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WILLIAM JOHN WAINWRIGHT R.W.S., R.B.S.A. (1855-1931) Framed, signed with monogram, dated 1891, watercolour on paper, gothic church interior scene with figures seated in profile with prayer books open, including a man in religious costume, inscribed, `With my best wishes for Christmas and the New Year 1891`. Wainwright was one of the painters in the 1884 Group Photograph of the `brotherhood of the palette` at Newlyn as well as being a founding member of the Birmingham Art Circle, 27.5cm x18cm.

WILLIAM JOHN WAINWRIGHT R.W.S., R.B.S.A. (1855-1931) Framed, signed with monogram, dated 1891, watercolour on paper, gothic church interior scene with figures seated in profile with prayer books open, including a man in religious costume, inscribed, `With my best wishes for Christmas and the New Year 1891`. Wainwright was one of the painters in the 1884 Group Photograph of the `brotherhood of the palette` at Newlyn as well as being a founding member of the Birmingham Art Circle, 27.5cm x18cm.

Mixed works of art to include: a boxed Magneto-Electric Machine for self help (or harm) to administer electricity to ones own body ; a bronze figure of a Roman lady ; a spelter figure of a young man ; a late C18th early C19th Hindu religious script on palm leaves, the text in sanskrit and Oriya ; and assorted brassware (qty).;

ART DECO STYLE EMBOSSED PLASTER RELIGIOUS PLAQUE, depicting Christ being nailed to the cross, painted in colours and gilt, 17 3/4"" x 24"" (45.1cm x 61cm) , in original chamferred oak frame inscribed `Jesus Nailed to the cross for us`

A 19th century collections plate, star-shape in stained pine, gilded with script, Free Will Offerings, 22in. and a colour print, religious subject within Art Nouveau moulded gilt frame

A quantity of leather bound religious books including ''The Art Bible'', Myths and Legends of Babylonia and Assyria'', ''Church of St. Luke, Finchley'','The Altar of the Household' by Rev. Dr. Harris, 'The Altar Book' edited by a committee of Priests with music pages . etc.

(lot of approximate 33) Chinese furniture art books, including `Wooden Wonders: Tibetan Furniture in Secular and Religious Life`, `Beyond the Screen`, `Straits Chinese Furniture`, `Wood From the Scholar`s Table`, `The Art of Ching Dynasty Furniture`, `Austere Luminosity of Chinese Classical Furniture`, `Classical Chinese Furniture in the Minneapolis Institute of Art`, `Zitan, The Most Noble Hardwood`, `The Soul of a Tree`, and ect, largest: 15""h. Provenance: From the estate of Edward Gerber

Gupta Empire, Samudragupta I, AV Dinar, 7.60g, lyre player, nimbate king seated left on a high-backed throne, playing a lyre, letter si on footstool below, ptah in field left, further legend to right, rev. Lakshmi seated on a stool left, holding garland and cornucopia, samudraguptah right (Bayana hoard plate VI, 3; cf. BMC Guptas 51; MAC 4788), tooled around king's figure, about very fine, scarce The Guptas were exemplars of the oral traditions expressed in the vedas and the puranas and it is widely thought that Hindu art and culture reached its apogee under their patronage.By the 4th century AD there was a clear definition of how a ruler should present himself to his subjects. Quite apart from being victorious in battle, a sponsor of lavish religious ceremonies and a virile lover, he also had to be perfectly formed and accomplished in the arts of music and poetry.It is believed that coins of this type were produced to publicise Samudragupta's accomplishments in these fields, just as the 'lion slayer' types depict his bravery as a hunter, and the ashvamedha type his piety.Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

huile sur carton de Bianca Ciappa (XX, IT) d`après "Le martyre de Saint Barthélémy", vers 1660 de Luca Giordano huile sur carton de Bianca Ciappa (XX, IT) d`après "Le martyre de Saint Barthélémy", vers 1660 de Luca Giordano. Signé b. d. H. 24.5x19 cm Religious Art - Drawings - Art - Paintings art religieux Sakrale Kunst

ensemble de trois oeuvres religieuses ensemble de trois œuvres religieuses comprenant: - une huile sur toile d`après "La Vierge de Lorette", circa 1509-1510 de Raphaël. Travail moderne. H. 24.7x20.8 cm - huile sur bois à rehauts dorés représentant "L`Annonciation", d`après une icône byzantine. H. 19.3x14.6 cm - crucifix en bois peint monté dans un cadre au fond de velours. H. 29x20 cm H. cadre: 43.8x30 cm Religious Art - Drawings - Art - Paintings art religieux Sakrale Kunst Condition: 1- Sans châssis, punaisé sur cadre. 2- Quelques éclats de peinture. 3- Peinture écaillée.

huile sur bois à fond doré représentant le Christ de Douleur à la couronne d`épines. Début XXe huile sur bois à fond doré représentant le Christ de Douleur à la couronne d`épines. Début XXe. Cadre rocaille italien en bois et stuc peint. H. 25x20.1 cm Religious Art - Drawings - Art - Paintings art religieux Sakrale Kunst Condition: Cadre accidenté.

ensemble de deux ex-voto populaires XIXe-XXe ensemble de deux ex-voto populaires XIXe-XXe, huiles sur plaque de métal fixée sur bois: - l`une indiquée "G. R" (Grazia Ricevuta), "Scène de prière". Datée "1905" b. d. H. 35.8x42.4 cm - l`autre indiquée "V.F.G.R" (Voto Fatto Grazia Ricevuta), "Scène de nativité". Datée "1914" b. d. H. 25.5x36.2 cm Religious Art - Drawings - Art - Paintings art religieux Sakrale Kunst Condition: Eclats de peinture et taches éparses.

* AN ART NOUVEAU ICON OF CHRIST PANTOCRATOR WITH A SILVER OKLAD EARLY 20TH CENTURY, OIL ON PANEL, OKLAD STAMPED WITH MAKER`S MARK OF NIKOLAI ZVEREV IN CYRILLIC, MOSCOW, 1908-1917, 84 STANDARD 22.5 by 18 cm. The icon offered here at auction is a brilliant and distinctive early 20th century example of both the national religious school of Russian icon painting and of the jeweller’s art in the Art Nouveau style. The figure of the Saviour, painted in dark colours, is effectively set against a dignified, gleaming silver background, which lends the image a special expressiveness. The smooth surface of the background and halo are surrounded by a guilloché frame, the corner rosettes are accentuated with rosettes containing the important Christian motif of a cross, green cabochons are fixed to the centre of each rosette. The artefact possesses inner harmony and impeccable form. The oklad was made at the Moscow establishment of Nikolai Zverev (1898-1914), a well-known jeweller working in the New Russian style. The portrayal of the Saviour bestowing a blessing is unmistakably reminiscent of V.M. Vasnetsov’s famous fresco inside the dome of the Vladimir Cathedral in Kiev.

A quantity of jewellery items including religious pendant and chain, art deco necklace, opal ring, wedding band, art nouveau pendant, cameo brooch, vulcanite brooch, french jet brooch, memorial frame brooch etc

Various yachting plates, small bronze ship plaque, Cape Wrath, trench art, another plaque and WW I religious text

An interesting Art Nouveau album of 495 (approx) assorted colour and black and white postcards showing various views of England and Scotland, religious themed and assorted characters

Walter Frederick Osborne RHA ROI (1859-1903) SUNSHINE AND SHADOW, [LA RUE DE L`APPORT], DINAN, 1883 oil on canvas signed and dated lower left; signed again in pencil on stretcher on reverse; with Spence`s Fine Art Gallery [Sackville St., Dublin] label on reverse 17.5 by 13.5in., 43.75 by 33.75cm. P RHA, Dublin;Private collection;Christie`s, London, 9 May 1996, lot 69 as La Rue de l`Apport, Dinanwith Cynthia O`Connor Gallery, Dublin;Private collection RHA, Dublin, 1884, catalogue no. 333 [£21-0-0];Irish Paintings for the 31st Antique Dealers Fair, RDS, Dublin, 26-29 September 1996, catalogue no. 5 as as La Rue de l`Apport, Dinan (illustrated) Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974, p.115, catalogue no. 76 (listed);Campbell, J. Peintres Irlandais en Bretagne, Musée de Pont Aven, 1999, p.48 Lovers of Irish art may feel a sense of familiarity with his picture by Walter Osborne, even if they have not seen it before, or visited Dinan in Brittany. For it shows the same motif: gateway at Dinan which is featured in the much -admired painting The Hôtel Beaumanoir`s Portal, Dinan, 1883 also known as Old Convent Gate, Dinan, 1883, by Osborne`s contemporary Joseph Malachy Kavanagh, in the National Gallery of Ireland (NGI. 1194).The medieval walled town of Dinan in the district Cote d`Eméraude in the north of Brittany, was often the first port-of-call for Irish and English visitors to the Continent, quite easily accessible by ferry from Southampton to St. Malo, and then by local steamer down the River Rance. Strategically situated on a hill above the river, Dinan was a picturesque medieval town encircled by a stout wall, notable for the port, the imposing St. Servan Church, the Tour d`Horloge dating form the 15th Century, and the Jardin Anglais; as well as for its cobbled squares and streets, stone entrance gates, and stone bridges. There was a long-established English colony there, and throughout the 19th Century, Dinan attracted many artists, including Dagnan and Stanfield in the Romantic period, the Pre-Raphaelites Seddon and Boyce, History painters Ward and Lady Elizabeth Butler, and French Realists Corot and Bonvin. Shortly before Osborne`s visit the old stone Porte de Brest had been demolished. Of more significance to Walter Osborne was the fact that young English contemporaries, such as Ralph Todd, Blandford Fletcher, William Breakspeare and Edwin Harris (some of them students in Antwerp) had painted in Dinan c.1879-80. After completing their studies in Antwerp Osborne and Kavanagh travelled to Brittany in spring or early summer 1883. In spite of the town`s historic sites Osborne preferred the more quiet or secluded corners of Dinan, for example the narrow Rue de l`Apport leading from the Place des Merciers, and the Rue du Jerzual, which led downhill to the port. The large gateway (entitled Old Convent Gate in Kavanagh`s picture) is situated on the Rue de l`Apport, the Renaissance portal to the Hôtel Beaumanoir, built in the 15th Century. Rather than showing the gate from outside, bathed in sunlight, the artist represents it from inside and largely in shadow. Framed by the gateway, an elderly street cleaner with a long-handled twig broom pauses from his work, standing in reflection, or looking at the viewer. He wears the plain costume of the Dinan worker: wide-brimmed hat, blue jacket, faded trousers and wooden clogs. The painting is a fine piece of Social Realism. Yet the man stands in shadow, and Osborne`s attention is given as much to the architectural features of the scene, and contrast of sunlight and shadow, as to the human presence. Although small in scale, the picture is well constructed, and painted with a kind of rapturous verisimilitude. Osborne was attracted by the variety of rough textures: old stone, weathered wood, cobbles, slates, tiles, grass and foliage, on which sunlight falls. He shows the imposing gateway with its latticed upper area through which the sun pierces. The gate and the workman`s hut appear in a state of neglect, the timberwork battered, and weeds growing. (Behind the artist was a small square in which the manor was situated, while the top of the gate`s exterior was decorated by a religious statue and curling fish motifs). Warm sunlight in the street begins to enter through the arch, falling on the woodwork and cobbles and along the top of the gate. The area of sunlight at the top right is balanced by a small section of blue sky in the top left corner. The fruit or vegetable stall outside the gate is in shadow, but the sturdy stone house captures the sunlight. Osborne even observed such details as the plaque bearing the name of the street, Rue de l`Apport, and a globe-like glass lamp hanging from the gate.Osborne enjoyed working in the company of fellow-artists, and the close similarity of his painting with Kavanagh`s suggests that the two artists were painting in Dinan together. However, Kavanagh`s picture is larger in scale, and his viewpoint further back in the square. The man is viewed from behind, and sunshine enters the square more fully, suffusing the cobble stones with warmth. And the little glass globe is omitted from Kavanagh`s picture.In one of Osborne`s sketchbooks in the National Gallery is a tiny pencil drawing of his painting (NGI no. 19, 201 facing p.3, iv), entitled Sunshine and Shadow. This, surprisingly, may be the title of the picture, rather than Rue de l`Apport whose name he identifies in the street sign in the painting. Both pictures were exhibited at the RHA in 1884, along with several other Breton works. (Sunshine and Shadow, along with later titles such as Light and Shade, indicate Osborne`s plein-air as well as topographical preoccupations). There is a small black and white photograph of the exterior of the gate, La Porte du Couvent, in Osborne`s photographic album in the National Gallery (NGI, CSIA). The arch appears to have a grill with an open doorway in it. Osborne`s painting has an important historical significance, for it shows the house outside the gate as it was in 1883. It was later destroyed (perhaps during World War II), and a fine handsome, traditionally-styled house built on its site. However, the ancient Hôtel de Beaumanoir with its fine doorway, staircase and gate, has been beautifully restored. Dr Julian CampbellJanuary 2014

Plancius/Cloppenburg, 1612 [Lot of 6] Tabula Geographica, in qua Paradisus... [and] ...in qua Iisraelitarum... [and] ...in qua Omnes Regiones ... Fluvii Israeliae... [and] Waerachtige Beschryvinge ... Ierusalem [and] ...in qua Regiones Cananaeae [and] ...in qua Omnes Regiones... ""This is the second series of Dutch bible maps by Petrus Plancius, first published in 1604 by Johannes Cloppenburg. The first series consisted of a world map and 4 small maps of the Holy Land and Middle East, engraved by Johannes van Deutecum and his two sons, Johannes and Baptista. After Johannes van Deutecum (the younger) published a new set of maps in 1595, Plancius realized that his own maps required updating. He commissioned Baptista van Deutecum to engrave the second series, who also enlisted the assistance of engravers Daniel van Bremden and Pieter Bast. Plancius` second series retained the same world map (not included in this set) and 6 larger, re-engraved maps of the Holy Land and Middle East. The purpose of the maps was to help explain the biblical texts, but Plancius decided to take the maps one step further by adding 15 biblical vignettes surrounding each map, thereby transforming each map into a work of art. This matching set of maps are the first state of the second series, each with Dutch text on verso. Size varies slightly. A. Tabula Geographica, in qua Paradisus, nec non Regiones, Urbes, Oppida, et Loca Describuntur; Quorum in Genesi Mentio Sit. This supremely graphic map features a large engraving of Adam and Eve in the Garden of Eden, surrounded by a variety of animals and birds. The scene is juxtaposed beside the map locating Paradisus just south of Babylon. The sheet is then further embellished with fifteen oval vignettes from Genesis. Engraved by Baptista van Doetichum, with the large Garden of Eden vignette engraved by Daniel van Bremden. References: Laor #565; Poortman & Augusteijn #73. B. Tabula Geographica, in qua Iisraelitarum, ab Aegypto ad Kenahanaeam Usque Profectiones Omnes, et Stationes Describuntur. This extremely decorative Bible map illustrates the region surrounding the Dead Sea through the Nile Delta and depicts the wanderings of the Children of Israel. Beautifully engraved panels at the top and bottom include vignettes of important events of Exodus, Deuteronomy and Numbers. Inset within the map are two depictions of the Tribes surrounding the Tabernacle in the desert. The signature of the engraver P bast F (Peiter Base Fecit) appears in the vignette of Exodus 12 at left. References: Laor #566; Poortman & Augusteijn #75. C. Tabula Geographica, in qua Omnes Regiones, Urbes, Oppida, Loca et Fluvii Israeliae Describuntur; Quorum Mentio Sit in Iosua, et Aliis Veteris Testamenti Libris de Integro Multis in Locis Emendata.... This map covers the region from Sidon to Rinocoruru and is oriented with north to the left. The Kishon River connects the Mediterranean with the Lake of Tiberia. The area is divided among the twelve tribes and is filled with place names and regions as mentioned in the Book of Joshua. Fifteen vignettes from the Book of Joshua surround the map including a scene of the battle between David and Goliath. Based on Jodocus Hondius` Terrae Promissionis quae Palestina Vocatur, Descriptio circa 1595, this is one of two maps added by Plancius for his second series of Bible maps. Engraved by Baptista van Deutecum. References: Laor #567; Poortman & Augusteijn #78. D. Waerachtige Beschryvinge Vande Wydvermaerde Conincklicke Hoost Stadt Ierusalem; Waerinne Oogenschynelick Verthoont Wordt de Eygenthicke Gelegenheydt Vande Oude Stadt.... This attractive plan of Jerusalem displays its well laid out streets and major religious sites within the outer walls, with west oriented to the top. Numerous market places are noted, including those for wood, cattle and fish. This is the second new map that was added to Plancius` second series of Biblical maps, and is based on Van Adrichem`s plan. Fifteen Biblical vignettes surround the plan, including temple vessels and other religion icons. References: Laor #1101; Poortman & Augusteijn #79. E. Tabula Geographica in qua Regiones Cananaeae, et Locorum Situs Prout ea Tempore Christi, et Apostolorum Suerunt de Integro Describuntur, ac Suis Limitibus Distinguntur. A superb and graphic map depicting the land of Canaan with political divisions during the time of Christ. Fifteen vignettes illustrating the life of Christ surround the map, beginning with the genealogy of Jesus and ending with his appearance to the disciples after the Resurrection. The map is nicely detailed and is decorated with a strapwork scale cartouche, sailing ship and a compass rose orienting north to the left. Engraved by Baptista van Deutecum. References: Laor #569; Poortman & Augusteijn #80. F. Tabula Geographica, in qua Omnes Regiones, Urbes, Oppida, et Loca Describuntur, Quorum Mentio Sit in Actis et Espistolis Apostolorum, et Apocalypsi; de Integro Multis in Locis Emendata, ac Regionum Suntibus Destincta. This superb map of the eastern Mediterranean, from Rome to Babylon, depicts the spread of Christianity as reported in the Acts of the Apostles. This is the final map of the standard set of Holy Land maps normally found in Dutch Bibles. The map is surrounded by fifteen Biblical vignettes including the apostles receiving heavenly inspiration, and the events of the Apocalypse as in the book of Revelations. The map includes a small inset of the whole Mediterranean region and is further decorated with a compass rose, sailing ship and strapwork distance scale. Engraved by Baptista van Deutecum. References: Laor #570; Poortman & Augusteijn #82."" 19.3"" W x 11.4"" H The maps are all early, dark impressions issued folding and now pressed with lovely, original color, with just a few minor touch-ups. The left and right side margins are very narrow, as issued. There are some short fold separations and cracks due to the

Hofmeyr, George (chief editor) NGK 350. Eenhonderd bakens in die geskiedenis van die Nederduitse Gereformeerde Kerk [NGK] 1652-2002 (dedication by chief editor) 305 x 240 Dedication by the chief editor on the title-page. The dating of the N G Church from the actual year Van Riebeeck established the V O C (Dutch East India Company) refreshment station at the Cape might be a surprise. However, this superbly researched, illustrated and produced 2002 history describes how the V O C gave a monopoly of religious services to the N G K`s predecessor, the `Nederlands Hervormde of Gereformeerde Kerk`. Photographic paper-board covers, bronze illustrated endpapers and 252 pp of colour-illustrated text, appendixes and index printed on art paper. Unmarked. Without the dedication this would be an as-new copy. Fine Wellington Lux Verbi.BM 2002 Reserve: $45 Click here to view further details and to bid

Six boxes of English and German books inc. art and craft reference, religious reference, a quantity of Reader`s Digest gardening volumes, tog. with a quantity of classical and other sheet music

Thee old Albums: Mainly early 20th Century Foreign topographical PPCs including Italy, French Riviera, Natal-South Africa, Paris, Panorama of Messina, approx. 3 ½” x 16” + Italian Religious Art and Archaeology interest PPCs + quantity Glastonbury and UK Church RPs, (3)

Macfarlane C. : Comprehensive History of England, Civil and Military, Religious, Intellectual and Social 1870. Four vols. Royal 8vo. Fine qtr. binding, marbled edges. Each vol. with engraved frontis and numerous vignettes in the text. Together with a small collection of Art & Design reprints ( some facsimiles ) : Jones O. Grammar of Ornament 1987; Les Grandes Heures De Jean Duc De Berry 1971 ( elephant folio ); Meyer F. : Handbook of Ornament 1974; Les Belles Heures de Jean Duc de Berry 1974; Illing R. : Japanese Prints 1976 ( Folio pb ). CONDITION REPORT: History of England - spines slightly faded o/w vg nf. Others generally vg.

An Art Nouveau silver plated photograph frame; other frames; and a mother of pearl religious carving

Hoppenot, J. The Crucifix in History, in Art, in the Souls of the Saints in our Lives, 1902 edition, red cloth boards with central crucifix surrounded by black frame, inset with floral trails, each corner capped with religious iconography a.e.g., together with a copy of The Holy Bible, printed by John Hayes 1674. (2)

*A PAIR OF ART NOUVEAU WEDDING ICONS IN SILVER-GILT OKLADSEARLY 20TH CENTURY, OIL ON PANEL, OKLADS STAMPED WITH MAKER`S MARKS EU IN CYRILLIC, MOSCOW, 84 STANDARD.18 by 14.5 cm each.The two icons depicting the Pantocrator and the Theotokos and Child were produced in one of the Moscow workshops where the principles of academic religious painting were combined with the traditions of Old Russian icon painting. A special nobility is imparted to these images by the use of restrained, rather dark colours, with shades of dark green and deep burgundy dominant in the skilfully painted garments of the Pantocrator and Theotokos. The evidence that this pair of icons specifically commemorate a wedding is evident not only from the iconography, but also from the Gospel text of John, Chapter 13, verse 34: “A new commandment I give unto you: That you love one another, as I have loved you...” The impressive oklads are of inimitable artistry. They were made by an as yet unidentified Moscow jeweller with the initials E.U., all of whose known work is distinguished by consummate craftsmanship, individuality and impeccable taste. The artistic resolution of the oklads is achieved by combining a smooth background with restrained foliage ornamentation on the frame in the Neo-Russian style. This design is an accomplished stylisation of Old Russian decorative motifs, which were widely applied in the jeweller’s art at the turn of the century. Thus, there is every reason to regard these icons as outstanding examples of decorative applied art in the Russian style. Apart from their undoubted artistic quality, these artefacts also now have a retrospective historical importance; being commissioned in 1914 and continuously preserved, they must have shared with their owners all of the tragic events of Russian history which followed.

A RARE ICON OF THE HOLY PRINCE VSEVOLODSTAMP OF VASILY GURYANOV ON THE REVERSE, EARLY 20TH CENTURY, OKLAD STAMPED WITH MAKER`S MARK OF ANTIP KUZMICHEV IN CYRILLIC, MOSCOW, 1899-1908, 84 STANDARD.31.5 by 27 cm.Provenance: Acquired by the previous owner from the heirs of Vsevolod Rudnev in Paris in the 1960s. Private collection, Europe. Related Literature: For St Vsevolod iconography, see Pravoslavnaya entsiklopedia (Orthodox Encyclopaedia), Moscow, 2005, vol. 9, pp. 549-550. For an example of a similar Olovyanishnikov shirt, see Religioznoe iskusstvo: sbornik rabot tserkovnoi i grazhdanskoi utvari, vypolnennoi Tovarischestvom P.I. Olovyanishnikova synovya. 1901-1911 (Religious Art: Collection of Religious and Civil Works by the P.I. Olovyanishnikov and Sons Manufactory. 1901-1911), Moscow, 1911, p. 160.This precious commissioned image by the well-known Imperial icon painter, V.P. Guryanov, depicts Vsevolod (baptised Gavriil) Prince of Novgorod, c. 1095-1138; the eldest son of Mstislav (Feodor) and eldest grandson of Vladimir Monomakh, Prince of Kiev. Local veneration of the Prince as a saint was established by the late 12th century and his canonisation took place in 1549. Icons depicting Prince Vsevolod are few in number – the well-known ones mainly show the saint full-length, holding the Pskov Trinity Cathedral – the church he founded and where he is buried. The only other known icon of “The Blessed Prince St. Vsevolod, baptised Gavriil, Miracle-worker of Pskov” from the turn of the 20th century, was produced in 1900 by another eminent icon-painter, M.I. Dikarev, as one of a calendar series for the chapel of the Marble Palace, St. Petersburg. This icon by Guryanov is one of the best examples of tempera painting in the late 19th and early 20th century; the face, rendered in a laboriously detailed hatching technique and the rich finish to the shirt, cloak and princely cap are all evidence that the icon was commissioned for a wealthy patron or as a valuable commemorative gift. Furthermore, it was planned from the outset that the image should be adorned by an oklad. The object’s high value is also evident in the masterly execution of the chased silver framework and the expensive gold brocade ‘shirt’ by the Olovyanishnikov factory. A unique feature of the oklad is the separate silver plating on the sword, which not only emphasises the saint’s princely origins but also reminds the viewer of an actual relic – Prince Vsevolod’s original sword – which until 1917 was kept on the saint’s tomb at the Trinity Cathedral in Pskov. The oklad was manufactured by A.I. Kuzmichev, the owner of a major jewellery workshop in Moscow. This master jeweller was the only one in pre-revolutionary Russia to have had official contracts with Tiffany & Co, the famous American jewellers. Although the icon has no presentation plate, it was undoubtedly intended for a person with the same name as the saint. According to its last owner, the icon was acquired in France in the 1960s from the heirs of V.F. Rudnev, a naval hero of the Russo-Japanese War. A number of considerations support the oral evidence that the artefact belonged to Rear Admiral (1905) Vsevolod Feodorovich Rudnev (1855-1913), Captain of the illustrious cruiser Varyag, which under his command, took on her unequal fight at the Battle of Chemulpo. The first consideration is that the name Vsevolod was relatively uncommon at the turn of the 20th century. Secondly, the depiction of the saint as a Warrior Prince, suggests the recipient’s affiliations were in the military sphere. Thirdly, the Rudnev family’s move to France may explain why the icon appeared on the western antique market. And fourthly, the presentation of this icon may have coincided with a ceremony for the heroes of the Russo-Japanese War in Moscow, 14th April, 1904. Among the events was a dinner in honour of the officers of Varyag at the English Club and a copy of the menu bears the signature of V.F. Rudnev. During the ceremonies, the Commanding Officer of Varyag may well have been presented, in accordance with tradition, with a valuable icon of his saintly Warrior Prince namesake. Coincidentally, 2013 also marks the centenary of the Rear Admiral’s death. So, offered here at auction is not only an artefact of high artistic culture with rare iconography, but also an exceptional commemorative object in terms of its historical significance. "

Nick Nicholls (1914-1991) A View of Dublin from the Phoenix Park Gouache and ink on paper, 32 x 39cm (12½ x 15") Signed and dated '40 Victor Waddington framing label verso Provenance: Acquired directly from the artist by the current owner's family in the 1940s This work is thought to be after the well known painting by William Ashford (1746-1824) of the same title painted between 1795-98 (which can be found in the National Gallery of Ireland's collection). Born in Salisbury, Wiltshire, the son of an English father and an Irish mother. As a child he spent a good deal of time with relatives in County Cavan. A quantity surveyor by training, in 1935 he turned to painting, in which he was self-taught. His early pictures are conventional watercolours, but later he embraced surrealism and other forms of abstraction, being influenced by Cézanne, Picasso, Klee and Miró. While living in London he took a studio in Fitzroy Street and exhibited at the influential Spectrum Gallery. With the approach of war he moved to Dublin along with Georgette Rondel and remained there until 1946. He was introduced to the White Stag Group by Basil Rákóczi, whom he met in Dublin. In 1946 he experienced a deep religious conversion and henceforth religion played an important part in his thinking. In 1953 he gave up painting and began to study philosophy and religion, but he returned to painting in the 1960s, being by then influenced by native African art and the work of the French painter Jean Dubuffet (1901-85), with its emphasis on images derived from graffiti and children's art. During his years in Dublin he also wrote and published poetry. Nick Nicholls died in London in 1991.

*Sampler. An embroidered linen sampler, by Amelia Yarnold, aged seven years, 1837, finely stitched with three small alphabets in cross-stitch, and a larger one in open-work stitch, the remainder worked in cross-stitch, comprising a religious verse and borders of floral and crown motifs, worked in coloured threads, predominantly green, yellow, cream, and black, sl. faded, 40.5 x 31.5cm (16 x 12.5ins), framed and glazed, together with another similar sampler by Esther Ann Yarnold, 1830, 31.5 x 30cm (12.5 x 12ins), framed and glazed, plus an early 20th c. embroidered woolwork picture of a woodman in a storm, sheltering under a tree with his hound, worked in colours in long and short satin stitch on silk (some perishing to silk), 55 x 40cm (21.5 x 15.75ins), framed and glazed. The latter item was produced as a kit in the wake of the popularity of Mary Linwood’s woolwork picture which was a copy after a Gainsborough painting of a woodman (subsequently destroyed by fire). Mary Linwood (1755-1845) was famous for her pictures in wool, often dramatically displayed in public exhibitions, and her ‘Woodman in a Storm’ was exhibited at a centenary exhibition of her works at the Leicester Museum and Art Gallery in 1945 (see Country Life, October 12, 1945, pp.637/8). (3).

A RUSSIAN ICON OF THE FIERY ASCENSION OF THE PROPHET ELIJAH, NORTH RUSSIA, PROBABLY 16TH CENTURY AND WITH LATER RESTORATIONS. A classically rendered icon depicting the Prophet Elijah ascending into heaven in a fiery chariot as described in 2 Kings 2:11-13. As he departs he drops his mantle to his successor, Elisha, shown lower left. In the lower right corner a related scene depicting Elijah being fed in the wilderness by an angel. The Old Church Slavonic inscription along the upper margin identifies the subject as, "The Fiery Ascension of the Holy Prophet Elijah". In days of old, the Russian peasant believed that the sound of thunder was produced by the Prophet Elijah’s chariot thundering across the heavens. 19.75 x 14.75 inches (50 x 37.5cm).Provenance:Mosgostorg from where acquired by a European collector and thence by descent to the present European owner.Literature:Miroslav Lazovic, ICONES D’UNE COLLECTION PRIVEE – Museum of Art & History, Genève, Switzerland, 1974 as icon #10, pages 49, 50, and 91, illustrated and herein dated to the end of the 16th century. A copy of this catalog is included with the lot.Beginning in the 1920’s, the fledgling Soviet government began selling antiques and art through various state run agencies to combat chronic shortages of foreign currency as well as expunging religious imagery from the new atheistic society. It was through the various commission shops and Mosgostorg that many of the best Russian icons and objects of art were acquired by those Westerners who were able to travel to the Soviet Union at this time. A multitude of talents were called on to facilitate the operation of the many different commission shops selling icons, this included employing highly qualified icon restorers to ready icons for sale and who may have, on occasion, made copies of icons in the old style or highly refurbished old icons and sold them to unsuspecting western consumers.Exhibited:Echteld, Netherlands, Wittenburg Castle, Exhibition of Icons, November 1977. Genève, Switzerland, Exhibition of Icons from a Private Collection, Museum of Art and History, 1974, #10.

GROUP OF FOUR WORLD WAR I MEDALS AND RIBBONS AWARDED TO S.S. 2030 F.H. MITCHELL A.B.R.N. viz George V Royal Naval Reserve Long Service and Good Conduct , 1914-1915 Star, 1914-1 War medal and gilt Victory medal on standard brooch/pin together with SET OF MINIATURE MEDALS TO MATCH and small GILT CASED FOLD OUT PHOTOGRAPHIC SOUVENIR DE 1914 together with THREE RELIGIOUS PUBLICATIONS carried by the medal recipient ad including a GEORGE VI CORONATION SOUVENIR `COMMON BOOK OF PRAYER` with silk BOOK MARK and a possibly TRENCH ART STAL BELT formed of METAL WASHER TYPE LINKS

Gerard Dillon (1916-1971) Ego Mixed media, 39.5 x 29cm (15.5 x 11.5") Signed Dawson Gallery label verso; where purchased by the current owner Dillon's adoption of the masked pierrot as his alter ego was in homage to the Harlequin and Pierrot in works by Picasso, Braque and Miró, but the artist developed this disguise in a time of grief, social conservatism and as a way to express his inner world without religious or social indignation. The artist's interest in the personality behind the mask also relates to the psychology of Carl Jung. (see lot …'Clown with Red Canvas"). Due to the artist's Catholic Nationalist background, he had grown accustomed in a period of illegality, to keeping his personal and public personae completely separate. The masked Pierrot in oversized coat and fur collar may display the "masquerade" of his ego, and the other faceless figure may manifest the concealment of his private life. The image of horse and bareback rider is a subject that features in the artist's work including in his last series of etchings. Passionate about prehistoric history, the circular lines may be linked to the megalithic art of spiral designs on the kerbstones at the eastern and western entrances at the great passages graves of Knowth in the Boyne Valley, which were discovered in the late 1960's. The artist had a habit of finding old frames similar to this one, which he sometimes hand painted or embellished with small objects to enhance the finished work. Karen Reihill

* PETROV-VODKIN, KUZMA (1878-1939) Still Life. Apples and Eggs , signed with a monogram, inscribed in Cyrillic "S-kand" and dated "1921-VII". Oil on canvas, 35.5 by 47 cm. Provenance: Collection of G. Blokh, Leningrad.Collection of N. Efron, Leningrad.Collection of A. Chudnovsky, Leningrad.Private collection, Europe.Authenticity certificate from the experts N. Aleksandrova and T. Zelyukina.Exhibited: Avantgarde 1900-1930: Tšudnovskin kokoelma Pietarista, Ateneum, Helsinki, 14 October 1993-9 January 1994, No. 53 (label on the reverse).Avantgarde 1900-1930: Tšudnovskin kokoelma Pietarista, Turku Art Museum, Turku, 5 February 1994-6 March 1994, No. 53 (label on the reverse).K.S. Petrov-Vodkin. Izbrannoe, The State Russian Museum, St Petersburg, 1996 (label on the reverse).Literature: V. Kostin, Kuzma Petrov-Vodkin, Moscow, Sovetskii khudozhnik, 1986, No. 64, illustrated; p. 157, listed.Exhibition catalogue, Avantgarde 1900-1930: Tšudnovskin kokoelma Pietarista, Helsinki, 1993, p. 102, No. 53, illustrated.Still Life. Apples and Eggs is one of the most typical and recognisable of Petrov-Vodkin’s works of the early 1920s. It was painted in Samarkand during the summer of 1921 when he was travelling around Central Asia with an expedition organised by the Academy of the History of Material Culture and it very clearly reflects his experimental path from the abstract space of his early years to the metaphysical world of “planetary reality”, full of colour and light.On the table, which is covered with a vivid, rich sky-blue cloth or sheet of paper, there are apples - some red and green, one yellow - and two eggs. At first glance we are struck by the absolute verisimilitude of the depiction: the sharply delineated flattened spheres of the apples, with their light, mauve shadows, and the accurately gauged ellipse of the eggs, warmed by the sun. The modesty of this still life, fairly typical of everyday life in those hard years, did not prevent the artist from creating a serene and exceptionally harmonious piece.In this still life we can sense that special sensitivity and pursuit of the metaphysical essence of objects and phenomena that became the defining element of Petrov-Vodkin’s works of the late 1910s and early 1920s and which resonated with the principles of his Italian contemporaries, Carrà and de Chirico. In its well thought-out haphazardness and in the seemingly random scattering of the fruit across the surface we see the artist’s carefully planned game; he is trying to trace, to get a feel for the inherent interconnection between objects by their very arrangement - the hidden life of inanimate matter. On the one hand, this “magic of corporeality” allows the artist to convey faithfully the concrete attributions of an object (of a greenish, ripe apple, of an egg) but on the other, to create a universalised image of that object, its Platonic eidos: the apple is a generous gift of the earth, the egg a symbol of the eternal beginning of life.Arranging his colour harmonies around the subtle juxtaposition of primary and complementary colours, Petrov-Vodkin achieves a striking vibrancy and richness. The artist is looking at the foodstuffs placed about the table from on high so that their configuration can be accurately rendered and we see them “as if in the palm of our hand”. In this way the artist tries to overcome the one-sidedness of the monocular point of view, considering it neither adequate nor a reflection of genuine knowledge of the object which can and must be viewed from as many angles as possible in order to form a true idea of it. Thus Petrov-Vodkin’s still lifes always have a peculiarly intense character generated by the strong lines of “spherical perspective” which spread throughout the whole space of the canvas. For Petrov-Vodkin, the problem posed by the object is inseparable from the concept of spherical perspective. Although he noted that this acquires an “even greater kinetic sense” in relation to large-scale objects - “landscapes and urban spaces”, which are inconceivable for him without strong “planetary” motion - the apples, matches and violins of his still lifes are connected with planetary motion in exactly the same way. It is no coincidence that a tilted perspective and tilted pictorial axis appear in all of them.The technique based on his “spherical system of perception”, allows Petrov-Vodkin to convey the whole in part, to retain in any still life a sense of the link between the object portrayed and the infinite expanse of the universe. As the artist himself confirmed, it is no coincidence that his study of the object, and by extension his principal work on still lifes, took place during the years of revolution. It seemed to him that without doing this he could not progress further; he could not solve the new artistic challenges he was presented with. Petrov-Vodkin succintly defined this genre, which was so important to him at this period: “The still life is one of the intense conversations the artist has with nature. In it, subject matter and psychology do not hinder the definition of an object in its space. What kind of object is it, where is it, and where am I, the viewer? This is the fundamental question the still life asks of us. And in this there is the great joy of knowing, which is what the viewer takes from the still life.”Petrov-Vodkin had occasionally painted still lifes of flowers and apples earlier in his career, but it was only from about 1918 to 1920 that they became central to his work. During this period he also regularly inserted into his landscapes and portraits the motif of an appletree branch loaded with fruit or of a single fruit or vegetable (Midday, 1917; Portrait of the Artist’s Daughter with Still Life, 1930s). However, thanks to their wonderfully sculptural forms and their graceful draughtsmanship and colour design, each of this artist’s still lifes with apples (Pink Still Life, Apple Tree Branch, 1918; Apple and Cherry, 1917; Apples, 1917; Still Life with Blue Cube, 1918 etc.) proves to be as beautiful and expressive as it is self-contained.Having resolved his major creative challenges of this period in both painting and drawing, Petrov-Vodkin did return from time to time to this genre, but the still life never again reached such heights in his oeuvre. The conciseness and creative concentration of his still lifes from the late 1910s to early 1920s (which invoke fundamental symbols, religious and cultural principles of existence and compassion for spiritual and physical hunger) make them, perhaps, the benchmark standards of Russian art of the post-Revolutionary period, alongside Pavel Filonov’s revolutionary Formula paintings.

§ MICK ROONEY R.A. (BRITISH B. 1944) SURREY STREET MARKET Signed and dated `94, and inscribed verso, oil on canvas laid on panel 152cm x 85cm (59.2in x 33in) Provenance: Provenance:Garvey Collection Exhibited: Royal Academy Summer Exhibition 1994 Like his friend and mentor, Carel Weight, Mick Rooney is drawn to the human figure, exploring diverse aspects of our existence in colourdrenched paintings that display a similar love of the surreal. While Weight`s works frequently focus on the British suburban existence, however, Rooney`s oeuvre reflects his love of travel and the exotic, and the influence of religious artwork in paintings that often attain the chromatic intensity of stained glass. In its blend of universal human experience within an exotic and otherworldy setting, his work may be described as a pictorial equivalent of Latin American magic realism. Born in Surrey in 1944, Rooney studied at the Royal College of Art from 1964 to 1967, before winning a scholarship to study at the British School in Rome. From 1965 he has exhibited in numerous galleries within London and Europe, and his work is included in public collections, including the Royal Academy of Arts and the Government Art Collection. He was elected Royal Academician in 1991, the year in which he also took up the post of Head of Painting at the Royal Academy Schools. He now lives and works in London.

Maurice Rocher, French School (1918-1995) FRENCH VILLAGE MOONLIGHT Oil on canvas, 24" x 36" (61 x 91.5 cm), signed. Born in Évron (Mayenne) in 1918, he studied at the School of Applied Arts in Mans from 1934-1936. After a time in Belgium, where he made connections among the Belgian Expressionists, Rocher entered the Atelier de l`Art Sacré. Rocher was to become one of the major religious artists of the twentieth century. In 1948 he was one of the founders of the Centre d`Art Sacré, at which he taught until 1952. In 1949 he was one of the laureates of the Hallmark Prize, with a painting entitled La Nativité; in 1952 he won the Priz de la Jeune Peinture.

1973: Long Kesh prisoner art handkerchiefs including an example by Pat (Beág) McGeown Acquired by a member of the Royal Engineers who took part in the clean up after the 1974 Long Kesh burningA varied collection of Long Kesh handkerchiefs. Including depictions of Patrick Pearse, James Connolly, Sean Mac Diarmada, Che Guevara, religious symbolism and cartoon characters. One example signed by Pat McGeown who took part in the 1981 hunger strike. (8 items)

A quantity of miscellaneous books to include religious books, poetry books, art books, social and political books etc, (a lot).

Michael Fell, British b.1939- "People and Pilgrimages"; etchings with aquatint, 26 on a shared sheet, signed, titled and inscribed `A/P`, ea. 7.6x4.7cm and one 14x13.7cm: together with a quantity of other etchings with aquatints, some in colours, by the same artist, depicting figural and social commentary subjects and religious themes, various sizes, all signed, titled and inscribed `A/P` in pencil: Yves Brayer, French 1907-1990- Les Chevaux; lithograph printed in colours, signed and numbered 423/500, 36.5x26.6cm: After Josef Israels, Dutch 1824-1911- A family eating dinner around a table in an interior scene; etching, 23x27cm: together with a quantity of further, etchings and aquatints and prints by various hands (a lot) (unframed) (may be subject to Droit de Suite) Note: Michael Fell studied at St Martins and the City and Guilds School of Art. He has held one man shows at the Mall Gallery and Jordan Gallery, London. In 1972 his etchings were selected for the Modern Prints and Drawings exhibition at the British Museum and several remain in the permanent collection.

SAVRASOV, ALEKSEI 1830-1897 Pastoral Scene , signed. Oil on canvas, 65 by 54 cm. Authenticity certificate from the expert V. Petrov.Authenticity of the work has been confirmed by the expert N. Ignatova.Authenticity of the work has also been confirmed by the expert G. Churak.Pastoral Scene is one of the small group of light, lyrical landscapes that Savrasov painted towards the end of his life. Very few works of this period survive and for this reason they are of undoubted interest to collectors.The small-scale, salon-style format so beloved by Savrasov (similar to that of the celebrated works in the State Tretyakov Gallery, Rooks Have Returned and A Country Road) and the poetic nature of the motif bear testimony to that single-minded quest for artistic form which for many years was at the centre of the work of one of Russia’s most soulful landscape painters.The juxtaposition of the expansiveness of a Central-Russian river panorama, a blue sky covered with scudding clouds and the peaceful, unspectacular beauty of a river bank and pine forest with a herd of cows come to drink at the water’s edge, is a motif which first appeared in the artist’s work in the 1850s. Even then, in the earliest days of his artistic career, Savrasov’s keen love of nature, tinged with a religious quality, was already finding radiant expression in his low-key landscapes, imbued with careful and touching attention to the details of village life.Domestic cattle grazing peacefully by the water became the theme of a series of notable Savrasov works, so that the subject the artist elaborated in Summer Day (1850s, now in the Krasnodar Regional Art Museum) was taken further in his work of the 1860s and 1870s, including the celebrated Elk Island, Sokolniki (1869), acquired by Pavel Tretyakov. We sense definite echoes and resonances with this masterpiece in Pastoral Scene, painted two decades later, which was composed as a variation on the artist’s favourite motifs. It displays Savrasov’s usual selection of component parts: a watering-place in the foreground reflecting the intricate pattern of clouds and sky, a group of cows drinking unhurriedly, slender pine trunks suffused with sunlight, a path leading off into the distance and a far-off, evanescent church and bell-tower.His paint is applied in thin, almost transparent layers. The brushwork is without superfluous differentiation in the texturing of forms and only serves to emphasise the details this artist considered essential — the silhouette of the distant church on the hill and the tiny figures of birds over the water. Only the copse intrudes into the expanse of sky, preventing the eye from penetrating any further, instead directing us upwards towards the sky which still shows blue between the clouds. The artist has managed to seamlessly combine the intimacy of this homely little spot with the picturesque beauty of the view. As Savrasov’s pupil Isaak Levitan wrote of his master, “What simplicity! But behind that simplicity you sense the good, gentle soul of the artist, for all this is dear to him, close to his heart... In this simplicity lies a whole world of sublime poetry.”

* ROERICH, NICHOLAS 1874-1947 Taos Pueblo, New Mexico , stamped with a signature, further stamped twice “Nicholas Roerich Paintings and Art Collections, Inc.” on the reverse. Tempera on canvas, 49.5 by 76 cm. Executed c. 1921.Provenance: Roerich Museum, New York, USA, 1922-1935. Nettie and Louis Horch collection, USA, from 1935.Thence by descent.Private collection, USA.Literature: Probably Roerich Museum Catalogue, New York, Roerich Museum, 1930, no. 122, listed.Roerich, New York, International Cultural Centre “Corona Mundi”, 1924, illustrated and listed as “New Mexico”.Related literature: For similar works, see N. Roerich, Arizona and New Mexico Sketchbook, 1921, Roerich Museum Archives.Taos Pueblo, New Mexico was painted in 1921 and is one of the few surviving works from Roerich’s American period. In all, we know of 15 works which he painted in the Southwest — in New Mexico and Arizona — but the actual whereabouts of only six, and a mere two of these depict the ancient Native American settlement Taos Pueblo. It is one of these two paintings which MacDougall’s is now proud to offer at auction.The legendary Native American pueblo depicted in this work, now a UNESCO World Heritage Site, became a place of inspiration for many remarkable artists, and for Roerich was one of his “hallowed grounds”. Of his two-year stay in America Roerich later remarked: “In New Mexico and in the spaces of this beautiful country again sounds for you the anthem of the East… the same note of great vision, of great wisdom.” During his stay in America, Roerich gave numerous lectures in the nation’s museums and universities in which he tried to convey the idea of a new perception in art. He was astounded by the lack of interest in other artistic traditions that he found in the United States in the 1920s. In his desire to change the situation he was instrumental in the opening of The Master Institute of United Arts, the main aim of which was to bring people together through art and culture. Simultaneously in Chicago the Cor Ardens (Flaming Heart) group was established, and in 1923 the Nicholas Roerich Museum opened in New York.Despite the fact that those two years he spent in America, 1920-1923, were filled with a flurry of artistic and academic activity, his religious and cultural research into the Native Americans inspired Roerich to create a series of particularly characteristic and instantly recognisable works.In the works of his American period he skilfully conveys the immediacy of his first impressions of America, a country to which he returned three times after his first visit. His images of the desert which brim with energy and enthusiasm are startlingly life-like. The bright palette and motifs from ancient art, which made such an impression on Roerich as a keen anthropologist and ethnographer, markedly distinguished his works.From an anthropological viewpoint, Roerich was fascinated by the similarities between Native Americans and Mongols and he remarked upon this more than once in his notes: “In 1921 when I became acquainted with the Red Indian pueblos of New Mexico and Arizona, I was forced to exclaim repeatedly: “But those are real Mongols!”… And now, having the opportunity to study the Mongols of outer and inner Mongolia, I was involuntarily reminded of the Pueblo Indian. Something inexplicable, fundamental, beyond all superficial theories, unites these nations.”Depicted in the pencil sketches in Roerich’s albums, now preserved in his museum in New York, is not only the structure of Native American tribes, but also their ritual dances and renowned mystical “Vision Quest” ceremonies. Unfortunately, very few of these were transposed to canvas. This very fact further illustrates quite how rare the present work is.The present painting depicts the famous Taos Pueblo, which Nicholas Roerich visited in August, 1921 while vacationing in the neighbouring town of Santa Fe. (There is a well-written account of Roerich’s sojourn in Santa Fe in Ruth Drayer’s Nicholas and Helena Roerich: The Spiritual Journey of Two Great Artists and Peacemakers.) Taos Pueblo is one of a group of Pueblo Indian settlements which appeared in the thirteenth to fourteenth centuries along the path of the Rio Grande river. This Pueblo consists of adobe dwellings and ceremonial buildings, and exemplifies the traditional architectural arrangement from the pre-Hispanic period in the Americas. Culturally, it marks a significant stage in the history of ancient Pueblo people.In Roerich’s own lists of his works, there is a painting titled Pueblo from 1921 which most probably is the present work. It acquires special significance since the Taos Pueblo appears in two of Roerich’s monumental canvasses from 1923 — The Legend from the Miracle series and Vision. Both, especially The Legend, are among Roerich’s most expressive and mystical artistic statements. Both paintings touch upon the idea of the Messiah, and their iconography references the symbolism of this most cherished and profound concept in spiritual lore. Thus the presence of the Taos Pueblo in both of these works instils this American Indian setting with transcendental rather than geographical meaning.From Roerich’s writings and the accounts of his friends and followers, we know that he understood and venerated the sacred places of the world as the focal points where the energies of the Cosmos meet the Earth. His trip to New Mexico in the summer of 1921 was more than just a summer holiday. The real purpose was seeking “the harmonies of deeper insights and wisdom” at the power centres of the American continent. These visits inspired a series of his most spiritual works executed during his American period.The present painting is more that just a study of native Indian architecture. It serves as an icon, a sign pointing to a culture which emphasizes the bond between man and the natural world. The warm tones of yellow, pink and orange, which display Roerich’s mastery of subtle brushwork, convey his philosophical message. The adobe clay, an otherwise dull material, becomes a beacon of the sun’s permeating light. Set against a serene blue sky, the Pueblo emerges as a fortress and focal point of spiritual energy. We are grateful to Gvido Trepša, Senior researcher at the Nicholas Roerich Museum, New York, for providing catalogue information.

* A TRIPTYCH OF THE MOTHER OF GOD WITH SAINTS SERAPHIM OF SAROV AND SERGEI OF RADONEZH IN A WOODEN FRAME OLOVYANISHNIKOV & SONS MANUFACTORY, 1908-1911, OKLAD STAMPED WITH MAKER`S MARK OF IVAN BUTUZOV IN CYRILLIC, MOSCOW, 84 STANDARD Extended 40.5 by 49 cm, closed 40.5 by 27.5 cm. "Related literature: For similar icons, see A.K. Lazuko, Victor Mikhailovich Vasnetsov, Leningrad, 1990, p. 55.Museum Catalogue, Russkiy Stil’: Sobranie Gosudarstvennogo Istoricheskogo Muzeya (Russian Style: Collection of the State History Museum), Moscow, 1998, p. 103, cat. 225.The folding triptych is an outstanding early 20th century work in the Art Nouveau style, and associated with three names that brought about a revolution in Russian ecclesiastical art.The icon of the Mother of God at the centre of the triptych reproduces an image painted in 1887 by the renowned Russian artist V.M. Vasnetsov (1848-1926) for the apse of St. Vladimir’s athedral, Kiev. The depiction of Sergei of Radonezh on the right-hand panel also reproduces an 1882 icon by Vasnetsov for the Church of the Vernicle on S.I. Mamontov’s Abramtsevo estate. The “Venerable Sergei of Radonezh” icon in the Sovereign tier referred both to Abramtsevo’s geographical proximity to the Trinity Sergiev Lavra and the aesthetic preferences of artists in Mamontov’s circle. The icons at Abramtsevo were the first in the history of the Orthodox Church to be painted in a realist manner and anticipated Vasnetsov’s work at St. Vladimir’s Cathedral in Kiev. The third panel depicts the Venerable Seraphim of Sarov, canonised in 1903.The carved oak frame was designed by S.I. Vashkov, chief artist at the firm of “P.I. Olovyanishnikov & Sons”. The closest comparable carved oak frame is that of the “Mother of God of the Sign” icon from the 1900s collection in the State History Museum. Sergei Ivanovich Vashkov (1879-1914) was an architect, artist and famous master of applied decorative religious art. His work attracted the attention of the well-known Moscow church plate manufacturers, Olovyanishnikov & Sons.From 1910 to 1914, Vashkov was the artistic manager at the Olovyanishnikov factory, devoting himself to creating genuinely artistic church plate. The role played in his creative development by Vasnetsov was huge, and the young artist regarded himself as Vasnetsov’s pupil. Combining old Russian and early Christian motifs, the artist developed his own distinctive threedimensional language to give medieval forms a new interpretation and link Vashkov’s name with a genuine revival in Russian ecclesiastical art. Through the Olovyanishnikovs’ close cooperation with the eminent artist, their firm became one of the early 20th century’s leading producers of decorative and applied art.The folding triptych, whose story involves Vasnetsov, Vashkov and the Olovyanishnikovs, is a unique, vibrant work, exemplifying the diverse facets of the Art Nouveau era in Russia."

AN UNUSUAL MINIATURE TRIPARTITE ICON WITH CHRIST PANTOCRATOR AND CHERUBIM IN A SILVER OKLAD SET WITH SEMIPRECIOUS STONES OKLAD STAMPED WITH MAKER`S MARK OF KUZMA KONOV IN CYRILLIC, MOSCOW, 84 STANDARD 9.5 by 11.5 cm. K.I. Konov crafted a number of stylish pieces after designs by S.I. Vashkov, and also used his techniques of contrasting surface textures, areas of colour, various precious and semiprecious cut stones and a deliberate asymmetry to achieve an unusual aesthetic impact, expressiveness and harmony. Vashkov, whose ideas found their practical expression through Konov, wrote in the journal Religious Art: “...the purpose of icons and church plate...is to nurture and develop man’s aesthetic sense, and therefore they should show conceptual commitment and be highly artistic.” This kind of creative work is brilliantly exemplified by the fine Christ Pantocrator icon. On either side of the Pantocrator are Cherubim who, according to Dionysius the Areopagite, form the first triad of the Angelic Orders, together with the Seraphim and Thrones. The Cherubim are depicted according to Chapter 1 of the Book of Ezekiel, where they appeared with four wings (two raised and two covering the body), four arms and four faces — of a man, lion, ox and eagle. In early times, these “tetramorphic” Cherubim symbolised a single Gospel written by the four evangelists (in the Christian tradition, the aforementioned symbols were attributed to the four gospel-writers). Such imagery was replaced in late and post-Medieval cclesiastical art with cherubim and seraphim with four or six wings and human faces.In terms of cultural history, this Art Nouveau artist’s interpretation is of great interest. Here, an old tradition is uniquely interwoven with a new one — the tetramorphic iconography is seen in the Cherubim’s two extra faces: the eagle and man on the left and the ox and lion on the right.Despite the composition’s apparent simplicity, the icon is distinguished by its clarity and the depth of thought behind it. In Dionysius the Areopagite’s Celestial Hierarchy, the Cherubim’s attributes are described: “the name Cherubim denotes their power of knowing and beholding God, their receptivity to the highest light, their contemplation of the beneficence of the Godhead in Its first manifestation.”Thus, this early 20th century image is a remarkable ecclesiastical artefact, in which new modes of artistic expression combine with the traditional symbolism and theology of the icon.

AN IMPORTANT SILVER AND ENAMEL TRIPTYCH OF ST GEORGE WITH ST NICHOLAS THE MIRACLE WORKER AND ALEXEI THE METROPOLITAN OF MOSCOW BEGINNING OF THE 20TH CENTURY, MAKER`S MARK OF VASILY AGAFONOV IN CYRILLIC, MOSCOW, 84 STANDARD Extended 32.5 by 41 cm, closed 32.5 by 21 cm, weight 3,100 g. Provenance: Anonymous Sale; Russian Works of Art, Sotheby’s New York, 14 December 1973, Lot 297.Private collection, Europe.Related literature: For similar work, see Sokrovischa Tserkovno-Arkheologicheskogo Kabineta Moskovskoi Dukhovnoi Akademii (Treasures of the Church Archaeological Department of the Moscow Theological Academy), Sergeev Posad, Patriarch’s Publishing Centre, 2004, p. 203.The folding triptych depicting St George in the centre and St Nicholas the Miracle worker and Alexei, Metropolitan of Moscow on the side panels, was made in the workshop of the well-known Master silversmith Vasily Agafonov, in the years 1895-1917.The academic manner of the saints’ depiction on the side and centre panels follows the ecclesiastical painting of V.M. Vasnetsov’s circle. This work was characterised by its emotional expressiveness, psychological depth and the power and majesty of the images. These icons — uniting ancient Byzantine and Russian images with new “revolutionary” 20th century painting techniques — gave visible expression to the religious and national aspirations in Russian society on the cusp of a new epoch.The triptych’s striking polychrome cloisonné enamel frame is richly coloured and designed with exceptional refinement. The enamel decoration closely resembles the early 20th century icon of “St Nicholas of Myra” from the Moscow Theological Academy’s church archaeology collection.The art of enamelling, which flourished at the turn of the 19th-20th centuries, is an integral part of Russian national culture and its decorative features had long attracted master craftsmen and patrons. The choice of saints and the richness of the design suggest the triptych was especially commissioned for presentation to a very eminent person. The saints depicted on the side panels are the namesakes of Emperor Nicholas II and his heir apparent, Tsarevich Alexei Nikolayevich. The longawaited heir, the imperial family’s fifth child, was born on 30 July 1904 and christened in the name of St Alexei, Metropolitan of Moscow and All Russia. The depiction of St George and the Dragon on the central panel not only reproduces the emblem of Moscow, but is also laden with triumphal and “victorious” meaning.Thus the triptych, whose iconographic purpose encompasses prayers for the health of the two foremost figures of the Russian Empire, was most probably intended for ceremonial presentation to Emperor Nicholas II on behalf of high-ranking persons or institutions in Moscow.

A collection of ceramics comprising a Figure on horseback slaying a lion and an Art wall plaque of religious influence. View on staceyauction.com

A pair of Bombay School of Art pottery urns, Western India c. 1880 of slip glazed teracotta and with openwork relief decoration of a continuous frieze of mail scholars or religious characters with the appearance of standing at a window in colours brown, green, yellow etc. School of Art mark on one of the medallions View on staceyauction.com

Graham Sutherland, OM (British, 1903-1980) A Study of Birds and Foliage, signed lower left "Sutherland", gouache, watercolour, bodycolour and black crayon, 16 x 13cm (6.24 x 5.07in). Provenance: Christie`s, London, sale, 25 May 1994, Lot 35. Graham Sutherland took up glass design, fabric design and poster design during the 1930s, and taught at a number of London art colleges. In 1934 he first visited Pembrokeshire, and was inspired by nature and the countryside in his neo-romantic work. Following the Second World War he produced several religious pieces, including The Crucifixion (1946) for St Matthew`s Church, Northampton, and the tapestry Christ in Glory (1962) for Coventry Cathedral. He also continued to produce work based on natural forms, and managed to blend some of these - such as thorns - into his religious work. The present gouache and watercolour of Birds and Foliage is a design for a tapestry, circa 1950. Sutherland exhibited in the British Pavilion at the Venice Biennale in 1952 along with Edward Wadsworth and the New Aspects of British Sculpture Group. Major retrospective shows were held at the Tate Gallery in 1982, France in 1998, and the Dulwich Picture Gallery in 2005

A very extensive collection of lantern slides, mainly Religious stories "Life of Christ" views of the Holy Land; series of foreign cathedrals, cities, people in other lands; Art history and similar contained in a number of slide boxes and drawers in oak cabinets (many 100`s)

Dedeyan (Gerard) Les Armeniens entre Grecs Musulmans et Croises 2 vol. Lisbon 2003 § Nersessian (Vrej) The Tondrakian Movement: Religious Movements in the Armenian Church... 1987 § Conybeare (F.C.) The Armenian Church: Heritage and Identity edited by Vrej Nersessian New York 2001 § Sanjian (Avedis K.) Medieval Armenian Manuscripts at the Univeristy of California Los Angeles Berkeley etc. 1999 § Mutafian (Claude) Arménie: La magie de l`écrit Marseilles 2007; La Cilicie au Carrefour des Empires 2 vol. original wrappers slip-case Paris 1988 illustrations all but the last original cloth or boards most with dust-jackets; and c.45 others on Armenian art literature history etc. some in Armenian 8vo & 4to (c.50)(c.50)

ALBUM WITH A COLLECTION OF RELIGIOUS INTEREST POSTCARDS,, CLERGY, COLNE HARVEST FESTIVAL ADVERT, ART, ETC (114 APPROX)

Frederick Fortt (fl,1848-1861) Rebecca at The Well monogrammed, inscribed and dated `Roma 1848` bottom left arched top with cartouche decorated corners and three religious vignettes along the bottom of the picture oil on canvas 118.5 x 71.5cm. ** Provenance: Rowcroft Hospice, Torquay The story of Rebbecca at The Well comes from The Book of Genesis. The aged Abraham, wanting a wife for his son Isaac, sent his servant Eliezer to his homeland of Mesopotamia to find a suitable woman. Tired after his long journey, Eliezer stopped at a well and prayed for guidance. When Rebecca offered water to Eliezer and his camels, the old steward recognised her as the appointed bride and presented her with the betrothal jewels. There is a work by the artist, Virgin in Prayer after Sassoferrato, in the collection of the Victoria Art gallery, Bath

Tournour (Margaret, 1921-2003). A collection of twenty-eight engravings, together twenty-eight wood engravings, mostly on tissue, of animals, birds, and religious subjects, each initialled and dated in pencil by the artist in the lower margin, and most titled in pencil, largest 150 x 100mm (6 x 4 ins), smallest 37 x 30mm (1.5 x 1.25 ins), six mounted, framed and glazed, some tipped-in on card, plus a Christmas card inscribed Sister Tournour, and a signed eng. entitled Farrier at Work, by Anthony Bailey, limited edition 22/75 copies, 125 x 125mm (5 x 5 ins). Margaret Tournour was a nun and an artist, best known for her minutely detailed wood engraved book illustrations, such as those for the Stanbrook Abbey Press. She drew from a very young age, and in 1939 won a scholarship to Croydon School of Art, although the outbreak of war prevented her from completing the course. In 1953 she became a novice at Woldingham in the Society of the Sacred Heart, which is primarily a teaching order. She surrendered her art to her vocation, not returning her attention to it until her retirement in 1984. She began engraving again, producing nearly 500 blocks over the next 20 years, and illustrating at least 20 titles in her so-called retirement. Her strength was in the miniature, and she worked with precision and clarity. Some of her images are religious, but many more celebrate the beauty and intricacy of creation. (30)

Lacroix (Paul). XVIIme Siecle Lettres Sciences et Arts, France 1500-1700, pub. Firmin-Didot, Paris, 1882, 17 chromolithographed plates, illustrations, t.e.g., contemporary black half morocco by Smeers, spine with raised bands and gilt decoration, 4to, limited edition, 10/100 copies, with publisher’s presentation inscription, together with Les Manuscrits et L’Art de les Orner, by Alphonse Labitte, Paris, 1893, b & w illustrations, t.e.g., original wrapper bound in contemporary red half morocco by Bretault, 4to, limited edition, 13/15 copies, with six others including Paul Lacroix’s Manners, Cutoms and Dress of the Middle Ages, and During the Renaissance Period, 1874, and Military and Religious Life in the Middle Ages and at the Period of the Renaissance, c. 1874. (8)

A 19th century Art Nouveau hand stitched silk and tapestry panel depicting classical religious flautist within tree lined landscape also a 19th century sampler of multi coloured stylish borders and motifs and an Egyptian tapestry panel, each framed and glazed, (3)

An exceptional carved limewood and polychrome group, probably Rhineland, c.1480, depicting The Holy Kinship: The Virgin, The Christ Child, St Joseph, St Anne the Virgin`s Mother and her three husbands, Joachim, Salome and Cleophas, 75cm high, 72cm wide. The Holy Kinship was a popular theme in religious art throughout Germany and the Low Countries, especially during the late 15th and early 16th centuries. The term refers to the extended family of Jesus descended from his maternal grandmother St Anne. According to this tradition, St Anne, the mother of the Virgin Mary, was grandmother not just to Jesus, but also to five of the twelve apostles: John the Evangelist, James the Greater, James the Less, Simon and Jude. These apostles, together with John Baptist, were all cousins of Jesus. The genealogy holds that Anne`s sister, Hismeria (or Esmeria), was the mother of John the Baptist`s mother, Elizabeth, and of a second child, Eluid, who was in turn the grandfather of St Servatius. The basis for this family tree rests upon the trinubium, the tradition that Anne had married three times.

ROERICH, NICHOLAS 1874-1947 Sangacheling, from the series Sikkim signed with a monogram Tempera on canvas, 73 by 117.5 cm. Provenance: The Roerich Museum, New York, 1924–1935. Nettie & Louis Horch, USA, from 1935. Private collection, UK. Exhibited: The Roerich Museum, New York (permanent collection), 1924–1935, No. 179. Literature: F. Grant et al., Roerich. Himalayas. A Monograph, New York, Brentano Publ., 1926, p. 199, 191, illustrated. The Roerich Museum Catalogue, New York, Roerich Museum, 1930, p. 21. A. V. Yaremenko, Nicholai Konstantinovich Roerich: His Life and Creations During the Past Forty Years, New York, Central Book Trading Co., 1931, p. 38, plate 91, illustrated. Y. Petrova, A Time to Gather. Russian Art from Foreign Private Collections, 2007, p. 125, No. 80, illustrated. List of Nicholas Roerich Paintings, 1917–1924, Autograph, The Nicholas Roerich Museum Archive, New York, No. 19. If one would attempt to divide Nicholas Roerich’s long artistic career into two main periods, the year 1924 would be a distinct and recognizable borderline. He spent the first nine months of that year living in Darjeeling, India, travelling throughout the region and painting his visions of spiritual forces shaping the material world: Himalayan landscapes, villages and monasteries. He expressed his fascination with “the roof of the World” (the Himalayas) and India’s ageless spiritual traditions by instantly acquiring a new style of painting marked by richness of colour, forcefulness of line, and freshness of perspective. His eighty canvases from this period, neatly organized into four series – His Country, Sikkim, Banners of the East (The Birth of Mysteries) and Himalayan – all bear the signs of that particular vigor and spontaneity which comes with leaving behind old shores and discovering new inspirations. If we had to define Roerich with just a painting or two, it would almost certainly come from 1924. In this large canvas from the Sikkim series, consisting of thirteen paintings in all, Roerich pays tribute to Buddhist lore by depicting one of the oldest and well-known of its monasteries (of Nyingma tradition) near the village of Pelling. In his travel diary he notes: “An interesting monastery is Sangacheling… there are no relics, but there rests a stone made sacred by the blessing of the founder; when the life of the monastery is unalloyed, the stone is firm, but each deviation makes the stone creak.” As always in his work, the artist is motivated by the spiritual significance of the subject. His meditation on the theme produces a bold composition: a small human figure balances the vast expanses of brick and stone. For Roerich, it is not outward greatness that determines whether faith endures, but rather the firmness of human spirit. Here, the rock and stupas are held together by the strength of the monk’s will. Without him, the composition collapses; if his spirit cracks, the stone breaks. The clarity of Roerich’s new vision is manifest in the sharp outlines of the rocks, stupas, and almost geometric simplicity of the figure. By contrast, a glowing, yellow light, a symbolic colour in Buddhism, permeates every inch of the canvas, alternating between flat planes of colour and rough textures of dark orange. The richness of colour and the complexity of composition do not detract from the powerful presence of the solitary figure. In fact, they emphasize the strength of his spirit, as he both harmonizes with and commands his surroundings. We are grateful to Gvido Trepša, senior researcher at the Nicholas RoerichMuseum, New York, for providing this note. Nicholas Roerich had felt strongly drawn to India from as far back as his childhood: when he passed the summer on the estate of Izvara near Gatchina, where he would spend hours gazing at a painting hanging on the wall that had as its subject the celebrated Himalayan mountain peak of Kanchenjungi, and on the occasions when he would sit listening to the conversations of the orientalists A. Pozdneev and K. Golstunskiy when they visited the Roerich family home in St Petersburg. At last, on 17 November 1923, the Macedonia steamship departed from Marseilles harbour for Bombay, with Roerich and his family aboard. They did not remain on the Indian plain for long. The destination for which they were bound was where the snow-covered peaks of the highest mountains in the world soared to the heavens – the Himalayas. After having made their way through a noisy and hot Calcutta, Roerich and his family arrived in Darjeeling. This small English resort town, the centre of the tea industry, lies in the foothills of the Eastern Himalayas. In close proximity to Darjeeling, to the north, there was the small Himalayan principality of Sikkim, nestling between Nepal and Bhutan. On fine clear days, the gigantic snowy mass of the sacred peak of Kanchenjungi could be seen to rear above it. This “snowy country, the outlines of which vary with each change of light ... this eternally turbulent restless ocean of clouds and indescribably diverse varieties of mists” inspired Roerich to create his first major cycle of works dedicated to the Himalayas. One of the masterpieces of the Sikkim series, which consists of a total of thirteen canvases, is the arge canvas now being presented at auction, Sangacheling. The lost Himalayan independent principality of Sikkim, to which access had only just been granted to Europeans, became the first stage of the expedition route. The principality presented a unique image both in terms of nature and from a cultural perspective. Arranged on a multitude of hills, from time to time one would come across evergreen jungles with luxuriant vegetation, pheasants, leopards and monkeys. Over all of this world filled with the splendours of nature there soared the seventeen snow-capped peaks of the Himalayas. The small area within which Sikkim was contained also encompassed almost every climatic zone our planet has to offer, beginning with a subtropical zone and ending with an arctic zone of eternal snows. “A diverse natural world”, Roerich wrote of Sikkim, “a stern larch tree would stand side by side with a rhododendron bush. Everything crowded together, and all these earthly riches faded into the blue mist of the mountainous distance. A bank of clouds covered a glowering haze. It was strange and strikingly unexpected to catch sight of a new cloud-filled composition after having viewed this finished piece of artwork. Above the dusk and waves of clouds there shone the blindingly bright snows of the endless, soaring, almost inaccessible peaks. These were two separate worlds, divided by mist”. The precipitous mountains of the “land of snow” precluded the use of horses, and therefore the route through this country followed by Roerich and his family had be undertaken on foot and was extremely arduous. They made a study of historical and religious monuments and, most importantly, the ancient monasteries of Sikkim – “the hundred monasteries of Sikkim. Probably considerably more in fact. Each of them sitting astride a peak”. Amongst this multitude of holy sites, along the expedition route there was to be found one of the oldest and most revered of the country’s monasteries, the monastery of Sangacheling, which was situated next to the settlement of Pelling. Founded in 1705, the monastery adhered to the Nyingma tradition, which is the most ancient of the four principal schools of Tibetan Buddhism. At this time Roeric

KHARITONOV, ALEKSANDR 1932-1993 The White King signed with initials and dated 1963, also titled in Cyrillic on the reverse Oil on canvas, 63.5 by 46.5 cm. Provenance: Acquired directly from the artist by the father of the present owner. Thence by descent. Private collection, Germany. Authenticity has been confirmed by Tatiana Sokolova-Kharitonova, the widow of the artist. Exhibited: GorKom of Graphic Artists, Malaya Gruzinskaya Street, Moscow, 1970s. The White King, which was painted in 1963, is one of Kharitonov’s few early works. It is hard to say exactly what evokes the grotesque image of the distant romantic country. Does it reflect numerous literary references or was it influenced by the War of Roses? Is it the enthusiasm for Symbolist poets, or perhaps the famous 1963 match between the chess kings Fischer and Benko? The world on the canvas, made up of the most delicate brush strokes, flickering with light, which became a distinctive feature of Kharitonov’s artistic technique, is not simply bright and festive. It verges on a fairytale fantasy. The inhabitants of a magical country stroll around an enchanted park, amidst minute houses, immense trees and statues of knights; there are maidens, both semi-naked and clad in 19th-century costume, a girl with a little flag, and a pensive gentleman. This magical world exists, uninterrupted: in one house, a wise man is reading a book, while his female neighbour is busily doing her laundry. Is this reality or simply the dream of the young king seated in the armchair beneath a canopy? On this canvas, everything seems to be a blissful dream; both The White King, with his eyes closed and his golden hair gleaming, and his enchanted land, are seemingly bewitched by the prick of a magic spindle. The picture does not merely record the bright, romantic attitude of the artist, who had, at that point, already reached his artistic maturity, but it also gives glimpses as to the future direction of Kharitonov’s search for forms and subjects. The White King represents, in a sense, the credo of the young artist, whose nonconformism has, by that moment, become his existential position, connected to the category of the spiritual, and to the tradition of the so-called “metaphysical” underground, rather than to any politicised dissident movements. The redeeming feature of Kharitonov’s artistic metaphysics, despite their apparent simplicity, is a contemplative sincerity. The refinement of the alien characters and the conventionality exuded by the magical land conceal both the conscious artistic escapism of one of the most important figures in Moscow’s “unofficial art” and an interest – typical of the period of the “Thaw” – in religious philosophy and the legacy of the Symbolists of the beginning of the 20th century. This canvas reveals to the fullest possible extent the tendency which Tatiana Sokolova-Kharitonova, the artist’s widow and renowned expert on Kharitonov, refers to as “the mysterious world of philosophical pictures”.

Carved boxwood bicycle carved boxwood" 220 x 340mm. unmarked Suzhou c.1960. ***Such skillful carvings of mundane objects replaced the historical and religious subjects of traditional art thus meeting Mao`s tenet of "Art for the masses" " and allowing ordinary families to decorate their homes without the suspicion of living a corrupted life.

A Large Collection of Over Seven Hundred and Fifty Magic Lantern Slides, including a box of Paris Exhibition 1900, ten mahogany framed slides, quantity of topography, art subjects, religious studies, architecture etc., in two boxes.

PETER HOWSON OBE Study for "Famine" Mixed media on paper Signed and dated 08 11 1/2" x 8 1/2" A study for the exhibition "Famine" shown at St Mungo`s, Glasgow Museum of Religious Art, 2009.

An early 19th century sampler by Ann Biddle dated 1816 depicting Adam and Eve and a religious rhyme within stylised floral border, `Adam and Eve whilst innocent in paradise were place but soon the serpent by his will the happy pair disgraced our father which art in heaven hallowed be thy name thy kingdom come thy will be done in earth as it is in heaven give us this day our daily bread and forgive us our trespasses as we forgive them that trespass against us and lead us not into temptation but deliver us from evil for thine is the kingdom and the power and the glory forever and ever amen`, in ornate gilt frame, length including frame 64cm (illustrated).

A Collection of Approximately Two Hundred and Fifty Pre War Postcards, including a real photograph of Marton, M`boro, natural history cards, art cards, dogs by Maud West Watson, religious cards, Shakespearian series, Oilettes, Tuck`s Kings and Queens etc.