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DAN BALDWIN, ENGAGE WITH THE WORLD pure pigment, acrylic, parker pen and Posca pen on card album cover, signed31cm x 31cmThe work of contemporary artist Dan Baldwin addresses big ideas: from the political to the religious, from innocence to experience, Baldwin’s fierce aesthetic is no wallflower. A modern take on object trouvé, Baldwin explores the use of the ‘real’ in his work. In the past, he has incorporated fragments of Iraqi and American currency, vintage crucifixes, and real bullets to press on the fine line between art and reality. Blending the abstract with the figurative, Baldwin’s work sits at the intersection of reality and fantasy. Frequently recurring motifs – from skeletons to swallows, flowers to firearms, crucifixes to cartoon characters – are often contradictory, juxtaposed to create an uncomfortable visual paradox. Today, Baldwin's work is well-known as a collectable sensation and is exhibited across the world. He has worked with a range of global brands, from Max Factor to Paolo Nutini, and his work is owned by a number of notable collectors including Damien Hirst. Instagram: danbaldwinart

RAVI ZUPA, THRILLING 3 colour screenprint on paper, signed, created in 202028cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand. Instagram: raviamarzupa

RAVI ZUPA, KEEP MOVING 3 colour screenprint on paper, signed, created in 202028cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand. Instagram: raviamarzupa

RAVI ZUPA, A FRIEND 3 colour screenprint on paper, signed, created in 202028cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand. Instagram: raviamarzupa

RAVI ZUPA, BY MY WITS 3 colour screenprint, created in 2021, signed, from an open edition28cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand.

RAVI ZUPA, THRILLING 3 colour screenprint on paper, signed, created in 202028cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand. Instagram: raviamarzupa

RAVI ZUPA, TOGETHER AGAIN 3 colour screenprint, created in 2020, signed28cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand. Instagram: raviamarzupa

RAVI ZUPA, THRILLING 3 colour screenprint on paper, signed, created in 202028cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand. Instagram: raviamarzupa

RAVI ZUPA, KEEP MOVING 3 colour screenprint, created in 2020, signed28cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand. Instagram: raviamarzupa

RAVI ZUPA, TOGETHER AGAIN 3 colour screenprint on paper, signed, created in 202028cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand. Instagram: raviamarzupa

MARIANNE WEREFKIN (1860-1938)Grüner Berg (Kaunas) tempera, chalk and pen and ink on cardboard40.4 x 29.2cm (15 7/8 x 11 1/2in).Executed in Kaunas in 1910Footnotes:ProvenanceAlexander Werefkin Collection (the artist's nephew, a gift from the artist). Anon. sale, Dr Ernst Hauswedell, Hamburg, 19 November 1966, lot 852.Acquired at the above sale by the previous owner; their sale, Hauswedell & Nolte, Hamburg, 17 June 2009, lot 31. Private collection, Switzerland (acquired at the above sale).ExhibitedWiesbaden, Städtisches Museum Wiesbaden, Marianne Werefkin, 1860-1938, Gedächtnisausstellung, 5 October 1958, no. 17 (later travelled to Bonn, Munich, Bremen, Wuppertal, Baden-Baden, Dortmund and Cologne).Wiesbaden, Museum Wiesbaden, Das Geistige in der Kunst, Vom Blauen Reiter zum Abstrakten Expressionismus, 31 October 2010 - 27 February 2011. Bietigheim-Bissingen, Städtische Galerie Bietigheim-Bissingen, Marianne Werefkin, Vom Blauen Reiter zum Großen Bären, 12 April - 6 July 2014, no. 44 (later travelled to Bremen). Melano, Artrust, Marianne Werefkin, I colori di un'anima in viaggio, 10 October - 10 December 2016.LiteratureN. Brögmann, Marianne Von Werefkin, Oeuvres peintes 1907-1936, exh. cat., Gingins, 1996, no. 68 (illustrated p. 96).Marianne Werefkin was one of the few extraordinary women working at the centre of Munich's avant-garde scene at the beginning of the twentieth century. Having grown up in the south of Moscow, receiving a full education, which included music, philosophy, languages, and drawing, she moved to St Petersburg at the age of 25, where she studied painting under Ilya Repin, the most famous of the Russian realist painters. Making connections with the Russian intelligentsia and holding her own salons at her residence, she shared news of the Parisian Impressionists, which she gleaned through her subscriptions of European art magazines. Influenced by her self-initiated exposure to international art, Werefkin diverged from the Russian aesthetic, boldly developing her identity as a cosmopolitan modernist. Indeed, at the age of 28, Werefkin told her father that she 'had never had any of the obsessions of the young society ladies' and was 'not afraid to be judged by society' (T. Malycheva, 'The Cosmopolitan Approach as a Constituent Aspect of Modernist Thought', in Marianne Werefkin and the Women Artists in her circle, Leiden, 2017, p. 71).In 1892, Repin introduced Werefkin to the painter Alexej von Jawlensky and the pair became romantically involved. Albeit an unconventional relationship - which navigated problems such as artistic rivalry and the birth of Jawlensky's son from his affair with his housekeeper, Hélène Nesnakomoff - it was an intense partnership that lasted eighteen years. Following the death of Werefkin's father in 1896, the couple moved to Munich, enabled by the artist receiving a generous pension from the Tsar as an orphaned daughter. A hub for intellectuals and known for artistic experimentation, Munich was the place where Werefkin could make her artistic mark.Werefkin and Jawlensky formed strong friendships with artists such as Wassily Kandinsky and Gabriele Münter and Werefkin continued her role as salon host for artistic friends at her Munich apartment. Aided by her linguistic skills (she spoke Russian, German, English, French, Polish, Lithuanian, and later Italian), she personally encouraged cultural exchange and helped ignite the direction of twentieth century modernism. It was in 1908 when Werefkin, Jawlensky, Münter and Kandinsky spent their first summer in Murnau, painting the Bavarian landscapes in the Expressionist style, which typically involved bold brushstrokes and flat planes of vivid colour. The four artists were founding members of the Neue Künstlervereinigung München or NKVM (New Artist's Association, Munich) in 1909, whose travelling exhibitions made them well known throughout Germany; Werefkin and Jawlensky were then involved and exhibited with the Expressionist group Der Blaue Reiter but were not official members.As the present work shows, Werefkin yielded paintings of captivating graphic power and daring colours. She created a distinctive style by assimilating the 'surface painting' of Paul Gauguin and Louis Anquetin with the ideals of the Expressionist group, which included a desire to convey spiritual truths through their art. Werefkin used planar division to create rhythmic compositions, enhanced by intricate details, which her Expressionist counterparts sought to reduce. In addition to being a prominent exponent of Expressionism therefore, Werefkin's art also belongs to a tradition of figurative symbolism, as she depicted anonymous people to evoke an emotion or mood.Werefkin's paintings often include sweeping landscapes with small figures going about their daily activities, sharing rueful moments of solidarity. The present work depicts the small town of Kaunas in Lithuania, where the artist spent the winter of 1909 and the spring of 1910, visiting her brother Peter who was governor of the town. Similar to Werefkin's powerful work The Black Women (1910), housed at the Sprengel Museum in Hanover, Grüner Berg (Kaunas) is filled with keen observation and sympathy for the local people, who are returning home after a hard day's work, descending the wide road from the hills. The use of tempera and pen and ink reveals Werefkin's close study of works by Paul Gauguin, Henri de Toulouse-Lautrec and Edvard Munch and the influence of Japanese Ukiyo-e prints.Grüner Berg (Kaunas) is a wonderfully meditative painting, one that inspires quietude and reflection. Spiritual and religious sentiments occupy a special place in Werefkin's oeuvre, as she strove to convey human states such as loneliness, suffering, reconciliation, and mortality. By making the local people of Kaunas so small in scale compared to the vast landscape, the viewer is prompted to question humanity's significance in our world. In the artist's diaries, written during the early 1900s, she highlights the frailty of life and her fear of death: 'I see an open skull, filled with limited thoughts. I see a life path common to all and an inevitable end - death. I am afraid of every feeling, every ecstasy, anticipating a terrible, dubious end in them. The great aspirations of mankind end again and again in a fall with broken wings. Oh, then I close my eyes, I don't want to see, hear anything, I don't want to love [...] Only artistic creation is infinite, limitless...' (M. Werefkin, Pis'ma k neizvestnomu, Moscow, 2011, p. 193). While the Expressionist movement had always been defined by a form of social awareness, Werefkin's work expresses the human concerns more clearly. Her writings demonstrate her fascinating insights and critical mind, which she innovatively harnessed to create her unique visual language.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A late Victorian scrap book with clip art, letters and cuttings contents, also loose religious cards

Corita Kent (1918-1986) was an American artist, educator, and advocate for social justice known for her vibrant and uplifting serigraphs (silkscreen prints) that combined faith, activism, and pop culture. She was a significant figure in the Pop Art movement and gained recognition for her unique approach to art and her commitment to using art as a means of social and political commentary.Key aspects of Corita Kent's life and art include:1. **Early Life and Religious Background:** Corita Kent was born Frances Elizabeth Kent in Fort Dodge, Iowa. She joined the Roman Catholic order of Sisters of the Immaculate Heart of Mary in Los Angeles and became known as Sister Mary Corita. Her faith played a central role in her life and artistic expression.2. **Artistic Style:** Corita's art was characterized by its bright colors, bold typography, and the incorporation of text from various sources, including advertising slogans, song lyrics, and religious texts. Her work often conveyed messages of peace, love, and social justice.3. **Pop Art and Social Commentary:** Corita was associated with the Pop Art movement, but her work had a unique twist. She used the imagery of popular culture to convey her messages about peace and social justice during the turbulent 1960s. Her serigraphs often featured vibrant colors and dynamic compositions.4. **Political Activism:** Corita was a vocal advocate for social change. She used her art to address issues such as civil rights, anti-war protests, and environmental concerns. Her work was deeply influenced by the events and activism of the era.5. **Teaching:** Corita was also an influential teacher. She taught art at Immaculate Heart College in Los Angeles and had a significant impact on her students, including the renowned artist and designer Sheila Levrant de Bretteville.6. **Recognition and Controversy:** Corita's work gained recognition and popularity but was not without controversy. Some religious and conservative groups criticized her for her use of secular and pop culture imagery in religious art.7. **Later Life and Legacy:** Corita Kent left the religious order in 1968 but continued her artistic and activist pursuits. She continued to create art and teach until her death in 1986. Her work continues to be celebrated for its vibrant and positive messages, as well as its unique blend of spirituality and pop culture.Corita Kent's art serves as a testament to the power of creativity and expression in addressing important social issues. Her ability to combine faith, activism, and popular culture in her art has left a lasting impact on the world of contemporary art and social commentary.

Marie Ellenrieder (1791-1863) was a German painter, known for her contributions to the art world during the 19th century. She is notable for being one of the first professional female artists in Germany and for her works, which often encompassed religious and historical subjects. Here are some key points about Marie Ellenrieder:1. **Early Life and Training**: Marie Ellenrieder was born in Constance, Germany, in 1791. She displayed an early talent for art, and her artistic skills were nurtured by her father, who was a painter.2. **Career and Achievements**: Ellenrieder's career as an artist flourished despite the societal challenges faced by women in the arts during her time. She received significant recognition for her work, and her paintings were exhibited in prominent art exhibitions in Germany and beyond.3. **Religious and Historical Themes**: Ellenrieder's art often featured religious and historical subjects. She created numerous religious paintings, including altarpieces and devotional works. Her historical paintings often depicted scenes from literature, mythology, and the past.4. **Mentorship**: Ellenrieder received guidance and mentorship from notable artists of her time, including the German Romantic painter Philipp Otto Runge. Her association with these artists influenced her style and approach to art.5. **Travels**: Ellenrieder traveled extensively, visiting art centers such as Rome and Munich. These journeys allowed her to further develop her artistic skills and expand her knowledge of art history.6. **Legacy**: Marie Ellenrieder is celebrated for her trailblazing role as one of the first professional female artists in Germany. Her success paved the way for future generations of women artists. Her art is characterized by its technical skill and the emotional depth with which she conveyed her subjects.7. **Later Life**: Ellenrieder continued to paint and exhibit her work throughout her life. She remained active in the art world until her passing in 1863.Marie Ellenrieder's dedication to her craft and her pioneering role as a female artist in a male-dominated field have earned her a place in the history of art. Her contributions to religious and historical painting, as well as her influence on subsequent generations of female artists, remain part of her enduring legacy.Measures 20 x 24.7.

William Dyce (1806-1864) was a Scottish artist known for his contributions to the Pre-Raphaelite Brotherhood and his role in the mid-19th-century art scene in England. Here are some key points about William Dyce:1. **Early Life and Education**: William Dyce was born on September 19, 1806, in Aberdeen, Scotland. He initially studied at the Marischal College in Aberdeen and later pursued his artistic education at the Royal Academy of Arts in London.2. **Early Career**: Dyce began his career as an artist with a focus on historical and biblical subjects. His early works reflected academic traditions and classical themes.3. **Involvement with the Pre-Raphaelites**: Dyce was a mentor and supporter of the Pre-Raphaelite Brotherhood, a group of young artists who rejected the academic conventions of their time and sought to return to the styles of art before the High Renaissance (hence "Pre-Raphaelite"). He influenced and collaborated with several members of the Brotherhood.4. **"Pegwell Bay, Kent - A Recollection of October 5th, 1858"**: Dyce is perhaps best known for this landscape painting, which is a masterpiece of the Pre-Raphaelite style. It captures a vivid and detailed coastal scene and is celebrated for its meticulous attention to nature and light.5. **Artistic Style**: Dyce's style was characterized by a focus on detail, naturalism, and vibrant colors. He often incorporated symbolism and allegorical elements into his works.6. **Role in Art Institutions**: Dyce played a significant role in the art institutions of his time. He was a professor of Fine Arts at King's College London and later served as the Director of the Government School of Design (later the Royal College of Art).7. **Religious and Historical Themes**: Throughout his career, Dyce continued to produce works with religious and historical themes, often drawing from his Scottish heritage and interest in Celtic art and culture.8. **Legacy**: William Dyce's contributions to the Pre-Raphaelite Brotherhood and his role in promoting a return to detailed naturalism had a lasting impact on British art. His work influenced the development of the Pre-Raphaelite style, which would go on to influence subsequent art movements.9. **Death and Posthumous Recognition**: William Dyce passed away on February 14, 1864. In the years following his death, there has been a renewed interest in his work and legacy, with exhibitions and retrospectives celebrating his contributions to British art.William Dyce is remembered as an important figure in the Pre-Raphaelite movement and for his dedication to detailed and naturalistic depictions of the world around him. His influence on the art of his time and his role in fostering the talents of younger artists continue to be acknowledged and appreciated.Measures 21.5 x 30.

Francis Newton Souza (1924-2002) was an influential Indian artist known for his bold and provocative style. He was a prominent figure in the modern Indian art movement and played a significant role in shaping the art scene in India and abroad. Here are some key points about Francis Newton Souza:1. **Early Life and Background**: Souza was born on April 12, 1924, in Saligao, a village in the state of Goa, India. He was raised in a Catholic family and had a somewhat turbulent upbringing.2. **Artistic Education**: Souza began his artistic journey at a young age, attending the Sir J.J. School of Art in Mumbai (then Bombay). His early works were influenced by academic and European artistic traditions.3. **Progressive Artists' Group**: Souza was a founding member of the Progressive Artists' Group (PAG), established in Mumbai in 1947. The group aimed to break away from traditional Indian artistic conventions and embrace modern and international styles.4. **Style**: Souza's style is characterized by its bold and provocative nature. He often used thick, impasto layers of paint and depicted distorted figures, faces, and religious themes. His works often featured vivid colors and expressive lines.5. **Themes**: Souza's art explored a wide range of themes, including sexuality, religion, mythology, and the human condition. He was known for his willingness to tackle taboo subjects in his art.6. **Exhibitions and International Recognition**: Souza's works were exhibited and recognized internationally. He had exhibitions in Europe, the United States, and other parts of the world. His art received acclaim for its originality and powerful expression.7. **Move to London**: In 1949, Souza moved to London, where he spent a significant part of his life. London provided him with the artistic freedom and recognition he sought. He continued to exhibit his works in London and other European cities.8. **Awards and Honors**: Souza received several awards and honors during his career, including the John Moore's Exhibition Prize in 1955 and the Guggenheim International Award in 1967.9. **Later Life**: Souza continued to paint prolifically throughout his life. He passed away on March 28, 2002, in Mumbai, India, leaving behind a substantial body of work that continues to be celebrated and collected.10. **Legacy**: Francis Newton Souza is considered one of India's most important modern artists. His bold and pioneering approach to art broke new ground and influenced subsequent generations of Indian artists. His works continue to be highly sought after in the art market.Francis Newton Souza's art is celebrated for its provocative and distinctive style, reflecting his personal experiences, cultural influences, and a willingness to challenge established norms. He remains an enduring figure in the world of modern Indian art.Measures 31.4 x 20.9.

MIMMO PALADINO (B. 1948)Untitled 1985 incised with the artist's signature, dated 1985, numbered 3/3 and stamped with the FONDERIA DI GIACOMO NAPOLI foundry mark bronze 152 by 173 by 82 cm. 59 13/16 by 68 1/8 by 32 5/16 in. This work is number 3 from an edition of 3. Footnotes:ProvenancePrivate Collection, UK Exhibited Monterrey, Museo de Arte Contemporaneo de Monterrey, Mimmo Paladino, 1994, pp. 173, 177, no. 16, another example exhibited and illustrated in black and whiteLiteratureEnzo Di Martino, Paladino-La Scultura 1980-2008, Milan 2009, pp. 55, 408, illustrated in black and whiteMimmo Paladino, a protagonist of the Italian Transavanguardia movement, dedicated the early years of his artistic career to exploring the religious themes and mythological interpretations present in the outstanding sculptural examples presented here.Despite the present works varying styles and dates, the pivotal role of the human figure becomes evident; with motifs clearly inspired by Classical mythology, Christianity, Egyptian and tribal art. Figura con Stella with its bowed head, facing the star displays an act of subordination, further highlighted by the star motif, which represents the heavens or home of the gods. Untitled, which has similar connotations, exhibits seemingly sacrificial objects lying on the table-top alluding to death and sacrifice. Paladino argues that while these themes inspire his work, they don't define it: 'The figures in my paintings, the animals, the masks, the theme of death – I do not want to explain or analyse them. They are the roots out of which the picture develops, but not its content.' (the artist in: Studio International, Mimmo Paladino: Black and White, studiointernational.com, 27 September 2023) Although unmistakably contemporary, Paladino collaborates with the past to make his sculptures timeless and universal. Mimmo Paladino was a key member of the Transavanguardia movement, which is considered one of the most influential movements of post-war Italian art. Coined by the critic Achille Bonito Oliva, Transavanguardia demonstrated an international revival of expressionist painting and sculpture in the late 1970s and 1980s. Directly translated as 'beyond the avant-garde', the movement reacted against the original avant-garde with an aim to return to the traditional act of painting, one that elicited emotion, especially joy, and provided meaning. The movement was marked by five prominent artists, including Paladino, whose artworks drew attention at the 1980 Venice Biennale for their diverse styles and common vision. According to Oliva, Transavanguardia relied heavily on the materialism of techniques and new materials, rejecting conceptual ideas and recuperating the intensity of the image and the narrative. The present works are clear examples of Paladino's take on the Transavanguardia movement, a movement which became an internationally recognised phenomenon and whose works are highly sought after by collectors today.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

MIMMO PALADINO (B. 1948)Figura con stella 2000 bronze 95 by 65 by 132 cm. 37 3/8 by 25 9/16 by 51 15/16 in. This work was executed in 2000. Footnotes:ProvenancePrivate Collection, UKMimmo Paladino, a protagonist of the Italian Transavanguardia movement, dedicated the early years of his artistic career to exploring the religious themes and mythological interpretations present in the outstanding sculptural examples presented here.Despite the present works varying styles and dates, the pivotal role of the human figure becomes evident; with motifs clearly inspired by Classical mythology, Christianity, Egyptian and tribal art.Figura con Stella with its bowed head, facing the star displays an act of subordination, further highlighted by the Stella, which represents the heavens or home of the gods. An earlier work, yet with similar connotations, Senza titolo with seemingly sacrificial objects lying on the table-top alluding to death and sacrifice. Paladino argues that while these themes inspire his work, they don't define it: 'The figures in my paintings, the animals, the masks, the theme of death – I do not want to explain or analyse them. They are the roots out of which the picture develops, but not its content.' (the artist in: Studio International, Mimmo Paladino: Black and White, studiointernational.com, 2006) Although unmistakably contemporary, Paladino collaborates with the past to make his sculptures timeless and universal. Mimmo Paladino was a key member of the Transavanguardia movement, which is considered one of the most influential movements of post-war Italian art. Coined by the critic Achille Bonito Oliva, Transavanguardia demonstrated an international revival of expressionist painting and sculpture in the late 1970s and 1980s. Directly translated as 'beyond the avant-garde', the movement reacted against the original avant-garde with an aim to return to the traditional act of painting, one that elicited emotion, especially joy, and provided meaning. The movement was marked by five prominent artists, including Paladino, whose artworks drew attention at the 1980 Venice Biennale for their diverse styles and common vision. According to Oliva, Transavanguardia relied heavily on the materialism of techniques and new materials, rejecting conceptual ideas and recuperating the intensity of the image and the narrative. The present works are clear examples of Paladino's take on the Transavanguardia movement, a movement which became an internationally recognised phenomenon and whose works are highly sought after by collectors today.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

An Ethiopian coptic wooden carved altar piece, the doors revealing painted interior images of angels, Christ and other religious icons; along with a carved wooden tribal art mask Location:

MAITREYA IN THE TUSHITA HEAVEN, AN EXTREMELY RARE GILT-BRONZE FIGURE, XUANDE INCISED SIX-CHARACTER MARK AND OF THE PERIOD, CHINA, 1425-1435Expert's note: Maitreya is visualized here in his manifestation as a princely bodhisattva, teaching in the Tushita heaven, thus with his hands held in dharmachakra mudra, the teaching pose (turning the wheel of the second law), after which Maitreya will leave the Tushita heaven and come upon earth to 'establish the lost truths in all their purity.' Maitreya's face is imbued with compassion, the essential quality of the bodhisattva, with a downward gaze and gentle smile. Maitreya is the only Boddhisattva who is popular among all sects of Buddhism, such as the Mahayana, the Hinayana, and the Vajrayana, and he is often shown with his long hair hanging over his shoulders, such as in the present portrayal.Superbly cast, the bodhisattva seated in vajraparyankasana on a double-lotus base with beaded edges, his hands held in dharmachakra mudra, wearing a dhoti with exquisitely carved folds gathered at the waist and fastened by a beaded girdle and a scarf around the bare shoulders flowing over the arms, revealing the chest adorned with beaded pendent jewelry. The upper surface of the base is engraved with a six-character mark da Ming Xuande nian shi and of the period.Provenance: Spink & Son, London, United Kingdom, c. 1966. Adrian Maynard, London, United Kingdom, acquired from the above and thence by descent within the family. A noted Hungarian collector, acquired from the above after 2015. Adrian Maynard joined Spink & Sons in 1947, where he was appointed Director from 1962 and eventually Deputy Chairman until his retirement in 1984. He was a man of enormous drive and undoubtedly the most flamboyant character to take charge of the Asian art department, which he took to the height of its success. Maynard believed firmly that "a dealer, whose fortune and good name depends on knowing what to buy, has a much greater responsibility to be right about the objects that come into his hands than, say, an academic, who never handles large sums of money." Condition: Good condition with expected old wear. Minimal casting flaws, few minuscule nicks, and remnants of old pigment and varnish. The base retains the original sealing.Weight: 1,520 g Dimensions: Height 18.2 cm Maitreya is richly adorned with further fine bodhisattva jewelry including a foliate crown framing the forehead and tied with billowing sashes at the ears, circular studded earrings, and beaded bracelets, armbands, anklets, and foot adornments. The serene face with a benevolent expression, the eyes with heavy sinuous lids below gently arched brows centered by a raised circular urna. The smiling mouth with full bow-shaped lips, the neatly incised hair drawn up in a knotted jatamakuta topped by a cintamani jewel and falling elegantly in tresses to the shoulders. The base is sealed with a plate, neatly incised with a visvavajra emblem.During the Yuan Dynasty in the 13th and 14th centuries, the authority of Mongol rulers had become closely associated with Tibetan Buddhist or Lamaist rituals. At the beginning of the 15th century, the Buddhist fervor of the Ming court encouraged a cultural exchange between Tibet and China through Imperial patronage. Bronze sculptures in the Tibeto-Chinese style were first produced during the reign of Emperor Yongle (1403-1424) and are highly distinguished for their unsurpassed craftsmanship, overall refinement, and gracefulness. Emperor Yongle (1403-1425), a devout Buddhist himself, bestowed generous patronage to Buddhist monasteries and artistic ateliers, fostering the production of artworks depicting Tibetan Buddhist deities and imagery in a highly refined style, executed with the highest level of technical mastery. Gilt bronzes were commissioned from the Imperial workshops in Beijing for personal religious practices and as gifts for the many Tibetan emissaries invited to the court.Fewer examples bear the reign mark of Xuande (1425-1435) and the present lot is closely related to its Yongle predecessors, both stylistically and technically. The present figure was made at the Imperial ateliers in Beijing, probably during the early phase of the Xuande period, by the same craftsmen who continued their work from the Yongle period.Literature comparison: Very few other figures of Maitreya from this group of reign-marked, early-15th-century gilt-bronzes have been published. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, vol. II, pl. 343F. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in The Chang Foundation, Buddhist Images in Gilt Metal, Taipei, 1993, cat. 22. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong 1981, 147E (later restored without a vase and now in the Aschmann collection). For a related Xuande-marked gilt-bronze figure of Vajrasattva, see The Complete Collection of Treasures of the Palace Museum, Buddhist Statues of Tibet, p. 230, no. 219.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 9 July 2020, lot 2702 Price: HKD 4,325,000 or approx. EUR 516,000 converted and adjusted for inflation at the time of writing Description: A very rare and finely cast gilt-bronze figure of Maitreya, incised Yongle six-character presentation mark and of the period Expert remark: Compare the closely related subject, modeling, pose, expression, hair, robes, jewelry, and base, as well as the closely related manner of casting and gilding. Note the Yongle reign mark and the related size (20 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 7 October 2010, lot 2144 Price: HKD 6,020,000 or approx. EUR 989,000 converted and adjusted for inflation at the time of writing Description: A fine and rare gilt-bronze seated Maitreya, mark and period of Yongle Expert remark: Compare the closely related subject, modeling, pose, expression, hair, robes, jewelry, and base, as well as the closely related manner of casting and gilding. Note the Yongle reign mark. 明代宣德六字款罕見銅鎏金兜率天彌勒坐像彌勒佛結跏趺坐於雙層蓮花座上，雙手結法輪印，底座上表面刻有“大明宣德年施"六字款。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A FINE AND RARE PAINTING ON CLOTH DEPICTING THE SARVAVID VAIROCHANA MANDALA, TIBET, 15TH CENTURYThe central palace houses a crowned Sarvavid Vairochana, white-skinned with four faces, seated in dhyanasana, surrounded by Buddhas, bodhisattvas, lamas, and wrathful deities, with four stupas for each cardinal direction decorated with auspicious objects, encircled by bands of lotus petals and multi-colored flames framing tantric and wrathful deities. Distemper on cloth.Provenance: From a noted private collection on the West Coast of the United States.Condition: Good condition, commensurate with age, with expected old wear, minor creasing, some soiling and discoloration, minor fraying and losses, minute touchups. A horizontal section of 4 cm height has been reattached at the very top long time ago, the ancient stitching is still visible on the back. Five small cloth patches to edges at the back, possibly covering small tears, also applied a very long time ago. Displaying remarkably well, especially given its age of more than half a millennium.Dimensions: 50.8 cm x 40 cm Four triangular registers are surrounding the circular bands to depict religious scenes, including hell and an escaping Palden Lhamo. The uppermost register centers around Buddha seated in dhyanasana with the right hand lowered in bhumisparsha mudra, flanked by two bodhisattvas followed by two rows of monks. Dharmapala stands fiercely posed in the lowest register, while two monks likely depicting the paintings commissioner sit in dialogue with each other in the bottom right corner.A mandala is an aid for meditation, with the main object of veneration in the center. In an initiation ritual, the meditator slowly approaches the center and transforms his or her body and mind into that of the deity. Along the way, the meditator encounters various scenes of religious and historic significance, which aid in his or her meditational journey.All painted mandalas are a blueprint of a three-dimensional reality. They are not only meant to show the outer cosmic and inner psychic universe but also reveal the path to an exalted state, to the inherent Buddhahood that slumbers within every being, waiting to be discovered and awakened. The ultimate essence or unifying principle represented in the form of the central deity symbolizes this perfect world.This complex mandala illustrates the structure of our world, outer and inner, including the five directions, five elements (space, water, earth, fire, air), five aggregates (matter, sensation, perception, volition, consciousness), five inner negativities (ignorance, anger, pride, desire, and jealousy) and their opposites, the five wisdoms of an enlightened mind. The central palace is divided subtly into four colors, visible within the spiral decorations in the background. These colors follow the symbolism outlined in the yoga tantras, with blue in the east, yellow (faded to orange) in the south, red in the west, and green in the north.Along the outskirts of the palace are depictions of hell, the escaping Palden Lhamo, and two scenes that are more ambiguous. The depiction of hell can be clearly identified in one scene as several demons boil while others are impaled or strung up. The escaping Palden Lhamo, a dark figure whose face is obscured by wear, is crowned and rides between three soldiers with shields. The last two scenes depict a monastery, a peculiar set of heads at its doorstep, and a procession. Each of these four registers is painted with a central medallion between the scenes enclosing figures of Buddhas and bodhisattvas.Literature comparison:Compare a related Sarvavid Vairochana mandala, dated to the 17th century, approximately 120 cm x 100 cm, in the Thangka and Mandala collection of the Rubin Museum of Art, object number C2006.66.346.Auction result comparison: Type: Closely related Auction: Bonham's New York, 19 March 2018, lot 3014 Price: USD 75,000 or approx. EUR 83,500 converted and adjusted for inflation at the time of writing Description: A Raktayamari mandala, Tibet, 15th century Expert remark: Compare the closely related palatial structure, style of painting with similar predominant use of red, and the similar placement of the registers. Note the similar size (53 x 43.5 cm).Auction result comparison: Type: Closely related Auction: Sotheby's New York, 21 September 2007, lot 36 Price: USD 241,000 or approx. EUR 321,000 converted and adjusted for inflation at the time of writing Description: A fine and rare painting on cloth depicting the mandala of Manjuvajra, Tibet, 15th century Expert remark: Compare the closely related palatial structure, style of painting with similar predominant use of red, and the similar placement of the registers. 西藏十五世紀毘盧遮那佛壇城圖布面膠畫。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

AN IMPORTANT SILVER-INLAID GOLD REPOUSSE BOWL DEPICTING GARUDA, VIETNAM, FORMER KINGDOMS OF CHAMPA, CIRCA 10TH CENTURYSuperbly worked, the deep rounded sides supported on a tall faceted foot and flaring to a beaded rim, finely decorated to the exterior with overlapping trefoil-arched panels enclosing rosettes and scrolling foliage, below interlocking scrolling vines. The foot with square panels and indented corners enclosing rosettes, all against ring-punched grounds. The interior with a circular silver-inlaid base depicting a winged Garuda with human face, wearing a richly incised dhoti, foliate crown, and fine jewelry, his arms raised as if about to take flight, surrounded by leafy lotus blossoms, enclosed by a beaded border. Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Good condition, commensurate with age, with old wear and casting flaws, small losses, some tarnishing, and dents, all exactly as expected of a gold object more than a thousand years old.Weight: 243.9 g Dimensions: Diameter 18.8 cm Garuda is a half-bird, half-human creature that appears in both Hinduism and Buddhism. The mythological account of Garuda's birth in the Mahabharata identifies him as the younger brother of Aruna, the charioteer of the sun god, Surya. Garuda's mother, Vinata, mother of the birds, was tricked into becoming the slave of her sister and co-wife, Kadru, mother of the nagas (serpents). The lasting enmity between the birds, particularly Garuda, and the serpents is attributed to this. The nagas agreed to release Vinata if Garuda could obtain for them a drink of the elixir of immortality, the amrita or soma. Garuda performed the feat, thus giving the snakes the ability to slough off their old skins, and on his return Garuda met Vishnu, agreeing to serve him as his vehicle. Garuda is described in one text as emerald in color, with the beak of a hawk, roundish eyes, golden wings, and four arms and with a breast, knees, and legs like those of a hawk. He is also depicted anthropomorphically, with wings and hawk-like features. Sometimes images of Garuda are used by devotees of Vishnu to designate their affiliations; such images appear on coins throughout various periods and on jewelry and ritual vessels, like this lot. Garuda, also known as Garula, are golden-winged birds in Buddhist religious texts. Under the Buddhist concept of samsara, they are one of the Aṣṭagatyaḥ, the eight classes of inhuman beings.Expert's note: Depictions of Garuda with a human face like on the present lot are considerably rarer than their bird-faced counterparts, but are found across different cultures and materials. Compare an ivory relief depicting Garuda from Nepal, 10 cm high, dated to the 14th century, in the Victoria & Albert Museum, accession number IS.124-1999. Compare a bronze plaque depicting Garuda from East Java, 12.7 cm high, dated c. 1300, in the Norton Simon Museum, accession number P.2003.01.10. Compare a terracotta sculpture of Garuda from Western Thailand, 48 cm high, dated to the first half of the 7th century, excavated from site 40, Khu Bua, Ratchaburi Province, by the Fine Arts Department, Thailand, in 1962, and now in the National Museum, Bangkok, exhibited by the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, 14 April-27 July 2014. Compare a granite figure of Garuda from India, Tamil Nadu, 137.8 cm high, dated second half of the 8th to early 9th century, in the Metropolitan Museum of Art, accession number 1983.518. Compare a gray schist turban ornament with Garuda from Gandhara, 11.4 cm high, dated 2nd-3rd century, at Christie's New York, 18 March 2015, lot 4009.

A LARGE GRAY SCHIST RELIEF DEPICTING BUDDHA, A ROYAL DONOR AND SEVERAL ATTENDANTS, ANCIENT REGION OF GANDHARA, 2ND-3RD CENTURYSuperbly carved, standing in slight contrapposto and surrounded by royal donors and attendants, each with hands clasped in front of their chest with their gaze directed at his outstretched right arm holding an alms bowl. The Buddha is dressed in voluminous robes which fall gracefully in well detailed folds. The hems of his alluring robes are gathered in a soft roll clutched by his left hand to keep the garment taut and in place. The serene face with heavy-lidded downcast eyes below gently arched brows centered by a circular raised urna, above full bow-shaped lips forming a subtle smile, flanked by long pendulous earlobes. His hair is arranged in wavy locks over the domed ushnisha.Provenance: From an old Belgian private collection. Acquired before 1970 and thence by descent in the family.Condition: Good condition, commensurate with age. Extensive wear, obvious losses, nicks, scratches, small old repairs, signs of weathering and erosion, few structural cracks.Weight: 103.3 kg (incl. stand) Dimensions: Height 94.3 cm (incl. stand), 88.8 cm (excl. stand), Width 57.1 cm Note the hierarchical proportions used by the sculpture, with Buddha double the size of the donor and the attendant figures.The ancient region of Gandhara was once an important center for trade and religious activities. Carved stone monuments and iconic statuary were created for Buddhist patrons while drawing on Greco-Roman sculptural traditions. The present work is one such example, incorporating the emphasis on naturalism, seen in the treatment of the Buddha's heavy, monastic robe wrapping around his neck in thick layers and forming U-shaped folds on his legs with a convincing sense of gravity.This panel alludes to a delightful moment in the life of Buddha, which is retold by Harald Ingholt: “It was routine for the Buddha at a certain time of the day to wander around in quest of food. Once when he was doing this in Rajagriha, with his begging bowl held out before him, he met two small boys playing in the road. One of these moved as if to make an offering, but having nothing else at hand, he took a good fistful of dust and dropped it into the bowl saying that it was barely flour. The Buddha was much impressed by this childish act of piety and prophesied that the boy would become a mighty Buddhist monarch in some future life." (Gandharan Art in Pakistan, New York, 1959, pp. 80-81). This story was later interpreted to identify the child as the great Buddhist emperor Ashoka (304-232 BC) in a previous life. While the figure of the child, the object of the Buddha and his entourage's gaze, is now lost, the alms bowl remains partially preserved. Other depictions of this scene are found in ibid., nos. 110-111, and Kurita, Gandharan Art, Volume 1, Tokyo, 1988, pp. 178-181, nos. 351-358, and Sun and He, A History of Gandhara Civilization, Beijing, 2009, pp. 389, nos. 7, 128, 30.Auction result comparison: Type: Closely related Auction: Christie's New York, 13 March 2013, lot 209 Price: USD 183,750 or approx. EUR 224,000 converted and adjusted for inflation at the time of writing Description: A rare green schist relief of Buddha and a royal donor, 2nd/3rd century Expert remark: Compare the closely related manner of carving, with Buddha standing in similar pose and holding the hem of his garment beside a smaller donor figure. Note the size (106.8 cm). 陀羅二至三世紀灰色片岩佛像雕刻精美，以輕微的三曲式姿勢站立，周圍環繞著皇家供養人和侍從。每個人都雙手合十於胸前，目光注視著佛陀伸出的拿著缽的右臂。佛陀身著寬大的袈裟，袈裟優雅地垂落，衣紋流暢。他左手握著長袍的下擺。佛陀面容平靜安詳，雙眼微垂，眉毛微彎，雙眉之間有白毫，略帶微笑，兩側是長耳垂。他的頭髮在頭頂成螺髻。 來源：來自比利時私人舊藏，1970 年之前購得，此後由家族傳承。品相：狀況良好，大面積磨損、明顯的缺損、刻痕、劃痕、小修、風化和侵蝕，少量結構裂縫。 重量：103.3 公斤(含底座) 尺寸：高 94.3 厘米 (含底座)，88.8 厘米 (不含底座)，寬 57.1 厘米 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2013年3月13日，lot 209 價錢：USD 183,750（相當今日EUR 224,000） 描述：西元二至三世紀灰色片岩佛像 專家註釋：比較非常相近的雕刻風格、佛陀以類似的姿勢站立，並在一個較小的捐贈者雕像旁邊握住他的衣服下擺。請注意 尺寸 (106.8 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A SILVER-INLAID BRONZE FIGURE OF BUDDHA VAIROCANA, SWAT-VALLEY, 7TH-8TH CENTURYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 1 September 2020, based on sample number N120d91, confirms the object is “consistent with the suggested period of manufacture." A copy of the report, issued by Oxford Authentication, accompanies this lot.Depicted in the sambhogakaya form, Vairocana holds his hands in the bodhyagrimudra while sitting atop a pedestal supported by two anthropomorphic Buddhist lions. The lions have humanized faces, silver-inlaid eyes, snail-curled hair, and are standing atop a lotus base. The Vairocana wears an ornate crown, tied on both sides with ribbons which drape down around his arms and hang from the pedestal. His face is serene, set with almond-shaped eyes with silver inlays to the pupils and central urna. The back with a tang for attachment to a temple structure.Provenance: From the private collection of Michael Phillips. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine art, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Very good condition, commensurate with age. Expected signs of wear, corrosion and weathering with only small remnants of gilt remaining. The naturally grown patina has distinct malachite and cuprite encrustations and was at some point coated with a layer of varnish or wax for conservation purposes. Some losses, dents and scattered nicks.Weight: 3,090 g Dimensions: Height 26.3 cm The Swat Valley is located along the upper stream of the Indus in the heartland of the Gandhara region. It was a melting pot of various people and arts and served as a link between India and Central Asia and further eastwards for a constant flow of Buddhist pilgrims. The earlier Gandhara style is still echoed in the art of many icons of the Swat Valley, as visible in the present example. The Buddha's parallel folds as well as the protuberance on top of his head can be traced back to Gandhara Buddha figures. However, the V-shaped pleats around his neck are associated with Kashmiri prototypes, as is the use of silver inlay. His face reflects a Gupta idiom, with its small mouth and incised eyebrows. The lotus base on which he sits is typical for Swat Valley images. Thus, this fine bronze Buddha figure perfectly embodies the aforementioned melting pot of various styles.The iconography of the crowned Buddha Vairocana has been a subject of dispute amongst scholars due to the lack of clear lines of interpretation within the imagery. Many conclude the crown is intended to denote Sakyamuni as a cakravartin or universal Buddha while some suggest it represents a sambhogakaya Buddha in Mahayana Buddhism. In her 2018 article Images of the Crowned Buddha along the Silk Road, Rebecca Twist examines the iconography of Silk Road crowned Buddhas and concludes the recurring evidence points to the crowned Buddha as sambhogakaya as an early esoteric meditational construct. Many of the Buddha Vairocana that Twist examines are closely related to the present lot. According to Twist, these similar figures which appear from various locations along the Silk Road “demonstrate a systematic form of transmission and religious syncretism in both iconography and ideology." The present lot is a part of the clear pattern of deliberate core iconographic elements which recur in crowned Buddha Vairocana figures along the Silk Road. These elements included the sambhogakaya form, the embodiment of dharmakaya, the bodhyagrimudra, and the similarly styled crown.Auction result comparison: Type: Related Auction: Bonhams New York, 16 March 2021, lot 306 Price: USD 50,312 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of a Bodhisattva, Swat Valley, circa 8th century Expert remark: Note the similar patina, the roves with a single narrow sash across the chest, the silver inlaid eyes and urna, and the closely related crown. Note the much smaller size (13 cm).Auction result comparison: Type: Closely related Auction: Bonhams New York, 19 March 2018, lot 3009 Estimate: USD 450,000 or approx. EUR 495,000 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of Vairocana, Swat Valley, 8th/9th century Expert remark: Note the closely related pose, the similar crown and garments, the Buddhist lions which support the Vairocana atop the lotus pedestal, and the single ring molded to the back of the figure for mounting. Note the size (17.8 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 七至八世紀斯瓦特谷銅錯銀毘盧遮那佛毘盧佛施智拳印，全跏趺坐。半圓形台座正面有毘盧佛的坐騎--兩頭獅子（立姿）。毘盧佛頭戴華麗王冠，兩側飾有絲帶，從他的手臂上垂下，並懸掛在底座上。面容安詳，瞳孔鑲銀，雙眉之間有白毫。背面有支腳，用於固定到寺廟結構上。 科學檢測報告：牛津認證公司於 2020 年 9 月 1 日出具了一份基於樣品編號 N120d91 的熱釋光分析報告確認該造像“與建議的製作日期一致"。該拍品隨附一份報告副本。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LARGE JAIN PATA OF PARSHVANATHA, GUJARAT, WESTERN INDIA, 18TH - 19TH CENTURY OR EARLIERPublished: Asian Art Society, Online Catalogue IV, 1 January 2021, p. 90-91, no. 21 (presented by Joost van den Bergh, London, United Kingdom; text by Dr. Gautam Vajracharia, University of Wisconsin), and illustrated on the cover of the catalog.Tempera and gold on cloth. Parshvanatha is depicted in the center standing in koyotsarga protected by a hood of nagas issuing from his golden crown, draped in a white dhoti with foliate designs, his body adorned in gold and silver jewelry, all above a smaller figure of the tirthankara above a lotus. The central deity surrounded by several lobed and star-shaped panels (satkonas) representing the cosmos and its phenomena, with identifying inscriptions. The satkonas depict Sarvavinivritta, Sumangalanatha, and Krishnaranga to the left, and Kunthunatha, Parshvabhrata, and Nyamibhrata to the right.Inscriptions: According to Dr. Piotr Balcerowsczy (Chair of South Asian Studies, Faculty of Oriental Studies, University of Warsaw): “These are mostly (90%) in Sanskrit, with some stray portions of Prakrit. In general, these are “recycled" verses coming from some literature - these were not composed by the author of the pata. My first guess would be that the origin of some of these verses could be Hemacandra's Trịsạsṭiśalākāpuruṣacarita (but that should be checked). Another most possible option is Jinasena's Parsvabhyudaya. The other source (that of the Prakrit passages) could be the respective chapter of Kalpa-sutra."Provenance: Collection of Jose Ramón Pons Oliveras, Barcelona, Spain, 1998. Collection of Carlos Cruañas Dalmau, Barcelona, Spain, acquired from the above. A copy of the original invoice signed by Jose Ramón Pons Oliveras, dated 15 April 1998, addressed to Carlos Cruañas Dalmau, dating the present lot to the 17th-18th century, and stating a purchase for the present lot together with three other Indian paintings; also dated 17th-18th century, of which the present lot is the largest, of EUR 35,000 or approx. EUR 63,000 converted and adjusted for inflation at the time of writing, accompanies this lot. Jose Ramón Pons Oliveras (1928-2013) was a traveler, photographer, and cinematographer of nature, and a noted collector of Indian works of art. He travelled extensively to Asia, Oceania, Africa, and South America, filming in many isolated and inaccessible areas of the world. He acquired rare and important works of art during his travels to India in the 1970s, some of which have been sold by Christie's, including a mottled red sandstone figure of a lion, Mathura, 2nd century, at Christie's New York, 19 March 2013, lot 259.Condition: Good condition with minor wear, soiling, few loose threads, and tiny losses.Dimensions: Size 190 x 167 cm Parshvanatha, the Jaina saint, is believed to be the 23rd Tirthankara. His life story is closely related to the cult of serpents. Although serpents are considered malevolent creatures by some, people in India believe that they are auspicious divine beings. High religions of India such as Hinduism, Buddhism and Jainism, show sympathy to the cult of serpent, which has remained popular since prehistoric time. The present pata shows the episode of the life of Parshvanatha when Yaksha Dharnendra and his wife Yakshini Padmavati endeavored to cover Parshvanatha by creating a canopy of snake-hoods over his head and lifting him up from the ground to save him from submergence.When Parshvanatha was born, his mother saw a serpent crawling near her side, and therefore she named her child Parshva. The auspicious appearance of the snake at his birth is also related to an important event that took place in the earlier life of Parshva, in which he was born as a prince. While wandering in the forest, the prince saw an ascetic, who was about to sacrifice a snake. Such a ritual act was mandatory for the Vedic ritual of fire worship that he was performing. The prince thought that killing a creature for a religious purpose is a cruel act. Therefore, he forcefully interrupted the ongoing ritual of fire worship and saved the life of the snake. The ascetic was so angry with the prince that his anger remained intact even after his death.In the next cycle of birth, the ascetic incarnated himself as the cloud demon, Meghmalin, and the prince as the Jain saint Parshvanatha. Likewise, the serpent was born as a divine serpent, Dharana, with multiple snake-hoods. The cloud demon created a devastating flood when Parshvanatha was practicing yoga in a standing posture called kayotsarga, a technical Sanskrit term, which can be translated as “out of physical body." The flood almost submerged him. But the serpent Dharana, remembering that Parshvanatha protected him in his earlier life, came there to help him. He brought a giant lotus and placed it under Parshvanatha's feet and spread his multiple hoods to shelter him from heavy rain. Thus, the Jain saint was able to continue his yogic practice without being disturbed by the flood.Literature comparison:Compare a related large and rare early example in the Philadelphia Museum of Art, accession number 2003-143-1, illustrated in Pratapaditya Pal, The Peaceful Liberators: Jain Art from India, Los Angeles, 1994, no. 100, p. 227.Auction result comparison: Type: Related Auction: Bonhams New York, 13 September 2011, lot 1124 Price: USD 11,250 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A Jain pata of Sahasraphana Parshvanatha, Gujarat, 15th century Expert remark: Compare the related subject, also depicting Parshvanatha, and manner of painting. Note the earlier dating and the smaller size (83.8 x 54.6 cm).Auction result comparison: Type: Related Auction: Christie's New York, 12 September 2012, lot 617 Price: USD 10,000 or approx. EUR 12,000 converted and adjusted for inflation at the time of writing Description: A painting of Mahavira enthroned, Rajasthan or Gujarat, 18th/19th century Expert remark: Compare the related Jain subject and similar manner of painting. Note the much smaller size (43.5 x 28.5 cm).

A GILT CLOISONNE ENAMEL 'BAJIXIANG' VASE, CHINA, EARLY 19th CENTURYThe exterior brightly enameled on a deep turquoise ground with four registers separated by stylized bands, the body decorated with a band of four lotus blossoms interspersed by stylized shou characters, the shoulder with the Eight Buddhist Emblems (bajixiang). The globular body supported on a spreading foot rising to a waisted neck and garlic mouth. The base, foot, neck and two waist bands all finely gilt.Provenance: Collection of Maria and Johannes Nickl, thence by descent in the same family. An old collector's label to the base, '5.6'. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna's tightknit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel ('Roll of Honor') of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Good condition with minor wear and firing irregularities, including glaze recesses, minimal pitting, dents and losses to enamel, and few dark spots. Small nicks around the rim and scratches to the base.Weight: 941 gDimensions: Height 19.3 cm The Eight Buddhist Emblems (bajixiang) are a set of traditional symbols that represent the offerings made by the gods to Buddha upon his enlightenment. The symbols include the parasol, the golden fish, the conch shell, the endless knot, the lotus flower, the victory banner, the Dharma wheel, and the treasure vase. Each symbol has its own significance and is used in various contexts, such as in religious rituals, on prayer flags, and in artwork. Together, these symbols are believed to bring good fortune, prosperity, and happiness to those who use or encounter them. 十九世紀初鎏金銅胎掐絲琺瑯八吉祥紋瓶深綠松石色地，釉色明亮。蒜頭形狀瓶口，頸部鎏金銅凸紋，器身飾有四朵纏枝蓮紋，頸部壽字紋，肩部飾有八吉祥圖案。圈足。口部、頸部、肩部和足部鎏金。 來源：Mara與Johannes Nickl收藏，在同一家族保存至今，收藏標籤上可見“5.6."。Maria (1926-2022年) 與 Johannes Nickl (d. 2020年) 住在奧地利維也納，是亞洲、佛教和埃及藝術品的熱心收藏家。他們在維也納的亞洲藝術貿易中非常活躍，並在 1980 年代和 90 年代收集了大部分藏品，經常從 Zacke 藝廊和後來的 Asboth藝廊購買。 這對夫婦也是著名的博物館贊助人，他們的名字至今仍出現在維也納藝術史博物館（維也納美術博物館）埃及和近東藏品的榮譽榜上。 品相：狀況良好，有輕微磨損和燒製不規則，包括釉面凹陷和琺瑯缺損，輕微黑點，邊緣周圍有小刻痕，底部有劃痕。 重量：941 克 尺寸：高 19.3 釐米 佛教八吉祥包括寶瓶、寶蓋、雙魚、蓮花、寳螺、盤長、法幢、法輪，是佛教中象徵吉祥的、圓滿、幸福八件法物。

A PAIR OF LARGE RUBY-GROUND FAMILLE ROSE BUDDHIST EMBLEM ALTAR ORNAMENTS, QING DYNASTYChina, 19th century. Each finely modeled and enameled in brilliant tones in the form of an open worked ruby-red medallion enclosing one of the Eight Buddhist Emblems (bajixiang), one the Parasol (san), representing spiritual authority, reverence, and purity, and the other the Vase (ping), symbolizing eternal harmony, the receptacle for lustral water, the nectar of immortality. The turquoise-glazed bases each with an iron red six-character seal mark da Qing Qianlong nianzhi.Provenance: Collection of Milton Drexel Rutherford (1894-1976), acquired in China between c. 1930 and 1940, and thence by descent within the same family. The storage boxes padded with Russian and Chinese newspaper clippings from the period. Each altar stand inscribed in black ink to the base, 'China'. Milton Drexel (Rex) Rutherford was a US veteran and engineer. He lived and worked in the city of Chicago, excavating the tunnels for the city's subway. His proliferate collection began when a client gifted him an artifact from eastern Asia igniting a passion for collecting Asian art, including Kangxi ceramics as well as Japanese metalwork and lacquers. Condition: Superb condition with expected old wear, minor rubbing and flaking to enamels, occasional light scratches. Small glaze touchups inherent to manufacture, and other firing irregularities. The boxes worn, soiled and with minor damages.Weight: 1,934 g and 2,020 Dimensions: Height 38.5 cm and 38.3 cm Each emblem sits atop a lotus pod with recessed seeds nestled in a lotus blossom raised on a stem of chevrons flanked by openwork curling leaves, the whole raised on a domed base neatly enameled on a ruby-red ground with lappets framed by bands of ruyi-heads and key-fret, lappets, and covered in turquoise enamel on the interior.Each with an old fitted wood stand, finely carved with lotus lappets between two key-fret bands, dating to the late 19th century.Each with an old compartmented storage box, dating ca. 1930-1949. (6)The present lot belongs to a group of important altar ornaments placed in temples and chapels in front of Buddhist deities. The complicated openwork panels required a manual dexterity in handling the clay and testify of the technical virtuosity of the Jingdezhen potters at the kilns in Jiangxi province. Richly painted in the famille-rose enamel palette, they reflect the eclectic and ornate style of the period. As a serious student and active practitioner of Tibetan Buddhism, the Qianlong Emperor (r. 1736-1795) commissioned thousands of ritual implements and sacrificial utensils to furnish the renovated and newly built monasteries and temples as well as the numerous chapels and shrines in the palaces in the Forbidden City, Yuanmingyuan summer palace and the Chengde summer residence. Religious objects formed also part of the presents offered to family and court members. He is known, for example, to have lavished these on his beloved mother, the Empress Dowager Xiaosheng (1691-1771), who was a pious Buddhist. They equally played an essential role in the interchange of gifts to honor religious and diplomatic relations with the Dalai and Panchen Lamas who came to Chengde to pay homage to the Emperor.A complete set of the bajixiang, similar in design to the present lot, can be seen on an altar in front of a statue of Manjushri, the Bodhisattva of Wisdom, in the Fanzonglou (Hall of Buddhism), a private chapel in the Forbidden City, see Qing gong Zang chuan fojiao wenwu/Culltural relics of Tibetan Buddhism Collected in the Qing Palace, Beijing, 1992, pl. 99-1, where related sets of altar ornaments in gilt copper and silver gilt are also illustrated, pls. 138 and 139. A complete set of altar emblems is depicted in an official Court portrait, illustrated in Court Paintings of the Qing Dynasty of the Collection in the Palace Museum, Beijing, 1992, pl. 14, where the emblems are arranged on a low table in front of Emperor Kangxi holding a string of beads.Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2007, lot 414 Price: USD 43,000 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A pair of famille rose Buddhist emblem altar ornaments, Qianlong seal marks in iron-red and of the period. Expert remark: Compare the closely related form and decoration, with one of the emblems also being the parasol, as well as the Qianlong reign marks. Note the closely related size (38.1 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 April 2002, lot 535 Price: HKD 3,594,100 or approx. EUR 612,000 converted and adjusted for inflation at the time of writing Description: A magnificent set of eight famille rose Buddhist emblems, iron-red Qianlong four-character seal marks and of the period. Expert remark: Compare the closely related form, decoration, and Qianlong reign marks, albeit with four characters. Note the smaller size (24 cm) and that this lot comprises a complete set of eight Buddhist emblems. 清代一對大型寶石紅地粉彩佛教八寶供器中國，十九世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A MARBLE STELE FRAGMENT OF THE BUDDHA, EASTERN WEI DYNASTYChina, 532-546 AD. The finely carved fragment depicts the Buddha, with his serene face, heavy lidded eyes, and calm smile, in repose backed by a tear-drop mandorla. His robes are smooth, draping off his shoulders to naturalistically expose his chest. His head with a round ushnisha, worn through centuries of worhip.Provenance: From a private collection in Brescia, Italy.Condition: Good condition, commensurate with age. The marble has been smoothened through extensive weathering and worship, with soil remnants likely from a prolonged period of burial, cracks and losses, all of which only add to the exceptionally breathtaking appearance of this little gem.Weight: 517.1 gDimensions: Height 11.5 cm With an associated metal stand. (2)Steles played an important role in the development of religious art in China. During the Northern Wei dynasty, state-sponsorship of Buddhism enabled the rapid spread of the religion throughout northern China. At this time, Buddhist voluntary groups affiliated to local temples and organized by laymen became the main patrons of Buddhist steles which commemorated the group's religious, social, and territorial identity. The relative ubiquity of the medium employed to manufacture steles, and their small size, prompted a multitude of regional workshops, many of which developed their own style using the monumental cave temple carvings as a basis.Literature comparison:Compare a related stele with the buddha, 3.2 m high, from the Shanxi province and dated to the Northern Wei dynasty, in the Metropolitan Museum of Art, accession number 65.29.3, published by Denise Leidy and Donna Strahan in Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in the Metropolitan Museum of Art, 2011. Compare a related head of the Buddha with a very similar style, 25.3 cm high, in the Museum for East Asian Art Cologne, accession number Bc 40,2. Compare a related sandstone stele which has the tear-drop mandorla enveloping the entire figure, 134 cm high, dated to the Eastern Wei Dynasty, in the Brooklyn Museum, accession number 2015.3. Compare a much later stele of the buddha with a similar tear-drop mandorla, 55.9 cm high, dated to the Tang dynasty, in the Minneapolis Institute of Art, accession number 2021.34. Compare a closely related stele, 174 cm high, from the Shaanxi province and dated 520 AD, in the Victoria & Albert Museum, accession number A.9-1935. Compare a closely related stele, 92.5 cm high, from the Shaanxi province and dated 544 AD, in the Victoria & Albert Museum, accession number FE.7-1971. Compare a related sandstone stele, 195.5 cm high, dated 515-525 AD, in the National Museum of Asian Art, Smithsonian Institution, accession number S1991.157.Auction result comparison: Type: Related Auction: Bonhams London, 8 November 2004, lot 77 Price: GBP 8,365 or approx. EUR 20,000 converted and adjusted for inflation at the time of writing Description: A limestone stele fragment, late Northern Wei/Eastern Wei dynasty Expert remark: Note the similar carving style used to craft this bodhisattva. Note the much larger size (41 cm).Auction result comparison: Type: Related Auction: Bonhams Paris, 26 October 2022, lot 231 Price: EUR 50,000 or approx. EUR 52,500 adjusted for inflation at the time of writing Description: A stone documentary stele of Buddha, Northern Wei Dynasty Expert remark: Note the related style of the Buddha and the tear-drop mandorla. Note the much larger size (36.8 cm). 東魏漢白玉佛頭殘片中國，532-546年。精美雕刻半身佛陀，面容平靜，雙眼微閉，笑容安詳，背靠水滴狀光背。他的長袍衣紋光滑，從肩膀上垂下來，自然地露出胸部。他的頭上有螺髻，經過幾個世紀的崇拜而磨損。 來源：義大利布雷西亞的私人收藏。 品相：品相良好，土壤殘留可能是長期埋藏所致，有裂縫和缺損。 重量：517.1 克 尺寸：高11.5 厘米 金屬支架 (2) 拍賣結果比較： 形制：相近 拍賣：倫敦邦翰斯，2004年11月8日，lot 77 價格：GBP 8,365（相當於今日EUR 20,000） 描述：北魏末至東魏石灰岩石像 專家評論：請注意相似的雕刻風格。請注意尺寸較大 (41 厘米)。 拍賣結果比較： 形制：相近 拍賣：巴黎邦翰斯，2022年10月26日，lot 231 價格：EUR 50,000（相當於EUR 52,500今日） 描述：北魏永平三年石雕佛龕 專家評論：請注意相近的雕刻風格和水滴狀光背。請注意尺寸較大 (36.8 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A PAIR OF CARVED WOOD TEMPLE STRUTS (VIGRAHA) DEPICTING SHIVA AND PARVATINepal, 17th-18th century. Each finely carved standing in mirror image in a slight tribhanga pose, Shiva atop a recumbent Nandi and Parvati on a lion, each over a lotus pedestal, backed by tall plantain leaves. (2)Provenance: Collection of Leonardo Vigorelli, Bergamo, Italy, acquired 1995 in Kathmandu. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Good condition with wear, expected age cracks and splits, losses, signs of weathering and erosion, nicks, scratches. Overall, presenting remarkably well. A fine, naturally grown patina overall.Weight: 4,298 g and 4,340 g (each incl. stand) Dimensions: Height 59.2 cm and 58.6 cm (each excl. stand), and 70.1 cm and 70.4 cm (each incl. stand) Each mounted on a fitted stand. (4)Shiva is depicted with the primary right hand held in abhaya mudra holding a jewel with the secondary hands holding a damaru and trishula, wearing a tiger-skin dhoti tied at the waist as well as a serpent necklace and garland of severed heads (mundamala), his mustachioed face with a fierce expression, his matted hair secured by a foliate crown centered by a flowerhead.Parvati is portrayed with her left hand in abhaya mudra, wearing a long pleated dhoti as well as a leafy garland and elaborate jewelry, her face with a serene expression, the hair arranged in a high chignon behind the tall floral tiara.Nepalese temple struts, known as tunala or vigraha, are considered fine works of art and are often made by highly skilled craftsmen using traditional techniques. They are an important part of the cultural heritage of Nepal and can be found in many different styles and designs throughout the country. These struts are found in traditional Nepalese architecture, particularly in religious structures such as temples and shrines, ornately carved and often painted, serving both structural and symbolic purposes.Structurally, the struts help support the roof of the temple or shrine, which is made of heavy timber or stone. The struts are typically placed at regular intervals along the eaves of the roof, and their weight helps to counterbalance the weight of the roof, making the structure more stable.Symbolically, the struts are often carved with intricate designs and figures from Nepalese mythology and are believed to have religious significance. They are thought to represent various deities or supernatural beings and are intended to offer protection and blessings to the structure and its occupants.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2002, lot 57 Price: USD 25,850 or approx. EUR 41,000 converted and adjusted for inflation at the time of writing Description: A wood strut, Nepal, circa 15th century Expert remark: Compare the related manner of carving and modeling with a similar pose, albeit standing on a buffalo. Note the larger size (121.2 cm) and that the lot comprises a single strut.Auction result comparison: Type: Related Auction: Christie's Amsterdam, 31 October 2000, lot 62 Price: NLG 25,744 or approx. EUR 20,000 converted and adjusted for inflation at the time of writing Description: A Nepalese wood temple strut, 17th century Expert remark: Compare the related manner of carving and modeling with the four-armed deity similarly standing in tribhanga. Note the different figures carved to the base as well as the larger size (108 cm) and that the lot comprises a single strut. 一對寺廟木柱，濕婆與雪山神女尼泊爾，十七至十八世紀。雕像以鏡像形式站立，呈三屈式，濕婆騎在臥著的南迪之上，雪山神女騎在獅子上。木雕都位於蓮花座上，背後樹葉茂密。(2) 來源：義大利貝加莫Leonardo Vigorelli收藏，1995年購於加德滿都。 品相：狀況良好，有磨損、年代裂紋和裂口、缺損、風化和侵蝕跡象、刻痕、劃痕。整體上呈現出精美自然的包漿。 重量：分別為4,298 克與4,340 (含底座) 尺寸：分別高 59.2 厘米與58.6 厘米 (不含底座)；70.1 厘米與70.4 厘米 (含底座) 每個都安裝在合適的支架 (4) 拍賣結果比較: 形制：相近 拍賣：紐約佳士得，2002年3月20日，lot 57 價格：USD 25,850（相當於今日EUR 41,000） 描繪：約十五世紀尼泊爾木柱 專家評論：比較相近的雕刻風格、模型、相似的姿勢，但站在水牛上。請注意尺寸較大 (121.2 厘米)，以及此僅一件木柱。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A BRONZE DEATH MASK, GOA MADE, EAST JAVA, INDONESIA, 1ST MILLENNIUM BC - 1ST MILLENNIUM ADPublished: Claudio Giardino, Massimo Vidale, and Gian Luca Bonora (editors), Goa Made - An Archeological Discovery, Rome, 2012, page 220, no. 112.Indonesia. Finely cast from thin bronze, the mask is realistically styled with thin arched brows above heavy-lidded pierced eyes, a broad nose, and full butterfly lips curling into a calm smile. The face has finely aged, covered overall in a solid layer of malachite green encrustation.Provenance: A private collector in London, United Kingdom, and thence by descent to his daughter Amanda Torri. Alex Torri, Bologna, Italy, inherited from the above. Paolo Bertuzzi, acquired from the above in 2002. A copy of the original invoice from Alex Torri, dated 7 October 2002, showing an image of the present lot, and stating a purchase price of ITL 8,000,000 or approx. EUR 6,300 (converted and adjusted for inflation at the time of writing), accompanies this lot. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy, and the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Excellent condition commensurate with age. The shape has remained in its original form. As expected, the bronze has corroded overall and there are a soil encrustations. Minor losses and old wear.Weight: 191.1 g Dimensions: Height 18.5 cm Goa (or Gua) Made (Made Cave) is a site north of the Brantas River in East Java. Its importance was first discovered by Anacleto Spazzapan, an Italian archeologist, designer, and collector of ethnographic and folk art who frequently traveled to Indonesia. He was first introduced to the site in 1999. He brought back several sample fragments of fired clay, which he sent to Arcadia labs in Milan for thermoluminescence testing. The first official excavations were subsequently conducted in an underground temple by the Bureau for the Archaeological Conservation of East Java (BACEJ) in 2001 and 2006, the latter funded by Paolo Bertuzzi (the last owner of the present lot), who had developed a profound interest in the site. Finds included imported glazed pottery, Chinese copper or bronze coins, and highly distinct bronze heads such as the present lot. Thermoluminescence analysis of terracotta bricks found in the excavations indicated a date in the early 1st millennium BC. This would not only suggest the discovery of a lost civilization but also challenge widely held notions of Southeast Asian history. The earliest uncontested architectural remains in East Java are two temples dating from the 8th - 9th century AD.In 2007, larger-scale excavations were carried out by a team of Italian and Indonesian archeologists, which revealed a previously overlooked shaft, a complex subterranean structure displaying a sophisticated integrated design that would have required mass community involvement in both its construction and usage. In the following years, disagreements between archeologists involved in the Goa Made project began to emerge. A 2010 article by Andreas M. Steiner and Massimo Vidale in the renowned Italian magazine Archeo supported the dating of to the early 1st millennium BC. In the same year, however, Fiorella Rispoli wrote an article for World Archeology Magazine wherein she questions the accuracy of the thermoluminescence analysis and instead proposed a post-10th century AD dating for the bronze heads. Rispoli suggested that the underground temple was most likely a water control system but offers no explanation as to why or how the heads, a clear part of East Java religious practices, came to be placed there. Most scholars disagree with Rispoli's arguments, especially given that it is primarily based off a single faulty thermoluminescence test she discovered.Cultural acculturation, the mixture of elements from various cultures over various ages implemented in religious contexts is a well-known practice in Indonesia. Settlers of the Indonesian archipelago had consistent contact with Indian traders which led to the adoption of many foreign religious practices. Unsurprisingly, this had a direct effect on the cultural material of Indonesia. Dong Son, the earliest bronze culture in Southeast Asia, was likely introduced to Indonesia by traders during the 1st millennium BC. More than 100 objects from Goa Made are bronze objects, and the majority of these are bronze masks. Many of the masks have characteristics elements which reflect the style of face common to the Majapahit period (13th-16th century). However, the masks which do not illustrate Indonesian facial styles, like the Malayan-Mongoloid face of this lot, are similar to nekara bronzes. This suggests a far earlier dating for these masks. Given the origin of bronze working in Indonesia came from the Don Son culture, these masks can be dated as far back as 2000 BC. However, archeologists are still not unified on this dating. In his 2016 book Hitawasana, Studies on Indonesian Archeology (where the present lot is illustrated, page 55), Prof. Dr. Agus Aris Munandar from the University of Indonesia wrote that further scientific studies remain necessary, and that additional research is expected to step-by-step resolve the questions regarding this important archeological site.

This 11th to 12th century AH (17th to 18th century AD) circular tray has a serrated edge and a beautifully sculpted body consisting of two bands of arched-shaped niches, and a central flat field adorned with fine calligraphy inscriptions enclosed in a rounded frame. The entire surface of this tray is covered with interwoven patterns that transport the viewer to a world of infinite beauty and exquisite craftsmanship.The inscription in the center states: My success is due to the will of Allah.The art of calligraphy holds a prominent place in Islamic culture and is evident in the inscriptions that adorn these trays. The Arabic script is a sacred artform that expresses religious themes and serves as a reminder of the divine presence in all aspects of life. The fine calligraphy inscriptions on these trays are masterfully executed, showcasing the skill and creativity of the artisans who created them.Dimensions 3 by 39 cm and weighs 950 gr. It is in very good condition.

λ&nbspDAVID JONES (BRITISH 1895-1974) HORSES GRAZING; TWO FAWNS SITTING; SLEEPING FAWN; BIG CAT; CAT RESTING Etching Each signed (lower right) and numbered 15/20; Ed 20; 1/20; 4/20; 3/20 respectively (lower left) Born on 1st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele.  The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones, Tate Gallery, London, 1981, p.24)  As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted.          Condition Report: All n overall good original condition. Some light undulation to the sheets and some light foxing to the lower margin of 'Cat Resting'. Under glass and unexamined out of frames.Condition Report Disclaimer

λ&nbspDAVID JONES (BRITISH 1895-1974) PIETA Etching Signed and dated '26' (lower right) numbered '2-20' (lower left) Plate 15 x 12cm (5¾ x 4½ in.)Born on 1st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele.  The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones, Tate Gallery, London, 1981, p.24)  As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted.             Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer

λ&nbspDAVID JONES (BRITISH 1895-1974) THE HOLY FAMILY Watercolour Signed with initials and dated '1924' (lower right) 16.5 x 16cm (6¼ x 6¼ in.)Provenance: Gifted by the artist to Clare Pepler, a member of the Ditchling Community and thence by decent Christie's, South Kensington, 20th Century British Art Including the Olga Davenport Collection, 25 March 2009, lot 51, titled 'Mary and Joseph with Baby Jesus and the Donkey', where purchased by Robert Kime Born on 1st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele.  The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones, Tate Gallery, London, 1981, p.24)  As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted. Condition Report: Unexamined out of glazed frame. Very slight discolouration to the extreme edges of the visible sheet. Condition Report Disclaimer

λ&nbspDAVID JONES (BRITISH 1895-1974) SPIRIT IN AN ORCHARD Pencil, watercolour and bodycolour Signed and dated 26 (lower left) 38 x 55cm (14¾ x 21½ in.)Born on 1st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele.  The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones, Tate Gallery, London, 1981, p.24)  As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted. Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer

λ&nbspDAVID JONES (BRITISH 1895-1974) NANT-Y-BWCH III Pencil and watercolour Inscribed and dated 'Nant-y-Bwch, Capel 1925' (verso) 38.9 x 27.5cm (15¼ x 10¾ in.) Provenance: Anthony d'Offay, London, where purchased by Barnabas McHenry Christie's, South Kensington, 20th Century British Art Including Works from the Collection of Bannon and Barnabas McHenry, 17 December 2008, lot 13, where purchased by Robert Kime Born on 1st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele.  The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones, Tate Gallery, London, 1981, p.24)  As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted. Condition Report: Unexamined out of glazed frame. Hinged to the top left and right corners. Slight undulation to the sheet. Very light staining to the upper corners possible caused by glue residue from the mounting process. Small crease to the lower left corner. Appears to be in generally good original condition. Condition Report Disclaimer

Antique Small Gilt Framed Tricenium Religious Art

SIMON LAURIE RSW RGI (SCOTTISH b. 1964), STOVE acrylic and mixed media on board, signed framed and under glass image size 81cm x 85cm, overall size 90cm x 95cm Note: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.

* SIMON LAURIE RSW RGI (SCOTTISH b. 1964), UNTITLED (LIGHTHOUSE) mixed media on board, signed and dated '94mounted, framed and under glassimage size 23cm x 18cm, overall size 32cm x 27cm Note: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.

John Gadsby Chapman (American, 1808-1890)Castel di Leva, near Rome signed with monogram, inscribed and dated '1874/ROMA' (to the building centre left); bears signature, inscription and date 'CASTEL DI LEVA-NEAR ROME-/FESTA OF THE MADONNA DEL DIVINO AMORE (PENTACOST)/for MRS ALEXANDER MITCHELL-MILWAUKEE/BY John G Chapman/Rome.1865.76' (on the reverse)oil on canvas72 x 182.5cm (28 3/8 x 71 7/8in).Footnotes:ProvenancePrivate collection, UK.In 1828 Chapman travelled to Rome and Florence to continue his artistic education, which had begun in Washington D.C. and in Philadelphia at the Pennsylvania Academy of the Fine Arts. He returned to America in 1831 and found success with a series of colonial-era American historical paintings which led to a commission to paint the rotunda in the United States Capitol building in 1837. The Baptism of Pocahontas was installed in 1840 to great acclaim. Chapman produced innumerable engravings for Harper Brothers publications before returning to Italy with his family and settling in Rome in 1848. Inspired by the rural Campania, he sold his views of the local topography and inhabitants to American tourists. In 1859 a correspondent for the Crayon described Chapman's work in Italy: 'During Mr. Chapman's residence abroad he has been faithfully at work; he has explored the environs of Rome for artistic material, and has made himself thoroughly acquainted with the people and scenery of that region, the result of which is a series of pictures of Italian life, character, and landscape in almost every style of art... His compositions illustrate the picturesque aspects of Italian peasant life, associated with the ruins of the Campagna and with the landscape charms of the mountains near Rome, and they constitute some of the most prized souvenirs of an American traveller's sojourn in Italy.'1The present lot depicts the Castel di Leva, a small village around eight miles south of Rome. The settlement was described by William Gell forty years previously: 'At present the buildings here consist of the church and a farm-house, with large outhouses for hay, called in the Roman states Fenili ... A religious festivity is held here in the month of May, at which the lower classes of all the neighbouring villages are accustomed to attend. These poor people often pass the previous night in the fields near the church, bringing with them wine and provisions, with which they regale themselves so copiously, that on the day of the feast a scene of indescribable riot and confusion almost inevitably ensues.'21Crayon 6, December 1859, pp. 379-380.1Sir William Gell, The Topography of Rome and its Vicinity, London, 1834, vol. 1 pp. 277-278.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Sir George Reid PRSA (1841-1913) Portrait of William Holman Hunt, half-length, in a grey coat signed with monogram u.l., oil on canvas 63 x 48.5cm Provenance: Sotheby's, London, 16 December 1987, lot 209. Exhibited: The New Gallery, Summer Exhibition, 1904. The oil sketch for this painting was bequeathed by the artist to Aberdeen Art Gallery and Museums in 1913, accession number ABDAG008237. Born in Aberdeen, Sir George Reid started his career as a lithographer, before moving to Edinburgh in 1862 to study at the Trustees' Academy. Gaining the support of the Aberdeen collector, John Forbes White, Reid travelled to Holland in 1866 to study under the landscape and genre painter, Gerrit Mollinger. Around this time, he became a close friend of the realist painter Jozef Israels. Returning to Scotland in 1869, Reid started producing landscapes and portraits influenced by both Dutch and French contemporary painting. He was elected president of the Royal Scottish Academy in 1891. Holman Hunt entered the Royal Academy Schools in 1844 where he met Millais, who was to become his closest friend. In 1848, he was a founding member of the Pre-Raphaelite Brotherhood, and was adherent to Pre-Raphaelite principles throughout his life; his paintings include The Hireling Shepherd, 1852, and The Light of the World, 1854. During the 1870s/80s, Hunt became increasingly isolated artistically, his later work concentrating on religious themes informed by successive visits to the Holy Land. He published his autobiographical 'Pre-Raphaelitism and the Pre-Raphaelite Brotherhood' in 1905. He died on 7 September 1910 and was buried in St Paul's Cathedral. Condition Reportoverall: 97 x 83cm. The painting is executed in oil on a canvas support which is unlined. The canvas tension is slightly slack and there are minor undulations across the painting. The paint layers are in a very good condition overall. Drying cracks have formed in the red paint passages, which would have occurred as the paint layer dried, revealing the lighter ground below. The painting has a thin varnish layer which is semi-glossy and well saturating the paint layers below. Rubbing to the top and left edges. There is an area of cracking to the centre right quarter above the sitter's shoulder, please see images.

A «Mwana Pwo» Mask, wood, fibers and metal, it has copper rings in both ears, with a religious medal on the left one, a mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, minor defects, 20th C. (3rd quarter). Sculpted by Samuentacuta Utende, Lóvua post, Chitato municipality, Lunda-Norte province, in 1963. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 6 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work entitled "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of the Huambo Town Hall (former Nova Lisboa) - Angola, p. 13. Original work available at https://memoria-africa.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, accessed March 16, 2023 at 11:16. Item number 2, mentioned in the collector's notebook «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Puo (Jovem)»:"Tattoos: - on the forehead: «Txíngelengele» or «Samanana», a cruciform sign that must be or was a symbol of the Tshokwe people, who still bear it in all manifestations of art; - on the nose: «Cangongo» (small bush mouse, with thin fur, considered a delicacy) - this tattoo serves, in part, to differentiate the Tshokwe from the other peoples of Lunda; - on the chin, cheeks and corners of the eyes: «Mipila» which means traces [...]. Copper rings on the ears («Txijingu»), with a religious aluminum medal on the left one. [...] The masked man's suit is made of mesh and has fake breasts, usually made from gourds. Over the costume they wear a kind of skirt in fabrics of feminine taste and a thick dance belt (muia) applied over the hips, decorated with beads and bells, a belt that is exclusive to women, with the purpose of highlighting the lively movement. from the hips. The choreography of the masked man, who is a professional dancer, is characterized by mime, gestures and woman's steps, in which the voluptuous movement of the hips predominates. In addition to representing Woman, the feminine genius of dance, grace and beauty, it can also represent a spell (Wanga) «Kaponya Ka Pwó» [...] of terrible effects. When a «Mukixi Wa Pwó» dancer dies, the mask should normally disappear with him. Therefore, the heir by matrilineal descent, the nephew, the eldest son of the eldest sister residing in the village (here the avunculocal rule is observed), must take the mask and the garment, wrap them in cloth and leaves, take them to a secluded spot in the forest, usually close to a river bank, dig a deep hole and bury them carefully. When he deposits the mask at the bottom of the hole and starts to pour earth over it to cover it, he utters the following words: “Go and stay with my uncle, whose companion you are. He was a great dancer thanks to you and that's why you should accompany him. I'm going to make another mask to continue my uncle's work, which will certainly help me to be as good as he was»). [...] Mask sculpted by Samuentacuta Utende, relative of Soba Tchissessengue, Posto de Lóvua, municipality of Chitato, Lunda, in 1963. Purchased on the advice of its sculptor, an artist of great fame, who also worked for commissions for the Museum of Dundo, in June 1965, when I visited this Museum [...]." Cf. bibliography referred to by the collector: LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, p. 150; and LIMA, Mesquitela de - "Tatuagens da Lunda". S/L: Museu de Angola, 1956, (possibly) pp. 40 and 42-43, figs. 42 and 45. A «muia» is essentially an exterior belt - cf. SANTOS, Eduardo dos - "Sobre a «Medicina» e a Magia dos Quiocos". In "Estudos, Ensaios e Documentos nº 80". Lisboa: Junta de Investigações do Ultramar, 1960, p. 68. For the same type of mask vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (as "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (as "Masque Pwo"/"Pwo"); The catalog "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nº 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 and 153, nºs 11-15 (as "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; and https://www.metmuseum.org/art/ collection/search/319264?ft=Pwo&offset=0& ;rpp=40&pos=1, consulted on March 14, 2023 at 15:37, Dim. - 22 cm

Ca. 3rd Millennium BC.A pair of cream-coloured ceramic figurines of zebu bulls captures attention with their striking features. Each figurine is adorned with painted stripes on the back and shoulders, as well as on the exaggerated crescent horns. Within the cultural context of the Indus Valley, the zebu bull holds significant symbolism and serves as a recurring motif. These figurines may represent leaders of herds, embodying their ability to protect and guide their followers. Additionally, they could reflect the importance of bulls in religious sacrifices, further highlighting their revered status within ancient society. For a similar, please see The Dallas Museum of Art, Accession Number: 2009.14. Size: L:50-65mm / W:70-85mm ; 125g Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.

Ca. 1000-1500 AD.A restrung necklace composed of round and tubular blue glass beads. The choice of blue glass reflects the profound influence of Islamic art, where the colour blue represents spirituality, divinity, and protection against the evil eye. Necklaces held great cultural and religious importance in the Islamic world, adorning both men and women. These wearable artworks were crafted with meticulous attention to detail, often incorporating intricate patterns and symbolic motifs, showcasing the creativity and artistic prowess of the skilled artisans of the time. Size: L:330/660mm / W:mm ; 15g Provenance: Private UK collection; From an old London collection formed in the 1990s.

Ca. 600-800 AD.A bronze cross pendant with flaring terminals and concentric circles motif at the junction and each arm. The five wounds of Christ motif represented in this pendant has a rich and complex history that stretches all the way back to the first century. This iconic imagery, which references Christ's passion, suffering, and death, has been an integral part of countless religious figures, artwork, and artifacts throughout the centuries. The motif is a powerful symbol of faith and perseverance, one that is often used to demonstrate courage and strength in the face of adversity. For a similar, see The Metropolitan Museum of Art, Accession Number: 37.75.39.Size: L:32.8mm / W:20mm ; 3.88gProvenance: Private London collector, acquired on the UK Art market, pre-2000.

Ca. 600-800 AD.A bronze finger ring boasting a round hoop, meticulously crafted with a flat inside and a rounded outside, ensuring both comfort and style. The shoulders of the ring are adorned with incised patterns, intricately carved to enhance its visual appeal. At the centre of the ring's round-shaped bezel, a cross motif takes prominence, captivating the viewer's attention. The cross, an emblem rich in symbolism, holds deep significance within Byzantine culture and Christianity. In Byzantine art and religious iconography, the cross represents the crucifixion of Jesus Christ and serves as a symbol of faith, salvation, and divine protection. The wearer of such a ring could display their allegiance to the Christian faith, aligning themselves with the values and teachings of Christianity. Size: D: 18.95mm / US: 9 / UK: R 1/2; 7.05g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.

Ca. 100-300 AD.A bronze plaque characterized by its roundish shape and the intricate relief decoration adorning its upper face. The central focus of the plaque is the standing figure of the goddess Cibele, gracefully positioned atop the back of a lion. Cibele is depicted with an air of tranquility, her hands clasped in front of her, while her facial features exhibit a sense of delicacy and beauty, with notably large eyes, a subtle nose, and finely rendered lips. The goddess's head is adorned with an elaborate, wavy coiffure, complemented by earrings adorning her ears. She is elegantly draped in a flowing, long robe, accentuated with meticulously depicted folds. A halo-like effect surrounds her head, outlined by a dotted border, further emphasizing her divine status. The lion, portrayed in profile facing the right, assumes a powerful presence with its raised and curving tail and voluminous mane. Its facial features are intricately detailed, capturing the essence of strength and regality. This scene holds significant meaning within Roman mythology and religious beliefs. Cibele, also known as Magna Mater, was a prominent Phrygian goddess widely worshipped in the Roman Empire. She was associated with fertility, nature, and the protection of cities. The depiction of Cibele standing on a lion symbolizes her dominion over nature and her ability to tame and control wild forces. The lion, as a symbol of strength and power, represents her divine authority and reinforces her connection to the natural world. This captivating portrayal encapsulates the reverence and devotion accorded to Cibele in Roman religious practices, emphasizing her role as a nurturing and protective deity. Size: L:150mm / W:140mm ; 640g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 300 AD.A beautiful double balsamarium crafted from greenish glass. The vessel is composed of two conjoined tubular phials with slightly flared and thickened rims and framed with applied decorative handles that adds a sense of texture and depth to the piece. The double design of the balsamarium also adds a functional aspect to its form, allowing it to hold two different oils or perfumes at once. Balsamariums were a common item in the Roman world, and they were used to hold and dispense various oils and perfumes for personal hygiene and religious purposes. These vessels were often made from glass, which was a popular material in the Roman world due to its transparency, durability, and versatility. For a type, please see The Museum of Fine Arts, Budapest, Inventory number: 52.271. Size: L:115mm / W:55mm ; 85g Provenance: Property of central London gallery; formerly acquired on the US art market; previously in the Estate of a North Carolina doctor.

Indonesia, ca. 19th-20th century AD.A kris dagger with an elegant and distinctive blade-patterning achieved through alternating laminations of iron and nickelous iron (pamor), forged with masterful craftsmanship, culminating with a sharp, lethal point. The gleaming metal glimmers with an air of ancient mystery and power, beckoning the beholder to unravel the secrets of its past. The hilt of this kris dagger is a work of art in itself, featuring a thick and sturdy construction that provides a comfortable and secure grip for the wielder. The handle adds a touch of sophistication to this already exceptional piece. This remarkable kris dagger comes complete with its original wooden scabbard. The kris dagger, also known as keris in Indonesian, is a distinctive type of weapon with a long and storied history in Southeast Asia. It is a symbol of cultural heritage and pride in countries such as Indonesia, Malaysia, and the Philippines. The kris is characterized by its unique wavy or serpentine blade, which is believed to imbue the weapon with mystical and spiritual power. The blade of the kris is typically made from layers of iron and steel, which are folded and hammered together to create a blade that is both strong and flexible. The handle of the kris is often decorated with intricate carvings and embellishments that reflect the cultural traditions and beliefs of the region. In many cultures, the kris is considered to be more than just a weapon - it is a symbol of status, power, and prestige, and is often passed down through families as an heirloom or a treasured possession. The kris has been used for centuries for a variety of purposes, from hunting and warfare to ceremonial and religious events. Size: L:585mm / W:95mm ; 490g Provenance: Property of a European collector; ex. Private German collection.

Ca. 400-500 AD.A bronze finger ring composed of a flat-section hoop and a circular bezel adorned with intricate dotted patterns and a prominent pentagram. Within the Roman world, the pentagram symbol carried significant connotations, emblematic of both religious and mystical significance. Serving as a potent talisman, the pentagram represented various aspects of Roman spirituality, symbolizing harmony, protection, and the interconnectedness of the divine and mortal realms. Its geometric structure, characterized by five intersecting lines forming a five-pointed star, represented the five elements revered in Roman cosmology - earth, air, fire, water, and spirit. As such, this mesmerizing pentagram-engraved bronze finger ring stands as a testament to the profound symbolism woven into the fabric of Roman culture, encapsulating the multifaceted beliefs and enchantments of the ancient civilization. Size: D: 17.12mm / US: 6 3/4 / UK: N; 4.18g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.

John Everett Millais (1829–1896) was an English painter and one of the founding members of the Pre-Raphaelite Brotherhood, a group of artists that sought to reform art by returning to the techniques and styles of early Italian Renaissance painters before Raphael. Millais was a highly accomplished artist who contributed to a wide range of genres, including portraiture, historical painting, and landscapes.Key points about John Everett Millais and his work:1. **Pre-Raphaelite Brotherhood:** Millais, along with Dante Gabriel Rossetti and William Holman Hunt, founded the Pre-Raphaelite Brotherhood in 1848. The group aimed to create art characterized by intense color, meticulous detail, and a rejection of academic conventions.2. **Early Success:** Millais achieved early success with works like "Christ in the House of His Parents" (1850), which displayed the Pre-Raphaelite style and met with both praise and controversy due to its realism and religious subject matter.3. **Maturity and Versatility:** Millais' later works demonstrated his versatility and mastery of various styles. He painted historical scenes, landscapes, and portraits with skill and sensitivity.4. **Portraiture:** Millais was a renowned portraitist, capturing the personalities and features of his subjects with remarkable accuracy and depth. His portraits ranged from intimate depictions of family members to portraits of influential figures of his time.5. **"Ophelia":** One of Millais' most famous paintings is "Ophelia" (1851–1852), which depicts a scene from Shakespeare's "Hamlet." The painting's attention to detail, lush colors, and emotional intensity exemplify the Pre-Raphaelite ideals.6. **Royal Academy and Academic Success:** Millais later became a prominent member of the Royal Academy and received numerous awards and accolades for his work, showcasing his acceptance in mainstream art circles.7. **Narrative Paintings:** Many of Millais' paintings were narrative in nature, telling stories through visual imagery. He often drew inspiration from literature, history, and mythology.8. **Later Works and Legacy:** As he matured, Millais' style evolved, and he adopted a more traditional approach. He painted portraits, landscapes, and scenes of everyday life, leaving a diverse and impactful body of work.9. **Artistic Influence:** Millais' contributions to the Pre-Raphaelite movement and his ability to infuse his art with emotion, symbolism, and meticulous detail had a lasting impact on the development of Victorian art and beyond.John Everett Millais' commitment to artistic innovation and his ability to capture the essence of his subjects contributed to his lasting influence on art history. His paintings continue to be celebrated for their beauty, narrative depth, and ability to evoke emotional responses from viewers.Measures 20 x 40.

Rembrandt Harmenszoon van Rijn, commonly known simply as Rembrandt, was a Dutch painter and one of the most celebrated artists in history. He is considered one of the greatest painters of the Dutch Golden Age, a period of exceptional artistic achievement in the Netherlands during the 17th century. Rembrandt's work is renowned for its exceptional use of light and shadow, emotional depth, and masterful technique.Key facts about Rembrandt:1. Birth and Early Life: Rembrandt was born on July 15, 1606, in Leiden, a city in the Dutch Republic (now the Netherlands). He came from a middle-class family and displayed artistic talent from a young age.2. Education and Career: Rembrandt studied under several prominent painters and developed his skills in various genres, including history painting, portraiture, and religious subjects.3. Amsterdam: In 1631, Rembrandt moved to Amsterdam, where he established a successful studio and gained recognition as a leading painter.4. Style and Techniques: Rembrandt's art is characterized by his innovative use of chiaroscuro (contrasts of light and shadow) and his ability to portray the emotions and personalities of his subjects.5. Portraiture: Rembrandt was a prolific portrait painter, capturing the likenesses and inner essence of his subjects in a remarkable manner.6. The Night Watch: One of his most famous works is "The Night Watch" (1642), a large group portrait of the Amsterdam civic militia. It is now displayed in the Rijksmuseum in Amsterdam.7. Biblical and Historical Scenes: Rembrandt also painted numerous biblical and historical scenes, often focusing on the human aspects of the stories rather than idealized portrayals.8. Etchings: In addition to painting, Rembrandt was a skilled printmaker, creating numerous etchings that showcased his talent for capturing intricate details and mood.9. Financial Struggles: Despite his artistic success, Rembrandt faced financial difficulties in his later years due to extravagant spending and declining demand for his work.10. Legacy: Rembrandt's influence on art has been profound, and his paintings continue to inspire artists and art enthusiasts around the world. His legacy endures as a master of artistic expression and emotional resonance.Rembrandt passed away on October 4, 1669, in Amsterdam, leaving behind a vast body of work that continues to be celebrated and admired to this day. His art remains a testament to the power of creativity and the enduring impact of artistic genius.Measures 20 x 24.Sold "after" Rembrandt.Unframed.

Woodblock printing is a traditional printing technique that originated in ancient China and has been used across various cultures throughout history. It involves carving an image or design onto a block of wood, applying ink or paint to the carved surface, and then transferring the image onto paper or another surface. This method has been pivotal in the development of visual arts, communication, and culture.Woodblock printing's significance can be summarized as follows:1. **Historical Origins**: Woodblock printing has ancient roots, dating back to ancient China over a thousand years ago. It was initially used for printing texts, images, and religious texts, contributing to the spread of knowledge and culture.2. **Cultural Diffusion**: The technique spread to other parts of Asia, such as Japan and Korea, where it played a vital role in shaping artistic and cultural expressions. In Japan, for instance, woodblock printing evolved into ukiyo-e, a style known for its intricate and colorful prints depicting various subjects, including landscapes, kabuki actors, and scenes from daily life.3. **Mass Communication**: Woodblock printing facilitated the mass production of images and texts, allowing for the dissemination of information, art, and literature to a broader audience. This marked a significant advancement in communication methods.4. **Artistic Expression**: Woodblock printing is an artistic process in itself. The carving of intricate designs on woodblocks required skill and precision, resulting in detailed and finely crafted images. Artists often utilized color blocks to create multi-colored prints.5. **Impact on Printing**: The woodblock printing technique paved the way for the development of other printing methods, such as movable type and later, modern printing technologies like letterpress and offset printing.6. **Cultural Preservation**: Woodblock printing has played a role in preserving cultural heritage, as it was often used to reproduce important religious texts, historical records, and artistic creations.7. **Modern Revival**: While digital printing has largely replaced traditional woodblock methods for mass production, the technique remains relevant in contemporary art and craft. Artists continue to use woodblock printing to create unique, handmade prints with a distinct tactile quality.Woodblock printing's legacy endures through its contributions to art, culture, and the evolution of printing techniques. Its historical importance, role in communication, and artistic value have left an enduring impact on visual arts and continue to inspire artists and enthusiasts today.Measures 6 x 8.

Vittore Carpaccio, an Italian Renaissance painter of the 15th and 16th centuries, emerges as a masterful storyteller through his vivid and meticulously detailed artworks. Born around 1465, Carpaccio is celebrated for his narrative skill, innovative compositions, and his contributions to Venetian painting.Carpaccio's artistic legacy can be encapsulated as follows:1. **Narrative Painting**: Carpaccio's paintings often tell intricate stories, capturing both historical events and religious narratives with a keen eye for detail and emotion. His ability to convey complex narratives through visual storytelling is a hallmark of his artistic prowess.2. **Venetian Color and Light**: Carpaccio's works are characterized by their luminous color palettes and skillful use of light. His sensitivity to the interplay between light and shadow adds depth and realism to his scenes, creating a palpable sense of atmosphere.3. **Diverse Subjects**: From religious scenes and mythological tales to historical events and portraits, Carpaccio's body of work covers a wide range of subjects. His versatility allowed him to excel in various genres, leaving a diverse and impactful artistic legacy.4. **Innovative Compositions**: Carpaccio's compositions often feature intricate architectural details and carefully rendered settings. His imaginative arrangements and attention to spatial relationships showcase his innovative approach to composition.5. **Civic Pride**: Carpaccio's depictions of Venice and its landmarks reflect his pride in his city. His "Cycle of Saint Ursula," a series of paintings in the Scuola di San Giorgio degli Schiavoni, provides a visual record of Venetian life and customs.6. **Influence and Recognition**: Carpaccio's works influenced other Venetian artists, and he was appreciated by his contemporaries for his ability to infuse his paintings with narrative depth and aesthetic beauty.Vittore Carpaccio's legacy endures through his contributions to Renaissance art, his storytelling prowess, and his innovative approach to composition and color. His works continue to captivate audiences, offering glimpses into the historical, religious, and cultural tapestry of his time while showcasing his artistic brilliance.Measures 20 x 40.

Rome, also known as the "Eternal City," is the capital of Italy and one of the most historically and culturally significant cities in the world. With a history spanning over 2,500 years, Rome is a treasure trove of ancient ruins, iconic landmarks, and artistic masterpieces. Here are some key facts about Rome:1. Ancient History: Rome was the capital of the Roman Empire, one of the most powerful and influential civilizations in history. It was founded in 753 BC and grew into a dominant empire, which controlled vast territories across Europe, Africa, and the Middle East.2. Colosseum: The Colosseum, also known as the Flavian Amphitheatre, is an iconic symbol of Rome. It is a massive ancient amphitheater where gladiatorial contests and public spectacles were held.3. Roman Forum: The Roman Forum is a historical site in the heart of Rome, once the center of political, religious, and commercial activities in ancient Rome.4. Pantheon: The Pantheon is a well-preserved ancient temple dedicated to all the gods of ancient Rome. It is renowned for its magnificent dome and impressive architecture.5. Vatican City: Located within Rome, Vatican City is an independent city-state and the spiritual center of the Roman Catholic Church. It houses St. Peter's Basilica, the Sistine Chapel, and the Vatican Museums.6. Trevi Fountain: The Trevi Fountain is one of the most famous fountains in the world, known for its stunning Baroque architecture and tradition of throwing coins for good luck.7. Spanish Steps: The Spanish Steps is a monumental staircase leading to the Trinità dei Monti church. It is a popular gathering spot for both locals and tourists.8. Renaissance Art: Rome is a city rich in Renaissance art and architecture. Works by artists such as Michelangelo, Raphael, and Bernini can be found throughout the city.9. Roman Cuisine: Roman cuisine is famous for its simplicity and delicious flavors. Pasta dishes like carbonara and cacio e pepe, as well as traditional Roman-style pizzas, are popular local specialties.10. Piazza Navona: Piazza Navona is a lively square featuring beautiful fountains, street performers, and numerous cafes and restaurants.11. Trevi Fountain: The Trevi Fountain is one of the most famous fountains in the world, known for its stunning Baroque architecture and tradition of throwing coins for good luck.12. Vatican City: Located within Rome, Vatican City is an independent city-state and the spiritual center of the Roman Catholic Church. It houses St. Peter's Basilica, the Sistine Chapel, and the Vatican Museums.Rome's rich history, ancient ruins, stunning architecture, and artistic heritage make it an enchanting and timeless destination for travelers. Whether exploring its historical landmarks, savoring its delicious cuisine, or marveling at its art treasures, Rome offers an unforgettable journey through time and culture.Measures 24 x 30.Mounted to linen.

Rembrandt Harmenszoon van Rijn (1606-1669) was a Dutch painter and etcher, widely regarded as one of the greatest artists in European art history. He is known for his mastery of light and shadow, his ability to capture human emotions, and his profound understanding of human character. Here are some key points about Rembrandt:1. Early Life and Training: Rembrandt was born on July 15, 1606, in Leiden, Netherlands. He showed early talent in art and began his formal training at the University of Leiden before becoming an apprentice to a local painter. Later, he studied in Amsterdam under the renowned history painter Pieter Lastman.2. Painting Style and Technique: Rembrandt's painting style is characterized by his innovative use of light and shadow, known as chiaroscuro, which added depth and drama to his compositions. He employed a loose brushwork technique, often leaving visible brushstrokes that added texture and vitality to his works.3. Portraits and Self-Portraits: Rembrandt was renowned for his portraits, which captured the essence and individuality of his subjects. He had a remarkable ability to convey human emotion and psychology through his portraits, revealing the inner thoughts and feelings of his sitters. He also painted numerous self-portraits throughout his career, providing insight into his own self-reflection and artistic development.4. Biblical and Historical Scenes: In addition to portraits, Rembrandt also painted biblical and historical subjects. His religious paintings, such as "The Night Watch" and "The Return of the Prodigal Son," are characterized by their narrative power, emotional depth, and the way they explore the human condition.5. Etchings and Printmaking: Rembrandt was a skilled etcher and produced a large body of etchings during his career. His etchings, characterized by their intricate detail and expressive qualities, are highly regarded and considered among the greatest achievements in printmaking.6. Personal Life and Legacy: Rembrandt experienced both success and financial difficulties during his lifetime. He had numerous pupils and admirers, but his extravagant lifestyle and collecting habits led to financial strain. After his death, his works fell out of favor for some time but were rediscovered and celebrated in the 19th century. Today, Rembrandt's art is cherished for its technical brilliance, emotional resonance, and profound insights into the human condition.Rembrandt's ability to capture the essence of his subjects, his innovative use of light and shadow, and his mastery of various artistic techniques continue to inspire and influence artists to this day. His legacy as a master of painting and etching remains unparalleled, solidifying his place as one of the most important figures in the history of art.Measures 24 x 36 (image), 28 x 40 (framed).Sold "after"/in the style of Rembrandt.

Albrecht Dürer (1471 – 1528), a German painter, printmaker, and theorist from the Northern Renaissance. Dürer is one of the most significant figures in the history of European art, known for his innovative techniques, meticulous attention to detail, and wide range of artistic contributions.Dürer's works span various genres, including painting, printmaking, and theoretical writings. Some of his notable accomplishments include:1. **Engravings and Woodcuts:** Dürer was a master of printmaking and is renowned for his detailed engravings and woodcuts. His series of woodcuts like "The Apocalypse" and "The Life of the Virgin" are notable for their intricate detailing and rich symbolism.2. **"Self-Portrait" Series:** Dürer created a series of self-portraits throughout his career, showcasing his ability to capture his own likeness with astonishing precision. These self-portraits offer insights into his evolving artistic style and changing perceptions of himself over time.3. **"Knight, Death, and the Devil" (1513):** This engraving is one of Dürer's most famous works, depicting a knight riding through a forbidding landscape accompanied by Death and the Devil. The work is rich in symbolism and allegory.4. **"Melencolia I" (1514):** Another iconic engraving, "Melencolia I" is a complex composition that has been the subject of much interpretation. It is often seen as a reflection on the melancholic temperament of artists and the enigmatic nature of creativity.5. **"Four Apostles" (1526):** In this painting, Dürer portrayed the four apostles (St. John, St. Peter, St. Mark, and St. Paul) with great dignity and depth of character. The work reflects his interest in religious themes and his desire to elevate the status of the artist.Dürer's artistic contributions extended beyond his own works. He wrote treatises on art theory, such as "Underweysung der Messung" (Instruction in Measurement), which discussed the principles of geometry and perspective in art, influencing subsequent generations of artists.Albrecht Dürer's legacy lies in his technical innovations, his exploration of human expression and symbolism, and his lasting impact on the Northern Renaissance. His works continue to be celebrated for their beauty, depth, and the masterful way in which he merged artistic skill with intellectual inquiry.Later printing.Not an engraving.Measures 17 x 22.

Vittore Carpaccio, an Italian Renaissance painter of the 15th and 16th centuries, emerges as a masterful storyteller through his vivid and meticulously detailed artworks. Born around 1465, Carpaccio is celebrated for his narrative skill, innovative compositions, and his contributions to Venetian painting.Carpaccio's artistic legacy can be encapsulated as follows:1. **Narrative Painting**: Carpaccio's paintings often tell intricate stories, capturing both historical events and religious narratives with a keen eye for detail and emotion. His ability to convey complex narratives through visual storytelling is a hallmark of his artistic prowess.2. **Venetian Color and Light**: Carpaccio's works are characterized by their luminous color palettes and skillful use of light. His sensitivity to the interplay between light and shadow adds depth and realism to his scenes, creating a palpable sense of atmosphere.3. **Diverse Subjects**: From religious scenes and mythological tales to historical events and portraits, Carpaccio's body of work covers a wide range of subjects. His versatility allowed him to excel in various genres, leaving a diverse and impactful artistic legacy.4. **Innovative Compositions**: Carpaccio's compositions often feature intricate architectural details and carefully rendered settings. His imaginative arrangements and attention to spatial relationships showcase his innovative approach to composition.5. **Civic Pride**: Carpaccio's depictions of Venice and its landmarks reflect his pride in his city. His "Cycle of Saint Ursula," a series of paintings in the Scuola di San Giorgio degli Schiavoni, provides a visual record of Venetian life and customs.6. **Influence and Recognition**: Carpaccio's works influenced other Venetian artists, and he was appreciated by his contemporaries for his ability to infuse his paintings with narrative depth and aesthetic beauty.Vittore Carpaccio's legacy endures through his contributions to Renaissance art, his storytelling prowess, and his innovative approach to composition and color. His works continue to captivate audiences, offering glimpses into the historical, religious, and cultural tapestry of his time while showcasing his artistic brilliance.Measures 19.5 x 40.

Albrecht Dürer (1471–1528) was a German painter, printmaker, and theorist who is widely regarded as one of the greatest artists of the Northern Renaissance. He was a highly skilled and versatile artist known for his exceptional draughtsmanship, innovative use of various mediums, and significant contributions to printmaking.Key points about Albrecht Dürer and his legacy:1. **Humanism and Renaissance:** Dürer was influenced by the humanist ideas and artistic principles of the Italian Renaissance. His works combined technical precision with intellectual depth and a keen interest in the natural world.2. **Printmaking:** Dürer is renowned for his contributions to the art of printmaking, particularly woodcuts and engravings. His prints often explored religious, mythological, and allegorical themes, as well as portraiture and landscapes.3. **"The Four Horsemen of the Apocalypse":** One of Dürer's most famous works is the series of woodcuts titled "The Apocalypse." This series consists of intricate and highly detailed images depicting scenes from the Book of Revelation.4. **"Melencolia I":** Another iconic work by Dürer is the engraving "Melencolia I." This mysterious and complex image has captivated art historians and enthusiasts for its intricate symbolism and enigmatic atmosphere.5. **Self-Portraits:** Dürer was also known for his self-portraits, which offered insights into his changing appearance over the years and his exploration of identity and self-expression.6. **Theoretical Writings:** Dürer wrote treatises on art theory, including "Underweysung der Messung mit dem Zirckel und Richtscheyt" (translated as "Instruction in Measurement with Compass and Straightedge"). This work explored principles of geometry and perspective in art.7. **Naturalistic Detail:** Dürer's works are characterized by their remarkable attention to detail and meticulous rendering of textures, light, and shadow. He was deeply interested in observing and representing the natural world.8. **Influence:** Dürer's art had a profound impact on subsequent generations of artists and printmakers. His technical innovations and exploration of different styles left an indelible mark on the development of art.9. **International Recognition:** Dürer's reputation extended beyond his native Germany. His works were celebrated throughout Europe, and he had significant interactions with other artists and intellectuals of his time.Albrecht Dürer's contributions to printmaking, his exploration of symbolism and perspective, and his role in bridging the influences of the Italian Renaissance with Northern European art make him a central figure in the history of art. His legacy continues to inspire artists, scholars, and art enthusiasts around the world.Measures 28 x 36.

This Kuba palm wine cup, decorated with a head, is a rare and precious piece. It was carved in the early 20th century by an unknown artist from the Kuba tribe, an ethnic group in Central Africa. The bowl is made of wood and is approximately 20 cm high. It is decorated with geometric motifs and a head carved in relief. Kuba palm wine cups are important ritual objects. They are used to serve palm wine, a sacred drink for the Kuba. Palm wine is served at religious ceremonies, weddings and other important events. This Kuba palm wine cup is a unique and precious piece of art. It bears witness to the art and culture of the Kuba tribe. It is also an important ritual object for the Kuba. - Weight: 420 g - Shipping available - Region: Afrique - Sizes: H 200 MM L 120 MM - At first glance: good condition