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Quakers.- Davis (Lydia, compiler) Album of Quaker manuscripts & original art, including autograph contributions by notable Quakers such as Jeremiah Wiffin (an undated initialled copy of his abolitionist poem 'Appeal for the Injured African'), Thomas Pole (6 small fine original drawings of rural scenes on 2 sheets, and a set of initials for Lydia Davis) Thomas Shillitoe (a religious rumination, Tottenham, 1833), and Joseph Storrs Fry (a religious quotation), also a pencil drawing of 'Eatington [Ettington, Warwickshire] Meeting House', possibly by a Sarah Lowe, botanical watercolours, and various copied Quaker writings, occasional spotting or staining, contemporary blind-stamped and gilt black calf, corners worn, rubbed, especially the joints, small 4to, [c. 1800-60 (mostly 1820-45)].⁂ An interesting album of Quaker material compiled by Lydia Davis, of Alstone Green, Gloucestershire.

A LARGE BRONZE DANCER'S HEADPIECE IN THE FORM OF A PANJURLI BHUTA (BOAR SPIRIT DEITY)South India, Kerala or Karnataka, 18th century. The mask finely cast in openwork to depict the head of a boar spirit with large pierced almond-shaped eyes, neatly incised arched brows, the mouth agape revealing teeth and tongue, the long pierced snout and lips detailed with beaded decorations, the head surmounted by an intricately cast crown; topped by six cobras above beaded and floral decorations as well as a row of numerous smaller snakes. Provenance: German trade.Condition: Good condition with old wear and some casting irregularities. Losses, nicks and dents, a bit of verdigris here and there, particularly to back and interior. Naturally grown patina overall.Weight: 5,475 g (excl. stand)Dimensions: Height 48 cm (excl. stand)This dramatic dancer's headpiece in the form of a boar's head was created in the southwestern coastal region of Tulu Nadu (in the modern Dakshina Kannada and Udupi districts of Karnataka state and Kasaragod district of Kerala state), for ritual use in dance festivals propitiating and honoring the local tutelary spirit deities (bhuta). Hundreds of these elaborate community celebrations, called Dharmanema festivals, are held every year between February and May to venerate the regional pantheon of over 350 spirit deities. The boar spirit deity (Panjurli), one of the most powerful and important Genii Loci, is said to be borne of the forest and is thus particularly revered in this lush tropical region. He is also responsible for upholding righteousness through his identification as a manifestation of Vishnu, the supreme Hindu god of preservation and social order. This religious correlation is expressed by Panjurli's visual similarity to Varaha, the boar-headed avatar of Vishnu. Dancers' headpieces and masks are fashioned in a wide variety of iconographic forms and local artistic styles. They are typically quite large in size, and made in one of three primary media: wood, papier-mâche, and bronze. This headpiece is a tour de force of the genre because of its superb artistic quality, pronounced facial modeling, and complex ornamentation.With a modern stand. (2)Literature comparison: Compare a closely related copper alloy dancer's headpiece in the form of Panjurli Bhuta, 43.5 cm high, in the Los Angeles County Museum of Art, accession number M.2005.49a-b. For a comparable example, see Brian A. Dursum, Change and Continuity: Folk and Tribal Art of India, Florida, 1998, p. 38, fig. 62. See S. Aryan, Unknown Masterpieces of Indian Folk and Tribal Art, 2005, p. 61-63, for bhuta masks made in brass; and the exhibition Dancing Masks - Bronzes from Southern India, 17 May to 23 August, 2009 at the Museum Rietberg, Zurich.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 19 March 2008, lot 345 Price: USD 12,500 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: Panjurli-Bhuta Mask Copper Alloy India, Karnataka, Tulu Nadu region Expert remark: Note the smaller size (38 cm)Auction result comparison: Type: Closely related Auction: Christie's New York, 18 September 2013, lot 246 Price: USD 16,250 or approx. EUR 20,000 converted and adjusted for inflation at the time of writingDescription: A brass bhuta mask of a boar, South India, Karnataka, 18th/19th century Expert remark: Note the size (42.6 cm)

A CELADON AND RUSSET JADE 'QILIN AND CRANES' GROUP, 18TH CENTURYChina. Carved as a recumbent qilin, the legs tucked underneath, its head turned backwards facing the trifurcated tail, the face finely incised with bulging eyes, horns and whiskers, a wisp of vapor emerging from the open mouth, and a small crane nestled to each side. The translucent stone of a celadon tone with russet patch and veining.Provenance: Property from the collection of Drs. Edmund and Julie Lewis. Drs. Edmund Jean and Julia Breyer Lewis are renowned experts in nephrology who met professionally and later married in 1997, and have since continued to collect Japanese art together, actively seeking the best they could find from the finest dealers in the field. Known for their keen scholarship and high aesthetic standards, for the past three decades Ed and Julie have focused on collecting lacquer art, painting, and Buddhist sculpture from Japan. As they traveled widely their desire to collect Buddhist art grew, and they have expanded their collection to include important Pan-religious sculpture from Greater Asia. Condition: Very good condition with minor wear and few minuscule nicks here and there, the zitan base with few tiny losses.Weight: 563.8 g Dimensions: Length 12.5 cm (excl. base), 14.5 cm (incl. base)With a matching openwork zitan base from the same period, carved overall in the form of gnarled branches and rockwork with lingzhi. (2)Expert's note: The lapidary who created the present piece has cleverly utilized the jade pebble to fashion a highly auspicious piece. While jade carvings of cranes or qilin alone are found frequently, group depictions of this subject, such as the present lot, are highly unusual and extremely rare. The superbly carved matching zitan base adds even further to the already impressive appearance of the jade. Auction result comparison:Type: Closely relatedAuction: Sotheby's London, 10 May 2017, lot 286Price: GBP 25,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writingDescription: A white jade 'phoenix and qilin' carving, Qing dynasty, 18th centuryExpert remark: Note the near-identical size (12 cm)十八世紀青玉留皮麒麟仙鶴擺件中國。圓雕臥麒麟，雙腿收於身下，威風凜凜的龍頭、一柱擎天的鹿角、有力強勁的馬蹄、搖擺自如的牛尾，兩邊依偎著一隻小鶴。青色半透明玉料，帶有赤褐色斑紋。 來源：Drs. Edmund 與Julie Lewis收藏。Drs. Edmund Jean 與 Julia Breyer Lewis是著名的腎臟學專家，他們在專業上相識，後來於 1997 年結婚，此後一起收藏日本藝術品，積極從該領域最優秀的經銷商那裡尋找最好的藝術品。Ed 和 Julie 以其敏銳的學識和高度審美標準而聞名。在過去的三十年裡，Ed 和 Julie 一直專注於從日本收集漆器、繪畫和佛教藝術造像。隨著他們旅行見聞的擴展，他們收集佛教藝術的願望越來越強烈，因此收藏範圍擴大到包括來自大亞洲的重要泛神論造像。 品相：品相極好，輕微磨損，很多微小的刻痕，紫檀底座輕微缺損。 重量：563.8 克 尺寸：長 12.5 厘米 (不含底座), 14.5 厘米 (含底座) 搭配同期的鏤空紫檀底座，圓雕石畔靈芝形式。 專家注釋：製作此擺件的玉匠巧妙地利用玉料雕刻出一件意義祥瑞作品。鶴或麒麟的玉雕雖多見，但像本拍品這樣的組合卻極極為罕見。精雕細琢的紫檀底座更增添了玉石已經令人印象深刻的外觀。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2017年5月10日，lot 286 價格：GBP 25,000（相當於今日EUR 32,325） 描述：十八世紀清代白玉鳳凰麒麟擺件 專家評論：請注意幾乎相同的尺寸 (12 厘米)。

Mekong Delta, present-day Cambodia and Vietnam, 6th-7th century. Superbly carved standing with each foot on a separate lotus dais, wearing a diaphanous sanghati, the folds elegantly draped over his left shoulder and elbow, gathered at the ankles. The serene face sensitively drawn with heavy-lidded eyes, the sinuous lids and round pupils neatly incised, gently arched brows, and full lips, flanked by long pendulous earlobes, the hair arranged in snail-shell curls surmounted by a tall ushnisha.Provenance: From a notable collector in London, United Kingdom.Condition: Magnificent condition, commensurate with age. Extensive wear, encrustations, losses, signs of weathering and erosion, minor nicks, cracks and scratches. Fine, naturally grown patina overall.Dimensions: Height of figure excluding base and tang: 146.5 cm. Height of figure including tang, but excluding base: 190 cm. Height including base: 196 cm.The youthful-looking Buddha presents an elegant image that acts as a metaphor for his spiritual perfection. He stands on two lotus flowers, which probably identifies him as one of the esoteric Buddhas, depicted in Nirvana or another of the heavenly realms. This is the serene eternal state of one who is removed from the passage of time and the emotional issues of the human sphere. He has caused the lotuses to bloom and as they support his weightless form, they symbolize his purity of thought.The earliest stone sculptures of the region were created in the Mekong Delta, now shared by Cambodia and Vietnam, where Indian trading communities introduced their own Buddhist and Hindu beliefs. Contacts with regions to the north and China were also strengthened by trade. This Buddha retains elements of form that are associated with India while the two lotuses, rather than one, on which he stands indicate a Chinese influence. His appearance has been transformed by the introduction of a purely regional aesthetic, however. Separated from the South Asian sangha (religious establishment), local devotees came to see the Buddhist faith as their own and consequently endorsed their beliefs with images resembling themselves.Buddhism had reached Southeast Asia by the 1st century AD, largely thanks to its popularity amongst Indian merchants who established trading communities around the Mekong Delta. They initially sourced gold in the region but found other rare commodities such as ivory, gemstones, minerals and fine woods for markets both at home and further west. As a result, the Mekong Delta became part of a wider trading network linking the China Seas with the Roman Empire. There are epigraphical accounts describing the journeys on merchant ships of Buddhist missionaries from southern India and Sri Lanka, but the earliest visual record of stone sculptures indicates that evangelists from northern India and possibly Gandhara and China were also active in the region.International trading predated the establishment of diplomatic links between the rulers of the Mekong Delta with China in the 3rd century and various Indian kings in the 4th century. Indian and to a lesser extent Chinese culture gradually infiltrated the region’s hierarchy and while the higher echelons were attracted to the Buddhist and Hindu faiths, the vast majority of the people maintained their traditional beliefs.A number of cities linked by canals existed in the Delta region, including the extensive sites of Oc Eo, Phnom Da, and Angkor Borei, which may have been autonomous principalities or part of a confederation. Along with the adjacent Phnom Da, Angkor Borei was a notable ritual center; its influence outlived the eclipse of Funan, perhaps through association with an ancestral cult. Buddhism and Hinduism had a unifying effect to some extent but within the region, devotees only adopted those aspects of the Indian faiths that were relevant to their needs; these probably varied from place to place. It is possible that the Buddha and Hindu gods were honored with temples and statues, emulating those of India, in order to bolster the political or social status of their Southeast Asian adherents.Expert’s note: For a detailed academic commentary on the present lot, elaborating on the history and art of Funan as well as the evolution of Buddhist images in the Mekong Delta, and showing many further comparisons to examples in private and public collections, please see the lot description on www.zacke.at. To receive a PDF copy of this academic dossier, please refer to the department.Literature comparison:Compare a closely related sandstone figure of the Buddha preaching, attributed to Southern Cambodia and dated to the late 7th century, 94 cm high, in the collection of the Musée Guimet, reference number MG18891, and exhibited in the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, April 14, 2014–July 27, 2014, cat. no. 44. Compare a related sandstone figure of Avalokiteshvara, also standing on two lotus flowers, attributed to Southern Vietnam and dated second half of the 7th to early 8th century, 188 cm high, in the collection of the Musée Guimet, reference number MA5063, and illustrated ibid., cat. no. 137. Compare a closely related wood figure of Buddha, dated c. 6th century, in the Museum of Vietnamese History, Ho Chi Minh City, illustrated by Nancy Tingley, Arts of Ancient Viet Nam: From River Plain to Open Sea, Houston, 2009. Compare a closely related sandstone figure of Buddha, dated to the 7th century, 98.2 cm high, in the National Museum of Cambodia, inventory number Ka.1589.Auction result comparison:Type: RelatedAuction: Christie’s New York, 20 March 2012, lot 151Price: USD 338,500 or approx. EUR 423,500 converted and adjusted for inflation at the time of writingDescription: A sandstone figure of Buddha Shakyamuni, Khmer, Angkor Borei, 9th centuryExpert remark: Note that this figure is slightly later and considerably smaller (82.6 cm) than the present lot.Auction result comparison:Type: RelatedAuction: Christie’s New York, 17 March 2015, lot 35Price: USD 413,000 or approx. EUR 500,000 converted and adjusted for inflation at the time of writingDescription: An important stone figure of Buddha, Thailand, Dvaravati period, 8th centuryExpert remark: Note that this figure is attributed to Dvaravati, around 600 miles northwest of the Mekong Delta. While Buddhist sculpture of the pre-Angkor period sometimes shares characteristics with contemporaneous Dvaravati art, the present figure's slightly attenuated proportions mark a departure, imbuing the Buddha with a lithe, uplifted quality. Note the slightly smaller size (111.7 cm).

AN IMPORTANT CHAM GOLD REPOUSSE AND GEMSTONE-SET DIADEM, CHAM PERIODPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 110, Budapest 2013.Vietnam, former kingdoms of Champa, circa 10th century. Decorated with three heads of Shiva, each with almond-shaped eyes, bushy brow and mustache, an urna, and long pendulous earlobes, the heads surrounded by foliage above a wave border. Set with spinel, almandine, zircon, and amethyst cabochons, two loops for mounting.Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Very good condition with minor traces of age and wear, some minor bending, few tiny nicks here and there, and soil encrustations.Weight: 84 gDimensions: Height 8.5 cm, length 45.9 cmExpert's note: Diadems were used to adorn stone images of gods in Cham religious cult. They were made of gold or silver plates with repousse technique and gemstone inlays. They often depicted Shiva and the 'face of glory' (kirtimukha) on a background of lavish floral ornamentation, leafy tendrils and scrolls.

A LARGE COPPER ALLOY FIGURE OF MANIKKAVACAKAR, TAMIL NADU, 14TH-15TH CENTURYSouth India. Boldly cast standing in tribhanga atop a double lotus pedestal supported on a stepped base decorated with beaded edges, incised lotus and geometric designs. He is holding prayer beads in his right hand, a manuscript in his left, wears a tight-fitting dhoti and is adorned with beaded jewelry. The serene face with large almond-shaped eyes with incised pupils below elegantly arched brows, the full lips forming a calm smile, flanked by pendulous pierced earlobes. Provenance: From a private collection in London, United Kingdom, acquired prior to 2000. Thence by descent.Condition: Very good condition with minor wear and casting flaws, small nicks, light scratches, minor dents. The back of the legs with remnants of an old label which have left marks on the patina.Weight: 7,856 gDimensions: Height 38.5 cmManikkavacakar (Tamil: 'One whose words are like gems') was a 9th-century Tamil saint and poet who wrote Tiruvasakam, a book of Shaiva hymns. Speculated to have been a minister to the Pandya king Varagunavarman II (c. 862-885), he lived in Madurai and is revered as one of the Nalvar, a set of four prominent Tamil saints alongside Appar, Sundarar, and Sambandar. The other three contributed to the first seven volumes (Tevaram) of the twelve-volume Shaivite work Tirumurai, the key devotional text of Shaiva Siddhanta. Manikkavacakar's Tiruvasakam and Thirukkovaiyar form the eighth volume. These eight are considered to be the Tamil Vedas by the Shaivites, and the four saints are revered as Samaya Kuravar (religious preceptors). Manikkavacakar's works are celebrated for their poetic expression of the anguish of being separated from God, and the joy of God-experience, with his ecstatic religious fervor drawing comparisons with those of Western saints like St. Francis of Assisi. Manikkavackar's stone image is worshiped in almost all Shiva temples of Tamil Nadu.Expert's note: There is a remote possibility that the present figure dates from the 12th-13th century, especially when comparing the metallurgy and some physical characteristics with the statue of Yashoda at the Metropolitan Museum. If this were the case, however, it would also mean that the lower two-thirds of the base would have been replaced or at least re-decorated at a later point in time, probably between the 15th and 17th centuries.Literature comparison: Compare a closely related bronze of the Shaiva saint Sambandar, dated to the 15th century, 52.1 cm high, in the collection of the Norton Simon Museum, accession number F.1972.25.3.S. Compare also a related bronze depicting Yashoda with the infant Krishna, dated early 12th century, the cast of similar copper-brown patina and with similar wear and casting flaws, in the collection of the Metropolitan Museum of Art, accession number 1982.220.8.Auction result comparison: Type: Related Auction: Nagel, Stuttgart, 11 December 2020, lot 1656 Price: EUR 57,600 or approx. EUR 59,500 adjusted for inflation at the time of writing Description: A fine bronze figure of Sambhandar, South-India, Vijayanagar period, ca. 13th ct.Expert remark: Compare the closely related pose and coppery tone of the bronze. Note the similar size (37 cm).

A THANGKA OF A LAMA AND CHANGKYA RÖLPE DORJE (1717-1786), QIANLONG PERIODChina, 1736-1795. Gold and distemper on cloth. The elderly lama is seated with legs crossed on cushions resting on the platform of a throne with offerings placed before him, his right hand raised in karana mudra and holding a vajra, the left lowered in the same gesture and holding a ghanta. He is wearing loose-fitting monastic robes and a tall yellow pointed cap, characteristic of the Gelugpa sect. Above the lama is a smaller image of a high pontiff, probably Changkya Rölpe Dorje, holding a vase and lotus stems coming to full bloom at the shoulders and wearing a folded hat, which is also associated with portraits of the Panchen Lama. All within a rich verdant landscape with trees, mountains, and waterfalls amid thick swirling clouds.Provenance: Belgian trade.Condition: Extensive wear, soiling, staining, creasing, minor losses, small tears. The silk brocade mounting faded. Overall fair condition.Dimensions: Image size 39 x 27.5 cm, Size incl. frame 54 x 41 cmExpert's note: The small upper figure in the present thangka probably depicts Changkya Rölpe Dorje, the preceptor of the Qianlong Emperor, and is one of a small group of works that consistently portray the idiosyncratic physiognomy of this eminent figure, with a fine mustache, sparse goatee, and a particularly notable strabismus of the left eye.Changkya Rölpe Dorje (1717-1786) was born in Amdo and educated at the court of the Yongzheng Emperor where he formed a strong relationship with his fellow student Hongli, the future Qianlong Emperor. Promoted to state preceptor by the new emperor, he became one of the most important and influential figures at the Qianlong court, in both religious and diplomatic affairs. He was recognized as the incarnate Changkya Khutukhtu, the Mongolian lineage of Buddhist masters. He presided over complex Buddhist state rituals, revitalized ancient Buddhist traditions and promoted revised teaching systems and Buddhist iconographic programs. He compiled the renowned illustrated pantheon of Three Hundred and Sixty Icons, and was responsible for the translation of important Buddhist texts into Mongolian. Under the auspices of the emperor, Changkya Rölpe Dorje was responsible for the prodigious production of almost all Imperial Buddhist works of art seen in the eighteenth century, and is regarded as a visionary character that greatly contributed to the legacy of the Qianlong reign.Literature comparison: Compare a related portrait in the Staatliches Museum für Völkerkunde in Munich, published by Andreas Lommel, Kunst des Buddhismus, München, 1974, p. 161, pl. 87. Compare a related thangka of a Gelugpa lama, dated to the first half of the 19th century, in the Ashmolean Museum, University of Oxford, accession number EA1983.26.Auction result comparison: Type: Related Auction: Sotheby's Paris, 18 December 2012, lot 30 Price: EUR 228,750 or approx. EUR 275,500 adjusted for inflation at the time of writing Description: Tangka imperial de Changkya Hutuktu Rölpe Dorje (1717-1786) detrempe sur tissu Chine, dynastie Qing, epoque Qianlong (1736-1795) Expert remark: Compare the related depiction of Rolpai Dorje with similar fine mustache, sparse goatee, and faint strabismus of the left eye. Compare the related manner of painting with similar robes, pointed cap, lotus blossoms, and clouds. Note that this is an Imperial thangka of slightly larger size (48.4 x 33 cm). Auction result comparison: Type: Related Auction: Christie's London, 7 November 2014, lot 485 Price: GBP 22,500 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: A thangka probably depicting the Changkya Hutuktu Rolpai Dorje (1717-1786), China, Qianlong period Expert remark: Compare the related manner of painting with similar robes, folded cap, lotus blossoms, and clouds. Note this thangka probably depicts a young Changkya Rölpe Dorje and is of slightly larger size (55.3 x 38.1 cm).乾隆喇嘛與章嘉·若必多吉唐卡中國，1736-1795年，布面膠彩描金。畫面中央一位年邁的喇嘛盤腿墊子上，面前有供品，他的右手舉起施羯剌拏手印並拿著金剛杵，左手拿著一個金剛鈴。 他穿著寬鬆的僧袍，頭戴黃色尖頂高帽，格魯派的特色。喇嘛上方是一個較小的高僧像，可能是章嘉·若必多吉，手持花瓶，肩部盛開的蓮花，頭戴折疊帽，這也與班禪喇嘛的肖像有關。四周山水景觀。 來源：比利時古玩交易。 品相：大面積磨損、污漬、皺褶、小缺損、小撕裂。絲錦鑲嵌褪色。總體狀況良好。 尺寸：畫面39 x 27.5 厘米，總54 x 41 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

Spanish school of the 16th century."Christ Crucified".Carved wood.Measurements: 50 x 51 cm.Round sculpture representing the body of Christ at the moment of the Crucifixion, although it should be noted that in this case it is not anchored to the cross which must have existed originally. It is a very stylised Christ, anatomically speaking, dressed only in the cloth of purity. The delicate face, close to the style of Gaspar Becerra, stands out.Crucifixions and crucifixes have appeared in the history of art and popular culture since before the era of the pagan Roman Empire. The crucifixion of Jesus has been depicted in religious art since the 4th century. It is one of the most recurrent themes in Christian art and the one with the most obvious iconography. Although Christ is sometimes depicted clothed, his body is usually depicted naked, although with his genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of depicting the different attitudes of the crucified Christ are designated by the Latin expressions Christus triumphans ("triumphant" - not to be confused with the Maiestas Domini or the Pantocrator), Christus patiens ("resigned" - not to be confused with the Christ of patience) and Christus dolens ("suffering" - not to be confused with the Vir dolorum). The triumphans is represented alive, with his eyes open and his body erect; the patiens is represented dead, with his will totally emptied (kenosis), his head bowed, his face with a serene expression, his eyes closed and his body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in his mouth (curved).

Gill, Eric (1882-1940) 2 autograph cards, 1 autograph letter and 1 wood-engraving Autograph card signed to Mr Wilfrid Partington [of The Bookman's Journal], discussing who Gill could suggest to write an article on his wood engravings. 'Really, it is v. difficult to say. Lots of kind people buy them but who could write about them ? & why shd. anyone want to ?' Gill goes on to suggest M. l'abbé Desmond Chute in Rapallo and Geoffrey Keynes 'the former, a v. good artist himself, would have the more intimate view', 2, 5. [19]25; further autograph card initialled, acknowledging receipt of The Bookman's Journal;Autograph letter signed to Mr Partington, stating that he has left Wales for Pigotts and saying he encloses a map for his guidance, 11th October 2029;Wood-engraved map of Pigotts, North Dean, High Wycombe, Bucks., by Eric Gill, 11.5 x 8.2cm;Autograph letter signed from Mary Gill to Mr Partington, saying that she remembers the little carving but has no idea who bought it and that she has very little of his work as he usually did work to order 'but I think he found a joy in most of the work he did', 2nd Feb. 1944;and 1 other item (Eric Gill, 'The Enormities of Modern Religious Art', offprint from The Month, 1928)Note: Provenance: Property of an English collector.

FRANCE, The Canonization of Jeanne d’Arc, 1920, a bronze medal by M. Delannoy for Arthus-Bertrand, after Chapu, 80mm (cf. DNW 47, 917); Monseigneur Julio de Carsalade du Pont, 1927, a cast bronze medal by A.A. Herbemont for the SFAM, 86mm, edge stamped 88 (Classens 30; cf. DNW 48, 741); La Communionante, 1936, a uniface Art Déco bronze plaque by M. Renard, back named (Colette Amblard, Première Communion, 3 Mai 1945), 66 x 42mm (CGMP p.339); 700th Anniversary of St Louis Bringing the Crown of Thorns to Paris, 1939, a bronze medal by P.-M. Dammann for Arthus-Bertrand, 80mm (cf. ‘Medailles’, FIDEM, 1 June 1938, p.16; cf. DNW M13, 1187); together with other religious bronze plaques (4), by Cabral Antunes, Noack (Leipzig), de Helly, etc [7]. Very fine and better, second very rare £150-£200

Tribal & Ethnographical Art Craft:  A collection to include a 19th Century Ethiopian ebony "Carding Comb," of large proportions with geometric design and surmounted with females head; two similar carved polychrome Figures of female carrying jugs each approx. 30cms (12") high; a Souvenir carved wooden Head - possibly Native American Totem style; a carved ebony Figure of a religious Female Figure, as a lot, w.a.f. (5)

TARSILA DO AMARAL (Brazil, 1886- 1973)."Illustrated study for the book by Martim Cereré p. 72, II".Pencil on paper.Work reproduced in the artist's catalogue raisonné. DI398.Provenance: Luiz Buarque de Hollanda collection.Size: 29,5 x 21 cm; 39 x 34 cm (frame).Written in 1928 by Cassiano Ricardo, Martim Cereré is a book of epic poems that delves into the roots of the Brazilian people. In 1962, the artist Tarsila do Amaral rescued the text and created a series of illustrations to accompany the literary publication. This work is the result of that workTarsila do Amaral has always been described as the artist who managed on the one hand to capture the European avant-garde and at the same time express her own roots, showing the Brazilian nationalist sentiment in a modern, free and original way. Tarsila began her training in an academic environment, like many of the artists of the time. She studied in Sao Paulo, but in 1920 she moved to Paris to take classes at an academy of classical art. She returned to Brazil in 1922 and found that Sao Paulo was hosting the Semana de Arte Moderno, where she met Anita Malfati and the poet Oswald de Andrade, her future husband. This whole atmosphere had a great influence on her, so much so that she decided to return to Paris in 1922, this time accompanied by Andrade. It was on this second trip to Paris that she began to get to know the European avant-garde. She meets Picasso, but in these years he is married to Olga and in his classical period. Tarsila will have a close relationship with Léger, who changes her aesthetic perspective. He not only brings her closer to the avant-garde, but through the avant-garde she recognises her roots. Through these artists who value the purity of uncontaminated art, other cultures, etc. All this makes him say that he wants to soak up or devour the aesthetic freedom presented to him by European artists in order to come to his country and create an indigenous but modern art, with his feet set on the roots of the country. In April 1923 he returned to Brazil. Shortly before her return, she wrote to her family from Paris: "I feel even more Brazilian. I am going to be a painter of my country; how grateful I am to have spent all my childhood on the farm! The memories of those times have become very dear to me. I want, in art, to be the little country girl from Sao Bernardo, who plays with straw dolls, as in the last painting I am working on... don't think that this tendency is considered negatively here. On the contrary. What they want here is for everyone to bring the contribution of their own country. This explains the success of Russian ballets, Japanese graphic arts and black music. Paris has already had too much Parisian art". She returned to Brazil accompanied by Andrade and the Swiss poet Cendrars, because Cendrars wanted to get to know the real Brazil. They travelled through the popular cultures of Brazil. In the spring of 1924, they visited the Rio carnival with the poet, one of the typical examples of the profane Brazilian festivals, where the races, costumes, traditions, etc. were at their purest. After getting to know this profane festival, they went to see the religious festival of Holy Week in the state of Minas Gerais. From this moment on, Tarsila painted a mixture of local indigenism and the heritage of cubism in her paintings.

Auguste Rodin, 1840 Paris – 1917 MeudonFrÈre et sOeur, 1907Bronzeguss, dunkel patiniert.38,5 x 19,4 x 21 cm.Signiert „A. Rodin“, Gießerstempel „Alexis Rudier fondeur Paris“, innen erhabene Signatur „A. Rodin“.Beigegeben eine Bestätigung des Comité Auguste Rodin, welche dem Objekt die Werkverzeichnisnummer 2021-6434B zuteilt.Der Tod von Rodins älterer Schwester Maria im Jahr 1862 veranlasste den jungen Bildhauer, in einen religiösen Orden einzutreten und seine Kunst für viele Monate aufzugeben. Sentimentale Zärtlichkeit ist in Rodins Skulpturen selten; hier spiegelt sie vielleicht die Erinnerung an die verlorene, tragende Liebe zwischen Bruder und Schwester wider. Während dieses Modell von Léon Maillard auf 1890 datiert wurde, erschienen erst um 1900 zwei Abgüsse aus Bronze. Zunächst war es 1899 in Gips in der Wiener Secession ausgestellt worden, dann in Brüssel und in den Niederlanden, und schließlich wurde es ab 1900 in Bronze präsentiert. Diese Gruppe, die als Teil der Retrospektive von Pont de l‘Alma im selben Jahr zu sehen war, war (vor allem in den angelsächsischen Ländern) ein großer Erfolg.Provenienz:Sammlung Edgar J. Hesslein und Emily Hesslein geborene Rothenstein, Schwester des Malers William Rothenstein, ein Londoner Freund Rodins ab 1894.Auktion Sotheby‘s, London, 11. April 1962, Lot 48.M.G. Blair Laing, London und Toronto, bei obiger Auktion erworben.Blair Laing Galleries, Toronto.Privatsammlung, Kanada, bei obiger Galerie im Juni 1962 erworben.Danach im Erbgang an den Vorbesitzer.Anmerkung:Abgüsse, die zu Lebzeiten des Künstlers hergestellt wurden (Schätzung):– 6 Exemplare, die zwischen 1897 und 1901 von François Rudier gegossen wurden.– 3 Exemplare gegossen von Léon Perzinka zwischen August und September 1900.– 1 Exemplar gegossen von Montagutelli im Jahr 1913.– 19 Exemplare, die von Alexis Rudier zwischen 1902 und 1916 gegossen wurden.Vom Musée Rodin angefertigte Güsse (Schätzung):– 6 Exemplare, die von Alexis Rudier zwischen 1926 und 1928 gegossen wurden.– 6 Exemplare, gegossen von Alexis Rudier zwischen 1940 und 1950.– 9 Exemplare, die von Georges Rudier zwischen 1962 und 1965 gegossen wurden.Güsse dieser Gruppe befinden sich in:Boston, Museum of Fine Art, Sammlung H. Higginson 1921 (erworben 1900).Lissabon, Fondation Calouste Gulbenkian, seit 1970 (erworben durch Comtesse de Béarn 1901).Liverpool, Walter Art Gallery, Sammlung James Smith 1927 (erworben bei Glaenzer and Co 1901).Cambridge, Fitzwilliam Museum, Sammlung G. F.M Knowles 1952 (erworben 1903).Dublin, National Gallery of Ireland, Sammlung Hugh Lane 1918 (erworben 1906).New York, Metropolitan Museum of Art, Rogers Fund (erworben 1908).Lille, Musée des Beaux-Arts, Sammlung Denise Masson, 1998 (erworben durch Maurice Masson 1910).Glasgow, Burrel collection, Spende von William Burrel 1944 (erworben vor 1911).Le Cap, South African National Gallery, Spende von A.A. de Pass 1926 (Geschenk von Rodin an A. Legros; Sammlung A.W. Thibaudeau; Sammlung I.P. Heseltine).Aix-les-Bains, Musée Faure, Sammlung Dr. Faure 1942 (erworben zwischen 1937 und 1942).Paris, Musée Rodin, Alexis Rudier 1922.Indianapolis, Museum of Art, Sammlung Harry J. Milligan 1920.Oxford, Ashmolean Museum, Sammlung J.W.R. Brocklebank, 1926.Kopenhagen, Ordrupgaard Sammlingen, Sammlung Hansen, 1951 (erworben 1931).Tokio, Musée national d‘Art occidental, 1959 (erworben durch Kojiro Matsukata, 1918).Hamilton, Art Gallery, Sammlung H. Southam 1962.Philadelphia, Rodin Museum, Sammlung Louis Stern, 1963.Cambridge, Fogg Art Museum, erworben 1977 (alte Sammlung O. de Barge, Paris).Paris, Musée Marmottan, erworben 1987 (alte Sammlung Henri Duhem).Mexico, Museo Soumaya, erworben bei Christie‘s, New York, 1993. (1330113) (17)Auguste Rodin,1840 Paris – 1917 MeudonFRÈRE ET SOEUR, 1907Bronze casting, dark patina. 38.5 x 19.4 x 21 cm.Signed “A. Rodin”.Foundry mark “Alexis Rudier fondeur Paris”, raised signature on inside “A. Rodin”.Attached is a confirmation from the Comité Rodin, which assigns the object the catalogue raisonné no. 2021-6434B. The death of Rodin’s older sister Maria in 1862 prompted the young sculptor to join a religious order and abandon his art for many months. Sentimental affection is rare in Rodin’s sculptures; here it perhaps reflects the memory of the lost, sustaining love between brother and sister. While Léon Maillard dated this model to 1890, two bronze copies only appeared around 1900. It was first exhibited in plaster at the Vienna Secession in 1899, then in Brussels and the Netherlands, and finally, from 1900, it was presented in bronze. Shown as part of the Pont del’Alma retrospective that same year, this group was a great success (especially in Anglo-Saxon countries). Casts made during the artist’s lifetime (estimate): 6 examples cast between 1897 and 1901 by François Rudier. 3 examples cast by Léon Perzinka between August and September 1900. 1 example cast by Montagutelli in 1913. 19 examples cast by Alexis Rudier between 1902 and 1916. Casts made by the Musée Rodin (estimate): 6 examples cast by Alexis Rudier between 1926 and 1928. 6 specimens cast by Alexis Rudier between 1940 and 1950. 9 specimens cast by Georges Rudier between 1962 and 1965.Provenance: Collection of Edgar J. Hesslein and Emily Hesslein née Rothenstein, sister of the painter William Rothenstein, a London friend of Rodin from 1894. Sotheby’s, London, 11 April 1962, lot 48.M.G. Blair Laing, London and Toronto, acquired at the above auction. Blair Laing Galleries, Toronto. Private collection, Canada (acquired from the above gallery in June 1962). Then by inheritance to the previous owner. Notes:Casts from this group are held at: Boston, Museum of Fine Art, H. Higginson collection 1921 (acquired in 1900).Lisbon, Calouste Gulbenkian Foundation, since 1970 (acquired by Comtesse de Béarn 1901).Liverpool, Walter Art Gallery, James Smith collection 1927 (acquired at Lille, Musée des Beaux-Arts, Denise Masson collection, 1998 (acquired by Maurice Masson 1910).Glasgow, Burrel collection, donation by William Burrel 1944 (acquired before 1911).Le Cap, South African National Gallery, donation by A.A. de Pass 1926 (gift by Rodin to A. Legros; A.W. Thibaudeau collection; I.P. Heseltine collection).Aix-les-Bains, Musée Faure, Dr Faure collection 1942 (acquired between 1937 and 1942).Paris, Musée Rodin, Alexis Rudier 1922.Indianapolis, Museum of Art, Harry J. Milligan collection 1920.Oxford, Ashmolean Museum, J.W.R. Brocklebank collection, 1926.Copenhagen, Ordrupgaard Sammlingen, Hansen collection, 1951 (purchased 1931).Tokyo, Musée National des Beaux-Arts de l'Occident, 1959 (purchased by Kojiro Matsukata, 1918).Hamilton, Art Gallery, H. Southam collection 1962.Philadelphia, Rodin Museum, Louis Stern collection, 1963.Cambridge, Fogg Art Museum, purchased 1977 (old collection of O. deBarge, Paris).Paris, Musée Marmottan, purchased 1987 (old collection Henri Duhem).Mexico, Museo Soumaya, purchased at Christie's, New York 1993.

printed or framed 2012, a set of six colour photographs, Cibachrome prints, each from (1970s?) negatives of manipulated images using pre-digital technology, some or all these prints are from multiple superimposed negatives, five signed in ink on the image, four with photographer's hand written notes taped verso regarding the images and framing, images 31cm x 29.3cm, in identical glazed frames 51cm x 49cm Note 1: These six photographs were selected by Pamela Bone and were displayed together at her in residence in Dorking, Surrey Note 2: : Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”

hand printed book, Vol I, 2007,(219pp) numbered one of five, limited to five copies, including poetry, biography and a selection of photographs, and Volume II, numbered three of four hand printed copies, both copiously illustrated with high quality reproductions of Pamela Bone's photography, black-and-white prints by a collotype or similar process, and colour prints, described in vol II as ''scanned and the scans painstakingly retouched before being imaged to plate using stochastic screen ....in order to achieve the maximum level of detail', each photograph separately printed, tipped in and protected with a loose tissue guard, Vol I with some small pencil annotations added by the author, plain paper dust jacket, cloth bound with cloth slip case; volume II 2009, (95pp) continues the biographical account from the 1970s, the 'Circle of Light' movie, further poetry and much detail on experimental techniques in photography, again cloth bound in cloth slip case, each Volume 31.5cm x 28.5cm. Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”

hand printed book, Vol I only, 2007,(219pp) numbered three of five, limited to five copies, including poetry, biography and a selection of photographs, copiously illustrated with high quality reproductions of Pamela Bone's photography, black-and-white prints by a collotype or similar process, and colour prints, described in vol II as ''scanned and the scans painstakingly retouched before being imaged to plate using stochastic screen .... in order to achieve the maximum level of detail', each photograph separately printed, tipped in and protected with a loose tissue guard, plain paper dust jacket, cloth bound with cloth slip case, book 31.5cm x 28.5cm Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”

Italian school, ca.1800."Madonna and Child with Saint John Child.Oil on canvas.Relined.Size: 92 x 71 cm; 108 x 86 cm (frame).The tender religious scene formed by the Virgin and San Juanito watching over the dreams of the Baby Jesus, is located in a place sublimated by the ruins. The ruins are covered with mossy vegetation and open out onto a landscape against the background of which the city of Jerusalem is silhouetted against the bluish tones of the distance. An inner light seems to emerge from Jesus' naked body, reflected in his whitish flesh, which reinforces the purity of his being. The Virgin's skin also shares this porcelain whiteness, except for the faint glow of her cheeks. She prepares to cover the little boy with a soft gauze, to wrap him in her dreams. Juanito clasps his hands together as he gazes at the little one. The studied chromatic contrast that models figures and atmosphere, as well as the absence of any superfluous element and the excellence of the qualities place us in the Florentine tradition of the Baroque period. The genre of the ruin became popular during the 18th century, and in time it became detached from the religious theme. As for the theme of Mary with the Child and the infant Baptist, it was very often repeated in the History of Art, especially from the Renaissance onwards. The combination of the three figures emphasised the human aspect of Christ, the innocence and happiness of his childhood, in dramatic contrast to his sacrificial destiny.

A collection of Victorian and later silver and other prize medals and medallionsto include: Royal Naval School New Cross, The Cookney Prize Medal For Industry and Good conduct, 1854, a silver prize medal, the obverse featuring the diademed head of a young Queen Victoria facing left, by W. J. Taylor, 3rd class won by W. Beal July 14th 1865, pinned swivel brooch mount, a St Johns Wood Art Schools prize medal for best drawing awarded to I.M. Hutchison, 1897, two Army Athletic club silver medals for Public Schools Boxing Competition, 1898 + 1900, seven Kent Education committee silver medals on ribbons, a two red morocco cased Royal Academy of Music bronze medals dated 1939, other assorted medals to include Institution of Naval architects medal by Wyon suspended on ribbon in original card box, Urban District Council Chiswick long service medal, two Jewish Religious education Board silvered medals 1906 + 1907 etc., Victorian and Edwardian silvered school attendance medals, etc. (qty)first diameter 47 mm., silver weight approx. 12.5 oztCondition: varying. Kocks and wear commensurate with age. On boxing medla heavily worn. Viewing recommended in person

The Wars of the Roses Hoard: A late Medieval gold iconographic ring depicting The Holy Trinity, circa 1470-1480, the flat sub-rectangular bezel carrying the incised design of the figure of Christ on the cross, wearing a loin cloth, his arms raised, beneath the bearded head of God the Father, between radiating markings symbolising the Holy Spirit in the form of a dove’s wings, the figures within an engraved line border; to each shoulder six incised droplets, representing drops of blood from Christ’s wounds, arranged three over two over one, with traces of black enamel, ring size L. £4,000-£5,000 --- The focus of Christian devotion underwent a tonal shift during the Medieval period, from a focus on the Triumphant Christ - a battle-brave warrior, towards the suffering Christ and a focus on the pain he endured in order to reconcile human souls to God. This affective piety was influential on the newly founded religious orders, such as the Franciscans, who focused on the humanity of Christ and also reflected a new focus on pastoral care by the Church. As a result of this shift, one of the most common devotions of the late Medieval period was to Christ’s wounds. In Medieval art and iconography this devotion is seen in the images depicting Christ’s wounds and droplets of his blood (such as in this iconographic ring). Jasmine Jones interprets The Commandment, a treatise written by Richard Rolle, a 14th century hermit: “Prayerful pondering of the wounds will call tears to spring in the heart, kindling the fire of the Holy Spirit therein. This fire of love will burn so brightly that the soul will be purged of sin making is as pure as gold refined by the furnace.” Literature: Jones, Jasmine, ‘Three Christological Devotions, Part 1: Wounds’, in Introducing Medieval Christianity, 1st July 2020.

The Mildmay Service – A pair of George I Britannia standard dinner plates Paul de Lamerie, London 1725, each of circular outline with a moulded border, engraved with armorial and crest to border, the reverse engraved with numbers 14 and 34 and with scratch weights 20:18 and 20:15 respectively Dimensions:Diameter: 24cm, combined weight: 35ozProvenance:Provenance:The Estate of Ray Slater Blakeman; Christie's, New York, 15 October 1985, lot 313 and 314 with Sandra Lipton, London, May 1989.Sotheby’s Auction, 17th November 2010, Fine Furniture, Tapestries, Silver, Ceramics, Clocks and Rugs, Lot 15Note: Heraldry:The arms are those of Mildmay quartering Fairfax with Schomberg in pretence for Benjamin Mildmay, 19th Baron FitzWalter and 1st Earl FitzWalter.Note:Benjamin Mildmay, Baron and later Earl FitzWalter (1672-1756) The rapid social ascendancy of the 1st Earl of FitzWalter is an example of the nature of Georgian wealth and is visible in his commissions and the alterations to his stately home, Moulsham Hall in Essex.In 1724, at the age of 51, Mildmay married the widowed Lady Frederica Susanna, daughter of the 3rd Duke of Schomberg, who was famed for his role in the Battle of the Boyne. This consequently gave Mildmay access to Schomberg House, on Pall Mall, and therefore also to the heart of London society. Soon after, in 1728 he inherited the Barony of FitzWalter from his elder brother, who had died without issue, and then in 1730 he was given the title of Viscount Hardwich, in the county of Essex, and Earl FitzWalter; all in a mere six years.Moulsham Hall in Essex, formed part of the estate he inherited from his late brother. The hall was originally built in 1540 by Thomas Mildmay, and it would remain in the family for over 300 years. Indeed, it was esteemed enough to host Elizabeth I for four days on her annual progress in 1579, before being refashioned in 1591 into a grader Tudor home.In 1728 as soon as Mildmay inherited the property, he, along with the architect Giacomo Leoni, transformed the house into a Neo-Classical mansion in the Palladian style. Together they were extremely methodical about keeping records for each purchase and transaction. These records are now archival material held with Essex record office, and they show the wealth and investment for both the exterior and interior of the house.Mildmay himself had established a successful government career, from 1720-28, he was Commissioner of the Excise and was later promoted to Treasurer of the Household in 1737. The fusion of his career, his inheritance and his marriage meant that Mildmay was able to commission only the best and most fashionable craftsmen of the time.In 1725, he ordered ‘12 Dishes & 3 Dozen of plates’ from the well-respected Huguenot silversmith Paul de Lamerie, as detailed in the Essex Record office. It is most likely that these plates, dated 1725, were commissioned to mark his marriage with the engraved armorials enforcing this. The Essex Record Office hold invaluable account details and show that a further service of dinner plates was commissioned in 1737 and this is most likely linked to his appointment as Treasurer of the Household as he had an entitlement of 1000oz of plate for his own use from the Jewel House.Furnishing one’s abode with plate was the ultimate Georgian display of wealth, contemporary peers of Mildmay also chose to display their wealth by investing in plate. George Anson (1697-1762), 1st Baron Anson, the famous Admiral who circumnavigated the globe in four years also invested in a silver service and also chose Paul de Lamerie to craft his wares. Lyon & Turnbull offered one serving dish from his service in March of 2022, Lot 130, achieving £7,800.De Lamerie was born in the Netherlands to Huguenot parents, but the family fled religious persecution on the continent and settled in England. He became a freeman of the Goldsmith's Company, London and registered his mark in 1712. The continent was to continue to inspire his work, from the 1730s he was regarded as one of the most famous silversmiths of his age due to his craftsmanship and this was aided by his business acumen. With most work based on commissions, these important connections helped his reputation, becoming known as the King’s silversmith for the numerous commissions for the Royal Households. Other key clients included Catherine the Great, who commissioned a wine cistern in 1726, still housed in the Hermitage, (pg 77, Paul de Lamerie, At the Sign of the Golden Ball, An Exhibition of the Work of England's Master Silversmith) and the Walpole salver for Robert Walpole. A remarkably finely engraved salver with the design of the Second Exchequer Seal of George I, housed at the Victoria and Albert Museum (M.9-1956). Although working mainly on commissions, his shop based at 40 Gerrard Street from 1738 stocked further delights for the eye to behold.Mildmay died without issue, leaving the house and contents with no viable heir. The house was later occupied by defensive forces fearing an invasion during the Napoleonic Wars and eventually demolished, but the furnishings are unaccounted for. Whenever items do appear at auction, there is always much anticipation. Twelve similar plates, also marked for 1725, are currently housed in the Sterling and Francine Clark Art Institute in Massachusetts (acquisition number 1955.405).

Mexican school of the 17th century."Virgin of Guadalupe".Oil on canvas.Measurements: 173 x 83 cm.The iconography of the Virgin of Guadalupe acquired great richness and variety especially from the 17th century onwards. The Virgin of Guadalupe is the most important and most worshipped Virgin in Mexico and other Latin American countries. Since the time of the viceroyalty, a complex iconography has developed around her cult, and a great artistic production that is characterised by the conjunction of local art with the European artistic tradition brought from Spain. The origin of the Virgin of Guadalupe is from Extremadura, but the Mexican version has its own origins. An ancient legend tells that in 1531, she appeared to a recently baptised Indian named Juan Diego. He asked him to ask the bishop to build a chapel in his honour, leaving his image imprinted on the Indian's tunic. This event became known as the Miracle of the Roses, and was recorded in the "Nican Mopohua", a text presumably written by the Indian Antonio Valeriano. The Novo-Hispanic image of the Virgin of Guadalupe always appears surrounded by rays of sunlight, an iconographic feature that comes from the apocalyptic and sibylline Virgins, both celestial apparitions. Her iconography was also completed by partially assimilating the immaculist iconography, whose symbolism was established in Spain during the 16th century. It is worth mentioning that, during Spanish colonial rule, a mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and the political opening up of some of the colonies, several artists began to represent a new model of painting with its own identity.

JUAN DE TOLEDO (Lorca?, 1618-Madrid, 1665)."Scene with a gentleman".Oil on canvas.It has a 19th century frame.Measurements: 41,5 x 57 cm: 48 x 63 cm (frame).Due to its stylistic characteristics, this canvas can be related to the artistic guidelines of Juan de Toledo, a Spanish Baroque painter to whom a great number of battle scenes have been attributed, always close to Flemish painting. The present work can be related to the heroic actions of the Spaniards who defended Vienna from the Turkish siege of 1529. This type of battle scene developed extensively due to the subject matter, which not only extolled the victories of those who had taken part in the battle. In addition to this testimonial feature, these paintings also reflected historical scenes. This genre was highly valued and was considered the best in the history of art for extolling the virtues and noble spirit of the acts.According to Palomino's writings, Juan de Toledo was born in 1611, but there is not much biographical information about the artist. It is known that he worked for the army before turning to painting. He began to train with his father, and after settling in Spain, he began to work in the studio of Pedro Orrente. In 1959 he was in Madrid, where he is believed to have died. Although he died without achieving stability in his career as an artist, he was highly appreciated and valued by critics, especially for his war paintings, although most of his output was linked to religious themes.

Spanish school, Follower of MATEO CEREZO (Burgos, 1637-Madrid, 1666). 18th century."Penitent Magdalene".Oil on canvas.It preserves its original canvas.It has a Calos IV style frame, end of the 18th century.Measurements: 68 x 51 cm; 80 x 60,5 cm (frame).In this canvas, Mary Magdalene is represented as a penitent in the desert, dressed in a jet tunic, on which the bright tonality of her pearly skin stands out. This characteristic, together with the darkness of the scene and the theatrical gesture of the protagonist, with her right hand on her chest, her left hand pointing to the scriptures and her gaze fixed on the crucifix with her mouth half open, create a scene of restrained, symbolic and intimate emotion. The young woman is depicted next to the Scriptures and the skull. The composition of this work faithfully follows that of the painting executed by Mateo Cerezo in 1661, which is now in the collection of the Rijksmuseum in Amsterdam. Mateo Cerezo trained in Madrid, where he joined Carreño's workshop. He was in great demand by a varied clientele, particularly for his religious painting, although he also painted in other genres. In this respect, the treatise writer and biographer Palomino stated that he painted "still lifes with such superior excellence that no one else could surpass him", a judgement that is fully corroborated by the works in the Museo Nacional de San Carlos in Mexico, which are signed and dated. On the basis of these, Pérez Sánchez attributed to him the Kitchen Still Life purchased by the Museo del Prado in 1970, a work of evident Flemish influence that has sometimes led him to think of Pereda. The work of this artist from Valladolid has also been identified as an offshoot of Cerezo's work, particularly in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left somewhat rougher works than those he produced in the following decade. In his works he is a faithful follower of Carreño, with whom he became one of his best collaborators. The master showed him the path he himself later followed, following in the footsteps of Van Dyck and Titian. Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she housed and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed the feet of Jesus with perfumes before his arrival in Jerusalem, so her main iconographic attribute is a knob of essences, like the one shown here. While Eastern Christianity particularly honours Mary Magdalene for her closeness to Jesus, considering her "equal to the apostles", in the West the idea developed, based on her identification with other women in the Gospels, that before meeting Jesus she had engaged in prostitution. Hence the later legend that she spent the rest of her life as a penitent in the desert, mortifying her flesh. She was most often depicted in this way in art, especially in the 17th century, a time when Catholic societies were particularly fascinated by the lives of mystics and saints who lived in solitude in the wilderness, dedicated to prayer and penance. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.

Flemish school of the 17th century."Hunting scene".Oil on canvas. Retouching.The sky has restorations and repainting.Measurements: 95 x 115 cm.We see in this canvas a hunting scene with different animals (a bear and up to six dogs), a particularly violent moment full of tension and even pathos, features that are reflected in the composition, the light and the chromatism as well as in the expressions of the animals. The scene is accompanied by a human presence as the owner of the animals is shown unsheathing a spear while threatening the bear. During the 17th century in Flanders there was a growing demand for paintings to decorate the houses of the bourgeoisie. Apart from portraits and large canvases with religious, historical or mythological themes, artists specialised, painting medium-sized works that gradually increased in format, with still lifes, animals, landscapes and genre scenes. Paintings reproducing collectors' cabinets of the period are explicit in this respect, to the point of giving rise to a new, independent genre of painting. Undoubtedly, the future of this painting would have been different without Rubens, whose art revolutionised the Flemish art scene by introducing a new, fully Baroque approach and bringing a sense of unity and opulent sumptuousness to the ordered and encyclopaedic display of his countrymen's precious depictions. The specialists, either indebted to his manner or subordinate to his work, worked along new lines, adding an accessory object, a landscape or a decorative background to their compositions. Within 17th-century Flemish still-life painting two trends can be distinguished, the static, represented by Clara Peeters and Osias Beert, and the dynamic, with Frans Snyders and Paul de Vos. This work belongs to the second of these schools, which is characterised by following the Rubensian Baroque in a purely dynamic sense. Dynamic still lifes are characterised by compositions with pronounced diagonals, as seen here, and by the frequent presence of live animals interacting with the objects in the still life, captured in full movement.

LALIQUE.Perfumer, ca. 1950.Moulded glass.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, section perfume bottles Page 345, No. 609, with photo.Signed on the reverse of the base Lalique France.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 10 cm (height) ; 9 cm (diameter).Perfume box designed by Renè Lalique in 1931, in frosted moulded glass with decoration of children in relief. Smooth circular stopper.The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the leading glassmakers of the time, and one of the first to sculpt glass for great monumental works such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

LALIQUE. France ca. 1945Perfume bottle "Dhalia".nº 2.Moulded and satin-finished glass.Signed on the back of the base Lalique France.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur , Pag. 346, nº 616, with photo.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 18 x 14 x 6 cm .Bottle for perfume "Dhalia "nº 2, design René Lalique in satin moulded glass, with floral decoration and polychrome in black on the sides and mouthpiece.The Lalique firm was originally founded by René Jules Lalique (1860 - 1945), one of the leading glassmakers of the time, and one of the first to sculpt glass for great monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory for mass production, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÈ LALIQUE. France, ca. 1950.Clairefontaine" perfume box.Moulded glass.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, section perfume bottles, p. 338, no. 526, with photo.Signed in burin on the reverse of the Lalique base and with label.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 12 x 9,5 x 5,5 cm .Clairefontaine" perfume box designed by Renè Lalique in 1931, in translucent moulded glass. Satin-finish glass stopper decorated with 4 sprigs of lily of the valley. This model is a reference to the Clairefontaine garden, located in the south-west of Paris (France), which was one of René Lalique's main sources of inspiration.The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the foremost glassmakers of the time, and one of the first to sculpt glass for large monumental works such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

LALIQUE. France ca. 1970.Perfume bottle "Deux fleurs".Moulded and satin-finished glass.Signed on the back of the base Lalique ® France.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur , Pag. 339, nº 529, with photo.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 9 x 9,5 x 2,5 cm .Bottle for perfume "Deux fleurs", René Lalique design in satin moulded glass, with floral decoration on the sides. Remains of perfume.The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the leading glassmakers of the time, and one of the first to sculpt glass for great monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory for mass production, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÉ LALIQUE (Ay, France, 1860- Paris, 1945).Two Worth "Je reviens" bottles, ca. 1940.Blue moulded glass.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, section perfume bottles Page 953 , Wort-14, versions A and B, with photo.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 7,5 cm (height greater) ; 2 cm (diameter).Two Worth "Je Reviens" perfume bottles, René Lalique design 1929, in blue circular moulded glass with ribbed decoration. Empty.The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the foremost glassmakers of the time, and one of the first to sculpt glass for great monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory for mass production, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

LALIQUE, ca. 1950.Perfumer.Moulded glass.Signed R. Lalique on the reverse of the base.Provenance: Private Spanish collection, formed between 1970 and 1995.Slight chipping on the inside of the stopper. Not visible.Measurements: 12 cm (height) ; 7,5 cm (diameter) .Perfume bottle in moulded and satin-finished glass. Geometric decorations on the sides and the stopper.The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the most outstanding glassmakers of the time, and one of the first to sculpt glass for great monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÉ LALIQUE (Ay, France, 1860- Paris, 1945)."Vase no. 3. France, ca. 1925.Art Deco tabletop centrepiece of circular form in acid-etched moulded glass with vegetal decorations and borders.Signed R. Lalique in the central area.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur , Pag. 702, nº. 3020 with photo.Procedure: Private Collection, Spain between 1970-1990.Measurements: 2.5 cm (height); 23.5 cm (diameter).The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the most prominent glassmakers of the time, and one of the first to sculpt glass for large monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown for his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÉ LALIQUE (Ay, France, 1860 - Paris, 1945).Tray "Coquilles I". France, ca.1930Translucent and opalescent cut glass.Signed in the centre of the reverse "R. Lalique France, n.3009".Very slight chipping on the side.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, p. 701, no. 3009, with photo.Procedure: Private Collection, Spain between 1970-1990.Measurements: 30 cm (diameter); 4 cm (height).Circular tray decorated with four reticulated shells. The piece is an exceptional combination of translucent and opalescent glass, the latter in a shade of blue in keeping with the marine theme.The Lalique firm was originally founded by René Jules Lalique (1860 - 1945), one of the foremost glassmakers of the time, and one of the first to sculpt glass for large monumental works such as the fountains on the Champs Elysées. He enjoyed great renown for his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

A collection of books on Norfolk church architecture & ecclesiastical art, etc, including: Richard Taylor: 'Index Monasticus, or, The abbeys and other monasteries, alien priories, friaries, colleges, collegiate churches, and hospitals with their dependencies : formerly established in the Diocese of Norwich and the ancient kingdom of East Anglia / systematically arranged and briefly described, according to the respective orders and denominations in each county, and illustrated by maps of Suffolk, Norfolk, and the city of Norwich, and the arms of religious houses', London, 1821, large paper copy, folding engraved view of Norwich + plate of arms + folding engraved plan of Norwich + 2 flding engraved maps hand coloured in outline of Norfolk & Suffolk as called for, large folio, contemporary half calf gilt, rebacked retaining backstrip. Scarce; MAURICE DRAKE: THE COSTESSEY COLLECTION OF STAINED GLASS, FORMERLY IN THE POSSESSION OF GEORGE WILLIAM JERNINGHAM, 8TH BARON STAFFORD OF COSTESSEY IN THE COUNTY OF NORFOLK, intro Aymer Vallance, Exeter, William Pollard, 1920, 1st edition, 25 plates including 6 coloured as called for, folio, original cloth backed boards gilt, formerly from the library of the late Ron Fiske of North Walsham and Morningthorpe Manor, esteemed local historian, bibliophile and collector, with his bookplate to front pastedown. Scarce; 'Ranworth Rood Screen, Norfolk. Drawn by R.O. Pearson; Hawtrey J. Enraght, vicar.', [Ranworth , c. 1910?], 23 unnumbered leaves of plates, housed loose in old card folio, mounted illustration to front cover. Scarce; FARRER, Rev. Edmund: 'List of Norfolk Monumental Brasses', Norwich 1890, large paper copy, limited to 40 copies only, author ALS loosely inserted stating 40 large paper copies at 5/- each etc, headed Rickinghall, Diss, original printed paper covered boards, rebacked (not recent), m/s title to spine; Edward F. Strange: 'The Rood-Screen of Ranworth Church', Ranworth Vicarage, The Rev. Hawtrey J. Enraght, [1902], original cloth backed boards; plus 4 others including Norwich Cathedral Medieval Roof Carvings etc. From the colelction of Father Peter Harris (9)

JOSEP LLIMONA BRUGUERA (Barcelona, 1864 - 1934)."Modèstia", 1891.Sculpture in polychrome stucco.Signed.With Esteva & Cia. stamp.Work catalogued in "Una passejada per l'obra de Josep Llimona, 150 anys", MEAM, 2015, Barcelona, p. 104.Measurements: 41 x 32 x 21 cm.The sculpture "Modèstia" is evidence of Josep Llimona's most personal characteristics: naturalistic idealism, an inclination towards the gentle side of reality and, above all, a great delicacy and beauty in his female figures, always slender and innocent, enveloped in a veil of mystery.Josep Llimona is remembered as the most important Catalan sculptor of Modernisme. Trained at the Escola de la Llotja in Barcelona, he obtained a pension to go to Rome in 1880. During his stay in Italy he was influenced by Florentine Renaissance sculpture. With the works he sent from there he already won prizes (gold medal at the Universal Exhibition in Barcelona in 1888), as well as a great reputation. With his brother Joan he founded the Círculo Artístico de Sant Lluc, a Catalan artistic association of a religious nature (the two brothers were deep believers). By the mid-1990s his style was already drifting towards full modernism. He received the prize of honour at the International Exhibition of Fine Arts held in 1907 in Barcelona. From 1900 onwards he concentrated on his famous female nudes, and in 1914 he created, in collaboration with Gaudí, his impressive "Risen Christ". His artistic genius also manifested itself in large public monuments such as the equestrian statue of Saint George in Montjuic Park in Barcelona, as well as in works of funerary imagery, such as the pantheons he created for various cemeteries. In addition to exhibiting in Barcelona and other Catalan cities, he exhibited his work in Madrid, Brussels, Paris, Buenos Aires and Rosario (Argentina). He was president of the Barcelona Museum Board from 1918 to 1924, and again from 1931 until his death in 1934. Throughout his life he received numerous decorations, including those awarded by the French and Italian governments. He was also awarded the Gold Medal of the City of Barcelona in 1932, in recognition of his extraordinary work in the development of museum activity. Llimona's work can be found in the Monastery of Montserrat, the National Art Museum of Catalonia and the Reina Sofia Museum, among others.

JOSEP MARIA TAMBURINI DALMAU (Barcelona, 1856 - 1932)."Lady with a Flower".Pastel and charcoal on paper.Signed in the lower left corner.Published in the Ilustración Catalana.Size: 60,5 x 45 cm; 80 x 65 cm (frame).In this canvas Josep Maria Tamburini offers us a portrait halfway between the dreamlike and the real, starring a totally physical face, perfectly modelled on the basis of subtle tonal and light gradations, supported by a solid drawing. Around the melancholic face of the lady, the space blurs, as do her clothes, becoming delicate tulles that seem to float around her.A painter and art critic and a leading figure in Catalan modernism, Tamburini began his training at the Escuela de La Lonja in Barcelona, later completing his studies in Paris with L. Bonnat and in Rome. He collaborated as a draughtsman, art critic and poet with the magazine "L'Avenç", one of the most outstanding artistic publications in Catalonia at the turn of the century. He also wrote for "La Vanguardia". As a painter, he began his career in history painting and anecdotal realism, later evolving along the lines of symbolism, strongly influenced by English pre-Raphaelism. He achieved recognition in 1888, when he won a silver medal at the Universal Exhibition in Barcelona. He continued to take part in official exhibitions in Barcelona and Madrid, and was again awarded a prize at the Barcelona Exhibition in 1898, where he won the Queen Regent's Extraordinary Prize. In 1911 he was awarded the Prize of the King and Queen of Spain. As a mature painter, he worked on placidly fantastic, detailed and precious themes, as well as religious subjects and some portraits. He was also a member of the Board of Museums of Barcelona, advisor to the Academy of Fine Arts, teacher at the La Lonja School and co-founder of the Artistic and Literary Society of Catalonia (1911). He is represented in the MACBA, the National Art Museum and Library of Catalonia, the Royal Academy of Sant Jordi, the Casa Lis Museum in Salamanca and the Fine Arts Museums of Valencia and Seville, as well as in numerous private collections.

Ottoman Empire, or Northern India, Ca. 18th-19th century AD A religious manuscript of duas or prayers. Illuminated, some pages have roundels with prayers contained and one mentioning the four rightly guided Caliphs. Bound in dark tooled leather, some details of former gold decoration remain.Size: L:164mm / W:110mm ; 130gProvenance: Private UK collection, formed since the 1990s on the UK and International Art market.

Ca. 224-651 AD A silver boat-shaped vessel with an oval 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.Size: L:50mm / W:182mm ; 215gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 1200-700 BC A Luristan cast axe head comprising of a tubular socket and a crescentic-shaped blade with a convex edge.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 axes were common votive offerings in shrines.Size: L:180mm / W:160mm ; 1.09kgProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 2000-700 BC A bronze axe head with a short, curved blade, tapering cheek, and a wedge-shaped butt. The shaft decorated with a double banded collar.An axe 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 axes were common votive offerings in shrines.Size: L:132mm / W:40mm ; 490gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Vinyl - Alternative / Indie Pop / Cool Pop - 31 UK / EU Original albums and 8 Uk Original 12” singles to include: The Wake - Make It Loud (1990, Uk 1st Pressing, Sarah Records, SARAH 602) EX / EX. Senser - Stacked Up (1994 Uk 1st Pressing, Limited Numbered Double Yellow Vinyl albums, Ultimate Records, TOPPLP 008) Gatefold Numbered Sleeve EX / Both yellow Vinyl albums EX. The Family Cat - Furthest From The Sun (1992, UK 1st Press + Limited 7” single, Dedicated Records, DEDLP 007) EX- / EX + Insert + Limited 7” single in EX condition. Cranes - Wings Of Joy (1991, UK 1st Pressing, Dedicated Records, DEDLP 003) EX / EX + Printed Inner. Insides – Euphoria (1993, UK 1st Press + Limited edition 7” single, Guernica records, GU 4 LP) EX / EX + Printed Inner + Limited 7” single in EX condition. The Jesus And Mary Chain - Darkland (1987, Original German 1st Press, WEA Records, BYN 11) EX / EX + Printed Inner. Barbed Wire Kisses (1988, 1st Press, Blanco Y Negro records, BYN 15) Sleeve is attached to a 12” and will be graded VG only / Vinyl is EX + Original Black Inner. You Trip Me Up (1985 UK 12” NEG 13(T)), Sleeve is stuck to album and will be graded VG only, Vinyl is EX. Sidewalking (1988, UK 12” NEG 32T) Sleeve is stuck to another 12” and will be graded VG only, Vinyl is EX. Darklands (1987, UK 12”, NEG 29T) EX- / EX. The High - Somewhere Soon (1990, 828224-1) Limited edition with art Print EX / EX / EX. Also: The Pogues - Rum Sodomy & The Lash, Whirlpool - Whirlpool (SEEL 002LP), The Blood Rush - Skin Games (463285-1), Tsunami – Deep End (SMR 13V), The Three Johns - Atom Drop Bop (ABT 010), The Waterboys - This Is The Sea (ENCL 5) EX / EX + Printed inner. The Waterboys - Fisherman’s Blues (CHEN 5), Prefab Sprout - Protest Songs (KWLP4), Lloyd Cole & The Commotions - “Mainstream” + “Easy Pieces” + “Rattlesnakes”, The Housemartins, Big Audio Dynamite - "Tighten Up Vol. 88” + "No. 10, Upping St.” + “E=MC2” (12”), The Men They Couldn’t Hang, The Screaming Blue Messiahs - “Totally Religious” + “Good And Gone” + Gun-Shy” + “Bikini Red” + “I Wanna Be A Flintstone” (12” Picture Disc), Immaculate Fools - Hearts Of Fortune, Orange Juice - Lean Period (12”), Joe Strummer - Gangsterville (12”), Voice Of The Beehive (LP), Hot House Flowers (LP), Simply Red (LP + Two 12” singles), The Railway Children (10”)

Churches, Ecclesiology & Religious Art.  A carton of various vols.

Various items of mostly vintage costume jewellery to include a 1920s Art Deco chainmail purse, ladies' fashion watches, necklaces including religious examples, earrings including a pair of small bullseye studs, silver brooches, cufflinks, silver ring, buckles, a mourning brooch carved Mary to the inside front, thimbles, etc.

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

Neapolitan school; 18th century."Crucified Christ".Carved and polychrome wood.It presents faults in the carving and repainting.Measurements: 60 x 38 x 8 cm.Round sculpture made in wax representing the figure of the crucified Christ. It is a devotional image that tries to awaken the passion and faith of the spectator. To do this, the sculptor has sought dramatisation through the use of the colour red in the hands, and the gesture of the face, with the mouth open in an agonising attitude. Even so, the piece does not show the wound in the side which would seek to exacerbate the pathos of the message to be conveyed by this work. Crucifixions and crucifixes have appeared in the history of art and popular culture since before the era of the pagan Roman Empire. The crucifixion of Jesus has been depicted in religious art since the 4th century. It is one of the most recurrent themes in Christian art and the one with the most obvious iconography. Although Christ is sometimes depicted clothed, his body is usually depicted naked, although with his genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of depicting the different attitudes of the crucified Christ are designated by the Latin expressions Christus triumphans ("triumphant" - not to be confused with the Maiestas Domini or the Pantocrator), Christus patiens ("resigned" - not to be confused with the Christ of patience) and Christus dolens ("suffering" - not to be confused with the Vir dolorum). The triumphans is represented alive, with his eyes open and his body erect; the patiens is represented dead, with his will totally emptied (kenosis), his head bowed, his face with a serene expression, his eyes closed and his body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in his mouth (curved).Neapolitan sculpture shows a marked taste for naturalism, a trend to which this piece belongs. This taste for Neapolitan naturalism is evident, for example, in the tradition of nativity scenes, as well as in the carving of groups of the Holy Sepulchre. Both the nativity scenes and the groups of the Holy Sepulchre and the vestments have a strong dramatic, scenographic component. They were also sculptures or sculptural groups that played an important role in the liturgy at different times of the year: at Easter, Christmas and other important festivals, where the celebration of mass involved, in various ways, the participation of these sculptures, which were, for the faithful, a powerful illustration of the mysteries around which the sermons and homilies revolved.

Dress Virgin of the 18th century.Modelled wax. Cloth vestments.Eighteenth century frame in carved and gilded wood.Measurements: 80 cm (total with crown); 117 x 88 x 17 cm (frame).Dress images are figures worked in detail only on the face and hands, on a structure of wood carved (in this case wax) to a greater or lesser extent. These processional images were cheaper than fully carved ones, and were therefore common throughout Spain. The visible parts are covered with a thin layer of stucco and polychromed, while the rest is covered with real clothes. These images were particularly appreciated for their naturalism, as the fact that they were dressed in real clothes gave them a greater degree of realism than those that were simply carved, which were often not of sufficient quality to achieve the degree of naturalism so sought after in religious art from the Baroque period onwards. Some of these "cap i pota", another name for this type of figure, were made articulated, so that their position could be changed and they could be dressed more easily.

Spanish school; 17th century."Christ on fire".Earthenware.Measurements: 36 x 28 x 12 cm.Round sculpture made of terracotta with a religious character. In this sculpture the author has reproduced the image of Christ with his hands crossed on his chest, a gesture that reminds us to a great extent of the iconography of Christ in prison, despite the fact that in the sculpture no detail can be seen that shows this attitude. The figure of Christ is dressed in a red cloak, symbolising the moment of the Passion. The sculpture stands out for the sobriety and austerity of the elements, thus confronting the viewer only with the figure of Christ. In which the sculptor has not only emphasised the monumentality through the elongation of the proportions, but also, with the polychromy, has managed to create an expressive image in which the suffering and the sufferings of Christ can be observed.Spanish Baroque sculpture 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, with the works sometimes being 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. Religious themes were therefore the preferred subject matter of Spanish sculpture of this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values, which was achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.

William Blake (1757-1827)Thou hast fulfilled the Judgement of the Wicked, 1825Engraved plate, with 'Proof' faintly visible to bottom right corner20.3cm x 16.6cm William Blake is remembered as both a talented Romantic painter and a poet—he entered drawing school and began writing poetry around the same time in his adolescence. By age 20, Blake was thought to have written some of the finest lyrical poetry in the English language. He apprenticed for seven years with the engraver James Basire. In addition to engravings, Blake made drawings, watercolors, and small paintings in tempera. In 1788, he developed a process of etching that allowed him to combine an etching and text on the same printing plate, gaining unprecedented layout control of the printed page. Blake was deeply religious and believed that art could elevate the spirit. His most popular works were Biblical subjects, and illustrations inspired by Dante Alighieri’s Divine Comedy.Fraying to the edge of the paper, though this has no bearing on the print. Some light foxing and small indiscriminate holes towards the edge of the plate.

Postcards, a mix of more than 280 cards, with many greetings, art, religious, date, Quinton, Birthday and other subject cards inc. Cries of London, tartan etc. Some with heavy duplication (mixed condition)

A WWII 1st Naval Brigade prisoner of war wooden framed Religious Picture, with Norfolk Regiment insignia to front and original paper label to reverse, H 25cm, together with a Trench Art Vase, with ivy leaf and star decoration, H 40cm, Paragon household ambulance First Aid Kit with partial contents and a metal cased Gas Mask (a lot)

Pompeo Girolamo Batoni (Italian, 1708-1787)Portrait of Edward Solly, half length, in a blue coat and cream waistcoat, standing beside a table oil on canvas98.7 x 73.7cm (38 7/8 x 29in).Footnotes:Provenance:The sitter, and on his death to his brotherIsaac Solly (1724-1802), and to his sonEdward Solly (1776-1848), the renowned collector, thence by descent in the Solly family to Reginal John Nash Solly (1900-1975) by whom bequeathed to the present owners.Literature:E. Peters Bowron, Pompeo Batoni. A Complete Catalogue of his Paintings, Italy, 2016, p. 198, cat. no. 171Batoni's portrait of Edward Solly was painted in 1753-4 when the latter was visiting Rome, having arrived in Italy in the spring of 1753 aged 25, already a little older than many of the typical Milordi who undertook this journey as a rite of passage. He is shown dressed in a fashionable style known as à la hussar, his coat and waistcoat embellished with elaborate decorations borrowed from the Hungarian military uniform with its red collar, gold braid and frogging around the buttons. This fashion took hold after the War of Austrian Succession (1740-48) when the British were brought into contact with Hungarian troops and the popular image of Hungarian hussars as romantic and dashing led to the adoption of their uniform for masquerade wear. Batoni was to use Solly's rather relaxed, insouciant pose for another portrait two or three years later when he painted John Hase, later John Lombe, (Bowron and Kerber no. 195, p. 234, ill) although in this later iteration the sitter leans against a parapet rather than a stack of books. The books, with their characteristic Italian bindings, and the quill pens may be no casual inclusion since, unlike some of his fellow travellers who simply saw the journey as an opportunity to break free from the constraints of home, Solly was a keen student and saw his sojourn in Italy as an opportunity to develop his interest in the Classical world of art and scholarship. He pursued this interest throughout his life: on his return to England he became a member of the Society of Antiquaries and years later in 1771 he was elected to its Council.While he used the opportunity of his Grand Tour to study art and history, there were clearly lighter moments as well: he is recorded in Capua in May 1753, a town north of Naples renowned in classical times for its luxury and hedonism. In the 18th Century Capua was a stopping-off point for young Englishmen heading south towards Naples and promised a rather more informal and relaxed atmosphere than Rome. Solly's travelling companion was Charles Domville and the two men may well have encountered a number of other young British men enjoying the pleasures of Capua, as Robert Clements of Killadoon, Henry Willoughby of Birdsall, Sackville Tufton from Kent, David La Touche from Ireland and the 10th Earl of Pembroke were also there that spring. This is possibly the instigation for Solly commissioning the present portrait, as Batoni was beginning to make a considerable name for himself as a portraitist of Grand Tourists and on their arrival in Rome every one of this group of men was to sit to him. Also a painter of religious, mythological and allegorical works, Pompeo Batoni turned to portraiture around 1750 (see fig. 1) and is now chiefly remembered for the remarkable record he left us of the gilded youth of Britain in the second half of the 18th Century (for around two thirds of his sitters were British) as well as representatives of most of the courts of Europe. He was not the only fashionable portraitist in Rome at the time, both Anton Raphael Mengs and Gabriel Blanchet enjoyed success with wealthy visitors as well, but he unquestionably made the genre his own. The Solly family had for generations been wealthy businessmen and landowners in Kent and their family home, the Mote, was at Ash, near Sandwich. Edward was the youngest of the eight children of Richard Solly (1694-1729) and his wife Ann, née Hollis (1717-1776) and although his father died soon after Edward was born, he left the family well very provided for. In his youth Edward was briefly apprenticed to Jacob Chitty, a Merchant Taylor of Ironmonger Lane who traded cloth with the levant; later in his life he divided his time between Kent and London, continuing with the family's commercial interests, but it appears he never married and when he died his chattels - including this painting - were left to his oldest brother Isaac. Isaac Solly (1724-1802) was a merchant trading in Baltic timber whose son, named Edward like his uncle, followed in his father's footsteps. There was a demand for timber to feed the ship-building industry during the Napoleonic Wars so business burgeoned and in due course the younger Edward (1776-1844) moved to Berlin in order to direct his business interests. Over this period he made a name for himself as one of the great collectors of the 19th Century, building up a truly vast collection of Italian Trecento and Quattrocento paintings and works by early Netherlandish artists. When peace returned after the Napoleonic wars, the timber trade slumped as it was no longer required to support the fleet, and he sold his collection in 1821. Through the intermediary Gustav Waagen around 3000 works were acquired by King Frederick William III of Prussia and of these, 677 works were to form the core of the new Gemäldegalerie in Berlin. Undeterred, Solly formed a second collection on his return to England. It is tempting to speculate that his uncle's antiquarian interests – and perhaps even this portrait of him by Batoni – helped spark the younger Edward's interest in art and collecting.The present work was unknown to scholarship until seen by Bowron and Kerber in the Summer of 2015, having remained in the Solly family collection since it was painted.For further information on this lot please visit Bonhams.com

Circle of MATEO CEREZO (Burgos, 1637-Madrid, 1666)."Penitent Magdalene".Oil on canvas. Re-retouched.It presents repainting and restorations.Measurements: 103 x 85 cm.In this canvas, Mary Magdalene is represented as a penitent in the desert, dressed with a jet robe, on which the red tone of the cloak stands out. Although it is an unusual feature, the young woman, who appears to be absorbed in the Scriptures, does not have long, flowing hair, which alludes to the style of the young woman's life before she met Christ. The saint is depicted next to a perfumer, the Holy Scriptures and the skull. Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she housed and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed the feet of Jesus with perfumes before his arrival in Jerusalem, so her main iconographic attribute is a knob of essences, like the one shown here. While Eastern Christianity particularly honours Mary Magdalene for her closeness to Jesus, considering her "equal to the apostles", in the West the idea developed, based on her identification with other women in the Gospels, that before meeting Jesus she had engaged in prostitution. Hence the later legend that she spent the rest of her life as a penitent in the desert, mortifying her flesh. She was most often depicted in this way in art, especially in the 17th century, a time when Catholic societies were particularly fascinated by the lives of mystics and saints who lived in solitude in the wilderness, dedicated to prayer and penance. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.Mateo Cerezo trained in Madrid, where he joined Carreño's workshop. He was in great demand by a varied clientele, particularly for his religious painting, although he also tackled other genres. In this respect, the treatise writer and biographer Palomino stated that he produced "still lifes with such superior excellence that no one else could surpass him", a judgement that is fully corroborated by the works in the Museo Nacional de San Carlos in Mexico, which are signed and dated. On the basis of these, Pérez Sánchez attributed to him the Kitchen Still Life purchased by the Museo del Prado in 1970, a work of evident Flemish influence that has sometimes led him to think of Pereda. The work of this artist from Valladolid has also been identified as Cerezo's descendant, particularly in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left somewhat rougher works than those he produced in the following decade. In his works he is a faithful follower of Carreño, with whom he became one of his best collaborators. The master showed him the path he himself later followed, following in the footsteps of Van Dyck and Titian. Thus, Cerezo developed compositions that open out into large, complex scenographies, conceived with a distinguished refinement that is evident both in the work as a whole and in the smallest details. Like the Antwerp master, he endowed his figures with a rich magnificence in their costumes, applying a fluid, light brushstroke, contrasted by a rich play of light. A superb example of all this is the Prado's The Mystical Betrothal of Saint Catherine, signed and dated 1660.

Attributed to Gaspar Miguel de Berrío (Potosí, c. 1706- c.1762)  "The Coronation of the Virgin Mary with two Archangels" Oil on canvas. Relined. Measurements: 29,5 x 22,5 cm. This important painter worked in Potosí, in the Viceroyalty of Peru, in High Peru, which is now Bolivia.  Gaspar Miguel de Berrío is considered to be one of the most important artists of the Potosí School, after Melchor Pérez de Holguín, who was his teacher. His religious-themed paintings are reminiscent of Spanish tenebrism, as we see in this beautiful painting with a black background with contrasting gold leaf. The painting can be compared, for example, with "The Adoration of the Shepherds", which is kept in the National Museum of Art of Bolivia, La Paz. (Image No. 1: http://52.183.37.55/artworks/678), or with “Our Lady of the Rosary” which is kept in the Potosí Mint Museum, in Bolivia (Image No. 2: http://artecolonialamericano. az.uniandes.edu.co:8080/artworks/4771) His work, in addition to these examples, can be found in the Cerro Rico and la Villa Imperial, the Museo de Charcas, Sucre; at the National Museum of Fine Arts in Chile and the Isaac Fernández Blanco Museum of Hispanic American Art in Buenos Aires, among others. 

Attributed to José de Ibarra (Guadalajara, 1685 - Mexico City,1756)"The Madonna of Passau" Oil on copper. 28 x 22,5 cm. The painter was born in New Galicia, currently in Guadalajara, at the time of the viceroyalty. He trained in the workshops of important painters such as Juan Correa or the brothers Juan and Nicolás Rodríguez Juárez. His themes were, as was almost inevitable at the time, religious. With his sweet style and great knowledge of the human figure, in addition to Spanish influence, a relationship with Italian and French painting of the time can also be appreciated. The National Museum of Art of Mexico keeps a large collection of works by the painter. The original work from which this series of Madonnas of Passau derives, was painted by Lucas Cranach the Elder, circa 1537, for the prince-electors of Saxony. Its dissemination was due to the engraving by Adriaen Melar (1633-1667) (PESSCA 1527A, https://colonialart.org/artworks/1527A/view). The Marian dedication is known as Our Lady Passaviense, a Latin form to refer to "of Passau", a German city on the Danube, bordering Austria, where the cult of the image and its diffusion arose, as in this case, to New Spain. An example by an anonymous author, circa 1700 - 1800, of Our Lady of Passabiense, is held in the collection of the Museo Amparo in Puebla de Zaragoza, Mexico. The historian Héctor Schenone has thoroughly studied the origin of this particular invocation of the Virgin Mary, indicating, with regard to its origin: “In the group of paintings-portraits of Mary attributed to Saint Luke, there is the type called Eleusa (affectionate) and Glycophilusa (the one who embraces with tenderness), to whom two churches in Constantinople were dedicated in the first half of the 12th century. It highlights the affectionate impulse of the protagonists and shows the Virgin in her maternal condition as she embraces her Son and he does the same, passing an arm around his Mother's neck while they join their cheeks."Regarding the diffusion of the image, as we already mentioned, it was carried out by Lucas Cranach the Elder, Schenoneque adds: "At the beginning of the 17th century, it was given to the Archduke-Bishop of Passau, where it was transferred some time later, specifically to the parish of Innsbruck, where it was exhibited from 1650. While it was still in Passau, circa 1622, a vicar had it copied, this replica being known as Passaviensis, being worshipped as a protector against water and plague. The copy spread more than the original work through other copies and engravings, and it is believed that it came to Latin America through the influence of the Jesuits of the area who came to these lands.” Bibliographic references:- Schenone, Héctor H. (2008). "Santa María: iconografía del arte colonial". (pp. 460-461). Educa.

A collection of lead alloy Pilgrim Badges and miniature Pilgrim flasks 13th-16th Century and laterIncluding two Becket busts of the Archbishop martyr; another Becket head; a figure of a bishop saint, possibly Leonard; St Thomas Becket with ship, returning from his exile in France; a Herte badge; an equestrian badge of St Thomas returning from exile; a wicker basket badge from the shrine of Saint Dorothy; and five miniature lead pilgrim flasks, including one of scallop shell form, 2cm-7.5cm (a lot)Footnotes:Provenance:Property of a private collector, Edinburgh (1938-2021).Collected in the 1990s from the UK art market.Badges were collected by pilgrims as religious souvenirs once they reached their pilgrimage destination. After the martyrdom of Archbishop Thomas Beckett in 1170, Canterbury Cathedral became a popular pilgrim shrine. Becket busts were intended to represent his head casket reliquary. Such badges would have been worn by pilgrims on their hat, cloak or staff.For further information on this lot please visit Bonhams.com

Johann Anton de Peters (Cologne 1725-1795)A young lady at her toliet, brushing her hair in the mirror oil on canvas79.1 x 63.2cm (31 1/8 x 24 7/8in).Footnotes:ProvenanceGraf Andrassy, Budapest Prof. Dr. H.F. Secker, CologneAlbert Otten (Ottenheimer) (1886 – 1985), Cologne, later Engelwood New JerseyOn loan to the Portland Museum of Art, Maine (1986 – 2001)Leslie and Mildred Otten, Maine until 2002 when offeredSale, Sotheby's, London, 10 July 2002, lot 81 ExhibitedPortland Museum of Art, Maine. A Passion for Art: The Albert Otten Collection, 1987-88, no. 55LiteratureU. Thieme, F. Becker, Allgemeines Lexicon der Bildenen Künstler, Leipzig, 1932, vol. XXVI, p. 480 (as Mädchen am Frisiertisch, ihr Haar kämmend)Hans F. Secker in Weltkunst, 1 July 1950, p.2. Hella Robels 'Neues über das Leben und die Werke Anton de Peters', Wallraff-Richarz-Jahrbuch XXXIV, Cologne 1972, p.305.85 (as not by de Peters) W.H. Gerdts, A Passion for Art. The Albert Otten collection, Maine, Portland Museum of Art, exh. cat., 1987-88. pp. 5-6. ill, p.27. cat. 55, ill. De Peters is best remembered for his genre, mythological and religious works painted in France where he trained, and a number of the latter still hang in churches in Paris and Liège. The present work, however, displays an intimacy and understanding between artist and subject that suggests it is a portrait, most probably of his wife; in fact the same model appears in a watercolour and various drawings now in the collection of the Wallraf-Richartz Museum, Cologne. A version of this composition appeared on the London auction market attributed to de Peters (Sotheby's, 22 April 2009, lot 184). Albert Otten (previously Ottenheimer) was a steel magnate who made his fortune in Germany in the 1920s, but witnessing the rise of the Nazi party he emigrated to the United States in the 1930s. He was a notable collector of paintings, initially German works but expanding his collection into 19th and 20th century European paintings with a particular concentration on the Impressionists.For further information on this lot please visit Bonhams.com

Edward Matthew Ward, RA (British, 1816-1879)The last sleep of Argyll signed and inscribed 'E M Ward RA' (lower right)oil on canvas103.5 x 118.5cm (40 3/4 x 46 5/8in).Footnotes:This work is accompanied by the book listed in the literature below. In this, a letter dated 9 June 1868 from the artist to John Hick, Esq., is reproduced, in which he states that this work was the original study for the large fresco in the Houses of Parliament painted in 1854. As such, the present work can be dated to 1853-1854.ProvenanceJohn Hick, Esq., Mytton Hall, Lancashire. Acquired directly from the artist.ExhibitedLeeds, National Exhibition of Works of Art, 1968, no. 1413, the exhibition catalogue states 'Original study for the fresco in the Houses of Parliament'.LiteratureCatalogue of the principal paintings, drawings, books, bronzes, &c., at Mytton Hall, the residence of John Hick, Esq., London, 1893, illustrated p. 41.In the present work, the Covenanter, Archibald Campbell, 9th Earl of Argyll, is depicted sound asleep as his jailer and the castle governor enter his cell on the morning of his execution. For his support of the 1685 Monmouth Rebellion in opposition of King James II & VII, Argyll was imprisoned in Edinburgh Castle and sentenced to be executed on 30th June 1685. Such was the strength of Argyll's Christian faith, that it was said that on the day of his execution he showed no fear whatsoever. A letter of the period written by Argyll states:'What shall I say in this great day of the Lord, wherein, in the midst of a cloud, I find a fair sunshine. I can wish no more for you, but that the Lord may comfort you, and shine upon you as he doth upon me, and give you that same sense of His love in staying in the world, as I have in going out of it.'1The edifying nature of this work is enriched by the various objects placed in the room, most notably the classic imagery of memento mori imbued by the bible and clock sitting on Argyll's bedside table. But also, one can draw parallels between the last supper seen in the background and the last letter in the foreground.At least two other versions of this subject were painted by the artist, one being in the collection of the Birmingham Museums Trust (no. 1960P43) and the other in the collection of the Salford Museum & Art Gallery (no. 1877-13). Although unclear which version the entry refers to, Ward exhibited this subject at the Royal Academy in 1854 (no. 403).The Royal Academy entry of 1854 is accompanied by the following text:'So effectually had religious faith and hope, cooperating with natural courage and equanimity, composed his spirits, that on the very day on which he was to die, he dined with appetite, conversed gaiety at table, and after his last meal, lay down, as he was wont, to take a short slumber, in order that his body and mind might be in full vigour when he should mount the scaffold. At this time one of the Lords of the Council, who had probably been bred a Presbyterian, and had been seduced by interest to join the oppressing the church of which he had once been a member, came to the castle, with a message from his brethren, and demanded admittance to the Earl. It was answered that the Earl was asleep. The privy councillor thought that this was a subterfuge, and insisted on entering. The door of the cell was softly opened, and there lay Argyle on the bed, sleeping in his irons the placid sleep of infancy. The conscience of the renegade smote him.'1 J. Willcock, A Scots Earl in Covenanting Times: Being Life and Times of Archibald, 9th Earl of Argyll, 1905.For further information on this lot please visit Bonhams.com

Charlie Chrobnik Untitled (1), 2022 Unique Giclée Print of Acrylic on Canvas Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Charlie Chrobnik is a British-Ukrainian artist currently enrolled on the MA Painting programme at Royal College of Art. He was recently awarded the RCA Disability Scholarship. Since graduating with a BA in Fine Art from Central Saint Martins, Charlie has regularly exhibited his paintings in group shows throughout London.   Education   Royal College of Art (Current). Central Saint Martins (Past).   Select Exhibitions/Awards   RCA Disability Scholarship   Statement about AOAP Submitted Artwork   My work centres around health and healing through the lens of religious iconography and spirituality. Visually translating an experience of illness, disability or disordered eating through metaphor, I aim to show an immediate subject of trauma being pulled into a different space, an abstract fantastical space devoid of pain, situating illness within delicate, dreamlike and "pretty" scenes. A focus on beauty in both the figurative subject painted, the laboured, smoothed, thin layers of acrylic paint, the pink aura, realism next to gestural washes of light, and the renaissance-like veiled bodies. Contrasting this with reoccurring shorthand symbols for sickness - the paintings end up somewhere between ethereal and nightmarish.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Charlie Chrobnik Untitled (2), 2022 Unique Giclée Print of Acrylic on Canvas Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Charlie Chrobnik is a British-Ukrainian artist currently enrolled on the MA Painting programme at Royal College of Art. He was recently awarded the RCA Disability Scholarship. Since graduating with a BA in Fine Art from Central Saint Martins, Charlie has regularly exhibited his paintings in group shows throughout London.   Education   Royal College of Art (Current). Central Saint Martins (Past).   Select Exhibitions/Awards   RCA Disability Scholarship   Statement about AOAP Submitted Artwork   My work centres around health and healing through the lens of religious iconography and spirituality. Visually translating an experience of illness, disability or disordered eating through metaphor, I aim to show an immediate subject of trauma being pulled into a different space, an abstract fantastical space devoid of pain, situating illness within delicate, dreamlike and "pretty" scenes. A focus on beauty in both the figurative subject painted, the laboured, smoothed, thin layers of acrylic paint, the pink aura, realism next to gestural washes of light, and the renaissance-like veiled bodies. Contrasting this with reoccurring shorthand symbols for sickness - the paintings end up somewhere between ethereal and nightmarish.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Charlie Chrobnik Untitled (3), 2022 Unique Giclée Print of Acrylic on Canvas Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Charlie Chrobnik is a British-Ukrainian artist currently enrolled on the MA Painting programme at Royal College of Art. He was recently awarded the RCA Disability Scholarship. Since graduating with a BA in Fine Art from Central Saint Martins, Charlie has regularly exhibited his paintings in group shows throughout London.   Education   Royal College of Art (Current). Central Saint Martins (Past).   Select Exhibitions/Awards   RCA Disability Scholarship   Statement about AOAP Submitted Artwork   My work centres around health and healing through the lens of religious iconography and spirituality. Visually translating an experience of illness, disability or disordered eating through metaphor, I aim to show an immediate subject of trauma being pulled into a different space, an abstract fantastical space devoid of pain, situating illness within delicate, dreamlike and "pretty" scenes. A focus on beauty in both the figurative subject painted, the laboured, smoothed, thin layers of acrylic paint, the pink aura, realism next to gestural washes of light, and the renaissance-like veiled bodies. Contrasting this with reoccurring shorthand symbols for sickness - the paintings end up somewhere between ethereal and nightmarish.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Charlie Chrobnik Untitled (4), 2022 Unique Giclée Print of Acrylic on Canvas Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Charlie Chrobnik is a British-Ukrainian artist currently enrolled on the MA Painting programme at Royal College of Art. He was recently awarded the RCA Disability Scholarship. Since graduating with a BA in Fine Art from Central Saint Martins, Charlie has regularly exhibited his paintings in group shows throughout London.   Education   Royal College of Art (Current). Central Saint Martins (Past).   Select Exhibitions/Awards   RCA Disability Scholarship   Statement about AOAP Submitted Artwork   My work centres around health and healing through the lens of religious iconography and spirituality. Visually translating an experience of illness, disability or disordered eating through metaphor, I aim to show an immediate subject of trauma being pulled into a different space, an abstract fantastical space devoid of pain, situating illness within delicate, dreamlike and "pretty" scenes. A focus on beauty in both the figurative subject painted, the laboured, smoothed, thin layers of acrylic paint, the pink aura, realism next to gestural washes of light, and the renaissance-like veiled bodies. Contrasting this with reoccurring shorthand symbols for sickness - the paintings end up somewhere between ethereal and nightmarish.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.