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An 18ct gold star ruby ring by Ingeborg Bratman, 1971, the stylised flower head of fluid design, with wavy petals and stamen, centred with a star ruby, the shank formed of wirework tendrils with applied beaded detail, bloomed finish to the gold setting, full London hallmark, maker’s mark ‘IRB’, London hallmark, ring size K (leading edge). £600-£800 --- Ingeborg Ruth Bratman (1935-2015) Ingeborg Bratman was born in Vienna. Her family fled Nazi Germany and came to England in 1938. Her father set up a successful textile businesses, in Huddersfield, Yorkshire, called Jersey Craft. Ingeborg moved from textile design to train as a jeweller at Hornsey School of Art in 1965, where she studied under Gerda Flöckinger, She progressed to selling her jewellery through Cameo Corner, in Bloomsbury, London. Ingeborg continued to study jewellery at Sir John Cass College until 1971, when she set up independently. She progressed to selling her jewellery through Cameo Corner, in Bloomsbury, London and other retail outlets, and undertaking private commissions. She started to exhibit her jewels alongside British designers such as John Donald and Wendy Ramshaw. Examples of Ingeborg Bratman’s work, particularly examples in unusual metals such as tantalum, are held in permanent collections at the V & A and the Science Museum, London. Literature: Modern British Jewellery Designers 1960-1980, by Mary Ann Wingfield, ACC Art Books, pages 26-27 Condition Report The ruby with some surface wear, pinkish/purple/red colouring, displaying pale asterism, the mount in overall good condition, with minimal wear. Gross weight 19.0gm.

Folk Art. A 19th c softwood child's horse on wheels toy, jointed construction, traces of polychrome decoration, 20cm h Untouched 'country house' condition. Worn, slight bumps. Nails rusty. The wheels loose in places, slight wobble, and one or two dormant worm holes. The pull string maybe a later replacement, but not modern.

Alfred Neville Lewis, South African 1895-1972 - Sir Edward Marsh; oil on canvas, title and artist's details on label attached to the reverse, 121.5 x 112 cm Provenance: City of Manchester, c.1930-37; Royal Literature Society Exhibited: Bradford Corporation Art Gallery (Cartwright Hall), 'The Jubilee Exhibition', 1930 (according to the partial label attached to the reverse); Royal Academy, London, 'Summer Exhibition', 1937, no.493 Note: Sir Edward Marsh (1872-1953) was Winston Churchill's secretary for twenty-three years and instrumental in the founding of the Contemporary Arts Society - to which he bequeathed many works. He was also a Fellow at the Royal Society of Literature. Marsh was a much celebrated patron and supporter of Modern artists in Britain during the early 20th century, in particular Mark Gertler, Stanley Spencer, Cedric Morris and Paul Nash, who were lifelong friends, alongside poets including Rupert Brooke and Siegfried Sassoon. The background features Duncan Grants 'Parrot Tulips', which was owned by Sir Marsh, which he bought against the advice of Neville Lytton. Marsh noted he found it much more exciting "to go to the studios and the little galleries, and purchase, wet from the brush, the possible masterpieces of the possible Masters of the future." Many works from his collection of over 350 works were donated to the Contemporary Arts Society when he died. Marsh was also a trustee of the Tate.Proceeds to benefit the Royal Society of Literature. Founded in 1820, the RSL is the UKs charity for the advancement of literature. We act as a voice for the value of literature, engage people in appreciating literature, and encourage and honour writers. 

James Dickson Innes, British 1887-1914 - The Land's End, Cornwall, 1909; oil on canvas, signed lower right 'Innes' and signed and titled on the reverse 'J. D. Innes The Land's End Cornwall', 31 x 41.4 cmNote:with thanks to John Hoole for his assistance with the cataloguing of this work.This early work was made in Cornwall, when the artist was working his way towards his own take on the British landscape. In this impressionist inspired scene, one can see hints in how the yellow and orange fall on the cliffs of the unique handling of colour that would define his mature works.At the time the painting was made, the artist was in Cornwall following a breakdown in 1908 that had led him to leave his teaching position at the Slade and was recovering away from London and his art school friends, hoping to build up his strength, in terms of his health and also his chosen career.The work shows his ease and naturalness in painting the landscape, but demonstrates a young artist anxious to find his own voice. Visits to Collioure and later North Wales with his friend Augustus John would lead him to create some of the most awe-inspiring early-Modern paintings in Britain.Works by the artist are in the collections of the Tate, the Yale Centre for British Art and the National Museum of Wales.

Blair Hughes-Stanton, British 1902-1981 - Myth II, 1936; tempera on canvas, signed lower right 'Blair H S 1936' and titled and dated on a label attached to the reverse, 76.5 x 127.3 cmProvenance: the Estate of the Artist Note:Blair Hughes Stanton (1902-1981) was one of the most acclaimed artists in Britain during the interwar era, known for his role in the revival of wood engraving in Modern art. He studied under Leon Underwood at his Brook Green School alongside Henry Moore and Eileen Agar, where he developed a unique visual language, creating works that were a celebration of love and physicality. Alongside his first wife, Gertrude Hermes, Hughes Stanton became a much sought-after book illustrator, his wood engravings featuring in books by his friend D.H. Lawrence and T.E. Lawrences 'Seven Pillars of Wisdom'. The Myth series of paintings relates to the artist's relationship with Ida Graves, poet, novelist and associate of the Bloomsbury Group, with whom Hughes-Stanton started the Gemini Press in 1933. Their first book together was 'Epithalamion: a poem'. 

Kenneth Armitage, British CBE 1916-2002 - Reclining Female Nude, 1960; charcoal on paper, signed with initials and dated lower right 'KA 60', 41 x 48.3 cm (ARR)Provenance:Bonhams, London, Modern British and Irish Art, 27th March 2018, lot 175;private collection, purchased from the above

Aubrey Williams, Guyanese/British 1926-1990 - Volcanic Ash, 1959; oil on canvas, signed, dated and titled on the reverse 'Aubrey Williams 59 Volcanic Ash', 51 x 61.3 cm (ARR) Provenance:private collection and thence by descent Note:this piece is typical of Williams's style of the 1950s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami. 

Jean Cooke, British 1927-2008 - Self-portrait, 2004; oil on canvas, 61 x 50.7 cm (ARR) Provenance:purchased by Leonard Manasseh RA from the Royal Academy, London, Summer Exhibition, 2004; Bellmans, Winchester, Interiors Auction including works from the Collection of Leonard Manasseh, 27th June 2018, lot 822; private collection, UK purchased from the above Exhibited:Royal Academy, London, Summer Exhibition, 2004, no.31 (according to the label attached to the reverse and copy of the exhibition catalogue) Note: this is a very late self-portrait from her long career, that deals very movingly with the feeling of aging and possibly with the tragic experience of the artist in 2004. The artist is mournfully dressed in black, the garden and house behind her swiftly painted in blazes of orange and brown. In 2003, the artist's house in Blackheath, that had been her home since her marriage to John Bratby, had burnt down. The palette and fiery expression on the artist's face are possibly a reference to this sad event. This work was originally owned by the architect Leonard Manasseh OBE RA (1916-2017), who was a fellow RA and sat on the selection committee with Cooke for the 1984 RA Summer Exhibition. Cooke exhibited in the 1960s with the Leicester Galleries and her work is now in public collections including the Ruth Borchard Collection, Tullie House Museum and Art Gallery and the Tate. Cooke's work was recently exhibited to much acclaim in the exhibition 'Postwar Modern, New Art in Britain 1945-1965' at the Barbican Centre, London.

Martin Bradley, British b.1931 - Dragon Child, 1978; oil on canvas assemblage, signed and dated lower left 'Martin Bradley 78' and titled upper left, 97.8 x 40 cm (ARR)Note:Martin Bradley is a British painter whose work is suffused with surrealism and symbolism, whilst also displaying the strong influence of Chinese and Japanese calligraphy which he encountered on his extensive travels around Asia. Artworks by Bradley are held in the Tate Gallery in London and the Museum of Modern Art in New York, and by important figures such as Roland Penrose, Barbara Hepworth and Herbert Read. During the 1950s he held exhibitions at galleries including Gimpel Fils, Redfern and Galerie Rive Gauche, which showed important international figures such as Max Ernst and Yves Tanguy.

Maximilien Luce, French 1848-1941 - Man at Work, a sketch; charcoal on paper, signed lower right 'Luce', 25.3 x 19.5 cmProvenance:Christie's, London, Impressionist, Modern and Post-War Art, 5th December 2002, lot 50Note:this artwork is by the French artist Maximilien Luce, an important figure in the Neo-Impressionist movement. Luce trained in a range of practices, including woodcut engravings, before eventually focusing on oil painting. Luce was connected with a number of significant figures in the artistic landscape of contemporary France, training under Carolus-Duran, and becoming friends with artists such as Émile-Gustave Cavallo-Péduzzi and Léo Gausson. His work gained a number of supporters amongst his fellow artists, including Paul Signac, Félix Fénéon, and Camille Pissarro. Much of Luces work exhibits many of the characteristics of Pointillism, with Luces thinking having been heavily influenced by the Divisionist colour theories of Georges Seurat. Luces work was exhibited during his lifetime and after his death. Seven of his works were exhibited at the third Salon des Indépendents in the late nineteenth century, whilst a memorial exhibition of his work was held at the Bibliothèque Nationale de France in 1941. His work is held in a number of internationally significant collections, including the Chicago Art Institute, the Metropolitan Museum of Art in New York, the Musée dOrsay in Paris, and the Thyssen-Bornemisza Museum in Madrid.

Charles Higgins ('PIC'), Scottish 1893-1980 - Untitled; oil on board, signed lower right 'PIC' and signed and indistinctly titled on the reverse, 40.2 x 58 cm (unframed) Provenance:the Estate of the Artist Note:the reverse of the board is numbered '10/0318' and again 'no.120', along with an inscription 'Marks am dessin'. There is also a stamp 'Douanes Exposition Paris'.Writer and painter Charles Higgins painted under the pseudonym of PIC and created some of the most extraordinary and enigmatic British paintings of the 20th century. Setting mythological and fantastical imagery within imagined landscapes, PIC's work transports the viewing through time and the imagination, demonstrating the same visionary zeal as figures such as Marc Chagall, Cecil Collins and Leonora Carrington. His work was exhibited in some of the most important British galleries of the 20th century, including, the Wertheim Gallery during the 1930s and Gimpel Fils during the 1940s and 50s and Jack Bilbo's celebrated The Modern Art Gallery in the 1940s.

Charles Higgins ('PIC'), Scottish 1893-1980 - Snow Eagle, 1963; ink and gouache on paper laid down on card, signed lower right 'PIC' and signed, titled and dated on the reverse, 12 x 13.9 cm: together with 3 other works on paper by the same artist of a similar size and smaller, 'Au Casino, Jouez-moi le dix-sept, 1960', 'Le Vigne Feminie, 1963' and 'Red Janitor, 1964', all ink and gouache on paper, signed and signed, titled and dated on the reverse (unframed) (4)Provenance: the Estate of the ArtistNote:writer and painter Charles Higgins painted under the pseudonym of PIC and created some of the most extraordinary and enigmatic British paintings of the 20th century. Setting mythological and fantastical imagery within imagined landscapes, PIC's work transports the viewing through time and the imagination, demonstrating the same visionary zeal as figures such as Marc Chagall, Cecil Collins and Leonora Carrington. His work was exhibited in some of the most important British galleries of the 20th century, including, the Wertheim Gallery during the 1930s and Gimpel Fils during the 1940s and 50s and Jack Bilbo's celebrated The Modern Art Gallery in the 1940s.

Marion Adnams, British 1898-1995 - La Ronde, 1963; oil on board, signed lower left 'Marion Adnams' and inscribed with title, date and artist's address on the reverse of the frame, 76 x 101.8 cm (ARR) Note: this enigmatic, large work focuses on anthropomorphised trees, a subject that the artist would return to throughout her career. In her earlier works, such as 'L'infante égarée', 1944 (Manchester Art Gallery) and 'Medusa Grown Old', 1947 (Rediscovering Art by Women Collection), these would serve as a backdrop to her figures, their winding forms and shadows creating an additional tension to the work. Here, however, these leafless trees or perhaps vines become the subject themselves, twisting like ancient figures in an expansive landscape. Standing in a ring, one coloured deep red, they become evocative of an ancient ritual. Similar works by the artist, 'For lo, winter is past', 1963 and 'A Time to Be Born and a Time to Die', 1965 can be found in Derby Museums, near where the artist lived. The artist stopped painting in the late 1960s due to her deteriorating eyesight, sadly shortening her career as she was making some of her most important works and making her intricate works quite rare. Marion Adnams was a highly significant British artist associated with Surrealism and had her first solo show at Jack Bilbo's celebrated Modern Art Gallery, London, in 1944. Artists including Emmy Bridgewater and Max Ernst were also exhibited at the gallery during this period. Recently her work was included in the Dulwich Picture Gallery show 'British Surrealism' in 2020 alongside Ithell Colquhoun and Leonora Carrington, and a solo show at Derby Museum in 2017-18. 

Blair Hughes-Stanton, British 1902-1981 - Myth III, 1936; tempera on canvas, signed lower right 'Blair H S 1936' and titled and dated on a label attached to the reverse, 76.5 x 102 cm Provenance:the Estate of the Artist Note:Blair Hughes Stanton was one of the most acclaimed artists in Britain during the interwar era, known for his role in the revival of wood engraving in Modern art. He studied under Leon Underwood at his Brook Green School alongside Henry Moore and Eileen Agar, where he developed a unique visual language, creating works that were a celebration of love and physicality. Alongside his first wife, Gertrude Hermes, Hughes Stanton became a much sought-after book illustrator, his wood engravings featuring in books by his friend D.H. Lawrence and T.E. Lawrences 'Seven Pillars of Wisdom'. The Myth series of paintings relates to the artist's relationship with Ida Graves, poet, novelist and associate of the Bloomsbury Group, with whom Hughes-Stanton started the Gemini Press in 1933. Their first book together was 'Epithalamion: a poem'. 

Martin Bradley, British, b.1931 - Composition, c.1948/50; oil on board, 128 x 78 cm (ARR) Provenance:Bonhams, London, Modern Pictures and Sculpture, 19th July 2011, lot 165; Bonhams, London, Modern British and Irish Art, 11th March 2014, lot 152, dated c.1948/50 (unsold); private collection Condition Report: Please refer to department for condition report 

Modern machine woven rug of Art Deco design in shades of beige and red, 232cms x 160cms, together with two similar, smaller rugs

Modern machine woven rug of Art Deco design in shades of rust, cream and beige, 240cms x 170cms

A selection of hardback books, primarily relating to art and craftsmanship, titles including: The Watercolours and Drawings of Thomas Bewick and His Workshop Apprentices, 2 vols, by Iain Bain; Handcraft in Wood and Metal, by J. Hooper and A. Shirley; The History of Modern Painting, vol 2, by R. Muther; The History of Painting: Ancient, Early Christian, and Medieval, by Woltmann and Woermann; English Brickwork, by Ronald Brunskill and Alec Clifton-Taylor; and others, one box.

Albert Goodwin RWS (British, 1845–1932) ‘Evening Glow’oil on cardsigned and dated '9435 x 51.5cm***CONDITION REPORT***Oil on card overall in good clean condition possibly a small white scuff dead centre of the work unless this is intended to be part of the image, signed and dated lower left, housed in a modern gilt frame, labels verso for Bourlet & Sons and the Fine Art Society dated 1968.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

§ § Kenneth Reed (Contemporary British) 'The Balcony, R & A Clubhouse, St Andrews'ink and watercoloursigned and dated 1999, 35 x 50cm, together with two portfolios of limited edition prints by the artist, Fine Art Collection and R & A Members Edition***CONDITION REPORT***Watercolour in good clean condition, colours remain strong, modern washline mount and ornate gilt scrol frame.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Collection of volumes of "Modern Masters of Etching, 44 Leicester Sq, London", Including Dame Laura Knight, and others and other art books

This pastel on paper by Manjit Bawa is a beautiful and evocative piece, measuring 16.2 inches by 12.5 inches. The soft, dreamlike quality of pastel perfectly captures the tranquil beauty of the subject matter.Manjit Bawa was a prominent Indian artist, known for his mystical, fantastical depictions of animals and nature. He was a pioneer of the Indian modern art movement and his work continues to be highly sought after by collectors. With a growing reputation as one of India's most innovative and influential artists, Manjit's work is a wise investment for those looking to add a touch of magic to their collections.

M. F. Hussain, also known as Maqbool Fida Hussain, was one of India's most famous contemporary artists. He is considered a pioneer of Indian Modern Art and has made a significant contribution to Indian art over the course of his long career. His works are known for their vibrant colors, bold brushstrokes, and energetic compositions. "Indian Art" is a wonderful example of Hussain's ability to infuse traditional Indian imagery with a modern sensibility, resulting in a work that is both dynamic and timeless.M. F. Hussain's works are highly sought after by art collectors, and his paintings regularly fetch high prices at auction. As a result, his works are considered a wise investment in Indian Modern Art. Hussain's paintings are not only beautiful but also represent a piece of Indian cultural heritage, making them a valuable addition to any collection.

This piece by Jamini Roy, created using gouache on board, boasts the artist's signature style of bold lines and bright colors, making it a standout addition to any collection. Measuring 17.5 inches by 10.5 inches, this piece is compact yet impactful.Jamini Roy was a prominent Indian artist who was renowned for his unique style of blending traditional Indian folk art with modern art. He was awarded the Padma Bhushan, one of India's highest civilian awards, for his contributions to the field of art.In addition to being a beautiful work of art, owning a piece by Jamini Roy is also a wise investment. His works have a proven track record of appreciating in value over time, making them a valuable addition to any art collection.

Ram Kumar's acrylic on canvas piece is a stunning display of his exceptional mastery of the medium. The rich colors and bold brushstrokes bring life and energy to the canvas, showcasing Ram Kumar's unique style and vision. The 22" x 18" size of the piece is perfect for displaying in a variety of spaces, making it a versatile addition to any art collection.Ram Kumar is considered one of the most influential artists in modern Indian art. His work is characterized by his distinctive style, which combines elements of Indian and Western art, creating a harmonious and compelling blend. He has received numerous accolades and recognition for his contributions to the art world, and his pieces are highly sought after by art collectors and enthusiasts. As such, Ram Kumar's works are a valuable investment, both in terms of their aesthetic beauty and their potential for appreciation in value.

Satish Gujral is a celebrated Indian artist and architect known for his contributions to Indian Modern Art. He is considered one of India's most important artists of the 20th century and has received numerous awards and accolades for his work. His paintings are characterized by their bold use of color and their powerful compositions. "Indian Art" is a beautiful example of Gujral's ability to create works that are both aesthetically pleasing and emotionally charged.Satish Gujral's works are highly sought after by art collectors and are considered a smart investment in Indian Modern Art. His paintings have been featured in numerous exhibitions and galleries, and have been sold for high prices at auction. As a result, Gujral's works have become a valuable addition to many private and institutional collections.

This piece by Kartick Pyne is a magnificent example of the artist's use of oil on canvas. The vibrant hues and smooth brushstrokes are a testament to Pyne's expertise in the medium. The large size of 31" x 30" makes this piece a statement piece in any art collection.Kartick Pyne was a celebrated Indian modernist painter who was known for his distinctive style and use of bold colours. He was one of the pioneers of the Indian modern art movement and his works have been widely recognized for their impact on the art world. Owning a piece by Pyne is a sign of discerning taste and a commitment to supporting Indian modern art.

F. N. Souza's "Sketch" is a beautiful example of the artist's skill as a draftsman. The pen on paper work measures 10.25" x 15" and showcases Souza's ability to capture the essence of his subject matter with just a few simple lines.F. N. Souza was one of the pioneers of modern Indian art and is widely regarded as one of the most important artists of the 20th century. His works are highly sought after and have been sold at prestigious auction houses. Investing in F. N. Souza's art is recommended for those who appreciate modern art and the mastery of line and form.

Jehangir Sabavala was a renowned Indian artist known for his contributions to Indian Modern Art. He is considered one of the leading artists of his generation. His work features an interplay of light, color, and form, reflecting his deep understanding of the natural world. "Indian Art" is a beautiful piece of work, displaying Sabavala's mastery of the oil medium and his ability to create atmospheric scenes that evoke a sense of mystery and wonder.Jehangir Sabavala's work is widely sought after by art collectors and is highly recommended as an investment. His pieces have been featured in numerous exhibitions and galleries and have been sold for significant prices at auction. As a result, his works have become highly prized by collectors and are considered a smart investment in Indian Modern Art.

This work of art by N. S. Bendre is a vibrant and richly-hued gouache painting, executed with skilled brushwork on a 5" x 14" sheet of paper. The piece showcases Bendre's mastery of the medium, with his confident and loose brushwork creating a sense of movement and energy.N. S. Bendre was an Indian painter and was considered one of the pioneers of Indian modern art. He was associated with the Progressive Artists' Group, a collective of Indian artists who aimed to break away from traditional Indian art forms and bring Indian art in line with the contemporary Western art movements. Bendre's works are characterized by their bold use of color and form, and his paintings are highly sought after by collectors and museums worldwide.

This beautiful piece is an example of the vibrant and bold style of F. N. Souza. This mixed media on paper work measures 10" x 6.8" and showcases Souza's signature style of heavily textured brush strokes and vivid use of color. This piece is sure to make a statement in any collection and is a must-have for any F. N. Souza fan.F. N. Souza is considered one of the most important Indian modern artists of the 20th century. He was a founding member of the Progressive Artists' Group in Bombay and is known for his daring and expressive style that often explored taboo themes. Souza's works are highly sought after by collectors and have sold for record-breaking prices at international auctions. As one of India's most recognized artists, an F. N. Souza piece is a wise investment for any art collector.

This gouache painting by N. S. Bendre is a beautiful representation of his masterful use of the medium. Executed on a 5" x 14" sheet of paper, the piece showcases his playful and energetic brushwork, capturing the essence of movement and life.N. S. Bendre was an Indian painter and considered a pioneer of Indian modern art. His association with the Progressive Artists' Group and his bold use of color and form have helped establish him as one of the most important Indian artists of the 20th century. Bendre's works are highly sought after by collectors and museums worldwide and owning a piece by him can be a valuable addition to any art collection.

This beautiful piece is an example of the vibrant and bold style of F. N. Souza. This mixed media on paper work measures 10" x 6.8" and showcases Souza's signature style of heavily textured brush strokes and vivid use of color. This piece is sure to make a statement in any collection and is a must-have for any F. N. Souza fan.F. N. Souza is considered one of the most important Indian modern artists of the 20th century. He was a founding member of the Progressive Artists' Group in Bombay and is known for his daring and expressive style that often explored taboo themes. Souza's works are highly sought after by collectors and have sold for record-breaking prices at international auctions. As one of India's most recognized artists, an F. N. Souza piece is a wise investment for any art collector.

We are proud to present "Nandalal Bose" Ink on Paper, measuring 7" x 8.5". This piece showcases the exceptional talent and style of the renowned Indian artist Nandalal Bose.About the Artist: Nandalal Bose was a pioneer of modern Indian art and a key figure in the Indian independence movement. He was a student of Rabindranath Tagore and went on to become one of the founding members of the Bengal School of Art. His works are known for their fluidity and subtlety, as well as their fusion of traditional Indian motifs with modernist styles. Nandalal Bose's works are highly sought after by collectors and art enthusiasts, and his legacy continues to inspire new generations of artists.Value: As one of the most influential artists of his time, Nandalal Bose's works hold significant historical and cultural value. His unique style and exceptional skill make his pieces highly sought after by collectors, making them valuable investments in the art world.

A selection of modern art glass paper weights including millefiori, two by Caithness and a lamp worked fish design.

Ca. 1200–1400 AD. A stunning openwork Byzantine gold pendant in the shape of a cross with flaring arms embellished with elaborate patterns in gold filigree, granulation, and wire on sheets of gold, a technique that is typical of late Byzantine art. The cross is centered by an circular collar set with a cabochon garnet, and there is a ribbed oval suspension loop above. This item comes with a modern necklace cord. Excellent condition, wearable. To find out more about Byzantine jewellery, see Entwistle, C. et al (2003). Through a Glass Brightly: Studies in Byzantine and Medieval Art and Archaeology. Oxford and Philadelphia: Oxbow Books. For a very similar Byzantine gold cross in the colelction of the Metropolitan Museum of Art, see https://www.metmuseum.org/art/collection/search/476543.Size: L:32mm / W:23mm ; 4.4gProvenance: Private UK collection; From an old London collection formed in the 1990s.

Ca. 500-600 AD. With a heavy, plain hoop, flat on the interior, rounded on the exterior, expanding slightly to the angular shoulders, the high oval bezel set with an inscribed amethyst gemstone. For a similar see Christie's, December 11, 2014, lot 286.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 17.4mm / US: 7 / UK: O; 4.8gProvenance: Private London collection of Ancient Art; previously with a London art dealer; acquired from a Japanese collection (1970-2010).

Ca. 2000 BC. A round-bottomed pottery vessel of a bulbous body, with a broad sloped shoulder tapering to flared circular rim. The entire surface is covered with a beige slip, with a brown-painted decoration around the shoulder consisting of abstract motifs. Tepe Giyan is an archaeological site in the highlands of the central Z?gros Mountains in Hamadan Province, Iran. The hill lies within the village of Giyan about 10 km southeast of Nehawand. The hill is 350 m long in diameter and 19m high. The first excavations of Tepe Giyan occurred in 1931-1932 sponsored by Musees Nationaux and the Ecole du Louvre under the directorship of George Contenau and Roman Ghirshman. For a similar see The British Museum, Registration number 1929,0415.1. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:305mm / W:265mm ; 3.56KgProvenance: Property of a London Ancient Art gallery; formerly acquired on the UK Art market; formerly from a dealer in Belgium in 2005; previously in an old French collection formed in the 1980s.

Ca. 2000 BC. A very interesting stone statuette sometimes referred to as Bactrian princess or Bactrian goddess. It depicts a seated lady wearing kaunakes - a fabric with long wicks imitating animal hair (goat or sheep). It is a very distinctive and rare object of the prehistoric civilization of Bactria. They are composite in nature, with the head (and also often a cap or other headdress) being separate from the body. They are made up of two or more different types of stone; usually green chlorite or steatite for the body, with heads of white limestone and occasionally in green chlorite. Bactria was the Greek name for the area of modern Balkh, in what is now northern Afghanistan and Margiana was the Greek name for the Persian satrapy of Margu, the capital of which was Merv, in today's Turkmenistan. For a similar see Musée du Louvre, Paris - Main number: AO 28056.Size: L:93mm / W:90mm ; 730gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Ca. 3000 BC. A group of four alabaster votive vessels, each of cylindrical form with drilled interior. The vessels are made of a fine, light alabaster, and feature a flat base and rather flared lip. The Bactrian culture, which flourished in the modern day Central Asian countries of Afghanistan, Iran, and Uzbekistan, had a long and storied history of using alabaster for their vessels. Alabaster was a highly prized material, and it was used to create a variety of vessels for different purposes. Cylindrical alabaster vessels were used for storing food, for burying the dead, and for religious ceremonies.Size: L:75-100mm / W:35-45mm ; 810gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 2nd-1st millennium BC. A necklace formed from a stone and lapis lazuli beads, with a selection of fine amulets which carry magical properties, endowed onto the owner. Restrung on a modern thread, suitable for contemporary wear.Size: L:465/930mm / W:mm ; 32.85gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 2nd-1st millennium BC. A necklace formed from a stone and lapis lazuli beads, with a selection of fine amulets which carry magical properties, endowed onto the owner. Restrung on a modern thread, suitable for contemporary wear.Size: L:420/840mm / W:mm ; 45.49gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Warring States period, Ca. 475–221 BC. An S-shaped curved gilded bronze belt hook surmounted by a small dragon head with a long slender neck that curves gracefully to a broader body and a taotie mask end. Finely engraved volutes form a beautifully laid out geometric pattern. The reverse is set with a round button for fastening to a belt. The Warring States period was one of the most fertile and influential in Chinese history. It not only saw the rise of many of the great philosophers of Chinese civilization, including the Confucian thinkers Mencius and Xunzi, but also witnessed the establishment of many of the governmental structures and cultural patterns that were to characterize China for the next 2,000 years. Dragons were commonly depicted on belt hooks during the Warring States period. See, for instance, the faceted bronze belt hook decorated in gold and silver inlay with intertwined dragons illustrated by J. M. White and E. C. Bunker in the catalogue for the exhibition, 'Adornment for Eternity: Status and Rank in Chinese Ornament', Denver Art Museum, 1994, p. 189, no. 101. This piece has undergone X-Ray Fluorescence analysis by an independent Belgian Laboratory. The samples collected show the chemical composition to reflect the typical metal contents of the described period, whilst also showing no modern trace elements in the patina.Size: L:195mm / W:40mm ; 130gProvenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.

Ca. 618-907 AD. A mold-formed pottery tomb attendant figure in the form of a female musician playing cymbals. She is wearing a long robe with upper clothing in orange and her shoulders are covered by a shawl. She is displaying a harmonic expression; her smiling face with highlighted lips beneath a large hair bun. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot.Size: L:290mm / W:70mm ; 810gProvenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.

Ca. 618-907 AD. A terracotta female musician figure playing paixiao - the wind instrument, made of edge-blown bamboo pipes, which are mounted in one row in a flat, wooden handle. The lady is depicted in a kneeling position, wearing a long reddish skirt covering her legs, a cream bodice, and a green shawl thrown over the shoulder. Her hair is neatly combed into a coiffure consisting of a high topknot, and her face is covered with white pigment, on which thin, slightly arched eyebrows and narrow eyes have been outlined in black pigment, and the small mouth has been painted in red pigment. The highest-rated musicians at the Tang court performed seated, while the lower ranks played standing and were also treated less well in other respects. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:220mm / W:95mm ; 970gProvenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.

Ca. 300-100 BC. A matched pair of gold earrings, each of a hoop thickening to intricately decorated spindle-shaped terminals attached to a circular gold plaque with a filigree border set with a garnet cabochon. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:43mm / W:20mm ; 8.60gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.

Ca. 300 BC. A pair of very fine Greek Hellenistic gold earrings in the shape of pseudo-amphorae. Each earring is composed of a hollow triangular body with each side featuring either an oval garnet or carnelian inset. Dangling from the base of the bodies are two pairs of delicate drops, one pair displays a small pearl and gold beads while the other pair has an additional bell pendant to the end. One of the drops has been replaced with a later wire. The top of each earring is composed of an amphora-like feature, with a short neck and a trio of delicate gold handles which connect the suspension loop to the main body. The earrings are attached to a single loop and hook later added in antiquity. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: Set of 2: L:87mm / W:17mm; 15.6gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Hellenistic Period, Ca. 200 BC. A gold terminal pendant with lions-head decorated with an open mouth and suspension loop with gold necklace. The details of the ferocious lion head are chased with stippling on the nose, whiskers and mane. The lolling tongue and the teeth are separately made. For a similar example from Kourion, now in The Metropolitan Museum of Art, see no. 187 in D. Williams and J. Ogden, Greek Gold. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:33mm / W:19mm; 1.8gProvenance: Property of a London Gentleman; formerly in a private UK collection formed in the the 1990s.

Ca. 300-100 BC. A matching pair of gold earrings, formed as loops of finely braided shanks expanding to a collared lion head finials on one end and tapering on the other. The lion's head is modelled from a thin sheet of gold and features naturalistically rendered facial and anatomical features. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:25mm / W:15mm ; 3.8gProvenance: Property of a London Art gallery; formerly acquired on the US Art market; previously in US collection I. G. formed before 1970.

Ca. 100-300 AD. A fine Ancient Roman gold ring featuring a tapered, round band. The central feature is a nicolo intaglio set neatly in a gold bezel. Engraved in the glass stone is the scene of two roosters pulling a mouse on a chariot. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 16.92mm / US: 6 1/2 / UK: N; 20.94gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 400 AD. The plain hoop rounded on the exterior, flat on the interior, with a high flaring square bezel, the sides stamped with festoons and stippling, set with a flat emerald. For a similar see Christie's, December 5, 2012, lot 441. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 13.6mm / US: 2 1/2 / UK: E; 2.6gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 100-200 AD. A remarkable pair of gold earrings, each comprised of a loop and a rectangular-shaped box bezel set with a finely rendered sardonyx cameo with a profile bust of a noble lady with elegant coiffure and wearing a draped garment. Below the box is a transverse bar with loops from which ribbed vertical rods with dangling beads are suspended. For a similar see Christie's Online Auction 14573, Lot 25, 29 Nov - 8 Dec 2016.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:31mm / W:11mm ; 6.73gProvenance: Property of a London Art gallery; formerly acquired on the US Art market; previously in US collection I. G. formed before 1970.

Ca. 100-200 AD. A substantial gold ring with hollow hoop widening to the shoulder; oval bezel carnelian intaglio engraved with two fighting cockerels.For absimilar see Chadour, A.B. Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994.Ruseva-Slokoska, L. Roman Jewellery, Sofia, 1991.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 15.27mm / US: 4 1/2 / UK: I 1/2; 4.67gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 200 AD. A gold finger ring of a round hoop widening to the faceted shoulder bearing a raised oval bezel engraved with an inscription. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 15.4mm / US: 4 5/8 / UK: J; 8.2gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 900-1100 AD. A stunning silver pendant in the shape of a Mjölnir (Thor's hammer) decorated with engraved dots and crosses. Good condition. Thor's hammer pendants were worn as religious amulets throughout the Viking era; they were usually made of silver and hung on silver chains. Thor was a prominent Norse god and his Mjölnir is depicted in Norse mythology as one of the most fearsome weapons, capable of levelling mountains. Though generally recognised and depicted as a hammer, Mjölnir is sometimes referred to as an axe or club. This item is in wearable condition and it comes with a modern necklace cord. To find out more about the Vikings and their art, see Graham-Campbell, J. (2013). Viking Art. London: Thames and Hudson Ltd. For more information on Viking Jewellery, see Arbman, H. (1940). Birka I Die Gräber. Uppsala and Hubbard, B. (2016) The Viking Warrior. Amber Books Ltd, London, 61-65.Size: L:65mm / W:45mm ; 30gProvenance: Property of a European private collector; formerly acquired from UK private collection.

A modern pink tinted art glass vase together with an oversized brandy glass and a figure of a dolphin

BAUERMEISTER, Mary (*1934), "Needless needles", Objektkasten: Linsen und bemalte bzw. beschriftete Holzobjekte auf Glasscheiben vor Kopie einer Tuschezeichnung auf Papier, 40 x 48 x 12, handsigniert und datiert auf der Rahmenrückwand: Mary Bauermeister, 1982 (63), betitelt. Dieses Werk geht auf eine Zeichnung "Needless Needles" aus der Ausstellung der Galeria Bonino in New York zurück, die dort von Alfred Barr, Gründungsdirektor des Museum of Modern Art, und der dortigen Kuratorin, Dorothy Miller, erworben wurde und später in die Sammlung des MoMA ging.

A LURISTAN BRONZE 'MASTER OF ANIMALS' STANDARD FINIAL, IRAN, CIRCA 1000-650 BCThe tubular base surmounted by a stylized janus-headed figure with three further janus heads above, flanked on either side by mythical creatures with zoomorphic heads grasped by the central figure at the neck.Provenance: Galerie Persepolis, Brussels, exhibited from 28 October to 13 November 1971. Collection Monsieur H., Brussels, 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: 274.8 g (excl. stand) Dimensions: Height 21 cm (excl. stand) and 24.8 cm (incl. stand)With a modern metal stand. (2)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 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.The Master of Animals is a motif in ancient art showing a human between and grasping two confronted animals. The motif is widespread in the art of the Ancient Near East and Egypt. Although such figures are not all, or even usually, deities, the term may be a generic name for a number of 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, usually wild ones, and are responsible for their continued reproduction and availability for hunters. The Greek god shown as 'Master of Animals' is usually Apollo as a hunting deity. Shiva has the epithet Pashupati 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: 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 size (18.4 cm)

A SUPERB FAMILLE ROSE 'KINGFISHER AND LOTUS' PLAQUE, CHINA, STUDIO OF CHENG YITING (1895-1948)Superbly and delicately enameled with two kingfishers perched on a rock below a large wilting lotus leaf amid further leaves, a bud, and two blossoms, a stream in the background. With a lengthy inscription as well as the artist's signature and seal.Inscriptions: Upper left, signed 'Zhushan Cheng Yiting, painted in Peigu-Zhai' and inscribed 'In the Spring in the style of Nansha Laoren [Jiang Tingxi, 1669-1732]'. Two seals of the artist, 'Yiting' and 'Cheng yin'. Provenance: Bonhams Knightsbridge, 3 November 2014, lot 478 (described as “After Cheng Yiting”, and together with another plaque), sold for GBP 3,125 or approx. EUR 4,400 (converted and adjusted for inflation at the time of writing). A Swedish private collector, acquired from the above, and thence by descent. Condition: Very good condition with minor wear and firing irregularities, few light scratches. The hardwood frame with expected age cracks, nicks and losses, and traces of use.Dimensions: Size 62 x 31 cm (excl. frame)With a fine hardwood frame and brass fitting from the period. (2)This masterfully painted plaque represents a new style pursued by porcelain artists upon the fall of the Qing dynasty. With imperial orders discontinued, craftsmen in the porcelain center of Jingdezhen were released from the constraints of the court and eagerly sought to develop new markets. In 1928, eight of the leading artists formed a group called Yueman hui (Full Moon Society), because they met to exchange ideas during the full moon. This group later became known as Zhushan Bayou (Eight friends of Zhushan), comprised of Cheng Yiting, Wang Qi, Deng Bishan, Wang Dafan, Wang Yeting, He Xuren, Bi Botao, Xu Zhongnan, and Tian Hexian.Cheng Yiting (1895-1948), a native of Leping, Jiangxi province, began learning to paint on porcelain at the age of sixteen at the Jiangxi Ceramics School in Poyang. In 1925 he moved from Jiujiang to Jingdezhen and set up his own business before traveling to Shanghai in 1931 to study under the Zhe School artist, Cheng Zhang (1869-1938). It was during this period that his skills greatly improved and developed the exquisite bird and flower painting style for which he is most famous.Jiang Tingxi (1669-1732) was a noted Chinese painter, and an editor of the 5020-volume encyclopedia Gujin Tushu Jicheng (Complete Collection of Ancient and Modern Writings and Charts), which was published in 1726 and had been compiled by Jiang and Chen Menglei during the reigns of the Kangxi and Yongzheng Emperors. As an official painter and grand secretary to the imperial court, Jiang used a wide variety of artistic styles and focused particularly on paintings of birds and flowers. He was also proficient in calligraphy and his works influenced several later painters. Apart from cultural activity, as a holder of the jinshi degree, Jiang performed important duties in the Qing government's Office of Military Finance, on par with Zhang Tingyu (headed by Yinxiang, the Yongzheng Emperor's brother). He was born in Changshu, Jiangsu. Besides the name Yangsun, he was also known by the pseudonym Nansha.Literature comparison: For an overview of the artists' plaques depicting birds amongst lotus and chrysanthemum, see those from the Muwentang Collection published in Simon Kwan, Chinese Porcelain of the Republic Period, Hong Kong, 2008, nos. 44, 45, 47, 49, and 50. Compare also two related plaques which were included in the exhibition Brush and Clay. Chinese Porcelain of the Early 20th Century, Hong Kong Museum of Art, Hong Kong, 1990, cat. nos. 47 and 48.Auction result comparison: Type: Closely related Auction: Heritage Auctions, New York, 19 March 2019, lot 78195 Price: USD 81,250 or approx. EUR 86,000 converted and adjusted for inflation at the time of writing Description: A Chinese Enameled Porcelain Plaque, 20th century, seal reading “Cheng Yiting” Expert remark: Compare the closely related subject, style, enamels and manner of painting, most notably the similarly wilted leaves. Note the much smaller size (36.8 x 23.9 cm).Auction result comparison: Type: Related Auction: Bonhams London, 8 November 2012, lot 350 Price: GBP 79,250 or approx. EUR 116,250 converted and adjusted for inflation at the time of writing Description: A famille rose rectangular plaque, Republic period, signed and sealed Cheng Yiting Expert remark: Compare the related style, enamels and manner of painting with similar wilted leaves. Note the smaller size (39.5 x 26.7 cm).程意亭(1895-1948) 粉彩《翠鳥荷花》瓷板畫長條形邊框，框體雕飾花卉紋，畫心繪盛開的荷花、荷葉、翠鳥。粉紅的荷花、碧綠的荷葉下，一對翠鳥立於石上。一翠鳥聚精會神的凝視著水面，一翠鳥回首觀望，被他物所吸引。 款識：不妨翠鳥偷窺，為種荷花葉數莖。春仲撫南沙老人大意，翥山程意亭寫於佩古齋；鈴印：意亭，程印 來源：騎士橋邦翰思2014年11月 3日 lot 478 (描述爲程意亭風格，與其他幾件瓷板一起)，售價 GBP 3,125 或相當於 EUR 4,400 (根據通貨膨脹率)；瑞典私人收藏，購於上述拍賣，保存至今。 品相：狀況極好，有輕微磨損和燒製瑕疵，輕微劃痕。硬木框有年代裂縫、刻痕和缺損，有使用痕跡。 尺寸：62 x 31 厘米 (不含框) 同期硬木框與銅扣。(2)

A PINK SANDSTONE STELE OF BUDDHA SHAKYAMUNI, KUSHAN PERIOD, MATHURA, LATE 1ST TO EARLY 2ND CENTURYOf rectangular form with an arched top, finely and deeply carved in high relief, depicting Buddha seated in dhyanasana atop a tiered square plinth with three lions, flanked by chauri bearers below flying apsaras. He is wearing a heavily pleated robe draped over his left shoulder. His serene face with heavy-lidded almond-shaped eyes below thick, elegantly arched brows centered by a circular urna, the hair surmounted by a whorled ushnisha, backed by a sun-form halo.Provenance: From the collection of Jean-Marc Andral, acquired between 1996 and 2005 at Galerie Carre des Antiquaires in Versailles, France. A copy of a provenance statement, written and signed by Jean-Marc Andral, dated 31 July 2022, accompanies this lot. Jean-Marc Andral is a Belgian manager based in Brussels and active in the healthcare industry for over 25 years.Condition: Very good condition, commensurate with age. Some wear, minor losses, few structural cracks, small nicks, light scratches, signs of weathering and erosion, encrustations. Dimensions: Height 52 cm (excl. stand) and 54 cm (incl. stand)With a modern metal stand. (2)Literature comparison: Compare the closely related pink sandstone stele of Buddha, known as the “Katra stele”, dated end of 1st century AD, in the Government Museum, Mathura, illustrated in James C. Harle, The Art and Architecture of the Indian Subcontinent, Yale University Press, 1994, p. 63, no. 43 (where it is dated to the early 2nd century). Compare a closely related sandstone stele of Buddha, dated 110 AD, in the National Museum, New Delhi, object number L.55.25. Compare a related pink sandstone stele of Buddha, 93 cm high, dated c. 131 AD, in the Kimbell Art Museum, accession number AP 1986.06.