ITEM: Ostracon with Greek textMATERIAL: PotteryCULTURE: EgyptianPERIOD: Ptolemaic period, 3rd - 1st Century B.CDIMENSIONS: 82 mm x 95 mm 6 mmCONDITION: Good conditionPROVENANCE: Ex Swedish private collection, John Ingels (1925 - 2016), John Ingels worked as a painter, curator, filmmaker and tour guide with heart and soul in his home region of Leksand. He eventually became very popular and acquired archaeological artefacts during his stays in Egypt and Italy. He made the 1962 film ‘Egyptian Monuments’ with the important purpose of saving the temple of Abu Simbel. Several of the objects from this auction were exhibited in local shops and installations in Leksand during the 1970s and 1990s. Some of the objects were acquired abroad in England, Egypt and Israel, among others, and were brought to Sweden in the 1960s.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Egyptian ostraca were pieces of pottery shards or limestone flakes used as writing or drawing surfaces in ancient Egypt, often serving as practical and affordable alternatives to papyrus. The term "ostracon" (plural: ostraca) originates from the Greek word for "potsherd," and these pieces were widely used in daily life for notes, drafts, or sketches. Since ostraca were readily available, they became popular for informal or temporary writings, including accounts, personal letters, and even school exercises. This usage was common among scribes, who would practice their writing or create quick drafts before committing text to more valuable materials. The durability of pottery and stone has allowed many ostraca to survive through the centuries, providing unique insights into the everyday life of ancient Egyptians.Ostraca also played a significant role in Egyptian art and storytelling, as many of them contain sketches, religious imagery, and even preliminary designs for tomb paintings or statues. Artists often used ostraca to practice intricate figures or scenes, including depictions of gods, animals, or mythological events. Some ostraca reveal humorous scenes or caricatures, suggesting that Egyptian artists had a playful side as well. For instance, some ostraca display animals in human-like activities, such as mice acting as soldiers or cats interacting with geese, which may have served as comic relief or satire. These sketches showcase the skill and imagination of Egyptian artists, while the variety of subjects reveals the broad scope of Egyptian society's interests and beliefs.
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ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 60 mm x 32 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, Dr. K.B., Munich, since the 1970sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman keys were essential tools for securing locks on doors, chests, and personal items, reflecting the Roman emphasis on security, privacy, and property ownership. Made primarily from iron, bronze, or sometimes brass, Roman keys varied in design, but they generally consisted of a long shaft with a curved or looped head that engaged with the lock mechanism. The keys were often large and heavy, particularly those used for doors or storage chests, and they were frequently carried as symbols of authority, wealth, and access. Roman keys were also integral to the organization of private and public spaces, from households to temples, demonstrating how the Romans valued controlled access to both physical property and private life.The design of Roman keys was functional yet varied, with some keys featuring intricate, ornate designs, while others were more utilitarian. Large, ornate keys were often used by the wealthy or in the context of important state or religious buildings, while smaller, simpler keys were used by ordinary citizens. The variation in size and decoration of Roman keys reflects the different types of locks they were designed for, from the elaborate locking mechanisms used in villas and public buildings to simpler locks for personal use. Many Roman keys found in archaeological excavations bear decorative elements such as animal heads, religious symbols, or family crests, which were sometimes engraved into the head of the key, showcasing the owner’s identity, status, or affiliations.In addition to their practical and decorative purposes, Roman keys have an important symbolic role in Roman culture. They were sometimes depicted in art, especially in funerary contexts, to signify ownership, protection, and the safeguarding of personal or family treasures.
ITEM: Oil lamp depicting a lion, Type Bussière E IX 31 - Atlante X A1 aMATERIAL: PotteryCULTURE: Late Roman, ChristianPERIOD: 5th - 7th Century A.DDIMENSIONS: 50 mm x 70 mm x 115 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Christian oil lamps, primarily dating from the late Roman period into the Byzantine era, played a dual role in both practical illumination and religious symbolism. These lamps were often simple in design, reflecting the modest roots of early Christianity. Made typically of clay or metal, they had small, flat bodies with one or two nozzles where wicks could be inserted, and they were fueled by olive oil. As Christianity spread throughout the Roman Empire, Christian iconography began to appear on these lamps, with motifs like crosses, fish, doves, and other symbols representing faith and the promise of salvation. These lamps were used in Christian households, places of worship, and even catacombs, where they provided light and carried symbolic meaning, illuminating spaces as well as representing spiritual enlightenment.The decoration of Christian oil lamps varied widely depending on the time and region. Early examples often used simpler motifs, but as Christianity became more widely accepted, the symbols on these lamps grew more elaborate and distinctively Christian. In the Byzantine period, for instance, lamps might display scenes from biblical stories, the Chi-Rho (a symbol for Christ), or other sacred imagery. Archaeological finds of these lamps in churches and graves underscore their spiritual role, often being placed with the deceased as symbols of hope and eternal life. These lamps helped Christians subtly express their faith, especially in the pre-Constantinian period when they faced persecution.Christian oil lamps also reflected the evolving role of religious art and worship in Christian communities. Beyond functional lighting, these lamps served as teaching tools for the illiterate, using symbols to communicate complex theological concepts.
ITEM: RingMATERIAL: BronzeCULTURE: Iron Age, Central Asia, Amlash or BactrianPERIOD: 1st millenium B.CDIMENSIONS: 21 mm diameterCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired from London Gallery (1970s - 2000s)Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Bactrian culture thrived in the region of Bactria, which encompassed parts of present-day Afghanistan, Uzbekistan, and Tajikistan, during the Bronze Age, roughly from the 3rd to the 2nd millennium BCE. Bactria served as a crucial crossroads along the ancient Silk Road, connecting the civilizations of the Mediterranean, Central Asia, China, and the Indian subcontinent. The culture is known for its advanced urban centers, sophisticated metallurgy, and rich artistic traditions. Bactrian art often depicted scenes of daily life, mythical creatures, and religious motifs. The Bactrians are also believed to have played a significant role in the spread of early Indo-Iranian languages and culture.On the other hand, Amlash culture was prevalent in the Amlash region of northern Iran during the Iron Age, dating roughly from the 1st millennium BCE. The Amlash culture is characterized by its distinctive pottery styles, including painted ceramics adorned with intricate geometric and zoomorphic designs. Archaeological evidence suggests that Amlash society was organized into small-scale agricultural communities, with evidence of terraced agriculture and irrigation systems. Additionally, Amlash culture is notable for its burial practices, which often included inhumation in cemeteries and burial mounds, sometimes accompanied by grave goods such as pottery vessels and metal objects.While the Bactrian and Amlash cultures developed in different time periods and geographical regions, they both represent important stages in the cultural evolution of the broader Central Asian and Iranian regions.
ITEM: Oil lamp with inscription 'The light of Christ shines for all'MATERIAL: PotteryCULTURE: ByzantinePERIOD: 4th - 5th Century A.DDIMENSIONS: 30 mm x 60 mm x 87 mmCONDITION: Good conditionPROVENANCE: Ex Palestine private collection, acquired in the 1990sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.A Byzantine oil lamp inscribed with the phrase "The light of Christ shines for all" is a remarkable artifact that reflects the deep spiritual and theological beliefs of the Byzantine Empire. This inscription emphasizes the central role of Christianity in daily life and religious practices during the Byzantine period. Oil lamps were essential for both practical illumination and religious rituals, and incorporating a Christian message into their design highlights the integration of faith into everyday objects. The inscription serves as both a devotional statement and a reminder of the divine presence in the lives of believers, making the lamp a significant symbol of Christian piety and enlightenment.The design and craftsmanship of Byzantine oil lamps were highly refined, often made from materials such as clay, metal, or glass. These lamps frequently featured intricate decorations, including religious symbols, motifs, and inscriptions. The inclusion of the inscription "The light of Christ shines for all" on the lamp would have been achieved through engraving or molding, demonstrating the skill of Byzantine artisans. This inscription not only personalized the lamp but also reinforced the idea that light, both physical and spiritual, is a manifestation of Christ's presence and guidance in the world. The lamp's practical function as a source of light was thus imbued with deep religious significance.In addition to its spiritual message, the Byzantine oil lamp with this inscription provides valuable insights into the religious and cultural practices of the period. The lamp would have been used in private homes, churches, or during religious ceremonies, emphasizing the importance of maintaining a connection with the divine in various aspects of life. The presence of such an inscription also reflects the broader trend of incorporating Christian themes into art and everyday objects, illustrating how Byzantine art and material culture were deeply intertwined with religious beliefs.
ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 82 mm x 30 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, Dr. K.B., Munich, since the 1970sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman keys were essential tools for securing locks on doors, chests, and personal items, reflecting the Roman emphasis on security, privacy, and property ownership. Made primarily from iron, bronze, or sometimes brass, Roman keys varied in design, but they generally consisted of a long shaft with a curved or looped head that engaged with the lock mechanism. The keys were often large and heavy, particularly those used for doors or storage chests, and they were frequently carried as symbols of authority, wealth, and access. Roman keys were also integral to the organization of private and public spaces, from households to temples, demonstrating how the Romans valued controlled access to both physical property and private life.The design of Roman keys was functional yet varied, with some keys featuring intricate, ornate designs, while others were more utilitarian. Large, ornate keys were often used by the wealthy or in the context of important state or religious buildings, while smaller, simpler keys were used by ordinary citizens. The variation in size and decoration of Roman keys reflects the different types of locks they were designed for, from the elaborate locking mechanisms used in villas and public buildings to simpler locks for personal use. Many Roman keys found in archaeological excavations bear decorative elements such as animal heads, religious symbols, or family crests, which were sometimes engraved into the head of the key, showcasing the owner’s identity, status, or affiliations.In addition to their practical and decorative purposes, Roman keys have an important symbolic role in Roman culture. They were sometimes depicted in art, especially in funerary contexts, to signify ownership, protection, and the safeguarding of personal or family treasures.
ITEM: RingMATERIAL: BronzeCULTURE: Iron Age, Central Asia, Amlash or BactrianPERIOD: 1st millenium B.CDIMENSIONS: 22 mm diameterCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired from London Gallery (1970s - 2000s)Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Bactrian culture thrived in the region of Bactria, which encompassed parts of present-day Afghanistan, Uzbekistan, and Tajikistan, during the Bronze Age, roughly from the 3rd to the 2nd millennium BCE. Bactria served as a crucial crossroads along the ancient Silk Road, connecting the civilizations of the Mediterranean, Central Asia, China, and the Indian subcontinent. The culture is known for its advanced urban centers, sophisticated metallurgy, and rich artistic traditions. Bactrian art often depicted scenes of daily life, mythical creatures, and religious motifs. The Bactrians are also believed to have played a significant role in the spread of early Indo-Iranian languages and culture.On the other hand, Amlash culture was prevalent in the Amlash region of northern Iran during the Iron Age, dating roughly from the 1st millennium BCE. The Amlash culture is characterized by its distinctive pottery styles, including painted ceramics adorned with intricate geometric and zoomorphic designs. Archaeological evidence suggests that Amlash society was organized into small-scale agricultural communities, with evidence of terraced agriculture and irrigation systems. Additionally, Amlash culture is notable for its burial practices, which often included inhumation in cemeteries and burial mounds, sometimes accompanied by grave goods such as pottery vessels and metal objects.While the Bactrian and Amlash cultures developed in different time periods and geographical regions, they both represent important stages in the cultural evolution of the broader Central Asian and Iranian regions.
ITEM: Relief fragmentMATERIAL: MarbleCULTURE: RomanPERIOD: 1st - 2nd Century A.DDIMENSIONS: 110 mm x 125 mm x 68 mmCONDITION: Good conditionPROVENANCE: Ex Portuguese private collection, acquired between 1980 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman reliefs are an essential aspect of Roman art and architecture, known for their detailed and dynamic depictions of historical events, mythology, daily life, and portraits. These reliefs were commonly carved into marble, limestone, or other durable materials and adorned various structures such as altars, triumphal arches, sarcophagi, and public buildings. The use of relief sculpture allowed Roman artists to create intricate narratives and convey complex messages, serving both decorative and propagandistic purposes.One of the most famous examples of Roman reliefs is the frieze on the Ara Pacis, the Altar of Peace, dedicated in 9 BCE to commemorate Emperor Augustus's return from his campaigns in Gaul and Hispania. The reliefs on the Ara Pacis depict a procession of the imperial family, priests, and senators, capturing a moment of civic and religious harmony. The high level of detail, naturalistic figures, and dynamic composition reflect the Roman emphasis on realism and the importance of political propaganda. By illustrating Augustus's achievements and the prosperity of his reign, the reliefs reinforced the emperor's legitimacy and the ideals of peace and stability.Another significant example is the reliefs on the Column of Trajan, completed in 113 CE, which celebrate Emperor Trajan's victory in the Dacian Wars. The column's spiral relief narrates the entire campaign, from the army's departure to the final victory, with over 2,500 figures depicted in meticulous detail. These reliefs not only serve as a visual record of the military conquest but also emphasize the emperor's role as a strong and capable leader.
ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 34 mm x 28 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, Dr. K.B., Munich, since the 1970sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman keys were essential tools for securing locks on doors, chests, and personal items, reflecting the Roman emphasis on security, privacy, and property ownership. Made primarily from iron, bronze, or sometimes brass, Roman keys varied in design, but they generally consisted of a long shaft with a curved or looped head that engaged with the lock mechanism. The keys were often large and heavy, particularly those used for doors or storage chests, and they were frequently carried as symbols of authority, wealth, and access. Roman keys were also integral to the organization of private and public spaces, from households to temples, demonstrating how the Romans valued controlled access to both physical property and private life.The design of Roman keys was functional yet varied, with some keys featuring intricate, ornate designs, while others were more utilitarian. Large, ornate keys were often used by the wealthy or in the context of important state or religious buildings, while smaller, simpler keys were used by ordinary citizens. The variation in size and decoration of Roman keys reflects the different types of locks they were designed for, from the elaborate locking mechanisms used in villas and public buildings to simpler locks for personal use. Many Roman keys found in archaeological excavations bear decorative elements such as animal heads, religious symbols, or family crests, which were sometimes engraved into the head of the key, showcasing the owner’s identity, status, or affiliations.In addition to their practical and decorative purposes, Roman keys have an important symbolic role in Roman culture. They were sometimes depicted in art, especially in funerary contexts, to signify ownership, protection, and the safeguarding of personal or family treasures.
ITEM: BraceletMATERIAL: BronzeCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 64 mm x 67 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, London, acquired from art market before 2000sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman bracelets were popular accessories worn by men, women, and even children across various social classes throughout the Roman Empire. These bracelets, made from a range of materials including gold, silver, bronze, glass, and iron, were both decorative and symbolic. Wealthier Romans favored bracelets made of precious metals and gemstones, which displayed their social status and wealth, while those of more modest means wore simpler versions made of bronze or iron. Some bracelets were adorned with intricate designs, engraved patterns, and inlays of glass or colored stones, reflecting the Roman love for beauty and craftsmanship in personal adornment.Designs of Roman bracelets varied widely, often reflecting cultural influences from the diverse regions within the Empire. Some bracelets featured open-ended designs with stylized animal heads, such as lions, snakes, or eagles, each carrying symbolic meaning, while others were fully enclosed with elaborate detailing. Snake-shaped bracelets, for example, were quite popular and symbolized protection and healing, as the serpent was associated with the god Asclepius. Other bracelets bore inscriptions or engraved symbols, possibly functioning as talismans or amulets believed to bring good luck, health, or protection to the wearer. These decorative and symbolic elements illustrate the Romans’ appreciation for jewelry as both an art form and a source of personal meaning.Bracelets were also significant in Roman religious and funerary contexts. They were often left as offerings at temples or placed in graves as part of burial rites, symbolizing the individual’s status or personal beliefs in the afterlife.
ITEM: BowlMATERIAL: BronzeCULTURE: Iron Age, Neo-AssyrianPERIOD: 9th - 7th Century B.CDIMENSIONS: 42 mm x 155 mmCONDITION: Good condition, see picturesPROVENANCE: Ex English private collection, London, acquired in 1990sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Neo-Assyrian Empire (c. 911–609 BCE) was one of the most powerful and influential empires of the ancient Near East, known for its military prowess, administrative efficiency, and cultural achievements. The empire expanded through a series of successful military campaigns, reaching its zenith under kings like Tiglath-Pileser III, Sargon II, Sennacherib, and Ashurbanipal. The Neo-Assyrians established a centralized and well-organized state with a sophisticated bureaucracy, extensive road systems, and an innovative postal service, which helped maintain control over a vast and diverse territory stretching from the Mediterranean to the Persian Gulf.Culturally, the Neo-Assyrians were renowned for their contributions to art, architecture, and literature. They built grand palaces and temples, adorned with intricate bas-reliefs and colossal statues depicting gods, kings, and mythological creatures. These artworks often celebrated the king's military victories and divine favor, serving both as propaganda and as a testament to the empire's power. The Neo-Assyrians also preserved and expanded the literary traditions of Mesopotamia, maintaining vast libraries that housed texts on history, science, religion, and mythology. The most famous of these was the Library of Ashurbanipal in Nineveh, which contained thousands of cuneiform tablets and remains one of the most significant archaeological discoveries of the ancient world.Religion played a central role in Neo-Assyrian culture, with the king seen as the earthly representative of the gods, particularly the chief deity Ashur. The Assyrians practiced a polytheistic religion, worshiping a pantheon of gods who governed various aspects of life and the cosmos. Religious rituals, including sacrifices and divination, were integral to state affairs, and temples served as both religious and economic centers.
ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 70 mm x 30 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, Dr. K.B., Munich, since the 1970sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman keys were essential tools for securing locks on doors, chests, and personal items, reflecting the Roman emphasis on security, privacy, and property ownership. Made primarily from iron, bronze, or sometimes brass, Roman keys varied in design, but they generally consisted of a long shaft with a curved or looped head that engaged with the lock mechanism. The keys were often large and heavy, particularly those used for doors or storage chests, and they were frequently carried as symbols of authority, wealth, and access. Roman keys were also integral to the organization of private and public spaces, from households to temples, demonstrating how the Romans valued controlled access to both physical property and private life.The design of Roman keys was functional yet varied, with some keys featuring intricate, ornate designs, while others were more utilitarian. Large, ornate keys were often used by the wealthy or in the context of important state or religious buildings, while smaller, simpler keys were used by ordinary citizens. The variation in size and decoration of Roman keys reflects the different types of locks they were designed for, from the elaborate locking mechanisms used in villas and public buildings to simpler locks for personal use. Many Roman keys found in archaeological excavations bear decorative elements such as animal heads, religious symbols, or family crests, which were sometimes engraved into the head of the key, showcasing the owner’s identity, status, or affiliations.In addition to their practical and decorative purposes, Roman keys have an important symbolic role in Roman culture. They were sometimes depicted in art, especially in funerary contexts, to signify ownership, protection, and the safeguarding of personal or family treasures.
Mettenleiter, Jakob -- „Sie fingen eine grosse Menge und ihr Netz zeriss…“. Radierung. 48,9 x 34,5 cm. 1783. Werner Telesko: "Graphic Prints of the Josephine Period (1765/1790) and the Propaganda of ‘Religious Tolerance’", in: Journal of the Institute of History of Art, Nr. 43 (2019), S. 103-112.Der vorliegende Bildkommentar auf die Kirchenreform Kaiser Josephs II. thematisiert zusammen mit einem Pendant, das sich mit dem Toleranzedikt desselben befasst (Österreichische Nationalbibliothek), die Reformpolitik des österreichischen Kaisers. Die Bildunterschrift zitiert eine Bibelstelle aus dem wunderbaren Fischzug bei Lukas, doch gemeinsam mit Petrus wird hier Joseph II., ein Hoffnungsträger aufklärerisch gesinnter Geister, zum Menschenfischer. Hingegen erreicht die Figur des antiken Philosophen Diogenes, die auch im Pendant des Blattes auftritt, mit dem Licht seiner Laterne das arme Volk, während im Vordergrund Priester ihre goldgefüllten Netze einholen, ein zynischer Hinweis auf die durch Klosterauflösungen gewonnenen Mittel. Ganz ausgezeichneter Abzug, innerhalb der Plattenkante geschnitten. Geringfügig fleckig und angestaubt, in der unteren rechten Ecke ein, sowie im oberen Rand zwei unmerkliche geschlossene Risschen, sonst in sehr schöner Erhaltung. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Gregorio Vázquez de Arce (Bogotá, Colombia, 1638 - 1711) “The Mercedarians of the prison of Santa Fe de Bogota”Oil on canvas. 179,5 x 237 cm. This is one of the greatest examples of the undisputed quality of Gregorio Vásquez de Arce, an influential Colombian painter, the most important painter from 17th century New Granada. This enormous canvas of exquisite workmanship is also a historical record of vital importance, testifying to the existence of specific jails and prisons in the 18th century. Their population has been quantified through the study carried out by Doctor Juan Sebastián Ariza Martínez, “in this royal court jail of Santafé according to the visitor's books (1776-1783)”. On the ARCA website they report that Vasquez de Arce “was imprisoned in 1701 and a large part of his works, 42 of them commissioned by the Sagrario Chapel in Bogota, were finished in jail.”This information is particularly relevant to the painting we have here, as the artist would have been in the same prison (cell, hospital, convent...) that the painting depicts. In fact, the painter appears in a self-portrait in the right margin, contemplatively witnessing a Mercedarian, a religious order dedicated to captives and prisoners, washing the feet of one of the prisoners who was to be released on Holy Thursday. The moment of the “Washing of the feet” is only present in the Gospel of John and symbolically represents a reminder of the act of humility, service and forgiveness that Jesus performed during the last supper, and that is commemorated every Holy Thursday by the Catholic Church. Once released from prison, in 1710, he fell into poverty and mental illness and died in 1711. This painting bears undeniable similarities with one of the most important and popular artworks by Gregorio Vásquez, “The Abbot Joaquín de Fiore delivering the portraits of St. Francis and St. Dominic”, an oil painting on canvas dated in1680. On that canvas, the artist painted a self portrait, with his back turned, and showing his features in profile, with an aquiline nose. This corresponds to the character located more to the right of this scene we have here.Aditionally, we recognize an identical palette of soft and attenuated color based on grays and earthy colors, the same pictorial technique, which is characteristic of Vasquez, and the same treatment of the volumes of the characters in the painting and the use of architecture to situate the scene, creating spaces, shadows and light. It is usual in the very large Gregorio Vasquez paintings, he places the scenic narrative in an architectural space. We find it in this painting that we have here in the catalog and also in “Heliodorus shot by angels”, which was painted at the end of the 17th century, as well as in the Scene of "San Juan de Dios" that is in the Church of San Juan de Dios in Bogota. In the wonderful painting “St. Albertus Magnus preaching” belonging to a private collection in Bogota, we find similarities in the treatment of the religious characters, with a somewhat bluish complexion, the disposition of the bodies and once again the use of an architectural element.It is also interesting to note the similarities in the face of the character that we identify in our canvas as the painter, with his self-portrait made in 1685. These comparisons lead us to conclude that the character appearing at the extreme right of this canvas is undoubtedly the artist.An additional interesting point is that the model used for the "St. Jude Thaddeus" by Gregorio Vasquez, which is kept in the collection at the Museos Banco de la República, seems to be the same as the one used for the Mercedarian monk who is washing the feet of the prisoner; having same bone structure, with marked cheekbones, a long, thin nose, the same hairline with a widow's peak and a beard and mustache.The same model is used again by Vasquez to portray the Repentant Saint Peter found in the Sagrario Chapel in Bogota, or in the Head of the Apostle James the Less in the Rivas Sacconi collection in Bogota.Finally, as was usual in his subject matter, religious devotion takes center stage as his patrons were mostly members of religious communities, in this case dedicated to the Mercedarians.Marta Fajardo de Rueda, in an interesting article in the National University of Colombia magazine HiSTOReLo, affirms, in relation to the importance of the painter, that “with the work of Gregorio Vásquez and some of his followers, the existence of a Santa Fe school of painting can be identified. They had a similar interpretation of the engravings from which they assimilated the fundamentals of baroque painting. They are characterized by an attenuated use of color, which differentiates them from painters from other parts of Latin America. Undoubtedly, Vasquez stands out among them all for his mastery of drawing and balanced composition. With the training he received in the Figueroas' workshop and the skills he acquired through the continuous exercise of his work, he consolidated his own characteristic style.” The importance of Gregorio Vásquez de Arce y Ceballos in the panorama of viceregal art is undeniable. Despite having produced a vast amount of paintings, his technical skill and the spiritual depth of his paintings continue to be admired and studied by scholars, collectors and museums around the world. The artist, of whom many biographies have been written, such as those by José Manuel Groot, Alberto Urdaneta and Roberto Pizano, has a large body of work that can still be found today in churches, convents and museums such as the Museo de Arte Colonial de Bogotá, which houses numerous canvases, some miniatures, and one hundred and five drawings: the largest collection of the painter's work. Reference bibliography: - Fajardo, Marta. (2014). Grabados europeos y pintura en el Nuevo Reino de Granada. “HiSTOReLo” Vol. 6, Nº 11, 68-125. - Fajardo, Marta. (s.f.). “Gregorio Vásquez de Arce y Ceballos”. Real Academia de la Historia. https://dbe.rah.es/biografias/21372/gregorio-vasquez-de-arce-y-ceballos - Sebastián, Santiago. (1985). "Gregorio Vásquez: la vida y obra del pintor más importante del Nuevo Reino de Granada".
Federico Barocci Workshop (Urbino, 1535 - 1612)“Pietà: sorrow and lament on the death of Christ”Oil on canvas.93 x 73 cm.Exquisite canvas, very much of the Italian school, which invites silence and reverence. Devotion, colors full of delicacy and tenderness, nuanced out of respect for the moment that is being portrayed, where “the light almost dissolves the drawn forms”... “in delicate chromatic reverberations”. This is how Barocci and his workshop choose to make themselves felt in this painting.The canvas shows the transition between two moments: the Pietà -on the one hand- and a funeral lament - on the other- , similar in content, but the two different scenes are interspersed between the Descent from the Cross and the Holy Burial. The Pietà shows the inert body of the crucified Christ resting in the arms of his mother, who receives him with contained pain. In the lament or weeping over the body of the dead Christ, his body is placed on a shroud (already in the painting) and from there it passes to the stone of the anointing (the angels, with extreme and mystical delicacy, move the body towards the stone, in the foreground, with the symbols of the Passion). Around the body are arranged all those who will burst into laments and sobs, here still contained.The face and the shape of the body of Christ is very similar to that of the Christ of the Descent from the Cross, a painting almost 5 meters high, by Barocci, which we can see today in the cathedral of Perugia, and which was painted in the last quarter of the 16th century.The Pietà does not appear in the Gospels, its origin is the mystical literature of the late Middle Ages, although from an art point of view it seems to derive from the theme of the Virgin of Humility, where the Child has been replaced by the inert body of the Crucified Christ. It is derived from the lamentations before the dead Son, a theme of Byzantine origin that concentrates the attention on the drama of the Passion in a realistic and moving sense, giving rise to loving and sorrowful contemplation.Whether it be Our Lady of Mercy, Our Lady of Sorrows, Our Lady of Anguish, Our Lady of the Passion, Weeping over the body of the dead Christ, Lamentation over the dead Christ, Planctus Mariae..... These are all scenes of popular fervor and of a mystical and religious attitude that invite us to meditate and to concentrate our attention on the drama of the Passion, and on loving contemplation, with a realistic and moving sense, of the adoration of the Redeemer by his mother and by us as faithful worshippers. This is a scene that invites us to ascend on the path of our personal spiritual life, through meditation and contemplation and through keeping silence.
Anton Domenico Gabbiani (Florence, 1652 - 1726)“Mystical nuptials of St. Catherine of Siena”.Oil on canvas.228 x 183,5 cm.Attached is a study by Professor Paolo Erasmo Mangiante, from which we extracted information for this catalog description. The altarpiece that we have here, with a reinforced stretcher, is the work of the Florentine Antonio Domenico Gabbiani, and was made in the second half of the sixteenth century. The Prado Museum describes this author as “the most sought after and admired of the Florentine painters of his time [whose] frescoes and canvases decorate palaces and churches in Tuscany, such as the ceilings of Palazzo Pitti, those of the Villa of Poggio a Caiano, and the frescoes of the San Frediano di Castello church dome, at the time that Rococo style was emerging. In his artworks, Gabbiani recovers the Florentine tradition of meticulous draftsmanship and employs perfect technique, in the early years his style was spontaneous and light, and later, rigorous and cold, tinged with academicism”.Mangiante goes on to state that the “pictorial composition is, in fact, similar to that of other altarpieces executed in this period by Gabbiani” and that “Gabbiani's method for creating this stupendous altarpiece employs numerous, meticulous pictorial details, such as the folds of the clothes, the delicate anatomy of the fingers of the hands, their elegant gesture, the beauty of the angelic faces and the particular intensity of expression of the curly head of Christ. All these qualities, as well as the intense chromatism and the high quality of the pictorial material demonstrate the great commitment the Florentine painter had in the execution of this important painting, which is included among his most accomplished artworks.”It is, in short, an extraordinary canvas in the form of a door with a semicircular arch of authentic religious perfection, which captures the ineffable moment of union of the soul with God through love, with the ecstasy of the Dominican saint, already an abbess, and the revelation of the wounds of her Beloved. In a silent atmosphere of prayer and reverence attended by a choir of adoring and contemplating angels, everything in the painting shows veneration and plenitude.This large format canvas by Gabbiani that crossed the borders of Italy, to move the spirits of the devout faithful and dedicated nuns who contemplate it, was possibly made for a convent of cloistered Dominican nuns. The art of the brushstroke in this oil painting is direct and triumphant, almost theatrical, with the capacity to seduce, move and conquer the viewer with strong feelings of love. The expressions on the faces and in the glances are harmonious, this is a scene that directly appeals to the emotions on a visceral level. Saint Catherine, considered to be one of the great mystics of her time, also stood out as a preacher and writer. In the painting, in fact, a wise angel can be seen in the lower left margin holding the pages of her spiritual treatises: the famous Dialogue of Divine Providence. Her decisive contribution to the return of the papacy to Rome after exile in Avignon was also outstanding. Doctor of the Church, patroness of Europe and Italy, she is a highly venerated and popular saint in foundations, churches and sanctuaries of the Dominican Order.Reference bibliography:- Museo del Prado. (s.f.). "Gabbiani, Anton Domenico". https://www.museodelprado.es/coleccion/artista/gabbiani-anton-domenico/ce702620-9999-4bb3-a4b8-ec66229b5968
Étienne Barthélémy Garnier, French 1759-1849 - Portrait of a young lady, three-quarter length, seated in a garden; oil on canvas, signed, dated, and inscribed lower right 'Steph. Barth. Garnier. / Parisüs[?]. 1805', 114.5 x 81.5 cm Provenance: Anon. sale, Sotheby's, Monaco, 30th June 1995, lot 78 (sold for FRF 150,000); Pyms Gallery, London, F686 (label attached to the reverse) Note: The subject of the present work is unusual in the context of the artist's oeuvre, which is dominated by history paintings on classical and religious themes. The unidentified and sensitively rendered woman is portrayed leaning on a rock, flanked by a rosebush and her basket, with a rolling landscape unfolding behind. Born in Paris, Garnier studied art under the painter Joseph-Marie Vien (1716-1809). He received second prize in the Prix de Rome of 1787 and first in 1788 with a painting on the subject 'The Death of Tatius', beating Louis Girodet (1767-1824). He lived in Rome until 1793. Condition Report: The canvas is taut on the stretcher and sits well in the frame.Relined. The paint surface is stable on the support. Settled craquelure throughout. A clear and even layer of varnish throughout. Minor abrasion around the edges of the canvas from contact with frame. Some further minor abrasions, some marks and minor surface dirt. No other visible defects.Under UV lamp, some very minor scattered infilling to craquelure and spots of retouching (see images).In very good condition overall.
Roman Period, 30 B.C.-323 A.D. The large liturgical rattle with a columnar handle composed of a bifacial figure of Bes standing on a lotus capital, flanked by seated sphinxes, his feathered crown supporting the bust of goddess Hathor wearing a broad collar and a curling wig, two rearing uraei emerging from the sides to support the base of the rattle, both wearing the pschent crown, above the cobras a standing figure of the goddess Hathor in cow form, wearing a tripartite wig and a sun disc between the horns; the rattle with a looped body with flared outer rims and set with three metal rods to accept metal discs, a pair of reclining lions to the base and the top with three felines surrounding a cockerel, and resting one of their front paws on the bird. Cf. Lacovara, P. et al., The Collector’s Eye: Masterpieces of Egyptian Art from The Thalassic Collection, Atlanta, 2001, for a sistrum with a Bes figure incorporated into the handle; see a late Egyptian prototype of a bronze sistrum with handle in the shape of the god Bes, 30th Dynasty, c. 350 B.C. (Neues Museum, Berlin); see a Roman sistrum in MET, accession no.97.22.2; a bronze sistrum, in the British Museum, inv.no.1756,0101.541; Daremberg, C.V. & Saglio, E. (eds.), Dictionnaire des Antiquités Grecques et Romaines, Paris, 1873-1917. 1.52 kg, 39.5 cm (15 1/2 in.).[A video of this lot is available to view on Timeline Auctions Website]German art market. European private collection, 1970s-early 2000s. Acquired from the above; thence by descent. Private collection, London, UK. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12348-225588.The sistrum (seshesh in ancient Egyptian) was a rattle-like musical instrument, played exclusively by women in religious ceremonies. It was often decorated with the bust of the goddess Hathor to whom the sistrum was sacred. Their use continued into the Roman period in ceremonies associated with the cult of Isis.
FLEMISH SCULPTOR OF THE 16TH CENTURY (Flanders / Flemish / Belgian) - The Entombment of Christ | 16th century | technique: sawn oak wood | 28.5 x 32 cm | Lot description | This masterfully carved relief from a 16th-century Flemish workshop depicts the traditional Christian scene of the burial of Christ. The work stands out for its distinctive plasticity and carefully worked-out details of the characters, which capture the deep emotional charge of this biblical scene. A high level of craftsmanship and aesthetic sense is evident here, typical of Flemish art of this period. This relief is an exceptional example of late Gothic sculptural art, where religious themes are combined with masterful woodwork. | condition report*In case of missing photos, please feel free to contact us.
SCULPTOR OF THE TURN 18TH / 19TH CENTURY (Flanders / Flemish / Belgian) - Madonna in Gothic style | turn of the 18th / 19th century | technique: cut wood, polychrome | 95 cm | Lot description | This 18th century statue of the Madonna and Child is created in the late Gothic style, which is characterized by strict verticality and spiritual symbolism. The sculptor was inspired by Gothic designs, which is evident in her calm expression and the fine workmanship of the drapery, which gives the figure lightness and an impressive grandeur. The Madonna holds the baby Jesus in her arms, symbolizing the salvation of mankind, and her expression is the embodiment of kindness and humility. The polychromy that decorates the surface of the sculpture underlines the emphasis on detail and color, thereby adding to the monumentality of the entire composition. This sculpture is a valuable example of the historicist approach of 18th century artists to Gothic art and represents a harmonious connection of religious iconography with aesthetic values. | condition report*In case of missing photos, please feel free to contact us.
Attributed to Sebastiano Ricci, Italian 1654-1726- The Ascension of Christ, an oil sketch; oil on canvas, 74.6 x 62 cm. Provenance: The collection of Mr. Paul Rich (circa 1970s). With David Messum, Beaconsfield (according to label verso). Private Collection, UK. Literature: P. Cannon-Brooks, 'A Modello by Antonio Bellucci for Canons', The Burlington Magazine, CXVII, 1975, pp. 238-9 (as Antonio Bellucci). E.Young, 'Another Sketch by Antonio Bellucci for Canons', The Burlington Magazine, CXVII, 1975, pp. 240-2 (as Antonio Bellucci). F. Magani, 'Antonio Bellucci: Catalogo Ragionato', 1995, pp.203, R34 (as erroneously attributed to Antonio Bellucci). Note: Sebastiano Ricci was born in Belluno, but spent most of his career in Venice, and it is with the artistic climate of that city that he is most closely associated. A highly influential and successful artist, Ricci's dynamic and ambitious 'grand manner' style, which is often considered to bridge the gap between the Baroque and Rococo, gained him many international commissions, and the artist travelled widely, including to Britain. The present composition likely dates from the period Sebastiano Ricci spent here. Ricci arrived in London the winter of 1711, before returning to Venice in 1716. During the short time Ricci spent in England he was in high demand with royal and noble patrons, including Lord Burlington (1694-1753), for whom Ricci painted a cycle of wall paintings that still adorn Burlington House (now the Royal Academy) today, as well as King George III (1738-1820), who purchased many works from Ricci that are still held in the Royal Collection. Another influential patron who commissioned Ricci to complete an extensive decorative scheme was the Duke of Portland (1682-1726), who employed the Venetian artist to paint a cycle of religious scenes for the interior of his now-lost chapel at Bulstrode House, Buckinghamshire. The Bulstrode Chapel is known to have been adorned with scenes from the Life of Christ by Ricci, including the Last Supper and the Baptism of Christ, as well as, on the ceiling, a scene of Christ's Ascension. The work presented here, which is executed on a similar scale and with a comparable architectural surround to Ricci's surviving sketches relating to the Duke of Portland's chapel (including The Baptism of Christ, now in the collection of the Metropolitan Museum of Art, 1981.186, and the Last Supper, National Gallery of Art, 1943.4.32), could possibly be a preparatory oil sketch, or modello, for that now-lost work. Another oil sketch attributed to Ricci also depicting the Ascension of Christ is held in the collection of the Shipley Art Gallery in Gateshead, Tyne and Wear [TWCMS : C153]. That example is likely a version of the present composition in earlier stages of development. There are various small differences between the two sketches: the Shipley sketch shows the figure of Christ fully draped, has a slightly different distribution of supporting figures, and lacks the elaborate architectural surround that the present picture has in common with Ricci's surviving, more finished Bulstrode sketches at the Metropolitan Museum and National Gallery of Art. The variations between the two Ascension sketches may indicate that the artist was still experimenting with the composition. Both the Shipley oil sketch and the present work were previously attributed to Antonio Bellucci (1654-1726), a Venetian, like Ricci, who found success with British patrons when he arrived in this country in the 1710s. When Eric Young published the present sketch and the Shipley example in the 1970s, he connected them both to Bellucci's quatrefoil ceiling painting of the Ascension for the Duke of Chandos' chapel at Cannons (now located in the central nave at the Church of Saint Michael and All Angels at Great Whitley, Worcestershire). The attribution of the present work to Bellucci was later disputed by Fabrizio Magani in his catalogue of Bellucci's paintings. In his catalogue entry for the painting presented here, Magani points out the overall similarities between this work and the Shipley sketch, which he notes is definitively attributable to Ricci. The present, poignant scene shows the figure of Christ bare-chested, highlighting the greenish pale hue of his skin, which may be a reference to Christ's death and Resurrection. The partially draped figure of Christ recalls the central figure in the oil study now held in the collection of the Dulwich Picture Gallery [DPG195], which depicts Christ's Resurrection, and which was also painted during the period Ricci spent in Britain. That study relates to the fresco in the apse of the chapel at the Royal Hospital, Chelsea.
William Bell Scott, Scottish 1811-1890- The Garden of Eden; Angel; The Nativity; and There shall be no more death...; etchings on paper, each after William Blake, each signed 'W.B Scott' (within the plate, lower right), and 'William Blake, inv:' (within the plate, lower left), 22.7 x 16.4 cm. and smaller, four (4). Provenance: Private Collection, UK. Note: Working against the backdrop of the Pre-Raphaelite movement, Scott was closely associated with various prominent artists of the Victorian period, including Dante Gabriel Rossetti (1828-1882) and Arthur Hughes (1832-1915). He worked as the Principal of the Newcastle School of Art between 1843 and 1864, and, in this capacity, was one of the first artists to record the development of the Industrial Revolution, which, over the course of the 19th-century transformed the city of Newcastle. His oeuvre was varied and he executed a large body of works exploring historical and religious themes, as well as the industrial revolution and modern society. The present works exhibit Scott's skill as an etcher, depicting scenes after Blake's own original illustrations.
Ignacio Lalanne -Contemporary Artist. " Sigillum Rigis" Original Oil on board Monogrammed lower left. Signed, titled and seal marked to Verso. 58.5cm x 43cm A rare opportunity to own an Original work by this artist. Ignacio Lalanne trained at Chelsea College of Art and Design and at Central Saint Martins. Art history, court painting, religious iconography, costume drama and diverse cultural references all influence and inform his art. Using narrative and symbolic elements he tries to discover the innermost sacred hidden deep within us.
David Dodsworth - British Postwar & Contemporary artist - born 1952 Mixed media print (Pair) Integer & Integer I Artist Proof Hand embelished. Signed and Titled in pencil 63cm x 55.5cm frame inclusive He was influenced at an early age by religious paintings. Later, he became increasingly fascinated and pre-occupied with primitive mark making and hieroglyphics. His work is much influenced by his study of prehistoric cave art, and he is inspired by primitivism, religion and technology. He is noted for his use of highly textured hand-made paper, with metallic foil embedded within the print.
Tribal African Art. Original Dogon Granary Door With typical sliding lock Carving depicts typical images of sun lizards and a tortoise (or turtle), and figures with headress. These doors protected the window-like opening into each family's grain storage building, and used a simple sliding door lock. Primordial beings, ancestors, Kanaga masks, sun lizards and scenes of life symbolically served to protect the entrance by making it sacrosanct. The low reliefs are carved on several panels, held together by iron staples. The Dogon are an ethnic group indigenous to the central plateau region of Mali, in West Africa, south of the Niger bend, near the city of Bandiagara, and in Burkina Faso. The population numbers between 400,000 and 800,0001. The Dogon tribe is famous for their unique religious beliefs, wooden sculptures, mask dances, and distinctive architecture. They are believed to be of Egyptian descent and their astronomical lore goes back thousands of years to 3200 BC
Oil on canvas. Dimensions 91 × 66 cm. It represents the "Mass of Saint Gregory", belonging to the colonial school of the 17th century, with a strong influence from European Baroque art. In the center, Saint Gregory the Great raises the host, while Christ descends from heaven to consecrate it, reinforcing the belief in transubstantiation. The assistant priests and the liturgical details, such as the chalice and corporal, are accurately represented, highlighting the importance of the Eucharistic rite. The use of chiaroscuro and a palette of warm colors create a solemn atmosphere, typical of the Baroque, in a dynamic composition that reflects the religious fervor of the time. The painting, in addition to its aesthetic value, served as a didactic instrument to reinforce the Catholic faith in a context of evangelization in Latin America.
Carved and polychromed wood. Dimensions 34 × 28 × 25 cm. These two candle-bearing angels are finely sculpted in a dynamic pose, with delicate details in their curly hair and serene faces, typical of 17th-century Spanish Baroque. The softly applied polychromy in warm tones highlights the naturalness of their childlike bodies. The candlesticks they hold in their hands reflect the liturgical function of these figures, possibly placed on altars or reredos to illuminate sacred scenes. The serene expression and careful finish underline the devotional and symbolic character of the work, evoking the spirituality and mysticism of the religious art of the period.
Carved and polychrome wood. Dimensions 68 × 26 × 22 cm. The late Baroque or Rococo sculpture from the 18th century shows the Infant Jesus standing, with a dynamic posture that conveys movement. His face, serene and full of tenderness, stands out for its childlike sweetness and its ability to evoke a devotional connection. The carving technique is detailed, especially in the face, hands and clothing, where the polychromy applied with natural pigments adds depth and realism. This work, very common in religious imagery of the time, represents the humanity of Christ in his infancy, being a piece appreciated both in private devotion and in churches. Its symbolism and style make it a valuable piece for collectors of religious art.
IN MEMORIAM OF HANNAH ELIZABETH PIPE 1831-1906, The Laleham Magazine, 1907. British headmistress, she opened her own school in 1848. By 1852 she had moved premises and she was taking in boarders. She was encouraged to move to London and her Manchester school was replaced by Laleham Boarding School for Girls which was based in Clapham in 1856 offering lessons in art, science and a religious education. Small cloth-backed volume with gilt title to upper board blocked in gilt and portrait to frontis.From Couzens-Hardy's library.
Behjat Sadr (Iran, 1924-2009)The White Forest oil on wood panel, framedsigned 'Sadr' (lower right), executed in late 1960s90 x 121.5cm (35 7/16 x 47 13/16in).Footnotes:Provenance:Property from a private collection, California'Representing reality has never been important to me... reality for me is a mere pretext to create forms and colours' – Behjat SadrBehjat Sadr is remembered as one of the founding artists of abstract art in Iran, and for some time, one of its sole accomplished protagonists. Born in Iran, Sadr was the younger sister of Noṣrat-Allah Amini, the mayor of Tehran during the tense period of Moḥammad Moṣṣadeq's premiership from 1951 to 1953. She was enrolled in the Faculty of Fine Arts at Tehran University in 1948, where she met Sadeq Hedayat, who at the time worked as a librarian, as well as Sohrab Sepehri and many other artists who later became prominent figures in the Iranian art scene.Sadr graduated in 1954 with distinction and was immediately awarded a grant to study in Italy. She left for Rome in 1956 where, upon recommendation of Marco Grigorian, she met with Roberto Melli (1885-1958), who liked her work and became her mentor. In the same year, she attended Roberto Melli Academy, Academia di Belle Arti, and later the Naples Academy of Fine Arts.Upon graduation they returned back to Tehran, and in 1960 Behjat started teaching at the Faculty of Fine Arts as an associate professor. In 1966 Behjat Sadr travelled to Paris on a sabbatical and became Gustave Singier's assistant. Singier, a Belgian non-figurative painter, was also a teacher at Ecole Nationale Superieure des Beaux-Arts, and taught Behjat many novel techniques. Inspired and excited, Behjat returned home in 1968 and became the Chair of The Department of Visual Arts at Tehran University. Behjat Sadr was diagnosed with breast cancer in the late 1990s and died of a heart attack at 85 in the South of France.Sadr's work occupied a unique space in the landscape of twentieth century Iranian art. The dominant trend in the 1950's was movement away from the European inspired academic formalism of the Qajar era and a drive towards the discovery of an indigenous modern aesthetic but one whose key ingredients were popular religious imagery and neo-traditionalist motif's. Sadr's work crushed these parochial boundaries; unconcerned with pursuing a nationalistic artistic agenda she embraced a visual language that was dedicated to expression and technique.He work shows the deft touch of a painter who was highly literate in the application of complex colouring and patterned texture, and whose pursuit of abstraction has left us with of the most revolutionary and original bodies of work in twentieth century Iranian art.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
George Bahgory (Egypt, born 1932)Self-Portrait mixed media on canvas, framedsigned 'Bahgory' in Arabic and English (upper left)92 x 70cm (36 1/4 x 27 9/16in).Footnotes:Provenance:Property from a distinguished private collection, CairoGeorge Bahgory's self-portrait captures his signature blend of playfulness and boldness, presenting himself with a Christ-like aura that is both striking and whimsical. The composition, with its large, round, almost halo-like head, echoes a long tradition in art history where powerful figures have depicted themselves as prophets or religious icons—figures like Cesare Borgia or Alexander the Great come to mind. However, unlike these historical examples, Bahgory's portrayal feels more tongue-in-cheek than grandiose. The exaggerated features and abstract rendering reflect his larger-than-life personality, offering a playful, almost narcissistic reflection that avoids the pitfalls of arrogance. This self-portrait is as much a statement of Bahgory's humor and self-awareness as it is a nod to his place within the wider artistic tradition.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A RITUAL BRONZE FEMALE BREASPLATE, KERALA OR COASTAL KARNATAKA, INDIA, 18TH/19TH CENTURY the prominent breasts each with a cobra resting on top, with protruding belly, multiple beaded necklaces and crescent-shaped pendant, old inventory number painted on the reverse, 42 x 35 x 13cmProvenance: From the collection of the late Roy Elvis (1944 – 2022)This type of breastplate was worn by male Theyyam dancers during religious ceremonies as they impersonated various goddesses. For a similar breastplate from the collection of Dr. Pratapaditya Pal, sold at Christie's New York, see The Scholar's Vision: The Pal Family Collection, 20 March 2008, lot 370. For another of later date in the Metropolitan Museum of Art, New York, see inv. no. 2022.2.
Two sages seated on a terrace with vinas, perhaps a ragamala scene Pahari, Punjab Hills, circa 1840gouache and gold on paper, panel at bottom with three lines of text written in nagari script in black ink, floral inner border, lacking outer border 297 x 236 mm.Footnotes:The subject depicted may be Kanara raga, son of Megha. For another Pahari example (Bilaspur, circa 1700-20), which depicts two men with vinas seated facing each other, see Simon Ray, Indian and Islamic Works of Art, April 2006, pp. 132-133, no. 61. However, there both men are playing, which is not the case in our painting. Ray notes a Pahari drawing in K. Ebeling, Ragamala Painting, 1973, p. 293, no. 375, depicting Kanada Putra of Megha, in which one man plays the vina while the other, without an instrument, appears to clap his hands to the beat. The outstretched hand of the man on the right in our painting may imply a similar marking of the rhythm. On the other hand, his priestly appearance, and the religious marks on the faces of both, may suggest another interpretation.For another work perhaps from the same ragamala series, see Sotheby's, Modern and Contemporary South Asian Art including Indian Miniature Paintings, 8th June 2012, lot 14 (Bangali Ragini of Bhairava Raga); and the sale in these rooms, India in Art, 7th June 2022, lot 76 (depicting kanphat yogis).Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Max Arthur Macauliffe, The Sikh Religion: its Gurus, Sacred Writings and Authors, in six volumes Oxford, 1909six volumes, approximately 350-450 pp. per volume, 22 monochrome lithographed plates across all six volumes, nine photographs of religious buildings and people, anonymous inscriptions dated Calcutta, between 10th September and 1st November 1927, blue cloth 220 x 145 mm.(6)Footnotes:ProvenanceInscriptions dated Calcutta, September-November 1927.Formerly in the Library of Bonebrake Theological Seminary, Trotwood, Ohio (embossed and ink stamps), its name between 1909 and 1954.The six volumes of The Sikh Religion are an impressive achievement, as a feat of writing, of comprehensiveness, and of sheer ability to gather material, both historical and textual. It has remained in print since its publication in 1909 and is the most cited text on the Sikh religion in English.A summary of the contents is as follows:Vol. I, pp. 383, Guru Nanak, his life and writings.Vol. II, pp. 351, the lives and hymns of the second, third and fourth Gurus.Vol. III, pp. 444, the life of Guru Arjan, the fifth Guru, and his hymns, photograph of his shrine.Vol. IV, pp. 421, the lives of the sixth, seventh, eighth and ninth Gurus, and the hymns of the ninth, Guru Teg Bahadur, photograph of the Akal Bunga, and the Baba Atal tower, Amritsar. Vol. V, pp. 351, the life of Guru Gobind Singh, the tenth Guru, his compositions, his stance against idolatry, his epistle to the Emperor Aurangzeb, discussion of the musical measures of his hymns, photographs of the shrine at Fatagarh, Muktsar, the temple at Nander, and an Akali.Vol. VI, pp. 453, various religious texts, including the Bhagats of the Granth Sahib, the life and hymns of Jaidev, and of Namdev, Kabir, and Rav Das, photograph of Namdev's shrine at Ghuman, and of two Sikh holy men, index.The Preface opens: 'I bring from the East what is practically an unknown religion'. While, crucially, presenting the newness and distinctness of Guru Nanak and the Sikh religion, Macauliffe also made connections and drew analogies between it and Western religion and philosophy. In a lecture given in Paris, he stated that he was 'not without hope that when enlightened nations become acquainted with the merits of the Sikh religion, they will not willingly let it perish in the great abyss in which so many creeds have been engulfed'. His translation of the Guru Granth Sahib was the first to be accepted by the Sikh community. He had begun to publish parts of his work as he went along as early as 1897, and in 1900 his partial translation of Sikh scripture was published as Holy Writings of Sikhs, in which he had been assisted by Pratap Singh Giani, a Sikh scholar. He also acknowledges in his preface his debt to the Rajah of Nabha, Sir Rajinder Singh, the late Maharajah of Patiala, Rajah Ranbir Singh, the Rajah of Jind, and Sardar Ranjit Singh of Chichrauli. The Rajah of Nabha, in particular, for instance, 'has at considerable expense caused the thirty-one Indian rags, or musical measures, to which the hymns of the Gurus were composed, to be written out in European musical notation by a professional musician whom he employed for the purpose' (preface, p. xxvi). But it was to be sixteen years from his resignation from the Civil Service until the final publication of his magnum opus.For a good account of Macauliffe's work and career, see Harbans Lal, 'The Western Gateway to Sikhism: the life and works of Max Arthur Macauliffe', in K. Brown, Sikh Art and Literature, London 1999, pp. 129-142.Max Arthur Macauliffe (1841-1913)Macauliffe was born in Limerick, Ireland, and was educated at Queen's College, Galway. He joined the Indian Civil Service in 1862 and was posted to the Punjab in 1864, becoming a deputy commissioner at Ferozpur in 1882 and a divisional judge in the same district in 1884. Born a Protestant, he converted to the Sikh religion (while not adopting its external signifiers) and resigned his position in the ICS in 1893. At the time he was derided by his employers for having 'turned a Sikh'. He lived at Amritsar and soon became deeply interested in the Sikh religion. Between 1875 and 1881 he published four articles on Sikhism in the Calcutta Review and had begun to learn the languages of the Guru Granth Sahib.The India Office had commissioned a German missionary and scholar, Dr Ernest Trumpp, who had learned Arabic, Sanskrit, Hindi and Sindhi, to translate the Granth into English, but the partial translation (Trumpp had given up after seven years in despair), which appeared in 1877, was unacceptable, indeed offensive, to many Sikhs. Macauliffe undertook a new translation with the encouragement of Sikh scholars and other figures in the community. He received finanical assistance from Rajah Bikram Singh of Faridkot, as well as Rajah Hira Singh of Nabha, Maharajah Rajinder Singh of Patiala, Rajah Ranbir Singh of Jind, amongst others. Though he saw his labours as serving the political interests of the Sikhs, he by no means saw them as anti-imperial. He saw the Sikhs as potential allies for the British, in a pamphlet with the significant title A lecture on the Sikh religion and its advantages to the state.He employed gianis (professional interpreters of the Sikh scriptures) to help him. In an unprecedented decision, Macauliffe asked that the completed work be scrutinised by a committee of Sikh scriptural scholars, who suggested various emendations and gave it their seal of approval, both linguistic and theological. As well as translating the Granth, he decided to include biographies of the ten gurus of Sikhism and of the Bhagats, the Sant poets whose works also appear in the Granth. When he completed his work, he moved to England, accompanied by his great friend and adviser, Bhai Kahn Singh, the celebrated Sikh scholar, who helped him correct the proofs of his book. In 1909 the Clarendon Press, Oxford, published Macauliffe's The Sikh Religion. Macauliffe, who was unmarried, died in West Kensington, London, on 15 March 1913. His personal assistant remarked in his memoirs that on his death bed, MacAuliffe could be heard reciting the Sikh morning prayer, Japji Sahib, ten minutes before he died. The Sikh Educational Conference passed a vote of condolence and the Sikhs of Rawalpindi set up a Macauliffe Memorial Society to raise funds to establish a library in his memory, but the amount collected was insufficient. Among those who subscribed, and sent a letter of support, was the Lieutenant-Governor of the Punjab, Sir Michael O'Dwyer. The money was eventually given to Khalsa College, Amritsar, to fund an annual Macauliffe Memorial Medal for the best student in Sikh theology and history. The medal is still awarded on an occasional basis. (Partially adapated from the Dictionary of Irish Biography).For a fine and rare copy of Macauliffe's text, presented by the author to the Duke of Connaught in the year of publication, see the sale in these rooms, Bonhams, Islamic and Indian Art, 21st May 2024, lot 195.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
THREE COPPER ALLOY STUPASCirca 13th/14th centuryEach with domed bases rising from a double lotus frieze with beaded rim and supporting the stepped harmika, two with inset turquoise, and each surmounted by a tapered parasol and lotus-bud finial. The largest 20cm (7 7/8in) high. (3).Footnotes:約十三/十四世紀 銅佛塔 一組三件Provenance: a Danish private collection來源： 丹麥私人收藏Stupa is one of the earliest manifestations of Buddhist art. Stupas symbolise the monumental funerary mounds of ancient India, assimilated into Buddhism as reliquary containers for remains of high religious dignitaries. Evolving over time, stupas took on various forms, including smaller metal constructions as the present lot, fulfilling the sacred duty of safeguarding holy relics. They also serve a profound purpose of invoking the presence of the Buddha and his teachings. See a group of related brass stupas, 13th-15th century, illustrated by M.Henss, Buddhist Ritual Art of Tibet, Stuttgart, 2020, p.72. Compare the two copper alloy stupas with turquoise inlays with a similar one, 13th century or later, which was sold at Bonhams New York, 19 March 2021, lot 381.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
AN EMBROIDERED SILK 'DRAGON' ROUNDELWanliFinely embroidered in multi-coloured floss silk and gold-wrapped thread with a front facing dragon pursuing the flaming pearl above the terrestrial diagram, beneath a large double-gourd lantern enclosing the Shou character and Leiwen symbol, flanked by further gourd lanterns and sprouting stems of lingzhi fungi, all interspersed amidst wispy ruyi clouds and on a coral-red ground, mounted with silk on frame. 37.7cm (14 3/4in) wide.Footnotes:明萬曆 壽字龍紋圓補Provenance: Spink & Son Ltd., LondonA European private collection, acquired from the above on 25 September 1997來源： 倫敦古董商Spink & Son Ltd.歐洲私人收藏，於1997年9月25日從上處獲得 Published, Exhibited and Illustrated: Spink & Son Ltd, The Art of Textiles, London, 1989, cat.no. 49.展覽著錄： Spink & Son Ltd，《The Art of Textiles》，倫敦，1989年，圖錄編號49 The present badge would have likely been applied on the front or back of a festive robe worn by one of the highest-ranking members of the Ming court, likely a Prince, as he attended the New Year celebrations. New Year was a time for wishing good fortune. It was celebrated at the time of the second new moon after the Winter Solstice, blending Imperial ceremonial grandeur and vibrant popular customs. The Lantern Festival signalled the end of the New Year's festivities. It was a three-day event held at the time of the full moon, fifteen days after the start of the New Year. This celebration likely originated during the Han dynasty and is believed to be linked to the spread of Buddhism in China. Emperor Ming of the Eastern Han dynasty (25-220 AD) learned that Buddhist monks honoured relics by lighting lanterns on the 15th day of the first lunar month. Embracing the practice, he commanded that lanterns be illuminated throughout the Imperial palace and all temples on the same day. The tradition of hanging colourful lanterns, often adorned with riddles, soon spread widely among the Chinese populace; see G.J.Melton, Religious Celebrations: An Encyclopedia of Holidays, Festivals, Solemn Observances, and Spiritual Commemorations, Goleta, CA, 2011, pp.514–515. At the time of the Wanli Emperor, known for his consumption and demand of luxurious silks, garments worn during the New Year festivities appear to have been restricted for wear by the highest-ranking members of the Court. These were often decorated with gourds, traditional symbols of abundance, which were often embellished with characters of a congratulatory nature and other emblems underscoring auspicious symbolism, such as displayed by the present example; see J.Vollmer and J.Simcox, Emblems of Empire, Edmonton, AB, 2009, p.50. On the present badge, the largest gourd is embellished with the Shou character and the Leiwen symbol which, together with the lingzhi fungi, form the rebus 'May you live for ten thousand years'.Compare with a nearly-identical red-ground silk embroidered dragon roundel, Wanli, in the collection of the University of Alberta Museum, Edmonton, Canada, illustrated by J.Vollmer and J.Simcox, Emblems of Empire, Edmonton, AB, 2009, p.52.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An Islamic Ottoman Metal-threaded Embroidered Textile,20th Century, with Islamic Calligraphy and Ceremonial Motifs.Approximately 238 x 133cmThe embroidery features prominently on a red fabric, with the vibrant contrast of gold and silver metal threads adding a luxurious and regal appearance to the work. The use of metallic threads was a hallmark of high-quality Ottoman textile art, symbolizing wealth, power, and religious devotion.At the centre, the inscription of the Shahada (the Islamic declaration of faith) is boldly displayed in vibrant red against the gold and green background. Surrounding the central panel are additional inscriptions in flowing Arabic script, likely praising Allah and Prophet Muhammad (PBUH), as well as other key Islamic figures. The corners and sides are embellished with ornate roundels containing calligraphic medallions that likely include further blessings or names of the Rashidun Caliphs.One notable feature in the centre is the depiction of a ceremonial vessel or lamp, symbolizing light and knowledge in Islamic tradition, surrounded by the names of the first caliphs, emphasizing the unity of religious and political authority in Ottoman culture.Provenance: Private UK collection.
Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Our Lady of Sorrows'Oil on copper. 57 x 42.5 cm.Cabrera is considered to be the greatest exponent of 18th-century Viceroyalty painting in New Spain, with an output that the Dallas Museum of Art defines as ‘legendary: more than 309 works from his large studio have been documented’.Miguel Mateo Maldonado y Cabrera was born on 27 February 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will from 1768.He was the son of unknown parents and the godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training in the studio of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but was also involved in the attempt to found an academy of arts in 1753, and in 1756 he established himself as an intellectual, not only as an artist, as he published an account of the image of the Virgin of Guadalupe in 1756 entitled ‘Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura’, an account of the image of the Virgin Guadalupe published by the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his output includes altarpiece designs, large-format paintings, as well as small ones on copper and nun's shields. Cabrera produced figures of remarkable beauty in his religious painting, a beauty understood through the ideological assumptions of the worship of the period. It is refined art with well-arranged chromatic richness, sustained by great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that period, Cabrera was the one with the greatest personality; the conventional treatment of his figures undoubtedly formed the basis of his style of painting, as he placed in his paintings models that were not ideal, but who were people he knew and dealt with, such as when he incorporated portraits of donors or the so-called ‘prelates’ in some paintings. He had the need to observe directly and copy from nature. He was appointed chamber painter to Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, an image made from "ayate" - a material made from local plants. Cabrera's version was sent to Pope Benedict XIV, from whom he received the highest recognition as a painter of Guadalupe. Outstanding portraits he painted include the one of Sor JuanaInés de la Cruz, kept in the National Museum of History, and the portrait of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.He was also a painter for the Society of Jesus, producing numerous artworks for their churches.In 1753 he was appointed president for life of the Academy of San Carlos.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756 for the church of San Francisco Javier, is in the Museo Nacional del Virreinato.The Museum of Art in Dallas has a Saint Gertrude the Great by Miguel Cabrera and another painting of Saint Gertrude, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Also of note is an important series of Caste paintings from 1763 in the collection of the Museo de América in Madrid. These depict families, father, mother and child of the various castes and social strata, in everyday situations.
Imposing carved and polychromed wooden cupboard. Viceregal work. Peru. 18th century.210 x 152 x 60 cm.Structurally, it has two front doors that close with a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommend reading chapter VI of the aforementioned book by Compos Carlés (Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explained how: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromy were also used.210 x 152 x 60 cm.Structurally, it has two front doors that close with a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommend reading chapter VI of the aforementioned book by Compos Carlés (Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explained how: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromy were also used.
Painter of the Andean viceroyalty. Attributable to Francisco José de Lerma y Villegas (Caracas, Venezuela. 18th century. Active between 1719 and 1753).“Patronage of Our Lady of Mercy over the Order of the Mercedarians”Oil on canvas.The canvas has some damage.52,5 x 39,5 cm. (with frame: 100 x 61 cm.)The painting with the same subject matter as this one, ‘The Patronage of the Virgin of La Merced’, which is kept in the Museo de Arte Colonial de Caracas Quinta de Anauco, is also by Lerma and is based on an engraving by Cavalli. The two have great similarities.As we read in the Royal Academy of History, ‘In his pictorial works we can observe careful drawing, harmonious colouring and an adequate knowledge of light and shade, as well as the combination of various stylistic features resulting from the imitation of prints and engravings from a wide variety of sources’. Our work is based on the engraving by Pieter de Jode I (1565 - 1639) ‘Our Lady of Mercy’ (PI 626A/3935B).Wonderful canvas from New Spain, richly framed, depicting one of the most popular themes in New Spanish art, the so-called "Patrocinio" (Patronage), which shows the Virgin Mary (in this case) or a saint (cf. parallels with the Patronage of Saint Joseph in this same auction, lot 62) protecting communities, religious orders, corporations and authorities under her mantle (with a clientelistic and corporate scheme typical of the Ancien Régime), as the main recipients of her heavenly benefits.Our Lady of Mercy and the Redemption of the Captives is the Queen and Lady of the Order of Mercy (Latin: Ordo Beatæ Mariæ Virginis de Redemptione Captivorum), a Catholic mendicant religious order, founded in 1218 by Saint Peter Nolasco (ca. 1180-1245) for the redemption of Christian captives in the hands of Muslims. The Mercedarians committed themselves with a fourth vow, to liberate others who were weaker in the faith, even if their lives were endangered by it.This Virgin of Mercy, crowned ‘as queen’ of heaven under the Holy Trinity who contemplates and blesses the moment, protects the order of the Mercedarians, the Pope and the King under her wide mantle, raised and supported by two angels.The Pope we see is Gregory IX, who approved this religious order in 1235 with the Papal Bull "Devotionis vestrae"; next to him is Saint Raymond Nonnatus, another of the ‘principals’ of this order; the king, James I of Aragon, known as ‘the conqueror’ and, next to him, its founder Saint Peter Nolasco, and Saint Mary of Cervelló, left, founder of the female branch of this order, with some more of these Mercedarian sisters.All, without exception, are prostrate on a period checkered tiled floor: the king, the Pope and his bishops, and the entire religious order, kneel before the Virgin Mary and Lady Queen with both knees, an external gesture that expresses the greatest sign of submission.On the floor are scattered shackles, symbols of the redeemed captives.The painting has an imposing period frame, richly carved and gilded, with sections in painted glass (the polychrome is posterior). It is polychromed in blue, with flowery poinsettia, enclosing and completing the beauty and devotion of the painting. Bibliographic reference:- Ojeda, Almerindo. 2005-2024. Project for the Engraved Sources of Spanish Colonial Art (PESSCA). Website located at colonialart.org. Date accessed: 21/10/2024.
Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Virgin of Guadalupe with apparitions’.Oil on copper. Signed "Michl Cabrera pinxit"42,5 x 42 cm. Important representation of the Virgin of Guadalupe, which includes the apparitions and the Indian Juan Diego.It has handwritten legend in Latin: "Non fecit taliter omni nationi" (He did nothing the same with any other nation) in reference to the words pronounced by Benedict XIV when he was presented with the image of the Virgin of Guadalupe and admiring its beauty, he approved the works of the Guadalupe patronage in Mexico.Cabrera is considered the greatest exponent of 18th century Viceroyalty painting, with a production that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented".Miguel Mateo Maldonado y Cabrera was born on February 27, 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will in 1768.He was the son of unknown parents and godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training, passing through the workshop of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, State of Mexico, in the church of Santa Prisca in Taxco, Guerrero and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but he also participated in the attempt to found an academy of Arts in 1753 and in 1756 he was consecrated as an intellectual, not only as an artist, since he published a narration about the image of the Virgin of Guadalupe in 1756 entitled "Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura", a narration about the image of the Virgin Guadalupe in the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his production includes the design of altarpieces, large format works, as well as small copper works and nun's shields. Cabrera's religious painting produces figures of remarkable beauty, a beauty understood under the ideological assumptions of the devotion of the time. It is a refined art that possesses a well-arranged chromatic richness, is sustained by a great work of composition and, no less important, a subtle and expressive drawing.Of all the painters of that time, Cabrera was the one with the greatest personality; the conventional treatment in his figures was undoubtedly the basis of his way of painting, because he placed in his paintings models that were not ideal, but corresponded to people that the artist knew and treated, as when he incorporated in some paintings, portraits of donors or the so-called "prelates" because he had the need to observe directly and copy from nature. He was appointed chamber painter of Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, reproducing the ayate. The image was sent to Pope Benedict XIV, from whom he obtained the highest recognition as a painter of Guadalupe. Among the portraits he painted, the one of Sor Juana Inés de la Cruz, kept in the National Museum of History, and the one of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán,Mexico.He was also a painter for the Society of Jesus, for whose churches he produced numerous works.In 1753 he was named president for life of the Academy of San Carlos.His work is preserved in many churches and convents in Mexico.It is also present in numerous public and private collections.Two of his images of the Virgin of Guadalupe are in the Vatican Museum.Another, made in 1756, for the temple of San Francisco Javier, is preserved in the National Museum of the Viceroyalty.The Museum of Art of Dallas, conserves a Santa Gertrudis La Magna by Miguel Cabrera and another representation of the Saint, also by Cabrera and dated in 1768, is part of the collection of the Museum José Luis Bello y Zetina of Puebla, Mexico.Likewise, we highlight an important series of the Caste paintings of 1763 that is conserved in the collection of the Museum of America in Madrid. They depict families, father, mother and child of the various castes and social strata, in everyday life situations. Finally, mention should also be made of the Pinacoteca de La Profesa or the Andrés Blaisten Collection in Mexico, as depositories of Cabrera's work.The Museum of America in Madrid is currently exhibiting a very important retrospective of the painter. Procedencia:- Antigua colección Pedro Vindel.Pedro Vindel fue un librero anticuario conquense, como informa la Real Academia de la Historia, “el que llegó a ser el primer librero anticuario español de su época”, con una de las colecciones más importantes de libros de horas. Tal como sigue la RAH, “Pedro Vindel, al estilo de los grandes libreros europeos, publicó sus catálogos desde 1895, y organizó varias subastas de libros, en locales por él alquilados, como la de 1913, cuyo catálogo hizo imprimir. También fue quien inició en España lo que él denominó la “bibliografía gráfica”, al incluir en sus catálogos […] reproducciones fotolitográficas de las portadas u otros elementos de los libros”.Para más información, recomendamos la lectura de “Pedro Vindel: Historia de una librería (1865-1921)”, de Pavl Cid Noé. Reference Bibliography:- Andres Blaisten Museum. (n.d.). https://museoblaisten.com/Artista/79/Miguel-Cabrera- Sánchez Mariana, Manuel. (s.f.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez
Attributed to José Campeche (San Juan, Puerto Rico, 1751 - 1809)“Possibly portrait of a governor of Puerto Rico.”Oil on canvas. In its original carved and gilded wooden frame from the period.109 x 84 cm. Campeche was one of the most recognised Puerto-Rican artists. The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island after being exiled by King Charles III, between 1775 and 1778.The Puerto Rico Art Museum has some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to be one of the most exalted and outstanding Hispanic-American painters of the late 18th century."Frequent in the style developed by our painter, elongated figures and cherubic angels with round faces can be perceived.
Viceregal School. Peru. 18th century."Our Lady of the Rosary"Oil on canvas. Relined. Accompanied by a cornucopia frame in carved and patinated wood of the period. It has some faults.104 x 82,5 cm. This canvas depicts one of the most outstanding episodes in the legend of Saint Dominic of Guzmán, the saint's presence at the apparition of the Virgin of the Rosary. In this painting, with the added presence of another saint. Tradition, which began in the 15th century, told that the Mother of God herself taught Saint Dominic to pray the rosary in 1208, telling him to propagate this type of worship and to use it as a powerful weapon against those he supposed to be enemies of the faith. During Spanish colonial rule in New Spain, a religious painting of this type was developed, intended to Christianise the indigenous people. This painting, by a local painter, was modelled on other Spanish artworks, which were followed and copied in type and iconography, but always with their own identity. The centre of interest is focused on the female presence with the child in her arms, the Virgin Mary and her Son. The gazes of all the figures, angels and saints, are directed towards her, and she is also placed in the most luminous area of the composition. The Virgin Mary, floating on clouds and crowned, is presented as a dignitary. Her red robe expresses divine love in Christian mysticism. Her blue mantle symbolises heaven and heavenly love. It is also the colour that the Church traditionally associates with the Virgin. The rosary she holds in her right hand points to the type of worship that is practised in reference to this invocation of the Virgin Mary and which is understood ‘as a means of prayer to facilitate salvation’. Three white lilies can be seen, which speak of purity and martyrdom. Two saints, in ecstasy, pray on their knees before her, founders of the two orders that were in almost constant conflict, but which symbolically are united and involved in the same worship, as in the embrace they gave each other at the doors of St. Peter's Basilica, which was so often depicted in art. In the lower margin, there is a sign that reads: "Nra. Sra. del Rosario. A devocn. del Sarg.to Mor. Dn. Joseph Ferimn Ruiz Pino y Dª. Carl [...] AV". The inscription ends with the initials ‘AV’, a clear allusion to the owner, and to the person for whom the work was made.
Diego de Aliaga (Andean Viceroyalty, Active between 1770 - 1780)‘Patronage of Saint Joseph’.Oil on canvas. Signed ‘Didacus ab Aliaga mi P...’ and dated in Jujuy, 1774.90 x 71 cm. A work comparable to this one, although smaller in size and depicting Our Lady of Mercy with the Holy Trinity, also dated in Jujuy a year earlier, 1773, was auctioned at Christie's on 19 May 2019, fetching $52,000 (auction no. 15922 Latin American Art).As noted by Arca (Colonial art project at the University of the Andes): ‘Aliaga was an artist active in the region of Jujuy, Argentina. He is best known for ‘The Way of the Cross,’ painted in the church of San Francisco in Jujuy, Argentina, between 1772 and 1776’.This is a wonderful canvas from New Spain with one of the most popular images in New Spanish art, showing a saint (in this case) or the Virgin Mary protecting communities, religious orders, corporations and authorities under her mantle (appealing to clientelism and corporations in a way typical of the Ancient Regime), the main recipients of her heavenly benefits. Saint Joseph is crowned ‘as King’ of heaven by two flying angels, with Mary his wife portrayed in the flaming sun of his tunic, who is also protector and mediator. Under his broad mantle, raised and supported by two other figures who serve and adore, the saint protects the King and the Pope, in short, the rulers and the faithful (almost always nobles) and the bishops and clerics of the pilgrim church, including religious orders. Clement XIV and Charles III, King by the Grace of God of Spain and the Indies, the Pope who suppressed the Society of Jesus in 1773, and the sovereign who pointed out ‘their good deeds’, since he had already expelled them from Spain in 1767, are named. They all wear a special gala costume, and the two orders are distinguished by the colour of their habit, brown on the left and black in the background. The common folk are distinguished by their colourful coats, all of them thus demanding respect for this convention.Clientelism, the link between courtiers and the king, or lower-ranking nobles and relatives, established a relationship of submission and dependence. This clientelistic scheme ‘extended to heaven’, and the saints were seen as patrons of their faithful, and from there ‘their patronage’ descended to the court, where the monarch was compared to God, as he protected and preserved his officials, who were considered ‘his creatures and his workmanship’. However, the great distance that separated earthly sovereigns (civil or religious) from the heavenly sovereign is emphasised by these signs: before the king, the subject puts only one knee on the ground, but before God, present in the Eucharist, or before the Virgin Queen, getting down on both knees was the greatest sign of submission, as we see in this painting.A low, centred cartouche gives the location as Jujuy, a province in Argentina, and the date 1774, and those who commissioned the painting appear, ‘as humble slaves of Saint Joseph’: ‘Devajo del Poderozo Nsanto de tu Soberano Patrosino Señor Patriarca Sn Joseph, viven, y morirán Voestros humildes esclavos Dn Francisco Joseph Dias y su esposa Da Maria Petrona Araoz: Jujuy, año 1774.Didacus (Diego) ab Aliaga mi p...(pingebat)’. (Under the powerful sanctity of your sovereignty, Lord Patriarch Saint Joseph, live and die your slaves Francisco Joseph Dias and his wife Maria Petrona Araoz: Jujuy, in the year 1774, followed by the painter's name).Its imposingt period frame is outstanding, the openwork basketry and scrolls of vegetation decoration, similar to those seen in lace are finely carved and gilded. It draws attention to the nobility and quality of this work, not only from the historical point of view, but also from the artistic point of view. Bibliographic reference: - https://arcav1.uniandes.edu.co/artworks/8694
A rare paste and garnet 'Order of Christ' brooch, Portugal, 19th century, designed as a cross within a foliate border suspended from a ribbon bow, set with foiled calibré-cut garnets and cushion-shaped pastes, in closed-back silver settings, length 5.5cm, case stamped Franklin, 37 Duke Street, St James'sThe Order of Christ was a religious and military order founded in Portugal as a continuation of the Knights Templar, following their persecution and disbandment in the early 14th century. Secularised by Queen Maria I of Portugal in 1789, it was one of the three 'Ancient Military Orders' conferred upon prominent political, cultural and military figures by the Portuguese monarchs. With the fall of the Portuguese monarchy in 1910 it was discontinued, but was revived shortly afterwards in 1917 and still continues, presided over by the President of the Republic as its Grand Master. Cf.: Leonor d'Orey, Five Centuries of Jewellery, National Museum of Ancient Art, Lisbon, 1995, p.112 and Diana Scarisbrick, Brilliant Impressions: An Exhibition of Antique Paste and Other Jewellery, SJ Phillips, 2010, p.97-8, for similar examples of these distinctive jewels.
THE DE ROTHSCHILD VASES: AN IMPORTANT PAIR OF CARVED IMPERIAL PORPHYRY VASES FRENCH, 18TH/19TH CENTURY Each in Egyptian porphyry with waisted neck flanked by dolphins, the gadrooned body embellished with a frieze carved with rinceaux and male masks, on a waisted socle and square plinth 53cm high, 34cm wide, bases 14.3cm square Provenance: Vase 1: Almost certainly the De Rothschild Collection, thence to an important Swiss collection, by repute, Alain Moatti, possibly acquired from Galerie Camoin Demachy, Paris Vase 2: The De Rothschild Collection, Exbury House, Hampshire Literature: P. Malgouyres et al., Porphyre: La Pierre Pourpre Des Ptolemées Aux Bonaparte, Paris, 2003 D. del Bufalo, Porphyry: Red Imperial Porphyry. Power and Religion, Turin, 2012 Quarried exclusively at Mons Porphyrites in the Eastern Desert of Egypt, Imperial porphyry has been prized since antiquity for its remarkable hardness and lustrous purple colour, which bears a close resemblance to that of a particularly expensive pigment developed by the Phoenicians, known today as Tyrian dye. Several literary sources from antiquity speak of Alexander the Great's partiality to this colour, of his custom of wearing purple robes and of decorating his palaces with porphyry. The heirs to his throne in Egypt, the Ptolemies, are said to have continued this tradition, but it is only with the Roman Emperors Nero and Vespasian, towards the end of the first century A.D., that the association of porphyry with secular and religious power became established in Western civilisation. Rome, the seat of the Empire, is where centuries later ancient porphyry statues, slabs, columns and vessels were excavated, as a result of the Renaissance period's renewed interest in classical art and architecture. The potent symbolism of porphyry, with its strong imperial connotation, thus assumed an additional level of meaning, as an emblem of Renaissance courts' erudition, fascination with antiquity and aspiration to parallel ancient Rome's splendour. By the seventeenth and eighteenth centuries, porphyry was avidly collected by powerful figures such as the Medici Grand Dukes of Tuscany, the French cardinals Richelieu (1585-1642) and Mazarin (1602-1661), and the 'Sun King' Louis XIV of France (1638-1715), who had a buying agent in Rome for his acquisitions. The interest in porphyry was such that it prompted artists to rediscover the art of carving it, a practice for which ancient Roman columns and other fragments were used, since Mons Porphyrites in Egypt had become inaccessible, a fact that further enhanced the rarity and value of works in this material. The presence in Rome of influential figures such as Cardinal Richelieu introduced to Paris the taste for beautifully carved porphyry, which arguably culminated during the reign of the Sun King Louis XIV. In his residence at Versailles, the Gallery of Mirrors boasts to this day one of the most extraordinary collections of porphyry objects, comprising both vases and busts. Whilst no prototype has been identified for the design of the present pair of vases, the dolphin handles are emblematic of the Grand Dauphin (1661-1711), the son of Louis XIV. The zoomorphic handles follow in the tradition of Roman porphyry vases of the 17th century, such as the vase carved by Giovanni Battista Pozzi around 1684, now in the Wallace Collection (inv. F362). Another single porphyry vase, featuring a lid surmounted by a dolphin, was recently sold by Sotheby's Paris (16 June 2020, lot 4, EUR 200,000 including buyer's premium). These vases were almost certainly together as a pair whilst owned by the De Rothschild family in the 19th/20th century, whereafter they were separated, one remaining in the Rothschild collection until the 21st century, whilst the other found its way to an Important Private collection in Switzerland. After purchasing the vases separately, the vases have now been reunited, after decades apart, by Tomasso. Two further pairs of nearly identical form have been auctioned in the twentieth century at Christie's New York (26 October 1994, lot 108) and at Sotheby's Monaco (14 June 1997, lot 125). Condition Report: With wear as per age and use. In the flesh, the pink inclusions are slightly stronger in colour than main catalogue images suggest. Some mild variance to design by the very nature of the material. Natural flaws to material, some edge wear and minor losses. All noses to masks with small holes. First vase- quite shallow depth to internal aperture, dark marks around top rim, small area of old restoration to one cheek of mask and with natural flaw running through it up diagonally, fritting around top collar of socle base, spot restoration to corners of plinth, underside with distinctive square cut access to stem support, looks to possibly have had internal stem remounted for better stability. Second vase, deeper internal aperture- this has been suggested as being as a result of prior use as lamp base, old knock to top edge, small loss of leaf below handle, area of restoration to socle, plinth with old break and repair. Edge and small corner chips to base. Provenance: First vase: Almost certainly the De Rothschild Collection, thence to an important Swiss collection, by repute, Alain Moatti, possibly acquired from Galerie Camoin Demachy, Paris Second vase: The De Rothschild Collection, Exbury House, Hampshire Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on requestCondition Report Disclaimer
AN ENGRAVED BRASS ASTROLABE PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Safavid Iran, dated 1125 AH (1713 AD), signed by the maker Amin Mohammad Shams al-DinOf typical circular shape, comprising five engraved plates and an openwork rete with scrolling, intertwined vegetal interlace and an ecliptic ring at the top, the rule and mater densely engraved with Arabic letters and references, the womb featuring six decreasing concentric circles with Arabic inscriptions, the central roundel marked with the date '1125' (1713 AD) and signed by the maker Amin Mohammad Shams al-Din, another six bands occupying half hemisphere on the reverse, the cusp once fitted with a qibla pointer, now missing, engraved with rosettes on the front and an arabesque composition with a lotus flower flanked by split palmette scrolls on the back, with an old Sotheby's London tag reading Ottoman engraved brass astrolabe, Turkey, and extra notes in pen.13cm diameter and 16.5cm long Provenance: Chiswick Auctions, 29 April 2022, lot 92. Used in astronomical observations and for timekeeping, astrolabes allowed users to chart celestial bodies; determine the direction of Mecca; and navigate. Astrolabe makers were highly skilled craftsmen who often worked closely with scholars and astronomers to achieve the greatest level of precision and detail in their creations. Often, these scientific instruments were engraved not only with celestial markers but also religious inscriptions, demonstrating the dual role these devices played in both practical astronomical navigation and religious observance (e.g. determining prayer times and the direction of Mecca). During the Safavid period, their purpose became even more multi-faceted. In fact, despite their functional purpose, astrolabes and scientific tools became symbols of the cultural advancement promoted by the Persian shahs. As an example of this, the renowned Safavid astrolabe made by Muhammad Muqim al-Yazdi in 1647 - 48 AD, created for the Safavid ruler Shah Abbas Il, acts as both an utilitarian instrument, as well as a work of art and reminder of the degree of excellency strived for at the Safavid court. 13cm diameter and 16.5cm long Qty: 10
DOROTHY SIMS WILLIAMS (BRITISH B.1943-) 'The Supper At Emmaus', design in tempera, initialled lower left, bears multiple exhibition labels verso including Russell Cotes Art Gallery and Central Institute of Art & Design National Gallery, London - Religious Art Competition, the back board of the frame is hinged to show a painting of mother and children in a kitchen on the back of the Emmaus painting, 20.5cm x 23cm (Condition Report: labels verso have some loss, frame is marked)
*MAX BAND (1900-1974) A portrait of a Jewish worker in an interior, depicted three-quarter length, signed lower left, oil on canvas, 98cm x 62cm,Framed dimensions: 113cm x 77cm Provenance: Private collection, Dorset.Note: Max Band was born in Kudirkos Naumiestis, Lithuania in 1900. This small village offered very little artistic guidance, however the young Band was determined to create. His first oil painting was made with homemade brushes he created from sticks.Band made his way to Berlin to study art where his talents were first recognised by the public. One of his first drawings was selected by his teacher and entered into an open exhibition. Upon seeing the work, a wealthy collector tracked down Band to purchase the drawing. Never considering or putting much care into the financial value his artwork should garner Band could not name a price. Upon being pressed for a figure, Band responded that he valued time over money, so a figure was agreed upon based on two months’ worth of food.The French critic Paul Fierens described the early period of Band’s career stating, “The refinement of his color, this what he owes to France, that that he has taken something of Chardin, Corot or Bonnard, but the Parisian sky, after Lithuania and the Louvre, quite naturally became his third master. Paris, with its pale azure, its inimitable greys, its delightful white, offered itself to Max Band as an example and gave him excellent advice."Max Band’s artistic output was largely made up of still lives, landscapes, and portraits of the sea. These subjects offer a free flow of color and movement. He also created many works of the Jewish religious experience during his life. These paintings offer a deep richness of feeling that could only be reflected by an artist of his skill and above all experience living through WWII.If one label can be attached to Band’s artwork it is Humanism. Whether it be the natural world, or more personal subjects, Band had a unique expression for deeper qualities hidden beneath the surface. This unique vision was best stated by the artist in describing one of his paintings of Jewish Talmudic scholars, “After living in France for nearly twenty years I began to see something strange in the eyes of the people. As the threat of bombing grew ever more menacing, the proud French people, who for centuries had walked in pride and freedom, as befitted a nation universally regarded as the epitome of culture and spirit, began to live in fear. It showed in their eyes and gestures. They listened for threatening sounds in the night.”Max Band left France in 1940 for the United States where he lived and worked for the remainder of his career. He passed away in 1974.
§ Arthur Dooley (1929-1994), three bronze 'Workers Control of Fisher Bendix Kirkby Jan 72' fish, each moulded 'A.D. / 72' to the bodies 6.5cm wide Acquired by the vendor's husband, who was working at Conran's Design Group in Deansgate, central Manchester, at the time of the strikes. According to the vendor, he too too had come from a working class background and was thus keen to support their cause and purchased these during a working tour of the city in 1972, the year he and the vendor were married. Born on January 17, 1929, Arthur Dooley is remembered as a significant sculptor whose work was deeply intertwined with his political beliefs and advocacy for social justice. His life journey from a merchant seaman and welder to a celebrated artist is as compelling as his sculptures, which often depicted the struggles and resilience of the working class. Dooley's early life was marked by diverse and challenging experiences. Leaving school at the age of 14, he took on various jobs, including working as a merchant seaman and later as a welder at Cammell Laird shipyards in Birkenhead. These early jobs, particularly in heavy industry, had a profound influence on his artistic vision. It was during his time as a welder that Dooley began attending night classes in sculpture, which set him on the path to becoming an artist. His talent blossomed further when he enrolled at St Martin's School of Art in London, where his raw, expressive style began to take shape.Dooley's sculptures are noted for their powerful emotional impact and often feature religious and social themes. Working primarily with bronze and steel, materials that mirrored his industrial roots, he created pieces that were both robust and deeply evocative. Central to his art was a strong sense of social justice and solidarity with the working class. This commitment to social issues was not just thematic but also active, as seen in his involvement with the 1972 Fisher Bendix worker strikes in Kirkby, near his native Liverpool.The Fisher Bendix factory strikes were a pivotal moment in Dooley's life and career. Faced with job losses and poor working conditions, the workers went on strike and eventually occupied the factory in a desperate bid to save their jobs. Dooley's support for the workers went beyond mere sympathy; he actively participated in their cause, using his art and public presence to amplify their struggles. In solidarity with the workers, Dooley produced the present works as tokens to be sold at the factory gates, with the proceeds being donated to the striking workers. This involvement underscored his belief in art as a tool for social change and his deep connection to the working-class community. All three in good condition.
* SIMON LAURIE RSW RGI (SCOTTISH b. 1964), GONDOLAS acrylic on board, signed, titled versoframedimage size 75cm x 81cm, overall size 93cm x 98cmNote: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.
Igshaan Adams (South African, born 1982)Prada IV, 2015 woven nylon rope and string 210 x 165cm (82 11/16 x 64 15/16in).Footnotes:ProvenanceAspire Art Auctions Inaugural Cape Auction, March 2017, Lot 178;A private collection.ExhibitedCape Town, blank projects; Parda; (June - August 2016);Norway, Vestfossen Kunstlaboratorium, KUBATANA, (May - September 2019).LiteratureJ. Ball, J. Higgins & R. Simbao, Igshaan Adams. Cape Town: blank projects, (Blank Projects), p. 93. (illustrated).Igshaan Adams embodies his captivatingly unruly and strikingly optic textiles in Prada IV, an exceptional example of the artist's ethos. The present work explores the complexities of identity through weaving. Navigating his personal identity through his work, Adams investigates themes of religion, race, and sexuality within himself, as well as his place in the world. Born and raised in South Africa during the Apartheid of the 1980s, Adams observes the hybridity of his identity, as a mixed-race homosexual man from a family of different religious practises in an environment where categorisation of society was intensely concentrated.'Navigating my way around the expectations imbedded within stereotypes of my social roles, I continue to search for new understanding, new ways of seeing my combination of identities.' (Igshaan Adams).Prada IV is a symbolically and metaphorically rich piece. The title itself refers to a veil or shroud, a mask concealing something from the lens of the world, displaying the boundary between one creates around them. The Muslim iconography of the present world indeed reflects Adams own religion and, raised by Christian grandparents, the sense of an intertwined narrative is evoked from the woven textiles. The tassels drooping from the work echo the appearance of Islamic prayer mats. Furthermore, Adams equates the act of weaving itself as having correlations with the action of prayer, explaining in his view that ' it leads to the same result internally'. The commonality of repetition and 'great consciousness and understanding'that the two actions share and also share an emotional navigation for Adams; ' internally what happens is you have to push against the feeling of wanting to give up, it's quite daunting to take on the task of weaving something huge', 'its something I experience when I pray too.'Adams therefore encapsulates the fluidity and malleability of identity, how one can both assemble and undo characteristics to enable an understanding of themselves throughout life. As the artist explains, 'need to unearth, unmask and unveil the mysteries hidden within the depths of the Self, beyond race, class, religion, sexual orientation, and gender. Who am I, beyond my identity?'. Through his work, Adams aims to deep-dive into his subconscious and his position in the cultural tapestry and imbedded ideologies. Holding his first UK solo show in 2021 at the Hayward Gallery, Kicking Dust, and currently on view at The Hepworth Wakefield with Weerhound until November 2024, Adams creates immersive installations with a focus on his weaving technique and textile art. With an extensive list of solo exhibitions globally, Adams' work is also included in the permanent collections at the Guggenheim Museum, New York; the Art Gallery of New South Wales, Sydney; the Moderna Museet, Stockholm; Stedelijk Museum, Amsterdam, Netherlands; Art Institute of Chicago; Baltimore Museum of Art; Inhotim Museum, Brazil; Iziko South African National Gallery, Cape Town; Minneapolis Institute of Art; Standard Bank collection, Johannesburg; and the University of Cape Town.BibliographyIgshaan Adams, quoted in Christine Cronjé, Jonathan Garnham, Hannah Lewis, eds., Igshaan Adams, (Cape Town, 2015), p. 109.Igshaan Adams, transcript from 'Møt Igshaan Adams', Nitja senter for samtidskunst, (YouTube, 2019).For further information on this lot please visit Bonhams.com
ATTRIBUTED TO CHARLES HARDGRAVE (1848-1920) FOR JAMES POWELL & SONS, WHITEFRIARS ‘OPUS SECTILE’ MOSAIC PANEL, CIRCA 1870 painted coloured glass and mother of pearl, framed 71cm x 29.5 (frame size 73cm x 31.5cm) Provenance: Collection of John Scott, LondonThe Fine Art Society Exhibited: London, The Fine Art Society The John Scott Collection: James Powell & Sons, Whitefriars Glass 1860-1960, no. 83Literature: Powell’s Opus Sectile Locations, The Tiles & Architectural Ceramics Society (tilesoc.org.uk)Note: Opus sectile, a decorative technique originally developed in ancient Rome, involves the meticulous inlay of materials such as marble, stone, or mother-of-pearl into walls and floors to create intricate images. This method experienced a revival through the work of Powell & Sons, who introduced their innovative use of coloured and textured glass, expanding upon their established tradition of providing stained glass for ecclesiastical settings. The materials supplied by the firm were often offered as individual elements, such as quarries, or as prefabricated or custom-designed panels.According to analysis by Dr. Dennis Hardley, evidence from Powell’s Cash Window Books demonstrates that Powell & Sons had been producing reredoses, altar panels, and wall panels using the opus sectile technique as early as 1873. By the 1890s, the firm had expanded their operations internationally, exporting these works to countries such as India, the United States, France, Ireland, and Denmark for both religious and commercial commissions.The lily panel examined in this context is reminiscent of one installed in the Church of the Holy Cross in Owlpen, Gloucestershire, in 1887. This work is attributed to Charles Hardgrave, a key artist in the firm’s production during this period.
HENRY WILSON (1864-1934), W.E. MICKLEWRIGHT (MAKER) ARTS & CRAFTS 'ZODIAC' CHEST, CIRCA 1920 oak, with twelve relief carved Zodiac panels, each with inscription, cast brass lock plate 162cm wide, 84cm high, 60cm deep Provenance: W.E. Micklewright, Norton-sub-Hamdon, SomersetPurchased from his workshop by the father of the current owner. Literature: The Studio, vol. 86. 1923, p. 265 where a similar chest, exhibited at the British Institute of Industrial Art of the same year is illustrated.Note: The Arts & Crafts designer Henry Wilson trained initially as an architect under J. D. Sedding (1838-1891), who had himself been apprenticed to the leading Gothic revival architect George Edmund Street (1824-1881). Wilson continued his architectural commissions as his career progressed, but worked increasingly in metalwork, sculpture and jewellery. The Zodiac chest was illustrated in the Studio Magazine, Vol 86, 1923, and the relief carved panels are said to foreshadow the more sculptural bronzes Wilson designed in the final decade before his death in 1934.This chest was executed by W.E. Micklewright of Norton-sub-Hamdon, Somerset. Henry Wilson’s connection to the small village began in 1894 when he was engaged to design restoration work required for the parish church, St Mary the Virgin. Another chest by Micklewright still sits at the end of the church’s west aisle. The workshop responsible for completing Wilson’s church designs was Charles Trask & Sons, with whom Sedding and Wilson had collaborated from as early as 1869, on St Martin’s Church, Low Marple near Stockport. When Wilson first came to Norton-sub-Hamdon Micklewright was manager of the Charles Trask & Sons workshop, but by the 1920’s he owned and ran the premises. A surviving W. E. Micklewright catalogue illustrates items including the zodiac chest, a clock, cabinet and bed. According to the account of Mr Reg. Sweet, an apprentice in the workshop from 1923-25, the business employed at least eight craftsmen carrying out work predominantly in oak and of a religious nature. Sweet recalls Micklewright’s perfectionist tendencies but lack of business sense, the latter a factor presumably behind the workshop’s premature closure in 1925. The current lot was purchased at this time and, until now, has not left Norton-sub-Hamdon.
Erik Nitsche (Swiss, 1908 - 1998) "Strawberry - Manuscript Illumination" Signed lower right. Original Mixed Media painting on Illustration Board.Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting was originally published on the Fleetwood First Day Cover for the Germany 50 + 20pf Medieval Manuscript Illumination stamp issued October 15, 1985.During the Middle Ages, the medieval mind delighted in ornate and colorful art. And nowhere is this love more evident than in medieval manuscripts, for they are alive with intricate and colorful drawings created in the margins and at the beginnings of chapters by patient monks working by hand. Known as illuminations, these miniature works of art virtually illuminate the pages of the ancient manuscripts with their bright colors and intricate designs. But beyond their beauty, the illuminations also mark an important milestone in history, for their disappearance -- with the invention of printing -- signified the end of an antiquated age and became a strong signal of the coming of modern culture. Illumination reached its highest form in the 14th and 15th centuries, when pages were decorated with gold, silver and all the colors of the rainbow. Indeed, the gray parchment was lighted with floriated letters, margins filled with leaves and branches and scenes from the painter's own life. Through their works, the illuminators imbued the written page with a beauty and attractiveness beyond the powers of a mere scribe alone. Since many of the illuminated manuscripts were religious in nature, the figures illuminated often had religious significance. One example is the strawberry, featured in thos artwork, for it symbolized the blood of Christ spilt for the redemption of the world. It is little wonder that the miniature illuminations were extremely popular in the Middle Ages.Image Size: 12 x 14 in.Overall Size: 15 x 20 in.Unframed.(B09830)
SAMUEL WEST (1810-1867) Cardinal Wolsey leaving London after his Disgrace Signed 'S.West' Oil on canvas, 102 x 140cmExhibited: Royal Academy 1841; British Institution 1842; Cork Art Union Exhibition, 1843.Literature: A Dictionary of Irish Artists, W.G. Strickland, Pg. 518Samuel West was born in Cork in 1810, to a bookseller father who had moved to Cork from London. West most likely commenced his artistic training in Cork, however, he also travelled to Rome to study during his formative years. Between 1840 and 1867, West exhibited works at The Royal Academy of Arts London and The British Institution. This work was exhibited at the RA in 1841, the B.I in 1842 and the Cork Art Union Exhibition in 1843. In his later years, West turned to copying works of old masters in watercolour such as Titan’s ‘L’homme au Gant’. (A Dictionary of Irish Artists, W.G. Strickland, Pg. 517-518) Born in 1473, Thomas Wolsey was and English statesman and a Catholic cardinal. His rise in status coincided with accession of Henry VIII. As King of England, he appointed Wolsey as his almoner and gave him a seat of his privy council. By 1514, he became the controlling figure in virtually all matters of the state, reaching the position of the Lord Chancellor. Which he held from 1515 until 1529. He was appointed Cardinal Archbishop of York in 1514 by Pope Leo X.Wolsey fell out of favour after failing to negotiate an annulment of Henry’s marriage to Catherine of Aragon and was thus stripped of his government titles. He retreated to York to fulfil his ecclesiastical duties as an archbishop but was called to London to answer the charges of treason, charges commonly used by Henry VIII against those who fell out of his favour. Wolsey died of natural causes following an accident boarding a royal barge at Cawood, before he could reach London. This impressive painting presents the moment Cardinal Wolsey was expelled from his London residence, The Palace of Whitehall, to board a royal barge to York after the loss of his government position. Whitehall was subsequently taken over by Henry VIII as his principal residence in the capital after the apartments of Westminster were destroyed by fire. Whitehall served as the seat for English Monarchs from 1530 until its destruction also by fire in 1698. It was an incredibly impressive complex of buildings and at one time the largest palace in Europe. In this work, West depicts the east side of the palace which faces onto the banks of the river Thames.A large crowd has gathered to witness the Cardinal departing, most of the faces seem forlorn, mourning his expulsion from the city. He is escorted by four armed guards, their halberds raised in the air above crowd. Despite his loss of title, he is still treated with great respect by his attendants and household. Courtiers lift the train on his robe, a tapestry carpet has been laid along the steps, and he is helped into the boat by a gentleman dressed in furs, holding in his hand the letter which sealed the Cardinal’s fate.To the right of the composition is figural group of a woman and two children, set slightly apart from the larger crowds. She looks on in distress at the Cardinal. Wolsey was in a ‘non-canonical’ marriage for a decade with Joan Larke of Yarmouth. They had two children, Thomas (born c.1510) and Dorothy (born c.1512), both were born before he was ordained bishop. While the children in this painting would be too young to be either his son or daughter, West may have used this figural group to add further sympathetic appeal towards the Cardinal.The composition follows two diagonals, the first created by the architectural façade of Whitehall stretching along the banks of the Thames, and into the distance. The second is created by the crowd of people following the Cardinal as he descends steps. He stands at centre of the composition, clad in a bright red clerical vestments and hat. Visually he commands the attention of the crowd and us as the viewer. At this time Cardinals wore red to distinguish themselves from all other clerics, signifying the importance of their standing in the religious hierarchy. Presenting him in his vestments may have been an attempt by West to convey Wolsey’s continued sense of pride in his position even after being stripped of his government titles.
A DUTCH BOOK OF HOURS FOR USE OF ROME LATE 15TH CENTURY,illuminated manuscript on vellum (tempera, ink and gold), Latin and Dutch; Gothic textura script, one column ruled for 19 lines; 455 pgs., 6.6cm x 11cm; Three fully illustrated pages, 6 title pages, 27 pages of illuminated borders etc.; tissue interleaves face the full page illustration; 18th century leather binding, inscribed with 'Roomsch Getijde Boek’ to spine (Roman Book of Hours). Incomplete, pages cut outProvenance: Private Dutch CollectionThe core text of a Book of Hours is a series of prayers, readings and psalms known as 'The Hours of the Virgin. These prayers were to be recited daily at eight set 'hours' to Mary, the Mother of God, who would act as an intercessor between man and God. Such devotions were a simplified imitation of the Divine Office, said by members of the clergy and monastic orders every day in the quest for salvation. The ‘Use of Rome’ refers to a book of hours intended for the "use" of Rome specifically, this will differ from a book of hours made for the use of Paris, or Utrecht, or Sarum (Salisbury). These differences might be reflected in the order and wording of certain prayers or the veneration of local saints or religious events. Entire cycles of prayer could also be added or excluded based on personal preference, as could a variety of additional texts. Other differences between books of hours arose from the need to accommodate the diversity of regional worship. Within the medieval church, certain aspects of the liturgy were determined, to at least some degree, by local custom, and individual books of hours were made to reflect these variations. The book opens with the twelve months of the year, divided into the specific saint days. The first illuminated leaf features the private scene of the annunciation, as Virgin Mary is kneeling to pray in her chamber when Archangel Gabriel appears to her. He announces that she will conceive a son by the power of the Holy Spirit. Above the angles head is a white dove, the physical manifestation of the Holy Spirit, with gold rays which are pointing directly at Virgin Mary. Archangel Gabriel also points to Mary using his herald’s wand, which is terminated in a fleur-de-lys, the ancient symbol of royalty. The frame of the scene features several flowers and insects. The blue flowers are possibly Gentian blue which are native primarily to northern temperate areas of the world, especially alpine regions. The red flower is most likely a potted Carnation. The symbolism of the carnation is identical with that of the rose, in the Netherland and Germany carnations were preferred over roses. The carnation was, therefore, seen as a flower of love and the goddess Venus, however, as adapted by Christians, the carnation was a symbol of the divine love of God. The strawberry as a symbol is not only widespread but relatively early in origin. It is seen as the perfect fruit as it has no thorns nor stone and it is sweet in taste. The white flowers are seen to represent innocence and the leaves which are of trefoil form, were seen as a symbol of perfect righteousness. The illumination also features two moths or butterflies as well as a snail. Butterflies and flies were symbols for the soul and eternal life. It was common in the Netherlands for the scene of the Annunciation to feature insects. It is interesting to note that this illumination does not feature a white lily. Almost all scenes of the Annunciation included them, often known as the Madonna lily, as it is a symbol of her purity and perfection, both carnal and spiritual. The second illuminated leaf is a depiction of the episode from the life of the Virgin Mary. She is presented seated figure, presumably holding the new testament in her lap, with the old testament lying at her feet. The scene is set within a gothic architectural courtyard. The Holy Spirit once again appears in the form of a white dove, with rays of gold radiating down on the twelve apostles and Mary.In the Acts, it is described that after Jesus ascended to heaven, the Apostles waited in the Holy City for the sending of the promised Consoler, united around the Virgin Mary. Following the betrayal by Judas Iscariot, the decision was made to have Matthias take his place. Once the twelve apostles were complete again, they continued praying while awaiting the coming of the Holy Spirit as Jesus had promised them. Finally, on the day of Pentecost, suddenly a sound came from heaven like the rush of a mighty wind, and it filled all the house where they were sitting. And there appeared to them tongues as of fire, distributed and resting on each one of them. And they were all filled with the Holy Spirit (Acts 2:2-4). Once again, the scene is framed by botanical illuminations, this time the flax flower, and a variety of irises. The iris flower is the only symbolic rival to the white lily of the Virgin, and its first appearance as a religious symbol is in the work of the early Flemish masters. The symbolism of the iris and the lily at first appears to be identical, and the substitution of the iris for the lily seems to be the result of some confusion between ‘lys’ and ‘fleur-de-lys,’ accentuated by the likeness between the iris and the lilies of the French royal standard with which the people of the Netherlands were familiar, since they were emblazoned on the shield of the Dukes of Burgundy. In the Netherlands, in the fifteenth century, symbolism was usually very precise, and there does seem to be a slight difference in the use of the two. The lily is used exclusively as the symbol of virginal purity, more particularly in relation to the fact that the Virgin Mary was a mother, but the iris, the royal lily, appears to be the emblem or attribute of God incarnate. Interestingly, the pea is also featured which was a symbol humility as it was considered a humble plant that grew toward heaven. As it produced many fruits it represented the virtue of holy works. In direct contrast, it could also be seen as a symbol of instability and the danger of sin, because it has heavy foliage and a frail stem which often needed further support. The illumination also features a prominent dragonfly and a peacock. Earthly life, which was full of sin, was often represented by crawling insects such as beetles, caterpillars, and locusts, whereas life in the heaven was represented by flying insects such as butterflies, moths, dragonflies, and damselflies. Dragonflies were therefore used as a religious symbol of the eternal life of the soul. Beginning in Early Christianity, peacocks symbolized the opportunity for an eternal life in heaven enabled by Christ’s sacrificial death. Illustrations of peacocks were so frequent and widespread in Christian art.The last full-page illumination features the uncommon scene known as the Metterza. The term is derived from the medieval vernacular me is third, referring to Saint Anna, mother of the Virgin Mary, who places herself third in the hierarchy of the divine family, next to Mary and Jesus. This scene was popular in Germany since the 14th century, and later the term and its iconography spread throughout Italy and Northern Europe in the 15th century. Hence the three figures in this illustration are St Anne, the mother of Mary, Virgin Mary and baby Jesus. The figure of St Anne is seated on a large wooden throne, at her feet sits Virgin Mary with baby Jesus lying in her arms. The background also features a peacock along with a characteristic pink sandstone wall and turret. The frame around the scene features flowers such as gentians, irises, flax and most importantly roses. The insects featured are moths and flies. As mentioned above, symbolically the rose was seen to represent the divine love of God.
Ca. AD 400 - 1000 .A Roman cast-bronze bell with a hemispherical loop. Roman bronze bells were crafted using lost-wax casting techniques. These played crucial roles in religious, civic, and military contexts. In cities, they signalled events and emergencies. These bells varied in size and featured inscriptions and decorative motifs. For similar see: The Metropolitan Museum of Art, Accession Number 89.4.1938.Size: 170mm x 125mm; Weight: 990gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Ca. AD 500 - 700.A splendid Byzantine gold pendant, adorned with a large garnet cabochon in the centre. The arms are decorated with an intricate border formed with geometric motifs, made with twisted rope-shaped threads. A loop is attached to the top of the pendant. The cross became a widespread religious symbol during the Byzantine Empire. This gold pendant was most likely created for an upper class individual, to display their wealth and religious devotion. For similar see: Byzantium and the West, Jewelry in the first Millennium, n. 14.Size: 43mm x 22mm; Weight: 4gProvenance: Private collection of an Oxford professional, formed in the 1970s-1990s on the UK art market. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
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