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PATRICK GRAHAM (B.1943)Mayo Series, Approaching StormOil on canvas, 183 x 204cmSigned, inscribed and dated 2007Provenance: With Hillsboro Fine Art, label verso.From the Antoinette & Patrick J. Murphy Collection.Born Mullingar, County Westmeath in 1943, Patrick Graham’s childhood shaped his life and art. His father emigrated in search of work, his mother spent long periods in hospital suffering from TB, and, aged six, Graham was sent to ‘a small rural community, to my grandparents, my brother and sisters went other places, orphanages I think’. Displaced, without siblings, ‘I became a watcher . . . at six or seven years . . . I became aware that I was a stranger, I was silent; for my secret self I found secret places - a pool of spring water, a tree so tall and full of flickering light that lifted me high up into the unpeopled sky. . . . In my private world there existed an innocence of God and of beauty, a magical belief in nature, my holy trinity, so to speak, was God, nature and a secret self receptive to a vision not of the eye but of the sensual engorgement that saw from within.’ He tells of how ‘I would strip naked on the bog, fill myself with the sensuality of the black earth, then black light and the head-high colour’. This for Graham was ‘pure energy’ and ‘my truest most innocent experience of the transcendent body made one in God and nature’. But ‘bog, body, the eating and drinking of colour, the sensual earth and the sensual body and spirit’ of boyhood gave way to power and terror on entering the Christian Brothers. There he experienced ‘religious fear and religious guilt’ but school also offered hope. In 1957 he began to help his art teacher provide stage sets and backdrops for local amateur productions and it was this that formed Patrick Graham’s palette which Peter Murray lists as ‘ochres, umbers, Titian reds, purples, Naples yellow and blue-blacks’. A brilliant draughtsman and teenage prodigy, Patrick Graham won a scholarship to NCAD and was recognised as such by his tutors and fellow-students. But he himself felt that he ‘collapsed under the dogmatic demands of academic tyranny’. After college, he worked in advertising for a while, abandoned painting for years and in an Interview with John Daly of Hillsboro Fine Art said, ‘I left behind that part of my life that stretched from 1962 to 1983 and began again from nil’. In a 1978 solo exhibition Graham presented his NCAD Diploma from 1964 with Cancelled stamped across it accompanied by a self-portrait with gouged-out eyes. Today, Patrick Graham, is revered by Irish artists, is internationally acclaimed and has been the subject of numerous exhibitions [Los Angeles, Amsterdam, London] and symposia here and abroad. Elected to Aosdána in 1986, Graham was awarded the President’s Gold Medal, Oireachtas Exhibition 1987For years, Graham had a house and studio in Lacken, on the North Mayo coastline. Very interested in that landscape’s archaeological and historical past, especially sheela-na-gigs and famine graves, speaking of the broader landscape he told John Daly that he loved ‘to look into nothingness’ there. This magnificent painting, in which Patrick Graham’s intense, sensual, boyhood connection with landscape still holds, gives us a bird’s eye view of a rugged, dramatic coastline. In the foreground a solid cliff face is loosely, fluently rendered. Low down, a cave’s dark opening contrasts with a sunlit grassy stretch on the cliff top and the gleam of silver sandy beaches in the distance, along the coast, lures and delights the eye. We are on the edge of the North Atlantic and it’s captured here translucently. Signed lower right ‘Graham, Lacken 2007’ the words ‘Mayo 2007’ are also found top centre. The words, lower left, ‘Approaching storm North Mayo Coast’ indicates imminent change, nature in constant flux.Patrick Graham likes to show the work and disappear. ‘If it needs me around to give it life, then I’ve failed.’ To John Hutchinson [in an Irish Arts Review interview] he spoke of ‘absolute surrender in relation to my work’. That ‘a loss of self-will, combined with an awesome sense of - for want of better words - some sort of “God experience”, is what I’m trying to achieve.’ And that’s what he achieves and achieves gloriously here.Niall MacMonagle

BRITISH SCHOOL Poster, exhibit of religious art in original prints, screen print, 85 x 33cm Condition Report: Available upon request

A JAPANESE BRONZE CROSS WITH AMIDA NYORAI (AMIDA BUDDHA) EDO PERIOD OR LATER, 18TH CENTURY OR LATER The central figure seated on a lotus throne, his hands clasped together in a gesture of prayer, a circular mandorla behind him with fleur de lys-shaped ornaments, the cross with four quatrelobed apertures to the ends, 25.3cm. See The Asian Civilisations Museum, Singapore, access. n. 2011-02283 for another example of Edo period cross with a central figure of Amida Nyorai. Also J Welsh, After the Barbarians II, Namban Works of Art for the Japanese, Portuguese and Dutch Markets, pp.278-281 n.34, where a comparable bronze cross is illustrated and discussed. Christianity first appeared in Japan in the 16th century with the arrival of Navarrese missionary Francis Xavier (1506-1552). It quickly reached the higher strata of society, with Daimyo families such as the Satsuma clan joining the faith, partly to have access to imported goods (such as guns) Portuguese Jesuits were trading in. Christianity was fully banned from Japan by Tokugawa after the Shimabara rebellion of 1637-38 during which Christian peasants rebelled against the Shogunate. Other factors led to the ban, including the possible involvement of Portuguese Jesuits and suspicions that converts were spies for foreign powers. The edict outlawed the promulgation of and adherence to the religion. It also marked the beginning of a long period of anti-Christian persecutions that lasted for two and a half centuries. Sign boards such as lot 266 where set up all over the country, encouraging people to report Christians to the authorities for various financial rewards (500 pieces of silver for a priest, or 100 for an ordinary convert). Symbols and objects used for Christian worship were destroyed or desecrated. Lot 268 is an example of this iconoclasm, with the inscriptions to the sides of the incense burner erased to hide its original use. Christian practitioners who refused to renege their faith had to go into hiding and worship in secret. Figures of Kannon, the Buddhist Goddess of Mercy, and of Amida Buddha (lot 267) were adapted to resemble Christian iconography and become the central point of focus of hidden altars. Crosses and figures of Christ (lot 269) were hidden in ordinary objects such as this fake smoking pipe. After the Meiji restoration and the re-establishment of religious freedom, more than 30,000 secret Christians came out of hiding in the 1870s.

* PETER HOWSON OBE (SCOTTISH b 1958), CRUCIFIXION oil on canvas, signed 240cm x 180cm (approximately 95 x 71 inches) Framed. Label verso: Flowers East Gallery, London. Provenance: Exhibited in 2013 at the St. Mungo Museum of Religious Life and Art, Glasgow, where it was hung in the same location as its precursor, Salvador Dali's 'Christ of Saint John of the Cross'.

A bronze plaquette depicting an Allegory of the Triumph of Poverty, probably Low Countries, after engravings to designs by Maarten van Heemskerck (Dutch, 1498-1574), late 16th/early 17th century, of rectangular form, the relief cast figural procession before a distant landscape, with inscriptions 'INOPIA', 'UMI' and 'TIM', 6.5 x 13cm, with a metal display stand Provenance: The collection of the late Professor Michael Jaffé, Clifton Maybank This allegorical scene is comprised of personifications of Inopia (Poverty) seated on a wicker cart, accompanied by Umilitas (Humility) and Timor (Fear). The verse below the engraving that provided the source for this plaquette also identifies the additional figures: Servitude, Patience and Fragility follow this somewhat sober version of a triumphal procession. The scene is from a series of thirteen 'trionfi', several of which are after designs by Van Heemskerck.Maarten van Heemskerck spent the majority of his career in Haarlem, where he studied under Cornelis Willemsz and Jan van Scorel. He painted many portraits and religious commissions, and was also renowned for his depictions of classical ruins, inspired by a long sojourn in Rome. In addition to his prolific painting practice, van Heemskerck was a crucial figure in the Northern Netherlandish printmaking industry, producing detailed commercial designs intended for reproduction and dissemination on the art market. Though the design of this composition is invariably credited to Van Heemskerck, the engraved source is variously ascribed to Cornelis Cort and Hieronymus Cock. Later 16th century versions of the plaquette are held in the collections of the Victoria & Albert Museum, London A.496-1910, and the Metropolitan Museum of Art, New York (1975.1.1352). The warm mid brown patination and detailed chasing that survives, for example in the finely textured hides of the emaciated donkeys, indicate that this is also a fine early cast. For a more detailed analysis and further literature please see: Frits Scholten, The Robert Lehman Collection XII: European Sculpture and Metalwork, New York: Met Publications, 2011, pp. 182-3.

signed oil on board Exhibited at the South African National Gallery in 1966 PROVENANCEInherited, thence by descent 60 by 35cm Flower Piece is an important work confimed by the original fadedlabel on the reverse, attesting to its inclusion in a major retrospectivePranas Domsaitis 1880 - 1965. This prestigious exhibition openedin November 1966, at The South African National Gallery in CapeTown, where over 200 works had been included. Sourced nationwide from private and public collections, the exhibition sought to honour the oeuvre and life work of the artist and his formativeinfluence on the emerging South African art scene.Domsaitis sought refuge at the end of World War II in Cape Townat the age of 69, where he lived out his artistic life until his deathat 85. He died in 1966, a year prior to the death of Irma Stern whowas 14 years his junior. These two giants of the art world sharedmuch in their artistic development; a background of wide travel, anémigré’s perspective, and defining exposure to the art movementsof inter-war Central Europe. Reflecting the influential avant gardeof the time, they were both schooled in German Expressionism.Their independent ideas and experiences were eventually tocontribute significantly to South African art.Domsaitis had already forged a distinguished career in Europe,exhibiting his work alongside Max Pechstein, Paul Klee, MarcChagall, Oskar Kokoshka and other luminaries of the time. However,in response to the threat of Nazi persecution of 'decadent art',he fled to Austria, eventually settling in South Africa in 1949. Hisintensely spiritual landscapes, religious works and expressioniststill lifes were well received in his adopted country. Decadeslater, in 1989 he was honoured with recognition in his country ofbirth, when the Pranas Domsaitis Gallery opened in the nationalLithuanian Art Museum.Flower Piece, simply presented as a Blanc de Chine jug ofglowing floral colours and impasto forms highlighted in blackagainst a cloudy background, “…possess something of Chagall’senchanting visions, the guileless piety of Roualt. The resonantcolour of Expressionists and the intuitive wisdom of the peasant”as expressed by the art critic Graham Watson. ,Indeed, Domsaitis’s Flower Piece exudes the timeless qualities thatappeal to a new generation of artists as in the floral still life’s ofGeorgina Gratrix, Mia Chaplin and others. - C.K.Alexander, L and Cohen E. (1990).150 South African Paintings Past and Present. Struikhof,Cape Town.Drunga, M. (1981). “Pranas Domsaitis: Rediscovered Scion of Expressionism”, in LithuanianQuarterly Journal of Arts and Sciences, 27 (4).BialopetraviÐienÐ, L. (2001). “Artist Pranas Domsaitis: 1880 – 1965” (Pranas Domsaitis Galleryonline) http://ldmuziejus.mch.mii.lt/PDG/P_Domsaitis_en.htmVerloren van Themaat, E. (1976). Pranas Domsaitis. C. Struik Publishers: Cape Town.

Ca. 3000-2000 BC. Finely molded Indus Valley Terracotta Fertility Idol, in a standing position; holding an infant; such figurines are commonly discovered in Harappa and Mohenjo-Daro; it is believed they were used as religious offerings. Good Condition possibly restored; Size: 120mm; 4.72in; 40gr; Provenance: From an old Professional British collection, acquired on the UK art market in the 1970s, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca. 3000-2000 BC. Finely Moulded Terracotta Fertility Idol; such figurines are commonly discovered in Harappa and Mohenjo-Daro; it is believed they were used as religious offerings. Good Condition; Size:80mm 3.15in; 45gr; Provenance: Private Kent collection, formed in the 1980s on the UK art market, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.1000 BC. Important Western Asiatic Master of Animals Sceptre; used during religious rituals; incluidng a custom made stand; Good Condition; Size: 335x220mm; 13.19x8.66in; 500gr; Provenance: Private London collection, formed in the 1990s in the UK and European art market, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Collection of mainly Art theme & Religious Postcards

Evie Hone HRHA (1894-1955)Painting (c.1928)Gouache on paper board, 54 x 42cm (21¼ x 16½)SignedProvenance: Miss Hosford Collection; with The Dawson Gallery, Dublin.Exhibited: Dublin, National Gallery of Ireland, 'Evie Hone: A Pioneering Artist', 2005/6, Catalogue No.5; University of Limerick, 'Familiar Faces', 2008; IMMA, Dublin 2013, Crawford Art Gallery, Cork and F.E. McWilliam Gallery, Banbridge, 'Analysing Cubism'.Literature: 'Analysing Cubism', illustrated with full colour plate p.133.While Hone is more well-known for her work in medium of stained glass, an area to which she devoted much of the remainder of her career, it is her early paintings such as this example which were the influence for these later glazed creations. The expression of pure colour within a single plane, delineated in black in her early compositions, later became panes of glass with their integral soldering outlines. Her paintings have a graphic quality and she developed a distinct and immediately recognisable style. Her time spent working with both cubist painters André Lhote and Alber Gleizes in Paris, alongside her friend and fellow artist Mainie Jellett, expresses the most concerted engagement on the part of Irish artists with this modernist international movement. The teachings, particularly of Gleizes, had an inedible and long-lasting mark on her artistic output. Cubist painting is, amongst other things, an outward reflection of the dynamic environment in which we exist, a multiple view-point perspective. The traditional single-point perspective of the Renaissance becomes, in a cubist painting, as John Berger explains “a field of vision which is the picture itself.” (John Berger ‘The Moment of Cubism’, New Left Review, 1/42 March-April, 1967). Fittingly, similar to other European abstract painters of the period, Hone did not give titles to her paintings, preferring instead to use the neutral terms of ‘Composition’ or in the case of this work simply ‘Painting’. The work is an expression of itself, a visual manifestation of Hone’s artistic process. Against a dark green background Hone has created a geometric framework of turquoise and blues. These forms spin and rotate at angles from the static background, with their angular forms blending as they revolve towards the centre of the composition into more fluid and organic lines. These suggest possibly a figural shape, which is often akin to that of a religious icon. The circular forms in the top right and left of the painting reflect the position saints would often occupy in religious iconography. Hone was a devout Catholic and along with Gleizes and Jellett, she shared a belief that abstract painting could reach a higher or purer level of expression. She was deeply interested in medieval sacred art, an aesthetic which became increasingly important to her artistic language. Even in this early work there are hints towards religious overtones. In particular the hierarchical structure of the composition, the upper section supported on what seems to an altar like structure below. As was the belief of many of her early 20th century counterparts, the role of the artist was to create work which offered a more meaningful contribution to society. On one level, they understood abstract art -forms expressed through pure colour - to be a vehicle for spiritual enhancement. Niamh Corcoran, September 2019

SCHOOL OF ANTHONY VAN DYCK (17TH CENTURY)The Penitent MagdaleneOil on canvas, 125 x 101cmSeveral versions of a now lost original of this composition by Van Dyck have been published, including one in Susan Barnes 'Van Dyck: A Complete catalogue of the Paintings', III.A9, page 403.Anthony van Dyck (1599-1641) was born in Antwerp and grew to become a prolific painter, revered both in his own country and abroad. A precocious talent, van Dyck was employed as a studio assistant for Peter Paul Rubens and it was here that he truly mastered his ability. Whilst aiding with Rubens’ work, van Dyck also took on his own commissions. At the time, much of the wealth was held by the church and, as such, many of his works were of religious subjects. Circa 1620, just as van Dyck was finishing in Rubens’ studio, the artist undertook to paint ‘The Penitent Mary Magdalene’ which is now held in the Rijksmuseum. The subject of Mary Magdalene was popularised in the 16th century as part of the Counter Reformation. During a period when many were questioning Catholic power, religious bodies adopted the image of the Magdalene in a hope of inspiring religious devotion amongst their congregations. Coming to Christ as a prostitute, Magdalene was the ultimate depiction of salvation through adoration. Portrayed as a wretched figure, the image of the saint worked to remind people that forgiveness and eternal life would reward spiritual dedication.Van Dyck approached this commission with Northerly flare, half draping his masculine figure with a crisply sculptured cloth. As with Flemish art of the period, his scene is picked out with hard, clear lines and his figures bear the characteristic pointy features that are so often seen in works by Rubens. Though by the same artist, this work seems far removed from the soft portrayal of the repentant saint depicted in the current lot.In 1621, van Dyck chose to expand his artistic training and travelled to Italy where he was to spend the next six years. Arriving in Venice, his art fell under the influence of the Venetian School and its great master, Tiziano Vecelli. Numerous copies of Titian’s works were made by van Dyck, with a sketchbook of his (now housed in the British Museum) containing just under sixty imitations of his works, with careful annotations made as to composition and colour used. Van Dyck took his admiration further and undertook full oil paintings after the master, as can be seen in his rendition of Titian’s Magdalene in the York Museum, England. In this image, van Dyck’s Magdalene is transformed into a humble portrayal of female deference. Gone are the harsh lines of his Northern roots and, instead, his painting is filled with the sumptuous flowing lines of womanly flesh.It is, thus, without surprise that we find Titian’s influence in the current lot. As an artist who constantly revisited this subject matter throughout his career, a second work by Titian depicting the Penitent Magdalene (Hermitage Museum, St. Petersburg) is seen as bearing significant resemblance to this portrayal by van Dyck. Unlike the work previously mentioned, this rendition is not a slavish copy but, rather, a homage to a respected artist. Certain compositional aspects seem to have been borrowed directly from Titian, such as the looming rock to the left and the clear delicate tree to the right, each working to frame their subject in the centre. As with Titian’s piece, the Magdalene is accompanied by a skull and an open bible, her anguished face lifted and gazing to the right in adoration and imploration of the Heavens.Despite being the work of a Flemish painter, we can see van Dyck’s total embrace of the Italian painting style in this work. The careful use of sfumato blends his figure with her background and the Italianate landscape evokes a romanticism formerly unseen. Though van Dyck did not adhere to his change in style and future works lapse back into his Northern training, there is no doubt that Italy held immense influence over his work, with pieces such as this bearing testament to the respect that he nurtured.

A watercolour interior study of a cathedral with great attention to its art and architecture, together with two modern religious prints in highly ornate gilt wood frames, the largest frame 45 cm x 51 cm (3)

Ca. 3000-2000 BC. Finely moulded Indus Valley Terracotta Fertility Idol, in a standing position; such figurines are commonly discovered in Harappa and Mohenjo-Daro; it is believed they were used as religious offerings. Good Condition possibly restored;Size: 110mm; 4.33in; 35gr; Provenance: From an old Professional British collection, acquired on the UK art market in the 1970s, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca. 3000-2000 BC. Finely moulded Terracotta fertility idol, such figurines are commonly discovered in Harappa and Mohenjo-Daro; it is believed they were used as religious offerings.Good Condition;Size: 130mm; 55gr; Provenance: Private Kent collection, formed in the 1980s on the UK art market, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.1800 AD. Amazing Religious icon with one panel depicting multiple religious scenes. Good Condition; H:140xW:85mm; 5.51 x 3.35in) 140gr;Provenance: Private London collection, formed in the 1990s on the UK and European art market. Provenance: Private London collection, formed in the 1990s on the UK and European art market.All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.1800 AD. Amazing Religious icon with one panel depicting multiple religious scenes. Good Condition; Size:H:150xW:100mm; 7.09x 3.94in;; 200gr;Provenance: Private London collection, formed in the 1990s on the UK and European art market. Provenance: Private London collection, formed in the 1990s on the UK and European art market.

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; Inner diameter: 120mm; outer diameter: 22mm ring size UK V; US 10; 9gr; Provenance: Private London collection, formed in the 1990s on the UK and European art market. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.1200 AD. Amazing wearable Crusaders bronze ring depicting star of Bethlehem. The Star of Bethlehem is a religious motif that combines Christian and Pagan symbolism, The Birth of Christ and War (Four pointed star of God Mars). Good Condition; wearable; Inner diameter: 20mm; outer diameter: 21mm ring size UK V; US 10; 6.5gr; ; Provenance: Private London collection, formed in the 1990s on the UK and European art market. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.1000 BC. Important Western Asiantic Master of Animals Sceptre; used during religious processions. Good Condition; Size: 320mm; 12.6in; 305gr; Provenance: Private London collection, formed in the 1990s on the UK and European art market, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.1200 AD. Wearable Crusaders bronze ring depicting star of Bethlehem. The Star of Bethlehem is religious motif that combines Christian and Pagan symbolism -The Birth of Christ and War (Four pointed star of God Mars).Good Condition; wearable; Inner diameter: 20mm; outer diameter: 25mm ring size UK U; US 10; 7gr; Provenance: Private London collection, formed in the 1990s on the UK and European art market. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.1200 AD. Amazing wearable Crusaders bronze ring depicting star of Bethlehem.The Star of Bethlehem is religious motif that combines Christian and Pagan symbolism -The Birth of Christ and War (Four pointed star of God Mars). Good Condition; wearable; Inner diameter: 20mm; outer diameter: 21mm ring size UK U; US 10; 7gr; Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Islamic Art A pair of illustrated drawings from a religious manuscript Levant, 18th century (?)Ink on paper . . Cm 15,00 x 23,00.

An early 20th century oak three bottle tantalus, with a white metal bar handle and mounts enclosing three facet cut decanters, with a circular copper dinner gong inscribed with a religious verse and turned wooden striker, 24cm diameter, and a 1920's oak canteen of silver plated cutlery (3)For condition information please see https://auctions.trevanionanddean.com/catalogue/3b1a953bcb35b74a9caddcda4dce852a/a7180bf4bbbb20d27ed1aac9c041a473/the-september-fine-art-antique-auction/

Joseph William Ledger 1926-2010: Gothic arch triptych/screen in the form of an iron gilded tracery and saintly figures to the front panels, religious processions with priests and choirboys in woodland settings to the interior, oil on boards, unsigned (painted by the artist in the Lake District during the war when the Royal College of Art was transferred to Ambleside)

Huybrecht Beuckelaer (Flemish, c. 1535/40-1605/1624) A fruit and vegetable, poultry and game seller with the Old Church of Delft beyond signed and dated lower left 'Huberius Beuckelaer 15(?8)5' oil on canvas 135 x 101cm (53 x 39in) Provenance: According to the present vendor, acquired by a member of their family, circa 1960, at a local auction, probably Pascal and Cann of Colchester Born in Antwerp and trained alongside his brother Joachim in the workshop of their uncle, Pieter Aertsen, Huybrecht Beuckelaer drew upon Aertsen's style and subject matter. He went on to join the successful workshop of his brother, Joachim, who established his reputation as a painter of kitchen and genre scenes. Due to the scarce documentation of Huybrecht's career, his works were previously attributed to his brother Joachim or Aertsen. Previously known as the anonymous "Monogrammist HB", it was not until 1997 that Huybrecht was definitively established as the author of a small number of works signed "HB". His identity and work was discussed by Dr Margreet Wolters in 'De Monogrammist HB geïdentificeerd: Huybrecht Beuckeleer', in: P. van den Brink, L.M. Helmus (red.), Album Discipulorum J.R.J. van Asperen de Boer, Zwolle 1997, 231-238. His earliest known work, The First Passover Feast, dated 1563, was only identified and sold as recently as 26th of May 2005 (lot 61) at Sotheby's in New York. Huybrecht is believed to have trained in Bronzino's workshop in Florence and worked as an assistant in the studio of Antonis de Mor. For a full discussion of his life and his coming to live in London, see both Josua Bruyn, "Hubert (Huybrecht) Beuckelaer, an Antwerp portrait painter, and his English patron, the Earl of Leicester", Juliette Roding and Eric Jan Sluijter, Dutch and Flemish artists in Britain 1550-1750, Leids Kunsthistorisch Jaarboek 13, 2003, pp. 85-112; and Elizabeth Goldring, Robert Dudley, Earl of Leicester, and the World of Elizabethan Art: Painting and Patronage at the Court of Elizabeth I, Yale University Press, 2014, pp. 129-132, 163-164, 292. Unlike his better known brother, Huybrecht Beuckelaer is known to have travelled widely in France and probably was in Florence (see above). The last reference to him in Antwerp is in 1584 - an outstanding debt from his time in Bordeaux. It is likely that he had already left for England - though he may have come back briefly before he is definitely recorded in London in 1586 (see Bruyn, 2003, p. 92), where he probably (as a Protestant) went due to the political and religious turmoil in Antwerp at this precise time. He may well have been encouraged to go to London by the promise of - or hoped for - commissions from the Earl of Leicester (1532-1588). Leicester, who had been in the Spanish Netherlands accompanying Elizabeth I's failed suitor the Duke of Anjou when the latter was appointed Regent by Philip II, is known not only to have been painted along with his wife by Huybrecht Beuckelaer (see Bruyn, p. 91) but by 1583 market scenes with figures are recorded in the Inventory of Leicester House (see Goldring, p. 292). That the present painting is dated '15(?8)5' at the very moment that Huybrecht is probably already in London, means it has almost certainly remained ever since in this country, or, if it was painted in Antwerp on his brief return to that city, then he could well have brought it back with him to England. Huybrecht Beuckelaer is presumed to have remained and died in England, as the 'Daniell Buckler' recorded in the Parish of St Giles in the Fields, London, in 1625, is almost certainly his son by his first wife, born in Antwerp in the 1560s (see Goldring, p. 129). We are grateful to Dr Elizabeth Goldring for her assistance with this catalogue entry and to Dr Margreet Wolters for her thoughts on the form of the signature and the attribution to Huybrecht. Oil on canvas which has an early lining but the original tacking edges appear to have been retained. The tacking margins are very slight and have come detached from the stretcher in some areas. This has contributed to the poor tension of the canvas which in turn is causing undulations to the painting, notably at the bottom edge where the painting sags and at the top left corner. At the lower left corner is a tear with associated paint loss. There is an old tear in the canvas and lining to the left of the man's head which has been repaired from the reverse and crudely retouched. The paint layer is raised along the lines of the age cracks in many areas and there are scattered areas of loss across the painting, notably in the lower left corner. In thinner paint passages there is wear and abrasion. There are areas of retouching on the painting which have darkened over time, for example on the lady's right arm and the gourd at the lower left. The varnish is old and no longer adequately saturating the varnish, combined with the uneven surface texture some areas of the composition are difficult to read. There are scuffs and scratches to the surface of the varnish and a layer of dust. The black painted finish to the frame has numerous small losses and scratches.

WW1 British trench art 18 Pdr Shrapnel Shell with religious statue in projectile. Inert.Approx. 30cm tall.

Mudzaert ( Dionysius ). De Kerckelycke Historie van de Gheboorte onses Heeren Iesu Christi tot het Tegenwoordich Jaer M.DC.XX. ... Alles getrocken uyt de Kerckelycke Jaer-boecken Caes. Baronii end andere treffelycke Schryvers, 1st edition, Antwerp: Hieronymus Verdussen, 1622, 2 parts in 1 volume, signatures a4 pi2 A-Z4 2A-3P6 3Q4, A-3Q6 b-f4 , a1=half-title, a2=engraved allegorical title-page after Peter Paul Rubens by Jan Collaert, depicting a personification of the Catholic Church seated on a pedestal, with a figure representing Religious History to the left below, and two prisoners in chains at the foot illustrating Error and Heresy, text mainly in in black letter, double column, browning, part 1 with small spill-burn in I3 affecting a letter either side, mild paper-disruption in 2U5 affecting a couple of letters, part 2 with closed tear in 2I5, a couple of small worm-hole in gutter and text, briefly expanding in quires 2D-2H mainly affecting side-notes, lacking front free endpaper, contemporary blind-tooled calf over thick reverse-bevelled wooden boards, brass catches (lacking clasps), worn, folio (34.5 x 21 cm) (Qty: 1)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and curator of the Fitzwilliam Museum, Cambridge (bookplate). Jaffé wrote three substantial books on Rubens: Rubens (1967); Rubens and Italy (1977); and Rubens: catalogo completo (1989). Judson & Van de Velde, Book Illustrations and Title-Pages (Corpus Rubenianum Ludwig Burchard XXI), 49. No copies traced in UK libraries. The work is a compendium in Dutch of Baronio's Annales Ecclesiastici , a book Rubens had himself acquired in 1620 (see Bertram, Rubens as a Designer of Title-Pages, p. 223). A second edition of Mudzaert's version appeared in 1624.

An interesting selection of over 250 19th century and early 20th century stereoscopic cards, including two female nudes and a 'risque' photograph of a petting couple, from The Fine Art Photographers' Publishing Co., London, various amusing genre scenes, interior tableaux of domestic life, bathing beauties, two entitled Disposing of a Horse Thief in Northern Wisconsin, Southern States cotton pickers and related views, Natural History groups, military including Boer War, ships, New Zealand and Australia views, boxed set of religious cards, etc., to/w an 1897 patent viewer

[§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) BUCHENWALD PRISONER Signed, signed and dated 1967 verso, oil on board 45cm x 37cm (17.75in x 14.5in) Note: Bellany's early works of the 1960s were directly related to his upbringing in the deeply religious fishing community of Port Seton. His preoccupation with mortality and the recognition of evil, which tie into his feelings of Calvinistic guilt, dominate these early works and would continue to influence his work for the rest of his life. In 1967, Bellany travelled to East Germany as part of an official tour for those active in the field of culture. During the trip, he visited Buchenwald concentration camp, and what Bellany witnessed there would forever change his outlook on humanity. The experience of coming face-to-face with this chapter of history left a searing impression and led him to question the value of art in a world where such horror was possible. His work after this visit to Buchenwald reflects feelings of confusion and despair at the inhumanity he witnessed, and alludes to a loss of faith. His work post-Buchenwald explores the relationship between the human condition and religion, and struggles with issues of mortality, evil and the individual's capacity for survival. Works from this period are rare, and tend to be inhabited by prisoners with shaved heads and figures in blue and white striped pyjamas with frozen expressions. The suffering and destruction he witnessed at the camp eventually led Bellany to paint his autobiography through a series of nightmarish sea voyages populated by himself and anthropomorphic animals, for which he is now so well-known. His trip to Buchenwald can ultimately be regarded as a pivotal point in the artist's career; it was a trip that lay the foundation of his artistic and personal dogma.

A STAR OF SNOWDOUN MASONIC LADIES CHAPTER BROOCH DATED 1859 the central sunburst set with a bouton pearl with three forget-me-knots in a heart shaped border with green enamel leaf detail, suspending a snowdrop flower and surmounting a coronet, the reverse engraved 'Ladies Rock' and two references EPH III 17.18, Phil IV 7 in box of issue, title inside lid of box Star of Snowdoun Sech IV 6 and Luke XI 9 dated 1859 90mm long Note: This lot has been granted a license from Scottish Natural Heritage, and it contains fresh water pearls legally taken from the wild prior to 27 March 1991. During the 'killing times' of the 1680's many martyrs were put to death due to their religious beliefs. Margaret Wilson, her younger sister Agnes, and Margaret McLaughlin succumbed to this fate, as covenanters, as they refused to swear an oath to James VII as head of the church. Agnes was only 12 at the time, and was spared, but is depicted in the memorial commissioned by William Drummond of Stirling in 1859. The statue depicts a guardian angel watching over Margaret Wilson reading the Bible to her younger sister, Agnes. In addition to the statue, William Drummond commissioned this brooch for all female members of his family for the inauguration of the Drummond funded Virgin Martyrs' memorial. The brooch, heavily symbolic, with the three forget-me-nots for each woman, the pearl symbolising purity and most significantly the cross, crown and laurel leaves of martyrdom. Two Biblical references are noted on the box and two are engraved on the brooch, Zechariah 4:6 and Luke 11:9 on the box, and Ephesians 3:17-19 and Philippians 4:7 on the reverse of the brooch. Three similar brooches can be found in the Stirling Smith Art Gallery and Museum. See 'A History of Stirling in 100 Objects', Elspeth King, 2011. Taken from New International Version (NIV), the biblical references are as follows; Ephesians 3:17-19 [17] so that Christ may dwell in your hearts through faith. And I pray that you, being rooted and established in love, [18] may have power, together with all the Lord's holy people, to grasp how wide and long and high and deep is the love of Christ, [19] and to know this love that surpasses knowledge-that you may be filled to the measure of all the fullness of God. Philippians 4:7 [7] And the peace of God, which transcends all understanding, will guard your hearts and your minds in Christ Jesus. Zechariah 4:6 [6] So he said to me, This is the word of the Lord to Zerubbabel: 'Not by might nor by power, but by my Spirit,' says the Lord Almighty. Luke 11:9 [9] So I say to you: Ask and it will be given to you; seek and you will find; knock and the door will be opened to you.

Ca.1200 AD. Amazing Medieval Religious wearable bronze ring with teardrop shaped bezel depicting fishing net pattern; Christian Symbol. Fine Condition; Inner diameter: 20mm; outer diameter: 28mm ring size UK V; US 11; 8gr; Provenance: Private London collection, formed in the 1990s on the UK and European art market. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.1800 AD. Amazing Religious icon panel depicting John the Baptist with original blue glass enamel still present; John the Baptist played a significant role in paving the way for the arrival of the Christ. He is often depicted as a divine messenger and a prophet.The wings mostly represented his divine role as a messenger. But it is good to know that the angels Gabriel and Michael are also depicted having wings although they were not specifically characterized in the Scriptures having them, which could indicate that the wings John carried are symbolic. Good Condition; H:76xW:66mm (2.99in, 2.59in); 90.5gr;Provenance: Private London collection, formed in the 1990s on the UK and European art market. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.1800 AD. Interesting Religious icon cross depicting crucified Jesus Christ, surrounded by Apostles, open work-design. Good Condition; H:93xW:59mm (3.66in, 2.32in); 72 gr;Provenance: Private London collection, formed in the 1990s on the UK and European art market. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.1800 AD. Amazing Religious icon with 3 panels depicting multiple religious scenes. Good Condition; H:105xW:95mm (4.13in, 3.74in); 79gr;Provenance: Private London collection, formed in the 1990s on the UK and European art market. Provenance: Private London collection, formed in the 1990s on the UK and European art market.

Ca. 500 BC. Rare Greek petailed phiale bowl with omphalos in the centre; Beautiful decorated with smooth patina and bronze exposure, in the reverse small leaf decoration running along the body. 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 which 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; 170x45mm (6.69in, 1.77in) ; 250gr; Private London collection, formed in the 1980s on the UK and European art market; All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.400 BC. Rare Greek Hellenistic Period (Eastern type) terracotta hollow terracotta head of God Dionysus - the youthful god depicted beardless, with short wavy hair bound in a broad fillet and topped with a stippled stephane centered by a large rosette, a palmette rising behind -Dionysus was the ancient Greek god of wine, winemaking, grape cultivation, fertility, ritual madness, theater, and religious ecstasy. His Roman name was Bacchus. He may have been worshiped as early as 1500-11000 BCE by Mycenaean Greeks. Good Condition, on custom stand; H:140mm/260mm(5.51in, 10.23in) (with stand); 565gr; Provenance: Private London collection, formed in the 1990s on the UK and European art market. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca. 3000-2000 BC. Finely moulded terracotta figurine (fertility idol); such figurines are commonly discovered in Harappa and Mohenjo-Daro; it is believed they were used as religious offerings. Size: 140mm(5.51in) ; 45 grams; Provenance: Private Kent collection, formed in the 1980s on the UK art market, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca. 3000-2000 BC. Finely moulded Indus Valley terracotta figurine (fertility idol) in a seated position; such figurines are commonly discovered in Harappa and Mohenjo-Daro; it is believed they were used as religious offerings. Good Condition possibly restored; L:115mm (4.52in) ; 40gr; Provenance: From an old Professional British collection, acquired on the UK art market in the 1970s, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca. 3000-2000 BC. Finely moulded Indus Valley 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; L:160mm (6.29in) ; 120gr; Provenance: From an old Professional British collection, acquired on the UK art market in the 1970s, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca. 3000-2000 BC. Finely moulded Indus Valley 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; L:105mm (4.13in) ; 40gr; Provenance: From an old Professional British collection, acquired on the UK art market in the 1970s, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.300 Ad. A gorgeous, mold-formed stucco head of an elderly male, naturalistically presented in the traditional Graeco-Buddhist style which was so popular during this time. The head is composed of a gaunt face with recessed eyes beneath heavy brows, large ears with elongated lobes, a flowing mustache above an abundant beard, and well-contoured cheeks, all set beneath a bald pate. The head's somewhat emaciated depiction suggests he is an ascetic, an individual who foregoes any form of indulgence or physical pleasure to maintain and demonstrate their religious devotion. Much Gandhara sculpture from this time period depicts the Buddha, but this example has no hallmarks suggesting that it is him or a representation of an elderly Prince Siddhartha.Good condition; on custom stand ;H:105mm/H:200mm( 4.13in, 7.87in)(with stand); 575gr; Provenance: Private London collection, formed in the 1960s on the UK and European art market, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.600 AD. Medieval Religious artefact, wearable bronze byzantine ring with monogram for mother Mary; cross on each side. Possibly worn by a priest. Good Condition; Inner diameter: 22mm; outer diameter: 26mm ring size UK Z; US 12; 7.5gr; Provenance: Private London collection, formed in the 1970s on the UK and European art market. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

PHOEBE RENNELL (1883-1972); blue religious calligraphy verse on vellum with illuminated detail, 'Adorna Thalamum Tuum [...]', unsigned, with part label identifying artist and Rowley of Kensington stamp verso, 70 x 42cm, framed and glazed (D).Provenance: by descent from the artist.Additional InformationSome staining and discolouration and some waviness to the paper, particularly at the corners and edges, some creasing to the paper, particularly lower left, upper right corners and left side. Some small holes at top and bottom edges where has been previously mounted, some faint pencil outlines, some further marks, frame worn.Phoebe Rennell was born in Clapham, London and attended the local Clapham School of Art, later working as a calligrapher, illuminator and illustrator in the Arts & Crafts tradition of William Morris and Walter Crane and a potential student of Edward Johnston or Graily Hewitt, Miss Rennel also occupied Fydell House in Boston during WWII and escaped unharmed when the house suffered bomb damage.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk

PHOEBE RENNELL (1883-1972); two religious calligraphy verses in black and gold entitled 'Gloria in Excelsis Deo' and 'Whoso Dwelleth Under the Defence of the Most High: Shall Abide Under the Shadow of the Almighty', unsigned, the first and slightly larger, 48 x 28.5cm, both framed and glazed (2) (D).Provenance: by descent form the artist.Additional InformationSome waviness and turning up at corners and edges particularly, some spotting and foxing, some visible pencil outlines, the first particularly displaying foxing and marks. Both with some dirt, both frames heavily worn and tired.Phoebe Rennell was born in Clapham, London and attended the local Clapham School of Art, later working as a calligrapher, illuminator and illustrator in the Arts & Crafts tradition of William Morris and Walter Crane and a potential student of Edward Johnston or Graily Hewitt, Miss Rennel also occupied Fydell House in Boston during WWII and escaped unharmed when the house suffered bomb damage.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk

PHOEBE RENNELL (1883-1972); gold and coloured religious calligraphy, 'The Pageant of Holy Thursday', with verse below bordered by angels in watercolour beneath a multicoloured rainbow with gold calligraphy pen detail, signed and dated 1928, 52 x 47cm, framed and glazed (D). Provenance: by descent from the artist.Additional InformationWaviness to the material, faint visible pencil lines used for the script and possible preparatory sketches, some spotting and foxing, frame worn.  Phoebe Rennell was born in Clapham, London and attended the local Clapham School of Art, later working as a calligrapher, illuminator and illustrator in the Arts & Crafts tradition of William Morris and Walter Crane and a potential student of Edward Johnston or Graily Hewitt, Miss Rennel also occupied Fydell House in Boston during WWII and escaped unharmed when the house suffered bomb damage. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk

Gerald Rickards (British 20th Century 1931-2006), Pavillion Building Mesnes Park Wigan, oil on canvas, 71cm x 92cm, canvas re-used, abstract scene verso, unsigned, unframed. Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising in depicting buildings in his own distinctive style, from small private houses to large country houses. Meticulous attention to details was an important feature in all his work. Paintings ranged from semi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouache compositions, murals and stained-glass design. Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland Grammar School) where he was Head of Art for 26 years. He was the first Artist in Residence at Drumcroon Education Art Centre. Following early retirement, he devoted all his time to painting from 1985 until his death in 2006. He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduate fellowship at Edinburgh College of Art where he was the prize winner for the most distinguished work of college year. A travelling scholarship to study mural painting in Europe followed in addition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer in London. Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of large buildings and some religious motifs. The latter part of the 1970?s featured subjects which were easier to recognise including mythological creatures and birds depicted in a decorative two- dimensional manner with lots of detail in linear backgrounds. Later works featured parts of buildings, with special attention given to detail, and the relationship between façade and background. The traditional approach to perspective was avoided and subjects were often repeated with variations of colour and arrangement. He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London, Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches, cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc. Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor to ceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters, Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner in the last two). Also, a ten-section painting for Newnham College at Cambridge, a collection featuring all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall. He submitted the winning design for the 25-foot square Preston Guild window, designed and painted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a 3-setion stained glass project for Christ Church, Aughton. His work was purchased by several educational establishments, local authorities, British Waterways, National Trust, Newnham College, Blackpool Gazette, English Schools Athletics Association and for private collections in many European countries, America and Australasia. Prints were produced from several of the ongoing series, featuring national and local subjects, plus a triptych commemorating the last rugby match at Central Park. Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), "Ellesmere Memorial Walkden", oil on board, 56cm x 74cm, unsigned, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), "St Lukes Church Orrell", oil on board, 56cm x 74cm, unsigned, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), abstract figures, oil on canvas, 70cm x 122cm, unsigned, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), abstract cockerel, oil on canvas, 91cm x 71cm, signed verso, canvas re-used, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), steam traction engine, oil on board, 53cm x 39cm, signed verso, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), architectural scene, oil on canvas, 36cm x 56cm, unsigned, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), "Warrior with Lance & Shield", oil on canvas, 50cm x 71cm, signed, titled and dated 1969 verso, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), pair, abstract crucifixes, oil on board, 37cm x 68cm each, signed verso, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), "Three Kings", oil on board, 51cm x 64cm, signed and titled verso, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), "Grey Crucifixion", oil on canvas, 51cm x 87cm, signed, titled and dated 1969 verso, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), untitled, oil on canvas, 50cm x 76cm, signed verso, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Trade Catalogue. A trade catalogue of chromolithographed religious cards, published by G. Ajelli & Co. Ltd., circa 1920, approximately 550 cards on 35 leaves, some printed in sepia or black and white, but most chromolithographed, and some illuminated, mainly small postcards, although some larger (e.g. commemorative cards for First Communion), a few of the latter creased, all of a religious nature, depicting saints, popes, biblical scenes, variously captioned in Italian, Spanish, Latin, etc., a number with art nouveau borders, all with ink stamped number (mostly to upper margin), typically approximately 11 x 6 cm, a number of album leaves excised at front, original cloth portfolio, stained and worn, with spine near-detached and leather clasp broken, gilt lettered on upper cover 'G. Ajelli & Co. Ltd. Fine Art Publishers & Printers. 13, Grays Inn Road, London, W.C.1', folio (Qty: 1)

A carved ivory trip tych in the 14th Century Gothic style, Paris, 19th Century or earlier, variously carved with ten religious figures below gothic tracery, old ink label to reverse No. 2/BF, 8 x 7.5cm closed, 16 x 7.5cm open The Cowell Family Ivories This ivory carving was in the collection of Mr and Mrs George Cowell at the beginning of the 20th Century. In 1925 on Mrs Cowell's death 'Treasures Of Art' from the collection numbering some twenty items were given to the Victoria and Albert Museum. A press release was issued at the time 'The Victoria and Albert Museum has received an important accession to its collection of medieval and Renaissance Art by the bequest of the late Mrs George Cowell. Her son Mr Athelstan Riley has generously renounced a life interest in the bequest and the objects are now on exhibition in the Central Court of the Museum'. This bequest comprised primarily ivories but also Limoge enamels and maiolica. Athelstan Riley lived at No. 2 Kensington Court, London and subsequently at The Manor of La Trinite in Jersey, he was the grandfather of the current owner.