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▲ Edward Burra (1905-1976) The processionwith 'E J Burra' estate stamp u.r., pencil and watercolour, with a pencil drawing of dancers verso65 x 50cm, unframedProvenance: Sotheby's, London, 'Works from the Estate of Edward Burra, Lady Ritchie of Dundee and Associated Owners', 3 July 2002, lot 256;the property of a private collector.Edward Burra was known for his surreal, satirical depictions of modern life. Born in London and raised in Rye, Sussex, he battled chronic rheumatoid arthritis, which shaped both his lifestyle and artistic practice. Despite physical limitations, he developed a distinctive style, favouring large-scale watercolours. His early work focused on urban nightlife, revelling in the grit and glamour of brothels, bars and cabaret scenes.Burra’s fascination with Hispanic culture led him to Spain in 1933, during the turbulent years of the Second Spanish Republic (1931-1939). The country was undergoing radical political change - secular reforms, social unrest and rising tensions that would eventually lead to civil war. He was captivated by Spain's dramatic cultural traditions, particularly its religious processions, bullfights and theatrical Catholic rituals. Spanish art profoundly influenced him, from the eerie mysticism of El Greco to the stark realism of Goya and Zurbarán. Burra immersed himself in the culture, learning Spanish and surrounding himself with Spanish literature. He also travelled to Mexico, where the vibrant folk traditions and imagery of the Day of the Dead reinforced his fascination with ritual and the macabre.His undated drawing 'The Procession' showcases his signature compositional technique. The eye is led diagonally from the upper left to the lower right, where figures seem to move beyond the paper’s edge. This sense of momentum is key to his later religious-themed works. Burra’s cartoonist-like approach is evident - while most of the piece remains an outline, he selectively colours a few figures, particularly a striking, red-skinned face, adding both drama and mystery. This technique teases the viewer, leaving them wondering how the final piece might have looked, a hallmark of Burra’s ability to balance intrigue and narrative depth.Condition ReportThere are several very small, repaired tears to the upper edge. A few light spots of foxing starting to emerge. Very light surface dirt. There is a little pale yellow discolouration in the lower right corner.

Ca. 30 BC - AD 400. A collection of papyri inscribed with demotic text in black ink. Demotic was used specifically for writing detailed documents, like accounting, literacy, and religious texts, and represents a movement from standardised hieroglyphs. Demotic was used famously as one of three writings on the Rosetta stone. Framed. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.For similar see: The Metropolitan Museum of Art, Object Number: 09.182.54; The British Museum, Museum number EA10026.Size: 330mm x 240mm; Weight: 315gProvenance: Private UK collection; Ex. Dr. Ulrich Müller collection, Switzerland, 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Alex Grey (American, b. 1953). Acrylic on wood painting titled "The Soul Finds It's Way" depicting a cross-section of a human head below a vibrant and surreal landscape of waving lines and flaming eyes all leading towards the same cosmic vanishing point, 2001. Signed and dated along the lower right. The work is from the "Progress of the Soul" series.Lot Essay:Alex Grey is an American artist known for his spiritual and psychedelic artwork, particularly his Sacred Mirrors series, which includes 21 life-sized paintings exploring human anatomy and consciousness. Grey's work integrates the physical, metaphysical, and spiritual realms, often featuring detailed representations of the body’s systems alongside religious symbols like auras and chakras. His art has been widely exhibited and is recognized for its visionary style, blending sacred, scientific, and psychedelic elements. Grey has been influential in the art world and in psychedelic culture, with his artwork appearing on album covers for bands such as Tool, Nirvana, and the Beastie Boys. He is also a key figure in the Visionary Art movement and has authored several books on art, consciousness, and spirituality.Grey has described Visionary Art as a movement whose mission is to "make the soul perceptible...Visionary art encourages the development of our inner sight. To find the visionary realm, we use the intuitive inner eye: the eye of contemplation; the eye of the soul. All inspiring ideas we have as artists originate here."In 2004, he and his wife, Allyson Grey, founded the Chapel of Sacred Mirrors (CoSM), a sanctuary dedicated to visionary art located in Wappingers Falls, New York. The CoSM aims to inspire a global community through sacred and visionary art, offering a space for both reflection and worship. He has appeared in various documentaries, such as "ARTmind" and "CoSM The Movie," and has spoken at conferences worldwide. Alongside his artistic work, he and Allyson Grey have created a podcast discussing topics ranging from art to philosophy and spirituality.Unframed; height: 14 in x width: 11 in. Framed; height: 18 1/2 in x width: 15 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface is stable. There are no losses or restorations. Light wear to the frame. There appears to be some moisture exposure to the paper backing of the frame; however, this does not affect the recto or verso of the artwork. 

Crowley (Aleister) Oracles: The Biography of an Art. Unpublished Fragments of the Work of Aleister Crowley, with Explanatory Notes by R. P. Lester and the Author, first edition, [one of 500 copies], 14pp. advertisements at rear, with perforated order form at end (perforation splitting at head), original wrappers, lettered on spine, spine ends a little chipped, upper joint repaired, upper cover verso with tape repair to foot, light creasing, some splitting to head of lower joint, preserved in folding chemise and calf-backed slip-case, [Yorke 20], 8vo, Inverness, Society for the Propagation of Religious Truth, 1905.*** Scarce work, written by Crowley at Boleskin House, Loch Ness. We can trace only 1 copy at auction the in last 40 years.  

SIR JOSEPH NOEL PATON (BRITISH, 1821-1901)Puck and the Fairy (Act II, Scene I, A Midsummer Night's Dream) signed with monogram and dated '1882' (lower left) and with inscribed label 'Sir Noel Paton R.S.A. ** L.D. H.M Limner for Scotland, Puck and the Fairy, "Puck. How now spirit? Whither wander you?" Midsummer Night's Dream, act 2 scene I, No. 1' (to back of stretcher) oil on canvas 60.5 x 60.5cm Provenance The Royal Scottish Academy, Edinburgh, where purchased by the present owner's family in 1883, thence by descent; Private collection, UKExhibitedEdinburgh, The Royal Scottish Academy, 1883, No. 299FootnoteSir Joseph Noel Paton was born in Dunfermline, Scotland, in 1821. After attending Dunfermline Art Academy, he went onto study at The Royal Academy in London in 1843, where he met Sir John Everett Millais. Millais, clearly impressed by Paton's work, invited him to become a member of the Pre-Raphaelite Brotherhood but Paton declined the invitation, even though he shared similarities in style. Paton was an expert in folklore and many of his works reflect this interest. His primary subjects include historical, religious and allegorical scenes, as well as scenes from plays by the likes of Shakespeare, and fairy paintings, the latter being a particularly interesting subject in Victorian Britain. Paton returned to Scotland and, in 1844, exhibited his first work at the Royal Scottish Academy, Ruth Gleaning. He went on to attain various prizes for his work including The Quarrel of Oberon and Titania and The Reconciliation of Oberon and Titania, both now in the collection of The National Gallery of Scotland. In 1847 Paton became an Associate of The Royal Scottish Academy and in 1865 was appointed Queen's Limner for Scotland, a post previously held by the likes of Sir Henry Raeburn and Sir David Wilkie. Paton spent the majority of his career in Scotland and died in Edinburgh in 1901.The work offered here, Puck and the Fairy, was painted by Paton in 1882 and portrays the opening sequence of act 2, scene 1 from Shakespeare's A Midsummer Night's Dream. Robin Goodfellow, a hobgoblin, or puck, has been sent by Oberon, King of the Fairies, to obtain a special flower that makes people fall in love with the next creature they see. Oberon wants to use this to make Titania, Queen of the Fairies, fall in love with a beast, so he can use her infatuation to steal an Indian boy from her. The image painted here by Paton is the opening exchange between Robin Goodfellow and a fairy in the woods, which takes place before their master and mistress, Oberon and Titania, confront one another.This picture was exhibited by Paton at The Royal Scottish Academy in Edinburgh in 1883 and at that time was acquired by the vendor's family, subsequently being passed down through the generations until today. Still held in its ornate original frame, it now comes fresh to the market for the first time in over one hundred and forty years.Condition reportThe canvas has been relined.Craquelure visible.Surface dirt.A little undulation to canvas upper left.Discoloured varnish. No signs of retouching.Appears in generally good, original, presentable condition.Nothing fluorescing under uv light.

Laurence Stephen Lowry RA, British 1887-1976 -  The Church at Northleach, c.1940s;  pencil on paper, signed lower right 'L. S. Lowry', 27.5 x 36 cm (ARR) Provenance: Halcyon Gallery, London, stock no. LSL/PWC/LAN/71434 (label attached to the reverse of the frame);  private collection  Note:  the present work relates to the painting 'Northleach Church, 1947' that was sold at Christie's, London, on the 23rd November 1993. This painting was shown at the Lefevre Gallery exhibition 'Paintings and Drawings by L.S. Lowry, R.A.', 1976 and also as part of the Arts Council of Northern Ireland exhibition in Belfast 'L.S. Lowry' when it was on long-term loan to Salford, Museum and Art Gallery. The present work was drawn when Lowry was staying with a previous owner's parents in the area in the 1940s.  L.S. Lowry is best known for his industrial landscapes of North West England, particularly around Salford and Pendlebury, Lancashire, where he worked as a rent collector for most of his career. In the present drawing, Lowry has distilled the architectural forms of the church and graveyard in a series of bold, confident lines, to create an economic but striking depiction of this view. Churches would be a repeated subject in his work throughout his career, reflecting his interest in monumental architectural forms and a sense of British social and religious history.  

TWO NORTH EUROPEAN TAPESTRY PANELS OR CUSHION COVERS, ONE DEPICATING A BIBLICAL SCENE, THE OTHER AN ALLEGORICAL SCENE (2)Probably North German, Late 16th / Early 17th Century The first depicting the Madonna and Child with attendant patrons and architecture behind, winged putti holding a crown above, borders of leafy garland and fruit with possibly a coat of arms to the bottom edge, 56.5 x 56.5cm; the second with central garden fountain, castle to the background with a female holding a knife and reclining gentleman to the foreground, with a floral border, 56 x 58.5cmThese two vibrant small tapestries are associated with a group of tapestries woven in silks and wools attributed to southern Denmark and the Schleswig-Holstein region of North Germany. Workshops are recorded from the 1570s/1580s, established by skilled Flemish immigrants fleeing religious persecution. Small tapestries of this nature were typically conceived as cushion covers and in sets, illustrating related subjects or biblical stories. For a comparable example see Christie's, London, 30 October 1997, lot 216Minneapolis Institute of Fine Art, inventory 23.29.1

This lot includes five hardcover books exploring themes of empires, medieval warfare, crusades, and naval history. Featured titles include Empires: Europe and Globalization 1492-1788 by George Raudzens, analyzing European expansion and its global impact; Religions of Late Antiquity in Practice, an academic compilation of religious practices from antiquity; Knights by Andrea Hopkins, a richly illustrated history of medieval knighthood and chivalry; The World of Jack Aubrey by David Miller, offering an in-depth look at the ships, weapons, and culture of the Royal Navy during the Napoleonic era; and A History of the Crusades, Volume Four: The Art and Architecture of the Crusader States, edited by Harry W. Hazard, a scholarly study on the architectural legacy of the Crusades. These books cater to collectors, historians, and enthusiasts of European history, military strategy, and maritime culture.Dimensions: Largest book: 9.25"L x 0.75"W x 11.25"HCondition: Age related wear.

Bryony Bensly Meadow, 2024 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Born in Thailand and raised mainly in Hong Kong and England, Bryony Bensly experienced a multicultural upbringing, with artistic influences that ranged from Asian religious art to postmodernism. She had forays into installation art, made sculptures out of organic matter, and then circled back to her first love: drawing and painting. Bensly's work is a juxtaposition of conceptual ideas and realism, manifesting in surreal imagery with a narrative that focuses on our internal and external life. Her current body of work focuses on our interdependence, responsibility, and attitudes towards nature and the environment. She earned her BFA in "Art and Social Context," from Dartington College of Arts and her MFA from the New York Academy of Figurative Art, graduating cum laude. She has shown extensively in Museums and Galleries in England and the US, notably Sotheby's and the annual exhibition of The Royal Society of Portrait Painters. Bensly was a recipient of an artist-in-residence, for 3 years, from the Historic Santa Fe Foundation, and has won awards from the Portrait Society of America and Art Renewal Center, among others. Her work has been chosen to be part of the Luna Codex Collection. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

OLMEC STONE MASK MEXICO, 900 - 400 B.C. carved and polished green serpentine, the distinctive features displaying a subtly downturned mouth, broad nose and narrowed eyes framed by a frowning brow, the ears pierced, raised on a bespoke mount 20cm high Private collection, United Kingdom, acquired from the belowAcquired in Southern Mexico in the 1950's, thence by descent The Olmec civilization, which thrived in the Gulf Coast region of Mexico from approximately 1400 - 400 BC, is renowned for its remarkable artistic achievements, among which serpentine masks such as the present example are particularly noteworthy. Crafted from the distinctive deep green stone, they were characterised by intricate carvings that depicted human visages with exaggerated features, such as downturned mouths, almond-shaped eyes, and broad noses. The masks also incorporated serpentine imagery in the form of coiled snakes or serpent-like figures that surrounded the faces or extended from the top of the masks. It is believed that serpentine masks were utilised in ceremonial and ritual contexts, likely in conjunction with funerary practices or religious festivals, and were probably worn by priests or other elite members of society during these events. The masks also held symbolic value as status symbols, owing to their valuable materials and the skilled craftsmanship required to create them.The Olmec civilization has had a profound impact on the development of modern art, particularly during the early 20th century, when Western artists rediscovered the art of ancient cultures, including that of the Olmec. This renewed interest in Olmec art influenced the emergence of modernist art movements such as Cubism and Surrealism. Olmec sculptures' stylised, geometric forms, such as the iconic "colossal heads," served as sources of inspiration for artists such as Pablo Picasso and Henry Moore, while the Olmec's use of negative space and abstraction was influential in the development of modernist sculpture. In addition, the Olmec's fascination with the natural world, particularly the serpent, inspired Surrealist artists such as Salvador Dali and Max Ernst, who integrated serpent imagery into their works. The Olmec's use of jade and other precious materials also influenced modernist jewellery and decorative arts. Today, the Olmec's legacy remains a significant source of inspiration for contemporary artists who continue to draw on its bold forms and use of negative space.

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.), CIRCA 1968 bronzed resin 101cm wide Note 1: A bronze of this sculpture is in the collection of Celtic F.C. Note 2: Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997. Note 3: John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club. Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece. Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal. Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history. 40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village.

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

* 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.

A quantity of French art nouveau silver plate or base metal rouge or loose powder compacts, circular examples including Roman Goddess c1909 4cm diameter, 2 x figural 4cm diameter, couple playing tennis signed Franier c1905 4.5cm diameter, Marianne with cracked ice verso 4cm diameter, religious gentleman 4cm diameter, oval example inscribed Bruges 5cm x 3.5cm and a square Anvers Cathedrale 4cm (8)

A diverse collection of six Buddha and deity busts, representing various artistic styles from China, Thailand, and other Southeast Asian regions. This set includes a Chinese-style head mounted on a wooden triangular stand (15"H), intricately decorated with carved relief scenes of mythological figures. The collection also features ornate, bejeweled Buddha figures, a serene seated Thai Buddha, and a modern green ceramic Buddha head. One piece is marked "Chopsticks Indoro by Soolch, Made in China" on the base (10"H). Black Buddha vase is 8"H. The mix of materials, from ceramic to resin and wood, offers a striking variety, making this an ideal set for collectors of Asian art, religious iconography, or spiritual decor. Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

A striking collection of four Hindu deity busts, each crafted from metal and ceramic, showcasing distinct artistic interpretations. This set features a bronze-tone bust wall hanging with finely detailed facial features and traditional curled hair (6"H), a patinated ceramic bust with an aged turquoise finish (9"H) and intricate carvings, a gold-hued deity face mounted on a black display stand (10"H) with a serene expression, and a dark metal bust wall hanging adorned with an elaborate headdress (7.5"), likely inspired by traditional Tibetan or Nepalese designs. Each piece embodies spiritual elegance and masterful craftsmanship, making this collection a captivating addition to any display of religious or cultural art.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A good illustrated A.L.S., Picasso, one page, 4to, Cannes, 17th January 1956, to Max [Pellequer], in French. Picasso writes a brief letter, in full, ´Oui mon cher Max, je les ai recues et 100,000 et plus de fois merci´ (Translation: ´Yes, my dear Max, I've received them 100,000 times over, thank you´). Above his message of three lines Picasso has added an original blue ink drawing in his hand, which dominates the page, and depicts a bottle of wine standing alongside a glass. A simple yet highly appealing illustrated letter on a theme which recurred in many of Picasso´s artworks during his career. Some light, minor creasing and a few small tears to the edges, not affecting the text or illustration. About VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.´Picasso permanently relocated to Paris in 1904. He spent the remainder of his life and artistic career living in France……Alcohol was an important facet of French artists’ social scene and of their art. Bars, cafes, and other drinking establishments often served as meeting places and hangouts for artists of the generations immediately preceding Picasso, and it is no surprise that they frequently took these places and their wares as subjects for their works……..Picasso, like other artists living in France at the time, was the inheritor of the cultural ripples of alcohol, as well as of the visual themes it inspired….[Picasso´s]…….1896 painting The First Communion, depicts a young woman about to receive her first communion……[this, and other]……works do not prominently feature alcohol per se, although they do reveal an important facet of Picasso’s relationship with wine: wine not only as a religious sacrament, but also as marker of identity……..For Catholic Picasso, wine was not simply a tool for worship, but must also have been a sort of divine vessel, which, through God, became something new and holy. The doctrine of transubstantiation, by which Eucharist wine becomes the blood of Christ, was and remains a defining feature of Catholicism. These works also lay a foundation for Picasso’s later exploration of wine in the very different context of ancient Greco-Roman religion……The Minotaur’s Repose: Champagne and Mistress depict a minotaur and a nude woman reclining on a couch; the minotaur looks over his shoulder towards the viewer, raising the glass of wine in his hand…….The Dionysiac characters of satyrs and maenads (depicted in Picasso’s Bacchanale) also embody the intoxicating effects of alcohol which distance drinkers from the rational mind and, in Greek myth, their humanity…….This is a very different relationship to wine than the Catholic imagery of Picasso’s earlier career evokes, but both imply significance and even a form of reverence. In Picasso’s works, wine can be both transformed and transformative´ (extracts from Picasso: Wine and Art at La Cité du Vin by Paige Crawley, 2022)

RODIN AUGUSTE: (1840-1917) French sculptor. A.L.S., Rodin, to the recto of a plain correspondence card, Rue de l´Universite (Paris), n.d., to a gentleman, in French. Rodin thanks his correspondent for a citation that ´vous voulez bien faire du sculpteur dans l´etude approfondie que vous avez faite du mouvement religieux de l´art contemporain´ (Translation: ´you are kind enough to make about the sculptor in the in-depth study you have made of the religious movement in contemporary art´). Some light age toning to the right edge and one corner crease, otherwise about VG

THOMAS AMBROISE: (1811-1896) French composer of the operas Mignon (1866) and Hamlet (1868). A good A.L.S., Ambroise Thomas, four pages, 4to, Paris, n.d. (c.1893), to Arthur Meyer, on the printed stationery of the Conservatoire National de Musique et de Declamation, in French. The letter, a draft copy with several corrections, is written in response to a request for Thomas to write a preface to an edition of Charles Gounod´s last compositions, Thomas stating ´Quoiqu´une preface ne puisse rien ajouter l´interet que ces oeuvres, encore inedites, offriront au public, pouvais-je ne pas m´associer au nouvel hommage que les admirateurs de Gounod se proposent de lui rendre?´ (Translation: ´Although a preface can add nothing to the interest that these works, as yet unpublished, will offer the public, could I not join in the new tribute that Gounod's admirers intend to pay him?´) and continuing ´Je me joins donc a vous de tout coeur en souvenir de l´ami avec lequel j´ai traverse la vie: tous deux egalement passionnes par notre art; ayant tous les deux le culte fervent des grands maitres, et nous aimant de plus en plus a mesure que nous avancions vers le soir de notre existence. L´eloge de l´auteur de Faust n´est plus a faire. Je puis donc, sans me livrer a une analyse detaillee des oeuvres qu´on publie aujourd´hui, me borner a constater ques dans les dernieres pages qu´il a ecrites, Gounod est reste fidele a lui-meme. Les Preludes et fugues pour l´etude preparatoire du clavecin bien tempere de J. S. Bach, morceaux excellents, dignes du grande modele qui les a inspires, temoignent, une fois de plus, de l´admiration que Gounod n´a cesse de professer pour celui dont il dit "J. S. Bach est, en musique une etoile de premiere grandeur; comme Dante, Shakespeare, Michel-Ange, il marque un des ces sommets qui ne se rencontrent pas deux fois dans l´histoire d´un meme art".´ (Translation: ´I therefore join you wholeheartedly in remembering the friend with whom I went through life: both of us equally passionate about our art; both of us fervently devoted to the great masters, and loving each other more and more as we moved towards the evening of our lives. The author of Faust is widely praised. I can therefore, without indulging in a detailed analysis of the works published today, confine myself to noting that in the last pages he wrote, Gounod remained faithful to himself. The Preludes and fugues for the preparatory study of the well-tempered harpsichord by J. S. Bach, excellent pieces, worthy of the great model which inspired them, testify, once again, to the admiration that Gounod never ceased to profess for the man of whom he said "J. S. Bach is, in music, a star of the first magnitude; like Dante, Shakespeare, Michelangelo, he marks one of those summits which do not meet twice in the history of the same art".´), further adding ´Quant a ce Requiem auquel il a travaille jusqu´a son dernier jour, c´est une oeuvre d´une haute valeur, ecrite dans un style severe et pur, ou l´on retrouve l´elevation de pensee, le sentiment mystique qui caracterisent toutes ses compositions religieuses. En nous leguant, pour ainsi dire, ses dernieres inspirations, ne semble-t-il pas que Gounod ait voulu encore nous venir en aide, nous defendre contre des tendances et des exces, contre une philosophie nebuleuse qui, chaque jour d´avantage, menacent de nous faire perdre les qualites essentielles et distinctives de notre race? Ne sont-ce pas, en effet, ces qualites qui constituent le genie de Charles Gounod et la beaute de son oeuvre? L´oeuvre de toute sa vie qui lui a conquis et assure a sa memoire une juste et universelle renommee´ (Translation: ´As for this Requiem, on which he worked until his last day, it is a work of great value, written in a severe and pure style, in which we find the elevation of thought and the mystical feeling that characterise all his religious compositions. In bequeathing to us, so to speak, his last inspirations, does it not seem that Gounod still wanted to come to our aid, to defend us against tendencies and excesses, against a nebulous philosophy which, each day more so, threatens to make us lose the essential and distinctive qualities of our race? Are these not, in fact, the qualities that constitute the genius of Charles Gounod and the beauty of his work? His life's work, which won for him and for his memory a just and universal renown´). A letter of good content in which Thomas writes a moving tribute to Gounod. Some very light staining and minor age wear to the edges, otherwise VGArthur Meyer (1844-1924) French journalist, director of the daily newspaper Le Gaulois.Charles Gounod (1818-1893) French composer of the operas Faust (1859) and Romeo et Juliette (1867) as well as Ave Maria (1853), an elaboration of a piece by Johann Sebastian Bach. Gounod spent his last years composing sacred music and died whilst working on the setting of a Requiem for his granson Maurice, who had died in infancy. Ambroise Thomas was one of the pallbearers at Gounod´s state funeral in Paris on 27th October 1893.

GLYN PHILPOT (BRITISH 1884-1937) PORTRAIT OF ARTHUR CHRISTIE (1895-1975) Oil on canvas Variously inscribed to labels attached to stretcher (verso) 64 x 50cm (25 x 19½ in.)Provenance: Sir Edmund Davis, Australian-South African mining magnate and art collector, who resided at 13 Lansdowne Road and most notably Chilham Castle, Kent Sale, Christie's, 7 July 1939, lot 84 S. Gibbs, Private Collection, purchased from the above for 15gns. Daisy Philpot, the artist's sister Thence by descent to Gabrielle Cross, the artist's niece Henry Christie, Private Collection, UK Thence by descent, to be sold on behalf of the executors of the estate Exhibited: London, Grosvenor Galleries, Glyn Philpot R.A., 1923, no. 32, as ' Portrait study for the Three Kings' London, Tate Gallery, Paintings and Sculpture by the late Glyn Philpot R.A. (1884-1937), 14 July - 28 August 1938, no. 22, as 'Study for the Three Kings' Literature: Daisy Philpot, Manuscript Catalogue of Paintings by Glyn Philpot, c. 1938-57, p. 28 (unseen)This striking portrait by Glyn Philpot depicts Arthur Christie (1895-1975), friend and model of the artist. Philpot was renowned for his skill in capturing character and intimacy through portraiture, making him one of the most sought-after and highly paid society portraitists of his time. However, his most successful works were those created in relaxed, informal settings, where he established a genuine connection with his sitters. In this portrait, Philpot skilfully captures Christie's prominent features including his angular jawline, vivid red hair, intense gaze, defined lips, and prominent brow. The viewer is immediately struck by the intensity of the sitter's gaze, a motif Philpot repeated throughout his works influenced by the great Venetian master, Titian. Philpot greatly admired the work of Titian and actively practiced and taught his techniques at the Royal Academy Schools. Despite the beautiful interplay of light and shadow across the sitter which illuminates Christie the portrait is set against a dramatic dark backdrop which creates a stunning contrast reminiscent in the work of artists such as John Singer Sargent and James McNeill Whistler. Lot 93 was first exhibited in 1923 at Philpot's solo exhibition at the Grosvenor Galleries under the title Portrait Study for the Three Kings. It is believed that the present portrait was a study for The Adoration of the Three Kings (1918), a work exhibited at the Royal Academy that same year and later sold by the Baltimore Museum of Art at Christie's in 1990 to a British private collector. (See Figure 1.)The Adoration of the Three Kings depicts three sumptuously cloaked figures bearing gifts as they arrive at the stable door. The viewer takes the perspective of Mary, Joseph, and the infant Jesus, as the Magi cross the threshold bathed in a golden light. Raised in a devout Baptist family, Philpot's early religious teachings profoundly shaped his life and artistic vision. His interest in biblical themes was evident as early as 1903 when, at just 19, his painting The Elevation of the Host was accepted at the Royal Academy of Arts. This work, depicting the raising of Christ during the Eucharist, reflected his early engagement with Christian iconography from a distinctive and modern perspective.In 1906, Philpot converted to Roman Catholicism, a decision that created significant tension within his family. His subsequent travels through Spain, Portugal, and Morocco deepened his study of Catholic imagery and the works of the Old Masters. These experiences significantly influenced his art, inspiring some of his most powerful religious-themed paintings. By 1929, Philpot had become the first president of the Guild of Catholic Artists and Craftsmen, solidifying his commitment to his faith. However, his devout Catholic beliefs often conflicted with his identity as a queer man-a tension that permeates his body of work. This portrait of Arthur Christie was acquired by Sir Edmund Davis, the Australian-born mining financier and prominent art collector. Sir Edmund Davis was advised by Charles Ricketts and Charles Shannon and built an impressive collection that included works by James McNeill Whistler, William Orpen, and Edward Burne-Jones, some of which were later bequeathed to the Musée du Luxembourg. It is likely that Sir Edmund Davis purchased this portrait from the 1923 Grosvenor Gallery exhibition. The work was later lent by Davis to the Tate Gallery's Paintings and Sculpture by the Late Glyn Philpot exhibition in the summer of 1938.Following Sir Edmund Davis' death, the portrait was sold at Christie's alongside other notable works from Davis' collection, including Rodin sculptures, a lead figure by Philpot, and paintings by James Pryde and James McNeill Whistler. The work was eventually acquire by Philpot's sister, Daisy Philpot and thence by descent to Gabrielle Cross, the artist's niece. Philpot frequently returned to certain models, portraying them in various roles and guises throughout his career. Among his most notable muses was Henry Thomas, whom he met in 1929. It has been suggested that Arthur Christie may have also been the model used for the Angel Gabriel in The Angel of Annunciation (1925) and for The Transfiguration of Dionysus before the Tyrrhenian Pirates (1924). Condition Report: Please contact pictures@dreweatts.com for a full condition report. 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Collection of Vintage Decorative Items This is a collection of antique and vintage decorative objects from the late 19th to mid-20th century. **Key Items:** 1. **Brass Menorah**: Seven-branched design, ribbed detailing, tapering arms, and a hexagonal base. Likely mid-20th century, associated with Jewish religious traditions. Approx. 20–30 cm in height. 2. **Carved Wooden Box**: Intricately hand-carved relief depicting animals amidst foliage. Rectangular with hinged lid. Likely from Eastern or folk art traditions, dating between mid-19th to mid-20th century. Estimated dimensions: approx. 20–25 cm length, 10–15 cm width, 5–8 cm height. 3. **Small Decorative Trinkets**: - **Donkey-shaped Pin Cushion**: Silver-toned with floral engravings and blue fabric pin cushion. Likely late 19th or early 20th century. - **Ship Figurine**: Nautical-themed item with fabric or metallic accents, potentially a pin cushion or decorative piece. - **Engraved Boxes**: Includes a match safe or card case with botanical engravings and a rectangular brass box. - **Miniature Figurines**: Bird and animal models, crafted in metal with enamel details, one resembling a parrot. - **Circular Metallic Items**: Possibly lids or decorative caps, featuring floral and radial engravings. 4. **Austin Nameplate**: Metallic script emblem associated with the Austin car manufacturer, likely mid-20th century automotive memorabilia. 5. **Open Wooden Box with Compartments**: Medium-sized, polished, divided into three sections. Possibly used for jewellery or small valuables. The collection, featuring brass, silver, and carved wood with patina and varied craftsmanship, reflects different cultural and temporal origins. Likely of interest to collectors or decorative purposes.

Pair of Balinese Wooden Sugar Wood Carvings A pair of Balinese wooden carvings crafted from sugar wood, each standing 15 inches tall. These intricate sculptures depict the Hindu Goddess Sita, adorned with detailed headdresses, flowing drapery, and nature-inspired motifs, including birds and floral embellishments. Showcasing traditional Balinese carving techniques, these pieces represent fine examples of Southeast Asian religious art.

This Lladro porcelain figurine, titled "Bless Us All" (Item number 1006582), depicts a beautifully detailed scene of a young girl and boy with hands clasped in prayer. Sculpted by José Luis Alvarez, it was issued in 1998 and retired in 2004. The figurine showcases the fine craftsmanship Lladro is known for, with delicate touches on the children's clothing and expressions. Standing at 8.5"H, this figurine is finished in soft pastel hues and features the Lladro backstamp on the base. A perfect piece for collectors of Lladro figurines or those drawn to religious themes in art.Issued: 20th century Dimensions: See DescriptionCountry of Origin: SpainCondition: Age related wear.

6th-4th century B.C. With flanged rim, central mesomphalos boss surrounded by radiating lotus petals. See Godard, F., The Art of Iran, London, 1965, for discussion. 167 grams, 16.5 cm (6 1/2 in.). Acquired 1980-2015. Ex Abelita family collection.Phiale mesomphalos (literally: bowl with central boss) were the most popular form of vessel and were produced in a number of materials, including clay, bronze, silver and gold. They are a distinctive type of Achaemenid tableware, made by hammering or raising sheet metal, with decoration added in repoussé. They were used in banquets held by the nobility and for pouring libations at religious festivals. Phiales of this kind were a common gift from the Achaemenid king to the nobility which helped cement alliances among the different tribes of the Empire. The central boss to the underside allowed the user to secure their fingers and ensure a solid grip whilst drinking or pouring.

Circa 2550-2400 B.C. Engraved with a religious scene comprising a seated king on a throne-shaped chair, holding a cup and wearing a long garment; standing worshipper or priest before him; before them, a nude hero and a bull-man presented in a contest scene. 4.75 grams, 23 mm (7/8 in.). From the 'S' collection, acquired 1970-1990s. The collection was seen and studied by W.G. Lambert, late Professor of Assyriology at the University of Birmingham, 1970-1993. Accompanied by a copy of a report from Assyriologist Hui Li. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12558-231428.The clearly engraved facial features, the almond-shaped eyes, pointed noses, and abstract outlines shaping the bodies, attest to the iconic glyptic practices of the late Early Dynastic Period. The cup held by the king, containing holy ointment or oil, might have been used as an emblem to signify the elevated rank of a deified king. It may have also been used an alternative religious practice, connecting the secular authority and the divine power during the Early Dynastic Period.

30th Dynasty-Ptolemaic Period, 380-30 B.C. Carved in the round head with plaster prepared surface; with integral Atef crown ornamented with lateral bronze ostrich plumes and uraeus to the brow; carved facial detailing with broad nose and small mouth; applied bronze braided beard with scrolled tip; ears pierced to accept earrings; mounted on a custom-made stand. Cf. similar head in the Brooklyn Museum under accession no.58.94, lacking the bronze fittings; another in the Metropolitan Museum of Art under accession no. 1972.118.195, in dense stone (greywacke) and lacking the lateral feather ornaments; cf. Bonhams, 25 April 2012, no.121, for similar. 3.62 kg total, 52.5 cm high including stand (20 3/4 in.). [A video of this lot is available to view on Timeline Auctions Website]Acquired by the family from an antiquities dealer in Egypt, October 1982. Ex Dunkirk Manor, Theescombe, Stroud. Mr F.D. collection, acquired from the above. Accompanied by an academic report by Egyptologist Paul Whelan. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12513-231999.This head likely originates from a large-scale standing figure of the underworld god Osiris. In contrast to the ubiquitous small bronze Osiris figurines found at cult sites throughout Egypt – which were left by pilgrims as votive offerings – large-scale wooden statues are much rarer. Their scarcity is partly due to the fragile nature of wood, which made such statues more susceptible to decay over time, but also because these larger figures were used in more specialised and exclusive ritual contexts. This is evidenced by the significant discovery of a large wooden Osiris statue in a cache of votive objects at Saqqara, associated with a temple shrine. The find suggests that the sizeable image of Osiris played an important role in religious ceremonies in the temple, where it presumably served as the focus of veneration. The Saqqara cache dates no later than the reign of Nectanebo II (360-343 B.C.), whose temple pavement covered it. However, the exact dating of the wooden statue is less certain, with estimates ranging from the New Kingdom to the 26th Dynasty.

11th-12th century A.D. Biconvex in section with ribbed suspension loop; obverse with profile figure of Mary on a donkey with infant Jesus in her arms; reverse with voided Maltese cross. Cf. Daux, G., Collection Hélène Stathatos. Les Objets Byzantins et Post-Byzantins, Strasbourg, Amandry, 1957; Wamser, L., Die Welt von Byzanz - Europas Östliches Erbe, München, 2004, items 44, 639, for similar worked rock crystal with religious imagery. 11.7 grams, 34 mm (1 3/8 in.). Ex Michael Denis O’Hara in the 1970s. From the collection of a London, UK, gentleman. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12402-225432.

Late Period, 664-332 B.C. Modelled in the round in a striding pose wearing a tight-fitting robe and sporting the Red (deshret) Crown of Lower Egypt; eyes inlaid with silver, an elaborate ornamental collar to the chest; the right arm hanging at the side, the left arm bent at the elbow with hand clenched to accept a staff, possibly a papyrus sceptre; mounted on a custom-made stand. Cf. Daressy, G., Catalogue général des antiquités égyptiennes du Musée du Caire N° 38001-39384 Statues de divinités, Cairo, 1906, pl. XLVIII no.38954, for a complete example with an elaborate collar; Tiribilli, E., The bronze figurines of the Petrie Museum from 2000 BC to AD 400, GHP Egyptology 28, London, 2018, p.117, for a discussion of this statuette type. 162 grams total, 12.7 cm including stand (5 in.). [A video of this lot is available to view on Timeline Auctions Website]From a 1940s collection based on the base and remains of label verso. From the Keane private collection, Kent, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12479-229477.Neith is one of the oldest ancient Egyptian deities with roots in the Early Dynastic Period. She is often depicted as a woman wearing the Red Crown of Lower Egypt and carrying a sceptre, symbolising her divine power. As a warrior and mother figure, Neith embodies creation, wisdom, and warfare. Her cult rose in prominence during the Ramesside Period as she became linked with the sun god. The primary centre of her worship was the city of Sais in the western Nile Delta, which became a significant religious and political hub during the 26th Dynasty (664–525 B.C.). Kings of this era claimed her as their protector and identified with her in royal titles.

Dated 1889 A.D. Showing Christ Pantocrator (Lord of the Universe) making a blessing gesture with the right hand, the left hand holding the gospel, covered with an elaborate silver oklad marked 84, with repoussé and chased decoration, incised Cyrillic inscription on the Gospel, and on the bottom an incised Cyrillic inscription 'Господь Вседержитель'= Lord Almighty. Cf. similar icons in Moscow Art Centre, Artistic Treasures of Russia, Catalogue of the Icons (in Russian), Moscow, 2022, icons 67, 79, 94. 498 grams, 22.5 x 18 cm (8 7/8 x 7 in.). Property of a London, UK, gentleman collector.This fine Russian religious work depicts Christ Pantocrator, ‘Almighty’ or ‘All Powerful’. It is a compound word formed from the Greek words for ‘all’ and the noun ‘strength’ (kratos). In Orthodox Christianity, his icon is one of the most common religious images. The 'oklad', or protective covering of the icon, was made from silver, often gilt, sometimes with cloisonné enamel decorations, and always decorated with geometric floral patterns. The style of Christ recalls the work of Ivan Semenovich Gubkin, an embosser active in Russia at the beginning of 20th century.

Dated 1698 A.D. Depicting Mary holding a lily flower with her right hand and supporting infant Jesus with her left arm; Jesus crowned by a crossed diadem and holding a gospel in his hand; background in gold thread, framed in a circular silver frame with dedicatory inscription to the reverse from a certain Alexander to the Jerusalem’s Archbishop Dositheus, reciting: + Τω ΜΑΚΑΡΙΟΤΑΤω ΚΑΙ CΟΦωΤΑΤω ΠΑΤΡΙΑΡΧΗ ΙΕΡΟCΟΛΥΜωΝ ΔΟCΙΘΕω ΤΙΜΗC ΕΝΕΚΕΝ – μηνι cεπτεμβριω 1698 – Αλεξανδρος – To His Beatitude and Enlighted Patriarch of Jerusalem Dositheus, as a sign of respect – September 1698 – Alexander; internal padding with floral decoration. Cf. Hellenic Ministry of Culture, Embroiderers, Embroideresses & Embroideries in Constantinople, (17th-19th c.), Athens, 2008, nos.BXM 21078, 20717, 20718, 21069, 21072, 21055, for similar embroideries. 82 grams, 10 cm (4 in.). Property of a London, UK, gentleman collector.The art of gold embroidery developed in Constantinople, with its own guild, and continued also after the end of the empire. Important artists like the legendary Despoineta, Mariora, Eusebia and Kokona, were famous in the 'painterly' rendering of religious subjects, not with the brush, but with the needle: red satin, and silver and gold wire created dresses, shadows, volumes with a sense of depth and sculptural quality. The artists conceived their works like a true prayer: a hope, based on human creativity.

100 B.C.-250 A.D. Modelled in the round as a seated male playing a drum, wearing a pointed cap, ear plugs and a necklace, sitting with both hands resting on the edge of the drum. For a similar sculpture, see Kan, Meighan and Nicholson, Sculpture of Ancient West Mexico, A catalogue of the Proctor Stafford Collection at the Los Angeles County Museum of Art, fig 143; for a short and informative essay on hand modelled Colima figures, see Pearsons, L., Pre Columbian Art, The Morton D May and The Saint Louis Art Museum Collections, 1980, Harper and Row, New York, p.88. 346 grams, 14.6 cm (5 3/4 in.). [No Reserve] From a USA private collection. Ex Dr David Harner collection, Arkansas, 1950s-1960s. Ex TimesAncient, Bristol, UK. Accompanied by a copy of a previous catalogue entry.Hand modelled early Colima figures are famed for their variety and insight into how the Colima lived thousands of years ago. Figures were hand modelled and show both men and women partaking in daily activities in addition to the shaman and dancers engaged in religious ceremonies.

100 B.C.-250 A.D. In pale orange terracotta with black patina spotting, male standing with arms folded across his chest, with well-modelled facial details and wearing a brimmed cap with decoration, ear plugs and loincloth extending in a strip between the legs and up the back. For a short and informative essay on hand modelled Colima figures, see Pearsons, L., Pre Columbian Art, The Morton D May and The Saint Louis Art Museum Collections, 1980, Harper and Row, New York, p.88. 118 grams, 15.6 cm (6 1/8 in.). [No Reserve] From a USA private collection. Ex Dr David Harner collection, Arkansas, 1950s-1960s. Ex TimesAncient, Bristol, UK. Accompanied by a copy of a previous catalogue entry.Hand modelled early Colima figures are famed for their variety and insight into how the Colima lived thousands of years ago. Figures were hand modelled and show both men and women partaking in daily activities in addition to the shaman and dancers engaged in religious ceremonies.

100 B.C.-250 A.D. Modelled in the round as a long-haired female with arms folded across the chest, applied hair, ears, girdle and loincloth; impressed points to the eyes and pierced ears. For a short and informative essay on hand modelled Colima figures, see Pearsons, L., Pre Columbian Art, The Morton D May and The Saint Louis Art Museum Collections, 1980, Harper and Row, New York, p.88. 109 grams, 15.2 cm (6 in.). [No Reserve] From a USA private collection. Ex Dr David Harner collection, Arkansas, 1950s-1960s. Ex TimesAncient, Bristol, UK. Accompanied by a copy of a previous catalogue entry.Hand modelled early Colima figures are famed for their variety and insight into how the Colima lived thousands of years ago. Figures were hand modelled and show both men and women partaking in daily activities in addition to the shaman and dancers engaged in religious ceremonies.

100 B.C.-250 A.D. In pale yellow-orange terracotta, female standing with one arm wrapped around her waist, the other holding an object, probably a baby; with distinctive facial features, wearing a cap and with large ear plugs, with applied pellet decoration on her right shoulder, to the reverse a long pigtail hanging down. Cf. Kan, Meighan and Nicholson, Sculpture of Ancient West Mexico, A catalogue of the Proctor Stafford Collection at the Los Angeles County Museum of Art, fig.139; for a short and informative essay on hand modelled Colima figures, see Pearsons, L., Pre Columbian Art, The Morton D May and The Saint Louis Art Museum Collections, 1980, Harper and Row, New York, p.88. 132 grams, 16.5 cm (6 1/2 in.). [No Reserve] From a USA private collection. Ex Dr David Harner collection, Arkansas, 1950s-1960s. Ex TimesAncient, Bristol, UK. Accompanied by a copy of a previous catalogue entry.Hand modelled early Colima figures are famed for their variety and insight into how the Colima lived thousands of years ago. Figures were hand modelled and show both men and women partaking in daily activities in addition to the shaman and dancers engaged in religious ceremonies.

Circa 7th-6th century B.C. In the form of a bowl with one part of the rim raised and surmounted by spikes decorated with concentric rings; flanked by two large aviform supporters, each with one long curving wing to the outer side of the bowl and legs placed one in front of the other in advancing pose; obverse decorated with a raised legend in South Arabian script intersected by a quadruped with long tail, possibly a lion, rearing on its hind legs; accompanied by a display stand. For similar items of circa mid-1st millennium B.C. date, see Metropolitan Museum of Art (ref.49.71.2) and one of circa 8th-3rd century BC, Sabaean, South Arabia Bronze, British Museum (ref.132909). Sabina Antonini de Maigret and Christian Julien Robin, ‘Un originale incensiere in bronzo da Nashshān/al-Sawdā, Yemen (VII-VI secolo a.C.)’, Semitica et Classica, XVI (2023), pp. 261-266. 9.17 kg total, 28 cm including stand (11 in.). [A video of this lot is available to view on Timeline Auctions Website]Reputedly from the temple of ʿAthtar dhu-Garb in al-Sawdāʾ (ancient Nashshān) in the Jawf of Yemen. Previously in the private collection of Shlomo Moussaieff (1925–2015), Israel. Thence by descent. Acquired from the above 18 May 2021. Accompanied by Israeli export license. Accompanied by an Art Loss Register Search Confirmation number S00224376 with IADAA Certificate. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12483 -229826. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.The animals represented do not fit with any common South Arabian models, and it is possible they are based on interpretation of foreign designs. The legend is a dedicatory text in Maʿīnic, and reads (from right to left): ' kʿ ṯt {animal} r/ḏ Grb k-ʿṯtr ḏ-Grb' (For {the god} ʿAthtar duh-Garb ) Ashtar, or Attar, was an ancient Semitic god of war, associated with the morning star, the gazelle and thunderstorms. As a thunder-god he was also associated with fertility, represented by rainstorms. It is likely this incense burner was dedicated to his temple in al-Sawdā, where it would have been used in his ceremonial rites. Al-Sawdā was known in ancient Yemeni inscriptions as 'Nashan' and was described as a great city with a robust wall. Nashan dates back to the 8th century BC (715 BC). In its first phase, it was an independent sovereign state, later joining the Ma’in state. It was a rich city, with commercial, religious and industrial success. In a later phase, it joined the kingdom of Sheba with the rest of the Ma’in state. It was known as one of the most important cities in the Ma’in Kingdom for the manufacture of metal vessels and the remains of ores of different minerals have been found there. But the great importance of the city was due to the fact that it was the city of temples; it retains the remnants of several examples described as some of the most beautiful temples in the entire Arabian Peninsula, amongst which is a group known as the “daughters of Aad” (temples of Attar), from which this incense burner likely came. South Arabia, called Arabia Felix (Fortunate Arabia) by the ancient Romans, was the southern fringe of the Arabian Peninsula. It owed its wealth to its position on the trade routes, in particularly those that supplied incense and myrrh. The production and export of incense was a fundamental part of the thriving economy of ancient South Arabian, and the variety of surviving incense burners is testament to this. Incense was of central importance to many of the ceremonies of the religions of the ancient world, burned to honour the gods and the dead. The kingdoms of South Arabia held a tight monopoly on these trades. Large metal incense burners such as this were doubtless the most valuable items of their type but few survive, making this an important example. The importance of the manufacture of bronze objects in ancient South Arabia can be seen from archaeological finds and inscriptions; bronze artefacts occur in South Arabian archaeological sites as often as donations of statues in dhb (the ancient South Arabian term for ‘bronze’) are recorded in South Arabian inscriptions. There are a great number of zoomorphic statues and statuettes, which in addition to being decorative, were probably used in some instances to represent divine hypostasis or to allude symbolically to the dedication of the temple. Shlomo Moussaieff (1925-2015) owned one of the world’s largest private collections of Near Eastern antiquities, surpassing those of many major museums. He collected widely for most of his life with a large expanse of interests, but mostly focussing on ancient artefacts. The Israel Museum and the Bible Lands Museum both displayed items from his collection, including elegant glassware fashioned by Ennion, the greatest of the Greek glassmakers, of which Moussaieff owned more than either the Sorbonne or the British Museum. Bar-Ilan University in Tel Aviv awarded Moussaieff an honorary doctorate in gratitude for his gift of rare Jewish mystical texts (kabbalah) and in 2003 the Smithsonian Institution in Washington, D.C., mounted a special exhibition consisting solely of seven of the world’s rarest and greatest diamonds displayed in a single vitrine. One of these diamonds, a nearly perfect red diamond of more than 5 carats, is known as the 'Moussaieff Red'.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each piece undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: www.timelineauctions.com/stories/our-vetting-process/15/TimeLine is a leading auction house specialising in antiquities, ancient art, collectables, natural history, coins, medals, and books. Our auctions offer museums, collectors, historians, and enthusiasts the opportunity to acquire unique and historically significant pieces.

3rd-1st century B.C. Chalcidian or Illyrian variant (Caucasian type), constructed from two halves with the right side overlapping the left, embossed ram horns on the brow, with a profile image of a stag to both sides; hinged cheek-pieces with regularly disposed holes to the outer edges; some restoration. Cf. Rabinovich, B. Z., Trudy Otdela istorii pervobytnoi kul’tury Gosudarstvennogo Ermitazha (Works of the Department of history of prehistoric culture of the State Hermitage) I, Leningrad, 1941, pp. 99-171; Erlikh, V. R., Rossiiskaia Arkheologiia (Russian Archaeology) (3), 1996, pp.176-179 (in Russian); Chernenko, E.V., The Scythians 700-300 BC, Hong Kong, 1998; Shevchenko, N.F., Zaitsev, Yu. P., Mordvintseva V. I. in Vestnik drevnei istorii (Bulletin of Ancient History) (1), 2011, pp.115-152 (in Russian); Симоненко А. В., 'Шлемы сарматского времени из Восточной Европы (Sarmatian Age Helmets from Eastern Europe)', in Stratum Plus, no. 4, 2014, pp.249-284; Negin, A.E., Negin, A. E., 'Pozdnerimskie shlemy s prodol'nym grebnem', in Germania-Sarmatia II, Kaliningrad-Kursk, 2010, pp.343–58; Hixenbaugh, R., Ancient Greek Helmets, a complete guide and catalogue, New York, 2019, nos.H303-H304. 696 grams, 31cm high (9 1/8 in.). [A video of this lot is available to view on Timeline Auctions Website]Acquired from on the European art market, mid-1980s. Private collection, Oxford, UK. From the collection of a London doctor. 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.12339-228100. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.The cultural interchange and the military contacts between the Nomads of Kuban and the Hellenic peoples allowed the Sindo-Meothic, Scythian, or Sarmatian noblemen to equip themselves with such beautiful defensive equipment. The helmet finds its closest parallel in a specimen published by A.E. Negin, belonging to the Puskin Fine Arts Museum of Moscow, originally in the collection of S. Karakowskij (Negin, 2010, p.354 no.6; Hixenbaugh H304). Some of the helmets of this type were modified according to the nomadic (Scythian or Sarmatian) taste, being decorated with religious elements, like the deer.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each piece undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: www.timelineauctions.com/stories/our-vetting-process/15/TimeLine is a leading auction house specialising in antiquities, ancient art, collectables, natural history, coins, medals, and books. Our auctions offer museums, collectors, historians, and enthusiasts the opportunity to acquire unique and historically significant pieces.

Circa 1750 A.D. Each door a single board with graduated scalloped upper edge, horizontal wooden bars to the reverse, hand-forged iron hinge knuckles and D-section leader to left door; primed with tempera on both faces and painted on the obverse, each with a bottle-green field, blue-grey frontage with vermillion upper storey and gilt roof; Left Door: portion of city wall with tall, narrow building behind, balcony at the upper level with King David standing holding an unfurled scroll, wearing a gilt crown, vermillion tunic and blue mantle; before the wall a winged angel Gabriel holding a frond, wearing a draped mantle over ankle-length chiton and sandals; above, red painted legend 'BOUNA'; to the right edge, a D-section leader painted with red, white and blue diagonal stripes; Right Door: portion of city wall with tall, narrow building behind, balcony at the upper level with King Solomon standing holding a scroll and wearing a gilt crown, similar tunic and mantle to the other; dove descending towards Mary standing before the wall in front of a cushioned throne, with gilt nimbus around her head; red painted legend 'V E S T I R E' above; rare. Cf. Popescu, G.A., Cristiani d'Oriente, spiritualità, arte e potere nell'Europa Post-Bizantina, Milano, 1999, fig.69, for similar; cf. also Baboș, A., ’Royal Doors of Maramures beyond their appearances’ in Museikon, a journal of Religious Art and Culture, 6/2022, pp.263-294, for similar doors and discussion. 13.8 kg total, 132 x 34 cm each (52 x 13 3/8 in). [2] Property of a London, UK, gentleman collector. Accompanied by a copy of a Romanian export licence. 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.12466-229954.The 'royal doors' (Greek: Ωραία Πύλη) mark the entrance to the iconostasis (wooden screen hiding the altar) in an Eastern Orthodox church.

A stunning polychrome and gilded wooden relief sculpture from the early 18th century, attributed to a follower of the esteemed Austrian Baroque sculptor Thomas Schwanthaler (1634-1707). This masterfully carved devotional piece depicts the Madonna and Child, surrounded by cherubic angels amidst swirling clouds, evoking a celestial vision of divine grace. The Madonna's flowing robes, executed with deep folds and dynamic movement, reflect the opulent Baroque style, characterized by its theatricality and emotive intensity.Schwanthaler, one of the most significant sculptors of the Austrian Baroque period, was part of a lineage of sculptors in Ried im Innkreis, Austria, where his family workshop operated for generations. The Schwanthaler family, deeply rooted in South German and Austrian Baroque traditions, was instrumental in developing religious sculpture that merged the grandiosity of Italian High Baroque with the more expressive and folk-oriented characteristics of Bavarian and Austrian Baroque schools. His works, often commissioned for ecclesiastical settings, exhibit a dramatic interplay of light and shadow (chiaroscuro), theatrical gestures, and heightened emotional realism, making them deeply resonant for worshippers.The sculpture's exuberant composition and lifelike expressions are hallmarks of the Baroque aesthetic, which sought to engage the viewer emotionally and spiritually. The dynamic arrangement of figures, cascading drapery, and billowing clouds create a sense of movement and fluidity, essential to Baroque religious art's goal of transcending static representation. The Madonna's slightly tilted head and contemplative expression, alongside the cherubs' tender, playful interactions, enhance the narrative immediacy-a defining trait of Central European Baroque sculpture. These elements reflect the broader artistic ambitions of the period: to make sacred figures more relatable, engaging the faithful in a heightened spiritual experience.The piece likely served as a devotional or altarpiece relief, meant to inspire veneration through its richly painted and gilded surfaces, which shimmer under candlelight-a technique frequently employed in Austrian Baroque altarpieces to heighten the divine presence.Artist: Follower of Thomas Schwanthaler (Austrian, 1634-1707 )Issued: Circa 1710-1720Dimensions: 24"L x 14"W x 52"HCountry of Origin: AustriaProvenance: Xaver Scheidwimmer OHG, Kunsthandel, in Munich; John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1964. Condition: Age related wear.

This exceptional Late Gothic polychrome wood sculpture, attributed to the French School and dating to the 15th century, depicts the Madonna standing in a dignified yet tender pose while holding the Christ Child. The figure exhibits the characteristic elegance and stylized realism associated with Late Gothic religious art, with elongated proportions, delicate facial modeling, and a serene yet solemn expression.One of the most striking details is the Madonna's crown, which features a fleur-de-lis, a potent symbol of French royalty and divine protection. This emblem underscores the strong connection between Marian devotion and the monarchy in medieval France, particularly during the reign of the Valois dynasty. The figure's garment retains traces of its original polychromy, with remnants of red and ochre pigments hinting at the once-vibrant coloration that would have enhanced its sacred presence.Carved from a single hollowed block of wood, a technique commonly employed to prevent cracking over time, the sculpture reflects the high level of craftsmanship of Gothic ecclesiastical art. The reverse side still bears evidence of its structural integrity, including a vertical metal bar, likely used for stabilization or mounting.Based on its stylistic characteristics-its elongated proportions, solemn expression, and the presence of the fleur-de-lis-this piece likely originates from a Burgundian or Loire Valley workshop, both of which were renowned for their refined Late Gothic religious sculpture in the 15th century. The Burgundian region, particularly under the influence of the Dukes of Burgundy, was a major center for Gothic art in the 14th and 15th centuries. The sculpture's restrained elegance and naturalistic yet stylized facial features are reminiscent of the International Gothic style, which flourished in the Burgundian court and influenced religious sculpture. Workshops in Dijon and other Burgundian cities created numerous Madonna and Child figures for private and ecclesiastical devotion.The Loire Valley, with its strong connections to the French monarchy and religious institutions, produced highly detailed polychrome sculptures for churches and chapels. The presence of the fleur-de-lis in the Madonna's crown suggests royal patronage or influence, making it plausible that this piece was crafted in a Loire Valley workshop closely tied to the royal court. Paris and its surrounding regions, including Normandy, were also major centers of Gothic sculpture, particularly with the flourishing of Marian devotion in cathedrals and churches. The expressive yet restrained facial features and the delicate folds in the Madonna's clothing suggest a possible connection to the Parisian School, which was highly influential in the later Gothic period.Artist: French SchoolIssued: Early 15th centuryDimensions: 13"L x 11"W x 42"HCountry of Origin: FranceProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Sporadic loss of polychromy with modern addition of color on the lower part of the folds. Pieces of the feet of the child are missing.

This exceptional Baroque polychrome and parcel-gilt wood sculpture of Saint Rupert of Salzburg, attributed to the renowned Salzburg School, dates to the late 17th to early 18th century. A commanding presence in ecclesiastical art, this masterfully carved figure exemplifies the height of Austrian Baroque craftsmanship, characterized by its expressive naturalism, richly ornamented gilding, and striking polychrome decoration. The saint is portrayed in full episcopal vestments, wearing an elaborate, gold-adorned mitre and a voluminous chasuble that cascades in deeply carved folds, capturing the dynamic energy so central to Baroque religious sculpture. His left hand grasps a finely detailed crozier, a symbol of his spiritual authority, while his right hand holds a holy book surmounted by a salt barrel-a direct reference to his role in revitalizing Salzburg's salt industry, the foundation of the city's economic and historical identity.The Salzburg School of sculpture, influenced by both Italian Baroque exuberance and the meticulous craftsmanship of German and South Tyrolean traditions, produced some of the most distinguished religious works of the period. This statue exemplifies the hallmarks of this celebrated school, particularly in its striking facial realism, the intricate detailing of Saint Rupert's beard and hair, and the finely articulated hand gestures, which convey both piety and engagement. The polychromy remains vivid, lending lifelike warmth to the figure's complexion, while the combination of burnished and matte gilding techniques enhances the depth and texture of the vestments. The artist's attention to anatomical accuracy and the play of light across the drapery reflects the influence of sculptors such as Georg Raphael Donner (1693-1741) and Meinrad Guggenbichler (1649-1723), both of whom were instrumental in shaping the Salzburg School's distinct style.As the patron saint of Salzburg and its first bishop, Saint Rupert is a particularly significant figure in Austrian religious history. He was instrumental in establishing the city as a center of Christianity and economic prosperity, largely due to the region's salt mines, which gave Salzburg its name. His association with the salt trade is rarely depicted as clearly as in this sculpture, where the small barrel resting atop the holy book serves as a poignant symbol of his enduring legacy. This imagery would have resonated deeply with Salzburg's religious and civic identity during the Baroque period, making such a representation highly desirable for both ecclesiastical and private devotional settings.This remarkable statue is in exceptionally well-preserved condition, retaining much of its original polychrome surface and gold leaf detailing. The subtle craquelure in the painted areas is consistent with its age, and there is no significant restoration or loss, making it a rare survivor of its period. Comparable works can be found in the Salzburg Cathedral Museum and the Belvedere Museum in Vienna.Artist: Austrian (Salzburg) SchoolIssued: c. 1750Dimensions: 30"L x 15"W x 60"H (including staff)Country of Origin: AustriaProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Possible gilt restoration. Staff with hand detaches.

This 15th-century polychrome Madonna and Child is a significant example of religious sculpture from the Rouen School, an influential center of artistic production in Normandy, France, between the late 14th and early 16th centuries. The Rouen School emerged as a key regional style in ecclesiastical sculpture, blending elements of the French High Gothic tradition with the increasing realism characteristic of the early Northern Renaissance.Hand-carved in oak, this sculpture presents the Madonna standing in a contrapposto pose, gently cradling the Christ Child. The Virgin is crowned, signifying her role as Queen of Heaven, and wears a voluminous robe, with traces of its original polychrome and gilding still visible. The drapery is carved in a soft, flowing manner, with deep folds that cascade naturally-an aesthetic evolution from the rigid, columnar representations of the earlier Romanesque period toward the more expressive style favored in the late Gothic era.The Rouen School flourished particularly between 1400 and 1530, reaching its height in the mid-to-late 15th century, when it produced religious sculptures for cathedrals, churches, and private devotion. Artists in Rouen were heavily influenced by the Parisian court style, particularly the elegant forms found in the workshops of Île-de-France, as well as the Netherlandish tradition, which introduced a greater sense of naturalism and human emotion. This synthesis of French Gothic ornamentation and Flemish realism is evident in the facial structure and tender gestures of the figures in this piece.Notably, the hollowed reverse of the sculpture, a technique used to reduce weight and prevent cracking, aligns with the common practices of 15th-century French workshops. The delicate paint layers, though worn, reveal an original palette of reds, blues, and golds, which were intended to emphasize the divine nature of the figures.The Rouen School was a dominant force in Normandy's religious art production, working extensively in wood and stone for both large-scale cathedral commissions and smaller devotional pieces. Rouen's location as a major trade hub allowed for artistic cross-pollination with Flanders and the Burgundian Netherlands, seen in the increased attention to expressive realism in its sculpture. By the late 15th century, workshops in Rouen were producing figures that displayed a shift toward Renaissance ideals, particularly in the handling of fabric and the softening of facial features.This piece embodies these transitions: while it retains the elongated proportions and elegance of Gothic sculpture, the attention to the naturalism of the Christ Child suggests the influence of early Netherlandish devotional imagery, which was making its way into French religious art at the time.Artist: French (Rouen) SchoolIssued: c. 1500Dimensions: 16"L x 7.50"W x 46"HCountry of Origin: FranceProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Exposed rods underneath base, hallow back. Left hand missing on virgin and both arms on Jesus.

A masterfully carved and polychrome-painted wooden sculpture of the Madonna and Child, likely from the Spanish Colonial Baroque tradition, dating to the 17th or 18th century. This exceptional devotional piece reflects the artistic synthesis of European Baroque influences with indigenous craftsmanship, a defining characteristic of religious art produced in Spain's overseas territories, particularly in Latin America and the Philippines.The Spanish Colonial period (16th-19th century) was marked by an extensive effort by the Spanish Crown and the Catholic Church to spread Christianity throughout the New World and other colonies. Art played a crucial role in this mission, with workshops in Mexico, Peru, the Philippines, and other colonial centers producing elaborate religious sculptures under the guidance of Spanish-trained artisans. This Madonna and Child exemplifies this period's distinct fusion of Spanish artistic traditions with local materials, techniques, and iconographic adaptations.The Madonna is depicted in Majesty, standing gracefully while holding the Christ Child, who raises a blessing hand and holds a globe, symbolizing divine sovereignty over the world. The figures wear richly detailed vestments with floral and foliate motifs, enhanced with gilded embellishments, a hallmark of Spanish Colonial ecclesiastical art. The deep, vibrant polychromy was achieved using cedar or similar softwoods, which were commonly used in colonial religious sculptures for their workability and resistance to insects. The carving style, with its shallow relief details and soft modeling of facial features, suggests a colonial workshop influenced by Spanish Sevillian and Granadan Schools but executed by local artists adapting European techniques.The stylistic influences of the Spanish Baroque, particularly the Sevillian School, are evident in the delicate facial modeling and the dramatic use of color and gold leaf. The naturalistic yet idealized facial expressions recall the work of Juan Martínez Montañés (1568-1649) and other Spanish masters, whose influence extended to colonial artists. However, the folk-influenced ornamentation and stylized facial proportions indicate the hand of a colonial artist.The reverse of the sculpture retains original decorative painting, an unusual and valuable feature that underscores its intended placement in a processional or altar setting, where it would be viewed from multiple angles. The presence of mounting holes in the base suggests that it was originally part of a larger retablo (altarpiece) or an ecclesiastical display.Artist: Spanish Colonial TraditionIssued: Mid 17th- Early 18th centuryDimensions: 13"L x 8.50"W x 27"HCountry of Origin: SpainProvenance: Henri Lesieur; Bass Museum of Art, Miami Beach, FL 1996. Condition: Age related wear.

A rare and exceptional 14th-century Gothic carved lindenwood sculpture depicting Saint Theodul, the first bishop of Valais, Switzerland. This masterfully crafted piece, attributed to the Swiss School, showcases the saint seated in a position of authority, his hands extended in a gesture that suggests he once held a symbolic object, possibly a crozier or book.This figure is adorned with its original polychrome, which has been remarkably preserved. The sculpture's red and gold vestments, combined with the intricate carving of the facial features and drapery, emphasize a high level of craftsmanship. His tall mitre and solemn expression further highlight Saint Theodul's ecclesiastical status.This sculpture is a significant representation of the Swiss School of Gothic art, a tradition deeply influenced by both French High Gothic naturalism and Germanic structural solidity. The use of lindenwood is consistent with the Swiss School, as it was a material favored in Swiss religious sculpture for its fine grain and ability to retain intricate details.The Swiss School's religious statuary often emphasized hierarchical symbolism and devotion, as seen in the rigid yet expressive posture of Saint Theodul. The bold polychromy, particularly the red and gold hues, aligns with medieval Swiss artistic traditions that aimed to enhance the lifelike presence of religious figures. Swiss sculptors of this period worked closely with painters to create richly detailed, vividly painted figures.Saint Theodul (c. 340-400 CE), as the first bishop of Valais, was a revered figure in medieval Switzerland, known for his role in establishing Christian influence in the Swiss Alps. He is historically credited with securing the papal-approved transfer of relics of the Theban Legion to the region, further cementing Valais as an early Christian stronghold. Devotional sculptures like this were likely commissioned for monastic centers or cathedral altars, serving as objects of veneration. The presence of such an elaborate carving suggests that this piece may have originated from a high-status ecclesiastical setting, possibly a bishopric or monastic treasury.Artist: Swiss SchoolIssued: Circa 1350Dimensions: 12"L x 9"W x 31"HCountry of Origin: SwitzerlandProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear.

This exceptional Gothic polychrome wood sculpture of the Madonna and Child in Majesty is attributed to the Île-de-France School, a prominent artistic tradition that flourished in and around Paris between the late 12th and early 15th centuries. Carved from a single block of wood and hollowed out from the reverse, this piece demonstrates the advanced sculptural techniques characteristic of the period. The hollowing process, a feature commonly employed in medieval ecclesiastical wood sculpture, served both structural and practical purposes by reducing weight and minimizing the risk of splitting over time. The careful attention to proportion and volume, particularly in the rendering of the Madonna's seated posture and the Christ Child's placement on her lap, reflects the refined craftsmanship that was central to religious sculpture in the region. The surface, once vibrantly polychromed, has faded with time, though remnants of the original color suggest that it was once richly decorated to enhance its visual impact within a church or private devotional setting.The Île-de-France School was at the forefront of Gothic sculptural development, profoundly influenced by the monumental figures adorning the portals of cathedrals such as Notre-Dame de Paris and Chartres. This school emphasized a balance between idealized elegance and solemn religious expression, as seen in the elongated facial features of the Virgin, her downcast gaze, and the stylized drapery that cascades in rhythmic folds. The sculpture's frontal composition and rigid posture align with the formal, hieratic presentation often found in French Marian iconography of the period. The Virgin, wearing a crown as Queen of Heaven, holds the forbidden apple in her right hand, a symbolic reference to her role as the New Eve, whose divine child offers redemption for original sin. The Christ Child, depicted in a tender yet composed manner, originally would have held a gesture of blessing or a sacred object, though some sculptural elements have been lost over time.By the 14th and 15th centuries, sculpture in the Île-de-France region evolved toward greater refinement and courtly elegance, incorporating elements of naturalism while maintaining a devotional solemnity. This period saw a flourishing of Marian imagery, with depictions of the Madonna and Child commissioned for churches, monasteries, and private chapels. The present sculpture embodies the stylistic principles of the time, with its delicate facial modeling, carefully articulated hands, and the symbolic interplay between mother and child. Artist: French (Ile-de-France) SchoolIssued: Circa Late 14th to early 15th CenturyDimensions: 13"L x 10"W x 36"HCountry of Origin: FranceProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Areas of wood worm traces.

This is an exquisite early Renaissance polychrome wood sculpture depicting Saint Martin of Tours on horseback, captured in the moment of his legendary act of charity. In a dynamic and expressive pose, Saint Martin turns gracefully to share his cloak, symbolizing compassion and selflessness, a defining moment in Christian iconography.This piece is attributed to the French Lorraine School, a renowned artistic tradition that flourished in northeastern France during the late Gothic and early Renaissance periods. Lorraine artists were known for their expressive religious sculptures, seamlessly blending Gothic traditions with Renaissance humanism. The region's sculptors mastered naturalistic detailing, particularly in facial expressions, drapery, and anatomical realism, all of which are evident in this piece.The French Lorraine School retained strong Gothic influences throughout the late 15th century, while gradually incorporating Renaissance realism and emotional expressiveness into the early 16th century. This sculpture likely dates to the late 15th or early 16th century (circa 1470-1520). Its stylistic elements reflect the artistic traditions of this period, particularly those seen in works by Lorraine sculptors influenced by early French Renaissance carving techniques and the expressive stone sculptures of Ligier Richier (circa 1500-1567).Carved from wood with traces of original polychrome, the sculpture would have once been richly colored, enhancing its lifelike presence. The detailed rendering of Saint Martin's garments and the horse's dynamic posture is characteristic of Lorraine craftsmanship, while the subject matter reflects the region's deep devotion to saints and narrative-driven religious art.Saint Martin of Tours (circa 316-397 AD) was a Roman soldier-turned-bishop, renowned for his charitable deeds and monastic reforms. His act of dividing his cloak to clothe a beggar-immortalized in Christian legend-became a powerful symbol of generosity, inspiring countless artistic interpretations. His legacy endures through Martinmas (November 11), a feast day celebrating his contributions to the Church and European religious life.Approximate Dimensions: 34"L x 13"W x 45"H.Artist: French (Lorraine) SchoolIssued: Circa 1500Dimensions: See DescriptionCountry of Origin: FranceProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Right hand is missing. The horse is made of two pieces that need to be reattached. Loss of polychromy.

This exquisite Late Gothic polychrome limestone sculpture of the Madonna and Child in Majesty is a remarkable example of the artistic refinement characteristic of the Île-de-France School. Originating in the 14th or early 15th century, this piece embodies the evolving stylistic trends of Parisian Gothic sculpture, where religious figures were rendered with a heightened sense of naturalism, grace, and emotional depth. The Île-de-France region, home to some of the most celebrated sculptural workshops of the medieval period, played a pivotal role in shaping the Gothic artistic tradition, particularly through commissions for the grand cathedrals and religious institutions of Paris and its surrounding areas.The Île-de-France School emerged as a dominant force in medieval sculpture from the 12th through 15th centuries, fostering the transition from the more rigid and elongated forms of early Gothic art to compositions imbued with a sense of softness, realism, and human connection. The sculptors of this region were deeply influenced by the royal and ecclesiastical patronage of Notre-Dame Cathedral, Chartres, and the Sainte-Chapelle, where they developed a distinctive style characterized by serene facial expressions, fluid drapery, and refined polychrome finishes. By the late 14th century, this style had matured into a more intimate and lifelike approach to sacred imagery, as seen in this sculpture, which depicts the Virgin and Christ Child not only as divine figures but also as a tender, humanized representation of maternal devotion.This piece is attributed to the Île-de-France School based on several key stylistic elements. The Madonna's delicately modeled face, with its idealized yet naturalistic features and gentle downward gaze, strongly aligns with the aesthetic conventions seen in French Gothic sculpture of the period, particularly those associated with the Parisian courtly style. The rendering of the drapery, with its deep, flowing folds that create a sense of movement and three-dimensionality, is another hallmark of the region's sculptural tradition. The interaction between the Virgin and Child, where Christ gently engages with his mother while holding what appears to be an orb or fruit, further reinforces the stylistic advancements of this period, which emphasized warmth and realism in religious compositions.The iconography of the enthroned Madonna and Child-sometimes referred to as Sedes Sapientiae, or "Throne of Wisdom"-was a dominant theme in Gothic religious sculpture, meant to reinforce the Virgin's role as both the Queen of Heaven and the vessel of divine wisdom. This particular representation, with Christ engaging with his mother in a lifelike, almost tender manner, marks a shift toward the more personal and introspective depictions that became increasingly popular in the late medieval period. The architectural base, with its gothicized arch detailing, suggests that this piece may have originally been part of a larger altarpiece or private devotional shrine.Issued: 15th-Early 16th centuryDimensions: 14"L x 9"W x 29.75"HCountry of Origin: FranceProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Missing right hand and partial fingers missing on the left.

A finely carved and polychrome-painted wooden putto, likely from the late Baroque period (17th-18th century), originating from a chapel near Lienz, Austria. This gracefully poised cherub is depicted in a dynamic contrapposto stance, characteristic of Baroque sculpture, with one arm elegantly raised and the other delicately extended. The carving exhibits remarkable craftsmanship, particularly in the expressive facial features, softly rendered curls, and lifelike coloration that accentuates the cheeks, lips, and eyes. Traces of gilding highlight the flowing drapery, adding a rich decorative element that enhances its visual appeal.Putti, frequently seen in religious art and architecture of the Baroque and Rococo periods, symbolized divine presence, innocence, and celestial beauty. Their presence in chapels and altarpieces often conveyed a sense of movement and ethereal grace, reinforcing the spiritual themes of the era. This piece reflects the stylistic influence of South German and Austrian Baroque sculptors, such as those from the school of Johann Baptist Straub (1704-1784) or the workshop traditions of Tyrolean ecclesiastical artisans.The back of the figure features a hook for easy mounting, suggesting it was originally intended as part of a larger altarpiece or architectural ornamentation. Its well-preserved condition, with visible signs of age-appropriate wear, lends authenticity and historical depth. A superb example of Baroque religious artistry, this putto would make an exceptional addition to a collection of ecclesiastical antiques or period decorative arts.Artist: Austrian (East Tyrol) SchoolIssued: Mid 17th-18th centuryDimensions: 21"L x 13.50"W x 28"HCountry of Origin: AustriaProvenance: Chapel near Lienz, Austria; John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963.Condition: Age related wear.

An extraordinary example of late medieval and early Renaissance religious artistry, this 15th-century polychrome wood sculpture depicts the Madonna and Child in Majesty, a revered subject in Christian devotional art. The crowned Virgin is portrayed in a seated position, cradling the Christ Child, who is also adorned with a crown-symbolizing both divine kingship and maternal grace. Designed to be viewed from the front and slightly below, the sculpture retains remnants of its original polychrome decoration, including traces of a deep blue cloak on the Madonna and delicate flesh tones that highlight the figures' serene expressions. The back of the piece remains unpainted, a common feature in ecclesiastical sculptures intended for placement against a wall or within a niche.The stylistic and technical characteristics of this work suggest an origin in either a French or Northern Italian workshop during the 15th century. The elongated proportions, solemn facial expressions, and cascading drapery folds strongly resemble French Gothic sculpture, particularly from the Burgundian and Norman regions, where seated Madonna figures were frequently commissioned for churches and private chapels. The static, frontal pose of the Virgin aligns with French ecclesiastical traditions, particularly those seen in Gothic cathedrals such as Notre-Dame de Paris and Chartres. At the same time, the softer modeling of the faces and the naturalistic treatment of the drapery reflect the influence of the emerging Renaissance style, which flourished in Northern Italy, particularly in Lombardy and Veneto. This artistic transition can be observed in the works of early Italian masters such as Jacopo della Quercia and Lorenzo Ghiberti, who introduced a greater sense of realism and fluidity to religious compositions.A further indicator of the sculpture's prestigious origins is the presence of lapis lazuli-based pigment in the Madonna's cloak, a costly material widely used in both French and Italian Marian iconography to signify divinity and purity. The composition of the crowned Christ Child seated on the Virgin's lap follows the "Sedes Sapientiae" (Throne of Wisdom) tradition, a theme prevalent in both French Gothic and early Italian Renaissance religious sculpture. The unpainted back of the piece suggests that it was created for an altarpiece or a niche setting, emphasizing its devotional purpose within a church or monastic environment.Artist: French or Italian SchoolIssued: Circa 15th centuryDimensions: 16"L x 14"W x 47"HCountry of Origin: France/ItalyProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Loss of polychrome and sporadic loss of wood. Small cross missing from the orb.

This exceptional early Renaissance Spanish School sculpture of the Madonna and Child in Majesty is a superb example of polychrome and gilded wood carving from the 14th to 15th century, likely originating from Castile or Aragon. Retaining much of its original polychromy, this remarkable piece embodies the transition from the Romanesque tradition to the more refined Gothic and early Renaissance styles that shaped Spanish religious art. The Virgin Mary, enthroned and crowned as the Queen of Heaven, holds an apple, symbolizing her role as the New Eve and the redemption of humankind. The Christ Child sits upon her lap, presenting the Holy Book while raising His hand in a traditional gesture of blessing, reinforcing the sacred bond between mother and son in Christian iconography.This sculpture illustrates the stylistic evolution occurring in Spain during this period, bridging the sacred formality of the Romanesque with the increasing expressiveness of Gothic and early Renaissance art. In earlier Romanesque traditions, religious figures were depicted with rigid, hieratic forms, emphasizing divine authority over naturalism. In contrast, this sculpture moves toward Gothic sensibilities, evident in the Virgin's more individualized and serene expression, the subtle modeling of her facial features, and the graceful articulation of drapery folds.The Christ Child also displays a departure from rigid formality. While still slightly stylized, His raised blessing hand and delicate gestures suggest a move away from the static, miniature-adult depictions of earlier periods toward a more naturalistic portrayal. The throne upon which the Madonna sits, adorned with geometric and floral motifs, incorporates elements of Hispano-Moorish artistic influence, reflecting the unique synthesis of Christian and Islamic design elements that flourished in Castile and Aragon during the Gothic period. The sculpture's polychrome and gilding further reinforce this transitional quality, particularly in its use of the estofado technique, where layers of gold leaf were overpainted and incised to reveal intricate patterns. This decorative approach, associated with later Gothic and early Renaissance Spanish sculpture, highlights the increasing technical and artistic sophistication of Spanish woodcarving workshops.The broader historical context of this work aligns with Spain's evolving artistic landscape during the late Middle Ages. Unlike Italy, where classical marble statuary became dominant, Spain remained deeply committed to intricately carved and lavishly painted wooden sculptures, emphasizing their sacred presence within churches and religious institutions. Devotional imagery such as this Madonna and Child in Majesty served as a focal point for worship, reinforcing the theological role of the Virgin as the intercessor between humanity and Christ. By the 14th and 15th centuries, Spanish sculptors had absorbed Gothic influences from France and the Low Countries, particularly through Burgundian and Flemish artists, leading to a synthesis of styles that maintained Gothic verticality while introducing more naturalistic facial expressions and drapery treatments.Issued: Circa 15th centuryDimensions: 16"L x 10"W x 40"HCountry of Origin: SpainProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear.

This finely carved and polychromed wood sculpture of the Madonna and Child is attributed to the Austrian (East Tyrol) School, a distinguished regional tradition of woodcarving that flourished from the late Renaissance into the Baroque period. Likely dating from the mid-17th to early 18th century, the composition presents the crowned Madonna seated in majesty, holding a scepter as the Christ Child balances on her lap, grasping an orb-a traditional symbol of his divine authority as Salvator Mundi (Savior of the World).The East Tyrol School was part of a broader Alpine tradition of master woodcarving, which thrived in Austria, Southern Germany, and Northern Italy during the 16th to 18th centuries. Rooted in the Gothic tradition, these workshops evolved under the influence of the Italian and Bavarian Baroque styles, blending dramatic expression with naturalistic details. The region's skilled artisans, often trained in monastic workshops, created religious sculptures that adorned churches, chapels, and private devotional spaces.Sculptures from the East Tyrol School are known for their graceful yet expressive figures, finely carved drapery, and polychrome decoration that enhances realism. Unlike the more theatrical compositions of the Italian Baroque, East Tyrol artisans emphasized piety and human tenderness, often portraying the Virgin Mary and Christ with soft, contemplative expressions rather than exaggerated movement.The influence of South German Rococo and Bavarian Baroque can be seen in the delicate rendering of facial features and intricate folds of drapery, while the use of gilding and rich color palettes reflects the influence of Venetian polychrome techniques. The present example exhibits these hallmarks, particularly in the lifelike facial expressions and the detailed treatment of textiles.Likely commissioned for a church or private chapel, this sculpture would have served as an object of veneration, reinforcing Catholic teachings on the divine role of the Virgin Mary and Christ. During the Counter-Reformation period, which saw a revival of religious imagery in Catholic Europe, such sculptures played an essential role in inspiring devotion and reinforcing doctrinal themes.The back of the sculpture bears an inscription, "1646 MB," though it is uncertain whether this marks the actual date of creation or a later addition the date is consistent with the style and artistic elements presented. Artist: Austrian (East Tyrol) SchoolIssued: Mid 17th- Early 18th centuryDimensions: 34"L x 18"W x 61"HCountry of Origin: AustriaProvenance: Chapel near Lienz, Austria; John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Sporadic areas of chipped wood. The cross is missing on the orb.

An exceptional example of a Baroque religious putto, attributed to the Tyrol School, Austria, dating to the 17th or early 18th century. This masterfully carved wooden figure captures the exuberance and dynamism characteristic of the Baroque period, a time when religious sculpture was created to evoke emotion and spiritual devotion. The putto is depicted in mid-motion, its outstretched arm and expressive gaze adding a sense of movement and lifelike presence.A putto is a cherubic, winged or wingless child-like figure frequently found in Renaissance and Baroque art, sculpture, and architectural ornamentation. Putti, often depicted in playful or reverent poses, originated from classical antiquity, where they were associated with Eros (the Roman Cupid). During the Italian Renaissance (14th-16th century), artists such as Donatello and Raphael revived the motif, integrating putti into both secular and religious compositions. By the Baroque period (17th-18th century), putti became prominent elements in church decorations, symbolizing divine presence, joy, and the celestial realm. In the Catholic tradition, putti were often used to embellish altarpieces, pulpits, ceiling frescoes, and religious processional sculptures, reinforcing the grandeur and emotional intensity of Counter-Reformation art. This particular example, with its dynamic posture and gilded drapery, exemplifies the dramatic theatricality of Baroque religious sculpture, designed to engage the viewer and draw them into a transcendent experience.The Tyrol region, which today spans parts of Austria and northern Italy, became a major center for wood carving and religious sculpture from the late Middle Ages through the 19th century. By the 16th and 17th centuries, Tyrolean artisans were recognized for their highly skilled craftsmanship, producing altar figures, crucifixes, and devotional sculptures for churches and monasteries across Central Europe. The Tyrol School, active predominantly between the 17th and early 19th centuries, was particularly influenced by Italian Baroque sculpture, notably the works of Gian Lorenzo Bernini (1598-1680), whose dramatic compositions emphasized movement, realism, and emotional intensity.During the Counter-Reformation (16th-18th century), the Catholic Church commissioned elaborate sculptural programs to inspire devotion and reinforce Catholic doctrine in response to Protestant movements. Tyrolean sculptors, working within this religious fervor, created highly expressive, polychrome-painted wooden sculptures that mirrored the grandeur of Baroque altarpieces. Artisans in this school often used limewood or pine, materials abundant in the Alpine region, allowing for intricate detailing and realistic anatomical rendering.The Hallstatt, Innsbruck, and Bolzano workshops were particularly notable centers of Tyrolean Baroque sculpture, producing works that combined Germanic naturalism with the ornate drama of Italian Baroque art. Many of these figures, including putti like this one, would have adorned cathedral ceilings, altars, or processional platforms, creating a visual connection between the earthly and the divine.This piece, with its delicate polychrome facial features, elaborate curling locks, and rich gilded drapery, is a textbook example of 17th-18th century Tyrolean craftsmanship. The original mounting holes and iron hanging ring suggest it was once affixed to a larger ecclesiastical setting, possibly part of a pulpit canopy, choir loft, or altarpiece ensemble.Artist: Tyrol School Issued: Mid 17th-18th centuryDimensions: 18"L x 13.50"W x 27"HCountry of Origin: Austria and ItalyProvenance: Chapel near Lienz, Austria; John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Gilding on the drapery has been professionally restored.

This early 15th-century Spanish Gothic polychrome wood sculpture represents the Madonna and Child in Majesty (Sedes Sapientiae), a revered image in medieval Christian art. Seated on an architectural throne, the Virgin is depicted wearing a flowing mantle and an ornate crown, signifying her role as the Queen of Heaven, while holding the Christ Child in a frontal, formalized composition. The rigid symmetry and solemn expression of both figures exemplify the Spanish Gothic tradition, which favored spiritual presence and iconographic clarity over naturalism. The remnants of polychrome decoration, particularly the red, white, and gold pigments, are characteristic of Spanish religious sculpture, where wood carvings were elaborately painted and gilded to enhance their sacred significance.The sculpture's construction and style strongly suggest an origin in Castile or Catalonia, regions known for their polychrome wood devotional sculptures. The Virgin's broad, linear drapery folds and the weighty, columnar structure of her figure reflect the Spanish preference for imposing, hieratic forms, distinguishing it from the more fluid and naturalistic interpretations found in French Gothic sculpture. The Christ Child, seated on her lap, maintains a frontal, solemn expression with a gesture of blessing, a composition frequently seen in Spanish Gothic works from the 14th and 15th centuries. Unlike the tender, interactive relationship often depicted in French Gothic versions of the Madonna and Child, the Spanish tradition maintained a more austere, theological presentation, reinforcing Mary's role as the divine throne for Christ.The architectural throne further supports the Spanish attribution, particularly with the presence of polychrome motifs on its sides. In Spanish Gothic sculpture, especially in Castilian and Catalan workshops, the inclusion of painted geometric or heraldic elements on thrones was a common practice, often linking the figure to ecclesiastical or noble patronage. The throne's solid, rectangular structure reflects the continued influence of Romanesque aesthetics in Spain, where monumental religious sculpture retained an emphasis on geometric solidity and ornamental detail. This type of enthroned Madonna was widely produced for use in altarpieces (retablos) or private devotional settings, where such images served as focal points for prayer and veneration.Artist: Spanish SchoolIssued: Circa early 15th centuryDimensions: 13"L x 9"W x 28"HCountry of Origin: France/SpainProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Sporadic loss of color.

A finely carved early Renaissance German School polychrome sculpture of Saint Anne, the revered mother of the Virgin Mary, depicted in a dignified seated position. Hand-carved from solid oak, this sculpture exemplifies the skilled craftsmanship of Northern European religious art during the late 15th to early 16th century, a period characterized by deep devotion and refined naturalism in sacred representations.This piece reflects the artistic traditions of the German School, which flourished in regions such as Swabia, Franconia, and the Rhineland, producing some of the most revered wood sculptures of the period. Influenced by both Netherlandish realism and Italian Renaissance ideals, sculptors of this era sought to balance intricate Gothic detail with an emerging Renaissance sense of naturalism and human emotion. Masters such as Tilman Riemenschneider (1460-1531) and Veit Stoss (c. 1447-1533) were renowned for their ability to imbue religious figures with lifelike expressions and dynamic drapery-qualities evident in this exquisite representation of Saint Anne.Saint Anne, a highly venerated figure in medieval Christian tradition, is portrayed wearing a voluminous, draped robe and a modest veil, symbolizing her wisdom and piety. Her expression, though softened by time, conveys a gentle serenity, as she gestures toward an open illuminated manuscript or scripture, reinforcing her role as the educator of the Virgin Mary. The “Saint Anne as a Teacher” motif was particularly prominent in German and Netherlandish devotional art, emphasizing her importance in Christian genealogy and education. Saint Anne was commonly depicted in “Anna Selbdritt” compositions, showing her alongside the Virgin Mary and the Christ Child. However, solo depictions, such as this sculpture, also held significant devotional value, often placed in monastic settings, private chapels, or Marian altars.Carved from oak, a favored material among German sculptors for its durability and fine grain, this sculpture retains subtle traces of original polychromy, particularly red and green pigments in the folds of her garments. While much of the paint has worn away due to centuries of exposure, these remnants provide a glimpse into the sculpture's original vibrancy. The surface exhibits a rich, aged patina, with visible cracking and wear, consistent with its age and devotional use.Beneath the figure, two mounting screws suggest that the sculpture was once securely affixed to an altar, niche, or ecclesiastical furnishing, a common practice for religious sculptures intended for chapels or monastic settings.Artist: German (Rhenish) SchoolIssued: 15th centuryDimensions: 16"L x 9.50"W x 34"HCountry of Origin: GermanyProvenance: Wenzel Collection; John and Johanna Bass Collection, New York, NY Bass Museum of Art, Miami Beach, FL 1963. Condition: Age related wear.

This 16th-century polychrome wood sculpture, attributed to the German School, is a striking representation of Saint Anne instructing the young Virgin Mary, a devotional theme that gained prominence in Late Gothic Christian art. During the Late Gothic period (c. 14th-16th century), wooden polychrome sculpture flourished in German-speaking regions, particularly in religious settings such as churches and private chapels.This sculpture captures a devotional composition depicting Saint Anne as the instructor of Mary, a subject widely venerated in Germany and the Low Countries. Unlike the Anna Selbdritt motif, which includes the Christ Child alongside Mary and Anne, this two-figure representation emphasizes Saint Anne's role in educating her daughter in scripture and faith. This sacred motif symbolizes the transmission of divine wisdom from mother to daughter, reinforcing Mary's spiritual and intellectual preparation for her role as the Mother of Christ.The sculpture's expressive realism, deeply carved drapery, and solemn facial expressions are hallmarks of the Swabian or Bavarian Late Gothic tradition, possibly linked to workshops influenced by Michel Erhart (Ulm), Hans Leinberger (Landshut), or Gregorius Erhart (Augsburg). These sculptors were known for their naturalistic facial features, softly flowing drapery, and masterful polychrome techniques, all of which are evident in this piece. Remnants of the original polychrome and gilding are still visible, with traces of red, green, black, and gold pigments accentuating the folds of the garments and facial details.The sculpture remains structurally sound, retaining a rich patina with areas of age-related wear consistent with its 16th-century origin. Its freestanding design suggests it was likely intended for an altar setting, private chapel, or devotional niche. Artist: German SchoolIssued: Circa 1500Dimensions: 13"L x 13.50"W x 38.50"HCountry of Origin: GermanyProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. The holy book exhibits missing wooden sections on its corners and scattered areas, along with a loss of polychromy.

Folk Art & Religious Iconography - a 19th century Continental softwood figure group, the Madonna and Child, the infant Christ is supported by the Virgin Mary while he holds an orb, canted and moulded plinth base, 35cm high overall

A Sepik mask, Nggala peopleThis expressive mask was collected in the field by Douglas Newton, one of the first researchers in this region, He collected for many museums and published the first catalogs in 1961 on the Sepik for what was then the "Museum of Primitive Art" in New York.61 cmProvenanceCollected by Waune Heatchote at Swagup village in 1964Douglas Newton Collection with a label (inv. no. 601-68/DN) The ticket is on the back. Marcia and John A. Friede - Jolika Collection, Rye / San Francisco / New YorkExhibitionsDec 12, 2012, Sotheby's — Arts d'Afrique et d'Océanie Lot 16,LiteraturePublished in Douglas Newton, "Crocodile and Cassowary: Religious Art of the Upper Sepik River, New Guinea" 1971

Ca. AD 900 - 1000.A conical-shaped pottery bowl, with a white slip base that is adorned with an intricate, dark brown Kufic calligraphy around the central roundel. Kufic calligraphy is an early form of Arabic calligraphy. The use of Kufic script on Samanid pottery served not only as an aesthetic choice, but also conveyed religious and cultural messages. Size: 195mm x 75mm; Weight: 380gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Qing Dynasty, Ca. AD 1644 - 1912.A bronze tripod censer standing proudly on three feet, each one adorned with intricately detailed zoomorphic attributes. The body of the censer is broad and globular in form, subtly tapering towards its mouth to create a harmonious and pleasing shape. The piece is adorned with a pair of ornithomorphic handles, each one elegantly crafted and perfectly balanced, adding an additional touch of refinement to this already exquisite work of art. The censer is topped with a pierced cover, featuring a charming depiction of a foo dog seated atop. The foo dog is a powerful and ancient symbol in Chinese culture, representing protection, luck, and prosperity. This majestic creature is depicted with its jaws open, adding to the overall grandeur and majesty of the piece. This censer is not only a work of art but also serves a significant functional purpose. Traditionally used to burn incense, censers such as this one held an important place in Chinese religious and cultural practices, serving as a means to purify the air and create a tranquil environment for contemplation and meditation.Size: L:310mm / W:255mm ; 3.05kgProvenance: Private UK collection; From an old British collection formed in the 1990s.

Josefa Sánchez (active between 1639 and 1652, possibly in Castile).Carved and painted wooden cross for a monk / nun's cell.  At the feet of the crucified Christ, we find the representation of Saint Anthony with the Child Jesus.56.7 x 37.3 cm.Attached is a certificate from Dr. Cathy Hall-van den Elsen, dated December 20, 2024. Numerous women artists in this and any other field of art and society throughout history have faced indifference, ignorance and collective contempt, most of them will never be recognized, as they have fallen into inexorable anonymity. The artist, María Josefa Sánchez, is no exception to this unfair rule. Fortunately, however, in recent years the work of women artists of great renown such as María Josefa Sánchez has been revisited, shining the spotlight where shadows have always reigned. This arduous task, made more difficult by the scarcity of information, was begun by Mrs. Carmen G. Perez-Neu in the case of our painter (and many others) in her book “Universal Gallery of Women Painters” (1964), a start that seemed the beginning of a long journey through the desert, but that has borne fruit.  In fact, welcome news came recently of the acquisition, by the Meadows Museum of Dallas, of a cross for private worship by Josefa Sánchez, in the summer of 2024. This piece, which was purchased along with a still life by Josefa de Ayala, “demonstrates her artistic skill [and] highlights her role in shaping the religious expression and spirituality of the period,” the museum states in the release announcing the acquisition.Both the cross (inv. MM.2024.10) from the Meadows, a museum that “houses one of the largest and most complete collections of Spanish art outside Spain”, and especially another magnificent painted cross, signed and dated 1646, exhibited at the Art Institute of Chicago (inv. 2018.52), have an undoubted resemblance to the cross we present in this auction. María Josefa Sánchez (active between 1639 and 1652, probably in Castile) specialized, in fact, in the production of crosses like this one, popular objects for private worship in Spain and Latin America, widely used in 17th century devotional painting.The first artwork by Sánchez, which put her on the map of relevant artists of the Spanish Golden Age was made known by José de Mesa and Teresa Gisbert in their publication, in 1970, for the Spanish Art Archive (volume 43, no. 169). As the art historian Fernando Collar de Cáceres points out in his article “Sobre algunas cruces pintadas de María Josefa Sánchez” (Pursuant to some painted crosses by María Josefa Sánchez) (1989), the aim of this publication was not to extol the quality of the piece, a cross signed and dated 1639, but the “contribution of the name of this unknown artist to the meager repertoire of Spanish painters”. In addition to numerous iconographic and stylistic contributions by Collar -we strongly recommend reading the article- the historian reveals that this first piece ended up being two: a signed copy located in the Monastery of San Antonio el Real in Segovia, with a slender, upright Christ that “responds to late 16th-century models [such as] those of Tristán or Bartolomé de Cárdenas,” with Adam's skull at the lower end of the cross and the Immaculate Conception between the two; and the second one is the painted Christ of the Convent of Santo Domingo el Real, from 1649, with, at His feet, “a young woman dressed in white and kneeling on a weightless sphere wrapped in fire [who] receives into her heart the blood that flows from the Christ's side”.This cross is accompanied by Dr. Cathy Hall-van den Elsen's certificate detailing the small but rich corpus by Josefa Sánchez, an artist whose legacy arouses great interest, as evidenced by her presence in exhibitions such as “Spain: art and empire in the Golden Age” (San Diego Museum of Art, 2019) and “Leaving her mark: a history of women artists in Europe, 1400-1800” (Baltimore Museum of Art and Art Gallery of Ontario, 2024).This lot has a valid export license from the Spanish Ministry of Culture. Reference Bibliography:- Collar de Cáceres, Fernando. (1989). “Sobre algunas cruces pintadas de María Josefa Sánchez” Estudios Segovianos. XXX, 86. Págs. 355-373. https://estudiossegovianos.es/?page_id=5239- Mesa, José de; Gisbert, Teresa. (1970). “Una pintora española del siglo XVII: Josefa Sánchez”. Archivo Español de Arte; Madrid Tomo 43, N.º 169, p. 93. https://www.proquest.com/openview/a1333d2d147e109f28f66baa6fa987be/1?pq-origsite=gscholar&cbl=1818508- Hernández Miranda, Julián. (2024). “El Meadows Museum anuncia la adquisición de dos pinturas de mujeres artistas del Barroco”. Meadows Museum. https://meadowsmuseumdallas.org/wp-content/uploads/2024/07/Ayala-Sanchez-Acquisition-Release-FINAL-FORMATTED-SP-WEB.pdf- Art Institute of Chicago. (2019). “María Josefa Sánchez’s Crucifixion”. https://www.artic.edu/articles/780/maria-josefa-sanchezs-crucifixion

M.F. Husain, "Untitled (Pavan Putra)", Watercolour on Paper (1913-2011).This painting depicts Hanuman, the revered monkey god from Hindu mythology, carrying the mythical Sanjeevani mountain. The composition features bold outlines and fluid brushwork, capturing the dynamism of Hanuman in mid-flight. The earthy tones of his figure contrast against the soft blue sky, while the green foliage of the mountain adds a vibrant focal point. The figure is minimally detailed yet striking, emphasizing movement and spiritual strength. Signed in the lower right, this piece embodies Husain’s modernist reinterpretation of Indian mythology with a sense of energy and devotion.Maqbool Fida Husain (1913–2011) was one of India’s most celebrated modern artists, often referred to as the "Picasso of India." A pioneering figure in Indian contemporary art, Husain was known for his bold, expressive style, which fused traditional Indian themes with modernist influences. His works, characterized by fluid lines, vibrant colors, and fragmented forms, often depicted themes from Indian mythology, rural life, and urban modernity. He was a founding member of the Progressive Artists' Group, which sought to break away from colonial artistic traditions and establish a new, independent identity for Indian art. Husain’s career spanned over seven decades, during which he gained international recognition, but also courted controversy for his depictions of Hindu deities in unconventional forms. Despite facing political and religious opposition, he remained an influential force in the art world, leaving behind a legacy that continues to inspire artists and collectors globally.Approximately 66 x 44cmProvenance: From a distinguished collector based in the United States.