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Transition Period, 2nd-12th century A.D.. Depicting the face of a warrior Nylamp; at the top animal figures flank a discoid-shaped head with headdress and discoid dangles; a human head below with large headdress decorated in geometric motifs, a series of dangles below. See Newton, D. et al., The Pacific Islands, Africa, and the Americas, The Metropolitan Museum of Art, New York, 1987; see Pillsbury, J. et al., Golden Kingdoms: Luxury Arts in the Ancient Americas, Los Angeles, J. Paul Getty Museum, 2017. 267 grams, 39.5 cm (15 1/2 in.). From a Spanish collection, acquired before the 1950s.Private European collection, acquired 1950s-1960s; thence by decent.Ex diplomat M.I. Polak collection; acquired in the 1960s-1990s.From a private Belgian collection, formed in the 1990s.Archaeological investigations have demonstrated that Moche-Sicán cities were governed by warrior-priests, while depictions of rulers on pottery have revealed that these rulers wore pectorals like the example here. The ornate pectoral for a high-ranking noble or priest was sewn onto clothing, used to convey the wealth and power of their owners and separating them from artisans, farmers and herders, whose labour underpinned their rule. Only kings and religious figures of high status wore such adornments. Pre-Columbian artisans excelled in metalwork. The Moche was a powerful ancient state on the north coast of present-day Peru. [No Reserve]

4th century B.C. Modelled in the round, standing figure in a tight-fitting wrapped mantle, patera in the right hand, dressed hair; possibly in an act of religious devotion. 27 grams, 73 mm (2 7/8 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000.From an important Cambridgeshire estate; thence by descent. [No Reserve]

Circa 2nd century A.D.. Squat burnished pottery lamp with stub nozzle, high-relief scene of two lovers on a couch; maker's mark 'LMVNSVC' to the underside. Cf. Bussière, J., Lindros Wohl, B., Ancient Lamps in the J. Paul Getty Museum, Los Angeles, 2017, figs.181-183, for similar. 64 grams, 95 mm (3 3/4 in.). From the collection of French archaeologist Suzanne Gozlan (1921-2022).The lamp belongs to the Bailey type B group ii (Loeschke type IV), usually dated from Tiberian to Trajanic times. Erotic lamps were particularly popular before the Christianisation of the Roman Empire. Roman sexuality differed considerably from later Christian European attitudes. Roman religion promoted sexuality as one of the fundamental aspects of prosperity for the entire state; individuals could turn to private religious practice, or even magic, to improve their erotic life or health and reproductive capacity; moreover, prostitution in ancient Rome was legal, public and widespread. Artistic subjects that today we would define without hesitation as pornography, were present among the art collections of the most respectable and high status Roman families.

Circa 2nd century B.C.- 2nd century A.D.. Life-size bull's head (bucranium) on a rectangular field with flattened upper face and small ledge overhang; modelled in the half-round with detailed eyes, muzzle and dewlap, plain background; tooled texture to the forehead and dewlap; Eastern Empire. Cf. similar item in the collection of the Metropolitan Museum of Art, New York, under accession no.99.17; for various similar examples s. Mendel, G., Catalogue des sculptures grecques, romaines et byzantines, Constantinople, 1914, nos.1151 (381), 1164-1166 (300,1152,1139), 1282-1283 (2015-2016), vol.III, pp.493-494. 98 kg, 51 cm (20 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000.From an important Cambridgeshire estate; thence by descent.Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12081-213373.The bucranium was used as a prominent motif on the exterior of Graeco-Roman temples where it replaced the use of genuine severed heads from the sacrificial rites. Garlands were draped over the heads on feast-days and occasions of special religious observance. The flattened upper face suggests an architectural use, perhaps as a corbel. [No Reserve]

Ca. AD 1100-1200.A pottery jug with a bulbous body conveys a sense of harmony and visual appeal. The low ring foot provides stability and balance to the vessel, ensuring that it rests securely on a flat surface. The broad funnel-shaped neck adds a graceful and distinctive element to the overall composition of the jug. The arched handle, ingeniously designed with thumb support, offers both practical functionality and aesthetic refinement. While the neck remains plain and unadorned, the main body of the jug boasts a densely embellished relief decoration that captures attention and elevates its artistic value. Divided in half by a horizontal groove, the relief decoration is executed with remarkable precision and intricacy. This exquisite embellishment features geometric motifs, floral patterns, and interlacing designs, showcasing the mastery of the Seljuk artisans in creating harmonious compositions on ceramic surfaces. Notably, a decorative band adorned with calligraphy encircles the base of the jug, adding a distinctive touch to its overall design. The calligraphic script, skillfully executed and precisely inscribed, may bear religious verses, blessings, or decorative phrases, reflecting the cultural and religious significance of the Seljuk Empire. Size: 130mm x 120mm ; Weight: 260g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. AD 1100-1200.A bronze oil lamp features a flaring and concave foot, meticulously shaped to provide stability and ensure balance in its overall composition. Its round body, embellished with intricate chiselled patterns, showcases the fine attention to detail lavished upon this piece. The addition of a hinged lid further enhances both its practicality and visual allure. The rear handle of the lamp not only adds an element of elegance but also serves a functional purpose, facilitating effortless transportation of the lamp from one location to another. The arched spout, boasting an heart-shaped nozzle, serves as yet another testament to the exceptional skill and craftsmanship of the lamp's maker, demonstrating their ability to create aesthetically pleasing and technically precise features. Oil lamps, such as this exquisite example, held significant importance in both practical and symbolic realms. Widely used in homes, mosques, and other public spaces, these lamps provided essential illumination, dispelling darkness and creating an inviting ambiance. Beyond their utilitarian function, oil lamps were often elevated to objects of artistic expression, with intricate designs and ornate calligraphy adorning their surfaces. These decorative elements served as visual reminders of the religious and cultural values cherished during the lamp's time of creation, reflecting the rich tapestry of beliefs and traditions held by the communities that utilized them. Size: 195mm x 230mm ; Weight: 700g Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

* SIMON LAURIE RSW RGI (SCOTTISH b. 1964), UNTITLED acrylic on board, signedframed and under glassimage size 55cm x 55cm, overall size 77cm x 77cm Note: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.

* SIMON LAURIE RSW RGI (SCOTTISH b. 1964), STILL LIFE acrylic on board, signed framed and under glassimage size 33cm x 36cm, overall size 49.5cm x 53cmNote: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.Condition is good overall, with no visible or known issues.

Joan Brown (1938–1990) was an American figurative painter associated with the Bay Area Figurative Movement. Here are key points about Joan Brown:1. **Early Life:** Joan Brown was born on February 19, 1938, in San Francisco, California. She grew up in the Bay Area and developed an early interest in art.2. **Art Education:** Brown studied at the California School of Fine Arts (now the San Francisco Art Institute), where she was influenced by the Bay Area Figurative painters, including Richard Diebenkorn and Elmer Bischoff.3. **Bay Area Figurative Movement:** Brown emerged as one of the key figures in the Bay Area Figurative Movement, a significant art movement in the 1950s and 1960s that moved away from abstract expressionism and returned to figurative and representational art.4. **Personal Style:** Brown's early work often featured vibrant colors, expressive brushstrokes, and a focus on the human figure. She incorporated personal and autobiographical elements into her paintings.5. **Marriage to Manuel Neri:** Brown married fellow artist Manuel Neri in 1957. The two artists influenced each other's work, and their relationship is reflected in the art they created.6. **Travel and Influence:** Brown traveled extensively, including trips to Mexico, Europe, and Asia. These travels influenced her artistic style and subject matter.7. **Symbolism and Mythology:** In the 1970s, Brown's work began to incorporate symbolic and mythological elements. She drew inspiration from a wide range of sources, including ancient mythology and religious iconography.8. **Later Career:** Brown continued to evolve as an artist, exploring new themes and incorporating diverse materials into her work. Her later paintings often included complex compositions and layered narratives.9. **Teaching:** In addition to her career as an artist, Brown taught art at the University of California, Berkeley, and the California College of Arts and Crafts.10. **Death:** Joan Brown passed away on October 26, 1990, at the age of 52, in Puttaparthi, India. She was participating in a program associated with the spiritual leader Sathya Sai Baba at the time of her death.11. **Legacy:** Joan Brown's contributions to the Bay Area Figurative Movement and her distinctive approach to figurative painting have earned her a lasting place in the history of American art. Her work is held in major museum collections, and retrospectives of her art have been organized posthumously.Joan Brown's art is characterized by its emotional depth, personal symbolism, and engagement with the human figure. Her exploration of diverse themes and her influence on the Bay Area Figurative Movement have solidified her position as a significant figure in American art.Measures 40 x 21.25.

Walter Stanley Paget (1862-1935) Artist’s Sketchbookbears label to the front board inscribed with signature, W. S. Pagetpencil, pen and ink on paper (bound with marbled boards)overall size 22.4cm x 18.3 cm This sketchbook contains approximately 35 drawings in different media, depicting various subjects, including classical and religious scenes, equestrian scenes and other farm animals, in addition to working farm scenes, figure studies, soldiers and battle scenes and still lives. The studies are predominantly in ink, with a minority in pencil and mixed media. The sketchbook has a branded label on the front reading, ‘Waterlow & Sons, London’. As well as drawings, the sketchbook also has a number of receipts and expenses, poetry and transcriptions of letters. Walter Stanley Paget was the brother of Sideny Paget (1860-1908) and Henry Paget (1856-1936). He was best known for his illustrations for numerous authors of the era, including the 1910 edition of Charles and Mary Lamb's Tales from Shakespeare, and Conan Doyle's 1913 Holmes short story, "The Adventure of the Dying Detective," in The Strand Magazine. He also illustrated Daniel Defoe’s 1990 fine art edition of Robinson Crusoe. As well as these, he also illustrated children’s books, historical books and other newspapers.

STOT21stCplanB Harsh But Fair - Feed The World - Crap Aid CD compilation wrapped by a printed artwork Measures approx. 29.5cm x 36cm (11 5/8" x 14") STOT21stCplanB (sometimes pronounced STOT twenty one with a silent ‘stCplanB’) started out as a zero-ambition noise/alt-country rock band, releasing the nihilistic CDR only LP Satan’s Rat Trap and the Mouse that Wound Up Dead (2004) and the flood/love/disaster themed mini-LP Up To Yer Neck In It (2005), before turning attentions towards visual art disruption.  Describing themselves as Neo-Nothingist Anartists, three years of intense creativity followed, exploring and dealing with notions of “the puerile”, where the duo worked in a multiplicity of mediums from photo-montage, printmaking, painting, to political campaigning, crockery and making fake Banksy's under the name Not Banksy.  In 2008, collaborators THE AQUARIUM L-13 (predecessor to the L-13 Light Industrial Workshop) hosted a fundraising event for Ken Livingstone’s mayoral campaign. STOT21stCplanB declared they would stand against him and put forward their own candidate known only as THE ASSISTANT. Despite designing some fantastic campaign posters they failed to get to the first stage of the elections and in bitter disappointment declared semi-retirement at the end of 2008.  The next 13 years were spent mostly painting landscapes and religious scenes of violence under the name Harry Adams, emerging occasionally for one-off projects, eventually succumbing to popular demand and re-activating the Not Banksy project in 2018.  Making and selling Not Banksy's kept them very busy for several more years, culminating in the publication a memoir: The Not Banksy Book: Lying, Cheating, Stealing and the Death of Art Vol 13, L-13 Press 2021 (aka The Lob-a-Knob Book).

STOT21stCplanB  Know your enemy - Act Now! Lives are at stake" Print on paper  Handmade book made by artist Limited edition no 11/50 Measures approx. 14.5cm x 18cm (5 3/4" x 7") STOT21stCplanB (sometimes pronounced STOT twenty one with a silent ‘stCplanB’) started out as a zero-ambition noise/alt-country rock band, releasing the nihilistic CDR only LP Satan’s Rat Trap and the Mouse that Wound Up Dead (2004) and the flood/love/disaster themed mini-LP Up To Yer Neck In It (2005), before turning attentions towards visual art disruption.  Describing themselves as Neo-Nothingist Anartists, three years of intense creativity followed, exploring and dealing with notions of “the puerile”, where the duo worked in a multiplicity of mediums from photo-montage, printmaking, painting, to political campaigning, crockery and making fake Banksys under the name Not Banksy.  In 2008, collaborators THE AQUARIUM L-13 (predecessor to the L-13 Light Industrial Workshop) hosted a fundraising event for Ken Livingstone’s mayoral campaign. STOT21stCplanB declared they would stand against him and put forward their own candidate known only as THE ASSISTANT. Despite designing some fantastic campaign posters they failed to get to the first stage of the elections and in bitter disappointment declared semi-retirement at the end of 2008.  The next 13 years were spent mostly painting landscapes and religious scenes of violence under the name Harry Adams, emerging occasionally for one-off projects, eventually succumbing to popular demand and re-activating the Not Banksy project in 2018.  Making and selling Not Banksys kept them very busy for several more years, culminating in the publication a memoir: The Not Banksy Book: Lying, Cheating, Stealing and the Death of Art Vol 13, L-13 Press 2021 (aka The Lob-a-Knob Book).

DOGON FIGUREThis superb Dogon female figure can be attributed to the Sanga region owing to its close similarity in style to the works of the ‘Master of Ogol’, so named after the figure now in the Musée du Quai Branly collected in the village of Ogol by Marcel Griaule during his third expedition of 1935. Bernard de Grunne identifies seventeen works which he categorises as ‘Master of Ogol’ (‘A Great Dogon Artist: The Master of Ogol’ in Tribal Art, Special Issue no.2, 2011, pp.16-35). Carbon 14 tests on those that have been tested range from 15th to 17th century for the oldest to the 19th century, suggesting they are most likely not the work of a single artist. The present figure resembles most closely the figure which carbon 14 testing suggests is the oldest, now in the collection of the Dapper Foundation (op cit. p.30, fig.16 and p.35, fig.17) with its atypically small mouth and nose. The patination and wear on our figure would seem to suggest a similar if not earlier date. Griaule’s collection notes for the Quai Branly figure state: “a representation of a seated woman, whose ‘beard’ represents a labret. Has a braid of hair at the head, which should be rolled up, but which the artist could not render except in this way. Usually kept in the house of the hogon (religious leader). Placed on the mortuary house, dressed, for the funerals of wealthy families”. Germaine Dieterlen writing about the figure in the Walt Disney-Tishman collection states that the figures come from altars that were erected for rituals dedicated to women who had died in childbirth. The gesture of the hands (held together before the abdomen and pointing downwards) symbolises pregnancy.41.5 cm. highProvenancePhilippe Guimiot, Brussels, 1986/1987

To Be Sold With No ReserveAn illustrated leaf from a Hindu religious manuscript, one scene depicting Krishna and Yashoda, Jaipur, second half of the 19th century,opaque pigments and silver on paper, two illustrations, 23 lines of text written in nagari script in black ink, red and yellow margin rules,30.5 x 27.8cm.Provenance: Bonhams London 2021 Islamic and Indian Art Online Sale, Lot 222

Ca. AD 100-300.A group of three bronze bowls including two shallow bowls, each with a rounded circular base, corseted walls, and pronounced rim, alongside a deeper bowl with a flat base and slightly flaring walls toward the opening. In ancient Rome, bronze bowls served a myriad of purposes, functioning as vessels for food consumption, storage, or even as offerings in religious ceremonies. Size: 50/50/35mm x 95/100/115mm; Weight: 290g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

No reserve lot, property of a Gentleman, estate liquidation. Oil on panel, measurements: 37 x 29. Joos van Cleve (Cleveris?, c. 1485-Antwerp, 1540 or 1541), member of a family of artists, since the surname Cleef is repeated among the painters of Antwerp, it is little what is known about his life and his artistic career. He could have been born in Cleves (Cleve in German, Kleef in Dutch), currently a German city but in the 16th century in the duchy of Cleves, which is part of the Netherlands. He dedicated his career to portraiture and religious painting, sometimes repeating his compositions of variegated figures, backgrounds of Renaissance architecture, and easy sales. The Death of the Virgin from the Wallraf-Richartz Museum in Cologne, dated 1515 on its frame and signed with a monogram, served as a starting point for the recognition of his initial style and thus attributing to him the works that until then had been assigned to the Master of the Death of the Virgin. Since 1524, with The Lamentation at the Städelsches Kunstinstitut in Frankfurt, there is a shift in his painting towards Italian models, although there is no documentary evidence of any trip to that country. It is possible, however, that he did so in France, where according to Guicciardini he was called by Francis I to work as a portraitist at court. Between 1528 and 1535 Joos van Cleve does not appear in the records of the guild of Saint Luke, a period that he may have actually spent in France, from where he perhaps traveled to England to portray Henry VIII, at this time numerous portraits are attributed to him, always of a sober nature. . In Spain he is represented in the Thyssen-Bornemisza Museum in Madrid, which houses two of his works: a Self-portrait painted around 1519, and a Child of the Passion on the Globe, from around 1530. In the Prado Museum a Portrait of old man from the royal collection, which was attributed to Hans Holbein the Younger, whose work Cleve was able to see in England, and a Savior of the World of dubious attribution, which repeats a model from the Louvre Museum. In Gran Canaria, specifically in the Hermitage of Nuestra Señora de las Nieves, the Snow Triptych is attributed to him. Reference bibliography: Pita Andrade, José Manuel and Borobia Guerrero, María del Mar, Old Masters of the Thyssen-Bornemisza Museum, Madrid, 1992, pp. 246-247, ISBN 84-88474-02-4 In his image. Art, culture and religion, exhibition catalogue, Madrid, 2014-2015, ISBN 978-84-15931-14-0

Ernest Stephen Lumsden (1883-1948) "Worshippers", a religious study of Indian worshippers gathered at the bottom of a ghat, bathing in the river, above, figures overlook from atop a columnar platform, dry-point etching, signed within etching, numbered 21/40, titled on label verso, in card mount and simple wooden frame under glass, 72 cm x 69 cm overall [Lumsden was a painter, etcher, and authority on etching; writing 'The Art of Etching', a book regarded as largely educating and influencing the subject of etching. He travelled several times to India and is noted for his works of Benares on the River Ganges.]

A RED SANDSTONE FIGURE OF A JINA, 13TH-15TH CENTURY OR LATERWestern India, Rajasthan or Gujarat. Carved standing upright in kayotsarga and with his feet together atop a lotus base, the arms hanging to his knees, completely nude, the face with downcast eyes below gently arched eyebrows, the mouth with full lips, flanked by elongated earlobes, surmounted by a high headdress decorated with pearls, backed by a halo, with two female adorant figures to the top and two flanking his feet. Condition: Good condition, commensurate with age, extensive wear, signs of weathering and erosion, losses, encrustations, and small repairs to the left hand and toe.Provenance: Austrian private collection.Weight: 42.8 kgDimensions: Height 82.5 excl. base, 84 cm incl. baseMounted to a metal base.Jinas 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, an exact identification of the Jina is not possible. However, Mahavira is the most commonly represented of the tirthankaras in the kayostarga attitude, and therefore an attribution seems appropriate. Another reasonable attribution would be the second tirthankara, Ajitanatha, whose emblem is the elephant, two of which are carved at the top of this stele.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 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.The present sculpture symbolizes mankind 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.Literature comparison:Compare a related sandstone figure of a Digambara Jina, India, dating to the early 11th century, 134.6 cm high, in the Philadelphia Museum of Art, accession number 1935-39-2.

A FINELY PAINTED POLYCHROME WOOD FIGURE OF KICHIJOTEN, MUROMACHIJapan, 16th century, Muromachi period (1338-1573) Finely carved and painted in polychrome pigments, seated in royal ease (lalitasana) on a wood pedestal surrounded by gnarled roots above a two-tiered base with gilt chased-metal fittings and a central plaque with a gilt-wood rinpo (dharma wheel) flanked by blossoms. The goddess clothed in elaborate red and black robes with gilt hems decorated with foliate designs and floral medallions, adorned with two gilt ho-o (phoenixes) birds and floral medallions on each sleeve. Her face bearing a serene expression with heavy-lidded eyes, and sinuous brows, her hair tied in a high topknot with a tiara. HEIGHT 46.7 cm (figure), 76.7 cm (incl. stand)Condition: Good condition with expected wear and age cracks, some flaking, losses, and repairs. Generally presenting very well. Provenance: From a Dutch private collection.Associated with harvest, fertility, and fortune, Kichijoten is one of the female deities derived from religious syncretism of Laksmi, the wife of Vishnu, worshipped as the goddess of fortune in the Indian Hindu pantheon. She is sometimes depicted together with Bishamonten, to whom she is wife or sister. She is often depicted in Chinese robes from the Tang dynasty.Museum comparison:Compare an earlier wood polychrome figure of Kichijoten, dated to the 14th century, in the Nara National Museum, accession number 1209-0. Compare a much earlier standing wood figure of with polychrome pigments in the Jyoruri Temple in Kyoto, dated to the Kamakura period.Auction comparisonCompare a later polychrome wood figure of Kichijoten, dated to the 18th century, at Christie's, Japanese & Korean Art, 24 March 2010, New York, lot 595 (sold for USD 10,000).

A LARGE BUTSUDAN (BUDDHIST ALTAR) FOR AMIDAJapan, 19th centuryOrnately crafted, the black-lacquered exterior with gilt metal fittings, with three drawers and two sets of doors, the inner doors with thin lining of silk to enable a respectful view of the Buddha, opening to reveal a beautiful shrine with rich gold lacquer and a standing figure of Amida in front of three miniature hanging scroll paintings depicting Amida in the center and two praying figures. The interior of the shrine is further decorated with carved relief panels with ho-o (phoenixes) and with two open-worked metal lanterns suspended from either side of the Buddha figure.HEIGHT 137 cmCondition: Very good condition. Some scattered losses here and there. Presents beautifully.Provenance: From a French private collection.A Butsudan (仏壇, lit. "Buddhist altar"), sometimes spelled Butudan, is a shrine commonly found in temples and homes in Japanese Buddhist cultures. A butsudan is either a defined, often ornate platform or simply a wooden cabinet sometimes crafted with doors that enclose and protect a Gohonzon or religious icon, typically a statue or painting of a Buddha or Bodhisattva, or a calligraphic mandala scroll.The Butsudan's primary use is for paying respects to the Buddha, as well as to family members who have died.Auction comparison:Compare a very large Butsudan, lacking the interior figures and paintings, at Lempertz, Asian Art, 27 June 2020, Cologne, lot 42 (sold for 4,750 EUR).

Ca. 1st-2nd century AD.A blown candlestick unguentarium with a short domed body and a long tubular neck terminating in a thick rolled rim. This flask would have been used to store and apply unguent, a type of ointment made from various flowers, herbs, and oils. These substances were used for medicinal, cosmetic, and religious purposes. For a similar, please see The North Carolina Museum of Art, Object Number: 92.7.6. Size: 180mm x 50mm; Weight: 40g Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.

Bernard van Someren (1572-1632) - Salvator Mundi - RRR Jesus Christ, half-length, with right hand raised in blessing and resting his right hand on a globe surmounted by a cross. Signed and lettered around the impression: "Bernaerdus de Seumeren fe. et ex. a Bos." and "Ego Svm Via Veritas et Vita". First plate of a series of Christ with The Apostles and St Paul. Extremely rare engraving by the Flemish, Antwerp born artist Bernard van Someren (1572-1632). Only three engravings known to Hollstein, including a Saint Jude similar to our print. This one unknown to Hollstein. diameter 14,50 cm Very good inked early impression with nice plate tone, on fragmentary watermarked laid paper. The print is on a little square sheet of 18,00 by 18,50 cm and has full plate border and wide margins. Margins occasionally soiled but in a nice authentic untouched condition. Hollstein unknown ----- In counterpart to the series by Zacharias Dolendo after Jacques de Gheyn II from 1596. --- This design of Christ as Salvator Mundi was apparently used for the ceiling decoration from the supposed Guise Palace, Edinburgh; see Michael Bath, 'Was there a Guise Palace in Edinburgh?', in Robert Gowing and Robyn Pender (eds), 'All Manner of Murals: The History, Techniques and Conservation of Secular Wall Paintings', London, 2007, pp.11-21, fig.3. The house was demolished in 1845 but the panel survives in the National Museum of Scotland, Edinburgh. ----- Barend van Someren (1572–1632) was a Flemish painter and printmaker who after training and working in Antwerp moved to Rome. He was also active as an art dealer, publisher and innkeeper. Van Someren was born in Antwerp and the brother of Paul van Somer I. He trained in his hometown with Filips Lisaert the Younger. He traveled to Rome in 1600 were he worked in the workshop of Aert Mijtens. He left Rome for Amsterdam in 1602 and operated an inn in Amsterdam. The Flemish painter Adriaen Brouwer stayed in this inn when he first arrived in the Dutch Republic in 1625. He is reported to have painted history and landscape paintings bu no extant paintings by him are known. A few prints by his hand are portraits of religious and historical figures such as the Judas Taddeüs. Engraving 1590-1630 260

* SIMON LAURIE RSW RGI (SCOTTISH b. 1964), ABSTRACT STUDY IN RED oil on board, signed framed and under glass image size 80cm x 84cm, overall size 98cm x 103cm Note: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.

A RARE CARVED WOOD TEMPLE STRUT (VIGRAHA) DEPICTING A YOGINI 寺廟木柱雕刻瑜伽士Nepal, 13th-14th century or earlier. Finely carved standing in tribhanga, the left hand raised in the healing gesture of prithvi mudra, the right holding a skull cup. The emaciated body adorned with a garland of severed heads, the gaunt face with large eyes protruding from cavernous sockets, the head surmounted by an elaborate tiara.Provenance: From the estate of Richard S. Ravenal (1927-2022), Livingston Manor, New York, USA. The former owner of both the Asian Gallery in New York, Richard Ravenal was an avid collector and connoisseur of East Asian antiquities. Pieces formerly in his possession can be found today in several prominent institutions, including the Brooklyn Museum.Condition: Good condition, commensurate with age. Ancient wear, expected age cracks and splits, losses, signs of weathering and erosion, minor worming, nicks, scratches. Overall presenting remarkably well. A magnificent, naturally grown patina overall.Weight: 13.4 kg (incl. stand)Dimensions: Height 73 cm (excl. stand) and 88.5 cm (incl. stand) Mounted on a fitted stand. (2)Nepalese temple struts, known as tunala or vigraha, are considered fine works of art and are often made by highly skilled craftsmen using traditional techniques. They are an important part of the cultural heritage of Nepal and can be found in many different styles and designs throughout the country. These struts are found in traditional Nepalese architecture, particularly in religious structures such as temples and shrines, ornately carved and often painted, serving both structural and symbolic purposes.Structurally, the struts help support the roof of the temple or shrine, which is made of heavy timber or stone. The struts are typically placed at regular intervals along the eaves of the roof, and their weight helps to counterbalance the weight of the roof, making the structure more stable.Symbolically, the struts are often carved with intricate designs and figures from Nepalese mythology, and are believed to have religious significance. They are thought to represent various deities or supernatural beings, and are intended to offer protection and blessings to the structure and its occupants.Literature comparison: Compare a related wood temple strut depicting a yakshi, 128 cm high, dated to the 13th century, formerly in the Art Gallery New South Wales, accession number 33.2000.a-b, recently repatriated to Nepal in May 2003 and currently on display at the Patan Museum. Compare a related wood temple strut depicting Varaha, 74.5 cm high, dated to the 15th century, previously in the James W. and Marilynn Alsdorf Collection and now in the Art Institute of Chicago, reference number 1984.1495. See a comparable set of temple struts dated to the 15th century, still in place at Gunakar monastery in Jyatha Tol, Chhusyabaha, Kathmandu, Nepal.Auction result comparison: Type: Related Auction: Christie's Amsterdam, 8 May 2001, lot 531 Price: NLG 25,850 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A Nepalese wood temple strut, circa 14th century Expert remark: Compare the related manner of carving. While the present lot appears significantly older than the Christie's example, both have comparable iconography. The Christie's example also shows that the current lot may possibly be missing a lower portion. Note the size (101 cm).Auction result comparison: Type: Related Auction: Bonhams Paris, 15 December 2022, lot 154 Estimate: EUR 50,000 or approx. EUR 51,500 converted and adjusted for inflation at the time of writing Description: A sandalwood figure of Lokeshvara, Nepal, 11th/13th century Expert remark: Compare the related manner of carving. Note the size (66 cm). 寺廟木柱雕刻瑜伽士尼泊爾，十三至十四世紀或更早。精雕細刻，呈三曲式，左手舉起，結地手印治療姿勢，右手拿著一個骷髏杯。 瘦弱的身體上戴著骷髏花環，憔悴的臉龐，大眼突出，頭上戴著頭飾。 來源：Richard S. Ravenal (1927-2022年) 舊藏，美國紐約利文斯頓莊園。Richard Ravenal是紐約亞洲藝廊的前任所有者，他是一位熱心的東亞古董收藏家和鑑賞家。 如今，包括布魯克林博物館在內的幾個著名機構中都可以找到他以前擁有的藏品。 品相：狀態良好，磨損、裂縫和裂口、缺損、風化和侵蝕、輕微的蟲蛀、刻痕、劃痕，自然包漿。 重量：13.4 公斤(含底座) 尺寸：高 73 厘米 (不含底座) 與 88.5 厘米 (含底座) 固定支架 (2) 文獻比較: 比較一件相近的十三世紀寺廟木雕藥叉女，高128 厘米，曾藏於Art Gallery New South Wales，館藏編號33.2000.a-b，2003年5月已被送回尼泊爾，現藏於Patan 博物館。比較一件相近的十五世紀寺廟木雕婆羅訶，高74.5 厘米，曾藏於James W.和Marilynn Alsdorf Collection，現藏於芝加哥藝術博物館，館藏編號1984.1495。見一件十五世紀寺廟木雕像，仍在尼泊爾加德滿都Jyatha Tol的Gunakar修道院。 拍賣比較： 形制：相近 拍賣：阿姆斯特丹佳士得，2001年5月8日，lot 531 價格：NLG 25,850（相當今日EUR 18,500） 描述：約十四世紀尼泊爾寺廟木雕 專家註釋：比較相近的雕刻風格。 雖然我們的拍品看起來比佳士得的木雕年代更久遠，但兩者的圖像具有可比性。佳士得的例子還表明，我們的拍品可能缺少下部部分。請注意尺寸 (101 厘米)。 拍賣比較： 形制：相近 拍賣：巴黎邦翰斯，2022年12月15日，lot 154 估價：EUR 50,000（相當今日EUR 51,500） 描述：尼泊爾十一/十三世紀檀香木雕聖觀自在菩薩像 專家註釋：比較相近的雕刻風格。請注意尺寸 (66 厘米)。

A SILVER-DAMASCENED 'DRAGON' IRON HELMET, 17TH-18TH CENTURYTibet. The exterior of the helmet made from nine curved plates, seven of which are flat-inlaid in silver with shou symbols and Tibetan characters. Each plate is joined by a scalloped rim with prominent central rib, the upper tip of each rib notched to enclose the base of the knopped plume. The front of the helmet reinforced with a scalloped plate decorated with a dragon head at the center flanked by two sinuous dragons. The lower edge of the helmet pierced with numerous holes to secure the three-tiered neck guard.Inscriptions: To the plates, 'Lu', 'Sa', 'Sam', and 'Meh'.Provenance: French private collection.Condition: Good condition with wear, casting flaws, and traces of use. Corrosion, encrustations, minor nicks and losses, light scratches. The silver inlays are well preserved.Weight: 2,447 g (excl. stand) and 3,048 g (incl. stand)Dimensions: Height 44 cmThis type of segmented Tibetan helmet, used originally with a coat of lamellar armor, was probably derived from Sasanian Persian helmets of the 3rd century CE. Until the 17th century, Tibet was a disunited country where a number of regional secular rulers allied to religious orders vied for power and in which warfare was not uncommon. A sizeable armor production in Tibet was the result of this situation. The present helmet, with fine silver inlays depicting fierce dragons, is a rare example of this group.Literature comparison:Compare a closely related iron helmet of similar construction lacking the silver inlays, dated to the 14th-17th century, Tibet, in the collection of the National Museums Scotland, reference number A.1909.406 A. Compare a related iron helmet, dated to the 16th-17th century, Tibet, in the collection of the Metropolitan Museum of Art, accession number 2008.354.

A RARE TERRACOTTA RELIEF DEPICTING AN ASURA, GUPTA PERIODEastern India, Bengal, 5th-6th century. Powerfully modeled, the asura standing in a dynamic pose with one leg crossed over the other, his face with a confident expression, perhaps mocking an unseen opponent, marked by his bulging wild eyes and the open mouth showing teeth, framed by a thick beard. He is wearing a short robe secured at the waist by a floral belt and adorned with jewelry. Provenance: From a notable collector in London, United Kingdom. Condition: Excellent condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, encrustations, few structural cracks.Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 14 September 2020, based on sample number C120e27, sets the firing date of one sample taken at between 900 and 1500 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Academic Dossier: A detailed academic commentary on the present lot, elaborating on the meaning of the Asuras as well as the history of the Gupta Empire in general, and showing many comparisons to examples in both public and private collections, is available upon request. For a PDF copy of this dossier, please refer to the department.Weight: 4,507 g (excl. stand) Dimensions: Height 43 cm (excl. stand)With an acrylic glass mounting at the back and an associated metal stand. (2)The lively figure depicted in this terracotta fragment is probably an Asura, one of a group of gods who opposed but were ultimately defeated by the Devas, the gods who are central to Hindu and earlier Vedic beliefs; it is quite likely that the myths relating to the Devas and Asuras evolved from a single belief system. The legendary conflict may be based on a factual clash between two sects that existed in the post-Harappan period, when beliefs surrounding the Vedic gods and their associated social structure were challenged by revised ideas emanating from Iran, which ultimately died out or were driven away by the existing mainstream hierarchy in western India.Terracotta was the traditional material for religious images in the Ganges Valley and in the Mauryan and Shunga periods (3rd-1st century BC). Bengal had been the source of some of the most sophisticated figures of gods and goddesses. In the Gupta period, several centers of terracotta sculpture emerged across the Empire, from Akhnur in Kashmir, down to Shravasti and Bitargaon in Uttar Pradesh, around the Gupta capital at Pataliputra (Patna), and down into the Ganges Delta where some of the richest red clays were available. The lack of stone in eastern Bihar and Bengal meant that clay had always been used for architectural purposes, brick adorned with terracotta or stucco being the most widely used material, and a number of archaeological sites in Bengal attest to the sophistication of the effects achieved.Literature comparison: Compare a related terracotta relief depicting Krishna killing the horse demon Keshi, dated to the 5th century, in the collection of the Metropolitan Museum of Art, accession number 1991.300. Compare a related terracotta torso of a nobleman, dated 5th century, in the collection of the Michael C. Carlos Museum, Emory University, object number 2001.001.011. Compare a related terracotta relief depicting the battle between Hanuman and Indrajit, dated 6th century, in the collection of the State Museum, Lucknow, illustrated by M. C. Joshi and J. F. Farrige, L'Âge d'or de l'Inde Classique, L'Empire des Gupta, Paris, 2007.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A MONUMENTAL SANDSTONE STELE OF SURYA, NORTHERN INDIA, UTTAR PRADESH, 11TH-12TH CENTURYIdentified by his characteristic boots, breast plate, and tall cylindrical crown, while wielding a beaming lotus in each hand, the stele is devoted to the Sun God Surya, whose cult at one time rivaled that of Shiva and Vishnu, and who became prominently incorporated into the iconographic program of the latter's temples.Provenance: From an old French private collection. Hôtel Drouot, S.C.P. Maurice Rheims et Rene Laurin, expert Michel Beurdeley, Art de la Chine et d' Orient, 2nd-3rd March 1972, lot 76, illustrated on the back cover of the auction catalog. A noted French collector, acquired from the above and thence by descent in the family. A copy of a letter written and signed by Amina Okada, Conservateur au Musee National des Arts Asiatiques - Guimet, dated 22 January 1995, confirming the dating above, accompanies this lot. Copies of the front and back cover of the auction catalog Art de la Chine et d' Orient, 2nd-3rd March 1972, the latter with an image of the present lot, also accompany this lot.Condition: Good condition, commensurate with age. Extensive weathering, some wear, losses and structural cracks, signs of erosion, minor old repairs and fills. The proper left upper corner section broken off and reattached.Weight: ca. 225 kg Dimensions: Height 150 cm, Width 51 cm, Depth 22 cm The Brahmanic god Surya is dressed according to traditional conventions that depict him as a king. His 'northern' garb is thought to resemble that of Indo-Scythian tribesmen, like the Kushans, who ruled Northern India in the first centuries of the common era. It is also thought to reflect the influence of Iranian religious ideas on Indian sun worship. (Rosenfield, The Arts of India and Nepal, Boston, 1966, page 43) The monolithic stele depicts a full entourage accompanying the solar deity, with his wife, Ushas (the Dawn) standing immediately before him as the herald of each new day. On either side of his feet are Surya's clerk and measurer, Pingala and Danda, standing with complementary tribhangha poses. Immediately flanking them are a pair of anthropomorphized horses, offering gestures of reassurance: possibly ayudha-purushas of his chariot's steeds. Above Surya are Usha and Pratyusha, two archers defending dawn and dusk from the darkness. Surya's bold lotus blossoms and crisp halo, as Dye once deftly noted, “suggest both the sun itself and the boundless life it nurtures” (Dye III, The Arts of India, Richmond, 2001, p. 136). The softly modeled facial features of Surya with lightly arching brows and narrow prominent lips, harkening back to Gupta prototypes, point to the regional style of Uttar Pradesh in Northern India. So too does the buff-to-reddish colored sandstone, the less extravagant array of necklaces and regalia (in comparison with neighboring Rajasthan and Madhya Pradesh), and the treatment of the halo with its distinct triangular sunbeams, bordered by a plain circular rim.Literature comparison:Compare the aforementioned various idioms with examples attributed to Uttar Pradesh in Desai & Mason (editors), Gods, Guardians, and Lovers, New York, 1993, p. 187-188, 244-247, and 262-263, nos. 28, 62, and 70. Auction result comparison: Type: Related Auction: Bonhams New York, 19 March 2018, lot 3081 Price: USD 492,500 or approx. EUR 549,000 converted and adjusted for inflation at the time of writing Description: A large sandstone stele of Surya, Northern India, circa 11th century Expert remark: Compare the closely related subject, material, manner of carving, and height (152 cm), although the stele is considerably wider and more complete than the present lot.

A BRONZE FIGURE OF THE JAIN HERO BAHUBALIIndia or Nepal, 18th - 19th century. Standing in kayotsarga atop a circular base with leafy vines wrapped around his arms and legs. The serene face with heavy-lidded almond-shaped eyes below curved brows as well as an aquiline nose and full lips forming a subtle smile, flanked by long pendulous earlobes, the hair arranged in tight curls.Provenance: Collection of Gerard Wahl-Boyer and thence by descent within the same family. French private collection, acquired from the above. Gerard Wahl-Boyer (d. 2014), better known to most as 'Bebe Rose', was an insatiable collector whose interests spanned a wide range of religious and tribal art from South and East Asia as well as Africa. He was a fixture in Parisian auction rooms, known as a great picker.Condition: Very good condition with old wear and minor casting flaws, few losses, dents, nicks, and scratches as well as signs of weathering and erosion. Remnants of pigment. Fine, naturally grown, dark patina with small areas of malachite encrustation.Weight: 2,440 gDimensions: Height 39 cmThe torso and lower body are cast separately, though not detachable, suggesting the possibility of relics contained within, indicated also by the circular aperture to the back of the head.Bahubali was the son of Rishabhanatha (the first tirthankara of Jainism) and the brother of Bharata Chakravartin. He is said to have meditated motionless for a year in a standing posture (kayotsarga) and that during this time, climbing plants grew around his legs. After his a year of meditation, Bahubali is said to have attained omniscience (Kevala Gyana).In 948 AD the Ganga general Chavundaraya commissioned a monumental sculpture of Bahubali at Shravanbelagola, Karnataka. The Gommateshwara statue is the tallest monolithic statue in the world today and was carved out of a single block of granite. It is 17 meters and can be seen from 30 kilometers away. This image inspired the production of smaller devotional images of Bahubali that became popular in southern India. Such images were for household use and were often bought back by pilgrims from one of the Jain tirthas (pilgrimage sites) or centers of Jainism.Literature comparison: Compare a closely related but smaller bronze figure of Bahubali, also dated 1500-1700, in the Victoria and Albert Museum, accession number IM.14-1922. Compare also a larger and older carved chlorite figure, dated to the 14th century, in the British Museum, museum number 1880.241, and a much earlier and smaller bronze figure, dated late 6th to 7th century, in the Metropolitan Museum of Art, accession number 1987.142.339.Auction result comparison: Compare a related but earlier figure of a Jina, dated 10th-11th century, at Christie's New York in Indian and Southeast Asian Art on 23 March 2010, lot 166, sold for USD 62,500.

A MONUMENTAL SCHIST FIGURE OF THE GODDESS HARITI, ANCIENT REGION OF GANDHARA 犍陀羅片岩浮雕鬼子母與般闍迦像Kushan empire, 2nd-3rd century AD. Wearing a long kaftan, trousers, and a heavily pleated shawl, Hariti's jewelry is comprised of anklets, rows of bracelets, earrings hanging from her elongated lobes, and necklaces with a large central torque decorated with rosettes. She wears a circular crown topped with a square structure carved with lotus-petal panels in relief above a foliate fillet on top of her finely incised waving hair, and in her two arms she holds four plump nude children, two beneath each breast with one breast covered and the other exposed.Provenance: Sotheby's London, 17 October, 1996, sale LN6645, lot 111. Kenneth P. Jackson, United Kingdom, acquired from at the above sale for a hammer price of GBP 50,000, equivalent to a purchase price of GBP 56,500 or EUR 163,000 (converted and adjusted for inflation at the time of writing). Condition: Condition commensurate with age and presenting remarkably well overall. Expected old wear, weathering and erosion as a result of extensive exposure to the elements across a time period of almost two millennia. Obvious losses, structural cracks, some of which show old fills, remnants of soil encrustations from burial.Weight: >250 kg Dimensions: Height 171 cm (excl. base) and 186 cm (incl. base) With a modern metal base. (2)This figure of Hariti, the Buddhist mother goddess, illustrates the unique amalgamation of cross-cultural influences present in ancient Gandhara. It also bears a distinct and early Hellenistic element almost never found in other sculptures from this period and region.Other figures of Hariti from the High Gandhara period are dressed in heavy robes in the classical manner, like the statue of the seated Hariti in the British Museum, registration number 1886,0611.1 (fig. 1). However, the present lot depicts Hariti in a kaftan, trousers, and a shawl, a concise style of clothing that exemplifies the Scythian influence on the Gandhara people during their rule of the neighboring region of eastern Iran in the 2nd and 3rd centuries AD. The Scythian style of clothing is known in detail from depictions along the palace walls of Apadana (fig. 2) from the Achaemenid period as well as from terracotta figures from the 2nd century AD.Even more remarkable is the flagrant early Hellenistic influence clearly visible in Hariti's headdress. The unusual yet characteristic iconography of it links Hariti directly to the Greek goddess Tyche, daughter of Zeus, and suggests she was a rare example of religious syncretism as a direct result of the Hellenistic period in the far east. The headdress of the present Hariti exemplifies this fact unlike most other depictions of the goddess.Tyche, the goddess of fate, became a prominent figure in the Greek pantheon under Alexander the Great. It was during Alexander's rule that Tyche came to embody the whims of fate. Her importance within the Greek pantheon is clear and can be seen in sculptures like the colossal head of Tyche next to Zeus and Apollo in Nemrut Dagi (fig. 3).Tyche's mural crown (fig. 4) identifies her as the protectorate of cities and links the founding of Sparta to the goddess's headdress according to S.B. Matheson (see The Goddess Tyche, Yale University Art Gallery Bulletin, 1994). Her iconography changed very little over the centuries during early Roman rule and even later depictions of the goddess in Constantinople's Hippodrome (fig. 5). The crown of the present Hariti with its two rows resembling lotus petals, is carved upright and straight, much like the walls of Tyche's fortress headdress. While much of it is worn away, Hariti's crown is topped by square carvings that closely resemble the crenelated battlement of Tyche's headdress.Historians have documented various examples of syncretism between Hellenistic cultures in the Far-East and Buddhism from the 5th century BC to the 4th century AD. This sculpture of Hariti, however, offers an even more unique example of not only cultural syncretism, but also religious syncretism as well. The story of Hariti itself involves the conversion of the goddess to Buddhism. One version of Hariti's story follows that Hariti had no children. Desperate to have children of her own, the goddess stole children from the locals and raised them as her own. The Buddha, aware of the suffering mothers of the lost children, took back one of the children from Hariti in secret. Amid her grief over the lost child, the Buddha came to her and taught the goddess empathy, showing her the sorrow of mothers from whom she took the children. Hariti subsequently converts to Buddhism, but her foreign origin and nature remains documented by the syncretism seen in the present sculpture.Literature comparison:Compare a related Gandharan relief of the goddess Hariti seated and holding a child, 61 cm high, dated 101-300 AD, in the Art Institute of Chicago, reference number 2016.58. Compare a related figure of Hariti with children, 132 cm high, dated to the 2nd century AD, in the Government Museum and Art Gallery, Chandigarh, accession number 1625. Compare a related large schist figure of Hariti with children from the Swat Valley in Gandhara, 125 cm high, dated 2nd-4th century, published by M Akira in Gandharan Art and Bamiyan Site, Tokyo, 2006, pp.114, nr. 86.Auction result comparison: Type: Related Auction: Bonhams London, 22 October 2019, lot 144 Price: GBP 187,562 or approx. EUR 282,000 converted and adjusted for inflation at the time of writing Description: A schist figure of Hariti, circa 2nd century Expert remark: Note the similar rosettes which appear on the face and headdress of this figure of Hariti and appear on the torque of the present lot. Note the size (95 cm). 犍陀羅片岩浮雕鬼子母與般闍迦像貴霜帝國，西元二至三世紀。鬼子母身著長袍、褲子和披著披肩；佩戴手鐲、耳環，飾有玫瑰花項鍊與叫連，她還戴著一頂圓形葉狀王冠，刻有蓮瓣，波浪捲髮。她雙手抱著四個孩童，胸前還有四個孩子。 來源：倫敦蘇富比1996 年10 月17 日，拍賣LN6645，拍品111；英國Kenneth P. Jackson在上述拍賣中以50,000 英鎊的落槌價購得，相當於購買價56,500 英鎊或163,000 歐元（換算後的價格，在撰寫本文時已根據通貨膨脹進行了調整）。 品相：狀況良好。有磨損、風化和侵蝕，明顯的缺損、結構裂縫，其中一些有填充物、埋藏時土壤結殼的殘留物。 重量：250 公斤 尺寸：高 171 厘米 (不含底座) 與 186 厘米 (含底座) 現代金屬支架. (2)文獻比較: 比較一件相近的西元101-300年犍陀羅鬼子母與般闍迦浮雕像，高61 厘米，收藏於芝加哥藝術博物館，館藏編號2016.58。比較一件相近的二世紀鬼子母與般闍迦像，132 厘米 高，收藏於昌迪加爾政府博物館和美術館，館藏編號1625。比較一件相近的二至四世紀犍陀羅斯瓦特谷鬼子母與般闍迦像，高125 厘米，出版於Akira，《Gandharan Art and Bamiyan Site》，東京，2006年，頁114，編號86。 拍賣比較： 形制：相近 拍賣：倫敦邦翰斯，2019年10月22日，lot 144 價格：GBP 187,562（相當今日EUR 282,000） 描述：約二世紀片岩浮雕鬼子母與般闍迦像 專家註釋：請注意類似的玫瑰花結出現在鬼子母的臉部和頭飾上。請注意 尺寸 (95 厘米)。

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

A BRONZE FIGURE OF BUDDHA, MON DVARAVATI PERIODThailand, 8th-9th century. Finely cast standing with his left hand raised in abhaya mudra and his right lowered in varada mudra, draped in a loose-fitting dhoti and sanghati. His serene face with heavy-lidded eyes, elegantly arched joined brows, full lips, and a broad nose, flanked by pendulous earlobes, his hair in tight curls over a high ushnisha.Provenance: From a noted private collector in Paris, France. Condition: Good condition, commensurate with age. Expected wear, casting flaws, some losses, signs of weathering and erosion, minor nicks and scratches. Weight: 2,025.3 g (excl. stand), 2,467 gDimensions: Height 31.5 cm (excl. stand), 32 cm (incl. stand)With a modern stand. (2)The Mon polity of Dvaravati was one of the earliest and most important societies in mainland Southeast Asia. Based around the Chao Phraya and Mae Klang river basins of central Thailand, Dvaravati was known from early Chinese textual sources, as well as being mentioned in a single local inscription that dates to roughly 550-650 AD. Due to the large numbers of Buddhist sculptures associated with the culture, it is most likely that the rulers were patrons of the Buddhist faith. The images of Buddha were influenced by contemporary Indian sculptural works, including the Gupta style based around the site of Sarnath. The facial features of the Mon Dvaravati Buddhist images, however, display arched, joined eyebrows which are unlike those found in India, and are therefore characteristic of Mon Dvaravati. Compared to earlier and later Thai kingdoms, Dvaravati was geographically and economically isolated, which contributed to the distinct qualities of its sculpture. Their style was bold, self-assured, recognizable, and highly influential on subsequent Thai sculpture and artistic production throughout Southeast Asia.Within the context of the dominant Theravada school of Buddhism, which emphasized the singularity of the Buddha Shakyamuni, bronze sculptures from this area also demonstrate a remarkably cohesive design. As unifying features, the Buddha is clad in the humble dress of a religious renunciant, with the thin garment clinging closely to the body to reveal his delicate proportions and graceful contours that lie beneath. His face is characterized by high cheekbones, full lips, prominent eyes, and - as stated - the curved brows that form the characteristic V-shape at the bridge of the nose.As expressed by Jean Boisselier, "The school of Dvaravati may stand alongside the great Buddhist artistic traditions of India, so enduring were its innovations and so persuasive its influence on most of the art of Southeast Asia" (J. Boisselier, The Heritage of Thai Sculpture, 1975, page 73). Bronze sculptures of this type and large size are exceedingly rare.Further emphasizing the presence of Buddha in the world of the devotee, the figure is depicted as if in motion, with the hems of the robe gently swaying to the sides. This stance, which also draws upon the classic tribhanga posture of Indian sculpture, presages the famous “Walking Buddhas” of Thailand that would grow prominent many centuries later. The bronze caster has masterfully captured the youthful appearance of Buddha that gives the spiritual themes imported from India their highly unique and refined local expressivity.Auction result comparison:Type: RelatedAuction: Christie's New York, 17 March 2015, lot 29Price: USD 269,000 or approx. EUR 318,000 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha, Thailand, 8th centuryExpert remark: Compare the closely related modeling and manner of casting with similar pose, facial features, expression, and robe. Note the size (36.1 cm).

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

A LARGE WOOD FIGURE OF SONGZI GUANYIN AND CHILD, CHINA, EARLY MING DYNASTY, 14TH-15TH CENTURY 明初十四至十五世紀大型送子觀音木像Boldly carved as Guanyin with hair piled up into a high topknot beneath her flowing cowl, holding a child seated in her lap, both wearing voluminous robes with deeply carved folds, their faces with wide heavy-lidded eyes, broad noses, and full lips. The soft wood of an attractive grain with a rich, naturally grown patina overall.Provenance: From an old private collection on the Upper East Side of Manhattan, New York, and Bridgehampton, NY, acquired before 1979, and thence by descent in the family. A copy of a signed insurance declaration, on the letterhead of the Chubb Group, dated 25 August 1978, describing the present lot as an 'Unusual Large Wooden Figure of Kuan Yin', accompanies this lot. Condition: Extensive wear, weathering and erosion, worming, losses, chips, and natural imperfections including age cracks. The condition of this statue is commensurate with age and contributes to its unique beauty. The aged wood has seen extensive weathering, which displays exceptionally well.Weight: 13.8 kg (incl. stand) Dimensions: Height 92.5 cm (excl. stand) and 95.2 cm (incl. stand)With a fitted wood stand. (2) The Songzi representation of Guanyin, or the 'Bringer of Sons,' is identifiable by the boy seated on her knee. Male children were extremely important to Confucian family structure. They ensured not only the continuity of family and clan, but that there would be uninterrupted generations to carry on the rituals of ancestral worship. The Child-Giving Guanyin was prayed to by worshipers for healthy children and intelligent male heirs. Extant depictions of Songzi Guanyin from the later Ming dynasty are known in various materials, including bronze, wood, stone, and ivory, but such an early example must be considered extremely rare.Quoted from 'Compassion, Mercy, and Love: Guanyin and the Virgin Mary - How two independent cultures - feudal Europe and imperial China - depicted divine figures with incredible visual similarities.' By Kevin D. Pham, Metropolitan Museum of Art, New York, May 7, 2021:'During the Middle Ages - a period of over one thousand years - people of various cultures across the world practiced independent religious faiths, ranging from western feudal Europe to imperial China, while also maintaining cross-cultural exchange. Surprisingly, certain works of art in both western Christian and eastern Buddhist cultures seem to share visual similarities. Both contexts produced images of divine figures that represent concepts like compassion, mercy, and love: the Virgin Mary in medieval Europe, and Guanyin in imperial China.''These examples pose interesting questions about how pre-modern artists visualized different aspects of divinity in their respective cultural contexts. The Christian and Buddhist devout understood the Virgin Mary and Guanyin, respectively, in similar manners and archetypes of imagery, despite the fact that they did not directly influence one another until later periods of Imperialism and Colonialism in Asia. Centuries of shifts in these representations illustrate how people across the world have envisioned human compassion and mortal emotions.' (article continued below)'The Virgin Mary', Jesus Christ's mother, was a popular focus of personal devotion in western Christianity. She was often depicted with her infant child, emphasizing her role as a holy maternal figure and mediator between humanity and the divine. Through this easily understood archetype, she became a popular intercessor for devout Christians across Medieval Europe, where various types of 'Virgin and Child' works of art proliferated.Guanyin is the Chinese translation of Avalokiteshvara, the bodhisattva of compassion. Bodhisattvas are enlightened beings who chose to stay on earth as accessible examples for Buddhist faithful to follow. Originally depicted as a male or gender-neutral entity able to take on thirty-three manifestations, Avalokiteshvara is a compassionate savior who hears the woes of humankind, regardless of age, gender, or social class. However, in imperial China, Guanyin became increasingly cemented as a female figure. Similar to the Virgin Mary, Guanyin became a popular intercessor for humanity to understand divine salvation.Enthroned Virgin and Child (1150-1200), currently on display at The Met Cloisters, is a counterpart to a sculpture from about 1175 to 1200 included in the exhibition Crossroads: Power and Piety. In both sculptures, mother and child are rendered in a stiff and rigid form that typifies the theological concept Sedes Sapientiae or “Throne of Wisdom.” The infant Jesus, depicted as a diminutive mature figure rather than a child, represents divine wisdom and is seated upon the Virgin, who acts as his throne. Both the Virgin and Child's emotionless expressions, coupled with the strongly linear symmetry, suggest the timeless permanence of divine authority in the Christian context.The eleventh-century Bodhisattva Avalokiteshvara in Water Moon Form (Shuiyue Guanyin), currently on display in the Met Gallery 208, depicts Avalokiteshvara in a relaxed, leisurely pose, with one knee raised and the other crossed in front. This posture represents the “Water Moon” manifestation of the bodhisattva in his personal paradise. Avalokiteshvara is adorned within an ornate crown and necklace. Relaxed but strong and formative, Avalokiteshvara beckons the audience forward, ready to hear the cries of the world.Both of these sculptures would have been placed in public churches or temples. The Virgin and Child also might have been carried in religious processions outside the architectural setting of the church, while Avalokiteshvara would likely have been shown at a monastery altar. Despite their different poses, both figures convey a divinity distinctly removed from the real experiences of mortal humans.'Expert's note: This lot offers an astounding example of the symmetry between two separate worlds - Imperial China and medieval Europe, Western Christianity and Eastern Buddhism - with similar archetypes of imagery illustrating compassion and emotion. Compare the famous wood sculpture of the Enthroned Virgin and Child from the Cloisters Collection, 102.9 cm high, dated ca. 1130-1140, in the Metropolitan Museum of Art, accession number 47.101.15. Compare also two wood sculptures from 13th century France depicting the Virgin Mary and infant Jesus, 68.6 cm and 79.5 cm high, in the Metropolitan Museum of Art, accession numbers 67.153 and 16.32.194a, b. 明初大型送子觀音木像觀音，髮髻高束，膝上抱著一個孩子；兩人都穿著寬大的衣袍，衣紋流暢；眼睛微閉，表情安詳。柔軟的木材，紋理迷人，整體具有自然包漿。 來源：來自紐約曼哈頓上東區和紐約州布里奇漢普頓的私人舊收藏，於 1979 年之前購得，在同一家族保存。該拍品隨附一份帶有Chubb Group安達集團出具的的保險聲明副本，日期為 1978 年 8 月 25 日，將本拍品描述為“不尋常的大型木觀音像”。 品相：大面積磨損、風化和侵蝕、蠕蟲、損失、碎裂和自然缺陷，包括老化裂紋。重量：13.8 公斤 (含底座) 尺寸：高 92.5 厘米 (不含底座) 與95.2 厘米 含底座) 木底座 (2)

A George V silver basket, in the Art Nouveau taste, of sectional circular form with floral pierced sides and standing upon a shaped circular footrim, the swing handle further pierced and with inscription to centre 'Presented to Mrs T D Stewart in connection with the Jubilee of Paradise UM Church Middlesbrough 1918', maker Gorham Manufacturing Co, Birmingham 1913, dia.17.5cm, h. 7cm (excluding handle), 10.6oztNote: Thomas Dormand Stewart was a shopkeeper who became a councillor and later mayor of Middlesbrough. A religious man, he helped with the purchase of land to create a park for the people, which came to be named Stewart Park.

GIOVANNI BATTISTA TIEPOLO (1696-1770) A left hand study red chalk, heightened with white chalk, on paper, 25cm x 12cmProvenance: The Collection of Hugo Perlo Esq.Messrs Thos. Agnew and Sons Ltd., 1935An Artistic Family Collection, Wiltshire.Giovanni Battista TiepoloBorn in Venice in 1696 to a prosperous merchant, Giovanni Battista (Giambattista) Tiepolo chose to pursue a career in painting. He was taught by Gregorio Lazzarini (1655-1730), studying under him probably c. 1710. In 1717 he was inscribed in the Venetian painters guild as an independent painter. His earliest dateable works, in the Ospedaletto, Venice (1715-1716), do not display the classical compositions and smooth finish characteristic of Lazzarini's paintings, but rather the avant-garde tenebrism of Federico Bencovich (1677-1726) and Giovanni Battista Piazzetta (1683-1754). Much controversy surrounds the course of Tiepolo's development in the next fifteen years in which there are few dated paintings. Knowledge of his activities in the teens and twenties comes mostly from Vincenzo da Canal's biography of Lazzarini (1732), in which the author devoted several pages to the talented pupil whose popularity had soared in the previous decade. During these early years Tiepolo experimented with various styles simultaneously, and recent scholarship based on da Canal's listing of Tiepolo's paintings prior to 1732 has shown that the artist vacillated between the tenebrism practiced by many Venetian contemporaries and a lighter, more atmospheric style. As early as c. 1716 Tiepolo was practicing the art of fresco painting on the terrafirma, a technique reintroduced into the Veneto in the late sixteenth century by non-Venetian artists. His grandest decorative cycle of the period, painted for the Archbishop's Palace in Udine (c. 1726-1729), reveals his interest in Veronese's colour and compositions.Tiepolo's frescoes in Udine brought him immediate fame and commissions for further decorative ensembles. In the next ten years he painted and frescoed in palaces and villas in and around Milan, Bergamo, Venice, and and elsewhere in the Veneto, the subjects of which derive mostly from ancient history. With the Bolognese quadrattura painter Girolamo Mengozzi-Colonna (c. 1688-c. 1766), who designed his architectural surrounds, Tiepolo revolutionised the art of fresco decoration in Venice by combining the deep perspective of Venetian cinquecento ceiling decorations with a compositional clarity that connected the diverse elements of the design into a greatly expanded pictorial space. Unlike their direct precedents in which forms were arranged haphazardly across the ceiling, Tiepolo's compositions are ordered in zig-zag patterns that expand the illusionistic view into the heavens. By 1740, after conquering towering church ceilings such as the Gesuati, Venice (1737-1739), with this method, he brought figures closer to the spectator in long, low secular rooms by distributing his deeply coloured figures along the cornice and contrasting them with increasingly lighter pastel hues in the open skies (Palazzo Clerici, Milan, 1740). In the same years Tiepolo developed as an artist of religious altarpieces, in which he captured counter-reformatory devotional images in a neo-Renaissance format.Tiepolo's fame and prices increased further in the 1740s. He moved several times during his career, always to grander quarters, which he shared with his wife Cecilia, the sister of Francesco Guardi and their nine children. The artist had already rejected an invitation to Sweden in 1736, and now his paintings were being requested in northern Europe. His friendship with Francesco Algarotti (1712-1764), whom he met in 1743, brought him commissions from the Saxon court of Dresden. Although always inspired by ancient history, in this period Tiepolo turned increasingly to representations of antique monuments and dress. At the same time, he took up etching, producing two sets of prints--the Scherzi di fantasia and the Capricci--both heavily laden with antique references.External political forces kept foreigners from Venice in the second half of the 1740s, causing an economic slowdown in the city and compelling Venetian artists to seek employment abroad. Although Tiepolo was so active in this decade that he enlisted the help of his son Giovanni Domenico (Giandomenico, 1723-1804), he nevertheless accepted the lucrative invitation to work for Prince Bishop Carl Philipp von Greiffenklau of Würzburg in the archiepiscopal palace, where he resided from late 1750 to 1753. There he produced what is considered his greatest triumph, the enormous ceiling fresco in the grand staircase with Olympus and the Four Continents (1752-53). Another son, Lorenzo (1736-1777), less talented than Giandomenico, also accompanied his father to Würzburg as a helper.In the 1740s and 1750s, Tiepolo's expanded repertoire included literary, historical, mythological, allegorical, as well as religious works. He continued to produce masterpieces in both Venice and the Veneto, such as the story of Antony and Cleopatra in the Palazzo Labia, Venice (1746-1747), and the scenes from Tasso in the Villa Valmarana, Vicenza (1757). Commissions from abroad continued: Tiepolo sent works to the kings of France and England and the Czarina of Russia. In 1761, King Charles III of Spain requested Tiepolo's services to paint in the newly completed Royal Palace in Madrid. Due to political pressures and in spite of his age and illness from the gout, Tiepolo set off on his last journey in 1762. Although his large ceiling fresco for the Throne Room in the Royal Palace, Madrid (1762-1764) has been criticised as a reworking of earlier compositions, its breadth and sophistication mark it as one of his late successes. His altarpieces for San Juan Baylon at Aranjuez (1767-1769) reveal an old age style of simply presented but deep religious meditation and emotion.About the time of Tiepolo's death in Madrid in 1770, the taste for dramatic allegorical subjects and passionate religious themes had faded throughout Europe in favour of a severe neo-classical style that reflected the new rationalism of the period. By the end of the century, with the fall of monarchic power and lessening influence of religious institutions, Tiepolo's art was outdated. Even his son Giandomenico had taken up more objectively motivated themes and a realistic style. In spite of this, Tiepolo is recognised today as one of the most brilliant and celebrated artists of the eighteenth century and the last of the great practitioners of the Renaissance and baroque tradition.

12th-13th century A.D. Recalling workmanship similar to that found in the floor of the Sistine Chapel and other important Roman churches; comprising a central panel with design of alternating green and speckled porphyry lozenges, with interstitial green and porphyry squares flanked by green or blue rhombuses on each edge; the square central panel flanked by two green and porphyry roundels composed of panels with inset squares and triangles, with white dentilled edges over a green background; each roundel enclosed within a mosaic crosier, one filled with yellow rhombuses with dentilled edges composed of white, green and porphyry triangles; the other comprising two parallel rows of squares and rhombuses in porphyry, green and black stones. See Boito, C., Architettura Cosmatesca, Torino, 1860; Hutton, E., The Cosmati, The Roman Marble Workers of the XIIth and XIIIth Centuries, London, 1950; Tosca, P., Storia dell’Arte Italiana, il medioevo, vol. III, Torino, 1965; Glass, D., Studies on Cosmatesque Pavements, BAR Publishing, London, 1980; Matthiae, G., 'Componenti del gusto decorativo cosmatesco,' in Rivista dell'Istituto Nazionale di Archeologia e Storia dell'Arte, vol. I, 1952, pp.249-281; Cigola, M., 'Mosaici pavimentali cosmateschi. Segni, disegni e simboli,' in Palladio, Nuova serie, anno VI n. 11, Giugno, 1993, pp.101-110; Grant, L. & Mortimer, R. (eds.), Westminster Abbey. The Cosmati Pavements, Courtauld Research Papers no.3, 2002. 41 kg, 80 x 36 cm (31 1/2 x 14 in.).French gallery, Paris, 1990s. From a family collection. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no. 11921-209564.A similar pattern to the current panel can be seen on the cosmatesques of the Grottaferrata Abbey, near Rome, variously dated between the 1160 and 1282 A.D., which can be a good chronological indicator for our mosaic for style and composition. The Cosmatesque style was a characteristic type of ornamentation of Eastern Roman origin (opus alexandrinum) in the technique of opus sectile (elements already cut with the final shape: circles, squares, triangles and lozenges; small geometric elements which, expertly fitted together, manage to create the effect of a magnificent embroidered carpet) used by marble-makers of the 12th and 13th centuries A.D. The practice of inlaying glass and stone tesserae into white marble panels in this way, although reaching its zenith under the directorship of the Cosmati, had already been established in the Eastern Roman Empire for at least five centuries, and by the 12th century many marble pavements and panels of Opus Alexandrinum had been used to decorate prestigious churches and religious foundations, both across Italy and further afield, often by reusing old Roman monuments. [A video of this lot is available to view on Timeline Auctions Website]

SOKO: A CHARMING IVORY OKIMONO OF A SARUMAWASHI AND MONKEYBy Soko (Munehiro), signed SokoJapan, Meiji period (1868-1912)The sarumawashi (monkey performer) dressed in typical attire, his robe very finely carved and decorated with various patterns, his show-monkey standing next to him leaning against a bundle. The monkey dressed in a short coat dancing to the beat of the drum as the sarumawashi looks on, a shared expression of enthusiastic delight on the faces of both. A second monkey costume with a shishi hood, perhaps part of the second act, resting near the drum. The scene carved with delightful charm and humor; the expressions captured perfectly. Signed on a red-lacquer tablet SOKO.LENGTH 6 cmCondition: Very good condition with minor wear.Provenance: From a private collection in Belgium, published in the commissioned private catalogue 'The Nibajama collection' no: 176.Sarumawashi (monkey performers) evolved over a 1000-year history in Japan, the earliest attestation being during the Kamakura period (1185-1333). Ancient Japanese chronicles refer to it as a form of religious ritual designed to protect the horses of warriors. It later developed into a popular form of festival entertainment and was performed all over Japan from temples to imperial courts. During the Edo period (1615-1868) they were active throughout Japan, touring both rural areas and the great cities. Today, Sarumawashi is ranked alongside Noh and Kabuki as one of the oldest and most traditional of Japan's performing arts. It features acrobatic stunts and comedic skits performed by highly trained macaque monkeys.Auction comparison:Compare a closely related ivory okimono of a sarumawashi, signed Yukihira, at Bonhams, Fine Japanese Art, 6 November 2012, London, lot 344 (sold for GBP 2,125).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 2023/BE00295/CE). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

AN IRON IWAI ETCHU-BO MENPO (FACE MASK)Japan, 18th century, Edo period (1615-1868)Finely cast and forged in 2 sections with a removable nose plate above a stiff mustache and imperial goatee, the etchu-bo menpo chased and engraved overall with yasurime and cast with flared nostrils and an open mouth revealing gold lacquered teeth, the chin applied with ase-nagashi, the cheeks with bent anchoring posts below the cheek ridge, all above the four-lame yodarekake lacquered black and laced blue.HEIGHT 22.8 cmWEIGHT 408 gCondition: Very good condition with minor wear, the lacquer with expected age cracks as well as flaking and rubbing.Masks have long played an important role in Japanese culture: in religious ceremonies, dance, Noh theater, and military costume. For samurai, masks served as a principal face defense and helped secure the helmet to the head more firmly. The majority of masks were half-length (mempo), covering the nose and the face below the eyes. Their iron surfaces are either lacquered or a dark russet finish; the interiors are usually lacquered red.Auction comparison:Compare a closely related yasurime mempo, dated 18th century, at Bonhams, Fine Japanese Art, 11 May 2017, London, lot 132 (estimate GBP 5,000-6,000).

TAKEYASU: AN IRON KARASU-TENGU MENPO (FACE MASK)By Naka Hachiman Minamoto Takeyasu, signed Naka Hachiman Minamoto Takeyasu, nanajukyu-sai tsukuru koreJapan, 19th century, Edo period (1615-1868)Finely cast and forged in 5 sections with a large and detachable nose plate above a stiff-bristle mustache, the lacquered Karasu-tengu applied with an inome design ase-nagashi and an odayori no kugi under the chin, the cheeks applied with bent anchoring posts below the cheek ridge and flanked by ear-shaped ear guards, all above the four-lame yodarekake lacquered red and laced blue. Signed under the chin, 'Naka Hachiman Minamoto Takeyasu, nanajukyu-sai tsukuru kore' 中八幡源武保, 七十九才造之 [This is made by Naka Hachiman Minamoto Takeyasu, at the age of 79].HEIGHT 21.5 cm WEIGHT 493 gCondition: Very good condition with minor wear, light surface scratches, the lacquer with expected age cracks as well as minor flaking and rubbing.Masks have long played an important role in Japanese culture: in religious ceremonies, dance, Noh theater, and military costume. For samurai, masks served as a principal face defense and helped secure the helmet to the head more firmly. The majority of masks were half-length (mempo), covering the nose and the face below the eyes. Their iron surfaces are either lacquered or a dark russet finish; the interiors are usually lacquered red.Auction comparison:Compare a closely related tengu mempo, dated 18th-19th century, at Christie's, Japanese Art & Design Including Arts of The Samurai, 9 November 2011, London, lot 390 (sold for GBP 5,000).

A FINELY PAINTED POLYCHROME WOOD FIGURE OF KICHIJOTEN, MUROMACHIJapan, 16th century, Muromachi period (1338-1573) Finely carved and painted in polychrome pigments, seated in royal ease (lalitasana) on a wood pedestal surrounded by gnarled roots above a two-tiered base with gilt chased-metal fittings and a central plaque with a gilt-wood rinpo (dharma wheel) flanked by blossoms. The goddess clothed in elaborate red and black robes with gilt hems decorated with foliate designs and floral medallions, adorned with two gilt ho-o (phoenixes) birds and floral medallions on each sleeve. Her face bearing a serene expression with heavy-lidded eyes, and sinuous brows, her hair tied in a high topknot with a tiara. HEIGHT 46.7 cm (figure), 76.7 cm (incl. stand)Condition: Good condition with expected wear and age cracks, some flaking, losses, and repairs. Generally presenting very well. Provenance: From a Dutch private collection.Associated with harvest, fertility, and fortune, Kichijoten is one of the female deities derived from religious syncretism of Laksmi, the wife of Vishnu, worshipped as the goddess of fortune in the Indian Hindu pantheon. She is sometimes depicted together with Bishamonten, to whom she is wife or sister. She is often depicted in Chinese robes from the Tang dynasty.Museum comparison:Compare an earlier wood polychrome figure of Kichijoten, dated to the 14th century, in the Nara National Museum, accession number 1209-0. Compare a much earlier standing wood figure of with polychrome pigments in the Jyoruri Temple in Kyoto, dated to the Kamakura period.Auction comparisonCompare a later polychrome wood figure of Kichijoten, dated to the 18th century, at Christie's, Japanese & Korean Art, 24 March 2010, New York, lot 595 (sold for USD 10,000).

A FINE MITO SCHOOL IRON TSUBA DEPICTING THE THREE SAKE TASTERS UnsignedJapan, 18th century, Edo period (1615-1868)The iron tsuba of mokkogata form with foliate rims, with a kozuka and kogai hitsu-ana, the nakago-ana with some suaka sekigane, finely worked in gold, silver, suaka, and iron hirazogan with gilt highlights to depict the Three Sake Tasters—Shaka (The historical Buddha), Koshi (Confucius), and Roshi (Laozi)—convening around a sake jar decorated with geometric motifs, all below pines and scrolling clouds, the reverse similarly decorated with scrolling clouds and craggy rocks.HEIGHT 9.2 cm, LENGTH 8.6 cmWEIGHT 173.7 gCondition: Very good condition with minor wear.With a padded wood tomobako box.The subject represents Sakusui Sankyo with three sages, Shaka (The historical Buddha), Koshi (Confucius), and Roshi (Laozi), who are often depicted tasting sake from a jar. This depiction is a metaphor explaining that although religious or philosophical origins are expressed differently, ultimately, they are derived from the same source.Auction comparison:Compare a closely related Mito school tsuba with the three sake tasters at Sotheby's, Japanese Works of Art, Prints & Paintings, 9 November 2006, London, lot 924.

A quantity of around 370 various vintage and other post cards. This is a large , varied lot and time only allows for a quick appraisal , count up. This lot includes some interesting vintage post cards, numerous art , historical artefact post cards from the Victoria and Albert Museum, British Museum, Royal Academy of Arts etc, Yesterdays Britain post cards, sporting arts post cards, religious post cards, buildings etc. In all approx 370 various post cards and are all mainly in very good condition (see photographs)Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10

Benno Schotz, Estonian/Scottish 1891-1984 - Head of a woman; plaster, signed and dated on the reverse 'Benno Schotz 1920', H23 x W18 x D20 cm (ARR) Provenance:The Property of the Late Reverend John Watson (1939-2019)Note: the artist studied in Germany, but immigrated to Scotland in 1912, becoming a leading artist in the country, teaching figures such as Hannah Frank and Inge King, and his home becoming a focus for other refugees like Jankel Adler and Josef Herman. A large number of his works are on public display in Scotland including at religious sites such as Kelingrove Park, Dundee's Art Gallery & Museum and the People's Palace, Glasgow. 

Lots 334-354 Donated to The Walpole Society - Frank Salisbury, British 1874-1962 - 9 religious figures and 4 unknown sitters; chalk and pastel on paper, 73 x 56 cm and smaller (unframed) (13) (ARR) Provenance: The Walpole Society, donated by Philip Mould & Company on behalf of a private collector Note: Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections. Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes. These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector. 

Frank O. Salisbury,  British 1874-1962 - Ten portraits:  Lady Scott, 1946;  Lady Scott, 1946;  Study for portrait;  Study for portrait;  Mr Edward Townsend Stotesbury, Philidelphia banker. Quaker. Laid the financial foundations of US Steel with J.P. Morgan, 1955;  Rt. Rev. Ernest Milmore Stires, Episcipal Bishop of Long Island. 1927;  Rt. Rev. Ernest Milmore Stires, 1927; Study of a Nurse; Portrait of a man in a academic/ceremonial gown;  Mrs Edna Samuel, wife of Harold Samuel, Chairman of Land Securities, 1950;  chalk and pastel on paper, 63.5 x 50.5 cm and smaller (unframed) (10) (ARR) Provenance:  The Walpole Society, donated by Philip Mould & Company on behalf of a private collector  Note: Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections.  Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes.  These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector. 

Frank O. Salisbury,  British 1874-1962 -  Ten portraits:  W. Harold Perry, Founder and director of Perry's (North London Ford car distributors), 1947;  Sir James Owen, Mayor during the great war, 1923;  Mrs Stephanie Post, 1944;  Sir Edward Francis Knapp-Fisher, Receiver General, custodian and chapter clerk of Westminster Abbey, 1936;  Lady Eva Mary Price, exhibited at royal society of portrait painters in 1948. 1946;  Robert Maclean;  Mrs Marjorie Miller, 1944;  Mrs Marjorie Miller, 1944;  Sholto J. Ogilvie, 1946;  Dr. William Frederick Lofthouse, Rev. Methodist Minister and author, principal and tutor in systematic theology and philosophy at Handsworth College, Birmingham. 1939;  chalk and pastel on paper, 67 x 52 cm and smaller (unframed) (10) (ARR) Provenance:  The Walpole Society, donated by Philip Mould & Company on behalf of a private collector  Note:  Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections.  Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes.  These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector. 

Frank O. Salisbury,  British 1874-1962 - Ten portraits:  HH Princess Harriner, India June 22 1953;  Miss Beatrice Harrison or "Pietro and Beatrice" Renowned Cellist who played throughout Europe and the USA, first Cellist and youngest to ever win the Mendelssohn prize. She inspired and worked with composers like Elgar, Delius and Charles Villers Stanford. She performed the hugely popular debut radio broadcast in her garden with the BBC, the first en plein air performance, 1944;  Lord Inverforth, 1st Baron Andrew Weir. Four Portraits. President, Andrew Weir shipping & Trading Co. Former Surveyor - General of Supply at War Office and Minister of Munitions. Painted at his home in Hampstead. 1934/44/47;  Mrs Edward F. Hutton, 1937;  John Marten Evans, 1945;  Rev Fredrick Harrison, 1958;  Mrs Dunlap Hopkins, President of the women's school of design in New York, 1928;  Hon. Mrs Renee Iliffe, 1945;  Thomas D. Jones, 1929;  Her Highness the Ameera of Bhahwalpur, wife to the Ruler of the state of Bhahwalpur, 1956;  chalk and pastel on paper, 64.5 x 50.5 cm and smaller (unframed) (10) (ARR)  Provenance:  The Walpole Society, donated by Philip Mould & Company on behalf of a private collector  Note: Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections.  Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes.  These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector. 

Frank O. Salisbury,  British 1874-1962 -  Ten portraits:  Mrs Angela Gabler, with a portrait of a gentleman on the reverse, 1945;  Mrs John S. W. Crawford, (Elizabeth McAllister), 1938/39;  George Robert Freeman, 1943;  Mr Sealy Clark, with additional portrait of Clark in military uniform on the reverse;  John Darling, 1949;  possibly the Duke of Devonshire;  Colonel J. B. Gartside, 1951;  Sir William Coraus;  Mrs Angela Gabler, 1945;  Portrait of a woman;  chalk and pastel on paper, 65 x 50.5 cm and smaller (unframed) (10) (ARR) Provenance:  The Walpole Society, donated by Philip Mould & Company on behalf of a private collector Note:  Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections.  Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes.  These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector. 

Frank O. Salisbury,  British 1874-1962 -  Ten portraits:  Col. Sir John Atkins, physician and surgeon. Army surgeon in the 2nd Boer War and First World War. Researched gas attacks, 1954;  Fred Baltime, with a sketch of woman on reverse;  Mrs Andrew Carnegie, former rector at St Andrews University, wife of philanthropist and industrialist Andrew Carnegie, two, 1933;  Col. Sealy Clark, Salvation Army Colonel, 1946;  Dr. Frank Nathan Daniel Buchman, Founder of the controversial religious movement that became Moral Re-armament. Switzerland, 1938;  Mr Alkin;  Mrs Victor Bond, two;  Miss Beryl Badson;  chalk and pastel on paper, 66 x 47.5 cm and smaller (unframed) (10) (ARR) Provenance:  The Walpole Society, donated by Philip Mould & Company on behalf of a private collector  Note:  Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections.  Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes.  These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector.  

Frank O. Salisbury, British 1874-1962 - Ten portraits: Mrs Stuart Goodwin, 1947; The Hon. Joseph E. Davies, the United States' second ambassador to the Soviet Union during the 1930s. Pictured with his wife Marjorie Merriweather Post; The Hon. Joseph E. Davies; J. Dent, 1953; Rev. Dr Harris Elliot Kirk, Eminent preacher, pastor at Franklyn Street Presbyterian church since 1901, c.1925; Will Keith Kellogg, 1938. Founder of Kellogg Company (cereal); Judge Frank Harris Hiscock, Lawyer in Syracuse, modernised 20th century US law, Chief Judge for New York State of appeals, 1938; Mr Edward Stephen Harkness, American Philanthropist, distributed 130 million of his fathers investment profits, founded UK Pilgrim Trust and one of Yale's greatest benefactors, 1932; Mrs Edward S. Harkness, 1933; Mrs Edward S. Harkness, 1933;chalk and pastel on paper, 63.5 x 50.5 cm and smaller (unframed) (10) (ARR) Provenance: The Walpole Society, donated by Philip Mould & Company on behalf of a private collector Note: Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections. Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes. These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector. 

Frank O. Salisbury, British 1874-1962 - Ten portraits: Hugh Bullock, worked on Wall Street, connected with the pilgrims trust?, son of Calvin Bullock; Mrs Joy Allpress, authority on antique and period decoration; Col. Robert James Blackham, army physician, barrister, author, political and Clark of the glaziers company (later Major General); Rev. Dr. Samuel Leslie Parke Cadman, leading American churchman, NBC religious broadcaster. Author, pastored central congregational church in Brooklyn, President of Federal council of churches of Christ, two; Rev Sidney Arthur Alexander, Canon of St Pauls Cathedral, painting commemorates 40 years of service with a study on reverse of the Rt Hon 7th Lord M ??, 1943; Bishop Asbury, aka 'The prophet of the Long Road led American Methodism from 1784, portrayed as though he was 39, 1957; Dr N.M. Butler, President of Columbia, Nobel peace Prize, President of Carnegie endowment for international peace, 1931; Steven Baker, Chairman of Manhattan Bank, 1931; Sir Charles John Bartlett, Chairman of Vauxhall Motors Ltd. Luton. Resident of Harpenden, Herts, 1954; chalk and pastel on paper,64.5 x 50.7 cm and smaller (unframed) (10) (ARR) Provenance: The Walpole Society, donated by Philip Mould & Company on behalf of a private collector Note: Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections. Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes. These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector. 

Frank O. Salisbury, British 1874-1962 - Ten portraits of unknown sitters: A gentleman in a suit; A young woman sat wearing dress and long necklace; A man wearing a suit and round glasses; A man with a moustache and striped tie; a man sat with hands clasped on knees; Possibly J.R.W Alexander 1947. New York, a woman in black or dark coloured dress, fur robe and triple pearl necklace; A gentleman in a suit with white beard; A man sat in an armchair ; A man wearing a three piece suit; A man with gaze directed right; chalk and pastel on paper, 64 x 52 cm and smaller (unframed) (10) (ARR) Provenance: The Walpole Society, donated by Philip Mould & Company on behalf of a private collector Note: Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections. Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes. These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector. 

Frank O. Salisbury, British 1874-1962 - Ten portraits: Rev. Dr Harold Roberts, the President of World Methodist council, Dean at Leeds University. Faculty of Theology, President Designate at British Methodist conference, 1956; A.L. Regensburg ?; Second daughter of Charles Seaburn, father was president of Chicago association of commerce, Member of Marsh and Mclennon, 1954;Edward T. Stotesbury, a prominent investment banker from Philadelphia. Oil on canvas painting dated 1929 (fig.3) Laid the financial foundations of U.S steel with J. Pierpoint Morgan, 1929;Capt. Hon. H.C O'Callaghan Prittie, The rifle Brigade. Later, 5th Baron Dunalley, 1915;The Right Hon Lord Queensborough, painted as President of the Royal society of St George, 1947; Mrs Sylvia B. Rhodes, 1949; Frank W.J. Smith, managing director of three companies; Cropper & Co, Colthorp Board and Paper Mills, and Containers LTD. 1940; Ernest Evan Spicer, 1945; Ernest Evan Spicer, 1945; chalk and pastel on paper, 69 x 56 cm and smaller (unframed) (10) (ARR) Provenance: The Walpole Society, donated by Philip Mould & Company on behalf of a private collector Note: Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections. Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes. These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector. 

Frank O. Salisbury,  British 1874-1962 - Ten portraits:  Mrs Loall Lee Holt, Aug 14 1957;  Mrs Philip Halpen;  Mrs Blanche T. Kerman, 1943;  Mrs Edward F Hutton;  Edward Mauger Iliffe, Lord Iliffe of Yattendon, 1ts Baron, newspaper and insurance magnate, President of the International Lawn Tennis Club of GB, 1946;  Sir Alexander Maclean, New Zealander who immigrated to the USA and founded Macleans Ltd., supplier of products to English chemists. Returned to Bournemouth where the portrait was painted, 1945;  Rev. Ernest Benson Perkins, British Methodist minister and author, general secretary of World Methodist church. 1950;  Rev. Ernest Benson Perkins, 1956;  Mrs Lil McConnell, 1949;  W. T. Maclean, proprietor of The Bulletin, Philadelphia, 1929; chalk and pastel on paper, 62 x 48.5 cm and smaller (unframed) (10) (ARR) Provenance:  The Walpole Society, donated by Philip Mould & Company on behalf of a private collector  Note:  Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections.  Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes.  These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector.  

Frank O. Salisbury,  British 1874-1962 -  Ten portraits:  Mrs S. L. Buxton, 1944;  Harold Guylee Chester, Deputy chairman, Lloyds Bank. Presented to the sitter by Lloyds bank to celebrate the fifteenth anniversary of his entry to the company. Benefactor of Methodism Vice -president designate of Methodist conference, two, with accompanying print of the finished oil, 1953;  Henry John Bostock (1870-1956) Managing director of shoe factory in Stafford, 1949; Sir Thomas Pearson Frank, "The man who saved London from drowning"; Francis Dent, "It’s a bargain" Art dealer. Painted in exchange for return of Reflections to F.O. Salisbury, 1950; John W. Crawford, Board chairman of the County Savings Institute. Chairman of the Queens County Savings Bank, with a Portrait of a gentleman with a cane on the reverse, 1938; Mrs Robert G & Patricia Elbert, 1934; Mrs John S. W.Crawford, Elizabeth McAllister, New York, 1939/9; chalk and pastel on paper, 62.5 x 48 cm and smaller (unframed) (10) (ARR)  Provenance:  The Walpole Society, donated by Philip Mould & Company on behalf of a private collector  Note:  Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections.  Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes.  These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector.  

Frank O. Salisbury,  British 1874-1962 -  Ten portraits:  Rev. Coslie Weatherhead, Methodist preacher, author and psychologist, 1954;  RH Robertson, 1950;  Miss Hilda M. Swift, wife of Harold Swift, the president of Chicago University, 1938;  Rev John Wesley, 1934;  Rev John Wesley, 1953;  Miss Charlotte B. Van Bomel, 1950;  Mr Edson White, President Armour company (meat processors) Chicago, 1928;  Lady Wilshaw, wife of Sir Edward Wilshaw, British businessman, and the chairman of Cable & Wireless Communications, 1944;  Mrs Olivia Whittock, 1944;  Sir Arthur Monro Sutherland (1867–1953), Lord Mayor of Newcastle upon Tyne, 1948; chalk and pastel on paper, 65.5 x 56.1 cm and smaller (unframed) (10) (ARR)Provenance:  The Walpole Society, donated by Philip Mould & Company on behalf of a private collector  Note:  Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections.  Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes.  These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector. 

Frank O. Salisbury, British 1874-1962 - Ten portraits: Sir David Wakefield, May 1955; Unknown lady wearing a dress; Unknown gentleman in a chair; Unknown gentleman wearing a cloak; Unknown gentleman in religious clothing; Unknow lady sat in a decorative armchair wearing a red dress; Unknown gentleman wearing a suit with a striped tie; Unknown gentleman in a suit; Unknown lady wearing pearls;Unknown gentleman wearing a suit and bowtie;chalk and pastel on paper, 62 x 48 cm and smaller (unframed) (10) (ARR) Provenance: The Walpole Society, donated by Philip Mould & Company on behalf of a private collector Note:Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections. Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes. These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector. 

Frank O. Salisbury,  British 1874-1962 - Ten portraits:  Study for the portrait of The Hon. Mr Leighton ?;  Mr Waldorf, New York, 1946;  A man in an academic hood;  A man sat with his hand resting under his chin;  A man holding a book;  A man with round glasses;  a man wearing suit with striped tie;  A man leaning on a desk;  A man sat in a chair with his hands clasped and held at his chest;  A man holding a book;  chalk and pastel on paper, 64 x 51 cm and smaller (unframed) (10) (ARR)  Provenance:  The Walpole Society, donated by Philip Mould & Company on behalf of a private collector  Note: Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections.  Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes.  These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector. 

Frank O. Salisbury,  British 1874-1962 - Ten portraits:  W H. Watson, Dec 16 1943;  Mrs Jane Lambert Wilson, 1949;  Sir John Tweedie, eye specialist, former president of the Royal College of Surgeons and the Ophthalmological Society, 1914; Sir John Tweedie, 1914; Rt Hon Marquess of Bath Thomas Thin, painted for county hall Trowbridge to commemorate 35 years as chairman, 1941;  Mrs Millard Evelyn Tydings, daughter of former ambassador to Moscow, husband to the former senator and speaker of the house, 1946;  G.M White, 1955;  Myron Charles Taylor, Director of the MET and Chairman of Cornell University;  Myron Charles Taylor;  Sir Edward Wilshaw, British businessman and the Chairman for Cable & Wireless (1936 to 1947), 1953; chalk and pastel on paper, 64 x 52.5 cm and smaller (unframed) (10) (ARR)  Provenance:  The Walpole Society, donated by Philip Mould & Company on behalf of a private collector  Note: Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections.  Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes.  These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector. 

Frank O. Salisbury, British 1874-1962 - Religious figures; chalk and pastel on paper, 67.8 x 55 cm and smaller (unframed) (10) (ARR) Provenance: The Walpole Society, donated by Philip Mould & Company on behalf of a private collector Note: Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections. Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes. These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector.