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Louise Body (British). '7 of Spades'. Oil on board, signed, dated 2020 and titled. Image size 28 x 20cm. Louise graduated with a Fine Art degree in 1994. Since then her career as an artist has taken her on a journey with a 20 year detour into the design world, designing wallpapers and fabrics for her own company and other designer brands. Recently Louise has made the decision to pursue her love of painting and become a full-time painter, working from her studio in Hastings. A recurring subject in Louise’s work is the coastal landscape.‘Having lived by the sea for most of my life I am naturally drawn to using this in my work. I paint from memory, creating places through a balance between representational and abstract forms, as if combining the imprint of a photograph in your mind with the abstracted thoughts and feelings of a place.Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future. Please note that there is no buyers premium payable on this sale if bidding on Ewbank's Live, online fee of 6% inc VAT is payable bidding via the-saleroom.com. Added to the hammer price. Ewbank's are also waiving all vendor commission for the charity.

Aimee Jewitt-Harris (British). '10 of Clubs / Weird Women'. Pencil on paper. Signed, sheet size 59 x 42cm. Aimee Jewitt-Harris aims to intrigue and unnerve with her work. She combines intricate drawing techniques with her collage practice to produce seemingly beautiful pieces which, upon closer inspection, reveal a more uncanny and unsettling image. Aimee creates characters from collage materials: her army of ‘Weird Women’, and conjures dark dystopian worlds for them to inhabit. Inspired recently by the Faceless Men featured in The Game of Thrones, Aimee often substitutes her Weird Women’s faces with organisms found in the natural world, removing the viewers ability to make eye contact with her characters and removing the ability to guess the characters intentions. The Weird Women are strong, curious, threatening, misunderstood, silent, sexy, ruthless and weird. Sometimes I like to remove their pretty faces and replace them with things that make you go ‘yuck’. What are they Can they speak What species are they What do they want I want the viewer to feel threatened but fascinated when they meet The Weird Women.As well as being an artist, Aimee project manages the Charity Transplant Links with her mother Jennie Jewitt-Harris. She is the founder of the TLC Deck of Cards Art Auction which first launched in 2018.“I was blown away by the generosity and creativity of all the artists for the Deck of Cards Vol. I in 2018. And now to see such an incredible array of pieces for the 2020 Deck… it fills me with so much faith in the human race! I’m so grateful, from the bottom of my heart, to all the contributors. The work of TLC is so important and this fundraising initiative will make such a huge difference. www.aimeejewittharris.com. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future. Please note that there is no buyers premium payable on this sale if bidding on Ewbank's Live, online fee of 6% inc VAT is payable bidding via the-saleroom.com. Added to the hammer price. Ewbank's are also waiving all vendor commission for the charity.

Katie Ponder (British). '5 of Clubs'. Digital print on paper, signed and dated November 2020 in pencil to margin. Sheet size 40 x 29.5cm. Katie Ponder has developed a unique style that is both fresh and contemporary but with references to art deco and with a touch of Gothic inspiration also. Ballet, tarot cards, mythology and patchwork quilts have all been key sources of inspiration behind Katie’s work.Katie’s work is developed digitally but to create a hand made quality she applies different textures from printing, collage and media experiments to create a rich and tactile look to her images. Recently Katie has enjoyed working with silkscreen printing and making limited edition prints.Katie attended Falmouth University where she received a 1st class with honours degree in illustration. On graduating from Falmouth Katie was the winner of the ‘AOI Book Award for New Talent’. In 2017 She was winner of the second prize for ‘Folio Society Book Illustration Competition’ and winner of the ‘House of Illustration People’s Choice Award’. Katie has also been the winner of the ‘Glyndebourne Tour Art Competition’. Currently living in South London with her cat Poppy. Katie can often be found at her desk making pictures, whilst drinking tea, eating vegan snacks and listening to Joni Mitchel. www.katieponderillustration.com. Katie’s list of clients include: Dorling Kindersley, Penguin, Simon and Schuster, Oh Comely Magazine, Glyndebourne, Canterbury Cathedral and her work has been exhibited at Somerset House.Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future. Please note that there is no buyers premium payable on this sale if bidding on Ewbank's Live, online fee of 6% inc VAT is payable bidding via the-saleroom.com. Added to the hammer price. Ewbank's are also waiving all vendor commission for the charity.

Dan Hillier (British). 'Queen of Hearts', print with hand embellished drawing . Rolled. 59 x 42cm. Dan lives and works in Hackney, London, making art for himself and for exhibitions and galleries, and he has also collaborated with others, including Shakespeare’s Globe Theatre in London, The Folio Society, rock bands Architects, Royal Blood, The Broken Family Band and Steven James Adams, and recently he created the opening titles to BBC1's major 6-part drama 'Requiem'.Works from Dan's more recent solo shows, 'Ceremony', at Saatchi Gallery, and 'Aeons', at a self-initiated space in London, are available amongst all other work here, made over the last 12 or so years. As well as Saatchi Gallery, Dan's work has also shown in The Louvre, Paris, Turin Natural History Museum, Glastonbury Festival of the Arts and the V&A Museum in London, to name a few sweet spots.Dan has also been invited by the British Council to represent Great Britain at the Giant Creator Show in Beijing, China.Perhaps that's why they call him 'The Ambassador'. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future. Please note that there is no buyers premium payable on this sale if bidding on Ewbank's Live, online fee of 6% inc VAT is payable bidding via the-saleroom.com. Added to the hammer price. Ewbank's are also waiving all vendor commission for the charity.

Alan Cotton (British). '6 of Diamonds / Welcome to the 6 Diamonds Inn'. Ink drawing on paper. Alan Cotton is one of Britain's most distinctive Landscape Painters. He has been represented internationally by Messum's Fine Art in Cork Street London for the past twenty years, where his annual exhibitions have frequently sold out.Alan writes, As a child and a young man I was deeply affected by those paintings I saw, where images were conveyed with a sensuous use of paint and the physical surface of the work had the power to excite. As a student and when I first painted on my own I began to experiment by using pigment in quantity, and to explore it’s potential for making a huge variety of textures and marks and allowing me to convey my feelings about landscape. It was then that I took to using painting knives.Alan has painted in many countries. His distinctive paintings are laid on to canvas with painting knives and working with rich impasto pigments, he takes us from the searing yellows and crimsons of the Mediterranean to the cool greens and blues of Ireland and from the sun bleached square in Marrakech at midday to the shimmering reflections of the old Fish Market in Venice. Each painting is distinctively a 'Cotton' yet the variation and contrast gives each one its own identity, what he calls A Sense of Place.Writing about his work the Artist says the painting process is always a voyage of discovery. With each new work you should be thrilled with the prospect of actually applying the paint and discovering where you are going, not only with the combination of colours and range of marks, but with the tapestry of the surface which allows you to convey the idea which inspired you and set you off on the path.In 2006 Alan was awarded an Honorary Doctorate (D.Litt) by the University of Exeter for his 'outstanding contribution to the Arts' and in 2011 the Senate of the University of Bath conferred on Alan the position of Honorary Professor of Arts. In 2019 the University made him an Honorary Doctor of Arts, conferred on him by the Chancellor, HRH The Earl of Wessex.www.alancotton.co.uk. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future. Please note that there is no buyers premium payable on this sale if bidding on Ewbank's Live, online fee of 6% inc VAT is payable bidding via the-saleroom.com. Added to the hammer price. Ewbank's are also waiving all vendor commission for the charity.

Sean Jefferson (British, b.1957). '2 of Clubs'. Graphite and coloured crayon on paper. Image size: 28.4 x 25.3cm. Sheet size: 42.3 x 28.7cm. Signed and dated. This card suggests the two wands carried by ancient surveyors of the land, earth magicians, or dod-men, who laid out the sacred sites and agricultural fields at the end of the hunter gatherer period of human prehistory.My work is grounded in accurate delineation of animals and plants, having studied Zoology and Botany at Imperial College as part of my degree in Microbiology, combined with automatic drawing, learnt as a teenager under the instruction of a renowned spiritualist medium. I have been influenced by Surrealism, the surrealistic precision period. Fin de Siecle Symbolism and the occult philosophy behind it. Ruralism, having spent time and exhibiting with the Ruralists whilst living in Cornwall. The Victorian 'proto surrealism' of Richard Dadd, John Anster Fitzgerald and Lewis Carol, and more generally by William Blake and the Ancients, I currently live and work in Samuel Palmer's 'Golden Valley' (The Darenth Valley, Kent). Early in my career I had one person solo exhibitions in London (Mill Lane Gallery, Talisman Fine Art), Moscow (A3 Gallery), Amsterdam (Jester Gallery). I have exhibited as a 'Friend of the Ruralists', The South West Academy and the R.A Summer Show. More recently I have been exhibiting at the BADA, Olympia and LAPADA Art and Antiques Fairs, with Clerkenwell Fine Art and latterly with Kaye Michie Fine Art. In December of this year I am to have my first solo exhibition in over fifteen years with David Messum at his Gallery in Bury Street, St James's London.Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future. Please note that there is no buyers premium payable on this sale if bidding on Ewbank's Live, online fee of 6% inc VAT is payable bidding via the-saleroom.com. Added to the hammer price. Ewbank's are also waiving all vendor commission for the charity.

David Mach RA (British, b.1956). 'King of Diamonds'. Collage on board, signed and titled verso. 29.7 x 19cm. David Mach is one of the UK’s most successful and respected artists, known for his dynamic and imaginative large scale collages, sculptures and installations using diverse media, including coat hangers, matches, magazines and many other materials. The Scotsman describes his work as ‘big on gesture and big in proportion, it demands your attention and gets it’. Mach’s first solo exhibition was held at the Lisson Gallery, London in 1982. His international reputation was quickly established and he has exhibited in solo and group exhibitions around the world including London, New York, Los Angeles, Melbourne, Hong Kong, Hakone, Tel Aviv and Warsaw. Public commissions include the tumbling telephone boxes, “Out of Order” in Kingston, “Train” in Darlington; “Big Heids”, visible from the M8 between Glasgow and Edinburgh; “It Takes Two”, sited North of Paris and in Marseille, Likeness Guaranteed commissioned by McMaster Museum of Art, Hamilton, and most recently, “Giants” in Vinadio, Italy and “Phantom”, commissioned by Morrisons supermarket for the Promenade in Kirkcaldy, Fife. Born in 1956 in Fife, David Mach attended Duncan of Jordanstone College of Art where he chose to specialise in sculpture because he thought it was the most demanding, intellectually and physically. Following a postgraduate year, Mach won a scholarship to attend Art College in Warsaw. As Martial Law had been declared in Poland, he was unable to take up his place but instead was invited to do his MA at the Royal College of Art.Mach became a part-time lecturer in the Sculpture School, Kingston University from 1982 to 1986 and was a lecturer at the Contemporary Art Summer School, Kitakyushu, Japan from 1987 to 1991. In 1988 he was nominated for the Turner Prize and four years later won Glasgow’s Lord Provost Prize. He became a Royal Academician in 1998. In 2000 he was appointed Professor of Sculpture at the Royal Academy Schools, London. He received an honorary Doctor of Laws from the University of Dundee in 2002. In 2003 his “Arm’s Length” sculpture of a woman made in coat hangers won The Jack Goldhill Award for sculpture at the Royal Academy Summer Exhibition. In 2004 he was elected an honorary member of the Royal Scottish Academy and the same year, the University of Dundee appointed him Professor of Inspiration and Discovery. From 2006-2010 he became a Trustee of the National Portrait Gallery. In 2011 Mach was awarded the Bank of Scotland Herald Angel Award for his exhibition “Precious Light”, a daring contemporary interpretation of the King James Bible in the form of large-scale collage and sculpture. The same year, he also won the Glenfiddich Spirit of Scotland Award for Art. David Mach currently works from his studio based in London. www.davidmach.com. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future. Please note that there is no buyers premium payable on this sale if bidding on Ewbank's Live, online fee of 6% inc VAT is payable bidding via the-saleroom.com. Added to the hammer price. Ewbank's are also waiving all vendor commission for the charity.

FRANTIŠEK URBAN 1868 - 1919: MADONNA WITH A CHILD 1917 Watercolour, coloured pencils, paper 61,5 x 46 cm Signed: Lower right "F Urban - 1917" František Urban studied at the Academy of Arts, Architecture and Design in Prague under František Ženíšek. He designed the Austrian hundred crown bill, shares, diplomas and posters, won the competition for the decoration of the windows of the church of St. Ludmila in Prague, participated in the decoration of many other, not only sacral buildings, including the Church of St. Barbora and the paintings of the chapel in the Vlašský dvor in Kutná Hora, the ceiling of the theater in Vinohrady or the curtains of the theater in Litomyšl and Pardubice. František Urban's religious and symbolist motifs could only be described as handwritten. They are dominated by Art Nouveau influence, soft shading, pastel colors and a solid elegant contour.

CHAGALL, MARC CHAGALL, MARC 1887 Witebsk - 1985 St. Paul de Vence Titel: Der Stamm Simeon. Datierung: 1964. Technik: Farblithografie auf ARCHES (Wasserzeichen). Maße: 62 x 46 x 76 x 52cm. Bezeichnung: Signiert und nummeriertRahmen/Sockel: Modellrahmen. Zustand: Blatt unter dem Passepartout und verso minimal gebräunt. Verso zwei Bräunungsflecken. Reste alter Montierung. Verso Stempel mit Angaben zur Lithographie. Blatt 2 aus "Zwölf Fensterentwürfe für Jerusalem". WVZ. Sorlier, Nr. CS 13. Erläuterungen zum Katalog Marc Chagall Frankreich Expressionismus Surrealismus Moderne Kunst Grafik 1960er Religiöse Darstellung Druckgrafik Lithografie Fantasiewesen CHAGALL, MARC CHAGALL, MARC 1887 Vitebsk - 1985 St. Paul de Vence Title: Der Stamm Simeon. Date: 1964. Technique: Colour lithograph on Arches (watermark). Measurement: 62 x 46 x 76 x 52cm. Notation: Signed and numberedFrame/Pedestal: Craftman's frame. Condition: Sheet under the mat and verso minimally discoloured. Verso two brown spots. Remains of an old mounting. Verso stamp with information about the lithograph. Sheet 2 from "Zwölf Fensterentwürfe für Jerusalem". Cat. rais. Sorlier, no. CS 13. Explanations to the Catalogue Marc Chagall Surrealism Modern Art Prints 1960s Religious Art Print Lithograph Fantasy Beings

CHAGALL, MARC CHAGALL, MARC 1887 Witebsk - 1985 St. Paul de Vence Titel: Der Stamm Levi. Datierung: 1964. . Technik: Farblithografie auf ARCHES (Wasserzeichen). Darstellungsmaß: 62 x 46cm. Blattmaß: 76 x 53,5cm. Bezeichnung: Signiert und nummeriert. Herausgeber: Fernand Mourlot, Paris (Hrsg.). Exemplar: H.C. Rahmen/Sockel: Modellrahmen. Zustand: Blatt im Passepartoutausschnitt minimal gebräunt. Verso Reste alter Montierung. Verso Stempel mit Angaben zur Lithografie. Außerhalb der Auflagen von 150 arabisch und 71 römisch nummerierten Exemplaren. Blatt 3 aus "Zwölf Fensterentwürfe für Jerusalem". WVZ. Sorlier, Nr. CS 14. Erläuterungen zum Katalog Marc Chagall Frankreich Expressionismus Surrealismus Moderne Kunst Grafik 1960er Fantasiewesen Druckgrafik Lithografie Religiöse Darstellung CHAGALL, MARC CHAGALL, MARC 1887 Vitebsk - 1985 St. Paul de Vence Title: Der Stamm Levi. Date: 1964. . Technique: Colour lithograph on Arches (watermark). Depiction Size: 62 x 46cm. Sheet Size: 76 x 53,5cm. Notation: Signed and numbered. Publisher: Fernand Mourlot, Paris (publisher). Number: H.C. Frame/Pedestal: Craftman's frame. Condition: Sheet in mat window minimally discoloured. Verso remains of an old mounting. Verso stamp with information about the lithograph. Outside the edition of 150 Arabic and 71 Roman numbered copies. Sheet 3 from "Zwölf Fensterentwürfe für Jerusalem". Cat. rais. Sorlier, no. CS 14. Explanations to the Catalogue Marc Chagall Surrealism Modern Art Prints 1960s Fantasy Beings Print Lithograph Religious Art

DIX, OTTO DIX, OTTO 1891 Untermhaus/Gera - 1969 Singen Titel: Flucht. Datierung: 1943. Technik: Bleistiftskizzen auf Velin. Maße: 27 x 18,5cm. Bezeichnung: Signiert und datiert unten rechts: DIX 43. Rahmen/Sockel: Rahmen. WVZ. Lorenz, Nr. IE 6.34.20. Erläuterungen zum Katalog Otto Dix Deutschland Neue Sachlichkeit Expressionismus Moderne Kunst Unikate 1940er Reiter / Reiterin Papierarbeit Bleistift Religiöse Darstellung DIX, OTTO DIX, OTTO 1891 Untermhaus/Gera - 1969 Singen Title: Flucht. Date: 1943. Technique: Pencil sketches on vellum. Measurement : 27 x 18,5cm. Notation: Signed and dated lower right: DIX 43. Frame/Pedestal: Framed. Cat. rais. Lorenz, no. IE 6.34.20. Explanations to the Catalogue Otto Dix Germany New Objectivity Modern Art 1940s Horseman / Horsewoman Works on paper Pencil Religious Art

Daniel O'Neill (1920-1974) Horseman Pass By Oil on board, 51 x 69cm (20 x 27¼'') Signed; inscribed verso Provenance: Purchased from the artist in 1971 by George and Maura McClelland; sold privately c.1980; The Irish Sale, Sotheby's, 21st May 1999, Lot 365; Sale, Whyte's, 26th April 2005, Lot 69. Exhibited: 'Daniel O'Neill: Recent Paintings', Dawson gallery, Dublin, 12-31 May 1971. Literature: 'Daniel O'Neill (1920-1974): Landscape and Figure Painter', by Gena Lynam, Irish Arts Review, Volume 15, 1999, Page 141. Illustrated in new monograph on artist 'Daniel O'Neill Romanticism & Friendships' by Karen Reihill Fig. 320 Page 151. (Available to purchase at reception.) Daniel O'Neill was a largely self-taught artist, beginning his journey by experimenting with watercolours at the age of fifteen. He educated himself in Art History, researching the Renaissance through reference books in his local library. In the 1940s, O'Neill took up work as an electrical engineer with the Belfast Corporation Transport Department. This provided him with an opportunity to work night shifts, leaving him free to paint during the day. In 1945, this demanding timetable came to an end when O'Neill was offered a contract by gallerist Victor Waddington. O'Neill gladly ceased work as an electrician and turned to art fulltime. Waddington presented Daniel O'Neill's first solo show in 1946 with great success. With a high sale rate, O'Neill was firmly established as one of Ireland's great upcoming artists. In 1958, O'Neill moved to London. He continued to work and exhibited largely in Montreal through the Waddington Gallery. Optimising on his strong international market, Daniel O'Neill's name began to fade from the Irish art scene. However, in 1970, George McClelland convinced O'Neill that it was time for him to return. The Belfast that he now encountered was not the same as the one he had left twelve years earlier. The underlying tensions had been given full reign to ravage the city as the Troubles spread fear and violence through the streets. Against this backdrop, O'Neill maintained his artistic drive, re-entering the Irish market through a one-man exhibition which opened on May 12th 1971. Thirty-two works were presented, amongst which was 'Horseman, Pass By'. The show brought acclaim from critics, many of which were pleasantly surprised by O'Neill's bold use of colour which contrasted so greatly to the sombre tones of the 1950s. In particular, the current lot was picked out by The Irish Press for its 'atmosphere' and 'mystery'. With an eye for remarkable pieces, the work was purchased at the time by George and Maura McClelland. Despite its colourful disposition, 'Horesman, Pass By' reads as lament on mortality. The title itself is borrowed from the poem 'Under Ben Bulben' by W.B. Yeats, a piece in which the poet finishes by describing his own resting place. Yeats implores any visitors to the spot to Cast a cold eye / On life, on death / Horesman, pass by!. These lines are now immortalised as his epitaph. Given the political climate against which this work was produced, it is hard not to read the painting as a cry for a dying Belfast. Striding through the centre of the piece a man, possibly a self-portrait of O'Neill, sits atop a white horse. This horse is resemblant of the white charger often pictured alongside William of Orange and, thus, is a direct connection to Belfast's religious apartheid. Led by a faceless woman, perhaps the representation of artistic muse, the horse and rider move past the city and the skeleton that keeps guard. Staring directly ahead the man seemingly shows a stoic indifference to what is around him, however, the firm set of the jaw belies the exertion that it costs to do so. As is characteristic of his works, O'Neill utilises the landscape in this piece to depict the concerns of the central figure. The city, which he leaves behind, is lit up, emphasising its importance in this saga. To the front of the rider, a shadowed wood awaits, beckoning him forth into an unknown. It is up to the viewer to decide this horseman's fate. By Ciaran MacGonigal

Fiction, poetical, arts, reference and religious books to include Poems by Wordsworth Illustrated, Chinese Art, The World Over, A Pilgrim in Arabia, with Lawrence in Arabia, Phoenix by D H Lawrence and othersLocation: EV/RoomThe former property of Barbara Toy, the Australian-British travel writer, theatrical director, Playwright and screenplay writer

with downward gaze and elaborate tall diadem, centred by a small figure of Amitabha and flanked by Bodhisattvas, 21cm highFootnote: Exhibited: London, Oriental Arts (UK) Ltd., Chinese Buddhist Sculpture 18-27 March 2001, no. 10 Literature: The Art of Contemplation - Religious Sculptures from Private Collections, National Palace Museum, Taipai 1997, p157 no. 56, and page 165 no. 62, both with elaborate carved diadems. The Chinese Buddhist statuary and associated collection was acquired by C Roger Moss OBE in Hong Kong during the period 1980 to 2003. All items were officially exported from Hong Kong by shippers and handlers recommended and approved by the Mass Transit Railway Corporation of Hong Kong on 10th May 2003, with full documentation. Itemised inspection certificates - dated 24th February, 16th and 23rd April and 7th May 2003 (report No 0254/03) by J & H Surveying Co Ltd, Marine Surveyors - number and detail the items exported. A copy is available at Cheffins’ offices. The shipment arrived in Felixstowe, UK on 29th May 2003 and was received for transhipment by Redfern International Logistics of Leeds, recorded in their sales invoice no. IDSI2926, which details fees paid for the appropriate Sea Import Customs and Sea Import Documentation. The dating of Chinese sculpture is notoriously difficult and all such references in this catalogue are based entirely upon style and should not be relied on as a statement of fact. Regarding the stone carvings in the Moss Collection, these lots may only be bought and sold within the UK/EU. Buyers wishing to export items should make the appropriate checks before bidding. The auctioneers cannot be held responsible for any future liabilities associated with authentication or for export outside of the UK/EU 1980年至2003年期间，C Roger Moss OBE在香港购买了中国佛教佛像及相关藏品。所有物品均由香港地下铁路公司于2003年5月10日推荐并批准的托运和装卸机构从香港正式出口，并附有完整的单据。逐项检验证书-由海洋测量师J＆H Surveying Co Ltd于2003年2月24日，4月16日，23日和5月7日签发（报告号0254/03），对出口的物品进行编号和详细说明。您可以在Cheffins拍卖行获取一份副本。这批货物于2003年5月29日到达英国费利克斯托，并被利兹的Redfern International Logistics转运，记录在其销售发票中- IDSI2926，其中详细囊括了这次海关进口细节和相关文件的支付费用。众所周知，我们很难判定中国雕塑的历史时期，本目录中的所有相关参考文献均取决于它们的风格，因此买家不应作为事实陈述。 关于这次Moss Collection中的石雕，这批拍品只允许在英国/欧盟境内被出售或购买。 买家需要在投标前自行进行相关的出口检查与认证。 Cheffins概不承担任何法律责任或提供英国/欧盟地区以外的出口认证。

Mikhail Fedorovich Larionov (Russian/French, 1881-1964)Still life with fish and flowers signed in Latin and dated '1909' (upper left)oil on canvas40 x 55.8cm (15 3/4 x 21 15/16in).Footnotes:ProvenanceSotheby's, London, 20th Century Russian Paintings, Drawings and Watercolours 1900-1930, 12 April 1972, lot 10 Christie's, London, 19th Century Impressionist Paintings, Drawings and Watercolours, property of The late Mrs J.P. Dewhurst and various properties, 7 December 1979, lot 353 Acquired from the above by His Honour Judge Bruce Griffiths, QCThence by descentExhibitedParis, Galerie Granoff, Larionow, no. 344 (according to label on verso of frame)His Honour Judge Bruce Griffiths, QC, (1924-1999) was chairman of the Art Committee of the Welsh Arts Council, the Welsh Portrait Sculpture Trust and the Contemporary Art Society for Wales.Still life with fish and flowers, dated 1909 by the artist, falls into an important transitional period in Mikhail Larionov's oeuvre in which the artist moved away from the influence of the French Impressionists towards the development of a new language known as Russian Neo-Primitivism. This was a time of a great artistic experiment defined by attempts to reconcile the sensitivity to the influences of European modernism with a profound interest in Russian motifs and painterly traditions. Larionov's continued interest in everyday genres and motifs is notable in his entire body of work. The artist repeatedly addressed the same subject in a variety of stylistic and conceptual approaches. As such, the fish motif, presented in Still life with fish and flowers, has a story arc of its own within the course of Larionov's evolution as an artist. For example, Larionov's early Impressionist-inspired dynamic composition and colour scheme in Fish, 1906, (Centre George Pompidou; published in G. Pospelov, E. Ilukhina, Mikhail Larionov, Moscow, 2005, p. 47) by 1908 would be replaced by a significantly more stable structure and solid palette in Flounder, 1907-1909 (Private collection, Moscow; ibid. p. 51). Although preserving a similar circular composition, Larionov now sets the fish among the other ingredients of a simple peasant meal spread on the kitchen table by a window. Larionov's method changes as he shifts from a rhythmic Monet-like brushstroke towards a flatter expressionist application of paint, from a vibrating palette of blues, greys and pinks to subdued blues, browns and greys. As though having lost interest in colour, light and movement in the painting, Larionov begins to focus primarily on form and space to convey a different symbolic meaning for the object. This approach is taken further in the present lot, Still life with fish and flowers. The two fish are now set against a flat non-specific abstract background which is divided into two contrasting panes. The composition is counter-balanced by the roughly outlined flower vases on each side while the white fish at the centre become the main focal point for the viewer. The surface is painted in rough flat brushstrokes which create three colour sections: the table, the background and the fish, which dominate the space with their contrasting palette and primitive form. This simplification of form and expression of colour allude to the tradition of distortion of the figure of the German Expressionist painters in an attempt to convey the inner beauty and spiritual meaning of the object. Hence, in the present lot, the fish - detached from their physical properties or decorative function - become symbolic of both penury and abundance and the transitory nature of both, while the painting brings to mind the biblical trope of two fish divided by Jesus to feed five thousand people. The idea of ephemerality is also brought to the fore in the artist's treatment of the flowers: the roughly outlined branches at first appear brittle only to display barely distinguishable young buds in red and white to convey the notion of birth and the cycle of life. These elements also refer the viewer to the the traditions of Russian Orthodox icon painting, from which Larionov continuously drew inspiration in search of his own concept of the 'spiritual in art' and which he would describe at length later, in the 1920s, in an essay on Russian icons: There are two artistic principles. The first is to render nature on the basis of acquired knowledge and to involve naturalistic forms in a composition using various methods... The second is to study life as it is with no regard to the influence of the external world, and, based on this dynamically changing and moving form, to depict the essence of the object or scene in the most expressive way... Russian icon painters were inspired by the second principle as they, as painters, were boldly led towards an important abstraction. This abstraction manifested itself in the use of schemas and pre-established formulas related to a predetermined style through which they expressed the abstract and mystical sense of life.... It is through the nuances of colour and the finesse of the graphic forms that the religious and mystical state we experience when contemplating icons manifests itself.... The beauty and finesse of the drawing of these stylised forms and the fascinating abstract harmony of their colouration aspire to render the world of the beyond... It is a kind of spiritual realism.... You really believe that they concern another life. (M. Larionov, Les Icônes, c. 1920s, cited in Mikhail Larionov, Une Avant-Garde Explosive, Lausanne, 1978, pp. 132-133).Натюрморт с цветами и рыбой, датированный 1909 годом, был создан в важный для Михаила Ларионова переходный период, во время которого художник отходит от импрессионистического влияния предыдущих лет и встает на путь создания новаторского языка в искусстве, известного как русский неопримитивизм. Это время больших экспериментов в работах мастера, когда тенденции европейского модернизм&... For further information on this lot please visit Bonhams.com

Ahmad Shibrain (Sudan, 1931-2017)Composition No.22 mixed media on paper, framedsigned 'Shibrain' in Arabic (lower left), executed circa 1960s140 x 60cm (55 1/8 x 23 5/8in).Footnotes:Provenance:Acquired directly from the artist by the present owner in the 1980sTHE LARGEST WORK BY AHMAD SHIBRAIN EVER TO COME TO MARKET Conceiving of calligraphy as primarily a form of spiritual practice, Shibrain explores the primitive and mystical functions of the Arab letter form in a manner seldom seen in the history of Islamic calligraphy. Academic, formalized and rigid, calligraphy was traditionally the highest form of religious and court craft in the Arab world. Shibrain completely subverts these principles; densely inter-locked forms, relief-like imprints and a sense of spontaneity all pervade the composition. For his canvas, Shibrain chooses the rugged aesthetic of the urban wall, breaking the constraints of conventional 'easel' painting and ultimately questioning the validity of the very notion of an 'artistic surface'.Ahmed Shibrain is an integral and leading figure of Modernism in Sudan. Shibrain was born in 1931 in Berber, Sudan. In the early 1950s, Shibrain studied at the Khartoum Technical Institute when the institution was the hub of contemporary African art of the region and in 1957 he went onto studying at the Central School of Art and Design in London. Alongside his influential contemporaries Ibrahim El-Salahi and Kamala Ishag, Shibrain was one of the founders of The Khartoum School in the 1960s. The Khartoum School was a movement of visual artists who cultivated a new visual style called Sudanawiyya, which expressed local and Pan-African traditions alongside Western influences. Through the use of calligraphy, the aesthetics of hurufiyya (transforming Arabic letters into abstract shapes; named after harf the Arabic word for letter) and Islamic motifs, the movement attempted to convey the cultural fabric of Sudan. After returning to Khartoum, Shibrain became the head of the graphics department at his former college in 1970, and its dean in 1975. He was known for his design of presidential medals, postal stamps and various ebony murals.He held numerous exhibitions in Africa and abroad, published several books and critical essays and held many functional and academic positions in Sudan. In 1966 Shibrain founded the non-profit Shibrain Art Gallery which showcases Sudanese artists.'From time to time I tackle different topics about the state of contemporary art in Sudan. But I have never told the whole story of the School of Khartoum, and how it came to constitute a school of aesthetic importance to the visual culture of Sudan in the last fifty years of the 20th century.Up to 1960, our visual art in Sudan was fixated on the traditional European schools and copied the same academic styles and technical methods. By 1960 and when I came from abroad after finishing my specialization in graphic design, I had been appointed as a lecturer in the College of Fine and Applied Art of the University of Science and Technology (previously Khartoum Technical Institute). And, after a short time, I asked myself, if design constitutes measures and dimensions based on an international common ideals, then where is the cultural uniqueness in these ideals? We have to originate our own art through our own interpretation to realise the full conceptual qualities of our vision. And that was what has happened. Then I started to tackle this through my daily graphic design, through Arabic calligraphy by giving rich treatments based on an abstract interpretation of the Arabic letter. The experiment came to be very exciting and appealed more to my inner feeling and impressions. This was my very original start as a Sudanese graphic designer considering our national culture as the proper base to create a kind of art that I felt was authentic with certainty. And you may also ask, why these trends became so active and so influential in contemporary culture. And if you wait for the reason, I can say that Arabic calligraphy with its flexible motion and with its famous decorative notation comes to be more than calligraphy. It is a body of aesthetic cultural production intending to elevate the Islamic being to its full contemporary representation in the plastic art. In brief this was the moment of my real involvement in art starting from 1960 up today.Prof. Ahmed Shibrain. 1998, Khartoum - SudanFor further information on this lot please visit Bonhams.com

15th century AD. A solid gold ring with D-section hoop, expanding shoulders with crown of thorns decoration and ellipsoidal bezel; incised Christian religious scene depicting the trinity: at the centre is the crucified Jesus Christ, head slumped to his left; behind and above is God the father with halo and arms supporting Jesus; either side of God's head at the top are two recessed sub-triangular fields which likely represent wings and thus the Holy Spirit; these wings may once have contained white enamel. Cf. Chadour, A. B., Rings: The Alice and Louis Koch Collection, Volume I, Leeds, 1994, p.181, for a comparable example and discussion; cf. Oman, C.C., Victoria and Albert Museum Catalogue of Rings, reprinted Ipswich, 1993, items 484, 486, for very similar type; cf. Scarisbrick, D. & Henig, M., Finger Rings from Ancient to Modern, Oxford, 2003, for comparable examples and discussion. Published on the Portable Antiquities Scheme (PAS) with reference number LIN-A52493. 4.60 grams, 20.81mm overall, 17.42mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14) (3/4"). Found while searching with a metal detector near Fleet, Lincolnshire, UK, on 12 March 2009; declared as treasure to HM Coroner, Boston, Lincolnshire, with Treasure Act reference number 2009 T140, and subsequently disclaimed; accompanied by copies of the treasure report for HM Coroner, and various other correspondence from Lincolnshire Police and the British Museum, and a copy of the PAS report number LIN-A52493; and an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no.167355/7/10/2020; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10225-167355. The surface of the ring is worn, suggesting that the bezel scene served as a touch-piece or amulet. Other similar finger rings depict the Holy Spirit as a dove; it is possible that the 'wings' on this example are decorative, and that the dove is worn away. Iconographic rings became popular with the rise of the cult of patron saints in the 15th century. They were often given at weddings and as New Year gifts in England and Scotland. After the Reformation, iconographic jewellery was no longer considered socially acceptable and the type declined in use. Very fine condition, some wear as used as a 'touch piece'. [A video of this lot is available to view on Timeline Auctions website.]

Late 14th century AD. A frontal part of a Gothic marble angel, representing an Archangel, possibly Gabriel, as a young boy; the delicately carved round face with beautiful features and small dimples to cheeks, short wavy hair falling around the crown of the head with longer curls above ears; some pigment remaining on the ears and blue pigment on the hair; reputedly from Catalonia; mounted on a custom-made stand. See Sauerlander, W., Gothic sculpture in France, 1140-1270, New York, 1972; Joubert, F., La sculpture gothique en France. XIIe-XIIIe siècles, Paris, 2008; Kasarska, L., La sculpture de la façade occidentale de la cathédrale de Laon. Eschatologie et humanisme, Paris, 2008. 4.9 kg total, 25.5cm (10"). Ex central London gallery; formerly with Sotheby's, New York, 26 January 2012, lot 296; accompanied by an archaeological report by Dr. Raffaele D’Amato; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10221-166460. Religious statuary was at its peak during the 13th and 14th centuries. The facades and interiors of cathedrals and abbeys were richly adorned with polychrome statues, paying homage to the life of Jesus, but also of his apostles, saints, bishops and abbots of the time, as well as to the heavenly court represented by the angels. The smiling faces like the one of this angel, are influenced by a group of apostles from the Holy Chapel completed around 1248 AD and by the Saint Etienne portal of Notre-Dame de Paris. We can find similar examples of the smiling angel from Reims around 1260 AD, and a quote from Saint John of the Holy Chapel: 'slenderness of the swaying body, small round head at the curly hair, assertive smile'. ' Fine condition. [A video of this lot is available to view on Timeline Auctions website.]

2nd-6th century AD. An important copper funerary mask representing a Moche dignitary; he wears a stylised octopus headdress with a central owl-head in high-relief, ornamental collar around his neck, discoid ear spools with owl-head bosses in high-relief; hammer and repoussé technique; light green-black patina; Lambayeque Valley, circa 200-500 AD. See Newton, D. et al., The Pacific Islands, Africa, and the Americas, The Metropolitan Museum of Art, New York, 1987; cf. The Metropolitan Museum of Art, Moche mask, accession no. 1979.206.1279, for similar example. 176 grams, 19.5cm (7 3/4"). Ex Martin Schloderer, Mechtersheim, Germany; previously in the collection of T.J. Die, Texas, USA; acquired from a Texas based dealer in 2007; previously in a USA private collection; formerly acquired in the 1950s. Funerary masks like this one were only worn by high status individuals such as kings and religious figures. Moche was a powerful and influential state. Repoussé is a metalworking technique in which a malleable metal is shaped and decorated by hammering from the reverse side to create a raised design on the front. No metal is lost in the process, although the process is relatively slow, with the end result being one continuous surface of sheet metal of essentially uniform thickness. Any direct contact with the tools used in the process usually remains visible. Fine condition.

2nd-6th century AD. A repoussé breast plate ornament representing a bare-footed deity wearing a headdress, holding a staff in each hand with finial formed as birds with fish suspended from beaks; geometric and abstract motifs depicting a 'skirt'; shell inlay in earrings, to neck ornamentation and to staffs; three domed discs suspended from headdress; pierced lugs placed at various points for attachment; formed from a thick plate or sheet of gold alloy; found between Chiclayo and Trujillo, probably Cayalti or Chepen, Lambayeque, circa 200-500 AD. See Newton, D. et al., The Pacific Islands, Africa, and the Americas, The Metropolitan Museum of Art, New York, 1987; cf. Pillsbury, J. et al., Golden Kingdoms: Luxury Arts in the Ancient Americas, Los Angeles, J. Paul Getty Museum, 2017, no.21; see Jones, J., and Heidi, K., Gold of the Americas, The Bulletin of the Metropolitan Museum of Art vol, 59, no.4, Spring 2002. 65 grams, 23cm (9"). From the private collection of Mr. Michael J. Vaupel, Miami, USA; acquired from Gloria Lisset Reyes Garcia, Florida, USA; ex private American collection, circa 1960s; previously in the collection of Mr. Razeto; acquired in the 1950s-1960s; formerly acquired before 1950. This pectoral once belonged to a high priest or ruler from the Sicán or Lambayeque culture in northern Peru. It was intended to protect the deceased in the afterlife and was deposited in a grave, either on top of or around the upper part of, the body of the deceased's mummy bundle as a substitute for the face of the deceased. Additional masks, possibly worn by attendants in the afterlife, were also placed within the tomb. Artificial arms and hands would have been placed around the body, positioned to appear as though they held decorated gold beakers. The cups themselves would have been stacked in the corners of the burial chambers. The ovoid eyes are characteristically Lambayeque in style and may represent a figure known as the Sicán deity. Some experts believe that an individual interred with such a breastplate would have been believed to appropriate the deity's attributes and powers, and transformed into venerated ancestors upon death. The hanging ornaments are typical for the Sicán breastplate. Such objects have been discovered in the tombs of both male and female notables. Although used in the context of burials, the dangles conveyed a sense of animated movement, as the mummy was processed to its final resting place within a monumental platform mound. Pre-Columbian gold artefacts were generally of gilded gold. The surface is gold gilded with an alloy composed of gold and a small percentage of silver and copper. A huge variety of gold ornamental objects were produced for the Sicán elite, which they used in decorative, funerary and ceremonial contexts. Pieces of armour such as the breastplate or plastron were possibly used for ritual purposes, but more likely served as deposits in the graves of the noble dead. 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. Very fine condition.

6th-4th century BC. A sheet-silver phiale mesomphalos with broad everted rim, carinated body, two circumferential raised ribs to the outer face, applied central boss formed with domed omphalos encircled by stylised petals between a plain border; convex outer base. See Godard, F., The Art of Iran, London, 1965, for discussion. 243 grams, 15.9cm (6 1/4"). Property of a central London gentleman; acquired Christie's, London, 25 October 2007, lot 113; formerly in a private collection acquired 1960s; accompanied by the relevant Christie's catalogue pages. Phiale Mesamphalos (literally: bowl with central boss) were the most popular form of vessel and were produced in a number of materials, including clay, bronze, silver and gold. They are a distinctive type of Achaemenid tableware, made by hammering or raising sheet metal, with decoration added in repoussé. They were used in banquets held by the nobility and for pouring libations at religious festivals. Phiales of this kind were a common gift from the Achaemenid king to the nobility which helped cement alliances among the different ethnic groups of the Empire. The central boss to the underside allowed the user to secure their fingers and ensure a solid grip whilst drinking or pouring. Fine condition. [A video of this lot is available to view on Timeline Auctions website.]

Transition Period, 2nd-12th century AD. A large repoussé copper pectoral depicting the face of a warrior Nylamp; at the top animal figures flank a discoid-shaped head with headdress and discoid dangles; below is a human head with large headdress decorated in geometric motifs, a series of dangles below; brown patina; Lambayeque Valley, circa 200-1100 AD. 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, 39.5cm (15 1/2"). From a private Belgium collection, formed in the 1990s; ex diplomat M.I. Polak collection; acquired in the 1960s-1990s; previously in a private European collection, acquired 1950s-1960s; thence by decent; formerly in a Spanish collection, acquired before 1950s. 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. Very fine condition.

Mid 14th-mid 15th century AD. A gold finger ring with D-section hoop, flared and cusped shoulders each with an inset garnet and heart-shaped reveal, trapezoidal bezel with claw setting for a cabochon sapphire; the underside flat with blackletter 'ihc' legend. See Gaimster, G. & Gilchrist, R., The Archaeology of the Reformation 1480-1580, and Kunz, G., Rings for the Finger, 1973. Published under the Treasure Act, reference 2020-T74 and Portable Antiquities Scheme report number NMS-71D15D. 4.06 grams, 20.76mm overall, 16.13mm internal diameter (approximate size British K 1/2, USA 5 1/2, Europe 10.58, Japan 10) (3/4"). Found whilst searching with a metal detector on Monday 20th January 2020, near Wisbech, Cambridgeshire, 2020; recorded with Portable Antiquities Scheme and disclaimed under Treasure Act reference 2020-T74; accompanied by various documents including a letter from the British Museum stating that the ring is to be returned to the finder, and a copy of the PAS report number NMS-71D15D, and an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no.165864/7/10/2020; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10224-165864. The HM Coroner report offers a date range of 1350-1550 AD based on the overall format of the ring, the devotional significance of the Christogram (ihc) and the cut of the cabochon. A date in the later 16th century or beyond is regarded as improbable due to the prevailing religious climate of the Reformation. Very fine condition. Rare and important. [A video of this lot is available to view on Timeline Auctions website.]

3rd century AD. A rectangular lead panel fragment of a child's sarcophagus with ropework border to the upper edge and fluted column to the left edge; raised religious imagery including a central mask of Dionysus flanked by vineleaves and S-curled dolphins in profile, facing bearded mask of Silenus above and willow leaf below; mounted on a custom-made wooden stand. See McCann, A.M., Roman Sarcophagi in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, New York, 1978; M. Myth, Meaning, and Memory on Roman Sarcophagi, Berkeley: University of California Press, 1995. 3.2 kg total, 26cm including stand (10 1/4"). From the private collection of Antony John Scammell (1937-2019); acquired from Phoenician Holyland Antiquities, New York, USA, in 2015; accompanied by the original certificate of authenticity and import receipt. The quality of the work shows that it belongs to a sarcophagus of remarkable quality, probably of a wealthy family's child. The figures stand out in low relief, but emerge thanks to effects of contrasts of light and shade. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. Fine condition.

Dazzling and Spirited: Indian Court Paintings 1400 – 1900 Ohri, Vishwa Chancer, Painters of the Pahari Schools, Marg Foundation. 1998. ISBN: 81-85026-41-6 Wendy Doniger O'Flaherty, Siva: The Erotic Ascetic (reprint), Oxford University Press. 1981. ISBN: 0-19-520250-3 JP Losty, Sringar An Exhibition Celebrating Divine & Erotic Love, Francesca Galloway. 2007. ISBN: 0-95533-064-5 Francesca Galloway, Indian Miniatures, Francesca Galloway. 2005. ISBN: 1-933570-79-2 A G Mitchell, Hindu Gods and Goddesses, UBS Publishers' Distributors. 2002. ISBN: 81-85674-63-9 Heinrich Zimmer, Myths and Symbols in Indian Art and Civilization, Princeton University Press. 1972. ISBN: 0-691-01778-6 Heather Elgood, Hindusim and the Religious Arts, Cassell. 1999. ISBN: 0-304-33820-6 Sukumari Bhattacharji, Legends of Devi, Orient Longman Limited. 1995. ISBN: 81-250-0781-4 Susan L Huntington, The Art of Ancient India. Buddhist, Hindu, Jain, Weatherhill. 1985. ISBN: 0-8348-0183-3 Stuart Cary Welch, Imperial Mughal Painting, George Braziller. 1978. ISBN: 0-8076-0871-8 The Peaceful Liberators: Jain Art from India, Thames & Hudson. 1994. ISBN: 0-500-01650-X The Ramayana: Love and Valour in India's Great Epic, British Library. 2008. ISBN: 978-0-7123-5014-3 Sam Fogg, Indian Paintings and Manuscripts, Sam Fogg Rare Books & Manuscripts. 1999. ISBN: 0-9517545-5-6 Provenance: The Professor Conrad Harris Collection

Simon Laurie Fish and Wine, 2020 Pencil on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) 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.

Simon Laurie Bass Beer, 2020 Pencil on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) 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.

Simon Laurie Jug and Fruit, 2020 Acrylic on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) 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.

Simon Laurie Bottle and Fish, 2020 Acrylic on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) 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.

Oliver Dorrell Pool Party, 2020 Gouache, Watercolour and Ink on Postcard Signed verso 15 x 10cm (5¾ x 3¾ in.) British artist Oliver Dorrell is a gifted storyteller, his strange yet intimately fascinating tales of travel to places such as India and North Caucasus offer unique insight into the experience of the world. So too Dorrell's colourful paintings seem a translation of sorts, a fantastic and painterly view into hidden places. The artist's pictures are distinguished by a sense of imaginative narrative and are rich tapestries of folktales, mythologies and impressionistic travel vignettes. Symbolic landscapes and figures evoke a sense of mystic interludes and the artist frequently draws upon imagery from regional religious imagery, terrain and the intersections of culture and experience. Because Dorrell studied anthropology he brings to his work, a knowledgeable and yet simultaneously open mindset that allows him to take in the idea of influence, preconceived notions, meaning and as well understand the complexity of the view of the traveller or the interloper. Through this process emerges a series of pictures that are often compared to the work of Marc Chagall and yet represent a contemporary world of symbiotic experience, place and tradition.   The artist holds his MA with Distinction, Painting, Wimbledon College of Arts, University of the Arts, London and his BSC, Anthropology, University College London. Dorrell has participated in a number of group shows including at Blasé, London 2019 and 2018; Lewisham Art House, London, 2018; Wimbledon College of Art MA Show, London, 2018.

Oliver Dorrell BlackICE, 2020 Gouache, Watercolour and Ink on Postcard Signed verso 15 x 10cm (5¾ x 3¾ in.) British artist Oliver Dorrell is a gifted storyteller, his strange yet intimately fascinating tales of travel to places such as India and North Caucasus offer unique insight into the experience of the world. So too Dorrell's colourful paintings seem a translation of sorts, a fantastic and painterly view into hidden places. The artist's pictures are distinguished by a sense of imaginative narrative and are rich tapestries of folktales, mythologies and impressionistic travel vignettes. Symbolic landscapes and figures evoke a sense of mystic interludes and the artist frequently draws upon imagery from regional religious imagery, terrain and the intersections of culture and experience. Because Dorrell studied anthropology he brings to his work, a knowledgeable and yet simultaneously open mindset that allows him to take in the idea of influence, preconceived notions, meaning and as well understand the complexity of the view of the traveller or the interloper. Through this process emerges a series of pictures that are often compared to the work of Marc Chagall and yet represent a contemporary world of symbiotic experience, place and tradition.   The artist holds his MA with Distinction, Painting, Wimbledon College of Arts, University of the Arts, London and his BSC, Anthropology, University College London. Dorrell has participated in a number of group shows including at Blasé, London 2019 and 2018; Lewisham Art House, London, 2018; Wimbledon College of Art MA Show, London, 2018.

DÜRER, ALBRECHT DÜRER, ALBRECHT Nürnberg 1471 - 1528 Titel: Beweinung Christi. Datierung: 1511. Technik: Holzschnitt auf Papier. Montierung: Montiert. Maße: Plattenmaß: 13 x 10cm, Papiermaß: 18,5 x 13cm. Rahmen/Sockel: Rahmen. Bartsch: 43, Meder: 152. Textausgabe mit rückseitiger Beschriftung. Provenienz: Kunstantiquariat C.G. Boener, Düsseldorf, 1971; Privatbesitz, Deutschland. Erläuterungen zum Katalog Albrecht Dürer Deutschland Renaissance 15. Jh. Grafik Religiöse Darstellung Druckgrafik Leben Christi DÜRER, ALBRECHT DÜRER, ALBRECHT Nuremberg 1471 - 1528 Title: Lamentation of Christ. Date: 1511. Technique: Woodcut on paper. Mounting: Mounted. Measurement: Plate size: 13 x 10cm, paper size: 18,5 x 13cm. Frame/Pedestal: Framed. Bartsch: 43, Meder: 152. Text edition with label on back. Provenance: Kunstantiquariat C.G. Boener, Düsseldorf, 1971; Private ownership, Germany. Explanations to the Catalogue Albrecht Dürer Germany Renaissance 15th C. Graphics Religious Art Print Life of Christ

DÜRER, ALBRECHT DÜRER, ALBRECHT Nürnberg 1471 - 1528 Titel: Vier Engel, die Winde aufhaltend / Die Versiegelung der Auserwählten. Aus der Folge der Apokalypse. Datierung: 1511. Technik: Holzschnitt auf Papier. Montierung: Montiert. Maße: 39 x 27,5cm. Rahmen/Sockel: Rahmen. Bartsch: 66, Meder: 169. Textausgabe mit rückseitiger Beschriftung. Provenienz: Aukiton Karl&Faber, München 1981; Privatbesitz, Deutschland. Erläuterungen zum Katalog Albrecht Dürer Deutschland Renaissance 15. Jh. Grafik Religiöse Darstellung Druckgrafik Apokalypse DÜRER, ALBRECHT DÜRER, ALBRECHT Nuremberg 1471 - 1528 Title: Four Angels Stopping the Wind / The Sealing of the Elect. From the series of the apocalypse. Date: 1511. Technique: Woodcut on paper. Mounting: Mounted. Measurement: 39 x 27,5cm. Frame/Pedestal: Framed. Bartsch: 66, Meder: 169. Text edition with label on the back. Provenance: Auction Karl&Faber, Munich 1981; Private ownership, Germany. Explanations to the Catalogue Albrecht Dürer Germany Renaissance 15th C. Graphics Religious Art Print Apocalyse

MANTEGNA, ANDREA MANTEGNA, ANDREA 1431 Isola di Carturo - 1506 Mantua Werkstatt Titel: Martyrium des Heiligen Johannes des Täufers. Technik: Tempera und Öl auf Holz. Montierung: Parkettiert. Maße: 36 x 52cm. Rahmen/Sockel: Rahmen. Rückseitig: Auf der Tafel Sammler- und Restauratorenetiketten. Literatur: U. B. Schmitt, Francesco Bonsignori, München 1961, S.130 (als Francesco Bonsignori); F. Heinemann: Giovanni Bellini e i Belliani, Band I. Venedig 1963, Nr. V.163, S. 242, Abb. 700 (als Lauro Padovano); E. Zafran: European Art in the High Museum. Atlanta 1984, S. 40 mit Abb. (als zugeschrieben an Francesco Bonsignori); F. Zeri, F. Rossi: Accademia Carrara di Belle Arti Bergamo. La raccolta Morelli nell'Accademia Carrara, Mailand 1986, S. 133-135 (als Francesco Bonsignori); G. Valagussa: Accademia Carrara Bergamo - dipinti italiani del Trecento e del Quattrocento. Catalogo completo, Mailand 2018, S. 266-268 (als Lauro Padovano?). Provenienz: Vermutlich Sammlung Gonzaga, Mantua (15.-16. Jh.); Sammlung Vieweg, Braunschweig; Auktion Lepke, Berlin, 18.03.1930, lot 23, Abb. Tafel 46, als Paduaner Meister um 1500; Kunsthandel E.&A. Silbermann Galleries, New York; High Museum of Art, Atlanta; Auktion Christie's, New York, 26.01.2005, lot 277; Sammlung Prof. Dr. Thomas Olbricht, Essen. Das vorliegende Gemälde ist zusammen mit einer Tafel der Darstellung "Der Heilige Johannes der Evangelist lässt Drusiana auferstehen" (Bergamo, Pinacoteca dell'Accademia Carrara, Inv. 58MR00100) Teil einer Predella mit Szenen aus dem Leben des Evangelisten Johannes. Unbekannt ist sowohl das Hauptgemälde als auch der Ort, für den das Werk bestimmt war. Die Tatsache, dass sich auf der Rückseite des Gemäldes in Bergamo das Wappen der Familie Gonzaga befindet, lässt vermuten, dass beide aus einer mantuanischen Kirche oder aus der Sammlung dieser Familie stammen. Das Gemälde mit dem Martyrium des Heiligen Johannes des Täufers wurde im letzten Jahrhundert abwechselnd Francesco Bonsignori und einem Veroneser Maler des späten 15. Jahrhunderts zugeschrieben. Seit 1989 wird vermutet, dass es sich um den weniger bekannten Maler Lauro Padovano handeln könnte, was 2018 im Katalog der Gemälde der Accademia Carrara hypothetisch wiederholt wird. Mattia Vinco plädiert für eine Zuschreibung an den jungen Giovanni Francesco Caroto, der sich zum Zeitpunkt der Entstehung des Gemäldes in der Werkstatt von Andrea Mantegna in Mantua aufgehalten haben soll (mit dieser Zuschreibung wird dieses Gemälde von Vinco in einem monographischen Buch über die Veroneser Malerschule veröffentlicht). Wie Caroto hatte auch Bonsignori neben Mantegna (und ebenfalls unter seinem Einfluss) am Hof von Mantua gearbeitet. Daher kann die derzeitige Zuschreibung des vorliegenden Gemäldes an Mantegnas Werkstatt als die geeignetste angesehen werden. Wir danken Mattia Vinco, Verona, für seine Hilfe bei der Katalogisierung des vorliegenden Gemäldes. Erläuterungen zum Katalog Andrea Mantegna Italien Renaissance 15. Jh. Originale Religiöses Thema Gemälde Heiligendarstellung MANTEGNA, ANDREA MANTEGNA, ANDREA 1431 Isola di Carturo - 1506 Mantua Workshop Title: Martyrdom of St. John the Baptist. Technique: Tempera and oil on wood. Mounting: Parquetted. Measurement: 36 x 52cm. Frame/Pedestal: Framed. Verso: On the board collector and restorer labels. Literature: U. B. Schmitt, Francesco Bonsignori, Munich 1961, p.130 (as Francesco Bonsignori); F. Heinemann: Giovanni Bellini e i Belliani, Band I. Venice 1963, no. V.163, p. 242, ill. 700 (as Lauro Padovano); E. Zafran: European Art in the High Museum. Atlanta 1984, p. 40 with ill. (as ascribed to Francesco Bonsignori); F. Zeri, F. Rossi, Accademia Carrara di Belle Arti Bergamo. La raccolta Morelli nell'Accademia Carrara, Milan 1986, p. 133-135 (as Francesco Bonsignori); G. Valagussa, Accademia Carrara Bergamo - dipinti italiani del Trecento e del Quattrocento. Catalogo completo, Milan 2018, p. 266-268 (as Lauro Padovano?). Provenance: Probably Gonzaga collection, Mantua (15th-16th cent.); Vieweg collection, Braunschweig; Auction Lepke, Berlin, 18.03.1930, lot 23, ill. Tafel 46, as Paduaner Meister ca. 1500; Art dealer E.&A. Silbermann Galleries, New York; High Museum of Art, Atlanta; Auction Christie's, New York, 26.01.2005, lot 277; Collection Prof. Dr. Thomas Olbricht, Essen. This painting, together with a panel depicting "St. John the Evangelist resurrects Drusiana" (Bergamo, Pinacoteca dell'Accademia Carrara, Inv. 58MR00100), is part of a predella with scenes from the life of St. John the Evangelist. Both the main painting and the place for which the work was intended are unknown. The fact that on the back of the painting in Bergamo there is the coat of arms of the Gonzaga family suggests that both come from a Mantuan church or from the collection of this family. The painting depicting the martyrdom of St. John the Baptist was attributed alternately to Francesco Bonsignori and a Veronese painter of the late 15th century. Since 1989 it has been suspected that it could be the lesser known painter Lauro Padovano, which will be hypothetically repeated in the catalog of paintings of the Accademia Carrara in 2018. Mattia Vinco pleads for an attribution to the young Giovan Francesco Caroto, who is said to have been in the workshop of Andrea Mantegna in Mantua at the time of the painting's creation (with this attribution, this painting by Vinco will be published in a monographic book on the Verona School of Painting). Like Caroto, Bonsignori had worked at the Mantuan court alongside Mantegna (and also under his influence). Therefore, the current attribution of the present painting to Mantegna's workshop can be considered the most accurate. We are grateful to Mattia Vinco, Verona, for his help in cataloguing the present painting. Explanations to the Catalogue Andrea Mantegna Renaissance 15th C. Old Masters Religious Theme Painting Saints

TOSKANISCHER MEISTER TOSKANISCHER MEISTER Titel: Madonna mit Kind. Datierung: 1370-1400. Technik: Tempera auf Holz. Maße: 75 x 39,5cm. Rahmen/Sockel: Tabernakelrahmen. Provenienz: Privatbesitz, Schweiz. Das Vorbild des vorliegenden Gemäldes mit der Madonna mit Kind geht auf toskanische Kompositionen des frühen 14. Jahrhunderts zurück. Die Weichheit der Modellierung und die intimere und liebevollere Interpretation der Beziehung zwischen der Madonna und dem Jesuskind legen jedoch ein Datum am Ende des Jahrhunderts nahe. Es handelt sich wahrscheinlich um ein Gemälde, das für die persönliche Andacht bestimmt ist, ausgestattet mit dem typischen flammenden Spitzbogenrahmen, der für toskanische Tafeln dieser Zeit charakteristisch ist. Die Qualität der Arbeit zeigt sich auch in der Ausführung der raffinierten Stanzungen, die sowohl die Heiligenscheine als auch den Rand der Tafel verschönern. Erläuterungen zum Katalog Toskanischer Meister Italien Originale Religiöse Darstellung Altargemälde Marienleben TOSKANISCHER MEISTER TUSCAN MASTER Title: Madonna with Child. Date: 1370-1400. Technique: Tempera on wood. Measurement: 75 x 39,5cm. Frame/Pedestal: Tabernacle frame. Provenance: Private ownership, Switzerland. The example of the present painting of the Madonna with Child goes back to Tuscan compositions of the early 14th century. However, the softness of the modelling and the more intimate and loving interpretation of the relationship between the Madonna and the Child suggest a date at the end of the century. It is probably a painting destined for personal devotion, equipped with the typical flaming ogival frame characteristic of Tuscan panels of the period. The quality of the work can also be seen in the execution of the refined punching that embellishes both the halos and the edge of the panel. Explanations to the Catalogue Toskanischer Meister Old Masters Religious Art Altar piece Life of Virgin Mary

ISENBRANT, ADRIAEN ISENBRANT, ADRIAEN um 1490 Antwerpen - vor 1551 Brügge Werkstatt / Schule Titel: Kreuzabnahme. Fragment (?). Technik: Öl und Tempera auf Holz. Maße: 30 x 23cm. Rahmen/Sockel: Rahmen. Das Gemälde ist in der Datenbank des RKD, Den Haag, unter der Abbildungsnummer 44895 verzeichnet. Provenienz: Kunstmarkt, England (1930er Jahre); Firma D. Katz, Dieren; über Alois Miedl Auktion H.W. Lange, Berlin, 04.12.1940, Lot 209; Privatbesitz, Deutschland. Der Veräußerer und die Erbengemeinschaften Nathan und Benjamin Katz haben sich hinsichtlich eventuell bestehender Restitutionsansprüche geeinigt. Seitens der Erbengemeinschaften Nathan und Benjamin Katz werden keine weiteren Ansprüche hinsichtlich dieses Werkes geltend gemacht. Das vorliegende Gemälde ist als Fragment einer größeren Komposition zu betrachten, welche in der Werkstatt des Adriaen Isenbrandt ausgeführt wurde. Der noch unbekannte Lehrling nahm sich wahrscheinlich die Kreuzabnahme von Isenbrandt zum Vorbild, die derzeit in Oxford am Ashmolean Museum of Art and Archaeology aufbewahrt wird (Öl auf Holz, 37 x 28 cm). Bei dem Oxforder Gemälde drängen sich um die Christusfigur herum der heilige Johannes der Evangelist, die Muttergottes und Maria Magdalena zusammen, die den linken Arm Christi hält. In unserem Fragment wird der Arm Christi, von dem nur ein Teil zu sehen ist, erhoben: Es deutet die fehlende Figur der Magdalena an. Wir danken Guido de Werd, Köln, der die Zuschreibung des vorliegenden Gemäldes auf Grundlage einer hochaufgelösten Digitalfotografie bestätigt hat. Erläuterungen zum Katalog Adriaen Isenbrant Flandern Niederländische/ Flämische Schule 16.Jh. Originale Religiöse Darstellung Andachtsbild Leben Christi ISENBRANT, ADRIAEN ISENBRANT, ADRIAEN ca. 1490 Antwerp - before 1551 Bruges Workshop / School Title: The Descent from the Cross. Fragment (?). Technique: Oil and tempera on wood. Measurement: 30 x 23cm. Frame/Pedestal: Framed. Provenance: Art market, England (1930s); Private ownership, Germany. The assignor and the communities of inheritors Nathan and Benjamin Katz have reached an agreement regarding possible existing restitution claims. The communities of inheritors Nathan and Benjamin Katz have not asserted any further claims with regard to this work. The painting is registered in the RKD database under number 44895. The present painting is to be regarded as a fragment of a larger composition, executed in Adriaen Isenbrandt's workshop. The still unknown apprentice probably took Isenbrandt's Descent from the Cross as his model, which is in Oxford at the Ashmolean Museum of Art and Archaeology (oil on wood, 37 x 28 cm). In the Oxford painting, St. John the Evangelist, the Holy Mother of God and Mary Magdalene, holding Christ's left arm, crowd around the figure of Christ. In our fragment the only partly visible arm of Christ is raised: It indicates the missing figure of Magdalene. We are grateful to Guido de Werd, Cologne, for confirming the attribution of the present painting on the basis of a high-resolution digital photograph. Explanations to the Catalogue Adriaen Isenbrant Flanders 16th C. Old Masters Religious Art Devotional painting Life of Christ

FLÄMISCHER MEISTER FLÄMISCHER MEISTER um 1600 Titel: Heilige Familie. Technik: Öl auf Holz. Maße: 65,5 x 51,5cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Die Komposition der vorliegenden Tafel geht zurück auf eine heute verlorene Arbeit des Flamen Gerard David (um 1460 - 1523). Sie ist durch eine Zeichnung in der Wiener Albertina bekannt, die wiederum als Vorlage für eine kleine Reihe verschiedener Fassungen diente. Catheline Périer-D'Ieteren erwähnt in ihren Publikationen im Rahmen der Ausstellung in Genua "Dal Ritrovamento all'Indagine. Due Sacre Famiglie di ambito fiammingo a confronto: storia, iconografia, restauro" (2008) sowie in der Revue Belge d'Archéologie et d'Histoire de l'Art insgesamt fünf bekannte Versionen: neben der Wiener Zeichnung auch zwei Arbeiten in Museen in Genua und zwei weitere Fassungen, eine im Haggerty Museum of Art in Milwaukee, eine andere in Privatbesitz, welche 1902 in Brügge ausgestellt war und 2006 bei Christie's angeboten wurde. Allen gemeinsam ist der Bildaufbau mit der zentralen Madonna mit dem Kind auf dem Schoß, der Architektur im Hintergrund. Im linken Bereich ist dabei immer der schreinernde Joseph in einem Durchgang zu sehen; im Gegensatz zu den zitierten Versionen erscheint bei der hier vorliegenden Tafel Joseph vor einem Landschaftshintergrund und nicht vor einer Stadtansicht. Stilistisch dürfte die Tafel etwas später entstanden sein, so dass sich hier die Freiheit der Variation erklärt. Vgl. Literatur: C. Périer-D'Ieteren: Production d'Atelier et Exportation. Cinq Versions de Sainte Famille de l'Entourage de Gérard David. In: Revue Belge d'Archéologie et d'Histoire de l'Art LXXVII, Brüssel 2008, S. 27ff; C. Périer-D'Ieteren: Sainte Famille, Etourage de Gérard David - Prototype et Variantes. In: Ausst.Kat. "Dal Ritrovamento all'Indagine. Due Sacre Famiglie di ambito fiammingo a confronto: storia, iconografia, restauro", Museo Diocesano, Genua 2008, S. 9ff. Wir danken Peter van den Brink, Aachen, und Catheline Périer-D'Ieteren, Brüssel, für ihre freundliche Unterstützung bei der Katalogisierung der vorliegenden Arbeit. Erläuterungen zum Katalog Flämischer Meister Flandern Niederländische/ Flämische Schule Originale Religiöse Darstellung Altargemälde Madonna mit Kind FLÄMISCHER MEISTER FLEMISH MASTER ca. 1600 Title: Holy Family. Technique: Oil on wood. Measurement: 65,5 x 51,5cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. The composition of the present panel goes back to a work by the Flemish artist Gerard David (ca. 1460 - 1523), which is lost today. It is known from a drawing in the Vienna Albertina, which in turn served as the model for a small series of different versions. Catheline Périer-D'Ieteren mentions "Dal Ritrovamento all'Indagine. Due Sacre Famiglie di ambito fiammingo a confronto: storia, iconografia, restauro" (2008) as well as in the revue Belge d'Archéologie et d'Histoire de l'Art a total of five known versions: in addition to the Viennese drawing, two works in museums in Genoa and two additional versions, one in the Haggerty Museum of Art in Milwaukee, another in private ownership, which was exhibited in Bruges in 1902 and was offered for sale at Christie's in 2006. What they all have in common is the composition of the image with a central Madonna and Child on her lap, and architecture in the background. In the left-hand area, the carpenter Joseph is always seen in a passageway; in contrast to the versions quoted, Joseph appears in this panel against a landscape background rather than a city view. Stylistically, the panel was probably created somewhat later, so that the scope for variation is explained here. Cf. Literature: C. Périer-D'Ieteren: Production d'Atelier et Exportation. Cinq Versions de Sainte Famille de l'Entourage de Gérard David. In: Revue Belge d'Archéologie et d'Histoire de l'Art LXXVII, Brussels 2008, p. 27ff; C. Périer-D'Ieteren: Sainte Famille, Etourage de Gérard David - Prototype et Variantes. In: exhib. cat. "Dal Ritrovamento all'Indagine. Due Sacre Famiglie di ambito fiammingo a confronto: storia, iconografia, restauro", Museo Diocesano, Genoa 2008, p. 9ff. We are grateful to Peter van den Brink, Aachen, and Catheline Périer-D'Ieteren, Brussels, for their kind support in cataloguing the present work. Explanations to the Catalogue Flemish Master Flanders Old Masters Religious Art Altar piece Madonna with child

NIEDERLÄNDISCHER MEISTER NIEDERLÄNDISCHER MEISTER 16. / 17. Jh. Titel: Flucht nach Ägypten. Technik: Sepiazeichnung auf Papier. Montierung: Montiert. Maße: 18,5 x 26cm. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Niederländischer Meister Niederlande Niederländische/ Flämische Schule Handzeichnungen Religiöse Darstellung Zeichnung Leben Christi NIEDERLÄNDISCHER MEISTER DUTCH MASTER 16th / 17th C. Title: Flight into Egypt. Technique: Sepia drawing on paper. Mounting: Mounted. Measurement: 18,5 x 26cm. Provenance: Private ownership, Germany. Explanations to the Catalogue Dutch Master The Netherlands Watercolour / Drawings Religious Art Drawing Life of Christ

FLÄMISCHER MEISTER FLÄMISCHER MEISTER 16. Jh. Titel: Maria lactans. Technik: Öltempera auf Holz. Maße: 64,5 x 45cm. Rahmen/Sockel: Rahmen. Rückseitig: Auf der Tafel verschiedene Aufschriften, u.a. Inventarnummer des Wallraf-Richartz-Museums: W.R.M. 420, sowie maschinenschriftliche Notiz mit Zuschreibung an Dirck Bouts und Angaben zu Vorbesitzern. Provenienz: Sammlung Franz Ferdinand Wallraf, Köln; ab 1824 im Besitz der Stadt Köln; Verkauf 1926 über die Berliner Galerie Rochlitz; Privatbesitz, Deutschland. Erläuterungen zum Katalog Flämischer Meister Flandern Niederländische/ Flämische Schule Originale Religiöse Darstellung Andachtsbild Marienleben FLÄMISCHER MEISTER FLEMISH MASTER 16th C. Title: Maria Lactans. Technique: Oil tempera on wood. Measurement: 64,5 x 45cm. Frame/Pedestal: Framed. Verso: On the panel various inscriptions, including inventory number of the Wallraf-Richartz-Museum: W.R.M. 420, as well as typewritten note with attribution to Dirck Bouts and details of previous owners. Provenance: Franz Ferdinand Wallraf collection, Cologne; from 1824 property of the city of Cologne; Sold 1926 to the Berliner Galerie Rochlitz; Private ownership, Germany. Explanations to the Catalogue Flemish Master Flanders Old Masters Religious Art Devotional painting Life of Virgin Mary

JONSON VAN CEULEN, CORNELIS JONSON VAN CEULEN, CORNELIS 1593 London - 1661 Utrecht Titel: Zwei Gemälde: Kinderportraits. a) Portrait eines kleinen Mädchens im Alter von zwei Jahren. Öl auf Holz. 78 x 62cm. Datiert oben rechts: Aetatis Sua 2 mens 10 / 1629. Rahmen. b) Portrait eines Jungen im roten Kostüm. Öl auf Holz. 78,5 x 62cm. Datiert oben links: Atatis Sua 6 / 1629. Rahmen.. Rückseitig: a) auf der Tafel Etikett des Kunsthändlers Ellis & Smith, London. In der Datenbank des RKD, Den Haag unter den Abb.Nrn. 225485 und 225483 verzeichnet. Provenienz: Silver Vaults, London um 1920; Kunsthandel Lawrence Steigard, New York (TEFAF Maastricht 2009); Auktion Christie's, New York, 27.02.2010, Lot 51; Sammlung Prof. Dr. Thomas Olbricht, Essen. Cornelius Johnson van Ceulen zählt zu den bedeutendsten englischen Porträtmalern des 17. Jahrhunderts, obwohl seine Familie niederländischer Herkunft war und aus religiösen Gründen über den Ärmelkanal zog. Seine Porträts sind zahllos und stellen meist Bürger und Höflinge dar, jedoch gibt es auch Porträts mehrerer Könige von England, wie Charles I, Charles II und James II. Der Künstler wird von den Zeitgenossen beschrieben als einer der talentiertesten und produktivsten Porträtmaler, der in den 1620er und 1630er Jahren in England tätig war. Er war besonders akkurat in der Wiedergabe von Kleidung, was ihn zu einem Virtuosen auf diesem Gebiet machte. Die beiden vorliegenden Porträts von Kindern, deren Identität noch unbekannt ist, sind ein Beweis dafür. Erläuterungen zum Katalog Cornelis Jonson van Ceulen Niederlande Englische Schule Niederländische Schule 17.Jh. Originale JONSON VAN CEULEN, CORNELIS JONSON VAN CEULEN, CORNELIS 1593 London - 1661 Utrecht Title: Two Paintings: Children's Portraits. a) Portrait of a little two year old girl. Oil on wood. 78 x 62cm. Dated top right: Aetatis Sua 2 mens 10 / 1629. Framed. b) Portrait of a boy in a red costume. Oil on wood. 78,5 x 62cm. Dated top left: Atatis Sua 6 / 1629. Framed. Verso: a) on the plate label of the art dealer Ellis & Smith, London. Listed in the database of the RKD, Den Haag under the ill. nos. 225485 and 225483. Provenance: Silver Vaults, London ca. 1920; Art dealer Lawrence Steigard, New York (TEFAF Maastricht 2009); Auction Christie's, New York, 27.02.2010, lot 51; Collection Prof. Dr. Thomas Olbricht, Essen. Cornelius Johnson van Ceulen is one of the most important English portrait painters of the 17th century, although his family was of Dutch origin and moved across the English Channel for religious reasons. His portraits are countless and mostly depict citizens and courtiers, but there are also portraits of several kings of England, such as Charles I, Charles II and James II. The artist is described by his contemporaries as one of the most talented and prolific portrait painters who worked in England in the 1620s and 1630s. He was particularly accurate in the reproduction of clothing, which made him a virtuoso in this field. The two portraits of children whose identity is still unknown are proof of this. Explanations to the Catalogue Cornelis Jonson van Ceulen The Netherlands English School Dutch School 17th C. Old Masters

STAHL, FRIEDRICH STAHL, FRIEDRICH 1863 München - 1940 Rom Titel: Anbetung des Kindes mit der Heiligen Katharina und Barbara. Technik: Öl auf Leinwand. Maße: 50 x 40cm. Bezeichnung: Signiert und datiert unten rechts: Fried. Stahl / Roma 02. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Die vorliegende Szene der Anbetung des Kindes mit der Heiligen Katharina auf der linken und der Heiligen Barbara auf der rechten Bildseite vermittelt uns die Rezeption der vergangenen Epoche der Frührenaissance. Friedrich Stahl, der sich zunächst in Berlin impressionistischen Bildmotiven widmete, lernte während eines Aufenthalts in England die dortigen Präraffaeliten kennen, bevor er in Italien die Werke der großen Meister des 15. Jahrhunderts im Original studierte. Das vorliegende Gemälde verdeutlicht auf wunderbare Weise den an die vergangene Epoche des Quattrocentos angelehnten, individuellen Stil Stahls sowohl in dem streng komponierten Bildaufbau, der Wahl des Bildmotives als auch in der mystisch-verträumten Szenerie und dem Sinn für Stofflichkeit. Der hölzerne Originalrahmen mit seitlichen Tabernakeln als Teil des Werkes offenbart den "Arts And Crafts"-Gedanken, der seine Blütezeit Anfang des 20. Jahrhunderts in England feierte und die künstlerische Handarbeit wieder in den Vordergrund rückte. Im vorliegenden Werk wird die Frührenaissance somit nicht nur ausschließlich durch die Malerei, sondern auch durch den an diese Zeit angelehnten, aufwendig gestalteten Rahmen rezipiert. Erläuterungen zum Katalog Friedrich Stahl Deutschland Impressionismus Realismus 19./20. Jh. Gemälde Religiöse Darstellung Malerei Heiligendarstellung STAHL, FRIEDRICH STAHL, FRIEDRICH 1863 Munich - 1940 Rome Title: Adoration of the Child with St. Catherine and Barbara. Technique: Oil on canvas. Measurement: 50 x 40cm. Notation: Signed and dated lower right: Fried. Stahl / Roma 02. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. The present scene of the Adoration of the Child with St. Catherine on the left and St. Barbara on the right side of the image gives us the perception of the past epoch of the early Renaissance. Friedrich Stahl, who first devoted himself to Impressionist pictorial motifs in Berlin, met the Pre-Raphaelites there during a stay in England before he went to Italy to study the works of the great masters of the 15th century in the original. The present painting wonderfully illustrates Stahl's individual style, which is based on the past epoch of the Quattrocento, both in the strictly composed composition, the choice of motif, the mystically dreamy scenery and the sense of materiality. The original wooden frame with side tabernacles as part of the work reveals the "Arts And Crafts" idea, which celebrated its heyday in England at the beginning of the 20th century and brought artistic craftsmanship back to the foreground. In the present work, the early Renaissance is thus not only received exclusively through painting, but also through the elaborately designed frame, which is based on this period. Explanations to the Catalogue Friedrich Stahl Germany 19th/20th C. Paintings Religious Art Painting Saints

STOSS, VEIT STOSS, VEIT um 1447 Horb - 1533 Nürnberg Umkreis Titel: Mondsichelmadonna. Datierung: Um. 1500. Technik: Lindenholz. Fassung entfernt. Maße: 126cm.  Provenienz: Privatbesitz, Deutschland. Die sehr gut erhaltene Figur zeigt die Muttergottes stehend auf der Mondsichel, ein Hinweis auf die Offenbarung des Evangelisten Johannes, das Jesuskind auf ihrer linken Hand vor ihrer Brust haltend und mit der rechten Hand stützend. Das nackte Jesuskind wendet sich dem Betrachter zu. Es hält in der rechten Hand einen Apfel, Symbol des Sündenfalls als Hinweis auf die Erlösung der Menschheit durch seinen späteren Kreuzestod. Maria trägt über einem engen Kleid einen über ihre Schulter drapierten Mantel, den sie unter dem rechten Arm aufnimmt, wodurch dieser in langgezogenen Falten vor ihrem Körper fällt. Der Faltenwurf wird belebt durch knittrig aufwirbelnde, virtuos geschnitzte Partien. Marias Gesicht mit der hohen Stirn wird umrahmt von den breit ausfächernden Haaren, die in Strähnen vor dem Körper und in Wellen auf ihren Rücken herunterfallen. Ursprünglich wird die Figur die Mitte eines Altarschreines gebildet oder als Teil eines Marienleuchters im Kirchenraum gehangen haben. Die virtuos geschnitzte Plastik dürfte im Umfeld des großen Bildhauers Veit Stoß (1447-1533) in Nürnberg entstanden sein. Vor allem die Auflösung der Falten erinnert an den von Veit Stoss geprägten Stil der Nürnberger Plastik um 1500. Auf dessen Umfeld verweist auch das zarte Gesicht der Maria. Wir danken Guido de Werd, Köln, für seine freundliche Unterstützung bei der Katalogisierung der vorliegenden Arbeit. Erläuterungen zum Katalog Veit Stoss Deutschland 15./16. Jh. Skulpturen Religiöse Darstellung Skulptur Madonna mit Kind STOSS, VEIT STOSS, VEIT ca. 1447 Horb - 1533 Nuremberg Circle Title: Woman of the Apocalypse. Date: ca. 1500. Technique: Lime wood, frame removed. Measurement: 126cm.Provenance: Private ownership, Germany. The very well preserved figure shows Our Lady standing on the crescent moon, a reference to the Revelation of the Evangelist John, holding the Child Jesus on her left hand in front of her breast and supporting her with her right hand. The naked baby Jesus turns to the viewer. She holds an apple in her right hand, a symbol of the Fall of Man as a reference to the redemption of mankind through his later death on the cross. Mary wears a cloak draped over her shoulder over a tight dress, which she takes up under her right arm, causing it to fall in elongated folds before her body. The drapery is enlivened by crumpled, virtuously carved parts. Maria's face with the high forehead is framed by the broadly spreading hair, which falls in strands in front of the body and in waves onto her back. Originally the figure will have been the centre of an altar shrine or hung as part of a Marian chandelier in a church. The virtuosic carving is thought to have been created in the surroundings of the great sculptor Veit Stoß (1447-1533) in Nuremberg. The dissolution of the folds in particular is reminiscent of the style of Nuremberg sculpture around 1500, which was influenced by Veit Stoss, and to whose surroundings the delicate face of the Virgin Mary also refers. We are grateful to Guido de Werd, Cologne, for his kind support in cataloguing the present work. Explanations to the Catalogue Veit Stoss Germany 15th/16th C. Sculptures Religious Art Sculpture Madonna with child

FLÄMISCHER MEISTER FLÄMISCHER MEISTER 1. H. 17. Jh. Titel: Ecce Homo. Technik: Öl auf Kupfer. Maße: 40,5 x 29,5cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Flämischer Meister Flandern Niederländische/ Flämische Schule Originale Leben Christi Malerei Religiöse Darstellung FLÄMISCHER MEISTER FLEMISH MASTER 1st half of the 17th century Title: Ecce Homo. Technique: Oil on copper. Measurement: 40.5 x 29.5cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. We are grateful to Guido de Werd, Cologne, for his kind support. Explanations to the Catalogue Flemish Master Flanders Old Masters Life of Christ Painting Religious Art

SCURI, ENRICO SCURI, ENRICO Bergamo 1806 - 1884 Titel: Adam und Eva. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 142,5 x 107cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Italien. Erläuterungen zum Katalog Enrico Scuri Italien Romantik 19.Jh. Originale Religiöse Darstellung Malerei Altes Testament SCURI, ENRICO SCURI, ENRICO Bergamo 1806 - 1806 Title: Adam and Eve. Technique: Oil on canvas. Mounting: Relined. Measurement: 142,5 x 107cm. Frame/Pedestal: Framed. Provenance: Private ownership, Italy. Explanations to the Catalogue Enrico Scuri Romanticism 19th C. Old Masters Religious Art Painting Old Testament

NIEDERLÄNDISCHER MEISTER NIEDERLÄNDISCHER MEISTER 17. Jh. Titel: Das Wunder von Haarlem. Mönch und Nonne. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 106 x 83cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Eine mögliche Deutung der Darstellung verweist auf die Legende, nach der in Haarlem eine Nonne einer verborgenen Schwangerschaft beschuldigt wurde. Der Mönch, der mit der Überprüfung beauftragt wurde, betastete die Brust der Frau; doch anstatt Milch floss Wein, der das jungfräuliche und fromme Leben der Nonne bewies. Das hier gezeigte Gemälde geht auf die seitenverkehrte Darstellung von Cornelisz van Haarlem aus dem Jahr 1591 zurück, die heute im Haarlemer Frans-Hals-Museum ausgestellt ist. Erläuterungen zum Katalog Niederländischer Meister Niederlande Niederländische/ Flämische Schule Originale Religiöse Darstellung Malerei Paare NIEDERLÄNDISCHER MEISTER DUTCH MASTER 17th C. Title: The Wonder of Haarlem. Monk and nun. Technique: Oil on canvas. Mounting: Relined. Measurement: 106 x 83cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. A possible interpretation of the depiction refers to the legend that a nun in Haarlem was accused of a secret pregnancy. The monk who was charged with the investigation palpated the woman's breast; but instead of milk, wine flowed, proving the nun's virgin and pious life. The painting shown here dates back to the laterally reversed depiction by Cornelisz van Haarlem from 1591, which is now exhibited in the Frans-Hals Museum in Haarlem. Explanations to the Catalogue Dutch Master The Netherlands Old Masters Religious Art Painting Couples

FLORENTINER MEISTER FLORENTINER MEISTER um 1550 Titel: Madonna mit Christusknaben. Technik: Öl auf Holz. Montierung: Parkettiert. Maße: 55,5 x 46cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Wir danken Antonio Geremicca, Lüttich, für seine Unterstützung bei der Katalogisierung des vorliegenden Gemäldes. Erläuterungen zum Katalog Florentiner Meister Italien Originale Religiöse Darstellung Andachtsbild Marienleben FLORENTINER MEISTER FLORENTINE MASTER ca. 1550 Title: Madonna with Christ Child. Technique: Oil on wood. Mounting: Parquetted. Measurement: 55,5 x 46cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. We are grateful to Antonio Geremicca, Lüttich, for the kind support in cataloguing the present painting. Explanations to the Catalogue Florentine Master Old Masters Religious Art Devotional painting Life of Virgin Mary

ALPENLÄNDISCHER MEISTER ALPENLÄNDISCHER MEISTER um 1500 Titel: Heiliger Florian. Technik: Weichholz, polychrom gefasst. Fassung bestoßen, Lanze verloren auf Maße: 100cm. Erläuterungen zum Katalog Alpenländisch Skulpturen Religiöse Darstellung Skulptur Heiligendarstellung ALPENLÄNDISCHER MEISTER ALPINE MASTER ca. 1500 Title: St. Florian. Technique: Softwood, polychrome painting. Setting bumped, lance lost on Measurement: 100cm. Explanations to the Catalogue Alpenländisch Sculptures Religious Art Sculpture Saints

PESCHEL, CARL GOTTLIEB PESCHEL, CARL GOTTLIEB Dresden 1798 - 1879 Titel: Ruhe auf der Flucht. Die Heilige Familie bei der Rast. Technik: Aquarell über schwarzem Stift auf Papier. Montierung: Kaschiert. Maße: 22 x 28,5cm. Bezeichnung: Signiert und datiert unten rechts: C.(lig.) Peschel / 1872. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Die vorliegende, aquarellierte Zeichnung zeigt in eine strengen frontalen Komposition das neutestamentlich Motiv der Heiligen Familie bei der Rast. Der 1847 an der Kunstakademie Dresden zum Professor berufene Künstler Carl Gottlieb Peschel verbrachte 1825/26 ein Jahr in Rom und schloss sich dort durch seinen engen Freund und Kollegen Julius Schorr von Carolsfeld der Künstlergruppe der Nazarener an. Ziel dieser deutschsprachigen, in Rom und Wien tätigen Künstler war die anfangs antikademisch-fortschrittliche Haltung und Erneuerung der Kunst im Geiste des Christentums. Auch wenn Peschel nur ein Jahr in Rom verbrachte und die vorliegende Zeichnung laut der Signatur im Jahr 1872 entstand (und somit beinahe 50 Jahr nach seiner prägenden Zeit in Rom sowie sieben Jahr vor seinem Tod), sind die Einflüsse der Nazarener Schule anhand der mittelalterlichen Formensprache und lieblichen Ikonographie deutlich ersichtlich. Erläuterungen zum Katalog Carl Gottlieb Peschel Deutschland Nazarener Dresdener Schule 19.Jh. Handzeichnungen Religiöse Darstellung Aquarell Marienleben PESCHEL, CARL GOTTLIEB PESCHEL, CARL GOTTLIEB Dresden 1798 - 1879 Title: Rest on the Flight. The Holy Family resting. Technique: Watercolour over black pen on paper. Mounting: Mounted. Measurement: 22 x 28,5cm. Notation: Signed and dated lower right: C.(lig.) Peschel / 1872. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. The present watercoloured drawing shows in a strict frontal composition the New Testament motif of the Holy Family at Rest. 1847 Carl Gottlieb Peschel was appointed professor at the academy of arts in Dresden. 1825/26 he spent one year in Rome, where he joined the Nazarene group of artists through his close friend and colleague Julius Schorr von Carolsfeld. The aim of these German-speaking artists, who worked in Rome and Vienna, was the initially anti-academic and progressive attitude and renewal of art in the spirit of Christianity. Even though Peschel only spent one year in Rome and the present drawing, according to the signature, was created in 1872 (almost 50 years after his formative period in Rome and seven years before his death), the influences of the Nazarene school are clearly evident in the medieval formal language and lovely iconography. Explanations to the Catalogue Carl Gottlieb Peschel Germany Nazarene Dresden School 19th C. Watercolour / Drawings Religious Art Water color Life of Virgin Mary

SEHR SELTENE FIGUR DES AVALOKITESHVARA. SEHR SELTENE FIGUR DES AVALOKITESHVARA. Herkunft: Ostindien, Orissa. Datierung: 11. Jh. Technik: Schwarzer Basalt, detailreich geschnitzt. Beschreibung: Der Bodhisattva des Mitgefühls, Avalokiteshvara, der in mehr als 30 verschiedenen ikonographischen Formen dargestellt werden kann, sitzt hier in einer vierarmigen Form in entspannter Haltung (lalitasana) auf einem hohen Doppellotusthron, der von großen profilierten Säulen getragen wird. Ein himmlischer Girlandenträger schwebt ehrfurchtsvoll auf jeder Seite seines Kopfes. Die Miniaturabbildung von Buddha Amitabha auf der Vorderseite der Haarkrone (jatamukuta) identifiziert die vorliegende Skulptur mit Heiligenschein eindeutig als Avalokiteshvara, gehörend zur von Buddha Amitabha geführten Lotos-Familie. Der Rosenkranz (mala) in seiner rechten oberen Hand und das Wassergefäß (kamandalu) in seiner linken unteren Hand sind typische Attribute. Die Tatsache, dass er zwei Attribute in seiner linken oberen Hand hält, ist ungewöhnlich, jedoch sind diese für Avalokiteshvara charakteristisch: Der Lotos (padma), das häufigste Attribut von Avalokiteshvara, und die Schlinge (pasha), die er benutzt, um Hindernisse auf dem Weg zur Erleuchtung zu beseitigen. Seine untere rechte Hand, in segensreicher Geste (varada mudra), zeigt auf einen schrecklichen Höllenbewohner (suchimukha), der im unteren Teil kauert und den Avalokiteshvara mit dem Nektar göttlicher Barmherzigkeit speist und damit sein grenzenloses Mitgefühl für alle Geschöpfe zum Ausdruck bringt. Die zentrale Figur wird von zwei kleinen, vierarmigen Bodhisattva mit Kopfnimbus flankiert, von denen jeder auf einem separaten Lotusthron sitzt. Im Sockelteil befinden sich Utensilien der religiösen Verehrung, nämlich eine Muscheltrompete, ein lotosförmiges Räuchergefäß und eine Öllampe. Maße: Höhe 58cm, Breite 37cm, Tiefe 13cm. Provenienz: Europäische Privatsammlung. Erläuterungen zum Katalog Asiatika - Südostasien 11. Jahrhundert Buddhistische Kunst Skulptur Indien SEHR SELTENE FIGUR DES AVALOKITESHVARA. VERY RARE BLACK SCHIST FIGURE OF AVALOKITESHVARA. Origin: East India, Orissa. Date: 11th c. Technique: Black schist, carved with detail. Description: The Bodhisattva of compassion, Avalokiteshvara, who can be depicted in more than 30 different iconographic forms, sits here in a four-armed form in relaxed posture (lalitasana) atop of a high double lotus throne supported by large profiled columns. A celestial garland bearer hovers reverentially on each side of his head. The miniature image of Buddha Amitabha on the front of the hair crown (jatamukuta) clearly identifies the present haloed sculpture as Avalokiteshvara, belonging to the Lotus Buddha family headed by Buddha Amitabha. The rosary (mala) in his upper right hand, and the water vessel (kamandalu) in his lower left hand are typical attributes. The fact that he holds two attributes in his upper left hand, is unusual, but they are both very distinctive for Avalokiteshvara: the lotus (padma), Avalokiteshvara`s most common attribute, and the noose (pasha), which he uses to remove impediments to enlightenment. His lower right hand, performing the boon-granting gesture (varada mudra) is pointing towards a hideous denizen of hell (suchimukha) cowering in the base section, whom Avalokiteshvara feeds with the nectar of divine mercy, thus expressing his boundless compassion for all creatures. The central figure is flanked by two small, four-armed haloed Bodhisattvas, each of them sitting on a separate lotus throne. The base section features utensils of religious worship, namely a conch trumpet, a lotus-shaped incense burner, and an oil lamp. Measurement: Height 58cm, width 37cm, depth 13cm. Provenance: European private collection. Explanations to the Catalogue Asian Art - Southeast Asia 11th century Buddhist art Sculpture India

C. 2000-700 BC, Luristan culture. A Luristan cast bronze mace head with a domed end, and a cylindrical body featuring neat rows of spikes running horizontally down the piece alternating with a meandering snake motif. The head terminates in a flaring, rounded socket. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, mace heads, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. A mace head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines. Superb condition, mounted on custom-made stand.Size: L:157mm / W:50mm ; 625g; Provenance: Private Kent collection, formed in the 1980-90s on the UK art market.

C. 100-300 AD. Roman. A heavy bronze armilla bracelet with rectangular section and sub-elliptical, recurved terminals. Armillae were armband style bracelets awarded as a military decoration. The rank of the soldier in question determined the metal from which the bracelet was made either gold, silver or bronze. These bracelets were not for everyday wear, but were occasion pieces worn at special military and civic events suchs a triumphs, religious ceremonies and games. Superb condition.Size: L:60mm / W:72mm ; 27g; Provenance: Private Kent collection, formed in the 1980-90s on the UK art market.

c. 2000-1000 BC, Amlash culture. Bronze anthropomorphic amulet of a female figure, probably a goddess, show in profile, with her arms by her sides. She appears to wear a heavy dress which flows a far as her ankles; a thick belt runs around her waist. A round suspension loop is visible on the reverse. The Amlash culture refers to an assortment of historic materials and periods in Northern Iran, enduring for many centuries. This item may attest to religious practice in Amlash culture societies. Good condition; professionally restrung; Size: L:75mm / W:50mm ; 28.6g; Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

C. 2000-700 BC, Luristan culture. A Luristan cast bronze mace head with a domed tip, globular body and conical neck; the body is covered in numerous projecting spikes. The head terminates in a flaring, rounded socket. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, mace heads, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. A mace head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines. Superb condition with a beautiful patina; mounted on custom-made stand.Size: L:70mm / W:89mm ; 650g; Provenance: Private Kent collection, formed in the 1980-90s on the UK art market.

C. 1000-800 BC, Celtic Bronze Age. Bronze axe head with short curved blade, elongated, cylindrical cheek with a single rib running around the outside and a reinforced, flaring socket. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, axe heads, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. A mace head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines. Excellent condition; mounted on custom-made stand.Size: L:45mm / W:105mm ; 340g; Provenance: Obtained from a B.C.F; previously in a collection formed in the 1980s on the UK art market.

C. 2000-700 BC, Luristan culture. A Luristan bronze axe head with a crescentic blade, narrow cheek and rounded socket with sub-rectangular flanges. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, axe heads, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. A mace head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines. Superb condition with a beautiful patina; mounted on custom-made stand.Size: L:92mm / W:105mm ; 375g; Provenance: Property of a North London professional; previously acquire on the UK/European art market in the 1980s.

C. 2000-700 BC, Luristan culture. A Luristan cast bronze mace head with a pointed tip, cylindrical body featuring four neat rows of spikes running horizontally down the piece. The head terminates in a reinforced, rounded socket. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, mace heads, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. A mace head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines. Superb condition, mounted on custom-made stand.Size: L:140mm / W:45mm ; 590g; Provenance: Obtained from a L.F; previously in a collection formed in the 1980s on the UK art market.

C. 2000-700 BC, Luristan culture. A Luristan cast bronze macehead with cylindrical body which flares at both top and bottom. About one third from the top of the piece is a melon-shaped, ribbed bulge. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, mace heads, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. A mace head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as mace heads were common votive offerings in shrines. Superb condition, mounted on custom-made stand.Size: L:160mm / W:45mm ; 250g; Size: L:160mm / W:45mm ; 250g ; Provenance: Obtained from a B.F; previously in a collection formed in the 1990s on the UK art market.

C. 2000-700 BC, Luristan culture. A Luristan cast bronze mace head with a pointed tip, cylindrical body featuring four neat rows of spikes running horizontally down the piece. The head terminates in a reinforced, rounded socket. Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, maceheads spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. A macehead such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as maceheads were common votive offerings in shrines. Superb condition, mounted on custom-made stand.Size: L:81mm / W:65mm ; 32g; Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s.

C. 100-300 AD. Roman. A bronze armilla bracelet with rectangular section and sub-elliptical, recurved terminals. Armillae were armband style bracelets awarded as a military decoration. The rank of the soldier in question determined the metal from which the bracelet was made either gold, silver or bronze. These bracelets were not for everyday wear, but were occasion pieces worn at special military and civic events suchs a triumphs, religious ceremonies and games. Superb condition.Size: L:60mm / W:72mm ; 30g; Provenance: Private Kent collection, formed in the 1980-90s on the UK art market.

Roughly translated, 'thangka' means 'recorded message' in Tibetan, and is an ancient form of Buddhist art that originated around the 11th century. Thought to serve as a teaching and meditation tool for religious scholars, thangka paintings are usually vertically oriented scrolls crafted on silk or cotton fabric, like this one. Size: 44 1/2 x 35 1/2 in.