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Ca. 12th century AD. A bronze tool of a rectangular-section body that ends in an inverted teardrop-shaped finial on one end and with a round plate on the other. The body is intricately embellished with an Arabic religious oath inscription.Size: L:69mm / W:275mm ; 365gProvenance: Private UK collection, formed since the 1990s on the UK and International Art market.

Ca. 14th century AD. A brass vessel featuring a round base with walls that gently taper to the opening, which is adorned with a rounded rim. The exterior of the vessel is meticulously decorated with finesse cartouches containing six-pointed stars, calligraphy, vegetal scrolls, and geometric patterns. The exquisite craftsmanship of this vessel showcases the remarkable skill of Timurid metalworkers and their ability to create beautiful works of art. Similar vessels from this period served various functions, such as storing liquids or food, and were often used in ceremonial settings. The intricate decorations on these vessels, like this one, were meant to convey the wealth and status of the owner, as well as to reflect the cultural and religious values of the Islamic world. Islamic metalworking during the Timurid period was characterized by its exceptional craftsmanship and exquisite attention to detail. Metalworkers were highly skilled in a variety of techniques, including engraving, inlaying, and repoussé. The use of precious metals and intricate designs were also important aspects of this craft. The Timurid period saw a flourishing of metalworking in the Islamic world, with metalworkers producing a wide range of objects, including vessels, lamps, and weapons. Size: L:240mm / W:280mm ; 1.46kg Provenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.

Ca. 17th-19th century AD. A circular tray with a serrated edge, 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 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 art form 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.Size: L:30mm / W:390mm ; 950gProvenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.

Ca. 100-300 AD. A terracotta plaque fragment, adorned with a striking relief of a gryphon's back part. The gryphon, a mythical creature with the head and wings of an eagle and the body of a lion, was a popular motif in ancient art and held significant symbolic value in the Greco-Roman world. In this fragment, the gryphon's muscular hindquarters are depicted with remarkable attention to detail, and the sharpness of its talons is rendered with a deft hand. The gryphon's powerful presence is palpable, its ferocity and majesty captured in the bold relief that stands in stark contrast against the delicate terracotta material. Terracotta plaques were a popular medium for decorative and commemorative art in ancient Rome, valued for their affordability, versatility, and durability. They were used in a variety of contexts, from religious and funerary monuments to private residences and public spaces. In many cases, terracotta plaques like this gryphon fragment were part of a larger decorative program, complementing frescoes, mosaics, and other forms of artistic expression.Size: L:105mm / W:120mm ; 465gProvenance: Private London collection, B.A.; formerly in pre-2000 European collection.

Ca. 10th-11th century AD. A bronze bowl characterized by a deep body, rounded base, and high sides. The bowl's interior is smooth and unadorned, while its exterior is finely decorated. The bowl's exterior features an engraved band of small circles with a dot around the rim, and the main register is an intercrossing of diagonal lines, interspersed with small circles, to create mesmerizing design. The base features a large six-pointed star within the circle and a dot band. The purpose of this bowl remains elusive, perhaps it was used in religious ceremonies, or as a decorative item for wealthy patrons, or even as a practical vessel for everyday use. Islamic metalwork is renowned for its intricate designs, superb craftsmanship, and ornamental motifs that often draw upon Islamic calligraphy and geometry. Metalworkers employed various techniques such as engraving, inlay, and casting to create a diverse range of objects, including bowls, ewers, lamps, and candlesticks.Size: L:125mm / W:255mm ; 1.4kgProvenance: Private London collection of Early Islamic Art - M.A.; formerly acquired on the UK art market since the 1980s.

Ca. 11th-12th century AD. A bronze rosewater sprinkler bottle. Its flat base provides a stable foundation for its bell-shaped lower body, adorned with ribbed features and exquisite benedictory inscriptions running along every other two vertical ribs. The funnel-shaped neck of the sprinkler is crowned by a ridge at the lower section, adding to the bottle's elegance and sophistication. In the medieval Islamic world, rosewater held a significant cultural and symbolic value and was used for various purposes, from perfuming clothes and hair to flavoring food and drinks. Rosewater was also employed for religious rituals and ceremonies, as well as for its medicinal properties. Rosewater sprinklers, such as this remarkable piece, were used to dispense rosewater during festivities and social events, enhancing the atmosphere and creating an aromatic ambiance. Cf. Christie's Live Auction 5169, Art of the Islamic and Indian Worlds, 26 April 2012, Lot 84.Size: L:150mm / W:100mm ; 505gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

Ca. 1st-3rd century AD. A bronze statuette of an archer. The figure is depicted standing upright, with his long legs placed on an integral spool-shaped pedestal. The archer is represented with simplified features, including an accentuated nose and double-pointed coiffure. The figure is shown wearing a quiver on his back, which is filled with arrows. The overall form of the figure exudes a sense of power and strength, which is typical of Celtic and Roman depictions of warriors. Celtic-Roman bronze figurines were produced during the late Iron Age and early Roman periods and are characterized by their unique blend of Celtic and Roman artistic traditions. These figurines were often used as votive offerings in religious ceremonies or as decorative items in wealthy households. They were also used to illustrate myths and legends or to depict important historical events.Size: L:55mm / W:25mm ; 15gProvenance: Property of a London Ancient Art gallery, formerly an European private collection.

Late Period, ca. 664-332 BC. A captivating funerary shroud, crafted with meticulous precision and adorned with a distinctive net pattern composed of shimmering faience beads. At the heart of this intricate design lies a representation of the deceased, rendered with exquisite attention to detail. The brown beads gracefully trace the contours of the face, while the prominent features are brought to life with dark green beads. The rich shades of yellow and brown evoke the visage's broad nose and parted lips, while the eyes and eyebrows are masterfully crafted in black, giving the impression of a serene and peaceful countenance. At the center of the composition stands a magnificent winged scarab, a symbol that invokes the ancient Egyptian deity of Khepri - the god of creation, rebirth, and the rising sun. In the mythological beliefs of ancient Egypt, Khepri was believed to guide the sun across the sky each day, renewing the world's cycle of life and death. The presence of this winged scarab thus evokes a sense of hope and renewal, even in the face of the ultimate transition from life to death. Below the scarab, four sons of Horus - Imsety, Duamutef, Hapi, and Qebehsenuef - are positioned, serving as protectors of the deceased's internal organs. This representation speaks to the ancient Egyptian belief in the afterlife and the importance of funerary rituals, as it was believed that the preservation of the organs was crucial for the deceased's journey into the next world. This funerary shroud represents a fascinating blend of artistic and religious symbolism, a testament to the enduring legacy of ancient Egyptian culture. Its intricate design, rich symbolism, and craftsmanship make it a true masterpiece of ancient art, one that is sure to captivate and inspire for generations to come. Restrung.Size: L:215mm / W:130mm ; 56.52gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.

Ca. late 19th early - 20th century AD. Masonic sword for the "Knights Templar" order ceremony, with scabbard, offered to Irvin S. Smith, Ricasso marked: HORSTMANN PHILADELPHIA. The pommel is in the form of a knight’s helmet, handle with the cross, on the guard. The double-edged blade is heavily etched with medieval knights, crosses, and more. The metal scabbard is decorated with beautiful embossed decor. The Knights Templar, full name The United Religious, Military and Masonic Orders of the Temple and of St John of Jerusalem, Palestine, Rhodes, and Malta, is a fraternal order affiliated with Freemasonry. Masonic Order of Knights Templar derives its name from the medieval Catholic military order Knights Templar. However, it does not claim any direct lineal descent from the original Templar order. Condition: Very good. Size: L: 36 in., ( 92 cm); 1160g Provenance: Property of a Central London Gallery, acquired on the US art market.

Ca. 100-300 AD. A group of five distinctly shaped glass flasks used to store perfumed oil, or unguentum. The shapes in this lot include globular, piriform, and cylindrical. These glass vessels were an integral part of life in the Roman Empire, used for religious ceremonies, personal grooming, and medicinal purposes at home.Size: L:70-125mm / W:30-50mm ; 125gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.

Eastern Roman art, ca. 2nd - 3rd century. A light terracotta oil lamp featuring a round body with a recessed tondo, which depicts busts of the iconic figures of Isis and Serapis facing each other. The figures are finely detailed, with delicate lines and carefully rendered features. The filling hole and air vent located between the two deities are practical elements of the lamp, incorporating seamlessly into the overall design, adding to the symmetry and balance of the piece. The shoulders of the lamp are decorated with a hatch pattern, the loop handle is located at the rear, and the expertly crafted roundish nozzle protrudes at the front. Isis was an Egyptian goddess associated with fertility, motherhood, and magic, while Serapis was a syncretic deity that combined aspects of Greek and Egyptian religion. The depiction of these two figures on the lamp reflects the syncretism that characterized the religious practices of the Roman Empire, where different cultural and religious traditions were blended and adapted. Size: L:150mm / W:115mm ; 185g Provenance: Property of a London Ancient Art gallery, formerly acquired in Monaco.

Ca. 1200 AD. A bronze ring formed of a flat-section hoop that gradually expands to form a bezel, with incised decoration on the shoulders and an inscription adorning the bezel. The Byzantine Empire was known for its exquisite jewelry, which often featured intricate designs and inscriptions. Rings like this one were worn by people of all social classes, from the wealthy elites to the common folk. The inscriptions on Byzantine rings were often used to convey messages of faith, love, and loyalty. They were also used as a means of identification, with some rings bearing the names or titles of their owners. In addition to their practical function, Byzantine rings also had symbolic significance. They were often exchanged as gifts to mark special occasions or to cement alliances, and they were frequently used in religious ceremonies.Size: D: 18.75mm / US: 8 3/4 / UK: R; 7gProvenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.

Viking Era, ca. 900-1100 AD. A silver ring boasting a round hoop, skillfully fashioned with a rounded exterior and flat interior. The hoop effortlessly supports a dazzling rhomboid bezel setting, carefully crafted with four secure corner knobs to safeguard a central cabochon. Rings have held great significance in Viking culture. Worn by both men and women, these precious adornments were much more than mere decorative pieces. In fact, they often symbolized a person's wealth, status, and even allegiance to a particular clan or tribe. But beyond their aesthetic beauty, Viking rings served a practical purpose as well. They were often used as a means of currency, serving as a portable and easily exchangeable form of wealth. Additionally, they were sometimes used as an offering in religious rituals, or even as a symbol of a person's marital status.Size: D: 15.49mm / US: 4 3/4 / UK: J; 6.32gProvenance: Private London collection, UK art market before 2000.

Ca. 200-300 AD. A carved torso of a bodhisattva, exuding an aura of serenity and divinity. This stunning masterpiece depicts a possible representation of Padmapani, the lotus-bearer, one of the most revered bodhisattvas in the Buddhist pantheon. With a halo encircling the head of the figure, this immaculate sculpture symbolizes the spiritual power and enlightenment of the bodhisattva, as well as the sacred nature of Buddhist art. The halo, a recurring motif in Buddhist art, represents the divine radiance emanating from the head of an enlightened being. The muscular torso of the bodhisattva, embellished with a pair of heavy necklaces, exudes an air of masculinity and strength, while the rounded face, with chubby cheeks, a broad nose, and attentive eyes, exudes an aura of compassion and wisdom. The long, curly hair gathered at the top of the head further emphasizes the serene countenance of the figure, while the closed lips imply inner peace and contemplation. This carved torso is a testament to the rich cultural and religious heritage of Gandharan Buddhism, which flourished in the ancient region of Gandhara from the 1st to the 5th century AD. Gandharan Buddhism was characterized by a unique blend of Hellenistic and Indian artistic styles, resulting in a distinctive form of Buddhist art that has captivated art lovers for centuries.Size: L:150mm / W:105mm ; 920gProvenance: Private London collection; acquired in Japan between 2000 - 2005; formerly in an old Japanese collection.

Ca. 1100-1200 AD. A bronze oil lamp with its form both functional and aesthetically pleasing, featuring a flaring, concave foot that provides stability and balance to the overall composition. The round body of the lamp is adorned with a hinged lid with pointed finial and small lateral handles with serrated edges. The rear handle of the lamp, with its rosette finial, is an elegant touch that allows for easy transport of the lamp from one place to another. The arched spout with its ivy-leaf-shaped nozzle is yet another testament to the skill and craftsmanship of the maker, as it is both functional and visually pleasing. The lamp's design is a testament to the sophisticated and refined tastes of the Seljuk period. Oil lamps like this one were widely used for both practical and symbolic purposes. They were used to provide light in homes, mosques, and other public spaces, and were often adorned with intricate designs and calligraphy that reflected the religious and cultural values of the time. Cf. The Metropolitan Museum of Art, Accession Number: 53.204.2.Size: L:150mm / W:205mm ; 460gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

Ca. 1400 - 1500 AD. A gold finger ring featuring a rectangular-section hoop of massive, octagonal form that immediately captures the eye with its intricate design. Each of the eight flat faces of the hoop has been carefully engraved with the haloed head of Christ or a Saint holding the Gospels within a rectangular border. The intricate details of these engravings are a testament to the skill and precision of the medieval goldsmiths who crafted this remarkable piece. The use of gold in this ring further enhances its preciousness, symbolizing wealth and power, and reflecting the status of the wearer. In medieval times, jewelry was often used to convey social and religious messages, and this ring is no exception. The iconography of the ring, depicting the heads of Christ and Saints holding the Gospels, serves as a powerful reminder of the importance of religion in medieval society. It is a testament to the deep devotion and faith of the wearer, as well as their desire to display their religious affiliation and beliefs. The detailed report from Striptwist Ltd will accompany the item. Size: D: 17.12mm / US: 6 3/4 / UK: N ; 18.89g Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 600-800 AD. A gold ring, adorned with a captivating peacock intaglio. The ring's design showcases the intricate filigree work that is characteristic of Byzantine jewelry, with a thin hoop featuring a beaded exterior that provides a tactile and visually pleasing effect. The hoop joins the large bezel cell, which is itself a work of art, featuring filigree decoration that adds depth and texture to the piece. Within the bezel cell sits a mesmerizing carnelian intaglio, engraved with the image of a left-facing peacock standing on top of beautiful branches or tendrils with flowers and leaves. The peacock, a symbol of beauty and regal splendor, was a popular motif in Byzantine art. Its elaborate plumage and graceful stance are captured with impressive detail in this intaglio, creating a striking and memorable image. Byzantine gold jewelry is renowned for its intricate designs, masterful use of filigree, and rich symbolism. Gold was a popular choice for Byzantine jewelry as it symbolized wealth, status, and divine radiance. Byzantine craftsmen often incorporated religious iconographies, such as crosses and saints, into their designs, as well as classical motifs such as vines, leaves, and animals.Size: D: 15.39mm / US: 4 1/2 / UK: I 1/2 ; 6.71gProvenance: Private London collection, UK art market before 2000.

Ca. 800 AD. A gold cruciform pendant in the form of a Latin cross, which is one of the most recognizable symbols of Christianity. Each arm of the cross is adorned with a twisted ropework effect and filled with diagonal arrangements of similar decoration, creating a secondary cross within a cross. At the center, there is a gold cell containing a stunning cabochon. The beauty of the cabochon lies in its smooth, polished surface and the way it reflects light, showcasing its deep, rich color. The significance of Byzantine cross pendants is rooted in their religious and cultural importance. The Latin cross, which this pendant takes the form of, is a symbol of the sacrifice of Christ and a symbol of salvation for Christians. During the Byzantine era, such pendants were worn not only as a form of religious expression but also as a symbol of status and wealth. They were often given as gifts to high-ranking officials or members of the clergy, and their intricate designs and precious materials showcased the wearer's wealth and sophistication.Size: L:34.8mm / W:21.6mm ; 4.2gProvenance: Private London collection, UK art market before 2000.

Ca. 1st-2nd century AD. A votive bone carving depicting a seated deity of great intricacy and meticulous detail. The figure is shown enthroned upon an elaborately ornamented seat, with incised details carefully rendered upon the deity's garment. The reverse of the carving is equally worked, attesting to the high level of skill possessed by its creator. Roman votive bone carvings were popular in the ancient world as objects of religious devotion and were often created in a variety of sizes and forms. Many were carved from animal bones and were intended to be offered as votive offerings to deities, in the hopes of gaining their favor or assistance.Size: L:30mm / W:20mm ; 4.19gProvenance: Property of a London Ancient Art gallery, formerly an English private collection, bought before 2000.

Robert H. Sterl 1867 - 1932 Prozession in Russland. 1920. Öl auf Leinwand. Popova Nachtrag 718a. Rechts unten monogrammiert. Verso auf dem Keilrahmen mit Malereibedarf-Stempel Emil Geller, Dresden. 60 x 68 cm (23,6 x 26,7 in). PROVENIENZ: Privatsammlung Sachsen. Privatsammlung Süddeutschland (vom Vorgenannten erworben). Robert H. Sterl zählt neben Max Lieberman, Max Slevogt und Lovis Corinth zu den Vertretern des deutschen Impressionismus, dem er insbesondere in seiner Funktion als Dozent, später als Professor an der Dresdner Kunstakademie ab 1904 zu Akzeptanz verhilft. Wie flüchtig, aus dem Moment entstandene und von Bewegung in Motiv und Pinselduktus bestimmte Ansichten charakterisieren sein Schaffen. Eine gesonderte Werkgruppe bilden dabei die Russlandbilder, bei denen sich Sterl fasziniert von Land, Bevölkerung, folkloristischen und religiösen Gebräuchen zeigt. Er bereist das große Land ab 1908 mehrmals auf der Wolga nach Astrachan am Kaspischen Meer, zuletzt 1914 kurz vor Beginn des Ersten Weltkriegs. Besonders das Motiv der Prozessionen, bei denen die reiche Farbigkeit der Popengewänder und Volkstrachten ein Schauspiel darbieten, regt ihn immer wieder zu Kompositionen dieses Themas an. Viel mehr im Fokus als die ethnografische Dokumentation der mitgeführten Ikonen oder Bahren steht dabei das in bewegter freier Malweise fließend aufgetragene Kolorit. In dynamischer, diagonal bogenläufiger Bewegung setzt Sterl die Prozession ins Bild, die in breiter energischer Pinselführung gestaltete Landschaft in Grüntönen vibrierend; davor verwandelt er die Figuren der in bunte Gewänder gekleideten Prozessionsbegleiter in fast körperlose Farberscheinungen. Deutlich wird das Interesse an der reinen Intensität der purpurnen, karminroten und goldbraunen Ockertöne, die vor dem wechselvollen Grün zu einem wahren Farbenrausch werden. Den beeindruckenden Russlandbildern von Sterl widmete sich erstmals zuletzt die Ausstellung 'Russlandbilder – Robert Sterl und Ernst Barlach' 2017 in der Galerie Neue Meister, Albertinum, Dresden. [KT] Aufrufzeit: 10.06.2023 - ca. 18.39 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONRobert H. Sterl 1867 - 1932 Prozession in Russland. 1920. Oil on canvas. Popova Nachtrag 718a. Monogrammed in lower right. With a stamp of the art supplies store Emil Geller, Dresden, on the reverse. 60 x 68 cm (23.6 x 26.7 in). PROVENANCE: Private collection Saxony. Private collection Southern Germany (acquired from the above). Along with Max Lieberman, Max Slevogt and Lovis Corinth, Robert H. Sterl was one of the representatives of German Impressionism, which he helped to gain acceptance in particular as lecturer and later as professor at the Dresden Art Academy 1904. His oeuvre is characterized by fleeting views that arise out of the moment and are determined by movement in motif and brushwork. The pictures of Russia form a separate group of works in which Sterl shows his fascination for the country, its people and their folkloric and religious customs. From 1908 he traveled the large country several times on the Volga to Astrakhan on the Caspian Sea, most recently in 1914 shortly before the start of the First World War. In particular, the motif of the processions, in which the rich colors of the priest's robes and folk costumes present a spectacle, repeatedly inspired him to variations of this theme. What is more important than the ethnographic documentation of the icons that were carried along is the coloring, which is applied in a moving, free style. Sterl depicts the procession in a dynamic, diagonally curved movement, while the landscape, rendered with a broad, energetic brushwork, vibrates in shades of green; while he transforms the figures of the attendants, dressed in colorful robes, into almost disembodied color apparitions. The interest in the pure intensity of the crimson and golden-brown ocher tones becomes clear, which make for a color spectacle in front of the changeable green. The exhibition 'Russlandbilder – Robert Sterl und Ernst Barlach'at the Galerie Neue Meister, Albertinum, Dresden in 2017 was the first show ever that was dedicated to Sterl's impressive pictures of Russia. [KT] Called up: June 10, 2023 - ca. 18.39 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

A set of four Potters Art Guild Compton Pottery (Guildford) pottery plaques each depicting medieval religious figure in unfired colours, the reverse of each plaque bearing a paper label and impressed seal marks (4).Condition ReportSmall losses to the edges otherwise good condition with no chips, cracks or repairs.

A RARE GILT-SPLASHED BRONZE 'THREE HARES' CENSER, 17TH-18TH CENTURYChina. Heavily cast, supported on three short feet, of compressed globular form with three hare's heads, each flanked with two long ears and neatly incised with almond shaped eyes, a curling mouth, and fur framing the neck, the exterior finely embellished with irregular gilt splashes. Provenance: Wiltshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Good condition with old wear and casting flaws as expected, remnants of ancient varnish, few small nicks and dents, light scratches. An old circular fill to the top side, probably inherent to manufacture. Naturally grown patina overall.Weight: 1,044 g Dimensions: Length 16.7 cmThe three hares is a circular motif appearing in sacred sites in East Asia, the Middle East, and Europe. It has been used as an architectural ornament, a religious symbol, and in modern works of art. The three hares first appear in the Mogao Caves in Dunhuang, but over the centuries the iconography slowly spread towards the West. They next appear on early 13th-century Mongol metalwork, and on a copper coin, found in Iran, dated to 1281. Then they are found again on a 14th-century box, later used as a reliquary, made in Iran under Mongol rule, and now preserved in the treasury of the Cathedral of Trier in Germany. On its base, the casket has Islamic designs, and originally featured two images of the three hares, one later lost through damage. Thereafter, it eventually occurs with the greatest frequency in the churches of Devon, England, where it appears to be a recollection of earlier Insular design, such as the Romano-British designs which are known from Celtic (La Tene) metalwork. The main theory pertaining to the dissemination of the motif is that it was transported from China across Asia and as far as the southwest of England via designs found on expensive Oriental ceramics by merchants traveling the Silk Road. According to researchers, the 'three hares' is an auspicious symbol that represents peace and tranquility.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 6 April 2015, lot 155Price: HKD 425,000 or approx. EUR 59,500 converted and adjusted for inflation at the time of writingDescription: A gilt-splashed bronze censer, Qing dynasty, 18th centuryExpert remark: Compare the related form, gilt splashes, zoomorphic design, and size (16.8 cm). Note the apocryphal Xuande mark.十七至十八世紀罕見灑金三兔爐中國。三足爐，球形，三個兔首，每個側面有兩只長耳朵，杏仁形眼睛，捲曲的嘴巴，頸部毛皮細膩刻畫，外壁不規則灑金。 來源：英國威爾特郡古玩交易，據説購於一個私人收藏。 品相：狀況良好，有磨損和鑄造缺陷，老漆的殘留物，少量小刻痕和凹痕，輕微劃痕。頂部的圓形填充物，可能是製造過程中固有的。整體自然生長的包漿。 重量：1,044 克 尺寸：長16.7 厘米 三隻兔的圖案出現在東亞、中東和歐洲聖地。它多被用作建築裝飾、宗教標誌和現代藝術作品。三隻兔圖案最早出現在敦煌莫高窟，但幾個世紀以來，圖像逐漸向西方傳播，之後於十三世紀早期出現在蒙古金屬製品上以及在伊朗發現的一枚銅幣上，日期為 1281 年。然後它們再次出現在一個十四世紀的盒子上，後來用作聖物箱，在蒙古統治下的伊朗製造，現在保存在德國特里爾大教堂的寶庫中。另外，這個圖案非常頻繁地出現在英格蘭德文郡的教堂中，在那裡它似乎是對早期島嶼設計的回憶，例如凱爾特人金屬製品中的羅馬-英國設計。 關於圖案傳播的主要理論是，它是通過絲綢之路上的商人在昂貴的東方陶瓷上的發現，從中國運到亞洲並遠至英格蘭西南部的。據研究人員介紹，“三兔”是吉祥的象徵，代表和平與安寧。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2015年4月6日，lot 155 價格：HKD 425,000（相當於今日EUR 59,500） 描述：清十八世紀灑金銅象耳簋式爐 專家評論：比較相近的外形、灑金、動物型態設計，以及尺寸 (16.8 厘米)。請注意此爐有宣德款。

A LARGE 'FIVE DRAGON' WOOL CARPET, QIANLONGChina, 1736-1795. Finely woven with a central front-facing five-clawed dragon writhing around a flaming pearl, encircled by two pairs of confronting sinuous dragons, each chasing a pearl, surrounded by swirling clouds, bordered to the long sides with bands of pearls, key-fret, and the Eight Buddhist emblems alternating with floral designs, each end with a terrestrial diagram above lishui stripe.Provenance: From the personal collection of Michael B. Weisbrod, New York, by repute acquired at Sotheby's in the 1990s for approx. USD 30,000. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Overall fair condition with extensive wear, minor fading to colors, losses and tears, possibly minor old repairs.Dimensions: Size ca. 480 x 350 cmWhile the dragon itself is the symbol of the emperor, the number five is most auspicious and represents the 'Five Blessings (wufu)' of old age, wealth, health, virtue and peaceful death. The design of 'Five Dragons' also alludes to the 'Five Dragons of Yanshan (Yanshan wulong)', named after the five sons of Dou Yujun, who lived in Yanshan during the Five dynasties period (907-960), each of whom achieved exceptional success with their father epitomizing the ideal parent.The Eight Auspicious Buddhist Symbols (bajixiang) amongst the dragons in the design are also unusual and suggest the possibility of the rug being used at Buddhist ceremonies or on special religious occasions. However, it also demonstrates the level of creative freedom exercised by artists during Qianlong's reign who were encouraged to produce pieces with one-off designs. See a zitan closet, where the bajixiang is carved amongst dense ruyi-form clouds, from the Qing Court collection and still in Beijing, included in The Complete Collection of Treasures of the Palace Museum, Furniture of the Ming and Qing Dynasties (II), Hong Kong, 2002, pl. 206, and a red sandalwood throne also carved with dragons and clouds, where the bajixiang is used as a design element on its own, ibidem, pl. 26.Literature comparison: A related Imperial dragon carpet dating from the 18th century is illustrated by R. Soame Jenyns, Chinese Art, Vol. III, Oxford, 1981, no. 18.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.乾隆大型紅地五龍紋羊毛地毯中國，1736-1795年。地毯正中央盤旋著一條五爪大龍，龍身與龍頭為深藍色，龍爪則是深藍色，龍看上去炯炯有神，面對一顆火珠，氣勢十足。在這條大龍的上下兩側，分佈著四條模樣相似的小龍，這些小龍都面向大龍團團圍住，一派祥和。而在五條龍盤踞的區域外圍，則有規律地分佈著花草、祥雲、五色波紋，圖案豐滿，氣勢恢宏。 來源：美國紐約Michael B. Weisbrod私人收藏，在20世紀90年代以約30,000美元的價格在蘇富比拍賣會上購得。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：整體狀況良好，磨損嚴重，輕微褪色、缺損，撕裂，可能有輕微的維修。 尺寸：約480 x 350 厘米 龍象徵帝王，數字五是最吉祥，是代表著長壽、財富、健康、美德和安寧的“五福”。此外，地毯上的八吉祥紋也很不尋常，表明地毯可能用於佛教儀式或特殊的宗教場合。同時，它也展示了乾隆年間藝術家的創作自由程度。文獻比較： 一件相近的十八世紀御製龍紋地毯，R. Soame Jenyns，《Chinese Art》，卷III，牛津，1981年，編號18。

A RARE TERRACOTTA RELIEF DEPICTING AN ASURA, GUPTA PERIODEastern India, Bengal, 5th-6th century. Powerfully modeled, the asura standing in a dynamic pose with one leg crossed over the other, his face with a confident expression, perhaps mocking an unseen opponent, marked by his bulging wild eyes and the open mouth showing teeth, framed by a thick beard. He is wearing a short robe secured at the waist by a floral belt and adorned with jewelry. Provenance: From a notable collector in London, United Kingdom. Condition: Excellent condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, encrustations, few structural cracks.Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 14 September 2020, based on sample number C120e27, sets the firing date of one sample taken at between 900 and 1500 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Academic Dossier: A detailed academic commentary on the present lot, elaborating on the meaning of the Asuras as well as the history of the Gupta Empire in general, and showing many comparisons to examples in both public and private collections, is available upon request. For a PDF copy of this dossier, please refer to the department.Weight: 4,507 g (excl. stand) Dimensions: Height 43 cm (excl. stand)With an acrylic glass mounting at the back and an associated metal stand. (2)The lively figure depicted in this terracotta fragment is probably an Asura, one of a group of gods who opposed but were ultimately defeated by the Devas, the gods who are central to Hindu and earlier Vedic beliefs; it is quite likely that the myths relating to the Devas and Asuras evolved from a single belief system. The legendary conflict may be based on a factual clash between two sects that existed in the post-Harappan period, when beliefs surrounding the Vedic gods and their associated social structure were challenged by revised ideas emanating from Iran, which ultimately died out or were driven away by the existing mainstream hierarchy in western India.Terracotta was the traditional material for religious images in the Ganges Valley and in the Mauryan and Shunga periods (3rd-1st century BC). Bengal had been the source of some of the most sophisticated figures of gods and goddesses. In the Gupta period, several centers of terracotta sculpture emerged across the Empire, from Akhnur in Kashmir, down to Shravasti and Bitargaon in Uttar Pradesh, around the Gupta capital at Pataliputra (Patna), and down into the Ganges Delta where some of the richest red clays were available. The lack of stone in eastern Bihar and Bengal meant that clay had always been used for architectural purposes, brick adorned with terracotta or stucco being the most widely used material, and a number of archaeological sites in Bengal attest to the sophistication of the effects achieved.Literature comparison: Compare a related terracotta relief depicting Krishna killing the horse demon Keshi, dated to the 5th century, in the collection of the Metropolitan Museum of Art, accession number 1991.300. Compare a related terracotta torso of a nobleman, dated 5th century, in the collection of the Michael C. Carlos Museum, Emory University, object number 2001.001.011. Compare a related terracotta relief depicting the battle between Hanuman and Indrajit, dated 6th century, in the collection of the State Museum, Lucknow, illustrated by M. C. Joshi and J. F. Farrige, L'Âge d'or de l'Inde Classique, L'Empire des Gupta, Paris, 2007. 13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.

NABATEAN DISH NEAR EAST, 1ST CENTURY B.C. - 1ST CENTURY A.D. painted terracotta, standing on a rounded base, the shallow walls leading to an inverted rim, of dark red-orange colour and with umber painted vegetal decorationDimensions:18.9cm diameterProvenance:Provenance:From an important collection of Nabatean pottery formed over a number of decades, GenevaPrivate collection, United Kingdom, acquired from the aboveNote:Note:For a similar example, please see: The Metropolitan Museum of Art, New York, accession number 1977.234.12 In discussing the piece referenced above, The Metropolitan Museum (2023) writes: "The very thin painted ware so closely identified with Nabataean culture began to appear in the first century B.C. It reflects the influence of Hellenistic wares, but because its shapes, colors, and decoration are unique, it forms a distinct type and was recognized early on as an accurate indication of Nabataean presence. Found primarily in southern Nabataea, the pottery has also turned up in the ports of Oman and Yemen, along the eastern coast of the Arabian Peninsula, and along the Incense Route. Nabataean painted ware is usually decorated with floral motifs. It has been suggested that Nabataean painted ware was deliberately broken after use in religious ceremonies; the ware has also been connected with cultic meals for the deceased."

OLMEC MASQUETTE MEXICO, 900 - 400 B.C. carved and polished green serpentine, the distinctive features displaying a subtly downturned mouth, broad nose and narrowed eyes framed by a frowning brow, the ears pierced, raised on a bespoke mountDimensions:10.5cm tall (unmounted)Provenance:Provenance:Ex Samuel Dubiner Collection, Canada (1960s)Barry Kernerman, TorontoOrtiz Collection, MiamiNote: Note: The Olmec civilization, which thrived in the Gulf Coast region of Mexico from approximately 1400 - 400 BC, is renowned for its remarkable artistic achievements, among which serpentine masks such as the present example are particularly noteworthy. Crafted from the distinctive deep green stone, they were characterised by intricate carvings that depicted human visages with exaggerated features, such as downturned mouths, almond-shaped eyes, and broad noses. The masks also incorporated serpentine imagery in the form of coiled snakes or serpent-like figures that surrounded the faces or extended from the top of the masks. It is believed that serpentine masks were utilised in ceremonial and ritual contexts, likely in conjunction with funerary practices or religious festivals, and were probably worn by priests or other elite members of society during these events. The masks also held symbolic value as status symbols, owing to their valuable materials and the skilled craftsmanship required to create them. The Olmec civilization has had a profound impact on the development of modern art, particularly during the early 20th century, when Western artists rediscovered the art of ancient cultures, including that of the Olmec. This renewed interest in Olmec art influenced the emergence of modernist art movements such as Cubism and Surrealism. Olmec sculptures' stylised, geometric forms, such as the iconic "colossal heads," served as sources of inspiration for artists such as Pablo Picasso and Henry Moore, while the Olmec's use of negative space and abstraction was influential in the development of modernist sculpture. In addition, the Olmec's fascination with the natural world, particularly the serpent, inspired Surrealist artists such as Salvador Dali and Max Ernst, who integrated serpent imagery into their works. The Olmec's use of jade and other precious materials also influenced modernist jewellery and decorative arts. Today, the Olmec's legacy remains a significant source of inspiration for contemporary artists who continue to draw on its bold forms and use of negative space.

ANCIENT ARABIAN BRONZE IBEX SOUTHWESTERN ARABIA, C. 500 B.C. cast bronze, the animal shown standing in a state of alertness, with it's elegant curled horns reaching back to the upright ears, the tail raised, accompanied by a bespoke mountDimensions:7.5cm high, 4.3cm long (excluding stand)Provenance:Provenance:Property of a London collector, acquired 1990s-2000sTimeline Auctions, London, 3rd September 2019, lot 108Note:Note: For a similar example please see: The Metropolitan Museum, New York, accession number 53.47.2 The Metropolitan Museum (2023) describes a similar piece in their collection as follows: "The ibex was the most widely represented animal in southwestern Arabian art. Ritual ibex hunts were an important feature of the cult practices of the southwestern Arabian kingdoms. Successfully capturing and killing these elusive creatures was believed to secure favors from the gods.This sculpture may have served as a handle for an incense burner similar to one in the Museum’s collection (MMA 49.71.2). From the middle of the first millennium B.C. until the sixth century A.D., the kingdoms of southwestern Arabia gained considerable wealth and power through their control of the trade in incense between Arabia and the lands of the Mediterranean seacoast. Frankincense and myrrh, gum resins that are native to southern Arabia, were widely valued in the ancient world for the preparation of incense, perfumes, cosmetics, and medicines, as well as for use in religious and funerary ceremonies."

"Madonna and Child in Majesty". Polychromed wood. Aragonese or Catalan workshop?. Gothic. 14th century.64 x 19 x 22 cm.The cult of the Virgin Mary would not reach a preeminent place in Christian art until the twelfth century, becoming one of the favorite iconographies in religious imagery throughout the thirteenth and fourteenth centuries. This beautiful Maiestas Mariae or Madonna and Child in Majesty, heiress of the Byzantine Theotokos, is an exceptional example of the level achieved by local workshops, quasi-artisans who worked at the beginning of the Gothic period in Aragon, or perhaps in Catalonia, in which, despite being quite modest in scope, the sculptures are outstanding in their somewhat naïve charm.   The theme of the Virgin Mary as the throne of Christ enjoyed great popularity, which led to the development of numerous typologies and variants. In this case, Mary is represented with an elongated canon, perceptible especially in the body and hands. There is also a slight anatomical disproportion in the legs, which are too short for such a model. She is sitting on a bench without a back. She has an oval face with barely carved facial features, which are perceptible mostly through the polychrome applied to the curved eyebrows, large almond-shaped eyes and closed mouth. The latter has thick red lips. At the sides are polychromed rosy cheeks. There is a prominent thick nose, powerful chin, and cylindrical neck, almost the same thickness as the head. She wears a simple golden headdress that covers both the hair and the ears, falling on both sides of the face. Clothed in a reddish tunic, her neck is traversed by a golden border, in which there are golden dots which even have schematic geometric motifs on them. Above it is a bluish mantle that falls down her back and is gathered at her knees, so that the Child can rest on it. The feet are encased in sharp-tipped shoes. The Madonna’s right hand is missing, in which she may have carried some attribute or fruit – perhaps it was the often used apple that symbolizes her victory over sin and her conversion into the new Eve –while with her left hand she holds her Son, whom she has place on her left knee – this typology is one of the most popular. According to Georg Weise it has its origin in Our Lady of the Slave from the Vitoria Cathedral, dated to the late thirteenth century. The Christ Child, as usual in this period, is not a child, but an adult on a smaller scale. The face and hairstyle are a repetition of those of the Mother, although in this case the headdress is replaced by blond hair. He wears a tunic that completely covers his body. It is white, with the neck traversed by a golden border, and is completely covered by stylized floral decorations. Like the Mother, the left hand, in which he would have held the orb of the world, is missing. Although during the Gothic period an affectionate communication between Mother and Son was developed, in this example there is a noticeable lack of communication in addition to a slight stiffness to both figures only broken by the slight turning of Mary's face to the right and the Son to the left. Although it is difficult to establish a chronology and a specific affiliation for this type of carving, especially for these cases in which its great antiquity is joined to the fact that it is the product of a small, local artisan  workshop, the sculpture could date to the fourteenth century and is perhaps from some Aragonese or Catalan workshop. We would like to thank Dr. Javier Baladrón, PhD in History of Art, for the identification and cataloguing of this lot.

Attributed to José Campeche y Jordán (San Juan, Puerto Rico, 1751 - 1809) "Portrait of a lady with rose and fan"Oil on canvas. Relined. 87 x 67 cm.Campeche was one of the most recognised Puerto-Rican artists.  The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island after being exiled by King Charles III, between 1775 and 1778. The Puerto Rico Art Museum keeps some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to being one of the most exalted and outstanding Hispanic-American painters of the late 18th century."The canvas has craquelure and small lacks in the pictorial layer.

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Summer House/ Maison d'eté signé et daté 'Ghika/72' (en bas à gauche); signé, titré et daté 'Ghika 72/ Summer House' (au revers)gouache sur carton58 x 40cm (22 13/16 x 15 3/4in).Peint en 1972.signed and dated (lower left); signed, titled and dated (on the reverse) gouache on cardFootnotes:A powerful post-cubist townscape displaying an almost abstract architectural network of close-knit rhythmical structures, fragmented interlocking planes, and spatially distorted labyrinthine grids, Summer house showcases Ghika's belief that 'the character of the Greek schema, whether in antiquity, the Byzantine era or folk art, is by and large geometric.'1 The rhythmically developed and spatially distorted depictions of Byzantine towns—used as backdrops for religious subjects in much of icon painting—are here pushed to a relentless extreme, transformed into a dense web of fragmented lines, sharp angles and spiralling curves. As the schematic undulations of the townscape ascend in petrified waves of subdued colour highlighted by wonderful lavenders and lilacs, the horizontal tilts into the vertical, echoing the Byzantine backgrounds that tend to unfold upwards instead of receding in depth. As noted by Professor M. Michelis, 'Ghika's vision is akin to the Byzantine mosaics of the Chora Monastery.'21 N. Hadjikyriakos-Ghika, 'On Greek Art' [in Greek], Neon Kratos journal, no. 5, January 1938.2 M. Michelis, 'N. Hadjikyriakos-Ghika' [in Greek], Zygos magazine, no. 58, September 1960, p. 10.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Kadhim Hayder (Iraq, 1932-1985)Al Qamar oil on canvas, framedsigned 'K HAIDAR' and dated '1966' on the stretcher, executed in 1966104 x 134cm (40 15/16 x 52 3/4in).Footnotes:Al-QamarA monumental 1966 composition from Kadhim Hayder's Epic of the Martyr series formerly in the collection of the Iraqi Ambassador to Lebanon H.E Nathir Umari'The Hour has drawn near, and the moon was split in two.' Surah Al-Qamar'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiProvenance:Property from the collection of H.E Nathir Umari, Iraqi Ambassador to Lebanon (1963-1966), acquired directly from the artist, circa 1966, thence by descent Exhibited:Kadhim Hayder, Gallery One, Beirut, 1966 This monumental painting from Kadhim Hayder's Martyrs Epic series is a powerful depiction of the climax of the cycle, the moment of Imam Hussein's death. Painted in 1966, 'Al Qamar' (The Moon) is a poignant and emotionally charged work that showcases the artist's masterful use of religious allegory and cultural mythology.The painting comes to market with an impressive provenance, having belonged to Nathir Umari, a prominent Iraqi diplomat who served amongst other postings as ambassador to Lebanon, the United States, and France throughout the 1960's. Umari was also a senior representative for Iraq at the United Nations. The painting was acquired by Umari in Beirut during his ambassadorshipThe title of the painting, 'Al Qamar' (The Moon), has significant symbolic meaning in Islamic culture and literature. The moon is mentioned numerous times in the Quran, and is often used as a metaphor for the light of God, purity, and guidance. In this painting, the red moon serves as a symbol both of mourning and of the light that Imam Hussein brought to the world through his sacrifice.What makes this painting particularly special is that it was not originally part of the Martyrs Epic series, but was painted a year after the exhibition. It shows the artist's fondness for this particular scene, and his desire to explore it further. In this respect 'Al Qamar' shares a striking similarity ot the painting from the series that is now in the Barjeel Art Foundation, which adds to its significance and rarity.This remarkable painting is a testament to Kadhim Hayder's importance in the history of Iraqi art, and his enduring legacy as an artist who captured the essence of one of the most important events in Islamic history..Saleem Al Bahloly: The Epic of the Martyr:'Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family.In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.The paintings in The Epic of the Martyr were different sizes [they] reflect, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions.This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.'Saleem Al-Bahloly received a PhD from the University of California, Berkeley, and has held fellowships at Johns Hopkins and the University of California, Santa Barbara. He is writing a book about an intellectual shift that occurred in Iraq during the 1960s in response to disillusionment with left-wing politics. The above text has been abridged.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

Adam Henein (Egypt, 1929-2020)Donkey bronzesigned 'A.HENEIN' and numbered 'I. IIX', number 1 from an edition of 8, executed in 196479 x 116cm (31 1/8 x 45 11/16in).Footnotes:Adam Henein 'Donkey' The first appearance of an iconic 1960's 'Donkey' sculpture from the artistProvenance:Property from a distinguished private collection, BeirutAcquired directly from the artist by the present owner, circa early 2000sExhibited:Farouk Hosny and Adam Henein, Heirs to an Ancient Tradition, Metropolitan Museum of Art, 1999Institut Du Monde Arabe, Three Contemporary Sculptors, Paris, 1991 Egyptian Academy, Rome, 1980*others from the editionPublished:Mona Khazindar (ed.), Adam Henein, Turin, 2005Farouk Hosny and Adam Henein, Heirs to an Ancient Tradition, Metropolitan Museum of Art, 1999'See, your king comes to you, gentle and riding on a donkey, on a colt, the foal of a donkey'.- Zechariah 9:9'When he wanted an architect to build him a simple home, Henein paid for it with a sculpture of a donkey'- Mona KhazindarBonham's are proud to present one of the most emblematic and iconic Adam Henein sculptures ever to come to market. The first example of this subject matter ever to come to auction, 'Donkey' is a large, highly symbolic and deeply significant example of Henein's work. Henein grew up in a rural village in Egypt and had a strong connection with the landscape and animals of his homeland. He was fascinated by the donkey, which is a common and beloved animal in Egypt, and found it to be a symbol of resilience and endurance.For Henein, the donkey represented the dignity and beauty of the simple life and the connection between human beings and nature. He was drawn to the donkey's expressive face and its ability to convey a sense of emotion and character through its body language. In addition to his personal connection to the donkey, Henein was also influenced by the ancient Egyptian tradition of animal worship and the importance of animals in Egyptian mythology. Through his sculptures of donkeys, Henein aimed to capture the essence of this ancient tradition and convey the timeless beauty and majesty of these humble creatures.In ancient Egyptian culture, the donkey was an important animal for both practical and symbolic reasons. As a beast of burden, donkeys were used for carrying goods, such as grain, pottery, and other items, both within cities and for long-distance trade. They were also used for transportation of people, particularly the wealthy and powerful.The donkey's significance went beyond its practical use, however. It was also considered a symbol of Egypt's agricultural and economic system, which was heavily dependent on the cultivation of crops and the transportation of goods. Donkeys were often depicted in Egyptian art, appearing in tomb paintings, reliefs, and other artefacts. They were also used in religious ceremonies, particularly in the worship of the god Seth, who was associated with the desert and the donkey.In addition, donkeys had a certain cultural cachet in ancient Egyptian society. They were prized for their loyalty, endurance, and hardiness, and were often given as gifts to foreign dignitaries. Even today, the donkey remains a symbol of Egypt's rural and agricultural heritage and continues to be an important animal in many parts of the country.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 Marinid painted wood calligraphic panel North Africa or Spain, 14th Centuryof rectangular form, carved with a series of cusped arches containing mirror inscriptions in kufic on a ground of split-palmette interlace, interspersed by smaller arches filled with foliate motifs, the spandrels with split palmettes, the upper border with a band of quatrefoil motifs, decorated in yellow, red, black brown and white paint, framed 100 x 29.5 cm.Footnotes:ProvenanceFormerly in a Private Spanish Collection, Seville.This lot is accompanied by an export license from the Ministerio de Educación, Cultura y Deporte (no. 2022/10933) and Ciram Carbon-14 Test Report 112-OA-1207R-2. Inscriptions: a repeat of mulk, 'Sovereignty (is God's)', in positive and negativeThis strongly carved wood panel is a fine and compact example of one of the most distinctive approaches to decoration in Muslim architecture. It belongs to a type of wooden facing that occurs in Morocco particularly in the 13th and 14th centuries. Carved woodwork typically formed about one-third of the decorative treatment of architecture produced during the Marinid period (1244–1465 CE) and typically formed the upper elements of the decorative schemes with stucco, and then zellij or mosaic tilework below.This panel, with its row of boldly cusped arches containing a mirror inscription in crisply angular Kufic, reflects the aesthetic found in major Marinid constructions, such as the madrasa of Abu'l Hasan (1332–1342) and the Bou Inaniya (1350–55), both of which are in Fez, the capital founded by the Marinids. A comparable example is in the Kasbah Museum, Tangiers (Inv. No. 90.B.3). Even the broad fillet frame, with its row of small quatrefoil rosettes, is typical of the era. Over time the rosettes developed more petals, suggesting that this comes in an earlier phase of the style. Increasing complexity in design seems to be a feature in the development of Marinid woodwork, and this panel has a balance in its design which suggests a date of production in the first half of the 14th Century. This stylistic dating is supported by the result of the Carbon 14 test which yielded date ranges of 1282-1328 (with 43.8% probablility) and 1347-1395 (51.7%).The frieze is further distinguished by its colourful painting. Much of the woodwork in Marinid buildings has lost its polychromy, and there has been little study of the materials and colour schemes. A panel in the Metropolitan Museum (acc.1985.241) has, however, been investigated, revealing that it was repainted at some stage but when it was not possible to determine. (Ekhtiar, Soucek, Canby, and Haidar, Masterpieces from the Department of Islamic Art in the Metropolitan Museum of Art, 2011, pp. 72-73). The same might be true of this panel but, if so, the painting still has considerable age. The Kufic mirror inscription on the Bou Inaniya and the present panels most probably reads mulk, 'Sovereignty'. In a religious context this could promptly trigger a connection to the Qur'an surah al-Mulk (67:1). However, Mulk, also applied to secular sovereignty, so the panel may also come from a palace rather than a religious institution.Given the close connections between the Maghrib and al-Andalus, it is not surprising that comparable woodwork also occurs in Spain. Elaborate wood panels, with painted polychromy, were found in the palace the Condesa de Peñaflor in Seville, the remnants, it is assumed, of an earlier, possibly Almohad building on the site (see Claire Déléry Le Maroc Médiéval, Un empire de l'Afrique à l'Espagne, 2014, cat. 229). Panels, with rows of cusped arches and kufic mirror inscriptions, that are very reminiscent of the panel presented here, are also in Museo Arqueológico in Seville. They are said to come from Seville, but their precise find-spot is not recorded, and they were acquired in 1946 from an antiques dealer in Cordoba (see Donatella Giasante, La Coleccion de madera Hispano-Arabe y Mudejar del Museo Arquologico de Sevilla, in Laboratorio de Arte 15, 2002).For further information on this lot please visit Bonhams.com

A RARE FLEMISH WOOL AND SILK HISTORICAL TAPESTRY DEPICTING A SCENE FROM THE LIFE OF HANNIBAL LATE 16TH CENTURY Probably after mid-16th century designs by Francois Geubels (Flemish Fl.1546-1579) for Brussels workshops, with the central field illustrating Hannibal deploying cattle with flaming horns at the Battle of Ager Falernus in 217AD. With Latin inscription to the upper border "HANIBAL IGNE TAURORUM CORNIBUS IMPOSITO NOCTU MONTEM INVADIT " (HANNIBAL INVADES THE MOUNTAIN BY NIGHT, HAVING FIRED THE BULL'S HORNS). The border with mythological figures to the corners Apollo, Artemis the Huntress, a dancing female figure and a military general approximately 340 high, 398cm long The Carthaginian general Hannibal is regarded even today as one of the greatest tacticians and most daring military commanders from antiquity. In the 16th and 17th century series of tapestries were woven commemorating scenes from his life and famous deeds such as the invasion of Italy by crossing the Alps with African war elephants. This tapestry commemorates the Battle of Ager Falernus shortly after his routing of Flaminius and his troops at the battle of Lake Trasimene. Sallying into central and southern Italy he soon found himself in the lowlands of Campania- an area stripped of its natural resources of food and fuel and swiftly surrounded by the troops of the new Roman dictator Quintus Fabius Maximus Verrucosus. Drawing inspiration from Spanish religious festivals- Hannibal ordered that 2000 oxen have torches tied to their horns and driven towards the pass where Fabius had stationed his army. In the ensuing chaos and stampede some of the Roman army believed that they were seeing the Carthaginian army marching to escape along the heights. As they moved off in pursuit of this decoy, the Carthaginian army moved in complete silence through the dark lowlands and up to an unguarded pass. A feat of misdirection and stealth still taught by military tacticians today.The Chrysler Museum of Art holds in its collection a similar tapestry titled "The History of Hannibal: The Spoils of Cannae" (the Gift of the Irene Leache Memorial Foundation, March 2014). With a Brussels town mark and dating from approximately 1650, the Chrysler tapestry shares the overall layout with the central slightly crowded field with central figures representative of the main title- as described in Latin to a cartouche to the centre of the upper border, and the wide borders with their use of richly decorated floral and fruit garlands dividing figures There are also similar panels both in the Royal Trust Collection and in the Cathedral Museum, Zamora, Castilla y Leon, Spain. The Royal Trust Collection's tapestries are titled "Hannibal pointing out the entrancing joys of Italy to his warriors" and "Hannibal bringing the spoils of Cannae to Carthage". Again, these are catalogued as being from a longer series of Brusselstapestries illustrating scenes from the story of Hannibal, each within wide borders of abundant fruit, foliage and flowers, a Latin inscription in scroll at top. The Zamora tapestries are very similar in style and composition to this lot and are catalogued as being circa 1570- "anonymous weaver".Please also see: Sotheby's, London, 26th May 1989, lot 27 for a Brussels tapestry, late 16th century, depicting a similar scene, with an inscribed panel referring to HannibalChristie's, London , 14th May 2017, lot 137 for a "Flemish Historical Tapestry By Maarten II Reymbouts, Brussels, Late 17th Century" which shares similar main border design Condition Report: Overall the tapestry has colour muting with loss predominately to paler pinks of flesh, yellows and paler blues and greens. The surface is slightly rumpled in some areas as is common for examples of this scale. Some pulling to threads and sections- with some loose areas- these may benefit from remedial work. Outer border later- and later backing. With the fixed later backing it is impossible to determine the full extent to which there may have been repairs but from the front there are indications of scattered spot repairs, tightening and remedial work throughout the surface. Most noteworthy are the two patch inserts to upper edge of main panel- just under children's feet. Additionally there has been spot repairs to strengthen sagging and pulled sections such as upper right border of panel with inscription.Please see additional images for visual references to condition which form part of this condition report.Please note viewing is at Guinevere (574-580 King's Road, London SW6 2DY). The auction takes place at Dreweatts Donnington Priory on Tuesday 23 May (10.30am BST). There will be no viewing or bidding at Guinevere on the day of the auction. Lots will be available for collection from Guinevere from Wednesday 24 - Friday 26 May (by appointment, 10am - 5pm). After Friday 26 May (5pm), all lots will be removed from Guinevere to commercial storage at Sackville-West Moving & Storing (Andover) and available for collection from Wednesday 31 May. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

11th-12th century A.D. In Romanesque style, cruciform with openwork cross at centre, three oval terminals and a fourth modelled as a hound's head, the beast's mouth forming the suspension loop. Cf. Graham-Campbell, J. & Kidd, D., The Vikings, London, 1980, item 45, for similar silver pendant from Foss, Iceland; cf. Weidenfeld and Nicolson ed., English Romanesque Art 1066-1200, Hayward Gallery, London, 1984, 248-254; cf. TimeLine Auctions 21/2/17, lot 400, for similar.5.4 grams, 40 mm (1 1/2 in.). From the family collection of a Hertfordshire, UK, gentleman since the 1970s. With Bonhams, London, Sale 17880, 7 December 2010, lot 6.Accompanied by a copy of the online Bonhams catalogue page, and the original lot ticket. The original function of this rare and unusual pendant remains elusive. The use of expensive materials and the fine and detailed casting indicate that it would have been a highly prized object. The fusion of Christian and pagan religious motifs is typical of Iceland where the worship of the old gods continued into the 11th century. The Christian cross was used as a symbol of the new faith but the pendant also includes elements of pre-Christian ideas. Comparable objects appeared in an exhibition of English Romanesque Art 1066-1200, held at the Hayward Gallery, London, 5 April - 8 July 1984. The catalogue for this exhibition illustrates numerous small metal and gilded articles with similar grotesque terminals- No. 254 illustrated a late 12th century finial from a shrine, which is in the Victoria and Albert Museum (M.25 1962).

South Germany, probably Augsburg, circa 1500-1520 A.D. Intended for a religious statue, with foot-shaped recesses to the top face; the left side with a painted polychrome scene comprising Saint Jerome and Saint Ambrose with Saint Michael holding a sword and scales for weighing souls; the right side painted with a scene comprising Saint Gregory the Great, Saint Augustine and Saint John the Evangelist; both scenes set with gilt architectural frame; the reverse with the Holy Spirit depicted as a dove. Cf. for similar style of painting Cuneo, P.F., ‘The Basilica Cycle of Saint Katherine's Convent: Art and Female Community in Early-Renaissance Augsburg’ in Woman's Art Journal, Vol. 19, No. 1 (Spring - Summer, 1998), pp. 21-25, figs.1-3; see also Christ and Mary as intercessors before God the Father, painting of Hans Holbein the Elder, in Bavarian State Painting Collection, inventory no. L.1507.1.95 kg, 16.5 cm high (6 1/2 in.). Ex Julius Böhler Ltd, Munich, Germany, 2000. Ex central London gallery.Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11741-202052. The base probably housed a statue of Christ. The painting, although mannerist, reflects the style of the Germanic Renaissance. The saints surrounding the dove are easily recognisable by their attributes. St Jerome as a penitent was often represented in front of a crucifix, next to him the hourglass and the skull, symbolising fleeing time leading to death. St Ambrose is represented with his whip, defending people from the enemies of the faith. St Michael is holding the sword and balance and St Augustine is represented with the child who appeared to him on the seashore admonishing him. Many representations from the Middle Ages show Pope St Gregory the Great (of a noble family and pontiff from 590 to 604) with the Dove of the Holy Spirit perched on his shoulder. St John the Evangelist is represented here according to the golden legend of Jacopo da Varazze, with a snake and a chalice. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]

Spain or Southern France, late 12th century A.D. Carved in the half-round with a frieze composed of interlaced foliage with two rows of acanthus leaves and foliage scrolls, framing a lion's head on one side and a human head on the other, remains of lion's mane to the third; drilled holes to the raised surfaces and sockets for the insertion of decorative stones. Cf. D’Emilio, J., ’The Royal Convent of Las Huelgas: Dynastic Politics, Religious Reform and Artistic Change in Medieval Castile’ in Studies in Cistercian Art and Architecture 6, Kalamazoo, 2005, pp.191-282, figs.11,13,15 (window Capital of Saint Andres de Arroyo, apse and South Chapel), 34 (Noyon cathedral), 36 (Laon cathedral); Igarashi-Takeshita, M., ‘Les lions dans la sculpture romane en Poitou’ in Cahiers de civilisation médiévale, 23e année (n°89), Janvier-mars 1980, pp.37-54.30 kg, 33.5 cm (13 1/4 in.). Acquired from Antoine Boccador-Lieveaux, 2005. Ex central London gallery.Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11739-202053. The iconography of this capital is probably associated with the biblical story of Daniel in the lion's den. Capitals like this were part of an extensive decorative program which characterised Spanish and the French churches especially in the late 12th century A.D., with the advent of the Cistercian style. Foliate capitals ornamented the churches of Las Claustrillas, Aguilar, Gama, and other Christian sites of Southern France and Northern Spain. Capitals decorated with similar acanthus foliage can be found in churches in Burgundy, for instance at Avallon, Vezelay, and Donzy-le-Pré. However, figurative elements of the old Romanesque art also persisted. [No Reserve]

A PUDDINGSTONE CARVING OF A LIONTang DynastyThe powerfully carved figure shown seated on its haunches with forelegs outstretched, the head facing forward with a fierce expression conveyed by bulging eyes and mouth open in a roar showing the teeth and up-curled tongue, the ears flattened back above the curling mane. 15cm (5 7/8in) high.Footnotes:唐 抱子石雕坐獅像Provenance: Roger Keverne Ltd., LondonA British private collection, acquired from the above on 7 March 2006來源：伦敦古董商 Roger Keverne Ltd.英國家族收藏，在2006年3月7日從上處購得Introduced into China from Central Asia as symbols of religious power, probably following the introduction of Buddhism during the Han dynasty, lions became significant protective emblems within elite architecture. The Buddha Shakyamuni was seen as a new-born child pointing to Heaven with one hand and to Earth with the other, 'roaring like a lion' and Buddhists regarded lions as divine creatures of nobleness and protectors of the Truth.Compare with a similar puddingstone model of a seated lion, Tang dynasty, in the Metropolitan Museum of Art, New York, illustrated by L.Roberts, Treasures from the Metropolitan Museum of Art, New York, 1979, no.28. Another puddingstone lion, Tang dynasty, formerly in the George Eumorfopoulos Collection in the British Museum, is illustrated by L.Ashton, An Introduction to the Study of Chinese Sculpture, London, 1924, pl.50.A related puddingstone model of a lion, Tang dynasty, was sold at Bonhams London, 8 November 2018, lot 20.For further information on this lot please visit Bonhams.com

A HUANGHUALI INCENSE STAND, XIANGJI17th/18th century or laterThe stand with a square panelled top fitted with 'ice-plate' edge above a narrow waist above cabriole legs terminating in square feet with trefoil designs carved in high relief, decorated with carved and inlaid mother of pearl designs, the top edges with sequences of wispy clouds, the waist with flowering lotus issuing acanthus leaves, the apron with pairs of confronted chilong enclosing lotus blossoms within ruyi borders, the legs with further chilong interspersed with ruyi clouds, the wood of an attractive blondish hue. 89cm (35in) high x 51cm (19 3/4in) length x 51cm (19 3/4in) deep. Footnotes:十七/十八世紀或以後 黃花梨有束腰嵌螺鈿龍紋香几The present lot appears to be rare in its combination of elegant freestanding cabriole legs and the use of both carved and elaborate mother-of-pearl-inlaid decoration.Known as xiangji, incense stands count amongst the rarest types of furniture originating during the Ming dynasty. They were made square, rectangular, octagonal, lobed or even circular. Their function was for displaying a rock sculpture, a fragrant bonsai (miniature plant), a flower vase or an incense burner, as recorded by Gao Lian in 'Eight Discourses on the Art of Living' Zunsheng Ba Jian, compiled in 1591. Incense and other aromatics have been burned in Chinese culture since the Han dynasty and were used for both, secular and religious purposes. Incense burners were not only used to burn incense as they could hold a variety of aromatic substances that slowly released their scent. Censers and their stands would be placed in Imperial offices, private residences but could also be placed in places of worship or used outdoors, as shown in woodblock illustrations of the Ming dynasty. Incense stands were thus a standard piece within Chinese furniture for any individual who could afford luxury goods; see Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, vol.1, pp.52-54, for further discussion on the use and shape of incense stands.Compare with a related huanghuali incense stand, 17th century, also displaying freestanding cabriole legs, late Ming/early Qing dynasty, which was sold at Christie's Hong Kong, 3 December 2021, lot 3031.This lot is subject to the following lot symbols: TP YTP 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A MAGNIFICENT GILT-BRONZE FIGURE OF SHAKYAMUNI BUDDHAYongle incised six-character mark and of the periodSuperbly cast seated in dhyanasan with hands in bhumisparsa and dhyana mudras, wearing a simple dhoti leaving the right shoulder bare and cascading into elegant folds before the incised six-character mark reading 'Da Ming Yongle nian shi', the face with crisp features and contemplative expression, flanked by large ears with pendant pierced lobes, the hair tightly coiled and piled onto the high usnisa, resting on a double-lotus pedestal, liberally gilded overall, the base sealed and decorated with a double vajra. 21cm (8 2/8in) high.Footnotes:明永樂 銅鎏金釋迦牟尼佛坐像「大明永樂年施」款Provenance: Henrik Valdemar Jacobsen (1887-1955), Harbin, China and Hellerup, Denmark, and thence by descent來源：雅國先 (1887-1955)，曾居中國哈爾濱和丹麥赫勒烏浦，並由後人保存迄今Henrik Valdemar Jacobsen served as the Consul of Denmark in Harbin, China 1919-1930. He was in Harbin in 1911 with the Danish East Asiatic Company (宝隆洋行), and was then appointed its manager, North East China, from 1917-1930, developing the company's trade in soy beans. On his return to Copenhagen, Denmark, he served as Managing Director from 1932-1952.This important gilt-bronze figure of Buddha, Yongle mark and period, was collected by Jacobsen during his work in China, amongst other objects which adorned his family home in Harbin and later in Hellerup, Denmark as can be seen in an old family photograph.The present magnificent gilt-bronze figure of Shakyamuni Buddha is amongst the very finest ever made during the Yongle period. For nearly a century it has remained with the same Danish family, and it is offered here for the first time since it left China prior to 1932.Emperors during the early Ming dynasty lavishly patronised Buddhism. The Hongwu emperor was a monk between the ages of about seventeen and twenty-four, and the Yongle and Xuande emperors continued to promote Tibetan Buddhism, also as means of extending their power and sphere of influence. The Yongle emperor welcomed Tibetan guests with great ceremony and gifts, and sent Imperial delegations to Tibet as early as 1403. In doing so he was recalling Kublai Khan's famous patron-priest relationship with his Tibetan Imperial Preceptor ʼPhags-pa (1235-1280), casting himself in the role of the Mongol Khan's spiritual heir and inheritor of Mongol political hegemony. Artisans from Tibet are believed to have remained in Beijing after the fall of the Yuan dynasty and continued to serve in the Ming Imperial Workshops, with frequent exchanges of sculptures and gifts between the Ming Court and Tibetan hierarchs and monasteries. Strong influence was exerted by the monk Daoyan (Yao Guangxiao) (1335-1418), who met Prince Yan, the future Yongle emperor, at the funeral of his mother the empress in Nanjing, and then travelled with him to his fiefdom in Beijing. Later he became a key military, political and religious adviser to the future Yongle emperor. Daoyan's influence continued in assisting Prince Yan to capture the throne from the Jianwen emperor in 1402. Therefore, the receipt of favourable omens and portents from Tibetan lamas and their blessings, served to strengthen the legitimacy of the Ming rule and its Mandate from Heaven, and particularly that of the Yongle emperor.The genius of Yongle period Buddhist sculpture is its ability to codify Imperial power, artistic creativity and religious authority within a single work of art. In the present lot these three elements exist on a scale that is both personal and intimate. The iconographic form of Shakyamuni Buddha represented here is rare among the corpus of surviving Yongle sculpture. Monumental examples include a complete shrine in the collection of the British Museum, published by W.Zwalf, ed., Buddhism: Art and Faith, London, 1985, no.305, (59cm) and another from the Speelman collection, which was sold at Sotheby's Hong Kong, 7 October 2006, lot 808 (72.5cm). Such works were part of a large-scale project of monastic patronage by the Yongle emperor, which included the construction, between 1412 and 1418, of the gilt bronze Golden Hall in the Palace of Supreme Harmony on Mount Wudang. The present example represents the historical Shakyamuni Buddha and commemorates the defeat of Mara at Bodhgaya, one of the 'Eight Great Places' of Buddhist pilgrimage. A small number of more intimately conceived pieces, range between approximately 15 and 28cm in height, perfectly encapsulating the essence of the monumental works. Every naturalistic detail has been painstakingly cast from the drape of the cloth to the poise of the fingers, the quintessential broad shoulders, powerful torsos, long legs and curly hair gathered in a pointed topknot.Recorded examples of similar-sized gilt bronze figures of Shakyamuni Buddha, Yongle mark and period are exceptionally rare and include the following: the first, published by U.von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, vol.II, pl.358A, (19.4cm); the second is illustrated by U.von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pl.146D (19cm) and was sold by Christie's London, 6 May 1975, lot 32; the third figure was sold by Christie's New York, 21 March 2001, lot 85 (19.7cm high); the fourth figure from the collection of Tuyet Nguyet and Stephen Markbreiter, was sold at Sotheby's Hong Kong, 7 October 2010, lot 2142 (21.2cm high); and the fifth and most recent example, is a figure of Shakyamuni Buddha, which was sold at Sotheby's Hong Kong on 3 October 2017, lot 3143 (20.2cm high). For another very similar example but with slightly different lotus lappets, in the Palace Museum, Beijing, see Splendors from The Yongle and Xuande Reigns of China's Ming Dynasty: Selected Artefacts, Beijing, 2010, p.244, no.118 (22cm high). 早在1911年，雅國先就随着丹麦跨国公司宝隆洋行的业务扩展来到了哈爾濱。他在1917-1930年间被委任为該洋行的中国东北地区经理，主力拓展公司的大豆业务，並在1919-1930年間兼任丹麥駐哈爾濱領事。在回到哥本哈根後，他繼續在寶隆洋行工作並在1932至1952年間出任行政總裁。 這尊珍罕永樂款銅鎏金佛像即為雅國先在中國時所入藏。同時進入其收藏的還有在其家庭老照片中可見，裝點於他在哈爾濱及丹麥赫勒烏浦家中各處的精美器物。 此像所刻畫者為佛陀釋迦牟尼，為永樂年製傳世佛像中之佼佼者。在過去近一世紀內，該像一直為雅國先家族所珍藏。此次現身拍場，實為其自1932年前離開中國後之首次亮相。 明初皇帝均大興佛教，供養不輟。洪武皇帝本人在19歲至24歲間曾出家侍佛，而永樂和宣德二帝則扶持藏傳佛教，並以此作為擴展帝國勢力及影響力的手段之一。永樂帝早在1403年就已遣使入藏，並數次迎請藏僧入朝說法且對其賞賜無數。如此一來，他便可效仿忽必烈以法王八思巴（1235-1280）為帝師之舉，將自己塑造成蒙古諸汗的精神傳人及元蒙政權理所當然的繼承者了。而從明皇室與藏區政教首領及寺廟之間頻繁的造像及禮物交換來看，相信的確有不少來自西藏的工匠在元代覆亡後依然留在北京，並繼續在明代的御作坊中工作。 在明初的政治局勢中，僧人道衍（姚廣孝，1335-1418）也是舉足輕重的人物之一。他在高皇后的葬儀法事上與其子燕王（即後來的永樂帝朱棣）相識並相談甚歡，後更隨後者入燕，成為朱棣在軍事、政治和宗教上的重要幕僚。1402年時，道衍亦參與到靖難之變中，助燕王從建文帝手中篡得帝位。因此，來自藏傳佛教高僧的預言及祝禱一直是明代統治合法性及其「天命所歸」的重要論述基礎，尤其是對永樂帝而言。 永樂年間佛教造像的精華之處，尤在於其融皇權之尊貴、藝術的創造性，及宗教之威嚴於一體。在本拍品上，這三種元素亦緊密結合，表露無遺。 本拍品上所呈現之釋迦牟尼形象在傳世永樂造像中十分罕見。一些較大型的例子可見於大英博物館所藏的一座完整的佛龕，見W.Zwalf所編Buddhism: Art and Faith，倫敦，1985年，編號305（59cm），以及2006年10月7日香港蘇富比以編號808售出的一件原Speelman藏佛像（72.5cm）。這類造像多用於永樂帝大興土木所建造的佛寺中，其中一所即為建於1412至1418年間的武當山太和宮銅鎏金金殿。而本拍品所刻畫的則為釋迦牟尼佛在佛教八大聖地之一菩提伽耶（Bodhgaya）結觸地印斥退摩羅（Mara）群魔，終證悟成道之情境。 如本拍品一般精巧，高度在15至28釐米之間的作品為數不多，但它們蘊含的細節及表現的氣韻卻與大型作品不遑多讓。從垂墜衣紋到精細的手部姿態，從典型的寬闊肩部到健美的身軀，還有修長雙腿以及捲髮頂髻，所有寫實細節均由精妙鑄工一一呈現。 目前可見與本拍品尺寸相類之永樂款鎏金釋迦牟尼像且有著錄者僅有數例。其一收錄於U. von Schroeder著Buddhist Sculptures in Tibet （西藏佛教雕塑），香港，2001，卷二，圖版358A（高19.4 cm）。其二可見於U. von Schroeder著Indo-Tibetan Bronzes（印度西藏青銅器），香港，1981年，圖版146D（高19 cm）。該像於1975年5月6日以編號32為倫敦佳士得售出。其三則為紐約佳士得於2002年3月21日所售，編號85（高19.7 cm）。其四為雪月舊藏（Collection of Tuyet Nguyet and Stephen Markbreiter），於2010年10月7日為香港蘇富比所售，編號2141（高21.2 cm）。第五例，亦即最近拍場可見的一例，為香港蘇富比於2017年10月3日售出的明永樂鎏金銅釋迦牟尼佛坐像（高20.2 cm），編號3143。北京故宮博物院亦藏有一例（高22 cm），雖蓮座稍有不同但亦可資比對，見《明永樂宣德文物圖典》，北京，2010年，頁244，編號118。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

AN IMPERIAL THANGKA OF SAMANTABHADRAChina, QianlongDistemper on cloth.Framed and glazed. 117cm (46in) high x 74cm (29 1/8in) wide; including the frame 180cm (71in) high x 115cm (45 2/8in) wide. Footnotes:清乾隆 御製普賢菩薩唐卡 Provenance: an Italian private collection來源: 意大利私人收藏The main deity occupying the central position, seated atop an elephant over an elaborate lotus throne, flanked by two masters of the Gelug tradition, identified by the inscriptions as Butui Sheng Zhanglao 不退聖長老 and Anyin Sheng Zhanglao 暗隱聖長老. The present thangka was likely painted in the Imperial Workshops of Beijing for the decoration of the Xumi Fushou Temple in Chengde, which was built outside the capital under the auspices of the Qianlong emperor and Changkya Rolpai Dorje, his Buddhist preceptor. Xumi Fushou Temple was built as a replica of the Tashilhunpo Monastery, for the sixth Panchen Lama's visit to China to celebrate the Qianlong emperor's seventieth birthday (1780). Like his grandfather before him, the Kangxi emperor, Qianlong recognised that the arrival of the revered Panchen Lama to Chengde demonstrated enormous political and religious power in the eyes of the Mongol khans, who were devout Tibetan Buddhists, and who would also be in attendance at the emperor's birthday celebrations. As an outstanding gesture of good will and a grandiose display of his power, the emperor aimed at replicating the Tashilhunpo Monastery, seat of the Panchen Lama in Tibet, in the summer retreat of Chengde, close to the Mongolian borders. The resulting temple was filled with countless paintings, sculptures, and other ritual objects which were made in a style that flourished during the 18th century as a result of the cultural interchange between China, Mongolia and Tibet. The intricate textile designs, the exquisite gold work throughout, the jewelled mandorla, the pastel palette and vaporous ruyi clouds, noted on the present lot, are all features associated with the paintings produced for the Ximu Fushou Tample. See, for example, a thangka of Ratnasambhava, 18th century, from the Xumi Fushou Temple, in the Asian Art Museum of San Francisco, acc.no.B83D6, and a thangka of Sitatapatra, 18th century, in the Museum of Asian Art, Philadelphia, acc.no.1959-156-4.The style and format of the present lot also closely compare with a thangka of Ksitigarbha, 18th century, also attributed to the Xumi Fushou sets, formerly in the collection of the Metropolitan Museum of Art, which was sold at Christie's New York, 12 September 2018, lot 230. Here, close similarities can be noted in the princely appearance of the central figure, backed by multi-coloured rays, seated atop a white animal on a lotus throne elaborately decorated with golden designs on a royal blue ground; note also the similar way of rendering the green cliffs and ornamented trees flowing into the body of water, and the cluster of jewels laid before the central figure, which reflect a Tibetan influence.Samantabhadra is a Bodhisattva associated with practice and meditation. Together with Shakyamuni Buddha and the Bodhisattva Manjusri, he forms the Shakyamuni Triad in Mahayana Buddhism. According to the 'Avatamsaka Sutra', the deity made the ten great vows which are the basis of a Bodhisattva. In Chinese Buddhism, Samantabhadra is known as Puxian. He is frequently seated atop an elephant; he is associated with action and can hold a variety of different attributes such as a vajra sceptre, book, parasol, vase, jewels and others.Compare with a further thangka of Cittavisramana Avalokitesvara, 18th century, painted in the Forbidden City by monk painters, illustrated by T.T.Bartholomew, 'Thangkas of the Qianlong Period', in J.Casey Singer and P.Denwood, Tibetan Art: Towards a Definition of Style, London, 1997, p.116, pl.99.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's 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

Bedeutende Polnische Tora-KroneSilber; teilweise vergoldet. Die vergoldete Basis mit einem àjour dekorierten, weißsilbernen Mantel aus fein ziselierten Blattmuscheln, Blüten und Akanthus über einem Reliefband mit Vogelpaaren. Die sechs Bügel in Form plastisch ausgeführter steigender Löwen, einen Akanthuskranz mit eingehängten Glocken haltend. Die Bügel der oberen Krone in Form von Greifen; als Bekrönung ein stilisierter Baum mit einem Adler, eine Taube im Schnabel haltend; darunter die vergoldete Figur eines liegenden Löwen. Der Stirnreif der oberen Krone mit umlaufend gravierter hebräischer Inschrift: "Die Krone der Tora, die Krone der Priesterwürde und die Krone des Königtums", datiert 1819. Im Boden zwei zylindrische Halterungen für die Stäbe der Tora-Rollen. Die unteren und oberen Bügel an den Ansätzen mit farbigen Glassteinen in Kapselfassungen; zum Teil bestoßen oder verloren. Ungemarkt. H 32,5 cm, Gewicht 1.499 g.Galizien (Polen/Ukraine), um 1819.Die hebräische Gravur bezieht sich auf eine Stelle in der Mischna: »Es gibt drei Kronen: die Krone der Tora, die Krone der Priesterwürde und die Krone des Königtums. Die Krone des guten Namens aber übertrifft sie alle.« (Pirke Awot 4,17).Eine nahezu identische Krone befindet sich in der Sammlung des Israel-Museums in Jerusalem (Inv. Nr. 5895). Ähnliche Ausführungen sind weltweit in den großen Judaika-Sammlugen vertreten, beispielsweise im Jewish Museum in New York oder im Historischen Museum Krakau.LiteraturVgl. Rafi Grafman, Crowning Glory: Silver Torah Ornaments of the Jewish Museum, New York, New York 1996, 270, 273, sowie Abram Kanof, Jewish Ceremonial Art and Religious Observance, New York 1969, Abb. 15. Zu den Torakronen vgl. auch Kat. Schätze des Jüdischen Galizien, Lemberg/Lviv 2002, S. 16, 19.

A VERY RARE BRONZE 'ZHANG QIAN AND BOAT' HANGING INCENSE VESSELMing DynastyThe vessel expertly cast as a boat in the form of a large lotus petal, with a mythical-beast head at the front, a Daoist Immortal with jovial expression seated at the stern, wearing a lotus-leaf hat and holding an open book, his right hand holding the rudder, the deck with leafy-tendril openwork, the exterior of the boat decorated with a band of openwork C-scrolls, with three raised suspension lugs attached to three chains hung from a loop ring. 25.5cm (10in) long.Footnotes:明 仙人乘槎掛式銅吊爐Published, Illustrated and Exhibited: Michael Goedhuis, Chinese and Japanese Bronzes A.D.1100-1900, London, 1989, no.24. 展覽著錄：Michael Goedhuis著，《Chinese and Japanese Bronzes A.D.1100-1900》，倫敦，1989年，編號24The present lot is very rare. Although it is an incense burner or perfumer, the shape may possibly have been inspired by Central Asian and Persian kashkul, or so called 'beggar's bowls'. The kashkul was a sign of religious poverty assumed by Sufis and Islamic mystics, and was worn around the neck with a chain. The bowl's boat-like shape became symbolic of the dervish's journey on the ocean of mystic knowledge. See for example, a kashkul, ca.1500, Iran or Afghanistan, of similar boat-shape and with chain, in the Victoria and Albert Museum, London (acc.no.755-1889).The present lot, although not Islamic, shares the Sufi's concern with mysticism and the journey for knowledge, except now there is a Daoist Immortal with a book riding the boat. Immortals riding a raft (Xianren chengcha 仙人乘槎) are frequently depicted in other materials such as bamboo or rhinoceros horn carvings. See for example, a rhinoceros horn cup with Immortal on a raft, late Ming/early Qing, illustrated in Bamboo, Wood, Ivory and Rhinoceros Horn Carvings in the Collection of the Palace Museum, Beijing, 2010, p.302. The earliest record of the tale of an 'Immortal Riding a Raft' was in the Record of Diverse Matters (博物志) written by Zhang Hua (c.290 CE). According to this book, every Eighth Month, boats commute between the sea and the Milky Way leading one to Immortality. Later, this myth became conflated with the historical figure of Zhang Qian (張騫) the Han dynasty explorer and envoy to Central Asia. See a silver cup depicting an Immortal on raft, Yuan dynasty, illustrated in Zhongguo meishu quanji, vol.10, Beijing, 1996, no.154. S.Lee, in Chinese Art under the Mongols: The Yuan Dynasty, Cleveland, 1968, entry 37, mentions that this could be a depiction of the Daoist deity Taiyi zhenren (太乙真人), travelling to the fairy islands of Penglai.For further information on this lot please visit Bonhams.com

Iqbal (Muhammad, 1877-1938). South Asian Muslim writer, philosopher, scholar and politician. Six Lectures on the Reconstruction of Religious Thought in Islam, 1st edition, Lahore: Kapur Art Printing Works, 1930, errata slip tipped in after title, author's signed presentation inscription in brown ink to front free endpaper, 'Presented Mr Edward Thompson with the author's compliments, Muhammad Iqbal, Lahore, 6th March 1933', indistinct ink name stamp of Lahore bookseller at foot of page, original cloth gilt, slightly rubbed and soiled with some damp wrinkling, 8voQTY: (1)NOTE:An uncommon autograph by Iqbal who is widely regarded in Pakistan as the ideological founder of the state. The dedicatee was Edward John Thompson (1886-1946), British scholar, novelist, historian and translator. Remembered for his translations of Rabindranath Tagore he was also friends with leaders across the Indian political leadership, including Gandhi, Nehru and Iqbal. See also Nehru below.

TWO TIBETAN WHITE METAL AMULETS, GAU QING DYNASTY, 19TH CENTURY 清 藏銀嵌綠松石嘎烏盒帶忿怒相護法擦擦 及 藏銀嵌綠松石方形嘎烏盒串珊瑚珠項鏈（共兩件） comprising: an ogee-shaped shrine, the cover decorated with scrolling vine ground and beaded borders, inlaid with turquoise beads, showing from the shaped cartouche, the window opening (tibetan sgo skyim) in the centre with a tsatsa of a wrathful deity; the other a rectangular amulet box, decorated with filigree inlaid with turquoise beads, with a coral-bead necklace Dimensions:the shrine: 13cm x 11.5cm x 3cm; the necklace: 32cm longProvenance:Provenance: Private English collection, Hertfordshire; may have been acquired by Theophilus Sampson (1831-1897), the current owner's great-great uncle, thence by descent.Theophilus Sampson spent 35 years in Canton working first in the Whampoa port as Constable to the British Vice Consulate and latterly as an English teacher at the Chinese Government School (Tung Wen Kwan). The two photos show Theophilus Sampson as a young man and older in Chinese dress.Note: Note: Gau is an overall term for an amulet or a charm box. It is a receptacle or container of sacred relics or images worn by Buddhist devotees as a protecting amulet in daily religious and worldly life. In its most prominent torana (ogee) form, the gau also serves as a miniature shrine on pilgrimage or at home with a central window to reveal a particularly precious object, such as a small sculpture or relic. See Michael Henss. 2020. Buddhist Ritual Art of Tibet. Stuttgart: Arnoldsche, pp. 367-373.

Ausländische Orden & Ehrenzeichen - Königreich beider Sizilien : Orden des Heiligen Ferdinand und des Verdienstes - Bruststern zum Großkreuz.Silber, das Medaillon und die in plastischer Goldschmiedearbeit aufgelegte Heiligenfigur und der Schriftreif Gold und Emaille.Der gesamte Sternkörper und die Fleur de Lys mit geschliffenen Markasit - Steinen besetzt. Auf der Rückseite geschwungene Doppelnadel. Weitere Bruststerne königlich sizilianischer Orden von ähnlicher Qualität aus dem Besitz der Könige beider Sizilien befinden sich in der Sammlung Dr. Spada und sind im Museum der Ehrenlegion in Paris ausgestellt. Die Herstellung von mit markasitbesetzten Ordenssternen war eine Mode, die vor allem in Neapel im ausgehenden 18. Jahrhundert anzutreffen ist. Diese Ordensinsignien wurden fastausschließlich im Auftrag der Könige und Prinzen des Hauses Bourbon - Sizilien angefertigt. Die Vorliebe für diese überaus prächtigen Ordensinsignien scheint sich bis in die Napoleonische Zeit gehalten zu haben. So ist ein Großkreuzsatz des Königlichen Ordens Beider Sizilien aus dem Besitz Joachim Murats bekannt, der in dieser Technik ausgeführt ist. Ebenso wurden für Murat verschiedene Ehrensäbel mit Markasitbesatz hergestellt. Die Könige Beider Sizilien ließen eine Garnitur ihrer sämtlichen Ordenssterne in dieser Art anfertigen. Diese, dem hier angebotenen Stück sehr ähnliche Exemplare aus dem sizilianischen Königshaus befinden sich in der Sammlung Dott. Antonio Spada und sind in dem Ausstellungskatalog des Pariser Musée National de la Légion d'Honneur et des Ordres de Chévalerie (Hrsg.) : Honneur & Gloire - Les Trésors de la Collection Spada, S. 134 ff abgebildet und beschrieben.. In enger Verwandtschaft mit diesen Ordenssternen stehen die aus geschliffenem Stahl hergestellten Bruststerne des späten 18. Jahrhunderts. Mir sind russische, englische und deutsche Ordenssterne bekannt, die in dieser Technik angefertigt wurden. Die Modeerscheinung des geschliffenen Stahlschmucks war im späten 18. Jahrhundert ein in ganz Europa weit verbreitetes Phänomen. Die prächtigen in dieser Art hergestellten Ordensinsignien gehören zu den kunsthandwerklich schönsten und goldschmiedetechnisch hochwertigsten Erzeugnissen, die jemals im Bereich der Orden und Auszeichnungen geschaffen wurden. Bedeutender Ordensstern von größter Seltenheit. Foreign Orders & Decorations - Königreich beider Sizilien : Order of Saint Ferdinand and the Merit Breast Star to the Grand Cross.Silver breast star features the image of Saint Ferdinand and is sculpted in superb goldsmith's craftsmanship. The motto's ring is crafted in gold and enamel parts. The entire body of the star and the Fleur de Lys are studded with polished marcasite stones. The reverse of the Star features a curved double pin for attaching to a robe, i.e. uniform. The other breast stars from the royal Sicilian family and from the estate of the Kings of the Two Sicilies reflect the same design and quality. They are to be found in the collection of Dr. Spada and are exhibited in the Museum of the Legion of Honour in Paris. The production of breast stars studded with marcasite was a fashion, which is to be found especially in Naples at the end of the 18th century. These insignia were made almost exclusively on behalf of the Kings and princes of the House of Bourbon - Sicily. However, the preference for these exceedingly magnificent orders seems to have persisted until the Napoleonic period. A Grand Cross of the Napoleonic Royal Order of Two Sicilies worn by Joachim Murat is executed in this technique. Various honorary Sabres with Markasite trim were also produced for King Joachim. The Kings of the Two Sicilies had a set of all their order stars made in this fashion. These specimens from the Sicilian royal house, are very similar to the one offered at auction and are in the collection of Dott. Antonio Spada. They are featured in exhibition catalog of the Paris Musée National de la Légion d'honneur et des Ordres de Chévalerie (Ed.): Honneur & Gloire - Les Trésors de La Collection Spada, P. 134 Illustrated and described. Some breast stars of the late 18th century, made of polished steel, are closely related to these breast stars. Very few splendid examples of Russian, English and German breast stars produced in this technique are known in museums and private collections. The fashion of polished steel jewelry was a widespread phenomenon throughout Europe probably due to the extreme rarity of diamonds at the time before the large diamond deposits were discovered in South Africa in the 19th century. Order insignia produced in steel or marcasite style are among the most artistically beautiful goldsmith creations in the field of orders and awards. Major religious star of greatest rarity.

Vu Cao Dam (1908-2000), Oil Painting Image Size: 20 1/2 by 17 1/2 in. (52 by 44 cm.) All measurements are approximate. Signed (lower right) Vu Cao Dam (1908-2000) was a key French artist in the development of Vietnamese art in the early 20th century. Vu Cao Dam specializes in oriental gouache and silk painting, often with portraits, but also with folklore and religious themes. Vu Cao Tan's paintings are often based on humanistic knowledge, such as depicting the four academic pursuits of Vietnamese literati, reflecting his formative years. Nguyn Du's 18th-century novel Kim Vn Ki u was also a favorite of Vu, as he often depicted scenes from the famous story, evoking the love and hope that resonated so strongly with the Vietnamese people. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.

A HIRADO GLAZED PORCELAIN NETSUKE OF A BOY WITH SHISHIMAI MASKUnsigned Japan, 19th centuryWell potted as a boy holding a shishimai mask in front of him, the mask with a loose ball inside, the boy with one foot placed over the other in a dancing pose, the netsuke covered with deep blue and amber glazes for the boy's robes and the lion mask. The back with large asymmetrical himotoshi.HEIGHT 5 cmCondition: Excellent condition with minor wear and firing irregularities.The shishi masked dance (shishimai) is performed to ward off disease and calamity. It is thought to have been imported from China during the Tang dynasty, and became associated with the celebration of Buddha's Birthday, originating as a religious ceremony, but the excitement of the dance, the music, and the rhythms increased over the centuries, so that over time it was performed for entertainment rather than ritualistic purposes.This netsuke was fired in the Mikawachi kilns of Hizen province (current Nagasaki and Saga Prefectures) in Kyushu, the southernmost island of Japan. The official kiln of the Hirado clan was located there, and the area's kilns generally produced fine white porcelain, for both the domestic and European markets, from the later part of the seventeenth century to the present day.Museum comparison:Compare a closely related Hirado porcelain netsuke of a karako with a shishimai mask in the British Museum, registration number Franks.1462.+, illustrated in Tsuchiya (2014) Netsuke: 100 miniature masterpieces from Japan, p. 21, no. 1.Auction comparison: Compare a related Hirado porcelain netsuke of a karako with a Daikoku mask, 6.3 cm high, dated 19th century, Edo period, at Galerie Zacke, Fine Japanese Art, 3 December 2021, Vienna, lot 290 (sold for 2,402 EUR).

§ Roy De Maistre C.B.E. (Australian / British 1894-1968) Preparatory Sketch for 'On The Slips', 1931 initialled (lower left), inscribed and dated Socoa s*** 28th 1931, pen, ink and wash on paperDimensions:38cm x 28cm (15in x 11in)Provenance:ProvenanceCelia Broadbent (neé Keogh) and by direct descent to the present owner.Celia Broadbent was de Maistre’s cousin once removed, and his executor and friend; her mother, Camilla Keogh, was the subject of ‘La Folie', considered one of de Maistre’s major works.Note: Roy de Maistre is celebrated as an Australian pioneer of abstraction. After graduating from Sydney’s Royal Art Society, de Maistre worked as a colour therapist to aid World War One soldiers suffering from shellshock. A 1923 scholarship enabled him to travel to London, Paris and St Jean de Luz, where he encountered European modernism; Cubism, in particular, had a profound impact on his style. In 1930 de Maistre settled in London, where he befriended Francis Bacon, encouraged him to take up oil painting and is credited for expanding Bacon’s technical and art-historical knowledge. The two artists took neighbouring studios on the King’s Road, Chelsea, and their output in the early 1930s demonstrates mutual influence. De Maistre predominantly painted portraits and interior scenes. He also maintained an interest in religious subjects which intensified following World War Two; his 1954 ‘Stations of the Cross’ remain on display at Westminster Cathedral. A retrospective of De Maistre’s work was held at the Whitechapel Gallery in 1960, and his work is represented in important collections including Tate Britain, the National Gallery of Australia, and the Arts Council of Great Britain. The present collection comes from de Maistre’s cousin-once-removed Celia Broadbent, who was his executor and friend. Celia’s mother was Camilla Keogh, subject of ‘La Folie’ (1946-47), considered one of de Maistre’s major works.

§ Roy De Maistre C.B.E. (Australian / British 1894-1968) The Crucifixion signed (lower right), oil on canvasDimensions:44cm x 29cm (17 1/4in x 11 3/8in)Provenance:ProvenanceCelia Broadbent (neé Keogh) and by direct descent to the present owner.Celia Broadbent was de Maistre’s cousin once removed, and his executor and friend; her mother, Camilla Keogh, was the subject of ‘La Folie', considered one of de Maistre’s major works.Note: Roy de Maistre is celebrated as an Australian pioneer of abstraction. After graduating from Sydney’s Royal Art Society, de Maistre worked as a colour therapist to aid World War One soldiers suffering from shellshock. A 1923 scholarship enabled him to travel to London, Paris and St Jean de Luz, where he encountered European modernism; Cubism, in particular, had a profound impact on his style. In 1930 de Maistre settled in London, where he befriended Francis Bacon, encouraged him to take up oil painting and is credited for expanding Bacon’s technical and art-historical knowledge. The two artists took neighbouring studios on the King’s Road, Chelsea, and their output in the early 1930s demonstrates mutual influence. De Maistre predominantly painted portraits and interior scenes. He also maintained an interest in religious subjects which intensified following World War Two; his 1954 ‘Stations of the Cross’ remain on display at Westminster Cathedral. A retrospective of De Maistre’s work was held at the Whitechapel Gallery in 1960, and his work is represented in important collections including Tate Britain, the National Gallery of Australia, and the Arts Council of Great Britain. The present collection comes from de Maistre’s cousin-once-removed Celia Broadbent, who was his executor and friend. Celia’s mother was Camilla Keogh, subject of ‘La Folie’ (1946-47), considered one of de Maistre’s major works.

§ Roy De Maistre C.B.E. (Australian / British 1894-1968) Lady and Green Jug oil on canvasDimensions:60cm x 49.5cm (23 1/2in x 19 1/2in)Provenance:ProvenanceCelia Broadbent (neé Keogh) and by direct descent to the present owner.Celia Broadbent was de Maistre’s cousin once removed, and his executor and friend; her mother, Camilla Keogh, was the subject of ‘La Folie', considered one of de Maistre’s major works.Note: Roy de Maistre is celebrated as an Australian pioneer of abstraction. After graduating from Sydney’s Royal Art Society, de Maistre worked as a colour therapist to aid World War One soldiers suffering from shellshock. A 1923 scholarship enabled him to travel to London, Paris and St Jean de Luz, where he encountered European modernism; Cubism, in particular, had a profound impact on his style. In 1930 de Maistre settled in London, where he befriended Francis Bacon, encouraged him to take up oil painting and is credited for expanding Bacon’s technical and art-historical knowledge. The two artists took neighbouring studios on the King’s Road, Chelsea, and their output in the early 1930s demonstrates mutual influence. De Maistre predominantly painted portraits and interior scenes. He also maintained an interest in religious subjects which intensified following World War Two; his 1954 ‘Stations of the Cross’ remain on display at Westminster Cathedral. A retrospective of De Maistre’s work was held at the Whitechapel Gallery in 1960, and his work is represented in important collections including Tate Britain, the National Gallery of Australia, and the Arts Council of Great Britain. The present collection comes from de Maistre’s cousin-once-removed Celia Broadbent, who was his executor and friend. Celia’s mother was Camilla Keogh, subject of ‘La Folie’ (1946-47), considered one of de Maistre’s major works.

§ Roy De Maistre C.B.E. (Australian / British 1894-1968) Two Ladies Reading pastel and watercolour on paper Dimensions:41cm x 68.5cm (16 1/8in x 27in)Provenance:ProvenanceCelia Broadbent (neé Keogh) and by direct descent to the present owner.Celia Broadbent was de Maistre’s cousin once removed, and his executor and friend; her mother, Camilla Keogh, was the subject of ‘La Folie', considered one of de Maistre’s major works.Note: Roy de Maistre is celebrated as an Australian pioneer of abstraction. After graduating from Sydney’s Royal Art Society, de Maistre worked as a colour therapist to aid World War One soldiers suffering from shellshock. A 1923 scholarship enabled him to travel to London, Paris and St Jean de Luz, where he encountered European modernism; Cubism, in particular, had a profound impact on his style. In 1930 de Maistre settled in London, where he befriended Francis Bacon, encouraged him to take up oil painting and is credited for expanding Bacon’s technical and art-historical knowledge. The two artists took neighbouring studios on the King’s Road, Chelsea, and their output in the early 1930s demonstrates mutual influence. De Maistre predominantly painted portraits and interior scenes. He also maintained an interest in religious subjects which intensified following World War Two; his 1954 ‘Stations of the Cross’ remain on display at Westminster Cathedral. A retrospective of De Maistre’s work was held at the Whitechapel Gallery in 1960, and his work is represented in important collections including Tate Britain, the National Gallery of Australia, and the Arts Council of Great Britain. The present collection comes from de Maistre’s cousin-once-removed Celia Broadbent, who was his executor and friend. Celia’s mother was Camilla Keogh, subject of ‘La Folie’ (1946-47), considered one of de Maistre’s major works.

§ Roy De Maistre C.B.E. (Australian / British 1894-1968) Figure in Tartan charcoal on paperDimensions:73cm x 53.5cm (28 3/4in x 21in)Provenance:ProvenanceCelia Broadbent (neé Keogh) and by direct descent to the present owner.Celia Broadbent was de Maistre’s cousin once removed, and his executor and friend; her mother, Camilla Keogh, was the subject of ‘La Folie', considered one of de Maistre’s major works.Note: Roy de Maistre is celebrated as an Australian pioneer of abstraction. After graduating from Sydney’s Royal Art Society, de Maistre worked as a colour therapist to aid World War One soldiers suffering from shellshock. A 1923 scholarship enabled him to travel to London, Paris and St Jean de Luz, where he encountered European modernism; Cubism, in particular, had a profound impact on his style. In 1930 de Maistre settled in London, where he befriended Francis Bacon, encouraged him to take up oil painting and is credited for expanding Bacon’s technical and art-historical knowledge. The two artists took neighbouring studios on the King’s Road, Chelsea, and their output in the early 1930s demonstrates mutual influence. De Maistre predominantly painted portraits and interior scenes. He also maintained an interest in religious subjects which intensified following World War Two; his 1954 ‘Stations of the Cross’ remain on display at Westminster Cathedral. A retrospective of De Maistre’s work was held at the Whitechapel Gallery in 1960, and his work is represented in important collections including Tate Britain, the National Gallery of Australia, and the Arts Council of Great Britain. The present collection comes from de Maistre’s cousin-once-removed Celia Broadbent, who was his executor and friend. Celia’s mother was Camilla Keogh, subject of ‘La Folie’ (1946-47), considered one of de Maistre’s major works.

§ Roy De Maistre C.B.E. (Australian / British 1894-1968) View onto the Garden at Compiègne, 1947 inscribed (to reverse), oil on boardDimensions:39.5cm x 29.2cm (15 1/2in x 11 1/2in)Provenance:ProvenanceCelia Broadbent (neé Keogh) and by direct descent to the present owner.Celia Broadbent was de Maistre’s cousin once removed, and his executor and friend; her mother, Camilla Keogh, was the subject of ‘La Folie', considered one of de Maistre’s major works.Note:Exhibited Carnegie Institute, Pittsburgh, Pittsburgh International, 1950. Roy de Maistre is celebrated as an Australian pioneer of abstraction. After graduating from Sydney’s Royal Art Society, de Maistre worked as a colour therapist to aid World War One soldiers suffering from shellshock. A 1923 scholarship enabled him to travel to London, Paris and St Jean de Luz, where he encountered European modernism; Cubism, in particular, had a profound impact on his style. In 1930 de Maistre settled in London, where he befriended Francis Bacon, encouraged him to take up oil painting and is credited for expanding Bacon’s technical and art-historical knowledge. The two artists took neighbouring studios on the King’s Road, Chelsea, and their output in the early 1930s demonstrates mutual influence. De Maistre predominantly painted portraits and interior scenes. He also maintained an interest in religious subjects which intensified following World War Two; his 1954 ‘Stations of the Cross’ remain on display at Westminster Cathedral. A retrospective of De Maistre’s work was held at the Whitechapel Gallery in 1960, and his work is represented in important collections including Tate Britain, the National Gallery of Australia, and the Arts Council of Great Britain. The present collection comes from de Maistre’s cousin-once-removed Celia Broadbent, who was his executor and friend. Celia’s mother was Camilla Keogh, subject of ‘La Folie’ (1946-47), considered one of de Maistre’s major works.

Lucas Price / Cyclops (British, b. 1975)Mentasm2008Screen print on woven paperSigned and numbered 12 of 45 in pencilFramed & glazedAccompanied with certificate of authenticity 51 x 36 cm (20" x 14")Contemporary artist Lucas Price, formerly known as Cyclops, blends the traditional and the modern, merging contemporary photo realism with antiquated styles and religious iconography. Price completed a Masters degree at the Royal College of Art, London. In 2008, he exhibited at the Tate Modern as part of their exhibition ‘Art on the Street’ and, in 2015, appeared in Bonhams’ contemporary auction. As well as working as a fine artist, Lucas Price founded the postmodernist menswear label ‘A.Four Labs’, with Tokyo-based designer Kazuki Kuraishi.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

SIR GEORGE HARVEY PRSA FRSE (SCOTTISH 1806 - 1876), THE MOUNTAIN MIRROR oil on panel, signed and dated 1863, titled label versoframedimage size 81cm x 122cm, overall size 97cm x 136cmProvenance: Handwritten artist's label versoExhibition label verso: Scottish National Exhibition, Edinburgh, 1908 cat no 1 (having been kept by Harvey's family following his death).Exhibited Royal Scottish Academy, Edinburgh 1918 cat no 171 lent by Sir George A (Andreas) Berry 31, Drumsheugh Gardens, Edinburgh.Note: There is a handwritten note from Harvey himself outlining how to care for the painting. As a student of painting, George Harvey so distinguished himself that at the age of twenty he was invited to become an associate of the Royal Scottish Academy. His genre paintings showing scenes of daily Scottish life proved popular, and usually conveyed a moralising or religious sentiment. Later in life, He became a full member of the Royal Scottish Academy in 1829, and was elected President in 1864. He was knighted in 1867. UK public collections hold 139 examples of Sir George Harvey's work including at Glasgow Museums & Galleries, The Hunterian, Leicester Museum & Gallery, The National Galleries of Scotland, Museums & Galleries Edinburgh, Dunfermline City Chambers, the Kelvingrove Art Gallery & Museum, The Whitaker and the Royal Scottish Academy.

POSTCARDS, two albums containing approximately 487* early 20th century Postcards (early Edwardian - 1920's with exceptions) from Britain, Europe and N. America, subjects include sentimental, comical, topographical, artistic, religious, animals and photographic portraiture examples (early 20th century actors, actresses and beauties, etc) publishers include Inter-Art Co, London, Alphalsa Publishing, London, Valentine's, Eyre & Spottiswode, C.W. Faulkner, Zugel Madrid, Stengel & Co, Dresden, J. Beagles & Co, Davidson Bros. from originals by Tom Browne, Raphael Tuck & Sons, 'Oillette' etc

POSTCARDS, two albums containing approximately 513* early 20th century Postcards (early Edwardian - 1930's with exceptions) from Britain, Europe, Africa and N. America, subjects include sentimental, comical, religious, topographical, floral and scenic artistic, animals, photographic portraiture examples (early 20th century actors, actresses and beauties, etc) ships and military including rare photographic, publishers include Philco Publishing Co. London, Davidson Bros, Forward Series, Birmingham, Valentine & Sons, Bamforth, Max Ettlinger & Co. London, The Art Publishing Co. Glasgow, G.D. & D. London - 'The Star Series' Daily Mail Official War Pictures, Rotary Photographic Series, V.S.M. Series, Excelsior Series, etc

Early Dynastic Period, ca. 2750-2649 BC. A skillfully carved alabaster bowl, featuring a conical-shaped body with walls flaring outwards, creating a deep basin. Alabaster bowls were highly valuable in Ancient Egypt due to their lustrous, translucent appearance and durability. These bowls were often used to store food and drink or to serve offerings to the gods and goddesses in religious ceremonies. Alabaster bowls were also used to hold cosmetics, perfumes, and ointments, as well as to store jewelry and other precious items. The material was also used to create sculptures and decorations for tombs and temples. Not only were alabaster bowls highly valued in Ancient Egypt, they were also widely traded and exported, making them both a symbol of wealth and a source of income for the ancient Egyptians. For a similar, see The Metropolitan Museum of Art, Accession Number: 12.181.80.Size: L:40mm / W:110mm ; 210gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 500 BC. A stunning and rare D-shaped gold ring composed of a round-section hoop and an applied bezel engraved with glyphs. The engraved glyphs on the bezel are an example of the Phoenician writing system, which was used from the 16th century BC until the 2nd century AD. The Phoenician script was the precursor to the modern-day alphabet we use today, and their writing system was widely used for commercial and religious purposes. The Phoenician civilization was known for its extensive trade network, which spanned across the Mediterranean and beyond. They were skilled in metalworking, producing fine jewelry and other metal objects, such as weapons and tools. The Phoenicians were also known for their production of purple dye, which was highly valued in the ancient world.Size: D: 15.27mm / US: 4 1/2 / UK: I 1/2; 12.92gProvenance: Private London collection; British art market 1990s.