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Ai Weiwei (born 1957)The Papercut Portfolio The complete portfolio of eight papercuts, 2019, on wove paper, with title page, colophon and text, stamp-numbered 161 on the colophon, from the edition of 250, each print signed in pencil, published by Taschen, London, the sheets loose (as issued), each papercut contained in an envelope, all contained within the original red clothbound clamshell portfolioEach 600 x 600mm. (23 5/8 x 23 5/8in.); Portfolio 650 x 645 x 80mm. (25 5/8 x 25 3/8 x 3 1/8 in.)Footnotes:Papercutting is an ancient Chinese art and the intricately cut papers are used for festivals, religious ceremonies and everyday decoration. In his Papercut portfolio, Ai Weiwei incorporates many aspects of his life and work, referencing links between contemporary and traditional culture with images of Neolithic vases branded with the Coca-Cola logo, his stay in New York from 1982 to 1993 with a view of the Manhattan skyline, his return to Beijing with sculptures made from antique items such as chairs and chandeliers and his challenges to authority with an obscene gesture directed towards the walls of the Forbidden City.The vibrant red is associated with good fortune in Chinese culture and can also be seen as an allusion to politics, one of many dichotomies present in the artist's 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

Dutch or Flemish school; late 18th century."Battle".Oil on oak panel.It has restorations.It has an informative label on the back.It conserves an illegible signature.Measurements: 47 x 64 cm; 66 x 80 cm (frame).In this canvas a historical subject is represented, a violent battle in a natural scenery dominated by a sky that determines a greyish and leaden illumination, of shines and half shadows. In the centre of the scene, a man and his horse, both of whom are down, are being overpowered by a man on horseback, who appears to be the main character in the scene, as the horswoman in the background is largely behind him, although other groups of soldiers can be seen in the scene, structured in several successive planes in such a way as to increase the spatial sensation of the painting.As is usual in the depiction of this type of subject matter, the scene is apparently chaotic, although rigorously studied, reflecting with naturalism the din of the fighting, the violence of the confrontation, a violence that is also reflected in the warm, fiery colouring. While in the 17th century the demand for religious art for churches ceased radically in the northern provinces of what is now Holland, in Flanders a monumental art in the service of the Catholic Church flourished, partly because of the need to restore the damage that the wars had caused to churches and convents. In the field of secular art, Flemish painters worked for the court in Brussels and also for the other courts of Europe, producing paintings with classical, mythological and historical themes that were to decorate brilliantly the Royal Sites of Spain, France and England. As a result, there was a proliferation of small and medium-sized works on a wide range of genres, painted by specialised painters who often collaborated on the same work.

Ca. 1-100 AD.A cast bronze statuette demonstrating the multicultural tendencies of Roman religious symbolism. The goddess Fortuna, identified by her characteristic attributes: a ship's rudder in her right hand and cornucopia in her left, is standing robed, but she wears the Egyptian crown with horns and feathers, associated with goddess Isis. Fortuna was an important goddess in Roman religion because she was considered to be the provider of material blessing and the arbiter of human destiny. For a similar example, see The Walters Art Museum, Accession Number 54.747.Size: L:70mm / W:40mm ; 51gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.

Ca. 3rd millennium BC.A cast bronze mace head / cudgel of a tubular shape. The upper part is decorated with 14 rows of raised chevrons, separated by a series of vertically orientated bands and framed above and below by three raised bands. A mace head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines. Reference: O. W. Muscarella, Bronze and Iron. Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, New York, 1988, item 516, p. 391.Size: L:243mm / W:35mm ; 455gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

Ca. 2000-700 BC.A bronze Master of Animals Sceptre comprised of a central openwork design terminating into a head. Flanked by animals on either side, with wide open mouths. It was probably used during religious rituals. The Master of Animals or Lord of Animals is a motif in ancient art showing a human between and grasping two confronted animals. It is very widespread in the art of the Ancient Near East.Size: L:110mm / W:60mm ; 102g.Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1990s on the UK / International art markets.

Ca. 3rd millennium BC.A cast bronze mace head/cudgel of a tubular shape. The upper part is decorated with 10 rows of raised chevrons, separated by a series of vertically orientated bands and framed above and below by three raised bands. A mace head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines. Reference: O. W. Muscarella, Bronze and Iron. Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, New York, 1988, item 516, p. 391.Size: L:230mm / W:40mm ; 430gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

Ca. 3rd millennium BC.A cast bronze mace head/cudgel of a tubular shape. The upper part is decorated with panels of 12 rows of raised chevrons, separated by a series of vertically orientated bands and framed above and below by three raised bands. A mace head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines. Reference: O. W. Muscarella, Bronze and Iron. Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, New York, 1988, item 516, p. 391.Size: L:200mm / W:30mm ; 330gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

Ca. 2000-700 BC.A cast bronze axe head comprising a fan-shaped blade, and a decorated cheek with a moulded open-mouth beast’s head motif. Bronze weaponry production flourished from the 2nd millennium BC to about 700BC when it was gradually replaced by iron. Swords, axes, maces, spears, and arrows were exchanged via trade and war and are discovered in both civic and ritual contexts. An axe head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as axe-head were common votive offerings in shrines across Western Asia. Superb condition, on a custom-made stand.Size: L:70mm / W:110mm ; 274gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Ca. 1200-700 BC.A bronze axe head with a curved blade, arching cheek and finished with circular socket. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, mace heads, spears, and arrows were exchanged via trade and war and are discovered in both civic and ritual contexts. An axe head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines.Size: L:70mm / W:120mm ; 332gProvenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.

Ca. 1200-700 BC.A cast bronze axe head comprising of a flared blade and a tubular socket with raised borders and a bulb to the cheek. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, mace heads, spears, and arrows were exchanged via trade and war and are discovered in both civic and ritual contexts. An axe head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines.Size: L:70mm / W:110mm ; 404gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Ca. 600-800 AD.A wearable, religious silver seal ring with a round hoop with raised edges and a bezel set with a gem depicting a dove with an olive branch beneath the star. The bezel is surrounded by a highly ornamented border formed of clusters of fine granules. In Christianity, the dove is a symbol of the Holy Spirit, and it was the dove that brought the olive branch to Noah on the Ark, which meant peace between God and people.Size: D: 17.97mm / US: 7 3/4 / UK: P 1/2; 4.6gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.

Ca. 800 AD.A bronze marriage ring comprising of a band with ribbed shoulders and a hexagonal-shaped bezel with a depiction of a bride and groom. Marriage, in both legal and social senses, underwent considerable development throughout the course of Byzantine history. Perhaps the greatest impetus for change compared to earlier Roman marriage was the progressive migration of marriage law from civil to church courts and the eventual requirement that the Church conduct marriage services. The family, especially the aristocratic family also underwent changes. There were some continuities as well, of course. The basic family unit, consisting not only of parents and their immediate children, but also grandchildren, uncles, and aunts, as well as family relationships established by a whole series of religious acts - adoption, god-parentship, suntechnia (co-god-parentship), and adelphopoiia, (literally brother making.) Such alliances were planned with care, intending to strengthen the position and material well-being of a family. Size: D: 17.35mm / US: 7 / UK: O; 12gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.

Hermann Max Pechstein 1881 Zwickau - 1955 Berlin Einladungskarte II: 'Holzschnitt = Ausstellung I der Künstlergruppe Brücke'. 1906. Holzschnitt. Krüger H 17. Signiert. Auf grauem, dünnem Karton. 8 x 10,2 cm (3,1 x 4 in). Papier: 9 x 11,3 cm (3,5 x 4,4 in). Einladungskarte für die erste Holzschnitt-Ausstellung der 'Brücke' in der Lampenfabrik K. M. Seifert, Dresden-Löbtau, Dezember 1906 bis Januar 1907. [EH]. • Mit dieser Ausstellung bekennen sich die 'Brücke'-Künstler zum Holzschnitt. • Erstmals auf dem internationalen Kunstmarkt angeboten (Quelle: artprice.com). PROVENIENZ: Sammlung Hermann Gerlinger, Würzburg (mit dem Sammlerstempel Lugt 6032). AUSSTELLUNG: Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 100, SHG-Nr. 39b. Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 383, SHG-Nr. 845. Kurz nach der ersten Gruppenausstellung der 'Brücke' im Mustersaal der Lampenfabrik von Karl Max Seifert in der Gröbelstaße in Dresden-Löbtau erhalten die 'Brücke'-Künstler eine weitere Möglichkeit, die Wände der Schauräume zu gestalten. Dieses Mal mit Holzschnitten der 'Brücke'-Künstler und geladenen Gästen: Wassily Kandinsky, Wilhelm Laage, Hans Neumann, Gudmund H. P. Hentze, Axel Gallen-Kallela und Kristian Kogstad-Rasmussen. Max Pechstein gestaltet eine Einladungskarte mit Hinweis auf das zu erwartende ausgestellte Genre, aber ohne Nennung etwa des Ortes der Ausstellung. Man kann vermuten, es handle sich hier um eine erste Idee, die allerdings keine weitere Aufnahme erfährt. Das Motiv zeigt einen bärtigen Kopf mit Heiligenschein auf Palette und verweist damit auf die St. Lukasgilde. Der heilige Lukas, der der Legende nach als erster Maria mit dem Kind porträtiert, wird vor gut 800 Jahren zum Patron der Maler erkoren. 1809 wird in Wien und später in Rom von deutschen Künstlern der Lukasbund geschlossen, die als 'Nazarener' eine religiös-romantische Kunstrichtung im 19. Jahrhundert vertreten. Mit diesem von Pechstein gewählten Motiv lässt sich eine absichtsvolle Beziehung herstellen zu Künstler-Bünden, wie ihn die Künstlergruppe 'Brücke' mit ihrer Gemeinsamkeit verwirklichen möchte. [MvL] Aufrufzeit: 10.12.2022 - ca. 16.59 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONHermann Max Pechstein 1881 Zwickau - 1955 Berlin Einladungskarte II: 'Holzschnitt = Ausstellung I der Künstlergruppe Brücke'. 1906. Woodcut. Krüger H 17. Signed. On thin gray cardboard. 8 x 10.2 cm (3.1 x 4 in). Sheet: 9 x 11,3 cm (3,5 x 4,4 in). Invitation card for the first exhibition of 'Brücke' woodcuts at the lamp factory of K. M. Seifert, Dresden-Löbtau, December 1906 and January 1907. [EH]. • With this exhibition the 'Brücke' artists professed to the woodcut. • For the first time on the international art market (source: artprice.com). PROVENANCE: Collection Hermann Gerlinger, Würzburg (with the collector's stamp Lugt 6032). EXHIBITION: Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (permanent loan from the Collection Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022). LITERATURE: Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 100, SHG no. 39b. Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle (Saale) 2005, p. 383, SHG no. 845. Shortly after the first group exhibition of the 'Brücke' at Karl Max Seifert's lamp factory on Gröbelstaße in Dresden-Löbtau, the 'Brücke' artists had another opportunity to design the walls of the showrooms. This time with woodcuts by the 'Brücke' artists and invited guests: Wassily Kandinsky, Wilhelm Laage, Hans Neumann, Gudmund H. P. Hentze, Axel Gallen-Kallela and Kristian Kogstad-Rasmussen. Max Pechstein designed an invitation card with reference to the expected genre on display, but without naming, for example, the place of the exhibition. One can assume that this was just an initial idea that was not pursued any further. The motif shows a bearded head with halo on palette, referring to the St. Luke's Guild. St. Luke, who according to legend was the first to portray Mary with the Child, was chosen as the patron saint of painters around 800 years ago. In 1809, in Vienna and later in Rome, the Lukasbund was formed by German artists who, as 'Nazarenes', represented a religious-romantic art movement in the 19th century. With this motif Pechstein made reference to artist alliances and reflects the idea of communality that the artists of the 'Brücke' group also stood for. [MvL] Called up: December 10, 2022 - ca. 16.59 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Adolf Hölzel 1853 Olmütz/Mähren - 1934 Stuttgart Figuren in Landschaft. 1928. Pastell. Rechts unten signiert. Auf Velin. 34,5 x 50 cm (13,5 x 19,6 in), blattgroß. • Besonders großformatiges Werk von gemäldehafter Wirkung und ausgesprochener Leuchtkraft. • Weitere Pastelle aus dieser Zeit befinden sich u. a. im Städel Museum, Frankfurt am Main, im Museum Moderner Kunst Stiftung Ludwig, Wien, und im Sprengel Museum, Hannover. • In späteren Jahren setzt sich insbesondere die Künstlergeneration um die Bauhaus-Künstler Johannes Itten (1888-1967) und Oskar Schlemmer (1888-1943) mit den theoretischen Schriften Hölzels auseinander. Die Authentizität der Arbeit wurde von Dr. Alexander Klee, Wien, mündlich bestätigt. Wir danken für die freundliche wissenschaftliche Beratung. PROVENIENZ: Galerie Gertrud Dorn, Stuttgart. Ausgehend von der Beschäftigung mit den Glasfenstern und eigenen intensiven Farbstudien folgend, ist Adolf Hölzel zu einer Form der Abstraktion gelangt, die ihm erlaubt, seine Kompositionsgedanken gänzlich in einen Farbkanon flächiger Farbfelder einzubinden. Diese Form der Abstraktion, die sich figuraler Motive bedient, ist eng mit dem Namen Hölzel und seinen Schülern verknüpft. Ihm geht es neben der Gesamtwirkung auch um einen meditativen Charakter, der allen seinen Werken innewohnt, seien sie nun gegenständlich, abstrakt oder frei gestaltet. Das Festhalten am religiösen Grundmotiv, das auch in unserer Komposition nur noch erahnt werden kann, ist besonders für die späten Pastellarbeiten von Adolf Hölzel charakteristisch; sie durchziehen sie wie eine Art Leitmotiv, ohne jedoch eine dominante Rolle einzunehmen. Hölzel grenzt die Farbfelder klar voneinander ab, schafft bewusst Komplementär- und Hell-Dunkel-Kontraste und fasst alles wieder zu einer harmonischen Einheit zusammen. Die folgenden Worte des Künstlers sprechen für sich: 'Mach Eins zu Zwei und Zwei zu Eins / Und Zwei zu Drei und Drei zu Zwei / und alles zusammen wieder zu Eins / So wird sich des Bildes Grösse ergeben. / Ungeahnter Reichtum trotz Einfachheit entfalten.' (Adolf Hölzel, zit. nach: Edith Neumann, Und immer wieder rot, blau, gelb, in: Ausst.-Kat. Adolf Hölzel. Wegbereiter der Abstraktion, Galerie Albstadt, 1999/2000, S. 57). [CH] Aufrufzeit: 10.12.2022 - ca. 19.23 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAdolf Hölzel 1853 Olmütz/Mähren - 1934 Stuttgart Figuren in Landschaft. 1928. Pastel. Lower right signed. On wove paper. 34.5 x 50 cm (13.5 x 19.6 in), the full sheet. • Particularly large work characterized by a painting-like effect and a special radiance. • Other pastels from this time are at, among others, the Städel Museum, Frankfurt am Main, the Museum Moderner Kunst Stiftung Ludwig, Vienna, and the Sprengel Museum, Hanover. • In later years, the generation of artists around the Bauhaus luminaries Johannes Itten (1888-1967) and Oskar Schlemmer (1888-1943) examined Hölzel's theories. This work's authenticity was kindly confirmed orally by Dr. Alexander Klee, Vienna. We are grateful for his kind expert advice. PROVENANCE: Galerie Gertrud Dorn, Stuttgart. Starting with the occupation with glass windows and following his intensive color studies, Adolf Hölzel attained a form of abstraction that allowed him to integrate his compositional ideas into a color canon of two-dimensional color fields. This form of abstraction, which also uses figural motifs, is closely linked to the name of Hölzel and his students. In addition to the overall effect, he was also concerned with a meditative character inherent in all his works, whether they are representational, abstract or freely composed. The adherence to a basic religious motif, which is just slightly hinted at in our work, is particularly characteristic of Adolf Hölzel's late pastel works. Even though they serve as a kind of leitmotif, they do not assume a dominant role. Hölzel clearly separated the color fields from one another, creating complementary- as well as light and dark contrasts, bringing everything back together as a harmonious whole. The following words of the artist speak for themselves: 'Make one into two and two into one / And two into three and three into two / and everything together again into one / This is how the picture will become great. / Unfolding unprecedented wealth despite simplicity.' (Adolf Hölzel, quoted from: Edith Neumann, Und immer wieder rot, blau, gelb, in: ex. cat. Adolf Hölzel. Wegbereiter der Abstraktion, Galerie Albstadt, 1999/2000, p. 57). [CH] Called up: December 10, 2022 - ca. 19.23 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

A THANGKA OF TSONGKHAPA AND THE GELUGPA REFUGE TREE, 19TH CENTURY 十九世紀宗喀巴上師皈依境圖Tibet. Distemper on cloth. Tsongkhapa is seated in dhyanasana on a lotus throne with a mandorla and halo behind him, holding an alms bowl in his lowered left hand, two lotuses coming to full bloom at his shoulder supporting the sword and sutra. Surrounded by a retinue of Buddhas, celestial beings, lineage holders, dakinis, wrathful protectors, and other figures, all within the framework of a tree growing from the water below.Matted and framed behind glass.Provenance: From a Hungarian private collection.Condition: Overall very good condition with old wear, soiling, creasing, and minor losses. Possibly with minuscule touchups.Dimensions: Image size 31.3 x 23.4 cm, Size incl. frame 44 x 36 cmThis thangka represents the field of accumulation of merit in which all of the teachers of a specific tradition, their teachings written in religious texts, deities that are the focus of practices in that tradition, and its protectors are visually arranged as one large gathering. Such depictions are meant for devotional practices and also represent the Three Jewels of the Buddhist Faith. This field is arranged around the central teacher Tsongkapa (1357-1419), the founding teacher of the Gelug tradition. He is surrounded by teachers, meditational deities, and protectors, shown below. The practitioner would identify with a monk depicted in the lower right, who was probably the donor for this painting.Literature comparison: Compare a related thangka of Tsongkhapa and a refuge field, also dated to the 19th century, but of much larger size, in the collection of the Rubin Museum of Art, object number F1997.37.1Auction result comparison: Compare a closely related thangka (76.5 x 50 cm) in similarly well-preserved condition, at Bonhams London in The Jongen-Schleiper Collection of Fine Thangkas on 11 May 2017, lot 19, sold for GBP 22,500.十九世紀宗喀巴上師皈依境圖西藏。布面膠彩。畫面中心為格魯派的創始人宗喀巴大師，頭戴黃色桃形尖帽，面容俊逸且安詳，內著僧坎，外披袈裟，左手托缽，右手結法印，兩肩飾有經書和寶劍，寓意大師為文殊菩薩的化身。下身著寬鬆僧裙，雙腿結跏趺坐於蓮花座上。唐卡上方左右兩個圓形畫框內繪阿彌陀佛的極樂淨土和彌勒菩薩的兜率天淨土。中央上方和下方二組人物分別為“密乘”的主要傳承以及格魯派“主要信奉”的聖眾，包括諸佛、菩薩、護法、羅漢、空行母等。玻璃裝框。 來源：匈牙利私人收藏。 品相：整體狀況極好，有舊時磨損、髒汙、摺痕和輕微缺損，輕微修補。 尺寸：畫面31.3 x 23.4 厘米，總44 x 36 厘米 拍賣結果比較：比較一件形制和品相相近的唐卡 (76.5 x 50 厘米) ，見倫敦邦翰思The Jongen-Schleiper Collection of Fine Thangkas 2017年5月11日 lot 19, 售價GBP 22,500。

A RARE ALBUM OF TWELVE BODHI LEAF PAINTINGS, 19TH CENTURY 十九世紀菩提葉彩繪人物圖冊頁十二幅China. Each bodhi leaf skillfully hand-painted with exceptional detail depicting individual portraits of Qing court members, including a royal couple, each seated on a dragon throne, dressed in opulent robes decorated with a dragon emblem, and holding a ruyi scepter. Another bodhi leaf with an imperial bodyguard wearing a hat with peacock feather, holding arrows in his left and a bow in his right.Provenance: From the collection of Dr. S.R.S. Laing, Hampshire, United Kingdom. A copy of an original letter from Christie, Manson and Woods Ltd., dated 19 November 1976, addressed to Dr. S.R.S. Laing, dating the present lot to the 19th century, and signed by hand with 'Christie, Manson + Woods', accompanies this lot. In this letter, Christie's thanks the potential consignor for sending in his album (the present lot) and offers to put it up for auction. Condition: Very good condition with some old wear, the dried Bodhi leaves with very minor age-related losses and tears, the paper with foxing, the pages loosened. The fabric on the album cover with minor old wear, soiling and loose threads.Dimensions: Size 24.3 x 17.5 cmFurther depictions include a diplomat dressed in blue robes and an official's hat, a military official in armor, noble ladies, and courtiers. Mounted within a silk cover decorated with bands of wan symbols within hexagons. (2)The bodhi tree, also known as the ficus religiosa, is one of the most sacred trees in Buddhism. Special religious significance is given to this form of leaf painting because the Historical Buddha Shakyamuni (circa 563-483 B.C.E.), also known as Siddhartha Gautama, obtained enlightenment under the bodhi tree at Bodhgaya in India. Many temples throughout China planted Ficus religiosa, a tree known for its great size and longevity, and a tradition of leaf art emerged for copying sutras or painting Buddhist images.Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 29 May 2019, lot 2702Price: HKD 250,000 or approx. EUR 32,500 converted and adjusted for inflation at the time of writingDescription: An Album of Bodhi Leaf Paintings, 18TH-19TH century Expert remark: Compare the exceptional quality of the bodhi leaves. Note that the paintings depict Buddhist motifs.十九世紀菩提葉彩繪人物圖冊頁十二幅中國。此畫冊以菩提樹葉為繪製素材媒介，設色描繪清朝官員、將軍及宮婦肖像。 來源：英國漢普郡Dr. S.R.S. Laing收藏。隨附1976年11月19日佳士得、Manson和Woods公司寫給Dr. S.R.S. Laing的信，上面注明此冊頁來自十九世紀。在信中，佳士得還感謝Dr. S.R.S. Laing把冊頁寄給他們，並提出將其拍賣。 品相：品相良好，有一些磨損，乾燥的菩提葉有非常輕微的老化損失和撕裂，紙張有褐變，頁面鬆散。專輯封面上的面料有輕微的舊磨損、髒污和鬆線。 尺寸：24.3 x 17.5厘米菩提樹是原生於印度的一種大葉棕櫚科樹木，2500年前因釋迦摩尼在菩提樹下證道，故被視為智慧之樹，在佛教中被稱為聖樹。菩提葉呈心形，葉脈紋理精美，是“大徹大悟”的象徵。古印度每個寺院都種有菩提，落下的葉子被僧侶視為聖物，在造紙技術還未普及前，印度僧人將其與貝葉樹的葉子一起，製成梵夾（即用貝葉重疊，以板木夾兩端，用繩串結）用於寫經，後世將菩提樹和貝葉樹葉子所書寫和繪製的佛教經籍和圖像統稱為“貝葉經、貝葉畫”。拍賣結果比較： 形制：相近 拍賣：香港佳士得，2019年5月29日，lot 2702 價格：HKD 250,000（相當於今日EUR 32,500） 描述：十八至十九世紀貝多羅葉羅漢冊 專家評論：比較菩提樹葉的特殊品質。請注意此畫冊描繪的是佛教圖案。

A RARE ARCHAISTIC 'SHANG BRONZE IMITATION' JADE VESSEL, ZHI, LATE SONG TO EARLY MING DYNASTY 宋末至明初罕見仿商青銅酒杯玉觶China, 13th-15th century. Of flattened form, the pear-shaped body rising from a spreading foot carved with a raised bow-string band, the waisted neck with archaistic dragons and whorl motifs. The semi-translucent stone of a pale celadon tone with russet veins, cloudy inclusions, and few dark specks, mostly reserved to one side of the vessel which has been further heightened with cinnabar lacquer (extremely rare) to imitate the natural patina of the bronze prototype, cleverly presenting the archaistic jade to one side and its ancient inspiration to the other. Exhibited: On loan to the High Museum of Art, Atlanta, September 1973 to September 1980. Provenance: From the collection of William S. Arnett, Atlanta, Georgia, USA, acquired prior to 1971, and thence by descent within the same family. William Sydney Arnett (1939-2020) was an Atlanta-based writer, editor, curator, and art collector who built an internationally important collection of African, Asian, and African-American art. In 1978, he co-authored the Three Rivers of Nigeria exhibition catalog for Atlanta's High Museum of Art. As Arnett's collection of African-American art grew, he became convinced that the so-called folk or outsider artists of the black American South were in fact a coherent cultural movement and constituted a crucial chapter in world art. He spent decades gathering extensive documentation and amassing a near-definitive collection of work crucial to the understanding of this cultural phenomenon.Condition: Excellent condition with minor old wear from centuries of handling. Some minuscule nibbling is probably part of the simulated overall wear inherent to the original carving. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 127.1 gDimensions: Height 8.3 cmWith a velvet-padded silk storage box. (2)The present vessel was inspired by an archaic ritual bronze prototype, zhi, which contained wine offerings presented to the ancestors during the performance of religious rituals.The interest of Chinese scholars in ancient artifacts can be traced back to antiquity, but the study of these artifacts, known as antiquarianism or jinshixue 金石學, literally meaning 'the study of metals and stones,' first developed during the Northern Song dynasty. The practice of collecting precious objects was spreading through China as well, and many lost pieces from the Shang dynasty and later were found at building sites. Song scholars established a formal system of dating these artifacts by examining their inscriptions, decorative motif styles, and physical shapes, introducing terms such as taotie which are still in use today. Two works of this period, the Kaogu tu by Lü Dalin and the Bogu tu by Wang Fu, were especially influential on later artists. Along with many other illustrated catalogs they were reprinted during the Ming and Qing dynasties, inspiring the production of archaic style bronzes and jades.Literature comparison: Compare a closely related jade zhi in the collection of the Minneapolis Institute of Art, dated to the Song dynasty, decorated with a similar band and bowstring, accession number 16.10.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 1 December 2016, lot 568Price: HKD 437,500 or approx. EUR 59,000 converted and adjusted for inflation at the time of writingDescription: A small light brown jade miniature archaistic vase, hu, Song dynasty Expert remark: Compare the closely related form and decoration as well as related size (7.2 cm). Note the different color of the jade and that the vessel form was incorrectly identified as a hu.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 11 May 2021, lot 137Price: GBP 25,250 or approx. EUR 30,000 converted and adjusted for inflation at the time of writingDescription: An archaistic white jade vessel, zhi, Ming dynasty Expert remark: Compare the related form and size (9 cm) as well as the similar inclusions to the jade. Note the slightly different decoration.宋末至明初罕見仿商青銅酒杯玉觶中國，十三至十五世紀。小瓶狀，圓腹，侈口，圈足。頸部飾有螭龍和雲紋。半透明的淡青色玉，帶有赤褐色的脈紋和絮狀物以及少量黑色斑點，大部分聚集在玉觶一側，並用硃砂（極為罕見）進一步加強，模仿青銅的自然光澤。 展覽: High Museum of Art，亞特蘭大，1973年9月至1980年9月。 由於字數限制，完整中文敘述請至www.zacke.at查看。。

† A LARGE 'FIVE DRAGON' WOOL CARPET, QIANLONG 乾隆大型紅地五龍紋羊毛地毯China, 1736-1795. Finely woven with a central front-facing five-clawed dragon writhing around a flaming pearl, encircled by two pairs of confronting sinuous dragons, each chasing a pearl, surrounded by swirling clouds, bordered to the long sides with bands of pearls, key-fret, and the Eight Buddhist emblems alternating with floral designs, each end with a terrestrial diagram above lishui stripe.Provenance: From the personal collection of Michael B. Weisbrod, New York, by repute acquired at Sotheby's in the 1990s for approx. USD 30,000. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Overall fair condition with extensive wear, minor fading to colors, losses and tears, possibly minor old repairs.Dimensions: Size ca. 480 x 350 cmWhile the dragon itself is the symbol of the emperor, the number five is most auspicious and represents the 'Five Blessings (wufu)' of old age, wealth, health, virtue and peaceful death. The design of 'Five Dragons' also alludes to the 'Five Dragons of Yanshan (Yanshan wulong)', named after the five sons of Dou Yujun, who lived in Yanshan during the Five dynasties period (907-960), each of whom achieved exceptional success with their father epitomizing the ideal parent.The Eight Auspicious Buddhist Symbols (bajixiang) amongst the dragons in the design are also unusual and suggest the possibility of the rug being used at Buddhist ceremonies or on special religious occasions. However, it also demonstrates the level of creative freedom exercised by artists during Qianlong's reign who were encouraged to produce pieces with one-off designs. See a zitan closet, where the bajixiang is carved amongst dense ruyi-form clouds, from the Qing Court collection and still in Beijing, included in The Complete Collection of Treasures of the Palace Museum, Furniture of the Ming and Qing Dynasties (II), Hong Kong, 2002, pl. 206, and a red sandalwood throne also carved with dragons and clouds, where the bajixiang is used as a design element on its own, ibidem, pl. 26.Literature comparison: A related Imperial dragon carpet dating from the 18th century is illustrated by R. Soame Jenyns, Chinese Art, Vol. III, Oxford, 1981, no. 18.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.乾隆大型紅地五龍紋羊毛地毯中國，1736-1795年。地毯正中央盤旋著一條五爪大龍，龍身與龍頭為深藍色，龍爪則是深藍色，龍看上去炯炯有神，面對一顆火珠，氣勢十足。在這條大龍的上下兩側，分佈著四條模樣相似的小龍，這些小龍都面向大龍團團圍住，一派祥和。而在五條龍盤踞的區域外圍，則有規律地分佈著花草、祥雲、五色波紋，圖案豐滿，氣勢恢宏。 來源：美國紐約Michael B. Weisbrod私人收藏，在20世紀90年代以約30,000美元的價格在蘇富比拍賣會上購得。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：整體狀況良好，磨損嚴重，輕微褪色、缺損，撕裂，可能有輕微的維修。 尺寸：約480 x 350 厘米 龍象徵帝王，數字五是最吉祥，是代表著長壽、財富、健康、美德和安寧的“五福”。此外，地毯上的八吉祥紋也很不尋常，表明地毯可能用於佛教儀式或特殊的宗教場合。同時，它也展示了乾隆年間藝術家的創作自由程度。文獻比較： 一件相近的十八世紀御製龍紋地毯，R. Soame Jenyns，《Chinese Art》，卷III，牛津，1981年，編號18。

AN EGLOMISE TYPE SILVER BROOCH WITH BUTTERFLY WING BACKING, TOGETHER WITH A ART NOUVEAU STYLE DRAGONFLY PIN BADGE, AN ENAMELLED AND SILVER RELIGIOUS PENDANT, A PAIR OF INLAID STUD EARRINGS, AND AN ENAMELLED 1887 HALF CROWN BROOCH. GROSS WEIGHT 21.43grms.

SIMON LAURIE RSW RGI (SCOTTISH b. 1964),BREAKFAST TABLEacrylic on board, signedimage size 80cm x 85cm, overall size 102cm x 107cm Framed.Note: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.

* STIRLING GILLESPIE (SCOTTISH 1908 - 1993),CUILLINS OF SKYE FROM SLIGACHAN BURNwatercolour on paper, signed, titled in the mount and label versoimage size 27cm x 37cm, overall size 51cm x 61cm Mounted, framed and under glass.Label verso: Paisley Art Institute Exhibition.Note: James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. Stirling Gillespie (as he was known professionally) started in journalism first at the Rothesay Express, then the Daily Record, through which he met J Blake Dalrymple who was to bring Gillespie into his film company Elder Dalrymple Productions. Hired to cover the company’s literary and photographic concerns, Gillespie also became involved in the making of films. In 1936 J C Elder and Dalrymple decided to take the company out on Dalrymple’s yacht to make educational films around the world. Gillespie was to act as press correspondent for the Daily Record coverage of the trip. His cabin aboard the yacht was completely fitted out as a developing and printing studio. However, the trip was curtailed prematurely by the Spanish Civil War, so that the only substantial filming to be completed was of a later voyage to the Baltic. In 1937 Gillespie and Dalrymple undertook an overland expedition from Cape Town to Cairo making educational films as they went. Gillespie taking photographs and film, recorded the expedition in a book "Celluloid Safari" and with the film Land of the White Rhino (1939). After the Second World War was over, Gillespie was to make only one more film with Elder Dalrymple "Perchance to Sail" (1947) in which he starred as a young artist at sea. He was then, until his death, to pursue a highly successful career as a watercolour landscape painter.

Evie Hone HRHA (1894-1955) Abstract Composition c.1929 - 34Oil and gouache on canvas, 113 x 84cm (44.5 x 33")Provenance: Leo Smith (The Dawson Gallery) thence by descent to his sister Mary Murnane; her sale 1980's H. J. Byrne, Bray, where purchased by the present ownerExhibited: Dublin, Society of Dublin Painters Gallery, May-June 1929 and May 1931; Dublin, The Dawson Gallery, April-May 1957.This relatively large painting dates from the late 1920s or early 1930s and embodies many of the conceptual and technical concerns that had preoccupied Evie Hone for almost a decade.  Its strong, sonorous colours and simplified modulated forms, its expressive almost gestural brushwork, its sense of animation and rhythm reflect how Hone, working between the Parisian avant-garde and her home in Dublin, developed ideas emanating from the radical experiments of Cubism (form and space) and Orphism (sound and colour) to create a new pictorial language of pure abstraction. With the absence of any form of representation it is a palette of pale and deep blues and greens and contrasting accents of purple and teal that construct the composition.  These bands of pure colour are underscored by accents of fleshy pink, yellow and orange which provide balance but also add warmth and depth and activate the composition’s circular rhythmic movement.  The canvas is arranged in an almost architectonic manner into two distinct parts – a larger upper compartment and a smaller horizontal predella panel.  The interlocking concentric shapes in the upper level clearly denote figures, possibly a Madonna and Child, framed by an arched canopy complete with architectural tracery in the form of a lopsided trefoil (left) and quatrefoil (right).  The predella with its composite of shapes in deep ochre, emerald and jade green as well as accents in lavender and blue suggests a recumbent figure stretched across the plane.  Contrasting dark and light shades of brown are used to fix the composition in place like the gilt frame of a gothic or early renaissance altarpiece.   Hone’s use of colour, rather than conventional drawing, to generate an arrangement of abstract almost biomorphic forms locates her in the vanguard of European modernism and is without parallel in Irish art.  Although born in Dublin, Evie Hone had studied at a secession of London art schools from 1912, where she had gone to access specialist medical treatment for the paralysis she suffered after contracting polio as a child.  But it was on a trip to Italy in 1914 that Hone decided to devote herself to painting and make art her vocation.  Here she was profoundly moved by the medieval and early renaissance art she encountered – often still located in the churches and religious buildings it was originally designed to decorate.  Her developing interest in primitivism, colour theory, spirituality and non-representational art would lead her to study with the painter and theorist Albert Gleizes in Paris from 1921.  Accompanied by her friend and fellow Dubliner, Mainie Jellett, Hone worked with Gleizes in his studio and exhibited her abstract work in Paris as well as in Dublin.  The ideas generated by the group Gleizes consolidated in an essay, and later in a book, entitled Le peintre et ses lois (1922-4), which argued that the representation of an object should be a form of ‘translation’ (its relation to other objects in space) and ‘rotation’ (how the object itself exists in space).  Pictorially these ideas were worked out through a process of reduction of an object to a series of elemental forms and the synthesis of these into a multi-layered image that was not dependent on the system of single-point perspective that had dominated European art since the fifteenth century.  This painting is a work of some significance and part of the group of mature abstract paintings shown in Hone’s two major solo exhibitions in Dublin in May-June 1929 and May 1931 at the Society of Dublin Painters Gallery at 7 St. Stephen’s Green.  These were last displayed together in the posthumous exhibition of Hone’s abstract work staged by Leo Smith at the Dawson Gallery in Dublin in April-May 1957.  Dr. Joseph McBrinn, October 2022

Endless (British), 'Bronze Chapel Worship', 2020, mixed media, hand embellished with acrylic and spraypaint on 300gsm Art Paper, signed and numbered from an edition of 25 unique works in black ink; 141 x 99cm inc frameARR141 x 99cm inc frameEndless is a London-based contemporary, street artist, whose artworks tell a visual story and observation of the world he sees around him. Starting out using the walls of our nation’s capital as his canvas, a bold, street-art aesthetic is still prevalent throughout his works – infused with a mix of contemporary techniques. His work often comments on society’s reaction to the media, the influence of the advertising industry and the shift in modern priorities from religious worship, to the ‘new era’ religion, where the shops are our chapels, the magazines our bibles and the fashion icons are our gods. His career exploded in 2016 when he was asked to work with the legendary Gilbert and George and was followed by historic collaborations with brands such as Karl Lagerfeld, Fiorucci (FI-O-RU-CHY) and Liberty London.

Endless (British), 'Lizzy Vuitton Union Jack', 2021, mixed media, hand embellished with acrylic and spraypaint on 300gsm Art Paper, signed and numbered from an edition of 25 unique works in black ink; 141 x 99cm inc frameARR141 x 99cm inc frameEndless is a London-based contemporary, street artist, whose artworks tell a visual story and observation of the world he sees around him. Starting out using the walls of our nation’s capital as his canvas, a bold, street-art aesthetic is still prevalent throughout his works – infused with a mix of contemporary techniques. His work often comments on society’s reaction to the media, the influence of the advertising industry and the shift in modern priorities from religious worship, to the ‘new era’ religion, where the shops are our chapels, the magazines our bibles and the fashion icons are our gods. His career exploded in 2016 when he was asked to work with the legendary Gilbert and George and was followed by historic collaborations with brands such as Karl Lagerfeld, Fiorucci (FI-O-RU-CHY) and Liberty London.

Hungary 1970 Religious art Paintings SG MS2569 u/m perf and imperf miniature sheets, Michel 2640 Block 78A and 78B. Cat £40+

A Small Art Nouveau Brass Easel Back Photo Frame, 10x8.5cms, together with a Gilt Framed Religious Miniature, Mary and Jesus

Kunst in Tibet, 8 Bände, u.a. Giuseppe Tucci, Pratapaditya Pal, F. Sierksma, Ausstellungskatalog Villa HügelPratapaditya Pal: "Art of Tibet", 1989. Fokke Sierksma: "Tibet's terrifying Deities: sex and aggression in religious acculturation", 1966.Aus der Sammlung Gerd-Wolfgang Essen (1930-2007), zwischen den 1950er und 1980er Jahren gesammeltGuter Zustand

Self-published, ca. 1975. Boxed set of 49 offset-printed colour cards, 11 x 6.5 cm, edition size unknown. Deck of playing cards by American conceptual artist Don Cellender (1931-2005) featuring images of well-known artists, writers, and gallery owners, superimposed over images of religious figures.Verso has a quote about or by the art world figure pictured. Depicts Claes Oldenburg, Lee Krasner, Alexander Calder, Marisol, Lucy Lippard, Isamu Noguchi, Donald Judd, Josef Albers, Henry Geldzahler, Jasper Johns, Marc Chagall, Henry Moore, Georgia O'Keeffe, Andy Warhol et al.

Altar of Reclining Buddha; Vietnam, Son La province, 18th century.Carved, lacquered and gilded wood, with carved and lacquered teakwood figure.Presented on a modern oak table.Measurements: 165 x 202 x 90 cm (temple); 40 x 131 x 40 cm (Buddha); 55 x 17 x 30 cm (lions).An exceptional altar in the form of a temple, from the Vietnamese province of Son La, in the northern interior of the country, near the border with Laos. Dating from the 18th century, it is a small temple in richly carved wood, lacquered in gilt and black on a red background, which houses a solid teak sculpture of Buddha in round form, accompanied by two guardian lions, also carved in wood in round form and gilded in gilt.Buddha is depicted in the posture known as Buddha Nirvana, which shows him lying down moments before he dies and transmigrates. This is a representation of the state in which Buddha leaves the earthly plane to attain Nirvana, a state in which he is liberated from suffering and the cycle of reincarnations, attaining Enlightenment, the supreme understanding.Although Chinese influence in Vietnam has been of great importance since ancient times, the country cannot be considered merely a satellite of this mighty empire, but has a culture that is genuinely its own, as evidenced by examples of the importance of the imperial city of Hue. Indeed, much of Vietnamese culture and history has been shaped by the struggle for identity and survival of a people made up of fifty-four ethnic groups against the superiority of China and other nearby peoples at first, and later against Western colonialism. In fact, the imposition of Chinese influence on the country was forcefully reaffirmed as recently as 1802, when the Vietnamese emperor sent his ambassadors to Beijing to announce the union of the old kingdom of An Nam with that of the Viet Thuong under the new name of Nam Viet. However, the Chinese court did not approve of the new name, but only allowed the permutation of the two syllables, to avoid confusion with the old kingdom of Nam Viet Dong, of which some Chinese provinces were part.The golden age of Vietnamese art was that of the Sham kingdoms (200-1720), although today it is a relatively little-studied civilisation. This is largely because the great achievements of Vietnamese culture are to be found not in the visual arts but in literature. Nevertheless, a brilliant art industry developed, albeit one deeply influenced by Chinese aesthetic, philosophical and religious ideas. However, some genuine artistic manifestations, such as water puppetry, were maintained, and Vietnamese phenomena such as Caodaism, a sect that originated in 1919, also emerged.

A QUANTITY OF REFERENCE BOOKS, EX ROGER MOSS COLLECTION. Mainly on Chinese sculptural art to include Ancient Chinese Sculptural Treasures, Carvings in Stone from the Kaohsiung Museum of Fine Arts; The Art of Contemplation - Religious Sculptures from Private Collections; Treasures of Ancient Chinese Sculptures, by Li Yin etc. (53) Used but good general condition.

Lucas Price / Cyclops (British, b. 1975)Mentasm, 2008Screen print on woven paperSigned and numbered 12/45 in pencilFramed & glazedAccompanied with certificate of authenticity 51 x 36 cm (20 x 14 in)Contemporary artist Lucas Price, formerly known as Cyclops, blends the traditional and the modern, merging contemporary photo realism with antiquated styles and religious iconography. Price completed a Masters degree at the Royal College of Art, London. In 2008, he exhibited at the Tate Modern as part of their exhibition ‘Art on the Street’ and, in 2015, appeared in Bonhams’ contemporary auction. As well as working as a fine artist, Lucas Price founded the postmodernist menswear label ‘A.Four Labs’, with Tokyo-based designer Kazuki Kuraishi.

K-Guy (British b. 1968) Love / Hate, 2008 (Silver Edition) 3 Colour screen print on hand painted acrylic paint background on 300gsm ribbed craft paper Signed, dated and numbered 9/50 in pencil Framed and glazed 74 x 41 cm (29 x 16 in) K-Guy is a visual artist who lives and works in the epicentre of the street art scene, London.  The artist is best known for his sharp analyses and off-the-mark responses to what goes on around him, politicians, religious leaders, fast food outlets and entire economic systems have all been examined in K-Guy’s work. His controversial and quirky works in the streets of London have received worldwide media attention several times, for example with his installation ‘In Loving Memory to the Boom Economy', which was created in front of The Bank of England and depicted the burial of the flourishing economy.  Another example is his mural ‘Primate Pontificate’ as a reaction of the Pope’s visit to London. Renowned works from the artist include his collaboration with the Prodigy on a limited edition print which sold out instantly and his iconic best sellers ‘Coke Moss’, ‘Naomi Campbell’s, ‘Pepsi Cara and Linda EVANGELISTa’.

Ernesto Shikhani (Mozambique, 1934-2010)The Last Supper1977 signé et daté 'Shikhani, 1977' en bas à droitehuile sur toilesigned and dated 'Shikhani, 1977' lower rightoil on canvas100 x 200 cm.39 3/8 x 78 3/4 in.Footnotes:ProvenanceHotel Pinhal Ofir - Esposende, Portugal (don de l'artiste)Collection privée, PortugalPuis par descendance au propriétaire actuelErnesto Shikhani est né en 1934 dans la région de Muvesha au Mozambique. Dès le début de son apprentissage artistique il se consacre à la sculpture, guidé par le maître portugais Lobo Fernandes alors enseignant au Núcleo de Arte, à Maputo. Son travail est empreint d'un mélange audacieux, à mi-chemin entre les pratiques artistiques traditionnelles mozambicaines et les propositions plastiques contemporaines de l'époque. Cette toile est réalisée en 1977, trois ans après la signature du traité d'indépendance du Mozambique. Accord précédé d'une lutte pour la liberté qui entraina dix années de guerre civile avec le Portugal, laissant derrière elle un pays profondément marqué par la violence. Ernesto Shikhani, comme d'autres artistes mozambicains témoins de l'injustice sociale des anciennes colonies portugaises, met son art au service d'un nationalisme mozambicain naissant et assumé. Beaucoup d'entre eux seront cependant censurés par la Police de renseignement portugaise (PIDE) sous l'égide d'un gouvernement encore en proie aux maximes religieuses et racistes de l'époque. Cette œuvre représente une des plus célèbres scènes bibliques, la Cène, illustrant Jésus entouré de ses apôtres. À la seule différence que les personnages sont ici de couleur noire, une attaque évidente à la mentalité suprémaciste blanche qui imprégnait alors les mœurs coloniales portugaises au Mozambique.Lors d'un séjour au Portugal à l'été 1977, il fait cadeau de cette toile à l'hôtel de Pinhal Ofir – Esposende, où il réside. L'Hôtel confie alors la toile à une société d'encadrement, appartenant à la famille de l'actuel propriétaire. Dans le contrat, chose assez classique à l'époque, est mentionné que si l'œuvre n'est pas récupérée au bout d'un an elle deviendrait la propriété de l'encadreur.L'Hôtel Pinhal Ofir n'alla jamais chercher l'œuvre, jugée trop polémique par le gouvernement portugais.When commencing his artistic training in Mozambique, Ernesto Shikhani first dedicated himself to sculpture, guided by the Portuguese master Lobo Fernandes who was then a teacher at the Núcleo de Arte school of Maputo. From 1970, he expanded his practice to also focus on painting. Shikhani's work is marked by a bold hybridity – he fuses traditional Mozambican artistic practices with contemporary approaches to artmaking. The present work was created in 1977, three years after Mozambique secured independence from Portuguese colonial rule. This liberation was preceded by a struggle for freedom that had resulted in a decade-long civil war, leaving behind a country deeply marked by violence.Ernesto Shikhani, like other Mozambican artists who witnessed the social injustices of the former Portuguese colonial rule, put his art to the service of a nascent nationalism. Many of his works were censored by the Portuguese Intelligence Police (PIDE) who worked under the aegis of a government still caught in the grip of the religious and racist maxims prevalent in this period. The work represents one of the best-known biblical scenes, The Last Supper, and portrays Jesus and his apostles gathered around a table. The only difference in Shikhani's work is that the characters are portrayed as black, a provocation to the white supremacist mentality that impregnated the lingering colonial ideologies prevalent in Mozambique at the time. During his visit to Portugal in the summer of 1977, Shikhani donated the present work to the Hotel de Pinhal Ofir-Esposende, where he stayed. The hotel entrusted the painting to a framing company belonging to the family of the current owner. In the framing contract it was written that if the work was not recovered within a year, it would become the property of the framer – a stipulation common at the time. The Hotel Pinhal Ofir-Esposende never sent for the work, which was considered too controversial by the Portuguese government who had threatened to close the establishment if they decided to exhibit the painting.For further information on this lot please visit Bonhams.com

A large Edwardian postcard album containing early 20th century and later British and world postcards including topographical, social, animals, art, religious, etc, over 600 postcards

Attributed to Francois Villemsens (French, fl. mid 19th century): An impressive pair of First Universal 'Great Exhibition' gilt bronze Neptune ewersCirca 1851Each with mythological aquatic figural decoration, the elaborate rocaille cast urn bodies with intertwined sea serpent high scrolling handles and eagle pouring lips, the swept upper bodies cast with the sea gods drawn by twin pairs of hippocampi, trumpeting mermaids and mermen, shells and acanthus leaves, above foliate girdles applied with Neptune masks, dolphins and alternating shells and starfish, each raised on mermen and mermaid tripod supports, above rockwork tripartite platform footed bases, 56.5cm high (2)Footnotes:The model of the offered ewers is almost identical to a vase exhibited by the bronzier François Villemsens at the first Universal Exhibition known as the Great Exhibition, held in London in 1851. In the Art Journal illustrated catalogue the entry notes for his work commented: 'the three vases are from the establishment of M. Villemsens of Paris, worker in bronze, and manufacturer of church ornaments; the latter branch of business especially, being largely carried on by this house. During our visit to Paris towards the close of the past year, we saw in his extensive showrooms a vast variety of objects, exhibiting more or less taste in composition, and ingenuity of workmanship; these were principally executed in bronze and in brass, and were adapted as well for the embellishment of the private dwelling as for purposes of ecclesiastical use and decoration - statues, vases, chandeliers, candelabra, delicate rail-work, etc. The three bronze vases and dishes selected from the contributions of this firm are distinguished by beauty of outline and elaborate ornament, approaching very closely to the best antiques'.Likely descended from a family of goldsmiths in the 18th century, François Villemsens established his workshop in the Marais, first at 18 rue Michel Le Comte, then at 71 rue du Temple. In 1834, he exhibited a facsimile of the armour of Francis I, which was hailed by the Archives du Commerce et de l'Industrie (Paris, 1834, p. 157). By 1835, he entered the Réunion des Fabricants de Bronze, heir to the former corporation of foundrymen, and regularly participated in the Expositions des Produits de l'Industrie Française. Winning a silver medal at the Exhibition of 1839, Villemsens joined the 'Bronze of Art and Furnishings' category alongside Thomire & Cie and Victor Paillard before winning a further silver medal at the last Exposition des Produits de l'Industrie Française in 1849. With these successes he approached the Universal Exhibition in London in 1851 where he won a new medal by submitting the vases mentioned above, including the Neptune vase. The success led him to New York where he participated in the Universal Exhibition of 1853 and appeared in the official catalogue of the New York exhibition of the industry of all nations, p. 154, at No. 15 as 'Bronze candelabras, groups, lamps, etc. Villemsens & Co, manu. 71 rue de Temple, Paris'... He was again a medallist at the Universal Exhibition in Paris in 1855 and by 1863 Villemsens had offered to finance the award of a carving prize that would be awarded each year by the Réunion des Fabricants de Bronze. After participating in the Universal Exhibition of 1867 where he presented a cast door from the Baptistery of Florence, he finally retired from business.From the second quarter of the 19th century onwards sculptors, bronziers and goldsmiths particularly appreciated the shape of the ewer to express ornamentation in all its manifestations, giving a free rein to exuberance and eclecticism. Renaissance art was one of their main sources of inspiration, and in particular Mannerism, utilising mythological themes and motifs as illustrated by the present lot. The sculptor Adolphe-Victor Geoffroy-Dechaume and the goldsmith Charles Wagner, who were contemporaries of Villemsens, similarly produced a ewer on the theme of Ondine in 1844, which is reproduced in the Maciet Albums. Characteristically the decoration to this piece does not leave a single part of the vessel plain. Although renowned for the execution of religious ornaments, Villemsens did not limit himself to this field and contributed to renewing the genre of decorative bronzes for a secular and wealthy clientele during the mid 19th century. For a comparable identical pair of vases see Sotheby's Paris, Robert de Balkany, Rue de Varenne, Paris – Evening sale, 20th September, lot 51Related LiteratureD. Alcouffe, A. Dion-Tenenbaum and P. Ennès, Un âge d'or des arts décoratifs 1814-1848, Paris, 1991, op. cit., p. 311, fig. 162a.E. Voirot, Création le multiple : la Réunion des fabricants de bronze (1839-1870), phD thesis, Université Paris Ouest Nanterre - La Défense, 2014This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

VAN GOGH VINCENT: (1853-1890) Dutch Post-Impressionist painter, one of the most famous and influential figures in the history of Western art. An extremely rare Autograph Manuscript, unsigned, two pages, 12mo (7 x 9.5 cm), n.p. (England), n.d. (c. October-December 1876). The manuscript, evidently closely clipped from a larger page of a notebook, comprises a complete transcript, in English, of American poet Henry Wadsworth Longfellow's work Afternoon in February, written by Van Gogh is in his small, neat hand in six stanzas of four lines each, commencing 'The day is ending/ The night is descending/ The marsh is frozen/ The river dead' and concluding 'Shadows are trailing/ My heart is bewailing/ And tolling within/ Like a funeral bell'. To the verso appear 29 lines of text in the artist's hand, in Dutch, apparently a religious verse, in small part, 'As a shield and buckler Your truth is offered to me…..Because His soul loves me dearly, That is why God allowed Himself to come here'. Any autograph material by Van Gogh is of exceptional rarity and highly desirable and the present manuscript offers an interesting insight into two areas of particular significance to the artist - literature and religion. Very slightly irregularly trimmed edges, otherwise about EX Van Gogh's love of literature is well documented and, in a letter to his brother Theo dating from June 1880, the artist declared 'I have a more or less irresistible passion for books, and constantly need to instruct myself, to study, if you will, just as I need to eat my bread'.   Van Gogh was an insatiable reader, and greatly admired Shakespeare, Keats, Dickens, Charlotte Bronte, George Eliot and Victor Hugo amongst others, particularly liking authors who could 'paint with words'. Indeed, Van Gogh often made connections between paintings and literary passages, in one letter writing 'There is something of Rembrandt in Shakespeare, of Correggio in Michelet, and of Delacroix in Victor Hugo'.  In 1875 Van Gogh's love of literature clashed with his love of God and this heralded a bout of intense religiosity in which poems were replaced by hymns, and modern authors by the Bible. However, in the following year his letters again illustrate that his reading was not exclusively religious, and he wrote of a continuing interest in art books and poetry, specifically mentioning poems by Longfellow in one letter to Theo of 23rd March 1876.  Van Gogh's love of poetry and literature had a profound effect on him as he fused ideas from literature and painting, a link that was ever present. Whilst Van Gogh absorbed literature with a great passion, and however closely literature and art were entwined in his soul, he never confused the two - books with legible titles are included in portraits and still lifes, but there is not one self-portrait which features books.  In February 1875 Van Gogh wrote that he had filled a commonplace book for Theo with poems that he particularly liked, one of several such albums, some of which have survived today. The present manuscript, however, was pinpointed in April 2020 by the art journalist and Van Gogh specialist Martin Bailey as having originated from an album previously owned by Annie Slade-Jones, Van Gogh's landlady in Isleworth, Middlesex, where he lived while working as a teacher from October to December 1876. The complete volume was sold by Sotheby Parke-Bernet & Co., London, on 29th - 30th April 1980 (Lot 350, £550) when it was described as having approximately 60 entries of excerpts from 'the Bible, citations from romantic writers and transcripts of hymns'. Although Van Gogh's writings were evidently dissected from the album by the purchaser during the 1980s, such manuscript fragments remain extremely rare, and auction records show that only two other similar pieces have appeared at auction since 1980.

Two Dutch Delft tiles, one 17th century, decorated in blue and white with tulips, with metal mount, 13cm square (excluding mount), the other later with a titled religious scene, a collection of blue-glazed studio pottery including jugs, bowls, coffee cups and dishes (some bearing label for H Wilson, Hampshire), various marks, two Lobmeyr-style Art Nouveau flower-shaped enamelled drinking glasses, a Royal Copenhagen blue ground small oviform vase decorated with dandelions, three Royal Copenhagen blue and white plates and a retro studio pottery vase glazed in black and white with stylised geometric roundels Condition ReportThe tiles have chipped edges and the 'trivet' one is crazed, the brown Denby jug has a chip to the lip, the 1967 Christmas plate is chipped, there is a chip the the dark blue cream jug, the studio pottery appears to have no obvious damage.the Copenhagen vase has nibbles around the rim but could be under the glaze and the blue drinking glass has a chip to the rim

Prachtmanuskript im Stundenbuch-Stil In Gold und Farben Messe de Mariage. Französisches Manuskript auf Pergament. Frankreich, 7. Mai 1872. - Kunstvolle und aufwendige Handschrift mit Texten und Gebeten zum Sakrament der Ehe - Reich illuminiert in Gold und Farben - Jede Seite mit unterschiedlicher Prachtbordüre - Variationsreich gestaltet mit ornamentalen, floralen und figürlichen Elementen in feinster Ausführung Entstanden anläßlich der Vermählung von Eugene Cheilus und Amelie de St. Maur. Nach Art eines Erbauungsbuchs eingerichtet mit religiösen Texten und Mariengebeten, zu Beginn mit Titel, Frontispiz und den Namen der Vermählten, alles in liebevoller Kalligraphie und reich illuminiert. EINBAND: Zeitgenössischer Kalblederband auf Bünden mit Steh- und Innenkantenvergoldung, Ganzgoldschnitt, Seidenmoirée-Vorsätzen und 1 (von 2) Silberschließe, Vorderdeckel mit eingelassener Monogramm-Plakette aus Schildpatt. 18,5 : 14 cm. - ILLUSTRATION: Jede Seite eingefaßt mit vierseitiger Rahmenbordüre auf unterschiedlichen Gründen mit einer Fülle von ornamentalen, floralen, figürlichen, landschaftlichen und architekturalen Elementen. Ferner mit zahlreichen variierenden Schmuckinitialen. - KOLLATION: 2 w. Bll., 52 Bll., 2 w. Bll. Blattgröße 18 : 13 cm. Bordürenrahmen: ca. 13 : 9 cm. Textfeld ca. 9,5 : 6,5 cm. Rot regliert, Text in schwarzer Tinte, Großbuchstaben in Rot oder Blau, mit unterschiedlich gestalteten Zeilenfüllern. French calligraphic manuscript on vellum, made on the occasion of a marriage in the year 1872. Artful and elaborate manuscript with religious texts and prayers, richly illuminated in gold and colors. Each page with different magnificent border which is variationally designed with ornamental, floral and figural elements in finest execution. 52 leaves. Sheet size 18 : 13 cm. Contemp. calf on raised bands with inside gilt border, gilt edges, silk endpapers and 1 (of 2) clasps. Front board with inset plaque monogram. - Binding minim. rubbed, 1 clasp lacking, else well-preserved and inside clean manuscript. Dieses Objekt wird regelbesteuert angeboten (R).

Marc Chagall (1887 Witebsk - 1985 Paul de Vence) (F)'Saint-Jean-Cap-Ferrat', Farblithografie auf Velin, 1952, 68 cm x 49,5 cm Plattenmaß, 74,5 cm x 53,5 cm Passepartoutinnenmaß, signiert, Epreuves d'artiste nummeriert, im Druck signiert, 1949 datiert, leicht gewellt, leicht gebräunt, Literatur: Wvz. Solier VI, CS 4.Bereits um 1910-1914 löste sich Marc Chagall während seines Parisaufenthaltes vom Impressionismus, den er an der St. Petersburger Akademie erlernte. Dabei integrierte er Stilmerkmale des gerade durch Pablo Picasso und Georges Braque aufkommenden Kubismus und farbstarken Fauvismus in seiner Malerei. Nach Russland zurückgekehrt entwickelte Marc Chagall seinen eigenen Stil aus Elementen der russischen Volkskunst und der jüdisch-religiösen Erlebniswelt seiner Kindheit. Über Berlin emigrierte der Künstler nach Paris, wo er von 1920 an lebte und arbeitete. Das Werk Chagalls ist durch farbenprächtige Zusammenfügung symbolischer Bildmotive geprägt. Neben Gemälden fertigte er ein umfangreiches grafisches Oeuvre an und gestaltete Glasfensterentwürfe ebenso wie Keramik und Plastik. Ab 1950 lebte der Künstler in Vence, das über Nizza lediglich ca. 30 Kilometer von der Gemeinde Saint-Jean-Cap-Ferrat an der Côte d'Azur entfernt liegt und diese Farblithografie betitelt.Marc Chagall (1887 Vitebsk - 1985 Paul de Vence) (F)'Saint-Jean-Cap-Ferrat', colour lithograph on Velin, 1952, 68 cm x 49.5 cm panel dimension, 74.5 cm x 53.5 cm inner passepartout dimension, signed, Epreuves d'artiste numbered, signed in print, dated 1949, slightly wavy, slightly browned paper, literature: WVZ. Solier VI, CS 4.As early as around 1910-1914, Marc Chagall broke away from Impressionism, which he had learned at the St. Petersburg Academy, during his stay in Paris. In the process, he integrated stylistic features of Cubism and colourful Fauvism, which were just emerging through Pablo Picasso and Georges Braque, into his painting. After returning to Russia, Marc Chagall developed his own style from elements of Russian folk art and the Jewish religious experience of his childhood. Via Berlin, the artist emigrated to Paris, where he lived and worked from 1920 onwards. Chagall's work is characterised by a colourful combination of symbolic pictorial motifs. In addition to paintings, he produced an extensive graphic oeuvre and designed stained glass windows as well as ceramics and sculpture. From 1950 onwards, the artist lived in Vence, which is only about 30 kilometres from the municipality of Saint-Jean-Cap-Ferrat on the Côte d'Azur via Nice and which is the title of this colour lithograph.

Alexej von Jawlensky (1867 Moskau - 1941 Wiesbaden)'Meditation', Öl auf leinenstrukturiertem Papier auf Karton montiert, 17,5 cm x 12,5 cm, Unterlagekarton 30,5 cm x 25 cm, monogrammiert, 36 datiert, verso auf dem Unterlagekarton A. Jawlensky bezeichnet, IX. 1936 datiert, N. 20 nummeriert, I.A bezeichnet, in den Ecken Stecknadellöcher, Kante unten rechts mit minimalem Papierabriss (durch das Stecknadelloch), Unterlagekarton mit Montierungsrückständen. Das Gemälde wurde im Oktober 2022 dem Alexej von Jawlensky-Archiv S.A. vorgelegt, Bestätigung der Aufnahme in das Werkverzeichnis folgt.Der deutsch-russische Maler Alexej von Jawlensky absolvierte zunächst die Militärakademie in Moskau und studierte anschließend an der St. Petersburger Kunstakademie und mit Künstlerkollegen, wie Wassily Kandinsky, in München. Er war Gründungsmitglied der Neuen Künstlervereinigung München und stand somit der weltbekannten Künstlergruppe "Blauer Reiter" nahe. Seine Farbpalette besteht aus leuchtenden Farben und markantem Pinselduktus mit dunklen Umrisslinien, die stets dem figurativen verhaftet blieben. Doch bewegte er sich mit den Jahren durch seine Arbeiten zu den Zügen des menschlichen Gesichts hin zur Abstraktion. Zur Werkreihe "Meditation" gehört unser vorliegendes Werk von 1936 ebenso, wie jenes Gesicht auf Goldgrund im Museum Lenbachhaus München. Seit 1929 litt Alexej Jawlensky an Arthritis, die ihn während seiner letzten Werkphasen in eine fast vollständige Lähmung zwang, die Malerei ganz aufzugeben. "So gingen die Jahre in großer Arbeit. Und dann wurde ich krank und konnte wohl weiter arbeiten, trotzdem meine Hände immer mehr und mehr steif wurden. Ich konnte den Pinsel nicht mehr in einer Hand halten, musste beide Hände dazu nehmen, immer mit großen Schmerzen. Mein Format wurde ganz klein, auch musste ich eine neue Technik finden. Drei Jahre malte ich diese kleinen abstrakten Köpfe wie ein Besessener. Da fühlte ich, dass ich bald ganz aufhören musste zu arbeiten. Und so kam es auch!" Der Kunsthistoriker Armin Zweite hat sich mit den drei Arbeitsjahren des Künstlers zwischen 1934 - 1937 beschäftigt und die Variationen von über Hunderten von Arbeiten des Künstlers analysiert. Das Kopfmotiv zeigt "[.] schwere Balken in tiefem Schwarz das griechische Kreuz, das auf der waagrechten Markierung des Mundes ruht und oben durch die stirnbegrenzenden Brauen überfangen wird. Aufgrund der parallelen Pinselspuren gewinnen die dazwischen liegenden Flächen eine eigene Struktur. [.] An der Nasenwurzel leuchtet das zum Abschluss aufgetragene Weisheitszeichen in hellem Ton und unterstreicht den religiös-meditativen Charakter der Bilder zusätzlich." Dieser Charakter wirkt auch in unserem Werk wie der einer Ikone. Das malerische Antlitz wird hier in blau, rot, grün und gelblichen Tönen in Farbfelder aufgeteilt und wirkt trotz der starken Abstraktion äußert emotional und tiefgründig. Selbst wenn dieses betrübt gefasste Gesicht nicht auf Goldgrund gesetzt wurde, ist es doch von starker Spiritualität durchzogen. Literatur: Friedel, Helmut; Hoberg, Annegret: Der Blaue Reiter im Lenbachhaus München, Prestel Verlag, 2007Alexei von Jawlensky (1867 Moscow - 1941 Wiesbaden)'Meditation', oil on linen-texturedpaper mounted on cardboard, 17.5 cm x 12.5 cm, backing board (dimensions) 30.5 cm x 25 cm, monogrammed, dated 36, inscribed on verso of backing board A. Jawlensky, dated IX. 1936, numbered N. 20, inscribed I.A, pinholes in corners, edge lower right with minimal paper tear (through pinhole), backing board with mounting residues. The painting was submitted to the Alexej von Jawlensky Archive S.A. in October 2022, confirmation of inclusion in the catalogue raisonné follows.The German-Russian painter Alexej von Jawlensky first graduated from the military academy in Moscow and then studied at the St. Petersburg Art Academy and with fellow artists, such as Wassily Kandinsky, in Munich. He was a founding member of the Neue Künstlervereinigung München and was thus close to the world-famous ''Blauer Reiter'' group of artists. His colour palette consists of bright colours and a striking brushstroke with dark outlines that always remained figurative. However, over the years he moved towards abstraction through his works on the features of the human face. Our present work from 1936 belongs to the ''Meditation'' series, as does the face on a gold background in the Lenbachhaus Museum in Munich. Since 1929, Alexei Jawlensky had suffered from arthritis, which forced him into almost complete paralysis during his last phases of work, forcing him to give up painting altogether. ''So the years went by in great work. And then I fell ill and I suppose I could go on working, even so my hands became more and more stiff. I could no longer hold the brush in one hand, I had to use both hands, always with great pain. My format became very small, and I also had to find a new technique. For three years I painted these little abstract heads like a man possessed. Then I felt that soon I would have to stop working altogether. And so it came to pass!'' Art historian Armin Zweite has studied the artist's three working years between 1934 - 1937 and analysed the variations of over hundreds of the artist's works. The head motif shows ''[...] heavy bars in deep black the Greek cross resting on the horizontal marking of the mouth and overlaid above by the brows bordering the forehead. Due to the parallel brushstrokes, the intervening areas gain a structure of their own. [.] At the root of the nose, the wisdom sign applied at the end shines in a light tone and further underlines the religious-meditative character of the paintings.'' This character also appears in our work like that of an icon. Here, the painterly countenance is divided into colour fields in blue, red, green and yellowish tones and, despite the strong abstraction, appears extremely emotional and profound. Even if this sorrowful face was not set on a gold ground, it is still permeated by a strong spirituality. Literature: Friedel, Helmut; Hoberg, Annegret: Der Blaue Reiter im Lenbachhaus Munich, Prestel Verlag, 2007

JULIO BORRELL PLA (Barcelona, 1877 - 1957)."Woman among jugs".Oil on canvas.Signed in the lower left corner.Size: 120 x 90 cm; 136 x 103 cm (frame).The laughing blonde portrayed by Borrell in this painting exudes sensuality but without any mannerism, her gaze being jovial and complicit with that of the painter. Borrell is also skilful in capturing her temperament, and does not neglect the casual arrangement of jugs and vases around the body cut out of the wooden door.The son and disciple of Pere Borrell del Caso, Julio Borrell trained at the Sant Jordi School of Fine Arts in Barcelona. From his father he was influenced by the Nazarenes Claudio Lorenzale and Pablo Milà i Fontanals. In 1888, at the age of eleven, he entered a canvas in the Barcelona competition for the Universal Exhibition, together with his brother Ramón, also a painter. From 1894 onwards he took part in almost all the official exhibitions held in Barcelona and Madrid, and was awarded an honourable mention in 1897. That same year he was awarded a second medal at the exhibition in Arcachon, France. His name had a special resonance throughout his exhibitions at the Sala Parés in Barcelona between 1915 and 1920. His extensive output included both oil and pastel works, and covered a wide range of subjects. The theme he most cultivated was that of the classic Spanish maja, the women in mantilla and comb, depicted in his personal sensorial style, with extraordinary skill and great mastery of draughtsmanship. Among his many paintings, some of which have been widely reproduced, mention should be made of "El viático al Liceo", "Lavapiés en Jueves Santo", "Bodas reales", which he painted on behalf of King Alfonso XIII, "Luna de miel", "El triunfo del cristianismo", etc. He also devoted himself to decorative painting, producing religious murals for the church of San Francisco in Buenos Aires and the dome of the Basílica de la Merced in Barcelona, which was destroyed in 1936. Throughout his career, Borrell held numerous solo exhibitions in various Barcelona galleries and took part in group exhibitions and competitions. Many of his works are on display at the MACBA, as well as at the National Art Museum of Catalonia and others.

LUIS DE MADRAZO Y KUNTZ (Madrid, 1825 - 1897)."Portrait of a Lady with a Cat.Oil on canvas. Re-coloured.With restorations.Provenance: Private Collection of Luis García Berlanga.Signed in the lower right corner.Measurements: 81 x 54 cm; 100 x 72 cm (frame).Like the rest of his family, Luis de Madrazo cultivated the portrait. The quality of the master responsible for the painting is clear: first, for the economy of means, which keeps the spectator's attention focused on the lady (something to which the neutral background of the painting and the tonal play between the dress and the pale skin of the lady also contribute); second, for the quality of the drawing used, above all, in the face (drawing which predominates over the colour and the brushstroke, as it was usual in the art of the 19th century derived from the Neoclassicism of the Fine Arts Academies).The son of José de Madrazo and brother of Federico and Pedro, Luis de Madrazo enjoyed great prestige during his lifetime, first as a teacher (professor of Old and Ropajes Drawing) and later as director of the Madrid School of Painting, Sculpture and Engraving, and was recognised with honours such as the appointment of Commander of the Order of Isabella the Catholic, as well as a full member of the San Fernando Royal Academy of Fine Arts. He was a cultivator of religious and historical themes, although he was particularly praised as a portraitist. He began his training with his father and later furthered it at the San Fernando School in Madrid. As early as 1845 he was already working as an illustrator for "El Semanario Pintoresco". Later he also worked as a draughtsman for the "Semanario Pintoresco Español". In 1848 he went to Rome to further his artistic studies at the National Academy of St. Luke and the French Academy of the Villa Medici. In Rome he came into contact with Friedrich Overbeck through Antonio Solá. He received a powerful Nazarene influence from the German Romantic painter, which can be seen in his work from then on. Later he travelled to Paris, Venice, Munich and Berlin before returning to Italy in the 1890s, settling in Pompeii with the painters Bernardino Montañés and Francisco Sáinz. He finally returned to Spain to begin his teaching career in San Fernando and was introduced into the artistic circles of Madrid by his father and brother Federico. He worked with the latter at the Prado Museum. As a painter, Luis de Madrazo devoted himself almost exclusively to portraiture, working for official bodies and also for the nobility. He made his work, characterised by the purity of lines and the sharpness of colour and light typical of the strictest Nazarene aesthetic, known through various competitions and official exhibitions held both in Spain and abroad. In 1855 he was a major success at the Universal Exhibition in Paris, and the following year he won the first medal at the National Fine Arts Exhibition in Madrid for his work "Pelayo en Covadonga" ("Pelayo in Covadonga"). He was also awarded a silver medal at the Franco-Spanish Exhibition of 1864. Luis de Madrazo is currently represented in the Prado Museum, the Royal Academy of History in Madrid, the Lázaro Galdiano Museum in the same city and other important public and private collections.

Kadhim Hayder (Iraq, 1932-1985)A Love Deeper than All Love (Wa hawa aemaq min kuli hawa) , from the Epic of the Martyr Series oil on canvas, framedsigned 'K.HADAR' and dated '1963' (lower left), executed in 1963100 x 70cm (39 3/8 x 27 9/16in).Footnotes:'A LOVE DEEPER THAN ALL LOVE'A RARE AND MAGNIFICENT PAINTING FROM KADHIM HAYDER'S MARTYRS EPIC, FROM THE COLLECTION OF PROFESSOR ABDUL AZIZ HAMEED, FORMER PRESIDENT OF THE IRAQI STATE BOARD OF ANTIQUITIES 'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiProvenance:Property from the collection of Dr Abdul Aziz Hameed, Canada, former Professor at the Institute of Fine Arts, Baghdad (1960's), and former President of the Iraqi State Board of Antiquities and Heritage (2004-2010),Acquired directly by the above from the artist in 1965Exhibited:The Marty's Epic, Kadhim Hayder, Baghdad National Museum, 1965 (the present work is composition No.6 from the cycle)The Marty's Epic, Kadhim Hayder, Sursock Museum, Beirut 1965Published:Review of the Epic of the Martyr, Al Thawra Al Arabiyya, Anwar Al-Ghasani, May 7th 1965, illustratedKul Al-Funoon, May 26th 1965, illustratedAl-Balad, April 28th 1965, illustratedOne of the artists most touching and tender compositions, 'A Love Deeper than All Love' is a seminal painting by Iraq's most enigmatic modern artist, Kadhim Hayder. Part of Hayder's major body of work focusing on the Battle of Karbala and death of Imam Hussein known as the 'Marty's Epic', the present painting was exhibited at the artists landmark shows in the National Museum of Modern Art in Baghdad and Beirut in 1965 as well as being one of the most heavily featured works from the cycle, appearing in no less than three major press reviews at the time Being offered in the market for the first time, the work comes from the prestigious private collection of one of Hayder's oldest friends; Professor Abdul Aziz Hameed. The two became acquainted during their studies at SOAS in the 1950's, subsequently becoming colleagues at the Baghdad Faculty of fine Arts in the 1960's, Hameed then went on to become President of the Iraqi State Board of Antiquities and Heritage, the painting has been in his collection for over half a century. Extremely rare and possibly unique within the Martyr's Cycle, Hayder's composition in 'A Love Deeper than All Love', focuses on a romantic and deeply personal subject matter rather than the bloody battle of Karbala itself or the martyrdom of its protagonist, Imam Hussein. In the present work, Hussein is depicted as an anthropomorphised horse together with this Persian wife Shahbanu as the two are rendered standing affectionately side by side, in perhaps what is Hayder's most intimate take on the fabled story. Legend states that Shahbanu was present during the battle of Karbala, but includes a miraculous aspect to the story. It states that prior to his death, Husayn gave Shahrbanu his horse and bid her to escape back to her homeland in Persia. She was closely pursued by Yazid's soldiers and as she approached the mountains surrounding Rey, she tried to call out to God in desperation. However, in her exhaustion she misspoke and rather than saying 'Yallahu!' (Oh God!), she said 'Ya kuh!' (Oh mountain!). The mountain then miraculously opened and she rode into it, leaving behind only a piece of her veil which had gotten caught as the chasm closed behind her. This became an object of veneration, with the area becoming a shrine as well as a popular pilgrimage siteSaleem Al Bahloly: The Epic of the Martyr: 'Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family.In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.The paintings in The Epic of the Martyr were different sizes [they] reflect, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions.This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.'Saleem Al-Bahloly received a PhD from the University of Californi... 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

Charles Hossein Zenderoudi (Iran, born 1937)DELBODNAHAN SHOD acrylic and pigment on canvas, framedsigned 'Zenderoudi' and dated '67' (lower left), executed in 196778 x 100cm (30 11/16 x 39 3/8in).Footnotes:Provenance:Property from a private European collection'In my early work, only black and white were important. I preferred to work in these two colours only, but in folk arts, colour is the determining factor. We know how well this aspect of colour was used in tazieh's - passion plays. Red had a negative effect and is used for garments and identification of felons. White and green have a positive effect and are used for the cloak of saints. In Spanish bull fighting stadiums bulls get aggressive and attack when facing a red fabric. Green has a pacifying effect... I first studied the science of colors and then reached a method of how to make use of them in my works. The use of color in my paintings had and has a philosophical origin.'- ZenderoudiThe present work, composed in the late 1960's is an extremely rare transitional painting where the crowded iconography of the early works is fused with a greater focus on larger letter-forms which would come to characterise Zenderoui's works in the subsequent decadeLetterforms are given new life, freed from the classical monotone. Words are rendered with bold, colourful letters atypical of academic calligraphy, they fan elegantly outwards circumambulation an intertwined nucleus; the cyclical format and fractal quality of the composition harks to the meditative practises favoured by the Sufis,Measured but spontaneous, technical yet effuse, Zenderoudi' manipulates Persian calligraphy with effortless ease, boasting a visual scope which faithfully captures the salient elements of Iran's traditional popular religious aesthetic. Rendered with the use of rich and vibrant colours, his canvases replicate the tonal and textural qualities of the votive art so common to the Iranian urban landscape.Almost rhythmic in its grace, balance and composition, the present work is one of the finest examples of Zenderoudi's work from this periodThe present lot is accompanied by a Certificate from Zenderoudi and will be included in his upcoming Catalogue raisonneThis 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

Lucien Pissarro (British, 1863-1944)Le Mont Verdaille, Cotignac signed with monogram and dated '1934' (lower left); titled 'Le Mont Verdaille, Cotignac' (on the stretcher)oil on canvas55.3 x 46 cm. (21 3/4 x 18 1/8 in.)Footnotes:ProvenanceWith Leicester Galleries, London, 1940s, where acquired byR.H. Boyd, F.R.C.S., thence by descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Leicester Galleries, Lucien Pissarro, November 1934, cat.no.41Manchester, Art Exhibitions Bureau tour, City Art Gallery, Paintings and Drawings by Lucien Pissarro, June-July 1935, cat.no.78; this exhibition travelled to Birkenhead, Williamson Art Gallery, July-August 1935, cat.no.47; Blackpool, Grundy Art Gallery, October 1935; Lincoln, Usher Art Gallery, November-December 1935; Burton on Trent, County Borough Museum and Art Gallery, February 1936; Belfast, City Museum and Art Gallery, May-June 1936, cat.no.54; Rochdale, Corporation Art Gallery, June-July 1936, cat.no.54; and Gateshead, Shipley Art Gallery, August 1936, cat.no.54London, Royal Academy of Arts, Summer Exhibition, 4 May-8 August 1942, cat.no.27 Brighton, Public Art Galleries 1942, cat.no.46 (catalogue untraced)London, Leicester Galleries, 1943 cat.no.126 (catalogue untraced)London, Ben Uri Gallery 1944 cat.no.114 (catalogue untraced)Levant Galleries, 1944 (catalogue untraced)LiteratureAnne Thorold, A Catalogue of the Oil Paintings of Lucien Pissarro, Athelney Books, London, 1983, p.214, cat.no.506This landscape depicts Mont Verdaille with the Sanctuaire de Notre Dames des Grâces on its summit. To the left, beyond the lower slope, is the village of Cotignac. The history of this monastery is rich in stories of mystical visions and religious annunciations, but the place is most famous for the epiphany that foresaw the conception of Louis XIV, King of France. In 1637, an Augustinian brother of the Monastery of Notre Dame des Victoires in Paris received a revelation from the Virgin Mary. The brother divined that the childless Queen of France Anne of Austria would have to visit Notre Dames des Grâces to bear a Dauphin. Louis was born ten months later. After twenty-two years of marriage without producing an heir, this birth was considered miraculous and a gift of God. Obsessed as he was about his own divine nature, a twenty-two-year-old Louis would return with his mother to the monastery to thank the Virgin Mary. When the Queen Mother died, he placed a memorial plaque to her in the chapel, which is still in place today.Pissarro painted six landscapes at Cotignac between March and July 1937, another example of which is in the collection of the Ashmolean Museum, Oxford.For further information on this lot please visit Bonhams.com

Italian school; circa 1840."Annunciation of the Shepherds".Oil on canvas.Preserves its original canvas.It has a frame with slight faults.Measurements: 44,5 x 58,5 cm; 64 x 79 cm (frame).This biblical theme was specially treated from the Renaissance. It represents the apparition of Saint Gabriel to the shepherds at the Birth of the Child Jesus, an episode narrated in the Gospel of Luke. Here, the foreshortened bodies of the peasants have been skilfully modelled with light and line, creating chiaroscuro with cold reflections in contrast to the warmth of the garments and flesh tones. The angel bursts in with a break of glory, announcing the good news.The painting is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who encouraged its development, and the works were sometimes financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. The religious theme was therefore the subject matter.

A 19th Century oil on canvas religious ecclesiastical portrait painting picture study depicting a priest in black robe holding rosary bead with Heraldic crest to top right. The sitter resting arm on table / altar with Corpus Christi, Statue of Mary, Memento Mori skull and book / bible. The top left depicting a painting of one of the Stations of the Cross. Set to a later Fine Art Trade Guild frame. Measures approx; 57cm x 47cm (frame) 49cm x 38cm.

An 18th Century Italian School oil on board portrait painting study depicting a religious man / elderly Philosopher. The figure with beard wearing red & blue robe. Set to a later Fine Art Trade Guild frame. Measures approx; 21cm x 18cm.

Charles Bosseron Chambers (American, 1880-1964). Oil on canvas painting depicting a portrait of Escamillo from Bizet's Opera "Carmen," ca. 1920s. This dramatic portrait, framed in wonderful ornate gold gilt frame, is a large, engaging, and exceptional example.Lot Essay:C. Bosseron Chambers, the famed illustrator of epic and Christian scenes, was dubbed ‘the religious Rockwell.’ Chambers’ "Light of the World" image was as famous and popular a print as Maxfield Parrish’s "Daybreak." He was known for figurative works in an illustrative manner, with many of them being either portraits or works with religious themes.An illustrator and teacher as well as painter, Chambers was born in St. Louis, Missouri on May 1882. His father, a young Irish captain in the British Army, was a convert to the Catholic Church and his mother was the daughter of a French family long established in St. Louis.Charles, the youngest of several children, was sent to the Preparatory and Grammar Schools connected with St. Louis University in his earliest years, and his education in his chosen art was begun under Louis Schultz of the Berlin Royal Academy, with whom he spent six years. His next master was Aleis Hrdliczka of the Royal Academy of Vienna, and he later studied with Johannes Schumacher of Dresden for six years.After matriculating at St. Louis University, Chambers began his professional career at Palm Beach, Florida, a place chosen because of his mother’s failing health.From this period in his artistic productions date the fantastic figure compositions exhibited at the St. Louis Exposition, together with portraits of Colonel Mitchell for the Missouri Historical Society; Joseph Jefferson, the great American actor; young Master Haven; Henry Phipps; Henry M. Flagler; Mrs. Voorhis and others.In 1916 he moved to New York City, and established himself in the Carnegie Studios, Carnegie Hall, where he occupied a splendid atelier. Here he produced the Light of the World, the most popular religious painting of the early 1900s in the USA.He was a member of the Society of Illustrators, established in 1901 in New York City, and the Salmagundi Club, an early important art club in New York City. He illustrated Sir Walter Scott’s, Quentin Durward, in the Scribner Classics for Young People.His work was exhibited at the well-known John Levy Galleries in New York City in the 1930s, and his work is now in several public collections in St. Louis and Chicago, including Chicago’s St. Ignatius’s Church, Missouri Historical Society in St. Louis, and the Osceola Club in St. Augustine, Florida.Sight; height: 30 in x width: 23 in. Framed; height: 39 in x width: 32 3/4 in.

Fr. Jack P.Hanlon (1913-1968)  Madonna and Child   c. 1955, O.O.C., 48cms x 41cms (19” x 16 ¼”).  (1)   This charming painting of a Madonna and Child by Fr. Jack Hanlon embodies both his instinctive skill with colour, and his ability to introduce religious themes into a broadly Modernist aesthetic. A connection with the religious-themed paintings of Mainie Jellett is clear, but this is to be expected, as early in his career, Hanlon attended classes given by Jellett. The inclusion of figures of farm workers in the background ties in with his aesthetic and also his social beliefs. Although the central figures of Madonna and Child are important, the painting is also a joyful quasi-abstract essay in bright colours, with passages of ultramarine blues, pale yellows, light ochres and purples. Born in Dublin, Jack Hanlon studied at UCD and trained for the priesthood. Coming from a relatively affluent family, he was able to travel regularly on the Continent, including studying with Andre Lhote in Paris, painting on the Cote d’Azur, and even receiving advice from Henri Matisse. In 1936, two years after first exhibiting at the RHA, he joined the Dublin Painters group. After his ordination in 1939, Hanlon’s first clerical appointment was as Chaplain at Arbour Hill Prison. That same year, his art was shown at the World’s Fair in New York. He is best known for his semi-abstract watercolours and gouaches, and for his fresh and lively approach to colour and form. He had his first solo show at the Waddington Galleries in Dublin in 1941, and two years later was a founder, along with Jellett, Norah McGuinness and others, of the Irish Exhibition of Living Art. He was a prolific artist, exhibiting annually with the IELA and Oireachteas shows, and receiving commissions for Stations of the Cross and other mainly religious works of art. His murals include Our Lady of the Sea, painted in 1953 in the chapel of the Irish Naval base on Haulbowline Island, Cork. Provenance:  Important Private Collection, West of Ireland

Evie Hone, Irish, HRHA, (1894-1955)  “Composition 1925,” gouache on paper, 40cms x 28cms (15 ¾” x 11”) Signed lower right ‘E. Hone 1925’. Bears Dawson Gallery label on verso inscribed ‘Composition 1925 by Evie Hone, No. 13 in exhibition 1957’ The title of this work, Composition, is apt, as a small section contains, or at least suggests, music notation. If music was an indeed an inspiration, this may be revealed also in passages, in this otherwise resolutely abstract work of art, where the side of a lyre is suggested, or the curve of a grand piano. However, the central concept that finds expression in Composition is a religious one. Within the abstract forms can be discerned the head of a Madonna leaning over a child, an key element of Renaissance art that Hone has sublimated within a finely coloured harmonious abstract composition. Along with her fellow-student and friend Mainie Jellett, Evie Hone is credited with introducing Modernist abstraction into mainstream Irish art. In 1920, she travelled to Paris, to study under the Modernist painter Andre Lhote. A few months later, she was joined by Jellett. Disenchanted with the liberal atmosphere in Lhote’s atelier in Rue Odessa, the two artists moved on the following year to study with the Cubist painter Albert Gleizes at his studio in Puteaux, a suburb of Paris. Well-connected politically, Gleizes had converted to Catholicism three years earlier, and his social idealism and intense devotion to religious subject matter in art was to the taste of the two young Irish artists. Although Gleizes did not as a rule take on students, he made an exception in the case of Jellett and Hone. In 1921 they began their studies, although it is clear, that they quickly began to influence Gleizes. Over the next decade, furthering their studies, they visited him one or twice a year, either in Paris or at the atelier he had found in the Ardèche. In the years following, in Ireland, while Jellett continued to produce Synthetic Cubist paintings that closely reflect Gleizes’ teachings, Hone took her exploration of Modernist art to a new level. In particular, in designs for stained glass windows for A Tur Gloine, she began to outline her figures with heavy black lines, echoing the work of Georges Rouault. However, while Rouault had, in addition to Christian themes, depicted courtrooms, circus clowns and bordellos, Hone’s piety is reflected in her unwavering subject matter of landscape and religious subject-matter. At a time when the teaching in the Metropolitan School of Art in Dublin was resolutely controlled by Realist and Impressionist artists, as was the Royal Hibernian Academy, both Hone and Jellett introduced, what was for Ireland, a radical new vision in art. Provenance: Important Private Collection, West of Ireland.

Bartolomeo Cesi,Italian 1556-1629-St Peter Martyr writing on the ground;red chalk heightened with white on blue paper, inscribed ‘Bmeo Cesi’ in black chalk (lower left), 21.1 x 24.5 cm.Provenance: Private collection, France.; with P. & D. Colnaghi & Co., London.; Private Collection, UK, since 1996.; By descent.Exhibited: London and New York, P. & D. Colnaghi, ‘An Exhibition of Old Master and 19th Century Drawings’, 5-15 December 1995 and 9 January-10 February 1996, no.10.Literature: Stephen Ongpin, 'An Exhibition of Old Master and 19th Century Drawings', Colnaghi & Co., London, 1995, no.10 (illustrated).Note: We are grateful to Marco Riccòmini for confirming the attribution of the present lot. According to the Bolognese art historian Carlo Cesare Malvasia (1616-1693), Cesi was a pupil of Nosadella (c.1549-1571), and early in his career worked in the church of San Pietro in Bologna alongside Prospero Fontana (1512-1597) and Camillo Procaccini (1551-1629). While his early work reflects the influence of the Bolognese mannerism of his elders, a presumed trip to Rome in 1591 exposed Cesi to a more restrained, Counter-Reformation style of painting that he adopted in his mature work. In 1594 Cesi completed several frescoes of the ‘Life of the Virgin’ in the church of Santa Maria dei Bulgari in Bologna, and an ‘Adoration of the Magi’ for San Domenico the following year. At the turn of the century he was employed on the fresco decoration of several rooms of the Palazzo Fava, through which he came into contact with the work of the Carracci, whose frescos for the palace were completed a few years earlier. This was, however, one of the few secular commissions he undertook. Cesi’s work is almost entirely religious in subject matter, and the artist remained closely associated with several frescos and paintings of Carthusian saints and subjects for the choir of the Certosa of Bologna, generally dated to between 1612 and 1616. The present sheet is a typical example of Cesi’s figure studies, which are often in red chalk on blue paper. Perhaps inspired by the Carracci, Cesi’s drawings were made from life, using models posed in his studio, and indeed, his drawings have often in the past been attributed to one or another of the Carracci. Like this drawing, many of Cesi’s surviving figure studies depict models dressed in monastic robes. The present sheet, however, remains unconnected to any surviving work by the artist (Stephen Ongpin, 'An Exhibition of Old Master and 19th Century Drawings', Colnaghi & Co., London, 1995). For comparable drawings by the artist in red chalk, see the example at Windsor, ‘A Kneeling Monk’ [RCIN 903696], and the double sided drawing which sold at Christie’s, London, 5 July 2013, lot 279 (£6,000).Please refer to department for condition report

Alfred Borron Clay, British 1831-1868- Charles IX and the French Court on the morning of Saint Bartholomew's Massacre; oil on canvas, signed and dated 'A.B. Clay. 1865' (lower left), 47 x 71.5 cm. Provenance: with The Cooling Galleries, London. Note: The present work is a highly finished smaller version of the artist’s large-scale canvas held at Liverpool’s Walker Art Gallery [WAG2508], which was conceived a year earlier in 1864. The Saint Bartholomew's Day massacre was a targeted group of assassinations in 1572, directed against the Huguenots during the French Wars of Religion. Traditionally believed to have been instigated by the Catholic Queen Catherine de' Medici (here shown standing prominently in the foreground and wearing black), the mother of King Charles IX, she is still remembered as the 'Black Queen' of France, foe of all Protestants, and the Italian daughter of a merchant who dragged France into a series of bloody, religious civil wars. The present work is a dramatic rendering of the historical scene, with a violent energy implied by the flashes of weaponry and armour, as well as the dense gathering of people, whilst at the same time retaining a degree of remove from the aggression, which has not yet begun in earnest. Another 19th-century interpretation of the historical event was executed by French artist Édouard Debat-Ponsan (1847–1913), held at the Musée d'Art Roger-Quilliot [894.110.1]. Clay evidently enjoyed the subject of historical scenes, often densely packed and full of drama. See, as a further example, his ‘Charles II Entering London’, 1867, in the Bolton Museum and Art Gallery [BOLMG:1917.2.]Please refer to department for condition report

Laila Tara H Thief! Thief! Thief In My Closet!, 2022 Natural Pigment, Watercolour, Velvet and Handmade Hemp Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Laila Tara H (b.1995, London) is an Iranian-British artist whose practice stems from the visual language of Indo-Persian miniature painting. Laila's Iranian heritage, and years spent moving through continents have inspired the language through which she articulates her own history + life. Utilising historical techniques, her works explore and experiment in scale and negative space. Symbolic forms and multiple, concurrent narratives punctuate the space. Detailed figures suspended amidst contemporary urban scenes, disjointed limbs amidst delicate foliage, are all arranged in stark, startling compositions that defy stylistic cannons and stretch boundaries. She often cuts and folds paper, puncturing and destabilising space to introduce new three-dimensional depth and shadow play. Her works, most often painted on hand-made natural hemp paper sourced from Sanganer, India, explore a range of emotions, and create a charged surface where the tension between form and formlessness; the object and its surrounding emptiness, plays out. The figures explore our sense of perspective and time, and are interlaced with deeply personal narratives. Laila mostly uses pigments that are either naturally derived, or prepared using traditional methods from found materials-these range from crushed red London bricks; walnut ink; madder red pigment; deep blue lapis lazuli from Badakhshan province of Afghanistan and India, sourced from Florence; ochres from Iran, collected from the island of Hormoz.   Education   2017-2019 MA (distinction), The Prince's School of Traditional Arts, Miniature Painting   Select Exhibitions/Awards   Solo / Two-person: 2022 In Studio, Drake's London, New York, United States 2022 Twisted toes, tangled ears (with Anousha Payne), Public Gallery, London, United Kingdom 2022 duck duck goose, Purdy Hicks Gallery, London, United Kingdom 2021 Vexilloid, O Gallery, Tehran, Iran 2021 Am I?, V.O Curations, London, United Kingdom 2021 Sky-Circles (with Anusheh Zia Siddiqui), Indigo+Madder, London, United Kingdom Recent Selected Group: 2022 The body we are in, Confer-Karnac, London 2022 Future Fair, Cob Gallery, New York, United States 2022 Drawing Now Fair, Purdy Hicks Gallery, Paris France 2022 London Art Fair, Purdy Hicks Gallery, London 2022 ASSEMBLE, V.O Curations, London 2021 Slow Burn, Indigo+Madder, London 2021 Cruel Intentions, Arusha Gallery, London 2020 Casa Balandra Open Studios, Casa Balandra, Mallorca, Spain 2020 Nourishment Projects, V.O Curations, London 2020 So Good So Close, Numeroventi, Florence, Italy   Statement about AOAP Submitted Artwork   There's a moth in the cupboard. It's eaten through all the wool and all the silk. There's a moth in the cupboard and I can't get it out. Now that the moth turned velvet red, I sit by the fire and burn all that's left. ____ My painting practice for the last few years has stemmed primarily from Persian and Indian Miniature painting. My adoption of the tradition started as a means to leash myself to my lineal heritage, both by use of technique and medium but also by the active rejection of the western art power structure that has largely shunned non-western production as craft and inspiration. This is symptomatic of the larger geo-political power structure that physically dislocated and dismembered the majority (and most important) of the manuscripts. I say this while noting that tradition is an unstable term, especially when it's being used to cover half a continent and many centuries and is an evolving, thing. With the understanding that tradition is both unstable and unhinged now that it's existing entirely out of its original physical context - not entirely unlike my own biographical existence, I'm interested in the deconstruction of its aesthetic framework. To expand on the former, I am practicing the tradition outside of its original nation/state, outside of it's book-binding, outside of the generations of schools of men dedicated to it, outside of the occident/orient binary, and entirely outside of it's original purpose as a story-teller for political and religious means. Instead, I'm taking it on as a language with which to build a sort of Laila- dialect and weave my lived experiences. My compositions are maximal minimal - they require negative space to push movement and then the paint acts as an interjection. I enjoy taking this dense form of painting that began in manuscripts and reducing it down to its core - to take whole narratives and turn them to single sentences (with titles that are often poems.) Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Hannah Kate Absalom Hell Fire, 2022 Coloured Pencil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Absalom is a 2020 graduate of The Glasgow School of Art with a BaHons in Fine Art - Painting & Printmaking. Though originally from Northumberland, she is currently based in Glasgow, working as a practicing artist. Absalom has also studied at The Bezalel Academy of Arts and Design in Jerusalem, Israel, and over the last few years has taken part in several film festivals and exhibited internationally. In September 2022 she will be relocating to London to study a 2 year MFA at Central Saint Martins.   Education   The Glasgow School of Art   Select Exhibitions/Awards   Solo exhibition, Imbala, Jerusalem, 2019. Group exhibition, SOUP, Glue Factory, Glasgow, 2019. Group exhibition, Across the Sea, Pratt Institute, New York, 2019. Group exhibition, New Glasgow Society, Glasgow, 2020. Group exhibition, Ten Past Six, Six Foot Gallery, Glasgow, 2020. Group exhibition, The Pieces are in Flux, Salt Space Gallery, Glasgow, 2020. Films screened at Interlude Film Festival, SWG3 and ISO Design, Glasgow, 2021. Group exhibition, The Alternative Degree Show, The Briggait, Glasgow, 2021. Group exhibition, Open Cut, The Wunderkammer Project, Transmission, Glasgow 2022. Solo exhibition, Tchai Ovna, Glasgow, 2022. Solo exhibition, MIASMA, WASPS South Block, Glasgow, 2022. Gallery Representation   NewBlood Art   Statement about AOAP Submitted Artwork   The works I have submitted reflect by current practice of investigating religious and mythic dystopias within a contemporary framework. The figures on my postcards, such as the hooded figure and pale horse are reoccurring within my works and act as warning prophets of sorts. My work primarily focuses on concepts surrounding religion and mysticism through a contemporary interpretation of ancient iconography, ritual and folklore. Aside from narrative tales, I also explore collective thought, in which certain symbols, colours, creatures and bodily gestures invoke shared responses across time and culture. In addition to exploring the effect of religion upon traditional art forms, this investigation expands into a reflection of Judeo-Christianity on the aesthetics of the grotesque and horror. I aim to present a classical yet surreal interpretation of dystopias and apocalypses within the framework of contemporary concerns; political, societal and environmental. The uncanny is an underlying aspect of my practice. The imagery used within the postcard artwork is unsettling, disturbing and hypnotic in its blending of dream and dogma.   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.

Hannah Kate Absalom Offerings From Syracuse, 2022 Coloured Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Absalom is a 2020 graduate of The Glasgow School of Art with a BaHons in Fine Art - Painting & Printmaking. Though originally from Northumberland, she is currently based in Glasgow, working as a practicing artist. Absalom has also studied at The Bezalel Academy of Arts and Design in Jerusalem, Israel, and over the last few years has taken part in several film festivals and exhibited internationally. In September 2022 she will be relocating to London to study a 2 year MFA at Central Saint Martins.   Education   The Glasgow School of Art   Select Exhibitions/Awards   Solo exhibition, Imbala, Jerusalem, 2019. Group exhibition, SOUP, Glue Factory, Glasgow, 2019. Group exhibition, Across the Sea, Pratt Institute, New York, 2019. Group exhibition, New Glasgow Society, Glasgow, 2020. Group exhibition, Ten Past Six, Six Foot Gallery, Glasgow, 2020. Group exhibition, The Pieces are in Flux, Salt Space Gallery, Glasgow, 2020. Films screened at Interlude Film Festival, SWG3 and ISO Design, Glasgow, 2021. Group exhibition, The Alternative Degree Show, The Briggait, Glasgow, 2021. Group exhibition, Open Cut, The Wunderkammer Project, Transmission, Glasgow 2022. Solo exhibition, Tchai Ovna, Glasgow, 2022. Solo exhibition, MIASMA, WASPS South Block, Glasgow, 2022. Gallery Representation   NewBlood Art   Statement about AOAP Submitted Artwork   The works I have submitted reflect by current practice of investigating religious and mythic dystopias within a contemporary framework. The figures on my postcards, such as the hooded figure and pale horse are reoccurring within my works and act as warning prophets of sorts. My work primarily focuses on concepts surrounding religion and mysticism through a contemporary interpretation of ancient iconography, ritual and folklore. Aside from narrative tales, I also explore collective thought, in which certain symbols, colours, creatures and bodily gestures invoke shared responses across time and culture. In addition to exploring the effect of religion upon traditional art forms, this investigation expands into a reflection of Judeo-Christianity on the aesthetics of the grotesque and horror. I aim to present a classical yet surreal interpretation of dystopias and apocalypses within the framework of contemporary concerns; political, societal and environmental. The uncanny is an underlying aspect of my practice. The imagery used within the postcard artwork is unsettling, disturbing and hypnotic in its blending of dream and dogma.   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.

ALKEMADE, K. v. & P. v.d. SCHELLING. Nederlands displegtigheden, vertoonende de plegtige gebruiken [en misbruik] aan den dis, in het houden van maaltyden, en het drinken der gezondheden, onder de oude Batavieren, en vorsten, graaven, (etc.), nevens den oorsprongk dezer gewoontens, en der zelver overeenkomst met die van andere volken. Rott., Ph. Losel, 1732-35. 3 vols. (134), 562; (2), 557, (61); (90), 612, (54) pp. W. 2 engr. front. & 15 (partly fold.) engr. by F. v. Bleyswyck. Sm-8°. Cont. vellum. (Vol 3: small wormhole in spine). NOTE:Book of Netherlandish antiquities describing religious and secular feasting habits. A great part is devoted to the history, art and excesses of drinking (wine). - Witteveen/Cuperus 111; Haitsma Mulier/v.d. Lem 9g & 425c.

Ca. 2000-700 BC.A bronze Master of Animals sceptre comprised of a central openwork design terminating into a head. Flanked by animals on either side, with wide open mouths. It was probably used during religious rituals. The Master of Animals or Lord of Animals is a motif in ancient art showing a human between and grasping two confronted animals. It is very widespread in the art of the Ancient Near East.Size: L:310mm / W:98mm ; 360gProvenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1990s on the UK / International art markets.

Ca. 3rd millennium BC.A cream-coloured ceramic figurine of a zebu bull with rondel eyes. Painted with stripes and dots on the back, shoulders, and on the exaggerated crescent horns. The bull, with its hump and powerful horns, is a recurring motif in the Indus Valley. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull's importance in religious sacrifice. Size: L:80mm / W:100mm ; 120gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.

Ca. 224-651 AD.A silver boat-shaped vessel with a rectangular plan, sloping sides, and rounded bottom. The Sassanian empire which ruled from Afghanistan to Iraq during the third to seventh centuries AD is famed for the high quality of its ceremonial metalware, which was used both during banqueting and during religious rituals. Under the Sasanians Iranian art experienced a general renaissance. Artistically, this period witnessed some of the highest achievements of Iranian civilization. Metalwork and gem engraving became highly sophisticated.Size: L:35mm / W:180mm ; 110gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.