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

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

Painter of the Andean viceroyalty. Attributable to Francisco José de Lerma y Villegas (Caracas, Venezuela. 18th century. Active between 1719 and 1753).“Patronage of Our Lady of Mercy over the Order of the Mercedarians”Oil on canvas.The canvas has some damage.52,5 x 39,5 cm. (with frame: 100 x 61 cm.)The painting with the same subject matter as this one, ‘The Patronage of the Virgin of La Merced’, which is kept in the Museo de Arte Colonial de Caracas Quinta de Anauco, is also by Lerma and is based on an engraving by Cavalli. The two have great similarities.As we read in the Royal Academy of History, ‘In his pictorial works we can observe careful drawing, harmonious colouring and an adequate knowledge of light and shade, as well as the combination of various stylistic features resulting from the imitation of prints and engravings from a wide variety of sources’. Our work is based on the engraving by Pieter de Jode I (1565 - 1639) ‘Our Lady of Mercy’ (PI 626A/3935B).Wonderful canvas from New Spain, richly framed, depicting one of the most popular themes in New Spanish art, the so-called "Patrocinio" (Patronage), which shows the Virgin Mary (in this case) or a saint (cf. parallels with the Patronage of Saint Joseph in this same auction, lot 62) protecting communities, religious orders, corporations and authorities under her mantle (with a clientelistic and corporate scheme typical of the Ancien Régime), as the main recipients of her heavenly benefits.Our Lady of Mercy and the Redemption of the Captives is the Queen and Lady of the Order of Mercy (Latin: Ordo Beatæ Mariæ Virginis de Redemptione Captivorum), a Catholic mendicant religious order, founded in 1218 by Saint Peter Nolasco (ca. 1180-1245) for the redemption of Christian captives in the hands of Muslims.  The Mercedarians committed themselves with a fourth vow, to liberate others who were weaker in the faith, even if their lives were endangered by it.This Virgin of Mercy, crowned ‘as queen’ of heaven under the Holy Trinity who contemplates and blesses the moment, protects the order of the Mercedarians, the Pope and the King under her wide mantle, raised and supported by two angels.The Pope we see is Gregory IX, who approved this religious order in 1235 with the Papal Bull "Devotionis vestrae"; next to him is Saint Raymond Nonnatus, another of the ‘principals’ of this order; the king, James I of Aragon, known as ‘the conqueror’ and, next to him, its founder Saint Peter Nolasco, and Saint Mary of Cervelló, left, founder of the female branch of this order, with some more of these Mercedarian sisters.All, without exception, are prostrate on a period checkered tiled floor: the king, the Pope and his bishops, and the entire religious order, kneel before the Virgin Mary and Lady Queen with both knees, an external gesture that expresses the greatest sign of submission.On the floor are scattered shackles, symbols of the redeemed captives.The painting has an imposing period frame, richly carved and gilded, with sections in painted glass (the polychrome is posterior). It is polychromed in blue, with flowery poinsettia, enclosing and completing the beauty and devotion of the painting. Bibliographic reference:- Ojeda, Almerindo. 2005-2024. Project for the Engraved Sources of Spanish Colonial Art (PESSCA). Website located at colonialart.org. Date accessed: 21/10/2024.

Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Virgin of Guadalupe with apparitions’.Oil on copper. Signed "Michl Cabrera pinxit"42,5 x 42 cm. Important representation of the Virgin of Guadalupe, which includes the apparitions and the Indian Juan Diego.It has handwritten legend in Latin: "Non fecit taliter omni nationi" (He did nothing the same with any other nation) in reference to the words pronounced by Benedict XIV when he was presented with the image of the Virgin of Guadalupe and admiring its beauty, he approved the works of the Guadalupe patronage in Mexico.Cabrera is considered the greatest exponent of 18th century Viceroyalty painting, with a production that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented".Miguel Mateo Maldonado y Cabrera was born on February 27, 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will in 1768.He was the son of unknown parents and godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training, passing through the workshop of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, State of Mexico, in the church of Santa Prisca in Taxco, Guerrero and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but he also participated in the attempt to found an academy of Arts in 1753 and in 1756 he was consecrated as an intellectual, not only as an artist, since he published a narration about the image of the Virgin of Guadalupe in 1756 entitled "Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura", a narration about the image of the Virgin Guadalupe in the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his production includes the design of altarpieces, large format works, as well as small copper works and nun's shields. Cabrera's religious painting produces figures of remarkable beauty, a beauty understood under the ideological assumptions of the devotion of the time. It is a refined art that possesses a well-arranged chromatic richness, is sustained by a great work of composition and, no less important, a subtle and expressive drawing.Of all the painters of that time, Cabrera was the one with the greatest personality; the conventional treatment in his figures was undoubtedly the basis of his way of painting, because he placed in his paintings models that were not ideal, but corresponded to people that the artist knew and treated, as when he incorporated in some paintings, portraits of donors or the so-called "prelates" because he had the need to observe directly and copy from nature. He was appointed chamber painter of Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, reproducing the ayate. The image was sent to Pope Benedict XIV, from whom he obtained the highest recognition as a painter of Guadalupe. Among the portraits he painted, the one of Sor Juana Inés de la Cruz, kept in the National Museum of History, and the one of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán,Mexico.He was also a painter for the Society of Jesus, for whose churches he produced numerous works.In 1753 he was named president for life of the Academy of San Carlos.His work is preserved in many churches and convents in Mexico.It is also present in numerous public and private collections.Two of his images of the Virgin of Guadalupe are in the Vatican Museum.Another, made in 1756, for the temple of San Francisco Javier, is preserved in the National Museum of the Viceroyalty.The Museum of Art of Dallas, conserves a Santa Gertrudis La Magna by Miguel Cabrera and another representation of the Saint, also by Cabrera and dated in 1768, is part of the collection of the Museum José Luis Bello y Zetina of Puebla, Mexico.Likewise, we highlight an important series of the Caste paintings of 1763 that is conserved in the collection of the Museum of America in Madrid. They depict families, father, mother and child of the various castes and social strata, in everyday life situations. Finally, mention should also be made of the Pinacoteca de La Profesa or the Andrés Blaisten Collection in Mexico, as depositories of Cabrera's work.The Museum of America in Madrid is currently exhibiting a very important retrospective of the painter. Procedencia:- Antigua colección Pedro Vindel.Pedro Vindel fue un librero anticuario conquense, como informa la Real Academia de la Historia, “el que llegó a ser el primer librero anticuario español de su época”, con una de las colecciones más importantes de libros de horas. Tal como sigue la RAH, “Pedro Vindel, al estilo de los grandes libreros europeos, publicó sus catálogos desde 1895, y organizó varias subastas de libros, en locales por él alquilados, como la de 1913, cuyo catálogo hizo imprimir. También fue quien inició en España lo que él denominó la “bibliografía gráfica”, al incluir en sus catálogos […] reproducciones fotolitográficas de las portadas u otros elementos de los libros”.Para más información, recomendamos la lectura de “Pedro Vindel: Historia de una librería (1865-1921)”, de Pavl Cid Noé. Reference Bibliography:- Andres Blaisten Museum. (n.d.). https://museoblaisten.com/Artista/79/Miguel-Cabrera- Sánchez Mariana, Manuel. (s.f.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez

Attributed to José Campeche (San Juan, Puerto Rico, 1751 - 1809)“Possibly portrait of a governor of Puerto Rico.”Oil on canvas. In its original carved and gilded wooden frame from the period.109 x 84 cm.  Campeche was one of the most recognised Puerto-Rican artists. The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island after being exiled by King Charles III, between 1775 and 1778.The Puerto Rico Art Museum has some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to be one of the most exalted and outstanding Hispanic-American painters of the late 18th century."Frequent in the style developed by our painter, elongated figures and cherubic angels with round faces can be perceived.

Viceregal School. Peru. 18th century."Our Lady of the Rosary"Oil on canvas. Relined. Accompanied by a cornucopia frame in carved and patinated wood of the period. It has some faults.104 x 82,5 cm. This canvas depicts one of the most outstanding episodes in the legend of Saint Dominic of Guzmán, the saint's presence at the apparition of the Virgin of the Rosary. In this painting, with the added presence of another saint. Tradition, which began in the 15th century, told that the Mother of God herself taught Saint Dominic to pray the rosary in 1208, telling him to propagate this type of worship and to use it as a powerful weapon against those he supposed to be enemies of the faith. During Spanish colonial rule in New Spain, a religious painting of this type was developed, intended to Christianise the indigenous people. This painting, by a local painter, was modelled on other Spanish artworks, which were followed and copied in type and iconography, but always with their own identity. The centre of interest is focused on the female presence with the child in her arms, the Virgin Mary and her Son. The gazes of all the figures, angels and saints, are directed towards her, and she is also placed in the most luminous area of the composition. The Virgin Mary, floating on clouds and crowned, is presented as a dignitary. Her red robe expresses divine love in Christian mysticism. Her blue mantle symbolises heaven and heavenly love. It is also the colour that the Church traditionally associates with the Virgin. The rosary she holds in her right hand points to the type of worship that is practised in reference to this invocation of the Virgin Mary and which is understood ‘as a means of prayer to facilitate salvation’. Three white lilies can be seen, which speak of purity and martyrdom. Two saints, in ecstasy, pray on their knees before her, founders of the two orders that were in almost constant conflict, but which symbolically are united and involved in the same worship, as in the embrace they gave each other at the doors of St. Peter's Basilica, which was so often depicted in art. In the lower margin, there is a sign that reads: "Nra. Sra. del Rosario. A devocn. del Sarg.to Mor. Dn. Joseph Ferimn Ruiz Pino y Dª. Carl [...] AV". The inscription ends with the initials ‘AV’, a clear allusion to the owner, and to the person for whom the work was made.

Diego de Aliaga (Andean Viceroyalty, Active between 1770 - 1780)‘Patronage of Saint Joseph’.Oil on canvas. Signed ‘Didacus ab Aliaga mi P...’ and dated in Jujuy, 1774.90 x 71 cm. A work comparable to this one, although smaller in size and depicting Our Lady of Mercy with the Holy Trinity, also dated in Jujuy a year earlier, 1773, was auctioned at Christie's on 19 May 2019, fetching $52,000 (auction no. 15922 Latin American Art).As noted by Arca (Colonial art project at the University of the Andes): ‘Aliaga was an artist active in the region of Jujuy, Argentina. He is best known for ‘The Way of the Cross,’ painted in the church of San Francisco in Jujuy, Argentina, between 1772 and 1776’.This is a wonderful canvas from New Spain with one of the most popular images in New Spanish art, showing a saint (in this case) or the Virgin Mary protecting communities, religious orders, corporations and authorities under her mantle (appealing to clientelism and corporations in a way typical of the Ancient Regime), the main recipients of her heavenly benefits. Saint Joseph is crowned ‘as King’ of heaven by two flying angels, with Mary his wife portrayed in the flaming sun of his tunic, who is also protector and mediator.  Under his broad mantle, raised and supported by two other figures who serve and adore, the saint protects the King and the Pope, in short, the rulers and the faithful (almost always nobles) and the bishops and clerics of the pilgrim church, including religious orders. Clement XIV and Charles III, King by the Grace of God of Spain and the Indies, the Pope who suppressed the Society of Jesus in 1773, and the sovereign who pointed out ‘their good deeds’, since he had already expelled them from Spain in 1767, are named. They all wear a special gala costume, and the two orders are distinguished by the colour of their habit, brown on the left and black in the background. The common folk are distinguished by their colourful coats, all of them thus demanding respect for this convention.Clientelism, the link between courtiers and the king, or lower-ranking nobles and relatives, established a relationship of submission and dependence. This clientelistic scheme ‘extended to heaven’, and the saints were seen as patrons of their faithful, and from there ‘their patronage’ descended to the court, where the monarch was compared to God, as he protected and preserved his officials, who were considered ‘his creatures and his workmanship’.  However, the great distance that separated earthly sovereigns (civil or religious) from the heavenly sovereign is emphasised by these signs: before the king, the subject puts only one knee on the ground, but before God, present in the Eucharist, or before the Virgin Queen, getting down on both knees was the greatest sign of submission, as we see in this painting.A low, centred cartouche gives the location as Jujuy, a province in Argentina, and the date 1774, and those who commissioned the painting appear, ‘as humble slaves of Saint Joseph’: ‘Devajo del Poderozo Nsanto de tu Soberano Patrosino Señor Patriarca Sn Joseph, viven, y morirán Voestros humildes esclavos Dn Francisco Joseph Dias y su esposa Da Maria Petrona Araoz: Jujuy, año 1774.Didacus (Diego) ab Aliaga mi p...(pingebat)’. (Under the powerful sanctity of your sovereignty, Lord Patriarch Saint Joseph, live and die your slaves Francisco Joseph Dias and his wife Maria Petrona Araoz: Jujuy, in the year 1774, followed by the painter's name).Its imposingt period frame is outstanding, the openwork basketry and scrolls of vegetation decoration, similar to those seen in lace are finely carved and gilded.  It draws attention to the nobility and quality of this work, not only from the historical point of view, but also from the artistic point of view. Bibliographic reference: - https://arcav1.uniandes.edu.co/artworks/8694 

A rare paste and garnet 'Order of Christ' brooch, Portugal, 19th century, designed as a cross within a foliate border suspended from a ribbon bow, set with foiled calibré-cut garnets and cushion-shaped pastes, in closed-back silver settings, length 5.5cm, case stamped Franklin, 37 Duke Street, St James'sThe Order of Christ was a religious and military order founded in Portugal as a continuation of the Knights Templar, following their persecution and disbandment in the early 14th century. Secularised by Queen Maria I of Portugal in 1789, it was one of the three 'Ancient Military Orders' conferred upon prominent political, cultural and military figures by the Portuguese monarchs. With the fall of the Portuguese monarchy in 1910 it was discontinued, but was revived shortly afterwards in 1917 and still continues, presided over by the President of the Republic as its Grand Master. Cf.: Leonor d'Orey, Five Centuries of Jewellery, National Museum of Ancient Art, Lisbon, 1995, p.112 and Diana Scarisbrick, Brilliant Impressions: An Exhibition of Antique Paste and Other Jewellery, SJ Phillips, 2010, p.97-8, for similar examples of these distinctive jewels.

AN ENGRAVED BRASS ASTROLABE PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Safavid Iran, dated 1125 AH (1713 AD), signed by the maker Amin Mohammad Shams al-DinOf typical circular shape, comprising five engraved plates and an openwork rete with scrolling, intertwined vegetal interlace and an ecliptic ring at the top, the rule and mater densely engraved with Arabic letters and references, the womb featuring six decreasing concentric circles with Arabic inscriptions, the central roundel marked with the date '1125' (1713 AD) and signed by the maker Amin Mohammad Shams al-Din, another six bands occupying half hemisphere on the reverse, the cusp once fitted with a qibla pointer, now missing, engraved with rosettes on the front and an arabesque composition with a lotus flower flanked by split palmette scrolls on the back, with an old Sotheby's London tag reading Ottoman engraved brass astrolabe, Turkey, and extra notes in pen.13cm diameter and 16.5cm long Provenance: Chiswick Auctions, 29 April 2022, lot 92. Used in astronomical observations and for timekeeping, astrolabes allowed users to chart celestial bodies; determine the direction of Mecca; and navigate. Astrolabe makers were highly skilled craftsmen who often worked closely with scholars and astronomers to achieve the greatest level of precision and detail in their creations. Often, these scientific instruments were engraved not only with celestial markers but also religious inscriptions, demonstrating the dual role these devices played in both practical astronomical navigation and religious observance (e.g. determining prayer times and the direction of Mecca). During the Safavid period, their purpose became even more multi-faceted. In fact, despite their functional purpose, astrolabes and scientific tools became symbols of the cultural advancement promoted by the Persian shahs. As an example of this, the renowned Safavid astrolabe made by Muhammad Muqim al-Yazdi in 1647 - 48 AD, created for the Safavid ruler Shah Abbas Il, acts as both an utilitarian instrument, as well as a work of art and reminder of the degree of excellency strived for at the Safavid court. 13cm diameter and 16.5cm long Qty: 10

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

§ Arthur Dooley (1929-1994), three bronze 'Workers Control of Fisher Bendix Kirkby Jan 72' fish, each moulded 'A.D. / 72' to the bodies 6.5cm wide Acquired by the vendor's husband, who was working at Conran's Design Group in Deansgate, central Manchester, at the time of the strikes. According to the vendor, he too too had come from a working class background and was thus keen to support their cause and purchased these during a working tour of the city in 1972, the year he and the vendor were married. Born on January 17, 1929, Arthur Dooley is remembered as a significant sculptor whose work was deeply intertwined with his political beliefs and advocacy for social justice. His life journey from a merchant seaman and welder to a celebrated artist is as compelling as his sculptures, which often depicted the struggles and resilience of the working class. Dooley's early life was marked by diverse and challenging experiences. Leaving school at the age of 14, he took on various jobs, including working as a merchant seaman and later as a welder at Cammell Laird shipyards in Birkenhead. These early jobs, particularly in heavy industry, had a profound influence on his artistic vision. It was during his time as a welder that Dooley began attending night classes in sculpture, which set him on the path to becoming an artist. His talent blossomed further when he enrolled at St Martin's School of Art in London, where his raw, expressive style began to take shape.Dooley's sculptures are noted for their powerful emotional impact and often feature religious and social themes. Working primarily with bronze and steel, materials that mirrored his industrial roots, he created pieces that were both robust and deeply evocative. Central to his art was a strong sense of social justice and solidarity with the working class. This commitment to social issues was not just thematic but also active, as seen in his involvement with the 1972 Fisher Bendix worker strikes in Kirkby, near his native Liverpool.The Fisher Bendix factory strikes were a pivotal moment in Dooley's life and career. Faced with job losses and poor working conditions, the workers went on strike and eventually occupied the factory in a desperate bid to save their jobs. Dooley's support for the workers went beyond mere sympathy; he actively participated in their cause, using his art and public presence to amplify their struggles. In solidarity with the workers, Dooley produced the present works as tokens to be sold at the factory gates, with the proceeds being donated to the striking workers. This involvement underscored his belief in art as a tool for social change and his deep connection to the working-class community. All three in good condition.

Ca. AD 400 - 1000 .A Roman cast-bronze bell with a hemispherical loop. Roman bronze bells were crafted using lost-wax casting techniques. These played crucial roles in religious, civic, and military contexts. In cities, they signalled events and emergencies. These bells varied in size and featured inscriptions and decorative motifs. For similar see: The Metropolitan Museum of Art, Accession Number 89.4.1938.Size: 170mm x 125mm; Weight: 990gProvenance: Private UK collection; From an old British collection formed in the 1990s.

Ca. AD 500 - 700.A splendid Byzantine gold pendant, adorned with a large garnet cabochon in the centre. The arms are decorated with an intricate border formed with geometric motifs, made with twisted rope-shaped threads. A loop is attached to the top of the pendant. The cross became a widespread religious symbol during the Byzantine Empire. This gold pendant was most likely created for an upper class individual, to display their wealth and religious devotion. For similar see: Byzantium and the West, Jewelry in the first Millennium, n. 14.Size: 43mm x 22mm; Weight: 4gProvenance: Private collection of an Oxford professional, formed in the 1970s-1990s on the UK art market. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 2700-2300 BC.A terracotta eye idol with a bell-shaped body and flat base. The idol has stylised head features and expressive eyes. Originating from the site of Tell Brak, these idols emerged during the late fourth and early third millennium BC, representing a distinctive artistic and religious tradition.Size: L:125mm / W:105mm ; 265gProvenance: Property of a central London gallery; Ex. East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca. AD 500 - 700.A beautiful Byzantine gold religious. The ring has a round hoop with two parallel ridges that divide at the shoulders. These ridges are adorned with two red garnet cabochons on each side. The ridged shoulders secure a bezel, bordered with four golden pellets. The round gold bezel depicts an empress, most likely St. Helena, with a halo and holding a cross in her left hand.Size: D:18.75mm / US: 8 3/4 / UK: R; Weight: 11gProvenance: Private UK collection; previously acquired on the UK art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece comes with an authentication report by Sami Fortune, ancient jewellery specialist.

Art Nouveau "Religious lady scene" pen drawing signed A.M.M Lunan [54x43cm]

This rare and historically significant Jewish glass pendant, dating from the 1st to 2nd century, features a depiction of the Menorah, the seven-branched candelabrum that is one of the oldest symbols of the Jewish faith. The pendant, crafted from deep amber glass with rich red undertones, is a remarkable example of early Jewish art and religious symbolism. The Menorah design, though weathered by time, remains visible on the surface, offering a profound connection to the ancient world and the enduring faith of the Jewish people. The pendant's craftsmanship highlights the skill of ancient glassmakers, with the delicate, rounded form preserving the distinctiveness of the Menorah motif. D: 2cm  

This Byzantine Orthodox artwork follows traditional 19th-century models. The oil-on-panel depiction captures the solemnity and mysticism of Orthodox religious art, with refined detailing in the iconography and use of gilding.

Colonial School of Quito, 18th century. Carved in wood with glass eyes, the praying angels display an exquisite expression of devotion typical of Ecuadorian colonial art. The rich polychromy and finely carved details on the faces and wings denote a refined technique that sought to convey a profound religious feeling.

It represents St. George on horseback facing the dragon, made of carved and gilded wood, standing out for its realism and dynamism. St. George, with armor and a lance, shows determination while the dragon writhes beneath the horse. The dark base represents a rocky ground, and the use of gold leaf adds solemnity to the work. It is a notable example of 19th century religious art, combining classicism and baroque, symbolizing the triumph of good over evil.

PIETRO ANTONIO ROTARI (ITALIAN 1707-1762) YOUNG BOY WEARING A TEAL GILET Oil on canvas 43 x 33cm (16¾ x 12 in.) In 1734 after studying in Rome and Naples Pietro Rotari returned to his hometown of Verona where he opened a private academy concentrating on the production of historical and religious paintings. By 1740 his success brought him the title Count of the Venetian Republic and the following year he travelled to Vienna, where he was introduced to Jean-Etiènne Liotard, the celebrated Swiss pastellist, whose work profoundly influenced him. He was in Dresden, in the service of Frederick Augustus III, when he received an invitation from the Empress Elisabeth of Russia, daughter of Peter the Great, to come to St. Petersburg as first painter of the court. He arrived in 1756 and soon amassed a large fortuneAlthough he continued to work as a history painter in Saint Petersburg, it was there that Rotari developed the genre still associated with his name: small paintings of idealized heads, delicate and studiously artless in style, depicting the emotions of young boys and girls. After Rotari's sudden death in 1762, Catherine the Great bought 340 of the artist's 'fancy pictures' for the salon of Peterhof. The pictures Catherine did not buy were returned to Rotari's family in Verona, where they remained in the possession of his descendants until the late nineteenth century.This lot is from a deceased's estate sold to benefit the Art Fund. Condition Report: The canvas has been lined. Stretcher marks and associated craquelure visible. Additional craquelure throughout. Some superficial spots of surface dirt throughout. Inspection under UV light reveals light retouching and infilling scattered throughout; however this is very sensitively done, there are also traces of a green cloudy varnish.Condition Report Disclaimer

The Uniform Coinage of India, British Imperial Period, George V, silver Rupee, 1911, Calcutta, crowned and robed bust left, b.m. [Bertram Mackennal] on truncation, elephant on decoration resembles a pig, george v king emperor, rev. one rupee india and date, yek rupiya surrounded by ornate scroll containing rose, thistle and shamrock, lotus flowers above and below, edge grained, 11.68g/12h (Prid. 207 [Sale, lot 133]; SW 8.11; KM. 523; cf. Fore III, 2439). Very light bagmarks, otherwise brilliant mint state £150-£200 --- Provenance: Bt 1980. Owner’s envelope. The obverse punch for the new coinage of George V, showing the king wearing the Imperial Crown, Robe of State, collars of the Orders of the Star of India and Indian Empire and the badge of the Order of the Bath, was received by the Calcutta mint in July 1911. This was paired with the new reverse engraved from a design by Percy Brown (1872-1955), head of the Government School of Art, Calcutta, and accordingly stocks of the new coins, in silver and bronze, were built up in preparation for their release into circulation on 12 December 1911, the day of the Delhi Durbar. Unfortunately, political agitators in the bazaars started a rumour that a ‘pig’ was depicted on the new rupee, claiming that the elephant’s body and legs on the collar chain of the Star of India were out of proportion, no tusks were visible and the short trunk looked like a pig’s snout. Among Muslims and certain other religious sects the pig is an unclean animal and public aversion to the coin was swift and hostile. The government was left with no option but to announce on 23 January 1912 that the rupee, of which some 700,000 had been issued, was to be withdrawn, and notices were placed in the Times of India to that effect (Garside, SNC March 1912, cols. 13455-6). Poor engraving of the design was to blame for the confusion; the image on the smaller denominations had not caused offence and most of these remained in circulation. The elephant was re-drawn with a longer tail, better-defined tusks and ears on rupees dated 1912 and later

ITEM: Applique with Apollo playing lyreMATERIAL: BronzeCULTURE: RomanPERIOD: 1st Century A.DDIMENSIONS: 88 mm x 36 mmCONDITION: Good conditionPROVENANCE: Ex Spanish private collection, bought in English auction house. Ex English private collection, Middlesex, formed in the 1980sComes 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.IMPORTANT: Stand not includedIn Roman religion, Apollo was a significant deity who was adopted from the Greek pantheon and integrated into Roman worship with some modifications. Originally a Greek god of the sun, music, prophecy, and healing, Apollo retained these attributes in Roman tradition. He was often depicted as a youthful, beardless figure, symbolizing beauty, intellect, and artistic inspiration. His worship in Rome was multifaceted, reflecting his wide-ranging influence over various aspects of life and culture.One of Apollo’s key roles in Roman religion was as a god of prophecy and healing. The Romans revered him as a source of divine insight and guidance, and his oracle at Delphi was highly respected even in Rome. Apollo was also associated with medicine and healing, particularly through his connection with his son Asclepius, who was worshipped as a god of healing. Temples dedicated to Apollo, such as the Temple of Apollo on the Palatine Hill and the Temple of Apollo Sosianus, served as important religious and cultural centers where Romans sought his favor and guidance.Apollo’s influence extended into the arts and culture of Rome as well. He was considered the patron of music, poetry, and the arts, and his presence was a common motif in Roman art and literature. The Romans celebrated him with festivals and games, such as the Ludi Apollinares, which were held in his honor and included various public entertainments. Apollo’s role in Roman society reflected the broader adoption and adaptation of Greek deities into Roman religion, illustrating how the Romans synthesized elements of Greek culture with their own religious practices and values.

ITEM: Statuette of a LarMATERIAL: BronzeCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 60 mm x 44 mm (without stand)CONDITION: Good condition. Includes standPROVENANCE: Ex French private collection, acquired between 1970 - 1980Comes 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 Roman statuette of a Lar represents one of the most common household deities in ancient Roman religion. Lares were protective spirits of the home and family, often associated with ancestors or local spirits of the land. Typically, these statuettes were placed in a family’s lararium, a small household shrine, and were central to daily rituals that invoked protection and prosperity. The figure of a Lar is usually depicted as a youthful male wearing a short tunic, often holding a cornucopia or a drinking horn, symbolizing abundance and well-being.The worship of Lares highlights the importance of household and domestic religion in Roman life. While grand public rituals took place in temples, the veneration of Lares was a personal, intimate practice carried out by individual families. The presence of these statuettes in Roman homes reflects a deep belief in the divine influence on everyday life and the desire to maintain harmony and protection within the household. The rituals often involved offerings of food, wine, or incense, emphasizing the reciprocal relationship between the family and the protecting spirits.These statuettes also reveal insights into Roman art and craftsmanship. Usually made of bronze, but sometimes of terracotta or other materials, the statuettes are finely detailed despite their small size, showcasing the skill of Roman artisans. The Lar statuettes are not just religious artifacts but also representations of Roman social values, emphasizing the importance of family, tradition, and continuity.

ITEM: Pilgrim flask (Ampulla) of Saint Menas and Greek inscriptionMATERIAL: PotteryCULTURE: ByzantinePERIOD: 7th Century A.DDIMENSIONS: 100 mm x 65 mm (without stand)CONDITION: Good conditionPROVENANCE: Ex English private collection, acquired between 1960 - 1980PARALLEL: The Metropolitan Museum of Art, Accession number 17.194.2291Comes 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 Saint Menas pilgrim flasks, originating from the Byzantine period (roughly 5th to 7th centuries CE), are iconic clay vessels used by Christian pilgrims who visited the shrine of Saint Menas in Egypt. Saint Menas was a revered Christian martyr, and his shrine, located in Abu Mena near Alexandria, was a major pilgrimage site during the Byzantine era. Pilgrims would purchase these flasks at the shrine to carry home holy water or oil, believed to have healing and protective properties. These flasks served not only as religious souvenirs but also as physical reminders of the spiritual journey.Typically made of terracotta, the Saint Menas pilgrim flasks are small, flat, and round with a pair of handles on either side of the body for easy portability. The flasks were often stamped with images of Saint Menas, who is usually depicted standing with outstretched arms, flanked by two camels. This imagery refers to the legend of his death and burial, in which camels miraculously carried his body to its final resting place. The flask's design was both symbolic and functional, encapsulating the holiness of the relics pilgrims brought back.These flasks provide valuable insights into the religious practices and devotional culture of Byzantine Christianity. They reflect the importance of pilgrimage in the lives of early Christians and illustrate the role of material objects in fostering a connection between the faithful and the divine. The widespread distribution of these flasks, discovered across the Mediterranean, indicates the far-reaching influence of Saint Menas' cult and the vibrant exchange of religious practices within the Byzantine world.

ITEM: Horse harness fitting depicting saint with crossMATERIAL: BronzeCULTURE: ByzantinePERIOD: 5th - 7th Century A.DDIMENSIONS: 68 mm x 66 mmCONDITION: Good conditionPROVENANCE: Ex Austrian 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 horse harness fitting depicting a saint with a cross from the Byzantine period is a notable example of the intersection between art, religion, and practical objects in Byzantine culture. These fittings were part of the elaborate horse tack used by the elite, including military commanders and high-ranking officials. The depiction of a saint, often associated with Christian iconography, on such a fitting serves both a decorative and symbolic function. It highlights the Byzantine emphasis on integrating religious elements into everyday objects, reflecting the strong influence of Christianity in all aspects of life during this period.The craftsmanship of Byzantine horse harness fittings is remarkable for its attention to detail and the use of materials such as gold, silver, or enamel. The saintly figures depicted on these fittings were often rendered with a high degree of artistry, showcasing the skills of Byzantine metalworkers and jewelers. The imagery typically included a saint holding a cross, which served not only as a religious symbol but also as a sign of divine protection for the rider and their horse. The cross itself, a prominent symbol of Christianity, emphasized the sanctity of the individual and their commitment to the faith, linking the secular use of the harness fitting with spiritual significance.These artifacts also provide valuable insights into Byzantine social and military customs. The presence of religious imagery on horse harness fittings indicates the importance of faith in public and ceremonial life. Such fittings were often worn during official events, military parades, or religious processions, underscoring their role in both secular and sacred contexts. The use of religious symbolism on these practical items also reflects the broader Byzantine practice of imbuing everyday objects with spiritual meaning, reinforcing the pervasive influence of Christianity throughout Byzantine society.

ITEM: Aryballos with quatrefoil motifMATERIAL: PotteryCULTURE: GreekPERIOD: 6th Century B.CDIMENSIONS: 54 mm x 52 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, Sussex, mid-20th century private collectionComes 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 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.The aryballos with a quatrefoil motif is a distinctive type of ancient Greek vessel that emerged during the Geometric and Orientalizing periods (circa 900–600 BCE). The term "aryballos" refers to a small, globular container used to store oils, perfumes, or other precious substances. The quatrefoil motif, characterized by a four-lobed or four-petal design, was a common decorative element on these vessels. Aryballoi with quatrefoil motifs were often crafted from terracotta and decorated using the black-figure or red-figure techniques, which involved selectively applying slip (a liquid mixture of clay and water) to create contrasting images.The quatrefoil motif on these aryballoi was not merely decorative but held symbolic and cultural significance. The motif is reminiscent of floral patterns and was likely inspired by nature. The four-lobed design could represent various symbolic concepts such as symmetry, balance, or the four seasons. Additionally, in ancient Greek art, the use of geometric and floral motifs often carried deeper meanings related to religious beliefs, mythological narratives, or social customs.These aryballoi were practical as well as ornamental, serving a utilitarian purpose in daily life. They were designed for the storage and transportation of oils and perfumes, making them valuable personal items. The small size and portability of aryballoi with quatrefoil motifs suggest that they may have been used in grooming rituals or as offerings in religious ceremonies.

ITEM: Patera, Pompeii TypeMATERIAL: BronzeCULTURE: RomanPERIOD: 1st Century B.C - 1st Century A.DDIMENSIONS: 55 mm x 190 mm x 332 mmCONDITION: Good conditionPROVENANCE: Ex Emeritus collection (USA), collected from the 1950’s to the 1980’s by a distinguished university professor who served as Department head, Dean and Vice President of a major university.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.Roman pateras were shallow, circular dishes or bowls with a handle, primarily used for religious and ritualistic purposes in ancient Rome. These vessels were typically crafted from bronze, silver, or ceramic, and their design made them easy to carry and use during sacrificial rituals. The primary function of a patera was to pour liquid offerings, such as wine, milk, or water, to the gods during religious ceremonies. As an essential part of Roman religious practice, pateras were used in both public and private contexts, from large-scale temple rituals to personal household worship. Their simple yet functional design allowed for easy handling during these sacred acts.The decoration of Roman pateras often reflected their religious purpose. Many pateras were adorned with intricate designs, including depictions of gods, goddesses, and mythological scenes, as well as geometric patterns. The presence of such imagery on these vessels not only enhanced their aesthetic value but also emphasized their sacred function. For example, pateras might feature images of deities like Jupiter, Mars, or Bacchus, depending on the specific ritual or offering being performed. The craftsmanship of these objects varied, with more elaborate pateras being used by wealthier individuals or in major temples, while simpler versions were more common in everyday religious practices.Beyond their use in religious ceremonies, pateras also served as symbols of piety and devotion. They were sometimes included in burial offerings or depicted in funerary art to indicate the deceased's religious dedication or role in sacrificial rituals. In Roman military contexts, the patera also held significance as a symbol of the connection between the army and the gods, as soldiers would make offerings before battle or during religious festivals.

ITEM: MirrorMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 86 mm diameterCONDITION: Good conditionPROVENANCE: Ex American private collection, New Jersey, acquired 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 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.Roman bronze mirrors were essential personal items in ancient Roman society, serving both practical and symbolic purposes. These mirrors were typically made from bronze, a durable alloy that could be polished to a reflective surface. Roman mirrors were often small and handheld, with a circular or oval-shaped mirror plate set into a decorative bronze frame. The reverse side of the mirror often featured intricate engravings or relief decorations depicting mythological scenes, deities, or ornamental motifs.The use of bronze mirrors in ancient Rome was not limited to personal grooming but extended to various social and cultural contexts. Mirrors played a role in religious rituals, where they were used for divination, scrying, and other forms of magic and prophecy. In Roman funerary practices, mirrors were sometimes placed in tombs as grave goods, believed to assist the deceased in the afterlife or to symbolize the transition from life to death. Additionally, mirrors were prized as luxury items and status symbols, with finely crafted examples often given as gifts or heirlooms among the elite.Bronze mirrors also served as important artifacts in Roman art and material culture, providing valuable insights into ancient Roman aesthetics, craftsmanship, and social customs. The decorative elements found on Roman mirrors, such as mythological scenes, portraits, and floral motifs, reflect the artistic tastes and cultural values of the time.

ITEM: Statuette of a LarMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 75 mm x 33 mmCONDITION: Good conditionPROVENANCE: Ex Emeritus collection (USA), collected from the 1950’s to the 1980’s by a distinguished university professor who served as Department head, Dean and Vice President of a major university.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.In ancient Roman religion, the term lar refers to a household deity or spirit associated with the protection and prosperity of the family and home. The Lar was believed to be a guardian of the household, overseeing the well-being of its members and ensuring that the home was safe from harm. Each Roman family typically had its own Lar, which was honored through various domestic rituals and offerings. The veneration of these deities was an integral part of daily life and reflected the Romans' belief in the presence of divine forces within the domestic sphere.The representation of the Lar in Roman art often depicted the deity in a simple and approachable form, usually as a youthful figure or sometimes as an older, bearded man. The Lar was often shown with a short tunic, and in some depictions, it was accompanied by symbols of household prosperity, such as a cornucopia or a patera (a shallow dish used in offerings). Small household shrines, known as lararia, were dedicated to these deities and were typically located in a special part of the home. These shrines contained images or statues of the Lar, and family members would make offerings and perform rituals at these altars to honor the deity and seek their protection.In addition to their role within the household, Lares were also part of broader religious practices. They were associated with the penates, another class of household deities that were considered guardians of the pantry and the family’s food supply. Together with the Penates, the Lares were integral to the Roman familia's religious life, ensuring both physical and spiritual nourishment. The veneration of these deities was not limited to private homes; there were also public ceremonies and rituals that involved Lares, reflecting their importance in Roman society.The concept of the Lar illustrates the Romans' emphasis on the integration of religious practice into daily life. By venerating these household deities, Romans sought to ensure the stability and prosperity of their homes and families. The practice of honoring Lares through domestic rituals and offerings highlights the significance of personal and familial relationships with the divine in Roman culture. The study of Lares and their role in Roman religion provides valuable insights into the ways in which religious beliefs were woven into the fabric of everyday Roman life.

ITEM: RingMATERIAL: BronzeCULTURE: Iron Age, Central Asia, Amlash or BactrianPERIOD: 1st millenium B.CDIMENSIONS: 22 mm x 27 mmCONDITION: 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 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.The Bactrian culture thrived in the region of Bactria, which encompassed parts of present-day Afghanistan, Uzbekistan, and Tajikistan, during the Bronze Age, roughly from the 3rd to the 2nd millennium BCE. Bactria served as a crucial crossroads along the ancient Silk Road, connecting the civilizations of the Mediterranean, Central Asia, China, and the Indian subcontinent. The culture is known for its advanced urban centers, sophisticated metallurgy, and rich artistic traditions. Bactrian art often depicted scenes of daily life, mythical creatures, and religious motifs. The Bactrians are also believed to have played a significant role in the spread of early Indo-Iranian languages and culture.On the other hand, Amlash culture was prevalent in the Amlash region of northern Iran during the Iron Age, dating roughly from the 1st millennium BCE. The Amlash culture is characterized by its distinctive pottery styles, including painted ceramics adorned with intricate geometric and zoomorphic designs. Archaeological evidence suggests that Amlash society was organized into small-scale agricultural communities, with evidence of terraced agriculture and irrigation systems. Additionally, Amlash culture is notable for its burial practices, which often included inhumation in cemeteries and burial mounds, sometimes accompanied by grave goods such as pottery vessels and metal objects.While the Bactrian and Amlash cultures developed in different time periods and geographical regions, they both represent important stages in the cultural evolution of the broader Central Asian and Iranian regions.

ITEM: RingMATERIAL: BronzeCULTURE: Iron Age, Central Asia, Amlash or BactrianPERIOD: 1st millenium B.CDIMENSIONS: 22 mm x 27 mmCONDITION: 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 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.The Bactrian culture thrived in the region of Bactria, which encompassed parts of present-day Afghanistan, Uzbekistan, and Tajikistan, during the Bronze Age, roughly from the 3rd to the 2nd millennium BCE. Bactria served as a crucial crossroads along the ancient Silk Road, connecting the civilizations of the Mediterranean, Central Asia, China, and the Indian subcontinent. The culture is known for its advanced urban centers, sophisticated metallurgy, and rich artistic traditions. Bactrian art often depicted scenes of daily life, mythical creatures, and religious motifs. The Bactrians are also believed to have played a significant role in the spread of early Indo-Iranian languages and culture.On the other hand, Amlash culture was prevalent in the Amlash region of northern Iran during the Iron Age, dating roughly from the 1st millennium BCE. The Amlash culture is characterized by its distinctive pottery styles, including painted ceramics adorned with intricate geometric and zoomorphic designs. Archaeological evidence suggests that Amlash society was organized into small-scale agricultural communities, with evidence of terraced agriculture and irrigation systems. Additionally, Amlash culture is notable for its burial practices, which often included inhumation in cemeteries and burial mounds, sometimes accompanied by grave goods such as pottery vessels and metal objects.While the Bactrian and Amlash cultures developed in different time periods and geographical regions, they both represent important stages in the cultural evolution of the broader Central Asian and Iranian regions.

ITEM: Oil lamp with inscription 'The light of Christ shines for all'MATERIAL: PotteryCULTURE: ByzantinePERIOD: 4th - 5th Century A.DDIMENSIONS: 30 mm x 59 mm x 85 mmCONDITION: Good conditionPROVENANCE: Ex Palestine private collection, acquired in the 1990sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.A Byzantine oil lamp inscribed with the phrase "The light of Christ shines for all" is a remarkable artifact that reflects the deep spiritual and theological beliefs of the Byzantine Empire. This inscription emphasizes the central role of Christianity in daily life and religious practices during the Byzantine period. Oil lamps were essential for both practical illumination and religious rituals, and incorporating a Christian message into their design highlights the integration of faith into everyday objects. The inscription serves as both a devotional statement and a reminder of the divine presence in the lives of believers, making the lamp a significant symbol of Christian piety and enlightenment.The design and craftsmanship of Byzantine oil lamps were highly refined, often made from materials such as clay, metal, or glass. These lamps frequently featured intricate decorations, including religious symbols, motifs, and inscriptions. The inclusion of the inscription "The light of Christ shines for all" on the lamp would have been achieved through engraving or molding, demonstrating the skill of Byzantine artisans. This inscription not only personalized the lamp but also reinforced the idea that light, both physical and spiritual, is a manifestation of Christ's presence and guidance in the world. The lamp's practical function as a source of light was thus imbued with deep religious significance.In addition to its spiritual message, the Byzantine oil lamp with this inscription provides valuable insights into the religious and cultural practices of the period. The lamp would have been used in private homes, churches, or during religious ceremonies, emphasizing the importance of maintaining a connection with the divine in various aspects of life. The presence of such an inscription also reflects the broader trend of incorporating Christian themes into art and everyday objects, illustrating how Byzantine art and material culture were deeply intertwined with religious beliefs.

ITEM: Statuette of a horseMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 40 mm x 41 mmCONDITION: Good conditionPROVENANCE: Ex English 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 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.In the Roman period, statuettes of horses held various symbolic and practical roles in Roman society. Horses were crucial to the Roman military, agriculture, and transportation, and their representation in art and statuary reflected their importance. Small bronze or terracotta horse statuettes were popular as decorative items in domestic settings, showcasing the Romans' appreciation for the beauty and strength of these animals. These statuettes were often crafted with great attention to detail, capturing the anatomy and spirit of the horse in a miniature form.Horse statuettes also had a significant role in religious practices and rituals. In the Roman pantheon, various deities were associated with horses, such as Neptune, the god of the sea, who was often depicted with sea horses. Epona, a Celtic-Roman goddess, was specifically linked to horses and was worshipped as a protector of horses and riders. As such, horse statuettes were used as votive offerings in temples dedicated to these deities or as personal talismans for those seeking divine favor or protection for their equine companions.Additionally, horse statuettes were employed in funerary contexts. They were sometimes placed in tombs or used as grave markers to symbolize the deceased's affinity for horses or their status in the afterlife. The Roman belief in an afterlife and the importance of personal possessions in burial practices led to the inclusion of various symbolic items, including horse statuettes, to accompany individuals into the next realm.

John Sanderson (20th century), a pair of collage style poster prints each made up of various musicians, album covers, photographs and newspaper headlines, framed and glazed, 93 x 50cm. (2)Pop Memrobilia / Posters – I have worked in Architecture, Art and Design for the last 42 years, and have now retired. My Step Son Adam Day is a Song Writer, Musician, and Lead Singer for originally the Lyrebirds, who performed all over Europe, especially in Manchester, Brighton, Berlin and Prague during 2006 to 2013. In 2014 they changed their name to County Line Runners and were signed up by Universal Records, playing in both Europe and America. They performed at large Festivals in England from the Brixton Arena (Venue of 4000 to 5000 people) to the Hyde Park Festival of over 100000 people. As Adam is very well known as a Song Writer; he wrote many songs for other Pop Artists such as “Florence and the Machine” where he wrote the first 3 Tracks of her Cosmo Album and performed / sung with her on the first track. Adam and his Band, played support band many times for the Kooks, Macabees, Mumford and Sons, and were lined up to play Supporting Band with Neil Young, touring America in 2019, but unfortunately the Covid Epidemic happened and he missed out on that gig.However as Adam was a close friend of Luke, of the “Kooks”, and went drinking “in the early days” with Marcus Mumford of “Mumford and Sons”, as well as Felix and Hugo of the “Macabees” who I used to drink with and who came to my Birthday Party, many years ago; - so as Adam’s Stepfather, I also built up a relationship with a few people in the Music Industry . After the County Line Runners, were signed up with Humming Records ( Bill Ryder Jones ex of “The Coral”) Produced the Hits written and performed by Adam Day of the County Line Runners - “Hard To Find” and “Wide Eyes” and “Plastic Palm Trees”. So throughout all this, as ALL of the Groups had to produce Merchandise to sell at their Concerts; and as they knew I was related to Adam Day, and had an Art and Design background, they would specifically ask me to produce large Collages of various Bands, including the Band within a Mix of Political / Religious and Musical Design, with a lot of “Text and Hidden Meanings” which they loved. So my work has a hidden picture of myself somewhere within it; and was sold at many Music Concerts, which I often attended with Adam and went backstage on many occasions; (which I still have all of my original artwork and have the Copyright). “Once I had been pushing my art work / posters / pop-memorabilia onto a few different publishers / printers in the south including Virgin Records, who had shown an interest; and suddenly I received a really angry / snotty letter from a German Publishing House in Germany, who must have had an Office in England that I was not aware of, and who was complaining that it was totally illegal to show posters / pictures of Adolph Hitler. (Reference to a picture in one of my Posters of Hitler crying blood - tears out of his eyes, in amongst other political / religious / figures and text. I knew then “that I was famous in my own little way”, especially when Hugo of the Macabees got hold of the story, and immediately put up the Framed Poster on the main wall in their London Recording Studios. When they were interviewed in a Documentary, some years ago on Channel 4 Television, I remember seeing it quite clearly. So my work / many different types of Pop Art Memorabilia, can be found all over, even in Perth Australia, so I have been told. So these are not just mere “bog-standard” posters, they all have a story to tell, and through my Stepson, Adam Day, of County Line Runners, I was able to promote them as Merchandise at various music events, which were seen and purchased by both the Public and performers within the Music Industry ( that I had met) from the late 1990’s up to 2023; when I retired and closed the door on my past; for a quiet life in Suffolk.

Rembrandt Harmensz van Rijn (1606-1669) - The Artist's Mother, head-and-bust length, three-quarters right, signed with monogram: RHL [Rembrandt Harmensz Leydensis] and dated 1628 (2 transposed) within the plate, second state, etching and burin drypoint, on laid paper without watermark, sheet 7.1 x 6.9cm, plate mark 6.6 x 6.3cm, [B. 354; Hind 1; New Hollstein 5 ii/iv] Provenance: 1) Faint collector's stamp to verso, early-mid 19th c; almost certainly E.F. within an circle and if so, Eduard Faesch (1812-1845), a Kiel merchant and art collector (L.846). His stamp is noted 'found not only on prints, but also on good drawings (e.g. by Rembrandt)', as many international institutions' collections demonstrate. 2) Contemporaneous and later pencil manuscript inscriptions, to verso of sheet and mounting.     Roelof van Straten states this early etching by Rembrandt is one of the first to be signed by the artist with his RHL monogram. The backward "2" is indicative of Rembrandt's incomplete control of the plate's reversal during the printing process. 'The subtlety of modelling and the extensive vocabulary of descriptive strokes suggest an unexpected level of graphic sophistication for an etching of such an early date. [...] The Fact that Rembrandt signed and dated this etching indicates that although he may have initially undertaken the project as an exercise, he ultimately decided to market it. [...] [A] print that shows [...] technical mastery or subtlety of stroke' (Rosenberg, Rembrandt's Religious Prints, 2017, p. 438-39). Please see online images. A clean and even impression. Each corner with blemishes of varying degrees, presumably from former mounting, and now, in places, affecting the image within the plate mark. When examined on a lightbox, the lower-left corner margin appears thinned, but is OK and structurally sound; also, the sheet shows browned portions not generally visible in natural light. The indistinct collector's stamp could be a result of being washed. Currently hinge-mounted to a sheet of annotated card.

RABAN, Ze'ev (Illust.); Gur Aryeh. A Palestinian Appreciation of Energy, Devotion and Loyalty in the Days of Struggle for Liberation of Mankind, The Book of Job, manuscript on 105pp, 107 vellum leaves, illuminated with numerous watercolour illustrations, rubricated capitals and vignettes with protective tissue-guards. 4to (28 x 22cm), lavishly bound in crushed morocco with precious metals, studded with carved ivory plaques, rubies, spinels and hardstone with filigree clasps, central engraved presentation plate on lower board, "This Gift Book is Presented to Colonel Albert Gedo [Guido] Bonn, Military Cross, by Simon Diskin Esquire and Family at Jerusalem in the Holy Land, Anno Domini MCMXLII". The book is entirely manuscript, i.e. completely written & illustrated by hand. There are 16 plates, and 44 illuminated capitals with vignettes, giving a total of 60 colour illustrations. Very well-preserved, clean & bright, some light wear to covers, housed in an olive-wood box. Jerusalem: Designed & Executed by Gur Aryeh & Raban, December 1942   ❧ Brigadier Albert "Bertie" Guido Bonn, CBE, MC, MICE (1889-1962), was Chief Engineer (Airfields) Middle East during World War Two. His two sons were killed in the Second World War, and evidently no expense was spared in the production of this important and breathtakingly beautiful manuscript ❧ Ze-ev Raban (1890-1970) was a leading painter, decorative artist, and industrial artist of the Bezalel school, and was one of the founders of the Israeli art world. In 1921, he participated in the historic art exhibition at the Tower of David in Jerusalem, the first exhibit of Hebrew artists in Palestine, which became the first of an annual series of such exhibits. He designed the decorative elements of such important Jerusalem buildings as the King David Hotel and the Jerusalem YMCA, and also designed a wide range of Jewish religious objects. The book illustrations of Raban are a good example of his eclectic mix of European and Oriental style Submission Reference No.: K6QR4CRZ

Chinese School, 19th Century, a collection of eight rice paintings, depicting various scenes of courtly and everyday life, including a procession, an art market transaction, religious ceremonies and a weavers' workshop, typically 19cm x 30cm (8)Framed and glazed individually. All artworks are in very good condition. The colours are vivid and well preserved. Some slight spotting and some reasonably small tears to the corners in certain cases.

A Small Art Nouveau Brass Easel Back Photo Frame, 10x8.5cms, together with a Gilt Framed Religious Miniature, Mary and Jesus

John Sanderson (20th century), a pair of collage style poster prints each made up of various musicians, album covers, photographs and newspaper headlines, framed and glazed, 93 x 50cm. (2)Pop Memrobilia / Posters – I have worked in Architecture, Art and Design for the last 42 years, and have now retired. My Step Son Adam Day is a Song Writer, Musician, and Lead Singer for originally the Lyrebirds, who performed all over Europe, especially in Manchester, Brighton, Berlin and Prague during 2006 to 2013. In 2014 they changed their name to County Line Runners and were signed up by Universal Records, playing in both Europe and America. They performed at large Festivals in England from the Brixton Arena (Venue of 4000 to 5000 people) to the Hyde Park Festival of over 100000 people. As Adam is very well known as a Song Writer; he wrote many songs for other Pop Artists such as “Florence and the Machine” where he wrote the first 3 Tracks of her Cosmo Album and performed / sung with her on the first track. Adam and his Band, played support band many times for the Kooks, Macabees, Mumford and Sons, and were lined up to play Supporting Band with Neil Young, touring America in 2019, but unfortunately the Covid Epidemic happened and he missed out on that gig.However as Adam was a close friend of Luke, of the “Kooks”, and went drinking “in the early days” with Marcus Mumford of “Mumford and Sons”, as well as Felix and Hugo of the “Macabees” who I used to drink with and who came to my Birthday Party, many years ago; - so as Adam’s Stepfather, I also built up a relationship with a few people in the Music Industry . After the County Line Runners, were signed up with Humming Records ( Bill Ryder Jones ex of “The Coral”) Produced the Hits written and performed by Adam Day of the County Line Runners - “Hard To Find” and “Wide Eyes” and “Plastic Palm Trees”. So throughout all this, as ALL of the Groups had to produce Merchandise to sell at their Concerts; and as they knew I was related to Adam Day, and had an Art and Design background, they would specifically ask me to produce large Collages of various Bands, including the Band within a Mix of Political / Religious and Musical Design, with a lot of “Text and Hidden Meanings” which they loved. So my work has a hidden picture of myself somewhere within it; and was sold at many Music Concerts, which I often attended with Adam and went backstage on many occasions; (which I still have all of my original artwork and have the Copyright). “Once I had been pushing my art work / posters / pop-memorabilia onto a few different publishers / printers in the south including Virgin Records, who had shown an interest; and suddenly I received a really angry / snotty letter from a German Publishing House in Germany, who must have had an Office in England that I was not aware of, and who was complaining that it was totally illegal to show posters / pictures of Adolph Hitler. (Reference to a picture in one of my Posters of Hitler crying blood - tears out of his eyes, in amongst other political / religious / figures and text. I knew then “that I was famous in my own little way”, especially when Hugo of the Macabees got hold of the story, and immediately put up the Framed Poster on the main wall in their London Recording Studios. When they were interviewed in a Documentary, some years ago on Channel 4 Television, I remember seeing it quite clearly. So my work / many different types of Pop Art Memorabilia, can be found all over, even in Perth Australia, so I have been told. So these are not just mere “bog-standard” posters, they all have a story to tell, and through my Stepson, Adam Day, of County Line Runners, I was able to promote them as Merchandise at various music events, which were seen and purchased by both the Public and performers within the Music Industry ( that I had met) from the late 1990’s up to 2023; when I retired and closed the door on my past; for a quiet life in Suffolk.

This exquisite rosary, originating from Italy in the 19th century, is a piece that shines with the purity and devotion characteristic of the time. Crafted with white pearl beads symbolizing spiritual purity, the rosary is carefully assembled with delicate silver connections holding each bead. The crucifix, richly adorned with filigree, features intricate silverwork that highlights the high level of craftsmanship. The combination of precious materials and intricate design makes this rosary not only a devotional object but also a work of religious art, reflecting the deep spirituality and artistic splendor of 19th century Italy.

* 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.

4th-3rd millennium B.C.. Formed as a squat, oblate body and dressed upper with two piercings forming eyes; flat underside. See parallel idols in Louvre Museum, accession number SB 9141, for similar; Metropolitan Museum of Art, accession no.1988.323.8; British Museum, excavated by Professor Sir Max Edgar Lucien Mallowan, inv. Nos.126473, 126477 and 126479; see also Collon, D., Ancient Near Eastern Art, London, 1995, p.47, for type; for the discussion on Tell Brak, their iconography and the religious meaning of eye idol see Green, J.B. & T.R., Gods, Demons and Symbols of Ancient Mesopotamia, An illustrated dictionary, London, 1992, pp.78-79. 298 grams, 72 mm (2 7/8 in.). Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s. 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.12186-222131. (For this specific lot, 5% import VAT is applicable on the hammer price.)

2nd-4th century A.D. or later. A carved schist head with tightly curled hair, wreath to the brow with a vine-leaf at each temple, curled moustache and beard, ears with long lobes; mounted on a custom-made stand. For a similar head, in terracotta, see The Metropolitan Museum of Art, accession no.1979.507.2. 3.75 kg, 29.5 cm (11 1/2 in.). With the arrival of Greek colonists into Central Asia and Northern India and the establishment of the Indo-Greek kingdom, came Greek culture and religion which merged with that of the local population. Greek deities, such as Dionysus, were often merged with Buddhist deities, or worshipped in their own right. The image of Dionysus as a mature male with beard and wreath is often referred to as the Indian Dionysus as it depicts the god after his triumphant return from the East with his retinue of Maenads. The adventures of Dionysus in India are recounted in the Greek epic poem, the Dionysiaca. The image of Dionysus returning from India in a chariot pulled by tigers was a favourite for Classical artists and often appeared on sarcophagi as an allegory for the rebirth of the soul. Drinking wine, dancing, and music making were popular subjects for the embellishment of early Buddhist religious centres. The Buddha condemned intoxicants, and music and dance were considered unfit for the monastic community, although they were tolerated in lay contexts. The reason for the depiction of scenes of revelry, along with the Greek god Dionysus, may be the earlier, pre-Buddhist practices celebrating abundance and agricultural prosperity, which involved wine drinking. Dionysus may have been transformed and and understood in the Gandharan context as the South Asian god Indra, whom lay followers would have known as the deity who rules over the paradise known as the Trayastrimsa heaven. As the lay Buddhist community was more concerned with having a positive rebirth (enlightenment being out of reach for all but the most learned of monks) the idea of being reborn in a heaven associated with Indra would no doubt have been attractive. It is thought that the influence of Dionysus on Indian culture may have inspired the development of the Hindu deities Shiva and Krishna, both of whom share similar characteristics to the Greek god.Acquired 1960-1980s. From an important London, W1, collection. Private collection, England.

Circa 2nd-3rd century A.D.. An extremely rare aulos or tibia with round-section body, six circular holes to one side and a D-shaped hole to the reverse. See Daremberg, C.V. & Saglio, E. (eds.), Dictionnaire des Antiquités Grecques et Romaines, Paris, 1873-1917, fig.6965; see a cast of the Roman flute from Pompeii, in the Spurlock Museum of World Cultures (inventory 1916.07.0011); Wardle, M.A., Musical Instruments in the Roman World, London, 1981, for iconography (pp.35ff., 115ff. and especially pl.22), and original specimens from Pompeii, pls.1-2; the closest parallel in Palagyi, T., Facsady, A., Romains de Hongrie, Lyon, 2002, p.117, fig.259 (bronze tibia from Pannonia, Savaria, today Szombathely). 87 grams, 23 cm (9 in.). The flute was used for religious ceremonies and for entertainment. The pyrrhic, a war dance of Doric origin, was a rapid dance to the double flute, and made to resemble an action in battle.From the late Alison Barker collection, a retired London barrister; from her collection formed early 1960s-1990s. 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.11055-184396.

17th-18th century A.D.. Figure of Christ lying on a rectangular panel, dressed in a loincloth and with the hammer, nail and pliers of the crucifixion left at his side with the crown of thorns; stacked cushions beneath his head, winding sheet draped over his lower body. Cf. Spinosa, N. (ed.), Napoli Sacra, Guida alle chiese della Citta', Napoli,1993, p.8, 'Dead Christ' in the Napoli Cathedral (17th century A.D.); Albright, T., 'The Veiled Christ of Cappella Sansevero: On Art, Vision and Reality' in Leonardo, Volume 46, Issue 1, February 2013. 25.35 kg, 48.5 x 25.5 cm (19 x 10 in.). The ecclesiastical statuary of the late Baroque and early Rococo periods focused heavily on the theme of the passion of Christ, with statues representing the sleeping Jesus, with the symbols of the passion next to him. The position of our sculpture is particularly reminiscent of the marvellous statue of the 'Veiled Christ' by Giuseppe Sammartino, a masterpiece of 18th century religious sculpture. The anatomy of the limbs is realistic, and the instruments of passion, placed at the feet of Christ, fulfil an overbearing narrative need, also visible in the folds of the veil that covers half of the body.Private collection, England. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12307-215653. [A video of this lot is available to view on Timeline Auctions Website]

PALGRAVE, (Francis Turner), Gems of English Art of this Century, London, George Routledge & Sons, 1869, BATES, (William), George Cruikshank: The Artist, the Humourist, and the Man, re-bound, London, Houlston & Sons, 1879, THOMSON, Hugh, The Merry Wives of Windsor by William Shakespeare, London, 1910, also The Circling Years, The Religious Tract Society, and Art Pictures from the Old Testament, London, 1894, Wren's London, The Folio Society, London, 1975, (6)

(Signed) George Ryley Scott Phallic Worship. A History of Sex and Sex Rites in Relation to the Religions of All Races from Antiquity to the Present Day First edition, signed limited edition 311/750, orignal cloth a little sun bleached, front board loosening at joint, half title states 'The sale of this book restricted to members of the Medical and Legal Professions, Anthropologists, Pschologists, sociologists, Ethnologists, and Students of Comparative Religion', frontis and plates, small amount of toning, vg, privately printed for subscribers only by T. Werner Laurie Ltd, London, 1941.An extensive exploration of the history and cultural significance of phallic symbols and practices across various civilizations. The book delves into the origins, development, and manifestations of phallic worship throughout human history, examining its religious, social, and psychological aspects. Describing how phallic worship was integrated into the religious practices of ancient civilizations, such as the Egyptians, Greeks, Romans, and various Eastern cultures. Scott explores the representation of phallic symbols in art, architecture, and ritual practices. (Durkheim, E. (1912). The Elementary Forms of the Religious Life. Oxford University Press.)

Ca. AD 800 - 1000 A stunning 21.5 ct gold pendant in the form of Mjolnir, the legendary hammer of the lightning god Thor. A dense motif of stamped triangles and raised dots fill the interior of the hammer, and the middle of the hammer is marked with a star motif. In the Viking era, both men and women would wear accessories that signified their religious beliefs and displayed their wealth. These accessories were often used as currency or offered to the gods by throwing them in rivers. Additionally, some were buried with their owners after their death. Size: 25mm x 19mm; Weight: 4g Provenance: Private UK collection, acquired on the UK art market. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 800 - 1000 A Viking silver pendant in the form of Mjolnir, the legendary hammer of the lightning god Thor. A dense motif of stamped triangles and raised dots fill the interior of the hammer, and the edges are embellished with two parallel lines of triangles. In the Viking era, both men and women would wear accessories that signified their religious beliefs and displayed their wealth. These accessories were often used as currency or offered to the gods by throwing them in rivers. Size: 30mm x 25mm; Weight: 6g Provenance: Private UK collection, acquired on the UK art market. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 800 - 1000 A Viking pendant in the form of Mjolnir, the legendary hammer of the lightning god Thor. This example is made from plain, solid silver. During the Viking era, people of both genders used to wear accessories that symbolised their religious beliefs and communicated their affluence. These accessories were frequently used as currency or offered to the gods by throwing them into rivers. Size: 28mm x 23mm; Weight: 7g Provenance: Private UK collection, acquired on the UK art market. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 2800 - 1500 BC A handmade Syro-Hittite terracotta figure of the goddess Astarte, with a broad physical form below the shoulders and the arms. The goddess wears a necklace and crown and has a stylised face that is instantly recognisable from this period. A large, thin nose, concentric circular eyes, incised brows, and a flared headdress imbue the figure with an abstract avian look. The design of the eyes relates to the common motif throughout the ancient Near East that eyes must be wide and attentive to show religious devotion. Astarte is the goddess who is also known as Ishtar in some parts of Mesopotamia, a goddess associated with femininity, motherhood, and war. For similar see: Christie's, Live Auction 9272, The Heidi Vollmoeller collection, lot. 353. Size: 150mm x 55mm; Weight: 90g Provenance: Private London collection, acquired on the Dutch art market; Ex. Dutch collection, collected between 1960-1980's

Ca. AD 900 - 1300 A medieval bronze ring featuring a round hoop with a D-shaped section. The flat bezel is adorned with a flower of life with eight petals, and the shoulders are decorated with a zig-zag motif. Byzantine Christian rings often featured religious symbols and were thought to provide physical and spiritual protection, whilst also serving as markers of social status and identity. Size: D:16.71mm / US: 6 1/4 / UK: M; Weight: 5.7g Provenance: Property of London gallery, acquired on the Austrian art market.

Ca. 664 - 332 BC An Egyptian green faience amulet depicting a cat, most likey the goddess Sekhmet, standing on its front paws with symmetrical and stylised features. In ancient Egypt, cats were represented in social and religious scenes dating as early as 1980 BC. Several ancient Egyptian deities were depicted and sculptured with cat-like heads such as Mafdet, Bastet and Sekhmet, representing justice, fertility, and power, respectively. For similar see: The Metropolitan Museum of Art Accession Number: 74.51.4502. Size: 28mm x 14mm; Weight: 3g Provenance: Property of a London gallery; previously in a collection of a North London gentleman; formerly in a collection of Mrs B. Ellison, a deceased former member of the Egyptian Exploration Fund, bought from the 1940s, Cairo and London.

Ca. 800 - 500 BC A beautiful figurine of an ibex, represented with moulded stepped horns. The animal, standing on four short legs, has a long, cylindrical muzzle, round eyes and an open mouth. A bronze flat loop is around the neck of the animal. In ancient Amlash society, horns held profound symbolic significance representing power, strength, and divine protection. They were commonly depicted in Luristan art and artefacts, adorning ceremonial objects, weaponry, and religious iconography. The horns symbolised the connection between humanity and the spiritual realm, serving as conduits for channelling cosmic energies and invoking divine blessings. For similar see: The Metropolitan Museum of Art, Accession Number 53.47.2. Size: 75mm x 60mm; Weight: 145g Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.

Ca. AD 500 - 700 A Byzantine cross-shaped portable reliquary cross consisting of two symmetrical halves with Christian decorations. The scene has an engraved crucifix with busts of saints in circles at the top of the arms. While the cross was once able to be opened to hold a small relic or a prayer document, both halves have fused over time. The back side shows the Virgin Mary holding Christ. Reliquaries held a central role in Byzantine religious practices, serving as focal points for veneration and pilgrimage. They were highly esteemed within the Byzantine Church and carried significant spiritual importance for believers. For similar see: J. Spier’s Byzantium and the West: Jewelry in the First Millenium (2012), n. 15. Size: 62mm x 34mm; Weight: 30g Provenance: Private UK collection, acquired on the Belgian art market.

Ca. AD 900 - 1300 A medieval religius bronze signer ring featuring a round hoop connected to a circular bezel. The bezel is adorned with cross framed in a crown of dots; inscription in ancient greek around it. Byzantine Christian rings featured religious symbols and were thought to provide physical and spiritual protection. They also served as markers of social status and identity, with signet rings bearing personal seals or emblems. For similar see: El Legado de Hefesto, n. 594. Size: D:18.75mm / US: 8 3/4 / UK: R; Weight: 3.8g Provenance: Property of London gallery, acquired on the Austrian art market.

Ca. AD 100 - 300 A Roman bronze statuette representing a bull, likely intended to have been used in Roman sacrificial rites. Its face has incised details, with lines forming a wattle around the neck and short horns. It is standing upon an integral rectangular plinth. The short tail form a round hoop on the back side of the statuette. During the 2nd to 4th centuries AD, Romans observed the Taurobolium, a ritual involving the sacrifice of a bull to safeguard the welfare of the people and the Roman state. Additionally, the bull played a crucial role in Mithraism, a religious cult that gained prominence across the Roman Empire between the 1st and 4th centuries AD. For similar see: The Metropolitan Museum of Art Accession Number: X.21.84. Size: 40mm x 37mm; Weight: 38g Provenance: Private UK collection, acquired on the Belgian art market.

From the Studio of Fred Cuming. Anthony Clark (20th. C), watercolour, Religious theme, Florence, signed and inscribed, 37 x 26cm. Condition - fair to good Note: “This is an interesting side lot of art and artistic ephemera from the extensive collection of Fred Cuming RA and his wife Audrey, who travelled and worked together around the UK and Europe. They were avid collectors of objects, anything curious or beautiful, many of these items would have caught their eye for some rare aesthetic or technical quality but quite often many items would simply have possessed a unique and naïve charm. There are several pieces that may have been the work of a student or amateur, nevertheless they found them exquisite. The majority of pieces from this small collection were displayed in their home for many years among an incredibly rich and varied array of his own work and that of his contemporaries. They would have been purchased over the course of a period spanning five decades or more, from the family’s early beginnings at Egerton House in Kent, Hythe, Wittersham and finally Iden in East Sussex where the family settled.”

An Egyptian bronze kneeling Pharaoh Late Period, circa 664-332 B.C.10.7cm highFootnotes:Provenance:Omar Pacha Sultan collection, Cairo.Anonymous sale; Sotheby's, London, 13-14 July 1981, lot 159.with Galerie Rhea, Geneva.Private collection, UK, acquired from the above.Published:Collection de Feu Omar Pacha Sultan le Caire, catalogue descriptif, Paris, 1929, pl. III, no. 28 (illustrated).The king is depicted gracefully sitting on his ankle, wearing a short kilt and the White Crown of Upper Egypt, fronted by a uraeus, and holding two small nw pots in his outstretched hands. His face is delicately modelled, with thin brows and extended cosmetic lines, and slightly smiling mouth. Cf. the larger bronze statuette of Pimay, a king of the 22nd Dynasty, now in the British Museum, acc. no. EA 32747, published by M. Hill in Eternal Egypt, Masterworks of Ancient Art from the British Museum, London, 2001, no. 114, p. 215-217. Hill notes 'although the kneeling pose for small royal figures in bronze can be traced from the late Middle Kingdom onwards, a significantly greater number of such bronzes appear to have been produced in the later Third Intermediate Period, suggesting a new, more focused interest in the king's subordinate relationship to the gods, perhaps expressive of a new religious tenor and surely a prelude to developments in the Kushite period' (p. 217).For further information on this lot please visit Bonhams.com