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Castilian school. 16th century.‘Temperance’ and “Justice”.Pair of carved, walnut wood reliefs. 47,5 x 42,5 cm. each. This pair of incredible quadrangular white walnut wood reliefs representing Temperance and Justice must have originally belonged to a liturgical piece of furniture which would also have contained the other two Cardinal Virtues, i.e. Fortitude and Prudence. It is most likely that they were part of a set of Renaissance pews - without categorically ruling out their belonging to a cupboard or a door - as representations of the Virtues were quite common in the pews of this period due to their moralising character, as we must bear in mind that the moral conduct of the Human Being rested on them.Given the technical characteristics of both reliefs, the remarkable skill and finesse with which they are carved, and the fact that sculpting in walnut and the making of pews and other ecclesiastical furniture were not commissioned from just any master, it seems clear that their sculptor was a relevant sculptor of the Castilian school and that they were carved around the second third of the 16th century.Both Virtues have been depicted, as is often the case, as women of classical appearance, almost like Roman matrons or noble maidens with sophisticated headdresses. They wear wide, fine garments completely covered with small pleats that make the edges of the garments extremely faceted.The wet cloth technique is simulated in some areas, with which not only the plastic and volumetric values of the reliefs are highlighted but also the voluptuousness of the women, since through these fine garments the rounded forms of their bodies are suggested. As a general rule, they are worked in bas-relief, but in the most relevant areas, such as the heads, hands and attributes, the relief acquires greater volume, close to being in the round, but never quite reaching it.The heads are small, round and have expressive faces, serious in the case of Justice and more serene in that of Temperance. They have slanting eyes, carved with great detail both in the iris and the eyelids, and above them, sharp curved eyebrows that give them personality, as well as a chiaroscuro in the area of the eye sockets that enhances their volume. The facial features comprise smooth foreheads, broad, elongated noses, marked nasolabial folds, small open mouths with thick lips and bulging cheekbones. The ears are not visible due to the elaborate headdresses that almost completely obscure their hair. In the case of Justice, we can see a scarf that leaves free a couple of snaky locks that slide down her temples, and a ribbon that the anonymous sculptor models with great skill, creating a series of curves and counter-curves while displaying it from different profiles with multiple folds. For her part, Temperance also wears a kind of veil that leaves free a pair of locks of similar characteristics to those of Justice. Above the veil, the end of which seems to be moved by the wind, is a winged head of a putti, one of the most characteristic elements of Renaissance vocabulary. This same putti is found on Justice's neckline, almost like a brooch. Finally, Temperance wears a kind of cloth hanging from the ends of the buckles that cover her ears.Both women are perfectly identified both by the Latin signs carved on the upper part of the panels - ‘TEMPERATIA’ and ‘IVSTICIA’- and by the attributes they hold in their hands. Thus Justice elegantly holds a scale in her right hand - the allegory of the equality with which she must act - while in her left hand she wields a sword - the symbol of the strength with which she imposes herself - whose long blade occupies the entire height of the panel. Temperance, on the other hand, is seen pouring water from a jug over a wide goblet filled with wine in order to temper what is too stimulating.The conception of the two figures differs from each other, for while Temperance presents a closed composition, withdrawn in on itself, as well as having a calmer character as it embodies the Virtue it is representing, Justice is conceived with an open composition -see the arms- and shows a more decisive and dynamic spirit. Both differences in state, tranquillity and impetuosity, can be seen in another specific detail that they both share: the way in which the wind moves or waves the scarf or ribbon that covers their hair. We would like to thank Dr. Javier Baladrón, doctor in Art History, for the identification and cataloguing of this work.

Carel Weight CBA RA (1908-1997) Oil  “Freezing boy”, signed, Fosse Gallery label and with label 'Sincerely Carel Weight', and with Fosse Gallery receipt dated 1999 and inscribed 'Provenance: Artist's Studio', 41cm x 13cm From the collection of the late Maurice Costley Carel Weight was born in Paddington, London of German and Swedish descent. He studied firstly at the Hammersmith School of Art and then Goldsmiths College. During WWII he was an official war artist travelling to Italy and Greece, depicting the work of the British Army restoring everyday life after the war ended. Known for his suburban scenes, often with distorted figures striding out of the canvas, he also painted landscapes and portraits. He talked about his paintings being concerned with all the human emotions. He was a senior member of the Royal Academy and taught at the Royal College of Art. His work can be found at the Tate, Victoria and Albert Museum and the Imperial War Museum.

John Alfred Arnesby Brown (1866-1955) Oil on canvas  "Wells - Next - The - Sea, Norfolk", sail boats in the harbour, signed, with Mandell's label verso and Mandell's Gallery invoice dated 1989, 63cm x 76cm From the collection of the late Maurice Costley John Arnesby-Brown was a British landscape artist. Influenced firstly by the Barbizon School and then the Impressionists, Arnesby-Brown is known for his pastoral and coastal scenes, quite often including cattle, in the “en plain air” tradition. He came to painting after his career as a county football player in Nottinghamshire. He studied at the Bushey School of Art and then the Nottingham School of Art. He spent time in Cornwall and also Norfolk. He had a solo exhibition at the Leicester Gallery in London 1909 and his work is also represented in many public collections including the Tate. Condition ReportIn good decorative order overall. Minor surface wear. The upper edge of the reverse of the canvas with wear and small tear (at reverse, so does not effect front).  Uninspected out of frame. The frame itself is lacking one piece of corner ornament and has some chipping to gilding. 

James Fullarton DA (b.1946) Oil  "Study of Mushrooms", signed, Richard Hagen Gallery label and with Richard Hagen receipt dated 1994, 9cm x 19cm From the collection of the late Maurice Costley James Fullarton is a Scottish artist born in Glasgow. He studied at the Glasgow School of Art. He works in both acrylic and oils and his oeuvre includes portraiture, landscape and still life, working from his home in Ayrshire. With his keen eye for colour, his work can be seen as following on from the Scottish colourists of the early 20th century. He has exhibited at the Royal Glasgow Institute of Fine Arts and with the Royal Scottish Academy.

Richard Eurich RA (1903-1993) Oil on board Children on the Beach, 1989, with Fosse Gallery receipt dated 2008, from 2008 exhibition and with exhibition leaflet showing the painting, 45cm x 60cm From the collection of the late Maurice Costley Richard Eurich was a British painter who trained at the Bradford School of Arts and Crafts and then the Slade School of Art. During WWII he was an official war artist for the Admiralty. During this time he painted reconstructions of battles, survival stories and commando raids. However Eurich is hard to define as he painted a wide range of subjects, many works being panoramic with a mystical quality and a sense of wonder. However he is mostly known for his seascapes and paintings of boats, having spent much of his life living in small fishing ports on the south coast of England. He had many one man shows and in 1933 the Redfern Gallery in London became his official dealer and then later Arthur Tooth and Sons. He taught part time at the Camberwell School of Art and also the Royal Academy. His work is in many public collections, in England and abroad, including the Government Art Collection, Imperial War Museum, Tate Britain, MoMA, New York, and National Gallery of Canada .

George Rowlett (b.1941)  Oil  “Walmer Beach, Bathers”, 2000, signed, labelled and dated verso, purchased from Art Space Gallery by Craigie Aitchison, Art Space Gallery label verso, 11cm x 16cm From the collection of the late Maurice Costley George Rowlett was born in Scotland, studied in Grimsby and the Camberwell School of Art and also the Royal Academy. He studied under Frank Auerbach, who’s influence is seen in Rowlett’s work. He uses a plate knife with bold strokes with thick layers of paint creating a textural work. He is known for his landscapes and seascapes. George Rowlett exhibits internationally and can be found in many well known collections including the Hiscox Collection and the Nuffield Foundation.

Elizabeth Fritsch (1940) stoneware vase, oval, ‘Blown Away, Moon Pocket Vase’, 28cm high  From the collection of the late Maurice Costley Acquired from the Fine Art Society, New Bond Street, London, Elizabeth Fritsch Exhibition, 12th-27th November 2008, cat. no. 7. Condition ReportOverall in good order. Some minor glaze scratching to underside of base and minute surface wear overall. No restoration or damage apparent when inspected under UV light. 

Craigie Aitchison CBA RSA (1926-2009) Limited edition artist's proof screenprint “Candy Dead”, signed verso 2002, 30cm x 25cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health (following an operation) is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.

Craigie Aitchison CBA RSA (1926-2009) Oil on canvas “Arum Lily”, 2004, with Timothy Taylor Gallery label verso and with Timothy Taylor Gallery receipt dated 2005, 39cm x 30cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health following an operation is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland. Condition ReportRecto: Very good condition, no signs of dirt/wear and tear. Free mounted. Under UV - Artist's over paint upper right corner.  Frame: Very good condition. Verso:  Back board cut out to reveal canvas and stretcher, both in very good order. Tim Taylor Gallery label lower centre.  

Eileen Cooper OBE, RA (1953) Oil on canvas “In Night Shade”, female nude with foliage, with Rabley Contemporary label verso, with letter from the Rabley Gallery regarding the purchase and related paperwork, 90cm x 60cm, unframed From the collection of the late Maurice Costley  Eileen Cooper was born in Derbyshire, She studied firstly at Goldsmiths College and then for her MA at the Royal College of Art. She is a painter, print maker and ceramicist. Her work is figurative, imaginative and her inspiration comes from mythology, fairytales, the Bible and stories in general. The female form and identity is important to her work. She was elected to the Royal Academy in 2001 and in 2010 started serving as the Keeper of the Royal Academy, the first woman to do so in its 250 year history. Eileen has had numerous solo exhibitions both in England and abroad. Her work can been seen in many public collections including the Art Council, National Portrait Gallery, Dallas Museum of Art, The Royal Collection Trust and the Royal College of Art. Condition ReportRecto: canvas in very good condition, no obvious signs of wear and tear on paintwork, unframed. Verso: canvas inscribed 'Eileen Cooper 2018 Night Shade', gallery label on back, cross-stretcher in good condition.

Sir John Alfred Arnesby-Brown (1866-1955) Oil on panel "Haddiscoe Church", initialled and titled verso, with Mandell's Gallery label verso and with Mandell's Gallery receipt dated 1984, 21cm x 26cm From the collection of the late Maurice Costley  John Arnesby-Brown was a British landscape artist. Influenced firstly by the Barbizon School and then the Impressionists, Arnesby-Brown is known for his pastoral and coastal scenes, quite often including cattle, in the “en plain air” tradition. He came to painting after his career as a county football player in Nottinghamshire. He studied at the Bushey School of Art and then the Nottingham School of Art. He spent time in Cornwall and also Norfolk. He had a solo exhibition at the Leicester Gallery in London 1909 and his work is also represented in many public collections including the Tate. Condition ReportRecto: Overall in good condition, a little surface dirt, no signs of restoration under UV, including initials lower right. Frame in good order, canvas slip slightly dirty. Verso: Inscribed with pencil and original Mandell's label, panel in good condition, slight signs of wear and tear.

Craigie Aitchison CBE RSA (1926-2009) Limited edition print Daffodils in vase, 34/75, signed and dated 2001 verso, 29cm x 23.5cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health following an operation is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.

Craigie Aitchison CBA RSA (1926-2009) Oil on canvas "Tree with Mountain", 2008, signed verso, Tim Taylor Gallery label verso, 15cm x 12cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health following an operation is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.

Sir John Alfred Arnesby-Brown (1866-1955) Oil on board The Bend in the River, 1915, with Messum's Gallery label verso and Messum's Gallery invoice dated 2014, initialled, 15.5cm x 23cm From the collection of the late Maurice Costley John Arnesby-Brown was a British landscape artist. Influenced firstly by the Barbizon School and then the Impressionists, Arnesby-Brown is known for his pastoral and coastal scenes, quite often including cattle, in the “en plain air” tradition. He came to painting after his career as a county football player in Nottinghamshire. He studied at the Bushey School of Art and then the Nottingham School of Art. He spent time in Cornwall and also Norfolk. He had a solo exhibition at the Leicester Gallery in London 1909 and his work is also represented in many public collections including the Tate. Condition ReportRecto: Overall good condition, no sign of restoration under UV - including initials AB lower left. Very slightly dirty upper left sky. Frame and slip also good condition. Verso: Messum's label, very slight chip on edge of the board, upper right hand corner, not visible from the front.

Paul Fordyce Maitland (1869-1909)  Oil on panel  Cheyne Walk, initialled, with Messums Gallery label verso and Messums receipt dated 2011, 12.7cm x 10.8cm  From the collection of the late Maurice Costley Paul Maitland was a British artist known for his urban scenes and landscapes. Born with a spinal deformity he mostly painted locally to where he lived, around Chelsea and Kensington in London. He studied at the Royal College of Art and was mentored by Theodore Roussel. He became a member of the New English Art Club and his circle of friends included Whistler, Walter Sickert and Phillip Steer. His work can be viewed as early Impressionism. In 1889 he exhibited at the Goupil Galleries in Paris. Maitland’s paintings can be found in the Tate, Ashmolean and the Government Art Collection. Condition ReportRecto: In good order overall, no signs of restoration under UV. Surface has small amount of dirt. Verso:  The two large Messums labels obscure the back of the panel, some typical wear is apparent to the panel, with two very short splits visible at one edge, otherwise this is in good order, but has not been inspected out of the frame. Minor wear to gilt frame.  Messum's labels - Exhibition of NEAC 2010 Ex. No 7, 2nd Label stock Cat. 2010, Exh No 2

Richard Eurich OBE RA (1903-1992)  "Yorkshire Reservoir", 1970, sailing vessels on the reservoir, signed, with Fosse Gallery label verso and copy receipt dated 2008 and gallery exhibition leaflet showing the painting, 11cm x 21.5cm From the collection of the late Maurice Costley Richard Eurich was a British painter who trained at the Bradford School of Arts and Crafts and then the Slade School of Art. During WWII he was an official war artist for the Admiralty. During this time he painted reconstructions of battles, survival stories and commando raids. However Eurich is hard to define as he painted a wide range of subjects, many works being panoramic with a mystical quality and a sense of wonder. However he is mostly known for his seascapes and paintings of boats, having spent much of his life living in small fishing ports on the south coast of England. He had many one man shows and in 1933 the Redfern Gallery in London became his official dealer and then later Arthur Tooth and Sons. He taught part time at the Camberwell School of Art and also the Royal Academy. His work is in many public collections, in England and abroad, including the Government Art Collection, Imperial War Museum, Tate Britain, MoMA, New York, and National Gallery of Canada . Condition ReportRecto: Overall good condition, no sign of restoration under UV, including signature lower left. Frame and slip in good order. Verso: original label Fosse Gallery. Yorkshire reservoir 1970

Michael Scott (1946-2006) Oil on canvas  “Studio Dreams”, young man asleep at a table, with Fosse Gallery receipt dated 2000, 77cm x 77cm From the collection of the late Maurice Costley Michael Scott was born in Aberdeenshire, Scotland and was at first a teacher after studying political science at Liverpool University. However he studied art, including life classes at the Glasgow School of Art under the painter John Boyd. His work is figurative, often quite intimate. Growing up in a fishing town, his work has the recurring theme of fish or fishing. He won two awards, the David Cargill Award in 1990 and the Paper Tiger award in 1991. He participated in the Royal Academy summer exhibition from 1988 and had solo shows at the Contemporary Fine Art Gallery at Eton and at the Portland Gallery London. His work is also in the Fleming Collection. Condition ReportOverall in good order. Minute wear to frame. Canvas uninspected out of frame. 

Carel Weight CBA RA (1908-1997) Oil  Two figures in a landscape, country scene with two people beside cottage, signed, Fosse Gallery label verso and Fosse Gallery receipt dated 1998, 51cm x 60cm From the collection of the late Maurice Costley  Carel Weight was born in Paddington, London of German and Swedish descent. He studied firstly at the Hammersmith School of Art and then Goldsmiths College. During WWII he was an official war artist travelling to Italy and Greece, depicting the work of the British Army restoring everyday life after the war ended. Known for his suburban scenes, often with distorted figures striding out of the canvas, he also painted landscapes and portraits. He talked about his paintings being concerned with all the human emotions. He was a senior member of the Royal Academy and taught at the Royal College of Art. His work can be found at the Tate, Victoria and Albert Museum and the Imperial War Museum. Condition ReportRecto: cracking lower left and slight cracking upper left. Some minor cracking mid right. Otherwise no apparent wear and tear. Frame and slip in good condition. Verso: gallery label on back, canvas protected by board, uninspected out of frame.

Gwen John (1876-1939) Gouache  Woman wearing a green cloche hat, 1920’s, from an exhibition June/July 2021, catalogue no.25, signed, Browse & Derby label verso, 12cm x 11cm From the collection of the late Maurice Costley Gwen John was born in Wales and studied at the Slade followed by the Academie Carmen in Paris. During her years in Paris, John met most of the leading artists of the day, including Rodin for whom she modelled. John exhibited her work for the first time at the New English Art Club in 1900. Her paintings, although there are some still lifes, are mostly sensitive portraits of lone females, usually anonymous. John lived and worked mostly in Paris. Her reputation during her lifetime was overshadowed by that of her brother, as well as by her relationship with Rodin. However since her death, her reputation has been redeemed and in some circles she is thought of as the more talented of the two Johns. Her pictures are held in many public collections including the Tate and the National Museum of Wales.

Josef Herman (1911-2000) Watercolour “Nude reclining”, labelled verso, dated 65, with Fosse Gallery John Lindsey Fine Art Limited receipt dated 1999, 23cm x 17cm From the collection of the late Maurice Costley  Josef Herman was a Polish/British contemporary artist, he was an Eastern European Jewish refugee who emigrated to Great Britain to escape Nazi persecution in 1940. He lived firstly in Scotland and then moved to London in 1943, where he held his first London exhibition along with LS Lowry. He is best known for his paintings of working people, including peasants, fishermen and coal miners. In 1981 he was awarded an OBE for services to British art and was elected to the Royal Academy of Arts in 1990 

Billy Connolly "Born on a Rainy Day" set of six giclee on paper, 2020, 94/295, published by Washington Green Fine Art, all signed, 57cm x 77cm, two framed "Scotty Poser" and "The Wreck Room" and four unframed prints each within black folder viz:- "First Position", "Roman Candles", "Martial Art" and "Egyptian Love Story", all with certificates, box and booklet 

GLOUCESTERSHIRE- 1- Collection of Gloucestershire Antiquities. Cadell & Davies, 1804, 1st. Edn. Folio, PP: [4], iv, 38, (iii) index, (I) blank, Plus 110 Plates; 2- Rudge, Thomas: History and Antiquities of Gloucester. J Wood, 1811, 1st. edn. 1/4 leather; 3- Bibliotheca Gloucestrensis: Complete, 3 parts in 2 vols, V.1- Washbourn and Son, Gloucester, 1823, 1st. edn. In two parts, with a frontis to each part plus a plan. 324pp; V.2- For the editor, Gloucester, 1825, 1st. Edn. With a frontis Map & a list of subscribers. PP: ccv, (iii), 328-456. 4to. Matching cont. full calf, rubbed. VG; Pooley, C: Old Crosses of Gloucestershire. Longmans, 1868, 1st. edn; 4- Buckman & Newmarch: Illustrations of the Remains of Roman Art in Cirencester. George Bell. 1850, 1st. Edn. 4to. PP: xxiii, 155 (including a subscribers' list), Plus a Plan & 11 plates (some coloured). Original boards gilt. 5- Broadbent, Arthur: Minor Domestic Architecture of Gloucestershire. Tiranti, C1930. Cloth backed boards. (7)

HERALDRY, Etc: Debrett: 1- The peerage of the United Kingdom of Great Britain & Ireland, In 2 vols. 1826, Frontis & plates; Cont. full calf, VG; 2- The Baronetage of England, in 2 vols. 1824. With plates. Cont. full calf, VG; Lodge, Edmund: Portraits of Illustrious Personages of Great Britain, 12 Vols. Bound in 6. Harding, 1835. 4to. Cont. full leather gilt, aeg; The National Gallery of pictures by the great masters. Jones, nd, c1836. Numerous engraved plates. 4to. Cont. half leather; one cover detached; Trimmer, Mrs: A New Series Of Prints Accompanied By Easy Lessons: 1- Scripture of old testament, 1808 (2 copies); 2- Roman History, 2 editions, 1803 & 1804; 3- New Testament, 1805 (2 copies); Ancient history, 1803 (2 copies). A collection of engraved plates in each volume. Cont full calf some covers detached; The Magazine of Art, Volumes 1 & 2. Cassell, nd, (1878-78). Cont. half leather; Cattermole: book of the cartoons. 1837. Covers detached. (22)

An Art Deco longcase clock of small proportions or 'grandmother clock', in rosewood veneer, the silvered dial with engraved Roman numerals, set in a square enclosed hood with a chrome rimmed door, the case fronted by a dark tinted glass panel and chrome on either sides. Spring driven eight day movement, Westminster chime quarter stricking on rods, with pendulum. 23cm wide x 16.5cm deep x 137cm high.

AN ITALIAN CARVED GILTWOOD CONSOLE TABLE PROBABLY ROME, 18TH CENTURY AND LATER The serpentine fronted giallo antico marble top supported by a carved figural group depicting Time Conquered by Cupid, the bearded seated figure of Chronos modelled clutching an hour glass and with attendant figure of Cupid and a rabbit by his feet 92cm high, 154cm wide, 77cm deep Provenance: The Hon. Claude J. Yorke, and thence by descentLiterature: The Connoisseur, May 1965, p.3Illustrated: The Connoisseur, May 1965, p.3This sculptural console table epitomises furniture being made at the end of the 17th and beginning of the 18th centuries for the most extravagant Italian Baroque interiors. Early designs for such sculptural and figural tables were published in Giardini's Disegni diversi (A. Gonzalez-Palacios, 'Giardini and Passarini; facts and hypotheses', The Burlington Magazine, June 2014, p. 371, figs. 22-25). One of the earliest prototypes was the Patrizi table and looking-glass frame in the Palazzo Patrizi near S. Luigi dei Francesi, Rome (ibid., p. 372, fig. 26). Enrico Colle illustrates a number of such console tables with these very sculptural figural supports (E Colle, Il Mobile Barocco in Italia, Arredi e Decorazioni d' Interni dal 1600 al 1738, Milan, 2000, pp. 114-119, no. 25). Other examples include early 18th century Roman giltwood tables in Palazzo Colonna, Rome; two of them in the Sala dei Paesaggi, which feature pairs of reclining slaves, by the hand of Isidoro Beati, while the remaining six (four in the Sala Grande and two in the Sala della Colonna Bellica), also with figures of Moors, are documented as the work of the sculptor Giovanni Battista Antonini and his atelier in the early 18th century. Another console table supported by a carved giltwood figure of Chronos is in The Cleveland Museum of Art, Ohio (). An early 18th century sculpted base for a Baroque ebony cabinet by Giacomo Herman with supports of two leaning nude youths sculpted in tutto tondo entwined with oak leaves and acorns (Sotheby's, London, 4 December 2007, lot 60). Condition Report: Generally good, structurally secure with wear and tear consistent with age and use. There is wear and tear consistent with age and use, scratches, dents and scuffing and some minor constructional shrinkage cracks. Re-gessoed and re-gilt. The redecoration means that it's almost impossible to determine what woods are used but wear and chips on or around the plinth reveal deal (possibly Baltic). Further, it's not straightforward to state with confidence the ages of different parts, but the frame supporting the marble top (covered in a yellow ochre wash) appears to be 20th century (pre 1950s), and it's likely the S-scroll supports at the back are a similar age. The reverse of the plinth is concave as though designed to fit around architecture. That said it seems plausible that the figures, rockwork and trees are 18th century with the later elements added. There are no apparent major losses or damage. The marble top is is good order with a repaired crack through its centre (visible metal rod fixed to the underside) and a small repair to front right corner. Overall a handsome and intriguing table or stand. Condition Report Disclaimer

AFTER FRANCOIS DUQUESNOY (1597-1643)- A WHITE MARBLE FIGURE OF THE 'SLEEPING CUPID' ITALIAN, 19TH CENTURY Depicted asleep on his left side, bow by his side, unsigned, on corresponding shaped oval Portoro marble plinth 39cm high, 56cm wide overall The sculpture of the sleeping boy God by the Flemish baroque sculptor Duquesnoy in "la gran maniera greca" inspired a series of depictions of sleeping children popular in the 18th and 19th century. The theme of Cupid sleeping appears frequently in classical Greek and Roman art, later becoming a universal symbol of absent or languishing love during the Renaissance period.

An Art Deco Mantel clock the eight-day duration movement striking on a bell with an outside countwheel, the square chrome dial with black Roman numerals with the rectangular white and brown variegated marble case surmounted by a spelter hound, height 29cm.

DEMETRE CHIPARUS (ROMANIAN 1886-1947): A FRENCH ART DECO COLD PAINTED BRONZE AND IVORY MODEL OF A GIRL WITH PARAKEET KNOWN AS ‘INDISCREET’Circa 1925 Modelled with arm held out, silencing a parakeet, on faceted marble and onyx base, signed to the base, 30cm high (including base) Provenance: Property of a Deceased Estate.Condition: In very good overall condition. The bird is removable from the arm, the outstretched arm has some minor movement.This model, known by the title ‘Indiscrete’ rarely appears on the market and this smaller version is even more scarce. This model was acquired from a Department Store at some point in the 1930s by the present owner’s great aunt. It is known that the dealer, Phillips and MacConnal, was the first to offer Chiparus figures in London after 1929, when they show cased his statuettes (and those of other sculptor’s work) at the Idea Home Exhibition in London. Significantly, this contributed to introducing Chiparus’ work to the receptive fashion conscious  London clientele. The department store of Warning and Gillow also offered these decorative pieces in their stores and through a pioneering mail order catalogue. See ‘Chiparus Master of Art Deco’, Alberto Shayo, page 60 and ‘Art Deco and other Figures’, Bryan Cayley, page 74 for an illustration of the two versions of ‘Indiscete’, one 45cm and the smaller version 31cm high. Footnotes: This lot contains ivory and has been registered in accordance with the Ivory Act (section10). Reference No. 3U1TVWZS<span style="font-size:12.0pt;line-height: 107%;font-family:"Garamond",serif;color:#454038"> Prospective buyers should be aware that some countries have limitations on importing items made from endangered species, including materials such as coral, ivory, and tortoiseshell. Therefore, it is advisable for potential buyers to familiarize themselves with relevant customs regulations before placing bids, particularly if they intend to import this lot into another country. 

THREE BOXES AND LOOSE GLASSWARE, to include two Dartington crystal decanters with stoppers, two cut glass decanters, aeroplane in a bottle (Spitfire), Lymington glass Mystiques, six crystal dessert bowls, two Royal Doulton crystal 'Jasmine' whiskey glasses, vintage Art Deco style quartz marble base, mirrored mantle clock, white dial with Roman numerals, 1960's Italian glass and silver plated wine claret jug with serpent handle, stamped on the base Distillerie Buton Boligna Italia, a pair of glass and silver plated smaller liqueur serpent handle jugs stamped Distillerie Buton, five J. Preziosi Lavorato a Mano Italian champagne flutes, and five wine glasses, a selection of coloured glassware, to include amber glass candle holders, a blue Dartington vase etc. (sd) (3 boxes + loose)

Allen Ruppersberg (American, b.1944) 'The Ten Historical...' Landfall Press Lithograph Portfolio 2012, each signed and editioned Roman numeral 'I', a complete portfolio of 'The Top Ten Historical Similarities (and differences) Between Prints and Photographs', (10) altered lithographs with digital elements, only two Roman numeral subscriber impressions made, in original fabric covered book with metallic lettering Property from: Collection of Dr. & Mrs. Christopher Graf, Woodlot Gallery, Sheboygan, Wisconsin Condition: no damage to art noted, portfolio having minor scuffs and stains Category: Fine Art > Prints & Multiples Estimated Sale Time: 10:53 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5

Ca. AD 300. A Roman gold ring with an oval bezel engraved with an image of the Roman Emperor Licinius. He is facing left with an inscription in latin LIC referring to the empror. It is a legionary ring that belonged to a supporter or a high ranked soldier in his legions. Very rare. Size: D:18.14mm / US: 8 / UK: P 1/2; Weight: 11.8g Provenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 100 - 300.A Roman gold ring with an oval bezel, securings a large banded agate cabochon.Size: D:16.31mm / US: 5 3/4 / UK: L; Weight: 3.11gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market since the 1970s.

Ca. AD 300 - 500.A Roman pale green glass jug, presenting with a circular concave base and globular body. The body tapers to a short neck and a folded rim that connects to the jug's shoulders with a thin, curved handle. For similar see: The Cesnola Collection of Cypriot Art, Ancient glass, Cat. 155.Size: 90mm x 80mm; Weight: 45gProvenance: Private UK collection; From an old British collection formed in the 1990s.

Ca. AD 100 - 300.A Roman bronze panther brooch. The spots were created with enamel and it's head is raised. On the reverse, there are hoops to secure the spring and the pin. For similar see: MET Museum Accession Number: 47.100.18.Size: 38mm x 17mm; Weight: 10gProvenance: Property of a London gallery; previously acquired at the art market in Vienna; formerly in an Austrian collection formed prior to 2000.

Ca. AD 100 - 300.A Roman red/ orange carnelian intaglio depicting the goddess Diana, set in a high carat, possibly later gold ring. The goddess is shown standing, holding a bow in her right hand and drawing an arrow from her back quiver, with her left hand. At her feet is a hunting dog.Size: D:19.15mm / US: 9 1/4 / UK: S; Weight: 12.2gProvenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece comes with an authentication report by Sami Fortune, ancient jewellery specialist.

Ca. 100 BC - AD 100.A Roman free-blown shallow glass bowl with an applied disc foot. The bowls interior curves inward slightly, forming a very gentle dip in the centre. There are two horizontally applied handles on the rim. For similar see: The Cesnola Collection of Cypriot Art, Ancient glass, fig. 9.Size: 325mm x 60mm; Weight: 670gProvenance: Important London collection of Ancient art; formed in 1970-80s then passed by descent. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca. AD 100 - 300.A Roman gold ring with a round bezel securing a large red/ orange carnelian intaglio, depicting a procession of two stags. For similar see: El Legado de Hefesto, n. 406.Size: D:2.52mm / US: 4 1/2 / UK: I 1/2; Weight: 3.03gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. AD 100 - 300.A Roman bronze ring with an almond-shaped bezel depicting a herma or herm. A herma or herm is a sculpture with a head atop a plain, usually squared lower section. This example features a bearded male head with two raised plants to either side.Size: D:17.73mm / US: 7 1/2 / UK: O 1/2; Weight: 7gProvenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s.

Ca. AD 100 - 300.A fine pair of ancient Roman gold earrings decorated with pearl pendants. Hanging from the hoop is a gold thread with scrolling wire-work and a small gold granulation at the centre. The pendant terminates with a rounded pearl bead. The gold hoop is embellished with a small gold disc near the hinge. For similar see: MET Museum Accession Number: 74.51.3817.Size: 35-35mm x 14-14mm; Weight: 3gProvenance: Private collection of an Oxford professional, formed in the 1970s-1990s on the UK art market.

Ca. AD 100 - 300. A Roman cast-bronze figurine of a standing eagle. The eagle has a raised head turned to its left with naturalistic features. The figurine has meticulous feather detailing on the head, chest, and wings. The eagle stands atop a pair of narrow, clawed feet. The turned head displays teardrop-form eyes, a planar brow, a petite incised mouth and an intimidating, aquiline beak. For similar, see: Christie's, Online Auction 18699, Antiquities, Lot. 168. Size: 65mm x 22mm; Weight: 120g Provenance: Private UK collection; previously acquired on the Holland art market in the 1990s.

Ca. AD 100 - 300.A Roman carnelian intaglio depicting a kneeling soldier facing left, wearing a helmet and holding a long spear. The intaglio is stylised, typical of the new style introduced in the last part of the first century. During this period this kind of jewel was fashionable among most of society. For similar see: Catalogo illustrato della glittica nella collezione Santarelli, n. i. A2.Size: 10mm x 9mm; Weight: 0.5gProvenance: Private UK collection; previously acquired on the Swiss art market in the 1990s.

Ca. AD 100 - 300 .A rare Roman bronze kohl vessel with a tall polygonal body, flat base and narrow neck that connects to a short, everted rim. On the walls of the vessel, there are two ribbed hoops on one side and protruding round hoops on the other side. The surface is adorned with geometrical and floral incised motifs.Size: 110mm x 25mm; Weight: 215gProvenance: Private UK collection; previously acquired on the Holland art market, P.C., pre 2000.

Ca. AD 100 - 300.A Roman pale green glass vessel with a circular, concave base and globular body. The body tapers to a short, wide neck and carinated vertical rim. A gorgeous silvery iridescence adorns the exterior, while one side of the interior is coated in a shimmering iridescent hue. For similar see: The Cesnola Collection of Cypriot Art, Ancient glass, Cat. 170.Size: 125mm x 120mm; Weight: 195gProvenance: Private collection, London, UK; Ex. F. Piket 1980s, Netherlands.

Ca. AD 100 - 200.A Roman bronze phalera depicting Cupid with incised outstretched wings and a detailed face. Cupid is wearing a large tunic and has a geometric hairstyle with a lunar-shaped diadem.Size: 50mm x 45mm; Weight: 135gProvenance: Private UK collection; previously acquired on the Holland art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca. AD 100 - 300 .A Roman gold legionary brooch with a flower-shaped gold frame and incised petals, off the frame hangs two chains with leaf-shaped finials. The frame secures a carnelian intaglio depicting the head of the god Serapis, crowned by Victory on the legionary eagle. For similar see: MET Museum Accession Number: 17.191.296 (model).Size: 75mm x 35mm; Weight: 10gProvenance: Private UK collection, acquired on the US art market; Ex. private Collection (1926-2019), Chicago, formed in the 1970s-2000s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 300 - 400.A Roman crossbow legionary brooch with rounded dots on the terminals at the top and sides. The brooch has a flat tailpiece with several incised lines at either end of the central ridge. The original pin and fastening shaft are still intact. For similar see: MET Museum Accession Number: 1999.42.Size: 75mm x 50mm; Weight: 45gProvenance: Private UK collection; previously acquired on the Holland art market in the 1990s.

Ca. 100 BC - AD 200.An Egypto-Roman gold snake ring comprised of a long conical body adorned with incised scales only on the top, connected to a raised square head with stamped eyes and scales. Snake jewellery was not limited to Egypt in the Ptolemaic and Roman Periods. Bracelets with animals, including snakes, appeared in Western Asia from about the eighth century BC and spread to Greece in the fifth century BC and came to Egypt during the Ptolemaic Dynasty.Size: D:18.34mm / US: 8 1/4 / UK: Q; Weight: 7gProvenance: Property of a London gallery; previously acquired at the art market in Vienna; formerly in an Austrian collection formed prior to 2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 30 BC - AD 200.A Roman-Egyptian silver snake ring comprised of a long conical body adorned with incised scales, connected to a raised square head with stamped eyes and scales. Snake jewellery was not limited to Egypt in the Ptolemaic and Roman Periods. Bracelets with animals, including snakes, appeared in Western Asia from about the eighth century BC and spread to Greece in the fifth century BC and came to Egypt during the Ptolemaic Dynasty.Size: D:15.39mm / US: 4 1/2 / UK: I 1/2; Weight: 6gProvenance: Property of a London gallery; previously acquired at the art market in Vienna; formerly in an Austrian collection formed prior to 2000.

Ca. AD 100 - 300.A Roman red carnelian intaglio depicting the god Asclepius, standing in a relaxed position with his hand on his hip. He wears a long robe on the lower part of his body and is naked on the top, which is a typical depiction of the clothing of a deity. The intaglio is set in a high carat, possibly later gold ring.Size: D:17.53mm / US: 7 1/4 / UK: O; Weight: 8gProvenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 200 - 300.A Roman silver-gilt patera with a flat decorated handle. On the top of the handle is a double arrow with heart-shaped points surrounded by a motif of dots. The bowl is deep, with high walls and an extremely polished surface. For similar see: MET Museum Accession Number: 47.100.29.Size: 160mm x 90mm; Weight: 105gProvenance: Private London collection; acquired on the European art market prior to 2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 100 - 300. A Roman bronze eagle figurine with realistic features, standing on a base. The figurine has detailed feathers on its body and wings and a long tail that extends over the edge of the base. For similar see: Christie's, Live Auction 18699, Antiquities, Lot. 168. Size: 55mm x 20mm; Weight: 90g Provenance: Private UK collection; previously acquired on the Holland art market, P.C., pre 2000.

Ca. AD 300 - 400.A Roman open-work silver ring, with a hoop adorned with an open phytomorphic motif. The hoop widens at the shoulders to a floral form, which elongates onto a flat bezel inscribed with 'FIDEM.' For a similar example, see El legado de Hefesto, nos. 464, 465.Size: D:17.53mm / US: 7 1/4 / UK: O; Weight: 5gProvenance: Property of a London gallery; previously acquired at the art market in Vienna; formerly in an Austrian collection formed prior to 2000.

Ca. AD 100 - 300.A large collection of Roman glass fragments from unguentaria, bowls and bangles. The group is composed of mosaic glass and coloured glass. The coloured glass is turquoise, blue, yellow, white brown and red. For similar see: The Cesnola collection of Cypriot art, Ancient Glass from the MET Museum.Size: 2-50mm x 2-35mm; Weight: 690gProvenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s.

Ca. AD 100 - 300.A Roman silver ring with a circular bezel depicting the facade of a temple. The temple is engraved with architectural decoration on the corners of the rooftop and a statue of a seated deity inside. Size: D:17.12mm / US: 6 3/4 / UK: N; Weight: 5.7gProvenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s.

Ca. AD 200 - 300.A late Roman gold pendant with an agate cameo of Medusa's head made in a naturalistic manner. Medusa has a large oval face that is framed by hair and snakes, surmounted with two large wings. The cameo is set in a gold frame decorated with stylised flame palmette, the top of the frame has a triple gold hoop to connect a rope or chain. For similar see: MET Museum Accession Number: 18.75.Size: 35mm x 26mm; Weight: 10gProvenance: Private UK collection; previously acquired on the UK art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 200 - 400.A large group of silver belt buckles from Roman period. The first brooch, on the left, is a Roman openwork brooch embellished with discs on the corners. The other brooches are silver female buckle belts with original pins.Size: 19-28mm x 21-27mm; Weight: 37gProvenance: Property of a London gallery; previously acquired at the art market in Vienna; formerly in an Austrian collection formed prior to 2000.

Ca. AD 50 - 100. A Roman green glass bowl with moulded decorations. The bowl is beautifully preserved, made of translucent glass of blue-green colour. It features high walls that connect to a short rim. The walls are embellished with a moulded geometric motifs of circles. These motifs are created by a process of gradually blowing the glass into a mould and then repositioning into the bowl to create a weave-like pattern. For similar see: The Cesnola collection of Cypriot art, Ancient Glass from the MET Museum. Size: 60mm x 45mm; Weight: 161g Provenance: Prince collection, 1990s-2014; Ex. Gorny & Mosch, Sale 189, 19 June, 2010, lot 51.

Ca. AD 100 - 300.A superb Roman gold ring with a carnelian intaglio depicting Cupid in a chariot pulled by swans. The hoop is adorned three ridges and the each shoulder has two gold pellets connecting them to the bezel. For similar see: El Legado de Hefesto, n. 303.Size: D:18.95mm / US: 9 / UK: R 1/2; Weight: 10gProvenance: Private UK collection; previously acquired on the UK art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece comes with an authentication report by Sami Fortune, ancient jewellery specialist.

Ca. AD 100 - 300.A Roman pale blue glass unguentarium consisting of a concave base, apple shaped body, with a narrow, long neck connecting to a short, flared rim. The vessel has large parts of the body developed in a rainbow-hued iridescence. For similar see: The Cesconal collection of Cypriot art, Ancient Glass from the MET Museum.Size: 140mm x 70mm; Weight: 77.7gProvenance: Prince collection, 1990s-2014; Ex. Thierry De Maigret, 17 April 2010, Lot 28.

Ca. AD 100 - 300.A Roman bronze legionary eagle with folded wings, on top of a pyramidal podium. The figurine has naturalistic qualities which can be seen in the meticulous feather detailing on the head, chest and its flowing wings. The eagle stands atop a pair of narrow, clawed feet. The turned head displays teardrop-form eyes, a planar brow, a petite incised mouth and an intimidating aquiline beak. For similar see: Christie's, Online Auction 18699, Antiquities, Lot. 168.Size: 65mm x 35mm; Weight: 50gProvenance: Private UK collection; previously acquired on the Holland art market, P.C., pre 2000.