religious art Auktionspreise | religious art Empfohlene Preise (2025)

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Richard Winterton Auctioneers

Los 852

FIVE BOXES AND LOOSE MISCELLANEOUS ITEMS AND BOOKS to include a box of four vintage wooden puzzle toys, a quantity of plated and brass vintage cutlery and decorations, a quantity of Wedgwood sage 'Jasperware' trinket items, two art deco frosted scallop shaped wall lights (brackets and shades), a vintage hand painted fan, a military respirator mask (possibly 1970s), a boomerang, oversized wooden spoon, assorted ceramics, an Olympia 'Mod 8' typewriter, eight volumes of World War II, a large quantity of plastic animals, assorted plastic motorbikes, and a box of approximately forty LPs to include various easy listening compilations, classical music, and religious songs, etc (5 boxes and loose) (s.d)

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Apollo Art Auctions

Los 376

Ca. 1200 - 800 BC.A ritual brick with a rectangular section featuring fourteen columns of cuneiform text mentioning the foundation of a temple, probably for a King of Babylon. Babylonian ritual bricks, often found in temple contexts, are fascinating artefacts that provide insight into the religious and cultural practices of Ancient Mesopotamia. These bricks were typically used in the construction of temples and other sacred structures and were often inscribed with cuneiform text or images.Size: 135mm x 200mm; Weight: 845gProvenance: From the collection of a London gentleman; formerly acquired in the early 2000s in Belgium; previously in 1970s European collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

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Apollo Art Auctions

Los 183

Ca. AD 100 - 200 .A bronze statuette of Minerva captures her poised and dignified form in an elegant, detailed figure. She wears a crested helmet with intricate designs. Her robes, finely incised, drape naturally over her body, suggesting both strength and grace. In one hand, she holds a patera, a shallow libation dish, symbolising her connection to religious rites and offerings. The statuette displays a dark patina. For similar see: The Metropolitan Museum of Art, Accession Number: 96.9.390.Size: 120mm x 80mm; Weight: 235gProvenance: Private UK collection; previously acquired on the German art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

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McTear's

Los 1831

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE GOALKEEPER, 1973 bronzed plasterExhibited:Edinburgh, Benno Schotz Retrospective, Touring Exhibition, 1971, no. 144. Edinburh, Royal Scottish Academy, Annual Exhibition, 1973, no. 61. A smaller bronze version of this sculpture was exhibited: Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1968, no. 54. Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1985, no. 20.Note:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997. 59cm high including wooden plinth

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McTear's

Los 1832

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.),, CIRCA 1968 bronzed resinA bronze of this sculpture is in the collection of Celtic F.C.Note on both Schotz and Thomson:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club.Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece.Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal.Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history.40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village. 101cm wide

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McTear's

Los 1833

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.),, CIRCA 1968 bronzed plasterA bronze of this sculpture is in the collection of Celtic F.C.Note on both Schotz and Thomson:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club.Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece.Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal.Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history.40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village. 51cm wide

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Dominic Winter Auctions

Los 355

Newbery (Francis, publisher). Filial Duty, Recommended and Enforc'd, By a Variety of Instructive and Entertaining Stories, of Children who have been remarkable for Affection to their Parents; also An Account of some striking Instances of Children, who have Behaved in Undutiful, and Unnatural Manner to their Parents. The whole founded on Historical Facts. London: F. Newbery [after 1777], engraved frontispiece, 2 (of 6) engraved plates, lacks free endpapers and last 2 leaves of advertisements, together with:Howard & Evans (publisher). The Royal Primer; or, An Easy and Pleasent Guide to the Art of Reading, Adorn'd with Cuts, London: Howard and Evans, 1804, woodcut engravings to text, first and last leaves pasted to pastedowns, Marshall (John, publisher). The Universal Shuttlecock. Containing the Play of the Gaping-Wide-Mouthed-Wadling Frog, The Art of Talking with the Fingers, as it is practised in all the Schools and Universities in Great Britain and Ireland; And the History of Tommy Goodwill and Jackey Idle..., London: J. Marshall and Co, circa 1785, woodcut engravings to text, light spotting, lacking all preliminaries and last 2 pages of advertisements, Baldwin (R., publisher). A Christmas Box; or, Little Polite Tales, Fables, Riddles, Stories, Letters, Euitaphs &c. In Easy Prose and Verse with other Lessons of orality Equally Instructive & Entertaining for Little Masters and Misses..., London: R. Baldwin, [1754], engraved frontispiece and title printed in red, woodcut engravings throughout, old ownership inscription to front free endpaper, plus 3 other defective volumes; [Early Piety, or, Memoirs of Children eminently Religious, London: circa 1800], [A Description of Great Britain; with some account of its Constitution and Government, London, circa 1800], [Jemima Placid; or, The Advantage of Good-nature, London, circa 1800], each volume bound in original Dutch floral boards, some wear, lacking or partially lacking spines with sewing showing, 16mo QTY: (7)NOTE:Roscoe J1349(2). for the first work.

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OLD MASTER PRINT COMM.V

Los 12

Dutch Incunabula - Werner Rolevinck - Utrecht 1480 / Description: Incunabula sheet with handpainted rubrifications and initials in red. Sheet from the Dutch translation of Werner Rolevinck, "Fasciculus tempororum" , printed in 1480 and published by Johann Veldener in Utrecht. The sheet is with no doubht from this edition as no other Duthc reprints are known.The First edition in Latin printed by Arnold Therhoernen (1474) / Dimensions: 28,00 x 20,00 cm sheet / Condition: Overall in excelent condition / Literature: As a rule, incunables are not known for their exuberant look and content. However, the chronicle Fasciculus temporum is a positive exception to this general rule. It is a masterpiece, both in terms of typography and illustrative art. As a rule, incunables are not known for their exuberant look and content. However, the chronicle Fasciculus temporum is a positive exception to this general rule. It is a masterpiece, both in terms of typography and illustrative art. It goes without saying that religious views and opinions played a major part in Rolevinks’s history of the world and it is therefore not surprising that it starts with God’s creation of the world. The text is illuminated with many beautiful woodcuts. For instance we find illustrations of Noah’s Ark, the city of Nineve, the Ark of the Covenant, the tabernacle and many Biblical genealogies. But also ‘profane’ matters and cities are immortalized such as overviews of the royal families of France and England and cities including Rome, Constantinople, and London.... The incunable is a Dutch translation, printed in 1480 and published by Johann Veldener, publisher in Utrecht. There were no other Dutch reprints which suggests that the work was less popular in the Low Countries. Possibly Veldener was already involved in the first print of 1474, which rolled off the press in Cologne at Arnold Therhoernen. ..... the Fasciculus temporum is a synthesis between the religious and worldly history, a form quite common in the era of Humanism. However, emphasis is on the non-profane history, not surprising considering Rolevinck’s background. As sources for his text he used the Chronicon Pontificum et Imperatorum by Martin von Troppau, the Speculum historiale by Vincent van Beauvais and the anonymous Rudimentum noviciorum. ... (source of the description: Special collections - Utrecht University) / Medium: incunabula printed page /Circa: 1480

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OLD MASTER PRINT COMM.V

Los 13

Dutch Incunabula - Werner Rolevinck, The Ark of Noah - 1480 / Description: Incunabula sheet with hand painted rubrifications and initials in red. Sheet from the Dutch translation of Werner Rolevinck, "Fasciculus tempororum" , printed in 1480 and published by Johann Veldener in Utrecht. The sheet is with no doubt from this edition as no other Dutch reprints are known. The First edition in Latin printed by Arnold Therhoernen (1474) Larger oldcoloured woodcut of the Ark floating on the water. Indication of the use of the compartments in Dutch: The section for the tamed animals, the section for the birds and humans, the section for the wild animals. / Dimensions: 5,00 x 11,60 cm -- 28,00 x 20,00 cm sheet / Condition: A laid paper sheet in good condition. Moderate thumbing to the left corner. / Literature: Essling 277; Sander 6526; Goff R-261 ----- As a rule, incunables are not known for their exuberant look and content. However, the chronicle Fasciculus temporum is a positive exception to this general rule. It is a masterpiece, both in terms of typography and illustrative art. As a rule, incunables are not known for their exuberant look and content. However, the chronicle Fasciculus temporum is a positive exception to this general rule. It is a masterpiece, both in terms of typography and illustrative art. It goes without saying that religious views and opinions played a major part in Rolevinks’s history of the world and it is therefore not surprising that it starts with God’s creation of the world. The text is illuminated with many beautiful woodcuts. For instance we find illustrations of Noah’s Ark, the city of Nineve, the Ark of the Covenant, the tabernacle and many Biblical genealogies. But also ‘profane’ matters and cities are immortalized such as overviews of the royal families of France and England and cities including Rome, Constantinople, and London.... The incunable is a Dutch translation, printed in 1480 and published by Johann Veldener, publisher in Utrecht. There were no other Dutch reprints which suggests that the work was less popular in the Low Countries. Possibly Veldener was already involved in the first print of 1474, which rolled off the press in Cologne at Arnold Therhoernen. ..... the Fasciculus temporum is a synthesis between the religious and worldly history, a form quite common in the era of Humanism. However, emphasis is on the non-profane history, not surprising considering Rolevinck’s background. As sources for his text he used the Chronicon Pontificum et Imperatorum by Martin von Troppau, the Speculum historiale by Vincent van Beauvais and the anonymous Rudimentum noviciorum. ... (source of the description: Special collections - Utrecht University) / Medium: Woodcut on incunabula printed page /Circa: 1480

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OLD MASTER PRINT COMM.V

Los 41

Thielman I Kerver (fl. 1497-1522) - Dance of Death - 1499 / Description: This illumination combines two thems of the office of death, on top we see Job sitting on the dunghill regretting he was ever born and giving associations to the dead being tormented in Purgatory. Job is debating his three friends (and being scolded by his wife. Below Death attacking "every man". It shows a single young man who is being attacked by Death with his dart. This metal cut was already used in Horae intemerate Virginis Marie secundum usum Romanum, 1499. Here with a different border and probably published a bit later by Thielman Kerver between 1500-1520. / Dimensions: 13,70 x 8,90 cm, sheet 16,50 x 10,50 / Condition: Excellent impression on vellum with no wear art all to impression or colouring. Heightened with gold. One small circular worm hole, otherwise in very good condition. / Literature: Thielman I Kerver (fl. 1497-1522). Major printer and seller of religious books, originally from Coblentz but active in Paris 1497-1522. After his death the printing business was taken over by his widow Yolande Bonhomme, then by his son Thielman II Kerver. / Medium: metal cut /Circa: 1499-1520

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Auctioneum Ltd - East Bristol & Bath

Los 328

Iron Art - A 20th-century Danish reproduction of a bronze box, with religious imagery on the front, bronze decorative hinges, and 'Anno 1219' text printed on the inside of the lid. Featuring two handles, raised on four short circular feet, and a two hinged lid. Believed to be made by Edward Aagard. Marked 'Iron Art, Copenhagen, Denmark' to the reverse. Measuring approx. 9cm x 22cm x 9cm.

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Bonhams

Los 7P

Sayed Haider Raza (1922-2016)La Terre signed and dated 'Raza 85' lower centre; further signed, titled, dated and inscribed 'Raza/1985/200 x 200/'La Terre' verso acrylic on canvas, framed200 x 200cm (78 3/4 x 78 3/4in).Footnotes:ProvenanceProperty from a Corporate Collection, UK.The Collection of Vincent Grimaud, Paris;Christie's, Modern and Contemporary Indian Art Including Art from Pakistan And Sri Lanka, Sale 7501, 21st May 2007, London, Lot 7, Private CollectionChristie's, South Asian Modern & Contemporary Art, Sale 2336, 15th September 2010, New York, Lot 323. ExhibitedBombay, Gallery Chemould, Raza Anthology 1980-1990, 24th January – 10th February 1990.New York, Saffronart in association with Berkeley Square Gallery, Raza – A Retrospective, 21st September – 31st October 2007.PublishedSH RAZA: Catalogue Raisonné 1972 - 1989 (Volume II), New Delhi, 2022, p.402-403Pierre Sou-chand, L'age d'or de la peinture en Inde, Artension no. 11, September, Paris, 1989, p.18 (dated '1985') (illustrated) Geeti Sen, Raza, Lalit Kala Akademi, New Delhi, 1990, fig. 12 (illustrated).Exhibition catalogue, Raza Anthology 1980-1990, Gallery Chemould, Bombay, 1990, unpaginated (illustrated).Geeti Sen, Bindu: Space and Time in Raza's Vision, Media Transasia, New Delhi, 1997, p.135 (illustrated).Exhibition catalogue, Raza – A Retrospective, Saffronart in association with Berkeley Square Gallery, New York, 2007, Cat. no. 33, p. p 90-91, (illustrated).Alain Bonfand, Raza, Editions de la Difference, Paris, 2008, p.p. 124 – 125 (illustrated)Ranjit Hoskote, Ashok Vajpeyi, Yashodhara Dalmia and AVNI Doshi, S.H Raza: Vistaar, Art Musings, Mumbai, 2012, p.55 (illustrated).In La Terre, or 'The Earth', Sayed Haider Raza explores artistic inquiries centred on a pure visual order around line, tone, colour, texture and space, and the theme of nature. Painted in 1985, La Terre is a chef-d'oeuvre that marks a pivotal moment in Raza's career. After spending years immersed in the styles of the various currents of Western Modernism, his artistic journey reached a turning point as he began embracing key aspects of his Indian heritage into his body of work. Raza was born in rural Central India and studied art in Nagpur and Bombay before moving to Paris in 1950 to study at L'École des Beaux-Arts on a scholarship. The artistic scene that emerged in the latter half of the 20th century, influenced by the aftermath of World War II, sparked significant transformations for many artists in the French capital, as they sought new forms of expression. Among them, Raza, whose studies at Les Beaux-Arts led him to explore further on his journey towards abstraction. During his decades-long stay in France, his forms melted, and the artist progressively abandoned a desire to depict a tangible, constructed reality through his landscapes' interpretations. After delving into a variety of influences from Expressionism, Raza's abstract style evolved toward a more distinct geometric abstraction. By the late 70s, Raza had fully committed to the use of pure geometric forms in his work.Raza co-founded the Bombay Progressive Artists' Group (PAG) in 1947 alongside Krishna Hawlaji Ara and Francis Newton Souza, with the aim of diverging from the Western realist traditions taught in Indian art schools. The group sought to develop a modern artistic language that echoed India's essence. This marked the beginning of a broader shift, as artists sought to blend indigenous traditions with contemporary influences. By the 1970s and 1980s, Raza felt an increasingly strong emotional and spiritual connection to his native land. During this period, he began a series of paintings titled La Terre, including the work consigned here. Reflecting on this artistic journey, Raza stated: 'I was inspired to conceive a painting which could be a letter to my mother country, India, revealing my experiences, discoveries, and acquisitions. I hoped the painting could be evidence that I was never cut off from my sources. The memories, conscious and unconscious, were ever present' (Artist Statement, 1981, S. H. Raza, exhibition catalogue, London and New York, 2005).'I have never left India. I love my country, and I am proud of it, and it's not sentimental my friend. Don't think that it's only emotional. I have been linked with the profound spiritual, religious message that India has to give to Indians and to the world of which we are forgetful at times, even in India.' (Raza cited in 'A Conversation with Raza', Raza: A Retrospective exhibition catalogue, New York, 2007, unpaginated). Indeed, while much of the work produced by emerging abstract artists in the second half of the 20th century was shaped by Western influences, a distinct artistic language emerged. This new form of abstraction, described by Ashish Anand as 'a native language, qualified by Indian roots and steeped in an abstract lexicon that dates to the past, whether historical or mythological' (Indian Abstracts: An Absence of Form, Notes from the Director, New Delhi, 2014, p. 7), blended India's rich cultural heritage with modern abstract forms, embodying the evolution of artists like Raza.In La Terre, Raza's abstract work, is profoundly shaped by his early experiences in the forests of his native village, Barbaria, Madhya Pradesh. This 1985 work synthesizes an imagery of his homeland landscape through elements of nature, spatial expression, and spiritual geometry into a cohesive composition. In La Terre, Raza embraces abstraction as a creative catalyst to evoke the grandeur and lyrical subtleties of the Indian landscape. This work is emblematic of Raza's oeuvre, characterised by its recurring leitmotifs: a square canvas meticulously divided through the application of a distinct earthy colour palette and the use of intersecting horizontal, vertical and diagonal lines that create intricate triangular segments. This structure is deeply informed by the principles of Hindu philosophy, reflecting Raza's commitment to intertwining his artistic practice with his cultural heritage. Ultimately, this synthesis of form and meaning not only showcases Raza's distinctive style but also highlights the spiritual and philosophical underpinnings that define his artistic vision.'My work is my own inner experience and involvement with the mysteries of nature and form, expressed through colour, line, space, and light' (Artist Statement, 1981, S. H. Raza, exhibition catalogue, London and New York, 2005).P indicates that this is a Premium Lot. If you wish to bid on this lot, please refer to (page 2 /Auction Information) for bidding information.For further information on this lot please visit Bonhams.com

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Bonhams

Los 5

J. Sultan Ali (1920-1990)Nag-Puja signed and dated in Devanagiri and English 'Ali Sultan Ali 1965' lower right; further inscribed 'J Sultan Ali, Nag Puja (II), 87x122 cms, oil, 1965' versooil on canvas, framed87 x 122cm (34 1/4 x 48 1/16in).Footnotes:ProvenanceProperty from a private collection, London.Acquired from the artist;Acquired from the above.In Indian tradition, the serpent, or nag, is venerated as a powerful deity associated with fertility, protection, and renewal. The practice of snake worship dates back to the early Indus Valley civilization and continues to be an integral part of religious observances, particularly in rural and tribal communities. This reverence stems from the snake's dualistic nature—embodying both creation and destruction, life and death—qualities that resonate with the cycles of nature. Rituals dedicated to snake worship are often held at specific times of the year, such as during the festival of Nag Panchami (serpent worship), where devotees offer milk, flowers, and prayers at anthills or temples dedicated to snake deities. These practices are believed to appease the serpents and ensure the well-being of the land, crops, and community, while also warding off calamities. The serpent's symbolic role as a guardian of hidden knowledge and the earth's treasures further underscores its significance in mythology and folklore.J. Sultan Ali's Nag-Puja (snake worship) is a striking exploration of ritual and spirituality, rendered through the artist's distinct visual language that combines folk traditions with modernist aesthetics. The two central figures are stylised and elongated, their simplified forms set against a vivid, textured background, whilst the three figures to the right of the composition appear anthropomorphic. Ali's bold use of reds, oranges and yellows coupled with the rhythmic lines infuses the composition with a sense of movement and energy, reflecting the fervour and dynamism of ritual practices. Ali is famed for his 'bulls,' a recurrent motif in his oeuvre, and here there are two bulls depicted to the left of the canvas. Bulls represent strength, vitality, and spirituality, and Ali imbues the animal with a symbolic meaning that transcends its physical form. To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, 25th October 2021, lot 21.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams

Los 45

Jayasri Burman (B.1960)Untitled (Goddesses) all signed and dated 'Jayasri Burman 2019' lower leftmixed media on board21.5 x 15.3 cm; 21.5x 16 cm; 20.1 x 15 cm; 15.6 x 19.7 cm Footnotes:ProvenanceProperty from a private collection, USA;Acquired from CIMA, Kolkata in 2021.Burman is an acclaimed Indian artist known for her vibrant and mythological-themed paintings, often rooted in Indian folk traditions and spiritual symbolism. Born in 1960, Burman studied art at Kala Bhavan, Santiniketan, developing a distinctive style that blends watercolour with intricate linework, resulting in a unique blend of fantasy and folklore. Her works are heavily influenced by her Bengali heritage, with a recurring focus on feminine divinity and nature. Burman often depicts goddesses in her art, portraying them as nurturing, powerful, and deeply connected to the natural world. Her art transcends simple religious depictions, bringing out the emotional and symbolic aspects of Indian mythology while celebrating the power of femininity and spirituality.One of Burman's most notable series is her work centred on goddesses, where she explores the multi-faceted nature of female deities in Hinduism. In these pieces, goddesses such as Durga, Kali, and Saraswati are rendered with intricate detail, surrounded by flora, fauna, and mythological motifs. These artworks are a celebration of female strength, beauty, and divinity, blending divine and earthly elements to present the goddesses as protectors, creators, and symbols of life.For further information on this lot please visit Bonhams.com

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Bonhams

Los 11

Maqbool Fida Husain (1915-2011)Ganesh Darbar signed and dated 'Husain '92' lower rightacrylic on canvas, framed90.7 x 151cm (35 11/16 x 59 7/16in).Footnotes:ProvenanceProperty from a private collection, London. Acquired from the artist.'...another favourite animal figure of Husain is the elephant with its myriad associations for the pre-globalised ordinary Indian. In the Indian mythology Airavat, the four-tusked white elephant that emerged from the churning of the ocean, is the mount of the Rain God Indra. The elephant is also a symbol of prosperity because of its association with goddess Laxmi. There are other mythological associations of the elephant, such as with Ashwatthama of Mahabharata and with Ganesha. In the Indian classical literature the elephant also stands for sensuous grace. That is why in the Sanskrit literature, a beautiful woman is described as gajagamini, the one who walks with the sensuous gait of an elephant. Finally, right from the ancient times up to the end of the twentieth century, the elephant was a ceremonial mount for the Royals of India...'The elephant's association with Ganesha is a part of the religious belief of the Hindus.' (K. Bikram Singh, Maqbool Fida Husain, Rahul & Art, 2008, pg. 192)Untitled (Ganesh Darbar) is a vivid and striking painting that seamlessly weaves together the artist's distinctive modernist aesthetic with deeply rooted Indian cultural and religious symbolism. In this piece, Husain places Lord Ganesha, the beloved elephant-headed god, at the centre of the composition, surrounded by two additional representations of Ganesha and three elephants. This arrangement reflects the multi-dimensional nature of the deity, who is revered not only as the remover of obstacles but also as a symbol of wisdom, prosperity, and new beginnings. The painting is a vibrant celebration of Indian spirituality and tradition, seen through the lens of Husain's dynamic, abstract style.At the heart of Untitled (Ganesh Darbar) is Ganesha, whose iconic figure dominates the composition. Husain portrays the deity with a fluid, almost gestural quality, using broad, sweeping brushstrokes to evoke Ganesha's elephantine features. The central Ganesha appears powerful yet approachable, an embodiment of divine energy and wisdom. His posture and placement exude a sense of calm authority, while the vibrant colours—deep reds and oranges surround him, radiating a sense of life and celebration. The two other Ganesha figures, slightly smaller in scale, mirror the central figure but add to the painting's sense of repetition and rhythm. Their presence suggests the multiplicity of Ganesha's aspects and roles in Hindu mythology, where he is often depicted in various forms and manifestations.The inclusion of three elephants around the central figures further amplifies the symbolism of strength, wisdom, and power. In Hindu tradition, elephants are revered for their association with majesty and calm strength, qualities that Ganesha, as the elephant-headed god, embodies. Husain's depiction of the elephants is characteristically bold and abstract, with their forms reduced to essential shapes and lines, yet still recognisable. These elephants, placed towards the bottom on either side of Ganesha, reinforce the sense of balance and stability within the composition, grounding the painting in an almost sacred symmetry. They also echo the central deity's own elephantine form, creating a visual dialogue between the divine and the earthly, the mythological and the real.Husain's use of colour and form in Untitled (Ganesh Darbar) is key to the painting's emotional and spiritual impact. The halo that surrounds Ganesha—in gold, conveys a sense of reverence. The oranges and reds that feature heavily on the canvas, are often associated with Hindu rituals and festivals, and create a festive atmosphere, suggesting that this is not just a static portrayal of Ganesha but a dynamic darbar, or court, where divine presence is celebrated and honoured. The rich, textured layers of paint reflect Husain's modernist approach, where the interplay between abstraction and figurative elements becomes a vital part of the visual narrative. The painting is not constrained by realism but instead allows for a more expressive, emotional portrayal of its subject.Untitled (Ganesh Darbar) also reflects Husain's broader approach to religious and mythological subjects throughout his career. Known for his deep engagement with Indian culture, Husain often turned to themes from Hindu mythology, despite his own Muslim background, demonstrating his belief in the universal nature of spiritual and cultural symbols. In this painting, Husain does not simply depict Ganesha as a religious icon; rather, he reinterprets the deity through his modernist vision, blending traditional iconography with his unique artistic style. The result is a work that feels both ancient and contemporary, deeply rooted in Indian tradition yet open to global, modernist interpretations.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, 14th November 2023, lot 6.For further information on this lot please visit Bonhams.com

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Ketterer Kunst München

Los 362

Hermann Nitsch 1938 Wien - 2022 Mistelbach Schüttbild mit Malhemd. 1989. Mischtechnik auf Leinwand. Öl und Dispersionsfarbe auf Jute, mit Malhemd. Verso signiert und datiert. 200 x 300 cm (78,7 x 118,1 in). [AR]. • Großformatiges, unverkennbar kraftvolles Schüttbild mit Malhemd. • Religiöse Bezüge sind charakteristisch für Nitsch, wie auch hier durch die Verwendung der liturgischen Farben Blau und Grün. • Das Malhemd verweist auf den körperlichen Entstehungsprozess und ruft Assoziationen zu Kreuzigungs-Darstellungen hervor. • Nitsch gilt als Hauptvertreter des Wiener Aktionismus und sein Gesamtwerk als wegweisender Beitrag zur Kunst des 20. Jahrhunderts. PROVENIENZ: Galerie Steinek, Wien. Firmensammlung Ahlers AG, Herford (2006 von Vorgenanntem erworben). AUSSTELLUNG: Fetische des Blicks. Mode und Verführung, Stiftung Ahlers Pro Arte, Herford, 11.9.2021-16.1.2022, S. 18/19. 'das hemd wird oft als höchster schmuck und trophäe auf ein bild gehängt, um dessen farbgefüge zu bereichern, es gibt bilder, die brauchen kein hemd, andere verlangen danach' Hermann Nitsch, Das Malhemd, 1991, zit. nach: Dietmar Haubenhofer, Hermann Nitsch. Das Konzept des Orgien Mysterien Theaters. Malaktionen, Prinzendorf 2013, S. 122. Ab Mitte der 1950er Jahre entwickelt der österreichische Künstler Hermann Nitsch eine neue Kunstform, die bestehend aus Musik, Literatur und Kunst zu einem alle Sinne ansprechenden Gesamtkunstwerk verschmelzen soll. Als Teildisziplin seines 'Orgien Mysterien Theaters' ist die Malerei dabei nicht nur Ausgangspunkt, sondern auch Endresultat zahlreicher Aktionen und fest im Schaffen des Künstlers verankert. Ab 1989 entstehen die ersten vielfarbigen 'Schüttbilder', die sich aus unterschiedlichen Schichten zusammensetzen und wiederholt die liturgischen Farben Grün, Rot, Violett, Weiß und Schwarz beinhalten. Eine Ausstellung in der Albertina in Wien im Jahr 2019 hat die große Bandbreite von Nitschs Malerei erst kürzlich eindrucksvoll unter Beweis gestellt. In einem Beitrag zur Ausstellung beschreibt Hermann Nitsch die Farbe als 'ein gewaltiges Phänomen'. Seine Aktionsmalerei ist Ausdruck dieser lebenslangen Begeisterung für die Materie und die Werke bleibende Zeugnisse seiner mittlerweile legendären und vielfach dokumentierten Malaktionen. Neben der Farbe kommt auch dem Malhemd eine ganz besondere Rolle zu. 1991 schreibt Hermann Nitsch: '[.] das hemd wird oft als höchster schmuck und trophäe auf ein bild gehängt, um dessen farbgefüge zu bereichern, es gibt bilder, die brauchen kein hemd, andere verlangen danach' (Hermann Nitsch, Das Malhemd, 1991, zit. nach: Dietmar Haubenhofer, Hermann Nitsch. Das Konzept des Orgien Mysterien Theaters. Malaktionen, Prinzendorf 2013, S. 122). Dem hier in der Mitte der Leinwand angebrachten Exemplar sind die Spuren des sehr körperlichen, alle Sinne ansprechenden Entstehungsprozesses deutlich anzusehen und ruft dabei unweigerlich Assoziationen zu Kreuzigungs-Darstellungen hervor. Die Bezugnahme auf Religionen, philosophische Weltanschauungen sowie jahrtausendealte mystische Kulte ist charakteristisch für Hermann Nitschs Gesamtkunstwerk und tritt in unterschiedlichen Handlungen, Relikten und Assoziationsebenen immer wieder von neuem zutage. Nicht immer stieß Nitschs Kunstverständnis in der Öffentlichkeit auf Zustimmung, insbesondere in der Anfangszeit. Über die Jahrzehnte bis zu seinem Tod im Jahr 2022 hat sich der Blick auf sein Schaffen allerdings stetig verändert. Insbesondere seine frühen Werke sind heute als wegweisender Beitrag zur Kunst des 20. Jahrhunderts anerkannt und üben in ihrer Gesamtheit nach wie vor eine große Faszination auf sein Publikum aus. [AR] Aufrufzeit: 07.12.2024 - ca. 17.07 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N), Folgerechtsvergütung fällt an.ENGLISH VERSIONHermann Nitsch 1938 Wien - 2022 Mistelbach Schüttbild mit Malhemd. 1989. Mixed media on canvas Oil and dispersion paint on jute. Signed and dated. 200 x 300 cm (78.7 x 118.1 in). [AR]. • Large-format, unmistakably powerful Pour Painting with the painter's shirt. • Religious references are characteristic of Nitsch's work, as is the case here with the use of the liturgical colors blue and green. • The painting shirt refers to the physical process of artistic production and evokes associations with depictions of the crucifixion. • Nitsch is regarded the main representative of Viennese Actionism and his oeuvre as a groundbreaking contribution to the art of the 20th century. PROVENANCE: Galerie Steinek, Vienna. Corporate Collection Ahlers AG, Herford (acquired from the above in 2006). EXHIBITION: Fetische des Blicks. Mode und Verführung, Foundation Ahlers Pro Arte, Herford, September 11, 2021 - January 16, 2022, pp. 18/19. 'The shirt is often hung on a painting as the highest adornment and trophy to enrich its color structure. There are paintings that don't need a shirt, others desperately need it.” Hermann Nitsch, Das Malhemd, 1991, quoted from: Dietmar Haubenhofer, Hermann Nitsch. Das Konzept des Orgien Mysterien Theaters. Malaktionen, Prinzendorf 2013, p. 122. Starting in the mid-1950s, the Austrian artist Hermann Nitsch sought to create a new form of art that would combine music, literature, and visual arts in the sense of Gesamtkunstwerk, a synthesis of arts that appealed to all the senses. As a sub-discipline of his “Orgien Mysterien Theater” (Theater of Orgies and Mysteries), painting served not only as impetus but also as the outcome of numerous actions and is firmly anchored in the artist's oeuvre. In 1989, the first multi-colored “Schüttbilder” (Poured Paintings) were created. Composed of different layers, they repeatedly incorporate the liturgical colors green, red, violet, white, and black. An exhibition at the Albertina in Vienna in 2019 impressively demonstrated the wide range of Nitsch's artwork. In an essay accompanying the exhibition, Hermann Nitsch described color as “a powerful phenomenon.” His action painting expresses this lifelong enthusiasm for the material, and the works are lasting testimonies to his legendary and widely documented painting actions. Apart from the color, the painter's shirt also plays a special role. In 1991, Hermann Nitsch wrote: “[.] the shirt often adorns a painting as the highest kind of decoration and trophy to enrich its color structure; there are paintings that do not need a shirt, others demand it” (Hermann Nitsch, Das Malhemd, 1991, quoted from: Dietmar Haubenhofer, Hermann Nitsch. Das Konzept des Orgien Mysterien Theaters. Malaktionen, Prinzendorf 2013, p. 122). The shirt attached to the center of the present work shows clear traces of the very physical, sensual process of its creation, inevitably evoking associations with depictions of the crucifixion. References to religious and philosophical worldviews, as well as ancient mystical cults, are characteristic of Hermann Nitsch's Gesamtkunstwerk; they appear time and again in various actions, relics, and layers of associations. Nitsch's concept of art was not always met with public approval, especially in the early days. Until his death in 2022, however, the general view of his work has steadily changed. His early works, in particular, are now recognized as a pioneering contribution to 20th-century art and, in their entirety, continue to fascinate his audience. [AR] Called up: December 7, 2024 - ca. 17.07 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N), artist´s resale right compensation is due.

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Bonhams

Los 77

A small Hittite silver statuette of a priest or deityCirca 1400-1200 B.C.3cm high excl. pegFootnotes:Provenance:R. Symes Gallery, UK, prior to 1999, inv. no. 2221; sold by the liquidators.with C.J.M. Coins Ltd., UK.Acquired by the current owner from the above in 2017.As well as being a formidable political force, the Hittite Empire was a great cultural centre. The period from circa 1400-1200 B.C. was a time of preeminence in Hittite metalwork, giving rise to many intricate objects, from vessels to figurines such as this. Much of the imagery revolved around Hittite deities and religious practices. Hittite religion was one of the most complex of any ancient Near Eastern culture, and has been characterised as an example of extreme polytheism. The priest-king served as the bridge between mortal man and the plethora of deities they sought to appease and worship. Cf. a similarly diminutive statuette of a winged deity at the Metropolitan Museum of Art, New York, acc. no. 1990.255, and another of a seated female, acc. no. 1989.281.17. The present lot, and the Met examples, belong to a group of miniature representations of Hittite deities, priests and worshippers. Usually made of bronze, gold, and silver, they may have been worn as amulets (though they do not have suspension loops), or used as votive dedications, as small statuettes are recorded in lists of offerings to deities in Hittite texts.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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McTear's

Los 82

* SIMON LAURIE RSW RGI (SCOTTISH b. 1964), GONDOLAS acrylic on board, signed, titled versoframedimage size 75cm x 81cm, overall size 93cm x 98cmNote: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.

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Hampel Fine Art Auctions

Los 166

Apollonio di Giovanni, 1415/17 – 1465TRIUMPHZUG DES KONSULS LUCIUS AEMILIUS PAULUSÖl und Tempera auf Holz.38,5 x 155,5 cm.In schmaler Galerieleiste.Wir danken Alessandro Tomei für die Bestätigung der Zuschreibung anhand eines Fotos und für die Hilfe bei der Katalogisierung dieses Loses.Beigegeben ein umfangreicher auch Fotomaterial beinhaltender Restaurierungsbericht von Carlotta Beccaria, Mailand, 20. Januar 2021.Diese Arbeit war ursprünglich das Vorderteil einer Hochzeitstruhe, eines Cassone, eines großen Holzbehälters, der mit Gemälden dekoriert war und zur Aufbewahrung von Wäsche und anderen persönlichen Gegenständen verwendet wurde. Es war traditionell üblich, dass solche Möbelstücke in einer Prozession zum Heim der frisch Vermählten getragen wurden, um im Brautgemach aufgestellt zu werden. Cassoni waren von Anfang des 14. bis zum 17. Jahrhundert in Nord- und Mittelitalien weit verbreitet und besonders in Florenz sehr beliebt. Ab dem 19. Jahrhundert wurden sie auch von Sammlern und Museen in Europa und den Vereinigten Staaten stark nachgefragt.Die gemalte Dekoration auf Cassoni stellte meist historische Ereignisse dar, besonders Schlachten und Szenen aus der Mythologie und der klassischen Literatur, sowie aus mittelalterlichen Erzählungen, literarischen Allegorien und religiösen Themen. Das Thema eines Triumphes, wie es auf diesem Panel dargestellt ist, war eine beliebte Wahl für die Dekoration von Cassoni und wurde auch oft auf großen verzierten Tabletts, die Frauen nach der Geburt überreicht wurden, abgebildet. Die Wahl dieser Ikonografie war mit der vorherrschenden humanistischen Kultur verbunden und dem Interesse, den Ruhm des antiken Roms neu zu entdecken. Das Thema unterstrich auch die Bedeutung und den Adel der Familien des Brautpaares und verstärkte die Traditionen und das Prestige von Hochzeitsprozessionen.Das vorliegende Panel zeigt den Triumph des Konsuls Lucius Aemilius Paullus nach der Schlacht von Pidna in Thessalien, die 168 v. Chr. stattfand. Die Schlacht markierte die endgültige Niederlage der makedonischen Dynastie, eines Königreichs, das von Rom in vier Republiken aufgeteilt wurde. Nachdem er versucht hatte zu fliehen, ergab sich König Perseus Lucius Aemilius Paullus und wurde als Gefangener, seiner königlichen Gewänder beraubt, auf dem Wagen des Siegers abgebildet, wie es auf diesem Gemälde zu sehen ist. Das ikonografische Thema ist ungewöhnlich, und dieses Werk stellt ein besonders bedeutendes Beispiel dar, aufgrund seiner Ausführungsqualität und des Reichtums an dekorativen Elementen. Ein weiterer Cassone mit ähnlichem Thema befindet sich im Fitzwilliam Museum in Cambridge, und andere ähnliche Werke von Apollonio sind in privaten Sammlungen dokumentiert (siehe E. Callmann, Apollonio di Giovanni, Oxford 1974, S. 75, Kat. Nr. 58, Abb. 274).In dem vorliegenden Gemälde verläuft die triumphale Prozession von links nach rechts und ist vor einer weiten, hügeligen Küstenlandschaft angesiedelt, mit der Stadt Pidna in der Mitte, die von Türmen und Mauern befestigt ist; das Meer wird von mehreren Schiffen belebt, und es gibt Festungen auf den Hügeln. Der Hauptfokus der Komposition liegt auf dem goldenen Wagen des Siegers, auf dem, wie bereits erwähnt, König Perseus vor dem römischen Konsul sitzt, in einer schlichten weißen Tunika. Ein weiterer Wagen, der ihm vorausfährt, ist mit der Beute aus wertvollen Objekten und Möbeln beladen. Sie sind von einer Menge Krieger umgeben, sowohl zu Fuß als auch zu Pferd, die Schwerter und Speere tragen, sowie von Würdenträgern und Dienern, die alle reich gekleidet sind. Das hochrangige Patronat der Truhe wird nicht nur durch das Thema betont, das nur von jenen mit klassischem Wissen verstanden werden konnte, sondern auch durch den ausgedehnten Gebrauch von Blattgold, mit dem die dekorativen Elemente der Gewänder und Waffen verziert sind: Gürtel, bestickte Ränder der Gewänder, Helme, Federn, Schwertgriffe, Zaumzeug der Reittiere, die Beute auf dem Wagen des Triumphators - all dies trägt dazu bei, eine Erzählung mit deutlich höfischer Note zu schaffen. Die stilistische Qualität des Werks bestätigt die Zuschreibung an Apollonio di Giovanni, einen der am besten dokumentierten und gefeierten Künstler dieser Kunstproduktion im mittelitalienischen Florenz des 15. Jahrhunderts. Er wird als Leiter, zusammen mit Marco del Buono, einer florierenden Werkstatt dokumentiert, die auf die Produktion von gemalten Cassoni spezialisiert war. Er stand in Kontakt mit den zeitgenössischen Strömungen des humanistischen Denkens, was die Vorliebe für bestimmte ikonografische Themen erklärt (siehe W. Stechow, Marco del Buono und Apollonio di Giovanni, Cassone Painter, im: Bulletin of the Allen Memorial Art Museum, Oberlin College, Bd. I, Juni 1944, S. 5-21).Sein malerischer Stil zeichnet sich durch einen eleganten und kostbaren Duktus aus, der ihn zu einem der besten Interpreten der frühen florentinischen Renaissance macht, die noch vom formalen Raffinement der spätgotischen Malerei durchdrungen war. Insbesondere kann dieses Werk mit einem Paar Cassone-Vorderseiten von Apollonio im Königsschloss Wawel in Krakau (National Art Collections, Inventar Nr. 7928/7929) verglichen werden. Das vorliegende Werk kann auch mit anderen Cassoni von Apollonio verglichen werden, wie zum Beispiel der Schlacht zwischen den Athenern und den Persern (Xerses' Invasion von Griechenland) im Allen Memorial Art Museum in Oberlin, Ohio, USA, und den beiden Tafeln mit Szenen aus der Aeneis in der Yale University Art Gallery in New Haven, Connecticut, USA. Das vorliegende Werk kann auf die voll ausgereifte Periode des Meisters um die Mitte des 15. Jahrhunderts datiert werden.Provenienz:Privatsammlung, England, bis 2015.Privatsammlung, Europa. (1421711) (13)Apollonio di Giovanni, 1415/17 – 1465 THE TRIUMPH OF THE CONSUL LUCIUS AEMILIUS PAULLUSTempera and gold on panel, a cassone front. 39.5 x 155.7 cm.Framed.We would like to thank Alessandro Tomei for confirming the attribution of the present painting on the basis of a photograph and for his help in cataloguing this lot.Accompanied by an extensive restoration report, including photographic material, by Carlotta Beccaria, Milan, 20 January 2021.This work was originally the front panel of a nuptial chest, a cassone, a large wooden container decorated with paintings that was used to store linen and other personal belongings. It was traditional for such furnishings to be carried in a procession to the home of newlyweds to be placed in a bridal chamber. Cassoni were widespread in Northern and Central Italy from the fourteenth to the seventeenth century and were especially popular in Florence. They became particularly sought after by collectors and museums, both in Europe and the United States from the nineteenth century onwards. The painted decoration on cassoni usually depicted historical events, particularly battles and episodes taken from mythology and classical literature, as well as from medieval novels, literary allegories and religious themes. The subject of a triumph, as depicted on the present panel, was a popular choice for the decoration of cassoni, and was also often depicted on deschi da parto, large decorated trays that were offered to women after childbirth. The choice of this iconography was linked to the prevailing humanist culture and the interest in revisiting the glory of ancient Rome. The subject matter also emphasised the importance and nobility of the bride and groom’s families and augmented the customs and prestige of wedding processions. The present panel depicts the Triumph of the Consul Lucius Aemilius Paullus after the battle of Pidna in Thessaly, which took place in 168 BC. The battle marked the final defeat of the Mac...

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Your Antiquarian

Los 181

ITEM: Oil lampMATERIAL: PotteryCULTURE: IslamicPERIOD: 11th - 13th Century A.DDIMENSIONS: 60 mm x 56 mm x 103 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired before 1990sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Islamic oil lamps from the 11th to 13th centuries reflect both the practical needs and the artistic achievements of the medieval Islamic world. These lamps were primarily crafted from materials such as brass, bronze, and glazed ceramics, each with distinct regional styles. Metal lamps were particularly popular due to their durability and ability to withstand high temperatures, while ceramic lamps offered an affordable and widely accessible alternative. The basic form of these lamps consisted of a rounded body with a central reservoir for oil and an extended spout for holding the wick, but many variations existed depending on region and purpose. The lamps were commonly used in mosques, homes, and public spaces, illuminating interiors and enhancing night-time activities with a warm, consistent glow.Islamic oil lamps from this period were often decorated with intricate patterns and inscriptions, reflecting the flourishing of Islamic art and the integration of spirituality into daily objects. Geometric designs, arabesques, and calligraphy were popular motifs, often inspired by Islamic religious themes and the principles of aniconism, which discouraged the use of human or animal figures in religious art. Calligraphic inscriptions, typically featuring verses from the Quran, invocations, or blessings, were especially prevalent, emphasizing the connection between the object and spiritual life. These lamps were not just functional but also carried a symbolic and religious meaning, with the light they produced symbolizing divine guidance and spiritual illumination in Islamic thought.

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Your Antiquarian

Los 012

ITEM: Ostracon with Greek textMATERIAL: PotteryCULTURE: EgyptianPERIOD: Ptolemaic period, 3rd - 1st Century B.CDIMENSIONS: 82 mm x 95 mm 6 mmCONDITION: Good conditionPROVENANCE: Ex Swedish private collection, John Ingels (1925 - 2016), John Ingels worked as a painter, curator, filmmaker and tour guide with heart and soul in his home region of Leksand. He eventually became very popular and acquired archaeological artefacts during his stays in Egypt and Italy. He made the 1962 film ‘Egyptian Monuments’ with the important purpose of saving the temple of Abu Simbel. Several of the objects from this auction were exhibited in local shops and installations in Leksand during the 1970s and 1990s. Some of the objects were acquired abroad in England, Egypt and Israel, among others, and were brought to Sweden in the 1960s.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Egyptian ostraca were pieces of pottery shards or limestone flakes used as writing or drawing surfaces in ancient Egypt, often serving as practical and affordable alternatives to papyrus. The term "ostracon" (plural: ostraca) originates from the Greek word for "potsherd," and these pieces were widely used in daily life for notes, drafts, or sketches. Since ostraca were readily available, they became popular for informal or temporary writings, including accounts, personal letters, and even school exercises. This usage was common among scribes, who would practice their writing or create quick drafts before committing text to more valuable materials. The durability of pottery and stone has allowed many ostraca to survive through the centuries, providing unique insights into the everyday life of ancient Egyptians.Ostraca also played a significant role in Egyptian art and storytelling, as many of them contain sketches, religious imagery, and even preliminary designs for tomb paintings or statues. Artists often used ostraca to practice intricate figures or scenes, including depictions of gods, animals, or mythological events. Some ostraca reveal humorous scenes or caricatures, suggesting that Egyptian artists had a playful side as well. For instance, some ostraca display animals in human-like activities, such as mice acting as soldiers or cats interacting with geese, which may have served as comic relief or satire. These sketches showcase the skill and imagination of Egyptian artists, while the variety of subjects reveals the broad scope of Egyptian society's interests and beliefs.

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Your Antiquarian

Los 054

ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 60 mm x 32 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, Dr. K.B., Munich, since the 1970sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman keys were essential tools for securing locks on doors, chests, and personal items, reflecting the Roman emphasis on security, privacy, and property ownership. Made primarily from iron, bronze, or sometimes brass, Roman keys varied in design, but they generally consisted of a long shaft with a curved or looped head that engaged with the lock mechanism. The keys were often large and heavy, particularly those used for doors or storage chests, and they were frequently carried as symbols of authority, wealth, and access. Roman keys were also integral to the organization of private and public spaces, from households to temples, demonstrating how the Romans valued controlled access to both physical property and private life.The design of Roman keys was functional yet varied, with some keys featuring intricate, ornate designs, while others were more utilitarian. Large, ornate keys were often used by the wealthy or in the context of important state or religious buildings, while smaller, simpler keys were used by ordinary citizens. The variation in size and decoration of Roman keys reflects the different types of locks they were designed for, from the elaborate locking mechanisms used in villas and public buildings to simpler locks for personal use. Many Roman keys found in archaeological excavations bear decorative elements such as animal heads, religious symbols, or family crests, which were sometimes engraved into the head of the key, showcasing the owner’s identity, status, or affiliations.In addition to their practical and decorative purposes, Roman keys have an important symbolic role in Roman culture. They were sometimes depicted in art, especially in funerary contexts, to signify ownership, protection, and the safeguarding of personal or family treasures.

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Your Antiquarian

Los 036

ITEM: Oil lamp depicting a lion, Type Bussière E IX 31 - Atlante X A1 aMATERIAL: PotteryCULTURE: Late Roman, ChristianPERIOD: 5th - 7th Century A.DDIMENSIONS: 50 mm x 70 mm x 115 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Christian oil lamps, primarily dating from the late Roman period into the Byzantine era, played a dual role in both practical illumination and religious symbolism. These lamps were often simple in design, reflecting the modest roots of early Christianity. Made typically of clay or metal, they had small, flat bodies with one or two nozzles where wicks could be inserted, and they were fueled by olive oil. As Christianity spread throughout the Roman Empire, Christian iconography began to appear on these lamps, with motifs like crosses, fish, doves, and other symbols representing faith and the promise of salvation. These lamps were used in Christian households, places of worship, and even catacombs, where they provided light and carried symbolic meaning, illuminating spaces as well as representing spiritual enlightenment.The decoration of Christian oil lamps varied widely depending on the time and region. Early examples often used simpler motifs, but as Christianity became more widely accepted, the symbols on these lamps grew more elaborate and distinctively Christian. In the Byzantine period, for instance, lamps might display scenes from biblical stories, the Chi-Rho (a symbol for Christ), or other sacred imagery. Archaeological finds of these lamps in churches and graves underscore their spiritual role, often being placed with the deceased as symbols of hope and eternal life. These lamps helped Christians subtly express their faith, especially in the pre-Constantinian period when they faced persecution.Christian oil lamps also reflected the evolving role of religious art and worship in Christian communities. Beyond functional lighting, these lamps served as teaching tools for the illiterate, using symbols to communicate complex theological concepts.

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Your Antiquarian

Los 163

ITEM: RingMATERIAL: BronzeCULTURE: Iron Age, Central Asia, Amlash or BactrianPERIOD: 1st millenium B.CDIMENSIONS: 21 mm diameterCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired from London Gallery (1970s - 2000s)Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Bactrian culture thrived in the region of Bactria, which encompassed parts of present-day Afghanistan, Uzbekistan, and Tajikistan, during the Bronze Age, roughly from the 3rd to the 2nd millennium BCE. Bactria served as a crucial crossroads along the ancient Silk Road, connecting the civilizations of the Mediterranean, Central Asia, China, and the Indian subcontinent. The culture is known for its advanced urban centers, sophisticated metallurgy, and rich artistic traditions. Bactrian art often depicted scenes of daily life, mythical creatures, and religious motifs. The Bactrians are also believed to have played a significant role in the spread of early Indo-Iranian languages and culture.On the other hand, Amlash culture was prevalent in the Amlash region of northern Iran during the Iron Age, dating roughly from the 1st millennium BCE. The Amlash culture is characterized by its distinctive pottery styles, including painted ceramics adorned with intricate geometric and zoomorphic designs. Archaeological evidence suggests that Amlash society was organized into small-scale agricultural communities, with evidence of terraced agriculture and irrigation systems. Additionally, Amlash culture is notable for its burial practices, which often included inhumation in cemeteries and burial mounds, sometimes accompanied by grave goods such as pottery vessels and metal objects.While the Bactrian and Amlash cultures developed in different time periods and geographical regions, they both represent important stages in the cultural evolution of the broader Central Asian and Iranian regions.

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Your Antiquarian

Los 002

ITEM: Oil lamp with inscription 'The light of Christ shines for all'MATERIAL: PotteryCULTURE: ByzantinePERIOD: 4th - 5th Century A.DDIMENSIONS: 30 mm x 60 mm x 87 mmCONDITION: Good conditionPROVENANCE: Ex Palestine private collection, acquired in the 1990sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.A Byzantine oil lamp inscribed with the phrase "The light of Christ shines for all" is a remarkable artifact that reflects the deep spiritual and theological beliefs of the Byzantine Empire. This inscription emphasizes the central role of Christianity in daily life and religious practices during the Byzantine period. Oil lamps were essential for both practical illumination and religious rituals, and incorporating a Christian message into their design highlights the integration of faith into everyday objects. The inscription serves as both a devotional statement and a reminder of the divine presence in the lives of believers, making the lamp a significant symbol of Christian piety and enlightenment.The design and craftsmanship of Byzantine oil lamps were highly refined, often made from materials such as clay, metal, or glass. These lamps frequently featured intricate decorations, including religious symbols, motifs, and inscriptions. The inclusion of the inscription "The light of Christ shines for all" on the lamp would have been achieved through engraving or molding, demonstrating the skill of Byzantine artisans. This inscription not only personalized the lamp but also reinforced the idea that light, both physical and spiritual, is a manifestation of Christ's presence and guidance in the world. The lamp's practical function as a source of light was thus imbued with deep religious significance.In addition to its spiritual message, the Byzantine oil lamp with this inscription provides valuable insights into the religious and cultural practices of the period. The lamp would have been used in private homes, churches, or during religious ceremonies, emphasizing the importance of maintaining a connection with the divine in various aspects of life. The presence of such an inscription also reflects the broader trend of incorporating Christian themes into art and everyday objects, illustrating how Byzantine art and material culture were deeply intertwined with religious beliefs.

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Your Antiquarian

Los 172

ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 82 mm x 30 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, Dr. K.B., Munich, since the 1970sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman keys were essential tools for securing locks on doors, chests, and personal items, reflecting the Roman emphasis on security, privacy, and property ownership. Made primarily from iron, bronze, or sometimes brass, Roman keys varied in design, but they generally consisted of a long shaft with a curved or looped head that engaged with the lock mechanism. The keys were often large and heavy, particularly those used for doors or storage chests, and they were frequently carried as symbols of authority, wealth, and access. Roman keys were also integral to the organization of private and public spaces, from households to temples, demonstrating how the Romans valued controlled access to both physical property and private life.The design of Roman keys was functional yet varied, with some keys featuring intricate, ornate designs, while others were more utilitarian. Large, ornate keys were often used by the wealthy or in the context of important state or religious buildings, while smaller, simpler keys were used by ordinary citizens. The variation in size and decoration of Roman keys reflects the different types of locks they were designed for, from the elaborate locking mechanisms used in villas and public buildings to simpler locks for personal use. Many Roman keys found in archaeological excavations bear decorative elements such as animal heads, religious symbols, or family crests, which were sometimes engraved into the head of the key, showcasing the owner’s identity, status, or affiliations.In addition to their practical and decorative purposes, Roman keys have an important symbolic role in Roman culture. They were sometimes depicted in art, especially in funerary contexts, to signify ownership, protection, and the safeguarding of personal or family treasures.

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Your Antiquarian

Los 085

ITEM: RingMATERIAL: BronzeCULTURE: Iron Age, Central Asia, Amlash or BactrianPERIOD: 1st millenium B.CDIMENSIONS: 22 mm diameterCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired from London Gallery (1970s - 2000s)Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Bactrian culture thrived in the region of Bactria, which encompassed parts of present-day Afghanistan, Uzbekistan, and Tajikistan, during the Bronze Age, roughly from the 3rd to the 2nd millennium BCE. Bactria served as a crucial crossroads along the ancient Silk Road, connecting the civilizations of the Mediterranean, Central Asia, China, and the Indian subcontinent. The culture is known for its advanced urban centers, sophisticated metallurgy, and rich artistic traditions. Bactrian art often depicted scenes of daily life, mythical creatures, and religious motifs. The Bactrians are also believed to have played a significant role in the spread of early Indo-Iranian languages and culture.On the other hand, Amlash culture was prevalent in the Amlash region of northern Iran during the Iron Age, dating roughly from the 1st millennium BCE. The Amlash culture is characterized by its distinctive pottery styles, including painted ceramics adorned with intricate geometric and zoomorphic designs. Archaeological evidence suggests that Amlash society was organized into small-scale agricultural communities, with evidence of terraced agriculture and irrigation systems. Additionally, Amlash culture is notable for its burial practices, which often included inhumation in cemeteries and burial mounds, sometimes accompanied by grave goods such as pottery vessels and metal objects.While the Bactrian and Amlash cultures developed in different time periods and geographical regions, they both represent important stages in the cultural evolution of the broader Central Asian and Iranian regions.

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Your Antiquarian

Los 027

ITEM: Relief fragmentMATERIAL: MarbleCULTURE: RomanPERIOD: 1st - 2nd Century A.DDIMENSIONS: 110 mm x 125 mm x 68 mmCONDITION: Good conditionPROVENANCE: Ex Portuguese private collection, acquired between 1980 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman reliefs are an essential aspect of Roman art and architecture, known for their detailed and dynamic depictions of historical events, mythology, daily life, and portraits. These reliefs were commonly carved into marble, limestone, or other durable materials and adorned various structures such as altars, triumphal arches, sarcophagi, and public buildings. The use of relief sculpture allowed Roman artists to create intricate narratives and convey complex messages, serving both decorative and propagandistic purposes.One of the most famous examples of Roman reliefs is the frieze on the Ara Pacis, the Altar of Peace, dedicated in 9 BCE to commemorate Emperor Augustus's return from his campaigns in Gaul and Hispania. The reliefs on the Ara Pacis depict a procession of the imperial family, priests, and senators, capturing a moment of civic and religious harmony. The high level of detail, naturalistic figures, and dynamic composition reflect the Roman emphasis on realism and the importance of political propaganda. By illustrating Augustus's achievements and the prosperity of his reign, the reliefs reinforced the emperor's legitimacy and the ideals of peace and stability.Another significant example is the reliefs on the Column of Trajan, completed in 113 CE, which celebrate Emperor Trajan's victory in the Dacian Wars. The column's spiral relief narrates the entire campaign, from the army's departure to the final victory, with over 2,500 figures depicted in meticulous detail. These reliefs not only serve as a visual record of the military conquest but also emphasize the emperor's role as a strong and capable leader.

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Your Antiquarian

Los 185

ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 34 mm x 28 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, Dr. K.B., Munich, since the 1970sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman keys were essential tools for securing locks on doors, chests, and personal items, reflecting the Roman emphasis on security, privacy, and property ownership. Made primarily from iron, bronze, or sometimes brass, Roman keys varied in design, but they generally consisted of a long shaft with a curved or looped head that engaged with the lock mechanism. The keys were often large and heavy, particularly those used for doors or storage chests, and they were frequently carried as symbols of authority, wealth, and access. Roman keys were also integral to the organization of private and public spaces, from households to temples, demonstrating how the Romans valued controlled access to both physical property and private life.The design of Roman keys was functional yet varied, with some keys featuring intricate, ornate designs, while others were more utilitarian. Large, ornate keys were often used by the wealthy or in the context of important state or religious buildings, while smaller, simpler keys were used by ordinary citizens. The variation in size and decoration of Roman keys reflects the different types of locks they were designed for, from the elaborate locking mechanisms used in villas and public buildings to simpler locks for personal use. Many Roman keys found in archaeological excavations bear decorative elements such as animal heads, religious symbols, or family crests, which were sometimes engraved into the head of the key, showcasing the owner’s identity, status, or affiliations.In addition to their practical and decorative purposes, Roman keys have an important symbolic role in Roman culture. They were sometimes depicted in art, especially in funerary contexts, to signify ownership, protection, and the safeguarding of personal or family treasures.

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Your Antiquarian

Los 093

ITEM: BraceletMATERIAL: BronzeCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 64 mm x 67 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, London, acquired from art market before 2000sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman bracelets were popular accessories worn by men, women, and even children across various social classes throughout the Roman Empire. These bracelets, made from a range of materials including gold, silver, bronze, glass, and iron, were both decorative and symbolic. Wealthier Romans favored bracelets made of precious metals and gemstones, which displayed their social status and wealth, while those of more modest means wore simpler versions made of bronze or iron. Some bracelets were adorned with intricate designs, engraved patterns, and inlays of glass or colored stones, reflecting the Roman love for beauty and craftsmanship in personal adornment.Designs of Roman bracelets varied widely, often reflecting cultural influences from the diverse regions within the Empire. Some bracelets featured open-ended designs with stylized animal heads, such as lions, snakes, or eagles, each carrying symbolic meaning, while others were fully enclosed with elaborate detailing. Snake-shaped bracelets, for example, were quite popular and symbolized protection and healing, as the serpent was associated with the god Asclepius. Other bracelets bore inscriptions or engraved symbols, possibly functioning as talismans or amulets believed to bring good luck, health, or protection to the wearer. These decorative and symbolic elements illustrate the Romans’ appreciation for jewelry as both an art form and a source of personal meaning.Bracelets were also significant in Roman religious and funerary contexts. They were often left as offerings at temples or placed in graves as part of burial rites, symbolizing the individual’s status or personal beliefs in the afterlife.

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Your Antiquarian

Los 197

ITEM: BowlMATERIAL: BronzeCULTURE: Iron Age, Neo-AssyrianPERIOD: 9th - 7th Century B.CDIMENSIONS: 42 mm x 155 mmCONDITION: Good condition, see picturesPROVENANCE: Ex English private collection, London, acquired in 1990sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Neo-Assyrian Empire (c. 911–609 BCE) was one of the most powerful and influential empires of the ancient Near East, known for its military prowess, administrative efficiency, and cultural achievements. The empire expanded through a series of successful military campaigns, reaching its zenith under kings like Tiglath-Pileser III, Sargon II, Sennacherib, and Ashurbanipal. The Neo-Assyrians established a centralized and well-organized state with a sophisticated bureaucracy, extensive road systems, and an innovative postal service, which helped maintain control over a vast and diverse territory stretching from the Mediterranean to the Persian Gulf.Culturally, the Neo-Assyrians were renowned for their contributions to art, architecture, and literature. They built grand palaces and temples, adorned with intricate bas-reliefs and colossal statues depicting gods, kings, and mythological creatures. These artworks often celebrated the king's military victories and divine favor, serving both as propaganda and as a testament to the empire's power. The Neo-Assyrians also preserved and expanded the literary traditions of Mesopotamia, maintaining vast libraries that housed texts on history, science, religion, and mythology. The most famous of these was the Library of Ashurbanipal in Nineveh, which contained thousands of cuneiform tablets and remains one of the most significant archaeological discoveries of the ancient world.Religion played a central role in Neo-Assyrian culture, with the king seen as the earthly representative of the gods, particularly the chief deity Ashur. The Assyrians practiced a polytheistic religion, worshiping a pantheon of gods who governed various aspects of life and the cosmos. Religious rituals, including sacrifices and divination, were integral to state affairs, and temples served as both religious and economic centers.

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Your Antiquarian

Los 114

ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 70 mm x 30 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, Dr. K.B., Munich, since the 1970sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman keys were essential tools for securing locks on doors, chests, and personal items, reflecting the Roman emphasis on security, privacy, and property ownership. Made primarily from iron, bronze, or sometimes brass, Roman keys varied in design, but they generally consisted of a long shaft with a curved or looped head that engaged with the lock mechanism. The keys were often large and heavy, particularly those used for doors or storage chests, and they were frequently carried as symbols of authority, wealth, and access. Roman keys were also integral to the organization of private and public spaces, from households to temples, demonstrating how the Romans valued controlled access to both physical property and private life.The design of Roman keys was functional yet varied, with some keys featuring intricate, ornate designs, while others were more utilitarian. Large, ornate keys were often used by the wealthy or in the context of important state or religious buildings, while smaller, simpler keys were used by ordinary citizens. The variation in size and decoration of Roman keys reflects the different types of locks they were designed for, from the elaborate locking mechanisms used in villas and public buildings to simpler locks for personal use. Many Roman keys found in archaeological excavations bear decorative elements such as animal heads, religious symbols, or family crests, which were sometimes engraved into the head of the key, showcasing the owner’s identity, status, or affiliations.In addition to their practical and decorative purposes, Roman keys have an important symbolic role in Roman culture. They were sometimes depicted in art, especially in funerary contexts, to signify ownership, protection, and the safeguarding of personal or family treasures.

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Galerie Bassenge

Los 5294

Mettenleiter, Jakob -- „Sie fingen eine grosse Menge und ihr Netz zeriss…“. Radierung. 48,9 x 34,5 cm. 1783. Werner Telesko: "Graphic Prints of the Josephine Period (1765/1790) and the Propaganda of ‘Religious Tolerance’", in: Journal of the Institute of History of Art, Nr. 43 (2019), S. 103-112.Der vorliegende Bildkommentar auf die Kirchenreform Kaiser Josephs II. thematisiert zusammen mit einem Pendant, das sich mit dem Toleranzedikt desselben befasst (Österreichische Nationalbibliothek), die Reformpolitik des österreichischen Kaisers. Die Bildunterschrift zitiert eine Bibelstelle aus dem wunderbaren Fischzug bei Lukas, doch gemeinsam mit Petrus wird hier Joseph II., ein Hoffnungsträger aufklärerisch gesinnter Geister, zum Menschenfischer. Hingegen erreicht die Figur des antiken Philosophen Diogenes, die auch im Pendant des Blattes auftritt, mit dem Licht seiner Laterne das arme Volk, während im Vordergrund Priester ihre goldgefüllten Netze einholen, ein zynischer Hinweis auf die durch Klosterauflösungen gewonnenen Mittel. Ganz ausgezeichneter Abzug, innerhalb der Plattenkante geschnitten. Geringfügig fleckig und angestaubt, in der unteren rechten Ecke ein, sowie im oberen Rand zwei unmerkliche geschlossene Risschen, sonst in sehr schöner Erhaltung. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

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La Suite Subastas

Los 46

Gregorio Vázquez de Arce (Bogotá, Colombia, 1638 - 1711)“The Mercedarians of the prison of Santa Fe de Bogota”Oil on canvas. 179,5 x 237 cm.This is one of the greatest examples of the undisputed quality of Gregorio Vásquez de Arce, an influential Colombian painter, the most important painter from 17th century New Granada. This enormous canvas of exquisite workmanship is also a historical record of vital importance, testifying to the existence of specific jails and prisons in the 18th century. Their population has been quantified through the study carried out by Doctor Juan Sebastián Ariza Martínez, “in this royal court jail of Santafé according to the visitor's books (1776-1783)”.On the ARCAwebsite they report that Vasquez de Arce “was imprisoned in 1701 and a large part of his works, 42 of them commissioned bythe Sagrario Chapel in Bogota, were finishedin jail.”This information is particularly relevant to the painting we have here, as the artist would have been in the same prison (cell, hospital, convent...) that the painting depicts. In fact, the painter appears in a self-portrait in the right margin, contemplatively witnessing a Mercedarian, a religious order dedicated to captives and prisoners, washing the feet of one of the prisoners who was to be released on Holy Thursday. The moment of the “Washing of the feet” is only present in the Gospel of John and symbolically represents a reminder of the act of humility, service and forgiveness that Jesus performed during the last supper, and that is commemorated every Holy Thursday by theCatholic Church. Once released from prison, in 1710, he fell into poverty and mental illness and died in 1711.This painting bears undeniable similarities with one of the most important and popular artworks by Gregorio Vásquez, “The Abbot Joaquín de Fiore delivering the portraits of St. Francis and St. Dominic”, an oil painting on canvas dated in1680. On thatcanvas, the artist painted a self portrait, with his back turned, and showing his features in profile, with anaquiline nose. This corresponds to the character located more to the right of this scene we have here.Aditionally, we recognize an identical palette of soft and attenuated color based on grays and earthy colors, the same pictorial technique, which is characteristic of Vasquez, and the same treatment of the volumes of the characters in the painting and the use of architecture to situate the scene, creating spaces, shadows and light. It is usual in the very large Gregorio Vasquezpaintings,he places the scenic narrative in an architectural space. We find it in this painting that we have here in the catalogand also in “Heliodorusshot by angels”, which was paintedat the end of the 17thcentury, as well as in the Scene of "San Juan de Dios" that is in the Church of San Juan de Dios in Bogota.In the wonderful painting “St. Albertus Magnuspreaching” belonging to a private collection in Bogota, we find similarities in the treatment of the religious characters, with a somewhat bluishcomplexion, the disposition of the bodies and once again the use of an architectural element.It is also interesting to note the similarities in the face of the character that we identify in our canvas as the painter, with his self-portrait made in 1685. These comparisons lead us to conclude that the character appearing at the extreme right of this canvas is undoubtedly the artist.An additional interesting point is that the model used for the "St. Jude Thaddeus" by Gregorio Vasquez, which is keptin the collection atthe Museos Banco de la República, seems to be the same as the one used for the Mercedarian monk who is washing the feet of the prisoner; having same bone structure, with marked cheekbones, a long, thinnose, the same hairline with a widow'speak and a beard andmustache.The same model is used again by Vasquez to portray the Repentant Saint Peter found in the Sagrario Chapel in Bogota, or in the Head of the Apostle James the Lessin the Rivas Sacconi collection in Bogota.Finally, as was usual in his subject matter, religious devotiontakes center stageas his patrons were mostly members of religious communities, in thiscase dedicated to the Mercedarians.Marta Fajardo de Rueda, in an interesting article in the National University of Colombia magazine HiSTOReLo, affirms, in relation to the importance of the painter, that “with the work of Gregorio Vásquez and some of his followers, the existence of a Santa Fe school of painting can be identified. They had a similar interpretation of theengravings from which they assimilated the fundamentals of baroque painting. They are characterized by an attenuated use of color, which differentiates them from painters from other parts of Latin America. Undoubtedly, Vasquez stands out among them all for his mastery of drawing and balanced composition. With the training he received in the Figueroas' workshop and the skills he acquired through the continuous exercise of his work, he consolidated his own characteristic style.”The importance of Gregorio Vásquez de Arce y Ceballos in the panorama of viceregal art is undeniable. Despite having produced a vast amount of paintings, his technical skill and the spiritual depth of his paintings continue to be admired and studied by scholars, collectors and museums around the world.The artist, of whom many biographies have been written, such as those by José Manuel Groot, Alberto Urdaneta and Roberto Pizano, has a large body of work that can still be found today in churches, convents and museums such as the Museo de Arte Colonial de Bogotá, which houses numerous canvases, some miniatures, and one hundred and five drawings: the largest collection of the painter's work.Reference bibliography:- Fajardo, Marta. (2014). Grabados europeos y pintura en el Nuevo Reino de Granada. “HiSTOReLo” Vol. 6,Nº11, 68-125.- Fajardo, Marta. (s.f.). “Gregorio Vásquez de Arce y Ceballos”. Real Academia de la Historia.https://dbe.rah.es/biografias/21372/gregorio-vasquez-de-arce-y-ceballos- Sebastián, Santiago. (1985). "Gregorio Vásquez: la vida y obra del pintor más importante del Nuevo Reino de Granada".

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La Suite Subastas

Los 24

Federico Barocci Workshop (Urbino, 1535 - 1612)“Pietà: sorrow and lament on the death of Christ”Oil on canvas.93 x 73 cm.Exquisite canvas, very much of the Italian school, which invites silence and reverence. Devotion, colors full of delicacy and tenderness, nuancedout of respect for the moment that is being portrayed, where “the light almost dissolves the drawn forms”... “in delicate chromatic reverberations”. This is how Barocci and his workshop choose to make themselves feltin this painting.The canvas shows the transitionbetweentwo moments: the Pietà -on the one hand- and a funeral lament - on the other- , similar in content, but the two different scenes are interspersed between the Descent from the Cross and the Holy Burial. The Pietà shows the inert body of the crucified Christ resting in the arms of his mother, who receives him with contained pain. In the lamentor weeping over the body of the dead Christ, his body is placed on a shroud (already in the painting) and from there it passes to the stone of the anointing (the angels, with extreme and mystical delicacy, move the body towards the stone, in the foreground, with the symbols of the Passion). Around the body are arranged all those who will burst into laments and sobs, here still contained.The face and the shape of the body of Christ is very similar to that of the Christ of the Descent from the Cross, a painting almost 5 meters high, by Barocci, which we can see today in the cathedral of Perugia, and which was painted in the last quarter of the 16th century.The Pietà does not appear in the Gospels, its origin is the mystical literature of the late Middle Ages,although from an art point of view it seems to derive from the theme of the Virgin of Humility, where the Child has been replaced by the inert body of the Crucified Christ. It is derivedfrom the lamentations before the dead Son, a theme of Byzantine origin that concentrates the attention on the drama of the Passion in a realistic and moving sense, giving rise toloving and sorrowful contemplation.Whetherit be Our Lady of Mercy, Our Lady of Sorrows, Our Lady of Anguish, Our Lady of the Passion, Weeping over the body of the dead Christ, Lamentation over the dead Christ, Planctus Mariae..... These are all scenes of popular fervor and of a mystical and religious attitude that invite us to meditate and to concentrate our attention on the drama of the Passion, and on loving contemplation, with a realistic and moving sense, of the adoration of the Redeemer by his mother and by us as faithful worshippers. This isa scene that invites us to ascend on the path of our personal spiritual life, through meditationand contemplation and throughkeeping silence.

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La Suite Subastas

Los 66

Anton Domenico Gabbiani (Florence, 1652 - 1726)“Mystical nuptials of St. Catherine of Siena”.Oil on canvas.228 x 183,5 cm.Attached is a study by Professor Paolo Erasmo Mangiante, from which we extractedinformation for this catalog description.The altarpiece that we have here, with a reinforced stretcher, is the work of the Florentine Antonio Domenico Gabbiani, and was made in the second half of the sixteenth century. The Prado Museum describes this author as “the most sought after and admired of the Florentine painters of his time [whose] frescoes and canvases decorate palaces and churches in Tuscany, such as the ceilings of Palazzo Pitti, those of the Villa of Poggio a Caiano, and the frescoes of the San Frediano di Castello church dome, at the time thatRococo style was emerging. In his artworks, Gabbiani recovers the Florentine tradition of meticulous draftsmanship and employs perfect technique, in the early years his style was spontaneous and light, and later, rigorous and cold, tinged with academicism”.Mangiante goes on to state that the “pictorial composition is, in fact, similar to that of other altarpieces executed in this period by Gabbiani” and that “Gabbiani's methodfor creating this stupendous altarpiece employs numerous, meticulous pictorial details, such as the folds of the clothes, the delicate anatomy of the fingers of the hands, their elegant gesture, the beauty of the angelic faces and the particular intensity of expression of the curly head of Christ. All these qualities, as well as the intense chromatism and the high quality of the pictorial material demonstrate the great commitment the Florentine painter hadin the execution of this important painting, which isincluded among his most accomplished artworks.”It is, in short, an extraordinary canvas in the form of a door with a semicircular arch of authentic religious perfection, which captures the ineffable moment of union of the soul with God through love, with the ecstasy of the Dominican saint, already an abbess, and the revelation of the wounds of her Beloved. In a silent atmosphere of prayer and reverence attended by a choir of adoring and contemplating angels, everything in the painting shows veneration and plenitude.This large format canvas by Gabbiani that crossed the borders of Italy, to move the spirits of the devout faithful and dedicated nuns who contemplate it, was possibly made for a convent of cloistered Dominican nuns. The art of the brushstroke in this oil painting is direct and triumphant, almost theatrical, with the capacity to seduce, move and conquer the viewer with strong feelings of love. The expressions on the faces and in the glances are harmonious, this isa scene that directly appeals to the emotions on a visceral level.Saint Catherine, considered to be one of the great mystics of her time, also stood out as a preacher and writer. In the painting, in fact, a wise angel can be seen in the lower left margin holding the pages of her spiritual treatises: the famous Dialogue of Divine Providence. Her decisive contribution to the return of the papacy to Rome after exile in Avignon was also outstanding. Doctor of the Church, patroness of Europe and Italy, she is a highly venerated and popular saint in foundations, churches and sanctuaries of the Dominican Order.Reference bibliography:- Museo del Prado. (s.f.). "Gabbiani, Anton Domenico".https://www.museodelprado.es/coleccion/artista/gabbiani-anton-domenico/ce702620-9999-4bb3-a4b8-ec66229b5968

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Roseberys London

Los 1002

Étienne Barthélémy Garnier, French 1759-1849 - Portrait of a young lady, three-quarter length, seated in a garden; oil on canvas, signed, dated, and inscribed lower right 'Steph. Barth. Garnier. / Parisüs[?]. 1805', 114.5 x 81.5 cm Provenance: Anon. sale, Sotheby's, Monaco, 30th June 1995, lot 78 (sold for FRF 150,000); Pyms Gallery, London, F686 (label attached to the reverse)Note: The subject of the present work is unusual in the context of the artist's oeuvre, which is dominated by history paintings on classical and religious themes. The unidentified and sensitively rendered woman is portrayed leaning on a rock, flanked by a rosebush and her basket, with a rolling landscape unfolding behind. Born in Paris, Garnier studied art under the painter Joseph-Marie Vien (1716-1809). He received second prize in the Prix de Rome of 1787 and first in 1788 with a painting on the subject 'The Death of Tatius', beating Louis Girodet (1767-1824). He lived in Rome until 1793. Condition Report: The canvas is taut on the stretcher and sits well in the frame.Relined. The paint surface is stable on the support. Settled craquelure throughout. A clear and even layer of varnish throughout. Minor abrasion around the edges of the canvas from contact with frame. Some further minor abrasions, some marks and minor surface dirt. No other visible defects.Under UV lamp, some very minor scattered infilling to craquelure and spots of retouching (see images).In very good condition overall.

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TimeLine Auctions Limited

Los 30

Roman Period, 30 B.C.-323 A.D. The large liturgical rattle with a columnar handle composed of a bifacial figure of Bes standing on a lotus capital, flanked by seated sphinxes, his feathered crown supporting the bust of goddess Hathor wearing a broad collar and a curling wig, two rearing uraei emerging from the sides to support the base of the rattle, both wearing the pschent crown, above the cobras a standing figure of the goddess Hathor in cow form, wearing a tripartite wig and a sun disc between the horns; the rattle with a looped body with flared outer rims and set with three metal rods to accept metal discs, a pair of reclining lions to the base and the top with three felines surrounding a cockerel, and resting one of their front paws on the bird. Cf. Lacovara, P. et al., The Collector’s Eye: Masterpieces of Egyptian Art from The Thalassic Collection, Atlanta, 2001, for a sistrum with a Bes figure incorporated into the handle; see a late Egyptian prototype of a bronze sistrum with handle in the shape of the god Bes, 30th Dynasty, c. 350 B.C. (Neues Museum, Berlin); see a Roman sistrum in MET, accession no.97.22.2; a bronze sistrum, in the British Museum, inv.no.1756,0101.541; Daremberg, C.V. & Saglio, E. (eds.), Dictionnaire des Antiquités Grecques et Romaines, Paris, 1873-1917. 1.52 kg, 39.5 cm (15 1/2 in.).[A video of this lot is available to view on Timeline Auctions Website]German art market. European private collection, 1970s-early 2000s. Acquired from the above; thence by descent. Private collection, London, UK. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12348-225588.The sistrum (seshesh in ancient Egyptian) was a rattle-like musical instrument, played exclusively by women in religious ceremonies. It was often decorated with the bust of the goddess Hathor to whom the sistrum was sacred. Their use continued into the Roman period in ceremonies associated with the cult of Isis.

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Einszwei Gallery

Los 11

FLEMISH SCULPTOR OF THE 16TH CENTURY (Flanders / Flemish / Belgian) - The Entombment of Christ | 16th century | technique: sawn oak wood | 28.5 x 32 cm | Lot description | This masterfully carved relief from a 16th-century Flemish workshop depicts the traditional Christian scene of the burial of Christ. The work stands out for its distinctive plasticity and carefully worked-out details of the characters, which capture the deep emotional charge of this biblical scene. A high level of craftsmanship and aesthetic sense is evident here, typical of Flemish art of this period. This relief is an exceptional example of late Gothic sculptural art, where religious themes are combined with masterful woodwork. | condition report*In case of missing photos, please feel free to contact us.

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Einszwei Gallery

Los 13

SCULPTOR OF THE TURN 18TH / 19TH CENTURY (Flanders / Flemish / Belgian) - Madonna in Gothic style | turn of the 18th / 19th century | technique: cut wood, polychrome | 95 cm | Lot description | This 18th century statue of the Madonna and Child is created in the late Gothic style, which is characterized by strict verticality and spiritual symbolism. The sculptor was inspired by Gothic designs, which is evident in her calm expression and the fine workmanship of the drapery, which gives the figure lightness and an impressive grandeur. The Madonna holds the baby Jesus in her arms, symbolizing the salvation of mankind, and her expression is the embodiment of kindness and humility. The polychromy that decorates the surface of the sculpture underlines the emphasis on detail and color, thereby adding to the monumentality of the entire composition. This sculpture is a valuable example of the historicist approach of 18th century artists to Gothic art and represents a harmonious connection of religious iconography with aesthetic values. | condition report*In case of missing photos, please feel free to contact us.

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Roseberys London

Los 53

Attributed to Sebastiano Ricci, Italian 1654-1726-The Ascension of Christ, an oil sketch;oil on canvas, 74.6 x 62 cm.Provenance: The collection of Mr. Paul Rich (circa 1970s). With David Messum, Beaconsfield (according to label verso). Private Collection, UK. Literature: P. Cannon-Brooks, 'A Modello by Antonio Bellucci for Canons', The Burlington Magazine, CXVII, 1975, pp. 238-9 (as Antonio Bellucci). E.Young, 'Another Sketch by Antonio Bellucci for Canons', The Burlington Magazine, CXVII, 1975, pp. 240-2 (as Antonio Bellucci). F. Magani, 'Antonio Bellucci: Catalogo Ragionato', 1995, pp.203, R34 (as erroneously attributed to Antonio Bellucci).Note: Sebastiano Ricci was born in Belluno, but spent most of his career in Venice, and it is with the artistic climate of that city that he is most closely associated. A highly influential and successful artist, Ricci's dynamic and ambitious 'grand manner' style, which is often considered to bridge the gap between the Baroque and Rococo, gained him many international commissions, and the artist travelled widely, including to Britain. The present composition likely dates from the period Sebastiano Ricci spent here. Ricci arrived in London the winter of 1711, before returning to Venice in 1716. During the short time Ricci spent in England he was in high demand with royal and noble patrons, including Lord Burlington (1694-1753), for whom Ricci painted a cycle of wall paintings that still adorn Burlington House (now the Royal Academy) today, as well as King George III (1738-1820), who purchased many works from Ricci that are still held in the Royal Collection. Another influential patron who commissioned Ricci to complete an extensive decorative scheme was the Duke of Portland (1682-1726), who employed the Venetian artist to paint a cycle of religious scenes for the interior of his now-lost chapel at Bulstrode House, Buckinghamshire. The Bulstrode Chapel is known to have been adorned with scenes from the Life of Christ by Ricci, including the Last Supper and the Baptism of Christ, as well as, on the ceiling, a scene of Christ's Ascension. The work presented here, which is executed on a similar scale and with a comparable architectural surround to Ricci's surviving sketches relating to the Duke of Portland's chapel (including The Baptism of Christ, now in the collection of the Metropolitan Museum of Art, 1981.186, and the Last Supper, National Gallery of Art, 1943.4.32), could possibly be a preparatory oil sketch, or modello, for that now-lost work. Another oil sketch attributed to Ricci also depicting the Ascension of Christ is held in the collection of the Shipley Art Gallery in Gateshead, Tyne and Wear [TWCMS : C153]. That example is likely a version of the present composition in earlier stages of development. There are various small differences between the two sketches: the Shipley sketch shows the figure of Christ fully draped, has a slightly different distribution of supporting figures, and lacks the elaborate architectural surround that the present picture has in common with Ricci's surviving, more finished Bulstrode sketches at the Metropolitan Museum and National Gallery of Art. The variations between the two Ascension sketches may indicate that the artist was still experimenting with the composition. Both the Shipley oil sketch and the present work were previously attributed to Antonio Bellucci (1654-1726), a Venetian, like Ricci, who found success with British patrons when he arrived in this country in the 1710s. When Eric Young published the present sketch and the Shipley example in the 1970s, he connected them both to Bellucci's quatrefoil ceiling painting of the Ascension for the Duke of Chandos' chapel at Cannons (now located in the central nave at the Church of Saint Michael and All Angels at Great Whitley, Worcestershire). The attribution of the present work to Bellucci was later disputed by Fabrizio Magani in his catalogue of Bellucci's paintings. In his catalogue entry for the painting presented here, Magani points out the overall similarities between this work and the Shipley sketch, which he notes is definitively attributable to Ricci. The present, poignant scene shows the figure of Christ bare-chested, highlighting the greenish pale hue of his skin, which may be a reference to Christ's death and Resurrection. The partially draped figure of Christ recalls the central figure in the oil study now held in the collection of the Dulwich Picture Gallery [DPG195], which depicts Christ's Resurrection, and which was also painted during the period Ricci spent in Britain. That study relates to the fresco in the apse of the chapel at the Royal Hospital, Chelsea.

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Roseberys London

Los 251

William Bell Scott, Scottish 1811-1890-The Garden of Eden; Angel; The Nativity; and There shall be no more death...;etchings on paper, each after William Blake, each signed 'W.B Scott' (within the plate, lower right), and 'William Blake, inv:' (within the plate, lower left), 22.7 x 16.4 cm. and smaller, four (4).Provenance: Private Collection, UK.Note: Working against the backdrop of the Pre-Raphaelite movement, Scott was closely associated with various prominent artists of the Victorian period, including Dante Gabriel Rossetti (1828-1882) and Arthur Hughes (1832-1915). He worked as the Principal of the Newcastle School of Art between 1843 and 1864, and, in this capacity, was one of the first artists to record the development of the Industrial Revolution, which, over the course of the 19th-century transformed the city of Newcastle. His oeuvre was varied and he executed a large body of works exploring historical and religious themes, as well as the industrial revolution and modern society. The present works exhibit Scott's skill as an etcher, depicting scenes after Blake's own original illustrations.

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Hansons Auctioneers and Valuers

Los 59

Ignacio Lalanne -Contemporary Artist. " Sigillum Rigis" Original Oil on board Monogrammed lower left. Signed, titled and seal marked to Verso. 58.5cm x 43cm A rare opportunity to own an Original work by this artist. Ignacio Lalanne trained at Chelsea College of Art and Design and at Central Saint Martins. Art history, court painting, religious iconography, costume drama and diverse cultural references all influence and inform his art. Using narrative and symbolic elements he tries to discover the innermost sacred hidden deep within us.

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Hansons Auctioneers and Valuers

Los 93

David Dodsworth - British Postwar & Contemporary artist - born 1952 Mixed media print (Pair) Integer & Integer I Artist Proof Hand embelished. Signed and Titled in pencil 63cm x 55.5cm frame inclusive He was influenced at an early age by religious paintings. Later, he became increasingly fascinated and pre-occupied with primitive mark making and hieroglyphics. His work is much influenced by his study of prehistoric cave art, and he is inspired by primitivism, religion and technology. He is noted for his use of highly textured hand-made paper, with metallic foil embedded within the print.

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Hansons Auctioneers and Valuers

Los 259

Tribal African Art. Original Dogon Granary Door With typical sliding lock Carving depicts typical images of sun lizards and a tortoise (or turtle), and figures with headress. These doors protected the window-like opening into each family's grain storage building, and used a simple sliding door lock. Primordial beings, ancestors, Kanaga masks, sun lizards and scenes of life symbolically served to protect the entrance by making it sacrosanct. The low reliefs are carved on several panels, held together by iron staples. The Dogon are an ethnic group indigenous to the central plateau region of Mali, in West Africa, south of the Niger bend, near the city of Bandiagara, and in Burkina Faso. The population numbers between 400,000 and 800,0001. The Dogon tribe is famous for their unique religious beliefs, wooden sculptures, mask dances, and distinctive architecture. They are believed to be of Egyptian descent and their astronomical lore goes back thousands of years to 3200 BC

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Templum Fine Art Auctions

Los 412

Oil on canvas. Dimensions 91 × 66 cm. It represents the "Mass of Saint Gregory", belonging to the colonial school of the 17th century, with a strong influence from European Baroque art. In the center, Saint Gregory the Great raises the host, while Christ descends from heaven to consecrate it, reinforcing the belief in transubstantiation. The assistant priests and the liturgical details, such as the chalice and corporal, are accurately represented, highlighting the importance of the Eucharistic rite. The use of chiaroscuro and a palette of warm colors create a solemn atmosphere, typical of the Baroque, in a dynamic composition that reflects the religious fervor of the time. The painting, in addition to its aesthetic value, served as a didactic instrument to reinforce the Catholic faith in a context of evangelization in Latin America.

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Templum Fine Art Auctions

Los 389

Carved and polychromed wood. Dimensions 34 × 28 × 25 cm. These two candle-bearing angels are finely sculpted in a dynamic pose, with delicate details in their curly hair and serene faces, typical of 17th-century Spanish Baroque. The softly applied polychromy in warm tones highlights the naturalness of their childlike bodies. The candlesticks they hold in their hands reflect the liturgical function of these figures, possibly placed on altars or reredos to illuminate sacred scenes. The serene expression and careful finish underline the devotional and symbolic character of the work, evoking the spirituality and mysticism of the religious art of the period.

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Templum Fine Art Auctions

Los 402

Carved and polychrome wood. Dimensions 68 × 26 × 22 cm. The late Baroque or Rococo sculpture from the 18th century shows the Infant Jesus standing, with a dynamic posture that conveys movement. His face, serene and full of tenderness, stands out for its childlike sweetness and its ability to evoke a devotional connection. The carving technique is detailed, especially in the face, hands and clothing, where the polychromy applied with natural pigments adds depth and realism. This work, very common in religious imagery of the time, represents the humanity of Christ in his infancy, being a piece appreciated both in private devotion and in churches. Its symbolism and style make it a valuable piece for collectors of religious art.

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Keys Fine Art Auctioneers

Los 206

IN MEMORIAM OF HANNAH ELIZABETH PIPE 1831-1906, The Laleham Magazine, 1907. British headmistress, she opened her own school in 1848. By 1852 she had moved premises and she was taking in boarders. She was encouraged to move to London and her Manchester school was replaced by Laleham Boarding School for Girls which was based in Clapham in 1856 offering lessons in art, science and a religious education. Small cloth-backed volume with gilt title to upper board blocked in gilt and portrait to frontis.From Couzens-Hardy's library.

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Bonhams

Los 78

Behjat Sadr (Iran, 1924-2009)The White Forest oil on wood panel, framedsigned 'Sadr' (lower right), executed in late 1960s90 x 121.5cm (35 7/16 x 47 13/16in).Footnotes:Provenance:Property from a private collection, California'Representing reality has never been important to me... reality for me is a mere pretext to create forms and colours' – Behjat SadrBehjat Sadr is remembered as one of the founding artists of abstract art in Iran, and for some time, one of its sole accomplished protagonists. Born in Iran, Sadr was the younger sister of Noṣrat-Allah Amini, the mayor of Tehran during the tense period of Moḥammad Moṣṣadeq's premiership from 1951 to 1953. She was enrolled in the Faculty of Fine Arts at Tehran University in 1948, where she met Sadeq Hedayat, who at the time worked as a librarian, as well as Sohrab Sepehri and many other artists who later became prominent figures in the Iranian art scene.Sadr graduated in 1954 with distinction and was immediately awarded a grant to study in Italy. She left for Rome in 1956 where, upon recommendation of Marco Grigorian, she met with Roberto Melli (1885-1958), who liked her work and became her mentor. In the same year, she attended Roberto Melli Academy, Academia di Belle Arti, and later the Naples Academy of Fine Arts.Upon graduation they returned back to Tehran, and in 1960 Behjat started teaching at the Faculty of Fine Arts as an associate professor. In 1966 Behjat Sadr travelled to Paris on a sabbatical and became Gustave Singier's assistant. Singier, a Belgian non-figurative painter, was also a teacher at Ecole Nationale Superieure des Beaux-Arts, and taught Behjat many novel techniques. Inspired and excited, Behjat returned home in 1968 and became the Chair of The Department of Visual Arts at Tehran University. Behjat Sadr was diagnosed with breast cancer in the late 1990s and died of a heart attack at 85 in the South of France.Sadr's work occupied a unique space in the landscape of twentieth century Iranian art. The dominant trend in the 1950's was movement away from the European inspired academic formalism of the Qajar era and a drive towards the discovery of an indigenous modern aesthetic but one whose key ingredients were popular religious imagery and neo-traditionalist motif's. Sadr's work crushed these parochial boundaries; unconcerned with pursuing a nationalistic artistic agenda she embraced a visual language that was dedicated to expression and technique.He work shows the deft touch of a painter who was highly literate in the application of complex colouring and patterned texture, and whose pursuit of abstraction has left us with of the most revolutionary and original bodies of work in twentieth century Iranian art.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

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Bonhams

Los 97

George Bahgory (Egypt, born 1932)Self-Portrait mixed media on canvas, framedsigned 'Bahgory' in Arabic and English (upper left)92 x 70cm (36 1/4 x 27 9/16in).Footnotes:Provenance:Property from a distinguished private collection, CairoGeorge Bahgory's self-portrait captures his signature blend of playfulness and boldness, presenting himself with a Christ-like aura that is both striking and whimsical. The composition, with its large, round, almost halo-like head, echoes a long tradition in art history where powerful figures have depicted themselves as prophets or religious icons—figures like Cesare Borgia or Alexander the Great come to mind. However, unlike these historical examples, Bahgory's portrayal feels more tongue-in-cheek than grandiose. The exaggerated features and abstract rendering reflect his larger-than-life personality, offering a playful, almost narcissistic reflection that avoids the pitfalls of arrogance. This self-portrait is as much a statement of Bahgory's humor and self-awareness as it is a nod to his place within the wider artistic tradition.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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Olympia Auctions

Los 173

A RITUAL BRONZE FEMALE BREASPLATE, KERALA OR COASTAL KARNATAKA, INDIA, 18TH/19TH CENTURY the prominent breasts each with a cobra resting on top, with protruding belly, multiple beaded necklaces and crescent-shaped pendant, old inventory number painted on the reverse, 42 x 35 x 13cmProvenance: From the collection of the late Roy Elvis (1944 – 2022)This type of breastplate was worn by male Theyyam dancers during religious ceremonies as they impersonated various goddesses. For a similar breastplate from the collection of Dr. Pratapaditya Pal, sold at Christie's New York, see The Scholar's Vision: The Pal Family Collection, 20 March 2008, lot 370. For another of later date in the Metropolitan Museum of Art, New York, see inv. no. 2022.2.

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Bonhams

Los 178

Two sages seated on a terrace with vinas, perhaps a ragamala scene Pahari, Punjab Hills, circa 1840gouache and gold on paper, panel at bottom with three lines of text written in nagari script in black ink, floral inner border, lacking outer border 297 x 236 mm.Footnotes:The subject depicted may be Kanara raga, son of Megha. For another Pahari example (Bilaspur, circa 1700-20), which depicts two men with vinas seated facing each other, see Simon Ray, Indian and Islamic Works of Art, April 2006, pp. 132-133, no. 61. However, there both men are playing, which is not the case in our painting. Ray notes a Pahari drawing in K. Ebeling, Ragamala Painting, 1973, p. 293, no. 375, depicting Kanada Putra of Megha, in which one man plays the vina while the other, without an instrument, appears to clap his hands to the beat. The outstretched hand of the man on the right in our painting may imply a similar marking of the rhythm. On the other hand, his priestly appearance, and the religious marks on the faces of both, may suggest another interpretation.For another work perhaps from the same ragamala series, see Sotheby's, Modern and Contemporary South Asian Art including Indian Miniature Paintings, 8th June 2012, lot 14 (Bangali Ragini of Bhairava Raga); and the sale in these rooms, India in Art, 7th June 2022, lot 76 (depicting kanphat yogis).Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

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Bonhams

Los 188

Max Arthur Macauliffe, The Sikh Religion: its Gurus, Sacred Writings and Authors, in six volumes Oxford, 1909six volumes, approximately 350-450 pp. per volume, 22 monochrome lithographed plates across all six volumes, nine photographs of religious buildings and people, anonymous inscriptions dated Calcutta, between 10th September and 1st November 1927, blue cloth 220 x 145 mm.(6)Footnotes:ProvenanceInscriptions dated Calcutta, September-November 1927.Formerly in the Library of Bonebrake Theological Seminary, Trotwood, Ohio (embossed and ink stamps), its name between 1909 and 1954.The six volumes of The Sikh Religion are an impressive achievement, as a feat of writing, of comprehensiveness, and of sheer ability to gather material, both historical and textual. It has remained in print since its publication in 1909 and is the most cited text on the Sikh religion in English.A summary of the contents is as follows:Vol. I, pp. 383, Guru Nanak, his life and writings.Vol. II, pp. 351, the lives and hymns of the second, third and fourth Gurus.Vol. III, pp. 444, the life of Guru Arjan, the fifth Guru, and his hymns, photograph of his shrine.Vol. IV, pp. 421, the lives of the sixth, seventh, eighth and ninth Gurus, and the hymns of the ninth, Guru Teg Bahadur, photograph of the Akal Bunga, and the Baba Atal tower, Amritsar. Vol. V, pp. 351, the life of Guru Gobind Singh, the tenth Guru, his compositions, his stance against idolatry, his epistle to the Emperor Aurangzeb, discussion of the musical measures of his hymns, photographs of the shrine at Fatagarh, Muktsar, the temple at Nander, and an Akali.Vol. VI, pp. 453, various religious texts, including the Bhagats of the Granth Sahib, the life and hymns of Jaidev, and of Namdev, Kabir, and Rav Das, photograph of Namdev's shrine at Ghuman, and of two Sikh holy men, index.The Preface opens: 'I bring from the East what is practically an unknown religion'. While, crucially, presenting the newness and distinctness of Guru Nanak and the Sikh religion, Macauliffe also made connections and drew analogies between it and Western religion and philosophy. In a lecture given in Paris, he stated that he was 'not without hope that when enlightened nations become acquainted with the merits of the Sikh religion, they will not willingly let it perish in the great abyss in which so many creeds have been engulfed'. His translation of the Guru Granth Sahib was the first to be accepted by the Sikh community. He had begun to publish parts of his work as he went along as early as 1897, and in 1900 his partial translation of Sikh scripture was published as Holy Writings of Sikhs, in which he had been assisted by Pratap Singh Giani, a Sikh scholar. He also acknowledges in his preface his debt to the Rajah of Nabha, Sir Rajinder Singh, the late Maharajah of Patiala, Rajah Ranbir Singh, the Rajah of Jind, and Sardar Ranjit Singh of Chichrauli. The Rajah of Nabha, in particular, for instance, 'has at considerable expense caused the thirty-one Indian rags, or musical measures, to which the hymns of the Gurus were composed, to be written out in European musical notation by a professional musician whom he employed for the purpose' (preface, p. xxvi). But it was to be sixteen years from his resignation from the Civil Service until the final publication of his magnum opus.For a good account of Macauliffe's work and career, see Harbans Lal, 'The Western Gateway to Sikhism: the life and works of Max Arthur Macauliffe', in K. Brown, Sikh Art and Literature, London 1999, pp. 129-142.Max Arthur Macauliffe (1841-1913)Macauliffe was born in Limerick, Ireland, and was educated at Queen's College, Galway. He joined the Indian Civil Service in 1862 and was posted to the Punjab in 1864, becoming a deputy commissioner at Ferozpur in 1882 and a divisional judge in the same district in 1884. Born a Protestant, he converted to the Sikh religion (while not adopting its external signifiers) and resigned his position in the ICS in 1893. At the time he was derided by his employers for having 'turned a Sikh'. He lived at Amritsar and soon became deeply interested in the Sikh religion. Between 1875 and 1881 he published four articles on Sikhism in the Calcutta Review and had begun to learn the languages of the Guru Granth Sahib.The India Office had commissioned a German missionary and scholar, Dr Ernest Trumpp, who had learned Arabic, Sanskrit, Hindi and Sindhi, to translate the Granth into English, but the partial translation (Trumpp had given up after seven years in despair), which appeared in 1877, was unacceptable, indeed offensive, to many Sikhs. Macauliffe undertook a new translation with the encouragement of Sikh scholars and other figures in the community. He received finanical assistance from Rajah Bikram Singh of Faridkot, as well as Rajah Hira Singh of Nabha, Maharajah Rajinder Singh of Patiala, Rajah Ranbir Singh of Jind, amongst others. Though he saw his labours as serving the political interests of the Sikhs, he by no means saw them as anti-imperial. He saw the Sikhs as potential allies for the British, in a pamphlet with the significant title A lecture on the Sikh religion and its advantages to the state.He employed gianis (professional interpreters of the Sikh scriptures) to help him. In an unprecedented decision, Macauliffe asked that the completed work be scrutinised by a committee of Sikh scriptural scholars, who suggested various emendations and gave it their seal of approval, both linguistic and theological. As well as translating the Granth, he decided to include biographies of the ten gurus of Sikhism and of the Bhagats, the Sant poets whose works also appear in the Granth. When he completed his work, he moved to England, accompanied by his great friend and adviser, Bhai Kahn Singh, the celebrated Sikh scholar, who helped him correct the proofs of his book. In 1909 the Clarendon Press, Oxford, published Macauliffe's The Sikh Religion. Macauliffe, who was unmarried, died in West Kensington, London, on 15 March 1913. His personal assistant remarked in his memoirs that on his death bed, MacAuliffe could be heard reciting the Sikh morning prayer, Japji Sahib, ten minutes before he died. The Sikh Educational Conference passed a vote of condolence and the Sikhs of Rawalpindi set up a Macauliffe Memorial Society to raise funds to establish a library in his memory, but the amount collected was insufficient. Among those who subscribed, and sent a letter of support, was the Lieutenant-Governor of the Punjab, Sir Michael O'Dwyer. The money was eventually given to Khalsa College, Amritsar, to fund an annual Macauliffe Memorial Medal for the best student in Sikh theology and history. The medal is still awarded on an occasional basis. (Partially adapated from the Dictionary of Irish Biography).For a fine and rare copy of Macauliffe's text, presented by the author to the Duke of Connaught in the year of publication, see the sale in these rooms, Bonhams, Islamic and Indian Art, 21st May 2024, lot 195.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams

Los 64

THREE COPPER ALLOY STUPASCirca 13th/14th centuryEach with domed bases rising from a double lotus frieze with beaded rim and supporting the stepped harmika, two with inset turquoise, and each surmounted by a tapered parasol and lotus-bud finial. The largest 20cm (7 7/8in) high. (3).Footnotes:約十三/十四世紀 銅佛塔 一組三件Provenance: a Danish private collection來源： 丹麥私人收藏Stupa is one of the earliest manifestations of Buddhist art. Stupas symbolise the monumental funerary mounds of ancient India, assimilated into Buddhism as reliquary containers for remains of high religious dignitaries. Evolving over time, stupas took on various forms, including smaller metal constructions as the present lot, fulfilling the sacred duty of safeguarding holy relics. They also serve a profound purpose of invoking the presence of the Buddha and his teachings. See a group of related brass stupas, 13th-15th century, illustrated by M.Henss, Buddhist Ritual Art of Tibet, Stuttgart, 2020, p.72. Compare the two copper alloy stupas with turquoise inlays with a similar one, 13th century or later, which was sold at Bonhams New York, 19 March 2021, lot 381.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams

Los 109

AN EMBROIDERED SILK 'DRAGON' ROUNDELWanliFinely embroidered in multi-coloured floss silk and gold-wrapped thread with a front facing dragon pursuing the flaming pearl above the terrestrial diagram, beneath a large double-gourd lantern enclosing the Shou character and Leiwen symbol, flanked by further gourd lanterns and sprouting stems of lingzhi fungi, all interspersed amidst wispy ruyi clouds and on a coral-red ground, mounted with silk on frame. 37.7cm (14 3/4in) wide.Footnotes:明萬曆 壽字龍紋圓補Provenance: Spink & Son Ltd., LondonA European private collection, acquired from the above on 25 September 1997來源： 倫敦古董商Spink & Son Ltd.歐洲私人收藏，於1997年9月25日從上處獲得Published, Exhibited and Illustrated:Spink & Son Ltd,The Art of Textiles, London, 1989, cat.no. 49.展覽著錄：Spink & Son Ltd，《The Art of Textiles》，倫敦，1989年，圖錄編號49The present badge would have likely been applied on the front or back of a festive robe worn by one of the highest-ranking members of the Ming court, likely a Prince, as he attended the New Year celebrations. New Year was a time for wishing good fortune. It was celebrated at the time of the second new moon after the Winter Solstice, blending Imperial ceremonial grandeur and vibrant popular customs. The Lantern Festival signalled the end of the New Year's festivities. It was a three-day event held at the time of the full moon, fifteen days after the start of the New Year. This celebration likely originated during the Han dynasty and is believed to be linked to the spread of Buddhism in China. Emperor Ming of the Eastern Han dynasty (25-220 AD) learned that Buddhist monks honoured relics by lighting lanterns on the 15th day of the first lunar month. Embracing the practice, he commanded that lanterns be illuminated throughout the Imperial palace and all temples on the same day. The tradition of hanging colourful lanterns, often adorned with riddles, soon spread widely among the Chinese populace; see G.J.Melton, Religious Celebrations: An Encyclopedia of Holidays, Festivals, Solemn Observances, and Spiritual Commemorations, Goleta, CA, 2011, pp.514–515. At the time of the Wanli Emperor, known for his consumption and demand of luxurious silks, garments worn during the New Year festivities appear to have been restricted for wear by the highest-ranking members of the Court. These were often decorated with gourds, traditional symbols of abundance, which were often embellished with characters of a congratulatory nature and other emblems underscoring auspicious symbolism, such as displayed by the present example; see J.Vollmer and J.Simcox, Emblems of Empire, Edmonton, AB, 2009, p.50. On the present badge, the largest gourd is embellished with the Shou character and the Leiwen symbol which, together with the lingzhi fungi, form the rebus 'May you live for ten thousand years'.Compare with a nearly-identical red-ground silk embroidered dragon roundel, Wanli, in the collection of the University of Alberta Museum, Edmonton, Canada, illustrated by J.Vollmer and J.Simcox, Emblems of Empire, Edmonton, AB, 2009, p.52.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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Halifax Mill Auctioneers

Los 200g

Pewter Antiques, Copper & Vintage Inkwells + Religious Wooden Art

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Grand Auction House

Los 320

An Islamic Ottoman Metal-threaded Embroidered Textile,20th Century, with Islamic Calligraphy and Ceremonial Motifs.Approximately 238 x 133cmThe embroidery features prominently on a red fabric, with the vibrant contrast of gold and silver metal threads adding a luxurious and regal appearance to the work. The use of metallic threads was a hallmark of high-quality Ottoman textile art, symbolizing wealth, power, and religious devotion.At the centre, the inscription of the Shahada (the Islamic declaration of faith) is boldly displayed in vibrant red against the gold and green background. Surrounding the central panel are additional inscriptions in flowing Arabic script, likely praising Allah and Prophet Muhammad (PBUH), as well as other key Islamic figures. The corners and sides are embellished with ornate roundels containing calligraphic medallions that likely include further blessings or names of the Rashidun Caliphs.One notable feature in the centre is the depiction of a ceremonial vessel or lamp, symbolizing light and knowledge in Islamic tradition, surrounded by the names of the first caliphs, emphasizing the unity of religious and political authority in Ottoman culture.Provenance: Private UK collection.

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La Suite Subastas

Los 89

Attributed toMiguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Our Lady of Sorrows'Oil on copper. 57 x 42.5 cm.Cabrera is considered to be the greatest exponent of 18th-century Viceroyalty painting in New Spain, with an output that the Dallas Museum of Art defines as ‘legendary: more than 309 works from his large studio have been documented’.Miguel Mateo Maldonado y Cabrera was born on 27 February 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will from 1768.He was the son of unknown parents and the godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training in the studio of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but was also involved in the attempt to found an academy of arts in 1753, and in 1756 he established himself as an intellectual, not only as an artist, as he published an account of the image of the Virgin of Guadalupe in 1756 entitled ‘Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura’, an account of the image of the Virgin Guadalupe published by the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his output includes altarpiece designs, large-format paintings, as well as small oneson copper and nun's shields. Cabreraproducedfigures of remarkable beauty in his religious painting, a beauty understood through the ideological assumptions of the worship of the period. It is refined art with well-arranged chromatic richness, sustained by great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that period, Cabrera was the one with the greatest personality; the conventional treatment of his figures undoubtedly formed the basis of his style of painting, as he placed in his paintings models that were not ideal, but who were people he knew and dealt with, such as when he incorporated portraits of donors or the so-called ‘prelates’ in some paintings.He had the need to observe directly and copy from nature. He was appointed chamber painter to Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, an image made from "ayate" - a material made from local plants. Cabrera's version was sent to Pope Benedict XIV, from whom he received the highest recognition as a painter of Guadalupe. Outstandingportraits he painted include the one of Sor JuanaInés de la Cruz, kept in the National Museum of History, and the portrait of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.He was also a painter for the Society of Jesus, producing numerous artworks for their churches.In 1753 he was appointed president for life of the Academy of San Carlos.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756 for the church of San Francisco Javier, is in the Museo Nacional del Virreinato.The Museum of Art in Dallas has a Saint Gertrude the Great by Miguel Cabrera and another painting of Saint Gertrude, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Also of note is an important series of Caste paintings from 1763 in the collection of the Museo de América in Madrid. These depict families, father, mother and child of the various castes and social strata, in everyday situations.

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La Suite Subastas

Los 107

Imposing carved and polychromed wooden cupboard. Viceregal work. Peru. 18th century.210 x 152 x 60 cm.Structurally, it has two front doors thatclosewith a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommendreading chapter VI of the aforementioned book by Compos Carlés(Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explainedhow: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromywere also used.210 x 152 x 60 cm.Structurally, it has two front doors thatclosewith a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommendreading chapter VI of the aforementioned book by Compos Carlés(Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explainedhow: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromywere also used.