§ PETER HOWSON O.B.E. (SCOTTISH B.1958) LEERINGSigned, pastel (Dimensions: 27.5cm x 20cm (10.75in x 8in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.
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§ GEORGES ROUAULT (FRENCH 1871-1958) TETE DE JEUNE FILLE (FROM VERVE VOL. II MAGAZINE) - 1939Lithograph, published by Verve, signed in stone, with another image verso, unframed (Dimensions: 35.5cm x 26.5cm (14in x 10.5in), full sheet)Biography: Rouault is a hugely important French artist most often associated with Fauvism and Expressionism. Born of poor parents, as a fourteen-year-old Rouault began an apprenticeship as a glass restorer and painter and it has been suggested that this early training is a likely source for his characteristic use of heavy black outlining and strong colours. After studying in Paris Rouault took part in major public exhibitions such as the Salon D’Automne and made friends with many of the avant-garde artists of the time, notably Matisse and Marquet. From 1907 Rouault began a series of paintings devoted to courts, clowns and prostitutes and then from 1917 he dedicated himself to religious subject matter. A noted print maker, his work reached a wider audience through his published work and our example is a lithograph produced by the well-regarded magazine Verve. His work is to be found in every major Art Gallery worldwide and his reputation protected by the Georges Rouault Foundation.
§ PETER HOWSON O.B.E. (SCOTTISH B.1958) BETRAYALSigned and dated 2003, charcoal and coloured pastel on brown paper (Dimensions: 39cm x 29cm (15.5in x 11.5in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.
Shannon Stirnweis (B. 1931) "Missions of the West" Signed lower right. Original Oil on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting appeared in the Fleetwood Trails West Collection of Fine Art Prints as "Missions of the West" published in 1983. Spain's expansion in the New World was marked by the founding of many new churches in western America. Soldiers and priests had rallied to explore the wastelands and mountain ranges, then subdue, baptize and train the Indians. Docile tribes were gathered into missions ... self-contained communities guided by religious zeal. Not only were these missions a way of life, they were a Spanish formula for ruling an empire that spanned thousands of miles over two continents. By 1630, missions dotted the Southwest. San Diego de Alcala Mission, California's first mission, was founded by Father Junipero Serra on July 16, 1769. With a handful of priests and thousands of Indians he overcame naked hills and stony deserts to turn a wilderness into rich, fertile farmland. Indeed, fifty years later, twenty-one missions stretched from San Diego to north of San Francisco Bay. Spaced about a day's journey apart, they formed links in El Camino Real, commonly known as The King's Highway. The Indian converts of each mission lived communally ... working forty hours a week as farmers, soapmakers, weavers, masons, or herders ... and celebrated 130 holy days a year. Under the direction of the priests, fields were irrigated and golden grain shimmered. Paintings and religious artifacts were collected and libraries grew while the priests taught music and learned dozens of dialects to spread their message. Image Size: 18 x 20.75 in. Overall Size: 19.5 x 22.5 in. Unframed. (B06262)
§ THOMAS WHALEN (1903-1975) DANCING FIGURES, CIRCA 1930 marble panel, inscribed with monogram (Dimensions: 48.5cm x 68cm)(48.5cm x 68cm)Footnote: Note: Thomas Whalen was born in Leith, Edinburgh, and studied sculpture at Edinburgh College of Art. He worked mainly in wood and stone, carving relief works for churches and public buildings as well as private commissions. Influenced by Eric Gill, Ivan Mestrovic, Carl Milles, as well as French and medieval sculpture, Whalen carried out a number of religious commissions, as well as work for schools, civic venues and power stations. There are works by Whalen in public collections in Aberdeen, Edinburgh and Bolton and he exhibited at the RSA from 1930-76, was elected ARSA in 1940, and RSA in 1954.
Ca.1200 AD. Amazing wearable Crusaders Silver Ring depicting star of Bethlehem. The Star of Bethlehem is a religious motif that combines Christian and Pagan symbolism- Birth of Christ and war( Four pointed Star of God Mars). Good Condition; D:18mm/L:25mm; UK P US 8; 8g; Provenance: Property of a North London collector, previously acquired in the 1980s on the Brirtish art Market.
Ca.400-500 AD. An amazing wearable, Early Medieval religious ring formed by a round hoop with a conical bezel depicting dove and star. Fine condition; wearable; D:17mm/L:21mm; UK N US 6/5; 5.7g; Provenance: Property of a London art expert; previosuly in an old British collection formed in the 1980s/90s.
Ca.600-800 AD. A gold round section hoop with attached round bezel; the bezel engraved with two nimbate saints around a central cross.Beautiful religious artifact; possibly owned by a priest or bishop. Fine condition, wearable; D:17mm; UK N US 6/5; 3.4g; Provenance: Private British collection of Ancient art; formed since the 1990s.
Charles Wollaston (British 1914-1992) The Sermon on the mount Oil on canvas Signed verso, titled to artist's label verso 115 x 152.5cm (45¼ x 60 in.) Provenance: The Royal Academy Exhibition (label attached verso) Charles Wollaston trained at the Slade School of Art and in later life was art lecturer at the Bogr College of Education. He is perhaps best kwn for having established the 'Charles Wollaston Award', an award given to the most distinguished work in the Royal Academy Summer Exhibition. In 1978, the prize was worth £1,000, and it is w £25,000, one of the largest art prizes in the UK.The present work is undoubtedly one of Wollaston's most accomplished as an artist. Its clear affinity with the work of Sir Stanley Spencer root it firmly in the tradition of post World War II religious and narrative painting. Its subtle tones clearly echo Spencer's frescoes and large scale tableaux.
A pine Santos figure, Spanish or Italian, mid-19th century, the head sensitively carved and painted over a waisted torso, articulated arms and a frame base, 108cm high Santos figures are religious art forms, largely found in Spain and Spanish colonies, which could be dressed for religious festivals.
2nd century BC-2nd century AD. An iconic Pagan sculpture securely dated to the Irish Celtic Period of 200 BC-200 AD, this large and imposing carved sandstone head was modelled from a substantial hemispherical boulder; the elegantly simplistic facial features comprise convex lentoid eyes flanking a rectangular flat nose, above a horizontal slit mouth with a suggestion of cheeks; the current owner, James Moore, has written about the various scholars that viewed it prior to his acquisition at auction: 'the head was viewed prior to the auction by many people experienced in these matters. They included Dr Patrick Wallace, director of the National Museum of Ireland and his staff; Dr Richard Warner former director of the Ulster Museum; eminent archaeologist and author Dr Peter Harrison; Professor Etienne Rynne, author of Celtic Stone Idols in Ireland in the Iron Age in the Irish Sea Province (available on the web"). All of the above gave favourable opinions, concurring with Dr Lacy's view. I have in my possession an exhibition catalogue of Celtic stone sculpture with an introduction by Martin Retch held by Karsten Schubert & Rupert Wace Ancient Art Ltd. in London 1989. There were eleven stone heads in this exhibition but in my opinion none of them had the qualities / provenance of the Ballyarton Head'; provided with a custom-made iron hoop stand for display. See Ross, A. Pagan Celtic Britain, London, 1967 for overview of the iconography of pre-Christian Britain and Ireland; Rynne. E. Figures from the Past, Studies on Figurative Art in Christian Ireland in Honour of Helen M. Roe, Dublin, 1987. 63 kg, 46 x 36cm including stand (18 x 14"). From the private collection of James Moore; acquired from Whyte’s Auctions 23 April 2010, lot 1 (front cover piece); formerly the property of Mr Pinkerton, Castlerock, County Derry; found by his father in the 1930s while repairing a stone wall in the Ballyarton Area of Claudy in the Sperrin Mountains, County Derry, Northern Ireland; accompanied by: a hand-written letter of the owner discussing the piece and its history; a copy of the relevant Whyte’s Auction catalogue pages with report by Kenneth Wiggins (MIAI, BA and an MPhil in archaeology), archaeologist and author; an original copy of an article on the item in the Irish Times newspaper (dated 1 May 2010); an original photograph of the head by Pinkerton when sited in his garden in 1976, inscribed as such to the reverse; original hand written correspondence with Dr Brian Lacy, Director of the Discovery Program and of The New University of Ulster, dating it to the period 200BC to 200AD (dated 29 July 1976), original signed correspondence with Craig McGuicken of the Heritage & Museum Service for Derry City Council requesting a loan of the object for display at the Tower Museum (affiliated to the Ulster Museum of N. Ireland); and with an orginal letter from Matt Seaver of the Irish Antiquities Division, National Museum of Ireland, dated 8 November 2019, showing interest in acquiring the head but suggesting that it be offered to the Ulster Museum first who were under-bidders in 2010. The subject of the iconography of pre-Christian stone heads is explored in Ross (1967, p.115ff) alongside the difficulty of establishing accurate dating for this artefact type. Stylistically, the Irish group of stone heads demonstrate a simplicity and economy of line which suggest an origin in the Iron Age (Rynne, 1987"). Professor Rynne is one of the 'many people experienced in these matters' who had the opportunity to view the head before the Whyte's auction in 2010, alongside Dr. Patrick Wallace (director, National Museum of Ireland), Dr. Richard Warner (former director of the Ulster Museum) and Dr. Peter Harbison, the eminent archaeologist. The opinion of this group agreed with that of a previous researcher, Dr. Brian Lacy, who wrote to the then owner of the piece in 1976 that '[t]hese heads normally occur in craft schools and on the basis of this example [and another from Alla townland nearby] it may be possible to identify a 'school' in the Claudy area.' It was Lacy who suggested a date range '200 BC to 200 AD' for the head. Professor Ian Armit has written several books and papers on the significance of the 'severed head' motif in Celtic (Iron Age) culture. In Death, decapitation and display? The Bronze and Iron Age human remains from the Sculptor's Cave, Covesea, north-east Scotland, Cambridge, 2011; and later in Headhunting and the Body in Iron Age Europe, Cambridge, 2012, he demonstrates that the human head carried symbolic associations with power, fertility, gender, and other social factors in the context of the Iron Age in Europe. The range of evidence for beheading and the subsequent curation and display of severed heads includes classical literary references, vernacular iconography and the physical, skeletal remains of the victims of this custom. The idea has arisen of a head-cult extending across most of Continental Europe and the islands of the North Atlantic including the British Isles. This notion is in turn used to support the idea of a unified and monolithic 'Celtic culture' in prehistory. However, head-veneration was seemingly practised across a range of Bronze Age and Iron Age societies and is not necessarily linked directly to the practice of head-hunting (i.e. curation of physical human remains"). The relations between the wielders of political power, religious authority and physical violence were more nuanced than a simple reading of the literary and physical evidence would suggest. The stone heads of Ireland are an enduring expression of this strong association between the human body and the numinous powers of the intellect. Fine condition. An important Irish antiquity, of a type very rarely in private ownership.
Mid 11th-mid 12th century AD. A Western Middle Age double-edged iron sword, from Central Europe, of Petersen type X-Oakeshott type Xa, with tapered pattern-welded blade and narrow fullers, parallel-sided lower guard, long tang and 'tea-cosy' or mushroom-shaped pommel of B1 type; the pommel is in excellent state of preservation with some small areas of light pitting; the hilt is plain, widening towards the lower guard; the crossguard (Oakeshott style 1) is formed from a tapering bar of iron, crudely pierced to take the robust tang; the blade with inlaid S inside a circle; battle nicks to both sides, the blade showing signs of corrosion to the cutting edges; the tip of the blade absent. See Petersen, J., De Norske Vikingsverd, Oslo, 1919; Oakeshott, E.,The archaeology of weapons, arms and armour from the Prehistory to the Age of Chivalry, Woodbridge, 1960 (1999); Geibig A., Beiträge zur morphologischen Entwicklung des Schwertes im Mittelalter, Neumünster 1991; Aleksi?, M., Mediaeval Swords from Southeastern Europe, materials from 12th to 15th century, Beograd, 2007; a splendid example of this type in the Museum of Archaeology at Cambridge, its maker's name was Constaininus, which is inlaid in the bold straggling letters of the Viking Age, with the religious invocation similarly inlaid on the reverse (Oakeshott, 1960 (1999), p.204); the recent work of Dr. Aleksi? on the swords found in the territories of Southeastern Europe has put some light on the presence of such category of sword also found in the Balkans: a parallel with our sword is a specimen found in the river Sava near Bosanska Gradiška, northern Bosnia, today in the National Museum Bosnia and Herzegovina (inv. nr.6894), dated to the 11th century (Aleksi?, 2007, pl.9.1, cat.297); Aleksi?, who used the Oakeshott classification, noted as among the earlier specimens of swords of type X in the Eastern Europe prevailed the Type A pommels (Aleksi?, 2007, cat. nos. 55, 56, 297, 298, 349) in comparison to the Type B (Aleksi?, 2007, cat. nos.61, 299, 346) but among the later swords were much more frequent those with Type B pommels (Aleksi?, 2007, cat. nos.67, 84, 96, 131, 135, 182, 183, 228, 229, Pl. 13:1, 287, 295, 350, 346) in comparison to the type A (Aleksi?, 2007, cat. nos.16, pl.1:1 81?, 147, 288, 342, pl.11:1, 344?"). 631 grams, 76cm (30").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato.The sword's inlay allows the possibility to date it to the later period of the employment of this typology. The presence of inscriptions or symbols, like the letter S for SANCTVS (Saint), shows the definitive passage to the Christianity of the signs incised on the main chivalry weapon, the sword (gladius"). The work of Dr. Aleksi? points out a very important element, ie. the possibility that such swords were also produced in centres of the Eastern Europe. Moreover, in the territories of Balkans, there are specimens of type X with different pommels from those that are typical. For instance a sword from Slovakia (Aleksi?, 2007, cat.55) shows a blade of type X, and a pommel of type A. The inscription on this blade (INGEL(RII)) is the same as on two swords from Bosnia (the mentioned one, and a second one in Aleksi?, 2007, pl.9.2, cat.298"). All these swords, despite having considerably longer cross-guard should all be dated to the 11th century. The practice of mounting later pommels and cross-guards on the earlier blades could confuse in some cases when dating of such finds is concerned as it is the case, for instance, with the sword found in the Murtensee lake, near the mouth of river Broye, around twenty kilometers to the southwest of Bern (Aleksi?, 2007, Fig.20"). It has the blade of Type X and short hilt and cross-guard but also the pommel of Type Na (Aleksi?, 2007, p.23 and fig.1), which is at least a century later. The confusion in dating is also supported by other details, like the length or the width of the fullers. There are slender specimens, classified as type XIII from Geibig, with blades so conspicuously tapering towards the point that they would better correspond to the Oakeshott Type Xa. Usually, in such blades, the fuller is relatively long, around three quarters of the blade length and moderately wide (1.2-1.4cm").Fine condition.
1st-2nd century AD. A small bronze swing handled situla with lathe turned designs on the body, arched handle with nicely shaped lugs, bronze loops to the sides; possibly used for medical purposes. See a similar item in the Varna Archaeological Museum, preserved inside the grave of a physician, dated to the first or second century AD. 302 grams, 14.5cm (5 3/4"). Property of a South London collector; previously acquired on the European art market 1970-1980. Roman situlae, used for medical, religious or alimentary purposes, favoured a simple shape curving from the base, becoming vertical at the top, with a wide mouth and no shoulder, but sometimes a projecting rim. These included another variety of uses, including for washing and bathing. Any decoration was often concentrated on the upper part of the sides, and often, in the simpler situlae, a lathe decoration as with this specimen. Very fine condition.
11th-14th century AD. A carved and polished sandstone statue of the four-armed Vishnu standing, wearing a simple pleated sampot fastened by a band knotted below the waist; the body slender and youthful, the face serene with broad nose and full lips, lengthened earlobes with vertical slits; columnar jatamukata headdress (formed from matted and twisted locks of hair); mounted on a custom-made stand. Cf. Van Beek, Steve and Tettoni, Luca Invernizzi, The Arts of Thailand, 1986, pp.57 and 60 for similar examples. 64.2 kg total, 1.2m with stand (47 1/4"). Property of an East Sussex gentleman; from his private collection formed between 1983 and 1990; formerly in a South East London collection formed in the 1970s; accompanied by geologic report No. TL005269 by geologic consultant Dr R. L. Bonewitz. From the early part of the first millennium AD the South East Asia region was heavily influenced by art, religion, philosophy and literature brought from India by merchants and traders, many of whom settled in the trading posts they set up; the effects of this influx can be seen to the present day and religious art in particular has followed closely the traditions of India. Fine condition.
Books and magazines relating to North American Indians. Provenance Dr Alan Black Collection.LiteratureWilliam S. Laughlin. Aleuts: Survivors of the Bering Land Bridge, 1980;G. H. S. Bushnell & Adrian Digby. Ancient American Pottery;William W. Fitzhugh and Valérie Chaussonnet (edited by). Anthropology of the North Pacific Rim, 1994;John Gattuso (edited by). Native America, Insight Guides, 1991;Lar Hothem. North American Indian Artifacts, 1980;Ruth M. Underhill. Red Man’s America, 1971;George Cantor. North American Indian Landmarks, A Travellers guide, 1993;Paula Gunn Allen. The Sacred Hoop, Recovering the Feminine in American Indian Traditions, 1992;William C. Ketchum, Jr. The Art of the Golden West, 1996;Royal B. Hassrick. The Colourful Story of North American Indians, 1975;Josepha Sherman. Indian Tribes of North America, 1996;Dan Lacy. The Lost Colony, 1972;George P. Horse Capture, Anne Vitart, Michel Waldberg, and Richard West, Jr. (contributions by). Robes of Splendor, Native North American Painted Buffalo Hides, 1993;The University of British Columbia. Northwest Coast Indian Artifacts from the H. R. MacMillan Collections, in the Museum of Anthropology, 1975;The University of British Columbia. Indian Masterpieces from the Walter and Marianne Koerner Collection, in the Museum of Anthropology, 1975;Beverly Gordon and Melanie Herzog. American Indian Art, The Collecting Experience (catalogue), 1988;Alan & Gill Bridgewater. Carving Totem Poles and Masks, 1991;Nigel Cawthorne. The Art of Native North America, 1997;David M. Fawcett and Lee A. Callander. Native American Painting, Selections from the Museum of the American Indian, 1982;J. C. H. King. Thunderbird and Lightning, Indian Life in Northeastern North America 1600-1900, 1982;H. P. Mera. Pueblo Designs. 1970;Ellen Woods. American Indian Artifacts, How to identify, evaluate and care for your collection, 1997;Geoffrey Turner. Indians of North America, 1979;Franz Boas. Primitive Art, 1955;Jason Hook and Martin Pegler. To Live and Die in the West, The American Indian Wars, 1999;Eagle/Walking Turtle. Indian America, A Traveler’s Companion, 1989;Marz and Nono Minor. The American Indian Craft Book, 1978;Heritage House. White Slaves of the Nootka, Narrative of the Adventures and Sufferings of John R. Jewitt while a Captive of the Nootka Indians on Vancouver Island – 1803-05, 1987;John G. Neihardt. Black Elk Speaks, the Life story of a Holy Man of the Oglala Sioux as told to John G. Neihardt (Flaming Rainbow), 1961;Charles S. Rhyne. Expanding the Circle, the Art of guud san glans, Robert Davidson, 1998;Josepha Sherman. The First Americans, Spirit of the Land and the People, 1996;American Heritage Publishing, Alvin M. Josephy, Jr. (editor in charge). The American Heritage book of Indians, Introduction by John F. Kennedy, President of the United States, 1961;Rayna Green with Melanie Fernandez. The British Museum Encyclopaedia of Native North America, 1999;David M. Jones and Brian L. Molyneaux. Mythology of the American Nations, An Illustrated encyclopaedia of the gods, heroes, spirits, sacred places, rituals and ancient beliefs of the North American Indian, Inuit, Aztec, Inca and Maya nations, 2004;Virginia Vidler. American Indian Antiques, Art and Artifacts of the Northeast, 1760 – 1900, 1976;Wilson Duff. Images stone b.c. Thirty Centuries of Northwest Coast Indian Sculpture, 1975;Joseph P. Donnelly, S.J. (translated and introduced by). Indian Life in the Rocky Mountains, 1840 – 1847, Wilderness Kingdom, The journals and paintings of Father Nicholas Point, 1968;Herman J. Viola. The Indian Legacy of Charles Bird King, 1976;Museum of Anthropology and Ethnography. Text by T. Ganiushkina, R. Razumovskaya, I. Shavrina, an album presenting a variety of objects providing an insight into the history, home life, religious beliefs and applied art of various peoples i.e. Tlingit, Aleutians, Eskimos, Papuans and others. 1973;Norman Feder. American Indian Art (2);National Geographic. Vol. 185, No.6 June 1994;National Geographic. Vol. 180, No.4 October 1991;Gilbert T. Vincent (text by). Masterpieces of American Indian Art from the Eugene and Clare Thaw collection, 1995;The Studio (magazine) February 1941;Richard Conn. Native American Art, in the Denver Art Museum, 1979;Time-Life Books (editors of) and Benjamin Capps (text by). The Old West, The Indians, 1973;Davis Thomas and Karin Ronnefeldt. People of the First Man, Life among the Plains Indians in their final days of glory, 1976;M Gidley. With One Sky Above Us, Life on an Indian Reservation at the Turn of the Century, 1979;Douglas Congdon-Martin (text by and photography with). Lelooska The Traditional Art of the Mask, Carving a Transformation Mask, 1996;Susan Bradley (edited by). A Guide to the Storage, Exhibition and Handling of Antiquities, Ethnographia and Pictorial Art, British Museum Occasional Paper No. 66, 1990;(50)
Ca.1200 AD. A very rare Crusaders period solid gold bracelet formed by a single gold rod with flat terminals displaying Maltese crosses; Important Religious artifact possibly worn by s high-status Knight or Priest. Fine condition; wearable; D:71mm; 40g; Provenance: Property of a professional London art expert; obtained from an old British collection formed in the 1970s.
Ca. 500 BC. Rare Greek petaled phiale bowl with omphalos in the center; Beautifully decorated with smooth patina. An amazing example of Greek art. A libation is a ritual pouring of a liquid, or grains such as rice, as an offering to a god or spirit, or in memory of the dead. It was common in many religions of antiquity and continues to be offered in cultures today. Various substances have been used for libations, most commonly wine or other alcoholic drinks, olive oil, honey, and in India, ghee. The vessels used in the ritual, including the patera, often had a significant form that differentiated them from secular vessels. The libation could be poured onto something of religious significance, such as an altar, or into the earth; Amazing Condition; Intact; 150 x 55 mm; 5.9055x2.16535 in; 255g; Provenance: Property of a professional London art expert; obtained from an old British collection formed in the 1970s.
Ettlinger (L.D.). The Sistine Chapel before Michelangelo, Religious Imagery and Papal Primacy, 1st edition, Oxford University Press, 1965, monochrome plates, original black cloth gilt in dust wrapper, some marks, 4to, together with Hauser (Arnold), Mannerism, The Crisis of the Renaissance and the Origin of Modern Art, 2 volumes, 1st edition, Routledge, 1965, monochrome plates, bookplate of Michael Jaffé to front pastedown of each volume, original red cloth gilt in dust wrappers, a little rubbed and minor fraying, large 8vo, plus Berenson (Bernard). Italian Pictures of the Renaissance (Venetian School, 2 volumes, Florentine School, 2 volumes & Central Italian & North Italian Schools, 3 volumes), 1st editions, Phaidon, 1957, 1963 & 1968 respectively, monochrome plates, all original cloth in dust wrappers, some marks and light soiling, second title with slipcase, 4to, and others on Italian art and related, including Ars Naturam Adruvans, Festschrift fur Matthias Winner, 1996, S.J. Freedberg, Painting of the High Renaissance in Rome and Florence, 2 volumes, Harvard University Press, 1961, Studies in Renaissance & Baroque Art presented to Anthony Blunt on his 60th birthday, 1967, Studies in the History of Art dedicated to William E. Suida on his eightieth birthday, 1959, Giorgio Vasari, Le Vite de piu Eccellenti Pittori, edited by Bettarini and Barocchi, 7 volumes, Florence, Sansoni, 1966-76, etc., mostly original cloth, mainly 4to (Qty: 35)NOTESEx libris Michael Jaffé (1923–1997).
Male (Emile) . Religious Art in France, The Thirteenth Century, The Late Middle Ages, 2 volumes, 1984, Princeton University Press, numerous black & white illustrations, uniform original cloth in dust jackets, covers very lightly rubbed, large 4to, together with Clark (Gregory T.) , Made in Flanders, The Master of Ghent Privileges..., 2000, Belgium, numerous colour and black & white illustrations, period inscription & blind stamp to front endpaper, original cloth in dust jacket, large 8vo, and Michiels (Alfred) , Hans Melling, 2007, New York, numerous colour illustrations, original cloth in dust jacket, large 4to, plus Gordon (Dillian et al) , The Real Image of Richard II and the Wilton Diptych, 1997, numerous black & white illustrations, original cloth in dust jacket, large 8vo, and other modern medieval & Renaissance art reference & related, mostly original cloth, some in dust jackets, some paperbacks, G/VG, 8vo/folio (Qty: 6 shelves)
![RIDER HAGGARD, Henry (1856-1925). King Solomon's Mines. London: Cassell & Company, Limited, [?September] 1885. 8vo (188](https://cdn.globalauctionplatform.com/dd3fa65e-97b1-4590-80d4-ab0d00aae4fa/6ce8e1c3-5a77-43a8-bb0e-ab0d0102957a/468x382.jpg)
RIDER HAGGARD, Henry (1856-1925). King Solomon's Mines. London: Cassell & Company, Limited, [?September] 1885. 8vo (188 x 130mm). Half title, folding coloured lithographed frontispiece, wood-engraved map on p.27, 16-pages of publisher's advertisements at the end, comprising 8-pages headed "Illustrated, Fine-Art, and other Volumes" with date code "5 G. 8.85" and 8-pages headed "Bibles and Religious Works" with date code "5 B. 8.85" (frontispiece torn and repaired without loss, some mainly marginal spotting and staining). Original red pictorial cloth lettered in black, spine lettered in gilt (dampstaining to upper cover, some other staining, edges lightly rubbed). Provenance: Sotheran stamp on front pastedown; modern, partly illegible, inscription on front free endpaper. FIRST EDITION, FIRST ISSUE, with "Bamamgwato" on p.10, "to let twins to live" on p.122, and "wrod" on p.307. Allen 31; Sadleir 1089; Scott 4: "2,000 copies"; Whatmore F3; Wolff 2863.
Follower of Bon de Boullogne (French 1649-1717) The annunciation Oil on canvas 133 x 160cm (52¼ x 62 in.) Provenance: Sale, Christie's London, 21 July 1989, lot 54 Acquired from the above by the present owner A variant of The Annunciation by Bon de Boullogne the Elder is held in the collection of the Musee du Louvre, Paris. Lots 46-58 come from the collector and interior designer Edward Bulmer. They comprise part of the collection hung at Edward's Grade II* listed, William and Mary manor house, Court of Noke in Herefordshire. Edward's passion for art runs parallel with his expertise in interiors. He initially began collecting when working for the picture restorer Alec Cobbe who is well known for his picture hanging projects. He worked on many such ventures with Cobbe, building an understanding of the connoisseurship of the great patrons of the past. He quickly recognised that one could still afford to buy as the great collectors did; on the basis of quality, if one was not restrictive about subject. As such the beginnings of a discerning collection were born. When he purchased Court of Noke in 1994, it became a passionate restoration project, transforming what was a dilapidated shell with enormous promise, back into a comfortable family home. Some pictures in the collection were sold at this time in order to fund the initial restoration project. Edward describes how the present pictures have become old friends, adding atmosphere and sophistication to our rooms and I hope that they will now find interesting new homes. The collection offered here clearly embraces its owner's dedication to quality over narrow focus including as it does, pictures across a range of date periods and subjects from religious paintings to Greek mythology and Italianate landscape works.
Giacomo Raibolini, Il Francia (Italian 1486-1557) The Madonna and child Oil on panel 60 x 43cm (23½ x 16¾ in.) Provenance: Sale, Christie's London, 9 April 1990, lot 63 Acquired from the above by the present owner Born in Bologna, the son of artist Francesco Raibolini, also known as Il Francia, Giacomo was brought up in the family business, learning painting and goldsmithing alongside his brother Giulio. When his father died in 1517, the brothers took over the running of the studio producing numerous altarpieces and religious paintings for the churches and convents of Bologna. He worked frequently in collaboration with his brother although it has been suggested that at some point in the 1520s, Giacomo probably travelled to Florence and perhaps further south to Rome, absorbing the influences of the great painters of the day, in particular Raphael. It is also suggested that he was influenced by the School of Ferrara. The Duchy of Ferrara was well known for its patronage of the arts and the links between Bologna and Ferrara were particularly strong. The way in which Giacomo Francia uses imaginary landscapes as the backdrop to his religious subjects has been linked to the influence of Ferrara, in particular artists such as Benvenuto Tisi, called Il Garofalo. Lots 46-58 come from the collector and interior designer Edward Bulmer. They comprise part of the collection hung at Edward's Grade II* listed, William and Mary manor house, Court of Noke in Herefordshire. Edward's passion for art runs parallel with his expertise in interiors. He initially began collecting when working for the picture restorer Alec Cobbe who is well known for his picture hanging projects. He worked on many such ventures with Cobbe, building an understanding of the connoisseurship of the great patrons of the past. He quickly recognised that one could still afford to buy as the great collectors did; on the basis of quality, if one was not restrictive about subject. As such the beginnings of a discerning collection were born. When he purchased Court of Noke in 1994, it became a passionate restoration project, transforming what was a dilapidated shell with enormous promise, back into a comfortable family home. Some pictures in the collection were sold at this time in order to fund the initial restoration project. Edward describes how the present pictures have become old friends, adding atmosphere and sophistication to our rooms and I hope that they will now find interesting new homes. The collection offered here clearly embraces its owner's dedication to quality over narrow focus including as it does, pictures across a range of date periods and subjects from religious paintings to Greek mythology and Italianate landscape works.
Jean-Baptiste Van Loo (French 1684-1745) The flagellation of Christ at the column Oil on canvas 127 x 66cm (50 x 25 in.) Provenance: Sale, Christie's London, 20 July 1990, lot 65 Acquired from the above by the present owner Modello for the artist's altarpiece of 1714/1715 in the Church of Santa Maria in Monticelli, Rome. Lots 46-58 come from the collector and interior designer Edward Bulmer. They comprise part of the collection hung at Edward's Grade II* listed, William and Mary manor house, Court of Noke in Herefordshire. Edward's passion for art runs parallel with his expertise in interiors. He initially began collecting when working for the picture restorer Alec Cobbe who is well known for his picture hanging projects. He worked on many such ventures with Cobbe, building an understanding of the connoisseurship of the great patrons of the past. He quickly recognised that one could still afford to buy as the great collectors did; on the basis of quality, if one was not restrictive about subject. As such the beginnings of a discerning collection were born. When he purchased Court of Noke in 1994, it became a passionate restoration project, transforming what was a dilapidated shell with enormous promise, back into a comfortable family home. Some pictures in the collection were sold at this time in order to fund the initial restoration project. Edward describes how the present pictures have become old friends, adding atmosphere and sophistication to our rooms and I hope that they will now find interesting new homes. The collection offered here clearly embraces its owner's dedication to quality over narrow focus including as it does, pictures across a range of date periods and subjects from religious paintings to Greek mythology and Italianate landscape works.
Circle of Alexandre Dunouy (French 1757-1841) Italianate landscape with two women on a path by a lake Oil on canvas 23.5 x 31.5cm (9¼ x 12¼ in.) Provenance: Sale, Christie's London, 28 October 1988, lot 66 Acquired from the above by the present owner Lots 46-58 come from the collector and interior designer Edward Bulmer. They comprise part of the collection hung at Edward's Grade II* listed, William and Mary manor house, Court of Noke in Herefordshire. Edward's passion for art runs parallel with his expertise in interiors. He initially began collecting when working for the picture restorer Alec Cobbe who is well known for his picture hanging projects. He worked on many such ventures with Cobbe, building an understanding of the connoisseurship of the great patrons of the past. He quickly recognised that one could still afford to buy as the great collectors did; on the basis of quality, if one was not restrictive about subject. As such the beginnings of a discerning collection were born. When he purchased Court of Noke in 1994, it became a passionate restoration project, transforming what was a dilapidated shell with enormous promise, back into a comfortable family home. Some pictures in the collection were sold at this time in order to fund the initial restoration project. Edward describes how the present pictures have become old friends, adding atmosphere and sophistication to our rooms and I hope that they will now find interesting new homes. The collection offered here clearly embraces its owner's dedication to quality over narrow focus including as it does, pictures across a range of date periods and subjects from religious paintings to Greek mythology and Italianate landscape works.
After John Vanderbank English monarchs A set of 24 engravings by E. Luttrell, later prints Each plate 31 x 20.5cm (12 x 8 in.) (24) Lots 46-58 come from the collector and interior designer Edward Bulmer. They comprise part of the collection hung at Edward's Grade II* listed, William and Mary manor house, Court of Noke in Herefordshire. Edward's passion for art runs parallel with his expertise in interiors. He initially began collecting when working for the picture restorer Alec Cobbe who is well known for his picture hanging projects. He worked on many such ventures with Cobbe, building an understanding of the connoisseurship of the great patrons of the past. He quickly recognised that one could still afford to buy as the great collectors did; on the basis of quality, if one was not restrictive about subject. As such the beginnings of a discerning collection were born. When he purchased Court of Noke in 1994, it became a passionate restoration project, transforming what was a dilapidated shell with enormous promise, back into a comfortable family home. Some pictures in the collection were sold at this time in order to fund the initial restoration project. Edward describes how the present pictures have become old friends, adding atmosphere and sophistication to our rooms and I hope that they will now find interesting new homes. The collection offered here clearly embraces its owner's dedication to quality over narrow focus including as it does, pictures across a range of date periods and subjects from religious paintings to Greek mythology and Italianate landscape works.
After William Hogarth Industry and Idleness A set of 12 engravings by T. Cook, originally published 1747, this set printed later Each plate 29 x 37cm (11¼ x 14½ in.) (12) Lots 46-58 come from the collector and interior designer Edward Bulmer. They comprise part of the collection hung at Edward's Grade II* listed, William and Mary manor house, Court of Noke in Herefordshire. Edward's passion for art runs parallel with his expertise in interiors. He initially began collecting when working for the picture restorer Alec Cobbe who is well known for his picture hanging projects. He worked on many such ventures with Cobbe, building an understanding of the connoisseurship of the great patrons of the past. He quickly recognised that one could still afford to buy as the great collectors did; on the basis of quality, if one was not restrictive about subject. As such the beginnings of a discerning collection were born. When he purchased Court of Noke in 1994, it became a passionate restoration project, transforming what was a dilapidated shell with enormous promise, back into a comfortable family home. Some pictures in the collection were sold at this time in order to fund the initial restoration project. Edward describes how the present pictures have become old friends, adding atmosphere and sophistication to our rooms and I hope that they will now find interesting new homes. The collection offered here clearly embraces its owner's dedication to quality over narrow focus including as it does, pictures across a range of date periods and subjects from religious paintings to Greek mythology and Italianate landscape works.
Attributed to Salvator Rosa (Italian 1615-1673) Portrait of a gentleman said to be Masaniello Oil on canvas Bears later indistinct inscription verso 'Ritratto di Masaniello, Fatto di Salvator Rosa/16()7 del Palazzo del Duca de (Laur)enzano' 43.5 x 33cm (17 x 12 in.) Provenance: Collection of Christopher Norris Sale, Christie's London, 28 October 1988, Lot 147 Acquired from the above by the present owner Lots 46-58 come from the collector and interior designer Edward Bulmer. They comprise part of the collection hung at Edward's Grade II* listed, William and Mary manor house, Court of Noke in Herefordshire. Edward's passion for art runs parallel with his expertise in interiors. He initially began collecting when working for the picture restorer Alec Cobbe who is well known for his picture hanging projects. He worked on many such ventures with Cobbe, building an understanding of the connoisseurship of the great patrons of the past. He quickly recognised that one could still afford to buy as the great collectors did; on the basis of quality, if one was not restrictive about subject. As such the beginnings of a discerning collection were born. When he purchased Court of Noke in 1994, it became a passionate restoration project, transforming what was a dilapidated shell with enormous promise, back into a comfortable family home. Some pictures in the collection were sold at this time in order to fund the initial restoration project. Edward describes how the present pictures have become old friends, adding atmosphere and sophistication to our rooms and I hope that they will now find interesting new homes. The collection offered here clearly embraces its owner's dedication to quality over narrow focus including as it does, pictures across a range of date periods and subjects from religious paintings to Greek mythology and Italianate landscape works.
Barlach, Ernst1870 Wedel - 1938 RostockDer Sänger (Singender Klosterschüler). 1931 (design). Bronze, red-brown patinated. 52 x 13 x 8cm. Signed on the plinth next to the left foot: Barlach. As well as below this on the edge of the plinth foundry mark H. NOACK BERLIN. On the inside hardly legible inscription: Barlach Buller. This beautiful cast is one of 34 unnumbered copies, which were made posthumously starting 1939. Provenance: - Galerie Alex Vömel, Düsseldorf (label on the inside)- Collection Wilhelm Buller, Duisburg- Collection Hildegard Regenstreif (born Buller), Niefern- Collection Dr. Hans Werner, South GermanyExhibitions:- cf. Galerie Hoffmann, Hamburg 1948, cat.-no. 16- Galerie Alex Vömel, Düsseldorf 1951, cat.-no. 14 (presumably this work)- cf. Akademie der Künste, Berlin 1951/1952, cat. p. 124- Kunstverein für die Rheinlande und Westfalen, Düsseldorf 1955, collection Wilhelm Buller, cat.-no. 8 (this work)- cf. Villa Hügel, Essen 1958, cat.-no. 129- cf. Kunsthalle Bremen, Bremen 1959, cat.-no. 39- cf. Kunsthalle Bremen, Bremen 2001, no. 15Literature: - Laur, Elisabeth: Ernst Barlach, Das plastische Werk, Band II, Güstrow 2006, cat.rais.-no. 487- Heiderich, Ursula: Katalog der Skulpturen in der Kunsthalle Bremen, Bremen 1993, p. 110f.- Spielmann, Heinz: Stiftung und Sammlung Rolf Horn, Schleswig 1995, cat.-no. 123- Doppelstein, Jürgen/Stockhaus, Heike: Ernst Barlach, Mystiker der Moderne, Hamburg 2003, p. 261. Explanations to the CatalogueErnst Barlach Germany Modern Art Sculptures 1930s Religious Art Sculpture Bronze Religious ThemeBarlach, Ernst1870 Wedel - 1938 RostockDer Sänger (Singender Klosterschüler). 1931 (Entwurf). Bronze, rotbraun patiniert. 52 x 13 x 8cm. Signiert auf der Plinthe neben dem linken Fuß: Barlach. Sowie darunter auf der Plinthenkante Gießerstempel H. NOACK BERLIN. Auf der Innenseite schwer leserlich beschriftet: Barlach Buller. Bei diesem sehr schönen Guss handelt es sich um eines von 34 unnummerierten Exemplaren, die posthum ab 1939 entstanden sind. Provenienz: - Galerie Alex Vömel, Düsseldorf (Etikett auf der Innenseite)- Sammlung Wilhelm Buller, Duisburg- Sammlung Hildegard Regenstreif (geb. Buller), Niefern- Sammlung Dr. Hans Werner, SüddeutschlandAusstellungen:- Vgl. Galerie Hoffmann, Hamburg 1948, Kat.-Nr. 16- Galerie Alex Vömel, Düsseldorf 1951, Kat.-Nr. 14 (wohl dieses Exemplar)- Vgl. Akademie der Künste, Berlin 1951/1952, Kat. S. 124- Kunstverein für die Rheinlande und Westfalen, Düsseldorf 1955, Sammlung Wilhelm Buller, Kat.-Nr. 8 (dieses Exemplar)- Vgl. Villa Hügel, Essen 1958, Kat.-Nr. 129- Vgl. Kunsthalle Bremen, Bremen 1959, Kat.-Nr. 39- Vgl. Kunsthalle Bremen, Bremen 2001, Nr. 15Literatur: - Laur, Elisabeth: Ernst Barlach, Das plastische Werk, Band II, Güstrow 2006, WVZ.-Nr. 487- Heiderich, Ursula: Katalog der Skulpturen in der Kunsthalle Bremen, Bremen 1993, S. 110f.- Spielmann, Heinz: Stiftung und Sammlung Rolf Horn, Schleswig 1995, Kat.-Nr. 123- Doppelstein, Jürgen/Stockhaus, Heike: Ernst Barlach, Mystiker der Moderne, Hamburg 2003, S. 261In seinen vielschichtigen, stillen und zugleich vitalen Skulpturen beschäftigt sich Ernst Barlach nahezu ausschließlich mit der menschlichen Figur. Sie ist ihm Ausdrucksträger für eine symbolhaft überhöhte Darstellung existenzieller, oft leidvoller Gefühle und Zustände. Zu Beginn inspirieren ihn hierzu der Jugendstil und vor allem die Werke von Alfred Kubin und Edvard Munch. Doch während einer erlebnisvollen Reise durch Russland 1906 entdeckt er das Metaphysische und Geheimnisvolle im Alltäglichen für sich und wagt einen Neuanfang. Er löst seine Figuren aus dem gesellschaftlichen Kontext und verdichtet sie zu einem allgemeingültigen Sinnbild für das menschliche Dasein. Die geschlossene Statuarik seiner Plastiken ist der Inbegriff seines Ausdrucks nach Erdverbundenheit und Wirklichkeitsnähe, in Abgrenzung zu dem idealisierten Menschenbild in der Kunst seiner Vorgängergenerationen. In seiner künstlerischen Gestaltung gelangen Form und Inhalt zur Deckung. Das sparsame Formengut wird optimal eingesetzt und nur selten zur Unterstützung der Aussage überbetont. Wie bei dem "singenden Klosterschüler" verzichtete Barlach stets auf überflüssige Details und beschränkt sich auf elementare Formen. Mit leicht geöffnetem Mund und entspannter Haltung ruht der Singende in sich. Das große, den ganzen Körper umfassende Gewand verhindert die Störung der formalen Einheit durch ausgeprägte Details. Der symmetrische Faltenwurf seines Gewandes wird lediglich von dem Textband in seinen Händen verdeckt. Keine ausladende Geste durchbricht die in sich geschlossene Form. Erläuterungen zum KatalogErnst Barlach Deutschland Expressionismus Berliner Sezession Moderne Kunst Objekte 1930er Religiöse Darstellung Skulptur Bronze Religiöses Thema- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premium
Rainer, Arnulf1929 Baden by ViennaSilbergraues Kreuz (Großes Kreuz V)/Violettes Kreuz (Großes Kreuz V). Mixed lot of two graphics. 1988/90. Drypoints on laid card. 115 x 49.5cm (137.5 x 68cm). Signed and numbered. Number 5/70 and 70/70. Provenance:-Private collection AustriaLiterature:- Kunstmuseum Bonn (Ed.): Arnulf Rainer - Die Radierungen, Bonn 1997, cat.rais.-no. 98/99, ill. Explanations to the CatalogueArnulf Rainer Tachism Post-War Art Prints 1980s Religious Theme Print EtchingRainer, Arnulf1929 Baden bei WienSilbergraues Kreuz (Großes Kreuz V)/Violettes Kreuz (Großes Kreuz V). Konvolut von zwei Grafiken. 1988/90. Jeweils Kaltnadelradierung auf Büttenkarton. 115 x 49,5cm (137,5 x 68cm). Signiert und nummeriert. Ex. 5/70 bzw. 70/70. Provenienz:-Privatsammlung ÖsterreichLiteratur:- Kunstmuseum Bonn (Hrsg.): Arnulf Rainer - Die Radierungen, Bonn 1997, WVZ.-Nr. 98/99, Abb.Erläuterungen zum KatalogArnulf Rainer Österreich Surrealismus Tachismus Informel Nachkriegskunst Grafik 1980er Religiöses Thema Druckgrafik Radierung- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR
Ocampo, Manuel1965 Quezon City/PhilippinesUntitled (DADA). 1995. Acrylic and paper collage on canvas. 40.5 x 30.5cm. Partly laid down on beaverboard (45.5 x 35.5cm). Signed and dated verso: Manuel J... Ocampo 1995. Framed. Provenance:- Private collection North Rhine-Westphalia. Explanations to the CatalogueManuel Ocampo Figurative Painting Asian Art Contemporary Art 1990s Figure / Figures Painting Mixed media Religious ThemeOcampo, Manuel1965 Quezon City/PhilipinenOhne Titel (DADA). 1995. Acryl und Papiercollage auf Leinwand. 40,5 x 30,5cm. Partiell auf Hartfaserplatte aufgezogen (45,5 x 35,5cm). Signiert und datiert verso: Manuel J... Ocampo 1995. Rahmen. Provenienz:- Privatsammlung Nordrhein-Westfalen. Erläuterungen zum KatalogManuel Ocampo Figurative Malerei Asiatische Kunst Zeitgenössische Kunst Unikate 1990er Figur / Figuren Gemälde Mischtechnik Religiöses Thema- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR
Eisenberger, Christian1978 Semriach, AustriaUntitled (Caramelised Cross). 2004. Caramelised sugar cubes on canvas in a box frame. 1195 x 99 x 6.5cm. Signed and dated verso on the canvas: Christian Eisenberger 2004. Box frame. The frame is an integral part of the art work. Provenance- Galerie Teapot, Cologne. Explanations to the CatalogueChristian Eisenberger Contemporary Art Sculptures 2000s Food Wall object Sugar Religious ThemeEisenberger, Christian1978 Semriach, ÖsterreichOhne Titel (Karamellisiertes Kreuz). 2004. Karamellisierte Zuckerwürfel auf Leinwand in Kastenrahmen. 119,5 x 99 x 6,5cm. Signiert und datiert verso auf der Leinwand: Christian Eisenberger 2004. Kastenrahmen. Der Rahmen ist fester Bestandteil des Kunstwerkes. Provenienz:- Galerie Teapot, Köln. Erläuterungen zum KatalogChristian Eisenberger Österreich Zeitgenössische Kunst Objekte 2000er Essen Wandobjekt Zucker Religiöses Thema- - -19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR
Gunstheimer, Jana1974 Zwickau"Eiskaltes Licht (wie von Totenkerzen)" #3. 2010. Graphite on paper. Mounted on card. 101 x 71cm. Signed, dated and titled verso: "Eiskaltes Licht (wie von Totenkerzen)" #3 Gunstheimer 2010. Framed. Not examined out of the frame. Provenance:- Galerie Conrads, DüsseldorfExhibitions:- Auf AEG (Halle 20), Nuremberg 2015- Kunsthaus Apolda Avantgarde, 2016- RELíGIO - Westfälisches Museum für religiöse Kultur, Telgte 2016Literature:- Exhibition cat. Vom Allmächtigen zum Leibhaftigen - Religiöse Motive der SOR Rusche Sammlung Oelde/Berlin, Kunsthaus Apolda Avantgarde/RELíGIO - Westfälisches Museum für religiöse Kultur, Telgte, Cologne 2016, p. 124, ill. Erläuterungen zum KatalogJana Gunstheimer Germany Contemporary Art 2010s Interior Drawing Graphite Religious ThemeGunstheimer, Jana1974 Zwickau"Eiskaltes Licht (wie von Totenkerzen)" #3. 2010. Grafit auf Papier. Auf Karton montiert. 101 x 71cm. Signiert, datiert und betitelt verso: "Eiskaltes Licht (wie von Totenkerzen)" #3 Gunstheimer 2010. Rahmen. Im Rahmen beschrieben. Provenienz:- Galerie Conrads, DüsseldorfAusstellungen:- Auf AEG (Halle 20), Nürnberg 2015- Kunsthaus Apolda Avantgarde, 2016- RELíGIO - Westfälisches Museum für religiöse Kultur, Telgte 2016Literatur:- Ausst.-Kat. Vom Allmächtigen zum Leibhaftigen - Religiöse Motive der SOR Rusche Sammlung Oelde/Berlin, Kunsthaus Apolda Avantgarde/RELíGIO - Westfälisches Museum für religiöse Kultur, Telgte, Köln 2016, S. 124, Abb."Was wäre Rom ohne seine Kirchen?Was wären Kirchen ohne Wunder?In ihren atmosphärischen Grafitzeichnungen spürt Jana Gunstheimer Wundern nach, die in römischen Kirchen geschehen sein sollen. Können wir daran glauben? Hat die göttliche Magie einen Platz in unserem Leben?" (TR). Erläuterungen zum KatalogJana Gunstheimer Deutschland Zeitgenössische Kunst Unikate 2010er Interieur Zeichnung Grafit Religiöses Thema- - -19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR
Gunstheimer, Jana1974 Zwickau"Eiskaltes Licht (wie von Totenkerzen)" #4. 2010. Graphite on paper. Mounted on card. 101 x 71cm. Signed, dated and titled verso: "Eiskaltes Licht (wie von Totenkerzen)" #4 Gunstheimer 2010. Framed. Provenance:- Galerie Conrads, DüsseldorfExhibitions:- RELíGIO - Westfälisches Museum für religiöse Kultur, Telgte 2013- Auf AEG (Halle 20), Nuremberg 2015- Kunsthaus Apolda Avantgarde, 2016- RELíGIO - Westfälisches Museum für religiöse Kultur, Telgte 2016Literature: - Birke, Susanna/Borkenstein-Neuhaus, Manuela/Desel, Jutta et al. (eds.): Hold und mächtig? Das Bild der Mutter in den Kulturen, Bielefeld 2013- Exhibitions cat. Vom Allmächtigen zum Leibhaftigen - Religiöse Motive der SOR Rusche Sammlung Oelde/Berlin, Kunsthaus Apolda Avantgarde/RELíGIO - Westfälisches Museum für religiöse Kultur, Telgte, Cologne 2016, p. 125, ill. Erläuterungen zum KatalogJana Gunstheimer Germany Contemporary Art 2010s Religious Theme Drawing Graphite SaintsGunstheimer, Jana1974 Zwickau"Eiskaltes Licht (wie von Totenkerzen)" #4. 2010. Grafit auf Papier. Auf Karton montiert. 101 x 71cm. Signiert, datiert und betitelt verso: "Eiskaltes Licht (wie von Totenkerzen)" #4 Gunstheimer 2010. Rahmen. Provenienz:- Galerie Conrads, DüsseldorfAusstellungen:- RELíGIO - Westfälisches Museum für religiöse Kultur, Telgte 2013- Auf AEG (Halle 20), Nürnberg 2015- Kunsthaus Apolda Avantgarde, 2016- RELíGIO - Westfälisches Museum für religiöse Kultur, Telgte 2016Literatur: - Birke, Susanna/Borkenstein-Neuhaus, Manuela/Desel, Jutta u.a. (Hrsg.): Hold und mächtig? Das Bild der Mutter in den Kulturen, Bielefeld 2013- Ausst.-Kat. Vom Allmächtigen zum Leibhaftigen - Religiöse Motive der SOR Rusche Sammlung Oelde/Berlin, Kunsthaus Apolda Avantgarde/RELíGIO - Westfälisches Museum für religiöse Kultur, Telgte, Köln 2016, S. 125, Abb. Erläuterungen zum KatalogJana Gunstheimer Deutschland Zeitgenössische Kunst Unikate 2010er Religiöses Thema Zeichnung Grafit Heiligendarstellung- - -19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR
Samori, Nicola1977 Forli"Larvatorum". 2010. Oil on copper. Mounted on wood. 70 x 50cm. Signed, dated and titled verso: SAMORI 2010 -LARVATORUM-. In plexiglass box. Provenance:- Galerie Christian Ehrentraut, BerlinExhibitions:- Kunsthalle Tübingen, 2012- Bayer AG, Leverkusen 2014/2015- Auf AEG (Halle 20), Nuremberg 2015- St. Canisius, Berlin 2016- Neue Galerie, Gladbeck 2017. Erläuterungen zum KatalogNicola Samori Contemporary Art 2010s Figure / Figures Painting Oil Religious ThemeSamori, Nicola1977 Forli"Larvatorum". 2010. Öl auf Kupfer. Auf Holz montiert. 70 x 50cm. Signiert, datiert und betitelt verso: SAMORI 2010 -LARVATORUM-. Im Plexiglaskasten. Provenienz:- Galerie Christian Ehrentraut, BerlinAusstellungen:- Kunsthalle Tübingen, 2012- Bayer AG, Leverkusen 2014/2015- Auf AEG (Halle 20), Nürnberg 2015- St. Canisius, Berlin 2016- Neue Galerie, Gladbeck 2017. Erläuterungen zum KatalogNicola Samori Italien Zeitgenössische Kunst Unikate 2010er Figur / Figuren Gemälde Öl Religiöses Thema- - -19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR
12th-late 13th century AD. A long Western European, double-cutting sword with a broad tapering blade, the edges bearing a lot of evidence of its use on the battlefield, both sides of the fullers decorated with inlay: on one side a geometric design of cross-in-ring and scrolled tendrils; on the other side an inlaid brass inscription 'SXS BENEDICAT IUS' with curlicues; the blade has a shallow pointed tip, and to the other face a long lower guard with rounded ends and a broad but short grip, the tang is very stout ending with the usual plain walnut style pommel, substantially D-shaped with slightly curved lower edge. See Oakeshott, E., Sword in hand, London, 2001; Peirce, I., Swords of the Viking Age, Suffolk, 2002; Wagner, T., Worley, J., Holst Blennow, A., Beckholmen, G. Medieval Christian invocation inscriptions on sword blades in Waffen- und Kostümkunde, 2009, 51(1): 11-52; G?osek M., Makiewicz T. Two Encrusted Swords from Zb?szyn, Lubusz Voivodship, in Gladius 27, 2007, pp.137-148; Marek, L., The Blessing of Swords. A new look into inscriptions of the Benedictus, in Acta Militaria Mediaevalia, tom X, 2014, pp.9-20. 1.3 kg, 90cm (35 1/2"). Property of a Suffolk collector; formerly acquired on the European art market in the 1990-2000s; accompanied by an academic report by military specialist Dr Raffaele D'Amato. This sword has good parallels with a sword published by Peirce, from a private collection (Peirce, 2002, pp.124-125"). Also inscribed, with the usual mark of the workshop, +ULFBERHT+. The current example with religious inscription, a blessing formulation, comparable with the swords showing the inscription BENEDICTUS (Marek, 2014, pp.10ff."). The sword's inscription is most intriguing, and it will help to date the sword in a more precise way. The origin of the inscriptions of this sword is very old. This was a ritual, probably of Germanic origin, in which the father handed down the sword to his grown-up son as a sign that he can defend himself and the tribe. During the Middle Ages the 'sword presentation ceremony', performed by the liege lord or a cleric, put the warrior into service of the former, as a vassal in the first case or as a 'miles Christi ad servitium Iesu Christi' ('soldier of Christ in service of Christ') in the second (Wagner, Worley, Holst Blennow, Beckholmen, 2009, p. 12ff."). Unfortunately, so far it has not been possible to identify such a traditional type of ceremonial dicta latina that was carved on a sword blade. However, quite conversely, the inscriptions (even though sometimes showing a constancy of letters) are extremely variable and appear to be very personal, maybe the individual secret of every sword bearer. It must have been a special dictum so obvious and so self-evident to him, that it was not necessary to spell out its significant meaning. In Germanic tribes runic inscriptions on swords, axes or even pieces of armour were considered to endow the items with magical powers, and it is imaginable that this traditional thinking (after an ambivalent period of transition) was transferred to Christian times. Hence the dicta on the sword blades were probably supposed to invoke God’s holy name and his grace to gain support and protection in battle. Religious rituals or prayers for divine assistance before combat, must have been prevalent, particularly in the age of the crusades throughout the 12th and 13th centuries. In our specimen the inscription is linked with the presence of nomina sacra, typical of specimens from the 11th -13th centuries, where they were written in full length: SXS (SANCTUS) BENEDICAT ('he may bless') IUS meaning 'He (the Holy God) may bless the right one or the law or the right cause'. SXC is the substitution of the original Latin formulation SCS (Sanctus) with SXS, where the Greek letter X (chi) is used at the place of the Latin letter C. IUS can be read the law, the right, or a short formulation for IUSTUM (the right one"). The C was also used in charters as a form 'symbol of Christ', comparable to a chrismon (usually consisting of X and P, but also as capital C), to invoke God’s grace for an act of legal significance. Indeed the use of the X is linked with the initials, in Greek, of the name of Jesus Christ (???????"). A such sword is in the Danish National Museum (inv. nr. D8801, Oakeshott, 2001, pp.48-49, figs.47-48; Peirce, 2002, p.136), with the inscription on the obverse: SCSPETRNNS; and on the reverse BENEDICATNTIUSETMAT. More notably a sword found on the island of Saaremaa (Estonia), dated by A. Anteins to the 13th century, and by D. A. Drboglav to the beginning of this century, where the letters SXS appear. Considering that on another artefact, from Lake Zbaszynskie, the letters ScS appear in place of SXS, this last abbreviation can be read as 's(an)c(tu)S'. However, if we assume that a dot in the inscription on the sword after the letter 'c' is separating the words, we can also develop the inscription as 'S(an)c(tus) S(alvator)' or 'S(an)c(tus) S(anctus)' (G?osek, Makiewicz 2007 p.141"). The dots in the inscription are not always placed according to a rhythm of the words and may even appear in the middle of the letter. Thus a second possible interpretation of the inscription in our sword can be SANCTUS XRISTUS SALVATOR BENEDICAT IUS meaning 'The Holy Saviour Christus may bless the right one or the law or the right cause.' The monogram cross preceding the inscription, is visible on various swords, like the Karlstad sword, in Värmlands Museum (Wagner, Worley, Holst Blennow, Beckholmen, 2009, p.24, figs.12-13), dated to sometime in the 12th or early 13th centuries. Most probably our specimen is from a battlefield, a river find or from a grave. The piece is in excellent condition notwithstanding the corrosion on the blade where signs of battlefield are visible. Many swords of similar type can be classified as German manufacture, and we know that the kind of pommels were in use until the 13th century. The straight guard with thick straight quillons are typical of the style Xa (and XI) of Oakeshott, that, with its double-edged blade, combined the cutting and the cut-and-thrust styles. The fullers, like in this case, are very marked and form not less than two thirds of the length, what makes such sword one of those presenting those elegant proportions which prevail when the blade is almost parallel for some seventy percent of its length before tapering began. Fine condition. A good solid example of a well balanced sword.
Circa 1075-1155 AD. An original Viking iron blade of Oakeshott's Type XII, variant 12 (Oakeshott, 1991, p.81), reused with Type XIII, variant 1 hilt, and a T2 pommel (Petersen type Z Viking sword); the double-edged sword has a broad, flat, evenly tapering blade, acutely pointed and magnificently preserved to give an unusually fine balance to its user; the fullers are well defined, deeply cut into the blade to a depth of approximately 1.5mm, divided in three parallel lines extending from below the guard for a little less than half of the blade's length; it is followed by the image of an inlaid beast (a unicorn? a wolf?) chiselled neatly into the surface; the grip is still retaining part of a later leather cover; the style of cross-guard is unusual, and the later pommel is from the T2 category. See Oakeshott, J, R.E., The Archaeology of the weapons, London,1960 (Woodbridge, 1999); Oakeshott, E., The sword in the age of the Chivalry, Woodbridge, 1964 (1994); Peirce, I., Swords of the Viking Age, Suffolk, 2002; Oakeshott, E. Records of the Medieval Sword, Woodbridge, 1991; Scalini, M., A bon droit, spade di uomini liberi, cavalieri e santi, Milano, 2007. 1.2 kg, 1.02m (40 1/4"). From an important private family collection of arms and armour; acquired on the European art market via Flicker, inv.1152, classified as Saint Maurice's sword; accompanied by an academic report written by military specialist Dr Raffaele D'Amato. This sword, although it can be classified belonging to the XII-XIII groups individuated by Oakeshott (1964 (1994), p.37) resembles, with its singular guard and cross-guard, the famous sword of Jaxa of Miechow, at the Bargello Museum, Florence (Scalini, 2007, pp.111-113, cat.13"). The guard and cross-guard are identical, missing only of the highly decorated elements of the Polish sword. They are a derivation from the typology of the hilts visible in the Petersen group Z, as it is possible to see on the swords from Vesilahti, Finland (Peirce, 2002, p.127, mid 11th century) and Canvick Common, in the Norfolk (Oakeshott, 1991, p.81, dated 1050-1100"). It shows identical hilt with a beautifully-wrought, 11th century Viking sword, that was discovered in 2011 by the archaeologists who were excavating in the Setesdal Valley in Southern Norway. It is clear that the Slavic or Germanic craftsman who made the hilt continued a local tradition derived from the Vikings. Certainly the fact that only few swords existing in the world are showing such particular cross-guard is symptomatic of a local production, and can help to locate the first core of the sword in the Eastern Europe, where also the successive addition could have been made. The cross-guard and the blade are in an incredible state of preservation and we can exclude that they have been ever inside a grave. Maybe, similarly to the sword of Miechow, also this weapon has represented more of a symbol of familiar ownership than a weapon used on the battlefield. Most probably our specimen is a family treasure. The piece is in excellent condition. The sword’s hilt was made in the late 11th or early 12th century, or even at the end of the century, but was with all probably re-adapted to a successive blade presenting the three fullers typical of the Oakeshott XIII.1 typology (Oakeshott, 1991, p.96"). Also the leather covering the grip is probably a further addition from the Renaissance Age (like the leather covering of the grip in the Miechow sword), while the T2 pommel was adapted to the sword possibly in a period comprised between 1360-1420 AD, when the employment of such pommels was very widely spread (Oakeshott, 1994, p.105"). The shape of the sword seems to point also to the typology XIV.7 of the Oakeshott group, and in particular to a sword of the Oakeshott collection (1960, pl.9c; 1991, p.123) dated at 1300 AD. Here the blade tends to be broad, but particularly characteristic are the three deep fullers, punched twice on each side, which seem to be in common use until the XVII century. Interestingly, the small animal punched on the blade seems to be a 12th or 13th century engraving, which will support the idea that the blade could be the original one. The image corresponds near perfectly with the one of the 'Wolf of Passau', i.e. of the image of a 'running wolf' made by the blacksmiths of Passau (Oakeshott, 1960, p.223, fig.105a"). If the blade was made in a Polish or Slavic workshop, its identification with a wolf could be possible, and the linking of the Miechow sword with Jaxa Von Köpenik links also our specimen with the German medieval world. The decoration of the Miechow sword represents an ox or a bull, or even a cow, but it is connected with the heraldry of Jaxa Von Köpenik. It is not impossible therefore to speculate that the engraved running wolf of our sword was in some way chosen because it was the owner's family emblem, or simply because the 13th century blade was done in Passau. During the thirteenth century blade-smiths began again to inlay their products with maker's marks. It is generally possible to distinguish 'trade-marks' from religious symbols. After going out of use for 800 years, it suddenly became popular and was inlaid upon countless sword-blades after perhaps about 1250. It is difficult to draw a line between religious and trademarks: hearts, for instance, whether on their own or within a circle might be either; but where we find a helm, or a shield, or a sword (there is a sword inlaid in the blade of the Type XIII war-sword in the Guildhall Museum, Oakeshott, 1960, pl.7c), or a bull's head (on a sword c. 1300 in Copenhagen), or of course the famous 'Wolf' which is first found on thirteenth-century blades. A mark which can easily be mistaken for the 'Wolf' of Passau is a unicorn; since both wolf and unicorn are only very summarily sketched with a few inlaid strokes, it needs 'the eye of faith' to distinguish an animal at all; the examples of the unicorns which Oakeshott saw on various blades looked exactly the same as the wolves, except that they have a long straight stroke sticking out in front (Oakeshott, 1960, p.223, fig.105b"). Fine condition. Very rare.
Early-mid 14th century AD. An enormous iron longsword of Oakeshott's Type XIIIA.2 (Oakeshott, 1991, p.99), with style 2 cross and a style J pommel, with very nearly of two-hand sword proportions, fitted with a slender triangular blade with deep fuller and acute point, inlaid copper design to each face; one face showing the inscription SNGULIS; the other what seems the stylised image of a crab, but probably an omega mark; the guard is slender and pointed at the end; the long grip shows a slight taper and a strong consistent disc pommel with central inlaid, patterned like a four arm 'Templar' cross inside a circle; the point of the balance is well down towards the point, ideal for a weapon designed to deal slow, powerful slashing blows. See Oakeshott, E. Records of the Medieval Sword, Woodbridge, 1991; Nicholson, H., Knight Templar, AD 1120-1312, Oxford, 2004; Wagner, T., Worley, J., Holst Blennow, A., Beckholmen, G. 'Medieval Christian invocation inscriptions on sword blades' in Waffen- und Kostümkunde, 2009, 51(1): 11-52; Janowski A., Kurasi?ski T., Pud?o P., A sign, a symbol or a letter? Some remarks on omega marks inlaid on early medieval sword blades, in Acta Universitatis Lodziensis Folia Archaeologica 29/2012, pp. 83-110. 1.3 kg, 1.04m (41"). From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato. This sword, belonging to the type of 'Great sword of Germany', finds an immediate parallel in the famous sword from the Thames, a river-find recovered opposite to the building of the Temple (Oakeshott, 1991, p. 99"). Similarly to this one, there is a cross inlaid in copper on the central boss, which, according to the time of finding, pushed some scholars to consider the Thames’s sword like belonging to the Templar Military Order. In our specimen the cross is bigger, and very similar to the Templar cross visible on the Templar seals, paintings, images (Nicholson, 2004, pp.29, 46"). However, as said by Oakeshott of the Thames sword, that suggestion that the cross means a the sword was owned by a Templar, is just a hypothesis, because, when these knights embellished things with crosses they tended to employ crosses in a form heraldically known as cross-crosslets, i.e. each arm of the cross has a short transverse bar at the right angles across it, just below the tip of the arm. The similarity of the cross on the pommel of our specimen with the Templar cross, can justify the attribution of the sword to a military order. From the other side, considering the cross as Christian element of protection, it can be a sign of Divine protection, as usual on the Middle Age swords. Nevertheless, the cross symbols on the swords, as well as the cross-shaped weapons were both, symbols of royal and divine power of which the sword was fitted ('potestas gladii'), items that were holy and indispensable to the noble warrior class. Swords were treasured status symbols that represented the so called 'cingulum militare' (“knighthood”): i.e. they were a tangible token of knightly awareness. A knight, awaiting the clash of arms, surely prayed with his dear sword in his hands. The chronicler Albert of Aix mentioned religious combat preparations in his 'Historia Hierosolymitana'. After the defeat of the Christians at Ramla 1102 AD, some knights took shelter in the tower of the urban fortification. Among them was Conrad, the stabularius of Emperor Henry III of Germany, a valiant and fierce champion with his sword ('…audacia et viribus incomparabilis, gladio precipuas Sarracenorum strages exercuit…' = without comparison for bravery and strength, performed a great slaughtering of the Saracens "). For three days they held out. Only then, they dared a desperate excursion 'after the name of Jesus was invoked and his grace' ('…invocato nomine Iesu et eius gratia…'"). Most probably our specimen is coming from a battlefield or, most probably, a river find. The piece is in excellent condition. The puzzling inscription on the blade, where the word SNGULIS is clearly visible, it is difficult to interpret as comparison terms are missing. It is instead more probable that the mark on the other side of the sword is representing an Omega mark, linked with the Divine symbolism of Jesus Christ as the Alpha and the Omega, i.e. the beginning and the end of everything (Janowski, Kurasi?ski, Pud?o, 2012, pp. 90-91"). Inscriptions on Medieval swords are very common and served a variety of purposes. There are four kinds of inscriptions that are found on medieval swords, runic inscriptions, symbols, religious vocations, and periodic sequences. Runic inscriptions were frequently maker's marks, but also could have been the names of the owners, makers (their name being different form their mark), donators, carriers or the name of the weapon. Having a name was rare and was likely used for gifting swords. They could have also been to remind the bearer to show bravery or been written by sorceresses to give the blade magical powers. They were clearly used by pagans, before the conversion to Christianity, but some symbolism was preserved also after and kept on the inscriptions of Christian swords. Religious vocations would have been meant to give the wielders divine favour and protection in battle. They were the 'divina dicta', i.e. sentences from the Holy Bible or Gospel invoking the help of God upon the wearer, or even divina nomina, if the initials of Our Lord or of the Mother of God were incorporated. Symbols and ornaments were likely religious. Most writing on medieval swords has religious, magical, or other protective meaning. But because writing was very uncommon at the time, any kind of lettering would have a magical connotation. Some of the inscriptions could have been enigmatic meaning to be a magical language. Therefore, the meaning of many inscriptions is unknown. Professor Marek, very kindly, suggested a possible assonance of SNGULIS with an inscription found of some swords, SIGVINAIS, although this seems not to be the most precise parallel. Fine condition. Very rare.
Circa 1330 AD. A heavy iron war mace, with hexagonal prismatic head surmounted by an iron button, the faces of the hexagon divided by lines preserving traces of gilding; mounted upon an iron staff with traces of silver, characterised by a ring of entanglement at the top and three concentric circles below. See ??????? ?.?. ???????-????????? ?????????? ?????? ???????? XIV - ?????? XV ??. // ??????????? ????? ? ??????? ? ???????? ????? ??????, ?., 1983; Head, 1984, Armies of the Middle Ages, volume 2, Worthing, 1984; Nicolle, D. Arms and Armour of the Crusading Era, 1050-1350, Islam, Eastern Europe and Asia, London 1999; Bashir, M. (ed.), The Arts of the Muslim Knight, The Furusiyya Art Foundation Collection, Milan, 2008. 1.5 kg, 45.5cm (18"). From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; believed originally from Eastern Europe; accompanied by an academic report by military specialist Dr Raffaele D'Amato. The war mace belongs to the group of the eastern war maces used by the Mongol armies in 13th century. In particular it is an interesting parallel to a mace published by Gorelik (1983, pl.27, n.67), having the same hexagonal prismatic shape, dated at the 13th century AD. It is also the same kind of mace that was brandished by the Il-Kh?nid Persian-Mongol warriors (scene of the battle of Ardashir and Artavan) in the very famous manuscript Demotte Sh?hn?mah, made in ?dharbayj?n in about 1335 AD (Nicolle, 1999, figs.632J"). The mace, perhaps because of its ancient associations, acquired a legendary quality, second only to the swords in the Islamic world, and therefore also of the Ilkhanid Turco-Mongol warlike state, that with the Sultan Ghazan adhered to the Islam in 1295 AD. Amongst Mongols and Turkish warriors, the mace became a symbol of office, and maces, gilded like this one, played a role in ceremonies which significance was a mixture of religious and military elements. From a military point of view, it was an extremely effective weapon in close combat, particularly from horseback against an armoured opponent, where a heavy mace could easily damage even the thickest steel armour and crash heads and helmets at the same time (Bashir, 2008, p.235"). The Ilkhanid Empire was originally part of the Mongol Empire founded by Genghis Khan, its Persian branch created by Hulegu, grandson of Genghis Khan himself. Settled in Persia, the Mongols fostered the growth of cosmopolitan cities with rich courts and wealthy patrons, who encouraged the arts to flourish. At the death of Kublai Khan the Ilkhanid Khanate was de facto independent, until his dissolution in 1335 AD. The core of its army were the powerful armoured cavalrymen, of Mongol, Turkish and Iranian origin, covered with Khuyagh armour, a lamellar or laminated corselet, mainly in iron, sometimes in bronze; they wore hemispherical helmets with reinforced brow, a plume tube or a spike, and mail, lamellar or leather aventail, round shields and offensive weapons like sabres, bow and arrows and naturally war maces (Heath, 1984, pp.114-115"). Most probably our specimen is from an excavation. The piece is very rare and is in excellent condition. The mace is a type of short-arms, a weapon of impact-crushing action, consisting of a wooden or metal handle (rod) and a spherical pommel (head), which can be smooth or studded with spikes. The mace is one of the oldest types of edged weapons, a direct heir to the club, which began to be used in the Stone Age. It became widespread in the late Middle Ages, which was due to the excellent 'armour-piercing' qualities of this weapon. The mace was great for breaking through heavy armour and helmets. The heads of some maces were huge. Mace has several significant advantages over bladed weapons. Firstly, a mace (like a hammer) never got stuck in enemy armour or shield, which often happened with a sword or a spear. With the help of maces, it was possible to completely deprive the enemy of the shield, inflicting several strong blows on it. In this case, either the shield broke, or its owner received a fracture of the limb. You can also add that the blows of the mace almost never slide off. Secondly, you can learn to use a mace much faster than a sword. In addition, these weapons were relatively cheap and almost 'unkillable'. The mace has a significant advantage in comparison with the war hammer: the enemy can be beaten with either side of the weapon. The mace was an essential weapon according the Islamic Fur?s?yah during close combat, and some military treatises are devoted to this weapon (for example, the 'Kit?b Ma?rifat La?b al-Dabb?s f? Awq?t al-?ur?b wa-al-?ir?? ?alá-al-Khayl,' held in Paris, BNF MS Ar. 2830 and BNF MS Ar. 6604; Istanbul, Ayasofya MS 3186; on the fur?s?yah treatises dealing with the art of the mace, see also al-Sarraf, 'Mamluk Fur?s?yah Literature and Its Antecedents'"). The most common name for the club/mace was the Persian 'gurz' and its derivatives: garz, horz and gargaz. The written sources describe four methods of conducting battle: throwing at an enemy from a long distance: close combat at a distance proportioned to the length of the club; rotation of the mace when a warrior was surrounded by enemies; defeating the enemy in front of you. The maces or clubs with huge heads and relatively short poles were suitable for throwing. Our mace belongs to a simplified form of maces, a sort of cube-shaped tops with six cut corners transforming it in hexagon (type II"). All the specimens are in iron and date back to the 12th–14th centuries. A very widespread category of finds is made up of type II maces, mainly found in the excavations of the Southern Russian cities that were destroyed during the Tatar-Mongol invasion. They were also found in Novgorod, Moscow, and in the peasant Kostroma barrows. Usually, maces were considered to belong to the nobility, but the simpler specimens probably were widely available as weapons for ordinary soldiers, citizens and peasants. This is also supported by the simplicity and sometimes carelessness in the decoration of the maces themselves. Fine condition.
Ca. 3000-2000 BC. Finely molded terracotta figurine (fertility idol); such figurines are commonly discovered in Harappa and Mohenjo-Daro; it is believed they were used as religious offerings. Size: 125mm;4.92in; 45 grams Provenance: From an old British collection of Asian Art formed in 1990 on the UK and European art market.
Ca. 3000-2000 BC. Finely molded terracotta figurine (fertility idol); such figurines are commonly discovered in Harappa and Mohenjo-Daro; it is believed they were used as religious offerings. Good Condition possibly restored; H:112mm; 4.65in; 45gr; Provenance: Private London collection, formed in the 1980s on the UK and European art market
Pieter Willem Frederick Wenning (South African 1873-1921) MALAY QUARTER, LION'S HEAD signed oil on canvas Scholtz, J. du P. DC Boonzaier and Pieter Wenning: Verslag van n’ vriendskap. Tafelberg, 1973, illustrated on page 105, number 40 PROVENANCECollection of Professor J. Smith, Stellenbosch/Johannesburg 38,5 by 28cm The dynamic streets of the Cape Malay Quarter have coloured the canvases of some of South Africa’s greatest artists in pinks, greens and yellows. The colourful energy and atmosphere has become a source of inspiration for many. The first inhabitants of the area arrived in the late 17th Century when the Dutch East Company deported them as slaves and political prisoners. The Cape Malay Quarter became increasingly populated between 1790 and 1840, as this unique area’s character started to develop. With the artisanal building skills of the people from the area, mixed with Dutch architectural influences, the Cape Malay Quarter became a melting pot of cultures and histories that draws in and fascinates artists.The Cape Malay Quarter offers a fusion of Western and Eastern cultures and has, to this day, kept its old-world character, providing the largest concentration of pre-1840 buildings to be found anywhere in South Africa. Characterised by the colourful adjoining houses that line the slopes of Signal Hill, the area boasts rows and rows of terraced roofs and stoeps. These repetitive forms and rectangular facades are juxtaposed with domed mosques. These religious symbols represent not only community, but present a diversity of form that prevents monotony. At every turn, there is a new and interesting composition, allowing the artist to essentially stay in one spot, yet fully capture the essence of the area.Nita Spilhaus (Lot 558), Pieter Wenning (Lots 557 and 559) and Gregoire Boonzaier (Lots 432, 434, 490 and 494) are all known for their fascination with the Cape Malay Quarter, and have provided us with some well-resolved examples on this sale. These artists manage to capture the area in a sensitive yet honest way, contributing to our understanding of the Malay Quarter as a whole. These artists are able to represent the energetic atmosphere in the area, as they use figures and compositional elements to create a sense of movement and energy. These artists, particularly those working in oil, manage to create a brightness that could only be found under the African sun. The minimal use of white, rather being replaced by tones of yellow, creates a warm, velvety glow that produces the feeling of sun-bathed buildings and captures the shifting personality of the area for posterity. - A.C.Alexander, F.L. 1940. Art in South Africa: Painting, Sculpture and Graphic Work Since 1900. A.A. Balkema: Cape Town. p16.Frost, A. 1970. The Cape Malay Quarter in South African Painting. [O]. Available:https://repository.up.ac.za/handle/2263/59637Accessed 21 October 2019.Malay Quarter, Cape Town. 2019. [O]. Available: https://www.sahistory.org.za/place/malay-quarter-cape-townAccessed 21 October 2019.
Religious Statue (Spain, 14th Century or later) Attributed to Spanish School Saint Elizabeth Polychrome on wood Sculpture: 22 3/4 in. x 7 in. x 6 3/4 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Collection A. Albart, Barcelona; John and Johanna Bass Collection; Bass Museum of Art after 1963. Literature: The John and Johanna Bass Collection, Miami Beach, FL, 1973, no. 80. Museum Inventory No. 1963.080. Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.
Religious Statue (Italy, 14th Century or later) Attributed to Italian School (possibly Tuscan) Madonna and Child Sculpture Polychrome on wood Statue: 31 in. x 11 1/2 in. x 8 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: John and Johanna Bass Collection; Bass Museum of Art after 1963. Exhibition: The Endless Renaissance: 4/17/2009-8/16/2009. Literature: The John and Johanna Bass Collection, Miami Beach, FL, 1973. Museum Inventory No. 1963.065 Collection of the Bass Museum of Art -Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.
Religious Statue (Germany, 15th Century or later) Attributed to German School (Bodensee) Madonna and Child Polychrome on Wood Sculpture: 16 1/4 in. x 7 1/4 in. x 5 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Collection Schuler; John and Johanna Bass Collection; Bass Museum of Art after 1963. Exhibition: The Endless Renaissance: 4/17/2009-8/16/2009 Literature: The John and Johanna Bass Collection, Miami Beach, FL, 1973. Museum Inventory No. 1963.073 Collection of the Bass Museum of Art -Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.
Religious Statue (Spain, 14th Century or later) Attributed to Spanish School (Catalan) Madonna and Child Polychrome on wood Sculpture: 23 in. x 8 1/2 in. x 6 1/2 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: John and Johanna Bass Collection; Bass Museum of Art after 1963. Exhibition: The Endless Renaissance: 4/17/2009-8/16/2009 Literature: The John and Johanna Bass Collection, Miami Beach, FL, 1973, no. 74. Museum Inventory No. 1963.074. Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.
Religious Statue (Spain, 14th Century or later) Attributed to Spanish School Saint Martha Polychrome on wood Sculpture: 24 1/4 in. x 7 in. x 7 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Collection A. Albart, Barcelona; John and Johanna Bass Collection; Bass Museum of Art after 1963. Literature: The John and Johanna Bass Collection, Miami Beach, FL, 1973, no. 78. Museum Inventory No. 1963.078. Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.
Religious Triptych Icon (Greece, 18th Century) Byzantine, or later Attributed to Greek School Icon of the Madonna and Child with Saints, Nativity and Baptism of Christ Tempera on Panel 22 1/4 in. x 27 in. x 3 1/2 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Mela Family, Greece; John and Johanna Bass Collection; Bass Museum of Art after 1963. Literature: The John and Johanna Bass Collection, Miami Beach, FL 1973, No. 29 p. 14. Museum Inventory No. 1963.029 Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.
Religious Triptych Icon (Greece, 18th Century or later) Attributed to Greek School, possibly Byzantine Madonna and Child with Saints Gilt and Oil on Panel Panel: 11 1/8 in. x 14 3/4 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: John and Johanna Bass Collection; Bass Museum of Art after 1963. Exhibition: Human Rites: 6/25/2010-10/03/2010. Literature: The John and Johanna Bass Collection, Miami Beach, FL, 1973, No.48. Museum Inventory No. 1963.048 Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.
Religious Icon (Greece, 18th Century or later) Attributed to Greek School, possibly Byzantine Virgin and Child with Saints, Angels and Symbols of the Passion Gilt and Tempera on Panel Panel: 19 1/4 in. x 15 1/8 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: John and Johanna Bass Collection; Bass Museum of Art after 1963. Exhibition: Human Rites: 6/25/2010-10/03/2010. Literature: The John and Johanna Bass Collection, Miami Beach, FL, 1973, No. 49. Museum Inventory No. 1963.049 Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic & International buyers. Purchaser pick up available upon request.
Religious Icon (Greece, 18th Century or later) Attributed to Greek School, possibly Byzantine Madonna and Child Enthroned Oil on Panel Icon: 28 in. x 20 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Purchased by John Bass from Galerie Fischer. Luzern, Switzerland, 21 July 1965; Bass Museum of Art after 1979. Exhibition: Bass Museum of Art: 12/11/1965; Human Rites: 6/25/2010-10/03/2010. Literature: The John and Johanna Bass Collection, Miami Beach, FL, 1973, No. 134. Museum Inventory No. 1979.134 Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.
Religious Icon (Greece, 18th Century or later) Attributed to Greek School, possibly Byzantine Icon of the Finding of the True Cross Tempera on Panel Panel: 27 1/2 in. x 17 1/4 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Purchased by John Bass from Galerie Fischer. Luzern, Switzerland, 21 July 1965; Bass Museum of Art after 1979. Exhibition: Bass Museum of Art: 12/11/1965; Human Rites: 6/25/2010-10/03/2010. Literature: The John and Johanna Bass Collection, Miami Beach, FL, 1973, No.135. Museum Inventory No. 1979.135 Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.
Religious Icon (Greece, 18th Century or later) Attributed to Greek School Icon of the Madonna and Child with Saints Oil on Panel Panel: 15 1/4 in. x 11 3/8 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Purchased by John Bass from Hofgalerie. Luzern, Switzerland, 15 July 1965; Bass Museum of Art after 1979. Exhibition: Bass Museum of Art: 12/11/1965; Human Rites: 6/25/2010-10/03/2010. Literature: The John and Johanna Bass Collection, Miami Beach, FL, 1973, No.136. Museum Inventory No. 1979.136 Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.
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