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Marcelina Amelia My Fire Watercolour and Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Marcelina Amelia is a contemporary artist, based between the UK and Poland, working with mixed media approaches to print, painting and drawing. She often draws inspirations from her Polish heritage, looking to religious iconography and folk tales, as well as childhood memories, the power of dreams, spirituality, sexuality, and the human condition. According to her Mum, Marcelina started drawing before she could properly speak. She has been featured in publications including Booooooom, Bomb, Art Maze, Create Magazine, Digital Arts, Vogue, Refinery29, The NY Times, Der Spiegel and Ballad Of Magazine and is also a founder of art-brand Mesh Studio. She exhibits work throughout the UK as well as internationally and was a featured artist at the 2017 edition of the London Illustration Fair and led The Big Draw sketch walk for Apple. In 2018 Marcelina was Saatchi Art's featured 'Artist in Spotlight' at The Other Art Fair in Bristol and her artwork adorned thousands of tote bags promoting the fair. This year Marcelina was also a featured artist at the Affordable Art Fair Battersea's Live Art event. Added to that her work was displayed at Boxpark Croydon, made an appearance at 2018 London Fashion Week and she has been invited to take part in the infamous 'Art on a Postcard' secret auction alongside some big names in the art world. Rebecca Wilson, the chief curator at Saatchi Art, highlighted Marcelina as an artist to invest in at her talk at The Other Art Fair in London in 2018. In addition, Saatchi curator Monty Preston said she was "unquestionably an artist on the rise" Marcelina says, 'I like to play at the tense borders between lust and innocence; joy and sadness; fun and pain. My interest in juxtaposition comes from my origins and fascination with East European culture which was eloquently described by Grayson Perry as 'nowhere else could such horrific grief be met with such fairly-tale romanticism'. I tend to utilise nature as a metaphor for everyday feelings and headaches. My recent work also dwells into themes of self acceptance, body positivity, representations of the female sexuality, gender, migration, and society. Although some of the subjects I take on are often quite dark I like to think that there is some humour and light in my finished artwork.'

Marcelina Amelia Grounding Watercolour and Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Marcelina Amelia is a contemporary artist, based between the UK and Poland, working with mixed media approaches to print, painting and drawing. She often draws inspirations from her Polish heritage, looking to religious iconography and folk tales, as well as childhood memories, the power of dreams, spirituality, sexuality, and the human condition. According to her Mum, Marcelina started drawing before she could properly speak. She has been featured in publications including Booooooom, Bomb, Art Maze, Create Magazine, Digital Arts, Vogue, Refinery29, The NY Times, Der Spiegel and Ballad Of Magazine and is also a founder of art-brand Mesh Studio. She exhibits work throughout the UK as well as internationally and was a featured artist at the 2017 edition of the London Illustration Fair and led The Big Draw sketch walk for Apple. In 2018 Marcelina was Saatchi Art's featured 'Artist in Spotlight' at The Other Art Fair in Bristol and her artwork adorned thousands of tote bags promoting the fair. This year Marcelina was also a featured artist at the Affordable Art Fair Battersea's Live Art event. Added to that her work was displayed at Boxpark Croydon, made an appearance at 2018 London Fashion Week and she has been invited to take part in the infamous 'Art on a Postcard' secret auction alongside some big names in the art world. Rebecca Wilson, the chief curator at Saatchi Art, highlighted Marcelina as an artist to invest in at her talk at The Other Art Fair in London in 2018. In addition, Saatchi curator Monty Preston said she was "unquestionably an artist on the rise" Marcelina says, 'I like to play at the tense borders between lust and innocence; joy and sadness; fun and pain. My interest in juxtaposition comes from my origins and fascination with East European culture which was eloquently described by Grayson Perry as 'nowhere else could such horrific grief be met with such fairly-tale romanticism'. I tend to utilise nature as a metaphor for everyday feelings and headaches. My recent work also dwells into themes of self acceptance, body positivity, representations of the female sexuality, gender, migration, and society. Although some of the subjects I take on are often quite dark I like to think that there is some humour and light in my finished artwork.'

Marcelina Amelia My Big Small Fire Watercolour and Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Marcelina Amelia is a contemporary artist, based between the UK and Poland, working with mixed media approaches to print, painting and drawing. She often draws inspirations from her Polish heritage, looking to religious iconography and folk tales, as well as childhood memories, the power of dreams, spirituality, sexuality, and the human condition. According to her Mum, Marcelina started drawing before she could properly speak. She has been featured in publications including Booooooom, Bomb, Art Maze, Create Magazine, Digital Arts, Vogue, Refinery29, The NY Times, Der Spiegel and Ballad Of Magazine and is also a founder of art-brand Mesh Studio. She exhibits work throughout the UK as well as internationally and was a featured artist at the 2017 edition of the London Illustration Fair and led The Big Draw sketch walk for Apple. In 2018 Marcelina was Saatchi Art's featured 'Artist in Spotlight' at The Other Art Fair in Bristol and her artwork adorned thousands of tote bags promoting the fair. This year Marcelina was also a featured artist at the Affordable Art Fair Battersea's Live Art event. Added to that her work was displayed at Boxpark Croydon, made an appearance at 2018 London Fashion Week and she has been invited to take part in the infamous 'Art on a Postcard' secret auction alongside some big names in the art world. Rebecca Wilson, the chief curator at Saatchi Art, highlighted Marcelina as an artist to invest in at her talk at The Other Art Fair in London in 2018. In addition, Saatchi curator Monty Preston said she was "unquestionably an artist on the rise" Marcelina says, 'I like to play at the tense borders between lust and innocence; joy and sadness; fun and pain. My interest in juxtaposition comes from my origins and fascination with East European culture which was eloquently described by Grayson Perry as 'nowhere else could such horrific grief be met with such fairly-tale romanticism'. I tend to utilise nature as a metaphor for everyday feelings and headaches. My recent work also dwells into themes of self acceptance, body positivity, representations of the female sexuality, gender, migration, and society. Although some of the subjects I take on are often quite dark I like to think that there is some humour and light in my finished artwork.'

Victoria Cantons Change is the Natural Order Watercolour and Archival Ink on Paper Signed on Front and Verso 15 x 10cm (5¾ x 3¾ in.) About Victoria Cantons is an artist who happens to be a woman, transgender, and gay. As a trans woman she is keenly aware of limitations and stigmas, which leads her to question how much freedom we have and where our boundaries lie. Cantons wants to understand as much as she can about what it means to be human. She believes that what we as individuals present to the world is multifaceted and not always visible; a continuous evolution in response to experience, and in relationship to each other. The human condition and questions of identity are central to her work. Cantons is interested in themes of power, identity, and male and female perceptions of each other. She says "These aspects connect us all and yet we are also unique individuals". Cantons' painting is figurative and she could be described as a colourist. She is interested in the dialogue between painting's contemporary iterations and its histories. Cantons uses drawing and written notes combined with found and made photographs to navigate between intuitive, intellectual, and aesthetic content informed by a multinational, -cultural and -religious background. An interest in the internal-external dichotomy manifests in an attention to scale, to how shadows form, and to where absences appear. Memories of being different suggest the need to use masks and camouflage as protection, while influencing the paintings as they evolve in an exploration of identity, self, and representation.   Education 2018 - 21 MFA Painting (Distinction), Slade School of Art, University College London 2017 - 18 Painters Studio Programme, Turps Art School, London 2014 - 17 BA (Hons) Fine Art: Painting, Wimbledon College of Arts, University of the Arts London 2013. . . . Summer Foundation Course, Slade School of Art, University College London 1995 - 97 Drama Studies, Academy of Live and Recorded Arts (ALRA South), London

Victoria Cantons Hope is Everything Watercolour and Archival Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Victoria Cantons is an artist who happens to be a woman, transgender, and gay. As a trans woman she is keenly aware of limitations and stigmas, which leads her to question how much freedom we have and where our boundaries lie. Cantons wants to understand as much as she can about what it means to be human. She believes that what we as individuals present to the world is multifaceted and not always visible; a continuous evolution in response to experience, and in relationship to each other. The human condition and questions of identity are central to her work. Cantons is interested in themes of power, identity, and male and female perceptions of each other. She says "These aspects connect us all and yet we are also unique individuals". Cantons' painting is figurative and she could be described as a colourist. She is interested in the dialogue between painting's contemporary iterations and its histories. Cantons uses drawing and written notes combined with found and made photographs to navigate between intuitive, intellectual, and aesthetic content informed by a multinational, -cultural and -religious background. An interest in the internal-external dichotomy manifests in an attention to scale, to how shadows form, and to where absences appear. Memories of being different suggest the need to use masks and camouflage as protection, while influencing the paintings as they evolve in an exploration of identity, self, and representation.   Education 2018 - 21 MFA Painting (Distinction), Slade School of Art, University College London 2017 - 18 Painters Studio Programme, Turps Art School, London 2014 - 17 BA (Hons) Fine Art: Painting, Wimbledon College of Arts, University of the Arts London 2013. . . . Summer Foundation Course, Slade School of Art, University College London 1995 - 97 Drama Studies, Academy of Live and Recorded Arts (ALRA South), London

Carrie Reichardt Untitled Ceramic Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Carrie Reichardt's ancestry can be traced back through a long line of aristocratic eccentrics. Her grandfather, Joseph Reichardt owned estates in the Austrian Empire and was known as The Camel Hair King of America after making a fortune shipping camel hair wool from Persia via his offices in New York. He worked for the Tsar of Russia during World War I and was awarded the title of Count before fleeing the Russian Revolution. Count Reichardt was bankrupted after losing the cutting rights to all the trees on the Caspian Sea. He moved to England with three sons. The eldest became a Nuclear Scientist. The youngest was Tony Reichardt, who prospered as an influential dealer in Modern Art in post-war London and was close friends with Francis Bacon. The second son was Carrie Reichardt's father Roland, who became a Rigsbyesque property landlord as well as being a faith healer with a keen interest in erotica. Carrie Reichardt gained a First Class degree in Fine Art at Leeds University and has had a career spanning many media, including film, performance and sculpture. She is perhaps best known as a ceramicist and mosaicist, working internationally on large scale public murals. A renegade who is revered in anti-establishment circles, Reichardt's preoccupation with seditious ceramics places her within an artistic tradition extending back to William Morris. She creates anarchic artworks where vintage floral, kitsch, royal and religious crockery is given a new twist by re-firing with layers of new ceramic decals They are modified in a "radical use of traditional things" and often adorned with skulls, cheeky slogans and political statements. Her first solo exhibition, entitled "Mad in England", provided an exploration of this theme, which she has continued to pursue in subsequent work. Carrie Reichardt has spoken publicly about the use of craft and art as protest and her skills have been put to good use as a vehicle for her own political activism, most notably her campaigning for prisoners on Death Row and her involvement with the fight to gain justice for the Angola 3. Despite having a rebellious streak, it is testament to her talent and vivacious personality that Reichardt was awarded the Winston Churchill Travelling Fellowship in 2013, enabling her to work with local communities in Chile and Mexico. Carrie Reichardt has been an outspoken advocate for using Art as a form of personal therapy and "Mad In England" is a perfect back stamp for her work. It is fitting that her house and studio in Chiswick is famously called The Treatment Rooms.

Carrie Reichardt Untitled Ceramic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Carrie Reichardt's ancestry can be traced back through a long line of aristocratic eccentrics. Her grandfather, Joseph Reichardt owned estates in the Austrian Empire and was known as The Camel Hair King of America after making a fortune shipping camel hair wool from Persia via his offices in New York. He worked for the Tsar of Russia during World War I and was awarded the title of Count before fleeing the Russian Revolution. Count Reichardt was bankrupted after losing the cutting rights to all the trees on the Caspian Sea. He moved to England with three sons. The eldest became a Nuclear Scientist. The youngest was Tony Reichardt, who prospered as an influential dealer in Modern Art in post-war London and was close friends with Francis Bacon. The second son was Carrie Reichardt's father Roland, who became a Rigsbyesque property landlord as well as being a faith healer with a keen interest in erotica. Carrie Reichardt gained a First Class degree in Fine Art at Leeds University and has had a career spanning many media, including film, performance and sculpture. She is perhaps best known as a ceramicist and mosaicist, working internationally on large scale public murals. A renegade who is revered in anti-establishment circles, Reichardt's preoccupation with seditious ceramics places her within an artistic tradition extending back to William Morris. She creates anarchic artworks where vintage floral, kitsch, royal and religious crockery is given a new twist by re-firing with layers of new ceramic decals They are modified in a "radical use of traditional things" and often adorned with skulls, cheeky slogans and political statements. Her first solo exhibition, entitled "Mad in England", provided an exploration of this theme, which she has continued to pursue in subsequent work. Carrie Reichardt has spoken publicly about the use of craft and art as protest and her skills have been put to good use as a vehicle for her own political activism, most notably her campaigning for prisoners on Death Row and her involvement with the fight to gain justice for the Angola 3. Despite having a rebellious streak, it is testament to her talent and vivacious personality that Reichardt was awarded the Winston Churchill Travelling Fellowship in 2013, enabling her to work with local communities in Chile and Mexico. Carrie Reichardt has been an outspoken advocate for using Art as a form of personal therapy and "Mad In England" is a perfect back stamp for her work. It is fitting that her house and studio in Chiswick is famously called The Treatment Rooms.

French school; second quarter of the 19th century."Portrait of a gentleman.Oil on canvas.It conserves its original canvas.Measurements: 51 x 40 cm; 70 x 60 cm (frame).Portrait of a gentleman who appears before the spectator in profile, although he seems to direct his sight slightly in such a way that he links with the gaze of the one who observes the piece. The work is executed with a rapid, sometimes sketchy brushstroke, although the artist does not lose interest in capturing the details, giving great importance to the hair and features of the subject.The work is clearly inspired by the portraits of Anton van Dyck, a key Flemish Baroque painter and one of the most important portraitists of the 17th century. The son of a cloth and silk merchant, which undoubtedly influenced his appreciation of textiles, Van Dyck began his training at the age of ten in the studio of Hendrick van Balen, who had spent several years in Italy and developed a markedly Italianate style. This period of Van Dyck's training coincided with Rubens' return from Italy, after which he produced a series of altarpieces for the churches of Antwerp, bringing with him a whole new visual language in its ambition, drama and colour, which fitted in well with the Counter-Reformation religiosity of the Spanish Netherlands. It is not surprising therefore that Van Balen's brilliant pupil soon joined the circle of Rubens. By 1620 Van Dyck was already his principal assistant, although he had his own independent studio in the city. During these years he devoted himself mainly to religious works and in 1620 he was invited to London to work for King James I. In February 1621 he was already in London. In February 1621 he returned to Antwerp and in October he left for Italy. During these months in his native city he began to emerge as a brilliant portraitist, with works such as the portrait of "Frans Snyders and his Wife" (Frick Collection, New York) and "Isabella Brant", the wife of Rubens (National Gallery, Washington). In Italy Van Dyck spent six years in Genoa, from where he visited Rome and Venice, always studying the works of earlier masters, particularly Venetians and especially Titian, whose influence would be evident throughout the rest of his career. He also visited Sicily, where he painted the portrait of the viceroy Manuel Filiberto of Savoy. In Genoa the Flemish artist became the most sought-after portraitist by the local aristocracy and in 1627 he returned to Antwerp with a solid reputation and was soon appointed painter to the Archduchess Isabella. However, he did not abandon religious painting, to which he devoted himself in particular between 1628 and 1630, during Rubens' absence from Antwerp. His religious works reveal characteristics typical of Counter-Reformation art, such as the profound religious sentiment and the reflection of the mystical fervour that pervaded the painter's own personality. In 1632 he moved to London again, this time at the request of King Charles I.

A JAIN SANDSTONE STELE OF A TIRTHANKARA, POSSIBLY MAHAVIRACentral or Northern India, 12th-13th century. Finely carved in openwork with the central tirthankara standing between two pillars atop a square base and below a stepped roof, both carved with stylized lotus petals, a halo behind his head, the serene face with heavy-lidded eyes, broad nose, full lips, and elongated earlobes, the hair in tight curls. The deity is flanked by a vyala standing on a recumbent elephant's head to either side.Provenance: From a noted Belgian private collection.Condition: Excellent condition, commensurate with age. Extensive wear, minor losses, nicks and scratches, signs of weathering and erosion, structural cracks, encrustations.Dimensions: Height 43 cmJinas are depicted in only two poses: kayostarga, standing, or dhyani, seated in meditation, and due to the identical poses and expressions they are distinguished mainly by their vahanas, or vehicles, appearing at the feet of the figures or carved on to the pedestals. In the present example, the pedestal is missing and therefore an exact identification of the Jina is not possible. However, Mahavira is the most commonly represented of the Tirthankaras in the kayostarga attitude, and for this reason an attribution seems appropriate.The earliest extant Jain images date to the first century C.E. and were created in the area around Mathura, the center of much religious activity. Jainism is India's third great ancient religion and was founded contemporaneously with Buddhism from which it differed by its advocating the attainment of a spiritual life through asceticism. This may account for the conventional depiction of Tirthankaras in a rigid frontal pose. The term Jina, meaning “Conqueror” or “Victor of over Life” is applied to one who, like the Buddha, has attained perfect knowledge. Tirthankara meaning “He who has crossed the Ford” of rebirth and attained perfect freedom, is equivalent to Jina. In many respects, and more particularly in the seated poses, the Jina figure has many parallels to the Buddha image with the exception that, among the Digambara sect of Jains, the figure is always nude and the chest bears the srivasta.The nudity of Jain saints was a practice of both asceticism and their belief in non-possession, dating back to the days of Mahavira. However a schism arose in around 79 C.E., extensively recorded in their literature, about what constitutes total renunciation. At the time Jain monks separated into rival factions, the Digambaras “clothed with the sky” or nude and the Svetambaras, “clothed with white”, who partially clad themselves with white cloth. According to inscriptions the Svetambaras worshipped the nude image without objection and for both sects the Jinas and the saint Bahubali are represented naked while all other deities are clothed and even ornamented.This sculpture not only possibly represents Mahavira but more, it symbolizes man disregarding the material world and his animal nature. The figure is a human being transformed into a god-like state and the worship of it is not a two-way interaction but a meditation, where the deity is not expected to grant favors but rather to exemplify a state of being attainable by all.Auction result comparison: Compare a related sandstone stele of a seated Mahavira, dated circa 10th century, 99.2 cm high, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 14 March 2016, lot 74, sold for USD 62,500.

A RARE WOOD PANEL DEPICTING GARUDA WITH VIBHAVASU AND SUPRATIKNepal, 16th century. Boldly carved in high relief with Garuda standing atop prostate figures of Supratik and Vibhavasu as an elephant and tortoise, respectively. His legs and arms are bent with wings stretched outward as if about to take flight. He is richly adorned in beaded jewelry and wearing an elaborate crown. His face is carved with large almond-shaped eyes and a prominent beak. Two avatars of Vishnu are hanging upside-down from the foliate canopy toward the top of the panel and another figure stands to Garuda's left.Provenance: From an old German private collection. Published: Annemie De Gendt, Paul de Smet, et al, Ghurra's: Goden Uit de Himalaya. Nepalese Volkskunst, 2004, page 142.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering, losses, natural age cracks and splits. Fine, naturally grown patina.Weight: 5,135 g Dimensions: Size 62 x 47 cmGaruda is a half-bird, half-human creature that appears in both Hinduism and Buddhism. In Hinduism, Garuda is the mount of the god Vishnu. Vishnu was the main deity of the north Indian Gupta rulers, and Garuda was their dynastic symbol. This royal association was adopted by Licchavi royalty in Nepal, becoming a quintessential icon in Nepalese religious imagery. Garuda is most commonly depicted kneeling on one knee or in flight with Vishnu on his back and is only rarely depicted standing, especially in Nepal.The story of the two brothers Vibhavasu and Supratik is told in the Adi Parva of the Mahabharata. The elder one, Vibhavasu, was susceptible to anger, while the younger one, Supratik, was seeking to partition their wealth. One day both brothers were involved in a quarrel with each other. In the end, Vibhavasu then cursed Supratik, saying he will take birth as an elephant in the next life. In return, Supratik cursed his brother, saying he will be born as a tortoise. Anger and greed therefore caused them to be born as animals in their next birth and their hostility continued. One day the two were seized by Garuda, who took them in his claws to a mountain and ate them.Literature comparison: Compare a gilt bronze figure of Garuda (20 cm high) dated to the 12th century, in the Rijksmuseum, item number AK-MAK-1509; an ivory relief of Garuda (10 cm high) dated to the 14th century in the Victoria & Albert Museum, accession number IS.124-1999; a gilt bronze figure of Garuda (ca. 13.6 cm high) dated to the 17th century in the Rubin Museum of Art, object number C2005.16.13; and a Tibetan wood figure of Garuda (42 cm high) dated pre-17th century in the Victoria & Albert Museum, accession number IM.24-1910. 罕見木雕婁迦儸與維巴華素與蘇普拉提克兄弟的故事尼泊爾，十六世紀。高浮雕婁迦儸展翅，腳踏在大象維巴華素與烏龜蘇普拉提克兄弟身上。婁迦儸的腿和手臂彎曲，翅膀向外伸展，好像要起飛一樣。他佩戴著精美的珠飾，戴著精緻的王冠。他的臉上刻著杏仁狀的大眼睛和突出的喙。毘濕奴的兩個化身倒掛在面板頂部的葉狀樹冠上，另一個人物站在婁迦儸的左邊。來源：德國私人老收藏。出版：Annemie De Gendt, Paul de Smet, et al, Ghurra's: Goden Uit de Himalaya. Nepalese Volkskunst, 2004, 頁142。品相：狀況良好，與年齡相稱。 廣泛磨損、風化跡象、缺損、自然老化裂縫。包漿自然生長且十分細膩。重量：5,135 克尺寸：62 x 47 釐米

A LIMESTONE TORSO OF BUDDHA, NORTHERN QI DYNASTYChina, 550-577. Finely carved standing with the right hand raised and the left arm lowered along the side of the body, wearing a diaphanous robe delicately carved with drapes falling fluently following the contours of the body.Provenance: From the Roger Moss Collection. Roger Moss, OBE (1936-2020) grew up in Yorkshire and was a lifelong collector of art, best known for his collection of Chinese sculpture dating to the Tang dynasty and earlier. He was a Finance Director at British Airways when the Concorde was launched, then became the CFO of MTR in Hong Kong. During this time he also served as the president of the Oriental Ceramic Society.Condition: Good condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, nicks and scratches, few structural cracks, encrustations.Dimensions: Height 71 cm (excl. stand) and 78.5 cm (incl. stand)Mounted on an associated stand. (2)Expert's note: The sensitivity of carving, the soft garments closely clinging to the body, the crisp treatment of the gracefully draped folds clearly relate this figure to the Northern Qi period.Literature comparison: Compare a closely related example illustrated in The Art of Contemplation, Religious Sculpture from Private Collection, National Palace Museum, Taipei 1997, pl. 27. See also the two figures of similar sizes illustrated in Ancient Chinese Sculpture II, Kaohsiung Museum of Fine Arts, Taiwan 2000, pl. 20 and 21.Auction result comparison: Compare a closely related limestone torso of Buddha, 101 cm high, also dated to the Northern Qi dynasty, at Christie's London, 12 September 2007, lot 164, sold for GBP 24,500. 北齊石灰石立佛殘件中國，550-577年。立佛右臂舉起，左臂低垂，低開領的通肩袈裟，袈裟顯得輕薄而貼身，順著身體結構起伏，雙腿輪廓隱約可見。 來源：Roger Moss收藏。C. Roger Moss, OBE (1936-2020) 成長於約克郡，一生都在收藏藝術，以收藏唐代及更早時期的中國雕塑而聞名。協和式飛機推出時，他是英國航空公司的財務總監，然後成為香港地鐵的首席財務官。在此期間，他還擔任過東方陶瓷學會會長。品相：狀況良好，與年齡相稱。廣泛的磨損、缺損、風化和侵蝕，有刻痕和劃痕，少量結構裂縫、結殼。尺寸：高71 厘米（不含底座），總78.5 厘米 安裝在支架上。(2) 專家注釋：這種“薄衣貼體”的造像風格，展現了印度笈多藝術在中國的流傳影響，是北齊造像的一大特色。文獻比較: 比較一件相近的造像可見The Art of Contemplation, Religious Sculpture from Private Collection, 臺北故宮博物院，臺北1997, 圖 27；兩外兩件造像，相近尺寸，來自Ching-Ya T'ang 與 Shih-yu Shan-fang收藏，見Ancient Chinese Sculpture II, 高雄市立美術館, 台灣2000, 圖20 與21。 拍賣結果比較：比較一件相近的北齊石灰石佛陀身軀，高101 厘米，見倫敦佳士得2007年9月12日 lot 164, 售價GBP 24,500。

A LACQUERED WOOD HEAD OF NARASIMHA, 18TH CENTURYSouthern India. Boldly carved with large bulging eyes and prominent lids and brows, flanked by funnel-shaped ears, above a broad nose with widely flared nostrils, the mouth agape revealing tongue and teeth, all framed by the curled mane.Provenance: Harlan J. Berk, Chicago. A private collector in Texas, USA, acquired from the above. Harlan J. Berk is an important Chicago-based dealer of ancient coins and small antiquities. The family-owned business was founded in 1964 and remains active to this day.Condition: Good condition, commensurate with age, and displaying extraordinary well. Extensive wear, losses, small chips, age cracks, minor old repairs. Numerous layers of lacquer and pigment renewed over the centuries. With a consistent, natural patina overall.Weight: 11.7 kg (incl. stand) Dimensions: Height 43 cm (excl. stand) and 60 cm (incl. stand)Mounted to an associated metal stand. (2)Narasimha is a fierce avatar of the Hindu god Vishnu, who incarnates in the form of part lion and part man, to destroy evil and to end religious persecution and calamity on Earth, thereby restoring Dharma. Narasimha is known primarily as the 'Great Protector' who specifically defends and protects his devotees. The most popular Narasimha legend is where he defends his devotee Prahlada, and creatively destroys Prahlada's demonic father, the tyrant Hiranyakashipu.Literature comparison: Compare a closely related lacquered wood head of Narasimha, as part of a mask ensemble, also attributed to southern India, dated ca. 1700-1750, in the collection of the Metropolitan Museum of Art, accession number 2015.255.1a–f.

AN IMPERIAL KESI 'DRAGON' ROUNDEL, QING DYNASTYChina, 18th-19th century. Finely woven with silk and gilt thread depicting a front-facing four-clawed dragon writhing around a flaming pearl, surrounded by ruyi-shaped clouds against a midnight blue ground. The dragon's face is neatly detailed with embroidered eyes, long and elegantly curved whiskers, and two horns.Provenance: From an English private collection. Condition: Very good condition with only minor wear and little soiling. Mounted and framed behind glass.Dimensions: Diameter 28 cm, Size incl. frame 41 x 41 cmWith an old wood frame by R. Jackson & Son, Liverpool, according to the label applied to backside.The Qing emperors made Beijing a major center for the study of Tibetan Buddhism. The Qianlong emperor, in particular, recognized the supremacy of the religious authority of the Dalai Lama, and in turn Tibetans acknowledged the emperor as the incarnation of the Bodhisattva Manjusri, a manifestation of the Buddha of the Future.The origin of Imperial surcoats, gunfu, appears to date to the Zhou dynasty. The name continued to be used throughout the Qing dynasty, suggesting the Manchu emperors' intention of representing themselves as legitimate Chinese emperors. The emperor's surcoat was decorated with four roundels each centered with a five-clawed dragon. By the mid-eighteenth century, wearing a surcoat over a semi-formal dragon robe, jifu, was widespread throughout the court. The four-clawed Mang dragons, as seen on the present lot, were worn on third-rank nobles' surcoats, as recorded in the 1759 court regulations Huang chao li qi tushi.Literature comparison: Compare with a related silk embroidered dragon roundel from a ceremonial garment, dated to the early 18th century, in the collection of the Metropolitan Museum of Art, accession number 62.97.36. Compare a related kesi dragon roundel illustrated in The Complete Collection of Treasures of the Palace Museum 51, Costumes and Accessories of the Qing Court, page 49.Auction result comparison: Compare a related kesi dragon roundel, dated to the 18th century, at Sotheby's London in Important Chinese Art on 6 November 2019, lot 115, sold for GBP 10,000. Compare a related Imperial kesi dragon roundel, dated to the Daoguang period, at Christie's London in Chinese Ceramics, Works of Art and Textiles on 17 May 2013, lot 1451, sold for GBP 7,500. Compare a related Imperial kesi dragon roundel, dated to the Qianlong period, at Bonhams London in Fine Chinese Art Including Exceptional Textiles Curated by Linda Wrigglesworth on 13 May 2021, lot 85, sold for GBP 24,000. 清代御製緙絲龍紋圓補子中國，十八至十九世紀。用絲和金線精心緙製而成，石青色地上，一條正面四爪龍，中央一顆燃燒的龍珠，周圍三暈色如意雲。 龍的細節如彎曲鬍鬚和兩個角，尤爲精緻。 來源：英國私人收藏。 品相：狀況極好，只有輕微磨損和少量汙漬。裝裱在玻璃框內。尺寸：畫面直徑28厘米，總41 x 41厘米 老木框背面有利物浦R. Jackson & Son藝廊的標籤。 拍賣結果比較：比較一件十八世紀緙絲龍紋圓補子，見倫敦蘇富比Important Chinese Art 2019年11月6日 lot 115, 售價GBP 10,000；比較一件道光時期御製緙絲龍紋補子，見倫敦佳士得Chinese Ceramics, Works of Art and Textiles 2013年5月17日 lot 1451, 售價GBP 7,500；比較乾隆時期御製緙絲龍紋補子，見倫敦邦翰思由Linda Wrigglesworth策劃的Fine Chinese Art Including Exceptional Textiles 拍賣，2021年5月13日 lot 85, 售價GBP 24,000。

A SPINACH-GREEN JADE 'SCHOLARS' BRUSHPOT, BITONG, QIANLONG PERIODChina, 1736-1795. The massive and heavy vessel is of cylindrical form raised on five ogee-bracket feet, the exterior superbly carved and undercut with scholars and boy attendants engaged in various leisurely pursuits in a mountainous landscape with pine, wutong, palm trees, and a pavilion. The translucent stone of a deep green tone with black speckles and few cloudy white inclusions.Provenance: From a French private collection. Condition: Excellent condition with only minor wear and possibly small nicks or losses here and there, which may have smoothened over time.Weight: 2,140 gDimensions: Height 15.5 cm, Diameter 13 cmWith an associated silk box and cover. (2)Impressive for its large size, heavy weight and skillfully carved high relief scene that unravels like a scroll painting with each turn of the vessel, this brush pot is a fine example of the level of expertise achieved in this medium during the Qianlong period. It is carefully composed to depict an animated group of scholars and their assistants engaged in various activities in a lofty landscape. An ethereal and distant world is skillfully captured through the undercutting of the outlines of the rocks and figures, which create dramatic and mysterious contrasts.The decoration of this piece follows in the tradition of Chinese painting with the surface of the vessel treated as a horizontal scroll. With each turn of the pot a scene in the narrative appears, thus making it an object that can be appreciated from different angles. Brushpots were essential tools for the literati and grew in popularity under the Qianlong emperor, who considered himself a great classical scholar, poet, calligrapher and art connoisseur. Apart from his scholarly interests, Qianlong also saw himself as the religious leader of the empire. The subject matter of the retired scholar was one he particularly favored, revealing his desire to combine his personal and private inspirations with his public image.Literature comparison: A spinach green jade brushpot carved with a similar motif was included in the Oriental Ceramic Society exhibition Chinese Jade Throughout the Ages, Victoria and Albert Museum, London, 1975, cat. no. 415, together with one, from the collections of E.L. Paget, Sir J. Buchanan-Jardine, Sir Bernard Eckstein and Sir Jonathan Woolf, cat. no. 413, later included in the exhibition of The Woolf Collection of Chinese Jade, Sotheby's, London, 2013, cat. no. 45. Also compare another similar brushpot in the Palace Museum, Beijing, illustrated op. cit., 1995, pl. 170.Auction result comparison: Compare a near-identical brushpot, also carved and undercut with a continuous scholarly scene, at Sotheby's New York, in Fine Chinese Ceramics and Works of Art, on 18 March 2008, lot 16, sold for USD 433,000. Note the remarkable similarity of the pavilion and palm trees found on both the present lot and this example.乾隆時期碧玉文人場景筆筒中國，1736-1795年。筆筒呈圓柱體，五足，外壁雕刻文人場景。文士們似在飲酒做對問禪，四周松、梧桐、芭蕉、亭台圍繞。深綠色的半透明玉料，帶有黑色斑點和少量白色絮狀内沁。 來源：法國私人收藏。 品相：狀況極好，只有輕微磨損，小劃痕或缺損，隨著時間的推移已經變得平滑。 重量：2,140 克 尺寸：高15.5 厘米, Diameter 13 厘米 配置絲盒。 (2) 此筆筒體積大、重量重，雕工精湛，宛如一幅卷軸，令人贊嘆不已，這是乾隆時期在玉雕方面傑出水平的典範。筆筒外壁描繪了一群充滿活力的學者和他們的童僕，在山水中游玩。通過對岩石和人物輪廓的雕琢，巧妙地捕捉到一個空靈的世界，形成戲劇性和神秘性的對比。這件作品的裝飾藉鑒了中國畫的傳統，將器皿的表面處理成水平捲軸。每每轉動一圈，就會改變場景，從而可以從不同角度欣賞它。筆筒是文人墨客的必備工具，在乾隆皇帝的影響下越來越受歡迎，乾隆自稱是一位偉大的古典學者、詩人、書法家和藝術鑑賞家。除了他的學術興趣，乾隆還認為自己是宗教領袖。這類隱者文士的題材尤其爲他所喜歡，體現了他希望將個人靈感與公眾形象結合起來的願望。文獻比較：一件碧玉筆筒，相似紋樣，可見於Oriental Ceramic Society exhibition Chinese Jade Throughout the Ages, 倫敦Victoria and Albert Museum博物館, 1975, 目錄415, 還有分別來自E.L. Paget、J. Buchanan-Jardine爵士、Bernard Eckstein 爵士與Jonathan Woolf爵士收藏，目錄 413, 之後還參展於倫敦蘇富比的The Woolf Collection of Chinese Jade的2013年的展覽, 目錄號 45. 還有另一件見北京故宮博物院 1995, 圖170。 拍賣結果比較：一件幾乎一模一樣的文人場景筆筒，見紐約蘇富比Fine Chinese Ceramics and Works of Art 2008年3月18日 lot 16, 售價USD 433,000。值得注意的是，在這兩件筆筒上都能看到十分相似的亭臺和芭蕉樹。

A RARE GILT BRONZE FIGURE OF DIPANKARA BUDDHA, LATE MALLA, THREE KINGDOMS PERIODNepal, 17th-18th century. Well cast standing in samabhanga, his left hand raised in abhaya mudra and the right lowered in varada mudra, wearing a long, flared robe and pleated outer garment, both with finely incised scroll decoration at the hems. The serene face with heavy-lidded eyes below gently arched eyebrows centered by a prominent urna, flanked by long pendulous earlobes suspending elaborate floral earrings. The hair arranged in tight curls with a domed ushnisha surmounted by a jewel behind the foliate tiara.Provenance: J. J. Klejman, New York, before 1974. Sotheby's Parke-Bernet, New York, 26 October 1974, Lot 4. A private collector in New York, acquired from the above. John J. Klejman (1906-1995) was a noted Polish-American collector and dealer who founded the Klejman Gallery in New York in 1950.Condition: Good condition with some old wear, particularly to gilt, minuscule nicks, light scratches, minor dents, small losses. The flared robe with a small old repair to the backside. The crown slightly bent backwards.Weight: 4,996 g (incl. base)Dimensions: 30 cm (excl. base) and 36.5 cm (incl. base)Dipankara, one of numerous Buddhas of the past, is said to have predicted the coming of the historical Buddha Shakyamuni. According to legend, a rich Brahmin named Sumati saw that Dipankara was about to walk into a puddle of water. To prevent him from soiling his feet, Sumati laid his long hair across the puddle. Following this event, Dipankara prophesized Sumati's rebirth as the future Buddha. Images of Dipankara in Nepal are worshipped as icons bestowing charity and protecting merchants.The Three Kingdoms period – the time of the later Mallas – began in 1520 and lasted until the mid-eighteenth century. The complete flowering of the unique culture of the Kathmandu Valley occurred during this period, and it was also during this time that the old palace complexes in the three main towns achieved much of their present-day forms. The kings still based their legitimate rule on their role as protectors of dharma, and often they were devout donors to religious shrines. Kings built many of the older temples in the valley, gems of late medieval art and architecture, during this final Malla period.Buddhism remained a vital force during these times for much of the population, especially in its old seat of Patan. Religious endowments called guthi arranged for long-term support of traditional forms of worship or ritual by allowing temple or vihara lands to pass down through generations of the same families. This support resulted in the preservation of a conservative art, architecture, and religious literature that had disappeared in other areas of South Asia. Newari was in regular use as a literary language by the fourteenth century and was the main language in urban areas and trading circles based in the Kathmandu Valley.Auction result comparison: Compare a related gilt bronze figure of Dipankara, 47.6 cm high, dated 1520-1768, in these rooms in Fine Chinese Art, Buddhism and Hinduism, on 16 October 2021, lot 379, sold for EUR 22,000. 尼泊爾馬拉王朝後期三國鼎立時期罕見鎏金銅燃燈佛尼泊爾，十七至十八世紀。精美鑄造燃燈佛成三摩地冥想狀態，佛祖左手飾與願印，右手施無畏印，身披半肩式過膝大褂，裙褂上簪刻紋路精細，裙擺自然舒展。面容安詳，眼瞼下垂，眉毛微微拱起，眉間白毫，兩側是長長的耳垂，佩戴著精緻的耳環。 頭戴五葉冠，頭髮成螺髻。 來源：紐約J. J. Klejman, 1974年前；紐約蘇富比Sotheby's Parke-Bernet, 1974年10月26日 Lot 4；紐約私人藏家，購於上述拍賣行。John J. Klejman (1906-1995) 曾是知名的波蘭裔美國藏家和經銷商，1950年在紐約成立了Klejman Gallery 藝廊。 品相：狀況良好，有一些舊磨損，特別是鎏金，微小的刻痕、輕微的劃痕和凹痕，少量缺損。長袍背面有一個小小的舊修復，王冠微微向後彎曲。重量: 4,996 克 (含底座) 尺寸：30 厘米（不含底座)，總 36.5 厘米拍賣結果比較：比較一件相近的鎏金銅燃燈佛，高 47.6 厘米，1520-1768年, 於本藝廊 Chinese Art, Buddhism and Hinduism 2021年10月16日 lot 379, 售價EUR 22,000。

AN IMPORTANT THANGKA DEPICTING ZANABAZAR, 19TH CENTURYMongolia. Distemper and gold on cloth. Seated on a low cushion, backed by a bolster and a halo, dressed in heavy robes, holding a vajra in his raised right hand and a ghanta in his lowered left. An offering of peaches stands before him and a group of small vessels on a low table to his right. The background with green hills under a blue sky behind the elaborate curtain painted with floral scroll. Five-character inscription to backside. Provenance: From a Hungarian private collection.Condition: Good condition with only minor wear, little soiling and creasing, and small losses here and there. Possibly minuscule touch-ups.Dimensions: Image size 32 x 21.5 cm, Size incl. frame 44.9 x 34.6 cmMatted and framed behind glass.Jetsun Lobzong Tenpai Gyaltsen (1635-1723), commonly known as Zanabazar, was an important Mongolian religious figure and personal guru to the Kangxi Emperor (1654-1722). The son of Khalkha Tushyetue Khan, leader of the Khalkha Mongols, Zanabazar was at an early age recognized by both the Panchen Lama and Dalai Lama as the reincarnation of the Tibetan lama, Taranatha (1575-1634), and proclaimed the First Jetsundamba, an honorific title. He traveled to Tibet to continue his religious instruction under the powerful Gelugpa lamas before returning to Mongolia in 1651, bringing fifty sculptors and painters with him in an attempt to establish the Gelug order amongst the Mongols. Rather than settle at one established monastery, his portable temples traveled from one oergoeoe (traveling place) to another, in what became known as Da Khuree (Great Circle).During his time as religious leader of the Khalkha Mongols, Zanabazar oversaw a proliferation of Buddhist art in the region. He is especially known for his visualization and design of gilt bronze sculpture, subsequently carried out by master Nepalese bronze casters, which are widely recognized as some of the finest Buddhist bronze sculpture created.In 1691, faced with the threat of the rival Dzungar Mongols, Zanabazar agreed to integrate the Khalkha into the Qing Empire, at a ceremony before the Kangxi Emperor at Dolonnor Monastery. While Zanabazar had previously sent tribute and religious gifts to Kangxi, the formal ceremony solidified the relationship between the two men. In later life, Zanabazar acted as the personal religious teacher to Kangxi in Beijing. With the help of his guru, the Emperor took an increasing interest in Buddhism and established a tradition of Imperial propagation of Buddhist art that continued into the reigns of his son and grandson, the Yongzheng and Qianlong Emperors.Today, Zanabazar is viewed as one of Mongolia's most important historical figures, celebrated for propagating Tibetan Buddhism throughout Mongolia while reshaping it to fit Mongolian sensibilities, thereby establishing for the Mongols a unique cultural identity. His artistic works are generally regarded as the apogee of Mongolian aesthetic development and spawned a cultural renaissance among Mongols in the late 17th century. Even during the country's socialist era (1921-1991) he was acknowledged to be a prominent scholar (his religious roles quietly discarded) and recognized for his artistic and cultural achievements. As a political personality, however, socialist authorities portrayed Zanabazar as a traitor and deceiver of the masses, responsible for the loss of Mongolian sovereignty to the Manchu. In the post socialist era, however, there has been a reevaluation of his image to where his actions in negotiating the Khalkha's submission to the Qing are considered to have been in the long term interests of Mongolia, and he is generally exonerated for his role in 1691.Literature comparison: Compare a related Mongolian thangka of Zanabazar, also dated to the 19th century, in the collection of the Rubin Museum of Art, object number C2006.66.587. 十九世紀哲布尊丹巴呼圖克圖唐卡蒙古。布面描金膠彩。活佛坐在一個矮墊子上，背靠一個靠枕，身後有光背。身著厚重的長袍，舉起的右手拿著金剛杵，低垂的左手拿著金剛杵。 一個桃子供奉在他面前，右邊的一張矮桌上置放著一組小器皿。背景是藍天下的青山，花卉紋窗簾。來源：匈牙利私人收藏。 品相：狀況良好，只有輕微磨損、少量汙漬和起皺，而且到處都有小缺損。輕微修補。 尺寸：畫面32 x 21.5 厘米，總44.9 x 34.6 厘米 玻璃裝框。

Oil on canvas. Measurements: 92 x 79 cm (framed) and 77 x 64 cm (canvas). Provenance: important private collection, Spain. After the death of the great painter Ribalta (1628), he became the absolute ruler of the Valencian art scene from a young age, where he preferably worked for numerous convents and religious orders. The large number of commissions that he received has served as a documentary source for the knowledge of his biography. The only period from which we lack news of him is between 1640 and 1647, which has given rise to various speculations about trips to Madrid and Seville. His passage through the Andalusian capital, above all, has become a helpful argument to explain his stylistic concomitance with Zurbarán. His training was developed together with his progenitor, a humble painter from Valladolid established halfway between Cocentaina and Valencia, although the success of Ribalta's achievements would leave a permanent mark on our artist. The family's move to Valencia must have taken place during Jerónimo Jacinto's childhood, probably around 1612. The first known work by him is dated that same year, which shows his precocity. In 1616 he appears registered in the College of Painters of the Mediterranean city, declaring that he had been working with his father for a year. In Valencia he developed the rest of his existence -if we exclude the possible trips mentioned-, painting for the local environment and, as far as we know, leading a comfortable and quiet life. His extensive production reflects the scant evolution of his art. His painting, like his characters, appears out of time, arrested in solemn and symmetrical compositions. His monastic series are the ones that are closest to Zurbarán's work and, as in this one, the monumental verticality of the religious dominates, the meticulous reflection of the fabrics and the intensity and naturalism of the faces, as if illuminated. When painters throughout Spain adhered to the most fully baroque formulas, Espinosa still appears static in the strictest tenebrism, using a strong directed light that illuminates the scene with powerful contrasts. All this speaks to us of a style that is out of date, isolated, self-absorbed, but that responds to the demand for pious art requested by the local clientele. His fervent naturalism also enabled him to make a handful of vivid and analytical portraits. There are nine canvases by Espinosa present in the Prado Museum. Among them, it is worth highlighting La Magdalena penitente, as it is a reflection, not only of Espinosa's painting, but also of the path that her works have traveled in the Prado. His work in the local Valencian environment meant that none of them reached the royal collections until the time of Ferdinand VII, his presence in the Museum being due to modern purchases. Thus, La Magdalena penitente was acquired in 1992 after passing through various collectors. Previously, in 1838, it had been part of the collection of Luis Felipe de Orleans. It is an eloquent testimony to the aesthetics of the painter, with the saint in full ecstasy, illuminated by a harsh overhead light that leads to the stiffness of fabrics and flesh, and is a sign of a piety as simple as it is devout, very much from the 17th century.

TW Camm Stained glass Art studios, Smethwick, watercolour & photographic prints - 10 religious window designs, watercolour on photographic prints. Board has studio name and address partly visible to bottom right corner. Top left corner of board is detached, board size approx. 39cm x 54.5cm.

A LARGE DRY-LACQUERED WOOD HEAD OF A LUOHAN, SOUTHERN SONG DYNASTYChina, 1127-1279. Finely modeled, the expressive face with a prominent brow above almond-shaped eyes, wide open and inset with black glass bead pupils, the nose slightly hooked above the open mouth showing teeth and forming a benevolent smile, applied overall with dark-brown lacquer.Provenance: From the private collection of Paul Bentley, Wisconsin, USA. Paul M. Bentley was an executive at the advertising firm Cramer-Krasselt in Milwaukee, Wisconsin, USA. After his retirement he became also known as the owner, together with his wife Judith, of the world-famous 'Crayola House' on the edge of Lake Michigan, which was designed by Margaret McCurry. The Bentleys were lifelong collectors of folk art, American furniture, and Asian works of art.Condition: Overall well preserved and commensurate with age, presenting nicely with extensive wear, crackle and flaking to lacquer, multiple layers of pigments of various dating, minor old repairs and touchups, small losses here and there, minor structural fissures, old traces of use, and weathering. Fine naturally grown patina.Weight: 4,540 gDimensions: Height 35 cm (excl. stand) and 52 cm (incl. stand)Mounted on an associated wood stand. (2)Naturalistic and realistic qualities in Buddhist sculpture were particularly sought-after during the Song dynasty. The 'dry lacquer' technique, as seen on the present head, lends itself to expressive sculpture, and was capable of producing religious statues and portrayals with unprecedented levels of realism that no other material or technique could evoke. The dry lacquer process involved first sculpting the figure in clay above a wooden model. Patches of lacquered hemp were then pasted onto the clay. These were then covered with further lacquer layers, which could be sculpted in greater detail and carved to give expressive qualities. Finally the surface was painted in polychrome pigments. In some examples, the original construction of wood and clay were hollowed out and removed after completion, leaving only the fragile skin of hemp and lacquer. Others, such as the present lot, were left to retain their wooden body. The number of extant Song dynasty religious images made in this complex and sophisticated technique is relatively low, largely due to the time-consuming and demanding production process as well the vulnerability of the lacquer material.Auction result comparison: Compare a closely related dry-lacquered head, also dated to the Southern Song dynasty but slightly smaller (28 cm) and with the wood core removed to leave only the hollow head, at Sotheby's New York in Junkunc: Chinese Buddhist Sculpture on 12 September 2018, lot 18, sold for USD 87,500.南宋大型乾漆木雕羅漢頭像中國，1127-1279年。刻畫細膩，杏仁狀眼上方眉毛突出，瞳孔內嵌黑色玻璃珠，鼻尖微勾，嘴巴張開露出牙齒，笑容慈祥，整體上深褐色漆。 來源：美國威斯康辛州Paul Bentley私人收藏。Paul M. Bentley 是美國威斯康辛州密爾沃基市廣告公司 Cramer-Krasselt 的一名高管。 退休後，他與妻子 Judith 一起成為世界知名的位於密西根湖邊、由 Margaret McCurry 設計"Crayola House"的主人。 Bentley家族一直是民間藝術、美國傢俱和亞洲藝術品的收藏家。 品相：整體保存良好並與年齡相稱，大面積磨損，漆面有裂紋和剝落，來自不同年代的多層顏料，輕微的舊時修補，多處缺損，輕微的結構裂縫，使用痕跡與風化。細膩的包漿。 重量：4,540 克 尺寸：高35 厘米 (不含底座)，總52 厘米 (含底座) 木底座。 (2) 拍賣結果比較：比較相近的南宋乾漆頭像 (28 厘米) ，去除木芯，見紐約蘇富比Junkunc: Chinese Buddhist Sculpture 2018年9月12日 lot 18, 售價USD 87,500。

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

RICHARD VAN BLEECK (Holland, 1670-1733); circa 1712."Esther Faints before Ahasuerus".Oil on canvas.Retains its original canvas.Signed on the back.Measurements: 46 x 55 cm; 65,5 x 75 cm (frame).The author of this canvas has chosen the most dramatic moment of the biblical story that narrates the life of Esther. In the centre of the scene, a group of people are holding a young woman who is fading away. This is Esther, who appears to be losing consciousness, captured by the artist in a realistic and somewhat scenographic manner, as the young woman's eyes are narrowed, one of her knees is bent in an attempt to support her own weight, her arms are open and drooping, and her extreme whiteness contrasts with the rest of the figures in the scene, indicating the degree of Esther's weakness before the king. Ahasuerus is holding Esther in a foreshortened pose that shows the momentariness of the image, as it seems that he has just risen from his throne with the intention of preventing the young woman from fading away. On the other side, assisting and supporting the sitter, are two women, one standing, wearing an elegant dress and a bejewelled headdress, and the other crouching down, holding part of Esther's dress. The group is completed by a figure in the left corner of the composition, standing at a distance from the group. His clothing suggests that he is a person of religious rank, as if he were the king's adviser, as his position is close to the throne. One of the most notable characteristics of this figure is that he is the only one who looks away from the events that are happening to Esther and turns his eyes towards the viewer, establishing a connection with him and making him a participant in the contemplation of the religious event, although not in an accomplice but in an authoritative manner, as he raises his face and points towards the scene with one of his hands, while with the other he holds a parchment. The work is set in an interior that follows classical canons, centred on perspective and depth, with the usual red curtain and the space open in the background to the landscape through an opening. The scene of the painting presents a narrative from the Book of Esther, which is part of the Old Testament. The painting depicts Esther, the Jewish wife of King Ahasuerus, sometimes referred to as Xerxes in modern texts. After the king ordered the execution of all the Jewish people in the Persian Empire, Esther went to him, without being summoned, to beg him to spare her people. This broke court etiquette and Esther risked death in doing so. She ended up fainting before the king, which led to a change in the king's decision, allowing the Jews to defend themselves from his attack, preventing them from being killed.Richard van Bleeck (1670-1733) was a Dutch painter of the Golden Age. He was born in The Hague. According to the Netherlands Institute of Art History, he was a pupil of Theodor van der Schuer and Daniel Haringh.S e became a portraitist and painted the portrait of the engraver Coenraet Roepel, before moving to London in 1733, where he remained. He was the father of Pieter van Bleeck, who was born in The Hague, possibly moved with him to London, where he also became a portraitist.

17th century Spanish school."Apparition of the Virgin and Child to Saint Simon de Rojas".Oil on canvas.Measurements: 57 x 41 cm; 63 x 46 cm (frame).Frame 19th century.In this work the painter offers us an image of Saint Simón de Rojas, a saint from Valladolid who lived between 1551 and 1624. He was a saint who received a very intense cult due to the greatness of his spiritual work, carried out throughout his life. He was confessor to Queen Isabella of Valois, third wife of Philip III, redeemer of captives, great preacher and assistant to the sick.The composition is approached from a narrative point of view, which seeks to make the scene easy for the faithful to understand, within the naturalist Counter-Reformationist taste, which is combined with a markedly scenographic space, also typically Baroque. This is a work set in the Spanish School of the 17th century, undoubtedly the golden age of the arts in Spain as a result of a sweet cultural moment. In the field of painting, this century was to produce some of the most important artists of all time, not only in Spain, but also in Western art. The Baroque painting of the Golden Age in Spain has a series of more or less common characteristics: religious themes predominate because this was the time of the Counter-Reformation; Spanish painters were influenced by Caravaggio's tenebrism in the treatment of light, although they later abandoned it; there was a deliberate absence of sensuality in painting and, furthermore, the painters' main client was the Church of the time. In the present case, the figure of the saint appears in the centre of the composition in a prayerful pose, holding a rosary in his right hand and a loaf of bread in his left, the figure is perfectly emphasised by his position and the space in which he is depicted. In the upper part of the composition are the Virgin Mary and the infant Jesus in a cloud, who appears blessing with his right hand, placed in his mother's arms.

Flemish school of the 17th century."Virgin of the Annunciation".Oil on copper.Measurements: 17 x 14,5 cm; 27,5 x 24,5 cm (frame).Devotional image belonging to the Flemish school of the Baroque in which the author remains faithful to the Flemish formulas: in this painting we see a Virgin of the Annunciation, leaning in front of a table, with her head down in sign of humility and her hands crossed on her chest, indicating her submissive acceptance of the divine message. The figure is located in the foreground against a neutral, dark background.While in the 17th century the demand for religious art for churches radically ceased in the northern provinces of what is now Holland, in Flanders a monumental art in the service of the Catholic Church flourished, partly due to the necessary restoration of the ravages that the wars had caused in churches and convents. In the field of secular art, Flemish painters worked for the court in Brussels and also for the other courts of Europe, producing paintings with classical, mythological and historical themes that were to decorate brilliantly the Royal Sites of Spain, France and England. As a result, there was a proliferation of small and medium-sized works on a wide range of genres, painted by specialised painters who often collaborated on the same work. The present canvas, on the other hand, shows formal innovations but not thematic or compositional ones, as it maintains the formula of the intimate and sober religious painting of the previous century.

Spanish or Italian school; 17th century."Bust of the Virgin.Oil on canvas. Re-drawn.The canvas of this work has been cut out.It presents repainting.Measurements: 39 x 32 cm.This devotional work presents us the face of the Virgin Mary, in the foreground and captured at great size, occupying most of the pictorial surface. It is a monumental figure, worked with great delicacy and directly illuminated by a clear, uniform, classical light. Mary stands out against a neutral, ethereal background, illuminated around her head by the halo of golden light. The Virgin is dressed in a red tunic, alluding to the Passion of Christ and her own grief at the death of her Son, and a blue cloak, common in Marian iconography as a symbol of the concepts of truth and eternity.Baroque painting is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who encouraged its development, 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 during this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying throughout the century in the depiction of expressive values.

JAN VAN KESSEL I (Flanders, 1626-1679) and LUIGI PRIMO IL GENTIL (Belgium, 1605-1667)."William Raymond Moncada visiting the Queen of Aragon", ca.1663.Oil on copper.Signed by Van Kessel in the border (left side margin).Scene signed by Primo Il Gentil in the lower right corner.Regency frame, 19th century.Size: 54 x 68 cm; 76 x 90 (frame).This work belongs to a select cycle of twenty coppers that narrate the exploits of two Sicilian noblemen of Spanish origin: the brothers Guillermo Ramón Moncada and Antonio Moncada. The historical scene in the present copper was painted by Luigi Primo il Gentile (five were commissioned), and Jan van Kessel was the author of the decorative border framing the scene of the twenty episodes. Collaboration between painters was common in the Low Countries given their specialisation in different genres in which they were masters: Kessel was a master of virtuoso rendering of flowery garlands, birds and other elements from the animal and plant kingdoms, while P. il Gentile was an outstanding exponent of the historical genre and portraiture. In the Museo Thyssen-Bornemisza in Madrid there are two coppers from the same cycle, in this case painted by Kessel (the garland) and David Teniers II (the scene). The present scene is dedicated to Guillermo Ramón Moncada, as the cartouche at the top, painted by Kessel, states, accompanied by the heraldic coats of arms of the family. Kessel endows the birds with volume and agility (there are a wide variety of exotic species), so that in a trompe l'oeil effect they seem to escape from the two-dimensionality of the painting, as if fluttering among the tangled foliage. Flowers with fleshy petals, chests with gold fittings and pieces of porcelain resting on venereal-shaped corbels share this same struggle to transgress the limits of painting. The courtly costumes, the fine embroidery and the many gauzes that envelop the bodies of the maidens in the scene painted by Gentile also display a supreme delicacy. Like other episodes in the series painted by Gentile ("Guillaume-Raymond Moncada visiting the King of Aragon", ca.1660, private collection), the composition is governed by the arrangement of the groups (with Guillaume occupying the pre-eminent place) around kings and princesses who receive them in their chambers. It is also very similar to the composition Teniers chose in his representation of a solemn reception before the queen's throne. The episodes depicting these two members of the Moncada family took place in Sicily between the end of the 14th and the beginning of the 15th century. The paintings are executed with a structure similar to that of tapestry cartoons. In fact, those dedicated to William R. Moncada were used for this purpose. They were probably woven in Flanders. The remaining coppers dedicated to the Moncada brothers, apart from those in the Thyssen Museum, are to be found in private collections and among the descendants of the Marquis of Villafranca.Luigi Primo Gentile (c.1605-1667), a Flemish painter, worked in a style that combined his Flemish roots with the profound influence of Italian art. Some of the altarpieces he painted between 1633 and 1657 for churches in Rome (Madonna presenting the Child to Saint Anthony of Padua, 1655, Saint Mark's, Rome). According to some sources, Gentile painted small devotional paintings on copper for Pope Innocent X between 1646 and 1652. In 1635 he joined the confraternity of the Church of St. Julian of the Flemish. In 1650 he entered the Accademia di San Luca.Jan van Kessel I was a Flemish painter, grandson on his mother's side of Jan Brueghel the Elder and nephew of Jan Brueghel the Younger and David Teniers II, whose pupils he was. Like his grandfather, he painted in a wide variety of genres, including still lifes and flowers, animals, landscapes, allegories and religious works.

Goodwin (Albert, 1845-1932). The Roman Bridge, Verona & St Anastatius, 1891, watercolour and bodycolour, and traces of pencil, depicting the Ponte Pietra over the Adige River, the Verona skyline in the background, and figures fishing from one of the bridge's piers, title lower left, monogrammed and dated 1891 lower right, 13 x 16.9cm (5 1/8 x 6 5/8ins), mounted, framed and glazed (35.7 x 38.6cm), Chris Beetles' label to versoQty: (1)Footnote: Provenance: Collection of Denis Gamberoni.Albert Goodwin was probably the greatest follower of Turner. He was also influenced by the Pre-Raphaelites, becoming the pupil of Arthur Hughes, and later Ford Madox Brown. Goodwin was the last of the great Victorian travelling artists; in 1872 he made an intensive tour of Italy and Switzerland with John Ruskin, and subsequently travelled beyond Europe to India, the South Seas, Australia, New Zealand and the US. Like Ruskin, Goodwin responded to landscape with a religious fervour and understanding; but he went further in his interpretation, experimenting with the style of James McNeill Whistler, Ruskin's adversary in the field of aesthetics. Goodwin exhibited regularly at the Royal Academy and the Royal Society of Painters in Water-Colours. His work is represented in numerous public collections, including the British Museum, Tate, the V&A, The Fitzwilliam Museum (Cambridge), Maidstone Museum & Bentlif Art Gallery, Manchester Art Gallery and The Whitworth Art Gallery (Manchester).

Rothenstein (William, 1872-1945). Portrait of Hannah Whittal Smith, July 1893, pastel on brown paper, full length portait, half-profile to right, of a bonneted elderly lady seated in a wicker armchair reading a book, signed and dated to right-hand margin 'Will R 93' and captioned in the artist's hand to lower margin 'Will Rothenstein, Hannah Whittal Smith, Friday's Hill. July 1893', 47.3 x 35.2cm (18 1/2 x 13 7/8ins), mounted, framed and glazed (67.2 x 54.3cm) Qty: (1)Footnote: Provenance: Oliver and Ray Strachey; thence by family descent; private collection, UK; Bonhams, 'Fine Art & Antiques', 5 November 2014, lot 37.Evangelist and religious writer Hannah Tatum Whitall Smith (1832-1911) was born into an influential Quaker family in Philadelphia. She married Robert Pearsall Smith who was also descended from a long line of Quakers. After struggles with her beliefs and the exploration of various other Christian doctrines and denoninations, Hannah came to a deep faith following the loss of her 5 year old daughter. She and her husband became speakers in the Holiness movement in the United States and the Higher Life movement in the UK, and they travelled to various countries in Europe to hold meetings and preach. Hannah wrote a widely-read book on the subject of Christian mysticism and practical Holiness theology entitled The Christian’s Secret of a Happy Life, published in 1875. She was also active in the women's suffrage movement as well as the temperance movement. One of her daughters, Mary, married the art historian Bernard Berensen.Ray Strachey, born Rachel Pearsall Conn Costelloe (1887-1940), was the daughter of Mary Berenson by her first husband Frank Costelloe. She was a feminist politician, mathematician, engineer, artist and writer, and, like her grandmother Hannah, worked tirelessly for the suffrage cause, publishing a number of writings on the subject, including The Cause published in 1928. She married Oliver Strachey, brother of Lytton Strachey, in 1911.The National Portrait Gallery holds a bromide print after Rothenstein's portrait by an unknown photographer (NPG Ax160542). It was given to the NPG in 1999 by Barbara Strachey, daughter of Ray and Oliver, who also donated a platinum print of Hannah and Robert outside Friday's Hill House (NPG Ax160670), their home in Fernhurst near Hazlemere, where they entertained artists, writers, musicians and intellectuals, William Rothenstein amongst them.

PABLO SERRANO AGUILAR, (Teruel, 1908 - Madrid, 1985)."Bull (oval)", ca. 1949.Carved and polished black stone. Unique piece.Signed "Serrano" in stone.With inventory number from the Indianapolis Museum of Art, USA.Provenance:- Joseph Cantor Collection, Indianapolis, Indiana, USA.- Indianapolis Museum of Art, Indiana, USA (Inv. 1987.97).- Private collection, New York.Literature: "Pablo Serrano. Catalogue Raisonné of Sculptures". Madrid, Fundación Azcona, Gobierno de Aragón and IAACC Pablo Serrano, 2018, p.172, cat. No. 167-UE-1949-13 (black and white illustration).Size: 35.5 x 30.5 x 25.4 cm.Pablo Serrano began his series "Toros" in 1949, when he was already a well-known figurative and religious sculptor based in Montevideo. At that time he had already been awarded the Gold Medal at the Salón Nacional de Artes Plásticas in Uruguay and enjoyed an established artistic reputation. His restless personality and his eagerness to explore new paths led him to focus his production on the simplification of forms, leaving aside the realism that had prevailed in his works until then, and moving towards geometrisation and abstraction. His "Bulls" series seeks the essence of the animal by making use of minimal gestures, based on small-format sculptures that are rooted in the European imaginary of the 1930s, with representatives such as Brancusi and Hans Arp. This bullfighting series, whose sketches were made in Montevideo, although many were melted down after his arrival in Spain in 1955 and later, when he took up the theme again between 1970 and 1973, had already been worked on by other artists such as Picasso, who devoted a large part of his production to extolling the figure of the bull.Trained in sculpture, Pablo Serrano received his first lessons at the Salesian School in Sarriá. After finishing his studies he moved to Argentina, where he was taught the art of carving. After this period abroad, he decided to return to Spain in 1955 with a renewed technique in which diversity and unity prevailed. Serrano evolved through experimentation in each of his stages, as he was guided by his own will and not by the requirements of society. In 1956 he settled in Madrid, where he became a founding member of the El Paso group of Madrid's most innovative artists. Pablo Serrano works through poetry, delving into juxtaposed terms such as beginning and end, life and death, despair and hope. He also works on the figure of the human being, trying to explain and understand the human situation through his works. During his career, Serrano won the Sculpture Prize at the Hispano-American Biennial in Barcelona. In 1962 he exhibited twenty-three sculptures at the Venice Biennale to great critical acclaim. In 2003 the Ministry of Foreign Affairs dedicated a retrospective exhibition to him. Works by Pablo Serrano can be found in the museum that bears his name in Zaragoza, the Museo Reina Sofía, the Museo Nacional in Montevideo, the Museo San José in Uruguay, the Museo Nacional de Arte Moderno in Paris, the MoMA and the Guggenheim in New York, the National Galleries in Rome and Budapest, the Rio Piedras University in Puerto Rico, the Brow University in Providence, the Clear Lake Clear Lake University in Clear Lake, and the University of Puerto Rico, Brow University in Providence, Clear Lake City University in Houston and the University of Zaragoza, the Gulbenkian Foundation in Lisbon, the Hermitage in St. Petersburg, the Wadsworth Atheneum in Connecticut, the Galleria d'Arte Moderna in Venice, the Vatican Museum and the Middelheim in Antwerp, among many others.

South-Est Asian Art A white coral currency bangleThailand, Ban Chiang Culture, ca. I millennium b.C. . Cm 15,00 x 6,00. A white coral “Pi” disk, tapered towards the outer border and provided with a central hole. Its shape replicates that of contemporary disc bracelets made of marble or hard stone, but differs in the material used which, in this case, is a white rock encrusted with precius coral. This is an object connected to religious practices but also used as a precious jewel and exchange currency.

Chinese Art Monochrome Jilan censerChina, Ming dynasty (1368-1644), 16th century. . Cm 13,50 x 9,00. interesting “sacrificial blue” (Jilan) porcelain vessel, made on the model of ritual vessel destined for the Tiantan, the Temple of Heaven, inside which the emperor celebrated the propitiatory rites dedicated to the celestial father of the Emperor and of the nation itself. The complex Ming ceremonial, codified by Emperor Hongwu in 1379, provided that the impressive religious celebrations dedicated to the Earth, the Sky, the Sun and the Moon were officiated exclusively with monochromatic furnishings respectively in red, blue, yellow and white. colors deemed sacred and auspicious.

JEFF GILLETTE (AMERICAN b. 1959),DISMAYhand-finished print on paper, from the Dismay Show circa 2017image size 19cm x 27cm, overall size 38cm x 45cmMounted, framed and under glass.Note: Jeff Gillette is a contemporary American artist based in Southern California. He is best known for his subversive 'slumscape' paintings ironically featuring Disney characters. He is often cited as the inspiration for Banksy's 2015 Dismaland theme park installation, in which he was a featured artist. Gillette has been exhibiting his work since 1997, with his first solo show at Broadway Gallery in Santa Ana, CA. The style he is currently known for emerged in a solo show called "Slumscapes - Blasphemy Blowout," which depicted American fast-food restaurants such as McDonald's against backdrops of slums, as well as well-known cartoon figures juxtaposed with religious iconography. His 2010 solo show at Copro Gallery in Santa Monica, "Dismayland," was a commercial success and drew interest in his work from British artist Banksy. The aesthetic and themes established here began to define him as an artist. In 2015, Banksy contacted Gillette through his manager to purchase a Minnie Hiroshima painting (that became the official poster available at the Dismaland gift shop). Gillette was invited to be in a group exhibition in England at what was then described as an abandoned theme park. Gillette discovered upon arriving at the unlikely beach town Weston Super Mare, that this park was Dismaland. His pieces sold very quickly at the show. Based upon his success, Gillette began to show in London at the former Lawrence Alkin Gallery now the Rhodes Gallery and internationally elsewhere. Gillette began to explore the actual value of art in his work. In 2017, Gillette had a solo show at Gregorio Escalante Gallery in Los Angeles called "Total Dismay," that turned the exhibition space into an "art landfill." In the show, he premiered a series of new paintings mounted on walls and priced thousands of dollars, while the floor was littered with paper prints that patrons would actually walk on top of, that were for sale for $5. This artwork being one of these in the ‘Art Landfill’. In Spring 2015, Gillette was messaged on Facebook by Banksy's manager and invited to participate in a secretive group exhibition called Dismaland, a temporary art project organized by Banksy and built in the resort town of Weston-super-Mare, three hours outside of London. The pop-up would be a fully functioning theme park designed as "a sinister twist on Disneyland." It opened on August 21, 2015 and ran until September 27. Banksy described it as a "family theme park unsuitable for children." Including Gillette, the show featured 58 artists, such as Bill Barminski, Damien Hirst, Jenny Holzer, Peter Kennard, and Ben Long. Gillette premiered six new paintings on canvas for the pop-up as part of his "Dismayland" series

Attributed to José Campeche y Jordán (San Juan, Puerto Rico, 1751 - 1809) "Divine Shepherdess" Oil on canvas glued to cardboard. 56 x 40,5 cm. Campeche was one of the most recognised Puerto-Rican artists. The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island after being exiled by King Charles III, between 1775 and 1778. The Puerto Rico Art Museum keeps some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to being one of the most exalted and outstanding Hispanic-American painters of the late 18th century."

Richard Ansett (British, born 1966)BIRTH, 2018 lightbox128 x 102.5cm (50 3/8 x 40 3/8in).UniqueFootnotes:ExhibitedLondon, Fitzrovia Chapel, 25-30 January 2019London, Somerset House, Sony World Photography Awards Exhibition, 2019Richard Ansett is a renowned photographer and long-time collaborator of Grayson Perry. BIRTH depicts Grayson Perry dressed as his alter ego, Claire, posed in a contemporary reworking of the mother and child motif. Both iconic and iconoclastic, Claire holds an infant in her arms, lit softly from behind and surrounded by flowers and pale pink drapery. Posed as a traditional icon might, with gaze averted into the distance, we are invited to compare this image with one of the most universally recognisable subjects in art and religious history. Originally unveiled by Grayson Perry himself at the Fitzrovia Chapel in London in January 2019, the lightbox was displayed on an altar, illuminating the secular, baroque chapel. Richard Ansett commented on this work: 'Claire is not a natural mother. This is a trans-immaculate conception', going on to comment that: 'The work balances centuries of art history and religious symbolism with a high-camp photographic parody and is a vulgar appropriation for the 21st Century that challenges the archaic boundaries of the heteronormative state that oppresses everyone.'Ansett met Perry for the first time in 2013 at the Tate Modern, Starr Auditorium, while photographing him for the BBC Reith lectures. He has since worked with Perry every year following this for Channel 4, photographing him to promote Perry's documentaries of contemporary British life.BIRTH was awarded First Prize for a Single Portrait in the Sony World Photography Awards in 2019.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Oil on canvas glued to board. Measurements: 42 x 31 cm. Provenance: old private catalan collection, brought to Spain by Don Francisco Antonio Pablo Sieni (First Catholic Auxiliar Bishop of la Havana, Cuba, 1787-1793), Vilanova i la Geltrú, Spain. José Nicolás de Escalera Tamariz (Havana, Cuba, September 8, 1734 - Ibid., July 3, 1804) was born on September 8, 1734 in Havana, being baptized in the old Parroquial Mayor de San Cristóbal de La Habana on The following Wednesday, September 15, his godfather was Captain Juan de Santiago. He was the third of the children of the marriage of Agustín Francisco Isidoro de Escalera Tamariz, a native of the city of Écija in Spain, and Manuela Domínguez, a native of Havana. His paternal grandparents were Alonso Joseph de Escalera Tamariz and Francisca Salvadora de Ostos Méndez, his maternal grandparents were Pedro Joseph Domínguez and Inés de los Diez. He had two sisters called: Josefa Teresa and Inés María de Escalera Tamariz. According to his own will, With his work he came to have slaves and properties that he left to his sisters at his death: he died ill, a month after making his will and still single, on July 3, 1804 he was 69 years old. The artist was buried, the next day, shrouded in the habit of Our Father Santo Domingo de Guzmán in a property of his maternal ancestors, in front of the altar of San Juan Nepomuceno in the Church of the former Convent of the Dominican Fathers in Havana, San Lateran John. Escalera never signed any of his works or documents with his second surname, signing «Jph. Nicolas de Escalera" or simply Escalera, but in the different orders of sale, liquidation and even in the will of his father and his maternal aunt, they name him "Joseph Nicolas de Escalera Tamariz" which are their real surnames, like those of his father and grandfather; his sisters are named likewise. We know little about the artistic preparation of Escalera, although he drank from the currents that came from the Sevillian baroque of Murillo, who lived a century earlier in Seville, «... about Escalera, all proportions respected, what has been said about the master can be said Sevillian: “his saints are professionals. He surely expresses the suspicious devotion of a strolling city, religious holidays, idols dressed and covered with false jewels. He is insinuating, sanctimonious, sweetish ”». At this time, the baroque, late and in open decline in Europe, developed in Cuba, fundamentally taking over the religious architecture and the decoration of its interiors, manifesting itself in the opulence and exuberance of the facades and altarpieces, where painting is an indispensable part. Many independent pieces that we know today are nothing more than parts of old altarpieces. An example of this is the Santísima Trinidad de Escalera, today in the National Museum of Fine Arts and which belonged to an altarpiece in the Church of the Convent of San Francisco de Asís in Old Havana. We cannot determine if Escalera arrived at Santa María del Rosario as a protégé of the Count of Casa Bayona, or if he was introduced to him by the Dominican Fathers of the Convent of San Juan de Letrán, the truth is that he was closely linked to both the Count and the friars. It can also be affirmed, due to the roots and great range of Dominican saints in his painting, that the artist was very influenced by his great religiosity, zeal towards this order and its patron saint, the Blessed Virgin of the Rosary, It is very likely that he even learned painting and sculpture techniques from one of them, later putting his own personal stamp on it. It should be noted that Escalera was buried shrouded in the habit of Santo Domingo de Guzmán in the Convent of San Juan de Letrán. It is considered, without a doubt, that the consecration of his work is constituted by the works carried out for the Parish Church of the City of Santa María del Rosario in the city of the same name, current municipality of Cotorro in Havana, Cuba. Commonly called pendentives, mural paintings made using the marouflage technique. In addition, he worked on the decoration and painting of the 9 altarpieces that are still preserved in said parish today, some of them signed by him. Reference literature: LIBBY, Gary R. and Juan Martínez: "Joseph Nicholas of the Staircase". Cuba: A History in Art. Museum of Arts and Sciences, Miami, [nd],pp. 50-51. LÓPEZ Núñez, Olga: «A painter from Havana». lay space. Year 2, No. 4, Havana, Archdiocesan Council of Laity, 2006. RIGOL, Jorge: Notes on painting and engraving in Cuba. Editorial Cuban Letters, Havana, 1982.

Italian school; 16th century."The Calvary".Polychrome stucco.Measurements: 75,5 x 56 cm.Italian relief from the 16th century made in polychrome stucco. The relief is on a rectangular base where we can appreciate the technique of the half relief that represents the image of the Crucified Christ as the main character, accompanied by the good and the bad thief. The scene is completed by the presence of a multitude of figures in the lower area. However, the main focus is on the presentation of the Crucifixion, as the artist gives it a greater forcefulness in the dimensions of the figures, as well as placing it in the central area of the scene. The piece faithfully follows the biblical story that alludes to the moment when Christ is Crucified together with Dimas and Gestas, the good thief and the bad thief. This scene is narrated in the Gospel of Luke (Lk. 23, 32-33). "And they led two other thieves to be put to death with him. When they came to the place called Calvary, there they crucified him and the malefactors, one on the right and the other on the left". The scene stands out for its expressiveness, not only because of the chosen theme, but also because of the polychrome chosen by the artist, with strong contrasts. The work, which stands out for its expressiveness, differs slightly from the traditional way of representing Calvary based on Byzantine Deesis, which depicted Christ in Majesty accompanied by Mary and Saint John the Baptist. In Western art, the representation of Christ on the cross was preferred as a narrative scene, and the figure of John the Baptist was replaced by that of John the Evangelist. An image whose conception and form are the result of the expression of 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 were the driving force behind its development, and the works were sometimes financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. 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 it achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.

TWO BOXES AND LOOSE MIRROR, COAL BOX, BOOKS AND SUNDRY ITEMS, to include a coal box with decorative pewter panel in art nouveau style and interior lining, a large twentieth century bevelled edge mirror measuring 88.5cm x 59.5cm, a small collection of bottles including blue poison 'not to be taken' bottles, a metal desk lamp, a pair of vintage goggles, five books to include The Woman at Home 1896, medical and religious texts, two lanterns, a boxed Airfix GMR Tate and Lyle railway carriage, etc (sd) (TWO BOXES + LOOSE)

Pair Antique Art Deco Religious Crucifix Candlesticks. Matching Pair Antique Art Deco Religious Crucifix Candlesticks Pressed Glass, Octagonal Base, Circa 1920's, Measurements: 23cm Tall and 11cm Base Diameter. Condition: Very good with no chips, cracks or crazing.

RAMÓN TUSQUETS I MAIGNON (Barcelona, 1837 - Rome, 1904)."Day of Procession. Rome, ca.1890.Oil on canvas.Signed and located in the lower left corner.Defects in the frame.Measurements: 73 x 98 cm; 116 x 138 cm. (frame).Tusquets made this painting in Rome, the city that inspired the best of his paintings. He often combined the architectural element (ancient ruins, Renaissance or Baroque buildings) with the anthropological element, showing casual encounters and official ceremonies. In this case, we see a religious procession ascending the steps of a church. In the foreground, a cardinal is accompanied by two tricorn-wearing guards and another ecclesiastical figure. Behind them, a majestic carriage awaits them. The painstaking attention paid to the details of the clothing, the equestrian statues, etc., is outstanding, but also in the capture of the whole, with its vividly festive atmosphere.Tusquets began his studies with Ramón Moliné, and at the same time published some of his caricatures in "El tros de paper", signed under the pseudonym Patufet. He then travelled to Italy on his own, where he would live for the rest of his life. After a year's stay in Rome, where he studied at the Academia Chigi and joined the circle of Catalan painters based there, he took part for the first time in the National Exhibition of Fine Arts in Madrid (1867), where he was awarded a third-class medal. He also took part in the Barcelona Exhibition of the same year, where he presented the work "Cocina" ("Kitchen"), which was acquired by the Diputació de Barcelona. Oriental themes, directly influenced by Fortuny's work, and views of the countryside and the environs of Rome are frequent in his production during this period. In 1869 he travelled around Andalusia with the Italian Pio Joris, taking notes for compositions such as "El requiebro". In 1871 he sent a work from Rome to the National Competition and was awarded a second medal. In 1872 he struck up a deep friendship with Fortuny, and they undertook a trip to Naples together. There they became acquainted with the latest trends of the Portici group and, in particular, became interested in the work of Domenico Morelli. At this time Tusquets was painting landscapes of Naples and Amalfi, and specialised in compositions of rural landscapes with figures dressed in traditional costumes. On Fortuny's death he reproduced his funeral in an impressive painting, in which the influence of the "macchiaioli" can be seen. In 1875 he exhibited several paintings at the International Circle in Rome and was highly praised by Italian critics. In 1877 he was awarded the diploma of honour, the only one reserved for foreigners, at the Naples Exhibition, and the Italian government acquired his work. During these years his works were exhibited in numerous European cities, winning prizes at the Universal Exhibitions in Vienna (1876) and Paris (1878). In 1880 he exhibited for the first time at the Sala Parés in Barcelona. Having settled permanently in Rome, Tusquets was appointed president of the city's International Artistic Circle. With his works of the 1880s he established himself in the official historicist genre, so far removed from the simple compositions of his earlier periods. During his last years he painted a wide range of themes, depicting orientalist scenes as well as scenes of customs and historicism. He is represented in the Prado Museum, the MACBA in Barcelona, the Museum of Montserrat and the National Art Museum of Catalonia.

JOSEP CUSACHS (Montpellier, France, 1851 - Barcelona, 1908)."Military Man on Horseback".Oil on canvas.Signed in the lower right corner.Measurements: 20 x 30 cm; 47 x 55 cm (frame).Despite the artistic interest in the historical genre during the 19th century, works about military life and its regiments were not very well received by the public. However, thanks to the figure of Josep Cusachs, the genre was revitalised and interest in such representations increased.Josep Cusachs was born accidentally in France, as his parents were travelling there, but his art and his life were always linked to two towns: Barcelona and Mataró. In 1865, after passing a competitive examination, he entered the Artillery Academy for a military career. However, in 1882, after a brilliant career that led him to become a captain in the army for war merits, he requested retirement to devote himself to painting. Trained in Barcelona under the guidance of Simón Gómez, he completed his artistic studies with a stay in Paris at the studio of Édouard Détaille, one of the greatest experts in military themes, a genre that Cusachs favoured. Among military themes, this artist was particularly fond of cavalry, due to his passion for horses. In 1880 he settled in Barcelona and began an extensive production of military studies, which were reproduced in F. Barado's work entitled "La vida militar en España" ("Military Life in Spain"). Previously, before leaving the army, he had worked as a caricaturist and chronicler of a Spain immersed in a maelstrom of political events, in which he was immersed due to his military status. It was precisely the success of these early works that prompted him to finally abandon his previous career to concentrate on art. During these years he made his work known through individual exhibitions, such as those he held regularly from 1884 onwards at the Sala Parés in Barcelona, always obtaining great success in terms of sales and critical acclaim. By 1890 he was already a regular exhibitor at the gallery, where he showed new works every week. The bond between Cusachs and the Sala Parés was so deep, in fact, that after the painter's death the gallery fell into a period of absolute decadence. Cusachs also took part in official competitions; in 1887 he obtained notable recognition at the National Exhibition of Fine Arts in Madrid with three paintings, one of which was acquired by the regent Maria Cristina ("En el campo de maniobras" ("On the Manoeuvre Field"). In 1891 he took part in the Berlin Exhibition and won the Gold Medal for his work "Division Manoeuvres". Cusachs was also a celebrated military portraitist, and painted General Prim, King Alfonso XIII in military uniform and Mexican President Profirio Díaz, among others. Other notable works by his hand include "Flight into Egypt" (1904) from the monastery of Montserrat, one of his few religious canvases, and "Abnegation" and "Distant Thought". Stylistically, Cusachs was a man open to innovation, although his work was always filtered through the filter of appreciation, study and meditation. Thus, he adopted those aspects he considered to be of value and discarded the rest. The bulk of his work is housed in the Museo de Arte Moderno in Madrid and the Museo Nacional de Arte de Cataluña, as well as other centres such as the Museo de Montserrat, the Museo Nacional de Historia, the Capitanía General de Valencia, etc.

ANTONÍ TÀPIES PUIG (Barcelona, 1923 - 2012).Untitled, 1970.Paint and pencil on cardboard.Attached certificate of authenticity issued by the Comissió Tàpies.Work registered in the Archive of the artist's complete works, no. T-9836.Signed in the lower right-hand corner.Measurements: 42 x 29.5 cm; 77 x 65 cm (frame).In this sober painting Tapies emphasises in the composition two elements which he arranges on an ochre background with a complex tonal gradation. They are an expressive red line that denotes the artist's passion and a cross, an iconographic element that Tapies made his own. A cross that is not religious, but spiritual, as the artist described in the article Cruces, equis y otras contradicciones, included in the book El arte y sus lugares (1999): "The interest in the cross is a consequence of the great variety of meanings, often partial and apparently different, that have been given to it: crosses (and also Xs), as coordinates of space, as an image of the unknown, as a symbol of mystery, as a sign of a territory, as a mark to sacralise different places, objects, people or fragments of the body, as a stimulus to inspire mystical feelings, to remember death and, specifically, the death of Christ, as an expression of a concept, paradoxical, as a mathematical sign, to erase another image, to manifest a disagreement, to deny something."Co-founder of "Dau al Set" in 1948, Tàpies began to exhibit at the Salones de Octubre in Barcelona, as well as at the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Galerías Layetanas, he travels to Paris in 1950, with a grant from the Institut Français. In 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, he exhibited his work, both in group and solo shows, all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the 1970s, anthologies have been devoted to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style full of symbolism, giving great importance to the material substratum of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous prizes and distinctions, including the Praemium Imperiale of Japan, the National Prize for Culture, the Grand Prix for Painting in France, the Wolf Foundation for the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Prize for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums all over the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Niceron (Jean François) Thaumaturgus opticus..., first edition in Latin, half-title, engraved additional pictorial title by Audran after Voüet and 42 engraved plates, woodcut head- & tail-pieces, initials and diagrams in text, contemporary ink signatures of Bertherand at head and foot of engraved title, text lightly browned, plates 4 & 32 with slight oxidisation, later half calf, preserving old morocco label on spine, rubbed, new endpapers, folio, Paris, F.Langlois, 1646.⁂ Influential work on the practical applications of perspective, catoptrics, dioptrics, and the illusory effects of optics then traditionally associated with natural magic. First published in French in 1638 as Perspective Curieuse ou Magie Artificielle, this Latin edition is an expanded version with more illustrations. Niceron was an artist and a Minim friar and was interested in the use of anamorphosis in religious art. In attempting to find a scientific solution to the problems presented by perspective he worked out the geometrical algorithms for producing anamorphic art. Several of the plates depict artists using perspective machines for painting murals and plate 2 includes an early illustration of a camera obscura.

Valencian school of the last quarter of the 16th century."Procession of Benedictine Saints".Oil on panel.With ribbons on the back. It shows some signs of woodworm. With repainting, a crack in the upper area and a tear in the lower margin.Measurements: 117 x 67 cm; 121 x 71 cm (frame).The one we present here is a monumental composition, of a clear devotional character reinforced by the marked scenographic sense. It is organised in two planes, the lower earthly and the upper heavenly, clearly differentiated as usual in the Spanish school of the 16th century. The figures are grouped on the earthly plane, with a line of Benedictine monks walking towards the front, in procession, with imploring gestures of great pathos; the heavenly plane is dominated by an angel who guides them, showing them the way to salvation, placing the halo on the monk in the foreground. The Valencian school is different from other contemporary Spanish artistic centres, thanks to the fact that during most of the 15th and 16th centuries there was an important settlement of Italian and Flemish painters. Thus, throughout the history of art, Valencia has been an important focus of Spanish art, together with other schools such as Andalusia and Madrid. In Valencia, the change from the 17th to the 18th century was not a break with the previous tradition, but a continuation of it. In 1768 the Royal Academy of Fine Arts of San Carlos was created, and this institution would determine a change towards a Baroque-rooted classicism. Through it, young artists were trained by José Vergara, Manuel Monfort, José Camarón, Vicente Marzo, Vicente López and Mariano Salvador Maella. On the other hand, the economic recovery led to a thriving industrial and commercial bourgeoisie, which sought to distinguish itself socially through artistic patronage. At the same time, the Church gradually lost its monopoly as the only client of artists. All this led to a definite change in taste and also in the genres treated: religious painting now coexisted with bourgeois portraiture, still life, landscape, historical and mythological themes and genre painting.

Pair of "Cap i pota" figures. Spain, first half of the 18th century.Carved and polychrome wood. Nimbuses in silver (with contrasts).Measurements: 50 cm and 53 cm high.Pair of dressed images representing two saints kneeling in an attitude of veneration and exaltation of the word of God. Both figures stand out for their delicate and finely worked polychromy, especially in their hands and faces, with masterly details in their features and expressions. They have silver nimbuses on their heads, identifying them as saints, and one of them holds a staff with a double-barred cross. The "cap i pota" images are figures worked in detail only on the face and hands, on a wooden structure carved to a greater or lesser extent. Although figures for dress were often used in processions, in this case it is a figure intended for private devotion, given its small size. The visible parts are covered with a thin layer of stucco and polychromed, while the rest is covered with royal robes. 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.

Painter Bamboccianti; 18th century."Camp of ruins with a pastoral scene".Oil on canvas.Measurements: 76 x 62 cm.In this canvas the author shows us a landscape clearly inspired in the Dutch school with two characters, placed in the centre of the composition, accompanied by animals, so we can deduce that they are peasants. The scene is set against a background of golden light in which various architectural constructions can be seen, particularly the ruins on the right. From the appearance of the ruins, it is possible that they are the apse of a church, which can be deduced from their oval structure and pointed openings, very typical of Gothic architecture.The author conceived this work in accordance with genre models, although he introduces a new and discordant element in the form of the ruin, which becomes the main feature of the image, even though its presence may go unnoticed. However, this is the main characteristic that indicates that the work is related to Romantic painting, which attempted to replace the large canvases with historical or religious themes by giving greater prominence to the landscape. They wanted the pure landscape, almost without figures or totally devoid of them, to attain the heroic significance of history painting. They were based on the idea that human feeling and nature should be complementary, one reflected in the other. In other words, landscape should arouse emotion and convey ideas. Thus, landscape painters such as the author of this painting tried to express their feelings through the landscape, rather than imitating it. The Romantic landscape had two main strands: the dramatic, with its turbulent and fantastic views, and the naturalistic, which emphasised images of a peaceful and serene nature.The Bamboccianti were genre painters, active in Rome from c. 1625 to the end of the 17th century. They were mostly Dutch and Flemish artists who brought to Italy the tradition of depicting genre subjects typical of 16th-century Dutch art. They generally created small cabinet works, or engravings of the everyday life of the lower classes in Rome and its countryside. Despite their humble subject matter, the works found appreciation among elite collectors.

Spanish School of the 17th century."Lamentation of the Dead Christ".Watercolour on parchment.Measurements: 17,5 x 14 cm (total).In this particular case, the scene takes place in an arid and desert landscape, in which we can appreciate a part of the cross, where Jesus has died. In the foreground, next to the figure of the recumbent Christ is the Virgin, standing next to his head. She is covered with a headdress as a sign of mourning, as are the Holy Women and Saint John the Evangelist who are at her side.The scene of the lamentation or weeping over the body of the dead Christ is part of the Passion cycle, and is inserted between the Descent from the Cross and the Holy Burial. It narrates the moment when the body of Christ is placed on a shroud (in other cases, on the anointing stone) and his mother, Saint John, the holy women, Joseph of Arimathea and Nicodemus gather around him, weeping and wailing. It is a highly emotional theme, the fruit of popular piety, which concentrates attention on the drama of the Passion and the loving and sorrowful contemplation, with a realistic and moving sense. In Byzantium, and in Byzantine-influenced representations, the figure of Christ rests on the anointing slab, where his corpse was perfumed and prepared for burial, which later in Italian art became the tomb. This scene is not referred to in the Gospels, but finds its origin in mystical literature and religious texts of piety, as well as in those of the confraternities of flagellants. The canonical Gospels and the apocryphal Gospel of Nicodemus tell how Joseph of Arimathea buried the body of Jesus, but there is no mention of the lamentations of his mother and followers, because the texts themselves say that they were at a distance contemplating the event.we are dealing with what is known as a miniature codex: handwritten and illustrated books that were produced in the "Scriptorium" or specialised workshops of the monasteries by monks with great artistic and doctrinal qualifications for the monasteries themselves, the churches and the kings.

Andalusian school of the second half of the 17th century."The Adoration of the Shepherds".Oil on canvas. Re-coloured.With repainting and restorations.Measurements: 137 x 151 cm; 158 x 171 cm (frame).The painter of this canvas is interested in approaching the theme of the adoration in a naturalistic way, emphasising the humble environment that welcomes the birth of the Child Jesus in its bosom. It is a painting indirectly influenced by the soft, delicate style of Bartolomé Esteban Murillo. The shepherds, devoid of any eloquent or ornate gestures, kneel or bow silently around the infant, whose small body rests on a bed of straw. The Virgin wraps the child in white cloths, and Saint Joseph, at her side, holds the lily wand, a characteristic attribute of his iconography. Jesus thus occupies the centre of the composition, and the contrasting light helps to arrange the figures and direct the viewer's gaze to each corner of the crib. In this canvas we see a theme that has been repeated many times throughout the history of art, and which experienced a notable boom during the Andalusian Baroque period. The humanity that pervades the scene made the faithful identify with it, an intention that would characterise Spanish religious art from the Counter-Reformation onwards.

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.

A 'The Religious Tract Society' lithographic text in a Victorian tramp-art style frame together with another similar frame, largest 59 x 49 cm

EUSEBIO VALLDEPERAS MERICH (Barcelona, 1827-Madrid, 1900)."Virgin of Mount Carmel. Rome, 1858.Oil on canvas.Signed, dated and located in the lower margin.Period frame.It presents two small tears in the inferior zone.Measurements: 175 x 122 cm; 200 x 147 cm (frame).The Romantic painter Eusebio Valldeperas combined history painting and portrait painting with religious themes, which he developed with paintings such as the one in question, painted during his stay in Rome. The Maternity is depicted in his invocation as the Virgin of Carmel. Eusebio Valldeperas was a knight of the order of Charles III, commander of the order of Isabella the Catholic, chamber painter and member of the Academies of Geography and Archaeology. He began his training at the Barcelona School of Drawing and at that of Antonio Esplugas. He furthered his training at the San Fernando School in Madrid, where he was a pupil of Federico de Madrazo and Carlos Luis de Ribera, and in Paris with the master Léon Cogniet. He travelled to Belgium, Germany and Italy, which enabled him to meet Johann Friedrich Overbeck, whose influence would be very important in the development of his style. He submitted his works to national and foreign exhibitions and won honourable mentions at the National Exhibitions of 1860 and 1862, as well as third medals at the 1858, 1864 and 1867 editions, and was awarded the same prize at the Franco-Spanish Exhibition in Bayonne in 1864. His work falls within the framework of late Romantic purism with clear Nazarene influences. He donated his work La casta Susana sorprendida en el baño ("The Chaste Susanna Surprised in the Bath") to the Museum of Modern Art, from which it was transferred to the Prado in 1971.

A Sino-Tibetan gilt bronze figure of Tsongkhapa, Qing dynasty, modelled seated in dhyanasana on a double lotus throne, with hands held in dharmachakra mudra and wearing monk's robes, height 15.4cm. Provenance: from the estate of a West Sussex collector, purportedly purchased from C.F. Chen Asian Art Gallery on 17th September 1982. Note: Tsongkhapa (1357-1419) was a religious teacher and founder of the Gelugpa School of Tibetan Buddhism and is believed to be an incarnation of Manjushri, the bodhisattva of wisdom.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Fragment of an altarpiece. Spanish school of the 16th century.Carved, polychromed and gilded wood.Measurements: 18 x 29 cm; 21 x 42 cm (frame).Original fragment of an altarpiece from the 16th century, carved in polychrome and gilded wood. It shows several figures worked in relief with Roman-inspired motifs, conserving their original polychromy.The term 'altarpiece' has not received the correct definition in Spanish Dictionaries and Vocabularies that the Renaissance and Baroque culture gave to this work of religious art, considered today to be the most important piece of liturgical furniture in the Christian church. In the final stretch of the 15th century, at the height of Hispano-Flemish painting, the Sevillian Antonio de Nebrija introduced this word in his "Dictionarium ex hispanensi in latinum sermonem" and, after deriving it from the Latin word "retrotabulum", defined it as a painting that adorns the back of the altar. The contemplation of the altarpiece aroused in the faithful a host of sensations aimed at exalting and invigorating their religiosity as believers.

Fragment of an altarpiece. Spanish school of the 16th century.Carved, polychromed and gilded wood.Measurements: 18 x 29 cm; 21 x 42 cm (frame).Original fragment of an altarpiece from the 16th century, carved in polychrome and gilded wood. It shows several figures worked in relief with Roman-inspired motifs, conserving their original polychromy.The term 'altarpiece' has not received the correct definition in Spanish Dictionaries and Vocabularies that the Renaissance and Baroque culture gave to this work of religious art, considered today to be the most important piece of liturgical furniture in the Christian church. In the final stretch of the 15th century, at the height of Hispano-Flemish painting, the Sevillian Antonio de Nebrija introduced this word in his "Dictionarium ex hispanensi in latinum sermonem" and, after deriving it from the Latin word "retrotabulum", defined it as a painting that adorns the back of the altar. The contemplation of the altarpiece aroused in the faithful a host of sensations aimed at exalting and invigorating their religiosity as believers.

Fragment of an altarpiece. Spanish school of the 16th century.Carved, polychromed and gilded wood.Measurements: 18 x 29 cm; 21 x 42 cm (frame).Original fragment of an altarpiece from the 16th century, carved in polychrome and gilded wood. It shows several figures worked in relief with Roman-inspired motifs, conserving their original polychromy.The term 'altarpiece' has not received the correct definition in Spanish Dictionaries and Vocabularies that the Renaissance and Baroque culture gave to this work of religious art, considered today to be the most important piece of liturgical furniture in the Christian church. In the final stretch of the 15th century, at the height of Hispano-Flemish painting, the Sevillian Antonio de Nebrija introduced this word in his "Dictionarium ex hispanensi in latinum sermonem" and, after deriving it from the Latin word "retrotabulum", defined it as a painting that adorns the back of the altar. The contemplation of the altarpiece aroused in the faithful a host of sensations aimed at exalting and invigorating their religiosity as believers.

Cículo de JUAN DE VALDÉS LEAL (Seville, 1622 - 1690)."Saint Francis of Borgia".Oil on canvas.Repainting.Lacking in the frame.Measurements: 64 x 51 cm; 82,5 x 67,5 cm (frame).Contemporary of Murillo, Valdés Leal was his biggest pictorial rival in the Seville of his time. However, their language differs greatly. Murillo's gentleness contrasts with the latter's harshness and dramatic verism. In this representation of Saint Francis Borgia, whom we recognise by the skull and imperial crown he holds in his left hand, the saint is depicted with a countenance reminiscent of other religious figures depicted by Valdés Leal, starting with the painting of the same figure that he produced for the pictorial series on the life of Saint Ignatius of Loyola (now in the Museo de Bellas Artes in Seville). Under the lowered eyelids, black eyes of impenetrably deep expression, together with the frown and half-open lips, reveal with intensity a moment of inner transformation. The dark, velvety-textured clothing accentuates by contrast the naturalism of the flesh tones, both on the face and on the hands. The glittering jewels on the skull denote particular skill in the use of glazes and glitter. The psychological depth and the symbol of the crowned skull convey the horror at the discovery of the decomposition of the Empress Isabella of Portugal when she was about to hand over her corpse in Granada. The jewels symbolise the saint's renunciation of all earthly goods. Especially known for his paintings of vanitas (such as those he painted for the church of La Caridad in Seville), Valdés Leal nevertheless worked on all kinds of religious themes. We do not know when he moved to Córdoba, although it is likely that he had already trained as an artist in his native city. It has been speculated that he was influenced by the workshop of Herrera el Viejo, and also by the art of the Cordovan Antonio del Castillo, as possible influences for his first known signed and dated work, the San Andrés in the church of San Francisco in Cordoba, dated 1647. In it he was able to combine the monumentality of the figure of the saint with a naturalistic approach with visible success. In 1656 he settled in Seville, where he spent most of his life. In 1660 he was one of the founders of the Academy of Drawing, of which he became president in 1663. The following year Palomino set out on his trip to the court and to El Escorial, a journey that can still be understood as an apprenticeship, driven by his eagerness to become acquainted with the works of the great masters in the royal collections. In 1667 he joined the Brotherhood of Charity in Seville, whose founder had been Miguel de Mañara, the noble visionary author of the eschatological Discourse on Truth, to which Valdés would remain attached from then on. In 1671 Valdés Leal had the opportunity to work as an architect on the ephemeral decorations that the Seville cathedral had installed to celebrate the canonisation of Saint Ferdinand. Thanks to these works Palomino defines him as "a great draughtsman, perspectivist and architect". He also produced two engravings, reproducing his works in the cathedral, for Fernando Torres Farfán's book celebrating the event, which gives us an insight into his work as an architect. These are his most important works as a printmaker, although his engraving of the cathedral monstrance, a self-portrait and the posthumous image of Miguel de Mañara are also known. In 1672 he was in Cordoba, an occasion that Palomino took advantage of to meet him personally. This lends further value to the Cordovan treatise writer's affirmation of Valdés Leal's literary interest, as he describes him as possessing "the ornament of all good letters, not forgetting those of poetry".

Andalusian School; Circle of JUAN RUIZ SORIANO (Higuera de la Sierra, Huelva, 1701 - Seville, 1763)."Portrait of a clergyman.Oil on canvas. Re-retouched.It has repainting and restorations.Measurements: 159 x 111 cm; 173 x 124 cm (frame).In this scene the author presents us the image of a religious dressed in black tunic, so it is probably the representation of a religious of the order of Saint Benedict. In the centre of the scene, seated at a desk, he looks towards the viewer, revealing a realistic face with a very rounded form, gesture and expression that the artist manages to portray. The figure holds a pen in one of his hands, while the other holds a book from which the palm leaf, referring to martyrdom, is detached. One of the most notable features of the composition is the scene in the central area on the left. Here we can see a group of small figures who seem to be observing something outside the composition. The agitation of this scene contrasts with the stillness of the rest of the painting. It is likely that this device alludes to the texts referring to the main figure or to biographical information about him, so that the painter has introduced it in a narrative manner, with the intention of portraying not only the figure of the religious figure but also his context.Due to the technical characteristics of the work, this piece can be included in the artistic circle of Juan Ruiz Soriano. Born in the town of Higuera de Aracena, now Higuera de la Sierra, Juan Ruiz Soriano trained in Seville with his cousin Alonso Miguel de Tovar (Higuera de la Sierra, 1678 - Madrid, 1752), beginning his pictorial activity in 1725. As a disciple of Tovar, it is logical that Ruiz Soriano's art should at the same time derive from that of Murillo, which is why his pictorial production is characterised by a soft, gentle drawing. We know that he worked for numerous religious orders, which asked him to produce a series of paintings to decorate their cloister walls. He must also have worked extensively for private individuals.

Tondo attributed to JOSÉ VERGARA GIMENO (Valencia, 1726 - 1799)."Apparition of the Infant Jesus to Saint Anthony of Padua".Oil on panel.It has slight repainting and a 19th century frame.Measurements: 58,5 x 44 cm; 69 x 54 cm (frame).Religious scene that presents the theme of the apparition of the Child Jesus to Saint Anthony of Padua.Saint Anthony of Padua or of Lisbon (Lisbon, ca. 1191 to 1195 - Padua, 1231) was a Franciscan friar, preacher and theologian, venerated by his miracles and as a saint and Doctor of the Church, who was first member of the Order of regular canons of Saint Augustine, until he became a Franciscan in 1220. St. Anthony of Padua is, after St. Francis of Assisi, the most popular of the Franciscan saints. He is depicted as a beardless youth in a broad monastic tonsure, dressed in a habit, and is often shown with the Infant Jesus, holding him in his arms, alluding to an apparition he had in his cell. It became the most popular attribute of this saint from the 16th century onwards, being especially popular in the Baroque art of the Counter-Reformation.Due to its formal characteristics, we can relate this work to the hand of José Vergara Gimeno, one of the most outstanding painters of Valencian Neoclassicism. He co-founded the San Carlos Academy together with his brother Ignacio and other artists, and was appointed its director in 1789. He broke with the Baroque aesthetic and renewed the Valencian artistic panorama by decorating numerous churches in fresco and painting altar canvases, with religious themes being the most abundant in his production. He also carried out numerous commissions for the city council and painted important portraits, such as that of Ferdinand VI. He is represented in the Valencia Fine Arts Museum, among other public and private centres.

JUAN MANUEL DE ÁVILA (active 1753-1765). Novo-Hispanic School, 18th century."Virgin of Guadalupe".Oil on canvas.Signed in the lower right corner.Carved and gilded frame, of the period. It presents slight damages.Measurements: 99 x 72 cm; 138 x 103 cm (frame).Juan Manuel de Ávila was a Spanish painter who was active in Mexico during the second third of the 18th century. He is known to have painted official portraits of viceroyalty officials, as well as religious paintings, such as the present one. This intensely chromatic and delicately drawn work depicts the Virgin Mary as Guadalupe, immersed in a golden mandorla. The author respects the iconographic patterns of Guadalupe that were established in the 16th century, following models that were initiated by indigenous painters such as Marcos Cípac. Dressed in a blue mantle with stars and a tunic, beneath her feet an angel holds a crescent moon. Around the oval, floral bouquets complete the decoration. Joining her hands in prayer, she bows her head with a golden crown. She humbly closes her eyes. This particular type of Immaculate Conception shows its Baroque influence in style and iconography, but already introduces some colours in its palette more related to the 18th century, although without varying the previous models to any great extent.Our Lady of Guadalupe is a Marian invocation of the Catholic Church, whose image has its main centre of worship in the Basilica of Guadalupe, in the north of Mexico City. According to Mexican oral tradition, it is believed that the Virgin Mary appeared four times to Saint Juan Diego Cuauhtlatoatzin on the hill of Tepeyac. Juan Diego, in the last apparition of the Virgin, carried in his ayate some flowers that he had cut on Tepeyac, according to the Virgin's order. He unfolded his ayate before Bishop Juan de Zumárraga, revealing the image of the Virgin Mary, a brunette with mestizo features. Since ancient times, the Mesoamerican peoples had already venerated a deity called Tonantzin on the hill of Tepeyac, hence a certain syncretism with the assimilation of the message brought by the Virgin Mary. This event was known as the Miracle of the Roses, and was recorded in the "Nican Mopohua", a text presumably written by the Indian Antonio Valeriano. Since the viceregal period, an outstanding cult has developed around her figure, which is linked to a great artistic production in which the influences of local art can be clearly appreciated over the novelties and artistic traditions brought from Europe, in which a prominent participation of the Sevillian school can be observed, as this city was the centre of trade with America.

Workshop of BARTOLOMÉ ESTEBAN MURILLO, 17th century."Ecce Homo".Oil on canvas. Re-enteled.It presents restorations.Measurements: 50 x 60 cm; 88 x 68 cm (frame).The work gives off an emotional devotional tension clarified by the darkness of the scene, the expressiveness of the red mantle and the definition of Christ's anatomy. The face, perfectly modelled, stands out for the play of volumes and the truthfulness of the features. They show us a concentrated Jesus, with lowered eyelids and a serious face, aware of his destiny. Only the rod in his hands breaks the viewer's concentration on Christ's body, but its presence is barely perceptible as it blends into the darkness of the background. The quality of this religious portrait suggests that it was produced by Murillo's workshop, as the work has similarities with pieces on the same theme attributed to the master, such as the painting in the Museum of Cadiz, where, despite the differences, the composition and the conception of the figure of Jesus are very similar. The theme of Ecce Homo belongs to the Passion cycle and immediately precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple robe and placing a reed in his hand, kneeling down and exclaiming "Hail, King of the Jews". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ to the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such in comparison with that of the rulers who were judging him.Little is known of Murillo's childhood and youth, except that he lost his father in 1627 and his mother in 1628, for which reason he was taken into the care of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, most likely with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship lasted about six years, as was customary at the time. After his marriage in 1645 he embarked on what was to be a brilliant career that gradually made him the most famous and sought-after painter in Seville. The only trip he is known to have made is documented in 1658, when Murillo was in Madrid for several months. It is conceivable that while at court he kept in touch with the painters who lived there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all the artists who passed through the court. Despite the few documentary references to his mature years, we know that he enjoyed a comfortable life, which enabled him to maintain a high standard of living and have several apprentices. Having become the city's leading painter, even surpassing Zurbarán in fame, he was determined to raise the artistic level of local painting. In 1660 he decided, together with Francisco Herrera el Mozo, to found an academy of painting, of which he was the main driving force. His fame spread so far throughout Spain that Palomino states that around 1670 King Charles II offered him the chance to move to Madrid to work there as a court painter. We do not know whether this reference is true, but the fact is that Murillo remained in Seville until the end of his life. Works by Murillo are now in the most important art galleries in the world, such as the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York and the National Gallery in London.

ANTONÍ TÀPIES PUIG (Barcelona, 1923 - 2012).Untitled, 1970.Paint and pencil on cardboard.Attached certificate of authenticity issued by the Comissió Tàpies.Work registered in the Archive of the artist's complete works, no. T-9836.Signed in the lower right-hand corner.Measurements: 42 x 29.5 cm; 77 x 65 cm (frame).In this sober painting Tapies emphasises in the composition two elements which he arranges on an ochre background with a complex tonal gradation. They are an expressive red line that denotes the artist's passion and a cross, an iconographic element that Tapies made his own. A cross that is not religious, but spiritual, as the artist described in the article Cruces, equis y otras contradicciones, included in the book El arte y sus lugares (1999): "The interest in the cross is a consequence of the great variety of meanings, often partial and apparently different, that have been given to it: crosses (and also Xs), as coordinates of space, as an image of the unknown, as a symbol of mystery, as a sign of a territory, as a mark to sacralise different places, objects, people or fragments of the body, as a stimulus to inspire mystical feelings, to remember death and, specifically, the death of Christ, as an expression of a concept, paradoxical, as a mathematical sign, to erase another image, to manifest a disagreement, to deny something."Co-founder of "Dau al Set" in 1948, Tàpies began to exhibit at the Salones de Octubre in Barcelona, as well as at the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Galerías Layetanas, he travels to Paris in 1950, with a grant from the Institut Français. In 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, he exhibited his work, both in group and solo shows, all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the 1970s, anthologies have been devoted to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style full of symbolism, giving great importance to the material substratum of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous prizes and distinctions, including the Praemium Imperiale of Japan, the National Prize for Culture, the Grand Prix for Painting in France, the Wolf Foundation for the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Prize for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums all over the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

* PETER HOWSON OBE (SCOTTISH b. 1958),WOMEN ON THE MIND - DON GIOVANNI 1995oil on canvas, signedimage size 123cm x 107cm, overall size 132cm x 117cm Framed.Note: In 1995 Peter Howson collaborated with John Cox and the Scottish Opera on a new production of Mozart’s Don Giovanni. In an amazing interview with the Glasgow herald in 1995 Howson commented: “It’s an incredible opera and a fantastic opportunity. I’ve got the opera bug now. Everything to do with Don Giovanni is curvaceous and sexy. The rest is sharp, pointed and angular. I’ve kept the colour scheme very simple: rich scarlet, vermilion, and cherry red for Don Giovanni’s territory: his bedroom, ballroom, the wedding party scenes, and for Hell. Soft greens, greys and cream for the rest. Howson produced 300 preparatory drawings for the Opera, together with a group of Oil paintings which were exhibited at Bilcliffe fine art, Glasgow in September 1995. These works were inspired by the party scene nudes in the opera. Howson explained in the interview with the Herald: 'There are hundreds of nudes everywhere, some friendly, some demonic. It's like Dante's Inferno. Don Giovanni is a man of incredible sexual appetite and John Cox wanted this depicted in a Rubenesque way: not pornographic or smutty, but with as much nudity as Scottish sensibilities allow. There's even nude caryatids and statuary carved over the door to his palace. Although Scottish Opera's audiences can be terribly Calvinistic. They don't want too much said about the nudes in case people cancel their tickets!'' Surely not? ''It's true. It happened once before with Life with an Idiot. I see Don Giovanni as the life force. His bed is red; his dressing gown is opulent, flowing gold and red. Of course, he's amoral, what used to be known as a libertine and blasphemer, but he's also a free-thinker, a man before his time, a revolutionary who rejects the religious and sexual code of his society. He's defiant and unrepentant. He never forces himself on women, merely seduces. His affair with Donna Anna is the first time in his amorous career that things have gone wrong. He doesn't feel guilty for the Commendatore's death as the duel was fought in self-defence. When he's dead the town stagnates and misses him. The Don Juan story has always been popular even in folklore. Back in 1787 when the opera was first performed in Prague it must have seemed scandalous but today it's not so. We've tried to avoid setting the opera in any specific period. Hopefully, it's timeless.'' Provenance: Sotheby's, Gleneagles, lot 1024, 31st August 2005, estimate £10,000 - £15,000.