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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.

‡ AN 18 BORE FLINTLOCK SPORTING GUN BY JOSEPH MANTON, LONDON, NO 1180, FOR 1800 with browned twist sighted barrels numbered beneath, case-hardened patent breeches with gold-lined barrelsmith's marks, gold lines, gold-lined vent and numbered en suite with the barrels, engraved grooved tang, signed stepped locks engraved with border ornament and on the tails, fitted with rollers, rainproof pans and cocks en suite, figured walnut half-stock, chequered grip (rubbed), engraved steel mounts including trigger-guard with pineapple finial, silver escutcheon engraved with owner's initials 'WG', and associated steel-tipped ramrod 80.8 cm; 31 ¾ in barrel Provenance Reverend William Gresley, Netherscale, Leicestershire W. W. Dowding Literature William Keith Neal and David H. L. Back, The Mantons Gunmakers, London 1966, p.228 Peter Scott Edeson 2011, Dating the Firearms of John Manton and John Manton & Son: 1789-1834, in The Antique Arms Fair Guide September 2011, pp. 37-42 William Gresley (1801-1876), a Church of England clergyman and author, was educated at Westminster School and Christ Church, Oxford. He was ordained deacon in 1825 and priest the following year. Gresley's first publication was Ecclesiastes Anglicanus (1835), a treatise on the art of preaching in epistolary form. He came to much wider public notice, however, with the appearance of his first work of fiction, Portrait of an English Churchman, in 1838. The Portrait virtually founded the canon of religious and social tales by which Gresley and his fellow Tractarian and friend F. E. Paget endeavoured to popularize high-church principles. Its assertion of the catholicity of the Church of England firmly aligned him with the Tractarian movement, and it ran through numerous editions. A belligerent controversialist, Gresley published numerous books and pamphlets in defence of Tractarianism and hostile to evangelicalism. He was considered a pugnacious champion of the Tractarian movement, but never belonged to its extreme wing. He died in 1876 at Boyne Hill near Maidenhead and is buried in the churchyard there. Abridged from the Oxford Dictionary of National Biography, accessed April 2018.

Marc Chagall autograph signed to lower border of 12th July 1982 cover of the Brazilian news magazine featuring the Russian painter Marc Chagall and signed by him in September 1984. Also comes with a card signed and written by his second wife Valentina Brodsky Chagall dated 1977. Russian, born painter, lithographer, etcher and designer. Born in Vitebsk of a deeply religious Jewish family. First artistic instruction under Penn, a local painter, then spent 1907, 10 in St Petersburg, where he entered the Imperial School for the Protection of the Fine Arts, and later studied under Bakst. Lived 1910, 14 in Paris, where he met Apollinaire, Delaunay, Leger, Modigliani and Lhote. Somewhat influenced by Cubism but differed from it in his love of fantasy. First one, man exhibition at the Galerie Der Sturm, Berlin, 1914. Returned to Russia the same year and had to remain there because of the war. After the Revolution, appointed Fine Arts Commissar for the province of Vitebsk and directed an art academy; also executed murals for Granovskys Jewish Theatre in Moscow. Spent 1922, 3 in Berlin, then 1923, 40 in Paris, except for visits to Egypt, Palestine, Holland, Spain, Portugal and Italy; in addition to paintings, made illustrations for Gogols Dead Souls, La Fontaines Fables and the Bible. In the USA as a refugee 1941, 7, then returned to France, settling in 1950 at Venice. His later works include a new ceiling painting for the Paris Opéra and, from 1957 a number of commissions for stained glass. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.

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. Good Condition possibly restored; Size: 16cm (6.29 in); 115gr; Provenance: 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.

Collection of 35mm slides, postcards & photographs of English Church Architecture & Religious Art including Churches Archdeaconry of York, East Riding, Cleveland and other locations, collection of cassettes including Hymns & Church music and a collection of National Trust 35mm slides sets and other cased slides Condition Report Click here for further images, condition, auction times & delivery costs

KOROVIN, KONSTANTIN (1861–1939) Spring in the Village, signed and dated 1920.Oil on canvas, 66 by 88 cm.Provenance: Russian Paintings, Sotheby’s London, 10 June 2008, lot 237.Acquired at the above sale by the present owner.Private collection, UK.Authenticity of the work has been confirmed by the expert V. Petrov.Exhibited: Possibly, Konstantin Korovin, Khudozhestvennyi salon K. Mikhailovoi, Moscow, December 1921–January 1922.Literature: Possibly, exhibition catalogue, Konstantin Korovin, Moscow, 1921, No. 53, listed as Vesna.Possibly, A. Kiselev (ed.), Konstantin Korovin. K 150-letiiu so dnia rozhdeniia, St Petersburg, Zolotoi vek, 2011, p. 92, No. 53, included in the list of works from the 1921–1922 exhibition under 1920.Konstantin Korovin painted Spring in the Village during his stay at the Ushakovs’ estate, in Ostrovno village of Vyshnevolotsky district of the Tver Governorate. The picturesque landscape and the warm welcome Korovin was given by the philosopher and religious thinker Boris Vysheslavtsev and his wife Natalia (who was to become the subject of a whole series of the master’s canvasses) marked a new and very special chapter in Korovin’s artistic life.The wooden terrace depicted in the painting offered here for auction often featured in the artist’s work and served as the background for numerous landscapes and portraits. The earth, barely free of snow and drenched in sunshine, the radiant blue of the sky and the general upbeat mood evident in the painting are all a reflection of Korovin’s exuberant nature; the joie de vivre that was so much a part of him, and his love for people and for his natural surroundings. The artist’s ebullient brush and the passion with which he records views of his native landscape resonate with the lines from his memoirs: “How lovely Russia is, what music there is in her image ... where there seems to be happiness”.It is safe to assume that this work was exhibited at the artist’s solo exhibition (catalogue No. 53, Spring) in the art salon of Klavdiia Mikhailova, in Bolshaia Dmitrovka, Moscow, which ran from December 1921 until January 1922.

Late 1st-early 2nd century AD. A bronze 'Kostol Type' sports helmet mask with strong realism, 'Type A' of the Robinson classification of cavalry sport helmets (Robinson, 1975, pl.309, p.112), showing the portrait of a youthful African male, possibly that of the Mauri Prince, Lusius Quietus; with broad forehead, high cheekbones, short, wide nose with wide mouth and small, pierced almond-shaped eyes; locks of hair on the head in a series of semi-circular bands; rear edge of mask pierced for attachment of the leather lining; the wide eye-holes terminate with flanges representing the eye-lids; traces of burning are visible on the forehead, nose, around left eye and right cheek. See Robinson, R., The Armour of Imperial Rome, New York, 1975; Garbsch, J., Römische Paraderustüngen, München, 1979; D'Amato R., Negin, A., Decorated Roman Armour, London, 2017; the mask helmet finds a good parallel in the Kostol helmet (Garbsch,1979, pl. 23,3), although differs for the kind of portrait; it belongs to the category of Roman mask helmets usually employed in the sportive games, acting also for military training, of the so called Hippika gymnasia, well described by Arrian of Nicomedia in his Taktika, written down during the age of the Emperor Hadrian (117-138 AD); mask helmets were produced in all of the Empire until at least the late 4th century AD, they were however also destined to be worn in real combat, as shown by the gravestone of Flavinus at the Hexham Abbey (Robinson, 1975, pl.307, p.106; D'Amato-Negin, 2017, p.150, fig.158), and Sextus Valerius Genialis at Cirencester (D'Amato-Negin, 2017, p.82, fig.78); the 'Type A' to which the mask belongs, is extremely rare, and it shows mask helmets still strongly influenced by the Hellenic taste; the face and the hair are treated with strong realism, in a extremely naturalistic manner, different from the classical form seen in the similar helmets of Alexander Typology; as supported by Robinson these category of helmet was probably realised by artists trained as sculptor specialists in portraiture; however, differently from the Kostol helmet in which the whole skull acts also as a bowl, here the mask was destined to be attached to a second part, in a similar way to the other well known portrait helmet mask known from Stockstadt (Garbsch,1979, pl.20,3), and to the masks of 'Alexander Type' (D'Amato-Negin, 2017, pp.194"). 1.59 kg total including stand, 29cm without stand (11 1/2"). Property of a South London collector; previously in a German collection prior to 1980; accompanied by an academic report by military specialist Dr Raffaele D'Amato, and by a metallurgic analytical report, written by Metallurgist Dr. Brian Gilmour of the Research Laboratory for Archaeology and the History of Art, University of Oxford, number 93511. Most probably this specimen is from a grave of a soldier or military commander. The helmet is hemispherical and imitates abundant curly hair which is made in a realistic fashion. In addition, the helmet is unusual due to the fact that its design and appearance demonstrate a combination of several traditions in manufacturing of military headgear, like the Kostol one. The bottom edge of the helmet could be also bent in the form of a hem and have a continuity of holes intended either to attach the lining, or to suspend some sort of neck protection in the form of a lamellar or scale aventail, which is not typical of Roman helmets, worn in the Roman army only by soldiers of Eastern auxiliary units. The mask portrait is the one of a young Dipartimento Studi Storici università di Ferrara Pagina 2 African prince, or man, in an age in which Africans (Numidians) were highly considered in the Auxilia military forces serving under Trajan and Hadrian. It should well be remembered the important tasks accomplished by the Mauri of Lusius Quietus during the Trajanic wars against the Dacians, and also during the repression, in the last years of the Trajan's Empire, of the Jewish revolt in the so-called Kitos war (116-118 AD"). We cannot exclude that the mask was destined to a member of his family, or to a portrait of the Prince himself, considering the similarity of this portrait with the presumptive image of Quietus on Trajan's Column (Cichorius, scene LXIII"). According to Arrian of Nicomedia, a Roman provincial governor and a close friend of Hadrian, face-mask helmets were used in cavalry parades and sporting mock battles called hippika gymnasia. Parades or tournaments played an important part in maintaining unit morale and fighting effectiveness. They took place on a parade ground situated outside a fort and involved the cavalry practising manoeuvring and the handling of weapons such as javelins and spears. Parades would have taken place at several times in the year, especially at religious festivals and on days marking the birth, and accession to the throne, of the Emperor. Hippika gymnasia were colourful tournaments among the élite cavalry wings of the army, the alae. Both men and horses wore elaborate suites of equipment on these occasions, often in the guise of Greeks and Amazons. Calvary helmets were made from a variety of metals and alloys, often from gold-coloured alloys or iron covered with tin. They were decorated with embossed reliefs and engravings depicting the war-god Mars and other divine and semi-divine figures associated with the military. [A video of this item is available to view on TimeLine Auctions website.]Very fine condition, minor restoration and edge loss. Excessively rare.

5th-4th century BC. A bronze phiale with flanged rim, central mesomphalos boss surrounded by concentric circles and circlets, a border of lotus-flower details to the outer edge. See Godard, F. The Art of Iran, London, 1965 for discussion. 204 grams, 16.5cm (6 1/2"). Property of a London gentleman, acquired in the 1990s. Phiale mesomphalos (literally: bowl with central boss) were the most popular form of vessel and were produced in a number of materials, including clay, bronze, silver and gold. They are a distinctive type of Achaemenid tableware, made by hammering or raising sheet metal, with decoration added in repoussé. They were used in banquets held by the nobility and for pouring libations at religious festivals. Phiales of this kind were a common gift from the Achaemenid king to the nobility which helped cement alliances among the different tribes of the Empire.The central boss to the underside allowed the user to secure their fingers and ensure a solid grip whilst drinking or pouring. Fine condition.

Greek, Early Spedos, Early Cycladic II, ca. 2600 to 2500 BCE. Finely carved from marble, this is the U-shaped head of a Spedos figure. The low relief nose is pronounced, and it is possible that other details originally may have been delineated with brightly colored pigments. The remains of a neck are still visible at the base. This head is most likely from the head of a female figure, typical of the sculpture of the Cyclades in the mid-2000s BCE. The name Spedos is derived from an Early Cycladic cemetery on the island of Naxos. This canonical type is characterized by an elongated slender body with folded arms, a lyre- or U-shaped head, and a deeply incised cleft between the legs. Size: 2.5" W x 4.05" H (6.4 cm x 10.3 cm); 5.8" H (14.7 cm) on included custom stand.See an example with the body included at the Getty Museum: http://www.getty.edu/art/collection/objects/12938/unknown-maker-female-figure-of-the-early-spedos-type-cycladic-2700-2500-bc/. According to the curatorial team at the Getty, "The role and meaning of these figures in Cycladic culture is unknown. As the majority of figures are female, and are represented nude, with breasts and incised public triangles to indicate their gender, they may be linked with the idea of fertility and reproduction, which was often a focus of ancient Mediterranean religions. While these figures have been found almost exclusively in graves placed on their backs, it is not clear whether they were made specifically for burials. On some examples, the painted decoration has been refreshed, suggesting that the images were in use for a long period of time before being buried. Additionally, a few examples also come from sanctuaries, and would have served a ritual function. Since they could not stand, they may have been held upright in social or religious activities, such as processions." Provenance: private Connecticut, USA collection, acquired London 2012; ex-private Belgian collection 1990s; ex-N. Koutoulakis, Switzerland, 1960s, thence by descent Condition: Head is a fragment from a larger statue. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #146723

Ancient Middle East, South Arabia, Qatabanian culture, ca. 3rd century BCE to 1st century CE. A striking pale yellow-white stone slab, a high-relief funerary stele, with a carved abstract human face presenting an inverted triangular profile, a slender nose between almond-shaped eyes, slender lips, and perky ears, all beneath a tall forehead. The tall, rectangular plaque has flat faces and peripheries, and a three-character name of "Aws," a popular name during this time, inscribed below the face. Lightly-drilled recesses denoting the pupils suggest the eyes were at one time adorned with bright colors, and faint traces of original orange-red pigment are still visible around the peripheries. Size: 7.5" W x 14.875" H (19 cm x 37.8 cm); 18" H (45.7 cm) on included custom stand.The deceased in this part of the world were often represented by anthropomorphic funerary stelae like this one; however, the face is highly stylized and it is doubtful that this is a portrait of a known individual. They have been found in three areas, one of which was the cemetery at Tamna, the capital city of Qataban. The Kingdom of Qataban rose to prominence in the second half of the 1st millennium BCE, because it controlled the trade in frankincense and myrrh, incenses required to be burned at altars during religious rituals further north and west. A haunting and rare artifact, certain to spark conversation, and a reminder of the deeper history of the Middle East.For a stylistically-similar example, please see The British Museum, museum number 1995,0124.1: https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=271702&partId=1&searchText=arabian+ancient&page=1Another stylistically-similar example of a slightly-smaller size hammered for $11,875 at Christie's Special Exhibition Gallery Antiquities auction (sale 2490, December 7, 2011, lot 23): https://www.christies.com/lotfinder/ancient-art-antiquities/a-south-arabian-limestone-pillar-stela-for-5509059-details.aspx?from=searchresults&intObjectID=5509059&sid=e325e265-8cd6-48be-8023-2e89624dfaa4 Provenance: private East Coast, USA collection; ex-private Connecticut, USA collection, acquired in the 1970s; ex-private collection, acquired in the 1930s and 1940s Condition: Losses along edges and bottom as shown. Face is nicely preserved as are the letters at the base. Minor abrasions to obverse, peripheries, and reverse, with fading to original pigmentation. Light earthen deposits throughout. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #144096

Central Asia, Pakistan and Afghanistan, Gandharan Empire, ca. 1st to 3rd century CE. One of the finest examples of Gandharan stone carving we have seen! A richly carved, highly polished black stone head of a prince, modeled in the traditional Greco-Buddhist tradition with a full face, fine almond eyes, a naturalistic nose, sensitive mouth, and a large, ornate headdress, similar to a turban, atop the head. Alexander the Great conquered Gandhara in 330 BCE and the reign of Indo-Greek kings who followed him introduced classical traditions that would influence Gandharan art for the following seven centuries. The stylized, curly Mediterranean hair and top knot derive from classical sculptures such as the Apollo Belvedere (330 BCE), and the sensitive modeling of the expressive face demonstrates a classical influence as well, while keeping many of the stylistic elements, like the focus on the large eyes, of Indian artwork. Size: 6" W x 8.25" H (15.2 cm x 21 cm)Gandharans are famous for schist and stucco carvings depicting Buddhist religious figures. Vast monastic institutions like those at Takht-i-Bahi, Sahri-Bahlol, Jamal Garhi, Ranigat, and Thareli were decorated by skilled artisans with representations of important figures, religious scenes, and artistic dedications. During this time, Gandhara was exceptionally wealthy, profiting from trade along the Silk Road; patrons had resources to spend on the arts, creating a flowering of artwork. Provenance: private East Coast, USA collection; ex-Mazard Family collection, New York, USA 1980s Condition: The head is a fragment from a larger sculpture, lost below the neck. Small losses from peripheries. Some scratches, chips, and nicks from surface. Light deposits. Overall very good condition with excellent remaining detail. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #146552

Gerald Rickards (British 20th Century 1931-2006), "Preston Guild Window", gouache, 31.5cm x 34cm, unsigned, titled verso, glazed and framed 41.5cm x 46.5cm.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), "Revelation Series Second Creature Like An Ox", oil on canvas, 41cm x 51cm, 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, 51cm x 86cm, signed, titled and dated 1967 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 Bird Target One", oil on canvas, 66cm x 51cm, signed, titled and dated 1968 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), "Red Line", oil on canvas, 71cm x 51cm, signed, titled and dated 1968 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), "4 & 20 Elders", oil on canvas, 61cm x 71cm, signed, titled and dated 1968 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, 71cm x 107cm, 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), a group of four large mural designs, gouache, 216cm x 148cm, 178cm x 143cm, 187cm x 148cm & 273cm x 142cm, 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.

MERAB ABRAMISHVILI (GEORGIAN 1957-2006) Saint George Slaying the Dragon, 1990 oil and gesso on panel 41 x 48.5 cm (16 1/8 x 19 1/8 in.) signed in Georgian lower right; signed, titled and dated on verso; bears a signed authenticating inscription from the artist`s wife, Tsitsino Tsertsvadze, on verso PROVENANCEAcquired by the present owners from Tsitsino Tsertsvadze, wife of the artistEXPERTISEWe are grateful to Keti Abramishvili for confirming the authenticity of this painting.LOT NOTESMerab Abramishvili was a prominent Georgian artist, whose talent started to bloom at an early age. His art teacher and mentor, Alexander Bandzeladze, encouraged young Merab to search, develop, and pursue his own visual style and language. In his teenage years, Abramishvili took part in research expeditions to study the Georgian frescoes of the 7th century at Ateni Sioni Church, led by his father - Dr. Guram Abramishvili - an expert in Georgian and Oriental medieval art. This journey inspired the artist so much that he started to copy the frescoes from the church walls and continued this work for many years. He later merged the style of Oriental miniatures with the gesso technique he learned from those frescoes. This resulted in a unique style of painting that Abramishvili works are known for. His first important piece, 300 Aragvians (1978), was painted with tempera on a board with gesso priming and finished with egg yolk solution. With a mural-like representation, the artwork introduces a viewer to the complex combination of diverse philosophies and cultural aesthetics that would remain unaltered throughout the artist`s life. Merab Abramishvili returned to ancient religious and mythological subjects over and over again.

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: 106mm; 60 grams Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. All Items sold by Pax Romana Auctions come with a professional Certificate of Authenticity and FREE domestic and international shipping.

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: 160mm; 90 grams Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. All Items sold by Pax Romana Auctions come with a professional Certificate of Authenticity and FREE domestic and international shipping.

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; 66 grams Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. All Items sold by Pax Romana Auctions come with a professional Certificate of Authenticity and FREE domestic and international shipping.

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: 125mm; 45 grams Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. All Items sold by Pax Romana Auctions come with a professional Certificate of Authenticity and FREE domestic and international shipping.

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: 130mm; 40 gramsProvenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. All Items sold by Pax Romana Auctions come with a professional Certificate of Authenticity and FREE domestic and international shipping.

CA. 1200 AD. Interesting Medieval ring from the Holy lands; oval hoop and decorated shoulders; forming a bezel with engraved Star of Bethlehem motif – powerful religious symbol. Very good, wearable condition with smooth olive green patina. 21 mm (inner diameter); 7 grams. Provenance: From an old British collection formed on the European art market in the 1970s. All Items sold by Pax Romana Auctions come with a professional Certificate of Authenticity and FREE domestic and international shipping.

CA. 1200 AD. Very Rare religious medallion from the Holy Lands in exceptional condition. Cast silver flat section disc pendant with applied loop; central section depicts a large Maltese cross. Such pendants were worn by the Knights Templar as an insignia of their guild. Size: 62mm; 35 grams (large size). Provenance: Property of a professional collector from London, purchased on the European art market in the 1980s. All Items sold by Pax Romana Auctions come with a professional Certificate of Authenticity and FREE domestic and international shipping.

CA. 500 AD. Late Roman or Early Byzantine religious seal ring with oval hoop; forming a round bezel depicting a horseman slaying a stylized beast; representing St George. Expertly cleaned and conserved, wearable condition. Size: 17mm (inner diameter); 5 grams. Provenance: From an old British collection formed on the European art market in the 1970s. All Items sold by Pax Romana Auctions come with a professional Certificate of Authenticity and FREE domestic and international shipping.

A Rare and Important Melon-Form Silver Handled Jar and Cover, Tang Dynasty (618-907)Raised on a short splayed foot, the eight-lobed globular body decorated with engraved panels including birds, deer, tiger and ram amongst blossom and foliage, all on a ring-punched stippled ground, the shoulder surmounted by a pair of recumbent mythical bixie beasts supporting a tapering D-section swing handle, the cover double-domed and rising to a tear-shaped finial.Height 17.3 cm Provenance: An old Scottish Estate, acquired prior to 1980 [Notes: This silver jar is an example of the fine craftsmanship and sumptuous tastes of the Tang Court. Despite China’s strong history of using silver in ornaments and smaller vessels, it was not until the 6th Century that this material was considered one of the premier luxury materials. The vessel was analysed at Oxford University and determined to be of very high fineness (99.7%), comparable with other Tang silver. Its design is unique in both its shape and decoration. The lobed form and depiction of fantastic beasts was introduced through trade along the Silk Road. Despite being used as Chinese decorative motifs since the Bronze Age, the two mythical bixie on the shoulders are also influenced by creatures from Central Asia. Assuming the form of a single-horn winged lion, these animals are known to ward off evil and bring wealth in the form of gold and silver coins to their owners.  With its large size and attractive workmanship, this vessel would have been a prized possession within the Tang upper-class. The presence of a cover is quite remarkable, the double-dome and finial of which are reminiscent of a Buddhist stupa, offering up the possibility that this vessel was used for religious ceremonies in a high-ranking temple. For a similar container of this shape, see Carol Michaelson, Gilded Dragons, Buried Treasures from China’s Golden Ages, London, 1999, Fig. 82, a handled jar and cover at the Shaanxi History Museum. Both have similar rounded forms, swivel handles supported in the mouths of mythical beasts, and engraved depictions of animals and foliage, the latter lacking the lobed body of this specimen; an eight-lobed parcel-gilt silver and gold box sold through Sotheby’s London, 27 November 1973, lot 30, and another example published in Eskenazi’s Early Chinese Metalwork in Gold and Silver; Works of Art of the Ming and Qing Dynasties, London, 2011, page 33; the bold four-square stature of the deer can be compared to that of a repoussé standing rhinoceros on a silver dish sold at Sotheby’s London Masterpieces of Chinese Precious Metalwork, 14 May 2008, lot 59; and the large lush foliage can be compared to similar designs on a silver bowl and a bowl and cover that were sold in ibid., lots 53 and 64. The last three examples were all featured in Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953.]   

De Baye (Baron J.), The Industrial Arts of the Anglo-Saxons, translated by T. B. Harbottle, 1st edition in English, Swan Sonnenschein and Co., 1893, engraved plates, spotting, a few leaves proud, top edge gilt, original green pictorial cloth gilt, mottling to covers, slightly rubbed, 4to, together with: Lane-Poole (Stanley), Coins and Medals, their Places in History and Art, 1st edition, Elliot Stock, 1885, woodcuts in text, engraved bookplate of R. C. Temple, top edge gilt, others untrimmed, contemporary quarter sheep, gilt spine, cloth sides, 8vo, Fox (Cyril), The Archaeology of the Cambridge Region, 1st edition, Cambridge: University Press, 1923, 5 folding maps in end-pocket, original pictorial cloth, 8vo, Fowler (W. Warde), The Religious Experience of the Roman People from the Earliest Times to the Age of August, the Gifford Lectures for 1909-10, 1st edition, macmillan and Co., Limited, 1911, unopened , original cloth, slightly rubbed, 8vo, and numerous others, British archaeology and classical antiquity, most in original cloth, dust jackets, 8vo and 4to (approximately 75 volumes) (Qty: 3 shelves)

Gerald Rickards (British 20th Century 1931-2006), "First Denary Target", abstract/op art oil on canvas, 76cm x 76cm, signed and titled verso, white frame. 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), "Blue Rotating Target", abstract/op art oil on canvas, 76cm x 76cm, signed and titled verso, white frame. 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), "Green Rotating Target", abstract/op art oil on canvas, 76cm x 76cm, signed and titled verso, white frame. 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 Bird Target Two", abstract/op art oil on canvas, 63cm x 48cm, signed and titled verso, white frame. 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, abstract/op art oil on canvas, 53cm x 66cm, signed and dated 1967 verso, white frame. 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 Bird Three", abstract/op art oil on canvas, 49cm x 69cm, signed and titled verso, white frame. 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, abstract/op art oil on canvas, 49cm x 69cm, unsigned, white frame. 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), "Creation (Series) Fifth Day", abstract/op art oil on canvas, 59cm x 84cm, signed, titled and dated 1968 verso, white frame. 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), "Decimal Five - One", abstract/op art oil on canvas, 69cm x 89cm, signed and titled verso, white frame. 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), "Blue Bird", abstract/op art oil on canvas, 69cm x 89cm, unsigned, titled verso, white frame. 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), "Tension Six", abstract/op art oil on canvas, 59cm x 69cm, signed and titled verso, white frame. 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 Michael & The Dragon", abstract/op art oil on canvas, 61cm x 101cm, signed, titled and dated 1967 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), "Second Duodecimal Circle", abstract/op art oil on board, 55cm x 72cm, signed and titled verso, white frame. 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), "Third Duodecimal Circle", abstract/op art oil on board, 55cm x 72cm, signed and titled verso, white frame. 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, scene with figures, oil on board, 55cm x 72cm, signed and dated 1965 lower right, white frame. 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: "First Grey Dragon" & "Second", abstract/op art oil on board, 74cm x 56cm, both signed and titled verso, one dated 1968, 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), a group of three: "Sea Perch", "Green Bird" and one untitled, abstract/op art oil on canvas, 71cm x 45cm and 71cm x 51cm(2), two signed and titled verso, one unsigned, all 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), "Second Denary Target", abstract oil on canvas, 76cm x 76cm, signed and titled verso, white frame. 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.

Total weight approximately 1966 g.A heavy bronze Ikebana vase, with motifs of rabbits to each side, and decorations of stylized open work half-circles to the center sides. Rich brown patina overall. Ikebana, the Japanese art of flower arrangement, dates to 7th century religious floral offerings. Today Ikebana has over 1,000 different schools internationally and is counted as one of the three classical Japanese arts of refinement. Issued: 19th centuryDimensions: 4.1"D x 7.5"W handle-to-handle x 10.5"HCountry of Origin: Japan Condition: Age related wear.

Carl Flick (1904 - 1976) "Back Yard". Signed and dated (1935) lower right. Titled verso. Oil on Board. In response to a letter asking for advice on painting, in 1929, Grant Wood traveled to the Amana religious Colony near Cedar Rapids, Iowa to meet the author of the letter, a struggling young artist named Carl Flick. An account of this meeting was chronicled in a period Cedar Rapids Gazette news article in which was written, "A few months ago, Mr. Wood received a letter from Carl Flick of West Amana. He wished for information concerning proper brushes for painting foregrounds in landscapes. The well-known Iowa artist went down to answer the query personally. There he found, with no art training, no experience that had taken him beyond the peaceful valley where seven old fashion villages sleep, a colonist painting atrocious poster scenes with brushes dipped in genius. Grant pushed aside the vivid copies of gaudy sunsets and Venetian moonlights to show the young man the wealth of painting material that lay around him. ? the corner of the mill, his own backyard, the quaint blue doorways, the picturesque stone homes, and the millrace fringed with pickerel week and willows." The advice Wood gave to Carl Flick to paint what is in your midst was to become one of the rallying cries of regionalism and was of course the lesson Wood himself had learned after so many trips to Europe in his own search of art. In a letter written to an admirer in 1932, Flick wrote of his work, ?It was then he (Wood) opened my eyes to the beauties of my surroundings and showed me how to sketch. Through Mr. Wood?s influence, I learned to see objects around me in a different light.? Sight Size: 13 x 15 in. Overall Size: 19 x 21 in.

20th century AD. A bronze altar head with conical base and finely-modelled facial features, braided hair above; the forehead with two open slots and vertical raised ichi scars; the top of the head open to accept a carved ivory tusk; the neck with integral stylised neck-rings. See Barley, N. The Art of Benin, London, 2010 for much information. 4.1 kg, 29 cm (11 1/2"). Property of a Kent collector; formerly UK private collection, acquired in the 1950s. The tradition of casting bronze life-size heads dates back several centuries in West Africa, where such objects formed part of religious and state ceremonial. Examples were brought to Europe following a punitive expedition by the British in 1897, and caused a sensation in the art world. This casting is believed to have been made soon after production of such cultural artefacts resumed at the close of the First World War, probably in the early 1920s. [No Reserve] Fine condition.

2nd-4th century AD. A superbly sculpted larger-than-life sized carved schist bodhisattva head, clean-shaven apart from a neat pointed moustache, with serene and contemplative expression; the hair carved in wavy bands drawn back from the forehead and held by a braided browband, with two lateral hanks separated and tied above; the facial features sharp and carefully portrayed with small pursed mouth and heavy-lidded almond eyes, urna to the brow; the ears with long lobes pierced to accept earrings; mounted on a custom-made stand. 49.5 kg, 65cm including stand (25 1/2"). Property of a London gentleman; previously with central London gallery; imported from the USA in the early 1970s; formerly with Mahboubian Gallery, New York since the late 1960s; accompanied by copy of an early 1970s black and white photograph. Gandhara was an ancient political unit of the Peshawar valley, which covered the territory between the valley of the River Swat and the Potohar plateau regions of modern Pakistan and a portion of modern Afghanistan. It was controlled from its principal cities including Kapisa (modern Bagram), Pushkalavati, Puru?apura (modern Peshawar) and latterly Udabhandapura (Hund) on the River Indus. The name occurs in the Rig Veda and in the Behistun inscription which lists the territories of the Achaemenid king Darius I (519 BC"). Herodotus's Histories mentions it also as one of the territories which paid tribute to Darius. Several characters in the the Mahabharata and the Ramayana are associated with the kingdom. In 327 BC, Alexander the Great conquered Gandhara among many other Indian satellites of the Persian Empire which had refused to submit to Macedonian rule. Oxyartes was appointed to the position of ruler of Gandhara by Alexander in 326 BC. The Kushan period is considered the Golden Age of the Gandharan kingdom. In the Peshawar Valley are many ruins of Buddhist stupas and religious foundations of this period. The characteristic Gandharan art flourished and the output of statuary reached its height during the reign of the Kushan king Kanishka the Great (128–151 AD"). Buddhist art spread from Gandhara to other parts of Asia and Gandhara became a 'holy land' of Buddhism which attracted Chinese pilgrims. An important Buddhist shrine made Peshawar a famed object of pilgrimage until the 7th century AD. In the 5th century, Hunnic invasion entailed a persecution of Buddhists and the resulting gradual return to the Hindu faith. Islam was introduced to the region by Arab powers from the 9th century and in the early 11th Gandhara fell to the Ghaznavid Empire. Very fine condition.

A mixed collection of items to include Cornist Pixie brass mounted door knocker, similar bronzed item, brass Art Nouveau style picture frame, decorative bronze plaque with religious theme and glass ship in bottle and an Egyptain wall mounted plinth (1 tray)

A mixed collection of items including early Religious theme Oil on Canvas, Commemorative Cricket bats on sheild, trench art, pocket knives & liptons brass tea caddy etc

Islamic Art. Red ground metal thread textile embroidered with tughra of Mahmud II and religious inscriptions Turkey, early 19th century . Cm 114,00 x 119,00.

Islamic Art. A "Bone China" blue and white transferware dish with Arabic religious inscriptions England, 19th century . British mark at the back. For a close related example please cfr. lot 109, auction 19935 at Bonhams London. Cm 25,80.

Islamic Art. An Ottoman talismanic shirt (jama) painted with religious inscriptions, zulfiqar and tughra of Sultan Mahmud II (r. 1808-1839) Turkey, 19th century . Painted with various calligraphic scripts (Kufi, naskh, thuluth) arranged within roundels, cartouches, bands and medallions. Futher embellished with two cypresses, crescent moon and stars. Gilded edges and floral illumination. On the back Sultan Mahmud II tughra, the zulfiqar and prayers. The edge inscribed with the opening Sura of the Qur'an. . Cm 102,00 x 84,00.

Islamic Art. A camel bone paper holder lidded box carved with religious inscriptions Levant, 20th century . Profusely carved with lobed medallions containing the 99 names of Allah, the walls of the lid further carved with inscriptions from the Qur'an. Cm 24,00 x 42,00.

Garemijn, Jan Anton (Bruges, 1712-1789): Les Musiciens Ambulans, oil on canvas, signed and dated 1785Dim.: 84,5 x 68,5 cm (the frame)Dim.: 59,5 x 43,5 cm (the painting) Provenance: A private collection, Bruges, Belgium. Titled 'Les Musiciens Ambulans' in the lower middle section, followed by the monogram JG. Dated 1785 beneath the tavern's sign. Johannes Antonius Garemijn, born in Bruges in 1712 as a child of a middle-class family was sent to writing school as soon as he was four. The many doodles and sketches that served to decorated his schoolbooks, soon caught the attention. From the age of seven he was taught by the sculptor Rochus Aerts, and at nine he started going to the Bruges drawing academy, which he attended for three years. Garemijn was further instructed in the art of painting and drawing by Hendrik Pulinx and, later on, Lodewijk Roose. In 1765 he became a teacher and headmaster at the Bruges academy, a position which he held for ten years.  Garemijn produced paintings and drawings in many genres, including portraits, genre scenes, landscapes as well as several religious works - the latter commissioned by the local church authorities. He was also known as a fine decorateur, for instance in designing triumphal arches for local processions and festive entries. However, today he is mostly admired for his qualities as a draughtsman, for it is in his drawings that Garemijn truly excels. His dedication to drawing is evident from the fact that he added his motto 'Nulla dies sine linea' (No day without a line) to his earliest, now lost, self-portrait.  After leaving the academy, his focu shifted from mainly sanguine drawings towards genre scenes. It's in this context that the present work was created. The scene appears to be inspired on the 'Driekoningen' tradition, where groups of dressed up children walk from door to door, singing for candy.  Although he never travelled, preferring to stay in his native Bruges, he was stylistically greatly influenced by great French rococco artists such as Boucher, Fragonard and Greuze.Please request condition reports by e-mail on info@rm-auctions.com or by using the Invaluable message system. The reports, additional images and high-resolution images will be published on our website: www.rm-auctions.com. The absence of a condition report does not imply that the lot is in perfect condition. Lots 901-1044 are available exclusively on our website.

Liza Wilkins for Della Robbia, an art pottery altar vase, 1901, footed baluster form, turquoise glazed with religious monogram IHS within foliate ground, incised marks, 22cm high