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Ca. AD 800 - 900 .A bronze flask with a squat body, tall flaring foot, tulip-shaped mouth, and decorative engravings. These bronze bottles were used for religious and ceremonial ablutions in Islamic worship due to their unique sprinkler design. Size: 180mm x 80mm; Weight: 345g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market since the 1970s.

Ca. 400 - 300 BC.A collection of three mould-made terracotta figures. The statuette on the left depicts a standing woman wearing a long chiton and closely wrapped himation holding a fan in her left hand. There is a circular vent hole at the back. The next depicts a similarly dressed figure, with her hair arranged in melon coiffure with chignon, circular vent hole at the back. The final statue of a standing woman wears a long chiton, and has her himation wrapped tightly around her body, covering her hands; hair is arranged in a wide chignon at the nape of her neck. The remains of white pigment are visible on much of the figure.One of the most remarkable aspects of Tanagra figurines is their lifelike appearance and attention to detail. Artisans employed techniques such as mould-casting and hand-painting to create these miniature masterpieces, capturing the subtle nuances of facial expressions and body movements. These terracotta figurines served various purposes, from religious offerings to decorative items and even children's toys. They were often placed in tombs as grave goods, symbolizing the continuity of life beyond death. Additionally, they were prized possessions among the elite, adorning their homes as symbols of wealth and sophistication. For similar see: Christie's, Live Auction 5488, Antiquities, Lot. 271. Size: 120-220mm x 40-75mm; Weight: 805g Provenance: Property of an American collector, acquired from the US estate collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 100 - 300.A Roman carnelian intaglio depicting the God "Janus" set in a high carat (21 ct), possibly later gold ring with decorated shoulders. In Roman mythology, Janus holds a unique position as the god of beginnings, transitions, gates, doors, and time itself. His significance in Roman rituals and religious practices was profound, as he symbolized the duality inherent in all transitions and passages, both physical and metaphorical. Janus was often invoked at the outset of any important endeavor, whether it be the opening of a new year, the commencement of a journey, the founding of a city, or the beginning of a marriage. His two faces, one looking forward and the other backward, signified his ability to oversee both past and future, to guide individuals through transitions and to guard thresholds. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D:18.75mm / US: 8 3/4 / UK: R; Weight: 9g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Predynastic to Early Dynastic Period, Ca. 3200 - 2900 BC.An Egyptian hard black stone cylinder seal depicting a sequence of vertical and horizontal signs. These seals served as practical tools for authentication and symbolic representations of authority and status. They were typically engraved with intricate designs, including religious motifs, scenes from daily life, and hieroglyphic inscriptions. Cylinder seals were primarily used to press impressions onto wet clay, sealing documents, jars, or other containers, ensuring their contents remained secure and unaltered. For similar see: MET Museum Accession Number: 1985.357.18. Size: 15mm x 12mm; Weight: 5g Provenance: Prince collection, 1990s-2014; Ex. E. Stobel private collection, acquired by the present owner in 2007. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 4000 - 3000 BC.An amazing terracotta head of Vinca Idol represented with large face and elongated incised eyes. This statuette, probably a cult idol, dates to the Neolithic Era which saw the development of farming and human technology. This flourishing culture was the largest known in Europe at that time. Clay statuettes have been discovered in the region's Vinca settlements, suggesting of the intense magic-religious practices within the Vinca culture. This statuette is anthropomorphic, or human-shaped, and is presumed to have been used for ritual purposes. For similar see: Cleveland Museum of Art, 106A Migration Period & Coptic. Size: 75mm x 65mm; Weight: 320g Provenance: Property of a central London gallery, acquired on the US art market; formerly in NYC collection; Ex. F. A. gallery NYC.

Ca. 1600 - 1200 BC.A Minoan stone ritual double axe, featuring two carved blades curved at the ends like two crescent moons. The vertical fore lies in the centre of the two blades. The Minoan Double Axe, also known as the "Labrys," holds significant cultural and religious symbolism in Minoan civilization. The double axe was a prominent motif in Minoan art and appears in various forms, including as a decorative motif on pottery and frescoes. It is most likely a symbol of the power of the military class. Size: 110mm x 115mm; Weight: 250g Provenance: Prince collection, 1990s-2014; Ex. L'impasse st Jacques arts Primitifs, Pierre Dartevelle, 2009. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 100 - 300.A Roman gold ring with a square bezel and missing stone, decorated with two moulded volutes. This type of ring was used in Roman society probably to indicate the wearer's membership of a social group, perhaps a religious one given the attributes this ring displays. Size: D:14.27mm / US: 3 / UK: F 1/2; Weight: 2.4g Provenance: Property of a London art gallery; formerly in a private collection of a Kensington gentleman since the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

‡ HYWEL HARRIES (1921-1990) oil on board - entitled verso, 'Salem Revisited', signed and dated '73, 59 x 75cmsProvenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descentAuctioneer's Note (Prof. Robert Meyrick):Hywel Harries’ Salem Re-visited is an interpretation of Salem, a 1908 watercolour by Sydney Curnow Vosper. It is a reminder of the historic significance of chapel-going in Wales and the centrality of Nonconformist Christianity in Wales. An art teacher, painter and cartoonist, Harries understood the cultural reference in Vosper’s painting, which shows the interior of Capel Salem Cefncymerau near Harlech. Purchased by industrialist William Hesketh Lever, the image became familiar through mass-circulated reproductions advertising Sunlight Soap.In October 2019, Rogers Jones successfully brokered the purchase by the National Library of Wales of Vosper’s second version of the painting. Vosper painted Salem in the wake the 1904-05 Welsh Revival, which saw a resurgence of religion. Once a national icon, emblematic of religious piety among the rural poor in Wales, Salem’s ubiquity depended on that context. In the intervening years it was distributed through Urdd Gobaith Cymru, reproduced as covers for Cymru Fydd calendars, and used by nationalists and Welsh language activists. As art historian Peter Lord points out, framed prints of Salem are nowadays consigned to ‘folk memory,’ a curious relic of times past. Carmarthenshire born, Harries trained at Llanelli School of Art until 1941, when his studies were interrupted by RAF service. After resuming his studies at Cardiff Technical College in 1947, he held teaching posts at Ealing and Machynlleth before his 1954 appointment as Head of Art at Ardwyn Grammar School (later Penglais Comprehensive School) at Aberystwyth, a position he held until his retirement in 1981.Harries is best known for his paintings of Aberystwyth townscapes and the landscape of Ceredigion. He developed a distinctive handling of layered dry paint using a soft warm palette. His landscapes often explored spatial effects and the decorative flattening of interlocking planes of colour, pattern and form, while his townscapes deploy a narrower tonal range and muted colours. Harries’ Salem Re-visited paintings were a rare dalliance with abstraction. Fellow Welshman Ceri Richards had likewise sought contemporary responses to familiar subjects when he made paintings after Rubens’ The Rape of the Sabine Women in the National Gallery, London, in 1946. Harries would also have been aware of Pablo Picasso’s abstracted translations of paintings by Cranach, Velázquez, and Ingres.Salem portrays the 71-year-old widow Siân Owen Tŷ’n y Fawnog taking her pew before the start of a service. Even in 1908 the scene depicted by Vosper was something of an anachronism. Stove-pipe hats were rarely worn then; in fact, only one such hat could be sourced for the women to model. In 1938, Vosper recalled the names of his sixpence-an-hour models; among them were a local carpenter, farmer, shopkeeper and a tailor’s dummy he named Leusa Jones. In Salem Re-visited, Harries has lettered their names on or alongside each character. The popular belief is that the devil lies in the detail of the folds of Siân Owen’s richly patterned paisley shawl, even though Vosper refuted that the likeness was intentional. There is no ambiguity in Harries’ flat monochrome rendering of the shawl as the profile of a demonic face in contrast to its colourful surroundings. Uncharacteristically for Harries, the act of painting appears on this occasion to be more important than representation or narrative. The illusion of pictorial space being abandoned, the relative position of the congregation becomes unclear. The jigsaw arrangement of overlapping shapes allude to the fragmentary nature of appearances in momentary glances. Peter Lord described this approach as a ‘Cubist-cum-patchwork quilt oil painting.’For Harries, there was an additional resonance in Vosper’s Salem. He was himself a man of faith and a staunch chapel-goer. He was an elder at Capel Salem (later to become Capel Morfa) in Aberystwyth. Always smartly presented in jacket, collar and tie, there was nothing bohemian about him. Indeed, Harries looked every bit the chapel deacon. Founding Ceredigion Art Society in 1963, Harries placed his knowledge, experience and enthusiasm for art into the service of the community. He was Vice-President of the Royal Cambrian Academy and chaired the Art and Craft Committee of the Council of the National Eisteddfod. In retirement, he authored several books, among them Cymru’r Cynfas: Pymtheg Artist Cyfoes [Wales on Canvas: Fifteen Contemporary Artists] (1983).Prof. Robert Meyrick, art historian, curator and educator, until recently Professor, Head of Aberystwyth University’s School of Art and Keeper of the School of Art Museum and Galleries. Comments: framed, ready to hangDelivery: complimentary delivery can be arranged for all purchases over £4000 in this Welsh Sale auction (England and Wales only) please contact brj@rjauctions.co.uk for further details

Novohispanic School. Mexico. 17th - 18th Century."Apparition of the Virgin and her Son to St. Dominic de Guzman and St. Louis Bishop of Toulouse."Oil on canvas.145,5 x 106 cm.Precious, delicate and very fine execution of the meeting of the Mother of God and her Son with two of her saints who defend her dogma: Saint Dominic of Guzman receiving "the Rosary or crown of roses" that he ordered her to pray (for the Church of that time - 13th century - they were the 150 psalms of David, which were later replaced by 150 Hail Marys; and Saint Louis Bishop of Toulouse, Prince of Anjou and heir to the Crown of Naples, who was a Franciscan friar and defender of the holy places where Jesus and his mother the Blessed Virgin lived.What Mary and Christ child tell them are "floral metaphors of late medieval Marian iconography, in the light of patristic and theological sources".Exactly: "Rosa vernans charitatis, lilium virginitatis..." (...stella fulgens, Maria, Ora pro nobis Dominum" - what follows and is understood), lyrics from the Codex de Chantilly MS 564, made as a motet for Gregory XI, well known in medieval musical art.A painting made to promote the customs and practices of veneration towards the Virgin Mary, encouraged by the Council of Trent between 1545 and 1563, when a revival of religious life was also generated in the Catholic Church, the Dominicans and the Franciscans, both present in the painting.

Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"Virgin of Carmen and the souls in purgatory".Oil on canvas glued to board. On the back handwritten label indicating the property of Fray Juan de Lora (1722 - 1790) Spanish Bishop of Merida (Region of the Andes) and Maracaibo, will grant forty days of indulgence to the one who prayed a salve in front of this and evil. Signed in Velacruz on January 15, 1785.28.5 x 23.5 cm.Miguel Cabrera was one of the most renowned painters in the field of Novo-Hispanic painting of the eighteenth century, with a production that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented". Of all the painters of that time, Cabrera was the one with the greatest personality; the conventional treatment in his figures was undoubtedly the basis of his way of painting, since he placed in his paintings models that were not ideal, but corresponded to people that the artist knew and treated, as when he incorporated in some paintings portraits of donors or of the so-called "prelates" because he had the need to observe directly and copy from nature.In addition to easel painting, his production includes the design of altarpieces, large format works, as well as small copper works and nun's shields. Cabrera's religious painting produces figures of remarkable beauty, a beauty understood under the ideological assumptions of the devotion of the time. It is a refined art that possesses a well-arranged chromatic richness, is sustained by a great work of composition and, no less important, a subtle and expressive drawing.Little is known of his youth; in fact, according to the Andres Blaisten Museum, it is not until the painter's will in 1768 that we know he was a native of Oaxaca.His first news are from 1739, the year of his marriage to Mrs. Ana María Solano, as well as we know of his time in the workshop of Juan Correa in the capital of the Viceroyalty.Archbishop Rubio Salinas was Cabrera's protector, whom he named his chamber painter. He was also painter of the Society of Jesus, for whose churches he made numerous works.In 1753 he was named president for life of the Academy of San Carlos.In 1756 Cabrera published "Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura", an account of the image of the Virgin Guadalupe in the printing press of the Jesuit college of San Ildefonso.His work is preserved in many churches and convents in Mexico.Two of his images of the Virgin of Guadalupe are in the Vatican Museum.Another, made in 1756, for the temple of San Francisco Javier, is conserved in the National Museum of the Viceroyalty. Reference Bibliography:- Andres Blaisten Museum. (n.d.). https://museoblaisten.com/Artista/79/Miguel-Cabrera

Mate in silver and gilded silver with its original bulb. Viceregal work. Possibly Chile or Cuyo region of Argentina. 19th CenturyMaximum measures 35 x 9 x 9 x 9 cm.The article about silver mates that we found in the Buenos Aires city website is very interesting (https://buenosaires.gob.ar/noticias/el-mate-de-plata-1deg-parte) in which they indicate among other things that "From the 17th century onwards, the highest strata of viceroyal Peru summoned renowned goldsmiths for the production of mates, bombillas, pavas, yerberas and other exclusive accessories for the consumption of the yerba mate that came from Paraguay.As the cities of America grew, the wealthy families lived more comfortably and surrounded themselves with luxury items that were previously reserved for the viceroy and high officials. In the 18th century, the most important consumption center for yerba mate was Peru.The gourd mate began to be covered with silver and the utensils necessary for its consumption were made of the same metal: bombillas, pavas, sugar bowls, yerberas, spoons, etc. The Spanish artisans decorated the silverware pieces with the styles and techniques of the rich civil and religious goldsmithery of the peninsula. Indigenous decorative motifs appear in some carved gourds and correspond to the ancestral Peruvian art of carved gourds and pyrography. Each region where yerba mate is consumed has its own characteristic containers and public and private collections in Peru, Bolivia, Brazil, Paraguay, Chile and Argentina preserve pieces that tell this story. Portuguese artisans were prohibited from setting up workshops in the viceroyalty cities of the Spanish crown. In spite of this, the influences of the styles used to carve silver and gold in the XVIII century have European styles from which comes the pomposity of the baroque and the asymmetry of the rococo, of Hispanic and Portuguese influences.Until the first half of the 19th century, the pieces are totally handmade". Bibliography of reference: Urgell de, Guiomar; Batalla, Horacio; Caamaño, Claudia; Sánchez, Marta. El mate de plata. Buenos Aires: Asociación Amigos del Museo Municipal de Arte Hispanoamericano Isaac Fernández Blanco, 1988.

José Campeche (San Juan, Puerto Rico, 1751-1809)"San Juanito"Oil on panel. Signed. With a carved wood frame of the 18th century.Size: 29 x 21 cm.Frame size: 60 x 54,5 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."

*THEYRE LEE-ELLIOTT (1903-1988) 'Picnic in Dorset at night' signed and dated '44 lower right, mixed media on paper, 28cm x 26cmTheyre Lee-Elliott was an English commercial and poster artist who created notable Art Deco logos such as the Imperial Airways 'Speedbird', as well as ballet and religious art. Framed dimensions: 51cm x 42cm

*MAX BAND (1900-1974) A portrait of a Jewish worker in an interior depicted three-quarter length, signed lower left, oil on canvas, 98cm x 62cmProvenance: Private collection, Dorset.Max Band was born in Kudirkos Naumiestis, Lithuania in 1900. This small village offered very little artistic guidance, however the young Band was determined to create. His first oil painting was made with homemade brushes he created from sticks.Band made his way to Berlin to study art where his talents were first recognised by the public. One of his first drawings was selected by his teacher and entered into an open exhibition. Upon seeing the work, a wealthy collector tracked down Band to purchase the drawing. Never considering or putting much care into the financial value his artwork should garner Band could not name a price. Upon being pressed for a figure, Band responded that he valued time over money, so a figure was agreed upon based on two months' worth of food.The French critic Paul Fierens described the early period of Band's career stating, "The refinement of his color, this what he owes to France, that that he has taken something of Chardin, Corot or Bonnard, but the Parisian sky, after Lithuania and the Louvre, quite naturally became his third master. Paris, with its pale azure, its inimitable greys, its delightful white, offered itself to Max Band as an example and gave him excellent advice." Max Band's artistic output was largely made up of still lives, landscapes, and portraits of the sea. These subjects offer a free flow of color and movement. He also created many works of the Jewish religious experience during his life. These paintings offer a deep richness of feeling that could only be reflected by an artist of his skill and above all experience living through WWII.If one label can be attached to Band's artwork it is Humanism. Whether it be the natural world, or more personal subjects, Band had a unique expression for deeper qualities hidden beneath the surface. This unique vision was best stated by the artist in describing one of his paintings of Jewish Talmudic scholars, "After living in France for nearly twenty years I began to see something strange in the eyes of the people. As the threat of bombing grew ever more menacing, the proud French people, who for centuries had walked in pride and freedom, as befitted a nation universally regarded as the epitome of culture and spirit, began to live in fear. It showed in their eyes and gestures. They listened for threatening sounds in the night." Max Band left France in 1940 for the United States where he lived and worked for the remainder of his career. He passed away in 1974.Framed dimensions: 113cm x 77cm

Joly, Henri L., Legend In Japanese Art: A Description of Historical Episodes, Legendary Characters, Folk-Lore, Myths, Religious Symbolism Illustrated In The Arts of Old Japan, published by John Lane The Bodley Head / John Lane Company, London / New York, 1908, hardcover. pink beveled boards

TWO RELIGIOUS ITEMS, to include a silver circular form pyx box on a raised fluted base with a hinged cross to the top, approximate height 12.5cm, hallmarked 'Art & Book Co' London 1915, together with a silver plated Alter Monstrance, silver insert, hallmarked 'Vanpoulles Ltd' London 1962, approximate gross weight of silver 182.7 grams, 5.87 ozt, also including a small assortment of costume jewellery (condition report: general moderate wear, some indenting to pyx box, overall condition good)

Bernard van Someren (1572-1632) - Saint Andrew - RRR / Description: St Andrew, half-length seen in profile , reading a book, a cross beyond. Lettered around the impression: "S. Andreas Apostol". Second plate of a series of Christ with The Apostles and St Paul. Extremely rare engraving by the Flemish, Antwerp born artist Bernard van Someren (1572-1632). Only three engravings known to Hollstein, including a Saint Jude similar to our print. This one unknown to Hollstein. / Dimensions: diameter 14,80 cm / Condition: Very good inked early impression with nice plate tone, on fragmentary watermarked laid paper. The print is on a little square sheet of 18,00 by 18,50 cm and has full plate border and wide margins. Margins occasionally soiled but in a nice authentic untouched condition. / Literature: Hollstein unknown ----- In counterpart to the series by Zacharias Dolendo after Jacques de Gheyn II from 1596. ----- Barend van Someren (1572–1632) was a Flemish painter and printmaker who after training and working in Antwerp moved to Rome. He was also active as an art dealer, publisher and innkeeper. Van Someren was born in Antwerp and the brother of Paul van Somer I. He trained in his hometown Antwerp with Filips Lisaert the Younger. He traveled to Rome in 1600 were he worked in the workshop of Aert Mijtens. He left Rome for Amsterdam in 1602 and operated an inn in Amsterdam. The Flemish painter Adriaen Brouwer stayed in this inn when he first arrived in the Dutch Republic in 1625. He is reported to have painted history and landscape paintings but no extant paintings by him are known. A few prints by his hand are portraits of religious and historical figures such as the Judas Taddeüs. / Medium: Engraving /Circa: 1590-1630 300

Bernard van Someren (1572-1632) - Saint Jude - RRR / Description: St Jude, half-length slightly turned towards left but looking over his shoulder towards right, holding a book and a triangle. Circular plate signed 'B de Suemeren fe.et ex a Bos' and lettered around the impression: "S. Ivdas Iacobi Apostol. Dictvs etiam Taddhævs". Plate of a series of Christ with The Apostles and St Paul. Extremely rare engraving by the Flemish, Antwerp born artist Bernard van Someren (1572-1632). Only three engravings known to Hollstein, including this Saint Jude, the only known one from the series. / Dimensions: diameter 15,10 cm / Condition: Very good inked impression with nice plate tone and many scratches in the plate still visible as only seen on very early impressions. On fragmentary watermarked laid paper. The print is on a little square sheet of 18,00 by 18,50 cm and has full plate border and wide margins who are occasionally soiled but in a nice authentic untouched condition. / Literature: Hollstein Dutch 1 ----- In counterpart to the series by Zacharias Dolendo after Jacques de Gheyn II from 1596. ----- Barend van Someren (1572–1632) was a Flemish painter and printmaker who after training and working in Antwerp moved to Rome. He was also active as an art dealer, publisher and innkeeper. Van Someren was born in Antwerp and the brother of Paul van Somer I. He trained in his hometown Antwerp with Filips Lisaert the Younger. He traveled to Rome in 1600 were he worked in the workshop of Aert Mijtens. He left Rome for Amsterdam in 1602 and operated an inn in Amsterdam. The Flemish painter Adriaen Brouwer stayed in this inn when he first arrived in the Dutch Republic in 1625. He is reported to have painted history and landscape paintings but no extant paintings by him are known. A few prints by his hand are portraits of religious and historical figures such as the Judas Taddeüs. Only three prints recorded in Holstein. / Medium: Engraving /Circa: 1590-1630 300

Jan Breughel, M. Merian - Nuremberg landscapes, complete series (6) in proof states by Merian (RRRR) / Description: Jan Breughel the Younger , who had spent some days in Nürnberg made the original drawings for this series. The engraver and publisher Peter Isselburg (1580-1631), originally from Cologne selected a total of six images, which were engraved by Matthäus Merian the Elder. He published the series in 1616 with etched titles top middle of the etchings. Here a complete series of these landscapes from the Nuremberg area (Wüttrich 226-231) in incredible rare proof states, before the title on top and with still square plate borders. Prints from this set are very rare to find let alone as a complete set in proof states even not described by Wütrich, the specialist who complied his catalogue raisonné in 1966. . This excellent early impressions before publishers address or title and with still square plate borders are from the very first impressions of the copper plates, proof states before adding title and before published. Matthäus Merian I born in 1593 married the daughter of Theodor de Bry in 1617 and worked from then for his father-in-law. Here early works even before his marriage In his mid twenties. His early work shows great talent for free etching. His landscape art from that period is the best in his oeuvre This series is certainly one of the nicest he made. The subjects are identified as: Hallers Weyer Hause (W.226), Fischers häuslein untterm Lazarëth, see also A. Dürer aquarell (W.227), S Johannesfriedhofs und Kirche (W.228), Der Tetzell Gartten bey dem Judenbiell (W.229), Mögeldorff (W.230), Zu Sanct Jobs (W.231) / Dimensions: 12,60 x 17,80 cm / Condition: Early outstanding, richly inked and luminous impressions, each on a full sheet of laid paper (18 x 26 cm) . Excellent condition with no folds, tears or stains. Old number in sepia ink in the upper right margin. A rare print series, from the uppermost rarity as a complete set in these outstanding proof states. / Literature: Druckgraphik MMerian AB 3.13, Landschaften aus der Umgebung von Nürnberg, M. Merian, 6 Bll., Wüthrich 226-231 (Proof state unknown to Wüthrich)--- (Even the finished states are very rare to find, only two complete sets recorded by Wühtrich and half a dozen incomplete sets) ----- Besides the Wüthrich catalogue raisonné, most of the information of this series is credited to the work by Katharina Krause: The Legitimation of Council Rule Through Vedute of the City and Territory. Se describes the importance of Nuremberg as a Lutheran imperial city that attracted many artists who came to Germany fled from Flanders and the Netherlands since the late sixteenth century either as religious refugees or for economic reasons. They brought invovations that resulted in this first print series with views of the Nürnberg environs. Only 10 years after the first Dutch examples which elevated the unspectacular surroundings of Haarlem into evidence of its newly achieved sovereignty as a theme of print series, artists began to draw motifs from the environs of Nürnberg in the mode of vedute. There were several existing templates for reproducing the Nürnberg landscape, and artists drew on Dutch series, such as the “Plaisante Plaetsen” by Claesz Vischer (1611–12), and his Brabant “Small Landscapes” by Pieter Brueghel the Elder. The original drawings for this series of engravings were by Jan Brueghel the Younger , who had spent some days in Nürnberg. From the pool of sheets, the engraver and publisher Peter Isselburg, originally from Cologne, selected a total of six images, which he kept in a similar format to form a self-contained series. The execution of the prints is ascribed to Matthäus Merian the Elder. ---- One of the subject is Das Angersche Weiherhaus [The pond house of the Angerer family]. the Weiherhaus [pond house] of the Angerer family, which had been previously depicted by Dürer.The engraving shows the timbered house on a wooded island next to a pond whose smooth water surface reflects the buildings and the vegetation. In the distance, we see one of Nürnberg’s gate towers; the background is formed by a fisherman with a net, and a barge on its way to the island. The themes are the modest buildings themselves, the reflections in the water, the ambience of the cloudy sky, and the people who are going about their work. The caption on the page emphasizes that this is a depiction of a real place. The print pays tribute to a work by Dürer, the city’s most famous artist, whose works were already much sought after in the decades around 1600– but at the same time, cityscapes such as these reflected a more recent movement in the European market that focused interest on local environments. This new mode was also characterized by the accurate reproduction of the buildings embedded in their surroundings and collections of farmsteads and rural roadways, which were all identifiable real-world places. --- Another subject is The Hallersche Weiherhaus, located near St. Peter's Church, was destroyed in the Second World War. Lit.: 'Nürnberger Schau' 1941, issue 10, p. 247 with ill., it is the one with the man with a stick walking before a wooden fence that covers the complete print foreground from left to right. / Medium: Six etchings /Circa: Circa 1615-1616 2400

Bernard van Someren (1572-1632) - Saint Simon - RRR / Description: St Simon the Canaanite, half-length seen in profile , reading a book, a saw at right. Circular plate signed 'B de Suemeren fe.et ex a Bos' and lettered around the impression: "S. Simon Chananaeus Apost:". Plate of a series of Christ with The Apostles and St Paul. Extremely rare engraving by the Flemish, Antwerp born artist Bernard van Someren (1572-1632). Only three engravings known to Hollstein, including a Saint Jude similar to our print. This one unknown to Hollstein. / Dimensions: diameter 14,80 cm / Condition: Very good inked impression with nice plate tone and many scratches in the plate still visible as only seen on very early impressions. On fragmentary watermarked laid paper. The print is on a little square sheet of 18,00 by 18,50 cm and has full plate border and wide margins. Small tear in middle left margin, margins occasionally soiled but in a nice authentic untouched condition. / Literature: Hollstein unknown ----- In counterpart to the series by Zacharias Dolendo after Jacques de Gheyn II from 1596. ----- Barend van Someren (1572–1632) was a Flemish painter and printmaker who after training and working in Antwerp moved to Rome. He was also active as an art dealer, publisher and innkeeper. Van Someren was born in Antwerp and the brother of Paul van Somer I. He trained in his hometown Antwerp with Filips Lisaert the Younger. He traveled to Rome in 1600 were he worked in the workshop of Aert Mijtens. He left Rome for Amsterdam in 1602 and operated an inn in Amsterdam. The Flemish painter Adriaen Brouwer stayed in this inn when he first arrived in the Dutch Republic in 1625. He is reported to have painted history and landscape paintings but no extant paintings by him are known. A few prints by his hand are portraits of religious and historical figures such as the Judas Taddeüs. / Medium: Engraving /Circa: 1590-1630 300

Bernard van Someren (1572-1632) - Saint Paul - RRR / Description: St Paul, half-length slightly turned to left reading a book and holding a sword in his right arm;. Lettered around the impression: "S. Pavlvs servvs Iesv. Christi. Vocatvs Apos". Twelfth plate of a series of Christ with The Apostles and St Paul. Extremely rare engraving by the Flemish, Antwerp born artist Bernard van Someren (1572-1632). Only three engravings known to Hollstein, including a Saint Jude similar to our print. This one unknown to Hollstein. / Dimensions: diameter 15,30 cm / Condition: Very good inked early impression with nice plate tone, on fragmentary watermarked laid paper. The print is on a little square sheet of 18,00 by 18,50 cm and has full plate border and wide margins. Margins occasionally soiled and with some folds but in a nice authentic untouched condition. / Literature: Hollstein unknown ----- In counterpart to the series by Zacharias Dolendo after Jacques de Gheyn II from 1596. ----- Barend van Someren (1572–1632) was a Flemish painter and printmaker who after training and working in Antwerp moved to Rome. He was also active as an art dealer, publisher and innkeeper. Van Someren was born in Antwerp and the brother of Paul van Somer I. He trained in his hometown Antwerp with Filips Lisaert the Younger. He traveled to Rome in 1600 were he worked in the workshop of Aert Mijtens. He left Rome for Amsterdam in 1602 and operated an inn in Amsterdam. The Flemish painter Adriaen Brouwer stayed in this inn when he first arrived in the Dutch Republic in 1625. He is reported to have painted history and landscape paintings but no extant paintings by him are known. A few prints by his hand are portraits of religious and historical figures such as the Judas Taddeüs. / Medium: Engraving /Circa: 1590-1630 300

'RETIREMENT, A POEM'BY SAMUEL BOYSE (1702-1749), PUBLISHED 1735'Retirement a Poem Occasioned by seeing the Palace and Park of Yester', Edinburgh, 'Printed Anno 1735'20 x 13.2cmProvenanceParker & Morris: The Art of Decorating.Catalogue NoteSamuel Boyse was an Irish poet and writer who was patronised by Sir Robert Walpole. His religious verse was very much valued and his poetry collected and re-printed.PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

AN UNUSUAL IRISH FOLK ART 'GOD IN A BOTTLE'the green tinged glass bottle with crucifix mounted internally. A variation of ship in a bottle. 30cm tallThe mysterious “God in a Bottle” - where votive offerings are suspended within bottles filled with liquid. This idiosyncratic form of vernacular art often features religious themes, depicting scenes from the Bible or other spiritual imagery.With historical roots spanning various cultures and regions worldwide, “God in a Bottle” art serves as a unique medium for expressing faith and storytelling in a compact and visually captivating manner. Notably, this form of folk art is particularly associated with Ireland, where it had a strong tradition.Interestingly, these intriguing creations occasionally found their way to England, likely brought by Irish laborers working on roads and building sites. Despite their mysterious and sometimes bizarre appearance, these sculptures inside bottles carry significant religious and cultural significance, representing a fascinating aspect of folk art and vernacular heritage.

Four 19th century Russian Folk Art spoons, three with religious building decoration to bowls, 20cm long and smaller (4)

JOHN PIPER (BRITISH 1903-1992) FOR ARTHUR SANDERSON: A length of 'Arundel' fabric, circa 1950s, in the white colourway, sewn into two pillow cases, together with a length of 'Arundel' fabric, in the black colourway, sewn into one curtain panel.Arundel white: Each case approx 70 x 75 cm Arundel black: 127 x 70 cmReference: See Victoria & Albert Museum, London, accession number T.1068-2000 for another example of this fabric. John Piper was one of Britain's most distinguished and prolific artists of the twentieth century. Working in many different styles across his career, he was a painter and print maker, designing stained glass windows, theatre and opera sets, ceramics and textiles. Piper's textile designs embodied his love of Britain's art and architecture, landscapes, and abstract and religious imagery. He created designs notably for a number of tapestries and alter pieces, and importantly for Lots 231 - 234, furnishing fabrics for Arthur Sanderson & Sons Ltd.In 1959, Arthur Sanderson commissioned five textile designs from John Piper as part of their 1960 Centenary Celebrations. 'Arundel' is one of these designs, with two of the other designs shown in Lots 232 and 233.This panel design is based on Piper's designs for the stained-glass windows of Oundle School chapel, designed in 1956. The fabric featured 15 different abstract designs of 'Christ the King' which made up the full width of the material, which then repeated. This was printed by Sanderson using 15 separate screens - a very complex piece of printing.Sanderson's Victorian warehouse in Chiswick is now the headquarters of Chiswick Auctions.

JOHN PIPER (BRITISH 1903-1992) FOR ARTHUR SANDERSON: A length of 'Stones of Bath' fabric, circa 1960s, sewn into four curtain panels. (4)Smaller panel: 159 x 112 cm (1) Larger panels: 229 x 133 cm (3)Reference: See Victoria & Albert Museum, London, accession number T.503:2-1996 for another example of this fabric. John Piper was one of Britain's most distinguished and prolific artists of the twentieth century. Working in many different styles across his career, he was a painter and print maker, designing stained glass windows, theatre and opera sets, ceramics and textiles. Piper's textile designs embodied his love of Britain's art and architecture, landscapes, and abstract and religious imagery. He created designs notably for a number of tapestries and alter pieces, and importantly for Lots 231 - 234, furnishing fabrics for Arthur Sanderson & Sons Ltd.In 1959, Arthur Sanderson commissioned five textile designs from John Piper as part of their 1960 Centenary Celebrations. 'Stones of Bath' is one of these designs, with two of the other designs shown in Lots 233 and 234. The design was screen printed using 19 colours, which was far more than conventional screenprints on paper. Manufactured from 1962, the semi abstract designs featured the buildings of Bath in different shades, green, violet, aubergine and many others.Sanderson used their 'Sanderlin' fabric - a satinised linen which gave the design a shimmering texture, reflecting the play of light on the honey-coloured stone buildings of Bath.Sanderson's Victorian warehouse in Chiswick is now the headquarters of Chiswick Auctions.

JOHN PIPER (BRITISH 1903-1992) FOR ARTHUR SANDERSON: A length of 'The Glyders' fabric, sewn into three curtain panels.Each panel approx 138 x 60 cm. John Piper was one of Britain's most distinguished and prolific artists of the twentieth century. Working in many different styles across his career, he was a painter and print maker, designing stained glass windows, theatre and opera sets, ceramics and textiles. Piper's textile designs embodied his love of Britain's art and architecture, landscapes, and abstract and religious imagery. He created designs notably for a number of tapestries and alter pieces, and importantly for Lots 231 - 234, furnishing fabrics for Arthur Sanderson & Sons Ltd.Sanderson's Victorian warehouse in Chiswick is now the headquarters of Chiswick Auctions.

λ&nbspJOHN MILLER (BRITISH 1931-2002) LANDSCAPE Gouache Signed lower right (to mount) with Michael Truscott stamp signed (verso) 14.5 x 12cm (5½ x 4½ in.)Please note measurements do not include the frame unless otherwise stated. John Miller's artistic vision has become one of the most widely recognised of the twentieth century. Working from his Cornish studio with its magnificent views across the Hayle estuary to Godrevy Lighthouse, John painted his distinctive images of glowing beaches and deep blue skies, which are so widely recognised as to have become synonymous with the county of Cornwall itself. Miller's art occupies the space between figuration and abstraction. He described painting as "an exterior response to an interior vision", yet that reponse was usually rooted in the world around him. His paintings were usually concerned with specific sites and the emotions they generated held in tension with an inward contemplation informed by his religious convictions.  In the 1970s and 1980s Miller travelled a great deal around the Mediterranean. There he became fascinated by the strong sunlight that renders shadows as intensely dark as the light is bright. These experiences loosened his brushwork and brought a new intensity of colour to his paintings of Cornwall. In 1995 he moved from Sancreed to Lelant and he is perhaps best known for his paintings inspired by early morning walks along the beach at Port Kidney. He developed a personal symbolism during the period, in which the sun became a symbol for the renewal of life, and the moonrise associated with the death of his mother. During this period his paintings were perhaps at their most inward looking and visionary.  Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Please note Dreweatts are not liable for damage to frames or mounts. Condition Report Disclaimer

STOT21stCplanB Lock Him up And Throw Away The Key  Screen print on art paper Limited edition numbered 10/50 With STOT21stCplanB official stamp  Measures approx. 54cm x 48cm (21" x 19") STOT21stCplanB (sometimes pronounced STOT twenty one with a silent ‘stCplanB’) started out as a zero-ambition noise/alt-country rock band, releasing the nihilistic CDR only LP Satan’s Rat Trap and the Mouse that Wound Up Dead (2004) and the flood/love/disaster themed mini-LP Up To Yer Neck In It (2005), before turning attentions towards visual art disruption.  Describing themselves as Neo-Nothingist Anartists, three years of intense creativity followed, exploring and dealing with notions of “the puerile”, where the duo worked in a multiplicity of mediums from photo-montage, printmaking, painting, to political campaigning, crockery and making fake Banksy's under the name Not Banksy.  In 2008, collaborators THE AQUARIUM L-13 (predecessor to the L-13 Light Industrial Workshop) hosted a fundraising event for Ken Livingstone’s mayoral campaign. STOT21stCplanB declared they would stand against him and put forward their own candidate known only as THE ASSISTANT. Despite designing some fantastic campaign posters they failed to get to the first stage of the elections and in bitter disappointment declared semi-retirement at the end of 2008.  The next 13 years were spent mostly painting landscapes and religious scenes of violence under the name Harry Adams, emerging occasionally for one-off projects, eventually succumbing to popular demand and re-activating the Not Banksy project in 2018.  Making and selling Not Banksy's kept them very busy for several more years, culminating in the publication a memoir: The Not Banksy Book: Lying, Cheating, Stealing and the Death of Art Vol 13, L-13 Press 2021 (aka The Lob-a-Knob Book).

Daniel Johnston (American, 1961–2019) FREE LIVES PEOPLE  Screen-print on art paper Official logo stamp lower left  Measures approx. 32.5cm x 25cm (12 1/2" x 10") Daniel Johnston was a prolific visual artist and musician. He gained a cult following in the 1990s when Kurt Cobain wore a T-shirt with the artist’s frog illustration from his Hi, How Are You (1983) album cover to the MTV Video Music Awards. Johnston’s art was inextricably connected to his music, and his pen and marker drawings of superheroes and anthropomorphized animals were critical to his cult appeal among music fans and art aficionados alike. Johnston lived with schizophrenia and bipolar disorder, which contributed to his work’s on-and-off categorization as outsider art; his visionary world-building and use of religious symbolism echoed the poems and engravings of William Blake. Johnston’s paintings and drawings have been exhibited in Los Angeles, Zurich, and Berlin, as well as at the 2006 Whitney Biennial in New York. The previous year, he was the subject of the award-winning documentary The Devil and Daniel Johnston.

* SIMON LAURIE RSW RGI (SCOTTISH b. 1964), UNTITLED acrylic on boardframed and under glassimage size 57cm x 62cm, overall size 79cm x 84cmNote: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.

After Sirio Tofanari (Italian, 1886-1969). Large cast bronze panther sculpture. Depicting the snarling big cat sitting and looking downwards. Incised signature along the base. Brown and verdigris patination throughout.Provenance: Private Minnesota CollectionLot Essay:Sirio Tofanari was born into a family of sculptors and artists. He attended the Florence Academy of Art from 1902-1907. At the age of 18 he fell in love and eloped to Paris before moving to London. While there he devoted himself to the study of animals, visiting the zoo and Natural History Museum often. Throughout the first two decades of the 20th century he exhibited his work around Europe including the 1909 Venice Biennale.Sadly, his home, studio, and its contents in Milan were destroyed during an Allied bombing raid in 1942 during World War II. He spent much of the remainder of his life creating reliefs of religious scenes, but animals remained ever in his focus.Height: 24 in x width: 14 1/2 in x depth: 24 1/2 in.Condition:There are no major dents, breaks, losses, or restorations. Wear and weathering throughout and signs of exposure to the elements. Verdigris patination throughout. Some accretions along the lower areas of the sculpture. Some dirt/dust collected in the recessed areas of the work. Dirt/dust collected along the underside and interior of the work.

Joly, Henri L., Legend In Japanese Art: A Description of Historical Episodes, Legendary Characters, Folk-Lore, Myths, Religious Symbolism Illustrated In The Arts of Old Japan, published by John Lane The Bodley Head / John Lane Company, London / New York, 1908, hardcover. pink beveled boards

Henry Ossawa Tanner (1859–1937) was an African American painter and one of the foremost artists of his time. He gained prominence for his realist and often religious-themed paintings, breaking barriers and achieving recognition in a period when racial prejudice was prevalent. Here are some key points about Henry Ossawa Tanner:1. **Early Life and Education:** Henry Ossawa Tanner was born on June 21, 1859, in Pittsburgh, Pennsylvania, to a family of modest means. His father was a minister and his mother had been a slave who escaped to freedom. Tanner showed early artistic talent and began studying art with local artists.2. **Parisian Art Education:** Despite facing racial barriers in the United States, Tanner managed to attend the Pennsylvania Academy of the Fine Arts. In 1891, he traveled to Europe to continue his studies and settled in Paris, France. There, he attended the Académie Julian, a leading art school.3. **Religious Themes:** Tanner's works often featured religious themes, reflecting his deep spiritual convictions. His paintings often depicted biblical scenes and narratives, and he was known for his masterful use of light and shadow.4. **"The Banjo Lesson":** One of Tanner's most celebrated works is "The Banjo Lesson" (1893), which portrays an elderly black man teaching a young boy to play the banjo. The painting is considered a masterpiece and is housed in the Hampton University Museum in Virginia.5. **Exhibition Success:** Tanner gained recognition for his art in both the United States and Europe. He became the first African American artist to receive international acclaim, winning awards and having his works displayed in prestigious exhibitions.6. **Religious Conversion:** Tanner underwent a religious conversion during a trip to the Holy Land in the late 19th century. This experience had a profound impact on his art, and he continued to explore religious themes with renewed vigor.7. **Exhibitions and Awards:** Tanner's paintings were exhibited at major venues, including the Paris Salon and the World's Columbian Exposition in Chicago. He received awards and accolades for his contributions to the art world.8. **Family Life:** Tanner married Jessie Macauley Olsson, a white opera singer, in 1899. The couple had a son, Jesse Ossawa Tanner. Their interracial marriage was notable, especially during a time of racial segregation and discrimination.9. **Later Years:** Tanner continued to paint and exhibit his works throughout his career. He spent his later years in France, where he died on May 25, 1937, in Paris.10. **Legacy:** Henry Ossawa Tanner is remembered not only for his artistic achievements but also for breaking racial barriers in the art world. His success paved the way for future generations of African American artists.11. **Honors and Commemorations:** In 1927, Tanner became the first African American to be granted full membership in the National Academy of Design. His legacy is honored through the Henry Ossawa Tanner Memorial Award, given by the Pennsylvania Academy of the Fine Arts.Henry Ossawa Tanner's impact on the art world, particularly as a trailblazing African American artist, remains significant. His ability to transcend racial barriers and create powerful, emotionally charged paintings has secured his place in art history.Measures 45.5 x 38.

Engine turned silver cigarette case, and various small silver items to include, cheroot holder and case, cigarette holder and case, another cigarette holder marked 925, modern silver lighter case, two money clips, small heart shaped box, art nouveau overlay scent bottle, silver bladed folding fruit knife, letter opener marked 925, silver handled moustache brush, folding knife and nail file, quarter and dime cuff link, plated meat skewer, agate handled book mark, mother of pearl handled seal, and a religious pendant, weighable silver 6oz 185gm

~ A Chinese Celadon Jade Inscribed “Luohan” Boulder, Qianlong, carved with Ańgaja in a grotto, seated cross-legged in loose flowing robes, his left hand holding a sutra and walking stick, the right counting prayer beads, flanked by the Imperial eulogy and seal marks 20cm highWith original receipt from Trollope & Sons (London) Ltd, West Halkin Street, London dated 25 November 1955 for £85, as well as a transcription of the eulogy The inscription can be translated as “Wearing a hundred-patch robe and leaning on a proper bamboo staff, his Vedic ritual texts in a bookcase, he stares at his akshamalika straight across his chest. What he has remembered is not nothing, although there are no words for it.”The iconography of this depiction of Ańgaja is derived from the portrait series of the sixteen Luohans painted in 891 by the Tang dynasty painter-poet-monk, Guanxiu for the Shengyinsi or 'Temple of Sage Reason'; the temple was later destroyed during the Taiping Rebellion. In this series the artist depicted the enlightened disciples with grotesque bodies, hunched backs, bushy eyebrows, and pronounced foreheads, as they had allegedly appeared to him in a dream.In 1757, the Qianlong Emperor visited the Shengyin Temple during his Southern inspection tour to study these images of the Luohan as an act of religious devotion. He recorded that, having seen the masterpieces, he was inspired to personally write a eulogy comprising two colophons for each painting. The Emperor believed the paintings to be the same set that had been recorded in the Xuanhe Huapu [The Xuande catalogue of paintings], the inventory of the Song dynasty emperor Huizong.Subsequently, Qianlong commanded the palace painting master, Ding Guanpeng (act.1708-ca.1771) to copy the paintings and to include new inscriptions of the eulogies. Ding’s copies are now in the collection of the National Palace Museum, Taipei and were widely copied in various media.In 1764, the abbot at Shengyin Temple, Master Mingshui, instructed local stone engravers to copy Guanxiu’s paintings and the Emperor’s colophons and seals. The sixteen engraved stone panels were installed on the sixteen sides of the Miaoxiang Pagoda in Hangzhou. Almost immediately rubbings of the panels were being produced. Knowing the Emperor’s fondness for them, in 1778, the military governor of Shandong province, Guotai (d.ca.1782), presented the Qianlong Emperor with a magnificent zitan folding screen set with black lacquer panels inlaid with white jade in imitation of the rubbings.A similar jade boulder, depicting the second Luohan, Kanakavasta, was recorded in the collection of the Wou Lien-Pai Museum as published in Rose Kerr et al., Chinese Antiquities from the Wou Kiuan Collection, Surrey, 2011, pl. 177 (fig. 2).Another example depicting Kanaka is in the Metropolitan Museum of Art, New York, accession number 02.18.640 and a further example as Cudapanthaka is in the National Palace Museum, Taipei.A sixteen-fold screen with inlaid jade plaques portraying the sixteen luohans, including a depiction of Angaja derived from the same source as the present jade, dated to the forty-second year of the Qianlong reign (1777) is in the Palace Museum, Beijing, exhibited at the Hong Kong Museum of Art (22 June 2012 - 14 October 2012), and illustrated in A Lofty Retreat from the Red Dust: The Secret Garden of Emperor Qianlong, Hong Kong, 2012, pp.216-233, no.53.A Qianlong Imperial jade screen with the same image of Ańgaja and inscribed with the same script and seals as the present examples was offered by Bonhams Hong Kong, 24 November 2012, lot 307 and Christie’s Hong Kong, 29 November 2022, lot 3049.Please note that there will be no internet bidding on this lot. All bidders on lots 1-10 will be required to provide identification and a deposit of £1,000. Registration for commission and telephone bidding on these lots will close on Wednesday 13th March at 12 noon. To register please email enquiry@tennants-ltd.co.uk A natural internal small crack towards the top section of the staff. Sutra with tiny corner flakes. Other minimal small imperfections to the stone, none detrimental. Slight wear to the gilt inscrpitions.

λ&nbspJOHN MILLER (BRITISH 1931-2002) TRESCO, SANCREED HOME PENZANCE Oil on canvas Signed and titled (verso) 35.5 x 45.5cm (13¾ x 17¾ in.)Provenance: New Craftsman Gallery, St. Ives, Cornwall John Miller's artistic vision has become one of the most widely recognised of the twentieth century. Working from his Cornish studio with its magnificent views across the Hayle estuary to Godrevy Lighthouse, John painted his distinctive images of glowing beaches and deep blue skies, which are so widely recognised as to have become synonymous with the county of Cornwall itself. Miller's art occupies the space between figuration and abstraction. He described painting as "an exterior response to an interior vision", yet that reponse was usually rooted in the world around him. His paintings were usually concerned with specific sites and the emotions they generated held in tension with an inward contemplation informed by his religious convictions.  In the 1970s and 1980s Miller travelled a great deal around the Mediterranean. There he became fascinated by the strong sunlight that renders shadows as intensely dark as the light is bright. These experiences loosened his brushwork and brought a new intensity of colour to his paintings of Cornwall. In 1995 he moved from Sancreed to Lelant and he is perhaps best known for his paintings inspired by early morning walks along the beach at Port Kidney. He developed a personal symbolism during the period, in which the sun became a symbol for the renewal of life, and the moonrise associated with the death of his mother. During this period his paintings were perhaps at their most inward looking and visionary. Condition Report: The work is not glazed. There are a number of scattered paint splashes across the surface. May benefit from a light clean. Otherwise appears in good original condition. Condition Report Disclaimer

λ&nbspJOHN MILLER (BRITISH 1931-2002) ANEMONES II Oil on canvas Signed and titled (verso) 51 x 46cm (20 x 18 in.)Provenance: New Craftsman Gallery, St. Ives, Cornwall Portland Gallery, London John Miller's artistic vision has become one of the most widely recognised of the twentieth century. Working from his Cornish studio with its magnificent views across the Hayle estuary to Godrevy Lighthouse, John painted his distinctive images of glowing beaches and deep blue skies, which are so widely recognised as to have become synonymous with the county of Cornwall itself. Miller's art occupies the space between figuration and abstraction. He described painting as "an exterior response to an interior vision", yet that reponse was usually rooted in the world around him. His paintings were usually concerned with specific sites and the emotions they generated held in tension with an inward contemplation informed by his religious convictions.  In the 1970s and 1980s Miller travelled a great deal around the Mediterranean. There he became fascinated by the strong sunlight that renders shadows as intensely dark as the light is bright. These experiences loosened his brushwork and brought a new intensity of colour to his paintings of Cornwall. In 1995 he moved from Sancreed to Lelant and he is perhaps best known for his paintings inspired by early morning walks along the beach at Port Kidney. He developed a personal symbolism during the period, in which the sun became a symbol for the renewal of life, and the moonrise associated with the death of his mother. During this period his paintings were perhaps at their most inward looking and visionary. Condition Report: Appears to be in good original condition. No obvious evidence of restoration or repair. Condition Report Disclaimer

STEADMAN RALPH: (1936- ) British illustrator, best known for his collaboration with the American writer Hunter S. Thompson. An extensive correspondence collection of forty-two A.Ls.S. (the majority to the versos of postcards, many featuring images of Steadman's work) and nine T.Ls.S., Ralph, sixty-six pages (total), 4to and smaller, various places (Maidstone, Kent, France and Italy), March 1980 - January 1997, all to Tom Maschler. The substantial, and often amusing, correspondence covers a wide range of subjects, including Steadman's work, in part, 'Many thanks for your letter and your marvellous enthusiasm. I am very happy that Cape & your good self are prepared to take me on with a project that hardly has any bones yet.....I doubt if I will begin Leonardo for 2 or 3 months but that does not prevent me reading about my subject and making notes which is how I set about the book on Freud' (18th March 1980), 'It's fascinating sitting in spots where the old boy [Leonardo da Vinci] might have sat. I was unable to lie on his bed or use the secret tunnel used by Francois I to visit him daily' (25th April 1981), ' "Bloody good!!" he said when he caught sight of the first drawing. "How many more are there?" "How many do you want?" "That depends" "On what?" "How many disciples turn up - can you manage another eleven - No problem' (31st August 1982), 'If he can sell 5000 copies there must be another 50,000 who would buy it if they only knew about it - at least. There is a huge army of committed fans over there [America] but I don't think they know the book exists. All I know is when I did a signing the queue went down the street - New York & West coast. Maybe they were all my fans and there aren't any more but do you believe that. Anyway, one of these days we'll blast through the bullet proof barrier & wonder why we worried' (21st December 1984), 'When Glasgow Art Gallery asked for copies of "I Leonardo" to sell during the course of my exhibition there, they were informed that you are now completely out of the 2nd edition. Surely it is worth a reprint even for this country only' (3rd May 1985), '...[I] have been asked to front a T.V. show on our attitudes to animals (J. G. Ballard, Brian Aldiss etc to be interviewed) I've just been to a bullfight, so I'm on dodgy ground' (28th September 1995). 'I will be researching the ways of cannibals - where they were - who they ate - who tasted best and what their favourite sauces are. Did they have head chefs - table manners - religious symbolism & belief in the powers allotted to various parts of the body......Are we in fact missing a vital part of our diets which no amount of lamb or pig can assuage?.....It's a wide & wonderful subject Tom, and in the metaphysical sense we act like cannibals today in this dog eat dog society of ours' (19th October 1995), 'I have read The Mildenhall Treasure - it is a fine TRUE tale of trust and paranoic avarice. Though, Butcher's wife knew. I love the descriptive atmospherics as much as [Roald] Dahl's grasp of human nature. It could be special, but why, I ask myself am I illustrating Dahl, when I could be hurling myself into Rabelais' (16th June 1996), 'I was thrilled to hear from you again. We have now reorganised the answering machines especially for you so that if you want to sing a song, tell me a story, or recite a piece of concrete poetry, you know I will hear it in future' (n.d., although 1996), 'Two things in defence of the "Snags". Defence one: Children love repetition. Defence two: Childrem don't recognise sophistication; only the inherent spirit of fun, the game itself played out between parent & child. I know. It has been tried out on a nursery school full of children and they ask for more. Defence three even: It is a great way to learn punctuation & a wonderful way to read pictures....' (18th June 1996), 'I am in search of magic - in search of Roald Dahl. What made him tick?' (26th November 1996), 'Over the last few months I have been doing some strange but intriguing, and funny!, pictures in the evenings on my knee (on paper of course) which I call my knee jobs. They seem like the basis for a book though I don't quite know how or why' (6th January 1997), 'Cannibals at the moment are rife in the world of publishing, literart meat-eaters, retail/wholesale packagers, remainderers of books which are in their prime, even 'Animal Farm' which is No. 3 in the best 100 books of the 20th century - trashed because 'its sale has gone down to a trickle' and who, I wonder, is prepared to admit blame?......Unless the book smells like a Body Shop and leaps off the shelf to bite you up the arse, what chance do new books have, except one on cannibals who might like a piece of arse for supper' (19th January 1997), 'I hope that our chat yesterday settled the final touches for our collaboration to reincarnate one of Roald Dahl's wonderful true stories' (29th April 1999), 'Here is something to get your teeth into. The spider's mouth is the hole at the back of Dahl's chair - it needs my cryptic explanation' (n.d.), 'I have avoided planning new booksm but I have not been idle.....I have been involved in a modern dance based on the last years of Picasso....I have done the centenary portrait of T. S. Eliot for The Poetry Society celebration in September. That led to a curiosity to see how I could portray his face in paint & I completed 6 paintings of his visage. He has a strange face......Channel 4 are keen to do a film about my Welsh speech based on the 'BOYO' tapestry and I am making a 10 minute short based on a conversation I invented between Marcel Duchamp & Luis Bunuel......I have always felt that the people who do well out of my book signings are the book shops since I give more of a performance that a mere 'Jeffrey Archer' type signing' (n.d., although 1993). Several of the letters are illustrated with a small caricature alongside the signatures. Some very light, minimal age wear, VG, 51Tom Maschler (1933-2020) British publisher who, from 1960, was head of the publishing company Jonathan Cape for more than three decades. Maschler was also instrumental in establishing the Booker Prize in 1969.

ORDER OF MALTA - PERELLOS RAMON: (1637-1720) Spanish Knight of Aragon, who served as Prince and Grand Master of the Order of Malta for more than twenty years, from 1697 until 1720. Perellos established foreign relations between Malta and Russia for the first time, and fought against corruption within the Order. The Grand Master also improved and strengthened the coastal fortifications of Malta which was suffering multiple attacks from the Ottoman fleet, organizing himself and building a new war fleet to fight the Turks. Rare l.S. `Perellos´, one page, folio, Malta, 18th April 1703, to the Grand Prior of Aquitaine, in French. The document bears to the heading an Order of Malta ink stamp to the upper right corner, and in large bold letters, in Latin, "Mag[ist]er Hosptis et S[anc]ti sepulchri hiertem" ("The Master of the Hospital and the Holy Sepulchre"). Perellos refers to a process of accpetance of nobility, and states in part `Venerable tres cher et bien aimé Religieux; Nous aiant esté fait instance, qu´il nous plût recevoir au nombre des pages qui sont destinés pour Notre Service Noble, René Vincent de Messenie, fils de noble Louis du même nom et de Dame Caterine de Coué de Lusignan, nous avons volontiers octroié cette grace qui nous oblige a vous advertir de ne faire aucune difficulté de tenir une assemblée Extraordinaire touttes et quantes fois que vous en serez requis, tant pour lui délivrer la Commission nécessaire pour pouvoir faire les preuves de sa Noblesse et légitimation....´ (Translation: "Very dear and beloved Venerable Religious; Having been requested, that we we were glad to receive among the pages which are intended for Our Noble Service, René Vincent de Messenie, son of noble Louis of the same name and Lady Caterine de Coué de Lusignan, we have gladly granted this grace which obliges us to warn you not to make any difficulty in holding an Extraordinary assembly whenever and as many times you are required to do so, both to deliver the Commission necessary to be able to demonstrate the Nobility and legitimation...") With blank address leaf. Small overall age wear, otherwise G Perello´s funerary monument is found at St. John´s Co-Cathedral in Valletta and is considered to be one of the best examples of baroque art in Malta.

Frank O. Salisbury, British 1874-1962 - Ten portraits: Hugh Bullock, worked on Wall Street, connected with the pilgrims trust?, son of Calvin Bullock; Mrs Joy Allpress, authority on antique and period decoration; Col. Robert James Blackham, army physician, barrister, author, political and Clark of the glaziers company (later Major General); Rev. Dr. Samuel Leslie Parke Cadman, leading American churchman, NBC religious broadcaster. Author, pastored central congregational church in Brooklyn, President of Federal council of churches of Christ, two; Rev Sidney Arthur Alexander, Canon of St Pauls Cathedral, painting commemorates 40 years of service with a study on reverse of the Rt Hon 7th Lord M ??, 1943; Bishop Asbury, aka 'The prophet of the Long Road led American Methodism from 1784, portrayed as though he was 39, 1957; Dr N.M. Butler, President of Columbia, Nobel peace Prize, President of Carnegie endowment for international peace, 1931; Steven Baker, Chairman of Manhattan Bank, 1931; Sir Charles John Bartlett, Chairman of Vauxhall Motors Ltd. Luton. Resident of Harpenden, Herts, 1954; chalk and pastel on paper,64.5 x 50.7 cm and smaller (unframed) (10) (ARR) Provenance: The Walpole Society, donated by Philip Mould & Company on behalf of a private collector Note: Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections. Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes. These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector. 

Viceregal School. Cuzco. Peru. 17th Century."Isaiah's vision"Oil on canvas. Re-stretched.204 x 181 cm.Symbolic and apocalyptic painting about Isaiah's vision of the true God and the seraphim, whose desire is to elevate spirits that are lower in the hierarchy to Him and carry out divine justice.An unusual and curious painting that serves as a biblical and scenographic summary of various texts from the Book of Revelation by John, and others from the prophets Ezekiel or Isaiah. The prophet Isaiah mentions in 6:2: "Above him stood the seraphim. Each had six wings: with two he covered his face, and with two he covered his feet, and with two he flew."In the upper left corner of the painting, we find one of these seraphim, which can only be seen by those who have been elevated to a higher dimension, that is, to a state where heaven opens up to them. Like Isaiah, one of the four Prophets of the Old Testament. The seraphim belong to the highest rank of the angelic hierarchy and are the praisers of God, constantly proclaiming His Holiness.A similar example can be found in Catalonia in the murals of the church of Santa Eulalia at the National Art Museum of Catalonia, where these seraphim, angelic beings that surround God on His throne, are depicted. They can also be found in the art on several Catalan Romanesque apses.Seraphim have the mission of purifying everything around them, so they are destined to protect the holiest places.In the Bible, they are mentioned as a vision of God that Isaiah had in the Temple, where they were singing praise: "Holy, holy, holy is the Lord Almighty; the whole earth is full of his glory."They protect themselves from the light of God by covering their heads with two wings, as they are constantly accompanying the Lord on the throne. For this purpose, and to be able to see the presence of God, they have eyes on their wings and all over their bodies.In the upper right corner, we see Isaiah, who had the vision in which he was taken to the throne of God, where they were (Chapter 6). There, he saw the true King and the seraphim full of ardour and purity, with which they love the divine, desiring to elevate the spirits of lower hierarchy toward God.This seraph with a bull's face (to John, they appear as a lion, a bull, a man, and a flying eagle) "holds a harp" (Revelation 5:8), a symbol of worship and praise in the Old Testament, with which they sing and declare the holiness of God, participating in God's justice, for when He opens the first four seals and unleashes the four horsemen who come to destroy (we see one of these horsemen below in the centre), their voices, powerful as thunder, tell them 'Come' (VENI..., at the beginning of the Latin phylactery lying at the base of the painting) (Revelation 6:1-8). Each rider responds to the call of his seraph, a powerful creature indicating the power he possesses.In summary, this is a painting that symbolically speaks of these beings and Isaiah's vision, an exalted order of angels whose main purpose is worship and who are, in some way, involved in carrying out divine justice.The painting was perhaps created for the refectory or choir of a cloistered religious convent, a place filled with "higher" beings seeking to prostrate and worship the Lamb (Revelation 5:13), beings who cloister their lives to experience the vision of Isaiah up close, to sit on the throne and become the praise, honour, glory, and power of God, forever and ever (Revelation 5:11-12).The painting makes it clear to the beholder that "the Lord is God, and there is no other besides Him.""

Agustin Arrieta (Santa Ana Chiautempan, Tlaxcala, Mexico, 1803 - Puebla, Mexico, 1874)"Still Life with Prickly Pears"Oil on canvas.80 x 106 cm.As indicated in the report by art historian José Gómez Frechina:"The 19th-century painter José Agustín Arrieta, son of the Basque Tomás Arrieta and María Rita Fernández, lived in the Mexican city of Puebla from an early age, where he began his artistic training at the Academy of Fine Arts under the supervision of painters such as Julián Ordóñez and Lorenzo Zandejas at the time of the recent independence of Mexico.Arrieta painted portraits (Portrait of General Don Felipe Codallos's Family, Soumaya Museum) and religious paintings in the early years of his artistic career. Later, distancing himself from academic influences, he captured passages of sociological value on his canvases, reflecting the reality of the society of Puebla, especially the lower classes (Pulquería Gathering). He became famous for his paintings of "chinas poblanas" (women from Puebla) and especially for his still life paintings, known at the time as "dining room paintings."Examples of his still life work and social-themed paintings were shown in exhibitions at the Academy of San Carlos in Mexico in 1850 and at the Academy of Fine Arts in Puebla in 1851, 1853, and 1855. Despite being one of the principal artists working in Angelópolis, as stated by his biographer Francisco Pérez Salazar, he faced certain difficulties: "However, his talent and skill were not enough to secure him a comfortable position, and around 1852, he had to take on the role of caretaker at the Congress to make a living."The importance of the culinary world and the inclusion of fruits and crafts typical of Puebla and Tlaxcala are reflected in José Agustín Arrieta's still life paintings, as in this unique "Still Life with Prickly Pears," the symbolic nature of which is quite clear due to the presence of the nopal (prickly pear cactus) and its fruits. This sacred cactus, related to an Aztec legend identifying it with the founding of Mexico-Tenochtitlan, appears on the National Coat of Arms of Mexico. This native species of cactus, also known by other names such as xoconostle or chumbera, found in dry and semi-desert environments, was introduced to many areas of the Mediterranean by the Spanish in the 16th century.The presence of fruits native to Mexico, such as limes, papayas, pitahayas, mameyes, and prickly pears, is often accompanied by other elements such as bottles, crystal glasses, pots, or baskets in Arrieta's still life work.The still life in question features a jug in the central axis of the composition and two wicker baskets full of prickly pears (also known in the Hispanic world as higos chumbos) - one of them overturned. The popularity of the nopal and its edible fruit in Mexico is well-known, as are the fleshy paddles of the plant, highly appreciated for their healing properties.In the foreground are two clay pots, common ceramic plates with floral decoration, a polychromed clay oil bottle and an oil lamp with glass sections. Various types of prickly pears with white or orange-reddish peel are depicted. It is also worth mentioning the scissors, the prickly pear sliced at both ends, and sectioned to show the edible part, and the presence of two snails (Helix aspersa Maxima).As is customary in Arrieta's paintings, there is special attention to the depiction of objects and textures, observed in the glass, the clever arrangement of scissors with their shadows, and in the clay pots with water droplets." Reference bibliography:Castro Morales, Efraín, Homenaje Nacional a José Agustín Arrieta (1803-1874), Museo Nacional de Arte (México) INBA 1994; Fraile Martín, Isabel, "Pintura y pintores en Puebla: Una revisión a los modelos y tendencias del siglo XIX" Estudio, 2015, n. 20, p.17-31.  The study by José Gómez Frechina is included with the lot.

Jung, Kyosun (South Korean, 1984-present); b. Seoul, emigrated to England 2010 ENGLAND, Ivory Exploitation, 2013, a cast silver-plated bronze medal by Kyosun Jung [BAC Casting], forepart of an aged and sad elephant right, without tusks, rev. elephant’s trunk embellished with legend thousands of elephants die each year so that their tusks can be carved into religious objects. can the slaughter be stopped?, 100mm, 641.77g (The Medal 63, p.61). Extremely fine, UNIQUE £300-£400 --- Provenance: from the artist to Frances Simmons; bt Simmons, December 2015 This medal was entered in the 2013 British Art Medal Society Student Medal Project. Out of 125 design submissions, it won for the artist the Pangolin Editions Prize for modelling and lettering, among the first of many awards bestowed on this artist. Only five of these medals were made, one in silver (The Goldsmiths’ Company), one silver-plated (the present specimen) and three in bronze (sold to private clients of the artist). A detailed analysis of the metal in this medal (75.8% silver, 13.1% copper, 9.1% tin) is sold with the lot.

958-1025 A.D.. Obv: + IhS XIS REX REGNANTInm, bust of Christ facing, wearing nimbus cross ornamented with two crescents in the limbs of the cross, holding book of Gospels and raising right hand. Rev: + bASIL C COnStAntI b Rm, crowned facing busts of Basil with short beard on left, wearing loros of square pattern, and Constantine VIII, beardless on right, wearing chlamys, holding plain cross between them. DOC 6a; SB 1800. 4.43 grams, 27 mm. . Ex Richard Falkiner, 2000s.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no 12032-212137.Basil II was the senior emperor with Constantine VII and ruled from 976 -1025 A.D. The early years of his long reign were dominated by civil war against powerful generals from the Anatolian aristocracy. Following their submission, Basil oversaw the stabilisation and expansion of the eastern frontier of the Byzantine Empire, and above all, the final and complete subjugation of Bulgaria, the Empire's foremost European foe, after a prolonged struggle. For this he was nicknamed by later authors as the Bulgar-slayer; (Greek: Boulgaroktonos), by which he is popularly known. At his death, the empire stretched from Southern Italy to the Caucasus and from the Danube to the borders of Palestine, its greatest territorial extent since the Muslim conquests four centuries earlier. Of far-reaching importance was Basil's decision to offer the hand of his sister Anna to Vladimir I of Kiev in exchange for military support, which led to the Christianisation of the Kievan Rus, and the incorporation of later successor nations of Kievan Rus within the Byzantine cultural and religious tradition.

Transition Period, 2nd-12th century A.D.. Depicting the face of a warrior Nylamp; at the top animal figures flank a discoid-shaped head with headdress and discoid dangles; a human head below with large headdress decorated in geometric motifs, a series of dangles below. See Newton, D. et al., The Pacific Islands, Africa, and the Americas, The Metropolitan Museum of Art, New York, 1987; see Pillsbury, J. et al., Golden Kingdoms: Luxury Arts in the Ancient Americas, Los Angeles, J. Paul Getty Museum, 2017. 267 grams, 39.5 cm (15 1/2 in.). From a Spanish collection, acquired before the 1950s.Private European collection, acquired 1950s-1960s; thence by decent.Ex diplomat M.I. Polak collection; acquired in the 1960s-1990s.From a private Belgian collection, formed in the 1990s.Archaeological investigations have demonstrated that Moche-Sicán cities were governed by warrior-priests, while depictions of rulers on pottery have revealed that these rulers wore pectorals like the example here. The ornate pectoral for a high-ranking noble or priest was sewn onto clothing, used to convey the wealth and power of their owners and separating them from artisans, farmers and herders, whose labour underpinned their rule. Only kings and religious figures of high status wore such adornments. Pre-Columbian artisans excelled in metalwork. The Moche was a powerful ancient state on the north coast of present-day Peru. [No Reserve]

4th century B.C. Modelled in the round, standing figure in a tight-fitting wrapped mantle, patera in the right hand, dressed hair; possibly in an act of religious devotion. 27 grams, 73 mm (2 7/8 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000.From an important Cambridgeshire estate; thence by descent. [No Reserve]

Circa 2nd century A.D.. Squat burnished pottery lamp with stub nozzle, high-relief scene of two lovers on a couch; maker's mark 'LMVNSVC' to the underside. Cf. Bussière, J., Lindros Wohl, B., Ancient Lamps in the J. Paul Getty Museum, Los Angeles, 2017, figs.181-183, for similar. 64 grams, 95 mm (3 3/4 in.). From the collection of French archaeologist Suzanne Gozlan (1921-2022).The lamp belongs to the Bailey type B group ii (Loeschke type IV), usually dated from Tiberian to Trajanic times. Erotic lamps were particularly popular before the Christianisation of the Roman Empire. Roman sexuality differed considerably from later Christian European attitudes. Roman religion promoted sexuality as one of the fundamental aspects of prosperity for the entire state; individuals could turn to private religious practice, or even magic, to improve their erotic life or health and reproductive capacity; moreover, prostitution in ancient Rome was legal, public and widespread. Artistic subjects that today we would define without hesitation as pornography, were present among the art collections of the most respectable and high status Roman families.

Circa 2nd century B.C.- 2nd century A.D.. Life-size bull's head (bucranium) on a rectangular field with flattened upper face and small ledge overhang; modelled in the half-round with detailed eyes, muzzle and dewlap, plain background; tooled texture to the forehead and dewlap; Eastern Empire. Cf. similar item in the collection of the Metropolitan Museum of Art, New York, under accession no.99.17; for various similar examples s. Mendel, G., Catalogue des sculptures grecques, romaines et byzantines, Constantinople, 1914, nos.1151 (381), 1164-1166 (300,1152,1139), 1282-1283 (2015-2016), vol.III, pp.493-494. 98 kg, 51 cm (20 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000.From an important Cambridgeshire estate; thence by descent.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 number no.12081-213373.The bucranium was used as a prominent motif on the exterior of Graeco-Roman temples where it replaced the use of genuine severed heads from the sacrificial rites. Garlands were draped over the heads on feast-days and occasions of special religious observance. The flattened upper face suggests an architectural use, perhaps as a corbel. [No Reserve]

Ca. AD 1100-1200.A pottery jug with a bulbous body conveys a sense of harmony and visual appeal. The low ring foot provides stability and balance to the vessel, ensuring that it rests securely on a flat surface. The broad funnel-shaped neck adds a graceful and distinctive element to the overall composition of the jug. The arched handle, ingeniously designed with thumb support, offers both practical functionality and aesthetic refinement. While the neck remains plain and unadorned, the main body of the jug boasts a densely embellished relief decoration that captures attention and elevates its artistic value. Divided in half by a horizontal groove, the relief decoration is executed with remarkable precision and intricacy. This exquisite embellishment features geometric motifs, floral patterns, and interlacing designs, showcasing the mastery of the Seljuk artisans in creating harmonious compositions on ceramic surfaces. Notably, a decorative band adorned with calligraphy encircles the base of the jug, adding a distinctive touch to its overall design. The calligraphic script, skillfully executed and precisely inscribed, may bear religious verses, blessings, or decorative phrases, reflecting the cultural and religious significance of the Seljuk Empire. Size: 130mm x 120mm ; Weight: 260g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. AD 1100-1200.A bronze oil lamp features a flaring and concave foot, meticulously shaped to provide stability and ensure balance in its overall composition. Its round body, embellished with intricate chiselled patterns, showcases the fine attention to detail lavished upon this piece. The addition of a hinged lid further enhances both its practicality and visual allure. The rear handle of the lamp not only adds an element of elegance but also serves a functional purpose, facilitating effortless transportation of the lamp from one location to another. The arched spout, boasting an heart-shaped nozzle, serves as yet another testament to the exceptional skill and craftsmanship of the lamp's maker, demonstrating their ability to create aesthetically pleasing and technically precise features. Oil lamps, such as this exquisite example, held significant importance in both practical and symbolic realms. Widely used in homes, mosques, and other public spaces, these lamps provided essential illumination, dispelling darkness and creating an inviting ambiance. Beyond their utilitarian function, oil lamps were often elevated to objects of artistic expression, with intricate designs and ornate calligraphy adorning their surfaces. These decorative elements served as visual reminders of the religious and cultural values cherished during the lamp's time of creation, reflecting the rich tapestry of beliefs and traditions held by the communities that utilized them. Size: 195mm x 230mm ; Weight: 700g Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

* SIMON LAURIE RSW RGI (SCOTTISH b. 1964), UNTITLED acrylic on board, signedframed and under glassimage size 55cm x 55cm, overall size 77cm x 77cm Note: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.

* SIMON LAURIE RSW RGI (SCOTTISH b. 1964), STILL LIFE acrylic on board, signed framed and under glassimage size 33cm x 36cm, overall size 49.5cm x 53cmNote: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.Condition is good overall, with no visible or known issues.

Joan Brown (1938–1990) was an American figurative painter associated with the Bay Area Figurative Movement. Here are key points about Joan Brown:1. **Early Life:** Joan Brown was born on February 19, 1938, in San Francisco, California. She grew up in the Bay Area and developed an early interest in art.2. **Art Education:** Brown studied at the California School of Fine Arts (now the San Francisco Art Institute), where she was influenced by the Bay Area Figurative painters, including Richard Diebenkorn and Elmer Bischoff.3. **Bay Area Figurative Movement:** Brown emerged as one of the key figures in the Bay Area Figurative Movement, a significant art movement in the 1950s and 1960s that moved away from abstract expressionism and returned to figurative and representational art.4. **Personal Style:** Brown's early work often featured vibrant colors, expressive brushstrokes, and a focus on the human figure. She incorporated personal and autobiographical elements into her paintings.5. **Marriage to Manuel Neri:** Brown married fellow artist Manuel Neri in 1957. The two artists influenced each other's work, and their relationship is reflected in the art they created.6. **Travel and Influence:** Brown traveled extensively, including trips to Mexico, Europe, and Asia. These travels influenced her artistic style and subject matter.7. **Symbolism and Mythology:** In the 1970s, Brown's work began to incorporate symbolic and mythological elements. She drew inspiration from a wide range of sources, including ancient mythology and religious iconography.8. **Later Career:** Brown continued to evolve as an artist, exploring new themes and incorporating diverse materials into her work. Her later paintings often included complex compositions and layered narratives.9. **Teaching:** In addition to her career as an artist, Brown taught art at the University of California, Berkeley, and the California College of Arts and Crafts.10. **Death:** Joan Brown passed away on October 26, 1990, at the age of 52, in Puttaparthi, India. She was participating in a program associated with the spiritual leader Sathya Sai Baba at the time of her death.11. **Legacy:** Joan Brown's contributions to the Bay Area Figurative Movement and her distinctive approach to figurative painting have earned her a lasting place in the history of American art. Her work is held in major museum collections, and retrospectives of her art have been organized posthumously.Joan Brown's art is characterized by its emotional depth, personal symbolism, and engagement with the human figure. Her exploration of diverse themes and her influence on the Bay Area Figurative Movement have solidified her position as a significant figure in American art.Measures 40 x 21.25.

Walter Stanley Paget (1862-1935) Artist’s Sketchbookbears label to the front board inscribed with signature, W. S. Pagetpencil, pen and ink on paper (bound with marbled boards)overall size 22.4cm x 18.3 cm This sketchbook contains approximately 35 drawings in different media, depicting various subjects, including classical and religious scenes, equestrian scenes and other farm animals, in addition to working farm scenes, figure studies, soldiers and battle scenes and still lives. The studies are predominantly in ink, with a minority in pencil and mixed media. The sketchbook has a branded label on the front reading, ‘Waterlow & Sons, London’. As well as drawings, the sketchbook also has a number of receipts and expenses, poetry and transcriptions of letters. Walter Stanley Paget was the brother of Sideny Paget (1860-1908) and Henry Paget (1856-1936). He was best known for his illustrations for numerous authors of the era, including the 1910 edition of Charles and Mary Lamb's Tales from Shakespeare, and Conan Doyle's 1913 Holmes short story, "The Adventure of the Dying Detective," in The Strand Magazine. He also illustrated Daniel Defoe’s 1990 fine art edition of Robinson Crusoe. As well as these, he also illustrated children’s books, historical books and other newspapers.

STOT21stCplanB Harsh But Fair - Feed The World - Crap Aid CD compilation wrapped by a printed artwork Measures approx. 29.5cm x 36cm (11 5/8" x 14") STOT21stCplanB (sometimes pronounced STOT twenty one with a silent ‘stCplanB’) started out as a zero-ambition noise/alt-country rock band, releasing the nihilistic CDR only LP Satan’s Rat Trap and the Mouse that Wound Up Dead (2004) and the flood/love/disaster themed mini-LP Up To Yer Neck In It (2005), before turning attentions towards visual art disruption.  Describing themselves as Neo-Nothingist Anartists, three years of intense creativity followed, exploring and dealing with notions of “the puerile”, where the duo worked in a multiplicity of mediums from photo-montage, printmaking, painting, to political campaigning, crockery and making fake Banksy's under the name Not Banksy.  In 2008, collaborators THE AQUARIUM L-13 (predecessor to the L-13 Light Industrial Workshop) hosted a fundraising event for Ken Livingstone’s mayoral campaign. STOT21stCplanB declared they would stand against him and put forward their own candidate known only as THE ASSISTANT. Despite designing some fantastic campaign posters they failed to get to the first stage of the elections and in bitter disappointment declared semi-retirement at the end of 2008.  The next 13 years were spent mostly painting landscapes and religious scenes of violence under the name Harry Adams, emerging occasionally for one-off projects, eventually succumbing to popular demand and re-activating the Not Banksy project in 2018.  Making and selling Not Banksy's kept them very busy for several more years, culminating in the publication a memoir: The Not Banksy Book: Lying, Cheating, Stealing and the Death of Art Vol 13, L-13 Press 2021 (aka The Lob-a-Knob Book).

STOT21stCplanB  Know your enemy - Act Now! Lives are at stake" Print on paper  Handmade book made by artist Limited edition no 11/50 Measures approx. 14.5cm x 18cm (5 3/4" x 7") STOT21stCplanB (sometimes pronounced STOT twenty one with a silent ‘stCplanB’) started out as a zero-ambition noise/alt-country rock band, releasing the nihilistic CDR only LP Satan’s Rat Trap and the Mouse that Wound Up Dead (2004) and the flood/love/disaster themed mini-LP Up To Yer Neck In It (2005), before turning attentions towards visual art disruption.  Describing themselves as Neo-Nothingist Anartists, three years of intense creativity followed, exploring and dealing with notions of “the puerile”, where the duo worked in a multiplicity of mediums from photo-montage, printmaking, painting, to political campaigning, crockery and making fake Banksys under the name Not Banksy.  In 2008, collaborators THE AQUARIUM L-13 (predecessor to the L-13 Light Industrial Workshop) hosted a fundraising event for Ken Livingstone’s mayoral campaign. STOT21stCplanB declared they would stand against him and put forward their own candidate known only as THE ASSISTANT. Despite designing some fantastic campaign posters they failed to get to the first stage of the elections and in bitter disappointment declared semi-retirement at the end of 2008.  The next 13 years were spent mostly painting landscapes and religious scenes of violence under the name Harry Adams, emerging occasionally for one-off projects, eventually succumbing to popular demand and re-activating the Not Banksy project in 2018.  Making and selling Not Banksys kept them very busy for several more years, culminating in the publication a memoir: The Not Banksy Book: Lying, Cheating, Stealing and the Death of Art Vol 13, L-13 Press 2021 (aka The Lob-a-Knob Book).

DOGON FIGUREThis superb Dogon female figure can be attributed to the Sanga region owing to its close similarity in style to the works of the ‘Master of Ogol’, so named after the figure now in the Musée du Quai Branly collected in the village of Ogol by Marcel Griaule during his third expedition of 1935. Bernard de Grunne identifies seventeen works which he categorises as ‘Master of Ogol’ (‘A Great Dogon Artist: The Master of Ogol’ in Tribal Art, Special Issue no.2, 2011, pp.16-35). Carbon 14 tests on those that have been tested range from 15th to 17th century for the oldest to the 19th century, suggesting they are most likely not the work of a single artist. The present figure resembles most closely the figure which carbon 14 testing suggests is the oldest, now in the collection of the Dapper Foundation (op cit. p.30, fig.16 and p.35, fig.17) with its atypically small mouth and nose. The patination and wear on our figure would seem to suggest a similar if not earlier date. Griaule’s collection notes for the Quai Branly figure state: “a representation of a seated woman, whose ‘beard’ represents a labret. Has a braid of hair at the head, which should be rolled up, but which the artist could not render except in this way. Usually kept in the house of the hogon (religious leader). Placed on the mortuary house, dressed, for the funerals of wealthy families”. Germaine Dieterlen writing about the figure in the Walt Disney-Tishman collection states that the figures come from altars that were erected for rituals dedicated to women who had died in childbirth. The gesture of the hands (held together before the abdomen and pointing downwards) symbolises pregnancy.41.5 cm. highProvenancePhilippe Guimiot, Brussels, 1986/1987

To Be Sold With No ReserveAn illustrated leaf from a Hindu religious manuscript, one scene depicting Krishna and Yashoda, Jaipur, second half of the 19th century,opaque pigments and silver on paper, two illustrations, 23 lines of text written in nagari script in black ink, red and yellow margin rules,30.5 x 27.8cm.Provenance: Bonhams London 2021 Islamic and Indian Art Online Sale, Lot 222

Ca. AD 100-300.A group of three bronze bowls including two shallow bowls, each with a rounded circular base, corseted walls, and pronounced rim, alongside a deeper bowl with a flat base and slightly flaring walls toward the opening. In ancient Rome, bronze bowls served a myriad of purposes, functioning as vessels for food consumption, storage, or even as offerings in religious ceremonies. Size: 50/50/35mm x 95/100/115mm; Weight: 290g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.