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"Begin the Begin", framed abstract graphic image, numbered 31/99 and signed Agam lower right. Yaacov (Gibstein) Agam is known for religious and environmental themed sculpture, kinetic and optical art. He is one of the best-known artists Israel has produced. His work can be divided into three categories: contrapuntal paintings that change color and form as the viewer moves; transformable objects that contain elements whose patterns can be altered by the viewer; and tactile constructions that vibrate, move or give off sound when touched. Agam uses a palette of up to 180 colors for any given painting--so many hues that few photographs can reproduce the fine gradations in shade.Overall size: 22 1/2 x 22 3/4 in. Sight size: 13 1/2 x 13 3/4 in. Please note that all sales are final. No refunds will be given under any circumstances.

C. 2nd millennium BC. Ancient Central Asia, Indus Valley. 2nd millennium BC. A  pair of ceramic zebus. These zebu figurines feature  exaggerated crescent horns, and each has a large crest at the shoulders. One is fawn coloured and painted with stripes on the horns, back and rump, dotted shoulders, and a dark ring around the neck. The second is ochre coloured and is decorated with diagonally orientated stripes applied at random intervals. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull, with its hump and powerful horns, is a recurring motif in the Indus Valley, appearing on painted pottery like this example but also on figurines and stamps. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Excellent condition. Size: L:set of2:55mm(smallest),75mm(largest)mm / W:70mm,100mm ; 140g. Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent.

C. 386-534 AD. Northern Wei Dynasty. A painted brick featuring a painted Buddha within an arched recess. The Buddha sits with crossed legs, his right hand raised and his left hand resting on one knee, facing upwards. This gesture, known as the Abhaya Mudra symbolises fearlessness. It shows the stage of the Buddha’s life immediately after he achieved enlightenment. The Buddha’s robes are carefully picked out in red and green, while his hair is painted jet black. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, many of a religious nature, as this brick exemplifies. Excellent condition. Size: L:350mm / W:170mm ; 6kg. Provenance: From the private collection of a Cambridgeshire gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.

C. 3rd millennium BC. Indus Valley Civilisation. Terracotta-coloured vessel with a flattened globular body. The exterior features painted decoration depicting a sitting lion on one side and a zebu bull with characteristic hump and curving horns on the other. They are separated by stylised geometric vegetation and framed by a simple upper and lower linear border. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull, with its hump and powerful horns, is a recurring motif in the Indus Valley, appearing on painted pottery like this example but also on figurines and stamps. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition. Size: L:100mm / W:170mm ; 805g. Provenance: From an old British collection, acquired on the UK art market in the 1990s.

C. 224 to 651 AD. Sassanian. Bronze vessel with rounded, open neck, egg-shaped upper body tapering into an elongated lower body which ends in an almond-shaped terminal. A circular perforation on the upper portion of the body is flanked by two almond-shaped bosses and framed by an upper and lower band of raised decoration. The Sassanian empire which ruled from Afghanistan to Iraq during the third to seventh centuries AD is famed for the high quality of its ceremonial metalware, which was used both during banqueting and during religious rituals. Excellent condition; beautiful patina. Size: L:260mm / W:90mm ; 865g Provenance: Important London collection of Ancient art; formed in 1970-80s then passed by descent.

c. 1000 BC. Luristan Culture. Bronze rhyton with conical body and bull-head terminal, including well-modelled facial features, including deep, incised eyes and long, curving horns. A pair of legs are still preserved near the rim of the vessel; the remains of another pair of legs are preserved below the head. A rhyton is a roughly conical container from which fluids were intended to be drunk or to be poured, whether as part of a religious ritual or during feasting. Excellent condition; beautiful patina. Size: L:200mm / W:95mm ; 430g Provenance: Private London collection, formed in the 1980-90s on the UK and European art market.

C. 2000-700 BC. Luristan Culture. A Luristan cast bronze axe-head comprising a curved blade and, a ridged cheek and five elongated five spikes at the poll (back). Bronze weaponry production flourished from the 2nd millennium BC to about 700BC when it was gradually replaced by iron. Swords, axes, maces, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual context. An axe-head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as axe-heads were common votive offerings in shrines across Western Asia. Superb condition, on a custom-made stand. Size: L:70mm / W:174mm ; 555g Provenance: Private London collection, formed in the 1970s on the UK and European art market.

C. 386-534 AD. Northern Wei Dynasty. A brick featuring a painted Buddha within an arched recess. The Buddha sits with crossed legs, his right hand raised and his left hand resting on one knee, facing upwards. This gesture, known as the Abhaya Mudra symbolises fearlessness. It shows the stage of the Buddha’s life immediately after he achieved enlightenment. The Buddha’s robes are carefully picked out in red, he is backed by a green halo and his hair is painted jet black. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, many of a religious nature, as this brick exemplifies. Excellent condition. Size: L:350mm / W:180mm ; 6.3kg Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent.

C. 386-534 AD. Northern Wei Dynasty. A brick featuring three painted Buddhas within an arched recess. All three Buddhas are wear red robes, and sit cross legged atop a green carpet, and against a blue background. All three hold their hands resting in their laps, with the back of the right hand leaning against the pal of the left. This is the Dhyana Mudra, or gesture of Dhyana, which symbolises wisdom. The Buddha used this gesture during his final meditation just before he attained enlightenment. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, many of a religious nature, as this brick exemplifies. Excellent condition. Size: L:163mm / W:340mm ; 6.3kg Provenance: Property of a North London professional; previously acquire on the UK/European art market in the 1970s.

C. 386-534 AD. Northern Wei Dynasty. A painted brick featuring a painted Buddha within an arched recess. The Buddha sits with crossed legs, his right hand raised and his left hand resting on one knee, facing upwards. This gesture, known as the Abhaya Mudra symbolises fearlessness. It shows the stage of the Buddha’s life immediately after he achieved enlightenment. The Buddha’s robes are carefully picked out in red, he is backed by a circular yellow halo backed by a larger, blue almond-shaped halo and his hair is painted jet black. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, many of a religious nature, as this brick exemplifies. Excellent condition.Size: L:347mm / W:182mm ; 5.8kg Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1970s.

C. 3rd millennium BC. Indus Valley Civilisation. Cream-coloured pottery zebu bull figurine with painted black details. The bull features curved horns and humped shoulders characteristic of the Zebu, elongated bodies and short, squat legs. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull is a recurring motif in Indus Valley art, appearing in figurines like these but also on ceramic vessels. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Excellent condition. Size: L:90mm / W:115mm ; 200g Provenance: Private London collection, formed since the 1970s on the UK and European art market.

C. 3rd millennium BC. Indus Valley Civilisation. Pair of brown pottery bull figurines with painted black details. The bulls feature curved horns and humped shoulders characteristic of the Indian cattle, elongated bodies and short, squat legs. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull is a recurring motif in Indus Valley art, appearing in figurines like these but also on ceramic vessels. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Good condition. Size: L:set of 2: 50mm(smallest),70mm(largest)mm / W:87mm(smallest),92mm(largest)mm ; 150g Provenance: Property of a London gallery, previously in old British collection formed in the 1980s.

C. 3rd millennium BC. Indus Valley Civilisation. Cream-coloured vessel with a curving shoulder, and carinated body. The exterior features painted decoration in black, red and green depicting a sitting lion on one side and a zebu bull with characteristic hump and curving horns on the other. They are separated by stylised geometric vegetation and framed by a simple upper and lower linear border. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull, with its hump and powerful horns, is a recurring motif in the Indus Valley, appearing on painted pottery like this example but also on figurines and stamps. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition.Size: L:83mm / W:143mm ; 385g Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

Ca.4000 BC. Western Asiatic. delicate incised lines in a series of gemotric patterns. Stone idols are attested across the vast expanses of Western Asia from the Caspian Sea to Afghanistan, including ancient Bactria. Their precise meaning remains elusive, but the many hours of labour required for their manufacture makes it clear they were prestige items, perhaps used during religious ceremonies. Excellent condition. Size: L:140mm / W:70mm ; 740g. Provenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market formed in the 1970s.

C. 500-300 BC. Bactrian. Alabaster stone idol head. This gorgeous object comprises a bald male head with large ears, prominent brown, large, almond-shaped eyes, a prominent nose, full lips and a strong chin; on a custom stand. Idols of this kind may reflect religious belief in higher powers, whether an unidentified deity or in ancestors who are still able to exert their will on the world of the living. Ancient Bactria was a region of Central Asia, north of the Hindu Kush mountains and south of the Tian Shan range. Bactria was a diverse and rich region, ruled by a successive of oppressive overlords, including the Persian Empire, Alexander the Great and his successors, but at the same time it developed its own rich and distinctive artistic culture. Excellent condition; on a custom stand. Size: L:105mm / W:90mm ; 1.1kg. Provenance: Private Kent collection, formed in the 1980-90s on the UK art market.

2000-700 BC, Luristan culture. A pair of two bronze maceheads. The first macehead comprises a tubular shaft topped with a six-pointed star molded in the round, with the sharp arms pointing outward. The second comprises a tubular shaft adorned with five rows of pyramidal spikes facing outwards. Bronze weaponry production flourished from the 2nd millennium BC to about 700BC 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. Size: L:set of two: 85mm / W:45mm(smallest),65mm(largest)mm ; 795g. Provenance: Private London collection, formed since the 1970s on the UK and European art market.

2000-700 BC, Luristan culture. A cast bronze mace head with a tubular shape and a bulbous midsection. The mace head comprises a tubular upper section which leads to a protruding midsection adorned with pyramidal protruding spikes. The lowermost tubular section of the macehead is delineated above and below by incised decorative lines. Bronze weaponry production flourished from the 2nd millennium BC to about 700BC 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. Size: L:130mm / W:47mm ; 370g. Provenance: Private Kent collection, formed in the 1980-90s on the UK art market.

3000-2000 BC. Bactrian. Beautiful alabaster idol with a truncated conical form, flat base and circular perforation near the apex. The object is carefully finished to accentuate the cream-coloured stone’s beautiful natural veining. Alabaster idols are attested across the vast expanses of Western Asia from the Caspian Sea to Afghanistan, including ancient Bactria. Their precise meaning remains elusive, but the many hours of labour required for their manufacture makes it clear that they were prestige items, perhaps used during religious ceremonies. Excellent condition.Size: L:210mm / W:192mm ; 10.1kg. Provenance: Important London collection of Ancient art; formed in 1970-80s then passed by descent.

ca. 4000 BC. Bactrian. A beautiful straight sided, flat bottomed bowl with a flattened rim. This beautiful vessel is lavishly carved with a repeating pattern of a lion killing a smaller mammal. Such an elegant and carefully-made object may have been used to carry out ceremonies or make religious offerings to the gods. Superb condition. Size: L:95mm / W:167mm ; 2.3kg. Provenance: From an old British collection, acquired on the UK art market in the 1990s.

C. 3rd millennium BC. Indus Valley Civilisation. Cream-coloured pottery bull figure with painted black details. The bull features the curved horns characteristic of Indian cattle, strong, expressive facial features and short, squat legs. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull is a recurring motif in Indus Valley art, appearing in figurines like this one but also on ceramic vessels. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Excellent condition. Size: L:85mm / W:133mm ; 335g. Provenance: Property of a London gallery, previously in old British collection formed in the 1970s.

C. 3rd millennium BC. Indus Valley Civilisation. Cream-coloured pottery bull figures with painted black details. The bulls, one slightly larger than the other, features the long, curved horns and humped shoulders characteristic of Indian cattle, elongated bodies and short, squat legs. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull is a recurring motif in Indus Valley art, appearing in figurines like these but also on ceramic vessels. The animals may represent the leaders of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Excellent condition. Size: L:set of2: 56mm(smallest),70mmmm / W:84mm,88mmmm ; 165g. Provenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1990s.

An imperial painting of a Vajraheruka 'twenty-one' deity mandalaTibeto-Chinese, Qianlong Period, circa 1750-1763 Distemper on cloth, inscribed on upper and lower border, with original silk mounts. 74cm (29 1/8in) high x 55.5cm (21 7/8in) wide; with silk mounts: 134cm (52 6/8in) high x 75cm (29 1/2in) wide.Footnotes:清乾隆，約1750-1763年 御製金剛鬘二十一尊壇城唐卡The vibrant composition is decorated with auspicious figures arranged around a lotus blossom within the walls of a palace, all above a large lotus with flaming border with flying garland-bearers, all set within a mountainous landscape interspersed with flowing streams and vaporous ruyi clouds, silk mount.Inscribed on the silk ribbon: ཉེར་དགུ་'Twenty-one' Inscribed along the top edge and on top of silk ribbon: རྡོ་རྗེ་འཕྲེང་བའི་དཀྱིལ་འཁོར་ཉེར་དགུ་པ་རྡོ་རྗེ་ཁྲག་འཐུང་ལྷ་ཉེར་གཅིག་གི་དཀྱིལ་འཁོར།།'Twenty-one deity mandala of Dorjé Trantung (Vajraheruka), the 29th mandala of the Vajrāvalī'.Inscribed along the lower edge: ལྕང་སྐྱ་སྤྲུལ་སྐུ་རིན་པོ་ཆེས་ཐིག་སོགས་ཀྱི་བཀོད་པ་གནང་ནས་རྒྱལ་སྲས་བཅུ་གཉིས་པ་ཡུན་ཐོའུ་གྱི་ལྷག་བསཾས་དག་པས་ཕུལ་པའི་རྡོར་ཕྲེངགི་དཀྱིལ་འཁོར་ ཉེར་དགུ་པ་རྡོ་རྗེ་ཁྲག་འཐུང་ལྷ་ཉེར་གཅིག་གི་དཀྱིལ་འཁོར།།'Twenty-one deity mandala of Dorjé Trantung (Vajraheruka), the 29th mandala of the Vajrāvalī offered by the twelfth prince Yuntou gyi Lhaksem Dakpa (Yintao) after a design bestowed by the Changkya Trülku Rinpoché. This remarkable painting would have been part of a larger set of probably forty-four paintings depicting the mandalas of the Vajravali compendium. In place of the deities are depictions of the main attributes of Vajraheruka, the deity to when this work was dedicated. Compositions such as the present example are known as 'symbol mandalas' and are equal in meaning and function to mandala paintings that depict all of the figures described in the elaborate Tantric ritual.According to the inscription located at the bottom of the painting, the present mandala was commissioned by the twelfth prince Yintao.According to contemporary records, Yintao spent his adolescence between Beijing and the various retreats and palaces around the capital. In the later phase of his life, he presided over various ceremonial and bureaucratic offices. When the issue arose of who would be the successor of his father and infighting took place within the Imperial household, Yintao and several of his brothers were demoted when Prince Yinzhen rose to become the Yongzheng emperor (r. 1722-1735). Following Yongzheng's death, Yintao regained some of his previous titles under the rule of his nephew, the Qianlong emperor (r. 1735-1796). See P.Berger, Empire of Emptiness: Buddhist Art and Political Authority in Qing China, Honolulu, 2003, pp.186-187. Changkya Rolpa'i Dorje (1717-1786) was raised in the Qing court and became the most important Buddhist figure in Beijing. At a young age, he was recognized as the next incarnation of the Changkya lineage, which was based at the Gönlung Jampa Ling, a Gelugpa monastery in Amdo. The monastery was eventually destroyed by the Qing forces when some of its residents rose up in rebellion against the Chinese court in 1724. Changkya was however invited back to Beijing, where he was raised within the court and instructed in Buddhist studies alongside Yongzheng's son, Prince Hungli, who later became the Qianlong emperor.In 1734, when Rolpa'i Dorje returned to Tibet to accompany the 7th Dalai Lama from his visit to Beijing, he travelled to Shigatse, where he studied under the Panchen Lama and was ordained as a full monk. Following the death of the Yongzheng emperor in 1736, he returned to Beijing where he was put in charge of the Buddhist affairs in the capital. There he served as religious preceptor to the Qianlong emperor. Throughout his career, Rolpa'i Dorje exerted great influence on the relations between the Qing court and the Buddhist institutions in Tibet. He advised Qianlong to recognise the Dalai Lama as the spiritual and secular leader of Tibet. This means led to the promotion of the Gelug sect over other Tibetan Buddhist schools. Rolpa'i Dorje had an active role in recognizing the next incarnation of the Dalai Lama in 1757, following the death of the seventh leader. He also encouraged the Panchen Lama to visit Beijing for an official audience with Qianlong in 1779. For the occasion, a set of paintings depicting the previous incarnations of the Panchen Lama were commissioned.The presence of Rolpa'i Dorje in Beijing led to a great development of Tibetan Buddhism within the capital. In 1741, the religious leader began to translate the Sutra on Iconometry (in Chinese, called Zaoxiang liangdu), together with Gonpokyab, a Mongolian monk. Laying out the methods for designing Buddhist images, the text became the standard for religious artists working in the Imperial court.A very similar 18th century mandala, inscribed with very similar inscriptions as the present lot and believed to originate from the same set as the present example, was sold at Christie's New York, 16 September 2014, lot 288.For further information on this lot please visit Bonhams.com

A large limestone Buddhist steleEastern Wei Dynasty or later The stele of pointed arched form, carved in high relief with a figure of Shakyamuni Buddha standing in the centre flanked by two bodhisattvas, his right hand raised in the peace-giving gesture abhaya mudra, the left lowered to his side, clad in long and thin robes falling over the shoulders and looping across the body in multiple folds, the head framed by a circular halo decorated with multiple whorls, all beneath a smaller seated figure of Amithaba Buddha flanked by six flying apsaras, stand. 96cm high (37 6/8in) high (2).Footnotes:東魏或更晚 背屏式佛菩薩三尊造像Provenance: Nakanishi Bunzo, Kyoto, possibly by inheritance from his father Nakanishi Bunzo, who was chief assistant at the Kyoto branch of Yamanaka & Co., by reputeJames Freeman, KyotoAn important American private collection, acquired from the above in 2002來源：傳為日本京都Nakanishi Bunzo舊藏，或繼承自其父，原山中商會京都分部首席助理，Nakanishi Bunzo日本京都James Freeman舊藏重要美國私人收藏，於2002年購自前者Richly carved with a vibrant scene of veneration, encapsulating Buddhist compassion and celestial quality, the present carving encapsulates the emergence of stone steles as an important Buddhist sculptural medium in Chinese history. Holding his right hand in abhaya mudra, signifying reassurance, the Buddha conveys to the worshippers that they may receive the divine blessings. According to the 'Lotus Sutra', the apsaras are the protectors of the Buddha and of doctrine. These creatures were frequently portrayed in Buddhist cave temples from at least 420 and grew in popularity during the late Northern Wei and Eastern Wei periods. See The Return of the Buddha: The Qingzhou Discoveries, London, 2002, p.84.The origins of Buddhist steles are traceable to two major historical events, both documented at the Buddhist cave temple sites of Yungang and Longmen (386-534), which occurred during the last two decades of the fifth century: the emergence of Buddhist devotional societies and the first espousal of tablets for Buddhist use. See D.C.Wong, Chinese Steles. Pre-Buddhist and Buddhist Use of a Symbolic Form, Honolulu, 2004, p.43.Steles played an important role in the development of regional religious art. During the Northern Wei dynasty, state-sponsorship of Buddhism enabled the rapid spread of the religion throughout Northern China. At this time, Buddhist voluntary groups affiliated to local temples and organised by laymen became the main patrons of Buddhist steles which commemorated the group's religious, social, and territorial identity. The relative ubiquity of the medium employed to manufacture steles, and their small size, prompted a multitude of regional workshops, many of which developed their own style using the monumental cave temple carvings as a basis. Compare the stylistic features of the present stele with a related one, dated by inscription to the Eastern Wei (534-550), from the Cleveland Museum, of Art, Ohio, illustrated in J.A MacLean, 'A Buddhist Trinity', in The Bulletin of the Cleveland Museum of Art, vol.11, no.3, 1914, pp.2-3. Similarities can be noted in the serene expressions of the figures, fullness of their bodies and style of drapery as well as the modelling of the apsaras flying above the central figures.A related inscribed limestone Buddhist stele, Eastern Wei dynasty, was sold at Sotheby's New York, 20 March 2018, lot 202.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A painted and lacquered wood 'dragon' storage chestTibet, 17th/18th centuryDecorated to the front with a quatrefoil panel enclosing a writhing dragon holding an offering tray of precious jewels and grasping a flaming pearl amongst dense scrolling peonies, on a floral brocade pattern ground, within cusped foliate corner panels and a floral borer reserved on red ground. 51cm (20.2in) high x 38.5cm (15 1/8in) deep x 102.5cm (40 3/8in) wideFootnotes:Compare with an almost identical storage chest, possibly the pair, in 'Light of Compassion - Buddhist Art From Nepal and Tibet', Spink & Son Ltd., 1997, p.85, no. 50.As noted by Luca and Camilla Corona (Wooden Wonders: Tibetan Furniture in Secular and Religious Life, Chicago, 2004, p. 48) during the time of stability within Tibet during the rule of the Fifth Dalai Lama (late 17th century) trade and relations with the Manchu rulers of China flourished, 'Gifts flowed in from Mongol and Manchu patrons, and Chinese brocades became the predominant source of inspiration for the design vocabulary of the boxes, which were in turn used to store the same brocades'.For an example of a storage chest mounted with Ming Period brocade panels, see 'Heavens Embroidered Cloths - One Thousand Years of Chinese Textiles', Urban Council of Hong Kong, 1995, pp.194-195.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Guru Gobind Singh by Bodhraj, 1986oil on canvas, signed and dated '86 lower right 60.5 x 45 cm.Footnotes:ProvenanceAcquired from the family of the artist.Dhoomimal Art Centre, New Delhi (remains of label to reverse).The prolific popular contemporary artist Bodhraj is well known for his many paintings and illustrations for various publications, calendars and magazines. Besides depictions of the Sikh Gurus, he has painted religious figures such as Sant Kabir, Swami Ramanand, Bhagat Namdev', 'Bhagat Ravidas, Baba Sheikh Farid and Baba Buddha.For further information on this lot please visit Bonhams.com

Five paintings depicting dervishes of various orders Delhi, circa 1835gouache on paper, each with Persian identifying inscription in nasta'liq script in lower border, later English translations in pencil paintings approximately 173 x 110 mm.; leaves approximately 304 x 196 mm.(5)Footnotes:ProvenanceChristie's, Art of the Islamic and Indian Worlds, 26th April 2012, lot 354 (eight paintings).The subjects are as follows:A Brahman yogi.A Sannyasi.A bhakit or tiliya-raja.A Dadu-Panthi.A Bairagi.These five paintings are from the same group of thirty paintings, probably intended for an album (lots 354-357 in the above mentioned sale). They were executed in Delhi in imitation of works commissioned by Colonel James Skinner, founder of the two regiments of Skinner's Horse. He composed a number of texts in Persian, including Tashrih al-aqvam, which dealt with the myriad sects and castes found in India, both religious figures and tradespeople. These paintings, of which there were 110, were produced circa 1825. For examples of two, and a discussion of the album, see J. P. Losty, M. Roy, Mughal India: Art, Culture and Empire, London 2012, pp. 225-226, figs. 159 and 160.For further information on this lot please visit Bonhams.com

Ragheb Ayad (Egyptian 1892-1982)The processionMixed mediaSigned and dated c. 1948 lower right39.5 x 55.5cm (15½ x 21¾ in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present ownerRagheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots xx-xx come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and farmers. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he became director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. A small tear to the right hand edge approx. 15cm up from the bottom. Surface scratch to the upper right quadrant with an associate hole. Another surface scratch to the upper edge. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)The water carriersMixed mediaSigned and dated c. 1962 lower left36.5 x 52.5cm (14¼ x 20½ in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. In original condition. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)The water carriersMixed mediaSigned and dated c. 1965 lower right69 x 49cm (27 x 19¼ in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)The ceremonyMixed mediaSigned and indistinctly dated c. 19?? lower right69 x 49cm (27 x 19¼ in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. Surface scratches throughout, a number of tears to the left edge with holes to the upper left and upper right corners. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)The Holy supperMixed mediaSigned and dated c. 1966 lower left69 x 49cm (27 x 19¼ in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)Three holy men in a landscapeMixed mediaSigned and dated c. 1965 lower right49 x 69cm (19¼ x 27 in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet and handling creases. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)Three figures and a childMixed mediaSigned and dated c. 1961 lower right48.5 x 33.5cm (19 x 13 in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: In original condition. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)The musicians Mixed mediaSigned and dated c. 1960 lower right49 x 69cm (19¼ x 27 in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)Unloading the cart Mixed mediaSigned and dated c. 1964 lower right49 x 69cm (19¼ x 27 in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)The camel ride Mixed mediaSigned, inscribed Cairo and dated 1977(?) upper right31 x 23cm (12 x 9 in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Undulation to the sheet, caused by the watercolour. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)Oxen Mixed mediaSigned and dated c. 1965 lower left49 x 69cm (19¼ x 27 in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)The sword fightMixed media54.5 x 34.5cm (21¼ x 13½ in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. In original condition. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)Baba IIMixed mediaSigned and dated c. 1964 lower right49 x 69cm (19¼ x 27 in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. Surface scratches with associated hole to the top of the right edge. Condition Report Disclaimer

SWAROVSKI BROOCH IN ORIGINAL BOX, AN ART NOUVEAU STYLE BROOCH, A COSTUME BROOCH WITH FACETED STONES IN BOX, AND A RELIGIOUS PENDANT

A Plaster Cast from an 'Elgin Marbles' panelThe Procession - Block XLIV, South FriezeThe cast depicting a cow being led for sacrifice by three youths: A copy of Block XL from the South frieze of the Parthenon showing a religious procession for the Panathenaic festival, commemorating the birth of the goddess Athena. 107 wide, 104cm high (42in wide, 40 1/2in high) Footnotes:ProvenanceExecuted and produced in 1995, from the collection of casts in the hallway of Edinburgh College of Art.For further information on this lot please visit Bonhams.com

**PLEASE NOTE THIS LOT SHOULD READ** DAVID ROBERTS, RA (SCOTTISH, 1796 -1864) A COLLECTION OF 7 FRAMED LITHOGRAPHS FROM THE NUBIA SERIES by LOUIS HAGUET comprising: 1. The sanctuary of the Great Temple of Aboo-Simbel, Nubia, 25.5 x 32 cm 2. Fragments of the Great Colossi at the Memnomium, 35 x 51 cm 3. Entrance to the Great Temple of Aboo Simbel, Nubia (cover plate), 49 x 35 cm 4. Temple of Wady Saboua, Nubia, 27 x 36 cm 5. The Colossus in front of the Temple of Wady Saboua, Nubia 36 x 26 cm 6. Excavated Temple of Gyrsche, Nubia, 25 x 20 cm 7. Temple of Tafa in Nubia, 26 x 37 cm Together with a collection of six lithographs by Henry Pilleau (BRITISH 1813-1899) from his 'Sketch in Egypt' series 8. Ruins at Luxor, 25 x 40 cm 9. Temple and Propylaea on the Island of Philae, 27 x 39 cm 10. Interior of the Great Hall of Karnak, 1845, 25 x 35 cm 11. The Colossi of Memnon, Thebes, 27 x 38 cm 12 Obelisk and Propylaea at Luxor (Thebes), Nubia, 32 x 26 cm 13. Temple of Edfou 24 x 35 cm 13. Edfou , 25 x 40 cm Roberts was a Scottish painter who was known for his prolific series of lithographs of Egypt and Near Asia. The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia were a comprehensive travelogue of 19th century. Louis Haghe, produced 250 lithographs based on Roberts' watercolour sketches. Roberts began travelling in the area in the late summer of 1838, sailing to Alexandria. For eleven months he travelled along the Nile, across deserts and mountains, arriving in Palestine in February 1839. From Gaza he travelled to Jerusalem, and continued north into Lebanon. He returned to England at the end of 1839 after falling ill. Roberts was the first professional artist to visit the Near East without a patron or a connection to a military expedition or missionary group. The work was first published as a subscription service between 1842 - 1849 as two separate publications which were accompanied by historical textual notes. Queen Victoria was an early subscriber to the series and her complete set is housed in the Royal collection. It exceeded all other lithographic projects of the period in terms of scale and as one of the most expensive publications of the 19th century. It was considered an art-publishing sensation of the mid-Victorian age and is considered to be amongst the most pervasive and lasting depictions of the East in Western society. As John Ruskin wrote they make true portraiture of scenes of historical and religious interest. They are faithful and laborious beyond any outlines from nature I have ever seen. (Ruskin, Praeterita: outlines of scenes and thoughts, perhaps worthy of memory in my past life, G. Allen, Orpington, 1886 -1900, p.34) The series can be seen, with its depiction of ruins, statues and temples some which no longer exist, as an important document of the time and people who lived there. In particular his series of Nubia which depicts views of ancient statues of Memnon and excavation sites of temples such as at Gyrsche and Aboo Simbel. It cannot be denied that Roberts translated the area into a picturesque landscape which was suited to the Western gaze. Societies of the mid-19th century had keen interest in the Near East, with all things Egyptian particularly in vogue. There was a fascination in Britain and mainland Europe for the antiquities and people were keen to purchase works inspired by the great temples and monuments of Pharaohs. One must also remember these works came out before there was any photographic documentation of the ancient sites and thus served as some of the earliest topographical depictions of the areas. It is believed that Roberts' work from the series 'The Temple at Dendur, Nubia' may even have influenced the actual temple's preservation in the 1960s. Niamh Corcoran, September 2020

2000-1000 BC, Bronze Age, Amlash or Luristan. Bronze ritual axe head with curved blade, flaring head, circular socket with ribbed decoration and curved projection on the axe poll. The head is topped with a styled animal, probably a tiger, depicted in silhouette. This ornamental addition probably reflects the ritual nature of this axe, which may have used during the ritual sacrifices or other religious ceremonies common in Bronze Age societies. Good condition; on a custom stand. Size: L:70mm / W:170mm ; 430g; Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.

C. 1-300 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:68mm ; 34g; Provenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market formed in the 1980s.

C. 2000-700BC, Luristan culture. A Luristan cast bronze mace head with a tubular shape and a protruding spheroid midsection. The upper portion of mace head, just anterior to the spheroid section is decorated with two incised horizontal lines. The midsection comprises a spheroid shape made from a series of vertically orientated, raised ridges which taper lower down to reunite with the weapon's tubular base. The base itself is ornamented with a single raised band and a gently flaring rim. Bronze weaponry production flourished from the 2nd millennium BC to about 700BC 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:170mm / W:40mm ; 250g; Provenance: From an old British collection, acquired on the UK art market in the 1980s.

C. 2000-700BC, Luristan culture. A Luristan cast bronze mace head with a tubular shape and a protruding spheroid head. The upper portion of mace head, just anterior to the spheroid section is decorated with a raised horizontal rib which delinates the spheroid section from the uppermost portion of the weapon. The spheroid head comprises a series of vertically orientated, raised ridges which taper lower down to reunite with the weapon's tubular base. The lower section is delinated by another raised horizontal band which marks the boundary of the lower part of the tublar shaft. The weapon terminates with a further series of three raised horizontal bands. Bronze weaponry production flourished from the 2nd millennium BC to about 700BC 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:110mm / W:35mm ; 290g; Provenance: From an old British collection, acquired on the UK art market in the 1980s.

C. 1-300 AD. Roman. A heavy bronze armilla bracelet with rectangular section and sub-square flattened 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:53mm / W:66mm ; 26g; Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent.

ca. 2000 BC; Egyptian. A large crème coloured steatite bowl comprising a deep squat body, a flat circular base and a thick out-turned rim. This bowl is made even more beautiful by the stone’s natural striations. Steatite, or soapstone, was used to create a variety of objects typical of the Egyptian world. Steatite was so favoured because it was possible to carve elaborate shapes in the soft stone. The carved object could then be dipped in a silica-based glaze and fired to making it harder and thereby suitable for religious of domestic use. This technique allowed the ancient Egyptians to make beautiful vessels such as this one which were sturdier than glass or ceramic, but could take more fantastical shapes. Excellent condition. Size: L:100mm / W:155mm ; 1.2kg; Provenance: From the private collection of a Kent gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.

Ca. 1-300 AD Roman. A beautiful bronze patera comprising a deep body, with incised concentric circles decorating the base, a rounded rim, and a protruding, flaring handle, decorated with incised concentric circles around a perforation for hanging. A patera is a broad dish usually made of bronze, and typically used as a sacred libation vessel during religious events. Though the patera could also be used in the domestic sphere for the preparation or serving of food items. Excellent Condition. Size: L:200mm / W:105mm ; 270g; Provenance: Private London collection, formed since the 1980s on the UK and European art market.

Greek. A shallow bronze phiale with a broad rim and 7 almond shaped impressions arranged around a central rondel to create a stylised floral motif. This phiale would have been used by ancient Greeks during religious ceremonies as vessel from which to pour a libation - an offering of wine for the gods. The wine was typically diluted with water and then poured onto an alter during, or shortly after the worshipper had completed their prayer. Excellent Condition. Size: L:40mm / W:160mm ; 310g; Provenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1980s on the UK / European art markets.

Ca. 350 BC. Ancient Greek. A black figure ware Apulian Krater with pedestal foot, cylindrical stem, inverted bell-shaped body and two lug handles. The painted scenes show two female figures, one seating, one standing, apparently at a party or religious ceremony (the seated figure may be sitting on an altar); they are framed by an upper and lower border of waves and flanked by vegetal motifs. Kraters like this one would have been used for mixing wine at drinking parties, making the scene depicted especially appropriate for such occasions. Excellent condition. Size: L:340mm / W:370mm ; 3.8kg; Fully authenticated with a TL test. Provenance: From the private collection of a Kent gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.

CA. 100 BC - 100 AD. Western Asiatic. Beautiful cream alabaster figurine of a standing male. The figure, who wears a loose tunic, holds his hands by his side, and appears to be barefoot. He sports a carefully-defined chin-strap beard and neatly-kept hair. The identity of the individual is unclear but it is likely that such an intricate item reflects religious beliefs. Excellent condition.Size: L:260mm / W:95mm ; 3.5Kg; Provenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1970s.

CA. 2000 BC; Egyptian. A crème coloured steatite jar comprising a gently flaring body, a flat base and a thick slightly out-turned rim. This jar is made even more beautiful by the stone’s natural striations. Steatite, or soapstone, was used to create a variety of objects typical of the Egyptian world. Steatite was so favoured because it was possible to carve elaborate shapes in the soft stone. The carved object could then be dipped in a silica-based glaze and fired to making it harder and thereby suitable for religious of domestic use. This technique allowed the ancient Egyptians to make beautiful vessels such as this one which were sturdier than glass or ceramic, but could take more fantastical shapes. Good condition. Size: L:90mm / W:70mm ; 880g; Provenance: Property of a North London professional; previously acquire on the UK/European art market in the 1980s.

CA. 2000 BC Egyptian. A large crème coloured steatite bowl comprising a carinated body, a flat base and a thin slightly out-turned rim. This bowl is made even more beautiful by the stone’s natural striations. Steatite, or soapstone, was used to create a variety of objects typical of the Egyptian world. Steatite was so favoured because it was possible to carve elaborate shapes in the soft stone. The carved object could then be dipped in a silica-based glaze and fired to making it harder and thereby suitable for religious of domestic use. This technique allowed the ancient Egyptians to make beautiful vessels such as this one which were sturdier than glass or ceramic, but could take more fantastical shapes. Good condition.Size: L:65mm / W:120mm ; 730g; Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1970s.

CA. 100 BC - 200 AD; Western Asiatic. Beautiful cream alabaster figurine of a standing female, looking to one side. The veiled figure, who wears a loose tunic, holds her hands clasped in front of her and stands on a plinth with lettering. The identity of the individual is unclear but it is likely that such an intricate item reflects religious beliefs. Excellent condition.Size: L:245mm / W:80mm ; 2kg; Provenance: From the private collection of an Essex gentleman; previously in an old British Collection, formed in the 1980s on the UK / European art markets.

Western Asiatic. Beautiful cream stone figurine of a prancing ram, with large, curving horns and stylised facial features. The precise significance identity of the animal is unclear, but it is likely that such an intricate item reflects religious beliefs, as rams are often imbued with divine powers in pre-modern societies. Excellent condition.Size: L:135mm / W:65mm ; 2.4kg; Provenance: Private collection of a London gentleman; previously in a collection formed on the UK/International art market in the 1970s.

2000-700 BC, Luristan culture. A cast bronze mace head with a tubular shape. The mace head is decorated with a collection of almond-shaped knobs framed above and below by three raised bands with incised decorative lines. Bronze weaponry production flourished from the 2nd millennium BC to about 700BC 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; beautiful patina; on a custom stad. Size: L:105mm / W:40mm ; 215g; Provenance: From an old British collection, acquired on the UK art market in the 1990s.

Two naive folk art 17th/18thC. continental paintings on gesso panels of religious interest, 16.5in x 11.875in & 15.375in x 11.875in respectively

China A collection of works Hug, E. Souvenirs of a Journey through Tartary, Tibet and China, during the years 1844, 1845 and 1846. Peking: Lazarist Press, 1931. New edition, 2 volumes, 8vo; The People of China... London: The Religious Tract Society, [n.d.] 12mo, folding map (torn), contemporary red morocco gilt, upper cover detached, lower cover lacking; Maillart, Ella K. Forbidden Journey from Peking to Kashmir. London: William Heinemann Ltd., [1937]. 8vo, original teracotta cloth gilt; Snow, Edgar Living China. London: George G. Harrap & Co. Ltd., [1937]. Second edition, 8vo, original orange cloth; [Idem] Scorched Earth. London: Victor Gollancz Ltd., 1941. 8vo, original blue cloth, a little dampstaining; Williams, C.A.S. Outlines of Chinese Symbolism and Art Motives. Shanghai: Kelly and Walsh, Limited, 1932. Second edition, 8vo, original green cloth gilt; Weale, B.L. Putnam Manchu and Muscovite. London: Macmillan and Co. Ltd., 1907. 8vo, original red cloth gilt; MacNair, Harley Farnsworth Modern Chinese History, selected readings. Shanghai: The Commercial Press, Limited, 1933. 8vo, original blue cloth gilt; and a quantity of others, sold not subject to return (34)

dating: late 17th Century provenance: Austria, In yellow silk, adorned with red, undulated hem, ending with two tips. Oil-painted cartouches on both facets, of excellent manufacture, portraying: St. John the Baptist on the front; Saint Gertrude on the back. Formerly reinforced by a net support. Fretwork mounted inside the two plexiglass plates. Some antique restores and tearing. Flags and banners of this era are of great rarity.Two extremely similar specimens went up for auction in the sale of the American Art Association, 'European Arms and Armor mainly XV-XVI-XVII centuries including Princely Provenience' New York, 1926 lot. 131 and 132 illustrated with the following note:The two following banners are not designed only for religious processes as in the case of flags of various confraternity, but are Austrian 'Horse Banner' which served to display heraldic emblems, or to picture a religious device of the family. They decorated the great hall of the castle and were borne by state guards on occasion of ceremony or in war. Specimens of this kind have rarely preserved and rarely, indeed, find their way to public sale. dimensions 100 x 150 cm.