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Ottoman Empire, or Northern India, Ca. 18th-19th century AD A religious manuscript of duas or prayers. Illuminated, some pages have roundels with prayers contained and one mentioning the four rightly guided Caliphs. Bound in dark tooled leather, some details of former gold decoration remain.Size: L:164mm / W:110mm ; 130gProvenance: Private UK collection, formed since the 1990s on the UK and International Art market.

Ca. 224-651 AD A silver boat-shaped vessel with an oval plan, sloping sides and rounded bottom. The Sassanian empire which ruled from Afghanistan to Iraq during the third to seventh centuries AD is famed for the high quality of its ceremonial metalware, which was used both during banqueting and during religious rituals.Size: L:50mm / W:182mm ; 215gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 1200-700 BC A Luristan cast axe head comprising of a tubular socket and a crescentic-shaped blade with a convex edge.Bronze weaponry production flourished from the 2nd millennium BC to about 700 BC when it was gradually replaced by iron. Swords, mace heads, spears and arrows were exchanged via trade and war and are discovered in both civic and ritual contexts. An axe head such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as axes were common votive offerings in shrines.Size: L:180mm / W:160mm ; 1.09kgProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 2000-700 BC A bronze axe head with a short, curved blade, tapering cheek, and a wedge-shaped butt. The shaft decorated with a double banded collar.An axe such as this one would have been an important symbol of rank, and have served a purpose in warfare, but also in religious contexts as axes were common votive offerings in shrines.Size: L:132mm / W:40mm ; 490gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Vinyl - Alternative / Indie Pop / Cool Pop - 31 UK / EU Original albums and 8 Uk Original 12” singles to include: The Wake - Make It Loud (1990, Uk 1st Pressing, Sarah Records, SARAH 602) EX / EX. Senser - Stacked Up (1994 Uk 1st Pressing, Limited Numbered Double Yellow Vinyl albums, Ultimate Records, TOPPLP 008) Gatefold Numbered Sleeve EX / Both yellow Vinyl albums EX. The Family Cat - Furthest From The Sun (1992, UK 1st Press + Limited 7” single, Dedicated Records, DEDLP 007) EX- / EX + Insert + Limited 7” single in EX condition. Cranes - Wings Of Joy (1991, UK 1st Pressing, Dedicated Records, DEDLP 003) EX / EX + Printed Inner. Insides – Euphoria (1993, UK 1st Press + Limited edition 7” single, Guernica records, GU 4 LP) EX / EX + Printed Inner + Limited 7” single in EX condition. The Jesus And Mary Chain - Darkland (1987, Original German 1st Press, WEA Records, BYN 11) EX / EX + Printed Inner. Barbed Wire Kisses (1988, 1st Press, Blanco Y Negro records, BYN 15) Sleeve is attached to a 12” and will be graded VG only / Vinyl is EX + Original Black Inner. You Trip Me Up (1985 UK 12” NEG 13(T)), Sleeve is stuck to album and will be graded VG only, Vinyl is EX. Sidewalking (1988, UK 12” NEG 32T) Sleeve is stuck to another 12” and will be graded VG only, Vinyl is EX. Darklands (1987, UK 12”, NEG 29T) EX- / EX. The High - Somewhere Soon (1990, 828224-1) Limited edition with art Print EX / EX / EX. Also: The Pogues - Rum Sodomy & The Lash, Whirlpool - Whirlpool (SEEL 002LP), The Blood Rush - Skin Games (463285-1), Tsunami – Deep End (SMR 13V), The Three Johns - Atom Drop Bop (ABT 010), The Waterboys - This Is The Sea (ENCL 5) EX / EX + Printed inner. The Waterboys - Fisherman’s Blues (CHEN 5), Prefab Sprout - Protest Songs (KWLP4), Lloyd Cole & The Commotions - “Mainstream” + “Easy Pieces” + “Rattlesnakes”, The Housemartins, Big Audio Dynamite - "Tighten Up Vol. 88” + "No. 10, Upping St.” + “E=MC2” (12”), The Men They Couldn’t Hang, The Screaming Blue Messiahs - “Totally Religious” + “Good And Gone” + Gun-Shy” + “Bikini Red” + “I Wanna Be A Flintstone” (12” Picture Disc), Immaculate Fools - Hearts Of Fortune, Orange Juice - Lean Period (12”), Joe Strummer - Gangsterville (12”), Voice Of The Beehive (LP), Hot House Flowers (LP), Simply Red (LP + Two 12” singles), The Railway Children (10”)

Churches, Ecclesiology & Religious Art.  A carton of various vols.

Various items of mostly vintage costume jewellery to include a 1920s Art Deco chainmail purse, ladies' fashion watches, necklaces including religious examples, earrings including a pair of small bullseye studs, silver brooches, cufflinks, silver ring, buckles, a mourning brooch carved Mary to the inside front, thimbles, etc.

Hungary 1970 Religious art Paintings SG MS2569 u/m perf and imperf miniature sheets, Michel 2640 Block 78A and 78B. Cat £40+

Neapolitan school; 18th century."Crucified Christ".Carved and polychrome wood.It presents faults in the carving and repainting.Measurements: 60 x 38 x 8 cm.Round sculpture made in wax representing the figure of the crucified Christ. It is a devotional image that tries to awaken the passion and faith of the spectator. To do this, the sculptor has sought dramatisation through the use of the colour red in the hands, and the gesture of the face, with the mouth open in an agonising attitude. Even so, the piece does not show the wound in the side which would seek to exacerbate the pathos of the message to be conveyed by this work. Crucifixions and crucifixes have appeared in the history of art and popular culture since before the era of the pagan Roman Empire. The crucifixion of Jesus has been depicted in religious art since the 4th century. It is one of the most recurrent themes in Christian art and the one with the most obvious iconography. Although Christ is sometimes depicted clothed, his body is usually depicted naked, although with his genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of depicting the different attitudes of the crucified Christ are designated by the Latin expressions Christus triumphans ("triumphant" - not to be confused with the Maiestas Domini or the Pantocrator), Christus patiens ("resigned" - not to be confused with the Christ of patience) and Christus dolens ("suffering" - not to be confused with the Vir dolorum). The triumphans is represented alive, with his eyes open and his body erect; the patiens is represented dead, with his will totally emptied (kenosis), his head bowed, his face with a serene expression, his eyes closed and his body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in his mouth (curved).Neapolitan sculpture shows a marked taste for naturalism, a trend to which this piece belongs. This taste for Neapolitan naturalism is evident, for example, in the tradition of nativity scenes, as well as in the carving of groups of the Holy Sepulchre. Both the nativity scenes and the groups of the Holy Sepulchre and the vestments have a strong dramatic, scenographic component. They were also sculptures or sculptural groups that played an important role in the liturgy at different times of the year: at Easter, Christmas and other important festivals, where the celebration of mass involved, in various ways, the participation of these sculptures, which were, for the faithful, a powerful illustration of the mysteries around which the sermons and homilies revolved.

Dress Virgin of the 18th century.Modelled wax. Cloth vestments.Eighteenth century frame in carved and gilded wood.Measurements: 80 cm (total with crown); 117 x 88 x 17 cm (frame).Dress images are figures worked in detail only on the face and hands, on a structure of wood carved (in this case wax) to a greater or lesser extent. These processional images were cheaper than fully carved ones, and were therefore common throughout Spain. The visible parts are covered with a thin layer of stucco and polychromed, while the rest is covered with real clothes. These images were particularly appreciated for their naturalism, as the fact that they were dressed in real clothes gave them a greater degree of realism than those that were simply carved, which were often not of sufficient quality to achieve the degree of naturalism so sought after in religious art from the Baroque period onwards. Some of these "cap i pota", another name for this type of figure, were made articulated, so that their position could be changed and they could be dressed more easily.

Spanish school; 17th century."Christ on fire".Earthenware.Measurements: 36 x 28 x 12 cm.Round sculpture made of terracotta with a religious character. In this sculpture the author has reproduced the image of Christ with his hands crossed on his chest, a gesture that reminds us to a great extent of the iconography of Christ in prison, despite the fact that in the sculpture no detail can be seen that shows this attitude. The figure of Christ is dressed in a red cloak, symbolising the moment of the Passion. The sculpture stands out for the sobriety and austerity of the elements, thus confronting the viewer only with the figure of Christ. In which the sculptor has not only emphasised the monumentality through the elongation of the proportions, but also, with the polychromy, has managed to create an expressive image in which the suffering and the sufferings of Christ can be observed.Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who encouraged its development, with the works sometimes being financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture of this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values, which was achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.

William Blake (1757-1827)Thou hast fulfilled the Judgement of the Wicked, 1825Engraved plate, with 'Proof' faintly visible to bottom right corner20.3cm x 16.6cm William Blake is remembered as both a talented Romantic painter and a poet—he entered drawing school and began writing poetry around the same time in his adolescence. By age 20, Blake was thought to have written some of the finest lyrical poetry in the English language. He apprenticed for seven years with the engraver James Basire. In addition to engravings, Blake made drawings, watercolors, and small paintings in tempera. In 1788, he developed a process of etching that allowed him to combine an etching and text on the same printing plate, gaining unprecedented layout control of the printed page. Blake was deeply religious and believed that art could elevate the spirit. His most popular works were Biblical subjects, and illustrations inspired by Dante Alighieri’s Divine Comedy.Fraying to the edge of the paper, though this has no bearing on the print. Some light foxing and small indiscriminate holes towards the edge of the plate.

Postcards, a mix of more than 280 cards, with many greetings, art, religious, date, Quinton, Birthday and other subject cards inc. Cries of London, tartan etc. Some with heavy duplication (mixed condition)

A WWII 1st Naval Brigade prisoner of war wooden framed Religious Picture, with Norfolk Regiment insignia to front and original paper label to reverse, H 25cm, together with a Trench Art Vase, with ivy leaf and star decoration, H 40cm, Paragon household ambulance First Aid Kit with partial contents and a metal cased Gas Mask (a lot)

Pompeo Girolamo Batoni (Italian, 1708-1787)Portrait of Edward Solly, half length, in a blue coat and cream waistcoat, standing beside a table oil on canvas98.7 x 73.7cm (38 7/8 x 29in).Footnotes:Provenance:The sitter, and on his death to his brotherIsaac Solly (1724-1802), and to his sonEdward Solly (1776-1848), the renowned collector, thence by descent in the Solly family to Reginal John Nash Solly (1900-1975) by whom bequeathed to the present owners.Literature:E. Peters Bowron, Pompeo Batoni. A Complete Catalogue of his Paintings, Italy, 2016, p. 198, cat. no. 171Batoni's portrait of Edward Solly was painted in 1753-4 when the latter was visiting Rome, having arrived in Italy in the spring of 1753 aged 25, already a little older than many of the typical Milordi who undertook this journey as a rite of passage. He is shown dressed in a fashionable style known as à la hussar, his coat and waistcoat embellished with elaborate decorations borrowed from the Hungarian military uniform with its red collar, gold braid and frogging around the buttons. This fashion took hold after the War of Austrian Succession (1740-48) when the British were brought into contact with Hungarian troops and the popular image of Hungarian hussars as romantic and dashing led to the adoption of their uniform for masquerade wear. Batoni was to use Solly's rather relaxed, insouciant pose for another portrait two or three years later when he painted John Hase, later John Lombe, (Bowron and Kerber no. 195, p. 234, ill) although in this later iteration the sitter leans against a parapet rather than a stack of books. The books, with their characteristic Italian bindings, and the quill pens may be no casual inclusion since, unlike some of his fellow travellers who simply saw the journey as an opportunity to break free from the constraints of home, Solly was a keen student and saw his sojourn in Italy as an opportunity to develop his interest in the Classical world of art and scholarship. He pursued this interest throughout his life: on his return to England he became a member of the Society of Antiquaries and years later in 1771 he was elected to its Council.While he used the opportunity of his Grand Tour to study art and history, there were clearly lighter moments as well: he is recorded in Capua in May 1753, a town north of Naples renowned in classical times for its luxury and hedonism. In the 18th Century Capua was a stopping-off point for young Englishmen heading south towards Naples and promised a rather more informal and relaxed atmosphere than Rome. Solly's travelling companion was Charles Domville and the two men may well have encountered a number of other young British men enjoying the pleasures of Capua, as Robert Clements of Killadoon, Henry Willoughby of Birdsall, Sackville Tufton from Kent, David La Touche from Ireland and the 10th Earl of Pembroke were also there that spring. This is possibly the instigation for Solly commissioning the present portrait, as Batoni was beginning to make a considerable name for himself as a portraitist of Grand Tourists and on their arrival in Rome every one of this group of men was to sit to him. Also a painter of religious, mythological and allegorical works, Pompeo Batoni turned to portraiture around 1750 (see fig. 1) and is now chiefly remembered for the remarkable record he left us of the gilded youth of Britain in the second half of the 18th Century (for around two thirds of his sitters were British) as well as representatives of most of the courts of Europe. He was not the only fashionable portraitist in Rome at the time, both Anton Raphael Mengs and Gabriel Blanchet enjoyed success with wealthy visitors as well, but he unquestionably made the genre his own. The Solly family had for generations been wealthy businessmen and landowners in Kent and their family home, the Mote, was at Ash, near Sandwich. Edward was the youngest of the eight children of Richard Solly (1694-1729) and his wife Ann, née Hollis (1717-1776) and although his father died soon after Edward was born, he left the family well very provided for. In his youth Edward was briefly apprenticed to Jacob Chitty, a Merchant Taylor of Ironmonger Lane who traded cloth with the levant; later in his life he divided his time between Kent and London, continuing with the family's commercial interests, but it appears he never married and when he died his chattels - including this painting - were left to his oldest brother Isaac. Isaac Solly (1724-1802) was a merchant trading in Baltic timber whose son, named Edward like his uncle, followed in his father's footsteps. There was a demand for timber to feed the ship-building industry during the Napoleonic Wars so business burgeoned and in due course the younger Edward (1776-1844) moved to Berlin in order to direct his business interests. Over this period he made a name for himself as one of the great collectors of the 19th Century, building up a truly vast collection of Italian Trecento and Quattrocento paintings and works by early Netherlandish artists. When peace returned after the Napoleonic wars, the timber trade slumped as it was no longer required to support the fleet, and he sold his collection in 1821. Through the intermediary Gustav Waagen around 3000 works were acquired by King Frederick William III of Prussia and of these, 677 works were to form the core of the new Gemäldegalerie in Berlin. Undeterred, Solly formed a second collection on his return to England. It is tempting to speculate that his uncle's antiquarian interests – and perhaps even this portrait of him by Batoni – helped spark the younger Edward's interest in art and collecting.The present work was unknown to scholarship until seen by Bowron and Kerber in the Summer of 2015, having remained in the Solly family collection since it was painted.For further information on this lot please visit Bonhams.com

Circle of MATEO CEREZO (Burgos, 1637-Madrid, 1666)."Penitent Magdalene".Oil on canvas. Re-retouched.It presents repainting and restorations.Measurements: 103 x 85 cm.In this canvas, Mary Magdalene is represented as a penitent in the desert, dressed with a jet robe, on which the red tone of the cloak stands out. Although it is an unusual feature, the young woman, who appears to be absorbed in the Scriptures, does not have long, flowing hair, which alludes to the style of the young woman's life before she met Christ. The saint is depicted next to a perfumer, the Holy Scriptures and the skull. Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she housed and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed the feet of Jesus with perfumes before his arrival in Jerusalem, so her main iconographic attribute is a knob of essences, like the one shown here. While Eastern Christianity particularly honours Mary Magdalene for her closeness to Jesus, considering her "equal to the apostles", in the West the idea developed, based on her identification with other women in the Gospels, that before meeting Jesus she had engaged in prostitution. Hence the later legend that she spent the rest of her life as a penitent in the desert, mortifying her flesh. She was most often depicted in this way in art, especially in the 17th century, a time when Catholic societies were particularly fascinated by the lives of mystics and saints who lived in solitude in the wilderness, dedicated to prayer and penance. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.Mateo Cerezo trained in Madrid, where he joined Carreño's workshop. He was in great demand by a varied clientele, particularly for his religious painting, although he also tackled other genres. In this respect, the treatise writer and biographer Palomino stated that he produced "still lifes with such superior excellence that no one else could surpass him", a judgement that is fully corroborated by the works in the Museo Nacional de San Carlos in Mexico, which are signed and dated. On the basis of these, Pérez Sánchez attributed to him the Kitchen Still Life purchased by the Museo del Prado in 1970, a work of evident Flemish influence that has sometimes led him to think of Pereda. The work of this artist from Valladolid has also been identified as Cerezo's descendant, particularly in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left somewhat rougher works than those he produced in the following decade. In his works he is a faithful follower of Carreño, with whom he became one of his best collaborators. The master showed him the path he himself later followed, following in the footsteps of Van Dyck and Titian. Thus, Cerezo developed compositions that open out into large, complex scenographies, conceived with a distinguished refinement that is evident both in the work as a whole and in the smallest details. Like the Antwerp master, he endowed his figures with a rich magnificence in their costumes, applying a fluid, light brushstroke, contrasted by a rich play of light. A superb example of all this is the Prado's The Mystical Betrothal of Saint Catherine, signed and dated 1660.

Attributed to Gaspar Miguel de Berrío (Potosí, c. 1706- c.1762)  "The Coronation of the Virgin Mary with two Archangels" Oil on canvas. Relined. Measurements: 29,5 x 22,5 cm. This important painter worked in Potosí, in the Viceroyalty of Peru, in High Peru, which is now Bolivia.  Gaspar Miguel de Berrío is considered to be one of the most important artists of the Potosí School, after Melchor Pérez de Holguín, who was his teacher. His religious-themed paintings are reminiscent of Spanish tenebrism, as we see in this beautiful painting with a black background with contrasting gold leaf. The painting can be compared, for example, with "The Adoration of the Shepherds", which is kept in the National Museum of Art of Bolivia, La Paz. (Image No. 1: http://52.183.37.55/artworks/678), or with “Our Lady of the Rosary” which is kept in the Potosí Mint Museum, in Bolivia (Image No. 2: http://artecolonialamericano. az.uniandes.edu.co:8080/artworks/4771) His work, in addition to these examples, can be found in the Cerro Rico and la Villa Imperial, the Museo de Charcas, Sucre; at the National Museum of Fine Arts in Chile and the Isaac Fernández Blanco Museum of Hispanic American Art in Buenos Aires, among others. 

Attributed to José de Ibarra (Guadalajara, 1685 - Mexico City,1756)"The Madonna of Passau" Oil on copper. 28 x 22,5 cm. The painter was born in New Galicia, currently in Guadalajara, at the time of the viceroyalty. He trained in the workshops of important painters such as Juan Correa or the brothers Juan and Nicolás Rodríguez Juárez. His themes were, as was almost inevitable at the time, religious. With his sweet style and great knowledge of the human figure, in addition to Spanish influence, a relationship with Italian and French painting of the time can also be appreciated. The National Museum of Art of Mexico keeps a large collection of works by the painter. The original work from which this series of Madonnas of Passau derives, was painted by Lucas Cranach the Elder, circa 1537, for the prince-electors of Saxony. Its dissemination was due to the engraving by Adriaen Melar (1633-1667) (PESSCA 1527A, https://colonialart.org/artworks/1527A/view). The Marian dedication is known as Our Lady Passaviense, a Latin form to refer to "of Passau", a German city on the Danube, bordering Austria, where the cult of the image and its diffusion arose, as in this case, to New Spain. An example by an anonymous author, circa 1700 - 1800, of Our Lady of Passabiense, is held in the collection of the Museo Amparo in Puebla de Zaragoza, Mexico. The historian Héctor Schenone has thoroughly studied the origin of this particular invocation of the Virgin Mary, indicating, with regard to its origin: “In the group of paintings-portraits of Mary attributed to Saint Luke, there is the type called Eleusa (affectionate) and Glycophilusa (the one who embraces with tenderness), to whom two churches in Constantinople were dedicated in the first half of the 12th century. It highlights the affectionate impulse of the protagonists and shows the Virgin in her maternal condition as she embraces her Son and he does the same, passing an arm around his Mother's neck while they join their cheeks."Regarding the diffusion of the image, as we already mentioned, it was carried out by Lucas Cranach the Elder, Schenoneque adds: "At the beginning of the 17th century, it was given to the Archduke-Bishop of Passau, where it was transferred some time later, specifically to the parish of Innsbruck, where it was exhibited from 1650. While it was still in Passau, circa 1622, a vicar had it copied, this replica being known as Passaviensis, being worshipped as a protector against water and plague. The copy spread more than the original work through other copies and engravings, and it is believed that it came to Latin America through the influence of the Jesuits of the area who came to these lands.” Bibliographic references:- Schenone, Héctor H. (2008). "Santa María: iconografía del arte colonial". (pp. 460-461). Educa.

A collection of lead alloy Pilgrim Badges and miniature Pilgrim flasks 13th-16th Century and laterIncluding two Becket busts of the Archbishop martyr; another Becket head; a figure of a bishop saint, possibly Leonard; St Thomas Becket with ship, returning from his exile in France; a Herte badge; an equestrian badge of St Thomas returning from exile; a wicker basket badge from the shrine of Saint Dorothy; and five miniature lead pilgrim flasks, including one of scallop shell form, 2cm-7.5cm (a lot)Footnotes:Provenance:Property of a private collector, Edinburgh (1938-2021).Collected in the 1990s from the UK art market.Badges were collected by pilgrims as religious souvenirs once they reached their pilgrimage destination. After the martyrdom of Archbishop Thomas Beckett in 1170, Canterbury Cathedral became a popular pilgrim shrine. Becket busts were intended to represent his head casket reliquary. Such badges would have been worn by pilgrims on their hat, cloak or staff.For further information on this lot please visit Bonhams.com

Johann Anton de Peters (Cologne 1725-1795)A young lady at her toliet, brushing her hair in the mirror oil on canvas79.1 x 63.2cm (31 1/8 x 24 7/8in).Footnotes:ProvenanceGraf Andrassy, Budapest Prof. Dr. H.F. Secker, CologneAlbert Otten (Ottenheimer) (1886 – 1985), Cologne, later Engelwood New JerseyOn loan to the Portland Museum of Art, Maine (1986 – 2001)Leslie and Mildred Otten, Maine until 2002 when offeredSale, Sotheby's, London, 10 July 2002, lot 81 ExhibitedPortland Museum of Art, Maine. A Passion for Art: The Albert Otten Collection, 1987-88, no. 55LiteratureU. Thieme, F. Becker, Allgemeines Lexicon der Bildenen Künstler, Leipzig, 1932, vol. XXVI, p. 480 (as Mädchen am Frisiertisch, ihr Haar kämmend)Hans F. Secker in Weltkunst, 1 July 1950, p.2. Hella Robels 'Neues über das Leben und die Werke Anton de Peters', Wallraff-Richarz-Jahrbuch XXXIV, Cologne 1972, p.305.85 (as not by de Peters) W.H. Gerdts, A Passion for Art. The Albert Otten collection, Maine, Portland Museum of Art, exh. cat., 1987-88. pp. 5-6. ill, p.27. cat. 55, ill. De Peters is best remembered for his genre, mythological and religious works painted in France where he trained, and a number of the latter still hang in churches in Paris and Liège. The present work, however, displays an intimacy and understanding between artist and subject that suggests it is a portrait, most probably of his wife; in fact the same model appears in a watercolour and various drawings now in the collection of the Wallraf-Richartz Museum, Cologne. A version of this composition appeared on the London auction market attributed to de Peters (Sotheby's, 22 April 2009, lot 184). Albert Otten (previously Ottenheimer) was a steel magnate who made his fortune in Germany in the 1920s, but witnessing the rise of the Nazi party he emigrated to the United States in the 1930s. He was a notable collector of paintings, initially German works but expanding his collection into 19th and 20th century European paintings with a particular concentration on the Impressionists.For further information on this lot please visit Bonhams.com

Edward Matthew Ward, RA (British, 1816-1879)The last sleep of Argyll signed and inscribed 'E M Ward RA' (lower right)oil on canvas103.5 x 118.5cm (40 3/4 x 46 5/8in).Footnotes:This work is accompanied by the book listed in the literature below. In this, a letter dated 9 June 1868 from the artist to John Hick, Esq., is reproduced, in which he states that this work was the original study for the large fresco in the Houses of Parliament painted in 1854. As such, the present work can be dated to 1853-1854.ProvenanceJohn Hick, Esq., Mytton Hall, Lancashire. Acquired directly from the artist.ExhibitedLeeds, National Exhibition of Works of Art, 1968, no. 1413, the exhibition catalogue states 'Original study for the fresco in the Houses of Parliament'.LiteratureCatalogue of the principal paintings, drawings, books, bronzes, &c., at Mytton Hall, the residence of John Hick, Esq., London, 1893, illustrated p. 41.In the present work, the Covenanter, Archibald Campbell, 9th Earl of Argyll, is depicted sound asleep as his jailer and the castle governor enter his cell on the morning of his execution. For his support of the 1685 Monmouth Rebellion in opposition of King James II & VII, Argyll was imprisoned in Edinburgh Castle and sentenced to be executed on 30th June 1685. Such was the strength of Argyll's Christian faith, that it was said that on the day of his execution he showed no fear whatsoever. A letter of the period written by Argyll states:'What shall I say in this great day of the Lord, wherein, in the midst of a cloud, I find a fair sunshine. I can wish no more for you, but that the Lord may comfort you, and shine upon you as he doth upon me, and give you that same sense of His love in staying in the world, as I have in going out of it.'1The edifying nature of this work is enriched by the various objects placed in the room, most notably the classic imagery of memento mori imbued by the bible and clock sitting on Argyll's bedside table. But also, one can draw parallels between the last supper seen in the background and the last letter in the foreground.At least two other versions of this subject were painted by the artist, one being in the collection of the Birmingham Museums Trust (no. 1960P43) and the other in the collection of the Salford Museum & Art Gallery (no. 1877-13). Although unclear which version the entry refers to, Ward exhibited this subject at the Royal Academy in 1854 (no. 403).The Royal Academy entry of 1854 is accompanied by the following text:'So effectually had religious faith and hope, cooperating with natural courage and equanimity, composed his spirits, that on the very day on which he was to die, he dined with appetite, conversed gaiety at table, and after his last meal, lay down, as he was wont, to take a short slumber, in order that his body and mind might be in full vigour when he should mount the scaffold. At this time one of the Lords of the Council, who had probably been bred a Presbyterian, and had been seduced by interest to join the oppressing the church of which he had once been a member, came to the castle, with a message from his brethren, and demanded admittance to the Earl. It was answered that the Earl was asleep. The privy councillor thought that this was a subterfuge, and insisted on entering. The door of the cell was softly opened, and there lay Argyle on the bed, sleeping in his irons the placid sleep of infancy. The conscience of the renegade smote him.'1 J. Willcock, A Scots Earl in Covenanting Times: Being Life and Times of Archibald, 9th Earl of Argyll, 1905.For further information on this lot please visit Bonhams.com

Charlie Chrobnik Untitled (1), 2022 Unique Giclée Print of Acrylic on Canvas Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Charlie Chrobnik is a British-Ukrainian artist currently enrolled on the MA Painting programme at Royal College of Art. He was recently awarded the RCA Disability Scholarship. Since graduating with a BA in Fine Art from Central Saint Martins, Charlie has regularly exhibited his paintings in group shows throughout London.   Education   Royal College of Art (Current). Central Saint Martins (Past).   Select Exhibitions/Awards   RCA Disability Scholarship   Statement about AOAP Submitted Artwork   My work centres around health and healing through the lens of religious iconography and spirituality. Visually translating an experience of illness, disability or disordered eating through metaphor, I aim to show an immediate subject of trauma being pulled into a different space, an abstract fantastical space devoid of pain, situating illness within delicate, dreamlike and "pretty" scenes. A focus on beauty in both the figurative subject painted, the laboured, smoothed, thin layers of acrylic paint, the pink aura, realism next to gestural washes of light, and the renaissance-like veiled bodies. Contrasting this with reoccurring shorthand symbols for sickness - the paintings end up somewhere between ethereal and nightmarish.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Charlie Chrobnik Untitled (2), 2022 Unique Giclée Print of Acrylic on Canvas Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Charlie Chrobnik is a British-Ukrainian artist currently enrolled on the MA Painting programme at Royal College of Art. He was recently awarded the RCA Disability Scholarship. Since graduating with a BA in Fine Art from Central Saint Martins, Charlie has regularly exhibited his paintings in group shows throughout London.   Education   Royal College of Art (Current). Central Saint Martins (Past).   Select Exhibitions/Awards   RCA Disability Scholarship   Statement about AOAP Submitted Artwork   My work centres around health and healing through the lens of religious iconography and spirituality. Visually translating an experience of illness, disability or disordered eating through metaphor, I aim to show an immediate subject of trauma being pulled into a different space, an abstract fantastical space devoid of pain, situating illness within delicate, dreamlike and "pretty" scenes. A focus on beauty in both the figurative subject painted, the laboured, smoothed, thin layers of acrylic paint, the pink aura, realism next to gestural washes of light, and the renaissance-like veiled bodies. Contrasting this with reoccurring shorthand symbols for sickness - the paintings end up somewhere between ethereal and nightmarish.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Charlie Chrobnik Untitled (3), 2022 Unique Giclée Print of Acrylic on Canvas Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Charlie Chrobnik is a British-Ukrainian artist currently enrolled on the MA Painting programme at Royal College of Art. He was recently awarded the RCA Disability Scholarship. Since graduating with a BA in Fine Art from Central Saint Martins, Charlie has regularly exhibited his paintings in group shows throughout London.   Education   Royal College of Art (Current). Central Saint Martins (Past).   Select Exhibitions/Awards   RCA Disability Scholarship   Statement about AOAP Submitted Artwork   My work centres around health and healing through the lens of religious iconography and spirituality. Visually translating an experience of illness, disability or disordered eating through metaphor, I aim to show an immediate subject of trauma being pulled into a different space, an abstract fantastical space devoid of pain, situating illness within delicate, dreamlike and "pretty" scenes. A focus on beauty in both the figurative subject painted, the laboured, smoothed, thin layers of acrylic paint, the pink aura, realism next to gestural washes of light, and the renaissance-like veiled bodies. Contrasting this with reoccurring shorthand symbols for sickness - the paintings end up somewhere between ethereal and nightmarish.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Charlie Chrobnik Untitled (4), 2022 Unique Giclée Print of Acrylic on Canvas Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Charlie Chrobnik is a British-Ukrainian artist currently enrolled on the MA Painting programme at Royal College of Art. He was recently awarded the RCA Disability Scholarship. Since graduating with a BA in Fine Art from Central Saint Martins, Charlie has regularly exhibited his paintings in group shows throughout London.   Education   Royal College of Art (Current). Central Saint Martins (Past).   Select Exhibitions/Awards   RCA Disability Scholarship   Statement about AOAP Submitted Artwork   My work centres around health and healing through the lens of religious iconography and spirituality. Visually translating an experience of illness, disability or disordered eating through metaphor, I aim to show an immediate subject of trauma being pulled into a different space, an abstract fantastical space devoid of pain, situating illness within delicate, dreamlike and "pretty" scenes. A focus on beauty in both the figurative subject painted, the laboured, smoothed, thin layers of acrylic paint, the pink aura, realism next to gestural washes of light, and the renaissance-like veiled bodies. Contrasting this with reoccurring shorthand symbols for sickness - the paintings end up somewhere between ethereal and nightmarish.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Adam Dix Untitled (1), 2022 Ink and Oil Glaze on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.)   About   The work of Adam Dix (b.1967) explores the history of transmission, and wrestles with components of contemporary communication. His work brings together a world depicting community and ritual, whilst traversing the landscape of analogue and digital medias through a blend of traditional folk customs, religious ceremony and contemporary communication.   Coupling the contemporary instant-ness of a screen shot, with the slower historic ghostly feel of lithography, Adam Dix's work is concerned with communication through the ages, the constant effort of humanity to come together, share, inspire, pass on our narratives. Humanity has communicated for millennia through illustrations, rituals, customs, choreography, music, writing, religion and symbolism in an attempt to understand one another. Pilgrimages to sites both known and unexpected are suggested in Dix's paintings, religious ceremony is referenced. Costume, disguise and the borrowing and interpretation of symbols are prevalent. Timeframes are indistinct, in Dix's work the present assimilates the residue of the past, we are left contemplating whether a scene is contemporary or historic.   Education   2009 - M.A. Fine Art Wimbledon College of Art 1990 - B.A. (Hons) Graphics and Illustration. Middlesex Polytechnic   SELECTED RECENT EXHIBITIONS AND ART FAIRS: 2020 - bo.lee gallery at London Art Fair 2020, bo.lee gallery Papyrophylia, Charlie Smith Gallery 2019 - bo.lee gallery at London Art Fair 2020, bo.lee gallery   2018 - In Search of the Author, Zedes Gallery, Brussels bo.lee gallery at London Art Fair 2020, bo.lee gallery 2016 - New Paintings, Slete Gallery, Los Angeles All are Welcome, Eleven, London Yesterday's Prophets, Eleven, London   SELECTED GROUP EXHIBITIONS   2017 - In Residence, Griffin Gallery, London Relics from the De-Crypt, Gossamer Fog, London   2016 - Telling Tales, Colleyer Bristow, London   2015 - BFAMI Contemporary Art Auction, Sotheby's, London The Mdina Biennale, Malta Strange Cities, Onassis Cultural Centre, Athens and New York London Art Fair Project Space, The Contemporary London, London   2014 - 100 Painters of Tomorrow, Christies and Beers Contemporary, London So Long and Thanks for All the Fish, Lawrie Shabbi, Dubai   2013 - Salon 10. Marine Contemporary, Los Angeles Ici Londres, Galierie Silin, Paris News From The Sun, Phoenix Art Centre, Exeter 2012 - Editions, Other Criteria, London Programming Myth, Sumarria Lunn, London Unobtrusive Measures, Kunstpavillion, Munich On The Horizon, New Generation of British Painters, Marine Contemporary, Los Angeles   2011 - Fraternise, Beaconsfield Gallery, London Exam, Transition Gallery, London   2010 - Transmission, Haunch of Venison, London Keep Me Posted, Julia Royse, London   2009 - Black Dog Yellow House, Trolley Gallery, London   Gallery Representation   Candida Stevens Gallery in the UK, Zedes Art Gallery in Belgium and Obsolete in Los Angeles. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Adam Dix Untitled (2), 2022 Ink and Oil Glaze on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.)   About   The work of Adam Dix (b.1967) explores the history of transmission, and wrestles with components of contemporary communication. His work brings together a world depicting community and ritual, whilst traversing the landscape of analogue and digital medias through a blend of traditional folk customs, religious ceremony and contemporary communication.   Coupling the contemporary instant-ness of a screen shot, with the slower historic ghostly feel of lithography, Adam Dix's work is concerned with communication through the ages, the constant effort of humanity to come together, share, inspire, pass on our narratives. Humanity has communicated for millennia through illustrations, rituals, customs, choreography, music, writing, religion and symbolism in an attempt to understand one another. Pilgrimages to sites both known and unexpected are suggested in Dix's paintings, religious ceremony is referenced. Costume, disguise and the borrowing and interpretation of symbols are prevalent. Timeframes are indistinct, in Dix's work the present assimilates the residue of the past, we are left contemplating whether a scene is contemporary or historic.   Education   2009 - M.A. Fine Art Wimbledon College of Art 1990 - B.A. (Hons) Graphics and Illustration. Middlesex Polytechnic   SELECTED RECENT EXHIBITIONS AND ART FAIRS: 2020 - bo.lee gallery at London Art Fair 2020, bo.lee gallery Papyrophylia, Charlie Smith Gallery 2019 - bo.lee gallery at London Art Fair 2020, bo.lee gallery   2018 - In Search of the Author, Zedes Gallery, Brussels bo.lee gallery at London Art Fair 2020, bo.lee gallery 2016 - New Paintings, Slete Gallery, Los Angeles All are Welcome, Eleven, London Yesterday's Prophets, Eleven, London   SELECTED GROUP EXHIBITIONS   2017 - In Residence, Griffin Gallery, London Relics from the De-Crypt, Gossamer Fog, London   2016 - Telling Tales, Colleyer Bristow, London   2015 - BFAMI Contemporary Art Auction, Sotheby's, London The Mdina Biennale, Malta Strange Cities, Onassis Cultural Centre, Athens and New York London Art Fair Project Space, The Contemporary London, London   2014 - 100 Painters of Tomorrow, Christies and Beers Contemporary, London So Long and Thanks for All the Fish, Lawrie Shabbi, Dubai   2013 - Salon 10. Marine Contemporary, Los Angeles Ici Londres, Galierie Silin, Paris News From The Sun, Phoenix Art Centre, Exeter 2012 - Editions, Other Criteria, London Programming Myth, Sumarria Lunn, London Unobtrusive Measures, Kunstpavillion, Munich On The Horizon, New Generation of British Painters, Marine Contemporary, Los Angeles   2011 - Fraternise, Beaconsfield Gallery, London Exam, Transition Gallery, London   2010 - Transmission, Haunch of Venison, London Keep Me Posted, Julia Royse, London   2009 - Black Dog Yellow House, Trolley Gallery, London   Gallery Representation   Candida Stevens Gallery in the UK, Zedes Art Gallery in Belgium and Obsolete in Los Angeles. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Adam Dix Untitled (3), 2022 Ink and Oil Glaze on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.)   About   The work of Adam Dix (b.1967) explores the history of transmission, and wrestles with components of contemporary communication. His work brings together a world depicting community and ritual, whilst traversing the landscape of analogue and digital medias through a blend of traditional folk customs, religious ceremony and contemporary communication.   Coupling the contemporary instant-ness of a screen shot, with the slower historic ghostly feel of lithography, Adam Dix's work is concerned with communication through the ages, the constant effort of humanity to come together, share, inspire, pass on our narratives. Humanity has communicated for millennia through illustrations, rituals, customs, choreography, music, writing, religion and symbolism in an attempt to understand one another. Pilgrimages to sites both known and unexpected are suggested in Dix's paintings, religious ceremony is referenced. Costume, disguise and the borrowing and interpretation of symbols are prevalent. Timeframes are indistinct, in Dix's work the present assimilates the residue of the past, we are left contemplating whether a scene is contemporary or historic.   Education   2009 - M.A. Fine Art Wimbledon College of Art 1990 - B.A. (Hons) Graphics and Illustration. Middlesex Polytechnic   SELECTED RECENT EXHIBITIONS AND ART FAIRS: 2020 - bo.lee gallery at London Art Fair 2020, bo.lee gallery Papyrophylia, Charlie Smith Gallery 2019 - bo.lee gallery at London Art Fair 2020, bo.lee gallery   2018 - In Search of the Author, Zedes Gallery, Brussels bo.lee gallery at London Art Fair 2020, bo.lee gallery 2016 - New Paintings, Slete Gallery, Los Angeles All are Welcome, Eleven, London Yesterday's Prophets, Eleven, London   SELECTED GROUP EXHIBITIONS   2017 - In Residence, Griffin Gallery, London Relics from the De-Crypt, Gossamer Fog, London   2016 - Telling Tales, Colleyer Bristow, London   2015 - BFAMI Contemporary Art Auction, Sotheby's, London The Mdina Biennale, Malta Strange Cities, Onassis Cultural Centre, Athens and New York London Art Fair Project Space, The Contemporary London, London   2014 - 100 Painters of Tomorrow, Christies and Beers Contemporary, London So Long and Thanks for All the Fish, Lawrie Shabbi, Dubai   2013 - Salon 10. Marine Contemporary, Los Angeles Ici Londres, Galierie Silin, Paris News From The Sun, Phoenix Art Centre, Exeter 2012 - Editions, Other Criteria, London Programming Myth, Sumarria Lunn, London Unobtrusive Measures, Kunstpavillion, Munich On The Horizon, New Generation of British Painters, Marine Contemporary, Los Angeles   2011 - Fraternise, Beaconsfield Gallery, London Exam, Transition Gallery, London   2010 - Transmission, Haunch of Venison, London Keep Me Posted, Julia Royse, London   2009 - Black Dog Yellow House, Trolley Gallery, London   Gallery Representation   Candida Stevens Gallery in the UK, Zedes Art Gallery in Belgium and Obsolete in Los Angeles. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Tamara Jovandić-Everson Untitled 3, 2022 Acrylic and Mixed Media on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Tamara finished the Academy of Art in Sarajevo and has lived and worked in North London since 1992. She has over thirty group exhibitions in the UK, Ireland, France and the USA, and five solo shows. Tamara has exhibited at prestigious art galleries such as Mall Gallery, Cork Street, Royal College of Art, and many more. Tamara's paintings, for a period of years, were about exploring female sexuality and nudity through expressionistic imagery, highlighting spiritual and religious themes which suggest a paradox. Tamara's preoccupation for dramatic contrast and religious themes, using live models and working quickly and directly onto canvas, comes from a fascination with Italian Baroque and Caravaggio's use of chiaroscuro and his rich and dark palette. Intending to relate to the viewer on the most intimate level, these works are always faceless and express the universality of torment through human emotion. Exploring the human body through suffering, sacrifice, isolation, and emptiness is autobiographical: based on life in exile, and a homeland torn apart in the civil war (former Yugoslavia). The works are generated from studies of life models. Drawings are then enlarged and painted on a larger scale. In recent works, there is further development in growing out of the narrative, investigating 'painting within painting', freeing and enlarging further parts of figurative artworks, bringing dramatic contrasts by using a variety of mediums to build texture including sand, plaster, and resin...   Education   1986-1991 Academy of Art, Sarajevo   Select Exhibitions/Awards   MAIN SOLO SHOWS: 2018: Highgate Gallery - solo show 2002: Mediterraneo Gallery, Chiswick, London 2000: Terra Gallery, Chiswick, London 1999: Workhouse Art Gallery, Chelsea, London 1994: Locus Gallery, Hampstead, London 1991: Zvono Gallery, Sarajevo GROUP EXHIBITIONS: 2017 London Biennale, Chelsea 2015 Royal College of Art, 20/21 International 2014 Arthorp Gallery, Arts Depot Open 2011 Galery 69, Limogue, France 2010 Landmark Art Center, Summer Art Fair 2010 Russian Art Fair, Park Lane, London 2010 Christie's auction, St.Mary's Church, London 2010 The Dissenters Gallery, London 2009 The Bridge, Ladbroke Grove 2007 National Gallery Museum, Croatia 2006 Pro Art Exhibition, Chelsea Town Hal 2004 Salon des Arts, "Religion, Art & War", Knightsbridge, London 2003 Discerning Eye Exhibition, Mall Galleries, London2001 Unicorn Gallery, Fulham, London 2001 Terra Gallery, Chiswick, London 2000 Erotica, Olympia, Kensington, London 2000 DFN Gallery, Manhattan, New York, USA 1999 Candid Gallery, Islington, London 1997 Talisman Fine Art Gallery, London 1996 Workhouse Gallery, Chelsea, London 1996 The Octagon, Fulham, London 1995 Sternberg Centre for Judaism, London 1995 The Illaca Gallery, Brighton 1994 Art and Life in Exile Exhibition, University of London 1994 Salama-Caro Gallery, Cork Street, London 1994 The Crypt, St. Martins in the Fields, London 1994 Garter Lane Arts Center, Waterford, Ireland 1993 Leo Baeck Association, London Jewish Community, Hampstead 1991 Group Exhibition of ULUBIH, Collegium Artisticum, Sarajevo 1991 Biennial Exhibition of Student Drawing Gallery of Student City, Belgrade 1991 Exhibition at Foca Museum, Foca 1990 Exhibition (Oil on canvas), Kamerni Theatre Gallery, Sarajevo   Statement about AOAP Submitted Artwork   These works were based on life models and are observational, but expressive. In these works I tried to depict power of emotion by minimal use of colour via dramatic contrast and texture.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Tamara Jovandić-Everson Untitled 4, 2022 Acrylic and Mixed Media on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Tamara finished the Academy of Art in Sarajevo and has lived and worked in North London since 1992. She has over thirty group exhibitions in the UK, Ireland, France and the USA, and five solo shows. Tamara has exhibited at prestigious art galleries such as Mall Gallery, Cork Street, Royal College of Art, and many more. Tamara's paintings, for a period of years, were about exploring female sexuality and nudity through expressionistic imagery, highlighting spiritual and religious themes which suggest a paradox. Tamara's preoccupation for dramatic contrast and religious themes, using live models and working quickly and directly onto canvas, comes from a fascination with Italian Baroque and Caravaggio's use of chiaroscuro and his rich and dark palette. Intending to relate to the viewer on the most intimate level, these works are always faceless and express the universality of torment through human emotion. Exploring the human body through suffering, sacrifice, isolation, and emptiness is autobiographical: based on life in exile, and a homeland torn apart in the civil war (former Yugoslavia). The works are generated from studies of life models. Drawings are then enlarged and painted on a larger scale. In recent works, there is further development in growing out of the narrative, investigating 'painting within painting', freeing and enlarging further parts of figurative artworks, bringing dramatic contrasts by using a variety of mediums to build texture including sand, plaster, and resin...   Education   1986-1991 Academy of Art, Sarajevo   Select Exhibitions/Awards   MAIN SOLO SHOWS: 2018: Highgate Gallery - solo show 2002: Mediterraneo Gallery, Chiswick, London 2000: Terra Gallery, Chiswick, London 1999: Workhouse Art Gallery, Chelsea, London 1994: Locus Gallery, Hampstead, London 1991: Zvono Gallery, Sarajevo GROUP EXHIBITIONS: 2017 London Biennale, Chelsea 2015 Royal College of Art, 20/21 International 2014 Arthorp Gallery, Arts Depot Open 2011 Galery 69, Limogue, France 2010 Landmark Art Center, Summer Art Fair 2010 Russian Art Fair, Park Lane, London 2010 Christie's auction, St.Mary's Church, London 2010 The Dissenters Gallery, London 2009 The Bridge, Ladbroke Grove 2007 National Gallery Museum, Croatia 2006 Pro Art Exhibition, Chelsea Town Hal 2004 Salon des Arts, "Religion, Art & War", Knightsbridge, London 2003 Discerning Eye Exhibition, Mall Galleries, London2001 Unicorn Gallery, Fulham, London 2001 Terra Gallery, Chiswick, London 2000 Erotica, Olympia, Kensington, London 2000 DFN Gallery, Manhattan, New York, USA 1999 Candid Gallery, Islington, London 1997 Talisman Fine Art Gallery, London 1996 Workhouse Gallery, Chelsea, London 1996 The Octagon, Fulham, London 1995 Sternberg Centre for Judaism, London 1995 The Illaca Gallery, Brighton 1994 Art and Life in Exile Exhibition, University of London 1994 Salama-Caro Gallery, Cork Street, London 1994 The Crypt, St. Martins in the Fields, London 1994 Garter Lane Arts Center, Waterford, Ireland 1993 Leo Baeck Association, London Jewish Community, Hampstead 1991 Group Exhibition of ULUBIH, Collegium Artisticum, Sarajevo 1991 Biennial Exhibition of Student Drawing Gallery of Student City, Belgrade 1991 Exhibition at Foca Museum, Foca 1990 Exhibition (Oil on canvas), Kamerni Theatre Gallery, Sarajevo   Statement about AOAP Submitted Artwork   These works were based on life models and are observational, but expressive. In these works I tried to depict power of emotion by minimal use of colour via dramatic contrast and texture.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

JOSEP LLIMONA BRUGUERA (Barcelona, 1864 - 1934)."Modèstia", 1891.Sculpture in polychrome stucco.Signed.With Esteva & Cia. stamp.Work catalogued in "Una passejada per l'obra de Josep Llimona, 150 anys", MEAM, 2015, Barcelona, p. 104.Size: 42 x 36 x 22 cm.The sculpture "Modèstia" is evidence of Josep Llimona's most personal characteristics: naturalistic idealism, an inclination towards the gentle side of reality and, above all, a great delicacy and beauty in his female figures, always slender and innocent, enveloped in a veil of mystery.Josep Limona is remembered as the most important Catalan sculptor of Modernisme. Trained at the Escola de la Llotja in Barcelona, he obtained a pension to go to Rome in 1880. During his stay in Italy he was influenced by Florentine Renaissance sculpture. With the works he sent from there he already won prizes (gold medal at the Universal Exhibition in Barcelona in 1888), as well as a great reputation. With his brother Joan he founded the Círculo Artístico de Sant Lluc, a Catalan artistic association of a religious nature (the two brothers were deep believers). By the mid-1990s his style was already drifting towards full modernism. He received the prize of honour at the International Exhibition of Fine Arts held in 1907 in Barcelona. From 1900 onwards he concentrated on his famous female nudes, and in 1914 he created, in collaboration with Gaudí, his impressive "Risen Christ". His artistic genius also manifested itself in large public monuments such as the equestrian statue of Saint George in Montjuic Park in Barcelona, as well as in works of funerary imagery, such as the pantheons he created for various cemeteries. In addition to exhibiting in Barcelona and other Catalan cities, he exhibited his work in Madrid, Brussels, Paris, Buenos Aires and Rosario (Argentina). He was president of the Barcelona Museum Board from 1918 to 1924, and again from 1931 until his death in 1934. Throughout his life he received numerous decorations, including those awarded by the French and Italian governments. He was also awarded the Gold Medal of the City of Barcelona in 1932, in recognition of his extraordinary work in the development of museum activity. Llimona's work can be found in the Monastery of Montserrat, the National Art Museum of Catalonia and the Reina Sofia Museum, among others.

INVADER (B. 1969)Rubik Travis Bickle Mohican 2007 signed, titled and dated 007 on the reverseRubik's cubes on Perspex panel83.8 by 122.9 by 5.5 cm.33 by 48 3/8 by 2 3/16 in.Footnotes:ProvenanceLazarides Gallery, LondonAcquired directly from the above by the present owner in 2007ExhibitedLondon, Lazarides Gallery, London Invasion / Bad Men Part II, 2007, p. 34-35, illustrated in colourInvader is one of the world's most prolific and esteemed street artists. He has been one of the leading pioneers of the Street Art movement to have emerged in the last thirty years, standing alongside Banksy, STIK, and Shepard Fairey as a creator of some of the most iconic and beloved public works of art in the world. His style is utterly unique, and the present work, Rubik Travis Bickle Mohican, captures the punkish, analogue methods that typify his career. Growing up in the 1970's and 80's, Invader's work has drawn inspiration from the popular culture of this period. After graduating from the École des Beaux-Arts, Paris, he began the street art project that would launch him into the public eye in 1998, installing mosaic pieces that resembled the pixelated, '8-bit' style of Space Invader villains across his home city. He almost instantly became beloved by a global public for whom his works were an essential part of the urban landscape, 'invading' city spaces with iconic characters and emblems that were craftily installed often without notice. To this day, he has thousands of mosaics on view in the public spaces of world cities, beneath the surface of the Pacific Ocean, and even aboard the International Space Station. The impact of his career for Street Art and contemporary art at large is immeasurable, and such works as Rubik Travis Bickle Mohican represent the pinnacle of his artistic output. Using his original technique dubbed 'Rubikcubism', Invader takes this fascination with nostalgia and mainstream culture further by using the Rubik's Cube as a medium. The present work combines Invader's instantly recognisable pixelated, pointillist style with one of the most iconic antiheroes from 1970's American cinema - Travis Bickle from Martin Scorsese's 1976 drama Taxi Driver. Through the careful and masterfully obsessive manipulation of the 330 Rubik's Cubes, Invader forms the image of Bickle at the apex of his character arc.Invader's street art is composed of tile mosaics, and depict characters from wildly popular retro arcade games such as Space Invaders and Pac-Man. However, for Invader's studio works he expands the possibilities of pixelation by appropriating a popular image and converting small areas of the image from its native colours into exacting configurations of white, yellow, red, blue, orange, and green tiles on each corresponding Rubik's Cube. The finished artwork simultaneously alludes to the Pointillist principles of Georges Seurat, as well as Picasso and Braques' preoccupation with Cubism which occurred a century before this present work was created. Viewed up close, the present work appears as an abstract cacophony of colours; viewed from afar, however, the image of Bickle with his anarchic mohawk hairstyle materialises. The somewhat grainy and fragmented nature the individual tiles imbue the portrait with nostalgic memories of the filmmaking process. The speckles of white on the top left evoke flecks of overexposed 35mm film. The subject matter reveals not only Invader's interest in mainstream pop culture and nostalgia, but also hints at Invader's humorous, satirical, even philosophical perspectives. The innocence of an iconic game is juxtaposed with the complex and internally tormented nature of Travis Bickle. The nigh infinite number of algorithmic configurations of the Rubik's Cube mirrors the plurality of pop culture and its ubiquitous nature. In the late 2000's, Invader reflected on spirituality as a theme; amongst the same series as the present work, one finds Rubikcubist portraits of the 14th Dalai Lama and Jesus. Travis Bickle, and by extension Robert De Niro who portrays Bickle, are iconified via Invader's laborious yet reverent technique. Rubik Travis Bickle Mohican was exhibited at Invader's first London exhibition London Invasion / Bad Men Part II at Lazarides Gallery in 2007 and has remained in the same private collection ever since. In direct contrast to the serene portraits of religious leaders and famous musicians, or reimagining of iconic masterpieces from the Western canon, the works from the Bad Men Part II series showcase the brazen attitude, grit, and omnipotent hold over the public's attention of these antithetical characters. They point to Invader's quick-witted and humorous qualities as the artist himself has remained anonymous, evading the authorities and the public life throughout his career. Through this choice of subject matter, methods of abstraction and the integration of a cult classic game as a material, Invader's works are revolutionary and iconoclastic. Rubik Travis Bickle Mohican is an exceptional example of the street artist's seamless foray into a unique and technically sophisticated series of studio works which rarely come to market.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Tony Cragg (B. 1949)Pair 2018 incised with the artist's signature and stamped with the foundry mark SCHMAKE DUSSELDORFbronze100 by 50.4 by 24.5 cm. 39 3/8 by 19 13/16 by 9 5/8 in. This work was executed in 2018, and is from an edition of 6. Footnotes:ProvenanceGalleri Andersson/Sandström, Stockholm (#7924)Acquired directly from the above by the present ownerTony Cragg is one of Britain's greatest living artists. His pieces are transcendent and beautiful. They capture radical bodies that are at once both mathematic and corporeal. These jettisoned figures are precise and defy the human hand yet remain some of the most compelling abstract sculptures to have ever been produced. Pair, presented here, from 2018, is an elegant example of the British artist's work. Impressive in its scale and wonderfully finished in a rich brown patina that gives incredible depth to the bronze surface, it is a remarkable example of Cragg's Rational Beings series that has become so beloved by collectors around the world. There is an intriguing dialecticism in Cragg's practice. Dealing with organic forms, and often being inspired by the human body in flux, facial expressions and raw emotion, the artist has been a pioneer of sculptural techniques and technologies that isolate, manipulate, and render impossible objects in breath-taking exactitude. Like the pair of towering forms presented here, the artist is consistently placing meaning in dialogue with process – colliding and balancing these two key tenets to his practice. Cragg is one of those rare artists for whom the immaculate finish and refinery of his work only stands to heighten the power of its impression upon a spectator. 'There is this idea that sculpture is static, or maybe even dead, but I feel absolutely contrary to that,' Cragg has stated in a 2007 interview. 'I'm not a religious person – I'm an absolute materialist – and for me material is exciting and ultimately sublime. When I'm involved in making sculpture, I'm looking for a system of belief or ethics in the material. I want that material to have a dynamic, to push and move and grow,' (the artist in: Robert Ayers, 'The AI Interview: Tony Cragg', Art Info, 10 May 2007, online).Cragg has been one of the world's foremost sculptors for more than three decades, bursting to prominence in 1988, the year in which he won both the Turner Prize and was selected to represent the UK at the Venice Biennale. Not only has his work helped to define the plastic arts in museums and within the art market for the past quarter century, but his profound engagement with sculpture has also served to influence subsequent generations of artists as a result of his roles as Professor at Ecole Nationale Superieure des Beaux Arts, Paris, France (1999-2009) and Professor at Kunstakademie, Dusseldorf, Germany (2009 to present). He has shown in many of the world's most prestigious and important museums and his works are in many of the world's major collections including the Tate London, MoMA New York, the Centre Georges Pompidou, Paris and many more. The present work, Pair, is a bronze that is uniquely liveable as an indoor sculpture. It demonstrates the perfectionism and incomparable achievements of Cragg's sculptural output, producing works that are completely singular in their approach to humanity and technology. It is an exceptional example, finished in a rarely seen patina, and a centrepiece for any discerning collector.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A SANDSTONE LINTEL CENTERPIECE DEPICTING A KALA, BANTEAY SREI STYLE, ANGKOR PERIODKhmer Empire, Siem Reap, 10th century. Boldly and deeply carved with the head of a fierce kala with bulging eyes and prominent nose, three lotus flowers borne on beaded leafy stems issuing from its wide-open mouth, surrounded by scrolling foliage.Provenance: From an old private collection in California, USA.Condition: Excellent condition, commensurate with age. Extensive wear, weathering, losses, nicks, chips, and surface scratches.Weight: 14.4 kg (incl. stand)Dimensions: Height 43 cm (excl. stand) and 49.3 cm (incl. stand)Mounted to an associated metal stand. (2)Banteay Srei, the 'citadel of beauty', is a 10th-century Cambodian temple dedicated to the Hindu god Shiva, consecrated on 22 April 967 AD, and the only major temple at Angkor not built by a monarch but credited to two important courtiers, Vishnukumara and Yajnavaraha. It lies near the hill of Phnom Dei, 25 km northeast of the main temple group that once belonged to the medieval capitals of Yasodharapura and Angkor Thom. Originally, it carried the name Tribhuvanamaheshvara—great lord of the threefold world—in reference to the Shaivite linga that served as its central religious image. The temple's modern name, Banteay Srei, means 'citadel of women' or 'citadel of beauty'.Literature comparison: Compare a sandstone lintel with a central kala head, dated ca. mid-10th century, in the collection of the Metropolitan Museum of Art, accession number 1994.111.

AN INDIAN MINIATURE PAINTING OF A SADHUIndia, 19th century. Watercolors on paper. The long-haired holy woman seated beside two dervishes engaged in conversation at a fire under a towering tree and the dark night sky, adorned with earrings and a necklace, holding a rosary in one hand.Provenance: From an English private collection. The upper margin with an old inscription, 'This is a gift from my friend Mrs. Heathcote who lived in this street'.Condition: Good condition with minor wear, soiling, staining, foxing, and creasing, few minuscule losses, possibly microscopic touchups.Dimensions: Image size 20 x 15.5 cm. Mounted and framed behind glass.Sadhu is a religious ascetic, mendicant or any holy person in Hinduism and Jainism who has renounced the worldly life. They are sometimes alternatively referred to as yogi, sannyasi or vairagi. Literally, it means one who practices a ″sadhana″ or keenly follows a path of spiritual discipline.Auction result comparison: Compare a related Indian miniature painting of a sadhu and a mynah bird at Sotheby's New York in Indian, Himalayan & Southeast Asian Works Of Art on 15 March 2017, lot 315, sold for USD 12,500. Compare also another related Indian miniature painting of a princess visiting a sadhu in the same auction, lot 296, sold for USD 3,000.

Christopher Wood (British, 1901-1930)Drying Sails, Mousehole, Cornwall oil on board40.6 x 50.8 cm. (16 x 20 in.)Painted in 1930Footnotes:ProvenanceMr and Mrs L.K. Elmhirst, thence by descentPrivate Collection, U.K.ExhibitedLondon, The New Burlington Galleries, Christopher Wood, Exhibition of Complete Works, 3 March-2 April 1938, cat.no.37London, The Arts Council of Great Britain, English Contemporaries, 1949, cat.no.2Copenhagen, Kunstforeninger, British Arts 1900-1955, 10-29 April 1956, cat.no.48; this exhibition travelled to Oslo, Kunstnernes Hus, 12 May-10 JuneLiteratureEric Newton, Christopher Wood, The Redfern Gallery, London, 1938, cat.no.437In 1928 Christopher Wood made the decision to join Ben and Winifred Nicholson in Cornwall, rather than return to Paris. He had first travelled to the French capital in 1921 at the age of 20 and his visits had provided invaluable opportunities to observe the finest examples of Post-Impressionism, Cubism and Fauvism. As a result he was familiar with the work of Van Gogh, Gauguin, Cezanne, Matisse and of course Picasso and Jean Cocteau, both of whom he had known and taken lessons with. This time on the continent taught Wood that simplicity and refinement were the essential characteristics of modern art, and it brought a deep understanding of and appreciation for the Primitive movement, which he strove to emulate in his work over the following years in a very English manner. It was during this initial trip to Cornwall, far from the avant-garde artists of Europe, that Christopher Wood and Ben Nicholson were to find their ultimate expression of primitive painting in the form of Alfred Wallis, an 80-year-old retired fisherman and self-taught artist who lived at Number 3 Back Road West in St Ives. Within his home were numerous pictures of ships, lighthouses and harbours painted on a variety of irregular cardboard, paper and other salvaged material with distinctive naivety. This now legendary 'discovery' was to have a profound effect and invigorated both artists who sought to absorb the lessons of the elderly mariner by leaving their lodgings in Feock to move closer to St Ives, with Wood settling at Meadow Cottage overlooking Porthmeor Beach. It was from this location and following almost daily trips to Wallis that Wood wrote to his mother, 'I feel my things are becoming really vital and the studentship has passed, my work is forming something quite personal and sure, unlike anybody else's, and I don't think anyone can paint the pictures I am doing.' (Christopher Wood quoted in Katy Norris, Christopher Wood, Lund Humphries in association with Pallant House Gallery, London, 2016, p.109). Having immersed himself in a seafaring culture which spoke to him, Wood crossed the Channel and spent several months in the fishing village of Treboul in Brittany during 1929. As well as the everyday lives of its inhabitants, many of the images he created are deeply personal and reflect on local customs of the maritime community, observing instances of religious contemplation and festive celebration with both intensity and dignity. The epiphany that had occurred upon meeting Alfred Wallis and the lessons learnt from the nautical communities of northern France were developed in the artist's final visit to Cornwall prior to his untimely death, where he based himself in the tiny village of Mousehole. During March 1930 he worked solidly here for two weeks and described himself to Ben Nicholson as being 'absolutely deliriously happy painting' amongst the narrow grey streets and fishing boats (Christopher Wood quoted in Richard Ingleby, Christopher Wood: An English Painter, Allison & Busby, London, 1995, p.231). Drying Sails, Mousehole, Cornwall belongs to the group of works painted during this busy time and shows the progression of the artist's naïve, figurative style which is entirely unique. It exudes a sense of calm as groups of figures amble along the quay past the Ship Inn, which remains to this day. There can be little doubt this is a fishing community with the large sail strewn across the wall, drying from a recent fishing trip, possibly treacherous given the time of year and in stark contrast to the current atmosphere. The carefully observed structure of the boats is a technique that had been honed on a previous visit to Dieppe, along with the scratching and incising of the painted surface. The flashes of colour both here and in other selected passages of the composition act in contrast to the black, white, grey and brown palette that pervades. This simple clarity of colour and form came from the artist's immediate instinct for his subjects and also the teachings of Wallis who conveyed the essential reduction of these components. Drying Sails, Mousehole, Cornwall is closely related to Ship Inn, Mousehole, completed at the same time and in the collection of Manchester City Galleries.For further information on this lot please visit Bonhams.com

Andalusian school, possibly from Seville, ca. 1700."Infant Jesus".Carved and polychrome wood. Eyes in vitreous paste. Hair. Silver base and cross.Measurements: 28 cm (height); 35 cm (total height).Polychrome wood carving representing the Child Jesus full-length and naked, which indicates that he was originally dressed in royal robes. It is a magnificently anatomically worked carving, of extraordinary naturalism, following the baroque canons of the Spanish school. The Child stands on a chiselled silver base, with its upper part reticulated and the corners ornamented with plant motifs. The cross and the child's shoes are made of the same material.Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the State in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and confraternities of clerics and laymen who promoted its development, the works sometimes being financed by popular subscription. Sculpture was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was represented, and an expression endowed with an intense emotional content in order to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture of this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values, which it achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.

Full title: A rare large Flemish oak four-door cupboard with carved X-panels and wrought iron mounts, 1st half 16th C.Description:H 210 x L 205 x D 90,5 cmÊ Provenance: - The Karmelklooster convent in the Schutterstraat in Bruges, where it has likely resided for centuries.- Acquired directly from the religious order by Mr. De Grande.Ê Ref.: A closely related example is in the Royal Museums of Art and History, Brussels, inv. 2037. (link available on rm-auctions.com)Ê Expert: Cabinet Benoit BertrandAbout this sale: Paul De Grande is one of the major dealers of antique furniture, fine sculptures and decorative arts in Europe. In 1974, he moved to the Castle of Snellegem near Bruges. From there, he catered to the rich and famous, important decorators and museums around the world. Entering a new chapter, Paul has decided it is time to part with his private collection and part of his trade stock. This sale presents a unique opportunity to clinch a piece of this wonderful personality's history. Paul's main focus has always been on Renaissance sculpture, French and Italian furniture and pieces of museal quality. He has had sales with Christies and Sotheby's in the past. He's also an important personality on various Belgian tv shows.

William Griffin of Hull (British fl.1837-1883): 'Whaling Ships Jane and Harmony off the Port of Hull with Holy Trinity Church in the distance', oil on panel signed and indistinctly dated 1837 l.l., labelled verso with history of ships 50cm x 79cmProvenance: private collection purchased Christies 26th May 2004 Lot 603; with Colin Denny Ltd. Specialists in marine works of Art, Chelsea Green, London; probably painted to celebrate the end of the Jane's whaling career and the survival of both vessels from the severe conditions of the 1836 season where the 'Middleton' was wrecked, the 'Jane' was known as a Bethel ship having frequent religious services on board conducted the mate/preacher Stephen Wilson. Illustrated in Marine Painting in Hull Through Three Centuries' by Arthur Credland pub. Hull City Museums 1993, pp. 168Condition Report:Overall good condition, shows some minor over-painting under UV light. Two or three minor surface marks

Ushebti. Egypt, Saita period, Dynasties XXVI to XXX (663-341 BC).Greenish-brown faience.In very good condition.Attached is a report issued in the 1970s by Ricardo Batista Noguera, former director of the Archaeological Museum of Barcelona, of the Archaeological Museum of Olérdola (Barcelona), of the Archaeological Museum of Catalonia and municipal archaeologist of Tossa de Mar.Attached is a photocopy of the purchase invoice from 1984.Measurements: 13.5 x 4 x 2.5 cm.Ushebti with a mummiform body, as they were never represented in the clothes of the living. It has inscriptions along the front related to agricultural work, as these figures were used as servants in the fields of the divinities. They replaced the deceased in these duties and were therefore represented with the most common tools: the hoe and the hatchet. The piece we present here shows the typical smooth tripartite wig, braided beard and arms crossed over the chest, with the aforementioned tools. The feet rest on a base.Ushebtis, an Egyptian term meaning 'those who respond', are small statuettes that in ancient Egypt were placed in tombs as part of the grave goods of the deceased, and whose function was to replace them in the work they were to perform in the afterlife. Most were made of ceramic, wood or stone, although in the richest tombs they could be found carved in lapis lazuli. The oldest surviving examples come from the Middle Kingdom, although references to them can be found in texts from the end of the Old Kingdom. After the sacred scarabs, ushebtis are the most numerous and possibly the most characteristic pieces of Egyptian art that have survived to the present day. Throughout the ages they have always had the same function in the religious sphere, but while during the Middle Kingdom they were conceived as a representation of their owner before Osiris in the work of tilling the kingdom of the shadows, replicas of the deceased, from the New Kingdom onwards they came to be seen as his servants or slaves, and were produced in large numbers.

Italian school, ca.1600. Following models by ANDREA DEL SARTO (Florence, 1486 - 1531)."Madonna and Child with Saint John Child".Oil on copper.Spanish frame-cornucopia of the 18th century.Defects and restorations.Measurements: 22 x 16,3 cm; 63 x 51 cm (frame).In this canvas the author represents a scene very repeated in the History of Art especially since the Renaissance: the Virgin with the Child Jesus in her arms, accompanied by Saint John the Baptist, also a child. It emphasised the human aspect of Christ, the innocence and happiness of his childhood, in dramatic contrast to his destiny. The grape branches that John gives to the Virgin symbolise Christ, his sacrifice and his love for humanity. The Saviour and the Baptist are depicted as tender children of delicate beauty and soft anatomy, protected by the maternal figure of Mary, whose face conveys a certain melancholy, knowing the sorrows she will suffer. Except for the drapery that theatricalises the composition (a typically Baroque device), formally this work is very close to the Virgins of the Renaissance painter Andrea del Sarto, who also produced numerous paintings of Mary with the two children. The strong chromatic contrast, the modelling of the faces, the absence of any superfluous elements and the excellent quality of the work show the direct influence of the Florentine painter.The son of a tailor - hence his nickname (sarto) - according to Giorgio Vasari Andrea del Sarto began in the workshop of a goldsmith, but his skill in drawing soon led him to devote himself to painting. His artistic education took place alongside Piero di Cosimo and in 1508 he established himself as an independent artist. After an initial period of collaboration with Franciabigio, he soon began to undertake numerous commissions on his own, particularly for religious orders. His growing prestige earned him an invitation from François I in 1518 to move to Paris and he returned to Florence the following year. There, during the second decade of the 15th century, his works had a decisive influence on the more experimental young artists such as Rosso and Pontormo, but their achievements were to be echoed in Sarto's work from the 1920s onwards. Moreover, Sarto always took into account and applied the lessons of the great masters of the Renaissance. Leonardo da Vinci's treatment of light and colour, Raphael's formal perfection and Michelangelo's sculptural volume and inventiveness. To all this he added a poetics of refined sensibility, which permanently influenced Tuscan art for decades.

Spanish school; circa 1600."Calvary".Oil on canvas. Re-drawn.It presents faults on the pictorial surface.It has a 19th century frame with faults.Measurements: 128 x 89 cm; 141 x 103 cm (frame).This piece follows the models of the Calvary painted by Michelangelo Bounarroti, which was later collected in the engraving by Domenico Custos (1560-162). Michelangelo was inspired by the Laocoön to create the face of Christ, so that he endowed the figure of the Redeemer with the same exacerbated posture. The original work is in Logroño Cathedral.This canvas shows the Crucifixion with the Virgin, Mary Magdalene and Saint John the Evangelist at her feet. In Western art, the representation of Christ on the cross was preferred, as a narrative scene, and the figure of Saint John the Baptist was replaced by that of John the Evangelist. An image whose conception and form are the result of the expression of the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who were the driving force behind its development, and the works were sometimes financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture of this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values, which it achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.

STÈLE DE SURYA EN GRÈSUTTAR PRADESH, CIRCA XE SIÈCLE76.2 cm (30 in.) highFootnotes:A SANDSTONE STELE OF SURYAUTTAR PRADESH, CIRCA 10TH CENTURY北方邦 約十世紀 砂岩太陽神石碑Provenance:With Claude de Marteau, New York, by 1967Richard B. Gump, San FranciscoSotheby's, New York, 6 October 1990, lot 290Identified by his characteristic boots, breast plate, and tall cylindrical crown—as well as by the two fully-blown lotuses he wields—this stele is devoted to the ancient Vedic sun god Surya, whose cult at one time rivaled that of Shiva and Vishnu, and who became prominently incorporated into the Vaishnavite tradition in northern India. He is dressed according to traditional conventions that depict him as a king. His 'northern' garb is thought to resemble that of Central Asian Indo-Scythian tribesmen, such as the Kushans, who ruled northern India in the first centuries of the common era. It is also thought to reflect the influence of ancient Iranian religious ideas, where the worship of the sun in personified form is through to derive (Rosenfield, The Arts of India and Nepal, 1966, p. 43). This near-complete composition includes Surya's wife, Ushas, the goddess of dawn, standing immediately before him as the herald of each new day. Either side of his feet are Surya's clerk and measurer, Pingala and Danda, carved in complementary tribhangha poses. Behind them are two further wives of Surya, possibly the shapelier Sarenu, daughter of Heaven, on the right, and her shadow, Chaya, on the left (although his wives Rajni and Nikshubha are also possible). Above them, by Surya's elbows, the two archers Usha and Pratyusha defend dawn and dusk from the darkness. At the very sides of the stele's lower half are yakshas squatting below celestial attendants carrying Brahmanic waterpots and offering gestures of reassurance, both pairs representing additional helpers in Surya's benign entourage. As Dye once deftly noted, Surya's bold lotus blossoms and crisp lotus halo, 'suggest both the sun itself and the boundless life it nurtures.' (Dye III, The Arts of India, Richmond, 2001, p.136). Such vitality is further evoked by virile youths wrestling the oversized makaras either side, whose conjoined tails carved with foliate motifs frame the radiant halo. Surya's proliferous benevolence is praised by pairs of celestial adorants flanking the halo, offering him garlands. The softly modeled fleshy cheeks and prominent lips that harken back to Gupta period point to the regional style of Uttar Pradesh in northern India. So too does the buff-to-reddish colored sandstone, the less extravagant array of regalia (in contrast to neighboring Rajasthan and Madhya Pradesh), and the treatment of the lotus halo with broad, plain leaves arranged in a circle, bordered by a rim. Compare these various idioms with examples attributed to Uttar Pradesh in Desai & Mason (eds.), Gods, Guardians, and Lovers, 1993, pp. 187-8, 244-7 & 262-3, nos. 28, 62, & 70. Also see a Vamana in the Walters Art Gallery, Baltimore (25.260).For further information on this lot please visit Bonhams.com

STATUETTE DE BOUDDHA EN ALLIAGE DE CUIVRE INCRUSTÉ D'ARGENTVALLÉE DE SWAT, VIIE SIÈCLEHimalayan Art Resources item no. 4833 10.5 cm (4 1/8 in.) highFootnotes:A SILVER INLAID COPPER ALLOY FIGURE OF BUDDHA SWAT VALLEY, 7TH CENTURY 斯瓦特 七世紀 銅錯銀佛陀像 Published: Arman Neven, Sculpture des Indes, Brussels, 1978, p. 72, no. 30. Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p.70, pl. 3E. Jan van Alphen, Cast for Eternity, Antwerp, 2003, pp. 70-1, no. 14. Exhibited: Sculpture des Indes, Société Générale de Banque, Brussels, 8 December 1978 - 31 January 1979.Cast for Eternity, Antwerp Ethnographic Museum, Belgium, 12 April 2005 - 26 June 2005. Provenance:With Claude de Marteau, Brussels, by 1970s The bronze-caster has skillfully conveyed the Buddha's enlightened consciousness with a compassionate expression illumined by silver-inlaid eyes and urna. The iconography of the Seated Buddha raising his right hand in the gesture of reassurance (abhaya mudra) is rather unusual for sculptures of the Swat Valley, most of which depict him extending his right hand in the gesture of charity (varada mudra) instead. The iconography derives from earlier Gandharan sculptures (see for example, a 6th-century Gandharan standing Buddha at the Metropolitan Museum of Art, New York, 1981.188a,b), suggesting that the present work is likely among earlier sculptures created in the Swat Valley around the 7th century. In the 5th century, the Swat Valley, located in the foothills of the Hindu Kush mountains in modern-day Pakistan, served as a refuge for Buddhist practitioners, as Huns raided the monasteries scattered throughout ancient Gandhara's lush plains. Buddhist bronzes from the Swat Valley therefore constitute an important artistic and religious link between the former civilization of Gandhara, the Gupta period of Northern India, and the rising states of Kashmir, Gilgit, and Western Tibet. Here, the pronounced parallel folds of Buddha's robe are clearly inspired by the Gandharan style, which was in turn influenced by Hellenistic traditions. On the other hand, his pronounced eyes, fleshy cheeks, incised long eyebrows, and small hair curls are all congruent with the Gupta idiom. While, the thick, V-shaped pleats around his neck are commonly seen in later Kashmiri bronzes. Several stylistic features of the present sculpture are consistent with other early Swat Valley images attributed to the 7th century. The treatment of Buddha's robe, using parallel folds to emphasize volume while revealing supple musculature around the chest, is closely related to two other 7th-century bronzes – one formerly in the Lahiri Collection (Christie's, New York, 14 March 2016, lot 44), the other in the Los Angeles County Museum of Art (Pal, Bronzes of Kashmir, 1975, pp. 88-9, no. 20). The three bronzes also share the same facial and lotus petal types. The distinctive, tightly-waisted lotus base, with artichoke-shaped petals covering the lower half and a plain, conical upper half, compares closely to another Swat Buddha at the Harvard Art Museums (1989.57). Also see other Swat bronzes made during the 7th-8th centuries published in von Schroeder, Buddhist Sculptures in Tibet, Vol. 1, 2001, pp. 32-3, nos. 2A-E.For further information on this lot please visit Bonhams.com

STATUE DE VAJRADHARA EN ALLIAGE DE CUIVRE DORÉTIBET, XIVE SIÈCLEHimalayan Art Resources item no. 4856 22.5 cm (8 7/8 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF VAJRADHARA TIBET, 14TH CENTURY 西藏 十四世紀 銅鎏金金剛總持像 Provenance: With Claude de Marteau, Brussels, by 1970s Vajradhara is the primordial source from which all wisdom and compassion originate, and is here nobly depicted in the upright-seated, 'adamantine-throne' position (vajraparyankasana). Since his true, dharmakaya form is empty and ineffable to the unenlightened mind, Vajradhara is represented with an appealing 'reward body' (sambhogakaya), which portrays the bliss that comes from experiencing the dharma for oneself, while also offering a supple body adorned with resplendent jewelry and sumptuous clothing for the enjoyment and contemplation of practitioners. Vajradhara crosses his hands over his heart in vajrahumkara mudra, which symbolizes the perfect unity of wisdom and compassion needed to understand—and dissolve into—his true dharmakaya existence. There are many characteristics of this inviting gilt bronze that reflect the Nepalese tradition of image-making from the Kathmandu Valley. For example, Vajradhara's wide forehead and broad shoulders, combined with the delicate modelling of his fingers and toes, are classic elements of Newari sculpture. The relatively modest application of jewelry and the mostly un-patterned sheer lower garment both allow large swathes of his sensuous physique to be admired without visual obstruction, epitomizing a core Newari aesthetic rooted in Indian devotional art. More specifically, the incised floral scroll decoration that is applied to the hems of his garment, in addition to the looped sash wrapped around his tapered waist, are characteristic of Newari sculptures produced for worship in Nepal in the 14th century, such as an Indra sold at Christie's, New York, 17 March 2015, lot 11. On the other hand, the construction of the lotus base to accommodate and seal inserted consecrations, the lapis painted within the hair, and the choice of opaque turquoise settings instead of translucent gemstones betray Tibetan religious beliefs and practices, indicating that the Newari master-craftsman produced this handsome sculpture for a Tibetan patron. A group of similar 14th-century Newari-Tibetan bronzes located in Shalu Monastery are published in von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, pp. 959-63, nos. 229C, 230B-C, & 231E). Additionally, see a gilt-bronze image of Manjushri sold at Sotheby's, New York, 23 March 2007, lot 55.For further information on this lot please visit Bonhams.com

ARTIST: - (Europe, 18/19 century)NAME: Religious SceneMEDIUM: oil on canvas. Canvas applied to board.CONDITION: Some scrathes/paint losses. Some craquelure. No visible inpaint under UV light. AS IS (see pictures carefully) SIGHT SIZE: 29 x 23 inches / 73 x 58 cmFRAME SIZE: 34 x 28 inches / 86 x 71 cmSIGNATURE: unsignedCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 121036US Shipping $90 + insurance.

ARTIST: - (Europe, 18/19 century)NAME: Religious SceneMEDIUM: oil on canvas. Canvas applied to board.CONDITION: Some scrathes/paint losses. Some craquelure. Some scattered inpaintings. AS IS (see pictures carefully) SIGHT SIZE: 29 x 23 inches / 73 x 58 cmFRAME SIZE: 34 x 27 inches / 86 x 68 cmSIGNATURE: unsignedCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 121038US Shipping $90 + insurance.

JOSÉ CUSACHS Y CUSACHS (Montpellier, France, 1851 - Barcelona, 1908)."Soldier", 1880.Oil on panel.Signed and dated in the lower right corner.Size: 35 x 26,5 cm.José Cusachs was born accidentally in France, as his parents were travelling there, but his art and his life were always linked to two places: Barcelona and Mataró. In 1865, after passing a competitive examination, he entered the Artillery Academy for a military career. However, in 1882, after a brilliant career that led him to become a captain in the army for war merits, he asked for retirement to devote himself to painting. Trained in Barcelona under the guidance of Simón Gómez, he completed his artistic studies with a stay in Paris at the studio of Édouard Détaille, one of the greatest experts in military themes, a genre that Cusachs favoured. Among military themes, this artist was particularly fond of cavalry, owing to his passion for horses. In 1880 he settled in Barcelona and began an extensive production of military studies, which were reproduced in F. Barado's work entitled "La vida militar en España" ("Military Life in Spain"). Previously, before leaving the army, he had worked as a caricaturist and chronicler of a Spain immersed in a maelstrom of political events, in which he was immersed due to his military status. It was precisely the success of these early works that prompted him to finally abandon his previous career to concentrate on art. During these years he made his work known through individual exhibitions, such as those he held regularly from 1884 onwards at the Sala Parés in Barcelona, which were always a great success in terms of sales and critical acclaim. By 1890 he was already a regular exhibitor at the gallery, where he showed new works every week. The bond between Cusachs and the Sala Parés was so deep, in fact, that after the painter's death the gallery fell into a period of absolute decadence. Cusachs also took part in official competitions; in 1887 he obtained notable recognition at the National Exhibition of Fine Arts in Madrid with three paintings, one of which was acquired by the regent Maria Cristina ("En el campo de maniobras" ("On the Manoeuvre Field"). In 1891 he took part in the Berlin Exhibition and won the Gold Medal for his work "Division Manoeuvres". Cusachs was also a celebrated military portraitist, and painted General Prim, King Alfonso XIII in military uniform and Mexican President Profirio Díaz, among others. Other notable works by his hand include "Flight into Egypt" (1904) from the monastery of Montserrat, one of his few religious canvases, and "Abnegation" and "Distant Thought". Stylistically, Cusachs was a man open to innovation, although his work was always filtered through the filter of appreciation, study and meditation. Thus, he adopted those aspects he considered to be of value and discarded the rest. The bulk of his work is in the Museo de Arte Moderno in Madrid and the Museo Nacional de Arte de Cataluña, as well as other centres such as the Museo de Montserrat, the Museo Nacional de Historia, the Capitanía General de Valencia, the Jefatura de Artillería de Valladolid, the Galería de Capitanes Ilustres of Barcelona City Council and important private collections, such as the Santiago Gramunt collection.

JOSÉ CUSACHS Y CUSACHS (Montpellier, France, 1851 - Barcelona, 1908)."Amazona".Oil on canvas.Signed in the lower left corner.Attached label of the Barbié Gallery and Barrachina's label.It presents light Greek in the upper right corner.Measurements: 56 x 45 cm; 85 x 74 cm (frame).Cusachs captures here an equestrian portrait far from the rigour of the genre, seeking to transfer to the canvas a piece of everyday life, of reality. This is particularly reflected in the way he captures the movement of the horse, at a walk, with two legs raised and its head lowered to form an elegant curve. The lady, dressed in the clothes of a mid-19th century horsewoman, elegantly maintains her composure.José Cusachs was accidentally born in France, as his parents were travelling there, but his art and his life were always linked to two places: Barcelona and Mataró. In 1865, after passing a competitive examination, he entered the Artillery Academy for a military career. However, in 1882, after a brilliant career that led him to become a captain in the army for war merits, he asked for retirement to devote himself to painting. Trained in Barcelona under the guidance of Simón Gómez, he completed his artistic studies with a stay in Paris at the studio of Édouard Détaille, one of the greatest experts in military themes, a genre that became Cusachs's favourite. Among military themes, this artist was particularly fond of cavalry, due to his passion for horses. In 1880 he settled in Barcelona and began an extensive production of military studies, which were reproduced in F. Barado's work entitled "La vida militar en España" ("Military Life in Spain"). Previously, before leaving the army, he had worked as a caricaturist and chronicler of a Spain immersed in a maelstrom of political events, in which he was immersed due to his military status. It was precisely the success of these early works that prompted him to finally abandon his previous career to concentrate on art. During these years he made his work known through individual exhibitions, such as those he held regularly from 1884 onwards at the Sala Parés in Barcelona, always obtaining great success in terms of sales and critical acclaim. By 1890 he was already a regular exhibitor at the gallery, where he showed new works every week. The bond between Cusachs and the Sala Parés was so deep, in fact, that after the painter's death the gallery fell into a period of absolute decadence. Cusachs also took part in official competitions; in 1887 he obtained notable recognition at the National Exhibition of Fine Arts in Madrid with three paintings, one of which was acquired by the regent Maria Cristina ("En el campo de maniobras" ("On the Manoeuvre Field"). In 1891 he took part in the Berlin Exhibition and won the Gold Medal for his work "Division Manoeuvres". Cusachs was also a celebrated military portraitist, and painted General Prim, King Alfonso XIII in military uniform and Mexican President Profirio Díaz, among others. Other notable works by his hand include "Flight into Egypt" (1904) from the monastery of Montserrat, one of his few religious canvases, and "Abnegation" and "Distant Thought". Stylistically, Cusachs was a man open to innovation, although his work was always filtered through the filter of appreciation, study and meditation. Thus, he adopted those aspects he considered to be of value and discarded the rest. The bulk of his work is housed in the Museo de Arte Moderno in Madrid and the Museo Nacional de Arte de Cataluña, as well as other centres such as the Museo de Montserrat, the Museo Nacional de Historia, the Capitanía General de Valencia, the Jefatura de Artillería de Valladolid, the Galería de Capitanes Ilustres of Barcelona City Council and prominent private collections, such as the Santiago Gramunt collection.

ISAACS, JOHN1968 Lancaster/EnglandTitel: Fat Man. Datierung: 1997. Technik: Gelatinesilberabzug. Darstellungsmaß: 28 x 37,5cm. Blattmaß: 30,5 x 40,5cm. Bezeichnung: Signiert, nummeriert und datiert verso. Exemplar: 1/1. Rahmen: Rahmen. Ausstellungen:- Center for Religious Art and Culture, Herverlee 2006. John Isaacs England Zeitgenössische Kunst Fotografie 1990er Mann Fotografie Gelatinesilberabzug StraßenansichtErläuterungen zum Katalog

A pair of silver-gilt rosewater sprinklers India, possibly Lucknow, 19th Centuryof tall slender form on hexagonal feet, the bodies of rounded form with flattened sides, the necks in the form of confronting elephant heads with trunks intertwined, the spouts in the form of floral sprays, decorated in repoussé with elaborate floral motifs, the shoulders and feet with acanthus leaves, the bodies with lion heads, the sides with peris, each with engraved inscription to one 35.3 cm. high; total weight 1217 g.(2)Footnotes:Long necked bottles, such as the present lot, are used to sprinkle rosewater (gulab) on and around guests at both social and ceremonial or religious functions, the custom often indicating a mark of favour or hospitality. They had their origins in Persia but became popular throughout the Mughal Empire. The Emperor Jahangir (1605-27) refers to the custom in his memoirs, stating, 'the assembly of gulab-pashi (sprinkling of rose water) took place; from former times this has been known as ab-pashi (water sprinkling) and has become established from amongst customs of former days' (quoted in M. Zebrowski, Gold, Silver and Bronze from Mughal India, London, 1997, p.69).For a similar pair of silver-gilt rosewater sprinklers sold in these rooms, see Bonhams, Islamic and Indian Art Including the Lion and the Sun, Art from Qajar Persia, 30 April 2019, lot 155.For further information on this lot please visit Bonhams.com

Basil Bradley (1842-1904)Irish Cabin Interior Showing a Man and Girl Making Súgán RopeOil on canvas laid down on panel 34.5 x 44.5cm (13½ x 17½”)SignedStraw was one of the most important organic materials in the economy of Irish rural life, and was used in fields as various – and vital – as clothing, building and agriculture. It also accrued religious, ritual and magical significance as well as developing rich linguistic associations. Straw was used for the fabrication of St Brigid’s crosses, for mummers’ costumes, fishing nets, toys and, as is shown here, rope – in Irish súgán or súgán cotháin.Basil Bradley portrays the weaving process as a collaborative effort between different generations of the family with the household’s two dogs noticeably indifferent to the task at hand. The artist’s ‘meticulous observation’ of detail has   been noted and here the furniture, interior setting and costume are rendered accurately giving the painting great documentary value (Claudia Kinmonth, Irish Rural Interiors in Art (2006) p. 88).The work is closely comparable, especially in its earth-based colour scheme, to Bradley’s, Irish Cabin, Spinning and, as is in that work, the  ‘women’s red petticoats’, which provide the one chromatic highlight, ‘suggest that the home is a western one’ (ibid.). In addition to its harmoniously controlled palette, there is a subtle deployment of light effects to evoke presence. Clearly, two sources of illumination are in play. The light from the window which silhouettes the standing girl’s profile is the most obvious. But there is also a secondary source from which light floods the left foreground of the image, bathing the seated man in its rays. This can only be from the cabin’s door and it is easy to imagine that this is the spot where Bradley has set up his easel. This makes him simultaneously a, literally, liminal presence – but also, rather suggestively, a witness as to the scene’s verisimilitude – standing very close by, just on the other side of the picture plane.Also enhancing the veracity of the scene is the way in which Bradley crops into the body of the bare-footed girl at the right-hand edge, rather than composing the scene into a balanced, classically-conceived composition. This is a technique more associated with the advanced Parisian modernity of Degas, than the stylistically retardataire tradition within which most painters of Irish rural life worked.While Bradley is careful to depict very scrupulously what he saw before him when visiting this particular cabin, his analytical viewpoint is not merely ethnographic, or at the expense of human interest. Instead, the image is both an endearing depiction of familial life and shared endeavour and an unmediated testament to the hardness of existence in the rural communities of the West of Ireland.Born in England, and excelling from an early date as an animal painter, Bradley was a careful recorder of the Irish landscape (for example in his View Of The Nine Pins, Connemara, 1873) and sympathetic chronicler of rural life (in for instance his Interior of an Irish Cabin in Connemara, 1879). Bradley exhibited with the Old Watercolour Society and, between 1873-99, with the Royal Academy.  His Irish work is rare but examples of his art can be found in leading museum collections internationally including the Victoria and Albert Museum, London, Manchester Art Gallery and the Art Gallery of New South Wales, Sydney.

Harry Clarke RHA (1889-1931)St Hubert, St Luke and St George (1927) Colour Scheme for the memorial window, St. Brigid's Church of Ireland, CastleknockWatercolour, 34.5 x 22cm (13½ x 8¾'')Provenance: With Grants Fine Art Gallery, label verso; with The Fine Art Society, label verso.Exhibited: 'The Stained Glass of Harry Clarke', The fine Art Society, 1988, catalogue no.46.In May 1927 when the commission for the Brooke memorial window for St Brigid’s Church of Ireland, Castleknock had been confirmed Harry Clarke noted in his diary ‘…bear in mind to give the maximum light and rich colour. Excellent light and position. Will stand rich colour and treatment… Subjects in base could be seen.’(1) When Harry Clarke and other stained glass artists of the period were in the process of designing a window, a key aspect was the creation of small-scale designs (usually made at the scale of one inch to the foot) to establish the composition and to determine the colour scheme; this example falls into the latter category.Raymond Brooke had commissioned Clarke to create a window to commemorate military, hunting and artistic members of his family. Three male saints were selected: St Hubert is depicted in the centre light and is in memory of Sir George Frederick Brooke, 1st Baronet of Summerton (the name of their home in Castleknock) who although a wine merchant and banker preferred to spend his time hunting, maintaining a prestigious pack of harriers that later became the North Kildare Harriers, and hence the choice of St Hubert, patron saint of hunters (note also Clarke’s inclusion of a poised hunting dog in profile). According to his daughter Rose Brooke, Sir George was a great admirer of Harry Clarke’s work and often used to go into his studio.’(2)The left light depicts St George, and it was in memory of the only son from Sir George’s first marriage, also named George, who was a member of the Irish Guards and who died at the Battle of Aisne in 1914. The choice of St George being appropriate not only as it is the deceased soldier’s name but also of course as he is a notable soldier saint, who along with St Michael, is one of the most popular saints for war memorial depictions. The right light was erected in memory of Sir George’s second wife Emily Alma (née Barton) a deeply religious and artistic individual who died several years ahead of both her husband and step-son. In addition to the full-length depictions of the three saints, each of the lights contain a predella panel at the base, and the one beneath St Luke shows the saint in his role as patron saint of artists, standing at an easel painting a portrait of the Virgin and Child.The apex of each light accommodates an angel bearing an heraldic shield, and behind and above them, in the three spandrels which comprise the tracery, is what the late Dr Nicola Gordon Bowe (the leading authority on Harry Clarke), referred to as ‘a deep blue sky threaded with gossamer and brightly coloured galactic phenomena’, a visual device she noted that Clarke had employed in his previous window for Tullycross Church but used here, in her opinion, to even greater effect.(3)Dr David CaronQuoted in Nicola Gordon Bowe, ‘Harry Clarke 1889–1931: His Life and Work’, PhD thesis, University of Dublin, 1991, vol. 2, p. 743.Ibid, vol. 2, p. 769 (quoting a letter from Rose Brooke to Nicola Gordon Bowe, 24 February 1974).Nicola Gordon Bowe, Harry Clarke, The Life and Work (Dublin: The History Press, 2018), p. 268.  

Lucas Price (British, b. 1975) Telepathik Heights 18 Screen print on woven paper Signed in pencil Framed & glazed  72 x 53 cm (28 x 20 in) Contemporary artist Lucas Price, formerly known as Cyclops, blends the traditional and the modern, merging contemporary photo realism with antiquated styles and religious iconography. Price completed a Masters degree at the Royal College of Art, London. In 2008, he exhibited at the Tate Modern as part of their exhibition ‘Art on the Street’ and, in 2015, appeared in Bonhams’ contemporary auction. As well as working as a fine artist, Lucas Price founded the postmodernist menswear label ‘A.Four Labs’, with Tokyo-based designer Kazuki Kuraishi. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

K-Guy (British, b. 1968)Tr*ash - Politicians Kill, 2007Rare 3 colour screen GIFT print on textured gold paperSigned and dated in pencil and marked GIFTPublished by Souled Out Studios, with their blind stampProfessionally framed70 x 51 cm (27 x 20 in) K-Guy is a visual artist who lives and works in the epicentre of the street art scene, London.  The artist is best known for his sharp analyses and off-the-mark responses to what goes on around him, politicians, religious leaders, fast food outlets and entire economic systems have all been examined in K-Guy’s work. His controversial and quirky works in the streets of London have received worldwide media attention several times, for example with his installation ‘In Loving Memory to the Boom Economy', which was created in front of The Bank of England and depicted the burial of the flourishing economy.  Another example is his mural ‘Primate Pontificate’ as a reaction of the Pope’s visit to London. Renowned works from the artist include his collaboration with the Prodigy on a limited edition print which sold out instantly and his iconic best sellers ‘Coke Moss’, ‘Naomi Campbell’s, ‘Pepsi Cara and Linda EVANGELISTa’.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

K-Guy (British, b. 1968)Tr*ash - Religion Can Seriously Harm You And Others Around You, 2007Rare 3 colour screen GIFT print on textured gold paperSigned and dated in pencil and marked GIFTPublished by Souled Out Studios, with their blind stampProfessionally framed70 x 51 cm (27 x 20 in) K-Guy is a visual artist who lives and works in the epicentre of the street art scene, London.  The artist is best known for his sharp analyses and off-the-mark responses to what goes on around him, politicians, religious leaders, fast food outlets and entire economic systems have all been examined in K-Guy’s work. His controversial and quirky works in the streets of London have received worldwide media attention several times, for example with his installation ‘In Loving Memory to the Boom Economy', which was created in front of The Bank of England and depicted the burial of the flourishing economy.  Another example is his mural ‘Primate Pontificate’ as a reaction of the Pope’s visit to London. Renowned works from the artist include his collaboration with the Prodigy on a limited edition print which sold out instantly and his iconic best sellers ‘Coke Moss’, ‘Naomi Campbell’s, ‘Pepsi Cara and Linda EVANGELISTa’.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

K-Guy (British, b. 1968)Tr*ash - Poverty Can Seriously Damage Your Wealth, 2007Rare 3 colour screen GIFT print on textured gold paperSigned and dated in pencil and marked GIFTPublished by Souled Out Studios, with their blind stampProfessionally framed70 x 51 cm (27 x 20 in) K-Guy is a visual artist who lives and works in the epicentre of the street art scene, London.  The artist is best known for his sharp analyses and off-the-mark responses to what goes on around him, politicians, religious leaders, fast food outlets and entire economic systems have all been examined in K-Guy’s work. His controversial and quirky works in the streets of London have received worldwide media attention several times, for example with his installation ‘In Loving Memory to the Boom Economy', which was created in front of The Bank of England and depicted the burial of the flourishing economy.  Another example is his mural ‘Primate Pontificate’ as a reaction of the Pope’s visit to London. Renowned works from the artist include his collaboration with the Prodigy on a limited edition print which sold out instantly and his iconic best sellers ‘Coke Moss’, ‘Naomi Campbell’s, ‘Pepsi Cara and Linda EVANGELISTa’.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Marc Chagall (1887 Witebsk - 1985 Saint-Paul-de-Vence) (F)'Saint-Jean-Cap-Ferrat', Farblithografie auf Velin, 1952, 68 cm x 49,5 cm Plattenmaß, 74,5 cm x 53,5 cm Passepartoutinnenmaß, signiert, Epreuves d'artiste nummeriert, im Druck signiert, 1949 datiert, leicht gewellt, leicht gebräunt, Literatur: WVZ. Solier VI, CS 4.Bereits um 1910-1914 löste sich Marc Chagall während seines Parisaufenthaltes vom Impressionismus, den er an der St. Petersburger Akademie erlernte. Dabei integrierte er Stilmerkmale des gerade durch Pablo Picasso und Georges Braque aufkommende Kubismus und farbstarken Fauvismus in seiner Malerei. Nach Russland zurückgekehrt entwickelte Marc Chagall seinen eigenen Stil aus Elementen der russischen Volkskunst und der jüdisch-religiösen Erlebniswelt seiner Kindheit. Über Berlin emigrierte der Künstler nach Paris, wo er von 1920 an lebte und arbeitete. Das Werk Chagalls ist durch farbenprächtige Zusammenfügung symbolischer Bildmotive geprägt. Neben Gemälden fertigte er ein umfangreiches grafisches Oeuvre an und gestaltete Glasfensterentwürfe ebenso wie Keramik und Plastik. Ab 1950 lebte der Künstler in Vence, das über Nizza lediglich ca. 30 Kilometer von der Gemeinde Saint-Jean-Cap-Ferrat an der Côte d ́Azur entfernt liegt und diese Farblithografie betitelt. Marc Chagall (1887 Vitebsk - 1985 Saint-Paul-de-Vence) (F)'Saint-Jean-Cap-Ferrat', colour lithograph on Velin, 1952, 68 cm x 49.5 cm panel dimension, 74.5 cm x 53.5 cm inner passepartout dimension, signed, Epreuves d'artiste numbered, signed in print, dated 1949, slightly wavy, slightly browned paper, literature: WVZ. Solier VI, CS 4.As early as around 1910-1914, Marc Chagall broke away from Impressionism, which he had learned at the St. Petersburg Academy, during his stay in Paris. In the process, he integrated stylistic features of Cubism and colourful Fauvism, which were just emerging through Pablo Picasso and Georges Braque, into his painting. After returning to Russia, Marc Chagall developed his own style from elements of Russian folk art and the Jewish religious experience of his childhood. Via Berlin, the artist emigrated to Paris, where he lived and worked from 1920 onwards. Chagall's work is characterised by a colourful combination of symbolic pictorial motifs. In addition to paintings, he produced an extensive graphic oeuvre and designed stained glass windows as well as ceramics and sculpture. From 1950 onwards, the artist lived in Vence, which is only about 30 kilometres from the municipality of Saint-Jean-Cap-Ferrat on the Côte d ́Azur via Nice and is the title of this colour lithograph.

Enrico Arcioni, 1875 Spoleto - 1954 Rom, Studium an den Akademien Rom und Perugio, lebte ab 1892 in Paris und von 1900-1915 in St. Petersburg, malte vorwiegend Porträts des französischen und russischen Adels sowie einige religiöse Themen, hier: Salome mit dem Haupt Johannes des Täufers, stimmungsvolle Jugendstilmalerei mit gekonnter Führung des Lichts aus unterschiedlichen Quellen: von hinten und Feuerschein von vorne, attributive Funktion des Johanneshauptes zugunsten der ekstatisch-erotisierenden Darst. Salomes stark reduziert, rechts unten signiert und bez., Öl/Lwd, rest., doubliert, ca. 87x67cm, R. ca. 95x74cmEnrico Arcioni, 1875 Spoleto - 1954 Rome, Studies at the Academies Rom and Perugio, lived in Paris from 1892 and of 1900-1915 in St. Petersburg, mainly painted portraits of the French and Russian nobility and some religious subjects, here: Salome with dem Headof John the Baptist, atmospheric Art Nouveau painting with skillful use of light from different sources: from behind and firelight from front, attributive function of the head of John in favor of the ecstatic-eroticizing depiction of Salome, greatly reduced, signed lower right and inscribed, oil/canvas, restored, relined, approx. 87x67cm, frame approx. 95x74cm

Works on religious history, ecclesiastical architecture, poetry, art and bibliography, including bound transactions of the Bibliographical Society (12 boxes)