynasty (AD 907-1125)Expert remark: Compare the closely related form. Note the much smaller size (9 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 遼代銅鎏金觀音坐蓮像觀音銅鑄鎏金由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A PAIR OF ALBUMS, EACH WITH TWELVE 'BUDDHIST SYMBOLS' PAINTINGS, BY MEI LANFANG (1894-1961)China. Comprising two accordion albums, each with twelve leaves, painted with ink and color on paper. Each leaf depicts the hand of a Buddhist deity or celestial maiden, emerging from swirling clouds and adorned with a gold bracelet suspending a red, a blue, and a green bead, and holding various attributes, accompanied by identifying inscriptions and excerpts from sutra texts, all within a band of alternating scroll designs and dharmachakra enclosed by an S-scroll border.Inscriptions:The titleslip of the first album: 'Mei Lanfang xiansheng lin Dunhuang foshou shangce Zhongzhou Zhang Boju cang' (Buddhist hand poses from the Dunhuang Caves by Mei Lanfang, Volume 1, Collection of Zhang Boju from Zhongzhou).The titleslip of the second album: 'Mei Lanfang xiansheng lin Dunhuang foshou xiace Zhongzhou Zhang Boju cang' (Buddhist hand poses from the Dunhuang Caves by Mei Lanfang, Volume 2, Collection of Zhang Boju from Zhongzhou).Provenance: Formerly in the collection of Zhang Boju (1898-1982), who was known as one of the 'Four Young Princes' of the Republican era, who became one of the country's most discerning, as well as generous, connoisseurs and collectors of antiquities. He was China's most celebrated private art collector. His father Zhang Zhenfang was related by marriage to the first president of the Chinese Republic, Yuan Shikai, and himself was Chairman of the Board of the Salt Industry Commercial Bank. Zhang used his family's large fortune to indulge his love of antiques and art. He became an expert in this field, exchanging silver dollars, gold bars, jewelry, property, and even risking his own life (he was once kidnapped) to amass a collection of inestimable treasures that could rival those of the Palace Museum. He is quoted as once saying, “I do not wish to possess the things I collect. They should be handed down from one generation to the next. I sit at my desk and bury my head in my old books. This is the scholar's true task. May the weapons of war give way to eternal peace and may the people live in tranquility. What greater happiness can there be than this?"Condition: Very good condition with only very minor wear, little soiling and foxing, few tiny losses, and few minuscule tears.Dimensions: Image size ca. 30 x 19.5 cm (each), Album size 36 x 22.5 cm (each)Each album with a silk brocade front and back cover finely decorated with dragon roundels on a key-fret ground. (2)Mei Lanfang (1894-1961), born Mei Lan, was an important Beijing opera (Jingju) artist in modern Chinese theater, and an accomplished painter. Mei was known as the 'Queen of Peking Opera' and was exclusively known for his female lead roles (dan), particularly his 'verdant-robed girls' (qingyi), young or middle-aged women of grace and refinement. He was considered one of the Four Great Dan, along with Shang Xiaoyun, Cheng Yanqiu, and Xun Huisheng. Born into a family of famous actors, he learned from his family members and also from many teachers and went on to become a pioneer of the newly emerging dan (a female role) actor genre in the early 20th century. His performance style was rigorous and refined yet elegant and beautiful, appearing reserved but actually full of complexity: his singing was exquisite, pure and full; his spoken lines were delivered in a sweet but rich voice, strong but not rough. Mei's famous portrayal of Beauty Yu was so historically moving that Wenting Song said he was one of the greatest vocal artists in modern China.Mei was the first artist to spread Beijing opera to foreign countries, participating in cultural exchanges with Japan, the United States, and other regions. He toured the world, forming friendships with the western contemporaries of his day, including Charlie Chaplin. In 1930 he toured North America, visiting Hollywood, where he was welcomed by Douglas Fairbanks and Mary Pickford. In 1935, Mei toured Europe, playing to appreciative audiences in Berlin and Moscow. Seeing Mei perform especially impressed the German playwright Bertolt Brecht and influenced his concept of the alienation effect.In July 1937, the Marco Polo Bridge Incident occurred, and the Imperial Japanese Army soon occupied Beijing. The commander of the Japanese Army ordered Mei to perform for them and appointed Mei to a high rank official position, but Mei refused to sing throughout the duration of the war and endured an impoverished lifestyle until the war ended in 1945. During this period, he relied solely on selling his paintings. After 1949, he served as director of the China Beijing Opera Theater, director of the Chinese Opera Research Institute, and vice chairman of the China Federation of Literary and Art Circles.Auction result comparison: Type: Related Auction: China Guardian, Beijing, 21 March 2010, lot 1379 Price: CNY 156,800 or approx. EUR 28,000 converted and adjusted for inflation at the time of writing Description: Mei Lanfang, landscape and flowers Expert remark: Compare the album of twenty-four small paintings (24 x 36 cm) by the same artist, albeit depicting a different subject.Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LARGE AND IMPORTANT BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEKhmer Empire, 12th-13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity clad in a short sampot with fishtail pleat and jeweled sash, incised finely with foliate decorations. His hands depicted holding his attributes. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, aquiline nose, an urna, full lips and ears with pendulous earrings.Provenance: Old Spanish private collection, acquired in the 1960s. Old French private collection, acquired from the above in 1998. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 30 September 2005, confirming the dating and provenance above, accompanies this lot. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Good condition commensurate with age. As expected, there is extensive wear, some casting flaws, losses, signs of weathering and erosion, few nicks and shallow surface scratches, fatigue cracks with associate losses and old fills, all as expected from a Khmer bronze of nearly 1,000 years of age. Superb, naturally grown, rich patina with extensive malachite encrustation and faint hues of cuprite.Weight: 3,077 g cm (excl. stand), 3,372 g (including base)Dimensions: Height 40.6 cm (excl. stand), 46 cm (including base) With a modern wood base. (2)Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms, varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. And also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 September 2000, lot 157Price: USD 138,000 or approx. EUR 225,000 converted and adjusted for inflation at the time of writingDescription: An Important Bronze Figure of Avalokiteshvara, Khmer, Koh Ker Style, 10th CenturyExpert remark: Note the similar size (44 cm). Bronze figures from the Khmer empire with a size exceeding 40 cm are extremely rare, which is why this comparison was chosen, although this statue is from Koh Ker and dates to the 10th century.

A FINE PAINTING OF A BODHISATTVA OF THE DIAMOND REALM, TABO STYLE, 10TH CENTURYExpert's note: The present lot was once a part of an illuminated manuscript, likely from a Prajnaparamita sutra. This has been confirmed by Tibetologist Dr. Amy Heller, who points towards several comparable works, all dating from the 10th century, and all originating from related manuscripts from this region.To receive a PDF copy of this dossier, please refer to the department. Northern India, Himachal Pradesh. Watercolors and ink on paper. Depicting a Mahabodhisattva seated in dhyanasana upon a cushioned lotus-petaled throne with the hands held in dharmachakra mudra, the palms and soles stained red, wearing a five-pointed crown, and adorned with elaborate jewelry. The figure with an hour-glass shaped torso, surrounded by flowing celestial scarves, and backed by a flaming halo. Provenance: From the collection of Michael Phillips. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine art, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme D'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, loss to margins, soiling, minimal fading to colors, small tears to edges.Scientific Analysis Report: An “Initial Condition Survey" with a microscopic and UV-light examination was conducted by Podany Conservation Services, USA. The examination report concludes: “Given the lack of modern materials there appears to be no clear evidence that this object is an intentional modern forgery or copy." A copy of the signed examination report, dated 18 May 2021, accompanies this lot.Dimensions: Image size 17.3 x 16.4 cm, Size incl. frame 34 x 33.8 cm Framed behind glass. (2) Constructed in 996, the Tabo Monastery was built by the Buddhist king Yeshe-OE (c. 959-1040), who was a descendant of ancient Tibetan nobility that expanded into the Spiti Valley when connecting trade routes between Ladakh and Mustang. The monastery was part of the dynasty's successful political effort to reintroduce Mahayana Buddhism throughout the region, and thus was once richly decorated with paintings and sculptures. While some of the monastery's paintings date to around 1040, we know that there have been restoration campaigns over the centuries. Prajnaparamita refers to an enlightened means of seeing the nature of reality and it is part of the Mahayana scriptures or sutras which discusses this form of transcendental knowledge. It consists of several sutra, the earliest of which is the Aṣṭasahasrika Prajnaparamita Sutra or 'Perfection of Wisdom in 8,000 Lines.' The Prajnaparamita sutras were first brought to Tibet during the reign of Trisong Detsen (742-796) by scholars Jinamitra and Silendrabodhi and the translator Ye shes De. A key theme of the Prajnaparamita sutras is the Bodhisattva, the 'awakening-being,' which is defined in the 8,000-line Prajnaparamita sutra as, “One who trains in all dharmas without obstruction, and knows all dharmas as they really are." The paintings which illuminate these manuscripts had a meditative purpose, delivering illumination through the images. Literature comparison: Compare a related 11th century wall painting in the assembly hall of the Tabo Monastery in the Spiti Valley of Himachal Pradesh. The two paintings are so similar that the present lot possibly served as an inspiration for the Tabo Monastery painting. Compare several paintings of bodhisattvas inside Tabo Monastery, depicted within identical roundels and with similar iconography. The painting also bears a close resemblance to a painting at the White Temple of Tsaparang, which belongs to the Guge style of Western Tibet. Auction result comparison: Type: Related Auction: Bonhams, New York, 27 September 2020, lot 505 Price: USD 16,325 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: An illuminated sutra page with Buddha underneath the bodhi tree, Kashmir or West Tibet, 12th/13th century Expert remark: From Kashmir or neighboring Western Tibet, this comparable is one of a small number of paintings on the market that have a large undecorated section around the central scene, possibly suggesting a similar use for the current lot. The comparable also shares the same vibrant use of color.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A BRONZE PECTORAL PLAQUE DEPICTING HANUMAN, BAJRANG BALI, 18TH CENTURYWestern India, Maharashtra or Karnataka. Finely cast, the circular plaque depicts a striding Hanuman, who carries in his left hand the healing plant (sanjivani buti), walking above an armed figure lying prone. The leafy plant hangs down to his knees, twisting back behind his body. The outer frame serves as a circular mandala with a band of stylized flames (prabhavala) and rosettes, enclosed by a rope-like border formed by the tails of two peacocks at the top, centered by a seven-headed hooded cobra hovering over a figure of Krishna dancing atop Hanuman's head. The mandorla further with sun and moon symbols. The back is cast with a vertical loop for mounting.Provenance: From a private collection in London, United Kingdom. The stand with an old label, 'India. Hanuman. In wheel of rosettes and seeds with peacock terminals. Nagas and Krishna.' Condition: Very good condition with minor old wear and expected casting flaws, small nicks, light scratches, minor dents.Weight: 751 g (excl. stand) and 1,084 g (incl. stand) Dimensions: Height 22.9 cm (excl. stand) and 26.3 cm (incl. stand) With a fitted modern stand. (2)The scene depicted on this plaque recalls an episode in the Indian Ramayana epic when Hanuman flew through the air to bring a healing, medicinal herb (sanjivani buti) to the wounded Rama and his army. The small figure below Hanuman's feet could be Lakshmana, the brother of Rama, who was wounded during the battle. As a divine being, Hanuman has the power to augment or diminish his size at will, and so he grows to such a stature that he can span the ocean with a single stride. This unique ability, according to myth, enabled the god to rescue Rama.Expert's note: Known as a bajrang bali (strong monkey), this distinctive type of pectoral plaque depicts Hanuman, The Divine Monkey. It is worn suspended around the neck by Vaishnava ascetics devoted to Hanuman, in the regions of Karnataka and Maharashtra.Literature comparison:Compare a closely related bronze circular plaque depicting Hanuman mid stride, 21 cm high, dated 18th-19th century, in the British Museum, registration number 1853,0108.8. Compare a closely related plaque depicting Hanuman mid stride, 23 cm high, dated to the 16th century, in the Los Angeles County Museum of Art, accession number M.87.160.1. Compare a related bronze circular plaque depicting Hanuman, 6.75 cm high, dated 17th-18th century, in the British Museum, registration number 1940,0716.323.

A SLIP-INLAID CELADON-GLAZED STONEWARE 'FLORAL' BOWL, GORYEO DYNASTYKorea, 12th-13th century. The deep rounded sides rising from a flat base to a slightly incurved rim. Inlaid in white and iron slip to both the interior and exterior with evenly spaced stylized floral sprays, the interior further with a central flowerhead, all beneath the finely crackled celadon glaze.Provenance: Collection of Winslow Ames. Property of the Trustees of Phillips Academy, Andover, Massachusetts, USA, gifted from the above. The Phillips Academy was founded in 1778 during the American Revolution. The highly selective academy has among its alumni U.S. Presidents George H.W. Bush and George W. Bush, along with numerous notable politicians, Nobel laureates, and recipients of the Medal of Honor. Edward Winslow Ames Jr. (1907-1990) was a prominent American art historian, author, and museum director. He attended Phillips Academy as a child, and later studied art history at Harvard. He went on to become the founding director of Lyman Allyn Art Museum in New London, Connecticut, in 1930. After World War II, he was the first director of Huntington Hartford's Gallery of Modern Art at Columbus Circle in Manhattan, working with the collection before the museum opened to the public. He started collecting drawings and furniture in the 1930s and eventually branched out into European and Asian works of art.Condition: Good condition, commensurate with age. Old wear and firing flaws, including a distinct bump to the interior, three spur marks to the base, and pitting. The rim with few minor chips.Weight: 154.3 g (excl. stand)Dimensions: Diameter 11.4 cm With an associated wood stand. (2)This inlay technique is called 'sanggam', which was invented by Korean ceramic artists in the twelfth century. The design was incised into the clay body of the vessel and then filled with slip (diluted clay). The excess slip would have been removed before the piece was biscuit fired, then the bottle was covered with a translucent celadon glaze and fired again. The development of the sanggam inlay technique signifies the elegance and innovativeness of Goryeo ceramic production; no similar inlay technique was used by Chinese craftsmen at this time.Literature comparison: Compare a related bowl with floral medallions dated to the 12th-13th century, 18.7 cm in diameter, in the Princeton University Art Museum, reference number 2006-831.Auction result comparison: Type: RelatedAuction: Christie's New York, 28 March 2006, lot 448Price: USD 9,600 or approx. EUR 13,500 converted and adjusted for inflation at the time of writingDescription: An inlaid celadon deep bowl, Goryeo dynasty, 13th centuryExpert remark: Note the size (14.6 cm).Auction result comparison: Type: RelatedAuction: Christie's New York, 15 October 2001, lot 291Price: USD 15,275 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: An inlaid celadon stoneware bowl, Goryeo dynasty, 12th-13th centuryExpert remark: Note the size (18.3 cm). 高麗王朝青釉內嵌花卉炻器碗韓國，十二至十三世紀。深圓弧腹，平底。白色和鐵質鑲嵌在碗內壁和外壁，纏枝花卉紋，碗內中央有一朵花，青釉細膩開片。 來源：Winslow Ames收藏；美國馬賽諸塞州安多弗菲力浦斯學院受託人財產。菲力浦斯學院成立於 1778 年美國革命期間。 這所經過嚴格篩選的學院的校友中有美國總統喬治·H·W·布希和喬治·W·布希，以及眾多著名政治家、諾貝爾獎獲得者和榮譽勛章獲得者。Edward Winslow Ames Jr. (1907-1990) 是一位著名的美國藝術史學家、作家和博物館館長。他小時候就讀於菲力浦斯學院，後來在哈佛大學學習藝術史。1930 年，他成為康涅狄格州新倫敦萊曼·艾林藝術博物館的創始館長。二戰後，他成為曼哈頓哥倫布圓環亨廷頓·哈特福德現代藝術畫廊的首任館長，博物館向公眾開放。 他從二十世紀三十年代開始收集繪畫和傢俱，最終涉獵歐洲和亞洲的藝術作品。 品相：狀態良好，有磨損和燒製缺陷，包括內部明顯的凸起、底部的三個刺痕和凹坑，邊緣有少量小缺口。 重量：154.3 克 (不含底座) 尺寸：直徑11.4 釐米 木底座 (2) 由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LARGE SANCAI-GLAZED 'ARCHER' GUARDIAN FIGURE (LOKAPALA), TANG DYNASTYChina, 7th-8th century. Exquisitely modeled, standing on a recumbent bull over a pierced rockwork base, his right arm bent and left arm extended, poised to shoot an arrow from his now lost bow. The lokapala is dressed in elaborate armor with dragon epaulets and divided breast plate, over a knee-length tunic. His unglazed face is well modeled with a fierce, somewhat hypnotic expression. The head is surmounted by a tall phoenix-form headdress. The figure is splash-glazed in amber, green, and straw.Provenance: From the collection of Joseph Rondina, acquired before 1996, and thence by descent to the last owner. Joseph Rondina (1927-2022) was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Excellent condition, commensurate with age. Old repairs and minor touch-ups as generally expected from authentic Tang-dynasty excavations. Old wear, glaze flaking and crackling, small nicks and losses, light scratches, soil encrustations overall.Weight: 11.5 kgDimensions: Height 97.4 cm Large, imposing guardian figures like the present lot were made to stand guard in the tombs of Tang dynasty elite. Those with vibrant sancai (three color) glazes, like the current example, flourished from the late 7th to mid-8th century. One of the earliest tombs to contain sancai pieces was that of Li Feng, Prince of Guo (622-675), fifteenth son of Emperor Gaozu, founder of the Tang dynasty. By the first decade of the 8th century, large sancai figures were included in the tombs of royalty and nobility both at the capital Chang'an (modern day Xian) and at Luoyang, which served as the Eastern Capital in the Tang period. The inclusion of large sancai figures declined significantly following the An Lushan rebellion of 755-763, which had a devastating effect on the empire, seriously weakening the dynasty, and leading to the loss of the Western Regions.Expert's note: Based on the size and quality of the modeling of the present lot, and considering the known examples of Lokapala in public collections, both in China and around the world, it is obvious that the current figure hails from the tomb of an elite individual. 唐代三彩護法立像中國，七至八世紀。護法站在一頭公牛上，他的右臂彎曲，左臂伸展，似乎準備射箭。護法身著盔甲，上龍形肩章和胸甲。臉龐輪廓分明，表情凶狠。頭上戴著頭盔。施琥珀色、綠色和稻草色三彩釉。 來源：美國紐約Joseph Rondina收藏。Joseph Rondina (1927-2022年) 出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：狀況極佳，小修，有磨損、釉面剝落和裂紋、小缺口和缺損、輕微劃痕、土壤結殼。 重量：11.5 公斤 尺寸：高 97.4 厘米

A LURISTAN BRONZE AXE-HEAD, LAST QUARTER OF 2ND TO EARLY 1ST MILLENNIUM BCIran, c. 1200-700 BC. Well cast, the axe-head with a rimmed, fan-shaped blade. The cylindrical socket extends into five molds terminating in spikes. The bronze with a rich, naturally grown, solid patina with distinct areas of encrustations.Provenance: From a Royal Collection.Condition: Very good condition, commensurate with age. Extensive wear, minor casting flaws, few nicks, light scratches, minor losses, signs of weathering and corrosion, and encrustations.Weight: 407.7 g Dimensions: Length 21.9 cm Luristan bronzes are small cast and decorated objects from the early Iron Age which have been found in large numbers in Lorestan province and Kermanshah in western Iran. They include a great number of ornaments, tools, weapons, horse fittings, and a smaller number of vessels including situlae and are characterized by a wide range of idiosyncratic forms and a highly stylized conception of human and animal representation. Those from recorded excavations were generally found in burials. The ethnicity of the people who created them remains unclear, though they may well have been Iranian, possibly related to the modern Lur people who have given their name to the area. Luristan bronze objects came to the notice of the world art market from the late 1920s onwards. They were excavated in considerable quantities by local people and are found today in many of the world's most important museums.Literature comparison:Compare a closely related bronze axe-head, 21 cm long, dated ca. 750 BC, in the Los Angeles County Museum of Art, accession number M.91.364.34. Compare a closely related Luristan axe-head, 21 cm long, dated 1st millennium BC, in the Louvre Museum, registration number AO 18667.Compare a related Luristan axe-head dated 1000-500 BC, in the British Museum, registration number 1945,1015.3.Auction result comparison:Type: RelatedAuction: Christie's New York, 12 April 2022, lot 53Price: USD 21,420 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: A Luristan bronze axe head surmounted by an ibex, circa 1200-900 BCExpert remark: Compare the related form and manner of casting. Note the size (25.4 cm) and the ibex surmounting the axe head.

A LURISTAN 'MASTER OF ANIMALS' BRONZE STANDARD FINIAL, IRAN, CIRCA 1000-650 BCThe tubular base surmounted by a stylized Janus-headed figure flanked on both sides by mythical beasts whose paws are placed together on the central figure's chest. The figure is boldly cast with detail work along the waist and legs. The face has a broad nose, large eyes, and prominent ears. The bronze has a naturally grown patina with malachite and cuprite encrustations.Provenance: Galerie Persepolis, Brussels, exhibited from 28 October to 13 November 1971. Collection of Monsieur H., Brussels, Belgium, acquired from the above. Collection Madame D.T., acquired from the above. Condition: Good condition, commensurate with age. Extensive wear, few nicks, light scratches, minor losses, signs of weathering and corrosion, and encrustations.Weight: 263.2 g Dimensions: Height 14.7 cm (incl. stand), 12.2 cm (excl. stand) Luristan bronzes are small cast and decorated objects from the Early Iron Age (first millennium BC) which have been found in large numbers in Lorestan province and Kermanshah in western Iran. They include a great number of ornaments, tools, weapons, horse fittings, and a smaller number of vessels including situlae and are characterized by a wide range of idiosyncratic forms and a highly stylized conception of human and animal representation. Those from recorded excavations were generally found in burials. The ethnicity of the people who created them remains unclear, though they may well have been Indo-European, possibly related to the modern Lur people who have given their name to the area. Luristan bronze objects came to the notice of the world art market from the late 1920s onwards. They were excavated in considerable quantities by local people and are found today in many of the world's most important museums.The Master of Animals is a motif in ancient art showing a human between and grasping two confronted animals. The subject is widespread in the art of the Ancient Near East and Egypt. Although such figures are not all deities, the term may be a generic name for several deities from a variety of cultures with close relationships to the animal kingdom or in part animal form (in cultures where that is not the norm). These figures control animals and are responsible for their continued reproduction and availability for hunters. The Greek god shown as 'Master of Animals' is usually Apollo, one of the gods of the hunt. Shiva has the epithet Pasupathi meaning the 'Lord of animals', and these figures may derive from an archetype. Chapter 39 of the Book of Job has been interpreted as an assertion of the deity of the Hebrew Bible as Master of Animals.Literature comparison: Compare a closely related Luristan bronze standard finial, 19.2 cm high, also dated circa 1000-650 BC, in the Los Angeles County Museum of Art, accession number M.76.97.91. Compare a closely related Luristan bronze standard finial, 20.5 cm high, also dated circa 1000-650 BC, in the Los Angeles County Museum of Art, accession number M.76.97.94.Auction result comparison: Type: Closely related Auction: Christie's New York, 9 June 2022, lot 24 Price: USD 31,500 or approx. EUR 29,000 converted for inflation at the time of writing Description: A Luristan bronze goddess, circa 9th-7th century BC Expert remark: Note the size (13.7 cm)Auction result comparison: Type: Related Auction: Christie's New York, 4 June 2015, lot 154 Price: USD 23,750 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A Luristan bronze goddess finial, circa 9th-7th century BC Expert remark: Note the slightly larger size (18.4 cm)

A BASALT RELIEF DEPICTING GANESHA AND THE NINE PLANETS (NAVAGRAHA), 10TH-11TH CENTURYNorthern India, c. 950-1000 AD. Finely carved in high relief with ten figures standing on a ledge carved with their respective mounts, depicting (from left to right) Ganesha, Surya (Sun), Chandra (Moon), Mangala (Mars), Budha (Mercury), Brihaspati (Jupiter), Shukra (Venus), Shani (Saturn), Rahu (ascending node of the Moon), and Ketu (ascending node of the Sun). Each figure except the large Rahu wears a thin dhoti tied with a belt and a tall kiritamakuta, and each is backed by a halo.Provenance: From a noted private collection in Germany. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, soil encrustations, obvious losses, nicks, scratches. The stone with a fine, naturally grown, dark patina.Weight: 14.4 kg Dimensions: Length 56.5 cm The Navagraha continue to be worshipped in modern times and are given special enclaves within Hindu temples. They also appear on the door lintels of many temples in northern India as a means of protecting the shrine and its visitors from maleficent portents and beings.The role and importance of the Navagraha developed over time with various influences. Deifying planetary bodies and their astrological significance occurred as early as the Vedic period and was recorded in the Vedas. The earliest work of astrology recorded in India is the Vedanga Jyotisha which began to be compiled in the 14th century BCE. It was possibly based on works from the Indus Valley Civilization as well as various foreign influences. Babylonian astrology was the first astrology and calendar to develop and was adopted by multiple civilizations including India.Literature comparison:Compare the closely related Navagraha relief from Bihar in the same style, dated ca. 950-1000 AD, in the San Diego Museum of Art, accession number 2007.173. Compare a closely related sandstone frieze depicting the nine celestial bodies, 158.6 cm long, dated to the 8th century, in the Cleveland Museum of Art, accession number 1971.61.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 September 2021, lot 366 Price: USD 20,160 or approx. EUR 22,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of Navagraha, the planetary deities, India, Pala period, 11th-12th century Expert remark: Compare the closely related subject and manner of carving. Note the size (65 cm).

A CARVED WOOD 'YALI' BRACKET, SOUTH INDIA, 16TH-17TH CENTURYBoldly carved as a fierce yali standing atop an elephant, the beast with an arched body, bulging eyes, and a gaping mouth revealing sharp fangs, holding in its raised front paws an arched element from which the elephant hangs by its trunk.Provenance: New York trade.Condition: Overall good condition, commensurate with age, with some chips and losses, expected age cracks and other natural imperfections, signs of weathering and erosion.Weight: 12.2 kg (incl. stand) Dimensions: Height 84.2 cm (excl. stand) and 87.5 cm (incl. stand) Mounted on a modern wood stand. (2)Yalis are mythical composite creatures sculpted on pillars and pilasters across temples in South Asia, also known as vyalas. They are most frequently depicted in late medieval and early modern temples in southern India. The term 'yali' is derived from the Tamil and Sanskrit words for 'fierce monster'. As per Vaishnava tradition, Yali is a combination of elephant, lion, and snake. It has the head and body of lion but with an elephant trunk and has the tail of a serpent. This type of Yali is sculpted at the entrance of temples and homes to keep away evil.Literature comparison:Compare related ivory brackets depicting yalis in the Victoria and Albert Museum, see Jaffer, Luxury Goods from India, 2002, p. 26, illustrated in Pal, Elephants and Ivories, 1981, no. 78, and two in the Los Angeles County Museum of Art, accession numbers M.80.232.7a-b.Auction result comparison:Type: RelatedAuction: Christie's New York, 31 March 2005, lot 96Price: USD 9,600 or approx. EUR 14,000 adjusted for inflation at the time of writing Description: A carved wood figure of Narasimha, India, Kerala, 14th/15th centuryExpert remark: Note the size (70 cm) and the earlier dating.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 19 March 2016, lot 1317Price: USD 27,500 or approx. EUR 32,500 adjusted for inflation at the time of writing Description: A carved wood standing demon, South India, Kerala, ca. 17th centuryExpert remark: Compare the related bold manner of carving.

A SMALL QINGBAI CENSER AND COVER, NORTHERN SONG DYNASTYChina, 960-1127. Standing on a short tapered foot, the deep rounded sides carved with overlapping petals. The domed cover of the incense burner is pierced with three rows of apertures encircling the central bud finial, all above an openworked pattern of radiating petals. The white ware of the censer and cover is glazed with a vitreous, bubble-suffused pale-blue glaze.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974, he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts. Condition: Very good condition with minor old wear and expected firing irregularities, few shallow chips, some of which have smoothened over time.Weight: 158.8 g Dimensions: Height 8.9 cm Literature comparison: Compare a related Qingbai censer with an openwork cover, 6 cm high, dated to the Northern Song dynasty, in the Art Institute of Chicago, accession number 2013.190. Compare a related tripod censer with pierced cover which was excavated in 1981 from a site near Jingdezhen in Boyang county and is now in the Jiangxi Provincial Museum, illustrated in Zhongguo Taoci Quanji: Song (The Complete Works of Chinese Ceramics: Song Dynasty), Volume 8, Shanghai, 2000, no. 171. Compare a related Qingbai censer, illustrated in Selected Masterpieces of the Manno Collection, Osaka, 1988, no. 84. Compare a related Qingbai openwork censer, illustrated in Chinese Ceramics from the Meiyintang Collection, Volume I, London, 1994, page 329, no. 611. 北宋青白小蓋爐中國，960-1127年。香爐的圓蓋中央有花蕾鈕，穿有三排小圓孔。爐身外壁刻有重疊花瓣紋。香爐通體施青白色釉，釉色瑩潤。 來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008年 年從上述人士手中收購，並自此在同一家族傳承。Grahame Clarke（1940-2014年）是一位著名的陶瓷藝術家，受到 Harry Davis、Bernard Leach 和 Shoji Hamada 等陶藝風格的影響。1974 年，他在蘇格蘭洛欽弗創立了 高land Stoneware。在歷史和自然環境的推動下，他的作品將仿照中國古代陶器的耐用瓷體與受十六世紀和十七世紀代爾夫特青花裝飾啟發的自由手繪風格結合起來。他對陶瓷的熱情促使他收集來自世界各地的陶瓷，尤其是來自中國的文物。受到古物的啟發，Clarke的作品本身最終被收藏在維多利亞和阿爾伯特博物館等博物館。 品相：狀況極好，有輕微磨損、製造不規則和小缺口。 重量：158.8 克 尺寸：高 8.9 厘米 文獻比較: 比較一件相近的北宋青白小蓋爐，高6 厘米，收藏於芝加哥藝術博物館，館藏編號2013.190。比較一件相近的三足爐，1981年出土於景德鎮 ，現藏於江西博物館，見《Zhongguo Taoci Quanji: Song (The Complete Works of Chinese Ceramics: Song Dynasty)》，卷8，上海，2000年，編號171。比較一件相近 Qingbai censer，illustrated in Selected Masterpieces of the Manno Collection，Osaka，1988，編號84. 比較一件相近的青白小蓋爐 ，見《Chinese Ceramics from the Meiyintang Collection》，卷 I，倫敦，1994年，頁329，編號611。

A LARGE AND RARE 'QILIN, MYTHICAL HOUND AND BUDDHIST LION' JAR, MING DYNASTY, JIAJING PERIOD, 1521-1567Expert's note: The combination of iron-red and green glazes was utilized primarily during the Jiajing period (1521-1567). According to Daisy Lion-Goldschmidt in Ming Porcelain, New York, 1978, page 164, in her discussion of the 'Red-and-Green' Group, this palette would come to dominate polychrome porcelains, eventually leading to the appearance of famille verte during the second half of the seventeenth century.China. The ovoid body is supported on a flat base and rises to a short and slightly flared neck with a lipped rim. Boldly painted in green, red, and aubergine enamels with three lobed panels enclosing a mythical hound, a Buddhist lion and a Qilin, each with a long snout and standing foursquare amid foliage and rockwork depicted in profile and facing the viewer, surrounded by floral sprays, all beneath a band of phoenixes and peony blossoms below the rim decorated with lingzhi sprays. Covered overall with a finely crackled transparent glaze of a pale-ivory tone, the interior with a dark brown glaze.Provenance: The J. M. Hu, Zande Lou Collection. An old, padded silk box fitted to the vase accompanies the lot. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art. Condition: Remarkably well preserved, commensurate with age. Expected old wear and firing irregularities, including some burst bubbles, firing cracks, tiny bumps, pitting, dark spots, and glaze recesses. Occasional light scratches. Minor chips to base, mostly smoothened over time. Small hairlines. Displaying exceptionally, due to its size and excellent condition.Weight: 13.5 kg Dimensions: Height 40 cm Literature comparison:Compare a related red and green enameled porcelain 'min yao' dish donated by R. Soame Jenyns, 30.3 cm in diameter, dated to the Ming dynasty, likely Jiajing, in the British Museum, registration number 1951,1010.1. Compare a related polychrome enameled jar decorated with horses, with a Jiajing mark and of the period, 18 cm high, in the Metropolitan Museum of Art, accession number 1991.253.58.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2023, lot 1036 Price: USD 32,760 or approx. EUR 30,000 converted at the time of writing Description: A very rare green and red-enameled 'fish' jar, Ming dynasty, 16th century Expert remark: Compare the related form and decoration. Note the different motif and smaller size (24.8 cm high). 嘉靖開光麒麟太獅罐中國。罐小口，豐肩，鼓腹，平足。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

The historically important Great War Victory Medal awarded to Colonel T. Sinclair, Army Medical Service, who personally conducted the first post-mortem examination of Baron Manfred Albrecht Freiherr von Richthofen in a hanger of No. 3 Squadron, Australian Flying Corps, just hours after he was extricated from the wreckage of his red triplane, near Corbie, on 21 April 1918 Having analysed the pathway of a single .303 bullet through the Baron’s torso using a rudimentary piece of wire, it was Sinclair’s report which gave considerable weight to the argument that the fatal shot came from a trailing aircraft, rather than the ground - thus, the Canadian Pilot, Captain A. R. Brown, was officially credited with the ‘kill’ shortly after receiving a Bar to his D.S.C. Victory Medal 1914-19, with copy M.I.D. oak leaves (Col. T. Sinclair.) mounted on contemporary wearing pin, better than very fine £500-£700 --- ‘Copy extracts from A. H. File No. 21/13/506 In the Field 22nd April 1918. We have made a surface examination of Captain Baron von Richthofen and find there are only the entrance and exit wounds of one rifle bullet on the trunk. The entrance wound is on the right side about the level of the ninth-rib, which is fractured, just in front of the posterior axillary line. The bullet appears to have passed obliquely backwards through the chest striking the spinal column, from which it glanced in a forward direction and issued on the left side of the chest, at a level about two inches higher than its entrance on the right and about in the anterior axillary line. There was also a compound fracture of the lower jaw on the left side, apparently not caused by a missile – and also some minor bruises of the head and face. The body was not opened – these facts were ascertained by probing from the surface wounds.’ Thomas Sinclair, Colonel AMS, Consulting Surgeon IV Army, B.E.F. Thomas Sinclair was born in Belfast in 1858. Credited by the Ballymena Weekly Telegraph as ‘one of the most outstanding Ulstermen of his generation’, Sinclair graduated with distinction from the Royal University of Ireland and became Professor of Surgery at Queen’s University in 1886. Appointed surgeon to the Royal Victoria Hospital and consulting surgeon to the Ulster Hospital for Children, the Forster Green Hospital, and the County Antrim Infirmary, Sinclair spent the next thirty years training a generation of medical students in the art of surgery - indeed, under his tutelage, the Belfast School of Modern Surgery came to be regarded as one of the most advanced in the British Isles. Volunteering for active service at the outbreak of hostilities, Sinclair served as Colonel in Egypt from 15 November 1915, before being transferred to the Western Front as Consulting Surgeon to the Fourth Army, which at that time was commanded by that other distinguished Ulsterman, Lord Rawlinson. Decorated with the C.B., ‘in recognition of work well and faithfully done on various fighting fronts’, Sinclair was further Mentioned in Despatches on 4 January 1917 whilst serving as Consultant. However, quite by accident and pure circumstance, it was from Headquarters on a sunny spring day in 1918 that Sinclair received the order to proceed immediately to a small hangar at Poulainville aerodrome on the Somme; awaiting his inspection lay the body of one of the most dangerous foes of the Great War. Controversy remains to this day as to who exactly fired the fatal shot which killed the Red Baron. During the autopsy it was noted that Sinclair used a piece of wire, rumoured to be fence wire, to track the path of the bullet, rather than a more appropriate smooth and rounded apparatus. Such a crude improvisation laid open the opportunity for error and inaccuracy, but it is widely accepted that this first report remains the most important piece of evidence to this day which addresses the circumstances of death and factual wounds, more-so given that the infamous red Fokker Dr.I. 425/17 triplane was scavenged within hours for souvenirs. Sinclair’s conclusions however, remain contested, especially following recent analysis of the path of the machine gun bullets fired from the trenches by Sergeant Cedric Popkin of the 24th M.G.C., 1st Australian Imperial Force. Elected to the Ulster Senate representing Queen’s in 1921, Sinclair was later honoured as Founder of the Modern Ulster School of Surgery and is remembered via a large and impressive oil portrait by George Harcourt, R.A., which hangs to this day in the Great Hall of Queen’s University, Belfast. His acceptance speech was particularly humbling: ‘What a sustaining and consoling thought it is to me that so many warm friends consider that I have not altogether lived in vain, but have been enabled in some degree to alleviate or assuage the heavy burden of human suffering throughout the years.’ Sinclair died of illness on 5 November 1940.

GLASGOW AND CHARLES RENNIE MACKINTOSH COLLECTION OF TEXT BOOKS, PAMPHLETS AND CATALOGUES (Pamela Robertson ed.), The Chronycle, The letters of Charles Rennie Mackintosh to Margaret Macdonald Mackintosh, Hunterian Art Gallery 2001Raymond O’Donnell, James Salmon, Rutland Press 2003Patrick Nuttgens, Mackintosh and his Contemporaries, John Murray 1988(Pamela Robertson ed.), Doves and Dreams, Lund Humphries 2006Pamela Roberton and Philip Long, Charles Rennie Mackintosh in France, NGS 2005Perilla Kinchin, Miss Cranston, NMS 199Perilla Kinchin, Taking Tea with Mackintosh, Pomegranate 1998Elaine Grogan, Beginnings: Charles Rennie Mackintosh’s Early Sketches, National Library of Ireland 2002(Pamela Robertson ed.), Charles Rennie Mackintosh: Architectural Sketches, Hunterian Art Gallery 1999George Rawson, Fra H. Newberry, Foulis Press 1996(Pamela Robertson ed.), Charles Rennie Mackintosh: The Architectural Papers, Cockade 1990Pamela Robertson, Charles Rennie Mackintosh: Art is the Flower, Pavilion 1995David Stark, Charles Rennie Mackintosh & Co., Stenlake 2004Richard Scott, The Walberswick Enigma, Ipswich Borough Council 1994Roger Billcliffe, Visiting Charles Rennie Mackintosh, Frances Lincoln 2012Charles Rennie Mackintosh Scotland Street School, Glasgow Print Studio 1980Charles Rennie Mackintosh Furniture, Glasgow School of Art 1968Charles Rennie Mackintosh Ironwork and Metalwork, Glasgow School of Art 1968Charles Rennie Mackintosh and the Glasgow School of Art, Glasgow School of Art 1961 R. Mackintosh: The Chelsea Years, (Exhibition catalogue, Hunterian Art Gallery, 1994)David Brett, R. Mackintosh: The Poetics of Workmanship, Reaktion 1992Charles Rennie Mackintosh 1868-1928, (Exhibition Catalogue, Scottish Arts Council, 1968)Gerald and Celia Larner, The Glasgow Style, Astragal Books 1980Ray McKenzie, Sculpture in Glasgow, Foulis Archive Press 1999Perilla and Juliet Kinchin, Glasgow’s Great Exhibitions, White CockadeCharles Rennie Mackintosh, (Exhibition catalogue, Hida Takayama Museum of Art, 1998)(William Buchanan ed.), Mackintosh’s Masterwork: The Glasgow School of Art, Chambers 1998Roger Billcliffe, Charles Rennie Mackintosh: The Complete Furniture Drawings Etc., Lutterworth Press 1980Alan Crawford, Charles Rennie Mackintosh, Thames & Hudson 1995William Buchanan, The Art of the Photographer, J. Craig Annan, NGS 1992(William Buchanan ed.), Mackintosh’s Masterwork: The Glasgow School of Art, A & C Black 2004(Jude Burkhauser ed.), Glasgow Girls, Canongate 1990Harry Taggin et al, Glasgow Revealed, Heritage Books 1998Andor Gomme & David Walker, Architecture of Glasgow, Lund Humphries 1987Janice Helland, The Studios of Frances and Margaret Macdonald, Manchester University Press 1996Robert Macleod, Charles Rennie Mackintosh, Country Life Books 1968Timothy Neat, Part Seen, Part Imagined, Canongate 1994Alistair Moffat, Remembering Charles Rennie Mackintosh, Colin Baxter 1989A. Oakley, The Second City, Blackie & Sons 1967Wendy Kaplan, Charles Rennie Mackintosh, Glasgow Museums 1996The Doctor Thomas Howarth Collection, Christie’s catalogue, 1994Timothy Neat & Gillian McDermott, Closing the Circle, Iynx Publishing 2002Roger Billcliffe, Mackintosh Furniture, Lutterworth Press 1984Thomas Howarth, Charles Rennie Mackintosh and the Modern Movement, Routledge & Keegan Hall Ltd. 1952Charles Rennie Mackintosh Making the Glasgow Style, Glasgow Museums catalogue 2018William Eadie, Movements of Modernity, Routledge 1990Robin Crichton, Monsieur Mackintosh, Luath Press 2006John Nisbet, A Sketch Book, Adam & Charles Black 1913Irene Maver, Glasgow, Edinburgh University Press 2000Roger Billcliffe, Mackintosh Watercolours, Carter Nash Cameron 1978Roger Billcliffe, Charles Rennie Mackintosh Textile Designs, Pomegranate 1993Roger Billcliffe, Architectural Sketches and Flower Drawings by Charles Rennie Mackintosh, Academy Editions 1977(Jackie Cooper ed.), Mackintosh Architecture, Academy Editions 1984Pamela Robertson, The Mackintosh House, Hunterian Art GalleryTalwin Morris designer The Book of the Home, 6 Volumes, Gresham Publishing Co. 1900 and a quantity of pamphlets to include:Mackintosh Watercolours RSA exhibition catalogue 1986; The Private Library: Talwin Morris, Blackie and the Glasgow Style; 78 Derngate Guide Book; C.R. Mackintosh Architectural Drawings, Hunterian exhibition catalogue, 1990; Architectural Jottings, edited by Andrew Young; Charles Rennie Mackintosh Scottish Art Review 1968; The Glasgow Style Glasgow Museums exhibition catalogue 1984; The 1933 memorial Exhibition: A reconstruction, The Fine Art Society catalogue 1983; Charles Rennie Mackintosh at the Hunterian Art Gallery 1991; Glasgow Society of Lady Artists in 1882, exhibition catalogue 1982; Helensburgh and the Glasgow School, exhibition catalogue 1972; Mackintosh Flower Drawings, Hunterian Gallery exhibition catalogue 1993; The Hill HouseSold as seen, not subject to return Provenance:Provenance: The Estate of the late Dr James Macaulay

CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY GOURD VASE, CIRCA 1880 glazed earthenware, impressed factory marks and facsimile signature LINTHORPE / Chr Dresser / 330 / HDimensions:10.5cm highNote: Literature: Halén W. Christopher Dresser: A Pioneer of Modern Design, London 1990, p.163, pl.185 where a similar vase is illustrated.

British Modern Art - A 20th century large abstract oil painting The study depicting flows and shapes.  Monochrome acrylic on canvas abstract painting set without frame. Measures 83 x 176 cm.

Grandjean (Serge, et al). Gold Boxes and Miniatures of the Eighteenth Century [The James A. de Rothschild collection at Waddesdon Manor], 1st edition, Fribourg: Office du Livre, 1975, numerous colour & monochrome illustrations, original cloth in dust jacket & slipcase, large 8vo, together with:Grigsby (Leslie B.), English Pottery, Stoneware and Earthenware 1650-1800 [The Henry H. Weldon Collection], London: Sotheby's, 1990, numerous colour & monochrome illustrations, original cloth in dust jacket & slipcase, ex-libris sticker to the foot of the spine, folio, limited edition 784/800, plusSchroder (Timothy B.), The Gilbert Collection of Gold and Silver, 1st edition, Los Angeles: County Museum of Art, 1988, numerous colour & monochrome illustrations, original cloth in dust jacket & slipcase, minor rubbing to the head & foot of the covers, large 4to, and other modern antiques reference & related, mostly original cloth in dust jackets, VG, 8vo/folio QTY: (3 shelves )

Kliunkova-Soloveichik (Svetlana). Ivan Vasilievich Kliun, 1st English language edition, New York: IVK Art, 1994, 150 colour & 350 monochrome illustrations, some light marginal toning, original cloth in dust jacket, some minor rubbing, large 4to, together with:Bois (Yve-Alain, et al), Abstraction Gesture Ecriture, paintings from the Daros Collection, 1st edition, Zurich: Scalo, 1999, numerous colour illustrations, ex-libris stamp to the front endpaper, original cloth in dust jacket, some minor rubbing to head & foot, large 4to, plusCooke (Lynne & Michael Goven), Dia:Beacon, 1st edition, New York: Dia Art Foundation, 2003, numerous colour illustrations, original cloth in dust jacket, large 4to, and other modern art reference & related, including 160 Sotheby's & Christie's modern art auction catalogues, some original cloth/boards, some in dust jackets, some paperbacks, some duplicate copies, G/VG, 8vo/4toQTY: (6 shelves )

Bolzoni (Marco Simone). Il Cavalier Giuseppe Cesari d’Arpino Maestro del disegno Catalogo ragionato dell’opera grafica, 1st edition, Roma: Ugo Bozzi Editore, 2013, numerous monochrome illustrations, original cloth in dust jacket with slipcase, covers lightly rubbed to head and foot, large 4to, together with; Jaffé (Michael) The Devonshire collection of Italian Drawings, 4 volumes, 1st edition, London: Phaidon, 1994, numerous colour illustrations, original cloth in dust jackets, covers and spines marked and rubbed, tear to head of volume 3, large 4to, plus Boëlens (Benoît & Van Waesberghe), European Master Drawings Unveiled, 1st edition, Belgium: Ludion, 2002, numerous colour illustrations, original cloth in dust jacket, large 4to, and other 36 volumes of modern old master art reference and related mostly original cloth in dust jackets some original cloth, large 4to/8voQTY: (42)

D'Ancona (Mirella Levi). The Garden of the Renaissance, botanical symbolism in Italian painting [Arte e Archeologia studie e documenti 10], Firenze: Leo S. Olschki, 1977, numerous monochrome illustrations, original red cloth, folio, together with:Berenson (Bernard), The Drawings of the Florentine Painters, 3 volumes, collector's edition, 2nd impression, Chicago: University Press, 1970, numerous monochrome illustrations, original uniform gilt decorated blue cloth in slipcase, large 4to, plusDempsey (Charles), The Portrayal of Love, Botticelli's Primavera..., 1st edition, Princeton: University Press, 1992, colour & monochrome illustrations, original cloth in dust jacket, 4to, and other modern Renaissance art reference & related, including publications by the Universities of Yale, California, New York, Cambridge, Penn State, mostly original cloth in dust jackets, G/VG, 8vo/folioQTY: (3 shelves )

Anker (Jean). Bird Books and Bird Art, an outline of the literary history and iconography of descriptive ornithology, Copenhagen: Levin & Munksgaard, 1938, black and white illustrations, modern burgundy half morocco gilt, 4to, together with Hale (W. G.). The Meyer's Illustrations of British Birds, London: Maggs Bros, 2007, frontispiece, mounted colour plates throughout, original burgundy buckram gilt, pictorial dust jacket, small folio, with Wood (Casey). An Introduction to the Literature of Vertebrate Zoology, Oxford: Oxford University Press, 1931, original blue cloth gilt, 4to, with 15 other ornithological bibliographies related works, including Mullens and Swann, Bibliography of British Ornithology 1917, Mullens Swann and Jourdain, A Geographical Bibliography of British Ornithology, 1920, David Balance, Birds in counties, An Ornithological Bibliography, (including supplement), 2000/2002, Gordon C. Sauer, John Gould, The Bird Man, A Chronology and Bibliography, 1982, Peter Tate, A Century of bird Books, 1979 & Birds, Men and Books, A Literary History of Ornithology, 1986, etc., all original cloth, mostly 8vo/4to, generally VGQTY: (18)

Art Nouveau WMF style easel picture frame together with gilt metal metal foliate pierced picture frame and two modern Art Nouveau style prints of ladies, framed and glazed. (4) (B.P. 21% + VAT)  gilt frame Interior: 14x19cm approx.  Exterior 25x30cm approx.

Collection of modern earrings together with an Italian mosaic brooch, other Art Deco style brooches, costume brooches etc. (B.P. 21% + VAT)

AUSTIN WRIGHT (BRITISH, 1911-1997), QUEBIQUE QUEUE five bronze figures on a wooden plinth, no. 1/10. Each figure approx. 12.5cm highPurchased from Grape Lane Gallery, York, 1989.Austin Wright was born in Chester, grew up in Cardiff and moved to Yorkshire in 1937. He studied Modern Languages at Oxford University before becoming interested in Modern Art. He was the Gregory Fellow in Sculpture at the University of Leeds (1961-1964), and a major retrospective of his work was held at the Yorkshire Sculpture Park in 1981 and at York City Art Gallery in 1994. His work can be found in many public collections and public commissions, including the Christmas Crib at Wakefield Cathedral and a wall relief for the University of Northumbria.In very good condition without damage. Three figures signed on the underside 'AW.

GERALD MCCABE (USA, 1927-2010) FOR ORANGE CRATE MODERN, A SHEDUA WOOD CIRCULAR DINING TABLE circa 1970s, stamped on underside. 74.5cm high, 137cm diameterGerald McCabe was born in Long Beach, California, in 1927. He attended Long Beach Polytechnic High School, then served in the U.S. Navy during World War II. He received a bachelor's degree from UCLA and a Master's from California State University Long Beach, both in Fine Art.McCabe opened a custom furniture business in the mid-1950s, also designing for companies such as Brown Saltman and Glenn of California. In the 1960s and 1970s, he designed and produced his own lines under the names Erin Furniture and Orange Crate Modern. McCabe's design is known for its modern lines, precision joinery and the combining of wood, glass and steel.A couple of shrinkage cracks to the top and some surface wear, but structurally sound and in generally good condition.

DEMEDIUK, NATALIA (Ukrainian b.1982), 'Night over the city', impressionistic view of city with Van Gogh Starry Night style sky, oil on canvas, 80 x 60 cms, signed with monogram bottom right (1)Further information on artist:Natalia Demediuk, was born in Rivne (Ukraine) on May 3, 1982. She graduated from the Rivne Children's Art School named after A. Martynenko. Since 2017, she is a member of the group of amateur artists "Artist" under the leadership of Anatoliy Ivanenko (member of the NSHU), a member of the art group "Kolo ART". Nataliya Demediuk, artist, writer, journalist, TV and radio presenter, teacher, general director of the Media Center "Tretya Stolitsia", co-organizer and participant of cultural events, public figure. Awarded numerous literary and journalistic prizes. The author of three poetry collections - "Sketches of everyday life", "Seven kRokiv", "Azimuth" (the collection has a painting section with reproductions of paintings by Natalia Demediuk). Many poems were set to music and became songs. Natalia Demediuk's paintings were included in the prize fund of the Rivne accent literary award. Sculptor-animator of a series of plasticine animations as part of the project for special children "Little Croissant in the Big World". Co-organizer and participant of the charity art opening "Just the sky. Artists in support of the Armed Forces." Participant of local, all-Ukrainian and international charity auctions, in particular, the Polish-Ukrainian auction "Holidays without Dad" (the painting "Once upon a time, the Cossack Mamai….."), "Charity Coffee" and others. Natalia Demediuk's paintings are in private collections in Ukraine and abroad. EXHIBITIONS: 2017 - "Two springs of one year", Ukraine, Rivne, Rivne Regional Library for Youth. Exhibition of graphic paintings by Elena Sergeeva and oil painting by Natalia Demediuk. The exhibition combined two creative personalities in their amazing vision of the modern world. 2018 - "Not Holy Pots...", Ukraine, Rivne, exhibition of paintings by students of Anatoly Ivanenko, Rivne, European painting gallery "Euro-Art". Despite the variety of directions and creative individuality, the artists are united by high professionalism and bright artistic expressiveness. 2019 - "Legatto", Ukraine, Rivne, exhibition of paintings by students of Anatoly Ivanenko, Rivne, European painting gallery "Euro-Art". In the exposition - a common female view of the modern world, full of hope, warmth, good and bright thoughts. 2021 - "Artistic exercises", the presentation of the exhibition of the works of students of the "Artist" group took place within the framework of the large-scale project "Euro-Art" for the talented". 2021 - debut personal painting exhibition "INTERMEZZO. In love with life", Ukraine, Rivne, Euro-Art gallery as part of the Euro-Art project for the talented. 2022 - "Art-klubma", Ukraine, Rivne regional organization of the National Union of Artists of Ukraine, painting exhibition, the best works of the "Artist" group are presented.

TABAKA, TARAS (Ukrainian b. 1965) 'Spring' an atmospheric abstract view of spring with blossoms, oil on canvas 50 x 60 cms (1)Further information:Taras Tabaka, Born in 1965 in Uzhhorod. 1992-1997 - Ukrainian Academv of Arts (monumental art). Kviv. 1984-1989 - Lviv Polytechnic Institute (architecture), Lviv Painter, curator of contemporary art projects . Ihe studios are located in Uzhhorod, Budapest, Essen and Long Island. Member ot the Association of Artists-Activists of Ukraine (2002) and the Union of Artists of Westphalia, RKB (2010, Germany).CURATORIAL PROJECTS:2021 ONE HUNDRED YEARS OF LONELYNESS (Palace of Arts, Lviv), 2020 "TELL ME ABOUT SILENCE". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2020 "( de )TERMINATION". Korsakiv Museum of Modern Ukrainian Art. Lutsk. Ukraine2019 "And NTRO". Ilko Gallery Art Center, Uzhhorod; Korsakiv Museum of Modern Ukrainian Art. Lutsk Ukraine, 2018 "FRAGMENTATIONS. NAMEZHI". Fair of modern Ukrainian photography "KYIV PHOTO FAIR"." Chicago Central House". Kyiv, Ukraine2017-2018 "FAREWELL, WORD.!", Ilko Gallery Art Center, Uzhhorod; Museum of the History of the City of Kyiv. Kyiv, Ukraine, 2016-2017 "LATEST REALISM" (cycle of exhibitions). Ilko Gallery Art Center, Uzhhorod, 2014 "INSOMNIA". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2013 "FRAGMENTATIONS". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2011 "INDEFERENTA". Transcarpathian Regional Art Museum named after Y. Bokshaya. Uzhgorod, Ukraine, 2010 "CINEMA IS NOT FOR EVERYONE". A week of contemporary Hungarian independent films. Uzhgorod National University. Uzhgorod, Ukraine, 2009 "IDEALIST™ . Transcarpathian Regional Art Museum named after Y. Bokshaya. Uzhgorod, Ukraine, 2005 "UNKNOWN HOLLYWOOD", week of American arthouse. Transcarpathian Regional Music and Drama Theater. Uzhgorod, Ukraine, 2004 "SENSEI OF EASTERN CINEMA", East Asian Cinema Week. Transcarpathian Regional Music and Drama Theater. Uzhgorod, UkrainePERSONAL EXHIBITIONS:2017 Personal exhibition. " Reflection gallery», Santa Fe, USA2016 Personal exhibition "EGOIST". Ilko Gallery Art Center. Uzhgorod, Ukraine2011 Personal exhibition project. Zollferrein, Germany.2008-2009 series of personal exhibitions in Essen, Wuppertal and Duisburg, Germany2007-2009 New Year's art fair of modern art. Hungarian pavilion. Linz, Austria1993 "STORAGE". Bombosfovishche House of Life. Uzhgorod, Ukraine1988 Personal exhibition. Kosice, Slovakia 

KONDRATIUK, OLENA (Ukrainian b.1958), "Dragonfly' image of a female with dragonfly wings, oil on canvas, 50 x 70 cms (1)Further information:Olena Kondratiuk, She was born on March 27, 1958 in Zaporizhzhia, Ukraine 1981 - graduated from the Lviv State Institute of Applied and Decorative Arts, Department of Fashion Modeling. SInce 1982 - lives In the city of Uzhgorod, Transcarpathian region. Member of the Transcarpathian organization of the National Union of Artists of Ukraine, Honored Artist of Ukraine, Member of the Association of Creative Women of Transcarpathia, NGO "Nova Forma" She worked at the Transcarpathian Regional Drama Theater as a costume designer, and at the Transcarpathian R Personal exhibitions: 1994, 2003, 2008, 2013, 2018 - personal exhibitions, art gallery, Uzhhorod, UkraineMuseum of Local History, Mykhalivtsi, Slo 2000 - Museum of Modern Art named after Andy Vargola, Medjilabyrci, Slovakia2004, 2009, 2010 - personal exhibitions in art galleries of Kyiv, Ukraine2009 - Carpathian Art Museum, Ivano-Frankivsk, "Etiquette" gallery, Lviv, Ukraine The paintings are in the collections:Museum of Modern Art named after Andy Vargola, Medjilabyrci, Slovakia Zemplin Museum, Trebishov, Slovakia Museum of Local History, Mykhalovtsi, SlovakiaTranscarpathian Art Museum named after Y. Bokshay, Uhhorod, UkraineCarpathian Art Museum, Ivano-Fran

KONDRATIUK, OLENA (Ukrainian b.1958) "Bather", a naked women in the rain, oil on canvas, 60 x 70 cm (1) Further information: Olena Kondratiuk; She was born on March 27, 1958 in Zaporizhzhia, Ukraine. 1981 - graduated from the Lviv State Institute of Applied and Decorative Arts, Department of Fashion Modeling. Since 1982 - lives In the city of Uzhgorod, Transcarpathian region. Member of the Transcarpathian organization of the National Union of Artists of Ukraine, Honored Artist of Ukraine, Member of the Association of Creative Women of Transcarpathia, NGO "Nova Forma" She worked at the Transcarpathian Regional Drama Theater as a costume designer, and at the Transcarpathian R Personal exhibitions: 1994, 2003, 2008, 2013, 2018 - personal exhibitions, art gallery, Uzhhorod, Ukraine. 1. Museum of Local History, Mykhalivtsi, Slo 2000 - Museum of Modern Art named after Andy Vargola, Medjilabyrci, Slovakia. 2. 2004, 2009, 2010 - personal exhibitions in art galleries of Kyiv, Ukraine 3. 2009 - Carpathian Art Museum, Ivano-Frankivsk, "Etiquette" gallery, Lviv, Ukraine The paintings are in the collections: 4. Museum of Modern Art named after Andy Vargola, Medjilabyrci, Slovakia Zemplin Museum, Trebishov, Slovakia Museum of Local History, Mykhalovtsi, Slovakia. 5. Transcarpathian Art Museum named after Y. Bokshay, Uhhorod, Ukraine 6. Carpathian Art Museum, Ivano-Fran CONDITION: Further Information: USYK is an architect, a well-known Ukrainian painter, Honoured Artist of Ukraine was born in Ukraine, in the city of Uzhgorod at 1958.Graduated from architecture faculty of Kiev ingeneering University.He successfully combines the work of architect and a painter.In Ukraine hebis well-known for his abstract artworks.Devoted the whole life to this style he used to call his style "ordered abstraction".In this style he helps the viewer to find his path to the usual real world.Taras Usyk constantly participating in International exhibitions and plein air exhibitions All Ukrain and abroad.

VLADYKA, SVYATOSLAV (Ukrainian, b.1975) "Don't cry for me mother", Blue / Akra Tapeinosis', block mosaic image of the Mother Mary, using wood, acrylic and pigment, 80 x 105 cms Further information: Svyatoslav Vladyka, From the first days of the war, he defended Ukraine  in the ranks of the Armed Forces of Ukraine, Born on 12/05/1975 in Ivano-Frankivsk. Lives and works in Lviv. Education; 2008 – Lviv National Academy of Arts. Master of the Department of Sacred Art of the Lviv National Academy of Arts. Lecturer-speaker at the Ukrainian Catholic University. Member of the Ukrainian Union of Icon Painters. Member of the Sacred Commission of the Lviv Archdiocese of the UGCC. Laureate of the State Prize of Ukraine in the field of architecture. Founder of the Association of Sacred Art. Founder of the Sacred Universe mural group. In 2011, he was awarded the State Prize in the field of architecture for the polychromy of the Church of the Nativity of the Holy Virgin in Sykhov in Lviv. In 2016, he was awarded the "Boom Awards" in the "integration of art" nomination. In 2017, he received the first place in the rating of the TOP 100 most influential people of Lviv region in the "Art and culture" section by the Media Star information agency. The author of the largest murals in Lviv. The author of paintings and church interiors: Joseph Obruchnyk Church, Lviv; Church of the Assumption of the Blessed Virgin Mary, Mukachevo; Church of the Imposition of the Girdle of the Most Holy Mother of God, Lviv; Church of the Nativity of the Holy Mother of God, Lviv; Church. Peter and Paul, Novoyavorivsk; Church of Ioanna Myronositsa, Lviv, Suhovolya; ;Church of Nossa Senhora Auchiladora Brazil; Church. St. Apostle Ivan the Theologian, Ternopil; Church of Nossa Senhora Auchilador Brazil. "Part of the Whole" project, "ICONART" gallery, 2013 Group exhibitions: Ukraine / Greece / Czech Republic / France / Spain/Poland Works are in private collections: USA / Canada / France / Germany/Poland/Italy Hobbies: Eastern martial arts. Has a first dan, black belt in Moto-Ha Yoshin Ryu. Practices modern Ju Jutsu at the Aikibujutsu Academy in Lviv. Co-founder of the public organization "Lviv Christian Martial Arts Foundation "Spiritual Way of a Warrior". CONDITION: Svyatoslav VladykaFrom the first days of the war, he defended Ukraine in the ranks of the Armed Forces of Ukraine Born on 12/05/1975 in Ivano-Frankivsk. Lives and works in Lviv Education; 2008 - Lviv National Academy of Arts. Master of Sacred Art.Laureate of the State Prize of Ukraine in the field of architecture. Lecturer-speaker at UKUFounder of the Association of Sacred Art. Founder of the Sacred Universe mural group The author of the largest murals in Lviv Member of the Ukrainian Union of Icon Painters The author of paintings and interiors of churches:Ts. Yosyp Obruchnyk, LvivCenter of the Dormition of the Blessed Virgin Mary, Mukachevo Center of the Position of the Belt of the Holy Mother of God, Lviv Center of the Nativity of the Holy Mother of God, Lviv Center of Peter and Paul, NovoyavorivskK. loanna Myronositsy, Lviv, Suhovolya Ts. St. Apostle Ivan the Theologian, Ternopil*Part of the Whole" project, "ICONART" gallery, 2013group exhibitions: Ukraine / Greece / Czech Republic / France / Spain/Poland works are in private collections: USA / Canada / France / Germany/Poland/Italy

TABAKA, TARAS (Ukrainian, b. 1965) "NU",a painting loosely based on figurative nude, oil on canvas, 60 x 50 cms, signed verso (1)Further information:Taras Tabaka, Born in 1965 in Uzhhorod. 1992-1997 - Ukrainian Academv of Arts (monumental art). Kviv. 1984-1989 - Lviv Polytechnic Institute (architecture), Lviv Painter, curator of contemporary art projects . Ihe studios are located in Uzhhorod, Budapest, Essen and Long Island. Member ot the Association of Artists-Activists of Ukraine (2002) and the Union of Artists of Westphalia, RKB (2010, Germany).CURATORIAL PROJECTS:2021 ONE HUNDRED YEARS OF LONELYNESS (Palace of Arts, Lviv), 2020 "TELL ME ABOUT SILENCE". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2020 "( de )TERMINATION". Korsakiv Museum of Modern Ukrainian Art. Lutsk. Ukraine2019 "And NTRO". Ilko Gallery Art Center, Uzhhorod; Korsakiv Museum of Modern Ukrainian Art. Lutsk Ukraine, 2018 "FRAGMENTATIONS. NAMEZHI". Fair of modern Ukrainian photography "KYIV PHOTO FAIR"." Chicago Central House". Kyiv, Ukraine2017-2018 "FAREWELL, WORD.!", Ilko Gallery Art Center, Uzhhorod; Museum of the History of the City of Kyiv. Kyiv, Ukraine, 2016-2017 "LATEST REALISM" (cycle of exhibitions). Ilko Gallery Art Center, Uzhhorod, 2014 "INSOMNIA". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2013 "FRAGMENTATIONS". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2011 "INDEFERENTA". Transcarpathian Regional Art Museum named after Y. Bokshaya. Uzhgorod, Ukraine, 2010 "CINEMA IS NOT FOR EVERYONE". A week of contemporary Hungarian independent films. Uzhgorod National University. Uzhgorod, Ukraine, 2009 "IDEALIST™ . Transcarpathian Regional Art Museum named after Y. Bokshaya. Uzhgorod, Ukraine, 2005 "UNKNOWN HOLLYWOOD", week of American arthouse. Transcarpathian Regional Music and Drama Theater. Uzhgorod, Ukraine, 2004 "SENSEI OF EASTERN CINEMA", East Asian Cinema Week. Transcarpathian Regional Music and Drama Theater. Uzhgorod, UkrainePERSONAL EXHIBITIONS:2017 Personal exhibition. " Reflection gallery», Santa Fe, USA2016 Personal exhibition "EGOIST". Ilko Gallery Art Center. Uzhgorod, Ukraine2011 Personal exhibition project. Zollferrein, Germany.2008-2009 series of personal exhibitions in Essen, Wuppertal and Duisburg, Germany2007-2009 New Year's art fair of modern art. Hungarian pavilion. Linz, Austria1993 "STORAGE". Bombosfovishche House of Life. Uzhgorod, Ukraine1988 Personal exhibition. Kosice, Slovakia

ZASTAVNA, NATALIA (Ukrainian, b.1988),  "A woman who smokes", figurehead in mixed media and oil on canvas, 60 x 80 cms Further information on artist: Natalia Zastavna, born in 1988 in New Rozdol, which is situated not far from Lviv, Ukraine. In 2011, graduated from the Lviv Polytechnic National University, Department of design. The artist is a member of a National Artist's Union of Ukraine since 2017. Participant of numerous national and international exhibitions, plein airs, residences. Lives and works in LViV. EXHIBITIONS: 2019 - 8th Beijing International Art Biennale «BIAB-2019», 2019, National Art Museum of China (NAMOC) (certificate, catalog), Beijing, CHINA, 2019 -AIl-Ukrainian exhibition "Art-Nova"', Kremenchuk, Grand prix, UKRAINE, 2018 -Group exhibition in fortress "Rocca dei Rettori", Benevento, ITALY, 2017 -Hotel "Karolina" exhibition "Colours of Vilnius-2017", Vilnius, LITHUANIA, 2017 -Group exhibition Light and Shadows, Museum of Contemporary Art, Kyiv, UKRAINE, Private collections: Ukraine Europe USA, Museum of Modern Art, CYPRUS CONDITION: NATALIA ZASTAVNA, born in 1988 in New Rozdol, which is situated not far from Lviv, Ukraine. In 2011, graduated from the Lviv Polytechnic National University, Department of design. The artist is a member of a National Artist's Union of Ukraine since 2017. Participant of numerous national and international exhibitions, plein airs, residences. Lives and works in LViV.EXHIBITIONS:2019 - 8th Beijing International Art Biennale «BIAB-2019»2019, National Art Museum of China (NAMOC) (certificate, catalog), Beijing, CHINA2019 -AIl-Ukrainian exhibition "Art-Nova"', Kremenchuk, Grand prix, UKRAINE2018 -Group exhibition in fortress "Rocca dei Rettori", Benevento, ITALY2017 -Hotel "Karolina" exhibition "Colours of Vilnius-2017", Vilnius, LITHUANIA2017 -Group exhibition Light and Shadows, Museum of Contemporary Art, Kyiv, UKRAINEPrivate collections: Ukraine Europe USAMuseum of Modern Art, CYPRUS

KONDRATIUK, OLENA (Ukrainian b.1958), 'Tree', painted verso on acrylic/resin sheet, then framed and glazed, Framed W 53 x 43 cms, Image size 43 x 45 cms Further information: Olena Kondratiuk, She was born on March 27, 1958 in Zaporizhzhia, Ukraine 1981 - graduated from the Lviv State Institute of Applied and Decorative Arts, Department of Fashion Modeling. SInce 1982 - lives In the city of Uzhgorod, Transcarpathian region. Member of the Transcarpathian organization of the National Union of Artists of Ukraine, Honored Artist of Ukraine, Member of the Association of Creative Women of Transcarpathia, NGO "Nova Forma" She worked at the Transcarpathian Regional Drama Theater as a costume designer, and at the Transcarpathian R Personal exhibitions: 1994, 2003, 2008, 2013, 2018 - personal exhibitions, art gallery, Uzhhorod, Ukraine Museum of Local History, Mykhalivtsi, Slo 2000 - Museum of Modern Art named after Andy Vargola, Medjilabyrci, Slovakia 2004, 2009, 2010 - personal exhibitions in art galleries of Kyiv, Ukraine 2009 - Carpathian Art Museum, Ivano-Frankivsk, "Etiquette" gallery, Lviv, Ukraine The paintings are in the collections: Museum of Modern Art named after Andy Vargola, Medjilabyrci, Slovakia Zemplin Museum, Trebishov, Slovakia Museum of Local History, Mykhalovtsi, Slovakia Transcarpathian Art Museum named after Y. Bokshay, Uhhorod, Ukraine Carpathian Art Museum, Ivano-Fran

KONDRATIUK, OLENA (Ukrainian b.1958), 'Model girl ', female nude with still life of skull and jug on table, oil on canvas, 60 x 70 cms (1)Further information:Olena Kondratiuk, She was born on March 27, 1958 in Zaporizhzhia, Ukraine 1981 - graduated from the Lviv State Institute of Applied and Decorative Arts, Department of Fashion Modeling. SInce 1982 - lives In the city of Uzhgorod, Transcarpathian region. Member of the Transcarpathian organization of the National Union of Artists of Ukraine, Honored Artist of Ukraine, Member of the Association of Creative Women of Transcarpathia, NGO "Nova Forma" She worked at the Transcarpathian Regional Drama Theater as a costume designer, and at the Transcarpathian R Personal exhibitions: 1994, 2003, 2008, 2013, 2018 - personal exhibitions, art gallery, Uzhhorod, UkraineMuseum of Local History, Mykhalivtsi, Slo 2000 - Museum of Modern Art named after Andy Vargola, Medjilabyrci, Slovakia2004, 2009, 2010 - personal exhibitions in art galleries of Kyiv, Ukraine2009 - Carpathian Art Museum, Ivano-Frankivsk, "Etiquette" gallery, Lviv, Ukraine The paintings are in the collections:Museum of Modern Art named after Andy Vargola, Medjilabyrci, Slovakia Zemplin Museum, Trebishov, Slovakia Museum of Local History, Mykhalovtsi, SlovakiaTranscarpathian Art Museum named after Y. Bokshay, Uhhorod, UkraineCarpathian Art Museum, Ivano-Fran

KONDRIATIUK, OLENA (Ukrainian, b. 1958), 'Bouquet' mixed media on paper, Framed 55 x 74 cms, Image size 40 x 58 cms Further information: Olena Kondratiuk, She was born on March 27, 1958 in Zaporizhzhia, Ukraine 1981 - graduated from the Lviv State Institute of Applied and Decorative Arts, Department of Fashion Modeling. SInce 1982 - lives In the city of Uzhgorod, Transcarpathian region. Member of the Transcarpathian organization of the National Union of Artists of Ukraine, Honored Artist of Ukraine, Member of the Association of Creative Women of Transcarpathia, NGO "Nova Forma" She worked at the Transcarpathian Regional Drama Theater as a costume designer, and at the Transcarpathian R Personal exhibitions: 1994, 2003, 2008, 2013, 2018 - personal exhibitions, art gallery, Uzhhorod, Ukraine Museum of Local History, Mykhalivtsi, Slo 2000 - Museum of Modern Art named after Andy Vargola, Medjilabyrci, Slovakia 2004, 2009, 2010 - personal exhibitions in art galleries of Kyiv, Ukraine 2009 - Carpathian Art Museum, Ivano-Frankivsk, "Etiquette" gallery, Lviv, Ukraine The paintings are in the collections: Museum of Modern Art named after Andy Vargola, Medjilabyrci, Slovakia Zemplin Museum, Trebishov, Slovakia Museum of Local History, Mykhalovtsi, Slovakia Transcarpathian Art Museum named after Y. Bokshay, Uhhorod, Ukraine Carpathian Art Museum, Ivano-Fran

DEMYANIUK, NATALIA "Ukrainian Sky", a scene of soldiers seated outside a tent in the dusk with an angel forming in the clouds, monogrammed lower left, oil on canvas, Framed 72 x 87 cms, Image size 59 x 74 cmsFurther information:Natalia Demediuk, was born in Rivne (Ukraine) on May 3, 1982. She graduated from the Rivne Children's Art School named after A. Martynenko. Since 2017, she is a member of the group of amateur artists "Artist" under the leadership of Anatoliy Ivanenko (member of the NSHU), a member of the art group "Kolo ART". Nataliya Demediuk, artist, writer, journalist, TV and radio presenter, teacher, general director of the Media Center "Tretya Stolitsia", co-organizer and participant of cultural events, public figure. Awarded numerous literary and journalistic prizes. The author of three poetry collections - "Sketches of everyday life", "Seven kRokiv", "Azimuth" (the collection has a painting section with reproductions of paintings by Natalia Demediuk). Many poems were set to music and became songs. Natalia Demediuk's paintings were included in the prize fund of the Rivne accent literary award. Sculptor-animator of a series of plasticine animations as part of the project for special children "Little Croissant in the Big World". Co-organizer and participant of the charity art opening "Just the sky. Artists in support of the Armed Forces." Participant of local, all-Ukrainian and international charity auctions, in particular, the Polish-Ukrainian auction "Holidays without Dad" (the painting "Once upon a time, the Cossack Mamai….."), "Charity Coffee" and others. Natalia Demediuk's paintings are in private collections in Ukraine and abroad. EXHIBITIONS: 2017 - "Two springs of one year", Ukraine, Rivne, Rivne Regional Library for Youth. Exhibition of graphic paintings by Elena Sergeeva and oil painting by Natalia Demediuk. The exhibition combined two creative personalities in their amazing vision of the modern world. 2018 - "Not Holy Pots...", Ukraine, Rivne, exhibition of paintings by students of Anatoly Ivanenko, Rivne, European painting gallery "Euro-Art". Despite the variety of directions and creative individuality, the artists are united by high professionalism and bright artistic expressiveness. 2019 - "Legatto", Ukraine, Rivne, exhibition of paintings by students of Anatoly Ivanenko, Rivne, European painting gallery "Euro-Art". In the exposition - a common female view of the modern world, full of hope, warmth, good and bright thoughts. 2021 - "Artistic exercises", the presentation of the exhibition of the works of students of the "Artist" group took place within the framework of the large-scale project "Euro-Art" for the talented". 2021 - debut personal painting exhibition "INTERMEZZO. In love with life", Ukraine, Rivne, Euro-Art gallery as part of the Euro-Art project for the talented. 2022 - "Art-klubma", Ukraine, Rivne regional organization of the National Union of Artists of Ukraine, painting exhibition, the best works of the "Artist" group are presented.

Modern Poole art pottery vase monogrammed SW, height 17cm

A full description can be found at https://www.specialauctionservices.com/Auction-Calendar/2023/Photographica-and-Cameras-Auction-(5)The Noakes 'Quad' Magic Lantern or Noakesoscope (Special Auction Services wishes to extend its gratitude to Dr Richard Crangle for the following lot description and analysis), description - the lantern body of single, unitary mahogany and lacquered brass construction (not triunial with a demountable ‘single’ or two stacked biunials), but stands no taller than the average triunial: 35 inches including the baseplate, plus 2 inches for the detachable domed top and maybe another 6 inches for the absent chimney cowl; the body is 10 inches long and 9¼ inches wide, attached to its baseplate (23 by 11 inches) by two hinges along its back edge – this allows it to be tilted to elevate the lenses by around 10 degrees, secured by rotary clamps at the front corners ;there are no lifting handles; all references to ‘right’ and ‘left’ here refer to the sides of the lantern when looking ‘forward’ towards its lenses; there are four hinged access doors (6½ by 5¾ inches) on the right side, aligned with the illuminant chambers inside, and four dummy doors (moulded wooden panels screwed onto the body, complete with fake catches and inspection windows) in matching positions on the left side; the interior of the body is lined with tinned iron sheet spaced from the wood; the original chimney cowl is missing (and also not visible in a 1940s photograph); the chimney hole in the lantern top has been blanked off with a metal sheet to prevent light escaping upwards; from the ‘workshop’ photo the chimney cowl appears to have been a standard Noakes pattern; there are three sets of objective lenses (6, 8 and 10 inch focal length) and a set of lens extension tubes - these allow configurations for projection in spaces ranging from a small parlour (Gordon Noakes used the lantern in his home) up to the Albert Hall (around 130 feet [40m] ‘throw’, giving an image width of 40 feet [12m]); there are also, unusually, five extra sets of condenser lenses of varying convexity and focal length, which could be swapped in and out of the cylindrical condenser mounts within the lantern body to give further variations; in other words this was the travelling set-up of a highly professional, indeed perfectionist, lanternist who knew exactly how to achieve the best effect in different situations; it was originally illuminated by limelight: screw holes in the back of the lantern correspond to the mountings of a dissolving gas tap and pipe fastenings, as seen in the ‘workshop’ photograph; however there are references in accompanying press cuttings to electric arc illumination, so it was modified at some stage (perhaps by Gordon Noakes); the current lamp fittings, which are fed by post-1970s cables arranged neatly on the back of the lantern, are bayonet mountings for large 500-watt projector bulbs, which are mounted on horizontal bars with thumbscrews for lateral adjustment relative to the lantern body, which probably relate to the electric arcs rather than being original (they are not visible in the ‘workshop’ photograph); dimensions of lantern - 920mm high, 690mm deep, 280mm, dimensions of iron-bound wooden lantern-carrying chest - 970mm high, 640mm wide, 330mm deep, dimensions of iron-bound wooden slide chest- 840mm high, 660mm wide, 350mm deep. Analysis - the 'Noakes Quad' was a ‘workhorse’ rather than a ‘show pony’ – compared to some triunials there is no ostentatious decoration, beyond the typical wooden beading, shaped chimney and brass fittings contrasting with the mahogany body; this may reflect its being built for Noakes’s own use, rather than in the hope of attracting commercial orders; it shows signs of considerable use: some of the metal surfaces are rubbed and worn, and there is localised charring to the wooden body; rather surprisingly, the four lenses are not aligned along the vertical centre-line of the lantern body, being one inch closer to the right side than to the left: there is no obvious practical explanation for this; the same arrangement is replicated inside the body, where the metal lining includes an additional spacing chamber at the left side, running through all four compartments; both sides carry engraved brass plates reading ‘NOAKES’ PATENT'; however, no patent for a four-lens lantern is known, and it is unlikely that such an ‘invention’ would have been patentable anyway, being just an extension of the principles well-known in the ‘prior art’ of biunial and triunial lanterns.; if the four-lens configuration had been patented, we might expect it to have been made commercially: patents require the invention to find commercial success to recoup the initial and ongoing fees; the ‘Noakes Patent’ designation must refer to one or more detailed design refinements, probably the same ones claimed by similar plates on Noakes’s triunials; the right side also has a brass maker’s plate at the top, reading: 'D.W. NOAKES, “PLEYDELL”, HUMBER ROAD, WESTCOMBE PARK S.E.'; that is the address recorded for Noakes in the 1901 Census, and is probably the house at Westcombe Park mentioned as “lately purchased” in an 1897 OMLJ interview, where he lived until around 1924; the plate could, of course, have been added later, though it is overlaid by other fittings and looks original; if it was attached during construction, the lantern can have been made no earlier than 1896; there is other circumstantial evidence on dating: Noakes published a small booklet listing lectures he offered, giving the same Humber Road address and including the remark that “I have constructed a Quadruple projection apparatus (the only one existing)"; the booklet quotes glowing press reviews, including one praising a “very fine lantern, which was manipulated with practised skill” – however the original 1893 newspaper source used the wording “very fine patent triple lantern;” in other words the Quad was not in use in 1893, yet it definitely was in use by 1901, when (the earliest press reference found so far) a lecture by Pastor Charles Spurgeon was supported by “Mr D.W. Noakes with his Quadruple Dioramic Lantern". Magic Lantern Slides - the 'Noakes Quad' magic lantern to be offered with large collection of mahogany-mounted 3¼sq. in. magic lantern slides, mainly photographic and coloured photographic, being the working collection of David Noakes as a professional lanternist, including slides from 11 out of the 12 readings in Noakes' printed 'Syllabus of Dioramic Lectures', probably printed circa 1901 (treating No. 12 and No. 13 'England Bisected by a Steam Launch' as one set, missing only No. 3 'A Visit to Cloudland'), three period copies of the Syllabus included in lot, some sets in the Syllabus including effects, with occasional rackwork slides, contents of each set not checked for completeness, some slides for use in more than one set - sets detailed as : No. 1 'The Victorian Era' (122), No. 2 'Picturesque Devon' (50), No. 4 'Rambles in Normandy and Brittany' (78), No. 5 'Antwerp, Brussels and Waterloo' (54), No. 6 'River Rambles or The Strange Adventures of a Steam House Boat' (69), No. 7 'The Channel Islands through my Camera' (99), No. 8 'Manxland & its Beauties' (70), No. 9 'Tamesis', including 'RW', probably Raising Wrecks (104), No. 10 'The Greatest Cities of the World' (95), No. 11 'Ancient and Modern Methods of Travelling' (82), No. 12 'England Bisected by a Steam Launch Part 1 The Outward Journey and Part II

A modern Art Deco style dining table with substantial rectangular marble top on metal base, 200 x 75cm.