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

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

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

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

Antique Small Gilt Framed Tricenium Religious Art

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This magnificent Kuba palm wine cup is a rare and precious piece. It is adorned with two stylised heads that act as communicating bowls. The bowl is made of carved wood. The bowl is richly decorated with geometric and figurative motifs. The bowl is in excellent condition and dates from the early 20th century. The Kuba are a people from Central Africa who live in the Democratic Republic of Congo. They are renowned for their complex and refined art. Palm wine cups are an important part of Kuba culture. They are used in religious and social ceremonies. The cup represents fertility and prosperity. It is also a symbol of power and prestige. This Kuba palm wine cup is a unique and rare piece. It bears witness to the richness of Kuba art. It will be a precious addition to any collection of African art. - Weight: 520 g - Shipping available - Region: Afrique - Sizes: H 185 MM L 150 MM - At first glance: good condition

A quantity of religious' posters and art paper Collect only

Jean Albert Errard, French SAS and French Resistance:- An Interesting Collection of Photographs and Ephemera, including citations for Croix de Guerre, Medale Militaire etc., numerous hand written letters, an S.N.P.P. medallion in maroon leather cloth case, two F.N.F.L. cap talleys, a pocket compass, button plate, pewter sandwich box/flask, numerous photographs, SAS publications etc.; "Amicale des Anciens Parachutistes SAS et des Anciens Commandos de la France Libre" - a Longwy Pottery Charger, numbered 021 and inscribed "A Notre Camarade S.A.S. Jean Errard; a Lizio Art Pottery Dish, incised with a parachutist below St. Marcel (the Maquis of St. Marcel were resistance fighters in the war); also an MBE Breast Badge, in case of issue to his wife Josephine Errard, for her post-war work in the British Embassy in Paris, where she worked for the welfare of British nationals and their repatriation, together with the citation.Footnote:- Jean Albert Errard, known as "Shell Head", due to the unusual shape of his head, was abandoned when he was born in 1916, and was taken in by a farming family in the Meuse region of Belgium/France, where he was treated like one of the family. He worked on the farm until he joined the sub-mariners at the age of 19. He was in Brest when the Germans invaded in June 1940 and went to England with the evacuating British Expeditionary Forces. He was one of the first to join the French Libre Forces and was sent to Dakar, Gabon and French Equatorial Africa, and took part in the Syria Campaign 1941. He returned to England in March 1942 and volunteered to serve with Captain Philippe Kieffer's group of Commandos. In August 1942 he was involved in Operation Jubilee (Raid on Dieppe) where heavy casualties were incurred, and he was one of the few to get back to the UK alive. He was awarded the Croix de Guerre with bronze star "To show evidence, on the 19th August 1942, of the highest qualities of courage and was a cog in the team which took part in three successive attempts at Bonneval after his convoy was attacked by German motorboats, and in spite of deadly artillery fire and automatic gun fire, made it to land". In November 1943, with the 4th Battalion Parachutists SAS, he parachuted into France and went on to work with the French Resistance with their sabotage programme. He was later dropped behind enemy lines before the D-Day landings, where he was responsible for "harassing" the enemy. He left the war zone of St. Marcel by escaping from the Germans with the help of the religious order of Malestroit who hid him in their convent. During Jean's time in the war, he sustained injuries from a hand grenade and met his future wife Josephine Lovegrove, whilst recuperating. Jean was a friend of General de Gaulle and the French spy Marie Clair. After the war, Jean's wife Josephine, travelled around Afghanistan after being inspired by the book "Where the Four Worlds Meet - Hindu Kush, 1959" by Fosco Maraini, which is included in this lot.

A pair of Arts & Crafts 1940s religious prints. Both depicting an angel with foliate floral decoration around with religious saying. 'Thou wilt shew me the path of life, in my presence is fulness of joy; at my right hand there are pleasures forevermore. With wood tramp art frames. Measures approx. 30cm x 35cm.

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

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

Mount Fuji, also known as Fuji-san or Fujisan in Japanese, is an iconic and majestic stratovolcano located on the Honshu island of Japan. It is the tallest mountain in Japan and one of the most famous symbols of the country. Here are some key facts about Mount Fuji:1. Height: Mount Fuji stands at an impressive height of 3,776.24 meters (12,389 feet) above sea level, making it the highest peak in Japan.2. Location: The mountain is situated about 100 kilometers (62 miles) southwest of Tokyo, Japan's capital city. Its location near the populous Kanto region makes it easily visible from Tokyo and the surrounding areas on clear days.3. Sacred Mountain: Mount Fuji holds great cultural and religious significance for the Japanese people. It is considered a sacred mountain and has been revered as a spiritual symbol for centuries.4. UNESCO World Heritage Site: In 2013, Mount Fuji was designated as a UNESCO World Heritage Site, recognizing its cultural significance and influence on Japanese art and culture.5. Climbing Season: The climbing season for Mount Fuji typically lasts from early July to mid-September when the weather is more stable and the snow has melted. During this period, thousands of climbers, both locals and tourists, ascend the mountain to reach the summit.6. Summit and Sunrise: The summit of Mount Fuji offers breathtaking panoramic views of the surrounding landscapes, especially during sunrise. Many climbers undertake the challenging hike in the dark to reach the summit in time for the spectacular sunrise known as "Goraiko."7. Hiking Trails: There are several hiking trails that lead to the summit of Mount Fuji, with the most popular ones being the Yoshida Trail, Subashiri Trail, and Fujinomiya Trail.8. Shinto Shrines: On the lower slopes of Mount Fuji, there are several Shinto shrines that are visited by pilgrims and hikers seeking blessings for a safe journey.9. Volcanic Activity: Mount Fuji is classified as an active stratovolcano but has been dormant since its last eruption in 1707. Despite its dormant status, it is still closely monitored by geologists and volcanologists.10. Inspiring Art and Literature: Mount Fuji has been a recurring theme in Japanese art, literature, and poetry for centuries. It has inspired countless artists, including the famous woodblock print series "Thirty-Six Views of Mount Fuji" by Katsushika Hokusai.Mount Fuji's graceful silhouette, its cultural significance, and the opportunity to witness a breathtaking sunrise from its summit make it a bucket-list destination for travelers to Japan and a symbol of the country's natural beauty and spiritual heritage.Measures 24 x 36.Mounted to linen.

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

Two boxes of assorted items to include: 19th Century spelter figural clock with stand, Moorcroft Art pottery tube lined bowl, glass decanters with stoppers, glass vase, cranberry glass oil lamp reservoir, frosted and cut glass lampshade, glass vinaigrette, carved wooden religious figure, brass bell, tile, continental figurines, table lamp base, Wedgwood Jasperware teapot, blue and white and other jugs, oriental slipware vase, lustre teapot, brass candlestick, metal enamel tray, Carlton Ware 'Baby's Plate' etc. (2).(B.P. 21% + VAT)

A LACQUER MINIATURE KODANSU (CABINET) WITH SCENES FROM SHITAKIRI SUZUME (THE TALE OF THE TONGUE-CUT SPARROW)Japan, 19th centuryOf rectangular form with recessed gold fundame edges, bearing a rogin-nuri ground finely decorated in iro-e togidashi-e and e-nashiji to depict scenes from Shitakiri Suzume, with elaborately dressed humanoid sparrows leading the elderly man into the bamboo grove to meet his sparrow friend, and others dancing and playing musical instruments to entertain the man while he enjoys a feast, the top of the box with a fan and a chest filled with treasure including jewels, coral, and shells. The top of the box with a silvered-metal handle and the hinged door with silvered-metal fittings chased and incised with foliate designs against a ring-punched ground. The door opening to three drawers decorated with clouds and mountain peaks designs on nashiji, the interior of the door decorated in gold and silver hiramaki-e and takamaki-e with mura-nashiji and hirame to depict the man's farmhouse.SIZE 10.6 x 8 x 11 cmCondition: Very good condition with minor wear, light surface scratches, minor age cracks.Provenance: Collection of Drs. Edmund and Julie Lewis, no. 98 (label to base). Bonhams, Property from the Collection of Drs. Edmund and Julie Lewis, Part I, 11 September 2019, lot 562. A private collection in New York, USA, acquired from the above. Drs. Edmund Jean and Julia Breyer Lewis are renowned experts in nephrology who met professionally and later married in 1997, and have since continued to collect Japanese art together, actively seeking the best they could find from the finest dealers in the field. Known for their keen scholarship and high aesthetic standards, for the past three decades Ed and Julie have focused on collecting lacquer art, painting, and Buddhist sculpture from Japan. As they traveled widely their desire to collect Buddhist art grew, and they have expanded their collection to include important Pan-religious sculptures from Greater Asia.Shitakiri Suzume, translated literally into 'Tongue-Cut Sparrow', is a traditional Japanese fable telling of a kind old man, his avaricious wife, and an injured sparrow. The story explores the effects of greed, friendship and jealousy on the characters.

India, 20th century A.D. Showing a vibrant scene in watercolour composed of a couple with a child seated on a rug by a religious figure, being blessed; their attendant fans them whilst their horses stand behind, set in a landscape, panel of text to one side; set in a reveal within a glazed wooden frame. 795 grams, 37.5 x 29.5 cm (14 3/4 x 1 5/8 in.). Acquired on the UK art market, 1980s-1990s. The Woodbridge collection of Indo-Persian art.

(Japan), a Japanese woodblock printing illustrated book, modern pencil and pen notes on leaf loosely inserted state the book to be 'Bumpo Gafu', c.1813, woodblocks by Inoue Jihei, publishers Chojiya Genjiro and Kochiya Kihei, m/s pen notes beneath "Notes by British Museum Asian expert made at the Museum Prints & Drawings Dept 21.10.80. The book was described as being in very good condition...", [72] pages of illustrations, original decorative stitched wraps, housed in modern slipcase; together with 3 other 19th Century illustrated books of Japanese woodblock prints, housed together in modern slipcase; plus 'Choice masterpieces of Korin and Kenzan', [edited by Shungo Murayama], Tokyo, The Kokka Company, 1906, 1st edition, title page, preface and contents followed by 11pp text in English language, 2 b/w ilustrations in text, preceding 11 mounted colour plates depicting artwork, lacquer and ceramics produced by the two brothers Korin and Kenzan Ogata, all accompanied by guard sheets with descriptive letterpress in Japanese and English, folio (45 x 31cm), original decorative cloth covered boards very worn, lacks lower board, string ties, together with a similar circa early 20th Century Japanese work in 2 volumes, 30 double page chromolitho plates of Japanese art and antiquities, architecture etc, including Samurai swords, jewellery, bronze dishes, lacquer box, fabrics, houses, beds?, text in Japanese language, folio (35 x 25cm), uniform original decorative cloth, printed title labels in Japanese mounted to covers; plus Lafcadio Hearn, 2 titles: 'Kotto: Being Japanese Curios, with Sundry Cobwebs', New York, Macmillan, 1902, 1st edition, 1st issue (with title page illustration printed upside down), illustrations by Genjiro Yeto throughout, original pictorial cloth gilt, top edge gilt, 'Kwaidan: Stories and Studies of Strange Things', London, Kegan Paul, 1904, 1st edition, 2 plates as called for, original cloth gilt. Two titles on Japanese folklore, mythology, supernatural tales, social and religious life and customs, by Patrick Lafcadio Hearn (1850-1904), Irish-Greek-Japanese writer, translator, and teacher who introduced the culture and literature of Japan to the West; Yoshio Markino: 'A Japanese Artist in London', L, C & W, 1919, 5th impression, signed & inscribed by the author/artist in English and Japanese on FFEP, 8 colour plates + 4 b/w plates as called for, original decorative cloth gilt, dust wrapper; 'Hanasaki Jiji [The Old Man Who Made the Dead Trees Blossom]', Tokyo, Kobunsha, c.1885, illustrated colour woodblock book, in French language, [18]pp, original pictorial wraps (18 x 12.5cm); Kazunori Ishibashi (illustrated); William N. Porter (translated): 'A Year of Japanese Epigrams', OUP, 1911, colour frontis + 12 b/w plates for each month of the year as called for, some contemporary manuscript to verso of half title and verso of last leaf of introduction, orig. cloth gilt; Ernest Adolphus Sturge: 'The Spirit of Japan', [Tokyo] : Sturge Zenshu Kankokai, [1934], 2nd edition, 44 colour & b/w plates as called for, in English language, original cloth gilt, printed card slipcase; together with 2 early 20th Century German titles on Japan by Emil Schiller and Otto Kumel, plus two mid 20th Century similar by Klabund [i.e. Alfred Henschke], plus 2 others (19)

Francesco Clemente is an Italian contemporary artist known for his eclectic and diverse body of work. Here are some key points about Francesco Clemente:1. Varied Styles and Subjects: Clemente's artwork encompasses a wide range of styles, including painting, drawing, printmaking, and sculpture. He often incorporates elements of surrealism, symbolism, and spiritualism into his works. His subject matter varies from portraits and self-portraits to mythological and religious themes, as well as explorations of the human body.2. Collaboration with Writers and Poets: Clemente has collaborated extensively with writers and poets, including Allen Ginsberg, Robert Creeley, and J.M. Coetzee. These collaborations often involve combining visual art with poetic texts, resulting in richly layered and interdisciplinary works.3. Influences from Eastern Philosophy and Mysticism: Clemente's interest in Eastern philosophy and mysticism is evident in his artwork. He has spent considerable time in India, which has deeply influenced his artistic practice. Concepts of spirituality, transcendence, and the exploration of the self are recurrent themes in his work.4. Symbolic and Dreamlike Imagery: Clemente's paintings often feature symbolic and dreamlike imagery. He incorporates elements such as animals, plants, religious iconography, and personal symbols into his compositions. These elements contribute to the enigmatic and poetic quality of his artworks.5. Use of Color and Texture: Clemente's use of color is vibrant and expressive. He employs a wide palette, ranging from rich and bold hues to delicate pastels. His artworks also exhibit a varied texture, combining areas of loose brushwork with finely detailed elements.6. International Recognition: Clemente's artwork has been exhibited in prestigious museums and galleries worldwide. He has participated in major international exhibitions, including the Venice Biennale, Documenta, and the Whitney Biennial. His works are held in significant collections, such as the Metropolitan Museum of Art in New York and the Tate Gallery in London.7. Blending of Cultures: Clemente's art reflects his interest in blending diverse cultural influences. He draws inspiration from both Western and Eastern artistic traditions, merging elements of Italian Renaissance art with Indian iconography and spirituality. This fusion of cultural references adds a unique dimension to his artwork.Francesco Clemente's multidisciplinary approach, exploration of spirituality, and incorporation of diverse cultural influences have made him a highly regarded and influential figure in contemporary art. His thought-provoking and visually captivating works continue to resonate with viewers around the world.Measures 10.25 x 10.25.Mounted to archival quality paper.

The Ptolemaic period refers to the dynasty of rulers who governed Egypt from 305 BCE to 30 BCE. It was named after the founder of the dynasty, Ptolemy I Soter, a general under Alexander the Great. Here are some key points about the Ptolemaic period:1. Greek Rule in Egypt: The Ptolemaic dynasty was of Greek origin, and their rule marked a period of Greek influence and cultural integration in Egypt. The Ptolemies adopted many Egyptian traditions and assimilated into the Egyptian society while maintaining their Greek heritage.2. Alexandria as the Capital: The Ptolemaic rulers established Alexandria as their capital city, which became a major center of trade, culture, and learning in the ancient world. The city housed the famous Library of Alexandria and the Pharos Lighthouse, one of the Seven Wonders of the Ancient World.3. Blending of Cultures: The Ptolemaic period witnessed a fusion of Egyptian and Greek cultures. The ruling class embraced Egyptian religious practices, including the worship of traditional Egyptian deities such as Isis and Osiris, while Greek language and customs remained prevalent among the elite.4. Greek and Egyptian Society: Greek and Macedonian settlers formed the ruling class and held most of the political and administrative positions. Egyptian society was structured hierarchically, with Greeks at the top, followed by Egyptians, and then other ethnic groups. However, there were instances of upward mobility for Egyptians within the Ptolemaic administration.5. Hellenistic Art and Culture: The Ptolemaic period was a time of significant artistic and cultural development. Greek art and literature flourished, blending with Egyptian artistic traditions. The Fayum portraits, painted funerary portraits on wooden panels, are notable examples of the art from this period.6. Cleopatra and the End of the Dynasty: The most famous ruler of the Ptolemaic dynasty was Cleopatra VII, who is remembered for her alliances with Roman leaders, particularly Julius Caesar and Mark Antony. After Cleopatra's death in 30 BCE, Egypt became a Roman province, marking the end of the Ptolemaic dynasty.The Ptolemaic period in Egypt represents a unique era in ancient history, characterized by the blending of Greek and Egyptian cultures, the development of Alexandria as a major center of knowledge, and the reign of notable rulers such as Cleopatra.Produced after the Ptolemaic period.Measures 13 x 5 x 10.Bronze.

Ca. 5th-8th century AD.A bronze cross pendant of a symmetrical form, meticulously cast to create an evocative and aesthetically pleasing design. Its central region is skillfully raised, commanding attention and symbolizing the elevated spiritual aspirations of the wearer. Adorning each finial of the cross are raised bosses, strategically positioned to accentuate the overall symmetry and balance of the piece. These distinctive elements not only contribute to the pendant's visual appeal but also hold symbolic meaning, perhaps representing the virtues of fortitude, steadfastness, and divine protection sought by the pilgrims who wore such crosses. Situated at the top of the cross is a thoughtfully crafted suspension loop, allowing the pendant to be easily worn or displayed. Byzantine bronze pilgrim's crosses, were cherished possessions that accompanied individuals on their sacred journeys, providing solace, protection, and a tangible connection to their faith. These crosses acted as personal talismans, reflecting the devout nature of their owners and their commitment to their religious beliefs. Size: L:41.6mm / W:30mm ; 7.12g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.

Old Kingdom, ca. 2686 to 2181 BC.An offering bowl carved from alabaster. This vessel possesses a distinct aesthetic and functional design. With a flattened base that gracefully ascends to a flat shoulder and corseted neck, the bowl's wide rim gently flares outward, offering both visual allure and practical utility. The choice of alabaster as the material for this bowl holds profound significance. Alabaster creates a captivating effect when exposed to light, showcasing a delicate interplay of translucency and opacity. The exterior of the bowl, enhanced by a meticulous polishing process, exhibits a lustrous sheen that accentuates the inherent beauty of the stone while showcasing its natural white veining. Alabaster bowls of this type served as vessels for offerings within the religious and funerary practices of ancient Egyptians. The use of alabaster, a highly prized and luxurious material, not only attests to the reverence placed upon the act of offering but also symbolizes purity and divine connections. Size: L:95mm / W:185mm ; 2.7kg Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.

Ca. 3000-2500 BC.A terracotta bowl with its generous size and flaring, deep body resting upon a flat base. While the exterior of the bowl remains smooth and unadorned, the interior unfolds a captivating display of complexity through its intricate decorations. At the center, a resplendent nine-petaled rosette takes prominence, captivating the viewer's gaze. Moving outward, the cavetto of the bowl showcases exquisite depictions of zebu bulls, animals of great significance in the Indus Valley society. These representations exhibit elongated bodies, distinct humped backs, and remarkable attention to detail in their large dewlaps, slightly bowed heads adorned with stylized, large eyes, and crowned with majestic pairs of horns. Positioned on opposite sides, the bulls are separated by an intricately rendered pattern consisting of large 'X' motifs against a netted background. Such bowls were used for various culinary and ceremonial functions, capable of holding significant quantities of food, liquids, or ritual offerings. The depictions of zebu bulls, symbolic animals associated with strength, fertility, and agricultural prosperity, suggest that these bowls may have played a role in religious or fertility-related rituals. Furthermore, their artistic and ornamental qualities make them valuable cultural artifacts, reflecting the artistic expressions and aesthetic sensibilities of the Indus Valley society. Size: L:85mm / W:215mm ; 580g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Elamite, Ca. 2nd millennium BC. A finely crafted bronze beaker boasting an exquisite concave body with an everted, flat rim. Its striking decoration is comprised of a register featuring stylised, horned animals walking along the baseline. These creatures are distinguished by their slender bodies, long legs, detailed hooves, and heads with large eyes and pronounced snouts. Their most notable features, however, are the impressive pairs of horns that crown their heads, lending them a regal and formidable appearance. The register is bordered by intricate upper and lower bands of interlocking patterns, which add depth and complexity to the piece. In terms of its function, this beaker likely served as a vessel for drinking or pouring liquids and would have been a luxurious and highly prized possession. It's intricate design and expert craftsmanship suggests that it may have also held symbolic significance, perhaps serving as a status symbol or a representation of religious or cultural values. Size: L:220mm / W:150mm ; 660g Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.

Ca. 100-300 AD.A bronze stag figurine. This captivating sculpture depicts the creature standing on all fours, capturing the vitality and grace of the stag in its lifelike pose. The body of the figurine is pierced transversely, suggesting the possibility of suspension, which may have allowed it to be displayed or worn as a personal adornment. The distinguishing feature of this bronze stag is its long, elegant neck, culminating in a head adorned with majestic antlers. The snout of the stag figurine exhibits meticulous attention to detail, with recessed nostrils, an open mouth, and expressive eyes, imbuing the sculpture with a sense of life and energy. Stags held a prominent place in Roman culture, where they were often associated with various deities, particularly those linked to wilderness, fertility, and hunting. Their representation in art and mythology underscored their symbolic significance, representing attributes such as courage, vitality, and the cycle of life. Stag imagery frequently appeared in religious iconography, decorative arts, and even military insignia, showcasing the enduring appeal and cultural importance of this noble creature. Size: L:48mm / W:55mm ; 50g Provenance: Private London collection; formerly acquired in the US in the 1990s.

Ca. 1100-1200 AD.A bronze oil lamp with its form both functional and aesthetically pleasing, featuring a flaring, concave foot that provides stability and balance to the overall composition. The round body of the lamp is adorned with a hinged lid with a bird finial. The rear handle of the lamp, with its perching bird, is an elegant touch that allows for easy transport of the lamp from one place to another. The arched spout with its ivy-leaf-shaped nozzle is yet another testament to the skill and craftsmanship of the maker, as it is both functional and visually pleasing. The lamp's design is a testament to the sophisticated and refined tastes of the Seljuk period. Oil lamps like this one were widely used for both practical and symbolic purposes. They were used to provide light in homes, mosques, and other public spaces, and were often adorned with intricate designs and calligraphy that reflected the religious and cultural values of the time. Cf. The Metropolitan Museum of Art, Accession Number: 53.204.2. Size: L:130mm / W:150mm ; 390g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market since the 1970s.

Ca. 1100-1200 AD.A stone fragment of a frieze with its slender profile and rich decorative embellishments on the upper face. This fragment exhibits a masterful display of artistic skill through the intricate interweaving of tendrils, animal heads, and floral motifs that adorn its surface. These meticulously crafted elements create a captivating visual composition, demonstrating the artistic sophistication and cultural heritage of the Seljuk period. Similar friezes can be found in various architectural contexts, such as palaces, mosques, and tombs, reflecting the diverse applications of this artistic form. These friezes served as decorative elements, enhancing the visual appeal of the structures they adorned. In addition to their aesthetic function, Seljuk friezes often carried symbolic significance, depicting scenes from mythology, nature, or religious narratives, contributing to the overall narrative and visual language of the architectural ensemble. Size: L:170mm / W:235mm ; 740g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 1500-1200 BC.Sculpted from fine, thick-walled red terracotta, the relief showcases a slender nude woman with prominent, protruding breasts, her right hand gently resting along her body while her left hand is gracefully bent. The portrayal features an accentuated belly button and a visage bearing a serene expression, characterized by a broad nose and hair framing the face, adding a sense of intricate detail to the artwork. The reverse side remains flat and unworked. Such reliefs served as symbols of fertility, emphasizing the vital role of women in procreation and the perpetuation of the community. Additionally, it is likely that it was also dedicated to venerating goddesses associated with fertility and motherhood, embodying divine femininity and life-giving powers. This depiction might have been also utilized in religious rituals, acting as a talisman to safeguard women during childbirth or to invoke divine blessings for their well-being and that of their offspring. Custom mounted. Size: L:105mm / W:60mm ; 195g Provenance: Property of a London Art gallery; Ex. David Hendin collection.

Ca. 1100-1200 AD.A bronze oil lamp resting on a tall splayed foot ensures both stability and visual appeal, while the hollow oil compartment takes on a graceful rounded shape, culminating in an ivy-leaf-shaped spout, a hallmark of the lamp's exquisite craftsmanship. Further enhancing its allure, the rear of the lamp features a loop handle, carefully shaped to offer a practical means of transportation. The handle and the hinged lid of the oil compartment are both decorated with lovely depiction of a bird. Bronze lamps of this nature held profound cultural significance within the Seljuk milieu. While fulfilling their primary function of illuminating spaces through the burning of oil, these lamps transcended their utilitarian purpose and assumed roles as objects of decoration and emblems of opulence and refinement. Adorning the abodes of the affluent, they became integral to ceremonial events and religious observances, symbolizing the wealth and sophistication of their owners. Cf. The Metropolitan Museum of Art, Accession Number: 53.204.2. Size: L:125mm / W:140mm ; 285g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market since the 1970s.

Ca. 3000-2000 BC.Carved from stone, the jar exhibits an inverted piriform body, evoking a graceful and harmonious silhouette. Its tubular, squat neck, terminating in an everted rim, further enhances the vessel's functional design and aesthetic appeal. The jar stands firmly on a circular flat base, ensuring stability and practicality in its use. Stone containers held significant importance in ancient Egyptian society, playing a vital role in various aspects of daily life. These stone jars were widely employed for storage purposes, preserving essential commodities such as grains, oils, and other valuable materials. Due to the durability and resilience of stone, these containers offered an ideal solution for long-term storage needs, safeguarding resources from environmental factors and spoilage. Moreover, stone containers were also employed in religious and funerary contexts, as offerings to deities or as burial items to accompany the deceased on their journey to the afterlife. Size: L:200mm / W:145mm ; 2.75kg Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 3rd-2nd millennium BC.Crafted from schist, this bowl showcases a distinct combination of form and ornamentation. The bowl features a flat base, straight walls, and a cylindrical shape that culminates in a circular opening. While the interior of the bowl remains smooth, the exterior presents a captivating register adorned with a series of low-relief depictions of scorpion-like creatures. Arranged in a continuous line, these creatures exhibit finely ribbed bodies, outstretched legs, and menacing pairs of pincers. Similar bowls were likely utilized for ritual or ceremonial practices, serving as vessels for offerings, libations, or even as decorative elements in sanctuaries or sacred spaces. The imagery of the scorpion-like creatures may have held symbolic meaning within the cultural and religious context of Bactria, possibly associated with protective or apotropaic qualities. Size: L:60mm / W:100mm ; 420g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 330-200 BC. The slender terracotta rhyton formed with a flaring lip and conical shaped body terminating into a stag protome with the head drawn back on its long neck, its ears perked upright. The eyes and mouth are well defined. The animal’s antlers are drawn back on its neck. This form of rhyton is a fine example of its type used by the Greeks for religious rituals. The determination of the work rhyton derives from the Greek verb “to pour through,” which describes what happens when the liquid is added to the rhyton’s flared mouth. Item comes with a professional historical report from Ancient Report Specialists. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. For similar see: Miho Museum Japan: Accession Number 00002005e. Size: L:520mm / W:195mm ; 1.3kg Provenance: From the private collection of a gentleman; previously with A.R. London; formerly in an old British collection, formed in the 1980s on the UK / International art markets.

Ca. 3rd - 4th century AD. A remarkable intaglio featuring the captivating imagery of Mercury riding a rooster, nestled within a resplendent gold ring. This intriguing composition showcases an oversized rooster, elegantly portrayed in a left profile, its magnificent tail feathers dramatically fanned out. Serving as a divine steed, this majestic creature carries the esteemed god Mercury, unmistakably characterized by his distinctive attributes of the caduceus staff and the iconic petasos hat. Mercury, an esteemed deity within the Roman pantheon, holds a multifaceted role as the messenger of the gods, the patron of commerce, travellers, and eloquence, and the guide of souls to the underworld. The depiction of Mercury astride a rooster conveys his swiftness and agility, symbolic of his ability to traverse realms with ease. This scene exemplifies the rich symbolism and narrative complexity found in Roman glyptic art, where mythological figures and animals intertwine to convey allegorical and religious themes. The accompanying gold ring, possibly dating from a later period, exhibits a D-shaped hoop adorned with twisted strands along its entire circuit between raised edges. The finials of the hoop gracefully extend into scrolls embellished with applied spheres, providing an ornate support for the bezel cell adorned with a ropework border. Size: D: 16.92mm / US: 6 1/2 / UK: M 1/2; 5.94g Provenance: Private London collection, UK art market before 2000.

Ca. 1st millennium BC.A vessel hewn from schist, a metamorphic rock, and characterized by its elegantly rounded body, which embodies a harmonious balance of form and proportion. The rim of the vessel is adorned with meticulously incised concentric circles, exuding a sense of intricacy and attention to detail. Above the circles, a row of herringbone patterns further enhances the vessel's aesthetic appeal, exhibiting a mastery of decorative techniques. Notably, the vessel features four vestigial handles positioned around its mid-body. This vessel might have been employed as a ritualistic or symbolic container, holding significance in the cultural and religious practices of the Amlash society - an ancient civilization that flourished approximately from 1000 to 650 BC. Renowned for their sophisticated artistic expressions and material culture, the Amlash people left behind an impressive array of artifacts, including pottery, metalwork, and stone craftsmanship. Their art often featured intricate designs and decorative motifs, reflecting their aesthetic sensibilities and technical expertise. As an important cultural and trade hub, the Amlash culture facilitated interactions between various communities, fostering artistic exchange and influencing neighboring societies. Size: L:110mm / W:130mm ; 1.4kg Provenance: Bonhams 24 April 2002, lot 531.

Ca. 3000-2500 BC.A terracotta cup featuring a flat base and a bulbous body that gently tapers towards a mouth boasting an everted rim. The cup's exterior showcases a captivating polychrome scene, depicting a zebu bull and a lion. The zebu bull stands majestically with its body adorned in alternating colorful stripes, exemplifying its significance within the Indus Valley symbolism. Its robust physique is gracefully positioned on all four legs, each accentuated with meticulously rendered hooves. Similarly, the lion, with its elongated legs, possesses an upper body adorned in vibrant stripes reminiscent of the zebu bull's design. The entire scene is framed at the top and bottom by beautifully arranged circumferential bands in shades of green, red, and black, further enhancing the visual impact. In the Indus Valley civilization, both lions and zebu bulls held profound symbolic value. The lion, as a powerful and regal creature, symbolized strength, courage, and authority. Its depiction in the context of this cup suggests a connection to concepts of power, dominance, and perhaps even royal or noble associations. On the other hand, the zebu bull, characterized by its distinctive hump and long, curved horns, represented fertility, agricultural abundance, and prosperity. The inclusion of these animals in the artistic motifs of the Indus Valley ceramics signifies the importance of these symbols in the cultural and religious practices of the civilization, possibly serving as auspicious or protective elements. Size: L:110mm / W:100mm ; 330g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

* SIMON LAURIE RSW RGI (SCOTTISH b. 1964) TWO GONDOLAS acrylic on board, signed, titled verso framed and under glassimage size 80cm x 85cm, overall size 101cm x 106cmNote: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.

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

Albrecht Dürer was a German painter, printmaker, and theorist who lived from 1471 to 1528. He is considered one of the greatest artists of the Northern Renaissance and is particularly renowned for his meticulous attention to detail, innovative techniques, and profound artistic skill.Born in Nuremberg, Germany, Dürer showed early talent as an artist and received training in various artistic techniques, including painting, printmaking, and drawing. He traveled extensively throughout Europe, studying and assimilating different artistic styles and ideas.Dürer's works encompassed a wide range of subjects, including religious themes, portraits, landscapes, and natural studies. He was a master of various mediums, including oil painting, watercolor, woodcut, and engraving. His mastery of printmaking, in particular, revolutionized the field and established him as a leading figure in the development of the medium.Dürer's artworks are characterized by their technical precision, harmonious compositions, and intricate detail. He had a remarkable ability to capture the texture, light, and naturalistic qualities of his subjects, whether it be the human form, animals, or natural landscapes. His attention to detail and his emphasis on the realistic portrayal of objects set new standards for artistic representation.In addition to his artistic achievements, Dürer was also a prolific writer and theorist. He authored treatises on art, including his famous book "Underweysung der Messung" (Treatise on Measurement), which explored the principles of perspective and proportion in art.Dürer's influence extended beyond his own time and had a lasting impact on subsequent generations of artists. His innovative techniques, meticulous craftsmanship, and intellectual approach to art-making inspired countless artists who followed, both in Germany and beyond.Today, Albrecht Dürer's artworks are held in prestigious museums and collections worldwide, and he is considered one of the most important and influential artists of the Renaissance. His contributions to the fields of painting, printmaking, and art theory continue to be celebrated and studied by art historians and enthusiasts alike.Measuers 23.5 x 30.